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ENCYCLOPAEDIA

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HINDU ARCHITECTURE



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FRONTISPIECE

SVASTIKA MANSION (FRONT VIEW)


AN

ENCYCLOPAEDIA OF

HINDU ARCHITECTURE BY I.E.S.

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PRASANNA KUMAR ACHARYA,

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M.A. (CAL.), PH.D. (LEYDEN), D.LIT. (LONDON)

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OF ALLAHABAD

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PROFESSOR OF SANSKRIT, UNIVERSITY

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HEAD OF THE ORIENTAL DEPARTMENTS

MANASARA

SERIES

:

VOLUME

VII

PUBLISHED BY THE OXFORD UNIVERSITY PRESS NEW YORK, BOMBAY LONDON, MADRAS CALCUTTA. CHINA,

JAPAN


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PBINTBD BY THE SUPBPfNTENDBNT, PBINTINO AND STATIONERY, U.

LIBRARY 747610 .UNIVERSITY OF TORONTO


P.,

ALLAHABAD, INDIA

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of

our

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it

demand be

quite

data, to place the

record

now

before

exists,

faithfully

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and

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literally.'

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VOLUME

II

A

Dictionary of Hindu Architecture

Indian Architecture according to

VOLUME IV

Mdnasdra

Architecture

of Mdnasdra

Translation

di ti

Architecture of Mdnasdra

ra

V

Silpd-

Sanskrit Text with Critical Notes (1934).

(i934)-

VOLUME

Mdnasdra

on

III

1927).

(

al E

Sdstra (1927).

VOLUME

tio

I

du ca

VOLUME

n

MANASARA SERIES

Plates

in

English

i-cxxxv (Architec-

rT

tural), GXXXVI-CLVII (Sculptural) (1934).

Hindu Architecture

VOLUME VII

An

in India

fo

VOLUME VI

and Abroad

(1946).

C

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Encyclopaedia of Hindu Architecture (1946).



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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

and Abroad.

Architecture in India

In

n

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

lE du

ca tio

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, shoulder-

ra

di

tio

na

conditions presented the familiar

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ing in addition to the peculiar duties of an occasionally unfortunate Professor of an Indian University the heavy burden of research.

en

tre

fo

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 and

less

than

the routine

to include a

C

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

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

The commitment of his

at io

n

tural researches.'

predecessor had, however, to be carried out,

al

Ed

uc

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

on

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

ra d

iti

writer.

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published

1927

C

tion.

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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 publica-

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

FOREWORD

big European

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 well

home

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;

hearth and

at io

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is

they are not inclined to spend their fortune in erecting dignified edifices, everlasting ancestral residences, memorials,

Ed

;

spiritual progress.

of each

therefore, necessary to settle the architectural For India no better country in its own way. It

is,

tre

policy

taste

ra d

soil,

the architectural structures differ in

economic and climatic conditions, and aspiration, and material, moral and their

fo

and

weather

Thus

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stimulate national pride. various countries to suit

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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

series.

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Mdnasdra

en

authority containing the experience of generations and experiments of centuries will ever be available than what is revealed by the

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

commented in his The Dictionary point very strongly

review of the Dictionary on this is a book which is so well done that decades

many

it

'

:

appears to be no exaggeration cannot be improved upon unless, of it

n

to say that for

one1

respected

uc

at io

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.

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"

''

when

the University decided to entrust the learned " Doctor with the work of compiling, they chose the term Dictionary."

tre

fortune that

C

en

.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

to

is

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.

at io

n

outside.

...

cannot adequately make use of it I

Ed

artists as well. only for us but for foreign to which I shall be able to express the extent

uc

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

which

my

al

profit

from

it.'

.

.

.

l

on

and the

pupils will derive

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

and often

disinteresting work, in a

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patient

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iti

'

number of

different lan-

references

and

en

published

tre

fo

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 2

explanations.'

Professor Acharya's Dictionary of Hindu Architecture is a monumenIt deals with three thousand words tal work, the first of its kind.

C

'

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

Pravasi, April, 1928.

31, 1928.

xiii


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 '

n

reports which came out between The very extensive closely searched.

and

at io

archaeological explorations

'

Ed

uc

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.

on

al

tions

'

Svastika symbol,

fo

RANGA) and

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iti

'

'

'

etc.,

contain

all

information which

is

at

en

tre

Articles on fine arts (under KALA) and Indopresent available. Persian Architecture, and Maya Architecture of Central America, 3 etc., are also new.

C

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.

n

came back. They had and labour involved in and additions and altera-

new

the

entries

during the past twelve years may Those who work along this line altogether.

in the missing pages

have been, however,

lost

Ed

made

tions

Some of

uc

such a process.

at io

followed but the original manuscripts never to be prepared again with all the annoyance

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 writer's

ra d

iti

on

may

the

al

share

inspiration.

tre

fo

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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 '

en

preserved old manuscripts on Silpa-sastras written in five different scripts, and of some 50,000 lines of inscriptions.' Over and above this

C

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.

For

details, see pp. xx-xxii.

XV


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

Indo-China

French

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

at io

n

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

Ed

uc

and the

Thus they have earned

Lt.-Col. D.

W.

my

gratitude.

Crighton, and, after his ictirement, his successor,

al

in representation.

iti

on

as the Superintendent of the Government Printing and Stationery, Mr. M. G. Shome, and their staff have endeavoured to produce

ra d

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 faultless

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a

tre

the

C

en

before

fo

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 the

stocked

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

my

for

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.'

me

at io

In this connexion there arose an occasion for

n

possesses eleven

to express to the

Ed

uc

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

al

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

iti

on

known

and the texts of the Vdstuhundreds of years to be unearthed ;

ra d

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

many new

things hitherto

left

tre

to light

fo

rT

fdstras

unexplained in inscriptions

C

en

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

R. G. Bhandarkar,

XII, pp. 140, 141.

xvij


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.

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.

first

and

place,

it

military,

at io

buildings, religious, residential

denotes

n

Extent

and

members and component mouldings. Secondly,

all

sorts

of

their auxiliary

implies town-

it

laying out gardens

;

Ed

;

uc

constructing market places ; making roads, bridges, gates ; digging wells, tanks, trenches, drains, sewers, moats ; building enclosure walls, embankments, dams, railings,

planning

of

for hills, ladders, etc.

al

Thirdly, it denotes such as bedsteads, couches, tables, chairs,

on

steps ghats, flights articles of house furniture,

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iti

thrones, fans, wardrobes, clocks, baskets, conveyances, cages, nests, mills, etc.

fo

rT

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.

tre

Architecture

also

is

concerned with such preliminary matters

en

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

C

;

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

3 volumes) ; Indian Inscriptionum Indicarum (2

Corpus

;

Carnatica

Epigraphia

the Sutras, archaeological records

and other cognate matters published

Epigraphia Indica

:

44 volumes)

(fiist ;

the Brdhmanas,

The

etc.

volumes, in

(12

E.

(first 1

Hultzsch,

and Rao Sahib H. Krishna

Venkayya, General Sir A. Cunningham's parts)

15 parts)

Rai

late

Sastri

(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

;

at io

n

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

al

;

Ed

uc

;

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

on

;

Walcott

De

;

Krom

;

Sutrantraasche Period der Javansche Geschiedenis

tre

S.

fo

;

A.

;

rT

ra d

iti

;

; 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,

C

en

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

in the archaeological

n

pp. 319-20), for collecting materials for the ancient Geography of India by indexing separately all the geographical words occurring

and

at io

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

XXVIII, p. i, f.). There such would have been much easier for me if

(Ind. Ant.,

Vol.

al

Revd. J. E. Abbott

Ed

uc

this principle

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

could have

ra d

iti

I

on

list-making

my

model.

rT

take Dr. S. Sorensen's Index to the names in the Mahdbhdrata as

have followed

his

en

tre

fo

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

C

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

Ed

uc

at io

n

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 as

al

quotations

only

to

well-known

treatises

which, though covering

an

ra d

refers

iti

on

clear

rT

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, comprising

C

en

tre

fo

to

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

characters, especially

xxi


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

'

and

'

varhsa,'

sanku

'

are given

(as in the St. Pet. Diet.,

's"aka'

M. W.

Dictionary

'

and and the Vedic

not before

'

vakra

at io

n

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) '

'

uc

'

Ed

'

.

'

'

'

:

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

there

s"aka,'

al

before

iti

on

'

rT

ra d

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.

C

en

tre

fo

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

where

it

occurs.

'

Vedi,'

above had to be submitted to the

xxii


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, (St. Pet. Diet.}.

Beyond

this, it

n

8,

at io

1

:

be indicated even by an approximate number of books, for

a

example,

and

;

it

author's

Silpa-sastra-sdra-samgrahah

on

work

the

Grecian

of

Glossary

was name. an Architecture,

uc

Compare, anonymous

mention

al

impossible

to

Ed

some instances

in

Sivandrdya-

ra d

iti

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),

rT

corrected

(s'arhs'odhita)

;

tre

fo

jndna,

en

itself.

Need of showing

the

results

achieved

Although

it

would

be

C

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

of a compilation like this will perhaps be not to all readers, because no one but those who

difficulties

brought home

fully

'

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

at io

n

Aids and encouragement received sincere obligations are due, to the Secretary of State for India in Council for all facilities and

Ed

uc

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.

He

ra d

above, I owe take this task.

placed at

and procured

fo

Office

the then Librarian of India Office, London. As stated to him the inception of the idea and courage to under-

C.I.E.,

rT

Thomas,

iti

on

al

Great European

for

me most

different libraries in India

tre

my disposal all the

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

en

in Holland.

of Sir John

materials in the India

C

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.

on

al

Ed

uc

at io

n

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

ra d

iti

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,

rT

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

am

en

adequately express. Last but not least

tre

I

fo

diacritical

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

C

to

of

this.

P. SANSKRIT DEPARTMENT, UNIVERSITY OF ALLAHABAD

K.

ACHARYA.

:

August, 1937.

XXV



tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

at io

n

THE ORDER OF THE ROMAN CHARACTERS AND THE METHOD

th

p,

ph

sh, s

n

;

bh

b, ;

;

dh n

d, ;

gh

h

;

;

m

;

m ;

ch,

;

t,

;

th

;

chh ;

y, r,

h.

e, ai ;

o,

;

au

j,

jh

d,

dh n ;

n

;

;

1,

v

;

C

en

tre

fo

rT

5,

;

g,

ri, ri

;

;

Ed

t,

;

u

u,

;

al

kh

I

i,

on

k,

;

iti

a

ra d

a,

uc

OF TRANSLITERATION ADOPTED


;


tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

CONTENTS PAGES ix-xviii

FOREWORD PREFACE TO THE FIRST EDITION (DICTIONARY) METHOD OF ORDER OF ROMAN CHARACTERS AND THE

at io

n

THE

TRANSLITERATION ADOPTED

xxxi-xxxiv

uc

LIST OF ILLUSTRATIONS

Ed

TEXT OF THE ENCYCLOPAEDIA

~

6I5 59

ra d

iti

on

al

ON ARCHITECAPPENDIX I-A SKETCH OF SANSKRIT TREATISES .. TURE ARCHITECTS WITH SHORT APPENDIX II-A LIST OF HISTORICAL .. NOTES ON THEIR WORKS BIBLIOGRAPHY

fo

rT

EXTRACTS FROM OPINIONS ON THE DICTIONARY TERMS INDEX TO MODERN ARCHITECTURAL

670-84 ..

iA-i8A

WITH THEIR . .

C

en

tre

CORRESPONDING SANSKRIT EQUIVALENTS

'77


I

tO l8


tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

LIST

OF ILLUSTRATIONS

Serial no.

Facing page

I.

.

Frontispiece

C

en

tre

fo

rT

ra d

iti

on

al

Ed

uc

at io

n

.


LIST OF ILLUSTRATIONS Facing page

no.

47.

Kampa-bandha .. Kadanga Kabandhana

48.

Karnika

.

51.

Kalpadruma Kavata

.

.

.

.

112

118

.. .

54.

.

.

.

..

58.

Kokila

..

..

59. 60.

Kubjaka Keyura

.

.

61. 62.

Kokilargala Kona-loshta

63.

Kumbha-stambha

..

64.

Kostha-stambha

.

.

..

..

..

..

ra .

.

..

130 130

..

131

..

.

.

132 132 136

.

..

.

.

130

..

..

..

.

.

..

.

.

.

..

..

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

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.

..

..

..

..

.

.

.

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.

.

.

.

.

.

.

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.

.

.

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.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

en C

77.

.

tio

di

.

.

tre

73.

79. 80.

..

rT

fo

72.

78.

..

.

128

.

..

.

.

..

.

.

71.

76.

Kshepana Kharvata Kheta .. Garbha Ganda-bherunda Gabhara Garuda-stambha Gavaksha Guru-dvara Goji

..

..

..

..

..

Gopana

..

..

..

..

..

.

.

Graha-kundala

.

.

.

.

.

.

Ghatika-sthana

..

..

..

..

..

..

..

..

..

82.

Gopura Chauvadi

..

..

..

..

..

83.

Chandra-gala

..

..

..

..

.

.

81.

84.

Chaitya

85. 86.

Chitra-torana

87. 88.

89.

90. cji.

.

Jagati

.

.

.

Jala-garbha Jala-dvara

Tala-mana Torana

.

.

..

..

.

.

.

..

Jaya-stambha

.

..

.

.

.

.

..

..

.

.

.

..

.

..

.

.

.

.

.

.

.

.

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.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

..

18

118

.. .

..

..

.

70.

75.

.

.

69.

74.

.

1

.

..

..

lE

Kumuda

.

. .

..

na

Kshudra-nasa

.

.

.

.

..

67. 68.

.

..128

..

Kudya-stambha

.

124 128

57.

65. 66.

.

.

..

Kumbha-panjara .. Kuta

56.

104 104 104 104

.

;"

Kunjaraksha Kumari-pura .. Kuntala

55.

.

n

Kama Karnika

53.

.

.

.

....

49. 50.

52.

..104

tio

46.

102

..

..

..

ca

45.

du

Semi

..

..

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

.

.

.

.

.

.

.

.

Danta-klla

.

.

.

.

.

.

.

.

98.

Danta-nala

102.

Dhvaja-stambha

103.

Natya-griha Natya-griha Nala-geha Naga-kala

104. 105. 06.

1

.

.

.

.

.

.

.

..

.

.

.

.

.

.

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..

..

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.

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.

.

.

.. .

.

.. .

..

..

.

.

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.

.

.

.

.

.

.

.

Nasika

.

.

.

.

.

.

.

.

109.

Nidhana

.

.

.

.

.

.

.

.

Nidra

..

..

..

.

.

.

Pafijara

112.

Pafijara-lala

..

..

113.

Patra .. Patra-torana

..

..

Padmasana

..

117. 118.

.

.

.

..

Padma-pltha

119. 120.

Parigha Parna-mafljusha Padajala

121.

Palika

..

122. 123.

Pitha Potra

..

124.

Prachchhadana

125. 126.

Pratoli

..

..

.

.

.

.

.

na .. .

.

.

.

.

.

.

.

.. .

.

..

.. .

.

..

..

.

.

.

.

..

..

..

..

..

..

.

.

.

.

.

.

..302

..

..

..

.

.

.

.

.

.

.

.

C

en

....

..

..

..

..

..

..

127. 128.

Phalaka

..

..

..

..

.

Pralamba

.

129.

Prastara Balika

.

.

.

.

.

.

.

.

130. 131.

Bali-pltha

132.

Bahala Bahula

133.

..

.

.

..

.

..

..

.

.

.

..

.

.

.

.

.

.

.

..

..

135. 136.

Bhrama

..

..

..

137.

Bhrama-danda

..

..

138.

Maftjusha

.

.

.

Brahma-mastaka Bhadra ..

134.

298 302 302 302 302 302

..

..

Phana

274 274 278 280 280 280 280 280 288 288 288 288

tre

.

tio

.

.

..

di

Padma

ra

16.

.

.

..

rT

115.

.

.

fo

14.

.

.

..

lE

no. in.

.

du

Nataka

.

.

.

107. 108.

.

..

222 222 322 222 222 226 226 226 226 226 226

n

Dhara-kumbha

.

.

tio

101.

.

.

ca

Dipa-danda Dipa-stambha

1

.

97.

99. 100.

1

.

..

.

.

.

.. .

.

..

....

.

.

309 308 308 309 308 3 8 S2 ^ 33

366 3^6 3^6 366 3^8

..

..388

..

3^8 388 39

xxxi n


LIST

OP ILLUSTRATIONS

Serial no.

Fac'ng page

147. 148.

149. 150. 151. 152. 153. 154. 155. 156. 157. 1 58. 159. 1 60.

..

..

..

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Mandapa Mandapa

..

..

..

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.

.

Masiti

..

Masuraka Mukula

.. .

.

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.

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..

..

..

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..

..

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Lupa

.

.

Vedi

..

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.

. .

.

..

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..

..

..

..

..

..

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.

.

..

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..

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Setu

.

.

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Stupi

.

.

.

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.

.

Stambha

.

.

.

.

Svastika

.

.

.

.

..

C

en

tre

fo

rT

ra

di

tio

na

lE

Hasti-hasta

.

..

Yupa-stambha Raja-harmya Lakshmi-stambha

Hasti-nakha

.

.

.

..

..

..

..

.. Sariku Sala (Dandaka) .. Sikhara Srivatsa

.

..

..

.

.


.

.

..

ca

145. 146.

..

.

.

.

..

.

.

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.

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.

.

.

.

.

.

n

Mani-dvara

143. 144.

..

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. .

..

..

du

139. 140. 141. 142.

..

..

tio

Manika

..

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 The

:

(2)

eye

(Manasara, xiv, 17, note.)

ca

karayet

The

I

chaikena

tio

Athavaksharh (=adhishthanarh) navarhsochcharh janma

n

(1)

base of a column, the eye, a die. base of a column

:

tri-matrarh syad vistararh chaika-matrakam Akshayamardha-matrarh syad vistararh yuktito nyaset

du

Asyayamam

I

A die

(M., LX, 29-30)

na

(3)

lE

I

:

tio

Akshaih sphatika-sarhyuktarh tula-bhajanam eva chai

di

(M., LXVIII, 28.)

Referring to the window-like part of a dold (swing, palanquin), and of a chariot

hammock,

rT

:

ra

(4)

fo

Puratah prishthato madhye parva(darpa)narh bhadra-samyutam Parsvayor va(dva)ranarh kuryat tasyadho'ksharh susamyutam

tre

(M.,

en

see

GAVAKSHA

C

See

)

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,

Tasyadhah karnanarh kuryad akshotsedhardham eva cha (M., XLI, 51,

I

I

:

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

tio

n

dvaram tathottaram (M.,

I

292, 294-295.)

ix,

ca

Pitur-dvararh tu tat-pratyag vayau

du

AGRAHARA A village inhabited by the Brahmanas.

lE

Viprair vidvadbhir abhogyam mangalam cheti kfrtitam Agraharas tad evam uktaih viprendrah Kamikagame n

na

(Kamikagama, xx,

tio

Agraharam vinanyeshu sthan!yadishu vastushu ise

1

6,

3^.

ra

NlLAKANTHA,

di

Prag-adishu chatur-dikshu vayau Diet.)

i

sivalayah

3.)

I

II

(ibid.,

xxvi, 32.)

:

fo

rT

Agrarh brahmana-bhojanam tad-artham hriyante raja-dhanat prithak kriyante te agraharah kshetradayah Chatur-bhuja

tre

AGHANA

Not

(ibid

solid,

I

comm. Mbh.)

;

:

Agrahara

Sasana.

a hollow moulding, column or

en C

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

tio

n

I

(M., xxxiv, 143.)

ca

(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.)

du

I

iti

sastra-nidarânam

na

Dhvajah sarvatra sarhpanna

lE

II

i

Ganapati

tio

(Vastu-vidya, ed.

I

tu

Sastri, vi, 1-2.)

di

Madhye pranganam karyam viâlenaika-pamktikam Ardha-parhkti-vivridhya tu trimsat pamkty antam ishyate

ra

!

