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J KURT L. SCHWARZ AN ENCYCLOPAEDIA OF HINDU ARCHITECTURE FRONTISPIECE SVASTIKA MANSION (FRONT VIEW) AN ENCYCLOPAEDIA OF HINDU ARCHITECTURE BY PRASANNA KUMAR ACHARYA, I.E.S. M.A. (CAL.), PH.D. (LEYDEN), D.LIT. (LONDON) HEAD OF THE ORIENTAL DEPARTMENTS PROFESSOR OF SANSKRIT, UNIVERSITY OF ALLAHABAD MANASARA SERIES : VOLUME VII PUBLISHED BY THE OXFORD UNIVERSITY PRESS NEW YORK, BOMBAY LONDON, MADRAS CALCUTTA. CHINA, JAPAN /V/) ft* PBINTBD BY THE SUPBPfNTENDBNT, PBINTINO AND STATIONERY, U. LIBRARY 747610 .UNIVERSITY OF TORONTO P., ALLAHABAD, INDIA ' What of us certain the learned world in India of our monumental exactly as terpret it it is record now to and quite place the before exists, faithfully be to data, demand and them to in- literally.' MANASARA SERIES VOLUME I VOLUME II A Dictionary of Hindu Architecture Indian Architecture according to ( 1927). Mdnasdra Silpd- Sdstra (1927). VOLUME III VOLUME IV Mdnasdra Sanskrit Text with Critical Notes (1934). Architecture of Mdnasdra Translation in English (i934)- VOLUME V Architecture of Mdnasdra Plates i-cxxxv (Architec- tural), GXXXVI-CLVII (Sculptural) (1934). VOLUME VI Hindu Architecture VOLUME VII An in India and Abroad (1946). Encyclopaedia of Hindu Architecture (1946). FOREWORD THIS and the volume of the Mdnasdra series so far A few more volumes are, however, Those new volumes will have to deal with the practical conclusions and workable plans and designs. This remaining work will involve an additional expenditure and an engineering study and draughtsmen's survey, estimate, calculations and comparisons with the few extant structures referred to in the is the seventh last as the present writer is concerned. required to complete the work. writer's sixth volume, the Hindu Architecture in India and Abroad. In fulfilment of the fateful prediction of the late Professor E. J. Rapson of Cambridge University, the whole of the official career of the present writer commencing from the eventful year of 1914 has been fully occupied in preparing and seeing through press some 5,000 pages of these seven volumes. As the decree of fate would have it the war of 1914-18 caused from the very beginning of this task all possible interruption, risk and inconvenience while the work was carried out in London, Oxford, Cambridge, and Leyden. The difficult Indian dilemma either to give up the selfas is task imposed altogether usually done by us after securing a degree and an appointment to a permanent post, or to carry it through, without much encouragement and assistance from any quarter, shoulderconditions presented the familiar ing in addition to the peculiar duties of an occasionally unfortunate Professor of an Indian University the heavy burden of research. The unusual exigencies of the reconstructed Allahabad University demanded of the writer preparation and delivery of lectures to B. A., M. A., and Research classes up to 30 times per week and 18, and also to do the departmental administration, work of various committees and examinations. Contrary to the Sadler Committee's policy recommended for the new type of Indian Universities research activities even for the professors of the highest rank became practically of no importance, the teaching and social activities, as in schools and colleges, being much better appreciated by the authorities. Thus for instance our autonomous University considered it a useless waste of public funds never and less than the routine to include a few pages in its annual report in order to give publi- city to the mere titles of papers and books written and published by their teachers. Our non-interfering Government authorities also ceased to take any notice of their own servants who were sent on foreign service,' or rather banished to the universities. ' ix AN ENCYCLOPAEDIA OF FOREWORD The great educationist Governor, late Sir Harcourt Butler, sanctioned the cost of publication of these volumes to be advanced from the public funds before the delegation of the writer to the Allahabad University. But he left to Sir Claude de la Fosse, who was the first Vice-Chancellor of the reconstructed Allahabad University for a few months, to settle the terms of the publications includSir Harcourt was ing the author's royalty and reward. sorry to learn of the changes which had taken place since his retirement from ' India and was shocked when he was told in London in 1933 that an Indian successor of Sir Claude, as the Head of the Education ' Department of the Government, actually questioned ' correspondence in an official the public importance of Indian Architecprinting tural researches.' The commitment of his predecessor had, however, to be carried out, and the Government, at the suggestion of again an Indian Adviser to the Governor, have since decided that after the realization of the full sum of money advanced by the Government for the cost of printing and publishing through the Oxford University Press, the further sale-proceeds, if there be any, will go to the successors of the This is certainly a business arrangement. But the question of profits was not unfortunately considered when the first five volumes were published, for, the first two volumes in writer. published 1927 actually gave a small profit to the Government of Rs.$oo to .5.400 despite the fact that only 250 copies were then published for circulation among scholars and that the prices of those volumes were fixed not as a business proposition, but merely to realize the cost of publication. Naturally under such circumstances one would not feel encouraged to put in further labour and incur enormous expenditure, which are needed for the preparation of the remaining volumes and completion of the series. And there is not much hope either that the Governments and the various corporations, municipal boards, and other authorities who sanction the of a plan private building or erect a public structure will interest themselves in introducing an Indian policy in architecture until the new order following the present devastating war comes into being and until the new nations are able to rebuild and repair the rackless destruction. In the peaceful times, however, facilities were freely pre-war and provided by the State, HINDU ARCHITECTURE the especially in big European FOREWORD and American cities like London, Leyden, Paris, Berlin, Rome, Washington, New York, etc., to hold extramural evening classes and deliver popular lectures on architecCities like Milan used to ture. hold perpetual exhibition of model houses in order to educate the public in the construction of suitable dwellings. India, when may it Perhaps a time will come even in countries like be considered barbarous to question the public ' importance of architectural researches.' The common sense of civilized and progressive peoples has recognized that residential buildings are more important in some respects than even food and clothes. It known that among the amenities of life, houses afford in a not large degree only comfort and convenience but also health and Nomads are not considered longevity of life, safety, and security. civilized ; they are not attached to any locality they have no fixed is well ; hearth and home they are not inclined to spend their fortune in erecting dignified edifices, everlasting ancestral residences, memorials, ; monuments, temples, churches, mosques, mausoleums, towers of The art and culture of a people silence, monasteries and pagodas. are reflected and preserved in such monuments. They sustain and stimulate national pride. various countries to suit and weather soil, spiritual progress. policy of each taste Thus the architectural structures differ in economic and climatic conditions, and aspiration, and material, moral and their therefore, necessary to settle the architectural For India no better country in its own way. It is, authority containing the experience of generations and experiments of centuries will ever be available than what is revealed by the Mdnasdra series. Apart from supplying cultural and historical information these volumes contain a key which when understood may help the tackling of Indian housing problems. It has been shewn and recognized by discerning authorities that whatever elements have been introduced to India by the Persians, Moghals, Pathans, and the Europeans, have Neither the failed to suit the Indian climatic and soil conditions. desert houses of Arabia nor the rain-coats and the snow covers of European countries can ever suit the peculiar conditions of India. Experience of generations and experiments of centuries are contained in our Vdstu-sdstras (science of architecture). Like the Indian dietary of predominantly vegetarian dishes and Indian clothes of loose types, xi AN ENCYCLOPAEDIA OF FOREWORD Indian houses of our Sastra (scientific) styles are naturally more suitable for us. A wide dissemination of an accurate knowledge of true Indian architecture as revealed for the first time in these volumes must be the first step of the housing reform in India. The is a revised and enlarged edition of the writer's Architecture Hindu which was published in 1927, without Dictionary of any plates. Its change of title to An Encyclopaedia of Hindu Architecture was originally suggested to the London University and missed by present volume several learned scholars. A review of the Dictionary on this is a book which is so well done that to say that for many decades one1 commented in his The Dictionary point very strongly respected it ' : appears to be no exaggeration cannot be improved upon unless, of it If there is course, the South reveals to us more hidden treasures. anything to object to, it is the tide of the book, which does less than ''Encyclopaedia" would be a fitter title. The term is associated in our minds with word-meanings, while Dictionary '' word- meaning." Each Dr. Acharya's work is very much more than term is followed by its meanings, mostly technical, an exhaustive account of the subject, and references to standard works of a wide range of literature. Thus, it will be seen, the work deserves a " better title than Dictionary." In fact Dr. Acharya himself suggested London to the University the compiling of "An Encyclopaedia of Hindu Architecture," and it appears to have been a mere freak of to justice it. " '' when the University decided to entrust the learned " Doctor with the work of compiling, they chose the term Dictionary." fortune that .They appear to have been led to do this by the nature of the usual run of work done by modern scholars who hi many cases have the, " unhappy knack of shirking work "; but in being led away by the prejudice, the University were unfair to their alumnus, who has, by this work, more than justified the title that he had himself suggested. It is a matter of special gratification to us of the Allahabad University that we have at the head of our Sanskrit Department a scholar capable of doing work which, as a monument of industry and patience, compares favourably with the best of that class of scholarly work which has liitherto been regarded as German.""* . . . Mahamahopadhyaya Dr. Sir Ganganatha Jha, Indian Review, March, 1928. For similar comments by several other Reviewers, please see the concluding appendix of this volume and also pp. IA to IIA of the writer's Architecture of Manasnra (Volume IV of the Manasara Series). 1 xU HINDU ARCHITECTURE FOREWORD Nath Tagore, Abanindra The distinguished artist, Dr. observes also that the Dictionary is ' in the nature C.I.E., of an Encyclopaedia He (the author] the existing treatises on Indian art. has herein presented before us all the information that so long lay embracing all ... it may be hidden and scattered all over the world approon of literature the Indian Mahdbhdrata art, for, priately called the in we it Hitherto find all that there it is to know about Indian art. has been extremely difficult to be able to read nected literature that is to be found in libraries all . . . the con- whether in India or- Everyone of us does not know the language in which the treatises are written. Moreover, most of the original texts are preserved In the circumstances, a volume of this nature, in distant lands. outside. written in English and containing as perfect a compendium as is all the existing treatises on art, came to be a necessity, not possible, of ... artists as well. only for us but for foreign to which I shall be able to express the extent and the profit which pupils will derive my cannot adequately make use of it from I . it.' . . l Students of Indian architecture should be grateful to him (author] for accomplishing with such thoroughness a task which has been long overdue, and which must have entailed a tremendous amount of ' patient and often disinteresting work, in a number of different lan- The Dictionary of Hindu Architecture contains all the architecguages. tural terms used in the Mdnasdra and in the known Vdstu-$dstras, records with full inscriptions and other archaeological published references and 2 explanations.' Professor Acharya's Dictionary of Hindu Architecture is a monumenIt deals with three thousand words tal work, the first of its kind. ' relating to architecture and sculpture and cognate arts. Under each the necessary information in the form of a short article illustrated with copious quotations from the ancient as well as manuscripts, the general literature and the printed books, term is brought together archaeological records. all And this has been done with a thoroughness and accuracy which are the author's own. Full quotations for shade of the meaning of a word are bringing out each and every ' Translated by Mr. B. N. Lahiri, M.A., 2 The Times Literary Supplement, May I.P., from the 31, 1928. xiii Pravasi, April, 1928. AN ENCYCLOPAEDIA OF FOREWORD In effect the Dictionary becomes more of an Encyclopaedia 1 rather than a dictionary.' In consideration of such comments and in view of the fact tbat given. measured drawings and photographs have been added, the Government and the Oxford University Press have agreed to the present title. But the freak of fortune truly has Sir continued to the in end other Ganganatha designated by very respects as referred to in the opening paragraphs and mentioned illustrative plates containing ' ' later on. The prediction that ' for many decades it cannot be improved upon' has also proved literally true. No hidden treasures have been revealed in any quarter. All the new publications including all ' archaeological explorations ' reports which came out between The very extensive closely searched. and 1928 and 1943 have been volumes, reports, and explorations relating to Central Asia which have been largely due to Sir Aurel Stein, as well as the voluminous publica- of the Dutch, the French and lately of the Indian scholars relating to the Far East and Insulindia have also been patiently gone 2 But not many new terms have been discovered. The through. new terms added in this volume will be hardly one or two per cent, under the old and articles of the original list. But a number of new Articles like the playhouse (under the new terms have been added. tions ' ' ' ' RANGA) and Svastika symbol, etc., contain all information which is at Articles on fine arts (under KALA) and Indopresent available. Persian Architecture, and Maya Architecture of Central America, 3 etc., are also new. Thus although the matter has largely increased, Lt.-Col. D. W. Crighton decided to reduce the unwieldy bulk of the volume by the device of smaller types, larger pages, and closer printing, which, it hoped, will not cause any inconvenience to the readers. Colonel Crighton and Mr. M. G. Shome, his successor, as the Superintendent of Government Press, have endeavoured to produce a faultless volume comparable with the best of European publications. 1 The Pioneer, February 13, 1928. is " Sources " in the Preface which See further reference to these works under follows this Foreword (pp. xvii-xviii) and also the Bibliography, pp. 679-84. s Another additional and very expensive effort, which is not directly concerned with the present volume, has been made in erecting a residential house for a demonstration, the result of which is elaborated in the Preface of Volume VI (Hindu Architecture in India and Abroad}. xiv HMDU ARCHITECTURE FOREWORD original plan and scope as well as the ideal and general method followed in the Dictionary l have been retained in this Encyclopaedia The also. 2 What remains of fortune.' ' be added refers to further instances of the freak Under the war conditions of 1914-18 the work was to the present devastating war conditions it is completed. Among various other disappointments it is painful to recall that in April, 1939, Lt.-Col. D. W. Crighton took to England about 250 pages manuscripts of the present volume and after the commenced and under declaration of the war in the fateful month of September, the Colonel wrote that he would send back the manuscripts together with his sugHis suggestions were received and have been gestions for printing. came back. They had and labour involved in and additions and altera- followed but the original manuscripts never to be prepared again with all the annoyance such a process. made tions Some of the new entries during the past twelve years may Those who work along this line altogether. in the missing pages have been, however, lost disappointment and will recognize the fact that it is hardly possible for a writer to rc-writc an article in the same spirit, with the same fulness and satisfaction as at the first share may the writer's inspiration. Another unfortunate incident alluded to in the Preface refers to the eye-trouble which started as the result of a very close examination and decipherment for several years of a huge quantity of very badly ' preserved old manuscripts on Silpa-sastras written in five different scripts, and of some 50,000 lines of inscriptions.' Over and above this the eyes were severely exercised some 5,000 pages of these word but also every letter scrutinized at least three times each. thirty years aggravated proofs of this last by the reading of three proofs of seven volumes, of which not only every and every line thereof had to be minutely the volume had ailment All this strain for the past to such an extent that the be read, despite medical advice, with one eye only, the other being unserviceable and requiring a risky and expensive operation which had to be postponed with a view to completing this work. 1 to 2 See pp. x-xii. XV For details, see pp. xx-xxii. AN ENCYCLOPAEDIA OF FOREWORD occasion to record my most respectful thanks to the Government of the United Provinces for generously advancing the cost of publication of all die seven volumes. My respectful acknowlof Government to the due also are India, especially to the edgments General whose Directors and Provincial Department of Archaeology Superintendents very generously supplied all the necessary photographs of the extant monuments and reprints from the Government I also take this opportunity to express my indebtedness publications. to the Governments of Siam, Netherlands (Java and Sumatra), and take this I French Indo-China monuments supply of photographic for and in Insulinclia views of Indian for permission to reprint certain plates their official publications. Mr. S. G. Mukerjee, B.A., C.D., A.R.C., A.I.I.A., and his draughtsmen have supplied all the measured drawings from plates for the illustration of certain objects of which no extant examples are available. These drawings and plates had to be prepared from the description found in the texts and required great skill and the in representation. Lt.-Col. D. W. Thus they have earned my gratitude. Crighton, and, after his ictirement, his successor, as the Superintendent of the Government Printing and Stationery, Mr. M. G. Shome, and their staff have endeavoured to produce volume. Colonel Grigh ton's plan and arrangement In his great wisdom he of the matter has been strictly followed. cast the new types for the last two volumes of the series and a faultless required amount of paper excepting those for plates war of 1939 was declared. I shall always remain grateful to Colonel Crighton, Mr. Shome and their staff for all they have done to bring out these volumes and to mitigate my drudgery for more than a quarter of a century during which these volumes stocked before the the passed through the Press. My thanks are due to Mr. M. substantially in preparing the terms as translated in the Sharma, M.A.,L.T., who assisted me Index of the modern architectural body of the work together with their S. Sanskrit equivalents. I am also thankful to Mr. M. G. Nayar, Senior Reader of for arranging the plates and the final the Government Press, revision of the last proof. P. ALLAHABAD UNIVERSITY April, : 1944-46. xvi K. ACHARYA. PREFACE TO THE FIRST EDITION This Dictionary (encyclopaedia) owes its Origin and scope of the work 1 of London. to the name glossary of the architectural University A terms used in the Mdnasdra, the standard work on Hindu architecture, private use when I found it indispensable, two and a half years to edit for the first time and translate into English a text, which is written in five different scripts, 3 was prepared for my after struggling for badly preserved manuscripts, has undergone five recensions, and comprises more than 10,000 lines of a language { 3 rightly remarked by Dr. Biihler as the most barbarous Sanskrit.' possesses eleven In this connexion there arose an occasion for me to express to the University the opinion that an encyclopaedia of Hindu architecture was badly needed. Architectural expressions appear throughout the whole field of general Sanskrit literature and epigraphical records, as well as in the extensive special branch of literature as Vdstu-Sdstras, more familiarly called Silpa-fdstras. Existing dictionaries, in Sanskrit, English or any other language, do not known and the texts of the Vdstuhundreds of years to be unearthed elucidate architectural expressions ; have been waiting for from manuscripts which are quite inaccessible without the guidance of a special dictionary that would also be instrumental in bringing fdstras to light many new things hitherto left unexplained in inscriptions and general literature. The University selected me as the person most immediately concerned and entrusted me with the task, " of all architecthat I should make a full " ' dictionary the Mdnasdra, with explanations in English, and illustrative quotations from cognate literature where available suggesting tural terms used in for the purpose.' Thus the terms included found in the Mdnasdra. 1 It in this encyclopaedia are primarily those But all the new architectural terms of has developed out of a Thesis, which was accepted by the University for See the Foreword for the change of title to Encyclopaedia.' ' the D. Lit. degree. 8 Grantha, Tamil, Telugu, Malayalam, and Nagari. * Ep. Ind., Vol. I, p. 377 ; compare also Sir XII, pp. 140, 141. xvij R. G. Bhandarkar, Ind. Ant., Vol. AN ENCYCLOPAEDIA OF PREFACE any importance discovered in all the known architectural treatises, epigraphical documents, and general literature have also been added. new terms should estimate the I at about one-fourth of the numbering approximately three thousand. No record has, however, been kept of the extent of the architectural manuscripts or the general literature searched, but some 50,000 pages of archaeological documents have been gone through almost line by 1 total, line. Extent of architecture is taken in or constructed in ornamental comprehended In the Vdstu-sastras broadest sense and implies what is built materials and with a design and an terms architectural its lasting Thus, in the finis. buildings, religious, residential first and place, it military, denotes and members and component mouldings. Secondly, all sorts of their auxiliary implies town- it constructing market places ; making roads, bridges, gates ; digging wells, tanks, trenches, drains, sewers, moats ; building enclosure walls, embankments, dams, railings, planning ; laying out gardens of ; for hills, ladders, etc. steps ghats, flights articles of house furniture, Thirdly, it denotes such as bedsteads, couches, tables, chairs, thrones, fans, wardrobes, clocks, baskets, conveyances, cages, nests, mills, etc. Architecture also implies sculpture, and deals with the making of phalli, idols of deities, statues of sages, images of animals and birds. It includes the making of garments and ornaments, etc. Architecture also is concerned with such preliminary matters as the selection of site, testing of soil, planning, designing, finding out cardinal points by means of a gnomon, dialling and astronomical and astrological calculations. These and similar matters are expressed by technical names which are to be understood as architectural terms for the purpose ; of this dictionary (encyclopaedia). Principal sources and arrangement of materials upon in this compilation namely, literary known may be classified and archaeological. Vdstu-sdstras, in since Foreword for sources The former drawn divisions, includes all the manuscript, which are avowedly mostly such as the Mdnasdra, architectural treatises, See the The under two etc. ; architectural a reference to the further additional terms discovered in this volume. 1928 and incorporated xvjii HINDU ARCHITECTURE and the Purdnas, cognate portions of the portions of the Agamas, Vedic and the Kdvyas, dramas, the inscriptions all following series in the Antiquary volumes) Indian such as classical literature, Epics, comprise PREFACE Dr. of Inscriptions ; Carnatica Epigraphia the Sutras, archaeological records and other cognate matters published 3 volumes) ; Indian Inscriptionum Indicarum (2 Epigraphia Indica : 44 volumes) (fiist ; the Brdhmanas, The etc. E. Corpus (first 1 volumes, in (12 Hultzsch, and Rao Sahib H. Krishna Venkayya, General Sir A. Cunningham's parts) late Sastri 15 parts) Rai (3 ; South Bahadur V. volumes, in 8 Archaeological Survey Reports ; volumes) Archaeological Survey, New Imperial Series (Vols. IV, XII, XVIII, XXI, XXIII, XXIV, XXXIII, XXXIV) (23 ; XI, ; and Mysore Archaeological Survey Reports (Vols. I, II, III), [Serindia, Report on Archaeological Tour with by Sir Aurel Stein Bunar Field Force (1900), by Stein ; Ancient Khotan (Vols. I, II), L'Art de Gandhara, by Stein, Ville de Khotan, by Remusat Notes Foucher M. S. Levi Fa-hien's Travels, M. ; Chinoise, by ; by ; ; by Legge Asiatic Researches (Vols. I XIV) ; Marco Polo (Vols. I, Ancient Colonies in the Far East, by R. C. Mazumdar ; II), by Yule Inventaire History of Siam, by Wood ; History of Burma, by Phare Descriptif des Monuments Chams de L'Annam (Vols. I, II), by M. H. Parmentier Cambodge (Vols. I, II, III), by E. Aymonier ; Le Cambodge, by M. L. Delaparte Java and Her Neighbours, by ; ; ; ; ; A. S. Walcott De ; Sutrantraasche Period der Javansche Geschiedenis Krom ; Bijdragen tot-de Taal-Land en Volken-Kunde (1922), van Nederlandsche Indie (1918); Buddhist Records, translated by Etudes Bill History of Art in Persia, by Perrot and Chipiez Darmesteter Scritores rerum Alexandri ; Iraniennes, by Magni, by ; ; by C. Miiller Smitter; etc. ; Architectural Remains : Anuradhapur (Ceylon), by 1 ]. quotations from these sources are, to speak very generally, arranged in the order in which they are mentioned above. Illustrations from other sources of smaller extent have been given Illustrative where they seemed most suitable. Appendices architecture 1 Stt A is sketch given in important Sanskrit treatises on Appendix I. In Appendix II is given an of the further details under Bibliography. xix AM ENCYCLOPAEDIA OF PREFACE of the historical mentioned in the archaeological records, together with short notes on their works and dates, where available. This list does not include those names which are casually mentioned without a reference to their works in the general literature, Purdnas, Agamas, and in the Silpa-sdstras. Ideal and general method Dr. F. W. Thomas was the first to the idea of suggest compiling such an encyclopaedia long before I felt the necessity of the glossary mentioned above. In carrying out Dr. Thomtes's kind advice it seemed to me that the most natural method was the one suggested by Dr. Burgess (Ind. Ant., Vol. XIV, list alphabetical architects pp. 319-20), for collecting materials for the ancient Geography of India by indexing separately all the geographical words occurring in the archaeological and literary documents. Dr. Fleet illustrated a by making topographical list of such words found in the Brihat-sarhhitd (Ind. Ant., Vol. XXII, p. 169). This was followed by a similar list of words from the Bhdgavata-Purdna, by this principle Revd. J. E. Abbott XXVIII, p. i, f.). There such would have been much easier for me if (Ind. Ant., Vol. stopped. It made use of any such list of architectural terms from any of the documents consulted. 1 Professor L. D. Barnett, M.A., LITT.D., suggested that I should list-making I could have take Dr. S. Sorensen's Index to the names in the Mahdbhdrata as my model. have followed method, as well as that of Professors Macdonell and Keith in the Vedic Index, so far as these indices are concerned in bringing together everything useful in the form of a I his short article. Despite its bulk, Sorensen's Index mostly confines itself to the proper names contained in the Mahdbhdrata, and does not include any illustrative quotations. But I had to go much beyond a single work and consult an extensive field of literature, like the veteran workers of the Vedic Index of names and subjects, which, though it contains subjects in addition to proper names, has not, for obvious reasons, cited the original passages in text or translation in addition to giving references to them. In this respect I took the 1 Dr. A. K. Dictionary Coomaraswamy published a short list after the publication of my referring to a few new terms from the Buddhist literature and the writer's Indian Architecture (1927). XX HINDU ARCHITECTURE largest Sanskrit PREFACE the work, had St. Dictionary, as Petersburg from my ideal. immortal authors, Messrs. Bohtlingk and Roth, the fathers of the most useful Sanskrit rethe St. Petersburg Dicsearches, in two important points. First, But there, too, tionary I to differ does not, for obvious reasons, give in of the passages quoted therein. like its 'prasadarudha' all cases the For instance, from the full context illustrations ' and St. Pet. Diet., (see 'prasadangana difficult to see whether 'prasada' implies a under PRASADA), it is temple, or a palace, or an ordinary residential building, or assembly room and confessional hall of In spite of some tremendous difficulties, the Buddhist priesthood. I found it unavoidably to cite or translation, or sometimes necessary long passages, in text both, to illustrate the particular bearing of a term. 'Pitha,' for example, implies a seat, an altar, a platform, the pedestal of a column, the basement of a building, the plinth, the yoni part of the of meanings cannot be made linga, etc. ; these different shades by such the ' or 'pitham ashtangu'pithopari lam.' The second point, by far the more significant, will further explain the need of long contexts. The St. Petersburg Dictionary clear refers only to quotations as well-known treatises which, though covering an extensive field, are yet easily accessible, and does not deal with manuscripts locked up and preserved as relics ; nor has it anything do with the epigraphical documents. My literary quotations are in most cases from a large number of works and manuscripts some of which are written in unfamiliar scripts and most of which are neither well known nor easily accessible ; and the illustrations from all the published inscriptions and other archaeological records, to comprising approximately 50,000 pages, also necessitated the and partly with a view the of the attention of the reader avoiding possibility distracting and interfering with his grasping the argument rapidly. full context, partly for reasons stated above, to Alphabetical order and transliteration I could not avail myself of the express advice of Dr. Fleet in his highly appreciative Review of Dr. Sorenson's masterly Index (Ind. Ant., Vol. XXXIV, p. 92) to arrange the words according to the European alphabetical order, which, in the opinion of the reviewer, has enhanced the value of the work. The European alphabet, being more imperfect than the Sanskrit alphabet with regard to the number of xxi characters, especially AJf PREFACE ENCYCLOPAEDIA OF and the phonetical arrangement of them, seemed unsuitable for the terms which are included in this dictionary the vowels In either of the alphabets, the transliterated (encyclopedia.) Sanskrit words in some cases would be more or less confusing (e.g. Rishi, Riksha, Rintika, Ripu). But for the difficulties of making l before the dictionary went to press, I typewritten copies should have preferred to have Sanskrit words written in Sanskrit characters. Following the order of the Sanskrit alphabet, words like ' varhsa,' and ' sanku ' are given (as in the St. Pet. Diet., 's"aka' M. W. Dictionary ' and and the Vedic not before ' vakra Index), but after 'vahana' and 'Sashpa.' The anusvdra is derived from at least four nasal characters of the Sanskrit alphabet (h, n, n, m). Logically the anusvdra should follow the order of the sarhku should be where sanku would be original letters placed ; but this is an extremely confusing arrangement (see Apte's There is no reason why samku should be read Dictionary) ' ' ' ' : ' ' . ' is also no reason for its being placed after one should be quite justified in doing so when Sashpa,' although he is following the order of a particular alphabet, and does before s"aka,' there ' not hesitate to read in another alphabet e after d, i after h, o after n, and u after t, or / after k, h after g, and so forth. In transliteration I have followed the system of the Archaeologi- Survey of India. But I have not made any distinction between e and ^, o and 6, simply because there is no such distinction in the Sanskrit language. These deviations from the trodden paths, which seem to be untenable, will not, it may be hoped, cause any inconvenience to readers. cal Acknowledgment important cases which deserve names of the scholars who have edited a partior written an article have not been added after Except in special notice, the cular inscription the quotations. This need not offend anybody. I am sincerely It seems, grateful to the scholars to whom I owe the quotations. of little interest to know the name or names of the authors however, or editors of a particular passage, quoted occasionally a dozen times with full 1 references to the article Four copies of the Thesis referred University of London. to xxii where it occurs. ' Vedi,' above had to be submitted to the HINDU ARCHITECTURE PREFACE example, implying a throne, has a parallel instance in a passage quoted from an inscription. The passage is borrowed from the editors and my indebtedness is shown by the usual quotation for marks, and have stated that I this passage occurs in ' Inscription from Nepal, no. 15, inscription of Jayadeva, verse 25, Ind. Ant., Vol. IX, pp. 179, 182.' It, however, in no way enlightens the reader to know the names of the editors, Pandit Bhagwanlal Indraji and Dr. G. Biihler, C.I.E. portion of a verse Again, a quoted in the of the Sdnkhayana Srauta-sutra is but the full context is given in St. Petersburg Dictionary, our encyclopaedia, and it stated thus is Sdnkhayana Srauta-sutra, seems unnecessary to XVI, 13 and Roth. Messrs. of names add the Bohtlingk Lastly, in cases of the extent of which cannot quotations from general literature, 1 (St. Pet. Diet.}. 8, Beyond : this, it be indicated even by an approximate number of books, some instances impossible in Compare, anonymous for example, work and ; a to mention Glossary of the Grecian was name. an Architecture, it author's Silpa-sastra-sdra-samgrahah Sivandrdya- sdram uddhritya prakdsitah Silpa-sdstrandtmajena prdchlna-granthebhyah essential portions of the sdra-samgraha, compiled by collecting of son a ancient treatises by Sivanarayana' again, Visvakarma; Krishna-s'ankara-s'astri the by author, if there were a real one beyond the mythical VisVakarman is not stated anywhere in the treatise (Creator of the Universe), jndna, corrected (s'arhs'odhita) ; itself. Need of showing the results achieved Although it would be to say that the subject of a dictionary presumptuous for anybody a pioneer work, I might be permitted, in like this has been exhausted in justice to myself, to add that all the known and knowable materials which were likely to be of any use for this encyclopaedia, have been closely consulted and utilized. Whether the results will labour involved will have to be left to the actual justify the great 1 are in need of such a work. But the experiment of those who ' Extracts from Opinions and Reviews,' at the end of this volume, See the IV (1934), by the writer, and |What Architecture of the also of Mdnasara, Volume Others Think in the writer's Hindu Architecture in India and Abroad, Appendix III, i ' pp. 422-49. xxiii AN ENCYCLOPAEDIA OF PREFACE tremendous fully of a compilation like this will perhaps be not to all readers, because no one but those who difficulties brought home ' have taken part in similar labours, can at all realize the amount of tedious toil, I might almost say drudgery, involved in doing everything singlehanded, collecting the quotations and verifying references and meanings, making indices and lists of words, sorting and sifting an ever-increasing store of materials, revising old work, arranging and re-arranging new, correcting and re-correcting, " copy," till reams upon writing and re-writing, and interlineating reams of paper have been filled, putting the eyesight, patience, and temper to a severe trial.' My Aids and encouragement received sincere obligations are due, to the Secretary of State for India in Council for all facilities and help which I had the privilege of receiving as a Government of India State scholar and which were needed by a pioneer in this most exacting branch of oriental researches, specially during the War of 1914-18. I take this opportunity to offer thanks in particular to late Sir Austen Chamberlain, my respectful late Sir T. W. Arnold, C.I.E., and late Mr. N. C. Sen, O.B.E. Words fail me to express adequately my gratitude to Professor Dr. F. W. Great European Thomas, above, I owe take this task. Office the then Librarian of India Office, London. As stated to him the inception of the idea and courage to under- C.I.E., He placed at and procured for me most different libraries in India materials in the India of the available manuscripts from and Europe. He facilitated my work He arranged, through the appreciation and kindness H. Marshall, C.I.E., D.LITT., the then Director General of in Holland. of Sir John my disposal all the Archaeology in India, the creation of a prize post for me directly under the Governor in Madras for the publication of this work ; this arrangement, unfortunately, fell through owing to absence on leave of Sir John Marshall and retirement of Lord Pentland at the time when I went to take up this appointment. It was again through Dr. Thomas's introduction that Sir Claude de la Fosse, C.I.E., M.A., D.LITT., the first Vice-Chancellor of the reconstructed Allahabad University, became personally interested in this work and readily induced the great educationist Governor, Sir Harcourt Butler, to recommend to the Government of the United Provinces to advance the cost of its publication. jcxiv HINDU ARCHITECTURE I take this P sir AC opportunity to express Harcourt Butler and his my Government. respectful gratitude to Sir And to Sir Claude I am further indebted for his scholarly sympathy, friendly advice, and constant encouragement. To those great lovers of oriental scholarthe then Minister of Educaship, Rai Rajeshwar Bali Sahib, O.B.E., tion ; Kunwar Jagdish Prasad, C.I.E., O.B.E., i.c.s., the Education (then Chief) Secretary; and late Mr. A. H. Mackenzie, M.A., B.SG., the Director of Public Instruction, I am in a debt of gratitude encouragement, which has kept up the energy and needed in bringing out this dictionary, after working on it for for further spirit the past twelve years. For suggesting many improvements I am indebted to the veteran orientalists, Dr. L. D. Barnett, of British Museum, London, and late Professor E. J. Rapson, of Cambridge University, who examined the whole manuscript before it went to press. I am thankful to Professor J. Ph. Vogel, PH.D., of Leiden University, for helping me with To Mr. E. L. G. den all necessary books during my stay there. Ch. L. Du van de and Miss Beest Holle of ZootoDoore-n Ry Jong mical Laboratory, Leiden, I owe many friendly services in connexion with this work, but for which it would have been impossible for me to get on in Holland. To another talented lady friend, Miss E. J. Beck, who took the trouble of putting in the marks to a duplicate typewritten copy of this dictionary, owe, like many other Indian students, more obligations than I can late diacritical I adequately express. Last but not least am I pleased to record my grateful thanks Major W. C. Abel, M.B.E., V.D., lately the Superintendent Government Press, Allahabad, and to his able successor, Mr. D. W. Crighton, and to their staff for their ever sympathetic and kind treatment towards me and their zealous and careful handling which was necessary in printing an encyclopaedia like to of this. P. SANSKRIT DEPARTMENT, UNIVERSITY OF ALLAHABAD : August, 1937. XXV K. ACHARYA. THE ORDER OF THE ROMAN CHARACTERS AND THE METHOD OF TRANSLITERATION ADOPTED a, a k, kh t, th p, 5, ; I i, ; ph ; gh g, d, ; sh, s ; n ; h bh ; ; m ri, ri ; dh n b, ; u u, ; ; m ; ch, ; t, ; h. th ; e, ai chh ; y, r, d, 1, ; ; o, j, jh dh n ; v ; au n ; ; ; ; CONTENTS PAGES ix-xviii FOREWORD PREFACE TO THE FIRST EDITION (DICTIONARY) METHOD OF ORDER OF ROMAN CHARACTERS AND THE THE TRANSLITERATION ADOPTED xxxi-xxxiv LIST OF ILLUSTRATIONS TEXT OF THE ENCYCLOPAEDIA ON ARCHITECAPPENDIX I-A SKETCH OF SANSKRIT TREATISES .. TURE ARCHITECTS WITH SHORT APPENDIX II-A LIST OF HISTORICAL .. NOTES ON THEIR WORKS CORRESPONDING SANSKRIT EQUIVALENTS '77 670-84 BIBLIOGRAPHY EXTRACTS FROM OPINIONS ON THE DICTIONARY TERMS INDEX TO MODERN ARCHITECTURAL ~ 6I5 59 .. iA-i8A WITH THEIR . . I tO l8 LIST OF ILLUSTRATIONS Serial no. I. Facing page . . Frontispiece LIST OF ILLUSTRATIONS Semi Facing page no. 47. Kampa-bandha .. Kadanga Kabandhana 48. Karnika 45. 46. . 49. Kama 50. Karnika 51. Kalpadruma Kavata 52. 53. 54. 55. ..104 . . . . . . . ;" 112 118 .. . Kunjaraksha Kumari-pura .. Kuntala . . . . . .. 58. .. .. 59. 60. Kubjaka Keyura . . 61. 62. Kokilargala Kona-loshta 63. 64. . . . . .. .. .. .. .. .. .. Kumbha-stambha .. .. Kostha-stambha . 67. 68. Kshudra-nasa Kumuda . . . . . . .. 131 .. 130 .. 132 132 136 .. . . . .. . . .. 130 130 .. . . .. .. .. .. 128 . . . . . . .. .. . .. .. 76. 77. Goji .. .. .. .. .. 78. Gopana .. .. .. .. .. . . 71. 72. 73. 74. 75. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .. .. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Graha-kundala . Ghatika-sthana .. .. .. .. .. .. .. .. .. 82. Gopura Chauvadi .. .. .. .. .. 83. Chandra-gala .. .. .. .. . . 79. 80. 81. 84. Chaitya 85. 86. Chitra-torana 87. 88. 89. 90. cji. Jagati . . . . Jala-garbha Jala-dvara Tala-mana Torana . . . . . .. .. . . . .. Jaya-stambha . .. . . . . . . .. .. . . . .. . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 18 118 .. . . Kshepana Kharvata Kheta .. Garbha Ganda-bherunda Gabhara Garuda-stambha Gavaksha Guru-dvara 70. 1 . .. ..128 .. Kudya-stambha . 124 128 Kokila 65. 66. . .. 57. 69. 104 104 104 104 . .... . Kumbha-panjara .. Kuta 56. 102 .. .. .. .. .. XXXII .. .. 1 36 136 136 138 138 146 148 148 149 148 1 48 15 6 156 156 156 158 174 174 1 74 174 184 184 184 1 84 196 218 LIST ILLUSTRATIONS Off Serial no. Facing page 92. Tarahga . 93. .. 94. Tatika Trikarna 95. Tripatta . . . . . .. . . . . .. . . . . . .. . .. . .. . . .. . .. 96. Tribhanga . . . . . . . . 97. Danta-klla . . . . . . . . 98. Danta-nala . 99. 100. Dipa-danda Dipa-stambha 101. Dhara-kumbha 102. Dhvaja-stambha 103. Natya-griha Natya-griha Nala-geha Naga-kala 104. 105. 06. 1 . . . . . . . . . . .. . . . . . . . . . . . . . .. .. .. . . . . . . . . . . . . . . . . . . . . . . . . .. .. .. .. . . . . . . . . 107. 108. Nataka . . . . . . . . . . Nasika . . . . . . . . . . 109. Nidhana . . . . . . . . . . Nidra .. .. .. .. . . . . no. in. Pafijara 112. Pafijara-lala .. .. .. .. 113. Patra .. Patra-torana .. .. .. .. Padmasana .. .. .. .. . . . . 1 14. 115. 1 16. 117. 118. Padma . . . Padma-pltha . . . . . . . . . . . . .. . . . . . .. .. .. .. .. .. .. .. . . . . 222 222 322 222 222 226 226 226 226 226 226 274 274 278 280 280 280 280 280 288 288 288 288 298 302 302 302 302 302 119. 120. Parigha Parna-mafljusha Padajala 121. Palika .. .. ..302 122. 123. Pitha Potra .... .. .. .. .. .. 124. Prachchhadana 125. 126. Pratoli .. .. .. . . . . . . . . . . . . . . .. Phana .. .. .. .. .. 127. 128. Phalaka .. .. .. .. . Pralamba . 129. Prastara Balika . . . . . . . . 130. 131. Bali-pltha 132. Bahala Bahula 133. . . . .. .. . . . .. . . . . 135. Brahma-mastaka Bhadra .. 136. Bhrama .. .. .. 137. Bhrama-danda .. .. 138. Maftjusha 134. . . . .. .. . . . .. . . .. .... xxxi n . . 309 308 308 309 308 3 8 S2 ^ 33 366 3^6 3^6 366 3^8 .. ..388 .. 3^8 388 39 LIST OP ILLUSTRATIONS Serial no. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. 157. 1 58. 159. 1 60. Fac'ng page Manika .. .. .. .. .. .. .. .. .. .. .. Mani-dvara Mandapa Mandapa .. .. .. . . . Masiti .. Masuraka Mukula .. . . . . . . . .. .. .. .. . . . . . . .. .. .. . . .. .. . . . . . . . . Yupa-stambha Raja-harmya Lakshmi-stambha .. . . . . . . Lupa . . Vedi .. .. Sariku Sala (Dandaka) .. Sikhara Srivatsa . .. .. . . . . . . . . .. .. .. .. .. .. .. .. . . . . . .. . .. . . .. . . . .. . . . . . . . . . . Setu . . . . . . . . . . Stupi . . . . . . . . . . Stambha . . . . . . . . . . Svastika . . . . . . . . . . .. .. Hasti-nakha Hasti-hasta .. .. 3^4 394 396 406 414 414 414 414 438 442 442 442 476 484 526 526 526 526 534 604 612 612 AN ENCYCLOPAEDIA OF HINDU ARCHITECTURE AKSHA The (1) The base of a column, the eye, a die. base of a column : Athavaksharh (=adhishthanarh) navarhsochcharh janma karayet (2) The eye chaikena (Manasara, xiv, 17, note.) I : tri-matrarh syad vistararh chaika-matrakam Akshayamardha-matrarh syad vistararh yuktito nyaset Asyayamam I I (3) A die (M., LX, 29-30) : Akshaih sphatika-sarhyuktarh tula-bhajanam eva chai (M., LXVIII, 28.) Referring to the window-like part of a dold (swing, palanquin), and of a chariot hammock, (4) : Puratah prishthato madhye parva(darpa)narh bhadra-samyutam Parsvayor va(dva)ranarh kuryat tasyadho'ksharh susamyutam I I (M., Tasyadhah karnanarh kuryad akshotsedhardham eva cha see (M., XLI, 51, See GAVAKSHA ) I further context under AKSHA-BHARA.) Cf. Mitdkshara (ed. Gal. 1829) 146, i (Pet. Diet.) Akshah pada-stambhayor upari-nivishta-tuladhara-pattah Akshagra-kila 165-166 L, : I I Pushkaraksha (see Pdnini, 5, 4, 76). Dharabhir aksha-matradhih (Arjunasamdgama, ed. Bopp, AKSHA-BHARA A 8, 4.) lower part of a chariot. Tasyadho (below the pada or dham eva cha pillar) karnarh kuryad akshotsedhar- i Tat-tad-dese tu chhidrarh syad aksha-bhare rathantakam Chhidre pravesayet kilam yuktya cha pattayojitam I I (M.,KW, i 51-53.) AN ENCYCLOPAEDIA OF AKSHI-REKHA AKSHI-REKHA The eye-lines. Akshi-rekham samalikhya savye'kshi krishna-mandalam I (M., LXX, 69.) AKSHI-SUTRA The line of the eyes. Mukhayamarh tridha bhavet Akshi-sutravaanam cha tasyadhas tat-padantakam Hikka-sutrad adho bahu-dirghaih rikshangulam bhavet I I I (M., LXV, 12-13.) AGNI-DVARA The door on the south-east. Ghatur-dikshu chatush-kone maha-dvaram prakalpayet Purva-dvaram athaisane chagni-dvaram tu dakshine I I Pitur-dvararh tu tat-pratyag vayau dvaram tathottaram (M., I 292, 294-295.) ix, AGRAHARA A village inhabited by the Brahmanas. Viprair vidvadbhir abhogyam mangalam cheti kfrtitam Agraharas tad evam uktaih viprendrah Kamikagame n i (Kamikagama, xx, Agraharam vinanyeshu sthan!yadishu vastushu ise Prag-adishu chatur-dikshu vayau NlLAKANTHA, 1 6, 3^. Diet.) sivalayah 3.) I II (ibid., xxvi, 32.) : Agrarh brahmana-bhojanam tad-artham hriyante raja-dhanat prithak kriyante te agraharah kshetradayah I Chatur-bhuja AGHANA Not (ibid solid, comm. Mbh.) ; : Agrahara Sasana. a hollow moulding, column or pillar. Ghanan-chapy aghananchaiva vinyasam atha vakshyate ( Vistarayama-sobhadi-p urvavad-gopurantakam) Yam manam bahir anyena chulika-mana-sammitam I I I (M., xxxiu, 290-292, windows see also (or rather window-post) Tad-vistara-ghanarin sarvam kuryad vai silpi(a)vit-tamah Gopure kuta-kosht(h)adi-grive padantare tatha Referring to 293-309.) : I i (ibid., Ghane vapy aghane vapi yatha vatayanair-yutam bhavet dvi-matram cha syad agram ekarigulam Cf. Vistaram 592-594.) I Ghanam ekangulam Referring to the chaiva i (M., LX, 17-18.) image of a bull Ghanam vapy aghanam I : vapikuryattu silpi(a)-vit-tamah I (A/..LXU, 17.) 2 HINDU ARCHITECTURE AGHANA-MANA (see AftKA(GA)NA Measurement by the GHANA) interior of a structure. Evarh tat(d) ghana-manam uktam aghanarh vakshyate' dhuna Vistarayama-bhaktih syad uktavat(d)yuktito nyaset II I Dvi-tribhaga-visale tu ayatam tat prakalpayet Bhakti-tri-bhagam ekarhsaih bhitti-vistaram eva cha I I Sesharh tad garbha geharh tu madhya-bhage tu veSanam xxxm, 331-335.) (M., AfrKA(GA)NA (see Same PRANGANA) as I a Angana, court, a courtyard. Yatha madhye'rikanam kuryat pancha-bhagena vistritam I (M., xxxiv, 143.) (M., XLVIII, Kalpa-drumasya purato bahir ankanam syat Athatah sarhpravakshye'ham ariganasya tu lakshanam Anganarii dhvaja-yonih syan mukhayamabhisamyutam Padukanam bahir-bhagam anganam tat vidur budhah I 72.) I II I Dhvajah sarvatra sarhpanna iti sastra-nidar^anam (Vastu-vidya, ed. i Ganapati Sastri, vi, 1-2.) tu Madhye pranganam karyam vi^alenaika-pamktikam Ardha-parhkti-vivridhya tu trimsat pamkty antam ishyate ! Ayame chaika-pamkty adi tri-gunantam visalata Evam brahmanganarh karyam jala-pata-yutam nava I I Madhyamaih changana-sthanam mandapena yutam i| tu va Prag anganam pradhanam syat pragavaganganam jvarah II I' (KSmikdgama, xxxv, 40, 41, 66, (Raghuvamsa, ed. Gal. Ujatangana-bhumishu Vimanam hamsa-y uktam etat I tishthati te'ngane 131.) 52, Pet. Diet.). i, I (Devimahdtmya, ed. Cal. 5, 50.) Nripangana Nripangana (Kavya chandrikd, 166, 15 ibid.). (dental n, Bhartrihari, 2, 46, ibid.). Maharajahganam 5urah pravisantu mahodayam I (Ramayana, II, 3, 19, ibid.) Matsya-tirthada sannidhanadali Linganna bagitinda dodda-asvathada balige angana 12 madida seva Linganna with devotion erected ' near the big asvattha tree in proximity to the Matsyatlrtha, on the bank of the Arkapushkarini.' (Ep. Carnal., (a mantapa Vol. iv, of) 12 anganas Edatore Taluq, no. 3, Roman 3 text, p. 84, Transl., p. 52). AN ENCYCLOPAEDIA OF AttGA-DOSHANA AftGA-DOSHANA The defects of the limbs the penalties for ; a defective construction. Mdnasdra, Chap. LXIX, 1-73 The chapter literally mean is : named Angadushana The term would The chapter opens with the in the colophon. the defects of the limbs. that the penalties on the master, the king, following a defective construction will be described proposal and the kingdom : Alayadyanga-sarveshu hinadhikyarh bhaved yadi I Raja-rashtradi-kartrinam dosha-praptim(-r)ihochyate (1-2). There should not be, as stated, any defect in the width, height, plinth, lintel, pillar, entablature, finial, dome, door, adytum, staircase, terrace, gate house, pavilion, wall, Cf. Tasmat The etc. (3-10). tu dosha-sarhprapti(h) sllpidrishti(r) nivarayet (n). illustrations, too, of penalties for defective construction are from the different architectural objects, such as door, staircase, taken pillar, Thus it is stated that if the altar (vedika) be if the dome be defective, the master would lose his eyesight (26) larger if the or shorter, the people would suffer from poverty (29) pillars be larger or shorter, the race of the master would be exterminated (23), and so forth. wall, dome, spire, etc. ; ; AlSJGULA A a finger-breadth, a measure of about threefourths of an inch ; one of some equal parts, into which an architectural or sculptural object is divided for proportional measurement. (i) finger, Mdnasdra, Chap, n The definition of Muninam : paramanu or atom : nayanodvikshya(s) tat paramanur udahritam (40). Cf. Brihat-Samhitd (below). (Paramanu or atom The is the lowest measurement.) details of the angula-measure (41-46) i Ratha-dhuli 8 Paramanu (atoms) (car-dust), i 8 Car dusts Valagra (hair's end), i Liksha 8 Hair's ends (nit), 8 Nits 8 Lice : = = = = = = i i Yuka Yava (louse), (barley corn), i 8 Barley corns Arigula (finger). Three kinds of angulas are distinguished, the largest of which is equal to 8 yavas, the intermediate one 7 yavas, and the smallest one 6 yavas (47-48). 4 ANGULA HINDU ARCHITECTURE Further details (49-53) : 12 Arigulas 2 Spans or 24 arigulas 25 Angulas 26 27 4 Cubits = = = = = = = Vitasti (span). Kishku-hasta (smallest cubit) . Prajapatya-hasta. Dhanur-mushti-hasta. Dhanur-graha-hasta. Dhanuh or danda (bow or rod). 8 Dandas (rods) Rajju (rope). Direction is given with regard to the use of the cubits of different lengths and other measures (54-58) conveyances and bedsteads, etc. are stated to be measured in the cubit of 24 angulas, buildings in general (vimana) : in the cubit of 25 angulas, the ground or land (vastu) in the cubit of 26 angulas, and the villages, etc. in the cubit of 27 angulas. The cubit of 24 angulas can, however, be employed, as stated in measuring all these objects. Chap. LV Three kinds of the angula-measure Matrangula-gatam proktam arigulam tri-vidham bhavet (53). The manangula is the standard measure it is equal to 8 barley corns Yava-tarashta-matrarh syan manangulam iti smritam (56) The matrangula is the measure taken in the middle finger of the master Kartur dakshina-hastasya madhyamangula-madhyame Parva-dirgharh tan-naham matrangulam udahritam (57-58). The details of the deha-labdhaiigula are left out ; but this measure is : : I : ; . I : I I frequently referred to Trayas-trirhsach chhatantam syad deha-labdhangulena va (64). The deha-labdhangula is to be understood as the measure, which is equal to one of the equal parts, into which the whole height of a statue : I divided for sculptural measurement. This alone should otherwise be called ams'a (part) ; but the term (ams'a) is indiscriminately used for all the three angula-measures, as well as for the term matra. Compare, for is example, Chap. LXV : Murdh(n)adi-pada-paryantam tunga-manam praSasyate (2). I Chatur-virhsach-chhatam kritva tathaivarhs'ena manayet (3). Ushnishat kesa-paryantarh chatur-matram praSasyate (4). Ardharhsarh gala-manam syad vedams'am gala-tuhgakam (6). I I I Sa yava-tryarhsakarh chaivanamikayamam ishyate Medhrantam uru-dirgharh The deha-labdhangula is also I (26). syat sapta-virhsangulam bhavet (9). called the bera- (idol) ahgula and the I Chap. LXIV, 49-53 Arhsakam manam evoktam angulair manam uchyate Yal-linga-tungarh samgrahya chatur-virh^ach-chhatantakam Lingangulam iti proktam berarh talava^ad api Kritva berangularh proktam manangulam ihochyate Yava-tarashta-matrarh syad devanam angulam bhavet linga- (phallus) angula, : I l I | I AN ENCYCLOPAEDIA OF ANGULA The deva- (god's) angula mentioned in the last line (53) is apparently the mana- (standard) angula. (2) Brihat-Samhitd, LVIII, 1-2 : Jalantarage bhanau yad-anutararh daiianam rajo yati Tad vindyat paramanum prathamam tad-dhi pramananam i cheti n Paramanu-rajo-valagra-liksha-yuka yavo'ngulam Ashta-gunani yathottaram angulam ekam bhavati matra u Commentary quotes a parallel passage, the former stanza of which recurs in Manu, vni, 132 (cf. below), whereas the latter wholly differs i ; Tatha cha jalantara-gate bhanau yat sukshmam drisyate rajah Prathamam tat pramananam trasa-renum prachakshate Tasmad rajah kachagraih cha liksha yuka yavo'ngulam Kramad ashta-gunarh jneyam jina-samkhyangulaih samah From an unknown author are the verses quoted by I II I Bapu-Deva (3) It in his edition of the Siddhdnta-siromani, p. 52 : VeSmantah patiteshu bhaskara-kareshvalokyate yad-rajah Sa proktah paramanur ashta gunitais tair eva renur bhavet n Tair valagram athashtabhih kacha-mukhair liksha cha yukashtabhih Syat tribhi^cha tadashtakena cha yavo'shtabhis cha tair angulam 'Digit (angula) has here (B.S., LVIII, 4) no absolute, but a relative value ; it is the module and equal to T J T of the whole height of the idol, or T of idol and seat together.' Commentary yasmat kashthat pashanadikad va pratima kriyate tad i I i ^ : dairghyarh tatraiko pitha-pramana-vivarjitarh bhago navadha karyah, dvadaSa-bhagavibhaktam kritva so'ngula-sajnako bhavati, ashtadhikam angula-Satam pratima pramanam vakshyati N. Vol. S., vi, p. 323, notes yasmad (Kern, jf.R.A.S. i, 2). Introduction (pp. 8-9) to Rdjavallabha Mandana, ed. Narayana Bharati and Ya^ovanta Bharati (4) : 1 2 3 4 5 6 7 8 9 10 This is = matra. Angulas = kala. = parvan. = mushti. = tala. = kara-pada. = drishti. = tuni. = prade^a. = saya-tala. 1 1 Angula 12 14 21 24 42 84 Angulas = go-karna. = vitasti (span). = anaha-pada. = ratni. = aratni. = kishku. = purusha (height of a man). 96 106 = dhanus. danda. apparently taken from the Brahmdnda-Purana 6 (see below). HINDU ARCHITECTURE AftGULA Brahmdnda-Purdna, Chap, vn (Vayu-prokte purva-bhage dvitlye anushariga-pade) gives a curious origin of the angula measure (5) : It is stated (in w. rivers, etc. 91-95) that people at first used to live in caves, They began to build houses in order to protect mountains, themselves from cold and heat (sitoshna-varanat) Then they . built khetas And to (cities). (towns), puras (houses), gramas (villages) measure their length, breadth, and the intermediate distance between two settlements (sanniveSa) the people instinctively (yatha-jnanam) employed their own fingers. Thence forward the arigulas are used as standards of measurement. and nagaras Then follow the details of the angula measurement 96-101) (vv. : Jayangula-pradesams trin hastah kishkum dhanumshi cha Dasatvangula-parvani pradeSa iti samjfiitah n (96). Angushthasya pradesinya vyasa(h) prades"a uchyate Talah smrito madhyamaya gokarnas" chapyanamaya (97). I I It tu dvadasangula uchyate Ratnir angula-parvani samkhyaya tvekavims'atih Kanishthaya vitastis | II (98). Chatvari-vims'atis chaiva hastah syad ahgulani tu Kishkuh smrito dviratnis tu dvi-chatvarimad angulah | Chatur hasto dhanur dando nalika (9^). l| yugam eva cha Dhanuh sahasre dve tatra gavyutis taih krita tada u (100). Ashtau dhanuh sahasrani yojanam tair vibhavitam I I Etena jojaneneha sannivesas tatah kritah (6) II Matsya-Purana, Chap. CGLVIII, vv. 17-19 (101). : Jalantara-pravishtanam bhanunam yad rajah sphutam Trasa-renuh sa vijneyo valagrarh tair athashtabhih (17). Tad-ashtakena tu likhyatu yuka likhyashtakair mata I II I Javo yukashtakam tad-vad ashtabhis Svakiyanguli-manena mukham tais tad angulam syad dvadasangulam Mukha-manena karta^a sarvavayava-kalpana (7) u (19). 3-5 f : Tatradau sampravakshyami sarvesharh mana-sadhanam Vdstu-vidyd, ed. Ganapati (18). II | Sastri, i, Manenaivakhilam loke vastu samsadhyate yatah i n Paramanuh kramad vriddho manangula iti smritah Paramanur iti prokto yoginarii drish^i-gocharah Paramanur ashtabhis trasa-renur_.iti smritah | II I Trasa-renu cha romagram liksha-yuka-yavas tatha and 7 so forth II (see Manas am). AN ENCYCLOPAEDIA OF ANGULA (8) Bimbamdna, MS. (British Museum 558, 5292), v. 9 Yad-bimba-pramanena manangula(m) vibhajite Tena bimbasya manam tu tatra(m) ayamam ishyate : i (9) w. Suprabheddgama, Patala, xxx, 1-9 I : Athatah sampravakshyami angulanam tu lakshanam Manangulam tu prathamam syat matrarigulam dvitiyakam Deha-labdha-pramanam tu tritiyam angularh smritam Yasmat param amir nasti paramanus tad uchyate n (2) Paramanur adhaS chaivapi cha kes"agra eva cha I u (i) I i matam R(l)iksha-yuka-yavas tatra kramaso'shta-gunair Manangulam iti proktarh tato matrangulam s"rinu si (3). I Acharya-dakshine haste madhyamanguli-madhyame II (4). Parva(m) matrangulam jneyarh deha-labdhangulam Srinu Pratimayas tathotsedhe tala-ganycna bhajite n (5). Teshvekarh bhaga-van-manarh deha-labdhangulam smritam I The objects measured in the three kinds of angulas Prasada-mand Spams' chaiva prakaran gopuran api u Gramadya-kshetra-ganyeshu manangula-vidhanatah | : (6). I Acharya-dakshangulibhir mite vyasa-mitadhikaih (sic) Kurche pavitrake chaiva sruve srugbhir athanyakaih II (7). I Yage prayojitaniha matranguli-vidhi^ charet (8). Atha manangulair vapi karayed yaga-karmani Deha-labdhangulenaiva pratimam karayed budhah n (9). Then follow the technical names of the angulas (w. 10-16) II | One angula Two angulas are is called : bindu, moksha. kala (elsewhere angula), kolaka, it is the padma, name of one akshi, asvini. Three Four rudrakshi, agni, guna, Sula (and) vidya. yuga (and) bhaga, veda, and turiya. Five Seven rudranana, indriya, bhuta, and vana. karman, anga, ayana, and rasa. patala, muni, dhatu, and abdhi. Eight basu, lokeSa, Nine dvara, sutra, graha, and Six and murti. Ten di$, Twenty trishu (and) vishku. Thirty gati. s"akti. nadi, ayudha, and pradurbhava. Forty trijagat (?). Fifty ^akvari. Sixty ati^akvari. 8 HINDU ARCHITECTURE Seventy arigulas are called AftGULA yashti. Eighty atyashti. Ninety clhriti. Hundred The atidhriti. cardinal numbers are described (vv. 17-20) : Ekam dasam Satam chaiva sahasram ayutam punah u (17). chaiva kotirh chaiva yatharbudam Niyutaih prayutam kharvam nikhvararh cha Brindarh Sankham padmam atah param II I Samudra-madhyantarakhyam apararh tatha Parardham evakhyatarh das"a-vritt(-ddh)yuttarottaram (18). I Evam etani choktani II (19). samkhya-sthanam vimsatih Three kinds of the vitasi (span), which is equal to 12 angulas, are tinguished by their technical names I dis- : Talam yamam Shat-kolakarh tri-bhagarh mukham cha chaiva cha vitastakamll shat-kalas" dvadaSangula-sarhjnakam Ahgushtha-tarjani-yuktam prade^am iti (20). I klrtitamll (21). tala-manam iti smritam (Madhyamangushtha-samyuktarh Angushthanamika-yuktarh vitastir iti chochyate II (22). Kanishthangushthayor yuktarh go-karnam iti sarhjnikam l) | The correct reading of the last two lines should be : Ahgushthanamika-yuktarh go-karnam iti samjnikam II (22). Kanishthangushthayor yuktam(-ta) vitastir iti chochyate I Cf. Brahmanda-Purana, (See cha ime trayah Pradesas cha vitastis cha gokarna The two kinds of the measure by the fist i, VH, 97, 98. under GOKARNA and VITASTI.) II (23). : Jajnadike prayoktavyah prasadadau na mapayet Ratnih samvrita-mushtih syad aratnih prasritangulih I Different kinds of the hasta or cubit measures 1 1 (24). : Kishkus cha prajapatayaS cha dhanur-mushti-dhanu(r)grahau Angulas tu chatur-virhs'at kishkur ityuchyate budhaih Pancha-virhsatibhiS chaiva prajapatyam udahritam I) objects measured in these cubits (25). I Shad-vimsati-dhanur-mushtih sapta-vim5ad-dhanu(r)grahah The II (26). : Kishku-hastadi-chatvari-manangula-vas'at-tamah (?) Ebhir hasta-pramanais tu prasadadini karayetll (27). I Sayanam chasanam chaiva kishku-mana-va^at kuru Lingarh cha pindikam chaiva prasadarh gopuram tatha I Prakara-mandaparh chaiva prajapatya-karena tu 9 I I II (28). AftGULA AN ENCYCLOPAEDIA OF The higher measures : Dhanu(r)grahas" chatushkam yad danda-manam prakirtitam Sahasra-danda-manena krosa-matrarh vidhiyate II (29). I Gavyutir dvi-gunarh jneyam tad-dhi(dvi)-gunarh cha ghatakam n Ghatakasya chatushkam tu yojana parikirtita (31). 1 Manu-Samhitd, vm, 271 (10) (cf. under (30). 1 Brihat-Sarhhitd above) Nikshepyo'yomayah Sarikur jvalannasye dasaiigulah (u) Rdmqyana, vi, 20, 22 : I : Na hyaviddharht ayor gatre babhuvangulam antaram I (12) Aratni, cubit. According to the Sulvasutra of Baudhayana (Fleet, J.R.A.S., 1912, 231, 2), this measure is equal to 24 angulas or fingerbreadths. The Satapatha-Brdhmana (x, 2, i, 3) also mentions 24 angulas or finger-breadths as a measure, but without reference to the aratni (see below), Eggeling, Sacred Books of cf. the East, 43, 300, n. 3. ' Pradesa frequently occurs in the Brahmanas (Vedic Index n, 152), (Aitareya, vm, 5 Satapatha, HI, 5, 4, 5, 'chhandogya Upanishad, v. 1 8, i, etc.,) as a measure of length, a span (ibid., n, (13) : ' 50). The Satapatha-Brdhmana, 10, 2, i, 2 Tasy-aish-avama matra yad angulayah, this is his lowest measure, namely the fingers. (14) ' : In some table the aratni is distinguished from the hasta, and 21 measuring angulas. But the Sulvasutra of Bauit as equal to 2 pradesa, each of 12 dhayana defines angulas, and so in it agrees making equal to 24 angulas. In any case, our present point is that the Kautiliya-Artha-sdstra gives its value as 24 angulas.' (Fleet, J.R.A.S., 1912, p. 231, notes i, 2.) (15) is defined Compare as also ibid., pp. 231, 232, 233. ' Like some of the other Hindu tables, it (Kautiliya-Arthastarts line with the sdstra) (p. 106, 3) paramanu or most minute atom.' It takes its measures to the up angula, through four intermediate grades, by eights ; it defines the angula (line 7) as being equal to 8 yava-madhya, or 8 barley-corns laid side side and (1 6) ' further defines it as the it ; by middle breadth of the middle finger of a middle-sized man. It tells us (line n) that 12 angulas are i vitasti or span, and (line 13) that 2 vitastis are i aratni ; here, by its aratni of 24 angulas it means the measure which in other tables is usually 10 ANGHRI HINDU ARCHITECTURE the cubit ; and, in fact, called hasta or kara, the forearm, hasta as another name of the its aratni. adds it prajapatya In the regular course of the table it tells us next (line 20) that 4 staff or dhanus, bow (from aratnis (i.e. 4 hasta or cubits) are i danda,, 96 angulas).' which it follows that i dhanus Now the angula or finger-breadth may be the theoretical unit the actual unit and the source of the well have been ' = ' it originally may other measures. eventually took scale all ; place was maintained by marked is But we can hardly doubt that the hasta or cubit and that a correct as the practical unit its keeping in public offices a standard hasta and 24 angulas. At any rate, the hasta measures to which we must attend in estimating off into 2 vitasti the practical the others.' ' I take the hasta Following Colebrooke (Essays, I, 540, note), (17) inch as the 18 inches, which gives for easy computation at exactly value of the angula.' a small (dwarf) pillar constructed on of a storey, and pilaster ; a turret. a large one, or in the upper parts ANGHRI A foot, generally ekamSam prastaranvitam Tad-dvayam changhri-tungarh syad I (M., xn, 35.) cha dvi-padaikanghrim eva va Chatush-padam tri-padam I (M., LXVII, Tatra hinadhikam chet pada-sthananghrikasYayam na vidyate (M, Sarvesham bhitti-maneshu tatra dosho 8.) I LXIX, 60-61.) I As a synonym of the pillar Taneha cha charanam chaiva : sthali stambhamanghrikam I (M, As a pillar of the first floor : Tadurdhve'nghri SaramSam syat I (M., xx, xv, 4.) 16.) Adri-sopana-parsve tu na kuryat parSvayor anghrikam I (M., xxx, 163.) As a dwarf pillar a larger column placed upon : Athava sapta-saptamSam vibhajet tritalodaye Chatur-bhagam adhishthanam tad-dvayam pada-tungakam manchordhve'rdhena vapra-yuk Adhishthana-samam mancham chordhve padodayaih bhavet Sa-tripada-shadamsena I I I I Tadurdhve prastarottungam sa-tri-padam tri-padakam shad-amsakam Tadurdhve'rdhena vaprarh syat tadurdhve'nghri I I (M., xxi, 12-17.) II AN ENCYCLOPAEDIA OF AftGHRIKA-VARI A subordinate : pillar Mula-pada-visalam va tat-tri-pada-visalakam Etat kumbhanghrikarh proktam antaralam cha yojayet I I (M., xv, 228-29.) AftGHRIKA-VARI A moulding of the lamp-post (dipa-danda) a of the shape of water-pot, a rope, a trap, a cover, or a band. Agrc cha phalakantam cha tatikadyair vibhushitam Athavanghrika-varirh syad urdhve cha kudmalanvitam I i (M., ACHALA-SOPANA A SOPANA) (see L, 78-79.) flight of stationary or immov- able steps. Achalam cha chalarh chaiva dvidha sopanam iritam (A/., I 93-124 under SOPANA. tu Evam chala-sopanam achalam tat pravakshyate Cf. Then follows the measurement (152-54). xxx, 90.) See the contents of lines ATTA, ATTALA High, lofty. ATTALAKA An apartment on I (151) the roof, an upper storey, a tower, a military post. ATTALIKA palace.' A ' house of two or more storeys, a lofty house (M. W.Dict.} : (1) Kautiliya-Artha-Sdstra Vishkambha-chaturasYam attalakam utsedha-samavakshepa-sopanam karayet. TrimSad-dandantaram cha dvayor attalakayor madhye sa-harmya. dvi-talam dvyardhayamam pratolirii karayet. Attalaka-pratoli-madhye trl-dhanushkadhishthanam sapididhana-chch(Chap, xxiv, 52.) hidra-phalaka-sariihatam itmdrakosarh karayet. (2) Kdmikdgama, xxxv : Agrato'lindakopetam attalam salakantare tu Gopurasya (3) Rajatarangini I. 274 : I. 301 : . . II . I (126). : prakarattala-mandalam kinnara-puram nagaryah trutyad attala-mekhalah (4) Mahdbhdrata (Cock) II. 80, 30 prakarattalakeshu III. 15, 1 6 purl sattalakagopura III. 160, 30 VaiSravanavasam prakarena parikshiptam . . . . . I . I : : : I . . . I : . . 173, 3 III. 207, XV. 5, 1 XVI. 6, 24 7 6 : : : : puram . . Mithilam . . . . I puram attalaka-sambadham nagarim . . I I . . I chayattalaka-s'obhinam gopurattalakopetam gopurattalakavatim . III. . . (with very high storey). prakarattalakopetam i 12 ANOA HALF PLAN HALF PLAN !_ooking-up Looking-down. AflGURIKA-VARI ANUHRI. POLC ATI-BHAttGA HINDU ARCHITECTURE Ramayana (5) : 5, ii I. Commentary n I Uchchattala-dhvaja-vatim sataghni-sata-sarhkulam attala upari griham (lit. house at the top). : : cha I Chaityeshvattalakeshu attalakah prakaroparitana-yuddha-sthanam (attaCommentary towers built on the top of the enclosure walls). the II. 6, : : military lakas imply lankam ' V. V. V. 33 3, 37, 39 : 55, 32 : V. 51, 36 V. 58, 158 V. V. 2, 17 2, 21 lankam satta-prakara-toranam lanka satta-prakara-torana purlrh satta-pratolikam : I satta-prakara-toranam . . . I I I purim satta-gopuram attalaka-Satakirnam lankam I : purim : . . . . : . . I vapra-prakara-jaghanam I attalakavatarhsakam sataghni-sula-kesantam charyasu cha vividhasu cha I VI (6) 6 75, Turrets : I gopuratta-pratolishu : ComGiri-sikhara-taru-tat-attalak-opatalpa-dvara-saranochchhraya. pare with Jundgadh Sato nivesah-(K ie lhorn, talpatta Raghuvamsa. xvi, n, Vol. vm, pp. 43, 46 Rock Inscrip. of Rudradaman, Une 6, Ep. Ind., and note visirna : 3.) ANDA A cupola. cha vibhushito'ndais 16 with cupolas), Shodasandayutah (furnished C upolas)-(B^-5amAf^ 20 with (adorned LVI, 22 , 24, * I Kern, vimsatya J.R.A.S., N. S., Vol. vi, p. 319. 320). Sobhanaih patra-vallibhir andakaii cha vibhushitah I CGLXIX, v. 20, see also v. 37.) (Matsya-Purdna, Chap. ATI-BHAftGA (see BHANGA)-A pose, in which the idol n more than two or three places. ihochyate Sarvesham deva-devinarh bhanga-manam cha ati-bhangam tridha bhavet Abhahgam sama-bhahgam bent is I I (M., LXVII, 95-9 6 -) Evam tu sama-bhangam syad ati-bhangam ihochyate I antare I Parshnyantaram Sarafigulyarh tat-padangushthayor bhavet Tad dvayor madhyame vimSad ahgulyarh dvyantaram dvadasangulam Tai-ianu-dvayor madhye dvyantaram I tjru-mula-dvayor madhye -^ha-dvyangula-kantakam M* "7 Evam ati-bhahgarh syad etani yuktito nyaset I 13 a , ADBHUTA AN ENCYCLOPAEDIA OF ADBHUTA (see One UTSEDHA) measurement of the height ; in this of the five proportions of the proportion the height is twice the breadth. 1 i ) Mdnasdra : Panchadhotsedham utkrishtam manat paficha-vidharh nama Santikam paushtikaih Sreshtharh parshnikam (also, jayadam) I madhya-mane tu tu dvayam ta(rf)-dvi-gunorh chadbhutarh kathitam I Hinam Kara(sama)dhikodayam-harmye sarvakamikam udiritam I I (M., xi, 20-22.) Santikam paushtikaih jayadam chadbhutarh utturigurh sarvakami- kam A (M, I xi, 76). clear statement of the rule : Tad-vistara-samottungarh sapadardharh tu tuiigakam Tri-padahikam utsedharh vistararh dvi-gunodayam I 1 1 Prathamarh Santikotsedharh dvitiyam paushtikodayam Tritiyarh jayadottungarh chaturtham dhanadodayam (i.e. sarvakaI mikam) I Panchamam chadbhutotsedharh janmadi-stupikantakam I (M., xxxv, 21-25.) Kdmikdgama, L, 24-28 A measurement of the height Santikam pushti-jayadam adbhutarh sarvakamikam : (2) : | Utsedhe dvi-guna-vyasah padadhikyarh cha sammatam II (24). Vistara-dvi-gunad ashtaihsadhikarh vadhiyojayet Kshudranam evam uddishtam kanishthanam athochyate II (25). Saptarhse tu krite vyase saptarhsarh va shad-amsakam Visfarad adhikas tungo madhya-manam athochyate II (26). Vistararh purvavat kritva chatush-panchadhikarh tu yat I I I idarh proktarh uttamanarh trayarhsakam n uddesa-manarh syad etarh nirddesa-manakam li Madhya-manam Purvam (27). Eka-dvi-tri-karayor yuktarh mana-hinarh tu vadhikam Utsedham kalpayed dhiman sarvesham (3) A class sadmanam II (28). of the two-storeyed buildings. (See A api I class of buildings ADRI-SOPANA (see (See M., xx, 94, 28-33, under PRASADA. Kdmikdgama, XLV, 6ia, under MALIKA.) SOPANA) A flight of steps for a Adri-sopana-parsVe tu na kuryat parsvayo ahghrikam hill : I (M., xxx, 163.) Adri-sopana-dese tu dirgha-manarh yatheshtakam Adri-defc samarohya yatra tatraiva karayet (ibid., I I 14 (ibid., 118.) 136.) HINDU ARCHITECTURE ADHISHTHANA ADHIMANDAPA A double-storeyed buildings, see pavilion built over and above another, a (Pavilions are generally single-storeyed pavilion. MANDAPA.) Kshudra-devalayam sarvarh purvavaj janmadim uditam | Mandapaih nava-talam kuryad bhavanam anya(madhya)-rarigarh vadhimandapakaram (M., x, 143-44). ADHISHTHANA Etymologic ally (adhi-stha, an object on which something stands. or the lowest member of a building. to stand) it denotes Hence it is the basement In the same way, it implies the stand or base of the column, being the member between the Its identification with the shaft and the pedestal, if there be any. not be It is clear beyond base and the basement need questioned. doubt by a comparison of the component parts and the offices it serves with the corresponding details (quoted below) of the Grecian and (1) Roman architecture. Kdmikagdma, xxxv : Yajamanasya janvantam navyantam hridayavadhi Galavadhi siro'ntam cha padardharh va tri-bhagikam II Tri(tra)yadi-shodasa-bhaganam adhikam vokta-manatah I (22). I Adhisthanasya manam syat ... II (23). Taladhishthana-padebhyah kirhchid-una-pramanakam II (114). Mula-dhama-talottungadhishthana-tala-sarhyutam Tad-vihina-talam vapi sama-sthala-yutam tu vail (116). Adhishthanadi shad-vargarh tan-manam upapithake Dvarotsedhaya datavyarh samam vapyadhikam tu va II (122). I I Ibid., LV, 202 : Masurakam adhishthanam vastvadharam dharatalam Talam kuttimadyahgam adhishthanasya kirtitam II I These are stated to be the synonyms of adhishthana. But they appear as the (2) component parts of Suprabheddgama, xxxi it. : Tato jangala-bhumis ched adhishthanam prakalpayet Tach-chatur-vidham akhyatam iha sastre vi^eshatah II I (16). Padma-bandham charu-bandham pada-bandham prati-kramam Vistarasya chaturthamsam adhishthanochchhrayam bhavet II (17). (See the mouldings of these four bases under those terms.) Padayamam adhishthanam dvi-gunam sarva-sammatam II (28). 15 I AN ENCYCLOPAEDIA OF ADHISHTHANA Mdnasdra, Chap, xiv (named Adhishthana, 1-412) Twelve kinds of heights (from one large span to four large employed in twelve storeyes, one above the other : (3) cubits) to be : Trayodasangulam arabhya shat-shad-angula-vardhanat Chatur-hastavasanarh daSonnatam syat kuttima ( I adhishthana)-dva- I Eka-dva-dasa-bhumyantam harmyantarh tat kramat nyaset (2-4). These heights vary in buildings of the different castes and ranks I : Vipranarh tu chatur-hastarh bhu-patinarii trl-hastakam Sardha-dvi-hastam utsedharh yuva-rajasya harmyake Dvi-hastarh tu visarh proktam eka-hastam tu Sudrake These heights are stated buildings to be proportionate to I I I (5-7). the heights of the : Harmya-tuhga-vas'at proktam tasya masu(u)rakonnatam Janmadi-vajanantarh syat kuttimodayam iritam (8-9). The height of the base as compared with that of the pedestal I I : Adhishthanonnate dese chopapitharh hi sarhsritam Etam tat-tvam adhishthanam tungarii tach chatur-arhsakam I (M., The comparative In a Tamil I xiii, 2-3.) heights of the base, pedestal and shaft or pillar fragment of a manuscript, purporting to be a : ' of Mdydmata (? Mayamata), it is said The height of the shaft or pillar is to be divided into four parts, and one to be given to the base, which may or may not be accompanied by a translation : and where a pedestal is joined to the base, the height of the pedestal may be either equal to that of the base, or twice or three times as much.' (Ram Raz, Ess. Arch, of Hind., p. 26.) pedestal, is in the case According to Ram Raz, the passage, M., xm, 2-3, quoted above, meant to imply that the height of the pedestal consists of from ' one-quarter to According six times the height of the base.' to the Mdnasdra (xxi, (Ibid., p. 26.) below) and the Suprahalf of the pillar (pada) 13, see bheddgama (xxxi, quoted above) the base is does not give exact proportion, but says (xxxv, see 114, above) that the tala (the lowest part, or the pedestal and the base) is a little less (kirhchid una) than the pillar or shaft . The Kdmikdgama (pada). Compare also verses 22, 23 of the same Agama quoted above. The height of the base is sometimes included in that of pillar the : Padayamavasanam cha adhishthanodayena cha 16 I (M., xv, 9.) ADHISHTHANA HINDU ARCHITECTURE Further comparative measurement of the base : Athava sapta-saptamsam vibhajet tri-talodaye Chatur-bhagam adhishthanarh tad-dvayam pada-tuhgakam Adhishthana-samarhmaficham manchordhve'rdhcna vaprayuk I I I (A/., xxi, 12-14.) Adhishthana implying the basement of a building foundation pit) nimnarh Garbhavatasya (of the : adhishthana(rh)-samonnatam syad I Ishtakair api pashanais chaturasrarh samarii bhavet I (M., XH, 6-7.) The employment of various the building of three storeys bases recommended, referring to : Nanadhishthana-sarhyuktam nana-padair alankritam Nana-gopana-sarhyuktaih kshudra-nasyair vibhushitam I (A/., The penalty I xx, 65-66.) having a disproportionate base Adhishthanotturiga-hlnam syat sthana-nasarh dhana-kshayam for : I (M., LXIX, 20.) The 64 types of bases Evarh manena : chatuh-shashti-masurakani( vibhajitani adhishthanam) sastrokta- I Jnatva prakurvann iha gilpi-varyas tad vastu-bhartuh pradadati sarhpat I (M., xiv, 393-96.) These 64 bases are described under 19 technical the details thereof are as follows class names (10-372) ; Mdnasdra, Chap, xiv (The mouldings are arranged in the successive order, as given in the text, from the bottom upwards) : : I. Pada-bandha (10-22) (a) 24 parts (1) Parts : Vapraka (3) (4) Karna (5) Kampa (6) Pattika (band, (7) Kampa 29 parts (1) (2) (3) .. (plinth) Kumuda (astragal) Kampa (fillet) (2) (b) : . .. . . .. ..8 . 7 .. i . 3 (ear) (fillet) fillet) . . . . . (fillet) . . . . . . . 3 . . i I : Janman (plinth) Padma (cyma) Kampa The . .. (fillet) rest as before. 17 .. .. . . . . . . . .. 2 2 . . . I AN ENCYCLOPAEDIA OF ADHISHTHANA Paris 29 parts (c) (i) : The (plinth) rest as befoie. 28 parts (d) i Janman : 2 (1) Janman (2) Kampa (plinth) I (fillet) I (3) (4) Vapra (cavetto) Kandhara (dado) The rest as before. Uraga-bandha (23-43) II. (a) 1 8 parts : : Vapra (1) 7 (plinth) (3) Kumuda (astragal) Kampa (fillet) (4) Kandhara (dado) (2) (6) Patta 1 Pattikaj (7) Kampa (5) (b) 2 20 parts 6 i i (fiu t) v (fillet) : i (a) Vajana (fillet) Kandhara (dado) (3) Vajana (i) 2 I The (c) (fillet) rest as before. 22 parts : (1) Kampa (2) Karna (fillet) (ear) above kumbha (pitcher) .. (4) Kampa Kampa (5) Kandhara (dado) (6) Vajana (3) (fillet) (fillet) I 3 (8) Kandhara (dado) Gopanaka (beam) (9) Prati-vajana (cavetto) (7) (d) (fillet) 24 parts . II . : (i) Vapra (a) Kumuda that 2 it (plinth) is of this part (torus) (the peculiarity decorated with makara or shark), is etc. 6 I (3) Vajana (fillet) I (5) Kampana (fillet) Kampa (fillet) (6) Prati-vajana (cavetto) (4) I 18 . . 8 ADHISHTHANA HINDU ARCHITECTURE These four types of bases are shaped like the face of a snake and furand their kumbha (pitcher) nished with two pratis or ... at the top These are employed in the buildings of gods (i.e. temples), is circular. : Brahmans, and III. (a) 21 parts : Parts : (1) Kshudropana (2) Padma (cyma) . (3) Kampa .. (4) Vapra (cavetto) Dhara-kumbha (supporting (5) (small plinth) (fillet) (7) Alihga (fillet) Antarita (fillet) (8) Padma (cyma) (6) This base etc. kings. Prati-krama (44-64) . .. .. . . . .. i 2J . .. i\ . 7 . . . . . 6 . . . . . . i . . . . . . i . . pitcher) i or 2 or Kampa (fillet) Patta (band) decorated with elephants, horses, and makaras (sharks), is (xiv, 53^. kumudordhvc (b) 22 parts (kumbhe the pitcher and torus) viseshatah, specially above : Parts (a) Alinga Vajana (3) Kandhara (dado) (4) Pattika (band) (5) Vajana (i) .. .. .. . . . . . . I . . . . . . 2 . . . . . . i . . i (fillet) (fillet) (this (fillet) is part decorated with the carvings of trees and The (c) (Kumbhantam purvavat 23 parts (1) Kampa (2) Kandhara (dado) (3) Kampa (4) Karna (5) Vajana The (d\ all ornaments) should be as before. rest (fillet) . (ear) . . i . . . i . . . . . . . . . . . (upper and lower). . (fillet) I 2 . . i : Kampana (2) Antara(rita) (intervening (3) Tripatta (three bands) (fillet) . fillet) (5) (6) Vajana rest each . Antara (intervening fillet) Pratima ( ? Prati-vajana= cavetto) The . . . (i) (4) . . . : . . (fillet) . sordhve) . should be as before. rest 24 parts . I (fillet) should be as before. These are employed in the buildings of gods and three higher (xiv, 100-101). 19 castes AN ENCYCLOPAEDIA OF ADHISHTHANA Kumuda-bandha IV. 27 parts (a) (65-77) Paris : (2) Janman (plinth) Ambuja (cyma) (3) Kampa (1) : .. 2 . u . . .. .. . . . . . . 6 . . i i (4) Vapra (5) Padma (cyma) . . . . (6) Karna . . . . (7) Ams"u (filament) . . . . . . i (8) Padma (cyma) . . . . . . i (9) Kumuda . . . . . . 3 (ear) . . (astragal) Padma (cyma) (n) Padma (cyma) (12) Karna (ear) (13) Kampa (14) Abja (cyma) 1 6) (17) i .. .. .. i .. .. .. i . . . i . . (fillet) .. .. .. .. .. . .. i i .. .. .. 2 Abja (cyma) .. .. .. i Kampa .. .. .. i (15) Pa{ta (band) (b) . .. (fillet) (cavctto) (10) ( .. . .. . (fillet) 27 parts (pattike tu viseshatah) : Gopana (beam) Some authorities recommend Tripatta . which should be equal . . to the naga . . . . in place of 2 . kumuda (astragal) or snake. Pattas (bands) in the middle are decorated with flowers and jewels. It is supplied with a declivity (kataka) or it may be circular. Kumuda In this may be (astragal) way, eight kinds triangular or hexagonal. of (such) bases should be made Evam : ashta- vidharh kuryat. V. Padma-kesara (a) 19 parts (suitable for all buildings) : Parts : (1) Janman (2) Vapra (3) Padma (cyma) (plinth) (cavetto) .. . . . . . . . . . . . . . . . . | . . . . f Kandhara (dado) Ardha-padma (half cyma) (6) Kumuda (7) Padma (cyma) . (8) Kampa (9) Karna (astragal) . . . . . . . . . .. (fillet) . (ear) 20 ..2 .. (5) (4) (78-91) . ., . . . . . i . 1 .. . 4 . 1 i\ 2 HINDU ARCHITECTURE ADHISHTHANA Parts (10) ( 1 1 ) Kampa (12) Pattika .. . (band) (13) .. .. (14) Kampa .. .. (fillet) . 2 .. i .. i .. ii : (1) Janman (2) Kampa .. (plinth) .. . (fillet) . . | .. i . should be as before. rest : Janman (plinth) (2) Padma (cyma) The rest should be as (1) 19 parts . . Padma (cyma) 19 parts (rf) . .. The (c) . .. 19 parts (b) .. (fillet) Padma (cyma) . . .. . . . . . before. : of this base, there is a slight difference There should be two pattikas or (one) (kinchit Sesham viSeshatah). the rest as before. and kapota In VI. last this sort Pushpa-pushkala (suitable, as stated, for all the storeys of the buildings of the small, intermediate, and large sizes) (92-108) (a] 32 parts Parts : (i) Janman (a) Vajana (3) Maha-padma (4) Karna (5) Ambuja (cyma) (plinth) (fillet) (large .. .. . . . cyma) (ear) . . . . . . . . . (7) . . . . (8) Kampa . . (9) Gala (dado) .. .. Kampa .. .. .. .. .. .. .. . (11) (fillet) (fillet) Gala (dado) Gopana (beam) (13) Alinga (fillet) (14) Antarita .. (fillet) (b) Vajana 32 parts .. (fillet) 7 i . . . . i . . i 4 3 .. i . i . ..4 .. . .. (15) Prati-mukha (a face-like ornament) (16) . i . Kumbha (pitcher) 2 i . Padma (cyma) (12) .. . (6) (10) : .. i .. I .. 2 .. i : Padma (cyma) above the large portion the rest should be as before. 21 is one part more and AN ENCYCLOPAEDIA OF ADHISHTHANA (c) 32 parts : The cyma above the plinth one part and the is rest should be as before. Parts (d) 32 parts (1) Kampa (2) (fillet) Mahambuja The VII. : rest below mahambuja (large cyma) (large cyma) should be as before. Sri-bandha (suitable for the temples of Vishnu and Siva) (109-22) (a) 26 parts i 6 palaces of emperors and the : Parts : (1) Janman (2) Vapra (3) Kumuda * (plinth) 6 (cavetto) 6 (torus) (5) Karna Karna (6) Kampa Padma (cyma) i (7) Gopana (beam) i (8) (4) 1 (ear) . (ear) 4 . i (fillet) I Alinga (fillet) (id) Antarita (fillet) (9) (n) Prati-vaktra (a (12) Vajana (fillet) (b) 26 parts (1) i face-like 2 ornament) i : Janman 2 (plinth) = Prati-vaktra, a face-like ornament) (2) Pratika ( The rest should be as before. (c) 26 parts : (2) Kshepana (above Janman or Gopana (beam) (3) Alinga (4) Antarita (5) Prati-vaktra (a face-like ornament) (1) plinth) (projection) i (fillet) i (fillet) i i Ardha-vajana (half fillet) The rest should be as before. 26 parts (1) : Janman Abjaka (small cyma) (3) Kampa . . (fillet) rest should i .. (plinth) (2) The i I (6) (d) i be as before. 22 . . . . i i HINDU ARCHITECTURE Mancha-bandha VIII. (a) 26 parts (1) (2) (4) (5) Vapra .. .. . . . .. (fillet) (fillet) . .. .. . . . . . . 2 . . . . . 6 . . . . . . (7) (8) Kandhara (dado) . . . . . . (9) Kampa . . . . . . . .. (projection) 4 .. i 2 i . .. .. i .. .. .. i (band) Kshepana 2 ..2 . .. (fillet) \ . Kumbha (pitcher) Kampa (fillet) (11) : . (cavetto) (10) Patta .. .. (fillet) .. .. .. (14) Prati (fillet).. .. .. .. \\ .. .. .. \ (12) Alinga Vajana (15) This (2) (3) (4) with \ i carvings (rupa) of vyalas (snakes) the sharks, etc. (137). 26 parts (1) (fillet) decorated is and (fillet) Kampa (13) Parts : Janman (plinth) Ambuja (cyma) (6) Kumuda (torus) Kampa (fillet) (7) Kandhara (dado) (8) Kampa (9) (10) 2 . . . . . . . . . . . i . . . . . . 6 . . . . . . . . . . . . i . . . . . . 2 .. i .. 4 Pattika (band) . . 2 (fillet) .. .. .. i (ear).. .. .. .. i (fillet) .. .. .. i .. .. .. i .. .. .. i Vajana (13) Prati (fillet) Vajana (14) 2 . .. (fillet) .. Kampa (n) Karna (12) .. .. Kshepana (projection) Vapra (cavetto) (5) (c) temples and palaces) (123-143) Parts Kampa Kampa (6) (b) (for : Janman (plinth) Padma (cyma) (3) lions, ADHISHTHANA 26 parts (fillet) . . : Kumuda and The . . band) are the same. (d) 26 parts (threefold ; are prati and the furnished a with Parts : same (1) Pattika (2) Kandhara (dado) The tripatta also and the ornaments rest as before, (fillet) as before . rest as before. 23 . ; . . . . i AN ENCYCLOPAEDIA OF ADHISHTHANA 26 parts (e) The : Pattika and the is same but the Kandhara above the rest as before. The ornaments should be is one part, discreetly made (148). IX. (a) Sreni-bandha 1 8 parts Janman (2) Kshudra-kampa (3) Mahambuja (4) Kandhara (dado) (small Abja (cyma) (6) (7) Padma (cyma) (8) Alinga (9) Vajana fillet) cyma) (large Kumbha il .. (plinth) (5) . . . . \ . . . . 5 (pitcher) (fillet) (fillet) .. .. ..2 (fillet) .. .. .. I (plinth) .. .. .. 2 (fillet) (n) Vajana : (1) Janman (2) (3) Kshudra-kshepana (small projection) Ambuja (cyma) (4) Kandhara (dado) (5) Abjaka (small cyma) (6) Kumbha (7) Padma (cyma) (8) Kampa (9) . . . . . . i . . . . i . (pitcher) . . . . . . 3 . . . . . . i . . 2 .. (fillet) Kandhara (dado) Kshepana (projection) . . i . . . .. .. .. (12) Pattika (band) .. (14) \ . . .. (13) . 4$ (u) Padma (cyma) (10) (c) other buildings) (144-169) Parts (1) 22 parts all : (10) Prati (b) temples and (for .. i i ..2 Padma (cyma) .. .. .. i Vajana .. .. .. i .. .. .. 2j . . . . . $ . . . . 5 23 parts (fillet) : (1) Paduka (2) Kampa (3) Mahambuja (4) Kandhara (dado) . . . . . . i (5) Padma (cyma) . . . . . . i (6) Kumuda . . . . . . 3 (7) Padma (cyma) . . . . . . i (plinth) (fillet) (large . cyma) (astragal) 24 : HINDU ARCHITECTURE ADHISHTHANA Parts (8) Kampa (9) Kandhara (dado) Vajana (10) ( 1 1 (12) Prati Vajana (13) (d] 24 parts .. (fillet) (2) Kshudra-padma Vajana (fillet) (plinth) (4) Maha-padma (5) Dala . 3 . .. .. j .. .. .. \ . . . t cyma) . . .. .. x . . . . r . . . . l (for the temples of gods and goddesses) (170-194): parts : Janman (plinth) Padma (cyma) Kshepana (6) (7) Adhah-padma Karna (ear) (8) Kampa (9) Pattika Kampa .. .. .. x . . . . i . . . . . . i . . . . . . x . . . (projection) (lower cyma) (fillet) (band) Upana (plinth) Padma (cyma) . . . . i . . . . 3 . . . . . i . . . . . . 2 . . . . . 2 . .. .. .. i .. .. .. i .. .. ..2 (fillet) (12) Patta (band) (b) 21 parts : . . (n) Kandhara (dado) (2) . j lions, etc. (174). (5) (1) . j .. .. . Kampa (fillet) Kumbha (pitcher) (10) .. l . ..2 .. (4) (3) . . rest as before. (a) 21 parts (2) . .. cyma) (petal) Padma-bandha (1) (small (large These are decorated with X. .. : Janman The .. .. .. (1) (3) . . (fillet) (fillet) . . (fillet) Antarita ) .. (fillet) . . . . . . 3 . . . . . . i . . . . . . 5 . . . . . . i (4) Kumuda (astragal) Kampa (fillet) (5) Padma (cyma) . . . . . . 4 (6) Kampa . . . . . . i . . . . . . 2 . . . . . . i . . . . . . i (3) (fillet) (8) Gala (dado) Kshepana (projection) (9) Padma (cyma) (7) (10) Kapota (dove-cot) (u) Kampa (fillet) .. .. .. 2 .. .. .. i 25 AN ENCYCLOPAEDIA OF ADHISHTHANA (c) 21 parts Parts : (i) Abja (cyma) (a) Kampa (3) Karna (4) Kampa as before . I 2 (fillet) . (7) Vajana The rest as before. I . I (fillet) : (2) Janman (plinth) Padma (cyma) (3) Kandhara (dado) (1) 2 . (fillet) (6) Prati (fillet) 19 parts i (fillet) (ear) (5) Antarita (d) ; (4) Padma (cyma) (5) Kumbha (6) Padma (cyma) (pitcher) (7) Kampa (8) Karna (9) Padma (cyma) (fillet) .. (ear) Kapota (dove-cot) (u) Alinga (fillet) (10) (12) Antarita .. (fillet) (13) Prati-vajana . (fillet) . .. . . These are discreetly adorned with grahas XI. Kumbha-bandha (195-239) .. i . i . (sharks), lions, etc. (203). : (a) 24 parts Parts : (2) Janman (plinth) Padma (cyma) (3) Kampa (4) Karna (5) Kampa 1 i ) (fillet) (ear) (6) Pattika . . . . . . 2 . . . . . . 3 . . . . . . i . . . . 3 (band) Kampa (8) Padma (cyma) (9) Karna (fillet) (ear) (10) Padma (cyma) (11) Kumbha (pitcher) (13) Padma (cyma) Nimna (drip) (14) Kampa (15) Nimna (16) Prati . (fillet) (7) (12) . (fillet) (drip) (fillet) 26 .. .. .. .. .. .. HINDU ARCHITECTURE (b] 24 parts Parts : (1) Kumbha (pitcher) (2) Nimnaka (drip) (3) (4) (5) Janman (plinth) Padma (cyma) Nimna (drip) (7) Kumbha (pitcher) Kampa (fillet) (8) Kandhara (dado) (6) (9) (10) Kampa Kampa (c) i . . . i . . 2 . . 2 . . . . . . Kumbha (18) (19) Kshepana (20) Nimna (21) Prati (projection) (drip) (fillet) : .. . . . . . . 2 . . . . . . i . . . . . . i . . . . . i . . . . i . . 2 (3) Kandhara (dado) (4) Kumbha (5) Nimna (6) Kshudra-patta (small band) (9) (10) (pitcher) (drip) . Abja (cyma) Kapota (dove-cot) Kshepana (projection) Padma (cyma) (u) Kandhara (dado) .2 .. (2) (8) . .. Janman (plinth) Padma (cyma) (7) . . (pitcher) Padma (cyma) Nimna (drip) (1) . (dove-cot) (16) 24 parts .. . (fillet) (15) (17) .. (fillet) Padma (cyma) Nimna (drip) Padma (cyma) (14) .. (fillet) (u) Kapota (12) Vajana (13) ADHISITTIIANA .. .. . . . . . . i i .. .. .. .. .. .. i| il (12) Padma (cyma) .. .. .. ii (13) Kumbha .. .. .. 3 (pitcher) (15) Adhah-padma (lower cyma) .. Kandhara (dado) (16) Kampa (17) Kshudrabja (small cyma) .. Kapota (dove-cot) (14) (18) (19) .. (fillet) Prati-vajana (fillet), the remainder. 27 .. i .. .. i .. .. i .. .. i .. 2(?-J) AN ENCYCLOPAEDIA OF ADHISHTHANA 26 parts (d) Parts : (2) Janman (plinth) Padma (cyma) (3) Kampa (4) Kandhara (dado) (1) (5) Kampa Padma (fillet) (8) (9) Alinga (7) . . . . . (fillet) (cyma) Pa{tika (band) Padma (cyma) (6) .. .. . . . . . i . . . . 2 i . . 2 . . .. .. .. . . . . . . . . . . . . 2 . . . . . . i .. (fillet) 2 .. i .. i (10) Padma (cyma) .. .. (11) Kumbha .. .. .. 3 .. .. .. j .. .. .. i (pitcher) (13) Padma (cyma) Padma (cyma) (14) Kendra (central part) (15) Kampa (fillet) (16) (17) Abja (cyma) Kapota (dove (18) Kampa (12) The cot) i ..2 . .. .. .. i .. .. .. i .. .. .. i .. i .. (fillet) should be discreetly made. be should decorated with sharks, etc. and kshudra-nasi (small These rest nose) (246). This is stated to be of five kinds Kumbha [see (b) (i), (2) above] specially in the part (247). These may be circular, triangular (tri-pajta), rectangular and should be furnished with katakas. These are suitable and palaces (248). XII. (a) Vapra-bandha (240-248) (?) 31 parts (1) Janman (? dharSya), for temples : Parts : (plinth) (2) Kampa (3) Padma (cyma) (fillet) .. .. .. o .. .. .. i .. .. .. jj .. .. .. }" . . . . . g . . . i .. .. (5) Vajana (fillet) Vapra (cavetto) (6) Padma (cyma) . . (7) Kampa .. (8) Kandhara (dado) . (9) Kampa (fillet) ... .. .. Padma (cyma) .. .. .. i .. .. .. i .. .. .. i (4) (10) (fillet) (u) Pat^ika (band) (12) Padma (cyma) 28 . . . . . . J i" 2 i HINDU ARCHITECTURE (13) (14) (fillet) (ear) (15) Kshepana (16) Ambuja (cyma) .. (17) Kapota (dove-cot) .. ( 1 XIII. (a) Vajana Karna (projection) x i tt ~ Vajra-bandha (249-259) 31 parts . . : : Par(s (1) Janman (plinth) .. (2) Kampa (fillet) . (3) Padma (cyma) (4) Kampa (5) Kandhara (dado) (6) Kampa (7) Padma (cyma) (8) (10) .. . , , ] g t J .. | . . . . i (fillet) (ear) .. . .. .. , Kampa (13) Ambuja (cyma) .. .. (14) Kapota (dovecot) .. .. (15) Prati-vajana .. .. (16) Kandhara (dado) .. .. (17) Kampa-padma (fillet) (18) Vajra-patta (fillet) (fillet .. } i " y . x 2 x .. 2 .. fillet) j . .. (round band) Sri-bhoga (260-280) (1) and cyma) Padma-kampa (cyma and 27 parts 2 . . (it) (19) ^ ^ " . . .. . (fillet) Kampa j ^ . . (fillet) .. . Vajra-kumbha (round pitcher) Saro-ruha (cyma) (u) Karna (a) .. 8) Prati-vajana (fillet) (9) XIV. ADHISHTHANA .. j : : Pafts Janman .. (plinth) (2) Kshudra-kampa (3) Ambuja (cyma) (4) Kshudra-padma (small . 275) (5) Karna (6) Kampa (7) Kshudrabja (small cyma) (8) Kumuda (9) Padma (cyma) (fillet) . cyma) the small karna, line (ear) .. fillet) . (small .. 2j .. . 3 attached to (it is j" i ; . . . . . . l . . . . ... | . . . 3(?i) . (astragal) .. 29 .. .. j AM ENCYCLOPAEDIA OF ADHISHTHANA Paris (11) Kshepana (projection) Karna (ear) (12) Kampa (13) Padma (cyma) (10) .. (fillet) . . i . . .. .. .. | .. .. .. |(?i) i .. .. .. (15) .. .. .. (16) Kampa .. .. .. \ (17) Kandhara (dado) .. .. .. 2 (18) Kampa padma ... .. .. .. i(?i-fi) 2 . 2 27 parts 1 i ) (fillet) and cyma) (fillet .. . . (fillet) Janman . (plinth) (3) Mahambuja . (small plinth) (8) cyma) mall cyma) Kampa-karna (fillet and car) Kampa-padma (fillet and cyma) two Kapotas (dove-cots) Gala (dado) .. (9) Prati-vajana (6) (7) (10) . | Parts Kshudropana (5) . . : (2) (4) (large Kshudra-pankaja 2 . . . . . . . i , , . . 3 . . . . . . . . (: . (fillet) . Gala (dado) .. Padma -kampa (cyma and . . . . i 2 . .. .. i . . . i . .. \ .. .. . .. ..2 .. .. \ (14) Gala (dado) Vajana (fillet) .. .. (15) Kampa (fillet) .. .. .. \ (16) Padma (cyma) .. .. .. 2^ (17) Kapota (dove-cot) .. .. .. 2^ (18) Prati(ma) .. .. ..2" (11) (12) Pattika (band) (13) (a) J Padma (cyma) (20) Alinga XV. .. (14) Pattika (band) (19) Kapotaka(dove-cot) (V) . . .. (fillet) Ratna-bandha (281-296) 26 parts fillet) i \ : Parts : (1) Janman (2) Kshudra-vajana (small (3) Vapra (4) Padma (cyma) (5) Asana . . . . . i fillet) . . . . J . . i . . i . . (plinth) . (cavetto) (seat) . . . . . . . . . . . . . . . . (6) Ratna-vapra (jewelled cavetto) (7) Kampa (fillet) (8) Nimna (drip) .. . 30 . .. . . (?3) i .. . . 4^ 4] \ HINDU ARCHITECTURE ADHISHTHANA Paris Kampa (9) (fillet) Abja (cyma) (10) .. .. .. .. .. .. | .. .. 2 .. .. ^ .. .. .. f .. .. .. 2 . i (n) Ratna-kampa (jewelled fillet) .. (12) Kampaja (fillet) (13) Kampa (14) Kandhara (dado) (fillet) Kampa padma (15) (16) Ratna-patta and cyma) (fillet (jewelled fillet) Padma-kampa (cyma and (17) Karna(ear) .. Vajana (fillet) Abja (cyma) Kapota (dove-cot) (18) (19) (20) (21) (22) Alinga Prati-vajana (23) . . .. .. i .. .. i .. .. .. .. . (fillet) fillet) . . |- i . . * .. . | .. .. .. 2 .. .. .. i| . the remainder. (fillet), This part is adorned with the carvings of snakes and sharks, etc., and This base should be all other parts are decorated with jewelled lotuses. made in the temples of Siva and Vishnu (lines 307-309). XVI. Patta-bandha (297-304) 26 parts Parts : .. . . . . . . . . . Janman Vajana (3) (5) Mahabja (large cyma) Padma-kampa (cyma and fillet) Nimna-kampa (drip and fillet) (6) Padma (cyma) (plinth) (fillet) . . . . . (8) Maha-patta (large band) Padma-kampa (cyma and (9) Kandhara (dado) (10) (11) adorned with . all (fillet), 1 8 parts ornaments . . . i . . . . \ . . . . i . . . . 2 . . . . i . . . . i 5 2 . : Parts : .. .. , . . . . . . . . . . . Janman (2) Kampa (3) Mahambuja (large cyma) Padma-kampa (cyma and fillet) Nimna (drip) (5) . (line 318). (1) (4) J the remainder. Kaksha-bandha (305-346) XVII. fillet) 2 <2.\ Kshepana-abja (projection and cyma) .. .. Kapota (dove-cot) (12) Prati-vajana (a) .. (2) (7) is .. (1) (4) This : (plinth) (fillet) . 31 . . .. 2 2^ i I AN ENCYCLOPAEDIA OF ADHISimiANA Parts (6) Antarita .. ... i .. .. .. \ .. A (fillet) (7) Prati (8) Vajana (g) Kandhara (dado) (10) .. (fillet) (fillet) Kampa-padma and cyma) (fillet Vritta-kumbha (round pitcher) (12) Padma-kshepana (cyma and projection) (11) (13) ( i (1 .1 ) 5) (16) This is Kama (ear) Kampa-padma and cyma) Kapota (dove-cot) Vajana (fillet) adorned with (b) 19 parts all .. .. etc. (line 328). Parts (2) Kampa (4) Mahambuja .. . . . (fillet) . .. .. . . . . i j ... . . 2 . . . . i (6) cyma) Padma-nimna (cyma and drip) Abja (cyma) . . . . (7) Kumuda .. .. .. (8) Abja (cyma) . . . . . (9) Karna . . . . (10) (large . . (astragal) (ear) . . Abja (cyma) (11) Pattika (band) .. i .. .. i\ .. , i . i (13) (14.) Antarita (15) Prati (16) 1 7) (1 8) 1 9) (20) (21) Vajana (fillet) Kandhara (dado) Kampa (fillet) .. .. .. .. .. .. . . . . .. .. . . . -I .. i \ . . .. i } Padma (cyma) Kapota Vajana (dove-cot) (fillet should be as rest all ornaments (c) 26 parts . .. (fillet) (22) Prati-bandha The fillet) .. .. (fillet) J .. Nimnaka (drip) i\ \ .. (12) (fillet) . .. Padma-kampa (cyma and ( . ornaments, and sharks and snakes, (3) (5) ( . : Janman (plinth) Padma (cyma) (1) (fillet and band) before and it . 1 .. .. i . . i . . , . 1 should be decorated with (line 340). Paris : (1) Janman (2) Kampa (plinth) .. .. . . . . (fillet) 32 .. . . I i HINDU ARCHITECTURE ADHISHTHANA Parts (3) Kandhara (dado) (4) Kampa (5) Padma (cyma) (6) Kampa . .. .. . 2 .. 2 . (fillet) Argala (bar) (8) Kampa Padma (10) . (fillet) (7) (9) v (fillet) (cyma) Kapota (dove-cot) (n) Prati-vajana (fillet), the remainder. Kapota, and the two Patta-kampa, Paftas may be circular (line 348). The etc. parts of the two lower karnas are adorned with images of snakes, (line 349 \ (d) 24 parts Paris : (1) Janman (2) Kampa (fillet) (3) Nimna (drip) (4) Bhadras (projecting ornaments) (5) Kampa (6) Nimnaka (plinth) (8) Prati (9) Kampa (10) (12) (13) (14) . (fillet) . .. i . . . i . . . . i . . I . . . (fillet) . . . (fillet) Kumbha (pitcher) i 5(each) . Kapota (dove-cot) Kandhara (dado) . . . (fillet) i . .. . . . . . . 3 . . . . . . Padma (cyma) (? . .. . . . . Kandhara (dado) (15) Prati (16) . (drip) (fillet) (u) Kampa . . (fillet) (7) Antarita .. .. i .. .. .. i .. .. .. i .. .. .. i .. ... .. 3 .. .. .. i .. .. .. i .. .. .. 8 octangular). There should be Bhadra-patta (front fillet) in the Kapota part (line 359). XVIII. Kampa-bandha (347-358) and Patra-patta fillet) : 36 parts Parts : .. (1) Tunga (2) (4) Kshudra-upana Mahabja (large cyma) Kshudrabja (small cyma) (5) Kampa (3) (elevation) (small plinth) (fillet) . . 33 .. ..4 . . . . I . . . . 5 . . . I . . . . . i (leaf S ADHISHTHANA AJf ENCYCLOPAEDIA OF Parts (6) Nimna (7) Vajana (8) (9) (10) (drip) (fillet) Padma (cyma) Kumbha-mahabja (pitcher and cyma) 5 Abja (cyma) (n) Kampa (12) Alinga (fillet) (fillet) (13) Antarita (fillet) (14) Prati (fillet) (16) Vajana (fillet) Kshepana (projection) (17) Kandhara (dado) (15) (18) Kampa (19) Padma (cyma) (20) Kapota (21) Alinga (22) Prati XIX. . (fillet) 3 (dove-cot) 1 .. (fillet) 1 (fillet) Sri-kanta (359-372) 36 parts . : Parts : (1) Upana (2) Kshudropana 3 .. (plinth) (4) Mahambuja (large cyma) Kshudrabja (small cyma) (5) Kandhara (dado) (6) Padma (cyma) (7) Pattika (band) (8) Kshudra-kampa (9) Padma (cyma) (3) (10) (11) (12) (13) (14) (15) (16) ' . . . ' . . i 3 .. (small fillet) . . i . 4 . i Kshudrabja (small cyma) Nimna Padma .. Kshepana (projection) Kandhara (dado) .. (18) Padma (cyma) (19) Kapota (20) Alinga Prati . .. .. (cyma) Kumbha (pitcher) Kampa (fillet) Kampa . . . (drip) (17) (21) i (small plinth) i i 3 ... i i 2 .. .. (fillet) l - * .. (dove-cot) .. . (fillet) . .. (fillet) 34 J .. . . i i ADHISHTHANA HINDU ARCHITECTURE This Sri-kanta type is is stated to be of four kinds (line 376) but only one illustrated. In the kumbha-part it should be round or there should be patta These should be constructed in the temples of Siva and (line 372). Vishnu (line 387). Projections (lines 318-409) : Projections are the peculiarities of the mouldings from the plinth to the crowning fillet : Janmadi-vajanantaim cha arhsanam tad viseshatah (373) These projections vary from being equal to one-fourth of the mould| ings (lines 37 6 ~3 8 4) : Tat-samarh nirgamam vapi tri-padam ardhardham eva cha Tad-eva kshepanarh sarve yatha-sobham tu karayet I I Upana-tunga-samam vapi tat-padona-vivardhanat Tungena tri-vidhanam cha tri-padam nirgamarh bhavet Vaprochcham tu samaih vapi yavat kumuda-nirgamam Kumudochcharh vapra-pattantam pattika-nirgamarh bhavet Tat-samam nirgamam vapi pattam gopana-nirgamarh I | | | I Kshudra-pankaja-sarvesham tat-samam nirgamam bhavet Yatha-Sobharh balat sarvam anganarh sahito(-arh) nyaset These general rules are illustrated by giving in danda (rod) and hasta (cubit) measures the projections of some plinth (lines 402-409). For a comparative study and general knowledge of the subject the I I details of the bases below. employed in early European architecture are given Each column has its particular base I. Tuscan order (Gwilt, Encycl., Art. 2555): Base of the column 1 2 parts : : Projection from the axis of column in parts of a module (1) Fillet .. (2) Torus . ..i ..6 (3) Plinth II. 13^ 5 . Doric order (Art. 2565) Base of the column 1 2 parts i6 16^ : : Projection (1) Apophyge or cong6 (2) Fillet .. (3) Astragal .. (4) Torus . (5) Plinth .. . ..2 12 f . . . . 14! 4 17 ..1 35 14 ij 17 AN ENCYCLOPAEDIA OF ADHISHTHANA Grecian Doric : Cornice 15-32 Entablature parts; Frieze 14-88 parts; 11- 16 parts. architrave 17-10 parts; Capital Column (proper) Shaft 20-30 modules; 6-90 ; 2nd step or plinth 6-70 III._Ionic order (Art. 2573) ; ist step or plinth 3rd step or plinth 6-90. : Base of the column ig| parts, excluding apophyge 2 parts and projection 18 : Projection in parts of a module from axis of the column 20 (1) Fillet (2) Torus (3) Fillet Scotia 20 (4) (5) Fillet i 22 (6) Two i 22 (7) Fillet 6 (10) Plinth (art. 2581) : Base of the column 33.27 parts (1) Apophyge (2) Fillet (3) (4) 24 25 i Fillet Grecian Ionic 21 2 (8) Scotia (9) 22 2 beads : i .. . Bead Torus (horizontally fluted) Scotia (7) Fillet (8) Torus (9) Plinth 0-450 18-960 1-080 19-320 6-120 22-500 22-500 21-840 23-640 24-960 26-520 0-450 6-000 (5) Fillet (6) -080 0-450 5*760 1 1 -880 Corinthian order (Art. 2582) Base of the column 14! parts IV. : Height in parts of a module (i) Torus () Fillet of a module 22 3 i (3) Scotia (4) Projection in parti it i Fillet 36 2O ail HINDU ARCHITECTURE ANU-GRIHA Height in parts of a module (5) Two (6) Fillet of a beads module 22 2lf (7) Scotia (8) Fillet (9) Torus 4 (10) Plinth 6 V. Projection in parts 23 25 25 Composite order (Art. 2591) of the column 18 parts : The base Height in parts of a module (i) Gong6 .. .. 2 (a) Fillet .. .. 1 .. .. 3 (3) Torus (4) Fillet (5) Scotia .. .. (6) Fillet .. .. (7) Bead .. .. (8) Fillet (9) Scotia . . (n) Torus . . .. (12) Plinth From the details given above subscribe to the following remark ' The Indian and afford by it 20 20 22 1 i i* i * i 2O 21* 2 if 21* 20f .. i 23 4 25 6 25 be would easy to understand 2 . (10) Fillet Projection in parts of a module and : (pedestals and) bases are made more systematically, far a greater variety of proportions and ornaments than the Grecian and Roman. In the European architecture, the forms and dimensions of pedestals and bases are fixed by invariable to the orders in which they are employed, but in rules, with respect the Indian, the choice is left to the option of the Ess. Arch, of Hind., pp. 39-40 and see Plate n.) A kind artists.' (Ram Raz ' a sloping and projecting member of the entablature representing a continued pent-roof. Ambaram cha vyayarh jyotir gaganam cha vihayasi cha prastaram (? pushkalarh) chashAnantarh chantariksham ANANTA (see LUPA) of lupa or ' i tadha lupah I (M, ANU-GRIHA The xvni, 174-175-) roof of a house. The fastening of Karna-kilaya-sambandho'nugriham setuh the roof of a house to the transverse beam by means of iron bolts is called ' Cf. Setu.' (Kautiliya-Artha-stistra, Chap. LXV, 37 p. 166.) AN ENCYCLOPAEDIA OF ANU-SALA ANU-&ALA An SALA) (cf. ante-chamber, a hall or room behind or at the side of a main hall. Mdnasdra, xxvi 9, 19, 23 (a) ShodasamSakam adhikyam bhagam harmya-visalakam (7) Ekarhsarh karna-kutarh syad dharantara(ih) sivamsakam (8) : : | I Dvi-bhagenanu-sala cha tad-ardham chantaralakam (9) Saptaihsena maha-Sala harmyam etat tu vinyaset (10) AthavashtadaSamSe tu kuta-hara cha purvavat I'(i6) Shad-bhagena maha-sala chatuh-sala tri-bhagikam 1(17) Madhya-sala yugaihgena bhadra-sala cha madhyame (18) AnuSala cha madhye cha chaika-bhagena bhadrakam (19) Ekona-vimSad-arhsena ashta-bhumi-visalake (21) Ekaika-kuta-vistaram maha-ala sararhSakam (22) Anu^ala tri-bhaga va bha(ha)rantara(m) dvi-bhagikam (23) I I (b) I I I (c) I I Maha-ala tri-bhagena bhadra-Sala ANEKA-LlftGA group as exist in (see many LINGA) A class I (24) the of vrittarh chaivarh proktaneka-linga- I Ekanekan chokta-linge livamfie kuryad dhara shodaSadi-dvayena (M., ANILA-BHADRAKA A LII, I 128-129, "SS-iSS-) kind of chariot. (See ANTARA in phallus, phalli places. VedaSrarh vasvasrakam va mule visalata M., XLIII, 114, under RATH A) distance between any two objects, hence it implies a moulding which separates two other larger mouldings. In this office it would resemble the fillet, listel or annulet (see (see ANTARITA) Gwilt, Art. 2532, Literally the fig. 874). A moulding of the pedestal and the base. Shad-amSam chantare karne uttararhSam tad-urdhake I (M,xm, 121.) kampanam chantaramSakam Dviihsakarh cha tri-pattam syat tad-urdhve chantaram bhavet Purvottara-pradeSe tu I I (M., xiv, 59-60.) ANTARALA(KA) laya), corridor. (i) The intermediate space, the interior (=antara- (M., XXIH, 39.) Intercolumnation : Mula-pada-vialam va tat-tri-pada-vialakam kumbhahghrikam proktam antaralarh cha yojayet I Etat I (M., xv, 231-232.) 38 ANU-SAL m JU A-SALA j W I J SECTION THRO BOSS STONE CEIt-ING (ANGHRI.) PLAN LONG SECTION. ALAKSHA, ABJA ELEVATION PLAN ANILA BHADRAKA HINDU ARCHITECTURE (2) ANTARITA Referring to corrider of the fifth storey : Tasmat tri-mula-harmyantarh tad-dvayor mula-desake Antaralam prakurvita parsve sopana-samyutam I I Sarva-pradakshinarh kuryad yuktya dvararh prakalpayet (M., xxui, 20-22, (3) Interior parts of a building | see also 23-39.) : Gopurair rnandapadyais cha chantarale tvalindake I see also (M., LXIX, 8, xxx, 60.) 'The second mandapa of a temple, between the ardha-mandpa and (4) the shrine, J. B.' Gorakshakarh yakam cha Cf. bhairavam anjaneyarh Sarasvatim Siddhi-vina- I Chakara panchayatanantaralebalendu-mauli-sthita-manaso yah I (Cintra prasasti of the reign of Sarangadeva, v. 45, Ep. Indie., Vol. i, pp. 284, 276, note 15.) In the antarala (or interior), they erected a most beautiful rangamntapa, and a fine chandra-s"ala (or upper storey) according to the ' (5) directions given by the King Timmendra.' (Ep. Carnal., Vol. xii, Pavugada line 14, 203, Roman Text, v. 9.) Taluq, no. 46, pp. 122 ; Translation, An antarala or intermediate porch (Fergusson, line Ep. Carnat., Vol. v, Part I, Introduc., p. xxxix, para. 2, (7) Antarale yatha yuktya mandapakaram vinyaset ' (6) I quoted by Rice 6.) (M, xxiii, 39.) ANTARIKSHA A quarter. (M., vn, 39.) Jayante tat-pare saumye antarikshe'ka-purvake (M., ix, Mrige chaivantarikshe va bhrihgaraja-mrishe tatha I I A synonym of the lupa or pent-roof 357.) : Arhbararh cha vyayam jyotir gaganarh cha vihayasi Anantarh cha antariksham cha pushkalam chashtadha lupah I I (M., xvm, 174-175.) ANTARIKSHA-KANTA A class of ten-storeyed buildings. (M., xxvni, 14-15, ANTARITA A set under PRASADA.) a moulding of the pedestal, the base and In base it is connected with another crownalso of the entablature. called alinga and in pedestal with prati-vajana. ing moulding In its office and situation it would resemble a fillet. Its synonyms fillet, are _vajana, kshepana, vetra, patta, uttara, pattika, kampa, drikka, and manda, etc. (M., *vi, 46-4?-) 39 AM ENCYCLOPAEDIA OF ANTAR-JANMAN A crowning moulding of the pedestal and the base : Tad-urdhve'ntaritarh charhsarh tat-samam prativajanam Ekarh chantaritarh chordhve sardhamsarh prativajanam (1) I | (M., xin, 58, 69, etc.) Alingam amSakam chaiva tat-samantaritam Alingam tatha amSakarh chordhve arhsenantaritarh tatha I I (M., xiv, 51, 101, The tenth moulding from the top of the entablature. (2) agama, LIV, 2, etc.) Kamik (See under PRASADA.) (See Ram Raz, Ess. Arch, of Hind., p. 25- An. inner plinth. ANTAR-JANMAN Antarjanma bahirjanma nimnonnataya sthitam II Nirvarhs'ameva tat sarvarh kartri-varhsam bhaved dhruvam I (M., LXIX, 16, 17.) ANTARITA-MANDAPA The ante-chamber in front of a shrine. (Chalukyan Architecture, Arch. Surv., New. Imp. Series, Vol. xxi, p. 37. ANTAR-BHITTI An Tan-mane inner wall, partition wall, tu salanarh vina-bhittim sabhittikam Antar-bhittis tu chaivam syad etc. I bahir-bhittis tu sarvada II (M., XL, 51, 52. The ANTAR-MANPALA circular court in the interior of a com-) pound. Antar-mandalam arabhya mahamaryadikantakam Pancha-kut(d)yasya chotsedham pratyekam panchadha bhavet I I (M., xxxi, 57-58.) ANTAR-MUKHA Literally, with face (=foundations) Griha-garbharh Cf. garbham bahir-mukhan ANTAR-VAPRA The 1 (M., towards the inside. antar-mukham syad grama- xii, 216.) internal rampart, the internal side of the rampart. Cf. Antar-vaprarh bahir-bhittiS cheshtam dirgham cha chulika (M., ANTAR-VlTHl I ix, 362.) Internal roads, lanes, in a village or town. Antar-vithi chaika-paksha bahya-vithl dvi-pakshaka ANTAH-PURA The female apartments. 40 I (M., ix, 396.) ANTAH-SALA HINDU ARCHITECTURE (1) Rdmdyana (Cock) II. 3, 13 : II. 14, : II. : 29 14, 66 : Antah-purasya dvarani sarvasya nagarasya cha Dadaiiantah-puram sriman nana-dhvaja-ganayutam I I sumantsagara-hrada-samkasat chhubhat ro'ntah-purach Ityuktvantahpura-dvaram ajagama puranavit Sa hema-jambu-nada-chakravalaih maharha-muktamani bhushitantam Nirjagama . . . I II. 15, 1 8 V. 4, 30 : : I I Pararghya-kalaguru-chandanarharii sa Ravanantahpuram pravivesa II. 15, 47 : VII. 42, 27 : 1 1 Sarhriddham antahpuram avives"a ha II mahavimanoTatodri'-kuta-chala-megha-sannibham pama-ves'ma-samyutam Purvahne dharma-karyani kritva dharmena dharmaI vitl Sesham divasa-bhagardham antahpura-gato bhavet Compare 13 ; also IV, 26, 22 ; 11,10,11-17; 70,20; 11,70,27; V, 4, 24. (2) Panchatantra, ed. Bombay, Gatva kanyantahpure I, raja-kanyam bhaja II prasada pranta-gatam Iha rajfias tu tanaya Patalityasti kanyaka Uparyantah-pure a cha ratnam ityabhirakshyate . . . . . . . 114,29; 111,54, II, pp. 38, 58, 61, 168 II : sapta-bhumi-ka- . . I Pravisya so'drisringagra-tunga-vatayanena tarn Antahpure dadarSatha suptam rahasi Patalim 1 1 1 I 1 Pravrajakas cha gatvaiva vatayana-pathena sah Pravisyantah-purarh prapa suptam niSi nripatmajam I ' II When the great minister, Verggade of the female apartments ' . . (Ep. Carnal., Vol. vn, Shikar(antahpura), great master of robes (3) . pur Taluq. no. 144, Transl., ANTAH-HARA The p. 107 ; Roman text, p. 191.) second inner court, internal enclosure in a temple or house, the whole compound being divided into five courts or enclosures. (M., xxxi, 11-14.) (See under PRAKARA.) ANTAH-SALA Inner rooms, internal portions of a mansion. Antah-sala yatha-dvaram dandakasyoktavat kuru (M., xxxv, 281.) I ANTAH-SALA Inner wall, internal partition. Antah-salam-iti praktam bahya-salam-ihochyate (M., XL, 41 1 I 14, see also xxxvi, 79 ; XL, 44.) AM ENCYCLOPAEDIA OF .\NTIKA ANTIKA A of the two-storeyed buildings. class (M., xx, 94, 26-27, under PRASADA.) see Limit, boundary, pilaster terminating the side-woll of a base and capital generally differing from those temple, and having of adjacent columns, same as prastara (entablature or plinth). ANTIMA Tad (r^prati)-urdhve sardha-panchamsam padayamarh Antimam cha dvi-bhagarh syad vedikodayam Iritam tritlyakam I I xxxm, 226-227.) (M., ANYA-RAftGA The Mandapam nava-talarh kuryad dapakaram ANVANTA A second court or theatre of a compound. I bhavanam anya-rangam vadhiman (Af., xi, 144.) synonym of mancha or a raised platform or couch. (M., xvi, 43, APAGHCHHAYA A light APASAMCHITA A see under MANCHA.) (See AVACHCHHAYA.) shadow. of buildings in which the width (at the measurement of which the ; the temples in bottom) is the standard idol is in the recumbent posture. class principal Pratyekaih tri-vidharh proktam samchitam chapy-asamchitam upa(Kdmikagama, XLV, 6-7.) (apa)-sarhchitamityeva Utsedhe manam grihyaih chet sthanakam tat prakathyate I I manam samkalpya chasanam tad udiritam Parinahe pade vapi manam sayanam iritam Asanaih samchitam proktam sthanakam syad asarhchitam Vistare I I Apasarhchitam sayanam chet tat tat tri-vidha-harmyake I I (A/., xix, 7-11.) Saihchitasariichitanam cha amsair ayadibhir yutam Apasamchita-harmyanam tithyantam shad grahishyate I I (M., xxx, 173-174.) APOHA (see X)HA) An additional or unprescribed member attached to a structure. ABJA (see name from its PADMA) A lotus, the cyma or ' a moulding taking its contour resembling that of a wave, being hollow in upper part and swelling below. Of this moulding there are two sorts, its the cyma recta, just described 42 ; and the cyma reversa AMBARA HINDU ARCHITECTURE workmen these are called Compare the hollow. is " By the ogees." of lists lower swells, whilst the wherein the upper part mouldings given ADHISHTHANA and under UPAPITHA. ABJA-KANTA A class of the ten-storeyed buildings. 18, see (M., xxvin, ABHAYA under PRASADA.) hand of an image Fearless, a refuge-offering pose of the Chatur-bhujam tri-netrarh cha jata-mukuta-bhushitam Varadabhaya-samyuktam krishna-paras'u-dharinam I I (A/., Abhayarh dakshine Purve cha tvabhayam . xn, 120-121.) (M., vn, 159.) . . . . 166.) (ibid., . Varadam chabhayam purve vame tu dvara-hastakam I (M., LIV, 154.) ABHAYA-HASTA (see ABHAYA) With hand in the pose of offering refuge. Varadabhaya-hastam cha jata-mukuta-manditam ABHISHEKA-MANDAPA Nripanam (see abhishekartharh See Inscrip. of Rajaraja mandapam (M., u, 30.) The coronation MANDAPA) III (no. 39, I hall. (M., xxxiv, 38.) I H.S.I.I., Vol. in, 86) p. under MANDAPA. ABHYAVAHARA-MANDAPA A dining-hall. Ranganatha inscript. of Sundarapandya (v. 23, Ep. Ind., Vol. m, pp. 13, 1 6) under MANDAPA. AMALA&ILA The crowning part of the (Hindu) Sikhara. See (Fergussion, History of Indian and Eastern 323, note Architecture, p. AMALASARA wheel (see AMALAKA) member surmounting The flat the Sikhara ; n, p. 129.) scolloped cushion or cog- (dome or tower). (Gousens Temples : Somanath and other Medieval in Kathiavad, pp. 41, 45, 17.) AMRITA-NANDANA. A pavilion with 58 pillars. (Matsya-Purana, Chap. CCLXX, v. 8, see under MANDAPA.) AMBARA The sky, one of the eight kinds of the lupa or pent -roof. (M., xvra, 174-175, Cf. Lupakaradi jadanarh manayen manavit-tamah Ambaradyashtadhamani nidanam lupamanayet see under ANANTA.) \ 43 I (A/., xvin, 329-330.) AN ENCYCLOPAEDIA OF AMBUJA AMBUJA Cf. Lotus, the cyma ABJA and PADMA) . Tad-dvayaih chambujarh chordhve kapotochchaih gunams'aka Arangam ARATNI (see chaitani iti of harmya (building). harmyam uktam puratanaih A under ANGULA) A cubit of 24 angulas mdndana-Purdna, i. vii, 99 | (M., xm, 57.) (A)RANGA A synonym (1) (see measure. Mandarin and Brah- (Introduct., Rdjavallabha see (M., m, 8.) I under ANGULA). A measure equal to the length of the forearms with the fingers fully stretched (Suprabheddgama, xxx, 24, see under ANGULA). A measure equal to the first with gama, xxx, 24, see under ANGULA). (2) fully stretched fingers (Suprabhedd According to this Agama 'ibid., v. 25) and the Mdnasara (n, 49) a measure of 24 angulas is called kishku (hasta). This word (aratni), which primarily means ' elbow," occurs frequently from the Rig-Veda onwards. (R.-V., vm, 80, 8 A.-V. y xix, 57, ' ; 6; Aitareya Brdhmana, vm, 5; Satapatha-Brdhmana, vi, 3, i, 33, etc.) as denoting a measure of length (ell or cubit), the distance from the elbow The exact length nowhere appears from the to the tip of the hand. early texts.' (Macdonell and Keith, Satapatha-Brdhmana also vn, Kauslka-Sutra, 85 Vedic Index, i, 34.) i, 2, 6. (Pet. Diet.) : Bahur va aratnih ARKA-KANTA A class of the eleven-storeyed I buildings. Evarh tu vajra-kantam syad arka-kantam ihocyhate Tad eva sala-prante tu parsve chaikena saushtikam I I Tad-dvayor antare des"e tat-samarh kshudra-harayoh Purvavat kuta-vistararh Sesharh hararhSa-panjaram I I Tan-madhye tu tri-bhagena kshudra-^ala-visalatah(ta) I Tat-parSve tri-tri-bhagena hara-madhye sa-bhadrakam Kshudra-ala-tri-bhagena madhya-bhadram samanvitam Kshudra-hara cha sarvesharh nasika-panjaranvitam I I I Madhye madhye mahanasi netra-Sala cha par^vayoh I Sarvalankara-sarhyuktarh shad-vidham (ekadaSa-talam) pariklrtitam I (M., xxix, 25-34.) ARGALA A bolt or pin for fastening a door. Argalarh dakshine bhage vama-bhage tu talpakam Kavata-yugmam kartavyam kokilargala-sarhyutam 1 1 II (KamikSgama, LV, 49, 52.) 44 ttWDU ARCHITECTURE A moulding of the base Kampam ARDHA-MANDAPA Kakshabandha, under ADHISHTHANA). ekarh tad-urdhve cha ekenargalam eva cha (see I (M., xiv, 331, note.) ARDHA-CHITRA (see ABHASA) An image made in half or middle relief. Ardhanga-drisyamanam cha tad ardha-chitram iti smritam (M., Chitrangam ardha-chitrangam abhasangarh tridhochyate I LI, 10.) I (M., u, 8.) Sthavaram jangam vapi daru-sailarh cha lohajam Chitram va chardha-chitram cha chitrabhasam I athapi va I (M., LVI, 14-15.) ARDHA-NARI$VARA A name of Siva, which is an image the right half of the representation of Siva and the left half of his consort Durga. Paschima-mula-tale madhye koshthe lingam adbhutam Athavardha-narlsvara(m) sthanakam I ARDHA-PRANA I (M. xix, 224-225.) t A kind of joinery resem(see SANDHI-KARMAN) the of the bisected heart. bling shape Sarvesham api darunam sandheh prante tu yojayet Yatheshtam phana(m)-samgrahyam chodayed vistarantakam Mulagre kilakam yuktam ardha-pranam iti smritam Tad eva dvi-lalate cha vistarardhardha-chandravat Madhye cha danta-samyuktam agra-mule tu yojayet I I I I I Sesham tu purvavat kuryat ARDHA-MANDAPA A mahavritam iti smritam I (M., xvn, 97-102.) half-pavilion, a vestibule, a court, a porch. 1 i ) Idam ayadikarh chardha-mandape sishta-mandape 1 1 (Kamikagama, Ardha-mandapa-dakshamse vighnesa-nritta-rupinam ' (2) On the west wall of the Jambukesvara shrine at Vol. xxxiv, p. 268.) ' court in a (3) The Tamil Dictionary (loc. cit.) ardha-mandapa Tiruvellarai.' (ibid., LV, 73.) in front of the rock-cut (Inscription no. XH, Ind. temple next to the sacred shrine.' . 45 L, 68.) I Ant., Winslow, AN ENCYCLOPAEDIA OF ARDHA-SALA ' (4) Ardha-mandapa : a front of the enclosed building in shrine.' Arch. Surv., (Chalukyam Architecture, Rea, New. Imp. Series, Vol. xxi, p. 37.) The detached front of a shrine, building, sometimes open and sometimes enclosed, in is generally called the mukhamandapa (the pavilion in front of the shrine) . The ardha-mandapa is a narrow passage or vestibule connecting' garbha-griha and mukha-mandapa, and is open on two sides to ' (5) the ' permit the priestly worshipper circumambulating the central shrine.' (H. Krishna Sastri, South Indian Images of Gods and Goddesses, p. 2. For this reference I am ARDHA-SALA A half-hall, indebted to Prof. R. W. Frazer.) an antechamber with one or more closed sides. Ardha-sala visesho'sti chordhva-sala-samanvitam I tu chardha-sala-samanvitam Madhya-koshtham dvi-parsve I (M., xx, 67, 73.) Netra-s"alardha-s"ala cha bhadra-Saladi-bhushitam I- (M., xxvi, 67.) Bhadra-sala maha-nasi chardha-saladhyalankritam (M., xxv, 34.) I ARDHA-HARA A half chain of 64 strings, an ornament, a string of pearls worn round the neck. Nakshatra-malam api chardha-haram I Suvarna-sutrarh paritah stanabhyam I (M., L, 297-298.) Cf. Brihat-Samhitd, LXXXII, 32. ALAKSHA A member of the entablature, some screen-work with small (invisible) apertures. Etat tu sarvato-bhadram alakshakritir ihochyate Tad eva karnavaSad varhsam prastiryat tu sarvasah I I Uttaraih prag-uktahghrih syat tad-vasat parito nyaset Tad evantam alaksham cha karnayos chottararh vina I I (M., xvi, 185-188.) ALAftKARA-MANDAPA The dressing room, an attached hall or detached pavilion of a temple where the idols are dressed. (//. S. I. /., ALINDA(KA) ' (i) A corridor, Vol. i, p. 127, first para., see under MANDAPA.) a terrace, a balcony, a gallery. Alinda-sabdena sala-bhitter bahye ya gamanika jalakavritangana- sammukha ' kriyante (commentary on Brihat-Samhitd or 46 Kirana-tantra, see ARDHA. MANDAPA ELEVATION ARDHA-PRANA. o z < I i 8 D | O Z < 1 GARBHA.CEHA. j Q s. PLAN ARDHA MANDAPA. AMSUKA. ELEVATION AMSUKA. PLAN AT BASE r AYAKA SKAMBHA Pane 4S HINDU ARCHITECTURE By below). ' word the beyond the wall of a Amarakosha Cf. ALINDA(KA) alinda ' is understood the lattice-covered path and facing hall (or in front the of) (2) Senapati-nripatinarii saptati-sahite dvidha-krite vyase I Sala-chatur-das"a-hiite pancha-trirhsad-vrite '(a)lindah Add ' the number of 70 Write down sum the at in Visvak two places. 14; this gives the measure for a hall. quotation is the measure of the terrace.' Pramitam : Divide it, one place, by in Divide the sum by 35 tveka-salaih tu s"ubhadam tat praklrtitam Senapati-nripadinam saptatya sahite krite Vyase chaturdasa-hrite sala-manam ' II breadth of the mansions of the to those for the King and the Commander-in-Chief.' The same is more plainly expressed ' courtyard. (2, 2, 12). 1 ; the I 1 vinirdiSet I Pancha-trimsad-hrite'nyatralinda-manarh bhavech cha tat The word might as well be rendered by balcony, gallery.' II (Kern, Bfihat-Samhild, LIII, 17 ; J.R.A.S., N. S., Vol. vi, p. 282, note 3.) Apratishiddhalindarii samantato vastu sarvato-bhadrarh ' An with edifice uninterrupted terraces on every side I is termed Sarvato-bhadra.' Nandyavartam alindaih sala-kudyat pradakshinantargataih Nandyavarta is the name of a -building with terraces that form the wall of the room extending to the extremity in a direction from east to south (alias from left to right).' I ' ' The Vardhamana has a terrace before the (chief) entrance, exwhen to the end then, tending you proceed in a direction from left to right, another beautiful terrace, and there on, again, another in the ; aforesaid direction.' The Svastika (house) is auspicious, if it has the terrace on the east and one continual terrace along the west side, at the ends whereof begin two other terraces going from west to east, while between the ' side, extremities of the latter ' The Ruchaka to the end, lies a fourth terrace.' (house) has a western and eastern terrace running their extremities two others.' (Ibid., vv. 31-351 and between pp. 285-286.) (3) Agni-Purdna, Chap, cvi, w. 20-24 : Chatuh-salarh tri-salarh va dvi-salarh chaika-salakam Chatuh-sala-grihanarh tu Salalindaka-bhedatah 47 II I AM ENCYCLOPAEDIA OF ALPA tu jayante panchas'at-pancha teshvapi Sata-dvayam Tri-Salani tu chatvari dvi-s"alani tu I panchadha vachmi cha Ashta-vimsad-alindani grihani nagarani cha Chaturbhih saptabhiS chaiva pancha-panchas'ad cva Eka-s"alani chatvari ekalindani 1 1 I 1 1 Shad-alindani virhsaiva ashtabhir virhSa cva hi Ashtalindarh bhaved evarh nagaradau grihani hi 1 (4) Kdmikagama. xxxv Asam ( tu I 1 I : salanam) agre tu alinda(h) syuh pradhane va viseshatah I Eka-dvi-tri-chatush-pancha-shat-saptalinda-samyutah II (37) Prishthe parsve tathaiva syuh ishta-dese'thava punah Prithu-dvaras cha dvaramS cha evam eva prakalpayet (38) Alindah prithu-dvarena samo va chardha-manatah (44) Alinde dvaram evam syad anyatrapy-evam eva tu II (49) I 1 1 Alindasya samantat tu bhagenaikena-varakam II 1 1 (77) See also ibid., L, 74, 75, 87. iv, 201 (the synonyms of alinda). Ibid., andharam griham adyakam Parimandana(m) salinda va alindasyabhidanakam . (5) . I . Chantarale tvalindake I (M., LXIX, II 8.) Urdhvordhva-talanam tu chaika-bhagenalindakam I (M., xxiv, 45, etc.) the views of the corridors (Pallaba Architecture, Arch. Surv., Imp. Series, Vol. xxxiv, plates vi, vn, vm, ix.) (6) See New. ALPA A class of buildings. (Kamikagama, XLV, 53-54, see under MALIKA.) ALPA-NASIKA (see NASA) A small nose, a small vestibule. Chatur-dikshu chatur-dvararh chatuh-shashty-alpa-nasikam I (M., xxxiv, 106.) AVACHCHHAYA A dim light, shadowless spot, a light shadow. Kanya-vrishabha-masau cha-avachchhaya na vidyate Meshe cha mithune chaiva tula-simha-chatushtaye I I Evam hi dvyangularii nyastam vrischikashadha-minayoh Chatur-ahgulam prakartavyam dhanuh-kumbhau shad angulam Makare'shtangulam proktam apachchhayam viseshatah I I I (M., Cf. Vitruvius, Book ix, vi, 31-35.) Chap, vm, under SANKU. AVALAMBANA A pendant. (M., Bahu-valaya-dama cha skandha-malavalambanam AVASATHA (see PRATISRAYA) the rest-house, a house. I Ramyamavasatham chaiva datvamum lokamasritah Having given away a charming house, he attained L, 15.) I ' world.' (Hcmadri, p. 646.) 48 the other ABHANGA ALINGA PL AM* ALPA-NAblKA ALINGA. ALINDAKA. P&<>e ASHTA-TALA HINDU ARCHITECTURE Ramyaihs chavasathan datva dvijebhyo divam agatah twice-born and gone Having given away charming houses to the I ' (Mbh. Anusdsanika-parvan, Chap, cxxxvn, to heaven.' (Ind. Ant., Vol. AVASANA platform. (see (M. MA^CHA) A synonym of the v. 10). xii, p. mancha 142, c. 1-2.) or a raised xvi, 43.) ASVATTHA-VRIKSHA The holy carved fig-tree, with along Buddha images. Referring to the Bauddha images Sthanakarh chasanarh vapi simhasanadi-sarhyutam tatha nyaset Asvattha-vriksha-sarhyuktarh kalpa-vriksharh : I I (M., LVI, 3-4.) ASHTA-TALA The eighth storey. (Manasdra, xxvi, 1-76, under PRASADA.) see floor including the proportion and ornadescription of the seventh tower : ments of the component pans (lit. limbs) from the plinth to the A Evarh sreshtharh tvashta-tale sarvalankara-sarhyutam Janmadi-stupi-paryantam changa-manam ihochyatc I I Saikashta-panchakarhsa-harmye tungaih vibhajite I Adhararh chashta-bhagena vedamsam charanayatam Tad-ardham valabhyutsedham sardharh vahnyarh^am aiighrikam Sa-tri-padarhsakam maficham urdhve padam gunamsakam Tad-ardharh chordhva-mancham syat tri-padakshanghri-tungakam Sa-padamsarii prastarottungam dvyardhariis"arh charanayatam Tad-ardharh prastarotsedharh jahghayamarh cha sardhakam Prastararh chaika-bhagena dvyamsa-padadhikanghrikam Urdhva-mancharh tri-padarh syat sa-bhagam pada-tungakam Ekamsam prastarotsedharh tad-urdhve cha tri-bhagikam I I I * I I I I I Tat-tri-bhagaika(a) vedim(h) syad dvi-bhagam gala-tuiigakam sirah-sesharh sikhodayam Sa-padarh chamsakarh chordhve Kechit tad eva tunge tu sapta-bhagadhikam tatha I I Urdhvordhva-pada-mule tu yuktyamsena masurakam Talanam chaika-bhagena karna-harmyavritarh nyaset Antara(m) prastaropetarh sarvalankara-sarhyutam Tasyantasyaika-bhagena kuryad avartyalindakam Mule bhage padamSena chordhve'rdha-talarhsakam Netra-salardha-sala cha bhadra-saladi-bhiishitam I I I I I I Toranair nida-^aladi nasikabhir alankritam cha manditam Kosht(h)c sitadi-madhye cha chordhva-Sala tu bhushitam Nasika-pafijara-sala kuta-kosthe bhadra-salyair alankritam I I I Nasika-pafijaradyasya Kshudra-sala-pradek tu sarvalankara-sarhyutam 49 I I I I ASHTA TALA AN ENCYCLOPAEDIA OF Karna-kutanga-madhye tu nasika-panjaranvitam Sarvangarh kshudra-nasyangam prastaralankriti-kriya I Nanadhishthana-sarhyuktarh nana-padair alankritam Nagara-dravidadlnam vesaradin Sikhanvitam I I I Sarvalankara-sarhyuktaih purvavat parikalpayet I (M., xxvi, 47-76.) under TALA-MANA) A kind of sculptural measurement in which the whole height of an idol is generally eight ASHTA-TALA (see times the face. ASHTA-TRIMSAT-KALA kinds of mystic Thirty-eight marks on the body of an image. Padadi-murdha-paryanta(m) paryayadi-chaksharam nyaset Ashta-trirhs'at-kalah sarvas tat-tad angani vinyaset I I (M., LXX, 90-91. ASHTA- VARGA The eight component parts of a single-storeyed adhishthana building, namely, (basement), anghri (dwarf pillar), prastara (entablature), grlva (a platform or neck), sikhara (tower) stupi (dome), grlva-mancha (a projecting seat at the neck) and vedika (a raised platform). (M., xix, 80-^5.) Eight-cornered, a kind of single-storeyed building octangular in plan and has one cupola. ASHTA(S)RA which is (1) Bfihat-Samhitd, note i (see LVI, 28, Kasyapa, J.R.A.S., N. S., Vol. vi, p. 320, under PRASADA). w. (2) Matsya-Purdna, Chap. CCLXIX, (3) Bhavisfya-Purdna, Chap, cxxx, v. 25 ASAMCHITA A under PRASADA). under PRASADA). 29, 53 (see (see of buildings in which the height is the standard of measurement, the temples in which the main idol is in the erect posture. xxx, 173-174, see under APASAMGHITA.) (M., xix, 7-11 class ; Pratyekam tri-vidham proktaih samchitarh chapyasarhchitam upasariichitam ityevam AM&A (see I (Kamikagama, XLV, 6-7.) SHADVARGA). A part, one of the six varga formulas for ascertaining the right proportion. AM$ARU Cf. The rim, the edge. Darpanam suvrittarh syad A moulding of the cyma and a corona (kapota). arharu kiihchid unnatam I pedestal, generally placed between a (M. xv, 122, see under UPAPITHA.) y 50 HINDU ARCHITECTURE AGARA ACHARYA-KULA Residences of professors, sufficiently comfortfor able even princes and ordinary male and female pupils to be in ' residence for instruction, teachers' family establishment with pupils quarters in separate blocks. These might have supplied the general plan of the later monastic establishments of Buddhists, Jains, Brahmans, comprising a quadrangular structure with cells on all sides and the shrine and abbot's cell in ' the centre or the east. These may be looked upon as the beginnings out of which the pre-Buddhistic and Buddhistic centres of learning like in Nalanda of the residential university type were evolved.' (Sarkar, Social History of India, P- 13-) AGAMA The different scriptures, from the Agama of treatises Southern India some of which are predominently architectural texts. M., XLIX, 176. Cf. AGARA A house, For synonyms, V. VI. see 3, 1 8 44 127, 56 3, : Koshthagaravatarhsikam : . . . nagarim I : Koshthagara-yudhagaraih kritva saihnichayan : Aneka-satarh balam Mahdbhdrata (Cock) (2) cell. Amarak~>sha (II, 2, 5). Ramayana (Cock) Cf. (i) II. a room, a XII. 69, 54 XII. 86, 121 : I. 134, ii : bhavan kosam koshthagaram bahun griham I : Bhadagara-yudhagaran yodhagarams cha sarvasah Asvagaran gajagaran baladhikaranani cha : I I I Bhandagara-yudhagaran prayatnenabhivardhayet Prekshagararh suvihitam chakrus te tasya silpinah Rajnah sarvayudhopetam strinam chaiva nararI shabha I. IV. 134, 14 23, 1 6 : : II Mukta-jala-parikshiptarh vaidurya-mani-Sobhitam I ham Mdnasdra (xxv, Tale tale I Sata-kumbhamayam divyam prekshagaram upagatam II Yad etan nartanagararh matsya-rajena karitam kanya nrityanti ratrau yanti yathagri- Divya-atra (3) I II 29, etc.) : bhadra-koshthasramagararh pariklrtitam 51 I AX ENCYCLOPAEDIA OF ACHCHHADANA ' idam yogi-(a)garam Dharmma-sastra-prachoditam (4) suribhih pariveshtitam proktarh I Agara, abode, room, covered place, Fleet. cell.' and Old (Skt. Canarese Inscriptions, no. cxxx, line 3, Ind. Ant., Vol. XIH, p. 222, note 44.) The celebrated (5) Vikhyata Santalakhya sa Jinagaram akarayat ' lady had this Jina temple made'. Text, p. 59, last line, Carnal., (Ep. Vol. Roman no. 62, 11, Translation, p. 148, last line.) ACHCHHADANA A eighth covering moulding from the roof, the top of the entablature. (Kdmikagama, LIV, ADIKA Literally first or principal, ? a fast under PRASADA.) 2, see conveyance. Adikam syandanarh Silpi(n) sibika cha ratham Sarvair yanam iti khyatarh Sayanam vakshyate tatha I tatha I (M., A(R)DRA-PUSHAKRITI (see under LINGA) A m, 9-10.) kind of phallus looking like the rising sun. Lingakaram ihochyate Daivikarh dindimakaram manush(am)a(r)dra-pushakriti(h) . . ADHARA . (M., The basement, LII, I 237, 240.) the plinth. Dvitalanam alankaram vakshye samkshipyate'dhuna Upanadi-stupi-paryantam ashtavimsad vibhajite Adharochcharh gunamsarh syat pada-tungam shad-amsakam I I (M., xx, Janmadi-stupi paryantam changa-manam ihochyate Saikashta-panchakarhsarh harmye tungam vibhajite Adhararh chashta-bhagena vedamsam charanayatam I 3-4.) i, I I I (M., xvi, 48-50.) Uttaram vajanadharam adheyam sayanarh tatha Uddhritam cha mGrdhakam chaiva maha-tauli svavarhsakam Prachchhadanasy(am) adharam etat paryayam Iritam I I I (M., xvi, 56-58.) Parimana-virodhena rekha-vaishamya-bhushita Adharas tu chatur-dvaras" chatur-mandapa-sobhitah Sata-sringa-samayukto Meruh prasada-uttamah I II I Mandapas tasya karttavya bhadrais tribhir alankrita(h) II Ghatanakara-mananam bhinna bhinna bhavanti te (prasadah) Kiyanto yeshu chadhara niradharaS cha kechana I II (Garuda-Purana, Chap. XLVII, vv. 38-40.) Valabhi chhadiradharah I (Hemachandra, Abhidhana-chintdmani, ion, 52 Pet. Diet.) APANA HINDU ARCHITECTURE ADHI Vol. Foundations. p. 31, see i, (An from inscription m, Ep. v. Dabhoi, Indie., footnote, p. 24.) ANDOLA A swing, a hammock. Tad-urdhve pattikam nyasya kilagre cha kabandhanam Chaturbhih srinkhala-yuktam andolarh chaikatopari I I Deva-bhu-sura-bhupanam anyesharh sayanarthakam I (M., xuv, 69-71.) ANDHARA A (-RIKA) closed a verandah, balcony, a blind screen. Kdmikdgama, L : va tri-pado vatha bhagikah Panjaro(ras) chardha-bhago Alindandharikandhara-hara bhagena kalpitah (74) I 1 1 Nava-bhaga-tri-bhago va vyasa-nali-grihanvitah Bahir andharikandhara-hara bhagena vistritah (76) bahir andharikavritam Panchalindam shat-kudyarh (83) I 1 1 1 1 Andharandhari-harokta-khanda-harmya-viseshitam(vimanam) II (91) ' Andharika and andhara are used as the synonyms of griha-pindi and 'alinda respectively (see Kdmikdgama, LV, 201, under ALINDA). ' ' ' ' ' ' APANA A shop, (i) a market-place. Ramayana (Cock) II. II. 14, Samriddha-vipanapanaih 27 II. 114, 13 VII. 43, 13 II. 71, 41 : Nana-panya-samriddheshu vanijam apaneshu 6, 12 (purim) l Sarhkshipta-vipanapanam (Ayodhyam) Chatvarapana-rathyasu I l II. 42, 23 II. 41, 21 Samvritapana-vlthika I. 5, 10 57 > J . Anvantarapanara 5 VI. 112,42 . . . . (purim) (Ayodhyam) sikta-rathantarapanam (Takshasila and Pushkalavati) Rdjatarangim, I, 201, etc. : Riddhapanam . (ibid.} XII. Chatvarapana-sobhitam (puram) : XIII. 30, 17 : II. 21, : 25 l . . . suvibhaktan- I Mahdbhdrata 86, 8 I I Ubhe tarapane . . nagaram : I samriddha-vipanapanam cha dadriSuh sriyam uttamam Malyapananarh (Varanasim) I l . I Su-vibhaktantarapanam VII. 101,13 (3) . Malyapaneshu rajante nadya panyani va tatha (purim) Samvritapana-vedikam II- 2) . . l . . . 53 I I l AN ENCYCLOPAEDIA OF APANA IX. 25, 33 : Vipanyapana-panyanam Comm. I Nilkantha Vipanaih panya-vithika Apana hattah panyani vikreya-dravyani : I I (4) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan I Sauvarna-dhvaja-toranapana-pura-grama-prapa-mandapan vyadhapayad ayarh Chaulukya-chudamanih (Sridhara's Deva pattana Pra^asti, I . . . I v. 10, Ep. Ind., Vol. n, pp. 440-441.) APANA A tavern, sides a liquor-shop, a watering station, huts on road- where drinking water is distributed gratis. Devanam-piye Piyadasi laja hevam aha (:) magesu-pi me nigohani ambavadikya lopapitani (:) chhayopagani hosamti pasumunisanarh ; adhak(o)s(i)kyani pi me uda-panani khanapitani (;) cha kalapita (;) apanan ime bahukani tata tata kalapitani patibhogyaye pasu-munisanam (.) Apana cannot have here its usual meaning, namely, tavern, liquor lopapita (;) (2) niiiisidhiya ' shop.' ' As professor Kern (Der Buddhismus, Vol. n, p. 385) assumes, it must denote a watering station. Probably the huts on the roads are meant, where water is distributed to travellers and their beasts gratis or against payment. The usual Sanskrit name is prapa.' Dr. Biihler. (Pillar edict of Asoka, no. vn, lines 2-3, Ep. Ind., Vol. H, pp. 270, 274.) ABHANGA the idol is (see under ATIBHANGA and BHANGA) A pose in which slightly bent. Sarvesharh deva-devinam bhanga-manam ihochyate I Abhanga-sama-bhangarh chaati-bhangam tridha bhavet I (M., LXVII, 95-96.) ABHASA A of buildings, pavilions, doors, etc. One of the nine materials of which idols are made, sand glass, lacquer (A/., Lxn, 15-16), a marble, bas-relief (M., LI, n), painting (ibid., 12, LVI, class 14-16). A class (i) of buildings : Etaj jati-vaat proktam Nava-tale chhandadinam santikotsedham tri-pancha-vidham pravakshyate vai I vipulam kanyasadi-Sreshtham I Kramatas tri-padam ardha-karam padam cha idam sariikalpam abhasam idam (M., ix. 103-104.) I 54 HINDU ARCHITECTURE ABHASA Eka-bhumi-vidhim vakshye lakshanarh vakshyate'dhuna Jatis chhandam vikalpam tu chabhasarh tu chatur-vidham Purva-hastena sarh-yuktam harmyarh jatir iti smritam Chhandam tri-pada-hastena vikalpam syat tad-ardhakam Abhasam chardha-hastena harmyadlnam tu manayet I I I I I (M., xix, 1-5.) Eka-tri-padam ardham cha pada-hastarh yatha-kramam Jatis chhanda(m) vikalpam cha-abhasaih chatur-vidham Etat tad eva samyuktarh harmyanarh mana-kalpanam I I I (M., xxx, 175-177.) Pavilions of some particular shape : Devanam bhu-suranarh cha mandapam jati-rupakam Bhupanam mandape sarve chhanda-rupam itiritam I I Vaisyakanam tu sarveshath vikalpam cheti kathyate Sudranam mandapam sarvam chabhasam iti klrtitam I I (M., xxxrv, 547-55-) In connexion with door^ : Sapta-vimsodayarh hy-evam tad-ardharh vistritarh bhavet Evaih jati-vasat proktam chhandadinam pravakshyate Trayovimsa-satantaih syach chhanda-dvara-visalakam I I I Pancha-vimsangulam arabhya dvi-dvyangula-vivardhanat Eka-vimsangulam arabhya dvi-dvyangula-vivardhanat Eka-virha(m)-atantarh syad vikalpa-dvara-vistritam Nava-panktyahgulam arabhya dvi-dvyangula-vivardhanat Eka-panktyanguladhikyam satantam abhasa-vistritam I I I I I (M.y xxxix, 28-35.) In connexion with the phallus : Jatich-chhanda-vikalparh cha-abhasam tu chatur-vidham I (M., tn, 49.) A kind of glass of which idols and statues are made : Brahma-vishnu-mahes'anam lakshanam vakshyate'dhuna Hiranya-rajatenaiva tamrenaiva ile vapi Darve va sudhe vapi sarkarabhasa-mrittika(-bhih) Etais tu navadha dravyai(S) chottamadi trayam trayam Chalam chapy-achalam chapi nava-dravyais tu nirmitah I I I I Lohajair mrit-sudha chaiva Sarkarabhasa-mrittika Ghala-dravyam iti I I proktam anyesham chachalam viduh I (M., 55 LI, 1-7.) AM ENCYCLOPAEDIA OF ABHASA Three kinds : Chitrangam ardha-chitrangam abhasangarh tridhochyate Sarvangam drisya-manam yat chitram evam prakathyate Ardhanga-driSyamanaiti cha tad ardha-chitram iti smritam Ardhardha-darsanam(drisya)-manam abhasam iti kathyate I I I I 8-1 (A/., LI, Uttamarh lohajarh bimbarh pithabhasarh tu chottamam 1.) I (ibid., 19.) Cf. Eka-kale kritarh sarvam sudha-mrit-kata-sarkaraih I (ibid., lohaje va Sile'thava Beranarh dravyam ityuktam Darvabhasa-ratnena sudha-mrit-kata-s'arkara(aih) . Ghanam . . 24-25.) I I vapy-aghanarh vapi kuryat tu ilpi(a)vit-tamah I (M., LXH, 15-17.) (2) Silodbhavanam v(b)imbanarh chitrabhasasya va punah Jaladhivasanam proktarh vrishendrasya prakirtitam II I (Linga-Purana, Part II, uttara-bhaga, XLVIII, v. 43.) Chap. (3) Pratima saptadha prokta bhaktanaiii Suddha-vriddhaye Kanchanl rajati tamrl parthivl sailaja smrita 1 1 Varkshl chalekhyaka veti murti-sthanani sapta vai ' ' I I abhasa seem to have the same meaning and and same material. (Bhavistya-Purdna, Chap, cxxxi, vv. a, 3.) ' ' Alckhyaka indicate the (4) Indhanani cha vinyasya palalani cha vinyaset I Tasmin loshtani vinyasya palalai.4 chhadayet punah II Palalabhasakaih paSchad brihyabhasais tushais tatha Achchhadyadbhir atha sinchech chhakham prajjvalayet punah I (Vastu-vidyd, ed. (5) Another ( Jati) class of buildings Ganapati Sastri, xvi, 32-33.) ekaike tu dvisamkhyakam (Kamikagama, A class of kuta-koshtha or top-room, and vikalpa I L, 13.) being a combination of the chhanda (Kamikagama, LV, 130, 123-127, see under KARNA- KUTA). of ISvara) Suprabheddgama, xxxiv, 3-4 (refers to the image cha tathaiva Chitram chitrardham evam tu chitrabhasam Sarvavayava-sarhpurnam dri^yam tach chitram uchyate Ardhavayava-samdrijyam ardha-chitram chaiva cha : (6) 1 : Ghhandam Vikalpam Abhasam classes 1 1 1 I Pate bhittau cha yo(ya) likhyam chitrabhasam ihochyate 56 II I HINDU ARCHITECTURE ' ABHASA Exactly similar definitions are given in the Mdnasdra, but therein refers to a material of which an idol is made, whereas in this abhasa ' ' Agama, abhasa and ter relief, to ' image itself made in full, middle or quarthe paintings made on cloth and walls. refers to the Materials of which images are made : Mrinmayam yadi kuryach chech chhulana(m) tatra prakalpayet (ibid., 31.) Lohajam cha viSeshena madhuchchhishtena nirmitam I I (7) Lohajatve madhuchchhishtam agninardrikritas tu yat Vastrena sodhayet sarvam doshaih tyaktva tu Silpina I II (Karanagama, (8) xi, 41.) Murtis tu vriksha-pashana-loha-dravyaih prakarayet The image should be made of materials like timber, stone, and iron. I (Silpa-SSstra-sara-sarhgraha, xi, 5.) (9) tamri ratnamayi tatha darumayi chapi loha-slsa-mayi tatha Ritika-dhatu-yukta va tamra-kamsa-mayi tatha Sauvarni rajati vapi I Saili 1 1 Sudha-daru-mayi vapi devatarcha pra^asyate I 1 1 (Matsya-Purana, Chap. CCLVIH, (10) Mrinmayl daru-ghatita lohaja ratnaja tatha II Sailaja gandhaja chaiva kaumudi saptadha smrita Kamsamayi gandhaja chaiva mrinmayi pratima w. 20-21.) I tatha II (Agni-Purana, Chap. XLHI, vv. 9-10.) (u) Mrinmaye prativ(b)imbe tu vaset kalpa-yutam divi Daru-pashana-dhatunam kramad da^a-gunadhikam Mrinmaye vahane datte yat phalam jayate bhuvi 1 I 1 I Daruje tad-dasa-gunam Silaje tad-da^adhikam Ritika-kamsa-tamradi-nirmite deva-vahane 1 1 I Datte phalam apnoti kramat ^ata-gunadhikam 1 1 (Mahanirvana-Tantra, xin, 22, 30, 31.) (12) Svarnadi-lauha-bimbe cha deha-garbham na karayet II (4) Kashtha-pashana-bimbe cha yat sandhau vidhir uchyate II (6) Yat bimbe cha krite dravyam svarnam tamram tu mrinmaye I Saile kashthe ishtika-churnam bimbam tatra prachakshate II (3) (Bimbamana, British Museum, MS. i, 558, 5292, w. 4, 6 ; MS. 2, 5291, 559, v. 3.) ' (13) Here they produced a linga, of seven metals, viz. gold, copper, iron and bell-metal.' (Sahyadri-khanda of the tin, lead, PurSna, Ind. Ant., Vol. m, p. 194, c. i, last 57 para.) silver, Skanda- AMALAKA AN ENCYCLOPAEDIA OF ' when the people make images and chaityas which consist of gold, silver, copper, iron, earth, lacquer, bricks, and stone, or (? and) when they heap up the snowy sand (lit. sand-snow, ? abhasa), they put Again, Cf. in images or chaityas Teacher, and two kinds of sariras (relics) (i) Record of the Buddhist Religion, Transl., Takakusu, Smith, Ind. Ant., Vol. xxxni, p. 175.) AMALAKA (cf. the relics of the great chain of causation'. (2) the gatha of the p. A AMALASITA and AMALASARA) (Itsing's work, by V. A. 150, quoted massive circular stone supporting a vase known as kalata. It figures as the crowning member of sikhara (tower), as the crown of the simulated roofs, and as the cushion-shaped portion of the capital of massive columns In Sikhara it has a structural purpose (of Asoka and at Elephanta). to while in other places serve, it is a mere ornament. It has been frequently referred to by Fergusson, Burgess, Hanell, Coomaraswamy and their followers, but rarely occurs in the Silpa-sastras or other Sanskrit texts. The following line has been quoted by some writer from some text of the Mayamata Silpa-sastra : Tathamalaka-pakvabham dirgha-vrittarh cha golakam 1 1 held that the term as referring to the crown of a temple ' must have arisen from a wrong rendering of the Chinese symbols O-mo-lo-kiaIt is Buddha Gaya as Amalaka. have thus been made by modern writers on ko, describing the great vihara at Free conjectures ' its origin from the dmalaka, fruit or tree, or from lotus. A writer has referred to the matter in the Calcutta Oriental Journal (1934, Vol. i, pp. 189-195) and accepts the lotus-theory because of its popularity as a Buddhist and Hindu symbol, and also because it fits in well as a part of the Sikhara. AMALAKA- VANTIKA-PITHA Chairs with many legs. (Mahavagga, vv. v>, AYA under SHADVARGA) One of the six varga ascertaining the right proportion of measurement. (see formulas a.) for under STAMBHA) A sort of pillar built upon the rectangular projection from the dome and drum-like parts of the Mahachaityas (of Amaravati and Nagarjunakonda). Their identification has been rendered certain by the inscriptions AYAKA-SKAMBHA they contain khambha.' structural ; (see therein these pillars are designated as xx, p. 2) it According to Vogel (Ep. Ind., function but utilized for sculpturing in 58 ' ' Ayakahad no low relief, AYATANA HINDU ARCHITECTURE Buddhist emblems and dedicatory inscriptions.' Vaddari Apparao it means a pillar erected near the gate.' (Indian Culture, ' thinks that October, 1936, pp. 389-390.) AYATANA An an abode, a house, later an enclosed settlement, temples and monasteries, an assembly hall. earlier enclosure, (R.-V. iv, 4, 3 37, ; i ; A 6 v. 3, vn, 56, 22; 61,3; dwelling, a temple where an idol is installed : (1) Purvena phalino vrikshah kshira-vrikshas tu dakshine Paschimena jalam Sreshtham padmotpala-vibhushitam Uttare saralais talaih subha syat pushpa-vatika Sarvatas tu jalam sreshthaih sthiram asthiram eva cha Parsve chapi kartavyam parivaradikalayam ; vi, 21, 4, x, 91,2.) I 1 II 1 I I Yamye tapovana-sthanarh uttare matrika-griham Mahanasam tathagneye nairritye'tha vinayakam II I Varune srlnivasas tu vayavye griha-malika Uttare yajna-Sala tu nirmalya-sthanam uttare I 1 1 Varune soma-daivatye bali-nirvapanam smritam Purato vrishabha-sthanam seshe syat kusumayudhah I Jale vapi tathaisane Vishnus tu jala-Sayyapi Evam ayatanam 1 1 I kuryat kunda-mandapa-samyutam II (Matsya-Purana, Chap. CCLXX, vv. 28-34.) (2) Panchayatana-madhye tu Vasudevam nivesayet I (Agni-Purana, Chap. XLIII, v. (3) Devatayatana-vapl-kupa-tadagadi-nirmanam I (Narada-Purana, Part (4) Chatuh-shashti-padam kuryat i.) Purva-bhaga, I, Chap, xin, Colophon.) devayatanarh sada I (Bhauishya-Purdna, Chap, cxxx, v. 17 ; Brihat-Samhita, LVI, 10.) Pura-madhyarh sama^ritya kuryad ayatanam raveh (Bhaviskya-Purdna, Chap, cxxx, v. 40 (5) Rdmayana (Cock) I. 5, 13 : purim Sobhitam . devayatanaiS . . I T 37 : yajnayatana I. 77, 13 : devatayatanani 4 : II. 6, see also v. 41.) : I- 3> ; II | I srimatyayatane vishnoh 59 I chaiva vimanair api AYADI-KARMAN AM ENCYCLOPAEDIA OF II. 6, ii sitabhra-likharabheshu devatayataneshu II. 3, 18 devayatana-chaityeshu II. 25, 4 II. 52, 90 II. 56 33 . chaityeshv-ayataneshu cha tlrthany-ayatanani cha chaityanyayatanani cha II. 71, 42 VII. 101, 15 devayatana-chaityeshu ubhe purottame I I I I . . I I s"obhite . devayatana-vistaraih n, Mahdbkdrata, 80, 30, etc. (ibid.) (6) cha Sobhaniyais I : Devayatana-chaityeshu Taittiriya-Samhitd, 2, 2, 6, (7) Devanam evayatane I I, etc. (Pet. : yatate jayati tarn sarhgramam (8) Satapatha-Brahmana, 4, 4, 5, 3 etc. (ibid.) Diet.) 5, 2, 13 ; ; 6, 2, 1,14; I 12, 5, i, 17, : Kupa iva hi sarpapam ayatanani Chhandogya-upanishad, 6, 8, 2, etc. (ibid.) Sa yatha sakunili sutrena prabaddho disarh I : diSarh patitvanya- trayatanamalabdhva bandhanam evopaSrayate (9) Siva.' Sivasyayatanam ramyarh chakre (An Abu ' I built a beautiful Inscrip. of the reign of Bhimadeva II, Ind. temple Ant., Vol. of xi, pp. 221, 222.; (10) (n) Sri-Nanigasvami devayatanarh karapitam ' The temple made.' 'he Chakarayatanam sarhbhor ambhonidhi-samam sarah the temple of Sambhu and a tank equal to the sea.' Devapaladeva, line 13-14, Ind. Ant., Vol. xx, p. 312.) of the illustrious of (Atpur Inscrip. (Harsauda Inscrip. of I god Nanigasvamin was caused Sakti-kumara, line built 1-2, Ind. to be Vol. xxxix, Ant., p. 191.) (12) Somesvarayatana-mandapam uttarena of Sarangadeva, w. 40, 41, 42, 45, 72 AYADI-KARMAN (see Aya and other formulas ; (Cintra PraSasti of the reign Vol. I, p. 284.) Ep. Ind., I under SHAD-VARGA) The consideration of for the verification of correct dimensions. Evarh tu dandakarh (gramam) proktarh tasyayamam ihochyate Vistarad dvi-dandena vardhayed dvigunantakam I I Yah Subhayadi-karmartham danda-hinadhikam tu va I (M., K, 12-14.) AYADI-BHtJSHANA (see under SHAP-VARGA) The consideration of Aya, and other formulas for ascertaining right proportions. Padanam api sarvesharh lakshanam vakshyate'dhuna Ayamam cha vi^alam cha ayadi bhushanadikam (M., xv, I I 60 1-2.) ARAMA HINDU ARCHITECTURE The six formulas (see under SHAD-VARGA.) called correct dimensions of for the verification aya, vyaya, riksha, or tithi. and arhsa vara, yoni, AYADI-SHAlp-VARGA Evam ayadi shad-vargarh kuryat tatra vichakshanaih(nah) AYIKA-PADA (cf. (A/., ix, 74.) A STAMBHA) I kind of pillar. Vedamsarh changhri-tungam chardham prastarotsedham Tad-dvayaih ayika-padam sardharhsam prastaram uttungam Tad-urdhvanghri gunariisam tad-ardham urdhva-manchochcham I I I (A/., xxvm, 25-27.) a garden-house, an pleasure-garden, (cf. for quiet people rest-house orchard. A Buddhist convent (vihara), not too far from the town and not too near, convenient for built for coming, and easily accessible for all who wish to visit him, going by day not two crowded, by night not exposed to too much noise and alarm.' The whole compound is enclosed with ramparts of three kinds, namely, brick walls, stone walls and wooden fences, which are again surrounded with bamboo fences, thorn fences and UDYANA) A ARAMA ' ditches. (Chullavagga, vi, 4, 8 ; 3, 10.) Nagasya vamake yamye kuryad arama-desakam (1) tatah Pushpodyanam kuryat I cha mukhya-bhalla{ake'pi Nrittagaram tatah kuryan nana-nrittahganani cha XL, 119-121.) (A/., (2) Prantach-chhaya-vinir-mukta na manqjna jalasayah Yasmad I I I ato jala-pranteshvaraman vinivesayet Considering that water reservoirs without shade on the margin are not lovely, one ought to have gardens laid out on the banks of the water.' 1 1 ' (Brihat-Samhita, LV, i, J.R.A.S., N. S., Vol. vi, p. 312.) Rdmqyana (Cock) II. rajadhanim aramodyana-sarhpannam 51, 23 VII. 70, 13 aramais cha viharais cha sobhamanam(-naih) saman: (3) . : . . I : tatah II Sobhitam (4) Mahdbhdrata Vihareshu (5) Garden . (ibid.), . . . . purim . xu, 69, 1 1 11, etc. : arameshu tathodyane I : Kashte kale kalavapy-abhibhavati jagat kupa-vapi-tadagair asan. narama-sattraih sura-sadana-mathairm-manditayam amushyam . nagaryam ' I (Dewal Prasasti of Lalla the PP- 79. 83-) 61 Chhinda, v. 20, Ep. Ind., . Vol ARSHA (6) AN ENCYCLOPAEDIA OF Pleasure-garden houses, orchards : Aramany-atanot saran sarobhis Sobhitarhtaraih I Utphulla-karhja-kirhjalka-purhja-pirhjaritantaraih (Two 1 pillar inscriptions no. 1 at Amaravati, A, Inscrip. of Keta, v. 42, II, Ep. Ind., vi, p. 152.) (7) Satra-prapa-prasraya-vrishotsargga-vapl-kupa-tadagarama-devalaya- di-karanopakaranartharh cha I (Cambay Govinda IV, Plates of Ep. Ind., Vol. vii, line 58, pp. 41-46.) (8) KrishnayaSasa arama garden (Sir E. C. Bayley, Dr. Vogel) or monastery (Sir A. Cunningham) of Krishnayas'a. : vihdra (Rock Inscriptions in the Kangra valley, the Kanhiara Inscrip., Ep. Ind., Vol. vn, pp. 117-118.) (9) Grove (Dr. Liiders) : Yamoda-pushkaraninarh paschima pushkarani udapano drdmo stambho Sila patto cha a tank, the western tank of these twin tanks, a reservoir, a grove, a pillar and this stone slab (was caused to be made). ' . . . ' (Three Brahmi inscriptions, iii, early stone inscrip. of the time of Mathura Sondasa, lines 2-3, Ep. Ind., Vol. ix, p. 247.) ( i o) Nana-desa - prabhava - suphala - vrata - bharati - namra - vriksha - sreni niyama-khachitah sala-samgupta-madhyah I Aramo'yarh surabhi-sumanoraji-samarajamanah tasaranih purna-kamah sadastam nana-virullal 1 1 (Inscriptions of Queen second ARSHA Belonging or relating A kind of phallus. 232, see under LINGA.) ALAMBANA The from Nepal, no. 23, Inscrip. Lalita-tripura-sundari, v. 2, series, Ind. Ant., ix, p. 194.) a phallus of Siva. under LINGA ) (M., ui to the ascetics, (Kdmikdgama, L, 35, 37, see base, plinth of a railing (vedi) or balustrade. Sarvesharh mukha-bhadranam syat lakshanam vakshyate' Sikharalambanaih chadau tat palikavasanakam dhuna (M., xvra, 275-276, ALAMBANA-BAHU support to the rail I I etc.) ^The balustrade, a small pillar used as a of a staircase : balustrade or a row of balusters 62 HINDU ARCHITECTURE forming an ornamental parapet to a balcony. Indian Architecture, p. 13, Mahasudassana Sutta, i, 59 Chullavagga, joined by a See AVRITA rail : vr, 3, 3- ALAYA A temple, a house. Ramesvaraya ghanamantapa-vapra-saudharamalayam samatanot samahe erected a temple (alaya), adorned with a solid hall (man. tarasajnah a wall (vapra), and a plastered mansion (saudha) to Ramesvara' tapa), ' . (Mangalagiri pillar inscrip., v. 39, Ep. Ind., Vol. vi, pp. 123, 114.) ALlftGA (cf. ANTARITA) A moulding like the fillet, but with moulding placed alternately together It is a flat greater projection. and is inseparably connected with the latter. Antarita the with The 2, see ninth moulding from the top of the entablature (Kdmikdgama, LIV, under PRASADA). A crowning moulding of the pedestal and the base (e.g. M., xin, 126 xiv, 50, etc., see the lists of mouldings under ADHISHTHANA and UPAPITHA). A similar moulding of a throne ; : Alingantaritam chordhve prativajanam uchyate AVASATHA A (M., xiv, no.) I ' a structure of some sort dwelling, an abode, of feasts and sacrifice, on the occasions of for the reception guests later Dharma-sala or rest-houses. (A.-V., ix, in, 7, 6, 4, 6, Chhand. 5 ; Taitt. Bra., i, i, 10, 6; Sat. Bra., Upa., iv, i I, Srauta Sutra., v, 9, 3 n, 9, 25, 4 AVARAN A Minor and ; ; ; xn, 4, 4, 6; Apa. Stambha Apa. Dh. Sutra., A.-V., xiv, 2, 6.) associated deites. (M., xv, 400.) AVASA A residence, a dwelling-house. Avasa-vasa-vesmadau pure grame vanik-pathe II Prasadarama-durgeshu devalaya-matheshu cha I (Garuda-Purana, Chap. XLVI, Nirjagama nripavasan manya-manah priyam mahat w. 2, 3.) I (Ramayana, n, 15-28.) AVRITA (see PRAKARA) An enclosure. Sikhare chavrite pare sabha-mandapa gopure . . . manayet (M., 63 XVIII, I 200 f.) AN ENCYCLOPAEDIA AVRITA-MANDAPA AVRITA-MANDAPA An 1 i) Kdmikdgama, xxxv open pavilion surrounding a building : Evarhbhutasya vasasya samantan mandapam nayetll (97) Pancha-bhagavasanantam kuryad avrita-mandapam II (98) Hasta-manena va kuryat tri-hastad arddha-vriddhitah I Pancha-daSa-karantam tu kuryad avrita-mandapam Mandapena vina vapi tena (2) Suprabheddgama, xxxi, 137 manena pithika : AVE&ANA An II a studio, a place where ar architectural office, works are taught and carried out. silpi-sala (99) (100) II Prakara-bhittim asVitya kuryad avrita-mandapam Avesanarh II prapa panlya-salika (Amarakdsha, n, 5, I 7.) ASRAMA A temple, a hei (see under SHODASA-MANDIRA-CHAKRA) a A establishment mitage, dwelling. religious comprising the mai temple, its attached tank, kitchen, alms-house, guest-house, stori house, cow-sheds, halls dressing-houses for the deity, bed-roon and other houses and flower gardens, orchards and the surroundin walls. Surebhyah puratah karyo yasyagneyyarh mahanasam Va(? ka)pi-nirgamane yena purwatah sat(t)ra-mandapam II Gandha-pushpa-griham karyyam aisanyam patta-samyutam Bhandagaram cha kauberyyam goshthagaram cha vayave II Udagasrayam cha varunyam vatayana-samanvitam Samit-kusendhana-sthanam ayudhanam cha nairrite I I I 1 1 Abhyagatalayam ramya-sa^ayyasana-padukam Toyagni-dipa-sad-bhrityair yuktam dakshinato bhavet I Grihantarani sarvani sajalaih kadali-grihaih Pancha-varnai^ cha kusumaih sobhitani prakalpayet 1 1 I II Prakaram tad-bahir dadyat pancha-hasta-pramanatah Evam vishnva^ramarh kuryyad vanais chopavanair yutam I II (Garuda-Purana, Chap. XLVI, vv. 14-15 A&RAMAGARA A class of the seven -storeyed buildings. (M., xxv, 29, ASANA A see under PRASADA of buildings, a seat, a throne, a bedstead, a mouk ing, a site-plan, a temple, a type of dwellings, a sitting posture. ( i ) class Mdnasdra : A class of the three-storeyed buildings. (A/., 64 xxx, 12-31, see under PRASADA THL E.LLVATION WOTE.:M.LTKE.SE. TYP1S BE, ^S TEfvPt-ES A>JD DOMtST V<ITK SLIOni DlffERF-MC SE IMDICMeO IXTHEStC ' ME. OTHER f 1VE. TYPES 5P WITH PROPOaTIQMS^SFC AS Hi6HT K KAKALKK1GA 6RAH 50 PART . THE. SITE PLANS ASA MA PLAN OF 1OO PLOTS . Kl HINDU ARCHITECTURE A ASANA of buildings in which the breadth is the standard of measurethe temples in which the idol is in the sitting posture. class ment ; (M., XK, 7-11, see under APASA&CHITA.) A synonym of Sayana or bedstead. (M., m, 10-12, see under SAYANA.) A site-plan the area of which is divided into 100 equal squares : Dasamarh sata-padam syan namanam(namna) asanam Iritam (M., vm, A moulding of the The seat Tan base. (M., xiv, 296, underneath the base of a (pillar's)-mule n, see pillar I under PADAVINYASA.) under ADHISHTHANA.) see details : chasanam kuryat padukarh va sahambujam I (M., xv, 31.) A opposed to a bedstead Evarh tu Sayanadinam asananarh cha darubhih(runi) seat as : I (M., XLIV, 74.) A throne : Devanaih bhu-patinarh cha bhushanartham tu toranam (M., XLVI, i, 3.) Asanopari vinyasya sarvesharh toranam toranam Devanarh bhu-patmam cha sthanakasyasanasya cha I I . . . I I 29-30.) (ibid., Devanam bhu-patinam cha sthanakasana-yogyakam I Mukta-prapanga-manarh cha lakshanam vakshyate'dhuna I (M., XLVII, 1-2.) Devanarh chakravaryadi-bhu-palanarh cha yogyakam Kalpa-vriskhadinam tararh manam lakshanam uchyate Toranodaya-padarh tu padardhadhikodayam I I I Evam vrikshasya tungasya asanasyopari nyaset (M., XLVIH, 1-5.) Asanayama-madhye tu toranasyopari nyaset I I The sitting posture (of the Garuda image) Sthankam chasanarh chaiva gamanarh cha yathavidhi : I (M., LXI, 19.) Evarh proktam simha-rupam ... Sayanam va sthanakam chasanarh va I The . . . I (M., sitting posture in connexion with the plumb-lines Sarvesharh deva-edvlnarh Mana-sutra-vidhirh riju-sthanakarh samyak(g) lakshanam LXIII, 44, 49.) : chasane I vakshyate'dhuna I (M., LXVII, 1-2.) AX ENCYCLOPAEDIA OF ASANDA (2) Rdmdyana (Cock) V, 4 15, VII, 42, Bahvasana-kuthopetam : 1 : 6 f. . . . Bahvasana-grihopetam : (aSoka-vanikam) asoka vanikam I . . . I praviSya Raghu-nandanah Asane cha Subhakare pushpa-prakara-bhushite Kusastarana-samstlrne Ramah sarhnisasada ha . . . I Sabhasana (3) Katydyana-Srauta-sutra (Pet. Diet.) Salasana 9> 9> J (7, 5, 8) J 2, 4. ; (6,59) Brahma-yajamanayor asane (8,281) Sahakhatvasana ; ; (4,154) cf. ; ; ; dadyach chaivasa- : Amatya-mukham ... I II (5) Bhagavadgltd (ibid.), 6, n 4 Sayyasane'dhyacharite preyasa M. W. (8) 2, 6 : I bhadrasana, vajrasana, virasana, and svastikasana Diet., loc. cit.). Bahu-hathika-asana the blessed many I I Raghu-varhSa (ed. Cal. Bibl. 134), (see (7, 141). : Asaneshu vivid heshvaslnah padmasana, II : Suchau dese pratishthapya sthiram asanam atmanah (6) Nalopdkhydna (ibid.) 5, (5, 94). I Sthapayed asane tasmin iva nah karye kshane nrinam Cf. ; ! Rajno mahatmike sthane sadyah sauchaih vidhlyate Prajanaih parirakshartham asanam channa-karanam (7) 32 7, 4, Rahah sthanasanam (8,357) and Kumara-sambhava (7,12) Sampraptaya tvathithaye pradadyad asanodake (3,99) nam svakam ; ; : asaneshupakalpiteshu (3,208) ; 27 (i, 8, I 5> etc -)- (4) Manu-Sarhhitd (ibid.) Sahasana 15, 33) (4, II Mahadeva elephants are bhagavato (under the Mahadevasa banyan tree) ' The seat of Bahuhastika (where worshipping).' (Bharaut Inscriptions, no. 160, Ind. Ant., xxi, p. 239.) ASANDA ASANDI "1 A /chairs, a throne-like seat, large couches, cushions, rectangular chairs, a throne carried by four settee, persons (Digha Nikaya n, 23 ; Chullavagga, vi, 14, i ; Mahdvagga, v, 10, 3. See Child ers Dictionary, Rhys Davids and Oldenberg, Buddhist Sutta, 27, kings. wooden frame-work 556; 12.) 197, 2-09), with (A.-V., xv, 3, Ait. Bra. viu, 66 for chiefs and THt WIDTH OF THIS rOUHIXtlOHMASB TAKEM T06t SCUNTS INDRA-KILA. ISHTAKA C 5 DWARF PILLAR. MINOR PILLAR. J UPA-PADA. or r^r 3XX 77? s: ELEVATION. PLAN fagtet UPANA UPANA FORT GATE-AVAY INDRA-KOSA. S7 INDRA KlLA(-KA) HINDU ARCHITECTURE ASTHANA-MANDAPA an audience-hall, a (see sitting ground with a pavilion in under MANDAPA) An assembly room, room, a drawing room, a recreation it. Asthana-mandapam chaiva chatur-dikshu vidikshu cha (1) I (M., xxxn, 73.) Samasram vatha vedasram kuryad asthana-mandapam I (M., xxxiv, 208.) Asthana-mandapam kuryat pushkarinyam cha vayave I (M., XL, Riksha-bhallata-someshu bhaved asthana-mandapam (2) 1 18.) I (Kamikagama, xxxv, 191.) Draksharama 33) under MANDAPA. (3) See first 3 2 9> (4) A pillar Inscrip. i, 9, Ep. Ind., Vol. iv, pp. hall (Vanapalli Plates of Anna-Vema, v. 10, Ep. Ind,, Vol. in, PP- 61, 59). Cf. Asthana-sila-mandapa (First Draksharama pillar Inscrip., line 9, Ep. Ind., Vol. iv, pp. 329, 330). The curious long series of subterranean (5) Of' chambers to the west of Chitaldoorg, now forming part of the Ankli matha, are deserving of notice. They are approached by a good stone staircase, which In these are leads down to rooms of various sizes at different levels. shrines, lingas, baths, and pedestals, the latter apparently for yogasana.' (Ep. Carnal., Vol. xi, Introduct., pp. 31-32.) ASYA A facia. 1 IKSHU-KANTA A class of the six-storeyed buildings. (M., xxiv, 55, INDRA-KANTA A class see under PRASADA.) of the four-storeyed buildings, and of the gate-houses. (M., xxn, 60-88, A class of gate-houses. INDRA KILA(-KA) A (M., xxxni, 558, see see under PRASADA.) under GOPURA.) pin, a nail, a bolt. Phalaka bhajanordhve tu tad-urdhve chendrakllakam Tatah pratima-samyuktam sthapayet sthapatir budhah I (M., An iron bolt : aratnir indrakilah the iron bolt is xii, 125-126.) one cubit long. (Kautillya-Artha-sdstra, 67 I Chap, xxiv, p. 53.) AN ENCYCLOPAEDIA OF INDRA-KO^A A projection of the roof of a house forming INDRA-KOSA INDRA-KOSHTHA Ja kind of balcony, holes or jali work in "1 arches, crenelle, an opening in a parapet tri-dhanushkadhishthanarh Attalaka-pratoli-madhye chhidra-phalaka-samhatam for shooting through. itindrakos"aih karayet Chap, xxiv, (Kautillya-Artha-sdstra, ISHTAKA Brick, a sapi-dhanach- I p. 52.) burnt (pakva, Sat. Bra., vi, i, 2, 22 ; vii, 2, i, 7), naturally perforated (svayamatrinna, Tailt. Sam., iv, 2, 9 ; 3, 2 etc., v, 2, 3), of all colours (Taitt. Sam., v, 7, 8), building material, ; Sam., iv, 4, 5 ; v, 3, 9), cornerless conical (choda, Taitt. Sam., iv, 4, 3), gold(vikarni, Taitt., v, 3, 7), headed or enamelled (vamabhrit, Taitt. Sam., iv, 2, 9; v, 5, 3), circular (mandala, Tattt. (kumbha, pot-shaped Taitt. Sam., v, 6, Thus i). the brick- laying was already a developed art in the age of the Tajurveda (1000 B.C.). But in 3000 B.C. burnt bricks were in use in Mohen- jodaro, etc. darubhih (M., xxx, 95.) cheshtake dva-dasantatah Eka-dva-dala-bhumyantam Harmyam nirmanato vakshye prathameshtaka-lakshanam Silabhis cheshtakair vapi (i) . . . I | (M., xn, 188-189.) Trinadi-nirmitarii yo dadyat paramesvari (a) I Varsha-koti-sahasrani sa vased deva-vesmani Ishtaka-griha-dane tu tasmach II chhata-gunam phalam Tato'yuta-gunam punyam sila-geha-pradanatah I II (Mahanirvana-Tantra, xin, 24, 25.) ' The following written declaration (vyavastha) is (also) granted the Mansions of burnt tiles (bricks) may (for guidance of the donee) be built (without special permission) with the written declaration thus denned (the village) was placed in the (hands) of the assembly (3) : ; as a deva dana, with Yajfiesvara (temple).' Vol. ii, p. 512.) all . . . immunities, to the (God) (Velurpalaiyam plates, lines 47 Mahadeva to 63 ; of the no. 98, K. S. I. I., ' (4) Mansions and large edifices may be built of burnt bricks.' (Tandantottam ' (5) The bricks, which ing 12 inches Plates, no. 99, lines 26-38 : K. S. I. /., Vol. n, p. 531.) walls of the temple ... are in great preservation, the compose them, are of well-burnt red earth, each measur- by 7 and i| thick, disposed with about one-eighth of an inch of chunam between them, and the layers, being quite even, look as if the plaster had just been stripped off.' 68 THL 51TL PLANS UGRAPlTHA PUN OF 36 PLOTS VMU HINDU ARCHITECTURE UGHCHHRAYA Lieutenant Fagan (Cylon Government ' I will leave to the curious in it August Gazette, describing about twenty buildings (temples burnt bricks concludes : and 1820) after of such i, made edifices) Ceylon antiquities to discover the reason that the people, who built these great edifices, should take the trouble of making so many millions of bricks for the work, where there was tion in the Topary, abundance of fine stone well calculated for their construcimmediate neighbourhood.' (An account of the ruins of Ind. Ant., Vol. c. 2, line xxxvin, p. no, 12 f. ; c. 2, para. 2.) I ISA-KANTA A class of the eleven -storey ed buildings. (M., xxix, 10-11, ISVARA-KANTA A site-plan, a A site-plan in which the whole squares . class area under PRASADA.) see of buildings. is divided into . . chaika trimsat-vidhane tu I Eka-shashti-samadhikyam padam nava-s"ata-yutam Isvara-kantam syat ... Evam I I (M., A class 961 equal : vii, 46-48, further context under PADA-VINYASA.) see of the four-storeyed buildings. (M., xxii, 44-46, see under PRASADA.) u UGRA-JATI of certain Base-born, people of low castes, for are prescribed. whom buildings number of storeys (M., UGRA-PlTHA A which the whole area site-plan in into 36 equal squares. (M., vn, UCHCHHRAYA A 7, see is xi, 138.) divided further details under PADA-VTNYASA.) kind of pillar, pillars of victory. (raised Giri-s'ikhara-taru-talattalakopatalpa-dvara-s'aranochchhraya Kielhorn quotes also Drs. Indraji and Biihler who places of shelter) translate Parana ' victory ' by ' shelter ' and ' ' uchchhraya by ' pillars of '. (Junagadh rock Inscrip. of Ep. Ind., Vol. 69 vii, Rudradaman, line 6, pp. 43, 46 and note 3.) AM ENCYCLOPAEDIA OF UNHISA UNHISA A headline running along the top of the banisters, a end of such a head line. figure-head at the lower (Rhys David's Buddhist Sutta, p. Sudassanasutta, UTTAMA-NAVA-TALA A sculptural measurement i, 262 59.) in this sys- : tem the whole height of an image is divided into 112 equal parts which are proportionately distributed among the different parts of the body from head to foot. The measurement of breadth of the various limbs is not included in these 112 parts. The measurement of the arms is also excluded from these. For details, see M., LIX, 14-64, UTTAMA-DA&A-TALA A whole height of an image is under TALA. measurement sculptural generally divided into (M., LXV, 2-179, UTTAMBHA A see 1 in which the 20 equal parts. under TALA.) details kind of rectangular building. w. 21-22 under PRASADA.) (Garuda-Purana, Chap. XLVII, 26-27, see UTTARA A rectangular moulding, a fillet. (For its synonyms, see M., xvi, 56-58 below.) It is used sometimes to signify the whole architrave or the beam, i.e. the lowest division of the entablature, which extends from column to column also applied to the moulded frame which bounds the sides and head of a door or window open; member of the pedestal and entablature and resembles the corona or the square projection of the upp er part of the cornice, having a broad and vertical face generally It also denotes a particular ing. plain. (Cf. ( i) Mdnasdra Ram Raz, Ess. Arch. Hind., p. 25.) : A crowning moulding of the pedestal : Uttaram charhs'akarh chordhve kshepanardhadhikambujam Uttaram chardha-kampam syat tad-urdhve cha saro-ruham (M., xni, 67, 76, A etc., see the I I lists of mouldings under UPAP!THA.) similar moulding of the column Adhishthanoparisht(h)at tu chottaradho'vasanakam Upapithoparisht(h)at tu janmadau chottarantakam Padayamavasanam cha adhishthanodayena cha : I I I (M., xv, 7-9.) 70 UPA.VEDI. UPA-VEDI. .UTTARA f I UTTARA. UTTANA-PATTA. Page 70 U PA TULA. UFA TULA. Page 71 HINDU ARCHITECTURE A UTSAVA moulding of the entablature Uttarordhve chatush-pancha-shat-saptashtakam bhavet similar : Purva-bhagika-manena chottarochcharh gunamsakam I I etc., see the lists of mouldings under PRASTARA.) (M., xvi, 30, 59, Its (or terms of similar signification) synonyms : Uttararh bhajanam adhararh adheyam s"ayanarh tatha Uddhritarii cha murdhakam chaiva mahatauli svavarhsakam I etat Prachchhadanasyadharam paryayam iritam I I (M., xvi, 56-58.) (2) Vdstu-vidyd, ed. Ganapati Sastri, ix, i : Atha vakshyami samkshepat pada-manam yathavidhi Uttaropanayor madhya-gatam etat praklrtitam II Kdmikdgama, (LIV, see under STAMBHA) The moulding at the top of the entablature. I (3) (4) : (xxxi, 107, see Suprabheddgama of a column. STAMBHA) : A crowning moulding UTTAROSHTHA under STAMBHA) The upper lip, the (see ovolo or the moulding above the cavetto or mouth (see Gwilt., Encycl fig. 867, and also the list of mouldings in the five orders, , e.g. Art. 2553). Stambharh navadha vibhajya bhago'nyah vahanarh bhago ghato'sya I Padmarh tathottaroshtharh kuryad bhagena it (Brihat-Samhita, UTTANA-PATTA A LIII, 29.) pavement. ' chottana-pattam sakala-kanakhale . yas" chakara made a broad pavement of (stone) slabs in the whole of Kanakhala.' Vyddham . (An Abu . inscrip. of the reign of who Bhumadeva II, v. 9, Ind. Ant., Vol. xi, pp. 221, 222.) UTSAVA in (J^UTSEDHA) The height of a draught animal (vahana) comparison with that of the idol of whom the former is the vehicle. (i) Mula-bera-vas"arh Brahma AnyaiS Evam manam utsavodayam iritam I (M., LV, 34.) vishnu(s cha)-rudranam buddhasya ja(ji)nakasya cha cha manam tu samgraham . . . tu chotsavadlnam I I sthavara(m)-jamgamadinam I (M. LXIV, 91-93.) 7 1 UTSAVA AN ENCYCLOPAEDIA OF Vihanga-raja-manaih cha lakshanam vakshyate'dhuna Mula-bera-samottunga(m) tat-tri-padardham eva va Utsavochcha-samarh vapi dvi-gunam tri-gunam tu va Tri-gunam vadhikarh vapi tach-chatur-gunam eva va Evam navodayam proktam uttamadi trayarh trayam I I I I I (M., LXI, 1-5.) Vrishasya lakshanam samyag vakshyate'dhuna Vayor abhimukharh sthapyarh pithe va chotsave'pi va I Vimane mandape vapi charopari parinyaset I (M., LXII, 1-3.) I Three types Mula-berodayam s"reshtha(rh) tri-padam madhyamam bhavet Tungardham kanyasam proktam tri-vidham chotsavodayam : l I (M., LV, 35 -36. Berotsedha-samarh ^reshtham karnantam madhyamam bhavet Bahvantaih kanyasam proktam utsavam vrishabhodayam I I Lxn, 10-11.) (Af., Nine kinds : Evam lihga-vas"at proktam vishnu-bera-vaso(ad u)chyate Mula-bera-samam vapi netrantam va putantakam Hanvantam bahu-slmantam stanlntam hridayantakam Nabhyantam medhra-simantam nava-manam chotsavodayam Tad-ardham kautukotsedham kanyasadi trayam trayam I I I I I (M., LXIV, 2 4-28. Athava tena mancna shoda^am^am vibhajite Ekaikams'akam tasmat pancha-vim^amsakantakam Kanyasad uttamantam syan nava-manam utsavodayam Athava mula-berasya kesantarii tu bhruvantakam Netrantam nasikagrantam hanvantam bahu-simakam Stanantam hridayantam cha navyantam cha navodayam Kanyasad uttamantam syat nava tad utsavodayam Utsave chardha-manena kautukodayam iritam I I I I I I I I Tan-manam chashta-bhagaikam nava-bhagavasanakam I Kanyasad uttamantam syan nava-manam kautukodayam I (M., LV, 37-46. It is measured in the idol's finger : (M., LV, Mula-berangularh chaiva manayed utsavodayam Tat-tan-mana-vasat kechin mula-bera-vasan nayet I 55.) I Utsave chotsavam proktam angulam mana-vi^vatah | (M., LXI, 21-22.) 72 UTSEDHA HINDU ARCHITECTURE UTSAVA-MANDAPA A See under MANDAPA and festive hall. cf. : sriramabhadraya Gopura-prakarotsava-maihtapair upachitarh of Krishnaraya, (Kondavidu Inscrip. v. 27, Ep. Ind., Vol. vi, pp. 237, 231.) UTSAVA-VIGRAHA Images for procession, idols to be carried in procession. idols to be carried Utsava-vigrahala samarpimchi-' presented cession m pro '. (Kondavidu v. 28, lines 118-119, Inscrip. of Krishnaraya, Vol. vi, pp. 231, 232, 237.) Ind., Ep. called The height santika, paushtika, are adbhuta and respectively they or dhanada, jayada, sarvakamika of it. i the breadth, J, i\, i J and twice equal to under ADBHUTA.) (See M., xxxv, 22-26, UTSEDHA MANA) (see : , height of a buidling the top of the dome The is stated to be measured from the basement to : (M., xxxv, 26.) Utsedharh janmadi-stupikantam are significant. The technical names of the proportions of the height helght is the The first one is called Santika or peaceful. In this proportion xxxv line 22) and this is aesthetically a gracefu equal to the breadth (M., be one is called 'paushtika' which might proportion. The second ' ; or perfect. In this proportion rendered as strong, eminent, rich, complete, and this would give the height is 1 1 of the breadth (ibid., line 22) ' is called one The third jayada or joy-giving. building a good stability. and this line 22) In this proportion the height is i* of the breadth (ibid., two names, to the building. The fourth one has gives a pleasant appearance In ' or dhanada wealth-giving. and sarva-kamika or good in every way, and line according 23) this proportion the height is if of the breadth (ibid., ' this would make the sarvakamika term the of to the literal meaning ' ; ; ; ' ' ' ; adbhuta beautiful. The fifth or last one is called building strong as well as breadth the twice is (ibid., In this proportion the height or marvellous. and loftiness gorgeous look line 22) ; and this would give a wonderful to the building. The comparative structure is height of the component technically called 'ganya-mana.' members of an The architectural details thereof will be found under GANYA-MANA. Six (full kinds height of measurements of the image), are an image prescribed for pramana 73 (breadth), parimana : mana (width UDAPANA AN ENCYCLOPAEDIA OF lambamana (length by the plumb-lines), unmana and upamana (measurement of the interspace, e.g. between the two feet, M., LV, 3-9, see under MANA). Of these, mana or height is stated to be with nine objects such as the adytum, door, compared basement, and the height of the worshipper, etc. (ibid., lines 11-14, see under MANA). In each case, the height of the idol admits of nine kinds or circumference), (thickness) as made equal it is to nine successive parts of the object (ibid., lines 15-33). with the worshipper, it is equal to his full height, When compared reaches his hair-limit (on the forehead), nose-tip, chin, shoulder), breast, heart, navel and sex-organ arm-limit (to the : Kanyasad uttamantam syad yajamanodayam param KeSantam nasikagrantaih hanvantam bahu-slmakam Stanantarh hridayantarh cha nabhyantam medhra-simakam Navadha kanyasantam syat sthavaram jangamodayam I I I I (M., LV, 30-33.) The height of the riding animals (vahana) of the gods is divided into two kinds, utsava and kautuka (see details under these terms). The latter is stated to be half of the former, any other independent signification. and it does not seem The former is to bear with compared the height of the main idol, exactly in the same way as the idol is compared with the height of the worshipper (see e.g. M., LXIV, 24-28 LV, ; under UTSAVA). 40-43, UDAPANA A well, a pool or pond near a well. Ima-kshayamada-pushkaranlnam paSchima-pushkaraniih udapanaarama-stambhah (Mathura inscriptions, no. i, line 2, Cunningham, Arch. I Surv. Reports., Vol. m, p. 30.) See Bhdgavadgltd, n, 46. UDUMBARA The threshold of a house, a door. Uchchhrayat pada-vistlrna Sakha tad-vad udumbarah ' the side-frame of the door has a breadth of J of the altitude likewise the threshold.' sardham tat Sakha-dvaye'pi karyam syad udumthe of thickness the two side-frames of a door is as many digits barayoh (angulas) as the altitude numbers cubits, one and a half that measure gives the thickness of the threshold and upper timber.' (1) ; ' (Bfihat-Sathhita, J.R.A.S., N. ' (2) Garbha-griha-udumbara-pramana and the threshold'. MSS., Egg. 3147, 2253 S., LIII, 26 j LVI, 13, Kern, Vol. vi, pp. 284, 318.) measures of the central hall (Prdsddamandana-Vdstu-^astraofSutra-dhara Mandana, fol. 150.) 74 HI, UDYANA HINDU ARCHITECTURE Plaksha-dvaram bhavet purvarh yamye chodumbaram bhavet T^he back-door should be at the east and the udumbara or front-do or I (3) (Matsya-Purdna, Chap. CCLXIV, v. 15.) at the south'. Tatha dvi-guna-vistlrna-mukhas tad-vad udumbarah Chap. CCLXX, (Ibid., (4) I Vistarad dvi-gunarh dvararh kartavyarh tu susobhanam Udumbarau tad-urddhvarh cha nyasech chhasnarh (?) galaih v. 20.) I suman II Dvarasya tu chaturthamse karyau chanda-prachandakau Visvak senavat sadantau sikharddhodumbara-sriyarh II II (Agni-Purdna, Chap. XLII, vv. 19-20.) Bhavishya-Purdna (Chap, cxxx, v. 20) ' except that it reads udumbarl in place of (5) ' ' has the same verse as (i) udumbarah in the Brihat' Sarhhitd. (6) New See Architecture, ornaments, Chalukyan Imp. Series, Vol. xxi, plates CL, figs. 2, 3. UDDHRITA A synonym of uttara or a crowning UDBHUTA A see (cf. A ARAMA) Esha natipratita Ayodhya 22-26 under LINOA.) : me punyodyana dris"yate see pleasure-garden. n, 71, 21 Rdmayana (Cock) Ibid., under UTTARA.) kind of phallus. (M., LH, 226, 233, 236, 238, 241, UDYANA durat ... yaSasvim I II : Udyanani hi sayahne kriditvoparatair naraih M Samantad vipradhavadbhih prakas"ante mamanyatha Tanyadyanurudantiva parityaktani kamibhih 1 I 1 Aranya-bhuteva puri sarathe pratibhati mam Nahyatra yanair dri^yante na gajair na cha vajibhih Niryanto vabhiyanto va nara-mukhya yatha pura Udyanani pura bhanti matta-pramuditani cha Jananam rati-samyogeshvatyanta-gunavanti cha I I 1 1 I Tanyetanyadya pasyami niranandani sarvas"ah Ibid, n, 67, Surv., fillet. (M., xvi, 56-58, (i) Arch. jamb 19 II : Narajake jana-pade vahanaih Sighra-vahibhih Nara niryantyaranyani naribhih saha kaminah I 75 II 1 1 AN ENCYCLOPAEDIA OF UNMANA pleasure-garden, on the Dharagiri Lilodyana or pramadodyana hill, the scene of the second Art. (2) (Dhar Prasasti of Arjunavarman, 12, 31, verse 30, lines 36, 75, lines 6, Ep. Ind., Vol. VIH, pp. 99-100.) UNMANA The measurement of thickness or diameter. MANA) (see (M. LV, 3-9, y under MANA.) see Atah-pararh pravakshyami manonmanarh vis"eshatah I (Matsya-Purana, Chap. CCLVIII, v. 16.) Manarh unmanam naham tad-vistararh proktarh eva cha Pramanarh dirgham ityuktarh manonmana-pramanatah II II (Suprabhedagama, xxxiv, 35, 36.) UPAKANTA A class of the six-storeyed buildings. see (M., xxiv, 16, UPATULA (see TULA) A part of the column. (Brihat-Samhita, UPATALPA An upper under PRASADA.) room on storey, a LIII, 30, see under TULA.) the top of a house. n, (Raghu-vamsa, xvi, UPADVARA The etc.) smaller door. (See Mdnasara, ix, 306, 309, 354, 360, under DVARA.) Upadvaro(ramu)ktavat kuryad vishnu-dhisnam tu paschime I (M., ix, 109.) Chatur-dikshu chatur dvaram upadvaram antaralake I (M., xxxi, 77.) UPADHANA UPAPADA (see A pillow, under SAYANA) The upper an or dwarf pillar which article is of furniture. subordinate to a larger column. Upapadani sarvesharh purva mula)-pade tu yojayet dvi-try-upapadena sarhyutam (? Ekopapada-sarhyuktam Vedopapada-sarhyuktarh brahma-kantam Iritam (cf. PITHA) The pedestal, The pedestal I I (M., xv, 239, 242, 244, UPAPITHA I see also 245, 247.) the upper pedestal, the is the lowest division a site-plan. in an order of columns, called also stylobates and stereobates. It the the consists of three principal parts die, cornice, and the base. outer surface, ' (i) pilaster, The but not only placed under the base of a column or frequently employed, both singly and together with the pedestal is 76 THL 5iTL PLXNS U PA-pJTHA PLAM OF ZS PLOTS JAABUT HINDU ARCHITECTURE UPAPlTHA a pavement for temples and porticoes, over cornices of edifices consisting of several storeys in height, and also as a platform for thrones, latter, as and as seats for statues.' In a Tamil fragment of a manuscript, of Mayamata, it said that is divided into four and parts, purporting to be a translation ' the height of the shaft or pillar is to be one to be given to the base which may or may not be accompanied by a pedestal, and in the case where a pedestal is joined to the base, the height of the pedestal may be either equal to that of the base, or twice, or three times as much. Here, the greatest height, given to a pedestal, namely, three times that of the base, is equal to a little more than a third part of the highest column, which is not perhaps a bad proportion.' (Ram Raz, (2) Kdmikdgama, xxxv Ess. Arch. Hind., pp. 23, 26.) : Tad-varddhitopapitharh va tad-varddhita-masurakam Adhishthanadi-shad-vargarh tan-manam upapithake (3) Suprabheddgama, xxxi, 12 II II (115). (122). : tri-gunam garbhaiii ta(t)-tri-bhagaika-bhittikam Sarhvikshya sama-bhumis' ched upapitham prakalpayet II Pithasya (4) Mdnasdra A : in which the whole area under PADAVINYASA) site-plan squares is divided into 25 (see iti smritam (M, sutra-sthitan devan padastharhs chopapithake In connexion with foundations Ekamsam nayet equal : Panchamam pancha-panchamsam upapitham Evam I I vn, 6.) (ibid., 70.) I : koshtha-bhittyuchchhra(ya)rh ghanam prag-uktavan- I Upapitham pade devan koshtham chokta-kramam nyaset I (M., XH, 38-39.) In connexion with the ' ' pita or yoni part of the linga : Athava kumbha-dig-bhagarh padma-tunga(m) yugarhsakam Sesham prag-ukta-vat kuryad upapitham prakalpayet The pedestal of the column (M., xm, 2-156) I : Its situation : Adhishthanonnate dese chopapitham hi samsritam Its heights (cf. also I Mayamata, quoted above) Ete tattvam adhishthanam tach-chatur-amsakam Vibhajet tvadimamsena ekaikamsam vivardhanat Tad ashtamsavasanaih (2) : syaj 77 janmadi-pattikantikam I I I I UPAPITHA AN ENCYCLOPAEDIA OF Evam tu chopaplthochcham navabhir bhedam Athava kshudra-harmye tu chatur-bhagarhs"am iritam I unnatam Dvi-bhagam va tri-bhagam va chatur-bhagam athapi Pancha-daSodayam vapi ri(s"a)ntikadi-sarodayam I va. I I (3~9 The general description ftt also 10-15, under UTSEDHA.) : Bhaga-padadi-sarvesham udgrivaih vastu-vaSan nyaset Padanam api sarvesham patrajatibhir alahkritam Antre natakair yuktam padmanam tu dalair yutam I I I Chatur-asYakritim chaiva prathamadin kampa-vajanaih Athava ratna-pushapas' cha patradyair alankritam syat Anyair yuktam svalankritya prativajana-de^ake Prativajanakam tesham krite karkarikritam Anyena vantaram chaiva vyala-sirhhadi-rupakaih I I I I I Khadgeva Srohi-samyuktam vrittasram pushpakair yutam Anyanyamuktarh cha sarvesham yuktya tatraiva yojayet (145-154). I I Sixteen types of pedestals are described under three technical names, details whereof are given below (37-127). (The mouldings are arranged in the successive order, as given in the text, I. Vedibhadra (a) (b) 24 parts 27-53) : Parts : (1) Upana (2) Kampa (3) Griva (dado) .. .. (4) Kampa . . (plinth) (fillet) (fillet) (5) Vajana (fillet (6) Kampa (fillet) 12 parts .. .. .. . . . . . . . with greater projection) . . . . . . i . . 4 . . i .. 2 . (2) (3) Kampa .. . . . . . (fillet) .. .. .. .. .. (5) Kantha (dado) Kshepana (projection) .. .. (6) Padma (cyma) (7) Pattika (fillet) Kampa (fillet) (8) 12 parts i ..12 .. (4) 5 : Janman (plinth) Padma (cyma) (1) (c) (lines from bottom upwards.) . i $ 5 .. i| . . .. . . . i . . . . . . \ . . . . . . \ : (1) Paduka (2) Abja (cyma) (plinth) (3) Kampa (4) Griva (dado) (fillet) 78 .. ... .. ij .. .. .. i| . . . . . .. .. .. . J 5^ HINDU ARCHITECTURE UPAPlTHA Parts (d) (5) Kshepana (6) Padma (cyma) . . . . . . \ (7) Vajana (fillet) . . . . . . i (8) Kampa (fillet) . . \ 12 parts (projection) . . . . . . . . . . : (1) Upana (2) Abja (cyma) (3) Kampa (plinth) . .. .. .. . . , . . . . . . . . . i . . . 5 i . (fillet) (4) Karna (5) Pattika (6) Kandhara (dado) . . . (7) Kampa (fillet) .. .. .. (8) Vajana (fillet) .. .. ..2 (9) Kampa . . (ear) . . (fillet) These are suitable (fillet) for all . . kinds of buildings . . : Sarva-harmyeshu yogarh syad vedibhadram chaturvidham Pratibhadra (lines 53-89) II. I (52) : (a) 26 parts Parts : (1) Janman (2) Kampa (3) Abja (cyma) . . (4) Kampa . . (5) Griva (dado) . (6) Kampa . (7) Ambuja (cyma) (8) Kampa (9) Antarita (plinth) (fillet) (fillet) (fillet) 32 parts .. . . . . (fillet) (fillet) (10) Prati-vajana (cavetto) (b) .. . .. i 2 . . . . , . . . . . . . . . . . . .. .. . . . . 3 . . i 1 1 . . i . . 2 .. . 3 . i .. .. .. i .. .. .. 2 . . : (1) Janman (2) Kshepana . . . . . (3) Padma (cyma) . . . . . (4) Kshudrabja (small cyma) . . . . | (5) Kampa . . (6) . . J 2 (7) (8) (9) (10) (plinth) (projection) z\ . . . . Kandhara (dado) . . . . Kampa .. .. Abja (cyma) .. .. Pattika .. .. ..2 .. .. .. (fillet) (fillet) (fillet) Padma (cyma) 79 .. | UPAPITHA AN ENCYCLOPAEDIA OF Parts (u) Kampa (fillet) (12) Kandhara (dado) (15) Kampa Padma Kampa (16) Kandhara (dado) (if) (14) (17) Uttara (fillet) (fillet) Kshcpana (19) Ambuja (cyma) (20) Kapota (corona) (projection) Alinga (fillet) (22) Antarita (fillet) Prati-vajana (cavetto) 33 parts Janman (2) Kampa (3) Padma (cyma) (4) Kampa (5) Kandhara (dado) (6) Kampa (7) Ambuja (cyma) (8) Vajrakumbha (round Dala (petal) (9) (plinth) .. 10 .. .. | .. .. j .. .. .. z .. .. .. i .. .. .. .. .. .. .. .. .. .. .. z .. .. .. ij .. .. .. 3| .. .. j . . . It 3 .. .. (fillet) (fillet) j . j (fillet) .. .. J . . . 2 .. .. .. f .. .. .. 5 .. .. ..2 pitcher) Gala (dado) (u) Uttara (fillet) (12) Ardha-kampa . .. j .. 7 (13) Saroruha (cyma) .. .. .. i (14) Kapota (corona) .. .. .. 3 (15) Alinga (1 6) (half-fillet) (fillet) Antarita (fillet) (17) Prati-vajana (cavetto) (d) .. .. : (1) (10) .. (fillet) (21) (e) .. (cyma) (18) (23) .. .. 33 parts .. .. .. j" .. .. .. r j : (1) Janman (plinth) .. .. .. 2J (2) Kampa (fillet) .. .. .. j" (3) Padma (cyma) . . . . (4) Kampa . . . . (5) Karna (fillet) . . 3 j (ear) (6) Kampa (7) Ambuja (cyma) (fillet) 80 .. .. .. j . . . . . | . Hl.VDU ARCHITECTURE UPAPTTHA lUtna-patta (jewdled (8) U-'-.-<. << filet) .. frrito] .. .. \ .. .. .. \ J .. .. i .. .. (10) Ksfaepana (projection) .. (n) Kar9a(6K) .. .. (w) KjfaefKua (projection) (13) Ambaja (cyma) (14) KAe{pa (15) Ka*ha (16) Uttaza (17) .. ...... (projection).. (dado) (fillet) .. Aidk^aMpaCkaM^let) Ambuja (cyma) (19) Kapota (corona) (21) Antarita Vajana (23) .. , ,. .. | .. .. (fiDetj C *X<Cof kings (91) 1 (fines \ 2 | (fillet) Maacfaahbadia i .. .... (18) (20) Afinga (filet) HI- J 90-124) AM ENCYCLOPAEDIA OF UPAPlTHA (b) 31 parts Parts : Upana (2) Kampa (3) Saroruha (cyma) (4) Kshepana (5) Kampa (6) Karna (7) (8) (plinth) (fillet) (projection) (fillet) (ear) Ambuja (cyma) Gopana (beam) (9) Prati-vajana (cavetto) (to) Gala (dado) (n) Uttara . . \ . . . . . . 3! 3 .. .. .. .. .. J .. .. .. | .. .. .. .. .. .. i| aj . . . . . . 3 . . . . . 8 . .. i .. .. \ .. .. .. i .. .. .. 3 .. .. .. .. .. .. .. .. i\ (plinth) .. .. .. 2 (fillet) .. .. Kampa Abja (cyma) Kapota (corona) (fillet) (fillet) (fillet) (17) Prati-vajana (cavetto) 32 parts . .. (16) Antarita (e) . .. (13) (15) Alinga .. . .. (fillet) (12) (14) .. . .. (1) \ : (1) Upana (2) Kampa (3) (4) Mahambuja (large cyma) Kshudrabja (small cyma) (5) Kampa (6) Antarita (7) Kampa (8) Padma (cyma) . (fillet) (fillet) . 2^ . .. .. ij . . . . \ . . . . 2 . . . . . . \ . . . . . . \ . . . . . . i . . (fillet) (fillet) (9) Pajtika . \ . . (10) Padma (cyma) .. .. .. (n) Kampa .. .. .. (12) Gala (dado) .. .. .. .. .. \ .. .. .. \ .. .. .. \ .. .. \ .. .. .. \ . . . . . \ (13) Uttara (fillet) .. (fillet) (14) Kampa (15) Ambuja (cyma) (16) (fillet) Ardha-kampa (half-fillet) (17) Prati-vajana (cavetto) (18) Antarita (19) Karna (20) Uttara (fillet) . \ \ 5 .. .. .. 3 (fillet) .. .. .. i (fillet) .. .. \ ... . . \ (ear) (21) Kampa (22) Padma (cyma) 82 HINDU ARCHITECTURE UPAPlTHA Parts (23) Kapota (corona) (24) Alinga (fillet) Gala (dado) (27) Uttara 34 parts (d) . . (fillet) Janman (2) Kampa (plinth) (fillet) (3) Abja (cyma) (4) Kshudra-padma (5) Kampa (7) (8) Kampa (10) . . (fillet) Padma (cyma) Amsuka (filament) (n) Kapota (corona) (12) Antara (fillet) (13) Karna (ear) 14) Uttara (fillet) ( . . . . . . 3 . . , . . . . . . . . . . 2 . . . . . . i \ .. .. .. 3 .. .. .. \ .. .. cyma) 3 .. .. .. .. .. . . . . . . . . . . i ... . . . . \ .. .. .. \ .. .. .. z .. .. .. ij .. .. ..6 (small (fillet) Gala (dado) Antara (fillet) (9) . : (1) (6) . (fillet) (25) Antarita (26) . \ 7 and . . . . . i . (15) Kampa (fillet) .. (16) Abja (cyma) .. Gopana (beam) Vajana (fillet) .. .. .. .. .. .. .. ..2 (17) (18) Projections (lines 125-144) The .. .. \ J 3 : projection of the plinth (and other members) equal to the is moulding, larger by one-fourth, one-half, three-fourths, or twice Tat-tad-angani sarvesham upanadi tathakramam Tat-samam nirgamam vapi tat padadhikam eva cha : I Tad ardhadhika-bhagam vapi tat tri-bhagadhikam Tat samadhikam evam va padad upana-nirgamam I tatah I I (128-131). Janma-nirgamam evoktam padma nirgamam ishyate (138). The projection of the cyma is not up to twice of it Tungarh tat-samam evam va padadhikyardham adhikam Padonadvi -gun aril vapi padmam evam tu nirgamam (139-140). Upamanasya manena yuktya padmasya tu nirgamam (142). I : I I I The projections of the other mouldings are (generally) equal to Kshudra-padmani kampani tat-samam vatha nirgamam Pattikadini sarvani tat samam nirgamam bhavet 83 | them I (143-144). : AN ENCYCLOPAEDIA OF UPAPITHA The projection of the (whole) pedestal (lines 20-35) The height of the pedestal is divided into 3, : 4, 5, 6, 7, 8, 9, 10, n, of these i, 2, 3, 4, 5, 6, 7 or 8 parts are 12, 13, 14, or 15 equal parts ; But the choice of that proportion which projections (lines 20-26). would make it look beautiful is left to the discretion of the artist : Purvarh nirgamarh proktarh yan-manoramyam anayet The extent of projection I (26). : Nirgamam chopapitham(thasya) syat pada-bahyavasanakam I (34). These pedestals of the Indian architecture may be compared, in the for a general following pages, with those of the early European orders, knowledge of the subject. be considered a component part of an order is of little importance. There are so many cases that arise in that we designing a building, in which it cannot be dispensed with, think it useful to connect it with the column and entablature. Vitruvius, in the Doric, Corinthian and Tuscan orders, makes no mention Whether the pedestal ' (5) is to of pedestals, and in the Ionic order he seems to consider them rather as a necessary part in the construction of a temple than as the order itself.' (Gwilt, Encycl, Art. 2601.) belonging to The height of the podium, or pedestal, with its cornice and base, level of the pulpitum, is one-twelfth part of the diameter of the orchestra (in a theatre). The columns on the podium, with their ' from the and bases, are to be one-fourth of its diameter high. The and cornices of those columns are one-fifth of their height. The upper pedestal, including the base and cornice, is half the height of the lower pedestal. The columns on this pedestal are one fourth capitals architraves less in ' height than the lower columns.' The architrave and its cornice are one-fifth of the columns. If be a third order, the upper pedestal is to be half the height of that under the middle order and the architrave and cornice one-fifth there is to of the columns.' (Vitruvius, Book V, Chap, vn.) Tables showing the height of pedestals in ancient and modern works Plinth * Doric (basel Mouldings Die : ..26 Palladio Scamozzi , .. 30 14 80 20 15 88- 22j 84 = = 140 HINDU ARCHITECTURE Ionic UPAPITHA Plinth (base) in Mouldings above minutes plinths Die Cornice Total : Temple of Fortune Virilis . . Coliseum . . Palladio . . Scamozzi . . Corinthian 44 = 93l 33^ 28 14* 30 15 17^ 29 9* 'S 971 150 : Arch of Constantine .. Coliseum . . . . 23 \ Scamozzi . . 30 Composite 153 23 Palladio 15 : Arch of Titus Arch of the Goldsmiths . . 55 141 . . 46 144* Arch of Septimus Severus . . 30 '4<>i Palladio . . . . 33 30 133 Scamozzi '5 I80J i? = AN ENCYCLOPAEDIA OF UPAPITHA II. In the Doric order (Art. 2665) r Cornice, 6 parts . . { i. Listel 2. Echinus 3. HINDU ARCHITECTURE UPAPITHA Height in parts of a module UPABHAVANA AN ENCYCLOPAEDIA OF The ends of the ring (of the Konkadara plates of Allava-Dodda) are secured in the crescent-shaped base of an oblong pedestal which bears a recumbent figure of the sacred bull Nandin, with the symbols of the sun and the moon in front of it. (Ep. Ind., Vol. v, p. 53.) ' One lower pedestal (upapitha), on which this image stood, set with jewels (and measuring) one muram and eleven viral in length, three-quarters (of a muram) and five viral in breadth, and seven viral (7) in height.' (Inscription of Rajaraja, no. 34, para. 6, H.S.LI., Vol. n, p. 144.) 'One pedestal (having or called) an auspicious mark (bhadra). Hiadra, occurs in two other inscriptions in the description of a pedestal (above, p. 223, para. 4 ; p. 225, para. 4).' (V.S.I.I., Vol. ii, no. 79, para. 4, p. 398, note 2.) (8) The word, Ram See Essay on Arch, of Hind., Raz, Plate i, figs. 1-12. See (10) pedestal of statue inside the great temple at Gaya, Cunningham, Arch. Surv. Reports, Vol. i, Plate v, p. 6, ibid., Vol, ix, Plate in (plan and section of pedestal for statues). (9) UPABHAVANA A sub-temple. Caused to be erected a sub-temple (upabhavana) adorned with the images of Hari and GanesV. (Ep. Carnal., Vol. v, Part i, Arsikere Taluq n 79. Transl., p. 142, last two ' - lines.) UPAMANA The measurement of the interspace. UPALEPANA-Plastering. Tad-vasati-sambandhi -nava-karmmottara -bhavi -khanda sam-marjjanopalepana-paripalanadi varsha I, line I (Konnur 37, Ep. Ind., Vol. vi, pp. 31, 36.) Deva-griham karapya punas tasya upalepana (Buchkala Naga Bhatta, lines 17-18, Ep. Ind., Vol. ix, p. 200.) I UPAVANA A Upavanam sphutita- Inscrip. of Amogha- Inscrip. of pleasure-garden, a planted forest. atha chakre tena meghesVarasya sphurita-kusumarenu- s'reni-chandratapa-s'rl i Avirata - makaranda - syanda -sandoha - varshair lilayan-tradharagrihatvam of SvapnesVara, v. 26, II ddhrita -rati -pati- (Two BhuvanesVar Inscriptions, no. A Ep. Ind., Vol. vi, p. 202.) UPAVASANA A coverlet, an upper garment. UPAVEDI The upper or the smaller pedestal, a seat or dais. Suddha-toyena sampurya vedikopari vinyaset Upavedyopari sthapya choktavach chashta-mangalam | | (M., LXX, 41, 45.) UPANA HIJ\DU ARCHITECTURE UPASATHAGARA A building belonging to a Buddhist monastery used for the performance of the priestly ceremony of confession, in which every member of the order is to acknowledge the faults he has W. Geiger MahavamSa, p. 296.) committed. (Childer's 5. F., Kern, quoted by : UPASTHANA A Asthana-mandapa) (cf. reception-room. The meritorious gift of a reception-room (upasthana) by the two men (Junnar Inscriptions, no. 2, Arch. Surv., New Imp. Series, Vol. iv, ' ' P- 92.) UPASTHANA-BHUMI A hall of audience. Pillar Inscrip. . . hall of audience.' whose ' Yasyopasthana-bhumi . of Skandagupta, line i, C. I. /., Vol. in, F. G. (Kahaun Stone I., no. 15, p. 67.) UPANA A rectangular moulding, a fillet ; it corresponds, in the import of the term and the purpose to which it is applied, to the of a column or the plinth or the lower square member of the base projecting base of any moulding (cf. Ram Raz, Ess. Arch. Hind., P- 25). Atha vakshyami samkshepat pada-manam yatha-vidhi I Uttaropanah(-y)or madhya-gatam etat prakirtitam II ' Apparently upanaha is used in the sense of upana.' ' ' (Vastu-vidya, ed. Ganapati Sastri, ix, i.) The bottom of the foundation-pit : Tat-pada-mule dese va tathopana-prades'ake I Kudya-stambhe griha-stambhe harmya-garbham vinikshipet I (M., xn, 130-131.) The moulding (plinth) at the bottom of a pedestal, it is also called Janman Utesedhe tu chatur-vims'at panchamsam upanam Iritam Ekena kampam ityuktarh grivochcham dva-dasarhs'akam : I I Kampam ekam tu vedarhs'am vajanam kampam ariisakam Vedibhadram iti proktam athava dva-das'ariis'akam I I Janma dvayarhs'akarh padam kampam ardhena (M., xra, 36-40, The see the lists karayet I of mouldings under UPAP!THA.) ' moulding of the base is also called janman ': Eka-vims'ams'akam tunge kshudropanarh s'iva.riis'akani Janmadi-vajanantam cha sapta-vimsamSam uchchhrayet Dvi-bhagam janma-tungarii syat tat-samarh chambujodayam similar I I I (M., xiv, 44, 65-66.) It is also called pdduka and vapra, see ADHISHTHANA. 89 the lists of mouldings under UBHAYA-CHANDITA UBHAYA-CHANDITA-A AM ENCYCLOPAEDIA OF site of one hundred and sixty- plan nine square plots. (M. 15-16, vii, cf. URAGA-BANDHA PADA-VINYASA.) (See under ADHISHTHANA)-A class of bases It has four types differing from one another in the height and number of the mouldings. (See the details under ADHISHTHANA.) It like the face of a snake (uraga) and is furnished with two the top (M., xiv, The pitcher-shaped 44). moulding of this class of bases is circular or round. (M., xiv, is shaped pratts at 45.) USHNISHA The top of a building, a diadem, a crownet, the top knot on the Buddha's head. (i) Mdnasdra : The top of a building Salavrite salakute cha nide cha Sikhare chordhva-kutake Lupa-yukta-bhramakare tat-tad-ushmsha-desike : I I . . . Stupikavahanam bhavct the crown of a Buddhist I (M> The top knot on xvni> 333,334.) image Bauddhasya lakshanarh vakshye samyak cha vidhinadhuna Dvi-bhujam cha dvi-netram cha choshnishojjvala-maulikam : | (M., LVI, _,, The crown of the statue of a devotee (bhaktd) Ushnishat pada-paryantam bhavottara-Satamlakam Ushnlsham tu chatur-matram netrantam tu yugangulam I I, 10.) : I (M., ux, 14-15.) . Referring to the situation of the plumb-lines : Ushnlsha-madhyame chaiva lalatam(sya) chaiva Ushnishat tu yatha parsve tu lalajasya Ushnishat purva-parsve tu yathoktam I madhyame partake netra-madhyame I I I (M., LXVII, 98, 103, 107.) The word ushnisha ' usually means a turban, but is used by the Buddhists as a technical term for the top knot on Buddha's head by which all figures of him are he is never represented in distinguished Indian sculpture with sort of any covering on his head.' Dr Bureess : (Ind. Ant., Vol. ix, p. 195, note USHNISHI A 3.) type of round buildings. (i) Agni-Purdna, Chap, civ, vv. 17-18 (see under PRASADA) Garuda-Purdna, Chap. XLVII, vv. 21, 23, 28-29 (see under 9 PRASADA). USHNISHA Pane 96 OHAPOHA HINDU ARCHITECTURE U ' OHAPOHA ' a uha a implies conjecture, the which a hypothetical reasoning right recognition,' helps guess, or additional member to fill an hence architecturally moulding apoha or pratyuha means a removal,' up any unspecified gap Philosophically ' ' ' ' ' ' ; hence leaving out a moulding, or an architectural member to complete a structure. Thus the former implies the addition and the latter the omission of a moulding. (1) Mdnasdra : In connexion with the ground-plan Ajnanad anga-hinam cha karta chaiva vinagyati : Tasmat tu silpibhih prajnair I uhapohan na yojayet I (M., VH, 268-269.) Referring to two-storeyed buildings : Sarvesham devata-harmye purvavad devatah nyaset Ukta-vach chhastra-margena uhapohena yojayet I I (M., xx, 105-106.) In connexion with penalties for defects in important members Uhapohadi-klrtibhyam Sastrokte tu yad(th)a tatha : I Uhi(uha)-hina chokta-hma tvadhikartri(ta) vinalyati Tasmat tu s"ilpa-vidvadbhih parigrahoktavat kuru I I (M., LXIX, 66-68. (2) Kdmikagama, XLI Sabhavad vihita bahye prasadavad : alankrita I Cha-pratyuha-samyukta ya sabha sa cha malika II Antara-prastaropetam uha-pratyuha-samyutam (3). 1 1 (13). XLI: Ibid, Cha-pratyuha-samyuktam yatha-yukti yatha-ruchi (3) Suprabheddgama, XXXI, 71 II (37). : A quadrangular moulding of an arch : Vritter urdhve u(u)ham kritva chatur-ayatam eva tu II (For the context, see vv. 68-70, under TORANA.) (4) Mahdbhdrata, i, 3, 133 Nagalokam . : . aneka-vidha-prasada-harmya-valabhi- . niryuha-fiata-samkulam I 91 DRDHVA-DHARANA AM ENCYCLOPAEDIA OF ORDHVA-DHARANA A kind of phallus and pedestal combined. In connexion with the phallus : Berasyaika-sila proktarh linganarh tach-chatuh-s"ila Nandyavarta(a)-kritih sthapya tatha chaikaSmana bhavet I Atho(dhah) pashana-kurmakhyarh chordhva-dharanam tam (M., I ORDHVA-SALA (see &ALA) The upper room Referring to two-storeyed buildings LII, I smri- iti 176-178.) or hall. : Nana-gopana-sarhyuktam kshudra-nasyair vibhusitam Ardha-Sala-visesho'sti chordhva-s'ala-samanvitam I I (M., xx, 66-67, etc.) OVARAKA A kind of room, an inner room, a store room, an apartment. Ramadattasya deya-dhamas" cha bhikshu-griharh uyarakas" chabharyayah sa velidattaya deyadharma uyarakah A dwelling for the ascetics and an uyaraka (has) been dedicated as a charitable gift by Ramadatta and an uyaraka (has been given) as a charitable gift by his wife Velidata (Velidatta), whose husband is I . . . alive. Uyaraka apparently corresponds with uvaraka of Nasik no. 24. Transactions of Congr. 1874, p. 347, which Professor Bhandarkar renders by apartment. Childers' Pali Diet, gives ovaraka with the meaning of ' inner or store room H. Jacobi. and this explanation (Ind. Ant., Vol. vn, RIKSHA-NAYAKA (see Kuda fits here also very Trof. well.'^ inscriptions, no. 8, p. 256.) SI&HA) A kind of round buildings. (Agni-Purana, Chap, civ, w. 19-20, see under PRASADA.) E EKA-TALA(-BHUMI) (see under PRASADA) A single-storey building, the ground floor. Ahatyam (vibhajya) ashtadha harmyarh ganya-manam ihochyate Utsedhe chashta-bhage tu charhsena masurakam Dvi-bhagarh changhrikottungarh mancham ekena karayet Kandhararh tat-samam kuryat tad-dvayarh Sikharodayam Tad-ardharh stupikottungarh vaktrarh shad-vidham iritam I I I I I (M., xix, 20-24.) 92 HINDU ARCHITECTURE EKA-PAKSHA Athava manu-bhagarh tu harmya-tunga(m) vibhajite Sa-tri-padam adhishthanarh tad-dvayam changhri-bhajite(-konnatam) Tad-ardham prastarotsedharh yugarhsam griva-tungakam I \ I Tad-ardharii sikharottuhgam tad-urdhve stupikams'akain Griva-manchordhvam arhsena yatheshtadhishthana-sariiyutam I I Urdhve padodaye bandham(=4)bhagam ekamsa(rh)-vedikaml Sesharh purvavat kuryad ashta-varga-vido viduh Evam proktarh harmyake madhya-bhadram I (Ibid., 80-86.) I Sala-koshtham dig-vidike kuta-yuktam Hara-sranta-nasika-panjaradhyam Kuryat sarvam vedika-bhadra-yuktam Harmya-tara-samarh chatur-asrakam tat-tri-padam ardham athapi cha I I I I Kudya-tara-samadi (?) yatha-kramam Kanyasarh tri-vidham mukha-mandapam I Tan-mukha-mandapam mukhya-vimane Madhya-vimanasya mandapa-parsve Ambaram dandam atha dvayam I I I I Harmya-vagad upaveSana-yuktam Yat tat kshudra-vimane tan-mukhe mandapam I syat (Ibid. I 192-203.) Anya-mandapa-deSe yan-manoramyam alankritam Mandape prastarasyordhve karna-harmyadi-manditam Yat tan namantaralarh chordhve nasika jala-panjararh vapi I I I Tat-tan-mandapa-madhye prasada-vasad dvara(m)-saihkalpyam Purvavat kavata-yuktaih mandapasyantah sa-kila-yuktam | I (Ibid., 213-217.) kuryad adhikam chopapitha(m) ruchirartha(ih)sarh-yutam Sopapltha-bhavanair yutam tu va karayet tu kathitarh puratanaih Evam sarva-harmyalankara-yuktya nana-padair vedika-tara-mafi, Eka-bhumirh I I cham EKATALA (see EKA-PAKSHA the footpath (kuryat) ((Ibid., 258-261.) under TALA) (cf. on one A DVIPAKSHA) kind of sculptural measurement. One side, a road or wall having side only. Antar-vithI chaika-pakshaih bahya-vithi dvi-pakshakam I (M., Anyat salam tu sarvesharh chaika-pakshalaya-kramat Anyat salam tu sarvesham alayartham dvi-pakshakam ix, 396., I I (M., xxxvi, 86-87.) See also M., ix, 351-354, 465, under DVI-PAKSHA. 93 AN ENCYCLOPAEDIA OF EKA-LlftGA EKA-LlNGA The single phallus as opposed to phalli in group. Sarvesham chaika-harmye tu ekaika-linge tu sarhmatam Bahudha sarva-lingeshu tat-tri-karnam na karayet Dvi karnam bahu linge tu tri karnarh-chaika-lingake I I I Evam tu chaika lingam syad vistaram parikirtitam I (M., ui, 71-73, 82.) EKA-SALA Mansion consisting of one row of buildings. (M., xxxv, 9, 35.) EKA-HARA (cf. KARA) With one chain-like ornament below the neck of the column, head or astragal. In connexion with a single storey ed building Sala-kuta-dvayor madhye chaika-hara sapanjaram : EKADA&A-TALA An (M., xix, 57.) I eleven-storeyed building, the eleventh storey. Tad-adhastat talarh chaika-das"a-dva das"a bhumikam I (Kamikagama, xxxv, 86.) Sesha-bhagam tu sarvesham yuktya tatraiva yojayet Evam I vistara-ganyam syat tunga-ganyam ihochyate Janmadi stupi-paryantam uktavat samgraham viduh I I Eka dasarhga-bhagena dala-talodayadhikam Tad eva sardha-bandh(v)amiam masurakottungam ishyate Saptamsam pada-dirgham syat tad-ardam prastarodayam Sesham prag-uktavad ganyam eka das"a-talodaye I I I I Talordhvordhva-tale sarve karna harmyadi-manditam Eka bhaga-dvi-bhagarh va parito'lindam ishyate I I Nanadhishthana-samyuktam nana-padair alahkritam Sala-kutaig cha uktavat samalahkritam Harantare kuta-ala cha griva-de^okta-devatan(h) I I I Anu-salashta-dik-palas tat-tad-vahana-samyutam I Yaksha-vidyadharadinam garudadini vinyaset Ganetyadi ganaiS chaiva sarva-harmyeshu nikshipet I I (M., xxix, 35-49.) ETAKA-PADAKA-PITHA A chair raised on a pedestal. (Mahavagga, v, EVAMKANTA A column connected pillars, and having a lotus-shaped 10, 2.) with one, two or three minor base. Ekopapada-samyukt 'in dvi-try-upapadena sarhvutam Evam-kantam iti proktam mule padmasananvitam I I (M., xv, 242-243.) 94 KATAKA HINDU ARCHITECTURE AI AIRAVATA The the god Isa animal (vahana) of great elephant, the riding Indra). (? dhyatva rakta-varnam cha Sishpatam (Sachipatim) Dvi-bhujam dvi netraih cha rathairavata-vahanam Is"a murtim iti I I (M., A class vii, 190-191.) of the five-storeyed buildings. see (M., xxiu, 3-12, under PRASADA.) K KAKSHA The armpit of an image, a residential room. Kakshayor antararh tararh vimSa-matram prasasyate I (M., LIX, 29.) Eka-vimsangulam chordhve kakshayor antara-sthale I (M., LXV, 52, etc.) KAKSHA-BANDHA A class of bases. component mouldings and other four types, the See the ADHISHTHANA. KATA A under (M., xiv, 320-358.) mat of split cane or bamboo. (Taitt. Sam., v, 3, 12, 2 KATAKA An details architectural bracelet for an image, camp, ornament (like : Sat. Bra., XIH, 3, i, 3.) a ring) of a base, a capital. Madhye pattair viSesham tu pushpa-ratnais cha sobhitam (M,, xiv, 75-76.) Katakavritam eva va Suddha-vrittam athapi va list of mouldings under ADHISHTHANA. the also Compare I I (Ibid., 238.) pattarh va dharaya katakanvitam Etat tu chitra-kalpam (=an ornament) tu natakabhi(kai)r alankri- Vrittarh vidhim tam See I tri I (M., L, 11.) Keyura-katakak yuktarh prakoshtha-valayam tatha also M. LI, 57, udder KATI-SUTRA. In connexion with the plumb lines (M., LIV, 13- I : Saktlnarh pushpa-hastam tu stanantam katakagrakam Tad-angushthavasanantam cha dvyantaram chatur angulam I I (M., LXVH, 135-136.) One pair of bracelets (kataka) for the arms of the goddess (consisting of) fifty-six karanju, two manjadi and (one) kunri of gold.' (Inscriptions of c Rajaraja, no. 2, line 37, H.S.I.I., Vol. u, p. 19.) 95 KATAKAKARA AM ENCYCLOPAEDIA OF One ' pair of bracelets (kataka) for the arms of the goddess, consistof ing thirty-nine karanju and seven manjadi of gold.' (Inscriptions of H. 1. S. 1., Vol. n, p. 89.) Rajendra-Chola, no. 8, line 19, Astyuttara-giri katake (declivity of the Northern Mountain) Vijaya- puram-nama nripa-dhanl (Grant of Jayaditya of Vijaya-pura, I line 6, Ind. Ant., Vol. xxi, p. 170.) ' In the world-renowned Raya-chalukya's camp (or capital, kataka), Keta-nayaka gained unlimited fame and the greatest the bodyguard (Ep. Carnal., Vol. v, Part reputation for energy and readiness.' no. 210 ; Transl., p. 216, line 9 of no. 210.) narayapatna Taluq, KATAKAKARA An ornament shaped Referring to lupa or a pent-roof like Chan- a bracelet or ring. : Evam cha lakshanam proktam katakakaram tu yojayet I (M., KATI The I, xvm, 249.) hip-part of a building, the hip of an image, a flight of steps. (1) Yo vistaro bhaved yasya dvi-guna-tat-samunnatih Uchchhrayad yas tritiyo'ms'as I tena tulya katir bhavet I height of a building should be twice its width and of its height.' be (equal to) should (Brihat-Samhita, LVI, hip) The ' (lit. kati its 11.) ' ' Dr. Kern translates kati by the flight of steps (J.R.A.S., N. S., Vol. vi, p. 318) ; but in this sense the word never occurs in dictionaries or literature ; nor does this rendering suit the context here, first, because ' the description concerns a single-storeyed building, where the flight of steps, if there be any at the entrance, would not be usually one-third of the height of the whole building ; secondly, the measures of the flight of steps mostly in buildings of more than one storey are never considered any architectural in as being treatises dependent on the height of the building or the storey. (2) Chatuh-shashti-padam kritva madhye dvararii prakalpayet Vistarad dvi-gunochhrayam tat-tri-bhagah katir bhavet II I (Matsya-Purana, Chap. CGLXX, v, 18.) (3) Bhavishya-Purdna ' except ' ' ariisa the ' (Chap, in place tasya in the second of cxx, ' ' line. yasya v. in 18) has the same verse the Brihat-Samhita lines. 96 first line, seems to ' as (i), ' and atha for have improved KANTHA HINDU ARCHITECTURE (4) In the sense of the hip or buttocks : Katrs) choru-visalarh syan madhya-kanchina-lambavat I (M., LIV, 91.) bhaskaramsam syad ashtamsarh choru-vistritam Mukharii vakshas cha kukshis cha kati-dirghe dvudasarhsakam Kati-tararh I I (M., LVII, 32, 55.) Virhsamsam cha kati-taram urdhve sroni-visalakam KATI-SOTRA The by the hip or buttocks, a line (plumb) (M., LXV, 48.) I Kati-sutravasanarh syat pura-sutram iti smritam Kati-sutram tu sarhyuktarh kati-prante sa-pattika girdle. I (M., I Tasmat kati-sutrantarh sapta-virhsangularh bhavet Trayodasamsakarh chaiva kati-sutram tu vistritam L, 21, 27.) I I (M., LXV, 150, 164.) A girdle. Katakam KANTHA kati-sutram cha keyurarh ratna-puritam Also called ' ' (M. , LI, 57.) ' gnva,' kandhara,' meaning literally a quadrangular moulding, sometimes gala,' This the neck or throat. I is ' When employed in pedestals square and sometimes rectangular. under UPAPITHA), it is made very high and (see the lists of mouldings it resembles the dado (or the portion of a pedestal between its base and cornice, also applied to the lower portions of the walls). But everywhere else it serves as a neutral member from which the proection of the rest of the mouldings are generally measured.' (Ram Raz, Ess. Arch. Hind., p. 25.) The neck of a column (Suprabheddgama, xxxi, 58, Tuiige trimsati-bhagena ... Tad-urdhve kantharh ashtarhsam Utsedhe tu chatur-virhsat Grivochcharh dva-dasamsakam (Ibid., Tad-evamsena Pancharhsa(rh) kandhararh proktarh . . . . . . . . . Gala-tuiigarii see the yugangulam . 36-37.) see the . (Ibid., 48, 50.) . lists . . (Ibid., 97, 101.) . of mouldings under UPAPITHA. I Gala-tararh sardham ashtarhsam For further examples, (M., XIH, 90, 94.) I . . Tad-evarhsa (of 30 parts) Tad-urdhve galam ashtarhsam For further examples, under STAMBHA). | I . see I lists 97 . . . I (M., nx, 71,81.) of limbs under TALA-MANA. AN ENCYCLOPAEDIA OF KADAftGA KADAftGA A large trench, a ditch, a boundary mark. Kadangas or war-trenches are described in the Rev. G. Ritcher's Manual these are enormous trenches defended by a bank of Coorg (pp. 190-191) of the excavated soil, and stretch over hills, woods, and comparatively ' : flat countries, for miles and some place branching off in various Mr. Ritcher quotes old records to show miles, at directions, or encircling hilltops. that they were constructed by ancient Rajas to fortify the principality. In South Kanara also these trenches abound.' ' and massive walls, 8 feet high, half as thick, and exare buried in desp forest on the crest of found tending long distances, the ghats between Kanara and Maisur, with large trees rooted in them.' So, too, great for GRAMA and compare (See ditches of the village as the above given with the in the surrounding defensive Mdnasdra.) (Ind. Ant., Vol. iv, p. 162, line 2 ' From this it appears to follow that the trenches, originally were intended tions, no. n, Ind. Ant., Vol. vi, p. c. i, last para, c. 2, line 6.) ; Coorg Kadangas or large for landmarks.' 103, c. i., f. line 29, (Three Kongu inscrip- Transl. and footnote, last para.) KANDARA-GRIHA Khyatam ( (see DARI-GRIHA) ? syatarh) A cave-house. khyatam naikavanig-visala-bibhavo bhutabhisobham Subham (Description of the town of Atapura, inscrip. of See The Atpur Ant., note 25, 187.) neck, the dado. KANTHA and compare KANYA A girl, 191, I Ind. Saktikumara, v, n, Vol. xxxix, pp. KANDHARA divi kanakadi-kandaragrihodlrna-pratapam the a virgin, the lists of mouldings under UPAPITHA. name of a month, the lower part of an architectural object. Luparh prag-ukta-vistaram tat-tad-vamsanghri-kantakam Adho(ah)-padasya lupadyais cha tatra dosho na vidyate Karnat kanyavasanarh syan nava-sutr rh prasarayet I I I (M., xvni, 231-233.) KAPATA (see KAVATA) A door, the panel of a door. (Rdmayana, i, 5, Kapata-torana-vatim suvibhakantarapanam Dridha-baddha- kapatani mahaparighavanti cha (Ibid., vi, I I KAPOTA A pigeon, a section of circular moulding of a pigeon's head, from which it takes it name. 98 10.) 3, n.) made in the It is a crowning form KAPOTA HINDU ARCHITECTURE of bases, pedestals, and entablatures. Compare the lists of mouldings, from the Mdnasdra, given under UPAPITHA (where Kapota occurs eight times), ADHISTHANA (fifteen times), and PRASTARA (five times) and also see Gwilt (Encycl. of Arch., Art. 2532, 2555, pp. 806, member When employed in the entablature, it serves the pur813 814). pose of a spout in the shape of a pigeon's beak to throw off water In this office it resembles, in some measure, falling on the cornice. the corona having a broad vertical face and with its soffit or under portion recessed so as to form a drip which prevents water running down the building. Its synonyms are vaktra-hasta (face supported by hand, wherefrom it takes its shape), lupd (pent-roof), gopdnaka (Also see M. xvi, 18-20.) (beam), and chandra (the moon). : } (i) Mdnasdra : Referring to the pedestal : Tad-dvayarh chambujarh chordhve kapotochcham gunamsakam (M., For further illustrations, see Referring to the base Padmam the lists I xiii, 57.) of mouldings under UPAPITHA. : arhsarh tad-urdhve tu kapotochcham tri(y)arhsakam I (M., xiv, 357.) For further the see illustrations, lists of mouldings under ADHISH- THANA. Referring to the entablature : Tad-urdhve vajanam chaikam dhatu-bhagam kapotakam I (M., xvi, 27.) For further illustrations see the A synonym of the entablature lists of mouldings under PRASTARA. : Kapotam prastram chaiva mancham prachchhadanam . . . paryaya-vachakah to Referring I I (Ibid., 18, 20.) the six-storeyed buildings Prastaradi-kapotantarh tatha : khsudra-nasya vibhushitam I (M., xxiv, 39.) ' (2) A entablatures. utility a section of moulding made in the form of a member of cornices, pedestals and When employed in the latter, it often connects bird is so beauty, inasmuch as the beak of the kapotam pigeon's head. with is It is placed as to serve the a crowning purpose of a spout.' Hind., p. 24.) 99 (Ram Raz, Ess. Arch, of AN ENCYCLOPAEDIA OF KAPOTA-PALIKA(-PALI) KAPOTA-PALIKA(-PALI) A pigeon -house, an aviary, 'properly dove-ridge, dove-list, may be rendered by crown-work, fillet, gableedge, and even by cornice. A water-spout used at the roof to drain In Tamil, off water having the shape of pigeon's head or beak. sec Winslow's kapotakam is explained as a moulding in masonry : Tarn. Diet. under (p. 51) i. Then Dr. Kern quotes v.' ' ' ' and adds Kapota that the spout Raz's passage noticed the same author (Ram Raz) notices be may Ram made from the head of a to spring lion, etc.' With this, Kern compares Utpala's definition : Kapota-palika grahanena bahir nirgata mukhani kashthany uchyante by the acceptation of Kapota-pali, the projecting lionface timbers (mouldings) are understood ; (and also Visvak, 6 767) : Prasadau nirgatau karyau kapotau garbha-manatah I tu prakalpayet Ordhvarh bhitty-uchchhrayat tasya manjaram Manjaryas chardha-bhagena suka-nasarh prakalpayet Crdhvarh tathiirdha-bhagena vedi-bandho bhaved iha II Then Kern finds fault with Colebrooke's rendering of Kapotapalika and vitanka (in his Amara-Kosha, quoted below) as dovecot and says Colebrooke's error, strange to say, has been per petuated in all dictionaries the more reason now to draw attenI | ' ' ' ; tion to (J.R.A.S., N. it.' note S., vi, p. 320, 2.) A storey's altitude of 108 digits (angulas) according to Maya but Visva-karman pronounces it to be of 3 cubits and a half, As to this, however, able architects have declared (i. e. 84 digits). ' is that in reality there is no discrepancy of opinion, for, if you add the height of the crown-work (kapota-pali), the smaller number will (Brihat-Samhitd, LVI, 29, 30.) equal (the greater).' or a compound word is kapota-pali kapota-palika (dove-cot) words, ' ' There ' in Sir ' kapota William's and Diet., ' ' palika or p. ' pali ' Similarly the occur together in the 202, ' ' c. 3. above. But they (its commentary) Dtpala quoted do not occur as one word in Winslow's Tamil Diet., in Visvak and in Ram Raz. In the twenty-eight instances in the Manasdra, too, pointed out above (under KAPOTA), only the word Kapota occurs. There is a different moulding called both Pali and Palika in the Manasdra. As regards the correctness of Dr. Kern's renderdove-ridge,' or of Colebrooke's and Sir M. ing of the term by Brihat-Samhitd and ' ' ' ' ' ' ' William's by ' dove-cot ' nothing can be stated definitely as the term 100 \ KALASA AS CAP MOULOINO. KALASA KAPOTA-PALIKA. KARNA PATRA KAROTI. KIRTTI-VAKTRA. KAROTII'age 100 HINDU ARCHITECTURE is K(H)A-BHITTI used figuratively to indicate a moulding and both the interpre- tations are possible. Kapota-palinl-yukta-mato gachchhati tulyatam (Bliavishya-Purana, I Kona-paravatarh kuryat stupy-achchhadanakani cha Kona-paravatarh nyasya kona-loshtani vinyaset II ( Vdstu-vidya, ed. Ganapati II Sastri, xvi, 27, 36.) Bahih kapota-karanam vajanopari kalpayet II Ardha-tri-pada-dandam va kapota-lambanarh bhavet (Kdmikagama, LIV, ai, 22 Chatur-gunam viseshatah (of the : v. 37.) Chap, cxxx, II vv. 36, 37.) see also main temple) mukhayamam prakaranarh I Kapotantam samutsedham hasta-vistara-bhittikam II (Suprabhedagama, xxxi, 119.) Kapota-palikayam tu vitankarii purii-napumsakarh II (Amarakosha, n, 3, 15.) KAPOLA (1) The cheek of an image, an upper part of a building. Prasadau nirgatau karyau kapolau garbha-manatah I (Matsya-Purana, Chap. CCLXIX, v. 11.) (2) Chaturdha sikhararh bhajya(m) ardha-bhaga-dvayasya tu Suka-nasam prakurvlta tritiye vedika mata II Kantham amalasararii tu chaturthe parikalpayet Kapolayos tu samharo dvi-guno'tra vidhlyate II Mukha-taram kapolantarii nava-matram I Chap. CCLXIX, 18-19.) (Ibid., (3) prasasyate I (M., KABANDHANA A knob at the end of the I nail LXIII, 7>\ above the post of the bedstead. Adhah kilena padanarh madhye randhram pravesayet Tad-urdhve pattikam nyasya kilagre cha kabandhanam Chaturbhih srinkhala-yuktam andolam chaikatopari I I I Deva-bhu-sura-bhupanam anyesham sayanarthakam I (M., XLIV, 68-71.) K(H)A-BHITTI ' ' An ' upper ' storey- wall, wall. an upper ' wall, implying sky and bhitti Garbhadhana-kramanakarh kah(kha)-bhittir mukhya-dhamani Kah(kha)-bhittir dakshine bhage saumyavasah prasasyate || 101 ' kha I KAMALA AN ENCYCLOPAEDIA OF Kah-(kha)-bhitty-agrabhittcr dvara-dvayarh kuryad viseshatah Vastu-dvara-yutam chaiva k(h)a-bhittes cha viseshatah II I Vastunarh parsvayor madhye stambha-sajnam nidhapayet K(h)a-buitti-vistritartharh tu tat-parsvayor dvayor hi (tat) II I (Kamikdgama, xxxv, 45, 47, 48, 62 KAMALA A lotus, fillet, see under PRASADA.) class of the three-storeyed buildings. (M., xxi, 33-38, KAMPA A LV, 31.) a class of the six-storeyed buildings. (M., xxiv, 17-18, KAMALAftGA A : a small see band which occurs flat under PRASADA.) chiefly between Of all the rectangular connect or separate them. mouldings mouldings it has the least height. Its projection, though generally equal to its altitude, frequently varies according to the position of ' to the principal members, which It it is employed, to connect or to separate. answers in every respect to the fillet.' (Ram Raz, Referring the to pedestal Utsedhe tu chatur-virhsat ... Ekena kampam ityuktam ... I I ardharh tatha karnam Kampam For further examples, see Referring to the base the Ess. Arch. Hind., p. 24.) : xm, 36-37, 49.) of mouldings under UPAPITHA. lists . . . I (M., : Ekena-trimsad angarh (=amsam) lu tuhgarh kritva ... (M., xiv, 14-16.) Kampam ekena kartavyam . For further examples, KAMPA-DVARA A (1) see the lists . . I I of mouldings under ADHISHTHANA. side-door, a private entrance. Kampa-dvararh tu va kuryan madhya-parsva-dvayos tatha I (Kamikdgama, xxxv, 49.) (2) Mukhya-dvaram KAMPANA tu tad-vame kampa-dvaram tad-anyake A (same as KAMPA) (Ibid., I LV, 32.) fillet. mouldings under ADHISHTHANA. It has four types differing class of bases. from one another in height and in the addition or omission of some Cf. the lists o KAMPA-BANDHA A mouldings. (See M., xiv, 361-372, under ADHISHTHANA.) KAMPA- VRITTA The round or circular fillet. cha lupa-mule sobhartham tu balarthakam Kampa-vrittam I (M., xvni, 274.) I O2 I o 8 uJ <C cQ oc S^ SP efl M a: > c* J HINDU ARCHITECTURE KARANDA A KAROTI(I) head-gear, a basket or bee-hive-like ornament. Karanda-mukutopctarii rakta-vastrottariyakam (M., vir, 164, 205.) Karanda-mukutopctam dhyatva Devanarh bhupatinaih cha mauli-lakshanam uchyatc Jata-mauli-kirltam cha karandaih cha sirastrakam(-stranam) I . . . I I Kanyasa(m) devatanarii cha karanda-makutanvilam I I (M., XLIX, 12-13, 19.) Dvi-bhujam cha dvi-netrarh cha karanda-mukutanvitam I (M., LIV, 69, 76.) KARAVlRA A fragrant plant, or flower (oleander or Nerintn odorum), an ornament of that shape, a pent-roof having the slope (or colour) of that flower. In connexion with the pent roof Sroynam madhya-lupah : sarve(va) lupa-samkhya yathcshtaka Karavira-bahu-varna sarhputabham vikalpayet I I (M, xxvm, 242-243.) car of the elephant, (? the tip of an elephant's trunk, karnika), an ornament of that shape. KARI-KARNA(NIKA) karikarna- (another reading, karnika) -yuktam kuryat Upabja(m) tat The kshudra-pithakam KARIKA A I (M., xxxii, 117.) moulding of a column. VIra-karna(-kantha)syodayarh jnatva nava-bhaga(e) vibhajite Ekaihsarh padukarh kuryat pancha-bhagam tu samgraham Tad-urdhve karikamsaih syad abjam aihsena yojayet I I I (M, KARUNA-VINA A flute, xv, 176-178.) a sculptural ornament. Vadana-garuda-bhavarh bahukau paksha-yuktau Mukuta-kamala-yuktam pushpa-sachchhaya-varnam (A/., LVIII, Parita(h) karunavlna kinnarasya rupakam I I I KAROTI(I) A tectural basin, the drum 21-22.) of the ear of an image, an archi- ornament. An ornament of the pent-roof: Evam uktarh lupa chordhve sikharair vambare'pi va Phalaka-kshepanam vapi tamram vayasi kllayet Hemajena karotirh va mrit-karotirh vidhanayet I I I (M., xviii, 269-271 Referring to a single-storeyed building : Karotivad alarikrilya lambane patra-samyutam 103 I (M, xix, 41.) .) AN ENCYCLOPAEDIA KARKATA KARKATA A crab, Ol< a moulding, a kind of joinery resembling the crab's leg. Karkatakanghrivat kri;va pautra-nasaiighrhh vesayet Etat sarhkirna-sandhih syat sarva-harmyeshu yogyakam I I (M., xvii, 143-148.) KARKARI-KRITA Paved with small pieces of Consoli- stone. dated with kankar (nodular limestone or gravels). (1) Maha-margarh tu sarvesham vlthlnarh karkari-kritam etad dvayam Vither(thyah) kritam (M., ix, 197, 333.) proktam I karkari- tan-madhye I Referring to the pedestal : Prativajanakarh tesharh kriteh karkari-kritam Referring to the gate-house (gopura) I (A/., xm, 151.) : Etat tu gikharam proktam karkari-nasika-kritam I (M., xxxm, 561.) Referring to the mandapa (pavilion) Tach-chatush-karna-dese tu karkari chashta-bhadrakam Tat karnarh cha dvayor bhadrarh chaturtharii karkari-kritam : I Karkarl-bhadra-sarhyuktarh mandapasya visalakam (M, Mandape chordhva-kutarh xxxiv, 305, 308, 309.) syat salakararh tu yojayet Ashta-vaktra-samayuktarh karneshu karkari-kritam I I 530-531.) (Ibid., Referring to the sala (haU, mansion) I I : Veda-vedamsakarh madhye vivritarh samvritank(g)anam Tad-bahis chavritarhsena karkarl-samalankritam I I (2) (M., xxxv, 300-301.) In connexion with the description of a Svastika (shaped) -house Prishtiie tu dirgha-koshtharh syat purva-koshtham tatha bhavet : I Bahya(-e) bahya(-e) sala-dvayam netram yuktam tu karkari-yutam 1 1 ' (K amikdgama, KARNA The ear of an image, a moulding, any XLII, 7.) side-object, a corner-tower. Kampam ardharh tatha karnarh tad-urdhve'rhsena pattika I (M., For further examples, see the A moulding of the base lists xm, 49.) of mouldings under UPAPITHA. : Karna-tunga(rh) tr(i)yarhsarh syat tad-urdhve kampa(m) sivamsakam II (M. t xiv, 12.) 104 FORTIFICATION TRENCH. KAOANGA (XXXXXXXXXXXXXJO KARIKA. KARNA COVER FILLED ,-KABANDHANA. KARNIKA KARNIKA. KABANDHANA KARNA-KCTA HINDU ARCHITECTURE For further examples, A moulding of the see the column lists of mouldings under ADHISHTHANA. : tathotkarnam urdhve karna(rh) samarh bhavet Kumbhayamam I (M., xv, 54.) Referring to the vimana (building Padmasyopari in general, temple) karnarh syat tat-tridha kumbha-vistritam : I (M., xvin, 129.) Karnat kanyavasanam syan nava-sutrarii prasarayct Referring to the door I (Ibid., 235.) : Ardhena kampa-sarhyukatarh karna(rh) bandh(v)amsam Iritam I (M., xxxix, 69.) Referring to the tula (balance) Suvritta-nala-dese tu patra-mule tu karna-yuk A moulding of a vedika (altar, railing, platform) : (M., I L, 205.) : Vedikayarh vihinarh chet kartri-drishti(r) dinam vrajet Tat-karne'dhika-hinarh ched bhojanena vinasanam I I (M., LXIX, 26-27.) Referring to a single-storeycd building : Tad eva vedikamsena nava-bhaga(-e) vibhajite) Dvi-bhagarh vajanam mule chordhve karnam gunamsakam I I (M., xix, 64-65.) KARNASHTAKA A site-plan of 324 square plots. (M. KARNA-K.UTA (see KUTA-KOSHTHA) vii, see 213-24, The tower PADA-VINYASA.) at the corner of the roof, the side-niches, corner pavilions, the attic. (i) Karna-harmyasya vistararh shad-bhagam(ge) tu vibhajite madhye sala dvayarhsakam Ekarhsarh karna-kutarh syan (M., xix, 54-55, In connexion with the six-storeyed buildings I I see also 167.) : Ekarh vatha dvi-bhagam va karna-kuta-visalakam Tale tale karna-kuta-koshtha-haradi-bhushitam I I Karna-kuta-visale tu tri-bhagaikarh madhya-bhadrakam I (M., xxiv, 29, 30, 33.) Ekarh vatha dvi-bhagam va karna-kuta-visalakam In connexion with the gate-house (gopura) (M., xxv, I 17.) : Evam lalatayos chaiva dirgham vinyasyam uchyate Karna-kuta-dvayam chaiva tad-bhaga-dvayam Iritam Madhya-koshtharh chaturtharh cha karna-kutam chatushtayam I I I (M., xxxni, 418-424.) 105 AN ENCYCLOPAEDIA OF KARNA-PATRA (2) A^ra-karna-samayukUirii karna-kuta-dvayanvitam II Karna-kuta-vihmarh va chanyat sarvam tu vastushu 1 Chatush-kone chatush-kutarh tad-vistarena nirniitain Pafijara-dvitayam karyarh karna-kuta-samodayam Pradhanavasa-netrastha-nctra-kuta-dvayarii nayet 1 II I 1 1 (Kamikagama, xxxv, 65, 66, Sarvam arigarh sabhakararh karna-kuta-vivarjitam Chatasras tu sabha karya kona-kuta-chatushtayam 73, 75.) II II (Ibid., Kula-koshthaka-mdanarh pramanam ilia kirlitain Kuta-koshthadi-sarvangam mana-sutrad bahir nayet II Antah pramana-sutrat tu vcsanarh sarva-desadam Chatur-asrarh vasvasram shodasasraih tu vartulam Mastakam stupikopetarh karna-kutam idarh matam Madhyc nasa-samayuktam ardha-kuti-samanvitam II Mukha-pattikayopctarh sakti-dvaya-sama vitam Ancka-stupikopctarh koshthakarii madhyaso bhavet Haihsa-tunda-nibham prishthe salakaram mukhc mukhe antaram dvijah Pafijaraiii vihitam kuta-koshthayor tad evashtarh hasti-tunda-sa-mandanam Parsva-vaktram Esha jati-kramat proktah karna-koshtlia-samanvitam XLV, 41, 44.) I I 1 1 I I 1 1 1 I 1 1 I 1 Madhyc kutaih tayor madhye kshudra-koshthadi-sobhitam Chhandom etat samuddishtarh kutaih va koshthakam tu va Antara-prastaYopetarh nimnam vonnatam eva va I II I Vikalpam iti nirdishtam abhasam tad vimisritam II (Ibid., (3) Prastarad-urdhva-bhage tu karna-kuta-samayutam LV, 123-130.) II (Suprabheddgama, xxx, 30.) ' The attic is formed of different kinds of little pavilions. Those which arc at the angles of the edifice are called karna-kuta. They have a roof of square or circular section and are surrounded by a single awn, stupi.' Those which are placed in the middle are called said, they have an ' (Cf. M., xix 54-55.) elongated roof and have three stupis.' Between the karna-kuta and sala are found some kinds of , ' windows called panjara.' Krishna Swami Aiyangar, pp. KARNA-PATRA A (Dravidian Architecture, 1 little by Jouveau-Dubreuil, ed. S. 3, 5.) leaf-like ornament for the ear, a corner leaf. Tasyadho ratna-damais' cha lalatordhve'rdha-chandravat Karna-patra-samayuktam srotrordhve karna-pushpayuk Tasmat tu lambanam dama sarva-ratnair alankritam I I I (M., XLIX, II2-I I O6 14.) KARNA-HARMYA HINDU ARCHITECTURE KARNA-PCRAKA An car ornament. Kuryat tri-valayopetam na kuryat tu sikha-manim Sarva-ratnarh vinyasya vina cha karna-purakam I I (M., XLIX, 138-139.) KARNA-BANDHA An ornament for the ear, a part of the ear. Karna-bandhaih karna-rudraksha-mala The lower part of the ear I (M., LXH, 67.) : Hanvantam karna-bandhantam dvayantaram dasangulam I (M., LXV, KARNA-HARMYA A Ekamsam vistararh : shad-bhagam tu vibhajite I karna-kutarii syan Ekarh va dvi-tri-dandcna Sala-kuta-dvayor 02.) tower, a side-tower, a minaret, a turret. In connexion with single-storey ed buildings Karna-harmyasya 1 madhye sala dvayamsakam nirgamam bhadram eva va I I madhye chaika-harasa-panjaram I Tat-tunga(rh) sapta-bhagaih syad ekarii^am vedikodayam I Tad-urdhve'dhyardha-bhagena galam tryamsena mastakam Tad-ardharh stupikottuhgam karna-harmyam iti smritam I I (M., xix, 54-60.) Mandape prastarasyordhve harmyadi-manditam I karna (Ibid., (another khanda)- reading, 214.) Stupi-tungam dvayamsam syad dvi-tale tad dvitiyakam Tad evordhvam adhishthanam vimanamseka(aika)-vitastikam I Tad-urdhve'hghrl saramsam syat karna-harmyadi-manditam (At., I I xx, 14-16.) Prachchhadanopari stambhaih k rna-harmyadi-manditam I (M., xxxr, 10.) Tad-urdhve mandapanam cha chu ika kaina-harmyakam I (M., xxxiv, 64.) Harmyc chordhva-tale padam bahya-kutadi(m) vinyaset Karna-harmyakritim vatha santara-prastaram tu va I I (M., xx, 57-58.) Coorg from iCog) are square building much in the Muhammadan style, on well raised dome in the centre, and minaret-like turrets a with handsome basements, at the four corners (? karna-harmya ) surmounted by basavas or bulls. On the top of the dome is a gilded ball, with a vane. All the windows have well-carved syenite frames with solid brass bar Good wood' Cf. They (tomb of the Rajas at Mahadevapura in , . . . sometimes be seen in the domestic architecture.' carving may nat., Vol. i, Introduction, p. 27, last paragraph.) 107 (Ep. Car- AN ENCYCLOPAEDIA OF KARNIKA KARNIKA Generally implies a crowning projection and resembles the cornice, i.e., the crowning or upper portion of the entablature, a creeper-like ornament. pancha-bhage tu vcdardham paclma-vistritam Padma-tara-tri-bhagaikarh karnika-vistritam bhavct Vistare I I A (M., xxxu, iio-i u.) moulding of the entablature : Kapota-nasika-kshudra-nivrordhve sthita-karnik'i Vatahata-cha'ach-charu-latavat karnika-kriya II II (Kamikagama, LIV, 37, 40.) KARNIKARA A pavilion with twenty pillars, a tree, a class of people. (Matsya-Purana, Chap. CCLXX, v. 13; see Mahendre vatha under MANDAPA.) satye va karnikaral jyarii bhavet (M., I ix, 238, XL, 109.) A STUPI) pitcher, a cupola, a finial, a dome, a pinnacle, a tower, a type of round buildings. (1) Agni-Purdna (Chap, civ, vv. 17-18, see under PRASADA). vv. 21, 23, 28-29, see under PRASADA). (2) Gamda-Purdna (Chap. XLVH, kalasad bahye lata-vartanam ishyate II (3) Stambhardham KALA$(S)A (cf. Mushti-bandhopari kshiptarh vyalantarh kalasavadhi II (Kamikagama, LV, 103, 109.) (4) Dome Ep. Ind., Vol. (5) Kandhananda-kalasa : i, I (Khajuraho Inscrip. no. v, line 19, p. 150.) Pinnacle : Vimanopari sauvarnnah kalasa Placed golden pinnacle on the shrine. . . . pratishthiipitah (Yena-Madala I Inscrip. of Gana- Vol. in, pp. 99, 102.) painba, v. 17, Ep. Ind., Dome or (6) pinnacle : Devalayais sudha-subhrais suvarna-kalasamkitah Pataka-churhbitambhodair yyad-dharmmo nita unnatim I (Two pillar Inscrip. at Keta, Prasadarh navabhis cha II Amaravati, no. A, Inscrip. of II, v. 43, Ep. Ind., Vol. vi, p. 152.) hema-kalasair atyunnatarh gopuraprakarotsava-marhtapair upachitarh sri-Ramabhadraya cha ' An exceedingly high temple furnished with nine gilt domes, a gatetower, a wall, and a festive hall, to the holy Ramabhadra.' (7) I (Kondavidu Inscrip. of Krishnaraya, v, 27, Ep. Ind., Vol. vi, pp. 237, 331.) 1 08 HINDU ARCHITECTURE KALASA Suvarnna-kalasa-sthapana cha (3) ' (Karkala Inscrip. of Bhairava temples)'. in setting II, line golden pinnacles (on Ep. Ind., Vol. vm, 18, PP- 132. I35-) Abhinava-nlshpanna-prcksha-madhya-mamdapc (9) Suvarnnamaya-kalasa-ropana-pratishtha krita . . ' . the ceremony of placing a golden cupola on the newly-made central hall, intended for dramatic performances, was carried out.' (The Chahamanas of Marwar, stone no. XIX, Jalor Vol. xi, p. 55.) Inscrip. of Samarasirhhadeva, lines Ep. 6, 5, Ind., purnna(10) Utturhgataspada-devayatanagra-hema-kalasarh kalasam The golden cupola on the summit of the god's dwelling, like a full pitcher.' a seat of exaltation (Inscrip. at Ittagi, A of . . . ' . . . . A. D. 1 1 . . 12, v. 64, Ep. Ind., Vol. XHI, pp. 46, 56.) (n) 'And Visvakarmma built his temple (Ananta-Kotisvara) with adorned with all manner of pictures, its fronts complete devotion, brilliant with many golden kalasas decked with precious stones, its tower kissing the clouds.' ' (12) We Carnal., (Ep. Transl., p. 475 second para, Taluq, no. 68, p. 158 (13) i, Sorab Taluq, no. 276 ; grant to you, in addition, two five-branched torches, five kalasas above the palanquin Nagar Vol. vin, Part last sentence.) ; and so forth.' (Ep. Carnal., Vol. vm, Part i, Transl., line 12.) Chakre jambu-nadyair gurutara-kalasair bhasvarair ekavimsaih Nepala-kshonl-palah prathita-bhuja-bhushanarh tanmathasya II I from Nepal, no. 17,. Inscrip. of Siddhi Nrisimha of Lalita pattana, v. 17, Ind. Ant., (Inscrip. Vol. ix, pp. 185, 187, c. i.) Above the seventh or highest row of cells, there is a roomy (14) terrace occupied by four large bulls couchant at the corners, and from the centre rises a comparatively slender neck surmounted by an umbrella or semi-dome crowned by the usual kalasa or finial.' (Gangai' Konda-puram Saiva temple, Ind. Ant., Vol. xi, p. 118, c. I.) Erected a new gopura with golden finials (suvarna-kalasa) in (15) the Chamundesvari hill.' (Ep. Carnal., Vol. HI, Mysore Taluq, no. 20 ' ; Transl., p. 3 Roman ; text, p. 'The pinnacle 6.) a ruined temple in the fort of Belshows Naga-mahgala Taluq, exactly what the finial ornament of this style of temple was, which Fergusson, from its appearance in photographs mistook for a lantern and though unable to account for so incongruous a feature introduced it into his picture of Halebid tem(16) lur, in 'The crowning of Ind. and East. Arch., p. 400). really a kalasa or sacrificial vase, such as is used at the ple restored' ornament is (kalasa) of (Hist, 109 HINDU ARCHITECTURE KALA$A-BANDHA consecration ceremonies round the rim of which final narrow and knotted bunch is a cloth tied each of the four cardinal In later ornamentation the cloth was replaced by wreaths of points. leave? and flowers with a cluster or bouquet at the four points, the sprays and flowers depending from which went down as far as the foot of the vase, and thus produced the appearance which in the picture in folds suggested a lantern.' into a at (Ep. Carnal., Vol. iv, Introduction, p. 38.) Saumya-kes'ava-nathasya gopuragre hiranmayi Sthapita kalasi gunda-danda-nathena sasvatl u Saudhfigram ujvalad anyun a-divakarabho (17) | I aharnisam yah Balatapa-pratima-kantir (Ep. Carnal., Vol. Roman v, Part II i, Belur Taluq, text, p. 103, last two p. 45, para, (18) nilisida kalasa 1 ' He made upon it.' a spire to p. last no. 3 ; Transl., ; two lines.) salakheyam madisi vistaradirh kalasama the temple of Murahara, and fixed a (Ep. Carnat., Vol. v, Part 396; Transl., text, p. ( Murahara-bhavanada i, verses i, Arsikere Taluq, no. 131 ; Roman 172.) Aneka-ratna-khachita-ruchira-mani-kulas'a-kalita-kuta-koti-ghatiittu iga-chaityalayam 'having erected ... a lofty chaitya- 9) tam-apy- laya, with kalas"as (perhaps by mistake Mr. Rice has put in gopuras) or towers surmounted by rounded pinnacles set with all manner of (Ep. Carnat., Vol. vi, jewels.' line 12 ; Mudgere Taluq, no. 22 ; Roman text, p. 148, Transl., p. 63, para. 2.) Kalasa, a term applied generally to the (20) also a pot or vessel with water and some grains in ' Architecture, Arch. Surv., New summit of a tower it.' ; (Rca, Chalukyan Series, Vol. xxi, p. 38.) Imp. Kalasa (Kalas) pinnacle of temple steeple.' (Smith, Gloss., (21) loc. cit., to Cunningham Arch. Surv. Reports.) See Maghul Arch, of Fatehpur-Sikri, Smith, Arch. Surv., New (22) ' Imp. Series, Vol. (2,3) xvm, Plate LXH, Essay on Arch, of Hind., fig. i, 2, 3. Ram Raz, Plates xx to XLII ; 1914-15, Plate xiv, fig. 3, p. 28 ; fig. i, 10 ; Top of tower of Bhoganandlsvara 2, p. 1913-14, Plate vi, fig. 2, p. 16. Mysore Arch. Report, (24) p. 22 ; Plate v, fig. shrine at Nandi, ibid., (25) Cunningham.. Arch. Surv. Reports, Vol. vii, Plates xvn (showing the details of the mouldings of the tower of the temple at Khalari), xiv (showing the mouldings and section of another temple tower). KALA&A-BANDHA (see KUMBHA-BANDHA) (Af., xrv, 110 -A class of bases. 195-239; see under ADHISHTHANA.) KALA HINDU ARCHITECTURE KALA Art, sciences dealing with the traditional sixty-four branches which some authorities reckon as 528. (i) (6) Glta, (2) vadya, (3) nritya, (4) alekhya, (5) viseshaka-chchhedya, tandula-kusuma-vali-vikara, (7) pushpastaruna, mani-bhumika-karma, (10) dasana-vasana- (8) Sayana-rachana, (u) udaka- anga-raga, (9) vaclya, (12) udakaghata, (13) chitra-yoga, (14) malya-grathana-vikalpa, (15) s"ekharaka-pidana-yojana, (16) ncpathya-prayoga, (17) karna-patra-bhanga, gandha-yukti, (19) bhushana-yojana, (20) aindra-jala, (21) kauchumara- (18) (23) vichitra-saka-yusha-pupa-bhakshya-vikara panakarasa-ragasava-yojana, (25) suchi-vaya-karma, (26) sutrakrida (27) vina-damaruka-vadya, (28) prahelika, (29) pratimala, (30) durva- yoga. (22) kriya, (24) hasta-laghava, chaka-yoga, (31) pustaka-vachana, (32) natakakhyayika-darsana, (33) kavya- samasya-purana, (34) pattika-vetra-vana-vikalpa, (35) tarku-karman, (36^ takshana, (37) vastu-vidya, (38) suvarna-rupya-pariksha, (39) dhatuvada, (40) mani-ragakara-jnana, (41) vrikshayur-veda-yoga, (42) mesha-kukkutalavaka-yuddha-vidhi, (43) suka-sarika-pralapana, utsadana-samva- (44) (45) akshara-mushtika-kathana, hana-kesamardana-marjana-kausala, mlechchhita-kutarka-vikalpa, (47) desa-bhasha-vijnana, (48) (46) pushpa-saka- nimitta-jfiana, (50) yantra-matrika, (51) dharana-matrika, (52) sampathya, (53) manasi-kavya-kriya, (54) abhidhana-kosha, (55) chhandatika, (49) jnana, kriya-vikalpa, (57) chhalitaka-yoga, (58) vastra-gopana, (59) (56) dyuta-visesha, (Go) akarsha-krlcla, (61) bala-krldanaka, (62) vaitalika, (63) (64) vyayamika-vainayika-vidya-jnana. (Kamasutra of Vatsyavaijayika, yana, ed. Bombay, pp. 32-35; see also pp. 43, 95.) See J.R.A.S., 1924, pp. 355-367- Compare the lists from (i) Kalpasutra (211), (2) Dasakumara-charita (3) Kadamban, p. 75, (4) Kaldvilasa by Kshemendra, (5) Samavdya(6) Ramachandra's Commentary on Champurdmayana by Vidabharaya, (u, 21), sfitra, (7) Narayana's Commentary on Lalita-sahasranama, (8) Srimad-Bhdgavata, (9) Bhaskararaya's Commentary on Lalita- Kamasutra of Vatsyayana, and (10) sahasranama (N. S. P., 1917), p. 72. Similar lists are also given by Bhdgavata (Part x, Chap. XLV, Sridhara in his Commentary v. 36), Srimad- .on Jiva-gosvami in explaining Sridhara's and Hari-vamsa commentary refers also to the Vishnu- Pur dna, Lalitavistara (Chap, x, ed. R. L. Mitra, p. 182 ; see also ; in the Buddhist and p. 186), in Chap, xxi, 6, Transl., S. B. E., Vol. XLV, See The Venkatasubbia also Kalds, p. 108). by (pp. 25-32). Chatuhshashthikalah, Sarngadharlye kathamse cha Srldharlya-LakThen shmTpithikayarh cha vailakshanyena ganitasta nishkrishya likhyante the Jain Uttarddhydyana-stitra (text, : follows a list of sixty-four arts including eighteen scripts, various languages, III AN ENCYCLOPAEDIA OF KALAPAKA books, Natakas poetry Sastras vedangas, alankar (dramas), (without specification), (poetics), Tantras, vedas, upa-vedas, Puriinas, Smritis, etc. agriculture, witchcraft, sorcery, gambling, For fuller Quarterly} address, and details see the writer's Arts 'Fine in article ' Fine Arts Our System of ' (Indian Historical Education' (Convocation Brindavan, 1937, The Hindustan Review, June, 1936, Vide the Introduction to the writer's Hindu Architecture in Gurukula, pp. 784-796). India and Abroad. KALAPAKA A tuft of braided hair, a sectarian mark on the fore- head of an image. Prakoshte valayarh chaiva mani-bandha-kalapakam I (M, KALKA A paste used as plaster or cement, also L, called 16, etc.) ' ' yoga (mixture). (Brihat-Samhita, LVII, N. KALPA-DRUMA 1 KALPA-VRIKSHA J Compare Akshaya-vata The ornamental ing at (see 3, Vol. S., tree, 6, vi, 7, 8, J.R.A.S., pp. 321, 322.) employed as a carv- SR!-VRIKSHA). Prayag (Allahabad), Siddha-vata at Ujjain. and Bodhi-tree at Gaya. (i) Manasdra The name (Chap. XLVII, of the chapter is 1-77) : Kalpa-vriksha, which literally means a an all-productive tree. an ornament of the throne of gods and kings Such a tree is made above the throne and the arch (lines 1-2). as well as at the middle of the length of the throne (lines 4-5). It is also constructed inside the Mukta-prapanga or an open courtyard, the mandapa or a pavilion, and the royal palace (lines 68-69). Beyond the front of the ornamental tree, there should be represented wishes, or, in other words, tree yielding This tree is used as all a yard where the votaries of gods and kings are seated in the pose of praising and worshipping them (lines 70-75). description and measurement of all the various The tree is coiled round with a are given. the tree of parts reaches the top (lines 11-12). of which serpent the outspread hood The measurement of the hood and tail of the serpent is described The number of branches as also the at great length (lines 13-20). thrones them varies measurement of according to the various is constructed (lines 21-43). for the decoration of which the tree The minute 112 THE ORNAftEKTAL TREE FOR THKONE.S OF GODSAHD KINGS HOT TO 5CKLL KALPADRUMA 712 KALPA-VRIKSHA HINDU ARCHITECTURE . tree is beautifully decorated with creepers, leaves and flowers of various colours and forms (lines 114-155, 62-66). Bees are represented on the branches (line 56). Jewels and garlands of pearls The are inserted in suitable places (line 57). The figures of monkeys, and semi-divine beings (Sidhas, Vidyadharas, etc.) are beauti- deities fully carved in the intervals between the branches 58-61). (lines particulars regarding the ornamental expressly left to the choice and discretion of the artists other Many are tree : Evarh tu kalpa-vrikshah syat s"esham yuktya prayojayet Tasya madhye cha range tu muktikena prapanvitam I I Tan-madhye sasanadinarh toranarh kalpa-vrikshakam I (M., xxxiv, 167, 218-219.) A carving on the car : Kalpa-vriksha-yuta-chakravartibhir bhih kuru sarvavedi- manditarh I (M., The materials of which the tree is constructed 169-170.) XLIII, : Sirhhasanam makara-torana-kalpa-vriksham I Mukta-praparigam api daru-s"ileshtakadyaih Ratnair aneka-bahu-loha-viseshakais cha (kuryat) | I (M., XLVII, 30-33.) Paschat sirhhasanadhya's cha kalpa-vriksham cha toranam | (M., XLIX, 185.) Padma-pitharh maha-pitham tri-murtinarh cha yojayet Praoa cha toranarh vapi kalpa-vriksham cha sarhyutam (M., | I ii, Apare tu niryuharh kuryan makara-toranam Tad-urdhve kalpa-vriksham syat sa-ha( ? ga)jendra-sva( 86-87.) | raih saha ' (2) I ? sva) LV, 79-80.) (M., (He) covered with fine gold the enclosure, the gate-towers, halls and buildings surrounding the shrine of pu e gold covered with covered with splendid gold the altar on which offerings abound pure gold and adorned with numerous strings of large round pearls the sacred car temple was pleased to build a long temple street of mansions covered with jewels and called it after his royal prosperous name, and made numberless splendid insignia, beginning with dishes . . . . . "3 . . . . AN ENCYCLOPAEDIA OF KALYANA cut off fine gold, together with a kalpa (tree) of pure gold.' Tirumalavadi, no. 79, lines 14-23, H.S.I. I., Vol. HI, p. 185.) (Inscrip. at Doshonmosha-vrisha-praghosha-divishat-santosha-posha-kshamah sarhya-tatula-tirtha-bhuta-parishat-satkara-kalpa-drumah I Nana-mangala-divya-vastu-nivritas taurya-trikollasito hridyah ko'pi sa vasarah samabhaval-loka-pramodojjvalah II (Inscrip. from Nepal, no. 23, Queen Inscrip. of Lalita-tripura-sundari, Ind. Ant., "Vol. ix, p. KALYANA A KANTA) class v. 4, 194.) of the five-storeyed buildings (same as GRIHA- . (M., xxin, 30-32 ; see under PRASADA.) KALYANA-MANDAPA A wedding pavilion. (See details KAVATA (1) The under MANDAPA.) leaf or panel of a door, a door. Vdstu-vidyd (ed. Ganapati Sastri) xiv, i : Kavata-dvitayam kuryan matri-putry-abhidham budhah (2) Kautilfya-Artha-fdstra, Chap, xxiv, p. Tri-pancha-bhagikau dvau kavata-yogau (3) Kdmikdgama, LV 53 1 1 : I : Deva-dvija-narendranam kavata-yugalam matam Anyayor ekam uddishtam maha-dvare chatur-yugam Aneka-sririkhalopetam bahu-kundala-bhushitam I II (51) I Kavata-yugmam kartavyam kokilargala-sariiyutam II ( 2) bahis tasya(h) stambha-yoga-kavataMyuk Bhitti-madhyad Kavata-yug 1 :m va-ekam ghatanodghatam samam II I (166) See also verses, 38, 49, 53. Jalakas cha kavataS cha bahye bahye prakalpayet (4) (5) Rdmdyana,vi, 31, 27, etc. Purim maha-yantra-kavata-mukhyam II (Ibid., XLI, 8). : Mdnasdra I : Yon(g)yarh kavata-yugmarh cha sreshtham madhyarh cha harmyakel (M., xix, 152.) Dakshine cha kavate tu dvaram kuryat tu mukhyake Devanam cha manushyanam maha-dvaram kavatake I I (M., xxxvai, 9, u.) 114 KAMYA HINDU ARCHITECTURE ' As compared with prakara Dakshinasya kavataih tu visaladhikam ayatuh ' : I Eka-dvi-tryangulam vapi kavataih syat dvi-hastakam Kuryat kavata-dirgheshu kshepanarh vistrito'dhikam Prakare cha maha-dvaram kshudra-dvaram kavatake I I I see also (M., xxxix, 101, 102, 108, 115; 124-137.) 'He, the emperor of the south, caused to be made of stone for Vijayanarayana temple, latticed window, secure door-frame (dridha-kavatam) (6) door-lintel, kitchen, ramparts, pavilion, tirtha.' Roman (Ep. Carnal., Vol. v, Part text, p. KA$A KA&PU Belur Taluq, no. Transl., p. 61 72, ; 142, line 7.) ) mat a cushion, a golden > \ (R.-V. x, KAKASHTA A eight-fold i, and a pond named the Vasudeva ioo, 10 seat. Taitt. Aran., : vi, i 9, A.-V. vi, : 138, 5.) synonym of paryanka or bedstead, a couch of crow design. (M., ni, 11-12; see under PARYANKA.) KACHA A house with a southern and northern KANTA A type of pavilions. hall. (Brihat-Samhitd, (M., KANTARA A xxxiv, large forest, a difficult road, 40.) MANDAPA under see 513-516; LIII, ) a class of six-storeyed buildings. (M., xxiv, 13-14 ; under PRASADA.) see KAMA-KOSHTA A comfortable compartment, usually a bedroom, a temple of one of the thirty-two attendant deities. Jayante bhaskaram sthapya(m) ise pasupatam tatha Athava kama-koshthaih syad alayam kalpayet sudhih Dvatrimsan murtir evam va kuryat tu parivarakam I I I (M., xxxn, 58-60.) KAMAKSHI-DHARMA- MANDAPA A type of pavilions. (Madras Museum Plates of Srigiri-bhu-pala, vv. 21-22 Ep. Ind., Vol. vm, pp. 311, 316 ; see under MANDAPA. KAMYA A class of buildings, a chamber in the shrine used as bed- room of deities. Pancha-prakara-harmyanam adhuna vakshyate kramat (M., Kamyadi-bheda-harmyanam tan-manena vinyaset cha sarvabhih (M., Nitya-naimittikakhyadi-kamyair api I I xxxi, 2-3.) I XLVIII, 27.) KARAPAKA AN ENCYCLOPAEDIA OF KARAPAKA- -Persons appointed to look after the construction of a temple. Karapakas tu sunuh pitamahakhyasya satya-dcvakhyah GoshthyS prasadaparaya nirupito janmana sa vanik II The Karapaka I by the goshthi (assembly) to see this work through was Satyadeva, the son of Pitamaha, who was a merchant by birth.' Dr. Bhandarkar also refers to Prof. Kielhorn (Ind. Ant., Vol. ' selected ' xix, p. 62, no. 53), persons appointed to look after the construction of the temple.' (Vasantagadh Inscrip. of Varmalata, v. 9, Ep. Ind., Vol. ix, pp. 192, 189, notes 4 and 3.) Cf. GOMANASA KARAVAKASA 'The gift of Gomana I the Karavaka ' (=karapaka). (Four early KARMUKA A kind of village. It is situated on no. B, Inscrip. Ep. Ind., Vol. xii, p. 301.) banks of the a river or sea (nadi-tire'bdhi-tire va karmukam cha vinyaset). Its plan is like a bow (tad-dyayor vithi-bahye tu karmukakaravat prithak). See further details under GRAMA. (M., KARYA-SATRA Working lines, ix, 3, 459, 463, 452-472.) drawn the plumb-lines for the purpose of the sculptural measurement. (M., LXVII, 93 KALA-KOTA A kind ; under PRALAMBA.) see of poison, the cobra represented on the neck of the image of Siva. Grivasya vama-parsve tu kala-kuta-samanvitam KALA-MUKHA A kind A LI, 80.) of phallus. (M., KALIftGA-(KANTA) (A/., I class LII, 2, LXVIII, of the 2 ; see under LINGA.) twelve-storeyed buildings once prevailing in the country along the Coromandal coast. Madhya-kantam iti proktam tasya kuta-dvi-bhagike Anu-sala shad-amsam syat tasyangam purvavad bhavet I Evam kalinga-kantam syan nanakaranga-samyuktam I I (M., xxxi, 14-16.) 116 KIRTANA HINDU ARCHITECTURE KIRlTA A diadem, a crown, a tiara. Devanam bhu-patlnarh cha mauli-lakshanam uchyate Jata-mauli-kiritarh cha karandam cha Sirastrakam | | (M., XLIX, 12-13.) Kirita-makutam KIMBARA(-RI) tural and chaiva A narayanams"a-yogyakam I (Ibid., 18.) an architec- crocodile, a shark, used both as sculptural object. Chitra-toranam . . graha-kimbara-samyuktam . I (M., XLVI, 52-53.) Syama-varnam mukham sarvam kimbari-makarananam I (M., xvni, 311.) In connexion with the galas or buildings Sarve(a) -sala-nasika-toranadyaih : I Patrais chitraih kimbari-vaktra-yuktam (M., xxxv, 401-402.) I In connexion with the single-storeyed buildings Nasikagrantam sarvam kimbarl-samalankritam KISHKU A : I (M., xix, 36.) measure, a cubit of 24 or 42 angulas. Kishku(h) smrito dvi-ratnis tu dvi chatvarims'ad angulah (Brahmdnda-Purdna, Part I, and Anushanga-pada, I But according to the Suprabheddgama (xxx, 25 see a cubit of 24 angulas, which in the above Purana ; it is ' Chap, vii, v. 99.) under ANGULA), (v. 99) is called aratni.' KIRTTANA) A temple, a shrine. (1) S()ambhor yo dva-das(s")api vyarachayad achirat kirttanani who erected (soon) twelve temples of Sambhu.' Mr. Telang at the KIRTANA (also ' ' suggestion of Pandit Bhagvan Lai'. (New Silara copper plate grant, Vol. ix, line 7, Ind. Ant. } pp. 34, 36, and note 13.) Kartapi yasya khalu vismayam apa Silpi tan-nama-kirttanam akaryyata rajna ' This is the abode of Svayambhu Siva, and no artificially made Sri (if she could be) seen (would be) such as this. (dwelling) the even architect it felt who built astonishment, saying Verily " (the utmost) perseverance would fail to accomplish such a work how has it been achieved by me?" (and), by reason again; aho (2) I ; ! of it the king was caused to praise (Skt. his name.' and Old Canarese 14 f.; Dr. Fleet. Inscrip. no. Ind. Ant., Vol. xn, pp. cxxvn, 159, 163, line c. I.) AN ENCYCLOPAEDIA OF KIRTI-VAKTRA Dr. Hultzsch referring to the passage quoted above says The word, Kirtana, has been understood in its usual and etymo: (3) ' by Dr Fleet and the first translator (B.A.S.J., Vol. vni, that sense is not at all appropriate here Mr. Prinsep) p. 292 f., be taken to signify a temple.'' He then refers to and the word must the Silara grant mentione above and quotes the following logical sense ; : 1 (a) cha karayet Cause temples to be constructed.' Kirtanani ' Vol. i, I (Agni-Purana, Bib. Ind., p. III.) klrtanani lekhayan Sasanani prithivim vichahe travelled the earth, constructing temples, causing Kurvan (b) chara ' . . . . . . be written, etc. (Bana's Kadambari).' tu Purta-kirtanodharanena by the restoration of dilapidated (c) works of public utility (such as tanks, wells, etc.) and temple.' grants to ' (Ind. Ant., Vol. xn, pp. 228-229.) Bhandarkar in I have since support of this meaning of KTrttana (in no. 2 above), found that it is used in the same sense in the five inscriptions of Devalabdhi, the grandson of the Chandella king YaSovarman and the son ' In addition (4) the to authorities by quoted of Krishnapa and Asarva, in the temple of Brahma at Dudahi (Arch. Dr. Fleet. Surv. of Ind., Vol. x, Plate xxxn).' (Ind. Ant., Achikarat (5) Ind. Ant., (6) ' kirttanam Vol. xv, pp. built Vol. xn, p. 289, c.2.) (Gwalior Inscrip. v. 15 temples.' 202, note 8.) 203, Kirttanam idarh sarwarh karitam Kirttanam idarh sarwarh api (b. Sarvva-kirttanam idam Saktaih kirttanam idam (a. line 9 line 8 f.). f.). line 5). line 3). (d. (c. Kirttanam idam (). In no. all these places, A, Dudahi stone ' Kirttana ' means a temple. a Inscrip. of Devalabdhi, (Chandella Inscrip. grandson of YoSovarman, Ind. Ant., Vol. xvui, p. 237.) chakara kirttim bahu-klrttinathah (7) Cf. Sa dakshinarkkasya he famous for many (good) deeds made the temple of Dakshinarka'. (Gaya Inscrip. of Vikrama-samvat 1429, lines 4-5, 8 . ' . . ; Ind. Ant., KIRTI-VAKTRA The monumental face, Vol. xx, pp. 314-315.) used as an architectural member. In connexion with the or hall ' mukha-bhadra ' or front tabernacle, porch : Tad-urdhve kirti-vaktram tu nirgamakriti(r) bhavet I (M., xvni, 293.) 118 JiliiUl SECTION PLAN OF RAMPART*. KUMAHI-PURA. ELEVATION PIVOTED. -J PLAN KUNJARAKSHA. KUKSHI HNIDU ARCHITECTURE KIRTI-STAMBHA A memorial or monumental pillar. Arch., Burgess, Arch. Surv., (Ahmadabad Series, Vol. xxxm, New. Imp. 94; see under STAMBHA.) p. KILA A stake, pin, nail, wedge, post. Etat tu pratimarh bhavet I Kila-tara-samady-ardharh dvi-gunam va galaka bhavet (M., In connexion with joinery xii, I 122-123.) : Mulagre kilakarh yuktam ardha-pranam iti smritam I (M., xvn, 99.) In connexion with a mirror or the looking-glass : Darpanasya tri-bhagaikam mule kilayatam tatha (M., L, 120 KILA-BHAJANA The ; see also I M., xxxix, 121-123.) pin-hold. In connexion with the door : Kila-bhajanam ity-uktam kilanarh tu pravakshyate (M., xxxix, KILA-SULAKA The I also see 119; 120-131.) pin-point. In connexion with the door Kuryat tat kavatanarh yuktya tat kila-Sulakam : KUKSHI The belly, (M., I a cavity, the middle part, the xxxix, 128.) interior, the hub of the wheel. (M., In connexion with the foundations XLVIII, i a.) : Gramadinarh nagaradinam pura-pattana-kharvate Koshtha-koladl-sarvesharh garbha-sthanam ihochyate Sthira-vastu-kukshi-des"e tu chara-vastu tathapi cha Grama-dvarasya yoge va garbha-Svabhram prakalpayet I I I I (M., xn, 168-171.) In connexion with the pent roof (lupa) Tat-sutrad adho dde kukshirh jnatva purordhvake (M., xviu, 236.) In connexion with the front porch or tabernacle (mukha-bhadra) : I : Panchama-dvi (-ya)rhs'a-taram syad ardham va kukshi-vistritam Kukshy-antararh sadma-sarhyuktam vatayanam athapi va (Ibid., In connexion with the single-storyed buildings Nasl-tararh tri-bhagaikam kukshshi-taram iti-smritam I I 286-287.) : I (M., xix, 37.) "9 AN ENCYCLOPAEDIA OF KUKSHI-BANDHA In connexion with the chariot (ratha) Vistararh cha tridha kritva madhye kukshy:im)-arhakena tu Pancha-daSam cha vipularh nalarh kuksh(as)ya veSanam : I I (Af., XLIII, In connexion with the arch 12, 14.) : Ratnakaranganair yuktaih kukshir avrita-lambitam Toranasyopari dese tu bhujanga-pada dvayor api I I (M., XLVI, 59.) Mukharh vakshaS cha kukshiS cha kati dirghe dva-daSamSakam (M. Kukshi-tarashta-matram syat KUKSHI-BANDHA A from one another . I of bases, class in height . . I LVII, 55.) (M., LX, 14.) has four types differing it and the addition or omission of some mouldings. (M., KUGHA-BANDHANA An 319-359; xrv, ornament see under ADHISHTHANA.) for the (female) breast. Kucha-bandhana-samyuktarh bahu-mala-vibhushini (Af., LIV, 12.) KUNJARA A type of building which is shaped like the elephant's back, 1 6 cubits long and broad at the bottom and has a roof with three dormer-windows. Bnhat-Samhitd (LVI, 25, J. R. A. S., N. S., Vol. (2) Matsya-Pwana (Chap. CCLXIX, vv. 36, 41, 49, 53 (1) (3) Bhamshya-Purana (Chap, cxxx, KUNJARAKSHA elephant's eye (cf. v. 32 VATAYANA) ; see A vi, p. 319). under PRASADA). under PRASADA). ; see window resembling the in design. Naga-bandharii tatha valli gavaksharh kunjarakshakam esham vatayanarii rupam (Af., xxxm, 581, 582, Gavakshakaram yuktya cha pattikordhve samantatah . . . I I 585.) I Kunjaraksham alaksham va patra-pushpady-alahkritam (A/., KUTI (see GANDHA-KUTI) A hall, a cottage, I XLIV, cornice, 22, 23.) entabla- ture. Kosamba-kutf Inscrip. no. 39 ' ; The hall at Ind. Ant., Kausambi.' Vol. xxi, p. 230). 120 Dr. Hultzsch(Bharaut KUTTIMA HINDU ARCHITECTURE KUTIKA A village under one headman. Eko gramaniko yatra sa-bhritya-paricharakah Kutikarh tad vijanlyad eka bhogah sa eva tu I II (Kdmikdgama, xx, KUTUMBA-BHUMI is The ground for houses, a site 4.) where a house built. Kutumbha-bhumi-manarh tu vata-kshetra-vivarjitam i (Ibid., xxi, 3.) KUTTIMA A floor, a base, a wall, a pavement, an entablature, house, the ground prepared for the site of a a cottage, a small building, a paved ground. It is also see used as a synonym of Prastara or entablature. ( M., xvi, 2-4 ; under PRASTARA.) (1) Same column as adhishthana or the base of a : dhuna Adhishthana-vidhlm vakshye Trayodasangulam arabhya sha^-shad-angula-vardhanat Chatur hastavasanarh syat kuttima-dvadagonnatam (M., xiv, gastri sarhkshipyate' i I 1-3.) i Janmadi-vajanantam syat kuttimodayam Iritam Vimana-saleshu cha mandapeshu i Nidhana-sadmeshv-api gopureshv-api Eteshv-adho-deSa-talopapithe I- (Ibid., 9.) i i Tasyoparishthat krita-ku^timani {(Ibid., 397-400.) Referring to the entablature : Shad-vidham kut^imottungam prastarodayam Iritam In connexion with the four-storeyed buildings (M., xvi, i 4.) : Tad-urdhve pada(rh)-bandhvarharh gopanochcharh tad-ardhakam Tad-urdhve kuttimarh charhsam sardha-pakshanghri-tungakam i i (M., XXH, 36-37.) In connexion with the gopura or gate-house : Dvi-bhagarh chopaplthochcham tasmad ekaih^a(m) kuttimam (M., (2) As a synonym of the wall (bhitti) dvari kundarh cha kuttiman . . . Bhitter akheyeyam akhyatam As a member (lit. limb) of the base . . 249.) : n . n (Kdmikdgama, LV, 199-200.) : Masurakam adishthanarh vastvadhararh dharatalam Talarh kuttimady-angam adhi^thanasya klrtitam 121 xxxm, i n i (Ibid., 202.) AN ENCYCLOPAEDIA OF KUTTIMA (3) Prasada-s"ata-sambadharh mani-pravara-kuttimam Karayamasa vidhivad dhema-ratna-vibhushitam 1 I 1 (Mahdbharata, xiv, 25, 22.) prasadaih sukritochhrayaih Suvarna-jala-sarhvritair mani-kuttima-bhushanaih . . 1 . 1 II (Ibid., (4) Kuttimo'str! nibaddha-bhus chanclra-sala sirogriham Commentary 185, i, I Pashanadi-nibadhha-bhuh sa kuttima ity-ckam : 19-20.) I (Amarakosha, H, 5~8.\ (5) Griharh kanchana-kuttimam (6) Tan . . pathi . . . . (Ramayana, I vi, 37, 27, etc.) mamlatur na mani-kuttimochitau I (Raghuvarhfa, ed. Stenzler, n, 9.) (7) Padangushthalulita-kusume kuttime I (Malavikagnimitra, ed. Tullberg, n, 27.) (8) tu Vcdikeyam samanya kuttimanam prakiritita (Vastu-vidya, ed. (9) Mani-kuttima varsha, line 29 (10) ; 'jewel-paved Ep. Ind., Vol. iv, floor.' I Ganapati (Kadaba Sastri, ix, 19.) Prabhuta- plates of pp. 341, 342.) Vapl-kupa-tadaga-kuttima-matha-prasada-satralayan Sauvarna-dhvaja-toranapana-pure-grama-prapa-marhdapan I . Here . ' . vyadhapayad ayarh Chaulukya-chuda-manih . kuttima' is 1 1 I evidently a detached building. (Sridhara's Devapattana Prasasti, v. 10; Ep. Ind., Vol. n, p. 440.) (n) Mani-kuttima 'jewel-paved floor.' 'And it must have been an uncommonly magnificent building, for nearly the sixth part of whole inscription (of 103 lines) is devoted to its description, and its erection is the only deed of the king, which the author has thought worth mentioning. The temple spoken of here must, therefore, necessarily be that splendid Siva temple which, according to the Baroda-grant was built by Krishna on the hill of Etapura, the modern varsha, line 34, Ep. Ind., Vol. iv, p. p. 159 and p. 228 (Kadaba plates of Prabhutaand note 2 ; Ind. Ant., Vol. xn, 337 Elura.' f.) vidvat-kavmam griha nanaratna-vichitra-kuttima-bhuvo ratnakaratvarh gatah Through the precious stones presented by the glorious king Krishna, the houses of the learned and the poets have pavements (? floor) sparkling with jewels of different kinds, and have (thus) become jewel-mines.' (Two inscrip. of Krishnaraya (12) Srikrishna-kshiti-pala-datta-manibhir ' no. A, Mangalagiri pillar, Inscrip. v. 7, Ep. Ind., Vol. vi, pp. 118, 128.) 122 HINDU ARCHITECTURE KUDYA (13) Mani-kuttima-vithlshu mukta-saikata-setubhih Danambuni nirurhdhana I yatra kridanti balikah II ' There the girls play on roads paved with precious stones, stopping by embankments of pearl and the water poured out at donations.' (Vijayanagara Inscrip. of Harihara, II, v. 27, H. S. /., Vol. i, no. 152, pp. 158, 160.) (14) Lokaika-chudamanina vyajcna svayam avatlryya ' The sun . . . ... mani-kuttima-sankrarhta-prati-bimbaI under pretence of seeing his reflection in the jewelled floor.' (Ep. Carnal., Vol. xn, text, p. 49, line KUDYA A wall, Bhittih 'Bhittih 32 ; no. 61 ; Roman Transl., p. 29, line 20.) plastering. kudyam strl I kudye prabhede cha' 'Kudyam Gubbi Taluq, bhittau vilepane iti ' iti Haimah MedinI I I (Amarakosha, 2, 2, 4.) Prasada-harmya-valabhi-linga-pratimasu kudya-kupeshu l In the temple, mansion, roof, phallus, image (idol), wall, and tank (the cement should be used). (1) ' (Brihat-Samhita, LVII, 4, J.R.A.S., N.S., Vol. (2) vi, p. 322.) Silaya cha mridapy-athava taruna rachayed atha kudyam atlvadridham I Tad-ihottara-vistaratah sadrisarh bahalam kathitam talipadi-yutam Svotsedha-dararhs'aika-hina-mastakam eva tat Kudyam kuryad I I bahir-bhagarh svantar-bhagarh bhavet samam II (Vastu-vidya, ed. Ganapati-Sastri, xv, 1-2.) (3) Para-kudyam udakenopaghnato ' cause to collect water and thereby injure the wall of a neighbouring house.' (Kautiliya-Artha-iastra, Chap. LXV, bahir andharikavritam (4) Panchalindarh shat-kudyam 1 1 cha krodhe bhitti(h) pancha^a-varjitah Ldnge Kirhchin nyunam alindam va ^esham kudyeshu yojayet ^ilante p. 167.) I || (Kamikagama, Jalakarh phalakam sailam aishtam kudyam cheshyate kudyam ishyate II Nishpadam va sa-padam va kudyam Sailam atheshtakam Athava mrinmayam vapi kudyam ishtam dvijottamah L, I Jalakair bahubhir yuktarh jalakarh 1 1 123 I 83, 87.) AN ENCYCLOPAEDIA OF KUDYA-STAMBHA Kudye stambha-lata karya vastvadharasya chopari I Vedikordhvadhare kuta-koshtadlnarh smritah tridha. tridha II (Kamikagama, LV, 94, 97, 98.) Jalaka cha kavatas" cha bahye bahye prakalpayet Sarvatah kudya-sarhyuktam mukhya-dhamatra kirtitam I Anta-vivrita-padarh cha bahye kudyarh prakirtitam Bahir abhyantare mukhya-geham vidhiyate II (Ibid., In connexion with the number of walls (5) (sala) in II II XLI, 8, 9, 14.) the buildings of the kings of various ranks Ekadikaih tri-salantarh pattadharadibhis tribhih Praharakastragrahabhyam kudyam etad (? ekam) dvayantakam : I 1 1 (A/., XL, 42-43.) Geha-tridhaika-parito bahi(h) kudya-taram LIII. (M. i 59). Kudya(ama)ty-adhika-hinam ched vistare chodaye'pi va Dvi-jati-sarva-varnanarii sarva-na^akaram bhavet i i (M. LXIX. 57, KUDYA-STAMBHA 58.) The column of the wall, thus the pilaster or a square pillar projecting from the wall. Sila-stambham s"ila-kudyam naravase na karayet 11 (Kamikagama, xxxv. 161.) In connexion with the foundations : Kudya-stambhe griha-stambhe harmya-garbham vinikshipet (M. Referring to the pillar i xii. 132.) : Tri-chatush-pancha-shan-matrarh kudya-stambha-vigalakam Tad-dvi-gunitam vapi tri-gunarh va chatur-gunam Etat(s) kampa(-bha)-vialamsyad athava tunga-manatah I i (M. xv. 14-16.) Set plates Ghalukyan Architecture, Arch. Surv. New Imp. series, vol. xxi, xvi, XL vi, fig. 3 plate LXXVIII, figs. 1,2; Buddhist Gave Temples, ibid, vol. rv, ; plate xvin, no. 3 KUNDA A pool ; plate XXH, no. 2 ; plate xxrx. no. 2. or well in or about a temple. Sarvatah kunda-samyuktarh griha-dvara-samanvitam i (Kamikagama, xxxv. 64.) 'At Kapadvanj ... is a large spuare kunda or reservoir in the market place. This occupies an area about a hundred feet square with a platform below the parallel to the sides, first descent, lead from which a series down from one narrow 124 of short stairs, landing to another, KUNTALA Pagi Jit HINDU ARCHITECTURE KUMARI-PURA and reaching a broader one about 33 from the feet pair of descending steps in each of five and thirty-six centre is in all tiers is occupied by originally Between each some hundred first. a niche ... images In the a deep well about nine and a half feet square.' (Ahmadabad KUNDIKA A water pot on New. Imp. Arch., Burgess, Arch. Surv. series, vol. xxxni, p. 94, plates LXXX, LXXXI.) hand of an image. Kundika chaksha-mala cha vame vame kare kramat the Kundika vama-haste cha dharayet tu sarasvatl (M. I LI. 31.) LIV. 22.) (M. I KUNTALA A head gear, a lock of hair. Devanarh bhupatlnam cha mauli-lakshanam uchyate Jata-mauli-kirltam cha karandarh cha Sirastrakam Kuntalarh kesa-bandham cha dhammillalaka-chudakam Mukutarh cheti khyatam (M. XLIX 12-15). mukutam kunu talam tva Dukula-vasanopetaih (M., LIV, 78.) Kechit tu kuntala-nibharh tungam makutam kuntalam tu va I I I . . . I | I (Ibid., 119.) KUBJAKA (see NAGARA) Hump backed, crooked, a town of the similar plan according to the Kdmikdgama, (cf. KANYA-KUBJA) a on the confines of any city or large village. it is a suburb or place , Gramadinarh samlpam yat sthanam kubjam iti smritam II (Kamikdgama, xx, Sarvesharh nagaradinarh bhedarh lakshauam uchyate Kubjakarh pattanarh chaiva ... 15.) I I . . . durgam ashta-vidharh bhavet KUMARI-PURA A gymnasium I (M., x, 37, 40, 42.) or school for higher studies, a stadium, arena or sports ground. Sotsedha-randhra-prakaram sarvatah khatakavritam Ruchaka(h)-pratika-dvararh kumari-puram eva cha I II Dvi-hastah srotasa sreshtharh kumari-puram anchatam Hasta-sato-dasa-Sreshtho navahasto'shta eva cha II I 2nd Anusamga-pada Chap, vn, vv. 103, 104.) (Brahmdnda-Purdna, Part i, Prakara-madhye kritva vapim pushkarinlrh dvaram chatus-^alam adhyardhantaranikarh kumari-purarh munda-harmyam dvi-talam mundaka-dvaram bhumi-dravya-vasena va tribhagadhikayamah bhandavahini(h)-kulyah karayet under Chuli-harmya.) I (Kautillya-Artha-Sastra, 125 xxiv, 54, see Translation KUMUDA KUMUDA AJV The ' water-lily. vertical diameter. It is A semi-circle employed chiefly ENCYCLOPAEDIA OF from projecting in cornices and bases. a It corresponds with the astragal (a small circular moulding ornamented with a bead or reel), or with torus ' (a large convex moulding used principally in the bases of columns). (Ram-Raz, Arch. Hind., p. 23.) In bases it may be triangular or hexagonal. (M. In connexion with the foundations xiv, 83.) t : Janmantam vathava prantam kumudantarh va galantakam Pattikantam kshipech chapi vinyaset prathameshtakam I I (M., xn, 202-203.) A moulding of the base (M., xiv, under ADHISHTHANA). A moulding of the throne 12, etc.; see the lists of mouldings : Tach-chhesharh dvi-bhage tu kumudam vrittakritis tatha | (M.. XLV, 136.) A headgear Etesham mahishblbhyam(-shyoh) kritam (M, I cha dhammilla(m) kumuda- XLIX, 28.) KUMUDA-BANDHA A class of bases, it has four types differing from one another in height and in the addition or omission of some mouldings. (M., xiv, 65-108, KUMBHA cupola, a plinth. A ADHISHTHANA). A A A under ADHISHTHANA.) the capital, a moulding, the (M., xiv, 33, etc., see the lists of mouldings under KALASA) (see see pitcher, kind of building (see under GHATA). part of a column (Suprabheddgama, xxxi, 58, pinnacle see under STAMBHA). : Prasadam akarod apy-amala-kanchana-kumbha- arhpata-sambhavaniyam- anukarmma silpaih I (Ghebrolu Inscrip. of Jaya, postscript, lines 9-1 1, Ep. Ind., Vol. v, pp. 150, 151.) Ghanarii mamtapam prasadarh a solid ' and a beautiful large Vol. vi, nava-hema-kumbha-kalitam ramyam mahatemple adorned with nine golden pinnacles hall.' (Mangalagiri Pillar Inscrip., pp. 125, 115.) 126 v. 51, Ep. Ind., KULA HINDU ARCHITECTURE sauvarnna-kumbha-dhvajaropl Protturhge'py-aparajitesa-bhavane rupyaja-mekhala-vitaranas tasyaiva devasva yah ... I a flagstaff (dhvaja) on placed a golden cupola (kumbha) and the temple of (the god) Aparajitesa, to whom at the same time he gave a silver girdle.' Pro. Kielhorn. ' He (T he Chahamanas of Naddula, no. C, Sundha Hill Inscrip. of Chachigadeva, v. 51, Ep. Ind., Vol. Prasadam urdhva-s(s)ikhara-sthira-hema-kumbham firm golden temple (which by the stately display of) lofty spires.' KUMBHAKA (Bhubaneswar is (Into) capital, the upon The base of a column. written) The same pp. 78, 74.) ' Inscrip., v. 15, Ep. Ind., Vol. xiu, pp. 152, 154.) Ayam kumbhaka-danam .... cription ix, is the gift of This pillar-base (where the ins- . . repeated on many other bases of is inscription . ' pillars. (Catalogue of the Arch. Museum at Mathura, sections 21,22, 25, 30, 32, pp. 176, 177, 178.) KUMBHA-PANJARA sists (cf. PANJARA) of a vase, a pilaster and a KUMBHA-PADA (cf. little STAMBHA) A niche in the wall. It con- pavilion (panjara) at the top. Literally the pillar at the foot of a pitcher, an upper pillar of the two-storeyed buildings (M ., xx, 63), of the bedstead (M., XLIV, 59). KUMBHA-BANDHA A class of bases, it has five types differing from one another in height and in the addition or omission of some mouldings. under ADHISHTHANA.) of the column, mouldings of the (M., xiv, 195-239 KUMBHAL ANKARA Ornaments ; see and entablature. pedestal, base, under UPAPITHA, ADHISHTHANA and PRASTARA.) (M., xv, 201-232 KUMBHA -STAMBHA A PADA) small pillar, ; see compare KUMBHAgenerally employed at the upper part of (see and STAMBHA a structure. (M., xv, 72-200 KULA (see ACHARYA-KULA) A residence, a ; see under STAMBHA.) residential private school, a dwelling house of a small individual family (R.-V., x, 179, Sat. Brdhmana, i, i, 2, 4 n, i, 4, 4 ; 4, i, 14 ; xi, 5, 2 ; A.-V., i, 14, 3 ii 8, i, 3 Brihat-Upamshad, i, 5, 32 ; Chhdnd. Upa., m, 15, 6), 3, ; ; ; , a sanctuary, a temple. 127 AN ENCYCLOPAEDIA OF KULA-DHARANA KULA-DHARANA A type of pavilion. (M., xxxiv, 262 KULAMBHA-DVARA A under MANDAPA.) see ; front door, the threshold. (M., xxxiv, 365.) KULIKANpHRI(KA) tablature, the main STAMBHA) An ornament of the encalyx, see NATAKA. (see pillar, Vallika patra-valli cha chitrangam kulikanghrikam Etat paryaya-vakyani (M., xvi, 54-55.) . KULI(I)RA A . . I I crab, a part of the joinery shaped like a crab. (M., xvn, 153.) KUHARA A window, the interior windows. Tatra shad-asiir merur dvadasa-bhaumo vichitra-kuharas cha Commentary Kuhara abhyantara-gavakshah : I I (Brihat-Sarhhita, LVI, 20, J.R.A.S., N. Merur dvadasa-bhaumo vividha-kuharaS cha (1) xv, The peak (2) ; top of a building LX, 45 ; LXX, ao.) Chap, cxxx, : karna-kuta, sala-kuta. v, 27.) (M., xix, 55, 57; Ekaika-bhagam syat tu kuta-saladikarh nayet Adho bhaga-dvayenatha kutam ekena va bhavet I Kuta-Sala (v. Pinnacle : I 92), mula-kuta, vana-kuta (95). (Kamikagama, (3) 318.) or summit, head, top of a building. The 134 vi, p. I (Bhavishya-Purdna, KUTA Vol. S., L, 88, 90, 92, 95.) Mata-kuta-prakara-khanda-sphutita-iirnoddharakam for the repairs of whatever might become broken'or torn or worn out belonging to the enclosure, with beautiful pinnacles'. (Inscrip. ' at Ablur, ' no. E, lines 59, 76, Ep. Ind., Vol. v, pp. 249, 257, 258.) Sivagamokta-vage parvvata-pramanada degulamam tri-kuta vage in accordance with Siva traditions, founded a temple with three pinnacles, as vast as a mountain'. (Ibid., no. E, line 74, Ep. Ind., Vol. v, pp. 250, 258.) Tara-ganeshunnata-kuta-koti-tatarppitasujvala-dipikasu Like clusters of stars the bright lamps be placed on its pinnacles.' I (4) ' (Ep. Carnal., Vol. xii, Roman Gubbi Taluq, text, no. 61 ; 28 ; p. 49, lines TransL, p. 29, line 128 17.) PART OF A THRONE KOKILA PLAN. KUMBHA-PANJARA. KG PA HINDU ARCHITECTURE Sambhos charu-subhair (5) ' He built this temple of excellent stones.' akari bhavanarh pashana-kutair idam with beautiful and brilliant most I Sambhu This translation of kuta does not seem Biihler. 'Dr. to suit the context. (Two Skt. Inscrip. in the British Museum, no. I, xm, p. 251.) line 12, Ind. Ant., Vol. Aneka-ratna-khachita ruchira-mani-kalasa-kalita-kuta-koti-ghatichait(having erected) a lofty kalasas or towers surmoun-ed by rounded pinnacles yalaya, with (6) tam apy-uttunga-chaltyalayam ' ' set ' with all : manner of gopura,' perhaps a (For jewels.' ' kalasa Channagiri Taluq, no. 32 KOCHAKRA 11, cf. (see Roman ; KRIP A) Roman text, (Ep. text, p. 322, line 18 three pin the Carnal., Vol. vn, Transl., p. 183.) ; Water-wheels for wells (R.-V., x, 102, Zimone, All. Lib., 157). KOTA-KOSHTHA A an tri-kuta-devalaya god Vlra-Somanatha'. ; Transl., p. 63, para. 2.) ; ' Sri-vlra-somanatha-devara the no. 22 Mudgere Taluq, p. 148, line 12 nacled temple of in slip.) (Ep. Carnal. Vol. vi, (7) Mr. Rice has put ,' compartment on the top of a building, room. attic (Kamikagama, LV, 123-130 KOTA-SALA A small room on ; under KARNA-KUJA.) see the top of a building. Kuta-sala sabharh kritva bhoga-bhogyarh viseshatah Kuta-sala-yutarh vapi kuta-salantam eva cha Prakarena samayuktarh gopurena vidhiyate II I II (Suprabludagama, xxxi, 113, 120.) KOTAGARA KUTA-SALA) A small room at the top of a building. Window-chambers (W. Griger Mahdvamsa, p. 297). (see : Ramayana (i, 5, 15, etc.) Kutagarai cha sarhpurnam indrasyevamaravatlm II Commentary Kutakhyair agaraih strinam krida-grihair kutah salagararh griham anye : i : iti yavt I KOPA A 102, ii x, 33, ; well with vn, 36, 3; ix, 2) mechanism of water-wheels, etc. (R.-V., x, 97, 4), masonry sides (Parsu, R.-V.,i, 105, 8; its and metal fittings or ribbed resembling sickles (see KUCHAKRA). (i) Dcwal Prasasti of Lalla the PP- 79. 83). 129 Chhinda (v. 20, Ep. Ind. Vol. I, KRISHNA-MANDALA AJf (2) Sridhara's Devapattana Prasasti (3) A well with flights of steps (v. 10, ENCYCLOPAEDIA OF Ep. Ind., Vol., u, p. 440). : Sita-svadu-visuddha-bhuri-salilarh sopana-malojjvalam . . . kuparh chainam akarayad (Gangdhar stone Inscrip. of Visvavarman, 39, C. (4) I I I. I., Vol. in, F. G. I., lines 38, no. 17, p. 76.) Anarhda-putrcna Samgamitrena kue (kupa) katite mataThis well was excavated pitae puyae save-satana hida-suhae the son of in honour of his father (and, Ananda, by Sarhgamitra, ' mother (and) the well-being and happiness of all beings. (Paja Inscrip. of the year in, New Kharoshthi Inscrip. from the Lalv re Museum, no. n, line 2, for Ind. Ant., (5) Khane kupe Dashaverana XXXVH, p. 65.) he dug well of Dashaveras. (Inscrip. of Ara, lines 4-5, Ind. Ant., Vol. XLII, p. 133.) KRISHNA-MANDALA The iris of the eye of an image. (M., LXV, 66, LXVI, 65, LXX, 69.) KEYORA The armlet worn on the upper arm of an image. (M., KERALA-(KANTA) A L, 14, LIV, 13, class of the twelve-storeyed building., etc.) once of Kerala. prevailing in the ancient country Tad eva bhuta-bhagena kshudra-sala-visalakam Kara cha tat-tri-bhagena cha yuktya samalankritam I I Sesharh prag-ukta-vat kuryad eva(rh) kerala-kantakam see under VARATA, (M., xxx, 28-30 ; KE$A-KOTAKA The ibid. 17-27.) tip of the hair, the top knot of an image. (M., KE&A-BANDHA A I head-gear for the L, 301 ; see USHNISHA.) images of goddesses and queens. (M., XLIX, 14, 88 KE&ARA A lion's or horse's mane, ; LIV, 88 ; see details under BHUSHANA.) the filament of a lotus, a mould- ing, a type of building. A of the single -storeyed buildings (M., xix, 173-175 class ; see under PRASADA). A class of the three-storeyed buildings (M., xxi, 31-39 PRASADA). 130 ; see under KONA LOSHTA. QEMERAL OUTLIME. OF KEYURA. Page 130 Page 131 KONA HINDU ARCHITECTURE A KAILAS(S)A eight storeys, (1) A which (4) (5) 28 cubits wide, lias J.R.A.S., N. ; S., vi, see under p. 319; see under PRASADA.) . class of the three-storeyed buildings. xxi, 52 (M., (3) is turrets. Brihat-Samhild (LVI, 21 PRASADA) (2) and of building type ; Matsya-Purdna (Chap. CGLXIX vv., 32, 47, 53 see under PRASADA.) Bhavishya-Purdna (Chap, cxxx, v, 28 see under PRASADA). A building with four salas (compartments, halls) and four kutas ; ; (towers or domes) : Chatuh-sala-chatush-kuta-yuktah kailasa eva hi II (Suprabhedagama, xxxi, 42.) A of buildings, circular in plan and names as follows class (i) : Balaya, (2) Dundubhi, (3) Padma, (4) Maha-padma, (5) (6) Ushnisha, (7) Sankha, (8) Kalasa and (9) Sva- VarddhanI, vrlk-sha. (6) Garu.da-Pu.rdna PRASADA) (Chap. XLVII, vv. 21, 23, 24-29; under see . (Chap, civ, (7) Agni-Purdna KOKILA A vv. n, 17, 18 ; see under PRASADA). moulding of the throne. (M., XLV, 125, KOKILARGALA A latch, bolt or bar attached Ancka-srinkha'opetarh bahu-kundala-bhushitam see under SIMHASANA.) to the throne. I Kavata-yugmam kartavyarh kokilargala-sarhyutam I (Kdmikagama, LV, 52.) KOCHCHHA A cane-bottomed chair. (Mahdvagga, KOTA A fort, v, 10, 2.) a hut, a shed. Atyuchair bhitti-bhagair divi divasa-pati-syandanarh va vigrihnan By whom the fort (in this place) was built, yenakari kotah which perhaps may arrest the chariot of the sun in the sky by its high walls.' ' I (An Abu KONA A Inscrip. of the reign of Bhimadeva, II, v. 9, Ind. Ant., Vol. xi, pp. 221, 222.) class of buildings. (Kdmikagama, XLV, 55-58 ; see under MALIKA.) KONA PARAVATA AN ENCYCLOPAEDIA OF KONA-PARAVATA (see KAPOTA-PALIKA) A dove-cot or dove- see under KAPOTA-PALIKA.) ridge. (Vdstu-vidyd, xvi, 27, KONA-LOSHTA A 36 ; moulding, the pendulent-like ornament at the corner of a pent-roof. (See details KOLAKA (see ANGULA) A under LOSIITA.) measurement of two angulas, a fort, a village, a building material. A A kind of village ( M., ix, 486 see under GRAMA) kind effort (M., x, 41 see under DURGA and NAGARA). Some fruit or material employed in the foundation-pit. . ; ; (M., XH, 98.) KOLHI-VESMIKA A hall-mansion. Srl-krishnagiri-maharaja-maha-vlhare upasama-kolhivesmikah sachlhave had varlkah sameta akshainitih dramma-sataikena karapitah hall-mansions (suitable) for meditation built at this great monastery of the ' famous mount of Krishna and have given one hundred drammas.' as a perpetual endowment Srimat-krishna-giri-maha-vihare bhadra-srl-vishnu-bhikshunaih tatrastharya-(sarhghasya) drammanam satamekarh (datva) pasamana-sadisarh kolhivesmikarh kshityam nyavivisat the monks of the worshipful community hundred drammas to one gave the at great monastery of the famous mount of Krishna, and dwelling caused to be built in the ground a hall-mansion suitable for meditation.' Dr. Hult/sch. chlvarikadi-labha-samanvitarh ' The term ' translations quoted above are. it should be noticed, too free. The ' but there kolhi also does not sound like a Sanskrit word ; arc words like ' 'kalhana'; there is resemblance between a phonetic ' and kulya which means something belonging and hence main or chief.' ' kolhi ' ' ' to the family ' (Three Inscrip. from Kanheri, no. line 2 f., Ind. Ant., Vol. KO&A 15, line xm, pp. 4 f. ; no. 43A, 134, 135, 136.) ' -A coffer with a pillow (A.-V., xiv, i, 6) rent along with a bride to her husband's house which may be used as a couch or bed ' (cf. Germanic marriage KO&A-MANDAPA A coffers). store-room, a treasury. (M., xxxn, 68 132 ; see under MANDAPA.) g 2 8 van nYlYn777 KOSIITHAGARA HINDU ARCHITECTURE KOSHTHA A store-room, a granary, a chamber, a wall ; the mezzanine room. xxxv, 210, (A/., Eka-nasikaya yuktarii panjaraih samudahritam Kuteshu nasika-yuktam koshtam etat prakirtitam etc.) I 1 1 (Suprabhedagama, xxxi, 80.) KOSHTHAKA A part of the pillar, a granary, a surrounding wall. Ko hthakastv-iha chatvaras chatush-koneshu chaiva hi I (Suprabhedagama, xxi, 50.) Koshthakam tad-dvi-parsve tu janma-padakriti(s) tatha I (A/., xv, 85.) Astarh tavat pratoli tad-upavirachitam koshthaka-dvarh-dvam getat prauchchair alana-yugmam vijaya-(vara)-kareh(-karinah) s"atru-lakshnear the gate-way were constructed two granaries.' myas cha sadma (Hansi Stone Inscrip. of Prithviraja, V. S. 1224, v. 6, Ind. Ant., Vol. XLI, pp. 19, 17.) KOSHTHAKARA A flat mound type of Nepalese chaityas, erected on a low one-tenth of its diameter in height. (See Woodcut 156, Fergusson, and Eastern KOSHTHA-SALA A History of Indian Vol. Architecture, p. i, 280.) kind of closed hall. (A/., xxvi, KOSHTHA-STAMBHA A kind of pillar, (A/., 37 ; see under SALA.) a pilaster. xv, 84-87 ; see under STAMBHA.) KOSHTHAGARA A store-house, Nepal where there ing is a class of Buddhist chaityas in a four-faced linga of Siva with a correspond- emblem. Sravastiyanam maha-matranarh sasanam manavasili-katat varhsa-grame evaite dve koshthagare (duve kotagalani), (Translated into Sanskrit by Dr. Buh'er.) trigarbhe ... the The order of great officials of Sravasti (issued) from their camp I Srimati I ' at Manavasitikata.' ' These two store-houses with three partitions (which are situated even in famous Vamsagrama), black Pancium.' require the storage of loads (bharaka) of (Sohgaura copper plate Inscrip. 1-2, Ind. Ant., Vol. xxv, pp. 265, 262 ; see B. A. Society Proceedings of 1894, P- 84 f.) 133 KAUTUKODAYA AN ENCYCLOPAEDIA OF Narayana-devara kottaravan akalpam age yakshes"ana bhandaram enalu madisidan udararh ballala-deva dharani-natham ' Erected a kottara (koshthagara) giving it the name of YakshesaI bhandara (=store-house).' (Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 20 line 3 f. ; Transl., p. 52 see ; ; Text, p. 119, Fergusson, Ind. and East. Arch., H, 279, KAUTUKODAYA lit. UTSAVA (cf. and height, (?) rather than for worship. ment) Utsave(-savasys) chardha-manena see A UTSEDHA) made the height of an image Woodcut, kind of as a plaything (experi- kautukodyam Iritam (M., LXI, 22 156.) see ; I context under UTSAVA.) Nabhyantarh medhra-slmantarh nava -manarh chotsavodayam Tad-ardharh kautukotsedharh kanyasadi trayarh trayam I I (M., LXIV, 27-28 KAU&ALYA A ; see context under UTSAVA.) pavilion with fifty-six pillars. (Matsya-Purana, Chap. CCLXX, v, 8; KAUSlKA A see under MANDAPA.) see under MANDAPA.) type of pavilion. (M., xxxiv, 249 ; KRIDA-KETANA A pleasure-house. Tirthottumga-sarasvati-krita-parishvarhgasya sarasvatam Ka-ketanam etad atra vidadhe vararhnidhe rodhasi II I (The poet Nanaka erected here) this Sarasvata pleasure-house on the banks of the sea that has been embraced by the high tirtha ' (sacred banks) of the Sarasvati.' (Sanskrit Grants and Inscrip. Prasasti no. iv, 33, Ind. Ant., Vol. xi, pp. 103, 106.) KSHANIKA-BERA An generally with mud idol for temporary use, as is carved by the worshipper himself. (M. KSHANIKALAYA A LXVIII, 26, etc.) temple where temporary idols are wor- shipped. (M., LXI, 127.) KSHUDRA-GOPANA (see GOP ANA) The small beam, a mould- ing of the entablature, the plinth, the base, and the capital, (Kamikagama, LIV, 2 134 ; see etc. under PRASTARA.) HWDU KSHEPANA ARCHITECTURE The small nose, a moulding resembling the nose, a vestibule (prati, pratimukha) side pillar, lower pillars. It terminates by the beam in entablatures all the kshudra-nasas and that to lower correspond pillars corresponding to the karnapada of is half of the the column (or entablature). (side pillar) forepart KSHUDRA-NASA(-I) ; ; (M., xv:, 92-95 ; XLVI, 24, etc.) Tilaka-kshudra-nasi-yukta-toranaiS cha samanvitam (vimanam) (Kdmikdgama, See Amarakosha (u, 15) ii, KSHUDRA-SALA A L, 93.) under GOPANA. small hall, room or house. Khsudra-sala-pradese tu sarvalankara-samyutam I (M., xxvi, 71, etc KSHUDRABJA A I ; see SALA.) small lotus, a moulding of the pedestal, a small cyma. etc.; see (M., XIH, 61, KSHEPANA lists of mouldings under UPAPITHA.) the A projection. drip-moulding ; the door-frame, above the plinth in pedestal, generally placed between Lit. a moulding a dado and cyma, a and cyma, or a petal and fillet. Etymologically it would indicate a moulding like a spout to throw off water, and in this office it would resemble the corona (kapota), i.e. the square projection having a broad vertical face and the soffit or underportion recessed so as to form a drip which prevents water from running down the building. In bases it would resemble a cornice (cf. M., xiv, 370) which is used as the term for any crowning projecfillet found in the western architecture (cf. In Indian of Arch., figs. 191, 192, 197, 198). architecture it also implies a door-frame (M., xxxix, 105-110). A moulding of the pedestal (M., xin, 45, etc. see the lists of mould- tion. In this sense it is also Fletcher, Hist, ; ings under UPAPITHA). A moulding of the base (M., xiv, 120, etc. see the lists of mouldings under ADHISHTHANA) In connexion with the door Madhye tu kshepanarh vame suddha-dvaravasanakam ; . : I (A/., In connexion with the bedstead Ekarii xxxix, 105.) : vatha dvayarh vapi kshepanam bahudhanvitam I (M., XLIV, 20.) 135 AN ENCYCLOPAEDIA OF KSHEMA A moulding of the pitha or pedestal of the phallus Utsedhe shodasTirhse tu prathamochcharh dvi-bhfigikam Padmochcharii tu tri-bhagam syat tat-urdhve kshepanamsakam : I I (M., ur, 30, 31.) KSHEMA A class of buildings. (Kamikagama, xxxv, 32-34 KSHONl A see ; under MALIKA.) kind of pent-roof, stated to be employed in residential buildings. (I/., xvm, 177-178.) KH A KHATTAKA(-TTA) Murttlnam iha tau-murttir bedstead, a seat, a pedestal or throne. prishthatah kari-vadhu-prishtha-pratishtha-jusham karhta-sameta dasa vame asma-khattaka-gatah I Behind the statues placed on the backs of female elephants, (he) caused to be made here ten images of those persons mentioned above) together with their wives on khattaka of spotless stones.' ' . The word, khattaka, judging from the context, the meaning of pedestal or throne.' Dr. Luders. ' (Mount Abu seems Inscrip. no. I, to . . have v. 64, Ep. Ind., Vol. vni, pp. 212, 218, 200.) KHATVA A long couch, a bedstead. KHADGA A type of octangular building. (Garuda-Purana, Chap. XLvn, vv. 21, 23, 31-32 KHANDA-HARMYA A ; see under PRASADA.) sectional tower, a tower with open veran- dahs or balconies. Adho-bhaga-dvayenatha kutam ekena va bhavet Talam ekarh bhaved grasam (?) khanda-harmyarh tri-bhumike Andharandhari-harokta-khanda-harmya-viscshitam (vimanam) I (Kdmikdgama, KHANDOTTARA A iti 1 1 L, 80, 91.) kind of entablature (prastara). Pada-vistara-vistararh Khandottaram II samodaya-samanvitam jneyam padenotesedham samyutam n I (Ibid., LIV, 5.) 136 KSHEPANA AS PROJECTION. KSHEPANA AS DRIP MOULD.' KSHEPANA. KSHUDRA-N/ftSA. The ire ra* Men struck a little away from IN ELEVATION:;-- '.he^iine of - . . super- PROFILE OF CLASSIC TORUS. Page ISfi KHARVATA HINDU ARCHITECTURE KHAR V ATA A village, a a fort, fortified city. A village (M., ix, 456), a fortified town (M., In connexion with the foundations (1) x., 36). : Gramadlnarh nagariidinam pura-pattana-kharvate Koshtha-koladi-sarvesharh garbha-sthanam ihochyate I I (M., A kind of pavilion used as the dining hall of the Nripanaria bhojanartharh syat kharvatakhyarh tu (M., xxxiv, 455 (2) A fortress to defend a group of two hundred villages Dvi-sata-gramya kharvatikam ki'ng 168-169.) : mandapam see also ; xii, I 456-472, 567.) : I Chap, xn, (Kautillya-Artha-fastra, (3) Kshullaka-prakara-veshtitam kharvatam (4) Karvatani kunnagarani p. 46.) I (Rayapasenl-sutra-vyakhydne, ibid., p. 206.) | (Praina-vyakarana-sutra-vydkhyane, (5) Dhanuh-satarh parinaho grama-kshetrantaram bhavet Dve sate kharvatasya syan nagarasya chatuh-satam ibid., p. 306.) I I (Tajiiavalka, n, 167.) (6) Vanijam api bhogyarii tu tad-vad e a (like nagara) samlritam Yat sthanarh brahmananam tu kharvatam puravasinam Nagaryavartanam yat kharvatam tad udahritam I I | (Kamikagama, xx, 7, 9.) vase Vagra Mardga's son (7) lya-khavadamhi (By means Kamagulya, who has fixed his residence) in this place Khavata Mr. Pargiter. So far the editor is right. But in his lon^ note on this expression he has rather too elaborately dwelt on a number of conjectures without however having been able to arrive at any conclusion whatever. This Prakrit ' of his . expression can easily be rendered into Sanskrit or town). (The Inscrip. (8) An ornament Kingdom, the with another atra on the Wardak Vol. ' by xi, khanate . . (in this city vase, line i, Ep. Ind., pp. 210, 211, 212, last para.) was the Vanavase twelve thousand (pradhana-rajadhani) was Chandragupt. to the Kuntala-des"a chief capital name of Gomanta-parvata, in the twelve kharvata country to (attached which), in Nagarakhanda of Yada-nada Kantapuri, otherwise named Vira-Marapapuri, belonging to Kamattampuri, situated on the bank of the Varada-river, the king, in order that his government might 137 AN ENCYCLOPAEDIA OF KHALORAKA(-RIKA) continue as long as sun and moon, as an offering to Krishna (with all the usual (Ep. Carnat., Vol. vm, Part i, Sorab Taluq, rights), gave, free of all imposts.' no 375> Transl., pp. 66, last para.) - Grama-nagara-kheda-karvvada-madarhba-dronarnukha-pattananigaliancka-mata-kuta-prasada-devayatananigalidam oppuva-agrahara- (9) nidam pattanamgalimdam atisayav-appa ... At Teridal a merchant town situated I ' in the centre the twelve (towns) in the glorious Kundi and the first in three thousand, importance among adorned with villages, towns, hamlets, villages sorrounded by hills, groups of villages, sea-girt towns, and chief cities, with elegant mansions, palaces and temples, and with shining agrahara-towns in the country of Kuntala.' (Old Kanarese Inscrip. at Terdal, line 58, Ind. Ant., Vol. xiv, pp. ' (10) With myriads of people, 19, 25.) practices of virtue, agreeable occupations, stream of the (nine) sentiments, pleasure-gardens, separated lovers, splendid gilded boats for spring festivals, ghatika-sthanas the supports of dharmma and mines of enjoyment, (religious centres), moats which were as if the sea being overcome had returned here on account full tanks, lotus-beds, of the collection of gems, groups of the lotus faces of beautiful women fair as the moon (grama-nagara-kheda-kharvvana-madamba-dronamukha-puraone looked, in these nine forms did pattana-rajadhani), on whatever side the Kuntala-desa shine.' (Ep. Carnat., Vol. vm, Shikarpur Taluq, no. 197 ; Transl., p. 124, para, i, last seven lines KHALURAKA(-RIKA) a parade, a place ; Roman Waffenubungen text, p. 214, line 27, f.) bestimter Platz (Pet. for military exercise (M. Williams, Diet.), a parlour, a reception-hall or a drawing-room round a house ; an enclosure-building round a house, village, city or fort. Diet.}, (Kamikagama, LV, 20 (i) Etad dronam cha bhupanam ayudhabhyasa-mandapam below.) I Sarvarh dasamSakam dirgham netra-tri-bhaga-mandapam Tat-pure'lindam ekarhSarh navamSena yutankanam Tat-parsVe puratas chaiva te yugmamSe khalurikah see ; I I I Dronakhya-mandapam chaivam esha yuddhartha-yogyakam I (M., xxxiv, 434-439-) AshtashtamSa-vistaram ayamam tatra kalpayet I Tan-madhye dvi-dvi-bhagena kalpayet vivritankanam Tad-bahi chavrittams'ena kuryach chaika khaliirika u (Ibid., 138 I 440-442-) ILL AIL ROUND GLMERAL OUTLINE. OF KH&ftVAT* RIVER TOWN SIDE WA.TCM TOWER rtF.ULRXL OUTLINE- OF KHE-TK TOWN OF KINGS OR OPPE.R THE.RE. SHOULD 6 MOKE.S\DtNCE CK5TE PE.OPLE. 1W TWb VlL,L^at Par/c J3S KHETAKA HINDU ARCHITECTURE See also lines 433-453, and then compare : Nripanarh bhojanartharh syat kharvatakhyarh tu mandapam I (M., xxxiv, 455.) Then hall ' khalurika and hence not ' is for stated (lines 446, 450) to be built any military purpose ; it round a dining- appears like a parlour. Compare also Tan-madhye pancha-bhagena sapta-bhagarikanam : Tad-bahye paritarhsena kuryad antar alindakam tad-bahye tri-tri-bhagena Evarh vasanta-yogyarh syat devanarh Kalurikapi tatha | mandapam I 284-286.) (Ibid., kshatriyadinam I (Ibid., Tad-vibhaga-dvi-bhagena vistararh bhavet mandapam Dvi-tri-bhagankanarh purve eka bhagarh khalurakam 296.) | I (Ibid., (2) I 351-352.) Evarhbhutasya vasasya samantat syat khalurika Vasa-vyasarh chatur-bhagarh kritva chaikadi-bhagatah I) Vriddhyarh vasasya bahye tu shodasavadhi-bhagakan Vyapohya paritah kuryat pratharnavaranaditah II Kalurikarii(s) tu chaikadi-sapta-bhagavasanakah Mukhe cha parsvayoh prishthe pattayah syur yatheshtatah n Oja-yugma-pramanena nyuna vapy-adhika tu va Sabhadra va vibhadra va khaluri syad yatheshtatah || Etasam antaralarh tu samam va vishamarh tu va Kaluri-dhama-madhyam tu tad-vad eva vidhiyate II I I | I I (Kdmikagama, xxxv, 103-107 ; see also Etam hkalurikarh kuryat prasadadishu buddiman Devanarh manujanarh cha viseshad raja-dhamani II Gopuram cha khaluri cha mula-vastu nirikshitam II II (Ibid., \o-ja, Samavrita khalurika tany-evoktani panditah 108-116.) 1 1 Nagara-grama-durganam seshany-uktani ve^manam 1 1 (Ibid., KHETAKA A village 8, 128.) | LV, 20.) 456), a fortified town (M., x, 36, 39). (i) Tatas tan-nirmayamasuh khetani cha purani cha u Gramams chaiva yathabhagam tathaiva nagarani cha II (M., ix, Khetanarh cha puranarh cha gramanarh chaiva sarvasah Tri-vidhanarh cha durganarh parvatodaka-dhanvinam I) 139 I KHETAKA AN ENCYCLOPAEDIA OF Nagarad ardha-vlshkambah khetarh pararh tad-urddvatah Nagarad yojanarh khetarh khetad gramo'rdha-yojanam II (Brahmanda-Purana, Part i, and Anusharhga-pada, vv. 93, 94, Chap, vn, (2) Parhsu-prakara-nibaddha-khetam (3) Khetani dhull-prakaropetani I in.) 105, I (Rdyapaseni--sutra-vyakhyane , p. 206.) | (PraSna-vyakarana-sutra-vyakhyane, p. 306.) (See Kautlllya-Artha-idslra, Chap, XXH, Vane jana-pade chaiva kevale Sudra-sevitah Kantakah khetako gramah kramat tri-vidham (4) p. 46, footnote.) I Iritah I (Kamikagama, xx, (5) Nagarani khetan jana-padams tatha (6) Pura-gramakara-kheta-vata-$ibira-vraja-ghosha (7) One 10.) I (Mahabharata, . in, . 13, 220, etc.) . (Bhagavata-PurSna, 5, 30.) of the 750 villages which are designated ' Rashtrakuta Grant of Krishna town) Sri-Harsapura.' II, by (their chief Ep. Ind., Vol. i, PP- 55. 57. line 33, p. 53, footnote 3.) ' (8) The modern kheda (khaira) .'(Ind. Ant., Vol. x, p. 378 ; Vol. xiv p. 198.) (9) Lata-desantarvvartti nama gramah Vol. khetaka-mandalantarggatah (Cambay Plates of Govinda IV, line I Kevancha52, Ep. Ind., pp. 40, 45.) vii, (10) Sri-khetakahare-uppalaheta-pathake mahilabali-nama-gramah The village, named Mohibabali, in the Uppalahetapathaka in the I ' famous Khetaka ( ? ahara.' city) (Ind. Ant., Vol. vn, p. 72, Plate n, lines 5-6.) (11) Khetakaharam pallika ' 44' Khetaka N. :' is gramah vishaye of course the long. 72 bandarijidri pathakantarggata-as"ila- I modern Kheda or Kaira itself (lat. 22 45' E.).' (Alina Copper Plate Inscrip. of Siladitya vn, lines 66-67, C. /. /., Vol. HI, F. G. I., no. 39, pp. 179, 189, 173, and notes (12) Grama-nagara-kheda-karvvada madamba - dronamukha - - 2, 3.) patta nanigalimdam aneka-mata-kuta-prasada-devayatanam galidam oppuva-agrahara-pattanamgalirhdam atisayavappa At Teridala, a merchant-town situated in the centre and the Kundi. first in importance among the twelve (towns) in the glorious, I ' 140 GANYA-MANA HINDU ARCHITECTURE Three thousand, adorned with villages, towns, hamlets, villages, surroundof villages, hills, groups sea-grit towns, and chief cities, with with and shining temples, and agraharaelegant mansions, palaces, of Kuntala.' towns in the country ed by (Old Kanarese Inscrip. at Terdal, 58, Ind. Ant., Vol. xiv, pp. ' (13) With myriads of people, practices pations, streams of the lovers, splendid tanks, nine line 19, 25.) of virtue, agreeable occu- sentiments, pleasure-gardens, separated beds, gilded boats for spring festivals, centres), the supports of dharmma and full lotus ghatika-sthanas (religious mines of enjoyment, moats which were as come had returned here on account of the if sea being over- collection of gems, the groups of the lotus faces of beautiful women fair as the moon (gramanagara - khcda kharvvana madamba dronamukha-pura-pattana-raja dhanim) on whatever side one looked, in these nine forms did the the passage within Kuntala-desa shine.' (It should be noticed that brackets is a'most identical with the corresponding passage in quotation no. 12 above.) (Ep. Carnal., Vol. n, Shikarpur Taluq, no. 197, Transl., p. 134 Roman GAGANA A kind ; para, text, (cf. HASTI-PRISHTHA) A moulding, a under KUNJARA), a kind of oval buildings. (2) line 27 ; f.) of pent-roof. GAJA (1) seven lines last 214, p. (M., xvni, 174-180 (see i, ; see under LUPA.) of type building Agni-Putdna (Chap, civ, vv. 19-20; see under PRASADA). Garuda-Purdna (Chap. XLVII, vv. 29-30; see under PRASADA). (3) See the plan and sections of a Gaja-prlshthakriti building. (Ind. Ant., Vol. xn, between pages 104-5.) GANYA-MANA bers of The comparative height of an architectural the similar height is the component mem- In the sculptural measurement, structure. generally called ' ta.la-ma.na. ' Implying the comparative height of the component members of the buildings of one to twelve storeys : Janmadi-stupi-paryantarh ganya-manam ihochyate Harmye chashta-tale tunge sashta-bhagadhikam tatha I 141 I KHETAKA AN ENCYCLOPAEDIA OF Sardha-dvyamsam adh'-shthanam tad-dvayarii pada-turigakam Tad-ardharh prastarotscdharii sesham ashta-taloktavat Evarh nava-talotsedhaih saivalarikara-samyutam I I I xxvn, 35-39.) (M., Evarh vistara-ganyarh syat tunga-ganyam ihochyate Janmadi-stupi-paryantam uktavat samgrahath viduh (M., xxix, 36-37 ; I I 38-49 under EKA-DASA-TALA.) see also See the details o'" the other storeys under EKA-TALA, DVI-TALA, TRIGHATUS-TALA, PA^CHA-TALA, SHAT-TALA, SAPTA-TALA, ASHTA TALA, DASA-TALA, EKA-DASA-TALA and DVA-DASA-TALA. TALA, The similar comparative measurement of the gopuras (gate-houses) Tunge cha trayo-vimsad bhagam Eka-dasopapitharh cha referring to the sixteen storeys : evarh vibhajite chatur-bhaga(rh) I masurakam | Vasu-bhaganghri-tungam syat shad-bhagarh tu vibhajite Tri-bhagam chopapitham tu ^iva-bhaga(rh) masurakam | | Dvi-bhagam pada-tungarh Sikhamsarh chordhva-mane syat tad-Qrdhve prastarad(h)ikam tu talanam adhunochyate I | Adhishthana-samarh mancha(rh) tat-samarh gala-tungakam Galochcha-dvi-gunam proktam sikharasyodayam nyaset Sikharordhva(m) sikhottungam stupi(pi)-traya-sam(m)eva cha Evam eka-talam proktam dvi-taladi-tala(m) eva cha Kshudra-madhyam cha mukhyanam gopure tu viseshatah I I I I I Prastaradi ( ? upanadi)-sikhantarh syat ganya-manarh pravakshyate (A/., Piirvavat prastarady-antam chordhve stupikantakam I Ganya-manam cha sarvesham bhaga-mana(rh)-vasochyate (Ibid., Bhaga-mana-vasad ganya-manam yat prochyate budhaih I 215-216.) | (Ibid., The similar comparative throne measurement referring to the I xxxui, 133-144.) 247.) componet parts of : Sarvesham manam ganya-manam ihochyate I Asanasyodayardharh va tri-bhagaikonam eva va Upapithodayam hy-eva(m) chokta-tuhge'dhikam tu va Sesham masurakam vapi samadhishthana-tuhgakam I ity-uktarh I I janma-tuhgam sivarhsakam Tad-urdhve chardha-kampam syat pada-bhagena yojayet Utsedha-ravi-bhage tu I I (M., XLV, 85, 96-100.) 142 HINDU ARCHITECTURE GANITA A site GANDHA-KUTI(-I) plan of 369 square plots. (M. VH, 25-26 The similar measurement referring to the Pitha (yoni or the pedestal of the phallus) ; see PADA-VINYASA.) component mouldings of the : Pitha-tungam iti proktarh ganya-manam ihochyate Utsedhe shodasarhse tu prathamochcham dvi-bhagikam Padmochcharh tu tri-bhagarh syat tad-urdhve kshepanamsakam Kandharam cha tri-bhagarh syat tad-urclhve kampam arhsakam I I I I Urdhva-padmam tr(i)yarhsarh syad vajanarh Ekarhsam ghrita-vari syad bhadra-pitham iti cha tri-bhagikam smritam I I (M., LIH, 29-34.) The similar measurement upa-pltha or pedestal of the Etat tu referring to the column component mouldings of the : nirgamam proktarh ganya-manam ihochyate I Utsedhe tu chatur-virhsat panchamsopanam Iritam Ekena kampam ity-uktam grivochcham dva-dasarhsakam Kampam ekam tu vedamsarh vajanarh kampam amsakam Vesi-bhadram iti proktam athava dva-dasarhsakam I I I I (M., xm, 35-39.) A GANDA-BHERANDA-(STAMBHA) kind of pillar. (See GADA A type of octangular buildings. under PRASADA.) (1) Agni-Purdna (Chap, civ, vv. 20-21 (2) Garuda-Purdna (Chap. XLVII, vv. 21, 23, 31-32 The Buddhist GANDHA-KUTI(-I) Budhha. under STAMBHA.) ; in the chapels and temples all ; temple, any Originally Buddha's abode at Sravasti, later, see see under PRASADA.) chamber used by Jetavana monastery wherein the Buddha images were installed. (i) Punyoddesa-vasach chakara ruchiraih sauddhodaneh sraddhaya srimad-gandha-kutlm imam iva kutirii mokshasya saukhyasya cha ' has constructed this gandha-kuti of Buddha, graceful and like a hall bliss for the spiritual benefit of ' of emancipation and ' I Gandha-kuti Buddha ' is lit temples. -rally The a large ' chamber of perfume,' an epithet applied to temple at Buddha Gaya is called, in the ' ' inscriptions, M;iha-gandha-kutl-prasada and the room in (Ind. Ant., Vol. ix, pp. which Buddha lived in Jetavana at Sravasti was 143 142-143) also known GANDHA-MADANA by AN ENCYCLOPAEDIA OF name (Cunningham's this Bharhut Stupa, Plate no. 22). (An xxxvm, and page Inscrip. at Gaya, 133, v. 9, Ind. Ant., Vol. x, pp. 343, 343, note 8.) Kritavantau cha n vinam (2) 'they constructed this ashta-maha-sthana-saila-gandha-kutim of stone; (coming from) new gandha-kuti (made) eight holy places.' Gandhakuti Buddha's use. ' perfumed chamber, any private chamber dovoted to ' Childers The gandha-kuti at (s. v.). Jetavana near Sravasti is represented on a Bharhut bas-relief. See also Cunningham's Bharhut Stupa (Plate See Sarnath inscription of note Mahip LVJI). >lala (line 2, Ind. Ant., Vol. xiv, p. 140 7). ' ' Garhdha-kuti the hall of perfumes,' the Buddhist temple.' i.e., (Bharaut Inscrip. no. 40, Ind. Ant., Vol. xxi, p. 230, note 34 refers to Arch. Sun. of W. India, Vol. v, p. 77 and to Ind. Ant., Vol. xiv, p. 140, already quoted above.) (3) ' (4) 'On the other side of his (Buddha's) body, towards the west, he caused to be built a beautiful gandha-kuti, pleasing to the eye.'-(Ajanta Inscrip. no. 4, line 27, Arch. Surv., New Imp. Series, Vol. iv, pp. 130, 132.) GANDHA-MADANA A of pavilions. class (M., xxxiv, 154 GANDHARVA A and serving as class celestial see ; under MANDAPA.) of demi-gods inhabiting Indra's heaven, musicians. See the description of their images. (M., Lvni, GABHARA (GARBHAGARA)-An underground 8, 16-19.) shrine, the sanc- tuary of a temple, the room where the deity is placed, a private room, the female apartments, a lying-in chamber. 'Through the door at the east end of the hall, we descent by some nine steps into ihe gabhara or shrine, which is also square, measuring 13 feet 9 inches each way.' (The temple of Amarnath, Ind. Ant., Vol. ii^ p. 318, c. GARUDA i, last para.) The king of birds, the ' sun-eagle ; winged beings, resembling the griffin, mythical creatures (suparna), foes of nagas ' (Grundel Buddhist Kunst in India, p. 47) ; a type of building : 144 GARBHA HINDU ARCHITECTURE shaped like the sun-eagle (garuda), has wings and seven storeys, twenty cupolas (anda) and 24 cubits wide. Nandl tadakritir jneyah pakshadi-rahitah punah II which is Garudakritis cha garudah tail, and I Commentary quotes clearer description from Kasyapa Garudo garudakarah paksha-puchchha-vibhushitah : Cf. A Karanarh shat-chatushkams cha vistirnau sapta-bhumikau Dasabhir dvigunair andair bhushitau karayet tu tau II J.RAS., N. S (1) Brihat-Samhitd (LVI, 24. (2) Matsya-Purdna (Chap. CCLXIX, w. (3) Bhavishya-Purdna (Chap, cxxx, v. type of oval building (4) , 41-43, 51 31 see ; I Vol. vr, p. 319). ; see under PRASADA). under PRASADA). : w. Garuda-Purana (Chap. XLVII, 29-30 ; see In connexion with the temples of the attendant deities (5) I under PRASADA). : Yan-mula-harmye vrishabhadi-vishnur-adi Mandapadi-garudadi cha gopuradin I Tan-mula-harmya-paritah sthita pasyate'smin (?) (M., xxxn, 168-171.) Kuryat tu sarva-parivaram idam prasastam I The description of the Compare also image of Garuda (M., LXI, 1-148). M., xix, 224. GARUDA-SK(-T)AMBHA under STAMBHA) Pillars and belonging (see rally bearing the statues of the garuda-bird geneto the Vaishnavas. ' Had stambha p. the temple built, and setting in front.' up (Ep. Carnal., Vol. xii, this saSana erected a garuda- Pavugada Taluq, no. 78 ; Transl. 130.) GARUTMAN (see GARUDA) A type of oval buildings. (Agni-Purana, GARBHA Chap, civ, w. 19-20 see under PRASADA.) ; The womb, the foundation, the adytum, the chamber in a temple where the deity is placed, halls of various shapes and sizes used for various purposes. Compare NALIKA-GARBHA (rectangular halls), rooms, (i) SIBIKA-GARBHA (square halls), and HARMYA-GARHBA (top etc.). Vistarardham bhaved garbho bhitty-anyah samantatah Garbha-padena vistirnam dvararh dvi-gunam uchchhritam I H5 1 1 AX ENCYCLOPAEDIA OF GARBHA-GE(-RI)HA The adytum measures ' walls all around. Its door half the extent (of the whole) and has its separate is one-fourth of the adytum in breadth and twice as high.' N. (Brihat-Sarhhita, LXI, 12, J.R.A.S., (2) Raja prasada-garbharh gatva (Hilopadesa, (3) The foundations The adytum S., Vol. vi, p. 318.) I of the village (M., ed. Botlingk, 157, etc.) p. IK, 7). : Garbhe nanda-vibhage tu ekaikarh lihga-tuhgakam I Garbha-tara-samarh sreshtharh tri-vidham linga-tungakam I (M., LH, 16, 21.) (4) ' Sravastiyanarh maha-matranarh sasanarh manavasiti-katat Srimati vamsagrama evaite dve koshthagare tri-garbhe ... I The order Manavasitikata ; I of Sravasti (issued from their camp at) these two store-houses with three partitions (which are of the great officials situated) even in famous Vamsagrama require the storage of black loads of panicum.' (Sohgaura Copper Plate, lines 1-2, Ind. Ant., Vol. xxv, p. 265.) GARBHA-GE(-RI)HA The central hall, the adytum, the sanctuis placed the statue of the deity ; this ary in the middle of which is sometimes called mula-sthana tu (1) Harmya-tare (see bhutamsam GARBHAGARA). tr(i)yarhsam garbha-gehakam (M., xrx, 114 I see also 119.) ; Garbha-geha, madhya-koshtha, and nali-geha are used in the same sense (central hall, cf. M., xxxm, 301, 305, 309, 313 and 318). Dvi-tale tara-saptarhsam vedamsam garbha-gehakam I (M., xxxin, 164 Garbha-gehe tu manarii syat linga-tungam prakalpayet (M., LH, 22 ; see also 161.) ; I see also LIII, 4.) And the balance he will apply to building the garbha-griha and (2) the goddess's temple.' of enclosure (Ep. Carnal., Vol. vin, Part I, Sagar ' Taluq, no. 135 ; Roman text, p. 225 ; Transl., p. 119, last para., last line.) His wife (with various praises) Kallard-Siyamma had the shrine (3) (Ep. Carnal. t (garbba-grihada) of the god Sidda-Mallikarjuna renewed.' ' Vol. xii, Gubbi Taluq, no. 29 ; Roman text, p. 41 ' (4) Garbha-griha-sthita-mantapa-sikhara ; Transl., p. 23, line 8.) the ruined tower over the shrine (of the god Arkanatha). '(Ep. Carnal., Vol. no. 64 ; Roman text, p. 127, line 3 ; Transl., p. 63.) 146 in, Ma|avaJJi Taluq, \ * \ \ \ 15^15X50 SilE BH1CKS ft * GARBHA Page US HWDU ARCHITECTURE ' Garbha-griha (5) GARBHA-MANjCSHA-(-IKA) sanctum of a temple.' Vincent Smith's Gloss, to Arch. Surv. Laying the foundation, the foundations. Mdnasdra (Chap, xn, 1-128, named Garbha-nyasa) The foundation is classed under three heads for buildings 4-169) for villages, etc. (lines 172-186) and for tanks, etc. (lines (6) (loc. cit.) Cunningham's Reports. GARBHA-NYASA : (lines 188-216). The last-named foundation, which is meant for a tank, well or pool said to be as high as the joint palm of man (naranjali, line 1 88). is The foundation of buildings to temples (lines 4-149) and is first divided into two classes, as human to dwellings it belongs 155-169). (lines Of temples, those of Vishnu (lines 4-137) and Brahman (lines 139-149) are illustrated and the others are said to be like these (cf. line 132). Of the human dwellings, there are four classes according to the four Brahman, Kshatriya, Vaifya and Sudra. castes The depth of the foundation-pit is stated to be equal to the basement Garbhavatasya nimnarh syad adhishthana(m)-samonnatam Ishtakair api pashanais chatur-asrarh samarh bhavet : I I (M., XH, 6-7.) The details of laying the foundations are given (M., The best ground selected for foundations is xvn, 6-9) : excavated to the depth of a man's height with uplifted arms. The bottom of the pit thus excavated should be rocky or water, and the pit is filled with sands and water which are closely pressed and hardened by means of wooden hammers shaped like the elephant's foot. Upon such foundations, the strength whereof varies according to the weight of the construction above, various structures are constructed. From this it would appear that the best soils for receiving foundations are rock, gravel, or closely-pressed sandy earth. GARBHA-BHAJANA The foundation-pit, the excavation. (Ibid, GARBHA-MANjt)SHA(-IKA) The basket-shaped roof upon 103.) the foundation-pit, the vault. (Ibid, 47.) 147 AM ENCYCLOPAEDIA OF GARBHA-VINYASA GARBHA-VINYASA (see The arrangement of GARBHA-NYASA) the foundation, the foundations. (M., XII, 2.) Garbha-nyasa-vidhirh vakshye gramadlnam cha sadmanam Sa-garbham sarva-sampattyair vigarbharh naSanarh bhavet II I (Kdmikdgama, xxxi, 2-104.) GARBHA-SOTRA The line in the interior or middle, the inner or central line of a foundation. Garbha-sutrasya karnais" cha dvi-dvi-s"ankurh nikhanayet I (M., GARBHAVATA The KANTHA) (see 105.) -The foundation-pit, the excavation. (M., GALA vi, xii, 5 ; see a moulding neck, under GARBHA-NYASA.) called dado, the frieze of the entablature. See the lists of mouldings under ADHISHTHANA., UPAPITHA and PRAS- TARA. See Kdmikdgama GALA-KDTA under PRASTARA. (LIV, 47) (see KUTA) A dome side-tower, a at the neck-part of a building. GALAftGA of Literally neck portion, the middle member, the frieze the entablature which lies between the architrave and the cornice. (See GAVAKSHA eye, (see V ATA YANA) Kdmikdgama, LIV, 47, under PRASTARA.) Windows resembling the cow's a latticed window. Sardha-gavakshakopeto nirgavaksho'thava bhavet I (Garuda-Purdna, Chap. XLVH, v. 36.) Cf. M., XVIH, 290 ' The ; xx, 81 ; xxxm, adornment of the temple at Gangai-konda-puram is the everywhere on the cells and cornices of the fanlike window chief repetition ornament resembling a spread peacock's para. See 582, etc. tail.' (Ind. Ant., Vol. ix, p. 1 18, c. i, 3, last sentence.) Pallava Architecture Plate cxxn). See the pierced 1913-14, Plate v, window (Arch. Surv., New. Imp. Series, Vol. xxxiy, in BhoganandisVara shrine (Mysore Arch. Repoit, fig. 2, p. 14). 148 BHERUNOA.' WITH SHUTTER WITH STONE LATTICE GAVAKSHA GARUOA STAM11H. C.ANDA BFIERUNPi, PLAN GURU-DVARA. Time U* GABHARA Pajt 149 HINDU ARCHITECTURE GAVAKSHAKARA GUHA-RAJA Resembling the cow's eye, a moulding or structure shaped like a cow's eye. In connexion with the bedsteads : Vrittakritlshta-padanarh yuktya varnena lepayet I Gavakshakara-yuktya cha pattikordhve samantatah Kunjaraksham alaksharh va patra-pushpady-alankritam I (M., GATRA Literally the body, the I XLIV, 21-23.) columns of a pavilion. (Suprabhedagama, xxxi, 102-103 ; under MANDAPA.) see GANAVA A kind of phallus. (Kamikdgama, IRI-DURGA (see DURGA) A fort, a L, 35, 37 ; set under LINGA.) hill-fort. ' In the reign of Chikka-Deva-Raya-vodeya-raiya the servant of lord the of this village, Bilugeli Kempar-ajayya's son Dasarajayya began to build the stone fort of Nijagal, which has received another name of Sura- : Cf. ' In 1698 to 1700 the bastions of the fort and the town-gate on the east were completed. In 1701 to 1702 the town-gate on the south was made. In Parthiva (1705) the elephant-gate on the east, this hall and the chavadi Igiri-durgga.' with the tiger-face gate, and the VighnesVara temple at the town-gate on the south Roman ' (were built) (/>. Carnal., Vol. p. 54 ; Transl., p. 45.) . text, GURU-DVARA A Grantha Saheb is rx, Nelamangala Taluq, no. 65 ; Sikh monastery, the Sikh temple where the woi shipped. Literally, same as the Jain Tirthankara or path-maker. See Vincent Smith's Gloss, GUVA-VRIKSHA A (loc. cit.) to Cunningham's Arch. type of round buildings. Chap. XLVII, (Garua'a-Purana, w. see GUHA-RAJA A Surv. Reports. type of building which is 21, 23, 28-29 ; under PRASADA.) 16 cubits wide and has a roof with three dormer-windows. (1) Brihat-Sarhhita (LVI, 25, J.R.A.S., N. S., Vol. vi, p. 319 ; PRASADA.) (2) Bhavishya-Purdna (Chap, cxxx, v. 32 '49 ; see under PRASADA). see under GRIHA GRIHA AN ENCYCLOPAEDIA OF The house, a building, a room, a hall, a family home. (R.-V., x, 91-92.) Griharii gehodavasitam ves"ma sadma niketanam 1 1 NiSanta-vastya-sadanam bhavanagara-mandiram Grihah pumsi cha bhumny-eva nikayya-nilayalayah I II (Amarakosha, Cf. See M., ix, 7, 8 3, Ep. xxxvi, 2 ; GRIHA-KANTA A house of beautiful lamps'. 'a Sudipika-griham Travancore, no. B, line Vol. iv, p. 2nd., xxxvii, ; class i ; (see ii, 4, 5.) (Three Inscrip. from 203.) XL, 78, etc. of the five-storeyed buildings. (M., xxin, 30-32 GRIHA-GARBHA 11, GARBHA-NYASA) ; The under PRASADA.) see foundation of a house. Griha-garbham Griha-garbham mukham iti proktarh grama-garbham ihochyate antar-mukharh I grama-garbham syad bahir- I (M., xn, 167, 216.) GRIHA-CHULLI A building with an eastern and western hall, a house with two rooms contiguous to each other, but one facing west and the other east.' ' (Bfihat-Samhitd, GRIHA-PINDI . . . (see PINDIKA) The basement of a griha-pindir athochyate Madhye chasavritam 40.) building. II cha vasavasa-pindikandhariketi Sarhjfieyam griha-pindeh sayat LIII, ... I II (Kamikagama, LV, 200-201.) GRIHA-PRAVEA The opening of or the first entry into the house, the house-warming ceremony. Mdnasdra (Chap, xxxvm, 1-89, named Griha-pravesa) The ceremonies in connexion with the opening of and first entry into a house are described in detail (lines 1-90). The consideration of auspi. cious day and moment, and the worship and sacrifice in this connexion are also described in detail (lines 5-74). The masters of the ceremonies are stated to be the sthapati (architect) and the sthapaka (lines 14, 15, 16, 17, They lead the procession in circumambulating the village and the compound before the ceremonial entry into a new house The guardian-angel of the house (Griha-Lakshmi) is prayed (lines 73-90). 58, 73, 74. 83, 85). 150 HIND U ARCHITECTURE GRIHA-VINYAS A to after completing the worship and sacrifice to confer happiness, comfort, plenty of wealth, children, health and long members of the family (lines 67-72). life to the master and other The chapter closes with the description of an elaborate scheme of feeding Brahmans and the artists, and of liberal gifts to them for the sake of the prosperity and success of the family (lines 84-90). GRIHA-MAJSJGALA An (See also M., ix, 8.) auspicious ceremony in connexion with a newly-built house. Sarva-mangala-ghoshais cha svasti-vachana-purvakam I Paschat(d) griha-marigalam kuryat nana-vastrais cha Sobhitam I (M., xxxvii, 55-56.) GRIHA(-MANA-STHANA)-VINYASA The situation of houses, the location of various and temples and (i) and dismensions rooms in dwelling houses palaces. Mdnasdra (Chap, xxxvi, 1-96, named Griha-mana-sthana vinyasa) the breadth The dimensions of houses in general (lines 6-13) of a house is said to be of five kinds, from two or three dandas : : (4 or 6 yards) length The may to The ten or eleven dandas (20 or 22 yards). to, ij, i-J, I J, or twice of, the breadth. be equal houses are built in villages, towns, settlements, suburbs, groves, hermitages, near a hill, and on the banks of a sea or river (lines 1-5) situation : : Dvi-jatlnam cha sarvesharh varnanarh vasa-yogyakam Grihanarh mana-vinyasam sthanarh cha vakshyate'dhuna Grame cha nagare vapi pattane khetake'pi va Vane va chasrame vapi nadyadri(e)s" cha pars' vake | I | I Tesharh tu vesmanah sthanam kalpayech chhilpavit-tamah In the chapter on pavilions (mandapas) various sorts of houses are stated to be located in different parts of the five courts into which In that chapter houses for various the whole compound is divided. in which a purpose; of a family are located in different squares the chapter in have been described and which is divided, single court | called Pada-vinyasa. The Brahma-sthana or the central square fora residential building (line is stated to be unfit The temple of the family god 15). Round this are constructed all other generally built in this part. houses (lines 16-85), such as the house for the master of the family, is for his wife, for the children, for servants, for cows, horses, fowls, for kitchen and dining-hall, etc., for guests, for the library or etc., AX ENCYCLOPAEDIA OF GRIHA-VINYASA study, for the daily sacrifices of the upper castes, for amusements and music, for the dancing girls, and for all other domestic purposes. But the distribution of these several detached buildings choice of the master of the house (line 85). (2) Kautillya-Artha-sastra (Chap, xxvi, p. 53) is left to the : pancha-bhagah Sala vapi, slma-griharh cha daadvau bhagikau prati-manchau, antara mani-harmyam cha samuchchhrayad ardha-talarh, sthunavabandha cha ardhavastukam uttamagaram tri-bhagantararh va ishtakavabandha-parsvarh, vamatah pradakshina-sopanam gudha-bhittisopanam, itaratah dvi-hastarh torana-Sirah, tri-pancha-bhagikau dvau kavata-yogau, dvau dvau Adi-talasya parighau, aratnir indra-kilah, pancha-hasta-mani-dvararh, chatvaro hasti-parighah, nivesardharh has i-nakhah mukha-samas-sankrimo' samharyo va bhumi-mayo va I Of the first floor, five parts (are to be taken) for the formation two-tenths of it for the a of hall, a well, and a boundary house formation of two platforms opposite to each other and upper storey twice as high as its width, carvings of images, an uppermost storey side-walls built of half or three-fourths as broad as the first floor a staircase left on the bricks side, circumambulating from left to ' ; ; ; ; right on the right a secret staircase hidden in the wall, a top-support of ornamental arches projecting as far as 2 cubits, two door-panels (each) occupying three-fourths of the space, two and two cross-bar ; an iron bolt (indrakila) as long as an aratni a boundary-gate. 5 cubits in width, four beams to (24 angulas) and turrets (hasti-nakha, outside shut the door against elephants (to fasten the door) ; ; ; the rampart) raised up to the height of the face of a man, removable or irremovable, or made of earth in places devoid of water.' The plan (3) of a house having a quadrangular courtyard in the centre and comprising sixteen rooms (Vdstu-tattva, In the north-east corner stated to be is Lahore, 1853, p. (i) i f.): the family chapel (deva- in the east (2) the room for all things (sarva-vastu-griha), (3) the bathroom (snana-griha), and (4) the room for churning milk (dadhimanthana) in the south-east corner (5) the kitchen in the south (6) griha) ; ; the ; the saina-griha, (? sayana= bedroom), and (8) the lavatory (purisha-griha) in the south-west corner (9) the in the west (10) the study (vidyabhyasa-griha) , (11) library (5astra-griha) bri(vri)tasagriha (?), (7) ; ; the dining-hall (bhojana-griha), and (12) the weeping (reception-)-room (rodana-griha) in the north-west corner (13) the granary (dhanya-griha) ; ; in the north (14) the bedroom or drawing-room 152 (sambhoga-griha, or GRIHA-VINYASA HINDU ARCHITECTURE the house for enjoying oneself in), (15) the store-room (dravya-griha) , and (16) the room for invalids or medicine (aushadha-griha). where the residential rooms are plan the houses face the north Here north is the best direction, and the west, the east and the located. south come in order of inferiority. This plan is suitable for western and In this northern India where the northern and western winda are salubrious. (4) by Rajakisora Varmma) Stha(Sna)nagaram dis"i prachyam agneyyam pachanalayam Yamyayam sayanagaram nairrityarh sastra-mandiram n Vdstu-pravandha (n, 25, 26, compiled : Pratichyam bhojanagararh vayavyarh pas"u-mandiram Bhanda-kosarh chottarsyam ais"inyam deva-mandiram I | II a smaller house with eight rooms. Here the bedroom is located south, indicating the southern aspect of the house, suitable for southern and eastern provinces. This in is the (5) $ilpa-$astra-sara-samgraha (ix, Isanyarh 24-28) : devata-geharh purvasyam snana-mandiram I Agneyyam paka-sadanam dravyagararh tathottare || Agneya-purvayor madhye dadhi-manthana-mandiram Agni-pretesayor madhye ajya-geham pras"asyate Yamya-nairrityayo(r) madhye purlsha-tyaga-mandiram Nairrityam-bu(?)payor madhye -'idyabhasasya-mandiram Paschimanilayor madhye rodanartharh griharh smritam Vayavottarayo(r) madhye rati-geharh prasasyatell Uttaresanayor madhye aushadhartham tu karayet | 1 1 | 1 1 I I Nairrityarh sutika-geharh nripanarh bhutim ichchhatam (6) Matsya-Purana (Chap. GCLVI, vv. 33-36) : I&ine devatagararh tatha santi-griharh bhavet Mahanasam tathagneye 1 1 II tat-par^ve chottare jalam sarvarh Grihasyopaskararh nairritye sthapayed budhah \ || Ba(n)dha-sthanam bahih kuryat snana-mandapam eva cha Dhana-dhanyam cha vayavye karmma-^alarh tato bahih n Evam vastu-vi^eshah syad griha-bharttuh subhavahah I II In plans (5) and (6) it should be noticed, the bandha-sthana (lit. place bind in ? slaughter-house, vadha-sthana), the bathroom and the office (karmma-sala) are directed to be built outside the (residential building proper). Both these are nine-roomed houses facing the north-east. In this house, rooms are all built in the the four main directions to being left entirely vacant. health to householders. This is corner, stated to bring peace, prosperity 153 and AN ENCYCLOPAEDIA OF GRIHA-VINYASA (7) Agni-Purdna (Chap, cvi, vv. 18-20) : Purvayarh srl-griharh proketam agneyyarh vai mahanasam Sayanam dakshinasyarh tu nairrityarh ayudhasrayam n Bhqjanarh paschimayarh tu vayavyarh dhanya-sarhgrahah Uttare dravya-sarhsthanarh aiSanyarh devata-griham II Chatuh-salarh tri-alam va dvi-Salarh chaika-salakam I I I tu Salalindaka-bhedatah n Chatauh-sala-grihanaih This plan is specially meant for houses in towns, etc. (cf, w. 1-12). It recommends the four typical arrangement of houses, namely, rooms being built covering the four sides with the courtyard in the middle rooms being sides and the fourth side in continuation of the courtyard being ; on three left free for light and air rooms being built on two sides only and rooms being built on one side only, apparently without any courtyard. This is an eight-roomed plan. ; (8) Griha-vdstu-pradipa without mentioning his ; (Lucknow, 1901) quotes name the following some from authority : Atha nripanam shodaSa-griha-rachanopayah | Snana-paka-5ayanatra-bhujesva(?)-dhanya-bharhdara-daivata-grihani cha purvata(h) syuh I tu mathana-ajya-purlsha-vidyabhyasakhya-rodanarataushadha-sarva-dhama Tan-madhyas 1 1 (9) Kamikdgama (xxxv, 177-191) AiSanyarh pachana-sthanarh brahmananarh vidhiyate : I (And of the Kshatriyas to the south-east, of the Vaisyas to the southwest, and of the Sudras to the north-west, vv. 177-178). Purvasyarh bhojana-sthanam agneyyarh tu mahanasam Yamyayam sayana-sthanarh nairrityam ayudhalayah Maitra-sthanarh tu tatra tatra varunyam udakalayah yaga-mandapam Kanji-lavanayoh patrarh prag-udag-di^i vinyaset Antarikshe' pi va chullyulukhali savita api II (179) || (180) | Goshthagararh cha vayavyam uttarasyarh dhanalayah Nitya-naimittikartharh syad aiSanyarh I || I (181) I Anna-praanam aryarh^e chendragnyarh cha savitrake Vivasvad-arhSe Sravanam vivado maitra-desake II (182) I Kshaudram indrajaye vidyad vayau some cha va bhavet VitathopanayoS chaiva pitri-dauvarika pade II (183) I (184) Sugrive pushpa-dante cha prasuti-griham ishyate II Apavatse tu kosah syat kundam ape vidhiyate II (1840) Ankanam tu mahendrarhs'e peshani cha mahldharell (185) Arishtagaram ishtarh syat tatropaskara-bhumikam Vahanam dvara-yame syat snana-^ala cha varune (186) 1 1 154 I GRIHA-VINYASA HINDU ARCHITECTURE Asure dhanya-vasah syad ayudhad (?) indra-rajake Mitravasas tatha mitre roge volukhalarh matam II (187) I Bhudare kosa-geharh syan nagamse ghritam aushadhamil Jayante chapavatse cha parjanye cha sive kramat (188) I Visha-pratyaushadham chaiva kupe deva-griharh bhavet |l (189) Riksha-bhallata-someshu bhaved asthana-mandapam II (191) This is a plan with the and the arrangement is southern much It comprises Mdnasdra. aspect. like in the thirty rooms the Mdnasdra (XL, 71-111, antah-sala, or houses in the inner 12-153, bahih-sala, or buildings forming the part of the palace in Compare court ; 1 the outer court, see under RAJA-HARMYA.) The internal arrangement of rooms in small dwelling houses is essentially In the large edifices, palaces and mansions the like those described above. There are stated to buildings of various storeys are artistically arranged. be one to seven enclosures in palaces of kings of nine orders. These enclosures are surrounded by walls, each of which is furnished with a large gateway known as the gopuram. In the innermost court (antarmandala, with the gateway called the dvarasobha) are erected the residential palaces of the king, queens and princesses, and would be analogous to the Muslim harem. In the second circle (antanihara, with the gateway called dvara- crown prince and other princes, royal and such other people. In the middle court (madhyama hara, with the gateway dvara-prasada) are built mansions for council hall r office rooms, and quarters for the resident members of the council, high civil and military officers, resident clerks and others. Within this enclosure in some properly secured lanes are built secret residences for the sala) are built the edifices for the priests, ministers In the fourth enclosure (prakara, with gateway dvara-harmya) king. are quartered the foregin offices, for negotiating war, peace and such other In the fifth court (mahamaryada, with the gateway called the matters. great gate-house) are erected military quarters, barracks, and offices of smaller importance. The sixth and the seventh enclosures, which are not included in the smaller palaces, are reserved for the defence forces, guards, royal stables, houses for domestic animals, zoological gardens, etc. which are sometimes accommodated in the fifth court also. Prisons, cemeteries, cremation grounds and temples of certain fearful deities are quartered beyond the palace compounds. Temples are built within each court. The pleasure-gardens, orchards, tanks, etc. are suitably built within all the enclosures. In each of the enclosures mansions of one to twelve storeys are artistically arranged in rows varying from one to ten, while the gatehouses are furnished with one to seventeen storeys. 155 AN ENCYCLOPAEDIA OF GRIHA-MUKHA The exact situation of particular private and public buildings is specified. Thus it is stated that the main royal chapel should be built in the central plot known as the Brahmapitha, and the public audience hall in the quarter of Yama, Soma, Vayu, or Nairrita in accordance with the situation of the palace in a particular province or city, and so forth. For fuller details vide the writer's article A Peep into the Early Hindu The Modern Architecture, GRIHA-MUKHA A Review, September, 1934, pp. 282-287. door, a facade, the exterior, front or face of a building. Danarh ghara-mukha ' | (Karle Cave Inscrip. nos. 4, 6, Ep. Ind., Vol. vii, pp. 52-53.) the architrave and sculpture round the door A facade implies also with the arc over it.' Dr. Burgess. New Imp. Series, GRIHA-RAJA Vol. rv, p. (Karle note 4.) 90, no. 4, Inscrip. Arch. Surv., A type of building. v. 32 see under PRASADA). cxxx, Bhavishya-Purana (Chap, vv. under PRASADA). see Agni-Purdna (Chap, civ, 16-17 Garuda-Purdna (Chap. XLVH, vv. 21-22, 26-27 see under PRASADA). (1) GUHA-RAJA) (see ; (2) ; (3) ; GRIHA-STAMBHA The main column of the house, the pillar regulating the whole composition. Kudya-stambhe griha-stambhe harmya-garbharh vinikshipet See more details under STAMBHA. A hall GEHA(-KA) Gopurarh or room, a house, a habitation. tri-talarh Dvi-bhagam nyasarh lakshanam vakshyate'dhuna bhitti-vistararh paritah Sesharh tu gehakam (A/., GOKARNA A stretched (1) measure, the distance between the thumb and ' Angushthanamika-yuktam gokarnam iti of the fully i, | and anushanga-pada, Chap, vn, v. 97.) samjnikam | (Suprabhedagama, xxx, 22.) The niche, a recess in a wall. In the east wall of the mandapa on each and a gokhla or niche a defaced GaneSa.' side, is on the south side is In the vestibule to the shrine are also small recesses one on each hand.' for images, ' | xxxni, 489, 492.) tips Talah smrito madhyamaya gokarnas" chapy-anamaya GOKHLA I the ring-finger. (Brahmanda-Purana, Part (2) | MI, 132.) (A/., in that (The Temple at Amarnath, p. 156 318, c. I, Ind. Ant., Vol. m, para. 2, middle.) W GOP AN A OR OVOLO GHATIKA-STHANA. GCJ!. GOJI. GRAHA-KUNOALA. Page lie GOPURA HINDU ARCHITECTURE The septum of the nose, the bridge-like part between the two the nostrils connecting tip of the nose with the surface of the upper lip of an image. GOJI (M., LXV, 105, GOTRA A cowstall (Roth. GOPANA (GOPANAKA) A the lists of limb under TALA-MANA. etc., see St. Petersburg Dictionary}. moulding, the entablature, the beam. A moulding of the pedestal generally placed between a cyma and cavetto see the list of or a cyma and fillet (M., xin, 95, 100, etc. mouldings ; under UPAPITHA). A moulding of the base (M., under ADHISTHANA). xrv, 32, etc. ; the see of mouldings lists A synonym of the entablature (M., xvr, 19, see under PRASTARA). A beam-like member of the single-storey ed buildings (M. xrx, 46). A similar A moulding of the entablature Dandikordhve valayam gopanam syat tad-urdhvatah member of the buildings of two to twelve storeys. M., xx, 25, (See etc.) : I (Kamikdgama, LIV, 34.) Cf. Gopanasi tu valabhi-chhadane vakra-daruni | (Amarakosha 11, 15.) ii, GOPURA Go-grihar, Probably originated from Vedic Gomati-pur and epic the fortified extensive cowstalls, and connected with the divine bull, thus a gate-house, doors in general, the colossal buildings over or near the gate giving entrance to a city, temple, monastery, etc. Pura-dvaram tu gopuram Dvara-matre tu gopuram I I (Ibid, (1) P 16 ii, asadat pada-hinam tu gopurasyochchhrayo bhavet (Agni-Purana, Prakara-samam Chap. m, : iii, 182.) I XLII, v. 22.) mukham avasthapya tri-bhaga-godha-mukhaih gopuram karayet *'A turret above the gate and starting from the top of the parapet shall be constructed, its front resembling an (2) alligator to three-fourths of (3) its height.' (Kautiliya-Artha-sastra, Chap, xxiv, Sala-gopurayos tufigas tv-adhikas chapi mulatah Gopurasyapy-alankaram galalankaravan nayet II Sabhakara-siro-yuktarh salakara-sirah-kriyam I I Mandapakara-samyuktam chuli-harmya-vibhushitam 157 11 p. 53.) up GOPURA AJf salakantare attalarh Agrato'iindakopetam ENCYCLOPAEDIA OF I Gopurasya tu vistara-tri-bhagad eka-bhagikam II Chalur-bhagaika-bhagas tu pancha-bhagaika-bhagikah Nirgamo gopuranarh tu prakarad bahyato hhavet n Gopurarh cha khaluri cha mula-vastu-nirlkshitam Antare raja-devlnarh grihany-antar-mukhani cha II (Kdmikagama, I I xxxv, 124-128.) In the above instance, it should be noticed, the gopura or gatethe part of a residential it is house does not belong to a temple ; house. (4) (5) Rdmaydna vi, 75, Mahdbhdrata : 6, etc. : Gopuratta-pra^olishu charyasu I : m, 173, 3 Puram gopurattalakopetam Mithilarh gopurattalakavatim m, 207, 7 These two examples will show that gopura denotes gate-houses of palaces and cities, and that they need not necessarily belong to temple : I : I alone. (6) Mdnasdra : of a town (M x, 48). In connexion with the height of storeys (bhumi-lamba) Devatalayanarh nripanarh sala-gopure (e)vam uttungam The gate-house , : I (M., xi, 113.) In connexion with the base (M., xiv, 415). In connexion with the column : Prasade mandape vapi prakare gopure tatha I (M., xv, 433.) In connexion with the windows (M., xxxm, 594 In connexion with images of Yakshas ) Vidyadharas, etc. gopurodhrita-hastakau Evarh vidyadharah proktah sarvabharana-bhushitah (M., Lvm, Janv-usrita-hastau : I Chapter xxxm (named Gopura) 1-601 The gate-houses are built for temples and I 16-17.) : alike (line i). Hence it are constructed only for down residential buildings be inaccurate to suppose that gopuras In the Mdnasdra, rules are laid temples. will for gopuras belonging to residential buildings of various descriptions (cf. lines 2-601). They are built in front of each of the five courts into which the whole compound of a house ing to the first (antar-mandala) sobha or the beauty of the gate 158 is divided. The gopura belong- technically called the dvara(line 8) ; that belonging to the is THL GATLHOU5E.5 ALL THESE O *TE BOUSES ARE g IN SHOULD SLWnYS BE. U&5 m MUMB bUINOT, 04 8 12 16 20 TYPE FOR THE. GOPURA HINDU ARCHITECTURE second court is The gate-house known as or gate-house dvara-sala of the third court is called and of the fourth court dvara-harmya 9), court house of the fifth maryada) known is as (line or at the furthest The 9). 9). (line dvaraprasada (line gate- boundary (maha- maha-gopura or the great gate-house (line 10). The gopuras with as many as sixteen storeys are divided into ten classes (line 564) with They (lines 97, 103). regard to the number of architectural members designated as are furnished s"ikharas or cupolas, dome and A domes (stupika), side-tower or vestibules (kshudra-nasi) (lines 536-564). technically called Sribhoga when its sikha (spire) has it a circular surrounding side-tower, four small vestibules 553-564). The remaining dome and is is like sala (hall), furnished with a and eight large nine classes are (gala-kuta) is thus gopura vestibules (lines called respectively Brahma-kanta, Skandaand Sikhara, Saumya-kanta Stupika kanta, (lines 556-564) The fifteen kinds of gate-houses referred to above may have one to sixteen or seventeen storeys. But the details of five storeys Srivisala, Vishnu-kanta, Indra-kanta, . only are given, others being left to the discretion of the architects and stated to be built in the same way as those five storeys illustrated so minutely. absolute and comparative, of length, of each and breadth, height storey belonging to each of the fifteen is described at great length. The ornaments kinds of gate-houses and mouldings of each storey are also given in detail. The central or main hall as well as all other rooms, together with different parts such as pillars, entablatures, walls, roofs, floors, and The measurement, both (7) windows, etc., are described in great detail (cf. Gate-tower (Hampe Inscrip. of Krishnaraya. face, Ep. Ind., Vol. (8) i, ! ne 2-601). 33, north p. 336). Tower (Ranganath Vol. in, pp. lines Inscrip. of Sundarapandya, v. 7, Ep. Ind., 12, 15). cha Tamranagarlm abhito vyadhatta prakaram (9) Durggarh he surrounded Tarhranagari with urhnatam udamchita-gopurarh sah a wall surmounted by towers.' Hultzsch (Chebralu Inscrip. of Jaya, ' v. 27, Ep. Ind., Vol. (10) Gate-tower v, pp. 147, 149.) : by erecting new buildVapra-gopura-mayair nava-harmaih a and a wall gate-tower.' (Mangalagiri Pillar ings adorned with ' Vol. vi, pp. Inscrip., v. 29, Ep. Ind., 159 121, 131.) GOPURA AN ENCYCLOPAEDIA OF Vapra-gopura-yutair-nava-harmyaih (verse 26 Gopura-prakarotsava-mamtapair upachitarh (verse 27). Sikhara-marhtapa-gopuralu (line 116). (11) . Inscrip. of Krishnaraya, (Kondavidu 116, Ep. Ind., vv. 26, 27, line Vol. vi, pp. 236, 237, 321, 322.) the temple of god Vipulotturhga-gopurarh deva-marhdiram towers.' with Plates of Sadasivaraya, lofty (adorned) (Krishnapuram ' (12) v. Ep. Ind., Vol. 56, ix, pp. 336, 341.) (Taulava) country, on the south bank of the Ambu river shining like the Sri-pundra (central sectarian mark on the forehead of Vaishnavas) is Kshemapura, like Purandara (Indra's city), with ' (13) In it (Ep. Carnal., Vol. vm, Part i, Sagar glittering gopuras (temple-towers).' Taluq, no. 55 ; Transl., p. too.) ' Built (in the year specified) the tower of the temple (gopura) (14) of the god SivamisVaram udaiyar.' (Ep. Carnal. Vol. ix, Bangalore Taluq, no. 1393 ; Transl., p. 26 ; Roman Text, p. 32.) door of the gopura of the mantapa facing the god Varadaraja, and having the wood-work done mukha-mantapa of by the hand of the carpenter Bevoja's son Chaja-oja, and having the door set up and the iron work done by the hand of the blacksmith, ' (15) Brought to the Anjala Divingoja.' p. 1 86 (Ep. Carnal., Vol. x, Malur Taluq, no. 3 ; Roman Text, Transl., p. 154.) ; (16) Gate-pyramid, gate-way tower. Vol. ix, p. 117, c. i, p. 119, c. i.) (Colonel B. R. Branfill. Ind. Ant., Nutana-vagi gopuravarh kattisi gopura-pratishthe suvarnaerected a new gopura with golden kalasa-pratishthe saha madisl (17) ' finials in the no. 20 Chamundesvari Roman ; Text, p. 6 ; hill.' (Ep. Carnal., Vol. m, Mysore Taluq, Transl., p. 3.) (18) Viras Srl-chika-deva-raya-nripati reme pure samvasan kshoni-vadhu-bhushane n I Srirange ramamya-gopuravati heroic king Chikka-Deva Raya, residing in the beautiful city Srlranga having (i. e. which is furnished with) splendid gateways (? gate-house) an ornament to the lady Earth The . . . should be noticed that from this instance it s clear beyond doubt that gopuras or gate-houses were constructed not only in connexion with temples but also as parts (of residential houses and) of the It city-gates. (Ep. Carnal., Vol. ni, Roman Malavalli Taluq, no. 61 Text, p. 126, line n f. ; ; Transl., p. 62.) With his approva causing a gopura of seven storeys to be newly erected on the eastern side of the holy presence dedicated the gopura together with its golden kalas"as, for the services of the god, to ' (19) 1 60 GOSHTHA HINDU ARCHITECTURE Taluq, no. (20) i and sun as continue as long Transl., p. 95 ; moon.' Roman ; (Ep. Carnal. Vol. in, Nanjangud Text, p. 183.) Meros srihgam utandhakari-bhavanarh praleya-prithvi-dhritah kutarii kim muravairi-nirmmita-maha-dvaravati-gopuram Kim va kim maya-silpa-sara-sahitarh pandudbhavanarh sabhaI dvararh bhate gunda-chamupa-nirmita-mahashatkarh samujrim- II Sapta-dvipa-samudra-gotra-dhara-loka-chhanda-rishyasvasarh khyataneka-jagan-nidhana-mahanlyas'esha-vastu-sriyam Sararh gopura-nishtha-sapta-bhuvana-vyajena shatko mahan ekibhutam ivavabhati satatarh sri-gunda-dandadhipah n | with Rebuilt its seven storeys the gopura, over the doorway (and praise).' (Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 3 ; Roman Text, in, p. 103, line 10 f ; Transl., p. 45.) (21) and 'In front of the temple of Harihara-natha, he made a wide gateway (gopura) of five storeys, ado'ned with golden beautifu kalasas.' Carnal., (Ep. Roman Vol. xi, Davanagere Taluq, no. 36 ; Transl., p. 47, Introduction, p. 32, para. 2, line 3 f.) Text, p. 77-78 ; the second main entrance-gopura, KailasaViews of (22) See natha temple.' (Pallava Architecture, Arch. Surv., New Imp. Series, see Vol. xxxiv. Plate v.) Buildings of the gate-house shape. Kechid vai malikakara kechid vai gopurakri jh n Matnnam alayarh kuryad gopurakaram eva tu II GOPURAKARA(-KRITI) (Suprabhedagama, xxxi, 123, 129.) GO -MATH A Yo Literally a monastery for cows, a cowstall. dharmma-puriijarh hi vicharya v(b)uddhya so'karayad goma- (th)a-namdheyam II V(b)atihadiih-pure ramye go-mat(th)ah karitah subhah ' ' | Asrayah sarvva-jantunarii kailas(s)adrir ivaparah II Caused to be made the place known by the name of Gomatha (?).' This auspicious gomatha (?) was caused to be made in the beautiful town of Batihadim. (It is) a shelter to all being like another K.ailas"a.' (R. B. Hira Lai, B.A.) But fom the context the meaning of go-matha (lit. house for cows) seems certain : it is pasu-s'ala or sheds for animals. GOSHTHA A cowstall. (Batihagarh Stone Inscrip., w. 8, 9, Ep. 2nd., Vol. XH, pp. 46-47.) 161 AN ENCYCLOPAEDIA OF GOSHTHA-PANJARA GOSHTHA-PANJARA (see The niche PANJARA) or recess in the which ^generally contains a statue, and sometimes serves as a decoration. wall GOSHTHI-(KA) A committee, trustees, the managing committee of a building, a club-house. Members of Panch or committee entrusted with the management of religious ' endowments. Prof. Bilhler. (Ep. Ind., Vol. i, 190, note 50 p. ; trustee,' Dr. Hultzch, Ind. Ant., Vol. xi, p. 338, last line of the text.) Cf. Goshthika-bhutena idarh stambham ghatitam I (Deogadh Inscrip. of Bhojadeve of Kanauj, no. A, line 9, Ep. Ind., Vol. iv, p. 310, 829, note 5.) Pillar The managing committee of a building : samudadidharad-dhlra-dhlru-darani Garishtha-guna-goshthyadah atisurhdararh prathama-tlrthankrin-marhdiram (Bijapur Iriscrip. of Dhavala of Hastikundi, 1 1 v. GEYA A 34, Ep. Ind., Vol. A village, NAGARA) (cf. under MALIKA.) see (Kamikagama, XLV, 580-59, GRAMA x, p. 22.) class of buildings. slightly different from towns and cities in size mostly. The primitive sense of this word, which occurs frequently from the Rig-Veda*- onwards, appears to have been village. The Vedic Indians must have dwelt in villages, which were scattered over the country, some close together, 2 some far apart and were connected by roads. 3 The village is regularly contrasted with the forest (aranya), and its animals and plants with those that lived or grew wild in the woods. 4 The ' (i) villages contained cattle, horses, and other domestic animals, as well as men. 5 In the evening the cattle Grain was also stored in them. 6 7 regularly returned thither from the forest. 1 i, 149, 44, 10 4, etc., m, 45, xx, ; i 114, A-V. , , ii, 12, 7 iv, 36, 7, 8, v. 17, 4, vi, 40, 2, etc. , were probably 10) ; x, 146, i, Vajasaneyi-Sarhhita, 17, etc. Satapatha-Brahmcna, xui, 4 villages (perhaps to be taken as in 2 3 The 2, 4, Chhdndogya-Upanishad, vin, 6, 2 2 , Aitar eya Brdhmana, HI, 44. . Animals: R-V., x, 90, 8, A-V., n, 34, 4, HI, 10, 6, 31, 3, Taittrlyaxni, i , Vajasaneyi-Sarhhita, ix, 32 , Kathaka-Samhita, vn, 7 PanchavimSa-Brahmana, xvi, I, 9, Saiapatha-Brahmana, in, 8, 4, 16, etc. Plants: Tittiriya-Sathhita, v. 2, 5, 5 , vn, 3, 4, i, etc. 5 A-V., iv, 22, 2, VIH, 7, n, etc. Samhitd, vn, 2, 2, i , , 6 7 Bfihaddranyaka-Upanishad, vi, 3, 13 (Kanva, 22, R-V., x, 149, 4, Maitrdyanl-Samhitd, iv. i, i. 162 Madhyamdina). GRAMA HINDU ARCHITECTURE 1 might on occasion be built inside. Prcsumaby they consisted of detached houses with enclosures, but no details are to be found in Vedic literature. Large villages (mahagra2 known.' were mah) (Professors Macdonell and Keith, Vedic Index, though perhaps a open, fort (pur) Vol. (2) Kdmikdgama (xx, 4, the definition) : Vipralr alhanyair varnair va bhogyo The The i. pp. 244-245.) grama udahritah II and temples (ibid., xxvi. 1-41). general arrangement (ibid., xxvm, 1-21). Further details of the same (ibid. ix, 1-9 and xxx. 1-22). situation of the village-gods : Jaty-otkarsha-vasenaiva si.hanaih Cf. yuktya prakalpayet Utkrishtanarh samlpe syan nikrishtanam tu duratah | (Ibid., (3) Brahmdnda-Purana (Part v 94) vv. 105, 111; see also i, 2nd anushamga-pada, 11 xxx, 9.) Chap, vn, : Khetanarh cha puranarh cha gramanarii chaiva sarvasah cha durganarh parvatodaka-dhanvinam II Nagarad yojanam khetam khetad gramo'rddha-yojanam Dvi-krosah parama-slma kshetra-sima chatur-dhanuh II I Tri-vidhanarh (4) Kautillya-Artha-sdstra (Chap, xxii, p. 45, 46) I : Sudra-karshaka-prayarh kula-satavararh pancha-sata-kulapararh gramarh krosa-dvi-krosa-simanam anyonya-raksham nivesayet I Nadl-saila-vana-ghnshti-dari-setubandha-salmali-saml-kshlra-vrikshan anteshu slmnam sthapayet I Ashta-sata-gramya madhye sthaniyam chatus-sata-gramya drona- mukharh dvi-sata-gramya kharvatikarh dasa-grami-samgrahena sarhgrahanam sthapayet I Villages consisting each of not less than a hundred families and of not more than 500 families of agricultural people of Sudra caste, with boundaries extending as far as a kros"a (2,250 yards.) or two. ' and capable of protecting each other shall be formed. Boundaries be denoted by a river, a mountain, forests, bulbous plants, setubandha= bridge) or by trees such caves, artificial buildings (? as salmall sami and milky trees.' shall ' There shall centre of eight 1 be set up a sthanlya hundred As novv-a-days^^ee Zimmer, Altindisches Leben, mir, 2, 45. 2 (fortress of that name) in the the centre of villages, a drona-mukha ii Jaiminiya-Upanishad-Brdhmana, in, 13, 163 4. 144, citing Hugel, Kash- AN ENCYCLOPAEDIA OF GRAMA four hundred villages, and a samgrahana of a collec- in the midst tion of ten villages.' Yajnavalka-Sarhhita (n, 167, etc.) (5) : Dhanuh-satarh parinaho grama-kshetrantararh bhavet Dve Sate kharvatasya <,yan nagarasya chatuh-satam II Manu-Samhitd (vni, 237, etc.) Dhanuh-satarh pariharo gramasya syat samantatah I : (6) I Samyapatas Mahabhdrata (7) trayo vapi tri-guno nagarasya tu (xxii, 69, 35) 1 1 : Ghoshan nyaseta margeshu graman utthapayed api PraveSayech cha tan sarvan sakha-nagareshv-api Ibid, 2, 5, 81 1 I 1 : Kechid nagara-gupty-artham grama nagaravat kritah Mdnasdra, Chap, ix (named Grama), 1-538 According to shape the villages are divided into eight I : (8) classes, namelyi Dandaka, Sarvatobhadra, Nandyavarta, Padmaka, Svastika, Prastara Karmuka, and Chatur-mukha (lines 2-4). (For the plans represented Ram these eight names, see Raz, Ess. Arch, of Hind., Plates XLIII to The measurement, the ground the writer's and illustrations.) XLVI, by the internal arrangement, plans, the offerings to the presiding deity, the laying out of the houses, and the ceremonial opening of new buildings are described in order (lines 5-8) : Prathamam grama-manam cha dvitiyam padam vinyaset I Tritlyarh tad-balirh datva chaturtharh grama(m) vinyaset I Paiichamam griha-vinyasam tatra garbharh vinikshipet Shatkam griha-pravesam cha tan-manam adhunochyate I I The general plan (lines 95-503) village is surrounded by a wall : made of brick or stone, strong and over (lines 143, etc.). Beyond this wall there high enough to prevent leaping is a ditch broad and deep enough to cause a great obstruction in the event Each of an attack on the village (lines 143, etc.). There are generally four main gates at the middle of the four sides and as many at the four corners (lines 109-1 10, 144, etc.). Inside the wall there is a large street around the village. This street is generally used for circumambulation on some special occasion, and similar matters of public are those which run from one gate to concern. Two other large streets another in the middle of the wall on each side. They intersect each other daily round of the police, open-air drive at the centre of the village, where a temple or a The the meeting of the villagers. village blocks, each of which is again sub-divided into is are always straight from one end to 164 hall is generally built for thus divided into four main many by streets which main block. The blocks the other of a GRAMA HINDU ARCHITECTURE ground-floor of the houses on the main streets are used as shops. The These surrounding street has footpaths and houses only on one side. houses are mainly public buildings, such as schools, colleges, libraries, All other streets generally have residential buildings guest-houses, etc. on both sides. The houses high or low are always uniform in make (line 500, see also line 501). Congestion is The carefully avoided. drains or jala-dvara (lit. water-passage) are made towards the slope of the village. Tanks and ponds are dug in all the inhabited parts and located in such quarters as can be conveniently reached by a large number of inhabitants. The temples of public worship as well as the public commons, gardens and parks are similarly located. The people of the same caste or profession same quarter. (9) The following conclusions drawn by Mr. E. elucidate some of the points referred to above are generally housed in the Architecture of India, pp. 9, 13, 12) B. Havell will correctly (Ancient and Medieval : The experience of many generations had proved that they (plans of vilwere the best for lages) purposes of defence, and gave the most healthy, The easterly and pleasant practical layout for an Indian village or town. axis of the plan ensured that the principal streets were purified by the rays ' of the sun sweeping through them from morning till evening while the intersection of main streets by shorter ones running north and south provided a : perfect circulation of air ' The Manasara and the utmost benefit of the cool breezes.' and towns recognizes forty different classes of villages according to the extent of the lands owned by them : commencing with a which was 500 dandas, or 4,000 feet square, so that the extent of the largest cities would be 20,000 dandas or about 30 English miles Of this area about one-third was devoted to building space, and square. the rest to the agricultural lands owned by the community. ... In the village-unit Rdmqyana (see under NAGARA), the proportion between its breadth and length is as one is to four. Pataliputra was about 9 miles in length and ij miles in breadth. Hindu Gaur was also a long rectangle, one of the long sides generally faced a lake or river, an arrangement which provided bathing facilities for all the inhabitants and obviated the necessity of building defensive works all round.' description of ' Ayodhya given The Manasara gives the in the maximum width of the main village-streets as a danda, rod or pole =8 feet). The others varied in width from The size of a single cottage was reckoned as being 24 feet 1 6 feet to feet by 40 by 32 feet. They were generally grouped together by fours, so as to form an inner square or quadrangle. The magic of the square 5 dandas i ( to 5 dandas. depends on the fact that it afforded the best protection for the cattle of the joint household when they were driven in from pastures every evening.' AM ENCYCLOPAEDIA OF GRAMA-GARBHA ' (10) Of stone-built walls, such as ancient Indian town possessed, there is village or sixth century fortified an extant example older than the the hill-fortress of Giribraja, near the modern Rajgir, said to have been planned by a master-builder called Maha-govinda.' (Rhys Davids, B. c. in Buddklst India, p. 37.) ) Grama-nagara-kheda-karwada-madamba-drona-mukha-pattanarh galimdam aneka-mata-kuta-prasada-devayatanani galidampppuva-agrahara pattanamgalimdam atisayav-appa. (At Teridala, a merchant-town situated in the centre and the first in importance among the twelve (towns) in the glorious Kundi Three Thousand, adorned, with) villages, towns, hamlets, sea-girt towns, and chief cities, with elegant mansions, palaces and temples, and with shining ( 1 1 . . . | ' agrahara-towns in the country of Kuntala. (Old Kanarese . . ' . Inscrip. at Terdal, line 58, Ind. Ant., Vol. xiv, ' (12) With myriads of people, pp. 19, 25.) practices of virtue, agreeable occupations, streams of the (nine) sentiments, pleasure-gardens, separated lovers, splendid tanks, full lotus beds, gilded boats for spring festivals, ghatika-sthanas (religious centres), the supports of dharmma and mines of enjoyment, moats which were as if the sea being overcome had returned here on account of the collection of gems, groups of the lotus faces of beautiful women fair as the moon (Grama-nagara-kheda-kharwana-madamba-drona-mukha- on whatever side one looked, in these nine forms pura-pattana-rajadhani) did the Kuntala-des"a shine.' (It should be noticed, that the passage within brackets is almost identical with the corresponding passage in quotation no. ii above.) (Ep. Carnat., Vol. vn, Shikarpur Taluq, no. Transl., p. 124, para, Roman GRAMA-GARBHA (see 197, seven lines i, last Text, p. 214, line 27 ; f.) The foundation under GARBHA-NYASA) of a village. GRAMA- MARGA The village-road (see details under GRAMA). Vims'ad-dhanur grama-margah sima-margo daSaiva tu (Brahmand^-Purdna, Part i, 2nd anushamgapada, Chap, vn, v. 112.) See further details under GRAMA and NAOARA. I GRAMA-LAKSHANA The description of the village. (A/., ix GRAMA- VINYASA (see GRAMA) of the village. 1 ; see under GRAMA.) The arrangement of 66 laying-out HINDU ARCHITECTURE GRAHA A GHATA a shark, an architectural and sculptural crocodile, ornament. A kind of mukha-bhadra or front porch, An ornament hall, or tabernacle. (M., xvin, of the arch 302, etc.) 57, 60.) : Graha-kinnara-samyuktam Graha-kinnara-bhushitam I I Graha-puchchhadi-sarvesharh svarna-ratnena bandhayet Grahantarh sarva-ratnais cha puritarii sreni-sarhyutam I | (M., GRAHA-KUNDALA The Anyatha GRlVA (see 53, (M,, LIV, 8.) sarva-s"aktinam graha-kundala-bhushimm KANTHA) 56, an image. crocodile-shaped ear-ring for Graha-kundala-bhushanam Cf. XLVI, The I neck, the dado ; as a (M., LIV, 168.) I member of the comprises vedika (altar), griva (dado proper), and bhushana (ornament). (M., xv, 105-107) pillar it i GRIVA-BHOSHANA The It pillar. vajana ornament of the neck, a part of the comprises uttara (fillet), vajana (fillet), gala (dado), and (fillet). (M., xv, 111-113.) GRAIVEYAKA A necklace for an image. ' Sapta-suvarnna-nishka-kalitam graiveyakam kantimat charming necklace made of seven nishkas of gold.' (Four Inscrip. at Srikurmam, no. D, line 6, Ep. Ind., Vol. v, p. 37.) GH GRATA A pot, jar, pitcher, same as kumbha of the column (see the torus (see Gwilt, Encycl. fig. 870), a type of building, STAMBHA), a carving on the door. Cf. Stambharh vibhajya navadha vahanam bhago ghato'sya bhago'nyah (Brihat-Samhitd, ' Dr. Kern's rendering by base ' seems rather doubtful. (J.R Vol. LIU, .A.S., vi, p. I 29.) N.S., 285.) A type of building which is shaped like a water jar (kalaSa) and is ( ) 8 cubits wide. (Brihat-Samhita, LVI, 26, J.R.A.S., N.S., Vol. vi, p. 319, see i under PRASADA.) A jar-shaped carving (on the doorframe) Sesham mangalya-vihagaih Mithunaih patra-vallibhih : s'ri-vriksha-svastika-ghataih pramathais I chopaSobhayet II (Ibid., LVI, 15.) 167 GHATTA A type (2) AN ENCYCLOPAEDIA OF of building : (4) see under PRASADA.) under PRASADA.) Matsya-Purdna (Chap. CCLXIX, vv. 37, 49, 53 (3) Bhavishya-Purdna (Chap, cxxx, v. 33 Mdnasdra 15-18) (XLII, ; see ; : Shat-sapta-htangularh vapi sila-stambham visalakam Vrittarh va chatur-a-rarh va ashtasrarh shodasaSrakam I Pada-turige'shta-bhage tu trirhs'enordhvam alankritam Bodhlkarii mushti-bandharh cha phalaka-tatika-ghatam I I I (See further context under SILA-STAMBHA.) GHATTA (see A SOPANA) of steps. flight Sri-vat a-raja-ghatto'yarh nunarh tenatra karitah Brahmandam ujjvalarh kirttim arohayitum atmanah I ' He indeed caused this of steps flight Vatsa-raja, in order to the universe.' illustrious make be to built II here, of the fame ascend up into his bright (Chandella Inscrip. no. B, Deogadh Rock Inscrip. of Kirtivarman, v. 7, Ind. Ant., Vol. xvni, pp. 238, 239.) Ghat Cf. mountain pass, (i) A flight of steps to leading water, (2) a (3) a ferry.' [Vincent Smith's Gloss, (loc. cit.} to Cunningham's Arch. Surv. Reports.] GHATIK.ALAYA The building where the water-clock (Cintra is placed. Prasasti of the v. 40, Ep. Ind., reign of Sarangadeva t Vol. i, pp. 284, 276.) GHAT1KA-STHANA The place or building where a clock placed, a religious centre, an institution, a hermitage, a temple. is 'in accord(1) Uttankoktya sama-vede vyadhattam ghatikas"ramam ance with Uttanka's saying in the Sdma-veda, the ghatikd (hermitage) was established.' (It should be noted that this inscription is on the door of the Ammanavaragudi in the enclosure of the same Janardana- ivami temple.) (Ep. Carnat., Vol. v, Part i, patna Taluq, no. 178, p. ' Possessor Chamunaraya- Roman 462, Transl., p. Text, 202.) of velama, eighteen cities, (2) thirty-two sixty-four yoga-pithas, and sixty-four ghatikd-sthdnas(?).' (Ep. Carnat., Vol. vr, Shikarpur Taluq, no. 94 ; Transl., p. 61, line 6 f., Roman Test, p. 114, line 4 f.) ' (3) his He set out for the city of the Pallava guru ViraSarmma, desiring to Kings, together with be proficient in pravachana, entered 1 68 GHAT HINDU ARCHITECTURE into all religious (ghatika-sthana) and centres ready) debater (or deputant).' patna Taluq, no. 176, Transl., ' (4) With myriads o." became (so) (Ep. Carnal., Vol. v, Part para, 113, p. a quick (or Ghamunaraya- but one.) last, of virtue, practices people, I, (-TA) agreeable occu- pations, streams of the (nine) sentiments, pleasure-gardens, separated lovers, splendid tanks, full lotus beds, gilded boats for spring festivals, ghatika-sthdnas(?), . . the did the Kuntala-desa shine.' . para, last seven lines Mr. Rice (5) He term. it dharmma and mines supports of is ; Roman no. (Ibid., Text, 214, p. 197, Transl., p. line refers to quotations nos. institution. first of the meaning and seems to think that Mr. Pathak has trans- i, 2, 3, 4, He 127, 30.) not certain about the accurate means some kind of of enjoyment that says ' (Ind. Ant., xiv 34^. Dr. Kielhorn has on the an article subject (Gottingen Nachrichten for 1900, published Heft 3) with special reference to the use of the word in this inscription (quotation no. 3 above) and gives quotations in support of his It is to be noted view that it means something like brahma-puri.' that Mr. Rice's reference to Ind. Ant. is not accurate, see below. lated it as ' eligious centre (Ep. Carnal., Vol. vn, Introduct., p. 8, note 2.) Dva-trimsat tu velavuramum ashtadasa-pattanamum basa shatiyoga-pithamum aruvattanalku-ghatika-sthanarnum (the people of the seaside 18 seats of towns, 62 towns, the) thirty-two contemplation, and 64 religious centres (together with held a convocation there). (6) ' ' . . . (Old Kanarese Inscrip. at Terdal, line Ind. Ant., Vol. xiv, pp. GHANA Solid, a kind of 60 19, 25. measurement, thickness. Eka-hasta-samarh dirgharh tad-ekangula-vistritam Ghanam ardhangularh proktarh hasta-nischitya yojayet I (M., u, 64-65 LX, GHANA-MAN A (see AGH ANA-MAN A) ; see also 17-18 ; I xxxin, 311-313, 593-595. LXII, 17, under AGHANA.) The measurement by the exterior of a structure. (M., xxxni, 291-330, and 331-335 Cf. see under AGHANA-MANA.) cha kritva navarhsakam Yogadi-ghana-manam bahye , I (M., xxxrx, 64.) GHAT TIRTHA) (cf. mountain pass, a (-TA) to water, a A landing, a flight of steps leading ferry. (See Vincent Smith's Gloss, to Cunningham's Arch. Surv. Reports, 169 loc. cit.) GHATANA AN ENCYCLOPAEDIA OF GHATANA A bolt. Yogyam kavata-yugmarh sre^htham madhyarh cha harmyake Antar vapi bahir vapi ghatanarh kila-samyutam | I (M., xix, 152-153.) GHRITA-VARI (ef. The P!THA) water-pot, a part of the Pitha or the pedestal of the Phallus. Pithasyordhvc viSale tu chatush-pancha-shad-amsake Ekams'ena cha sesharh tu ghrita-vari-vis'alakam I I mi, 24-52.) (A/., CH CHAKRA -The disc of Vishnu, a type of buildings. (See Mdnasara LXV, A class of octangular buildings 145 LIV, ; 147 ; XXXH, 125, etc.) : see under PRASADA). Agni-Purdna (Chap. XLVII, vv. 20-21 Garuda-Purdna (Chap. XLVII, vv. 21, 23, 31-32 see under PRASADA). (1) ; (2) ; In connexion with the foundations Madhye chakrarh tu bhaumena bhajanantarh vinikshipet : (M., GHAKRA-KANTA A class xn, A class of the PRASADA) A 158.) 5 see under PRASADA.) type of storeyed building, a site-plan. nine-storeyed buildings in (M., xxvn, 11-12 which the whole area (M., vn, 9, see, for details, in connexion with the village; GHATUR-A&RA is I ; see under . site-plan squares ; also of the eleven-storeyed buildings. (M., xxxix, 11-15 GHANDITA A 137 see (see xv 77-110, (1) Brihat-Samhita (LVI. divided cf. also into vm 39 64 equal ; ix, 166, 390, etc.). CHATUSHKONA) quadrangular in plan, has is A type of building which one storey and five cupolas. and 28, Kdsyapa, J.R.A.S., N. S., Vol. vi, p. 320, note i). (2) (3) Matsya-Purdna (Chap. CCLXIX, vv. 28, 53; see under PRASADA). Bhaoishya-Purana (Chap, cxxx, v. 25; see under PRASADA). GHATUR-MUKHA under GRAMA and SALA) Literally fourfaced, a class of villages, a type of building, a kind of hall. A class of the four-storeyed buildings (M., xxn 12-23 see under PR As ADA' (see > . 170 CHATUH-SALA HINDU ARCHITECTURE A class of villages also (M., ix, 3, cf. the description n detail, 490-507; see xix, 212). A class of salas (hall, mansion, pavilion, etc. xxxv, M., 3-4 ; under SALA). Sarvatobhadra - chatur - mukha - ratna - traya - rupa - tri - bhuvana see Cf. ' tiiaka-Jina-chaityalayavanu the Tribhuvana-tilaka-Jina-chaityalaya (temple, which side (sarvatobhadra), has four is) auspicious on every faces (chaturmukha), and is the embodiment of the three jewels.' The icmple has four doors each of which opens on three identical stone images of the Tirtharhkaras Malli Ara, and Munisuvrata.' (Karkala Inscrip. of Bhairava II, line 17, Ep. Ind., Vol. vm, pp. 132, 135, notes n, 12, and p. 134, note 3.) CHATUR- VARGA A set of four mouldings of the door, consisting (pillar), slrah (spire) of vedika (platform), pada and sikha (M., xxxix, 154-156, CHATUR- VARGA-KANTAKA A see also (finial). xxxin, 591.) mem- of four architectural set bers. (M., xxxin, 531.) CHATUSH-KONA gular buildings (1) (2) Literally four-cornered, a type of quadran- under CHATUR-ASRA) (see . see under PRASADA). Bhavishya-Purdna (Chap, cxxx, v. 25 see under PRASADA). Brihat-Samhitd (Chap. LVI, 18, 28 ; ; CHATUH-&ALA A house with four salas (rooms or halls), an open or closed quadrangle surrounded by buildings on all four sides, an enclosed courtyard, a mansion with four rows of buildings. xxxv, (M., Evarii chatur-griham proktarh Salayaih kalpayen na va 35.) II tad-adho-bhumir uchyate II Madhya-mandapa-samyuktaih chatur-griham udahritam n Chatus'-sala-prades'e tu (Kamikagama, xxxv, 5-7, 70, 93.) Chatuh-sala-gra(gri) bhavet Dvi-salam ham sreshtham tri-salarh madhyamam I adhamam proktam hinam syad eka-salakam n xxv, (Ibid., Salaika danda khandabha Tat-trayena tri-Sala Saptabhih sapta-Sala syat dvi-sala tad-dvayena tu chatuh-sala syad evam anyam 13, 14.) I chatushtayl n tj klrcitah(-m) (Ibid., n xxxv, 34, 35.) CHATUH-SlLA AN ENCYCLOPAEDIA OF Shad-bhagena maha-ala chatuh-Sala tri-bhagikam Madhya-sala (ir) yugamsena bhadra-sala cha madhyame Anusala cha madhye cha chaika-bhagena bhadrakam I | i (Af., xxvi, 17-19.) Chatuh-sa'am (Amarakdsha, n, ii, 6). CHATUH-SlLA Literally four pieces of stone, a pedestal. Benasyaika(-ka)-sila proktam liriganarh tach-chatuh-sila (M., CHATUH-STALA The (M., 89 106), the eight xii, fourth storey, its general I LII, 177.) description classes (ibid., 1-88). under PRASADA.) (See CHANDRA-KANTA A site-plan in which the whole area is divided into 1,024 equal squares (M., vn, 50 ; see under PADAVINYASA), a class of ten-storeyed buildings (M., xxvin, 6-8 see under PRASADA), one of the five Indian orders (Suprabheddgama, xxxi, 65, 66 ; see ; under STAMBHA) . CHANDRA-SALA A (-LIKA) room at the top of a house, a kind of windows, sky-lights, dormer-windows. bhaved valabhl (1) Tri-chandra-Sala dormer-windows. (Brihat-Samhita, LVI, 25, PP- 319. (2) the 27, must have three roof N. J.R.A.S., Vol. S., vi, 320.) ParsvayoS chandra-sale'sya uchchhrayo bhumika-dvayam I (Matsya-Purana, Chap. CCLXIX, v. 38 see also (3) w. Chandra-salanvita karyya bheri-Sikhara-saihyata 1 ; 40, 41, 42, 46.) 1 (Garuda-Purana, Chap. XLVII, v. 44.) (4) Tri-chandra-sala bhaved valabhi u Babu-ruchira-chandra-salah shad-vimSad-bhaga-bhumi^ cha (Bhavishya-Purana, (5) Hasti-prishtha-yuktam chandra-SalabhiS annm) Chap, cha cxxx, w. 32, II Kuttimo'stri Commentary attal ityadi : nihaddha bhuS chandra-^ala Sirogriham \ L, 92.) I chandradi-dvayam grihoparitana-grihasya uparam adi- prasiddasya I (Amarakdsha, CHAK.ANA (K,Lvm, 3, 34.) samanvitam (vim(KamikSgama, (6) i .ynonym of the pillar (M., xv, 4), n, 5, a 8.) foot etc.). (See 172 under STAMBHA.) CHITRA HINDU ARCHITECTURE GHARA-VASTU A movable structure, a temporary building. Gramadlnarh nagaradinam pura-pattana-khaivate Koshtha-koladi-sarvesharh garbha-sthanam ihochyate Sthira-vastu-kukshi-des'e tu chara-vastu tathapi cha I I I XH, (Af., CHARUKA (see RUCHAKA) A 168-170.) type of building. Nispatarh charukam vidyat sarvatraiva viseshatah (Kamikagama, xxxv, 91 I see also ; 88-90, under NANDYAVARTA.) CHALA-DANDA The movable lamp-post. Chatur-asrarh va tad ashtagrarh vrittarh va chala-dandakam Sthira-danda-viSale tu manangula-vasan nayet I I (M., GHALA-SOPANA The movable staircase, (A/., L, 84-85.) a ladder. xxx, 130 under SOPANA.) see ; CHARA A platform. Vrishabhasya lakshanarh samyag vakshyate'dhuna Vimane mandape vapi charopari parinyaset I I (M., CJHARU-BANDHA A LXII, 3.) i, type of base of the pillar. Tato janga'.a-b'.mmis ched adhishthanarh prakalpayet I Tach chatur-vidham akhyatam iha sastre visesha^ah n Padma-bandharh charu-bandharh pada-bandham pratikramam II (Suprabhedagama, xxxi, 16-17.) CHARYA A road which is 8 cubits broad. Ashta-hasta-pramana-margah I (See Kautillya-Artha-sdstra, GHITRA An image, a painting, a marble, glass, under PATHA.) high or A painting (M., xxxv, 402, etc.). A kind of marble or glass (Af., LVI, 15, etc.). A kind of octangular building (Agni-Purdna, Chap, full relief. civ vv. 20-2 under PRASADA). full relief or image whose whole body is fully shown chitram evam prakathyate Sarvangarh drisyamanarh yat 1 ; see A : I (A/., L, See Suprabhedagama (xxxiv, 3) under ABHASA. 173 1-9.) AN ENCYCLOPAEDIA OF CHlTRA-KALPA CHITRA-KALPA A head-gear, an ornament an image. foi Patra-kalpam chitra-kalpam ratna-ka'parh cha misritam Esharh chatur-vidhaih proktarh kuryad abharanarh budhah I (M., CH1TRA-KARNA A kind I L, 3-4.) of pillar. (M., xv, 30 ; see under STAMBHA.) A type of arches, an ornamental (see TORANA) arch employed in gods' temples and kings' palaces as well as in their thrones, decorated with the images cf demi-gcds, demons, CHITRA-TORANA lions, leogfaphs, and geese. Tad eva (like the Makara-torana) parsvayor madhyarh puritarh cha dvayor (makarayor) api Nakra-tunda-prag-grahais cha tayor asya-vinirgataih II Vidyadharais cha bhutaischa sirhhe(-hairi)va vyala-harhsakair api Bale srag-dandakair anyair mani-bandhair vichitritam 11 Chitra-toranam etat syad devanarh bhu-bhritaih varam Ihasu pratimadyasu padah sarvahga-sobhitah II I I I Chatur-asrashta-vrittabha kumbha-mandya samyutah I Pottika-sahita va syur viyukta va prakirtitah II Utsandhad avalambam tu kuryan makara-prishthakani II (Kamikagama, LV, 66-70.) CHITRA-PATTA A moulding of the pillar, an ornamented band. see the lists of mouldings under ADHISHTHANA and UPAP!THA.) (M., xv, 34 CHITRA-SKAMBHA A padma-kanta (see column with ; all characteristics of the below) except the asana (seat). (M., xv, 39 ; see under STAMBHA.) CHITRAGARA A picture gallery. (Rhys David's Buddhist CHITRABHASA (see ABHASA) A kind of marble, (M. y LVI, 15 ; Sutta, p. 68.) an image. glass, see under ABHASA.) Silodhavanarh vi(bi)mbanarh chitrabhasasya va punah Jaladhivasanarh proktarh vrishendrasya prakirtitam II (Linga-Purana, Partu, Uttara-bhaga, An image wall Chap. I XLVIII, v. 43.) painted on a pata (a piece of cloth, a tablet, a plate) or (Suprabheddgama, xxxiv. 4; see under ABHASA). 174 CHOLI HARMYA HIJWU ARCHITECTURE CHITRARDHA A half relief or an image half of whose body is shown. (Suprabheddgama, xxxiv, 4, see under ABHASA.) CHULLI A building lacking a southern hall, an apartment of three divisions, one looking north, another east, and the third west. Yamya-hinam chulli tri-salakam vitta-nasa-karam etat | (Bnhat-Samhita, 38, J. R. A. LIII, CHOLIKA (CHULI) A S., N. S., Vol. a head ornament, tower, vi, p. 282.) the capital, the top. (i^ Antar vapra(h) bahir bhittis cheshtarh dirgham cha chulika (M., In connexion with the joinery Etat suvritta-padanarii tri-karnarh vakshyate'dhuna Tad eva cha tri-karnam syat tri-chulikam eva cha I ix, 362.) : I I (M., xvn, 104-105.) or gate-house. In connexion with the gopura In connexion with the mandapa Tad (prastara)-urdhve harmyakam (pavilion) mandapanam (M, xxxm, 313.) : cha chuiika-karna- I (M., xxxiv,j..) An ornament for the Lamba-haram head : api chulikadibhih (M., I L, 301. (2) Stambhasya parikshepash shad-ayama dvi-guno nikhatah chuli" in fixing a pillar 6 parts are to form its kayas chatur-bhagah twice as much (12 parts) to be entered into the height on the floor, ground, and one-fourth for its capital.' (Kautiliya-Artha-sastra, Chap, xxiv ' P- 53-) (3) Trichuli vaisya-sudranam pancha sapta mahibhritam Brahmananam tathaiva syur ekadasa tu vedikah II Pashandasraminarii yugma-samkhya chuli vidhiyate I II (Kamikagama, xxxv, 160, 161.) The synonyms of chulika : St(h)upika cha ghatah kilo sulakah st(h)upir ity-api Sikha st(h)upir iti khyata chulika cha dvijottamah I II (Ibid., LV, 207.) CHULLI) A tower, a room at the top of (cf. a house, an attic room, the garret. visesho'sti chuli-harmyadi-manditam (i) Prastarordhve CHULI-HARMYA I (A', xxxiv, 499.) 175 AM ENCYCLOPAEDIA OF CHAITYA (2) Ekaneka-talantarh syat chuli-harmyadi-manditam I (M., xxxv, (3) 37, etc.) Chuli-harmya-yutam chorddhve chagra-dvara-samanvitam II Sorddhva-vastavya-sarhyuktarh chuliharmya-yutam tu va II Sa bhumir mandapagara-chuli-harmya-vibhushita II Athava mandaporddhve tu chuli-harmya-vibhushitam Taladhisthana-padebhyah kimchid-una-pramanakam I 1 1 (Kdmikdgama, xxxv, 63, 65, 71, 114.) vapirh pushkarimrh dvararh chatus-salam (4) Prakara-madhye adhyardhantaranikam kumarl-puram munda-harmyarh dvi-talam mundakadvararh bhumi-dravya-vasena va tri-bhagadhikayamah bhanda-vahinih kritva kulyah karayet In the centre of the parapets, there shall be constructed a deep lotus pool a rectangular building of four compartments, one within the other, an abode of the goddess Kumari (?) having its external area i \ times as broad as that of its innermost room a circular building with an archway I ; ; ; and in accordance with available space and materials, there shall also be constructed canals (?) to hold weapons and three times as long as broad.' Pandit Shama Sastri's translation, as given above, does not seem to have resulted from a happy construction of the text. Kumaripura,' mundaharmya and dvi-tala (two-storeyed) mundaka-dvara bear apparently some technical meanings which are not well expressed in the translation. ' ' ' ' ' ' ' Munda-harmya ' munda and (see ' chuli might be identical with ' ' ' ' ' chuli-harmya inasmuch as are almost synonyms, both meaning top or summit KUMARI-PURA). (Kautiliya-Artha-Sastra, Chap, xxrv, p. 54.) GHAITYA (GHAITYALAYA) Primarily a heap or tumulus, of a sacrifice or religious worship, an altar, place implies chita ', a heap, an assemblage, etc. ; a monumental derived from a tomb, sanctuary, a monastery, a shrine, a temple, the church-like also ' Buddhist assembly ' All structures of the nature of sanctuaries are chaityas, so that sacred trees, statues, religious inscriptions and sacred places come also under this general name.' (i) halls. Tasminn Iruga-dandesa-pure charu-silamayam I Sri-Kurhthu-Jinanathasya chaityalayam achikarat In 1 1 the general Iruga caused to be built of fine stones a temple the blessed Kunthu, the Lord of Jinas.' of (chaityalaya) this city (Vijayanagara Inscrip. of Harihara, 11, H. S.I.I., Vol. i, no. 152, pp. 158, I 76 v. 28, 1 60.) HINDU ARCHITECTURE CHAITYA Parsvanathasya Arhatah Silamayarh chaityalayam achikarat Caused a temple (chaityalaya) of stone to be built to the Arhat Par- (2) ' I svanatha.' Cf. Bhavya-paritosha-hetum silamayarh setum akhiladharmmasya achikarad adharanl-dyumani-hima-kara-sthaiChaityagaram I ryyam II (Vijayanagara Inscrip. of Devaraja no. H.S.I.I., 153, pp. II, v. 162, 164, 20, 166.) esha Malukaya-chaitya ' this is the Sri-yogasvaminah. ' Malukaya temple of the god Yoga Svamin. (Sanskrit and old Kanarese Ind. Ant., Vol. xvi ; Inscrip. no. 170, Asni Inscrip. of Mahipala, line 7 f. . (3) . . ; note 175, p. (4) Abode 12.) The chatiyarh chaitya on (Mount) Arbuda.' Miga-sakadakam chetaya telopes.' (Bharaut Inscrip. nos. 5, The chaitya which gladdens the an- Ind. Ant., Vol. n, xxi, pp. 227, 228.) built a tank and a (or Palhaja) and also laid of Sambhu out a (Siva), garden.' temple (chaitya) (Narawar Stone Inscrip. of Ganapati of Nalapura, vv. 22-25, ^- Ant., Vol. xxn, p. 81.) Palhadeva Kayastha (5) . . . and beautiful are the Udena, Gotamaka, Sat. tambaka, Bahuputta, Sarandada, and Ghapala chetiyas.' (Digha-Nikaya, Vesali (6) n, is beautiful p. 102, Udana,vi, i.) In speaking of these shrines we not to are think of the venerated only, apart from some structure of art and architecture, an enclosed terrace at the foot, and, in some instances, a temple near by, the trees themselves standing as natural landmarks of the sacred sites.' (Barua, J. I.R.I., tree.; 126.) p. achikarat chaityalayam Boppanapara-namahkas another name Boppana, had the Jaina temple made.' (Ep. ' he, (7) no. 66 ; Roman Text, p. 60 ; Transl., p. having Carnat., Vol. n, 149.) (8) They caused to be erected the lofty chaityalaya called Trijaganmahgalam, and set up (the god) Manikya-deva also caused to be rapaired ' ; the Paramesvara-chaityalaya which the blessed ones (Jains) had formerly erected in Hullanahalli and granted lands to privide for the offerings at two chaityalayas.' the Transl., pp. 101, 102 ; (Ep. Roman Carnat., Text, p. Vol. in, Nanjangud Taluq, no. 64 ; 193.) up afresh the image of the Tirtha(n)-kara Chandraprabha, the god Vijaya and the goddess Jvalini, in the chaityalaya at Kelasur, which he had caused to be repaired and painted anew.' Ep. (9) Caused Carnat., Vol. iv, ( i to be set Gundlupet Taluq, no. 18 ; Transl., p. 38.) o) Aneka-ratna-khachita-mchira-mani-kalasVkalita-kuta-koti-ghatitam ' apy-uttunga-chaityalayamarh having erected ... a 177 lofty chaityalaya, AX ENCYCLOPAEDIA OF CHAITYA with kalasas or towers surmounted by rounded pinnacles of jewels.' (Ep. Carnal., Vol. vi, Mudgere 148, line 12 ; Transl., p. 63, para. 2.) p. set Taluq, no. 22 with ; all manner Roman Text, Chaityas or assembly halls These in Buddhist art correspond in every respect with the churches of the Christian religion. Their plans, the position of the altar or relic-casket, the aisles and other peculiarities are the ' ( 1 1 ) same in both, and their uses are identical in one religion resemble those of the other.' so far as the ritual forms of the (Fergusson, Hist, of Ind. and East. Arch., pp. 50-51.) architectural details of the existing (Buddhist) chaitya-halls For gusson see Fer- : Plans of Chaity Hall at Sanchi (p. 105, fig. 41). Lomas Rishi Cave (p. 109, figs. 43, 44). Plan and Elevation of Chaitya Cave at (pp Bhaja no-ni, figs. 45-47-) Plan of Cave at Nasik Plan, section, elevation 118, 120, figs. 54, 53, Cross Section and 115, (p. 49). fig. and views of Cave 55, Karle (pp. 117- at 56). View of Caves 57. 5 8 > 59 and 60). Cave at Ellora (p. 128, fig. 63). Plan of Cave at Dhumnar (p. 131, at Ajunta (pp. 123-125, fig. figs. 65). Buddhist cave-temples (Arch. Surv., New Imp. Series, Vol. iv, the chaitya-cave at Kondane, photo, facing the title page). (13) 'The word, chaitya, is derived from the root, chin, chayane, to collect, and the commentary on Amara, called the Gurubala(12) See that it denotes a building, because it is the result or putting together of stones (chiyate pashanadina chaityam). But it will be seen that in some of the above quotations the word is used in close connexion with yupa, the sacrificial post. The ceremony performed at the end of the great sacrifices is called prabodhika, says of the collection, the collection of the sacred ashes and other relics and i e., the grouping them into the form of a tortoise, or of the bird Garutmat as in the sacrifice called Garuda-chayana, chita being the scared things thus collected, it appears that the building constructed to preserve them for the purpose of worship was called chaitiya or chaitya.' chayana, ' This place of worship, from its connexion probably of older date than the devayatanas.' ' It nical is, therefore, clear that the and not not consistent in with Vedic rites, is Ramdyana alludes to the BrahmaBauddha Chaitya. The commentators are saying that chaitya means a Brahmanical building to the 178 CHAITYA-GRIHA HINDU ARCHITECTURE mentioned in connexion with Rama and his country, a when mentioned in connexion with the enemy's country, forgetting that Valmiki has peopled Lanka with Vedic students and sacrificers without ever mentioning the Buddhists.' 'No. 7 (Rdmayana, v. 12, 17) mentions chaitya trees so called probably because instead of constructing a building it was also the custom to plant trees with revetment round their stems where the chayana ceremony was performed. In course of time, however, all revetted trees began to be called chaitya trees and to such trees, which are generally found in all villages Kalidasa evidently alludes when Mallinatha quotes describing the Dasarna country in his Meghaduta. when is it Buddhist building ; Visva (chaityam ayatane Buddhavandye choddesapadape).' The ceremony performed after the burning of dead bodie< is samchayana, in which, after collecting the bones, a portion of the ashes offered to it. I take is grouped into a human form and bas"ali or food ' the smaSana-chaitya alluded to in no. 9, to be a monumental building erected on such spot in memory of departed kin^s and other grea. personages.' may, therefore, be presumed that in accordance with custom cha tya was built in memory of Buddha, and that his disciples began to worship and multiply it by taking his funeral relics to ' It a different parts of the country while the sacrificial chaityas of the Brahmans became scarce owing to the opposition made by the Bauddhas animal to sacrifices, agvamedha for the and the Brahmans themselves having prohibted the Kaliyuga.' be seen that the Rdmayana mention; temple and idolatry ; but these seem to be of old date in India, though not so very prevalent as at present. Stenzler's Gautama Sutra (9, 66) prescribes the going round of Devayatana griha-devatas or household gods are mentioned ' It will i ; (in 5 '3)-' (Ind. Ant., Vol. xi, pp. 21-22.) ' Properly speaking it is not temple (chaitya-griha) but the dagaba In a secondary sense it is used by Jainas is called a chaitya. and Buddhists, however, to denote a temple containing a chaitya, and (14) inside is it that Buddhist books to a sacred tree as well as to a stupa.' closely connected in meaning with stupa. Ghaityas were also applied in ' Hence known it is before Buddha's time CHAITYA-GRIHA tope, supported by (see J. As. Soc. Beng., Vol. vn, p. 1001, cf Dr. Burgess. (Ibid., pp. 20, 21, notes i, 2.) (see Alwis' Buddhism, pp. 22, 23).' STUPA-GRIHA) A dome-like construction in pillars. (W. Geiger 179 : Mahavarhia, p. 295.) AN ENCYCLOPAEDIA OF CHERIKA CHERTKA PANDI-CHERI) (cf. A village, a town, a fortified capital city on the hill top and on the banks of a river or sea, flourishing and well inhabited by people of Brahman and other castes and containing royal residence and king's palace. A suburb town inhabited by the weavers : Gramadinam samlpam yat sthanaih kubjam iti smritam Tad eva cherika prokta nagari tantuvaya-bhuh 1 II 1 (Kamikdgma, xx, 15, 16.) a prosperous capital city connected According to the Mdnasdra, with rivers and hills, and well fortified it is : Nadyadi-kananopetam bahu-tlra-janalayam Raja-mandira-sarhyuktarh skandhavara-samanvitam I Pars' ve chanya-dvi-jatnlam grihantas cherikoditah I I (M., x, 85-88.) CHAUCHALA(-VADI) A building with ' In the tiger-face chavadi gods (named).' Transl., p. 196 ; (i.e. chauvadi) he (Ep. Carnal., Vol. v, Part Roman four sloping roofs. i, set up images of his family Channarayapatna Taluq, no. 160 Text, p. 451.) In East Bengal also the term is used in the same sense, but there generally denotes straw-built houses. is GHH CHHAT(-T)RA(-I) SATTRA) Free quarters of a building. (see temples, finial or spire in connexion with (Fergusson, Hist, of Indian Architecture, Vol. (1) See Inscriptions line 6, Ep. Ind. ' (2) And as from Northern Gujarat (no. n pp. 30, 31). a work of dharma, xvii, line 6, p. 279.) i, and no. xrx. Vol, wish (I) to erect a chhatra in the and erecting a chhatra for daily presence of the god Vinayaka feeding of six Brahmans in the presence of the god Vinayaka.' (Ep. Camat., Vol. x, Mulbagal Taluq, no. 259 ; Transl., p. 132.) And (he) presented the land to AmaresVara-tirtha-Srlpada, for (3) . . . ' a chhatra (perhaps by slip Mr. Rice puts in chatra, because in the reading is chhatra) in connexion with this matha, providing for i yati, 4 Brahman pilgrims, and 2 cooks altogether 7 persons, from text, the the proceeds of cultivating the land.' From this passage it is clear beyond doubt that ' chhatra point to the same object, namely, a building or buildings 1 80 ' and ' ' sattra constructed in CHHELA HINDU ARCHITECTURE (PHELA) connexion with a temple, matha, or chaityalaya to provide lodgings and food gratis to deserving persons. (Ep. Carnal., Vol. vi, Transl., p. 80, no. 27 Koppa Taluq, Roman ; Text, p. 274, para. 2, line 5 f.) A building, CHHANDA a door, a phallus. (see VIMANA-CHHANDA) The temple (prasada) named vimana belonging to the chhanda class. (Brihat-Sarhhitd, LVI, 17, 22.) A class of buildings Karne Sala (Kdmikagama, XLV, 20). sabha madhye chhandarh syach chhandam eva (Ibid., L, 13 tat || and A type of kuta-koshtha or top-room (ibid., LV, 129, 123-127). A class of buildings or top-rooms (M., xi, 104-107 xix, 1-5 ; ; 7.) xxx, under ABHASA.) 