Ayame chaika-pamkty adi tri-gunantam visalata Evam brahmanganarh karyam jala-pata-yutam nava

I

fo

rT

I

Madhyamaih changana-sthanam mandapena yutam

i|

tu va

en

tre

Prag anganam pradhanam syat pragavaganganam jvarah

C

(KSmikdgama, xxxv, 40, 41, 66,

(Raghuvamsa, ed. Gal.

Ujatangana-bhumishu Vimanam hamsa-y uktam etat I

II

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 '

(a

mantapa

the Vol.

of)

12 anganas

near the big asvattha tree in proximity to

Matsyatlrtha, on the bank of the Arkapushkarini.' iv,

Edatore Taluq, no.

3,

Roman

(Ep. Carnal.,

text, p. 84, Transl., p. 52).

3


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,

The

n

tu dosha-sarhprapti(h) sllpidrishti(r) nivarayet (n).

ca

Tasmat

illustrations, too, of penalties for defective construction are

from the different architectural

objects, such as door, staircase,

du

Cf.

etc. (3-10).

tio

gate house, pavilion, wall,

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. etc.

;

na

spire,

lE

dome,

wall,

di tio

A

AlSJGULA

;

ra

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. Mdnasdra, Chap, n

tre

(i)

fo

rT

finger,

definition of

C en

The

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) :

tio

n

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

ca

:

du

:

lE

;

I

:

.

na

I

:

di tio

I

ra

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

rT

:

fo

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

C en

tre

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-virhâch-chhatantakam Lingangulam iti proktam berarh talavaâd 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

in his edition of the Siddhdnta-siromani, p. 52

ca

Bapu-Deva

(3)

tio

n

It

:

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

lE

du

i

na

I

di tio

i

ra

rT

:

dairghyarh

dvadaSa-bhagavibhaktam kritva

pitha-pramana-vivarjitarh

navadha karyah,

bhago

fo

tatraiko

^

so'ngula-sajnako

bhavati,

Vol.

S.,

vi, p.

C en

N.

tre

ashtadhikam angula-Satam pratima pramanam vakshyati 323, notes

yasmad

(Kern, jf.R.A.S.

i, 2).

Introduction (pp. 8-9) to Rdjavallabha Mandana, ed. Narayana Bharati and Yaôvanta Bharati (4)

1

2 3

4 5 6 7

8 9 10

This

is

:

= matra. Angulas = kala. = parvan. = mushti. = tala. = kara-pada. = drishti. = tuni. = pradeâ. = 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).

tio

n

I

I

tu dvadasangula uchyate Ratnir angula-parvani samkhyaya tvekavims'atih vitastis

|

du

Kanishthaya

ca

It

II

(98).

Chatur hasto dhanur dando nalika

|

na

lE

Chatvari-vims'atis chaiva hastah syad ahgulani tu Kishkuh smrito dviratnis tu dvi-chatvarimad angulah

(9^).

l|

yugam eva cha Dhanuh sahasre dve tatra gavyutis taih krita tada u (100). Ashtau dhanuh sahasrani yojanam tair vibhavitam

di tio

I

II

Matsya-Purana, Chap. CGLVIII, vv. 17-19

I

(101). :

fo

(6)

rT

ra

Etena jojaneneha sannivesas tatah kritah

Jalantara-pravishtanam bhanunam yad rajah sphutam Trasa-renuh sa vijneyo valagrarh tair athashtabhih (17). Tad-ashtakena tu likhyatu yuka likhyashtakair mata

C en

tre

I

II

I

Javo yukashtakam tad-vad ashtabhis Svakiyanguli-manena

mukham

tais

tad angulam

syad dvadasangulam

Mukha-manena kartaâ 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 drishî-gocharah Paramanur ashtabhis trasa-renur_.iti smritah

|

II

I

Trasa-renu

cha romagram liksha-yuka-yavas tatha and

so forth

7


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

proktarh tato

iti

matrangulam

s"rinu

si

(3).

I

Acharya-dakshine haste madhyamanguli-madhyame

II

(4).

n

Parva(m) matrangulam jneyarh deha-labdhangulam Srinu Pratimayas tathotsedhe tala-ganycna bhajite n (5). Teshvekarh bhaga-van-manarh deha-labdhangulam smritam objects measured in the three kinds of angulas Prasada-mand Spams' chaiva prakaran gopuran api u Gramadya-kshetra-ganyeshu manangula-vidhanatah

|

du

:

lE

The

ca

tio

I

(6). I

di tio

na

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

rT

ra

|

angula

Two

angulas are

C en

tre

fo

One

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

Ten

di$,

Twenty

trishu (and) vishku.

Thirty

gati.

Six

and murti. s"akti.

nadi, ayudha, and pradurbhava.

Forty

trijagat (?).

Fifty

âkvari.

Sixty

atiâkvari.

8


HINDU ARCHITECTURE

AftGULA

Seventy arigulas are called

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

chaiva

tio

cha

tri-bhagarh

mukham

cha vitastakamll

shat-kalas"

ca

Shat-kolakarh

dvadaSangula-sarhjnakam

Ahgushtha-tarjani-yuktam pradeâm

iti

(20).

I

klrtitamll (21).

du

Talam yamam

dis-

n

:

tala-manam

l)

correct reading of the last

two

lines

should be

di tio

The

na

lE

iti smritam (Madhyamangushtha-samyuktarh Angushthanamika-yuktarh vitastir iti chochyate II (22). Kanishthangushthayor yuktarh go-karnam iti sarhjnikam |

:

Ahgushthanamika-yuktarh go-karnam iti samjnikam II (22). Kanishthangushthayor yuktam(-ta) vitastir iti chochyate

ra

I

rT

Cf. Brahmanda-Purana,

fo

(See

cha ime trayah

The two kinds

tre

Pradesas cha vitastis cha gokarna of the measure by the

fist

i,

VH, 97, 98.

under GOKARNA and VITASTI.) II

(23).

:

C en

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-vaât 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.

(see

below),

Eggeling, Sacred Books of

ca

the aratni

tio

n

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 cf.

the East, 43,

300,

du

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,

lE

(13)

di tio

na

:

The

'

50).

Satapatha-Brdhmana, 10, 2, i, 2 Tasy-aish-avama matra yad angulayah, this is his lowest measure, namely the fingers. '

:

ra

(14)

In some table the aratni

defined

as

C en

tre

fo

is

rT

is distinguished from the hasta, and 21 measuring angulas. But the Sulvasutra of Bauit defines as dhayana equal to 2 pradesa, each of 12 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)

Compare

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 '

=

'

originally

may

other measures. eventually took

was maintained by

marked is

all

;

place

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.'

n

scale

But we can hardly doubt that the hasta or cubit and that a correct as the practical unit its

tio

it

du

ca

' I take the hasta Following Colebrooke (Essays, I, 540, note), (17) inch as the 18 inches, which gives for easy computation at exactly

lE

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 foot, generally

na

ANGHRI A

di tio

ekamSam prastaranvitam Tad-dvayam changhri-tungarh syad

(M., xn, 35.)

ra

cha dvi-padaikanghrim eva va Chatush-padam tri-padam

I

rT

(M., LXVII,

Tatra hinadhikam chet pada-sthananghrikasYayam na vidyate (M, Sarvesham bhitti-maneshu tatra dosho

8.)

I

LXIX, 60-61.)

I

fo

As a synonym of the pillar Taneha cha charanam chaiva

I

sthali

C en

tre

:

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

palace.'

A

'

ca

house of two or more

(M. W.Dict.} :

tio

(1) Kautiliya-Artha-Sdstra

storeys, a lofty house

na

ATTALIKA

lE

a military post.

the roof, an upper storey, a tower,

du

ATTA, ATTALA High, lofty. ATTALAKA An apartment on

(151)

tio

n

I

di

Vishkambha-chaturasYam attalakam utsedha-samavakshepa-sopanam

ra

karayet.

rT

TrimSad-dandantaram cha dvayor attalakayor madhye sa-harmya. dvi-talam

dvyardhayamam

pratolirii karayet.

Kdmikdgama, xxxv

en

(2)

tre

fo

Attalaka-pratoli-madhye trl-dhanushkadhishthanam sapididhana-chch(Chap, xxiv, 52.) hidra-phalaka-sariihatam itmdrakosarh karayet. :

Agrato'lindakopetam attalam salakantare tu

C

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


n tio ca du lE C

en

tre

fo

rT

ra

di

tio

na

ANOA

HALF PLAN HALF PLAN !_ooking-up

Looking-down.

AflGURIKA-VARI ANUHRI.

POLC



tre

C en

tio

ca

du

lE

na

di tio

ra

rT

fo

n

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

'

33

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

n

3,

tio

V. V. V.

attalakavatarhsakam sataghni-sula-kesantam charyasu cha vividhasu cha

Turrets

:

gopuratta-pratolishu

I

du

(6)

6

75, :

lE

VI

ca

I

Com-

Giri-sikhara-taru-tat-attalak-opatalpa-dvara-saranochchhraya.

and note

visirna

na

Jundgadh

Sato

talpatta Raghuvamsa. xvi, n, Vol. vm, pp. 43, 46 Rock Inscrip. of Rudradaman, Une 6, Ep. Ind., :

di tio

pare with

nivesah-(K ie lhorn,

3.)

ra

ANDA A cupola.

rT

N.

S.,

C en

Sobhanaih patra-vallibhir

ATI-BHAftGA

I

Kern,

Vol. vi, p. 319. 320).

tre

J.R.A.S.,

LVI, 22 , 24, *

fo

vimsatya

cha

vibhushito'ndais

16

with

cupolas), Shodasandayutah (furnished C upolas)-(B^-5amAf^ 20 with (adorned

(see

andakaii cha vibhushitah

I

CGLXIX, v. 20, see also v. 37.) (Matsya-Purdna, Chap.

BHANGA)-A

pose, in

which the idol

bent

is

n more than two or three places. ihochyate Sarvesham deva-devinarh bhanga-manam cha ati-bhangam tridha bhavet Abhahgam sama-bhahgam 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

(M,

xi, 76).

clear statement of the rule

:

n

A

I

tio

Tad-vistara-samottungarh sapadardharh tu tuiigakam Tri-padahikam utsedharh vistararh dvi-gunodayam

I

1

ca

1

Prathamarh Santikotsedharh dvitiyam paushtikodayam Tritiyarh jayadottungarh chaturtham dhanadodayam (i.e. sarvaka-

du

lE

mikam)

I

I

na

Panchamam chadbhutotsedharh janmadi-stupikantakam

I

(M., xxxv, 21-25.)

di tio

Kdmikdgama, L, 24-28 A measurement of the height Santikam pushti-jayadam adbhutarh sarvakamikam :

(2)

ra

:

|

rT

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

fo

I

C en

tre

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.

to stand) it denotes

Hence it is the basement In the same way, it implies

member of a building. of the column, being the member between the or base the stand Its identification with the shaft and the pedestal, if there be any. not be It is clear beyond base and the basement need questioned.

n

or the lowest

architecture.

Kdmikagdma, xxxv

du

(1)

Roman

:

lE

and

ca

tio

doubt by a comparison of the component parts and the offices it serves with the corresponding details (quoted below) of the Grecian

Yajamanasya janvantam navyantam hridayavadhi Galavadhi siro'ntam cha padardharh va tri-bhagikam II Tri(tra)yadi-shodasa-bhaganam adhikam vokta-manatah Adhisthanasya

manam

syat

...

di tio

na

I

II

(22).

I

(23).

ra

Taladhishthana-padebhyah kirhchid-una-pramanakam

II

(114).

LV, 202

C en

Ibid.,

I

tre

fo

rT

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

:

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 viêshatah 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

kuttima

syat

(

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

tio

n

:

I

I

du

ca

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

:

Adhishthanonnate dese chopapitharh hi sarhsritam Etam tat-tvam adhishthanam tungarii tach chatur-arhsakam

In a Tamil

(M.,

I

xiii, 2-3.)

heights of the base, pedestal and shaft or pillar fragment of a manuscript, purporting to be a

di tio

The comparative

na

lE

I

:

' 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 :

rT

ra

translation

and

fo

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.) in the case

tre

pedestal,

C en

According to Ram Raz, the passage, M., xm, 2-3, quoted above, meant to imply that the height of the pedestal consists of from

is

'

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.)


tre

C en

tio

ca

du

lE

na

di tio

ra

rT

fo

n


tre

C en

tio

ca

du

lE

na

di tio

ra

rT

fo

n

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

tio

n

I

xx, 65-66.)

ca

(A/.,

The penalty

I

having a disproportionate base Adhishthanotturiga-hlnam syat sthana-nasarh dhana-kshayam for

du

:

Evarh

manena

chatuh-shashti-masurakani( vibhajitani

(M., LXIX, 20.)

lE

:

na

types of bases

adhishthanam)

sastrokta-

di tio

The 64

I

I

sarhpat

I

(M., xiv, 393-96.)

ra

Jnatva prakurvann iha gilpi-varyas tad vastu-bhartuh pradadati

rT

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)

Pada-bandha (10-22) (a)

24 parts (1)

(b)

:

Parts

:

Vapraka

(3) (4)

Karna

(5)

Kampa

(6)

Pattika (band,

(7)

Kampa

29 parts (1)

(2) (3)

..

(plinth)

Kumuda (astragal) Kampa (fillet)

(2)

:

C en

I.

tre

fo

:

.

..

.

.

..

..8 .

7

..

i

.

3

(ear) (fillet)

fillet)

.

.

.

.

.

(fillet)

.

.

.

.

.

.

.

3

.

.

i

I

:

Janman (plinth) Padma (cyma)

Kampa

The

.

..

(fillet)

..

..

. .

.

. .

. .

..

2

.

rest as before.

17


2

.

.

I

AN ENCYCLOPAEDIA OF

ADHISHTHANA

Paris

29 parts

(c)

(i)

:

i

Janman

The

rest as befoie.

28 parts

(d)

(plinth)

:

2

(1)

Janman

(2)

Kampa

(plinth) I

(fillet) I

Vapra (cavetto) Kandhara (dado) rest as before.

Uraga-bandha (23-43) 8 parts

Vapra

(1)

(3) (4)

Kandhara (dado) Patta 1 Pattikaj

(7)

Kampa

(3)

Vajana

rT

:

fo

Karna

(ear)

above kumbha (pitcher)

..

Kampa Kampa

(5)

Kandhara (dado)

(6)

Vajana

tre C en

(fillet)

(4)

(3)

I

(fillet)

Kampa

(2)

i

2

rest as before.

22 parts (1)

i

na

(a)

The

(fillet) (fillet)

I

(fillet)

3

(8)

Kandhara (dado) Gopanaka (beam)

(9)

Prati-vajana (cavetto)

(7)

(d)

(fillet)

:

Vajana (fillet) Kandhara (dado)

(i)

i

lE

20 parts

(fiu t) v

6

du

(6)

(5)

(c)

7

(plinth)


(2)

(b)

:

n

1

di tio

(a)

:

ra

II.

tio

(4)

The

2

ca

(3)

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)


(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. :

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

.

..

..

.

.

.

..

.

.

6

.

.

.

.

.

i

.

.

.

.

.

.

pitcher)

na ..

(a)

Alinga Vajana

(3)

Kandhara (dado)

(4)

Pattika (band)

(5)

Vajana

.

.

.

ra

(fillet)

.

.

(this

.

is

part

rT

(fillet)

di tio

..

(fillet)

.

I

.

.

.

.

2

.

.

.

.

i

.

.

i

fo

tre

(1)

Kampa

(2)

Kandhara (dado)

(3)

Kampa

(4)

Karna

(5)

Vajana

.

C en

(fillet)

.

(ear)

.

.

.

i

.

.

.

.

i

.

.

.

.

.

.

.

.

.

.

.

.

.

(upper and lower).

.

.

(fillet)

:

.

.

(fillet) .

sordhve)

.

.

I

2 .

.

i

should be as before.

rest :

(i)

Kampana

(2)

Antara(rita) (intervening

(3)

Tripatta (three bands)

(fillet)

.

fillet)

(5) (6)

Vajana rest

(fillet)


These are employed in the buildings of gods and three higher (xiv,

each

.

Antara (intervening fillet) Pratima ( ? Prati-vajana= cavetto)

The

I

.

decorated with the

(Kumbhantam purvavat

23 parts

(4)

Parts ..

.

all ornaments) should be as before.

rest

24 parts

specially above

.

carvings of trees and

(d\

i

lE

viseshatah,

:

The

7

.

.

. .

kumudordhvc

(b) 22 parts (kumbhe the pitcher and torus)

(c)

i\

.

.

i or 2 or Kampa (fillet) Patta (band) decorated with elephants, horses, and makaras (sharks),

is

The

..

.

(xiv, 53^.

(i)

i

2J

.

du

etc.

:

:

tio

(a)

kings.

Prati-krama (44-64)

ca

III.

n

Brahmans, and

100-101).

19


castes

AN ENCYCLOPAEDIA OF

ADHISHTHANA Kumuda-bandha 27 parts

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

..

i

..

i

.

i

(ear)

.

.

(astragal)

Padma (cyma) (n) Padma (cyma)

..

Karna

(ear)

Kampa

(14)

Abja (cyma)

.

Kampa

lE

(fillet)

di tio

(17)

Abja (cyma)

na

6)

..

..

to the

..

2

..

..

i

..

..

..

i

.

naga

i i

..

:

.

ra

rT

which should be equal

..

..

..

..

Gopana (beam) Some authorities recommend Tripatta .

.

..

27 parts (pattike tu viseshatah) .

.

.

..

(fillet)

(15) Pa{ta (band)

.

..

ca

(13)

1

..

i

..

du

(12)

(b)

.

..

(fillet)

(cavctto)

(10)

(

.. .

.. .

n

(a)

(65-77)

tio

IV.

.

.

.

in place of

2

.

kumuda

(astragal)

or snake.

tre

fo

Pattas (bands) in the middle are decorated with flowers and jewels. It is supplied with a declivity (kataka) or it may be circular.

C en

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

1 1

)

Kampa

(12) Pattika

.

(band)

(13)

..

..

(14)

Kampa

..

..

(fillet)

.

2

..

i

..

i

..

ii

:

(1)

Janman

(2)

Kampa

..

(plinth)

.. .

(fillet)

.

.

|

..

i

.


rest :

Janman (plinth) (2) Padma (cyma) The rest should be as (1)

.

.

..

.

.

.

.

.

ca

before.

:

du

19 parts

.

.

Padma (cyma)

19 parts

(rf)

..

.

..

The (c)

.

..

19 parts

(b)

..

(fillet)

Padma (cyma)

n

(

tio

(10)

of this base, there is a slight difference There should be two pattikas or (one) (kinchit Sesham viSeshatah). the rest as before. and kapota last

this

sort

na

lE

In

VI.

all

di tio

Pushpa-pushkala (suitable, as stated, for

the storeys of the

buildings of the small, intermediate, and large sizes) (92-108)

(i)

Janman

(a)

Vajana

(3)

Maha-padma

(4)

Karna

(5)

Ambuja (cyma)

ra

:

..

rT

(plinth)

.

(fillet)

(large

.

.. .

.

.

.

.

.

.

Kumbha

.

.

.

.

(7)

.

.

.

.

(8)

Kampa

.

.

(9)

Gala (dado)

..

..

Kampa

..

..

..

..

..

..

..

.

(11) (12)

(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

.

Padma (cyma)

(pitcher)

2 i

.

(6)

(10)

Parts ..

cyma)

tre

(ear)

fo

32 parts

C en

(a]

:

..

i

..

I

..

2

..

i

:

Padma (cyma) above

the large portion

is

one part more and

the rest should be as before.

21


AN ENCYCLOPAEDIA OF

ADHISHTHANA 32 parts

(c)

:

The cyma above

the plinth

one part and the

is

rest

should be

as before. Parts

32 parts

(d)

(1)

:

Kampa

(2)

(fillet)

Mahambuja

The

rest

(large

cyma)

(suitable

for the

temples of Vishnu and Siva) (109-22)

:

Parts

Janman

(2)

Vapra

(3)

Kumuda

*

(plinth)

6

n

(cavetto) (torus)

(5)

Karna Karna

(6)

Kampa

(7)

Padma (cyma)

(8)

Gopana (beam)

du ca

(ear)

.