175-177 xxxiv, 549-552 A class of doors (M., xxxix, 28-35 see under ABHASA). A type of the phallus (M., LII, 49 see under ABHASA). ; ; see ; ; CHHANDA-PRAKARA The court or the enclosure of the chhandaclass of buildings. (M, xxxi, 24.) ornament. It over shoulders sculptural passes and hips, crossing and fastening in the middle of the breasts and the back of an image. CHHANNA-VIRA A (See Rao, Elements of Hindu M. F. Iconography, I, xxxi, A. Bulletin no. 152, p. 90, and F. A. 0. S. 48, 3, p.255.) Coomaraswamy Ordhva-kaye cha haradi parsvayor bala-lambanam Madhye dama cha lambam syach chhanna-vlram iti smritam | CHHELA (PHELA) (see GARBHA-MANJUSHA) The II (M., ^35-36.) vault of the foundation-pit. Hemakarena tamrena chhelam va karayed budhah II Chhelotsedham tri-padarh syad apidhanasya samuchchhrayah Ghhela panchangula prokta grihanam nadhika bhavet n chhela Phela is perhaps the same as tu chatur-vim^angulantakam Shad-angula(m) pramanam Bhajanasya samantat tu savakasa-samanvitam n ' II ' Tathasmana chestakaya phelakaram tu garttakam (Kdmikagama, xxxi, I n named Garbha-nyasa- vidhi, 6, 7, 12, 74, 75.) 181 JAGATA AN ENCYCLOPAEDIA OF (-TI) A moulding of the base, or of the JATI) pedestal of an idol or phallus, a class of buildings, platform over ? JAGATA(-TI) (cf. well. (1) Pi^hika-lakshanam vakshye yathavad anupurvas"ah II Plthochchhrayarh yathavach cha bhagan shoda'a karayet Bhumavekah pravishtah syach chaturbhir jagati mata II (Matsya-Purarfa, (2) Chap. CCLXII, vv. 1-2, see also 4-5.) Sikharena samarh karyam agre jagati (ti)-vistaram Dvi-gunenapi karttavyam yatha-Sobhanurupatah (Agni-Purana, (3) I II Chap. Jagatl-vistararddhena tri-bhagena kvachid bhavet (Ibid., I XLII, v. 5.) || civ, v. 6.) Chap, Pravrita jagati karyya phala-pushpa-jalanvita n (Garuda-Purana, Chap. XLVII, v. 47.% (4) Pada-bandha-vimane tu geha-garbhopari nyaset Pratibandha-vimane tu vriter upari vinyaset II Vriter upari vipranarh kumudopari bhubhritam Jagaty-upari vaiSyanam Sudranarh padukopari | I u (Kamikdgama, xxx, 91, 92.) A moulding of the base (adhishthana) (5) Jagati tu shad-amSa syad dvi-bhagardha-dali kramat : 1 Shad-bhaga agati prokta kumudarh paficha-bhagikam 1 II (Suprabheddgama, xxxi, 19, 24.) A class of buildings (6) Vol. xrv, p. 161, note 22). JAftGAMA-(BERA) (Ep. /</., Vol. The movable i, pp. 165, 277 ; Ind. Ant.. idol. Sthavaram jangamam chaiva dvi-vidharh beram uchyate Jangamarh chotsavam bhavet sarvarh sthavaram ishyate I I Evam (M., LI, 17-18.) tu chotsavadinam sthavaram jangamadinah(-nam) I (M., LXIV, 93.) The (i) A A A leg of an image, the pillar in a building, a column, synonym of the pillar (M., xv, 4; see under STAMBHA). pillar in an upper storey (M., xxvi, 55 see under STAMBHA). part of the leg from the ankle to the knee ; : Janu-taram Sararhsarh syaj jangha-taram yugaihs'akam | (M., LVII, 33, etc.) HINDU ARCHITECTURE (2) (3) JANMA-NIRGAMA Jahghochchhrayam tu karttavyarh chatur-bhagena chaya'am dvi-gunochchhrayaih manjaryyah kalpayed Janghayam(-yah) budhah II | (Agni-Purdna, Chap, v, 423.) rjrddhva-kshetra-sama-jangharddha-dvi-gunarh bhavet II Tad-dvidha cha bhaved dhitir jangha tad vistararddhaga II Tad-vistara-sama jangha sikharam dvi-gunam bhavet II (Garuda-Purdna, Chap. XLVII, vv. 12, 3, JANGHA-PATHA street, RAJA-PATH A) The (see 17 see ; footpath, also a v. 13.) road, a a lane. Jangha-pathas chatush-padas tri-padas cha grihantaram Dhriti-margas turddhva-shashtharh kramasah padikah smritah n (Brahmanda-Purana, Part I, 2nd anushamga-pada, Chap. I VH, v, 115; JAJNA-KANTA A class w. see also 1 13, 1 14 under RAJA-PATHA.) of the five-storeyed buildings. (M., XXIH, 41 A JANAKA(JANA-KANTA) class ; see under PRASADA.) of the eight-storeyed and of the twelve-storeyed buildings. see under PRASADA.) (M., xxvi, 39 of the twelve-storeyed buildings once prevailing in the ancient ; A class country of Janaka (Mithila) : Tad eva maha-sala Jana-kantam iti tu dvi-bhagarh madhya-bhadrakam proktam sYeshtho ravi-talanvitam | I (M., xxx, 35-36 see also ; 33-34, under MAGADHA-KANTA.) JANA-CHAPAKRITI A type of bow-shaped arch. Vrittarh vatha tri-yugmam va chardha-chandrakritis tatha Jana-chapakritir vapi yatheshtakara-toranam I I (M., XLVI, 31-32.) JAN MAN (cf. UPANA) The base, the plinth, the basement. The basement (A/., xi, 125, 126 xn, 202, etc.) The plinth of the pedestal (M., xin, 5, etc., ; under UPAPITHA). The plinth of the base (M., xiv, ADHISHTHANA.) see the 16, etc., see the lists JANMA-NIRGAMA (-NISHKRAMANA) The lists of mouldings of mouldings under projection or ex- tension of the base or basement. (M., xin, 138 183 ; vi, 106, etc.) AN ENCYCLOPAEDIA OF JAYADA JAY ADA (see A UTSEDHA) height which is of the breadth. \\ (M., xxxv, 22, 26, and Kamikagama, 24 L, JAYANTA-PURA A see f., under ADBHUTA.) town, a village, an establishment for pious and learned Brahmans. (Kamauli Plates of the Kings of Kanauj, no. U, line 28, Ep. Ind., Vol. iv, pp. 128, 129.) JAYANTI(-I) (1) A column, a post, a moulding, a A synonym of the balance-post (tula-danda) a banner. flag, : Tula-dandarh jayanti cha phalaka paryaya-vachakah | (M, (2) A part of the column Mudrikach cha tuladhikya jayanti tu tulopari (3) A xvi, 48.) : (Suprabhedagama, xxxi, 108 moulding of the column ; see also II 105-109, under STAMBHA) : Tula-vistara-tarochcha jayanti syat tulopari Jayanti vams'aka jneya tulavad anumargakam 1 1 II (Kamikagama, LJV, 13, 16.) JAYANTIKA(-KA) parapet A post, a moulding, a flag, a banner, the staff. In connexion with the entablature (prastara) Etat prachchhadanat sthane dandam chopari sayayet : Etad dvara-vas"ad dirgharh tasyopari jayantikam Daru-dandam s"ila vapi ishfakena jayantikam Athava daru jayantis cha sila chet saha-dandakam Vina dendam tatha kuryat pashanam phalaka nyaset I I I I Etat sarvalaye kuryad deva-harmye viseshatah I I (M., xvi, 124-129.) Adhara-patta-samyuktam sa-tulam tu jayantikam (Ibid., JAYA-BHADRA A xvi, 149; see M., xxxni, 372-374.) pavilion with twenty-two columns. (Suprabhcd&gama, xxxi, 102, too ; see under MANDAPA.) JAYA-STAMBHA A pillar of victory JAYALA A type of pavilion. (see under STAMBHA). (M., xxxiv, 294 JAYAVAHA A I pavilion with ; see under MANDAPA.) fifty pillars. (Matsya-Purana, Chap. CCLXX, see 184 v. 9 ; under MAN^APA.) r IHAPt Of WATER RETAINING WALL <S PCNTA QONAU OR LIKE THE PALM Of HUMAN H*ND. \v L J JAVA STAMBHA JA-* GARBMA JALA DVARA, TOP SURFACE OF PEDESTAL JAGATI. JAGATI AS TOP MOULDING PART OF A PEDESTAL. JAGATL Page JS4 HINDU 'ARCHITECTURE JALA-GARBHA (see JALA-STHALA The water-foundations, GARBHA) the founda- tion of a tank, etc. (M., JALA-DURGA (1) (see A under DURGA) Kautiliya-Arlha-sastra 184-189 xii, see under GARBHANYASA.) water-fort. xxiv, (Chap, ; para, 51 p. i, under see ; DURGA). (2) See Sukraniti under DURGA. JALA-DVARA The water-door, a gutter, a drain. Jala-dvararii punas tesharh pravakshyami nivesanam In the three following A lines the positions of the II water-door are described. (Kamikagama, xxxv, 167.) gutter : Kuryat tu bhitti-mule tu jala-dvaram yatheshta-dik (M., xxxi, 99 ; see also ix, I 310-312, under DVARA.) Jala-dvararh yathasara(-salarii) nimna-des'e prakalpayet I (M., xxxvni, 8 JALA-DHARA The gutter-like ; see also 40.) part of the pedestal (pitha) of the phallus. Nala-tara-tri-bhagaikarh jala-dhara-vialakam I (M., JALA-PURITA-MANDAPA A detached Lin, 23, etc.) building where water is preserved for bathing, washing, etc. Parjanye majjanarthaya jala-purita-mandapam I xxxu, (M., JALA-STHALA A reservior 56, etc.) of water. In connexion with the three-storeyed buildings ParitaS chaika-bhagena kuta-Saladi-bhushitam : I Tasyantas chavritarhsena chordhva-dee jala-sthalam I (M, In connexion with the four-storeyed buildings 58-59.) xxi, : Ekena karna-harmyadi tasyantar jala-(tat)-sthalam I (M., XXH, 78, etc.) In connexion with the nine-storeyed buildings Sreshtham nava-talam proktam visva-kantam udiritam : I Tad-urdhve dvyamsa-manena vakshye chordhve jala-sthalam I (M., xxvn, 33, 34, etc.) In connexion with the prakara buildings Shad-angulavasanam syat kramat (? : bhramat) sarve jala-sthale (M., I xxxi, 95.) JALANTA AN ENCYCLOPAEDIA OF JALANTA Foundations reaching the underground water in con- nexion with buildings. Khanayed bhu-talam sVeshtham purushanjali-matrakam (1) Jalantam va Silantam va purayed valukair jalaih I 1 1 xvm, (M., (2) el 6-7.) Sarhgraha-tiromani, by Sarayu Prasada (xx, 23) quotes from Man- ayva : Jalantam prastarantarh va purushantam athapi va I Kshetrarh samfodhya chodhritya Salya-sadanam arabhet Vastu-yaga-tattva by rdna) without any reference (3) Raghunandana quotes from I the Linga(-Pu- : bhumirh yasya puroditam Dvi-hastarh chatur-hastarh va Jalantam vapi Sodhya cha Agratah s"odhayitva tu I JALA-SUTRA(-SGTRADA) ' (1) The channel, a hydraulic engineer. engineers of the Belala Kings did not confine their attention to building alone, but irrigation has A II works were also taken in hand. Tradition that the waters of the Yagachi which flows through a valley distant 10 miles and divided by a range of hills from the Halabid valley, were it brought by a channel to supply the capital with water and fill the neighbouring tanks a deep cutting on the Hasan-Bailur road at the i6th mile, works ; the spot where the channel crossed the saddle of the p. 44, c. hills.' (Ind. Ant. Vol. i, para. 2 middle.) 2, as we constructed a new dam in the Kaveri and led a channel and the Brahmans of Harahu made with us the following agreetherefrom, ment in order that the channel might be brought within the limits of their ' Where (2) village Harahu.'p. 33, line 3 , Ep. Carnat., Vol. in, Seringapatam Taluq, no. 139 Roman erecting a jalandara (?) no. 64; Vol. in, Malavalli Taluq, (Ep. Carnat., Jalandarava madisi devahge (3) ' god (? temple). Text, p. 147, line 3 ; Transl. Text, p. 77, line 5.) ; ' for the Roman Transl., p. 63.) to the Vira-prataya Bukka-Raya in his court gave an order the emperor (or master) of ten sciences (daSa-vidya-chakra-varti) ' (4) , hydrauUc engineer (jala-sutra-dd) Singaya-bhatta, that they must bring the Henne river to Penugonde and that Singaya-bhatta conto the channel the name ducting a channel to the Siruvera tank gave Pratapa-Bukka-Raya mandala channel and had ' An interesting case is recorded in this this Sasana written.' when the inscription of Penugonda in A. prince Bukka Raya was Governor ordered the hydraulic engineer to bring the 186 Henne river : D. (the 1388, he modern HINDU ARCHITECTURE the to Pennar) JATI-SALA was made from Kal. How the water amusing accounr engineer who was mastet a channel Accordingly city. ludi to the Siravera tank, 10 miles to the north. was carried beyond that does not appear. An given of the of ten science the accomplishments of is ' Jala-sutra-svara-Sastre rasa-vaidye satya-bhashayam I Rudraya-singari-bhavatah sadri"ah ko va mahi-tale Surah u (Ep. Carnal., Vol. x, Goribidpur Taluq, no. 6 Text, p. 259 f. ; Transl., p. 212 Roman ; Preface, p. 2. ; " you must make this channel they sent for the last Voja's son Peda-Bayiraboja, and gave them the contract. And they dug a channel from before Peda Nandisiyuru and carrying it on below led it so as to fill the tank.' (Ep. Carnat., Vol. x, Bagepalli : (5) Saying to them Taluq, no. 10 A ; Roman ; ' Text, p. 285 ; Transl., p. 232.) of buildings, a door, a type of top-room, a phallus, a kind of measure. JATI class ' Kesaryadi-prasada-jati and other the Kesari c'asses of buildings.' of Sutra-dhara- (Prasada-Mandana-Vastu-sastfa Mandana, A class of building vi, MS. Egg. 3147, 2253, Shad-vargaka-samayuktam A of kuta-koshtha under KARNA-KUTA) A class of buildings LV, 51 ; see ; and see also 7 II cf. L, 9, n.) top rooms (Kamikdgama, LV, 123-128 or ; . xi, 104-107 under ABHASA). (M., 549-552 Cf. Kechid bhadra-viseshena ; | esham hy-anarpitam jatir (Kamikdgama, XLV, 19 see 26 b.) : Karna-madhye'natre kuta-koshthe panjara-sarhyutam class fol. xix, 1-5 ; jatir uktarh ; xxx, 175-177 puratanaih ; xxxiv, I (M., xxxiv, 553.) A A class of doors (M., xxxix, type of the phallus (M., JATI-PRAKARA The 28-35 LII, 49 ; ; see see under ABHASA). under ABHASA). enclosure- (buildings) of the Jati class. (M., xxxi, 35 JATI-SALA (see JATI) The sala (hall, ; see under PRAKARA.) mansion) of the Jati Evarh tu jati-sala cha kuryad-dharmya-vaSat sudhih (A/., class. I xxxi, 20, etc.) AN ENCYCLOPAEDIA OF JATI-HARMYA JATI-HARMYA The buildings of the Jati class. Vaksh'harh jati-harmyanam ayadi-lakshanarh kramat (A/., JALA-(KA, KA) (i) (cf. A VATAYANA) latticed I xxx, 169, etc.) window, an ornament, Mdnasdra In connexion with the single-storeyed buildings Yat tan namantaralam chordhve nasika Jala -pan] aram vapi : : | (M., xix, 215.) In connexion with the seven-storeyed buildings Nana-prastara-sarhyuktarh jalakabhir alankritam : | M., xxv, 37.) In connexion with the nine-storeyed buildings : cha jalakadi-vibhushitam Toranady-anga-nTdais" I (M., xxvii, 44.) In connexion with the gopuras (gate-houses) Naranam jalakarh sarvam devanam api yogyakam : (M., I xxxm, In connexion with the mandapas (pavilions) Tad eva cheshta-dig-vasam kuryad evarh tu jalakam 572.) : xxxiv, (M., In connexion with the door I 205.) : Jayante va mrige vapi chopadvaram tu jalakam xxxvm, (M., In connexion with the doors of the I 19.) kitchen (latticed windows are provided for the easy passage of smoke) : Tad-urdhva-gamanarthaya kshudra-jalaka-samyuktam (M., xxxvm, Devanam harmyake sarvam madhya-dvararh tu jalakam I 36.) i (M., xxxix, 138.) Jalakadhika-hinarh syad sYi-hlnam artha-nas"anam An ornament LXIX, (At., for the feet | (M., Chamundi jvala(? kam(-ka) 35.) : Ratnahguliyakau hastau padam jala-saratnakam I I cha jala)-mauli bhairavi LI, 39.) pibarala- i (M., LIV, 136.) (2) Manu-Sarhhitd (via, 132, etc.) Jalantara gate-bhanau yat (3) : sukshmam driSyate rajah R&mayana (Cock) V, 2, 49 (Purlrh) s"ata-kumbha-nibhair I : : pamam I 1 88 jalair gandharva-nagaro- HINDU ARCHITECTURE V. V. V. mam V. (4) 2, 4, Maharha-jambhu-nada-jala-toranam (Lankam) 53 6 8, JALA- (K A, KA) Vajra-jala-vibhushitaih griha-meghaih Mahad vimanam i . . . I I pratapta-jambu-nada-jala-kritri- I 9, 22 V. 54, 22 HI, 10 55, (Salarn). . hema-jala-virajitam . Kanchana-jalani. . . I (bhavanani) I Hema-jalavritaS chasams tatra prasada-pahktayah Mahdbhdrata I : I. 185, 19-20 I. 134, : Prasadaih sukritochchhrayaih Suvarna-jala-samvritair mani-kuttima-bhushanaihl I 14: Mukta-jala-parikshiptam vaiduiya-mani-s'obhitam | Sata-kumbha-mayam divyarh prekshagaram upagatam I. II. (5) 40: Gavakshakais tathajalaihl (Avasatham) 34. 2J suvarna-jala-samvitan . : . . Silpa-sdstra-sdra-samgraha iix. 23) I : Eka-bhagas chatus stambhaS chatur-dvarah sa-jalakah Chhadya-ghamta-yuto mada-Sobhitah ^ridharamatah ( (6, I 128, I I Kdmikdgama (LV, 94, 158-163) Jalakarh palakam sailam aishtarh kudyarh cha ishyate Jalakair bahubhir yuktam jalakam kudyam ishyata || (94) The seven kinds of the latticed windows : I : adyam syat gavaksham kufijarakshakam Go-mutram ganika-patra'm) nandyavartam cha saptadha Riju-jalakam I II (158) Riju-kampa-yutam yat tu riju-jalakam uchyate Karna-gatya yada srotram gavaksham iti kirtitam II (159) Tad eva chatur-as'rottharh kufijaraksham iti smritam I I Vidig vaktra-gatam drishtirh go-mutram Mulam iti kirtitam apy-agra-gulika-mridu-bhitty-antararchitam II (160) I Nana-chchhidra-samayuktarh ganika-jalakam bhavet Patrair vichitram randhrarh patra-jalakam ishyate II (161) I randhram pradakshinya-kramena tu II proktam vedy-urdhve Jalakarh nayet Nandyavartam Svayambhuvadi lihge tu yathakamam prayojayet II (163) The situation of latticed windows Jalakam cha kavatam cha bahye bahye prakalpayet Sarwatah kudya-sariiyuktam mukhya-dhamatra-klrtitam Patra-sutra-gatarh iti (162) I : I Ghatur-dig-bhadra-samyuktam dvara jalaka-Sobhitam XLI, (M., The ornaments and component parts of such windows Jalaka-stambha-kudyanga-nasika-torananvitam Prastara-kshudra-sopanarh sopanadi-samanvitam 1 1 II 8, 26.) : I 1 1 (M., 189 XLII, 25.) AN ENCYCLOPAEDIA OF JALA-GAVAKSHA (7) Suprabheddgama (xxxi, 52, etc.) : Vedika-jalakopeta (parvatakritih, a building). He, the emperor of the south, caused to be ' (6) made of stone for window (jalaka-jalakam), secure latticed Vijaya-Narayana (temple) frame (kavatam), door-lintel, kitchen, ramparts, pavilion, door- and a pond ' named the Vasu-deva-tirtha. The pierced stone-windows, which form one ' of the most beautiful features of the Belur temple, may be of a later date, about to the inscription quoted above) and due to Ballala II.' 1200 (refers In connexion with the same windows, Mr. Rice quotes Mr. Fergusson richness and variety of pattern displayed in the windows of the : ' The are twenty-eight in number, and all arc pierced slabs themselves, however, are hardly so remarkable as the richly-carved base on which they rest, and the deep porch are astonishing. different cornice . . They The . which overshadows and protects them.' (Ep. Carnal., Vol. v, Part i, Belur Taluq no. 72 ; Transl., p. 61 ; Roman Text, p. 61, line 7 ; Introduction, pp. xxxvi, XXXVIII, XXXIX.) (7) See bars New Surv., (8) See LXXIV, (9) Imp. samples ibid., See screens. on the perforated windows. of the Vol. xxix, Plate 2.) fig. windows. perforated Arch. Vol. (Ibid., xxm, Plate XLH.) and very artistic patterns Pandit Kundanlal, pp. 188, second paging.) (Jala Kaumudi, by 264 kinds of geometrical JALA-GAVAKSHA The (1) (Chalukyan Architecture, Series, Vol. xxi, Plate xxxvn, latticed Jala-gavakshaka-yuktah of window. 'furnished with latticed windows.' (Brihat-Sarhhita, LVI, 22, J.R.A.S., N. S., Vol. xi, p. 319.) Jala-gavakshair yuktah (Bhavishya-Purdna, Chap, cxxx, v. 29.) had the latticed winmadisidaru (3) Mundana jalandravam dows made for the Tirthankaras, which their father had had (2) ' made.' JALI A (Ep. Carnal., Vol. n, no. 78; trellis window Roman Text, p. 62; Transl., p. 151.) or screen. ' Sri-uttaresVara-deva-mandape to be made in the temple of '. karapita jali . . (Ahmadabad A.D. 1251, lines 7-8, Ep. Ind., Vol. v, pp. JINA(-KA) (see TIRTHANKARA.) 103, a trellis was caused of Visaladeva, Inscrip. 102.) The temple of the Jains, the Jain deity. (A/., xix, IQO 252 ; xxxn, 165 ; xun, 145, etc.) HINDU ARCHITECTURE The JVARA-DEVALAYA description of the Jain deities (Mdnasdra, Chap. They are either stationary or movable (71). The general features LV, 71-95): : Dvi-bhujarh cha dvi-netrairh cha munda-tararh cha sirshakam I (72) Sphatika-Sveta-raktarh cha pita-Syama-hibharh tatha (86) They are made in the erect, sitting or recumbent posture (line 73-76) and in the lotus-seat pose (padmasana). I The dra, attendant deities are Narada, Yakshas, Vidyadharas, NagenSiddhas (lines 82-88). They are stated to be Dik-palas and five classes (line 89). The 24 Tirthas mea ured Tirthankaras or apostles) are (i.e. accord- ing to the dasa-tala system (line 91). Their general features (lines 91-92) : Nirabharana-sarvangarh nirvastranga-manoharam Savya-vaksha(h)-sthale hema-varnarh srivatsa-lafichhanam I JYA (see A kind LUPA) of pent-roof. (M., xvm, JYOTIH (see LUPA) A kind class 177 ; under LupA.) see of pent-roof. (M., JYOTISH-KANTA A I xvm, 174 ; see under LUPA.) of six-storeyed buildings. (M., xxrv, 20 ; see under PRASADA.) JVARA-DEVALAYA The or temple of the god of fever, a hospital dispensary for curing patients of fever which represents all diseases. Agnim (agnau) pusha-pade vapi jvara-devalayarh bhavet (M., ' This criptions Vellore I xi, 390.) and the next following seven, 44-50, Velur, ins(no. 43 record grants to Jvara Khandesvarasvamin of Velur, i.e. to the temple, which is now-a-days called Jala-kanthesvara (North Manual, p. 189). The name of the temple is spelt Jvara-kandesVara in five inscriptions, Jvara-kanthesvara in two others, and Jvarakandhesvara in one of them. The Sanskrit original of these various Arcot forms seems to have been Jvara-khandesVara. Jvara-khanda, "the destroyer of fever" would be synonym of Jvara-hara, which is applied to Siva in the name o'^ one of the Kanchipuram temples. (Sewell's Lists of Antiquities, Vol ' I, p. 1 80). p. 69, para. 2, notes 3, 4.) -(H.S.I. /., Vol. i, Velur Inscrip. nos. 43-50, DOLA AN ENCYCLOPAEDIA OF P DOLA (for DOLA) A hammock, a swing, a (A/., L, 47, TAKSHAKA (see 152-171 T A wood-cutter, STHAPATI) see ; under PARYANKA.) a carpenter. (See details TADAGA A (1) litter. under STHAPATI.) tank, a pool. Mlna-manduka-makara-kurmmas' cha jala-jantavah Karya dhatu-mayas chaite karttri-vittanusaratah II Matsyau svarnamayau kuryat mandu vapi hemajau Rajatau makarau kurmma-mithunam tamra-ritikam I I Etair jala-charaih sarddharh II tadagam api dirghikam Sagararh cha samutsrijya prarthayan nagam archchayet II The execution of the images of fish, shark, frog and tortoise for a tank with metals like gold, silver, copper, etc., is worth notice. I (Malianirvana-tantra, (2) See Dewal PraSasti of Lalla the Ghhinda (v. xm, 167, 168, 169.) 20, Ep. Ind., Vol. i P- 79. 83-) (3) See Khajuraho Inscrip. no. iv (v. 38, Ep. Ind. Vol. i, p 144). See Sridhara's Devapattana Prasasti (v. 10 Ep. Ind., Vol. 11, (4) p. 440). (5) Anarhta-prani-suprlti-karibhir bhuribhih Tadagais sagarabhogair yo vibhushita-bhu-talah I pillar Inscrip. at (Two II Amaravati, no. A, Inscrip. of Keta II, v. 41, Ep. Ind., Vol. vi,-p. (6) Wayside tank Aparh s"ala-malah pathi pathi tadagah 152.) : I (Two Bhuvanesvara Inscrip. no. A, of Svap- nesvara, v. 30, Ep. Ind., Vol. vi, p. 202.) (7) Khsetresasya tatha suralaya-vararh sphitarh tadagam tatha bandham Kaudika-samjnakam bahu-jalarh dlrgharh tatha khanitam I (Kanker Inscrip. of Ep. (8) Ind., Bhanudeva, Vol. ix, p. v. 7, 127.) Pratinidhim udadhinam sarhchayan toyasrishter akrita jagad-kesar- yyakhya yas tatakam 'And who constructed a tank (which he called) by (his) name Jagatikesarin, which equalled the oceans, and which accumulated the I downpour of water.' (Ekamranath Inscrip. of Ganapati, pp. 200, 20 1.) 192 v. 9, Ind. Ant., Vol. xxi, TALA HINDU ARCHITECTURE TANDULA-MANDAPA The store-room, a granary, a detached building where stores are kept. (M., xxxii, 64 TADBHADRA A see ; under MANDAPA.) plan in which the whole area site is divided into 196 equal squares. (M., vn, 18 TANTRA Used Cf. same sense in the architecture (M., xi, 14, 102, 145 I, SlLPA-TANTRA (M., TAPASH-KANTA A ; as ; under PADA-VINYASA.) see &ASTRA or the science of M., xn, 67). XII, 67). class of the eight-storeyed buildings. see under PR AS AD (M., xxvi, 41-42 A.) ; TARAfrGA Waves, an ornament or moulding employed terminating by undulating lines. Bodhikochcha-tarahgaih syat sarvalankara-samyutam Tad eva tunga-mane tu dva-daame vibhajite I I Adho-bhage tri-bhagena tarangakriti(m) vinyaset I (M. xv, 155-157, A in capitals see also ornament of the entablature Devanam bhu-patlnaih cha chordhve madhye tarangakam similar 164.) : I (M., XVI, 202.) Taranga-vetra-samyuktarh kufijarakshair alankritam Padanam cha tarangarh va choktavat samalankritam I I (M., TALA (see The BHUMI) L, 267-268.) storey, the palm, the sole, a moulding of the column. (i) Mdnasdra : Buildings of one to twelve storeys are prescribed for people (and animals) of different ranks : Ekadi-dvi-bhumyantam kalpa-gramasya harmyake bhavati Ekadi-tri-bhumyantam prabhakarasya chalayam proktam I Ekadi-chatul-talantam pattabhak-chalayam iti kathitam Tri-talady-ashta-talantarh narendrasya chalayam proktam Tri-taladi-nava-talantam maharajasya bhavanam uditam Pancha-talady-arka-talantarh chakravarti-harmyam syat Ekadi-tri-talantam yuva-rajasya chalayam proktam Samanta-pramukhanarh chaikadi-tri-tala-paryantam syat sarvesham ekadi-tri-tala-bhumiKshudra-bhupasya(-panam) I I I I I I I paryantam I 193 AN ENCYCLOPAEDIA OF TALPA(KA) Sthapati-sthapakanarh tu gabhastikadikarh(-kanam) tu yuthakanaih chat Dvi-jati-(-sm)aranam tv-eka-dvi-tri-tala-paryantam Ugraiva-jivinam chaiva alaika-dvi-tri-tala-paryantam I I Gajasvadi-Salanam talam ekam kartavyam prokam Devanam api sarvesham hary-aikady-anta-bhupatinam chaiva Anyat sarva-jatmam nava-talam kuryat tad-alayarh proktam I I I nava-talam Mandapam kuryad mandapakaram bhumi-lambam puranaih bhavanam anya-rangam vadhi- I Etat tu sarvais tantravit-proktam (M., The sole xi, I 127-141, I44-H5-) : Nalakantam tri-matram syat tala-taram yugangulam (M., LVII, 34 The palm ; see also I LXVI, 13, etc.) : Tala-dirgharh shad-angulyam eshariiam madhyamahgulam I (M., LIX, 49, (2) Eka-bhumam dvi-bhumam va kshudranam bhavanam nrinam Sudranam kuryad vaisyanam tu chatus-talam |l Kshatriyadeh pancha-bhumir dvijanam raga-bhumikam Saptadhyam mandalikanam bhu-bhujam nava-bhumikam Ekadasa-tala-geham vidadhyach chakra-varttinam Udayarkarka-bhagena hina urdhordhva-bhumikah etc.) I tri-talam 1 1 II 1 1 1 1 (Silpa-sastra-sdra-sarhgraha, (3) Aruroha (4) A . . . vra, 29-31.) prasadam hima-pandurarii bahu-tala-samutsedham (Ram&yana, vi, I 26, 5, etc.) moulding of the column. (Suprabhedagama, xxxi, 108, 105-107 ; under STAMBHA. see A couch, bed, sofa, an upper storey, a room on the made of heavy and strong uduma turret, a tower top of a house, bara wood (Taitt. Bra., i, 2, 6, 5), 'with four feet and four frame TALPA(KA) ' ' (moulded and carved) by tvashtar (carand inlaid.' Nuptial bedstead (R.-V., vn, penter) and embroidered 55, 8 ; A.-V., iv, 5, 3 v, 7, 12 for king and his wife ; xiv, 2, 31, 41 pieces (ushyala) fashioned ; bridal : Taitt. Sam., vi, 2, 6, 4 : Taitt. Bra., n, 2, 5, Compare TALPYA 3 ; Punch. Bra., (legitimate son born in xxui, 4, 2 ; xxv, i, 10) Base of the neck of a nuptial bed, Guru-lalpa (bed for preceptor) an edifice dome on the top of (M., xvm, 170). . TALA-MANA HINDU ARCHITECTURE Argalam dakshine bhage vama-bhage tu talpakam n Yugme mahati talpe cha dakshinasthe kavatake II (Kamikagama, LV, 49, 42 TAT(-D)A&KA An ornament (1) for the ear of ; also see . Deopara Inscrip. I I (M., (2) See 48.) an image. Karne vibhushanarh kuryan makarankita-kundalam Athava svarna-tatankau. . 39, L, of Vijayasena 43-44 (v. see ; n, also Ep. 294, etc.) Vol. Ind., i, pp. 308, 313). (3) nama Tadanka-darpano named 'the second act dvitiyo'nkah ' the Ind., reflecting ear-ring. Vol. VIH, pp. 116, 100.) TATIKA A (Dhara Prasasti of Arjunavarraan, moulding of the column, Nimnarh 82, Ep. tenia. (M., xv, 60, 142 KumbhadhaS chordhva-dee line ; see under STAMBHA.) tu vata-patradi-Sobhitam tatikadini yuktya prag-uktaban nayet I I (M., xv, 189-190.) Pada-tunge'shta-bhage tu . . . I Bodhikam mushti-bandhani cha phalaka-tatika-ghatam I (M., XLVH, 17-18.) Agre cha phalakantam cha tatlkadyair vibhushitam | (Af., L, 78.) TALA-MANA A In this system the sculptural measurement. length of the face (including the top of the head) is stated to be the unit (Matsya-Purdna, Chap. CCLVIII, v. 19). But it seems more logical to have the span or the distance between the thumb and middle-finger, which tips of the fully stretched technically called tala (see below), varieties : the ten-tala measures are is as the unit. It admits of many mentioned in the Mdnasdra. But the Bimbamdna has reference to Each of these ten or twelve kinds is again twelve kinds (see below) . subdivided into three types, namely, the uttama or the largest, the madhyama or the intermediate, and the adhama or the smallest. Thus an image is of daSa-tala 1 measure when to ten times the face (including the 1 The idea of da$a-tala may have been whole length top of the head) . g;o i, R. X.) is equal In the largest originated from the following ( 3Jo 195 its : AN ENCYCLOPAEDIA OF TALA-MANA type of the daa-tala system, however, the whole length is divided into 124 equal parts which are proportionately distributed over the of the body ; in the intermediate type, the whole length is divided into 120 equal parts, and in the smallest type into 116 equal parts. In the nava-tala system, the whole length would be nine times the face, in the ashta-tala, eight times, and so forth. The details of the following tala measures are given in the Mdnasdra different parts : The which the goose, the riding measured (AT, LX, 6-35) largest type of the two-tala system in animal of Brahma, is : Parts (i) Height of head (2-3) height of neck (4) height (length) of heart (chest) (5) (below this) height of thigh . . . (6) height of knee (7) length of leg (8) height of foot . . . . . . . 8 . . . . 1 1 .. .. if . . . i .. .. . . . . . . . . . . . . ..if 3 .. .. 2 .. ..4 neck at the root [it tapers from bottom to top and is furnished with two faces (beaks)] (13) length of belly (kukshi) .. .. the stomach (udara-sthana) (14) place of the from belly to the root of the tail (15) (16) breadth of wing (17) length of wing (23) (24) (25) (26) (27) (28) (29) breadth . .. .. . . . . .. .. . . . . . 6 . . . . . 196 i 8 . . of middle-finger at the forepart of face (31) length . i . side . .. i . . . on either . . . . . 5 8 . . . . 16 2 .. . of two fingers (30) each . .. elbow width at the forepart of the head width at the root of the perfectly round thigh .. breadth at the forepart knee of breadth breadth of leg breadth of sole (palm) . 8 . . .. . i ..8 . .. .. height of wing the at edge (agra) (19) height of wing . of thickness wing (20) (21) length of arm (bahu) . .. (1 8) I . . (22) 4 . . . (9) breadth of face (10) at the back of the head .. (n) length of face .. (12) . .. 2$ .. i . . i . . . 2 . 4 . . . . a . . . 3 . TALA-MANA HINDU ARCHITECTURE Parts breadth of face (33) length of eye and . (32) tionate . its . . . breadth should be propor. . . . . (34) distance between the eye-line and ear-line (35) the crest above the head . (36) its (37) its width ending by the back of head breadth . and the rest is left i . . . . . . . . . I . . . . 2 yavas or 2 parts 6 4 . to the discretion of the artist : Sesharh yuktya prayojayet (35). In the seven-tala system the whole height parts which are distributed as follows divided into 84 equal is : Parts (1) Crown (2) face (3) neck (4) (5) (6) of the head (murdhni) . . . .. (from neck to) heart navel . heart to) (from (from navel to) sex-organ . (8) thigh (9) knee (janu) (uru) is . . . palm . (20) (21) (22) (23) (24) (25) (26) (27) . . . . . . . . i o 5 . . 3 . . (including fingers) 3 .. .. .. . .. .. ..20 i . 16 .. 8 . . . .. . . .. .. .. 7 .. .. .. 5 .. width at the arm-joint .. width of the chest between armpits width by heart .. .. .. .. width by mid-belly width by loins (kati) .. width of the thigh .. knee the .. width of .. . . width of the leg (jarigha) . . . . width at the ankle .. .. width of the sole .. 5 .. 14 (15) foot (19) 3 10 .. (14) (18) .. .-3 arm (13) (17) 10 .. elbow forearm (prakoshtha) (16) . . of same parts as the back (pitharhs'a) (10) leg (pada) (11) length of 2 .. .. .. (7) suraga (? hole) (12) . .. . . . breadth of the face width of the neck . . . . . . ii ..12 .. 16 . 12 . ..8 .. . 197 5 4 . . . 3 ..4 TALA-MANA AN ENCYCLOPAEDIA OF Parts (28) width of the forepart of arm (29) width of the forearm (30) the wrist (31) . . width of the palm . . . . . . . . . . . .. and length of the plam . . i .. 3^ 4 . . . . . . . . . . In the eight-tala system the whole length which are distributed as follows is 4^ .. . (32) length of finger 4 . i . divided into 96 equal parts : Parts (1) Head from the crown (ushnisha) to the end of the hair on the forehead . . (2) thence the face (up to the chin) ... (3) thence the neck (4) thence to heart . (5) thence to navel .. . . . . 3 . . . ioj . . loj .. loj . . . . . .. (7) thence the mid-belly (up to sex organ) the thigh (below sex organ up to knee) (8) knee (6) . .. 3 . . . . ioj 21 .-3 ..3 ..21 (9) le g (10) foot (height) .. (11) length of foot .. .. .. ..14 (12) breadth of face neck 1 ( 3) width of .. .. .. . .. . (14) shoulder (up to arm-joint) (15) width at the root of arm .. ( 1 6) length of arm .. .. (17) elbow . . . . . 9 6 . .. --41(3 and .. 6 .. ..21 .. . . In the largest type of the nine-tala system the whole length into 112 equal parts (M., LK, 14-64) 5i io is divided : Parts (1) .. proper) face (comprising) .. .. 4 .. .. X2 . . 4 4 forehead (up to the eye-line) . (3) thence to tip of nose to chin thence (4) (2) (thence) . (5) (6) neck thence to heart . ) ij (from elbow) forearm (half of face) .. (19) palm (including fingers) (equal to face) the rest should be as before. (18) Crown (head i . . . . . . .. 1 08 . . . . . . . .. 4 4 ..12 TALA-MANA HINDU ARCHITECTURE Parts thence to navel .. .. (8) thence to sex organ .. .. . . (7) (9) thigh (twice the face) (10) knee (11) leg (12) foot (13) (14) (= neck) . elbow (16) forearm (15) ( 1 7) palm (up . . . .. .. ..24 .. .. .. ..4 to forefinger) .. 16 . . . . . . . (25) (26) (27) (28) (29) 12 . .. .. . width (breadth) at the mid-belly width at buttocks .. width of the loins .. width at the root of the thigh width at the root of the leg width at the middle of the leg breadth at the middle of the leg .. knee-tube .. (31) .. .. (32) ankle . (33) heel breadth (30) . ..8 8 ..8 . . . . 5 . . 20 .. .. 17 .. ..19 .. ,. . 7i 6 . . . . ..if ..if .. . 4i . . 17 . . . 5 .. .. 4 .. 2 .. 4 .. i .. .. .. .. 3 a . 2 breadth of the largest toe .. nails half of is of their (breadth length) (38) length of fore-toe (=thumb) .. .. (39) breadth of fore-toe . . (41) fourth (42) little toe (breadth 6 yavas) toe (breadth 5 yavas) 4 . . .. (37) middle toe (breadth 7 yavas) 10^ . . (40) 15 .. (34) breadth of prapada (forepart of the foot) (35) breadth of the palm ( ? sole) (36) length of the largest toe .. . . .. . between the armpits . n .. . . 12 . . .. width round the arm-joint .. (21) width of knee shoulder (22) (24) ..2 to the tip of middle-finger) (20) (23) chest 24 . .. . .. (18) breadth of face (19) width of neck . 24 4 . .. .. (=thigh).. (= knee) .. palm (from thumb arm . ..12 ..12 . . . . (breadth of nails is half the breadth of the fingers) at the middle of the arm width . . (43) . (44) width at the elbow . 199 . . . . . 7 . 7 (?) (? 2) AN ENCYCLOPAEDIA OF TALA-MANA Parts (45) width at the forearm . (46) width at the wrist (47) breadth at the root of the palm (48) breadth at the forepart of the palm (49) length of the palm and the remainder . . . . . . is . . . 4 . . . . . . . 3 6 . . . the middle-fingers (50) forefinger .. .. .. (51) ring-finger .. _ ... (52) little finger .. .. .. .. .. (53) breadth of thumb (54) breadth of forefinger (55) breadth of middle-finger (56) breadth of ring-finger . . . . .. 4 6 . . (?) 5i .. 3j .. . . .. 5^ . . r 6 yava . 7 . 6 .. . (57) breadth of little finger are made from the root towards the Fingers tapering . . . . 4 . The or J more than their forepart of the nails is their breadth at the tip is one, two, or three yavas. The thumb is divided into two parts tip. length and (parvan) and the other fingers into three parts (parvan). line of wisdom and such other lines are drawn on The the palm. The eyebrow should extend from the eye-line to the hair (near the ear). .. .. (58) Length of eye (59) breadth of eye . . . . (60) length of ear .. .. .. . . . . . (61) drum .. of ear .. (62) breadth of ear . ..2 ..4 i . . ^ 2 the rest should be as in the (uttama) daSa-tala system : Navatalottamarh proktarh sesham cha das"a-talavat I (64). In the intermediate type of the nine-tala system the whole length divided into 108 equal parts : Parts 1 i) (2) (3) Head neck knee .. .. . . . .. . .. (4) foot . . (5) face . . .. . . .. (6) chest (7) belly .. .. 200 .. .. .. .. "J 3 3 3 ..12 ..12 ..12 i 3 TALA-MANA HINDU ARCHITECTURE Parts (8) (9) .. .. .. thigh .. .. .. .. .. .. .. .. . ..12 ..24 ..24 loins (10) leg (n) arm (12) (from . . arm) forearm (including middle-finger) (13) largest toe (up to heel) =face (14) foot .. .. 24 . .. 18 .. .. 12 .. ..15 the rest should be discreetly made. 1 In the smallest type of the ten-tala system the whole height 16 equal parts (M., LIX, 67-100) : is divided into Paris Head (from crown to hair-line in the forehead) .. .. face (comprising) the thence to (2) eye-line (i.e., forehead) . . (3) thence to the tip of the nose (1) (4) thence to the chin .. (5) neck-joint (6) neck (7) (8) (9) . .. . . . .. . . thence to heart .. .. thence to navel . . thence to sex organ .. . . (from below sex organ) (n) knee .. (12) leg (13) foot (16) (17) 4^ . . 4 . . 3$ i\ ..12 ..12 ..12 ..25 . .. .. . .. . .. .. .. ..25 .. .. .. . from heel to largest toe arm of the line of windpipe below length elbow of .. .. length forearm .. .. length of (18) length of . .. palm (up 4 . 4 (14) length of foot (15) . 4 . (10) thigh . . 4 . . ..12 .. i6 (glottis) 25 .. 2 to the tip of middle-finger) ..19 . 12^ (19) breadth of face (20) width of neck .. .. .. i\\ . . . width of arm .. (22) width of knee (23) width of arm by .. .. . . . (21) . . (26) width of the mid-belly width of the buttocks . .. . . . . . 8 6, 6, i$ 2oJ . . 15 J . . . .. .. .. . , width at the root of thigh .. .. 2OI 8J 8J . .. (27) breadth of the loins (28) . root, elbow, wrist (24) length of shoulder (25) . . i8J . 19 12$ AN ENCYCLOPAEDIA OF TALA-MANA Parts (29) width of the knee-(cap) . (30) breadth or width of knee-tube . (31) (32) breadth of ankle prapada (tip of the . . . . . . .. toes) . width is 6J 4 5 6 . (34) length of fore-toe a other toes of (half (35) length their breadth or . .. .. toe (33) length of largest and . . . . . . . . . . . part less) the same (? half of their 4 4 3J length) (36) (37) (38) (39) breadth of elbow breadth of forearm 6 .. .. .. breadth of wrist breadth of palm (40) length of palm (41) length of middle-finger (42) length of forefinger (43) length of ring-finger (44) length of little finger (45) length of thumb 5 . . . . 4 . . . 5 . . . . . . . . . . . . 7 5i 5 5 . . 4i 4 .... (46) length of ear . 4i (47) height of ear-drum the rest not specified here should be as in case of the . . . . 4| largest type of ten-tala system. In the intermediate type of the ten-tala system the whole height of the image (of a famale deity) is divided into 120 equal parts (M., LXVI, 2-78) : Parts (1) Head (from crown to hair-line (4) forehead (up to eye-line) nose (up to the tip) thence to chin (5) neck-joint (6) neck (2) (3) . . . . . . . on the forehead) . . . . . . (glottis) to heart (7) limit of navel the to (8) thence . . . . . . 4 3i i 4 from windpipe (9) thence to sex organ (10) thigh below sex organ (n) knee (12) leg (13) foot .. .. 13 .. 13 .. .. ..26 .. ..26 .. .. .. . . . . 202 13 .. . . 4 5 . 4 --4 HINDU ARCHITECTURE TALA-MANA Parts of foot (from heel to the tip of largest toe) (15) length of arm below the line of windpipe (glottis) (14) length (16) (17) (18) elbow forearm palm .. .. ..2 .. .. .. ..20 . . . . . and palm proper the remainder (20) thumb . . (21) forefinger .. (22) ring-finger .. (23) little finger . . . . . .. . . . . . . . 7 4 5i .. . . . . . breadth (between armpits) width of each breast (32) (33) (34) (35) (36) (37) (38) (39) (40) (41) (42) (43) (44) .. . . . . . . . . . . . . . . ankle (45) breadth of sole of width (46) (52) length of fourth toe 203 1 1 .. 13 .. 20 . . 24 . . . . . . 13 12 . . . . . . . . . . . . . . . . 9 7 6 5 . . . . . . . . . . . . . . . . . . . .. .. . 15 . . . length of largest toe (50) length of fore-toe (51) length of middle-toe 13 . . . i . . . 4^ . . . 7 15 . . sole at the fore-part (47) breadth of . heel (48) breadth of (49) . . . 11 ..2 breadth (below the breasts) by the heart width of mid-belly breadth (below this) by the navel .. breadth (of lower belly) below navel width of buttocks width of loins width at the root of each thigh width by the mid-thigh width at the fore-part of the thigh width of knee width at the root of leg .. width at the mid-leg knee-tube breadth of 2 i 9i .. . . . (nipples) 5j 4 . . of chest of breast (29) height between breasts (30) distance of the nipple (31) width 6 . . . .. breadth of face up to ear .. from ear face of to ear (below this) (25) breadth neck of and breadth root, middle, (at top) (26) (28) 13 . . (24) (27) 26 .. (up to the tip of middle-finger) (19) middle-finger 16 . . . . .. 4 4$ 4 5 4 4 4 3$ 3 AX ENCYCLOPAEDIA OF TALA-MANA (53) length of little toe . . width (breadth) of largest toe width (breadth) of fore-toe (55) . . (54) . . Parts 2 2 . . .. .. i(=:8 . . . . 7 . . . . yavas) (56) width (breadth) of middle toe (57) width (breadth) of fourth toe (58) width (breadth) of little toe (59) width at the root of arm and width of knee width at mid-arm width at fore-part of arm width at elbow .. width at root of forearm .. width at middle of forearm . (60) (6 1) (62) (63) (64) . . .. . . . . . . . . . . . . . little finger) . . . .. .. .. .. .. . . . . . . . 4 . . . . 3 . . (75) (76) (77) (78) .. width of nose at width of nose at the root distance between the eyes distance between the eyebrows (79) length of eyebrow (80) breadth of eyebrow The . . .. to interior of the eye tip . . 5 6 yavas 6 ,, . . . . . . . end of the the middle up to . (68) width (at the root) of the fore finger (69) width (at the root) of ring-finger (same) (70) width (at the root) little finger (71) width (at the root) of middle-finger Eyebrows are placed between forehead and (72) Breadth of eye (73) length of eye (74) breadth of nose 3 10 . . . 5 .. (65) width at fore-part of forearm (66) width at wrist (67) width (breadth) of the palm (from thumb . 6 .. . . .. eyes. . . . . 3 2 . . . . . .. .. . . . . . . . . . . . . . . . . . divided into three (equal) of which the black sphere is one part parts (as before), the rest of the detail is stated to be found in the list of the largest type of the ten-tala systems. is ; (8 1) (82) (83) (84) Breadth and height of nostril (each) width of face (up to the corner) width of upper lip . . width of lower lip . . . (85) length of lip . . . .. 204 . . . . .. .. .. . . .. 4. 5 yavas 6 a HINDU ARCHITECTURE TALA-MANA Parts (86) ear = mid -eyebrow (87) height of ear . . . . . . . . . . . . . . . . . . . length of the drum of ear (89) depth (of the drum of ear) (90) width of sex organ .. (91) length of sex organ (88) . . . . . 4 . . .. (?) 4 4 .. upper breadth of sex organ (= length) The rest should be as in the case of the largest (92) 7 7 . . type of the ten-tala system. In the largest type of the ten-tala system the whole height of a male person (god) is divided into 124 equal parts (M., LXV, 2-179) : Parts (1) Head (from crown to hair-line on the forehead) on the forehead to chin) .. hair-line (2) face (from . . . . (4) neck neck to heart (chest) .. .. (5) heart to navel .. .. (6) naval to sex organ . (7) thigh from below sex organ .. knee .. (3) (8) . (9) leg (10) foot The . . . . . . . . . . . . (13) .. ..4 .. 27 . . . . . is 4 . divided into three parts, head . . elbow forearm (extending to . . wrist-joint) palm (up to the tip of comprising (a) palm proper middle-finger (b) of foot (from heel) its breadth . . its nail . . The nail is made circular .. middle-finger) . . . . .. .. 21 13^ j 6 .. .. --17 . . . . 4^ . aj . . . . . and .. . . . breadth of nail 27 2 . . (14) length of toe (16) largest 13 j 37 .. length of face (15) length 4^ .. to eye-line, eye-line to lip-line, lip-line to windpipe-line. (11) Length of arm from (below the line of) windpipe (12) 4 13 its . . . . . . fore-edge is fleshy . ^ . . i . f . and one part in extent. (17) Fore-toe its breadth .. . . .. . . .. . . .. 4 less i yava and i i 205 yava AN ENCYCLOPAEDIA OF TALA-MANA Parts (18) middle toe breadth Sf its I* (19) fourth toe 3 P lus i its breadth i i (20) little its toe yava 2* breadth plus i Their yava minus of their respective breadths. middle line from ankle to the tip of sole yava nails are half The 8 and 6 yavas V22) from this line to the root of heel 4 5 and breadth of heel i (23) from side to heel of heel (24) root of mid-sole (below ankle) width (25) (26) breadth of sole (at the fore-part) (27) its thickness (28) height The (29) (30) (31) (32) (33) (34) (35) (36) of the Si 6 6 and 6 yavas 6 3 mid-foot 44 have two parts (parvan). Breadth of ankle breadth of the tube (above) breadth at the middle of leg toes width at the root of leg width of knee width of mid-thigh width at the root of thigh width of loins 44 6J 8 9 . . width of buttocks (above) ^8) width of mid-belly (39) width at the heart (40) width by the chest (41) distance between the armpits (42) breadth above this the arms (43) breadth between breadth of neck of face in (45) breadth 54 12 (37) (44) yava 134 20 18* (0 i8| 16 21 22 241 9 its fore-part It TALA-MANA HINDU ARCHITECTURE Parts (46) breadth of head by the hair-line on the forehead From the hair-line on the forehead to the eye-line 10 two (equal) parts, one of which is the forehead, and the remainder is the eye-part. Between the forehead and the eyes, the places for eyebrows are left. there are Length of eyebrow (48) breadth of eyebrow The breadth at the middle is half of taper from root to the other end. (49) ^Distance between two brows (47) this and the brows and 6 yavas (50) length of eye 3 (51) breadth of eye (52) distance between two eyes The interior of the eye is divided into three parts of which the black sphere is one part and the remainder The shiny sphere within the black is the white sphere. i sphere is one part. The sight (retina) proper is situated within the shiny sphere. The upper and lower coverings (lids) of the interior of the eye are each two parts. The eyes are shaped like the fish and the brows like a bow. (53) Length of ear (54) drum of ear (55) fore-part of ear 4* (= mid-brow) (56) ear-hole, its length and breadth I (57) distance between the drums (58) depth (befitting the ear) . (59) i* 2 . 2 I breadth of ear The rest is left to the choice of the skilful. (60) Distance from eye to ear (61) width of nose (62) tip (63) of nose breadth of nostril (64) length (65) (66) of nostril 6 yavas hole of nostril its \ breadth 5 yavas of nose-tip (pushkara or four-faced part) of nose-tip breadth (68) (69) breadth of the middle of nose (67) height 207 i 2 AN ENCYCLOPAEDIA OF TALA-MANA Parts breadth at the root of nose height of nose (70) (71) (72) height of nose (from bottom to I* 2 tip) (from below bottom) (73) tip (74) drip (75) breadth (76) circumference (above (77) breadth of upper (78) lower (79) width of upper lip 4 yavas below (84) length of jaw 4 lip Si . . . . 2 each 2 i H . 10 (jaw) to ear-joint the jaws (86) height of drip between (87) breadth of semi-circular jaw (88) goji ., i lip Teeth numbering 32 are in both lower and upper jaws Chin below the lower lip from 3 this . '85^ ,, this) lower lip (80) length of crescent-shaped three-faced part (trivaktra), length and breadth (81) (82) circumference (above) (83) i this (nose bottom) from I If jaw 1 and 2 yavas (89) mid-neck (from jaw to its . its 2 root) . projection the forehead (third eye) J or f part of (91) the eye on the hairs should be 98 eye-lashes There other eyes. (90) i ; on the neck and face should be discreetly made. Parts Width (92) at mid-arm 8 and 2 yavas (94) width of elbow width at mid-forearm (95) width of wrist 9* (97) breadth at the root of palm breadth of mid-palm 6| (98) breadth of fore-palm 5 and (99) back of palm up to wrist I yava 6| (93) 7 5 and i (96) yava 7 thence the length of the fingers should be proportionate as stated before. (100) Length of ring-finger and of middle-finger 808 4! each HINDU ARCHITECTURE TALA-MANA Parts (101) length of forefinger (102) length of thumb (103) length of . . . . . 5 .. .. .. 4 4 . little . finger at the root of . . . . . thumb .. width .. the root of at forefinger (105) width (106) width at the root of ring-finger .. (107) width at the root of middle finger .. The width of (tapering) fingers at their tips is f or one-fourth less than at the root. The width of the nails (104) . . . . i . . . . i |- of the breadth of the respective finger tips, and the length of the nails is greater than their width, and the nails of the measure two yavas. The four fingers fore-parts is (beginning with the fore-finger) are each divided into and the thumb into two parts. three parts (108) The portion between thumb the roots of forefinger and . -- 3 .. .. 2 .. (no) thence to wrist the thickness of (m) portion below the .. .. 4! . . 2 width .. breadth of heel (113) .. .. .. 3 .. .. ... 4 . (109) its (112) thickness . . . . .. .. its thumb (114) its thickness .. .. .. .. 3 (115) its fore-part .. .. .. .. 1 and 2 yavas (116) interior of (117) its palm width The palm is .. .. .. .. 2 .. .. .. 4 yavas lined with the five marks of lotus, regarding the like couch, disc., etc. And the rest hand should be discreetly made by the wise artist. Measurement by the back-side .. (i 1 8) width at the back of head trident, : (119) thence to the (120) thence to the (121) shoulder end of ear end of nose .. .. . . .. .. . . (above the line of windpipe) from the neck-joint . . (122) from neck-joint to hump . . . .. .. (123) thence to the line of buttocks .. (124) thence to anus (125) breadth to the left of it .. (126) width of the back of loins 209 4 . .. 5 27 . . .. .. .. .. 21 .. .. 17 TALA-MANA AN ENCYCLOPAEDIA OF Parts (127) width of the back or middle-body (madhya-kaya) above this . . . . . (131) breadth of the loins-joint back-bone . . . . . . .. 7 21 27 i . . . . 2 .. ..12 .. ..4 .. 5i portion between the breast and back-bone (brihati) (136) . : (133) distance between ribs-planks (134) height from ribs-plank to shoulder its . connected with the Thence should be measured the belly (132) Width (breadth) of ribs-plank (135) the * . (128) distance between the breadth above this .. (129) distance between the arm-pits of the backbone .. .. (130) drip . . . . . . length (up to armpits) (137) brihati up .. to breast limit (138) breadth of loins line .. .. .. .. (139) projection of the root of thigh (140) width of perfectly round or spherical balls (141) width at the back of perfectly round breast . (142) drip or depth of windpipe of or heart .. .. depth (143) drip between the of distance limit breasts (144) . (145) distance between windpipe (146) depth of navel The is and armpit .. made .. 7 . . .. i6| . 13 . 5 .. . . body (149) height from . 9 2 . . i .. i . . .. .. yava 13 13^ 2 yavas circular. navel-pit .. (147) Length of lower belly from navel to loins lower navel from to where cloth is attached belly (148) to (?) . . . . . loins to the root of sex organ . (150) breadth of sex organ at the back the of thence sex length (? loins) organ (151) . 6 4 . . . . . . 4 . . 12 . a 7$ (152) length of testicle .. .. . (153) breadth of testicle (154) breadth of sex organ .. .. .. 2j .. .. .. i The rest is left to the discretion of the Sesharh yuktito nyaset artists. (A/., LXV, 179.) This largest type of the ten-tala measure is used in measuring the images of Brahma, Vishnu, Rudra, and such other gods (M., LI, 29 XLV, 184-185) and of the statues of the devotees of the Sayujya class ; (M., LIX, 12). 210 TALA-MANA HINDU ARCHITECTURE These rules are for the general guidance, there is no restriction in altering them for aesthetic reasons by not more than one part : Tad evadhika-hinarh va sobhartharh chaika-matrakam I Ukta-manangakaih sarvaih tatra dosho no vidyate Tad-urdhve'dhika-hinam chet sarva-dosha-samudbhavam I Tasmat pariharech chhilpi pratimanam tu sarvada I I (M., LXV, 180-183.) (2) See Amsumadbheda of Kasyapa (MS. different kinds of the tala measures) (3) Talah smrito madhyamaya gokarnas Egg. 3148, 3012 fol. ; 251, . The distance between the tips of the middle-finger is called Tala. chapy-anamaya fully I thumb and stretched the and Anushanga-pada, Chap, vn, v. 97.) the distance between the tips of the fully-stretched thumb (Brahmdnda-Purana, Part i, (4) Tala is and the middle-finger. (Suprabhedagama, xxx, 22, see under (5) ANGULA.) Bimbamdna (British Museum, MS. no. 558-592) Illustration in minute detail of the largest type of the ten-tala measure (vv. 71-72). Description of the plumb-lines and the horizontal measurement : of the idol (w. 73-91). The measurement of the idol when it is made in the sitting posture, such as Yogasana (vv. 92-122) and the recumbent posture (w. 123-138). In an appendix are given the rules regarding the objects to be measured in twelve-tala measures One tala (eka) is used for : measuring the vandhuka, probably misread for kabandha, a headless trunk, also a class of rakshasa or demon whose head and thighs were forced into the body by Indra and ' reduced to long arms and a huge mouth in the belly.' (See nos. 5,6.) Two (dvi) tala is used for measuring the birds. kinnaras Three (tri) tala ,, ,, (mythical human with and horse's beings head). body Four (chaturthaka) tala is used in measuring bhutas (goblins). Five GaneSa (pancha) tala (a mythi- cal deity with human body and elephant's head). Six (shat) tala is used for measuring the tiger. Seven (sapta) tala Eight (ashta) tala Nine (nava) Ten (das"a) yakshas ,, tala ,, (demi-gods). man (male and female). danavas (demons). superhuman beings and tala Buddha. 211 AN ENCYCLOPAEDIA OF TALA-MANA Eleven (ekadaSa) tala used for measuring gods. Twelve (dvadasa) tala is used for measuring rakshasas (fiends). surasura-danava-rakshasarh Cf. Brahmadi-lokesVara-deva-devarh cha yaksham cha naga-garudarh cha na-kinnararh bhutam cha is kumbhanda-nara-svaruparh vyaghrarh chatush-pada-vihangamadi-sarvaih tu dirghayata-vandhukadi-tala-pramanarh bhuvanatrayoktam This is followed by the I details of the twelve tala measures quoted above. The deities (6) next the appendix gives dhyanas (features) of the eight (ashta-natha). Suprabheddgama (xxxrv, 30-34). Isvaradi-chatur-murttirh das"a-talena karayet II Saktinam anya-devanarh nava-talaih prakittitam Divyam arsha-manushyanam I ashta-talena karayet II Rakshasam asuranam cha sapta-talena ihochyate Shat-talenaiva gandharvan pancha-talena vighnakam II Vamanat (-narh) pancha-talais tu chatus-talais tu bhutakan Tritalarh kinnaranam tu matsyanam tu dvi-talakam II Eka-talas tu kusmandat (?) piSacha virhsad-angulah I I I Sthula-sukshma-prabhedarhs tu tala-bhedam ihochyate II Measures of the ten tala of three types each (Suprabheddgama xxx, 31-40) Pratimayas tad-utsedham tala-dandena bhajayet II (31) Chatur-virhs'ach chhatarh chaiva uttamarh dasa-talakam : I VimSach chhatam cha madhyarh tu kanyasarh shoda^adhikam II (32)- Dva-daSadhikam evarh yan nava-talottamarh bhavet Ashtau ^atarh chatuh Satarh madhyamarh kanyasarh tatha I Satarh shan-navati chaiva navaty-uttara-kara-dvayam II (33) I Ashta-talam idarh proktam tri-vidharh purvah-paddhatih Ety-evarh bhaga-hinam syad eka-talam tarn eva hi Measurement of the face I (34) I : Trayo-dasardharh mukharh jyeshtham mam 1 1 trayo-dasarh tu madhya- (35) Tad-dva-daSardham adhamam uttamat(-m)dasa-talake Nava-talottame chaiva mukharh vai dva-daSangulam n (36) Ardhardhangula-hmena madhyamadhamam uchyate The statues measured in these tala measures (cf. above xxxrv, 30I I 34) : Tri-vidha daa-talena tri-murttinarh tu kirttitall (37) Tri-vidharh nava-talena devanam yoshitam api I HINDU ARCHITECTURE TALA-MANA Ashta-talena martyanarh sapta-talena rakshasam II (38) Shat-talena tu gandharvan pancha-talo ganadhipah I Vamanasya tathaiva syach chatus-talas tu bhutakah Tri-talarh kinnaranarh tu matsyanam tu dvi-talakam Anujanam tathaikam syat piSachanam tu vimSatih CCLVIII, v. 19) (7) Matsya-Purdna (8) Brihat-Sarhhitd (LVIII, 4) II II (39) I (40) (Chap. Svakiyanguli-manena mukharh syad dva-daSarigulam : I : Svair angula-pramanair dva-daSa-vistlrnarn ayatam cha mukhaml Naganajita tu chatur-das"a-dairghyena dravidarh kathitam II According to one's own angula (finger-breadth) own statue to (the is architect) Dravida the face of his angulas long and broad. But according Nagnajit it should be fourteen angulas in the twelve style. The commentary quotes Nagnjit in full Vistirnarh dvadasa-mukham dairghyena cha : chatur-das"a I Angulani tatha karyarh tan-manaih dravidam smritam II The face shall be 12 angulas broad and 14 angulas long such a measure is known as Dravida (i.e. this is the Dravida style ; of measurement). (Brihat-Samhita, LVIII, Vol. (9) Rao, See The Elements of Vol. i, Appendix (10) See Some Indian Sculpture Hindu by Mr. Hindu Iconographgy 4 ; J. R. A. S., N. S., p. 323, note 3.) vi, by T. A. Gopinatha B. W. in Sdstras Silpa S. their Hadaway ( relation to South Ostasiatische Zeitschrift, April- June, 1914, vol. n, no. I). (u) See Iconometry by T. A. no. 3, Gopinath Rao (Archaeological Survey of and In Appendix B, the author 1920) compare ' Memoir, (Gopinatha Rao) gives a detailed description of the uttama-daSatala measure to be used in the making of images, and shows that the formal, apparently mechanical, rules for construction followed by Indian artists work out in practice as the adequate expression of aesthetic The same subject has been treated on broader lines ., principle. by Mr. W. S Hadaway (see above), who is himself a worker in metal, India, : . . with practical knowledge of the application of the rules. (The war, unfortunately, has prevented the author from continuing his valuable ' had hoped to do). The Hindu image-maker or sculptor, Mr. Hadaway observes, does not work from life, as is the usual practice among Europeans, but he has, in place of the living model, a most elaborate and beautiful system of proportions, which he uses constantly, combining study, as he ' ' ' 213 AM ENCYCLOPAEDIA OF TITHI and study of natural detail. It is, in and formulae, of infinitely more fact, practical use than any European system which I know of, for the Indian one treats of the actual proportion and of the surface form, rather than the more scientific attachments of muscles and the these with those observations of anatomical a series ' articulation of bones. ' There is in the rules Hindu system complicated nothing or difficult to understand or remember, but like every other canon of artistic proportion, these methods are no more capable of producing works These are any other aids or methods property of Hindu artisans, whether unskilled hands than of art in Sastras are the . common of northern or southern India. ' . . Mr. V. A. Smith. (Architecture and Sculpture in Mysore, xuv, pp. 90-91.) Ind. Ant., Vol. TITHI One of for VARGA) the six varga-formulas (see details under SHADascertaining the right dimensions for an architectural object. TILAKA A mark made on the forehead and between the eyebrows either as an ornament or as a sectarian distinction of an image. (M., vn, 160, Cf. Tilaka-kshudra-nasi-yuktarh toranais cha amanvitam (Kdmikagama, TILAMAKA A (i) LI, 41.) L, 93.) I channel, a watercourse, a pipe. Viditam astu bhavatam . . . yushmadiya-gramanam upakaraya yo'sau tilamaka anito'bhut pratisamskarabhavad vinashtam ud- vikshya ' Be . . . yushmad-gramanam evopakaraya pratisarhskritah I known to you that, seeing the watercourse, which the and great king AmSuvarman led to your villages for your benefit, destroyed through want of repairs (we being addressed by the feudal chief Chandravarman, have presented it it illustrious him to ; lord that he, with our permission) has repaired it for the benefit of your villages.' ' The found any dictionary. But context, that it must be some kind it denotes a channel which leads the water from the hillside over the fields which rise in terraces one above the other.' Pandit Bhagvanlal Inderjit and Dr. Buhler. word, tilamaka, it seems certain, from the of watercourse. Probably is not (Inscriptions line in from Nepal, no. 6 f., 214 Ind. 9, Ant., Vol. Jishnugupta's Inscrip., ix, p. 172, note 30.) ARCHITECTURE tilNDU (2) TUftGA Devena yathayarh tilamako bhabatam anyesh(en)arh ray (Inscription from Nepal, no. 10, line 14, p. (3) Tilamakas" cha saptadha vibhajya paribhoktavyah ' The watercourse TIRTHA a holy chopaka- I (see is to be used 173.) I into seven parts.' (Ibid., no. 14, line 10, p. 177.) by dividing A TIRTHANKARA) it of a landing place, a shrine, stairs place, a Jain teacher. TlRTHAfrKARA -A path-maker, the foundation of a religious or philosophical school, a Jain arhat or saint. The twenty-four Jain saints or apostles (M., LV, 90.) Fergusson, Hist, of Ind. and East. Arch. (p. 748) Cf. Name 1. Adinatha .. .. 2. Adjitanatha .. .. .. . . . . . . . . Bull. Elephant. Horse. 3. Sambhunatha 4. Abhayanandanatha 5. Sumatinatha .. .. Chakwa 6. Supadmanatha . . . . Lotus. 7. Suparsvanatha Swastika. 8. Chandraprabha Pushpadanta 9. . . . . . . . . . . . . Monkey. (red goose). Cresent moon. Crocodile. 10 Sitalanatha .. .. .. Tree or flower. n. Sn-Arhs'anatha .. .. Rhinoceros. .. .. 12. .. Buffalo. . . . . Boar. 14. V'malanatha Anantanatha . . . . 15. Dharmmanatha . . . . 16. Santanatha . . . . 13. Va<;upadya . . Porcupine. Thunderbolt. Antelope. Goat. 18. Kunthanatha Aranatha 19. Mallinatha .. .. .. Pinnacle. 20. Munisuvrata . . . Tortoise. 21. Naminatha Neminatha 17. 22. .. . 23. ParSvanatha 24. Vardhamana . . .. . . . (see .. . . . . Fish. .. .. Lotus with . . Shell. . . . or Mahavira UTSEDHA) . . For reference to their images TUftGA : Distinction sign . . see stalk. Snake. . . Lion. JiNA(ka). Height, plinth, vault, arched roof. (M., xix, lao.) 215 AX ENCYCLOPAEDIA Of TULA under STAMBHA) A balance, a moulding of the column, a month, a beam. bhara-tulanam upary-uparybahulyam (1) Stambha-samam asam TULA (see I unam padena padena Bhavati tulopatulanam II (Bnhal-Sarhhitd, LIU 30 J. B. A. S., N. A (2) see : S., moulding of the entablature Maha-bhara-tula karya balikordhve viseshatah Kern's Transl., Vol. vi, p. 285.) : Tula-vistara-tarochcha jayanti syat tulopari I II Tula-balikayor madhye dvi-dandam athava punah II (Kamikagama, LIV, 13, (3) A member of a column (Suprabheddgama, 108, xxxi, 16.) 105-107, see under STAMBHA). (4) The name 163), a balance of a month (M., TULA-DANDA The L, ( M. vi, 32), beam the of a balance (M., XH, 172-195.) 48, horizontal rod of a balance, the beam, synonyms. Tuladandam jayanti cha phalaka-paryaya-vachakah (M., TULA-BHARA An Bhupanam cha In connexion Evam article its I xvi, 48, etc.) of furniture used as a hanging balance. tula-bhara-tula-lakshanarh uchyate the pavilion: (M., I L., 48.) with tu nripa-harmye tu tula-bhararh tu yogyakam (M., TAILA-MAftJUSHIKA An oil-pot, used as (M., L, an 144 article : see I xxxiv, 287.) of furniture. under BHUSHANA.) TORANA An arch, a canopy, a gate-way of a temple or stupa, a peg, a mechanical arrangement of blocks of any hard material disposed in the line of some curve and supporting one another by mutual pressure. It is employed both as an architectural member, as well as an ornament to buildings, thrones, pedestals for an image, boundary walls, and over gate-ways, cars and chariots. their In modern architectural treatises are arches mode considered in three which their parts are form, (ii) constructed, and (iii) the thrust they exert. In respect of their form arches are either straight, triangular, another form adds semi-circular or circular. The Mdnasdra than the wider little called bow-shape which is apparently a aspects, namely, (i) the 2l6 in TORANA HIMDU ARCHITECTURE as The ' semi-circle. said truly investigation Mr. by does laws of statics not of Gwilt appear the have to have to preferred at imitation been their nice solidity to positive by ' the entered into the all have arches 1353), Experience, to of ' article (Encycl., architects. of the ancient thoughts intuition seem a sort of mechanical They appear equilibrium and guides. balance they have left are rather the result of art who speaks of all the ingredients Vitruvius, architect a (see under STHAPATI), does not perfect necessary to form allude to the assistance which may be afforded in the construction and than the of examples science. of edifices by a knowledge of the resolution of forces nor the aid that may be derived from the study of such a science as descriptive geometry, though of the latter it seems scarcely possible the ancients been have could at (practically, buildings as as respects ' (2) seeing in how much it must have been of such construction the employed Coliseum, and other least) the vast curved structures, similarly their plan.' Whoever invented the were the feature, ignorant, first who and who it or radiating arch, the Romans a regular and essential architectural time introduced its complements, the true as applied the same at dome, into architectural construction at what peiiod it is not known.' now (Fergusson Hist, of Ind. and East. Architecture, p. 212.) But we have got clear references to it in the Rdmayana (see below) which must be placed before sixth or seventh century B c. radiating : (3) Mdnasdra, Chap. XLVI (named Torana) The torana 1-77 : an ornament (bhushana) for all kinds of thrones and royal palaces (line 30). These arches admit of various forms. They may be circular, semi-circular, triangular is (line i), as well as for temples (? hexagonal, tri-yugma), forms (lines 31-32, 33-36). bow-shaped, or The of any directions for making other desirable these arches as measurements of their different parts are given in detail With regard to ornaments and decorations, arches 3-29, 45-76). well as the (lines are divided into four kinds, technically called, Patra-torana (leaf-arch), Pushpa-torana (flower-arch), Ratna-torana (jewelled arch), and Chitra- torana (ornamental-arch) (lines 37-38). All these arches are both structurally and ornamentally decorated with the carvings of gods, sages, demi-gods, goblins, crocodiles, sharks, fishes, leographs, serpents, lions, flowers, leaves, creepers, etc., and are beautifully set with jewels : Sarvesham torana-madhye chordhve tumburu-naradam Tad-pradese dvi-parsve tu makaradi-vibhushitam I 217 I TORANA AJf ENCYCLOPAEDIA OF Toranasyagra-mule tu graha-patrais" cha bhushitam Toranadyarh tu patradi-bhuta-vyala-samanvitam Padanam cha dvi-parsVe tu vyala-torana-dharinam I I I (M., XLVI, 45-49.) Ratnakarariganair yuktaih kukshi(r) avrita-lambitam Toranasyopari-dese tu bhujariga-pada-dvayor api Grahantaih sarva-ratnais" I I cha puritaih sreni-samyutam I 5&-6o.) (ibid, But these arches may as well be quite plain, that is, without any such carvings (chitra-hina) (ibid, 68, 70.) In connexion with a detached pavilion (mandapa) : Chatur-dikshu chatur-dvararh chatus-torana-samyutam (M., LXX, 21 see also : I xxxiv, 217.) In connexion with the pedestal of an image Padma-pltham maha-pltharii tri-murtinam cha yojayet Prapa cha toranarii vapi kalpa-vriksharh cha sarhyutam : I I (M., In connexion with the coronation-hall PaSchat simhadyais cha kalpa-vriksham cha toranam . , 86-87.) LI, : I (M., XLIX, 185.) , In connexion with the car or chariot : Sikhi-sikhandaka-chamara-toranam (M., XLUI, In connexion with the two-storeyed buildings I 156.) : Toranair nfda-bhadradi(-dyaih) mule^chordhve cha bhushitam (M., I xx, 64.) (M., xviii, 201, etc.) In connexion with buildings in general (vimana) Sala cha nasika-bhadre kuta-nldais tu toranaih : In connexion with the dome and the pillar ! : Athava toranam kritva stambhasyopari vajanam Tad-udhve toranasyante makara-patra-samyutam Tad-urdhve toranantam syad eka-dandam tu tach-chhiram I I Makari-vaktra-samyuktam. . I . (M., xiv, 130, 133-135.) (4) Tilaka-kshudra-nasi-yukta-toranais cha samanvitam 1 1 (Kamikagama, See ibid., LV, 59-63, 56-70, and compare Toranam tri-vidharh patra-toranam L, 93, etc.) : makaranvitam mandanarh ity-esham chadhunochyate Deva-dvija-narendranam toranam makarakhyakam I Chitra-toranam 1 1 I Toranam chitra-sajnam tu vaisyanam pravidhiyate Padma(patra)khya-toranam sudre sarvam sarvatra va I matam (Ibid, 2l8 1 1 LV, 64, 93.) ft o H $ '3: ex uJ Q- Ill TORANA HINDU ARCHITECTURE ... Toranam vakshyate'dhuna (5) I Prishthe tu parsvayos' chaiva kartavyas toranas tatha II Dvarasyotsedha-manam yat toransyochchhrayarh bhavet Tad-ardham vistararh proktam uchchhraye shad-vibhajite Makararh tu dv(i)yarhs'ena sesham padam iti smritam I II I Mula-padasya ckardhena tasya pada-pramanakam Makararhs'arii tad-urdhve tu madhye vrittarh sa-nimnakam 1 1 Vritter urdhve uharh kritva ckatur-ayatam eva tu II Pramanam toranasyoktam prastaraih cha tatah srinu Mahabharata (Cock) (6) XIV, XIV, XV, 23 25, cha vritanti 1 6 : : 26, i, 68-72.) : Stambhan : cha kanaka-chitrams Toranani Sata-kumbha-mayani Puram. dridha-prakara-toranam Hema-torana-bhushitam griham : toranani I . . XII, 44, 8 VIII, 33, 19 V, 191, 21 See also 1 I 85, 29 5, 1 xxxi, (Suprabheddgama, I I I : : Bahu-prakara-toranam Sthuna-bhavanam. . V, 143, 23 185, 17 . ;i, ; m, 284, 2 ; I uchcha-prakara-toranam . . in, 160, 39 in, 15, 5 ; ; n ; i 9, n, 3, ; etc. 109,8, Rdmayana (Cock) II j 91, 32 Harmya-prasada-samyukta-toranani 10 I, Kapata-torana-vatim. purim 5, Rama-vesma. mani-vidruma-toranam II, 15, 32 : (7) : I . . : ii . . : I . . I Hema-kakshya purl ramya vaidurya-maya-torana V, 3, 33 Nagarim lankam satta-prakara-toranam Griham. maha-hataka-toranam V, 4, 24 SeealsoIV, 33, 17 v, 2, 18, 51 v. 6,4 v, 18, 8 v, 27, 31 v, 37, III, 45, : I : I . : . . ; 39 ; 41, 21 v, 20, 41 26, 12 ; ; ; 27 v, 42, v, 47, 7, 38 I v, 39, 42 ; ; ; ; v, 44, 6 v, 42, 6 ; ; v, 46, 30 vi, vi, 41, 31, 56 vi, 42, 15 vn, 3, 27 vi, 75, 21 vn, 5, 25; vii, 13, 5; vn, 14, 24, 27, 28, 29; vii, 15, 36; vn. 38. 17. (8) Matsya-Purdna (Chap. CCLXIV, v. 15) Chaturbhis toranair yukto mandapa(h) syach chatur-mukhah ; ; ; v, 53, 39 ; ; v, 55, 32 ; vi, 25, 24, ; ; ; ; : 1 The pavilion should have four faces and arched gateways (arches). Aishtaka dar(a)vas chaiva (9) Vdyu-Purdna (Part I, aila be furnished va syuh sa-torana 1 with four 1 (Ibid., Chap. CCLXIX, Chap, xxxix, vv. 36, 51, 60) : Harmya-prasada-kalilah praihs'u-prakara-toranah Asltya-amara-pury-abha maker-prakara-toranah II Pandure charu-sikhare maha-prakara-torane 219 II 1 1 1 v. 46.) AN ENCYCLOPAEDIA of TORANA (Chap, xxiv, p. 53) a top-support of ornamental Dvi-hastam torana-Sirah : (10) Kautillya-Artha-Sastra ' far as two cubits. projecting as arches ' Sarva-deva-maya-charu-toranam svarga-khandam iva vedhasa the beautiful porch which contains all the gods like a svayam ' heaven made by the Creator himself. portion of In his account of the ruins of the temple, Mr. Dean speaks of a elaborate of most sculpture, doorway relieved by an architrave a group of which in each divilded into twelve compartnents, (11) c ' ' from the Hindu Pantheon occupies a place. (Harsha Stone Inscrip., v. 44, Ep. Ind., Vol. n, pp. 121, 126, 124, 128 A (12) sort of triumphal arch, supported by two ; cf. note 72.) : pillars Atma-bahu-yuga-sauhrid-arhchita-stambha-saurabha-subham the reign of Saranga-deva, (Cintra PraSasti of toranam Vol. i, Ep., suInd., pp. 284, 276.) (13) See Sridhara's p. 440), v. 46, and compare (verse to, Ep. Ind., Vol. n, Devapattana prasasti : ' an at excellent porch Sughatita-vrisha-Sata-torana-dvaram v. carved. is 12, bull 121.) a '(Ibid., p. which skilfully Prasada-toranam Ornamental arch (for the temple) I : (14) (Jaina Inscrip. from Mathura, no. i, Ep. Ind., Vol. H, p. 198.) A (15) semi-circular arch with sculpture. (Specimens of sculptures from Mathura, Plate m, Ep. Makara-torana (16) ' line 10, Ep. Ind., (Cochin plates of Bhaskara Ravivarman, Arch Ill, of Sundarapandya, v. 9, Ind., Vol. in, pp. 12, 15.) Inscrip. Ep. (17) Vol. n, p. 320-321.) arch with a shark.' (Ranganatha Vol. Ind., 68, p- 69). toranam karhchanasya Vyadhatta sri-somesaspada-mukutavat the abode of the like a diadem for Erected a golden torana I (18) ' holy Somesa. ' (The Chahamanas of Naddula, no. c, Sundha Hill Inscrip. of Chachigadeva v. 34, Ep. Ind., Vol. ix, pp. 77, 72.) In front of the basadi of nokkijabbe, the family goddess of her made. (Ep. Carnal., husband Vira-Santara, she had a makara-torana ' (19) Vol. via, Part ' I, Nagar Taluq, no. 47 , Transl., p. 151, para. 2.) 220 TORANA HINDU ARCHITECTURE We grant to you in addition throne, crown palanquin, white chamaras on both sides, makara-torana (a kind of arched canopy), fan, day-light torch, yellow and red flags and such insignia, ' (20) umbrella, with cymbals, no. 67, Transl., p. 157, line 14 f.) A. D. endra-Sola-Devar, Sri-Raj 1034) having sent (21) the the midst of in and bellowing sea) (many ships having captured Sangirama-visaiyot-tungapannam, the king of Kidaram, along with his .' . . Who ' (Ibid., ( which had (well formed) frontal globes and resembled the impetuous sea took the large heap of treasure which he had rightfully amassed, the Vichchadira-toranam at the war-gate of the enemy's extensive city, the wicket-door set with jewels of great (Ep. Carnal., Vol. ix, splendour, and the door set with large jewels.' victorious fine elephants Channapatna Taluq, nos. 82, 83 upwards Transl., 149.) White chamaras, the (22) ; Roman Text, p. 185, line 5 from the bottom crown banner, ; ' camels.' makara-torana, herds of (Ibid. no. 85; Transl., p. 150.) and the surroundHaving provided the temple^with a flower-garden, kitchen, pond, suitable environs, musical instrument (two named) and ornaments Roman (Ep. Carnal., Vol. x, Kolar Taluq, no. 132 (some named) ' Built a beautiful stone temple with the torana-gate (23) ings walls. ' . . . ; 54 ; Transl., p. 49.) (24) Svarna-dvararh sthapitarh toranena sarddham Srimal-Lokanathasya gehe Placed a golden door and torana in the temple of glorious Lokanatha.' text, p. I ' The ' on the lintel of the door of the temple of AvalokiteSvara in Bungmati. The door is made of gilt brass plates, and adorned by relieves. The arch or torana above the door, which is likewise made of brass, inscription is encloses three images of Lokesvara.' (Inscrip. line 6 from Nepal, no. 21, Inscrip. of Srinivasa, f., Ind., Ant., Vol. rx, p. 192, note 62.) Dhanabhutina karitam toranarh silakammarhta (25) Suganam raje cha uparimo (=Sunganam rajye Dhanabhutina karitam toranarh . . . . Silakarmantas" chotpannah) ' During the reign of the Sungas . . I (first or second century B. c.) this gate- way was erected, and the masonry finished by Vachhi-puta (Vatsi-putra) Dhanabhiiti.' (Sunga Inscrip. of the Bharhut Stupa, Vol. xrv, pp. 138, 139 ' down ; no. i, line 3 f., Ind. Ant., Vol. xxi, p. 227.) the temple which had fallen to ruin, had it securely rebuilt with a gopura, a makara-torana for the god Durgisvara, and god Vrishabha.' (Ep. Carnal., Vol. ni, Tirumakiidlu-Narasipur Taluq, no. 103 : (26) Pulling Transl., p. 88 ; Roman Text, p. 170.) 221 AN ENCYCLOPAEDIA OF TAULI The ' (27) to rock the champion over the proud, a thunderbolt sculptor Kalidasi, (vajra-giri), titled made sculptor, carved headpiece for the lintel).' Belur Taluq, no. 239 Transl., p. 275 ; the makara-torana (Ep. Carnal., Vol. v, part Roman j I, (or Supplement, Text, p. 592.) Those Brahmans, pleased with Basi-Setti, gave to his wife and (28) children a large palanquin and a canopy (torana) to descend to his ' Vol. vi, (Ep. Carnal., children.' Roman Chikmagalur Taluq, no. 44 Transl., p. 39 ; ; Text, p. 104.) ' (29) The Vira-bhikshavati-udana-svami honoured the Svami of the a palanquin with silver mountings, Galipuje throne with the follwing the double chamaras, a makara (torana) a pearl necklace, a golden umbrella, canopy ... for the feet, a Mukkanna drum, a Basava drum, a Nandi flag, : ; Chikmagalur Taluq, no. 109 (Ep. Carnal., Vol. vi, etc.' 2 Roman Text, p. 124, line A ' Toran(a) (30) resting on columns Chalukyan (31) See : 8 Transl., p. 51, para f.) more horizontal beams structure formed of one or or a gateway Architecture, Arch. Surv., other New detached entrance.' (Rea, Imp. Series, Vol. xxi, p. 40.) Arch. Surv. Reports Cunningham, ; Plate XL, (Vol. xxi, Torana of great temple, Nand-Chand). Gate-way of a temple or Stupa, (2) a peg used in marriage ceremonies.' (Vincent Smith, Gloss, to Cunningham's Arch. Surv. 'Torana (32) (i) Reports.) TAULI The top of a building, a roof, the ceiling. Mukhottarayate nyasya tiryak taulim prakalpayet vayate taulim kuryad yuktya vichakshanah Tad-urdhve jayantikam kuryat tat-tat-prachchhadananvitam I Padam I I (M., xxxm, 372-374.) See PRACHCHHADANA and compare PRATAULI. TRI-KARNA A kind of joinery, of three-earn pattern. (M., xvn, 106 TRI-TALA The The 2 ~55 5 second see under SANDHI-KARMAN.) floor, the third storey. description of the third storey. see ; (M., xxi, 56-72 ; the eight classes, under PRASADA.) TRI-PATTA A three-fold band, a moulding. A moulding of the vase. (M., xrv, 74, 143, 248, etc.; compare the lists of mouldings under ADHISHTHANA.) A pose in which the image is bent a this pose figure has its head and hips displaced about one arhSa (part) to the right or left of the centie line. TRI-BHAftGA (see in three places. In BHANGA) (See details 222 under BHANGA.) TARAMGA. TRIPATTA c o T.ATIKA. TRIKARNA JOINERY TRIKAP.NA Pane 223 I HINDU ARCHITECTURE A TRI-BHITT-(IKA) DANDA(-MANA) three-fold wall, a structure having such a wall. (M., xxxiv, 74.) TRI-BHtJMI (see The TRI-TALA) third a storey, three-storeyed building. In connexion with an image Evam tu Vishnu-murtih syach chhakti-yuktam tu parsVayoh Tri-bhumirdakshine vame sthavare jangame'piva : I I (M., TRI-MURTI The triad, the 62-63.) LI, Brahma, Vishnu and images of Siva. (M., TRI-YUTA A plan in site which the whole area is LI, 2-95.) divided into 289 equal squares. (M., TRI-VARGAKA A set vii, 23 ; see under PADA-VINYASA.) of three architectural members or mould- ings. Pinopapitharh harmyam cheva mandapam cha tri-vargakam I (M., xxxiv, 68.) Nanda-pankty-ama(-5e) vibhajet chatus-tale tu tri-vargakam I (M., XXXHI, 505.) In connexion with the foundations : Manjushochchrayam chatur-bhagam tat-tad ekasanam bhavet Tad-dvayam changhri-tungarh syad ekams'am prastaranvitam I I Tri-varga-mandapakaram adbhih svantam pravishtake I (M., xn, 34-36.) TRI-VISHTAPA A class of buildings, octangular in plan and called (i) Vajra, (2) Chakra, (3) Svastika, (4) Vajra-svastika, (5) Chitra, (6) Svastika-khadga, (1) (2) Gada, (8) Srikantha, and (9) Vijaya. Agni-Purdna (Chap, civ, w. 12, 20-21 see under PRASADA). Garuda-Purdna (Chap. XLVH, w. 21, 22, 23, 31-32 see under PRASADA.) (7) ; ; TVASHTRI An architect (see details under STHAPATII. D DANDA(-MANA) pillar, (i) A measure, a type of building, a flag-staff, a parapet (M., xvi, 194-196). A measure of four cubits (see under A^OULA) Chatur-hastarh dhanur dandarh dandashtam rajjum eva cha a : I (M., n, 53.) 223 DANDAKA AN ENCYCLOPAEDIA OF Compare hasta-danda (M., A stick (M., n, 223), n, 68), mana-danda a measure (M., ix, 10, (ibid., 76). etc.) ; in connexion with joinery (M., xvn, 200). (2) A (3) Chatur-hasto dhanur dando nalika-jugam eva cha house with a northern and eastern hall DANDA-KANTA) (see (Bfihat-Samhita, (5) A of buildings. class (Kamikagama, XLV, 64 ; 39.) LIII, > and Anusharigapada, Chap, vn, v. 100.) see under MALIKA.) (Brahmanda-Purana, Part (4) . I, AchaleSa-damdam uchchaih sauvarnnarii Samara-bhupalah Karayamasa I ' The ed here protector of the earth, Samara, caused a golden flagstaff to be erect(in the temple at Abu) for the lord of the mountain.' (Mount Abu Inscrip. v. 54, Ind. Ant., Danda of Samarasimha Vol. xvi, pp. 350, 355. an unspecified measure, also called Stambha.' Bamani of the Silahara Inscrip. Vijayaditya, lines 20, 21, 23, Ep. Ind., Vol. 111, pp. 212, (6) ' 2I3-) DANDAKA A pillar, a village, a pavilion, a hall, a moulding. part of a column. (1) A (2) Manasdra (Suprabhedagama, xxx, 586, etc.; see under STAMBHA.) : A class of villages (M., ix, 2, etc.; see under GRAMA). A part (? shaft) of the column (A/., xv, 44, 149 L, A small pillar (M., xvm, 172). ; 85). type of pavilion with two faces : Dvi-vaktram dandakarii proktam tri-vaktram svastikarh tatha I further context under (M., xxxrv, 552 ; MANDAPA.) of halls or storeyed mansions built in a (M., xxxv, single row description ibid, 65-66, 82-95, under ALA.) see A 3, class DANDA-KANTA A class of halls, a type of storeyed mansions. (M. t xxxv, 104; DANDIKA The fifth Cf. DANPAKA.) moulding from the top of the entablature. (KSmikdgama, uv, 2 DANDITA see ; see under PRASTARA.) Smaller buildings, pavilions near the door. Dvara-manam tathaivaih syat dandita-dvaram ardhatah (Ibid., 224 I xxxv, 45, etc.) HINDU ARCHITECTURE DANTA-KILA A DA$A TALA kind of tooth-like joinery. (M., XVH, 177 DANTA-NALA A see ; SANDHI-KARMAN.) tooth-like drain or canal. In connexion with the general description of the single-storeyed buildings : Madhyame chottame harmye danta-nalam pramanakam ( DAM(A) (see DHAMAN) A i, i, DARI-GRIHA Kumarasambhava 10, 14 (i, ; 8 ; i, ii, ; also quoted looking-glass, a mirror, In connexion with the single-storeyed lambanam tatra sYenya Vividha-kinkini-nirmala-darpanam. article of furniture (M., L, its 46), . . . \-( M , description used as stables pedestal (M. } xin, 75, 82, moulding of the throne (M., XLV, DASA-KANTA-A name collective (M., xix, 42. I ; I 111-131). elephants. see under DALA-A petal, a leaf, a moulding of leaf-pattern. A generally XLHI, 148, 157.) (ibid., foi (M., xxxiv, 253 A moulding of the mgs under UPAP!THA). 24, etc.) : chordva-des"asya alankaram pravakshyate DARBHA A type of pavilion, vm Sam. : darpana(m) proktavat In connexion with the car or chariot Rathanam Vj. an ornament. buildings Palike T fifl ^ by Professor Liider) Vol. xxxiv, p. 199.) DARPANA A An a The cave-house (see KANDARA-GRIHA) hewn out of rocks, underground rooms. See Kalidasa's xix house. (R.-V., Ind. Ant., A I MAISTDAPA.) etc.; see the lists of mould- 160, etc.). of the ten classes of twelve- storeyed buildings. (M., xxx, 7.) DASA-TALA The tenth storey, the ten-storeyed buildings. Etad das"a-talam proktam rajju-sutram adhas-talam I (KSmikagama, xxxv, 85 storey 225 (M ) AN ENCYCLOPAEDIA OF DASA-TALA DA&A-TALA A sculptural measure (see under TALA-MANA). See Amhmadbheda of Kasyapa (MS. Egg. 3148, 3012, fol. 266, the largest type of the daa-tala measure ; and fol. 274, the smallest type of the same.) DASA-BHUMI (see DASA-TALA) The tenth storey, the ninth floorDAGABA A Singalese word applied to a stupa, derived from Sanskrit ' and garbha, a womb, receptacle, or shrine. under See further details DHATUGARBHA, cf. Vinaya Texts, 4, 308. They were pre-Buddhistic in origin, see White Yajurveda, Chap. xxxv. dhatu,' a relic, element, DIPA-DANDA A lamp-post, a lamp-bearing pillar. Compare Dipa-stambha, and Dipa-skambha under STAMBHA and the plates referred see to. The stationary lamp-post is generally built in front of the house (M., L. 64) ; the movable lamp-stand is square, octagonal or circular (ibid., 84) ; they are made of iron, wood, or stone (ibid., 71-89) ; their description in detail (ibid., 57-83, 84, 96). DIPA-DANA A In the south (of India) it is usually lamp-pillar. a high monolith, with an iron lamp-bracket on the top. In the northwest of the Presidency of Madras such pillars are sometimes constructed in courses, with lamp-brackets in the joints. outside the front entrance. These pillars are erected (Chalukyan Architecture, p. 38, Arch. Surv., New Imp. Series, Vol. xxi see Plate cix, fig. i.) ; DIPA-MALA(-SKAMBHA, to DIPA-STAMBHA, STAMBHA) A lamp-bearing the Jain monuments. BHA) (see A small pillar, DIPTI-STAM. generally belonging lamp-pillar, standing inside the temple (Chalukyan ArchitecNew Imp. Series, Vol. xxi see Plate cix, fig. i). ture, p. 38, Arch. Surv., ; DUNDUBHI A type of round buildings. (1) (2) Agni-Purdna (Chap, civ, w. 17-18 see under PRASADA). Garuda-Purdna (Chap. XLvn, w. 21, 23, 28, 29, see under PRASADA). ; DURGA Lit. ' ' difficult to go into, hence a fortified place, a fort, a fortified city. (i) Manasara: As fortified sthaniya, avara. cities, dronaka, the forts are called sibira, vahini-mukha, sambidhha, kolaka, nigama and skandh(M., x, 40-42.) 236 P DHARA KUMBHA. BAMBOO PEGS. 7 DANTA K!LA. DHVAJA STAMBHA IMPA STAMBHA TOOTH-SHAPED. DENTICULATED. DANTA NALA. Pitae 226 DURGA HINDU ARCHITECTURE For purely military purposes, they are classified as giri-durga (hillfort), vana-druga (forest-fort), salila-durga (water-fort), panka-durga (clay-fort), ratha-durga (chariot-fort), deva-durga (divine-fort), and misra-durga (mixed fort) (M., x, 90-91). Their description in detail is given Their (ibid., 90-103). common features : Sarvesham api durganam vaprais" cha parikhair vritam PraveSa-nirgama-sthane api samanvitam Ishtakadi-kritam vaprarh hasta-dvadasakochchhrayam dvarair Tad-ardharh bhitti-mule tu I I samcharaih I saha vistritam I (M., x. 106-109.) (2) Kautiliya-Arlha-sastra (Chap, xxiv, para i, p. 51): Chatur-disarh jana-padante samparayikam daiva-kritam karayat antar-dvlpam sthalam va durgam nimnavaruddham audakam prastaram guharii va parvatam nirudaka-stambam-irinam va dhanvanam kha-janodakarh stamba-gahanam va vanadurgam Tesham nadi-parvata-durgam jan-padaraksha-sthanam dhanI vana-vana-durgam atavi-sthanam apadya prasaro va I Then follows the very interesting description of the plan and other architectural details, the military defences, and intern a arrangement for the comfort and convenience of the inhabitants. The contents of Chapters xxrv, xxv, and xxn, when taken together, will give a good idea of the ancient fortified cities They can be circular, square or rectangular. They are sur: moats (parikha), enclosure walls and ramparts and vapra), and are furnished with various entrances, (prakara exits and gateways (pratoli). Circumambulating flights of steps (pradakshina-sopana) and secret staircases in the walls (gudha Towers are built on the enclobhitti-sopana) are constructed. sure walls and warlike weapons are placed therein. In the interior rounded with are constructed tanks, ponds, canals, etc. Various kinds of roads are constructed, and buildings for the people of different castes and professions are erected in a suitable manner. Sukraniti (3) sagara, p. 447 ' (Chap. 2-16, 23-28, ed. Jivananda Vidya f.) Fortresses are rocks and deserts. all sides iv. sect, vi, vv. made inaccessible through The Parikha fort is that which ditches, is thorns, surrounded on by great ditches (parikha); and the Parigha fort is known which is protected by walls of bricks, stones and mud. to be that 227 DURGA AN ENCYCLOPAEDIA OF The Vana or forest-fort clusters of trees. one which is The Dhanva-durga encircled by huge thorns and known to be that round about is is which there is no water. The Jala-durga or water-fort is that which is surrounded by great sheets of water. The Giri-durga or hill-fort is described as that one which is on the high level and is supplied with plenty of water. The Sainya-durga or troop-fort is that one which is defended by heroes well up in vyuhas or military defence and hence impregnable. The Sahaya-durga or help- fort is known to be that which belongs to valorous and friendly kinsfolk. ' Lankapuri niralamba deva-durga-bhayavaha Nadeyam parvatarh vanyam kritrimarh cha chatur-vidham Sailagre rachita-durga sa pur deva-puropama (4) I II I (Ramdyana, Laiikakanda, Sarga vv. 20, 22.) 3, Khetanarh cha puranarh cha gramanam chaiva sarvasah Tri-vidhanam cha durganam parvatodaka-dhanvinam (5) (Brahmanda-Purana, Part pada, Chap, vn, v. i, II 2nd Anushanga- 105 ; see also v. 102.) varksharh eva va Dhanur-durga-mahi-durgam ab-durgarh Nri-durgam giri-durgarh va samaSritya vaset puram (6) Shad-vidharh I II (Manu-Samhita, vn, (7) I 70, durgam asthaya purany-atha niveSayet Sarva-sarhpat-pradhanarh yad bahulyarh chapi sambhavet etc.) I II Dhanva-durgarh mahi-durgam giri-durgarh tathaiva cha Manushya-Hurgarh mrid-durgarh vana-durgam cha tani sha^ll I Then follows the description of details of these fortified places. (Mahabharata, xn, 86, 4-5, etc.\ Yo'yarh samastam api mandalam au Satror achchhidya kirttigiri*durgam idam vyadhatta having quickly wrested from the enemy this whole district (mandala) made this fort of Kirtigiri.' (Chandella (8) ' no. Inscrip. B, Deogattha rock Inscrip. of Kirtivarman, v. 6, Ind. Ant., Vol. xvra, pp. 238, 239.) (9) Lakshml-nrisirhha-paripalita-purva-tishte durge su-bhima-parighe MalavaHi-namni Vedantagaih I Srutiparaih smriti-dharma-vidyaih karayati deva-nripas-saro'gryam ' In the fort sma II protected on the east by (the having a deep moat, filled with Malavalli, Lakshmi-Nrisirhha, of) learned in the Vedanta temple men named purne Sruti (Vedas), (i.e., philosophy), Smriti and Dharma-Sastra that Deva-nripati made a maginificent ' pond. 228 HINDU ARCHITECTURE DEVA-DURGA ' or fort is not a military post or station Evidently this durga are people learned not in the military science but in its inmates At the same time it is protected by philosophy and religion. ' ; ' deep moat.' It the villages just like therefore, is, towns or described in the Mdnasdra. (Ep. Vol. Carnal., no. 6 1 Malavalli in, Roman ; 126 p. ; Taluq last Text, verse > Transl., p. 62.) (10) See the fort-temple. (Chalukyan Architecture, Arch. Surv., New Imp . Series, Vol. xxi, Plate cxiv, figs, i, 2.) DURYA Door-posts, belonging to doors, dwellings. (R.-V., DURLABHA-GRAMA A n i, 9, 18 12 Taitt. Sam., i, 6, 3, ; ; 2, 12 ; vii, i, i i, ; 91, 19 ; x, 40, Vdj. Sam., i, ; u.) village situated close to a large village (maha-grama) and inhabited by the free-holders (agraharopajivin) (Af., x, DEVA-KANTA A class 79-80 see under GRAMA.) of the eight-storeyed buildings. (M., xxvi, 46-47 DEVA-KULA(-IKA) ; . A chapel, ; see under PRASADA.) a shrine, a temple, a statue shrine, a statue gallery. ' (1) Kandasenan (Skandasena) be made.' to . . . caused temple (deva-kula) (this) (Vallam Inscip. of Mahendrapotaraja, no. 72, A. Vol. H, p. 341.) (2) See inscriptions from Northern Vol. u, p. 31.) (3) See the inscription B Gujarat (no. xxr, ; H. S. I. I., line 4, Ep. Ind., Samvat 168 of the in Sarada character at Peshwar Museum. (4) statue gallery of Ikshvaku Kings described in the Pra- Compare tima Nataka of Bhasa, and Kushan Kings Vamatakeshma and Kanishka and the Saka Satrap Ghastana excavated in a mound near Mathura and preserved in the Mathura Museum. DEVA-GARBHA Foundations of temples (see under GARBHA- NYASA). DEVATA-MANDAPA A class of pavilions. (Suprabhedagama, xxxi, 96, 98 DEVA-DURGA (see DURGA) A god's fort. 229 fort, ; see under MANDAPA.) a divine or natural AN ENCYCLOPAEDIA OF DEVA-NIKETA-MANDALA Having sacked deva-durga. which formerly the Chola King (or the Chola named Narendra) had made certain could not be taken, he by his valour captured Uchchahgi, together with all the empire of the Pandya ' (Ep. Carnal., Vol. v, King.' Roman Text, pp. Parti Belur Taluq, no. 119 ; Transl., p. 78 ; ; 182-183.) DEVA-NIKETA-MANDALA A group of temples. Achikarad deva-niketa-mandalam stambha-varo-chchhraya-prawhich is caused to be made a group of temples bhase beautiful with the erection of (this) best of columns. (Bihar Stone . . . ' . . . ' Pillar of Skandagupta, lines 5-6, Inscrip. PP- 49. C.I.I., Vol. ill, F. G. I. no. 12, 50 DEVA-BHCSHANA-MANDAPA A idols are dressed, a dressing room detached pavilion where the in a temple. DEVAYATANA under MANDAPA.) see (M., xxxii, 71; A AYATANA) temple. Kritva prabhutarh salilam araman vinivesya cha Devayatanarii kuryad yaSo-dharmabhivriddhaye II Having made great water reservoirs and laid out gardens, (see I ' let one build a temple to heighten one's reputation and merit.' (Brihat-Samhitd, LVI, i J. R. A. S., N. S Vol. vi, p. 316.) : Ramayana (Cock): I- '3 5> I- 77> II. 6, 4 II. 6, ii II. 3, 18 '3 II. 4 25, VII. 101, 15 (Purim) Sobhitam . devayatanais chaiva vimanair api- . . I Devayatanani Srlmaty-ayatane vishnoh Sitabhra-sikharabheshu devayataneshu Devayatana-chaityesbu (also n, 71, 72). Deveshv-ayataneshu cha sobhite Sobhaniyais" cha (Ubhe purottame) I I I I . devayatana-vistaraih Devayatana-chaityeshu . . I I (Mahabhdrata, H, 80, 30, etc.) Grama-nagara-kheda-karvvada-madamba-drona-mukha-pattanam galimdam aneka-mata-kuta-prasada-devayatanarhgalidarh-oppuvaCf. agrahara-pattanamgalimdam ati^ayav-appa [At Teridala, a merchant-town situated ... I in the centre and the the twelve importance among (towns) in the glorious Kundi Three-Thousand, adorned with] towns, hamlets, villages villages first in ' surrounded by hills, groups of villages, sea-girt towns, and chief 230 cities DEVALAYA HINDU ARCHITECTURE with elegant mansions, palaces and temples, and with shining agrahara ' towns in the country of Kuntala . . . (Old Kanarese Inscrip. at Terdal, line 58 Ind. DEVALAYA A ; Ant., Vol. xiv, pp. 19, 25.) god's residence or dwelling, in the sense of temple of very common occurrence and needs no illustrative quotations. But the passages quoted below are the most descriptive of all the essential features of a Hindu temple and will fully explain the denota- it is tion of the term. The general plan : Sometimes a portico is made round the garbha-griha (shrine (i) and antarala (corridor) together. The whole being closed on all sides but the front, in which are the doors for entrance, approached by the front portico, which is generally a peristyle, and it serves as ' the innermost court for pradakashina (circumambulation).' ' Temples on a large scale have three or four successive porticoes (mandapa) attached to them in the front, which are called ardha-mandapa, maha-mandapa, vritya sthapana-mandapa, mandapa, etc. A water spout is made over the base on the back wall of On the surface of the garbha-griha on the left side of the idol. the spout a cavity is made for discharging water. The spout made to from the head of a lion, etc. and the may be spring whole so devised as to project like a plantain flower.' ' ' (Ram Raz, ' (2) Krishnaraja-udayar, having Ess. Arch, of Hind., pp. 49, 50, 51.) created Chamaraja-nagara, created the Chamarajesvara temple (devalaya), together with its precincts (prakara), gopura (gateway) adorned with golden kalasas set up the great (maha) linga under the of Chamarajesvara, and in the shrine (garbha-griha) to his left set up the goddess named Kempa-Nanjamaba, and in the shrine to and tower (vimana), name goddess Chamundesvari, and at the main entrance (mahadvara) on the east set up a gopura, on the colonnade (kaisaleyalli), to the south the ancient images (puratana-vigraha) on the colonnade to the west a row of lifigas forming the thousand his right the , (sahasra) lingas and on the colonnade to the north twenty-five and on the southpleasing statues (lilamurti, cf. dhyana-murti) west side building a separate temple (mandapa), set up the god Narayana together with Lakshmi.' (Ep. nagar Taluq, no. 86 ; Transl., p. 1 1, line 4 f. ; 231 Carnal., Vol. Roman Text, iv, Chamaraj- p. 18, line 8 f.) AN ENCYCLOPAEDIA OF DEVALAYA In Lakkugundi, which was his birth-place, Amritadandadhls"a built a temple (devalaya) made a large tank, established a satra, formed an agrahara, and set up a water-shed. (Ep. ' (3 , ' Vol. vi, Carnal., Kadur Taluq, no. 36 Roman ; Text, p. 22, line 1 1 f. ; Transl., p. 8.) ' Devalayaih prathayata nija-kirttim uchchaih (4) who spread ' fame aloft by (building) temple. (Sharqi Arch, of Jaunpur, ShahetMahet Inscrip., v. 14, Arch. Surv., New Imp. Series, Vol. xi, pp. 72, 73.) The general plan The temple itself consists of the usual three parts an (5) open mandapa on a base, .... with a double row of pillars on the three exposed sides, and roofed by a large ribbed dome on each of the three outer standing on the twelve inner pillars his : ' : ; sides it has a large projecting mandapa ... porch. in the inner corner of Beyond this the principal are two rooms. this is mandapa hall Three doors with richly carved thresholds lead from the into the shrine. (Ahmedabad Arch., Burgess, Arch. Surv., New Imp. Series, Vol. xxxni, p. 29.) . . . ' It (the MallesVara temple at Hulikat) faces north and consists of a garbha-griha. an open sukha-nasi a nava-ranga and a porch.' The Chennekesava temple, which faces east, consists of a ' (6) ' garbha-griha, a sukha-nasi and a nava-ranga, and ' porch once. ' The newly the restored Vindya-s"ankara, is may have had Sarada temple, situated to a fine Dravidian structure in the a the north of style consisting of a garbha-griha, sukha-nasi, a nava-ranga, and a It faces east and has three entrances prakara or enclosure. on the north, south, and east, the east entrance, which is the main entrance, having two open mandapas at the sides inside.' (Mysore Arch. Reports, 1915-16, p. 4, para. 10 p. 5, para. 12 ; p. 15, para. 19 ; see Plate m figs, i, ; } 2.) There is, however, no doubt that it (the Hindu temple at Danui) was in the form of a cross with the usual ardha-mandapa, mandapa, maha-mandapa, antarala, and griha-garbha (garbha-griha).' ' (7) (Cunningham, p. 40 : see detail the Arch. Suro. also ibid., Reports, plate, xix, Vol. vn, showing in mouldings of the Narayana-pura temple, ibid., Vol. xiv, Plate vn, Ionic temple of sun, ibid., Vol. xv, Plate vu, island temple, ibid., Vol. xiu, Plates xi, xvi, groups of temples.) 232 xn, xni, xiv, xv, DRAVIDA HINDU ARCHITECTURE DE&YA A site plan of one hundred and forty-four squares. (M. 14 vii, 13, ; see PADA-VINYASA.) DEHARI(-LI) A temple, the threshold of a door, a raised terrace. (See inscriptions from Northern Gujarat nos. xxn, line 3 xxxm, line 2 ; xxiv, line DEHI A i ; xxv, line 2 ; Ep. Ind., Vol. n, p. 32.) defensive wall, trench or rampart. (R.-V., vi, 47, 2 ; vn, 6, 5, Schroder Pre-historic Antiquities, as in the 344 Zimner, ; All. Lib., : 143, names Videha or even Delhi.) A measure equal (see under ANGULA) one of the equal parts into which the whole height of the statue of a god (or of the master and sometimes of the sculptor too) is divided This is employed in measuring according to the tala measures. the sculptural objects like the image of a god or man. DEHA-LABDHA&GULA to (Suprabheddgama, xxx, 5, 6, 9 DEHARA A porch, (1) ; see under ANGULA.) a terrace. 'In a discourse on dharmma in an assembly held in the porch set up a god in the name . . or terrace (dehara), the chaplain of their father. (Ep- Carnal., Vol. v, Part . ' I, Arsikere Taluq, no. 123 : Transl., p. 167, para. 2, line 4.) ' (2) From Vira-Hoysala he obtained (the appointment) pector of the servants of the porch or terrace (dehara).' of ins- (Ibid., no. 127, Transl., p. 170, para. 2, line 16.) A DAIVIKA-(LlNGA) type of phallus, a phallus of divine origin. Devais cha sthapitarh lingam daivikarii lingam uchyate (M., LII, 230. I See Kamikdgama under LINGA.) L, 35. 37, DOLA A ' The swing, a hammock. caused to be erected a dipti-stambha for the of lights and a swing (dola) for the swinging rade (dolarohotsavakke) of the god Chenna-Kesava of Belur. great minister Krittika festival ' festival (Ep. Carnat., Vol. v, Part I, Belur p. 107. See Mdnasara, Taluq, no. 14 ; Transl., p. 47 ; Roman Text, under BHUSHANA.) DRAVIDA A style of achitecture, a type of building once prevailing in the ancient Dravida country (see details under NAGARA), India south of the Krishna corresponding to Tamil India. (S. K. Aiyangar, J. 233 I. S, 0. A. of June, 1934, p. 23.) DRUPADA A AX ENCYCLOPAEDIA OF class of the twelve-storeyed builirigs : Ravi-bhumi-visale tu chashta-virhsariisakam bhavet I Maha-s"ala dasams"am syat Sesham purvavad acharet Panchalarh dravidarh chaiva ravi-bhumy-alpha harmyake I xxx, 8-10.) (M., DRUPADA The and divine power I and sacrificial posts, symbolical of royal which offenders and sacrificial victims were civic to tied. 24, 13 ; iv, 32, 23 63. 3 5 "5> 2 5 XIX > 47> 9 (R.-V., DRONAKA i, under DURGA and NAGARA) situated on the bank of a sea, a sea-side town. (see A.-V' ; vn, 86, 5 ; : Vdj. Sam., xx, 20. A fortified Samudratatini-yuktarh tatinya dakshinottare Vanighih saha nanabhih janair yuktam janaspadam city I cha samavritam Nagarasya dronantaram udahritam Kraya-vikraya-sarhyuktaih prati-tate grahakaiS I I I (M., x, 75-78.) A class of pavilion. (M., xxxiv, 423 DRONA-MUKHA A fort, a fortified A see under MANDAPA.) town, a defend a group of 400 villages ChatuS-sata-gramya drona-mukham fortress to (1) ; fortress. : I (Kautillya-Artha-Sastra, (2) Chap, xxn, p. 46.) Nagarani kara-varjitani nigama-vanijarh sthanani janapada desah pura-varani nagaraika-desa-bhutani drona-mukhani jala-sthalapathopetani I (PraSna-Vyakarana-sutra-vyakhyane, p. 306, ibid., p. 46, footnote.) (3) Grama-nagara-kheda-karvvada-madarhba-drona-mukha-pat- tana-galirhdam aneka-mata-kuta-prasada- devayatanarhgal-imdam- oppuva-agrahara-pattanarhgalirhdamatisayav-appa. [At Tridala, a merchant town situated in the centre and the first in importance among the twelve (towns), in the glorious Kundi . . . Three-Thousand adorned with] villages, towns, hamlets, villages surrounded by hills, groups of villages, sea-girt towns and chief cities, with elegant mansions, palaces and temples, and with shining ' agrahara towns in the country of Kuntala. ' at Terdal, line 58, Ind. Ant., Vol. xiv, pp. 19, 25.) 234 (Old Kanarese Inscrip. DVARA HINDU ARCHITECTURE With myriads of people, ' (4) occupations, of practices streams of the (nine) sentiments, virtue, agreeable pleasure gardens, gilded boats for spring festivals, ghatika-sthanas (religious centres), the supports of dharmma and mines of enjoyment, moats which were as if the sea lovers, separated splendid tanks, full lotus-beds, being overcome had returned here on account of the collection of gems, groups of the lotus faces of beautiful women fair as the moon (grama-nagara-kheda-kharwana-madamba-drona- mukha-pura- pattana-raja-dhani), on whatever side one looked, in these nine forms did the Kuntala-des shine.' > (It be noticed that the passage within brackets should identical with the corresponding passage in quotation no. 3 is almost above). (Ep. Carnat., Vol. vn, Shikarpur Taluq, no. 197 ; Transl., p. 124, para, lines DVA-DA$A-TALA The ; Roman Text, twelve-storeyed last i, p. 214, line the buildings, seven 27 f.) twelfth storey. Mdnasdra (Chap, xxx, 1-191, ten (1) See under PRASADA ; ibid., 5-7, classes, the general description of the twelfth storey, see 8-36, ibid., 37-88, 89-191). (2) Tad-adhastat talarh chaikadaSa-dva-dasa-bhumikam I xxxv, (Kamikagama, (3) Adva-dasa-talad evarii bhumau bhumau prakalpayat 86.) I (Suprabhedagama, xxxi, 33.) DVARA A door, (i) a gate, an entrance. Compare GURUDVARA. Mdnasdra (Chap, xxxvm, 2-54 ; xxxix, 1-163) The situation of gates in the village or town : varta) Nandya- (called : Gramasya parito bahye rakshartharh vapra-samyutam Tad-bahih I parito yukatarh paritoya-pravedakaih Chatur-dikshu chatush-kone maha-dvaram prakalpayet Vrittarh va chatur-asrarh va vastu-sva(-a)-kriti-vaprayuk I Purva-dvararh athaisane chagni-dvaram tu dakshine Pitur dvararh tu tat-pratyag vayau dvaram tathottaram I I I I Purva-paschima-tad-dvarau (-rayoh) riju-sutrarh tu yojayet Dakshinottarayor dvarau tatra sesharh (-dese) viseshatah Dakshinottaratah sutrarh vinyasech chhilpavit-tamah I I Tasya sutrat tu tat-purve hastarh tad-dvara-madhyame Evam dakshinato dvaram tad-dhi taro(-rarh) tathoktavat Uttare dvaram tat sutrat pratyag-hastavasanakam 235 I I I I AM ENCYCLOPAEDIA OF >VARA Chatur-dikshu chatur-dvararh yuktam va neshyate budhaih Purve pas"chimake vapi dvaram etad(-kam) dvayor api Paritas chatur-aSragrad dvaram kuryat tu sarvada Etat sarvarh maha-dvaram upa-dvaram ichochyate The smaller doors I I I I : Nage vapi mrige vatha aditis"-chodito'pi va I Parjanye vantarikshe va pushe va vitathe'thava Gandharve bhringaraje va sugrive vasure'thava I I Yathesht(am)evam upa-dvaram kuryat tal-lakshanoktavat The water-doors (drains) I : Mukhyake vatha bhallate mrige va chodite'pi va Jayante va mahendre va satyake va bhrise'thava Evam evarh jala-dvaram kuryat tatra vichakshana I I (M., I 290-313.) ix, The gates of villages : Svastikagram chatur-dikshu dvaram tesharh prakalpayet Evam chashta-maha-dvaram dikshu dikshu dvayam tatah Mrige chaivantarikshe va bhringaraja-bhrise tatha Seshe vapi cha roge va chaditau chodite'pi va I I I Evam etad upa-dvaram kuryat tatra vichakshanah tu sarvesham langalakara-sannibham I Maha-dvaram Kapata-dvaya-samyuktam dvaranam I tat prithak prithak (Ibid., 355-361.) Chatur-dikshu chatur-dvaram upa-dvaram antaralake Devanam chakravartinarh madhye dvaram prakalpayet Maha-dvaram iti proktam upa-dvaram Bhu-suradi-naranarh cha Madhya-sutram tu vame tu choktavat madhye dvaram na tu (cha) yojayet (M., xxxi, Tat-pure Dakshine I I I 77-81.) : madhyame dvaram gavaksham vatha kalpayet madhyame dvaram syad agre madhya-mandapam I Chatur-dvara-samayuktam purve sopana-sarhyutam entire chapters I I (M., xx, Two I I harmya-dvaram prakalpayet Referring to the two-storeyed buildings I 81-83.) are devoted to the description of doors of the buildings and temples, in one of which (Chap, xxxix, 1-163^ the measurement and the component parts and mouldings are given residential ; the situation of the doors mainly xxxvra, 2-54). 236 is described in the other (Chap. DVARA HINDU ARCHITECTURE It is twice (Chap, xxxix) that the height of the door should be width (line 14). But various alternative measures are also stated its The height may vary from if cubits to 7 cubits of the smaller doors vary from i cubit to 3 cubits height The height of the windows which are sometimes made in given, (lines 17-18). The (line 7). (lines 9-10). place of smaller doors vary from half a cubit to 2 cubits. This measureis Such prescribed for doors in the Jati class of buildings (line 28). ment other measurements are given to doors of buildings of the Ghhanda, Vikalpa, and Abhasa classes (line 29 f.). The pillars, joints, planks, shutters, panels, frames, and other parts of doors are described at great Doors are generally of two flaps ; but onelength (lines 50, 111-163). flapped door are also mentioned (line 98). Doors are profusely decorated with the carvings of leaves and The images of Ganesa, Sarasvati and other deities creepers (line 116). on are also carved both sides of a door (cf. the concluding portions of Chaps, xix, xxx). The chapter four main sandhi), closes with a lengthy description of the The door-panel parts of doors. door-plank described ^line 137 (phalaka), bolt (kavata), (kilabhajana), six or rather the door-joint (dvaraare minutely etc. f.). It is stated (Chap, xxxvm) that four main doors should be constructed on the four sides of all kinds of buildings of gods and men (lines 2-4) and the smaller doors are stated to be constructed at convenient places (line 4). Many other still spaces (lines 19, etc). downwards (lines beneath the halls smaller doors are constructed at the intervening gutters are made conveniently and sloped The 5-7). (line 8). flight of stairs (line Drains or jala-dvara (water-gate) are made The main doors are always furnished with a 12). In some residential buildings the entrance door is made, not in the middle of the frontage, but on either side of the middle (line 17), is to make the door in the middle of the But in temples and in case of kitchens in particular, the doors are generally made at the middle of the wall (line For the easy upward passage (urdhva35, see also Chap, xxxix, 140). gamana) of the kitchen smoke, they are furnished with the lattice (Jala, although the general rule (front wall, lines 6, etc.). line 37). Varaha-mihira (Bnhat-Samhitd, LHI, 26-27, 70-82 LVI, 10) has condensed the contents of the two chapters, dealing with the measurement of door (dvara-mana) and situation of the door (dvara-sthana) of the Mdnasara. But he does not give any absolute measurement. As (2) ; 237 AN ENCYCLOPAEDIA OF DVARA the principle seems to be two-fold in all the regards the situation of door, ' door is made on either said of the middle The treatises. architectural of the wall, mostly in private residential buildings for ladies in parti' But according to Ram Raz (p. 46) if the front of the house cular.' be ten paces in length, the entrance should be between five on the right and four on the left.' After this, Dr. ciples Kern quotes Utpala show to the different prin- : Tatha cha karyani yatha bhananam grihabhyantaram anganam visatam tany-eva vasa-grihani dakskinato dakshinasyam disi bhaEtad uktam bhavati pran-mukhasya grihasyangana-(syavanti gara)-dvaram uttararabhimukharii karyam dakshinabhimukhasya uttarabhipran mukham palchimabhimukhasya dakshinabhimukham I mukhasya paschimabhimukham ' How a house can be said door facing the same quarter, Compare no. 4 below. iti I to face the east, is himself, N. S., however, states its Kern. beyond our comprehension.' (J.R.A.S., Varaha-mihira without having Vol. vi, p. 291, note (Bfihat-Sarhhitd, LVI, i.) 10) the door, which Dr. general principle of the position of notice of taken does not seem to have (compare his transany the most Kern lation of the following verse, J. R. A. S., N. S., Vol. vi, p. 318) : Chatuh-shashti-padarh karyam devayatanam sada Dvaram cha madhyamam tatra samadikstham prasasyate I II always divided into 64 squares (see the door is made at the (i.e. PADA-VINYASA) and it is middle (of the front wall) highly commendable, when the door is placed at the same line (lit. same direction) with the idol.' : The (area of the) temple is in the temple) Therein . Dr. Kern interprets the second line as the four cardinal points.' The rules in ' the middle door in one of the Mdnasara existing temples support the interpretation, ' at the middle (of the front wall). as ' namely, also the the door is made (3) Vdstu-sdra (by one Mandana, Ahmedabad, 1878) lays down (i, 6) that the house may have the front side (with entrance) at any direction that the according to the choice of the occupants, and states distinctly face of the house may be made at four directions (kuryach chatur-disaih mukham). (MS. R. 15, 96, Trinity College, Cambridge) has of door three apparently chapters on the subject of door : dimensions of the Mdnasara) (dvara-pramana, fol. 57^, 686, same as dvara-mana (4) Gdrga-Sarhhita ; 238 HINDU ARCHITECTURE DVARA situation of door (dvara-nirdesa, Chap, m, fol. 573, corresponds more or with dvara-sthana or position of door, of the and height Mdnasdrd) of the door-pillar (dvara-stambhochchhraya-vidhi, fol. there is no 606) such separate chapter in the Mdnasdra, although door pillars are occaless ; ; sionally described. As regards dvara-dosha (penalties of defective doors), Varahamihira seems to have condensed (Brihat-Sarhhita, LIII, 72-80) the contents of Garga (fol. 68*). (5) Vastu-Sdstra (of Rajavallabha Mandana, v. 28, ed. Bharati and Yasovanta Bharati, Anahillapura, S. V. 947) Narayana : Dvararh matsya-matanusari dasakarh yogyam vidheyam dhaih following the rules of the Matsya-Purdna the learned bu- ' (archi- tects) recommend ten suitable doors (for a building)'. by Rajakisora Varmma) Dvarasyopari ya(d)-dvararh dvarasyanya (?) cha sammukham Vyayadam tu yada tach cha na karttavyam subhepsubhih Those, who want prosperity, should not make one door above Vdstu-pravandha (n, 8, compiled (6) : I 1 ' or in front of another because (7) it is Silpa-Sdstra-sdra-samgraha. vn, 1 expensive.' 24 Chatur-dvararh chatur-dikshu chaturam (?) cha gavakshakam Nripanarh bhavane sreshtham anyatra parivarjayet I) ' : I highly commendable for the buildings of the kings to make four doors at four directions and four windows. This rule need not It is be observed in other cases. ' Bhavishya-Purdna (Chap, cxxx, v. 17) has the same verse as (2^ ' except that it reads samadik sampraSasyate in place of samadikstharh ' prasasyate of the Brihat-Samhitd. (8) ' (9) Matsya-Purdna (Chap. CCLV, ' w. 7-9) : Vasa-geharh sarvesham praviSed dakshinena tu Dvarani tu pravakshyami pra^astaniha yani tu Purvenendrarh jayantarh cha dvararh sarvatra Sasyate Yamyam cha vitatham chaiva dakshinena vidur budhah Paschime pushpadantarh cha varunam cha praSasyate I Uttarena tu bhallatam saumyam tu Subhadam bhavet I 1 1 I 1 1 1 1 For all kinds of residential buildings the southern face of the house is expressly recommended here, while doors are directed to be constructed at all the eight cardinal points. Cf. Dasa-dvarani chaitani kramenoktani sarvada (Ibid., 239 I Chap. CGLXX, v. 28.) AN ENCYCLOPAEDIA OF DVARA (10) Agni-Purdna (Chap, civ, v. 24) : Dikshu dvarani karyani na vidikshu kadachana The doors should be constructed at the cardinal points and never I ' at the intermediate corners '. (11) Garuda-Purdna (Chap. XLVI, v. 31) : Dvararh dirgharddha-vistaram dvarany-ashtausmritani cha The breadth of the door should be half of its height (length) and there should be eight doors (in each house).' I ' Vdstu-vidyd (ed. (12) 24-32 , xiv, 1-3) Ganapati Sastri, iv, 1-2, 19-22 21 v. ; xin, ; : Atha dve pranmukhe dvare kuryad dve dakskinamukhe Dvare pratyanmukhe dve cha dve cha kuryad udanmukhe I Mahendre pranmukham dvararh II pras"astarh s"ishta-jatishu (i) I (2) Apararh tu tatha dvararh jayante praha nis"chayat Antar-dvarani choktani bahir-dvaram athochyate II (19) Yatronnatarh tato dvararh yatra nimnarh tato griham Grihe chapy-ashtame ra^au tatra dvararh na karayet (20) Grihakshate cha mahendre brahmananarii prakirtitam Mahidhare cha some cha pha(bha)llatargalayos tatha II (21) 1 1 I I I Sayaniyam tu kartavyarh praSastarh purvatah sikha Nava-dvarakritarh kuryad antarikshe mahanasam II (22) Dvaram yatra cha vihitarh tad-dig-adhi^adhiparh bhaved dhama Eka-talaih va dvi-talam dvi-tale dvi-mukham cha nirmukham va syat II (21) I I Position of the door : Dvaram cha dikshu kartavyarh sarvesham api vesmanam Madhyastha-dvara-madhyam syad vastu-mandira-sutrayoh I 1 1 Upadvarani yujyantani pradakshinyat sva-yonitah Dvara-padasya vistararh tulyam uttara-taratah II (25) Sva-sva-yonya grihadinam kartavya dvara-yonayah (26) Agneyyam mandiram dvarani dakshinabhimukham smritam (24) I I tu nairrityam tad udanmukham I Pratyanmukham vayavyam (31) lie tat pranmukham kuryat tani syuh padukopari (32) Then follows the measurement of the mouldings of the door (26-30). The door-panels are described next Kavata-dvitayarh kuryan matri-putry-abhidharh budhah I : I Dvara-tare chatush-pancha-shat-saptashta vibhajite II (i) Ekama(m) sutra-pattih syat samara va bahalam bhavet Ardham va pada-hlnam va bahalam parikirtitam II Dvarayama-saniayama karya yugmy cha pahktayah A^vyadi-veSma-paryantah panktayah parikirtitah II 240 (2) I (3) I II DVARA HINDU ARCHITECTURE by Raghunandana quotes from the Devl-Purdna Matha-pratisthd, (13) without further reference Plaksharh dvararh bhavet purve yamye chaudumbararh bhavet : Paschad asvattha-ghatitam naiyagrodharh tathottare (14) Kautillya-Artha fdstra (Chap, xxiv, pp. 52, 53, 54) I I : Agrahye dee pradhavitikarh niskhura-dvararh cha Prakaram mandalaka-madhyardha-dandam ubhayato I pratoli-shat-tulantararh dvararh niveSayet Pancha-hasta-mani-dvaram kritva I I Prakara-madhye kritva vapirh pushkarimrh dvararh chatus'-s'alam adhyardhantaranikarh kumarl-purarh munda-harmyarh dvitalarh mundaka-dvararh bhumi-dravya-vasena va tri-bhagadhi- kayamah bhanda-vahim-kulyah karayet I Sa-dvadasa-dvaro yuktodaka-bhumich-chhanna-pathah Sainapatyani dvarani bahih parikhayah I I (Ibid., Kishku-matra-mani-dvaram asarhpatarh karayet antarikayarh 54 p. f.) khanda-phullartham I Pratiloma-dvara-vatayana-badhayarh rathyabhyah Chap, xxv, cha anyatra raja-marga- I (Ibid., Chap. LXV, pp. 166, (15) Ramayana, (Lankakanda, Sarga 3, i, n, 13, 16) : Dridha-vaddha-kapatani maha-parigha-vanti cha Chatvari vipulany-asya dvarani sumahanti cha II 167.) I (ii) Dvareshu samskrita bhlmah kalaya-samayah sitah Sataso rachita viraih sataghnyo rakshasa ganaih II (13) Dvareshu tasarii chatvarah sakramah paramayatah II Yantrair upeta bahubhir mahadbhir griha-panktibhih I (16) II (16) Kamikagama (xxxv, 6-13) Bhallate pushpadante cha mahendre cha graha(griha)kshate Chatur-dvararh prakartavyarh sarvesham api vastunam (6) : I 1 Then 1 are given the details concerning the position of doors in various Next follows their measurement (10-13). quarters (7-9). Devanarh manujanam cha viseshad raja-dhamani Pushpadante cha bhallate mahendre cha graha(griha)kshate Upa-madhye'thava dvarani upa-dvararh tu va nayet Cf. I (Ibid., v. Pratyanmukharh tu Sayanarh II 1 1 118, doshadam dakshinamukham u8a.) I Dvare padetu neshta(rh) syat nodak-pratyak chh(s")iro bhavet Bhojanam nanuvam^arh syach chhayanarh cha tathaiva cha II I AnuvarhSa-griha-dvararh naiva karyarh ^ubharthibhih (Ibid., 241 v. 1 1 146, 157.) AM ENCYCLOPAEDIA OF DVARA Bhallate dvaram ishtarh syad brahmananam viseshatah acharet Madhya-sutrasya vame va dvaram vidhivad (Ibid., v. niveSanam Jala-dvaram punas tesharh pravakshyami It 1 1 165, 168.) I (Ibid., v. 167-176.) tu vai tale Devanam ubhayarh grahyarh madhya-dvaram Gopurarh cha khaluri cha mula-vastu-nirikshitam Antare raja-devinam grihany-antar-mukhani cha II I II XLII, (Ibid., (17) Suprabhedagama (xxxi, 131-133) 7, 1 xxxv, 54, 128.) (Ibid., Dandika-vara-sarhyuktarh shan-netra-sama-vamsakam Varhsopari gatah salas chattaro'shtanananvitah 1 li (7) Bahya-bhittau chatur-dvaram athava dvaram ekatah in the attendant deities built the of the to temples Referring 1 courts (prakara) 19.) : 1 five : Prakara-samyutam kritva bahye vabhyantare'pi va Purve tu paschime dvaram paschime purvato mukham II (131) Dakshine chottara-dvaram uttare dakshinonmukham I I paschime dvaram tat Vahnlsana-sthitam yat ishyate Nilanila-sthitarh chaiva purva-dvararh prasasyate 1 1 (132) I Vrishasya mandapam tatra chatur-dvara-samayutam II (133) i, 185, 119-122) (18) Mahabhdrata (v, 91, 3 Tasya (duryodhana-grihasya) kakshya vyatikramya tisro dvahsthair avaritah : ; 1 1 Prasadaih sukritochhrayaih Suvarnajala-sarhvritair mani-kuttima-bhushanaih 1 1 Sukharohana-sopanair mahasana-parichchhadaih Asambadha-Sata-dvaraih Sayanasana-sobhitaih 1 (19) See Ep. Ind. (Vol. i, Dabhoi Inscrip, v. in, 1 1 1 1 1 p. 31). from the (20) Vijaya-vikshepat bharukachchha-pradvaravasakatat fixed before the (Umeta grant gates of Bharukachchha.' camp of victory -' Dadda n, line i, Ind. Ant., Vol. vu, pp. 63, 64.) (21) Svarna-dvaram sthapitam toranena sarddharh ^rimal-lokanathasya gehe placed a golden door and a torana in the temple of glorious of c Lokanatha.' The inscription is tesvara in Bungmati. ' by relieves. on the The arch three lintel The door is of the door of the temple of Avalokiof gilt brass plates, and adorned made or torana above the door, which is likewise made of images of Lokesvara.' (Inscriptions from Nepal, brass, encloses no. 21, Inscrip. of Srinivasa, line 6 f., Ind. Ant., Vol. ix, p. 192, 242 note 62.) HINDU ARCHITECTURE DVARA-$OBHA had the sideAtirtha-dvara-paksha-sobharttharh madisidam doors of that tirtha made for beauty.' (Ep. Carnal., Vol. n, no. 115; ' (22) Roman Text, p. 87 ; Transl., 171.) p. Chalukyan Architecture. (Arch. Surv., New Imp. Series, Vol. LXXIV xcv cxm, figs, i, 2.) xxi, Plates v, flgs. 1,2; LIV (Ibid., Vol. iv, Plates xxiv xxiv, (24) See Buddhist Cave Temples. xxxv XLIII, no. 2.) no. i xxxn, nos. r, 2 (23) See ; ; ; ; ; ; ; (25) See Cunningham's Arch. Surv. (Vol. xix. Plates xrx.) Reports. DVARAKA A gate-house. Prasade mandape sarve gopure dvarake tatha Sarva-harmyake kuryat tan-mukka-bhadram DVARA-GOPURA I I (M., xvm, 326-328.) The gate-house of (same as MAHA-GOPURA) the fifth or last court. (Suprabhedagama, xxxi, 125 DVARA-KOSHTHA(-KA) The index of see ; under PRAKARA.) Agate-chamber. the Divyavadana quoted by way of comparison with Svakiyavasanika-dvaroshtha, dvaroshtha-nishkasapravesaka, and nishk asa-pravesa-dvaroshthaka. lines (Siyodoni Inscrip., Ep. Ind. t Vol 14, 32, 33, pp. 165, 175, 177.) i, DVARA-PRASADA The See See gate-house of the third court. Mdnasdra (xxxin, 9, under GOPURA). also Suprabhedagama (xxxi, 124, under PRAKARA). DVARA-SAKHA SAKHA) (see jamb or post. He, the emperor of the Vijaya-narayana door-frame, to be made of stone for latticed window, secure door-frame, doorkitchen, ramparts, pavilion and a pond named (temple), (dvdra-sakhali) , the door-lintel, South, caused ' lintel The Vasudeva-tirtha.' (Ep. Carnal., Vol. v, Part i, Belure Taluq, no. 72 Transl.} p. 61 ; Roman Text, p. 142, line ; 7.) DVARA-&ALA (see A gate-house. GOPURA) The gate-house of the second court. (M., xxxni, xxxi, 124 DVARA-SOBHA (see GOPURA) The gate-house of the first 8, ; and Suprabhedagama, see under PRAKARA.) A gate-house. court. (M., xxxm, xxxi, 123 243 8, ; and Suprabhedagama, see under PRAKARA.) DVARA-HARMYA DVARA-HARMYA The AX ENCYCLOPAEDIA OF (see A gate-house. GOPURA) gate-house of the fourth court. (M., xxxni, 9, and Suprabheddgama, xxxi, 125 ; see under PRAKARA.) DVI-TALA The two-storeyed buildings. Mdnasdra describes the two-storeyed buildings in a separate chapter (xx, 1-115); the eight classes (ibid., 2-45; see under PRASADA); the general description of the second floor (ibid., 46-115). Cf. Purato'sya shodas'anam varaihgakanarh dvi-bhumika-grihani ali' in front of the temple ramyany-achlkaraj jaya-sainyesah two rows of erected he (Jaya) double-storeyed house for sixteen female dvayena (Chebrolu Inscrip. of Jaya, v. 46, Ep. attendants.' DVI-TALA A DVI-PAKSHA sculptural measure Two EKA-PAKSHA) (cf. having footpaths on both details (see Vol. Ind., vi, pp. 40, 39.) under TALA-MANA.) sides, a street (or wall) sides. Dakshinottara-rathyam tat tat samkhya yatheshtaka Evaih vithir dvi-paksharh(-sha) syan madhya-rathyena(-ka)-pakshaI kam I Tasya mulagrayo(r) deSa kshatra( kskudro)-manarh prakarayet Bahya-vithir dvi-paksham(-sha) syat tad-bahis" chavritam budhaih ? I I (M, Rathya sarva chhaya tiryan-margam syat dvi-paksham(-sha) ix, 350-353.) yathech- I 465. See also M., ix, 396 (Ibid., 86-87 DVI-VAJRAKA A column with Cf. Vajro'shtasrir dvi-vajrako xxxvi, 5 sixteen rectangular sides. dvi-gunah I (BrihatSarhhita, LHI, 28 DVYA^RA-VRITTA A ; under EKA-PAKSHA.) two-angled circle, (M,, xix, 171 ; ; see under STAMBHA.) an oval building. xi, 3, etc. ; see under PRASADA.) DH DHANADA (see UTSEDHA) A type of pavilion, a kind of height, an image. A height which is if of the breadth of an object 22-26 and cf. Kamikagama, L, 24-28, under ADBHUTA). The image of the god of wealth (M., xxxii, 140). A class of pavilions (M., xxxiu, 398 244 ; see (See under MANDAPA). M., xxxv, DHARMALAYA HINDU ARCHITECTURE DHANUR-GRAHA A measure, a cubit (hasta) of 27 angulas. (M., n, 52, and Suprabheddgama, xxx, 26 ; see under ANGOLA.) DHANUR-MUSHTI A measure, a cubit (hasta) of 26 angulas. (M., n, 51, and Suprabheddgama, see under ANGULA.) xxx, 26 ; DHANUS A measure of four cubits. (M, n, 53 under ANGULA.) see ; DHANVA-DURGA A fort (see details under DURGA). DHAMMILLA The braided and ornamented hair of a woman tied round the head and intermixed with flowers, pearls, A headgear (M., XLIX, etc. 14, etc.). DHARMA-GANJA A library in the University of Nalanda, comprising three buildings known as Ratnodadhi, Ratnasdgara, and Ratnaranjaka. (Tibetan account of the Univeristy of Nalanda.) DHARMA-DHATU-MANDALA The relic shrine of Nepalese temples, situated at the fourth storey of five-storeyed pagoda-like structures, the basal floor being occupied by Sakya-muni, second by Amitabha, the third being a small chaitya, and the being called vajra-dhatu-mandala. (See Deva Bhavani temple, Bhatgaon, Fergusson monument, a : and East. Arch., 1910, Vol. i, p. 281.) History of Ind. DHARMA-RAJIKA A or apex fifth tope. Tau darmma-rajikam sangarh dharmma-chakraih punar navam I They repaired the dharma-rajika (i.e. stupa) and the dharmachakra with all its parts.' (Sarnath Inscrip. of Mahipala, line a, Ind. Ant., ' Vol. xiv, p. 140, note 6.) DHARMA-SALA A rest-house. (Vincent Smith, Gloss., Cunningham's loc. cit., to Arch. Surv. Reports.) DHARMA-STAMBHA A kind of pillar. (M., XLVII, 14 ; see under STAMBHA.) DHARMALAYA A rest-house. va agneye panlya-mandapam sarvarh yatheshtarh dis"ato bhavet Anya-dharmalayarh Tatraiva I sa(t)tra-s"ala (M, 245 ix, I 139-140.) DHATU AN ENCYCLOPAEDIA OF DHATU (cf. TRIDHATUSARANA) DHATU-GARBHA Buddhist Storey. (R--V., iv, 200.) same as chaitya and as and is strictly applicable dagoba, ' stupa, the relic receptacle or inner shrine, only to the dome of the stupa, sometimes called the anda or egg.' in the literal sense, but ' These monuments were not merely relics memorials in an extended acceptation, and were classified as corporeal remains objects belonging to the teacher, as his staff, bowl, robe holy spots, etc., and any memorial, text of a sacred book, cenotaph ; of a teacher, etc.' DHANYA-STAMBHA A kind of pillar. (M. t XLVII, 14 under STAMBHA.) see ; DHAMAN A dwelling house. (R.-V., i, 6 1, 4 68, i ; ; 144, x, xii, i ii, ; i 13, 52 3, 2 ; ra, 55, Vaj. Sam., iv, ; 34 Sam., DHARANA A A class of type of building, a the pillar, 10 A.-V., iv, 25, 7 ; ; ii, vra, ; ; vn, Taitt. 7, 2.) a roof, a tree. seven-storeyed buildings. (M., xxv, 26 A synonym of pillar (M., xv, 6) A kind of tree of which pillars DHARA-KUMBHA A and of roof (M., ; see under PRASADA.) xvi, 52). are constructed (M., xv, 348-350). moulding of the base. (M., xiv, 46 see ; the lists of mouldings, under ADHISHTHANA.) DHARA-NILA A blue stream of water, the from the descending phallus. line of sacred water In connexion with the phallus Garbha-geha-sthale dhara-nila-madhye samarh bhavet : DHARA-LINGA A kind of phallus (M., DHVAJA-STAMBHA (see m, I (M., 01,173.) with fluting at the top portion. 135 STAMBHA) ; un, 48 ; see details under LINGA.) Flagstaff's, free-pillars erect- ed generally by the worshippers of Siva, a pillar or pilaster decorated with banner or flag (dhvaja) at the top. N NAKULA BHUSHANA) The cage of the mungoose (M., . 246 L, 245 ; see under HINDU ARCHITECTURE NAKHA The nail, its NAGARA(-Rl) measurement, when belonging etc., to an image. (M., NAKSHATRA- MALA The garland of stars, (M., LXV, etc., 21.) an ornament. 297 L, LIX, ; see under BIIUSHANA.) Probably from Naga, lit. immovable permanence and strength with reference to stoneThe purs were mere fort while pura as in Tripura and NAGARA(-RI) (cf. GRAMA) or rock, implying walls, etc. Mahapura was something much bigger 10 Kdth. Sam., xxiv, Sam., m, 8, i). developed city, 35 Sam., vi, ; 2, n Ait. Bra., n, 3, 4 ; Matt. ; Thus pur might have been the prototype of pura, the and nagara the full-fledged capital city. (1) Definition Janaih ; Sat. Bra. vi, 3, 3, (Tail. : parivritam dravya-kraya-vikrayakadibhih Aneka-jati-sarhyuktarh karmakaraih samanvitam 1 I 1 Sarva-devata-saihyuktam nagararii chabhidhlyate II (Kamikagama, xx, 5-6.) (2) Dhanu-satam pariharo gramasya syat samantatah Samyapatas trayo vapi tri-guno nagarasya tu II I (Manu-Samhita, vni, 237.) (3) Dhanuh-Satam pariharo grama-kshetrantaram bhavet Dve sate kharvatasya syan nagarasya chatuh satam 1 I 1 (Tdjnavalka, n, (4) Nagaradi-vastum cha vakshye rajyadi-vriddhaye Yojanarhyojanarddham va tad-artham sthanam a^rayet Abhyarchya vastu-nagaram prakaradyani tu karayet Isadi-trims"at-padake pQrva-dvararh cha suryake II 167.) I II I Gandharvabhyarh dakshine syad varunye pa^chime tatha Saumya-dvaram saumya-pade karya hatyas tu vistarah I 1 1 (Agni-Purdna, Chap, cvi, v. 1-3.) Then follows the location of the professions (5) in various quarters people (ibid., v. of different castes and 6-17). Chhinna-karna-vikarnarii cha vyajanakriti-samsthitam II Vrittam vajram cha dirgharii cha nagararii na prasasyate 1 1 (Brahmdnda-Purdna, Part I 2nd Anushnaga-pada, Chap, vn, vv. 107, 1 08 ; see also vv. 94, no, in.) 247 AN ENCYCLOPAEDIA OF NAGARA(-RI) (6) Kautiliya-Artha-Sastra Nagararh raja-dhanl (Chap, xxii, p. 46, footnote) : I (Rayapasenisulravyakhyane, p. 206.) Nagrani kara-varjitani nigama-vanijam sthanani I (PraSna-vySkarana-futra-vyakhyane, p. 306.) (7) Manasara (Chap, x, named Nagara) The dimension of the smallest town unit is 100x200X4 cubits; the largest town-unit is 7200X14400X4 cubits (lines 3~33)- A town may be laid out from east to west or north to : according to the position it occupies (line 102). There should be one to twelve large streets in a town (lines no-in). It should be built near a sea, river or mountain (lines 73, 51), and south commerce (lines 48, 74) with should have defensive walls, ditches and forts (line 47) like a village. There should be gate-houses (gopura, line 46), gates, drains, parks, commons, shops, exchanges, temples, guest houses, colleges (line 48 f.) etc., on a bigger scale should have facilities for trade and the foreigners (line 63). It than in a village. Towns are divided into eight classess, namely, Raja-dhani, Nagara, Pura, Nagari, Kheta, Kharvata, Kubjaka, and Pattana (lines 36-38). The general description of towns given above more or less to all of these classes. is applicable For purposes of defence, the capital towns commanding strategic points are well fortified and divided into the following classes Sibira, Vahini-mukha, Sthaniya, Dronaka, Sarhvidda, : Kolaka, Nigama, and Skandhavara (lines 38-41, 65-86). The forts for purely military purposes are called giri-durga, vana-durga, salila-durga, panka-durga, ratha-durga, deva-durga and misradurga (lines 86-87, ^ nes 88-90 90-107 see under DURGA). On the banks of the Sarayu is a large country called Kosala (8) and gay happy and abounding with cattle, corn and wealth. In that country was a famous city called Ayodhya, built formerly by Manu, the lord of men. A great city twelve yojanas (108 miles) in length and nine yojanas (81 miles) in breadth, the houses of which stood in triple and long extended rows. It was rich and perpetually adorned with ; ' new improvements, and the principal of various difficult descriptions, of access, and lanes were admirably disposed, It was filled with merchants and adorned with abundance of jewels the streets streets well filled watered. ; with spacious houses, beautified with gardens, HINDU ARCHITECTURE NAGARA(-Rl) and groves of mango trees, surrounded by a deep and impassable moat, and completely furnished with arms; was ornamented with As stately gates and porticoes and constantly guarded by archers. so did the Dasaratha magnanimous Maghavan protects Amaravatl, , enlarger of his dominions, protects Ayodhya, fortified by gates, firmly barred, adorned with ureas disposed in regular order, and the abounding with a variety of musical instruments and war-like wea Prosperous, of unequalled pons and with artifices of every kind. it was constantly crowded with charioteers and messengers, splendour furnished with s"ataghnis (lit. an instrument capable of destroying a hundred at once, that is, a cannon) and parighas (a kind of club), adorned with banners and high-arched porticoes, constantly filled with dancing girls and musicians, crowded with elephants, horses and chariots, with merchants and ambassadors from various countries, frequented by the chariots of the gods, and adorned with the greatest magnificence. It was decorated with various kinds of jewels, filled with wealth, and amply supplied with provisions, beautified with temples and sacred chariots (large cars), adorned with gardens and bathing tanks and It abounded with learned spacious buildings and full of inhabitants. it was embellished with sages, in honour equal to the immortals domes of which resemble the tops of mountains, the magnificent palaces, and surrounded with the chariots of the gods like the Amaravatl of Indra, it resembled a mine of jewels or the residence of Lakshmi the walls were variegated with divers goddess of prosperity) (the sorts of gems like the division of a chess-board, and it was filled with the houses formed one continued healthful and happy inhabitants row, of equal height, resounding with the delightful music of the tabor, the flute and the harp.' The city, echoing with the twang of the bow, and sacred sound of the Veda was constantly filled with convivial assemblies and societies It abounded with food of the most excellent kinds of happy men. it was perfumed the inhabitants were constantly fed with the sail rice with incense, chaplets of flowers, and articles for sacrifice, by their odour cheering the heart.' It was guarded by heroes in strength equal to the quarter-masters and versed in all Sastras by warriors, who protect it, as the nagas guard Bhogavati. As the Great Indra protects his capital, so was this city, ; ; ; ; ' ; ; ' ; resembling that of the gods, protected by King DaSaratha, the chief of the Ikshvakus. This city was inhabited by the twiceborn who maintained the constant and Angas, endowed with its six sacrificial fire, (men) deeply read in the Veda excellent qualities, profusely generous, 249 AN ENCYCLOPAEDIA OF NAGARA(-RI) full of truth, zeal, and compassion, equal to the great sages, and having their minds and appetites in complete subjection.' (Ramayana, i, 5, 5-I7-) ' Lanka, filled with mad thronging with cars and elephants, ever rejoiccth. inhabited by Rakshasas. She is great, Her doors are And she hath firmly established and furnished with massy bolts. four wide and giant gates. (At those gates) are powerful and large arms, stones and engines, whereby a hostile host approaching is opposed. At the entrance are arrayed and shasas, hundreds of sharp iron order by bands of heroic Raks"atagnis (firearms, guns). She hath set in a mighty impassable golden wall, having centre with costly stones, coral, lapises its and emblazoned in the Round about is pearls. side a moat, exceedingly dreadful, with cool water, eminently grand, fathomless, containing ferocious aquatic animals, and inhabited the gates are four broad bridges, furnished with machines fishes. At by and many rows of grand structures. On the approach of the hostile forces, their attack is repulsed by these machines, and they are thrown One amongst these bridges is immovable, strong into the ditch. . ;md fast established ; adorned with golden pillars and daises . . And dreadful and resembling a celestial citadel, Lanka cannot be ascended by means of any support. She hath fortresses composed of streams (cf. of JALA-DURGA) those of hills, and artificial ones of four there is none even for barks, and all sides destitude that citadel is built on the mountain's brow and , And way division. And kinds. ; resembling the metropolis of the immortals, the exceedingly invinAnd a moat and cible Lanka is filled with horses and elephants. and various engines adorn the city of Lanka, belonging his abode consists of woods, hills, moat, to the wicked Ravana gateways, walls, and dwellings.' (Ibid., vi, Lankakanda, 3rd Sarga.) s"ataghnis . . . ' The Mahdbhdrata has short but comprehensive account of the city ofDvaraka (i, in, 15), Indra-prastha (i, 207, 30 f.), the floating city s Lanka (in, 283, 3 and 284 (in, 173, 3), Mithila (in, 207, 7), Ravana' (9) 4, 30), the sky-town (vm, 33, 19), and the ideal town (xv, Ramayana we find nearly the same 5, 16). In the descriptions as those in this later part of the Epic (Mbh.}.' We may examine the general plan of a Hindu city ... it had high, perhaps concentric, walls about it, in which were watchMassive gates, strong doors 1 protected chiefly by a wide bridge towers. moat, the latter filled with crocodiles and armed with palings, guarded ' (10) 1 xv, 1 6, 3 : the king left Hastinapur by a high gate. 250 HINDU ARCHITECTURE The the walls. NAGARA(-Rl) store-house was built 1 near The the rampart. The city were lighted with several squares. was laid out 2 The traders and the king's court made this town their resitorches. The farmers lived in the country, each district guarded if dence. not by a tower modelled on the great city, at least by a fort of some Out of such fort grew the town. Round the town as round kind. the village, was the ommon land to some distance (later converted in streets ' we into public gardens, as ' see in the Mudrdrdkshasa} . In the city special palaces existed for the king, the princes, the chief ministers priests, and Besides these military officers. and humble dwellings (the larger houses being divided into various courts), there were various assembly halls, dancing-halls, liquor-saloons, gambling halls, courts of justice, and the booths of small traders with goldsmiths, and the work -places of other The arsenal appears to have been not far from the king's apartments. Pleasure parks abounded. The royal palace appears always to have had its dancing-hall attached. The city-gates ranged in number from four to eleven, and were guarded shops, artisans. by squads of men and 3 Door-keepers guarded the single wardens. courts of the palace as well as the city gates.' 4 (Hopkins, J.A.O.S., 13, pp. 175, 176.) (n) 'It will probably be a revelation to how modern architects to know problems of town-planning are treated in these Beneath a geat deal of mysticism which may be scoffed at as pure superstition, there is a foundation of sound common sense and scientific knowledge which should appeal to the scientifically the ancient India's architectural treatises. mind of the European expert.' The most advanced science of Europe has not yet improved upon ' the principles of the planning of the garden upon the Indian village-plan as a unit.' 1 cities of India based The Mbh. recommends six squares, but I find only four mentioned in the Rdmayana, H, 48, 19. Puram Sapta-padam sarvato-disam (town of seven walls, Mbh., xv, 5, 16 but Hopkins does not think that there were walls) : 2 Rdmayana, Mbh., 3 i, vi, 221, 36 112, 42 : : Sikta-rathyantarapana. is described as sammrishtasikta-pantha. Indraprastha KathakaUpanishad, v, i speaks of a town with eleven gates as a possibility (the body is like a town with eleven gates.) Nine gates are given to a town ekastambharh chatushpatham. by Varaha, p. 52, 5 Nava dvaraih Lanka has four bridged gates (eight in all and eight walls) (R., vi, 93, 7). Four gates are implied in the 6th act of Mrichchhakatika where the men , . : 4 . . are told to go to the four quarters to the gates. These courts have mosaic pavements of gold. (R., n, 33 and 34.) 185, 20 ; 25 1 vi, 37, 27, 58, Mbh., I, AN ENCYCLOPAEDIA OF NAGARA(-RI) layout of the garden-plot a s But more probably the village scheme the basis of its organization. was originally the plan of the military camp of the Aryan tribes when in the valley of the Indus.' (Havel they first established themselves The ' A Indo-Aryan villages took the Study of Indian Civilization, pp. 7-8, 18.) town-planning have some striking principles (12) It would be interesting to cities. similarity to those of early European Vitruvius : with Mdnasdra the compare of Indian The In setting out the walls of a city the choices of a healthy situation It should be on high ground neither is of the first importance. its rains aspects should be neither violently hot subject to fogs nor nor intensely cold, but temperate in both respects ' ; . A ' on the city insalubrious.' sea-side, (Vitruvius, exposed to the Book I, Chap. . . south or west, will be IV.) spot fixed on for the site of the city, as well as in respect of the goodness of the air as of the abundant supply of of the population, the communications by good provisions for the support roads and river or sea navigation for the transport of merchandise, we should When we ' are satisfied with the take into consideration the method of constructing the walls and towers of These foundations should be carried down to a solid bottom if such can be found, and should (cf. Mdnasdra under GARBHA-NYASA) be built thereon of such thickness as may be necessary for the proper support the city. of that part of the wall which stands above the natural level of the ground. They should be of the soundest workmanship and materials, and of greater thickness than the walls above. From the exterior face of the wall, towers must be projected, from which an approaching enemy may be annoyed by weapons, from the ambrasures of those towers, right and left. An easy approach to the walls must be provided against indeed they should be surrounded by uneven ground, and the roads leading to the gates be winding and turn to the left from the gates. By this arrangement the right side of the attacking troops, which are not covered by their shields, will be open ; to the ' weapons of the The plan of the besieged.' city should not be square, nor formed with acute angles, may be open to observa- but polygonal, so that the motions of the enemy ' tion. ' . The . . thickness of the walls should be sufficient for two armed men to pass each other with ease. The walls ought to be tied, from front to rear, with many pieces of charred olive wood by which means the two faces, thus ; connected, will endure for ages.' ' The flight. . distance between . . The each tower walls will be intercepted 252 should not exceed an arrow's by the lower parts of the towers HINDU ARCHITECTURE NAGARA(-Rl) where they occur, leaving an interval equal to the space the tower will consequently occupy. width of the tower The which ; made towers should be round or polygonal. A square (tower) is a bad form, on account of its being easily fractured at the quoins by the battering either whereas the circular tower has this advantage, that when battered, the pieces of masonry whereof it is composed being cuneiform, they cannot be driven in towards their centre without displacing the whole mass. Nothing tends more to the security of walls and towers than backing them ram ; with walls or terraces ; it counteracts the effects of rams as well as of under- mining.' In the construction of ramparts, very wide and deep trenches are to be first excavated the bottom of which must be still further dug out for receiving ' ; This must be of sufficient thickness to the foundation of the wall. resist the pressure of the earth against it. Then, according to the space requisite for drawing up the cohorts in military order on the ramparts, another wall is to be built within the former, towards the walls are then to be connected manner of the of the filling in teeth of a earth into from being thrust in the spot bricks.' ' The : by and Book many The I, The outer and inner on the plan after the comb or a saw, so as to divide the pressure and less forces, and thus prevent the walls materials are stated to be such as square stones, (Vitruvius, lanes out.' city. cross walls, disposed Chap, flint, ' what are found rubble stones, burnt or unburnt v.) streets (of which no details are given) of the city being set and use of the state remains to be decided on; for sacred edifices, for the forum, and for other public buildings. If the place adjoin the sea, the forum should be seated close to the harbour out, the choice of sites for the convenience ; should be in the centre of the town. The temples of the gods, as those of Jupiter, Juno, and Minerva, should be on of the city, protectors some eminence which commands a view of the greater part of the city. The if inland it temple of Mercury should be either in the forum or, as also the temple of those of Apollo and Father Isis and Scrapis in the great public square Bacchus near the theatre. If there be neither amphitheatre nor gymnasium, ; The temple of the temple of Hercules should be near the circus. that Mars should be out of the city, in the neighbouring country of Venus near to the gate. According to the revelations of the ; Hetrurian Haruspices, the temples of Venus, Vulcan and Mars should be so placed that those of the first be not in the way of conthat taminating the matrons and youth with the influence of lust those of the Vulcan be away from the city, which would consequently freed from the danger of fire; the divinity presiding over that element ; bring drawn away by the rites and sacrifices 253 performing in his temple. AN ENCYCLOPAEDIA OF NAGARA(-Rl) The temple frays Mars should be of disturb the peace may may, moreover, be ready also out of the to preserve of the city, that and that citizens, them from their no armed this divinity enemies and the perils of war. The temple of Ceres should be in a solitary spot out of the city, to which the public are not necessarily led but for the purpose of sacrificing to her. This spot is to be reverenced with religious awe them to visit and solemnity of demeanour by those whose affairs lead it. Appropriate situations must also be chosen for the temple and places of Chap, vii.) sacrifice to the other divinities.' visvarh (13) Vijitya vyadhatta vijayabhidhanam (Vifrtwius, visVottaram yo Book I, nagarim I Ya hema-kutam nija-sala-bahu-lata-chhaleneva parishvajanti Yat-prakara-Sikhavali-parilasat - kinjalka - yach punjachitarh chhaka-pura-jala-nachitarh sad-danti-bhringanvitam II I Sphayad yat-parikha-jala-prati-phalad yat-pranta-prithvl-dharachchhaya-nalam idam purabjam naisarh lakshmya sahalambate ' II Having conquered all the world, he (Bukka-Raja) built a Its four splendid city called the City of Victory (Vijayanagarl) walls were like arms stretching out to embrace Hema-kuta. The . of the battlemants like points its filaments, the suburbs like its blossom, the elephants like bees, the hills reflected in the water of the moat like stems, the whole city resembled the lotus on which Lakshmi is ever seated.' (Ep. Carnal., Vol., v, Part i, Channarayapatna Taluq, no. 256 ; Roman Text, p. 521, lines 1-6 ; Transl., p. 732, para. ( 1 2, line 4.) Grama nagara - kheda- karvvada - madamba - drona - mukha - pat - 4) tanam galirhdam aneka-mata-kuta-prasada-devayatanamgalidam oppuva-agrahara-patta-narhgaliihdam atisayav-apya. [At Tridala, a merchant-town situated in the centre and the importance among the twelve (towns) in the glorious Kundi Three-Thousand, adorned with] villages, towns, hamhills, lets, villages surrounded by sea-girt groups of villages, chief with and mansions, palaces and towns, cities, elegant the in towns country of temples, and with shining agrahara in first ' Kuntala.' pp xiv, ' (15) 19, (Old Kanarese Inscrip. at Terdal, line 58, Ind. Ant., Vol. 25.) With myriads of people, practices of virtue, agreeable occu- pations, streams of the (nine) sentiments, pleasure gardens, separated lovers, splendid tanks, full lotus beds, gilded boats for spring festivals, 254 NANDI-MANDAPA HINDU ARCHITECTURE ghatika-sthanas (religious centres), the supports of dharmma and mines of enjoyment, moats which were as if the sea being overcome had returned here on account of the collection of gems, groups of the lotus faces of beautiful women fair as the moon (grama-nagara-khcda kharvvana-madamba-drona-mukha-pura-pattana-raja-dhani) on whatever side one looked, in these nine forms did the Kuntala-desa shine.' It should be noticed that the passages within brackets is almost indentical with the corresponding passage in quotation no. 14 above. Transl., p. 124, Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 197 ( ; para, last i, seven lines ; Roman Text, p. 214, line 27 f.) (16) 'Visiting' the gramas, nagaras, khedas, kharvvadas, madambas, the cities of the elephants at pattanas, drona-mukhas and samvahanas, the cardinal points.' (Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 118; Transl., p. 86, last para., line 14.) 'Thus entitled in many ways to honour, residents of Ayyavole Challunki and many other chief gramas, nagaras, khedas, kharvvadas maaambas, drona-mukhas, puras, and pattanas, of Lala Gaula, Bangala Kasmira, and other countries at the points of the compass.' (Ibid, no. 119, (17) Transl., 90, p. NANDANA A and (cf. para. 6.) NANDA-VRITTA) A storeyed building, a pavilion. type of building which has six storeys and sixteen cupolas (anda), is 32 cubits wide (1) : Brihal-Samhild (LVI, 22, J.R.A.S., N. S., Vol. vi, p. 48, 53 319; see under PRASADA). (2) Matsya-Purdna (Chap. CCLXIX, v. 29, 33, PRASADA) Bhavishya-Purdna (Chap, cxxx, v. 29; type of quadrangular building (4) Garuda-Purdna (Chap. XLVII, v. 242-5 see under under PRASADA). see (3) A ; . : see under PRASADA). with (5) pavilion thirty pillars (Malsya-Purana, Chap. CCLXXIII, see v. 12 under MANDAPA, and compare Suprabheddgama, under NANDA-VRITTA) ; A ; . NANDA-VRITTA An open pavilion, gracefully built with sixteen columns. (Suprabheddgama, xxxi, 101 NANDI-MANDAPA See (see under MANDAPA) A see ; under MANDAPA.) pavilion. Pallava Architecture. (Arch. Surv., plate LXIX, 255 New Imp. fig. 4.) Serirs, Vol. xxxiv AN ENCYCLOPAEDIA OP NANDYAVARTA NANDYAVARTA A type of building where rooms are surrounded with terraces, a village, a window, a pavilion, a phallus, a grounda joinery (see under plan, an entablature (see under PRASTARA), SANDHI-KARMAN) (1) . Mdnasdra A PRASADA) A A A A : of the six-storeyed buildings (M., xxrv,24; 5^ under class . see under GAMA). (M., ix, 2 kind of joinery (M., XVH, 54. see under SANDHI-KARMAN). under VATAYANA) type of window (M ., xxxiii, 583 see see under MANtype of four-faced pavilion (M., xxxiv, 555 class of villages PAPA) ; ; . ; ; . In connexion with the phallus (M., In connexion with the site-plan PADA-VINYASA) LII, 177 (M., see ; vin, under LINGA). under see 35 ; . Nandyavartam alindaih Sala-kudyat pradakshinantargataih Dvaram paschimam asmin vihaya Sesharii karyani that from Nandyavarta is the name of a building with terraces from east direction in a the wall of the room extends to the extremity I (2) 1 1 ' to south (alias from except the west. (3) left must have doors on every It to right). ' (Brihat-Samhita, Lin, 32, J.R.A.S., N. side, S., Vol., vi, p. 285.) Sarvatobhadram ashtasyam vedasyarh vardha-manakam II Dakshine chottare chaiva shan-netrarh svastikarii matam ParsVayoh puratas" chaiva chatur-netra-samayutam Nandyavartam smritam purve dakshine paschime tatha Uttare saumya-saladi Salanam asyam Iritam I II 1 I 1 (Kamikagama, xxxv, 88, 89, 90.) An entablature Ibid., The (ibid., LIV. 7). XLI (named Nandyavarta-vidhi 1-37) three sizes (1-6), and the four classes, namely, jati, chhanda, : vikalpa and abhasa (7-9) : : Nandyavartam chatush-pattam mulenatra vihinakam Dvaram chatushtayarh vapi yatheshtha- disi va bhavet Jalakas" cha kavataS cha bahye bahye prakalpayet Sarvatah kudya-samyuktam mukhya-dhamatra klrtitam Antar-vivrita-padarh cha bahye kudyam prakirtitam Chatur-dikshu vinishkrantam ardha-kutarh prayojayet I (7) 1 1 I 1 1 (8) I 1 1 (9) Dandika-vara-samyuktam jati-rupam idam matam details of this and the remaining three classes and the II The other sub-classes are also given (10-36) : Evarh shodas"adha proktam nandyavartarh dvijottamah 256 II (37) HINDU ARCHITECTURE (4) A class . . of buildings Nandyavartam . NABHASVAN : iti s"rinu I Chatush-kutas" chatuh-s'alas' chatvarah parsva-nasikah Mukha-nasi tatha yuktam dva-dasarh chanu-nasikah Chatuh-sopana-sariiyuktam bhumau bhumau vis"eshatah 1 Nandyavartam idam vatsa. . . 1 1 1 1 1 . (Suprabhedagama, xxxi, 48, 49, 50.) A pavilion with 36 columns NANDIKA A xxxi, 103 (ibid., ; under MANDAPA). see type of quadrangular building. (Agni-Purdna, Chap, w. civ, 14-15 see ; under PRASADA.) NANDI-VARDHANA A type of building. A kind (i) of building which is shaped like the sun-eagle but is devoid and has seven and wings tail, storeys twenty cupolas, and is 24 of the wide cubits : Garudakritis cha garuda nanditi cha shat-chatushka-vistirnah Karyas cha sapta-bhaumo vibhushito'ndais cha vimsatya Commentary quotes the clearer description from KdSyapa I 1 1 : Garudo garudakarah paksha-puchchha-vibhushitah Nandi tad-akritir jneyah pakshadi-rahitah punah I 1 1 Karanam shat-chatushkams cha vistirnau sapta-bhumikau Dasabhir dvi-gunair andair bhushitau karayet tu tau I 1 1 (Brihat-Samhita, LVII, 24 (2) (3) A (4) ; ; : see under PRASADA). Agni-Purdna (Chap, civ, vv. 14-15 Guruda-Purdna (Chap. XLVII, vv. 24-35 see under PRASADA). ; '> NAPUMSAKA building Cf. J.R.A.S., N. S., Vol. vi, p. 319.) Matsja-Purdna (Chap. CGLXIX, vv. 33, 48, 53 see under PRASADA). Bhavishya-Pardna (Chap, cxxx, vv. 28, 31 see under PRASADA). kind of quadrangular building (5) ; (see STRILINGA and PUMLINGA) (cf. under PRASADA). A neuter type of Pancha-varga-yutam misram arpitanarpitangakam Pashandanam idam sastam napumsaka-samanvitam I For the meaning of pancha-varga, VARGA. see ibid., II (Kamikagama, xu, n.) xxxv, 21, under SHAD- NABHASVAN A class of chariots. (M., 257 XLIII, 112; see under RATHA.) AN ENCYCLOPAEDIA OF NAYANONMILANA it would imply the For an image sculpturally touch with regard to making an image. Chiselling the eye of NAYANONMILANA finishing ; M., LXX (named Nayanomlana] 1-114. details, see NARA-GARBHA The foundation of residental buildings. (See details NALlNAKA A class distinguished by open quadwith platforms buildings, and furnished buildings and surrounded by rangles and of under GARBHA-NYASA.) stairs. Chatuh-Sala-samayukto vedi-sopana-samyutah Nalinakas tu samprokta(-tah) ... II I (Suprabheddgama, xxxi, 46.) nine -storey ed buildings (M., xxvn, 2-47) ; the seven classes ( 2 ~33) description of the ninth storey (ibid., 35~47) NAVA-TALA The 5 (see under PRASADA) . NAVA-TALA A sculptural measurement in accordance with which of the face the whole length of an image is nine times the height which is generally twelve angulas (nine inches) ; this length is divided distributed 1 08 into equal parts which are proportionally 9X12 = over the different limbs. Cf. (See Nava-tala-pramanas under TALAMANA.) deva-danava-kinnarah tu I v. 16.) (Matsya-Purana, Chap. CCLVIH, Evarii narishu sarvasu Nava-talam proktaih devanam pratimasu cha lakshanam papa-nasanam I II (Ibid., v. 75.) The of this details system of measure and female statues are given. NAVA-BHUMI the ninth storey NAVA-RANGA 1 (see for male vv. 26-74.) as NAVA-TALA) NAVA-TALA) (same (see (Ibid., employed both buildings, Nine-storeyed . SAPTA-RANGA) A detached pavilion 08 columns). (1) Salindam nava-rangarh syad ashtottara-satanghrikam (M., (with I xxxtv, 107.) Koneri erected a nava-ranga of 10 ankanas, with secure foundation and walls, for the god Tirumala of the central street of Malalavadi.' (Ep. Carnat., Vol. iv, Hunsur Taluq, no. I Transl., p. 83 ' (2) ; Roman Text, p. 134.) 258 ; HINDU ARCHITECTURE NAGA (3) Santigramada nava-rahgada kalla-bagilann kattisi huli-mukhavan (Deva Maharaya) caused the stone gateway of Sautigrama to be constructed and ornamented with the tiger-face. (This work was carried out by Singanahe-baruva of the village).' (Ep. Carnal., ' Vol. v, Part I, Hassan Taluq, no. 17 Roman ; Text, p. 75 Transl., ; .p. 34.) Srl-gopala-svamiyavara nava-ranga-patta-s'ale-prakaravanu the god Gopala nava-ranga and a pattasala, promoted a work of merit).' he erected a nava-ranga-patta-sale (a see below) and an enclosure wall (and (4) for kattisi ' ' this nava-ranga, Nava-ranga-prakara-patta-sale-samasta-dharmma enclosure wall, patta-sala and all the work of merit were carried out. . .' . lines 8, (5) 17 (ibid, ; Channarayapatna Taluq no. Transl., p 185 ; Roman Text, p. 467 205.) Compare Sapta-ranga (at Comilla in Bengal) which a pagodathe right side is building of seven storeys built on of the ranga-mandapa, another detached building, facing the front side of the main shrine or temple of the god Jagannatha. All these shaped detached buildings and the tank behind the shrine wall (prakara). are within the enclosing ' It (Mallesvara temple at Hulikat) faces north and consists of a garbha-griha, an open sukha-nasi, a nava-ranga, and a porch. The garbha-griha, sukha-nasi and porch are all of the same dimensions (6) being about 4^ feet square, while the nava-ranga measures 16 feet by ' 14 feet. (Mysore Arch. Report, 1915-16, p. 4, para. 10 ; \see also p. 5, para. 12, Plate ra, fig. 2.) ' The nava-ranga is an open the side, all the pillars except figures in relief in the front. hall with two two rows of four ' (Ibid., 15, para. p. 19.) NAVA-RATNA Nine gems, ruby (padma-raga), diamond coral sapphire (vidruma), pillars at being carved with large female (vajra), emerald (nila), topaz (pushpa-raga), (marakata), pearl (mukta), lapis lazuli (sphatika), and gomedaka. (M., xvni, NAGA 390394-) ' Supernatural beings, snake-demons, sometimes represented in human form with a snake's hood in the nake, sometimes as mixed forms, half man, half snake. Their sworn enemies are Garuda. ' (W. Gieger : Mahavarhsa, p. 294 ; Griinwedel Buddhist Kunst, p. 42, 259 : fol.) AN ENCYCLOPAEDIA OF NAGA-KALA NAGA-KALA A stone on which (See Chalukyan Architecture p. 39, Plates xcrx, fig. 2 NAGA-BANDHA A ; xc, the image of a serpent Arch. New Surv., Imp. carved. is Vol. xxi, Series, figs. 2, 3.) kind of window resembling the hood of a cobra. (M., XXXIH, 582 NAGARA One of the in shape, the other see ; three styles of architecture under VATAYANA.) it is quadrangular two (Vesara and Dravida) being respectively ; round and octagonal. (t) Mdnasdra The : characteristic feature of the three styles Muladi-stupi-paryantarh vedaSrarh Dvyas"rarh vrittakritarh vatha : chayatasYakam I grivadi-sikharakritih I Stupi-karna-sarhyuktarh dvayarh va chaikam eva va Chatur-asrakritirh yas tu Nagararh tat prakirtitam Mulagrarh vrittam akararh tad yat ayatam eva va I I I Grlvadi-stupi-paryantarh yuktatho (-dhas) tad yugasrakam Vrittasyagre dvyas"rakam tad Vesara-namakarh bhavet ashtas"ram I I va shad-asrakam Mulagrat stupi-paryantam Tad-agrarh chayatarh vapi grlvasyadho yugasrakam Purvavach chordhva-desarh syad Dravidarh tat prakirtitam SamaSraika-s'ikha-yuktarh chayame tach-chhikha-trayam DryaSra-vrittopari-stupi vrittarh va chatur-a^rakam Padmadi-kudmalantarh syad uktavad vakriti(rh) (M., Compare I I I I nyaset xviii, I 90-102.) Vishnu-dharmottara (a supplement to the Vishnu- Parana) , Chap. XLI, where paintings are divided into four classes Satya, A Treatise on Indian Vainika, Nagara and Mis"ra. (Cf. S. Kramrisch A. K. Coomaraswamy's Painting and Image-making, 1928, pp. 8, 51 Part III, : ; article, Rupam, January, 1929.) The Nagara style is distinguished by its quadrangular shape, the Vesara by its round shape and the Dravida by its octagonal or hexagonal shape : See Suprabheddgama below and compare : to the pedestal of the pallus) : Nagararh chatur-asram ashtas"rarh Dravidarh (Referring Vrittarh cha Vesararh proktam etat tatha pithakritis I tatha I (M., mi, 53-54.) 2 60 NAGARA HINDU ARCHITECTURE These distinguishing features are noticed generally at the upper part of a building : Griva-mastaka-s'ikha-pradesake Nagaradi-samalankritoktavat I I (M., xxi, 71-72.) Nagara-Dravida-Vesaradin(-dinarh) Sikhanvitam (harm yam) (M, Referring to chariots (ratha) I xxvi, 75.) : Vedasrarh Nagaram proktarh vasvasram Dravidarh bhavet tu shadSuvrittam Vesararh proktarh ra(A)ndhrarh syat I asrakam An (M., I XLIII, important addition 123-124.) noticed in this passage; this style is designated as Randra, which is perhaps a corruption of Andhra. In an ephigraphical record Kaliriga also is mentioned as is a distinct style of architecture (see below). If the identification of Vesara with Telugu or Tri-kallnga is the Andhra for Randhra reading accepted (see Andhra the and the would be two is also Kalinga accepted, as the is Dravida style stated to be of the branches of Vesara. And below), and if hexagonal or octagonal shape (see above) it would appear that the Dravida proper is octagonal and the Andhra, which is placed between the Dravida and the Vesara, is hexagonal (see further discussion below). The same three styles are distinguished in sculpture also: Nagararh (Lingam) matam Dravidam cha tridha chaiva Vesrarh I (M., LHI, 76, also 100.) Kuryat tu nagare linge pitham Nagararh eva cha Dravide Dravidam proktarh vesare Vesararh tatha I I (Ibid., ) Srikumara Silparatna of (xvi, 51-53) 46-47, etc.) : Muladi-sikhararh yugaSra-rachitam geha smritarh nagararh Muladi-Sikhara-kriyarh shaduragasrodbheditam dravidam Mulad va galato'thava parilasat-vrittatmakam vesaram I I I Teshvekarh matam prithagallakshma II sam- suridadadhyadatmanah (51) Janmadi-stupiparyantarh yugasrarh nagararh bhavet Vasvasram Sirshakam karnam (kantham) dravidarh bhavanam I viduh II (52) Vritta-karna (kantha)-5iropetam vesararh harmamlritam Kuta-koshthadi-hlnanam harmyanarh kathim tvidam 261 II I (53) AM ENCYCLOPAEDIA OF NAGARA This treatise locates Nagara region from the Himalayas to the Vindhyas, Dravida region from the Vindhyas to the Krishna, and Vesara region from the Krishna to the Cape Comorin (see verses 40-50). But may it expressly says (v. 44) that buildings of all these styles This all countries according to some authorities. be found in quite natural and would further indicate the migration of styles from the land of their origin. is The unwarranted assumption of Messrs. F. H. Gravely and T. N. Rama- chandran, in the Bulletin of the Madras Government Museum (New Series General Section, Vol. Ill, Part i, 1934), that all Silpa-sastras including the Manasdra originated and restricted their jurisdiction in the South, is responUnder sible for a series of further assumptions raised like a house of cards. of this article the plea of Three Main Styles of temple Architecture the authors ' ' of 26 pages deliberately ignored both the references to other objects of these styles as also the examination of North Indian buildings of Nagara style except a passing mention of a single structure at Bareilly District and excluded the places north of the Vindhya range which are known by the name of Nagara. The alternative designations of Vesara style by Andhra and Kalinga have equally been ignored. Thus the learned authors had to delimit the Indian Continent by the Vindhya range of limited eastern boundary as the northern limit, and of this truncated India, Dravida being the south and Nagara and Vesara the two northern flanks. There was no necessity for any discussion to explain the mixture of Pallava and Chalukyan types. The migration of styles also is very common and natural in architecture. The contention that the styles, Nagara, Vesara, Dravida, all belong to the south has been disproved by Dr. S. K. Aiyangar (Journal of the Indian Society 'the primary division of Oriental Art, Vol. n, no. i, June 1934, pp. 23-27) is Nagara, India north of the Vindhyas, Vesara, India between the Vindhyas : to Dakhan of secular history, and Dravida or Krishna corresponding to Tamil India, But in regard to Vesara from Ves"ya, Mr. Jayaswal ( J. I. S. 0. A., Vol. i, no. i, our derivation may fail or may p. 57) has little authority to rest on '. prove satisfactory, but that is something entirely different from what the artist and the Krishna, corresponding India south ' of the ' . . . ' . . or the craftsman understood by the terms had no . '....' That they (Nagara, Vesara, significance would be to argue too face of the explicit statement by the text writers." Dravida) (3) territorial Kdmikdgama (LXV, 6-7, 12-18) much, in the : Pratyekarh tri-vidharh proktam sarhchitarh chapy-asarhchitam Upasarhchitam ity-evarh Nagararh Dravidarh tatha (6) 1 VeSararh cha tatha. jatis 1 chhando vaikalpam eva cha Savistara-vaSach chhanna-hasta-purnayatanvitam 262 I II (7) I NAGARA HINDU ARCHITECTURE Yugmayugma-vibhagcna Nagaram syat sarmkritam II (12) Antara-prastaropetam uha-pratyuha-samyutam Nivra-sandhara-samstambha-vrate paridridhaih s"ubhaihll (13) Dravidarh vakshyate' thatah vistara-dvayorghakam (?) I I Raktachchhanna-pratikshepat yugmayugma-vis'eshatah II (14) Hitva tatra samrbhutam bhadralahkara-samyutam Aneka-dvara-sarhyuktam shad-vargam Dravidarh smritam I I Labdha-vyasayatam yat tu natiriktarh na hlnakam Bahu-varga-yutam vapi dandika-vara-s'obhitam II (16) Maha-vararh vimanordhve nirvuhanana-samyutam (?) I Sakshetropeta-madhyarhghri-yuktarh tad Vesaram matam Yatmarh ganikanam cha jivinarh krura-karmanah Pras"astarh Vesararh tesharh anyesham itare ^ubhe The details of the three explicitly in the following Agama II (17) I II (18) described more briefly but are styles I : Suprabheddgama (xxxi, 37-39): Dvara-bhedam idarh proktam jati-bhedam tatah srinu II (37) Nagaram Dravidarh chaiva Vesararh cha tridha matam (4) I Kanthad arabhya vrittam yad Vesaram iti smritam II (38) Grivam arabhya chashtarhs'am vimanam Dravidakhyakam Sarvam vai chaturasrarh yat prasadam Nagaram tu-idam (39) According to this Agama, the buildings of the Nagara style are I 1 quadrangular from the base to the top 1 those of the Dravida style ; are octagonal from the neck to the top and those of the Vesara style are round from the neck to the top. Apparently the lower part of the ; buildings of the two latter styles is quadrangular. (5) Svair angula-pramanair dva-das"a-vistlrnam ayatarh cha mukham Nagnajita tu chatur-dasa dairghyena Dravida (m) kathitam II According to one's own angula (finger) the face (of his : own twelve angulas long and broad. But according to (the statue) architect) Nagnajit it should be fourteen angulas in the Dravida is style. The commentary quotes Nagnajit in full : Vistirnam dva-dasa-mukharh dairghyena cha chatur-dasa Angulani tatha karyam tan-manam Dravidam smritam II The face should be twelve angulas broad and fourteen angulas long such a measure is known as Dravida (i. e., this is the Dravida style of I : measurement). note (Brihat-Samhita, LVIII, 4, J.R.A.S., N. S., Vol. vi, p. 323, 3.) Like the face of the lady Earth shone the Vanavase-nad on which Niigara-khanda at all times was conspicuous like the tilaka, a sign of good ' (6) 263 AN ENCYCLOPAEDIA OF NAGARA In fortune (then follows a description of its groves, gardens, tanks, etc.). the Nagara-khanda shone the splendid Bandhavanagara.' In Nagara-khanda, like the mouths of Kara, were five agraharas, from which proceeded the sounds of all Brahmans reading and teaching the readof all the Vedas, Puranas, moral precepts, Sastras, logic, agamas, poems, ' ing dramas, and stories, smriti, pur Taluq, no. 225 Transl., p. 132, paras. 6, 7 ; (Ep. Carnal., Vol. vn, Shikarp. 229, line 24 to rules for sacrifices.' Roman Text, ; p. 235, line 2.) ' (7) In the world beautiful the Kuntala-land, in which is the Nagara-khanda, in is the charming which was the agreeable Vanavasa country in it is In that royal other attractions.) Bandhavapura. (The list of its trees and famed for his liberality that of a was country king formerly city (rajadhani) ; Sovi-deva.' line 20, (Ibid., no. 235 ; Transl., p. 135, para. 2 Roman ; Text, p. 238, f.) Nagari-khanda and Nagari-khanda (ibid., no. 236 Transl., p. 137, Transl., p. 138), Nagaraparas. 3, 4), Nagara-khanda seventy (no. 240 Roman Transl., khandanada (no. 241 p. 138), Nagara-khanda (no. 243 ; (8) ; ; ; last Text, p. 248, line 8), Nagara-khanda seventy (no. 267 Transl., p. 143, para., line 7), Nagari-khanda seventy (no. 277 Transl., p. 145, largest para., ; ; lines). padralik (? ksh) Nagara-bhuktau valavi-vaishayika-s'aiva of Of the which lies . Varunika, village antash-pati Varunika-grama . (9) . . ' . . in the Nagara bhukti (and) belonging to the Valavi-vishaya.' (Deo BaraC. lines /. F. G. I. no. 46, nark Inscrip. of Jivitagupta n, /., Vol., m, 6-7 : pp. 216, 218.) (10) that king (king Harihara's son Deva-Raya) of men was ruling in peace and wisdom, shining in beauty beyond all countries 'When the kingdom was the entire Karnnata province ; and in that Karnnata country famous was the Gutti-nad, which contained eighteen Kampanas in which the most " " famous nad was Nagara-khanda to which Kuppatur was an ornament, owing to the settlement of the Bhavyas (or Jains), and its Chaityalayas, and fields of gandha-sali rice. of its attractions).' (Ep. Carnal., Vol. vm, Part I, Sorab (Further description 82 Roman no. 261 Transl., p. 41.) ; Text, p. Taluq, beautiful with lotus ponds, pleasure gardens ; ' In the island of Jambu in the Bharata-kshetra, ( Jambu-dvipa), (i i) near the holy mountain (Sridhara), protected by the wise Chandragupta, an abode of the good usages of eminent Kshatriyas, filled with a population (dakshina-patra), a place of unbroken wealth, was the of good fortune, possessed of all comfrom being ever free from destruction (laya) of the wise, called worthy of gifts district (vishaya) forts, and trees named Naga-khanda Nilaya (an asylum). There, adorned with gardens of various 264 fruit trees NAGARA HINDU ARCHITECTURE (named), shines the village named Kuppatur, protected by GopcSa. There like the forehead-ornament to the wife, in the territory of king Harihara, was a Jlna Chaityalaya which had received a sasana from the Kadambas.' (Ep. Carnal., Vol. vm, Part I, Sorab Taluq, no. 263 ; Roman Text, p. 86 ; Transl., p. 43.) The Nagara-khanda with Naga-khanda is undoubted owing one and same village Kuppatur is contained in both. headman of Pithamane village, the first in the Kuppatur identity of to the fact that the (12) 'The Twenty-six of the Nagara-khanda Malu-nad, belonging to the Chandraguttiventhe, of the Banavasi Twelve Thousand in the South country . (Ibid., no. (13) . 265 ; Roman Text, p. Sy.Transl., p. 43). In Jambudvipa, in the Karnnataka-vishaya, adorned with manner of trees (named) is Nagara-khanda.' no. (Ibid., 329 ; . all Transl., 58, para. 2, line 4.) p. (14) The expression Nagara-khanda Seventy' occurs in several of the Sorab Taluq Inscriptions, e.g., nos. 326, 327, 328, 336, 337, etc. the ocean-girdled earth like a beautiful breast formed for enjoyment was Nagara-khanda in the Banavasi-mandala.' (Ibid., no. 345 ; Transl. To p. 60.) (15) 'In the ocean-girdled Jambu-diva (dvipa) to the south of which is the Bharata-kshetra, in the beautiful Nagara-khanda. Among is the Mandara mountain is ... wherein is which the chief villages of that nad is the agrahara named Kuppatura.' Grants were also made (as specified) by the oil-mongers, the betel-sellers for the of and the gandas(?) Nagara-khanda perpetual lamp.' (Ibid., no. ' 276 ; Transl., p. 47.) is the agrahara which is jewel mirror to the earth, the beautiful Kuppatur, with its splendid temples, its golden towers, its lofty mansions, its streets of shops, its interior surrounded 'In the pleasant Nagara-khanda (16) and the houses of dancing girls, how beautiful to was Kuppatur. It surpassed Alakapura, AmaravatI and Bhoga- with a moat, the eyes vati. its . Within that . ., vying with Kailasa, stood the temple of Koti- village, by Visvakarmma and carved with complete devotion, planned in perfect accordance with the many rules of architecture, and freely decorated with drdvida, bhumija and ndgara.' These and bhadropeta appear to be natha, built ' technical terms of the Silpa-fdstra or science of architecture.' Mr. Rice. are the three of architecture called the Dravida, evidently styles (They Vesira and Nagara in the Mdnasdra and elsewhere Sorab Taluq, no. 275 Roman Text, p. 92, vra, Part I upwards (17) ; ; ; transl., p. 46, The earliest the interesting note Ep. Carnal., line 9 Vol. from bottom i.) Vijayanagar inscription (Sb. 263, noted above) contains statement that the district (vishaya) 265 named Naga-khanda AN ENCYCLOPAEDIA OF NAGARA more or less with the Shikarpur generally Nagara-khanda, corresponding Taluq was (formerly) protected by the wise Chandragupta, an abode of the usages of eminent Kshatriyas.' tion, para. ii, p. (Ep. Carnal., Vol., vm, Part I ; Introduc- 5.) 261 f.) have reference to Nagara(18) The Sorab Taluq Inscriptions (no. khanda and its pompous buildings (temples), picturesque gardens and other From these it may be inferred that the natural and artificial beauties. as stated in the Mdnasdra, a distinct buildings of Nagara-khanda possessed, and Vesara countries. the Dravida like those of architecture style of Compare Fah Hian's Kingdom (19) VH, pp. 1-7, note 2) of the Dakshina (Ind. Ant., Vol., : Going two hundred yojanas south from this, there is a country Here is a Sangharama of the former called Ta-thsin (Dakshina). Buddha, Kas"yapa. It is constructed out of a great mountain of rock ' hewn to the proper shape. This building has altogether five storeys. The lowest is shaped into the form of an elephant, and has five hundred The second is in the form of a lion and has four stone cells in it. hundred chambers. The third is shaped like a horse, and has three hundred chambers. The fifth storey is in the shape of a dove, and has one hundred chambers in it. At the very top of all is a spring of water, which flowing in a stream before the rooms, encircles each tier and so, running in a circuitous course, at last arrives at the very lowest storey of all, where, flowing past the chambers as before, it finally issues through the door of the building. Throughout the consecutive tiers, windows have been pierced through the light, so that every chamber is quite illuno darkness (throughout the whole). At the in various parts of the building, solid rock for the admission of minated, and there is four corners of this edifice they have hewn out the rock into steps, Men of the present time point out a small as a means for ascending. ladder which reaches up to the highest point (of the rock) by which men of old ascended it, one foot at a time (?). They derive the name which they give to this building, viz. Po-loya, from an Indian word (paravata) " pigeon." There are always Arhtas abiding here. This signifying At a considerable hilly and barren, without inhabitants. from the hill there are villages, but all of them are inhabited distance by heretics. They know nothing of the law of Buddha or Sramanas, of land is Brahmans, or of any of the different schools of learning. The men of that country continually see persons come flying to the temple. a certain occasion there were some Buddhist pilgrims from different On who came here with a desire to pay religious worship Then the men of the villages above alluded to ask them countries temple. 266 at this saying NAGARA HINDU ARCHITECTURE do you not fly to it We behold the religious men who " Because our wings occupy those chamber constantly on the wing." Why are not yet perfectly formed." The country of Ta-thsin is precipitous, and the road dangerous and difficult to find. Those who wish to go there ought to give a present to the king of the country, either money or goods. The king then deputes certain men to accompany them as and so they pass the travellers from one place to another, each party pointing out their own roads and intricate bye-paths. Fah Hian finding himself in the end unable to proceed to that country, reports guides, above passages merely what he heard.' (Beat's Travels of Fah Hian and Sung-Yan, pp. 139, 141.) The territory (Dravida) which also includes the northern half (20) in the ' northwards up to an irregular line drawn from a point on the Arabian sea about i ,000 miles below Goa along the Western Ghats as far as Kolhapur, thence north-east through Hyderabad, and of Ceylon, extends eastwards to farther the Bay of Bengal.' (Encyclopaedia, Brit. ed. n, P- 550-) The old Telugu Andhra or Telugu. country covers about 8,000 square miles, and is bounded on the east by the Bay of Bengal, on the north by the river Godavari, on the south (21) Vesara is ' otherwise called by the Krishna.' (Dr. Barnett, Catalogue of the Telugu Books, Preface.) boundaries of the Telugu or Vesara country are given in detail The The Telugu country is bounded of India : towards the east of the Bay of Bengal from about Barwa in the Ganjam in the ' Linguistic Survey District in the north to Madras in the south. From Barwa the frontier westwards through Ganjam to the Eastern Ghats, and then southwards, crosses the Sobari on the border of the Sunkum and the Bijai Talukas in the Baster state, and thence runs along the range of the line goes Bela Dila to the Indravati. It follows that river to its confluence with the Godavari, and then runs through Chanda, cutting off the southern part of the district, and further eastwards, including the southern border of the district Wun. It then turns southwards to the Godavari at its confluence with the Manjira, and thence further south, where Telugu meets with Kanarese.' (Linguistic Survey P- 577-) See also the following Trikdndasesha (Bibl., 258, Gal., 2, 8, 44). Hemachandra-abhidhdna-chintdmani (12, 53). : Haldyudha (2, 295). Naishadha-kdrikd (Bibl., Cal., Brihaddranyaka-upanishad Sisupalabadha (Bibl. 141, (8, 10, 8). 15). Gal. 12, 267 19). of towards Bidar India, Vol. iv> AN ENCYCLOPAEDIA OF NAGARA (22) Nagara seems to be a very popular geographical name (see J. A. S. B., 1896, Vol. LXV, Part i, pp. 116-117) It is clear from the references that Nagara was formerly the capital of Birbhum in Bengal that Nagara is the name of a famous port in Tanjore that it is the name of an extensive division in Mysore that : ; ; ; a town named Nagara and an situated on the Bias ancient place called Nagarakota are Kangra, in the Punjab that in the district of ; find Nagaravasti in Darbhanga, the town Nagaraparken in Sindh and Nagarakhas in the district of Basti that there is a number of we ; ancient villages in the Deccan called Nagaram and that Nagara is the name of two rivers in North Bengal, the name of a village in the and that of some nine or ten places, called Nagara district of Dacca ; ; Rajputana proper, three being towns, that a fortified village in the Santal Parganah is called Nagara. The ancient Madhyamika, which was once besieged by Menander, is now called Nagari near Hieun Tsiang also mentions Chitor (Smith's History, p. 187). a province of ancient Kapisa which was Nagara (modern Jellalabad) (Kadphisa), the people whereof were the followers of Buddha (see in his Travels, Index). The Nagaras are mentioned in the of countries and peoples' (Utpatti-prakarana, xxxv, 33) given in the Yogdvas'istha-Rdmdyana The same list refers to the Dravidas (ibid., 40) also as as a people. list a people living south of the mount Chitra-kuta, below the river Godavari. In this list the Andhras, Kalingas, and Chaulikas are clearly distinguished from the Dravidas (ibid., 26-27). Nagara is the name of a script also mostly prevailing in Northern There lives a powerful tribe called Nagara, in the mountaneous tract of Kabul in Afghanistan. Nagara is the designation of a sect of Brahmins also who, it is held, came over from some part of Northern India and settled down in Gujrat at a place known as NaIndia. garanandapura. From these Nagara Brahmans, it is said, came the use of the Nagari alphabet. A portion (part VI) of the SkandaPurdna bears the name Nagara-khanda. From this instance, it would appear that the expression Nagara is at least as old as the Nagara-khanda incorporated into the Skanda-Purdna which was according to a general concensus, composed in honour of or, r.t least, named after Skandagupta (A.D. 455-480), the seventh Emperor of the early Gupta dynasty. Why the Nagara-khanda, the 6th part of the Skanda-Purdna, is so called is not explained explicitly in the Parana itself. But from the contents of Chapters cxrv, CLxnr, cxcix, cc, CGI and coin of this (6th) part, it seems to have been named after the Nagara Brahmins. 268 HINDU ARCHITECTURE NAGARA The etymological origin of the term nagara is, however, explained in Chapter cxiv of the Nagara-khanda. It is stated (vv. 76, 77, 78, 93) to have arisen from an incantation of snake-posioning (cf. verses i-i 13, nagara, no poison). Compare the following : Garam visham iti proktam na tatrasti cha sampratam II Na garam na gararh chaitach chhrutva ye pannagadhamah Tatra sthasyanti te vadhya bhavishyanti yatba-sukham Adya prabhriti tat sthanarh (Chamatkara-purarh) nagarakhyam dhara-tale I I \ I Bhavishyati su-vikhyatarh tava kirtti-vivarddhanam Evam tan nagaram jatam asmat kalad anantaram From 1 1 1 1 (Skanda-Purana, Part vi, Nagara-khanda, Chap, cxrv, w., 76, 77, 78, 93.) the literary and epigraphical instances given above it appears certain that the expressions Nagara, Vesara, and Dravida are primarily geopraphical. But the precise boundaries of Nagara, all of Dravida and Vesara, are not traceable. The epigraphical would tend to localize Nagara somewhere quotations, however, within the territory of modern Mysore. But the Nagara script, the like those Nagara-khanda of the Skanda-Purdna, and the Nagara-Brahmins, representing some way or other the Northern India from the Himalaya to the Vindhya and from Gujrat to Magadha, would jointly give a wider boundary to Nagara. Besides the author of the Mdnasdra shows his acquaintance with buildings of the whole of India in the passage where he divides the best types of buildings by the following designations, namely, Padchala, Dravida, Madhya-kanta (meaning apparently MadhyadeSa), Kalinga, Varata (Virata), Kerala, Vamsaka, Magadha, Janaka, and Sphurjaka (M., xxx, 5-7.) If the country of Nagara, like those of Dravida and Vesara be included in Southern India, in other words, if Northern India be excluded from the scope of the styles of buildings mentioned in records quoted above, the passage, mentioning the ten different types of buildings of the ten countries covering the whole of India, will have to be treated as what is called a spurious record, a term under which the Let whatever be conflicting ideas are reconciled by many a scholar. the boundaries of Nagara, it is clear beyond doubt that the three of architecture have arisen from three geographical names, Nagara, Vesara, and Dravida. And there we have a parallel instance styles of similar divisions in the early Grecian architecture The three ancient orders the Doric, Ionic, Corinthian : on which were based the three styles of Grecian architecture have been traced by Vitruvius, an authority on architecture of the first century. 269 NAGARA ' In AN ENCYCLOPAEDIA OF this country (Smyrna) allotting different spots for different pur- poses, they began to erect temples, the first of which was dedicated to Apollo Panionios, and resembled that which they had seen in Achaia, and they gave it the name of Doric, because they had first seen that species in the cities of Deoria.' (Book iv, Chap, i.) Gwilt comments on it thus The origin of the Doric order is ' : a question not easily disposed of. the name of Doria; but the name provinces of Greece bore Many often the least satisfactory is of accounting for the birth of the thing which bears it.' mode (Encycl., Art. 142.) ' The Ionic order, at first chiefly confined to the states of Asia have been coeval with the Doric order.' (Gwilt., Minor, Art. Encycl. 153). 'That species, of which the lonians (inhabitants, of Ion) were the inventors, has received the appellation of lonic.'(Vitruvius, Book iv, Chap, i.) appears to The third who for his is species, Corinthian, so called because Callimachus, great ingenuity and taste was called by the Athenians Catatechnos, happening at this time to pass by the tomb, observed the basket and the delicacy of the foliage which surrounded it. Pleased with the form and novelty of combination, he constructed, from the hint thus afforded, columns of this species in the country about Corinth.' Chap, i.) ascended the throne, anxious to his father had long entertained of erecting a fixed ' (Ibid., When Solomon fulfil the wish of temple for the reception of the ark, he was not only obliged to send to Tyre for workmen, but for an architect also. Upon this temple a dissertation has been written by a Spaniard of the name of Villalpanda, wherein he, with consummate invention of simplicity, urges the Greeks, were the invention that the orders, instead of being of God Himself, and that Calli- machus most shamefully put for the pretentions to the formation of the Corinthian capital which, he says, had been used centuries before in the temple at Jerusalem.' (Ibid., Art. 52.) The other two orders, Tuscan and Composite, which are of ' a later date than the time of Vitruvius, are of Italian or The Composite, as its title denotes, is and has thus no independent importance. also reference to the country of Roman origin. the combination of other orders The Tuscan order has Tuscany, formerly called Eutruria, a country of Italy.' (Gwilt, Encycl., Art. The origin of the Indian architecture 1 78.) attributed to a mythological person Vis"vakarman, literally the Creator of the Universe. But the styles of architecture are stated to have been invented by one Bammoja. 270 is NAGARA HINDU ARCHITECTURE An interesting record from Holal is the label cut on the capital It is called in of a finely carved pillar in the Amrites'vara temple. the inscription a Sukara-pillar. Speaking of the sculptor who made it, the record says that he, Bammoja, the pupil of Padoja of Soge, ' was a VisVakarma, i.e. the architect of the gods in this Kali age, the of master the sixty-four arts and sciences, the clever builder of the sixty-four varieties of mansions and the architect who had invented (discovered) the four types of buildings, An Dravida and Vesara. earlier sculptor viz. Nagara, Kalinga, of about A. D. ninth whom we hear from an inscription on a pedestal at It is stated that he made the Kogali, was a grandson of Sivananni. of sun the of the stone in question was which image (divasa-kara) of Madras G. O. no. 1260, i5th the (Government evidently pedestal.' century of August, 1915, p. 90, see also Progress Report of the Assistant Archaeological Superintendent for Epigraphy, Southern Circle, 1914-15, p. 90.) It has been pointed out already that Kalinga is mentioned in Mdnasdra (xxx. 5-7) as the name of a type of building, but and it is never stated as a style like the Nagara, Vesara Dravida, the Kalinga type of buildings being apparently included in one of these three styles. In the same treatise there is another the therein passage, pointed out above, where Randhra or Andhra is mentioned as a type of chariots. It has also been stated above that these Kalinga and Andhra might be two branches of the Vesara, being geographically placed on the two sides of it, the three together forming Tri-Kalinga or three Kalihgas. In one of the epigraphical quotations (no. 15) Bhumija is mentioned alongside Dravida and Nagara, and this Bhumija (lit. originated in the land or the style of the land, where the document was written) is apparently same as Vesara. Some of the numerous literary and epigraphical quotations given above must be placed in dates later than the time of Bammoja, mentioned in the present document. But neither his name nor his style is associated with the three (Kalinga) styles, Nagara, Vesara, DraIt is not unlikely that vida, in any of the instances quoted above. ' Bammoja discovered the three styles, which had been perhaps ' existing long before him, and adding his claimed the originality for all the four. own invention (Kalinga) Such instances of unscru- pulously adding to the works of one's predecessors and claiming the originality are not rare in the literary or the archaeological records. It does not seem probable that any one person could have invented the styles of architecture at one time and issued them as a royal command they are more likely to have arisen out of the local all ; 271 AN ENCYCLOPAEDIA OF NATAKA circumstances presumably at first periods, before they were recorded, architectural treatises and then in the different in the epigraphical records. The object of this article is not, however, to identify the country of Nagara, nor to find out the inventor or inventors of the styles, although on them depend many interesting points of the ancient Here it is clear that the expressions Nagara, are Vesara and Dravida geographical, and that they imply three broadest sense. styles of architecture in its Indian architecture. But on the last point, too, modern authorities hold different views. In discussing the styles of Indian architecture, Mr. Havell is of opithe Indian Civilization, Preface) that they are Siva and Vishnu and not Northern and Southern, or the Indo-Aryan and nion (Study of the Dravidian, as Fergusson and Burgess suppose to be of Ind. and East. Arch., 1910). The Silpd-sdstra (cf. History and the Agamas to disagree to HavelPs theory nor do they wholly support the views of Fergusson and Burgess. The division proposed by Havell, being not geographical, may be systematically applied to religious architecture, while that adopted by Fergusson and Burgess being of seem a geographical nature, is more in agreement with the system of the Silpa-fastras than Havell's division. The fact that the Hindu art-consciousness is largely dominated by a spiritual motive being strictly adhered to, it would follow that Havell's division into Siva and Vishnu, or others, into Hindu, Buddhist and Jain, would be more logical than that into Northern, Eastern and Southern, or Nagara, Vesara and Dravida. But even admitting this, we must not forget that the Hindus knew the point where exactly to draw the line between religion, on the one hand, and It is needless to observe that social and political life, on the other. within the three geographical styles the sectarian subdivisions are quite feasible. NATAKA A moulding, a theatre, a calyx, a crowning, moulding or ornament of a pillar ; it is generally used together with petals ; the part of the capital which supports the abacus (phalaka) is sometimes so called ; a cardinal number. Padanam api sarvesharh Antare natakair yuktarh patra-jatyair alankritam tu dalair yutam I padmanam I (M., xiv, 149-150.) In connexion with the entablature : Natakanta-mrinalika I (M., xvi, 53.) 272 NATYA-GRIHA HINDU ARCHITECTURE Narair va natakange tu kuryad devalayadinam I Harmyantaralayah sarve nrinarh nataka-samyutam Etat tu prastarasyordhve natakasyordhvarhs"avat I I (A/., xvi, 112, 114, 117.) Athava tapasvinlnam cha kathe va natakahakam (mandapam) xxxiv, 426.) (Af., with connexion In (mandapa) Natka-vistararh pancha-pancha-bhagena yojayet I : pavilions I (Ibid., In connexion with the arch (torana) 503.) : Makara-kimbari-vaktrarh natakadi-bhujarigavat Kesari-mandanarh bhavati chitra-torana-natakaih I I (M., XLVI, 66-67.) The cardinal number ten : Shat-saptashtaka-dandam va nanda-nataka-rudrakam I (Af., ix, 430.) Its synonym kulikanghrika. NATIKA A are anta, mrinalika vallika, patra, (Af. xvi, valli, chitranga and 53-55.) moulding. In connexion with the arch (torana) Natika phalaka mushti-bandhanam patra-vallikam : I (Af., XLVI, 65.) In connexion with the pillar Kumbhayamarh tathotkantam urdhve karna-samam bhavet : Tat-samam natikakhyam syad unnatam tad viseshtah (Af., NATYA-GRIHA(-MANDAPA, -VEMA, music -ALA) I I xv, 54-55.) The play- dancing pavilion, used for enacting a drama (abhinaya), holding a music performance (sariglta) or dancing show (nritta). It is built in connexion with a temple, a palace, and independently for the use of general public in towns, countryside and mountain valley. It is built in various shapes circular (vritta) house, theatre, hall, semi-circular (vikrishta), quadrangular (chaturasra), and triangular (tryasra). Abhinava-gupta, the commentator of Bharata-Ndtya-sdstra some eighteen with reference to shape and size. It consists of two main parts the auditorium (preksha-griha) and the stage The former faces the latter and is one storey (bhumi) (ranga-mandapa) lower in situation. The auditorium supplies the seating arrangement which varies in accordance with the shape of the theatre nd in consideration refers to varieties : . ; being attached to a temple, or palace, or built independently for the use of the general public. In an open variety of the theatre built in the of its 273 AN ENCYCLOPAEDIA OF NATYA-GRIHA courtyard of a temple all kinds of seats are assigned for ordinary, special, and occasional uses to Chakravartin and other classes of kings, as well for the ' their consorts, as also for the accommodagods, to be seated together with tion of ordinary people.' (Mdnasdra, XLVH, 26-29). In a closed variety of the palace theatre the seating arrangement is more specifically shown. The first row corresponding to stall and facing the stage is occupied in the centre by the court ladies (varangana) having the learned courtiers on their on their left. Immediately behind the court ladies is the right and the bards are reserved for the harem royal seat, on the left of which seats (antahpura) and on the right is the seat for the chief queen and others. The stage pro- per consists of ranga-slrsha (stage-front), rariga-pitha (the place immediateand nepathya-griha (green-room). It is shaped like ly behind for acting), a mountain cave and have two floors. The upper floor or the platform made of wood, and the surrounding walls, of bricks. many other things the Indian tradition has ascribed a divine, that to Sanskrit drama rather than a Grecian influence. is, an indigenous origin The Ndtyaveda is stated to have been created by Brahma for the benefit of all castes including the Sudras who had no access to the Vedas. It is signiis (vedika) Like dramas were intended at origin to provide facilities for the enjoythus of ment of indicating popularity and interest to the people, subject of the general public, men, women and children, who could hardly be expected even if they were all literate, to read the texts in Sanskrit in order ficant that all classes to enjoy the dramas. element of recitation Thus the drama is stated to have been compiled of the from the Rig- Veda, the element of chanting or songs from the Sdma-Veda, the element of mimic art from the Tqjur-Veda, and the element of sentiment from the Athar-Veda. Siva and Parvatl are stated to have contributed the Tandava and Lasya dances, and Vishnu the four ' dramatic styles essential to the effect of architect, is stated to have built the first any play.' Visvakarman, the divine playhouse in which the sage Bharata carried into practice the dramatic art thus created. 1 This traditional account has been gathered from the which Bharata-Ndtya-sdstra Western scholars have placed in the third century of the There is also a class of works, called Natasutra, referred to treatise the Christian era. grammar (4, 3, no), dealing with directions to actors (nata). But the dialogues and other elements have been discovered in the early Vedas. z These dialogues are romantic in nature and dramatic in essence. Thus the conversations between Yama and YamI, or Pururavas and tfrvasi would charm a modern audience in a most up-to-date theatre. Professor Keith has further recognized that 'the Vedic ritual contained within in Panini's 1 Keith Sanskrit Drama, p. 1 2. For instance Rig-Veda, v. 10, 51-53, 86, 95, 108 : rv, 1 8. 274 ; vm, 100 ; i, 179, 28- A SUGGESTION FOR THE INTERIOR 10 SCALE OF 5 MI. in 10 15 20 25 30 35 i i i i i i 40 45 50 i | \ | FEET. ---" PLAN-SEMI CIRCULAR TYPE. PLAN-TRIANQULAR TYPE SCALE 16 FT. --ONE INCH. NA YA GRIM. . PLAN-QUADRANGULAR TYPE SCALE 8 FT. -ONE INCH I'age 274 HINDU ARCHITECTURE NATYA-GRIHA ' the germs of drama and in the ceremonies l present the element of dramatic representation.' ' itself there was undoubtedly In the Rdmqyana mention is made of the dramatic artists (nata), prodancer (nartaka), and plays in mixed languages ( Vyamisraka) . In the Harivamsa which is a continuation of the Mahdbhdrata mention is fessional of players who made a drama out of the Rdmayana legend. The evidence of dramas being actually played in a theatre is found in the which mentions representations of Kama-vadha (slaying of Mahdbhdshya made ' 2 Karhsa) and the Balibandha (binding of Bali). The Prekshagara or auditorium is mentioned in the Mdlavikdgnimitra (Act Sanglta-sala or music hall I). The is referred to in the Sdkuntala (Act V). and thirty Bhavaprakdsana were which dramas a of dramatic kinds different actually played by company under the direction of Divakara (x, 5-18) refers to three types of theatres : Chaturasra-tryasra-vritta-bhedat so'pi tridha bhavet in manuscript, describes the Sangita-chuddmant, a text drop scene ' the first curtain is the front drop which is removed as and other curtain : soon as the show begins. Behind the mist-like curtain, the danseuse I The performs ' the dance called lasyu (nude) (Triveni, p. 722). Sceneries are described in great detail in the Bharata-Ndtya-sdstra : Kaksha-vibhage jneyani grihani nagarani cha Udyanarama sarid-asrama atavi tatha I 1 1 Prithivl sagaraS chaiva trailokyarh sacharacharam Varshani sapta-dvipas cha parvata vividhas tatha Aloka chaiva lokas cha rasatalamathapi cha I II I Daityanam alayas chaiva griham bhuvanarh cha Nagare cha vane chapi varshe vai parvate tatha 1 1 I Yatra vartha pravarteta tatra kaksharh prayojayet II Bahyarh va madhyamam vapi tathaivabhyantararh punah I Durarh va sannikishtam va de^am tu parikalpayet (Ndtya-sdstra, ed. Joan Grosset, Paris, 1898.) The same text describes with minute particulars and dimensions the I auditorium of three types Idarh prekshagriharh drishtva dhlmata Visvakarmana Tri-vidhah sannivesascha sastratah parikalpitah Viprakrishtas-chaturasras cha trya^ras chaiva tu mandapah Prekshagrihanarh sarvesharh tri-prakaro vidhih smritah II : I I (Natya-fastra, I Gaekwad's xxxvi, Chap, n, 1 2 Keith : Sanskrit Drama, p. 23. Mahabhashya on Panini Literature, p. Series, 7, 8, 25.) 3, i, 26; 347. 275 see Macdonell, History of Sanskrit AN ENCYCLOPAEDIA OF NATYA-GRIHA The described pillars, doors, walls, green-rooms, etc. are fully Stambharii dvararh cha bhittith cha nepathyagriham eva cha : Evam utthapayet tajjno vidhi-drishtena karmana (Ndtya-ias'ra, 1 I 1 Gaekwad's Series, xxxvi, Chap, n, 65-66.) are also described : stage proper with its different members Ranga-pitham tatah karyarh vidhi-drishtena The karmana I (Jbid., Rariga-Sirsham tu kartavyam shad-daru-samanvitam Karyarh dvara-dv;iyarh chatra nepathyasya grihasya cha n, 71.) I (Ibid., u, 71, 72 Evam kashtha-vidhim kritva bhitti-karnena prayojayet Nirvyuha-kuharopetam nana-gratitha-vedikam Karyah saila-guhakaro dvi-bhumir natya-mandapah ; I see also 78.) I | I (Ibid., H, 70, 84.) Compare DARIGRIHA (Megha-duta, The (Kumdra-sambhava, I, 10, and SILA-VESMAN 14) 25). i, Silpa-ratna of Srikumara also describes two or three types of play- houses (Chap, xxxix, 60-68). playhouses belonging to temples, palaces and ordinary dwelling houses are described in the Mdnasdra (XLVII, 2-12, 16, 20, 24-29, see The quotations under The MADHYARANGA). epigraphical evidences are also not wanting. Thus from its a rangeinscriptions the cave in Ramgarh hill in Sarguja appears to ments and ' have been evidently intended for dramatic performances.' cave and that of Ganesa in Udayagiri are further examples * The queen's ' the doings of these ladies 2 and gentlemen (actresses and : they represent actors) in a highly ' By Naga, the Vira-Ballala-pattam-svami, were built the dancing hall and terrace of Parsva-deva, and in front of the Basadi of Kamatha Parsva Deva stone pillars and a dancing hall were made.' 3 realistic way.' All these documents, comprising general literature, technical works on music, architectural texts, and epigraphical records, may supply a fairly complete picture of the playhouse of the Hindu period. It needs no elucidation that the Hindu mind Hindus to celebrate one's 1 Dr. Block 2 Luders : is essentially musical. birth, wedding and : Music was required for the happy occasions. similar other ^eitsckrift der Deutsclien Morgenlandischen, Bd., LVIII, S. 455. Indian Caves as Pleasure Resorts, Indian Antiquary, xxxiv, pp. 199-200. But Jacobi is still under the old prejudice when referring to the cave it is theatre of Ramgarh hill he says that arranged after the Greek pattern.' The cave threatres are, however, referred to in the Kumdra-sambhava (i, 10, 14) and Megha-duta (i, 25) of Kalidasa. : ' 'Rice Ep. Carnat., Vol. n, no. 130; Translation, p. 178. See also the Inscription of Krishnaraya, lines 24, 32, North Face. : 276 Hampe HINDU ARCHITECTURE NATYA-GRIHA required to mourn one's death and similar sad incidents even calamities as like earthquakes and epidemics. Religious including ceremonies had to be accompanied by music. These musics include both It was vocal also and instrumental songs, dancing, and enacting of plays varying from a single act or scene to a performance which continued nights. Thus the elements of drama for days and are available in the earliest Vedas. The Mahenjo-Daro, Harappa and other sites may supply In order to evidence of regular theatre even for the Pre-Vedic period. musical habit of the the into which out was so conHindus, practice carry vincingly in existence for milleniums, no doubt suitable accommodation at excavations had to be found out by indigenous efforts and evolution. It would be the limit of prejudice to imagine that although the Hindus knew all about a dramatic performance and although the art of building was understood and successfully practised at least between 3000 and 4000 B. c. when edifices might have been erected, yet they did not think of a constructing playhouse even after the model of the then existing natural caves until the Grecian invaders supplied the pattern between 300 and 350 Those who are not thus prejudiced will find it easy to infer from the B. c. Mahenjo-Daro evidences quoted above and to come to the conclusion that there were in Hindu India rustic theatres for folk dance or popular performance, as well as regularly constructed playhouses of various shapes and sizes. They were knowledge of acoustics, light, ventilation, safety and erected in villages, small country towns, centres of were They security. They were attached to commodious pilgrimages, and in big capital cities. and houses, king's palaces, god's temples. In all these constructions dwelling the stage proper and the auditorium. were made for distinctly provisions built with scientific the platform with a thick drop scene in front proper with various realistic sceneries and curtains The former comprised and the theatre behind which even semi-nude dance could be performed, the indecency being prevented by the mistiness caused by the device of thin curtains and The green-rooms and other rooms were made for dressing and restlight. ing of the actors and actresses and even for an interview with them by some , fascinated audience. The auditorium with the orchestra in front provided and ranks of audience, which were artistically arranged It was adorned with beautiful doors, windows, balin tiers and galleries. There conies, and walls and ceilings with carvings and paintings on them. were also open air auditorium with surrounding walls and terraces which seats for all classes But the stage appears never to have been uncovered either on the sides or at the top. 1 latter served as galleries. 1 The Playhouse of the Hindu (Modern Review, April, 1935, pp. 370-378, Krishnaswami Aiyangar's Commemoration Volume, pp. 363-380). For further Period details, see the writer's ' article, ' 277 AN ENCYCLOPAEDIA OF NATYA-MANDAPA NATYA-MANDAPA The stage proper consisting of ranga-slrsha ranga-pltha (place for acting), and nepathya-griha (green-room). In shape it should be like a mountain cave and have (stage-front), two floors : Karyah Sailaguhakaro dvi-bhumir natya-mandapa I (Bharata-Natya-taslra n, 84, also 91.) The upper wood floor or the platform (Vedika, ibid, n 80) should be made of : Evarh kashtha-vidhirh kritva bhitti-karma prajojayet (Ibid., The surrounding walls should be made of bricks (Slishteshtaka) I n, 82.) . NATTA (NATYA)-SALA A ' detached building used as a music hall." Nafta-Sala cha karttavya dvara-des'a-samas'raya the music hall should be built attached to the gateway (of the I And temple). (Garuda-Purdna, Chap. XLVII, v. 45.) A mandapa or hall for religious music, built in front of the main temple : purah sthapayamasa gurvvirh sYiman Srinatha-viryyah sthagita-das"a-dian natya-Salarh chhalena Durgga-devalayasyabharanam iva I (Dirghasi Inscrip. of Vanapati, lines 14-15, Ep. Ind., Vol. iv, p. 316.) NABHI-VlTHI A road proceeding from the central part of a village or town. Brahma-bhaga-vriddhya vlthir nabhi-vithiti kathyate I (Kamikdgama, xxv, NARANA A i.) temple of Vishnu. (Note on a Tamil Inscription in Siam, Hultsch, J. R A. S., 1913, pp. 337-339-) NARAGHA A road running towards the Pran-mukha vlthayah sarva narachakhye(a east. i)ti smritah I (Kamikdgama, xxv, NALA A canal or lotus stalk (M., xix, 144, 3.) gutter, channel, 148* a tubular vessel of the body (M., L, 198, 201, 205, etc.), middle, central (M., xxxni, 360, XLIH, 14). 153, etc.), In connexion with the phallus. (M., 278 LII, 294-296, etc.) NASA HINDU ARCHITECTURE NALA-GEHA A channel, canal-house, middle central chamber, hall. . . . Bhitti-gcham ihochyate I Tri-chatush-pancha-shad-bhagarh saptarhSarh kudya-vistaram Seshaih tu nala-geharh tu. . . . I I (M., xxxiu, 359, 360.) NALANDA several The famous Buddhist sangarama, vihara, institution at Bihar, and dharmaganja, comprising buildings ; there were colleges, halls, libraries, observatories, priests' chambers, ' ' ' brilliant richly adorned towers and the fairy-like turrets and chaitya ' ' The whole establishment and magnificent memorial buildings. a brick-wall. One gate opens into the great is surrounded by from which are separated eight other halls, standing in the college, middle. (Accounts of Hiuen Tsiang, I-tsing, Tibetan writers, Excavations, Archaeological Survey, and Sankalia) ; see under VlS VA VID YALAYA . NALIKA A canal, the lower leg. tad-dhatam bhitti-taram sesham NALA) (see Ekamsam cha nalika I (M, xxxm, The lower leg. (M., XLV, 42, NALIKA-GARBHA A 438.) etc.) rectangular hall of the length twice the breadth. Nalika gabbho ti bitt harato dvigunita-gunayamo digha-gabbho (Buddhaghosha, Chullavagga, vi, I The 33.) interpretation of Oldenberg and Rhys Davids as palanquin-shaped' given under the translation of the term is not supported by the commentator Buddhaghosha as quoted above. ' NALIKA-GRIHA (see NALA-GEHA) A canal house. (M., xix, 98, NALI A canal, a gutter. Geha-tare tu saptamsarh nali-taram (see NALIKA) yugamsakam NASA A I set 115; (M., xix, etc.) also nose, a nose-shaped object, the upper piece of a 116.) door, a vestibule. Vijneya nasika nasa nasa dvarordhva-daru cha I (Amarakosha, n, In connexion with the base ii, 13.) : Grahadi-chitra-sarvesham kshudra-nasadi-bhushitam I (M., xiv, 236, 279 etc.) AN ENCYCLOPAEDIA OF NASIKA-(SI) A nose-shaped architectural object, or court a vestibule, an open porch before a house, a hall next to the entrance to a house, a bracket. NASIKA(-SI) (see NASA) pillar (M.. xvi 76, 77, go, 120, etc). a of Some component part building (M., xvn 207 xrx, 174, etc.). Chatur-dikshu chatur-nasi (M., L, 284). Suprabhedagama, xxxi (referring to a class of buildings) connexion with the In ; : Chatush-kutas' chatuh-Salas" chatvarah parsVa-nasikah (48) Mukha-nasi tatha yuktam dva-das"aih chanu-nasikah (49) I I Chatur-nasi-samayuktam anu-nasi-das"ashtakam 1 (51) 1 Kuta-Sala-samayukta punah panjara-nasika II (52) ParsVayor nasika-yuktam tan-madhye tanu(tvanu)-nasika U (79) Eka-nasikaya yuktam panjaram samudahritam I Kuteshu nasika-yuktarh koshtham etat prakirtitam Kdmikdgama, LV (eight kinds of Nasika) II (80) : Nasika tv-ashtadha jneya tasyadau simha-samjnitam Sardha-panjaram anyat syat tritlyam matam II (132) I Shaped like the nose (M., xxxra, 541). height ends by the fore-part of the See also M., xxxm, 550-561. Its Shaped like gala, Sikha, circular, dome (M. xxxm, 549). : galakuta (M., xxxm, 552-553). Niryuha-panjararh pakhat panchamam lamba-nasikam Simha-^rotram tu shashtarh syat khanda-niryuhakam tatha Jhasa-panjaram anyat syat tasam lakshanam uchyate II (133) I I They are also called panjaras Sarvesham panjaranam tu The : manam evam udahritamll (149) details of these nasikas or panjaras (ibid., 134-146). sama-nirgamam Shat-varga-sahitam Sakti-dhvajayor mukha-pattikam Slishta-prasada-nivrariga-vipularh I Vedika-jalaka-stambha-rajitam simha-panjaram Tri-dandadi-chatur-danda-paryantam vipulanvitam (134) I I II (135) Yatharhayama-samyuktam suchi-pada-dvayam dvijah Sarvesham panjaranam tu madhyame samprayojayet II (136) Dhamni prasadam a^lishtam sanivram chardha-nirgatam I I Adhisthanadi-panchanga-sakti-dhvaja-samanvitam II (137) Mukha-pa{tikayopetam vedika-jalakanvitam II Karna-pada-yutam sardha-pafijaram tu vidhiyate II (138) Pragvad vipula-samyuktam pada-nirgamanvitam Tri-bhagam nirgatam vapi vrita-sphatika-sannibham II (139) Pafijarasyadimam s"esha(m) pragvad atra samiritam II (140) Svanurupa-Sikhasv-agram Slishta-nlvranga-karnakam I I 280 : j <r 4 fc J w r NA51KA. HARA. i BH * DRA I : U- i L 4. HARA. NASIKA VESTIBULE IN S NASIKA PLAN. NATAKA. NAGA-KALA. SHEET IRO^ LINING. >- g DOCUMENT _ PLAN. LONG SECTION. NIDHANA. Pnit HINDU ARCHITECTURE NIDHANA Kapotadyanga-sarhyuktam etan niryuha-panjaram II Samslishta-mvra-karnanghri-krita-naga-talarh sirah (141) I Niryuha-rahitarh yuktam sarvangarh lamba-nasikam Tad eva sirhha-s'rotrabha-s'ikharh yad-vad nivrakam II (142) I Sarhsritarh karna-padena sirhha-s'rotrarh tad uchyate II (143) Vistare panchamarhs'e tu dvyarhSarh nirgamananvitam I NIvradhastat kapotadyair arhsair mandita-rupakam Namna II tu khanda-niryuha(m) jnatva samyak prayojayet II (144) nivradhastad Danda-dandanta-nishkrantam upary-adhah Angair yuktam kapotadyaih kandharam torananvitam II (145) I Jhasa-panjaram etat syad ashtamam namatah dvijah NAHA-LlftGA A II (146) kind of phallus. Acharya-hastena va lingam Sishya -(sya)s tu naha-linga-vat (M, LII, 335 see details under LINGA.) I ; NIGAMA A town, the quarters inhabited by traders, a market. (Af., x, 42 ; under NAGARA.) see details ' towns, marts and rural parts Nagara-nigama-jana-padanam Harshacharita, 220, i, i.)' p. Grama-nagara-nigama, (e. g. (Junagadh lines Vol. of 10-11, Rudradaman, Ind., Ep. vin, pp. 43, 37, and Inscrip. Cf. note 5.) Nigama-sabhaya-nibadha registered at the town's hall. Cave Inscrip. no. 12, line 4, Ep. Ind., Vol. vm, pp. 82, 83.) NIGAMA-SABHA assembly. Cf. Eta cha vare charitra (see NIGABIA) A the guild-hall, traders, sarva-sravita-nigama-sabhaya nibaddha cha phalakaand all this has been proclaimed in the guild-hall ' iti and has been written on boards according ' ' Nigama-sabhaya, the assembly of line 4, Arch. Surv., NIDRA A (Senart, Nasik in Imp. custom. ' the the traders. New to guild-hall, ' may Dr. Burgess. ' also be translated (Kshatrapa Series, Vol. iv, pp. 102, 103, note 3 in Inscrip. no. 9, on page 103.) moulding. Vajanarh chaika-bhagena nidrcka vajanam tribhih Vajanam chaika-bhagena tatha nidra tri-bhagatah II 1 1 (Kamikagama, LV, 10, n.)- NIDHANA A store-room, a treasury. Vimana-s"aleshu cha mandapeshu nidhana-sadmeshv-api gopuresh. vapi I (M., xiv, 397-400.) AJf NIB(-V)IDA An ornament NIB(-V)IDA roof, ENCYCLOPAEDIA OF covering the lower part of the pent- a moulding. Agram vikasltabharh syan mularh cha nibidanvitam The NIMNA(-KA) I xviu, 245, etc.) (A/., cavity, depth, ^depressed part, drip, projection, edge of an architectural or sculptural object, a moulding. A ings A A moulding of the base (M., xiv, 247, under ADHISHTHANA). moulding of the column (M., xv, 52). etc. ; see the of mould- lists moulding of the pitha or pedestal of the phallus (M., LIII, 27). Chatur-dikshu sabhadram va chaika-dvy-arhs'ena nimnakam I (M., The depressed part of the chin L, 285.) : Hanvantarh tad-dvayor madhye nimna-tungam Sivayatarn I (M., XLV, 103.) NIRGAMA The Mdnasara (1) The projection. : projections of the mouldings of the base (M., xiv, 385-412 ; see under ADHISHTHANA). The projections of the mouldings of the pedestal (M., xm, 128-146; see under UPAPITHA.) The projection of the (whole) pedestal (ibid.. 20-35). Cf. Nirgamodgamane vapi putra-naSam avapnuyat (2) Nirgamam I (M., LXIX, 19.) tu punas tasya yavad vai lesha-pa^tika I (Matsya-Purana, Chap. CGLXII, v. 4.) Chatur-diksku tatha jneyarh nirgamam tu tatoh budhaih I (3) (Ibid., Chap. CCLXIX, v. 2.) Ashtamams'ena garbhasya rathakanam tu nirgamah see also v. 14.) (Agni-Purdna, Chap. XLH, v. 13 Nirgamas tu Sukanghres" cha uchchhraya-s'ikhararddhagah I ; (4) 1 1 Chatur-dikshu tatha jneyo nirgamas tu tatha budhaih Bhagam ekam grihltva tu nirgamam kalpayet punah 1 1 II ( (9) 10) Nirgamas tu samakhyatah Sesham purvavad eva tu II (14) Sukahghrih purvavaj jneya nirgamochchhrayakam bhavet (Garuda-Purana, Chap. XLVII, vv. 4, (5) Salanam tu chatur-dikshu chaika-bhagaditah kramat II (17) 9, 10, 14,17.) I Pada-bhaga-vivriddhya cha ashta-bhagavasanakam (101) Vinirgamasya chayamo tad-vriddhya tasya vistarahll (102) Nirgamo gopuranam tu prakarad bahyato bhavet II (127) 1 1 (Kdmikagama, xxxv, 101, 102, 127.) HINDU ARCHITECTURE NIRVASA-MANDAPA Madhyagara-vinishkranta-nirgamena samanvitah 1 1 Nirgamas tu dvi-bhagena vistara-dv(a)yama-manatah 1 1 (Kamikagama, XLV, 24, 26.) Adhyardha-dvi-tri-dando va nirgamas' chodgamo bhavet 1 1 (Ibid., LIV, 21.) (6) Sarvesham eva padanam tat-padam nirgam bhavet Of all columns the projection is one-fourth of the height. 1 1 (Suprabheddgama, xxxi, 65.) NIRGALA A part of a swing, a moulding. Ayase nirgalam kuryad yojayet rajjum eva va Vastrordhve chaika-hastantam dolaya phalakantakam Tad-urdhve vajanantam syan nirgalayamam iritam \ 1 1 Nirgalagre dvayagram syat phalaka-valayanvitam I I (M., NIRETANA The L, 168-171.) forepart of the branch of an ornamental tree (kalpa-vriksha) Cf. Bhramarair abhirayuktam sarva-Sakha-niretane . I (M., xLvm, 58.) NIRYUHA A kind of a turret-like ornament on columns or gates a chaplet, a crest, a head ornament, the crest of a helmet ; a peg or bracket projecting from a wall to hang or place anything upon (cf. NAGA -NIRYUHA) ; wood placed in a wall a door, a gate. for doves to build their nest upon a pinnacle, a turret ; : (1) Niryuhadyair alankritya (M., XLIX, 186, (2) Rdmayana V. 9, 20 V. 9, 58 (3) : : Vimanair hema-niryuhaih 43, 44 I. 7, 96 : : | Charu-torana-niryuha (lahka) Mahdbhdrata I. etc.}. : I : Dvara-torana-niryuhair yuktarh nagaram I Aneka-vidha-prasada-harmya-valabhl-niryuha-Satasamkulah (naga-lokah) I (4) HarivamSa (Pet. Diet.), 5021 (5015, 5018, 5023) : Nagaryah paSchimam dvaram uttaram naga-dvaram purvam nagaraniryuharh dakshinam nagara-dvaram I NIRVASA-MANDAPA A pavilion for banishment, a private room. Tat-pure'lindam ekamSam athava nirvasa-mandapam I (M., xxxiv, 326, 283 etc.) NIRVYOHA AN ENCYCLOPAEDIA OF NIRVYOHA A Cf. a small tower. cross circle, Maha-varam vimanordhve nirvyuhanana-samyutam I (Kdmikagama, XLV, 17.) NIVATA-BHADRAKA A class of chariots. (M., NIVE&ANA A 113 XLIII, see ; under RATHA.) resting place, a stall for cattle, a colonial settle- ment. 19, 9 (R.-V., A NISHADAJA(-DHA) class vii, ; 19, 5.) of pavilions, a type of building. (A/., xxxiv, 152 ; under MANDAPA.) see A class of buildings without the kuta-sala (top-hall) but with eight other halls and eight aviaries : Prasado nishadhas tatra kuta-Sala-vihinakah I Ashta-Sala-samayuktaS chashta-panjara-samyutah 1 1 xxxi, (Suprabhedagama, NISHADYA A 45.) bedstead, a couch, a hall, a shop, a market place. (Sisupala-vadha, xvni, 15, etc.) NISHIDHI (see NISHKALA A Yugmam NISHKASA A A NISADDHI) site monument. plan. nishkalam proktam ayugmarii sakalam tatha (M., vii, 73 ; see under PADA-VINYASA.) I verandah, a portico, a balcony, a projection. Prag-grivah pancha-bhagena nishkasas tasya chochyate Karayet sushiram tadvat prakarasya tri-bhagatah 1 Prag-grivah pancha-bhagena nishkasena viSeshatah I 1 I Kuryad va pancha-bhagena-prag-grivarh karna-mulatah 1 1 (Matsya-Purana, Chap. CCLXIX, vv. 24-25.) NISADDHI(NISIDI) (see NISHIDHI) A house for rest, a tomb, a monument. (i) Kami settiyara Nisidi ' The Nisidi of Rami setti.' given by Sanderson as a bill of acquaintance Dr. Bhau Daji Br. R. As. Soc., Vol., ix, p. 315, Inscription, no. 4) translates it Bom. (Journ. house of rest, on the analogy of an inscription in the Udayagiri cave in by ' Nisidi Orissa ; is this is ; probably its meaning as used here.' Dr. Fleet. Sanskrit and old Kanarese Inscrip. no. LVI, Ind. Ant., Vol. vra, p. 246, note 48.) (Ep. Carnat., Vol. n, Inscriptions on Chandragiri, Vindhyagiri and in the town.) 284 NISADDHI HINDU ARCHITECTURE Erected a stone hall for ' (2) gifts in Jinanathapura and set (NISlDI) up a tomb memory of the Maha-mandalacharyya Devakirtti Pandita (No. 40 Roman Text, p. 10, line 3 from the bottom upwards (nisidhiyam) in Deva. ; ; Transl., p. 122, line 19 f.) By Madhavachandra Deva was the tomb (Nishadyakakarayeta) ' (3) raised to his memory.' (No. 41 ; Roman Text, p. 12, line 15 Transl., ; p. 123, line 5.) The ' (4) excellent minister ... Yogi Nayakirtti moon and p. a Naga-deva erected tomb (nishidhyalayam) stars continue.' (No. 42 Roman ; memory of the famous endure as along as sun, in to Text, p. 16 line 10, Transl., line 4.) 124 Raised a tomb (nisidhigeham) to her memory.' ' (No. 44 ; Roman, Text, p. 20, line 23 Transl.. p. 125, line 20.) group of tombs (nisidhika), a collection of ponds and lakes, who (6) (but him) made these in memory of Nayakirtti Deva Saiddhantika.' (5) ; A ' (No. 90 ; Roman Text, p. 73, line 23 ; Transl., p. 159, line i.) He, from devotion to his guru, set up his tomb (nishayam). (7) (No. 105; Roman Text, p. 80, line 27 Transl., p. 165, line 30.) Mankabbe Ganti had erected a tomb (nisidhiggehadyam) (8) for her guru. (No. 139; Roman Text, p. no, line 6 from bottom ' ; ' ' upwards; Transl., Had ' (9) p. a 114, line 22 ' (10) His and setup p. 185, line 9.) tomb (nisidhigeham) ; son this Transl., p. 8, for him. line 9 ' (No. 144 ; Roman Text, from bottom upwards.) Taila-gauda made a grant for the god Siddesvara (Ep. Carnal., Vol. vn, Honnali (nisaddhi).' monument Taluq, no. 79; Transl., p. 174.) A third feature, even more characteristic of the (11) found in the tombs of the priests, a large number of which ' style, is is in the neighbourhood of Moodbidri. Three of these are illustrated in the woodcut (no. 154, Fergusson). They vary much in size and magnificence, some being from three to five or seven storeys in height, but they are not, like the storeys of Dravidian temples, ornamented with simulated cells and finishing with domical roofs. The division of each storey and in is a sloping roof, like those of the pagodas at China or Tibbet. Katmandhu, ' (Fergusson, Ind. and East. Arch., p. 275.) In Bengal, especially in Comilla and Noakhali Districts, these tombs or monuments, which are even now built, have generally the coneshape. At the bottom there is in most cases a square cell or chamber. They are sometimes constructed in groups and supplied with chambers at the top, cf. Chatkhil Noakhali. 285 AM ENCYCLOPAEDIA OF NIHARA NIHARA A court of the compound, a courtyard. Dvitiyam anta-nihara cha madhyama-hara tritlyakam (see PRAKARA) 1 1 (A/., xxxi, NlDA A nest, a lair, a n.) covered place. In connexion with buildings : Nidasya chadho grivo-vatayanam karayet (M., xvm, Toranair nlda-bhadradi-mule chordhve cha bhushitam I 329.) I (M., xx, 64.) NlPYA(? RA) The lower portion, the end, the border as of a cloth (Mayamata, xxxm, 62, 63, 64. NRITTA(-TYA)-MANDAPA A MANDAPA) (see detached build- ing used as a music hall, a pavilion. Nripanam abhishekartharh mandapam nritta-mandapam I (M., xxxiv, 38, etc.) A is in front pavilion generally preformed (Suprabheddgama, xxxi, 96, 98 NETRA The eye, a side where religious music under MANDAPA). of a temple, portico ; or see porthole, gable-window (M., xxxiv, 396), a wing (M., xzxv, 101), face (M., xxxv, 257-260). Same as LALATA (M., xxxv NETRA-K.OTA (see 257-260). KARNA-KUTA) A front a apartment, side- hall, a corner-tower. Pradhanavasa-netrastha-netra-kuta-dvayam nyayet 1 1 (Kamikagama, xxxv, NETRA-BHADRA (see MUKHA-BHADRA) A 75.) side tabernacle, side porch, portico. Parito'lind(r)a-bhagena varanam mukha-bhadrakam Athava netra-bhadraih syat (M., xxxiv, 251-252.) I I Karnaika-kara-bhadram syat salagre netra-bhadrakam I (M., xxxv, 246, etc.) NETRA-BHITTI A side-wall. Dakshine netra-bhittau va grabhadhanam praklrtitam I (Kamikagama, xxxv, 46, NETRA-SALA A Tad-adho bhu-praves"e Shannam etc.) side-hall. tu tad dvarasyavasanakam vai netra-s"alanam antarale cha va sthalam I 1 1 (tbid., Tach-chhalaya dvi-par^ve tu netra-sala sa-bhadrakam (M., xxvi, 40, a86 8 1.) > etc.) HINDU ARCHITECTURE NEPHATHYA-GRIHA PAKSHA-SALA The green-room in a theatre (see details under NATYAGRIHA). NEMI PRAKARA (see and PRADAKSHINA) The circumference, a surrounding verandah or balcony. (1) Nemih padena-vistirna prasadasya samantatah I (Agni-Purdna, (2) Chap, Nemih padena vistirna prasadasya samantatah Garbham tu dvi-gunam karyyarh nemya manarh bhaved civ, v. 7.) I iha 1 1 (Garuda-Purana, Chap. XLVII, vv. 19-20.) A PAKSHA-(KA) side, a flank, a footpath. In connexion with staircases (M., xxx, 100, In connexion with streets etc.). : Evam vithir dvi-paksham syan madhya-rathyaika-pakshaka (M., In connexion with walls xi, I 350.) : Anyat salam tu sarvesham chaika-pakshalayakshma-kramat Anyat salam tu sarvesham alayartham dvi-pakshakam I I xxxvi, (M., Compare chatus-paksham iva chhadih (square roof), 86-87.) and Ya dvipaksha chatush-paksha shat-paksha ya nirmayate Ashta-paksham dasa-pakshaim salam manasya patnim agnir garte iva^aye I I (Atharva-Veda, ix, See further illustration PAKSHAGHNA A Yamya hinam 3.) under EKA-PAKSHA and DVI-PAKSHA. type of building. chulli tri-salakarh vitta-nasa-karam etat I Pakshaghanam aparaya varjitam suta-dhvamsa-vaira-karam A I building lacking a southern hall is called chulli it causes loss of prosperity, one in which there is no western hall (the so-) called Pakshaghna, occasions the loss of children and (the) enmity.' (BrihatSamhitd, LOI, 38, J.R.A.S., N. S., Vol. vi, p. 286.) ' ; PAKSHA-SALA A side-hall. Madhya-koshthasya Sale tu bhadra-sala viseshatah Paksha-s"alanvitam vatha urdhva-salanvitarh tu va (Af., 287 I I xxxra, 518-519.) AN ENCYCLOPAEDIA OF PAftKA PAftKA A moulding of the pillar. Sikharasyordhve pattochcham uttarochcham samam bhavet Tad-urdhve vajanam pankam nimnam kumbham sadandakam I I (M., xv, 126-127.) In connexion with joinery Eka-rupa(rh) cha : pankam cha vidhih syad eka-rupakam I (M., xvn, 153.) PACHANALAYA A kitchen, the refectory of a temple. built a beautiful stone temple with Devanam pachana-mandapam the torana-gate and the surrounding walls, having provided the temple with a flower garden, kitchen, pond and suitable environs.' (Ep. Carnal., ' Vol. x, Kolar Taluq, no. 132 PANCHA-TALA The ; Roman fifth Text, p. 54 storey, ; Transl., p. 49.) the five-storeyed buildings. xxm, 1-55.) attached and (M., A description of the The eight classes fifth (ibid., storey (M., xxxi, 48-51). 1-48 ; see PANCHA-PRAKARA-HARMYA under PRASADA). The various detached buildings constructed in the five courts into which the whole compound is divided (see PRAKARA). (M., xxxi, PA&CHA-BHUMI (see PANCHA-TALA) The 2.) the five fifth storey, storeyed buildings. PANCHA-SALA The enclosure wall of the fifth court. (M., xxxi, 28, 29.) Cf. Tatah panchama-sala cha maha-maryadim iritam I (M., xxxi, 13, PANCHAYATANA A phallus with five heads. (Chalukyan Architecture, Arch. Imp. PANJARA A cage, etc.) an aviary, a nest, Surv., New Series, Vol., xxi, p. 39.) an architectural object, windows. The cages for domestic birds and animals, such as pigeon, tiger, are counted among the articles of furniture (M., L, 50-55), their etc., architectural description (ibid., 213-288). (Kamikagama, LV, 134-146 see under NASIKA.) ; PANJARA-&ALA A storeyed buildings, architectural object. small top-room, a small window, a class of a type of bedstead, a moulding, a nest-like 288 PANJARA SALA. PATRA PATRA PAT Rfr -TOK.A h< A_ -TL r^? PLAN CAGE FOR PARROT. PANJARA PANJARA AS FALSE WINDOW. 2SS PATTI HINDU ARCHITECTURE (1) A Manasdra small room above the dome (stupi) Etat panjara-salam cha padmam ekarh sikha-trayam : : I (M., xv, A class of the seven-storeyed buildings PRASADA) (A/., xxv, 27 ; . A synonym of the A member of the bedstead (M., pillar (M., in, n). xv, 89, 98, 99-103, etc.) connexion with buildings of one to twelve storeys Sala-kuta-dvayor-madhye chaika-hara sa-panjaram In 131.) under see : I (A/., xix, (2) Kdmikdgama, xxxv ; 75 57 see also ; Panjara-dvitayarh karyarh karna-kuta-samodayam L, Ibid, 92 178, etc.) : 1 1 : Kuta-Salanvitam yat tu panjarais cha samanvitam (vimanam) Ibid., LV, 196-198 (the synonyms of the panjara) Pramana-bhavanam karma-prasadasyashtakarh tatha Sabheti kuta-nama syach chhaya valabhi(r) eva cha Brahma-dvararh tato madhye mandaparh koshthake matam Riju-vaktrarh dvijavasam kridarh syat sirhha-vaktrakam II : I 1 1 1 1 I (3) Panjarabhidhanarh syat Suprabheddgama, xxxi, 80 II further (See Kuteshu nasika-yuktarh koshtham prakirtitam v. 79, under NASIKA.) Between the " karna-kuta " and " sala '' are found some kinds ' (4) little S. windows 1 1 also ' called panjara. (Dravidian Arch., Krishnaswami Aiyangar, p. 5.) His son Kangala-deva having by Jouveau-Dubreuil, wandered ' (5) I etat (See ed. NASIKA.) : Eka-nasikaya yuktarh panjararh samudahritam of under details abroad (as a and brought alms, had a kuta-panjara made for the god Hanumanta, and that fame might come to all, had a lipi-sasana made and set up it. (Ep. Carnal., Vol., vn, Channegiri Taluq, no. 17, mendicant) ' Transl., p. 180 (6) See Roman Text, ; p. 317.) Chalukyan Architecture xcvm). (Arch. Surv., New Imp. Series, Vol. xxi, Plates xxvi, See Mysore Arch. (8) See Cunningham (7) PATTA PATTIKA A ") - Report (1915-16, p. 22, Plate x, : Arch. Surv. (Vol. i, fig. 2). Plate v, p. 6). fillet, a moulding of the base, etc., an ornament for the body, a crown, a diadem, a turban, an upper garment, a cloth, a plate, band, a 289 AN ENCYCLOPAEDIA OF PATTl a slab, a seat, a junction, a town, an edict, a lintel (M., xix, 149), a staircase (M., xxx, 140-143), a spoke (M., XLIII, u). with the moulding called "vajana" be of the same form especially in pedestals and bases as it appears to to be used in the same situation, and to have the same height and projection with the latter, but when employed in architraves and 'It (1) friezes its is often confounded ' height and projection increases considerably. (Ram Raz, Ess. Arch. Hind., p. 25.) In connexion with the plough (2) (M., 52, 61, 73). In connexion with the foundations : phala-patta, tri-patta, madhya- v, patta : Pattikantarh kshipech chapi vinyaset prathameshtakam (M., A of the pedestal (M., xni, 5, 49, crowning moulding lists of mouldings under UPAPITHA). A moulding of the base (M., xiv, 13, 26, 48, of mouldings under ADSHISHTHANA) A moulding of the pillar (M., xv, 121, 35, etc.). In connexion with the staircase (M., xxx, 140). In connexion with the door (M., xxxix, 73, etc.). In connexion with the bedstead (M., XLIV, 18, 19, An ornament for the body see I XH, 203.) 82, etc.; the see etc.; the lists . etc.). : Kati-sutrarh tu samyuktam kati-prante sa-pattika 27 ; see I also 28, etc.) (A/., L, Athava ratna-pattam syat svarna-tatarika-karnayoh I (M., LIV, 47.) Compare ' Patta-dhara, crowns. special (M., LI, 3, ' and ' ' Patta-bhaj, kings, with meaning 4.) Bhagais tribhis tatha kantah khantha-pattas tu bhagatah Bhaga (? go) bhyasam urdhva-pattaS cha sesha-bhagena pattika (3) I Nirgamas tu punas tasya yavad vai sesha-pattika The neck (of the pedestal of an idol or phallus) 1 ' 1 1 1 is made of three parts and the band of the neck of one part. The abhyasa (?) is one part, the upper band is also one part, and the remaining Its projection should extend as part is pattika (fillet or band). ' far as the last pattika. (Matsyet-Purana, Chap. CCLXII, w. 3, 4.) (4) Vedikam prastara-samarh shad-amsikritya bhagasah Ekamsam prati-pattam syad amSabhyam antari bhavet Crdhva-vajanam ekams'am amSam tat-pattika bhavet I Ordhva-pattarh tad-ekamsam antari kusumair yuta (Vdstu-vidya, ed. 290 Ganapati 1 1 1 I 1 Sastri, ix, 23, 24.) HINDU ARCHITECTURE PATTA-BANDHA Polakesir apy-avadid anujan pratibaddha-pattam avantu (5) I Pulakesi too declared to his brethren (in the presence of his vassals) that they were to support the encircling diadem of his sons and grand' sons. ' (Grant of Kusumayudha IV, line 18, Ind. Ant., Vol. xxxn, pp. 282, 284.) PATTANA(-NA) sible (see A PATTANA) town, a commercial city acces- by water-ways. (1) Kautillya-Artha-Saslra xxii, p. 46, footnote) (Chap, : Pattanam sakatair gamyarh ghatikair naubhir eva cha Naubhir eva tu yad gamyarh pattanam tat prachakshate II Drona-mukharh jala-nirgama-praves'arh pattanam ity-arthah I I (Rayapaserii-sutra-vyakhydnc, p. 206.) (2) Karya-vikraya-sarhyuktam abdhi-tira-samasritam Des"antara-gata-janair nana-jatibhir anvitam 1 Pattanam tat I 1 samakhyatarh vaisyair adhyushitam II (Kamikdgama, xx, 8, 9.) PATTA-BANDHA The coronation, a crown, a class of bases comprising four types which differ from one another in height and in the addition or omission A of some mouldings. of mouldings under ADHISHTHANA (M., xiv, 297-304). part of the crown (M., L, in). See the lists ' ' at the time of his coronation. Nija-patta-bandha-samaye (Six Eastern Chalukya Grants, Bervada Plates of Ghalukya-Bhima I, line 20, Ep. Ind., Vol. v, pp. 129, 130.) patta-v(b)andhaKapitthakagrame mahotsave tula-purusham aruhya. The term Pattabandha, which literally means " binding of the " has been generally supposed to signify " coronation cerefillet Mr. D. R. Bhandarkar. mony." But, it does not suit here. (Cambay Plates of Govinda IV, line 46, Ep. Ind., Vol. vn, pp. 40, 27, note 2.) Godavarl-tata-samipasthe ' ' Kurundakam agatena maya Sri-patta-bandhotsavaya (The grants of Indraraya m, no. I n, line 47, Ep. Ind., Vol. ix, pp. 36, 40, 25, note 2 refers to Vol. vn, p. 27, note a.) Coronation and crown . . . : dva-dasa-varshe tu janmanah ravim iva to please the world the ' of year (his) birth. fillet Yo'dhad ' udaya-girindro Put on 291 pattam I lokanuragaya (crown) in II the twelfth AN ENCYCLOPAEDIA OF PATTA-SALA ' (his son Niravadya-dhavalah Kataka-raja-patta-Sobhita-lalatah whose forehead was with the decorated was) Niravadyadhavala, Ammaraja See religious establishment. Mandhata in, (Maliyapundi grant of II, lines 40, 45, Ep. Ind., Vol. ix, pp. 53, 55, 56.) PATTA-SALA A Vol. Dr. Hultzsch. (crown) of Katakaraja.' fillet Plates of Jayasiriiha of Dhara n, Ep. (line Ind., pp. 49, 47). (To provide) for the eight kinds of ceremonies of the god Cf. Mallinatha of the patta-sale(la) which they had made within ' (Ep. Carnal., Vol. v. precincts of that Santinatha basadi.' Belur Taluq, no. 129; Transl., p. 86 ; Roman Text, p. 193.) Part i, PANDI-&ALA A kind of hall, a two-storeyed mansion consisting of a single row of building which look like a broken staff at the forehead part above the second storey. (M., xxxv, 97 PATTANA (i) A A A A PATTANA) (see on the bank of a new village inhabited mostly see details settlement. by traders (Vaisyas). (At., town (M., seaside under SALA.) a town, a commercial city village, river or sea, a ; ix, 456-457.) x, 40). commercial city : Abdhi-tira-pradese tu nana-jati-grihair vritam I Vanig-jatibhir akirnam kraya-vikraya-puritam Ratnair dvipantarair nityaih kshaumaih karpuradibhih Etat pattanam akhyatam vaprayata-samanvitam I I I (M., x, 63-66.) (it) A seaside commercial city inhabited mostly by tradesmen. (Kamikagama, xx, 8, 9 (3) ; see under PATTANA.) Kaufilya-Artha-Sdstra (Chap, xxn, p. 46, footnote) Pattanam sakatair gamyarh ghatikair naubhir eva cha Naubhir eva tu yad gamyam pattanam tat prachakshate : I II (Rayapasenisutra-vydkhyane, p. 206.) (4) Pattanani jala-sthala-pathayor anyatara-yuktani (5) Tad-bhuktau pattanam ramyarh Samipatiti namakam I (Prafna-vydkarana-sutra-vyakhyane, p. 306.) (The Chahanas of Marwar, no. of Katukaraja, v. 6, Ep. ' (6) to Piriya-Rajaiya-Deva, be rebuilt and gave it son the of name 292 iv, I Sevadi stone inscrip. Ind., Vol. town xi, p. 31.) caused (pattana) of Piriyaraja pattana (patana in , this HINDU ARCHITECTURE the no. 15 (7) father his of killing Whoever calls it Singapattana is guilty and mother.' (Ep. Carnal., Vol. iv, Hunsur Taluq. himself. text) after 84 ; Dva-trirhsa(t) tu ; Transl., p. PATRA-PATTA . . . Roman Text, p. 135-136.) velavuramum ' (the people of) towns, 62 seats of contemplation. Kanarese Inscrip. at Terdal, line 60, Ind. Ant., Vol. xiv, pp. yoga-pithamum . . basashti ashtadasa-pattanamum the thirty-two seaside towns, the 18 (Old (held a convocation there).' . 19, 25.) (8) Grama-nagara-kheda-karvvada-madamba-dronamukha-pattanamgalimdam aneka-mata-kuta-prasada-devayatanarhgali-dam oppuvaagra- hara-pattanamgalirhdam atisayav-appa. ... [At Teridala, a merchant town situated I first in centre and the the in ' importance' among the twelve (towns) in the glorious Kundi Thousand, adorned with] villages, towns, hamlets, villages Three surrounded by hills, groups of villages, sea-girt towns, and chief with mansions, cities, elegant palaces and temples, and with shining the in (Old Kanarese country of Kuntala. agrahara-towns ' . Inscrip. at Terdal, line 58, Ind. Ant., Vol. xiv, ' (9) pations, With pp. . . 25.) 19, of people, practices of virtues, agreeable occustreams of the (nine) sentiments, pleasure gardens, separated myriads lovers, splendid tanks, full lotus beds, gilded boats for spring festivals, the supports of dharmma and ghatika-sthanas (religious centres), mines of enjoyments, moats which were as if the sea being overcome had returned here |on account of the collection of gems, groups of the lotus faces of beautiful women fair as the moon (grama-nagara- kheda-kharvvana-madamba-drona-mukha-pura-pattana-raya-dhani), whatever side one looked in these nine forms did the Kuntala shine. (It on des"a ' should be noticed that the passage within brackets is almost indentical with the corresponding passages in quotation no. 8 above). (Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 197; Transl., p. 124, para, last seven lines, Roman Text., p. 124, line 27 f.) PATRA A i, a leaf-like ornament, a moulding. An ornament of the pillar (M. xv, 36, etc.). A member of the sala or hall (M., xxxv, 402). leaf, : Vatsararambha-lekhartharh almanac on. -(M., L, 49.) In connexion with the balance patram Cf. See more details (M., leaf-shaped for writing 190-191, 197, 199). diadem, a moulding. crown (M., XLIX, 16). moulding of the base (M., xiv, 345). turban L, leaf under BHUSHANA. PATRA-PATTA A A A (tula) A or 293 the AN ENCYCLOPAEDIA OF PATRA-KALPA PATRA-KALPA A set of ornaments for the use (M., PATRA-TORANA An arch Bala-chandra-nibhaih L, 3, chitritam patraiS of kings and gods. ; see under BHUSHANA.) under TORANA.) details (see 6 patra-toranam II (Kamikagama, LV, 64.) PATRA-BANDHA A PRASTARA) of type entablature details (see under . Pada-vistara-samyuktam patra-bandham iti smritam I (Ibid., PATRA-VALLI-(KA) A moulding of the entablature LIV, 6.) (Af.,xvi,54), of the arch (M., XLVI, 65). See more details under PRASTARA. PATHA A (i) road, a street, a way, a path. Kautiliya-Artha-Sastra (measures of various paths): Antareshu dvi-hasta-vishkambharh parsVe chatur-gunayamam anu- prakaram ashta-hastayatarh deva-patham karayet Dandantara dvi-dandantara va charyah (ashta-hasta-pramanaI margah-Rayapaseni-sutra-vyakhyane, p. 13) karayet Bahir jauu-bhaginirh tri-Sula-prakara-kutavapata-kantaka-pratiI saradi-prishtha-tala-patra-gringataka-Sva-darhshtrarga-lopaskan- dana-padukambarisodapanakaih chhanna-patharh karayet I (Chap, xxrv, p. 52-53.) Trayah prachina raja-margas traya undlchina iti vastu-vibhagah Sa-dva-daa-dvaro yuktodaka-bhumich-chhanna-pathah I I Chatur-dandanatra rathya rashtra-vivlta-pathah raja-marga-drona-mukha-sthainya- I Sayoniya-vyuha-^maSana-grama-pathas chashta-dandah Chatur-dandas setu-vana-pathah I I Dvidando hasti-kshetra-pathah I Pancharatnayo ratha-pathaS chatvarah paSu-pathah Dvau kshudra-pa^u-manushya-pathah I I (Chap, xxv, 54-55.) PADA A part, the foot, a plot of the site plan (see PADA- VINYASA). (i) Vastu-yaga-tattva by Raghunandana Purdna without further reference quotes from : Ghatuh-shashti-padam vastu sarva-deva-griham prati Ekafltis-padam vastu manusharh pratisiddhidam II 2 94 I the Linga- HINDU ARCHITECTURE PADA-VINYASA (2) Brihat-Samhitd (LIU, 42) : Ekaslti-vibhage dasa dasa purvottarayata rekhah Varahamihira apparently dees not give different rules for temples I and residential buildings. (3) The'' foot; the site plan (M., LVII, 47, etc. vu, ; 1-267; see under PADA-VINYASA). PADA-VINYASA The ' The plan its showing plan, the site plan. the respresentation of the horizontal section of a building, and extent of its various parts distribution, the form is where the parts are represented in their The modern architects consider other plans too natural properties. in the perspective plan objects are represented on a definite surface so as toTorm a certain "position to affect the eye in the same manner as the This the geometrical plan is : would objects ^themselves building (\\ is ; shown.'-- (Gwilt Mdnasdra (Chap, vn, The geometrical : while in the raised plan the elevation of a Encycl. of Arch., Glossary, p. 1240.) named PADA-VINYASA) plans concerning the are described in this chapter (lines site plot, it is : There is no mention of is given there is all about plan. plot or the piece of ground selected to receive the Thirty-two kinds of square plans are described (lines 2-40). or the building. are designated They 1-267). 1-267 rather than a building, What the perspective or the raised the site, by technical names. The one a site of one which may be square, rectangular, round, oval or sixteen-sided, called Sakala. thef third,* Pitha, Upapitha, fifth, is is first is The second is of 4 plots, named PaiSacha or Pechaka ; of 9 plots ; the fourth, Mahdpitha, is of 16 plots ; the of 25 plots ; the sixth, Ugra-pitha, is of 36 plots ; the the eighth, Chandita, is of 64 plots ; is of 49 plots ; the ninth, Parama-iayika, is of 81 plots ; the tenth, Asana, is of 100 the eleven th,]_Sthdni)/a, is 121 plots ; the twelfth, Desj/a, is of 144 plots plots ; ahe thirteenth, Ubhaya-chandita, is of 169 plots ; the fourteenth, seventh, Sthandila, ; is of 196 plots ; the fifteenth, Mahdsana, is of 225 plots ; the sixteenth, Padma-garbha, is of 256 plots ; the seventeenth, Triyuta, the nineis of 289 plots ; the eighteenth, Karndshtaka, is of 324 plots Bhadra, ; the twentieth, Surya-vitdlaka, is of 400 the twenty-first, Susarhhita, is of 441 plots ; the twenty-second, plots ; Supratikdnta, is of 484 plots ; the twenty-third, ViSdlaka, is of 529 plots ; teenth, Ganita, is of 369 plots ; the twenty-fourth, Vipra-garbha, is of 526 plots ; the twenty-fifth, Viveia, of 625 plots ; the twenty-sixth, Vipula-bhoga, is of 676 plots ; the twentyseventh, -Viprakdnta, is of 729 plots ; the twenty-eighth, Vitdldksha, is of is 784 plots ; the twenty-ninth, Vipra-bhakti, is of 841 plots ; the thirtieth, the thirty-first, Isvarakdnta, is of 961 is of 900 plots ; VtiveJa-sara, 295 AN ENCYCLOPAEDIA OF PAD MA- (K A) plots and the ; 2-50, see also thirty-second, 51 Chandrakanta, of 1,024 plots (M. VH, 271). Nagara-grama-durgadya(-der) (2) is griha-prasada-vriddhaye siddhaye Ekas"iti-padair-vastu(m) pujayet See Surv. Reports, dhruvam I II (Agni-Purana, Chap, cv, v. (3) Arch. Cunningham, Vol. n, Plate xcvii i.) (site plans of Saiva temples), p. 419; Plate xcvm (site plans of Vaishnava Vol. xx, Plate xx (site plan of a Jaina temple) temples), p. 421 Vol. xxi, Plate XLII (site plan of Slab temples of Kundalpur) Vol. . ; ; Plate xxm, xvni plan (site the Svastika figures) Vol. xn, Plate Plate xxi (peculiar plan of a temple). ; See (4) temple of Naulakha, mark Vol. xvn (plan of a temple) of Jaina v of Hindu Iconography, elements (Appendix A, pp. 1-45, diagrams facing pp. PADMA-(KA) A reversa or reversed lotus, an cyma ; by i, T. A. Gopinatha Rao n). eye, a moulding, a also called ogee or cyma recta, a cyma talon (see Gwilt, 869, 869), a site plan, a pavilion, a type of village, a class of buildings. EntycL, figs. ' (i) The moulding, called Padma (abja, ambuja or saroruha, etc.), It is literary lotus, is supposed to resemble a petal of that flower. a sort of compound figure, partly convex and partly concave and its ; section is composed point of a line drawn of two opposite curves, meeting at the bisecting between the points of recess and projection, and very much resembling the "cyma recta" and "cyma reversa'' of the Western architects. This moulding is distinguished into greater and less, and forms the principal ornaments of Indian architecture. generally employed, in detached pairs, in bases and cornices, the other in opposite directions, and is formed upright or the reverse according to its situation, either as a member It is one facing crowning of the former or the supporting ornament of the latter. The concave part of it, when placed with its bottom reversed, is often so designed as to project forward or rise up, after having touched as it were, the fillet below, with a small perpendicular curvature, resembling in shape the petal of the lotus, with its pointed head somewhat inclined towards the top. In some specimens, this moulding is placed at the of columns, and looks very much like an apophyge or ogee of and Corinthian orders being formed either with a curved line having more or less convexity at the top, or with an upright to the concave part below. It is sometimes made tangent exactly in the form of an ovolo of the Western architects. ' (Ram Raz, Ess. base the Ionic Arch, Hind., p. 32-24.) 296 HINDU ARCHITECTURE Mdnasura A site PADMA-PlTHA : plan (M., vm, 36 f., of village (M., rx, 2 see A kind A xiv, ; PADA-VINYASA) under GRAMA). . see moulding of the pedestal and the base (M., xm, 41, 61, 64, 68, etc. 68, etc. see the tests of mouldings under UPAPITHA and ADHISHTHANA). ; ; A type of pavilion Evam : padmakarh proktarh devanarh pachanalayam Padmakhyarh pushpa-mandapam. ... tu I I (M., xxxiv, 173, 180 A moulding of pitha (3) Stambham nyah or the pedestal of the phallus (M., v.'bhajya see ; LII, MANDAPA.) 31). navadha vahanam bhago ghato'sya bhago' - I Padmam tathottaroshtham kuryad bhagena bhagena Here, Kern's rendering of padma by capital seems untenable. (Brihat-Samhita, Lin, 29, J.R.A.S., N. S., Vol. vi, p. 285 ; see details under STAMBHA.) 1 ' ' ' A type of building which is planned like a lotus, has and one spire, and is (?) 8 cubits wide (sayanash^au) (4) Brihat-Samhita (LVI, 23, see (5) (6) A class (71 (8) 1 ' only one storey : under PRASADA). Matsya-Purana (Chap CCLXIX, vv. 30, 39, 49, 53 see under PRASADA; Bhavishya-Purdna (Chap, cxxx, v. 30 see under PRASADA). ; ; of round buildings : Agni-Purana (Chap, civ, w. 17-18 see under PRASADA). Garuda-Purdna (Chap. XLVII, vv. 21, 23, 28-29 see under PRASADA.) ; ; PADMA-KANTA A on a seat special type of pillar (M., xv, 38). It is based Its cornice or edge of (asana), plinth or lotus (cyma). the capital is decorated with opening buds. Its base is decorated with a bridge-like moulding (palika). The ornamental fillets are constructed and two angulas (i inches) on all sides are adorned with foliage, jewels, flowers, etc. (ibid., 30-37). A class of the six-storeyed buildings (M., xxiv, 3-12 ; see under PRASADA). PADMA-KE$(-S)ARA A type of base, a kind of throne. A class of bases (M., xiv, 81-94 see under ADHISHTHANA). A type of throne (M., XLV, 11-12 see under SIMHASANA). ; ; PADMA-GARBHA A site plan - into in which the whole area is divided 256 squares. (M., PADMA-PlTHA A lotus-shaped pedestal for (M., 297 VII, 21.) an image. LI, 86.) AN ENCYCLOPAEDIA OF PADMA-BHADRA PADMA-BHADRA A type of throne. (M., XLV, 12 under SII&HASANA.) see ; PADMA-BANDHA A differ class of bases comprising four types which from one another in height and in the addition or omission of some mouldings. (M., xiv, 170-194 A ; lists of mouldings under ADHISTHANA.) the see Suprabheddgama, xxx, 18-22) Utsedham sapta-virhSat tu dvi-bhaga pattika bhavet base : (cf. 1 EkaihSam dalam evoktam upanarii chaika-bhagikam 1 I Jagati tu shad-ams'a syad dvi-bhagardha-dali-kramat 1 1 Ardha-bhagarh bhavet skandham bhagam urdhva-dalam tatha Tri-bhagam kumudam vidyad adho'bjam bhagam eva tu Pattika chaika-bhaga tu griva chaiva dvi-bhagika 1 I 1 I Tad-urdham eka-bhagarh tu padma-bandharh Dvi-bhaga pattika ya tu cka-bhagena yojanam Tad votes' chaika-bhagarh tu padma-bandham PADMASANA A is image A tata upari 1 1 I iti smritam 1 1 a lotus-like posture in which carved, a throne, a type of base, a kind of pedestal. lotus seat, lotus-shaped pedestal and base of a column (M., xv, 67 type of throne (M., XLV, 12 see under SIMHASANA). A A lotus-shaped PARATA ; an XLVII, 19). ; pedestal for an image (M., LW, 36, etc.). (corrupted into The PARATA) parapet, the coping of a wall. mudana parafavanu Chamaraja Badaviya Cf. Durggavanu Chamaraja constructed the fort and the eastern parapet of that same Badavi.' -(Sanskrit and Old Kanarese Inscrip., no. LXXXVII, lines 13, ' 14, Ind. Ant., Vol. x, p. 63, notes 51, 53.) PARAMA-$ADHI(-YI)KA A divided into 81 equal squares site (see plan in which the whole area is PADA-VINYASA). (M., vn, 10, 72, no : almost same in mi, 42 f.) and of a wall Bfihat-Sarhhitd, In connexion with the plan of a village (M., ix, 174) (M., XL. 72). PARARTHA-LIftGA A phallus for the public worship. (M., PARIKHA A LII, ditch, a moat, a trench 898 243 ; see round a details fort or under LINOA.I town. I i Q HINDU ARCHITECTURE Manasara (1) PARIKHA : In connexion with a village and a fortified city : VapramSa-bhitti-rakshartham paritah parikhanvitam I (M., Sarvesham api durganaih vapraiS cha parikhair vritam ix, (M., x, Bahye prakara-samyuktarh paritah parikhanvitam 1 06.) I (M, Paritah parikha bahye vapra-yuktam tu karayet 354.) I ix, 450.) I (M., x, 108.) Paritah parikha bahye kuryad grameshu sarvasah I (M, (2) Kautiliya-Artha-fdstra (Chap, xxiv, pp. 51, 56, paras. 62, etc.) ix, 2, 3) : dandantara karayet chatur-daSa dva-daa daSeti dandamivistirnah vistarad avagadhah padunam ardharia va tri-bhaga-mula mule chaturarah pashanopahitah pashaneshtakatu baddha-parsva va toyantikoragas toyapurna va sa- Tasya parikhas tisro parivahah padma-grahatih Chatur-dandavakrishtam parikhayah shad-dandochchhritam avaruddharh tad-dviguna-vishkambham khatad vaprarh karayet I I Chap, xxv, para, Dvarani bahih parikhayah i Ibid., (3) : I Durga-gambhira-parikham durgam anyair dur-asadam SarvataS cha maha-bhimah ita-toyaayah ^ubhah 1 Agadha graha-sampurnah parikha mina-sevitah I 1 1 1 (Ramqyaria, Yantrais tair avakiryante parikhasu samantatah Parikha^ cha SataghnyaS cha yantrani vividhani cha i, 5, 13, vi, 3, 17, 23.) 15.) 1 1 1 1 (Ibid., Parikhabhih sapadmabhih sotpalabhir alamkritam 1 1 (Ibid., (4) Parighe for Parikhe Ep., Ind., Vol. (5) iii, vi, 5, 2, 14.) (Satyamangalam plates of Devaraya u, v. 22, pp. 38, 40). Durllamgha - dushkara - brihat-parikha-parita vibheda-viSala - sala-durggadha - dustara- I (The city of Kanchi) whose large rampart was insurmountable and hard to be breached (and) which was surrounded by a great moat, unfathomable and hard to be crossed.' (Gadval Plates of Vikra' maditya i, v. 6, line 21, Ep. Ind., Vol. x, pp. 103, 105.) 299 AN ENCYCLOPAEDIA OF PARIKHA-DURGA parikhambu-pratibirhbitair alaih ya (6) Kanakojjvala-sala-ras'mi-jalaih vasudheva vibhati badabarchchir vrita-ratnakara-mekhala-parita Through the mass of the rays (which issue from) its golden walls, and which are reflected in the water of its moat, this (city, Vijayanagara) closely resembles the earth, that is surrounded by the girdle of the ocean, which is encircled by the lustre of the submarine fire.' 1 1 ' (Vijayanagara Inscrip. of Devaraja lines II, 7-8, Vol. H.S.I. I., no. i, 153, pp. 162, 164.) 61, Roman Text, For 126 last verse, p. PARIKHA-DURGA A ditch-fort, details see Sukraniti, etc., ' Malavalli Taluq, Transl., p. 62.) ; a fort. , under DURGA. Cross-bars to fasten the door, a PARIGHA(-GHA) named the fort in (Ep. Carnal., Vol. in, having a deep moat.' Malavalli, no. Malavalli namni Durge subhima-parighe (7) beam ; metal bolts. (Chhand. Upanishad, n, 24, 6, 10, 15.) (1) Dvau dvau parighau Chatvaro elephants.' (2) (Kautiliya-Artha-Sdstra, four beams hasti-parigha (Ibid., Chap, xxiv, p. 53.) to Chap, xxxiv, p. 53). shut the door against Dridha-vaddha-kapatarh maha-parighavanti cha I (Ramayana, PARINAHA Vriti, Avriti vi, 3, n.) Otherwise called Marga, Praves"a, Parinaha, Naha, and Nata, the width, breadth, circumference, extent. Griva-madhya-parinahas' chatur-virhs'atikangulah I Nabhi-madhya-parinaho dvi-chatvarims'ad-arigulah the middle of the neck is 24 angulas. the middle of the navel is 42 angulas. I The width by The width by w. 43, 58 ; see also w. 41, 54. 55. 5 6 > 57. 59. 6 3> 66 . etc -) (Matsya-Purana, Chap. CCLVIH, 5> 47. See Mdnasdra ckhakatika mddhava (in, Sisupdla-vadha PARIMANA Mrich68, etc.) Kirdtdrjunlya (xii, 20, etc.) MdlatiMahdvira-charita ; etc.) 24, (vn, etc.) 13, etc.) Stana-parindha, etc.) ; Ratndvalt (n, (LX, (in, 9, 15 (i : 5i> 53 ; ; ; ; 19, etc.). The measurement of width or circumference. (M., LV, 3-9 PARIRATHYA A ; see under MANA.) road suitable for chariots (A.-V., vn, 300 8, 22 ; xii, HINDU ARCHITECTURE RARIVARA(-RALAYA) PARIVARA(-RALAYA) The family the attendant deities ; the subordinate temples, attached or detached, of a large religious establishment, where the attendant deities are enshrined. ; (1) Mdnasdra, Chap, xxxn (named Parivara) The temples of these deities are stated to be : round the Pra- built kara (the fourth enclosure ) Sarvesham api devanarh prakaranta-pravishtake : Paritah parivaranam lakshanarh vakshyate' I dhuna (1-2) I At the eight cardinal points of the innermost or the first cour the temples of the group of eight deities are built (lines 3-5). The groups of sixteen and thirty-two deities are housed in the second and the third court respectively (lines 6-7). Between the third and the fifth court is stated to be the Viniyoga (offering) -pavilion (line 8). The description of the location of temples for each of the deities of these three groups is given (lines 10-119). The temples of the attendant deities of Vishnu are specified (lines 121-156). The temples and the attendant deities of Ganesa and Kshetrapala and also those of Buddha, Jina and all such petty (kshudra) gods are passed over and stated to be built in accordance with the rules of Sdstras (lines 157-166). should be noticed that the description of temples intended for many deities does not contain any measurement, etc. It is solely It so occupied with the position of these temples or deities in the compound. But a considerable portion of the chapter is devoted to the description of the mandapas (pavilions) for such purpose as bath, bed, assembly, horses, musicians, dancing 67-101). Etc parivara vastoh pujanlya prayatnatah and cows, girls, etc. (lines (2) I (Mahdnirvana-Tantra, xin, 45.) (3) ParsVatas chapi kartavyam parivaradikalayam side (too) should be built temples for the I At the attendant and other deities. (Matsya-Purdna, Chap. CCLXX, v. 30.) ( 4) Parivaralaye tunga-harmye anyasmin prakalpayet 1 1 (Kdmikdgama, Parivaralayanarh tu kulavat karma chacharet Salanam tu chatushkoneshv-ishta-dese pragrihyatam L, 69. I Malika-yukta-salarh chet kona-stambhe dvitiyake Prathamavarane vapi dvitiyavarane nyaset 1 1 I 1 (Ibid., 301 1 xxxi, 95, 96.) AX ENCYCLOPAEDIA OF PARI-VENA (5) Pancha-prakaram evam syat parivaralayarh srinu Prasadasya chaturtham va tad-ardham vardham eva va 1 1 Matrlnam tu I (of female deities) alayarh kuryad gopurakaram eva II Hasti-prishtharh tapa (tarn) proktam prasadam tu vis"eshatah Madhyam tu pachanakaram chatuh-salaika-s'alakam 1 Prakara-sarhyutam kritva bahye vabhyantare" pi va I 1 II (Suprabhedagama, xxxi, 128-31.) Then 133, see follows the description of their faces and doors vv. 131- (ibid., under DVARA). ' (He) gave to the (image of) PiUaiyar Ganapati in the surrounding hall (parivaralaya) of the temple of the Lord Sri RajarajesVara one brass spittoon (padikkam) which he had caused to be made of octagonal (6) shape in the Ceylon fashion (Iraparisu) (and) which weighed palaia.' (Inscrip. of Rajaraja, no. 36, H.S.I.I., Vol. u, p. 149 f.) This image was probably in the central shrine and was known (7) as Alaiyattu Pillaiyar perhaps to distinguish him from the Parivaralaiyattu-Pillaiyar set up apparently in the enclosing verandah of the ' (V. S. temple.' ' The Vol. n, no. 85, p. 407, last para.) 1. 1., gold presented until the twenty-ninth year (of the king's reign) by the Lord Sri Rajarajadeva to (the image of) Pillaiyar Ganapatiyar in the parivaralaya of the temple of the Lord Sri Rajarajesvaramudaiyar ' . . parivaralayah, i.e. the temple (alaya) of the attendant deities . (parivara) which was probably in i, p. 410, note I.) the enclosing hall.' no. (Ibid., 86 para, ' One bell-dish in Ganapatiyar rajesvaramudaiyar (8) was presented ... to (the shrine of) Pillaiyar parivaralaya of the temple of the Lord Sri Raja. , . . ' . . . no. (Ibid., 88, p. 412.) Parivara-devata-vistaramarh linga-pratishtheyam madisidam I He also set up a linga, with the associated gods, in Bandanika.' (Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 242; Transl., p. 139, para. 6, last ' two lines ; Roman PARI-VENA Text, p. 248, lines 1-2.) Monk's cell, the private dwelling o,f a Bhikhu within the monastery. (W. Greiger PARNA-MANJUSHA A basket : Mahavamia, made of leaves, an article p. 294.) of furni- ture. (A/., L, 47, 132-146 302 ; see details under BHUSHANA.) PARNA MANJUSHA. PADMA PITHA. r PADMA. PAD A HINDU ARCHITECTURE PARYANKA A couch, a bedstead. Mdnasdra, Chap. XLIV (named Sayana) Bedsteads are meant for the use of deities, the twice-born and all : other people : Devanarh cha dvi-jatlnam varnanarh sayanarthakam (i) the small and kinds the They (bala-paryanka) large I are of two (paryanka) children and the the other 26, (lines latter its by The former 28). used by size alone. various parts of the two kinds of bedsteads are described separately (lines 3-79). The materials of which bedsteads are various PARVATA A be to by the grown-up, the one being distinguished from The measurement and constructed intended is class and kinds of timber seats (asana) are generally (line 74). of buildings. Kuta-sala-samayukta punah panjara-nasika Vedika-jalakopeta parvatakritir uchyate 1 I 1 (Suprabhedagama, xxxi, 52.) See details under PRASADA. PAXLANKA A bedstead. (Ckullavagga, vi, 141 PAVANA A Mahdvagga, v, ; 10, 3.) type of chariot. (M., A PASTYA(A) home with dwelling house, a XLIII, stall for 113; see horses under RATHA.) (asvapastya), adjuncts and surroundings, a family settlement (harmya-pastya), a noble man's abode with stables, etc., a group of houses, a river having groups of houses on its banks. (R.-V., i, 25, a its 10, 40, 7, 164, 5 ; ix, 65, xix, 55, 23 ; 30 x, ; iv, i, ii ; vi, 49, 46, 6, 96, 10, n vn, 97, 5 9 ; ; ix, 86, 41 class 7, 291, 27, A.-V., vi, 77, i ; of the twelve- storeyed buildings once pre- vailing in the ancient country of Pa.ncha.la (the PAD A vni, i.) PAN CH ALA A For ; ; details, see (see Gangetic Doab). M., xxx, 8-10, under TALA and DRAVIPA. STAMBHA) The foot, the lowest part, a quarter, the fourth part, the architrave, a pillar, a column, (i) M., xv (named Stambha), 1-448 Its synonyms are jangha, charana, : stali, stambha, ahghrika, sthanu sthuna, pada, kampa, arani, bharaka, and dharana (ibid., 4-6). 303 AJf PADA-JALA ENCYCLOPAEDIA OF Atha vakshyami samkshepat pada-manarh yatha-vidhi Uttaropanayor madhya-gatam etat prakirtitam II (2) (Vastu-vidya, ed. The (3) 47 ; architrave of the entablature Ganapati I Sastri, ix, i.) (Kdmikdgama, xxxv, 27 ; LIV. TW under PRASTARA). measures of pada (pillar), adhishthana (4) The comparative and prastara (entablature) Padayamam adhishthanam dvi-gunam sarva-sammatam Padardham prastaram proktam karnam prastaravat samam (base) : I 1 1 (Suprabheddgama, xxxi, 28.) The five kinds of pillars and their characteristic features. (See Suprabheddgama, under STAMBHA.) PADA-JALA An ornament for the foot. 33 (A/., L, PADA-BANDHA A class ; LI, 59 ; LIV, 17, etc.; see BHUSHANA.) of bases. (M,, xiv, 10-32 the see ; lists of mouldings under ADHISHTHANA.) A base in connexion with the bedstead : Pada-bandham adhishtahnam sarva-jatyarhakam bhavet I (M., XLIV, 44.) Cj. Suprabheddgama (xxxi, 23-26) : Adhishthanasya chotsedham chatur-viihsati-bhajitam Dvi-baga pattika prokta hy-upanam chaika-bhagikam Shad-bhaga jagati prokta kumudam pancha-bhagikam I Ekamsa Ekamsa pattika prokta griva chaiva tryamsaka 1 1 1 pattika viddhi (h) tr(i)yam^a chordhva-pattika Maha-pattika tr(i)yam^a ekam vajanam uchyate iti khyatarh sarva-karyeshu pujitam 1 I 1 Pada-bandham PADA-BANDHAKA A 1 I 1 1 type of throne. XLV, 15; (A/., see under SIMHASANA.) PADA-VEDl The storeyed base of a Buddhist stupa (Mahdthe balustrade, the railing. varhsa, 35, 2), (W. Greiger Mahdvamsa, p. 297.) : PADAl^GA the Literally the lowest member, hence, the architrave or bottom portion of the entablature. (See PADUKA The The Kamikagama, LIV, 47, under PRASTARA. ) plinth, the pedestal, the base, a moulding. plinth or the base (M.. xiv, under ADHISHTHANA). 304 162 ; see the lists of mouldings HINDU ARCHITECTURE The pedestal (or base) of a PASHYA column : Tan-mule chasanam kuryat padukam va sahambujam Ekarhs'arii padukam kuryat pancha-bhagaih tu I samgraham I (M., xv, 31, 177.) A moulding bottom of the pedestal (M., at the xui, 43 ; the see lists of mouldings under UPAPIJHA). PARAVATA-NlDA A (M., PARIYATRA A class nest for the pigeon, L, 52, an An of furniture. description of its architectural details, 224-227.) of pavilions. (M., xxxiv, 154 PARS VA-PULI article ; see under MANDAPA.) ornament, a part of the crown. (M., XLDC, 94.) PAR&VA-PURITA Same as karna-pura or patra (M., XLIX, 96, 106, 115, 117-119, 141 ; ear-ring. 14-26,302.) cf. L, A boundary, a margin, an edge, an ornament, a bridge-like moulding of the column. Atha vakshye viSeshena kumbhalankaram uchyate Tan-mule palikotsedhe vibhajet tu shad-ams'akam PALIKA(-I) I I (M., xv, 201-202; see also 33, 70, etc.; In connexion with the lips 220, 44, xxxvn, cf. 4.0.) : Tr(i)yams"ardhadharayam chardha(m)-chandravad-akriti Tri-vaktram chottara pali cha( ? sa) ntarais" chaiva samyutam I (M., XLV, 95-96 PALIKA-STAMBHA A kind of pillar. (A/., PASUPATA A ; I see also 89.) xv, 39-73; see under STAMBHA.\ kind of phallus. (M., PASHANA-KORMA A stone 111, tortoise, 2 ; LXVIII, 2 ; see under LINGA.) a component part of a phallus. (M., PASHANA-VEDI The usually stand, PASHYA cf. LII, 178.) stone terrace on which the sacred trees MahdvamSa, 36, 52. Stone-bulwarks. (R.-V. 305 i, 56, 6.) AN ENCYCLOPAEDIA OF PINDA PINDA The testicle, its sculptural details. (M., -LXV, 1 66.) PINDIKA The pedestal of an image, a seat, the yoni (see P!THA) of or the the part pedestal phallus. Dvara-manashta-bhagona pratima syat sapindika Dvau-bhagau pratima tatra tritlyariis'a(s') cha pindika (1) ' I The 1 1 (i.e., pedestal) ought to have a height diminished by one-eighth, of which two-thirds idol along with the seat equal to that of the door, and one-third to the seat.' (Brihat-Samhitd, J.R.A.S., N. S., Vol. vi, pp. 318, 323, 329.) are appropriated to the image, i.vi, 16 ; also LVIII, 3, 54 ; Linga-puja-pramanena kartavya pithika budhaih Pindikardhena bhagah syat tan-manena tu bhittayah (2) I 1 1 (Matsya-Purana, Chap. CCLXIX, v. 8.) Pratimayah pramanena karttavya pindika Subha Garbhas tu pindikardhena garbha-manas tu bhittayah (3) I 1 1 (Agni-Purana, Chap. XLII, v. Arddha-bhagena garbhah syat pindika pada-vistarat Panch-bhaglkrite kshetre'ntar-bhage tu pindika Garbho bhagena vistirno Pindika kona-vistirna 1 1 bhaga-dvayena pindika 1 1 m idhyamanta hy-udahrita II Atah pararh pravakshyami pratimanarh tu pindikarh Dairghyena pratima tulya tad-arddhena tu vistrita (Ibid., Then Chap, (4) follows a lengthy description (see cv, v. 30 ; Chap. LX, v. ibid., 1 I 1 civ, vv. i, 5, 24.) Chap, v. Chap. LV, i, f. also i). Manashtamena bhagena pratima Dvau bhagau pratima 10.) I syat sapindika tatra tritlyo bhagah pindika 1 1 1 1 Tri-bhagaih pindika karya dvau bhagau pratima bhavet (Bhavishya-Purana, w. The yoni 22, 32 : 1 1 Chap, cxxx, Chap, cxxxi, (5) part or the pedestal of the phallus Lirigam cha pindikam chaiva prasadam gopuram tatha (6) Kuryad ekam pindikam v. 6.) : I (Suprabhedagama, xxx, 28.) PII^DI ^A tarn tu par^ve I (M., LII, 152.) base for an image, the yoni part or pedestal of the phallus. (Inscrip. from Northern Gujarat, no. vn, line 8, Ep. Ind., Vol. n, p. 27, see details under PiTHA.) 306 HINDU ARCHITECTURE PlTHA(-THIKA) Pitha upon, hence means a wooden is PlTHA(-THIKA) possibly corrupted from pi-sad to stool, seat, chair, throne, pedestal, altar. 21 seat (Vdj. Sam., xxx, : Taitt. Bra., in, 4, 17, i), sit A low rectangular, plain or carved and sometimes with painted designs. The pedestal of an idol, the yoni part of the phallus, a pavement, chairs of various kinds (Mahdvagga, v, 10, 2 ; see BHADRAPITHA, ETAKA-PADAKA PITHA). Fire-altars of the Vedic and Brahmanic periods built on river banks, mistaken by Alexander for memorials, which Chandra Gupta Maurya utilized for sacrificial purposes. A site-plan of nine square plots. (M. vii, 4). The well-known fifty-one Pitha-sthanas are the sacred spots where the limbs of ParvatI, consort of Siva, fell after she had been cut to pieces by the discuss of Vishnu. As the linga or phallus symbolically represents Siva, so the pitha does his consort Parvati. The pitha forms the yoni or the lower part of the phallus. Mdnasdra (Chap. The LDI, pitha must named PITHA) : match the phallus of which it forms the lower It should, therefore, be of as many kinds as there part (line 49). are phalli. But the mouldings of the pitha are described under four classes, technically called Bhadra-pitha, Sribhadra, SrlviSala, and (lines 34. 36, 39, 41). The principal parts of the pitha are the nala (canal), thejaladhara (gutter), the ghrita-vari (water-pot), the nimna (drip), and the pattika (plate) (lines 22-27). The com- Upapitha ponent mouldings are prathama or janman (base), padma (cymal, kshepana (projection), kandhara (neck, dado), kampa (fillet), urdhvapadma (upper cyma), vajana (fillet), ghrita-vari (water-pot), or vritta-kumbha (circular pot) (lines 30-33^. With regard to shape, the pithas, like the phalli and all other and sculptural structures, are divided into three types, the Nagara, Dravida, and Vesara (lines 46-47). The Nagara pithas are said to be square, the Dravida pithas octagonal, and the Vesara pithas circular or round (lines 53-54). architectural A site plan in which the whole area squares. A pavement on (M., vii 4; see is divided into nine equal PADA-VINYASA.) the side of a road : Pechakarh vatha pitham va rathya yuktarh tu vinyaset (M., 37 I ix, 423.) AM ENCYCLOPAEDIA OF PITHA(-THIKA) In connexion with the palm of the hand : Patra-tulyam yugangulyam pithe tuhga(ih) dvayangularh I (M., The pedestal of an image Uttamam lohajaih 197.) : bimbam pithabhasaih tu chottamam (M., The L, pedestal of the phallus (M., (2) Etat samanyam uddishtarh LI, 19 ; 16 see also LVI, ; I LXII, 13, etc.) 245, 246, 247.) LII, prasadasya hi lakshanam Linga-manam vakshye pitho linga-samo bhavet Dvaravat pltha-madhye tu s"esham sushirakaih bhavet I ato (Garuda-Purana, Chap. XLVII, vv. II 1 1 n, The pedestal or the yoni part of the linga (3) Linga-vishkambha-manena bhaved dvi-tri-chatur-gunah 16.) : Tatha pancha-guno vapi pitha-vistara ishyate (Kdmikdgama, The altar L, 45 see also ; I It vv, 44, 47, 48, 50.) : Brahma(-me) va madhyame bhage pltham parikalpayet (Ibid., Panch-daSa-karantam tu kuryad avrita-mandapam Mandapena vina vapi tena manena pithika 18.) II I Vibhadra va sabhadra va kartavya malika budliaih 1 1 xxxv, 99, 100.) (Ibid., ' II xxvin, projecting part of the basepi$hika a tree, etc. round the Buddhist ment, resembling railing Here (4) ' would indicate the Yaval lihgasya vishkambham tri-gunarii pitha-vistaram II Pujams"arh dvi-gunam pltham tri-gunam va viSeshatah II Pijhasya tri-gunam garbham ta(t)-tri-bhagaika-bhittikam (Suprabhtdagama, xxxi, 9, n, I (5) tri-bhagikritya tat punah Bhaga-dvayena pratima Pithika bhagatah karya natinicha na chochchhrita II Pithika lakshanam vakshye yathavad anupurva^ah Pithochchrayarh yathavach cha bhagan shodasa karayet 12.) | (25) I Bhumavekah pravishtah syach chaturbhir jagati II mata (i) I Vritto bhagas tathaikah syad vritah patala-bhagatah II (2) Bhagais tribhis tatha kanthah kantha-pat^as tu bhagatah I Bhagabhyasam urdhva-pattafi cha Sesha-bhagena pat^ika Pravishtam bhagam ekaikam jagatirii yavad eva tu Nirgamam tu punas tasya yavad vai Sesha-pattika Vari-nirgamanarthaih tu tatra karyah pranalakah Pithikanam tu sarvasam etat samanya-lakshanam II (6) 1 1 (3) I 1 308 (4) 1 I ADHARA PATTA. SECTION. FOR SMALL SPACE IN TEMPLES ETC. CEILING PLAN SECTION CEILING PLAN. MAHA TAULI MAMA eODMiik* h CEILINQ PLAN SECTION PRACHChr;,",DANA. PHALAKA POTRA. PHANA. Pane SOS ^ BHADRA , -i J C PITHA. PLAN. SRIVISALA. P~THA AS PART OF LINGAM JM .p=n PRATOLI HINDU ARCHITECTURE PlTHA(-THIKA) Purna-chandra vajra cha padma vardha-sas"! tatha Tri-kona dasaml tasarh sarhsthanam va nibodhatah I II Devasya yajanartharh tu plthika dasa kirtitah II (19) Linga-puja-pramanena kartavya plthika budhaih II (7) (8) (Matsya-Purana, Chap. CCLVHI, v. 25 ; Chap. CLXU, vv. 1-4, 6-7, 19 ; Chap. CCLXIX, v. 8.) Vibhajya navadha garbham madhye syal linga-plthika (Ibid., the idol 5 cubits high, is its v. 15.) XLII, v. 22.) Chap. CCLXIX, eka-hasta dcvasya Pancha-hastasya (6) When I tu plthika pedestal is one cubit. I (Agni-Purana, Chap. One pedestal (pitha) on which the god and the goddess stood, (measuring) one muram and two viral in length, sixteen viral in ' breadth, and six viral in height. (Inscrip. of Rajaraja, no. 30, para. 7, ' (7) Vol H.S.I.I., ii, 137.) p. One pedestal (surmounted by) a lotus (padma-pltha) on which this (image of Panchadeha Siva) stood (measuring) three viral and four torai in height, and fifteen viral and four torai square.' (Inscrip. of Raja' (8) raja, no. 30, on a pillar of the south enclosure, para. 4, H.S.I. I., Vol. n, p. 138.) ' (9) The hero Madavan of Anda . . . (Ep. Carnal., Vol. x, Kolar Taluq, no. got this 109 b ; pldam (pedestal) made.' Transl., p. 40.) He had a temple and a bali-pltha built for the god Chandra-sekhara, the processional form of the god Sankaresvara of Kergodi.' (Ibid., Vol. VH ' Tiptur Taluq, no. 72 ' (10) ; Transl., p. 57.) Whose daughter, Vinapati, having bestowed the at this very place and having made a pedestal (pitha) and Old Kanarese inscrip., no. xciv, entire gift of a Hiranya-garbha, god with rubies.' Ind. Vol. Ant., ' (Sanskrit x, p. for the line 7, 103.) He made petition at the feet of Vidyaranya-Sripada, representing that in Srihgapura, in (connexion with) the dharmma-pltha (religious (n) simhasane dharmamaye, in the original) established by Sankaracharyya(-charya, in the original), there must be a matha and agrahara.' throne, Of this dharma-pitha The Sringeri (simhasana) Mr. Rice further says or throne was established as is well known religious dharma-pltha (refers to the inscription quoted above) by Sankaracharya, the great Saiva reformer ' , : of the eighth century. It is situated on the left bank of the Tunga river, in a fertile tract near the Western Ghats. The celebrated scholar Madhava or Vidyaranya (forest of learning), author of the Veda-bhdshya, who was instrumental in founding the Vijayanagar Empire in 1336, was the head of 309 AN ENCYCLOPAEDIA OF PRITHIVI-DHARA the establishment at that time.' is (Then added that The the well-known commentator of the Rig-Veda. teristics are, architectural charac- (Ep. Carnat., Vol. vi, Sringeri Jagir, no. however, not given.) Transl., p. 95, last para.; was Sayana, his brother Roman Text, f p. 195, lines i, 12 1 1; ; Introduct., p. 23, cities, sixty-four yoga- para. 5.) Possessor of ' (12) and plthas, thirty-two velama, eighteen sixty-four (Ep. Carnat., Vol. vn, Shikarpur ghatika-sthanas.' Taluq, no. 94; Transl., p. 61, line yf; (13) Dva-trirhsat tu velavuramum Roman Text, p. 114, line 4 f.) ashtadasa-pattanamum basashti- yoga-pithamum aruvattanalku-ghatika-sthanamum I the 18 towns, 62 seats of (The poeple of) the thirty-two seaside towns, (held a convocation.)' contemplation, and 66 religious centres Kanarese inscrip. at Terdal, line 60, Ind. Ant., Vol. xiv, pp. 19, 25.) ' . . . (Old ' Having thirty-two velama, eighteen (14) cities, and asramas at the four points of the compass.' sixty-four yoga-pithas, (Ep. Carnat., Vol. Shikarpur Taluq, no. 1 18 ; Transl., p. 86, last para., line 6.) Made a grant ... of the Mallasamudra village (15) ' to the Sadali throne (pithika). ' in, . . belonging (Ep. Carnat., Vol. x, Sidla-ghatta Taluq, no. 94; Transl., p. 194, last para.) a pedestal (Ranganath (16) Pithi Ep. Ind., Vol. . VH, inscrip. of Sundara-pandya, v. 19, pp. 13, 16). (17) Purana-pithe pitharhtararh sa chaturarh vidhivad vidhaya (Chebrolu Inscrip. of Jaya, postscrip., Ep. Ind., I lines 7-8, Vol. v, pp. 115-151.) a platform of stone (see Specimens of Jain Sculptures (18) Pithika Mathura, Plate in, Ep. Ind., Vol. n, p. 320). from PRITHIVI-DHARA A (1) (2) type of oval building. Agni-Purdna (Chap, civ, vv. 19-20, see under PRASADA). Garuda-Purdna (Chap. XLVII, vv. 29-30 see under PRASADA). ; PUNDARlKA A class of the seven-storeyed buildings. (M., xxv, 3-23 PUR A fortification, a small fortified ; place, see a under PRASADA.) township (see NAGARA). PURA A big fortified city as in Tripura and Mahapura described in the Yajur-Veda and Brahmdnda-Purdna (see references under NAGARA) but apparently less pretentious than the capital cities (nagara), a castle, a fortress, a village, a fortified town, a city, a wall, a rampart, a house, an abode, a residence, the female apartments, a store-house, an upper storey. 310 PURATO-BHADRA HINDU ARCHIECTURE A town (M., x 39, etc.). Gramadinam nagaradinam pura-pattana-kharvate village (M., ix, 215, etc.), a I Koshtha-koladi-sarveshaih garbha-sthanam ihochyate I 168-169.) (A/., xii, Khetanarh cha puranam cha gramanarh chaiva sarvas"ah Trividhanam cha durganarh parvatodaka-dhanvinam II Param ardhardham ayamarh prag-udak-plavanaih puram Chatur-asra-yutarh divyarh prasastam taih puram kritam I 1 1 1 1 and anushamgapdda, (Brahmanda-Purdna, Part i, Chap, vii, vv. 105, 107, 1 08 Pura-madhyam samasYitya kuryad ayatanarh raveh (Bhavishya-Purana, (4) ' ; see also v. 93.) I Chap, cxxx, v. 40.) Karkkotadhma-raksharh svapuram idam atho nirmarae Javrishakhyam named Javrisha, the protection of which was then built this town of his entrusted Ant., Vol. (5) to (Buddhist Stone inscrip. from Sravasti, lines 4-5, Ind- Karkota.' xvn, pp. 62, 63.) Jagapala puram jatarh krite dese punar nnave in the ed site, the town of Jagapala grew up (i.e., was built). Rajapal, line 12, Ind. Ant., Vol. xvii, p. 140.) ' (6) (Rajim inscrp. of With myriads of people, practices of virtue, agreeable occupastreams of the tions, newly re-creat- (nine) sentiments, pleasure gardens, separated lovers, splendid tanks, full lotus beds, gilded boats for spring festivals, ghatika-sthanas (religious centres), the supports of dharmma and mines of enjoyment, moats which were as if the sea being overcome had returned here on account of the collection of beautiful women as the moon (grama-nagara-kheda-kharvvana-madamba-dronamukha pura-pattana rajadhani) on whatever side one looked in these fair nine forms did the Kuntala-desa shine. pur Taluq, no. 197; Transl., p. p. 214, line ' (7) The Balligave.' last two 27 124, para. ' (Ep. Carnal., Vol. vn, Shikar- I, last seven lines; Roman Text, f.) three puras belonging to the great royal city (? rajadhani) (Ep. Carnal., Vol. vii., Shikarpur Taluq, no. 99; Transl., p. 66- lines.) PURATO-BHADRA (see MUKHA-BHADRA) The front tabernacle, a porch, a portico, a vestibule. of Siva) kritva devalayam karitammamdapa-sobhitarh cha purato-bhadrarh pratolya saha Deva-Sri-sasibhushanasya yugmam I have not b en able to find purato-bhadra in the Kos"as to which have access, but sarvato-bhadra is described as a kind of house (?) ' I (i.e., I with four doors facing the four 3" quarters (here refers to Ram AN ENCYCLOPAEDIA OF PURI(-l) here a village Raz's Essay on Architecture of the Hindus, 1 834, p. 43 same name). a house of the not is described called sarvato-bhadra From this I infer that a purato-bhadra was a building with only one ; ' Mr. Hira Lai. door in front. But there does not seem to be much doubt that purato-bhadra and mukha-bhadra are identical and that they are an essential part of ancient the tabernacle. buildings, resembling (Kanker inscrip. of Bhanudeva, v. and note 125, A PURI(-I) more or Hindu 7, less Ep. Ind., Vol. ix, front pp. 127, Ep. Ind., 4.) temple, an adytum, a building, a town. (The second Praiasti of Baijnath, Vol. PURUSHAjsjJALI foundations the v. 25, pp. 117, 114; i, no. 32.) see also The palm of a man. upon which It refers to the depth of one to twelve storeys are of buildings stated to be erected. Khanayed bhutalarh sreshtharh purushanjali-matrakam va Silantarh va (M., xvin, 6-7.) Jalantam The depth is stated here to reach water or stone under ground. Hence the expression seems to imply a depth measured by the height of a man with uplifted arms. The following passage seems to be a parallel instance I . . . I : Chihnam pitah Puta-bhedakas" cha tasmin pashano bhavati toyam adhah Commentary 1 ; ' ' man be understood the (or 5 cubits). note i.) 1 purusha-sabdenordhnva-bahuh purusho jneyah sa cha is angula-satam bhavati by the word purusha : virhsat-adhikarh to mrit- manduka-panduro'tha chardha-purushe api I (Brihat-Samhita, with uplifted arms, that is, 120 ahgulas LIV, 7, J.R.A.S., N. S., Vol. vi, p. 301' PUSHKARA A blue lotus, a part, a portion, the forepart of the nose (M., LXV, 84), water, a cage, a type of building, a class of buildings (Kdmikdgatna, XLV, 61, 63 PUSHKARINI (see TADAGA and VAP!) Datia-putrena thai ' By made ; PUSHKALA A class under MALIKA). A tank, a lotus-pool. Norena pukarani karavita savrasapana puyae the Thera Nora, a tank was caused to be the son of Dati, for the worship of all Swat, Ind. Ant., Vol. xxv, see p. 141, snakes. ' (New Kharoshti and Vol. xxxvn, 312 from p. 66.) of storeyed buildings, a roof. inscrip. tree, a type of pent- HINDU ARCHITECTURE A PUSHPA-VATIKA class of the two-storeyed buildings (M.. xx, 94, 42-43 see ; under PRASADA). A A tree (M., xv, 354, etc.). kind of pent-roof (M., xvm, 188). PUSHPAKA A Kubera, a bracelet, a type of flower, the car of pavilion, a class of buildings. pavilion with sixty-four pillars (Matsya-Pu.ra.na, Chap. CCLXX, v. 7 ; under MANDAPA). A of buildings, rectangular in plan and Griharaja, (3) Salagriha or Salamandira, class (2) (6) Brahma-mandira or Brahma-bhuvana, (9) Vesma (7) named (i) Ba(va) labhi Visfila, (4) Prabhava, (5) Sama, and (8) Sivika, : Agni-Pu'dna (Chap, civ, vv. 11, 16-17 see under PRASADA). see under PRASADA). (2) Garuda-Purdna (Chap. XLVII, vv. 2-22, 26-27 (1) '> ; PUSHPA-PATTA A flower plate, a turban, a head-gear, a tiara, a diadem. (M., LXIX, PUSHPA-PUSHKALA A 1 6 ; see details under BHUSHANA.) of bases. class see the lists of 97-112 mouldings under ADHISHTHANA.) (M., xiv, PUSHPA-BANDHA A ; window of flower-band type of (M., XXXHI, 584 PUSHPA-BANDHANA-MANDAPA A ; see design. under VATAYANA.) detached building where flowers are garlanded for the worship of the deity. Pushpa-danta-pade chaiva pushpa-bandhana-mandapam I (M., xxxii, 42.) PUSHPA-BODHAKA A type of capital. (M., xv, 155-168 PUSHPA-BHADRA A ; see under STAMBHA.) pavilion with sixty-two pillars (Matsya-Purana, Chap. CCLXX, v. 7 PUSHPA-RATHA A ; see MANDAPA.) chariot. (Abulala-perumal inscrip. of Champa, lines 3-4, Ep. Ind., Vol. m, p. 71.) PUSHPA-VATIKA (see VATIKA) A garden, a bower, an arbour. Uttare saralais talaih subha syat pushpa-vatika I (Matsya-Purdna, Chap. CCLXX, v. 29.) 3J 3 PUMLlftGA ENCYCLOPAEDIA OF AJf PUIvlLlftGA (see Samchita) A class of buildings with the six main component parts (see under SHAD-VARGA) and with terraces, a masculine type of building, a division of the architectural and sculptural objects as distinguished from the faminine (striliriga) and "neuter (napumsaka) types. Alinda-sahitaih shad-varga-sahitam cha yad arpitam Sarhchitam proktarh pumlihgarh tad ghani-kritam 1 Devanam asuranarh cha siddha-vidyadhareshv-api (bhogyam) I cha prasastanam Raksha-gandharva-yakshanarh I 1 janminam II (Kamikagama, XLV, the See 8, 9.) Mdnasdra and the Agamas under PRASADA, and compare STRI- LINGA and NAPUMSAKA. PURANA-KAMBA A ' The panel or flat vase, a moulding. part of the back wall of each recess between the is ornamented projecting tower-like compartments, very florid object called purana-kambam.' by a vase or some (Gangai-Kondo Puram Temple, Vol. PORTA A well, (1) well, (2) ix, p. 118, Ind. Ant., c. 2, para 4.) a pond, a step-well. Purtam vaprkupa-tadakadikam \vell, and pond, etc. (the word) purta implies the step- Vapl-kupa-tadakadi-devatayatanani cha I Anna-pradanaramah purtam ity-abhidhiyate step- well, well, pond, and the temple (and) the pleasure-house (aim-house, hotel) where food is given (gratis) these are called the 1 1 The ' purta.' (3) Vapi-kupa-tadakadi-purtam ayatanani cha Svarga-sthitirh sada kuryat tada tat purta-sajnitam I The step well, well, pond and temples the residence in heaven (for the doer), are purta. always ensures reason designated for this it is I It as purta. (Quotations from the Commentary, KaSyapa, on the Brihat-Samhitd, LVI, 2 ; J. R. A. S, N. S., (4) Vapi-kupa-tadagadi-devatayatanani cha Vol. vi, pp. 316-37, note i.) I Anna-pradanaramah purtam aryah prachakshate 1 1 (Ep. Ind., Vol. iv, p. 318, note 3.) PRISHTHA-SDTRA The plumb-line drawn by (M., LXVII, 80 ; the back-bone. see under PRALAMBA.) PRACHCHHADANA HINDU-ARCHITECTURE PECHAKA An owl, the tip or root of an elephant's bed, a shelter on a street, a site plan of four squares. a couch, a tail, (M. In connexion with streets in a village Pechakam vatha pithaih va rathya yuktarh tu vinyaset vii, 3.) : I (M., PAI&ACHA (see PADA-VINYASA) A site 423, etc. ix, plan of four squares. (M. POTA(-I)KA (POTTIKA) A part of a column, the vii, 3.) of a site house. Tat-samotsedham potikalarikriti-kriya (Kamikagama, uv, u.) I Potikantavalambarh va tulantaritam antaram (Ibid., 23.) under MAKARA-TORANA) a the bottom of column. of (Suprabhedagama, xxxi, 60; part Pottika A I (ibid., LV, 69 ; see . under see STAMBHA.) POTRA A moulding, an architectural object resembling the snout of a hog or a ploughshare. In connexion with joinery : Karkatanghrivat kritva potra-nasanghrim vesayet I (M., XVH, 143.) PAUSHTIKA (see UTSEDHA) breadth, a class of buildings. See Mdnasdra (xxxv, 22-26) under ADBHUTA. A class A which height and compare is i\ of (L, 24, 28) Kamikagama of the two-storeyed buildings (M., xx, 93, 19-25 ; see the , under PRASADA). PRAKOSHTHA(KA) The forearm, a hall, a room near the gate, of a palace, a court, a quadrangle, a part of the door-frame. Ekarhsam madhya-bhadram tu madhye yuktya prakoshthakam (M., xxvi, The forearm I 1 08.) : Prakoshtharh shodasamsarh syat talam ashtamsam ayatam I (M., LVH, 26, PRACHCHHADANA A covering, etc.) a canopy, the roof, an entab- lature. A synonym of the entablature (M., xvi, 18 ; In connexion with the three-storeyed buildings see under PRASTARA). : Prachchhadanopari stambham karna-harmyadi-manditam I (M., xxi, 315 9.) AN ENCYCLOPAEDIA Of PRANALA(KA; The roof : Prastarasyopari-deSe karna-harmyadi-manditam I Yuktya prachchhadanam kuryat sudheshtakadi-gulodakaih I (M., xxxi, 69, 72.) Padarh vayate taulirh kuryad yuktya. vichakshanah T-.id-urdhve jayantikarii kuryat tat-tat-prachchhadananvitam I I xxxm, 373-374-) (A/., Prachchhadanankanam kuryan na prachchhadanam eva cha I (M., xxxv, 295.) tathaisake Prachchhadanam yatha-harmye dvararh kuryat I (A/., xxxviii, 7.) Prastarochcham proktam prachchhadanam ihochyate Prasadadini(-nam) sarvesharh prachchhadanadi-lakshanam Etat prachchhadanam gehe proktarh mama munisVaraih Anyat-vastuni-(nam) sarvesham prachchhadanam ihochyate iti I I I 120-121, xvi, (A/., 143-144 the ; I proposed description, ibid., 121-142, 145-168, 170-204.) The materials of which they arc constructed : Kevalam cheshtaka-harmye daru-prachchhadananvitam Sila-harmyc sila-taulim kuryat tat tad viseshatah From this passage especially, indicates the roof of a building. it I I apears that the term ' ' prachchhadana 133-134.) (Ibid., The drip or channel-like part of the pedestal of the linga (phallus), a gutter, a canal, a patter, a bracket. PRANALA(KA) (1) Vari-nirgamanartham tu tatra karyah pranalakah Therein (in the pedestal) should be made the pranala (gutter) as an outI let for water. (Matsya-Purana, Chap. Ardhangula-bhruvo-raji pranala-sadrisi sama (2) Chap. square or round platter or bracket to which a spout ornamental purposes v. 6.) I (Ibid., A CGLXII, CCLVIII, v. 37.) is attached for : Aisanyam pranalam syat purvasyam va prakirtita 1 1 (Kdmikagama, LV, 82.) See Mdnasdra, LII, 298, etc. PRANALA(-LIKA,-LI) A canal, a spout, a conduit, a water- course, a drain. Pituh punyabhivriddhaye karita sat-pranaliyam ... This conduit has been built ... for the increase of his father's spiritual merit.' (Inscrip. from Nepal, no. 8, Vibhuvarman's inscrip., line 2 f., Ind. Ant. (i) I ' y Vol. ix, p. 171, c. 2.) 316 PRATIMA HINDU ARCHITECTURE Kugrame (2) ' cha pranalikayas line 15, p. n no. (Ibid., 174.) PRATIKA(-I) synonyms, khanda-sphutita-samadhanartham water-course in Kugrama.' for repairing the spout of the see A moulding of crescent shape, the frieze M., xvr, 42-44. It is shaped like a petal for its ; in two parts (M., xvi, 45). A moulding of the base (M., xiv, 39, 138. 148, etc.; mouldings under ADHISHTHANA}. A moulding of the column (M., xv, 217 xxxm, 225, etc.). (2) Pratim nivesayet tasya tri-tri-bhagaika-bhagatah II (1) see the lists of ; Anyayos" chardha-chandrabha pratl karya dvijottamah 1 1 (fCamikdgama, LIV, 44, 46.) PRATI-KRAMA A differ class from one another of bases comprising four types which and in height in the addition or omission of some mouldings. (M., xiv, 44-64 under ADHISHTHANA.) see ; Vedikeyarh tu samanya kuttimanam prakirtita Pratikramasya chotsedhe chatur-virhs'ati vibhajite I (Vastu-vidyS, ed. II Ganapati Pratikramam viseshena kartavyam pada-bandhavat (Suprabhedagama, xxxi, 26 PRATI-BANDHA A ; ste 1 the details under PADA-BANDHA.) moulding of the base. (M., xiv, 324 PRATI-BHADRA One ; the see lists of mouldings under ADHISHTHANA.) of the three classes of the pedestals, the Mancha-bhadra and Vedi-bhadra it has four types from one another in height and in the addition or omission other two being differing 1 Sastri, ix, 19.) : of some mouldings. (M., xm, PRATIMA A 5389 ; see the lists of mouldings under UPAP!THA.) moulding, an architectural object. In connexion with foundations : Brahma-garbham iti proktam pratimam tat sva-rupakam Evam tu pratimam proktam etad garbhopari nyaset I I (M., xn, A moulding of the base (M., xiv, 61, 137, 279 under ADHISHTHANA). 31 ? ; see the lists 149, 166.) of mouldings AN ENCYCLOPAEDIA OF PR ATI MA PRATIMA An image, an idol, a bust, a statue. Mdnasdra, Chap. LXIV (named Pratima) Description of the images of the sixteen attendant deities of the : (1) Vishnu temple (lines 1-92). choktarh tatha ratnaih tu vinyaset Cf. Pratimam lohajam I (M., LXX, 100.) Pratimadhikara (M.. LXVII, colophon). An image (2) or idol (Brihat-Samhild, LVI, 16, J.R.A.S., N. S., Vol. iv, p. 318). Eka-hasta dvi-hasta va tri-hasta va pramanatah Tatha sarva tri-hasta cha savituh pratima subha I (3) (Bhavishya-Purdna, II Chap, cxxxii, Athatah sampravakshyami sakalanarh tu lakshanam (4.) Sarvavayava-drisyatvat pratima tv-iti chochyate IsVaradi-chatur-murttih pathyate sakalarh tv-iti 1 1 v. II 1 (Suprabheddgama, xxxiv, Angushtha-parvad arabhya vitastir-yavad eva tu Griheshu pratima karya nadhika sasyate budhaih Ashodasa tu prasade karttavya nadhika tatah (5) i.) 1 I 2.) I 1 1 I Madhyottama-kanishtha tu karya vittanusaratah II Dvarochchhrayasya yan-manam ashtadha tat tu karayet Bhagam ekarh tatas tyaktva pari^ishtam tu yad bhavet II Bhaga-dvayena pratima tri-bhaglkritya tat punah Pithika bhagatah karya nati nicha nachochchhrita I I 1 1 (Matsya-Purdna, Chap. CCLVIII, vv. 22-25.) the Chamkirajena Supar^va-pratima uttama excellent image of Suparsva made by Chamkiraja adorns there.' (Honwad Vinirmmita (6) inscrip. ' rajate of Somesvara I, line 32, Ind. Ant., Vol. xix, 273.) p. (7) -An image (pratima) may be very lofty and yet have no beauty, or it may be lofty and of real beauty, but have no dignity but height, true beauty and exceeding dignity being all united in him, how highly is he worthy ; of worship in the world, GommatesVara, the very form of Jina himself. Should Maya address himself to drawing a likeness, the chief of Nakaor the Lord of Serpents (Adis"esha) to priase it, being so, who else are able to draw the likeness, to look unequal or praise the unequalled form of the southern Kukkutesa with fully upon loka (Indra) to look on it is ; it this wondrous beauty.' (Ep. Carnal., Vol. n, Vindhyagiri inscrip., no. 85 Text, p. 67 f.) In the presence of these gods, setting up the stone images (Sila-pratima) (8) the crowned of queen Lakshmivilasa, the lawful queen Krishnavilasa, and its Transl., p. 154, line 13 f. ; Roman ' 318 ; HINDU ARCHITECTURE PRATI-VAKTRA the lawful queen Ramavilasa, together with my own.' Chamarajnagar Taluq, no. 86 ; Transl., p. n, para. 3 para, last i, (Ep. Carnal., Vol. iv, Roman ; Text, p. 18, three lines.) Vichitiye Jina-dasiya pratima Bhagavata pitamahasa pratima pratish(Mathura Inscrip. no. 16, line 2 ; Bitha Inscrip. no. C, lines 1-3 ; thapita (9) I Cunningham, ' (10) Arch. Surv. Reports, Vol. in, pp. 34, 48.) In the highly celebrated Somanatha-pura he made a great temple up therein according to all the directions of the Agama the various and shone with the fame he had acquired, Somaincarnations of Vishnu, the Gayi-govala. Under the profound name of Prasannachamupati, chenna he set KeSava on the right-hand side, and the source of world's pleasure, his form Gopala, the lord who fills the mind with joy, Janardha these three forms, united among themselves, were the chief in the Vishnu temple in that pura. A cause of all manner of festivity were all the various forms around the enclosure, as they were all exhibited in different ways the Matsya and others, all the ten incarnations, Kes"ava and others, Sarikarshana and others, twelve in name, Narayana and others to the number of thirty-four, including eighteen, Krishna and others Ganapa, Bhairava, Bhaskara, Vishvaksena, Durggi, and such gods numbering seventy-three adorned the Vishnu temple in the middle of pura. And in the southsetting , : ; of the pura Soma-dandadhipa set and Bayiralesvara, with Revalesvara, east middle, . . . And he set up Bhava named and Lakshml-Nrisimha (Ep. line 7 Carnal., f. ; up Bijjalesvara, PerggadesVara, Somanatha Siva-linga in the Vol. Roman xi, Yoga-Narayana Somanathapura. Nrisirhhesvara, in the middle of the Kaverl at Davanagere Taluq, no. 36 Transl., p. ; 46, para. 3, Text, pp. 76, 77). PRATIMA-MANDAPA A detached building used as a temple, a pavilion. PRATI-MUKHA A moulding (M., xxxiv, 55.) of the base. (M., xiv, 1 02 ; see the lists of mouldings under ADHISHTHANA.) PRATI-PATTA (see PATTA) A moulding, a band, a plate, a slab, a tablet. (Vastu-vidya, ix, PRATI-ROPA A 23-24 ; see under PATTA.) moulding of the entablature. (M., xvi, 45 PRATI-VAKTRA A see ; the lists of mouldings under PRASTARA.) moulding of the base. (M., xiv, 118 3*9 ; see the lists of mouldings under ADHISHTHANA.) AN ENCYCLOPAEDIA OF PRATI-VAJANA PRATI-VAJANA A See Fletcher ' the It is concave moulding resembling the cavetto. (Hist. Arch., p. 101). same thing the in pedestal to answer to the vajana : its form, though generally rectangular, is sometimes, when placed in cornices, found to be externally a little more inclined to one side than to the other, and in this situation it resembles the cavetto.' Ess. Arch' (Ram Raz, Hind., p. 25.) Alingantararii chordhve prativajanam uchyate A moulding of the pedestal (M., xin, 58, in. 93, (M. XLV, in.) I etc. see ; the lists of mouldings under UPAPITHA.) A see the lists of mouldings moulding of the base (M., xiv, 39, etc. under ADHISHTHANA.) PRATlSRAYA Help, a shelter house for travellers, a dwelling house, a residence, a sacrificial hall, an assembly. ; Satra-prapa-pra(ti)sVaya-vrishotsargga vapi-kupa tadarama-devalafor the purpose of (supplying) requisite yadi-karanopakaranartham iha 1 i - - ) ' materials for preparing alms-house (feeding establishment), a place for distributing water gratis to travellers, a shelter-house for travellers, a below, Ind. Ant., Vol. xn, p. 142), reservoirs, wells, tanks, orchards, temples, etc.' (Cambay Plates of Govinda IV, line 58, Ep. Ind., Vol. vn, pp. 41, 46, note 8.) vrishotsargga (see - Chatu-6alavasadha-prati$raya-pradena arama-tadaga-udapana karena has given the shelter of quadrangular rest-houses, has made (2) ' (Nasik Cave and gardens.' Vol. vni, pp. 78, 79.) wells, tanks, inscrip. no. 10, line 2, Ep. Ind., 1 But pratiSraya, as I have stated in a note (Nasik inscr ption, the International Congress of the Orientalists held in London in 1874) is what is in these days called an anna-sattra, i.e. a house where travellers put up and are (3) fed without charge.' Hemddri house for (4) (p. 152) : Dr. Bhankarkar, and compares PratiSrayah pravasinarh asiayah, : i.e., a shelter travellers. Vahni-Purdna (p. 763, quoted also by Dr. Hoernle) Pratisrayarh suvistirnam : sad-annam sujalanvitam I Dina-natha-janarthaya karayitva griharh Subham Nivedayet pathisthebhyah Subha-dvararh manoharam I ' II be constructed for poor and helpless persons a praticommodious (wide), having food and plentiful water, provided with a good door, and charming, he should Having caused to Sraya (in the shape of) a good house, very dedicate it to travellers.' (Ind. Ant., Vol. xn, p. 142, c. 1-2.) 320 PRATOLl HINDU ARCHITECTURE PRATISHTHA An establishment, a fixed abode. (A.-V., vi, 32, 3, Sankh. Aran., XH, 14.) PRATI (see PRATI) A moulding. PRATOLl A gate-way, sometimes provided with a a small turret, the main road of a town. 1 i ) Rathya pratoli visikha syach flight chayo vapram astriyam of steps, I (Amarakosha, n, (2) ii, 3.) Trirhsad-dandamtararh cha dvayor attalakayor-madhye saharmyadvi-talarh dvy-ardhayamam pratollrh karayet I tri-dhanushkadhishthanam Attalaka-pratoli-madhye chchhidra-phalaka-sarhhatam indra-kos"am karayet Prakaram ubhayato mandalakam adhyardha-dandarh shat-tulantararh dvaram nivesayet sapidhana- I kritva pratoli- I (Kautillya-Artha-sastra, Chap. xxiV 5 paras. 8, 9, 15, pp. 52, 53.) (3) Mahdbhdrata (Cock) XIV, 25, 21 : : Tarn cha ttitam XII, 69, 55 (4) : V, 3, 1 8 17 (Lankam) : . . (5) See ' . . . (niveSah) | pandurabhih pratolibhir uchchabhir . abhisamvritam VI, 75, 6 I : Pratolivara-Sobhitah : sugha- Parikhas chaiva kauravya pratolir nishkutani cha Rdmayana (Cock) II, 80, sala-chayam srlmat sampratoli I I Gopuratta-pratolishu charyasu vividhasu cha Sanskrit Pratoli and its new Indian derivatives.' (J.R.A.S., The : I Vol. xix, July, 1906.) (6) abihramarh muni-vasatirh .svargga-sopanarupam kaubera-chchhanda-bimbam sphatika-marhdala-bhasa-gaurarh Kritva . . pratolim ' . . . . I Having made a gateway, charming . the abode of Saints, (and) the form of a staircase to heaven (and) having leading (and) resembling a (pearl-) necklace of the kind called Kauberachchanda (and) white with the . . adiance of pieces of crystalline gems.' That the word (pratoli) has the meaning in the present inscription of a gateway with a flight of steps seems to be shown by the comparison of the ' pratoli with a svarga-sopana or flight of steps, or ladder, leading to heaven, and by its being described as white with the radiance of pieces of crystalline gems (in the stones of which it of Kumaragupta, line 10, C. and note I.) was constructed).' 1. 1., Vol. in, F. G. 321 (Bilsad stone pillar inscrip. I., no. 10, pp. 44, 45, 43, AN ENCYCLOPAEDIA OF PRATYAttGA Hammira vira kva sa tava mahima nirdisarhti dhvajagrair-divyanirmita Kilhanena kara-pratoli-hridayami-bhuvo Astarh tavat pratoll tad-upavirachitarh koshthaka-dvarh-dvam- etat (7) I prochchair-alana-yugmarh Vijaya[vara]kareh Satrulakshmas cha sadma I (Hansi stone inscrip. of Prithviraja, V. S. 1224, vv. Asyam (8) Vol. XLI, pp. 19, 17.) 5, 6, Ind. Ant., uttunga-ringa-sphuta-aI-kirana- (svetabhasa-sanatharh- ramyarama) pratoli-vividha-jana-pada-stri-vilasabhiramam In this (city of Benares there was) a place, renowned on earth (bathed in the white light) of the bright rays of the moon (as they fell on its) lofty I ' charming with the gracefulness of the wives of the various inhabitants of the (beautiful and extensive, lit. whose extent was charming) turrets ; (Benares inscrip. of Pantha, v. streets.' Ep. Ind., Vol. kritina Deva-sri-s"asi-bhushanasya (9) 2, pp. 60, 61.) ix, karitarh devalayarh yugmarh mamdapa-sobhitam cha purato-bhadrarh pratolya saha Caused to be built two temples of the god whose ornament is the moon (viz. Mahadeva), together with halls, a purato-bhadra with a gateway.' I ' (Kanker note inscrip. of Bhanudeva, v. 7, Ep. Ind., Vol. ix, pp. 127, 128, 125, 3.) PRATYA&GA A minor limb, a moulding of the entablature. (Kdmikagama, LTV, 2 PRATYOHA (see UHA) Lit. an obstacle, ; see under PRASTARA.) hence any architec- moulding or member separating two others, a supporting member, a moulding, an architectural object. tural PRATHAMASANA Cf. The throne for the preliminary coronation. Prathamabhisheka-yogyarh syat prathamasanam eva cha I (M., XLV, 2-3.) PRADAKSHINA A surrounding terrace or verandah, a circumambulating path round a temple, a circular road round a village or town. (1) Sikharardhasya chardhena vidheya tu pradakshina Garbha-sutra-dvayarh chagre vistaro I mandalasya tu 1 1 (Matsya-Purdna, Chap. CCLXIX, v. 4.) (2) Pradakshinarh bahih kuryat prasadadishu va na va I (Agni-Purana, Chap, civ, v. 9.) (3) Sikhararddhasya charddhena vidheyas tu pradakshinah I (Garuda-Purdna, Chap. XLVII, v. 322 8.) PRAPA HINDU ARCHITECTURE See Matsya-Purdna above : except that this line is identical, it is used in number here. The procession-path round the cell called Pradakshina as that (4) round apse, remained for some centuries as a common but not a universal feature. The verandah disappeared. Round a windowless cell it was useless, and the pillared porches contained in themselves, all the elements of shelter or of the shadow that were required.' (Fergusson Hist, of Ind. the plural ' : and East. Arch., p. 221.) In the pradakshina or passage behind images, are other two gratings (5) over shafts from the lower hall.' (Ahmadabad Arch. Burgess Arch. Surv., ' : New Imp. Series, Vol. xxxni, p. 87.) PRADAKSHINA-SOPANA A surrounding flight (Kautillya-Arlha-sdstra of steps. ; under SOPANA.) see PRAPATHA A broad path, long journey by a broad road, high roads for travellers, rest-houses thereupon (R.-V., x, 17, 4, 6 63, 1 6 Kath. Sam., xxxvn, 14; Ait. Bra.) VH, 15). A prince is landed ; ; for his prapathas (R.-V., vra, PRAPA (PRAPAfrGA) A i, 30). shed on the roadside for accommodatis distributed, a with water, a place where water ing cistern, a tank, a building. travellers (1) Kulluka (M. W. Diet.} : Panlya-dana-griha a house where water is given (gratis). (2) Amarakosha (n, 5, 7) : Avesanarh silpi-sala A synonym of harmya (edifice) (M., n, In connexion with the staircase : (3) prapa pamya-salika I 7). Prapange pramukhe bhadre sopanarh purva-parsvayoh I (M., xxx, In connexion with mandapas (pavilions) Bhakti-manarh tatha bhitti-vistaram chapy-alindakam 105.) : I Prapahga-mandapakaram pancha-bhedam kramochyate (M., xxxiv, 3-4 ; I see also Madhye prachchhadanam kuryat prapangam vadhikalpayet Tasya madhye cha range tu mauktikena prapanvitam 15.) I I Mandapagre prapangam syat ... (Ibid., I see also 201, 218, 222; 224-225.) shed as an alternative for pavilion. Prapanga is shed with open yards. (M., xxxiv, 567-568.) (Ibid., 290.) Mandapasya bahir-dee praparh paritas tu karayet Prapa is I 323 AN ENCYCLOPAEDIA OF PRAPA In connexion with madhya-rahga (central quadrangle or courtyard) Devanam cha nripanarh cha sthanakasana-yogyakam : I Mukta-prapanga-manarh cha lakshanarh vakshyate'dhuna Yad-ukta-madhya-rahge tu chatus-trirhsad vibhajite I I Ekaikam-bhaga-hlnarh syat prapa-vistaram ishyate . . . prapa-tungam sivamam syat I I (M., XLVII, 1-4, In connexion with the pedestals of the images of the Triad Prapa cha toranam \api kalpa-vriksham cha sarhyutam I (M., (4) LI, Prag-varhsayor anya-vamsais" cha nalikera-daladibhih Achchhaditah(-ta) prapa nama prastararh chatra mandapah (6) 87.) I (Kamikagama, (5) 9.) : Prapayas cha II L, 88.) ' hall for the supply of water.' mandapam (Inscrip. of the Chandella Viravarman, v. 19, Ep. Ind., Vol. i, pp. 328, 330.) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan I Sauvarna-dhvaja-toranapana-pura-grama-prapa-mamdapan Vyadhapayad ayarh Chaulukya-chudamanih Here (shed) does not, evidently, mean a tank, which idea Prapa I I ' ' expressed by the words vapi, kupa, and tadaga. Prasasti, V. 10, Ep. Ind., Vol. u, p. 440.) (7) See Rahganath inscrip. of Sundarapandya is (Sridhara's Devapattana (v. 15, Ep. Ind., Vol. in, pp. 13. l6 -) Satra-prapa-prasraya-vrishotsargga-vapi-kupa-tadarama-devala-yadi- (8) karanopakaranartharh cha Prapa (?) a place of distributing water gratis (D. R. Bhandarkar). (Cambay Plates of Govinda IV, line 58, Ep. Ind., Vol. vii, pp. 41, 46.) erected on both banks (9) Nadinam ubhato tiraih sabha prapa-karena I ' shelters for Cave (I ' meeting and such for gratuitous distributing of water.' inscrip. no. 10, line a o) who f., Ep. Ind., Vol. vm, (Nasik pp. 78, 79.) Aneka-devatayatana-sabha-praparamavasatha-vihara-karayita caused to be built many temples of the gods, halls, drinking-foun- tains, gardens, rest-houses, and (Buddhist) monasteries.' (Palitana Plates of Simhaditya, 18, 19, note 3.) (n) Dakshina-diSabhage karapita vapi tatha prapeyam cha 'in the ' southern part there has been made an irrigation well also a watering-trough. line 12, Ep. Ind., Vol. xi, pp. Tatha prapa-kshetram dvitlyam tatha grame uttara-disayam ' in the northern part of the village there is given a second field, for the watering (Grant of Bhimadeva n, Vikrama Samvat 1266, lines 26, 27, 31, 32, trough.' Ind. Ant., Vol. xvm, pp. 113, 1 15.) 324 PRALAMBA HINDU ARCHITECTURE 'Apana cannot have here (Asoka pillar-edict, vn, Mines, 2-3) its " usual meaning tavern, liquor-shop." As professor Kern (Der Buddhism, (12) Vol. n, p. 385) assumes, it must denote a watering station. Probably the is distributed to travellers and water where are huts on the roads meant, their beasts gratis or against payment. The usual Sanskrit name is prapa.' Dr. Biihler. (Ep. Ind., Vol. H, p. 274, i.) PRABH AVA A type of rectangular building. (Agni-Purana, Chap, civ, vv. 16-17 PRABHAtfJANA A see under PRASADA.) type of chariot. (M., PRABHA A canopy, ; a XLIII, see 112; under RATHA.) city. Sailam s"obhita-ata-kumbha-vilasat kumbham maha-mandapam pra- karam paramalika-vilasitam muktamayim cha prapa(-bha)m A great maha-mandapa of stone, resplendent with pitchers (? domes) of shining gold, a surrounding wall, adorned with excellent buildings, and I ' a canopy of pearls.' Dr. Hultzsch. (Fourteen inscrip. at Tirukkovalur, no. K, Inscrip. of Rajendradeva, lines 1-2, Ep. Ind., Vol. vn, pp. 145-46.) PRAMANA The measurement of breadth. (M., LV, 3-6 Pramanam dirgham ity-uktaih ; see manonmana-pramanatah under MANA.) II (Suprabheddgama, PRALAMBA The plumb-lines image in order to measurement of the (1) (2) find xxxiv, 36.) drawn through an out the perpendicular and the horizontal or the lines different parts of the body. Bimbamdna (w. 73-91, 92-122, 123-138) under TALAMANA. Mdnasdra (Chap. LXVTI, named PRALAMBA) The instrument by means of which the plumb-lines are drawn See : This is a square pralamba-phalaka. plank of four, three, two or one ahgula in thickness with the sides equal to three-fourths or half of the length of the image (line 6). Another plank of the same called is is made and used as the stool on which the image is placed. The other plank (pralamba-phalaka) is fixed to the crown of the head of the image. The planks are kept level to each other. Some holes are made size in the some upper plank of the pralamba-phalaka wherefrom are suspended strings at the other end of which are attached small balls made of iron or stone (lines 7-16). The number of holes and the strings suspended through the planks, by which the plumb-lines are determined, varies from five to eleven, according to the different postures and poses of the image. The five principal plumb-lines consist of one 325 AN ENCYCLOPAEDIA OF PRALAMBA the centre of the upper plank corresponding to the crown of the head, and four on the four sides of the body (line 19). Two other lines drawn adjoining the right and left sides of the face make drawn from number seven the and 22) left ; (line 20). Another two sides of the back of the head and two lines lines make the drawn on the number nine drawn from the two armpits make the right (line total of lines eleven (line 28). The line drawn from the middle of the front, crown of the head (sikha-mani) passes by the root and patta (band) of the diadem (mauli), middle of the forehead, eyebrows, nose, chin, neck, chest (hridaya), navel, sex organ, root of the thighs, halfway between the knees, nalakas (ankles), heels, soles The perpendicular and horizonlargest toes (lines 32-40). tal distances between the different parts of the body are described in detail and two (feet) 41-78, 99-139). The variations of these measurements are considered with regard to postures (lines 1-96), namely, erect (sthanaka), sitting (lines and recumbent (Sayana), and poses (lines 98-140), called abhahga, sama-bhanga, ati-bhanga and tri-bhahga (see under BHANGA). (asana) These plumb-lines are stated to be drawn only ing for the purpose of measur- : Evaih tu karya-sutrarh syat lambayet Silpavittamah (91) principles and mechanism of plumb-lines followed by the European similar. The following quotations from Vitruvius architects are almost and Gwilt would throw more light on the point I The : was the first who contrived scenery, upon which he Agatharcus This led Democritus and Anaxagarus, who wrote thereon, ' . (3) left a . . treatise. to explain how the points of sight as in nature, to a centre, so that by and distance ought to guide the k'nes, means of pictorial deception, the real of on the scene, which, painted on a flat buildings appear appearances vertical surface, seem, nevertheless, to advance and recede.' (Vitruvius Book vii, Introduction.) ' This (levelling) is performed either with the dioptra, the level (libra The latter instrument is, however, the beste acquaria) or the chorobates. inasmuch as the dioptra and level are often found to be incorrect. The chorobates is a rod about 20 feet in length, having two legs at its extremities of equal length and dimensions, and fastened to the ends of the rod at right angles with it between the rod the legs are cross-pieces fastened ; with tenons, whereon vertical lines are correctly marked, through which corresponding plumb-lines hang down from the rod. When the rod is set, these will coincide with the lines marked, and show that the instrument stands level.' ' (4) (6f</.,Book vni, Chap, vi.) Plumb-rule, plumb-line, or plummet masons, carpenters (sculptors), etc., to 326 is an instrument used by draw perpendiculars or verticals, for PRALAMBA Pagi HINDU ARCHITECTURE PRALINAKA whether their work be upright, horizontal and so on. The instrument is little more than a piece of lead or plummet at the end of a string, sometimes descending along a wooden or metal ruler raised perpendiascertaining cularly ' on another, and then The it is called a level.' (Gwilt, Encycl., p. 1241.) used substantively to denote an instrument which shows the direction of a straight line parallel to the plane of the horizon. term, level, is The plane of the sensible horizon is indicated in two ways by the direction of the plummet or the plumb-line, to which it is perpendicular and by the : ; surface of a fluid at rest. Accordingly, levels are formed either by means of the plumb-line, or by the agency of a fluid applied in some particular manner.' ' They all depend, however, upon the same principle, namely, the action of terrestrial gravity. The carpenter's level consists of a long rule, straight on its lower edge, about 10 or 12 feet in length, with an upright fixed to its upper edge, perpendicular to and in the middle of the length, having same plane with those of the rule, and a straight line drawn on of its sides one perpendicular to the straight edge of the rule. This standing piece is generally mortised into the other, and finally braced on each side its sides in the to secure it from accident, and has its upper end kerfed in three places, viz. through the perpendicular line, and on each side. The straight edge cf the transverse piece has a hole, or notch, cut out on the other side equal on each side of the perpendicular line. A plummet is suspended by a string from the middle kerf, at the top of the standing piece, to vibrate freely in the hole or notch when hanging at full length. When the straight edge of the level is applied to two distant points, with its two sides placed vertically, and the string coincides with the straight line on the standing piece, the two points are level. If not, suppose one of the points to be at the given height, the other must be lowered or raised, as the if the case plummet hangs may require, till freely, the string brought to a coincidence with the per- is pendicular line. By two points is meant two surfaces of contact, as two blocks of wood, or the upper edges of two distant beams.' The mason's level is formed of three pieces of wood, joined in the form ' of an isosceles triangle, having a a mark in the centre of the base.' plummet suspended from PRALAMBA-PHALAKA (see PRALINAKA A class of buildings, a under PRALAMBA) through which the plumb-lines are drawn. sides, i.e., 32 -sided shaft Dva-trimsat tu the vertex over (Gwilt, Encycl., p. 1217.) The square plank column with 32 rectangular : madhye Pralinakah Pralinakam atah srinu ... II 327 (Brihat-Samhitd, Lin, 28). AN ENCYCLOPAEDIA OF PRASTARA Sirshakam chatur-asrarh tu parsvayoh koshtha-samyutah I Panjaram nasika-yuktam sopanarh parsVayos tatah Pralinaka iti prokta (-ah) . . . [(Suprabhedagama, xxxi, 46, 47, 48.) 1 1 PRASTARA The entablature. order above a column. It comprises the parts of an is divided into three parts The assemblage European architecture, namely the architrave which rests immediately on the column, the frieze next over the architrave being the middle member, and the cornice which is the uppermost part. These three parts are again variously subdivided. For its synonyms, in the see xvi, Af., (M., ( It is also 18-20, 42-44. used as a synonym for plinth xxxm, 220-227). i ) The entablature is stated to be half of the column : Prastaram pada-di(-ai)rghyasya chardha-manena karayet Nyunam vapi chadhikam vapi prastaraih karayed budhah Prastarokta-pramanam tu sarvaih kanthe vidhiyate I 1 1 II (Kdmikagama, xxxv, 27, 28, 29.) Chap. LTV (named Prastara-vidhi) Three essential parts of the prastara (entablature) Hinadhikam tu changanam prastarasya dvijottamah Padanganam tatha kuryad galange cha masurake II (47) The pada (foot, pedestal, base), gala (neck, middle part), and masuraka (lintel) would, apparently, correspond to the architrave, frieze, and Ibid. : : I cornice. The mouldings of the prastara (entablature) Uttaram vajanam chaiva mushti-bandham mrinalikam : Dandika valaya-kshudra-gopanachchhadanam cha II Alihgantarita chaiva pratyangam vajanam kramat II Their comparative measurement II (i) (2) : Tryam&ikamsam-panchaika-dvi-tri-bhagaika-bhagaih Tri-bhagenaika-bhagena upary-upari yojatet II (3) Three kinds of the prastara I : Etani prastarahgani tri-vidham chottaram bhavet Khandottaram patra-bandham rupottaram iha dvijah I II (4) Their description (vv. 5-6 see under those terms). Further classification under SVASTIKA, VARDHAMANA, NANDYAVARTA and ; SARVATOBHADRA (vv. 7-8). The other details of the Ibid., LV, prastara (vv. 9-46). 204 (synonyms) Prastaram chaiva gopanam kapotam mancham eva cha Nivram ity-evam akhyatam prastarasya dvijottamah : I 328 I HINDU ARCHITECTURE Prastara finial or compared with (entablature) dome (sekhara) PRASTARA base, tower pillar, (karna), : dvi-gunaih sarva-sammatam Padardharh prastaraih proktam karnam prastaravat samam Prastara-dvi-gunayamam Sekharam hi tarn uchyate Padayamam adhishthanam I 1 1 1 1 Prastarad urdhva-bhage tu karna-kuta-samayutam II (Kamikagama., xxxi, 28-30.) (2) Vedikam prastara-samarh shad-arhsikritya bhagasah (Vastu-vidya, ed. I Ganapati Sva-sva-yonya grihadinarh kartavya dvara-yonayah Sastri, ix, 23.) I Prastarottarayor madhyam panchadha vibhajed budhahll (Ibid., (3) ... prastaram cha tat ah srinu xin, 26 set also ; 28.) I Prastarotsedha-manam tu pancha-bhaga-vibhajitam Tri-bhagam uttarotsedham padonottara-vajanam II I Eka-bhagarh tad-urdhve tu kartavya padma-pattika Gaja-sYenlrh mriga-srenlm prastaranteshu yojayet Evam prastaram akhyatam talam prati viseshatah 1 1 I 1 1 (Suprabhedagama, xxxi, 72, see also vv. 68-71, under (4) Mdnasdra (Chap, xvi, named PRASTARA) 73, 74 ; TORANA.) : The is height of the entablature as compared with that of the base of six kinds (line 4) The former may be equal to the latter, or less . by J, or greater by J, \, f or twice (lines 2-3) or in cubit measurement, these six kinds of height of the entablature begin with 7 cubits and end in 4^ cubits, the decrement being by | cubit (lines 5-6). , These six kinds ; of entablatures are respectively employed in the houses of the gods, the Brahmans, the king or Kshattriyas, the crown princes, the Vaisyas, and the Sudras (lines 8-9). The be height of the entablature as compared with that of the column may These half, three-fourths, equal, or greater by J, |, and f (lines 10-12). six heights set of entablature should discreetly be employed (line 13). Another is also the height of the pillar being divided into prescribed of six heights : 8 parts, 7, 6, 5, 4, 3, 2, may be given to that of the entablature. These entablatures are divided into eight or rather nine classes, the details of which are given below I. 31 parts : (ibid., lines 22-29) : (1) Uttara (2) vajana (3) valabhi(-bhi) (roof, capital) (fillet) (fillet) .. .. . . . . . i . . . 4 . 329 . 3$ AN ENCYCLOPAEDIA OF PRASTARA vajana (4) (fillet) (5) uttara (fillet) .. .. .. .. . . . . . . i . . . . i . . . . 3 . . . (6) vajana (7) (8) kshudra-padma (small cyma) maha-padma (large cyma) (9) vajana (fillet) . . (fillet) .. ij 3 . i .. .. .. 7 .. .. .. i .. .. .. (13) prastara (ovolo) .. .. .. (14) vajana .. .. .. (10) kapota (corona) (u) alinga (fillet) (12) antarita (fillet) (fillet) 2 ij The projection of these mouldings are in most cases equal to them, but in some cases they may be f , |, or J of them. II. 31 parts lines (ibid., (1) Uttara (2) kampa 59-71) : .. (fillet) (fillet) (3) valabhi (roof, capital) (4) abja (cyma) (5) vajana (fillet) mushti-bandha (band) (6) (8) vajana (fillet) mrinalika (stalk) (9) kandhara (dado) (7) 3 . . . . . i . . . . . . i . . . . . . 9 . . . . . . . . . kshepana (projection) padma (cyma) . . . 2| . . . J . . . 2 .. .. .. .. .. .. . (10) (13) .. . . . (11) (12) vajana .. . . (fillet) adhara (base) (14) patta (band) (15) vajana (fillet) (16) mushti-bandha (17) vajana (fillet) (18) mahavajana (band) (large fillet) (19) abja (cyma) III. 36 . parts (ibid., lines 72-77) (1) Base, etc., (3) vajana (fillet) (4) antarita : should be as before (2) alinga (fillet) (fillet) (5) kampa (6) prati (-vajana) (cavetto) (7) vajana (fillet) (fillet) 33 2 i . ; 2 .. .. .. . . . . . . i . . . . . . 3 . . . . . . i . . . . . . 2 . . . . . . i (? 2) THE. E.MTAbL*TURtS MOTL-THt TOTAL OF THE ). FOR EACH WHAT IS AMD TWRD DO HOT NUM6E.S OF PARTS TYPE. VAK1E.S ? GIVEN IMTHEiTLXT 1 lAAGtS AMD LEXXSK/' VHS SUIT OTHE.RS F! z PRASTARA HINDU ARCHITECTURE IV. 30 parts (1) Uttara (ibid., lines 78-88) : (fillet) (2) kampa (3) valabhT (roof, capital) (4) vajana (5) kapota (corona) (fillet) (9) prati-vajana (cavetto) (drip) kapota (corona) (15) alinga (17) nimna vajana (4) kulikanghri i . . . . 5 .. . . . . . .. i . 2 . J . .. .. i .. .. i .. .. ..2 ..2 .. .. .. I dado) .. (18) prastara.(ovolo) V. 30 parts (ibid., lines 89-99) (3) . .. ..4 . .. .. .. .. .. .. .. .. .. .. (drip) Mula . .. (fillet) (1) . . (fillet) antarita . .. (fillet) (16) 2 . .. (fillet) (14) . . . kandhara (dado) vajana . . . . (8) (12) griha (?griva, i . .. nimna (13) . . . alinga (fillet) (7) antarita (fillet) (n) vajana . . (fillet) 3 . . . (6) (10) .. .. | i I : (base) as before ; (2) gopana (beam) as before ; . (fillet) . . 2 . (5) (main pillar) (this part is furnished with nataka) nataka (theatre, quadrangular part) as before (6) kapota (corona) as before . . . . 5 ; ; as before (7) kshudra-nasl (small nose or vestibule) the rest as before. This entablature is decorated all ; over with crocodiles and bees (makara and bharamara, 94-95). VI. 26 parts (ibid., lines 100-109) (1) Uttara (fillet) . (2) vajana (3) padma (cyma) (4) (6) vajana (fillet) mushti-bandha (band) vajana (fillet) (7) mrinalika (8) vajana (9) pattika (band) (5) . (fillet) . . . (stalk) : . . 3 . . i . . . i . . . i . . . . . . . 2 . . . . . . i . . . . . 3 . 33 . . . . . . . (fillet) . . 1 . . . . . . . i 4 AX ENCYCLOPAEDIA OF PRASTARA ^ (10) vajana (fillet (u) kampa (fillet) i padma (cyma) (12) (13) vajana (14) \ (fillet) (16) vajana (17) antarita VII. 4 kapota (corona) (15) alihga (18) \ (fillet) \ . (fillet) i (fillet) .. prati-vajana (cavetto) 26 parts (ibid., lines 110-116) i : Nataka (theatre, quadrangular part) as before as before (2) upper columns as before. (3) lower columns Above these, all the members are same as before except that ; (1) ; of them, or their projections projections are half or one-fourth one, two, or three dandas. their may be of Bhutas (imps), Ganas (attendant demi-gods of Ganesa), Yakskas (attendant demi-gods of Kubera), Vidyadharas (semi-divine or of men are carved in the nataka (crowning or capital) parts The images beings), In the corresponding parts of the palaces, the images of Yakshas and Vidyadharas are carved in all other residential buildings, the human figures are made in the nataka (crowning) parts. All the of temples. ; mushti-bandhas (fishbands) are rest should be as before. VIII. 26 parts (ibid., lines 117 (i) Kapota'_ (corona) more ; the rest part) 8 IX. 34 parts Nataka should be (ibid., lines made f.) The : 8 more (a) nataka (theatre, quadrangular should be as before. ; 117-119) : (theatre, quadrangular part) as before. With these may be compared the lature straight with the columns. 8 parts more, and the rest details of the early European entab- : The height of the entablatures of the different orders : (1) In the Tuscan order, J of 7== if diameters. (2) In the Doric order, J of 8=2 diameters. (3) In the Ionic order, J of 9=2 J diameters. (4) In the Corinthian order, J of 10=2 \ diameters. (5) In the Composite order, \ of 1 1 =2| diameters. According to Vitruvius both to the Corinthian and the Composite orders ten parts are given. In general terms, its subEntablature is fourth part of the column. divisions of architrave, frieze, and cornice are obtained by dividing its height ' into ten equal parts, whereof three are given 33 2 to architrave, three to frieze, HINDU ARCHITECTURE PRASTARA except in the Roman Doric order in which the whole height of the entablature is divided into eight parts of which two are given to the architrave, three to the frieze, and three to the cornice.' and four to cornice ; From these general proportions variations have been made by different masters, but not so great as to call for particular observation.' (Gwilt, Encycl. Arch., Art. 2542, 2543, 2549.) ' Height in parts of a module Entablature I. Tuscan (Gwilt, Encycl., Art. 2555) Cymtinum S and parts Cornice, 1 6 module Asragal 4 27i i I (3) Fillet < Bed mould- parts (2) parts of a : round f (i) Quarter ^^ ^ (4) Conge" or cavetto (5) Corona (6) Drip (7) ing 22^ 5 i from Sinking corona or hollow (8) Fillet (9) fFillet Architrave, 12 parts j 1 Ogee 4 (10) Frieze Frieze, 1 4 parts j Fascia 14 (u) Fillet or listel (fa) Conge i or 9i 2 small cavetto 2 i ^(13) Fascia The height of the drip under the corona of the hollow in the height of the fillet. II. Doric (Gwilt, Encycl., Art. 2564, (2) is 2562) : of corona 1 8 parts j module Cavetto 26 (4) Cyma (5) Corona (6) Drip reversa I* 4 (7) Fillet (8) parts of a 34 (3) Fillet Cornice, 9* taken on that member, and that Height in parts of a module Entablature (1) Fillet 8 28J 25 Gutta under the corona (9) Dentil 15 (10) Fillet 13 (n) Cyma reversa 2 I (12) Capital of triglyph 333 2 PRASTARA AN ENCYCLOPAEDIA OF Entablature PRASTARA HINDU ARCHITECTURE Projection from the Height in parts axis of column in of a module parts of a module Entablature i) Fillet f (i Architrave, i 1 Cap (13) Guttae y -10 parts III. of guttae (12) . Ionic (Gwilt, Encyd., Art. 2573, 2581) (2) I2-50 -OO 12 -40 O-20 4) Architrave below guttae (1) Fillet 1-50 I of I4-40 . : 4 cyma Cyma recta (3) Fillet (4) Cyma (5) Corona (6) Fillet Cornice, 34 parts reversa of the drip (7) Ovolo (8) Astragal (9) Fillet ( i fillet o)Dentel .. (n)Dentels (12) Fillet (13) Cyma reversa Frieze, 27 parts (14) Frieze (15) Listel ( 1 6) Cyma reversa (17) First fascia Architrave, 22^ parts (18) Second (19) Third fascia fascia on the side Capital on the coussinet or (20) Capital (21) cushion Grecian Ionic (in the temple on the Ilyssus) (1) Fillet (2) Cornice, Cyma recta (3) Fillet (4) Echinus (5) Corona 18-33 (6) Drip parts (7) Cyma supposed height, reversa (8) Fillet (9) Echinus 16 II -20 AN ENCYCLOPAEDIA OF PRASTARA Height Entablature (10) Frieze Frieze, m Projection from the parts of a module 29-901 j a s of column in par ts of a module 17 -400 29-901 parts Fillet f(n) Architrave, Ech m us j I(i 3 ) Bead ( 33 >66 parts I I2 ) IV. Corinthian (Gwilt, Encycl., Art. 2583) (1) Fillet of cornice (2) -20O 17-880 27 -60O 17 -160 I 53 5 53 (3) Fillet Cornice, 38 ^ 48 (4) Cyma reversa (5) Corona (6) Cyma (7) Modillion ( 8 j FiUet P arts lion (9) (10) . . reversa. . 45* 5 6~ rem ainder of modil( band) .. Ovolo Bead (11) Fillet (12) Dentils (13) Fillet Hollow or cong6 (14) Frieze, i (15) Frieze mod., parts (16) Fillet (17) i Cyma reversa 4 i (i8)Bead (19) First fascia Architrave, (20) 27 parts (21) (22) (23) V. 7 Cyma reversa Second fascia Bead Third fascia 2 . 6 . i . 5 . Composite (Gwilt., Encycl, 2591) f (i) Fillet of cornice Cornice, 36^ parts i_ (2) Cyma '520 : recta Cyma 3 20 -100 I (^(14) Fascia -920 2-520 recta . it 5 . (3) Fillet i 336 46 PRAKARA HINDU ARCHITECTURE Height in parts Entablature oi (4) Cyma reversa ( i . 5 . . i . . i .. 4 33^ 28 Cyma reversa. 43! . . 43 41 \ 33 .. (11) Dentils .. .. 7! 29 (12) Fillet . . . . i 23 . . . . 5 . . . . i 17 . . . . i 16^ .. .. f 15 .. .. 17^ 15 . . . . 7 22 (19) Fillet . . . . i (20) Cavetto . . . . 2 . . . . 3 Ovolo Bead Conge (17) Upright face (18) Apophyge 22 22 2oJ 20 Ovolo Bead .. .. i (23) First fascia .. .. 10 .. 2 i6f . 8 15 (21) (22) [_ . o) Fillet of the dentils (16) 27 parts . . (15) Fillet Architrave, . Cyma under corona (14) parts . (7) (13) Frieze, 27 . (6) (9) parts . i (8) Fillet Cornice, 36^ 2 . Bead Corona (5) a module Projection from the axis of column in parts of a module (24) Cyma reversa (25) Second fascia . . . 17! 17 From the details given above it would be clear that both the Indian European entablatures have much similarity in their composition relative proportion. In the words of Indian offers entablature Grecian ; (Ess. Arch, a Ram striking contrast but the richness of the former of Hind., Raz, may ' the massiveness of the to the be said to lightness of the be unrivalled.' p. 40, also see Plate xix, figs. 1-4.) PRASTIRYA Same as PRASTARA or entablature. (A/., xvi, PRAVESA The and and 184, 186.) front door, the gate, the entrance. Pravesa-nirgama-sthane dvarair api samanvitam (M., x, 107; I see also xxxm, 536.) PRAKARA A wall, an enclosure, wall elevated on a sutra (xvi, 18, 14, mound a fence, a rampart, a surrounding of earth. In the Sdnkhydyana Srauta- quoted below) it denotes a walled ing a raised platform (prasada) for spectators. 337 mound support- But in the Mdnasdra AN ENCYCLOPAEDIA OF PRAKARA it is five used in a slightly different sense and implies the fourth of the courts into which the compound of a house is divided, (i) Mdnasdra (Chap, xxxi, named Prakara, 1-134) The uses of the prakaras They : : are built for bala (strength), parivara (attendant deity), sobha (beauty), and rakshana (defence) Balartham parivarartham Sobhartharh rakshanarthakam : Pancha-prakara-harmyanam adhuna vakshyate kramat I I The whole compound of a house or temple is divided into five courts. The first one is called the antar-mandala or the innermost court (line n). The second is known as antar-nihara and the third as madhyama-hara The fourth court is technically named prakara (line 12). The (line 12). fifth and last one is known as the maha-maryada or the extreme boundary where the large gate-houses (gopuras) are constructed (line As the 14). name of the chapter (Prakara-lakshana, description of Prakara) indicates, the greater part of it describes only the fourth court (lines 15-102). Prakaras are also divided into the Jati, Chhanda, Vikalpa (Abhasa) and Kamya classes (lines 3-5). Under each class a are exhaustively described (lines 6-86). number of buildings (salas) A further classification (Sarhkirna, etc.) is made with regard to materials of which these prakara-buildings are made (line 103). The materials are same as in other cases, namely brick stone, and wood 102). (line The gopura or gate-house of the first court (antar-mandala) is technically called dvara-sobha or beauty of die gate and those of the second, third ; fourth and fifth courts are called respectively dvara-sala, dvara-harmya, and maha-gopura (2) (ibid., xxxm, Suprabheddoama (Chap, xxxi, 115-128) Five courts or enclosure buildings dvara-prasada> 9). : : Prakaranam paritam kuryat prasadasya pramanatah Bhumau vinyasya vistaram prasadasya su-nischitam Prasadasya tu vistaram tasya dandam ihochyate 1 I 1 I Dandat tena kritarh yatra tv-antarmala-samaiva hi Eka-dandantar-bhara tu madhya-bhara dvi-dandatah 1 Chatur-danda-pramanena Maha-maryyadi-bhittih 1 kritva maryyadi-bhittikam 1 I 1 sapta-danda-pramanatah Prishthe chaivagrato' py-ardham dvi-gunarh tri-gunam tu va Chatur-gunarh mukhayamam prakaranam viseshatah syat I I Kapotantam samutsedham hasta-vistara-bhittikam Kuta-Sala-yutam vapi kuta-salantam eva cha Prakarena samayuktarh gopurasya vidhiyate II 338 I 1 1 II H1XDV ARCHITECTURE PRAKARA Mandale dvarake vatha dvara-salarh tu bharake Prasadam madhya-bharayam maryyadau harmyam eva cha Gopuram tu maha-madhye evarh pancha-vidhi smritam I 1 1 I Chatur-dikshu cha samyojyah prakaranam prithak prithak Kechid vai malikakara kechid vai gopurakritih 1 1 I Cf. The measurement of the five gate-houses (gopuras) of the five prakaras: Vistaram dvara-sobhaya dvi-tri-pancha-kararh bhavet II Shat-saptashta-nava-karair dvara-sala prakirttita I Eka-daia-trayo-dasa-hastam (dvara)-prasada-vistritam II smritam Chatur-dasa-pancha-da^a-dvara-harmyam Eka-virha trayo-virhsa dvara-gopuram uchyate II Their height as compared with length and breadth iti I : Vistara-dvi-gunayamam ayama-dvi-gunochchhrayam Bhaumordhvottara-simantam dvarasyochchhraya-lakshanam Tad-ardharh vistaram proktam(m) alankaram vimanavat I Prakara-bhittim asritya kuryad avrita-mandapam 1 129 I II Tad-bahye'bhyantare vapi malika-manddaparh hi va Pancha-prakaram evarh syat privaralayam srinu Then 1 1 I 1 follows the description of the temples of the attendant deities (v. These buildings are built in the five prakaras (see under PARIVA- f.). RALAYA). 18, Sdnkfydyana-Srauta-sutra (xvi, (3) p. 210) 13, Samsthite madhyame'hany-ahavanlyam viminvanti II (13) Tan (4) 14, Bibliotheca Indica, abhito dikshu uparishtat sarhvyadhaih prakaraih parighnanti v. Matsya-Purdna (Chap. CCLXIX, 24) II (14) : Prag-grivah pancha-bhagcna Karayet sushiram tadvat prakarasya tri-bhagatah Agni-Purdna (Chap. XLH, 812) II : Tatha prakara-vinyase yajed dva-trimsad antagan l| Prasadasya chaturthamsaih prakarasyochchhrayo bhavet cvi, 1-2 Chap, Nagaradika-vastum cha vakshye rajyadi-vriddhaye Yojana-yojanarddham va tad-artham sthanam a^rayet Abhyarchya vastu-nagaram prakaradyarh tu karayet In this instance prakara indicates the whole city wall. Ibid., : I ' (6) I, prasadan nishkas(s)as tasya chochyate (5) Vol. : II II ' Garuda-Purdna (Chap. XLVI, 19) Prakaraih tad-bahir dadyat pancha-hasta-pramanatah : 339 | II I AN ENCYCLOPAEDIA OF PRAKARA Brahmdnda-Purdna (Part (7) and Anusharhga-pada, Chap, vn, 103) I, (Chap, xxtv, pp. 52, 53, 54) Kautillya-Arlha-fdstra (8) khatakavritam sarvatah Sotscdha-rarhdra-prakararh : I : Vaprasyopari prakararh vishkambha-dvi-gunotsedham aishtakamdva-dasa-hastad urdhvam ojam yugmam va achatur-vimSati hastad iti karayet I dvi-hasta-vishkambharh Antareshu chafur-gunayamam parsvc anuprakaram ashta-hastayatarh deva-patham karayet Prakaram ubhayato mandalakam adhyardha-dandarh lishat-lulantararh dvararh nivesayet mukham Prakara-samam gopuraih karayet I kritva prato- I tri-bhaga-godha avasthapya mukharh I Prakara-madhyc kritva vapirh puslikarimm . . . Rdmayana (Cock) Sauvarnas cha maharhs tasyah prakaro dushpradharVI. 3,14 shanah : (9) : I Mani-vidruma-vaidurya-mukta-virachitantarah VII. 29 : 55, 32 : Lanka atta-prakara-torana : (purlm) V, 5, V. V. 3, 6 Dridha-prakara-parikharh vritarh IV. 31, 27 : III. 48, ii : . . . lankam . . 1 1 I I sata-kumbhena mahata prakarenabhisarh- . I Kanchancnavritarh prakarena mahapurim 2. 16: (Lanka-nama purl subha) pandurena . . I prakarena-parikshipta . I See also v, 3, 7, vi, 24, 34 ; vi, 25, 33 ; 24 vi, 25, ; 46 vi, 42, 15, 21, 22, 45, vi, 67, (10) 169 ; vn, 3, 27 Mahdbhdrata v, 4, 2 ; ; 39 25 ; ; v, 55, vi, 26, 12 vi, 51, 8, 10 vii, 5, ; v, 37, ; 30 ; ; 32 vi, 60, 15 ; . 207, 30 : Prakarena cha sampannam 80, 30 : Prakarattalakeshu III. 200, 90 60, 38 n ; vi, 65, 29 vi, 3, 32 vi, 31, 56, 98 53 ; ; vi, 66, i ; ; ; : I. 1 vi, 3, vn, 38, 37. II. III. ; vi, 38, 10, f. : . . (pura-sreshtham) I I (VaiSravanavasam) prakarena parikshiptam Sauvarnena samantatah sarva-ratna-dyutimata . . . I I ; 206, 7 See also in, 284, 2 1 6 ; (Mithilarh) : ; iv, n, i ; . . . harmya-prakara-Sobhanarh v, 143, 23 ; vm, 33, 19 ; xn, 86, 6 I ; xv, 5, xvi, 6, 24. (n) 'This inscription (Ranganatha inscrip. of Sundarapandya) was discovered on the east wall of the second prakara of the temple.' 340 PRAKARA HINDU ARCHITECTURE Inscription on the north wall of the fourth prakara of the temple at Srirarigam.' ' ' Inscription on the west wall of the second prakara of the Ranganatha JambukesVara temple.' ' Inscription on the south wall of the second prakara of the Ranganatha temple.' ' Inscription on the south-west corner of the (Ranganatha temple.' ' inscrip. of third Sundarapandya, Ep. prakara of the same Ind., Vol. in, pp. 7, 9, 10.) This inscription (JambukesVara inscrip. of Valaka-Kamaya) (12) is engraved on the north wall of the second prakara of the Saiva temple of JambukesVara on the island of the Srirarigam near Trichinopoly.' (Ep. Ind., Vol. m, p. 72.) ' (13) This Grantha inscrip. is engraved on the north wall of the first Madras.' (Ep. prakara of the AdipurisVara temple at Tiruvattiyur near Ind., Vol. ' (14) v, p. 106.) Ranganatha inscrip. of Ravivarman of Kerala ' is on the north wall of the second prakara of the temple of Ranganatha (Vishnu) on the island of Srirarigam.' (Ep. Ind., Vol. iv, p. 148.) (15) Silaprakara an enclosure of stone for the temples of Kunti Madhava and BhimesVara. (Pithapuram Pillar inscrip. line n, Pillar inscrip., lines 13-14, Ep. Ind., Vol. iv, pp. 329, 330.) (16) second Draksharama Durggarh cha Tamra-nagarim abhito vyadhatta Prakaram um- natain udarhchita-gopurarh sah he surrounded the Tamra nagari with a wall surmounted by towers.' (Chebrolu inscrip. of Jaya, v. 27, ' Ep. Ind., Vol. v, pp. 147, 149.) ' for the Mata-kuta-prakara-khanda-sphutita-jirnnoddharakam of whatever become or worn out broken or torn reparis might belonging to ' the enclosure Prasada ')_ (the more usual expression here would be (17) ' Dr. Fleet, Ep. Ind., Vol. v, p. 249, note 6. 59. 75> Ep. Ind., Vol. v, (18) (Inscrip. at Ablur, no. E, lines pp. 249, 257, 250, 258.) Kirhjalpitena bahuna grava-prakara-valaya-bahyam iha I (Gadag inscrip. of Vira-Ballala II, v. 47, Ep. Ind., Vol. vi, p. 97.) (19) Prakaram atyunnatarh a very high wall. (Mangalagiri Pillar inscrip. v. 47, Ep. Ind., Vol. vi, pp. 124, 125.) (20) Prakaraih patitais samyak parikhah paripuryya yah Pradhvasarh ripu-durgganarh prag-bhava-samam vyadhat (Two pillar inscrip. at Amaravati, no. A, inscrip. of I I Keta 341 II, v. 19, Ep. Ind., Vol. vi, p. 150.) AN ENCYCLOPAEDIA OF PRAKARA (21) Iha prakara-srir vijayina mmahopala-nirmmita jala-dharagatir aty-aty-unna niroddhum ivoddhata (Two BhuvanesVara I vara, v. 24, Ind., Ep. Gopura-prakarotsava-mamtapair upachitam (22) (Kondavidu line Mahamandapam prakaram (23) prapa(bha)m 1 A, of SvapneSVol. vi, p. 202.) inscrip. no. inscrip. 18, Ep. Ind., I of Krishnaraya, Vol. vi, v. 27, pp. 237, 231, 232.) para-malikavilasitam muktamaylrh cha I (Fourteen inscrip. at Tirukkovalur, no. K, lines 1-2, Ep. Ind., Vol. vn, 145-46.) Prakarah Kanakachale virachitah built extensive ramparts on the Kanakachala (the name of the fort of Jalar, Mr. Ojha). Prof. Kielhorn. (24) (The Chahamanas of Naddula, no. C, Sundha Hill Vol. v. 38, inscrip. of Chachigadeva, pp. 77, 73.) Ep. Ind., encircled by Paritah pranavakara-pra(pra)kara-valayarhchitam of a wall of the shape of the pranava.' (Krishnapuram plates Sadasivaraya, ix, ' (25) v, 55, Ep.Ind., Vol. re, pp. 336, 341.) There are several similar inscriptions in the outer wall of the (Velur) (26) temple, viz., two on the pedestal of the two dvara-palakas in front of the .' (H. S.I.I., gopura, one on the left outer wall of the inner prakara ' . Vol. i, . p. 127.) ' (27) This inscription (no. 85, H.S.I.I., Vol. ra) is engraved on the right of the entrance into the east wall of the prakara of the VamanapurlsVara temple at Tirumanikuli in the Guddalore Taluka of the South Arcot District.' (H.S.I.I., Vol. in, p. 209.) 'This inscription (H.S.I.I., Vol. in, no. 88) is engraved on the of the entrance to the north wall of the fourth prakara of the Ranganatha temple on the island of Sriranga near Trichinopoly.' (H.S.I.I., (28) left Vol. ra, p. 217.) For ' (29) gopura, tructed.' Transl, Prasanna-Virupaksha, a temple, enclosing wall (prakara) , covered with gold, and a Manmatha tank were cons- this finial (Ep. Carnal., Vol. x, Mulbagal Taluq, no. 2 ; Roman Text, p. 82 ; p. 71.) akarod yah Pallavanam he caused leader of the to Pallavas ... hide his prowess behind patim the ramparts of (the city) of Kafichipura.' (Sanskrit and Old Kanarese (30) Kanchipura-prakarantarita-pratapam ' inscrip., no. LV, line 14, Ind. Ant., Vol. ' (31) the first vm, pp. 242, 245, c. i, line 23 f.) There are three enclosures (prakaras) in the Tiruvellarai Temple, two being studded with inscriptions.' (Notes in the TiruveUarai inscrip, Ind. Ant., Vol. xxxiv, p. 264, para. 5, lines 1-2.) 34 2 HINDU ARCHITECTURE PRASADA The stone prakara or compound wall (of the AmritesVara temple at Amritapura in the Tarikere Taluq, described and illustrated in the Mysore Archaeological Reports for 1911-12, pp. 24-26, and frontispiece) is now in ' (32) had on the top all round thick stone discs, about 6 feet in with diameter, rectangular bases, both in one piece, the outer faces being The sculptured with fine figures of flowers, animals, gods, etc., in relief ruins. It . . . prakara must have once presented the appearance of a veritable art-gallery, seeing that the artistically carved figures are of various kinds and designs.' (V. A. Smith, Architecture and Sculpture in Mysore, Ind. Ant., Vol. XLIV, 93, para. 6.) p. PRAGATA A type of pavilion. (M., xxxiv, 410 see ; under MANDAPA.) PRAG-VAM&A An PRAftGANA (1) (see Katha-sarit-sagara (Pet. Diet.) 59, 26 15, (2) auxiliary shed to a sacrificial room. ANGANA) The court, the courtyard. 89 : : : Nripasthana-pranganam Sa prangana-dvara-kavatanta-vilambini HitopadeSa I (2, 3, etc.) : I Tasya prangane gardhabho baddhas kukkuras" chopavishtah (3) Rajatarangini (i, 247, etc.) : Pranganad bahih tishthati I I Ep. Ind., Vol. I, pp. 107, in. and of the god (5) Cf. Kalapriya(name temple of Mahakala at Ujjain), tirnna of Govinda Plates IV, v. 19, Ep. Ind., Vol. vn, pranganam (Cambay (4) See the first PraSasti of Baijnath, v, 34, I PP- 38, 29.) RADE&A ANGULA) thumb and (see fully-stretched (1) The distance between the tips of the forefinger. Daatva(? a)ngula-parvani pradeSa iti sarhjnitah II Angushthasya pradesinya vyasa-(h) pradeSa uchyate I (Brahmdnda-Purdna, Part I, and Anushangapada, Chap, vn, vv. 96, 97.) (2) Angushtha-tarjam-yuktarh pradesam iti kirtitam I (Suprabhedagama, xxx, ai.) PRASADA A temple, a palace, an edifice, buildings in general, a platform, a Buddhist assembly or confessional hall. Harmyadi dhaninam vasah prasado deva-bhu-bhujam I (Amarakosha, n, a, 9.) (i) Mdnasdra : Temple Prasada-mandapam chaiva sabha-s"ala-prapa-(ih) tatha (A)rangam iti chaitani harmyam uktarh(-tani) puratanaih : I I (M., 343 in, 7-8.) AN ENCYCLOPAEDIA OF PRASADA Prasada-mandapam tatha varunadi-dese Sange cha gopura-pade tv-apareshu sarve (There should not be any defect). I I (M., LXIX, 70, 71.) The palace of a king : Nripa-prasada-samyukta (bhumih) sama chaitya-samipaga I (M., iv, 23.) Palaces are elaborately described ( M., XLI, 1-51 see under RAJAHARMYA.) Buildings in general (called Vimana in the Mdnasara and Prasada in ; the works quoted below) : The general description (M., xvm, 1-418) : They are used as residences of gods and men : Taitilanam dvijatmam varnanam vasa-yogyakam (2) Their sizes (see details below) from one to twelve storeys I : Eka-bhumi-vimanadi-ravi-bhumy-avasanakam (3) Their plans (lines 12-91) see under VIMANA-LAKSHANA. I ; The three styles and their characteristic features (92-105) are given under NAGARA, DRAVIDA and VESARA. The The description of the towers and domes (106-137 see under STUPI). building materials are stone, brick, timber and iron (138). ; Three I. of buildings Suddha or pure, made of one material Misia or mixed, made of two materials (lines 139, 140) classes (lines 139, 140) ; and Samkirna or amalgamated, made of three materials, namely stone, brick and timber (lines 139, 141) one material alone is especially recom: mended (line 142). Description of the Stupi-kila which comprises Stupi or dome is given in detail (lines 145-417). Chap, xrx (named Eka-bhumi) : all the parts above the The classifications II. Referring to measurement, in accordance with the various cubits Jati (lines 2, 3), : Chhanda (lines 2, 4), Vikalpa (lines 2, 4), and Abhasa (lines 2, 5). Sthanaka referring to height (line 7), Asana referring to breadth (line 8), and Sayana referring to width or length (line 9). IV. The same are otherwise called Samchita (line 10), Asamchita III. (line 10) ings also and Apasamchita These classes of build_ (line n) respectively. to the postures of the idols, namely erect, sitting and But the details of these postures are reserved for respectively. refer recumbent a subsequent chapter. V. Masculine buildings are equiangular (line 14) and have male deities in them (line 16), feminine buildings are rectangular (line 18) and house 344 PRASADA HINDU ARCHITECTURE female deities 16) (line but in the feminine ; can be installed deities also class of buildings the male (line 17). component parts of the ground floor are common various types which are described below (lines 18-164). The details of the for The eight kinds of the single-storeyed buildings with their characteristic features (Chap, xix, 1-264) : VI. Vaijayantika is furnished with round spire (Sirsha), pinnacle (2) Bhoga has similar wings (sirah) and neck (griva) (line 166) (line 167); (:) Srivisala has the bhadra or front porch in it (line (i) ; 1 Svasti-bandha has the octangular finial (line 169) 68) (4) (5) Srikara has a quadrangular steeple (line 170) (6) Hasti-prishtha has an oval steeple (line 171) (7) Skandatara has a hexagonal spire and neck (line 172) and (8) Kesara has the front porch, the side: ; ; ; ; towers at the corners of the roof, and its nose, head and neck are round or quadrangular (lines 173-175). For further details, see EKA-BHUMI. The eight kinds of the two-storeyed buildings (Chap, xx, VII. i-i 14) : (The generl features are similar in all the eight kinds, the distinction lying in the different proportions given to the component parts from above the floor to the top.) ground (9) Srikara (lines 94, Siddha 94, (lines 16-18) 2-9); (10) Vijaya (lines 94, 10-15); (n) (12) Parshnika or Paushtika (lines 94, ; J9-25) (lines 94, 26-27) (14) Adbhuta (lines 94, 28-33) Svastika and (15) (lines 95, 35-41) (16) Pushkala (lines 94, 42-43). The projection, general features, and carvings on the doors when these ; (13) Antika ; ; ; buildings are used as temples are described (lines 44-93, 96-116). For further details, see DVI-TALA. VIII. 1-74) The eight kinds of the three-storeyed (Chap, xxi, buildings : (The general features and the characteristic marks are similar to those of the two-storeyed buildings.) (17) Srikanta (lines 2-11) (18) Asana (lines 12-21); (19) Sukhalaya ; (lines 22-30) (20) Kesara (lines 31-32) Brahma-kanta (22) 33-38) (lines 39-40) and (24) KailaSa (lines 50-52). 41-49) ; ; ; ; ; (21) Kamalanga (lines (23) Meru-kanta (lines For further details, see TRI-TALA. The general features, characteristic marks and concluding details of the following kinds are similar, except the number of storeys, to those of the two- and three-storeyed IX. The buildings. eight kinds of the four-storeyed buildings (Chap, xxn, 1-106) (25) Vishnu-kanta (lines 3-12) 345 ; (26) Chatur-mukha (lines 13-24) : ; AN ENCYCLOPAEDIA OF PRASADA (27) Sada-Siva (lines 25-33) Isvara-kanta Vedi-kanta The (30) ; (lines 34-43; (lines 47-57) and (32) Indra-kanta CHATUS-TALA. 58-59) (lines further details, see X. 44-46) (lines Rudra-kanta Mancha-kanta (28) ; (29) ; (31) ; For (lines 60-88). ; eight kinds of the five-storeyed buildings (Chap, xxui 1-50) : (34) Bhuta-kanta (lines 13-15) (35) (33) Airavata (lines 3-12) VisVa-kanta (lines 16-18) (36) Murti-kanta (lines 19-24) (37) Yamakanta (lines 25-29) (38) Griha-kanta (lines 30-32) (39) Yajiia-kanta ; ; ; ; ; ; 33-40) and (40) Brahma-kanta (lines 41-42). For further details, PAftCHA-TALA. (lines See The XI. 1-48.) ; of the kinds thirteen (Chap, xxrv, six-storeyed buildings : (43) (41) Padma-kanta (lines 3-12) (42) Kantara (lines 13-14) Sundara (line 15) (45) Kamala (lines (44) Upa-kanta (line 16) (48) 17-18) (47) Vipulanka (line 20) (46) Ratna-kanta (line 19) Saroruha (50) Vipulakritika (line 50) Jyoti(sh)-kanta (line 50) (49) : ; ; ; ; ; ; ; ; (line 52) and (53) The XII. (51) Svasti-kanta (line 53) ; (54) Pundarika (line 25) ; (57) Asramagara Hima-kanta The XIII. 1-76.) 3-23) (lines Dharana 28) (line (line 30). (55) Sri-kanta (line 24) ; (line 26) 54) (line For further details, see 29) (line : (59) ; and ; (61) SAPTA-TALA. (Chap, xxvi, buildings eight-storeyed ; (56) Sri-bhoga ; Panjara (line 27) (58) ; Harmya-kanta (60) ; eight kinds of the Bhu-kanta Svarga-kanta (lines details, see The XIV. 3-21) 29-34) (lines Jana-kanta (line 40) kanta (lines 43-45) ; (63) (^5) > Bhupa-kanta (lines 22-28) Maha-kanta (lines 35-39) (67) Tapa(s)-kanta (lines 41-42) and ASHTA-TALA. ; ; Deva-kanta (69) (lines ; 46-47) . (68) ; (64) (66) ; Satya- For further seven kinds of the nine-storeyed buildings (Chap, xxvn, : (70) Saura-kanta (lines 5-9) (lines 11-12); (73) 20-22) ; (75) (lines 27-33). XV. Nandyavarta (52) : (62) 1-48.) ; Ikshu-kanta (line 55). For further details, see SHAT TALA. eight kinds of the seven-storeyed buildings (Chap, xxv, 1-40) ; Bhushana Suprati-kanta For further (71) Raurava (lines (lines 13-14); (74) 23-26) details, see (line 10) ; and (72) ; Chandita Vivrita (76) (lines VisVa-kanta NAVA-TALA. The six kinds of the ten-storeyed buildings (Chap, xxvm, 1-40.) Bhu-kanta (77) (lines 6-8) (78) Chandra-kanta (lines 6-8); (79) Bhavana-kanta (lines 9-13) (80) Antariksha-kanta (lines 14-15) (81) an<^ (^ 2 ) Abja-kanta (line 18). For Megha-kanta (lines 16-17) : ; ; ; further details, see DAA-TALA. 34 6 HINDU ARCHITECTURE The XVI. kinds of the eleven-storeyed buildings (Chap, xxix, 1-50.) : (lines 3-7) (84) Isa-kanta (lines 8-9) (85) six Sambhu-kanta (83) Chakra-kanta Vajra-kanta (lines The see ; 10-14) (lines further details, XVII. PRASADA ! ; Yama-kanta (86) and (88) Akra-kanta EKADASA-TALA. 18-24) > Virata) (lines 17-27) (lines For ten kinds of twelve-storeyed buildings (Chap, xxx, 1-194.) ; (lines (87) ; 24-33). (lines ; (89) Panchala (lines 8-10) (90) Dravida kanta (lines 11-14) 2 (9 ) Kaliriga-kanta (? (lines 15-17) 31-32) 35-36) ; and (94) ; Kerala (98) Sphurjaka 8-10) 14-16) (lines Magadha-kanta (96) ; (lines (lines 28-30) (lines (lines 7, ; 33-34) (91) ; Madhya- (93) ; : Varata (95) Varhsa-kanta ; (97) Jana-kanta 37-84, description of the twelfth storey). should be noticed, after the historic places well geography of India, which cover the whole length and breadth of the Indian Continent. Of these, the Panchala and the These ten kinds are named, marked it in the ancient Dravida are stated to be of the smallest type (line 10), importance are respectively the Madhya-kanta, the Varata ( ? Viraja), the Kerala, and the Varhs'a-kanta. next in and size Kalinga-kanta, the The largest and the most important are the Magadha (connected with the capital of King Asoka and of the early Gupta Emperors) and the Jana-kanta, and also perhaps the Sphurjaka, which, however, is not specified in detail (n). The architectural details of these buildings will be found under these ten terms. The description of the twelfth storey is given under DVADAS"A- TALA. Agni-Purdna, Chap. XLII, vv. 1-9 (general plan), 10-25 (plan with reference to the idol), Chap, civ, w. i-n, 22-34 (further general plan), (2) 1 1 -2 1 (names, temples) classes, shapes and description of forty-five kinds of : Prasadarh sampravakshyami sarva-sadharanarh sYinu Sarva-sadharanarh chaitat prasadasya cha lakshanarh 1 1 Manena pratimaya va prasadarh apararh sYinu I 1 1 (Chap. Vakshye prasada-samanya-lakshanarh te Sikhidhvaja XLII, vv. 1,9.) | (Chap, civ, v. i.) and each including nine Five divisions depending on five shapes or plans, kinds of temples (Chap., crv, w. 11-13) : I. quadrangular or square includes Meru, (2) Mandara, (3) Vimana, (4) Bhadra, (5) Sarvato-bhadra (i) Charuka (6) (Ruchaka, in the Kdmikdgama, xxxv, 87, 91), (7) Nandika, (Chap, civ, vv. 14, 15.) (8) Nandi-vardhana, and (9) Srlvatsa. Vairaja : , 347 PRASADA II. AN ENCYCLOPAEDIA OF Pushpaka rectangular includes : (io)Ba(Va)labhI, (n) Griha-raja, (12) Sala-griha or Sala-mandira, (14) Sama, (15) Brahma-mandira, (16) Bhavana or Bhuvana, (17) Prabhava, and (18) Sivika-vesma. -(Chap, civ, vv. 16, 17.) III. KailaSa round includes (13) Visala, : Ba(Va)Iaya, (20) Dundubhi, (21) Padma, (22) Maha-padmaka, Varddhani, (24) Ushnishi, (25) Sankha, (26) Kalasa, and (27) (19) (23) Sva-vriksha. Manika IV. (Chap, civ, vv. 17, 18.) oval (vrittayata) includes : (28) Gaja, (29) Vrishabha, (30) Harhsa, (31) Garutman, (32) Riksha-nayaka, (33) Bhushana, (34) Bhu-dhara, (35) Srijaya, and (36) Prithivi-dhara. (Chap, civ, vv. 19, 20.) V. Tri-vishtapa octangular includes : (37)Vajra, (38) Chakra, (39) Svastika, Chitra, (42) Svastika-khadga, Vijaya. -(Chap, (43) (40) Gada, (44) Vajra-svastika, (41) Srikantha, and (45) vv, 20, 21.) civ, (3) Garuda-Purana (Chap. XLVH) has exactly the same general plan (w. 1-20, 32-47), five shapes, five classes (vv. 21-23), and 45 kinds of buildings' (w. 24-32); but the wording is not identical. The fourth class is called Malika (v. 21) in the general but the other description is 30) (v. I. given later on Vairaja square (vv. 21-22) includes Nandika is called Nandana, and Ruchaka (vv. 24-25). (7) II. reading, Manika, : (6) Pushpaka rectangular (vv. 21-22) Valabhi is correctly spelt, (13) Visala the Gharuka same nine is kinds, but correctly read as includes nine kinds, of which read as Vimana, which is apa mistake in the Garuda-Purana parently because (3) Vimana is a kind of building included in the square (I) Vairaja class. But the reading of the Pushpaka class (II) seems better in the Garuda-Purana, which may be quoted here (10) is : (10) Valabhi, (14) Visala (17) III. to (11) (text has Griha-raja, Vimana), (15) (12) Sala-griha, Brahma-mandira, Mandira, (13) (16) Bhavana, Uttambha, and (18) Sibi(-vi)ka-vesma. (Chap. XLVII, vv. 26-27.) round (w. 21, 23) includes nine kinds which also seem Kailasa have better reading (i 9 )Valaya, (20) Dundubhi, (21) Padma, Mukuli (in place of Vardhani), (23) : (22) Maha-padma, (24) Ushnishi, (25) Sankha, (26) KalaSa, and (27) Guva-vriksha. (Chap. XLVII, vv. 28-29.) IV. Manika oval (v. 30) includes the same nine kinds of which, however, (31), (32), and (33) are read as Garuda, and Simha, respectively (vv. 29, 30). 348 Bhumukha HINDU ARCHITECTURE V. seem PRAsADA includes nine kinds which Tri-vishtapa octangular (vv. 21, 23) be better read here : to Mushtika (preceded by Babhru, v. 31). Svastika, (42) Khadga, (43) Gada, (44) Sri-vriksha, (37) Vajra, (38) Chakra, (39) (40) Vakra, (41) and (45) Vijaya. (4) (Chap. XLVII, vv. 31-32.) Matsya-Purdna (Chap. CCLXIX, vv. 1-7, 8-14, 15-20, 21-27) (a) The : general plan Evarh vastu-balirh kritva bhajet shodasa-bhagikam Tasya madhye chaturbhis tu bhagair garbharh tu karayet Bhaga-dva-dasaka-sardharh tatas tu parikalpay^t Chatur-dikshu tatha jneyam nirgamam tu tato budhaih II Chatur-bhagena bhittinam uchchhrayah syat pramanatah : I 1 1 ( i ) I Dvi-gunah tah II sikharochchhrayo (2) I bhitty-uchchhraya-pramana- (3) Sikharardhasya chardhena vidheya tu pradakshina I Garbha-sutra-dvayarh chagre vistaro mandalasya tu II (4) Ayatah syat tribhir bhagair bhadra-yuktah susobhanah I PaHcha-bhagena sambhajya garbha-manam vichakshanah Bhagam ekam grihitva tu prag-grlvarh kalpayed Garbha-sutra-sama-bhagad agrato mukha-mandapah Etat samanyam uddishtam prasadasya cha lakshnam This description of the general plan special plans (see w. 8-14, 15-20). is \ I budhah 1 1 I (5) I (6) (7) followed by that of some Samanyam apararh tad-vat prasadam srinuta dvijah Tri-bhagarh karayet kshetrarh yatra tishthanti devatah Rathankas tena manena bahya-bhaga-vinirgatah I II (21) I Nemi padena vistlrna prasadasya samantatah II (22) Garbharh tu dvi-gunam kuryat tasya manam bhaved iha Sa eva bhitter utsedho dvi-gunah sikharo matah (23) 1 I 1 Prag-grivah pancha-bhagena nishkasas tasya chochyate Karayet sushirarh tad-vat prakarasya tri-bhagatah (24) | 1 1 Prag-grivarh pancha-bhagena nishkashena viseshatah Kuryad va pancha-bhagena prag-grlvarh karna-mulatah Sthapayet kanakam tatra garbhante dvara-mulatah I 1 1 (25) I Evam tu tri-vidham kuryaj jyeshtha-madhya-kamyasam II (26) Linga-mananubhedena rupa-bhedena va punah Etc samasatah prokta namatah srinutadhuna II (27) I (b) The names (vv. 28-30), description of architectural details (vv. 31-46), measures (vv. 47-51), and division (w. 53-54), of twenty kinds of buildings (temples) : (i) Meru has 100 cupolas (Sringha), 16 storeys variegated spires (sikharas), and 349 is 50 cubits broad (bhumika), many (vv. 28, 31, 53). AM ENCYCLOPAEDIA OF PRASADA Mandara has (2) broad many 12 storeys, and and faces, is 4.3 cubits (vv. 28, 37, 47, 53). Kailasa has nine storeys, (3) spires many and spires and faces, is 40 rubits broad (vv. 32, 47, 53). Vimana-chchhanda has eight (4) 34 cubits is 29, 33, (6) 48, (7) (8) and is is spires and faces, and seven storeys, storeys, and and is 32 cubits broad 53). is with horns furnished 30 cubits broad (vv. 29, 33, 48, 53). Sarvato-bhadra shapes, broad has Nandana has seven (vishana) and many storeys, (vv. 25, 32, 33, 47, 53). Nandi-vardhana (5) (w. broad has five storeys, furnished with art-gallcrics 16 with corners (chitra-sala), and is various 30 cubits (vv. 29, 34, 35, 48, 53). Vallabhi-chchhandaka has five storeys, 16 cubits broad (vv. 35, 50, 53). many spires and faces, Vrisha should resemble the height and length of the bull, should it round and without corners should have five cupolas and two storeys, and it should be 4 cubits at the central hall (vv. 30, (9) be ; 36, 44, 45, 53). and and should be prominent top-rooms, (10) Sirhha resembles the lion is 16 cubits broad, at the front neck is adorned with six storeys high (vv. 29, 36, 40, 49, 53). (n) Gaj a resembles the elephant and many 16 cubits broad, and has 53). Kumbha resembles the water-jar, has nine storeys, five cupolas a cavity (anguli-puta-sarhsthana), and is 16 cubits broad (vv. (12) and top-rooms (vv. 36, 41, 49, is 37, 49. 53). Samudraka has 16 sides around, two top-rooms dows) at the two sides, and two storeys (vv. 38, 53). (13) (14) Padma has three storeys, 16 corners, a (? gable win- variegated auspicious spire and is 20 cubits broad (vv. 30, 39, 49, 53). (15) Garuda has the bird-shape around, seven storeys and three or top-rooms, is 8 cubits broad, and there should be 86 storeys all around the outside compartments (bhumika) (v. 42) (w. 41, 43, There is a similar Garuda-building with ten storeys and a second 51). Padmaka building with two storeys more (i. e., twelve storeys, v. 43). Harhsa (goose) -shaped is 10 cubits broad (vv. 30, 51). (17) Vartula (ball or round) -shaped is 20 cubits broad (vv. 29, 49, (16) 53)- 35 PRAsADA HINDU ARCHITECTURE No given of the remaining kinds (18) Chatur-asra (four-cornered, vv. 28, 53). (19) Ashtasra (eight-cornered, vv. 29, 53). is special description : Shodasasra (sixteen-cornered, vv. 29, 53). (20) three divisions of these buildings according to three sizes The Tatha mervadayah sapta jyestha-linge Subhavahah $rivrikshaka(-valabhi-a)dayas chashtau : I madhyamasya pra-kirtitah II (53) Tatha harhsa(Simha)dayah pancha kanyase subhada matah II (54) almost in the same are described Similar kinds of prasadas (temples) in both the Bhavishya-Purdna and the Brihat-Samhitd. manner (5) Bhavishya-Purdna, Chap, cxxx, names (vv 23-26), description of the architectural details and measures (vv. 27-35), an d the twenty kinds of same buildings (almost as in the Brihat-Samhitd, see below) : (i) Meru is 39 cubits high and 32 cubits broad, has twelve storeys, various windows (kuhara) and four gateways (v. 27). (2) Mandara broad and has ten storeys (v. 28). (3) Kailasa is 28 is 30 cubits cubits broad, has spires The below. (6) Vimana with (v. 28-53) (7) vardhana 33) : (v. 34) ; ( J : 3) Padma (v. 33) 29, 49) but here (v. 33) (see v. 30) special description (18) (v. ; (8) v. 31) ; (10) 29) Nandana (5) ; ; ; it is (14) Ghata 24) Garuda (v. Kunjara (v. (17) Vritta (as (v. 29) , as in the Brihat-Samhitd (v. Nandi- 31) ; (9) 32) ; (n) Griha- Brihat-Samhitd (LVI, 25) reads Guha-raja Harhsa (16) Sirhha (v. 35) a mistake (v. 30) (v. . clearer in the Brihat-Samhitd, quoted windows latticed but Nandi, (v. 29, rdja (v. 32) (v. ; is eight storeys (v. 28) : 30), but Samudra Samudga (LVI, and finials, description of the following The names are given here (4) No and ; (12) Vrisha (15) Sarvato-bhadra 33) in the Brihat-Samhitd, LVI ; read Vrisha like (12), which is apparently . is given of the remaining kinds Chatush-kona (four-cornered, v. 25) : : Matsya-Purdna (Chap. CCLXIX, vv. 28, 53) reads Chatur-asra, and Brihat-Samhitd (LVI, 28) has Chatur-asra (19) Ashtasra (octangular, v. 25) (20) Shodasasra ; ; (sixteen-cornered, v. 25). (6) The Brihat-Samhitd (LVI, 1-19) The religious merits acquired by building temples (vv. 1-2). suitable sites are stated to be gardens, woods, banks of rivers, seas or tanks (vv. 3-8); ground : general plan (v. 10); situation of doors (v. 10); comparative measures of the length, breadth, and height (v. n); of the (v. 9); 351 AN ENCYCLOPAEDIA OF PRASADA adytum (garbha, v. 12), of the doors and their different carvings on doors (v. 15); comparative measures of the door 1 (v. 6) parts (vv. 12-14) ; and idol, pedestal, the heights of storeys (vv. 29-30). ; followed by the classification (vv. 17-19) and the description of the architectural details (w. 20-28) of the same twenty kinds of temples This is (prasada) as are given in the Matsya-Purdna and the Bhavishya-Purdna. their details which are of these buildings are given below almost same as in the Purdnas, will be found described under these terms ; The names Meru (i) (4) : Vimana-(chchhanda) (w. Samudga (v. vardhana 23) (7) ; 24) (v. Vrisha (12) (v. Chatush-kona (18) ShodaSasra (vv. Kdmikdgama No L, ; ; 18, (vv. Simha 28) ; 25) ; 26) ; 21); (v. 22) (6) ; Nandi- (9) ; (v. 28) (19) ; Nandana (v. Garuda (v. 24) (8) (v. Kailasa (3) (5) ; (v. Hamsa (16) 22) (v. 23) Kunjara (13) 27) 17, 21); (v. (u) Guha-raja (v. (14) Ghata (v. 26) 25) (15) ; (17) Vritta ; Ashtasra (vv. (w. 18, ; 18, 28); 28) (20) ; 18, 28). : distinction Mdnasdra, Padma (10) ; 26) (v. Sarvato-bhadra (7) Mandara 20); (2) (v. is made between PRASADA and VIMANA 40, etc.) (cf. also the : Jatyadi-bhedakair yuktam vimanam sampadam(-s)-padam (LV, 131, this Buildings in general (LV, 1-210) Their component parts chapter is I named Prasada-bhushana.) ; : Prasada-bhushana(rh) vakshye sruyatam dvijasattamah Syat pada-prastararh-griva-varge mule tu vedika II (i) Shapes and kinds of Prasada (buildings in general Yanarii va sayanarh vapi gopurakritir eva va I : ) I va mervadi-parvatakritir eva va II (194) Nandyakritir va dhama vidheyam chesta-de^ake Pithakritir I Mandape gopure vapre Evam evarii vidheyam parivaralayadishu 1 1 syat tatha bhuvi visishyate II (195) The synonyms Vimanam bhavanam harmyam saudham dhama niketanam Prasadah sadanam sadma geham avasatham griham (208) : I 1 1 Alayarh nilayam vaso'py-alayo vastu-vastukam I Kshetram ayatanam vesma mandiram dhishnakarii padam Layam kshayam agaram cha tathodavasitarh punah 1 1 ( 1 I St liana The m ity-evam uktani paryaya-vachanani hi four classes Jati (v. 128), II (210) : Chhanda (129), Vikalpa (130), 352 and Abhasa (130). 29) HINDU ARCHITECTURE The Chapter LV PRASADA to the description of a single building refers component parts. So also does the Chapter XLV (lakshana), but under MALIKA) (see dirghochcha prokta prasada-malika (4) Further classifications (Chapter XLV) 1 II. Nagara 7, (vv. 6, 12, 13), : its named MalikaPrasada- vyasa- 1 : Samchita, Apasamchita, and Upasamchita I. (w. it is ; mean anything but Prasada does not it and Dravida (vv. 6, (v. 6). and Vesara 15), 14, 16-18). Chhanda (vv. 7, 20,) and Vikalpa (vv. 7, 20). Misra 7, 21), (vv. 7, 22), and Sarhklrna (vv. 7, 22) or masculine also called Samchita (vv. 8, 9), StriPumlinga III. Jati (vv. 7, 19), Suddha (w. IV. V. linga or feminine (vv. 9, 10), This class and Napumsaka or neuter (v. n). (V) does not refer (like the Mdnasdra] to the sexes of the Here they appear like residential buildTheir characteristic features are determined by some architectural deities installed in temples. ings. under these terms PuMLi5JGA, etc.). distinguishing marks of the other four classes (I to IV) are similar to those of the Mdnasdra noticed above (see the details under details (see The those terms, Samchita, Nagara, etc.). VI. The technical names of Prasada (i) 2 9-3 : Sindhuka (Chap. XLV, vv. 23-28) (2) Sarhpurna (w. Kshema Meru-kuta ) (5) (3) (vv. 32-34) (v. 31) (4) ; ; ; ; Siva (vv. 35-38) ; (6) (8) Vis"ala (v. 41) Harmya (9) ; (vv. 39-40) ; (7) Saumya Sarva-kalyana (w. 42-49) ; (v. (u) Bhadra (v. 51) (12) Ranga-mukha (v. 52) Alpa (w. 53-54) (14) Kona (vv. 55-58) (15) Geya (v. 50) ; ; ; Adbhuta See details (16) (v. Sara 6ia) ; (v. 60) ; (17) Pushkara (vv. 61-63) (19) Sarhkirna (v. 62) ; (20) ; ; (13) ; (18) ; ; 580-59) 40) (10) Vijaya Danda (vv. (v. 64). under MALIKA and these terms. In Chapter xxxv, Salas, in almost the same sense as of Prasada, are divided into five classes, namely, Sarvato-bhadra (vv. 87-88), (w. 87, 88), Svastika (vv. 87, 89), Nandyavarta (vv. 87, 90), Vardhamana and Charuka (vv. 87, 91). Their characteristic features will be found under these terms. = Suprabheddgama, Chap, xxxi (named Prasada temple) The nine kinds of width (vv. 1-3) the comparative measurements of the temple and adytum (vv. 4-6), of the inner and outer walls (8) : ; and the pujha or pedestal (w. 9-15). four types of bases, namely, Padma-bandha, (vv. 6-8), of the linga or phallus The description of the Charu-bandha, Pada-bandha, and Pratikrama 353 (vv. 16-20). AN ENCYCLOPAEDIA OF PRASADA floor consisting in the comparative description of the ground measurement of the base, column, entablature, finial, dome, corner-tower, The dove-cot, and spire (vv. 28-31). All the twelve storeys are stated to be built in the Adva-daSa-talad evarh bhumau bhumau same way prakalpayet Evam uktam ihotsedharh dvara-bhedam tatah The srinu : I II (33) doors are then described (vv. 34-37). Three styles of temples, mentioned (v. 38). Their essential features Ten types of temples are Nagara, Dravida and Vesara, (vv. 38-39, see under those terms). : Mandara, (3) Meru, Nila-parvata, and Mahendra), Kailasa, (2) (i) (also called (8) namely, Nandyavarta, (9) (4) Himavat, (5) Nishadha Nalinaka, (7) Pralinaka, Srivarta (also Sripada), and (10) Parvata. (6) (See vv. 40-45.) The comparative measurements of the storeys Evarh tale tale karyam nunam ekaika-bhagikam II (53) The five kinds of columns Srikara, Chandra-kanta, Saumukhya (also their shapes fourSumukha), Priya-darsana, and Subharhkari(-ra) (v. 65) of the the combination and of sixteen-sided, cylindrical, : ; sided, eight-sided, first two (v. 67). They may be with or without a kumbha or pitcher general features of the component parts (vv. 55-64) 54). orders are described (w. 66-67). special features of the five The The description of the Some ornaments, like (spire), stupi Here (dome), etc., arches (v. and the given (w. 68-71). vedika (platform), sikhara (vestibule), are also described (w. 72-93). is nasika closes the description of the temples : Prasada-lakshanarh proktam mandapanam vidhirh sYinu II (94) This leads to the description of the detached buildings such as the pavilions, the enclosure, tanks, quarters for the attendant deities, gate-houses, and in its wider sense. guest-houses, etc., which form parts of the temple The mandapas or pavilions are divided into four classes, namely, Vrisha (the bull, Nandin)Deva(god)-mandapa, snapana(bath)-mandapa, mandapa, and Nritta (music) -mandapa (vv. 96-97, 98-99). They are further classified under the names Nanda-Vritta, SriyaVisala vritta, Virasana, Jaya-bhadra, Nandyavarta, Mani-bhadra, and first (vv. 100-104). These pavilions are distinguished by the number of columns they are furnished with : Stambhanam tu satair yuktarh visalam iti sarhjiiitam Prasad-vat samakhyatarh prastarantarh pramanatah 354 I II (104) HINDU ARCHITECTURE The columns to PRAsADA of the prasadas and those of the be differently measured mandapas are stated : Prasada-stambha-manasya etat stambharh visishyate II (105) These latter columns have also other characteristic features (vv. 106-1 The 13). description of the pavilions closes with that of the flights of steps Sopanarh cha yathayuktya hasti-hastarh tathaiva cha : I Evam samasatah proktarh mandapam vidhi-purvakam II (114). The prakaras or enclosures are then described (vv. 115-128). They are strikingly similar to those described in the Mdnasdra. This Agama Mdnasdra divides the whole compound into like the five In both the treatises, each of the courts enclosed quadrangular courts. be furnished with a separate gate-house. Moreover these is stated to gate-houses are given the same technical names in both the works, viz. Dvara-s"obha (in the first court), Dvara-s"ala (in the second), Dvara-prasada the the third), Dvara-harmya (in (in fourth), and the Dvara-gopura (in the fifth or the extreme boundary, maha-maryada cf. Mdnasdra under GOPURA.) ; The Parivaralayas (temples of attendant deities) which are made in some of these five courts, are described (129 f.), and are also similar in both the treatises. , In the remaining portion of the chapter some objects like the faades of the temples, etc., are described. From the abstracts given above, it will be clear that this chapter Suprabheddgama deals with all the essential parts of a temple, which in the Mdnasdra, including the residential buildings, occupy a space of twenty-eight chapters (xm to xxxix, XLVI). The description of this of the very explicit and to the point. The language also of the Suprabheddgama is much better than most of the architectural Agama, though treatises I The brief, is have consulted. attention of readers is invited to the lists of the buildings described in the eight works under observation. The list in the Mdnasdra contains under twelve classes (or storeys) 98 types of buildings the Agni-Purdna has under five classes 45 types, the Garuda; Purdna also has under the same five classes 45 types the Mastya-Purdna has under three classes 20 types the Bhavishya-Purdna has left out the ; ; broader divisions and contains 20 types the Brihat-Samhitd in the very same way contains 20 types the Kdmikdgama has under three divisions (of ; ; and the Suprabheddgama has left out all the minor divisions but has preserved the most important divisions, namely, the three styles (Nagara, Vesara, and Dravida) which comprise ten types of buildings. various kinds) 20 types The ; various broader divisions, such as the Suddha, Sarhchita, Sthanaka, we have seen in the Mdnasdra, are repeated in the Jati, Purhlinga, etc., 355 AN ENCYCLOPAEDIA OF PRASADA same terms and same sense in the Agamas. The most important division, is also preserved intact namely, the styles Nagara, Vesara and Dravida architectural are divisions, consequently These in the latter works. purely treatises non-architectural the they are not taken into consideration in Even the broadest division into like the Purdnas and the Brihat-Samhitd. the buildings in twelve or storeys under which the Mdnasara describes latter works. in the thirteen chapters has lost its prominence Thus the Mdnasara has the largest number of the types, namely. 98. The Agni-Purdna and the Garuda-Purdna have 45 types each. The Matsya-Purdna, the Bhavishya-Purdna, the Brihat-Samhitd, and the Kdmikdgama have 20 types each. The Suprabheddgama has the smallest number of types, namely, 10. The technical names of the types of buildings are common in many cases. In some instances the architectural details are identical. The lists of the Agni-Purdna and the Garuda-Purdna on the one hand, and the MatsyaPurdna, the Bhavishya-Purdna and the Brihat-Samhitd on the other, are Of the works containing the lists of 20 types, the strikingly similar. has the brevity, explicitness and Brihat-Samhitd the smallest number of most improved description. But in respect of which contains the Suprabheddgama, precision, types, surpasses all others. The common names of the types, the identity of their details and the The grades similarity in their description do not seem to be accidental. of the linguistic style and the explicitness and precision of the description are not perhaps unconnected. And the variation in the number of types described in these works does not also seem to be meaningless. The mutual relation and the historical connexion of these eight works have been discussed in great detail in the chapter on the date of the Mdnasara in the writer's Silpa-sastra and the Hindu Architecture in India and Abroad. The object of this denotation of the term article ' is, however, to show by illustrations the And Prasada.' before drawing any conclusion, we examine briefly a few more literary quotations from works which are not architectural and where the term occurs quite incidentally, as well as from the archaeological records and the Buddhist canonical texts, where shall too the term is used casually. (9) Sdnkhydyana-Srauta-sutra, xvi, 18, Sarhsthite 13 (Pet. Diet.}: madhyamc' hany-ahavaniyam abhito dikshu prasadan viminvanti I (10) Adbhuta-Brdhmana, in Indische Studien, Harmya-prasada-sarhkula I 35 6 i, 40 (ibid.} : HINDU ARCHITECTURE ' (11) a walled PRASADA Prakara in the Sdnkhydyana-Srauta-sutra (xvi, 18, 14) denotes mound supporting a raised platform (prasada) for spectators.' (Professors Macdonell and Keith, Vedic Cf. the text Index, n, 44.) Tan uparishtat samvyadhaih prakaraih parighnanti Prasada in the sense of palace does not occur until the late AdbhutaBrdhmana' (see above, no. 10). (Indische Studien, i, 40, Vedic Index, : I ' n, 51.) (12) II. II. II. Rdmdyana (Cock) i Prasadam chandra-samkas'am aruroha 7, Ayodhyam manthara tasmat prasadad anvavaikshata : : 7, 12 : 3, 27 : 1 KailaSa-sikharakarat prasadad avarohata Prasadastho daSarathah ... 3, 31 I I I (Here II. 1 : Sa ' tarn Prasada kailaSa-sYingabham aruroha nandanah II. . . . . arohata prasadarh prasadam hima-panduram . . . ragu- . I I Bahu-tala-samutsedham Ruddham . . Prasada-sringeshu Aruroha must mean a palace.) ' tu I I nagaririi ^rutva . prasadam . . . . . I Tatah prasada-harmyani vimana-sikharani cha Abhiruhya janah srlman udasino vyalokayata II Aruhya tasmat prasadad dinah pa^yanti raghavam Aruhya giri-sarhkasarh prasadam ... Tato hema-pratishthane varastarana-sarhvrite I I I I Prasada-sikhare II. 17, 17 : ramye chitra-malyopaSobhite II Prah-mukham vidhivan mantraih styapayitva varasane Megha-samghopamaih ubhaih ... I Prasada-Sringair vividhaih kaila^a-sikharopamaih ^V. 33, 15 I : Vanarenda-griharh : Sikharopamaih Prasada-Sikharam ^aila-^ringam ivonnatam Prasada-sikhareshu . . . I kailasa- sukla-prasada-sikharaih I VI 41, 88 VI. 41, 90 : II. 51, 21 : II. 100, 42 : I I Harmya-prasada-sampannam . . Prasadair vividhakarair vritam V. VI. VI. 2, 39, 39, 27 : Prasada-malabhir III. 55, 7 : Griham deva-grihopamam 49 : Prasada-mala-vitatarh 21 : PrasadaiS cha badham . . . . . raja-dhanlm . ayodhyam maha-purim . . . lanka parama-bhushita alankritam purim 357 I I . I I . . . . . . I I harmya-prasada-saih- AN ENCYCLOPAEDIA OF PRASADA III. 55, 10 V. 6, 44 V. 9, 2 tatra prasada-panktayah Hema-jala-vritas' chasarhs : Prasada-sarhghata-yutarh : 33, 8 II. 65, 3 . maha-griham . I Bhavanam rakshasendrasya bahu-prasada-sarhkulam : IV. . I I : Vindhya-meru-prakhyaih prasadair naika-bhumibhih : Rajanam stuvatarh tesharh . . I prasadaghoga-vistlrnas . tu Sabdo hy-avartatal (Cf. also II, 27, 80, 19 : II. 88, 5 : II. 88, 7 : II. 91, 32 : IV. 33, 5 : IV. 42, 44 41, 86 : 75, VI. 75, 57, 18 57, 20.) ; . . niveSah . I Prasadagra-vimaneshu valabhlsu cha sarvada Haima rajata-bhaumeshu varastarnaalishu II I Prasada-vara-varyeshu s"itavatsu sugandhishu Ushitva meru-kalpeshu krita-kanchana-bhittishu I Harmya-prasada-sarhyukta-toranani . . . 16; 57, I 7.) I : . dahati tatra vai ' V. 5, 3 I- 5> 5 : I I aila-saihkaam Prasadarh : . . . Prasadah parvatakarah (cf. also vi, 75, 6.) 12: Mukta-mani-vichitrams cha prasadarii cha 7 II I Mahatim guharh .harmya-prasada-sambadham Bhavanam prasadangana-sambadham (Cf. also v, 6, VI- ; Prasada-mala-sarhyuktah. I. VI. 9 . . agnir I Harmya-prasada-sambadham I Prasadair anta-vikritaih parvatair iva ^obhitam (13) Mahabharnta (Cock) V. 91, 3 Tasya (Duryodhana-grihasya) I : kaksharh vyatikramya : dvah-sthair avaritah tisro I Tato abhra-ghana-sarhkas'am griha-kutam ivochchhri- tam II Sriyaivalambantarh prasadam aruroha mahaSayah I- 3> J 33 : Naga-lokam. . . . aneka vidha-prasada-harmya- valabhi-niryuha-lata-sarhkulam I. 109, 9 : Nagaram. II. 10, 3 : Sabha. V. 88, 20 : Etad . . . . . 89, : . I I (DuhSasanasya griharh)dhi ruchirakaraih prasadair ii I prasada-Sata-sarhbadham, divya hemamayair uchchaih prasadair upa^obhita V. I upaobhitam I Griharh (Dhritarashtrasya) tam . . . . prasadair upaSobh'- I XII. 44, 6 : Duryodhana-griharh prasadair upaSobhitam XII. 44, 8 : Prasada-mala-sarhyuktarh (Duh^asanasya griham) 35 8 I I HINDU ARCHITECTURE 185, 19, 20, 22 I. PRASADA Sarvatah : sarhvritah Subhraih (samajavatah) prasadaih sukritochchhrayaih I Suvarna-jala-saihvritair mani-kuttima-bhushanaih Sukharohana-sopanair mahasana-parichchhadaih I 1 1 Asarhbadha-s'ata-dvaraih Sayanasana-Sobhitaih Bahu-dhatu-pinaddhangair himavach chhikarair I iva V. 90, 14 Ye : II . prasadagreshv-abodhyantaranka-vajinaSayinah (Pandavah) . . I XV. 1 i 6, ... Prasada-harmyeshu vasudhayarh cha. Narinam cha naranarh cha nihsvanah abhut : I sumahan I XIV. 25, 22 Seyarh bhumau : pariSranta Sete prasada-Sayini I Prasada-sala-sarhbadham mani-pravara-kuttimam Karayamasa vidhivad-dhema-ratna-vibhushitam I I (14) Afanu-Samhitd (vn, 147, etc.) : Giri-prishtharh samaruhya prasadam va raho gatah Aranye nih^alake va mantrayed avibhavitah || (15) Panchatantra (Bombay, Rajakanyam. . . . p. 38, etc.) i, . . : sapta-bhumika-prasada-pranta-gatam (16) HitopadeSa (Bohtlingk, p. 157, Raja i, 30, etc.) I Prasada-prishthe-sukhopavishtanam raja-putranam (17) Megha-duta (ed. Stenzler, 64, etc.) I : prasada-garbham gatva . I : I Abhrarh-lihagraih prasadaih Prasadam abhram-liham aruroha Raghu-vamfa (14, 29, etc.) Mfkhchha-katika (ed. Stenzler, (19) Cock) (18) : I I : p. 79 : Arama-prasada-vedikayam 84 : Vidyut-kanchana-dipikeva rachita prasada-samcharini p. p. 21, 132, 162, 164 (20) Rdjatarangini (Pet. : Diet., 4, I Prasada-balagram 102, etc.): I I Prasadanganam I (21) Ekas tayor amum akarayad indu-mauleh prasadam adri-tanaya the one of them built this temple of the god who bhavanarh tathanya wears the moon on his head, and the other that of the Daughter of the Mountain.' (Dewal PraSasti of Lalla the Chhinda, v. 27, Ep, Ind., VOL. i, ' pp. 80, 84.) . prasado'yarh (22) Ishtapurtta-prachura-sukritarambha-nityadritena ' in he caused this edifice to be erected . nirmapyate ... . there is here the god Narayana.' (Mau-chandella inscrip. of Madanavarman, v. 46, Ep. Ind., Vol i, pp. 202, 206.) mudhabhano'(23) Prasadena tavamunaiva haritam adhva niruddho (Deopara inscrip. of dyapi krito'sti dakshinadi^ah konantavasi munih it I Vijaya Sena, v. 27, Ep. Ind., Vol. i, pp. 310, 314.) 359 AN ENCYCLOPAEDIA PRASADA (24) Akarayat svayrh Sambhu-prasadali-dvayam She too made ' nijah her people construct that hall of study (and) lay out that long gardens in two ranges (adjoining Sambhu's temple). of Alhanadevi, v. 38, Ep. Ind., Vol. n, pp. 13, 16.) OF line of (Bhera-ghat inscrip. Aneka-prasadaih parivritamati pramsukalasarh girisaprasadam vyaof Mokala of Mewad, Part n, v. 2, Ep. rachayat I- -(Chitorgadh inscrip. (25) Ind., Vol. ii, p. 421.) (26) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan I (Sridhara's Devapattana Prasasti, v, 10, Ep. Ind., Vol. n, p. 440.) Maha-saila-prasada Kirtivarman II, lines 7, n, (27) (28) great stone temple. (Pattadakal 14, Ep. Ind., Vol. in, pp. 4, 5.) inscrip. of nava-hema-kumbha-kalitarh ramyarh maha- Ghanarh prasadam maihtapam I ' (He presented) a solid temple (prasada) adorned with nine golden pinnacles (kumbha) and a beautiful large hall (to the temple of Hari, the lord of Mangalas"aila). vi, (Mangalagiri Pillar inscrip., v. 51, Ep. Ind., Vol. pp. 125, 115.) (29) Prasado rachitas sudha-chchhavi-hasat-kailasa-s'ailesVarasya, (v. 22), prasadam ISasya inscrip. no. A (30) (v. 32), prasada-kirttih (v. 34). (Two of Svapnesvara, Ep. Ind., Vol. vi, p. 202.) Prasadam navabhiS cha hema-kalas'air Bhuvanesvara aty-unnatam gopura- an exupachitarh sYl-rama-bhadraya cha ceedingly high temple furnished with nine gilt domes, a gate tower, a wall and festive hall, to the holy Ramabhadra.' '(Kondavidu inscrip. of ' prakarotsava-mamtapair Krishnaraya, v. 27, Ep. 1 Ind., Vol. vi, pp. 237, 231.) Khanda-sphutita-prasada-punah-samskaranartham pratipaditah ' he granted for defraying the expenses of the repairs of the temple broken in parts.' (Plates of Dantivarman of Gujarat, line 67, Ep. Ind., Vol. vi, (3 ) pp. 293, 286.) (32) Tena bhratri-yugena ya prati-pura-gramadhva-Saila-sthalarh sarah kupa-nipanaka prasada-satradika vapi- I Dharmma-sthana-pararhpara nava-tara chakre'tha jirnnoddhrita-tatsamkhyapi na budhyate yadi pararii tad-vedini medini I (Mount Abu inscrip. Ep. Ind., Vol. (33) Tirthe Svlyam deva-hrade tena kritarh tatra no. vm, i, p. v. 66, 213.) prasada-panchakam dvayam jatarh yatra Samkara-keSavau II I (Sihawa stone inscrip. of Karnaraja, v. 9, Ep. Ind., Vol. ix, p. 186.) 360 PRASADA HINDU ARCHITECTURE Sri-ncmisvarasya nirakrita-jagad-vishadah prasadah samuddadhre Erected the temple of Ncmisvara which (temple) has removed the sorrows of the world.' (The Chahamanas of Manvar, no. xxv, Nadlai stone (34) ' inscrip. of Ranaviradeva, line 15 Esha Ep., Ind., Vol. xi, p. 64.) f., bhagavato varaha murtter jagat-parayanasya narayanasya Airikine karitah sva-vishayc'sminn Sila-prasadah This stone temple of the divine (god) Narayana, who has the form (35) | ' of a boar (and) who is entirely devoted to (the welfare of) the universe, has been caused to be made in this in his own vishaya of Airikina.' (Eran stone Boar Inscrip. of Toramana, line 7, C. I. I., Vol. in, F. G. I., no. 36, pp. (36) i Go, 1 6 1.) Nana-dhatu vichitre gopahvaya-namni bhu-dhare ramye tavan saila-mayam bhanoh prasada-vara-mukhyam to be made, on the delightful mountain which caused Has kari- I ' feckled is with various metals and has the appellation of Gopa, a stone temple, the chief among the best of temples of the Sun.' Tavad (this) the hill.' F. G. ' so long giri-murdhni tishthati Sila-prasada-mukhyo ramye chief of (stone) -temples shall stand upon the delightful summit of I., (Gwalior stone inscrip. of Mihirakula, lines no. 37, pp. 6, 8, 9 ; C. I. /., Vol. HI, 162, 163, 164.) (37) Tenochchair bodhimande s"as"i-kara-dhavalah sarwato mandapena I Kantah prasada esha smara-bala-jayinah karito loka-s"astuh II By him this beautiful mansion of the Teacher of mankind, who overcame the power of (the god) Smara, dazzling white as the rays of the moon with an open pavilion on all sides, has been caused to be made at the ' exalted Bodhimanda.' Bodhimanda also called Vajrasana, the throne under the Bodhi-tree at Bodh-Gaya, on which Buddha sat when attaining Bodhi or perfect wis' dom. The word ' Kanta here might have a technical architectural meaning. is In the Mdnasdra, the names of the buildings of various storeys end with so also kanta,' e. g., meru-kanta, hima-kanta, etc. ' generally the names (Bodh-Gaya ; of the columns, e.g., Brahma-kanta, Vishnu-kanta, etc. inscrip. of Mahanaman, lines 10, n, C. 7. /., Vol. m, F. G. I., no. 71, pp. 276, 278, 275, Bodh-Gaya inscrip. of xv, pp. 358, 359, 357, (38) and Sanskrit and Old Kanarese Mahanaman, c. i, line 10 f., inscrip. no. 166, of A. D. 588, 589, Ind. Ant., Vol. para, a.) Adbhutah sirhha-paniya-nagare yena karitah I Kirtti-stambha ivabhati prasadah parwatl-pateh n In the town of Sirhhapaniya he caused to be built a wonderful temple of the Lord of Parvati, which shines like a column of fame. (Sasbahu ' incrip. of Mahipala, v. 1 1, Ind. Ant., Vol. xv, pp. 37, 42.) 361 AN ENCYCLOPAEDIA OF PRASADA kedara-devasya cha He caused to be built a temple of the inhabitants of heaven and of the god Kedara.' --(Gaya inscrip. of Yakshapala, v. 12, Ind. Ant., Vol. xvi, pp. Sa (39) prasadam divishadarh achlkarad I ' 65, 66.) ' (40) Vejarhto Vaijayanta, the palace (of Indra).'- pasadc (prasada) (Bharaut inscrip. no. 79, Ind. Vol. xxi, p. 233.) Ant., prasadam kritam was founded by Nayaka (leader) The temple of Hatakesvara (Siva) the illustrious Hariraja.' --(Nagpur Museum stone inscrip. of Brahmadeva of (41) Nayaka-sYi-hari-raja-devo Ha(ha)takes"varasya ' lines 9-12, Ind. Ant., Vol. Rayapura, xxn, p. 83.) Maha-lakshmi-deviya prasadavam geyada VisVakarmma-nirmmitabuilt the temple of the goddess Mahalakshml, as if a creation of Visvakarmma.' (Ep. Carnal., Vol. v, Part I, Hasan Taluq, no. 149, (42) subhasitan ' Roman Text, p. 86.) The above-mentioned inscription (dated conjecturally A. D. 1113) ends with the following passage apparently quoted from a book for sculptors and architects (griha-vastu) ' : Vimana-sarwato-bhadra-vrishabha-nalinika-uttunga-viraja-garuda- varddhamana-Sankha-vritta-pushpaka-griha-raja-svasti.' ' (Ibid., Text, p. 9, last 3 lines.) (43) Prasada-malabhir alamkritarh dharam vidaryyaiva samutthitam I Vimana-mala-sadriam yattra griham purnnendu-karamalam cleaning as under the earth, there rise up houses which are decorated with succession of storeys which are like rows of aerial chariots (and) which are as pure (white) as the rays of the full moon.' (Man1 ' 1 Here ; dasor 18, stone pp. inscrip. of Kumaragupta, line 7, C. I. I., Vol. in, F. G. (44) Svargartharh kritavan pratapa-nripatih no. sadyoshito-retayoh prasa- dam The I., 81, 85.) vasu-patra-padma-sadris'am sYirigashtakaih Sobhitam on a slab in the wall near the southern door of a inscription is I ' temple of Vishnu close to the royal palace in Katmandu. This temple apparently the building mentioned in the inscription (quoted above). It is an octagon, and has three storeys.' is The plan sadriSa). of the temple (Inscrip. Ant., Vol. ix, pp. 1 is like a lotus of eight leaves (Vasu-patra-padma- from Nepal, no. 18, inscrip. of Pratapamalla, v. 10, Ind. 88, 187, 189, c. 2, para 2.) (45) Dig-bhagantara-sannive&ta-chatur dvarah sukharohanah pakhad ramya-suvarna-ketana-tala-nyasta-tri-Sulo'ntarah 1 1 Sauvamojjvala-kumbha-patra-patala-prodbhasitas'a-mukhah prasado. diSatad abhipsita-sadavasa-prasakto (Inscrip. mudah from Nepal, no. 23, 362 II Ind. Ant., Vol. ix, p. 194.) PRASADA HINDU ARCHITECTURE Grama-nagara-kheda-kharvada madamba-dronamukha-pattanamgalimdam aneka-mata-kuta-prasada-devayatanarhgali-dam oppuva- (46) agrahara-pattanamgalirhdam atisayavappa ... At Teridala, a merchant town situated in the centre and the I ' the twelve in importance among Thousand, adorned with (towns) first Kundi Three in the glorious towns, hamlets, villages surrounded of towns and chief cities, with elegant villages, sea-girt groups with and and mansions, palaces shining agrahara towns in the temples, by villages, hills, country of Kuntala.' (Old Canarese at Terdal, line 58, Ind. Ant., inscrip. Vol. xiv, pp. 19, 25.) ' (47) Prasadam kanchanena Kes"avasya sphuta-ruchi-kalas'enanchayat Kesavasya sthira-kalasa-yutarh karayamasa divyam KeSavasya sthira-kalaSa-yutarh Najnayaryo vyatanit 1309' Prasadam ' ' 1659 ' Prasadam ' ' 1697 I ' Mr. Rice has translated prasada in all these three instances by tower', although the term means primarily temple here. (Ep. Camat., Vol. v. ' Part I; Belur Taluq, nos. 63, 64, 65 ' ; Roman Text, pp. Transl., 135, 136; 59-) P- ' a tower (prasada), decorated with carvings and figures (chitra-vichitra-patra-nutamam prasadamam), to be erected of stone, (48) Causing and a golden yagrake), he kalas"a to in be made for the pinnacle of the temple (devala- many ways increased Carnal., Vol. vn, Shikarpur Taluq, no. 243 Text, p. 247, last four lines.) (49) KaSyam ; visVesVara-dvari hima-diSi his fame Transl., p. in the world.' 139, para. 6 kharopamam (Ep. Roman ; I PadmesVarasya devasya prasadam akarot sudhih On the north side of the entrance to the VisVesVara temple at KaSi built a solid and lofty temple of the god PadmesVara (Vishnu) on A. D. I ' ' I5th New May, 1296. Imp. Series, (Sharqi Arch, of Jaunpur, inscrip. no. xxvi, v. 3, Arch. Surv., VoL i, p. 51.) (50) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan | Sauvarna-dhvaja-toranapana-pura-grama-prapa-mandapan Vyadhapayad ayam chaulukya-chudamanih I I (Sridhara's Devapattana PraSasti, v. 10, Ep. Ind., Vol. n, p. 440-441.) (51) In the Buddhist literature buildings are divided into five classes vihara (monastery), ardha-yoga (stated by the com(pancha-lenani) mentator Buddhaghosa to imply suvarna-vanga-griha,' a type of two' rooted buildings, partly religious and partly residential), prasada (wholly 3 63 AN ENCYCLOPAEDIA OF PRASADA-TALA harmya residential storeyed buildings), and guha (underground p. 73-74 : Ckullavagga, vi, (larger type of storeyed buildings) Texts, buildings).- -(Vinaya i, 2, Mahdvagga i, t 30, 4, 158.) p. The commentator Buddhaghosa not does ' ' prasada quoted above from the Vinaya Texts he simply says prasado iti digha-pasado.' According to Rhys Davids prasada is a long-storeyed mansion, or the explain ' ; ' ' whole of an upper 173 vagga, p. explain (in ; his ' storey, or the storeyed buildings Chullavagga, p. dictionary) note 2). 151, ' this (cf. Sir ' prasada ' by ' his transl. of Mahu- M. William seems to monks' for the hall assembly and confession.' ' Cf. satta-bhumika-prasada (Jdtaka, From i, buildings of seven storeys in height.' pp. 227, 346 ; v, pp. 52, 426 ; vi, p. 577.) ' it is clear that the term prasada ' the illustrations given above, It denotes the gorgeous .mplies both religious and residential buildings. where a deity or the emblewell as small as pavilions (mandapa) temples installed. It includes of Siva is matical phallus magnificent palaces and a implies a succession of storeys, and a tower, a for erected on foundaseat or lofty building platform spectators, high tions and approached by means of steps, a building consecrated to a smaller deity residences. ' It or inhabited by a prince, a temple, a palace, and the assembly confessional hall of the Buddhist priesthood.' room and PRASADA-TALA Floor, roof. (Buddhist Sutlas, PRASADA-MALIKA A class by Rhys Davids, (Kamikagama, XLV, 4; PRIYA-DARSANA One of the five see under MALIKA.) Indian orders. (Suprabhedagama, xxxi, 65, 67 PREKSHAGARA An p. 262.) of buildings. ; see under STAMBHA.) amphitheatre. Sata-kumbhamayam divyam prekshagaram upagatam (Mbh. Adiparvan, see under RANGA and compare I Bharata Ndtya-sastra, n, 7, 13, 25). PREKSHA-GRIHA (-MANDAPA) Auditorium in a theatre, the front room or pavilion facing a shrine wherefrom the deity is seen. 7, 13.) quadrangular and tri- (Ibid., In theatre proper angular it should be semi-circular, ii, : Preksha-grihanaih sarvesham tri-prakaro vidhih smritah VikrishtaS-chaturasYas-cha tryara-chaiva prayukribhih It I (Ibid., n, 364 25.) HINDU ARCHITECTURE PHELA In large theatres, attached to temples it should be semi-circular, in middle-sized ones attached to palaces it should be quadrangular, and in ordinary small theatres for the general public it should be triangular. (Bharata Natya-fdstra, u, 26.) Ilia preksha-griham drishtva dhlmata visvakarmana Trividhah sannives"ascha Sastratah parikalpitah II Vikrishtas'-chaturasras'-chaiva tu PREKSHA-NIVESANA PROSHTHA A (Bha- under NATYAGRIHA. high and broad bench with moulded and turned legs (R.-V., vii, 55, 8 timber seats n, 7-8.) (Ibid., I- The auditorium of a playhouse See details rata Ndlya-sdstra). mandapah I fixed ; A.