(ear)

i

i I

di ti

i

face-like

2

ornament)

ra

i

rT

26 parts

:

Janman

fo

(1)

1

i

Alinga (fillet) (id) Antarita (fillet)

(n) Prati-vaktra (a (12) Vajana (fillet)

6

4

.

al E

(fillet)

(9)

(b)

and the

:

(1)

(4)

emperors

tio

26 parts

palaces of

on

(a)

i

6


Sri-bandha

VII.

below mahambuja (large cyma)

2

(plinth)

=

i

en t

re

Prati-vaktra, a face-like ornament) (2) Pratika ( The rest should be as before.

C

(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 i

(fillet) i

(fillet)

i

i

Ardha-vajana (half fillet) The rest should be as before.

(6)

(d)

26 parts (1)

:

Janman

Abjaka (small cyma)

(3)

Kampa

.

.

(fillet)

rest should

i

..

(plinth)

(2)

The

i

be as before.

22


.

.

.

.

i i

HINDU ARCHITECTURE Mancha-bandha

VIII.

(1) (2)

(4) (5)

Vapra

..

.

.

.

..

(fillet) (fillet)

..

.

.

.

.

.

.

.

2

.

.

.

.

.

.

6

.

.

.

.

.

.

(7) (8)

Kandhara (dado)

.

.

.

.

. .

(9)

Kampa

.

.

.

.

.

.

.

..

..

i

..

.. ..

(14) Prati (fillet)..

..

..

..

..

Vajana

(4)

on

Janman (plinth) Ambuja (cyma)

..

..

Kshepana (projection) Vapra (cavetto)

(6)

Kumuda (torus) Kampa (fillet)

(7)

Kandhara (dado)

(8)

Kampa

fo

(5)

en t

2 2

.

.

.

.

.

.

.

.

.

.

.

i

.

.

.

.

.

.

6

4

.

.

.

.

.

.

.

.

.

.

.

.

i

.

.

.

.

.

.

2

..

i

..

Pattika (band)

.

.

2

(fillet)

..

..

..

i

(ear)..

..

..

..

i

(fillet)

..

..

..

i

..

..

..

i

..

..

..

i

Vajana

(13) Prati

(fillet)

Vajana

(14)

Parts ..

Kampa

(n) Karna (12)

\

.

..

(fillet)

C

(9)

(10)

\\

..

di ti

(3)

:

ra

(2)

i

..

carvings (rupa) of vyalas (snakes)

the

sharks, etc. (137).

26 parts (1)

with

\

..

al E

decorated

is

and

rT

This

(fillet)

n

i

..

..

(15)

i

.

..

(fillet)

Kampa

(13)

i

2

tio

(projection)

(fillet)

4

..

du ca

Kshepana

..

..

(band)

(12) Alinga

2

..2

..

..

(fillet)

\

.

.

(cavetto)

(10) Patta

(c)

..

Kumbha (pitcher) Kampa (fillet)

(11)

:

Parts

Kampa Kampa

(6)

(b)

temples and palaces) (123-143)


(3)

lions,

(for

:

re

(a)

26 parts

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


(e)

The

:

Pattika

and the

same but the Kandhara above

the

is

The ornaments should be

rest as before.

is

one part,

discreetly

made

(148).

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

.

.

.

.

\

.

.

.

.

5

tio

n

(pitcher)

(fillet)

(fillet)

(fillet) (fillet)

:

..

..

..2

..

..

..

I

..

..

2

(1)

Janman

(2) (3)

Kshudra-kshepana (small projection) Ambuja (cyma)

(4)

Kandhara (dado)

(5)

Abjaka (small cyma)

(6)

Kumbha

..

di ti

on

(plinth)

ra

rT

(8)

Kampa

.

.

.

.

i

.

.

.

.

i

.

.

.

.

.

3

.

.

.

.

.

.

i

.

.

2

..

(fillet)

re en t

.

Kandhara (dado) Kshepana (projection)

.

.

.

.

..

..

..

(12) Pattika (band)

..

(14)

i

.

..

(13)

\

4$

(u) Padma (cyma)

(10)

.

.

.

fo

(7)

.

. .

(pitcher)

Padma (cyma)

(9)

C

il

..

(plinth)

(5)

(n) Vajana

(c)

other buildings) (144-169) Parts

(1)

22 parts

all

:

(10) Prati

(b)

temples and

(for

du ca

(a)

Sreni-bandha

al E

IX.

..

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 Antarita

(12) Prati

Vajana

24 parts

Janman

(2)

Kshudra-padma Vajana (fillet)

(plinth)

(4)

Maha-padma

(5)

Dala

..

..

..

j

..

..

..

\

.

.

.

t

..

cyma) .

.

.

..

..

x

.

.

.

.

r

.

.

.

.

l

n lions, etc. (174).

(for the

temples of gods and goddesses) (170-194):

:


..

Kampa (fillet) Kumbha (pitcher)

(5)

Kshepana

(6) (7)

Adhah-padma Karna (ear)

(8)

Kampa

(9)

Pattika

.

.

.

.

.

.

x

.

.

i

.

.

i

.

.

.

.

x

.

.

.

.

i

.

.

.

3

.

.

.

.

.

i

.

.

.

.

. .

2

.

.

.

.

.

2

ra

(band)

parts

..

.

.

(fillet)

.

. .

.

(lower cyma)

fo

Kampa

(projection)

..

.

.

(4)

(3)

3

.

..2

rest as before.

(a) 21 parts

(2)

.

..

cyma)

(petal)

Padma-bandha

(1)

(small

(large

These are decorated with

.

..

..

..

i

(n) Kandhara (dado)

..

..

..

i

(12) Patta (band)

..

..

..2

(b) 21 parts

:

re

(fillet)

en t

(10)

C

X.

j

tio

The

.

j

..

:

(1)

(3)

.

l

.

..

..

(fillet)

.

.

du ca

(13) (d]

(fillet)

.

.

(fillet)

.

al E

)

..

..

di ti

1 1

..

(fillet)

rT

(

.

.

..

on

(10)

..

(fillet)

(1) (2)

Upana (plinth) Padma (cyma)

.

.

.

.

.

.

3

.

.

.

.

.

.

i

.

.

.

.

.

.

5

.

.

.

.

.

.

i

(4)


(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


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) (3)

Kandhara (dado)

(4)

Padma (cyma)

(5)

Kumbha

(6)

Padma (cyma)

n

:


(7)

Kampa

(8)

Karna

(9)

Padma (cyma)

tio

(pitcher)

du ca

(1)

2

.

(fillet)

(6) Prati (fillet)

19 parts

i

(fillet)

(ear)

(5) Antarita

(d)

;

(fillet) ..

(ear)

al E

(c)

Kapota (dove-cot) (u) Alinga (fillet)

..

(fillet)

di ti

(12) Antarita

on

(10)

(13) Prati-vajana

.

(fillet)

.

24 parts )

C

(3)

Kampa

(4)

Karna

(5)

Kampa

(fillet)

(ear)

(6) Pattika

.

.

i

.

(sharks), lions, etc. (203).

.

.

.

.

.

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)

.

Parts


en t

(2)

i

:

re

1

i

.

.

..

:

fo

(a)

rT

ra

These are discreetly adorned with grahas XI. Kumbha-bandha (195-239)

..

(fillet)

(drip)

(fillet)

..

..

..

..

..

..

26


HINDU ARCHITECTURE

Parts

:

(1)

Kumbha

(pitcher)

(2)

Nimnaka

(drip)

(5)

(7)


(8)

Kandhara (dado)

Kumbha

(18)

(19)

Kshepana

(20)

Nimna

(projection)

..

(drip)

di ti

24 parts

2

(fillet)

:

..

.

.

.

.

.

.

2

.

.

.

.

.

.

i

.

.

.

.

.

.

i

.

.

.

.

.

i

.

.

.

.

i

.

.

2

(3)

Kandhara (dado)

(4)

Kumbha

(5)

Nimna

(6)

Kshudra-patta (small band)

(8) (9)

(10)

fo

(drip)

.

en t

(7)

rT

(2)

(pitcher)

Abja (cyma) Kapota (dove-cot) Kshepana (projection)

Padma (cyma)

(u) Kandhara (dado)

.2

..


(1)

.

.

(pitcher)

Padma (cyma) Nimna (drip)

C

(c)

2

.

.

(dove-cot)

(16)

(21) Prati

.

.

.

.

(fillet)

(15)

(17)

.

.

.

.

(fillet)

Padma (cyma) Nimna (drip) Padma (cyma)

(14)

i

(fillet)

(u) Kapota (12) Vajana (13)

.

n

(10)

Kampa Kampa

.

.

tio

(9)

i

.

.

on

(6)

..

.

du ca

(4)

Janman (plinth) Padma (cyma) Nimna (drip)

..

ra

(3)

..

al E

24 parts

re

(b]

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),

..

i

..

..

i

..

..

i

.. ..

the remainder.

27


i

..

2(?-J)

AN ENCYCLOPAEDIA OF


(d)

Parts

:

(2)


(3)

Kampa

(4)

Kandhara (dado)

(1)

(5)

Kampa Padma

(fillet)

(8)

(9)

Alinga

(7)

.

.

.

.

.

(fillet)

(cyma) Pa{tika (band) Padma (cyma)

(6)

..

.. .

.

.

.

.

.

.

2

.

.

.

.

i

.

.

2 i

..

..

..

.

.

.

.

.

.

.

.

.

.

.

.

2

.

.

.

.

.

.

i

..

(fillet)

2

..

i

..

i

(10)

Padma (cyma)

..

..

(11)

Kumbha

..

..

..

3

..

..

..

j

..

..

..

i

(14)

Kendra

(central part)

(15)

Kampa

(fillet)

(16) (17)

Abja (cyma) Kapota (dove

(18)

Kampa

..

..2

..

..

i

..

..

..

i

..

..

..

i

..

i

du ca

cot)

(fillet)

.

..

al E

The

n

(13)

Padma (cyma) Padma (cyma)

(12)

tio

(pitcher)

i

should be discreetly made. be should decorated with sharks, etc. and kshudra-nasi (small These

on

rest

above] specially in the

ra

[see (b) (i), (2)

part (247).

rT

Kumbha

di ti

nose) (246). This is stated to be of five kinds

re

fo

These may be circular, triangular (tri-pajta), rectangular and should be furnished with katakas. These are suitable and palaces (248). XII.

en t

Vapra-bandha (240-248)

C

(a)

(?)

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) Patîka (band) (12)

Padma (cyma)

.

.

28


.

.

.

.

J

i" 2 i

HINDU ARCHITECTURE

(13)

Vajana

(14)

Karna

(fillet)

(ear)

(15)

Kshepana

(16)

Ambuja (cyma)

..

(17)

Kapota (dove-cot)

..

i

~

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)

(10)

.

.

.

Kampa

.

..

Kampa

(13)

Ambuja (cyma)

(14)

Kapota (dovecot)

(15)

Prati-vajana

(16)

Kandhara (dado)

(17)

Kampa-padma

(fillet)

rT

fo

re

(fillet

C

27 parts

n tio

j .

..

..

..

..

..

and cyma)

}

i " y .

x

2 x

..

2

..

fillet)

..

..

(round band)

Sri-bhoga (260-280)

i

,

..

Padma-kampa (cyma and

2

..

..

(fillet)

| J

.

.

..

en t

(18) Vajra-patta

.

di ti

..

]

g t

(fillet)

(ear)

du ca

, ,

..

(it)

(1)

.

Vajra-kumbha (round pitcher) Saro-ruha (cyma)

(u) Karna

(19)

..

^ ^

"

.

.

.. .

(fillet)

j

^

.

.

(fillet)

..

.

al E

(8)

(a)

x

tt

8) Prati-vajana (fillet)

(9)

XIV.

..

ra

XIII.

(projection)

on

( 1

(a)

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

(fillet)

and cyma)

(fillet

..

Janman

.

(plinth)

Kshudropana

(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

(10)

on

al E

(:

di ti

(7)

(large

Kshudra-pankaja

.

(fillet)

Gala (dado) .. Padma -kampa (cyma and

.

.

.

2

.

.

.

.

i

,

,

.

.

3

.

.

.

.

.

.

.

.

.

.

.. .

.

ra

(6)

|

Parts

(2)

(5)

.

:

n

)

.

.

tio

i

.

.

(fillet)

du ca

27 parts

(4)

.

.

i

2

.

..

i

.

i

.

..

\ ..

.

..

..2

Gala (dado) Vajana (fillet)

..

..

\

..

..

(15)

Kampa

(fillet)

..

..

..

\

(16)

Padma (cyma)

..

..

..

2^

(17)

Kapota (dove-cot)

..

..

..

2^

(18)

Prati(ma)

..

..

..2"

rT

..

(11)

re

(13)

fo

(12) Pattika (band)

en t

(14)

C

.

..

..

1

(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

(plinth)

.

(cavetto)

(seat)

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

(6)

Ratna-vapra (jewelled cavetto)

(7)

Kampa

(fillet)

(8)

Nimna

(drip)

.. .

.

30


.. .

.

.

.

.

.

(?3)

i i

.. .

.

4^ 4] \

HINDU ARCHITECTURE

ADHISHTHANA Paris ..

..

..

..

|

..

..

2

..

..

^

..

..

..

f

..

..

..

2

.

i

(13)

Kampa

(14)

Kandhara (dado)

(fillet)

Kampa padma

(15)

(16) Ratna-patta

and cyma)

(fillet

(jewelled

fillet)


(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

..

..

the remainder.

(fillet),

.

.

..

*

..

n

(n) Ratna-kampa (jewelled fillet) .. (12) Kampaja (fillet)

|-

tio

(fillet)

Abja (cyma)

..

i|

du ca

Kampa

(9)

(10)

..

Patta-bandha (297-304) :

Janman

(2)

Vajana

(3)

(5)

Mahabja (large cyma) Padma-kampa (cyma and fillet) Nimna-kampa (drip and fillet)

(6)

Padma (cyma)

(7)

Maha-patta

(9)

(10) (11)

.

rT

fo

re

.

en t

.

(large band) fillet)

.

8 parts

all

(fillet),

ornaments

.

.

.

.

.

.

.

.

2 J <2.\

.

.

.

.

i

.

.

.

.

\

.

.

.

.

i

.

.

.

.

2

.

.

.

.

i

.

.

.

.

i

5 2

.

(line 318). :

Parts

:

..

..

,

.

.

.

.

.

.

.

.

.

.

.

Janman

(2)

Kampa

(3)

Mahambuja (large cyma) Padma-kampa (cyma and fillet) Nimna (drip)

(5)

..

the remainder.

(1)

(4)

Parts

..

Kshepana-abja (projection and cyma) .. .. Kapota (dove-cot)

Kaksha-bandha (305-346) 1

.

Padma-kampa (cyma and Kandhara (dado)

adorned with

XVII.

.

.

(12) Prati-vajana

(a)

ra

(plinth) (fillet)

C

(8)

is

..

(1)

(4)

This

di ti

26 parts

:

on

XVI.

al E

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).

(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)

(1

)

5)

(16)

Kapota (dove-cot) Vajana (fillet)

(b) 19 parts

all

..

ornaments, and sharks and snakes,

(2) (3)

Kampa

(4)

Mahambuja

..

(fillet)

.

.

.

.

(6)

cyma) Padma-nimna (cyma and drip) Abja (cyma)

(7)

Kumuda

(8)

Abja (cyma)

(9)

Karna

etc. (line 328).

(large

(astragal)

ra

(ear)

.

.

..

..

.

.

.

.

...

.

.

2

.

.

.

.

i

.

.

.

.

i

j

.

.

Parts

..

..

..

.

.

.

.

.

.

.

.

.

.

i\ \ J

Abja (cyma)

..

..

i

(11)

Pattika (band)

..

..

..

i\

..

,

i

.

i

fo

rT

(10)

..


Nimnaka

re

(12) (13)

(14.)

Antarita

(15)

Prati

en t C

.

..

:


(5)

.

n

adorned with

(1)

and cyma)

al E

is

(fillet

on

This

(ear)

Kampa-padma

tio

i

Kama

di ti

(

.1

du ca

(13)

(16) (

1

7)

(1 8) (

1

9)

(20) (21)

(drip) (fillet)

(fillet)

Kandhara (dado)

Kampa

..

.. ..

..

..

.

.

.

..

(fillet)

.

..

.

-I ..

i

\ .

.

..

i

}

Padma (cyma) Kapota Vajana

(dove-cot)

(fillet

ornaments

(c)

26 parts

and band) before and

.

1

..

..

i

.

.

i

.

.

..

should be as

rest

all

.

(fillet)

(22) Prati-bandha

The

..

..

(fillet)

Vajana

fillet)

..

it

.

.

,

.

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

n

tio

(1)

Janman

(2)

Kampa

(fillet)

(3)

Nimna

(drip)

(4)

Bhadras (projecting ornaments)

(5)

Kampa

(6)

Nimnaka

(8)

Prati

(9)

Kampa

.

(fillet)

fo

re

(fillet)

en t

Padma (cyma)

Kapota (dove-cot) Kandhara (dado)

(15) Prati (16)

.

.

C

(13) (14)

(fillet)

Kumbha (?

..

(pitcher)

.

i

.

.

i

..

5(each)

.

i

.

.

.

i

. .

.

.

i

.

.

I

on

.

.

3

.

.

.

.

Paris

.

.

.

di ti

(fillet)

.

.

. .

.

..

.

.

.

.

Kandhara (dado)

(u) Kampa (12)

.

(drip)

.

.

.

(fillet)

(fillet)

..

..

(plinth)

(7) Antarita

(10)

du ca

:

al E

24 parts

ra

(d)

rT

etc.

parts of the two lower karnas are adorned with images of snakes, (line 349 \

.

.

.

.

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)

.

.

..

..4

.

.

. .

I

.

.

. .

5

. .

.

I

. .

. .

33


.

i

(leaf

S

ADHISHTHANA

AJf

ENCYCLOPAEDIA OF Parts

(6)

Nimna

(7)

Vajana

(drip) (fillet)

Padma (cyma) Kumbha-mahabja

(8) (9)

(pitcher

and cyma)

5

Abja (cyma)

(10)

(n) Kampa (12) Alinga

(fillet) (fillet)

(13) Antarita (fillet) (14) Prati (fillet)

(17)

Kandhara (dado)

Kampa

(19)

Padma (cyma)

(20)

Kapota

(fillet)

(fillet)

Sri-kanta (359-372) :

(1)

Upana

(2)

Kshudropana

ra

rT

Kandhara (dado) Pattika (band)

(8)

Kshudra-kampa

(9)

Padma (cyma)

en t (7)

(10) (11) (12)

(13) (14)

(15)

(16)

'

.

.

.

'

.

.

i

3

..

(small

fillet) .

.

i

.

4

.

i


Nimna Padma

..

Kshepana (projection) Kandhara (dado)

..

(18)

Padma (cyma)

(19)

Kapota

(20) Alinga

Prati

.

..

..

(cyma)


Kampa

.

.

.

(drip)

(17)

(21)

i

Padma (cyma)

(6)

C

3

(small plinth)

re

(5)

Parts ..

(plinth)

fo

(4)

1

:

Mahambuja (large cyma) Kshudrabja (small cyma)

(3)

1

on

36 parts

3

..

di ti

XIX.

(dove-cot)

al E

(22) Prati

(fillet)

du ca

Alinga

(21)

.

tio

(18)

.

n

(16)

Vajana (fillet) Kshepana (projection)

(15)

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)

:

I

tio

I

n

Tat-samarh nirgamam vapi tri-padam ardhardham eva cha Tad-eva kshepanarh sarve yatha-sobham tu karayet

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

al E

du ca

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

on

I

rT

ra

di ti

I

details of the bases

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

fo

:

re

below.

en t

:

C

Projection from the axis of column in parts of a

module

(1)

Fillet

..

(2)

Torus

.

..i

i6

..6

(3) Plinth II.

13^

5

.

Doric order (Art. 2565) Base of the column 1 2 parts

16^

:

:

Projection

(1)

Apophyge or cong6

(2)

Fillet

..