-V., iv, 5, 3 Taitt. Bra., n, 7, 17, i), ; long of a settee and a walls, combinations against coffer. PLAKSHA-DVARA A back-door, a side-door, a private entrance. (Matsya-Purana, Chap. CCLXIV, v. 15 see under UDUMBARA.) ; PH PHANA A hood in connexion with the joinery. (M., xvn, 134; see SANDHI-KARMAN.) PHALAKA A plank, a moulding, an architectural member, the abacus, a leaning board. (Mahdvagga, v, 10, A plank cf. pralamba-phalaka (M., xn, 125). A member of the column (M., xv, 50, 51, 83, 185, In connexion with the arch (torana) (1) 2.) : etc.). : Natika phalaka mushti-bandhanam patra-vallikam I (M., XLVI, 65.) (2) See also M., L, 66, 74 ; LXV, 161, 162 ; LXVII, 16, etc. Padashtamsa-shad-amsaika-phalakais chhadayet paritah Kaya-padantaram chhadyam phalakaih sara-darujaih II II (Kamikagama, LIV, 24, 30.) (3) A part of a column (Suprabheddgama, xxxi, 58 PHALAKASANA A synonym under STAMBHA). see of the bedstead. (M., PHALA-PATTA ; in, ii ; see under PARYANKA.) Front plate, a plough-share-like moulding. (A/., PIIELA (cf. CHHELA) The vault of the foundation (Kamikagama, xxxi, 74-75 365 ; see XLIX 93.) pit. under CHHELA.) AN ENCYCLOPAEDIA OF BANDHA B BANDHA Joining or folding together, a band, the foundation. Foundation Dvav-aratnim tri-padiih va pade bandharh karayet LXV, aratnis shall be 2 p. 166.) by 3 padas.' (Kautiliya-Artha-fdstra, Chap. ' BA(VA)LANAKA A raised platform or seat along the wall of the council hall of a temple. kshitimdu-sachivah Sarhkhojjvalabhih sila-srenibhih iti Tejah-pala sphurad-irhdu-ruchirarh nemi-prabhor mamdiram I agrato jina-(vara)-vasa-dviparh chasatam cha purato nishpadayamasivan balanakarh tat-parsVeshu to the apparently is identical with Marathi balarh which according Uchchair mamdapam I ' It Dictionary of Molesworth and Candy means a raised seat along the walls of the gabhara or Sabha-mandapa of a temple.' Dr. Ltiders. (Mount Abu inscrip. no. i, v. 61, Ep. Ind., Vol. viu, pp. 212, 200.) BALI(-I)KA(-A) A moulding of the entablature, the edge of a roof. Maha-bhara-tula-karya balikordhve viSeshatah Tula-balikayor madhye dvi-dandam athava punah 1 1 Harhsa-bhuta-balir vatha nidra va danda-manatah Tri-padodaya-yukta va vidheya vajanopari 1 1 1 I 1 (Kdmikdgama, LIV, 13, 16, 20.) BALI-PITH A- (KA) (1) The seat of sacrifice, an altar for offerings. Brishabhasyopari-bhage tu kalpayed bali-pithakam Gopurasya bahir vapi sthapayed antar vapi bali-pithakam I Antar mandala-deSe tu purvavat bali-pithakam I I (M., xxxii, 99, 100, 133.) (2) ' Srimat-saundara-pancha-ratra-vidhiyim sdslra) Pancharatra.' Roman Text, p. 105 ' (3) I (Ep. Carnal., Vol. ; v, Part i, Belur Taluq, no. 8 ; Transl., p. 46.) There he enlarged the Kalideva-mantapa, and re-established the bali-pitha.' p. nirmanamam madisi Srimantam bali-pithamarii pramudadirh viprarggalam madisi II Caused a bali-pitha to be erected according to the rule of the (Silpa- (Ep. Carnal., Vol. v, Part I, Arsikere Taluq, no. 22 ; Transl., 119, largest para., last line.) There are also fragments (of inscriptions) belonging to the time of Rajaraja I, and Rajendra-Chola I, on a mandapa to the west of the (Notes on Tiruvellarai inscrip., Ind. Ant., Vol. xxxiv, p. 264, bali-pitha.' ' (4) para. 5, line 10 f.) 366 BALIKA. Q & n n BAH t. LA BAHULA. BAHULA. HINDU ARCHITECTURE BASADI Haridasa-Rauta, ... set up in front of the god Prasannaof Belur, a festival (utsava) mantapa, a pillar for lights (dipa- ' (5) Madhava maleya-kambha), and an altar for offerings (balli-pitha, i.e., bali-pltha).' (Ep. Carnal., Vol. iv, Nagamangala Taluq, no. 42 ; Transl., p. 124; Roman Text, p. 213.) BASADI modern (see Basti or VASATI) A Jain temple, a shrine, a monastery, slum quarters. laya. ' (2) temple of the Jaina Jaina Kadalalaya-basadi (1) goddess Kadala- (Anmakonda inscrip. of Prola, v. 9, Ep. Ind., Vol. ix, pp. 262, 257 .) And on the top of the rock to the south of the Badra tank of that Mara had mountain, Ganeyana the Parsva-Jina vasati erected. This endure as long as sun and moon, protected by Jogavattige basadi, may the paiicha-maha-sabda (five words for Jain obeisance), and by unnumit bered others.' ' Basadi ' in the sense of Jaina temple Its Sanskrit Ep. Carnal. form is, of frequent use in the volumes of ' an instance of which vasati is of course, ' should be noticed in the passage quoted above. (Ep. Carnal., Vol. xii, Pavugada Taluq, no. 52 Transl., p. 125, line 2 Roman Text, p. 206 f.) (3) Being actuated by veneration, gave to the basadi of the Bhalarar ; ; ' mattars (of land).' Basadi (means) a Jain temple the word is a Tadbhava corruption of the Sanskrit " vasati," abode, dwelling, a Jain monastery the modern form is " Basti ".' Dr. Fleet. (Sanskrit and Old Kanarese inscrip., Ind. Ant., . . five . ' ; ; Vol. iv, p. 1 8 1, c. i, line 10, and footnote.) Purigereyalu madisid-Anesejjeya-basadige In the lands of Gudigere, which . were under the control of the Jain (4) ' . . temple called line Ind. 21, Ane sejjeya. Ant., Vol. . . . built at Purigere.' xvm, pp. ' Caused basadis and places.' . (Gudigere Jain inscrip., 39, 37.) See Ep. Carnal., Vol. n, inscriptions on Vindhya-giri, nos. 75-123; and (5) . . (i) on Chandra-giri, nos. 1-74, (ii) (iii) in the town, nos. 124-144. mana-stambhas to be erected in numerous (No. 38, Roman Text, p. 7, line 17 ; Transl., p. 121, line 5.) basadi of his guru Sri-rupa-narayana of Kollapura.'- -(No. Text, p. 7-8 ; Transl., p. 122, line 18.) basadis of Ganga-vadi, however, many there were, he The Roman 39 The (7) ' (6) ; ' Roman Text, p. 21 Transl., p. 126, line 12.) (No. 45 This Lakshmi, wife of Ganga sena-pati, the abode of all good qualities, had this new Jina temple (vasati) made.' (No. 63 Roman Text, restored.' ; ; ' (8) ; p. 59; Transl., p. 149.) The Dandanayaka Ganga had this basadi made for Porhavue.' (No. 64 Roman Text, p. 59 Transl., p. 149.) ' (9) ; ; 367 his mother AM ENCYCLOPAEDIA OF BASADI 'The (10) however many there were, bastis (basadinal) of Gaiiga-vadi, he had renewed.' -(No. 90 Roman Text, p. 72, line 10 from bottom upwards ; Transl., p. 158, para. 5.) and Bahubali Kevali, the basa(11) 'He had these images of Bharata ; and the side-doors of that tlrtha made for beauty having erected eighty virgin (? new) basadis, and repaired two hundred (that were in ruins), he obtained glory, the general Bharata.' (No. 115 Roman dis, ; . . . ; Text, p. 87 Transl., p. ; 'He 171.) on the lower hill repaired three bastis the Mangayi basti, repaired the Hagalaya (and) gate, (a village to the south of Sravana Belgola)-basti, and made gifts for supply(No. 134; Roman Text, p. 100 ; Transl., p. 179.) ing food in one.' (12) at the ' ' ; north (13) tiful built a small basti And in Kcllangere he (also) made five large bastis and five beau- ponds.' The money obtained from this will place be used for repairing the and other dwelling and the basadis, for the worship and decoof the god, and for gifts, of food to the people visiting the basadi Archari's ration and to the assembly of Rishis.' (No. 1370 ; Roman Text, p. 104, lines 6, 9 ; Transl., p. 182, paras. 5, n.) Keep whatever you have obtained from ' (14) the paddy lands and dry the together with the waste land, the firewood, leaves, decay of basadi house and so forth, belonging to the endowments of Gommata dcva, fields, Kamatha principal basadis.' And ' (15) basadi, and which he had made ... a small tank east ParSva deva, Sri-vallabha deva of Bhandaraiya's (No. 137^.; Transl., p. 183.) for the basadi ' of the basadi . . . (No. 144 ; Transl., p. 187, line 9 from bottom upwards.) 'He made a grant of lands for the basadis of the Tri-kuta-basadi which he had caused to be erected in Arakottara in the Enne-nad.'(16) (Ep. Carnal., Vol. iv, 'He (17) setting Chamarajnagara Taluq., no. 83 Transl., p. 10.) caused a basadi to be erected in Muguli in Sige-nad, and ; up therein the god Parsva, presented the basadi and land for the god to their guru.' In is temple no. 129 ; ' ' should be noted, the meaning of basadi as a Jaina (Ep. Carnal., Vol. v, Part I, Hasan Taluk, unquestionable. ' this instance, it Transl., p. 36.) Hoysala-Gavunda, son of ... in memory of his mother's death, erected a basadi, and in the presence of all the residents and farmers of the town, divided certain land (specified) equally to the basadi and the (18) temple (basadigarh devalyakkam bhumi samana-vagi basadige washing the feet of Ahobala-Pamdita.' 368 . . . ), HINDU ARCHITECTURE The BASADI made here between the basadi and the temple (dcvalaya) should be noted. (Ep. Carnal., Vol. iv, Kadur Taluq, no 69 Transl., p. 13, para. 5 Roman Text, p. 45, last para., line 4 f.) distinction ; ; (19) Dcva, 'Thus celebrated, made the established on the hill had continued line Barmma-Deva, the Bhujabala-Gariga Permmadiwhich Dadiga and Madhava had formerly of Mandali, and for which the kings of his Gahga provide the offerings, and which they had after- basadi, to wards caused to be built of wood, the chief of all the basadis hitherto existing or in future to be established in the Edadore-seventy of the MandaliThousand, giving it the name of Pattada-basadi (the Crown-basadi), and endowed it with certain lands (specified). Taluq, no. 4; Transl., ' (Ep. Carnal., Vol. va, Shimoga p. 8, para. 4.) The , enlarged a tank, formed paddy fields great minister, erected a temple, and established places for distribution of water and food. And the basadi he built shone with big tank of Tattckere surround' (20) . . . it.' ing two basadis of Nellavatti and Tattikcre, on the death of Jinadasa as a reward of perggade Nokkayya's boldness and liberality, Ganga-Pcrmmadi-Deva granted the royal insignia of two horns, a canopy, And ' for those chamaras, and big drums.' And Ganga-permmadi-deva ' customs of Tattikere.' 11, last two paras., p. (21) no. 228 ; Santi-Jina basadi.' Transl., p. ' (22) See both patam Taluq, volumes 12, paras. 2, 3.) p. mathadhipati of Bandanike was erected a mantapa in 'For the front of the granted for the basadi the shop-tax and (Ep. Carnal., Vol. vn, Shimoga Taluq, no. 10 ; Tr ans 133 basti nos. of Ep. ; ' Roman and 144, Carnal, ' (Ep. Vol. vn, Shikarpur Taluq, Text, p. 232.) basadi' 146, Carnal., etc.; referred (in Ep. Carnal., Vol. Transl., to above) m, Seringa - 34 and also in other and the sketches of bastis Vol. n), and pp. 150, 151 p. between pp. 50, 51 (Introduction, Ep. Carnat., (Translation), and compare the following from Fergusson : The principal group of the bastis of the Jains at present known at There are there least above the ghats, is that of Sravana Belgola. ' on a shoulder of the other, called Chandragiri, As might be expected from the in number. stand the bastis, situation, they are all of the Dravidian style of architecture, and are consequently built in gradually receding storeys, each of which is ornamented No instance occurs among them with small simulated cells. or of the curvilinear sikra (sikhara) spire, which is universal with the wo hills the Indragiri, fifteen ... northern Jains, except in the instance of Ellora.' 369 AN ENCYCLOPAEDIA Of BA(VA)SUNDHARA The following wood-cut (photo no. 149) conveys, however, an idea of the general external appearance, which is more ornamental than that of northern Jain temples. The outer wall of those in the north is almost 1 always quite plain. The southern ones are as generally ornamented with pilasters and crowned with a row of ornamental cells. Inside is a court probably square and surrounded by cloisters, at the back of which rises the vimana over the cell, which contains the principal image of the Tirthankar. It always is surmounted by a small dome, as is universally the case with every vimana in Dravidian architecture, instead of with the mysterious amalaka ornament of northern sikras (sikharas).' ' may be a vain speculation, but it seems impossible to look at this (no. 149), and not to be struck with its resemblance to the temples of southern Babylonia. The same division into storeys with their cells It wood-cut ; the backward position of the temple itself; the panelled or pilastered basement, all these points of resemblance, it seems difficult to regard as Ind. and East. Arch., pp. 269-270.) purely accidental.' (Fergusson : BA(VA)SUNDHARA The BAHALA (see BAHULYA) earth, a type of pent-roof. (M., xviii, 177; see under LUPA.) An extension, a projection, a sugar- cane-like moulding. (1) Dvara-tare chatush-pancha-shat-saptashta-vibhajite II Ekam^a(m) siitra-pattih syat samam va bahalam bhavet Ardharii va pada-hinarh va bahalam (2 ) parikirtitam Silaya cha mrida py-athava taruna dridham Tad rachayed atha kudyam ativa- I ihottara-vistaratah sadris"am (Vastu-vidya, ed. (2) I 1 1 In connexion with a pillar bahalam kathitam talipadi-yutam Ganapati Sastri, xiv, i, 2 ; xv, I i.) : Ashtamsam yoga-vistaram tad-ardham bahalam bhavet I (M., xxxix, 59.) (3) Stambha-vyasa-samo(-mam) lam) bhavet va tad-ardham bahalam ( Kavata-bahulam proktam dandardharh va ghanam bhavet It is clear from v. ? bahu 1 1 38 that ghana or thickness is II (Kamikagama, LV, 35, 38.) not to be confused with bahala or bahula. BAHIR-AftGA The outer court, the external side of a building. Athava bahir-ange tu cheshta-dig-vishnor alayam Anyesham sarva-linganam nagarat bahir-angatah I I (M, 370 ix, 257, 402.) BAHULYA HINDU ARCHITECTURE BAHIR-JANMA.N The ANTARJANMAN) outer plinth (see M., LXIX, 16, 17, under . BAHIR-BHITTI The outer wall, an outside partition. Antar-vapram bahir-bhittih sreshtham dirgam cha chulika(-am) (M., Cf. ANTARBHITTI. BAHIR-MUKHA I 361, etc.) ix, M., XL, 51, 52.) (See With face towards the outside, projecting out- ward. In connexion with foundations : Griha-garbham antar-mukharh syad ama-garbhaih bahir-mukham gi (M., xn, 216.) BAHU-MANDAPA A MUKHA-MANDAPA) (cj. kind of group pavilion. Devalayeshu sarveshu sammukhe bahu-mandapam I (M., xxxiv, The pavilion in front of a temple BAHU-LlftGA A is generally called 33 Mukha-mandapa. kind of phallus, phalli in group. (M., LII, 75, 77, 72, etc. see ; under LINGA.) BAHULA An architectural member of the balance, the extended of the scales outside the holes through which the scales are part joined with the beam by strings. Tad(jihvagra)-ardham bahulam kuryat tan-mule chhidra-samyutam I (M., BALA-PARYA&KA (see A PARYANKA) L, 184.) small bedstead, a couch. BAHYA-&ALA Outer rooms, external portion of mansions under ANTAH-SALA). BAHYA-SALA Outer walls, external wall (see (see under ANTAH- SALA). BAHULYA (perhaps for BAHALYA, superfluity, extension, hence projection. (i) Stambha-samam bahulyam bahulya see is BAHALA) Abundance equal to the column. (Brihat-Samhitd, bahulyam Sakhayoh smritam Vistara-pada-pratimam of the two door-frames is equal to nearly one-fourth the LIII, 30.) projection of the breadth (of the door). (Ibid., LVI, 13.) 371 AN ENCYCLOPAEDIA OF B1MBA to the ' ' Kern bahulya translates instance first (see by thickness, suit at least which does not Vol. vi, pp. 285, 318.) J.R.A.S., N. S., smritam Vistara-pada-pratimam bahulyarh sakhayoh ( Matsya-Purana, Chap. CCLXX, I (2) v. 20, same as no. 2 above.) Vistararddhena bahulyam sarvesham eya kirtitam (Agni-Purana, Chap, I (3) BIMBA An idol, an image. (M., Nirmmitam samti-nathasya bimbakam made.' (Honwad inscrip. of Somesvara BI(VI)RA-GALA (also i, ' 22 LI, image of ; civ, v. 29.) LXVIII, i, etc.) Santi-natha was line 30, Ind. Ant., Vol. xix, p. 273.) B!RAGAL or BIRAKAL, see VIRA-S"ASANA)- and this honour Monuments memory up dies after having done some good is next extended to any one who work lastly, it implies a simple memorial monument, resembling constructed by the relatives perhaps the pagoda-shaped mathas, and admirers of the departed a monumental stone erected in of a hero at in set first, ; ; memory of a warrior. But her son Pilleya-Nayaka, (after her death) performing the further (1) and cer monies, set up this biragal in the presence of the god HonnesVara, Honnesvara the god made a grant of land (specified) for the offerings to and for carrying on the worship of the biragal washing the feet of Janneyaand his successors will carry on the worship guru. That Janneyaguru ' of that biragal we most Taluq, no. 62, last four lines; line 4 f.) His younger brother (2) ' (Ep, Carnal., Vol. vn, Shimoga Text, p. 42 ; Transl., nos. 61-62, p. 24, firmly believe.' Roman Channappa put up this bira-kallu for him.' Her junior uncle Chenna put up this biragal.' (Ep. Carnal., Vol. vn, Shikarpur Taluq, nos. i, 2; Transl., p. 39.) A grant of land (specified) was made for maintaining the worship (3) ' ' and ceremonies of no. 117 ; Transl., p. And this biragal.' (Ep. Carnal., Vol. vn, Honnati Taluq, 178.) many who opposed him, he did his duty to his lord and gained the world of gods. His brother-in-law with his son and daughter, set up this vira-asana for him.' (Ep. Carnal., Vol. vn, Shikarpur Taluq, ' (4) killing no. 144; Transl., p. 107; BUDDHA ' A being Roman who by Text, p. 191.) his own force has attained to possesneither man nor god. He is He is sion of the highest knowledge. wonders in accord with the laws of nature. certain able to perform In an endless series of existences the Buddha prepares himself for his 372 HINDU ARCHITECTURE state During the whole of of Buddhahood. a Budhisattva till BODHIKA-(A) in his last existence as a time he this man he is called attains to knowl- edge (bodhi).' W. (Mahavamfa, Geiger, pp. 292-293.) BUDDHA-PADA The sacred footprint of Buddha, found in many places in Northern India, Indo-China, Siam and other places : analogous to the Ratna-pada of Samantakuta of Ceylon ; but the Buddhapada of Sukhodaya in Siam is more elaborate and artistic on the centre of the footprints are engraved two wheels (chzkra), each containing six circles wherein are marked 108 signs. These signs are stated to represent the past, present, and future universe. ; (See Plate LXVIII, p. 242, Le Siam Ancien, i, by P. N. Bose in M. Fournereau, quoted by his Indian Colony of Siam, pp. 64-65.) The footprint of Buddha, otherwise called Sripada and Ratna-pada. It is seen in many places in Northern India, Ceylon, Indo-China, and Indian Archipelago. The one in Siam at Sukhodaya is described in detail in a Pali inscription of A. D. 1427 (vide Plate LXVIII, Fournereau, i, was carved after the pattern of the Sripada at Samantap. 242). kuta in Ceylon, and bears the same measurement, but more artistic in look and workmanship. On these footprints are marked two discs (chakra) each containing six circles within which are marked 108 signs. Below the footprints are represented 80 monks standing in a procession with folded hands and inclined heads in the pose of worshipping. It BUDDHI-SAMKIRNA A pavilion (Matey a-Purana, BRIHATI The Brihati fifty pillars. Chap. CCLXX, v. 9 ; under MANDAPA.) see part of the body between the breast and backbone. das"a-tala measure In connexion with the Brihati with : saptamsakam kaksha-tararh samayatam stana-simantam sardha-dvir-ashta matrakam I I (M., LXV, 162- 163. BERA An idol or image. (M., ' Created the temple of (vera) .'--(Ep. Carnal., Vol. iv, p. 18, line 9 f.; LI, 17, 25 ; LXVII, 3, etc.) Chamarajesvara together with new images Chamarajnagar Taluq, no. 86; Roman Text, Transl., p. n.) BODHIKA(-A) (also column (M., xv, 40, 44, etc.), the crowning VODHIKA, see 373 The capital of the member of the capital MANDI) ; AN ENCYCLOPAEDIA OF BODHI-GRIIIA and under the table of placed upon the abacus (phalaka) in European It may be identified with the carbel which cornices. and supporting architecture is a block of stone projecting from a wall this the is beams of a roof or any weight. (See Dravidian Arch. Jouveau Dubreuil, ed. Aiyangar, p. 26.) under STAMBHA.) Suprabheddgama xxxi, 107, 57 cha phalaka tatika ghatam Cj. Bodhikam mushti-bandham (See I 1 (M., XLVII, See the photographic views of the Corinthian capitals from East. Arch., p. 173, figs. 94, 95). (Fergusson : Hist, of Ind. and See Buddhist Vol. rv, p. 62 ; Cave Temples Vol. XLI, BODHI-GRIHA figs, (fig. no. 21, Arch. Surv., i, 2, 3, 4, 5, New 8, etc.) Jamalgiri Imp. Series, 6). -A temple for the Bodhi-tree. (W. Geiger, Mahavamfa, p. 296.) BODHI-MANDA A raised terrace near a temple, the miraculous throne under the Bodhi-tree at Gaya also called Vajrasana or dia- mond throne. Bodhi-mande Tenochchair sarwato sasi-kara-dhavalah mandapena kantah prasada esha smare-bala-jayinah karito loka-sastuh ' By him this beautiful mansion of the Teacher of mankind, who overcame the power of (the god) Smara, dazzling white as the rays of the moon, with an open pavilion on all sides has been caused to be made at the exalted I Bodhi-manda.' ' Bodhi-manda tree at Bodh-Gaya, Buddha and the is name of the miraculous throne under the Bodhi- also called the vajrasana or diamond throne, on which when attaining bodhi or perfect wisdom. Professor Childers, in his Pali Dictionary, added that he inferred that the term was also applied to the raised terrace built under the Bodhi-tree his predecessors sat, And within the precincts of any Buddhist temple, in imitation, presumably, of Buddha's throne. This, rather than the throne itself, seems to be its meaning no. 1 in the present inscription.' Bodh Gaya 66, PP- 358, 359. 357. BETTA One c. inscrip. of i, (Sanskrit Mahanaman, and Old Kanarese line Ind. Ant., inscrip. Vol. xv, of the two classes of the southern Jain architecture, as Basadi or Vasati. Bettas are courtyards usually known is on a or rising ground, open to the sky and hill f., 2.) the other Gomata 10 or GomatesVara. 374 containing images of BRAHMA-PADA HIMDV ARCHITECTURE BAUDDHA the Buddhist Belonging to the Buddhists or Buddha, images. Mdnasdra (Chap. LVI, named Buddha, 1-18) : other images, the Buddhist images also are made of wood, stone or iron (line 14). Their pedestals are made of the three kinds Like all of abhasa (marble or glass), of earth and of gravel, etc. (lines 15-16). They are also both stationary and movable (line 14). They are made and placed on the throne (lines 3-4), and are furnished with the peepul tree and the wonder-tree (Kalpavriksha). They have two arms, two legs, and two eyes (that is, one face) (line 10). They are measured in the large type of the das"a-tala system (line 17). in the erect or sitting posture are pure white in colour (line 5). Their garment is yellow face ears (line 12), large (line 5), long (line 6), eyes smiling at the They corner (line 6), chest gracefully broad, arms long (line 10), belly large fleshy (line 8). They are furnished with and round, and the body shining top-knots (ushnishojj-vala-maulika) (line 10). BRAHMA-KANTA A class of a type of storeyed buildings pillars, a class of gate-houses. The square columns with four minor pillars : brahma-kantam syat (M., xv, 20.) brahma-kantam iritam -(Ibid., Vedopapada-sarhyuktarh Chatur-as"rarh I I A class of the three-storeyed (M., xxi, 39-40 buildings. 244.) ; under see PRASADA.) A class of the five-storeyed buildings. xxm, 41-42 (M., ; under see PRASADA.) A class of gate-houses. BRAHMA-GARBHA (M., The xxxm, 558 ; under GOPURA.) see foundations of temples (of Brahma). see (M., xn, 142-152; BRAHMA-DVARA The door in the under GARBHA-NYASA.) middle or central part of an object. Brahma-dvara-patakadyair angair yuktam vimanakam I (Kamikagama, Brahma-dvaram iti proktarh vimananam sanatanam (Ibid., Brahma-dvaram tato LV, madye mandapam koshthake matam (Ibid., BRAHMA-PADA The central part, L, 93.) I 155.) \ LV, 197.) the plot at the centre of a design. (M., XL, 73 ; 375 LII, 165, etc. ; see under PADA-VINY.&SA.) AN ENCYCLOPAEDIA OF BRAHMA-BHITTI BRAHMA-BHITTI The middle wall. Athava brahma-bhittau va garbhadhanam vidhiyate I (Kamikagama, xxxv, 46.) BRAHMA-MANDALA The central part of a village or town. see under GRAMA.) (M., ix. 128 ; BRAHMA-MANDIRA A (1) (2) type of rectangular building. Agni-Purdna (Chap, civ, w. 16-17 see under PRASADA). Garuda-Purdna (Chap. XLVII, vv. 21-22, 26-27 see under PRASADA.) ; ; BRAHMA-MASTAKA A kind of joinery. (M., xvn, 149 BRAHMA- VAHANA The The measures and ; under SANDHI-KARMAN.) see riding animal of Brahma, the description of the goose (M.. LX, 4-46 goose. ; see under VAHANA.) BRAHMA-STHANA a public hall is The built for the central part of a village or town, assemblage of the inhabitants. (M., (1) xii, 142 ; see under GRAMA.) Brahma-sthane sabhadini kalpayed vidhina budhah II Brahma(-me) va madhyame bhage pitham parikalpayet 1 1 (Kamikagama, xxvni, ' (2) Senai . . . long as the last as meritorious where 15, 18.) assigned (one) patti of land in the neighbourhood, to moon and the sun, for his own merit (and) for the purpose of supplying to the Brahma-sthana in during six months and firepans (agnishtha) during and of constructing a water-lever in front of the mandapa.' water Aditya II, no. 14, lines 1-2, H. S. 1. 1., Vol. in, this village six months (Inscrip. of pp. 21-22.) We the great assembly of Manimangalam . . being assembled (3) without a vacancy in the assembly, in the Brahma-sthana in our village.' (Inscrip. of Rajadhiraja, no. 28, line 7, H.S.I.I., Vol. in, p. 57.) ' . We the great assembly of Manimangalam being assembled, without a vacancy in the assembly, in the large mandapa (of) the Brahmasthana of our village.' (Inscrip. of Virarajendra I, no. 30, line 36, H. S. 1. 1., ' . (4) Vol. . . HI, p. 70.) BRAHMANGANA The central courtyard. (See BRAHMA MS A (see BRAHMA-STHANA) village or town, where a public hall 37 6 is Kamikagama, under ANGANA.) The central generally built. part of a HWDU ARCHITECTURE BHAftGA BH BHAKTA A devotee, a faithful worshipper, a class of sages. Description of their images (M., Chap. LIX, i-ioo named Bhakta) : The devotees are divided into four classes, namely Salokya, Samipya, Sarupya, and Sayujya (lines 3-4). The Salokyas are those who specialize in devotion, The Samipyas knowledge and renunciation (vairagya) specialize in knowledge and renunciatian (line 5) (line 6). . The Sarupyas are distinguished as those who are devoted to the meditation of God (line 7). And the Sayujyas are those who have acquired the true knowledge (of (paramartha) God) and are aware of the final beatitude (line 8). limbs of the Salokya class of great men are measured in the largest of the nava-tala system (line 9) The Samipyas are measured in the type The Sarupyas are smallest type of the dala-tala system 10). (line The . measured in the intermediate type of the das"a-tala system (line n). And the Sayujyas are measured in the largest type of the daa-tala system (For details of these measures, see TALA-MANA.) (line 12). BHAfrGA A pose in which an image is carved. There are four bhangas or poses, namely, sama-bhanga, abhahga, bhariga (M., LVII, 98), and tri-bhanga (ibid., 125). ' In ati- (sama-bhanga) type the right and left of the figure are disposed the sutra or symmetrically, plumb-line passing through the naval, from the crown of the head to a point midway between the heels. In other words, the figure whether seated or standing, is poised firmly on both legs without this inclining in any way to right or left. Images of Buddha, Surya (sun) and Vishnu are generally made to follow this scheme of rigid, vertical symmetry. The dispositions or attitudes made exactly similar, except fingers ' the is of the limbs and organs on either side are mudra or symbolical posing of the that the different.' In such a (abhanga) figure the plumb-line or the centre line, from crown of the head to a point midway between the heels, passes slightly In other words, the upper hal f of the figure i made to incline slightly towards its right side, without inclining in any way towards either of the attendant deities. The Saktis or attendant deities to the right of the naval. are two male and two female, in tri-bhangas, placed on either side with The figures on their heads inclined inwards towards the principal figure. either side are exactly similar in poise, except that one is a reverse or reflex of the other. This is a necessary condition as otherwise one of the figures 377 AN ENCYCLOPAEDIA OF BHADRA would lean away from the central figure, and spoil the balance and harmony of the whole group.' A tri-bhanga figure had its head and hips displaced about one arhSa ' to the right or left of the centre line.' ' This (ati-bhanga) is really an emphasized form of the tri-bhanga, the sweep of the tri-bhanga curve being considerably enhanced. The upper portion of the body above the hips, or the limbs below, are thrown to right or left, backwards or forwards, like a tree caught in a storm. This type is usually seen in such representations as Siva's dance of destruction, and fighting gods and demons, and is specially adapted to the portrayal of violent action, of the impetus of the Tandava dancing, etc.' (Translated by S. Ray, Modern Review, March, 1914, BHADRA (cf. p. I f.) A SARVATO-BHADRA and MUKHA-BHADRA) mould- ing, a type of portico, the general epithet of chariots, a type of building, site plan of one-hundred and ninety-six square plots (cf. PADAVINYASA; M. vii, 17-18.) A moulding of the base (M., xrv, 345 ADHISHTHANA). (i) A kind of portico see ; the lists of mouldings under : In connexion with buildings of one to twelve storeys Ekam va dvi-tri-dandena nirgamam bhadram eva va : I (M., xix, 56.) Cf. MADHYA-BHADRA (M., Toranair xrx, 177) nida-bhadradi-mule : chordhve cha bhushitam \ (M., xx, 64.) In connexion with pavilions (mandapas) Chatur-dig-bhadra-vistaram eka-bhagena nirgamam : I (M., xxxiv, 76.) In connexion with mansions (salas) : Salayah parito'lindarh prishthato bhadra-sarhyutam I (M., xxxv, 40.) Dvi-chatur-bhaga-vistaram parsvayor bhadra-sarhyutam Prishthe cha dvyaika-bhagena bhadram kuryad vichakshanah I (Ibid., In connexion with chariots Chatur-dikshu 322-323.) : chatur-bhadrarh tu I bhadram syat I Bhadra-madhye syat Yuktya bhadram sarvesharh nasika-yuktam eva va I I (M., XLHI, 378 107-109.) BHADRA-PlTHA HINDU ARCHITECTURE Bhadra is the general Nivata-bhadra, bhadra, name for chariot (ratha) : Pavana-bhadra, Prabhanjana-bhadra, Nabhasvan- etc. (M,xLiii, 111-115.) In connexion with dola (palanquin or Purato prishthato hammock) : madhye parva (darpa)nam bhadrasamyutam (M., L, 165.) chaika-dvyamsena nimnakam Chatur-dikshu sa-bhadram va (Ibid., Ayatah (a) tribhir syat bhagair bhadra-yukta-susobhanah I 284.) I (Matsya-Purana, Chap. GCLXIX, v. (3) bhadrah karyyo vijanata Mandapasya chaturthamSad Mandapas tasya karttavya bhadrais tribhir alankritah (Garuda-Purana, Chap. XLVII, A type of quadrangular building (6) 1 5.) 1 II w. 35, 39.) : under PRASADA). Garuda-Purana (Chap. XLVII, vv. 24-25 see under PRASADA). Vi-bhadra va sa-bhadra va kartavya malika budhaih (4) Agni-Purdna (Chap, civ, vv. 14-15 (5) | ; see ; 1 1 Sa-bhadra va vi-bhadra va khahlri syad yatheshtatah xxxv, (Kamikagama., Salananam prakartavyam eka-dvyam^a-vinirmitam II 100, 106.) I Tad-tad-agre prakartavyam vare bhadrasya pachime II (JWrf.,XLv, 35.) Chatur-dig-bhadra-samyuktam dvara-jalaka-Sobhitam 1 1 (Ibid., A class of buildings BHADRAKA The (Ibid., XLV, 41 general name see ; for chariots. (M., XLIH, 112-116 BHADRA-PATTA A BHADRA-PlTHA A type ; see under RATHA.) of pedestal of the phallus or an image. pedestal of an image. State chair. see the lists of mouldings under ADHISHTHANA.) (M., Lin, 34 A ; moulding of the base. (M., xiv, 345 The XLI, a6.) under MALIKA.) -(M., (Mahavagga, v. nv, 10, 2.) 379 129, 173.) ; see under PI-THA.) BHADRA-MANDAPA AN ENCYCLOPAEDIA OF BHADRA-MANDAPA-A Cf. type of pavilion. bhadram ity-uktarh Ma^apam bahya(dhan y a)- n ikshepa-y . Ogya. iqo Vo1 BHADRA-SALA-A type of hall, a front room, a drawing-room conneixon with the eight-storeyed buildings etra-fclardha-fela cha bhadra-saladi-bhushitam : I BHA DR ASA NA -A A kind of throne> kind of rectangular building ***< (i) - the pie) . line u f., W. .to., Vol. ^f pp . ^^ < ' na!Wa r ln!lcn P- Subhrabrabham idam Bhavalya bhavanam karapitam bhutalc (5) of Chachcha, v. , /,. ^ t> BHAVANA-KANTA-A RH j BHAGA-PASCHA-A Vol X . cla ss of the ,en,,oreyed building,. (M" **"" 9-3 . J . under pavilion wift thirty-two pillan, (Matsya-Purana, xni, 43 . 247, etc. 380 ; j MANA.)' - ) <"' HINDU ARCHITECTURE BHARA (see BHITTI BHARA and STAMBHA) -Beams, cross-beams. Probably same as hara or harika, a chain, an ornament (? bead, astragal, baguette, see Gwilt. EncycL, fig. 873) below the neck of the column. Stambha-samarh bahulyam bhara-tulanam upary-upary-asam Bhavati tulopatulanam unaih padena padena II (Bfihat-Samhitd., Dr. Kern translates vi, ' bhara ' Vol. S., 285). p. BHARAKA A support, a synonym of the column. See Suprabheddgama (xxxi, BHARA 121) see xv, 5; (A/., (1) 30.) LIII, (J.R.A.S., N. by cross-beams I under STAMBHA.) under BHARA. A BHARA and HARA) support, a beam. In connexion with buildings of one to twelve storeys Chatuh-Sala chatush-kutam chashta-bhara sa-panjaram (see : I (M.,xx, 72, (2) tu Eka-dandantar-bhara madhya-bhara dvi-dandatah Ghatur-danda-pramanena kritva maryyada-bhittikam Mandale dvarake vatha dvara-salarh tu bharake II Prasadarh madhya-bharayarh maryyadau etc.) I II harmyam eva cha II (Suprabhedagama, xxxi, 117, 121 ; for full context sen vv. 115-122, under PRAKARA.) BHITTI (1) A wall, a partition, a support. Bhittih stri Bhittih kudyam I kudye prabhede cha I (Amarakosha, 2, 2, 4.) (2) Purato'lindam ekaihsarh bhittim kuryat samantatah (M., xxxv, 118 ; XL, 57 LVI, 16 ; ; Vistarardharh walls separate Vol. vi, p. 318 (4) all ; see ; etc.) bhaved garbho bhittayo'nyah samantatah The adytum measures half the extent (of the whole) and has (3) ' compare ; xxxvin, 6 I also xv, 231 I around.' (Brihat-Samhitd, also Matsya-Purdna, LVI, Chap. CCLXIX, 12 w. ; J.R.A.S., N. its S., 8, 9, 12.) Tri-hastantarh tu vistaro bhittlnam parikirtitah II Mula-bhitter idarh manam iirdhve padardha-hlnakam Anyo'nyam adhika vapi nyuna va bhittayah samah 1 I 1 (Kamikdgama, xxxv, 32, 33.) 381 AX ENCYCLOPAEDIA OF BHITTI-GRIHA Tri-bhagena bhaved garbham samantad bhittir ishyate Dvy-adhikena bahir-bhittih sesharh pragvat prakirtitam II Linge silanta(-te) cha krodhe bhitti(h) pancha-(rh)sa-varjitah 1 1 Kimchin nyunam alindam va Sesham kudyeshu yojayct (Kamikagama, The synonyms of . . . dvari Bhitter bhitti 82, 86, 87,) L, akhyeyam akhyatam ... 1 1 II (Ibid., LV, (5) II : cha kuttimam kudyarh I Navamsam garbha-geharh tu bhitti-manam tu shodasa Shodasarh bhitti-manam tu bhittim abhyantararh viduh Tad-bahyaikam tu salilam tad-bahyaikam tu bhittikam Bahya-bhittau chatur-dvaram athava dvaram ekatah 1 199-200.) 1 | II I Anyat sarvarh samam proktam stupy-antam karayed budhah Yad uktarh bhitti-vistaram bahyabhyantarayoh samam Bahyc vabhyantare vapi tri-vidham bhitti-manakam 1 1 I 1 Pithasya tri-gunam garbham 1 ta-(t)-tri-bhagaika-bhittikam (Suprabheddgama, xxxi, 4, 6, Prasada-vara-varyeshu silavatsu sugandhishu Ushitva meru-kalpeshu krita-kanchana-bhittishu (6) II 7, 8, 1 2.) I 1 1 (Ramayana, n, 88, Atyuchchair (7) bhitti-bhagair divi nan yenakari kotah 7, etc.) divasa-pati-syandanarii va vigrih- I By whom the fort (in this place) was built, which perhaps may arrest the chariot of the sun in the sky by its (very) high walls.' (An Abu inscrip. of the reign of Bhimadeva II, v. 9, Ind. Ant., Vol. xi, pp. 221, 222.) ' Suttalayada bhittiya madisi chawlsa-tfrttha-kararh madisidaru (8) 'Sri Basavi Setti ... had the wall round the cloisters twenty-four Tirtha-karas made.'(/!>. Carnal., Vol. n, no. 78 p. 62 ; Transl., p. 151.) Koneri, son of (9) secure foundation the no. central i ; street ... and walls Roman BHITTI-GRIHA A and the Roman Text erected a nava-ranga of 10 ankanas, with for the (vajra-bhitti-gode) god Tirumala of of Malalavadi.' Transl., p. 83; ; I (Ep. Carnal., Vol. iv, Hunsur Taluq, Text, p. 134.) wall-house, a small closet inside the wal resembling a cupboard. (M., XL, 63, etc.) 382 HINDU ARCHITECTURE BHITTI-SOPANA A BHtf-PARlKSHA kind of surrounding steps made through a wall. (See Kautiliya-Artha-sdstra under SOPANA.) BHINDA-SALA A kind of detached building with a balcony in front, pandi-sala with a verandah in front (see PANDI-SALA). (M., xxxv, 98 BHO-KANTA A see ; under SALA.) class of storeyed buildings. A class of eight-storeyed buildings. (M., A class of the ten-storeyed buildings. xxvi, 3-20; see under PRASADA.) (M., xxvm, 6-8 ; see under PRASADA.) BH0TA-KANTA A class of the five-storeyed buildings. (M., xxni, 13-15 BHO-DHARA A (1) (2) Agni-Purdna (Chap, civ, vv. 19-20 see under PRASADA). Garuda-Purdna (Chap. XLVH, vv. 29-30 see under PRASADA). ; ; class of the eight-storeyed buildings. (M., xxvi, 22-28 BHO-PARlKSHA or building is All the site and soil ; see under PRASADA.) where a village, town have elaborate descriptions on the subject. are similar in the treatises examined below. Vdstu-sdstras The is Testing the constructed. and principles house under PRASADA.) see type of oval building. BHOPA-KANTA A (i) ; details The of the plot, where a village, town, fort, palace, temple or to be built, is examined with regard to its shape, colour, odour, soil and touch (M., in, 16-32). The elevation of the ground as well as the luxuriant growth of certain plants, trees and grasses on the ground are also examined (M., iv, 4-38). If a plot of land is found to be satisfactory on all or most of these examinations, it should be selected for feature, taste a village, selection, town, it fort, or house, as the case may be. But even after this to test the ground by some other ways. would be wise A square hole of one cubit deep should be dug on the selected site and be filled up with water. After 24 hours the chief architect should mark the condition of the water in the hole. If all the water be dried up by this taken to be very bad. But if, on the other hand, there remains some water in the hole, the selected plot of land would be fit for time, the earth is any building (M., v. 20-30). Another final test is that a similar hole up with the earth taken out of it. is dug on the plot and filled If this earth be not quite enough to fill 383 AN ENCYCLOPAEDIA OF BHO-PARIKSHA hole, the up the ground is taken to be very bad, but stated to be very if this earth overfills for any building.- (M, v. 34-37.) good last two tests that in the former case, the the of very general import land is avoided, while in the latter, very loose or sandy land is said to the hole, the soil is The dry be unfit for the construction of a building. vv. 96, 97 LIII, (2) Brihat-Samhita, Chap. A. S. Bengal, New (ed. Kern, Bibliotheca hd. and 73). bhumih Series, nos. 51, 54, 59, 63, 68, 72 vipradmam prasasyate Gandhas cha bhavati yasya ghrita-rudhirannadya-madyasamah Kusa-yukta sara-bahula durvakasavrita kramena mahi Sita-rakta-pita-krishna | I I Anuvarnam vriddhi-kari madhura-kashayamla-katuka cha and then compare the last line of the verse II w. 85-94 95 Tat tasya bhavati subhadam yasya cha yasmin mano ramate In general the soil (ground) will be suitable to any one whose mind See also : I ' pleased with Compare (3) is it.' quoted f om also the eleven lines : Garga by the commentary of Brihat-Samhitd, which are again quoted by Dr. Kern. ' (4) The Visvak same contains the (i, 61, sqq.) rules, but in other words.' (5) Raz Part of the corresponding passage from Kasyapa is Ram quoted by (Arch, of Hind., p. 17.) (J.R.A.S., N. S., Vol. vi, p. 295, note 2.) Vdstu-Ratandvall (a compilation, ed. Jivanatha Jyotishi, 1883, PP- 8, 10) : (6) (7) On colour of ground, quotation from Vasishtha-sariihitd Sveta-sasta dvijendranam rakta bhumir mahi-bhujam ViSarh pita cha s"udranarii krishnanyesham vimisrita : From the Vdstu-pradlpa I || : Sukla-mritsna cha ya bhumir brahmani sa prakirtita Kshatriya rakta-mritsna cha harid-vai^ya prakirtita II I Krishna bhumir bhavech chhudra chaturddha pariklrtita On taste, from Mrada II : (8) Madhuram katukam (9) On (10) On tiktam kashayam cha rashah kramat smell, from the Griha-kdrikd 1 1 1 1 : Ghritasrig-anna-madyanarh gandhas cha kramaso bhavet declivity, from Bhrigu : Udag-adi plavam ishtam vipradinam pradakshincnaiva f Viprah sarwatra vased anuvarnam atheshtam anyesham iti I Gangadhara, i, 22-23) Sveta bramhana-bhumika cha ghritavad-gandha susvadinl Ratka sonita-gandhini nripati-bhuh svade kashaye cha sa (it) Silpa-dlpaka (ed. \ : 384 I II HINDU ARCHITECTURE BHOMI-(KA) Svade'mla tila-taila-gandhir udita pita cha vaisya-mahi Krishna matsya-sugandhini cha katuka sudreti bhu-lakshanam I Bhavishya-Purana (Chap, (12) Ishta-gandha-rasopeta cxxx, vv. 42-44) nimna bhumih 1 1 : prasasyate Sarkara-tusha-kesasthi-kshararigara-vivarjita 1 I 1 Megha-durhdubhi-nirghosha sarva-vija-prarohim Sukla rakta tatha pita krishna kathita kshitih II I Dvija-rajanya-vaisyanarh sudranam cha yatha-kramat follows the examination proper of the soil (vv. 44-45). pit I A is dug with the and filled sand which is taken out exactly ground up in the same way as in the Mdnasdra. The quality of the soil varies from best to worst as the sand is in excess, equal and less in filling up the pit. Then in the BHtJMA (see A TALA) storey, a floor. Eka-bhumaih dvi-bhumarh va kshudranam bhavanam nnnam vm, (Silpa-sdstra-sdra-samgraha, I 29.) BHOMI-(KA) (see TALA) Earth, ground, soil, a place, a region a spot, a site, a situation, a storey, the floor of a house. (1) In the Mdnasdra a chapter (xi) is named Bhumi-lamba which describes the dimensions of different storeys Bhumi-lamba-vidhirh vakshye Uktam hi : sastre sarhkshepatah kramat bhumi-lambam syad ekanta-bhumikam Etad dva-dasa-bhumy-antarh janmadi-stupikantarh syat (M., (2) I I I xi, i, 5, 125, etc.) Kshatriyadeh pancha-bhumir dvijanam raga-bhumikam I (Silpa-saslra-sdra-sarhgraha, vin, 30.) (3) Vimano'strl deva-yane sapta-bhumau cha sadmani (Nigantu ; I Ramdyarja under VIMANA.) see (4) Sapta-bhaumashta-bhaumas cha sa dadarsa mahapurlm (5) Ekaiva cha bhumika tasya syad eka tasya cha bhumika (Rdmayana, v. 2, 50 Sata-sringas chatur-dvaro see also vi, 33, 8.) I see Kasyapa, quoted by Kern, J.R.A.S., N. S., Vol. vi, p. 320.) bhumika-shodasochchhritah (Brihat-Samhita, LVI, 23 (6) ; I ; I (Matsya-Purdna., Chap. CCLXIX, v. 31 see also (7) Raja-kanyam . . . w. sapta-bhumika-prasada-pranta-gatam (Pafichatan'ra, ed. (8) A pp. 12, floor 1 (Bheragha inscrip. of 385 I Bombay, Alhanadevi, v. 27, Ep. 6.) ; 37, 38, 39, 40, 42, 43, 44, etc.) i, Ind., p. 38.) Vol. n AN ENCYCLOPAEDIA OF BHCMI-LAMBA BHUMI-LAMBA The height of a storey according to the Kdmibelow) and the Mdnasdra the term implies the dimen; kagama (see sions of storeys. The of breadth in the smallest type of one-storeyed buildings are 2, 4, 6, 8 and 10 cubits and the five series of length are 3, 5, 7, 9, and 1 1 cubits. In the intermediate type the five series of breadth are 5, (1) five series ; and the 7, 9, ii and 13 cubits. In the largest type the five series and the five series of length are cubits of length 6, 8, 10, 12 and 14 of breadth are 6, 8, 10, 12 and series five 14 cubits 7, 9, n, 13 and 15 cubits. (M., All the twelve storeys are in this xi, 6-12.) way measured separately. (M., 13-125.) xi, to be the dimensions in the Jati class of buildings. Three-fourths, half and one-fourth of these dimensions are prescribed, for the Chhanda, Vikalpa and Abhasa classes respectively. These are stated Chatur-amsadi-samsthanam bhumi-lambam (2) iti smritam I (Kdmikagama, Then teen ' I.) follow the dimensions of the storeys from one to twelve and w. 2-34). The five proportions of the height of storeys, as six- (ibid., ' means, are given under the same five technical names as Mdnasdra, viz., Santika, Pushta, Jayada, Adbhuta, and Sarva- bhumi-lamba the in L, The Jati, Chhanda, Vikalpa and Abhasa classes (vv. 24, 25-28). of buildings are also distinguished (vv. 9-13). kamika Varahamihira describes the height, etc. of the buildings of the ministers and others (Brihat-Samhitd, LIII, 4-26). But the Brahmans, kings, rule about the height of the storey (bhumika) is also given (Brihatgeneral (3) Samhita, LVI, 29-30) : Bhumikangula-manena mayasyashtottaram Sardham chaiva kathitarh Prahuh hasta-trayarh sthapatayas chatra matam ekam satam visvakarmana I vipaschitah 1 1 I Kapota-pali-samyukta nyuna gachchhanti tulyatam is of 108 digits according to Maya, but Visvakarman it to be of three cubits and a half (i.e. 84 digits). As to this, pronounces II ' A storey's altitude however, able architects have declared that (in reality) there is no discrepancy of opinion, for, if you add the height of the crown-work (kapotaDr. Kern. pali) the smaller number will equal (the greater).' BHO-MUKHA A type of oval building. (Garuda-Purdna, Chap. XLVII, vv. 29-30 see 386 ; under PRASADA.) HINDU ARCHITECTURE BHUSHANA A BHOSHANA of storeyed buildings, a moulding, a type of pavilion, articles of furniture, ornaments. class A type of oval building (Agni-Purdna., Chap, civ, vv. 19-20 PRASADA.) class of the nine-storeyed buildings (M., xxvn, 13-14 PRASADA.) moulding of the column (M., xv, 93, etc.) A ; ; see see under under A A type of pavilion : Devanarh cha maunartharh bhushanakhyam tu mandapam (M, Mdnasdra (Chap. The L, named Bhushana 1-309) I xxxiv, 349.) : ' ordinary ornaments for the body are called anga-bhushana' bahir-bhu1-44, 288-309) and the articles of house-furniture ' (lines shana, (44-288). Ornaments are here divided broadly four into classes, namely, Patra-kalpa, Chitra-kalpa, Ratna-kalpa and Misrita or Misra-kalpa (lines 3-4). All these are suited to the deities. The emperor or Chakravartin can put on all these except the Patra-kalpa. The kings called Adhiraja and Narenda can wear both Ratna-kalpa and Misrita. The Misra-kalpa is prescribed for all other kings. so called because it is made of leaves and creepers. made of flowers, leaves, paintings, all precious stones is Patra-kalpa Chitra-kalpa is and other decorations. jewels. And mixture of the all The Ratna-kalpa Misra-kalpa is made others. is made of flowers and of leaves, jewels and the These four kinds are specially made for the images of Gods and Kings only (line i). The ordinary ornaments of the body include among others Padanupura (anklet), Kirita (diadem), Mallika (a jasmine-like ornament), Kundala (ear-ring), Kankana (bracelet for the wrist), (little-bells) Tatanka , Valaya (bracelet), Karna-bhushana (large ear-ring), Karna Mekhala (belt), Kara (chain), Siro-vibhushana (head-gear), Kinkini (ear-rings, etc.), (ear ornament), Keyura (armlet), Chuda-mani (crest- (little tiara), Nakshatra-mala (necklace of 27 pearls). Ardha-hara (half chain of 64 strings) Svarna-sutra (gold chain worn round the breast), Ratna-malika (garland of jewels), Chira (a pearl jewel), Bala-patta , necklace of four strings), Svarna-kanchuka (gold armour), Hiranya- malika (gold chain), Lamba-hara (long suspended chain), etc. The like crown, etc. are described elsewhere. The articles of house furniture include among others Dlpa-danda ornaments (lamp-post), Vyajana (fan), Darpana (mirror), Manjusha. (basket, wardrobe, almirah,etc.), Dola (swing, hammock, palanquin, etc.), Tula 387 AN EWCTCLOPAEDIA OF BHOGA and Tula-bhara (balance), Panjara (cage), and Nida (nest), etc., for the domestic animals (except cows, horses, elephants, described elsewhere) and birds (lines 45-288). The articles of furniture like car, chariot, throne, bedstead, etc., are described elsewhere. BHOGA A of the single-storeyed buildings. class BHOGA-MANDAPA The MANDAPA) (cf. (M., XXXH, 55, etc. ' The meritorious (Sangha) by the ' gift see ; appur- under MANDAPA.) a dining-hall. of a refectory (bhojana-matha) for the community (Chaitra) of the gates (or of the Gata Yavana Chita (Junnar inscrip. no. country.) an refectory, enance of the temple. BHOJANA-MATHA A refectory, under PRASADA.) see (M., xrx, 167; Arch. 8, Surv., New Imp. Series, Vol. iv, P- 94-) BHAUMA (see BHUMI) A storey, the floor of a house. Dvadasa-bhauma, daga-bhauma, shad-bhauma, sapta-bhauma I (Brihat-Samhita, LVI, 20, 21, 22, 24, 27.) BHRAMA The enclosing cloisters, a covered arcade, of place religious retirement, a monastic establishment. The temple itself, with its The court is surrounded by ' enclosing cloisters (bhrama) an enclosed measures . . . (bharhti-bhrama) in which, besides cloisters three small temples on the north, south and west sides each in line with the centre of the principal mandapa, there are the orthodox number of fifty-two small shrines (cf. Prakara and Parivaralaya) each crowned by a sikhara or spire.' The inner fagade of the cloister or bharhti (Skr. bhrama) is interrupted only by the three small temples mentioned above, by the large entrance porch on the east, and by smaller entrances on the north and south near ' the east end. The corridor (alinda) is about nine feet wide all round and is by four steps above the level of the court.' ' The entrance porch on the east projects considerably and is flanked ' inside by stairs, in line with the bharhti (bhrama) on each side . raised . (Ahmadabad Arch. Burgess, Arch. New Surv., Imp. Series, Vol. . xxxm, pp. 87, 88.) BHRAMANA (see PRADAKSHINA) A surrounding terrace, an en- closing verandah, a circular path. Sikharasya tu turyyena bhramanam parikalpayet. (Agni-Purana, Chap. XLII, v. 12, etc.) 388 1_ OUT LINE PLAN RHADRA BHADRA BHRAMA DANDA PLAN BRAHMA MASTAK9 BHRAMA. Pant 3SS HINDU ARCHITECTURE BHRAMA-DANDA A MAftGALA kind of post for a large fan. (M., BHRAMALINDA A 104 L, see ; under VYAJANA.) surrounding balcony 01 terrace. etc. (M., xxxiv, 304, 497, see ; under ALINDA.) M MAKARA-KUNDALA A crocodile-shaped ornament for the ear of an image. (M., MAKARA-TORANA (see An TORANA) LI, 53 ; under BHUSHANA.) see arch marked with makara (an animal-like shark or crocodile). Dvayor makarayor vakraih Saktarh madhyama-puritam Nana-vidha-lata-yuktam etan makara-toranam 1 | 1 (Kamikagama, For the LV, 65.) an arch, see Annual Report of Arch. Survey of India Mdnasdra (Chaps. XLVI, XLVIII) and Suprabhedagama details of such (1903-04, p. 227 f.), (xxix, 68-72) under TORANA. MAKARA-BHtJSHANA An ear-ornament. (M., MAKARAPATRA An L, 26 ; see under BHUSHANA.) ornament of an arch generally above the column. Tad-urdhve makarapatra-sarhyutam toranasyante I (M., xv, 133.) MAKARALA An architectural member of a hall. (M., xxxv, 373 MAKARl-VAKTRA ornament for The face of a female shark, ; under see employed ALA.) as (M, xv, MAKUTA A MAN GALA A kind throne. A village A 136.) head-gear, a diadem, a crown. (M., vn, 164'; xn, 120 A an an arch above a column. (Af., of throne, a village, a XLV, 4; see ; XLDC, 15 ; LIV 23, etc.) type of pavilion. under SI&HASANA.) see under AGRAHARA^ (Kamikagama, xx, 3 type of pavillion (M., xxxiv, 481-448 see under MANDAPA.) . ; ; 389 AN ENCYCLOPAEDIA OF MANGALA-VITHI M AftGALA-VlTHI also called Raja-vlthi A broad road surrounding a village or town, and Ratha-vithi. Kamikagama, under RAJA-VITHI.) (See MAJJANALAYA A detached building for bath or washing. (M., XL, 103.) A bedstead, couch, bed, sofa, a chair, throne, a platform, a pulpit, a loft. A synonym of the bedstead (M., in, n), of the entablature (M., xvi, 18.) Mancha-paryanka-palyankah katvya-samah I Palyanko mancha-paryanka-vrishl-paryastikasu cha (Amarakdsha, In connexion with buildings of one to twelve storeys Adhishthana-samarh manchardhe'rdhena vapra-yuk Medini Iti I 2, 3, I 138.) : I (Af.,xxi, 14, etc.) A A component part of the bedstead (M., XLIV, platform 86). : two-tenths of it for the formaDaSa-bhagau dvau pratimanchau tion of two platforms, opposite to each other.' (Kaulillya-Ariha-sastra, ' Chap, xxrv, p. 53.) MAftCHA-KANTA A class of the four-storeyed buildings. (M., xxii, 47-57 see ; under PRASADA.) MA^CHA-BANDHA A class of bases differ from one another in height and comprising four types which in the addition or omission of some mouldings. (M., xiv, 127-149 see ; the lists of mouldings under ADHISHTHANA.) MAftCHA-BHADRA One of the three classes of pedestals, the other two being Vedi-bhadra and Prati-bhadra. It has four types differing from one another in height and in the addition or omission of some mouldings. (M., xiu, 93-127 ; see the lists of mouldings under UPAPITHA.) MAftCHALl -A synonym of the bedstead. (M., in, ii 39 ; see under PARYANKA.) MANJOSHA Page 390 MATHA HINDU ARCHITECTURE ' (12) Had matha a the Govi-matha.' Roman Text, p. built (matha (Ep. Carnat., Vol. in, for kattiSi) Siva-Basappa-Svami of Mysore Taluq, no. 24 ; Transl., p. 3 ; 7.) On my king (i.e., husband) going to Svarga, having caused to be erected a matha in Kalale and attached it to the great palace, Kurah' (13) and Sambhupura are granted atti The to Siva.' Vol. in, peculiarities of this an endowment for it, matha should be noted. as an offering as (Ep. Carnat., Nanjangud Taluq, no. 81 Transl., p. 103 Roman Text, p. 196.) Having erected a matha (Sattra or alms-house) for the distribution ; ; ' (14) of food to those guru to take up who come to the car-festival of the god. his residence in the king's . . , caused his matha building which belongs to a house and is accommodating the guests) to conduct the (a detached residential intended for receiving and worship of Chandraiekhara matha or in a installed be temple which, however, does not (who might occur in the present inscription) and to minister to the Jangamas, and give shelter and food to mendicants and pilgrims, ... in order to meet all the made a expenses of the same Hunsur Taluq, no. 104 ; grant of Haranahalli.' Transl., p. 93 ; Roman ' meanings of the term in the above passage should be noted. The different (Ep. Carnat., Vol. iv, Text, 15.) matha ' noted within brackets 'He had the stone-fort built, together with the matha, mantapa, ' . . well . pond, 1 In the evening-matha (sandhya-matha) he set up the image of the god and built the pond.' (15) ' He caused the stone-fort to be built, evening-matha (sandhya-matha), pond, (Ep. Carnat., Vol. v, images of gods.' and well, set up the matha, mantapa, pillar, swing and Basava Part i, Channarayapatna Taluq, nos. 196,198; Roman Text, pp. 450, 451, 454.) mathe (16) Sri-Sankaracharya-vinirmite lasat-simhasane dharmamaye 158, 160, 165; Transl., pp. subhah . . 195, . He made petition at the feet of Vidyaranya Sri-pada, representing that in Sringapura, in (connexion with) the dharmapitha (or religious throne) established by Sankaracharyya, there must be a matha and ' (Ep. Carnat., Vol. vi, Sringeri Jagir, no. II agrahara.' line 12 f. ; ; Roman Text, p. 195, Transl., p. 95, last para.) mentioned in no. 1 3 and is called Sri-matha in nos. 25, 26 and 31. matha, Mr. Rice gives a history and says that 'the head of the Sringeri matha is styled the jagad-guru or the guru of the world and is possessed of extensive authority and influence. He wears on ceremonial occasions a tiara like the Pope's, covered with pearls and precious stones and a handsome necklace of pearls, with an emerald centre But no architectural details are given. piece.' (Introd., p. 24, para. 2.) This matha is Of . . . this , 393 AM ENCYCLOPAEDIA OF MANIKA 'This temple is a Brahma-chari-matha. (Ep. Carnal., Vol. vn, Roman Text, p. 248, Transl., p. 140, line 7 Shikarpur Taluq, no. 242 (17) ; lines ; 20-21.) matham etat karitam Sri-Narayana(18) Vinitesvara-matha-samavesarh matha the this of deva-kula of Narayana, near the built devakulasya ' of Vinitesvara.' temple Ep. Ind., Vol. ix, (MundesVari of Udayasena, inscrip. lines 5, 6 ; pp. 219-290.) MANIKA A water-jar, A a class of buildings. of buildings which are oval in plan and sub -divided under the class following names (i) : Gaja, nayaka, dhara (6) Vrishabha, (2) Bhushana, (7) (3) Harhsa, Bhu-dhara, Garutman, Srijaya, and (4) (8) Riksha- (5) Prithivl- (9) : (2) Agni-Purana (Chap, civ, v. n, 19-20 see under PRASADA). Garuda-Purana (Chap. XLVII, vv, 29-30 see under PRASADA). Cf. Rock (1) ; ; inscriptions at Mulbe (no. iv, Ind. Ant., Vol. xxxv, pp. 79, 80). MANI-GRAMA A (Note on Tamil Inscriptrading corporation. tion in Siam, E. Hultzsch, J. R. A. S., 1913, pp. 337-33Q. 1 ) MANI-DVARA A kind of top door or window. Uparishtat trayarhSarh tu chatvarardhariisam dvi-parsVayoh Tesharh madhye tu yad dvararh mani-dvaram ihochyate I 1 1 (Kamikagama, LV, 43.) MANI-BANDHA An ornament for the wrist, a string of pearls, the collet. Prakoshthe valayarh chaiva mani-bandha-kalapakam I (M., L, 16.) Mani-bandha-katakam va mauktika-chudam eva cha I (M., LIV, Prakoshtha-valayarh chaiva valayair (Ibid., MANI-BHADRA MANI-BHITTI (see The 14.) mani-bandhakaih 99, etc.) A pavilion with 64 columns. (Suprabhedagama, xxx, 101, 103 ; see under MANDAPA.) MANDAPA) residence of the great serpent (Sesha-naga). MANI-BHU-(MI) A floor inlaid with jewels. MANI- MANDAPA A jewelled pavilion, the residence of the great serpent (Sesha-naga). MANI-HARMYA An mansion. (See upper storey, a crystal palace, a jewelled Artha-tastra under GRIHA-VINYASA.) 394 MANIKA. MANI DVARA MAMI-DVARA. 394 MANDAPA HINDU ARCHITECTURE MANDAPA A detached building, a pavilion, an open hall, an a corridor arbour, (M., xxxiv, 406, 409, 414, etc.), a tower, a temple, the auditorium in a theatre (Bharata-Natya-sdstra, n, 7-8, 22 ; see details under NATYA-GRIHA(VESMA). Atha mandapo'stri janasrayah (Amarakosha, 2, 2, 9.) the roofing is formed of large walls are not furnished with Mandapas slabs of granite supported by monolithic pillars. (D. A. lyengar, p. 20.) The resting place where the gods are every year (occasionally) carried. I ' ; ' ' The most which is celebrated part of the temple of Madura (Ibid., p. 38.) only a vast corridor.' between Difference Mandapa and is the Pudu mantapam Sabha (M. xxxiv, 559-562) the former having a pent-roof, and the latter pinnacled (i.e. : spherical roof). Mdnasdra (Chap, xxxiv, 1-578, named Mandapa) Mandapa generally means a temple, bower, shed or hall. term has been used in three technical senses in this chapter. : (i) It implies in the first place a house in the But village, etc., or built the on the secondly, the detached buildings in a compound which is generally divided into five courts (see PRAKARA) But in the most general sense, it implies various sorts of rooms in a temple or residential buildings. The most part of this long chapter is devoted to a description of these rooms. bank of a sea, river, tank or lake ; . Mandapas are both temples and residential buildings : Taita(-ti)lanam dvi-jatlnam varnanam vasa-yogyakam The general comparative measurement of the mandapas is discussed at the beginning. This is followed by the measurement and other descripI tions of and (v) (ii) the bhitti (wall), the form of the Seven mandapas edifice (line 157). (iii) balcony (alinda), mandapas (iv) are, as stated, built in front of the They prapa (alms-house), (lines 3-4). prasada or the main are technically called Himaja, Nishadaja, Vijaya, Malyaja, Pariyatra, Gandhamadana and Hema-kuta (lines 163-156). Various parts of these, such as walls, roofs, floors, balconies, courtyards, doors, windows, "pillars, etc., are described in detail (lines 166-175). Besides these seven, various other mandapas are also described in accordance with their architectural details and the various purposes for which they are built. Meruja mandapa is for the library-room (line 161), Vijaya for wedding ceremonies (line 163), Padmaka for refectory or kitchen of gods (line 174), Sicha for ordinary kitchen (line 175), Padma for collecting flowers (line Bhadra water reservoir, store-house, corn unhusking paddy (line 197), Veda for 181), for etc. (line 185), Siva for assembly-hall (line 209), Kula-dharana for keeping perfumes (line 262), Sukhanga for guest-house (sattra,) (1 ne 272), Darva for elephant's stable, and Kausika for horses' 395 AN ENCYCLOPAEDIA OF MANDAPA on the bank of a sea, river, lake, etc., are for the pilgrimage of gods (line 281), Jayala and others for summer residence (line 294). Some mandapas are made for banishment (see below), some for bedrooms of queens and others. Dhanada (line 328), Bhushana Saukhyaka and others stable, (lines 349, 366), Kharvata built Drona (lines 455, 472), (lines 423-434), Sri- are described under these terms. Mangala (line 488), etc., plan, ornaments, etc., of mandapas are described in detail. description of the forms of mandapas is given (lines 549-557). The mandapas rupa (line 480), A The (rooms) of temples and of the houses of the Brahman as should have the Jati shape ; the Chhanda shape is given to the mandapas of the Kshattriyas, the Vikalpa shape to those of the VaiSyas, and the Abhasa shape to those of the Sudras. But according to some, these four classes are also based on the form of the Bhadra (portico). The mandapas of two faces are called dandaka, of three faces svastika, the latter one having also the plough shape the mandapas of four faces are known as chatur-mukha, of six faces maulika, and of five faces sarvato; bhadra A (lines 554-556). mandapas in a village or town is also given 558-572). Their principal members are stated to be the lupa (pent- short description of the (lines roof), prastara (entablature), and kuta (dome), etc. (roof), sabha (council hall), are also built on the roadside and at prachchhadana Mandapas other places. All the mandapas mentioned above are separately described as they belong to a temple or to the houses of the Brahman as, the Kshattriyas, the VaiSyas, and the Sudras respectively Cf. the following : (cf. lines 571-578). The detached buildings or attached halls for various purposes Some bhallata-mukhye cha kalpayet kosa-mandapam : I Pushpa-dante sukarau cha Sastra-mandapa-sarhyutam Varune vasure vapi vastu-nikshepa-mandapam Nage vapi mrige vapi deva-bhushana-mandapam I I I A(a)ditau choditau vapi sayanartharh cha mandapam Asthana-mandapam chaiva chatur-dikshu vidikshu cha Snapanartharh mandapam snana-mandapam eva cha Griha-kshate yame vapi vahana-sthana-mandapam I I I I Maryadi-bhittikasyantam mandapam pavanalayam (M., xxxii, 68-76.) Dakshine nairriti vapi bhojanartham tu mandapam I Vayavyena dhanangamse pushpa-mandapa-(m) yojayet Tat-tad-bahya-pradese tu kaya-Suddhyartha-mandapam Vayavye nairrite vapi sutika-mandapam bhavet I I I (M., XL, 98, 102, 104, 105.) 396 ! HINDU ARCHITECTURE The height MANpAPA : Mandaparh nava-talam kuryad ... I (M., ISanadi-chatush-karne matharh va mandapam tu va xi, (M., Mandapadi cha bhupanam vesma kuryat tu purvavat rx, 138.) I (Ibid., In connexion with columns Prasade 144.) I 445.) : mandape vapi prakare gopure tatha | (M., xv, 433.) Cf. (M., xxxvi, 34), v(b)alalokana-mandapa Ayuda-mandapa (ibid., line 48), vivaha-mandapa (line 49), vastrachchhadana-mandapa (line 50), vidyabhyasartha-mandapa (line 53), tailabhyarigartha-mandapa (line 54), asthana-mandapa (line 55), vilasartha-mandapa (line 56), dhanya-karshana- mandapa (line 69), pushpa-mandapa nityarchana-mandapa 74), Some mandapas (line 71), mitya-yogya-mandapa (line etc. (line 79), are stated to be furnished with 100 or 1,000 columns vatha Sata-pada-yutam sahsranghrika-mandapam : I (M., xxxiv, 240.) (2) Bandha-sthanam bahih kuryat snana-mandapam eva cha I (Matsya-Purana, Chap. CCLVI, v. va Prasadasyottare vapi purve mandapo bhavet II Chaturbhis toranair yukto mandapa-(h) syach chatur-mukhah (Ibid., ' It The mandapa should be (lit. 13, II 15.) north or east of the temple. faces (facades) and be furnished with four arched should have four gateways Chap. CCLXIV, vv. 35.) built to the arches).' Athatah sarhpravakshyami mandapanarh tu lakshanam Mandapa-pravaran vakshye prasadasyanurupatah II (i) Vividha mandapah karya jyeshtha-madhya-kaniyasah Namas tan pravakshyami srinudhvam rishi-sattamah II I I Then follow the according to the one having 64 (i) dana, number of columns they (5) (2) (17) Pusha-bhadra, Kausalya, (6) (9) Srivatsa, (10) (13) Yajna-bhadra, (21) are furnished with, the largest and pillars, the next 62, one following 60, Pushpaka, Jayabaha, (22) Vijaya, Sirhha, (26) Syama-bhadra, Suvrata, (19) (27) 397 so on (4) : Amritanan- Gajabhadra, (8) (11) Vastu-kirti, (12) Srutirhjaya, Manava, Karni-kara, (23) and (7) (15) Suslishta, (16) Nandana, Harita, (3) Buddhi-samkirna, (14) Visala, Bhaga-pancha, (18) Sugiiva, (2) names of twenty-seven mandapas. They are divided (20) (24) Subhadra. Satru-mardana, Mana-bhadraka, Satardhika, (25) AN ENCYCLOPAEDIA OF MANDAPA The mandapas are given next Tri-konarh vrittam ardhendum ashta-konarii dvir-ashtakam Chatush-konam tu kartavyam samsthanam mandapasya tu II plans of : I (Matsya-Purana, Chap. CGLXX, vv. i, 2, 3-6, 7-15, 1 6.) (3) Bhitter dvaigunyato vapi karttavya mandapah kvachit I (Garuda-Purana, Chap. XLVII, v. 37.) Prasadasyagratah kuryan mandapam das"a-hastakam II Kuryad dva-dasa-hastam va stambhaih shodasabhir yutam Dhvajashtakais chatur-hastarh madhyc vedim cha karayet (Ibid., (4) Mandapam Description of carving hand its paintings I manoramam II (2) : na vidus tattvato janah Kvachit sirhhah kvachid-dhamsah sarasas cha maha-prabhah Kvachich chhikharhdinas tatra kritrima sumanoharah Jalam kim nu sthalam 1 Chap. XLVIH, vv. 4-5.) Ahuya visva-karmmanam karayamasa sadaram cha suvistlrnarh vedikabhir I 1 tatra I 1 1 (6) I Tatha nagah kritrimas cha hayas chaiva tatha mrigah Ke satyah ke asatyas cha sarhskrita visva-karmana Taithaiva chaivarh vidhina dvara-pada-bhutah kritah II (7) II (8) I Ratha rathi-yuta hy-asan kritrima hy-akritopamah Sarvesham mohanarthaya tatha cha samsadah kritah (13), Evambhutah kritas Lena mandapo divya-rupavan II (20) I I etc. (Skanda-Purdna, Mahesvara-khanda-prathama, Chap, xxiv, vv. 2, 6, 7, 8, 13, 20 ; for further description Rathasyesana-dig-bhage salarh kritva susobhanam Tan-madhye mandapam (Ibid., (5) kritva vv. 36-67.) see I vedim atra sunirmalam II Vaishnava-khanda-dvitiya, Chap, xxv, Eka-dvi-tri-talopetam chatush-pancha-talam tu va 1 v. 26.) 1 Mandaparia tu vidhatavyam salanam agra-desake II (Kamikagama, xxxv, 96, (6) Mandapas implying temple the detatched buildings g6<z.) and forming part of a (Suprabhedagama, xxxv, 94-104). Measurement as compared with the temple : Prasada-lakshanarh proktam mandapanam vidhirh srinu Prasadardharh mukhayamam vistaram samam uchyate II (94) I Tri-padarh va mukhayamam sardharh 398 mandapam uchyate II MANDAPA HINDU ARCHITECTURE Classification : Devata-mandapam purvaih dvitiyam snapanarthakam Vrishartham pam II mandapam paschach chaturtham I nritta-manda- (96) Description of these four classes of mandapas Devata-pratima-rupa(-am) sthapitarh deva-mandapam Kalasa-sthapanam yatra proktarh snapana-mandapam II Vrishabha-sthapitam yatra vrishabha-mandapam tatha : I Nrittam yatra kritarh (97) I nritta-mandapam eva tu II (98) Gopure'tha vayavye'pi vayavye vikritam tatha Evarh chatur-vidheshv-anya-niandapaih chagrato bahih II (99) tat tu I Their names : Tesharh namani vakshyami srinu vatsa samahitah Nanda-vrittam sriya-vrittam virasanam cha vrittakam I Nandyavartam mani-bhadram Their characteristic features visalarh cheti kirttitam (100) II I : chatush-padam shodasam sripratishthitam Virhsati-stambha-samyuktarh virasanam iti smritam Nanda-vrittam II I jaya-bhadram iti kathyate Shat-trimsad-gatra-sarhyuktarh nandyavartam iti smritam Chatuh-shashti-samayuktarh stambhanam mani-bhadrakam Dvatrirhsad-gatra-samyuktam II I Stambhanam tu satair yuktarh visalam iti samjnitam Prasada-vat samakhyatam prastarantarii pramanatah II I II (104) (Suprabhedagama, xxxv, 94-104.) Then follows an account of these columns (ibid., vv. 105-108 ; see under STAMBHA). Kautiliya-Artha-Sdstra (Chap, xxn, p. 46, footnote) (7) Ardha-gavyuta(-ti)-tritiyan ar-gramantara-rahitam : mandapam (Rdyapasenl-sulra-vydkhydne, p. (8) Mandapani dura-sthala-simantarani I 206.) I (Prasna-yydkamna-sutra-vyakhydne, p. 306.) (9) See the Prasasti first of Baijnath Ep. (v. 29, Ind., Vol. i, p. 106), also the second Prasasti (v. 25, pp. 114, 117). (10) Somesvaraya tan-mandapam uttarena of the temple of Somesvara.' v. 40, Ep, Ind., Vol. (11) v. 19, A i, pp. ' to the north of the hall (Chintra Prasasti of the reign of hall for the supply of water (inscrip. of Ep. Ind., Vol. i, Sarangadeva, 284, 276.) pp. 328, 330). 399 Chandella Viravarmanl AN ENCTCLOPAEDlA Of MANDAPA A (12) inscrip., vv. 12, (Harsha stone chapel Ep. 44, Ind., Vol. n, pp. 121, 124, 126, 128). Narayanasyayatanarh yana together with the hall. . . (13) the temple of Nara- saha mandapena . (Khalari Stone inscrip. of Haribrahmadeva, Ep. Ind., Vol. n, p. 231.) v. 10, the temple of Somanath. SomesVara-mamdapa (14) Prasasti, v. 23, Ep, Ind., Vol. n, p. pattana 442 ; a hall. (the Kanarese form) (15) Vol. v. Ind., in, 8, II, Ep. pp. 37, 40.) Devaraya Mantapa . . . sukhaclam sivasya (16) Sri-valladhipates vijayiti nama kritva bhadrahvayarh Deva- 440.) Plates of mandapam II virachyya Sambhor Bhadrakhya-mandapam(mum) cha (Satymangalam mandapam ... akarod bhadrahvyam (Sridhara's see also v. 10, p. nidravasana- | Chakre cha Nayaka-sivalayam asya parsve srl-jnana-murttir atisampadi-valla-puryyam II (Bilvanathesvara inscrip. of Virachampa, vv. i, 2, 3, Ep. Ind., Vol. HI, pp. 70, 71.) (17) Dhama, Mamdira, Prasada and Bhavana for temple or mandapa. (Ganapesvaram Ep. Ind., Vol. in, pp. 86-87). (18) Abhyavahara-mandapa Sundarapandya, ' (19) v. a are used indiscriminately of Ganpati, vv. 23-25, inscrip. dining 23, Ep. Ind., Vol. in, pp. The immediate purpose hall. 13, '(Ranganath inscrip. of 16.) of the Ranganatha inscription of Sundara- pandya a description of his building operations at, and gifts to, the temple. He built a shrine of Narasirhha (w. 2 and 10) and another of Vishnu's is both of which were covered with gold, and a tower which contained an image of Narasirhha (v. 7). Further he covered attendant Vishvaksena gilt (v. 8), an achievement of which he must have been specially proud, as he assumed, with reference to it, the surname Hema-chchhadana-raja, i.e., the king who has covered (the temple) with gold, and as he placed in the shrine a golden image of Vishnu, which he called after his own surname (v. 3) He also covered the the (original or central) shrine of the temple with gold . inner wall of the (central) shrine with gold (v. 22) and built, in front of it, a dining-hall, which he equipped with golden vessels (v. 23) ... ... In the god the (v. 20). a golden ship king month of Chaitra he For the (v. 21). celebrated the procession-festival of of the gods sporting with Lakshmi, he built last verse (v. 30) of the inscription states that the festival The built three golden domes over the image of Hema-chchhadana-raja (v. 16) and over the hall which contained the Hari, over that of Garuda couch of Vishnu (v. 6).' 400 MANDAPA HINDU ARCHITECTURE ' The following miscellaneous (for articles of furniture) gifts natha are enumerated in the inscription to Ranga- A garland of emeralds (v. 4), a crown of jewels (v. 5), a golden image of Sesha (v. 6), a golden arch (v. 9), a pearl garland (v. n), a canopy of pearls (v. 12), different kinds of : (v. 13), a golden car (v. 14), a golden trough (v. 15), a Garuda (v. 16), a golden under-garment (v. 17), a golden of golden image aureola (v. 18), a golden pedestal (v. 19), ornaments of jewels (v. 24), a golden armour (v. 25), golden vessels (v. 28), and a golden throne golden fruits inscrip. of Sundarapandya, Ep. Ind., Vol. in, p. (Ranganatha (v. 29).' (20) Krishnalayarh mandapam an abode of Krishna, an open n.) hall. (Three inscrip. from Travancore, no. B, line 4 ; Ep. Ind., Vol. iv, p. 203.) translated (21) Asthana-sila-mandapa (not by Hultzsch). (First Draksharama pillar inscrip., line 9, Ep. Ind., Vol. iv, pp. 329, 330.) a temple (v. 39) Ghana-mantapa-vapra-saudha-ramyalayam (alaya) adorned with a solid hall, a wall and a plastered mansion (pp. ' (22) ' 123, 114). ' Sudha-liptam sila-mamtapam 43) (v. a plastered of stone, hall (pp. 123, 114). Vipulam ramyarh maha-mamtapam ' (v. 44) a fine large hall, 123, 114). (pp. Ramyam maha-mamtapam (v. 'a 47) beautiful large hall' (pp. 124, 5)- Ghanam prasadarh nava-hema-kumbha-kalitam ramyarh maha-mamtahe presented a solid temple (prasada), adorned with nine pam (v. 51) ' golden pinnacles (kumbha), and a beautiful large hall, to the temple of Hari (pp. 125, 115).- -(Mangalagiri pillar inscrip., Ep. Ind., Vol. vi, pp. 114, ' II 5 , I24,_I25.) (23) Anandaika-niketanarh jyotsnaughah khalu bhuh nayanayoh s(s)asvan manah-kairava- visVakarmma-nipuna-vyapara-vaidaghdya- | marggah Grishma-grasa-bhayatibhita-janata-sautlrya-durggalayo II kifttivijrimbhanasya jayina prottambhito mandapah (Two Bhuvanesvara inscrip., no. i, of Svapnesvara, v. 29, Ep. Ind,, Vol. vi, p. 202.) This inscription (Bhimavaram inscrip. of Kulottunga i) is en(24) a pillar in the mandapa in front of the Narayanasvamin temple on graved at Bhimavaram in the Cocanada division of the Godavari District.' ' (Ep. Ind., Vol. vi, p. 219.) (25) Utsava-mamtapa a festive raya, v. 27, Ep. Ind., Vol. vi, pp. hall. (Kondavidu inscrip. of Krishna- 237, 231.) contains Sivamangalam of the North Arcot District shrine, a rock-cut of consists which a Siva temple named Stambhesvara, rock-cut two The enclosure. a stone and of two mandapas in front it, ' (26) The village of 401 MANDAPA AN ENCYCLOPAEDIA of the gate by which the shrine is entered bears the two subjoined Besides, there are several Chola inscriptions on the walls of inscriptions. pillars (Dr. Hultzsch. Ep. Ind., Vol. vi, p. 319.) the enclosure.' Madapo nava-gabha a nine-celled hall. madapo a study. '(Kalre Cave (27) Patho inscrip. no. 20, Ep. Ind., Vol. VH, pp. 71, 72, 73.) Srl-Kanchi-Jina-Vardhamana-nilayasyagre maha-mandapam samgitarttham achikarach cha silaya baddham samantat sthalam II (28) ' to be built, in front of the temple of the Jina-Vardhamana for concerts and (caused to be) Caused at the prosperous Kanchi, a great hall paved with stones the space all round.' no. B, line 2, Ep. Ind., Vol. vn, p. 116.) ' (29) a (Two Jaina inscrip. of Irugappa, Two buildings to be erected in the temple of Arulalanatha (are) of one thousand pillars, a canopy of gems for (the image of) mandapa Mudivalanginan Ep. Ind., Vol. . . (Arulala-Perumal inscrip. of Prataparudra, line 8, . pp. 131, 132.) vii, (30) Sri-nara-simha-varma-nripatih Sri-kovalure bhajan vasaiii visva- jagan-nivasa-vapushah Sri-vamanasyakarot Sailam sumbhita-sata-kumbha-vilasat-kumbham I maha-mandapam prakaram para-malika-vilasitam muktamayim cha prapa(-bha)m ' I glorious prince Nara-simha-varman, residing in Srikovalura made the god Vamana, in whose body the whole world abides, a great The for of stone, resplendent with pitchers (kalasa or kumbha) of shining a surrounding wall, adorned with excellent buildings, and a canopy of gold, (Fourteen inscrip. at Tirukkovalur, no. K, of Rajendradeva, lines pearls.' mandapa 1-2, Ep. Ind., Vol. vn, pp. 145, 146.) Dhara-giri-garbha-marakata-mamdape in an emerald pavilion on the Dharagiri hill. (Dhara Prasasti of Arjunavarman, line 12, Ep. Ind., (31) Vol. vm, pp. 103, 100.) Tejahpala (32) iti kshitimdu-sachivah samjjvalabhih sila-srenibhih sphurad imdu-kumda-ruchiram Nemi-prabhor mamdiram Uchchair mamdapam agrato Jina-(vara)-vasa-dvi-pamcha-satam tatparsVeshu balanakam cha purato nishpadayamasivan II I The minister Tejahpala, a moon on earth, erected the temple of the shines by lines of stones as white as conch shells (and) like the moon and jasmine flowers, a lofty hall (mandapa) resplendent ' Lord Nemi, which is in front (of and a Ep. Ind., (33) it), seat . (balanaka) Vol. . fifty-two shrines for the best of the Jinas . in the vm, pp. 212, front.' (Mount Abu on the sides of inscrip. no. i, 218.) Kamakshl-dharma-mandape 1 1 Pratyabdan dvija-bhukty-arttham bhagam ekam akalpayat 402 it v. 61, II MANDAPA HINDU ARCHITECTURE ' Set apart one share for the yearly feeding of makshi-dharma-mandapa.' (Madras Museum 21, 22, Ep. Ind., Vol. vm, pp. 311, 316.) Brahmanas Ka- the in plates of Srlgiribhupala, w. ' the prime minister of king Maranjadaiyan, Marangari made this stone temple and ascended heaven (i.e., died) without conwho secrating it. Subsequently his brother Maran, Eyinan . . (34) . . . . attained to the dignity of prime minister, made the mukha-mandapa (muga-maridapan) and consecrated (the shrine).' -(Two Anaimalai inscrip., no. ii, Ep. Ind., Vol. vm, pp. 320, 321.) Mandapika (35) Of- (lit., a small pavilion) SrI-Naddula-maha-sthane : Sri-Mahavlra- Sri-Sarhderaka-gachchhe masanuma- devaya Sri-Naddula-talapada-sulka-mamdapikayam sarh dhupa-ve(tai)lartham I Granted to the Jaina temple of Mahavlradeva in the Sanderak gachchha, at the holy place (Mahasthana) of Naddula, a monthly (sum of five drammas), (to be paid) from the custom-house in the grounds (talapada' svatala) of Naddula.' For passages in which the term Mandapika occurs, compare, Ep. vol.i, pp, 114, 1-27 p. 173, Ind., p. 175, i, 19 mandapika) p. 177, ; i, 29 and i, p. 205, inscrip., p. 158 ' , 1-6, (Slyadoni-Satka-mandapika), p. 179, i, Ind. Ant., vol. xiv. p. 10, col. 2 ; Journ. As. Soc. Beng., vols. LV, part inscrip., 30 f., The meaning I, 7. i, p. 47 ; e. g., 45 p. 262, ; i, 3 (pattana- (Sripathastha-mandapika) iv, p. 48, Sulka-mandapika occurs, and 18. and e. v. g., ; in ; Bhavnagar Bhavnagar 11, 10, 15 of Marathi mamdavl, a custum-house.' Prof. Kielhorn. (The Chahamanas of Naddula, no. A, Nadol plates of Alhanadeva, lines 22-23, Ep. Ind., Vol. ix, pp. 66, 63, and note 8.) (36) . . . mandapika is suggested by the Vidadhe' sya mamdirc mamdapam Chakre'(a)kshaya-tritiyayam pratishtha 1 1 mamdape dvijaih II (Chahamanas of Naddula, no. G., Sundha Hill inscrip. of Chachigadeva, vv. 56, 57, Ep. Ind., Vol. ix, p. 79.) kritina devalayam karitam yugmarii mamdapa-sobhitam cha purato-bhadrarh pratolya saha (37) Deva-Sri-Sasi-bhushanasya I Kshetresasya tatha suralaya-vararh sphitam tadagam tatha bandharii Kaudika-samjnakam bahu-jalam dirgharh tatha khanitam l| (Ranker inscrip. of Bhanudeva, v. 7, Ep. Ind., Vol. DC, p. 127.) (38) Kamaniya-s"ila-stambha-kadambottambitamvaram Visamkata-vitamkali-virajad rarhga-mamtapam 403 1 I 1 AN ENCYCLOPAEDIA OF MANDAPA ' a large rangamandapa raised on a collection of beautiful stone and adorned with rows of spouts.' (Krishnapuram plates of Sada- It is pillars w. sivaraya, 55, 56, Ep. Ind., Vol. ix, pp. 336, 341.) mamdapa karamyah Akshasamalapaniyah dama pashana-itakayam ghatitah ... (39) Pahini karttavya I ' Pahini and dama (the (?) and with stones mandapa, aksha-sama Chahamanas of Marwar, (The constructed the architect) bricks.' xni, Sanderava stone inscrip. of Kelhanadeva, ' no. f., Ep. Ind., Vol. xi, p. 48.) of Marwar, no. xvn) . . line 2 This inscription (the Chahamanas on a pillar in the Sabha-mandapa of the temple of Mahavira.' . (40) is (?), incised (Ep. Ind., Vol. xi, p. 51.) Abhinava-nishpanna-preksha-madhya-marhdape ... (41) Suvarnnamaya-kalasaropana-pratishtha krita ' The ceremony of I I placing a golden cupola on the newly performances was carried out.' made hall, intended for dramatic manas of Marwar, no. xix, Jalar stone inscrip., lines 5, 6, central -(The Chaha- Ep. Ind., Vol. xi, P- 55-) Tenochchair (42) bbodhi-mande sasi-kara-dhavalah sarwato manda- pena kantah prasada esha smara-bala-jayinah karito loka-sastuh II By him this beautiful mansion of the Teacher of mankind, who overcame the power of (the god) Smara, dazzling white as the rays of the moon with an open pavilion on all sides, has been caused to be made at the exalted Bodhi-manda' (also called Vajrasana, the miraculous throne under the Bodhi-tree at Bodh-Gaya, on which Buddha sat, when attaining Bodh' or perfect wisdom.) I. I., Vol. in, F. G. C. Canarese inscrip. Ind. Ant., Vol. xv, (Bodh-Gaya I., no. inscrip. of Mahanaman, no. 71, pp. 276, 278, 275 Bodh-Gaya 166, ; inscrip. of lines 10-11 Old' Sanskrit arid also Mahanaman, line 10 f., pp. 358, 359.) ' There are several other inscriptions in the outer parts of the (Velur) temple, viz., two on the pedestals of the two dvara-palakas in front of the gopura, one on the left outer wall of the inner prakara, and five on the (43) floor of the ' alarhkaramandapa.' (H.S.I.I., Vol. p. 127, first para.) i, We the great assembly of Manimangalam, being assembled, without a vacancy in the assembly, in the large mandapa (of) the Brahma' sthana in our village (Inscrip. of Virarajendra I, no. 30, line 36, H.S.I.I., Vol. m, p. 70.) (44) . . . . . . caused to be made the stone work of a Brahmapriyan of steps, with tiger's head at the bottom, for the abhisheka-mandapa in the temple of Vanduvarapati Emberuman at Manimangalam (Inscrip. of Rajaraja III, no. 39, H.S.I.I., Vol. m, p. 86.) ' (45) . . . flight ' . . . karakhya-padma-karabhirama-nutana-omkaresvara-deva-sthanam (46) Sri-kusala-mandapadi-yukta-rajaka-mala I 404 MANDAPA HINDU ARCHITECTURE ' A new Omkaresvara temple, a lotus ornament to the earth , skilfully designed mantapas, etcetera, might be called a royal beautiful which with lotus.' its Carnal., Vol. (Ep. ' This i, pp. 38, f., 61.) the sacred marriage hall (Kalyana-manclapa) built (on (47) the date specified) by Tirukkanam Ayya Mudeliyar's son Vedagiri Mudeliyar for the god Sri-Subharaya Subhamiyar of Alasur.' is This inscription is at Halasur, on the basement of the Kalyana-mandapa in the prakara of the Subrahmanya temple.' (Ep. Carnal., Vol. ix, Bangalore Taluq, no. 14 ; Roman Text, p. 8 ; Transl., p. 7.) ' ' (48) This the outer is mandapa ( ? Churru-mandapam) called Srithe name of (the king) Sri-Raj endra-Sola- Rajendra-Sola-devar after devar, caused to be erected by Jakkiyappai, daughter of Tirbhuvanaiyam of Ittakirai, at the foot of Sulkal-malai, otherwise called Kanaka-parvvatam (Ep. Carnal., Vol. x, (the golden mountain) in the Kadambanakkai-nadu.' Kolar Taluq, no. 115 Roman Text, p. 49 Transl., p. 44.) Agrahara village, mantapas, mantapas for alms (bhiksha-man(49) ; ; ' and ' other religious provisions . (Ibid., Vol. x, Mulbagal Taluq, no. 2; Roman Text, p. 82; Transl., p. 71.) ' Caused to be built in the temple of Jayambu-nayakar the danc(50) tapa), all . . ing hall (nirutta, i.e., nritta-mandapam) , the vestibule (nadai-maligai), the surrounding hall and the tower.' (Ep. Carnal., Vol. x, Bowringpet Taluq, no. 380; (51) Roman Text, p. 175 ; Transl., p. 146.) Varadaraja-devara-mukha-mantapada-sannidhiyalu ran emba kottalavanu.' Rajagambhi- ' In proximity to the mantapa facing the god Varadaraja having erected the bastion named Rajagambhlra.' (Ep. Carnal., Vol. x, Malur Taluq, no. i ; Roman Text, p. 186 ; Transl., p. 155.) That Singa-Raja had the two lines of fortification, round this city built, and holding the office of pattana-svami by order of the god Nayinar, so that all the people could see, for the god's tirumana had mantapas made before and behind the temple (hindana-mundana-bhagada mantapa), had a pond constructed called after Gopa Raja the Gopasamudra, had a palace built for Gopa Raja to the west of that pond, and and that he might at sunrise to the right of the god, Singa-Raja's palace and at evening twilight bathe at both times, and have a room for domestic sacrifice, from the threshold of which he might look to the spire of Varada and at the eastern gopura which KundapaRaja's temple in had front of the mantapa facing the god (mukhabuilt dannayaka ' (52) ; . mantapa).' ' (53) front of (Ibid., Setti it.' . . no. Devan 4; Roman Text, p. 187; Transl., p. 156.) built a beautiful stone (Ep. Carnal., Vol. x, Ghintamani p. 258, para. 2.) 45 temple with a mantapa in Taluq, no. 83; Transl., AN ENCYCLOPAEDIA OF MANDAPA That the king Praudha-Raya (on the date specified, A.D.) 1426 being in the dana-mantapa, in the presence of the god Virupaksha on the bank of the Tungabhadra, for the purpose of making the great Kalpalata ' (54) . . gift. .' (Ep. Carnal.,. Vol. xn, Tumkur Taluq, no. 11 ; Transl., p. 5, para. 2.) Caused to be made the Honna-devi-mantapa.' This expression is like those, as Vishnu-mandapa, where detached shrine or temple. (Ibid., no. 26 ; Transl., p. 8.) ' (55) mandapa is a His wife (with various praises) Kallarasiyamma, had the shrine of the god Sidda-Mallikarjuna renewed, and having the whole (temple) strengthened, had the two domes built, and the plastering done, had a ' (56) made portico . . to the front of the temple, erected a bhoga-mandapa. hall for the god, made a grant of land to and building a tower and a provide for the offerings (specified).' Text, p. 41, middle Transl., p. 23, line ; (Ibid., Gubbi Taluq, no. 29 ; Roman 6.) ' Presented at the feet of the god Chandra-sekhara the processional form of the god SankaresVara, a dipamale pillar, and a patala-mantapa.' Transl., p. 57.) Tiptur Taluq, no. 70 (Ep. Carnal., Vol. xu (57) ; ; At the time of the eclipse of the sun, in the presence of the god (58) Virupaksha on the bank of the Tungabhadra, in the mukti-mantapa to the sacrificer Naganatha (descent, etc., stated), he granted the Timaduga ' village.' Text, p. ' (59) (Ep. Carnal., 193, Pavugada Taluq, no. 4, Transl., 117 p. ; f.) In the antarala mantapa, and a (interior) fine chandra-sale most beautiful ranga- they erected a (upper storey) according to the direc- tions given by the king Timmendra.' (Ibid., Vol. xu, Pavugada no. 46 ; Transl., p. 122, line 14 ; Roman Text, p. 203, v. 9.) ' (60) Roman KailaSadres svatulyarh kalita-Suchi-gunarh srimati Vanchl-bhu-pala-chuda-manir mauleh akrita Taluq, ri-uchindre puro-mandape chandra- II Ramavarma, the crowning gem of the Vanchi sovereigns, constructed the front mandapa of the moon-crested (Siva) at Suchindram, equalling Kailasa in splendour, and full of the purest qualities.' (Inscrip. in the ' Pagodas of Tirukurungudi, in Tinnevelly and of Suchindram, core, Ind. Ant., Vol. n, p. 361 ; c. 2, v. 2, p. 362 ; c. i, in south para. Travan- 2.) 'In the centre, fronting the single doorway, is a shrine or mandapa covering a slab, on which is carved in relief a sitting figure with the right foot on an elephant, the left on a bullock.' (Ind. Ant., Vol. vn, p. 19, (61) c. I, last four lines.) (62) Rambha-patra-phala-prasuna-lalite varna-pataka-ketana-lasat-prante 406 sat-toranachchhadane maha-mandape I nana- I < CU I MANDAPA HINDU ARCHITECTURE Kundanarii navakam vidhayya vidhivad-viprair vidhana-kshamaih karmascharya-kararh samapayad idam Sri-Ranganatho guruh II (Inscrip. from Nepal, no. 23, inscrip. of Queen Lalitatripura Sundari, v. 3, Ind. Ant., Vol. ix, p. 194.) On the east side of this great Stubi or Vimana stands the Veli(63) " outer or hall," a plain rectangular building 160 feet long mandapam by 83 feet wide, with a flat roof supported by four rows of plain stone ' . . . pillars Between the Veli-mandapam or outer court and the great Vimana, there is a three-storeyed building joining them together, called Melemandapam, covering the transverse aisle between the north and south ' This portico or transept is approached. in keeping with the grand scale and style of the (Gangai-Kondapuram Saiva temple, Ind. Ant., Vol. ix, p. 118, c. i.) entrances by which the shrine is designed and completed Vimana.' ' (64) SrI-Brahma-Devara-mantapavanu presented Brahma Deva the mantapa.' (Ep. Carnat., Vol. n, no. 121; Roman Text, p. 88 ; Transl., p. 172.) (65) Tupada-Vengatapa made a stone mantapa and a well for the god ' Prasanna-Vengataramana to the north-west of the precincts of the temple of the god Pas"chima-Ranganatha.' (Ep. Carnat., Vol. in, Seringapatam Taluq, no. 9 ; Transl., p. 8 ; Roman Text, p. 17.) Also land for the god Hanumanta newly set up in the mantapa (66) in the middle of the village, to which the god Rama pays a visit at the ' Ramanavami It (festival), i.e., (Ibid., no. 13 occasion.' should be noticed Rama the idol of is brought there on that Roman Text, p. 21.) Transl., p. 9 that this mandapa does not belong, ; ; an attached a temple. Such as It is by itself or detached building, to any temple. named are after the whose idols are consecrated or gods temples mandapas in them, such as Vishnu-mandapa, Kali-mandapa, and so forth. had erected a mantapa, with His awful wife Rangamma, (67) a large pond, and presented a palanquin set with jewels and all other kinds of gifts, a bank having grown up and being unsightly, he bought the ground and established there a matha, also endowing it so that 24 chief Vaidika Vaishnava Brahmans of the Ramanuja sect might be fed in the ' . . . ranga-mantapa.' (Ep. Carnat., Vol. m, Seringapatam Taluq, no. 89 Roman Text, p. 57.) pp. 26-27 r!-Timma-dandanayaka mahisi Sri-Ranga-nayakl-rachita (68) Transl., ; ; I Sampat-kumara-mahisI puratah pratibhati ranga-mantapika II Timma-dandanayaka's wife (Queen Consort) Ranga-nayak! erected a ranga-mantapa in front of (the temple of) the goddess of Sampat' kumara.' In (Ibid., this sense called nat (i.e., no. 97 ; Roman mandapa nritya or is Text, p. 59 ; Transl., p. 28.) most generally understood. This ranga)-mandira, as stated above. 407 is what is MANDAPA Caused ' (69) . . AN ENCYCLOPAEDIA OF to be erected the ranga-mantapa of the god Kesava, ranga-mantapa of the god Ranganatha to the souththe village.' village and a sabha-mantapa for also the . east of ... that (Ep. Carnal., Vol. HI, Tirumakudlu-Narasipur Taluq, no. 58 Transl., p. 78.) The accountant Lingana, son of with devotion erected (70) (a mantapa of) 12 ankanas near the big asVattha tree, in proximity to ; ... ' the Matsya-tirtha, on the bank of the Arkapushkarini.' Carnal., (Ep. Vol. iv, Yedatore Taluq, no. 3 ; Transl., p. 52 ; Roman Text, p. 84.) ' The manager of his (Krishna-Deva-maharaya's) palace, . . (71) made god Virabhadra for the of the ranga-mantapa.' 1 p. 14 Roman Text, ; ' . . (Ep. Carnal., p. 188.) Haridasa-Rauta, son of (72) . , a gandhagodi-mantapa, in front ... Prasanna-Madhava of Bellur a festival (dipa-maleya-kambha) and an altar for set up ' (73) the god.' ' (Ep. Carnal., Vol. v, Part Text, p. 106.) Newly built the mantapa ahkana) Kes"ava.' Roman of the god (utsava) mantapa, a pillar for lights offerings (bali-pitha). '(Ep. Carnal., ; (74) in front 4; Transl., Nagamangala Taluq, no. 42 Transl., p. 124 Roman Text, p. 213.) Caused a uyyale-mantapa to be erected for the spring festival of Vol. iv, Roman no. Nagamangala Taluq, as ; I, Belur Taluq, no. 12; Transl., p. 46 Kalyana-mandapa an offering (Kattisi samarpisida at the lotus-feet of the god (Ep. Carnal., Vol. v, Parti, Belur Taluq, no. 21 ; ; KalyanaChenna- Transl., p. 52 ; Text, p. 119.) The grant was made that a pond and mantapa may be constructed in front of the temple upper storey for the spring water-festival (vasanta-kaladalli abage-seve nadeve-bagge) for the god.' (Ibid., no. 29 (75) ' ; Roman Text, p. 122, line 15 f.) ' He constructed a pond for a raft and a (76) Vasanta-mantapa and in order to provide for ten days' raft festival in Phalguna, for the oblation and feeding of Brahmans during the festival ... he made a grant.' (Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 78 ; Transl., 64-65 ; Roman Transl., p. 54; ; p. Text, p. 150.) ' Built a brick enclosure for the temple, erected a kalasa to it, in front, had the whole plastered,' (Ep. Carnal., Vol. v, Part I, Arsikere Taluq, no. 8 ; Transl., p. 115, line 6 (77) and a wooden ranga-mantapa, f. ; Roman Text, p. 263, line . . . 9.) ' Seated on the diamond throne in the (78) mantapa in front of the BasavesVara temple in the square in the middle of the street of the sun and moon in the Kanthiraya-pete of Banavara situated to the south o Srisaila.' ' (Ibid., (On no. 94; Transl., the date specified), 150, line 2 p. f.) Brahmanas of the immemorial agrahara Brahma-samudra, agreeing among themselves, and going to the prabhu-mantapa (pabu-mantapadalli) and seating themselves, Damoja, (79) all the 408 MANDAPA HINDU ARCHITECTURE son of the carpenter Madiyoja, having worshipped their feet and pre' sented 5 pa, they granted to him a rent-free estate (specified). (Ep. Roman Text, p. Transl., p. 12 Carnal., Vol. vi, Kadur Taluq, no. 57 ; ' (80) Caused a bhoga-mantapa to ; be erected in front of the temple of the god Janarddana.' It should be noticed, that the bhoga-mantapas are generally built on the side, and not in front, of the temple. (Ep. Carnal., Vol. vi, Kadur Taluq, no. 91 ' (81) ; Transl., p. 16 ; Roman Caused the Nandi-mantapa Taluq, no. 76 ; Transl., p. 44 ; Text, p. 52.) to be Roman erected.' (Ibid., Text, p. in, line Chikmagalur 7.) (the temple of Sambhava-natha) is very plain and unpretentious, whilst inside it consists of three apartments a mandapa ' Outside, (82) it or porch, the Sabha-mandapa, or assembly hall, and the nij(a) mandira or shrine. The floors are laid with coloured marbles and the roof support- ed on ' pillars.' The mandapa on twelve usual, Surv., New or hall roofed by an octagonal is pillars.' . dome supported, as Architecture, Burgess, Arch. (Ahmadabad xxxm, pp. 87, 90.) Mukha-mandapa, of SomesVara temple Imp. . . Series, Vol. (83) See Arch. Reports, 1913-14, Plate vn, fig. 3, at Kolar. (Mysore p. 20.) (Kandariya Mahadeo temple's) general plan is similar to that of most of the larger mediaeval temples of Northern India (see its ' (84) Its plan, Plate xcvn). It has the usual ardha-mandapa or portico, the mandapa or nave, the maha-mandapa or transept, the antarala or ante-chamber, and the garbhagriha or sanctum, each of which has its separate pinnacled roof rising in regular gradation from the low pyramid of the entrance to the lofty spire of the sanctum.' (Cunningham, Arch. Surv. Reports, Vol. n, p. 419, no. 3.) ' pillars, each of 9' 9* high, supporting the of the outer hall or the ardha-mandapa, which affords an area o f 16' 3* inside for loungers and devotees to rest it.' (Ibid., Vol. xxm, p. 135.) There are eighteen carved dome ' (85) any open or enclosed building in connexion with If used for any purpose, the distinctive name is prefixed.' Mandapa a temple. Rea. (Chalukyan Architecture, Arch. New Imp. Series, Vol. xxi, a second hall of temple. (86) Madhya-mandapa the nave. a hall of central temple, Maha-mandapa Mandapa Surv., the porch of a temple. Arch. Surv. Reports.} (Vincent Smith, Gloss, to p. 39.) Cun- ningham's should be noticed that the architectural treatises, general literature, and epigraphical records corroborate one another as regards the various It types of this class of buildings. 409 AN ENCYCLOPAEDIA OF MANDAPIKA MANDAPIK.A A small MANDAPA) (see pavilion, a custom house. SrI-Naddula-maha-sthane sri-Sarhderaka-gachchhe sri-Maha-virade- (1) vaya grl-Naddula-talapada-s'ulka-mamdapikayam masanumasariu dhupa-tailartham I Mahaviradeva in the Sanderaka (Granted to the Jaina temple of) at the holy place (Mahasthana) of Naddula, a monthly (sum of gachchha, five drammas) (to be paid) from the custom house in the grounds (talapada' svatala) of Naddula.' For passages in which the term mandapika occurs, compare Ep. Ind. f Vol. i, p. 114, line 27 p. 173, line 6 (Siyadoni-satka-mandapika) p. 175, ' ; ; p. 262, line 3 (pattanap. 179, line 45 lins 19 p. 177, lines 29 and 30 col. 2 Vol. Ind. xrv, Ant., 10, ; (Sri-pathastha-mandapika) p. mandapika) ; ; ; ; Journ. As. Soc. Beng., Vols. LV, Part and iv, p. 48, v., Bhavnagar i, p. 47 Sulka-mandapika occurs, e.g., in Bhavnagar inand 18. The meaning of mandapika is sugscrip., p. 158 f., lines 10, 15 the Marathi mamdavi, a custom house.' Prof. Kielhorn. gested by of Chahamanas Naddula, no. A, Nadol plates of Alhanadeva, lines 22-231 (The Vol. ix, pp. 66, 63, and note 8.) Ep. Ind., ; inscrip., p. 205, line 7. (2) Cf. Mandapika-dayat Sreshthi-nara-sirhha-go-vrisha-dhlradi-tyaih I (Shergadh stone inscrip., lines 1-2, Ind. Ant., Vol. XL, p. 176.) (3) Mandapika the town. (Ind. Ant., official building of second col., line 5 ; and Journ. Beng. Siyadoni inscrip., lines 6, 19, 29, 30, 45, Vol. xrv, p. 10, As. Soc., Vol. xxx, p. 332, Ep. Ind., Vol. i, (4) means some public or evidently p. 166, last line 173 ; f.) Sri-Timma-dandanayaka mahisi Sri-Ranga-nayaki rachita Sampat-kumara-mahisi-puratah pratibhati ranga-mantapika I II ' Timma-dandanayaka's wife (Queen Consort) Ranga-nayaki erected a ranga-mantapa in front of (the temple of) the goddess of Sampat-kumara.' Roman Text, p. 59 ; (Ep. Carnal., Vol. m, Seringapatam Taluq, no. 97 ; Transl., p. 28.) MANDI (see BODHIKA) The crowning part of the capital of a column, a market-place, a market. (Suprabhedagama, xxx, 57, 107 MATTA-VARANA An elephant in rut, (SALA) A see under STAMBHA.) a kind of entablature. (M., xvi, 19, also MADIRA-GRIHA ; L, 279 ; see under PRASTARA.) drinking house, a tavern, an ale- house. Siva-vais'ravanasvi-s'rimadira-griharh cha pura-madhye karayet (Kautillya-Artha-iastra, 410 Chap, xxv, p. I 55-56.) MADHOCHCHHISHTA HINDU ARCHITECTURE MADDALA A VALABHI) (see synonym of valabhi or a sloping roof. (M., xvi, 51 MADHUCHCHHISHTA Manasara (Chap. LXVIII, Wax, under (BA)VALABHI.) see ; the casting of an image in wax. named Madhuchchhishta) 1-56, : The chapter opens with an enumeration of phalli and ascetics as whose images are to be cast in wax (lines 2-19). called sthapati and sthapaka, make the can for pre- well as architects The architects, wax therein, but the actual preparation is not explicitly described. All kinds of images, temporary or permanent, stationary or movable, have to be cast in wax. The process seems to be this (lines paring the some part of the image is covered with a thin copper-leaf, 20-44) and the wax is laid on two or three angulas deep. Mulika(?) is : spread above the part covered with wax. The idol is heated after has been besmeared with wax. If the master likes, the process of smearing may be done with melted iron too. The half of the image, it not covered with earth, is washed in water. If any of the minor limbs be This process several times. lost through is repeated this process, the image should be furnished with it again after having been heated. But if the head or the middle of the body be damaged, the whole image should be changed. it should be recast. The whole process has If the master does not like the image, be to performed through many ritualistic ceremonies in different stages. In other texts the process of casting an image in ly described ' is much more clear- : If images and poured wax have to be cast (out of the in metal, mould) and all wax must be melted defects removed with cloth.' the first (Karandgama, n, 41.) images be required to be made of earth, rods (of metal or wood) must be (inserted in them) if of metal it must first be prepared well in ' If the ; wax.' ' (Suprabheddgama, xxxrv, 21.) If an image is to be made of metal, it must be first made of wax, and then gold and other metals are purified and cast into (the and a mould) complete image is thus obtained by capable workmen.' coated with earth ; (Vishnu-samhitd, Patala xrv.) ' In regard to bronze images says Mr. Rao it is believed by some that India could not have known the Cire perdue method of making metal ' ' images earlier than about the tenth century A.D. and that India must have, therefore, borrowed it from Europe. That the art of casting metals 411 AN ENCYCLOPAEDIA OF MADHYA-KANTA wax moulds in is much earlier in India can be shewn in more ways than one.' In support of his assertion, Mr. Rao gives the three above-mentioned quotations.- (Elements of Hindu Iconography.) MADHYA-KANTA A of the twelve-storeyed buildings once prevailing in the central country (see details under PRASADA) class . Madhyamalaya-vistare-trayas-trimad-vibhajite I Tri-bhagam kuta-vistararh madhya-bhadraika-bhagikam Maha-lala navamsarh syat esham purvavad acharet Madhya-kantam iti proktam I I I (M., xxx, MADHYA-KOSHTHA The middle compartment, 1 1-14.) the central hall. (M., xxxm, 305, MADHYA-NASI The middle NAS!) (see etc.) vestibule. (M., xv, 119, 124, etc.) MADHYA-BHADRA (see The middle BHADRA) central porch or hall. (M., xv, no ; xix, 177 MADHYA-BHUVAftGA A moulding of the tabernacle, xxxm, ; MADHYA-RAftGA (see 380, etc.) door. (A/., MUKHTA-PRAPANGA) the enclosed courtyard, the quadrangle on four sides and open at the top. the The central theatre, surrounded Manasdra (Chap. XLVII, 1-36 named Madhya-ranga,) xxxix, 72.) by buildings refers in this con- nection to the open quadrangle, stone column and grain-column (muktaprapanga, Sila-stambha and dhanya-stambha). The Madhya-ranga is provided with dwarf pillars, entablatures, platforms, The meaning of the term is clear from the quotations given below daises, The upper tabernacles, vestibules, pent-roofs, top-rooms, etc. adorned with figures of leographs and crocodiles. is portion from the contents of this chapter and also : Madhya-rangam tad-uddi$ya chordhve'lankara(m) Evam pedestals, tu chordhvalankaram vakshyate madhya-range tu vinyaset (M., xvi, 155, 169 ; I I see also lines 156-168.) In connexion with mandapas or pavilions. (M., xxxrv, 128,210,234,324,456,610.) Grihe va madhya-range va kuryat) pars' ve va chaiSa-konake (ankurarpanam I (M., xxxvii, 13.) The central part of the coronation hall. 4 I2 (Af.,xnx, 183.) MANDIRA HINDU ARCHITECTURE MADHYA-&ALA The middle (cf. SALA) kind of council hall. chamber, a a special hall, interior Kshudra-salashtadha proktam koshtha-sala-chatushtayam Madhya-sala-tri-bhagena bhadra-sala cha madhyame I I (M., xxvi, 12-13; MANDARA A storeys and type of building which is see M. a lso xx, 56, t etc.) 30 cubits wide, has ten turrets. Trimsad-dhastayamo dasa-bhaumo mandarah Sikhara-yuktah (Compare this with Kasyapa quoted by the commentary and given (1) I below) : Mandarah sikharair yuktah shad-asrir dasa-bhumikah I Trimsad-dhastarhs cha vistlrnah prasado'yam dvitiyakah II (Brihat-samhitd, LVI, 21, J. R. A. S.> N. (2) (3) (4) (5) (6) S., Vol. vi, p. 319.) (Chap, cxxx, v. 28; see under PRASADA). Matsya-Purana (Chap. CCLXIX, vv. 28, 32, 47, 53; see under PRASADA). Agni-Purdna (Chap, civ, w. 14, 15 see under PRASADA). Bhavishya-Purdna ; Garuda-Purdna (Chap. XLVII, vv. 21-22, 24-25 see under PRASADA). A building with four salas (compartments) and eight kutas (towers ; or domes) : Mand(h)ara-nama ity-uktas chatuh-salashta-kutakam II (Suprabhedagama, xxxi, 43.) MANDIRA A (1) A type type of building, a hall, a room, a temple, a shrine. of rectangular vv. 21-22, 26-27 (2) (3) : sec building Chap. (Garuda-Purdna, XLVII, under PRASADA). Three kinds of mandira (Vdstu-vidyd, ed. Sastri, vn, 15-18) Ganapati Shodasa-mandira-chakra (Vdstu-tattva, 1853, p. if., see : under GRIHA- VINYASA). (4) Paritah pranavakara-prakara-valayamchitam I Kamanlya-sala-stambha-kadambottambitarhvaram Visamkata-vitam kali-virajad-ramga-mamtapam 1 1 I Vidhaya vipulottumga-gopurarh deva-mamdiram II Visalam ratha-vithirh cha syamdanam marhdaropamam I Tatra pratishthitarya-sri-Taraka-brahma-rupine II Built a temple (at Krishnapura) which was encircled by a wall of the shape of the pranava and a broad and lofty tower. It has a large rangamandapa raised on a collection of beautiful stone pillars and adorned with rows of spouts. He built a car like the Mandara mountain and also broad ' 413 AN ENCYCLOPAEDIA of MASi-(sl)Ti roads round the temple and for the propitiation of the god Vishnu, set up there (i.e. in the temple).' (Krishnapuram plates of Sadasivardya, vv. 55, 56. 57, Ep. Ind., Vol. rx, pp. 336, 341.) (5) Tenedarh karitam tungam dhurjjater mandira-griham He caused to be made this lofty dwelling of Dhurjjati (Siva).' -(Inscrip, at the Ganesa temple, Mamallapuram, v. 10, H. S. I. /., Vol. i, no. 18, pp. 4, 5, I ' ibid. no. 18, inscrip. at the Dharmaraja mandapa, Mamallapuram, ' Kosa-varddhana-girer (6) tasya anupurwam so'yam v. 10, p. 6.) unmishita-dhih suga- I Vyastam arani-karaika-garimnyo mandirarh sma vidadhati yathartham II ' To mount Kosa-vardhana, this man of open intellect manner suitable to the purpose a temple of that Sugata the east of established in a (Buddha), the dignity of whom alone sufficed to defeat hosts of Maras.' (Buddhist Sanskrit inscript., from Kota, v. 17 Ind. Ant., Vol. xiv, pp. 46, 48.) ; (7) Tenedarh marhdirarh Kama-vidvishah Karitam muktaye bhaktya kirttayecha kritatmanam . . . I II Kings of Chedi, no. A, Tewar stone inscrip. line 17, Ind. Ant., Vol. XVHI, p. an.) Karnadeva, Gaya (Inscrip. of the of (8) ' Jainarh mandiram indira-kula-griharh sad-bhaktito' chikarat of pure faith, he made this Jaina temple a home for Lakshmi.' I Out (Ep. Carnal., Vol. MASI(-SI)TI ' u, no. 65 ; A mosque, Rangai-Nayakayya, Roman a Text, p. 60; Transl., p. 149.) Muhammadan in order to endow (kalla-masltiya-deva-sthanakke), which Babu inner street of Sindaghatta, and Habiba's house.' Transl., p. in, Roman MASORAKA A made a grant for place of worship. the stone masiti Setti it (mosque) had erected in the of the village of Sivapura (Ep. Carnal., Vol. iv, Krishnarajapet Taluq, no. 72 ; Text, p. 183.) thin piece of timber or stone that covers an opening and supports a weight above it. It implies the It is sometimes used in the sense of cornice of the entablature. lintel, i.e., adhishthana or base. (i) Adhishthana-vidhirh vakshye sastre sarhkshipyate'dhuna Harmya-tunga-vasat proktam tasya masurakonnatam I I (M., xiv, Tasman masurena shanani sahaiva i, 8.) sarvam kritam vimaneshu cha bhu- I (Ibid., 414 409-410.) r \ MASURAKA MASURAKA. VUPA STAMBHA. SECTION. r MUKULA. * ^ K - /--. MAHA-NAsl ARCHITECTURE Evaih chatuh-shashti-masurakani sastrokta-manena vibhajitani I 393-394-) (Ibid., Ahatya(m) ashtadha harmyaih ganya-manam ihochyate Utsedhe chashta-bhage tu ekamsena masurakam I I ... Dvi-bhagam changhri-tungam. (M., xix, 20-22 (2) ; I also XLVII, 5 see ; xxxiv, 266, Tad-varddhitopapitham va tad-varddhita-masurakam Padayama-samottunga-masuraka-yutam tu va etc.) I I (Kdmikagama,xxxv, 115.) Masura implies the cornice of the entablature. (Ibid., LIV, 47 under PRASTARA.) see ; Masura, a synonym, as stated, but apparently a component part, of adhishthana or base Masurakam adhishthanarh vastvadhararh dharatalam : I Talaih kuttimady-angam adhishthanasya kirtitam II LV, (Ibid., MAHA-KANTA A class of eight-storeyed buildings. (M., xxvi, 35-39 MAHA-GOPURA 202.) The gate-house of the ; fifth see under PRASADA.) court or at the extreme boundary of a compound. (M., xxxm, 10 ; see under GOPURA and PRAKARA.^ MAHA-GRAMA A large village. (M., x, MAHA-TAULI A 79 ; see details synonym of prachchhadana or under GRAMA.) roof, the top- floor. (M., xvi, 57.) MAHA-DVARA The great door, the chief or outer gate of a village, town or house. (A/., ix, 290, Maha-dvaram (M., (see ; NASI) A ix, tat under DVARA.) see tu sarvesham langalakara-sannibham Kapata-dvaya-samyuktarh dvaranam MAHA-NASl 315 I prithak prithak 360-361 ; see also I xxxi, 79.) large vestibule. (Nasika-sikharanvitam) tad-ardham stupikottunge tan-maha nasikaSraye I (M., xv, 91.) Dvi-lalate maha-nasi ekadasa-sikhanvitam I (M., xxxm, 202, etc.) AN ENCYCLOPAEDIA OF MAHA-PADMA MAHA-PADMA A type of round building. Agni-Purdna (Chap, civ, vv. 17-18; see under PRASADA). Garuda-Pxrdna (Chap. XLVII, vv. 21, 23, 28-29; see under PRASADA). (1) (2) MAHA-PATTA A moulding of the base, a laige (M., xiv, 301 MAHA-PlTHA The phallus A ; pedestal, a site plan, see fillet. the lists of mouldings under ADHISHTANA.) the lower part of the : site squares. plan in which the whole area is divided (M., vu, 5, 61 ; see under PADA-VINYASA.) Maha-pltha-padc rathya dikshu dikshu trayam Cf. into tathii (M., The pedestal of an image sixteen equal I 429, ix, Padma-pitharh maha-pl{ham tri-murtinarh cha yojayet (M., MAHA-MANDAPA (see etc.) : under MANDAPA) The I 86, LI, etc.) hall great of entrance to the main shrine of temples. (Chalukyan Architecture, Arch. Imp. See under MANDAPA Mangalagiri pillar Surv., Series, Vol. xxi, New p. 39.) : (vv. 44, 47, 51, inscrip. Ep. Ind., Vol. vi, pp. 114, 115, 123, 124, 125). Two Jain v. inscrip. of Irugappa. (no. B, line 2, ibid., Vol. vn, p. 116). Inscrip. from Nepal (no. 23, inscrip. of Queen Lalita-Tripu; a Sundari, 3, Ind. Ant. Vol. rx, p. 94). This building the large court. ' (maha-mandapa) stands ... it originally in the east central portion of stood detached from the central vimana.' The plan is a rectangle with the greater length from north to The four sides are open in the centre, and on each fagade, a portion ' south. of the returned along the several elevations from the four corners. The divided into three bays by two square piers, with a responding pilaster on the return wall at each side.' wall is east front has the entrance ' for ' The west side or back is similarly divided, but the a portion of their length.' The north and south entrances are simple the sides, undivided by piers.' 416 piers are octagonal openings, with pilasters on HINDU ARCHITECTURE MANI-BHADRA Two yalis on the back responding pilasters are abutted against and covered by the east wall of the modern ardha-mandapam. The partly forated window in the east wall of the ardha-mandapam opens in to the ' (Pallava Architecture, Arch. Surv., New. Imp. Series, i, 2, 3, 4, 8 and 10 ; see also Plate L.) maha-mandapam.' Vol. xxxiv, p. 36, paras, ' The maha-mandapa was roofed also by overlapping courses of stones rounded off by successive small por: the square corners were gradually formed an octagon, over which the circular roof proper (Cunningham, Arch. Surv. Reports, Vol. vm, p. 171, para. 2.) tions, till it MAHA-MARYADA The boundary of a compound, gopura or dvara-gopura. enclosure (prakara) at the extreme the gate-house thereof is called maha- fifth (Suprabhedagama, xxxi, MAHA-VAJANA A large see ; 118, 125; see the lists of mouldings under PRASTARA.) kind of phallus. (M., MAHA-VRITTA A MAHA-SALA A large Cf. of the sixteen parts (M., xxvi, 10, MAHASANA A LII, 2 ; under LINGA.) see kind of joinery. (M., xvn, 102 broad. under PRAKARA.) a moulding of the entablature. fillet, (M., xvi, 69 MAHA-VRITA A rested.' site ; under SANDHI-KARMAN.) see hall. width of a building the maha-sala is seven parts etc.). which the plan in whole area divided is into 225 equal squares. ( MAHAMBUJA A large M., ; see the lists MAGADHA(-KANTA) A class prevailing in the country of Magadha. Evarii anu-sala see under PADA-VINYASA.) of mouldings under UPAPITHA.) of twelve-storeyed buildings once syat I karna-kuta-sabhadrakam (M., xxx, 33-34; (see ; madhye bhadra-salaika-bhagikam magadha-kantam MANI-BHADRA 18-20 cyma, a moulding of the pedestal. (A/., xni, 91 Tad evam vii, see also MANI-BHADRA) A I 31-32 under VAMSA-KANTA.) pavilion with sixty-four columns. i (Suprabhedagama, xxxi, 103 417 ; set under MANDAPA.) AN ENCYCLOPAEDIA OF MATRAftGULA under ANGULA) A measure equal to the middle of the finger in the right hand of the architect MATRAftGULA middle digit (see or priest, employed in measuring the sacrificial objects like the kusathe ladle, etc. grass or seat, the spout of a ladle, and (Suprabheddgama, xxx, 4-5, 7-8 MANA A house well ment of height or measured (A.-V., ix, 3 ; ; see under ANGULA.) The measure- HI, 12). length. measurement is divided into six kinds Mana (Ayama, Ayata, Dirgha), Pramana, Parimana (Vistara, Tara, Striti Vistriti, VisLamba-mana trita, Vyasa, Visarita, Vipula, Tata, Vishkambha, Visala), Unmana (Bahala, Ghana, Miti, Uchchhraya, Tunga, (Sutra, Unmita), Nishkriti, Nirgama, Unnata, Udaya, Utsedha, Uchcha, Nishkrama, and Vivara, (Nivra, Antara). Upamana Nirgati, Udgama), (i) The linear The measurement from which is breadth ference the foot to the top of the head is called Mana Pramana is the measurement of in fact nothing but height. (vistrita). Parimana is Lamba-mana the measurement of width is or circum- the measurement along the plumb drawn perpendicularly through different parts of the body, Mana, or the measurement of height being determined by the surUnmana is the measurement of thickness (nimna) or face of the body. diameter. And Upamana is the measurement of interspace (antara), such as the distance between the two feet of an image this measurement is (paritah). lines or the lines ; apparently taken from one plumb line to another : Manam chapi pramanam cha parimanam lamba-manakam Unmanam upamanam cha manam padmam samiritam Padangushthi-sasimantaih siro'ntarh manam chapi prakathyate I I Pramanam Tat-sutral vistritam proktarh paritah parimanakam I I lamba-manarh syan nimnam unmanam uchyate Avantaropamanam syad bimbodayadi-sarvasah Manam evam tu shad-bhedam manenangani manayet I I I (M., LV, 3-9.) The primary measurement (adi-mana) ment and is is but the comparative measure- divided into the following nine kinds : The height of an image is determined by comparing it widi (i) the breadth (tara) of the main temple (harmya), (ii) the height of the sanctuary or central hall (garbha-griha), (iii) the length of the door (dvaramana), (iv) the measurement of the basement (adhishthana), (v) cubit, (vi) tala (a span), (vii) angula (finger's breadth), 418 (viii) the height of HINDU ARCHITECTURE the worshipper, principal idol and (ix) MANA the height of the riding animal (vahana) of the : Adimana-vidhirh samyak(-g) lakshanam cha ihochyate Harmya-tara-vasan manam garbha-geha-vasodayam Dvara-mana-vasat tungam adhishthana-vasodayam I I I manam Hasta-mana-vasan tala-mana-vasodayam Angulenapi chottungam yajamana-vosodayam Mula-bera-vasan manam uttamadi traya rh trayam I I I (M., LV, 10-15.) Each of these nine measures Tasmad is again divided into nine kinds ekarh tu pratyekarii nava-manam ihochyate : I (Ibid., 22.) Under occasions The (i), no ; (ii), specific the proportions naturally vary on various (iv), (iii), rules are, therefore, prescribed. of (v) cubit or hasta and (vii) angula will be found under Angula and the details of (vi) tala are given under TALA- details the term ' ' ' MANA.' Of the division under (viii) the details of the height of an image as compared with the height of the worshipper are given here. of the image may be equal to the full height of the worshipper, up to his hair-limit (on the forehead), or, as line, The height may extend sometimes stated, to the eye- nose-tip, chin, arm-limit (to the shoulder), breast, heart, navel, sex organ and : Kanyasad uttamantam syad yajamanodayam param Kesantam nasikagrantarh hanvantam bahu-simakam Stanantam hridayantam cha navyantam medhra-slmakam Navadha kanyasantam syat sthavaram jangamodayam I I I I (Idid., And of the division under 30-33-) the height of the riding animal (vahana) as compared with the height of the principal idol (mula-bera) admits of similar nine kinds as under (viii) (see details under UTSAVA and KAUTUKA). (ix) (v) and angula (vii) are the real units, employed equally in measuring both architectural and sculptural objects. The rest are exclusively sculptural and comparative measures. The Hasta been prescribed for architectural objects. The Ganya-mana or the comparative heights of the component similar measures architectural ' have also ' members of a ' structure corresponds to the sculptural Tala-mana or the of a the limbs of statue comparative heights (see details under component ' GANYA-MANA and TALA-MANA). Five proportions of the height, as compared with the breadth of an architectural object, are given under five technical terms, namely, Santika, 419 AN ENCYCLOPAEDIA MANA-BHADRA and Adbhuta Paushtika, Jayada, Sarva-kamika or Dhanada, (see OP' details under UTSEDHA). The Ghana-mana ' measurement by the exterior and the Aghana-mana or the measurement by the interior are exclusively architectural (see details under these terms). ' or the ' ' Like the sculptural terms Mana, Pramana, Parimana, Lamba-mana, there are architectural terms also to express Unmana and Upamana, length, breadth vistriti, vistrita, and width, e.g. dirgha (for dairghya), tara, vistara, visala, Mana as stated above is the tech- etc. vishkambha, name for sculptural height but to express the same idea the general terms for height, such as unnati, unnata, utsedha, etc., are also used. Mana is also used in its general sense of measurement, area, etc. Pramana and Parimana are also used in their general senses of length, breadth, nical ; (Further details will be found under these terms.) etc. width, Atah-pararh pravakshyami manonmanam viseshatah After this I shall speak about the Mana and Unmana measurements (2) ' I in particular.' followed by an account of various measures. tala measurements employed in statues.) This (Note the different is (Matsya-Purana, Chap. CCLVHI, v. 16.) (3) Manarh tad-vistaram proktam unmanam naham eva cha I (Suprabhedagama, xxxiv, 35.) (4) Parimanonmana-manam dharyarh raja-vimudritam Guna-sadhana-samdaksha bhavamtu nikhila janah II I Benoy Kumar Sarkar's translation of Parimana by standard for lands,' Unmana by unit of measurement for measurement of Mana by unit of measurement for grains is untenable. liquids,' and ' ' Prof. ' ' ' ' ' ' ' ' (Sukranitisara, ed. Oppert, i, 310.) MANA-BHADRA A pavilion with twenty-six pillars. see under (Matsya-Purana, Chap. CCLXX, v. 12 MAN^APA.) ; MANA-MANDIRA Cf. The (see The MANDIRA) observatory. observatories at Benares, Delhi, Ujjain, Mathura, (See Ind. Ant., Vol. MANA VA Relating to twenty-eight pillars. Manu or human to under ANGULA) f inch), the unit of length. (see 420 xxxv, p. 234.) being, a pavilion with (Matsya-Purana, Chap. CCLXX, v. 12 MANANGULA and Jaipur. ; see under MANDAPA.) The standard measure (equal HINDU ARCHITECTURE The smallest measure visible in the sunshine 8 atoms= I is MALIKA(-KA) the atom or paramanu, through a lattice i.e., the particle of dust (Brihat-samhitd, LVIII, i). car-dust. 8 car-dusts= i hair's end. 8 hair's ends= i 8 nits= i nit. louse. 8 lice= i barley corn. 8 barley corns= i manangula. This standard angula measure is stated to be used in measuring the archi- tectural objects like the villages, lands, and buildings, etc. (Suprabhedagama, xxx, 2-3, 6-7 MANUSHA under ANQULA.) see human being, a kind of phallus. (Kamikagama, L, 35, 38 ; see under LI&GA.) Relating to the MARGA A road, a street, ; a way, a path, a lane, a passage, a canal, a course. Ghandalanarh pravesaya nirgamaya malasya cha Jalasya nirgamartharh tu kshudra-margah pras"arhsitah I 1 1 (Kamikagama, xxxvin, MALIKA(-KA) (1) A class 8.) of buildings, a type of pavilion. Kudyasyanta-prades'e tu yuktya chavrita-malikam Malikopari vapra(rh) syad adhishthanarh samodayam I I (M., xxxi, 60, 64.) A type of pavilion (mandapa) Evam tu malikakaram ^esharh prag-uktavan nayet : (M., xxxiv, 315 Mandape ; see for I description 297-314.) chordhva-kutarh syan malikakriti(rh) vinyaset I (M.jXxxrv, 291.) (2) Kechid vai malikakara kechid vai gopurakritih 1 1 (Suprabhedagama, xxx, 123 see for full context 115-122, under PRAKARA.) : Tad-bahye'bhyantare vapi malika-mandaparh hi va II (Ibid., (3) Ta (Sala) eva malikah prokta malavat kriyate yatah Pancha-das'a-karantarh tu kuryad xxxi, 128.) 1 1 avrita-mandapam Mandapena vina vapi tena manena plthika Vibhadra va sabhadra va karatavya malika budhaih 1 1 I 1 1 (Kamikagama, xxxv, 6, 99, 100.) 4 2I AN ENCYCLOPAEDIA OF MALIKA(-KA) Kdmikdgama (Chap. Classification named Malika-lakshana) XLI, : : Chaturdha malika Definitions (vv. 2-5) Sala sabha-mundaja-saudhaje II (r) : Salayam api Salanga nishkrantanana-Sobhita Sa s"ala malika jfieya sastre' smin Kamikagame Sabhavad vihita bahye prasadavad alankrita I II I Uha-pratyuha-sarhyukta ya sabha sa cha malika Yatheshta-disi samyukta bhoga-bhumi-samanvita 1 Prasada-vyasa-dirghochcha prokta prasada-malika Mandapasyokta-vistarayama-tunga-vibhushinl 1 I 1 1 I Sarvatra mundakaratvat kathita munda-malika 1 1 Further classifications (vv. 6-7) and Upa(also Apa)samchita. (i) Samchita, Asamchita, Vesara. and (ii) Nagara, Dravida, : (iii) (iv) (v) Chhanda, and Vikalpa. Suddha, MiSra, and Samkirna. Vija, Mula, and Ankura (this class Jati, (Excepting the last one, all is not specified). the other classes occur in the Mdnasdra also ; under Vimana-lakshana.) see The Still details of these classes are given (vv. 8-22). further classifications are given under the following names Sindhuka (w. 23-28), Sarhpurna (vv. 29-30), Meru-kuta (v. 31), Kshema (vv. 32-34), Siva (w. 35-38), Harmya (vv. 39-40), : Saumya Vijaya (v. (v. ViSala 40), 50), Bhadra (w. 53-54). Kona (vv- (v. 41), (v. 51), 55-5 8 ) Pushkara (vv. 61-63), Adbhuta Danda Sarva-kalyana Rangamukha (vv. 42-49) (v. 52), Geya (w. 58-59), Sara (v. 6ia), Samkirna Alpa (v. 60), (v. 62), and (v. 64). Aneka-bhumi-yukta tu malakara tu malika II (Ibid., Malika-yukta-sa(? sa)lam chet kona-stambhe dvitiyake Prathamavarane vapi dvitiyavarane nyaset L, 89.) I II (Ibid., xxxi, 96.) (4) Sailam s"u(m)bhita-ata-kumbha-vilasat-kumbham maha-mandapam prakaram paramalika-vilasita(m) mukta-maylm cha prapa (-bha)m. Made for the god Vamana a great mandapa of stone, resplendent with ' pitchers cellent (domes) of shining gold, surrounding wall, adorned with exbuildings, and a canopy of pearls.' (Fourteen incrip. at Tiruk- kovalur, no. K, of Rajendradeva, lines 422 i-a, Ep. Ind., Vol. vn, pp. 145, 146.) MUKHA HINDU ARCHITECTURE MALIKA-MANDAPA A pavilion of the Malika class of build- ings. (Suprabheddgama, xxxr, 128 MALYAJA A class class ; building under MANDAPA.) see of buildings, a type of pavilion. made of any two under MANDAPA.) see (M., xxxiv, 316; MI&RA A under MALIKA.) of buildings, a type of pavilion. (M. y xxxiv, 153 MALYAHUTA A see ; materials out of wood, brick, stone, iron, etc. Eka-dravyam tu suddarh syad dvi-dravyarh misra-harmyakam I (M., xvin, 138, etc.) misraih Dravya-dvaya-yutarh bahubhir yutam sarhklrnarh (Kdmikdgama, MI&RITA A I XLV, 22.) kind of ornament prescribed for idols and kings. (M., MUKULA A L, 1-3 under BHUSHANA.) see ; bud-like crowning ornament of a pillar. (M., xv, 32 ; see lists of mouldings under ADHISHTHANA, UPAPJTHA and PRASTARA.) MUKULI A type of round building. (Garuda-Purana, Chap. XLII, 29 MUKTA-PRAPANGA see ; w. 21, 23, 28 under PRASADA.) MADHYA-RANGA) The open courtyard connected with a tank (' mukta meaning open, and prapanga the body part or bank of a tank). It is built inside the (see ' ' ' court. (M., XLVII, 2 It is stated to iron especially be made of wood, stone, brick, etc., and and see also XLVIII, 68.) : Mukta-prapangam api daru-sileshtakadyaih Ratnair aneka-bahu-loha-viseshakaih I I (M., XLVII, 31-32 MUKHA f.) also of jewels The face, frontispiece, the front side ; of a building, the facade. Svakiyanguli-manena mukham syad dva-dasangulam I Mukha-manena karttavya sarvayava-kalpana II The face (of one's statue in length) should be 12 angulas (=9 inches), being measured with one's own finger. The whole body should be made ' symmetrical to the face.' (Matsya-Purana, Chap. CCLVUI, v. 19.) AN ENCYCLOPAEDIA OF MUKHA-BHADRA The front side of a building and Kamikdgama (see Brihat-samhitd under DVARA). MUKHA-BHADRA A portico, a porch, the front middle the front room corresponding to the niche, tabernacle, modern drawing-room or reception hall, staircase room. (see BHADRA) Sarvesharh mukha-bhadrarh syal lakshanarii vakshyate'dhuna (M., xviu, 275 ; I also 276 see Sarvesham mukha-bhadranam parsve sopana-samyutam (A/., f.) I xxx, 93.) Parito'linda-bhagena varanam (=door) mukha-bhadrakam I (M., xxxiv, 251.) ' The temple (at itself faces Amarnath) the hall of the shrine antarala the west but the or mandapa has also doors to the north and south. Each of the three doors has a porch (mukha-bhadra), approached by four or five steps, and supported by four nearly square pillars, two of them attached to the wall.' c. i, (The temple of Amarnath, Vol. Ind. Ant., m, p. 317, last para.) kritina devalayarh karitam yugmam cha purato-bhadram pratolya saha mamdapa-sobbitam Deva-Sri-s'ai-bhushanasya I Kshetresasya tatha suralaya-vararh sphitam tadagarh tatha bandham Kaudika-samjnakam bahu-jalam dirgham tatha khanitam I (Ranker inscrip. Ep. MUKHA-MANDAPA The of Bhanudeva, v. Ind., pavilion in front of a temple. (M., xix, 198-199, etc.; see under MANDAPA.) Garbha-sutra-sama-bhagad agrato mukha-mandapam (Matsya-Purana, Chap. CCLXIX, v. 6 ; see v. ii also Garuda-Ptrana, Chap. XLVII, v. Prasada-garbha-manam va kurwlta-mukha-mandapam II 1 1 ; Sikharasya chaturthena agrato mukha-mandapam Made shrine).' also 10.) II (Agni-Purana, Chap. XLII, vv. ' 7, Vol. ix, p. 127.) 7, 12.) mukha-mandapa (muga-mandaman) and consecrated (the (Two Anaimalai inscrip. no. II, Ep. Ind., Vol. vm, pp. 320-321). the MUKHA-VARANA The entrance door. (M., xxxv, 395 MUKHYA-HARMYA The main ; see DVARA.) building, the chief temple. (M., xra, 14.) 424 HINDU ARCHITECTURE MUNDA-MALIKA A MUSHTI-BANDHA of buildings, the top room. class (Kdmikagama, XLI, 5 MUNDA-HARMYA The ; under MALIKA.) see top room. (See Kautillya-Arllia-sastra MUNDAKA-DVARA A kind under CHULIHARMYA. ) of upper door. under DVARA.) (See Kautillya-Artha-sdstra MUDRIKA A small seal, a stamped coin, an impression, a mould- ing of the column. (Suprabhedagama, xxxi, 108, 105-177, 109 MUDDHA-VEDI frequently added The to so-called Buddhist see under STAMBHA.) railings in relief are balustrade, railing. it, (Mahavamsa, 35, MUNI An tee, ; An account 2, ed. W. Geiger, p. 297.) of the images of the seven Agastya is measured patriarchs and to seven the tala, Kasyapa Bhrigu according to the according eight tala, and Vashishtha, Bhargava, Visvamitra and Bharadvaja according to the nine tala. (Details of these measures will be found under TALA-MANA.) is ascetic. given in detail in the Manasara. (M., LVII, 2-6.) The characteristic features of the patriarchs are also described. (Ibid., 7-17.) MUSHTI-BANDHA A moulding of the entablature and of the column, a kind of roof, the topmost part of a building, a part of the rampart and of the arch. The moulding from the top (downwards) of the entablature (Kdmikagama, LIV, i, see under PRASTARA). A member of the column (M., xv, 185, see under STAMBHA). third A kind of roof (M., xvi, 51 see under VALABHI). A (crowning) part of a building (M., xvin, 202). A part of the rampart ; : VajrakritiS cha vaprangam chhatrakaram athapi va I Uttararh vajanarh chaiva mushti-bandharh tridhanvitam I (M., xxxi, 66-67.) A part of an arch (M., XLVI, 65 ; see 425 under TORANA.) AM ENCYCLOPAEDIA OF MURTI MORTI An image, a statue, an idol. An image, a statue (A/., LI, 26, etc.). Amgulais cha tatha murti chatur-a&ti-sammitaih (1) (2) I (Bhavishya-Purana, Chap, cxxxn, v. 7.) De&nurupa-bhushana-veshalankara-murtibhih karya (3) I (Brihat-samhitd, LVHI, 29.) Silakharena janita satya-sandhyasya bhautiki Murtih kirtimayi chasya krita tenaiva sasvati II I (4) 'By the stone-chisel a material body of Satyasandha was executed, and by the same an eternal body of his fame was produced.' The two inscriptions king Gunabhara ' . . mountain and placed in it Cave inscrip., no. 33, v. 4, H. Uttara-bhagada H. S. I. I., Vol. i.) record that a constructed a temple of Siva on the top of the a lihga and a statue of himself.' (nos. 33, 34, . (Trisirapalli S. 1. 1., Vol. i, pp. 29, 30.) Kaisaleyalli pancha-vimsati-llla-murtigalarh pratishtheyam Set up on the colonnade to the north twenty-five pleasing (lila a [Ep. Carnal., Vol. iv, particular attitude, like dhyana-murti) statues.' Chamarajnagar Taluq, no. 86 ; Roman Text, p. 18, lines 15, 10 (bera), 13 (5) I ' (vigraba) ; Transl., p. 11.] the expressions bera, vigraha, and murti occur they are to be distinguished bera or bimba is an idol of a god, vigraha (or image) In this inscription, ; : expresses almost the same idea, men, and so also does pratimd. mini implies the statue of both gods and MORTI-KANTA A type of storeyed A class of five-storeyed MOLA-DANDA The building. buildings (M., XXIH, 19-24 ; see under PRASADA.) regulating column of a building, the founda- tion pillar. The main column MDLA-BERA The (M., xv, 236; see also L, 104, etc., under STAMBHA). chief deity in a shrine, the principal idol of a temple. (M., LV, 34; LXI, 21 MULA-STAMBHA The foundation pillar, j LIV, 3, etc.) the regulating column of a building. (M., xv, 234, etc. ; see under STAMBHA.) MULA-STHANA The foundation, the base, a temple in the centre of a village or town. One perpetual lamp was given to Mahadeva, the lord of the Sri' Mula-sthana at Tirukkalukkunram.' H. S. I. /., Vol. HI, p. 148.) line 34, 426 (Inscrip. at Tirukkalukkunram, MERU HINDU ARCHITECTURE MDLA-HARMYA The chief of the buildings forming a group, main temple. the principal shrine, the (M., xin, 19; xxxix, 135, MRIGA-VANA etc.) Deer-forest, a place of sport or recreation of kings. Tavan-matram eka-dvararh khata-guptarh svadu-phala-gulmaguchcham akantaki-drumam uttana-toyasayarh danta-mrigachatush-padam bhagnanakha-damshtra-vyala-margayuka-hasti-hastini-kalabha-mriga-vanam viha- rartham rajnah karayet pratyante chanyan mriga-vanam bhumivasena va Sarva-tithi-mrigam nivesayet I I Chap, xxm, (Kautiliya-Artha-saslra, p. 49.) MRINALAKA A lotus stalk or fibre, a moulding of the entablature, base, or pedestal, etc., shaped like the lotus stalk or fibre. A moulding of the lintel (M., xix, 145, etc.). fourth moulding from the top (downwards) of an entablature. The A moulding of the entablature (M., xvi, 63 under PRASTARA.) MEGHA-KANTA A A class of ; under PRASTARA.) the list of mouldings see i ; (Kamikdgama, LIV, see type of storeyed building. buildings ten-storeyed xxvin, (M., 16-17; see under PRASADA.) MERU A class of buildings mostly storeyed. A type of buildings which are hexagonal (in plan), have twelve four entrances, and are 32 cubits wide. storeys, variegated windows and see J. R. A. S. (Brihat-samhitd, LVI, 20 N. S., Vol. vi, p. 318.) (1) ; Pancha-chatvarimsan-meru-lakshanadhyayah of cription of forty-five kinds authorities following Meru buildings ; the chapter on the desthey are described by the : (2) Prdsdda-mandana-Vdstu-s'dstra Ms. Egg. 3146, 2253, (3) (4) (5) (6) fol. 26 of Sutradhara Mandana (Chap, vi, b). Matsya-Purdna (Chap. CCLXDC, w. 28, 31, 53, see under PRASADA). see under PRASADA.) Bhavishya-Purdna (Chap, cxxx, v. 27 see vv. under PRASADA.) 14-15 Agni-Purdna (Chap, civ, Garud.a-Pu.rdna also describes the same kind of Meru temple as the ; ; Agni-Purdna : Sata-sringa-samayukto meruh prasada-uttamah Mandapas tasya karttavya bhadrais tribhir alankritah I (Chap. XLVII, v. 427 24, cf. also v. 39 ; see II under PRASADA.) MERU AN ENCYCLOPAEDIA OF A (7) building with eight Salas (compartments) and eight kutas (towers or domes) : Merur nama iti khyatas tv-ashta-salashta-kutakam(-h) II (Suprabhedagama, xxxi, 43.) Meru ' (8) denotes a particular kind of temple (hexagonal with twelve and four entrances, Brihat-samhitd, LVI, of Yasahkarnadeva, v. 13, Ep. Ind., Vol. n, 20.)' (jabbalpur copperplate note 42.) pp. 4, 6, variegated stories, (9) See Ind., windows, Bheraghat Vol. n, pp. n, inscrip. of Queen Alhana the 9, (v. Ep* 15). 10) Kanaka-si-(s"i)glapita-gagana-khelat-khecharl-chakra-khedah ( Kim aparam iha yasya kas(s)yam Of him whose fame is like I dughdhabdhi-vichl-valaya- bahalakirtteh kirttanarh karnna-meruh ' Devi II the circle of waves of the milky ocean, need say more than that here at Kas"! there is a temple (erected by him), Karna-meru (so lofty), that the wind of the flags which wave from its golden spires lessens the fatigue of the damsels of heaven, when playing in we the sky.' (Khairha plates of Yasahkarnadeva, v. 13, Ep. Ind., Vol. m, pp. 211, 212, 216.) primarily the name of the fabulous golden mountain (hemadri), the centre of Jambu dvipa on which the gods dwell (suralaya), ' (n) Meru is it is figuratively applied in geographical names to any hill covered with splendid temples and palaces.' ' Another figurative meaning of Meru, derived from the notion that and mount Meru is the home of the gods, a large temple with and wonderful vaults (Brihat-samhitd, LVI, 20).' six towers, twelve stories ' According to Prabandha-chintd-mani (p. 134, see also p. 175 f.) King Karna of Gujarat constructed a building of this kind, called Karna- meruh Prasadah, ' in Anhilvad.' Similarly the Prabhdvaka-charitra (xn, 402) mentions a Siva temple called Siddha-meru.' ' As regards the name Ajaya-meru, Prithvi-rdja-vijqya, v. its 100, suggests), the meaning is no doubt Meru made by (as the Ajaya-raja.' Thus we have in Rajputana Jesala-meru (this form is still used by Pandits and Yatis, and occurs regularly in the colophons of the palm-leaf manuscripts in the inscriptions and the Jaina books), the Meru made by Jesala,' which primarily denotes the hill-fort, rising with its temples and palace abov the town of Jesalmer or Jesalmir in Marvad, Komalmer, the meru built by Kumbhala or Kumbhaproperly Kumbhala-meru, is the which well-known hill-fort in Mevad. karna,' (In the Rajputana ' ' ' Gazetteer, Vol. in, p. 52, the fort is called 428 Komalgarh, while Col. Tod HINDU ARCHITECTURE MAULI The name Kumbhala-mcru occurs in the Jaina Pattaof the valis (see the description Kharatara, no. 56, Sripuj-Jina-samudra, Ind. Ant., Vol. xi, p. 249), and Balmer or Barmer, properly Bahada-meru, the Meru made by Bahada, a hill-fort in Mallani (Rdjputana Gazetteer, gives Komalmer) Vol. ii, . p. 271). The form Bahada-meru is used by the Jainas (see the description of the Kharatara, no. 58, Sripuj-Jina-samudra, Ind. Ant., Vol. In Kathiavad, there is Jhanjmer, (Bombay Gazetteer, Vol. xi, p. 249). vin, p. 459) properly Jhanjha-meru, the Meru made by Jhaiijha, and in another Ajmir-garh, properly Ajaya-meruthe Meru made by Ajaya.' -(Origin of the town the Central Provinces there gadha, the fort, i.e., of Ajmer and of its name, Dr. is Biihler, Ind. Ant., Vol. xxvi, p. 164, last para., notes 11-15.) There are other temples in honour of the holy mount Girnar in the south wing being Sameta Sikhara and the other Su-meru or a personified mount Meru.' (Ahmadabad Jaina temples, Arch. Surv., New Vol. xxxm, Series, 85.) p. Imp. Mandiram had the surname Jaya-meru-Sri-Karana-mangalam (13) 1 1 and 15 f.), which seems to be derived from Jaya-meru, one of the (lines surnames of the Bana king Vikramaditya.' (Inscrip. of Rajaraja I, no. 50, ' (12) . . . ' H.S.I.I., Vol. HI, p. 103, para. 2.) MERU-KANTA A type of storeyed building. A (1) class PRASADA) (2) A of three-storeyed buildings xxi, (M., 41-49, see under . type of building (Kamikdgama, LXV, 31 MERUJA A ; under MALIKA). see type of building, a class of pavilions. (M., xxxiv, 160 ; see under MANDAPA.) MESHA-YUDDHA A kind of joinery. (M., XVH, 93, 112-113; MAULI A see under SANDHI-KARMAN.) head-gear, a crown. Mdnasdra (Chap. XLIX, 1-232, named Mauli-lakshana) Various crowns and head-dresses are described : : Jata, Mauli, KeSa-bandha, Sirastraka, Karanda, Kundala(Kuntala), Dhammilla, Alaka, Chuda, Makuta, and Patta (lines 13-15). Of these, the Pattas are sub-divided into three kinds, namely, PatraKuntala, Kesa-bandha, patta, Ratna-patta, and Pushpa-patta (line 16). various are Alaka and Chuda fancy modes of hairDhammila, apparently Kirita, dressing. suit Jata (clotted hair) and Makuta Brahma and Vishnu in his Siva (Rudra) different forms, ; 17-18). 429 diadem) are stated to and Makuta are prescribed for as, Narayana and others (lines Kirita such (lit. AN ENCYCLOPAEDIA OF MAULIKA The love god(line 19). Sarasvati Mandala or Kundala. wears Mauli, Jata, (Manonmani) and Savitri put on Kes"a-bandha and Kundala. All the female deities may wear Karanda or Makuta. The kings Chakra-vartin (Sarva-bhauma) Other petty gods wear Karanda and Makuta dess Rati Kirita, Narendra puts on Karanda, Parshnika uses and other kings may, as stated, wear or the Chakra-vartin Sirastraka, Karanda or Makuta. Patra-patta is stated to be suitable for the king and Adhiraja wear Patta-dhara, Ratna-patta for Parshnika, Pushpa-patta for Patta-bhaj, and Pushpa-malya (flower wreath) for Astra-graha (lines 20-28). Kundala (Kudmala) and Makuta are prescribed for the queen of Chakravartin, Kcsa-bandha for the queens of Adhiraja and Narendra, Dhammilla and Kumuda for the queens of Parshnika, Patta-dhara, MandaleSa and Patta-bhaj, and Alaka and Chuda for the queens of Astra-graha (lines 29-33)- The height, etc., of a crown of the face of the wearer. is determined in comparison with the width Different proportions are suggested in different cases (lines 34-63). number of gold pieces and precious jewels of the in the crowns kings of various ranks and of their consorts (lines Next is described in detail the 64-88, 89-92). Forms of these crowns are then described : Jata, Makuta, Kesa-bandha and Dhavala be shaped Dhammilla) are (? stated three ancestors or the length of three men) Kirlta like venu-karna (bamboo-ear), Karanda like the to like tri-purusha (lit. beak of a peacock, Sirastra Dhammilla like budbuda (water bubble), and like vallika (creeper) (lines 93-95). Then follows the description of the plan and the various parts of these crowns, as well as of their measurement (lines 96-168). MAULIKA A type of pavilion, a class of halls, a type of build- ing. A A type of pavilion with six faces (M., xxxiv, 554; see under MANDAPA.) class of halls (M., xxxv, 3, 10 see under SALA.) ; MAULI-BANDHA A head-gear. (M., XLIX, 109 MAULI-MUNDA The ; see under BHUSHANA.) top part of a branch of the ornamental tree (kalpavriksha) . Sakha-mulasya parve tu mauli-mundam cha yojayet I (M., XLVIII, 66.) 430 HINDU ARCHITECTURE YAKSHA A RAKTA-PATTA Kubera or the attendants of of demi-gods, class the god of wealth, who guard his treasures they are also the chowrybearers of other gods. They are stated to be measured according ; to the nine tala two arms and ; they assume a purely human appearance, possess two eyes, dark blue and yellow complexion, and benevolent disposition. (M., YAJNA-KANTA A 2-5 LVIII, TALA-MANA.) type of five-storeyed building. (M., XXIH, 34-41 YAJNA-BHADRA A of building, type a pillars. (Matsya-Purana, Chap. CCLXX, v. YANTRAKA An see ; architectural ; under PRASADA.) see with pavilion n see ; member of the to move a couch four under MANDAPA.) bedstead, a band, a machinery or wheel at the legs easily. Padagre chantaralarh syat kuryat tiryak cha yantrakam I (M., XLIV, 13.) YAMA-SORYA A northern type of building, a house with a western and hall. (Brihat-samhita, 39.) LIII, YAMA-KANTA A A class type of storeyed building. of five-storeyed and eleven-storeyed buildings. (M., XXIH, 25-29, xxrx, YAGA-MANDAPA A 16-18 ; see sacrificial pavilion. (M., xxxiv, 37 YAGA-SALA A under PRASADA.) xxxn, 65, ; etc.) sacrificial hall. (M., xxxii, 55, etc.) YANA A sisting conveyance, a car, one of the four kinds of Vastu conof Adika, Syandana, Sibika, and Ratha. (M., YOPA-STAMBHA The sacrificial pillar (see in, 3, 9-10.) under STAMBHA). R RAKTA-KAMPA A moulding of the base, a (M., xiv, 287 RAKTA-PATTA (cf. ; see the list RATNA-PATTA) fillet. of mouldings under ADHISIITHANA.) A moulding of the base, a band. (M ., xiv, 289 ; see the list 431 of mouldings under ADHISHTHANA.) RAKTA-BANt)HA AJf RAKTA-BANDHA A class ENCYCLOPAEDIA OF of bases. (M., xiv, 281-296 ; see the under ADHISHTHANA RAKTA-VAPRA A ; of mouldings list see also xv, 223.) moulding of the base, the cavetto. (M., xiv, 284 ; see the of mouldings under ADHISHTHANA.) list RANGA A pavilion, a theatre, an amphitheatre, a stage, an arena, an assembly-hall, a court, a courtyard. (1) A pavilion within another pavilion is called Ranga Mandape mandapam yat tu rangam ity-abhidhlyate : II (Kamikdgama, (2) Courtyard Tasya madhye cha range tu mauktikena prapanvitam L, 94.) : I (M., xxxiv, 218.) Mukha-sala visala cha chatur-bhagarh tathayatam Purato'lindam ekarhsam bhittim kuryat samantatah Mulagre dvi-dvi-bhagena vasa-rangarh cha karayet I I (M., xxxv, 117-119 (3) ; see also xxm, 50 ; I xxxvm, Uttare rangam ity-uktarh tad-grihinya griharh bhavet Eka-sala prasasta syat strinarh rangopajivinam 44, etc.) II 1 1 Pradhana-sala yatraiva ranga-sthanarh vidhlyate II Ranga-bhitti-samayuktarh dhama-sopana-sarhyutam 1 1 (Kamikagama, xxxv, 47, 60, 62, 64.) RAftGA-PlTHA The stage proper. (Bharata's Ndlya-sastra, See details 11, 66, 771, 102.) under NATYA-GRIHA. RAftGA-BHtJMI The stage, the playhouse (see details under NATYA-GRIHA). RAftGA-MANDAPA A pavilion, an assembly-hall, a council chamber, the stage proper (Bharata's Ndtya-sdstra, n, 68, 96), the whole playhouse including auditorium also (ibid., n, 91). Music hall as defined in the Bhavaprakasana (x, 518), implying singing, instruments, dancing and acting jointly or playing upon musical separately. See details Cf. Nat (nritta) front of a temple, under NATYA-GRIHA (VESMA). mandira implying the detached mandapa or hall in where the visitors assemble and indulge in religious music. (i) face) An assembly-hall (Hampe inscrip. . 432 of Krishnaraya, lines 24, 32, north RATNA-KANTA HINDU ARCHITECTURE ' In the Zeitschrift der Deutschen Morgenlandischen (Bd. Dr. Bloch makes some remarks respecting a cave in s. LVIII, Ramgarh 455) hill in Sarguja, which from its arrangement and inscriptions appears to have been evidently intended for dramatic performances.' ' The so-called queen's cave and that of Ganes"a cave in Udayagiri are further undoubted examples, to the reliefs of which Jacobi has directed my they represent the doings of these ladies and gentlemen (actresses The cave-theatre discovered by actors) in a highly realistic way. attention and : Bloch has, however, a special interest pattern.' Prof. Luders to refers Kalidasa (i) : it arranged after the Greek is (Kumdra-sambhava, dari-griha Sila-vesman (Megha-duta, i, 25). (Indian Caves as Pleasure-resorts, Ind. Ant., Vol. xxxiv, 10, 14) para, ; i, (2) p. 199, para. 3 ; p. 200, i.) Irangada happaligeyuman imaha-sopana pantiyumarh rachisidam Sri-Gommata-devara suttalu rarigama-happaligeym bigiyisidan had this (2) ' rahgada happalige (? painted hall or hall of assembly) and the flight of grand stairs laid out had the rangama happalige set up around Srl; Gommata Deva.' (Ep. Carnal., Vol. n, no. 115 ; Roman Text, p. 87 ; Transl., 171.) p. (3) Karite vira-Ballala-pattana-svaminamuna I Nagena ParsVa-devagre nritya-rangasma-kuttime I By Naga, the Vlra-Ballala, pattana-svami, were built the dancing hall and terrace of Parsva Deva.' ' Nritya-rangamumarh madisida tha Parsva Deva stone (Ep. Carnat., Vol. n, no. 130; para, and in front of the basadi of Kamaand a dancing hall were made. ' ' pillars Roman Text, p. 99, lines 1-4; Transl., p. 178, i.) RANGA-MUKHA A class of buildings, the forepart of a theatre or stage. (Kamikagama, XLV, 52 RANGA-SINSHA The wood see under MALIKA.) forepart of the stage, the platform (Bharata's Ndtya-sdstra n, 71). (-VESMA) ; made of under NATYA-GRIHA See details . RATNA-KALPA A kind of ornament prescribed for idols and kings. (M., RATNA-KANTA A class L, 3 ; see under BHUSHANA.) of six-storeyed buildings. (Af., 433 xxiv, 19 ; see under PRASADA.) AN ENCYCLOPAEDIA OF RATNA-GRIHA RATNA-GRIHA The jewel-house, adytum of a Buddhist the temple, a stupa or tope. mama chapararddhat Ratna-grihecha dipako jvalatu bhikshavo bhumjatarh ratna-grihe cha dipaka iti II ' From the interest of the dinaras given by him I . . . and with the other half burn in the jewel-house the same number of five Bhikshus be fed and a lamp burn . . panchaiva a lamp let ... . let in the jewel- house.' ' It seems to denote the stupa itself, as the abode of the three ratnas or jewels or precious stones, viz. (i) Buddha, (2) Dharma, the law or truth, and (3) Sarhgha, the community or congregation.' ' This rendering of the term by the whole stupa seems unsuitable to a lamp was provided to light up the ratna-griha which must the contest imply a room or a particular part thereof, and not the whole stupa.' ' : ' (Sanchi stone inscrip. of Ghandragupta no. 5, pp. 32, 33-34, note 5 on II, lines 9-10, C. Vol. m, F. G. I. I,, I., p. 33.) RATNA-PATTA A A moulding, a jewelled band, a jewelled turban. moulding of the pedestal (M., xm, 84 see the list of mouldings, ; under UpAPixHA.) A head-gear (M., XLIX, 16; see under BHUSHANA). RATNA-PAD A Otherwise called Sripada, the footprint on Adam's Peak in Ceylon. RATNA-PUSHPA A For diamond details see flower, (Deopara BUDDHA-PAD A. an ornament. inscrip. of Vijayasena, v. Vol. RATNA-BANDHA A RAKTA-BANDHA) (see (M., xiv, 281-296 RATNA-MANDAPA A of Buddha, class ; r, n, Ep. Ind., pp 308, 313.) of bases. the list of mouldings under ADHISHTHANA.) see kind of pavilion. see MANDAPA.) (M., xxxii, 48 of the three library buildings in the ; RATNA-RANJAKA One University of Nalanda (see under DHARMAGANJA) RA.TNA-SAGARA One University of Nalanda RATNI (cf. R;a1nir ARATNI) of the three . library buildings under DHARMAGANJA). measure of 21 angulas or about 16 in the (see A angula-parvarh sarhkhyaya tv-eka-virhs'atih (Brahmanda-Pufdna, Part 434 I, inches. I and anushamgapadaChap, vn, v. 98,) RATHA HINDU ARCHITECTURE A measure equal to the cubit with closed or clenched dgama, xxx, 24). RATNODADHI One fist (Suprabhed- library buildings in the Uniwas nine-storey high and stocked the sacred Prajna-pdramita-sutra, and the Tantric works such as scriptures, Samajaguhya, etc. (See under DHARMAGANJA) versity of Nalanda. of the three It . RATHA A chariot, a carriage, a car, a vehicle, a tank, a war the chariot, body, a limb, a shrine. (1) Mdnasdra (Chap. XLIII, 1-107, named Ratha) Rathas are constructed for ceremonial and ordinary drives of : idols, Brahmans and and other purposes kings (lines ; i, as well as for fighting, mock-fighting 131-133). Wheels and other parts of Rathas, their shapes, measurement, and ornaments and mouldings are described (lines 2-3 f.). Other architectural details are also given (lines 3-11). With regard to shape, Rathas are divided into seven classes, namely, Nabhasvan-bhadraka, Prabhanjana-bhadraka, Nivata-bhadraka, Pavanabhadraka, Prishada-bhadraka, Indraka-bhadraka, and Anila-bhadraka (lines third 112-115). The first of these is square, the second hexagonal; the should have two bhadras or porticoes (? storeys) and the fourth and the sixth should have ten porticoes, and the one should have twelve porticoes (lines 117-120). But according to some, the seven shapes proper are respectively semi-circular, circular, three porticoes, the fifth last elliptical, rectangular, octagonal, hexagonal, and oval (lines 121-123). Rathas are further divided into four types, namely, Nagara, Dravida Andhra, and Vesara. The square Rathas are called Nagara, the octagonal ones Dravida, the hexagonal ones Andhra, and the round ones Vesara (lines 124-125). In accordance with various purposes, Rathas are furnished with different kinds of wheels and other parts. Thus a war chariot or tank has three wheels, the chariot for mock-fighting has four wheels, one for ordinary is furnished with five wheels, one for special festival may have six, nine or ten wheels (lines 131-37). seven, eight, festival The number as the Rathas of vedis or platforms, storeys, etc., of these Rathas as well the Bauddhas and of the Jinakas are described (lines of' 138-171,3-111). (2) Svarnaih sughatitam sadhu-ratha-trayam alarhkritam I Dukula-ratna-maladyair bahu-mulyair dridham mahat II (Skanda-Purana, Vaishnava-khanda-dvitlya, Chap, xxv, 435 v. 8.) AN ENCYCLOPAEDIA OF RATHAKA , shrines .eight small to south on each side stand in a row from north (known as Ratha) On (,) elevation the east the eastern entrance, six on . . c left.' completely detached. on the back of the chamber a square shrine, with carved panels uncarved), each A small platform is in front, with yali piers (block the extreme The Ratha, on is of the temple having . its capital The basemen, complete.' As these shrines are very similar known by name the of Rathas, (PaTavalrchitecture,^.^,, 4, 5 , 6 : note 96 free stone eourse and square a square granite plinth, is which carry the ters are brackets . stands left, ; set to the monoliths at the term New Imp. is Series, Mamallapura^ here used advised y para, 3 Vol. xxxxv, p. , , Plate xxv.) a shrine, a temple. type of building, tu nirgamah Ashtamarhsena garbhasya rathakanam RATHAKA A I rathakams tatra kalpayet Paridher-guna-bhagena rathakanam tu nirgamah Tat-tritiyena va kuryad rathaka-tritaye sada II Vama-trayarh sthapaniyam XLH, (Agni-Purana, Chap. I w. 13-14-) samantatah Nernih padona-vistirna prasadasya madhye rathakams tatra karayet I Paridhes trayarhsako (Ibid., RATHA-KUMBHA-A Chap, civ, v. 7.) of the column. pitcher-like part see under STAMBHA.) (M., xv, 68 ; RATHA-VlTHI-The vehicles, the broad road highway, the main fit for driving chariot street. (See RAHASYAVASA-MANDAPA-A secret, and other Kamikagama, under RAJA-VITHI.) reside in pavilion where kings a bed-room, a private chamber. (M., XL, 147 RATA-GRIHA The ; capital city under RAJA-HARMYA.) the king's residence, seat of Government, the king usually resides, the (see where under MAI^PAPA.) royal palace. (See details RAJA-DHANI see under NAGARA)-The the metropolis. 436 HINDU ARCHITECTURE Definition RAJA-HARMYA : Vidya-sthanam tu tadvat syat bahu-sena-saraanvitam Raja-veSma-samayukta raja-dhaniti kathyate II I (Kamikagama, xx, 14.) ' With myriads of people, practices of virtue, agreeable occupations, streams of the (nine) sentiments, pleasure-gardens, separated lovers, splendid tanks, full lotus beds, gilded boats for spring-festivals, ghatikaCf. sthanas (religious centres), the supports of dharmma and mines of enjoyment, moats which were as if the sea being overcome had returned here on account of the women fair as collection of gems, groups of the lotus-faces of beautiful moon (grama-nagara-kheda-kharwana-madamba- the drona-mukha-pura-pattana-raja-dhanl), on whatever side one looked, in did the Kuntala-des"a shine.' (Ep. Carnal., Vol. these nine forms vn, Shikarpur Taluq, no. 197 Text, p. 214, line 27 f.) RAJA-PATHA The ; Transl., p. 124, para, broad street, last i, seven lines ; Roman the big road, the highway. Dhanumshi daga-vistlrnah sriman raja-pathah kritah Nri-vaji-ratha-naganam asarhbadhas tu samcharah 1 I 1 Dhanumshi chapi chatvari s'akha-rathyas' cha tair mita Trika rathyoparathyah syur dvikas" chapy-uparathyakah II Jahgha-pathas chatush-padas tri-padam cha grihantaram Dhriti-margas turddhva-shashtham krama^ah padikah smritah I I II i, and annushamga-pada, Chap, vn, vv. 113, 114, 115.) (Brahmanda-Purana, Part RAJA-VITHI The public road, the broad street, a road which runs round a village or town, also called Mangala-vithi Raja-vlthlti vikhyata gramader bahir-avrita Saiva mangala-vithiti ratha-vlthiti kathita and Rathavithi. I II (Kamikagama, xxi, RAJA-HARMYA The palace of a 2.) king. Manasara (Chap. XL, 1-160, named Raja-griha) : Palaces are divided into nine classes with regard to their size as they belong to the nine classes of kings, and namely, Sarvabhupa (or Sarva-bhauma, otherwise called Chakra-vartin) (lines 32, 1-9), Maha-raja (lines 10-15), Narendra (lines 16-19), Parshnika (lines 19-22), Patta-dhara (lines 23-25), Mandalega (lines 26-28), Patta-bhaj Praharaka (lines 32-36), and Astragraha (line 37). Each palace admits of three sizes, namely, the largest, the intermediate and the smallest, both as regards the measurement of dimensions (lines 29-31), (lines 437 AN ENCYCLOPAEDIA OF RAJA-HARMYA and the number of walls, storeys, rooms, ditches, gardens, of breadth are given to each palace. etc (lines 38-69). Thus three kinds with the breadth. The length and height are determined in comparison to the breadth to being The former (length) may vary from being equal number of storeys, the times of it. Height is determined mostly by 4 I0 36) 15 ai rules for under TALA should possess, has which have been discussed in another place and BHUMI-LAMBA). The number of storeys a palace (set moat, been discussed in the same place. The enclosure, surroundmg in the present chapter, of each palace are briefly described etc inner and outer I is to give an account of of the main also chapter object to palaces royal belonging ings The Brahma-pitha (lines or royal chapel central part (lines 156-159)remaining parts called Indra, 71-1", 112-153). is Bramasthana or i n the best of the installed in the The main P alace is built Varuna, Yama, Pushpadanta, etc. Round such as the houses for the the palace proper are arranged all other houses, for private council hall, drawing-room, dressingqueen and the princesses, for attendbathroom, dining hall, kitchen, bed-chambers, quarters room, and inner gardens, etc. (cf. Shodasa-mandira-chakra charm and luxuries of which are so wel Beyond the royal harem, the residences of the crown known, are placed the official quarters, including ministers, and others. prince, family priest, e.g., other offices are suitably accommodated and council . ants, places for tanks The : royal to be built at the fourth the palace of peace and war office are directed Pleasure gardens, of the palace (line 148) compound in the southern side laid out. Compare flower gardens, groves, tanks, etc., are gracefully . following : Yamye cha soma-dig nairnte vapi vayavye vatha I cha vayave Asthana-mandaparh kuryat pushkarinyarh arama-des"akam Nagasya vamake yamye kuryad cha tatah mukhya-bhallatake'pi I I kuryat tatah nana-nrittanganani cha kuryan Nrittagararh I Pushpodyanam I (M., XL, 117-121.) Tritiye vithis tasyarhse I rahasyavasa-mandapam ^ cha Ise va vitathe chaiva ranga-mandapam eva I (ibid., Stables, cow-sheds, etc., built near the main gate I5*J where domestic animals are kept, are generally : eva cha Dvauvarika-pade chaiva mayuralayam eva cha Dvarasya dakshine parsVe vyagrakalayam I I (Ibid., 438 i44-'45-) RUCHIRA HINDU ARCHITECTURE ParsVake mesha-Sala cha satyake vanaralayam Somad I Is"ana-paryantaiii vaji-Salam prakalpayet I Yamyadi-pavakantaih syad gaja-Salam prakalpayet Tasmat tu nairrityantam kukkutalayam eva cha I I Vayu-konadi-mukyantarh mriganarii harinalayam The I (Ibid., 128-132.) elevated platforms to see the mock-fight from are also placed near 148-150). The iron-pike (Sula-kampa) for capital punishin a prominent place near the gate (line 135). But the jail placed is built in a rather out-of-the-way place, such as the iBhrisa, or (karagara) the door ment (lines is the Antariksha part. All these are given ment being by way of illustrations, the most part of the arrangeand the choice left, as stated here, to the discretion of the artists, of the king (line 155). The royal court, persons forming the king's suite or council, anything related to the king, the royal palace. In a chapter (XLI), named Rajanga, of the Mdnasdra are described the RAjAftGA and some nine classes of kings, their courts, kingdoms, royalties special characteristics. ' Had a palace (Rajanga) built for Goparaja to the west of that pond.' Malur Taluq, no. 4 ; Roman Text, p. 187 ; Transl., p. 156.) (Ep. Carnat., Vol. x, RUCHAKA A (1) ' type of building, a class of columns. Prak-paSchimavalindav-anta-gatau tad-avadhi-sthitau s*eshau Ruchake dvararh na s"ubhadam uttarato'nyani Sastani II The Ruchaka has a western and eastern terrace runand between their extremities two others. A northern evil, doors on any other side are auspicious.' (Brihat- (building called) ning to the end, door in it brings samhitd, LHI, 35, J. R. A. S., N. Sama-chaturas'ro ruchakah S., Vol. vi, p. 286.) a column with four rectangular sides (called) ruchaka (ibid., v. 28). A kind of quadrangular building (2) I Agni-Purdna (Chap, crv, is : w. 14-15 ' has Charuka,' see under PRASADA). (3) under PRASADA). kind of pedestal or platform at the bottom of a Garuda-Purdna (Chap. XLVII, vv. 24-25; RUCHIRA A column, a portico. Garbha-mana-pramanena prasadarh Vibhajya navadha garbhaih madhye see sVinuta dvijah Padashtakam tu ruchirarh parsVatah parikalpayet Manena I syal lihga-pithika tena vistaro bhittinarh tu vidhiyate II I 1 1 (Matsya-Purana, Chap. CCLXIX, vv. 15-16.) 439 AN ENCYCLOPAEDIA RUDRA-KANTA OF RUDRA-KANTA A type of building, a class of columns. The sixteen-sided or circular pillars (Af., xv, 21 see under STAMBHA). A class of four-storeyed buildings (M., xxn, 34-43 see under PRASADA). ; ; RUDRA-BANDHA A kind of band, an ornament. (M., LI, 69 ; under BHUSHANA.) see RUPOTTARA A Cf. type of entablature (see PRASTARA). Athochcharh pada-vistararh rupottaram ihoditam I (Kamikdgama, LIV, RAURAVA A A class type of storeyed main building. of nine-storeyed buildings (Af., xxvn, 10 LAKSHMI-SK(-ST)AMBHA (see 6, etc.) see ; under PRASADA). A type of column believed to be the abode of the STAMBHA) : of a house, which is guardian angel of the house. LAMBANA A pendant, a moulding of the front portico, same as alambana or plinth (M., xrx, 28). the pillar (M., xvm, 285 see ; Sikharalambanantam cha vedi-tara-samanvitam Lambanordhve dalarh badhya MUKHA-BHADRA.) I (M., xrx, 27.) .... I (Ibid., 39.) Utsedhe cha tri-bhagaikam tasyadho chagra-lambanam I (Ibid., 170.) Tr(i)yarharh chagra-vistararh lambanarh pancha-bhagikam I (Ibid., 172.) See also etc. M., xx, 25, A pendant (Af., L, 15, etc.). LAMBA-PATRA An ornament shaped like a leaf. (M., LAMBA-MANA The measurement along the LI, see ; plumb (Af., LV, LAMBA-HARA A 73 3-6 ; see BHUSHANA.) lines. under MANA.) kind of long necklace, a pendant. (Af., LALATA(-MANDAPA) Same as L, 301 ; munda-harmya, see BHUSHANA.) and chuli- harmya, a tower, a top-room. (Af., Same as xxxiv, 400, 406, 409, 414, 429, 454, 505, 568.) VAKTRA and NETRA (Af., 44 xxxv, 257-260). HINDU ARCHITECTURE LAftGALA The For its LlNGA plough. architectural details see Mdnasdra (Chap, v, 55-77). LANGALAKARA Anything shaped like the plough, a pavilion with three faces, a type of hall. under MANDAPA ; xxxv, 67 ;see under SALA.) (M.,xxxrv, 553 A LAftGALA-BHITTI kind of round see ; cornei wall, shaped like the plough. Karne langala-bhittih syad bhramaravrita-bahyake I (M., xxxiv, 333.) Prapagraika-dvi-bhagarh va karne larigala-bhittikam I (Ibid., 225.) LlNGA A distinguishing mark, a badge, a symbol, an emblem? the genital organ, the image of a god, an idol, the emblematical phallus of Siva. (i) Mdnasdra (Chap. LIT, 1-376, named Lihga) Various classifications of phalli have been given : are classified firstly into six heads (line 2 f.). They (i) Saiva, Pasupata, Kala-mukha, Mahavrata, Varna and Bhairava secondly, into four (2) Sama-karna, Vardhamana, Sivanka and Svastika thirdly, into four with regard to : : ; ; height (3) Jati, Chhanda, Vikalpa and Abhasa fourthly, into three types with regard to breadth or width (4) Nagara, Dravida and Vesara fifthly, into five (5) Svayambhu or Udbhuta, Daivika, (line 99) : ; : : ; Manusha, Ganava and Arsha sixthly, into two (6) Athmartha (for one's personal worship) and Parartha (for others, for public worship) (7) Eka (single) linga, and Bahu-linga (phalli in again into two : ; , ; : group) ; then into many kinds : such as (8) Vajra, Svarna, etc., with which they are made and lastly into two as Kshanika contrasted with the (10) (for temporary worship) (9) All these kinds of phalli are described Sthira or permanent linga. at great length. Various alternative measures are prescribed for each of them (lines 13-376). In some cases as many as 36 alternative heights have been suggested. But in most cases their number is 9. regard to materials of ; : The 9 alternative heights of a phallus are determined in some cases to different parts of the body of the worshipper The height of the phallus may reach the worshipper's (yajamana). by a comparison sex-organ, navel, heart, breast, arm-joint, chin, nose, eye, or be equal to his full height. Another comparative regard to the Garbha-griha or adytum. are also given in some cases. 441 measurement is given with Various absolute measures The set of the nine alternatives AM ENCYCLOPAEDIA OF LlftGA prescribed for height may begin with one cubit and end with four cubits and a half, the increment being by half a cubit. The breadth or width of the phallus is in like manner discussed at great length. (2) Athatah sarhpravakshyami linga-lakshanam uttamam Susnigdharh cha suvarnarh cha lingam kuryad vichakshanafr Prasadasya pramanena linga-manarh vidhiyate Linga-manena va vidyat prasadam Subha-lakshanam II I II I (Matsya-Purana, Chap. CCLXIII, v, 1-2.) samanyam uddishtam prasadasyeha lakshanam Tathanyarh tu pravakshyami prasadam linga-manatah Etat I (Ibid., II Chap., CCLXIX, v. 7.) Evarh ratna-mayam kuryat sphatikam parthivam tatha Subharh daru-mayam chapi yad va manasi rochate II I (Ibid., (3) In the Brihat-samhitd have condensed the details v. 25.) Chap. CCLXHI, (LVIII, 53-55) where Varahamihira seems to from the Matsya-Purana, are given especially the architectural characteristics : Lingasya vritta-paridhirh dairghyenasutrya tat tridha vibhajet Mule tach chaturasYarh madhye tv-ashta^ri vrittam atah Chatura^ram avani-khate madhyarh karyarh tu pindika^v-abhre DriSyochchhrayena sama samantatah pindika sVabhrat II (For the construction of an emblem of Siva) set out in the length the I 1 1 I ' (measure of the) circumference of the round part and divide the whole phallus into three portions, of which the part at the bottom must be quadrangular, that in the midst octangular, shapes are prescribed in the Mdnasard). and the rest (The same round. Sink the quadrangular portion into a pit in the earth and put the middle member into the cavity of the pedestal. The pedestal extent equal is visible upwards to its height.' over an J.R.A.S., N. S., Vol. vi, p. 329, notes i, 2.) (4) to its in all directions cavity, LVIII, (Brihat-sarhhitd, Sarvesham eva linganam lakshanam Srinu sampratam II Madhya-sutrarh samasadya brahma-rudrantika budhah ShodaSangula-lirigasya shad-bhagair bhajito yatha 1 54, I 1 Tad vaiyamana-sutrabhyarh manam antaram uchyate Yavashtam 53, I karyyarh Seshanam yava-hanitah II tridha kritva tv-ardham ekam parityajet Adho-bhagam Ashtadha tad-dvayarh kritva urddha-bhaga-trayarh tyajet Urddhvarh cha panchamad bhagad bhramya-rekham pralambayet uttare I 1 Bhagam ekam parityajya sarhgamam karayet tayoh Etarh sadharanarh proktarh linganam lakshanam maya 1 I II II (Agni-Purana, Chap. Lm, vv. 8-13.) 442 NOTE: Her* each unit ol the height aAOANA. PENT ROOF. ia one-eighth of Sikhara. ANANTA. VIHAYA3. ANTARIKMA PROPORTIONS OF LUPA. : LUPA. LAKSHMI STAMBHA VEDIKA. 1 i SECTION. - ELEVATION. VEDI, Page HINDU ARCHITECTURE LU(-TJ)PA Svayambhuvaih vana-lingarh daivikarh charshakam tu iti Bha-(Ga)navam manusham lihgam shat prakaram praklrtitam (5) I (Kamikagama, Details of these Lingas (see II L, 35.) 36-43) are the same as given in the ibid., Mdnasara. The pitha (pedestal) of the Linga (phallus) described. is (Ibid., 44-52.) Twelve Jyotir-lingas (1) Somanatha (at Verawal, Junagadh State, Guzrat). (2) TrimbakesVara (at source of the Godavari, Nasik). : (3) MummalesVara (at Onkar, Mandhata, (6) Mahakalesvara (at Ujjain). Kedarnatha (at Kedar, Garhwal VisVanath (at Benares) (7) Vaidyanatha (8) Ramesvara (9) Mallikarjuna (4) (5) Nimar, G. P.). District). . Vaijnatha (10) district (in Santal Pargana, district Birbhum, Bihar) or (at Parli, (at Hyderabad Ramnad , State, Deccan). Madras). Garnool District, Madras). District, (at Sri^aila, Naganatha (near Dwaraka, Guzrat, or at Oundh, Hyderabad, Deccan). (n) Ghrishnesvara (Purna-jyotish, near Ellora Caves, Hyderabad, Deccan). (12) Bhlma-s'ankara (30 miles from Poona). N.B. These do not include three other famous lingas, namely (A) PaSupatinatha (at Amarnatha : Katmundu, Nepal). Kasmir). (C) Kailasanatha (on the Manas-sarovara, in the Himalayas). (B) (in LlftGA(-MUDRA)-STAMBHA A pillar marked with the linga or emblem of Siva (see under STAMBHA). LU(-O)PA A sloping and projecting member of the entablature, etc., representing a continued pen t- roof it is made below the cupola, and its ends are placed as it were suspended from the architrave and reaching the stalk of the lotus below. Slope or breadth (M., ; xxx, 135.) (See (1) Ram Raz, Ess. Arch, of Hind., Atha samkshipya vakshyamo lupanam lakshanam vayam Uttarasyanurupena tasaih taram udiritam p. 52.) I I (Vdstu-vidya, ed. (2) Ganapati Luparoha-kriya-yuktam anyat purvokta-vartmana Athava-sarva-Salayaih luparohanam eva va 1 Sastri, x, i, f.) I 1 (Kamikagama, xxxv, 69.) 443 LOGA (3) AN ENCYCLOPAEDIA OF In connexion with the entablature Lupakararh tu tat : kuryad dalasyakritir eva va I (M., xvi, 139 ; see also 20, 195.) An account is given in great detail (M., xvra, 168-278, xxx ; 132, etc.). roof or the ceiling) prescribed for temples are techni(inner lupas called ambara, vyaya, jyotis, gagana, vihayas, ananta, antariksha, cally and pushkala and those for residential buildings are called mahl, jya, The ; kaSyapi, kshoni, urvi, gotra, vasum-dhara, and vasudha. (M., xvra, 177-184.) LOGA Probably same as thuna (posts, pillar), clod, pole, memorial pillar erected after the earth is piled up from about the grave further details under THUNA and &ANKU). LOSHTA (see A KALAS"A) object resembling partly the lump of earth, a clod, (see an architectural finial. The Vdstu-vidfyd (ed. Sastri) has a chapter (xvi) named Mrit-loshtalakshana (description of the lump of earth). In it loshta is directed to be built on the stupi (top, dome, vv. 27, 37). At the top of a building the kalasa (water-jar, finial) chapter of the work last krura-loshtani (v. and 36), LOHA (see is : It is variously named in this generally built. loshtani (vv. 28-30, 32), nivra-loshtani (v. 34), kona-loshtani, svarnadi-loshta (v. 39). (v. 35), under ABHASA) puta-loshtani, urdhva-loshtani Iron used both as an architectural and sculptural material. One of the metals of which idols are (1) made : Mrinmayarh yadi kuryach chech chhulam tatra prakalpayet Lohajam tv-aviseshena madhuchchhishtena nirmitam 1 I 1 (Suprabheddgama, xxxrv, ai.) (2) Evam dvi-tryangularii vapi lohajaih pratimodayam I (M., xn, Lohajair mrit-sudha chaiva Uttamam ... chottamam (M., VAKTRA , A The face, face (M., LVH, 20, etc.). See the lists of mouldings under ADHISHTHANA and UPAP!THA. 444 I LI, 6, 19.) under ABHASA. a moulding. moulding of the column (M., xv, 212-219). The 19.) I lohajaih bimbarh pithabhasam tu See further illustrations 1 HINDU ARCHITECTURE VAKRA VAJRA-BANDHA Bent, winding, curved, curled, a type of octagonal build- ing. (Garuda-Purana, Chap. XLVII, vv. 21, 23, 31-32 see ; under PRASADA.) Adamantine, forked, zigzag, a diamond, the thunderbolt of Indra, a type of column, a paste, plaster or cement, a type of VAJRA building. A A eight rectangular sides (Brihut-samhitd, Lin, 28). Kalkah krito dvitiyo'yam vajrakhyah paste, plaster or cement (Brihat-samhitd, LVII, 6, J. R. A. S., N. S., Vol. vi, p. 322.) A type of octangular building column with : I Agni-Purdna (Chap, (2) Garuda-Purdna (Chap, : civ, (1) w. 20-21, vv. xxxvn, under PRASADA). 21, 23,31-32; see under see PRASADA). VAJRA-KANTA A A class type of storeyed building. of eleven-storeyed (M., buildings xxxrv, 19-25 see ; under PRASADA). VAJRA-KU'MBHA A moulding of the base and the pedestal, generally placed between a cyma and petal, it is so called, as it resembles an elongated pitcher. A moulding of the base (M., xiv, 253 see the list of mouldings under ADHISHTHANA). A moulding of the pedestal (M., xm, 74 see the list of mouldings under UPAPITHA). VAJRATARA A paste, plaster, cement. ; ; Vajrataro nama kalko'nyah I (Brihat-samhita, LVH, 7, J.R.A.S., VAJRADHATU-MANDALA The top N. floor S., of Vol. vi, p. 322.) five-storeyed Nepalese temples. (For details see DHARMADHATU-MANDALA. ) VAJRA-PATTA A moulding, a diamond band, a A moulding of the base (M., xrv, 258 ADHISHTHANA) ; see the list fillet. of mouldings under . VAJRA-PADA A diamond pillar, a type of A pillar of the bedstead (M., XLIV, 61). VAJRA-BANDHA A diamond band, a A class of bases (M., xiv, 259-271 see ; ADHISHTHANA). 445 small pillar. type of base. the list of mouldings under AN ENCYCLOPAEDIA OF VAJRA-LEPA VAJRA-LEPA A paste, plaster, cement. Kalko'yam vajra-lepakshah I (Brihat-samhita, LVII, 3 VAJRA-LIftGA (see A LINGA) ; see kind of phallus. (M., VAJRA-SAMGHATA A Maya-kathito yogo'yarii paste, vijfieyo J.R.A.S., N. S., vi, p. 321.) plaster, LI, ; see ; see under LINOA.) cement. vajra-samghatah (Brihat-samhitS, LVII, 8 330 I J.R.A.S., N. S., Vol. vi, p. 322.) VAJRA-SVASTIKA A type of building. A kind of octangular building (Agni-Purdna, Chap, civ, vv. 20-21 see ; under PRASADA). VAJRASANA (see BODHI-MANDA) A diamond throne, the miraGaya, on which Buddha and culous throne under the Bodhi-tree at his predecessors sat when attaining perfect wisdom. Bodhimanda is the name of the miraculous throne under the Bodhitree at Bodh Gaya, also called the Vajrasana or diamond-throne, on which Buddha and his predeccessors sat, when attaining bodhi or perfect ' (1) wisdom.' (2) Ant., (Ind. Vol. xv, p. 257, c. 1-2.) Tenaitad atra kritam atma-manovad uchchair vajrasanasya bhava- nam He bhuvanottamasya I here for the diamond throne, the best thing in the world, this habitation, lofty like his own mind.' (Ghosrawa Buddhist Ind. Vol. lines Ant., xvn, 14-15, inscrip., pp. 310, 311, 308, note 5.) ' erected VADH0-NATAKA A theatre for females, a gallery, a balcony. Vadhu-nataka-sarhghais cha samyuktarh sarvatah purim I Commentary : vadhunam nataka-sala I (Ramdyana, VANA-DURGA (cf. NAGARA) A i, 5, 12.) forest-fort. .(See details under DUROA.) VAPRA A rampart, a wall, a moulding of the base (plinth) } cavetto, an architectural member at the upper part of a building, (parapet), a summit, a bank, a mound, a ditch, the foundation of a building, the gate of a town. (i) Chatur-dandavakrishtam parikhayah shad-dandochchhritam avaruddham tad-dvi-guna-vishkambham khatad vaprarh karayet I Vaprasyopari prakaram .... I (Kautillya-Artha-iastra, 446 Chap, xxiv, pp. 51, 52.) VAPRA-BANDHA HINDU ARCHITECTURE (2) The surrounding wall of a village Gramasya parito bahye rakshartham vapra-sarhyutam : Bahye vaprarh suvrittakam Evam grama (rh)-prasaraih ... I I (M., vm, cha bahir vapra-sarhyutam ii, 37.) I Paritah parikha bahye vapra-yuktam tu karayet (M., ix, 61, 107 In connexion with towers : I Etat pattanam akhyatam vaprayata-samanvitam see ; also 147.) I Sarvesham api durganarh vapraii cha parikhair vritam I (M., x, 66, 106.) A moulding of the base (M., xrv, 20, 24, etc.; see the list of mouldings under ADHISHTHANA) In connexion with buildings of one to twelve storeys (parapet) Adhishthana-samarh mancharh manchordhve'rdhena vaprayuk . : I (M., xxi, 14, Malikopari vaprarh syad adhishthanam samodayam etc.) I (M., xxxi, 64.) (3) (4) Wall (Dabhoi inscrip. v. in, Ep. Ind., Vol. i, p. 31). Rampart (Badnagar Prasasti of the reign of Kumarapala, Ep. Ind., Vol. (5) i, v. 23 pp. 300, 303). Yasyotturhga-turarhga-tarhdava-bhavah prarhsutkarah sainikah svahsimasu marud-ganabhaya-maha-vapra-prakaro'bhavat I (Sridhara's Devapattana Prasasti, v. 13, Ep. Ind., Vol. ii, p. 441.) Ramesvaraya ghana-marhtapa-vapra-saudha-ramyalayarh samatanot samata rasajnah He erected a temple (alaya), adorned with a solid hall (mantapa), a wall and a plastered mansion (saudha) to Ramesvara.' (Mangalagiri (6) I ' v. pillar inscrip., 122, 124, 112, (7) (8) 39 ; see also w. 29, 38, 48, Ep. Ind., Vol. vi, pp. 123, lai, 113,114,115.) Vapra-gopura-yutair nava-harmyaih I (Kondavidu He, the emperor inscrip. of Krishnaraya, v. 26, Vol. Ep. Ind., vi, pp. 237, 231.) of the south, caused to be made of stone for Vijaya-Narayana (temple), latticed window, secure door-frame (kavata), door-lintel, kitchen, ramparts (udagra-vapra), pavilion, and a pond named the Vasudeva-tlrtha.' Transl., p. 61 ; Roman (Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 72 ; Text, p. 142, line 8.) VAPRA-BANDHA A A class type of base. of bases (M., xrv, 250, 259 ADHISHTHANA). 447 ; see the list of mouldings under AN ENCYCLOPAEDIA OF VAHYA VAHYA Lit. which can be that carried, a couch used by women (R.-V., vii, 55, 8, A.-V., 5, 3 women sitting on it, A.-V., 20, 3 weary bride mounting it, A.-V. xiv, 2, 30), canopied reclining arm-chair with poles or handles for carriers, bearing all forms, a bed on which bride mounts and the lies with her groom in the marriage ritual (A.-V., xiv, 2, 20). VI(VAI)RATA A type of storeyed building, a class of twelvestoreyed buildings once prevailing in the country of Virata (Jai- pur). Chatur-adhika-tri-dasa-bhagaih harmya-visalake Ashtamsena maha-sala parsve sala Sivarhsakam I I tad-ardham chantaralakam Anusala tri-bhagarh syad ekarhsam antaralakam Dvi(dvya)marh panjara-sala cha parsve bha(ha)rah sivarh-sakam saKuta-nava(-nam cha) dvi-bhagarh syat sarvam yuktyam Dvyamsam panjara-sala I I I bhadrakam Maha-sala yugarhsena madhyam atra (bhadram) prakarayet Tale tale vimane tu sala-panjara-shodasam Kshudra-sala dvi-hara cha tan-madhye chashtakam bhavet Ghatur-dikshu maha-sala chatush-kutam tale tale Evarh vairata-kantaih syach chhesharh bhagaih tu puravat I I I I I (M., xxx, 17-27.) VARDHAKI ^An architect, the designer, the painter. (See details under STHAPATI.) VARDHANI(I) A type of building. A class of round buildings (Agni-Purdna, Chap, PRASADA) civ, vv. 17-18 ; see under . VARDHAMANA A class of buildings, a type of storeyed mansion, a kind of phallus, a joinery, an entablature. A class of salas or mansions (M., xxxv, 4 see also 303, under SALA). A kind of phallus (M., LII, 4 see under LINGA). A kind ofjoinery (M., xvn, 84, see under SANDHI-KARMAN). (i) ; ; An (a) " under PRASTARA). Dvaralindo'nta-gatah pradakshino' nyah s"ubhas tatas chanyah Tad-vach cha vardhamane dvaram tu na dakshinam karyam entablature I 1 1 The Vardhamana has a terrace before the (chief) entrance, extending end then, when you proceed in a direction from left to right, another to the ; and thereon again, another in the aforesaid direction. southern door should be made in it.' (Brihat-samhita, LIU, 33, J.R.A.S., beautiful terrace No (see N. S., Vol. vi, pp. 285-286.) 448 HINDU ARCHITECTURE VA(BA)LABHI(-I) Vedasyarh vardhamanakam (3) Vardhamana house the has (sala) four laces. (Kamikdgama, xxxv, 88.) entablature (Kamikdgama, LIV, An The 7). frame of a thatch, the topmost part of a house, a class of storeyed buildings, a type of entablature, a class of rectangular buildings, a top-room, a turret, a balcony, an awning, a tent, any temporary erection on the flat roof of a house. VA(BA)LABHI(-I) (1) roof, the Tri-chandra-sala bhaved valabhl I The roof must have three dormer-windows.' Dr. Kern adds the following ' : valabhl vatayana vatayana in general means " any place " whither one goes to take an airing ;" sometimes " a window is intended ' by Comm. it, tion ; other times the it " roof" of an Indian house. In the flat here used by Utpala, and frequently elsewhere is sarit-sdgara (95, 18) : sva-grihottunga-vatayana-gatah mya-vatayanarudhah, ; (103, ; (Brihat-samhita, LVI, 25, LVH, 4, etc.' latter accepta- Kathd- e.g. 162) har- : J.R.A.S., N. S., Vol. vi, pp. 319, 322, note.) (2) A 53 35, 50, A (3) class type ; of five-storeyed buildings (Matsya-Purdna, Chap. CCLXIX, see of rectangular building (6) : under PRASADA). 21-22, 26-27 see under PRASADA). valabhishu cha sarvada Prasadagravimaneshu (Ramayana, n, 88, 5, see further context under PRASADA.) cciv, vv. 16-17 Agni-Purdna (Chap, (4) Garud.a-Pu.rana (Chap. XLVII, (5) '> sce w. > I Naga-lokam . sata-samkulam . aneka-vidha-prasada-harmya-valabhl-niruhya- . I (Mahabharata, (7) A w. under PRASADA). A synonym of the entablature (M., moulding of the entablature xvi, 19 ; see I, 133.) 3, under PRASTARA). the list of mouldings under PRASTARA). In connexion with four-storeyed buildings Nanadhishthana-padais cha valabhibhis cha bahu-bidhaih (M., xvi, 79 ; see : I XXH, 94.) (M., (8) Kailasa-turiga-sikahra-pratimani bhini sa-vedikani chanyany-abhanti dirggha-vala- I Gandharvva-sabda-mukharani nivishta chitra-karmmani lolakadalivanasobhltani ' 1 1 And them, Kailasn other long buildings on the roofs of the houses, with arbours in are beautiful, being like the lofty summits of (the ; being vocal with songs (like 449 those of the mountain) having Gandharvas ; AN ENCYCLOPAEDIA OF VALAYA (and) being adorned with pictured representations arranged (in them) (Mandasor stone inscrip. of Kumaragupta, groves of waving plantain trees.' lines 6-7, C. I. /., Vol. HI, F. G. I., no. 18, pp. 81, 85.) ; ... (9) punyfibhivriddhy-artharh vad(-l)abhirh kara(ya)yitva ananta-svami-padam pratishthapya ... Having caused (a temple having) a flat roof ' of increasing the religious merit of feet of (the god) Anantasvamin.' . . ... I to be made, for the sake the installed having (and) . Vadabhi (also called valabhi, see above) is explained as meaning wooden frame of a roof; a flat roof, house-top, top-room, turret, any temporary erection on the top of a palace an top-floor, balcony awning, a tent but it seems to refer to a building here, and to denote ' the : ; ; a flat-roofed temple.' (Gadhwa stone F. G. I., no. 66, p. 268, note 9.) ' (10) Whose arms of the three worlds.' no. 179, line 2 ; line inscrip., 2, C. /. /., Vol. in, jewelled pillars supporting the roof (valabhi) (Ep. Carnal., Vol. v, Part I, Channarayapatna Taluq, like Roman Text, p. 462, Transl., p. 202.) VALAYA An (1) A ornament, a type of building, a moulding. bracelet (M., XLIX, 138; L, 33, etc. see BHUSHANA Deopara ; inscrip. of Vijayasen, v. n, Ep. class of round buildings A Ind., Vol. i, ; pp. 303, 313.) : Agni-Purdna (Chap, civ, vv. 12-18, see under PRASADA.) see under PRASADA). (3) Garuda-Purdna (Chap. XLVII, vv. 21, 23, 28, 29 (4) The sixth moulding from the top of an entablature (Kdmikdgama, (2) ; LIV, 9; see VALLI (cf. under PRASTARA). A VAT AYANA) type of window. (M., xxxiii, 483 VASATI A ; see under VATAYANA.) a trading settlement, a quarter of a town (Mdrkandeya-Purdna, Chap. XLIX, 49-50), a residence, a shrine, a Jain monastery or temple containing the image of a (see BASADI) mart, Tirthankara. Rock inscrip. at Vallimalai, no. A, Ep. Ind., Vol. iv, p. 141, note 7, and (Jaina v. 2, refer to VASUDHA The Mr. Kittel's Dictionary, p. 1383.) earth, a kind of pent-roof. (M., xvm, 178 ; see under LUPA.) VASTRA-NIP(Y)A A jar-shaped ornament of the column. Kumbha-madhye rakta(ratna)-bandham vastra-nip(y)arii cha vinyaset I (M., xv, 223.) 45 HINDU ARCHITECTURE VAMSA Bearing, carrying, supporting, a way, a a road, a vehicle, conveyance, a river, a channel. Given the village with ... its hills and water-courses (vahala). (1) (Plate of Deva Varmadeva, line 8 f., Ind., Ant., VA(VA)-HA-(KA, LA) ' Vol. xvi, pp. 206, 207, note 33.), Vahaka ' (2) 933 ; Elliot, ss. a water-channel in the Gwalior Hultzsch in J. D. Morg Suppl. Glossary, Vol. n, p. 225) Sarhvat watercourse, Pseaant Life Bihar Grierson, ; of inscrip. Ges., Vol. XL, p. 37 (vaha, a 954).' V(b)allala-devakasya vahah Water-channel constructed by Ballaladeva.' (3) ' I (Lala-Pahad Rock inscrip. of Narasimhadcva, line 6 Ind. Ant., Vol. xvm, pp. 212, 213, note 2.) VAHANA Conveying, carrying, supporting (see under STAMBHA) a a a boat, raft, flowing, conveyance, part of a column. Stambharh vibhajya navadha vahanam bhago ghato'sya bhago'nyah (Brihat-samhita, VAM&A ' A bamboo, a LIII, a I 29, J. R. A. S., N. S., Vol. vi, p. 285.) a reed-pipe, a cross-beam, a oint, the backbone, a term for the rafters and laths fastened to the beams of a house (as generally made of split bamboos), or laths running across a roof.' (i) shaft, flute, Bhojanarh nanuvamsarh syach chhayanam cha tathaiva cha Anuvamsa-griha-dvaram naiva karyam subhartliibliih II Dvija-gehasya variisarh tu purvagram parikalpayet 1 1 kshatriyanarii paschimagram visam bhavet Sudranarh uttarasyarh syad esha vamsagrako vidhih n Yamyagrarh I tu I (Kamikdgama, xxxv, 147, 149, 150.) Prag-varhsayor anya-varhsais cha nalikera-daladibhih | Achchhaditah prapa nama prastaram chatra mandapah Vamsadir asriasa-sahita sikhara-stupikanvitah II I Nasika-mukha-pattanisa saleti parikirtita JayantI vamsaka jneya tula-vad II (Ibid., L, anumargakam 1 88, 90.) 1 (Ibid., Dandika-vara-samyuktam shan-netra-sama-varhsakam Varhsopari gatah salas chatasro' shtanananvitah see LIV, 15.) XLII, 19.) I II (Ibid., The backbone (M., vn, 264; In connexion with the entablature (2) . also LXV, 158; LXVII, 82). : Yatha-balarh yatha-bhararh tatha varhsadi(rh) yojayet I (M., xvi, 198.) 451 AX ENCYCLOPAEDIA OF VAMSA-KANTA In connexion with the pillar : Kutya-varhsa-prati(r)-vamsam tungarh yat tu samam bhavet Tungasyadhika-hinam chcd dvi-pahktirii nityam avahet I I (M., XVII, I2O-I2I.) In connexion with the pavilion (mandapa) Adhishthanam vina kuryaj janmadi-prastarantakam : Athava pada-vams'am cha samyuktam tat 1 prapangakam I (M., xxxiv, 14-15.) VamSa-mulagrayoh sarve karkarikrita-netrakam I (Ibid., 399.) In connexion with the hall (Sala) : VamSa-mulagrayor vasarh varhsa-muUiika-vasakam I (M. xxxv, Harmya-tara-vasad dvar^m vamsadhishthana-paduko 128.) I (M., LXIV, VAM&A-KANTA A 5.) of twelve-storeyed buildings once prethe vailing in Varhsa-(ka), capital of Kausambi. class Tad eva haram(-ra) tan-madhye chaika-bhagena saushtikam Vamsa-kantam iti proktam sesham purvavad acharet (M., xxx, 31-32, VAJANA A see also I II 28-30, under KERALA-KANTA.) square or rectangular moulding resembling a fillet, i.e. a small band which placed between mouldings and as the uppermost member of a cornice. (For its synonyms, see M., xvi, 46-47.) is Crdhva-vajanam ekariisam amSarh tat pattika bhavet I (Vdstu-vidyd, ed. Sastri, ix, 24.) The moulding LIV, i ; see at the top and bottom of the entablature (Kdmikdgama, under PRASTARA). A crowning moulding of a column (Suprabheddgama, xxxi, 108 see under STAMBHA). A moulding of the pedestal (M., xm, 46, 51 see the list of mouldings under UpApiTHA). A crowning moulding of the base (M., xiv, 9 see the list of mouldings under ADHISHTHANA). A moulding of dola (swing, hammock). Vajane cha dvi-valayam syad ayasena balabalam ; ; ; I (M., VAJI-&ALA A L, 106.) horse stable. (M., XL, 362 452 ; see under SALA.) HINDU ARCHITECTURE VATA A road, Cf. VATAYANA a fence, an enclosure, courtyard. Vata-bhumi (Kamikagama, Corrupted to Bada, ' (I/id. VATAKA A xxi, 3). enclosure of a town or village, fence, wall, hedge.' Ant., Vol. iv, p. 211, footnote hamlet. Tamara-cheru-gramo nama Chikhali-vatakena ' samam I ... ekikritya I The let.' Vol. village named Tamara-cheru combined with (The Madras Museum Plates of Vajrahasta III, ix, under KAMPANA.) the Chikhali ham- 43-44, Ep. Ind. lines pp. 94-95.) VATIKA A small house, a garden house, a pleasure pavilion, an orchard. Vame bhage dakshine va nripanam tredha karya vatika kridanar, tham ' At the I or right side a three-fold pavilion should be built for the the of kings.' sport (Silpa-sastra-fara-samgraha, ix, 29.) Uttare saralais talaih subha syat pushpa-vatlka left I (Matsya-Purdna, Chap. CCLXX, v. 29.) Bhaktya vidhapitarh chabhyam amralohita-mamdiram (ma)tri-ha (rmye)na (sarhyu)ktarh vapya vatikayapi hi Out of devotion he caused to be erected a temple of red colour and surrounded it with shrine of some mata ( ? three shrines), a step-well and an orchard.' (Dhanop inscrip. of Ghachcha, v. 6, Ind. Ant., Vol. XL, I ' PP- !75. J VATA A 74-) type of building, a house with an eastern and southern hall. (Brihat-samhitd, VATA-KSHETRA (see VATAYANA) Kutumba-bhumi-manam A LIII, 39 ; under PRASADA.) see place for airing, a roof. tu vata-kshetra-vivarjitam I (Kamikagama, xxi, VANA-LIftGA A (Kamikagama, VATAYANA A 3.) kid nof phallus. window, a porch, a L, 35, 36 ; see under LINOA.) portico, (i) Description of windows (M., xxxin, 568-597) Windows are constructed in all kinds of buildings (ibid., 569-572). The latticed windows are also prescribed : : Naranarh jalakam sarvarh devanam api yogyakam I (572). The measures, etc., are left to the discretion of the architects The general plan of windows is also given (574-581). 453 (573). AN ENCYCLOPAEDIA OF VAPI(-PI)-(KA) Their shapes are represented by the following designs naga-bandha : valll band), (creeper), gavaksha (cow's eye), kunjaraksha (elephant's or deer's eye), svastika (cross figure), sarvato-bhaclra (a figure with four faadcs), nandyavarta (a figure with openings on the sides), (snake's and pushpa-bandha (flower-band) (ibid., 582-584). Their architectural details are given (ibid., 585-600). (2) Udag-fisrayarh cha varunyarh vatayana-samanvitam I (Garuda-Purdna, Chap. XLVI, v. 16.) (3) PrakaSartham alpam urdhvarh vatayanarh karayet cha anyatra Pratiloma-dvara-vatayana-badhayam I rathyabhyah (Kautiliya-Artha-iastra, VAPI(-PI)-(KA) (1) A A tank (Dewal Prasasti of Lalla the Chhinda, A flight of stairs, while v. 20, p. 167.) Ep. Ind., Vol. kupa denotes an ordinary Commentary on the Amarakosha, well.' Chap. LXV, tank, a well, a reservoir of water. pp. 79, 83). ' well with a (2) i, raja-marga- I (Mahesvara's p. 46, note 2; p. 41, line 58.) Ep. Vol. Ind., vn, Dakshina-diabhage karapita vapi tatha prapeyarh cha In the southern part there has been made an irrigation well and also a watering-trough.' (Grant of Bhimadeva n, V. S. 1266, line 26-27, Ind. Ant, (3) I ' Vol. xvni, pp. 113, 115.) Vapl-putakc bhumi-hala-vaha In the hollow ground below an irrigation well.' (Grant of Bhimadeva Simba-samvat 93, line 7, Ind. Ant., Vol. xvni, p. no.) (4) I ' ' (5) II, During the reign of Ganapati, the son of the prince Gopala, the Vamana built a public tank (vapika).' (Sarwaya stone inscrip. of Ganapati of Nalapura, vv. 23-28, Ind. Ant., Vol. XXH, p. 82.) thakkura Dharmmarthe svayam eva vapi karapita For charitable purpose the step-well was caused to be constructed a own cost.' (Manglan stone inscrip., line 6, Ind. Ant., Vol. XLI, p. 87.) (6) ' his VAMA A kind I of phallus. (M., LH, 3 VARA A day of the week, a door, a gate, ; see under LINGA.) a formula of architectural measurement, a verandah. (M., xxxiv, 170, 394, 529, 538, A covering, an enclosure, a door, a gate. Kdmikdgama, xxx Alindasya samantat tu bhagenaikena varakam ParsVayor ubhayoS chaiva chagra-lalanusaratah || (77) V~ARA-(KA, NA) : I 454 see under SHAD-VARGA.) details HINDU ARCHITECTURE Kamikdgama, xxxv VASA-RANGA : Etat sapta-talarh proktarh rajnam avasa-yogyakam samantat tu bhagcnaikena varakam Sala-bhiige tu alinde va prithu-vararhsake api 1 (84) 1 Tad-adhastat 1 (85) 1 I Vinyasas tv-ishta akhyato mandapa ukta-bhumike (93) Vinirgamasya chayamo tad-vriddhya tasya vistarah Dvi-gunanto vidheyah syad evam syan madhya-varanam Madhye-varana-yuktam va tad-vihinarh tu va dvijah Evambhutasya vasasya samantat syat khalurika II (103) 1 1 I (102) | I Ibid., XLV : Bahu-varga-yutarh vapi dandika-vara-sobhitam (16) Parito varam ekamsam sala-vyaso dvi-bhagatah II ^23) Bahir-vara-samayuktam vyasa-parsva-dvayor api II (26) Samsllshta-vara-samyuktarh shatsu chardha-sabha-mukham (28) Purvokta-sindukam (building) vara-vriksha-sthala-samanvitam 1 1 1 (30 Agre cha parsvayos chaiva kuryad ekamsa-varakam Tad-bahir varam ekamsam tad-bahye tu vrisha-sthalam 1 1 1 1 (38) 1 I Tad-bahis cha chatur-dikshu dvyamsarhsam vara-nishkramah 1 1 (43) See also vv. 44, 45, 46, 55, 56, etc. Ibid,, XLII : Utkrishte tu ankanam dvyamsam margas Antar-varam athaikena See M., ix, 5*1, 526, 529 VASA I dvi-bhagatah (23) xxxiv, 119, 190, 200, 394, 408, 514 xxxv, 100, 120, 123, 238, 243, 265 xxxix, 128, etc. 300, 519 ; tu parito'msatah (-KUTI, ; II s"ala-vyaso xxxin, 383 ; ; SALA, SABHA) assembly-hall (Amarakosha, ivi, 2, 3, Residence, synonym of an 604), hall terrace. (M., xxxv, 43-46, 82-84, 127-128, 138, 142, 155-156 221, 227, 241, 250, 282, 286, 288, 383., VASANIKA A dwelling for use in spring, a house for the spring festival. Tatha vanik-Mahallakena satka vasanika pradatta the satka (?) hamlet ( ? house) was given.' ' by the Mahallaka ' Pas"chimatah thakkura-kumdanakasya vasanika maryada to the west the boundary is the dwelling of the Brahman Kundana.' (Shergadh stone inscrip., lines 12, 13, 14; see also 9, 10, VASA-RA&GA n, Ind. Ant., Vol. XL, p. 176.) The open or closed quadrangular of a residential building. enclosure, the courtyard Purato'lindam ekamsam bhittirh kuryat samantatah (see RANGA) I Mulagre dvi-dvi-bhagena vasa-rangarh cha kalpayet I (M, xxxv, 455 118-119.) AN ENCYCLOPAEDIA OF VASTU VASTU Architecture in the broadest sense implying the earth conveyance (yana), and bedstead (dhara), building (harmya), (paryanka) (M., in, 2-3). The building or harmya includes prasada, or mandapa, sabha, sala, prapa, and (a)ranga. The conveyance or yana includes adika, syandana, sibika, and ratha. The bedstead paryanka includes panjara, manchali, mancha, kakashta, phalakasana and bala-paryanka (ibid., 7-12). The term denotes also a dwelling house, a villages, towns, forts, commercial cities, etc., group of houses (cf. PASTY A), a site (R. V., iv, 37, i, 2, A. V. n, is 12, i, etc.). Sculpture is the handmaid of architecture and secondarily implied by the term Vastu. (2) Nagaradika-vastum cha vakshye rajyadi-vriddhaye I cvi, v. Chap, (Agni-Purana, (3) i.) - Prasadarama-durga-devalaya-mathadi-vastu-mana lakshana nirupa- nam I (Garuda-Purana, Chap. XLVI, colophon.) Cf. Avasa-vasa-vesmadau pure grame vanik-pathe Prasadarama-durgeshu devalaya-matheshu cha Samgraka-siromani by Sarayu Prasad Vasishtha without further reference : (4) II I (Ibid., Chap. XLVI, vv. 2-3.) (xx, i) from one quotes Vastu-jnanam pravakshyami yad uktam brahmana pura I Grama-sadma-puradmam nirmanam vakshyate' dhuna Griham kshetram aramas setu-bandhas tatakam adharo va vastuh 1 (5) 1 Houses, fields, gardens, buildings of any kind (see SETU), lakes and tanks are each called Vastu. (Kautillya-Artha-iastra, Chap. LXV, p. 166.) (6) The heavenly architect Visvakarman, the mythical originator of Vastu, is stated to be the father of nine artisans goldsmith (svarna-kara), blacksmith (karma-kara), brazier or utensil-maker (karhsya-kara) maker of shell ornaments (s"ankha-kara), carpenter (sutra-dhara) potter (kumbha, , kara), weaver (kuvindaka), painter (chitra-kara) , and or garland-maker (mala-kara). (Brahmavaivarta-Purana, Chap, (7) w. x, On Manasara It florist, gardener Brahma-khanda, 19-21.) the different branches of architecture, Vitruvius agrees with the (i) : might be pointed out that Vitruvius deals with similar objects, same manner as in the Manasara. He describes the subject in the in three chapters ' Of those things : on which architecture depends.' 45 6 VASTU HINDU ARCHITECTURE ' ' On on Of Of the the different branches of architecture.' the choice of healthy situations.' of these topics Vitruvius says that ' first and arrangement consistency and economy.' fitness ; it also Architecture depends depends on proportion, uniformity, ' the adjustment of size of the several parts to their several uses and requires due regard to the general proportions of the fabric it Dimension regulates the general scale of the arises out of dimensions. Fitness is ; work, so that the parts may all tell and be effective.' is that agreeable harmony between the several parts of a which is the result of a just and regular agreement of them with building, each other the height to the width, this to the length, and each of these to the whole. Uniformity is the parity of the parts to one another each ' Proportion ; ; corresponding to its opposite, as in the human The arms, figure. hands, fingers are similar to and symmetrical with one should the respective parts of a building correspond.' ' Arrangement is the disposition in their just feet, another and proper ; so places of all the parts of the building and the pleasing effect of the same, keeping in view its appropriate character. It is divisible into three heads, which conthese by the Greeks, are named ideals sidered together, constitute design : : they are called ichnography, arthography, and scinography. The first is the representation on a plane of the site plan of the work, drawn by rule and compasses. The second is the elevation of the front, slightly shadowed, and shewing the forms of the intended building. The last exhibits the front and a receding side properly shadowed, the lines being drawn ' to their proper vanishing points.' (Book I, Chap, n.) Architecture consists of three branches, namely, building, dialling Building is divided into two parts (in the Mdnasara into six classes as we have seen above). are divided The first buildings of the walls of a and its the city regulates general plan public buildings and mechanics. ; the other relates to private buildings. Public buildings are for three pur' defence, religion and the security of the public (compare M. , poses : (Ibid., Book xxxi, 1-2, under PRAKARA). On the choice of healthy situation, that the examination of i hose soil, Chap, on the directions of Vitruvius are Mdnasara (see BHUPARIKSHA), and climates would necessarily require. of the different I, is, in.) selection of site not so differ elaborate so far as and as two The choice of a healthy situation is of the first importance it should be on high ground, neither subject to fogs nor rains its aspects should be neither violently hot nor intensely cold, but temperate in both respects. The neighbourhood of marshy place must be avoided.' (Ibid.. Book I, ' : : Chap, iv.) 457 AN ENCYCLOPAEDIA OF VASTU-KARMAN VASTU-KARMAN actual forts, tanks, roads, canals, The building-work VASTU-VIDYA) (cf. work of constructing temples, The building-work (vastu-karman) gates, drains, moats, pana vijja sewers, dresses, distinguished from the science of is : ghara-vatthu-arama-vatthadinam guna-dosa-sallakVathu-kammanti akata-vatthumhi geha-patittha Vatthu-vijja khana the palaces, houses, villages, towns, bridges, thrones, couches, bedsteads, conveyances, ornaments and images of gods and sages. building (vastu-vidya) ; I I (Digha-nikdya, Cf. Sukra-niti (rv, 3, pp. 9, 12.) i, 115, 116, 169). See the Preface to this Encyclopaedia. VASTU-KIRTI A type of pavilion, a pavilion with forty-four pillars. (Matsya-Purana, Chap. CCLXX, v. 10 ; see MANDAPA.) VASTU-VIDYA The science dealing with (see VASTU-KARMAN) of all kinds of of construction architectural and sculptural the rules of architecture. science the objects, a science, According to Buddhaghosha's definition, Vastu-vidya is the object of which is to ascertain whether a site selected for a building is ' (Dialogues of Buddha, Part lucky or not.' I, p. 18.) ' the science According to Sukrdchdrya, Vdstu-vidya or Silpa-Sastra is which deals with the rules for the construction of palaces, images, parks, and other good works.' (Sukra-niti, iv, Harsha stone inscrip. (v. 43, Ep. Ind., Vol. houses, canals See the VAHANA 3, 115, 116). n, pp. 123, 128.) Carrying, conveying, a vehicle, a conveyance, an animal for riding or draught. The LX, riding animals of gods (M., LX, 2-46 LXII, 2-73 GARUDA, VRISHABHA, and SIMHA. ; LXI, 2-151 ; VAHINI-MUKHA A fort, i), their ; Formidable, a ; fortified city. (M., x, 40 VIKATA LXIII, images are described (M., see under HAMSA, 2-46 hall, -a (Harsha stone ; see under NAGARA and DUROA.) courtyard. inscrip., vv. 12, 33, Ep. Ind., Vol. n, pp. 121, 126, notes 64, 123, 128.) VIKALPA A of buildings, a kind of door, pent-roofs, a type of chamber, a kind of phallus. class 458 HINDU ARCHITECTURE A VITASTI xix, 1-5 xxx, 175-177 xxxrv, under ABHASA). 549-552 A type of door (M., xxxix, 28-35 see under ABHASA). Rows of pent-roofs (M. xvm, 206-220). A kind of phallus (M., LII, 49 see under ABHASA). Karne sala sabha madhye chhandarh syach chhandam eva tat class , of buildings (M., xi, 104-107 ; ; ; see ; ; I Tat-tad-madhyarhsake koshthe yasya syat tad vikalpakam (Kamikagama, XLV, 20; A class of top-chambers VIGRAHA An idol, LV, 130, (Ibid., an image, a see also 1 1 XLV, 7 13 L, ; ; 123-127). a shape. figure, a form, (M., LIV, 180, etc.) ' set Dakshina-bhagada-kisaleyalli puratana-vigrahagala pratishtheyam south the to the ancient colonnade the on Vol. (Ep. Carnal., images.' up Roman Chamarajnagar Taluq, no. 86; iv, Text, p. 18, line 13 ; Transl., n.) p. VIJAYA A class of storeyed buildings, a type of pavilion, a hall, a kind of throne. A class of two-storeyed buildings (M., xx, 93, 10-15 see under PRASADA). A class of pavilions (M., xxxrv, 153 see under MANDAPA). A pavilion with forty-six pillars (Matsya-Purana, Chap. CCLXX, v. 10; ; ; under MANDAPA.) type of throne (M., XLV, 6 class of octagonal buildings see A A ; see under SIMHASANA). : Agni-Purdna (Chap, civ, vv. 20-21 see under PRASADA). (2) Garuda-Purdna (Chap. XLVII, w. 21, 23, 31-32 see under PRASADA) type of building (Kamikagama, XLV, 50, see under MALIKA). (1) ; ; A VITAftKA (see shape. Vitanka is ' A KAPOTA-PALIKA) exactly the English " dovecot, a moulding of that " in its different acceptations denotes more generally also gable-edge, battlement.' Kern. (J.R.A.S.. N. S., Vol. vi, pp. 321, 320, note 2.) fillet : it See further references VITASTI (see between the (1) under KAPOTA and KAPOTA-PALIKA. under ANGULA) tips A measure, the span, the distance of the fully-stretched thumb and the little finger. Kanishthaya vitastis tu dva-dasangula uchyate I (Brahmdnda-Purana, Part I, 2nd anushamga- pada, Chap, vn, (2) Three kinds of span (Suprabheddgama, ANGULA). 459 xxx, 20-23 ; see v. 98.) under ENCYCLOPAEDIA 01 AJV VITANA-(KA) VITANA-(KA) A cushion, a canopy. A canopy of pearls (Ranganath inscrip. of Sundarapandya, hid., Vol. in, pp. 12, v. 12, Ep. 15). Torana-vitana a canopy (in the shape) of an arch.' (Cochin Cf. of Bhaskara Ravivarman, lines 10-11, Ep. Ind., Vol. in, pp. 68, 69.) plates ' VIDATHA A house, a holding, an asylum, a smaller or secular assembly, a rich or royal establishment like palaces, audience hall for women, Sabha being foi (R.-V., iv, VIDYADHARA A 7, x, men's assembly. 85, 26, 27 4, cf. v, 63, 2, i, 13, it, vn, 66, 4, xvn, i, A.-V., vn, , R.-V., 10, 4 i, 27, , vin, 39, Sam. 38, 4, Maitra. 12, i, 17, x, in, 38, 5, 6, 12, 7 , A.-V., 15.) of demi-gods, a kind of fairy. Their images are measured according to the ninc-tala (see details under TALA-MANA). (M., LVIII, 6, other details 7-14.) class : VIDHANA An entablature. (M., xvi, 20, 43, 203 VINIYOGA-MANDAPA A under PRASTARA.) see refectory, a type of pavilion built in the third, fourth or fifth court of the refections or meals are prepared. compound of (A/., VIPULAftKA A ; xxxn, 8 ; a temple, where see under MANDAPA.) type of storeyed building, a class of six-storeyed buildings. (M., xxiv, 19 VIPULAKRITIKA A ; see under PRASADA.) type of storeyed building, a class of six- storeyed buildings. (M., xxiv, 52 VIPULA-BHOGA A site ; see plan of 676 square plots. (M., vn, 37-38; VIPRA-KANTA A site under PRASADA.) see PADA-VINYASA.) plan in which the whole area is divided into 729 equal squares. (A/., VIPRA-GARBHA A into site VIH, 39-40 ; see under PADA-VINYASA.) plan in which the whole area is divided 576 equal squares. (A/., VIPRA-BHAKTI A site vn, 33-34 ; see under PADA-VINYASA.) plan in which the whole area is divided into 841 equal squares. (M., vii, 460 43-44 ; see under PADA-VINYASA.) VIMANA HINDU ARCHITECTURE VIMANA Etymologically an object measured (from root ma) or prepared or made in various ways ; hence a well-measured conveyance, a balloon, a heavenly car, a temple, building in general, the palace of an emperor, a tower surmounting the sanctuary (garbha- which griha) ' A is made in the centre of the temple. sometimes serving as seat or throne, car or chariot (of the gods) sometimes self-moving and carrying occupants through the skies other descriptions make the Vimana more like a house or palace and one kind that of Ravana was called Pushpakais said to be seven storeys high its ; ; (vimana) ; any car or vehicle ; a horse ; palace of an a palace, the emperor or supreme monarch.' (Pet. Rajato-vimanarh sapta-chakrarh ratham Mdnasdra (Chap, xvm, 1-422), named Vimana Cf. Diet.) I (i) : Vimanas are buildings of one to twelve storeys and are used as residences of gods and men, i.e., the term implies both temples and residential buildings : Taitilanarh dvi-jatinarh varnanarh vasa-yogyakam Eka-bhumi-vimanadi ravi-bhumy avasanakam I I (Ibid., 2, 3 .) ' That the term vimana implies not temples alone but buildings in vimana-vesman,' vimana-sadman,' general, is clear from the expression deva-vimana (god's buildings), etc., which are frequently mentioned ' ' ' ' ' M., (e.g., xii, 214). Further, the general features of all kinds of buildings are described in the chapter (xvm) which is named Vimana : The general comparative measures of different storeys are given (ibid., The (lines 12-91). three styles, namely, Nagara, Dravida, and Vesara are described 92-113). These styles are distinguished generally by the shapes of the stupis (domes), which are next described (lines 114-171). A special account of the lupas (pent-roofs) which are apparently very characteristic features of all buildings is given (lines 171-278). Mukha-bhadras (front porticoes or tabernacles) are also characteristic features of all buildings, large or small, and they are described in detail (279 f.) Spires (stupi-kilas) are also described (lines 144-171, 354-417)... Vimanasya tu sarvesham prajapatyena manayet I (M., u, 55 461 ; see also m, 5-6 ; xiv, 426, etc.) AN ENCYCLOPAEDIA OF VIMANA mandapadlni vastuke Gramadiiiam cha sarvesharh manayen mana-sutrakam Vimane tri-grihe vapi I (M., Purusharh deva-vimanasya I purushcshtakam sthapayet I (M., A tower 01-102.) 1 vi, xii, 2 14.) : Tad-urdhve cha vimanarh cha vcdika-vedikrintakam I (M., xxii, 57.) Mandape dve vimanam syad ekarh va dvi-talam tu va I (M., XXXIV, 221.) Kechid vadanti devanam manushanarii vimanakc (2) I Vistare sapta-shat-pancha-chatus-tryrhse'dhikarh tribhih (Mayama'a, Chap, xx, : 16 (3) Rdmayana, I, 5, 1 Sarva-ratna-samakirnarh vimana-griha-sobhitam 1 v. 8.) I Commentary Vimana-griharh sapta bhumi-griham building), and quotes the following from Nighantu : (a seven-storeyed : Vimano'stri deva-yane conveyance) (god's sapta-bhumau cha sadmani (seven-storeyed building). See also the following : 88, 5 Prasadagra-vimaneshu valabhishu cha sarvada (See further context under PRASADA). II, : 16 II, 2, 32, 4 in, 14 39, 21 12, ; ; ; n, 15, 48 ; 30 iv, 50, v, 12, 25 vi, n, 33, 3 v, 2, v, 13, ; 67, 82 ; ; ; vi, 75, i 53 ; 23 ; Mahdbhdrata, (5) Nana-prakareshu vimaneshu Commentary quotes Medini 185, 23 11, 57, 18 v, 4, 27 v, 53, 19 (4) i, ; ; vi, 75, ; ; ; u, 59, 12 v, 6, v, 54, 23 i 40 ; ; v, ; I n, 88, 5 10, 34 vi, 24, 10 ; ; ; ; v, vi, VH, 101, 14. : I sapta-bhumi-grihe'pi chet See the following Kashas also (N. 121) : Vimanarh vyoma-yane I (6) Hema-chandra (7) Haldjudh-a (8) Amarakosha (i, : (Abhidhdna-chintdmani, 89, 190; 3, 417). 83, etc.). (I, i, i, 4, 3, 36, Pet. Diet.). The essential parts (9) Shad-varga-sahitarh yat tu garbha-griha-samanvitam Andharandhari-harokta-khanda-harmya viseshitam : 1 I 1 Kuta-salanvitam yat tu panjarais cha samanvitam Tilaka-kshudra-nasi-yukta-toranais cha samanvitam I I Brahma-dvara-patakadyair angair yuktam vimanakam II (Kdmikagama, 462 L, 91-93.) HINDU ARCHITECTURE A type VIMANA of quadrangular building : (Chap, civ, vv. 14-15; see under PRASADA). Garuda-Purdna (u) (Chap. XLVII, vv. 24-25; see under PRASADA). There is one other (12) peculiarity common to both Jain and Hindu (10) Agni-Purdna, ' architecture in the north of India that requires notice. It is the form of the towers or spires called sikras or vimanas which invariably surmount the cell in which the images are placed.' Fergusson. (Hist, of Ind. and East. Architecture, A (13) 45 i> p. 221.) car of the gods (Asoka's Rock Edicts, no. iv, Ep. Ind., Vol. n, pp. 467)- A (14) vv. 3, 8, (15) shrine and dome (Ranganatha 10, 22, 30, A Ep. Ind., Vol. of inscrip. Sundarapandya. in. pp. 11-17). shrine (Yenamadala inscrip. of Ganapamba, v. 17, Ep. Ind., Vol. in, pp. 99, 102). ' Having perceived that the central shrine of the god of the which formerly consisted of layers of bricks, Tiruvidaikali (temple) had become old and cracked, the lord of Miladu pulled down the temple, rebuilt the central shrine and the mandapa of granite, placed on the shrine fine solid pitchers (dome) of gold, built a surrounding wall and a mandapa, in front, and gave a canopy of pearls.' (Fourteen (16) . . . . . . K, lines 5-7, Ep. Ind., Vol. vn, pp. 145, 146, 147.) Prasada-malabhir alamkritarh dhararh vidaryyaiva samutthitam (17) Vimana-mala-sadrisani yattra grihani purnnendu-karamalani II inscrip. at Tirukkovalur, no. I Here, cleaving asunder the earth, there rise up houses which are decorated with successions of storeys, which are like rows of aerial chariots ' (and) which are as pure as the rays of the full moon.' (Mandasor stone inscrip. of Kumaragupta, line 7, C. I. I., Vol. in, F. G. I., no. 18, pp. 81, 85.) ' a copy of a stone inscription which existed before the . sacred vimana (i.e. the central shrine) had been pulled down.' -(Inscrip, of Vanavidyadhara, no. 47, line i,H.S. 1. 1., Vol. m, p. 100.) (18) . ' (19) . V'marasa-nayakkan caused to be built vimanas with all the characteristics for the god and goddesses at Ponnuclukki.' necessary Tumkur Taluq, no. 19; Transl., p. 6, The Vimana (of the temple of Paramesvara (Ep. Carnal., Vol. xn, ' (20) has the so-called gaja-prishthakriti shape (i.e., like the para. 2.) at Gudimallam) back of an elephant, but a close study of 104, Ind. Ant., Vol. XL) the plan and sections, given in the accompanying plate (referred to above) , warrant the conclusion that the architect had distinctly in view the shape see plate of the a c-b, liiiga facing page (phallus of Siva) ; ; and hence the vimana might better be styled lirigakriti -vimana.' ' the The gajaprishthakriti-vimana Dharmesvara temple at is found only Manimangalam, 463 in Saiva temples, e.g. the Saiva temples at Suman- AN ENCYCLOPAEDIA OP VIMANA-CHCHHANDAKA Bhara-dvajasrama near Arcot, Tiruppulivanam (Five Bana inscrip. (near Madras), vada Tirumullaivayil, etc.' line note Ind. Vol. 6, Ant., XL, p. 104, Gudimallam, 2.) Pennagaram, galam, Konnur at (21) Nirmisi prakara-svarna-kalasa-yukta-gopura-vimana-sahitam I Created the Chamarajesvara temple together with its precincts, gopura adorned with golden kalaSas, and tower.' (Ep. Carnal., Vol. iv, Chama' Roman Text, p. 18, lines 8-g f.; Transl., p. 1.) The tower of a shrine." Rca. (Chalukyan Architecture, rajnagar Taluq, no. 86 Vimana ' (22) New. Imp. Arch. Surv., 1 ; Series, Vol. xxi, p. 40.) VIMANA-CHCHHANDAKA A class of buildings. A type of building which latticed p. windows is (1) Brihat-samhitd 319 under PRASADA). Matya-Purdna (Chap. CGLXIX, vv. (2) ; seven storeys and has 21 cubits wide, : N. (Chap. LVI, 22, J.R.A.S., Vol. S., vi ; see 28, 32, 33, 47, 53 ; under see PRASADA). (3) Bhaviskya-Purdna (Chap, cxxx, VIVAHA-MANDAPA (see v. 29 A MANDAPA) see ; under PRASADA). pavilion erected for the wedding ceremonies. Mahesvara-khandaprathama, Chap, xxiv, vv. 1-67.) (Shanda-Purana, VIVRITA A type of storeyed building, a class of the nine-storeyed buildings. (M., XXVH, 20-22 VIVE&A A A VIS site ; see under PRASADA.) plan of 625 square plots. (M., vii, 35-36 ; see PADA-VINYASA.) fixed abode. (R.-V., x, 91, 2.) Breadth, an architect, a type of building, a class of pavilions, a type of hall, a site plan of 529 square plots. Compare Mdnasdra (Chapter vn, 31-32 xv, 14; LXVIII, 13; see VlSALA-(KA) ; A PADA-VINYASA.) type of rectangular building (1) (2) : civ, vv. Agni-Purdna (Chap, Garuda-Purdna (Chap. 16-17; XLVII, vv. under PRASADA). 21-22, 26-27; see under see PRASADA). A pavilion MANDAPA) A A see with 100 columns (Suprabheddgama, xxxi, 104 ; see under . class of buildings see under MALIKA). (Kdmikdgama, XLV, 41 (Matsya-Purdna, Chap. CCLXX, ; hall with thirty-eight pillars under MANDAPA). 464 v. u : HINDU ARCHITECTURE VlSALAKSHA A site VISHKAMBHA plan of 784 square plots. (M., vn, 41-42, VI$VA-KANTA A type of storeyed A class of five-storeyed buildings (M., under PADA-VINYASA.) see building. xxxm, 16-18; see under PRA- SADA). A class of nine-storeyed buildings (M., VI&VA-VIDYALAYA A university, xxvu, 27-33; see under PRASADA). a place of learning of universal subjects in Arts and Sciences, comprising various college buildings, prayer halls, residences, etc. The famous were at Taxila, Valabhi, Vikramas'ila, OdanSomapuri, Vikramapuri, and Nalanda. Compare universities Jagaddala, tapuri, big colleges at Bodh-Gaya, Sanchi, Barhut, KausambI, Sarnath, Sravasti, Mathura, Nasika, Amaravati, Nagarjunikunda, Jagayyapeta, Kanchipura, and Madura. For structural details, see NALANDA. Writer's articles on Universities during Hindu Period (University Studies, Kannipattana Allahabad, 1936, the Twentieth Century, July, 1935, the Science and Culture, December, 1935, Modern Review, August, 1935.) VI&VE&A-SARA A site plan in which the whole area divided is into 900 equal squares. (M., vn, 45-46, VISHANA-(KA) The see under PADA-VINYASA.) horn, the tusk, the wing of a building. Vishanaka-samayukto nandanah sa udahritah That (prasada) is called nandana which is furnished with a vishanaka I ' (wing).' (Matsya-Purana, Chap. CGLXIX, v. 33.) VISHKAMBHA The diameter of a the length or width of an object, a post, a pillar, the prop or beam, the bolt or bar of a door. (1) ' Harmya-padasya vishkambham samarh manjusha-vistritih The sion.' circle, length of the vault (M., xii, is I equal to the width at the foot of the man- 29.) (2) Dvarasyardhena vishkambhah (3) SashtamSo vishkambho dvarasya dvi-guna uchhrayah see J. R. A. S., N. S., Vol. vi, (Ibid., v. 25 Tehsam ayama-vishkambhah sannivesarhtarani cha ' half of the door gives the width (Brihat-sarhhitd, ; '. LHI, 24.) I p. 284, note 3.) I Kritrimanarh cha durganarh vishkambhayamam eva cha Yojanad arddha-vishkambham ashta-bhagadhikayatam (Brahmanda-Purana, Part i, and anusharaga- pada, Chap, vn, 465 I 1 1 w. 94, 106.) AN ENCYCLOPAEDIA OF VISHNU-KANTA Chatur-dandavakrishtam parikhayah shad-dandochchhritam avaruddharh tad-dvi-guna-vishkambharh khatad vaprarh karayet Vaprasyopari prakararh vishkambha-dvi-gunotsedham dvi-hasta-vishkambham Antareshu parsve chaturgunayamam (4) I I anuprakararh ashta-hastayatarh deva-patharh karayet (Kautiliya-Artha-sastra, I Chap, xxiv, paras. 3, 5,10, pp. 51-52.) VISHNU-KANTA A of storeyed buildings, a type of column, a type of gate-house, a kind of phallus, a jewel. class A class of four-story ed buildings A jewel (M., XH, 90, An (M., xxii, 3-12 ; see under PRASADA). etc.). octagonal column with eight minor pillars (M., xv, 20, 245, see under STAMBHA). A gate-house with sixteen A kind of phallus (M., LII, VISHNU-GARBHA tion prescribed for towers (M., xxxni, 557 154 ; see ; under GOPURA). see under LINGA). under GARBHA-NYASA) the Vishnu temples. (See A kind of founda(M.,xn, 141.) VISTARA VIHARA Breadth, length under MANA). (see Originally monasteries for Buddhist monks and nuns ; later at the time of Nalanda University, the residential quarters for the professors (compare Sangarama), a dwelling, a habitation for gods and for monks, a temple, a convent (W. Geiger, Mahdvams'a, a group of apartments for a community of monks, a p. 297) Sangarama or monastery in Ceylon and Nepal used to designate not only a cell but also any monastic establishment (Fergusson, ; ' A Buddhist monastery, a Arch., 1910, i, p. 170). a With the and Buddhists convent, temple. Jains was a hall where the monks met and walked about ; afterwards these halls came to and East. Ind. ' be used as temples and sometimes became the centres of monastic establishments.' (1) Prag-GangesVara-sannidhau . . amalam Sri-Lokanathaspadam . chakre-darumayarh viharam | Made a spotless vihara''of wood, an abode for the Lord of the World, in the vicinity of the GangesVara (temple).' (Arigom Sarada inscrip., v. ' a, Ep. (2) Ind., Vol. ix, p. 302.) Viharo nava-khanda-mandala-mahl-harah krito'yarh taya tarinya vasudharaya nanu vapur vibhranyalarhkritah I 466 HINDU ARCHITECTURE Yam VIHARA drishtva pratichitra-s'ilpa-rachana-chaturyya-simas'rayarh girvanaih sudrisarh cha vismayam agad visvakarmapi sah n This vihara, an ornament to the earth, the round of which consists of nine segments, was made by her, and decorated as it were by Vasudhara ' and even the Creator himself was taken with wonder when he saw it accomplished with the highest skill in the applying of wonderful arts and looking handsome (with the images of) gods.' herself in the shape of Tarini, (Sarnath inscrip. of Kumaradevi, v. 21, Ep. Ind., Vol. rx, pp. 325, 327.) work the term vihara is applied only to monasThroughout (3) abodes of monks or hermits. It was not, however, used in that teries, the restricted sense only, in former times, though it has been so by all modern Hiouen Thsang, for instance, calls the great tower at Buddhwriters. Gaya a vihara, and describes similar towers at Nalanda, 200 and 300 feet The Mahawanso also applies the term indiscriminately high, as viharas. to temples of a certain class, and to residences. My impression is that all in storeys were called viharas (?), whether used for the buildings designed abode of priests or to enshrine relics or images. The name was used to distinguish them from stupas or towers, which were relic shrines, or erected as memorials of places or events, and never were residences or simulated ' this to be such, or contained images, At present this is only a theory.' (This is a false impression ; it is till the last gasp of the style, as at Kholvi not substantiated by literary or archaeo- logical evidences.) ' these (viharas or monasteries) resemble very closely corresponding institutions among Christians. In the earlier ages they accompanied, but were detached from the chaityas or churches. In later Like the chaityas, times they were furnished with chapels and altars in which the service could be performed independently of the chaitya halls, which may or may not be found in their proximity.' Fergusson. (Hist, of Ind. and East. Arch., pp. 130, note i, 51.) For the photographic views and architectural details of the existing viharas, see Fergusson Diagram explanatory of the arrangement of a Buddhsit vihara of four : storeys in height (p. 134, fig. 67, 66). Ajunta-Vihdras (p. 154-155, fig. 83, 84, 85). Plan of the great Vihara at Bagh (p. 160, fig. 87). Plan of Dehrwarra at Ellora (p. 163, fig. 88). Plan of Monastery at Jamalgiri (p. 171, fig. 92). Plan of Monastery at Takht-i-Bahi (p. 171, fig. 93). PU\n of Ionic Monastery at Sha Dehri 467 (p. 176, fig. 96). AN ENCYCLOPAEDIA OF VIHRITA Buddhist Gave Temples (Arch. (4) See Surv., New Imp. Series, Vol. iv, Plate xxvn). architectural ornament, a moulding, a VIHRITA An the upper part of a column. (M., xv, 78 VINA A flute, ; see the list moulding of of mouldings under STAMBHA.) a lute, a carving on the chariot. 163, etc.) (A/., XLIII, VITHI(-I) A road, a way, a street, a market place, a a shop, stall, a terrace. vidhiyate Madhya-rathyavrita vithi samam tri-dandakam Mukhya vithi dvi-paksha syad griha-tararh evarh I Evam bahya-vithi syad antar-vithir ihochyate hinarh tu margakam Paksha-yukta tu vithi syat paksha vistritir bhavet vfthinarh va I I Tri-chatush-pancha-dandarh va Shat-saptashta-dandarh va nanda-panktisa-bhanurh Evarh tu svastika-vithi langalakaravad bhavet I I I I Antar-vithi chaika-paksha bahya-vlthi dvi-pakshaka Paritas tu maha-vithir vither esha dvi-pakshayuk I I Vithinarh parsvayor dese vithikadyair alankritam I 2 (M., ix, 345. 347. 352, 426, 43i Pada-dandarh 463 5I9-) I pada-pada-vivardhitam vithi-manam eka-das"a-dandantam ihagame II Syad Marga-manarh tu tavat syan na dvararh vithikagrake samarabhya I (Kamikagama, xxv, VlTHIKA A see 101, 104, 191, 196, 199, 200, 338, 396, 477, 5 9 \' also 99, 136, 184-187, 197, 201, 203, 206, 324, 339, 4, 5.) a narrow street, see Brihat-samhita below.) a road, gallery, a picture gallery, a lane. (i) Salato yas tritiyarhSas tena karya tu vithika (Kiranakhya-Tantra (a) Sala-tri-bhaga-tulya ; I cha kartavya vithika bahih (Visvaka ; I see Brihat-samhita, below.) vithika bahir-bhavanat (3) Sala-tri-bhaga-tulya kartavya Outside the dwelling one should make a gallery, being in width a N. S., Vol. vi, of the hall.' third (Brihat-samhita, mi, 20, J.R.A.S., I 1 part note 2.) p. 283, tu chatu-rathyagrad avrita vithika tatah Asmat (4) de^e vavrita vithika bhavet I Tat-paisacha-pade 468 I HINDU ARCHITECTURE VlRA-^ASANA AntaS-chatush-padam madhye vlthikagram chatur-disi Vithlnam parsvayor dee vithikadyair alarikritam I I (M., VlRA-KANTHA ix, 337, 434, 478, 529 A warrior's VIRA-GALA) (see ; see also 323, 334-336.) neck, a part of the column, a monument. (Suprabhedagama, xxxi, 59 VlRA-KARNA A warrior's ear, ; see under STAMBHA.) a part of the column, a monument. (M., xv, 49, 81, 142.) VlRA-KANDA An upper part of the column. Tri-bhago maulikotsedhah vlra-kandad upary-adhah Vlra-kandavadhi kshepya tad-urdhve nakra-pattika 1 II 1 (Kamikdgama, LV, 62, in.) VlRA-GALA A BIRA-GALA) (see warrior's neck, a monument, a memorial. A A monumental stone (Ind. Ant., Vol. ix, p. 96, c. 2, line 10). memory of a fallen warrior (Chalukyan Architecture, Imp. Series, Vol. xxi, p. 40). stone erected in Arch. Surv., New. VlRA-PATTA The front plate, the diadem, of heroes forming part of a crown. (These pearls) were strung on two strings (vadam) on both sides of the front plate (vlra-patta), literally the diadem of heroes, " this ornament forms part of a crown," Vol. n, p. 242, note i.)' (Inscrip. of Rajendra Chola, no. 8, para. 25, H. S. L /., Vol. n, p. 90.) ' (1) Given the image of Ardha-narisvara) one front plate (virainclusive of sixteen nerunji (a kind of thistle), flowers patta), weighing, made of gold, four karanju and three manjadi, and worth three kasu.' ' (2) ' On (it) to were strung one hundred and eleven pearls, viz., old pearls, round pearls, roundish pearls, polished pearls, small pearls, ambumudut crude pearls, Sappatti and sakkattu.' (Inscrip. of Rajraja, no. 39, para. 9, H.S.I.I., Vol. n, p. ' (3) One 1 66.) front plate (vira-patta), laid (round the head of the image of Kshetrapala and consisting of) seven manjadi of gold.' (Inscrip. of Rajendra Chola, no. 43, para. 5, H. S. 1. 1., Vol. n, p. 1 73.) One diadem (vlra-patta), made for the lord of the Sri-Raja(4) ' ' rajeSvara temple Vol. n, p. 242.) VlRA-SASANA . . . (see (Inscrip. of Rajraja, no. 59, para. 22, BIRA-GALA and VIRA-GALA) a memorial. 469 A H. S. I. I. monument, VIRASANA AJf VlRASANA A A A ENCYCLOPAEDIA OF throne, a type of pavilion. kind of coronation throne (M., XLV, 41 see under SIMHASANA). (Suprabheddgama, xxxi, 102 pavilion with twenty columns ; ; see under MANDAPA). A circular object, a kind of mound VRITA(-TTA) column, a type of building, a class of pavilions. Dva-trims'ata tu vritta madhye pralinako (Bfihat-samhitd, LIII, iti 28 vrittah ; I under STAMBHA.) see A type of building which is circular in shape, has one storey and one According to Kern's interpretation it is dark in the interior cupola. (anjanarupa, Varaha-mihira (1) Brihat-samhitd note i, see ; sandhyakara, Kasyapa) (Chap. LVI, 28, J. R. A. w. 29, 49, 53 Bhavishya-Purdna (Chap, cxxx, v. 30, type of pavilion (mandapa) : (3) A (Chap, xxx, under JAYA-BHADRA) Suprabheddgama (4) bhadra ; N. Vol. vi, p. 320, S., under PRASADA.) Matsya-Purdna (Chap. CCLXIX, (2) S., : see 100, see 102 ; see under PRASADA.) under PRASADA.) where is it called Jaya- . ' Within this and rising from a ledging of cut stone 4 feet and high 3 broad, stand the walls of the temple, a perfect circle about 20 feet high and 2 thick, with a handsome cornice of brick encircling Cf. (5) the top. The whole appears to have been coated with five pilaster small parts of which still adhere. I examined closely but could not discover the smallest appearance of its ever having had a roof.' Lieut. Fagan. (An Account of the Ruins of Topary, Ceylon Govt. Gazette, Aug., i 1820, Ind. Ant., Vol. xxxvm, p. no, c. i, para i, line 24.) . VRIDDHA A finial, a spire, the top-part of a building. (M., xvii, 126 VRISHA-(BHA) The bull, the riding ; see under SIKHA.) animal of a god, a type of building. The see riding animal of Siva, description of his image (M., LXU, 2-7) under VAHANA.) A type of building which has one storey, one turret (sringa), everywhere and twelve cubits wide is round Vol. vi, p. see under : (1) Brihat-samhitd 319 ; (2) see (Chap. LVI, 26, J. R. A. under PRASADA). S., N. S., Matsya-Purdna (Chap. CCLXIX, vv. 30, 36, 44, 45, 53 PRASADA). 47 ; HWDU (3) ARCHITECTURE (2) v. Bhamshya-Purana (Chap, cxxx, A type of oval (1} VEDI-(KA) see 33; under PRASADA). building Agni-Purdna (Chap, civ, vv. 19-20 see under PRASADA.) Garuda-Purdna (Chap. XLVII, vv. 29-30 see under PRASADA.) : ; ; VRISHABHALAYA A building near detached temple where the bull (nandin) is the Vrishabhasyopari-bhage of a installed. Prakara-dvara-sarvesharh kalpayed vrishabhalayam tu gate I kalpayed bali-plthakam I (M., xxxii, 98-99.) VRISHA-MANDAPA A pavilion where the nandin or bull in- is stalled. Suprdbheddgama (xxxi, 96, 98 mandapam Vrishasya ; under MANDAPA) and compare chatur-dvara-samayutam see tatra (Ibid., VETRA The : I xxxi, 133. cane, a stick, an architectural ornament, a moulding. A moulding of the diadem (makuta) (M., A moulding of the bedstead (M., XLIV, 41.) An ornament XLIX, 99-100). of the throne (M., XLV, 162, 188 ; see also M., vn, 241.) Originally a hall for reading the Vedas in, an altar, a stand, a basis, a pedestal, a bench, a kind of covered verandah or balcony in a courtyard, a moulding, bands or string-courses carved VEDI-(KA) ' with rail-pattern.' The platform of a stage (Bharata's Ndlya-sdstra n, 102, see details under terrace with balustrade NATYA-GRIHA(VISMA), terrace, altar, rail, (Dipavarhfa H, p. 181-183, Oldenburg). Pdshdnavedi and Sildvedi Compare (Mahdvarhsa, 36, 52, 103), Muddhavedi and Pdda-vedi (ibid., 35, (W. Geiger, Mahdvamfa, pp. 296-297.) 2.) Salantam vedikordhve tu yuddhartharh kalpayet sudhih (i) (M., A moulding of the column I ix, 36).) : Griva-turigarh tridha bhajyarh ekamse vedikonnatam I (M., xv, 105.) ' The quadrangular spot in the courtyard That portion of a building which (Apte). is of a temple or palace covered by the walls (M., xrx, 25). Crdhve padodaye bandham bhagam ekamsa-vedikam I (M., xix, 99.) The portion above the neck-part of a building (M., xxu, 50, 54, 57, etc.). 471 AX ENCYCLOPAEDIA OF VEDI-(KA) The altar or dais (M., LXX, 29, 35, etc.). Kuryat sarvam vedikam bhadra-yuktam I (M., XK, Tri-chuli mahi-bhritam (2) vaisya-Sudranam pancha-sapta Brahmananam tathaiva syur ekadaSa tu vedikah II 1 80.) I It should be noticed that ' vedika ' and ' chuli ' refer to the (Kdmikagama, xxxv, 60.) object. The basement : Prasada-bhushanam vakshye Sruyatam dvija-sattamah Syat pada-prastaram griva varge mule tu vedika 1 I 1 LV, (Ibid, (3) same Vedikeyam tu samanya kuttimanam prakirtita chotsedhe chatur-vims'ati Pratikramasya bhajite i.) I II Vedika-prastara-samam shad-ams'ikritya bhagas"ah Ekarhs'am prati-pa^tam syad am^abhyam antarlbhavet I ( Vastu-vidya, ed. Sastri, II ix, Kanchanair bahubhih stambhair vedikabhiS cha Sobhitah (5) (Nalinim) (Rdmayana, . . . 23.) 19, (4) | vi, 3, 18, etc.) maha-mani-sila-patta-baddha-paryanta-vedikam | (Mahabhdrata, n, 3, 32, etc.) (6) Athatah sampravakshyami pratishtha-vidhim uttamam | Kunda-mandapa-vedlnam pramanarh cha yatha-kramam Prasadasyottare vapi purve va mandapo bhavet Hastan shoda^a kurvita da^a dva-dasa va punah 1 1 I Madhye-vedikaya yuktah parikshiptah samantatah Pancha-saptapi chaturah karan kurvita vedikam From 1 1 1 I (Matsya-Purana, Chap. CCLXIV, vv. i, 13, 14 ; see also Chap. CCLXIX, vv. 13, 18.) measures given here to the vedi or vedika, it and some imply platform other than the pedestal or throne of the position appears to 1 the idol. (7) Tad-urdhvarh tu bhaved vedi sakantha manasarakam Urddhvarh cha vedika-manat kalasam parikalpayet II || (Agni-Purana, Chap. XLII, vv. (8) Mandaparh cha su-vistirnam Tan-madhye mandapam vedikabhir manoramam 1 17, 18.) 1 kritva vedirh tatra su-nirmalam 1 1 (Skanda-Purana, Mahe^vara-khanda-prathama, Chap, xxiv, v. 2, Vaishnava-khandadvitiya, (9) See specimens of Jaina sculptures from Mathura Vol. n, p. 319, last para.). 472 Chap, xxv, (Plate ni, v. 26.) Ep. Ind., HINDU ARCHITECTURE VEDI-(KA) (10) Hathi cha puvado hathinam cha uparima hethima cha veyika the elephants and, before the elephants, the rail-mouldings above and below.' (Karle inscrip. nos. 3, 17, 18, Ep. Ind., Vol. vn, pp. 51, 63-64.) ' dirggha-valabhirh sa-vedikam other long buildings on the roofs of the houses, with arbours in them, are beautiful.' (Mandasor stone inscrip. of Kumaragupta, lines 6-7> C. 1. 1., Vol. in, F. G. I., no. 18, pp. 81, 85.) ( ' 1 1 Chanyany abhanti ) I And Esha (12) kulachalaih bhati parivrita praleya-sarhsarggibhir vvedi meru-sileva kanchana-mayi devasya visrama-bhuh ' I Subhraih pranta-vikasi-pankaja-dalair ity-akalayya svayarii raupyam padmam achikarat paSupateh pujartham aty-ujjvalam II Thinking that this throne on which the deity rests, golden-like mouns meru, was surrounded by the imperishable (seven) primeval mountains covered by snow, (the king) himself caused an exceedingly resplendent silver lotus with brilliant wide opened petals to be made for the worship of Palupati.' ' (The poet tries to prove that the lotus resembles the shrine of PasuAs the latter is of gold, so the centre also of the lotus is golden, and pati. as the temple is surrounded by snowy mountains, so the petals of the lotus made of Vol. rx, are Ant.y ' (13) Gloss, to silver).' (Inscrip. from Nepal, no. 15, of Yaya-deva, Vedi (bedi) Hall for reading the Vedas General Cunningham's Arch. Surv. Reports.) (14) See v. 25, Ind. pp. 179, 182). Cunningham, Arch. Surv. Reports (Vol. in.' (Vincent-Smit^ xvu, Plate xxxi, Buddhist railings). Veyika, which, as well as Vedika and vetika in other Buddhist inscriptions, stands for Sanskrit vedika, does not mean altar, dais, etc., ' (15) but hands or string-courses carved with rail-pattern compare Mahdvamsa, Dr. Burgess. 228,' (Karle inscrip. no. 3, Arch. Surv., New Imp. Series, Vol. iv, p. 90, note 3 see also nos. 15, 16 Kshatrapa inscrip. no. 3.) These ? have (16) (rails, recently been discovered to be one of vedi) : : ; ' the most important features of Buddhist architecture. Generally they are foui.d surrounding topes, but they are also represented as enclosing sacred tree?, an I temples and East. pillars, and other objects.' Fergusson. (Hist, of Ind. Arch., p. 50.) See the photographic views Rails in Fergusson and architectural details of the following : Buddh Gaya Rail (p. 86, figs. 25, 26). Rail at Bharhut (p. 88, fig. 27). Rail at Sanchi (p. 92-93, figs. 29, 30, 31). Rail in Gautamiputra Cave (p. 94, fig. 32). 473 AN ENCYCLOPAEDIA OF VEDIKA-VATAPANA VEDIKA-VATAPANA A balustrade. (S. B. E. } xx, p. 104, 4, 3 W. A VEDI-KANTA-(KA) 162, 4, p. ; 4 ; Geiger, Mahdvariiia, p. 297.) type of storeyed a building, class of four-storeyed buildings. (M., xxii, 58-59 VEDI-BANDHA The ; see under PRASADA.) pedestal, the base, the basement. Prasadau nirgatau karyau kapotau garbha-manatah | Drdhvam bhitty-uchchhrayat tasya manjarirh tu prakalpayet ManjaryaS chardha-bhagena Suka-nasarh prakalpayet 1 1 I Ordhvarh tathardha-bhagena vedi-bandho bhaved iha II (Visvak 6, 767, S., N. S., Vol. vi, pp. 421, 320, note 2.) J. R. A. These are identical lines the in Matsya-Purdna (Chap. CCLXIX, vv. H-I3-) VEDI-BHADRA One of the three classes of pedestals, the other two being Prati-bhadra and Mancha-bhadra. It has four types differing from one another in the addition or omission of some mouldings and in height. (A/., XHI, VE&ANA An 27-53 > entrance, a gate, see ^e list of mouldings under UPAP!THA.) a gateway, a band, an architec- tural moulding. Eka-dvi-tri-dandarh va chantaralasya vesanarh syat Harmya-vasad upa-vesanarh yuktam I I (M., xrx, 191, 187.) A band Cf. in connexion with joinery (M., xvn, Crdhva-kuta-vesanam 139). I (M., xx, 72.) . . . bhitti-vistaram eva cha I Sesham tad-gar bha-geharh tu madhya-bhage vesanam tu (M., xxxin, 333-334 In connexion with chariots : Kukshasya veSanam I see ; also 488.) I (Af.jXLin, 14) In connexion with the phallus : Liriga-tunga-viSesham syad vesanarh tan nayet budhah | (M., VE&MAN A ' house as the place where one (R.-V., x, 107, 10 ; 146, 3 ; A.-V., v, 17, 13 474 ; ix, 6, is 30 settled. ; ui, 313.) ' Ait. Bra. vin, 24, 6.) VYAGHRA-NlDA HINDU ARCHITECTURE VESARA A style of architecture, once prevailing in the ancient Vesara or Telugu country, India between the Vindhyas and the Krishna corresponding to Tamil India (S. K. Aiyangar, J.I.S.O.A., ' ' Vol. n, no. i, p. 23-27.) under NAGARA.) (See details VAIJAYANTIKA A type of building, a class of single-storeyed buildings. (M., xix, 166 VAIRAJA A follows : class Meru, (i) Sarvato-bhadra, and (2) square in plan and named as (3) Vimana, (4) Bhadra, (5) of buildings, Mandara, Ruchaka, (7) Nandika, (2) Nandi-varddhana (8) Srivatsa. (9) (1) (6) under PRASADA.) see ; Agni-Purana (Chap, civ, w. n, 14-15; we under PRASADA). Garuda-Purdna (Chap. XLVII, vv. 21-22, 24-25; see under PRASADA) VAI&YA-GARBHA (see A GARBHA-NYASA) kind of foundation prescribed for the buildings of the Vaisyas. (M., xn, 162; VYAJANA A fan, an account of its (M., architectural details. name of a 46, 97-110 L, VYAYA One of the six Varga-formulas, the under GARBHA-NYASA.) see 1 ' ) see year. under SHAD-VARGA.) Srimach-chhali-sakabdake cha galite nagabhra-banerhdubhis chabde sad-vyaya-namni-chaitra-sita-shashthyam saumya-vare vrishe ' in the excellent year named Yyaya And . . Ep. Ind., Vol. vui, pp. Sali-vahana-saka-varsha v. 6, line 7, 131, 134, 124.) (1508) neya vyaya-sarhvatsarada) In the Salivahana saka year which corresponded to the Vyaya sarh- vatsara ' (2) lent I . (Karkala inscrip. of Bhairava n, ' BHUSHANA.) an architectural measure, (See details i ; . . I '(Ibid., line 9.) the year of glorious era called Salisaka, having the excelof Vyaya and to be expressed in words by the elephants, the . When name ' and the moon, had expired The month Chaitra of the Vyaya samvatsara, which was the year of the Sri-Salivahana Saka 1508.' (Sasana of the Jaina Temple at Karkala, sky, the arrows, . . . ' Ind. Ant., Vol. v, p. 43, c. i, lines, 23, 32.) VYAGHRA-NlDA The cage for a domesticated tiger, included in the articles of furniture. (M., L, 55, 475 251-269 ; see under BHUSHAIJA.) AX ENCYCLOPAEDIA OF VYALA-TORANA VYALA-TORANA (see An TORANA) arch marked with the leo- graph. Tatah samabhyunnata-purvva-kayas tenadhirudhah sa naradhipena torana-vyala(ka)-vaddha Samutpatann uttama-sattva-vegah khe I bhase 1 1 (Jatakamdla, Sarabha-jataka, xxv, 22; v. 19, ed. Kern, p. 165.) &AKTI female Power, energy, capacity, strength, female the divinity, deities in general. Mdnasdra (Chap. LIV, 1-195), named Sakti : Sarasvati or goddess of learning, Lakshmi or goddess of wealth and fortune, Mahi or the earth goddess, Manonmani (Manah-unmadini) Sapta-matri or the seven goddesses collectively so called, and Durga are the different phases of Sakti (lines 2-4). Of these, LakSmi is distinguished into Maha or the great Lakshmi and or goddess of love, or the ordinary Lakshmi, the latter being installed in all family chapels (lines 63-64). The seven goddesses consist of Varahi, Kaumari, Samanya Chamundl, Mahendri, Bhairavi, and Vaishnavl, Brahman! (lines 126-127). These seven goddesses are measured in the nine-tala system (line 128) all other female deities are measured in the ten-tala system (lines 34-38). ; TALA-MANA. Details of these measures will be found under The sculptural details include the measures of the limbs, and the poses , features of each of these female deities are des- and the ornaments and cribed in detail (lines 4-128, 132-195). Cf. Matri-ganah kartavyah sva-nama-devanurupakrita-chihnah (Brihat-samhita, S AKTI-DHVAJA A Lvm, 56.) moulding of the column. (M. xv, 77 &AfrKU A I ; see lists of mouldings under STAMBHA.) a peg, a post, a pole, a measuring rod, the gnomon by means of which the cardinal points are ascertained for the orientation of buildings (see details under DVARA) stake, . See THUNA : The memorial up at the four corners of Smasana (grave and cemetery) (Sat. Bra., xm, 8, 4, i iv, 2, 5, 15 Kdt. SrAuta Sutra, xxi, 3, 31) upon which Yama makes seats for the departed pillar set ; (R-V., x, 18, 3 ; A.-V., xvni, 3, 52). 476 ; HINDU ARCHITECTURE Mdnasdra (Chap, (1) 1-120, vi, named Sanku) : down on the principles of dialling and for ascertaining the The gnomon is made of some cardinal points by means of a gnomon. It may be 24, 18, or 12 afigulas particular wood (lines 10-12, 106-108). in length and the width at the base should be respectively 6, 5, and 4 Rules are laid It tapers from bottom towards the top (line 14). 13-22). The rules are described (lines 23-88) but they are more explicit in the quotations given below. As regards the principles of dialling, each of the angulas (lines ; divided into groups of ten days each, and the increase and decrease of shadow (or days, as stated by Vitruvius, see below) are twelve months is calculated in these several parts of the different months. Pegs (khata-s'anku) are stated to be posted in the foundations (lines 118). no- (Chap, in, w. 1-51, 2, 3, 4) the of the dial and description of its parts (vv. 1-6) measure of amplitude (v. 7), of the gnomon, hypotenuse and shadow, (2) Surya-siddhdnta : Construction ; any two being given to find out the third 8) (v. ; precession of the to find, the equinoctial shadow (w. 12-13) equinoxes (vv. 9-12) from the equinoctial shadow the latitude and co-latitude (w. 13-14) the sun's declination being known, to find from a given shadow at ; ; ; his noon, 14-17) ; to find, the latitude, zenith-distance, and sine its and cosine (vv. latitude being given to find the equinoctial shadow (v. 17) ; from the latitude and the sun's zenith, distance at noon, and his true and mean longitude (w. 17-30) latitude and declination being given, to find the noon-shadow and hypotenuse from the sun's declination and the equinoctial shadow to (w. 21-22) to find from the equinfind the measure of the amplitude (vv. 22-23) octial shadow and the measure of amplitude at any given time the base to find the hypotenuse of the shadow when of the shadow (vv. 23-25) his declination, ; ; ; ; the sun and the the sun's declination (vv. 25-27) to find the sine and the measure of upon the prime-vertical is latitude ; being given, to find the sine of the altitude and zenithamplitude (w. 27-28) distance of the sun, when upon the south-east and south-west vertical ; circles (vv. (w. 33-34) given, 28-33) ; shadow and hypotenuse and the hour-angle being and zenith-distance, and the to find ^the corresponding ; the sun's ascensional difference to find the sines of his altitude to find, by a concorresponding shadow and hypotenuse (vv. 34-36) from the shadow of the trary process, given time, the sun's altitude ; and zenith-distance and the hour-angle (w. 37-39) the sun's amplitude longitude (w. 40-41) to the latitude and known to find his declination and true draw the path described by the extremity of being ; ; 477 AN ENCYCLOPAEDIA OF to find arcs of the right and oblique ascension ; several the the sun's signs of the ecliptic (w. 42-45) corresponding to time to find the the of the and known, being point longitude ecliptic the sun's longitude and the which is upon the horizon (vv. 46-48) shadow the (vv. 41-42) ; ; hour-angle being known upon the meridian (v. to 49) ; point of the ecliptic which is and the determination of time by means find the of these data (w. 50-51).' On the surface of a stone levelled with water or on the levelled floor ' chunam work, number of and mark the gnomon digits. shadow the the before where and after two points noon meets (of gnomon) these two points are called the east and the circumference of the circle Then draw a line through the timi (fish) the west points (respectively) the east and west points and it will be the north and formed between (said) of the describe a circle with a radius of a certain of 12 digits as Place the vertical its centre ; . south line or the meridian (To draw a given points, line.' perpendicular to and bisecting the line joining two usual to describe two arcs from the two given points as line it is common the radius, intersecting each other in two points the is the line In this through intersecting points required. construction the space contained by the intersecting arcs is called Timi ', centres with a ; line passing ' a fish, on account of its form). And thus, draw a line through the timi formed between the north and the south points of the meridian line this line would be the east and ' ; west ' line.' In the same manner, determine the intermediate directions through the timis formed between the points of the determined directions (east, south, etc.).' rules for (3) The Siddhdnta-Siromani (Chap, vn, w. 36-39) refers to the ' the on directions means of a resolving questions by gnomon. But it ' we are discussing here. section Chap, n, 4) lays down a few of the gnomon of 12 digits as well as the does not apparently deal with the cardinal points (4) The Llldvatl (xi i-io, part 2, shadow height of the lamp by which the shadow is caused in this case instead of by the sun. But it has no specific reference to the cardinal points. (5) See Ram Raz (Ess. Arch, of Hind., pp. 19-20). (6) Rev. Kearns gives some extracts from Myen (Maya) (Ind. Ant., rules for ascertaining the Vol. v, p. 231) : Rule I Stand with the sun to your right, join your hands horizontally erect the index-finger from the middle. If the reject the thumbs shadow of the erect finger extends to the outer edge of the finger next ' 478 HINDU ARCHITECTURE to the index-finger of the left adjacent past sunrise, When and hand it denotes 48 minutes so on.' the sun has passed the meridian, the position must be altered accordingly. Rule IITake a straw eleven place it on the ground, bend one part to serve as a gnomon, the gnomon being erected it, raising The height of the the sun, east or west of the meridian. against the end of the bent is found by raising portion no higher gnomon ' fingers in length, suffices exactly to throw its shadow to the extreme point of the recumbent portion of the remainder of the straw. The gnomon Ascertain how many fingers it so found gives the time of day. than contains (7) the ; The sum is the time in Indian hours.' details given above may be compared for further knowledge of the subject with those quoted below from Vitruvius Thus are expressed the number and names of the winds and the To find and lay down their situation we points whence they blow. : ' proceed as follows Let a marble slab be fixed level in the centre of the space enclosed by the walls, or let the ground be smoothed or levelled, so that the : ' In the centre of this plane, for the purpose not be necessary. of marking the shadow correctly, a brazen gnomon must be erected. slab may The Greeks call this gnomon skiatheras.' The shadow cast by the gnomon is to be marked about the fifth and the hour extreme anti-meridional point of the shadow accurately From the central point of the space whereon the determined. ' gnomon the the as a stands, shadow centre, just observed, meridian, the cast till which has been described. of the a circle. shadow which watch the moment when the circumference with a distance describe its equal to the length of After the sun has passed the gnomon continues to extremity again touches the circle the two points, thus obtained in describe two arcs intersecting each From circle, other and through their intersection and the centre of the circle first described draw a line to its extremity ; this line will indicate the north and south points. One-sixteenth part of the circumference of the whole circle ' is to be set out to the right and left of the north and south points and drawing lines from the points thus obtained to the centre of the circle, we have oneeighth part of the circumference for the region of the north, and another Divide the remainders of the eighth part for the region of the south. circumference on each side into three equal parts 479 and the divisions or AN ENCYCLOPAEDIA OF then let the directions regions of the eight winds will be then obtained of the streets and lanes be determined by the tendency of the lines which ; separate the different regions of the winds. Inasmuch as the brevity with which the foregoing . . .' ' may prevent their being clearly understood, I rules are laid have thought it down right to add . The first shows undertsanding thereof two figures. the precise regions whence the different winds blow, the second, the method of disposing the streets in such a manner as to dissipate the violence of the for the clearer . . ' winds and render them innoxious. Let A be the centre of a perfectly level and plane tablet whereon a gnomon is erected. The ante-meridional shadow of the gnomon being marked at B, from A, as a centre with the distance AB, describe a comThen replacing the gnomon correctly, watch its increasing plete circle. shadow, which after the sun has passed his meridian, will gradually lengthen till it become exactly equal to the shadow made in the forenoon, then again touching the circle at the point C, from the points B and C, as centres, From the point D, through the describe two arcs cutting each other in D. centre of the circle, draw the line EF, which will give the north and south ' Divide the whole circle into sixteen parts. From the point E, points. at which the southern end of the meridian line touches the circle, set off G and H to the right and left a distance, equal to one of the said sixin the same manner on the north side, placing one foot and teenth parts, of the compasses on the point F, mark on each side the points / and K, and with lines drawn through the centre of the circle, join the points GK will be given to the south wind and and HI, so that the space from G to that from / to K to the north wind. The remaining spaces its region on the right and left are each to be divided into three equal parts the extreme points of the dividing lines on the east sides, to be designated by the those on the west by the letters NO letters L and from to and from L to JV draw lines crossing each other and thus the whole circumat H ; ; M : : M : ference will be divided into eight equal spaces for the winds. The figure thus described will be furnished with a letter at each angle of the Book I, Chap. vi). a It is clearly by divine and surprising arrangement, that the equinocare of different lengths in Athens, Alexandria, Rome, gnomons octagon ' tial '. (Vitruvius, Placenza and in other parts of the earth. Hence the construction of dials which they are to be erected for from the size of the equinoctial shadow, are formed analemmata, by means of which the shadows of gnomons are adjusted to the situation of the place and the lines which mark the hours. By an analemma is meant a rule varies according to the places in : deduced from the sun's course and founded on observation of the increase 480 HINDU ARCHITECTURE solstice, by means of which, with mechanical the use of and compasses, we arrive at an accurate knowledge operations of the shadow from the winter of the true shape of the world.' ' From the doctrines of the (Book Chap, ix, iv.) philosophers above mentioned, are ex- tracted the principles of dialling and the explanation of the increase and decrease of the days (shadows in the Mdnasara) in the different months. The sun at the times of the equinoxes, that is, when he is in Aries of Libra, casts a shadow in the latitude of Rome equal to eight-ninths of the length of the gnomon. At Athens the length of the shadows is three-fourths of Rhodes five-sevenths at Tarentum nine-elevenths and thus at all other places the shadows of the at Alexandria three-fifths at the equinoxes naturally differ. Hence in whatever place a gnomon dial is to be erected, we must first obtain the equinoctial shadow. If, as at Rome, the shadow be eight-ninths of the gnomon, let a line be drawn on a plane surface, in the centre whereof is raised a perpendicular thereto this is called the gnomon, and from the line on the plane in the direction of the gnomon let nine equal parts be measured. Let the end of the ninth part A, be considered as a centre, and extending the compasses from that that of the gnomon ; at ; ; ; ; centre to the extremity is called the meridian. B of the said line, let a circle be described. This Then of those nine parts between the plane and the point of the gnomon, let eight be allotted to the line on the plane, whose extremity is marked C. This will be the equinoctial shadow of From the point C through the centre A, let a line be drawn, the gnomon. and ray of the sun at the equinoxes. Extend the compasses from the centre to the line on the plane, and mark on the left it will represent a an equidistant point E, and on the right another, lettered 7, and join them by a line through the centre which will divide the circle into two This line by the mathematicians is called the horizon. semi-circles. A fifteenth part of the whole circumference is to be then taken, and placing the point of the compasses in that point of the circumference F, where the equinoctial ray is cut, mark with it to the right and left the From these, through the centre, draw lines to the plane points G and H. where the letters T and R are placed, thus one ray of the sun is obtained for the winter and the other for the summer. Opposite the point E, will be found the point /, in which a line drawn through the centre, cuts the to C, F, G to L, H and opposite to G and the points K and L, and opposite and A, will be the point N. Diameters are then to be drawn from and from The lower one will determine the summer and to K. circumference ; H the upper the winter portion. the middle at the points m These diameters are to be equally divided M and 0, and the points being thus marked, 481 AN ENCYCLOPAEDIA OF SANKHA A a line must be drawn to the circumference, are Q, placed. This line will be perpendicular to the equinoctial ray and is called in mathematical language the Axon. From the last obtained points as centres (M and 0) extending the com- through them and the centre where the letters P and passes to the extremity of the diameter, two semi-circles are to be described, one of which will be for summer, the other for winter. In respect of those points where the two parallels cut that line which is called the horizon ; on the right hand placed the letter S, and on the left the letter V, and at the extremity of the semi-circle, lettered G, a line parallel to the Axon is drawn to the extremity on the left, lettered H. This parallel line is called Lacotomus. is Finally, let the point of the compasses be placed in that this line is cut by the equinoctial ray, and letter the point point where X, and let the other point be extended to that where the summer ray cuts the circumference, and be lettered H. Then with a distance equal to that from the summer interval on the equinoctial point, as a centre, describe the circle of the months, which is called Manacus. Thus will the analemma ' In all will the be completed ' . . . and diagrams the figures say, the equinoctial as well as the solstitial into twelve equal parts.' (Book (10) Mayamala (n) Silparatna of of 1-28). (vi, (12) Katyapa-silpa Chap, vm.) Brahmagupta (xrx, 1-20). Varahamihira (n, 10-13; xrv, i-n, 14-22.) (8) Brahma-siddhdnta-sphuta (9) Pancha-sidhdntikd of ix, be the same, that is to days, will always be divided effect will Srlkumara (i, (xi, 1-22). 60-70). (13) Vdstu-vidyd (m, 7-10). (14) Manushydlaya-chandrikd (n, 1-4). SANKHA A type of round building. w. (1) Agni-Purdna (Chap, civ, (2) Garuda-Purdna, (Chap. XLVH, &ANKHA-KUNDALA An 17-18; w. see 21, 23, under PRASADA). 28-29 see under PRASADA). ; ornament, an ear-ring of conch-shell. (M., LVI, 167, 170; &A1SJKHA-PATRA An ornament of leaf pattern, see BHUSHANA.) made of conch- shell. (M., LIV, 170; &ATARDHIKA A pavilion with eighteen see BHUSHANA/ pillars. (Matsya-Purdna, Chap. CCLXX, v. 13 see 482 ; under MANDAPA.) HINDU ARCHITECTURE &ATA&GA A g ASTRAwar-chariot, an car, a carriage, a MANDAPA arm-chair, a sofa. (Ranganath See Chullavagga (vi, 2, There seems go. arm-chair (see to 4 ; of Sundara-pandya, v. 14, Ep. Ind., Vol. in, pp. 12, 15.) inscrip. also vi, 20, 2 ; vra, 3) i, which reads Sattan- be another expression, Apasayam, to mean a sofa or Buddhaghosa's note on SATRU-MARDANA A ibid., vi, 2, 4). pavilion with thirty-four pillars. (Matsya-Purana, Chap. CCLXX, v. n ; see under MANDAPA.) SAMBHU-KANTA A class of eleven-storeyed buildings. (M., xxix, 2-8 ; see under PRASADA.) &AYANA Lying down, a bed, a couch, the recumbent posture, the roof of a house, a building material, a class of buildings in which the width (at the bottom) is the unit of measurement, the temples in which the idol is in the recumbent posture. Proshtha, and Vahya, the Rig-Veda (vn, 55, 8) " occupying their commodious talpas," the new " " and other the fashionable women of the housebride on vahya single " " within the family home (harmya).' hold on the proshthas bedstead (M.,m, 10, n, 12 ; XLIV, 74, and colophon). Compare Asandi, Talpa, refers to ' married woman A The recumbent A synonym of posture (M., LXH, 15; Lxra, 47, etc.). the roof of a house (M., xvi, 56, 58 ; see PRACHCHHA- DANA). The wood used A in constructing a bedstead (M., XLIV, 74). xrx, (M., 7-11, See under APA-SAMCHITA.) temple &AYANA-MANDAPA A bed-chamber, sleeping apartments. (M., xxxn, 72, etc.) SARKARA hard Sugar, a small stone, a pebble, a gravel, sand, any particle. A material of which idols are Cf. made (M., LI, 6, etc.; see Musalena tu sampidya Sarkaradi-samanvitam under AflHasA). I (Suprabhedagama, xxxi, SARMA A house 1 10.) (R.-V., vn, 82, i). SASTRA-VMANDAPA An arsenal, a detached building for the storage of arms. (M., xxxn, 69, 483 etc.) SAKHA AN ENCYCLOPAEDIA OF SAKHA A branch, an arm, part of work, a the wing, frame, the door-post, the jamb. (1) Sakha-dvaye'pi karyam sardharh tat syad udumbarayoh Sakha tadvad udumbarah Uchchhrayat pada-vistirna door- II I Vistara-pada-pratimam bahulyarh sakhayoh smritam Tri-paficha-sapta-navabhih s"akhabhis tat prasasyate Adhah-sakha-chatur-bhage pratiharau nivesayet (Brihat-samhita, (2) The third and fourth lines of the II I II LIII, 24 ; LVI, 13, 14.) quoted above (see Chap. CCLXX, vv. 20 21). tadvad udumbare II Brihat-samhita are identical with those in the Matsya-Purdna (3) Uchchhrayat pada-vistirna s"akhas Vistararddhena bahulayam sarvesham eva kirtitam Tri-paficha-sapta-navabhih sakhabhir dvaram ishtadam I Adhah-Sakha-chaturthamse pratiharau nivesayet Mithunaih pada-varnabhih Sakha-Sesharh vibhushayct II I II (Agni-Purana, Chap, civ, vv. 28-30.) (4) A wing (Dabhoi SANTIKA (see inscrip. v. in, UTSEDHA) A Ep. Ind., Vol. i, p. 31). measure, the height which is equal to the breadth. (See M., xxxv, 22-28, and cf. Kdmikdgama, L. 24-28, under ADBHUTA.) SALA Primarily a thatch of straw (chdla) for shelter of men or their cattle and stores, then the homestead inclusive of such stalls and sheds (A. V. in, 12, i ; v, 31, 5 ; vi, 106, 3 ; vm, 6, 10 ; ix, 3, i ; xiv, i, 63 ; Tail. Bra. i, 2, 3, i ; Sat. Bra. in, i, i, 6) ; then houses generally as in Salapati or householder (A.-V., ix, 3, 12) ; finally a It section or a single room of a house as in patnl-sala, agni-sala. came quite early to be used of flourishing and wealthy residences as in prachlsa-Sala (Sat. Bra. x, 3, 3, i ; 6, i, i ; Chhand. Upanishd, v, n, i Mund. Upanishad i, i, 3) and in the Silpa-Sastra notably in the ; Mdnasdra it is used for a storeyed mansion, a hall, a room, an apartment, a house, a stable, a stall. The three terms, s"ala, mandapa, and griha, are sometimes indiscriminately used to imply houses Gosala (cow-shed) (M., xxxn, 87), patha-sala (college or school) ; vaji-sala, gaja-sala, and mesha-Sala (M., XL, 127-128, etc.) generally indicate a separate house for domestic animals ; while paka-sala (kitchen), etc., may imply a hall or room inside a small building also. But there is a clear distinction between mandapa and s"ala. 'Trees are stated (Matsya-Purdna, vn, 83-120) to have in general. Sala supplied to the primitive man the model of his future house. is stated derived from to been Sakha have (vv, 117-120) (house) 484 HINDU ARCHITECTURE because branches were ai ranged lengthwise, breadthwise, crosswise, up and down, and thatch them to make the (branch), first originally house.' are detached Mandapas single-storeyed pavilions (M., xxxiv) and Salas are storeyed mansions furnished with pavilions (M., xxxv). (1) Mdnasdra (Chap, xxxv, 1-404), named Sala : In ' used mostly in the sense of a house. Salas chapter imply both temples and residential buildings for the Brahmans, the Kshatriyas, the Vaisyas and the Sudras (lines 1-2). ' this sala is Their characteristic features as single buildings : Salayah parito'lindarh prishthato bhadra-sarhyutam Purato mandapopetam ... (41) I (40) I Ekaneka-talantarh syat chuli-harmyadi-manditam (47) Like villages, Salas are divded into six classes, namely, dandaka, svastika I maulika, chatur-mukha, sarvato-bhadra, and vardhamana (lines 3-4). Some of these with a certain number of halls are stated to be temples while others varying in the number of rooms are meant for the residences of different castes (lines 32-37). distinction is made with regard to the number of storeys they should be furnished with (lines 78, 359-373, etc.). A The maximum number storeys of (2) of storeys a sala has is twelve as usual. these Salas are described in detail (lines 5-401). all All the Kdmikagama (Chap, xxxv, 1-1930) Salas are meant to be the dwellings of the Brahmans and others : (vv. 1-2) : Eka-dvi-tri-chatuh-sapta-dasa-sala prakirtitah Tad-urdhvarh tri-tri-vridhya tu yavad ishtarh pragrihyatam I Ta Then (vv. eva malikah prokta mala-vat kriyate yatah follow the measurement (vv. 3-12), and the ayadi-shadvarga 13-20). The component parts of the Sala Adhishthanam cha padam cha prastararh karnam eva cha different : Sikhararh stupika chaiva salarigam The measurement is 1 1 II iti kathyate of the base, pillar, entablature, tower, II (21) finial, and dome given next (w. 22-32). The wall is also described (w. 32, 33) : Tri-hastantam tu vistaro bhittinarh parikirtitah Mula-bhitter idarh manam urdhve padardha-hmakam 1 1 Anyonyam adhika The groups of vapi nyuna va bhittayah Salas are described (vv. 34-36). 485 samah I II | SALA AX ENCYCLOPAEDIA OF The verandahs Asam agre (alinda) are also described (vv. 36-38) tu alindah syuh pradhane va viseshatah : I Eka-dvi-tri-chatush-pancha-shat-saptalinda-sarhyuta(-a)h Prishthe parsVe tathaiva syuh ishta-des"e athava punah 1 1 I The courtyard (prankana or prangana) is described (see vv. 39-42). The adytum, the open quadrangle, and the upper storey, etc., are also described (vv. 45-57). This section is closed with the statement that the description of s"alas given above is but general characteristics (v. 58). This is followed by a brief reference to the uses of salas : Taitilanam dvi-jatlnarh pashandasraminam api Hasty-asva-ratha-yodhanarh yaga-homadi-karmasu Devanam bhu-patinam cha nritta-gitadi-karmasu I Then number as as sixteen (vv. many Evam The and other follow the architectural II (58) details of the storeys 59-86) eva prakarena kuryad ashodas"a-kshmakam and towns, tu sarvato-bhadrarh dvitiyam classified 1 (86) 1 (w. 87-88) vardhamanakam (for Mandapas and are given next (w. 89-96). s"alas Salas are distinguished from each other : bers of salas, such as the plthika, bhadra, khalurika (vv. gopura (v. (v. I24a), chuli-harmya i32a), varhSa The stone-pillars (w. and salas or buildings (v. (v. pinda 149), 147, 125), (v. ankana (v. 103, 161) : m naravase na karayet drawing-room (asthana-mandapa, (v. I 179), etc. v. 90 (definition) VamSadir 191), kitchen (w. II (i57a) (158) : ariisa-rahita ^ikhara-stupikanvita(h) saleti pariklrtita I Nasika-mukha-pattam^a Dhana-dhanyarh cha vayavye karmma-salam tato bahih The treasury and granary should be built at the north-west, outside II I (3) ' the situation : Sarvada bhinna-salasu sandhi-karma na karayet Devata-sthapanam pindam Salasu na vidhiyatell Ibid., L, parigha 158), etc. stone-walls are stated not to be built in residential Sila-stambharii iila-kudya 176-178), bedroom mem- 117-118), 131), The drains (jala-dvara), etc., are next described. The chapter closes with an account of the rules regarding of halls like the api- II Mandaparh tu vidhatavyam ^alanam agra-desake II (g6a) remaining portion of the chapter deals with some constituent The II Ruchakam) pancham-(am) vidyach chhalanam (abhi)dhanakam Details of these : I Tritiyam svastikarh proktarh nandyavartam chaturthakam Charukarh which : like the villages s"alas are, Adyam I that should be the office.' (Matsya-Purdna, Chap. CCLVI, v. 35.) 486 SAL A HINDU ARCHITECTURE (4) svarna-mayim kuru II susobhanam Tan-madhye mandapam kritva vedirh tatra sunirmalam II alarh Sarhpadaya padma-nidhe(h) Rathasyes"ana-dig-bhage salarh kritva I (Skanda-Purdna, Vaishanava-khanda, n, Chap, xxv, vv. 3, 26.) (5) Manavanarh griha prokta vasavas te kakub-gatah Sarhsthana-bhedena te jneyah panchadha syuh pramanatah I Svayoni-vyasa-gatayo dig-vidikshu cha sarhsthitah Bhinna-sala cha sa prokta manujanarh subha-pradah Dig-vidikshv-eka-yonistha paryastena tathaiva cha II I II I chatur-saleti Jneya silpa-sastra-nidarsibhih n ( (6) Vastu-vidya, ed. Purva-dakshinarh bhagarh mahanasarh cha Sastri, vni, hasti-salarii 1-3.) koshthagararh I Paschimottararh bhagam yana-ratha-sala I (Kautiliya-Artha-satra, Chap, xxv, (7) Sala-tri-bhaga-tulya kartavya vithika bahir bhavanat ' dwelling one should Outside the third of the hall.' (8) (Brihat-samhita, Lin, 20, see Vyakhyana-Sala hall of study. 28, Ep. Ind., Vol. n, pp. v. make a (9) Teneyarh karita s"ala 13, gallery, J.R.A.S. N. p. 55.) I being in width a S., Vol. vi, p. 283.) (Bheraghat inscrip. of Alhanadevi, 16.) monorama rivisala I Dhatreva svechchhaya srishtih sthapitadisura-trayah Sala Manovativaisha Brahma-yukta virajate Atra vidyarthinah santi nana-janapadodbhavah II II I ' He made here, magnificent in its splendour and handmade by the Creator after his own will, in which he got this school some, as it were, the three principal gods. placed This school shines forth mythical town on mount Meru) joined by Brahman (a ; like Manovati here there are scholars born in various lands.' ' To judge by ment of some Ep. Ind., Vol. (10) rv, Go-sala the description of importance.' it, the sala must have been an establish- pp. 60, 61, 63, 58, note cow-shed no. A, vv. 16, 17, from Travancore, no. B, line (Salotgi pillar inscrip. 5.) (three inscrip. 3, Ep. Ind., Vol. iv, p. 203). (11) Natya-sala the Durga temple. a hall for religious music (dancing) built in front of (Dirghasi inscrip. of Vanapati, line 15, Ep. Ind., Vol. iv, pp. 316, 318.) (12) Bhakta-sala an almshouse or place (Assam Plates of Vallabhadeva, v. 13, Ep. 487 Ind., for the distribution of food. Vol. v, pp. 184, 183, 187.) AM ENCYCLOPAEDIA OF SALA (13) Chakre-sri-Aparajitesa-bhavane tathasyam rathah sala pratimas triloka-kamalalaiiikara-ratnochchayah Kailasa- I For the temple of Aparajitesa he provided a hall with a car richly decked with precious stones.' (The Chahamanas of Naddula, no. C, Sundha hill inscrip. of Chachigadeva, v. 52, Ep. Ind., Vol. ix, pp. 78, 74.) ' ( arama-tadaga-udapana- Chatu(h)-salavasadha-pratisraya-pradena karcna 14) I ' Who tanks, has given the shelter of quadrangular rest-houses and (Nasik Cave inscrip. no. 10, line 2 and gardens.' f., made wells, Ep. Ind., Vol. vm, PP- 78, 79-) Caused ' (15) fort on the summit japa-sale, satra, and a Vol. x, Bagepalli Taluq, no. 68 ; Transl., (Ep. Carnal., to be built in stone with bastion.' p. 240.) 'In the antarala (or interior) they erected a most beautiful rangamantapa, and a fine chandra-sale (or upper storey) according to the directions given by the King Timendra.' (Ep. Carnal., Vol. xu, Pavugada Taluq, (16) no. 46 Transl., p. 46, line 14 ; 'By him (17) this f. college (established), rich, spacious ; Roman (sala) and Text, p. 203, v. 9.) has been caused to be constructed beautiful . . . of the intelligence is resplendent with Brahmanas. born in various districts. For their subsistence (cf. -(Salotgi inscrip., Ind. Ant., Vol. no. 9 above). and this college full Here there are scholars is i, (hereby) provided.' p. 210, c. 2. para, i.) (18) Saleyarh vividha-pravasi-manuja-prajyopakara-kshama rathya chatvara-ramya-koshta-vilasad-vatayana slakshna-bhuh I Nana-desa-samagatan pathi parisrantan asangrahino nityam bhojana-vasa-dana-vidhina kamanugan (Inscrip. II toshayet from Nepal, no. 23, Lalita-tri-pura-Sundarl, v. Ind. Ant., Vol. ix, p. 194.) inscrip. of 4, Second Queen Series, The building, represented in the plate as adjoining the temple, a dharma-sala, or house of rest, where pilgrims of good caste receive ' (19) is board and lodging gratis for a fixed period.' (Ind. Ant., Vol. xvi, p. n, c. 2 line if.) Erected a stone hall for gifts (dana-sala) in Jinanathapura (a suburb of Sravana-Belgola) .''(Ep. Carnal., Vol. n, inscrip. on Chandragiri, no. 40 Transl., p. 122, line 20, Roman Text, p. 10, line 4 from bottom upwards.) His mother and his sister erected a paddi. . (21) ' (20) ; ' . sala in his Roman (22) memory.' Text, p. 34, . last three lines; Madida padasale (pada verandah. (Ep. Carnal., Vol. in, Transl., p. 6). . (Ep. Carnal., Vol. n, no. 51 ; . Transl., p. 120, last para. ; Introduction, p. 51. para. 3.) or pada-sala) Mr. Rice translates it by no. Mysore Taluq, 59 ; Roman Text, p. 13 ; HINDU ARCHITECTURE He was ' (23) pleased to set with precious (Ep. Carnal., Vol. in, (salai).' Text, p. 147, line i Kandalur Tirumakudlu-Narasipur Taluq, no. 35 Transl. p. 74, line ; stones the i ; hall Roman f.) (24) Endowed it (basadia or Jaina temple) with Arhanahalli (a village or town), together with a fine tank, a street with a hall for gifts (dana(Ep. Carnal., Vol. iv, sala) in the middle, two oil-mills and two gardens. Krishnarajapet Taluq, no. 3; Transl., p. 99 ; Roman Text, p. 159, last three lines.) (25) Out of love for (the god) Chennigaraya, erected the yaga-sale. (Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 13 ; Transl., p. 147 ; Roman Text, p. 107.) ' Sri (26) - Gopala - svamiyavara - nava-rariga - patta-sale prakara-vanu kattisi.' For the god Gopala sala, and the enclosure ... he erected the nava-rariga, the patta- wall. ' this prakara-patta-sale-samasta-dharmma nava-rariga, enclosure wall and patta-sala and all other work of merits were carried .' out by (Ep. Carnal., Vol. v, Part i, Channarayapatna Taluq, Nava-rariga ... no. 185 Roman Text, p. 467 Transl., p. The virupaksha-sala was erected ; ; ' (27) The 205.) to the temple.' on the floor of the mantapa in front of the Virabhadra inscription Sala apparently means here a mandapa or detached building temple. (Ep. Carnal., Vol. vi, (pavilion) where the god Virupaksha is installed.' ' is no. 4 ; Transl., p. 76 ; Roman Text, p. 166.) the thousand of Gautamagrama were given three salas (halls (28) or public rooms) to continue as long as moon and stars.' Sale or sala in the sense of a hall or house has been used in this inscrip- Koppa Taluq, ' tion To more than twenty-five SALA-GRIHA A A (2) Roman vm, Shikarpur Taluq, Text, pp. 97-98). dwelling house, a type of building. type of rectangular building (1) (Ep. Carnal., Vol. times. no. 45 (bis), Transl., pp. 49, 50; : Agni-Purdna (Chap, civ, vv. 16-17; see under PRASADA). Garuda-Purdna (Chap. LXVII, vv. 21-22, 26-27; see under PRASADA). SALANGA The limbs of the sala (hall or house), the essential parts of a house comprising the basement, pillar, entablature, tower, dome, and finial. Adhisthanaih cha padarh cha prastararh karnam eva cha Sikharam stupika chaiva salamgam iti kathyate II I (Kamikdgama, xxv, ai.) 489 AN ENCYCLOPAEDIA OF SALA-BHANJIKA SALA-BHAftjIKA A wooden middled image. (Bharata-Natya-sastra, n, 79.) SALA-MALIKA A class of buildings, a type of hall. (Kdmikdgama, xxxv, 6 &ASANA An architectural member, a plate, see ; under MALIKA.) a part of an enclosing wall. Tad (mukha-bhadra)-agre vatha nam parsve cha kuryat sopana-bhusha I I Tasya (mandapasya) madhye cha range tu mauktikena prapanvitam sasanadinarii toranarh kalpa-vrikshakam Tan-madhye I I (M., xxxiv, 217-219.) &ASTRA (see TANTRA) &IKHARA The top, an Science (of Architecture). apex, a spire, a cupola, the lower part of the finial, a spherical roof rising like an inverted cup (Latin cupa) over a circular, square or multangular building, a small tower or Above the dome and slkhamani. turret. (1) Vol. (2) (3) towers Small vi, p. (stupi) are built in or order sikhara, sikha, Sikhanta, turrets (Brihat-samhitd, LVI, 21, jf.R.A.S., N. S., 319). M., xvm, 276, xrx, 51, Padoktam sarva-manam tu See etc. sikharo'pi vidhiyate 1 1 Dhruva-vidhana-rltya va sikharam parikalpayet II (Kamikagama, xxxv, 29, 30). The synonyms : Sikharam sirah murdha cha sikha maulis cha mundakam Slrsham kam iti vijneyam Siro-vargasya panditah II (Ibid., L, (4) Vanarendra-griham ropamaih . . . I 206.) Sukla-prasada-sikharaih kailasa-sikha- I (Rdmdyana, iv, 33, 15 ; see also vi, 41, 88, (5) Spire 26, 31 iv, ; under PRASADA.) : Devuniki sikharamu gattimchi sikhara-mamtapa-gopuralu I (Kondaviduinscrip. of Krishnaraya, v. 27, Ep. Ind.y Vol. vi, pp. 237, 232.) (6) Mula-sikhare cha kanaka-maya-dhvaja-darhdasya ' pratishthayam kritayam on the hoisting of the flag original spire.' Jalor stone inscrip. of Samarasimhadeva, line 4 flag-staff dhvajaropana- on the golden (The Chahamanas of Marwar, no. xix, also of the 490 f., Ep. Ind., Vol. xi, p. 55.) HINDU ARCHITECTURE SlKHARA Idu-rajatadri hema-sikhara-pratipattiyan-Isamye pettudu Harahasa- (7) Umadhinatha- kalpa-taru kemdalirindesev-agra-bhagadol-pudidud Svayambhu-siva- sita-gatra-sapirhga-sutumga-jutadondo-davenipa ' gehada pomgalasarh sa-mamgalam II The golden spire, with its auspicious ornament of yarhbhu-Siva is such that may it be said that this house of Sva- this the silver mountain is which has obtained, by the gift of Is"a, the possession of a golden summit of desire on the (white pile of) Hara's laughter (namely, the it is a tree mountain Kailasa), crowned by a summit radiant with young red spouts, ; combined the unique substance of the white body and the tawny towering matted hair of the Lord of Uma.' -(Inscrip. from Yewur, in it there is B. of A. D. 1017, v. 98, Ep. Ind., Vol. XH, pp. 282,289.) (8) ' Prasadam urddhva-Sikhara-sthira-hema-kumbham (Into) the temple (which by ' upon lofty spires. Vol. xm, pp. 152, 154.) inscrip. v, 15, line (Bhuvaneswar . . . broad ' (9) spire.' I the stately display of) firm golden capitals (a Vistlrrma-tunga-sikharam Manoharaih-s"ikharaih with having) temple n, Ep. Ind., and lofty (its) charming spires. (Mandasor stone inscrip. of Kumaragupta, lines 17, C. /. /., Vol. m, F. G. I., no. 18, pp. 83, 86, 87). 'For (10) finial gopura, this Manmatha (sikhara) covered with gold, a and illuminations a temple, god Prasanna-Virupaksha, . . Roman Text, p. 82 The same word .' . (Ep. Carnal., Vol. x, Mulbagal Taluq, no. 2 in a similar sentence is translated enclosure, tower (sikhara), Roman and alms, Text, p. 87 ; ; ' by tower ' in the : (u) 'For the god Prasanna-Somesvara having for wall, tank, decoration, Transl., p. 71.) ; following inscriptions mantapas enclosing 20, Manmatha all tank, the other religious restored the temple, villages, the endowed (Ibid., provisions.' no. 18 ; Transl., p. 75.) ' the spire of Varadaraja's Varadaraja-devara sikhara (sikhara) Transl., p. 156. (Ibid., Malur Taluq, no. 4 ; Roman Text, p. 187 temple.' (12) ; And erecting a stone pillar, according to the rules set up the spire (13) or tower (sikhara).' (Ibid., Vol. xii, Pavugada Taluq, no. 46 ; Transl., p. 122, ' line 16 Roman ; Text, p. 203, v. 10.) ' (14) Garbha-griha-sthita-mantapa-s'ikharam the ruined tower over no. 64 ; the shrine (of the god Arkanatha).' (Ibid., Vol. in, Malavalli Taluq, line Roman Text, p. 127, 3 ; Transl., p. 63.) (Chalakyan (15) Sik(h)ara applied to the summit of a tower.' Rea. ' architecture, Arch. Surv., New Imp. Series, Vol. xxi, p. 491 39.) AN ENCYCLOPAEDIA OF SlKHA ' (16) The twelve steps, on which this temple stands is approached by more lead to the sanctum, over which rises a tall dome platform and six or truncated sikri (sikhara).' P- Arch. Surv. Reports, Vol. (Cunningham, xxm, '350 ' (17) Sikhara to loc. cit., (sikar, sikri) Cunningham's Steeple of temple'. -(Vincent Smith, Gloss., Arch. Surv. Reports.) (18) In the temples of Champa three distinct types of sikhara are noticed. type consists of a series of four storeys, diminishing as they The common a curvilinear stone slab being as the crowning moulding. Another the upper is ridge-shaped looking like an type comprises two storeys with vault arched ogival ends at two sides with a slightly elongated rise, ; concave curve at the top. The third type consists of a curvilinear pyramidal dome springing directly from the walls of the sanctuary, and surmounted by a massive circular member of corrugated form resembling ' ' Amalaka of Indian (For details Annam by Chap, sec temples. Inventaire Descriptif des Monuments Chams D. summarized by R. C. Mazumdar, Champa, Parmentier, as L. i, x, pp. 236, 237.) &IKHA The lower part of the pinnacle or small turret-like finial, termination. Sikha is the upper part, and sikhara, the lower : Sikharordhva-sikhottungarh stupi-traya-samam eva cha Prastaradi-sikhantam syad ganya-manam pravakshyate I (M., xxxm, SlKH ANT A The finial (Latin finis), 141, I 144, etc.) the top or finishing portion of a pinnacle. (M., &IKHA-MANI The Cf. Ind., Vol. Siro-ratna i, crest-jewel. (Deopara end of the finial, 119, etc.) the apex. (A/., XLIX, 85, LXVH, 31, etc.) inscrip. of Vijayasena, v. 14, Ep. pp. 308, 313.) A &IBIK.A crest-jewel, the top xi, synonym of yana or conveyance, a a palanquin. litter, (M., m, SlBIKA-GARBHA A Sibika-gabbho ti square 9, etc.) hall. chaturassa-gabbho. -(Buddhaghosha, Chullavagga, vi, 3> 3-) The interpretation of Oldenberg and Rhys Davids as quart-measure Commentator as quoted not the is by Buddhaghosha supported shaped ' ' above. 49 2 HINDU ARCHITECTURE $ILA-PATTA-VAM$A SlBIKA-VE$MA A type of rectangular building. (1) Agni-Purana (Chap, civ, vv. 16-17, see udder PRASADA). (2) Garuda Parana (Chap. XLVII, vv. 21-22, 26-27, see under PRASADA). &IBIRA A camp, a royal residence, a fortified city. (M., x, 40, Sama(sama)ntanaih samriddhanam yat Gaja-vaji-samayuktam sena-sthanarh tad eva hi etc.) smritam sthanarii sibirarh (Kamikagama, xx, &IRAS The head, the finial, A ; LVII, 54, etc.) head-gear, a helmet. (M., XLIX, SlRALAMBA A 11.) the top, the summit, the pinnacle. (M., xv, 231, etc. SlRASTRAKA(-STRANA) | II 13, etc. ; see BHUSHANA.) crowning ornament of a column. (M., xv, 101 ; see STAMBIIA.) \ SlLA-KARMA Masonry, the art of building in stone, the stone-work Sugana-raje-Dhanabhutana upamno ' (s'ila-karmantas'-chotpannah) During the reign of the Sungas masonry line 3 f., by Dhanabhuti.' finished Ind. Ant., Vol. xiv, pp. &ILADHIVASANA 138, toranam silakammamto cha karitarh I gateway was erected and the (this) (Sunga 139 ; no. inscrip. r, of the Bharhut Stupa, Vol. xxi, pp. 227.) Preparation of stones for building, the worship of stones for building. Siladhivasana(h)-karmma yathavidhi sampadya tasminn-eva Sake .... bhadra-krishna-navamyarh sukle ^ila-prave5am vidhaya ' The worship of the stones for the building.' Dr. Biihler and Bhag- vanlal Indraji. This interpretation of Siladhivasana does not seem to be appropriate. The term may refer to some processes or ceremonies similar to those in connexion with Sila-sarhgraha or collecting and selecting stones for buildings. (Inscrip. from Nepal, no. 23 Inscrip. of Queen Lalita-tri-pura-sundari, ; line 14, Ind. Ant., Vol. ix, pp. 193, 194, c. a.) SlLA-PATTA-VAMSA masons and found ' in the Now known as Silawat caste, who are Rai Bahadur neighbourhood of Damoh.' Hiralal. (Ep. Ind., Vol. XH, p. 44, note S()ila-patta-s'ubhe variise sutradhara vichakshanah Bhojukah Kamadevas" cha karmanistha Hala sudhlh II (Batihagarh stone inscrip., v. 12, 493 i.) I ibid., p. 46.) AN ENCYCLOPAEDIA OF $ILA-PRAVE$A &ILA-PRAVE&A Laying the corner-stone or foundation. yathavidhi sampadya tasminn eva Sake the corner stone was laid.' Dr. Biihler Sila-praveSam vidhaya and Bhagvanlal Indraji. (Inscrip. from Nepal, no. 23, inscrip. of Queen Siladhivasana(h)-karmma ' . . . , Lalita-tri-pura-sundarl, line 14, Ind. Ant., Vol. ix, pp. 193, 194, SlLA-MARDDAKA (SILE-MUDDAS) A c. 2.) guild of stone masons, the stone-cutters. ' Sile the Canarese form of the Sanskrit is ila, a stone, and Mudda is a jaihgam or Lingayat name. Sile-mudda must be the name of some particular guild of stone-masons.' Dr. Fleet. (Sanskrit and Old Canarese inscrip., no. 1 14, line i, Ind. Ant., Vol. x, pp. 170, 117, SlLAVEDl The stone terrace note 58.) on which sacred trees usually stand. Cf. Mahavams'a, 36, 103, &ILA-VE&MA Cf. i. Stone-houses, cave-houses. Megha-duta, i, 25 (quoted by Prof. Liiders, Ind. Ant,, Vol. xxxiv, P- I99-) &ILA-STAMBHA The stone column, a kind of column, the monolith. Shat-saptashtangulam vapi sila-stambha(m)-vis'alakam Vrittam va chatur-as"ram va ashtaSram shodasasrakam I I Pada-tunge'shta-bhage tu tri(trya)msenordhvam alahkritam Bodhikam mushti-bandhaih cha phalaka tatika ghatam Sarvalankara-samyuktam mule padmasananvitam I I I Chatur-dikshu chatur-bhadram kechid bhadram tu karayet Kuttimam chopapitham va sopapitha-masurakam Athava chihna-vedih syat prapalankaram uchyate I I I (Af.,LVH, 15-22.) &ILPA-&ASTRA The science of architecture and other cognate arts. See details under VASTU, VASTU-VIDYA and VASTU-KARMAN. Encyclopaedia and the Preface of Indian See also the Preface of this Architecture by the writer. SlLPI-LAKSHANA The description fications, rank, caste, etc. (see of the under STHAPATI). 494 artists : their quali- HINDU ARCHITECTURE A SlLPI-SALA SUKA-NASA(-SIKA) school or workshop of architecture. (M., LXVIII, 50.) SlVA A class of buildings. (Kamikdgama, XLV, 35-38 SlVA-KANTA five minor ; under MALIKA.) see -The pentagonal or five-sided pillar furnished with pillars. (M., xv, 22, 245 SlVA-MANDAPA The ; see under STAMBHA.) Siva temple, a type of pavilion. (M., xxxiv, 196.) SlSHTA-MANDAPA A type of pavilion. Kamikdgama, under ARDHA-MANDAPA.) (See SlRSHA The top end of a building, almost same as sikhanta. Slrsham cha Sikha-grivarh vrittarh syad vaijayantikam I (M., xrx, 181, etc.) The parrot's nose, an object having an the part of the finial looking like the parrot's nose. acquiline nose, The lower half part of a tower. SUKA-NASA(-SIKA) (1) Chaturdha sikhararh bhajya ardha-baga-dvayasya tu Suka-nasarh prakurvita tritiye vedika mata 1 I 1 (Matsya-Purana, Chap. CCLXIX, v. i8 v (2) Sikharartharh (?-dharh) hi sutrani chatvari vinipatayet I sutrarh tiryyag-bhutarh nipatayet Sikharasyardha-bhagastharh sirhham tatra tu karayet Suka-naso(-sa)rddhatah I I Suka-nasarh sthirikritya madhya-sandhau nidhapayet II Apare cha tatha parSve tadvat sutrarh nidhapayet Tad-urddhvam tu bhaved vedi sakantha manasarakam I 1 1 (Agni-Purdna, Chap. XLII, vv. 15-17.) Chaturdha Sikhararh kritva 5uka-nasa dvi-bhagika (Ibid., (3) II civ, v. Chap, Prasadau nirgatau karyau kapotau garbha-manatah 10.) I Ordhvam bhitty-uchchhrayat tasya mafijarirh tu prakalpayet Manjaryas chardha-bhagena suka-nasarh prakalpayet Crdhvarh tathardha-bhagena vedi-bandho bhaved iha II I 1 1 (VisVak, 6, 767, quoted by Kern, J. R. A. S., N. S., Vol. vi, p. 321, note 2 of p. 320.) The above lines are identical in the 11-13). 495 Matsya-Purdna (Chap. CCLXIX, w. AM ENCYCLOPAEDIA OF SUKAftGHRI (4) samarh chet tu torananghrivad ayatam Sakandharam tad-urdhve tu suka-nasya vibhushitam Vrittfxkararh mukhe mukhe Garbha-dvi-tri-kara-vyasa-suka-nasa Na kartavya vimaneshu nasikordhve na nasika I II I II (Kdmikagama, LV, 120, 157.) SUKAftGHRI A type of pillar. Crddhva-kshetra-sama jangha jangharddha-dvi-gunarh bhavet Garbha-vistara-vistlrnah Sukanghris" cha vidhlyate || Tat-tri-bhagena karttavyah pancha-bhagcna va punah I I Nirgamarh tu SukarighreS cha uchchhrayah Sikhararddhagah It (Garuda-Purdna, Chap. XLVII, vv. 3-4; see also vv. 13, 17.) &UDDHA A house built (generally) of one material, namely, wood, brick, or stone, etc. Drumcneshtakaya vapi driSadadyair athapi va I Etena sahitarh geham Suddham ity-abhidhlyate II (Kdmikagama, XLV, 21.) See also Mdnasdra, etc. SUMBHAMKARI under PRASADA. The fifth or composite type of the five Indian orders. (Suprabheddgama, xxxi, 65, 67 &CTLA A ; see under STAMBHA.) pike, a dart, a lance, the trident of Siva, the finial. A dart (M., vn, 223, 236 LIV, 142). A synonym of Sikha or finiai (M., xvri, 126). A pike as a component part of the cage for the ; SOLA-KAMPA (see SULA) A (M., tiger. L, 262.) pike. Paritah Sula-kamparii syad dvararh tad dakshinottaram I (M., XL, 136.) SRlftKHALA A chain. In connexion with the bedstead : Chaturbhih sYinkhala-yuktam andolam chaikatopari I (M., XLIV. 70). The top, the turret, elevation, height, the spire, a horn. (M., LXH, 25, Sringenaikena bhavet etc.) furnished with one spire. (Brihat-samhita, LVI, 23, 26, J. R. A. S., N. 496 S., Vol. vi, p. 319.) HINDU ARCHITECTURE SRI-KARA SRIftGARA-MANDAPA A bed-chamber, the pavilion or is made to retire at night. of a the where temple deity Devanam cha vilasartham sringarakhyarh tu mandapam room I (M., xxxiv, 388, etc.) MAS ANA (J^CHAITYA)- Funeral and memorial structures, tombs of various shapes, round and dome-shaped (parimandala, Sat. Bra., xni, 8, i), hemispherical bowl-shaped (chamu) resembling a vault, enclosed by an indefinite number of enclosing stones (ibid., xin, 8, 2, 2) or bricks (A.-V.,yiViu, 4, 55), square or quadrilateral (Sat. Bra., xm, 8, i, i), as also pyramidal The Compare Buddhist stupas. Satapatha Brahmana in later temples as main three and referred to in and Sikharas. types described in the R.-V., and A.-V., Vastu Grihan or (reliquary of bones, etc.) or tumulous, round or square house with many chambers probably dedicated to some religious or erected over or beside the grave in memory philanthropic use and ; ' deceased or built underground as rock-cut caves ; and Prajnanam or a memorial monument or pillar four of which were set up in four corners of the grave out of which Buddhist memorial of the might pillars Sarkar, have grown up '. further (For compare details, ibid.') &YAMA-BHADRA A type of pavilion with fourteen (Matsya-Purana, Chap. GCLXX, v. 14 SRANTA An architectural ; pillars. see MANDAPA.) ornament, a shed. In connexion with single-storeyed buildings Evarh proktam harmyake madhya-bhadram : Sala-koshtharh dig-vidike kuta-yukta Hara-sVanta-nasika-panjaradhyam I I I (M., xix, 192-194.) &RI-KANTHA Anything possessing a beautiful neck, a class of 20-21, see buildings. A type of octagonal buildings (Agni-Purana, Chap, civ, w. under PRASADA). &RI-KARA An order, a class of columns, a type of storeyed buildings, a sect of people, a sub-caste of the Kayasthas, originally those who used to write the legal documents (Karana), hence the clerical community, (i) One clerks. of the five orders (Suprabheddgama, STAMBHA). 497 xxxi, 65, 66; see under AN ENCYCLOPAEDIA OF SRI-KANTA A (2) of class xix, (M., buildings single-storeyed see 170, under PRASADA). (3) A ponent parts PRASADA). (4) A of two-storeyed buildings class under SALAI^GA), (see ; etc. the measurement of the (M., xx, 93, 2-9; see comunder sect of people (M., ix, 152, 226, etc.). A type of storeyed building, a class of bases comprising four types which differ from one another in the addition or omission of some mouldings and also in height. &R.I-K.ANTA (M., xiv, 371-387 A class of three-storeyed buildings A class (M., xxi. 2-11 of seven-storeyed buildings (M., xxv, 24; A &RI-JAYA (Chap, civ, vv. 19-20, (Chap. XLVII, vv. Garuda-Purdna &RI-PADA A ; the list of mouldings under ADHISHTHANA.) see see see under PRASADA). under PRASADA). type of oval building. (1) Agni-Purdna, (2) ; class see under PRASADA). under PRASADA). see 29-30, of buildings. SrI-padarii cha tatah Srinu Koshthakastv-iha chatvaras" chatush-koneshu chaiva hi . . . I . Chatur-nasi-samayuktam anu-nasl-das"ashtakam Evaih lakshana-sariiyuktam Srl-padarh II I tv-iti kirtitam 1 1 (Suprabheddgama, xxxi, 50, 51). SRI-PAD A The footprint of otherwise called Ratnapada. &RI-BANDHA A Buddha on Adam's Peak For details, see in Ceylop, BUDDHA-PADA. of bases comprising four types which differ from one another in the addition or omission of some mouldings. class 109-122; see the list of mouldings under ADHISHJHANA.) (M., xrv, SRI-BANDHA-KUTTIMA The flat part of the Sri-bandha type of bases. (A/., &RI-BHADRA A kind of throne, a type A class of thrones (M., XLV, 13, etc.). A xuv, 43.) of pedestal. kind of pitha or the pedestal of the phallus (M., LIII, 36, etc.) SRI-BHOGA A type of storeyed buildings, a class of bases comprising two types which differ from each other in the addition or omission of some mouldings. (M., xiv, 260-280, see the list of mouldings under ADHISHTHANA.) 498 HINDU ARCHITECTURE A class SRENITA-DVARA of seven-storeyed buildings (M., xxv, 25 SRl-MUKHA A &RI-VATSA under PRASADA). 14, etc., see under SIMHASANA.) (M., xxxiv, 478, etc.; see under MANDAPA.) (M., XLV, SRI-RUPA A see ; beautiful face, a kind of throne. type of pavilion. A of buildings, a type of pavilion, a special of the mark on the breast image of Vishnu. A pavilion with 48 pillars (Matsya-Purdna, Chap. CCLXX, v. 9 see under class ; MANDAPA). A type of quadrangular buildings (1) Agni-Purdna, : (Chap, crv, vv. 14-15 see ; under PRASADA). see under PRASADA). (2) Garuda-Purdna (Chap. XLVH, vv. 24-25 represented in particular mark on the breast of Vishnu or Krishna ; A ' by a symbol resembling a cruciform xvm, 375, etc.) pictures LV, 92 ; SRI-VI&ALA flower.' (M., XLIX, 150 ; A type of gate-houses, a class of storeyed buildings, a kind of throne, a type of pedestals. A class of gopuras or gate-houses (M., xxxin, 555). A class of single-storeyed buildings, (M., xix, 168 see under PRASADA). A kind of throne (M., XLV, 13; see SIMHASANA). A type of the pitha or pedestal of the phallus (M., LIU, 39). ; &RI-VRIKSHA (see KALPA-VRIKSHA) An ornamental tree em- ployed as a carving. Seshaih mangalya-vihagaih sYi-vriksha-svastikair ghataih Mithunaih ' patra-vallibhih pramathais chopasobhayet | II Let the remaining part (of the door) be ornamented with sculptured birds of crosses (svastika), jars, cupolas, foliage J. R. A. S., N. S., Vol. vi, p. 318.) goblins.' good augury sri-vriksha-figures, (leaves and creepers), tendrils and &RUTIMJAYA A pavilion with forty-eight (Brihat-samhitS, LVI, 15, pillars. (Matsya-Purana, Chap. CCLXX, v. 10, see under MANDAPA.) &RENITA-DVARA A kind of door, doors or gates in a row. Madhye dvaram tu kuryad madhya-sutrat tu vamake I Kuryaj jala-dvararh tu srenita-dvaram kalpayet I (M., xxxvin, 39-40.) 499 AN ENCYCLOPAEDIA OF $RENI(-NI)-BANDHA RENI(-NI)-BANDHA A which differ of bases class from one another in height and four types in the addition or omis- comprising sion of some mouldings. 149-175; see the list of mouldings under ADHISHTHANA.) (A/., xiv, &RONI (-NI) The buttocks (of an image), the hip or loins, a waistworn round the loins figuratively used for building band, a string also, compare KATI. ; SVETA-MANDA The white part of the eye of an image. (A/., LXV, 68. SH sixth storey, the six-storeyed buildings. SHAT-TALA The Their general features (M., xxrv, 27-46). Thirteen types (ibid., 2-26 see under PRASADA.) ; SHODASA-TALA (see The GOPURA) sixteenth storey, the sixteen- storeyed gate-houses. Evam eva prakarena kuryad ashodasa-kshmakam I (Kamikagama, xxxv, 86.) SHAD-VARGA A ' group of six six, formulas, with which the a structure should conform,' six proportions, six main perimeter of a building comprising adhishthana (base), component parts of (entablature), karna (ear, wings) pada or stambha (column), prastara sikhara (roof), and stupi (dome). the Ayadi-Shad-varga represents a set According to the Manasdra measurement must conform of six formulas with which any particular the of Mention Shad-varga is found also in the before it can be accepted. in each case, however, are formulas The and the Agamas. (i) Bimba-mana not the same and differ in these several works The formulas according to the Manasdra the remainder of - (/ 6 * Vyaya ,. 9 -^ 1x8 Riksha ... ,, ; , -jy 6x3 . Yom ,, below). X 8 I is Aya (see : : 5 CO for length). (6 for breadth). HINDU ARCHITECTURE Vara is SHAD-VARGA * the remainder of (c for circumference, thickness or height) Tithi exg ~ Arhsa 1 0x4~ . Etesham grama-rupanam ayadi-lakshanam tatha Nandayama-samuhe va chayate vatha vistare Parinahe pade vapi ayadi-suddhirh cha karayet Kechit tv-ayatane chaivam ayarh cha tad-dine (nakshatre) bhavet Parinahe tithir varam vyaya-yoni(s) cha vistare I I I I I Vasubhir gunitam bhanur(-nuna) hanyayamam ashta-sishtakam Ashtabhir vardhite nksharh(-shena) hritva sesham ksham ishyate Navabhir vardhayet panktih(-tya) hritva sesharh vyayarh bhavet Guna-nagam cha yoni(h) syad vriddhi-hanya-yatha-kramam | I I I Nava-vriddhya rishim(-shina) hritva tach-chhesham varam eva cha Navabhir gunite trimsat-(a) kshapech chhesham tithir bhavet j I (M., The formulas include six ' amsa ings, while in the Apasamchita ' ' 63-73.) Samchita and Asarhchita build- in the ' tithi rx, is included : Vakshye'ham jati-harmyanam ayadi-lakshanam kramat I Purvoktanarh vimananam vistaradi-vasadibhih Aya-vyayam cha yonim cha nakshatrarh varam arhsakam Tithir vatha shaql etani tathayadi-vido viduh I I I Samchitasamchitanam cha amsair ayadibhir yutam Apasarhchita-harmyanam tithy -antani shad grahlshyate I I (M., xxx, 169-174. (It should be noticed, that the divisor in each case works under observation) The names of Vara, etc. the same in all the the different classes of formulas, such as Aya, Vyaya, represent well-known groups of objects that always follow a all represents the group of twelve beginning with represents the group of ten beginning with sikhara. certain serial order. Siddhi. is . Vyaya Aya Riksha represents the well-known group of twenty-seven planets. Yoni represents the group of eight animals, namely, Dhvaja, Dhuma, Sirhha, Suna, Vrisha, Gardhava, Dantin, and Kaka. Vara represents the group of seven days of the week. Tithi represents the group of thirty lunar days comprising fourteen of the dark half, fourteen of the light half, new moon 1 Also Rasi, Gana, Nayana (M., 501 ix, 88, 89, 90-93). AN EMCTCLOPAED1A OF SHAp-VARGA day and the moon full ginning with Taskara day. And Arhsa represents the group of nine be- : Siddhadi-dva-dasayah syach chhikharadi vyayam dasa Dhvajadim ashta yoni(h) syat taskaradi navarhsakam Prathamadi-tithir ity-evarh choktavad ganayet sudhih I I I (M., xxx, 188-190.) Dhvaja-dhuma-sirhha-Sunaka-vrisha-gardabhas cha Danti cha kakas cha vasu-yoni(h) yatha-kramena I I (M., 357-358.) LII, Tach-chhesharh chapi nakshatrarh ganayed asvini-kramat Sesharh tad varam ity-uktam arka-varadi-vara-yuk (M., xxx, 183, 185; see context below.) should be noticed that the measurement of length is tested by the I I It formulas under Aya and Riksha, of breadth under Vyaya and Yoni, and of circumference or height under Vara and Tithi. It will be noted that the formula in each case consists of the product of the measurement to be considered and a certain other number divided which corresponds to the number constituting the group or under which it is placed. In each case, therefore, by resolving the formula, the remainder that may be left can be referred to that particular number in the series represents by that class, and if this happens to be one that under the conditions prevailing would be considered auspicious then the particular measurement would be acceptable, if not it would have to be rejected. For example, by a figure series in a if particular remainder Yoni left is instance two, it ^? coming will point to the under the class Dhuma. second Yoni stated to be inauspicious, then the particular is the Yoni, If this measurement of breadth cannot be approved. If again in the formula -^? the remainder happens to be 4, it will indicate the 4th day (Wednesday) of the week, and if it be stated to be auspicious, the circumference (c) selected satisfies The ' the test. auspicious and inauspicious remainders there is no remainder left in the formula of : When ' ' Aya increases it religious merits, and when there is no remainder left in the formula of " " Vyaya it is auspicious. There is no defect if the Aya be equal to ' ; " Vyaya " ' : Ayam sarva-hararh punyarh vyayarh sarva-hararh subham I Ayadhikyam vyayam sarva-sarhpat-kararh sada Yat-phalam subha-yuktam chcd aya-hinam tu dushanam Pujyam vyayam samam evarii tatra dosho na vidyate hinarii I I I (M., LXIV, 69-72.) 502 HINDU ARCHITECTURE Ayam SHAD-VARGA sarva-haram purnam ? punyam) ( vyayam sarva-gatena hlnam sarva-sampat-kararh tatha Ayadhikyam vyayam Aya-hinaih vyayadhikyam sarva-dosha-karam bhavet hi I I I (M, ix, Subhadam purna-nakshatram asubham karna-rikshakam 75-77.) I Yugmayugmadya-turyarh shad-ashta-nanda-subharksha-yuk Dvitlya-paryayasyardhe gananais cha subhavaham I I Sita-guru-sasi-budha-varam evarh subham bhavet I (M., 78-81.) ix, Dhvaja-sirhha-vrisha-hasti syat tesharh subha yonayah Janma-dvayam chatuh-shashtibhir ashta-nanda-subha-ksham I Nama-janmadi-nandam cha gananais tu vidhlyatc I I (Kartri-rasyadi-nasyaih cha sena-dvitiyantakam Tritiye mana-j(y)akshadau purva-vad gananais tu va l) Tasmat tritiya-paryantam rikshaih sarva-subhavaham I I Guru-sukra-budhas chandra-mukhya-varam prasasyate Taskaro dhana-shandas cha preshtanyan subharhsakam I I Varjyarh shashtashtamarh rasim anyat sarvarh subham bhavet Gajah sarva-subharh proktam manushasura(m) varjayet I I (M., LXIV, 73-82.) subham Gaja-yonirh vina kuryat sirhhasananyatha I Ayadhikyam vyayam hinam sarva-sarhpach-chhubhavaham Aya-hlnam vyayadhikyam sarva-sampad vinasanam I I (M., LV, 81-83.) Dhuma-yonis cha kakas cha gardhavan suno varjayet Anya-yoni-subham sarve subhayan iha vojayet I I (M., LV, 81, 84-85.) subham prasastam uditam asubham puranaih Anyeshu yonir Dhvaja-simha-hasti-vrisha-yoni(h) I | (M., There are other LII, 359-360.) where Aya, etc. are considered with and with regard to length in the other rules as well, e.g. regard to height in the Jati classes of buildings. class, Again Aya, etc. are considered with regard to breadth Jati-dvarodaye sarve chayadi-sarhgraharh bhavet Chhandadinarh tu sarvesharh tare chayadi-sarhgraham Vriddhi-hanyadi-sarvesharh prasadasyoktavad bhavet : I I I (M., xxxix, 39-41.) Vistare chatur-ange va shat-subhayadi karayet I (M, 503 LV, 72.) AN ENCYCLOPAEDIA OF SHAD-VARGA The formulas also vary on different occasions : chashta-hanis" cha yonayah Tri-chatuh-pancha-shat-vridhya dvadasa budhah tu kshapayet Shat-saptashtaka-vriddhya I | Sesham ayam iti proktam saptashta-nava-vardhanat DaSabhih kshapayech chhesham evarh vyayam udiritam I Ashta-nanda-daSe vriddhya sapta-vimSe kshayo bhavet Sesham dinam iti proktam vriddhashta-nandanadhika I I I Saptaika-chandrage sesharh varam evam udiritam Tri-chatush-paiicha-vriddhya tu kshapayet tu navarhsakam | I (M., LV, 73-80.) Etat tad eva samyuktam harmyanam mana-kalpanam f Shat-saptashtaka-vriddhih syad dva-daSantam kshayaih nyayet Sesham tad ayam ity-uktam sarhchitadi-yatha-kramam Saptashta-nava-vriddhya tu haret panktya vyayam bhavet I I I Eka-dvi-traya-vriddhya tu kshapayet tv-ashta cha yonikam Shat-saptashta-vriddhya tu sapta-vimsa-kshayo bhavet I I Tach-chhesham chapi nakshatram ganayed asvini-kramat I saptabhih kshapayet tatah I tu Shashta-nanda-vriddhya Sesham tad varam ity-uktam arka-varadi-vara-yuk Tribhir vedas tu vriddhih syan nanda-hani-navarh^akam I I Tithi-randhroshna-vriddhih syat trirh^ata tu kshayo bhavet (M., xxx, I 177-187. Daighye lihgasyayadi-shad-varga-suddhirh kuryat sarvathoktavat Manalinge chanya-svayambhuvadi-manarh cha yuktarh thatayadlni sarvarh na kuryat I I Bandhashta-nanda-vasu-nanda-yugena vriddhya Ghashtarka-pankti-turagair munibhir nanda-hanyat Yonayas cha vriddhir vyayam cha tu varam amsam I Lingaikena kuryat tu parartha-lihge I I I (M., Application of the rules ' They are applied LII, 349-354-) : in measuring both the architectural and the sculptural objects.' These rules are considered in connexion with the measurement of villages and towns (M., ix, 67-74), f tne twelve-storeyed buildings (xxx, 164-174), and of the phallus Cf, also (LII. 350-356). : Ayadi-shad-varga-(h) surair (=suranam) vimane Chayadhikarh kshina-vyayam subham syat 54 I I SHAD-VARGA HINDU ARCHITECTURE Gramadi-kartri-nripatika-kriyanam Sarvam subhaih tat kurute tu vidvan | I (M., xxx, 192-195.) The necessity of these Shad-varga formulas seems due to the fact that in most instances where the measurement of any object is concerned, the Agamas, the Bimbamdna, the Mdnasara and the other works on archiThus for the length that an tecture quote more dimensions than one. of a is to be instead of, they object giving single figure would quote, say, nine different measures. The Mdnasara in fact invariably gives nine different lengths, nine different breadths, and five heights concerning a building Out of these different and varying measures which is to be or image. selected would be determined by the application of the formulas. six Any of the different measures prescribed is open to be accepted only when it satisfies the tests of the Shad-varga. By a verification of the measurements with the respective formula it would eliminate the risk of dimensions being selected that would be disproportionate among themselves and improper. This might have been the purpose that the authorities had in contemplation in prescribing the rules of the Ayadi Shad-varga in all the architectural treatises. The testing of measurements by the Shad- varga thus formed one of the most important points to be followed in architecture and sculpture, and we find a reference to it in these ancient works so any many times and almost without exception wherever there are specifications prescribed. (2) Bimbamdna (British Museum, MS. w. no. 558, 5292, Manaih tu yoni-nakshatra-sarhyuktam Ayamashta-gunite cha dva-dasamse'ti Seshata 10, I Nandamse tu gunite'pi dharmamse'ti vyayarh bhavet Yonir gunibhir gunitau(-ta) chashtams'e 'pi tathaiva cha Rikshakam ashta-gunitam cha sapta-viriisati-s'eshatah 1 1 1 I 1 Varakarh nava-gunitam cha saptarhse tu hritarh bhavet Amsakam (3) 11-13) 1 1 matam chabdhi-gunite'pi nava-bhaga-hritam Kdmikdgama (xxxvi, 13-20, 169-172) Ayadi-sarhpad-artham tu vistare chayatau tatha Utsedhe chaiva hastanam samyak sampurnatam nayet Vistarat kevalam vatha vayamad unnates tatha I II : I II (13) I Vistarayama-samsargad ayadyarh parigrihyatam II (14) Ashta-tri-tri-ashtabhir hritvashta-manvarka-bhair bhajet Ayo vyayas cha yonis cha nakshatram seshato bhavet II (15) I Trimsad apnuta paryantam tithir vanarh tu saptabhih 'Athavanya-prakarena chayadyarh parigrihyatam I 505 I AM ENCYCLOPAEDIA OF SHAD-VARGA Dvayor bhyarh dvayardhasya vistaram nahakam II nahariitu dvayardham (16) Ashta-nandagni-vasubhir ganayen nanda-nanda-naha I Arka-dig-vasu-bhah-sapta-navabhis cha kramad bhajet II (17) Ayadhyam purva-vat proktam ayadhikarh subha-pradam Yajamanasya yanmarkshe nanukulam yatha bhavet II (18) I Tatha parikshya kartavyarh nama nakshatrakarh tu va. Parlkshya bahudha kuryad ubhayam va parikshayet II (19) Sarvanukulyaih sarvatra vastu yasman na labhyate I I Tasmad gunadhikam grahyam alpa-dosharh yatha bhavet Eka-tri-pancha-saptamse dhvaja-sirhha-vrisha-dvipah Purvad yasu subha hy-ete ayadyas tv-anulobhatah 1 (169) 1 Dvi-chatuli-shad-vasu-sthanam dhGma-sva-khara-vayasah Agneyadi vidikshv-ete varjaniya bubhukshubhih 1 I (170) 1 and See also Kdmikagama., Chap. L Evam adau (20) II | so on. : parikshyaiva prasadam parikalpayet I Etesham api sarvesham ayadi-vidhir uchyate II (57) Various rules are again given Vistaram dvi-gunarh kritva vasubhir bhajite sati Sishtam yonir iha prokta tad-abhave tu saudhakah II (58) Udaye vasubhih-sapta-vimsadbhir bham ihoditam : I I Paridhau nanda-gunite sapta-bhur dvaram uchyate (59) kritva triihsadbhir bhajitva Tithi-udayam vasubhir bhaktva suryayas(-yais) tu seshatah II (60) Sakalam tri-gunam 1 1 I Punar apy udayaih nanda-vasubhir vyayah uchyate Padadhikam tu yat sishtam tat sarvarh sakalarii bhavet I (61) II Purva-vad gunitam kritva bhagam(0 bharam samam kritva Tenaiva vibhajed yal-labhad adhikarh bhavet II (62) Yugma-hastaih svarodbhutaih sikhibhir yonir uchyate Athavanya-prakarena ayadi-vidhir uchyate II I I (63) Nage sutragni-randhra-bhuvana-dasa-vasvabdhi-sishtas tu Tat syad ayo na yonir varam vasu-hatarh udubhir ( ) bhaktva Sishtam tu riksham hatva bhaktvatha sutrair bhuvanam Atha phalam sishtam amsam vasughnam trimsad bhaktam II I '. II ( 64 ) I Tithih syad graha-dina-tithi-yogadayo yoni-bhedah Athavanya-prakarena chayadln parikalpayet 1 1 (65) I (66) Naga-nanda-guna-naga-nanda-drik-bhanu-nadl-vasu-bham munir va I Ayam anyatra yoni-rikshakam varam amsaka-guna-kshayakramat (67) 506 II SHAD-VARGA HINDU ARCHITECTURE Application of the rules Idarh linge cha sakale dvare stambhadike : Idam ayadikam chardha-mandape matam I II s"ishta-mandape Parivaralaye tunga-harmye anyasmin prakalpayet (68) I Evarh parikshya bahudha prasadarh parikalpayet II (69) Kdmikdgama, LV, 28-30 Manarfi labdhodayarh yat syat bhaktva matrayor viseshatah : (28) Parihrityanguli-chchhedyam ayadyarh parikalpayet cha vasu-nanda chaiva chatushtayair hi Ashta-nandagnibhis 1 1 hi II Gunatvara-vidhi-murti-riksha-sapta-navarhsakair Hrityam ayam vyayaih chaiva yonis taras tu varakah I (29) I Arhsaka chavasishtas tu kalpamyas tu desikaih (30) a of six 21 to building) Ibid., xxxv, component parts (refers Adhishthanarh cha padarh cha prastararh karnam eva cha 1 I 1 : I Sikhararh stupika chaiva salangam iti kathyate II (21) These are called Shad-varga cf. XLV, v. 8 (under Purhlinga), v. I5 : (under Dravida), (4) v. 10 (under Strilinga), and v. 11 ) (under Napurhsaka). Laghu-silpa-jyotih-sara (ed. Sivarama, i. 3-5) : Ayo rasis cha nakshatrarh vyayas tararhsakas tatha I Graha-maitri rasi-maitrl nadi-vedha-ganendavah n Adhipatyarh vara-lagne tithy-utpattis tathaiva cha Adhipatyam varga-vairarh tathaiva yoni-vairakam Riksha-vairarh sthitir naso lakshanany-eka-virhsatih 1 I 1 I Kathitani muni-sreshthaih silpa-bi(vi)dbhir grihadishu II Manuskjalaya-chandrika (Chap, in, 33.) : The same formulas are described in various ways. See Six Canons of Indian Architecture, by V. K. R. Menon, referred to elsewhere (5) in this article. These Shad-varga formulas are rules which are not easily grasped in the abstract form. They, however, need not be neglected if we are While quoting a few extracts incapable of interpreting them correctly. on from a Tamil version of the Myen ('. Mayamata) Rev. Kearns, Missionary; Tanjorc, lost his temper and priestly patience this subject F. J. and has recorded the following ' Strange as all this as matters para.). I fear : to us appears of great importance.' Europeans, natives regard these things (Ind. Ant., Vol. v, p. c. i, last whether the learned missionary understood the importance of We may, however, compare in the absence of the the matters correctly. Tamil 296, text his translation (ibid., p. 295-296) 507 : AM ENCYCLOPAEDIA OF SHAD-VARGA Ascertain the length of the house, square it, multiply the sum by 8, and divide the product by 12, the remainder is the Adayam or profit (Aya). take the square number and multiply it by 9, divide the prodnct ' Again, by 10, the_remainder is the Selavu or loss square number and multiply (i.e., Vyaya). Again, take the and divide the product by 100, Again, take the square it by 27, the age or durability of the house. number, multiply it by 8, and divide the product by 27, the remainder is the star Riksha). Again, multiply the square number by 3, and the remainder is (i.e. divide the product by 8, the remainder is the Yoni. Multiply the square number by 9, and divide the product by 7, the remainder is the day (i.e. and divide the product by 4, Vara). Multiply the square number by 9, the caste. is the the remainder square numDer by 4, and divide Multiply the product by 9, the remainder is the Arhsam. Multiply the square number by 9, and divide the product by 30, the remainder is the iithi.' 11 tms tails witiiin 15, it belongs to the crescent moon, but if above Again, multiply tne square number by 4, 15 to the decrescent moon. ' Multithe product by 12, the remainder is Uie constellation. the remainder and divide the number product by 5, by 8, ply the square are the Yoms Garuda (Punai ;), The b'utra. the following gives ol Musi these ; Ani, (Punai s) (cat), Eli (rat), bimha, Moy, JPambu, Eli, and divide : and Musi are bad. The following are the Arhsams Arsam, Thanium, Rasium, Kahbam, Varuttham, Rokam, and bubam. The following are the butras Balan, Kumaran, Rajan, (hare) : b'oram, Puttni, batthi, : Kilavan, Marnan.' The following examples are given to illustrate the foregoing Given the length of the house 1 1 cubits, and the width 5 cubits, to find the age, that is to say, how many years such a house will stand. By the : rule being 85, n 5 55, and 55 27 1485, 1485 100 14, the remainder which remainder indicated the number of years the house will stand.' ' Given the length of a house 15 the caste for whom 236, remainder i. it is cubits, suitable, 15 The remainder 7 i and the width 7 cubits, to find 105, 105 9 945, and 945 4 indicates the first caste, i.e. Brah- mans.' ' Given the length of the house 17 whom cubits, and the width 7, to ascertain 4 1071, and 1071 9 remainder The remainder denotes the third or caste.' 267, 3. Vaisya 3 The next example exhibits the entire series. Given the length of the the caste for it is suitable, 17 7 119, 119 ' house 9 cubits, width 3 cubits, to find the (Adayam) and Selavu, etc., etc. By the rule 9 3 -27, 27 8 216, and 2i& 12 18, 12 (Adayam) 27 -9 243, and 243 10 24, remainder 3, which is the Selavu or loss, 508 SHAD-VARGA HINDU ARCHITECTURE and so on according The Yon! to the rule. is Garuda, the star Revati, week Thursday, the part of the lunar month the third day, the day of the the constellation Pisces, and the caste Vaisya.' Mr. V. K. R. Menon, M.SC. (London), intended to give a more rational and scientific explanation of these formulas in a pamphlet Six Canons of Indian Architecture.' But his endeavour has more or less failed owing to ' Architectural Significance can hardly assumptions. The be explained by a reference to Astrological importance an unknown matter cannot be understood by referring to an equally unknown thing. too ' ' many : ' Some formulae,' ' ' and he manner with reference to Astrology.' When Mr. Menon, that in the symbolic language of ' ' ' continues realize,' says ' architectural significance be explained in a simple we Mr. Menon, have a very great to show that all of them can hopes ' at least of these the Silpa-sastras the newly-erected edifice represents not only a human being, but also a bridegroom, joined in holy wedlock to the plot of earth on which it is erected, we can sympathize with the strict injunctions to avoid the fifth (of life, death) at (youth) whenever possible. with a human all costs, and to choose the second This picturesque identification of the structure rise to the last five formulae of the being must have given ' ' however, that they (the application of these formulae) occasionally prove troublesome when planning small houses and villas but they do put a stop to the addition of dispro- Ayada Shad-varga (pp. 5-6). It is true, ; portionately large verandahs to puny structure.' But he gives up curioussatisfaction of conformly this architectural ground when he says that the ' ing to the religion of one's motherland, should amply recompensate for ' He further imagines that these forsuch minor restrictions (p. 7). mulae have something to do with the orientation of buildings (which subject has been treated under SANKU in the Mdnasara] and emphatically is a if my deductions are correct this formula (on Yoni) says that to orient purely architectural device compelling the sthapati (architect) ' He doubtful assumption with an inaccurate reference when he says that All the temples, palaces, cities, faced the four villages and important roads of ancient India exactly comments thus He and the of E., S., W.).' (N., compass points his structures properly.' his illustrates ' primary This is as : should be, for it places the Indian ideal in tune with the ideals of every other ancient nations.' His reference to examples of other counThe Egyptian pyramids faced exactly north. tries are more accurate The Theban obelisks faced the rising sun.' The Palace of Sennacherib, the Tabernacle of the Jews, the temple of Solomon, the church at Bethlehem, the Holy Sepulchre of Christ at Jerusalem all these satisfy the first ' it ' : : ' formula (on Yoni) of Ayadi Shad-varga (p. 9). face other than these four cardinal points also. 59 The Indian monuments AN ENCYCLOPAEDIA OF SHODASA-PRATIMA SHODAA-PRATIMA The sixteen a images, group of sixteen deities. Cf. Purato'sya ' shodaSanam vara-ganikanam dvi-bhumikagrihani alitwo rows of double-storeyed in front of the temple he erected dvayena houses for sixteen female attendants.' (Chcbrolu inscrip. of Jaya, v. 46, Ep. Ind., Vol. vi, pp. 40, 93.) (See under Raja-harmya.) SHOpA&A(-S)RA A type of building which has sixteen-angular shape, one storey and one cupola. (1) see Brihat-samhita (LVI, 28, J. R. A. S., N. S., Vol. vi. p. 320, note r ; under PRASADA). w. (2) Matsya-Purdna (Chap. CCLXIX, (3) Bhavishya-Purdna (Chap, cxxx, SAKALA A site plan, an idol, a v. 29, 53 ; see 25; under PRASADA). under PRASADA). see group of images of four deities including Isvara. (1) A (2) An image (3) Suprabheddgama site plan (M., vn, 2, 51, 73 ; xu, 64 ; see PADA-VINYASA) . or idol (M., LXIV, 48). (xxxiv, named Sakala-lakshana-vidhi, Athatah sampravakshyami sakalanam tu lakshanam Sarvavayava-drisyatvat pratima tv-iti chochyate IsVaradi-chatur murttih pathyate sakalam SAKALIKARANA tv-iti The ceremony of making a things (with which a deity i, 2) : I 1 1 n joint offering of worshipped), which generally consist kinds of of eight grains such as sesamum, barley, rice, etc., sandal clarified butter, sugar and honey, etc. paste, all is SATI-MANDAPA A kind of pavilion where perhaps certain ceremonies used to be performed in connexion with the obsolete practice of burning alive a devoted wife with her dead husband, the temple of the goddess Sati who was the wife of Siva and a daughter of Daksha. Arbhakanam mukhalokaih mandapam sati-mandapam I (M., xxxiv, 41.) SATVA-KANTA A class of eight-storeyed buildings. (M., XLVI, 43-45 510 ; see under PRASADA.) HINDU ARCHITECTURE SATRA(-TTRA) CHHATRA, (cf. modern dharma-sala, a CHHATRI) An alms-house, the rest-house, a residence. Alms-house (Dewal Prasasti of Lalla the Chhinda, (1) Vol. SATRA(-TTRA) i, (2) v. 20, Ep. Ind., pp. 79, 83). Hall of charity (stone 12, Ep. Ind., Vol. inscrip.. at Vaghli in Kandesh, no. C, n, p. 226, 227). Sridhara's Devapattana PraSasti (3) See lines 4. (verse Ep. Ind., Vol. n, 10, p. 440). (4) Rest-house (Nilgund inscrip. of Taila II, line 30, Ep. Ind., Vol. rv, pp. 207, 208). (5) Chitrais satralyair yyasya prithivyam prathitha-yaSasah I 1 1 Bubhukshu-bhikshu-samghata-prabhuta-priti-hetubhih (Two pillar inscrip. at Amaravati, no. A, of Keta, II, v. 40, Ep. Ind., Vol. vi, p. (6) A feeding establishment 152.) : Deva-bhogartham cha deva-kulebhyah khanda-sphutitadi-nimittaih gandha-dhupa-pushpa-dipa-naivedady-upacharartharh tapovanasattrottarasanga-danady-artham cha ... (Cambay plates of Govinda IV, line 48, I Ep. Ind., Vol. (7) Bilvapadrake vii, pp. 40-45.) yatha-prapta-brah- parikalpita-sattra-bhoktrlnarh manadi-jananam triihatah pratyaham upabhogaya ... 'In order to feed daily thirty Brahmanas or other men who happen to arrive (and) who use the rest-house established at Bilvapadraka.' Tivaradeva, 26-27, &P- ^-> charitable (8) dining-hall of a temple (Baloda plates of Vol. vn, pp. 105, 107.) lines A : ' for the Sri-sarvva-lokasraya-jina-bhavana-khyata-satrarttham purpose of the renowned dining-hall of the holy and famous Jain temple called Sarvalokasraya-Jina-bhavana.' of (9) Amma line II, (Kaluchumbarru Grant 60, Ep. Ind., Vol. vn, pp. 188, 191, 179.) Khanda-shputa-vava-krityopili-prapujadi-sattra-siddhyartham For the cost of repairs of breaks and cracks, offerings, worship, I ' etc.. II, (10) and of an aim-house.' line 54, Ep. Ind., Vol. ix, (Maliyapundi Grant of Ammaraja pp. 54, 56.) Draksharame pavane punya-bhaja punya-kshetre Plthapuryyarh cha yena Bhoktum pritya pratyaham bramhananam akalpamttamk alpitam sattra-yugmam II At holy-Draksharama and at the sacred place of Pithapuri, this charitable one joyfully founded two sattras for Bramhanas, in I ' 5" SATTANGA AN ENCYCLOPAEDIA OF order that enjoy their meals (there) till the (Eastern Chalukya Grants, no. 39, a Grant of they might daily end of the Kalpa.' Vira-Choda, v. 33, H. no. 1 6 below.) S. I. I., Vol. i, pp. 56, 61 'The hiranya-garbha, brahmanda, and (11) prescribed in the Sdstras from road made.' to road, had he made, had he see also quotation the other great all wells, ponds, tanks, gifts with satras and temples of the gods he had established (Ep. Carnal., Vol. xu, ; Kunigal Taluq, no. 37; Transl., p. 38, para. 3.) ' Having allotted to the avasara-satra of the god sYi-hari-haradeva two shares of the village (12) ' . ' . . Satra oblation, charity, " " avasara-satra hall ; But ' rest-house ' as asylum seems to mean opposed to or alms-house, charitable dining an occasional satra.' Dr. Fleet. both and resting dining-hall would perhaps give better meaning. and Old Canarese (Sanskrit Vol. iv, p. 329, c. i, inscrip. no. vr, Ind. Ant., line 3 and f., (13) Sa prasadam achikarad divishadaih Kedara-devasya tasyottara-manasasya khananam sattram tatha chakshaye footnote.) cha khya- I ' He called caused to be built a temple of the inhabitants of heaven ... and of the god Kedara he likewise had the famous ; Uttara-manasa (tank) dug, and (established) a hall of charity, to last for ever.' (Gaya inscrip. of Yakshapala, v. 12, Ind. Ant., Vol. xvi, pp. 65, 66.) (14) 'A grant of land for a satra for feeding twelve Brahmans in front of the matha on the bank of the Tungabhadra.' (Ep. Carnal., Vol. vi, Koppa Taluq, (15) He no. 32; Transl., p. 81 at halting Marasinga's sarwajna-gatta and other tanks students in Roman Text, p. 176-177.) Behur, constructed there the Biruda- the ; and to provide a satra for food for the matha of the god Mallikarjuna there made a ; . grant of land.' (Ep. p. 43 ; Roman Text, p. Carnat., Vol. vn, Shikarpur . . Taluq.no. 19; Transl., 98.) Draksharame pavane punya-bhaja punya-kshetre Plthapuryyarh cha yena kalpitam sattra-yugam (cf. no. 10 above). At the pure Draksharama and at Pithapuri, a place of sanctity, he established two sattras.' (Chellur Grant of (16) . . . ' Vira-Choladeva, lines 97-98, Ind. Ant., Vol. SATTAftGA arm XK, pp. 432, (same as SATANGA) An 436.) arm-chair, sofa, sofa with to it.) (Mahavagga, v. 10, a.) I HINDU ARCHITECTURE SANDHI SATRA-MANDAPA A type of pavilion, the alms-house of a temple. Vapi-nirgamane yena purvatah satra-mandapam (Garuda-Purana, SATRAVASA-MATHA A \ Chap. XLVI, v. 14.) monastery, a free rest-house. Chatushkone tapasvinam satravasa-matham bhavet r \ (M., xxxii, 89.) SADANA A temple, a seat, a sacrificial hall, a house, a mansion, a palace, the abode of the god of death (Yama). (1) (2) (3) A temple (Dabhoi inscrip. v. in, Ep. Ind., Vol. i, p. 31). Sura-sadana (Dewal Prasasti of Lalla, v. 20, Ep. Ind. t Vol. I, p. 79). Sadanam atula-nathasyoddhritam yena jirnnam By whom the (old) temple of Atula-natha was repaired.' (An Abu inscrip. of the reign of Bhimadeva II, v. \ ' Ind. Ant., (4) Sarasvatam knda-ketanam etad atra vidadhe 10, Vol. xi, pp. 221, 222.) \ Sarasvatam sadanam akshayam etad astu (Sanskrit Grants and \ inscrip. no. i, vv. 33, 34, Ind. Ant., Vol. xi, pp. 103, 106.) SADAS A seat probably raised for sadasya or councillors at a sacrifice. (Sat. Bra., x, 4, SADASIVA A class of four-storeyed buildings. (M., xxii, 25-33 SADMAN A 2, 9.) temple, a seat, an altar, an ; see under PRASADA.) abode, a dwelling, a house. Ghakre nava-nivida-vis'ale sadmani Sulapaneh ' built a new solid large temple of Sula-pani.' Sambhoh sadamani stambha-malarh of pillars in the temple of Bhimadeva II. SANDHI A w. 10, Sambhu.' . . . ' vyatatana (An Abu inscrip. erected a row of the reign of 12, Ind. Ant., Vol. xi, pp. 221, 222.) a connexion, a combination, a junction. Eka-salanu-sandhi cha dvi-sala chaika-sandhikam joint, \ Tri-Sala cha dvi-sandhih syach chatuh-sandhis chatur-mukham Shat-sandhih sapta-sala cha bahu-sandhi(r) dasalayam \ ^ (M., xxxv, 73-74.) 53 SANDHI-KARMAN AN ENCYCLOPAEDIA OF SANDHI-KARMAN for the internal and The joinery, the framing or joining of wood external finishings of houses ; thus the covering lining of rough walls, the covering of rough timbers, the manufacture of doors, shutters, sashes, stairs, and the like, are classed under and the head of joinery. (See Gwilt, Encycl. of Arch., p. Mdnasara (Chap, xvn, 2-225), The definition named Sandhi-karman 1214.) : : Harmyanam daru-sarhyogam sandhi-karma (m)udiritam I (2). Various kinds of joinery are described under the following names Malla made with two pieces of wood, Brahma-raja with three or : four pieces, Venu-parvan with five Puga-parvan with pieces, six pieces, Deva with seven pieces, Parvan with eight pieces, and Danda with more than eight pieces of wood and other materials (line 18 f.). Forms of the joinery are described under the titles Nandyavarta and Svastika (lines 59-60), etc., see details (lines 18-58, 61-225). SANDHI-BANDHA A bond of union, a material that makes two bodies stick together, cement, mortar. Sarhsthapyapi na tasya tushtir abhavad, yavad Bhavani-griharh mala-sandhi-bandha-ghatitarh ghanta-ninadojjvalam ' Not with the erection (of satisfied this suslishta- I image only, the pious man) caused to be built a shrine of Bhavani, which was joined with a very adhesive and bright cement, resplendent with the sounds of bells. t (Benares inscrip. of Pantha, v. 5, Ep. Ind., Vol. ix, pp. 61-62.) SAPTA-TALA (see TALA) The seventh storey, buildings. Etat sapta-talarh proktam rajnam avasa-jogyaklam seven-storeyed I (Kamikagama, xxxv, 84.) The seven-storeyed buildings are described in a separate chapter in the Mdnasara. Description of the seventh storey classes (ibid., 3-31), see (M., xxv, 2-23, 32-39), the eight under PRASADA. TALA-MANA) A system of measurement in accordance with which the whole body is seven times the face SAPTA-TALA (see inclusive of head. (Sukranlti, Chap, Vidyasagara, p. 5H sect, iv, 359 ; iv, see details ed. Jivananda under TALA.) HINDU ARCHITECTURE SAPTA-BHCMI-(KA) (see SABHA SAPTA-TALA) The seventh storey, seven- storeyed buildings. Raja-kanyam . . sapta-bhurhika-prasada-pranta-gatam . (PaKchatantra, ed. SAPTA-SALA A seven-fold I Bombay, i, p. 38.) wall. Madhya-sutrarh tu vame tu harmya-dvaraih prakalpayet Tad-bahih parito-dese sapta-salam prakalpayet Naravasartha-rathya cha prakara-dvaya-manditam I I I (M., xxxi, 81-83.) SABHA A type of building, an edifice, a public hall, an assembly room, a council chamber, a society room in a private dwelling house. Taitt. Bra., i, i, 10, 3 ; (A.-V., xrx, 55, 6 ; Taitt. Sam., in, 4, 8, 6 , Chhdnd-Upanishad, vin, were their and pillars 14). The Vedic times There must have been suitable the transaction of judicial, commercial special features in fire-altars. structural arrangements for and political business, and for the reception of ' ' well-born courtly and and for the of kings, wealthy persons performance gambling, merriment, social intercourse, debates and contests (Vedic India, Vol. n, p. 426-427). (1) A class of buildings : Prasada-mandapam chaiva sabha-sala-praparh tatha (A) rangam iti chaitani harmyam uktarh puratanaih I | (M., m, 7-8.) Sikhare chavrite'pare sabha-mandapa-gopure I (M., xviii, 200.) A public hall : Mandapaih sabham vapi grama-yogyarh yatha-disi Nagare cha yathakaram dvi-gunatyarthakayatam I I (M., xxxiv, 562-563.) Bhudhare chasure vapi sabha-sthanarh prakalpayet I (M., vin, 34.) (2) A chamber Tato vichintya manasa loka-nathah Prajapatih Chodayamasa tvarh krishnah sabha vai kriyatam iti Yadi tvarh kartukamo'si priyarh ^ilpa-vatarh vara council : I Dharmma-rajasya daiteya yadnsim iha manyase Yam 1 I II manavah prekshyadhisthitah tadris"Im kuru vai sabham kritarh nanukurvanti Manushya-loke sakale 1 II 515 I AN ENCYCLOPAEDIA OF SABHA Yatra divyan abhiprayan pasyema hi kritams tvaya Asuran manusharhs chaiva sabham tarn kuru vai Maya II tada Pratigrihya tu tad vakyarh samprahrishto Mayas Subham sabham II Vima'na-pratimam chakre Pandavasya The penultimate verse is explained by the commentator Nilakantha Asuran manushan ity upalakshanarh deva-garhdharvadinam apy cha chaturdasa-bhuvanamabhiprayan lepa-chitre lekhya-chitre I I : tarastha-tat-taj-jatlya-svabhavika-nana-vidha-lila-pradar^anena manovrittih pasyema yad-darsanena brahmamdamtara-vartisarvarii See also arthah vastu-jatam drishta-prayarh bhavatity vv. 9-13-) (Mahdbhdrata, Sabha-parvan, Chap, i, I the description of the Indra-sabha Chap, vu), YamaKubera-sabha (Chap, x), (ibid., sabha (Chap, vm), Varuna-sabha (Chap, ix), and Brahma-sabha (Chap. xi). Sabha divya hema-mayair uchchaih prasadair upasobhita . . | . (Ibid., u, 10, 3.) (3) II Chatur-bhaga-dvi-bhagena prishthavasa-sabham nayet II Agra kuta-dvayor madhye ^alah prishtha-sabha-yatha Prishthavasa-sabha tad-vad anyat sarvam adhas-tale II (Kamikagama, xxxv, 73, 74, 76.) Definition : Mula-kuta -samayukta vana-kuta -samanvita Kachchha (=ke^a)-griha-samakukta 1 1 sabheti parikirtita xxxv, (Ibid., Brahma-sthane sabhadini kalpayed vidhina budhah (4) perity, 4, 95.) II (Ibid., ' II xxvm, 15.) Martanda-varma, the king of Kerala, desirous of extensive prosfame and long life, built the sabha of Sambhu (Siva) a Suchindram.' Sthane mani-Suchlndre samakuruta sabham Kerala-kshma-patindrah of Tirukurungudi, in Tinnevelly, and of Suchindram in the I Pagodas South Travancore, Ind. (Inscrip. in ' (5) The ; v. i, p. 362, para i.) word (Sabha) denotes also (i.e. other than a regular assembly a hall or a house.' Dr. Bhandarkar. (Ind. Ant., Vol. xn, ' ' or meeting) Ant., Vol. n, p. 361, c. 2 line p. 145, c. 2, 9 ' f.) Sri-ramga-kanchana-sabha yatha-puram abhasayat The regilded (central shrine of the temple at) Srirangam and the I (6) ' Plates of Virupaksha, golden hall (at Chidambaram).' (Ariyur para 4, line 6). Ind. Ant., Vol. xxxvni, pp. 14, 12 ; lines 21-22, SARVATO-BKADRA HINDU ARCHITECTURE SABHA-MALIKA A class of buildings. (Kamikagama, XLV SAMA (see SAMUDGA) A under MALIKA.) see ; type of rectangular building. (Agni-Purdna, Chap, xiv, vv. 1617; see under PRASADA.) A pose, in this type the right and (see BHANGA) of the figure are disposed symmetrically, the figure seated or standing being poised firmly on both legs without inclining to right SAMA-BHAftGA left or left. SAMITI Assembly houses see ; SABHA which in senses it is used in Atharva-veda (xv, 9, 2, 3). SAMUDGA A type of round buildings. Cf. Vrittah Samudga-nama (1) Brihat-sarhhitd see I (Chap. LVI, 23, J. R. A. N. S., S., Vol. vi, p. 319; under PRASADA). (2) Matsya-Purdna (Chap. CCLXIX, vv. 38, 53 (3) Bhavishya-Purdna (Chap, cxxx, w. ; 30, 24 under PRASADA). see under PRASADA) see ; . SAMUDRA A type of building. w. (1) Matsya-Purdna (Chap. CCLXIX, (2) Bhavishya-Purdna (Chap, cxxx, v. 24; see SARORUHA A A 38, under PRASADA). under PRASADA). see type of building, a moulding. moulding of the pedestal (M., xxra, See 53; PADMA and compare the lists 76, etc.). of mouldings under UPAPITHA and ADHISHTHANA. A class of six-storeyed buildings (M., xxiv, 47 SARVA-KALYANA A class ; *ee of buildings. (Kamikagama, XLV, 42-49 SARVA-KAMIKA which is i (see under PRASADA). UTSEDHA) Also called ' ; see under MALIKA.) dhanada', a height f of the breadth. (See M., xxxv, 22-26, and cf. Kdmikdgama, L, 2428, under ADBHUTA.) SARVATO-BHADRA A type of building, pavilion, hall, entaba lature, window, phallus ; joinery, a four-fold image one on each side of a four-faced column ; a village, a town, having a surrounding road and entrances on four sides ; a house furnished with uninter- rupted and surrounding terraces on every 517 side. AM ENCYCLOPAEDIA OF SARVATO-BHADRA Apratishiddhalindarh samantato vastu sarvato-bhadram Nripa-vibudha-samuhanam karyarh dvarais chaturbhir api I (1) ' An with edifice on every side is termed such a one is fit for kings terraces uninterrupted (i.e., goodly on every side) and gods, and ought to have four entrances. Sarvato-bhadra ; (Bfihat-sathhita, LIU, 31, J. R. A. S., ' Sarvato-bhadra many g trances, windows and spires five name the is or storeys, Matsya-Purdna S., Vol. vi, p. 285.) (sikhara) , many beautiful dormer 26 cubits broad." is (Ibid., LVI, 27, (2) N. of a kind of building which has four turrets and II w. (Chap. CCLXIX, J. R. A. S., N. S., Vol. vi, p. 320.) 29, 34, 35, 48, 53 ; see under PRASADA). (Chap, cxxx, of type quadrangular building (3) Bhavishya-Purdna A v. 34 ; under PRASADA) see . : Agni-Purdna (Chap, civ, w. 14-15; see under PRASADA). (5) Garuda-Purdna (Chap. XLVH, w. 24-25; see under PRASADA). (4) Sarvato-bhadram ashtasyam (6) eight faces. An (7) the Sarvato-bhadra house (s"ala) has (Kamikdgama, xxxv, 88.) entablature (ibid., uv, 8). A class of villages (M., ix, 2, 126 f.). A type of prastara or entablature (M., xvi, 185). A kind of joinery (M., xvn, 53). A class of mandapa or pavilions (M., xxxiv, 555). A type of sala or mansion (M., xxxv, 4). A class of windows (M., xxxni, 583). A kind of phallus (M., LH, 114). ' Sarvato-bhadra-devaiaya according to Varahamihira (Brihatsarhhitd, LVI, 27) it means a temple with four doors and many spires, i.e., such a one which looks equally pleasing from all sides.' Ep. Ind., Vol. i, (8) 382, note 50.) p. (9) Sarvato-bhadra-chatur-mukha ratna-traya-rupa-tri-bhuvana-tilakaJina-chaityalaya vanu ' I The Tribhuvana Jina chaityalaya temple (which is) auspicious has four faces (and) is the embodiment of the three jewels (Karkala inscrip. of Bhairava II, line 17, Ep. Ind., Vol. vm, (of the Jainas).' on every . . . side, PP- 132, I35-) (10) Nayana-mano-harah Sarwato-bhadrah I Apparently the name of a hall in the first storey of the cave temple. (The Pallava inscrip. of the seven Pagodas, no. 13, Ep. Ind., Vol. x, p. 7.) ' 518 HWDU SAMCHARA ARCHITECTURE 'literally an image lovely on all sides> a term a "four-fold image," one being carved technical for apparently on each side of a four-faced column.' (Jaina Inscrip. from Mathura, no. 11, Ep. Ind., Vol. i, p. 382, footnotes 50, 51.) (u) Sarvato-bhadra-pratima is SAHAYA-DURGA A kind effort. (See details SAHASRA-LlftGA under DURGA.) A thousand-phalli, a group of phalli of Siva. Set up on the colonnade to the west a row of lingas forming the thousand lingas.' (Ep. Carnal., Vol. iv, Chamrajnagar Taluq, no. 86 Transl., ' ; p. 11, line Roman 9; Text, p. 18, line 14.) SAMKlRNA A type of building, houses built with a certain number of materials, a joinery. Buildings made of more than two materials under VIMANA and PRASADA). A A class of buildings (Kamikagama, XLV, 62 ; (M., see xvm, 139, etc.. see under MALIKA). kind of joinery (M., xvn, 140, 146). SAMGAVINl A SAMGRAHA A cattle-shed, an open shed for milking cows. combination of mouldings at the bottom of a column. Ekarhsam padukam kuryat pancha-bhagarh tu samgraham (M., xv, 179, For its synonyms SAMGRAHANA A see I etc.) M., xvi, 51-52. fortress to defend a group of ten Dasa-graml-samgrahena samgrahanarh sthapayet (Kautiliya-Ariha-sastra, villages. I Chap, xxn, p. 46.) SAMGHARAMA (see VIHARA) Originally the assembly place of or Buddhist monks, later in the time of the Nalanda University, a college comprising lecture halls, students' hostel and chapel, while the vihdra or original monastery implied the residential the Sarigha quarters of the the monastery. monks or professors, residences of monks or hermits, (Vide Taxila plate of Patika, line 3, Ep. Ind., Vol. iv, pp. 55, 56. SANtCHARA An entrance, a door, a gate, an outlet, a military post, a tower or circuit on the top of the surrounding wall of a village or town. (M., x, 109, 519 etc.) AN ENCYCLOPAEDIA OF SAMCHITA SAMCHITA A class of buildings in which the breadth is the unit of measurement, the temples in which the idol is in the sitting posture. (M., xrx, 7-11 ; xxx, 103-174 ; see under APASA&CHITA.) Pratyekarh tri-vidhath proktarh samchitaih chapy-asamchitam Upa-sarhchitam ity-evam .... I I (Kamikagama, XLV, 6-7.) SAMPCRNA A class of buildings. (Kdmikdgama, XLV, 29-30 SAMVIDDHA A fortified city. (M., x, 41 ' Cf. Visiting the gramas, under MALIKA.) see ; nagaras, khetas, the pattanas, dronamukhas and sarhbahanas see ; under NAGARA.) kharvatas, madambas, cities of the elephants at the cardinal points.' (Ep. Carnal., Vol. va, Shikarpur Taluq, no. Transl., p. 86, last para., line 14.) SAMSAD An Cf. 18 1 ; assembly hall (built within a wedding pavilion). Ratha-rathi-yuta hy asan kritrima hy akritopamah Sarvesharh mohanarthaya tatha cha samsadah kritah I II (Skanda-Purana, Mahesvara-khanda-prathma, Chap, xxiv, v. 13.) SAMSTHANA and other (1) The arrangement, laying-out, plans of buildings objects. Tri-konam vrittam ardhendum ashta-konarh dvir-ashtakam I Chatush-konam tu kartavyarh samsthanam mandapasya tu The plan of a should mandapa octagonal, sixteen-angular, half moon-shaped, and circular. w. (Matsya-Purana, Chap. CCLXX, (2) Tri-konam padmam II be made triangular, quadrangular, 15-16.) arddhendurh chatush-konam dvir-ashtakaml Yatra tatra vidhatavyam samsthanam mandapasya tu II (Garuda-Purana, Chap. XLVII, vv. 32-33.) SARA A class of buildings. (Kamikagama, XLV, 60 SALA(-LA) (i) A wall, see ; a rampart, an apartment, a house, Udyanamra-vanopetaih mahatlrii sala-mekhalam Commentary : under MALIKA.) I salah prakarah (enclosure wall) sala-vanarh va , (Rdmayana, 520 i, I 5-12.) HINDU ARCHITECTURE (2) SIDDHARTHA Antare sesha-bhagaihs tu hitva madhye tu salakam Sala-gopurayos tungastv-adhikas chapi mulatah II Agrato'lindakopetam attalam salakantare II II (Kdmikagama, xxxv, USA, 124, 126.; (3) Salantam vedikordhve tu yuddhartharh kalpayet sudhih I (M, See also 364. ix, M., xxxi, 36, 37 (pancha-sala), 39 (Jati-sala), 40, 41, 44, 48, 52, etc. Sala(-a)-janma-samam chaiva dhamna-janma-samam tu va Salangadhikarh hinam chech chorair artharh vinaSyate I I (M., LXIX, 42, 45.) Kanakojvala-sala-rasmi-jalaih parikhambhu Through the mass of the rays which issue from (4) ' which are reflected in the water of its . . . its prati-bhimbitaih golden walls and I (Vijaya(Vijayanagara's) moat.' I. I., Vol. i, no. 153, pp. 162, nagara inscrip. of Devaraja II, lines 7-8, H. S. 164.) (5) Antararh sadma-salam ' the inner wall of the shrine.' inscrip. of Sundara-pandya, v. 22, Ep. Ind., Vol. in, pp. 13, (Ranganatha 16.) like a wall of (Two Sphatika-sala-nibharh babandha crystal.' inscrip. of Tammusiddhi, no. A, Tiruvalahgadu inscrip., v. 16, Ep. Ind. ' (6) Vol. vii, (7) pp. 124, 125.) Durllamgha-dushkara-vibheda-visala-sala-durggadha-dustara-brihat- parikha-parita (The city of Kafichi) whose large rampart was insurmountable and I ' hard to be breached (and) which was surrounded by a great moat, unfathomable and hard to be crossed.' (Gadval Plates of Vikramaditya I, v. 6, line 21, (7) Ep. Ind., Vol. x, pp. 103, 105.) Sriman esho'rkka-kirttir nnripa iva vilasat sala-sopanakadyaih That honourable one like a king of walls and stairs.' (Ep. Carnal., Vol. H, no. ' I sun-like glory (erected) splendid 105 ; Roman Text, p. 97, line 14; Transl., p. 164, para. 6.) SIDDHA A A class type of storeyed building, a class of divine beings. of two-storeyed buildings (M., xx, 94, 16-18; see under PRASADA). Semi-divine beings, their images are described (M., LV, 88 SIDDHARTHA A type of building furnished with two ). halls. Siddhartham apara-yamye yama-suryam paschimottare Sale hall is termed Siddhartha.' I ' A house with only a western and southern (Brifiat-samhita, mi, 39, J. R. A. 521 S., N. S., Vol. vi, p. 286.' AX ENCYCLOPAEDIA OF SINDHUKA SINDHUKA A class of buildings. (Kdmikagama, XLV, 23-28 SI (Si) LA- j see under MALIKA.) VATA A stone mason. Sudradhara-Asalena bamdhita tatha silavata-jahadena ghatita The step-well was constructed by the architect Asala and stones were) worked and shaped by the mason Jahada. (Manglan ' I (the stone inscrip., lines 13-14, Ind. Ant., Vol. XLI, p. 88.) SIMHA A type of pavilion, (lion) a class of oval buildings, a riding animal of gods. A or pavilion with sixteen mandapa v. CCLXX, Sirhha 13 ; the is in dudecagonal wide cubits pillars Chap. (Matsya-Purdna, under MANDAPA). see name of a kind of plan, covered by building which one-storeyed lions (? and simhakranta) is eight : Brihat-samhitd (Chap. XLV, 28, J. R. A. S., N. S., Vol. vi, p. 329). (2) See quotation of the commentary from Kasyapa, which is more (1) explicit. Sirhhah sirhhaih samakrantah konair dva-dasabhir yutah Vishkambhad ashta-hastah syad eka tasya cha bhumika I (3) Matsya-Purdna PRASADA). (4) (Chap. CCLXIX, vv. 29, 36, 40, 49, 53 Bhavislya-Purdna (Chap, cxxx, v. 35 A kind of oval building see under PRASADA). see under PRASADA). under : Garuda-Purdna (Chap. XLVH, (5) ; ; It see v. 29-30 The lion, a riding animal of gods. Devanam vahanam sirhham (M., Lxm, ; (6) his image (ibid., SIMHASANA (i) i), the sculptural description of 2-46). A throne or seat, marked with a lion. Sirhha-mudrita-manoharasanam (cf. ASANA) I Kesari-lafichhitarh tv-atha manoharasanam I (M., XLV, 204, 206.) Mdnasdra (Chap. XLV, 1-112, named Simhasana) The lion seat or throne is made for the use of deities and kings (line i). These thrones are first divided into four classes (lines : the Prathama the (first) throne Mangala throne stated to be is for the fit for the first 4-8) corona- Mangala-coronation, the Vira Vira -coronation, and the Vijaya throne for the Vijaya-coronation. It should be noted that these four thrones are used for the four stages of coronation of the same king. ( M., XLFX, tion, throne 1 66, for the etc.) 522 SIMHASANA HINDU ARCHITECTURE Concerning deities, the Nityarchana throne is used for daily worship, the Nityotsava-throne, and Visesha-throne on some special occasions the Viseshotsava-throne are used for ordinary and special festivals respec; tively (lines 9-11). But the thrones into ten kinds for (see both below) deities An . and kings, for all purposes, are divided account of the general plan as well as of measurement of the various parts of them is given in detail (lines 17They are technically called Padmasana, Padma-kesara, Padma213). bhadra, SrI-bhadra, Sri-visala, Sri-mukha, Bhadrasana, Padma-bandha, and Pada-bandha (lines 12-16). the Of the ten the kinds, Siva or Vishnu (121) ; Ghakravartin or emperor) Padmasana, is used as the throne for Padma-bhadra for the king Adhiraja (i.e., first, the (line 143) the Sri-bhadra ; is fit for the kings Adhiraja and Narendra for all purposes (line 153) the Sri-visala is fit for the kings Parshnika and Narendra (171) the Sri-bandha is for the kings Parshnika and Patta-dhara (line 174) the SrI-mukha for the king Mandalesa (line 177) the Bhadrasana for the king Patta-bhaj (line the Padma-bandha for the king Praharaka (line 182) and the 179) Pada-bandha throne is fit for the king Astra-graha (line 190). ; ; ; ; ; ; The however, not attached to the throne of Astra-graha all other petty kings of the Vaisya and the Sudra Thrones of (line 191). castes are stated to be furnished with pedestals instead, and are made fourcornered square (lines 192-193). But thrones of all other kings are lion-legs are, marked with lions are stated to be and furnished with made six legs (line facing the east (pranmukha) These thrones 196). 197). (line Of the thrones of deities, the Nirikshana(eyes, windows) four the sides (line 198). is made on Various kinds of thrones are thus described but the most beautiful one according to one's choice should be used : Evarii cha vividham proktam yan manoramya(m) manayet (200) This is the mighty lion-throne (Simhasana) on which sat the (2) glorious powerful king, in whose arm is strength, the Lord Emperor Kalinga Nissahka Kankeswara.' I ' ' Sirhhasanaya on the lion i, 2, 3, 4, 5, 6, 7, 8 (pillars). Lion throne, In this case there was actually a large lion royal throne, throne ... whose fine proportions remind one of the Assyrian bulls the support, or one of the supports of the royal seat. runs round the building.' Rhys Davids. (Inscrip. at the and which formed A Audience Hall of Parakrama Bahu, Pulastipur, Ceylon, p. 247, c. 2, para. 523 freize of lions Ind. Ant., 4 ; Vol. u p. 249, c. 2.) , AN ENCYCLOPAEDIA OF SUKA(-KHA)-NASIKA The other shrine contains a fine large figure of Buddha, seated on a simhasana or throne with recumbent lions at the base, and elephants and other carved accessories at the sides.' (Monumental Antiquities, N.-W. Provinces and Oudh, Arch. Sum., New Imp. Series, Vol. n, Agra ' (3) Division, p. 95, no. 23, line 6.) under various names in Buddhist (4) Seats are referred to Asandi (large couches, Chullavagga, vi, couches covered with canopy (Chullavagga, Asandaka (rectangular 14, i ; 14-1 vi, v. Mahavagga, ; literature : 10, 3) ; Mahavagga, v. 10-3) ; chairs), sattango (arm-chair, sofa) ; bhaddapitham (cushioned chair), same on a pedestal (etakasame with many legs padaka-pltham), (Amalaka-vantika-pitham), canebottomed chair (kochhom), leaning board (phalakam). (state-chair), pithika SUKA(-KHA)-NASIKA A small room in front of the idol in a temple. The ' great minister Kampanna for the repair of the roof stones in the Sukanasike (a small room in front of the idol) of the god Chennakesava set up four pillars with capitals and repaired them.' (Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 52 ; Transl., Roman p. 55, note (1) i; Text, p. 126.) ' It (MallesVara temple at and consists Hulikal) faces north of a garbha-griha, an open sukhanasi, a The navarariga, and a porch. garbha-griha, sukhanasi, and porch are all of the same dimensions, being about 4^ feet square, while the navaranga measures 16 feet feet.' (2) by 14 The Sukhanasi doorway has on its lintel a figure of ... The garbha-griha and sukhanasi have likewise ceilings of the same ' but that of the porch is the largest and the best of kind, all.' (Mysore Arch. Report, 1915-16, p. 4, para. 10 ; see also p. 5, para. 12 ; p. 7, para. 13 p. 15, pa ra. 19.) ' (3) The pilasters outer walls of the garbha-griha and sukhanasi have besides and turrets SUKSHETRA An ' . . . (Ibid., p. edifice, 21, para. 27). a type of building. Prak-salaya viyuktam Sukshetram vriddhidam vastu without an eastern hall is named Sukshetra I An edifice prosperity.' ' (Brihat-sarhhitd, LIII, SUKHAfrGA A A 37 ; see J. R. A. S., N. S., Vol. and brings vi, p. 286.) type of pavilion, a rest-house. kind of pavilion used as a rest-house Sukhangakhyam iti : proktarh satra-yogyam tu (M., xxxiv, 272 524 ; mandapam see | under MANDAPA.) HINDU ARCHITECTURE SUKHALAYA A A class PRASADA) of v. pavilion buildings three-storeyed (M., 22-30 xxi, under see ; object having a beautiful neck, a type of pavilion. with twenty-four pillars under MANDAPA) see 13; pleasure-house, a type of storeyed buildings. . SUGRlVA An A SUBHOSHANA SUCHIYA CGLXX, Chap. (Matsya-Purdna, . Cross-bar in a Buddhist rail. (Mahasudassana-sutta, 9 I, 5, compare ; Chullavagga, vi, 3, 3.) SUDHA Stucco, one of the building materials, also used for plaster, whitewash. mortar, (1) See Vol. Ratnapura inscrip. , 1114 of Jajalladeva, A.D., v. 16, Ep. Ind., pp. 35-38. i, (2) See Dewal Prasasti of Lalla the 28, Ep. Ind., Vol. v. Chhinda, i, pp. 80, 84. (3) See Mdnasdra under ABHASA. SUNDARA A A beautiful object, a type of storeyed buildings. class of six-storeyed buildings. SUPRATI(-I)KANTA A type (M., xxrv, 15 of ; under PRASADA. X see building, kind a of site- plan. A kind of prakara or enclosure buildings (M., xxxi, 24 ; see PARIVARA and PRAKARA.) A class of nine-storeyed buildings (M., 23-36 xxvii, ; under see PRASADA). A plan in which the whole area is divided into 484 equal (M., vn, 30-31 see under PADA-VINYASA.) squares. site ; SUBHADRA A ful front type of pavilion, buildings furnished with a beauti- porch. A pavilion with twelve pillars (Matsya-Purdna, Chap. CGLXX, v. 14 ; see under MANDAPA.) SUBHOSHANA A well decorated house for the use of a married a ceremony couple, a type of pavilion where wife's perceiving the first signs of conception. is performed on a Subhushanakhyam vipranarh yogyarh purhsavanarthakam (M., xxxiv, 354 525 ; see I under MANDAPA.) AX ENCYCLOPAEDIA OF SUMAflGALl SUMAftGALl -A An ornament kind of ornament. images of female for the deities. (M., LIV, 49, 95 ; see under BHUSHANA.) SURATA A A type of pavilion. pavilion with sixty-pillars. CCLXX, (Matsya-Purdna, Chap. v. 7 ; see. under MANDAPA.) SUSLISHTA A type of pavilion. A pavilion with thirty-six pillars. sex v. (Matsya-Purdna, Chap. CCLXX, n ; under MANDAPA.) SUSHIRA A hole, a hollow, an aperture, a cavity. tasya chochyate (1) Prag-grivah-pancha-bhagena nishkasa(a)s II tad-vat sushirarh tri-bhagatah prakarasya Karayet I (Matsya-Purdna, Chap. CCLXIX, v. 24.) (2) Sushirarh bhaga-vistirnam bhittayed bhag-vistarat | (Agni-Purana, (3) Dvara-vat pitha-madhye tu sesham sushirakam bhavet (Garuda-Purana, Chap. M., LVX, 83, LXVII, (4) See SUSAMHITA A into Chap, site civ, v. 3.) I XLVII, v. 16.) 15, etc. area plan in which the whole is divided 400 equal squares. (M., vn, 28-29, also xxxi. 18, etc.; see under PADA-VINYASA.) enclosure, a cloister, a covered arcade an enclosed forming part of a monastic or collegiate establishment, a place of religious retirement, Jain monastery. Introduction, p. 37, last nos. 59, 75, 76, 78, 85 Cf. Ep. Carnal., Vol. 11, Roman text, p. 57, line 27, pp. 62, 70 Transl., pp. 147, para., line 3 St}(-SU)-(T)ALAYA An ; ; ; 151, 156 (1) (2) : Sri-Ganga-Rajem Suttale karaviyale (no. 75, Roman text, p. 62). Roman text, Sri-Gahga-Raja Suttaiayavam madisidam (no. 76, p. 62). (3) Suttalayada bhittiya madisi ' and the twenty-four Tirthankaras made had the wall round ' the cloisters (no. 78, line i). Gommata devara Suttalayadolu (no. 86, line i). madisigommata-devargge suttalayamam eyde (5) Gafigavadiya around cloisters the had he dam' for Gommatadeva of Gangavadi Transl made.' 90 ; Roman text, p. 72, line 9 from bottom upwards (4) ; (No. p. 158, para. 5 ; see also no. 59 ; Roman text, 526 p. 57, line 27.) , JHfc SOUTH INDIA!* EAST INDIAN. SIMPLE CENTRALINDI*N / SIKHARA STUPI KIUX STUPI SRI VATSA STUPI foot 526 HINDU ARCHITECTURE SETU ' Inside (the bastis or Jaina temples) is a court probably square cloisters (see photo no. 149 of Jaina basti at Sravana Belgola, Fergusson p. 270), at the back of which rises the vimana over the (6) and surrounded by cell, Ind. which contains the principal image of the Tirthaiikara.' and East. Arch., p. 269, last para., photo no. 149, p. 270.) SCTRA-GRAHIN (see under The STHAPATI) -(Fergusson, an draftsman, architect. SUTRA-DHARA (see A under STHAPATI) carpenter, an archi- tect. SUTRA-DHARIN manager, an (see under STHAPATI) The the thread-holder, architect. SUTRA-PATTI (see PATTA and PATTIKA) A part of a door. Dvara-tare chatush-pancha-shat-saptashta vibhajite II Ekamsarh sutra-pattih syat samam va bahalam bhavet (Vastu-vidya, ed. SURYA-VISALAKA A site Ganapati plan of 400 square (M., vii, II Sastri, xiv, i, a.) plots. 26-27, see PADA-VINYASA.) SETU A bridge in general, a barrier, a boundary, a limit, a landmark, a bridge of earth, a cause-way, narrow pass or mountain-road, a mound, a bank, a dam. ' the fastening of the Karna-kllaya-sambandho'nugriham setuh roof of a house to the transverse beam by means of iron bolts is called setu.' (Kautiliya-Artha-iastra, Chap. LXV, p. 166, para, i.) (1) (2) Matha vedadinam dvija-pura-viharah prati-disam virajante satryany api cha paritas setu-nivabhah II (Two BhuvanesVara inscrip. no. A, of Svapnesvara, Ep. Ind., Vol. (3) Sa khalu v. 30, vi, p. 202.) Bhagirathi-patha-pravarttamana-nana-vidha-nauvata- sampadita-setu-vandha-nihita-saila-s'ikhara-Srenl-vibhramat the illustrious camp of victory at Srl-Mudgagiri, where the I ' From wall of boats of various kinds probridge, which is produced by the ceeding on the path of the Bhagirathi, surpasses the beauty of a chain of mountain tops.' Dr. Hultzsch seems to think that the broad line of boats floating on the river resembled the famous bridge of Rama.' ' ' Dr. Rajendralal Mitra, however, concludes from this passage, that Narayanapala had made a bridge of boats across the Ganges.' (Bhagalpur Plates of Narayanapala, lines 24-25, Ind. Ant., Vol. xv, pp. 306, 308-9, and note 29.) 527 AN ENCYCLOPAEDIA OF SENA-MUKHA SENA-MUKHA A division of an army, a mound in front of the city, a prosperous royal city (see under NAGARA). Nana-janais cha sampurnam bhupa-harmyena samyutam Bahu-raksha-samopetam etat sena-mukharh bhavet gate of a (1) I I (M., x, 70-71.) (2) Raja-veSma-samayuktam sarva-jati-samanvitam I Guhya-pradesa-sarhyuktaih sena-mukham ihochyate II (Kamikagama, xx, SE(-Sl)LA-Rt)PAKA ' Cf. A The rock (Kuda sculpture or statues, gift of his (Sivama's) wife Vijaya.' no. 6, line 7, Arch. Surv., new Imp. Series, Vol. iv, p. 85.) Inscrip. SAINYA-DURGA A fort SO PAN A Stairs, steps, a (i) 12.) statue, a rock-sculpture. (see details stair -case, under DURGA). a ladder, Mdnasara, Chap, xxx Flights of steps are constructed for ascending up and descend: ing from temples, residential buildings, pavilions, enclosure (prakara) , gate-houses, villages, hilly and towns Their situation tracts (parvata-dea) , ponds, wells, step-wells, (lines 85-89). : They are stated to be constructed on the front, of a residential building or temple back and sides : Sarvesham mukha-bhadranam parsve sopana-samyutam Parsvayor dvara-dese tu mukha-sopanam eva va (94) (93) I I Guhyanta-dvara-dese tu vame sopana-samyutam (97) I Pramukhe mukha-sopanam kuryach chhilpa-vit-tamah Prapange pramukhe bhadre sopanam purva-parsvayoh (102) I Parsvayoh prishtha-dee tu tat-purve paksha-parsvayoh Yatra dee tu sopanam tatra dosho na vidyate (101) I I (105) (100) I vame sopana-samyutam pramukhe sopanam eva cha Alinda-yuktam tad-dvare Vinalinda-pradeSe tu Their situation in other places Gopuranam (113) I (114) I : tu tat-parsve Adri-deSe samarohya yatra sopanam lakshananvitam tatraiva karayet I ( 1 1 7) (118) I Vapl-kiipa-tatake va paritah sopana-samyutam (119) Chatur-dikshu chatush-kone chantarale'thava punah (120) I I Evam Their plan eva yatha-dese bhadra-sopanam eva va I (121) : Trayo-vimsach chhatantarh syad devanam iti kathyate (141) Pattadri-marga-paryantam tiryak chordhvordhva-choktavat (142) I I 528 SOPANA HINDU ARCHITECTURE Manushanam tu sopanam pattika-yugma-samyutam (143) I Sopana-parsvayor dese hasti-hasta-vibhushitam (155) Hasta-mula-visale tu choktangulirii na manayet (156) I I Mulena tat kramat I (mule chagra) -tri-bhagaikarh hastagrantam kshayam (157) Hasti-hasta-vad akaram raga-yuktam manoharam (150) I Tri-chatush-pancha-vaktram va mulena sirhhananair yutam (159) (160) Agradho-dharapattarh syat pattika chokta-manakam (161) Adhara(agradhara)m palikakaram pattika vedikakritih I I I Adri-sopana-parsve tu na kuryat parsVayo'righrikam Adri-Sopana-dese tu dirgha-manaih yatheshtakam I (163) I 1 ( 36) (162) Sarvalankara-samyuktam sopanam lakshananvitam Measures of the other flights of steps are given in detail (lines 125I iS^S 6 )- I3 2 . The two kinds of steps (and the materials of which they are constructed) Achalam cha chalam chaiva dvidha sopanam iritam (90) Silabhis cheshtakair vapi darubhih sachalam matam (91) : I I Sarvais chaivachalam proktam kshudra-sopana-samyutam (92) account given above is that of the stationary steps, that of the movI The able ? ( is moving) steps Achalam also given : (124) proktam chalam sthapyam yathesh^akam Tri-chatush-pancha-shan-matram chalam sopana-padake (144) (145) Tad-ghanam cha visale tu samam va padam adhikam Ardhadhikam tu padona-dvi-gunam tri-gunam tatah (146) cheti I I I I chitra Danda-dvaya-samayuktam (H7) ( ? chhidra)-yuktam tu pattika Eka-dvi-try-angularii vapi pattika-ghanam eva cha Dvi-tri-veda-sarangulyam shat-saptangulam eva va Ashta-nanda-dasangulyam pattika-vistritam bhavet | (148) I I ( 149) (150) I Evam tu chala-sopanam achalam tat pravakshyate (151) Vishkambha-chatur-asram attalakam utsedha-samavakshepa-sopanaih karayet I (2) I Ishtakavabandha-par^varh vamatah pradakshina-sopanam gudhabhitti-sopanam itaratah i Chap, xxiv, pp. 52, Sopanam cha yatha-yuktya hasti-hastam tathaiva cha II (Kaufiltya-Artha-hstra, (3) (SuprabhedSgama, xxxi, Ibid, LV Tale 114.) : tale tu sopanam arohartham prakalpayet Compare Sankha-sopana (v. 53.) (v. 170), 174), pradakshina-sopana (v. 176). 529 hasti-sopana 1 1 (167) and laja-sopana AX ENCYCLOPAEDIA OF SOPANA The general plan : Sopanam parsvayor agre tan-mulasya prayojayet Tan-mulam syad adhishthanam pada-prastara-varga-yuk I AsVa-padopari sthitvarohanam dakshinahghrina II Idrig-lakshana-sarhyuktam sopanaih sampadaspadam U (4) Mahdbhdrata, i, 185, 20 Prasadaih sukritochchhrayaih 77) (178) : ... I Sukharohana-sopanaih mahasana-parichchhadaih (5) ( 1 I Fh'ghts of steps (Vanapalli Plates of Anna-vema, 1 1 v. 10, Ep. Ind., Vol. pp. 61, 59.) ui, (6) Meru-mamdara-kailas'an arurukshur mahamatih Sopana-panktim srl-saile I vyatanod vema-bhu-patih 1 1 Desirous of ascending Meru, Mandara and Kailasa, i.e. to gain heaven through charity) the high-minded king Vema constructed a flight of steps ' at Sri-saila.' (Nadupuru Grant of Anna-vema, v. 6, Ep. Vol. Ind., m, pp. 288, 291.) The sopana the flight a kind of religious architecture peculiar to India, cf. eg., of steps in Chandra-sekhara peak, Sita-kunda, Chittagong, Benis gal. a . Patala-gariga-tate srl-saile sopana vlthim subham beautiful flight of steps in the bank of the Patala-gariga at the fort of the SrI-saila hill.' (Tottaramudi Plates of Kataya-vema, v. 8, Ep. Ind., Vol. iv, ' . (7) . p. 322.) prabhavati pathi prapta-patala-gange pramatha-padavim arurukshus chakara (8) Srl-sailagrat Sopanani ' I 1 1 flight of steps from Patalagahga to the summit of the to climb up to the abode of Siva.' ^(Inscrip. of the Reddis Constructed the Sri-saila as if of Kondavidu, no. A, v. 6, Ep. Ind., ' (9) Brahmapryan . . . Vol. xi, pp. 320, 314.) made the stone caused to be work of a flight of steps, with tiger's head at the bottom for the abhisheka-mandapa .' in the temple of Vanduvarapati-Emberuman at Manimangalam . (Inscrip. of Rajaraja III, no. 39, H. S. I. I., Vol. . m, p. 86.) (10) Sri-Vagmati-jalavatara-sopanararna-ghanta-dharmma-sala-pratish- tha-karmma samapayan I Sopanalir iyarh vidagdha-rachana-suslishta-chitropala ramyS vayu- sutadhivasa-vihita-proddama-vighnavalih I snana- Sampadyanhika-sakta-loka-vihita-svechchhavakasa-sthala dhyana-hita sudha-dhavalita-pranta chirarh rajatarh (Inscrip. from Nepal, no. 1 1 23, Inscrip. of Lalita-tri-pura-sundari, v. i, Queen Second Series, Ind. Ant., Vol, ix. p. 194.) 53 HINDU ARCHITECTURE SAUDHA (n) oriman esho'rkka-kirttir nnripa iva vilasat sala-sopanakadyaih That honourable one, like a king of sun-like glory (erected) splendid walls and stairs.' Roman text, p. 79, line 14; (Ep. Carnal., Vol. n, no. 105 t ' ; Transl., p. 164, para. 6.) stairs laid out.' p. 'had the Maha-sopana-panktiyumam rachisidam (12) (Ep. Carnal., Vol. n, no. 115 ; Roman of grand flight text, p. 87 ; Transl., 171.) For the new Jina temple in the place of his government, in order life might be to Permmanadi, caused steps to be cut to the deep tank of Balora-katta, had the embankment built, provided a sluice, ' (13) that long and . Roman (14) (Ep. Carnal., Vol. in, .' . Mandya Taluq, no. 78 Transl., p. 47 ; ; text, pp. 101-102.) The Chullavagga (vv. 11, 6 vi, 3, 3) ; and the Mahdsudassana-sutta have referred to stairs of three kinds, namely, brick stairs, stone (i, 59) All these are furnished with balustrades (alamstairs, and wooden stairs. bana-bahu). (suchiyo) let Each of these had posts or banisters (thamba), cross-bars and a head-line (unhisam) running along into these banisters, the top of the banisters. (Compare Rhys Davids' Buddhist Suttas, p. 262, and the writer's Indian Architecture, p. 13.) SOMA-SUTRA A drain, a channel for conveying holy water from a Phallus of Siva or any other deity of a shrine. ' the shrine, an ornamental feature of these (Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi, The drainage channel from temples.' P- 39-) See also SETU A Champa by Mazumdar, bridge, a m, 2, 4; Ait. Bra., HI, i Brihad-Upanished, ; 2, i ; vi, i, dam, 4> 35; 9 p. 237. a causeway (R.- V. ix, 41, 2 Taitt. Sam., vn 5 8 5 Kath Sam., xxvii, 5 3> 3 ; 5 '> Taitt. Bra., u, iv, 4, 4, 2, 6 ; Sat. 4; Chhand-Upa., vm, SAUKHYAKA A pleasure-house, Bra., 4, i, xm, 2, 10, 2). a type of pavilion. (M., xxxiv, 279 SAUDHA A - ; see under MANDAPA.) stuccoed or whitewashed house, a large house, a great mansion, a palatial building, a palace. (1) plastered, Kailasa-saila-vilasinas bhumau samuttumgga-s'ikharasya saudhasyasthana- I (Teki Plates of Rajaraja-chodaganga, line 82, Ep. Ind., Vol. vi, p. 342.) (2) Kshetre prabhase sukritadhivase svakarita-brahma-puri-griheshu I Prakshalya padau pradadau sa saudham Nanaka-namne kavi-panditaya II SAUDHA-MALIKA AJV ENCYCLOPAEDIA OF ' (He) in the sacred Prabhasa, the habitation of good actions, gave to Nanaka, the Poet and Pandit, having washed his feet, a palace among the mansions of the Brahma-purl founded by himself.' Inscrip., no. u, SAUDHA-MALIKA an -(Sanskrit Grants and v. 8, Ind. Ant., Vol. xi, pp. 106, 107.) SAUMUKHYA A PRASADA-MALIKA) (see Malika edifice of the of buildings, class class. An object having a beautiful face, a type of column, one of the five Indian orders. see (Suprabhedagama, xxxi, 65, 67; under STAMBHA.) SAUMYA A class of buildings. (Kamikagama, XLV, 40 SAUMYA-KANTA A see under MALIKA.) tpye of gate-house. (A/., XXXHI, 563 under GOPURA.) see ; A type of storeyed buildings. SAURA-KANTA A ; class of nine-storeyed buildings. (M., xxvn, 5-9 SAUSHTHIKA An see ; under PRASADA.) object or moulding added for architectural the sake of elegance or beauty. Tad-eva s"ala-parsve chaikam dvyaikena shausthika-harah I (M., xxvm, Tad-eva-sala-prante tu (M., xxix, 26 SKAND-(H)A-KANTA A The hexagonal or six-sided (M., xv, 246, 23-245). A type of gate-house parsve chaikena saushthikam ; see for context, 24-33 '> see 1 6.) I under AKRA-KANTA.) type of column, a type of gate-house. pillars with six upa-padas or minor pillars (M., xxxra ; see under GOPURA). SKANDHA-TARA A A class type of building extending like the shoulders. of single-storeyed buildings (M., xix, 172 see under PRASADA). ; SKANDHAVARA A division of an army, a camp, a royal residence, a capital city, a fortified town. (M., x, 42, Cf. Sri-Venu-grama-skaihdhavare sukhena bhavan f. ; see under NAGARA.) samrajya-lakshmlm anu- I While he is enjoying the good fortune of universal sovereignty at the famous camp of Venu-grama.' (Bhoj Grant of Kartavirya, iv, lines 96-97, ' Ind. Ant., Vol. xix, pp. 247, 248.) 532 HINDU ARCHITECTURE STAMBHA STAMBHA Fixedness, a support, a stem, a trunk, a post, a pillar, a column, banisters (Mahdsuddassana-sutta, i, 59, see Buddhistsultas by Rhys Davids, p. 262, compare Chullavagga, VL, 3, 3.) For references to Vedic 107 below. pillars, vide The column is generally four times the base (M., xin, 2-3, see under and be or the is stated to twice three times the base ADHISTHANA), pedestal under and the entablature is directed to be ADHISHTHANA) (see Mayamata, | of, equal to, or greater by J, f f or twice of, the base (M., xvi, 2-4, see under PRASTARA). , , (i) Mdnasdra (Chap, xv, 1-448), named Stambha Columns are charana, called jangha, (s)tali, : stambha, angrika, sthanu, thuna, pada, skambha, arani, bharaka, and dharana (lines The height or length of a column is measured from above 4-6). the base to below the Uttara, or above the pedestal from Janman The height of a column is, in other words, to the Uttara (lines 7-9). ' measured from the plinth (of the former) up to the lowest part of the entablature, that is, from the base to the capital inclusive.' The length of a column is twice, ii or ij times of its base (lines 8-10) or the heights of the column begin with z\ cubits and end at 8 cubits, ; the increment being ing to KaSyapa by 6 angulas or J cubit (see Ram Raz, its 1 1-12). But accord- may be 3 times that of the base or 6 or 8 times that of The diameter of a pillar may be th, th, ^th, or ^th if it be made of wood or stone, |rd, Jth, or th, of the height, of the pillar the pedestal. of (lines Ess. Arch, of Hind., p. 29), the height height, if words, it ; be a width of the matras from three is and to ten times the according to pilaster, (parts), In other pilaster joined to a wall (kudya-stambha). the column twice, thrice, the Mdnasdra, diameter. The is 3, or 6 4, 5, or four times of these should be the diameter of the pillar (M., xv. 14-15). The height of a pillar being divided into 12, n, 10, 9, or 8 parts, one of these parts is the diameter of the pillar, and at the top it is diminished by one-fourth (lines 1 6- 1 8). A quadranan octangular one gular (four-sided) pillar is known as circular one a sixteen-sided or is called Vishnu-kanta Rudra-kanta a pentagonal one is called Siva-kanta and a hexagonal column is called Skanda-kanta. These columns are stated to be uniform from bottom to top but the bases of these may be Columns admit almost of is all called shapes (lines 20-23). Brahma-kanta ; ; ; ; ; quadrangular (lines 24-25). 533 *N ENCYCLOPAEDIA OF STAMBHA ornaments the five kinds of With reference to dimensions and Rudra-kanta, Siva-kanta, and columns-Brahma-kanta, Vishnu-kanta, Padma-kanta (line Skanda-kanta-are called Chitra-karna (line 31), Palika-stambha (line 73), and Kumbha- Chitra-skambha (line 40), Koshtha-stambha (line 84) stambha (lines 73> 204). The sixth one, be two-sided, and hence it is same in the latter division, is stated to It should be noticed that the former or oq), as Kudya-stambha set of five names pilaster. refer to the shapes of the latter set of five names based is on columns, i.e. shafts, wlul( the shapes of the capitals. and shaft are mcluded. But in the detailed account both the capital Columns when in rows, must be in a straight line. or five diameters inter-columniation may be two, three, four, inner the extremity of the from in three ways, first it is measured the centre of from base of one pillar to that of another, secondly from the outer extremities of the pillars ; The ' two pillars, including the and two thirdly There are no fixed inter-columniations in ' bases.' Ess. Hind. Arch., pp. 32, 39-) Indian Architecture. '-(Ram Raz, Dhvaja-stambha Cf. (M ., LXIX, 24 , Dhanya-stambha and Sila-stambha The shapes and mouldings of the last one (ibid., 16-18) (M., XLVII, i). Vrttarh va chatur-aSrarh va ashtas'ra-shodas'atrakam alahkritam Pada-tuhge'shta-bhage tu trirhs'enordhvam : I I tatika ghatam Bodhikarh mushti-bandham cha phalaka of the shaft. These are apparently the five component parts The entablature, base, and pedestal are separately described I : Kuttimam chopapitham va sopapitha-masurakam (ibid., 21). ADHISHTHANA and PRASTARA. See further details under UPAPITHA, For the component parts of a column, (2) Kdmikagama, xxxv see further details below. : Nava-hasta-pramanantah stambhotsedhah-prakirtitah Chatur-arhs-am samarabhya shad-daamam yatha-vidhi II Bhagat kritvaika-bhagena nyunarh syad agra-vistarah 1 na karayet Sila-stambharh Sila-kudyam naravase Jbid., LV, 203 (the synonyms) II ( 1 (24) 1 I (26) 61) : cha jangha cha charananghrikam Sthanu(h) sthunaS cha padaS abhidhaSthambho hasto lipyam kamparh (skambham) padanam I nakam (3) II Suprabheddgama, xxxi : The coloumn compared with its Padayamam adhishthanam Padardharh prastararh base and entablature : dvi-gunarh sarva-sammatam I samam proktarh karnam prastaravat 534 II (28) STAMBHA HINDU ARCHITECTURE The shapes of the five orders, the fifth being composite of two Jati-bhedam samakhyatam padanam adhunochyate : (53) 1 1 Chatur-asram athashtasrarh shodaSasram tu vrittakam Kumbha-yuktas tatha kechit kechit kumbha-vihinakah I The five names and Sri-kararh 1 characteristic features of the five orders chandra-kantarh cha saumukhyam (54) 1 : priya-dars"anam 1 1 (65) Subhamkari cha namani kartavyani vis"eshatah I Sri-kararh vritta-padanam shodas"asre tu kantakam Saumukhyam hi tathashtasre turyagre priya-darsanam Ghatur-asrashta-misre cha pada karya subharhkarl This last one is the Indian Composite order. The common features and mouldings of the five orders Pada nama iti prokto tesharh lakshanam uchyate 1 (66) 1 1 I (67) 1 : 1 1 (55) Vistarasya chatur-vimsat(d)-bhagaikam pada-vistaram Tad-eva dandam akhyatam padalamkara-karmani 1 I (56) 1 Mula-padasya vistarat saptaikamsena margatah Dvi-dandarh mandir utsedharh danda-padarh tu vistaram II (57) Ashtamsam kantham utsedham dvi-dandam kumbha-vistaram I I Utsedham padona phalaka bhavet (58) Tri-dandam vistaram proktarh tad-ardham nirgatarh smritam Vira-kantharh tu dandena vistaram tat-samam bhavet (59) Tad-urdhve potikayamarh tat-tri-padarh tad-uchchhritam Tri-dandam adhamayamarh chatur-dandam tu madhyamam Uttamarh pancha-dandam tu potikayamam uchyate tu tri-padarh hi 1 1 I 1 1 I 1 (60) 1 I Chitra-patra-tararhgais' cha bhushayitva tu potikam (61) I Kumbha-padam idam proktarh kumbha-nimnarh prachakshmahe Padarh potikaya yuktam ^esham karma na karayet II (62) Kumbha-hmas tv-ime prokta lata-kumbharh tad uchchyate Kumbhakararh tu tan-mule tad-urdhvam padmam eva tu II I I (63) Phalakordhve latarh kuryat tach-chhesharh kumbha-pada-vat Padantare tu kartavyani asaktas chet tu varjayet (64) Sarvesham eva padanam tat-padarh nirgamam bhavet II (65) 1 (Of all orders, the projection of the main prasada The columns pas (pavilions) are distinguished is I 1 J). (edifice) and of the subordinate manda- : Prasada-stambha-manasya etat stambham vi&shyate Padadhikam athadhyardharh padona-dvi-gunam bhavet II Stambhayamashta-bhagaikam stambhasyaiva tu vistaram I Vrittam va chatur-aSrarh va chatur-ashtaSra-mi^rakam Shoda5ara-yutam vapi Silpaih sarvaih su^obhitam I 535 1 1 (105) I ( 106) STAMBHA ENCYCLOPAEDIA OF AJi Stambhach cha bodhikadhikya bodher apy uttaradhika II Uttarad vajanadhikya tasyordhve mudrikam nyaset Mudrikach cha tuladhikya jayanti tu taloparill (108) 107) ( I ishtakabhis tu tasyordhve kalakan kshipetll ( ;og) The above passage refers to only a part of the order. The pedestal, described elsewhere. (See Suprabteddgama base, and entablature are Chhadayed > under P!THA and UPAPITHA, ADHISTHANA and PRASTARA.) The mouldings of the part between the entablature and the capital Mandi and the (v. 57), kantha (v. shafts, are, as Kantha, (v. 58), and Potika (v. are otherwise called Bodhika, Mudrika, Tula, Jayanti, and Tala (4) Kauliliya-Artha-fastra (v. 58), Phalaka (v. 56), 58), Vira- (v. 60). 59), The same Danda described above, called Kumbha base, that is, (v. Uttara (v. 107), Vajana, 108). (chap, xxrv, p. 53) : parikshepash shad-ayama dvi-guno nikhatah chulikayas" in fixing a pillar, 6 parts are to form its height on the chatur-bhagah twice as much floor, (12 parts) to be entered into the ground, and one- Stambhasya ' fourth for (5) its capital.' R&mayana (18, vi, 3, etc.) Kanchanair bahubhih stambhair vedikabhis' cha sobhitah : Mahdbhdrata (xrv, 2523, (6) etc.) : Stambhan kanaka-chitrarhS cha toranani Matsya-Purdna (Chap. CCLV, (7) I v. 1-6) vrihanti cha I : Athatah sarhpravakshami stambha-mana-vinirnayam Kritva sva-bhavanochchhrayam sada sapta-gunarh budhaih As"ity-aihah prithutve syad agre nava-gune sati RuchakaS chatur-a^rah syat tu ashtaSro vajra uchyatell (2) I 1 1 I Dvi-vajrah shodasa^tras tu dva-trirha5rah pralinakah Madhya-prades"e yah stambho vritto vritta iti smritah Etc pancha-maha-stambhah pra^astah sarva-vastushu I II (3) I Padma-valll-lata-kumbha-patra-darpana-ropitah II (4) Stambhasya navamam^ena padma-kumbhastararh Stambha-tulya tula prokta hina chopatula tatah n Tri-bhageneha sarvatra chatur-bhagena va punah tu I (5) I Hinam hinarh chaturtharhSat tatha sarvasu bhumishu (6) These verses are almost identical in the Brihat-samhitd (LHI, 2^30) see below 1 1 ; : (8) it 2) Brihat-samhitd (urn, 27-30, J. R. A. S., N. S., vol. vi, p. 285, notes : Uchchhrayat sapta-gunad asTti-bhagah prithutvam etesham Nava-gunite asTtyarhsah Stambhasya da^arh^a-hino'gre II (27) I 53 6 STAMBHA HINDU ARCHITECTURE The ' eightieth part of nine times the altitude (of the storey) gives the width of a column at the bottom this diminished by one-tenth is the width ; of the column at the top.' Kern. Sama-chatur'asro ruchako vajro'shtasYir dvi-vajrako dvi-gunah Dva-trirhsasras tu madhye prallnako vritta vrittah iti II I (28) A column with four sides equally rectangular (lit. of four equal corners) one with such eight sides is called Vajra is called Ruchaka (= beautiful) one with such sixteen sides is called Dvi-Vajra one with such thirty-two and a round sides at the middle (i.e., by the shaft) is called Pralinaka one is called Vritta. Stambharh vibhajya navadha vahanarh bhago ghato'sya bhago' : ; : ; nyah I Padmam tathottaroshtharh kuryad bhagena bhagenall (29) Commentary quotes Kirana-Tantra ( ? Kiranagama] Vibhajya navadha stambham kuryad udvahanam ghatam : Cf. 1 ' I Kamalam chottaroshtharh tu bhage bhage prakalpayet When you divide the whole column into nine parts, one part would 1 be the pedestal (?) the second, the base (?). The capital(?) and also the upper h'p(?) must be made so as to form one part, each of them.' (Sts ; below.) ' All this exceedingly vague.' Kern. Stambha-samam bahulyam bhara-tulanam upary upary asam Bhavati tulopatulanam unam padena padena 1 1 I (30) column is that of the architraves the Equal thickness of the superior cross-beams and upper rafters is lessened by oneKern. quarter, again and again.' The eight component parts of the column (order) mentioned in the Matsya-Purdna, Brihat-samhitd, and Kirana-tantra are (i) vahana, (2) to the thickness of the ' ghata, tula, padma, (3) and ; (4) uttaroshtha, (5) bahulya, (6) bhara (? hara), (7) (8) upatula. Dr. Kern's conjectural rendering of these terms does not seem tenable. Nothing can, however, be stated with certainty about their identification . a very striking similarity between the number (eight) of the of which the Indian and the Greco-Roman orders are composed. mouldings, But there is below). (See (9) Samgraha-siromani by Sarayu verses from Vardha-mihira same three Prasada (xx, (B. s. LIU, 132-134), cites the 28-30) as quoted above The subservient parts of an order, called mouldings, and (10) to all the orders, are eight in number. They are ' common The ovolo, echinus, or quarter round (Fig. 867). It is formed a by quadrant, or sometimes more of a circle, but in Grecian (i) 537 AN ENCYCLOPAEDIA OF STAMBHA obtained by portions of an ellipse or some latter observation is applicable to all mouldings of Greek examples, and we shall not repeat it in enumerIt is commonly found under the abacus of ating the rest of them. ovolo is also almost always placed between the corona The capitals. examples section its other conic is This section. form gives it the appearance of seeming fitted to support another member. It should be used only in situations above the level of the eye. and dentils in the Corinthian cornice its ; The talon, ogee, or reversed cyma (Fig. 868) seems also, like the ovolo, a moulding fit for the support of another. (ii) The cyma, cyma (iii) trived for recta, or a covering and cymatium to shelter other (Fig. 869) members. seems well con- The cyma recta only used properly for crowning members, though in Palladio's Doric, and in other examples, it is found occasionally in the bed mouldings under the corona. is The (iv) torus (Fig. 870), like the astragal presently to be a rope, and seems intended tioned, shaped to then the parts which it is applied while, like is to men- bind and streng- ; (v) The scotia or trochilos (Fig. 871), which always accompany the tori, is placed between the usually below the eye ; fillets its use being to separate the tori, and to contrast and strengthen the effect of other mouldings as well as to impart variety to the profile of the base. (vi) The cavetto, crowning moulding like the By workmen never used. (vii) mouth or hollow is chiefly used as a In bases and capitals a casement. called frequently cyma it is (Fig. 872) recta. it is The astragal (Fig. 873) is nothing more than a small torus, and, seems applied for the purpose of binding and strengthening. like it, The astragal The is also known by the names of bead and baguette. or annulet (Fig. 874) is used at all heights and iviii) in all situations. Its chief office is the separation of curved mouldings from one another. fillet, listel of Arch., art., 2532 ; see also Gloss. Grecian Arch., plates xxxiv, xxxiv, bis.) (Gwilt, Encycl. (Attention of the reader should also be drawn to another striking affinity in both cases they between the Indian and the Greco-Roman orders : are principally five in number : see details below.) Whatever be the reasons of these affinities, chance or influence, some of the eight mouldings of an Indian order may be identified with an amount of Roman certainty with the corresponding mouldings of the Grecoorder. Padma means lotus and it is same as cyma. Uttaroshtha, literally lower lip, and cavetto, mouth 538 or hollow, are apparently the same. STAMBHA HINDU ARCHITECTURE (in the Mdnasdra) meaning a chain, and the. latter Ghata might correspond the torus, bead or astragal. expression implies Bhara read as hara is to conge, Vahana to abacus, uttara) to fillet or listel. Vol. n, pp. 164, 167). Thambhani (Pillar Edicts (12) vajana and (also called with Garuda bird on the top (Badal Pillar Pillar (n) and Tula and Upatula inscrip., v. 27, Ind., Ep. of ASoka, no. vn, Ep. Ind., Vol. n, 270). p. Stambhatvam (13) a Saila into pillar.' pp. 61, 64.) (14) Pillar Ep. (Deogadh Vol. Ind., ' Sri-Sailam evanayat Converted the SriPlates of v. Anna-vema, 10, Ep. Ind., Vol. m, (Vanapalli . rv, p. . . Pillar inscrip. of Bhojadeva of Kanauj, lines 6, 9, 310). (15) Tri-Sula-mudrarhkah svakiyayatana-dvare maha-saila-stambhah The pillar is (now) called the Lakshmi Kambha, or the pillar of (the I ' (goddess) Lakshmi. ' The upper inscription). It is part of the pillar is ocatgonal (and this part contains the inscription, the pillar is square. Immediately below the stamped with the mark of the tri-ula or trident, which is the weapon of Siva, was set up in the middle of the three shrines by a sculptor named Subhadeva.' -(Pattadakal inscrip. of Kirtivarman II, line 1 8, Ep. Ind., Vol. in, pp. i, 3, 5, 7.) A four-faced pillar made of stone (A. D. 1250) now " lying in the temple of Venugopala in the Kistna District." (Yenamadal inscrip. of Ganapamba, Ep. Ind., Vol. in, pp. 94, 96.) (16) ' (17) 1050) is This inscription (Sravana-Belgola Epitaph of Mallisena, Saka> faces of pillar on a hill at Sravana-Belgola in Mysore.' on four (Ep. Ind., Vol. in, p. 184.) (18) Sila-stambha stone pillar, (?) solid. (Sravana-Belgola Epitaph of Mallisena, v. 9, Ep.Ind., Vol. m, pp. 190, 186.) (19) Used in the sense of danda (a measure) : TriihSat-stambha-prarnana-pushpa-vatika. I inscrip. of Silhara Vijayaditya, line 22, Ep. Ind., Vol. m, p. 213.) (Bamani At the eastern entrance of this temple (named Kunti-Madhava Pithapuram, in the Godavari District) in front of the shrine itself, ' (20) at stands (still) (21) or the lihga, The a quadrangular stone pillar.' (Salotgi) pillar is inscribed on (Ep. Ind., Vol. rv, p. 32.) all its four faces on the front above the writing, are some sculptures, towards the top a and below it a cow and a calf and something else which has been ' first face, defaced.' (Ep. Ind., Vol. iv, p. 57.) 539 : AN ENCYCLOPAEDIA OF STAMBHA (22) Sila-thabe cha usapapite : he caused a stone pillar to be erect- ed.' (The Asoka Edicts of Paderna, line 3, Ep. Ind., Vol. v, p. 4.) The Vishnu temple of Kurmesvara at Srikurman near Ghicalcole (23) in the Ganjam District contains many inscribed pillars of hard black stone ' which have successfully withstood the influence of the climate.' -(Ep. Ind. Vol. v, p. 31.) (24) Chakre Punye . . . Vijaya-stambham ambhodhi-tlre sahyadri-sVirhge 1 1 tri-bhuvana-vijaya-stambham II (Four inscrip. of Kulottunga-Chola, no. A vv. i, 2, Ep. Ind., Vol. v, p. 104).' This inscription (Sravana-Belgola Epitaph of Marasimha II) was engraved on the four faces of the base of a pillar, which is known as the Kuge-Brahma-deva-Kambha, at the entrance to the area, occupied by the temples on the Ghandragiri hill at Sravana-Belgola. ' (25) ' (Ep. Ind., Vol. v, p. 151.) Mana-stambha (Sravana-Belgola Epitaph of Marasimha (26) II, line 109). (Ep. Ind., Vol. v, pp. 1 78, 171, note 5.) honour ", is " Mana-stambha", which means literally "a column of explained by Mr. Rice (Inscrip. at Sravana-Belgola, Introduc- The word " the elegant tall pillars, with tion, p. 19, note 2) as denoting technically " a small pinnacled mantapa at the top, erected in front of the Jain temples and he refers us to Eastern Architecture, a discussion regarding _them in Fergusson's Indian and Dr. Fleet (see below). p. 276.' Mana-sthambha (27) Jaina pillar (Krishna Sastri refers also to Epnote 5). 171, Manastambhas, which are generally graceful, high and imposing, Ind., Vol. v, p. ' The have to be distinguished from other Jaina nor bearing any mandapas on their tops. pillars neither so tall as the These latter are called former Brahma- deva-pillars (cf. Brahma-kanta, in the Manasdra] and appear to be usually The Tyagada-Brahma-deva pillar set up in front of colossal statues. (figured on plate facing 33 of the Introduction to Mr. Rice's Sravanaup opposite to the collosal statue on the Dodda- p. is set Belgola inscriptions) betta hill at Sravana-Belgola into the bastis ; the Kuge Brahma-deva on the Chikkapetta hill entrance of the same village, indicates perpillar at the haps the existence of the unfurnished colossus on that hill (ibid., p. 29, note i), and the colossi at Karkala and Venur have similar pillars in front of them, bearing an image of Brahma-deva on their tops (Govern- ment Epigraphist's Annual Report for 1900-1901, paragraphs 6 and 7).' of a similar pillar at Venur is given in Ind. Ant., Vol. v, lithograph (Karkala inscrip. of Bhairava II, Ep. Ind., Vol. vi i, plate facing p. 39.' ' A p. 123, note 2.) 54 HINDU ARCHITECTURE Trai-lokya-nagararambha-mula-stambhaya sambhave (28) ' STAMBMA He is I for the erection of the city of the three the foundation-pillar worlds.' (Inscrip. at Ablur, no. E, line i, Ep. Ind., Vol. v, pp. 245, 252.) It (Srikurmam inscrip. of Nara-hari-tlrtha) is inscribed on the (29) east and north faces of one of the black granite pillars, which support the hall enclosing the temple.' -(H. Krishna Sastri, Ep. Ind., Vol. vi, p. 260.) lion pillar (no. i). (30) Siha-thabo Sihadhayana-thambho (no. 7). Sasariro thabo pillar containing relics (Senart). (Karle Cave Vol. nos. also 8, n, Ep. Ind., i, 7, 9, vir, pp. 49, 53, 54, 55, 56.) inscrip. tilakita-stambhah (31) Chanchat-kirtti-patakaya pratishthapitah I All erected the famous pillar adorned Yasyagre Garuda the Garuda at the top.' with a waving banner of fame no. of Tammusiddhi, A, Tiruvalabgadu inscrip., v. i2> (Two inscrip. ' . . . . . . Ep. Ind., Vol. VH, pp. 123, 125.) The ' (32) engraved on (Sravana-Belgola inscription of inscription three faces of a quadrangular pillar behind the Trugapa) is image of the Kushmandinl YakshI which is set up in the Brahma-deva-mandapa Gummata temple on the Vindhyagiri at Sravana-Belgola.' in front of the (Dr. Luders, Ep. Ind., Vol. viii, p. 15.) Mr. Rice, the inscription (Talagunda pillar inscripAccording (33) tion of Kakusthavarman) is engraved on a pillar of very hard grey granite, which stands in front of the ruined Prabhavesvara temple at Talagunda, in the Shikarpur Taluk of the Shimoga District of the Mysore State. The pedestal of the pillar is 5 feet. 4 inches high and i foot 4 inches at the top, a little more at the base. The shaft is ocatgonal, 6 feet 4 inches high ('judging by the length of the lines, the shaft must really be slightly higher"). Each face being 7 inches wide, but tapering slightly towards to the top.' (Prof. Kielhorn, Ep. Ind., Vol. (34) in front (35) nos. vm, p. 24.) i-vm are engraved on ocatognal pillars Alupa inscriptions and in the courtyard of the Sambhukallu temple at Udiyavara.' (Ep. Ind., Vol. ix, p. i-jf.) Stambho'yam nagarasya ' this is the city pillar.' (Ranker inscrip. of Bhanudeva, v. 6, Ep. Ind., Vol. rx, p. 126.) In 1848 Captain J. D. (in. J. R. A. S., Bengal, Vol. thus near to the western edge of the i, p. 305 ff) proceeds similar lake stands the wand or pillar (in the town of Pithari in the Bhopal Agency of Central India) now called Bheem Sen. It is composed of a (36) Cunningham ' xvn, part : single block about 30 feet, in height in section, for a height of 8 feet, and and 2| it 541 thick. The shaft then becomes circular.' is square AN ENCYCLOPAEDIA OF STAMBHA General Sir A. Cunningham (in his Archaeological Survey of Inside the town on the top of the Vol. x, p. 70), noticed thus India, The shaft is is a tall monolith with a bell-shaped capital. there slope, and feet inches 2 feet inches 9 3 high square circular, rising from a base 8 In 1880 ' : and from their (of the letters of the inscription on the pillar) would assign the monument to somewhere about A.D. 600. shapes Close by this pillar there is a small temple with Vishnu sitting on Garuda . . I over the door-way.' The main object of the inscription of which a vivid description is to record the erection of the pillar is given. (Pathari Pillar inscrip. of Parabala, vv. 24-29, Ep. Ind., Vol. ix, pp. 254, 248, 249, 250.) In front of the temple is an inscribed quadrangular pillar of black relief within a countersunk square at the top of each of granite bearing in its four faces, the figure of a squatting Jaina ascetic with his arms folded ' (37) over his lap crosswise.' thousand-pillared temple in the middle of the village of Anmakonda was built by Prola's son Rudra in or about A. D. 1162-1163 ' The (Ind. Int., vol. xi, p. 9 f.).' ( Anmakonda inscrip. of Prola, Ep. Ind. Vol. ix, pp. 257, 256, note 8.) , verse (quoted below) invokes the blessings of Vinayaka are told, was placed on the column to ensure prosperity (Ganapati) a at the top by quadruple image of Ganapati, facing the cardinal direc' (38) The first who, we tions.' Siddhim karotu sarwattra stambha-dhama-Vinayakah I (Ghatiyala inscrip. of Kakkuka, no. n, v. i, Ep. Ind., Vol. ix, pp. 280, 278-279.) Kamaniya-sila-stambha-kadambottamvltamvaram ViSarhkatavitamkali-virajad rarhga-marhtapam It (the temple) has a large Ranga-mandapa raised on a collection of beautiful stone pillars and adorned with rows of spouts.' (Krishnapuram 1 1 (39) 1 1 ' Plates of Sada&varaya, v. 55-56, Ep. Ind., Vol. ix, pp. The two (Nalamba 336, 341.) from Dharamapuri of the ninth century A. D.) are engraved on the four faces of a pillar, which was removed in 1904 from Dharmapuri in the Salem District to the Madras Museum.' The pillar measures 5' 4^" by i' 4" on the east face, 5' 6" by i' 4" on the west and 5' 5^" by i' 3* on the north and south faces. It is surmounted by a pinnacle from which proceed in the eight directions eight petals, which open downwards and are slightly raised at the edges where The pillar was built into the they meet the margins of the pillar ' (40) inscriptions ' . floor of a pura.' . . mandapa, in front of the Mallikarjuna temple at old (H. Krishna Sastri, Ep. Ind., Vol. x, p. 54.) 542 Dharma- STAMBHA HINDU ARCHITECTURE the pillar was Matri-pada-sri-nimitte stambhakah pradattah in of mother.' Chahamanas of Marwar, (The memory (their) presented no. xvn, Sanderav stone inscrip. of Kelhanadeva, line i, Ep. Ind., Vol. xi, ' (41) P- 52.) Tenanena Sri-ganapati-deva-maha-rajena sakala-dviparhta-ripadesamtara-pattaneshu gatagatarh kurvvanebhyah samya-kritebhya evam abhayasasanarh dattam Ganapati-devah kirtyai sthapitavarhs chhasana-stambham (42) I 1 1 By this glorious Maharaja Ganapati-deva the following edict (assuring) safety has been granted to traders by sea starting for and arriving from all continents, islands, foreign countries, and cities Ganapatideva set up for the sake of glory (this) edict-pillar.' ' . . . (Motupalli pillar inscrip. of Ganapati-deva, lines 135-140, v. 28, Ep. Ind., Vol. xn, pp. (43) 195, 196, 197.) Agrya-dhama-sreyaso veda-vidyavalllkandah svah sravantyah tam kirl- I tala-brahma-lokah 1 karnnavatiti yena Vra(bra)hma-stambho pratyashthapi kshma- 1 He ' set up the pillar of piety, called Karnavati, the foremost abode of the root of the creeping plant, knowledge of the Vedas, the diadem bliss, of the stream of heaven, the world of Brahman on the surface of the earth.' (Khairha plates of Yasahkarnadeva, v. 14, Ep. Ind., Vol. xn, pp. 212, 216.) Kirti-stambham (pillar of victory) nikhaya tri-bhuvana-bhavana- (44) stuyamanapadanah I (Conjeeveram plates of Krishnadeva-Raya, Saka 1444, v. 9, Ep. Ind., Vol. xni, p. 127.) (45) Sthapayitva dharani-dharamayan sannikhatas tato'yam saila-stam- bhah su-charur giri-vara-ikharagropamah kirtti-kartta There was then planted in the ground this most beautiful pillar of stone, which resembles the tip of the summit of the best of mountains, (and) which confers fame (upon him).' 1 (Kahaum lines no. (46) Dhvaja-stambha, 1 stone pillar inscrip. of Skandagupta, 11-12, C. /. /., Vol. ni, F. G. I., 15, pp. 67, 68.) also called simply ' ' dhvaja : Matri-(ta)pittroh punya-pyayanartham esha bhagavatah punnya- janarddanasya Janarddanasya dhvaja-stambho'bhyuchchhritah This flag-staff of the divine (god) Janardana, the troubler of the demons, has been erected, for the purpose of increasing the religious merit 1 1 ' of (their) parents.' ' Vishnu-pada girau bhagavato vishnor dhvajoh sthapithah This lofty standard of the divine Vishnu was set up on the Vishnupada.' (Eran stone pillar inscrip. 543 of Budhagupta, I hill (called) lines 8-9 ; STAMBHA AM ENCYCLOPAEDIA Of Mcharauli posthumous iron pillar inscrip. of Chandra, F. G. I., nos. 19, 32, p. 89 and note 1,90; 141, 142.) The /. /., Vol. m, lower part of the pillar (at Eran) is now broken the remnant of it is about 3' 1 1" high and i' 6" in diameter. hollow part is octagonal and the inscription (Eran posthumous ' (47) away and The line 6, C. original lost ; ; stone pillar inscription of Goparaja, no. 20) is at the top of this octagonal . part, on three of the eight faces, each of which is about 7" broad . Above this the pillar is Above sixteen-sided. it is this, again octagonal (and the faces here have sculpture of men and women, who are probably intended for the Goparaja of the inscription and his wife and friends the ; ; compartment immediately above the centre of the inscription represents a man and a woman, sitting, who must be Goparaja and his wife). Above this, the pillar . . is Above . again sixteen-sided. Above this, it is once more octagonal over in sixteen flutes or ribs, into a this the pillar curves round top'. As noted by Cunnigham, there are several other Sati-pillars (in commemoration of a Sati), but of much later date than at Eran.' -(C. /. /., Vol. m, no. 20, pp. 91, 92, note 2.) ' (48) The boundary-pillar Siva-dasena vala-yashti uchchhritah : (this) boundary-pillar has been set up by Sivadasa.' (Bhumara stone pillar inscrip. of the Maharajas Hastin and Sarvanatha, lines 6-7, C. I. I., Vol. in, F. G. The ' (49) I., no. 24, pp. in, 1 12.) posthumous iron inscription (Meharauli pillar inscription of Chandra, no. 32) is on the west side of a tapering iron column, sixteen inches in diameter at the base and twelve at the top, and twenty-three feet near the well known Kutb Minar in the ancient eight inches high, standing fort of Ray Pithara.' (C. I. /., Vol. nayito'ttra I., avani-bhuja (50) Tenakalpanta-kalavadhir sthambhah F. G. m, no. 32, p. 140.) Sri-Yasodharmmanayarh, sthambhabhirama-sthira-bhuja-parighenochchhritirh 1 1 . one of the two Rana-stambhas or columns of victory in war at Mandasor. Their architectural characteristics are given by Dr. Fleet Of the first one he says The base of it is rectangular, about This is : ' From this base there rises a about 8J" broad, where it starts The total length of which (the shaft) was from the base The next thus about 39' 3" or 34' 10* above the base is this column, the lower part of the capital, of part . 