(3)

Astragal

..

(4)

Torus

(5) Plinth

.

.

..

..2

12

f .

.

.

.

14

ij

14!

4

17

..1 35


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

20

Fillet

(2)

Torus

(3)

Fillet

(4)

Scotia

(6)

tio al E

(8) Scotia

on

Fillet

(9)

Grecian Ionic

(art.

2581)

ra

rT

Apophyge

(2)

Fillet

24 25

i

:

i

..

.

re

Bead Torus (horizontally

en t C

21

2

:

fo

(1)

(4)

22

6

Base of the column 33.27 parts

(3)

i

22

di ti

(10) Plinth

i

22

2

beads

Fillet

(7)

20

du ca

Fillet

Two

n

(1)

(5)

column

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 ..

..

2

Fillet

..

..

1

..

..

3

(5)

Scotia

..

..

(6)

Fillet

..

..

(7)

Bead

..

..

(8)

Fillet

(9)

Scotia

.

.

.

21* 2 if

21* 20f .. i 23 4 25 6 25 be would easy to understand .

2

di ti

(10) Fillet

(n) Torus

2O

on

.

i i* i * i

du ca

Torus Fillet

al E

(3) (4)

20 20 22

1

n

Gong6

(a)

tio

(i)

Projection in parts of a module

ra

.. (12) Plinth From the details given above subscribe to the following remark

and afford by

rT

(pedestals and) bases are made more systematically, far a greater variety of proportions and ornaments

fo

The Indian

and

:

re

'

it

C

en t

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,

p. 166.)

37


AN ENCYCLOPAEDIA OF

ANU-SALA

ANU-&ALA

(cf.

SALA)

An

main

hall.

or at the side of a

ante-chamber, a hall or room behind

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) Anuâla tri-bhaga va bha(ha)rantara(m) dvi-bhagikam (23) I

I

(b)

I

I

I

(c)

I

group

as exist in

A

LINGA)

(see

many

places.

mule

I

Ekanekan chokta-linge

n

I

(24)

the

of

in

phallus, phalli

vrittarh chaivarh proktaneka-linga-

on

livamfie

kuryad dhara shodaSadi-dvayena

(See

rT

kind of chariot.

ra

di ti

(M.,

ANILA-BHADRAKA A

ANTARA

I

al E

VedaSrarh vasvasrakam va

class

du ca

ANEKA-LlftGA

visalata

tio

Maha-ala tri-bhagena bhadra-Sala

M.,

LII,

I

128-129, "SS-iSS-)

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 annu-

ANTARITA)

Literally the

Gwilt, Art. 2532,

en t

let (see

re

fo

(see

fig.

874).

A

moulding of the pedestal and

C

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

JU

W

tio

J

du ca

j

C

en t

re

fo

rT

ra

di ti

on

al E

A-SALA

I

n

m

SECTION THRO

BOSS STONE

CEIt-ING

(ANGHRI.)

PLAN

LONG SECTION.

ALAKSHA,

ABJA


al E

du ca

tio

n

ELEVATION

PLAN

C

en t

re

fo

rT

ra

di ti

on

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 (M., LXIX,

I

8, see also

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-

n

I

tio

Chakara panchayatanantaralebalendu-mauli-sthita-manaso yah

I

du ca

(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 '

al E

(5)

on

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

fo

ANTARIKSHA A quarter.

I

rT

ra

di ti

antarala or intermediate porch (Fergusson, line Ep. Carnat., Vol. v, Part I, Introduc., p. xxxix, para. 2, (7) Antarale yatha yuktya mandapakaram vinyaset '

(6)

quoted by Rice 6.)

(M,

xxiii, 39.)

(M., vn, 39.) Jayante tat-pare saumye antarikshe'ka-purvake (M., ix, Mrige chaivantarikshe va bhrihgaraja-mrishe tatha

re

I

en t

A synonym

I

of the lupa or pent-roof

357.)

:

C

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

tatha

amSakarh chordhve arhsenantaritarh tatha

Alingam

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

tio

n

Antarjanma bahirjanma nimnonnataya sthitam II Nirvarhs'ameva tat sarvarh kartri-varhsam bhaved dhruvam

(M., LXIX, 16, 17.)

du ca

ANTARITA-MANDAPA The

I

ante-chamber in front of a shrine.

tu salanarh vina-bhittim sabhittikam

chaivam syad

etc. I

bahir-bhittis tu sarvada

rT

ra

Antar-bhittis tu

di ti

Tan-mane

inner wall, partition wall,

on

ANTAR-BHITTI An

al E

(Chalukyan Architecture, Arch. Surv., New. Imp. Series, Vol. xxi, p. 37.

ANTAR-MANPALA

The

II

(M., XL, 51, 52.

circular court in the interior of a

com-)

fo

pound. Antar-mandalam arabhya mahamaryadikantakam Pancha-kut(d)yasya chotsedham pratyekam panchadha bhavet

C

en t

re

I

(M., xxxi, 57-58.)

ANTAR-MUKHA

Literally, with face

(=foundations)

Griha-garbharh

Cf.

I

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


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

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 dharma-

n

II. 15,

tio

I

du ca

vitl

Sesham divasa-bhagardham antahpura-gato bhavet

;

;

11,10,11-17; 70,20; 11,70,27; V, 4, 24.

(2) Panchatantra, ed.

Bombay,

Gatva kanyantahpure

I,

pp. 38, 58, 61, 168

raja-kanyam bhaja II prasada pranta-gatam Iha rajfias tu tanaya Patalityasti kanyaka Uparyantah-pure a cha ratnam ityabhirakshyate .

.

.

.

.

sapta-bhumi-ka-

.

.

ra

.

:

di ti

.

114,29; 111,54,

II,

al E

13

also

IV, 26, 22

on

Compare

rT

I

fo

Pravisya so'drisringagra-tunga-vatayanena tarn Antahpure dadarSatha suptam rahasi Patalim

1

re

1

1 1

I

Pravrajakas cha gatvaiva vatayana-pathena sah Pravisyantah-purarh prapa suptam niSi nripatmajam

When

I

en t

'

II

II

C

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,

1

I

14, see also

41


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

nava-talarh kuryad

synonym of mancha or a

raised platform or couch.

tio

ANVANTA A

(Af., xi, 144.)

I

n

dapakaram

bhavanam anya-rangam vadhiman

du ca

Mandapam

second court or theatre of a compound.

(M., xvi, 43,

APASAMCHITA A

under MANCHA.)

(See

AVACHCHHAYA.)

shadow.

al E

APAGHCHHAYA A light

see

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.

di ti

on

class

principal

rT

ra

Pratyekaih tri-vidharh proktam samchitam chapy-asamchitam upa(Kdmikagama, XLV, 6-7.) (apa)-sarhchitamityeva Utsedhe manam grihyaih chet sthanakam tat prakathyate I

fo

I

manam

samkalpya chasanam tad udiritam Parinahe pade vapi manam sayanam iritam Asanaih samchitam proktam sthanakam syad asarhchitam I

re

Vistare

en t

I

C

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

ADHISHTHANA and

under

given

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/.,

xn, 120-121.)

(M., vn, 159.)

.

.

.

.

166.)

(ibid.,

.

Varadam chabhayam purve vame

tu dvara-hastakam

I

n

.

tio

Abhayarh dakshine Purve cha tvabhayam

ABHAYA-HASTA

(see

With hand

ABHAYA)

du ca

(M., LIV, 154.)

in the pose of offering

al E

refuge.

Varadabhaya-hastam cha jata-mukuta-manditam

abhishekartharh

The coronation

MANDAPA)

mandapam

I

III (no. 39,

See Inscrip. of Rajaraja

H.S.I.I., Vol.

in,

86)

p.

under

ra

MANDAPA.

hall.

(M., xxxiv, 38.)

di ti

Nripanam

(see

(M., u, 30.)

on

ABHISHEKA-MANDAPA

I

rT

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.

en t

re

fo

See

C

(Fergussion, History of Indian and Eastern

AMALASARA wheel

(see

AMALAKA)

member surmounting

323, note

Architecture, p.

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. see

(M., xvra, 174-175, Cf.

Lupakaradi jadanarh manayen manavit-tamah Ambaradyashtadhamani nidanam lupamanayet

under ANANTA.)

\

I

(A/.,

43


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). fully stretched fingers (Suprabhedd

tio

n

A

measure equal to the first with gama, xxx, 24, see under ANGULA). (2)

du ca

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, ;

al E

'

on

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. (Macdonell and Keith,

di ti

early texts.'

ra

Satapatha-Brdhmana also vn,

i, 2, 6.

(Pet. Diet.)

rT

Kauslka-Sutra, 85

Vedic Index, i, 34.)

:

Bahur va aratnih

fo

ARKA-KANTA A class of the eleven-storeyed

I

buildings.

en t

re

Evarh tu vajra-kantam syad arka-kantam ihocyhate Tad eva sala-prante tu parsve chaikena saushtikam

I

I

C

Tad-dvayor antare des"e tat-samarh kshudra-harayoh Purvavat kuta-vistararh Sesharh hararhSa-panjaram

Tan-madhye

I

I

tu tri-bhagena kshudra-âla-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

I

n

athapi va

is

an image the right half of

the representation of Siva and the

du ca

which

tio

(M., LVI, 14-15.)

ARDHA-NARI$VARA A name of Siva,

left

al E

Durga.

half of his consort

Paschima-mula-tale madhye koshthe lingam adbhutam I

I

(M. xix, 224-225.) t

on

Athavardha-narlsvara(m) sthanakam

ARDHA-PRANA

A

ra

di ti

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

rT

I

fo

I

I

tu purvavat kuryat

I

mahavritam

ARDHA-MANDAPA A

iti

smritam

I

(M., xvn, 97-102.)

C

Sesham

en t

re

I

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.'

L, 68.)

I

(ibid., LV, 73.) in front of the rock-cut

(Inscription no. XH, Ind.

temple next to the sacred shrine.' .

45


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

W.

Frazer.)

an antechamber with one or more

n

half-hall,

ca tio

ARDHA-SALA A

indebted to Prof. R.

closed sides.

Ardha-sala visesho'sti chordhva-sala-samanvitam

I

tu chardha-sala-samanvitam

lE du

Madhya-koshtham dvi-parsve

I

(M., xx, 67, 73.)

na

Netra-s"alardha-s"ala cha bhadra-Saladi-bhushitam I- (M., xxvi, 67.) Bhadra-sala maha-nasi chardha-saladhyalankritam (M., xxv, 34.)

tio

I

ARDHA-HARA A half

ra

di

chain of 64 strings, an ornament, a string of pearls worn round the neck. Nakshatra-malam api chardha-haram

rT

I

I

(M.,

L,

297-298.)

fo

Suvarna-sutrarh paritah stanabhyam Cf. Brihat-Samhitd, LXXXII, 32.

tre

ALAKSHA A member

of the entablature, some screen-work with

C

en

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

lE du

ca tio

n

ELEVATION

| O Z

o z

na

< 1

< I i

GARBHA.CEHA.

tio

j Q

8

D

ARDHA-PRANA.

fo

PLAN

rT

ra

di

s.

C

en

tre

ARDHA MANDAPA.

AMSUKA.

ELEVATION

AMSUKA.

PLAN AT BASE

r


AYAKA SKAMBHA

Pane


tre

en

C

na

tio

di

ra

rT

fo

n

ca tio

lE du

4S


tre

en

C

na

tio

di

ra

rT

fo

n

ca tio

lE du


tre

en

C

na

tio

di

ra

rT

fo

n

ca tio

lE du

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

the

number of 70

King and the Commander-in-Chief.' The same is more plainly expressed '

Write

down

sum

the

at

in Visvak

two places.

:

Divide

one place, by

in

tveka-salaih tu s"ubhadam tat praklrtitam

Senapati-nripadinam saptatya sahite krite

1

;

the

I

1

vinirdiSet

ca tio

Vyase chaturdasa-hrite sala-manam

I

Pancha-trimsad-hrite'nyatralinda-manarh bhavech cha tat The word might as well be rendered by balcony, gallery.'

II

lE du

'

it,

Divide the sum by 35

14; this gives the measure for a hall. quotation is the measure of the terrace.'

Pramitam

II

breadth of the mansions of the

to those for the

n

Add

'

courtyard.

(2, 2, 12).

na

(Kern, Bfihat-Samhild, LIII, 17 ; J.R.A.S., N. S., Vol. vi, p. 282, note 3.)

An

with

edifice

tio

Apratishiddhalindarii samantato vastu sarvato-bhadrarh '

terraces

uninterrupted

on every

side

is

termed

ra

di

Sarvato-bhadra.'

I

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).'

rT

I

'

tre

fo

'

The Vardhamana has

en

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

C

;

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 1

Eka-s"alani chatvari ekalindani

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

II

(77)

at io

n

Alindasya samantat tu bhagenaikena-varakam See also ibid., L, 74, 75, 87.

uc

iv, 201 (the synonyms of alinda).

Ibid.,

andharam griham adyakam Parimandana(m) salinda va alindasyabhidanakam .

I

.

Chantarale tvalindake

I

Ed

.

(5)

(M., LXIX,

II

8.) I

on

al

Urdhvordhva-talanam tu chaika-bhagenalindakam

(M., xxiv, 45, etc.) the views of the corridors (Pallaba Architecture, Arch. Surv., Imp. Series, Vol. xxxiv, plates vi, vn, vm, ix.)

ra d

iti

(6) See

New.

1

1

fo

rT

ALPA A class of buildings. (Kamikagama, XLV, 53-54, see under MALIKA.) ALPA-NASIKA (see NASA) A small nose, a small vestibule.

tre

Chatur-dikshu chatur-dvararh chatuh-shashty-alpa-nasikam

I

(M., xxxiv, 106.)

en

AVACHCHHAYA A dim light, shadowless spot,

a light shadow.

C

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

n at io uc Ed al on iti ra d

C

en

tre

fo

rT

ABHANGA

ALINGA PL AM*

ALPA-NAblKA

ALINGA.


n at io uc Ed al on iti ra d rT fo tre en C

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.

A

MA^CHA)

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.) (Manasdra, xxvi, 1-76,

n

eighth storey.

under PRASADA.)

see

at io

ASHTA-TALA The

floor including the proportion and ornadescription of the seventh tower : ments of the component pans (lit. limbs) from the plinth to the

uc

A

al

Ed

Evarh sreshtharh tvashta-tale sarvalankara-sarhyutam Janmadi-stupi-paryantam changa-manam ihochyatc Saikashta-panchakarhsa-harmye tungaih vibhajite

I

I

I

on

Adhararh chashta-bhagena vedamsam charanayatam Tad-ardham valabhyutsedham sardharh vahnyarhâm 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

iti

I

ra d

rT

I

fo

I

I

tre

I

en

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

C

*

I

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-âladi 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

n

on the body of an image.

at io

Padadi-murdha-paryanta(m) paryayadi-chaksharam nyaset Ashta-trirhs'at-kalah sarvas tat-tad angani vinyaset

(M., LXX, 90-91.

uc

ASHTA- VARGA The

I

I

Eight-cornered, a kind of single-storeyed building octangular in plan and has one cupola.

ASHTA(S)RA which

rT

is

ra d

iti

on

al

Ed

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.)

(see

Kasyapa, J.R.A.S., N.

S.,

Vol. vi, p. 320,

under PRASADA).

tre

i

w.

(2)

Matsya-Purdna, Chap. CCLXIX,

(3)

Bhavisfya-Purdna, Chap, cxxx, v. 25

en

note

LVI, 28,

fo

(1) Bfihat-Samhitd,

ASAMCHITA A

under PRASADA). under PRASADA).

29, 53 (see

(see

C

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

at io

n

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-)

The

different

scriptures,

from the

Agama

uc

AGAMA

1

8

44 127, 56

Ed

iti

Koshthagaravatarhsikam

:

.

.

.

nagarim

I

rT

3, 3,

:

:

Koshthagara-yudhagaraih kritva saihnichayan

:

Aneka-satarh

bahun

I

griham

I

tre

balam

bhavan kosam koshthagaram

fo

V. VI.

Amarak~>sha (II, 2, 5).

Ramayana (Cock)

Cf. (i)

II.

see

cell.

ra d

For synonyms,

a room, a

on

AGARA A house,

texts.

al

M., XLIX, 176.

Cf.

of

treatises

Southern India some of which are predominently architectural

:

en

Mahdbhdrata (Cock)

(2)

XII.

69, 54

XII.

86, 121

:

I.

134, ii

:

Bhadagara-yudhagaran yodhagarams cha sarvasah Asvagaran gajagaran baladhikaranani cha

C

:

I

Bhandagara-yudhagaran prayatnenabhivardhayet

IV.

134, 14

23,

1

6

:

:

I

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

Prekshagararh suvihitam chakrus te tasya silpinah Rajnah sarvayudhopetam strinam chaiva narar-

shabha I.

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

the

roof,

eighth covering moulding from

the top of the entablature. (Kdmikagama, LIV,

ADIKA

first

or principal,

?

a

fast

conveyance.

n

Literally

under LINGA)

Ed

(see

uc

at io

Adikam syandanarh Silpi(n) sibika cha ratham Sarvair yanam iti khyatarh Sayanam vakshyate

A(R)DRA-PUSHAKRITI

tatha

I

tatha

I

(M.,

A

m,

9-10.)

kind of phallus

al

looking like the rising sun.

under PRASADA.)

2, see

Lingakaram ihochyate Daivikarh dindimakaram manush(am)a(r)dra-pushakriti(h) .

.

iti

on

.

ADHARA

ra d

The basement,

(M.,

LII,

I

237, 240.)

the plinth.

Dvitalanam alankaram vakshye samkshipyate'dhuna Upanadi-stupi-paryantam ashtavimsad vibhajite Adharochcharh gunamsarh syat pada-tungam shad-amsakam

rT

I

fo

I

tre

(M., xx,

Janmadi-stupi paryantam changa-manam ihochyate Saikashta-panchakarhsarh harmye tungam vibhajite Adhararh chashta-bhagena vedamsam charanayatam

3-4.)

i,

I

en C

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.)


tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed


tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

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

:

I

n

va tri-pado vatha bhagikah Panjaro(ras) chardha-bhago Alindandharikandhara-hara bhagena kalpitah (74)

at io

1 1

Nava-bhaga-tri-bhago va vyasa-nali-grihanvitah Bahir andharikandhara-hara bhagena vistritah (76) bahir andharikavritam Panchalindam shat-kudyarh (83) I

uc

1 1

1

Ed

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). '

'

Ramayana (Cock)

rT

Samriddha-vipanapanaih

II.

114, 13

VII.

43, 13

II.

71, 41

Chatvarapana-rathyasu

41, 21

I.

5, 10 J

Samvritapana-vlthika

Anvantarapanara

5

VI. 112,42

.

.

.

(purim)

:

Riddhapanam

.

(ibid.}

XII.

Chatvarapana-sobhitam (puram)

:

XIII. 30, 17

:

II. 21,

:

25

l

.

.

.

suvibhaktan-

I

Mahdbhdrata 86, 8

I

I

(Ayodhyam) sikta-rathantarapanam (Takshasila and Pushkalavati)

Rdjatarangim, I, 201, etc.

.

.

nagaram

:

I

samriddha-vipanapanam cha dadriSuh sriyam uttamam Malyapananarh (Varanasim)

I

l

.

Ubhe

tarapane

(3)

.

I

Su-vibhaktantarapanam

VII. 101,13

2)

l

I

l

.

C

42, 23

>

(purim)

l

Malyapaneshu rajante nadya panyani va tatha (purim) Samvritapana-vedikam

II.

57

.

Sarhkshipta-vipanapanam (Ayodhyam)

II.

II-

.

.

fo

27

tre

14,

:

Nana-panya-samriddheshu vanijam apaneshu

6, 12

en

II.

iti

a market-place.

ra d

APANA A shop, II.

'

on

'

(i)

'

al

'

.

.

.

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 Praâsti, 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

n

;

adhak(o)s(i)kyani pi

me uda-panani

(;)

at io

khanapitani (;) cha kalapita (;) apanan ime bahukani tata tata kalapitani patibhogyaye pasu-munisanam (.) Apana cannot have here its usual meaning, namely, tavern, liquor lopapita

uc

niiiisidhiya

Ed

'

shop.'

As professor Kern (Der Buddhismus, Vol.

al

'

(2)

n, p. 385) assumes,

it

must

ra d

iti

on

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.

rT (see

under ATIBHANGA and BHANGA)

slightly bent. Sarvesharh deva-devinam

the idol

A pose in

bhanga-manam ihochyate

Abhanga-sama-bhangarh chaati-bhangam tridha bhavet

C

which

I

en

tre

is

Asoka, no. vn, lines 2-3,

Ep. Ind., Vol. H, pp. 270, 274.)

fo

ABHANGA

(Pillar edict of

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

:

I

n

Devanam bhu-suranarh cha mandapam jati-rupakam Bhupanam mandape sarve chhanda-rupam itiritam

at io

I

Vaisyakanam tu sarveshath vikalpam cheti kathyate Sudranam mandapam sarvam chabhasam iti klrtitam I

uc

I

In connexion with door^

Ed

(M., xxxrv, 547-55-)

:

on

al

Sapta-vimsodayarh hy-evam tad-ardharh vistritarh bhavet Evaih jati-vasat proktam chhandadinam pravakshyate Trayovimsa-satantaih syach chhanda-dvara-visalakam

I

I

iti

I

ra d

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

rT

fo

I

I

I

tre en

I

I

(M.y xxxix, 28-35.) :

C

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) .

I

at

(M., LXH, 15-17.)

Silodbhavanam v(b)imbanarh chitrabhasasya va punah Jaladhivasanam proktarh vrishendrasya prakirtitam II

I

uc

Ed

(2)

I

I

vapy-aghanarh vapi kuryat tu ilpi(a)vit-tamah

io

Ghanam

.

n

.

24-25.)

(Linga-Purana, Part II, uttara-bhaga,

al

on

Pratima saptadha prokta bhaktanaiii Suddha-vriddhaye Kanchanl rajati tamrl parthivl sailaja smrita 1

Tr ad

Varkshl chalekhyaka veti murti-sthanani sapta vai '

'

'

Indhanani cha vinyasya palalani cha vinyaset

fo r

(4)

I

abhasa seem to have the same meaning and and same material. (Bhavistya-Purdna, Chap, cxxxi, vv. a, 3.) '

Alckhyaka

indicate the

I

1

iti

(3)

XLVIII, v. 43.)

Chap.

I

Tasmin

tre

loshtani vinyasya palalai.4 chhadayet punah II Palalabhasakaih paSchad brihyabhasais tushais tatha Achchhadyadbhir atha sinchech chhakham prajjvalayet punah

C en

I

(5)

(Vastu-vidyd, ed.

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,

Murtis tu vriksha-pashana-loha-dravyaih prakarayet The image should be made of materials like timber, stone, and iron. I

io

n

(8)

xi, 41.)

tamri ratnamayi tatha darumayi chapi loha-slsa-mayi tatha Ritika-dhatu-yukta va tamra-kamsa-mayi tatha

Sauvarni

rajati vapi

I

Saili

1

Ed

1

uc

(9)

at

(Silpa-SSstra-sara-sarhgraha, xi, 5.)

I

1 1

al

Sudha-daru-mayi vapi devatarcha praâsyate

iti

Mrinmayl daru-ghatita lohaja ratnaja tatha II Sailaja gandhaja chaiva kaumudi saptadha smrita

Tr ad

(10)

on

(Matsya-Purana, Chap. CCLVIH,

Kamsamayi gandhaja chaiva mrinmayi pratima

w.

20-21.)

I

tatha

II

fo r

(Agni-Purana, Chap. XLHI, vv. 9-10.)

(u) Mrinmaye prativ(b)imbe tu vaset kalpa-yutam divi Daru-pashana-dhatunam kramad daâ-gunadhikam Mrinmaye vahane datte yat phalam jayate bhuvi

C en

tre

1

Daruje tad-dasa-gunam

I

1

I

Silaje

tad-daâdhikam

Ritika-kamsa-tamradi-nirmite deva-vahane

1 1

I

Datte phalam apnoti kramat âta-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) tin,

Here they produced a linga, of seven metals, viz. gold, copper, iron and bell-metal.' (Sahyadri-khanda of the

lead,

PurSna, Ind. Ant., Vol.

m,

p.

194, c.

i, last

para.)

57


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,

while in other places

serve,

it is

a mere ornament.

It

tio

to

n

and as the cushion-shaped portion of the capital of massive columns In Sikhara it has a structural purpose (of Asoka and at Elephanta). has

na lE

du

ca

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-kia-

tio

is

di

It

Buddha Gaya as Amalaka. have thus been made by modern writers on

its

rT

Free conjectures

'

ra

ko, describing the great vihara at

origin

en tre

fo

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.

Chairs with

C

AMALAKA- VANTIKA-PITHA

AYA

many

(Mahavagga, vv. v>,

under SHADVARGA)

One

of the six varga ascertaining the right proportion of measurement. (see

legs.

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

;

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

II

I

I

ca

Yamye tapovana-sthanarh uttare matrika-griham Mahanasam tathagneye nairritye'tha vinayakam II

n

1

tio

1

du

I

Varune srlnivasas tu vayavye griha-malika Uttare yajna-Sala tu nirmalya-sthanam uttare

na lE

I

1 1

tio

Varune soma-daivatye bali-nirvapanam smritam Purato vrishabha-sthanam seshe syat kusumayudhah

1 1

I

kuryat kunda-mandapa-samyutam

II

ra

Evam ayatanam

I

di

Jale vapi tathaisane Vishnus tu jala-Sayyapi

Panchayatana-madhye

Vasudevam

fo

(2)

rT

(Matsya-Purana, Chap. CCLXX, vv. 28-34.)

tu

(4)

nivesayet

I

(Agni-Purana, Chap. XLIII, v.

Devatayatana-vapl-kupa-tadagadi-nirmanam

en tre

(3)

Chatuh-shashti-padam

kuryat

i.)

I

(Narada-Purana, Part

C

A

6

v. 3,

vn, 56, 22;

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

.

.

T

37

:

yajnayatana

77, 13

:

devatayatanani

4

:

6,

chaiva

I

I.

II.

see also v. 41.)

:

I-

3>

;

II

|

I

srimatyayatane vishnoh

I

59


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

5, 2, 13

;

;

6, 2,

1,14;

I

12, 5,

i,

17,

:

Kupa

n

etc. (ibid.)

Diet.)

iva hi

I

tio

sarpapam ayatanani Chhandogya-upanishad, 6, 8, 2, etc. (ibid.) Sa yatha sakunili sutrena prabaddho disarh

ca

:

du

diSarh patitvanya-

trayatanamalabdhva bandhanam evopaSrayate Sivasyayatanam ramyarh chakre (An Abu

na lE

(9) Siva.'

Ind.

temple

Ant.,

tio

di

ra

rT

(n) Sri-Nanigasvami devayatanarh karapitam of the

fo

The temple

made.'

(Atpur Inscrip.

illustrious

of

Vol.

'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.) '

I

built a beautiful

Inscrip. of the reign of Bhimadeva II,

pp. 221, 222.;

(10)

'

(Harsauda

built

Inscrip.

of

I

god Nanigasvamin was caused

Sakti-kumara, line

of xi,

1-2,

Ind.

to

be

Vol. xxxix,

Ant.,

en tre

p. 191.)

(12)

Somesvarayatana-mandapam uttarena

of Sarangadeva,

w.

40, 41, 42, 45, 72

;

(Cintra PraSasti of the reign Vol. I, p. 284.) Ep. Ind., I

AYADI-KARMAN

C

The consideration of (see under SHAD-VARGA) for the formulas verification of correct other and dimensions.

Aya

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

under SHAP-VARGA)

The

consideration (see of Aya, and other formulas for ascertaining right proportions. Padanam api sarvesharh lakshanam vakshyate'dhuna Ayamam cha viâlam cha ayadi bhushanadikam (M., xv, 1-2.) I

I

60


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

(Chullavagga, vi, 4, 8

;

na lE

ditches.

du

ca

tio

n

'

3, 10.)

Nagasya vamake yamye kuryad arama-desakam

(1)

tatah

kuryat

di

Nrittagaram tatah kuryan nana-nrittahganani cha

Yasmad

I

I

XL, 119-121.)

(A/.,

Prantach-chhaya-vinir-mukta na manqjna jalasayah

ra

(2)

cha

mukhya-bhalla{ake'pi

tio

Pushpodyanam

I

I

rT

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

en tre

fo

'

(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:

C

(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

Chhinda,

PP- 79. 83-)

61


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

io

n

(Rock Inscriptions in the Kangra valley, the Kanhiara Inscrip., Ep. Ind., Vol. Liiders)

at

Grove (Dr.

vn, pp. 117-118.)

Ed uc

(9)

:

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). '

.

.

.

on al

'

(Three

Brahmi inscriptions, iii, early stone inscrip. of the time of

di ti

Mathura

o)

ra

i

Vol.

ix,

Nana-desa - prabhava - suphala - vrata - bharati - namra - vriksha - sreni niyama-khachitah sala-samgupta-madhyah

I

Aramo'yarh

re

surabhi-sumanoraji-samarajamanah tasaranih purna-kamah sadastam

en t

(Inscriptions

of

Queen

second

Belonging or relating

A

kind of phallus. 232, see under LINGA.)

ALAMBANA

nana-virullal

1 1

C ARSHA

Ind.,

p. 247.)

fo rT

(

Sondasa, lines 2-3, Ep.

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.

A

ANTARITA)

moulding like the fillet, but with moulding placed alternately together

under PRASADA).

at

2, see

ninth moulding from the top of the entablature (Kdmikdgama, LIV,

io

The

n

It is a flat greater projection. and is inseparably connected with the latter. Antarita the with

Ed uc

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

on al

:

Alingantaritam chordhve prativajanam uchyate

AVASATHA A

;

(M., xiv, no.)

I

'

fo rT

ra

di ti

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,

re

Chhand.

;

Taitt. Bra., i, i, 10, 6;

Sat.

Bra.,

Upa., iv,

i

I,

Srauta Sutra., v, 9, 3

n, 9, 25, 4

en t

Minor and

5

;

;

AVASA A residence,

;

xn, 4, 4, 6; Apa. Stambha

Apa. Dh. Sutra.,

A.-V., xiv, 2, 6.)

associated deites.

C

AVARAN A

6,

4, 6,

(M., xv, 400.)

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

(Amarakdsha, n, 5,

I

n

prapa panlya-salika

ASRAMA

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

7.)

du c

at io

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

tio na

lE

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

rT

ra di

I

fo

I

re

1

1

Abhyagatalayam ramya-saâyyasana-padukam Toyagni-dipa-sad-bhrityair yuktam dakshinato bhavet I

en t C

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
ME. OTHER f 1VE. TYPES 5P WITH PROPOaTIQMS^SFC

n

AS Hi6HT K KAKALKK1GA 6RAH

C

en t

re

fo

rT

ra di

tio na

lE

du c

at io

50 PART



tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed


tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

.

THE. SITE

PLANS

C

en

tre

fo

rT

ra d

iti

on

al

Ed

uc

at io

n

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,

under PADAVINYASA.) under ADHISHTHANA.)

see details

see

pillar

I

:

chasanam kuryat padukarh va sahambujam

I

opposed to a bedstead Evarh tu Sayanadinam asananarh cha darubhih(runi)

seat as

:

I

uc

A

at io

n

(M., xv, 31.)

Ed

:

al

A throne

(M., XLIV, 74.)

Devanaih bhu-patinarh cha bhushanartham tu toranam (M., XLVI, i, 3.) Asanopari vinyasya sarvesharh toranam toranam Devanarh bhu-patmam cha sthanakasyasanasya cha

on

I

.

.

I

ra d

.

iti

I

I

29-30.)

rT

(ibid.,

Devanam bhu-patinam cha sthanakasana-yogyakam

fo

I

tre

Mukta-prapanga-manarh cha lakshanam vakshyate'dhuna

I

(M., XLVII, 1-2.)

en

Devanarh chakravaryadi-bhu-palanarh cha yogyakam Kalpa-vriskhadinam tararh manam lakshanam uchyate Toranodaya-padarh tu padardhadhikodayam

C

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.)

9> 9>

J

(7, 5, 8) J

2, 4.

Brahma-yajamanayor asane

;

(8,281)

!

;

Sampraptaya tvathithaye pradadyad asanodake (3,99) (4,154)

cf.

;

:

;

;

dadyach chaivasa-

uc

nam svakam

Ed

Rajno mahatmike sthane sadyah sauchaih vidhlyate Prajanaih parirakshartham asanam channa-karanam

Amatya-mukham ...

I

II

al

on n

iti

(5) Bhagavadgltd (ibid.), 6,

ra d

rT

4

fo

tre

en

Sayyasane'dhyacharite preyasa

M. W.

C (see

(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),

padmasana,

(7, 141).

:

Asaneshu vivid heshvaslnah

Cf.

II

:

Suchau dese pratishthapya sthiram asanam atmanah (6) Nalopdkhydna (ibid.) 5,

(5, 94).

I

Sthapayed asane tasmin iva nah karye kshane nrinam

(7)

;

Rahah sthanasanam (8,357) and Kumara-sambhava (7,12)

Sahakhatvasana

;

asaneshupakalpiteshu (3,208)

;

32

7, 4,

:

at io

(6,59)

;

;

5> etc -)-

(4) Manu-Sarhhitd (ibid.)

Sahasana

27

(i, 8,

I

n

Salasana

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

n

rOUHIXtlOHMASB TAKEM T06t SCUNTS

at io

THt WIDTH OF THIS

INDRA-KILA.

rT

ra d

iti

on

al

Ed

uc

ISHTAKA

tre

fo

C 5 PILLAR.

en

DWARF

C

MINOR PILLAR.

J

UPA-PADA.

or

r^r

3XX 77?

s:

ELEVATION.

PLAN

fagtet


UPANA

C

en t

re

fo

rT

ra

di ti

on

al E

du ca

tio

n

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

(4)

A

tio

pillar Inscrip. i, 9, Ep. Ind., Vol. iv, pp.

hall (Vanapalli Plates of

Anna-Vema,

du ca

3 2 9>

n

(Kamikagama, xxxv, 191.)

Draksharama 33) under MANDAPA.

(3) See first

v. 10,

PP- 61, 59).

Asthana-sila-mandapa

Draksharama

pillar Inscrip., line 9,

al E

Cf.

Ep. Ind,, Vol. in,

(First

Ep. Ind., Vol. iv, pp. 329, 330). The curious long series of subterranean (5) Of-

on

'

chambers

to

the

and

pedestals, the latter apparently for yogasana.'

rT

shrines, lingas, baths,

ra

di ti

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.

fo

(Ep. Carnal., Vol. xi, Introduct., pp. 31-32.)

facia.

re

ASYA A

en t

1

class of the six-storeyed buildings.

C

IKSHU-KANTA A INDRA-KANTA A

class

(M., xxiv, 55,

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

I

xii,

125-126.)

one cubit long.

(Kautillya-Artha-sdstra,

Chap, xxiv,

67


p. 53.)

AN ENCYCLOPAEDIA OF

INDRA-KOÂ

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), Taitt.

(kumbha,

pot-shaped

n

Tattt.

(mandala,

Sam., v,

6,

Thus

io

circular

i).

the

brick-

Ed uc

at

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

.

.

.

on al

(i)

di ti

I

(M., xn, 188-189.)

Trinadi-nirmitarii yo dadyat paramesvari

I

ra

(a)

Varsha-koti-sahasrani sa vased deva-vesmani

fo rT

Ishtaka-griha-dane tu tasmach

II

chhata-gunam phalam

Tato'yuta-gunam punyam sila-geha-pradanatah

I

II

(Mahanirvana-Tantra, xin, 24, 25.)

re '

|

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

en t

(3)

C

:

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



re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

THL

51TL PLANS UGRAPlTHA PUN OF 36 PLOTS

C

en t

re

fo rT

ra

di ti

on al

Ed uc

at

io

n

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

(M., xxix, 10-11,

.

area

of buildings.

divided into

is

:

.

.

chaika trimsat-vidhane tu

on al

squares

class

I

under PRASADA.)

see

Ed uc

ISVARA-KANTA A site-plan, a A site-plan in which the whole

Eka-shashti-samadhikyam padam nava-s"ata-yutam Isvara-kantam syat ...

Evam

46-48,

further context under PADA-VINYASA.)

see

of the four-storeyed buildings.

fo rT

A class

vii,

I

ra

(M.,

961 equal

di ti

I

n

of the eleven -storey ed buildings.

io

class

at

ISA-KANTA A

(M.,

under PRASADA.)

re

u

en t

UGRA-JATI

Base-born, people of low castes, for are prescribed.

whom

buildings

number of storeys

C

of certain

xxii, 44-46, see

(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.

vii,

Rudradaman, line 6, pp. 43, 46 and note 3.)

69


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. M.,

LIX, 14-64,

UTTAMA-DA&A-TALA A is

measurement

sculptural

generally divided into

at

whole height of an image

under TALA.

n

details, see

io

For

UTTAMBHA A

Ed uc

(M., LXV, 2-179,

see

1

in

which the

20 equal parts. under TALA.)

details

kind of rectangular building.

w. 21-22 under PRASADA.)

on al

(Garuda-Purana, Chap. XLVII,

UTTARA A

26-27,

see

fo rT

ra

di ti

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

en t

re

ing.

C

plain.

(

i)

(Cf.

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.

Ed uc

at

io

n

UPA-VEDI.

.UTTARA

di ti

on al

f

fo rT

ra

I

C

en t

re

UTTARA.

UTTANA-PATTA.

Page 70


C

en t

re

fo rT

ra

di ti

on al

Ed uc

at

io

n

U PA TULA.

UFA TULA.

Page 71



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

i

Sastri, ix,

:

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.

(4)

at

:

(xxxi, 107, see

Suprabheddgama of a column.

STAMBHA)

UTTAROSHTHA

:

Ed uc

(3)

io

n

I

A

crowning moulding

di ti

on al

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, ,

vibhajya

bhago'nyah

I

navadha

vahanarh

bhago

fo rT

Stambharh

ra

e.g. Art. 2553).

Padmarh tathottaroshtharh kuryad bhagena

it

re

(Brihat-Samhita,

LIII,

'

chottana-pattam sakala-kanakhale . yas" chakara made a broad pavement of (stone) slabs in the whole of Kanakhala.' .

.

who

C

Vyddham

29.)

pavement.

en t

UTTANA-PATTA A

ghato'sya

(An Abu

inscrip. of the reign

of

Bhumadeva

II,

v. 9, Ind. Ant., Vol. xi, pp. 221, 222.)

UTSAVA in

(JÛTSEDHA)

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

io

n

(M., LV, 35 -36.

Berotsedha-samarh ^reshtham karnantam

at

madhyamam bhavet Bahvantaih kanyasam proktam utsavam vrishabhodayam I

Ed uc

Nine kinds

:

Evam

I

Lxn, 10-11.)

(Af.,

on al

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

ra

di ti

I

I

fo rT

I

(M., LXIV, 2 4-28.

Athava tena mancna shodaâmâm vibhajite Ekaikams'akam tasmat pancha-vimâmsakantakam 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

re

I

en t

I

I

C

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,

MANA)

(see

n

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

at

io

:

height of a buidling the top of the dome

The

is

Ed uc

,

measured from the basement to

stated to be

on al

:

(M., xxxv, 26.)

Utsedharh janmadi-stupikantam

are

di ti

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 '

fo rT

ra

;

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 ' ;

re

;

en t

;

'

'

C

'

;

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

(breadth),

73


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

n

I

io

(M., LV, 30-33.)

at

The

I

I

is

stated to be half of the former,

any other independent

signification.

on al

latter

Ed uc

height of the riding animals (vahana) of the gods is divided into two kinds, utsava and kautuka (see details under these terms). The

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,

di ti

;

a pool or pond near a well.

well,

fo rT

UDAPANA A

ra

under UTSAVA).