3' 4" square by 4' 5" high sixteen-sided shaft, each of which . . . . is . . . . ... a fluted bell, about 2' 6" high and 3' 2* in diameter, almost identical a small pillar from an old design with the corresponding part of Gupta temple at Sanchi, drawn by General Cunningham (in the in 544 STAMBHA HINDU ARCHITECTURE Vol. x, Arch. Sum. Ind., plate xxn, no. i to the top of the lion-capital, length of this column, up or forty feet above the The buried. . . ). is The total about 44' 5", stood with the entire base if it ground, . square lion-capital must have surmounted by a statue or statues, of the same kind as that which stands on the of the column at Eran.' (See above and Arch. Surv. Ind., summit Vol. x. and plate xxvi.) base (of the other column about 20 yards north) is rectangular, about 3' 3" square by 3' n" high. Differing from the first column, the base is followed by a concave circular part, about i' o" high From this there rises a sixteen-sided shaft, each face of which is about 8" p. 8 1 The ' . capital, , This column also tapers it starts from the base the fluted bell part of the from bottom to top about 3' o" high and 3' 3" in diameter (is) similar in design to the broad, where slightly . . . . . . . same part of the capital of the other pillar one circular and eight rectangular socket-holes, just . . . the top has as in the top of the lion- capital of the first column.' The two inscribed columns were evidently intended as a pair, the full view of the second cannot be taken. (From the distance ' though between them, from the difference in the detailed measures, and from the analogous Eran column, as shewing the way in which they must have been finished off at the top, they can hardly have been connected by a beam, after the fashion of a torana or arched gateway and there are no instance of the ; which they can have belonged). They are evidently any of two actual instance Rana-stambhas or <; columns of victory in war," an traces of temple to V Kauthem grant of Vikramaditya (Ind. Ant., Vol. xvi, p. 18) of as been set having speaks up by the Rashttrakuta king Karkara or Kakka III, and as having then been cut asunder in battle by the western Chalukya king Taila II.' (C. I. I., Vol. m, F. G. I., no. 33, such as the . . . line 7, pp. ' (51) 147, The 143 f.) inscription (Pahladpur stone pillar inscription, F. G. I., on a sandstone monolith column about 3 feet in diameter, with a rough base of 9 polished and rounded for a length of 27 feet the total length being 36 feet in or about 1853 removed feet, to Benares and set up in the grounds of the Sanskrit College there.' no. 57) is ; . . . (C. /. /., Vol. m, F. G. I., no. 57, p. 249 f.) Kritau Varikena (52) pundarlke yupo'yaih pratishthapitas On the ceremony of the Pundarika sacrifice (having been performed), this sacrificial post has been caused to be set up by the Varika.' . . . i ' The architectural characteristics of this (sacrificial) column are given Dr. Fleet The pillar (Bijayagadh stone pillar inscrip. of Vishnuby vardhana of A.D. 372) stands on a rubble masonry platform (which is ' : 545 AN ENCYCLOPAEDIA OF STAMBHA much more plainly of recent construction than the pillar itself), which is The height of the pillar 9' 2" square at the top. 13' 6" high and above the plinth is 26' 3". The base is square, each face measuring i' 6". Above this, the pillar about to the height of 3' 8". is octagonal, for a length The extreme top is however from which it, indicates that it was spike, projects side of the pillar, towards originally surmounted by a capital on the south the top of the square base there is engraved a Srlyogi Vra(Bra)hmaof 22' 7", broken ; and it then and a metal tapers off to a point. sagara (the holy ascetic, Brahma-sagara).' This may be compared with the Brahma-kanta column of the Mdnasdra, (Bijayagadh stone pillar inscrip. of Vishnu, vardhana, line 3, C. /. /., Vol. u, F. G. I., no. 59, pp. 253, 252.) Sphara kupara-tiravali-nihita-jaya-stambha-vinyasta-klrttih Who has deposited his fame in pillars of victory, which he erected in an uninterrupted line on the shore of the great ocean.' (Vijayanagara inscrip. of Devar ja n, v. 5, (53) I ' H.S.I. I., Vol. i, no. 153, pp. 163, 165.) (54) Sakra-pratapas tri-bhuvana-vijaya-stambham ambhodhi-tire 1 1 sahyadri-sringe tri-bhuvana-vijaya-stambham ambhodhi- Punye pare I (Tiruvallam inscrip. of Rajaraja, v. i, 2, H.S.I.I., Vol. i, no. 155, p. 1 68.) (55) ' Trailokya-nagararambha-mula-stambhaya Sambhave II Adored be worlds.' Siva, the original foundation-pillar of the city of the three (Ep. Carnal., Vol. i, no. n, pp. 35, 57, first para.) (56) Hire-chavutiya-RamesVara-devara-gudiya-kallu-kelasa madisi dipabuilt of male-kambada had the temple of RamesVara in Hire-Chavuti stone and erected a dipa-male pillar.' (Ep. Carnal., Vol. vm, Part ' Taluq, no. 238 ; Roman text, p. 77 ; i, Sorab Transl., p. 37.) When Sivappa-Nayaka was protecting the kingdom in righteous(57) ness (on a date specified), through the agency of Siddha-Basappayya ' of the treasury, this dhvaja-stambha (or flag-staff) was set up.' (Ep. Carnal., Vol. vm, Part i, Sagar Taluq, no. 38 ; Transl., p. 97.) ' In order that they both might acquire merit (the couple), in(58) formed the guru that they would erect a mana-stambha in front of the NemisVara chaityalaya which their grandfather, Yojana Sreshthi, had built. had a . . . On a propitious day they carried out their promise and made. Meanwhile, to Devarasa were born pillar of bell-metal twin daughters, Padmarasi and Devarasi, and taking that as an auspicious omen, they had the bell-metal pillar, which had been made, set up in front of the chaityalaya. And upon the pillar they fixed a golden kalasa of the same height as that of the twins, Padmarasi and Devarasi. 54 6 STAMBHA HINDU ARCHITECTURE ' To In dimension like a mast of the mana-stambha of dharma and in the midst of the group (of temples) the mana- describe the great ship : stambha (towered up) as if gathering the constellations in the sky like flowers with which to worship the feet of the four Jaina images.' In front of NemisVara Jina's temple, a mana-stambha of polished bell-metal, with a golden kalasa, on the instruction of Abhinava-Samanmads tabhadra-Nagappa-Sreshthi's son, Ambvana-Sreshthi caused to be manaa rod for the umbrella of dharmma. Thus did they have the ' stambha made.' (Ep. Carnal., Vol. vni, Part Roman text, p. 192 f. i, Sagar Taluq, no. 55 ; Transl., p. ; 102, last two paras.) When Mahamandalesvara Saluvendra-maharaja, without (59) with beautiful lofty any enemies, was ruling the kindgom in peace of with mana-stambhas of bell-metal with chaityalayas, mandapas, groups with pleasure-groves for the town, with many images of metal and stone. ' the : no. 163 (Ibid., Roman ; text, p. 234, line 27 ; Transl., p. 124.) ' (60) Glorious with a mana-stambha, a lotus pond and a moat.' (Ep. Carnal., Vol. vni, Part i, Tirthahalli Taluq, no. 166; Transl., p. 196, second para.). (61) 60; Dlpa-maleya-kambha Roman text, p. 194, -(Ibid., Sagar Taluq, no. bottom upwards, and p. 103; lamp-stand-pillar. third line from the Transl., p. 103, second para.) ' Bommanna-setti's son Machirusa-setti had this dipamale pillar made.' (dipa-maleya-kambhakke) This inscription is at the base of Garuda-kambha in front of the GopalaKrishna temple in the fort.' (Ep. Carnal., Vol. ix, Bangalore Taluq, no. 16, (62) ' Transl., p. 7 ' (63) ; Roman Heggunda text, p. 9.) Baira-Dasa's gangenatha, on the rock in (Kambha). (Ibid., pillar.' son for the god SivaMachas"ale set up this dipamale Nelamangala Taluq, no. 37; Roman Mara-Dasa, front of the Vol. ix, text p. 59; Transl., p. 49.) ' (64) Chika-Ankiya-Nayaka, from love to the god Tirumalenatha, ' up in front of it this dipamale pillar (Kambha). Devanhalli Taluq, no. 40 ; Roman text, p. 97 ; Transl., p. 79.) set ' (65) Chandalir-Deva-ravutta had this Vol. DC, pillar made for the Hoskote taluq, no. 131 dipamale god of Varadaraja of Vogatta.' (Ibid., Vol. Roman text, p. 128; Transl., p. 104.) ' (Ibid., ix, ; Who (Sri-Rajendradeva), having conquered the Irattapadi seven set up a pillar of victory (jaya-stambha) at Vol. Roman text, p. 35 j Carnal., x, Kolar Taluq, no. 107 (Ep. Kollapuram.' (66) and a half lakh (country), ; Transl., p. 35.) 547 Had ' (67) ENCYCLOPAEDIA OF ^JV STAMBHA this mana-stambha made.' (Ibid., Mulbagal Taluq, no. 59; Transl., p. 91.) for the Sarvaprishtha and Aptoryama Vol. x, Bagehalli Taluq, no. 17 ; Transl., p. 233.) (sacrifices). '--(Ibid., ' up the yupa-stambha Set (68) Those who did the work (Devambudhi tank) the Gantemadana Basavana made the pillars (kambha), Komaraiya of the stones the built ornamental work, and the stone-vedda Chenne-Boyi : ' (69) embankment.' (Ep. Vol. Carnal., para. 2.) Tumkur xn, taluq, no. 24 Transl., p. 8, ; , foundation pillar of the palace. no. 13 Roman text, (Ibid., Gubbi Taluq, ' Harmya-mula-stambhanum (70) ; p. 36, ' pillar Linga-mudre-stambha (71) second line of the first portion; Transl., p. 19, para. marked with the linga." prose 3.) Vol. xn, Tiptur Taluq, no. 108 ; Roman text, p. 102 ; Transl., p. 64.) (Ibid., We ' (72) erected this have had the village built, Garuda-Kambha, and had up (the god) Sanjivaraya, tank and well constructed.' set this Sira Taluq, no. 92 ; Transl., p. 101, line 2 f.) (Ibid., carved supported by four very elaborately into octagons at a little above columns, nearly square at the base, changing circular under square abaci. one-third their height. The capitals are in the These again are surmounted by square dwarf columns terminating works.' usual bracket capitals of the older Hindu Ind. Ant., (The temple of Amarnath, The < (73) roof of this hall is Vol. ni, p. 317, Malakaraya (74) ' This pillar is Mugu (palitasya c. 2, para, i, middle.) de)yadharmah stambhahjl the benefaction of the gardener Mugupalita.' Vol. VH, Kuda inscrip., (Ind. Ant., no. 9, pp. 256-257.) dated Samvat from Nepal, no. I, (75) 'This inscription (Inscriptions to the left of the of broken the the lower part pillar placed 386) is incised on about five miles to the north-e of door of the temple of The Katmandu. Changu-Narayana, pillar about 20 feet high is without the capital. i octagonal, higher up square, half of the upper part crowned was it becomes sixteen-cornered and finally round. Originally surmounted by a Garuda, about 4 feet high, a Its lower half is is i by lotus-capital kneeling on one knee. The workmanship the flowing locks, which occur frequently and Indraji and the sculptures of the Gupta period.' Pandit Bhagwanlal like a winged the G is man very good, < figure shews Vol. DC, p. 163, c. i, para. 2.) of the village there is a mode south-west the outside gate (76) 'Just a stone dhvaja-stambha standing i shrine of the god Hanumanta, with Dr Biihler. (ltd. Ant., 548 HINDU ARCHITECTURE front of it. STAMBHA Into the pedestal of this dhvaja-stambha there has been built stone.' Dr. Fleet. (Sanskrit and Old Ganarese a virgal on monumental inscrip., no. ' LXIX, Ind. Ant., Vol. ix, p. There stands a monolith 96.) which the inscription referred of red sandstone. engraved) apparently The pillar is called Lakshmi-Kambha or the "pillar of the goddess Lakshmi," and is worshipped as a god.' (77) below to ' pillar (on is The upper of the pillar part of the pillar is octagonal. Below the octagonal part a square four-sided division.' is no. (Ibid., cxi, Ind. Ant., Vol. x, pp. 168, 169.) (In villages of eastern Bengal there is a custom to call one of the pillars in the house of each family, the Lakshmi pillar and to worship it as a god.) ' The central tower or compartment of each face is ornamented simply by sixteen-sided pilasters at the angles the pilasters are octagonal, whilst the outer compartments or towers at the four corners of the temple have plain square pillars and pilasters.' (Gangai-Kondapuram Saiva Temple, Ind. Ant., Vol. ix, p. 117, c. 2.) (78) ... (79) Bhagvato Budhasa puva-dare ayakakarh 5 sava niyute apano deyadhamma savatana hata-sukhaya patithapitati (no. i, line 5-6). Bhagavato Budhasa maha-chetiya (puva) dare aya(ka)-kharhbhe pamcha 5 savamyute apano deyadhammam (no. H, line 6.) Bhagavato Budhasa maha-chetiya puva-dare ayaka-khambhe save apano niyute patithavitati 1 deyadhamma sava-satanam hita-sukhaya 1 'Erected near the eastern gate of divine Buddha, five (5) Ayaka-pillars which were dedicated for the good and the welfare of all living beings. I am unable to say at present what is meant by the epithet ayaka or " " It is possible to connect it either with ayaka. venerable or aryaka with ayas " iron, metal." But I think it more that the word has likely some technical meaning. Dr. Biihler. " " I would suggest or " frontal " lofty they were pillars about 16 feet ' ' ; high, erected on the east front of the stupa, exactly as represented on the Amaravati slabs bearing representations of stupas.' Dr. Burgess. (Inscrip. from Jaggayyapetta, Ind. Ant., nos. n, i, Vol. xi, pp. 258, note 5 : (80) Prathama-vihita-kirtti-praudha-yajna-kriyasu pratikritim iva yarii mamdape yupa-rupam nav- I Iha Kanakhala-Sambhoh sadmani stambha-malam amala-kashanapashanasya sa vyatatana He erected in the mandapa of this temple of Kanakhala-Sambhu 1 ' m, 259.) a row of pillars made of pure 1 black stone and shaped like sacrificial posts, 549 A* ENCYCLOPAEDIA OF STAMBHA for the high a modern imitation, as it were (of those which were used) famed sacrifices of yore.' Bhimadeva n, v. 12, inscrip. of the reign of c. 2.) 2 c. ; Ind. Ant., Vol. xi, p. 221, p. 222, (An Abu Thabha, thabha, thambha, thambha (pillar, sthambhah) gift of some person or persons. (Bharaut (81) 26, 35, 37, 64, 66, 67, 69, 70, 71, 75 P- 227 pillars, stambha or inscrip., nos. 22, 25, 81, 88, 90, 94, 96, 97, Ind. Ant., Vol. xxi, f.) In one of the inscriptions (the one entitled I, A. of Bhagavanlal and Biihler), the interpretation of which, it is true, is very doubtful, it would if so, the seem that reference is made to an army, to war and victory and have been both a dharma-stambha and a jaya-stambha, a pillar would monument of devotion and a trophy of victory.' (The inscrip. P. on the " (82) ; Mathura ' (83) Vol. lion-capital, Ind. Ant., xxxvn, last sentence.) p. 245, para. 3, Caused basadis and mana-stambhas to be erected in numerous places. Mana-stambha is the name given to the elegant tall pillars with the Jaina temples.'small pinnacled mantapa at the top erected in front of ' a Ind. and East. Arch., pp. 270, photographs nos. 149, 155, Fergusson, Vol. n, inscrip. on 276, and his description quoted below).- (Ep.Carnat., line no. 121, 5; Roman text, Transl., Sravana p. 38; Belgola, Chandragiri, (See p. 7, line (84) 16 ; Introduction, p. 19, note 2.) 'The sub-base photo nos. 149, 155) the base itself is square, changing into an octagon approaching a circle and above a wide- (of these mana-stambhas, square and spreading and thence into a polygonal figure most elaborate design. spreading capital of but it is not so in reality. top-heavy, is ; appear ought to have something to carry. ; To many If you this may at first erect a pillar at Those we erect are coped from all, it pillars meant to support architraves and are absurd solicisms when merely supnot accustomed to them and our eye porting statues we have, however, better proportioned to the work to be done is is offended if ; anything at the breadth of the base and the strength of the proposed but looking here exhibited would be found disproportionately than shaft, anything less ; small.' the tower or square part of these (mana)-stambhas we find that from Irish curious interlaced basket-pattern, which is so familiar to us it is equally the Irish crosses manuscripts or the ornaments on into Danube the of the traced be and can valley up common in Armenia ' On . central Europe nor have we, so , but . we do not know, can rely for its which we know, any indication on how it got far as I . to the west coast of India introduction.' 55 STAMBHA HINDU ARCHITECTURE (Under the circumstances, is it not easy and reasonable to give the credit of the invention to the Indian architects ?). (Fergusson, Ind. and East. Arch., pp. 276, 277.) sma (85) Sila-stambham sthapayati erected.' (Ep. Carnal., Vol. n, no. 46 upwards ; ; ' a caused Roman stone be to pillar text, p. 22, line 5, from bottom Transl., p. 127, line 6.) Tasya Jayastambha-nibhaih silaya stambharh vyavasthapayati a stone pillar (for her) as if a pillar of victory, did Laksma Lakshmih shmi erect.' (Ibid., no. 49, last verse Roman text, p. 28 Transl., p. 128.) (86) ' ; ; Kambakke yakshanam (87) Srl-Gommata-Jina-padagrada chhagada For the pillar of gifts in front of Sri-Gommata Jinapa, he madisidam had a Yaksha made.' (Ep. Carnal., Vol. n, no. no Roman text, p. 86; ' ; Transl., p. ' 170.) Bachappa, son of Kirtti of Aruhanahalli, (88) elder brother Tammarappa, on the death of in conjunction with that deva's chakka, had his form engraved on a pillar (kambha) and (Ep. Carnal., Vol. in, Malavalji Taluq, no. 13 ; Transl., p 56 ; p. 1 1 queen Bayiset it up.' Roman text, 6.) The ' (89) . his . a . royal karanika Devarasa set Dipa-stambha.' Carnal., (Ep. up Vol. in the iv, name of his father Chamarajnagar Taluq, no. 156, Transl., p. 20.) Made ' (90) shmi-kanta.' p. a grant of a Dipa-mala pillar -(Ep. Carnal., Vol. Roman text, (91) 'He made 70 p. ; iv, (kambha) Heggadadevankote for the Taluq, no. 21 god Lak; Transl., 117.) a brass ornament for the Dhvaja-stambha (flagstaff) and the goddess Sarasvati of Kannam- of the goddess Mahalakshml (Ep. Carnal., Vol. iv, Krishnarajapet Taluq, no. 235 Transl., p. 103.) badi.' The great minister caused to be erected a dipti-stambha for the of lights (Krittika-dlpotsavake dipti-stambha) and a the for swinging cradle festival of the god Chenna-Kes'ava of Velaswing (Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 14 ; Transl., p. 47, pura.' ' (92) Krittika Roman festival text, p. 107.) all the world was praising him as the founder of the of king Ballala and the cause of his prosperity the increase and greatness dandisa Lakshma, together with his wife, mounted up on the splendid stone ' (93) While thus covered with the poetical Vira-s"asana, proclaiming pillar (Sila-stambha) And on the pillar they became united ( ? ) with his devotion to his master. Lakshmi and with Garuda.' no. 112 ; ' (Ep. Transl., p. 74, last para.; Carnal., Roman He Vol. v, Part i, Belur Taluq, text, pp. 173, 174.) erected temples, raised pillars for lights (Dipa-male), granted (94) lands to Brahmans till they were satisfied, constructed five forts and large 551 AN ENCYCLOPAEDIA OF STAMBHA tanks.' para, (Ep. Carnal., Vol. v, Part i Roman ; ' and Dlpa-mala-kambha patna Taluq, nos. 155, 165 The unshaken ' (96) Tarikere Taluq, no. 12 ' Taking that (97) Lakshma the king ; Transl., p. 159, text, p. 365.) ' (95) Ariskere Taluq, no. 109 i, ; ' Basava-pillar.' (Ibid., Channaraya- Transl., pp. 195, 198.) (Tolagada kambha). '(Ep. pillar Carnal., Vol. vi, Transl., p. 105.) ; to mind and desirous of performing a work of merit, abode of Jina, as if erected by Indra built of stone that to endure in permanence, and afterwards set up a stone pillar (Sila-stambha) at the great gateway of the temple, on which was inscribed a Sasana containing all his names and titles, to continue as long as sun, moon and stars.' (Ep. Vol. Carnal., para. 3, last sentence ; Shikarpur Taluq, no. 136; Transl., p. 103, text, p. 184, line 10, from bottom upwards.) vii, Roman Several persons (named) set up this vira-stambha in his name.' (98) (Ep. Carnal., Vol. xi, Challakere Taluq, no. 42 ; Transl., p. 102 ; Roman text, ' P- 176.) ' The (on the date specified) erected a Ganda-bherunda pillar (stambha) in front of the (temple of the) god Jagad-eka-mallesvara.' (Ibid., no. 151 Transl., p. 109, para. 2 ; (99) maha-mandales'vara Chamunda-Rayarasa ; Roman text, p. 193, last para.) The most striking object standing in the village is perhaps the (100) Bherundesvara pillar, now called the Garuda-kambha. It is a lofty and It was elegant monolith, with a figure of the Ganda Bherunda at the top. ' erected, according to the inscription on its base (quoted above, Shikarpur Taluq, no. 151) by Chamunda-Raya in 1047, and probably fixed the length of the Bherunda pole used in measuring length (refers to inscrip. no. 120 of the Shikarpur Taluq). ' Its dimensions are as follows : The shaft, to the top of the cornice of the 30 feet 6 inches high the Bherundesvara at top, about 4 feet high, the bottom of the pillar is i foot 6 inches square to 8 feet from the ground, above that it is circular, of the same diameter, with decorative bands. The Bherundda is a double-headed eagle with human body.' capital, (Ep. Carnal., Vol. H, Introduct., p. 47, note i.) The dimensions of the Talagunda pillar, on which the inscrip. (looa) The no. 176 of the Shikarpur Taluq is incised, are given by Mr. Rice the of pillar, which is of a very hard dark grey granite, is standing in front ' : ruined Pranavesvara temple. Its pedestal is 5 feet 4 inches high and i foot 4 inches square at the top, a little more at the base. The shaft is octagonal, 6 feet 4 inches high, each face being 7 inches wide, but tapering slightly towards the top. high.' The finial is a pear-shaped ornament, (Ep. Carnal., Vol. vn, Introduct., p. 47, para. 2.) 552 i foot 1 1 inches STAMBHA HINDU ARCHITECTURE ( ' 101) Maha-rathisa Goti-putrasa Agni-mitranakasa siha-thabho danam the Maha-rathi Agni-mitragift of a lion-pillar (Simha-stambha) by The (Karle inscrip. no. naka, the son of Goti.' 2, Arch. Surv., New Imp. Series, Vol. iv, p. 90.) ' (102) On the east side, steps lead Kirtti-stambha or Torana arch. fine feet 4 pillars, broad at the plinth, and to a platform on which stands a consists of two highly carved rising to a height of 13 feet 10 inches up It including a broad cruciform capital, whose inner arms support the ornamental torana or cusped arch, over this capital a prolongation of the shaft supports a sur-capital, 3 feet above the first, over which again lies the two carved. This supports the a projecting cornice with its decorative guttae, surmounted by plinth and on this stands the pediment in which Siva or Bhairava is the central figure.' architrave in fasciae richly . . . Architecture, Burgess, Arch. Suru., New Imp. Series, Vol. xxxm, p. 94, Plate LXXXII.) (Ahmadabad He up Rama in the Kondarama temple. Subsequently the serpent sacrifice here, a stone pillar, about 9 feet Janmejaya performed being pointed high, with the top fashioned like a trident or spear out as the Yupa-stambha or sacrificial post used by him.' (Mysore Arch. ' (103) set . 1915-16, p. 21, Plate x, Fig. Report, i, on page . 22.) (104) See Buddhist cave temples (Arch. Surv., I\ew iv, Plates xvm, nos. 1-2 xxn, nos. 1-3 XXDC, no. 3). ; . Series, Vol. Imp. ; New See Sharqi Architecture of Jaunpur (Arch. Surv., Imp. Series, Vol. xi, and Plates xxxix, Figs, i, 2, 3, 4 XL, Fig. 2 ; read the inscrip. no. xxvn, ; under SILPIN and STHAPATI). p. 51, Moghul Architecture of Fatehpur-Sikri (Smith, Arch. Series, Vol. xvm, Part i, Plates LIII to LXXI). See Ram Raz, Essay on Arch, of Hind., Plates iv to xvm. Cf. Surv., See Lion-pillar (Mysore Arch. Report, 1915-16, Plate vn, Fig. See 3 Elephant xin, Fig. pillars, Brahma-deva-pillar (ibid., i, New Imp. p. 14). 1914-15, Plates ix, Fig. pp. 18, 26). See pillars of Mukha-mantapa with a stone umbrella in front. ; i, 1913-14, Plate v, Fig. (105) See i, Cunningham, p. Arch. Surv. Reports, Vol. i, Plate and Lauriya Lion pillars), p. 58 xxix (Kahaon and Bhitari XLVI (capital of ASoka Elephant pillar), p. 274. ; Ibid., Ibid., Hindu (Ibid., 14.) Vol. in, Plate xxxiv (Gaya granite pillars). Vol. iv, Plate v, the so-called Kutb-Minar, which xxn (Bakhra pillars), p. is 92 ; in reality a structure. Cf. its details ' Total length of outer enclosure law of geometrical proportion is is 228 feet . thus seen to govern the entire 553 . The Hindu . AN ENCYCLOPAEDIA OF STABHAM Kutb structure from the size and the disposition of the inclosures which bound it down to the spacing of the ornamental bands that adorn its gates, ; every important feature is subject to the great law. But where is the law that governs the Muhammadan structures ? They (the Muhammadans) " " finished like jewellers designed like giants, and their Hindu workmen but from the giant killed by jack, right through the whole genus, giants ; have hitherto been noted only for supreme stupidity, combined with immense strength. '(Cunningham's Arch. Sun. Reports. Vol. iv, pp. 56-67.) Ibid., Vol. v, Plates XXVH (Mallot temple pillar) XLV, XLVI (Indo-Per; Ibid., XLVII to L (Indo-Corinthian pillars). Vol. vi, Plate xx (Visala-deva temple pillar). Ibid., Vol. sian pillars) ; vii, Plates xvui (Sati pillar from Simga ; the details of its ix (section of interior of garbha-griha shewing a pillar in mouldings) x elevation) ; (elevation of a pillar of the Maha-mandapa) Ibid., Vol. vin, Plates xi, xii (brick pillar, Balrampur). ; . Vol. ix, Plates xiv, xxiv, xxix. Vol. x, Plates xiv (Besnagar Crocodile and Fan-palm pillars, p. 42) Ibid., xxi (pillar of Swami-Gosura) xxii, Figs, i, 2 (Sanchi pillars), 3 (Eran Ibid., ; ; 5 (Udayagiri pillars) xxvn (Eran pillar) pillar of Narasinha temple) Vol. xiv, Pates xxix, xxx (Sati pillars). pillar), 4, ; xxx (Eran Ibid.. ; xxvm (Toran-pillar) ; . Vol. xvi, Plates xxx, xxxi (Bhagalpur pillar). Ibid., Vol. xix, Plate x (Baijnath pillar). Ibid., Vol. xx, p. 149, Plate xxxiv (Thieves pillars). Ibid, Vol. xxii, Plate vn (Section of Asoka pillar, Rampurwa). Ibid., Vol. xxm, Plate xxii (pillar of victory or Jaya-stambha). These pillars are common to all the styles of Indian architecture. (106) With the Buddhists they were employed to bear inscriptions on their shafts, Ibid., ' with emblems or animals on their capitals. With the Jains they were with the generally Deepadans (Dipa-stambhas) or lamp-bearing pillars ; Vaishnavas they as generally bore statues of Garuda or Hanuman (Garudawith the Saivas they were flagstaff's (Dhvaja-stambhas) stambhas) ; ; but whatever their destination they were always the most original, (Fergusson, frequently the most elegant productions of Indian art.' and Hist, of Ind. and East. Arch., p. 50.) ' If would any one wished illustrate its rise to select one feature of Indian architecture which progress, as well as its perfection and weakness, objects more suited for this purpose than these stam- and there are probably no bhas or free-standing pillars. They are found of all ages, from the simple and monolithic lats which Asoka set up to bear inscriptions or emblems, some 250 years B.C. down to the seventeenth or perhaps even eighteenth century of our era. During these 2,000 years they were erected 554 first by the Buddhists STAMBHA HINDU ARCHITECTURE then by the Jains, and occasionally by the other sects in and notwithstanding their inherent frailty, some fifty it are by known As"oka, be to may it all parts of India may ; be a hundred After the first and most simple, erected standing. that no two are alike though all bear asserted safely still be strongly the impress of the age in which they were erected, and all are thoroughly original and Indian in design.' (Fergusson, Hist, of Ind. and East. Ach., p. 277, para.2.) The following references will give a glimpse of the pillars of the pre-Buddhistic periods (especially of the early Vedic period), when, it should be noticed, they were employed both as free-pillars (compare the (107) yupas) and as forming the essential members of a building. The column or pillar in Indian architecture is indeed very ancient. The word Sthuna which is a synonym of pillar in the Manasara is used ' same sense. The word Stambha is not perhaps so old but Skamba * is used in the Rig-Veda in the same sense.' (Macdonall and Keith, Vedic Index, n, pp. 488, 483.) The word upa-mit,' not used in the Manasara, occurs in the Rig-Veda 5 and the Atharva-Veda 6 in the sense of pillar. According to Professors Macdonall and Keith, in the Rig-Veda the word 'Upa-mit' is used in the sense of an upright pillar. In the Atharva-Veda, the word, coupled with Parimit and Pratimit, denotes the beams supporting the 7 Upamit. Parimit denotes the beams connecting the Upamit horizontally. Concerning the proportions of columns, the second sort of column in the Hindu architecture (as depicted in the Manasara} may be compared with the Tuscan, the third with the Doric, the fourth with the Ionic, and the later literature 2 in the and the in the Rig-Veda 1 3 ' ' with the Corinthian or composite pillar.' (Ram Raz, ibid., p. 38.) following details of the Indian and Greco-Roman orders may be compared here for a clear knowledge of the subject. fifth The Ram Raz describes the Indian Orders on the authority of the Kdsyapa and the Manasara and partly from the models found in the temples and And the details of the five Grecoporticoes of a pure Hindu style.' Roman orders are quoted below from Vitruvius, Palladio and others as given by Gwilt. ' 1 2 R.-V. A.-V. i, 59, i; v. 45, 2 in, 12, 62, 7; vni, ; Sata-patha-Brdhmana, xiv, main Sthuna-raja 3 4 5 8 7 i. ix. 59 3. i ; iv. i, 5, i ; 5, 7 3, pillar, HI, Kathaka-Samhita, xxxi, R.-V. i. 34 2; iv, 13, R.-V. A.-V. 17, 14; x, 18, 13 (of the grave). 6 (of the vamsa, beam, being placed on the I, and ; i, 3, n i, ; 22, etc. 5, i, often Sutras. etc. i. i. Cf. Zimmer, Altindishches Leben, Vedic Index, i, p. 93. 153. 555 i. pillar) ; xiv. I, 63 AN ENCYCLOPAEDIA OF STAMBHA The second ' sort of column is seven diameters in height it is placed in the base is two diameters high ; most examples upon a base and pedestal ; ; belongs to the species called Kumbha-bandha. The pedestal is equal in height to three-fourths of the base and is of the kind called Vedi-bhadra. it The column also is placed . . . only on equal to half the height of the pillar, and Mancha-bhadra. The capital given to the which first is a pedestal one of the which is sorts called design of this pillar is taken from a model found at Tiruvottiyur, near Madras it is the same which Mdnasdra and others call Taranga-Bodhika (?), and is one diameter high and projects equal to its height. Speaking of this sort of capital, Mdnasdra " it should be decorated with Tarahgas (projecting moulding employed says in capitals, terminating by a number of undulating lines) and other appropriate ornaments the height of the capital being divided into twelve parts, let the form of Tarangas occupy three of them, let the Bodhika (capital) which should resemble the cobra de capello, occupy six, and adorned with flowers and the like, and let one part above this be given to one to the cyma, and one to the listel. The projecting part of the Bodhika should be fashioned like the stalk of a plantain flower. At the upper ; ; , ... extremity are the Tarangas of equal height or something more. The lower part of the head of the Bodhika is one-third on the upper in breadth, and a third of the former being divided into five parts, one of them is given to the and the cavetto, one to the fillet, two to the cyma and one to the listel ; whole should be decorated with foliages, rows of gems, and the like." In " let the capital (Bodhika) be made to another place the same author says consist of one, two, three, four, five, six faces, according to the situation which in it is placed ".' other form of capital given to the column is taken from a mandapa It is to be met with in many other ancient buildings and at Mayalapur. ' The what the Tamil surub-bodhika, roll capital. I cannot find a in the it, except Mdnasdra, which passage " ornaments on the sides of The the says projecting capital are made an in form of inverted or of a wheel the either apex (chakra) or circle. It is in and but one diameter height projects three-quarters of the diameter ".' is artists call in any particular description of : (Ram Raz, pp. 31-32.) compared with the Tuscan order, the details whereof are given below from Vitruvius and Vignola as quoted by Gwilt. I. Tuscan order This is : ' Vitruvius (Book rv, Chap, vn) in this order forms the columns six diameter high, and makes their diminution one-quarter of the diameter. He gives to the base and capital each one module in height. No pedestal given by him. Over the capital he places the architrave of timber in two thicknesses connected together by dovetailed dowels. He, however, is 55 6 STAMBHA HINDU ARCHITECTURE leaves the height unsettled, merely saying that their height should be such may be suitable to the grandeur of the work where they are used. He as no places over the architrave cantilevers or mutuli projecting one-fourth of the height of the column, including the base and He fixes no measure for the cornice, neither does he give any capital. directs frieze, but directions respecting the inter-columniations of this order. The instructions are not so specific as those which he lays down for other orders, and there have been various interpretations of the text, which unfortunately cannot in any of the suppositions be tested on ancient remains.' (Gwilt., Encycl., art. 2556.) In the following table of the parts of the Tuscan order (Gwilt., Encyd.. art. 2555) the whole height according to the measuring unit of Vignola is 1 6 modules and 3 parts : Mouldings whereof the parts are composed of mouldings Heights in parts of a module Projections from the axis of column in parts of a module ENTABLATURE Quarter round Cymatium and parts. . . 4 Astragal . . r Fillet . . } Conge, or cavetto Corona A. Cornice, 16 parts. Drip . 23* i . . 5 22$ . . i 21* Sinking from corona, or hollow Fillet 27* . . . . Bed moulding ogee B. Frieze, | \ 4 13* 14 9* 14 parts. Fillet C. Fillet, Architrave, 12 or r Conge Fascia listel or cavetto ^ . . 2 . 2 small . 8 I Fascia parts. The height of the drip under the corona is taken on that that of the hollow in the height of the fillet. 9i 9* member, and COLUMN D. Capital, 12 parts. p Abacus . . -^ I Fillet . . Conge, or cavetto Band 557 . . i 14* i 13* 2 13* AN ENCYCLOPAEDIA OF STAMBHA of Heights mouldings Projections from the of COLUMN D. Capital, 12 parts (concld.). HINDU ARCHITECTURE STAMBHA divided into twenty-four parts, three are given to the collarino with its fillet, three to the ovolo, three to the lower collarino, five to the lower torus cymatia, and ten below to the strings of pearls (muktadama) The projection of the capital is one diameter, or about an eighth part beyond that of the lowest part of the base, the fillet projects the full, and the torus three-quarters of their respective heights.' with ' its The . height of the entablature is one-fourth of that of the column. be divided into twenty-one parts It eight are given to the architrave, Of the eight parts seven to the cornice, and six to the vyalam (frieze}. of the architrave, one is to be given to the cavetto, three to the tema or is to benda (uttara) fascia (vajana). with its Of the : two to the cymarecta and to the upper seven parts of cornice, one occupies the fillet, and listels, and of the six parts of the cornice (or the remainder the ovolo (prastara) three to be to the cavetto (or fillet, vyajana), two to frieze, vyala) given the prati -vajana (cavetto), and one to the fillet. The projection of the ; vajana (fillet) of the architrave is equal to that of the capital, that of the twice as much, and that of the cornice equal to its own prastara (ovolo) After making a similar division of the entablature, our author height. (Mdnasara) lays down the following rule respecting the projection of the is members. The height of the architrave being divided into four, five, six, seven or eight parts, one should be given to its projection beyond the pillars. The kapota (corona) projects equal to its height, or to three-fourths of it, and the vajana (fillet) one-fourth. The alinga (fillet) recedes about one diameter, and the antarita (fillet) projects equal to its own height, and the same may be said of the prati.' -(Ram Raz, Ess. Arch. Hind., pp. 32, 33.) This third sort of Ram Raz's column is apparently without a pedestal, Its base too does not exactly correspond with any of the bases mentioned None of in the Mdnasara (Chap. xiv). the Mdnasara''s eight entablatures consists of twenty-one parts like the one prescribed above for the column under description. Ram 38) identifies this column with the doric order, the details whereof are given below from the texts of both Virtuvius, and Vignola, as Raz (p. quoted by Gwilt. II. Doric order : Vitruvius (Book rv, Chap, in) describes the Doric order more clearly than In order to set out its proportions, he tells us, though not giving others. a direct rule, that its pedestal is composed of three parts, the cymatium or ' cornice, the die and the base : and that the base and the cymatium are composed of many mouldings, whose individual proportions, however, he but does not give. He assigns no particular base to the Doric order a diameter in height the Attic base, whose nevertheless, places under half : 559 AN ENCYCLOPAEDIA OF STAMBHA members are the plinth, small fillet, scotia, and the upper torus with its superior and inferior fillets, together with the apophyge of the column. He gives to the projection of the base a fifth part of the diameter of the The height of the shaft he makes of six diameters, and its dimi- column. nution a sixth part of the diameter. The capital's height he makes equal to half a diameter, and divides it into three parts, one for the abacus and its cymatium, another for the echinus and its fillet, the third for the hypotrachelium. To the architrave he assigns the height of one half diameof the column and to the frieze fifty parts of the module (semi- ter diameter divided into thirty parts), including the fascia, forming the His cornice consists of thirty parts of the module capital of the triglyphs. its projection forty. The whole height which he gives to the order here the measurement adopted) seventeen modules and twenty parts.' (in and is (Gwilt, Encycl., art. 2566.) In the following table all the details of the Doric order are given (Gwilt, Encycl., art. 2566). Members composing the orders of Heights mouldings in parts of a module Projections from the axis of column in parts of a module ENTABLATURE Fillet of corona i 34 Cavetto 3 3i Fillet * 26 Cyma A. Cornice, 18 parts. reversa 30 Corona 28 Drip 27* Fillet 25 Gutta under the corona 24! Dentil 15 Fillet Cyma 13 reversa Capital of triglyph B. Frieze, 1 8 parts. . Archi- 12* 2 II Triglyph 18 Metope 18 Capital of guttae trave, 10 Guttae parts. Fascia ioi IO 2 Listel C. . 2 I If II IO 560 III II 10 STAMBHA HINDU ARCHITECTURE of Heights mouldings in parts of a module Projections from the axis of column in parts of a module COLUMN Listel Cyma * Band a* I 4 Echinus or quarter round D. Capital, Three annulets Neck of capital 12 parts. (~ Astragal . Ovolo 4 IO i 12 Fillet . -^ I I 10 Conge Shaft of the column, 14 modules. . f Apophyge or cong6 . Fillet E. Base, 15* reversa 2 12 i 14 12 Astragal parts. 14* Torus 4 6 Plinth 17 17 PEDESTAL C Listel .. .. .. . . Echinus . Fillet .. .. .. Corona . . . . . . . . . . . . 23 . i 22f | 2lf F. Cornice, 6 parts. j \_ Cyma . reversa 21 z\ . \\ Die of the pedestal, 4 modules, f Conge" G. Base, to i parts. . . . Fillet .. Astragal Inverted . The i i . cyma L First plinth fourth sort of column 17 18 \ Second plinth ' . is . . . . 2 . . . . z\ . . . . 4 nine diameters high. 19 21 The of those called Prati-bhadra (see under ADHISHTHANA) and It is without a pedestal. in , i8f is base is one one diameter height. ' The base to the plinth, with to be divided into eighteen equal parts, two to be given one to its fillet, three to the cyma recta, three to the cavetto is three to the torus, three to the upper cavetto, two to the (pada-bandha), and one to the cimbra (? cymbia). The its listel, plat-band 561 AN ENCYCLOPAEDIA OF STAMBHA projection of the plinth is one-third of the height of the whole base, the torus and the plat -band project equal to their respective heights.' The upper ornaments entablature) of this column occupy two diameters, and the capital takes three-quarters of the diameter, which is to be divided into ten parts : two to be given to the abacus, which projects ' (? half a diameter, one to the strings of pearls, one to the fillet, four to the cymatia, and one to the circular cymbia. The ornaments under the capital are to be divided into sixteen parts of which give two to the cavetto or collarino, one and a half to the cyma, four to the torus, which projects perpendicular to the plinth or three-quarters part of its height, one and a half to the lower cyma, three to the lower collarino, two to the astragal, : which projects equal to its own height, and two to the third cyma and its fillet, below which a space equal to three diameters is taken up by strings of pearls, but which are omitted in some columns of a similar description.' -(Ram Raz, p. 34.) The sources of the details given above are not specified. of the entablature, capital and shaft is also not quite clear. Ram Raz (p. 38) identifies this whereof are given below III. Ionic order The account column with the Ionic order, the from Vitruvius and Gwilt for comparison, details : : Vitruvius's description of this order (Book in, Chap, m) is not clear. to his commentator Daniel Barbara (Gwilt, Encycl., art. 2577) the height of the pedestal is made nearly a third part (including its base and cymatium) of the height of the column. To the base of the column he assigns half a diameter, and to the shaft itself nearly eight diameters, its surface being cut into twenty-four flutes separated by fillets from each According ' His method of describing the volute is not thoroughly understood perhaps, of little importance to trouble ourselves to decipher his direc- other. it is, : tions, seeing that the mode principles, as well understood ' of forming now it is derived from mathematical as in the days of the author.' The architrave he leaves without any fixed dimensions, merely saying must be larger or smaller according to the height of the columns. He prescribes, however, that the architrave, frieze, and cornice should together be somewhat less than a sixth part of the height of the column, with its base and capital. The total height he makes for the order, according to our measures, is twenty-five modules and nearly nine parts.' that ' it Of the Ionic order there are many extant examples, both Grecian and and Roman, except the debased later examples of the latter there is not between them that exists between the Grecian and difference that wide Roman Doric.' 562 HINDU ARCHITECTURE STAMBHA Gwilt (Encyd., art. 2574) gives in the following table the heights and projections of the parts of the order : Members composing the orders Heights of mouldings in parts of a module ENTABLATURE Fillet of Cyma cyma recta Fillet reversa Cyma Corona A. Cornice, 34 Fillet of the drip Ovolo parts. Astragal Fillet Dentel fillet Dentals Fillet Cyma B. . f C. Archi- Listel Cyma trave, 22 ^ parts. reversa Freize . reversa First fascia Second fascia Third fascia f Capital on the side on the ^ Capital (_ D. . . . . coussinet, or cushion COLUMN Fillet Cyma reversa Listel E. Gaptal, 17 parts. j ] Channel of the volute Ovolo .. Astragal . . fBead Fillet 1 (^ . . . . Conge", or cavetto f Above Shaft of the) 1 6 mod. 6 column. [Below .. 5 63 . parts, . AN ENCYCLOPAEDIA OF STAMBHA Heights of mouldings in parts of a module COLUMN Apophyge Fillet Torus Fillet F. Scotia Base, Fillet parts. Two beads Fillet Scotia Fillet I Plinth G. Cornice, i if parts. H. Base, 10 parts STAMBHA HINDU ARCHITECTURE to its height, " and the middlemost square The is ornamented with the petals " may be equal Kasyapa, Its breadth to the higher, lower, or the middle diameter of the column. or or four five diameters." A to its be height, capital, the height may equal of which is from one to two diameters, and the breadth twice its height, and that which in height is half the diameter, and in is of the superior sort of a lotus. altitude of the capital," says ; breadth from one to three diameters, is of the inferior sort.' In colonnades of porticoes, the inter-columniations are found to be ' from one diameter and a half to two diameters.' (Ram Raz, pp. 34-35.) In this order the description of the entablature is not given. Ram Raz 38) (p. ' identifies this with the Corinthian or Composite pillar,' the details of both of which are given below for comparison from Vitruvius and Palladio as quoted by Gwilt. IV. Corinthian order : Vitruvius (Book rv, Chap, i) is scanty in the information he gives on the Corinthian order, and what he says respecting it relates more to the He origin of the capital and the like than to the proportion of the detail. ' makes the capital only one diameter high, and then forms upon the plan a diagonal two diameters long by means whereof the four faces are equal according to the length of the arc, whose curve will be the ninth part in length and its height the seventh part of the capital. He forms the order with a pedestal, with base and cornice (as Daniel Barbara would have it). The whole height given to it in our measures is about 27 modules and 2 parts.' (Gwilt., Encyd., art. 2587.) In the following table Gwilt (Encyd. art. 2583) gives, on the authority of Vignola, measurements of the mouldings of the Corinthian order , : Members composing the order of Projections Heights from axis mouldings in parts of of column a module in parts of a module ENTABLATURE Fillet of cornice Cyma recta Fillet Cyma A. Cornice, 38 parts. 53 5 53 48 reversa Corona Cyma I 46 45l reversa Modillion Fillet (remainder of modillion band) Ovolo . . . . . . 28* 28 STAMBHA AN ENCYCLOPAEDIA OF ENTABLATURE Bead Fillet A. Cornice, 38 parts. Dentils Fillet Hollow or conge Frieze, i mod. 7$ parts high B. Fillet reversa Cyma Bead C. Archi- trave, 27 parts. First fascia Cyma reversa Second fascia Bead Third fascia COLUMN fEchinus Fillet D. Capital, Lower member of abacus 42 parts Inverted echinus of the bell (Fig. 890). Large volutes Upper small Large leaves Lower leaves leaves STAMBHA HINDU ARCHITECTURE Heights of mouldings in parts of Projections from axis of column in parts of a module a module COLUMN E. Base, 14^ f Torus 3 22 Fillet i Scotia i\ 20| 20 Fillet i j i Two T?"M beads j. Fillet parts. 20| 22 i i Scotia Fillet 23 Torus 4 6 Plinth 25 25 PEDESTAL f Fillet Cyma reversa 33i Corona F. Cornice, J Throat Bead 14J parts. f parts < G. Base, 14J parts. 26* .. .. Frieze . . . . .. | 25! . 5 25 ij 265 . Bead .. .. .. Fillet . . . . . . . . . . Die . . . . Fillet .. .. . . ( Cong6 r Bead 32 it Fillet Cong6 Die, 3 . .. Inverted cyma Fillet .. . .. reversa .. . f . i| 25 . 87^ 25 .. i| 25 . . . .. . . .. Torus . . . . . Plinth . . . . . . . | ij 26| 3 i 32^ 32! 3 6 Composite order (compound of Corinthian and Ionic) Vitruvius has not given any instructions on this order. Gwilt (Encycl., To the pedestal's height art. 2596) gives Palladio's details of this order. this master assigns 3 diameters and three-eighths of the column adding to it a lower plinth of the height of half a diameter. He makes the base of the column half a diameter in height and assigns to the shaft eight diameters and a little more than one-fourth, and cuts it into twenty-four The height of this capital is one diameter and a sixth flutes. The architrave, frieze and cornice he makes a little less than a fifth part of the height of the column. The whole height of his profile in our measures is thirteen modules and twelve parts.' V. : ' . 567 . . STAMBHA AN ENCYCLOPAEDIA OF In the following table Gwilt (Encycl., art. 2592) gives, on the authority of Vignola, measurements of the mouldings of the Composite order : Members composing the order : Heights of mouldings ENTABLATURE of cornice Fillet Cyma recta Fillet Cyma reversa Bead Corona A. Cornice, 36 parts. .. under the corona Cyma Fillet Cyma Fillet reversa of the dentils . . Dentils Fillet Ovolo Bead { I .. Fillet B. Frieze, Gong6 .. j 27 parts. Upright face L Apophyge f Fillet Cavetto C. Archi- trave, 27 parts. Ovolo Bead First fascia Cyma reversa Second fascia COLUMN Echinus and fillet Lower member of abacus D. Volute .. Capital, 48 parts. Band of upper Upper leaves Band of lower Lower leaves leaves. . leaves . . 568 STAMBHA HINDU ARCHITECTURE of Heights mouldings COLUMN Astragal . Fillet Conge Column, mod. 1 6 1 2 r above Shaft .-{ 1 Ibelow parts. . . 6 mod. 12 parts. . Apophyge Fillet Conge Fillet Torus Fillet Scotia Base of E. column, 1 8 parts. Fillet Bead Fillet Scotia Fillet Torus Plinth PEDESTAL Fillet Cyma reversa Corona F. Cornice, 14 parts. Cyma recta Fillet Cavetto Frieze Bead Fillet Conge" Die, 94 parts Die Apophyge Fillet Bead Inverted G. Base, 12 parts. cyma reversa Fillet Torus Plinth 56 9 AN ENCYCLOPAEDIA OF STAMBHA and do not merely appear in the five species of columns into which they have been sub-divided, but are distributed throughout the edifices to which they are applied, the column itself being the regulator of the whole composition. It is on this account that the name of orders has been applied to the differently formed and ornamented supports, as columns, which have received the names 01 Doric, Ionic, Corinthian, Tuscan, and Composite orders, whereof the three first are of Grecian origin, and the two last, it is supposed, of Italian or Roman origin. Each of these, by the nature of its proportions and the character resulting from them, produces a leading quality, to which its dimensions, form and ornaments correspond. But neither of the order is 1 The orders and their several characters qualities so limited as to be confined within the expression of any single quality. Thus the strength indicated in the Doric order is capable of being modified into many shades and degrees of that quality.' (Gwilt., Encyl., art. 2538.) (Further accounts of the origin of orders will be found under NAGARA.) There are other columns,' says Ram Raz (p. 38), in the Indian ' ' one diameter lower than the Tuscan, but from one The first sort is a two diameters higher than the Composite.' column six diameters high it is rarely made but upon a high base and The entablature is more than half the altitude of the column, pedestal. and the inter-columniation generally four diameters. The pedestal is of the Prati-bandha kind (see under UPAP!THA, and there it is called Pratibhadra) and its height is equal to that of the base which is one-third of that of the column itself, or two diameters. The base is called Manchabandha (see under ADHISHTHANA) and is divisible into thirty parts. The capital is equal in height to upper diameter of the shaft, and its projection is equal to its height. The form of the capital is called Pushpa-bandha.' The height of the capital,' says Manasdra, may be either equal to the architecture, not only ' to ; : ' ' breadth of the shaft, or one-half or three-quarters of it, according as may it appear proportionate to the size of the column. Let the breadth of either one, one and a quarter, half, or three-quarters of the diameter.' it be The entablature placed on this column does not differ from that placed on other On this subject Manasdra observes pillars, except perhaps in the height. The whole height of the entablature may be either threegenerally ' : quarters, one, one and a quarter, one and a half, one and three-quarters, or twice that of the base. The height of the entablature may be a half, one-fourth, or three-quarters of that of the shaft, or the height of the pillar, being divided into eight parts, six, five, three or two may be given to that of the entablature. The height of the entablature is measured from the architrave to the corona.' (Ram Raz, p. 30.) sixth sort of pillar is eleven diameters high. The design illustrate this is selected from among the pillars found at ' up The made Conj^veram 57 : to it STAMBHA HINDU ARCHITECTURE represents a square pillar of the plinth, a composed of a is The same one diameter high. an example as cyma same height, exclusive of the base, recta and torus, with their fillets, pillar, also of the seventh sort, which and is including the base, may be taken to be twelve diameters which ought in height.' When (' ' the pillar, upper fillet of the base, it from the plinth below it, ' At the ' is measured in says Kasyapa, height is called Nigata-stambha, but when it is is from the measured termed Nichata-stambha.') foot of the shaft a space equal in height to the hypotenuse of the lower diameter is made quadrangular, around which are sculptured images of the deities, and the like, in bas-relief. In about half a diameter above this, is made the ornament called Naga-bandha (a serpent-shape mouldThe remainder of the shaft, about three diameters and a half, is ing). made to consist of eight sides, including the strings of pearls, which occupy three-quarters of a diameter, and appear to be suspended from the fillet of the upper ornament called Padma-bandha (a lotus-shape moulding), which takes up half a diameter. Next above this is the kalas"a or waterpot, above three-quarters of a diameter, and above this are made, with the same height given to them, three other mouldings, Harika, Asya, and Tatika, which last projects a fourth part of the diameter. Above this again is the lower collarino, in height about a quarter of a diameter, then the ornament called Kumbha (pitcher) which is half a diameter high and next the upper collarino, a little less than the lower projects as much ; one next the moulding called Phalaka (abacus) which is one diameter high and projects equal to its height next the third collarino, about threefourths of a diameter and last of all the capital of the kind called Pushpa; ; ; bandha.' (Ram Raz, pp. 35-36.) ' This pillar may, according to the definition of its form, be called Vishnukanta and appears in most of the ornaments, though not in their proportions, to agree with the description given in the Mdnasdra of that which he calls Palika-stambha. He says the height of the collarino should be one diameter of the column that of the Phalaka (abacus) one, threequarters, or, two or three diameters, and its projection one-fourth of its height. The height of the Kumbha (pitcher) below the collarino may be half, one and a half, or two diameters and its breadth equal to the upper ' ; The height of the Tatikasya is half or three-quarters of the diameters. Let the lower cyma be equal to its height and let its breadth be one and a quarter diameter. Below that comes the Harika of half that height. The height and breadth of the Tatika are equally one or lower collarino. Below that let a KalaSa (pitcher) be made about two diameters iu breadth and let the upper part of it be shaped in the form of a durdhuradiameter. 571 AN ENCYCLOPAEDIA OF STAMBHA flower, and in such a manner as may appear graceful. Below this, about three-quarters of the diameters should be decorated with strings of pearls.' Raz Concerning the dimensions of his seventh sort of column, Ram gives accounts of a few more specimens which are quoted below The pillars at Tiruvannamalai are estimated to be about 30 ' : feet high, with proportionate thickness, diminished at the top by a twelfth part of the lower diameter. There are three kinds of them. The first is placed on a high pedestal and base the whole shaft is divided into ten compartments, each being equal in height to the hypotenuse of the diameter of the pillar and on all the four sides of these compartments are sculptured, in relief, ; ; four small pillars or pilasters supporting an entablature. The second pillar differs from the first in having two, instead of four, small ornamental on each side of the ten compartments, into which the shaft is divided, with an ornamented niche in the middle, which in the third specimen is flanked by two small panjaras or ornamented cages on both sides of it. The second sort of pillar is placed on a base without a (Ram Raz, p. 37.) pedestal, and the third on a pedestal without a base.' pilasters in relief, The difference in the Indian orders, consists chiefly in the proportion between the thickness and the height of pillars, while that of the Grecian and the Roman orders, not only on the dimensions of columns, but also on the form of the other parts belonging to them.' ' ' The Egyptian columns appear to have no fixed proportion in regard In some of the specimen of the ruins of upper height. Egypt, the height of the columns consists of from four to six times the lower diameter, which last proportion coincides with that of the first sort of the Indian pillar.' to thickness and The orders of India, and of Greece and Rome, are remarkable for beautiful effect of their proportions, a circumstance to which little regard has been paid by the Egyptians. Both the Indian and Grecian columns ' are diminished gradually in their diameter from the base to the summit of the shaft, a practice which has never been observed in the Egyptian on ; the contrary, a diametrically opposite rule has been observed in their shafts, which are made narrower at the bottom than at the top, and placed upon a square or round plinth. The proportion in which the diminution at the top of the columns of the two former is made, seems to have been regulated by the same principle, though not by the same rule. The general rule adopted by the Hindu architects in this respect is that the thickness at the bottom, being divided into as many parts as there are diameters whole height of the column, one of these parts is invariably diminished at the top but in the Grecian and Roman architecture, the diameter of the upper part of the shaft, in a column of 15 feet in height, in the ; 572 STAMBHA HINDU ARCHITECTURE is made one-sixth than less its thickness at the base and ; in a column of one-eighth. The higher the columns are, the less because the they diminish, apparent diminution of the diameter in columns of the same proportion, is always greater according to their height, and thi s 50 feet, the diminution is principle supposed to have been discovered with greater scientific skill 5 and is adduced as one of the proofs of the highly refined taste of the Greeks ; but we observe that precepts derived from the same principle have been taught and practised in India from time immemorial.' The plan of the Grecian columns is always round but the plan of the Hindu columns admits of every shape, and is frequently found in the quad' ; rangular and octangular form, and richly adorned with sculptured ornaments. The form of the Egyptian pillars too, is circular, and their shafts are often fluted like the Corinthian, but the fluting of the Indian columns resembles neither the one nor the other. The decorations of the Egyptian columns often consist in representations " of the bundle of reeds " tied up with a cord on the top, having a square stone placed over it in some ; specimens are also found bindings or fillets in various parts of the shaft, and in the interval between them, reeds and hieroglyphics are represented. But there is nothing like these ornaments in the Indian orders, except in the columns found in the excavated temple of Elephanta, and some other places, and which differ materially from those employed in other situations in Hindustan.' ' There are no fixed, as we saw before, inter-columniations in the Hindu are found in the Grecian, but the spaces allowed between in different Hindu buildings, are found nearly to coincide and pillar pillar with the Grecian mode of inter-columniations, though in too many instances, architecture, as they differ widely from it, and the same may perhaps be said of the Egyp- tian colonnades.' ' The capital of the Grecian columns invariably marks the distinction those of the Indian are varied at pleasure, though of the several orders ; not without regard to the diameter and length of the shaft and the forms of the plainest of them, though they have in reality nothing in common ; with the Grecian order, are found at a distant view, to bear some resemblance to the Doric and Ionic capitals but those of a more elaborate kind ; are sometimes so overloaded with a sort of filligree ornaments, as to destroy the effect of the beautiful proportions of the whole. The Egyptian capitals, on the other hand, are formed into elegant vase shapes, decorated with the stalks, leaves, and blossoms of the lotus, and occasionally with palm leaves, which latter ornaments are supposed to have given the first idea of the Corinthian capitals. And in some specimens, the Egyptian capital is composed of the representation of the head of the goddess Isis.' 573 AN ENCYCLOPAEDIA OF STUPA In view of the classification and number (5) of the orders, their principal of similarity pointed out above, composing mouldings (8), and other details Ram Raz truly (p. 38), between the columns of India the ' ' affinity,' says and of Rome and Greece is so striking, that one would be apt 1 to something more than mere chance.' STUPA Name of edifices, which serve to ascribe it as receptacle for a relic or or bell-shaped, and rest They are hemispherical three concentric storeys which form ambulatories of base a upon round the tope ; they sustain a cubical erection, the so-called tee from which rises the spire (chhatra) which crowns the whole. The in relic-chamber (dhatugarbha, whence the name Dagoba,' used as monument. ' whole edifice) is in the interior below the tee. Sometimes a sort of roof or temple was built over the tope (Mahdvamsa, 31, is often used as a synonym (W. Geiger, 29). Chaitya (sanctuary) Ceylon for the Mahdvamsa, p. 295). A heap, a mound, a funeral pile, a tope, a Buddhist monument, known as chaitya in Nepal and as dagoba in Ceylon. The Buddhist dome-shaped tower built over relics, or as a memoThe earliest stupas were tombs.' (Vincent Smith, Gloss, to Cunnin' (i) rial. gham's Arch. Surv. Reports.) Considerable interest is attached to the recent discovery (in Japan) beneath the corner stones of the Double-Bridge (main entrance to the Imperial Palace) Most of the skeletons were found upright about twelve of eight human skeletons. work feet below the bed of the Palace moat which is at present undergoing repair of the necessitated by 1923.' earthquake ' are the remains The theory of some Japanese scientists is that the skeletons " " human for pillars of persons who, several centuries past, offered themselves as Castle. The Edo in used corner-stones the of immortalization constructing the " is an old one in " human Japan. In a past age it was tradition of the pillars the corner-stones of alive buried beneath were human that if believed beings accord permanent strength and solidity to the would the structures, gods great would become foundations, and in addition, those who thus sacrificed themselves, " " human were pillars immortal. It was considered that those chosen as 1 ' They were buried alive in a standing position.' greatly honoured. ' " human recorded in instance of the traditional The first pillars ' Japan dates The Yodo to the reign of Emperor Nintoku, more than a thousand years ago. river at Osaka, where the Emperor had his palace, used to overflow each year, and causing much damage. Every dike built by the best back drowning many people withstand the floods. One night, it is said, the Emperor engineers was unable to dreamed that the gods had advised him if he would use human bodies as pillars for the construction of the embankments, there would be no more flood trouble. The caused human beings to be buried alive story has it that the Emperor immediately beneath the foundation stone of the dike, and since then the embankment has withstood all floods.' (Associated Press of America Dispatch, 574 Tokio, July u, 1925.) HINDU ARCHITECTURE ' (2) These, again, may be divided into two classes, first, the true Stupas or towers erected to some event or mark some sacred spot dear to the followers Stupas or Topes according to their destination commemorate STOPA ; of the religion of Buddha secondly, Dagobas or monuments containing relics of Buddha, or of some Buddhist saint. If it were possible these two ; ought always to be kept separate, but no external signs have yet been covered by which they can be distinguished from one another, and till is they must be considered, architecturally at so, disthis least, as one." In Nepal, according to Hodgson, and, ' I believe, in Tibet, the monuments, which are called stupas in India, are there called Chaityas. Etymologically, this is no doubt the correct designation, as chaitya-like stupa, means primarily a heap or tumulus.' (Fergusson, Hist, of Ind. and East. Arch., p. 50, note 2.) For the photographic views and the architectural stupas, see Fergusson The The details of the following : great Tope at Sanchi (p. 63, Figs. 10, 1 1, 12). cut in the rock on a Dagoba at Ajanta (p. 64, Fig. 13). Tope at Sarnath (p. 66, Fig. 14). Temple at Buddh-Gaya (p. 70, Fig. 16). The great Tope at Amravati (p. 72, Fig. 17). Gandhara Topes (description, pp. 72-76). Jelalabad Topes (p. 78, Figs. 18, 19). Manikyala Tope ' (pp. 80-82, Figs. 21, 22, 20, 23). A diversity of opinion exists as to the propriety or otherwise of callas the monuments of such Takkal Bala and it high stupa ing Tope must be said that this monument is a striking illustration of the inaccuracy of much that has been written on the subject. The following is one of the (3) ' ' ; instances many . . where a conclusion has been somewhat hastily arrived " now used is ' the term . Thup . . . it is, therefore, at : much be regretted that we should have adopted the word Tope," which preserves neither the spelling nor the pronunciation of the true name.' ' to (B.A.S.J., Vol. ni, p. 313.) (4) Again, Mr. Fergusson, writing on this subject, complains bitterly of the Bhilsa, and the Sarnath, and the Sanchi " Topes." To make the confusion worse he laments Tope is also the common Anglo-Indian word for a clump of trees." Very true, but that hardly justifies the follow' ' ' ' ing ' ' tope In neither sense the word ever used by with something very different, that is, natives, who with cannon or associate artillery. do use the word freely in designating such monuments now endeavour to show. While they called all lower mounds in this That the I will is ' natives neighbourhood dehiri, the peasantry 575 denied the existence of a Thupi, AN ENCYCLOPAEDIA OF STOPA-GRIHA Thupa, Thuva, or even the common dih and in my inquiries being compelled to paraphrase the word for their comprehension, after trying buland-tila and other expression in vain, I accidentally mentioned the much abused tope,' and was much surprised to find that they understood my meaning instantly, and helped me to a minute description of the monument and its surroundings. They did not call it thupa nor thupi, but simply Now, it would appear top.' tope or, more correctly, " mere no is from the above that the word adoption of ours," and that it ; ' ' ' ' ' used by the natives of India (unless we allow the breadth of the Indus distinction), moreover, by the commonest of those natives is make a fine far and wide.' to (Cunningham, Arch. Surv. Reports, Vol. xix, pp. 134, 135.) (5) Takshasilae ayam thuvo pratithavito sava-budhana puyea This stupa was erected at Takhasila (Takshasila) in honour of all the Buddhas.' (Taxila Vase inscrip. Ep. Ind., Vol. vni, p. 297.) I ' (6) Thuva cha sarhgharama cha I (Inscrip. STUPA-GRIHA rows of pillars on the Mathura Lion Capital, no. A, n> line 14, Ep. Ind., Vol. K, p. 141.) House of the (as in tope, a sort of Thuparama Dagoba in dome, supported by Anurudhapur, Cey- lon). (W. Geiger, Afahavamfa, p. 295.) A dome, a cupola, a spherical roof rising like an inverted a circular, square or multangular building, a pinnacle, a over cup SYOPI steeple-tower. (1) (2) xvra, 4, 413 xxn, 10, etc. kuryat stupy-achchhadanakani cha Kona-paravatam M., xi, 13 ; xv, 91 ; ; II Su-muhurte su-nakshatre stupy-achchhadanakarh nyaset (Vdstu-vidya, (3) Kanthoktam sarva-manam ed. Ganapati-Sastri, 1 1 xvi, 27, 37.) tu stupy-utsedhah prakirtitah 1 1 (Kdmikagama, xxxv, 30.) (4) Ravi-varma-maha-raja alias the Lord Kula-sekhara-deva was pleased to bathe up to the pinnacle (stupi-paryyanta) the Vanakaiyilaya-Tirumalai (name of the central shrine) in the temple of the Lord of Tiruvlrattanam, the Lord of Tiruvadigai, and to fix the stones which were bulging out (? stupi-kila).' (Tiruvadi inscrip. of Ravivarman, line 3 f., Ep. Ind., Vol. vm, P- 9-) This inscription (V. S. I. /., Vol. n, no. 90) records the gifts, by A ninth the priest Isana Siva Pandita, of eight gilt copper-pots. Pavana-Pidaran. The was gilt copper-pots presented by pot were all intended to be used as pinnacles (Stupikkudam, para. 2). ' (5) ... . 576 . . HINDU ARCHITECTURE STHA Nine of them were presented, of which one is said to have been for the temple of the Lord (para. 9) and another for the temple of the Lord SriRajarajesvara Mudaiyar (para. n). The other seven appear to have been intended as pinnacles for the shrines of the regents of the eight quarters. The regents are eight in number, viz., Indra, Agni, Yama, Nirriti, Varuna, The shrine of Indra, who is the Vayu, Soma, and Isana. . . . regent of the East, seems to have been in the second gopura for which five pinnacles had apparently been provided by the king himself.' (V. S. I. I., Vol. n, no. 90, paras, i, 2, p. 413 f.) The Gangai-konda-puram temple ' (6) . . . consists of a nine- (steeple-tower) or vimana over the shrine or sanctuary, square at the base, and about 165 feet high.' (Ind. Ant., Vol. ix, storeyed stubi 99 feet p. 117, c. 2, para, i.) (7) See Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi, Plates LXXXII, Figs. 1,2; LXXXIV, Figs, i, 2 xci. ; See Cunnigham, Arch. Surv. Reports, Vol. in, Plates XLVI, Fig. m STOPI-KlLA (see STUPA and STUPI) The 4 (Birdaban xxvn Vol. xi, Plate Stupa), XLVII, Fig. 3 (Nongarh Stupa) section of Mediaeval Stupa) ; Vol. xvm, Plates v, vi Vol. xix, Plate (Mahadeopur pinnacle). ; (plan and (Nirvana-Stupa) spire, the nail ; above the dome. (M., xvm, 144.) The Cf. to be placed ' Lord Sri-Rajarajadeva gave one copper waterpot (kuta), on the copper pinnacle stupittari according to Winslow, a ; synonym of Sikhara, or the upper pinnacle of a temple of the sacred shrine (Sri-Vimana) of the Lord of the Sri-Raj arajesvara (temple), weighing three thousand and eighty-three pala.' (Inscrip. of Rajaraja, no. i, line 18, H.S.I.I., Vol. n, p. 9.) STRl-LlNGA A class of buildings, a feminine type of architectural object. and other See definition Cf. Sarvatra Sarva details under PR'VSADA. bhoga-bhumy-ahgam alinda-parisobhitam I ? shad)-varga-samayuktarh manah-priti-samanvitam II Chaturnam anta (m)-lomasam (lokanam) yogyarh stri-lingam ( ishyate 1 1 (Kdmikagama, XLV, 10, xxxv, 21 ; see under SALANOA and SHAJ?-VAROA.) STHA A fixed abode as in Goshtha and Pratishtha terms). 577 (see under these AN ENCYCLOPAEDIA OF STHANDILA STHANDILA A site plan in which the whole area is divided into forty-nine equal squares. (M., vn, 39 8, vin, LXX, 30 STHAPATI pratishthd, (i) Lit. German 129, etc., ix, ; see ; cf. PADA-VINYASA.) chief (pati) of fixed abode (stha as in goshtha, the master builder. stadt), the chief architect, ranks and qualifications Manasdra (Chap, n, named Silpi-lakshana or of architects) From : are stated to have originated the Visva-karman, Maya, Tvashtri and Brahman the four faces of four heavenly architects, namely, Manu. And their sons are called respectively Sthapati, Sutragrahin, the Vardhaki and Takshaka. These latter four evidently represent four classes of terrestrial artists : Purvanane visvakarma jayate dakshine Uttarasya mukhe tvashta paschime tu mayah manuh smritah I I VisVakarmakhya-namno'sya putrah sthapatir uchyate Mayasya tanayah sutragrahiti parikirtitah Tvashtur devarsheh putrah varddhakir iti prakathyate Manoh putras takshakah syat sthapatyadi-chatushtayam I I I (M., Cf. One Manu is stated to be the architect who tatrasil loka-vis"ruta 1 ii, I 1- 1 2, 17-20.) built the city of Ayodhya Ayodhya-nama-nagari Manuna manavendrena ya purl nirmita svayam I (Ramayana, Their ranks : I i, 5, 6.) : SthapatyadiS chatur varnah silpibhih parikirtitah I (M., n, 29.) The rank the director general and the consulting architect The Sutragrahin is the guide (guru) of Vardhaki and 21). Vardhaki is the instructor of Takshaka (line 22), while the Sthapati (M., n, line Takshaka is in (line The Sthapati must be 23) must know the Vedas (line of a supreme well versed 26). He in all sciences must have all (line the 24). He qualifications director (acharya) (line 31). sthapanayarhah veda-vich chhastra-paragah tasmat sthapatir uchyate Sthapanadhipatir yasmat sarve sutragrahyadayah sada SthapateS chajnaya Kurvanti astra-drishtena vastu-vastu prayatnatah I Cf. Sthapatih I I I Acharya-lakshanair yuktah sthapatir ity-abhidhiyate iti smritah Sthapatis tu sva-turyebhyas tribhyo gurur (M., n, I I 26-29, 3'. a i.) HINDU ARCHITECTURE Sthapatih sarva-sastrajnah (M., n, line 24.) STHAPATI the chief architect knows all sciences. See also M., xxxvii, 14, 15, 16, 17, 58, 73-74, 83, 85. These passages refer to the Sthapati as the master of the opening ceremonies of a dwelling house. The Sutragrahin also should have the general knowledge of all the sciences and the Vedas. But he must be an expert in measuring accurately and must make a 25, 34) special study in drawing (M., n, 32, 34, 22, 25, 33, 23, : Srutajnah sutragrahl cha rekhajnah Sastra-vit-tamah Sutra-grahiti sutra-dhrit I (32) (24) I Sutra-grahi gurur dvyabhyam turyebhyo'dya iti smritah (22) too, should have the general knowledge of the Vedas and practical sciences. But the object of his special study is painting. He must also be able to design (vicharajna) architectural and sculptural Like the Sutragrahin, the Vardhaki too objects from his own ideas. should have an idea of accurate measurement. I The Vardhaki, Vardhakir mana-karmjnah (25) Vicharajnah srutajnas cha chitra-karmajno vardhakih II (33) Takshakasya gurur nama vardhakir iti prakirtitah II (23) The Takshaka must be expert in his own work, i.e., carpentry. should be obedient to his superiors and aspire to rise in the rank. Cf. Takshanat takshakah smritah II (25). Takshakah karma-vidyuS cha bala-bandhudaya-parah Cf. I I (2) Sthapatih sthapanarhah syat sarva-sastra-vis'aradah Na He (34) II hlnango'tiriktango dharmikas tu dayaparah Amatsaryo'nasuyaS cha tantrikastv-abhijatavan II Ganitajnah puranajnah anandatma py-alubdhakah Chitrajnah sarva-desajfiah satya-vadl jitendriyah Arogi chapramadi cha sapta-vyasana-varjitah Sunama dridha-vandhus cha vastu-vidyabdhi-paragah I 1 I 1 I 1 1 (Vdstu-vidya, ed. Ganapati Sastri, i, 12-15.) Sthapati or master builder must be able to design (lit. placing, He must be proficient in all sciences (Sastras, see below). sthapana). He must not be deformed by lacking in or possessing too many limbs. He ' The must be pious and compassionate. He must not be malicious or spiteful. He must be trained in music (tantra=a stringed musical instrument, see Vitruvius below). He must be of noble descent. He must be a mathematician and historian. He must be happy in mind and free from greed. He must be proficient in painting. He must know all countries, i.e., he must be a geographist. He must be truthful, and self-control. He must not have possess any disease, and must be 579 AX ENCYCLOPAEDIA OF STHAPATI above committing errors. He must be free from the seven vices (hunting, gambling, day-dreaming, blackmailing, addiction to women, etc., see Manusamhita, vn, 47-48). He must have a good name and be faithful to friends. He must be deep in (lit. cross) the ocean of the science of architecture.' Compare these qualifications of the master builder with those of the Greco-Roman architects quoted below from Vitruvius. The classification of the architects and the account of their qualifications are almost identical to those given in the Mdnasdra : Sthapates tasya Sishyo va sutra-grahl suto'thava Sthapaty-ajnanusari cha sarva-karma-visaradah II I Sutra-danda-pramanajno manonmana-pramanavit Takshitanarh takshakenapy upary-upari yuktitah II Vriddhikrit vardhakih proktah sutragrahy-anugah sada I (Vastu-vidyd, Takshanat sthula-sukshmanam takshakah II ibid., 16-18.) i, sa tu kirtitah Mrit-karmajno gum Saktah sarva-karma-sva-tantrakah Guru-bhaktah sada hrishtah sthapaty-ady-anugah sada II I II (ibid., i, 18-19.) (3) Susila(s") chaturo daksha-sastrajna-lobha-varjita(-tah) Kshamavan asya (syad) dvijas chaiva sutradhara(h) sa uchyate II One who is of good behaviour, clever, skilful, learned, free from lust I ' (excessive desire of gain), can forgive class, is called Sutra-dhara.' (rivals), and belongs to the twice- born (&' Ipa-dipaka, ed. (4) ' Garhgadhara, i, 3.) Vastu-vidhanajfio laghu-hasto jita-s"ramah Dirgha-darsi cha ^uras cha sthapatih parikirtitah II One who is conversant with the architectural design (vidhana, the act of arranging, disposing, etc.), skilful (lit. swift at hand), industrious (or foresees (everything), and is a champion (in archidescribed as a sthapati.' (Matsya-Purana, P. Diet.). patient labourer), and tectural matters), (5) is Mahdbhdrata (xn, 3243-3244) Sat-kritas cha prayatnena acharyyartvik-purohitah : I Maheshvasah sthapatayah samvatsara-chikitsakah II Prajna medhavino danta dakshah s"ura bahu-srutah Kulinah sattva-sampanna yuktah sarweshu karmmasu I II Sthapads, meaning apparently architects, are stated here to be very learned, meritorious, patient, dexterous, champion, of large experience, of high birth, full of resources, and capable of application to all works. Ibid., xra, 5073-5074 Brahmana-sthapatibh yam cha nirmmitarh yan nivesanara Tad avaset sada prajfio bhavarthi manujesVara : I 580 II HINDU ARCHITECTURE Here, a house built by a mended. STHAPATI Brahmana and a Sthapati is specially recomSthapati implies an architect but his caste is not clear from this passage. Mahdbhdrata, xiv, 2520-2524 : Tato yayau bhimasenah prajnah sthapatibhih saha Brahmanan agratah kritva kusalan yajna-karmmani Tarn sa sala-chayam srimat sarhpratoll-sughattitam I II I Mapayamasa kauravyo yajna-vatam yatha-vidhi Prasada-sata-sarhbadharh mani-pravara-kuttimam II I Karayamasa vidhivad-dhema-ratna-vibhushitam Stambhan kanaka-chitrams cha toranani vrihanti cha Yajnayatana-deseshu datva suddharh cha kanchanam Antah-puranam rajnarh cha nana-des"a-samlyusham Karayamasa dharmmatma tatra tatra yathavidhi II 1 1 I II I apparently the architect who built the palace with columns, arches, etc., and also the well-designed high gate- Here, too, Sthapati jewelled floor, is houses. Ibid., v. 255 : Tato'atibhito rupat tu sakra aste vicharayan I Athajagama parasurh skandhenadaya varddhakih II Vardhaki is called here Takshan (see verses 256-266) not in the sense of carpenter but to imply an executioner. (6) Varttika of Katyayana on Panini, 2 (Pet. Diet] : Sutra-graha=yah Sutra-graha=yah This subtle distinction (7) sutrarh grihnati na tu dharayati sutrarh grihnati dharayati cha I I is not quite clear. Chaurapafichas'ika (ed. Bohlen, 7-3) Surata-tandava-sutra-dhari : I (8) Rdmdyana, (n, 80, 2, etc.) : Karmantikah sthapatayah purusha yantra-kovidah Tatha vardhakayas chaiva margino vriksha-takshakah I (9) II Sakala-guna-ganalamkrita-kritottamangaru Parama-Brahmani^ chala-svarupar upadesa-p(r)arakaramaru Manu-Maya-Mandabyc- VisVakarmma-nirmmitam stotakacheru appa Hem-migadeya mane enisida I Of the VisVamitra-gotra, supreme Lord of Lahka-dvipa-pura, possessed of property and vehicles, versed in all Sastras, sought after to construct ornamental buildings and upper storeys, adorned with all good qualities his head sprinkled with sandal water from Siva, in the form ' unchanging Parama Brahma, distinguished in giving advice, of the Hemmigade house created by Manu, Maya, Mandabya, and Visvakarma, was Stoof (Ep. Carnal., Vol. v, Part i, Channarayapatna Taluq, text, p. 530, line 23 ; Transl., p. 237, para. 2.) takachari." Roman no. 265 ; AN ENCYCLOPAEDIA OF STHAPATI (10) This Prasasti was written by Skandasadhu, the son of Sri-kantha a descendant of a family of architects (sthapati-kula) . (Sholingur Inscrip. of Parantaka I, line 21Ep. Ind., Vol. iv, pp. 224, 225.) (11) Sthapati-Kalisuta-Simgali-kargi jana Navagrama-dranga vra(? lu)-dha- I The Sthapati (architect of the tank was) Simgali Kargi, the son of Kali, from the Navagrama-dranga (compare Raja TarangPandit a (? vulha) p. 291, watch-station near mounini, Translation by Dr. Stein, Vol. n, ' tain passes).' Konow Stein (Dr. inscrip. of Museum (Peshawar Vanhadaka, line 6, Ep. Ind.,, Vol. x, p. 80, note 3 (12) Visadru-sutah Kamau p. 81.) ; ' Visadru's son, Kamau, the archiSilpi tect (of the fifth octagonal pillar, middle row, of the north-west cloister). This simple record of the architect or head mason Kamau is the most valuable inscription of the Lai Darwaza, as it is another proof of the truth of Fergusson's remark that the cause of the admixture of Hindu and Muhammadan styles in the Jaunpur was the employment of Hindu masons.' (Dr. A. Fiihrer, Sharqi Arch, of inscrip. xxvn, Arch. Suro., Jaunpur Imp. New Series, Vol. i, p. 51.) palhanena silpina Utkirnna-varnna-ghatana vaidagdhi-visvakarmana (The document) is engraved by the artist Palhana, son of Rajapala who is a master of the art and craft.' (13) Rajapalasya putrena I 1 1 ' (Pachar Plate of Paramardideva, line 22, Ep. Ind., Vol. x, pp. 49, 45.) (14) Tvashtri, a recognized architect, both Sutradhara and Sthapati Tad-vad nagaram vane'smin Vatakhyam kritavan Vasishthah Tvashtuh prasadat I tadagaih prasada-veSmaih su-ghanam su- Prakara-vapropavanais tuthgaih connected with (the ancestor of) : II Bhanor griham daiva-vafiad vibhagnam Vasishtha-pauraih sukritam yad asit Aslch cha Nagat sthapates tu Durggah II Durggarkkato Deuka Suttra-dharah II Asyapi sunuh Sivapala nama II I Yenotkrite'yam suSubha pra^astih II inscrip. of Purnapala, A. D. 1042, 21, 27, 34, Ep. Ind., Vol. ix, pp. 12, (Vasantgadh w. 13. 582 14. 1 5-) HINDU ARCHITECTURE STHAPATI Viranatmajah Tvashta Sri-viranacharyo vyalikhat tamra-sasanam (15) Sadas'ivainaharaya-s'as'anad I II (Krishnapuram Plates of Sada&varaya, v. 107, Ep. Ind., Vol. DC, p. 339.) stone (16) Sila-Silpi Garhgadhara, v. 39, mason from Dabhoi (18) Cf. inscrip. Vardhaki inscrip. of the (Vilapaka Grant of Venkata (17) Silpin engraver Vol. rv, pp. 277, 272). (19) (Govindapur stone poet Ep. Ind.. Vol. n, pp. 383, 342). I, v. (verse 112, Ep. Ind., Vol. carpenter, sculptor (Senart) 62, Ep. Ind., i, p. 31.) : Vadhakina samina venuvasaput(e)na gharasa mugha kata I (Karle Cave inscrip. no. 6, Ep. Ind., Vol. vn, p. 53.) (20) w. Sutradhara (Bheraghat inscrip. of Alhanadevi, architect, artizan 36, 37, Ep. Ind., Vol. n, pp. 13, 17). (21) Mason (22) Cf. the first Prasasti of Baijnath (inscrip. from Dabhoi, v. 112, Ep. Ind., Vol. i, p. 31). (verse 36, Ep. Ind., Vol. pp. 107, i, in). (23) Sutra-dhrit artizan (Kudarkot inscrip., v. 17, Ep. Vol. Ind., i, pp. 182-183). (24) Sutradhara sculptor (Verawal image inscrip., line 5, Ep. Ind., Vol. ra, 303, 304). (25) Si(si)la-patta-s"ubhe varhs'e sutra-dhara vichakshanah I Bhojukah KamadevaS cha karmmanishtha Hala sudhih II (Born) in the auspicious family of Silpapatta, the conspicuous architects (were) Bhojuka, Kamadeva, and the wise Hala, (who) were perfect in their ' work.' ' A Muhammadan architects to build a in the ruler Jallala Khoja, son of Is"aka, Gomath(a) (? appointed these cow-shelter), a garden, and step-well town of Batithadim.' (Bhatihagarh stone inscrip., v. 12, Ep. Ind., Vol. xn, pp. 46, 47, 44.) who is set upon the pure peak of the Mahendra of master mountain, things movable and immovable, the sole archi(guru) tect (sutra-dhara) for the creation of all the world (sakala-bhuvana-nir' (26) Gokarna-svami manaika-sutra-dharasya) .' (Ep. Carnat., Vol. rx, Bangalore Taluq, no. 140 583 ; Roman text, p. 33, Transl.,p. 26.) AN ENCYCLOPAEDIA OF STHAPATI Krishna-suto-gunadhya (27) cha suttra-dharo'tra Nannakah I Etat kanvasramam jnatva sarvva-papa-hararh subham Kritarh hi mandirarh sambhoh dharmma-klrtti-vivarddhanam I Here, Sutra-dhara is who the architect (Inscription w. II temple of Siva. the built from the Mahadeva temple, 29, 30, Ind. Ant., Vol. xm, p. 165.) the architect (employed on the (28) repair of the temple of Dakshinaditya) was Haridasa. (Gaya inscrip. of Vikrama Samvat 1429, line Sutradharo'sya Haridasanama ' Vol. xx, pp. 315, 313.) 9, Ind. Ant., ' (29) Cf. When the house is Brahmans and the finished friends of the family are feasted. The mistri (master-builder) attends the dinner and receives from the owner complimentary gifts, such as shawls, turban, clothes and money, as his merits and the generosity of his employer dictate.' (Ind. Ant., ' The royal draughtsman (raya brother Suroja engraved it.' younger (30) Vol. xxiv, p. 303, or (31) Svasti 2, last para.) sutra-dhari) raja (Ep. Carnal., Vol. v, no. 123 c. Part i, Gopoja's Arsikere Taluq, Transl., p. 168, line 2.) ; samadhigata-pancha-maha-sabda svaradhipati-mahanayaka-vibudha-vara-dayakan animitta Malla-vijaya-Sutra-dhari svamidrohi biruda, etc. . . ' the Be . . . . well (with various epithets, including), Ma'la-vijaya-sutradhari, dandanayaka Lachimayya's son, of the ministry for peace and war, it Hodimaiya and others (named) enlarging the town Rajimaiya. the master of the town, desiring to make a feast granted certain land (speci; fied).' (Ibid., no. 194, Roman Text, p. 433 ; Transl., p. 187.) ' Born in the family of VisVakarma, the architect of the three the son of Basavachariya, who was the son of Vodeto be the jagad-guru engraved it.' considered yappaya (32) worlds, VisVanatha (Ibid, Vol. v, Part i, Channarayapatna Taluq, no. 187 ' (33) To Damoja, ; Transl., p. 207.) son of the carpenter Madiyoja granted a rent-free estate.' (Ibid, Vol. vi, Kadur Taluq, no. 57 ; Transl., p. 12.) 'Hail! There is no excommunication (balligavarte=bahishMr. Venkat Rango Katti) of the skilful people (binna-nigala, those (34) kara, HINDU ARCHITECTURE who STHAPATI with painting or architecture, Sanderson's Canarese of the world who have attained the favour (of the god), having Dictionary) given the patta, (a patent, royal grant or order), called mume-perjerepu (and) the name of Tribhuvanacharya to Srl-Gunda, whose (observance of the) established rules of conduct was unimpeded, the Sutra-dhari, who axe conversant made the temple of the queen of Vikramaditya (II, of the Western Chalu(and there is) immunity (parihara) kyas), the favourite of the world to the others who united themselves with the guilty man (doshika).' ; (Sa/iskrit and Old Ganarese inscrip. no. 99 j lines 1-7, Ind. Ant., Vol. x, p. 164, notes 6-10.) ' Hail (35) ! Let it be known that these are the the names (not given) of the Acharya who averted the excommunication (villiga-varte=bahish'' those who are conversant with kara) of the skilful people (better perhaps painting or architecture ") of this district, after that they had given the mume-perjerepu to the Sutra-dhari who made this temple of LokesVara exists under the name of god Virupaksha, Ante p. 163, c. i, paras. (still of Lokamahadevi (the queen) of Vikramaditya, the worshipful one, 3, i, 2) who ' three times conquered Kanchi.' Sri-Sarvasiddhiacharya, the asylum of all virtuous qualities, the Pitamaha (Brahma, i.e., the Creator), the maker of many cities and Hail houses ! he whose conversation ; and seats is entirely perfect and refined, he who has diadem and for a jewelled and creast-jewel the houses and palaces and vehicles couches (that he has constructed), the (most eminent) sutra- dharl, of the southern country.' Svasti-Sri-sarva-siddhi-achari sakala-gunas'raya-aneka-pura vastu-Pita- mahan sakala-nishkala-sukshmatibhashitau vastu-prasada-yanasana- sayana-mani-makuta-ratnachudamani-te (m) kana-diSeya-sutra-dhari. (Sanskrit and Old Canarese inscrip. no. 100, Ante p. 165.) Hail (36) ditya . . ! . The grant that was given of Sri-Vijayaditya and Vikramathe grant that was given to the temple of (the architect Avanta-guna (was) a stone seat (pare) and a bracelet (?) to the temple of (the god) Sri-LokapalesVara, after having given the office (sthana, see below) of the holy Anjanacharya to the holy Devacharya (datti Anjanacharya bhagavantargge kottu Sri-Lopapalesvarakam pare balli).' ' Sthana may mean the office of the priest of the temple, or the locality, allotment of i.e., land, belonging to the holder of that office.' Cf. Manasdra, u, 25-26, above. (The first meaning suits the context better.) (Ibid., 585 no. 101, pp. 165, 166, and note 18.) AM ENCYCLOPAEDIA OF STRAP ATI Hail ' (37) ! siddhi-Acharyas, (s"ila-mudda, the Chattara-Revadi-Ovajja (Ojha, tee below) of the Sarva" who was acquainted with the secrets of Sri-ilemuddas name of some particular guild of stone masons), made the southern country.' ' (Old Canarese) ' preceptor Ovajja (exactly the perhaps the (modern) Canarese is same meaning (Ibid., ojja, a priest, as acharya etymologically indicates) . no. 114, pp. 170-171, 172, notes 57, 58.) 1 In addition to recording the re-admission into caste of the artisans of the locality, this inscription (no. 100) gives several titles of the builder of the temple. Among them is that of Sarva-siddhi-Acharya. . . . The Sarva-siddhi-Acharyas are mentioned again in no. cxrv below, and seem to have been some celebrated guild of architects or builders.' (Dr. Fleet, Ind. Ant., Vol. x, p. 164, c. a, para. 2.) of Gunda as the builder of the temple, next (no. 100) seems to be intended to record the re -admission into caste of the artisans of the locality, who had In addition to recording the ' name this inscription (no. 99), as also the been outcasted for some act which tion hinges entirely upon the (in nos. 99 and 100).' who meaning not stated. to The purport of this por- be given to the word balligavarte not quite certain whether he should agree with Mr. Katti says that it sounds to him like the Dravidian equivalent of the Sans- Dr. Fleet krit is is ' bahishkara.' (Ibid., pp. 163-164, last para.) Sutra-grahl, "the holder of the thread" was the " the master-carpenter or master-mason," the sthapati, 'The Sutra-dhari or assistant of the (Dr. Fleet, Ind. Ant., Vol. x, p. 163, note 3.) architect.' be noted that Chari, Achariya, Acharya (with different Ojha, and Sutra-dhari are the surnames or titles of the Sthapati (38) It should prefixes), (master-builder) (The titles who is also called in another form Acharya in the Mdnasdra. (See above.) Acharya or Acharyya are the surnames and the distinguished of the Jain teachers, of the famous philosopher Sankara, astronomer Bhaskara.) Here such in these inscriptions titles, 100, line 7) we have seen that the architects have namely, Achari (no. 99, line ; many 4, no. 100, line 8); Achariya (no. Sarva-siddhi-Achari (no. 100, line 8) ; Sarva-siddhi-Acharjiya Tri-bhuvanachari (no. 99, line 5); Anjanacharya (-yya) (no. 114, line 2 f); line 5); Devacharya (no. 101, line 6); Ovajja (=Ojha, no. 114, (no. 101, line 4); Sile-mudda (?"=s"ila-marddaka or modaka, no. 114, very same architects are again given the 3 ; no. 100, lines 4, 12). 586 titles of Sutra-dhari line i). The (no. 99, line HINDU ARCHITECTURE The STHAPATI Chari and Achari, are frequently met with as the surnames of stone masons or engravers of Copper-plates or other Sasanas in the Epititles, Rice and also in the South Indian Inscriptions and Venkkayya compare the following The naga (i.e., the cobra on the slab on which the inscription is (39) has been made by Nataka (Nartaka), the pupil of the Achariya incised) Idomora (Indramayura) of the town of Sarhjayanti.' (i.e., Acharya) Acharya probably means master (-mason), i.e., sthapati.' graphia Carnatica of Mr. edited by Prof. Hultzsch : ; ' (Banawasi Prakrit inscrip., line 2 f., Ind. Ant. t Vol. xrv, p. 334, notes, ao, 23.) Badhuvallabha-Mallasya vachanenaiva Sasanam tvashta Nandi- (40) varmacharyya-danasyasya likhamy-aham By order of Badhuvallabha-Malla I, the carpenter Nandi-varmacharya I ' inscribe the charter of this grant.' (Bana Grant of Saka 261, Ind. Ant., Vol. lines 50-51, xv, pp. 176, 177.) The carpenter Virana, son of Muddanacharya, was the engraver of the Sasana, for which he received one share in the village.' ' (41) (Ep. Carnat., Vol. in, Seringapatam Taluq, no. ii ; Transl., p. 9, line 3.) ' (410) It was engraved by the carpenter Varadapacharya.' (Ibid., The Sasana was engraved by ' (42) no. 15 ; Transl., p. n.) Srigiri, the son of the carpenter Varadapacharya.' (Ibid., And it is engraved by the ' (43) no. 15 ; Transl., p. 32.) carpenter Viranacharya, son of Malla.' (Ibid. Mandya Taluq, no. 55 ; Transl., p. 45, last para.) For the carpenter Mallana, son of Viranacharya, who engraved the grant, one share was given.' (A.D. 1474.) ' (44) (Ep. Carnat., Vol. HI, Malavalli Taluq, no. 121 ; Transl., p. 68.) ' It (45) was engraved by Mallanacharya, son of Viranacharya.' (A. D. 1513.) (Ibid., Nanjangud Taluq, no. 16; Transl., p. 97.) Kontachari, son of Konguni-acharya, blacksmith of Bai ... of with the ruler of the nad, went to Svarga Baguli, fighting in the war along ' (46) (died).' (Ibid., Vol. iv, Taluq, no. 20 587 Chamarajnagar ; Transl., p. 3.) AN ENCYCLOPAEDIA OF STHAPATI ' (47) son Engraved by the carpenter Viranacharya, of Mallana.' (Ep. Carnal., Vol. iv, Transl., p. 41, no. 30.) And (48) Virana.' it was engraved by the Viranacharya, son of carpenter 1545.) (A.D. (Ibid., Nagamaiigala Taluq, no. 58 ' (480) And this Pransl., p. 128.) ; copper sasana was engraved by the carpenter Malla- nacharya, son of Viranacharya.' (A.D. 1515.) Vol. v, (Ibid., Husan Taluq, no. 16 Transl., p. 5, para. 2.); Engraved by the (49) (A.D. carpenter son Viranacharya, of Virana.' 1561.) (Ibid., (50) no. 7 Transl., p. 6.) ; 'Engraved by Appanacharya, son of Viranacharya." no. 94 (Ibid., ' (51) Mallanacharya, son of Viranacharya, enjoys one engraver.' (52) Belur Taluq, no. 79 son of Mallanatha.' Engraved by Viranacharya, Part (Ibid., no. 197 ' (53) (A. D. 1524.) Transl., p. 29.) share as the (A. D. 1512.) (Ibid., ' ; By Mallana's ; son, the carpenter Viranacharya, ; Transl., p. 65.) (A.D. 1539.) Belur i, Taluq, Transl., p. was 108.) written. it ' (A.D. 1535.) Ariskere Taluq, no. 126, (Ibid., text, last line; Transl., ' (54) (A.D. Written by the Senabova ; Transl., p. 199.)' son Kalajachariya's IsVara.' 1279.) (Ibid., ' (56) The (A.D. 1513.) carpenter Viranacharya, Vol. vi, Mudgere Taluq no. 72 ; Transl., p. 72.) son of Mallana, engraved it.' Engraved by Viranacharya, son of Ganapaya." (A.D. 1587.) (Ibid., Vol. vii, Shimoga Taluq, no. 83 ' (57) it.' Channaraypattana Taluq no. 167 (55) p. 169.) Mallana's son carpenter Viranacharya wrote (or engraved) (Ibid., ' Roman ; Transl., p. 33.) Engraved by Viranacharya, son of Mallanatha.' (A.D. 1527.) no. 85 ; Transl., p. 33.) " " architect (Ibid., (58) Acharya, distinctly mentioned as an : Acharya-dakshine haste madhyamariguli-madhyame Parvarh matrangulam jneyarh (5) . . . II (4) I Gramadhva-kshetra-ganyeshu manangula-vidhanatah Acharya-dakskahgulibhir mite vyasa-mithadhikaih (?) I II (7) (Suprabhedagama, xxx, 4, 5, 588 7.) HINDU ARCHITECTURE Cf. Acharya-lakshnair yuktam sthapatir ity abhidhiyate athatah kamalabhavanarh Vastu-jnanam (59) STHAPATI mayedam kriyate'dhuna I muni-paramparayatam vidagdha-samvatsara-prltyai 1 1 (Bfihat-samkita, LHI, ' The knowledge man through an unbroken this (science of architecture) for the pleasure series of seers (sages). (educated, experienced, hence professional) i.) come down from Brah- of the science of architecture has I (i.e., am now dealing with benefit) of the learned astrologers (sthapatis, profes- sional architects).' Samvatsara astrologer (see Sir M. W. Kern Diet. p. 1102). pada as "to gratify clever astrologers" but tion as to why the astrologers in particular are to the last translates he attempts no explanabe gratified on "a work on the art of building" (Kern's translation of Vastu-jnana) which in fact forms no part of astrology proper. It is apparent that in Varahamihira's time the astrologers were intimately connected with the work of profes, architects (sthapati), as also the astronomers like others Sankaraacharya is, however, a philosopher. sional and Bhaskaracharya ; Concerning the qulifications of architects it will be noticed that the sciences (sdstras) mentioned in the Mdnasdra and other records examined above are not enumerated. But by "Sastra" is generally meant (cf. M. W. " Diet. loc. cit.) any instrument of teaching, any manual or compendium of rules, any religious book or scientific treatise, any sacred book or composiIt is sometimes known as Vidya, tion of divine or temporal authority." meaning knowledge, science, learning, scholarship or philosophy. It also means practical arts, such as agriculture, commerce, medicine, architecture, sculpture, painting (cf. Silpa-sastra, Vastu-Sastra, etc.). Sastra or Vidya has fourteen divisions, viz., the four Vedas, the six Vedangas, the Puranas, or with the four the Mlmamsa, the Nyaya, and the Dharma or law ; Upa-Vedas, 18 divisions others reckon 33 and even 64 sciences, generally known as Kalas or arts (see under Kala). " versed in all sastras " need not be taken in too But the ; expression literal a sense. What architects are expected to know can be inferred from the details given occasionally in many places in the Mdnasdra and other works. The chapters on the selection of site and the minute examination of soil (see Bhu-pariksha) will indicate an intimate knowledge of practical which is essentially necessary for architectural purposes. The on gnoman (see Sanku) and site plan (see Pada-vinyasa) demand chapters geology, The frequent references to the proficiency in mathematics (see also Jala). minute examination of trees and wood show a fair amount of knowledge in timber work (Botany). The examination of 589 and bricks for and mixtures of stones building purposes, the preparation of different colours AN ENCYCLOPAEDIA OF STHAPATI different materials for painting, and the testing of jewels, etc., for decorative with chemistry and other allied sciences. point to an acquaintance purposes, wood (see Sandhikarman) will indicate chapter on the joining of a knowledge of everything architectural, however insignificant it may The The chapter on ornaments (see Bhushana) and appear to a layman. mouldings (cf. Stambha) will show a high sense of aesthetics. A knowlof the locality where a house is to be edge of the climate and weather built is essential calculation and is to their The work. also frequently referred to. Brihat-sarhhitd, LIII, astrological (Cf. and astronomical Manasdra, n, 40, quoted above, i.) All these branches of knowledge are necessary for architects. Three out of the four architects forming a guild must be qualified generally in all of these. But each of the four must be expert in his own special subject. Takshaka must be an carpenter and joiner. Vardhaki must be expert must be an expert in drawexpert in designing and painting. Sutragrahin to all these qualificain addition The chief architect, Sthapati, should, ing. have an intuitive foresight so as to be able to calculate and decide tions, division of labour is necessary for successeverything quickly. This wise From this it architecture or sculpture. in a big design fully carrying out a once well organized may be inferred that the architects of ancient India were It should be noticed that from the epigraphical records quoted guild. above Dr. Fleet has come to the same conclusion. the qualification of very interesting to note that Vitruvius describes Manasdra in the (and the other architects in exactly the same way as given In both the treatises this topic is discussed at the records quoted above). same place, the second chapter, which is beginning and in fact in the in the Manasdra, and an introduction in preceded by a table of contents It is Vitruvius. 'An architect,' says Vitruvius (Book I, chap, i), 'should be ingenious, and adept in the acquisition of knowledge. Deficient in either of these cannot be a perfect master. He should be a good writer, a qualities, he skilful draughtsman, versed in geometry and optics, expert at figures, the principles of natural and moral acquainted with history, informed on a musician, not ignorant of the sciences of both philosophy, somewhat of of the nor of law and physic, motions, laws, and relations to each other, the heavenly bodies.' he is to commit to writing 'By means of the first-named acquirement, Drawing his observations and experience, in order to assist his memory. affords employed in representing the forms of his designs. Geometry and line the of circle, the use it he owes to right much aid to the architect: on of plane surbuildings the level and the whereby his delineations is square, faces are greatly facilitated. The science of optics enables 59 him to introduce HINDU ARCHITECTURE STHAPATYA with judgment the requisite quantity of Arithmetic estimates the and cost, light, aids in the according to the aspect. measurement of the works ; this assisted by the laws of geometry, determines those obstruse questions wherein the different proportions of some parts to others are involved. Unless acquainted with history, he will be unable to account for the use of many ornaments which he may have occasion to introduce. Many other matters of history have a connexion with and . . . architecture, prove the necessity of its professors being well versed in it.' Moral philosophy will teach the architect to be above meanness in his dealings, and to avoid arrogance ; and will make him ' faithful to his Greeks employer. . . just, compliant and That branch of philosophy which the . call the doctrine of physics is necessary to him in the solution of various problems as for instance, in the conduct of water. Music assists him in the use of harmonic and mathematical proportion. It is moreover, absolutely necessary in adjusting the force of the balistae] Skill in physic enables him to catapultae and scorpions. ascertain the salubrity of different tracts of country, and to determine the variation of climates. Law should be an object of his study, especially those parts of it which relate to party-walls, to the free course and discharge of the eaves' waters, the regulations of cesspools and sewage, and those relating ; . . . window to . . . . . lights. . . . ' him in the points of the heavens, the laws of the soltices, and courses of the stars all of which should be well understood, in the construction and proportions of Astronomy instructs the celestial bodies, equinoxes, ; clocks.' It important to notice that Vitruvius denies the necessity of an archiall the sciences and arts being completely trained in as suggested in the Mdnasdra is tect's ' ' : On this account Pythius, one of the ancient architects of the noble temple of Minerva at Priene, says in his commentaries, that an architect should have that perfect knowledge of each art and science, which is not even acquired by the professors of any one in particular, who have every oppor tumty of improving themselves in it. This, however, cannot be necessary for how can it be expected that an architect should equal Aristarchus as a should he not (?) be ignorant of grammarian, yet ' Book I, The chap, i, translated G^mm^ -(Vitruvius by Gwilt.) social position of architects is not quite clear from the literary or But from the functions assigned appear that the first three, namely epigraphical records examined above. to each of the four architects, it would and Vardhaki, belong to the higher classes. Further and rewards given on each occasion equally to the and the Sthapati, which are so Sthapati Sutragrahin from the Guru liberal presents (preceptor) frequently mentioned, 591 AN EXCTCLOPAEDIA OF STHANA seems probable that the Sthapati had an enviable position. This latter point might account for his excommunication mentioned in the epigraphical records quoted above. it STHANA The place of standing or staying, any place, spot, locality, the abode, dwelling house, room, shrine, a monastic establishment. ' (1) in charge of We, Kausika-Nagama-Bhattana, a Siva-Brahmana, the shrine (sthana) of the temple of Tiruvallam-udaiyar at Tiruvallam.' (Inscrip. of Rajendra, no. 55, line 4, H. S. I. I., Vol. in, p. 113.) (2) (i, "List of shrines to which allotments were 12), Ganapati Brahmam, (i, 16), IsVari (i, 13), made Vaishnavl Virabhadra-deva : (r, 14), Indrani (i, 15)., Chamundesvari of the chief shrine (mula-sthana)' at (Inscrip. no. 66, H. S. Kolar, I. I., Vol. in, pp. 136-137.) STHANAKA A of buildings in which the height of measurement, the temples in which the idols are placed class the unit is in the erect posture. see (M., xrx, 7-11, under APASAMCHITA XLVI, 30, XLVH, STHANlYA A area is city, a a fortress, site also cf. which the whole in plan ; LVIII, II, etc.) I, divided into 121 equal squares. A fortified city (Af., x, 41). A fortress to defend 800 villages Ashta-sata-gramya madhye (M., vn, 13 ; also rx, 365, 368, 478.) cf. : sthaniyam, chatus-sata-gramya drona- mukham,dvi-sata-gramya kharvatikarh, daa-graml-sarhgrahena saihgranarh sthapayet I (Kautiliya-Artha-sdstra, Chap, xxn, p. 64, para. 4.) Jana-pada-madhye samudaya-sthanarh sthaniyam niveSayet (Ibid, STHANU A Chap, xxiv, 51, p. I para. 2.) synonym of Stambha or column. under STAMBHA.) One who installs, actual worker, perhaps the principal assistant to the chief architect (sthapati), not the master who is (M., xv, 5, see STHAPAKA called Karta. (M. xxxvn, in particular, cf. lines 7 and 34, 70-71.) STHAPATYA A house relating to architects architectural or sculptural workshop. Analanila-kone va sthapatyalayam eva cha or architecture, I (M., xxxii, 78, 592 cf. also 66.) HINDU ARCHITECTURE SYANDANA STHAPANA-MANDAPA A installed after it is room or pavilion where the washed and dressed, the sanctuary. Prasadabhimukhe sapta-mandapam kalpayet kramat idol is I Adau cha snapanartham cha dvitlyam adhyayana-mandapam I Visesham snapanartham cha mandapaih cha tritlyakam Chaturtharii pratimagaram pafichamarii sthapana-mandapam I (M., xxxiv. I 45-48.) STHAVARA-BERA A stationary idol. (M., STHIRA-VASTU A permanent Sthira-vastu-kukshi-des'e tu chara-vastu tathapi cha . . . garbha-svabhram prakalpayet The civic and 17, etc.) I I (M., xn, STHDNA LI, building. sacrificial posts 170-171, also 43.) see used as memorial pillars, symbolising royal and divine power to which offenders and sacrificial ' maintained by the Fathers ', upon which victims were tied, ' Yama makes seats for the departed.' or 3, 52), made of copper, bronze synonym of Stambha or column. SNAPANA-MANDAPA A (R.V. x, 18, 3 A. V. ; R.V. v, 62, iron (ayas, xvm, 7, 8), a under STAMBHA.) class of pavilions used for bathing, a (M., xv, 5 see ; washing room. (M., xxxiv, 43-48, etc.; Suprabheddgama see under xxxi, 96, 97 MANDAPA.) ; SNANA-DRONI Bathroom for a deity. (Champa, by Mazumdar, SN &NA-MANDAP A A p. 237.) pavilion for bath, a bathroom. (M., xxxii, 74, etc. SNAPANA-MANDAPA A see ; MANDAPA.) washing room, a pavilion where idols are washed. Snapanartha-mandapam chapi snana-mandapam eva cha (M., xxxii, 74 SPHORJAKA A class ; I xxxiv, 46, 47, cf. etc.) of twelve-storeyed buildings once prevail- ing in the country of Sphurjaka (?). Panchalam dravidaih chaiva madhya-kantam kalihgakam Viratam keralam chaiva vaihsakarii magadham tatha I I Janakam sphurjakaih chaiva dasa-kantam praklrtitam (M., xxx, 5-7 see under PRASADA.) I ; SYANDANA A synonym of yana or conveyance, a (M., 593 in, chariot. 9, 10 ; xix, 145.) AH ENCYCLOPAEDIA OF SVAYAMBHO cha syandanaih Cf. Visala-ratha-vlthirh Built a car like the Mandara mountain ' mandaropamam and broad roads (round also (Krishnapuram Plates of Sadasivaraya, the temple).' 1 PP- 33 6 34 -) I Ep. Ind., Vol. ix, v. 57, > SVAYAMBHO Self-revealed, a kind of phallus. M., LII, 227 (Kamikagama, L, 35 ; SVAMIKARA Svadhyayaka, reader of sacred under LINGA.) see ; literature. (M., XL, 124.) SVARGA-KANTA A class of eight -storeyed buildings. (M., xxvi, 28-33 SVARNA-LlftGA A kind of phallus, a phallus under PRASADA.) see ; made of gold. (M., SVA-VRIKSHA A type of round temple. vv. 17-18 (Agni-Purana, Chap, civ, ; see LII, 333, etc.) under PRASADA.) Omkdra symbol, the fire auspicious mark, the for Buddha and Siddha, the crossing cross, the sun symbol, a symbol a of the arms, the meeting of four roads, a type of village, joinery, of a class halls, a type a window, a type of pavilion, a kind of phallus, SVASTIKA An of building, a A class sitting posture. of two-storeyed (M., buildings xx, 94, 34-41; under see PRASADA). A class of villages (M., 120 146 XLIX, 152 ; LIV, kind ofjoinery (M., ; ix, 3, 330; see LVIII. 12). GRAMA compare ; M., xn, 76, 77, ; xvn 60). A A kind of window (M., xxxm, 583 A pavilion with three faces ; see under VATAYANA). : Dvi-vaktrarh dandakarh proktarh tri-vaktrarh svastikarh tatha I (M., xxxiv, 552.) of mansions or halls (M., xxxv, 3, 80). of phallus (M., LII, 4, 120). lindah pranta-gatau tad-utthitau chanyau (2) Aparo'nta-gato' Tad-avadhi-vivritas chanyah prag-dvararh svastike subhadam The Svastika (building) is auspicious if it have the entrance on the at the ends east side, and one continual terrace along the west side, whereof begin two other terraces going from west to east, while between the extremities of the latter lies a fourth terrrace.' A class A kind I 1 1 ' Commentary quotes Garga: Paschimo'ntagato'lindah prag-antau dvau svastikarh s"ubham Anyas tan-madhye vidhritah prag dvararh tad-utthitau I 1 1 (Bfihal-samhitd, Lin, 34, J. R. A. S., N. S. Vol. vi, p. 286, note i.) 594 HINDU ARCHITECTURE A SVASTlKA kind of octagonal building : w. (3) Agni-Purdna (chap. civ. Garuda-Purdna (4) (chap. 20, 21 XLVII, vv. : see 21, under PRASADA). 23, 31-33; see under PRASADA). Kamikdgama (xxxv, 89) refers to a mansion (sala) Dakshine chottare chaiva shan-netram svastikam matam (5) : I Parsvayoh purataS chaiva chatur-netra-samayutamll An entablature (ibid., LIV, 7). XLII (named Svastika-vidhi) divides buildings into four classes namely, Jati, Chhanda, ^Vikalpa, and Abhasa (vv. 3-4), which are Ibid., described in detail (w. 5-30). (6) See the figure L (specimens of Jaina sculpture from Mathura, Ep Vol. Ind., n, p. 311). ' . The capacity of the well, well accounts for the time taken in its construction. There are four entrances leading into the well, and they are so constructed as to give it the of the svastika shape symbol Lj^. (This should be compared with the village named From each of the Svastika.) entrances, a flight of steps leads to the interior of the well.' (Ep. Ind. Vol. xi, p. 155, para, a, note i.) ' In the inscriptions from the cave (8) temples of Western India, Bombay, 1881, are given a quantity of clearly Buddhist Pali Ins(7) Square criptions from Kuda, Karle, Sailawadi, Junnar, etc. Many of these contain Svastikas at the beginning and end. Kuda no. 27 has at the end 3J but at ; the end of 29 which occurs again at the beginning and end of Karle inscriptions, and beginning and end of Junnar 30, at the beginning of Junnar 5, 20, 28, 32 and 34, and at the end of Junnar 32 while occurs is Lpj ; at the beginning of The form pj end of Karle is Kuda 30 and j^J of Junnar 6 and 27, and the end of 33. found at the end of the Sailawadi at the inscription, and ]-C 2. Thus cave temple disproves the theory that the Chris- tian Svastikas point to the left or westwards, whereas the Indian including Buddhist and Jain Svastikas, point to the right or eastwards.' (Ind. ' The Svastika Ant., Vol. xv, p. 96.) by the Jains Sathis, who give it the first place among the eight chief auspicious marks of their faith. It would be well to repeat here, in view of what follows, the Jain version of this symbol as given by Pandit Bhagwanlal Indraji (the Hathigumpha inscriptions, Udayagiri Caves, p. 7), who was told by a learned Yati that the Jains believe it to be the figure of Siddha. They believe that, according to a man's karma, he is subject to one of the following four conditions in the next life he either becomes a god or deva, or goes to hell (naraka), or is born again as a man, or is born as a lower animal. But a Siddha in his next life attains to nirvana and is, therefore, beyond the pale of these four conditions. The Svastika (9) is called 595 AX ENCYCLOPAEDIA OF SVASTIKA The represents such a Siddha in the following way. centre from which the four paths branch out is point or bindu in the jiva or life, and the four paths symbolise the four conditions of life. But as a Siddha is free from all these, the end of each line is turned to show that the four states are closed for him.' 'The Buddhist doctrines mostly resemble those of the Jains, it is just possible that the former might have held the Svastika in the same light as the latter. In the Nasik inscription, no. 10, of Ushavadata, the symbol is " Siddham a juxtaposition which corplaced immediately after the word ' We find the Svastika either at roborates the above Jain interpretation. the beginning or end or at both ends of an inscription and it might mean Mr. Y. Svasti or Siddham.' S. Vavikar.' (Ind. Ant., Vol. xxvn, p. 196.) usual Indian symbols are of frequent occurrence, e.g., the Svastika in various forms on most of the Plates and specimens of the familiar ' (10) The circular Sun-symbols.' Mr. Fawcett quotes 32 sun and fire symbols of Plate I of Mr. Murray Ansley's papers on Asiatic Symbolism (Ind. Ant. Vol xv, p. 66) and says the whole of these may be taken to be developments in various that ' directions of the cross, and for Indian investigations of the Svastika.' (Ibid., Vol. xxx, pp. 413-414.) (the ancient mystic emblem of the Bon Religion view was invented to represent the Sun as the creator (n) 'This emblem Tungdrung t-pj ) in my of East, South, West, and North, the little mark at the end of each line in- dicating the inclination of the sun to proceed from one point to the other.' Rev. A. W. Heyde of Ghum tells me that Yungdrung as a monogram ' is said to be composed of the two syllables, [J su and rfr ti, suti = Svasti.' Mr. A. H. Francke. (Ladakhi pre-Buddhist marriage Ritual Ind. Ant., Vol. xxx, p. 132, paras, i, 4.) iv Plate (12) (facing p. 400), Fig. 2 ( f, pjJ ) contains two reversed forms of the Svastika (yungdrung).' ' Mr. Francke above quotation of Svastika in orm Ladakh,' and repeats that refers to the ' for ' it is an explanation of the emblem of the thi s Bon Religion.' (Notes on Rock-Carvings from lower Ladakh ' (13) Ind. Ant., Vol. xxxi, p. 400, para. 3.) M. Burnouf holds (Svastika p|-J, fj-j ) preserve the sacred is that this mysterious and much debated symbo intended to denote the invention of the fire-drill, and remembrance of the discovery of fire by rotating a peg wood. It represents according to him, the two pieces of wood laid crosswise, one upon another, before the sacrificial altar, in order to produce in dry 596 HINDU ARCHITECTURE SVASTIKA down by arms, and at the point where the two pieces are joined there was a small hole in which a wooden peg or lance (pramantha, whence the myth of Prometheus the the holy fire. The ends of the cross were fixed , fire-bearer) was rotated by a cord of cow-hair and hemp till the sacred spark was produced. The invention of the fire-drill would mark an epoch in human history. Mr. Tylor, in his Early History of Mankind, has largely shown its use at some period in every quarter of the globe, and it is conceivable that its invention would be commemorated by a holy symbol. After this Mr. Walhouse has shewn that both forms existed " Its first appearance (in in all countries of Europe, Asia and Africa. on that in the British as is on the pottery of archaic Greece, Europe) Museum ascribed to between the years 700 and 500 B.C." About India, " a character nearly resembling the runic G, occurs in a he says that and reversed a rock-inscription at Salsette" He has also shewn that it is both (J. R. A. S., Vol. xx, p. 250, etc.). " In our own a Buddhist, Jaina, and Christian emblem. day," says he, " it has become a favourite ornamental we may be sure with no device," Pali inscription, observe it in and archaeologist returning from India may covering ceilings, cornices, fenders, and other ironworks.' of thought pj-J, symbolism, (Ind. Ant., Vol. vn, p. 177, c. 2, para. 2 f.) (14) 'In describing coin no. 3 of this series (Numismatic Chronicle, N. S., Vol. xx, pp. 18-48, p. 62) I pointed out that the place of the more definite place of the Sun, in its rayed wheel form, was taken up by the emblematic cross of the Svastika.' Under the advanced interpretation of the design and purpose of Svastika, ' the figure, as reprefrom an Indian point of view, now put forward senting one of the received attributes of the Sun, was used conventionally, E. Thomas. to typify the solar orb itself.' . . . Ant., Vol. ix, p. 65, c. i, para. 2 ; p. 66, c. i, para. 2.) (Ind. (15) 'I come now to show that the figure called the Svastika symbolizes the idea of circumambulation, derived from the apparent movement of the left to right round the earth. The idea is this, that if a person faces sun from the east at sun-rising and follows its movement southward and westward he will turn with his right hand fixed towards an object supposed to be placed like the earth in relation to the sun, in the centre of a circle. ' The argument, amounts that as the figure or the Svastika is found scattered through countries reaching from Japan to / England, so also the custom of turning sunways, or with the sun, is equally widespread and secondly, that as the Svastika is a sign of good luck, signitherefore, to this : ; so also the practice of turning with the sun is considered a lucky or fortunate proceeding and turning in the contrary way, especially fied by its etymology, 597 AN ENCYCLOPAEDIA OF SVASTIKA people, is dreaded as entailing a curse custom and the symbol, therefore, we argue are co-related.' among northern (Ind. Ant., para. 5 ; . . . Rev. ; the S. Deal. Vol. ix, p. 67, c. 2, p. 68, c. 2, para. 2.) (16) Mr. Sewel after quoting a number of theories on the origin of the symbol, namely, of General Cunningham (Edinburg Review, January, 1870), Rev. Haslam (The Cross and the Serpent, 1849), Mr. Brinton (Myths of the New World), Dr. J. G. Muller (Geschichte der Amerikanischen Urreligionen, p. 497), ' p. 186), says Sun-standard.' and of Mr. Baldwin for myself, I New York, 1879, boldly range myself under Mr. Thomas's Ant., Vol. (Ind. (Ancient America, x, p. 202, c. i, line 6.) Mr. Murray-Ansley seems to agree with the theory that the Svastika has originally been an emblem of the sun. He correctly adds that in India Hindus belonging to certain sects are in the habit of tracing one or more figures of the Svastika on the outer walls of their houses.' He also mentions its use in connexion with the marriage presents in India and (17) ' ' (18) Vol. xv, p. 93, c. i, para, i ; c. 2, para. 2.) svastika or fylfot is one of the most ancient symbols (Ind. Ant., Spain. The Much mankind heard of it nowadays, and in one country much is seen of it, presumed to be especially connected with the mysterious con1 called Aryan and with the Christian Faith as a national possession ception " and discrimination. " Rise of a benign power " or " lucky time is the has. where is it is , meaning attached to it in Germany where it is supposed to have a German origin and an anti-Semitic signification.' Wherever the sign came from, it did not come from Germany. It is not a natural symbol of the Aryan race, which is not a race but a myth or It was not invented by European peoples. Fifteen scientific abstraction. centuries before India knew anything of Europe the sign was used by the people of the Indus valley, as is shewn by the great excavations on sites along that river, and those peoples were not Aryans or Europeans or IndoEuropeans, nor in any sense the direct anscestors of the Germans. Europe, it seems, knew nothing of the sign until a thousand years later than the date of the specimens found in large numbers in that part of India. When early Christians used it, as they often did, they were using something borrowed from older religions or civilizations. A good claim can be made out ' Hitler has, however, explained the significance of Svastika which included in the new German flag Red with a white disc in the centre bearing the black Svastika as follows " The red expressed the social though underlying the movement (of the National socialists) ; white, the National thought ; and the Svastika signified the mission allotted to us the Struggle for the Victory of the Aryan Mankind and at the same time the triumph of the ideal of the Creative Work which is in itself and always will be anti-semitic." (Mein Kampf, 1939, pp. 409 note, 411.) is : 598 HINDU ARCHITECTURE SVASTIKA Egypt as its inventor, where the symbol for created life was a cross with a circle on top or resting on the left arm, and that combined with the symbol for Divinity in the hieroglyphics (something like a small flag) might easily for have developed into the svastika we know. From Egypt it could have spread over the Mediterranean world and the Near East, for there was much trade and travel in early days. SGHLIEMANN found both forms of it, the right and handed, in the ruins of Troy, and it has been discovered also on Chaldaean bricks, in Egyptian temples, on vases of Cyprus, Hittite carvings, left Etruscan pottery, in India's cave temples, on Roman altars and British runic monuments, in Tibet, China, Korea, Mexico, Peru, and in the prehistoric burial ground of North America. Germany's sole right to it is far from ' established.' The name origin of its is less noun ending) Svasti of any auspicious act, and " it is asti (is) ka (a out the ages. "Life writer on symbolism is disputed. Sanskrit has the credit su (well) (it is well) India has said at the beginning " well is the meaning of the sign through, beneficent." It indicates we quote from a woman " That the maze of life may bewilder, but a path of // is well is the name of the path, and the key of life runs through it rival eternal is in the strange labyrinth for those whom God leadeth." interpretation finds in the word another Sanskrit element, the swa (self) ofswarajand similar words, relating the svastika to the good that comes from one's own efforts, but that view has found little acceptance. In general man has seen in the sign an assurance that somewhere in this fluid difficult chaotic life there is stability and benevolence, and he reads it as life : A an assurance that he should struggle on in hope.' For this reason some have sought its origin not in the ' religious symbolism In the sky only the Pole Star of Egypt, but in the pattern of the heavens. So the fixed, the reliable, All else moves round it. is stable and constant. the dhruva of the old Indian astronomers, became an assurance that there was the seat of a power kindly to man. Anyhow we must believe that India has given the larger part of the associations that have always gone with the Svastika, though it might come as a shock to some good Germans to be told that they are in the same line of thought as Hindus and Buddhists who begin " svasti and welcome a guest with an important piece of work with " " be it well ".' " svastu ' ' (Statesman, October 14, 1934.) The extensive literature dealing with this most ancient and popular symbol in its all aspects (viz. etymology, antiquit/, various countries and peoples who employed it, and the four main theories of its significance) as summarized by the writer may be quoted (from the Indian Review, Decem754-761) below ber, 1940, pp. The term ' Svastika ' ' ' (good, auspicious), is asti (' : etymologically composed of three parts as ' to be, 599 ' ' ti affix for third ' su ' person singular AN ENCYCLOPAEDIA OF SVASTIKA ' ' form verbal or abstract noun, ' asti rati ', love or love goddess, etc., thus like may be going gati ' and the suffix ka or to sthiti ', stay settlement) (to imply equivalent possession of, as in Bala (=hair) ka (possessing) which means a boy having This derivation of the term from Sanskrit is corroborhis hair grown. or the suffix added ti to verbal root to ' ' ' ' ; ' monogram Yungdrung which ated by the two syllables, su Bon ( j-J and ) ti Tungdrung. religion ( j-jJ ) Mr. and is as quoted above the mystic H. Francke A. ' is emblem (Ind. Ant. composed or ( Lpj ) xxx, of the 132) took this symbol to represent the sun as the Creator of East, South, West, and North, the little mark at the end of each line indicating the inclination of the sun to proceed from one point to the other. Thus the Sanskrit ' ' svastika should imply any object possessing, indicating, or ending at an auspicious omen. This etymological meaning of the classic emblem has retained its sense everywhere probably excluding Germany of But there are various theories to explain its design and original Kilter's day. purpose. above M. Mr. Tylor, Mr. Walhouse, Ind. Ant., Vol. VH, p. 177) the svastika symbol ( LPj |^-J ) is intended to denote the invention of the fire-drill, and preserve the sacred rememAccording to some (see Burnouf, ' brance of the discovery of fire (at the neolithic age) by rotating peg in dry wood. The symbol represents the two pieces of wood laid crosswise one upon another, before the sacrificial altar, in order to produce the holy , The ends of the cross were fixed down by arms, and at the point where the two pieces are joined there was a small hole in which a wooden peg or lance was rotated by a chord of cow-hair and hemp till the sacred spark was produced.' The myth of Promotheus appears to have originated from Pramantha or lance. The invention of fire-drill marks an epoch in human history, Till then there was hardly much difference between men and beasts. For in the palaeolithic or old stone age, men could use for defence and offence only the implements of wood, bone or stone, rude in form and entirely fire. devoid of skilled workmanship. In the new stone age, however, higher type of implements came into use. Men then developed the intelligence and to skill and to grind make more polish the rude instruments of earlier age in order of them. The neolithic men were not, like effective use and the potter's art. and could meat fish. make with hand They They which was later turned on honoured wheel. their dead pottery They parents and relations by elaborate tombs frequently built of massive stones. This sort of ancestral worship was the beginning of the belief and faith in a. Creator or the God, who is the ultimate father of all beings. Thus their Palaeolithic fore-fathers, ignorant of the use of fire could then cook 600 SVASTIKA HINDU ARCHITECTURE if the svastika and use of fire antiquity so far symbol be ascribed to the period when the production became known to humanity it would^claim a very great For the discoveries at Mahenjoas India is concerned. 3000 B. c. Indians not only knew the but use of all metals including gold culturally made an all-round progress, and this Mahenjo-Daro period must be at least 2000 years later than the Daro show unmistakably that new stone age when the at production and use of fire became known to them. however, should be noted that the fire-origin of svastika will miliBecause however useful fire may be, its tate against its root meaning. or main function is to burn destroy whatever comes in contact with it. It, it would be an emblem of destruction like cross with which Christ But etymologically svastika must mean was crucified or murdered. ' an or the good settlement auspicious emblem as its later use will Thus ' clearly show. According to another school of thought as represented by Rev. S. Beal Vol. rx, p. 67 ff.), Mr. Sewel (Ind. Ant., Vol. x, p. 202) and (Ind. Ant., Mr. Murray-Ansley (Ind. Ant., Vol. xv, p. 93 ff.) the svastika figure ' symbolizes the idea of circumambulation, derived from the apparent movement of the sun from left to right round the earth.' The idea appears a person faces the east at sun-rising and follows its movewill turn with his right hand fixed to be like the earth in relation to the towards an object supposed placed to be this that if ment southward and westward, he sun, in the centre of a circle. This theory is corroborated by the world-wide use of the svastika symbol, so also the custom of turning sunways or with the sun, which is equally widespread. The further support to the sun theory is lent by the argu' ment that the svastika is a sign of good luck, signified by its so also the practice of turning with the sun and turning in the contrary nate is etymology, considered a lucky or fortu- way is dreaded as entailing a the symbol are co-related. The exponents of the cross-symbol theory of the svastika figure like Mr. Fawcett (Ind. Ant., Vol. xxx, pp. 413-414) hold that the 32 sun and fire symbols (gathered proceeding curse.' Thus the custom and Ant., Vol. xv, p. 66) ' may be taken be developments in various direction of the cross.' This school of thought fail, however, to explain the appearance of svastika beyond a thousand years before the birth of Christ in connexion with whom the deadly weapon, cross, assumed a symbolic significance. together by Murray-Ansley (Ind. to adumbraded by General A. Cunningham (Edinburg Review, January, 1870), Rev. Halsam (the Cross and the Serpent, 1849), Mr. Brinton (Myths of the New World), Dr. J. G. Muhler (Geschichtt Numerous other theories 60 1 AN ENCYCLOPAEDIA OF SVASTIKA der Amerikanischen 497), Mr. Baldwin (Ancient America, many others associate the svastika figure Umligionen, p. New York, 1879, p. 186), and with the fire, sun, or cross symbol and do not advocate an entirely separate origin. The fourth group of theories as elaborated by Mr. H. K. Deb (J. A. S. B., associate the svastika symbol with the ff.) and others Vol. xvn, p. 229 Om This syllable in Sanskrit consists of three letters m which are variously connected with the gods of Crea' mystic syllable a ', u and ' ' ' '. ' ', and Destruction, as well as with the three Vedas, the Rig, Saman, and Yajus. But the sound o of the mystic syllable is represented by a single letter which in the Brahmi script looks exactly like f the svastika figure ( and the nasal sound, m is one arm ( ^, ) Lj^ ) tion, Preservation, ' represented in ^ below ( ), which 2Brahmi on later ' ' ' ' by a small circle or dot with two ear-like projections is shown by the dot only, with or without a crescent O ' in grammar is stated to be a long vowel and it held that in pronouncing the mystic syllable the o '-sound is lengthened by repetition and that the repetition is indicated in writing by two o's like a conjointed letter by placing them crosswise. And the nasal sound line ( o- ). ' is ' m in order to have a pause after a vowel sound, is ', which is necessary ' indicated by a dot-like mark at the ends of the Brahmi o '-symbol. Such dot-ending svastika figure is seen in numerous instances in Cunningham's in Rapson's Coins of Andhras, and D'Alviella's MigraIn fact, this dot mark of Symbols (p. 71), and in other places. from a slight projection the ends makes the svastika figure more Coins of India tion or and ornamental. If this identification of svastika with the ment of the former out of the further clarified. First, latter, ' Om ' syllable, or the develop- be accepted, three points would be the auspicious character of the ' Om svastika pronouncing anything is followed down to this day by Svasti ' Svasti immediately after luck) and it is also the practice to add ' in ' in order probably to figure ' will get support because the syllable like the svastika figure at the commencement of something auspicious. The prefacing of is ' used Om ' ' (good ' Om ' or emphasize the meaning of the mystic the formation of the svastika figure from the joining clarify syllable. Secondly, if of two Brahmi o's in a crosswise manner be accepted a very great antiquity can safely be attached to this classic symbol, because the title Brah' mi ' implies alphabet its may origin from Brahma or the Creator Himself and the Brahmi be associated with the writings discovered at Mahenjo-Daro Despite various other theories the indegenous dating from 3000 B. c. of the Brahmi can hardly be questioned although the history of its origin Thus, thirdly, the Indian origin of the origin has yet to be written. 602 HINDU ARCHITECTURE svastika is further vouchsafed questionably Sanskrit SVASTIKA by the etymology of the term, which is un- and Indian. Before examining the very widely spread use of the svastika figure in life and culture, it is desirable to notice briefly its antiquity and in use other countries, without, however, committing oneself about its Indian migration from India, or its independent growth in other countries all over the world. Thomas Wilson in his book Suastika (Report of the Smithsonian Institution, 1894) has largely referred to the various objects ' of different countries whereupon the svastika mark has been found. The earliest undoubted reference of the svastika ', as held by Mr. H. K. Deb, ' is said to be in connection with the Third city identified with ancient Troy.' It is common on the also in the site of Hissarlik, Fourth and Fifth and is principally found there on spindle whorls, from fourteenth or thirteenth century B. c. It is, dating approximately fact that this was a svastika not found remarkable in the First however, in a of forms in cities but and Second the Third or the emerged variety burnt city. This fact clearly indicates that the svastika was foreign to Troy and that it was imported and introduced there about the middle of the second millenium B. c. Its importation from Vedic India is indicated by cities on the same Professor by G. H. site, Winckler's discoveries at Boghaz Kuei. W. Johns It has been established (Ancient Assyria, 1912, p. 54) that kings with Indo-Aryan the region of Mitanni. about 1400 B. c. names and worshipping vedic gods were ruling The names Sutarna, Dushratta, etc., have a ' Indo-Aryan appearance. It is instructive to compare the name Gilukhipa, borne by a daughter of Sutarna I, who was also queen of Amer- distinctly nophis III of Egypt (c. 1400 B. c.) with the name Gurukshepa (Pargiter, Dynasties of the Kali Age, p. 9) borne by the third successor of Brihadbala who had fallen in the Bharata War.' Ample evidence has been secured which goes to show that there was intimate inter-communication at that period among the different peoples inhabiting Asia Minor, Egypt and the Aegean Island, so that the Vedic religion obtaining in Mittani had many opportunities for circulation abroad. Earlier still, Mittani of Kosala had been the centre of an extensive empire, and the migration of the svastika symbol to Troy in those days is intelligible enough (J. R. A. S. t Vol. XVH, p. 242). appears on the archaic pottery ascribed to between the years 700 and 500 B. c. In the Thomas Wilson's list the Fig. 140 shows the Grecian geometric vase of Smyrna, Fig. 153 shows the geometric In Greece the svastika Grecian vase of Thesa., Fig. 155 shows another Grecian vase (oinochoe), and Fig. 130 shows the Naukratis vase of Greece. In the same list Fig. 186 shows the Cervetri-Italian cinerary Urn, and Fig. 171 shows the detail of 603 AM ENCYCLOPAEDIA OF SVASTIKA Rhodian vase. The Figs. 59 and 63 of the same list show the spindle whorl of Troy. The svastikas cross type ( 3-J ) composed of four small squares (g) and the archaic are found on old Greek coins and as an ornamental device on early Greek pottery in Samos, Cyprus, and Hissarlik. It is also to be found on early Latin, Etruscan, and Sicilian ornaments, coins, and pottery, as well as in Asia Minor and North Africa, especially where there had been Phoenician colonies. It is hardly to be found on Egyptian, Babylonian or Assyrian remains. In the Museums of Sweden and Denmark there are several hundred gold bracteates which appear to have been worn as amulets or medals, frequently bear the svastika In the mark drawn both ways. Roman Catacombs the svastika occurs Roman mosaic work in England, tian symbol in not frequently, as a Chris- France, Spain and Algeria. weapons of Roman-British It is abundant on pottery, ornaments, and and Anglo-Saxon times, and of corresponding periods in Scotland, Germany, Switzerland, and Denmark. A sepulchre was found in Norfolk and another preserved at Cambridge, bear the svastika in continuous lines. A whole row of svastika surrounds the pulpit of St. Ambrose at Milan it is seen also on wall paintings at Pompeii, on ancient Athenian and Corinthian vases and in the large Mosaic in the royal garden at Athens. It is also found in Hungary, China and Japan where it is frequently used as a Clothes used in Spain potters' marks (Ind. Ant., Vols. vn and xiv). ; were bordered with the svastika only for ornamentait in Bishop's Island near Konigswalde tion. on the right bank of the Oder, near Guiben. It is seen also on a celtic Urn found at Shropham in Norfolk and now in the British Museum. The for covering the trays, Professor Max Miiller found form of it (%) known as the double sun snake of Scandinavia has been found on pottery in the Island of Cyprus, specimen of which is in the Museum of St. Germain in France. Svastika has also been found on tomb with a Latin inscription, discovered in 1879 at Rome. most rare and common in Norway, Denmark, and Sweden. A stock a Christian It is bearing the date 1809 in the Norwegian Museum in Stockholm is covered with svastikas of the double sun snake type (^). Professor Max Miiller concludes that the svastika has been found in In his Early nearly every country of Europe (Ind. Ant., Vol. xv, p. 94). Mr. use of the Tylor has shown the extensive History of Mankind, svastika above. symbol at some period in every quarter of globe as exemplified And Mr. Walhouse (Ind. Ant., Vol. vn, p. 177) has identified both the right-handed and left-handed Europe, and Africa. 604 forms in all countries of Asia, 140 O CO 130 Grecian vase 140 NAUKRATIS Wilson, The Svastika, Fig. 130. 153 Grecian geometric vase of Smyrna Wilson, The Svastika, Fig. 140. Grecian geometric vase of Thesa Wilson. The Svastika, Fig. 153. 155 Grecian vase 171 Rhodian vase 186 Ccrvetri-Italian Cinerary urn OINOGHOE Wilson, The Wilson, The Svasiika, Fig. 155. Svastika, Fig. 171. Wilson, The Svastika, Fig. 186. Vage 604 Fig- 63 The spindle whorl of Troy with ogee Svastika Wilson, The Svastika, Fig. 63. 59 Fig- 59 Biconical spindle whorl of Troy Wilson, The Svastika, Fig. 59 20 Indian coin, Eran, Fig. 20, Plate XI, in Cunningham's " Coins of Fig. 20 Ancient India ", containing snake pattern of Svastika. Indian coin, Ujjain, Fig. 7, Plate X, in Cunningham's " Coins o Fig. 7 Ancient India ''. (Reproduced through the courtesy of Smithsonian Institution.) I'age COS HINDU ARCHITECTURE In the land of ' Omkara its SVASTIKA origin the svastika symbol , whether identified with the ' or not, has been popular, both as an auspicious emblem as well as an ornamental device, with the followers of Brahmanism, Jainism and Buddhism. As referred to above, all pronouncement in Sanskrit com' mences with Om ' ' and Svasti '. Several epigraphical records open with the svastika symbol. Coins also bear this symbol. For instance in Cunningham's Coins of Ancient India, Fig. 20 of plate xi shows a unique specimen of eran coin, and Fig. 7 of plate x represents another interesting specimen ' of svastika with the Brahmi o and actually depicted. ' The among svastika is called by ' ' m the Jains 'Sathis'. They give it the first place the eight chief auspicious marks of their faith. Bhagwanlal Indraji testifies on the autho- Caves, p. 7) to be the figure of Siddha, (Hathigumpha Inscriptions, Udayagiri the Jains believe rity of Yatis that ' it who is beyond the four conditions of life, viz. to become, after death according to one's action in life, a god or to go to hell or to be born again as a man The Siddha or a lower animal.' represented by the svastika in this is The way. point (bindu) in the centre from which the four paths branch out is Jiva or life, and the four paths symbolise the four conditions of life. But as a Siddha is free from all these, the end of each life is turned to show for him (Dictionary of Hindu Architecture, of PP- 734~35)Jain sculptures from Mathura (Ep. Ind., Specimens Vol. n, p. 311) contain this symbol. The Buddhists appear to hold the svastika in the same light as the Jains. that the four states are closed In the Nasik Inscription (no. of Ushavadata, the symbol 10) is placed ' Siddham ', a juxtaposition which corroimmediately borates the Jain interpretation. The svastika appears at the beginning or end or at both ends of an inscription and it might mean the Brahmanical Svasti or Jain Siddham '. The Buddhist square Pali Inscriptions the after ' ' word ' from Kuda, Karle, Sailawadi, Junar, etc., among the Inscriptions from the Cave Temples of Western India contain svastika at the beginning and end ( rH Ind Ant -> Vo1 xv > P- 96). ffi fi, S - In modern times buildings, covering it is - a favourite ornamental device. ceilings, cornices, fenders and other It is found in iron, silver, gold ' and wooden works. It is used not only as an auspices mark and a symbol for Buddha and Siddha, but also as a sign for the crossing of the arms and as the meeting of the four roads.' It has been translated into a sitting the it has In been Silpa-fastra elaborately worked out in the townposture. in and village schemes, designing screens, lattice, joinery work, planning, windows, pavilions, halls, and storeyed mansions, in digging wells, and carving the phallus or the ture, p. 732 ff.). The emblem of Siva (Dictionary of Hindu Architec- Manasdra-Vdstu-sastra contain elaborate details of 605 AN ENCYCLOPAEDIA OP SVASTIKA svastika plan, of villages (Chap, ix, 3, 330; xn, 75-76, '146; XLIX, of work joinery (Chap. XVH, 60), of windows 152; LIV, 120; LVIU, 12), (Chap. XXXIH, 583), of Pavilions (Chap, xxxiv, 552) and of Halls and Storeyed Mansions (Chap, xxv, 3, 80). These references are further For instance the Brihat-sarhhitd elaborated in the general literature. a contains technical description of a svastika house (Chap. LHI, 34 ff.) : " The auspicious if it have the entrance terrace along the west side, at the on the east end whereof begin two other terraces going from west to east, wliile between the extre" mities of the latter lies a fourth terrace (Chap. LIII, 34 and J. R. A. S., side, svastika (house) is and one continual Vol. vi, p. 286). The octagonal buildings of the svastika plan are described in the AgniPurdna (Chap, civ, vv 20-21), and the Garuda-Purana (Chap. XLVII, w. 21, 23, 31-33). the Kdmikdgama (xxxv, 89 ff.) the distinguishing features of the svastika house are the six eyes (netra) in right and left, and the four eyes on the two sides and in front. Further details have been elaborated in the Mdnasdra-Vdstu-sdslra where (Chap, xxxiv, 552) the characteristic features are stated to be the plough-shape and the three faces. This design has been followed in a structure erected at Allahabad near the Bharadwaj Ashrama of which several photographic views, measured drawings and a graphic description are included in the writer's Hindu to According Architecture in India not at the forms. and Abroad. The plough-shaped three-face design will sight disclose the usual svastika plan, which has various standard authorities on architecture have developed the plan first The of the svastika house in three different forms as described in the Mdnasdra, the Brihat-sarhhitd, and Agni-Purdna, and Garuda-Purana. The structure referred to above all is in conformity with the Manasara's rules and satisfies the essential requirements. Thus there pp. 951-952) is some truth when he and comparatively in the conclusion of says that since insignificant ' we objects, Thomas Wilson find the svastika used those in common (ibid., on small use such as household goods and implements, tools, utensils, objects ornaments, etc., and infrequently on statues, altars and the like, the holy or sacred character of the svastika should be given up, and it should still with these exceptions be considered as a charm, amulet, vases, pots, juds, of the toilet, token of good luck or good fortune, or as an ornament or decoration.' Whichever theory of its origin be accepted -Om, Sun, Fire, or Cross the etymology of the term, svastika, justifies its Indian or Sanskrit, And according to its derivative meaning its auspicious significance cannot be denied as long as the Sanskrit civilization and Hindu origin. 606 HARITA HINDU ARCHITECTURE culture will survive in this world. In India symbol has taken this classic corporal body and the Hindus have been building their roads, towns, Thus villages, images, various articles, and houses according to this plan. in India, the place of its origin, it is not merely an auspicious figure but it has been developed into a more tangible sculptural and architectural a object. (Indian Review, SVASTIKA-KHADGA A (Agni-Purdna, SVASTI-KANTA A class Chap, civ, vv, 20, 21 ; see under PRASADA.) of six-storeyed buildings. (M., SVASTI-BANDHA A December, 1940, pp. 754-761.) type of octagonal buildings. class xxiv, 53 see ; under PRASADA.) of single-storeyed buildings. (M., xix, 169 ; see under PRASADA.) SVARASANA The lintel, the top of a door. The Svarasana of the gateway was made.' ' (This inscription is on the top of the door of the Bhimesvara temple.) (Ep. Carnal., Vol. x, Goribidnur Taluq, no. 2, Roman text, p. 260, Transl., p. 212 f., H HATTA A market, a market-place, a fair. Saumya-dvararh saumya-pade karya hattas tu vistarah (1) (Agni-Purdna, Chap, II cvi, v. 3.) maha-janas cha sthapitah here the market-place and the shopkeeper (lit. big folk) were established. Vichittra-vithl-sarhpurnnarii hattarh kritva grihani cha having constructed a market-place full of variegated (various) streets and houses Attra hattah (2) (shops). (Ghatiyala Inscrip. of Kakkuka, no. i , v. 6 ; no. n, v. 3 ; Ep. Ind., Vol. ix, p. 280.) Nisranikshepa-hattam ekarh narapatina dattam A bazar building or ware-house for storing goods to be exported was granted by the king.' (The Chahamanas of Marwar, no. xxm, Jalor (3) I ' stone Inscrip. of Samantasirhhadeva, lines 22, 23, Ep. Ind., Vol. xi, p. 62.) HARIKA-KARNA A kind of leg for the bedstead. (M., XLIV, 60.) HARITA A pavilion with twenty two-pillars. (Matsya-Purana, Chap. CGLXX, v. HARITA A moulding, an architectural ornament MANDAPA). A moulding of the column (M., xv, 160, cf. ornament of the pedestal (M., xxi, 31). An 607 L. 106). (see 13.) under HARMIKA AN ENCYCLOPAEDIA Of HARMIKA The kiosk, the altar-like on the structure that rises decorate the stupa. The Nepalese stupas Harmikd with painted human eyes, thus suggesting a human figure, in the posture of meditation hidden in the stupa the crossed legs summit of the cupola of a ' : head body up It was crowned by one or more umbrellas of stone a receptacle of relics. " The resemblance of the Harmikd to the shoulders in the hemisphere, the in the base, the in the Harmikd. and served as to a sacrificial altar perhaps not unintentional, because the Holy one (Buddha), instead of sacrificing other beings, sacrifices himself to the world." Railing on the top of stupa, Tee, Burmese Hti ; the lower part is called Gala (neck) and the whole ch.uda.mani. The is umbrellas grouped over it are chhatravali and the shaft on which they are supported is Yashti. (Foucher, L'Art Greco -Buddhique. tome i, Vol. i, p. 70, note 2.) p. 97 Fergusson, ; HARMYA An an upper room, a turret, an apartment, buildings in general, a palace. A rich man's house. (Amarakosha, see under PRASADA) including stables, etc. (R.V. i, 166, 4. ; vii, 56, (1) (cf. RAJA-HARMYA) 16 ix, 71, One ; 4 ; edifice, x, 43, 3). of the four divisions of the architectural objects : Dhara harmyadi-yanam cha paryankadi-chatur-vidham I (M., Buildings in general including prasada (big buildings), lion), sabha (hall), s"ala iii, mandapa (pavi- (mansion), prapa (alms-house), (a)ranga (theatre, play-house with quadrangular court-yards) (ibid., 7-8). Purva-hastena samyuktam harmyam jatir iti smritam I (M., XDC, A palace 3.) 3.) : Bhupatlnam cha harmyanam lakshanaih vakshyate'dhuna I (M., XL, Harmya-janma-samarabhya sala-janma-pradesakam etc.) i, I (M., LXIX, 37.1 Kudya-stambhe griha-stambhe harmya-garbham vinikshipet (M., Prasada-harmya-valabhi-linga-pratimasu kudya-kupeshu In the temple, mansion, roof, phallus, idol, wall and well.' Vol. vi, (Brihat-tamhita, J. R. A. S., N. S., (3) 132.) I (2) ' xii, I Harmyam prasada-manditam (Vayu-Purana, part 608 p. 332.) the edifice furnished with a temple. i, Chap, xxxix, v. 57.) HARMYA HINDU ARCHITECTURE (edifice) nama prakirtitam that is furnished with a large tower or dome harmyath Prabhuta-sikharopetam (4) named harmya which is (sikhara). (Kamikagama, A class of buildings see L, 89.) under MALIKA). (Ibid., xxxv, 39, 40 Ramayana (u, 91, 32 iv, 33, 5) Harmya-prasada-samyukta-toranani Mahatlm guham harmya-prasada-sarhbadham (5) ; : ; I . See also n, 51, 21 ; . . n, 91, 32 ; in, 55, 7 33, 5 iv, ; ; I v, 15, 3, 19 ; vi, 75, 26, etc. Mahabhdrata (Cock) (6) I- J 3j : Naga-lokam. 33; . aneka-vidha-prasada-harmya-valabhi- . niryuha-sata-sarhkulam III. 207, 7 See also i, 3, Harmya-prakara-sobhanam ; 33 ; Vikramoraasl (7) I xv, 16, i ; (Cock), 1 v, . nagarirn . I 18, 19, etc. 38 p. . Manihamma-alam (mani-harmya- : talam.) (8) Mrichchliakatika (ibid.}, pp. 47, 158 Jirnarh (9) : harmyam harmyasthah ; RaghuvamSa, vi, 47, etc. striyah I : Harmyagra-sarhrudha-trinamkureshu ripu-mandireshu ed. i. Kern, (vi, 80, p. (10) Jdtakamdla 20) Vidyud-iva ghana-sikhararh harmya-talam avabhasanti vyatish. . . | : thata (n) I Kathd-sarit-sdgara (Cock), 14, 19: Harmyagra-samsthah paura-naryah (12) Vapra-gopuramayair-nava-harmaih 'By erecting new buildings adorned with a wall and a gate-tower.' . . . I I (Mangalagiri Pillar Inscrip., v. 29, Ep. Ind., Vol. Vi, pp. 121, 131.) 'the top of the royal palace, (13) Navina-ratnojjvala-harmya-srirhgam first act.' (Dhar Prasasti of Arjunavarman, v. 8, Ep. Ind., Vol. VIH, pp. 103, 99.) the scene of the (14) Madana-dahana-harmyam karayamasa tuhgam sa guna-gana- nidhana-srlrhdrarajabhidhanah Then that store of all virtues, the illustrious Indraraja, ordered to be built this lofty temple of the destroyer of Cupid (Siva.).' (An Incrip. of I ' Govinda (15) in, v. 17 ; Ind. Ant., Vol. VIH, pp. 41, 42.) Gommata-pura-bhushanam idu I Gommatam ayat ene samasta-parikara-sahitam Sammadadim Hulla chamu I Parh madisidarh Jinottamalayaman idam 609 II I AN ENCYCLOPAEDIA OF HARMYA-KANTA Parisutrarh nritya-geharh pravipula-vilasat-paksha-desastha-saila- vividha-suvidha-patrollasad bhavaharmmyam beras atula-chatur-vvirhsa- sthira-Jainavasa-yugmarh rupotkara-raja-dvara tlrtthesa-gehana I Paripurnnarh punya-punja-pratimam esudud lyandadirh Hulla- nindam Abstract ' : I He also built an abode And in this chief Tirtha of Belgula. like Gommata, was an ornament (or temple) for the Tlrthankaras built a large Jina temple, which, he to Together with Gommatapura. its hall, a Jina house of stone on either side, a palace with cloisters, royal gates adorned with all manner of carving, and an abode for the 24 Tlrthankaras.' a dancing (Ep. Vol. Carnal., p. 104, lines HARMYA-KANTA A class 11, 21-28 ; no. I37A., building, a dining of seven-storeyed buildings. top-room built at see ; under PRASADA.) the topmost part of a hall. Hammiya-gabbho Compare text, Transl., p. 182, line i6f.) (M., xxv, 29 HARMYA-GARBHA A Roman ti kutagara-gabbho mudanuchchhadana-gabbha va. (Buddha-ghosha, Chullavagya, the translation by Oldenberg and Rhys Davids. HARMYA-TALA The flat vi, 3, 3.) roof of a house. Chandramsu-harmya-tala-chandana-tala-vrinta-haropabhoga-rahite hima-dagdha-padme Which (on account of the cold) is destitute of the enjoyment of the beams of the moon, and (sitting in the open air on) the flat roofs of houses and, sandalwood perfumes, and palm-leaf-fans, and necklaces.' I ' (Mandasor stone C. HASTA (see ANGULA) A Vol. /. /., cubit, Inscrip. of Kumaragupta, lines 17-18, m, F. G. I., no. 18, pp. 83, 87.) a measure generally equal to 24 angulas or 18 inches. (1) Chatyari-virhsatis chaiva hastah syad angulanarh tu I (Brahmdtida-Purana, part I, second anusharhgapada, Chap, vii, v. 99.) Vastu-sarani (ed. Matri Prasada Pande, Benares) quotes the followwithout giving reference Visvakarmokta-hasta-pramanam ing Anamikantarh hastah syad urdhva-vahau savarhsakah (2) : I Kanishthika-madhyama-pramanenaiva karayet Svami-hasta-pramanena jyeshtha-patni-karena cha Jyesh^ha-putra-karenapi karma-kara-karena cha II 1 6lO 1 I HINDU ARCHITECTURE HASTI-PRISHTHA 'According to this passage, the cubit is the measure of distance from the end of the forearm (? elbow) to the tip of the ring-finger, the little finger or the middle finger and this cubit may be determined in accordance with the measure of the arm of the master of the house, his eldest wife, his eldest ; son, or of the architect who is employed to build the house.' Dvadasa-hasta-pramana-griha-nivesanam (3) I (Barmani Inscrip. of Vijayaditya, Ep. lines Vol. Ind., 22-23, in, p. 213.) ' the (4) ParamesVarlya-hasta (5) Ayamato hasta-satam samagram vistaratah shashtir athapi chash- royal yards,' (Second Inscrip. of Villabhattasvamin temple at Gwalior, line 4, Ep. Ind., Vol. I, p. 159 ; see tau also p. 155.) II Utsedhato'nyat purushani sapta hasta-sata-dvayasya (Built an embankment) a hundred cubits in all in length, and sixty and of two eight in breadth, and seven men's height in elevation . . . 1 1 ' ... hundred cubits .' (Junagadh Rock 20-21. C. Inscrip. 1. 1., Vol. of Skandgupta, lines F. G. I., no. 14, in., pp. 61, 64.) HASTI-NAKHA The elephant's nail, a turret. (Kautillya-Arlha-sastra, see HASTI-PARIGHA (see (Kaulillya-Aitha-sdstra, see (cf. A GAJA) GRIHA-VINYASA.) A beam to shut the PARIGHA) elephants. HASTI-PRISHTHA under class door against under GRIHA-VINYASA.) of single-storeyed build- ings, a part of a building. (M., xix, 171, see under PRASADA.) L. a 92, see under VIMANA). part of building (Kdmikdgama, The present structure (of the temple of Paramesvara, where from the five Van inscriptions at Gudimallam are copied) is not after the common model of the period to which it belongs: the Vimana has the so-called gajabut a close study of the plan and sections prishthakriti shape warrant the conclusion that the architect had distinctly in view the linga.' A ' . : . . found only in Saiva temples, e.g., the Dharmcsvara temple at Manimangalam, the Saiva temples at Sumahgalam, Pennagaram, Bharadvajasrama near Arcot, Tiruppulivanam, Konnur ' The gaja-prishthakriti-vimana near Madras, Vada is Tirumullaivayil, etc. etc.' (Ind Ant., See (Ibid., the plan and sections of the Vol. XL, p. 104, note 2.) Paramesvara temple at Gudimallam plate between pp. 104, 105). the Pallava Antiquities (Vol. n, pp. 19-20, plate HI, and at Tiruttani the Virattanesvara at Tiruttani temple plate i, See the Pallava temple Sahadeva Ratha ; at Mahabali-puram). AN ENCYCLOPAEDIA OF HASTI-HASTA See Fergusson, Hist, of Ind. and East. Arch-, Vol. i., p. 127 (Fig. 51, elevation of Chezrala Chaity temple), p. 336 (Fig. 192, plan of Sahadeva's Ratha), p. 337 (Fig. 193, view of the same Ratha). HASTI-HASTA The trunk of an elephant, employed as an archi- member generally of the stair-cases. Dvara-mukha-sopanam hasti-hastena bhushitam tectural I (M., Sopana-parsvayor des"e hasti-hasta-vibhushitam (M., xxx, 155, HAMSA A type of building which is cf. 211.) also XVHI, 209.) like the shaped XIX, I swan, a class of oval buildings. (1) Brihat-sarhhitd (Chap. LVI, 26, J. R, A. S., N. Vol. v, p. 319, S., see under PRASADA). (2) Matsya-Purdna (Chap. CGLXIX, vv. 30, 51, see (3) Bhavisfya-Purdna (Chap, cxxx, vv. 33, see A class of oval buildings under PRASADA). under PRASADA). : Agni-Purdna (Chap, civ, vv. 19-20, see under PRASADA). (5) Gafuda-Purdna (Chap. XLVII, w. 29-30, see under PRASADA). (6) The vehicle (riding animal) of Brahma. (4) (M., LX, i, 4; the sculptural description of its image, ibid., 5-46.) A chain, a chain of 108 strings of pearls worn round the neck (Brihat-sarhhitd, LXXXII, 32), an HARA HARA architectural HARIKA(-A) neck of the column, bead, astragal (see ornament the or baguette Gwilt, Encycl., Fig. 873). A moulding (bead) of the column Tat-(padma)-tungardham tu harikam (i) below employed : I (M., xv, 58.) Hara-sranta-panjaradhyarii . . . (vimanam)l (M., xix, 194, Adhisthanaih cha see also padam cha prastararh cha tri-vargikam Sala-kutam cha hararh cha yuktya tatraiva yojayet xx, 56, 112.) I I (M., xxii, 73-74.) Kutanam eka-bhagena seshaih haram sapanjaram I (Ibid., 86.) Hararh sapanjaram I (M., xxi, 58.) Ghatush-kone chatush-kutarh koshthe haradir ashtadha Anu-sala tri-bhaga va harantara(m)-dvi-bhagikam I I (M., xxvi, 6l2 ii, 23.) HASTI NAKHA HASTI HASTA Page 612 HO MA HINDU ARCHITECTURE In connexion with the gopura or gatehouse : Harasya madhya-dese tu anu-sala-vis'alakam I Tat-parsVa-dva(ya)yo(r) hararh nasika-panjaranvitam I (M., xxxin, 449-450.) Ekarhsam karna-kutam cha hara-taraika-bhagikam I (M., xxxin, 416 Kute cha bhadrayor madhye A harariis'aih ; see also tu madhyamena 431.) I (M., xxxv, 343.) chain : Haropagrlva-keyura-katakais cha supuritam I (Af., L, (2) Alindandharikandhara-hara bhagena kalpitah II Bahir andharikandhara-hara(-a) bhagena vistritah II Hara-pramanarh bahye tu rachanartham prakalpayet Bhitty-antastharh pramanam syad 14.) I bhitti-bahye tv-abahyatah 1 1 Andharandhari-harokto (=hara-yukto) khanda-harmya-vise-shitam (vimanam) II (Kamikagama, (3) i, Pearl-strings (Deopara Inscrip. of Vijayasena, L, 74, 76, 77, 93.) u, v. Ep. Ind., Vol. pp. 308, 313). HIKKA- SUTRA The line over the along the larynx, glottis or upper part of the windpipe. (See under TALAMANA.) HIMA-K.ANTA (cf. HIMAVAT) A class of seven-storeyed buildings. HIMAJA A under PRASADA.) see (M., xxv, 31, class of pavilions. (Af., HIMAVAT A class see under MANDAPA.) of buildings, with sixteen panjaras (compart- ments), eight salas (halls), Himavan xxxiv, 152, and eight kutas (towers). iti vikhyato yukta-shodaSa-panjarah Ashta-Salashta-kutas tu prasado lakshananvitah I II (Suprabhedagama, xxxi, 44.) HIRANYA-NABHA A type of edifice. Uttara-s"ala-hinam Hiranya-nabham tri-^alakarh dhanyam fice with three halls, nabha, and insures wanting as it does a northern hall, is -( styled An Hiranya- luck.' (Brihat-samhita, LHI, 37, J. R. A. S., HEMA-K.OTA A edi- N. S., Vol. vi, p. 286.) class of pavilions. (M., xxxiv, 155, see under MANDAPA.) a offering, crowning moulding of the cages for domesticated animals. HOMA An ... Mriga-nabhi-vidalasya panjarasya prastarantarh va mastakantam-s'ikhantakam Homat I I (A/., 613 xxxiv, i-j.) APPENDIX I A SKETCH OF SANSKRIT TREATISES ON ARCHITECTURE AGNI-PORANA See under PURANAS. ANKA-SASTRA On architecture. (Oppert's List of Sanskrit MSS. in Private Libraries of South India, Vol. i, no. 2499, P- 228.) APARAJITA-PRICHCHHA Hemadri Bhuvana-deva, by 'quoted by in the Parisesha-khanda, 2, 660-662, 819.' (Aufrecht, Catalogus Catalogorum, part H, p. 4.) attributed to Visvakarman, in possession of Marti Sankara Bhatta, Surat. APARAJITA-VASTU-SASTRA (Catalogue of Sanskrit MSS. contained in Private Libraries in Gujarat, Kathiavad, Kachchh Sindh, and Khandesh, 1872, p. 276, no. i.) ABHILASHITARTHA-CHINTAMANI by Malla Somesvara, on architecture. (Taylor's Catalogue Raisonet, ARTHA-SASTRA (KAUTILIYA) ed. R. Shama I. Sastri, 478.) B.A., Mysore, 1919. Chapters : 22. Janapada-niveSa. 23. Bhumichchhidra-vidhana. 24. Durga-vidhana. 25. Durga-nives'a. 65. Vastuka, Griha-vastuka. 66. Vastu-vikraya Sima-vivada ; ; Maryada-sthapana Badha-badhika. 67. 1 Vastuke vivite kshetra-patha-hirhsa. CJompare, Vartta M.A., B.L., PH.D. ; The Ancient Hindu Economic by Narendra Nath Law (Ind Ant., vol. XLVII, p. 256). 6I5 AN ENCYCLOPAEDIA OF A XI$UMAT-( KASYAP I YA) On AKlSUMAT-(KASYAPlYA) architecture and sculpture. (Taylor's Catalogue Raisonee, AMSUMAD-BHEDAGAMA AMSlJMANA-KALPA On See reference to architecture. 1 28 Maha-agamas architecture and cognate , is (There ibid., the following arts Athfumad-bheddgama (patala or chapter) 28. Uttama-daSa-tala-vidhi. I. 314.) under AGAMAS. (Aufrecht, AGAMAS Of the I. part I, p. i.) have special : : another Arhsumad-bheda by Kasyapa, account of which is given elsewhere.) II. Rdmikdgama (patala or chapters): 11. Bhu-pariksha-vidhi. 12. Praves"a-bali-vidhi. 13. Bhu-parigraha-vidhi. Bhu-karshana-vidhi. 1 4. 15. 6. Manopakarana-vidhi. 1 7. 1 8. Pada-vinyasa. Sutra-nirmana. 19. Vastu-deva-bali. 20. Gramadi-lakshana. 2 Vistarayama-lakskana. 1 . 22. 1 Ayadi-lakshana. i. Kamikagama. 2. Yogajagama. Chintyagama. Karanagama. 3. 4. 1 6. Rauravagama. 1 7 Makut again a 1 8. . 19. 5. 6. Ajitagama. 20. Diptagama. 21 7. 8. Sukshmagama. 22. Sahasragama. 23. 9. 10. 11. 12. 14. 1 Sanku-sthapana-vidhi. 1 5. . Amsumanagama. Suprabhedagama. Vijayagama. Niivasagama. Anilagama. Viragama. l (See 24. 25. 26. 27. 28. . Vimalagama. Chandra-jnanagama. Bimbagama. Prodgitagama. Lalitagama. Siddhagama, also called Vaikhanasagama. Santvanagama. Sarvoktagama. Parme^varagama. Kiranagama. Vatulagama. Sukshmagama, British Museum, 14033, aa, 26.) 616 AGAMAS HINDU ARCHITECTURE 25. Dandika-vidhi (dealing with doors and gateways). Vlthi-dvaradi-mana. 26. Gramadi-devata-sthapana. 24. 28. Gramadi-vinyasa. 29. Brahma-deva-padati. 30. Gramadi-ariga-sthana-nirmana. 1 3 Garbha-nyasa. . Bala-sthapana-vidhi. 32. 33. Grama-griha-vinyasa. 34. Vastu-santi-vidhi. 35. Sala-lakshana-vidhi. 36. Visesha-lakskana-vidhi. 37. Dvi-ala-lakskana-vidhi. 38. Chatuh-sala-lakshana-vidhi. 40. Varta (?dha) mana-Sala-lakshana. 4 Nandyavar ta-vidhi 1 . . 42. Svastika-vidhi. 43. Paksha-saladi-vidhi. 44. (H)asti-^ala-vidhi. Malika-lakshana vidhi. 45. 47. Langala-malika-vidhi. Maulika-malika-vidhi. 48. Padma-malika-vidhi. 46. 50. Nagaradi-vibheda. Bhumi-lakba-vidhi. 51. Adyesktaka-vidhana-vidhi. 52. 53. Upapitha-vidhi. Pada-mana-vidhi. 54. Prastara-vidhi. 55. Prasada-bhushana-vidhi. 56. Kantha-lakshana-vidhi. 57. Sikhara-lakshana-vidhi. 58. StQpika-lakshana-vidhi. 59. 60. Naladi-sthapana-vidhi. 61 Murdhni-sthapana-vidhi. 49. . Eka-bhumyadi-vidhi. 62. Lihga-lakshana-vidhi. 63. Ahkurarpana-vidhi. 64. 65. Linga-pratishtha-vidhi. Pratima-lakshana-vidhi. 67. Devata-sthapana-vidhi. 6l 7 AN ENCYCLOPAEDIA OF AGAMAS 68. Pratima-pratishtha-vidhi. 69. Vimana-sthapana-vidhi. 70. Mandapa-sthapana-vidhi. 71. Prakara-lakskana-vidhi. 72. Parivara-sthapana-vidhi. should be noticed that out of 75 chapters of the Kdmikdgama, more than 60 deal with architecture and sculpture. This Agama is in fact another It under a different name. Vastu-Sdstra III. Kdrandgama Part I : (patala or chapters) 3. Vastu-vinyasa. 4. Adyeshtaka-vidhi. Adhishthana-vidhi. 5. 6. : 7. Garbha-nyasa-vidhi. Prasada-lakshana-vidhi. 8. Prakara-lakshana-vidhi. 9. Linga-lakshana. 10. Murdhmshtaka-lakshana. 11. Pratima-lakshana. 1 2. Strl-mana-da^a-tala-lakshana. 1 3. Kanishtha-da6a-tala-lakshana. 14. 1 6. Nava-talottama-lakshana. Bali-karma-vidhi. 19. Mrit-samgrahana-vidhi. 20. Ankurarpana-vidhi. Mahabhisheka-vidhi 41 . . 56. Vastu-homa-vidhi. 59. 60. Lihga-sthapana-vidhi. 61. Bali-pitha-pratishtha-vidhi. Parivara-sthapana-vidhi. 62. Ratna-linga-sthapana-vidhi. 66. Parivara-bali. 70. 88. Bhakta-sthapana-vidhi. 138. Part Vimana-sthapana-vidhi. Mrit-sariigrahana II, chapters (cf. 19). : 4. Kila-pariksha. 5. Gopura-lakskana. 6. Mandapa-lakshana. 7. Pitha-lakshana. 8. Sakti-lakskana. . 618 HINDU ARCHITECTURE Grama-s'anti-vidhi. g. 10. Vastu-Santi-vidhi. 11. Mrit-sarhgrahana. 12. Ankurarpana. 13. Bimba-s'uddhi. 14. Kautuka-bandhana. 15. Nayanonmllana. 18. Bimba-s'uddhi 19. Sayanaropana. 21 Siva-linga-sthapa na . II. 13). . Vaikhdnasagama (patala or chapters) Pratima-lakshana. 22. : Uttama-das'a-tala. 43. V. (cf. Matha-prattshtha. 98. IV. AGASTYA-SAKALADHIKARA 22. or chapters ) Karanadhikara-lakshana, deals with Suprabheddgama gears), (patala Asana Sirhhasana : (chair, seats), (thrones), Ushnisha (crowns, head- Paryanka (bedsteads, couches, Ranga (court-yards, theatres), etc.) Stambha (columns, pillars), etc. Gramadi-lakshana-vidhi. 23. 26. Tarunalaya-vidhi. 27. Prasada-vastu-vidhi. 28. Adyeshtaka-vidhi. 29. Garbha-nyasa-vidhi. 30. Anguli-lakshana-vidhi. Prasada-lakshana-vidhi. 31 . 32. Murdhnlshtaka-vidhi. 33. 34. Linga-lakshana. Sakala-lakshana-vidhi. 35. Ankurarpana-vidhi. 36. Lihga-pratishtha-vidhi. 37. Sakala(image, idol)-pratishtha. 38. 39. Sakti-pratishtha-vidhi. Parivara-vidhi. 40. Vrishabha-sthapana-vidhi. AGASTYA-SAKALADHIKARA (manuscript)- (Aufrecht, part Chapters : 1. Mana-sarhgraha. 2. Uttama-daSa-tala. 3. Madhyama-dasa-tala. I, p. 683, see Taylor, i, 72.) AM ENCYCLOPAEDIA OF AGARA-VINODA 4. Adhama-dasa-tala. 5. Pratima-lakshana. 6. Vrishabha-vahana-lakshana. 7. Natesvara-vidhi. 8. Shodas'a-pratima-lakshana. 9. Daru-sarhgraha. 10. Mrit-sariiskara. 1 1 Varna-samskara. . There are three other MSS. in the Government MSS. Library, Madras, See Catalogue, Vol. XXH, nos. 13046, 13047, 13058. attributed to Agastya. Nos. 13046, 13047 are incomplete and deal with astrological matters bearing upon architecture. No. 13058 is a portion of a large manuscript (see under SILPA-SAMGRAHA) which is an anonymous compilation. The follow- ing chapters of it are ascribed to Agastya 1. 2. 3. 4. : Mana-samgraha-visesha. Uttama-dasa-tala. Madhyama-das"a-tala. Somaskanda-lakshana. 5. Chandra-Sekhara-lakshana. 6. Vrisha-vahana-lakshana. not quite clear whether the following 7-14 (which are not numbered as such in the compilation) should be attributed to Agastya It is : 7. Tripurantaka-lakshana. 8. Kalyana-sundara-lakshana. Ardha-narisvara-lakshana. 9. 10. 1 1 . 12. Pasupata-lakshana. Bhikshatana-lakshana. 13. Chandesanugraha-lakshana. Dakshina-murti-lakshana. 14. Kala-dahana-lakshana. 15-18. 19. Apparently missing. Pratima-lakshana. The following found in another portion numbered as shown on the 20. (3) 21. (9) right parallel of the compilation are indifferently column : Upapitha-vidhana. Sula-mana-vidhana. 22. (10) Rajju-bandha-samskara-vidhi. 23. 24. (u) Varna-samskara. (21) Akshi-mokshana. AGARA-VINODA On the construction of houses. (Aufrecht. ibid., part i, p. a.) KASYAPlYA HINDU ARCHITECTURE AYA-TATTVA by Mandana Sutradhara. (See Vastu-sastra, AYADI-LAKSHANA On architectural by Rajavallabha Manddana.) and sculptural measure- ment. (Aufrccht, part ARAMADI-PRATISHTHA-PADDHATI On gardens, i, 62.) the construction of etc. (Aufrecht, part i, p. 53.) K KAMIK.AGAMA See under AGAMAS. KARANAGAMA See under AGAMAS. K.A&YAPIYA arts. (Govt. p. 8755, MSS. f., (Manuscript), deals with architecture and cognate Library, Madras, Catalogue of MSS., Vol. xxn, MSS. nos. See also 13032, 13033. in Private Libraries Oppcrt's List of Sanskrit of South India, Vol. n, p. 395, no. 6336.) ' This work has attained universal authority amongst all the sculptors of South India up to the present time, and the young pupils are even now taught to learn by heart the verses given in this book regarding the rules of constructions and measurements of images.' 1 Kasyapa is said to have learnt this science from Siva (patala i, verses 1-5). The contents are divided into eighty-three patalas which are classified in into the following headings : an overlapping manner 1 Karshana. . 2. Prasada-vastu. 3. Vastu-homa. 4. Prathameshtaka-vidhi. 6. Upapitha-vidhana. Adhishthana-vidhi. 7. Nala-lakshana. 8. Stambha-lakshana. 5. 9. Phalaka-lakshana. 10. Vedika-lakshana. 1 1 Jalaka-lakshana. . 12. Ta(o)rana-lakshana. 13. Vritta-sphutita-lakshana. 14. Stambha-torana-vidhi. 1 South Indian Bronzes, 621 by Gangooli. AN ENCYCLOPAEDIA OF KASYAPIYA 15. Kumbha-tala-lakshana. 16. Vritta-sphutita-lakshana, 17. Dvara-lakshana. 1 8. Prastara-lakshana. 20. Gala-vidhana. 2 Sikhara-lakshana. . 22. Nasika-lakshana. 23. Manopakarana. 24. Mana-sutradi-lakshana. 25. Nagaradi-vidhi. 26. Garbha-nyasa-vidhi. Eka-tala-vidhana. 27. 28-40. 13. Kampa-dvara-lakshana. 19. 1 cf. 41. Dvi-trayodaa-tala-vidhana. Shodasa-bhumi-vidhana. 42. Murdhanishtaka-vidhana. 43. Prakara-lakshana. 44. Manta(-da)pa-lakshana. 45. Gopura-lakshana. 46. Sapta-matrika-lakshana. 47. Vinayaka-lakshana. 48. Parivara-vidhi. 49. Linga-lakshanoddhara. 50. Uttama-dasa-tala-purusha-mana. 51 . Madhyama-dasa-tala-purusha-mana. 52. Uttama-nava-tala. 53. 54. Madhyama-nava-tala. Adhama-nava-tala. 55. Ashta-tala. 56. Sapta-tala. 57. Pitha-lakshanoddhara. 58. Sakala-sthapana-vidhi. 59-60. 61 . Sukhasana. Chandra-sekhara-murti-laksha na. 62. Vrisha-vahana-murti-lakshana. 63. Nritta-miirti-lakshana. 64. Gangadhara-murti-lakshana. 65. Tri-pura-murti-lakshana. 66. 67. Kalyana-sundara-lakshana. Ardha-nariSvara-lakshana. 68. Gajaha-murti-lakshana. 622 KSHETRA-NIRMANA-VIDHI HINDU ARCHITECTURE 69. 70. Pasupati-murti-lakshana. Kankala-murti-lakshana. 72. Hary-ardha-hara-lakshana. Bhikshatana-murti-lakshana. 73. Chandesanugraha. 74. Dakshina-murti-lakshana. 75. Kalaha-murti-lakshana. 71 . 77. Lingodbhava-lakshana. Vriksha-sarhgrahana. 78. Sula-lakshana. 76. 79. 80. 81 . Sula-pani-lakshana. Rajiju-bandha-lakshana. Mrit-samskara-lakshana. 82. Kalka-sarhskara-lakshana. 83. Varna-sarhskara-lakshana. 84. Varna-lepana-medhya-lakshana. Gramadi-lakshana. 85. 86. Grama-lakshana. KUPADI-JALA-STHANA-LAKSHANA On the construction of wells, etc. (In possession of the Maharaja of Travancore Oppert's MSS. in Private Libraries of ; List of Sanskrit South India, Vol. KAUTUKA-LAKSHANA On i, p. 467.) architecture. (Oppert's List of Sanskrit MSS., ibid., Vol. ii, p. 258.) KRIYA-SAMGRAHA-PANJIKA A catalogue of rituals by KulaIt contains among other things instructions for the selecdatta. tion of site for the construction of a Nihara and also rules for building a dwelling house. ( KSHIRARNAVA The Sanskrit and Buddhist Literature of Nepal, by Rajendra Lai Mitra, 1882, p. 105.) Attributed to Visvakarman, on architecture' etc. (Aufrecht, KSHETRA-NIRMANA-VIDHI On ibid., part II, pp. 26, 138.) the preparation of ground with a view to construction of buildings thereupon. (In possession of the Raja of Cochin List of Sanskrit MSS. in of South India, Vol. 623 ; Private I, Oppert's Libraries p. 354.) AN ENCTCLOPAED1A OF GARUDA-PURANA G GARUDA-PURANA GARGYA-SAMHITA See under PURANAS. (MSS. R. 15. 96, in Trinity College, Cam108 contains leaves, in oblong folio; Indian paper; bridge Devanagari character copied in 1814). It deals with the follow; it ; ing architectural subjects Dvara-nirdesa I (fol. 513, chap. 3). Dvara-pramana-vidhi Garglyayam (fol. : | (fol. vastu-vidyayarh 57^). chatuh-sala-dvi-tri-salaika-sala-vidhi I 5 8a). Vastu-vidyayarh etc. chatur-bhaga-tri-bhaga-prati-bhaga, Dvara-stambhochchraya-vidhi. I dvitlyo'dhyayah I I (fol. (fol. Griha-pravesam 673). 676). dvara-pramana nirdesam I . Gob). (fol. Vastu-vldyayam prathamo'dyayah 6oa) (fol. I (fol. 68a). 68i). (fol. GRIHA-NIROPANA-SAICIKSHEPA A summary-work on house- building. (Aufrecht, GRIHA-NIRMANA-VIDHI On temples, and other part ibid., rules for the erection p. i, 157.) of houses, edifices. (Wilson's Mackenzie Collection, p. 304.) GRIHA-PlTHIKA On the construction of houses. (Oppert's List of MSS. Sanskrit Libraries of South India, Vol. in i, Private p. 545.) GRIHA-VASTU-PRADlPA (Lucknow, 1901) Contains 87 pages deals mostly with astronomical and ritualistic matters in connection with the building of houses. GRIHARAMBHA by Sripati. (Cf. Vdslu-sd'ani.) GOPURA-VIMANADI-LAKSHANA On gate-houses and tem- ples, etc. (Oppert's List of Sanskrit MSS., ibid., Vol. 11, p. 259, no. 4009.) GRAMA-NIRNAYA by Narayana. (Cf. 624 M Vdstu-sarani.) HINDU ARCHITECTURE JNANA-RATNA-KOSHA GH GHATTOTSARGA-SUCHANIKA On the erection of steps on the bank of a river. (Aufrecht, part in, p. 37.) ibid., GH CHAKRA-SASTRA On architecture and cognate (Oppert's List of Sanskrit MSS., CHITRA-KARMA-SILPA-SASTRA On CHITRA-PATA On Vol. n, p. 200.) ibid., painting. (Aufrecht, ibid., part (Oppert's List of Sanskrit MSS., ibid., Vol. 187.) i, p. i, p. 440.) painting. CHITRA-LAKSHANA tural arts. (ed. Laufer) Treats largely with the sculp- measurement of images and painting ; translated into from Tibetan, the original Sanskrit version CHITRA-SUTRA On is German apparently missing. painting (mentioned in Kattani-mata, 22). (Aufrecht, ibid., part i, p. 187.) J JAYA-MADHAVA-MANASOLLASA simhadeva On Attributed (Aufrecht, JALARGALA latticed one to Jaya- architecture. Attributed to Varahamihira ibid., On part i, p. aoi.) and door-bars windows. ibid., Vol. n, no. 3146, p. 217.) (Oppert's List of Sanskrit MSS., JALARGALA- YANTRA On the architectural instruments and machines. ibid., Vol. n, no. 3147, p. 217.) (Oppert's List of Sanskrit MSS., JNANA-RATNA-KOSHA Attributed to Visvakarman On archi- tecture. (Aufrecht, part i, p. 210, in possession of Acha- ratalal Vaidya, Ahmedabad, Catalogue of Sanskrit MSS. ries of Gujarat, 625 contained in the Private Libraetc. 1872, p. 276.) AN ENCYCLOPAEDIA OF TACHCHU-SASTRA T TACHCHU-SASTRA Same as Manushyalaya-chandrika (see below). TARA-LAKSHANA On sculpture (image of the goddess Tara). (Aufrecht, part i, 229.) p. D DASA-TALA-NYAGRODHA-PARIMANDALA-BUDDHA-PRATIMA-LAKSHANA On the ten-tala measure of Buddha images, exists in Tibetan translation ; the original Sanskrit version is appa- rently missing. DASA-PRAKARA On Vasishtha to Attributed architectural defects. by Matri-prasada-Pande, Benares, 1909.) (See Vastu-sarani, DIK-SADHANA Attributed to Bhaskara On architecture. (See Vdsiu-sarani.) Attributed DIRGHA-VISTARA-PRAKARA to On Narada architectural measurement. (See Vastu-sarani.') DEVATA-SILPA On with the images sculpture, dealing specially of deities. (A in catalogue of Sanskrit works Bhandaram Library of the Sarasvati the His Highness Maharaja of Mysore, classified class XDC, no. 535.) DEVALAYA-LAKSHANA On the construction of temples. Sanskrit MSS. (Oppert's List of Libraries of South India, Vol. DVARA-LAKSHANA-PATALA On the construction (Ibid., in i, Private p. 470.) of doors. no. 6003, p. 470.) DH DHRUVADI-SHODASA-GEHANI Attributed to Ganapati On the architectural arrangement of buildings. (See 636 Vastu-sarani.) HINDU ARCHITECTURE PlTHA-LAKSHA^A N NARADA-PURANA NARADA-SAMHITA (i) See under PURANAS. deals with the following subjects : Sura-pratishtha (20 verses). Vastu-vidhana (a) (62 verses, describing briefly Bhupariksha, Dvarathana, Sariku-sthapana, Pada-nyasa, and Griha-nyasa). (3) Vastu-lakshana describes ceremonies of Griha-pravesa. NAVA-$ASTRA-< On . chiefly respecting the materials and navigation.' But the directions are, however, given ship-building Some astrological. and dimensions of vessels. (Taylor's Catalogue Raisante, Vol. ni, p. 6.) In Taylor's Catalogue Raisonee, there Of which them a e is lost. Itis mentioned another Manuscript ontheart of constructing forts, houses, fanes, settling village navigation erated as taught in 36 works, the P- ; is and variety of other similar names of which are given.' things (Ibid., 35-) enum- Vol. m, P PAKSHI-MANUSHYALAYA-LAKSHANA-On ol human the construction dwellings and aviaries. (Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 471 PA*rCHA-RATRA-(PRA)DlPIKA-(also ) called Mantra-dipika)Padma-tantra of the Narada-PanchaTelugu commentary by Peddanacharya. It deals professes to form a part of the ratra. It has a t with images and consists of the following 1. Sila-samgraha-lakshana. 2. Daru-sarhgrahana. 3. Pratima-lakshana. 4. ... 5. five chapters : nama-tritiyo'dhyaya. Pratima-samgrahe jaladhivasana-ashtamo'dhyaya. (See Egg. MSS., 3150, 2579, n, Mackenzie PWDA-PRAKARA-Attributed to Gopiraja-On Collection.) architectural subjects. PITHA-LAKSHANA On pedestals. (Oppert's List of Sanskrit MSS., 627 (See Vastu-sdrani.) ibid., Vol. i, p. 473.) AN ENCYCLOPAEDIA OF PURANAS PURANAS (Bombay editions) Of the 18 or 19 Maha-puranas, 1 the following have special reference to Architecture and Sculpture I. Agni-Purdna : Chapters : Prasada-lakshana-kathana. 42. 43. Prasada-devata-sthapana. 44. 45. Vasudevadi-pratima-lakshana-vidhi. Pindika-lakskana. 46. Salagramadi-murti-lakshana-kathana. 49. Matsyadi-daSavatara-kathana. 50. Devi-pratima-lakshana-kathana. 51. Suryadi-pratima-lakshana. 52. Devi-pratima-lakshana 53. Linga-lakshana. 54. Linga-manadi-kathana. Pindika-lakshana-kathana (cf. 45). Vasudeva-pratishtha-vidhi (cf. 44). 55. 60. 62. Lakshmi-pratishtha-vidhi. Prasada-lakshana (cf. 42). Grihadi-vastu-kathana. 104. 105. 1 06. II. 50). (cf. Nagaradi-vastu. Garuda-Purdna : Chapters Salagrama-murti-lakshana. 45. Prasada-arama-durga-devalaya-mathadi-vastu-mana-lak46. : shana-nirupana. III. 47. Prasada-linga-mandapadi-subhasubha-lakshana-nirupana. 48. Devanam Ndrada-Purdna Part chapter I, pratishtha-vidhi. : : Devatayana-vapi-kupa-tadagadi-nirmana. 13. IV. Brahmdnda-Purdna : Chapter 7. : Grihddi-nirmdna. 10. Brahma-vaivarta. 2. Brahma. Padma. 11. Linga. 3. Vishnu. 12. 4. Si iva. 13. Varaha. Skanda 5. 6. Bhagavata. 14. Vamana. Narada. Markandeya. 15. Agni. Bhavishya. 17. 18. !i. 7. 8. 9. 1 19. Kurma. 628 6. (also called Matsya. Garuda. Brahmanda. Vayu. Kumara). : HINDU ARCHITECTURE V. Bhavishya-Purdna Chapters PURANAS : : 12. Madhya-parvani, Pratidevata-pratima-lakshana-varnana. Brahma-parvani, Prasada-lakshana-varnana. Murti-sthana, deals with the materials, etc., of which 131. images are made. Pratima-mana, deals with the measurement of images. 132. 130. VI. Matsya-Purdna : Chapters Deals with the introduction of eighteen ancient architects 252. Bhrigu, Atri, Vasistha, Visvakarma, Maya, Narada, Nagnajit, Brahma, Kumara, Nandlsa, Saunaka, Visalaksha, Purandara, : Garga, Vasudeva, Aniruddha, Sukra, and Brihaspati. Stambha-mana-vinirnaya. 255. Darvaharana. 257. 258. 262. Nava-tala-mana. 263. 269. Lihga-lakshana. Prasada-varnana. 270. Mandapa-lakshana. Plthika-lakshana. VII. Linga-Purdna : Part II, chapter 48. : Yaga-kunda-vinyasa-kathana-purvakarh sarvasarh devatanarh sthapana-vidhi-nirupanam, Prasadarchani-nirupanam. VIII. Vayu-Purdna : Part I, Chapter : 39. Saila-sthita-vividha-devalaya-kirtana. IX. Skanda-Purdna Chapters : : Himalayena sva-sutaya vivaGargacharya-purohitarh puraskritya Visvakarma-dvara Naradad Visvakarmapurva-mandapa-nirmanadi-varnanam, 24. Mahesvara-khande-prathame hartharh chaturyena sarva-deva-pratikriti-chitrasarvesham srutva devanarh ^anka-praptih. vinyasarh krita-vivaha-mandaparh Mahesvara-khande dvitiye svayarh Visvakarma-dvara-nirmapite Mahinagare sthapana-varnana. 25. Vaishnava-khande dvitiye Narada-likhita-sahitya-sambhavasarhgraha-patrarh srutva Indradumnajnaya Padmanidhina svarna- sala-nirmanam, Naradajnaya Visvakarmana syandana-traya-nirmanarh, tasya rathasya Narada-karena sthapanarh, tat-prasarhgena ratha-sthapana-prakara-vidhi-varnanam. 629 AX ENCYCLOPAEDIA OF PRATIMA-DRAVYADI VACHANA PRATIMA-DRAVYADI- VACHANA On idols are the materials of which made. (Oppert's List of Sanskrit MSS., ibid., Vol. p. 490.) i, PRATIMA-MANA-LAKSHANA On in Tibetan Translation exists traced its ; the tala-measures of images, Sylvian Levi reports that he has original Sanskrit version in the Palace Library of Tibet. PRATISHTHA-TATTVA Also On MAYA-SAMGRAHA called architecture. (Aufrecht, PRATISHTHA-TANTRA On architecture in ibid., a m, part p. 74.) form dialogue between Siva and Parvatl. (Aufrecht, PRASADA-KALPA On ibid., part in, p. 74.) the construction of buildings. (Oppert's List of Sanskrit MSS., PRASADA-KIRTANA On ibid., Vol. n, p. 522. architecture. (Author not known Malegamva, ; in possession of Catalogue of Gopal Rao, MSS. in Sanskrit Private Libraries of Gujarat, etc., 1872, p. 276.) PRASADA-DlPIKA On architecture, quoted in Madana-Parijata (Aufrecht, PRASADA-MANDANA-VASTU-SASTRA dhara Mandana (Egg. MSS. 3147, 2253). but is largely mixed with Bhasha forms. eight chapters 1. ibid., part Attributed p. 364.) i, Sutra- to written in Sanskrit, It is It contains the following : MisYa-kalasa. 2. Jagati-drishSi-dosho ayatanadhikara. 3. Bhitti-pltha-mandovara-garbha-grihaudumbara-pramana. 4. Pramana-drishti-pada-sthana-sikhara-kalasa-lakshana. 5. Rajyadi-prasadadhikara. 6. Kesaryadi-prasada-jati-lakshana, van rhsan-meru-lakshanadhy aya 7. 8. pancha-kshetra-pancha-chat- . Mandapa-balanaka-sambaranadhikara. Sutra-dhara- Jirnoddhara-bhinna-dosha-sthavara-pratishtha, puja, Jina-pratishtha, Vastu-purusha-vinyasa. PRASADA-LAKSHANA Attributed to Varahamihira On arcl lecture. (Oppert's List of Sanskrit MSS., 630 ibid., Vol. 11, p. 208.) HINDU ARCHITECTURE BRAHMANDA-PURANA PRASADA-LAKSHANA On buildings. (Oppert's List of Sanskrit MSS., PRASADALAftKARA-LAKSHANA On ibid., Vol. the decoration i, p. 473.) (articles of furniture) of buildings. (In possession of the Maharaja of Travancore List of Sanskrit MSS., ibid., ; Oppert's Vol. n, p. 473.) B BIMBAMANA lines to a page ; Museum, British (MSS. n, 558, 5292, foil. has a nos. i. foil. 559, 5291, 27, 9 lines to a page ; 33, 7 written in commentary) This is a treatise on religious sculpture, stated to be extracted from a Gautamlya Iti Gautamiye ascribed to Sariputra. The last colophon runs thus Bimba-manam The commentator samaptam. Sari-putra-srute explains this Bimbamana-vidhi as the Sarvajna-pratima-pramana-vidhi. Simhalese character, Sirhhalese : BRIHAT-SAMHITA Of On Varahamihira architectural and sculptural matters. Chapters : 53. Vastu-vidya. 56. Prasada-lakshana. 57. Vajra-lepa. 58. Pratima-lakshana. 79. Sayyasana-lakshana. BUDDHA-PRATIMA-LAKSHANA On the tala measure of Bud- dha-images ; exists in Tibetan Translation version is apparently missing. BUDDHA-LAKSHANA ; the original Sanskrit ' the more dealing with orthodox peculiarities of the characteristics of the body.' (M. G. Coede, G. E. F. E. 1915), King Phra Nangklao thought of it as ' ' a work of merit to shorten the fingers of the statue of Sakyamuni in Siamese, ' A paper (temple) Sudas at Bangkok (capital of Siam). about the attitudes of Buddha images in the Siamese monasteries in Wat was written bythe Somtej Phra Paramanujit, the son of the King Phra Buddha Yot Fa (died in A.D. 1854).' BRAHMANDA-PURANA See under PURANAS. 631 AN ENCYCLOPAEDIA OF BHAVISHYA-PURANA BH BHAVISHYA-PURANA See under PURANAS. M MATHA-PRATISHTHA-TATTVA Contains thd-tattva, Attributed to Raghunandana quotations from the Devi-purdna and the Deva-pratishboth of which deal with architectural and sculptura matters. MATSYA-PURANA See under PURANAS. MANUSHYALAYA-CHANDRIKA (Also called TACHGHU-SASTRA) concerning private dwelling houses deals with measurement, etc., It as distinguished from religious temples, and military forts, etc. contains 65 stanzas and a Malayalam translation. There is a manuscript also bearing the same title. (Oppert's List of Sanskrit MSS., MANUSHYALAYA-LAKSHANA On the ibid, Vol. i, building p. 475.) human of dwellings. (In possession of the Maharaja of Travancore Oppert's List of Sanskrit A1SS., ibid, Vol. MANJU-SRI-MULA-KALPA A Tantra work Sanskrit Series), translated in Tibetan, deals with matters. MANTRA-DlPIKA (see i, ; p. 475.) (cf. Trivandrum some architectural PANCHA-RATRA-PRADIPIKA) On archi- tecture. MAYAMATA An oft quoted and well-known authority on architecture. There are several treatises attributed to Maya : Mayamata, edited by Ganapati Sastri, 1919, from three fragmenand one incomplete (with a Tamil translation) manuscripts it contary tains 34 chapters, and four more chapters are missing (see below) There arc some other manuscripts bearing the same title (Egg. 3150, 2575) one of them (in the Oriental Manuscripts Library, Madras), written in modern Telugu, on rough paper, contains five chapters with a short I. ; . ; commentary by Gannamacharya. II. Mayamata-Silpa-Sastra-vidhana (Egg. Gannamacharya's Telugu commentary 3150, 2575, 3151, 2630, with as noted above). III. Maya-Silpa-satika (another manuscript). Maya-&ilpa, a few extracts from this have been translated into English by Rev. J. E. Kearns (see Indian Ant., Vol. v, pp. 230, 293). There is also another English translation of Mayamata in the Mackenzie IV. Collection (Translation, class x, Sanskrit, 2-6). 632 MAYAMATA HINDU ARCHITECTURE V. Mqya-vastu text, pp. 33, published by Madras, 1916. VI. Mqya-vdstu-Jdstram Rama Svami Sastralu & Sons, text, pp. 40, published by K. Lakshman Mudali, Madras, 1917. VII. A Sinhalese version of Maydmataya manuscripts is referred to by A. K. Goomarswamy (Mediaeval Simhalese Art., pp. 124-128). It also ' learned and skilful deals with a few architectural objects and is meant for architects.' Oriental Manuscripts Library, Madras, Mqyamata-vastu-fdstra nos. Vol. 13035 xxn, 13034 (with a Tamil commentary), Catalogue, VIII. a Telugu (with a Telugu commentary), 13036, 13037, 13038, 13039 (with commentary) . Of these manuscripts no. 13034 is the largest, containing 390 pages of The subjects and the method of X 13!" 8" paper of 22 lines to a page. It is divided to those of the Mdnasdra. similar description are strikingly into the following 36 chapters 1. Sarhgrahadhyaya. 2. Vastu-prakara. 3. Bhu-pariksha. 4. Bhu-parigraha. 5. 6. 7. 8. 9. 10. 1 1 . : Manopakarana. Dik-parichchhedana. Pada-devata-vinyasa. Deva-bali-karma-vidhana (incomeplete). Grama-garbha-vinyasa (incomplete). Nagara-vinyasa. Bhu-lamb(h)a-vidhana. 12. Garbha-nyasa-vidhana. 13. Upapitha-vidhana. Adhisthana-vidhana. 14. 1 5 1 6. . 17. 8. Pada-pramana-dravya-parigraha. Prastara-karana. ' Sandhi-karma-vidhana. 19. Skhara-karana-bhavana-samapti-vidhana. Eka-bhumi-vidhana. 20. Dvi-bhumi-vidhana. 21. 22. Tri-bhumi-vidhana. Bahu-bhumi-vidhana. 23. Prakara-parivara (elsewhere, Sandhi-karma-vidhana). 24. Gopura-vidhana. Sabha(mandapa)-vidhana. 1 25. 26. Sala-vidhana. 633 AN ENCYCLOPAEDIA OF MAYAMATA 27. Griha-manadhikara (elsewhere Chatur-griha-vidhana,i 28. Griha-pravesa. 29. 30. Raja-vesma-vidhana. Dvara-vidhana. 31. Yanadhikara. 32. Yana-sayanadhikara. 33. 34. Linga-lakshana. PItha-lakshana (incomplete). 35. Anukarma-vidhana. 36. Pratima-lakshana. Compare the above No. No. No. No. list, no. I, which contains the first . 34 out of 36 chapters given in the variations are noted within brackets. 13035 contains in 74 pages the chapters 1-32. 13036 is same as no. 13035. 13037 contains only two incomplete chapters in six pages. 13038 contains in 94 pages the following twelve chapters : 1. Pratima-vidhana. 2. Aya-lakshana. 3. 4. Linga-lakshana. Dasa-tala-vidhana. 5. Kunchita-vidhana. 6. Nava-tala-vidhana. 7. Hasta-karma-vidhana. 8. 9. Upapitha-vidhana. Eka-bhumi-vidhana. 10. Dvi-tala-vidhana. 1 1 . 12. Its Tri-t ala-vi dhana. Gopura-vidhana. runs colophon Silpa-sastre . . thus ' iti Gannacharya-virachitayarh Mayamate . No. 1 3039 contains in 36 pages the first four chapters of no. 1 3038. There Tamil a treatise on Silpa-Saslra, said to have been originally is in composed in Sanskrit by Myen (i.e., Maya) who, according to mythology, was a son of Brahma and architect of the gods. The original work appears to have been disseminated far and wide, and to have suffered by omissions The work under consideration seems to have been as well as by additions. formed from selections of existing editions of the original work under the ' superintendence and guidance of persons having a practical knowledge of Silpa-sastra or at least of persons professing to have such knowledge. (Ind. Ant., Vol. M. 6 34 t ii, v., p. 230, c. i, para, i ; see also 11-12, 17-20, under STHAPATJ.) MAYAMATA HINDU ARCHITECTURE In regard to Maya the following note is of great interest 'That the Maya culture of Central America was derived from Asia is demonstrated by Mr. J. Leslie Mitchell in his book The Conquest of the Maya. In reviewing the publication Mr. H. J. Massingham writes that the : evidence for a succession of cultural waves from Asia " the impartial reader one." It appears that ment of Maya is so overwhelming that must wonder why the issue was ever a controversial was India which contributed most to the develop- it Among culture. the Maya sculptures are to be found representations of Hanuman, of Ganes"a, and of Indra and the pictorial " All this suggests," says Mr. and ritualistic reminiscences of Buddhism. " Massingham, that the ancient mariners reached the American coast from The Hindu culture could A. D. 700 onwards not once but many times." Central America unless the Hindus had been not have been transported to a great sea-faring people.' Exploration of the sites of a of Dr. Gann, populous site Mayas, and who in the forests of Yucatan. his progress Morning Post lost civilization is the fascinating pursuit has discovered a hitherto is recorded in a unknown monolith and He is a once- exploring for traces of the of articles published in the series : of Coba,' he writes, through information found in a recent translation of the ancient Maya manuscript book of Chilan Balam of Chumayel. This describes the migration of the ' ' I discovered the ruins of the great city Itzas from Chichenitza to Coba, which is about fifty miles to the east of Cbichenitza. ' The books of Chilan Balam are the old traditions of the Mayas, which survived the Spanish conquest of Yucatan. They record the migrations of Maya clans, and were reduced to writing in the sixteenth century. was informed by a wandering Maya Indian that in the Mexican territory of Quintana Roo he had come across a great slab of stones lying "Ubalob uxben uincoob," buried in the bush upon which were inscribed ancient He said he had found it or things belonging to the people. not many miles north of the British Honduras frontier. I : As guide I took the Indian who had told me of the stone. He, like most of his race, had nothing to say to strangers, and he said it most efficiently. I had no difficulty in obtaining my permit to visit the shores of Chetumal Bay, where the Maya monolith was reported to be. ' ' So we set out on our journey up the Bay, which runs almost due north about thirty miles into the south of the Yucatan Peninsula. This is It is surely one of the most desolate stretches of water in the world. shallow, yellow, forbidding. On the east separating it from the Caribbean Sea, is an unexplored, uninhabited peninsula, covered with virgin bush. ' for 635 MAYAMATA AJf ENCYCLOPAEDIA OF On the west, between the Bay and the great Bacalar Lagoon, the land is equally desolate, being traversed at rare intervals only by a few Indian Chicle bleeders, who roam in search of the sapodilla trees, from which they get the latex that forms the raw material of chewing gum. About thirteen miles from Payo Obispo I lighted on my great find We came to a spot on the west coast of the bay where an Indian had cut down ' make a the bush to The My small maize plantation. us to land here, and then led us to the stone Indian guide directed we were seeking. importance of the discovery was not apparent at first. It a was block of greyish schist, twelve feet long, eighteen inches wide, and It had at one time stood upright, but now lay flat twelve inches thick. ' full and embedded in the ground. Upon one edge faint traces of sculpture but the visible, greater part of the exposed surfaces had been worn quite smooth by the tropical downpours of an unknown number of rainy seasons. This has been the fate of many Maya inscriptions. were ' I I then brushed the saw the Maya October, A. D. 333! was almost soil from the Date Initial Series as clear stone, and there 9. 8. o. o. o. The and sculpture preserved by plain as on the day when glorious surprise Aban 3 Chen, or 26 its burial in the earth, it was cut in the stone, 5 nearly sixteen centuries ago. ' Amid Yucatan only four such Initial Series dates have been found, and the date carved on the monolith which lay before me was more than three hundred years earlier than that appearing on the oldest of the stelae previously found. Now, one of the most baffling mysteries connected with the Mayas is their abandonment of their old empire and foundation of the new one for, at a certain period in their history, they left their cities, built with an enormous expenditure of labour, and migrated from the fertile lands in which they stood to found new settlements in what all the Maya ruins in ; were, apparently, uninhabited regions. ' Earthquakes, pestilence, and foreign invasion have been suggested as The cities the Mayas left bear no traces possible causes of this migration. of violence having been wrought by man or the forces of Nature, and the buildings of their new settlements were obviously erected by a people with unimpaired vigour. It is therefore established themselves in important to Yucatan and fix the date when they discovery may, in fact, cause a complete reversion of the ideas generally held as to their first immigration into this peninsula and their foundation of what is known as the first New ; this It may, indeed, affect our views of the whole history of and most advanced aboriginal civilization of America, which Empire. the earliest was in many respects the highest civilization of ancient, if not of 636 any time. MAYAMATA HINDU ARCHITECTURE The carving on this stela begins with the initial glyph and in column below this come the glyphs meaning 9 Bactuns (periods of 400 years, each of 360 days) ' . O 8 Katuns (periods of twenty years), Tuns (years). o Unials (Maya months of twenty days). o Kins (days). beginning of the thus records the lapse of 3,760 years from the Maya chronology. The Mayas did not count any It period of time until it was completed, that is to say, their sign for the day of a month was o. So if written in our style these glyphs would first read ; It is i. i. 3761. generally assumed that the date from which the Mayas reckoned is mythological rather than historical. But for the present their chronology purposes consideration of such a question is immaterial. The point is that all the dates on such monoliths are reckoned from the same day, and there- according to Spinden's correlation of their system with ours, this date corresponds to our 26 October, A.D. 333. fore, ' This would, apparently, place the beginning of the Maya chronology The British Museum Guide to the Maudsley collection of in 3381. Sculptures gives this Maya date 9. 