40-43,

Ima-kshayamada-pushkaranlnam paSchima-pushkaraniih udapanaarama-stambhah (Mathura inscriptions, no. i, line 2, Cunningham, Arch. I

re

Surv. Reports., Vol.

m,

p. 30.)

en t

See Bhdgavadgltd, n, 46.

The

C

UDUMBARA

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'.

S.,

LIII,

26

j

LVI, 13,

Kern,

Vol. vi, pp. 284, 318.)

measures of the central hall

(Prdsddamandana-Vdstu-âstraofSutra-dhara Mandana,

MSS., Egg. 3147, 2253

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.)

'

has the same verse as (i) udumbarah in the Brihat'

io

'

n

Bhavishya-Purdna (Chap, cxxx, v. 20) ' except that it reads udumbarl in place of (5)

New

See

jamb

UDDHRITA A synonym

of uttara or a crowning

on al

UDBHUTA A

di ti

kind of phallus.

see

Esha natipratita

Ayodhya

re

durat ...

:

yaSasvim

I

II

en t

22-26

under LINOA.)

:

me punyodyana

dris"yate

see

pleasure-garden.

n, 71, 21

Rdmayana (Cock)

Ibid.,

A

ARAMA)

fo rT

(cf.

under UTTARA.)

ra

(M., LH, 226, 233, 236, 238, 241,

UDYANA

C

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,

19

Surv.,

fillet.

(M., xvi, 56-58,

(i)

Arch.

Architecture, ornaments, Chalukyan Imp. Series, Vol. xxi, plates CL, figs. 2, 3.

Ed uc

(6)

at

Sarhhitd.

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

of the six-storeyed buildings.

io

class

at

UPAKANTA A

n

(Suprabhedagama, xxxiv, 35, 36.)

see

UPATULA

(see

A

TULA)

Ed uc

(M., xxiv, 16,

part of the column. (Brihat-Samhita,

UPADVARA

upper

room on

LIII,

30, see

under TULA.)

the top of a house.

(See

Mdnasara,

ix, 306,

ra

fo rT

re

en t

I

(M., xxxi, 77.)

A pillow,

under SAYANA)

The upper

an

or dwarf pillar which

article is

of furniture.

subordinate to a

C

UPAPADA

I

(M., ix, 109.)

Chatur-dikshu chatur dvaram upadvaram antaralake

(see

etc.)

309, 354, 360, under DVARA.)

Upadvaro(ramu)ktavat kuryad vishnu-dhisnam tu paschime

UPADHANA

n,

(Raghu-vamsa, xvi,

smaller door.

di ti

The

storey, a

on al

UPATALPA An

under PRASADA.)

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

n

5iTL PLXNS U PA-pJTHA PLAM OF ZS PLOTS

C

en t

re

fo rT

ra

di ti

on al

Ed uc

at

io

JAABUT



re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

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.'

(2)

n

Ess. Arch. Hind., pp. 23, 26.)

io

(Ram Raz, Kdmikdgama, xxxv

:

at

Tad-varddhitopapitharh va tad-varddhita-masurakam

(3)

Suprabheddgama, xxxi, 12

Ed uc

Adhishthanadi-shad-vargarh tan-manam upapithake :

II

II

(115).

(122).

tri-gunam garbhaiii ta(t)-tri-bhagaika-bhittikam Sarhvikshya sama-bhumis' ched upapitham prakalpayet II

A

:

in which the whole area under PADAVINYASA)

di ti

Mdnasdra

site-plan

divided

(see

ra

squares

is

iti

smritam

fo rT

Panchamam pancha-panchamsam upapitham

Evam

into 25

sutra-sthitan

I

equal

re

I

vn, 6.)

(ibid., 70.)

I

:

koshtha-bhittyuchchhra(ya)rh

en t

Ekamsam

(M,

devan padastharhs chopapithake

In connexion with foundations

nayet

I

:

ghanam prag-uktavan-

Upapitham pade devan koshtham chokta-kramam nyaset

C

(4)

on al

Pithasya

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

janmadi-pattikantikam

77


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-deâke Prativajanakam tesham krite karkarikritam Anyena vantaram chaiva vyala-sirhhadi-rupakaih

I

I

I

io

n

I

I

at

Khadgeva Srohi-samyuktam vrittasram pushpakair yutam Anyanyamuktarh cha sarvesham yuktya tatraiva yojayet (145-154).

Ed uc

I

I

Sixteen types of pedestals are described under three technical names, details whereof are given below (37-127). (The mouldings are arranged

Vedibhadra

Upana

(2)

Kampa

(3)

Griva (dado)

..

..

(4)

Kampa

.

.

(plinth)

re

Vajana

Kampa

en t

(6)

12 parts

(fillet)

(fillet)

(fillet

..

..

..

.

.

.

.

.

.

.

with greater projection) .

(fillet)

.

.

.

.

.

i

. .

4

.

.

i

..

2

.

(2) (3)

Kampa

. .

. .

.

(fillet)

..

..

..

..

..

(5)

Kantha (dado) Kshepana (projection)

..

..

(6)

Padma (cyma)

C

..

(7) Pattika

(fillet)

Kampa

(fillet)

12 parts

i

..12

..

(8)

5

:


(1)

(4)

(c)

Parts

(1)

(5)

(b)

from bottom upwards.)

:

di ti

24 parts

27-53)

ra

(a)

(lines

:

fo rT

I.

on al

in the successive order, as given in the text,

.

i

$

5 ..

i|

.

.

..

.

.

.

i

.

.

.

.

.

.

\

.

.

.

.

. .

\

:

(1)

Paduka

(2)

Abja (cyma)

(plinth)

(3)

Kampa

(4)

Griva (dado)

(fillet)

..

...

..

ij

..

..

..

i|

. .

. .

.

..

..

..

78


.

J

5^

HINDU ARCHITECTURE

UPAPlTHA Parts

Kshepana

(6)

Padma (cyma)

.

.

.

.

.

.

\

(7)

Vajana

(fillet)

.

.

.

.

.

.

i

(8)

Kampa

(fillet)

.

.

\

12 parts

(projection)

.

.

.

.

.

.

. .

.

.

:

(1)

Upana

(2)

Abja (cyma)

(3)

Kampa

(plinth) .

..

..

..

.

.

, .

.

.

.

.

.

.

.

.

i

.

.

.

5

(4)

Karna

(5)

Pattika

(6)

Kandhara (dado)

. .

.

(7)

Kampa

(fillet)

..

..

..

(8)

Vajana

(fillet)

..

..

..2

(9)

Kampa

.

.

(fillet)

(fillet)

.

.

kinds of buildings

for all

.

.

:

Sarva-harmyeshu yogarh syad vedibhadram chaturvidham Pratibhadra (lines 53-89)

II.

:

Janman

(2)

Kampa

(3)

Abja (cyma)

(4)

Kampa

..

(plinth)

. .

(5)

Griva (dado)

(6)

Kampa

(7)

Ambuja (cyma)

(8)

Kampa

re

(fillet)

en t (fillet)

C

(fillet)

(10) Prati-vajana (cavetto)

32 parts

.. .

2

.

.

.

.

.

.

.

. .

.

.

.

.

..

..

.

.

.

.

3 i

.

.

(52)

.

.

.

.

.

,

.

.

fo rT

(fillet)

.

I

Parts

. .

.

ra

(fillet)

..

di ti

(1)

(9) Antarita

(b)

on al

:

26 parts

n

.

io

.

at

(ear)

These are suitable

(a)

i

.

(fillet)

Ed uc

(d)

(5)

i 1 1

.

.

i

.

.

2

.. .

3

.

i

..

..

..

i

..

..

..

2

.

.

:

(1)

Janman

(2)

Kshepana

.

.

.

.

.

(3)

Padma (cyma)

.

.

.

.

.

(4)


.

.

.

.

|

(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)

(17) Uttara

(fillet)

Kshcpana

(19)

Ambuja (cyma)

(20)

Kapota (corona)

(projection)

Alinga (fillet) (22) Antarita (fillet)

..

..

j

..

..

..

z

..

..

..

i

..

..

..

..

..

..

..

..

j

..

..

z

..

..

ij

..

..

3|

..

..

j

. .

.

It

3

..

..

..

at Ed uc

Janman

(2)

Kampa

(3)

Padma (cyma)

(4)

Kampa

(5)

Kandhara (dado)

(6)

Kampa

(7)

Ambuja (cyma)

(8)

Vajrakumbha (round Dala (petal)

(plinth)

on al

(fillet)

..

di ti

(fillet)

.

j

(fillet)

ra

..

fo rT

(9)

|

:

(1)

(10)

10

..

..


33 parts

..

..

(fillet)

(21)

(e)

..

..

(cyma)

(18)

(23)

..

n

(14)

(fillet)

..

io

(if)

..

..

J

.

. .

2

..

..

..

f

..

..

..

5

..

..

..2

pitcher)

Gala (dado)

j

..

7

(13)

Saroruha (cyma)

..

..

..

i

(14)

Kapota (corona)

..

..

..

3

C

en t

re

(u) Uttara (fillet) (12) Ardha-kampa

.. .

(15) Alinga (1 6)

(half-fillet)

(fillet)

Antarita

(fillet)

(17) Prati-vajana (cavetto) (d)

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)

..

..

..

j

. .

.

.

.

|

80


.

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)

..

J

......

(projection)..

(dado)

..

(fillet)

..

,

,.

..

|

..

..

....

AidkâMpaCkaM^let) Ambuja (cyma)

(19)

Kapota (corona)

io

|

(fillet)

Ed uc

Vajana

at

(20) Afinga (filet)

(23)

(fiDetj

C *X
(fines

90-124)

C

en t

re

fo rT

ra

di ti

Maacfaahbadia

on al

1

HI-

\ 2

n

(18)

(21) Antarita

i

..


AM ENCYCLOPAEDIA OF

UPAPlTHA

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)

Gala (dado) (fillet)

(12)

Kampa

(13)

Abja (cyma) Kapota (corona)

(14)

(15) Alinga

(fillet)

(fillet)

(16) Antarita

:

.

\

.

.

.

.

.

.

3!

(fillet)

..

..

..

..

J

..

..

..

|

..

..

..

..

..

..

.

.

.

3

.

.

.

.

.

8

.

..

..

..

i

..

..

..

\

..

..

i

..

..

3

..

..

..

..

..

..

..

..

i\

..

..

..

2

..

..

Kampa

(3)

Mahambuja (large cyma) Kshudrabja (small cyma)

di ti

Antarita

(7)

Kampa

(8)

Padma (cyma)

en t

.

(fillet)

(fillet)

\ .

2^

.

..

..

ij

.

.

.

.

\

.

.

.

.

2

. .

.

.

.

.

\

.

.

.

.

.

.

\

.

.

.

.

.

.

i

. .

(fillet) (fillet)

(9) Pajtika

.

\

.

.

ra

fo rT (6)

re

(5)

Kampa

aj

.

(2)

(fillet)

i|

. .

Upana

(plinth)

3

..

(1)

(4)

C

.

..

on al

32 parts

.

..

(17) Prati-vajana (cavetto) (e)

.

at

(n) Uttara

..

.

Ed uc

(to)

..

.

..

(1)

n

31 parts

io

(b)

(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

Kapota (corona)

(24) Alinga

(fillet)

Gala (dado)

(27) Uttara

.

.

(fillet)

Abja (cyma)

(4)

Kshudra-padma

(5)

Kampa

(7) (8)

Kampa

.

.

(fillet)

Padma (cyma) Amsuka (filament)

.

.

.

.

.

.

.

.

2

.

.

.

.

.

.

i

\

Karna

(ear)

Uttara

(fillet)

..

..

3

..

..

..

\

..

..

cyma)

..

..

..

..

.

.

.

.

.

.

.

.

...

.

.

..

..

..

..

..

..

.

Kampa (fillet)

(16)

Abja (cyma) .. Gopana (beam) Vajana (fillet)

.

i

.

.

\

.

..

\

..

z

..

ij

..6

.

.

..

i

.

..

\

..

..

..

..

..

..

..2

..

J

3

:

re

Projections (lines 125-144)

.

..

\

7

.

..

and

(15)

3

..

..

(fillet)

14)

..

fo rT

Antara

(13)

projection of the plinth

en t

The

,

.

(small

(fillet)

Gala (dado) Antara (fillet)

(18)

.

.

n

(fillet)

(3)

(17)

3

.

io

(plinth)

(n) Kapota (corona)

(

.

at

Kampa

(12)

.

Ed uc

(2)

(10)

.

on al

Janman

(9)

.

.

:

(1)

(6)

.

di ti

34 parts

(d)

.

(fillet)

(25) Antarita (26)

.

ra

(23)

.

(and other members)

equal to the

is

C

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, subject.

n

knowledge of the

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 is

to

Ed uc

at

(5)

io

Whether the pedestal

'

on al

of pedestals, and in the Ionic order he seems to consider them rather as

belonging to

di ti

a necessary part in the construction of a temple than as the order itself.' (Gwilt, Encycl, Art. 2601.)

The

ra

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 '

fo rT

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

en t

re

architraves

C

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*

I80J

'S

971 150

:

Arch of Constan-

.

.

23 \

Scamozzi

.

.

30

io

Palladio

15

:

Arch of Titus Arch of the Goldsmiths

.

.

55

141

.

.

46

144*

on al

Composite

153

23

.

at

.

n

..

.

.

Scamozzi

.

.

33 30

'4<>i

ra

30

Palladio

133

i?

fo rT

.

'5

C

en t

re

.

di ti

Arch of Septimus Severus

Ed uc

tine

Coliseum


=

AN ENCYCLOPAEDIA OF

UPAPITHA

II.

In the Doric order (Art. 2665) r

.

.

{

Listel

2.

Echinus

3.

C

en t

re

fo rT

ra

di ti

on al

Ed uc

at

io

n

Cornice, 6 parts

i.


HINDU ARCHITECTURE

UPAPITHA Height in parts of a

C

en t

re

fo rT

ra

di ti

on al

Ed uc

at

io

n

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).

Ed uc

at

io

n

(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

on al

'

-

lines.)

di ti

The measurement of

the interspace.

ra

UPAMANA

fo rT

UPALEPANA-Plastering. Tad-vasati-sambandhi -nava-karmmottara -bhavi -khanda sam-marjjanopalepana-paripalanadi I, line

re

varsha

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

en t

C

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

any moulding

Ram

(cf.

P- 25).

vakshyami samkshepat pada-manam yatha-vidhi

I

on al

Atha

Raz, Ess. Arch. Hind.,

Ed uc

projecting base of

at

io

n

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

Uttaropanah(-y)or madhya-gatam etat prakirtitam II ' Apparently upanaha is used in the sense of upana.' '

'

di ti

(Vastu-vidya, ed.

The bottom of

Ganapati

Sastri, ix, i.)

I

fo rT

ra

the foundation-pit : Tat-pada-mule dese va tathopana-prades'ake

Kudya-stambhe griha-stambhe harmya-garbham vinikshipet (plinth) at the

re

The moulding

(M., xn, 130-131.)

bottom of a pedestal,

it is

also called

C

en t

Janman Utesedhe tu chatur-vims'at panchamsam upanam Iritam Ekena kampam ityuktarh grivochcham dva-dasarhs'akam :

I

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

the

lists

of mouldings

ADHISHTHANA.

89


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. :

n

Mdnasdra

The top

io

(i)

of a building Salavrite salakute cha nide cha Sikhare chordhva-kutake Lupa-yukta-bhramakare tat-tad-ushmsha-desike .

.

.

Ed uc

at

:

Stupikavahanam bhavct the crown of a Buddhist I

The top knot on

I

I

(M>

xvni> 333,334.)

image Bauddhasya lakshanarh vakshye samyak cha vidhinadhuna Dvi-bhujam cha dvi-netram cha choshnishojjvala-maulikam

on al

:

di ti

|

_,,

(M., LVI,

ra

The crown of the statue of a devotee (bhaktd) Ushnishat pada-paryantam bhavottara-Satamlakam Ushnlsham tu chatur-matram netrantam tu yugangulam

I

I, 10.)

fo rT

:

I

(M., ux, 14-15.)

re

.

C

en t

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).

n io at Ed uc on al di ti ra fo rT re en t C

USHNISHA www.cteindia.weebly.com

Pane 96


re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

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 :

uhapohan na yojayet

n

tu silpibhih prajnair

I

io

Tasmat

I

Ed uc

Referring to two-storeyed buildings

at

(M., VH, 268-269.)

:

Sarvesham devata-harmye purvavad devatah nyaset Ukta-vach chhastra-margena uhapohena yojayet

I

on al

I

(M., xx, 105-106.)

di ti

In connexion with penalties for defects in important members Uhapohadi-klrtibhyam Sastrokte tu yad(th)a tatha I

ra

Uhi(uha)-hina chokta-hma tvadhikartri(ta) vinalyati Tasmat tu s"ilpa-vidvadbhih parigrahoktavat kuru

fo rT

Kdmikagama, XLI Sabhavad vihita bahye prasadavad

re

:

I

I

(M., LXIX, 66-68.

alankrita

I

en t

(2)

:

Cha-pratyuha-samyukta ya sabha sa cha malika II Antara-prastaropetam uha-pratyuha-samyutam

(3).

C

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.


:

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

n

kind of room, an inner room, a store room, an

io

apartment.

at

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

Ed uc

I

.

.

on al

.

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 and

fo rT

inner or store room

ra

di ti

'

this

explanation

(Ind. Ant., Vol. vn,

Kuda

fits

here also very

Trof.

well.'^

inscriptions, no. 8, p. 256.)

en t

re

H. Jacobi.

C

RIKSHA-NAYAKA

(see

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

I

io at

Madhya-vimanasya mandapa-parsve

Ambaram dandam atha dvayam

I

I

Ed uc

Tan-mukha-mandapam mukhya-vimane

n

I

Harmya-vagad upaveSana-yuktam Yat tat kshudra-vimane tan-mukhe mandapam

on al

I

192-203.)

syat

(Ibid.

I

Anya-mandapa-deSe yan-manoramyam alankritam Mandape prastarasyordhve karna-harmyadi-manditam Yat tan namantaralarh chordhve nasika jala-panjararh vapi

di ti

I

I

ra

I

fo rT

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,

re

Eka-bhumirh

en t

I

EKATALA

(see

EKA-PAKSHA the footpath

C

cham

I

(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 :

n

io

eleven-storeyed building, the eleventh storey.

at

EKADA&A-TALA An

bhumikam

Ed uc

Tad-adhastat talarh chaika-das"a-dva das"a

Sesha-bhagam

(M., xix, 57.)

I


tu sarvesham yuktya tatraiva yojayet

Evam

I

vistara-ganyam syat tunga-ganyam ihochyate Janmadi stupi-paryantam uktavat samgraham viduh

on al

I

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

di ti

I

I

ra

I

fo rT

I

Talordhvordhva-tale sarve karna harmyadi-manditam Eka bhaga-dvi-bhagarh va parito'lindam ishyate

I

I

re

Nanadhishthana-samyuktam nana-padair alahkritam Sala-kutaig cha uktavat samalahkritam Harantare kuta-ala cha griva-deôkta-devatan(h)

I

en t

I

C

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. under PRASADA.)

see

(M., xxiu, 3-12,

K The armpit of an image, a

residential

room.

Kakshayor antararh tararh vimSa-matram prasasyate

io

I

n

KAKSHA

at

(M., LIX, 29.)

I

Ed uc

Eka-vimsangulam chordhve kakshayor antara-sthale

(M., LXV, 52, etc.)

KAKSHA-BANDHA A class of bases.

KATA A

(M., xiv, 320-358.)

mat of

split

bracelet for an image,

ornament

fo rT

architectural

ra

(Taitt. Sam., v, 3, 12, 2

KATAKA An

details

under

cane or bamboo.

di ti

ADHISHTHANA.

on al

component mouldings and other

four types, the

See the

camp,

(like

:

Sat. Bra., XIH, 3, i, 3.)

a ring)

of a base, a

capital.

re

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

en t

I

(Ibid., 238.) pattarh va dharaya katakanvitam Etat tu chitra-kalpam (=an ornament) tu natakabhi(kai)r alankri-

tri

I

C

Vrittarh vidhim

tam See

I

(M., L, 11.)

Keyura-katakak yuktarh prakoshtha-valayam tatha also M. LI, 57, udder KATI-SUTRA.


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

a bracelet or ring.

io

tu yojayet

at

Evam cha lakshanam proktam katakakaram

vistaro

on al

Yo

bhaved yasya dvi-guna-tat-samunnatih

Uchchhrayad yas

di ti

tritiyo'ms'as

tena tulya katir bhavet

I

kati

its

ra

fo rT

(lit.

249.)

I

height of a building should be twice its width and of its height.' be (equal to) should (Brihat-Samhita, LVI, hip)

The

'

xvm,

hip-part of a building, the hip of an image, a flight

of steps. (1)

I

(M.,

Ed uc

KATI The

Chan-

n

:

like

I,

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

re

'

C

en t

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


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

io

n

I

Katakam

KANTHA

Ed uc

girdle.

kati-sutram cha keyurarh ratna-puritam

Also called

'

'

is

(M.

,

LI,

57.)

gnva,' kandhara,' meaning literally a quadrangular moulding, sometimes

gala,'

This

the neck or throat.

'

I

on al

A

at

(M., LXV, 150, 164.)

'

fo rT

ra

di ti

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

The neck

en t

re

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.) of a column (Suprabheddgama, xxxi, 58,

Tuiige trimsati-bhagena ...

C

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

.

.

.

I

(M., nx, 71,81.)

of limbs under TALA-MANA.

97


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

the above

given

with

the

in

the

surrounding defensive

Mdnasdra.)

n

village

as

From

this it

appears

to follow that the

no. n, Ind. Ant., Vol. vi,

tions,

p.

(

(see

DARI-GRIHA)

? syatarh)

iti

Khyatam

i,

on

KANDARA-GRIHA

c.

al

last para.)

103,

line 29,

A

line 2

c. i., f.

last

;

(Three

Kongu

inscrip-

Transl. and footnote,

cave-house.

ra d

fo

rT

(Description of the town of Atapura,

tre

inscrip. of

C

KANYA A girl,

191,

I

Atpur

Ind.

Ant.,

note 25,

187.)

Saktikumara, v, n,

Vol. xxxix, pp.

neck, the dado.

KANTHA and compare

en

See

The

divi

kanakadi-kandaragrihodlrna-pratapam

khyatam naikavanig-visala-bibhavo bhutabhisobham Subham

KANDHARA

para,

c. 2, line 6.)

Coorg Kadangas or large

for landmarks.'

Ed

trenches, originally were intended

uc

'

Vol. iv, p. 162,

at io

(Ind. Ant.,

the

a virgin, the

lists


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.

synonyms are

Its

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). :

Mdnasdra

:

Referring to the pedestal

at io

(i)

n

}

:

Referring to the base

lists

:

arhsarh tad-urdhve tu

kapotochcham tri(y)arhsakam

the

see

illustrations,

(M., xiv, 357.)

lists

of mouldings under ADHISH-

:

fo

Referring to the entablature

tre

Tad-urdhve vajanam chaikam dhatu-bhagam kapotakam

en

C

lists

of mouldings under PRASTARA.

:

Kapotam prastram chaiva mancham prachchhadanam .

paryaya-vachakah to

Referring

I

tatha

I

(Ibid., 18, 20.)

the six-storeyed buildings

Prastaradi-kapotantarh

I

(M., xvi, 27.)

For further illustrations see the A synonym of the entablature .

I

rT

THANA.

.

57.)

ra d

For further

xiii,


iti

Padmam

the

I

al

illustrations, see

(M.,

on

For further

Ed

uc

Tad-dvayarh chambujarh chordhve kapotochcham gunamsakam

:

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.'

(Ram Raz,

Hind., p. 24.)

99


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

i.

Then Dr. Kern quotes

v.' '

'

that the spout

(p. 51)

'

and adds

Kapota

Raz's passage noticed the same author (Ram Raz) notices

made

be

may

Ram

from the head of a

to spring

lion, etc.'

With

this,

Kern compares Utpala's

definition

:

767)

at io

n

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 :

uc

Prasadau nirgatau karyau kapotau garbha-manatah

I

tu prakalpayet

Ed

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

on

al

|

;

(J.R.A.S., N.

rT

tion to

ra d

'

iti

'

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

tre

fo

'

C

en

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.

KAPOTA-PALIKA.

KARNA PATRA

C

en

tre

fo

rT

ra d

iti

on

al

Ed

uc

at io

n

KALASA

KAROTI.

KAROTI-

KIRTTI-VAKTRA.

I'age 100



tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

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

n

Kapotantam samutsedham hasta-vistara-bhittikam

at io

II

(Suprabhedagama, xxxi, 119.)

purii-napumsakarh

II

uc

Kapota-palikayam

tu vitankarii

part of a building.

Prasadau nirgatau karyau kapolau garbha-manatah

I

on

(1)

The cheek of an image, an upper

al

KAPOLA

Ed

(Amarakosha, n, 3, 15.)

Chaturdha sikhararh bhajya(m) ardha-bhaga-dvayasya tu Suka-nasam prakurvlta tritiye vedika mata II

Kantham

kapolantarii

Chap. CCLXIX, 18-19.)

(Ibid.,

nava-matram

I

prasasyate

en

Mukha-taram

tre

fo

rT

amalasararii tu chaturthe parikalpayet Kapolayos tu samharo dvi-guno'tra vidhlyate II

(3)

I

ra d

(2)

iti

(Matsya-Purana, Chap. CCLXIX, v. 11.)

C

KABANDHANA A

knob

I

(M.,

at the

end of the

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 '

at io

n

to

the principal members, which

uc

it is employed, to connect or to separate. answers in every respect to the fillet.'

Ed

It

Referring

pedestal

:

iti

on

Utsedhe tu chatur-virhsat ... Ekena kampam ityuktam ...

I

I

ardharh tatha karnam

ra d

Kampam


al

(Ram Raz,

the

to

rT


see

Referring to the base

the

xm, 36-37, 49.) of mouldings under UPAPITHA.

lists

.

.

.

I

(M.,

:

fo

Ekena-trimsad angarh (=amsam) lu tuhgarh kritva ... (M., xiv, 14-16.) Kampam ekena kartavyam

tre

.

en


lists

.

.

I

of mouldings under ADHISHTHANA.

side-door, a private entrance.

C

KAMPA-DVARA A

see

the

I

(1)

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

iti

on

al

Ed

uc

at io

n

8

rT

ra d

S^ SP

a:

C

en

tre

fo

M

> c*

J


uJ

cQ

oc

efl


tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

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

Sroynam madhya-lupah

:

at io

In connexion with the pent roof

n

fragrant plant, or flower (oleander or Nerintn odorum), an ornament of that shape, a pent-roof having the slope (or colour) of that flower.

sarve(va) lupa-samkhya yathcshtaka I

uc

Karavira-bahu-varna sarhputabham vikalpayet

Ed

(M, xxvm,

I

242-243.)

car of the elephant, (? the tip of an elephant's trunk, karnika), an ornament of that shape.

The

on

al

KARI-KARNA(NIKA)

kshudra-pithakam

KARIKA A

I

(M., xxxii, 117.)

ra d

tat

iti

karikarna- (another reading, karnika) -yuktam kuryat

Upabja(m)

moulding of a column.

fo

rT

VIra-karna(-kantha)syodayarh jnatva nava-bhaga(e) vibhajite Ekaihsarh padukarh kuryat pancha-bhagam tu samgraham Tad-urdhve karikamsaih syad abjam aihsena yojayet I

tre flute,

en

KARUNA-VINA A

(M,

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

C

I

I

I

KAROTI(I) A tectural

basin, the

I

I

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

:

I

(A/.,

at io

n

Prativajanakarh tesharh kriteh karkari-kritam Referring to the gate-house (gopura) :

151.)

I

uc

Etat tu gikharam proktam karkari-nasika-kritam

xm,

(M.,

xxxm,

561.)

Referring to the mandapa (pavilion) Tach-chatush-karna-dese tu karkari chashta-bhadrakam Tat karnarh cha dvayor bhadrarh chaturtharii karkari-kritam

Ed

:

al

I

iti

on

Karkarl-bhadra-sarhyuktarh mandapasya visalakam

ra d

Mandape chordhva-kutarh

(M,

xxxiv, 305, 308, 309.)

syat salakararh tu yojayet

rT

Ashta-vaktra-samayuktarh karneshu karkari-kritam

I

I

530-531.)

(Ibid.,

Referring to the sala (haU, mansion)

fo

:

tre

Veda-vedamsakarh madhye vivritarh samvritank(g)anam Tad-bahis chavritarhsena karkarl-samalankritam

I

en

I

(M., xxxv, 300-301.) In connexion with the description of a Svastika (shaped) -house Prishtiie tu dirgha-koshtharh syat purva-koshtham tatha bhavet :

C

(2)

I

I

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.)


:

Karna-tunga(rh) tr(i)yarhsarh syat tad-urdhve kampa(m) sivamsakam II (M. t xiv, 12.)

104


n C

en

tre

fo

rT

ra d

iti

on

al

Ed

uc

at io

FORTIFICATION TRENCH.

KAOANGA

(XXXXXXXXXXXXXJO KARIKA.

KARNA

COVER FILLED ,-KABANDHANA.

KARNIKA

KARNIKA.


KABANDHANA


tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

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.,

205.)

n

L,

at io

I

:

I

uc

Vedikayarh vihinarh chet kartri-drishti(r) dinam vrajet Tat-karne'dhika-hinarh ched bhojanena vinasanam

:

al

Referring to a single-storeycd building

Ed

I

(M., LXIX, 26-27.)

Tad eva vedikamsena nava-bhaga(-e) vibhajite) Dvi-bhagarh vajanam mule chordhve karnam gunamsakam

ra d

iti

on

I

square plots.

(M.

KUTA-KOSHTHA)

(see

(M., xix, 64-65.)

vii,

see

213-24,

The tower

PADA-VINYASA.)

at the corner

of

fo

KARNA-K.UTA

rT

KARNASHTAKA A site-plan of 324

I

(i)

tre

the roof, the side-niches, corner pavilions, the attic.

Karna-harmyasya

vistararh

shad-bhagam(ge) tu vibhajite madhye sala dvayarhsakam (M., xix, 54-55,

C

en

Ekarhsarh karna-kutarh syan

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

uc

at io

n

1

1

I

I

1

Ed

1

I

1

on

al

1

I

1

iti

1

ra d

Madhyc kutaih tayor madhye kshudra-koshthadi-sobhitam Chhandom etat samuddishtarh kutaih va koshthakam tu va Antara-prastaYopetarh nimnam vonnatam eva va I

rT

iti

nirdishtam abhasam tad vimisritam

II

fo

Vikalpam

tre

The

attic

is

karna-kuta-samayutam

LV, 123-130.)

II

(Suprabheddgama, xxx, 30.)

formed of different kinds of

little

C

'

en

(3)

(Ibid.,

Prastarad-urdhva-bhage tu

I

II

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 14.) I

O6


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

(M., LXH, 67.)

I

:

Hanvantam karna-bandhantam dvayantaram dasangulam

I

(M., LXV,

KARNA-HARMYA A

:

shad-bhagam tu vibhajite

karna-kutarii syan

Ekarh va dvi-tri-dandcna

madhye sala dvayamsakam nirgamam bhadram eva va

I

I

madhye chaika-harasa-panjaram

I

uc

Sala-kuta-dvayor

I

n

vistararh

at io

Ekamsam

02.)

tower, a side-tower, a minaret, a turret.

In connexion with single-storey ed buildings

Karna-harmyasya

1

Tat-tunga(rh) sapta-bhagaih syad ekariiâm vedikodayam

Ed

I

Tad-urdhve'dhyardha-bhagena galam tryamsena mastakam Tad-ardharh stupikottuhgam karna-harmyam iti smritam

I

al

I

(another

iti

harmyadi-manditam

(M., xix, 54-60.)

on

karna

prastarasyordhve I

(Ibid.,

khanda)-

reading,

214.)

ra d

Mandape

rT

Stupi-tungam dvayamsam syad dvi-tale tad dvitiyakam Tad evordhvam adhishthanam vimanamseka(aika)-vitastikam syat

karna-harmyadi-manditam

fo

Tad-urdhve'hghrl saramsam

I

(At.,

xx, 14-16.)

tre

Prachchhadanopari stambhaih k rna-harmyadi-manditam

en

C chordhva-tale

I

(M., xxxr, 10.)

Tad-urdhve mandapanam cha chu ika kaina-harmyakam

Harmyc

I

I

I

(M., xxxiv, 64.)

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 basements, with a handsome dome in the centre, and minaret-like turrets 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

a tree, a class of

pavilion with twenty pillars,

people. see

under MANDAPA.)

satye va karnikaral jyarii bhavet

uc

Mahendre vatha

at io

n

(Matsya-Purana, Chap. CCLXX, v. 13;

I

Ed

(M., 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 (cf.

ra d

iti

on

al

KALA$(S)A

i,

(Khajuraho Inscrip. no.

v, line 19,

p. 150.)

Pinnacle

:

Vimanopari sauvarnnah kalasa

en

(5)

I

tre

Ep. Ind., Vol.

:

II

(Kamikagama, LV, 103, 109.)

Kandhananda-kalasa

fo

(4)

Dome

rT

Mushti-bandhopari kshiptarh vyalantarh kalasavadhi

Placed golden pinnacle on

the

shrine.

.

.

.

pratishthiipitah

(Yena-Madala

I

Inscrip. of Gana-

C

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

We

at io

uc

Sorab Taluq, no. 276

;

and

so forth.'

;

(Ep. Carnal., Vol.

vm, Part

i,

Transl., line 12.)

on

Taluq, no. 68, p. 158

iti

Chakre jambu-nadyair gurutara-kalasair bhasvarair ekavimsaih Nepala-kshonl-palah prathita-bhuja-bhushanarh tanmathasya II

I

ra d

(13)

i,

grant to you, in addition, two five-branched torches, five

kalasas above the palanquin

Nagar

Vol. vin, Part

last sentence.)

al

'

(12)

Carnal.,

(Ep.

Transl., p. 475 second para,

Ed

kissing the clouds.'

n

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

from Nepal, no. 17,. Inscrip. of Siddhi Nrisimha of Lalita pattana, v. 17, Ind. Ant.,

fo

rT

(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-

C

en

tre

'

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

Belur Taluq,

i,

text, p. 103, last

two

1

at io

a spire to

(Ep. Carnat., Vol. v, Part

it.'

396; Transl.,

p.

two

lines.)

salakheyam madisi vistaradirh kalasama the temple of Murahara, and fixed a

uc

upon

text, p. (

He made

;

172.)

i,

Arsikere Taluq, no. 131

;

Roman

Aneka-ratna-khachita-ruchira-mani-kulas'a-kalita-kuta-koti-ghatiittu iga-chaityalayam 'having erected ... a lofty chaitya-

9)

al

kalasa

Murahara-bhavanada '

last

3

Ed

(18) nilisida

i,

no.

Transl.,

;

n

p. 45, para,

verses

tam-apy-

iti

on

laya, with kalas"as (perhaps by mistake Mr. Rice has put in gopuras) or towers surmounted by rounded pinnacles set with all manner of

ra d

(Ep. Carnat., Vol. vi,

jewels.' ;

Mudgere Taluq,

no. 22

;

Roman

text, p. 148,

Transl., p. 63, para. 2.)

rT

line 12

Kalasa, a term applied generally to the (20) also a pot or vessel with water and some grains in

fo

'

New

;

(Rca, Chalukyan

Series, Vol. xxi, p. 38.)

Imp.

tre

Architecture, Arch. Surv.,

summit of a tower it.'

Kalasa (Kalas) pinnacle of temple steeple.' (Smith, Gloss., Cunningham Arch. Surv. Reports.) See Maghul Arch, of Fatehpur-Sikri, Smith, Arch. Surv., New '

to

en

(21) loc.

cit.,

C

(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. Glta, (2) vadya, (3) nritya, (4) alekhya, (5) viseshaka-chchhedya,

(i) (6)

tandula-kusuma-vali-vikara,

(7)

pushpastaruna,

mani-bhumika-karma,

(10)

dasana-vasana-

(8)

(u) udaka-

Sayana-rachana,

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-

(43)

suka-sarika-pralapana,

(44)

utsadana-samva-

uc

lavaka-yuddha-vidhi,

at io

n

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-kukkuta(45) akshara-mushtika-kathana,

hana-kesamardana-marjana-kausala,

(48)

Ed

mlechchhita-kutarka-vikalpa, (47) desa-bhasha-vijnana,

(46)

pushpa-saka-

nimitta-jfiana, (50) yantra-matrika, (51) dharana-matrika, (52) sampathya, (53) manasi-kavya-kriya, (54) abhidhana-kosha, (55) chhanda-

jnana,

on

al

tika, (49)

kriya-vikalpa, (57) chhalitaka-yoga, (58) vastra-gopana, (59)

(56)

see also

pp. 43, 95.)

rT

yana, ed. Bombay, pp. 32-35;

ra d

iti

dyuta-visesha, (Go) akarsha-krlcla, (61) bala-krldanaka, (62) vaitalika, (63) (64) vyayamika-vainayika-vidya-jnana. (Kamasutra of Vatsyavaijayika,

Compare (6)

(i)

Kalpasutra (211),

(2)

Dasakumara-charita

Kadamban, p. 75, (4) Kaldvilasa by Kshemendra, (5) SamavdyaRamachandra's Commentary on Champurdmayana by Vidabharaya,

(3)

Narayana's Commentary on Lalita-sahasranama,

(8) Srimad-Bhdgavata, (9) Bhaskararaya's Commentary on Lalita-

C

(7)

from

tre

sfitra,

lists

en

(u, 21),

the

fo

See J.R.A.S., 1924, pp. 355-367-

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

(poetics),

Tantras,

specification),

vedas, upa-vedas, Puriinas,

Smritis,

etc. agriculture, witchcraft, sorcery, gambling,

details see the writer's

For fuller Quarterly}

address,

and

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

paste used as plaster or cement,

also

at io

KALKA A

n

(M,

(mixture).

1

J

The ornamental ing

(see

LVII,

N.

Compare Akshaya-vata

at

3,

Vol.

S.,

tree,

called

6, vi,

7,

8,

16, etc.) '

'

yoga J.R.A.S.,

pp. 321, 322.)

employed as a carv-

SR!-VRIKSHA).

on

KALPA-VRIKSHA

al

KALPA-DRUMA

Ed

uc

(Brihat-Samhita,

L,

Prayag (Allahabad), Siddha-vata

at Ujjain.

(i)

ra d

iti

and Bodhi-tree at Gaya. Manasdra

XLVII,

of the chapter

rT

The name

(Chap.

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

C

en

tre

fo

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

C

en

tre

fo

rT

ra d

iti

on

al

Ed

uc

at io

n

HOT TO 5CKLL

KALPADRUMA

712



tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

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 other

Many

the

58-61).

(lines

ornamental

particulars regarding expressly left to the choice and discretion of the artists

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

carving on the car

:

Kalpa-vriksha-yuta-chakravartibhir bhih

at io

A

n

(M., xxxiv, 167, 218-219.)

kuru sarvavedi-

manditarh

Ed

uc

I

(M.,

materials of which the tree

is

constructed

:

al

The

169-170.)

XLIII,

on

Sirhhasanam makara-torana-kalpa-vriksham

I

Mukta-praparigam api daru-s"ileshtakadyaih Ratnair aneka-bahu-loha-viseshakais cha (kuryat)

ra d

iti

|

I

rT

(M., XLVII, 30-33.)

fo

Paschat sirhhasanadhya's cha kalpa-vriksham cha toranam

|

tre

(M., XLIX, 185.)

C

en

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-

.

;

see

under PRASADA.)

n

(M., xxin, 30-32

at io

KALYANA-MANDAPA A wedding pavilion. The

leaf or panel of a door, a door.

Vdstu-vidyd (ed.