8. o. o. o. 5 Ahan, 3 Chen as A.D. 64. But it mentions that Professor Morley has worked out another correlation which places this and all other Maya dates some 270 years later. Maya Beneath this date on the stela was a great sheet of hieroglyphics, which were perfectly clearly defined, but they are in our present state of knowledge I have no doubt though that if we could read them we indecipherable. should find that they recorded events which had occurred during the preceding Katun or period of twenty Maya years, as such stelae were put up by the Mayas to commemorate the ends of each of those periods. ' The monolith had been erected just in front of a great terraced pyramid which stood between two others. All these pyramids were faced, in the usual Maya style, with blocks of cut limestone. The central one had three terraces and was 32 feet high. Its flat top, upon which there no doubt stood a wooden temple, long since perished, was 135 feet long and ' 64 ' feet across. Further investigation showed that these pyramids were at one end of a great enclosure, which was surrounded by a massive stone wall. This wall is from 12 to 15 feet thick at the base, and in the places where it has remained intact, it is 12 feet high but for the most part the growth of luxur; thrown the stones down and the ruins are only 3 or 4 feet above ground. The wall is a mile and a half long and forms a semi -circle with the two ends running down to the shore. ious vegetation has 637 MAYAMATA AN ENCYCLOPAEDIA OF think there can hardly be any doubt that this was intended as a fortiand therefore a particular interest is attached to it. For, judging all their Their by sculptures, the ancient Mayas knew nothing of war. no records of battles or triumphs, such as those of Greece, sculptors have left ' I fication, Egypt, or Babylon. and that either One assumed that all the until quite late in their history they among Maya clans dwelt in amity had no experiene of fighting, themselves or with alien races. Yet here we have what is obviously a defensive work, and it seems significant that the only two walls of this kind which have hitherto been dis' covered are also in Yucatan, one being at Tuluum, on the east coast, and the other at Chicken Itza, in the northern interior. Against whom were these defences erected centuries before the ? Judging by the date on the Mayas came stela, they were built on the north. in contact with the Tolecs, been assumed that Yucatan was uninhabited when the Mayas first took possession of it, and they were not in the habit of building such walls It has in the earlier cities to the south. ' in Why this innovation ? The space enclosed by this wall had evidently been densely populated bygone times. For in the places where the Indians have cleared the undergrowth away, one could see that the ground is literally covered with potsherds, flint and obsidian chips, clay beads, spindle whorls, small human and animal heads, and other surviving evidences of human habitation A great concourse of people must have lived there for many genera' tions. The more or less, incidental. During this Northern Yucatan, where Professor Morley, my primary objective of the Carnegie Institute, and I propose to test the truth of some wonderful Indian legends. The Indians have told me of a vast subterranean cavern some twenty miles long, and of the ruins of a great city which no white man ' discovery of these ruins was, season is has seen. ' Along the east coast of Yucatan live the Santa the direct descendants of the ancient Cruz Indians, presumably Mayas who erected magnificent temples and palaces, most of which now lie buried in the tropical forests. Some have been discovered, but there is no doubt that a great number of them yet remain to be discovered. Indians have never been subdued, and for five centuries they have successfully resisted all the efforts, first of the Spaniards and later of the Mexicans to conquer their country. These Indians so far as is known ' The Santa Cruz lead the lives of their ancestors of a thousand years ago. They worship the same gods and perform the ancient religious ceremonies. But we know little about them, because their villages are buried in the dense and they permit no stangers to intrude. 638 forests of the hills MAYAMATA HINDU ARCHITECTURE ' The danger of penetrating into this Santa Cruz country arises from the from the bush without inquiry fact that the suspicious Indians may fire whether the strangers are friends or foes.' About the vast cave of Loltun, which is possibly the largest cavern in the entered by great well-like holes in the earth through which one descends by ladders from ledge to ledge arriving in immense rocky chambers whose floors are covered with stalagmites and cave world he adds that ' this cave is and from whose lofty roofs depend vast stalactities. Two of these holes are a mile apart, and the intervening space has never been traversed by a European. From the great chambers unexplored passages branch earth, On the floors of the chambers, buried in the cave innumerable earth, potsherds have already been found, also human and animal bones, flint and stone weapons and implements, and many other It is possible that the deeper layers of relics of the ancient inhabitants. earth and the remote galleries and passages may contain relics of the preMaya inhabitants of Yucatan, of whom nothing whatever is known at present. It is said by the Indians that subterranean passages from this cavern reach to the ruined city of Chicken Itza 20 miles away. There is a tradition out in every direction. ' handed down amongst the modern Indians that during one of the innumerable internecine wars amongst the Maya which followed the breaking up of the central authority, after the Conquest of Mayapan, the inhabitants of a neighbouring village were driven to take refuge in this cave by a band of their enemies, who pursued them even into this last refuge, and that of neither pursued nor pursuers was any trace ever again seen. Some believe that in the dark all fell over a precipice into some vast chasm in the limestone, others that all lost their way in the intricate maze of endless galleries, and others again that all were suffocated by poisonous Whatever their fate, the possibility of coming suddenly at any gases. ' turn upon groups of rag clad skeletons shrouded in the impalpable dust of ages does not detract from the eerie feeling induced by traversing these almost palpable. One's feet make no noise on the soft cave earth, and one is almost afraid to raise one's voice, which reverberates round the Great Stone chambers and is thrown back in a vast catacombs, where silence is thousand mocking echoes from the rocky walls. lighted chamber many crude drawings have been Upon left the walls of the by the former inha- and in one case is inscribed a late Maya date A.D. 1379.' Whatever Dr. Gann's conclusions may be his actual discoveries are of stupendous interest. The causeway that he has found is of supreme importance. He regards it as having been built for the purposes of human sacrifice. bitants, ' I disagree. My reason for disagreeing is Cambodia, which were designed purely 639 that there are similar causeways in for ceremonial purposes. MAYAMATA ' AM ENCYCLOPAEDIA OF The whole Maya remains with the civilization as it show the closest possible relation Java and South-East Asia to what has as discovered existed in been found in Yucatan. There is nothing to my mind that suggests that the form of civilization is indigenous, and I should be inclined to hold that the temples at Java were the proto-types of what has been found in Yucatan. Unquestionably in the early days perishable wood structures were built, but when stone supplanted wood, you find pyramids being built precisely on the same lines that they were being built in South-East Asia. They were, ' so far as the staircases were concerned, a copy of what the Babylonians were building 2,000 years before the era of Christ. It is necessary to remember that as Indian civilization spread eastwards the type of pyramids established by them became fashionable and was built in stone. While the great causeway was of outstanding interest, it had to be that it could be paralleled with the remains of Indian Further there was no question but that Maya carvings civilization. Indian elephants and Indians with typical head-dresses. represented ' remembered Indian navigators, it was known, had combed out the islands in the Pacific, such as Easter Island and many others, and it was unthinkable ' that they should not have discovered a continent that stretched from pole to pole. ' the archaeologist the issue now raised was of supreme importance. fifty years ago the orthodox held that the Maya civilization was of To Until Indian origin. The dating derived from the hieroglyphs was so vague as to give little help, and interpretation varies by as much as three or six centuries. ' What supremely interests is that we find a ' continues, Under America. the archaeologists,' Professor Elliot Smith civilization starting full-blown in Central Asiatic influence, it rose to great heights, but had already collapsed before the advent of the Spaniards who may have given it the To know the real secret of Maya culture affects our whole coup de grace. interpretation of civilization. ' Can different communities, such as the Indian, the Chinese American, build up a civilization independent of each other, or is for a certain civilization to be spread about the world in the it and the possible same way that a steam engine can be distributed ? ' the great problem of ethnology today, and the issue now centres problem as to how civilization started in Central America. There is This in the is means anything it have shown it could have a large gap between Asia and America, but if diffusion means that that gap must have been bridged as I been. 640 HINDU ARCHITECTURE ' The Maya MANAVA-VASTU-LAKSHANA civilization rose and fell. soon as the energy of the It fell so driving force that inspired it declined. This is our view, and we do not believe in an indigenous culture that rose through its own impetus, and that fell as a result of foreign invasion.' No gists has one now questions Dr. Gann's facts, but many competent archaeolodispute the conclusions at which he arrived. An archaeological issue now been American fairly raised. civilization, or was Did the Maya it civilization arise the result of peaceful from native penetration by the Asiatic ? Professor Grafton Elliot Smith, of University College, London, discussing the subject with a Morning Post representative disagreed absolutely with the views put forward by the American school, and supported by Dr. Gann. At University ' we are absolutely convinced that the from India. We regard it as certain was derived directly Maya that between the Fourth and the Twelfth Century there was a penetration from the South-East of Asia. The question of dating is admittedly difficult, but from the facts we have in our possession I should be inclined to think that Dr. Gann's dates may err by as much as three centuries.' ' College,' he said, civilization (Central News, quoted from Morning Post, by Statesman, March 21, MAHA-NIRVANA-TANTRA April 9, 17, 15, 1926.) Deals with both architectural and sculptural matters, such as temples, idols, phallus, ponds, and tanks, as well as with the directions concerning broken limbs of images, especially the materials of which buildings and idols should be made the Vastu god, and so on (Chapter xm, verses 22-286, see also chapters xrv and vi) . MAHABHARATA Gild. Bibl. 93) I. 7. 8. 9. 10. 1 1. Maya (First Bombay edition Sabha-parvan, chapters ; and Calcutta edition : built a council hall (sabha) for the Pandavas. Indra-sabha-varnana. Yama-sabha-varnana. Varuna-sabha-varnana. Kubera-sabha-varnana. Brahma-sabha-varnana. MANA-KATHANA On the system of measurement. (Oppert's List of Sanskrit MANAVA-VASTU-LAKSHANA On MSS , Vol. n, p. 473.) architecture. (Oppert's List of Sanskrit MSS., 64.1 ibid., ibid., Vol. i, p. 476.) AN ENCYCLOPAEDIA OF MANASA MANASA (Same as See below. MANASARA). (Oppert's List of Sanskrit Mbt>., MANASARA (edited and translated The time by the writer) ibid., Vol. n, p. 518.) the first English standard treatise and a complete text on into for and sculpture. It comprises 70 chapters in more than 10,000 lines. There are eleven manuscripts of it. See the details given under the Preface of its first edition by the writer and compare architecture the writer's Summary of Mdnasdra, Leiden, 1917, in according Mdnasdra-Silpa-Sdstra, 1927, and in Hindu Indian Architecture the Architecture in India and Abroad. MANASOLLASA Vol. HI, p. two chapters, 1 . 2 . (R. L. Mitra's Notices of Sanskrit Manuscripts, Attributed to the Chalukya king Somesvara. In 182) it deals with the following subjects Shodasa-prakara-griha-lakshana. 3. Raja-griha-lakshana. 4. Vastu-deva-puja-vidhi. 5. Griha-praves'a-kathana. 6. Griha-varnana. 7. Griha-chitra-varna-lakshana. 8. 9. 10. 1 1 . 12. 13. 14. 15. Vajra-lepa-lakshana. Lekhani-lakshana. Tambula-bhoga-kathana. Vilepanopabhoga-kathana. Vastropabhoga-kathana. Malyopabhoga-kathana. Bhushabhoga-kathana. Asana-bhoga-kathana. 1 6. Putradi-bhoga-kathana. 1 7. 1 8. Anna-bhoga-kathana. Panlya-bhoga-kathana. Abhyanga-bhoga-kathana. Yana-bhoga-kathana. Chhatra-bhoga-kathana. Sayya-bhoga-kathana. Dhupa-bhoga-kathana. 19. 20. 2 1 . 22. 23. : Mandirarambha-muhurta-kathana. 24. Stri-bhoga-kathana. This work should not be confounded with that Taylor's Catalogue Raisorde (Vol. i, p. i) and its of the name in commentary, Manasollasa- vrittanta-prakas'a (in Weber's Berlin Catalogue, p. 179.) 642 same HINDU ARCHITECTURE RASI-PRAKARA MANASOLLASA-VRITTANTA-PRAKASA On Gaekwad Sanskrit architecture (cf. Series). (In possession of Vimana-Acharya, Benares, Weber's MURTTI-DHYANA On Berlin Catalogue, p. 179.) sculpture. (Aufrecht, MORTTI-LAKSHANA On ibid., Part i, p. 464.) idol-making. (Ibid p. 464.) another manuscript bearing the same There have been taken from the Garuda-samhita. title is MOLA-STAMBHA-NIRNAYA On main which is stated to architectural description of the pillar of a house. (Ibid., p. 464, Oppert's List of Sanskrit MSS., Vol. H, p. 202.) ibid., R RATNA-DIPIKA On (Attributed to Chandesvara) (Aufrecht, ibid., architecture. Part n, pp. 36, 114.) RATNA-MALA of Sripati Deals with astrological matters in connexion with the construction of houses and idols of deities under the following chapters : 1 7 Vastu-prakarana (28 verses) . 1 8. 20. Griha-praves'a ( 1 1 verses) . . Deva-pratishtha (13 verses). RAJA-GRIHA-NIRMANA On the building of royal palaces. (Burnell's Classified Index to the Sanskrit MSS. the in Palace Library of Tanjore, 1880.) RAJA-VALLABHA-TIKA A commentary on Rajavallabha-Man dana. MSS. (Catalogue of Sanskrit ries RAMAYANA (First ed. of Gujarat, in Private Libra- etc., 1872, p. 276.) Calcutta edition, ed. Schlegel Gild. Bibl. 84, Devotes large 85, 2nd Bombay edition) Bibl. Gorrens, Gild, portions of the following chapters on architecture Adikanda, 5th Sarga, the description of the city of Ayodhya. Lankakanda, 3rd Sarga, the description of the fort of Lanka. (There are also numerous casual references to architectural and sculptural matters in the Epics, the Puranas and the Agamas.) : RASI-PRAK.ARA mat! en concerning (Attributed to Garga) Deals with astrological architecture. (See Vdstu-Sdrani.) 643 AN ENCYCLOPAEDIA OF ROPA-MANDANA ROPA-MANDANA to (Attributed Mandana Sutradhara) On architecture. Rajavallabha Mandana.) (Cf. LAKSHANA-SAMUCHCHAYA On the features quoted by Hemadri in Danakhanda dipaka, and Parasurama-prakasa. deities, On images of Muhurta- 823), in (p. (Aufrecht, LAGHU-SlLPA-JYOTISHA in part ibid., i, p. 535.) architecture. (British Museum Catalogue, 20, E. 32.) Sivarama, with a Gujarati This pamphlet deals mostly with astrological matters LAGHU-SlLPA-JYOTIH-SARA By commentary The concerning architecture. verses contents are indicated in the following : Aya-rasis cha nakshatram vyayas taramsakas tatha Graha-maitri rasi-maitri nativedha-ganendavah I II Adhipatyam vara-lagne tithy-utpattis tathaiva cha Adhipatyam varga-vairam tathaiva yoni-vairakam Riksha-vairam sthitir nao (3) I II (4) lakshanany eka-virh^atih I Kathitani muni-sVeshthaih Silpa-vidvadbhir grihadishu LlftGA-PURANA See II (5) under PURANAS. V VALI-PITHA-LAKSHANA On architecture. (Oppert's List of Sanskrit VAYU-PURANA See MSS., ibid., Vol. i, p. 473.) ibid., p. 538.) under PURANAS. VASTU-CHAKRA On architecture. (Oppert's List of Sanskrit MSS., VASTU-TATTVA (By Ganapati Sishya, Lahore, 1853) Consists of four chapters and deals largely with astrological matters concerning architecture. VASTU-NIRNAYA On classes of vastu (see architecture, dealing specially with the under VASTTJ). (Aufrecht, 644 ibid., part i, p. 568.) HINDU ARCHITECTURE VASTU-RATNAVALI VASTU-PURUSHA-LAKSHANA On architecture. MSS. (Taylor's Catalogue Raisonee of Oriental the Library of the late College St. George, VASTU-PRAKASA (Attributed to (Aufrecht, ibid., i., i, p. 313.) On architecture. Visvakarman) Part Vol. in of Fort p. 568, in possession of Balabhari Sapre, Benares, Catalogue of Sanskrit MSS. in N. W. P., 1885, Part x, no. 2, p. 56.) VASTU-PRADIPA By Vasudeva, on VASTU-SARANI) (cf. archi- tecture. (In possession of Umasarhkara-Sastri, Azamgarh, Catalogue of Sanskrit MSS. in N. W. 1885, Part x, no. I, P., p. 56.) VASTU-PRAVANDHA 1904) It deals largely architecture, karmd-prakdsa, (By Lala Rajakisora Varma, Lucknow, with astrological matters in connexion with and contains from the extracts Muhurta-chintdmani, Brihat-sarhhitd, Samgraka-siromani, Visva- Vdstu-vidyd- prakdsa, Vdstu-pradipa, and Jyotis-sdra-muhurta-chakra-dlpikd. VASTU-MA^IJARI to (Attributed Mandana Sutradhara) On architecture. (Cf. VASTU -MANDANA (Attributed to Rajavallabha-Mandana.) Mandana Sutradhara) On architecture. (Cf. Rajavallabha-Mandana.) VASTU-YOGA-TATTVA-( Attributed to Raghunandana) Treats and contains extracts from the deity, Matsya-Pardna, Devi-Purdna, Rudra-ydmala, and Vasishtha-sarhhitd. largely of offerings to Vastu VASTU-RATNA-PRAD IPA On architecture. (Cf. Vdslu-sarani.} VASTU-RATNAVALI Benares, 1883) (Compiled by Pandit Jivanath Jyotishi, This compilation contains extracts from the Bhavi- slya-Purdna, jyotih-sdgara, Griha-kdrikd, Vdstu-pradipa, Bhuja-bala-bhlma, Vasishtha-samhitd, Sri-bhoja-rdja, Rdja-vallabha, Vdstu-ratna-pradipa- Siddhdnta-siromani, of Bhaskaracharya, Mandana-sutra-dhdra, Brihatsamhitd of Varahamihira, and Ratna-mdld. (Burnell's Classified Index to the Sanskrit MAS. Palace Library of Tanjore, p. 645 in the 154.) AM ENCYCLOPAEDIA OF VASTU-RAJA-VALLABHA (Attributed to Mandana Sutradhara, called Silpa-sdstra) On Vdstu-sdstra, otherwise VASTU-RAJA-VALLABHA probably same as architecture. (Catalogue of Sanskrit VASTU-LAKSHANA On MSS. in N.W.P., p. 56.) architecture. (Oppert's List of Sanskrit MSS., VASTU-VICHARA ibid., ibid., Vol. A (Attributed to Visvakarman) i, p. 480.) treatise on architecture, apparently old. (In possession of Gaurinath Sastri, Benares, Catalogue of Sanskrit ibid., VASTU-VIDYA MSS. in N.W.P., 1885, p. 56, Aufrecht, part i, p. 568.) Oppert's List of Sanskrit MSS., also a text ibid., part i, p. 578 ibid., Vol. i, p. Deals with materials, etc. for edited by T. Ganapati Sastri, 1913) house building in the following sixteen chapters manuscript, Aufrecht, 480 (a see ; ; : 1. Sadhana-kathana. 2. Vasudha-lakshana. 3. Vastu-devata-kathana. 4. Vastu-purusha-kathana. 5. Vedi-sarhsthana. 6. Vastu-marma-sarhsthana. 7. Kala-niyama. 8. Sala-vidhana. 9. Pada-mana-kathana. 10. Lupa-lakshana. 1 1 1 2. Lupa-karana. Dhuli-nirodhana 1 3. Dvara-viny asa . . . 14. Kavata-dvara-vinyasa. 15. Bhavana-parigraha. 1 6. Mril-loshta-lakshana. VASTU-VIDHI (Attributed to Visvakarman) (Aufrecht, VASTU-&ASTRA (see under SANAT-KUMARA) On ibid., On architecture. part architecture. (Oppert's List of Sanskrit MSS., tbid,Vo\. VASTU-SASTRA (also called Silpa-sdstra) p. 568.) i, i, p. 580.) Attributed to Rajavalla- bha Mandana and Bhupati-vallabha (noticed in Egg. 3142, 1291) one of these manuscripts is published in Sarhvat 1947, at Anahila: 646 VASTU-SASTRA-SAMARAN- HINDU ARCHITECTURE GANA-SUTRADHARA in Patana, by Narayana Bharati and Yasavanta Bharati It has a Gujarati commentary and some illustrative diagrams. (Noticed in the Catalogue of printed books and manuscripts in Sanskrit belonging to the Oriental Library of the Asiatic Society, Bengal, p. 173). pura has four more copies Egg. 3143, 3144, 3145, 3146, p. 1136. This is a work on architectural disposition of houses, palaces, temples, etc., and the rite to be performed at their inauguration, by Mandana, an It architect in the arts and built Mewara from It employ of king Kumbhakarna of Medapati (and the husband According to Tod, the king Kumbha, who had a taste for many temples and strongholds, ruled over the country of ' of Marabai). A. D. 1419 to 1469.' (Bhandarka,'s Report, 1882-83, p. 37-) contains the following fourteen chapters 1 Misraka-lakshana. : . 2. Vastu-lakshana. 3. Ayadi-lakshana. Prakara-yantra-vapi-kupa-tadaga-lakshana. Raja-griha-nivesadi-lakshana (verse 28 of this chapter mentions the Malsya-Purana as an authority). 4. 5. 6. Eka-sala-dvi-sala-griha-lakshana. 7. Dvi-sala-tri-sala-chatuh-sala-griha-lakshana. 8. Sayana-simhasana-chhatra-gavaksha-sabhashtaka-vcdika- chatushtaya-dlpa-lakshana. 9. 10. Raja-grihadi-lakshana. (Mapita) kshetradbhuta-lakshana. 11. Dina-suddhi-griha-nivesa-griha-pravesa-vivaha-muhurtalakshana. 1 2. Gochara-dina-ratri-mana-svarodaya-koja-chakra-matrika- lakshana. 13. Jyotisha-lakshana. 14. Sakuna-lakshana. Six other works are ascribed to I. II. Vastu-mandana. Prasada-mandana. VI. Aya-tattva. VI. : Rupa-mandana. III. V. Mandana Vastu-manjarl. Vastu-sara. VASTU-SASTRA-SAMARAfrGANA-SUTRADHARA to Bhojadeva) (Attributed -On architecture. (Aufrecht, 647 ibid., part i, p. 568. AN ENCYCLOPAEDIA OF VASTU-SlROMANI VASTU-SlROMANI On architecture. (Aufrecht, another manuscript of the same Syamasaha Sankara. There is title, part ibid., attributed to i, p. 568.) Maharaja VASTU-SAMUCHCHAYA On architecture. (Aufrecht, VASTU-SAMKHYA On architecture, "an part ibid., i, p. 568.) of Todara- extract nanda, very rare, complete and incorrect." (Catalogue of Sanskrit VASTU-SAMGRAHA MSS. in JV. (Attributed to W. P., 1885, part ix, p. 56.) On Visvakarman) archi- tecture. (Aufrecht, part ibid., i, p. 568.) VASTU-SAMGRAHAMU Contains 100 pages, written in Tclugu character, and deals largely with astrological matters concerning architecture. (Mackenzie Collection, by Wilson, p. 171.) VASTU-SARVASVA On VASTU-SARA rati commentary architecture, (Attributed to Sutradhara Mandana) With a Guja(Ahmedabad, 1878), it deals largely with astrolo- There is also another manus- title. (Aufrecht, ibid., VASTU-SARANI is 16 pages. (By Nanjunda Dikshita, published by V. Ramasvami Sastralu and Sons, Madras, 1916. gical matters concerning architecture. cript of same comprises part i, p. 569.) (by Matri Prasada Pande, Benares, 1909) This a manual of astrological details in connexion with the construction of a house, compiled from the following I. Grama-nirnay a, of Naray ana III. Rasi-prakara, of Garga. DaSa-prakara, of Vasishtha. IV. Dik-sadhana, of Bhaskara. II. V. VI. VII. VIII. IX. X. treatises . Sthala-Subhaiubha-kathana, of Narayana. Vastu-pradipa. Rahu-mukha, by Rama. VisVakarma. Pinda-prakara, by Gopiraja. Narada. 648 : HINDU ARCHITECTURE XI. VI$VAKARMA-MATA Dhruvadi-shodasa-gehani, by Ganapati. XII. Griharambha, by Srlpati. XIII. Vastu-ratna-pradipa. XIV. Dikshu-vriksharopana, by Ganapati. VASTU-SARA-SARVASVA-SAMGRAHA a Ganarese commentary) A VIMANA-LAKSHANA On (Bangalore, 1884, with compilation on architecture. architecture. (In possession of Archaka Yogananda Bhatta of Melkota ; Oppert's List of Sanskrit MSS., VI SVAKARMA-MATA Quoted by Hemadri Vol. ibid., n, p. 266.) in Parisesha-khanda (2,817,825,827,828). (Aufrecht, There is ibid., part n, p. 138.) another treatise ascribed to Visvakarman (Rajendralala Mitra, MSS., Calcutta, 1871, Vol. n, no. 731, p. 142), fol. 63, Notices of Sanskrit English paper 9f"X7", copied 1872. None of the manuscripts examined by Mr. Burnell ' is perfect or even tolerably correct.' a treatise on the manual arts attributed to Vivakarma, the divine it is written in the Tantric architect, but apparently a compilation It is ; having Siva for its narrator. The manuscript has been copied for Dr. Mitra from old codex in the Halakanada character in the Library of the Raja of Tanjore. The contents are classified under the following seventeen style, chapters 1 : . Visvakarmotpattih, karma-visesha-bhedena vyavahrita-takshaka varddhakyadi-sabda-vyutpatti. 2. yajnlya-kashthena- 3. Takshakasya garbhadhanadi-sarhskara-kathanarh, garbhotpatti- Satyadi-yuga-jata-narochchata-pramanam, prastarena va deva-pratima nirmane manadi. kathanadi. 4. Siva-lingadi-pratishthartharh sabha-nirmanadi. 5. Graha-pratima-nirmana-pramanam, linga-pltha-nirmana- pramanadi. 6. Ratha-nirmana-vidhi-kathanam. 7. Ratha-pratishtha-vidhi. 8. Brahmi-MaheSvaryadlnam sva-rupadi-varnadi. 9. Yajnopavita-lakshana. 10. Suvarna-rajata-maunjyadi-nirmita-yajnopavlta-kathanam, digmeru-dakshina-sthita-hema-^iladeva-sthapana-prakaradi, bhedena kathanadi. 649 AN ENCYCLOPAEDIA OF VlSVAKARMA-JNANA 1 1 Lakshmi-Brahml-Mahesvaryadi-devindradi-dik-pala-grahadimurti-nirmana-prakara. . 12-13. 14. Mukuta-kirita-jata-mukutadi-nirmana-prakaradi. Sthavarasthavara-simhasana-nirmana-prakaradi, shena kirita-lalata-pattikadi-nirmana-prakara, Devataya punar visemandirasya jirnoddhara-prakara. 1 5 . 16. 1 7 . Linga-murti-mandira-dvaradi-kathana. Pratima-murti-mandira-dvaradi-kathana. Vighnesa-murti-mandiradi-nirmanadi-vidhi. VlSVAKARMA-JNANA by Krishna Sankara Sastri, the This pamphlet treats largely of ritualistic real author is not known) as the such sacrifices, etc., to Visvakarman. matters, (edited VlSVAKARMA-PURANA The title here adopted is that given to the volume on the fly-leaf. No colophon of any kind is met with on the manuscript. It is very incorrect and illegible. It has a Telugu commentary equally unintelligible. It deals with architectural matters. (Egg. VlSVAKARMA-PRAKASA (Egg. MSS., 3153, 2614 ; Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 480.) MSS., p. 1120) also called a course of directions in thirteen chapters, on of the building houses, the making of roads, tanks, etc. and the rites observed on such occasions, purporting to be founded on the revelaVdstu-sdstra It gives tion of Visvakarman, ratha, Parasara, The still further traced back successively to Brihad- ambhu. and following editions of it are published I. This II. This is This is : published in the Srlvenkatesvara Press, Bombay, Khemraja Sri Krishnadasa, in Samvat 1952, Saka 1817. is published without any commentary at by Benares, in 1888. III. a translation of Palaramavilasa Mukula Saktidhara Sarma, Lucknow, The into Bhasha, 1896. topics treated of in the thirteen chapters are the following 1. Mangalacharana. 2. Vastu-purushotpatti-varnana-purvakam-pQjanadika. 3. Bhumi-lakshanam phalarh cha. 5. Griha-praveSa-samaye Sakuna-phala. Khanana-vidhi. 6. Svapna-vidhi. 4. 650 : by VlSVAKARMlYA-SlLPASASTRA HINDU ARCHITECTURE 7. Bhumi-phala. 8. Griharambhe samaya-sudhi. 9. 10. 11. 2. Dhvajadyaya-phalani. Aya-vyayamsadinam phalani. Griha-madhye devadlnam sthapana-nirnaya. 13. Dhruvadi-griha-bheda Dvara-manani. 14. Stambha-pramanani. 15. Grihanam 1 1 6. 17. 1 8. 19. . sala-nirnaya. Griharambha-kala-nirnaya. Griharambhe lagna-kundalishtha-graha-phalani. Sayya-mandira-bhuvana-sudharadi-grihanam lakshanani. Paduka-upanaha-manchadlnam mana-lakshana. 20. Sanku-sila-nyasa-nirnaya. 21. 22. Vastu-deha-lakshanam pujanarfa bali-danam cha. Sila-nyasa (cf. 20 above). 23. Prasada-vidhana. 24. Silpa-nyasa. 25. Prasada-nirnaya. Plthika-lakshana. 26. 27. Mandapa-lakshana. 28. Dvara-lakshana. 29. 30. Vapi-kupa-tadagodyana-kriya. Daru-chhedana-vidhi. 31. Griha-pravesa nirnaya. 32 Griha-pravesa-kala-suddhi Sayyasana-dolikadmam lakshana. . 33. . 34. Pravesa-kalasa-chakradi-vastu-^anti. 35. Durga-nirnaya. 36. Salya-jnanam salyoddhara. Nagara-sarhbandhi-raja-grihadlnam nirnaya. 37. VlSVAKARMA-SAMPRADAYA On architecture, dealing spe- account of the race of architects descended cially with a mythological from Visvakarman. (Egg. MSS. iv, 3 i 5I 2680.) , VlSVAKARMlYA-SlLPA-SASTRA On architecture and cognate arts. Manuscripts Library, Madras, Catalogue, Vol. xxii, no. 13057, on 100 pages of palm-leaf n" X i\" written copied by one p. 8775, Nitla Surappa on Saturday, the 5th day of the bright fortnight of the ASvija (Oriental ; month in the year Jaya). AN ENCYCLOPAEDIA OF VlSVA-VIDYABHARANA The author acknowledges his debt to Brahma, Indra, Maya, Bhargava, Angirasa, Dhruva, Gautama, Gargeya, also cites Manu, Vyasa and Bhrigu. He from Agastya. The colophon runs thus VisVakarma-sastre VisVakarma-mate, VlSVA-VIDYABHARANA etc. This (Attributed to Basavacharya) is a treatise on the duties of artisans, especially members of carpenter (Rathakara) caste. Its scope is limited to the religious duties of the who claims VisVakarma, Visvarupa, and Tvashtri, as It consists largely of quotations from the his divine guardians. Puranas, the Epics, the Sutras, and other works. Of other author- Rathakara, ities may be mentioned Rudradatta's commentary on the Apastamba the Shad-guru Bhashya on the Asvalayana-Samanukramamanika, the Vidyaranya, and the Sarasvatl-vilasa with the commenSutra, tary of Vijnanesvara. (Egg. MSS., v, 3151, 2680 ; Aufrecht, ibid, VEDANTA-SARA part n, p. 138.) contains 79 by Garlapata Lakshanacharya pages, has a Telugu commentary, and treats of the size of images, the proper time for commencing to build, and similar subjects. VAIKHANASA - On It (Egg. MSS., n, 3151, 2680.) architecture. (Aufrecht, VAIKHANASAGAMA See by Hari Prasada (Aufrecht, On i, p. 610.) On architecture. ibid., part i, p. 644.) ibid., part i, p. 647.) architecture. (Aufrecht, SlLPA-GRANTHA part under Agamas. SASTRA-JALADHI-RATNA SlLPA-KALA-DlPAKA ibid., by Bhuvanadeva Acharya (Egg. MSS., 3152, A modern Deva-nagari) short history of the at the It is stated that God at the request given beginning. of Aparajita reveals the theory of constructive art, from the creation 1603 b, work is written in of mundane egg to the erection of a town gate, and the measurements of banners, water pots, and bells in sanctuaries. It is almost identical to (i) Aparajita-prichchha by Bhava ( ? Bhuvana) deva, mentioned in Dr. Bhandarkar's Report (1883-1884, p. 276), and to (2) Aparajita-vastu-sastra ascribed to Visvakarman, mentioned in Dr. Biihler's Catalogue of Gujarat MSS. (iv. p. 652 276). HINDU ARCHITECTURE SILPA-&ASTRA SlLPA-DlPAKA by Gangadhara (B. H. Catalogue, 15, On architecture, printed by Mahadeo B, 6) second edition in 1908, with diagrams of instruments 1 SlLPA-NIGHANTU by Aghore Sastri (Classified Catalogue On 14, Ramchandra and houses, ; etc. architecture. of Sanskrit Works Bhandara Library of Mysore, &ILPA-RATNA G. 14, in the Sarasvati class xix, no. 533.) Srikumara (Trivandrum Sanskrit Series, no. LXXV) under instructions from king Devanarayana of Ambalapuzha in Travancore) Deals with several architectural matters and painting in 46 chapters, compiled from Mdnasdra and other treatises details in the writer's Hindu Architecture in India and Abroad, (see by pp. 176-177). &ILPA-LEKHA On architecture, according to Raya-mukuta quot- ed by Sarvadhara. (Aufrecht, ibid., part i, 647.) SILPA-SASTRA (Egg. MSS., 3148, 3012), ascribed to both Kasyapa and Agastya Contains 276 foil, of which 1-72 marked at the top 251-276, Silpa-Sastram Kasyapeyam,' and Silpa Sastra' This is ! 51-250 Silpa-Sastram Agastyam. apparently a comof and Kasyapa bination of two separate works, Agastya. ; 73-W ' ' ' One copy was at MasuHpatam transcribed (for C. P. Brown) from a Telugu manuscript It consists of extracts from various works on in 1832. idols, shrines, etc. as stated in the following chapters 1. Amsumana-bhede kasyape 2. Umaskanda-sahita-lakshana-patala. parivara-lakshana-patala. 3. Chandra-sekhara-murti-patala. 4. Dakshina-murti-lakshana. 5. Kala-murti. 6. Lingodbhava-lakshana. 7. Nritta-murti. 8. Gangadhara-murti. 9. Tri-purantaka-murti. 10. 1 1 . Kalyana-murti. Ardha-narisvara-murti. 12. Gaja-bhara-murti. 13. Pasupata-murti. Bhakta-lakshana. 14. 15. 1 6. : Bhu-mana-patala. Gramadi-lakshana. 653 AN ENCYCLOPAEDIA OF SlLPA-SASTRA Foil. Ity-agastye-sakaladhikare 151. manasa-grahya-viseshanarii pra- thamo'dhyaya. 181. Iti pancha-vimlati-rupa-bheda. Ity-amsumana-bhede kasyape tala-bheda-patala. 251. 266. Kasyapa uttama-dasatala-patala. 274. J(G)aurI-lakshana-patala, adhama-dasa-tala-pramana. This chapter is incomplete the work terminates abruptly at the end of : the 1 4th verse. In the Oriental Manuscripts Library, Madras, there are more than a dozen manuscripts bearing the title of Silpa-sastra (Catalogue, Vol. xxn, ' 13047, 13048-13056, 13057). Of these two (nos. 13046. to Agastya, and one (no. 13057) to Visvakarman. are attributed 13047) The rest of them are apparently compilations, as they are not ascribed nos. 13046, any author and contain frequent quotations from authorities yapa, Mayamata, Visvakarman, and Agastya. to like Kas- ' another manuscript bearing a slightly different title, Silpa attributed to Visvakarman. The details of this will be found under There ' is Visvakarman. ' There are four other manuscripts bearing the title of Silpa-gastra but containing no information regarding their authors. They are mentioned in the descriptive Catalogue of the Mackenzie Collection by H. H. Wilson (nos. 4-7) No. 4 deals with the construction of temples and images. No. 5 deals with the construction of ornamental gateways. No. 6 deals with the construction of images. No. 7 deals with the construction of images and ornamental work in gold and silver. ' : There ' It yet another manuscript bearing the title Silpa-Sastra.' It deals with the structure of Saiva is attributed to Kasyapa. temples. (See the Catalogue Raisonee of Oriental Manuscripts in the Library of the late College is of Fort St. George by Taylor, Vol. Another work bears a (See the A of Sanskrit Works ' Silpa-sastra-bhushalaya.' in the Sarasvati Bhanddra Library xrx, no. 533.) class ' Silpa-sdstra no. 1585, p. 314.) slightly different title, Classified Catalogue of Mysore, i, by Myen (Maya) is also extant. (See Ind. Ant., Vol. v, pp. 230-293.) Another mentioned. South India, ' ' Silpa-Sastra containing no information regarding its author is (See the List of Sanskrit Manuscripts in Private Libraries of by Oppert, Vol. n, no. 4187, p. 267.) 654 HINDU ARCHITECTURE SUKRA-NlTI SILPA-SASTRA-SARA-SAMGRAHA (Compiled by a son of one Consists of extracts from Sivanarayana) china) works on architecture, and was unspecified ancient (pracompiled in the Saka era 1820. The verses describing the Bhu-lakshana (examination of soil) are same as those given in the Silpa-dlpuka by Gangadhara with a Gujarati translation by Kalyanadasa. SlLPA-SARVASVA-SAMGRAHA A compilation on architecture. (Aufrecht, SlLPA-SAMGRAHA ibid., part i, p. 647.) manuscript covering 429 pages of It deals with the construction 25 lines to a page of paper 13^* X 8") It is and a of temples images. compilation from various sources Visvakarman, Mdnasdra, Mayamata, Agastya, Kdsyapa, notably Paulastya, Ndrada, (a Bhrigu, large Sdrasvata, Diptisdra, Visvasdra, Chitrasdra, Kapinjala-sarhhitd, Brahma-ydmala, Chandrajndna, Manohalya, Kaumudi, Ndrdyana and others. &ILPA-SARA (An incomplete manuscript in the Oriental Manus- Chitrajndnd, xxn, no. 13059, p. 877), containing no information regarding its author (Comprises 76 pages and deals with the descriptive features (dhyana) of gods and goddesses, apparently intended to guide the artist in making images. Madras, cripts Library, Vol. Catalogue, SlLPARTHA-SASTRA On architecture. (Oppert's List of Sanskrit of South India, (Egg. MSS. 3149, written on the fly-leaf in SlLPI-SASTRA is title ' Vaustoo' (Vdstu-sdstra] architecture, with a This manuscript Nagara-khanda added ibid, MSS. Vol. in Private Libraries i, covers 25786) Telugu underneath. and It no. 248, p. 26.) 71 pages Marathi, is ; the with a treatise on Telugu commentary. is of preceded in the same volume by two sections of the the Skanda-Purana, viz. Visvakarmopakhyana, and Visvakarma-varhsanuvarnana. SUKRA-NlTI ture, (ed. and sculpture lowing matters 1 . 2. Jrvananda Vidyasagara) (in chapter iv, sections 4, 6) : Deva-mandiradi-nirmana-vyavastha. 3. Pratima-nirmana-vyavastha. Murtinarh vahana-vyavastha. 4. Ganapati-murti-vyavastha. 655 Deals with architec- and refers to the fol- AN ENCYCLOPAEDIA OF SULVA-SDTRAS SatI (Sakti)-murti-vyavastha. Bala-murti-vyavastha. 5. 6. nirmana-vyavastha, Sapta-taladi-murti-bhavasya Paisachi-murti-vyavastha. 7. 8. Bhagna-pratima-sthapana-vyavastha Utsava-vyapara-vyavastha. 9. 10. Section 6 . : 11. Durga-nirmana (construction efforts, etc.). There are frequent casual references to both architecture and sculpture in other portions of the treatise also. Refers to very &ULVA-SOTRAS The important architectural matters. rules for the size of the various Vedis, the shape and the varia- Brahmanas long before they which the Sulva-sutras are of the manner in which the but portions. But the explanations manifold measurements and transformation had to be managed are tions of the Agni, etc. are given in the are embodied in the Kalpa-sutras of not clear in the Brahmanas. Sulva-sutra Kalpa-sutras, name given to those portions or supplements of the of the measurement and construction of the which treat the is different vedis or altars, the word ' sutra ' referring to the cords which were employed for those measurements. But in the Sutras themselves A Sulva the word rajju is used to express a chord and not the sutra.' ' ' ' Adhyaya or Prasna or Sulva-parisishta belongs to all Kalpa-sutras. treatises the dealing with the measurement, etc., of the Vedis, Among most the two important are the Sulva-sutras of Baudhayana and of Apastamba. Two smaller treatises, a Manava Sulva-sutra and a Maitra- yaniya Sulva-sutra bear the stamp of later times, compared with the works of Baudhayana and Apastamba, which are entitled to the first place by a clearer and more extensive treatment of the topics in question. The of the white Yajur-veda possesses a Sulva-paris'ishta, ascribed to Katyayana, and Dr. Thibaut rightly thinks that there is not a sufficient reason for doubting that it was really composed by the author of the Kalpa- literature sutra. The Sulva-sutras begin with general rules for measuring. In the next fix the right places for the sacred how to describe fires, and how place they to measure out the Vedis of the different sacrifices, the Samiki-vedi, the ' The remainder of the Sutras contains the deso on. construction of the Agni, the large altar built of the tailed description of bricks, which was required at the great Soma sacrifices.' Paitriki-vedi, and construction of altars, wherefrom seems to have developed the Chaitwas probably the beginning of ecclesiastical yas, Dagobas, Temples, etc., The 656 HINDU ARCHITECTURE ULVA-St)TRAS The architectural details of these altars are in- architecture in India. teresting. ' The be constructed in different shapes, the earliest enumeration of which is found in the Taittirlya-sarhhitd (v. 4-11). Following and Apastambha furnish us with full this enumeration Baudhayana particulars about the shape of all these different chitis and the bricks altar could which were employed for their construction.' of these altars1 was constructed out of five layers of bricks, Everyone which reached together to the height of the knee for some cases 10 or 15 layers and a correspondingly increased height of the altar were prescribed. Every layer in its turn was to consist of two hundred bricks, so that the whole Agni (altar) contained a thousand the first, third and fifth layers were divided into two hundred parts in exactly the same manner a different division was adopted for the second and the fourth, so that one brick was never lying upon another brick of the same size and form.' ' ; ; ; The first altar covered an area of 7| purushas, that means, yi square, the side of which was equal to a purusha, i.e., the height of a man with On each subsequent occasion, the area was increased by uplifted arms. ' one square purusha. Thus at the second construction of the altar one square purusha was added to the 7! constituting the first chiti, and at the third construction two square purushas were added, and so on.' But the shape of the whole, the relative proportions of the single parts, had to remain unchanged. The area of every chiti whatever its shape might be, falcon, wheel, tortoise, etc., had to be equal to 7^ square purushas. Thus squares had to be found which would equal to two or more given Chatur-asra-syena-chit so called because it resembles the form of a falcon bricks out of which it is composed are all of a square shape. in the form of a heron (cf. Burnell, Cat. 29, of a Carrion Kahka-chit (2) is the same as Syena-chit except the two additional feet. Kite), 1 (i) and because the (3) Alaja-chit the is same as (2) except the additional wings. an equilateral acute angular triangle ; and the Ubhayatah two such triangles joined with their bases. of Prauga-chit is is in the form of a wheel, (a) a massive wheel (5) Ratha-chakra-chit (4) Prauga-chit is made up without spokes, and (6) Drona-chit a wheel with sixteen spokes. like a vessel or tube, square or circular. (b) is Parichayya-chit has a circular outline and is equal to the Ratha-chakraof bricks which are to be placed in six concentric chit, differing in the arrangement (7) circles. (8) (9) Samuhya-chit is circular in shape and made of loose earth and bricks. Kurma-chit resembles a tortoise and is of an angular or circular shape. (Cf. J. A, S. B. 1875, part 657 ' I, Sulva Sutras ' by G. Thibaut.) AN ENCYCLOPAEDIA OF SHAD-VIDIK-SAMDHANA of two given squares, oblongs were turned squares, or equal to the difference into squares and squares into oblongs. Triangles were constructed equal circle had to be constructed, the to given squares or oblongs and so on. A area of which might equal as closely as possible that of a given square. Diagrams of these altars are given in the Pandit (New Series, June, 1876, Old June, 1874, no. 97, Vols. ix and x, G. Thibaut, PH.D., j. A. S. B., part by May, 1876. in India and Abroad (Plates writer's Hindu Architecture in the i, 1875) and no. Vols. i, i and 1882 iv, ; Series, See also Sulva Sutra xx, a, b). SH SHAD-VIDIK-SAlylDHANA On architecture, chiefly deals with the finding out of the cardinal points which are necessary for the orientation of buildings. (Oppert's List of Sanskrit MSS., SAKALADHIKARA ibid., On (Attributed to Agastya) Vol. n, p. 200.) sculpture, deals with image -ma king. (Aufrecht, ibid., part SANAT-KUMARA-VASTU-SASTRA commentary. The p. 683 ; Taylor, Vol. Contains i, p. 72.) a brief Telugu colophon runs thus iti Sanatkumara-vastusamaptah. It deals with a few architectural last sarvadhikaras sastre i, : topics in eight chapters. (See details in the writer's Hindu Architecture in India (Egg. MSS., m. 3151, 2680 MSS. in Private and Abroad, p. 172.) see also the List of Sanskri ; Libraries of South India, by Oppert, Vol. i, no. 8239, p. 580.) In the Oriental Manuscripts Library, Madras, there are nine incomplete manuscripts of this work (see Vol. xxn, no. 13060-13068, p. 8780 f.). They deal with the following subjects : 1 . Griha-sarbsthapana. 2. Nakshatra-graha-yoga-vidhi. 3. Graha-lagna-vidhi. Taru-tantra-vidhi. 4. 5. 6. 7. 8. Bhu-pariksha-vidhi. Nakshatra-tithi-vara-suddhi. Nakshatra-lagna-phala-dvara-bandha-s"ubha-sthana-nirnaya. Griha-praveSa. 658 HINDU ARCHITECTURE HASTA-PRAMANA Sanat-kumara acknowledges his debt to Brahman, Sakra, Yama, Bhargava, Arigirasa, Maya, Gautama, Garga, Manu, Vyasa, Bhrigu, VisVakarmau, and others (see no. 13060, p. 8781). The same list is a little differently given in no. 13064,; where Sakra is replaced by Chandra, and Maya is omitted. But in nos. 13062 and 13068 is not replaced by Chandra although Maya is omitted. Sakra SARVA-VIHARIYA-YANTRA tectural instruments, (Aufrecht, SAMGRAHA-SlROMANI it is On by Narayana Dikshita archi- and machines. by Saryu Prasad ibid., part As the i, title p. 702.) implies a compilation on architecture and sculpture largely from Vasishtha, Narada, Varaha, Vastu-pradlpa, Visvakarman, Mandavya, Mayasastra, Samarangana-Sutradhara, Sarngadhara and others. SARASVAT IYA-SILPA-SASTRA On architecture. (Aufrecht, ibid., part i, p. 714.) SUPRABHEDAGAMA See under AGAMAS. SKANDA-PURANA See under PURANAS. STHALA-SUBHASUBHA-KATHANA tecture. It deals by Narayana with auspicious and inauspicious On archi- sites for building. (Cf. Vastu-sarani.) H HASTA-PRAMANA Attributed to Visvakarman On architectural measures. (Cf. 659 Vdstu-sarayi.) APPENDIX A II LIST OF HISTORICAL ARCHITECTS WITH SHORT NOTES ON THEIR WORKS * \CHYUTA-An ' A man architect of A.D. 882-917. of Kamboja descent, the son of Rama, whose famous he who name an image of Dhanvatri, an incarnation of the quintessence of learning, a friend of the virtuous, and a bee on the lotus of the heart of his master.' is the Indian As Dhanvatari,' adds Dr. Buhler, Asklepios, the statement that Achyuta was his image, may mean that he was a Vaidya by caste, or that he was a doctor as well as architect.' is Achyuta, was here the overseer, is ' ' (Pehoa Prasasti of the reign of Mahendrapala, v. 23, Ep., Ind., Vol. i, p. 250, footnote 40.) According to Vitruvius (Book i, chap, i, TransL, by Gwilt, pp. 3, 4) the should be a good writer, a skilful draughtsman, versed in geowith history, informed on and optics, expert at figures, acquainted metry architect ' the principles of natural and moral philosophy, somewhat of a musician, not ignorant of the sciences both of law and physic, nor of the motions, laws and relations of each other of heavenly bodies.' But these do not include medicine. ANAKOJA Son of the brazier Marala, of A.D. 1395. Mindoja of Patana made, together with his brother Kaloja, a pillar, (kambha) of bell-metal (weight specified) for a lamp. (Ep. Carnal., Vol. v, part i, Belur Taluq, no. 61, TransL, p. 61, Roman text, p. 135.) ASALA An architect (A.D. 1215, V. S. 1272) who constructed the step-well. (Manglana Stone Inscrip., line 13, Ind. Ant., Vol. xu, pp. 1 1 ; 86, line 9.) 1 This list does not include the mere Stone Masons or Engravers of Inscriptions, nor those architects who are mentioned in treatises like the Puranas, Epics, than the Epigraphical records. Kavyas, etc., which are less historical 66l AHUKA AM ENCYCLOPAEDIA OF AHUKA An architect who built the Siva (The first temple (A. D. 804). PraSasti of Baijnath, v. 35, Ep. Ind., Vol. p. 107.) i, I IDAMORAKA (INDRAMAYt}RA)-ACHARYA Sthapati or architect, the guru of the sculptor Nataka (Nartaka) who made the image of the cobra on the slab on which the inscription is incised. (Banawasi Prakrit Inscrip., line 2 f., Ind. Ant., Vol. xiv, p. 334, notes 20, 23.) IMDARAKA Sutradhara or the carpenter who assisted the chief architect Pahini, the builder of the Mandapa, Akshasama, and Dama of the temple of Bhlmesvara built with stones and bricks. (The Chahamanas of Marwar, no. xin, Sanderav Stone Inscrip. of Kelhanadeva, line 2 f., Ep. Ind., Vol. xi, p. 48.) o ODEYAPPA An ' architect (A.D. 1386). This pillar (dipamale kambha) was made by Achari Ponna-pille's son Odeyappa.' Carnal., (Ep. Vol. ix, Devanhalli Taluq, no. 40, Transl., p. 78.) K KALLAYYA An of Kalloja of Banur, by whom the work of the (bhoga-)mantapa and the writing of this Sasana were done.' (A.D. ' architect, son 1521.) (Ep. Carnal., Vol. vi, Kadur Taluq, no. 91, Transl., p. 16.) KAMAU The architect ' octagonal pillar on the (s~ilpi), son of Visadru, face of who built which the inscription is ' the fifth recorded. (Sharqi Arch, of Jaunpur, Inscrip., no. xxvn Arch. Surv., Imp. Series, Vol. i, p. 51.) New KAMA-DEVA Of (Silawat caste, masons), an a Muhammadan ruler Jallala as one of the architect, appointed by three architects to build a gomatha, a garden, and a step-well in the town of Batihadim. Silapatta-varhsa (Batihagarh Stone Inscrip., v. 12, Ep. Ind., Vol. xii, p. 46.) 662 HINDU ARCHITECTURE KALI-DASI ' GANTEMADANA-BASAVANA A sculptor (A.D. 1140). For Pratapa-Hosala-Narasimha-Deva's sculptor Kedaroja, the sculptor champion over the proud, a thunderbolt to the rock (giri), titled very eminent) sculptor, made the makaratorana (or carved head- Kalidasi, (i.e., piece for the lintel).' (Ep. Carnat., Vol. v, part i, Supplement, Belur Taluq, no. 239, Transl., p.275.) See also reference under BALLANNA. KALAKOJA Son of the brazier Marala-Mindoja of Patana, made together with his brother Anakoja a pillar (kambha) of bell-metal (weight specified) for a lamp (A.D. 1395). (Ibid., Belur Taluq, no. 61, Transl., p. 59, Roman KENCHA-MALLIVANNA The sculptor text, p. 135.) of the image no. 32, Belur temple (A.D. 1120). Belur Taluq, no. (Ib id., 47, Roman text, p. i25,Transl.,p.55.) KETANA A sculptor (see under BALLANNA.) KEDAROJA A sculptor (see under BALLANNA). KEDAROJA A sculptor of Hoysala Narasimha (Ibid., Deva (A.D. 1140). Supplement, Belur Taluq, no. 239, Transl., p. 275.) KUMARAM-ACHARI The sculptor of the image no. 12, Belur temple (A.D. 1120). (Ibid., Belur Taluq, no. 40, Roman text, p. 124, Transl., p. 55.) G GANGACHARI An architect ' The work of this (A.D. 966). temple was done by Gangachari.' (Ibid., Vol. ix, Magadi Taluq, no. 75, Roman text, p. 74, Transl., p. 60.) GANTEMADANA-BASAVANA An architect (A.D. 1539). Those who did the work (Devambudhi tank) Gantemadana-Basavana made the pillars, Komaraiya the ornamental work, the stone-Vedda Chenne-Royi built the stones of the embankment.' ' : (Ibid., Vol. xii, Tumkur Taluq, no. 24, Transl., p. 8, para. 2.) 663 AN ENCYCLOPAEDIA OF (SRI)GUNDAN (SRl)GUNDAN An who temple of the (present) god Virupaksha, originally of Lokesvara, as mentioned in the inscription for Loka-mahadevi, the Queen-consort of the Western architect, built the Chalukya king Vikramaditya, the second. He is called Sutradhari (one who supports ' ' the cause the sutradhara is or carpenter, and the sutradhari is the guru or priest of the carpenter). He is again called the Tribhuvanacharya and also the Sarva-siddhi- Acharya. He and ' stated to be the is creator of conversation refined in many houses, perfect couches, his jewelled crown and crest-jewel. ; cities palaces, and houses vehicles, ; seats, ' (Sanskrit i.nd Old Canarese Inscrip., no. 99, also nos. 100, 101, and 115, Int. Ant., Vol. x, pp. 164, 163, 165, 166, 170-171.) CH CHANDI-&IVA The architect of the ' Harsha temple, the famed Visvakarman, in the art (or son of Virabhadra, omniscient, like He built this delightscience) of building houses (Vastuvidya) ful house of Sarhkara with its chapels (mandapa), the beautiful porch . . . (torana) which contains all the gods, like a portion of heaven by the Creator himself.' made temple, Mr. Dean speaks of a doormost elaborate sculpture, divided into way relieved by an architrave of the twelve compartments, in each of which a group from the Hindu Pantheon ' In his account of the ruins of this occupies a place.' Inscrip., w. 43, 44. Ep. Ind., Vol. n, pp. 123, 124, 128, note 72.) (Harsha Stone Chahadadevapala son's Architect of the grandson (An historical Qutb Minar. memoir on Qutb, by J. A. Page, p. 43, Inscription no. 28.) CHAVANA A son of Dasoja, sculptor of the images, nos. 6, 11, 27, Belur temple (A.D. 1120). (Ep. Carnal., Vol. v, part 39, 45, CHIKA-HAMPA The Roman sculptor of the i, Belur Taluq, nos. 35, text, pp. 124, 125, Transl., p. 55.) image no. 3, Belur temple (A.D. 1120). (Ibid., no. 33, 664 Roman text, p. 123, Transl., p. 55.) HINDU ARCHITECTURE (SRl)-CHEftGAMMA A JAHADA sculptor who ' made this ' image (pra- tima). (Sanskrit and Old Canarese Inscrip., no. cix, Ind. Ant., Vol. x, p. 168, c. i.) CHOLAJANA The sculptor of the image no. 17, Belur temple (A.D. 1120). (Ep. Carnal., Vol. v, part i, Belur Taluq, no. 42, Roman text, p. 124, Transl., p. 55.) CHOUGA A sculptor (see under BALLANNA). CHAUDEVA A sculptor (see under M ALLITAMMA) CHH CHHICHCHHA An architect who built the temple . natha, (A.D. i is called the of Pramatha- Vijnana-visva-karttri-dharmadhara-Sutradhara 116). (Khajuraho Inscrip., no. iv, v. 60, Ep. Ind., Vol. JAKANACHARYA The p. 146.) architect of the temple at Halibid and i, Somanathpura. ' Cf. Jakanacharya is the reputed architect of this magnificent building is also credited with having built all the (Kait Isvara temple), but he similar in style, throughout the district name is said to have built the temples at temples, ... A man of the Madura. Jakanacharya same was a prince who, having accidentally killed a Brahman, employed twenty years of life, with the hope of washing away this great sin, in rebuilding temples between KaSi and Ramesvara (Cape Comorin) so says tradition.' (Ind. Ant., JAftGAMAYA An architect (A.D. Vol. i, p. 44, c. 2, para. 2.) 1538). Chennema-Nayaka-aya had the Yelayur gate built with proper pillars by the hand of Muta-Nayaka's disciple Jaiigamaya.' (Ep. Carnal., Vol. xn, Kumgal Taluq, ' no. 20, Transl., p. 35.) (Silavata) who worked and shaped the stones for the step- well built by the architect Asala (A.D. 1215). (Manglana Stone Inscrip., lines I3~i4> Ind. Ant., JAHADA The mason Vol. 665 XLI, pp. 88, 86, lines 9-10.) AN ENCYCLOPAEDIA OF THODHUKA TH THODHUKA The son of Sammana, was one of the architects fashioned the very lofty temple of Siva with the chisel, as well as who the Mandapa (A.D. 804). (The first PraSasti of Baijnath, vv. 36, 37, Ep. Ind., Vol. i, pp. in.) 107, N NATAKA (NARTAKA) An architect and sculptor, cobra (naga) on the slab on which the inscription Acharya (Sthapati) Idamoraka (Indramayura). is who made the incised, a pupil of (Banawasi Prakrit Inscrip., line 2 f., Ind. Ant., Vol. xiv, p. 334, notes 20, 23.) NANNAKA A son of Krishna, most qualified architect of the temSiva of (Malava era 795, A.D. 738). ple (Inscription from the Mahadeva temple, w. 29, 30, 161, Ind. Ant., Vol. xin, pp. 165, 163.) T TURAVASARI-KALIYUGA-MEYYAN An architect Another grant, by the same man, of lands Kaliyuga-meyyan, who built the temple.' ' (A.D. 1331). (specified) to Turavasari- (Ep. Carnat., Vol. DC, Hoskote Taluq, no. 96, Transl., p. 99.) TH THALU An architect of the temple, an account of which is given in the Behal inscription of Singhana (A.D. 1222-23). (Ep. Ind., Vol. m, pp. in, 113.) D DASOJA Of Balligrama, sculptor of the images nos. 5, 7, 9 of the Belur temple (A.D. 1120). (Ep. Carnal., Vol. v, part 36, 37, DIVAKARA Angar Vat, The master Roman i, text, p. Belur Taluq, nos. 24, 124, Transl., p. 55.) of the famous Vishnu temple, constructed by King Parama Vishnuloka of Camboj. DEMOJA An architect architect ' who made the frame of the eastern door of the structure referred to in the inscription (Ibid., (A.D. ' 1240). Supplement, Belur Taluq, no. 241, Transl., p. 275.) 666 HINDU ARCHITECTURE DEVANAGA ' NAGOJA Crest-jewel of sculptors, built the temple of Siva.' (Ratnapura Inscrip. of Prithvldeva, v. 29, Ep. Ind., Vol. DEVADITYA ' i, pp. 49, 52.) The son of Ahladana (who became) the firm (? professional, permanent, sthira] architect of the Vaidyesa, is famous among the first rank of masons.' (Inscrip. from Dabhoi, vv. in, 112, Ep. Vol. DEVOJA A sculptor (see DHARMA-VANANA i, Ind., pp. 31, 24.) under BALLANNA). Architect of the (An historical Qutb Minar. memoir on Qutb, by J. A. Page, p. 43, Inscription no. 29.) N NANJAY A A sculptor NANA-SALHA (see under MALUTAMMA). Architect of the (An Qutb Minar. historical memoir on Qutb, byj. A. Page, p. 43, Inscription no. 28.) NARA-&OBHA An architect (of A.D. seventh or eighth century). Jambu-dvlpantare kaschit vastu-prasada-tadgatah Nara-sobha-samo vidvan na bhuto na bhavishyati I 1 1 4 There has not been, and there shall not be, in Jambu-dvipa (India) any wise man, proficient in (the art of) building houses and temples, equal to Nara-sbbha.' (San s krit and Old Canarese Inscrip., no. LXI, Ind. Ant., NAMDIKA An Vol. ix, p. 74.) architect. ... the rail (the gift of 'Veyika (Narh)dikena katarfa was made by Narhdika. Cf. (Karle Cave Inscrip., no. 18, Ep. Ind., Koti) Vol. vu, p. 64.) NAGI-DEVA A sculptor. This Sasana of King Harihar was engraved by his orders by the carpenter Sasanacharya Nagldeva, the sculptor.' ' Cf. (Ep. Carnal., Vol. vm, part i, Tlrthahalli Taluq, no. 201, Transl., p. 208, last para.) NAGOJA of Gadugu, the sculptor of the image no. 37 of the Belur temple (A.D. 1120). (Ibid., Vol. v, part Roman 667 i, Belur Taluq, no. 51, text, p. 125, Transl., p. 55.) NAYAKA AN ENCYCLOPAEDIA OF NAYAKA The high-minded son of Asika, who is at the head of the masons, came from Susarman's town, was one of the architects who ' fashioned the very lofty temple of Siva, with the chisel, as well as the Mandapa ' (A.D. 804). (The Prasasti of Baijnath, first Ep, Ind., Vol. i, w. 36, 37 pp. 107, in.) PATU MAN Carpenter (Sutradhara), son of Visaihva, probably on a stone near the first niche on the the builder of the gate where ' ' south side the inscription is found. (Sharqi Arch, of Jaunpur, Inscrip. no. Surv., PADARI-MALLOJA The New sculptor of the Series, Vol. Imp. xm, i, Arch, p. 39.) image no. 21 of the Belur temple (A.D. 1120). (Ep. Carnal., Vol. v, part i, Belur Taluq, no. 43, Roman text, p. 125, Transl., p. 55.) PADU- MANNA A PADUMAYA A PADUMAVI An sculptor sculptor (see (see under MALLITAMMA). under MALLITAMMA). (Sutradhara), son of Sai-Sutradhara, of the right jamb on which the inscrip- architect who constructed the door, tion is written (A.D. 1407). ' ' (Sharqi Arch, of Jaunpur, Inscrip., no. xv, Arch. Surv., Imp. Series, Vol. i, p. 40.) New PAKA An ' Hail (was) ! architect. The house the fashioner of the temple of (the god) SrI-Vijayesvara. of the ornamentation Paka (alarhkara-nirmrnana-kara) of these two pillars of Matibhodamma.' (Sanskrit and Old Canarese Ind. PAHINI Son of the Sutradhara Mahadua and Inscrip., no. cxii, x, p. 170, c. i.) his wife Jasadevi, Mandapa, Akshasama, and Dama temple of Bhimesvara with stones and bricks. the architect of the Ant., Vol. He was who assisted constructed the by the Sutradhara Mahidara and Irhdaraka. (The Chahamanas of Marwar, no. xin, Sanderav Stone Inscrip. 2, 668 of Kelhanadeva, Ep. Ind., Vol. line xi, p. 48.) BOCHANA HINDU ARCHITECTURE PlTHE 'The architect who knows the rules of Visvakarmaii (the means one who knows how to execute every kind of work), planned, designed and executed all the build- architect of the gods, also temple of Siva together with that cloister (matha) with wonderful floors (bhumika), the hall of study (vyakhyana-sala), and laid out that long line of gardens in two rows (adjoining) Samings, the bhu's temple' (A.D. 1155-56). (Bheraghat Inscrip. of Alhanadevi, vv. 36, 27, 1 PAISSANANARA-BIRA The 8, Ep. Jnd., Vol. ii, pp. 13, 17, sculptor of the image no. 16, 9.) of the Belur temple (A.D. 1120). (Ep. Carnal., Vol. v, part I, Belur Taluq, no. 41, Roman text, p. 124, Transl., p. 35.) B BAMAYA A sculptor BALUGA A sculptor BALEYA A sculptor BALLANNA The vellous statues and (see (see (see under MALLITAMMA). under MALLITAMMA). under MALLITAMMA). (Belur Taluq, no. 98, Roman text, informs us that a shrine of the goddess Nimbaja p. 165, Transl., p. 71) was set up in the temple in 1261. The sculptors who executed the marinscription figures on the outer walls of this temple have not given especially names, except here and ones are the the Ballanna, Bochana, Chauga, only there, following Harisha of Tanagundur, Ka.lida.si, of Harisha Odeyagiri, Devoja, on the western side, their : Kedaroja, Ketana, Mabalaki, Machanna, Manibalaki, Masa, son of Kanimoja, and Revoja. (Ep. Carnal., Vol. v, part BIKKAHAPPA The sculptor of the i, Introduction, p. xxxvm.) 36, of the Belur image no. temple (A.D. 1120). (Ibid., Belur Taluq, no. 50, Roman text, p. 125, Transl., p. 55.) BlRANAVA The sculptor of the image no. 22, of the Belur temple (A.D. 1120). (Ibid., no. 44, Roman text, p. 125, Transl., p. 55.) BOGHANA A sculptor (see under BALLANNA). 669 AN ENCYCLOPAEDIA OF BHDTA-PALA BH BHOTA-PALA An Cf. ' This architect. rock-mansion (selaghara), the most excellent one in Jambu- dvipa, has been completed by the setthi Bhutapala from Vaijayanti.' (Karle Cave Inscrip., no. i, Ep. Ind., Vol. VH, pp. 48, 49.) BHOJUKA Of (ilawat caste, who are masons of Damoh), a Sutradhara (carpenneighbourhood ter) appointed by a Muhammad an ruler Jallala as one of the three architects to build a Gomatha, a garden, and a step-well in the and found Silapatta-vamsa in the town of Batihadim. (Batihagarh Stone Inscrip., v. 12, Vol. Ep. Ind., xii, p. 46.) M MANI-BALAKI A sculptor (see under BALLANNA). scion of (the race of) Visvakarman (? of the Brahmana caste, vipra), the builder of the wall of (glorious) Vaidyesa, of the extensive temple, of the gates, of the wings, of the founda- MADANA ' A tions.' (Inscrip. from Dabhoi, w. in, Vol. MANA 112, Ep. Ind., i, pp. 31, 24.) An architect, son of Vijala and grandson of VisaJa he is have built, being assisted by his followers, the famous temple ; stated to of Siva together with many palatial buildings having prominent towers (A.D. 1428-29). Aneka-prasadaih parivritamati prams'u-kalasam girisa-prasadaih anunair anucharaih vyarachayad I Manakhyo vikhyatah sakala-gunavan guna-gana-yuto Visala Vijalasya sutah silpi iti Vijala-sutah sutah Manakhyah sutra-dharakah part, ^An architect who w. 2, 3, Mewad, second Ep. Ind., Vol. n, p. 421.) built the Siva temple (A.D. 804). (The first PraSasti of Baijnath, v. 35, Ep. Ind., Vol. MAYINA The jato I (Chitragadh Inscrip. of Mokala of MANYUKA silpi II i, p. 107.) sculptor of the image no. 31, of the Belur temple (A.D. 1120). (Ep. Carnal., Vol. v, part Roman 670 r, Belur Taluq, no. 46, text, p. 125, Transl., p. 55.) MAHl-DHARA HINDU ARCHITECTURE MALAYA A sculptor (see under MALLITAMMA) MALI A sculptor (see under MALLITAMMA). MALLI-TAMMA An architect (A.D. 1196). ' A newly discovered inscription on a rock . at Sravana-Belgola, mentions a sculptor named Bidigoja, with the honorary prefix Srimart, somewhere about A.D. 900 (Mysore Archaeological Report, 1908-9, p. 15, para. and two other records at the same place, of the date unspecified, 60) mention Chandraditya and Naga-varma as having carved Jinas, animals, ; and other figures for the Jains ' (ibid., Report, 1912-3, p. 32). Hoysala sculptors seem to be those on the at Amritesvara temple Amritapura, built in A.D. 1196. The 15 signatures comprise Mallitamma or Malitama, and Mali, each four times and Padumanna, Baluga, Majaya, Subujaga, Padumaya and Muhana, each once. The last named signs in Nagari character, an indication that he ' The earliest records of the ; came from ' Report seven the north.' for 1913-1914, Plate n, sculptors : contains illustrations of the work of Masanitamma, Nanjaya, Chau-deya, Baleya, Lohita, all from Somnathpur.' Yalamasaya, and Bamaya, (V. A. Smith, Architecture and Sculpture in Mysore, Ind. Ant., Vol. XLIV, p. 94, paras. 3, 4 ; p. 95, para, i.) MALLIYANA The sculptor of the 10, Belur image no. temple (A.D. 1120). (Ep. Carnal., Vol. v, part Roman text, p. i, Belur Taluq, no. 38, 124, Transl., p. 55.) MALLOJA An architect who built the central shrine (garbhathe temple described in the inscription (A.D. 1167). griha) of (Ibid., Vol. vn, Shimoga Taluq, no. 55, Transl., p. 21, line 3.) MASA A sculptor (see under BALL ANNA). MASADA The sculptor of the image no. 33, of the Belur temple (A.D. 1120). (Ibid., Vol. v, part Roman text, p. i, Belur Taluq, no. 48, 125, Transl., p. 55.) MASANI-TAMMA A sculptor (see under MALLITAMMA). MAHl-DHARA An architect, son of the chief of artisans (Sutra- dhara). (Bheraghat Inscrip. of Alhanadevi, v. 37, Ep. Ind., Vol. n, pp. 13, 17.) 671 AN ENCYCLOPAEDIA OF MAHID(H)ARA MAHID(H)ARA An who architect (Sutradhara), assisted Pahini, Mandapa, Akshasama, and Dama of the temple of Bhimesvara which was constructed with stones and bricks. the chief architect of the (The Chahamanas of Marwar, no. xm, Sanderav Stone Inscrip. of Kelhanadeva, line 2, Ep. Ind., Vol. xi, p. 48.) MACHANNA A sculptor (see under BALLANNA). MACHOJA A sculptor and architect (A.D. 1142). ' The man Machoja, the Acharya of Kalukuni-nad, the sculptor Visvakar- ' of the Kali-yuga, built it ( Jinalaya) . (Ep. Carnal., Vol. iv, Nagamaiigala Taluq, no. 95, Transl., p. 138, Roman text, p. 239.) MABALAKI A sculptor (see under BALLANNA). MAMARIYAKCHI-TAMMA A ' son of the goldsmith Bandiyoja ; and roofed a bira-gal, which was made by Alibhanu- he repaired Achari (A.D. 1242).' (Ibid., Vol. in, Mandya Taluq, no. 85, Transl., p. 48.) MUDDOJA A son of Tipaji, a stone mason, (described in the inscription) temples (A.D. (Ibid., ' who built these 1408).' Vol. x, Garibidnur Taluq, no. 59, Transl., p. 226, last para.) MULANA A MODHAKIN sculptor (see under (also called MALLITAMMA). Podhakin) An architect, son of Vara (of the seventh or eighth century). (Further Pabhosa Inscrip. no. i, Ep. Ind., Vol. ii, pp. 480-481.) YAYYA An (otherwise called Jajja) (Further architect. Pabhosa Inscrip. Vol. YALAMASAYA A sculptor (see no. ii, under MALLITAMMA). 672 i, pp. Ep. Ind., 480-481.) VIRANACHARYA HINDU ARCHITECTURE R RAGHAVA An jhadeva, who artizan (sculptor), son of artizan (sculptor) Vlrh- carved the Verawal image (Valabhi Sarhvat, 927). (Verawal Image Inscrip., line 5, Ep. Ind., Vol. in, pp. 303, 304.) RAMA-DEVA engraver of Silpin (artist), son of Rupa-kara (sculptor), the the famous Dhar prasasti (panegyric) of Arjuna- varman. (Dhara PraSasti of Arjuna-varman, v. 76 Ep. Ind., Vol. vm, pp. 117, 98.) REVADI-OVAJJA Of secrets of Kanarese the Sarvasiddhi Acharyas, versed in the masons, probably the builder of the stone Papanatha temple. (Inscription REVOJA A sculptor (see LAKSHMI-DHARA An on Papanath Temple.) under BALLANNA). A.D. 1104). (Nagpur Stone Inscrip., architect ( v. 56, Vol. n, pp. LASE The image no. sculptor of the 35, 1 Ep. Ind. s 88, 194.) of the Belur temple (A.D. 1120). (Ep. Carnal., Vol. v, part Roman LOHITA A sculptor VAMA-DEVA ' (see Famous text, p. i, Belur Taluq, no. 49, 125, Transl., p. 55.) under MALLITAMMA). for having built the temple of the Sun called Mula-sthana.' (Inscrip. from Dabhoi, vv. in, 112, Ep. Vol. VlRANACHARYA(i) A carpenter (see i, Ind., pp. 31, 29.) under STHAPATI) (A.D. 1558).' This copper Sasana was composed by Sabhapati Svayambhu, and the carpenter Viranacharya.' engraved by Virana's son, ' (Ep. Carnal., Vol. ix, Channapatna Taluq, no. 186, Transl., p. 170, last para.) 6 73 (SRI) VIRANACHARYA AN ENCYCLOPAEDIA OF (SRI) VIRANACHARYA(2) the copper plate. The architect (tvashta), who engraved (Krishnapuram Plates of Sadasivaraya, v. 107, Ep. Ind., Vol. ix, p. 339, see more details of this architect under Sthapati.) VlSVAKARMMACHARYA(i) An ' By the abode of all arts, skilled and painter artist (A.D. 776). in painting pictures (sarvva-kaladhara- bhuta-chitra-kalabhijnena), was this Sasana written?' (Ep. Carnal., Vol. iv, Nagamangala Taluq, Transl., p. 136, last para., p. 235, last VlSVAKARMMACHARYA(a) A ' in Skilled all arts including kalabhijnena) wrote the Sasana.' text, lines.) (sarwa-kalantarpati-chitra- Vol. vi, Mudgere Taluq, para., Transl., p. 67, VlSVA-NATHA An two painter (A.D. 749). painting (Ibid., no. 86, Roman no. 36, Roman text, last p. 153.) architect (A.D. 1530). Born in the family of Visvakarma, the architect of the three worlds, VisVanatha, the son of Basavachariya, who was the son of Vodeyappayya. considered to be the Jagad-guru, engraved it.' ' (Ibid., Vol. v, part i, Channarayapatna Taluq, no. 187, Transl., p. 207.) s SAMU ' This must be the name of some writer on architecture.' constructed (the lofty temple of Samu-drishtim anusritya nirmita Siva, by two architects, Nayaka and Thodhuka) in accordance with the ' opinion of Samu ' (A.D. 804). first (The Vol. Ind., SlVA-PALA of Baijnath, v. 37, Ep. pp. in, 107, footnote 72.) prasasti i, A mason, one of whose ancestor is a Sutradhara (carpenter, named Deuka) but another of the same family is Sthapati (architect, named Naga). (From this it would appear that both Sutradhara and Sthapati belong to the same caste and that these are professional titles and not caste namesJ Cf. Asichcha Naga-sthapates tu Durggah Durggarkkato Deuka-sutra-dharah Asyapi sunuh Siva-pala-nama Yenotkriteyarh susubha prasastih I I I I (Vasantgadh Inscrip. of Purnapala, Ep. Ind., Vol. 674 v. 34, ix, p. 15.) HINDU ARCHITECTURE &UBHA-DEVA ' (rupakara), sculptor Siva SAMI(NA) Of Sandilya-gotra, sculptor or architect son of the sculptor Siva-vardhamana, son of the or rather (bhuyah) the Acharya Jnana-siva, who is (A.D. 754) son's ; the disciple of the disciple's disciple at the feet of him, the venerable and worshipful Payo-bhakshin, who had the appellation of ivasasana, (and) who has come here (Pattadakal, a village in the Bijapur district, Bombay Presidency) from the Mrigathanika-hara-vishaya on the north bank of the (river) there has been set Ganga up in gateway (dvara) of his own particular (? style of) shrine, this great stone pillar, which bears the mark of the seal of the trident,' and is octagonal at the upper part and square immediately below. the (?) (Pattadakal Inscrip. of Kirtivarman II, lines 15, 16, 17, Ep. Ind., Vol. m, pp. i, 3, 5, 7.) (KANAKA) SULA-PANI The crest-jewel of the guild of Varendra (Varendraka-silpi-goshthi-chuda-mani), the son of Brihaspati, grandson of Manadasa, and great-grandson of Dharma (end of the artists eleventh century). (Deopara Inscrip. of Vijayasen, Ep.Ind., Vol. v. 36, pp. 311, 315.) i, SATYA-DEVA A son of Pitamaha, a merchant by birth, who was the Karapaka (persons appointed to look after the construction of the temple, Kielhorn, Ind. Ant., Vol. xix, p. 62, note 53), selected by the goshthi to see this work (the erection of the temple of the goddess Kshemarya). (Vasantagadh Inscrip. of Varmalata, vv. Ep. Ind., Vol. SADEVA An ix, from Dabhoi, vv. in, 112, Ep. Vol. called Syamila, or sculptor (Senart). Vardhaki), carpenter otherwise i, Ind., pp. 31, 24.) Svamin-Vadhaki, (i.e., Vadhakina gharasa mugha kata the openthe Vardhakin. made was by Sami, door) (Karle Cave Inscrip. no. 6, Ep. Lid., Samina ing (or pp. 192, 189.) architect. (Inscrip. SAMI(NA) 9, 8, . . . . . . Vol. VH, p. 53.) 675 AN ENCYCLOPAEDIA OF SAMILA SAMILA ' also called A Syamila carpenter. Son of Venuvasa, a carpenter, a native of Dhenukaka^a, made the doorway.' (Karle Cave Inscrip. no. 6, Arch. Surv., New Imp. Series, Vol. iv, p. go.) SAMPULA inscription of c The intelligent artisan,' engraver of the Ratnapura ' crest -jewel of sculptors,' built the Prithvldeva, the temple of Siva (A.D. 1189). (Ratnapura Inscrip. of Prithvideva, vv. 28, Ep. 29, SIGGOJA The sculptor, who made Ind., Vol. i, pp. 49, 52.) the sculpture mentioned in the inscription no. 525. (Ep. Carnal., Vol. VTII, part i, Sorab Taluq, no. 525, Roman text, p. 168, Transl., p. 86.) SlftGANAHEBARUVA The way of anti-grama, architect, ornamented who with built the ' the stone gate- tiger- face' (A.D. 1573). (Ibid., Vol. v, part I, Hassan Taluq, no. 117, Transl., p. 34.) SlftGAYA-BHATTA Rudraya's son, hydraulic engineer (jalasciences (dasa-vidya-chakravartti), made ten master of sutrada), (in A.D. 1388), at the order of the Governor Bukka-Raya, a channel of ten miles from Kalludi to the Siravera tank. An interesting account of his accomplishments is given : Jala-sutra-svara-sastre rasa-vaidye satya-bhashayam Rudraya-singari bhavatah sadrisah ko va mahi-tale surah I II In the science of hydraulics, in divination or telling omens from sounds, in medical treatment with mercury ( ? perhaps alchemy), in speaking the truth, Rudraya's (son) Singari, what learned man is there in the world ' equal to you ? ' (Ibid., Vol. x, Goribidnur Taluq, no. 6, Transl., p. 212, Roman text, p. 259, Preface, p. 2.) The son of Kali, a pandita from the Navamountain passes, cf. Translation, near grama-dranga (watch-station Raja-Tarangini, v. n, p. 291), the sthapati (architect of the tank SlftGALI-KARGI specified). (Shawar Museum Inscrip. of 6, 676 Vanhadaka, line Ep. Ind., Vol. x, p. 80.) HALA HINDU ARCHITECTURE SUBUJAGA A sculptor (see under MALLITAMMA). SKANDA-SADHU The son of Sri-kantha, a descendant family of architects (sthapati-kula) of a . (Sholinghur Inscrip. of Parantaka I, line 21, Ep. Ind., Vol. iv, pp. 224, 225.) H HAR1DASA An architect (Sutradhara), employed to repair the temple of Dakshinaditya (A.D. 1373). Inscrip. of Vikrama Samvat 1429, line 9, Ind. Ant., Vol. xx, pp. 315, 313. (Gaya HARLSHA(i) (of Tana Gundur) A sculptor (see under BALLANNA). HARISHA (2) (of Odeyagiri) A HAROJA A sculptor (A.D. 1243). sculptor (see under BALLANNA). Haroja, son of Honnacharyya, son of Botakacharyya, the equal of Manu, Maya, and Visvakarmma, beloved by all the people and farmers, set up an ' image of the sun.' (Ep. Carnat., Vol. iv, Transl., p. Nagamangala Taluq, 127, Roman no. 55, text, p. 219.) HALA Of Silapatta-varhsa (Silawat caste, masons), an architect, appointed by a Muhammadan ruler Jallala as one of the three architects to build a Gomatha, a garden, and a step-well in the town of Batihadim. (Batihagarh Stone Inscrip., v. 12, Ep. Ind.. Vol. XH, p. 46.) 677 BIBLIOGRAPHY [References (o the quotations are given in full in all cases. No full list of works and authors Certain series and a few authors more frequently referred is, therefore, appended. to are mentioned below. The order is that of the English alphabet, as the names in the following Abbreviated are list titles all English.] Authors and other particulars as referred to By R. C. Mazumdar. By Sir Aurel Stein. II) Anura- By Smitters. Ancient Colonies in the Far East Ancient Khotan (Vols. Architectural I, Remains : . . dhapur. Arch. Surv., New Imp. Series Archaeological Survey, New Imperial Series. Asiatic Researches (Vols. I XIV). en tot-de taal-land volkenBijdragen Kunde van Indie (1918), of Nederlandsche M. Finot, Kern, Vogel. B. E. F. (Vols. I By M. Auroussean. XIV) Buddhist Cave Temples India, Survey of Western Imperial Series, Vol. IV, 'Reports on the Buddhist Cave Temples and Archaeological New their by Jas Burgess, Inscriptions,' LL.D., F.R.G.S. Buddhist India By Rhys Davids. Buddhist Records Translated by Cambodge (Vols. Champa (Vol. I.) C.I.I. I, II, III) By Bill. E. Aymonier. Corpus Indicarum, Vol. Ill, Inscriptionum ' of the Inscription Kings,' by Dr. Fleet. tionum Indicarum, Vol. Gupta Early (Corpus Inscrip' Inscriptions I, of Asoka,' by General Sir A. Cunningham, has not been referred to, neither M. Senart's inscriptions the Indian his French editions in Antiquary, volumes. ference to these from Dr. Epigraphia 679 of the Indica as well ; the as in The only inscriptions edition Biihler's same volumes of different is in re- given the difference in AN ENCYCLOPAEDIA OF BIBLIOGRAPHY Abbreviated Authors and other particulars as referred to titles reading, if any, among the editors has been noted by their names Cun- ningham, Senart, . . . . Corpus Arch. Architecture, Imp. Series (followed by volume, page, etc.). Cock . Fleet's Inscriptions.' of India, New ImVol. xxi, Chalukyan perial Series, Architecture,' by Alexr. Rea, M.R.A.S. Eene Oud-indische stad Volgens het Epos, by Archaeological Survey ' New Surv., Indicarum, Inscriptionum Gupta Chalukyan Biihlcr.) ' F.G.I. C.I.I., . . . . . Dr. J. K. de Cock, Groningen, 1899. Arch. Cunningham, Surv. Re- Archaeological Survey of India Reports, by General Sir Alexander Cunningham. der By Krom. ports. De Periode Sutrantraasche Javansche Geschiedenis (1922). Ep. Carnal. . . . . Epigraphia Carnatica, Ep. Ind. . . . . Epigraphia Indica. 1 The most arbitrary abbreviations of the names of the Taluqs, approximately 100 in the 12 volumes, have not been followed, from first because it seems impossible, Channarayapattana (in the indifferently spelt Channarayaat the top of each page), from Mj., Manjarabad, etc. (see to read, at least for 1 by Lewis Rice. his abbreviation, Cn., me, Introduction, and the table of contents, but ' patna in the title ' Introduction, Vol. v, part I, p. i) ; secondly, 100 such abbreviations will be too These names have, therefore, been tedious for any patient reader to remember. written hundreds of times in full. Again there are as many as 12 kinds of paging sometimes in each part of Contents after one folio of the each volume. Compare, for instance, Vol. in, and one of a plate fly-leaf, one of the names of the Taluqs, ' ' : Preface (page number is not given). is not given). (2) List of illustrations (page number (3) Introduction (1) . (4) List of . . . . 1-36 . the Inscriptions classified in chronological order in Roman characters (5) Text of the Inscriptions .. .. (6) Translations of the Inscriptions Text of the Inscriptions (7) In Kannada characters .. i-ix .. 1-218 ..1-117 : (8) in (9) in . . Grantha and Tamil characters Arabic and Persian characters Addenda et Corrigenda (10) (u) Alphabetical list of towns and villages criptions were found . . (12) Index to Introduction . . .. 680 . . . . . . . . where the . . .. . 1-381 . . 1-32 . . 1-4 1-2 ins. . .. 1-4 i-u HL\DU ARCHITECTURE Abbreviated titles BIBLIOGRAPHY Authors and other particulars as referred to Etudes Iraniennes, torn II Fa-hien's Travels F.G.I. . . . . By Darmesteter. By Legge. . . . Dr. Fleet's Gupta . and East. Fergusson, Hist, oflnd. History of Indian Arch. by James Inscriptions. and Eastern Fergusson, Architecture* D.C.L., F.R.S., M.R.A.S., 1891. Gloss. Grecian Arch. . A . Glossary Roman, G\vilt, Encyd. Terms used Grecian^ in and Gothic Architecture, Anonymous, London, 1838. An Encyclopaedia of Architecture, by Joseph fol- (generally of Italian lowed by the cardinal number of articles and occasionally by Gvvilt, F.S.A., F.R.A.S., 1867. page). H.S.I.I. . . . South Indian Incriptions, By Lassen. . History of Ancient Java (Vols. I, II) Hist, of Arch., Fletcher .. A History of by Dr. Hultzsch. Architecture, by Fletcher, 1908. This is not a solitary instance kinds of paging exclusive of the has ten kinds of paging. ; compare also Vol. v, part I, which bears nine names of Taluqs, and a plate Vol. vn fly-leaf, ; There is yet another difficulty, perhaps the most irritating one, of consulting referring to this extensive work comprising approximately 12,000 pages. Many of the readers for whose service this encyclopaedia is made are not expected to be and It is for this reason, and also for familiar with the various South Indian scripts. the trouble of that I have referred to the Roman readers confusing pagings, sparing text only. But neither the Roman text nor the translation, even of the largest inscrip- o pages of 40 lines to a page (cf. Vol. v, part I, pp. 362, has been numbered by verses, lines, or paragraphs. Consequently, 364, 530, etc.), no one convenient method could be followed in referring to a particular passage tions covering sometimes i Roman text and in the corresponding translation. I might have counted from the beginning of the inscription the lines in both the places (which I have actually done in referring to the smaller inscriptions), but that would not save trouble to readers, as they would themselves be required to count, say, 400 lines twice, once in the text and secondly in the translation. In such cases my references to a particular passage has been given thus ChanEp. Carnal., Vol. v, part I, in the : line . . . Roman or Translation, p. (of that particular page, and not from the beginning of the inscription) naraga-pattana Taluq no. . . . , text . . . > , sometimes from the bottom upwards, stated distinctly in so many words (e.g. line 2 from bottom upwards, instead of saying line 43, i.e. from the top downwards) occasionally it appeared more convenient to say p. 43, para. 7, line 9, instead of ; counting all the lines from the top or bottom of the page. 68l XV ENCYCLOPAEDIA OF BIBLIOGRAPHY Abbreviated tides as referred Authors and to History of Art in Persia Perrot particulars and Chipicz. By By Phayre. By Demetrius Boulger. By W. A. R. Wood. History of Burma History of China History of Siam (1933) The Indian Antiquary. 1 Ind. Ant. Indische Alterthumskunde Chams de Annam L' P. By By by volume, (followed By M. H. Parmentier. (Vols. I, II). Indian Colony of Siam India and Java (Vol. I) J.A.S.B. Lasscn. By monuments InventaireDescriptif des page, oilier N. Bose. B. R. Chatterjee. Bengal Asiatic Society's Jon rnal. etc.). Java and Her Neighbours By A. Javaansche Greschiedenis of Kern, Brandes, Krom, Hindoe. Bom. J.A.S. Br. volume, page, added (followed etc., to indicate jf.A.O.S. (followed and N. new by by S. S. Walcott. Bombay Asiatic Branch, Society's Journal. series). part, page, The- Journal of the American etc.). Oriental Society. 1 In the earlier volumes of this series, pages are divided, not invariably howinto two columns, which are abbreviated thus : Ind. Ant., Vol. v (preceded ever, by the name of the article or the inscription), p. 320, C. i or 2 (=column isi or 2nd), para, i or 2 (where there is more than one), line, say, 7 (of the para., when it followed by any, or simply lines to be counted from the top ; in cases where it appeared more convenient, it is stated thus line 7 from bottom upwards). In is : the earlier volumes the footnotes are not marked by the numerical figures, and so forth ; they are indicated by some inconvenient signs, e.g. *, j, J, was not possible to refer to these notes by any particular inscriptions published in this series have been given three places of reference, namely, one in the table of contents, heading of the inscription in the body of the volume, and a the pages wherein (1) (Ind. name. Some i, 2, of the different titles in three a one as the one on the top of different third example, the following 'Two Prasastis of Nanaka, a court poet of Visaladeva of Gujarata Ant., Vol. xi, contents, at the end of the volume). it is described. Compare, for 3 etc. It : ' Sanskrit Grants and Inscriptions of Gujrat Kings, nos. in and iv, Pra' of Nanaka, a court poet of King Visaladeva of Gujrat (in the heading of the article, p. 98). ' (2) sastis (3) 107). and Inscriptions (on the top of pages 99, 101, 103, 105, have generally referred to the last-named title, i.e. the one occurring Sanskrit Grants I on the top of the pages. 682 HLVDU ARCHITECTURE Abbreviated titles N. J.R.A.S., volume, page, M as referred S. BIBLIOGRAPHY Authors and other particulars by (followed The Journal of Royal Asiatic Society of the Great Britain and Ireland, etc.). South Indian K.S.I.I. Inscriptions, New Series. by Rao Sahib H. Krishnashastri. Inventaire Lajonquiere Tome Dewriptif, II. Le Royaume Actual Tonic I, par Etienne Aymonier. Le Cambodge L'Art de Gandhara (Vols. Le Siam Ancient (Part I) . I) . M. By M. L. Delaporte. By M. Foucher. By Fournereau. The Mdnasdra, edited and K. P. Acharya, translated by PH.D., M.A., I.E.S., D.LIT. Marco Polo (Vols. I, By Yule. II) Mission to the Court of Ava. Monumental and Antiquities Archaeological North-Western Inscriptions, Provinces, Arch. Series Imp. volume, page, Muhammadan Bharoch, Sun., perial Series, Vol. New mental by in the (followed etc., of Burgess, xn, and Antiquities New Im- The MonuInscriptions of India, New ImVol. xxm (Western India, perial Series, The Muhammadaii Vol. vi), on Archaeological Arch. New Survey ' Imp. Series (followed by volume, page, etc.). Surv., ' North-Western Provinces and Oudh,' by A. Fiihrer, PH.D. etc.). Architecture of India, Survey Architecture Dholka, abad in of Bharoch, Cambay, Champanir, and MahmudBurgess. Gujrat,' by Jas C.I.E., LL.D., F.R.S.E. Arch. Mysore Surv. Narasimhachar Report, (followed Annual Report of the Mysore Archaeological Department, by R. Narasimhachar. by year, page, etc.). M. W. A Diet. Sanskrit-English Dictionary, Monier Williams, M.A., 1872. Notes Chinoise L' Inde By M. Nouveaux Translated by Abel Remusat. Melanges Asiatiques by Sir S. Levi. (Vol. II). Pallava Architecture, Rea, Sum., New Arch. Series Imp. lowed by volume, page, (fol- etc.). Archaeological perial Survey of India, Series, Architecture,' by xxiv, Alexander F.S.A. (Scot.), M.R.A.S. 68 3 New Im' Vol. Pallava Rea, BIBLIOGRAPHY Abbreviated 'itles ENCYCLOPAEDIA OF HINDU ARCHITECTURE Aj\ Authors and as referred to Ram Ess. Arch, (of) Hind. on Archaeological Tour with Bunar Field Force. Report rerum Alexandri Magni Serindia (Vols. I, II, III) Sharqi Arch, of Jaunpur, Fiihrcr, Arch. particulars Sanskrit-Worterbuch, Raz, Scritores oilier von Bohtlingk and Rudolf Roth, 1855. Pet. Diet. New Surv, (followed by Imp. volume, Series page, Essay on the Architecture of the Hindus, by Ram Raz, London, 1834. By Sir Aurel Stein (Ind. Ant. 1901.) By C. Miiller. By Sir Aurel Stein. Archaeological Survey of India, New Im- ' The Sharqi perial Series, Vol. xi, Architecture of Jaunpur,' by A. Fuhrer, PH.D., with drawings and architectural descriptions by Ed. W. etc.). Smith. Source of Oxus Vedic Index, Keith. By Wood. Macdonell and Vedic Index of names and subjects, by Arthur Anthony Macdonell, M.A., PH.D., and Arthur Berriedale Keith, M.A., D.C.L., 1912. Ville de Khotan V.S.I.I. By Rcmuset. South Indian Inscriptions, by Rai Bahadur V. Venkayya. Vitruvius (followed by book and chapter) . The ten books of Vitruvius, translated from Latin, by Joseph Gwilt, 1880. Zend Avesta Translated by James Da^mesteta. 684 F.S.A., INDIAN ARCHITECTURE ACCORDING TO , MANASARA-SILPA-SASTRA AND A DICTIONARY OF HINDU ARCHITECTURE Published OPINIONS AND REVIEWS EXTRACTS Of auxiliary sciences architecture Professor A. B. Keith, D.C.L., D.LITT. has at last received expert treatment from Professor Prasanna Kumar Acharya in his Dictionary of Hindu Architecture and Indian Architecture based on a new text and rendering of the Mdnasdra, for which the period of A.D. 500-700 is suggested. Striking similarities between the prescriptions of the Manasara and Vitruvius are unquestionably established. (History of Sanskrit Literature, 1928, Preface, p. xx.) Let me congratulate you on the results of your monumental researches by which you have contributed so much valuable data to the study of this great subject. All students of Indian Architecture are deeply I have read enough to appreciate indebted to you your very E. B- Havell, Esq. -" .... thorough treatment of the subject." Dr. Abanindra Nath Tagore, D.LITT., C.I.E. There are people who assume the role of critics of Art without having previously read a single treatise on Art. Moreover, they consider themselves to be authorities on the subject of Art although may not have acquired the least practical skill in it. There are enough of such people who talk a good deal on matters connected with Indian Art. They have continued to disseminate both within as well as they outside India, a thoroughly inaccurate account of our Indian Art being influenced by their own individual notions. There are others who are keenly anxious to acquire a true knowledge of Art and pursue their subject with a heart full of enthusiasm, by making a study of paintings, images, treatises on Art and the history of the land. Our young friend The two Professor Prasanna Kumar Acharya belongs to the latter category. big volumes which he has published after infinite pains are in the nature of an encyclopaedia embracing all the existing treatises on Indian Art. He has herein presented before us all the information that so long lay hidden and scattered all over the world. IA AN ENCYCLOPAEDIA OF There is a proverb ' What is not contained in the Mahabhdrata is not to be These two books may, on that analogy, be appropriately called the MaMbkdrata of the literature on Indian Art, for, in them we find all that there is to know about Indian Art. I may safely assert that these two volumes are just those that are fit to give a correct account of Indian Art to the world at large. Moreover, this much is found anywhere.' no two books of such magnitude and such merit as these, namely, and Dictionary of Hindu Architecture have ever been published either in India or elsewhere on the subject of Indian Art, after such intensive study and infinite pains. As they are written in English it can be expected that a true knowledge of our Indian Art will now be conveyed to the four corners of the certain that Indian Architecture world. Before one can acquire a thorough knowledge of Indian Art it is essential to make an acquaintance with the ancient books on the subject. Hitherto it has been extremely to be found in be able to read all the connected literature that is whether in India or outside. Everyone of us does not difficult to libraries the language in which the treatises are written. Moreover, most of the In the circumstances, a volume in distant lands. original texts are preserved of this nature, written in English and containing as perfect a compendium as is know treatises on Art, came to be possible, of all the existing feel us but for foreign artists as well. It really makes me a necessity, not only for proud that this stupend- ous task has been accomplished by our young friend, the author. I cannot adequately express the extent to which I shall be able to make use of these two books and the profit which my pupils will derive from them. It is on all these grounds that I feel thankful to the author and wish an extensive circulation of his books. We are expecting a few more such comprehensive volumes from the author on the subject of Indian Art written in the same beautiful style and including sketches of temples and other buildings, etc. in various parts. May the Godof Art be his guide in this great venture. dr.ss (Translated from Pravasi, April, 1928, by B. N. Lahiri, Esq., Mahamahopadhyaya Pandit Ganganatha Jha, These two M.A., i.p.) M.A., D.LITT., LL.D., Vice- books are the fruit of Dr. Chaneellor. Allahabad University several and over the labour learned Doctor deserves extending years Acharya's what and is on more having completed seeing through the congratulations The ideal that he set Press, this monument of his industry and scholarship. before himself is neatly expressed by the sentence appearing as a motto on the What the learned world demand of us in India is to be quite opening page certain of our data, to place the monumental record before them exactly as it ' now exists, and to interpret it faithfully and literally.' The Doctor has acted up There are many of us who have collected and presented before to this ideal. the scholars important data, but very few of us have succeeded in retaining the balance of mind needed for interpreting the data faithfully and literally '; ' and Dr. Acharya appears to have been one of these few. 2A HINDU ARCHITECTURE The Dictionary is a book which is so well done that it appears to be no exaggeration to say that for many decades, it cannot be improved upon, unless, of course, the South reveals to us more hidden treasures. If there is anything to object to, ' it is the title would be a clopaedia of the book, which docs The term fitter title. less ' than justice to ' ' Dictionary is it ; Ency- associated in our minds with word-meanings while Dr. Acharya's work is very much more than Each term is followed by its meanings, mostly technical, word-meaning. an exhaustive account of the subject, and references to standard works of a wide ; range of Thus, it will be seen, the work deserves a better title than fact, Dr. Acharya himself suggested to the London Univer- literature. ' In Dictionary.' the compiling of An Encyclopaedia of Hindu Architecture,' and it appears have been a mere freak of fortune that when the University decided to entrust the learned Doctor with the work of compiling, they chose the term Dictionary ' sity to ' ' ; they appear to have been led to do this by the nature of the usual run of work done by modern scholars who in many cases have the unhappy knack of shirk- ing work ; but in being led away by this prejudice, the University were unfair who has, by this work, more than justified the title that he had to their alumnus, himself suggested. The Dictionary is based mainly upon the second work mentioned above. I have had occasion to deal with the Manasara myself on one or two occasions, and I know how hopelessly corrupt the available manuscripts of the work are and on more than one occasion, I have had to give up the task as hopeless. As ; Dr. Acharya remarks, it is a text which is written in five different scripts, possesses eleven badly preserved manuscripts, has undergone five recensions, and comprises more than 10,000 lines of a language rightly remarked by Dr. Biihler as the 'most barbarous Sanskrit.' To the 'barbarism' of the Sanskrit of Manasara, can bear personal testimony. I was asked to make remember that when, about fifteen years ago, sense out of a few extracts from the work, I had to give up I I Dr. Acharya deserves to be congratulated, therefore, for having succeeded not only in making some sort of sense out of the barbarous ' but evolving out of it a readable text and thereby undertaking and Sanskrit, completing a work that deserves to be accepted as a standard treatise on Ancient the task in disgust. ' Indian Architecture and to be placed on the shelves of every decent library in the country. general reader will be specially thankful for the second smaller volume which supplies full information on the main principles of Hindu Architecture. It is complete in itself, and should be useful to all such students as may not have The the time or the inclination to take up the more voluminous Dictionary. a matter of special gratification to us of the Allahabad University that we have at the head of our Sanskrit Department a scholar capable of doing work which, as a monument of industry and patience, compares favourably with It is the best of that class of scholarly work which has hitherto been regarded as ' German.' (Indian Review, 3A March, 1928.) AN ENCYCLOPAEDIA OF W. Thomas, Professor F. PH.D." The C.I.E.. M.A., immense labour which a literature so obscure and difficult you have undergone and your devotion to I admire your courage and perseverance and will receive their due recognition. where you could not expect much assisyour independence in working in a field tance from others (except in so far as the materials exist in published books). You are now certainly better acquainted with the subject of Indian architecture in the literary side than any other scholar, and no doubt you will often be I hope that the Dictionary will become consulted as an authority on the subject. a recognized work of reference as it deserves to do." Sir la Fosse, c.i E.. M.A., D.LITT., Claude de once D. P. I. and the first Viee-Chancellor of reconstructed Allahabad University." The patience, the labour and the scholarship which you have devoted to these studies through so many years of your life are at length rewarded by the publication of works of permanent value to scholars and archaeologists." Archaeology Dictionary of Hindu Architecture, is really a monumental work, the value of which can hardly be exaggerated. I have no doubt " K. N. Dikshit, Esq., M.A. Your recent publication, the that indologists Deputy Director General of over the world will acknowledge their indebtedness to you for hands such a comprehensive study of the elements of Hindu all in their placing architecture." Acta Orientalia,' Oslo, Norway. Professor Dr Sten Konow, Editor, Many thanks for kindly sending me your two volumes. You are opening up a new branch of research, and the world of scholars will be thankful to you." ' " " We have received your two 0- C. Gangoly, Esq. Editor, Rupam.' I and hasten to congratulate you on your remarkable and books for review scholarly treatises which will remove one of the crying needs of the study of ' Indian Art." Kumar Dr. Prasanna Acharya, who is Professor of Sanskrit at Allahabad University, has followed up his publication of the Sanskrit text and English translation of the Mdnasdra by these two works on the same subject and students ; of Indian architecture should be grateful to him for accomplishing with such thoroughness a task which has been long overdue, and which must have entailed a tremendous amount of patient and often uninteresting work, in a number of The Dictionary of Hindu Architecture contains all the archi- different languages. tectural terms used in the Mdnasdra and in the known Vdstu-sdstras, published inscriptions, and other archaeological records, with full references and- explanations and Indian Architecture is, for the most part, an introduction to the text of the Manasara. The Mdnasdra architecture, and is universally recognized as the standard Hindu treatise on the most complete and probably the oldest one extant, though is 4A HINDU ARCHITECTURE no doubt it had many predecessors. This being so, it is rather surprising that no serious attempt has hitherto been made by modern scholars to edit and elucidate it. It has never before been translated into English, and most writers on Indian architecture disregard it or scarcely mention it. examined a portion of it in his excellent Ram Raz Hindus but Eighty years ago indeed Essay on the Architecture has never hitherto received ; of comprehensive treatment. Scholars were no doubt shy of its technical terms or discouraged by its barbarous Sanskrit, while it must be admitted that the Hindu tradition of pre- the it ' ' senting aesthetic principles as religious precepts and of matter in astrological formulas and mystic ritual embedding scientific puzzling and disturbing to the non-Hindu. Nevertheless, the work deserves far more serious study than it has hitherto received, and not only from antiquaries, for Indian craftsmen of today still is use the formulas of fifteen hundred years ago and the precepts of the still the everpresent guides of the architect and the sculptor. Silpa-saslras are For the Manasara is, apart from its astrology, a practical craftman's handbook, none the less so because its directions are regarded as ritual rules and its classifications seem often arbitrary and fantastic. In it, as always in India, art is a practical affair, a means to a definite end, never unrelated to life and worship. Manasara means the essence of measurement '; and what would now be considered the practical part of the work consists of explicit directions regarding town-planning and the selection of sites, and more especially of minute statements of the mathematical proportions of every kind of building and image. This is not the place to examine the principles on which these proportions are worked The Essay of Ram Raz out, nor are they always easy to follow without plans. was illustrated, and it would have been a great help if Dr. Acharya could have rounded off his work with the addition of a series of well-executed plates. These would have been of especial value in examining what is perhaps the most interesting chapter of Indian Architecture, that in which the treatise of Vitruvius and the Manasara are compared. All that need be said here is that the two works, with all their essential differences, have so many striking affinities (in their classification, for instance, of the orders and mouldings) that we can hardly doubt that the standard Indian treatise was somehow or other influenced by the Roman architect who lived five hundred years or more earlier. Exactly how is another question, the solution of which would establish some important ' conclusions in architectural history. (The Times' Literary Supplement, May 31, 1928.) These two volumes are a valuable addition to the few English books dealing understood principles of Indian architecture and achitectural terms as practised and used by the salats who built the fine old shrines whose with the little ruins remain to display their skill in construction and taste in details. Professor Acharya is to be congratulated upon the result of his labours in the very great amount of careful and painstaking search and the digging out of so much useful material from the vast amount of Indian literature he has consulted. The printers, however, have not turned out the books so well as the subject matter 5A AN ENCYCLOPAEDIA OF deserves. been The numerous and better in smaller type paper is ; lengthy quotations in the Dictionary would have and that of the Manasdra is by no means clean. The poor. not be averse to a few suggestions in the event of a second As ancient Hindu architecture, in its modes of conedition being produced. and details, is more or iess strange compared with a struction, designs, The author may anything would-be student has been familiar with, it would be a very great help if the Dicillustrated with small vignette insertions, showing, for instance tionary were well the different types of pillars, mouldings, etc. " " The Manasdra, or essence of measurement probably written between A. D. which is one of the Silpa-saatras dealing with architecture does not <joo and 700, confine itself wholly to that art, buc, like the others, busies itself with other many the planning of towns, villages, and forts, the orientation of things, such as of kings and their ceremonial rites, the manufacture classification the buildings, of couches, cars and chariots, ornaments, jewels, etc. ' The title would have been better Hindu Architecture, as now Muhammadan. used, includes Measurements are ' since iaid down ' Indian ' for every detail both in architecture and sculpture so it is not to be wondered at that we find such sameness, stiffness and oft-repeated conventional forms in the old in mediaeval work. The advance temples which are still standing, especially work and later influenced into it much that is not of Islam gradually brought Hindu. Of civil buildings very few now remain, and it is on the ancient temples, with a few tanks and wells, that the student has to depend for his practical The Hindu architecture. essence of measurement acquaintance with exactitude where is brought out in all its scrupulous every measurement in a building must be regulated upon one measure that of the side of the shrine ' and nothing is left to the salat to express his own ' individuality. And the measure of the side of the shrine depended upon the length of the blocks that could be obtained from the quarry, for the shaft of every pillar was always a single stone from the top of the base to the neck of the capital it was never built, as a rule, : of more than one stone. Professor Acharya does not confine himself to a description and summary of the contents of the Manasdra, but gives us references to architecture in the ancient epics, the Purdnas and other works and a resume of the contents of many He also ventures upon a long discussion about the similarity other Silpa-sastras. between the Manasdra and Vitruvius, which he appears to think had some con- nexion the one with the other. The index, which is practically a glossary, is good and full. H. C. (J. Dr. Acharya in ing, this though somewhat R. A. S., October, 1928.) book (Indian Architecture) gives us a compact and interesttechnical, treatise upon Indian Architecture in the litera- The standard work upon the subject is the Afdnasdra, and a desthe so to speak, of Dr. Acharya's book. forms kernel, cription of that work ture of India. 6A HINDU ARCHITECTURE The author begins with a general survey of the references to architecture in with Vedic and Buddhist works, then with the Puranas, literature, dealing first Agamas, and other works. In his second section he summarizes the Manasdra and gives shorter accounts in turn of the following works the Mayamata, the Amsumad-Rheda of Kasyapa, the Visvakdrmiyasilpa, the Agastya, the Samgraha, and : Section III deals with the Position of the Manasdra in Literaothers. Here, types of buildings are discussed, measurements, the five orders one or two ture. and the thre e styles. In Section IV, Dr. Acharya discusses the possible relationship between the Manasdra and the well-known treatise of Vitruvius. He deals at length with the similarities not only in contents and treatment, but also in style, between the two ' to attribute works, and declines a particularly interesting chapter. all these affinities to mere chance.' This is Section V, Age of the Manasdra, deals with various indications by which the date of the Manasdra may be approximately fixed, and decides that it must have been written somewhere between A.D. 500 and 700. An appendix treats of certain features characteristic of the language of Manasdra. The book A has an excellent index. ' (A Dictionary of Hindu Architecture) which treats of Sanskrit architectural terms, with illustrative quotations from Silpa-sdstras, general literawill appeal probably to a comparatively small ture and archaeological records work like this ' of students, but to them its value will be very great. Hitherto, there have been no dictionaries, even in Sanskrit, which have fully treated architectural terms, so that the present work, which has entailed enormous labour the author circle tells us that he has gone breaks entirely for his purposes, the term, 50,000 pages of archaeological material Dr. Acharya's work has been the greater since, must include everthing built or consarchitecture through new ground. ' ' tructed, from a royal palace to a sewer, or a garden to a bird's nest. The work is based primarily on the Manasdra, but its sources include all the and those portions of the Agamas and In addition, all the inscriptions which deal with architecture. Puranas, etc., as collections in such Epigraphia Indica, the Indian Antiquary, and Epipublished etc. have been taken into account. graphia Carnatica, architectural treatises of the Vastu-sdstras, Dr. Acharya has arranged his dictionary according to the Sanskrit alphabet. He gives, in English, a concise explanation of each term, followed by quotations its various sufficiently long to make clear the exact connotation of that term in uses. precise references given to passages in such works as the Indian they have a bearing on the subject, but long and adequate quota- Not only are Antiquary, when tions are given. The work is the entry Stambha, for There are two appendices, the first of which tremendously detailed : example, occupying sixty pages. the second, a list of archigives a sketch of Sanskrit treatises on Architecture, and tects. Finally there is an index arranged according to the English meanings of the Sanskrit terms. (Asiatica, 7 A June-July, 1929.) AN ENCYCLOPAEDIA OF A number of Sanskrit works have recently been published, and it had now become necessary to explain the expressions and terms to Europeans who have of late taken an interest in Hindu architecture. A number of European works have appeared but none has existed so far which elucidates these difficult terms. The work (A Dictionary of Hindu Architecture) is conscientiously carried out, as is shown by the fact that the author is not satisfied with merely giving the English terms, but quotes from the Sanskrit contexts in which the words occur. As regards the second work Indian Architecture according to the Mdnasdra-Silpa- an Introduction to his edition of the sdstra But in studying Sanskrit test and English translation which are in preparation. his subject he found the material increased considerably, and he has now produced a volume in crown 410 size of 268 pages. It is most gratifying that Indian the author intended to issue it as by European professors, and Mr. one of them. The work is well divided ; it gives a general survey of architecture from the most ancient times onward it provides a summary of the various treatises on architecture, and finally subjects the Mdnasdra to exa- scholars adopt the great care generally exhibited P. K. Acharya is ; mination. Full references are also provided, and the index alone, beginning a most painstaking performance. Both volumes will be welcomed by the increasing number of workers on page 215, is in and lovers of Indian art. (Asiatic Review, April, 1928.) The indigenous Indian literature on architecture has not received much Ram Raz has published an Essay on the Architecture of the Hindus I am afraid, is very difficult of access, and some works which (London, 1834), attention so far. were edited by Ganapati we knew Sastri in Trivandrum Sanskrit Series. Besides that, at, the portions dealing with architecture in the Purdnas. Now Prof. Acharya has been working on the subject for several years and nd has paid special attention to the principal work, the Mdnasara. In 1918, he he graduated at Leyden with a thesis on this work whereafter he published in the Allahabad University Journal, a paper on its relation to Vitruvius. Now there comes a comprehensive treatise together with a Dictionary of the architectural terms and a survey of the literature, and an edition and translation of the Mdnapromised for a near future. These works are to be greatly welcomed, making as they do, research a new province of Indian literature. sara are The author prove that the Mdnasdra in many respects of architecture as we know it from Vitruvius. tries to classical science is accessible for similar to the Though his de- monstration cannot yet be said to be definitive, yet he has succeeded to show so many coincidences that a connexion can hardly be doubted any longer. How this connexion has come about, the author has not tried to show, and perhaps, too, he has not thought it necessary. For, it is well known long since that classical architecture ment in and fine arts North-West India. have exercised a lasting influence on the developIn that corner, Greeks and their half-breeds had HINDU ARCHITECTURE settled for centuries, century there name* viz. the Peshawar. ' and it seems that in an Indian inscription of the second mentioned an architect (Navakarmika) with a Greek even is dasa Agisala ' of the relic casket of the Kaniska Stupa near On the whole, it is only the edition that will enable us to form an opinion about these many questions raised by the author. But even now we are very much indebted to him, and particularly his Dictionary will be very welcome. It gives not only a copious list of technical terms of architecture more especially those to be found in the Mdnasara, but also circumstantial references to the literature as well as a survey of the indigenous Indian literature relative to the matter, is for the greatest part only available in MSS. which Yet with pioneer work completeness must not be being given to us we shall accept (Deutche Literatunzeitung, 1928 14 Heft German by Dr. Ludwig insisted upon, and what is with sincere gratitude. 660 Extracts translated from the original Alsdorf, PH.D.) " These two volumes, the latter (Dictionary) be indispensable to every student especially, are monumental works, and will of Indian architecture and realia. Only those who work along these lines will realize the great labour involved in the preparation of such books, especially when Dr. A. K Coomaraswamy. they are almost the first of their kind the serious study of the Indian Silpa-sdstra has been too long delayed, and a warm welcome may be extended to the Pro; fessor's undertaking. . . . The following notes, however, are meant to be a further contribution to the an acknowledgment of the value of what the Professor has already and subject accomplished, rather than further criticism." ("Journal of the American Oriental Society, vol. 48, no. 3, pp. 250 fol. This dictionary owes its name to the University of London. A glossary of the architectural terms used in the Mdnasara, the standard work on Hindu architecture, was prepared for the author's private use when he found it indispensable after struggling for two and a half years to edit for the first time and translate into English a text which is written in five different scripts, possesses eleven badly preserved manuscripts, has undergone five recensions and comprises more than 10,000 lines of a language rightly remarked by Dr. Biihler as ' most barbarous Sanskrit.' In this connexion there arose an occasion author to express to the University the opinion that an Encyclopaedia Architectural expressions appear of Hindu architecture was badly needed. throughout the whole field of general Sanskrit literature and the epigraphical records, as well as in the extensive special branch of literature known as Vdstuthe for the more familiarly called Silpa-idstras. Existing dictionaries, in Sanskrit, English, or any other language, do not elucidate architectural expressions ; and the texts of the Vdstu-sdstras have been waiting for hundreds of years to be un- Saslras, earthed from manuscripts which are quite inaccessible without the guidance of a 9A AN ENCYCLOPAEDIA OF in bringing to light many special dictionary that would also be instrumental new things hitherto left unexplained in inscriptions and general literature. University selected the author as the person most immediately concerned entrusted him with the task suggesting that he should ' make a full dictionary and of all achitectural terms used in the Manasara with explanations in English, and The quotations from cognate literature where available for the purpose.' Thus the terms included in this dictionary are primarily those found in the ManaBut all the new architectural terms of any importance discovered in all the sara. illustrative known architectural epigraph! cal documents, and general literature form even a faint idea of the herculean labour in- treatises, have also been added. To volved in bringing out this colossal work a perusal of the preface is necessary. This the first volume published embraces 882 pages, one more volume Indian Architecture according to Manasara Silpa-sastras has been published and two other This dictionary is a veritPress. volumes to complete the dictionary are in the able Encyclopaedia of Hindu architecture. some 3,000 terms, and covers a vast number of topics. Under each term is brought together useful information in the form of a short article, illustrated, with quotations from Silpa-Mlstras, general literature and archaeological records. It is a pioneer work. It is hoped that it may be instrumental in explaining many things hitherto left obscure in inscriptions and in one general literature. Two appendices enhance the utility of the work is a sketch of the on the literature while the other contains appendix given subject, relating to architecture, sculpture It and cognate deals with arts, : histories of ancient works. Indian architects, together with a short description of their is to be congra- Great has been the labour of the erudite author and he on its successful issue, so also the publishers for the volume as regards its printing and general get-up is all that can be desired. It (Indian Architecture) is a handbook of Indian architecture, sculpture and arts. The Dr. Prasanna Kumar author, cognate Acharya, I.E.S., is an Indian Sanskrit scholar who has been trained in Europe in scientific methods of criticism and who has given the substance of a number of printed works and manuscripts, belonging to libraries in India and Europe which have been visited by him. The book gives an account of the architecture of the Vedic, the Buddhist and the tulated classical periods of India up to the Muhammadan age. An interesting feature drawn between the Indian standard work Manasara and the standard work of the Roman architect, Vitruvius. Striking similariEuropean ties are shown to exist between Greco-Roman and Indian architecture. is the comparison (Indian Engineering, January 21 and 28, 1928.) While Hindu Painting and Decorative art Dr. Kalidas Nag, M.A., D.LITT. were hovering between hope and despair as to the chance of gaining occidental recognition (the only recognition that carried weight !) Hindu architecture attracted the notice of all experts by its undeniable grandeur and originality. Ever since the publication of the Essay on published in London Ram the Architecture of the Hindus Raz, by was a there (1834), steady increase in the appreciation of IOA HINDU ARCHITECTURE Hindu style and of the stone epics of India. The monumental studies of Rajendralal Mitra on Orissan architecture, followed by the work of Manomohan Ganguli, have demonstrated that the interest in the subject was growing. The enormous documentation of Cunningham, Burgess, and others of the Archaeological survey challenged the attention of artists and archaeologists all over the world. the But the indigenous tradition of India with regard to the science and art of Architecture did not receive the serious examination long overdue, before Dr. Acharya came forward to devote years of his academic studies to the elucidation of the problems of the Hindu Silpa-sastras. Accidentally coming across a copy of Mdnahe plunged deeper and deeper into the intricacies of Hindu constructional the more baffling were the problems of the texts preserved in the most science sara ' : barbarous Sanskrit,' the more intense became his zeal which ultimately led to the development of this splendid Dictionary the first of its kind of Hindu archiThanks to the comprehensiveness of Hindu masters of the science, tecture. Architecture in the work has been treated in cally everything that its broadcast sense, implying practifrom buildings religious and secular to town- is constructed, planning, laying out of gardens, making of roads, bridges, tanks, drains, moats, Thus the Dictionary of Dr. Acharya etc., as well as the furniture and conveyances. in a volume a first time rich vocabulary hitherto unknown handy gives us for the or only vaguely known. Dr. Acharya has earned the permanent gratitude of all Indologists by collating and collecting not only manuscripts (largely unpublished) but also the epigraphic data scattered in the bewildering documents of Indian inscriptions which have given a sureness of touch and a precision of connotation that are admirable. Dr. Acharya has spared no pains to put the meaning of the terms as much beyond doubt as possible, for he has placed the terms invariably in their organic context by quoting in extenso from the generally Thus the Dictionary will not only react in a wholesome way on inaccessible texts. our accepted notions of Hindu art and archaeology but also on the future compilation of a comparative lexicon of the Hindu technical terms our future Paribhashendu-sekhara. As a pioneer work, it will hold its place high amongst the recent publications of Indology. As a pioneer work again the author, let us hope, will take constant note of friendly suggestions with a view to enhance the scientific value of this lexicon. While comparisons with European treatises on Architecture (e.g. Vitruvius) are interesting it is more useful to make each term shine indubitably out of a comprehensive juxtaposition of pertinent texts found, published or noticed anywhere in India, with a special eye on local peculiarities and their correlation with regional style. Rich materials are of the Trivandrum Sanskrit Series into Tibetan) and in the Gaekwad lying idle in the latest publications or Tantra, translated Manjuhl-miila-kalpa (e.g. Sanskrit Series (e.g. Samarangana-Sulradhara and still So Laufer's Monograph on Chitralakshana seems not to have been utilized. But the more serious omission is perceptible in another field which has furnished some of the noblest specimen of Indian architecture. I mean the field of Greater India where we meet even today Borobudur proclaiming Mdnasolldsa, etc.). IIA AM ENCYCLOPAEDIA OF the titantic architechtonic of the genius Sailendra sovereign of Srivijaya (Sumatra, Java) and Angkor Vat, the soaring Vimana of Vishnu constructed by King Parannavishnuloka of Camboj and designed by the master Architect Divakara. Let us hope that in his next edition Dr. Acharya will enrich his lexicon by incorporating the data imbedded in the epigraphic and monumental documents of Greater India. Two appendices containing enumerations of the important Sanskrit treatises architects, enhance the value of the book. May on Architecture and of historical we request the learned lexicographer to add a special appendix of the techniand names scattered in the various living vernaculars of India where cal terms we find, as in Orissa (cf. Nirmal Bose Konarak), native architects still constructing ace ording to their vernacular Vdstu-idstras or even conserving a rich tradition in bhasd vocabulary (oral or textual). : This volume (Indian Architecture) incorporates the general problems, historical as well as textual, that form the introduction to Dr. Acharya's Dictionary. In the first 30 pages the author gives a tantalising survey of the popularity of Architecture evinced by the Vedic, the Buddhist and the classical literature. We hope that make the treatment more exhaustive. The next hundred pages are devoted to a very useful summari/.ing of the contents of the outstanding Silpatdstras, e.g. Mdnasdra, Mayamata, and such manuals ascribed to Visvakarma, the author will Agastya, Kasyapa, Mandana and others. The comparison instituted between Mdnasdra and Vitruvius may or may not lead to a discovery of the order of that of a Romaka Siddhdnta and Hora-fdstra, yet the similarities are striking. But the most important sections are the author's discussions, relating to the three styles or orders of architecture Nagara, Vesara and Dravida representing the three geographical divisions of India. We recommend the books of Dr. Acharya to all Indologists and expect eagerly the publication of the two supplementary volumes now in Press. (The Modern Review, February, 1928.) (London Correspondent) The two books recently written under instructions from the Government of India on Hindu architecture and published by the Oxford University Press, to be valuable not to the student of architecture, but also to the student ought only of peoples of the world, for architecture expresses almost more than anything else the ideals and ideas a people hold at any given time. For the scholar these two books should be invaluable, as they help to elucidate in architectural terms details of the distant past, that have hitherto been clothed in mystery. The texts of the author states in his preface, been waiting for hundreds of be unearthed from manuscripts, which are quite inaccessible without the guidance of a special dictionary. This is the task to which the author set himself, Vdstu-idstra have, as the years to and those who are competent to express an opinion agree that he has amply his mission and has brought to light many new things hitherto unexplained in inscriptions and general literature. fulfilled ISA HINDU ARCHITECTURE The second book is a handbook of Indian architecture and deals with the Vedic, Buddhist and classical periods up to the Muhammadan times. Today there is in Great Britain an ever-increasing number of people to whom such books appeal, probably because of the work of the India Society and kindred who have stimulated thought in this direction by persistent effort. It is, that the books will find a considerable therefore, likely present reading public here as well as in the East. bodies (The Dr. Beni Prasad, PH M.A., Dr. P. K. D., D.SC. Leader, February 24, 1928.) Acharya attempts to offer Hindu the results of his twelve years' study of architecture in four volumes, two of which have just been published while the other two may soon be expected to see the light. They ar e based on Mdnasdra, the standard authority, on a number of minor works and a host of chapters or references, legal, religious, and general literature, as well as monument i The nscriptions. Dictionary, in particular, a pioneer work, and systematic arrangement. In words in the no one but those who have taken part in similar labours, preface, quoted can at all realize the amount of tedious toil, I might almost say drudgery, involved in doing everything single-handed, collecting the quotations and verifying references and meanings, making indices and lists of words, sorting and sifting an everincreasing store of materials, revising old work, arranging and re-arranging new, correcting and re-correcting, writing and re-writing, and interlineating copy, till reams upon reams of paper have been filled, putting the eyesight, patience and temper to a severe trial.' The series is addressed to scholars and advanced is a of diligent research ' students but all interested in the scientific study of fine arts in general will find The Hindu Silpa-idstra or it Hindu culture or in that of instructive. Vdstu-sdstra is a comprehensive but by no means kinds of buildings, town-planning, gardens, unsystematic study. and and market-places, ports harbours, roads, bridges, gateways, etc., wells, tanks, trenches, drains, sewers, moats, walls, embankments, dams, railings, etc., It deals furniture like bedsteads, with all couches, tables, chairs, baskets, cages, nests, mills, and ornaments such as chains, crowns, The dominant topic, however, is architecture headgear and foot- and arm-wear. and the plan and erection of religious, residential military edifices and their The science which like the auxiliary members and component mouldings. Dharma-sdstra, Artha-sdstra and Kdma-sastra, professes to derive its first origins from Brahma himself, developed in the course of centuries and reached its culmination conveyances, lamps, etc., and even dresses about the sixth century A.D. in the great the name of its treatise called Mdnasdra probably after author. in the domain of Hindu history it is difficult to determine far the theoretical descriptions in literature correspond with the practical close comparison of architectural precepts with the details of realities of life. Here as elsewhere how A ISA AN ENCYCLOPAEDIA OF archaeological finds and the narratives of foreign visitors like Yuan Chaung (seventh century A.D.) suggests that the former, while not literally true to facts are largely based on practice. It is interesting to infer that in ancient India in spite of all the other worldlincss of philosophers maintained afford a high standard of and living. spiritualists, those who Thus from a passage could in the Buddhist work Chullavaggti, VI, 4, 10, we learn that houses comprised dwellingrooms, retiring-rooms, store-rooms, service-halls, halls with fire-places, closets and cloisters, halls for exercise, bath-rooms and sheds, wells and ponds, sheds halls attached to them. for and open-roofed wells Of hot-air baths the following Davids on the basis of the Vinaya description was given by the late T.W. Rhys Texts III, 105-110, 297. They were built on an elevated basement faced with brick or stone with stone stairs leading up to it, and a railing round the verandah. ' The roof and walls were of wood, covered first with skins and then with plaster, the lower part only of the wall being faced with bricks. There was an antechamber and a hot-room and a pool to bathe in. Seats were arranged round a middle of the hot-room and to induce perspiration hot water was the leathers.' Again, as we learn from the Dlgha Nikdya, there were from poured air bathing tanks, with flights of steps leading to the water, faced entirely open with stone and ornamented with flowers and carvings. It is needless here to fire-place in the enter into the details of domestic furniture but it is interesting to note, inter alia benches were made long enough to accommodate three persons, that couches were covered with canopies, and that there were several types of Asandis, such as sofas, armed chairs and cushioned chairs. that The plan for its of a village, outlined in the ninth chapter of Manasdra, is theoretical do not tally with any of the realistic descriptions by Greek, Chinese details or Arab visitors. None the less, it is instructive. A village, we are told, should be surrounded by a wall or stone pierced by four main gates which should be connected by roads. The villages should thus be divided say into four principal A highway should also run round the village and public buildings be blocks. located on it. The whole inhabited area should be well-supplied by ponds and tanks. Caste which influenced all life and thought in ancient India did not leave town-planning untouched. It is proposed that the best quarters should be reserved for the Brahmans and that the Chandalas should live outside the limits of the village. In the interests of sanitation and decency it is laid down that the temples of and places for cremation should be situated outside the walls. Everywhere drains should follow the slope. The tenth chapter of Manasdra fearful deities sicetches, plans for towns on similar lines, making special mention of parks, common shops, exchanges, temples, guest-houses, colleges, etc. and giving elaborate direction for their construction. It is impossible even barely to touch the fringe of the vast subject in the course of a short review. Those interested in this highly important aspect of ancient Indian culture will do well to consult Dr. Acharya's detailed, well-documented and scholarly productions. (The I 4A Leader, December 4, 1927.) HINDU ARCHITECTURE Notable publications by the United Provinces Government All students of Indian Art in England, and a good many in India, should be excellent books. They contain the grateful to the U. P. Government for these of the labour of an Indian Educational Service officer, who has spent about 12 are stupendous. years on these works which, to say the least, of the Hindus by Ram Raz published Except for an essay on the Architecture fruits in 1 834, no attempt till now was made to present the Ancient Indian Architecture and methodic way. To Professor Acharya, therefore, goes the credit of exploring this field of knowledge like a pioneer worker, and of bringing to light a branch of ancient Indian culture which contains interesting, even rather in a scientific, clear, fascinating, materials. A Silpa-sastra or Vdstu-sastra, much wider than and residential, Secondly, places ; it which military, and conveyed by ' the English term. It denotes their auxiliary implies town-planning making Wise Term is roads, bridges, gates ; ; the term all sorts ' architecture,' of buildings, is religious, members and component mouldings. laying out gardens ; constructing marketdigging wells, tanks, trenches, drains, sewers, ; building enclosure-walls, embankments, dams, railings, ghats, flights of steps for hills, ladders, etc. Thirdly, it denotes articles of house-furniture, such as bedsteads, couches, tables, chairs, thrones, fans, wardrobes, clocks, baskets, conveyances, cages, nests, mills, etc. Architecture also implies sculpture and deals moats with the making of phalli, idols of deities, statues of sages, images of animals and It includes the making of garments and ornaments, etc.' birds. Professor Acharya has divided his Indian Architecture into five parts which give us a very clear idea of the subject, its authorities and all that is generally required for a quick apprehension of the subject. General Survey In Part I Professor Acharya gives a general survey of the whole range of ancient that the authors of the Vedic literature were not Indian literature and bears out walled of cities, stone-houses, carved stones, and brick edifices.' stone-forts, ignorant The relics of Mahenjo-daro and Harappa unearthed by the Archaeological De' partment under the able guidance of Sir John Marshall give the same evidence of a time much earlier than the earliest Veda. The Buddhist and Jain literature is replete with reference to buildings, furniture and sculpture of a very high ordci, The classical Sanskrit literature bears the testimony of a very well-developed have an elaborate description of Silpa and some of the Agamas whose main objects is to inculcate the mystical worship art in all these respects ; several Puranas ' of Siva and Sakti ' devote considerable attention to architecture. The Manasdra In Part II he gives a very detailed summary of the Manasdra which is his main study as also brief accounts of several other works of well-known authorities but which lie buried still in manuscript form. The Manasdra contains seventy ' the first eight are introductory, the next forty-two deal with chapters, tectural matter, and the last twenty are devoted to sculpture.' I5A archi- AN ENCYCLOPAEDIA OF Here we have what claims art as its subject. effort of the kind, and to have taken the whole manifestation of architectural moment, perhaps the most ambitious and the author has spared no pains to make his work as complete It is up to the present as illustrative as possible. Part III described the position of Mdnasdra in Hindu literature and gives certain interesting facts. The styles are fully described and discussed. We are told that, according to Mdnasdra there are three of them, Nagara, Vasara and Dravida, and that they apply both and to architecture sculpture. Comparison Part IV compares Mdnasdra with the well-known treatise of Vitruvius on architecture which belongs to the first century before Christ. Professor Acharya methods of criticism in Europe and in this part of the The comparison is thoughtreasoned and The balanced. conclusions are cautious and well-supported. ful, The author has clearly shown that there are undeniable similarities between the two standard works and that their affinities do not seem to be accidental.' He has wisely left the question of the debt of one author to the other or of both to has been trained in work we scientific find a considerable scope for this training. ' some common it In the present resources of our knowledge source, quite open. impossible to arrive at a more definite conclusion. In Part he collaborates in a scholarly way both the internal and external is V evidence for arriving at correct age of Mdnasdra. Here we have ample evidence of Professor Acharya's unrivalled grasp of the subject, his critical acumen and of his indefatigable industry and enthusiasm in having ransacked the whole of the ancient Indian literature covering thousands of pages in print and in manuscript. ' The evidence submitted above would warrant the extent of the period of the Mdnasdra from A.D. 500 to 700 by no means an unwarranted conclusion. ' Defective It is regrettable that Language the language in which this important work has been ' ' barbarous Sanskrit very defective and faulty and has been termed authorities like Dr. Biihler and Dr. Sir Krishna Bhandarkar. It is all the found is by more creditable Ram have taken pains and construed the text Acharya In the the learned author has given us some idea of the correctly. appendix defective language by collecting together the irregularities. Professor Acharya's Dictionary of Hindu Architecture is a monumental work, the It deals with three thousand words relating to architecture and first of its kind. and cognate arts. Under each term is brought together all the necessary sculpture in informations the form of a short article illustrated with copious quotations from the ancient printed books as well manuscripts, the general literature and the archaeological records. And this has been done with a thoroughness and accuracy which are the author's own. Full quotations for bringing out each and every shade of the meaning of a word are given, in effect the Dictionary becomes more of an Encyclopaedia rather than a. Dictionary. The learned author for Professor to has laid the scholars and the general public under the deep debt of obligation by removing a long-felt want. (The l6A Pioneer, February 13, 1928.) HINDU ARCHITECTURE (London correspondent) Dr. Prasanna Allahabad, is Kumar now Acharya, I.E.S., Professor of Sanskrit in the University of recognized as one of the leading Indian authorities on his special He has recently subject, particularly in its relation to ancient architecture. written, under instructions from the Government of the United Provinces, two books that should be of considerable value to students, namely A Dictionary of Hindu Architecture and Indian Architecture according to Manasara Silpa-sastra both published by the Oxford University Press. The U. P. Government have borne the expenses of both publications, which will be regarded by scholars as a contribution of This the permanent importance in the elucidation of the subjects discussed. not the place in which to give a lengthy review of these two volumes of which runs to 861 pages. This book is a monument of erudition and is first A man who patient industry. immersed in his subjects. can produce works of order must be wholly this Existing dictionaries, in Sanskrit, English, or any other language, do not elucidate the architectural terms of a long distant past, and without such a survey as Dr. Acharya has undertaken there could be no proper appreciation of the ancient genius. The texts of the Yds tu-s astro, have, as the author stated in his preface, been waiting for hundreds of years to be unearthed from manuscripts which are quite inaccessible without the guidance of a special This is the task to which the author has addressed himself, and those dictionary. who are competent to express an opinion will agree that he has brought to light new things hitherto left unexplained in inscriptions and The other work which is somewhat less voluminous, is general literature. a Handbook of Indian Architecture, Sculpture and cognate Arts. It gives an account of the architecture of the Vedic, the Buddhist, and the classical periods of India up to the Muhammaage. Such a work should be of great interest to those in this country, as well as in the East whose attention has been drawn to these subjects by the publication dan of the India Society and kindred bodies. There is quite a large constituency nowadays to which works of this character, dealing with the ancient arts of India, afford a real attraction. An interesting feature of Dr. Acharya's present is the comparison which he draws between the Indian standard work, Manasara, and the European standard work of the Roman architect, Vitruvius. The book might have made a more popular appeal if the text had been interspersed with a few illustrative re-constructions in plans or drawings, of the architectural study features described. This, however, Rather was not the purpose of the author. to provide a fount of information from which future seekers may gain knowledge of an art which can never entirely lose its place in human records. it was What the learned world matters, and demands from India is certainty of data in these has been undoubtedly supplied by Dr. Acharya's researches. In these volumes, and in others that arc still in the press, he has illumined a comparatively unknown branch of Sanskrit study, and the fruit of his long and arduous labours will assuredly be of abiding value to scholars everywhere. this The Madras, February 23, 1928 ; Tribune, Lahore, February, 28, 1928 ; (The Hindu, The Hindustan Review, April, 1928.) AX ENCYCLOPAEDIA OF Extract from the Annual Bibliography of Indian Archaeology, 1928, p. 61. 150. *[Dr. Prasanna Kumar ACHARYA: A Dictionary of Hindu Architecture. Oxford University Press: 1927.] See An. Bill. I.A., 1927, no. 124. Reviewed Rupam, nos. 3536, July-Oct. 1928, pp. 39 44, by Akhay ... a valuable Kumar MAITRA. FRAS, 1928, pp. 943f., by H. C. The printers, however, careful and painstaking search addition : : . . . . . . have not turned out the books so well as the subject matter deserves." The "The work Asiatic Review, 1928, p. 349: ..." & L., vol. II, pp. g6f., by Ind. Art. monument of research patient which is conscientiously carried out a E. B. HAVELL "... : be of invaluable help for the will student." Dtsche Lit. Arbeiten tg., draft' . und was uns gegeben entegennehmen." . : . " RAA, 1928, pp. Asiatica, vol. I, Pioneer, by Jean BUHOT ouvrage teis digne il n'est edition ulterieure ne douteux temps pas qu'une 5&f., mame en d'eloges 1'amdilore." : The "Bei Pionier659661, by Sten KONOW auf Vollstindigkeit nicht Anspruch machen, wird, werden wir mit aufrichtiger Dankbarkeit 1928, columns man : . . . pp. 225f. Allahabad, i3th Febr. Cp. 1928. below COOMARASWAMY, no. 162. 151. to *[ Dr. P.K. ACHARYA, Mdnasdra-Silpa-sdstra. I.E.S., Indian Architecture according M.A., D. LITT.: Oxford University Press : 1927.] See An. Bibl. I. A., 1927, no. 125. Reviewed : Rupam, Kumar MAITRA. nos. The 35 36, July-Oct. 1928, pp. 33 44, by Akhay reviewer offers some criticisms while acknowledging the great merits of the work. a valuable addition . . FRAS, . 1928, pp. 943945, by H. G. '' . : . . ." The Asiatic Review, 1928, p. 349: "It is most gratifying that Indian scholars adopt the great care generally exhibited by European professors, and Mr. P. K. ACHARYA is one of them." Ind. Art. and L., N. S., vol. II, pp. g6f., by E. B. HAVELL : . . . a safe foundation for future historians of Indian architecture." RAA, 1928, p. 57, by Jean BUHOT : cieux." ISA "... ouvrage tres conscien- INDEX ASSEMBLY HALL (ayatana), 59 432 manclapa), ABODE (vis), 59 (avasatha), 63 321; (bhavana), 380; (ayatana), (pratishtha), 464 ADYTUM ; ; (stha), 577. ; 145 (garbha), [garbha-gc ; (-rl)ha], 146. ALMS HOUSE (satra), ALTAR (chaitya), 176 511. ; (bali-pitha), 366 ; (vedi), 471. AMPHITHEATRE (prckshagara), 364. ANTE-CHAMBER (anusala), 38. ANTE-CHAMBER OF A SHRINE (aiitafitamandapa), 40. ANTE-CHAMBER WITH ONE OR MORE CLOSED SIDES APARTMENT APARTMENT THE ROOF (attalaka), 12. APEX (sikhara), 490. ARBOUR (mandapa), ARCH , (turiga), (tvashtri), 215. 223 (vardhaki), ; ARCHITECTURE (vastu), 456. ARCHITECTURAL MEMBER (makarala), 389. ARCHITECTURAL OFFICE (avesana), 64. ARCHITRAVE (pada), 303 (padaiiga), ; ATTIC ROOM (kQta-sala), 129; (chuliharmya), 175. AUDIENCE HALL (asthana-mandapa), 67, AUDITORIUM (prcksha-griha), 3().j. (-mandapa), 395. ; AUSPICIOUS CEREMONY (grilia-mahgala) , 151. AVIARY (kapota-palika), 100. B BACK DOOR (plaksha-dvara), 365. BAGNETTE (hara), 612. BALANCE (tula), 216. BALCONY [alinda(ka)], 46 (andhara), ; (nishkasa), 284 446, (vadhu-nataka), ; 449 [va(ba)labhij, (bhrama- ; linda), 389. BALUSTRADE (alambana), 62 (alambana(vedikabahu), 62 (pada-vcdi), 304 ; ; ; BAND (anghrika-vari), 12 (bandha), 366; (rakta-patta), 431. (yantraka), 431 ; ; BANNER (jayanti), 184. BAR ATTACHED TO THE THRONE (kokil- argala), 131. BASE (OF A COLUMN) (aksha), i (alambana), 62 (uraga-bandha), 90 95 (kampa-ban(kaksha-bandha) 102; (kalasa-bandha), no; dha), (kukshi-bandha) 120 (kuttima), 121 (kumbhaka), (kumuda-bandha), 126 127 (kumbha-bandha), 127 (kumbhalankara), 127 (charu-bandha), 173 (janman), 183 (patta-bandha) 291 (padma-kesara) 297 (padmabandha), 298 304 (paduka), (pindl), 306 (pada-bandha), 304 313 (prati(pushpa-pushkala), krama), 317 (prati-mukha), 319 ; ; (kumarl-pura), ARM-CHAIR 67. vatapana), 474. 448. 34ARENA (samiti), 517. ROOM (asthana-mandapa), ASTRAGAL, (hara), 612. ATTIC (karna-kuta), 105. 53 (chitra-torana) 174; (jana-chapa216 ; (patra183; (torana), (makara-torana), 389 ; torana), 294 ; (vyala-torana), 476. ARCHITECT (rariga- ; 395. kriti), ARCHED ROOF ASSF.MBLY 46. (ardha-sala), (uvaraka), 92. ON ASSEMBLY HOUSE ; (samsad), 520. ; (satahga), 483 ; , 125. (sattariga), ; ; ; , ; ; ARMLET (keyiira), 130. ; ARMPIT OF AN IMAGE (kaksha), ARRANGEMENT (samsthana), 95. 520. ARSENAL (sastra-mandapa), 483. ARTISTS (silpi-lakshana), 494. ASCETIC (arsha), 62 (muni), 425. ; ASSEMBLY (pratisraya), 320. ; ; ; ; , , ; ; ; ; ; ; ; ; ; INDEX BRACELET, (kataka), 95 (pushpaka), 313. BRACELET LIKE ARCHITECTURAL ORNAMENT, (katakakara), 96. BRACKET (nasika), 280 (pranala), 316. BRAHMAN- VILLAGE (agrahara), 2. BRAIDED HAIR (kalapaka), 112. ; (mancha-bandha) 390 (mula-sthana), (ratna(rakta-bandha), 432 426 (vajra-bandha), 445 bandha), 434 (srl-bandha), 447 (vapra-bandha), 498 (sVi-bandha-kuttima), 498 ; ; ; ; ; ; ; ; ; (sreni-bandha), 500. BASEBORN (ugra-jati), 69. BASEMENT (adhisthana), 15 52 ; 183 (adhara), ; (janman), 150 ; (janma-nirgama), 183. (griha-pindi), ; MOULDINGS (maha-patta), (rakta-kampa) , 431. BASIN (karoti), 103. BASE BASKET (karanda), 103 416 (majjanalaya), 390 593. (hara), 612. ; (tula), ; (tula- ; 611. BED [talpa(ka)], 194. BED-CHAMBER (sayana-mandapa), 4.83 ; (sringara-mandapa), 497. ; (rahasya- vasa-mandapa), 436. BED-ROOM OF DEITIES (kamya), BED-STEAD (asana), 64 (kumbha-pada), 127 115. (kakashta), 115 ; [khattaka(-tta)], 136 ; (khatva), 136 ; (nishadya), 284 ; (pallarika), 303 ; (phalakasana), 365 ; (bala-paryanka), 371 ; (mancha), 390 ; (manchali), 390. ; 120 (kesara), 130 ; ; (proshtha), (khadga), 136 ; 365. SCREEN (andhara), 53. BLUE LOTUS (pushkara), 312. (griha-raja), 156 ; [gopurakara (-kriti)], 162 ; 161 ; (geya), 167 ; (ghata), 170; (chatur-mukha), (chatur-asra), 170; (chakra), 170; (chakra-kanta) , 170 ; (chandita), 170 ; (charuka), 173; 175 ; [chauchala (-vadi)], (chhanda), 181 ; [jagata, (-ti)], (janaka) 183; (jajna-kanta), 183 ; (chulli), 80 ; 182 ; 1 187; (jati-harmya), 188; (jyotish193 ; (tapash-kauta), kanta), 191 ; (jati), (tri(tri-vishtapa), 223 (tauli), 222 [danda (mana)], 223 ; bhumi), 223 (dasa-kanta), 225 (dandita), 224 (nandana), 255 (dharana), 246 (nandika), 257 (nandyavarta), 256 257 (paksha(nandi-vardhana), 288 (panjara-sala), ghana), 287 292 (padma), 296 (pandi-sala), (panchala), 303 (parvata), 303 ; (prithivi-dhara), (pundarika), 310 ; (pushpaka), 313 310 ;' (puri), 312 325 (prabhava), 323 ; (prapa), (prasada-malika), 327 (pralinaka), (bhadra), 364 (brahma-kanta), 375 (bhu(bhavana-kanta), 380 378 383 (bhu-dhara), kanta), 383 (bhupa-kanta), 383 ; (bhoga), 388 ; ; ; ; ; ; ; j ; ; ; BOAT BOLT 131 (vahana), 451. (indra-kila) , ; (ghatana), BOLT FOR 67 (kokilargala), 170. FASTENING ; ; ; DOOR (argala), ; ; ; ; 44- BORDER OF A CLOTH (nipya), BOUNDARY (antima), 42. BOUNDARY MARK (kadanga), Box (manjusha), 391. ; ; ; BLIND 131 [kailas(s)a], ; (kshema), 143 ; (gada), 141 ; (gaja), 136 ; (garutman), 145 ; (guva-vriksha), 149 ; (guha-raja), 149; (griha), 150; (griha150 ; (griha-chulll), 150 ; kanta), (kona), 131 ; BEEHIVE LIKE ORNAMENT (karanda), 103. BELLY OF A WHEEL (kukshi), 119. BENCH (prapatha), 323. BUILDING (isvara-kanta), 69 (upasatha(kamya), 115; (kunjara), gara), 89 ; BED-ROOM (kama-koshta), 115 (kucha-bandhana), ; 216 danda), 216 ; (parigha), 300 (bhara), (hasti-parigha), 381 (bhara), 381 ; 466. BUDDHIST IMAGES (bauddha), 375. BUDDHIST RAILING (muddha-vedi), 425. BUDDHIST TEMPLE [gandha-kuti (-1)], 143. droni), BEAD BEAM (gopana), 157 ORNAMENT BROAD PATH (snana- ; BREAST 484. (vistara), BRICK (ishtaka), 68. BRIDGE (setu), 527, 531. ; 302. sha), BATHROOM (sakha), I2O. (parna-manju- ; BRANCH BREADTH 286. ; ; ; ; ; 98. ; ; ; INDEX (mancha-kanta), 390 ; (manika), 394 ; (malika), 421 ; (meru), 427 ; (meruja), 431 ; (rariga(yama-sutra), 429 43 6 (rathaka), 433 ; mukha), (rudra-kanta) 440; (ruchaka), 439 446 ; (vajra), 445 ; (vajra-svastika), WORK BUILDING BUTTOCKS (vastu-karman), 458. 500. (sroni), ; ; (vardhamana) 448 (vardhani) 44.8 449 (valabhi), 448 (virata), 453 (vasa(vata), (valaya), 450 458; (vikalpa), 455 nika), 460; (vipulanka), 458 (vijaya), (vivrita), 464; _ . 46 , (vipulakritika), (visala), (vimana-chchhandaka), 464 465 (vishnu(visva-kanta), 464 (vrisha), 470 (vrita), kanta), 466 471 (vedi(vrishabhalaya), 470 kanta), 474 (vairaja), 475 (vaijayan(sambhu(sankha), 482 tika), 475 490 (sala-malika), kanta), 483 (siva), 495 493 (libika-vesma), 498 (sri-kantha), 497 ; (sn-bhoga), 498 (sri-jaya), 498 (srl-kanta), 499 498 (Irl-vatsa) (sri-pada), (shodaSasra), 510 (shat-tala), 500 ; (sabha-malika), 510 (satya-kanta), 517 (sarvato-bhadra), 517 (sarvakalyana), 517; (sama), 517; (saroruha), 517; (samudra), 517; (samudga), (sampurna), (saihchita),52o 517; (siddha), 521; 520; (sara), 520; (siddhartha), 521 ; (sindhuka), 522 ; (suprati-kanta), 525 (sundara), 525 525 (saura-kanta), (subhushana), ; ; 5 ; 5 . ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; ; CAGE (vyaghra-nida), 475. CALYX [kulikahghri(ka)], 128. GAMP (kataka), 95 (skandhavara), 532. CANAL (nala), 278 (nalika), 279 ; ; ; (marga), 421. CANAL-HOUSE (nala-geha), 279. CANE-BOTTOM CHAIR (kochchha), CANOPY (torana), 216 (vitana), 460. CAPITAL (kataka), 95 ; 131. (prabha), 325 ; (kumbha), 126 ; ; 175 ; (pushpa-bodhaka), [bodhik(a)], 373 ; (raja-dhani), (chulika), 313; 436. CAPITAL CITY 180 (cherika), (nagara), ; 247. CARPENTER (takshaka), 192 ; (sutra- ; ; ; ; ; ; ; ; (saudha- malika), 532 ; (saumya), (skandha-tara), 532 ; (sthanaka), (sthira-vastu), 593 ; (sphurjaka), (svarga-kanta), 594 ; (svastika), (svastika-khadga), 607 ; (svastikanta), 607 ; (svasti-bandha), 607 ; 532 532 592 593 594 610 ; (hasti-prish(harmya-kanta), (hamsa), 612; (hema; (himavat), 613. tha), 611 ; kuta), 613 BUILDING FOR PRESERVING WATER purita-mandapa), BUILDING FOR (ghatikalaya), (jala- 185. THE WATER CLOCK 168. BUILDING MATERIAL (ishtaka, dhara), 527. CARVING ON THE DOOR (ghata), CASKET (manjQsha), 391. CATTLE-SHED (samgavinl), 519. CAVE-HOUSE (kandara-griha), 98 ; 167. (dari- griha), 225. CAVETTO 320 (prati-vajana), ; (rakta- vapra), 432. CAVITY (nimna), 282 (sushira), 526. CAVITY OF A WHEEL (kukshi) 119. ; , ClELING (tauli), 222. CELL (agara), 51. CEMENT (kalaka) ,112; 446 (vajra-lepa), bandha), 514. ; CENTRAL COURT-YARD (vajra-sarhghata) , 446 ; (sandhi- (brahmangana), CENTRAL HALL [garbha-ge (-ri)ha], 146 ; (madhya-koshtha), 412. CENTRAL LINE OF A FOUNDATION (garbhasutra), 148. etc.), 68 ; (kolaka), 132. BUILDING WIDTH AS MEASUREMENT (apasamchita), 42. BUILDING WITH HEIGHT AS STANDARD OF MEASURE (asamchita), 50. PART (brahma-pada), (brahmams'a), 376. CENTRAL 375 ; CENTRAL PART OF A TOWN (brahmasthana), 376. CENTRAL PART OF A VILLAGE (brahmamandala), 376. INDEX CENTRAL THEATRE (madhya-ranga) 41 2. CHAIN (srinkhala), 496 (hara), 612. CHAIN-ORNAMENT (eka-hara), 94. CHAIR (mancha), 390. CHAIR RAISED ON A PEDESTAL (ctaka, ; padaka-pitha), 94. 58. CHAMBER CHANNEL (evarhkanta) (koshtha), 133. (jala-sutra), 186 (tilamaka), ; CHAPEL CHARIOT (deva-kula), 229. (nabhas(anila-bhadraka), 38 van), 257 ; (nivata-bhadraka), 284 (pushpa-ratha) , 313 ; (pavana), 303 (prabhanjana) 325 ; (bhadraka), 379 (ratha), 435 ; (syandana), 593. ; LOTUS-SHAPED BASE 94. 124. COLUMN WITH ONE MINOR PILLAR (evaiii- 94. COLUMN WITH TWO OR THREE MINOR PILLARS (evamkanta), 94. COLUMNS OF A PAVILION (gatra), 149. COMFORTABLE COMPARTMENT (kamakoshta), 214. , COLUMN OF THE WALL (kudya-stambha), kanta), CHAIR WITH MANY LEGS (amalaka-vantikapitha), COLUMN HAVING A 115. COMMITTEE [goshthi-(ka)], 162. COMPARATIVE HEIGHT (ganya-mana), 141. ; ; ; CHEEK (kapola), CHIEF-ARCHITECT 101. (sthapati), CHISELLING THE EYE 578. (nayanonmilana), CIRCLE (nirvyuha), 284. CIRCULAR COURT IN THE INNER COM- POUND (antar-mandala), 40. CIRCULAR FILLET (kampa-vritta), CIRCULAR PATH (bhramana), 388. CIRCUMFERENCE (nemi), 287. 102. CONVEYANCE CORNER LEAF 431. (karna-patra), 106. (yana), ; (strl- GLASS OF PEOPLE (karnikara), 108. CLASS OF TWO-STOREYED BUILDINGS (ad14. CLOSED VERANDAH (andhara), 53. CLOSED WALL (koshtha-s'ala), 133. CLUB HOUSE [oroshthi(-ka)], 162. COFFER WITH A PILLOW (kosa), 132. COGWHEEL MEMBER OF THE DOME (amalasara), 43. COLLEGE (raatha), 391. COLLET (mani-bandha), 394. COLONIAL SETTLEMENT (nivesana), 284. COLUMN (chitra-skambha), 174; (jaiigha), ; ; (jayanti), 184 (pota), 315 ; (dvi-vajraka), ; (netra- ; CORNICE (kuti), 120. CORONATION HALL (abhisheka-mandapa), [alinda(ka)], 46 ; (mandapa), 395- 'inga), 577- bhuta), 104 (karna), 286. 43- [khaluraka f-rika), 138 ; (sarhviddha), 520 ; (sthaniya)], 592. CLASS OF BUILDING (abhasa), 54 kuta), CORRIDOR CITY 182 DIMENSIONS (ayadi-karman), 60. CONSIDERATION OF FORMULAS FOR RIGHT PROPORTIONS (ayadi-bhushana), 60. CORNER TOWER 258. 244 CONSIDERATION OF FORMULAS FOR CORRECT (lakshmi-stham- COTTAGE (kuti), 120. COUCH (anvanta), 42; 136; (paryanka), 303 (mancha), 390 (khatva), (kakashtu), 115; 194; (ka)], (bala-paryanka), 371; (vahya), 448. [talpa ; ; COUNCIL CHAMBER (sabha), 515. COUNCIL HALL [ba(va) lanaka], 366 ; (madhya-sala), 413. COURSE (marga), 421. COURT 45 (ardha-mandapa), ; (prari- gana), 343. COURT [ahka(ga)na], 3. COURTYARD [anka (ga) na], 286 ; (vasa-ranga), 455 COURTYARDS WITH 3 ; (nihara), (vikata), 458. ; IMAGES JAIN OF GOMATA (betta), 374. COVER (anghrika-vari), 12. COVERED ARCADE (bhrama), 388. COVERLET (upavasana) 88. , bha), 440 ya), 532 (sthanu), ; (saumukh532 (skanda-kanta), (vajra), ; 592. 445 ; ; GOWSTALL 161 ; (gotra), (go-matha), 157 161. ; (goshtha), INDEX GRAB (karkata), 104; (kuli(I)ra], 128. CREEPER-LIKE ORNAMENT (karnika), 108. DIADEM CRENELLE DIAMOND BAND (vajra-patta), 445. DIAMOND THRONE (vajrasana), 446. DIM LIGHT (avachchhaya), 48. DINNING HALL (abhyavahara-mandapa), (indra-kosa), 68. CREST-JEWEL (likha-mani), 492. CROCODILE (kirhbara), 117 (graha), ; CROCODILE-SHAPED ORNAMENT 167. (makara- (kubjaka), 125. CROSS-BAR (suchiya), 525. CROSS-BEAMS (bhara), 381. CROWN 291 117; (kirita), (ushnlsha), (kadaiiga), DOME (patta-bandha). (kalaSa), gnha), (karnika) 08. CROWNING FILLET (uddhrita), 75. CROWNING PART OF THE HINDU SIKHARA (amalasila), 43. 98 108 (parikha), ; (gala-kit ta), ; 179. DOOR (abhasa), 54 ; (udumbara), 74 ; (kapata), 98; (kavata), 114; (grihamukha), 156 ; (chhanda), 181 ; (jati), 187 ; (dvara), 235 ; (srenita-dvara) 499 (sutra-patti), 527. , ; DOOR-FRAME CUPOLA DOOR-LINTEL (dvara-lakha), 243. DOOR-MOULDING (chatur-varga), 13 108 (kalasa), ; ; 126. (kumbha), CUSHIONS (asanda, asandi), 66 kaspu), (abja), 42 pana), DADO ; 410. (ambuja), 44 ; (kshe- 98 ; (gala), 148. (dvara- 171 ; (madhya-bhuvanga), 412. DOOR-POST (durya), 229. DORMER WINDOWS DOUBLE-STOREYED (chandra-sala), PAVILION 172. (adhiman- 15. DOVE-COT (kona-paravata), 132. DOVE-RIDGE (kona-paravata), 132. DRAFTSMAN (sutra-grahin), 527. DRAIN (jala-dvara), 185 (danta-nala), 225 (mriga-vana), 427. DEFECTS OF THE LIMBS (anga-diishana), ; (pranala), 316 DEFENSIVE WALL (dehi), 233. 531- DRAWING-ROOM (alankara-rnandapa) 46 ; - (purushaiijali), DESIGNER (vardhaki), 448. DETACHED PAVILION OF A TEMPLE WHERE THE IDOLS ARE DRESSESD (alarikara-man377. ; (bhadra-sala), DRINKING-HOUSE (madira-griha), 410. DRIP (nimna), 282. DRIP-MOULDING (kshepana), 135. DRUM OF THE EAR OF AN IMAGE (karotl), 103. DWARF 312. dapa), 46. ; 380. DEITY-CHAMBER (garbha), 145. DEMI-GODS (gandharva), 144 (yaksha), DEPTH (nimna), 282. DEPTH OF FOUNDATIONS (soma-sutra), ; [khaluraka (-rika)], 138 4. DEVOTEE (bhakta), ; ; 167. DEER FOREST 43 1 135 (kshepana), 243. sakha), dapa), 135. (kandhara), (griva), (kas"u, ; 115. CUSTOM HOUSE (mandapika), CYMA ; ; CRYSTAL PALACE (mani-harmya), 394. CUBIT (hasta), 610. (anda), 298. 148 576 (stupl), 576. CONSTRUCTION (chaitya- (stupa-griha), DOME-LIKE 90. CROWNING OF THE ENTABLATURE 1 117; 43 (bhojana matha), 388 ; (harmyagarbha), 610. Disc OF VISHNU (chakra), 170. DITCH 429. (mauli), ; CROWNET (kirita), ; kundala), 389. CROOKED 90; (ushnlsha), (vira-patta), 469. PILLAR (upapada), 76. DWELLING (avasatha), 63 ; (a^rama), 64 ; 229 ; (bha(asana), 64 ; (durya), vana), 380. DWELLING-HOUSE (avasa), 63 ; (sthanal. 592. INDEX E F EAR OF THE ELEPHANT (kari-karna) EAR OF AN IMAGE (karna), 104. EAR-ORNAMENT (karna-puraka), 107 (karna-bandha), , 103. 107 ; (makara-bhu- ; shana), 389. EAR-RING (graha-kundala), 167 EDGE ; (parSva- 305. purita), (arhlru), 50. EDIFICE (sukshetra), 524 (stupa), 574 ; (harmya), 608 ; (hiranya-nabha), 613. ; A OF PARTS EIGHT BUILDING (ashta- 50. varga), EIGHTH STOREY (ashta-tala), 49. EIGHT-STOREYED BUILDING (deva-kanta), (maha-kanta), 415, etc. 229 ELEVEN-STOREYED BUILDING (arka-kanta), (ekadaSa-tala), 44 ; (isa-kanta), 69 ; ; 94, etc. ELEVENTH STOREY (ekadasa-tala), ENCLOSED SETTLEMENT (ayatana), 94. 59. ; , (avrita), 63 ; (chhanda-prakara), 181; (jati-prakara), 187 ; (prakara), 337 ; (vara), 454 ; ; ; (kuttima), 121; (kumbhalankara), 127 ; (khandottara), 136 ; (gopana), 157 (patra-bandha), 294; (prachchhadana), ; (prastirya), 328 (prastara), 315 337; (matta-varana), 410; (rupottara), (vidhana), 440 (vardhamana), 448 ; ; FAST CONVEYANCE (adika), 389. 52. FEMALE APARTMENT (antah-pura), 40 (garbhagara), ; 144. FERRY [ghat (-ta)], 169. FESTIVE HALL (utsava-mandapa), 73. FIGURE HEAD (unhisa), FILLET (antarita), 39 70. (aliiiga), 63 ; (upana), 89 ; (kampa), (kampana), 102 ; (kshepana), 289 ; (rakta-kampa), (patta), (vajana), 452. ; 02 ; 135 431 ; ; ; FINGER (aiigula), 4. FINGER-BREADTH (ahgula), FINIAL (kalasa), 108 4. (salanga), ; 489 ; (sikhanta), 492. FIVE-STOREYED BUILDING (kalyana), 114; (pancha-bhumi), 288 (yajna-kanta), ; 431, etc. ; ; 460. ; (prave^a), 337 (samchara), 519. (dvara), 235 (velaria), 474 ; ; ; (garbhavata), 148. EXTENSION (bahala), 370. EXTERIOR (griha-mukha), 156. EXTERNAL SIDE OF A BUILDING (bahiranga), 370. (aksha), i. LINES (akshi-rekha), 2. FLAG (jayanti), 184. FLAG STAFF (danda), 223. FLIGHT OF STEPS (achala-sopana), ENTRANCE DOOR (mukha-varana), 424. EXCAVATION 147 (garbha-bhajana), EYE EYE FAN (vyajana), 475. FAN POST (bhrama-danda), 1 138. ENTRANCE FACIA (asya), 67. FAIR (hatta), 607. FAIRY (vidyadhara), 460. FAMILY (parivara), 301. FAMILY HOME (griha), 150. [khaluraka(-rika)], ENCLOSURE WALL (pancha-sala), 288. ENLIGHTENED ONE (Buddha), 373. ENTABLATURE (alaksha), 46 (kuti), 120 (mukha), FACE (vaktra), 444. FACE OF A BUILDING (griha-mukha), 156. FACE OF A SHARK (makarf- vaktra), 389. (uttara), 70 526. ENCLOSURE-BUILDING ; FIFTH ENCLOSURE (maha-maryada), 417. FIFTH STOREY (paficha-tala), 288. ENCLOSURE (ayatana) 59 (sutalaya), FACADE (griha-mukha), 156 (kati), 96 ; (ghatta), 12 ; 168. FLIGHT OF STEPS FOR A HILL (adn-sopana), 14. FLOOR (kuttima), FLOOR INLAID WITH JEWELS (mani-bhu), 121 ; (bhauma), 388. 394- FLOWER-BUD (manjarl), FLUTE (karuna-vlna), 103 (vina), 468. 391. ; (varhsa), 451 ; INDEX FOOT u (arighri) (charana), ; G 172. FOOT-PATH (jaiigha-patha), 183 (pak- ; shaka), 287. FOOT-PRINTS (sri-pada), 498. FOOT-PRINTS OF BUDDHA (buddha-pada), 373- FOREST 115. (kantara), GALLERY [alinda(ka)], 46 (deva-kula), ; 229. GARDEN (pushpa-vatika) 313. GARDEN HOUSE (arama), 61. GARRET (chuli-harmya), 175. GATE (dvara), 235 (vara), 454. , ; FOREST FORT (vana-durga) 446. FORMULA OF HEIGHT (utsedha), GATE-CHAMBER , FORT 131 (kota), ; 73, etc* ; 132 (kolaka), (dvara-koshtha), 243. GATE-HOUSE (indra-kaata), 67 57 243 r 137 ; (khaluraka (-rika)], 138 ; (giri-durga), 149 ; (durga), 226 245 (parikha(dhanva-durga), (vahinl-mukha), 458 ; durga), 300 (sahaya-durga), 519 ; (sainya-durga), GATEWAY 528. GABLE WINDOW (kharvata), ; ; ; FORTIFIED CITY (kharvata), 137 ; (durga), 226. (gopura), ; 243 (dvara-sobha), (dvara-harmya), 244 (brahmakanta), 375 (maha-gopura), 415 (srl-visaia), 499 (shodasa-tala), 500 (saumya-kanta), 532. (dvaraka), J ; ; ; ; ; ; 216; (tor.-ina), (netra), (pratoli), 321. 286. GIRDLE (kati-sutra), 97. GLASS (chitra), 173 (chitrabhasa), GOD'S RESIDENCE (devalaya), 231. ; FORTIFIED TOWN (khetaka), FORTRESS (drona-mukha), 234 139. (sarhgra- ; hana), 519; (sthanlya), 592.^ FOUNDATION (adhi), 53 ; (garbha), (garbha-nyasa), 147 ; (garbha148 ; (griha-garbha), 150 ; vinytsa), (deva-garbha), 229 (jalanta), 186 (bandha), 366 ; (mula-sthana), 426 (Silapravesa), (vaiSya-garbha), 475 ; 494- 145 ; ; ; ; FOUNDATION A OF VILLAGE (grama- garbha), 166. FOUNDATION PILLAR (mula-danda), 426 ; FOUNDATION-PIT (garbha-bhajana), 147 FOUNDATIONS 148 OF ; 133 (phcla), TEMPLES ; 365. ; (tandula-mandapa), ; 121. GROUND FLOOR [eka-tala(-bhuml)], 92. GROUP PAVILION (bahu-mandapa), 371. GUTTER ( jala-dvara) 185 GYMNASIUM (kumarl-pura), , , 513. FURNITURE (upadhana), 76 305, etc. ; 281. (nail), 279. 125. 170. FREE QUARTERS [chhat (-t)ra (-!)], 180. FRIEZE OF THE ENTABLATURE (gala), 148. FRONT DOOR (kulambha-dvara), 128. FRONT ROOM (bhadra-sala), 380. FULL RELIEF (chitra), 173. nida), 193. H (chatur-mukha), (sadasiva), 115. (koshthaka), ; (brahma- FOUR-STOREYED BUILDING (indra-kanta) 67 133 GREAT DOOR (maha-dvara), 415. GREAT ELEPHANT (airavata), 95. GREAT HALL (maha-mandapa), 416. GREEN ROOM (nepathya-griha), 287. GROUND FOR HOUSES (kutumba-bhumi), garbha), 375. FOUR-FACED kaspu), GUILD HALL (nigama-sabha), (mula-stambha), 426. (garbhavata), GOLDEN SEAT (kasa, GRANARY (koshtha), 174. ; (paravata- HABITATION [geha. (-ka)], 156. HALF CHAIN OF 64 STRINGS (ardha-hara), 46. HALF PAVILION (ardha-mandapa), 45. HALF-RELIEF (chitrardha), 175. HALL 120 ; (griha), 150 ; [geha (chatur-mukha), 170; (danda-kanta), 224 ; (dandaka), 224 ; (kuti), (-ka)], 156; (vikata), 315; 459; (sabha), 515. (prakoshtha), (vijaya),' 458; INDEX HALL BEHIND THE MAIN HALL (anu-Sala), ', HYDRAULIC ENGINEER da)], 38. [jala-sutra (-sutra- 186. HALL OF AUDIENCE (upasthana-bhumi), 89- HALL-MANSION (kolhi-veSmika), HAMLET HAMMOCK 132. IDOL (vigraha), 459 ; (sthavara-bera), 593. 453. (vataka), (andola), 53 HANGING BALANCE ; (dola), 192, 233. (chitra), 173 ; (chitrabhasa), 174 (bimba), 372 ; (bera), 373 ; (miirti), 426 (shodaSa-pratima), 510. (kuntala), ; (chitra130 125 ; (kesa-bandha), kalpa), 174; fmakuta), 389; (maulibandha), 430. IMAGE FOR PROCESSIONS (utsava-vigraha), 73- HEIGHT (kautukodaya), 134; (jayada), 184; (tunga), 215; (dhanada), 244; (paushtika), 315 (sarva-kamika) 517. ; IMAGE WITH THE RIGHT HALF REPRESENTING SlVA AND THE LEFT HALF OF HIS CONSORT DURGA (ardha-narisvara), 45. , (bhumi-lamba), INDIAN ORDERS 386. (Sirastraka), HERMITAGE sthana), INNER WALL (antah-sala), 41 493. (asrama), 64 bhitti), (ghatika- ; 496. ; (antar- 40. INSTITUTION (RELIGIOUS CENTRE) (ghatika- 168. HIGH RELIEF (chitra), HIGH WAY (raja-patha), sthana), 173. 437. HOSPITAL (jvara-devalaya), 191. HOUSE (avastha), 48 ; (agara), 51 INTERNAL ENCLOSURE A TEMPLE (antah INTERNAL PORTIONS OF A MANSION (antahsala), 41. INTERNAL RAMPART (antar-vapra), 40. IRIS OF THE EYE (krishna-mandala), ; ; ISO- IRON ; (pastya), 303 (dhaman), 246 (s"ala), 484 (sala(sarma), 483 griha), 489 (luddha), 496. HOUSE WITH FOUR HALLS (chatuh-sala), ; IN hara), 41. (alaya), 63 ; (kacha), (ayatana), 59 (kshudra-sala), 135; (griha), 115; 156 [geha-(ka)], [dam(a)], 150 ; ; 168. INTERIOR CORRIDOR (antaralaka), 38. INTERIOR WINDOWS (kuhara), 128. INTERIOR OF A WHEEL (kukshi), 119. INTERMEDIATE SPACE [antarala (ka)J, 38. HILL-FORT (giri-durga), 149. HlP OF AN IMAGE (kati), 96. HIP-PART OF A BUILDING (kati), 96. HOLLOW MOULDING (aghana), 2. HOLY FIG TREE (asVattha-vriksha), 49. HORSE STABLE (vaji-Sala), 452. 225 (sumbharhkarl), INNER PARTITION (antah-sala), 41. INNER PLINTH (antar-janman), 40. INNER ROOM (uvaraka), 92. HEADLINE RUNNING ALONG THE TOP OF THE BANISTERS (unhlsa), 70. HEAD ORNAMENT (chulika), 175. HELMET ; ; ; HEIGHT OF A STOREY ; IMAGE 493. ; 510 IDOL, POSES OF (ati-bhanga), 13, etc. 216. (tula-bhara), HEAD (kuta), 128 (siras), HEAD GEAR (karanda), 103 (sakala), (loha), 444. ; ; ; ; JAIN-SAINT 171. HOUSE-ENTERING prave^a), HUB CEREMONEY 367. ; OF THE WHEEL (kukshi), 119. (kota), (basadi), JAMB (dvara-sakha), 243 (s"akha), 484. JAR (ghata), 167. JEWELLED MANSION (mani-harmya), 394. JEWELLED PAVILION (mani-mandapa), 39^. 150. HUMP-BACKED (kubjaka), HUT (eriha- 215. (tlrthankara), JAIN TEMPLE 125. 131. 8 INDEX JOINERY (karkata), 128 (tri-karna), ; 104 222 j"kuli(!)ra], ; (danta-kila), ; LIMIT (antima), 42. LINE OF THE EYES (akshi-sutra), 2. (brahma-mastaka), 376 (mahavritta), 417 (tnesha-yuddha), 429 (vardhamana), 448 (sandhi-karman), 514 (samkirna), 519 ; (svastika), 594. JOINERY RESEMBLING THE SHAPE OF A BISECTED HEART (ardha-prana), 45. LINES (karya-satra), 116. JOINT (phana), 365 LITTER (dola), 192. LOCALITY [gfiha (-mana-sthana)-vin- 225 ; ; ; ; LINTEL ; ; (saadhi), 513. K KIOSK MANE LION'S KNOB (kabandhaaa), 151 288. 130 (kesara), LIQUOR SHOPS ; LOCK OF HAIR LOFTY HOUSE (harmika), 608. (svarasaaa), ; 607. yasa], KITCHEN (pachanalaya), 414 (masuraka), ; (apana), 54. 591. (sthana), (kiintala), 125. (attalika), 12. LOOKING-GLASS (darpana), 225. LOTUS (abja), 42 (kamala), 102. 101. ; LADDER (chala-sopana), LOTUS FILAME:-: :v, (li^ara), 130. LOTUS STALK (nala), 278. LOWER PART OF AN ARCHITECTURAL 173. LAIR (nlda), 286. LAMP-PILLAR (dipa-dana), 226. LAVTP-POST (dlpa-danda), 226 (rnanju; danda), bhara), LOWER 391. LAMP-POST MOULDING IN THE SHAPE OF A WATER-POT (anghrika-vari), 12. LANDING [ghat (-ta)], 169. LANE OBJECT (kanya), 98. LOWER PART OF A CHARIOT (antar-vlthl) , 40 ; PILLARS [kshudra-nasa(i)], 135. LYING-IN-CHAMBER (garbhagara) 183. ; harhbuja), 417 (maha-vajana), 417. LARGE FILLET (maha-patta) 416 (maha; ; vajana), 417. LARGE HALL (maha-sala), 417. LARGE VESTIBULE (maha-uasi), LARGE VILLAGE (maha-grama), LATCH (kokilargala), 131. 415. 144. M MAIN MAIN MAIN MAIN MAIN BUILDING (mukhya-harmya), 424. COLUMN (griha-stambba), PILLAR 128. 436. TEMPLE (rnula-hannya), 427. MANSION (jati-sala), 187. MANSION WITH ONE ROW OF BUILDING (eka-Sala), 94. (chitra), 173. (chitrabhasa), 174. MARK ON THE FOREHEAD MARKET (nigama), 281 MARKET PLACE (apana), ; vinyasa), 166. FOUNDATIONS 156. [kulikanghri(ka)], STREET (ratha-vlthi), MARBLE 415. LATTICED WINDOW (jala-gavaksha), 190. LAYING-OUT OF THE VILLAGE (grama(garbha- nyasa), 147. LEAF (dala), 225. LEAF OF A DOOR (kavata), 114. LEO OF AN IMAGE (jarighii), 182. LIBRARY (dharma-ganja) 2^.5. LIGHT SHADOW (apachchhaya), ; (mandi), (sila-patta-vamSa), 493. MASONRY ; 53 (vasati), 450. MASONS 42 (tilaka), 214. (hatta), 607. 410. MART , (avachchhaya), 48. , (jangha-patha), LARGE COUGH (asanda, asandi), 66. LARGE CYMA (maha-patta), 416 (ma- LAYING THE (aksha- i. MAT MAT MAT (sila-karma), (ka^a, kaspu), 493. 115. OF SPLIT BAMBOO (kata), 95. OF SPLIT CANE (kata), 95. INDEX MEASURE 44; 117; [danda 226 (daSa-tala), (dvi-tala), 244 (dhanur-graha), 245 (dhanur-mushti), 245 (dhanus), 245 (ratni), 434 ; (vitasti), 459 (vyaya), 475 (santika), 484. (aratni), (gokarna), 156 (-mana)], 223 (kishku) (jati), ; 187 ; ; ; ; ; ; ; ; ; ; MEASUREMENT (ghana), 169 (aghana-mana), (ghana-mana), ; 3 ; 169 ; MEASUREMENT OF THICKNESS (unmana), 76. MEASUREMENT OF HEIGHT OR LENGTH (mana), 418. MEASUREMENT OF THE INTERSPACE (upamana), 88. (vira- ; 469. (kirti-stamha), 119. ; (asana), (karna), 104 j ; (kumbha), 126; (kona-loshta), (kshdurabja), [kshudra-nasa(-i)], 135 (gaja), (gavakshakara), 149 ; (gopana), (chitra-patta), 174 ; [jagata (-ti)], ; ; 216; 223 224 246 184; 195 (tri-patta), 222; ; ; 141 ; 157 182 ; ; 193; (tala), (tatika), ; 132 135 ; (tula), (tri-vargaka), (dandaka), 224 ; (dandika), ; (dala) 225 (dhara-kumbha) ; (nataka), 272 (natika), 273 281 ; (nidra), 282 [nib(-v)ida], (nirgala), 283 ; (pahka), 288 ; (patra), 293 ; (patra-patta), 293 ; [ pa tra; ; , ; valh-(ka)], 294 ; [padma-(ka)], 296 ; (purna-kamba), 314; (potra), 315; 317; (pratima), 317; 317 (prati-bandha), 319 ; vaktra), BOLTS [parigha(-gha)], 300. ; 319 (prati), ; (prati-patta) , 319 (prati-rupa), ( prat i_ 321 ; ( pra t- . / u (phala-patta), [Bali(-i)ka(-a)], 366; tbali-pit'ha-(ka)] MEZZANINE ROOM (koshtha), 133. MIDDLE-DOOR (brahma-dvara) 375. MIDDLE MEMBER (galariga), 148. MIDDLE PART OF A WHEEL (kukshi), 365 (phalaka), ; i 366 (bhadra), 378 (bhadra-patta), 379 (bhOshana), 387 (mahambuja), 417; (mudrika), 425; (mushti-bandha), 425 (mrinalaka), 427 ; (ratnaP a a ), 434 (lambana), 440 (vaktra), 444 (vajra-patta), 445 (valaya), 450 ; (vitaiika), 459 (vihrita), 468; (vetra), 471 ; (ve^ana), 474 (Saktidhvaja), 476 (saroruha), 517 (samgraha), 519 (saushthika), 532 (harita), 607 ; (homa), 613. MOULDING OF THE BASE (antara), 38 ; (antarita), 39 (argala), 44. ; ; ; 119. ; ; MIDDLE RELIEF (ardha-chitra), 45. MIDDLE TABERNACLE (madhya-bhadra), ; ; ; 412. ; ; MIDDLE VESTIBULE (madhya-nasi) MIDDLE WALL (brahma-bhitti), MILITARY-POST (attalaka), ; 412. , ; 376. 12. , ; 367 (vihara), matha), 513. ; 466 ; ; OF THE ENTABLATURE (antarita), 39 (kshudra-gopana), 134. MOULDING OF THE PEDESTAL (antara), 38 (antarita), 39 ; (kumbhalankara), 127.' MOULDING OF THE THRONE (kokila), ; ; MONASTIC ESTABLISHMENT (sthana), 592. MONK'S CELL (pari-vena), 302. ; 284 (vira-karna) ; ; MOULDING (basadi), (satravasa- MONTH (kanya), 98 (tula), MONUMENT (dharma-rajika), ; ; MINARET (karna-harmya) 107. MINOR DEITIES (avarana), 63. MONASTERY (ayatana), 59 (nishidhi), 130 ; (kshepana), 135 (kesara), [pratika(-I)], 469 (vfra-gala), MEMORIAL PILLAR METAL (karika), 103 (karkata), 104; ; (tarahga), 193 MEASUREMENT OF BREADTH (pramana), sasana), 64 [jayanti(-I)], (lamba-mana), 440. MEMORIAL MOULDING (achchhadana), 52 131. 216. (vira-kantha), 245 ; 469 ; MOUNTAIN PASS [ghat (-ta)], 169. MOVABLE IDOL [jangama-(bera)], 182. MOVABLE LAMP-POST (chala-danda), 173. MOVABLE STAIRCASE (chala-sopana), 173. MOVABLE STRUCTURE (chara-vastu), 173. Music HALL [natta (natya)-s"alaj, 278 469. MONUMENTAL FACE (kirti-vaktra), MOSQUE (masi(-si)ti), 414. MOUNTAIN PASS [(ghat-(ta)], 169. 1 18. ; [nritta(-tya)-mandapa], 286. 10 INDEX N 434 (rudra-bandha), 440 ; (lamba- ; patra), 440 ; (valaya), 450 [vastranip(y)a], 450 ; (sarikha-kundala), 482 , (sarikha-patra), 482 ; (siralamba), 493 ; ; NAIL [indra-klla(-ka)], 67 ; (klla), 119. NATURAL FORT (deva-durga), 229. NECK (kantha), 97 (kandhara), 98 ; (gala), 148 ; (galanga), 148 ; (harita), (grlva), NECKLACE (graiveyaka), 167. NECK-ORNAMENT (grlva-bhushana), 167. NEPALESE CHAITYAS (koshthakara), 133. NERIUM ODORUM FLOWER (karavlra), 103. NEST (nida), 286. NICHE (kumbha-panjara), 127 (gokhla), > (goshtha-panjara), NINE GEMS (nava-ratna), vriksha), 112 ; OUTER ROOMS OUTER WALL 162. 259. OVAL (nasa), 279. ; OVOLO 50. ; MEASUREMENT (adbhuta), 14. OF THE NINE MATERIALS FOR SCULPTURE (abhasa), 54. ONE OF THE SIX FORMULAS FOR ASCERTAINING THE RIGHT PROPORTION (arilSa), 50. ONE OF THE SIX FORMULAS FOR THE PALM (tala), 193. PANEL OF A DOOR (kapata), OPENING FOR SHOOTING THROUGH PARAPET (indra-kosa), 68. ORCHARD (vatika), 453. ORDER AND ORNAMENTS 46 PARADE [khaluraka (-rika)], 138. PARAPET [danda(-manaj), 223 (para; ta), 298. PARAPET STAFF [jayantika(-ka)], 184. PARLOUR [khaluraka (-rika)J, 138. PART OF A TOWER [suka-nasa(-sika)], 495. PART OF COLUMN (upatula), 76. PART OF THE BODY BETWEEN THE BREAST AND BACKBONE (brihati), 373. PART OF THE EYE (sveta-manda), 500. PART OF THE PILLAR (koshthaka), 133. 64. IN A (ardha-hara), (karavira), 103 ; (kari-karna), 103 ; (karna-patra), 106 ; (kumbhalankara), ; 127; [kulikahghri(ka)], 128; (kona; 167 ; (chitra(graha), 188 ; kalpa), 174; [jala-(ka, ka)], [tat(-d) aiika], 195 (darpana), 225 ; (nakshatra-mala), 247 ; (pa.da-ja.la), 304 ; (parsva-puli), 305 ; [palika(-i)], PARTITION (bhitti), 381. PARTITION WALL (antar-bhitti), 40. loshta), 132 PATH-MAKER (tlrthankara), 215. PAVED WITH SMALL PIECES OF STONB ; 305 389 98; (kavatal, 114. RIGHT PROPORTIONS (aya), 58. OPEN HALL (mandapa), 395. (avrita-mandapa), (uttaroshtha), 71. ; ONE PAVILION ; PAINTING (chitra), 173. PAINTER (vardhaki), 448. PALACE (prasada), 343 (raja-harmya), (saudha), 531. 437 PALANQUIN (sibika), 492. OIL-POT (taila-manjushika), 216. ONE OF THE FIVE PROPORTIONS OF THE OPEN (bahir-bhitti), 371. BUILDING (gaja), 141 (dvyasra244 (bhu-mukha), 386. vritta), OBSERVATORY (mana-mandira), 420. OCTANGULAR BUILDING [ashtas"(s)ra], OFFERING (homa), 613. 371. (bahir-bhitti), NOSE ; ; (bahya-Sala), 371. OUTSIDE PARTITION 157 526 499. (sri-vriksha) , NINE-STOREYED BUILDING (nava-tala), 258. (goji), (sumarigali), ORNAMENTED HAIR (dhammilla), 245. OUTER COURT (bahir-aiiga), 370. OUTER PLINTH (bahir-janman), 371. ; 5^ ; 607. ORNAMENT AT THE BASE (kataka), 95. ORNAMENTAL BAND (chitra-patta), 174. ORNAMENTAL TREE (kalpa-druma, kalpa- 167. 1 497 (sri-kara), ; (karkari-krita), 104. (bhushana), 387 ; (makarapatra), ; (misrita), 423 ; (mukula), 423 (ratna-kalpa), 433 ; (ratna-pushpa), ; PAVEMENT ; ma), 121. II (uttanapatta), 71 ; (kutji- INDEX PAVILION WITH TWENTY PILLARS (karni- PAVILION (abbasa), 54 (karna-kuta), 115; (kamakshi(kanta), 105; 11 5 (kuladharina-mandapa), 134; (kausika), dharana), '128; (gandha-madana), (k.uisalya), 134 144; (jaya-bhadra), 184; (jayala), (dandita), 184; (dandaka), 224; (devata225 (darbha), 224 (dhanada), 244 mandapa), 229 (nandi-mandapa), (nandana), 255 2 55 (nirvasa258 (nava-rariga), ; kara), 1 08. (kuta), PEAK > PEARL-STRING (mani-bandha), 394. PEDESTAL (upapltha), 76; [khattaka 170; (ghrita-vari), 136; (-tta)j ; 172 (padma-pitha), (chatuh-sila), (prati-bhadra), 297 (pindika), 306 (mancha(bhadra-pltha), 379 317 (maha-pitha), 416 bhadra), 390 (ruchira), 439 ; (vedi-bandha), 474 (vedi-bhadra), 474 (^rl-bhadra), 498. ; ; ; ; mandapa), 283"; [nisha-daja(-dha)], (pari296 284 [padma(-ka)], ; ; ; : ; ; 313 (pushpaka), 305 (pratima313 (pushpa-bhadra), mandapa), 319; (pragata), 343; (bhadra373 (buddhi-sariklrna), mandapa), 380 (bhaga-pancha), 380 ; (maiigala), 389 (bhushana), 387 (man394, 417 ; (mani-bhadra), (mana-bhadra), 420 dapa), 395 421 ; (malika), (manava), 420 (malyaja), (malika-mandapa), 423 (mukha423 (malyahuta), 423 429 (meruja), mandapa), 424 (yajna-bhadra), 430 (maulika), (ranga), 431 (yaga-mandapa), 431 434 (ratna-maandapa), 432 (viniyoga-man458 (vastu-kirti), [vrita (vlrasana), 470 dapa), 460 (-tta)j, 470 ; (vrisha mandapa), 471 ; (satardhika), 482; (satru-raardana), 483 (sishta-mandapa), 495 (syama499; bhadra), 497; (srutiiii-jaya), (satl-mandapa), 510; (srirupa), 499 (sirhha), 522 (satra-mandapa), 513 525; (sugrlva), (sukhanga), 524; (surata), 526 525 (subhadra), (snapana-mandapa), (suslishta), 526 593 (snana-mandapa), 593 (sthapana(snapana-mandapa), 593 (svastika), 594 mandapa), 593 612 607 (himaja), (harita), yatra), ; ; ; > ; ; ; ; 128. PEDESTAL MOULDING ; PEG (torana), 216. PENDENT (avalambana), 48 ; ; ; ; ; ; ; (ambara), 43 ; (karavlra), 103; (kshonl), 136; (gagana), 141 ; (jya), 191 ; (jyotih), 191 (pushkala), ; 370 [ba(va)sundhara], 312 ; (vikalpa), 458. (vasudha), 450 PETAL (kshepana), 135 ; (dala), 225. ; ; PHALLI 38 (aneka-linga), (sahasra- ; ; ; ; Hnga), 519. PHALLUS 52 fa(r)dra-pushakriti], (arsha), 62 ; (udbhuta), 75 ; (urdhva" ; ; dharana), 92; (kala-mukha), 116, (ganava), 149 (chhanda), 181 (jati): (naha187 [daivika(-linga)], 233 (panchayatana), 288 linga), 281 ; ; ; ; ; ; ; ; ; ; ; 298 (parartha-liriga), (pasupata), ; ; ; 305 421 ; ; (bahu-iinga), 371 ; ; ; ; ; ; ; ; (hema-kuta), 613. PAVILION FOR DRESSING OF IDOLS (deva- bhushana-mandapa), 230. 100. PIKE (sula), 496 (sula-kampa), 496. PILASTER (arighri), (antima), 42 124 ; (koshtha(kudya-stambha), stambha), 133. ; n PILLAR (aghana), 2 (uchchhraya), 69 PAVILION FOR MARRIAGE CEREMONY (viva- ha-mandapa), 464 ; ; ; ; (ayika-pada), 61 ; (kumbha-stambha^ 127; (koshtha-stambha), 133; [ganda^ ; fgaruda sk(-t)ambha], 145 ; (charana), 172 (chitra-karna), 174 ; (jangha), 182 bheranda (-stambha)], 143 . PAVILION WITH FIFTY PILLARS (jayavaha), '> 184. FIFTY-EIGHT (amrita-nandana), ; PICTURE GALLERY (chitragara), 174. PIGEON (kapota), 98. PIGEON-HOUSE [kapota-palika(-pali)], ; ; 594 (svayainbhii), 594- ; ; (manusha), ; (vikalpa), 458; (svarna-lihga), 454; (vama), ; WITH (lamba- PENTROOF ; ; ; hara), 440. ; PAVILION (a;iisuka), 50. ; ; [danda(-mana)], 223; (dandaka), 224! (dhanya! (dharma-stambha), 245 (dharana), 246; stambha), 246; PILLARS ; 43. 12 INDEX POSE (tri-bhanga), 222 297 (pada), 303 (brahma305 (palika-stambha), (yupa-stambha), 431 ; kanta), 375 (Siva-kanta), 495 (salaiiga), 489 (stambha), 533. (sukanghri), 496 (padma-kanta), ; ; (sama-bhariga) ; POST ; ; POSTURE ; (jaya-stambha), POT > 184. PILLOW (upadhana), ; 119; (klla-bhajana), vsiilaka), (kila- 126 ; (padmasana), 298. (Sakti), 476. PROJECTING (bahir-mukha), 371. PROJECTION (kshepana), 135 (nirgama), 119. ; PIPE (tilamaka), 214. PITCHER 119; (vishkambha), 465; PRIVATE ENTRANCE (kampa-dvara), 102. PRIVATE ROOM (garbhagiira), 144. PRIVATE SCHOOL (kula), 127. PIN [indra-kila(-ka)], 67; (kila), 119. 108 (sikha), 492. [kala$(s)a], PIN-POINT ; (ghata), 167. POWER 76. PINNACLE (bhanga), 377 ; 517. (stambha), 533. ; PILLAR OF VICTORY (uchchhraya), 69 (kila), , 282 108 [kalas(s)a], tghata), 167. ; PLANT (karavfra), 103. PLANTED FOREST (upavana), PLASTER (kalaka), 112 (kumbha), PLASTERING (upalcpana), 88 [nimnfi(-ka)], 282 (bahulya), 371. ; (bahala), 370; PROPORTIONAL MEASUREMENTS mana), 380. 88. (bhaga- PULPIT (mancha), 390. PUBLIC ROAD (raja-vltlii), 437. (vajratara), 445- ; ; (kudya)' ; Q 123. PLATE (prati-mukha), 319. PLATFORM (chara), 173 (prasada), 343; QUADRANGULAR BUILDING ; [ba(va)lanaka], 366. PLATFORM OVER A WELL [jagata QUARTER (-tl)], R PLAYHOUSE [natya-griha(-mandapa,- RAISED PLATFORM (avasana), 49. RAISED TERRACE 233 [dehari(-li)], (bodhimanda), 374. RAMPART (vapra), 446 [sala(-la)], 520. vesma,-sala)], 273. GARDEN PLEASURE (udyana), 75 (arama), (upavana), 88. ; 61 ; ; PLEASURE-HOUSE (kiida-ketana), 134 (saukhyaka), 531. (sukhalaya), 525 PLINTH (adhara), 52 (kumbha), 126 ; ; ; ; (kshudra-gopana), 134 ; '.RECEPTACLE ; (janman), 183; 215. (langala), RECESS IN A WALL (gokhla), 156. RECTANGULAR BUILDING (uttambha), 70 (brahma-mandira), 376. 441. RECTANGULAR MOULDING PLOUGH-LIKE (langalakara), 441. PLUMB LINES (prishtha-sutra), 314 ; ; ; 233- PORTICO (nishkasa), 284 (netra), 286 286 (purato-bhadra), (netra-bhadra), (mukha-bhadra), 424 (ruchira), 311 (vatayana), 453. 439 ; ; ; ; 70 REFECTORY (bhoga-tnandapa), 388. RELIGIOUS CENTRE (ghatika-sthana), ; 168. RELIGIOUS ESTABLISHMENT (a^rama), 64 POOL (udapana), 74 (tadaga), 192. PORCH (ardha-mandapa), 45 (dehara), ; (uttara), ; (upana), 89. (pralamba), 325. PLUMB LINE BY THE HIPS (kati-sutra), 97. POISON (kala-kuta), 116. ; 391. (manjusha), RECEPTION-HALL [khaluraka (-rika)], 138 RECEPTION-ROOM (upasthana), 89. PLINTH OF A RAILING (alambana), 62. PLOT OF THE SITE plan (pada), 294. PLOUGH , (antariksha), 39. 182. (turiga), (chatush-kona) 171. ; (patta-sala), 292. REFUGE-OFFERING POSE OF THE HAND OF AN IMAGE (abhaya), 43. RESERVOIR OF WATER Cjala-sthala), 185. 127 RESIDENCE (avasa), 63 (kula), sala, [vasa(-kuti, 450 (vasati), ra )]. 5"sabha)], 455; L satra (; ; ; INDEX SCHOOL OF ARCHITECTURE RESIDENTIAL QUARTERS FOR THE ANCIENT PROFESSORS AND THEIR PUPIL (acharyakula), 495- SCIENCE 51. REST-HOUSE (avasatha), 48 (avasatha), (dharma245 (dharma-sala) 63 Lsatra(-ttra)], 511. laya), 245 RIDING ANIMAL OF THE GOD ISA (aira" ; , 95. RIM (arhsaru), 50. RIVER va(va)-ha-fka,la), ROAD (jangha-patha), 183 278 300 (nabhi-vithi), (parirathya), ; ; ; 390; (marga), 421 ; SCULPTURAL MEASUREMENT 451. ONLY (eka-paksha), ; ONE SEAT 93. 307 [garbha52 ; 147 ; (tauli), 222 ; (prachchhadana), 315; (uvaraka), 92 51 (agara), (griha), 150 135 ; (kshudra-sala), Lsuka(-kha)-nasika], 524. ; ROPE (anghrika-vari), 12. ROUND BUILDING (ushnishi), 90 nayaka), 92 ; 226 ; dubhi), (mukuli), 423. ; ; (sadas), 513 ; 88 (upavedi), ; 136 ; [pitha(-thika)], (sadana), 513. ; SECOND COURT (anya ranga), 42. SECOND FLOOR (tri-tala), 222. SECTARIAN MARK 112. (kalapaka), SECTIONAL TOWER (khanda-harmya), 136. SET OF FOUR ARCHITECTURAL MEMBERS 171. , SETTEE (asanda, asandi), 66. SEVEN-FOLD WALL (sapta-sala), 515. SEVEN-STOREYED BUILDING (asramagara), 64, etc. ; (riksha- [kalas(s)a], 108 ; (dun(maha-padrna), 416 ; SEVENTH STOREY 514 (sapta-tala), ; [sapta-bhumi-(ka)], 515. SHADOWLESS SPOT (avachchhaya), 48. SHARK [kimbara(-ri)], 117 (graha), 167. SHED (kota), 131 (prag-vamsa), 343 ; ROUND CORNER WALL (laiigala-bhitti), 441. ROUND ROYAL ROYAL ROYAL ROYAL ; 64 (-tta)], (chatur-varga-kantaka) (anu-griha), 37. ROOM (asana), [khattaka (prasada-tala), 364 ; [va(ba)labhi(-I)]. 449; (vata-kshetra),453; (harmya-tala), 610. ROOF OF A HOUSE (karuna-vina), 103 ; (chhanna-vira), 181. SEA-SIDE TOWN (dronaka), 234. (-ika)], (dharana), 246 ; 195- (achchhadana), manjusha (ashta-tala), ; SCULPTURAL ORNAMENT ROAD-SIDE HUTS (apana), 54. ROD OF A BALANCE (tula-danda), 216. ROOF etc. 70 (uttama-dasa-tala), (uttama-nava-tala), 70 ; (tiila-mana), 50, ROAD HAVING THE FOOT-PATH ON SIDE 68. SCRIPTURES (agama), 51. (charya), 173; (naracha), 278 ; 294 ; (patha), (mahgala-vithi), (vata), 453. 115; (kantara), 490. SCREEN WORK (alaksha), 46. SCREEN WORK IN ARCHES (indra-kosa), ; vata), (sastra), SCIENCE OF ARCHITECTURE (vastu-vidya), 458 ; (silpa-sastra), 494. ; ; (silpi-sala), , ; ; (sranta), 497. TEMPLE SHOOT [manjari(i)], SHOP (apana), 53 (sva-vriksha) , 594. CITY (sena-mukha) , 528. COURT (rajanga), 439. PALACE (raja-griha), 436. RESIDENCE 391. ; SHRINE (nishadya), 284. 117; (tlrtha), 215; (basadi), 367. [deva-kula(ika)], 229 SIDE-DOOR (kampa-dvara), 102. SIDE-HALL (netra-sala), 286 (paksha(klrtana), ; (sibira), 493. ; s SACRIFICIAL HALL SACRIFICIAL POST ^ala), 287. (yaga-Sala), (drupada), SIDE-NICHE (karna-kuta), 105. 431. 234 SIDE-OBJECT (karna), SANCTUARY (vimana), 461. SCHOOL FOR HIGHER STUDIES (kumaripura), 125. 104. ; (sthuna), 593. SIDE-TOWER (karna-harmya), 107 kuta), ; 148. SIDE-WALL (netra-bhitti), 286. SIKH TEMPLE (guru-dvara), 149. (gala- INDEX SMALLER PEDESTAL (upa-vedi), 88. SOFA [talpa(-ka)], 194 (mancha), 390. SINGLE PHALLUS (eka-linga) 94. BUILDING [eka-tala SlNGLE-STOREYED , ; SOIL [bhumi-(ka)], 385. (-bhumi)j, 92. SITE FOR THE HOUSES (kutumba-bhumi), SOLE (tala), SOLID 121. ; SPORTS GROUND ; 105 (karnashtaka), 170; (chandita), 172 ;" (tadbhadra), 223 (desya), 233 ; SPROUT (ganita), 143 ; (chandra -kanta), ; 193 ; ; , (vipula460 (vipra-kanta), 460 (visal(vivesa), 464 bhoga), 460 465 (visvesa-sara) aksha), 465 526 (susaiiihita), 510 (sakala), (sthandila), 578. (surya-visalaka), 527 ; ; ; ; ; , ; ; ; ; SITTING POSTURE 64. (asana), SIX-FORMULAS (ayadi-shad-varga), (shad-varga), 500. 61 ; (ikshu-kanta)> SIX-STOREYED BUILDING (kamala), 102 (upakanta), 76 67 etc. (kantara), 115; (ratna-kanta), 433, SIXTY-FOUR ARTS SKY (ambara), (kala), STAIRCASE ROOM (mukha-bhadra), 424. STAIRS (sopana), 528. STAKE (kila), 119; STATUE (pratima), in. 43. AND PROJECTING MEMBER OF ENTABLATURE REPRESENTING A CONTINUED PENT-ROOF (ananta), 37. THE SLUM QUARTER (basadi), 367. SMALL BEAM (kshudra-gopana), 135. SMALL CYMA (kshudrabja) SMALL DOOR (upadvara), 76. SMALL HALL (kshudra-sa!a), 135. SMALL LOTUS (kshudrabja), 135. 134. , SMALL NOSE nasa(-I)], (alpa-nasika), 48 135. ; [kshudra- 323. ; 522. [si(-si)la-vata], STONE TERRACE (pashana-vedi), 305. STORE-HOUSE STORE-ROOM mandapa), (koshthagara), 133. (kosa92 ; (uvaraka), 133 ; (koshtha) 132; (tandula-mandapa), 193 ; (mdhana), 281. STOREY SLOPING [se(-si)la- ; STONE-BULWARKS (pashya), 305. STONE COLUMN (s"ila-stambha), 494. STONE MASON (sila-marddaka), 494 SKY-LIGHTS [chandra-sala(-lika)], 172. SLIGHTLY BENT POSE (abhahga), 54. SLOPING ROOF (maddala), 411. (sanku), 476. 318 rupaka], 528. STEPS (pradakshina-sopana), ; ; ; 492. , 284, ; 391. (sibika-garbha), SQUARE PLANK (pralamba-phalaka) 327. STABLE FOR ELEPHANTS (darbha), 225. STADIUM (kumari-pura), 125. STAGE (natya-mandapa), 278. STAGE PROPER (ranga-pitha), 432. (padma(pada-vinyasa), 295 garbha), 297; [parama-sadhi(-yi)ka], ; 298; (pechaka), 315; (paisacha), 315 416 (bhadra), 378 ; (maha-pitha), (vipra-garbha) (vipra-bhakti), 460 etc.; (stupi-klla), 577. ; (kumari-pura), 125. [manjari(I)], SQ.UARE HALL (tri-yuta), ; (nishkala), ; 169. SPIRE (vriddha), 470 (isvara kanta), SITE-PLAN (asana), 64 (upa-pitha), 69 (ugra-pitha), 69 7688 ; (ubhaya-chandita), 90 ; ; 193. (ghana), (tala), 193 385 (bhuma), ; ; Lbhumi-(ka)], 385. STOREYED BUILDING (murti-kanta), 426 ; 429; (megha-kanta), 427; (meru-kanta), ; 440 ; (raurava), (yama-kanta), 431 445. (vajra-kanta), STOREYED MANSION (danda-kanta), 224. STREET (jangha-patha), 183 (vithika;, ; 468. STRING OF PEARLS NECK (ardha-hara), STUCCO (sudha), 525. STUDIO SMALL PILLAR (arighri), n. SMALL SEAL (mudrika), 425. (avesana), 46. 64. STYLE OF ARCHITECTURE (dravida) (vesara), 475(nagara), 260 88. SUB-TEMPLE (upabhavana), ; SMALL VESTIBULE (alpa-nasika), 48. SMALLER BUILDINGS (dandita), 224. SUGAR 15 THE WORN ROUND (sarkara), 483. ; 233 ; INDEX SUOARCANE-LIKE MOULDING (bahala), 370. SUMMIT (kuta), 128. SUN-EAGLE (garuda), 144. THE HEIGHT OF ANIMAL IN PROPORTION TO THE IDOL OF WHOM THE FORMER IS THE VEHICLE (utsava), 71. THEATRE (nataka), 272 (rariga), 432. THICKNESS (ghana), 169. THIRD STOREY (tri-tah), 222 'tri- SUPERNATURAL BEINGS (naga), 259. SUPERVISORS OF THE CONSTRUCTION OF A TEMPLE (karapaka), 116. SUPPORT (bharaka), 381. SURROUNDING STEPS (bhitti-sopana), 383. SURROUNDING WALL (koshthaka), 133. SWING (andola), 53 (dola), 192 and ; ; bhurni), THIRTY-EIGHT 2 :*3 ; 441 (svastika), 594. ; MARKS (ashta- THREE-EAR-PATTERN (tri-karna), 222. THREE-FOLD BAND (tri-patta), 222. THREE-FOLD WALL [tri-bhitti-(ika)], 223. THREE-FOURTH OF AN INCH (arigula), 4. THREE-STOREYED BUILDING (kamalariea) (nirgala), 283. (liriga), MYSTIC trimsat-kala), 50. ; SYMBOL 223. 102. TANK (tadaga), 192 ; (pushkarinl), 312 [vapi(-pi)-(ka)], 454. TAVERN 54 (apana), THRESHOLD (kulambha-dvara), 128. THRESHOLD OF A DOOR [deharl(-li)j, 233. THRESHOLD OF A HOUSE (udumbara) ; (madira-griha), ; 410. 74- TEMPLE (ayatana), 59 ; (alaya), 63 ; (asana), 64 (klrtana), 117 ; (ghatikasthana), 168 ; (devayatana), 230 (deva-niketa-mandala), 230 ; [dehari THREAD-HOLDER (sutra-dharin), 527. (kantha), 97. ; THROAT THRONE ; 233 ; '(bodhi-griha), 374 (mandapa), 395 ; (mandira), 413 (Siva-mandapa), 495 (sadana), 513 ; (sadman), 513. TEMPLE OF THE GOD OF FEVER (jvara(-li)L ; 136 ; ; (siriihasana), devalaya), 191. TOMB 50. TEMPLE WITH THE IDOL IN BENT POSTURE (apasarhchita), 42. TENIA (tatika), TEN-STOREYED 173. 134. ; (dasa- bhumi), 226. [alinda (ka)], 46 ; (dehara) ; (pradakshina), 322 ; [vithi(-i)], 468, (silavedi), 494. (pinda), TESTING THE SOIL THE GOOSE (smasana), 497. 128. TOPMOST ROOM 5 TESTICLE ; HEAD (ushnisha), 90. TERRACE 2 33 (kesa-kutaka), 130. TOP-DOOR (mani-dvara), 394. TOP-END (sfrsha), 495. TOP-FLOOR (maha-tauli), 415. TOP-KNOT (kesa-kutaka), 130. TOP-KNOT ON THE BUDDHA'S BUILDING 225 66. (ushnisha). 195. (dasa-tala), 522, etc. (nisaddhi), 284 (kuta), 134. (antarikshakanta), 39 ; (abja-kanta), 43 ; (mandara), 413, etc. TENTH-STOREY [khattaka(-tta),] TOOTH-LIKE JOINERY (danta-kila), 225. TOP OF ORNAMENTAL TREE (maulimunda), 430. TOP OF A BUILDING QO THE RECUM- TEMPORARY BUILDING (chara-vastu), TEMPORARY IDOL (kshanika-bera), TEMPORARY TEMPLE (kshanikalaya), 64; THRONE-LIKE SEAT (asanda, asandi), TIARA (kirita), 117. TIP OF THE HAIR TEMPLE OF THE JAINS [jina-(ka)], 190. TEMPLE WITH IDOL IN THE ERECT POSTURE (asaihchita) , (asana), (padma-bhadra), 298. (p'adabandhaka), 304 ; (bhadrasana), 380 (vijaya), 459 ; (srl-mukha), 4 qn ; gara), ; (kuta- TOP-ROOM [chandra-sala(-lika)], 172 (munda-malika), 425'; (mundaharmya),425; [IaIata(-mandapa)J, 440. ; 306. (bhu-parlksha), (upatalpa), 76 129. 383. (brahma-vahana), 376. Top WINDOW 16 (mani-dvara), 394. INDEX TOPE UPPER UPPER UPPER UPPER UPPER UPPER (dharma-rajika), 245. TORTOISE (pashana-kurma), 305. TORUS (ghata), TOWER 167. 12 (attalaka), (karna- ; (karna-harmya), 107; 175 108 (chuhka), ; |kalas"(s)a], [talpa(ka)J, 175 (chuli-harmya), (mandapa), (nirvyuha), 284 194 ; 105; kuta), ; GARMENT (upavasana), LIP 71. (uttaroshtha), PART OF A BUILDING (kapoi'a), 101 PIECE OF A DOOR (nasa), 279. ROOM . 92. (urdhva-sala), 12 ; (upa(attalaka), [talpa (ka)], 194 ; (mani- STOREY talpa), 76 5 88. ; harmya), 394. ; UPPER WALL 395- 101. [k(h)a-bhitti], WITH OPEN VERANDAHS (khanda- TOWER harmya), 136. TOWN (kubjaka), 125 281 184; (nigama), 291, etc. TOWNSHIP (jayanta-pura [pattana^na),, , ; ; VAULT (tunga), 215 (manjusha), 391. VAULT OF THE FOUNDATION-PIT (chhela), ; 310. (pur), 181. 2 TRADERS' ASSEMBLY (nigama-sabha), TRADING CORPORATION (mani-grama), VEHICLE (vahana), 458. VERANDAH TRAP 12. (anghrika-vari), TREASURY 108 TRELLIO WINDOW TRIAD > (dharana), ; VILLAGE (karmuka), 116 (kadanga), 98 2 4b. ; (dehi), TRUNK OF AN ELEPHANT (svastika), (hasti-hasta), VILLAGE 612. TURBAN TURRET I07 162. 132 (kutika), 121 ; ; 594, etc. DESCRIBED (grama-lakshana), VILLAGE-ROAD (grama-marga), VIRGIN (kanya), 98. [goshthi-(ka)], (pushpa-patta), 313. (karr ; (anghri), n ; ; BUILDING (kant^ 116; [kerala(kanta)l, 5 (madhya-kanta) 5 3 dva-daia-tala),2 5 (vamsa412 ; (magadha-kanta), 41? , kanta), 452, etc. SIDES (dvi-paksha), TWO-STOREYED BUILDING 244. 42 (antika), ; UNDER-GROUND UNIVERSITY (gabhara), 144. (visva-vidyalaya), 465. (urdhva-sala), 92. UPPER HALL UPPER DOOR (mundaka-dvara), WALL (kuttima), 121 ; (kudya), 123 ; (koshtha), 133 ; (bhitti), 381 ; (sasana), 490. WALL HAVING FOOT-PATH ON ONE SIDE ONLY (eka-paksha), 93. WALL-HOUSE (bhitti-griha), WARDROBE 382. (manjusha), 391. WATERCOURSE (tilamaka), 214. WATER-DOOR (jala-dvara), 185. WATER-FORT (jala-durga), 185. WATER-FOUNDATION (jala-garbha), (dvi-tala), 244. SHRINE 166. w 194 [talpa(ka)], 449! |va(ba)labhi(-i)l, DM. (hasti-nakha), ; ; TWELVE-STOREYED Two ; 166. TRUSTEES 283 496 ; 45 (nasa), 279. (grama), 162; (chatur-mukha), 170; (jayanta-pura), 184 ; (dandaka), 224 ; (pattana), 292 ; [padma-(ka)], 296 ; 233. 223. (tri-murti), ; (kharvata), 137 ; [khaluraka (-rika], 138; (khetaka), 139; (kolaka), 19- (jali), (vara), 454. ; (ardha-mandapa), [kshudra-nasa(i-)], 135 281. (karnikara), TRENCH i3 2 (kosa-mandapa), (nidhana), TREE (nishkasa), 284 VESTIBULE 394- 425. WATER-LILY (kumuda), WATER-POT (kundika), 125; (ghrita-vari), 170. WATER-JAR (manika), 17 185. 126. 394. INDEX WATER WHEELS FOR WELLS (kuchakra) 129. WATERING STATION (apana), WAVES (taranga), 193. WAX (svastika), 594. 54. WINDOW-CHAM EKS (kutagara), WIDTH (parimana), 300. i3 (madhuchchhishta), 411. WEDDING PAVILION (kalyana-mandapa), (kila), 119. (udapana), (purta), WOOD-CUTTER 74 ; (kupa), 129 ; 314. WINDOW (kunjaraksha), 120; (kuhara), 128; (gavaksha), 148; [chandra-sala (-lika)], 172; [jala-(ka, ka)], 188 ; 129. \ViNG OK A BUILDING [vishana-(ka)], 465. \VOMB (garbha), 114. WEDGE WELL (naga-bandha), 260 ; (pafijara), 288 ; (pushpa-bandha), 313; (valli), 450; 145. (takshaka), WOODEN IMAGE (sala WORKER (sthapaka), WORKSHOP 192. bhanjika), 490. 592. (sthapatya), 591. WRIST ORNAMENT (mani-bandha) 394. , 18 I PLEASE CARDS OR SLIPS UNIVERSITY NA 1501 A5 1946 DO NOT REMOVE FROM THIS OF TORONTO POCKET LIBRARY Acharya, Prasanna Kumar An encyclopaedia of Hindu architecture