(1)

Ed

KAVATA

under MANDAPA.)

uc

(See details

Ganapati

Sastri) xiv,

i

:

on

al

Kavata-dvitayam kuryan matri-putry-abhidham budhah Kautilfya-Artha-fdstra,

Chap, xxiv,

p.

iti

(2)

1

:

I

ra d

Tri-pancha-bhagikau dvau kavata-yogau

53

1

Kdmikdgama, LV

(3)

:

rT

Deva-dvija-narendranam kavata-yugalam matam Anyayor ekam uddishtam maha-dvare chatur-yugam Aneka-sririkhalopetam bahu-kundala-bhushitam

fo

I

II

(51)

tre

I

Kavata-yugmam kartavyam

C

en

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


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, (Ep. Carnal., Vol. v, Part text, p.

Transl., p. 61

72,

;

) >

ioo,

KAKASHTA A

10

seat.

n

mat a cushion, a golden

\

(R.-V. x,

eight-fold

no.

Taitt. Aran.,

:

vi,

i

9,

A.-V. vi,

at io

KA$A KA&PU

Belur Taluq,

i,

142, line 7.)

:

synonym of paryanka or bedstead, a couch of

crow design. (M.,

ni,

11-12; see under PARYANKA.)

house with a southern and northern

KANTA A

type of pavilions.

hall.

al

KACHA A

(Brihat-Samhitd,

rT

)

a class of six-storeyed ;

under PRASADA.)

see

fo

(M., xxiv, 13-14

KAMA-KOSHTA A

40.)

MANDAPA

under

see

513-516;

large forest, a difficult road,

buildings.

LIII,

on iti

xxxiv,

ra d

(M.,

KANTARA A

138, 5.)

uc

Roman

and a pond named the Vasudeva

Ed

tirtha.'

en

tre

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

C

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.)

'The

gift

Gomana

of

I

the Karavaka

n

GOMANASA KARAVAKASA

'

at io

Cf.

(=karapaka).

uc

(Four Ep.

Ed

KARMUKA A

early

kind

of village.

It is situated

on

no. B,

Inscrip.

Vol.

Ind.,

xii,

p.

301.)

banks of

the

on

al

a river or sea (nadi-tire'bdhi-tire va karmukam cha vinyaset). Its plan is like a bow (tad-dyayor vithi-bahye tu karmukakaravat

iti

See further details

under GRAMA.

ra d

prithak).

rT

KARYA-SATRA

(M.,

Working

lines,

ix, 3,

459, 463, 452-472.)

drawn

the plumb-lines

for

the

tre

fo

purpose of the sculptural measurement. (M., LXVII, 93

en

KALA-KOTA A kind

;

under PRALAMBA.)

see

of poison, the cobra represented on the neck

C

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

n (M., xxxv, 401-402.)

I

:

I

(M., xix, 36.)

Ed

In connexion with the single-storeyed buildings Nasikagrantam sarvam kimbarl-samalankritam

measure, a cubit of 24 or 42 angulas.

al

KISHKU A

at io

I

Patrais chitraih kimbari-vaktra-yuktam

uc

Sarve(a) -sala-nasika-toranadyaih

:

Kishku(h) smrito dvi-ratnis tu dvi chatvarims'ad angulah (Brahmdnda-Purdna, Part I, and Anushanga-pada,

ra d

iti

on

I

But according to the Suprabheddgama (xxx, 25 see a cubit of 24 angulas, which in the above Purana

'

;

rT

it is

aratni.'

Chap, vii, v. 99.) under ANGULA), (v.

99)

is

called

fo

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

tre

(also

'

en

'

Bhagvan Lai'. (New Silara copper plate grant,

C

suggestion of Pandit

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

at io

n

'

(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

to

authorities

by

quoted

Ed

uc

(4)

the

kirttanam

ra d

Achikarat

(5)

iti

on

al

of Krishnapa and Asarva, in the temple of Brahma at Dudahi (Arch. Dr. Fleet. Surv. of Ind., Vol. x, Plate xxxn).'

Vol. xv, pp.

Ind. Ant.,

'

(Ind. Ant.,

built

202, note 8.)

203,

rT

fo

Sarvva-kirttanam idam Saktaih kirttanam idam

tre

(Gwalior Inscrip. v. 15

temples.'

Kirttanam idarh sarwarh karitam Kirttanam idarh sarwarh api (b.

(6)

Vol. xn, p. 289, c.2.)

(a.

line 9

line 8

f.).

f.).

line 5). line 3). (d.

(c.

en

Kirttanam idam ().

all

C

In

no.

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*.

al

Ed

uc

at io

n

KUMAHI-PURA.

PLAN

rT

-J

PIVOTED.

ra d

iti

on

ELEVATION

C

en

tre

fo

KUNJARAKSHA.



tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

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

I

xii,

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 see also

M., xxxix, 121-123.)

n

KILA-BHAJANA The

;

at io

(M., L, 120

pin-hold. :

uc

In connexion with the door

I

Ed

Kila-bhajanam ity-uktam kilanarh tu pravakshyate (M., xxxix,

pin-point.

119;

on

In connexion with the door Kuryat tat kavatanarh yuktya tat kila-Sulakam belly,

a cavity, the middle part, the

ra d

The

(M.,

I

iti

:

KUKSHI

also

fo

rT

hub of the wheel.

In connexion with the foundations

120-131.)

al

KILA-SULAKA The

I

see

xxxix, 128.)

interior, the

(M.,

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

tre

I

en

I

C

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.

from one another

.

I

of bases,

class

(M., LX, 14.)

has four types differing

it

at io

KUKSHI-BANDHA A

.

.

LVII, 55.)

n

Kukshi-tarashta-matram syat

I

and the addition or omission of some

in height

see

under ADHISHTHANA.)

ornament

for the (female) breast.

al

KUGHA-BANDHANA An

319-359;

xrv,

Ed

(M.,

uc

mouldings.

on

Kucha-bandhana-samyuktarh bahu-mala-vibhushini LIV,

12.)

iti

(Af.,

KUNJARA A

rT

ra d

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.

fo

Bnhat-Samhitd (LVI, 25, J. R. A. S., N. S., Vol. (2) Matsya-Pwana (Chap. CCLXIX, vv. 36, 41, 49, 53 Bhamshya-Purana (Chap, cxxx,

en

(3)

tre

(1)

C

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

at io

It is also

used as a synonym of Prastara or entablature.

under PRASTARA.)

Same

M., xvi, 2-4

column

as adhishthana or the base of a

;

:

Ed

(1)

(

uc

see

n

a cottage, a small building, a paved ground.

dhuna Adhishthana-vidhlm vakshye Trayodasangulam arabhya sha^-shad-angula-vardhanat Chatur hastavasanarh syat kuttima-dvadagonnatam (M., xiv, gastri sarhkshipyate'

i

on

al

I

1-3.)

i

I- (Ibid., 9.)

iti

Janmadi-vajanantam syat kuttimodayam Iritam Vimana-saleshu cha mandapeshu

ra d

i

Nidhana-sadmeshv-api gopureshv-api

rT

Eteshv-adho-deSa-talopapithe

i

i

fo

Tasyoparishthat krita-ku^timani {(Ibid., 397-400.) Referring to the entablature

:

tre

Shad-vidham kutîmottungam prastarodayam Iritam

en

In connexion with the four-storeyed buildings

(M., xvi,

i

4.)

:

C

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 ekaihâ(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

.

.

xxxm,

i

249.)

:

n .

n

(Kdmikdgama, LV, 199-200.)

:

Masurakam adishthanarh vastvadhararh dharatalam Talarh kuttimady-angam adhi^thanasya klrtitam 121


n

i

(Ibid.,

202.)

AN ENCYCLOPAEDIA OF

KUTTIMA

Prasada-s"ata-sambadharh mani-pravara-kuttimam Karayamasa vidhivad dhema-ratna-vibhushitam

(3)

1

I

1

(Mahdbharata, xiv, 25, 22.)

prasadaih sukritochhrayaih Suvarna-jala-sarhvritair mani-kuttima-bhushanaih .

.

1

.

1

II

(Ibid.,

Kuttimo'str! nibaddha-bhus chanclra-sala sirogriham

(4)

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

Padangushthalulita-kusume kuttime

I

at io

(7)

n

(Raghuvarhfa, ed. Stenzler, n, 9.)

(Malavikagnimitra, ed. Tullberg, n, 27.)

tu

Vcdikeyam

samanya kuttimanam

uc

(8)

prakiritita

Mani-kuttima ;

(Kadaba

Prabhuta-

plates of

Vapl-kupa-tadaga-kuttima-matha-prasada-satralayan Sauvarna-dhvaja-toranapana-pure-grama-prapa-marhdapan I

. '

vyadhapayad ayarh Chaulukya-chuda-manih

kuttima'

is

1 1

I

evidently a detached building.

rT

Here

.

.

.

ra d

iti

(10)

floor.'

Sastri, ix, 19.)

Ep. Ind., Vol. iv, pp. 341, 342.)

on

varsha, line 29

'jewel-paved

Ganapati

al

(9)

Ed

(Vastu-vidya, ed.

I

fo

(Sridhara's Devapattana Prasasti, v. 10;

Ep.

Ind.,

Vol. n, p. 440.)

en

tre

(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

C

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-bimba-

...

I

under pretence of seeing

reflection in the jewelled

his

floor.'

(Ep. Carnal., Vol. xn,

KUDYA A wall,

kudyam

I

kudye prabhede cha' bhittau vilepane

no. 61

;

Roman

Transl., p. 29, line 20.)

at io

plastering.

strl

'Kudyam

;

iti

'

Haimah

MedinI

iti

I

I

uc

'Bhittih

32

(Amarakosha,

2, 2, 4.)

Ed

Bhittih

Gubbi Taluq,

n

text, p. 49, line

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)

N.S., Vol.

I

fo

Tad-ihottara-vistaratah sadrisarh

bahalam kathitam talipadi-yutam

bahir-bhagarh svantar-bhagarh bhavet

samam

II

(Vastu-vidya, ed. Ganapati-Sastri, xv, 1-2.)

C

en

Kudyam kuryad

I

I

tre

Svotsedha-dararhs'aika-hina-mastakam eva tat

(3)

vi, p. 322.)

Silaya cha mridapy-athava taruna rachayed atha kudyam atlvadridham

rT

(2)

(Brihat-Samhita, LVII, 4, J.R.A.S.,

ra d

iti

on

al

'

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) panchaâ-varjitah Ldnge Kirhchin nyunam alindam va êsham kudyeshu yojayet îlante

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.) LIII.

(M.

n

Geha-tridhaika-parito bahi(h) kudya-taram

i

59).

at io

Kudya(ama)ty-adhika-hinam ched vistare chodaye'pi va Dvi-jati-sarva-varnanarii sarva-naâkaram bhavet

uc

KUDYA-STAMBHA

i

i

(M. LXIX. 57,

58.)

Ed

The column of

al

the wall, thus the pilaster or a square pillar projecting from the wall. Sila-stambham s"ila-kudyam naravase na karayet

iti

on

11

ra d


(Kamikagama, xxxv. 161.) :

rT

Kudya-stambhe griha-stambhe harmya-garbham vinikshipet (M.

xii.

132.)

:

fo

Referring to the pillar

i

I

en

tre

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

C

(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

of short

down from one narrow landing 124


stairs,

to another,


tre

en

C rT

fo iti

ra d al

on

n

at io

uc

Ed

n at io uc Ed al on iti ra d rT fo tre en C 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

occupied by

originally

Between each some hundred

first.

a niche

tiers is

...

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

n

I

.

I

uc

.

at io

I

.

|

Ed

I

119.)

al

(Ibid.,

ra d

iti

,

on

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 iti

rT

Gramadinarh samlpam yat sthanam kubjam

smritam

(Kamikdgama, xx,

fo

Sarvesharh nagaradinarh bhedarh lakshauam uchyate Kubjakarh pattanarh chaiva ... .

.

durgam

ashta-vidharh bhavet

en

KUMARI-PURA A

15.)

I

I

tre

.

II

gymnasium

I

(M., x, 37, 40, 42.)

or school for higher studies, a

C

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-âlam 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

AJV

KUMUDA

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.


xiv, 83.)

t

:

Janmantam vathava prantam kumudantarh va galantakam

A

moulding of the throne

:

etc.; see

kumudam

al E

Tach-chhesharh dvi-bhage tu

12,

I

(M., xn, 202-203.) lists

of mouldings

vrittakritis tatha

|

on

(M.. XLV, 136.)

Etesham

di ti

headgear

mahishblbhyam(-shyoh)

kritam

(M,

I

cha

dhammilla(m)

kumuda-

XLIX, 28.)

ra

A

the

I

du ca

moulding of the base (M., xiv, under ADHISHTHANA).

tio

A

n

Pattikantam kshipech chapi vinyaset prathameshtakam

fo

rT

KUMUDA-BANDHA A class of bases, it has four types differing from one another in height and in the addition or omission of some

en t

re

mouldings.

C

KUMBHA

A

see

under ADHISHTHANA.)

the capital, a moulding, the (M., xiv, 33, etc., see the lists of mouldings under

KALASA)

(see

cupola, a plinth.

A

ADHISHTHANA).

A A

(M., xiv, 65-108,

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) (Bhubaneswar

lofty spires.'

KUMBHAKA

(Into) capital,

the

upon

The base of a column. is

the gift of

.

.

n

(where the

repeated on many other bases of

is

inscription

.

This pillar-base

ins-

tio

written)

'

du ca

is

The same

pp. 78, 74.)

'

Inscrip., v. 15, Ep. Ind., Vol. xiu, pp. 152, 154.)

Ayam kumbhaka-danam .... cription

ix,

pillars.

of a vase, a pilaster and a

KUMBHA-PADA

(cf.

A

PANJARA) little

STAMBHA)

niche in the wall.

It

con-

pavilion (panjara) at the top.

on

sists

(cf.

Literally the pillar at the foot of

di ti

KUMBHA-PANJARA

al E

(Catalogue of the Arch. Museum at Mathura, sections 21,22, 25, 30, 32, pp. 176, 177, 178.)

fo

rT

ra

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

en t

re

mouldings.

KUMBHAL ANKARA

Ornaments

;

see

and entablature.

C

pedestal, base,

under ADHISHTHANA.) of the column, mouldings of the

(M., xiv, 195-239

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.)

the interior windows.

n

KUHARA A window,

Kuhara abhyantara-gavakshah

:

du ca

Commentary

tio

Tatra shad-asiir merur dvadasa-bhaumo vichitra-kuharas cha

I

I

al E

(Brihat-Sarhhita, LVI, 20, J.R.A.S.,

N.

Merur dvadasa-bhaumo vividha-kuharaS cha

xv,

:

karna-kuta, sala-kuta.

(M., xix, 55, 57;

rT

Ekaika-bhagam syat tu kuta-saladikarh nayet Adho bhaga-dvayenatha kutam ekena va bhavet Kuta-Sala

(v.

I

Pinnacle

(Kamikagama, :

I

92), mula-kuta, vana-kuta (95).

re en t

(3)

v, 27.)

on

di ti

top of a building LX, 45 ; LXX, ao.)

fo

(2)

;

Chap, cxxx,

or summit, head, top of a building.

The

134

318.)

ra

(1)

The peak

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.

C

'

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.)

n tio du ca

C

en t

re

fo

rT

ra

di ti

on

KOKILA

al E

PART OF A THRONE

PLAN.

KUMBHA-PANJARA. www.cteindia.weebly.com


re

en t

C

tio

du ca

al E

on

di ti

ra

rT

fo

n

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 '

'

with

all

manner of

gopura,' perhaps a

(For

jewels.'

'

kalasa

;

room on

fo

Kuta-sala sabharh kritva bhoga-bhogyarh viseshatah

re

samayuktarh

gopurena vidhiyate

en t

KOTAGARA

102,

the top of a building.

Kuta-sala-yutarh vapi kuta-salantam eva cha

Prakarena

x,

under KARNA-KUJA.)

see

rT

small

vn,

Transl., p. 183.)

;

ra

(Kamikagama, LV, 123-130

KOTA-SALA A

Vol.

compartment on the top of a building,

room.

attic

Carnal.,

Water-wheels for wells (R.-V.,

di ti

an

(Ep.

text, p. 322, line 18

Zimone, All. Lib., 157).

KOTA-KOSHTHA A

three pin

the

du ca

KRIP A)

text,

on

11, cf.

(see

Roman

;

Roman

al E

KOCHAKRA

tri-kuta-devalaya

god Vlra-Somanatha'.

Channagiri Taluq, no. 32

;


;

'

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

,'

n

'

tio

set

:

II

I

II

(Suprabludagama, xxxi, 113, 120.)

C

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

Chhinda

(v. 20,

PP- 79. 83).

129


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 .

.

.

chainam

akarayad (Gangdhar stone Inscrip. of Visvavarman,

kuparh

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, '

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

Khane kupe Dashaverana

Ind. Ant.,

XXXVH,

p. 65.)

he dug well of Dashaveras.

du ca

(5)

tio

n

mother (and)

(Inscrip. of Ara, lines 4-5, Ind. Ant., Vol. XLII, p. 133.)

KRISHNA-MANDALA

iris

al E

KEYORA

The

on

The armlet worn on

of the eye of an image. (M., LXV, 66, LXVI, 65, LXX, 69.)

the upper

(M.,

di ti

ra

KERALA-(KANTA)

A

arm of an image. L,

14,

LIV,

13,

class of the twelve-storeyed building.,

etc.)

once

Tad

rT

of Kerala. prevailing in the ancient country eva bhuta-bhagena kshudra-sala-visalakam Kara cha tat-tri-bhagena cha yuktya samalankritam

I

re

fo

I

en t

Sesharh prag-ukta-vat kuryad eva(rh) kerala-kantakam see under VARATA, (M., xxx, 28-30 ;

C

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

QEMERAL

OUTLIME. OF

C

en t

re

fo

rT

ra

di ti

on

al E

du ca

tio

n

KONA LOSHTA.

KEYURA.


Page 130

n io ca t du lE na tio di Tr a fo r tre C en

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,

under

see

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

n

II

(i)

Balaya, (2) Dundubhi, (3) Padma, (4) Maha-padma, (5) (6) Ushnisha, (7) Sankha, (8) Kalasa and (9) Sva-

VarddhanI,

vv.

21,

23,

(Chap, civ,

24-29;

under

see

KOKILA A

vv. n, 17, 18

;

see

under PRASADA).

di

(7) Agni-Purdna

tio

.

moulding of the throne.

Tr a

PRASADA)

XLVII,

(Chap.

na

Garu.da-Pu.rdna

lE

vrlk-sha. (6)

:

ca t

of buildings, circular in plan and names as follows

class

du

A

io


(M., XLV, 125,

latch, bolt or

fo r

KOKILARGALA A

bar attached

Ancka-srinkha'opetarh bahu-kundala-bhushitam

see

to the throne. I

tre

Kavata-yugmam kartavyarh kokilargala-sarhyutam

C en

under SIMHASANA.)

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

A

ANGULA)

(see

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. .

;

n

;

io

ca t

KOLHI-VESMIKA A hall-mansion.

(M., XH, 98.)

lE

du

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 as a perpetual

endowment

tio

na

famous mount of Krishna and have given one hundred drammas.'

'

Tr a

di

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

tre

fo r

'

translations quoted above are. it should be noticed, too free. The ' but there kolhi also does not sound like a Sanskrit word

C en The

term

'

;

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.)

io

n

g 2

lE

du

ca t

8

C en

tre

fo r

Tr a

di

tio

na

van nYlYn777



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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


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

xv, 85.)

(A/.,

n

koshthaka-dvarh-dvam getat

io

Astarh tavat pratoli tad-upavirachitam

ca t

prauchchair alana-yugmam vijaya-(vara)-kareh(-karinah) s"atru-lakshnear the gate-way were constructed two granaries.' myas cha sadma

lE

du

(Hansi Stone Inscrip. of Prithviraja, V. S. 1224, v. 6, Ind. Ant., Vol. XLI, pp. 19, 17.)

KOSHTHAKARA A one-tenth of

its

na

mound

diameter in height. (See Woodcut 156, Fergusson,

tio

flat

type of Nepalese chaityas, erected on a low

di

and Eastern

KOSHTHA-SALA A

History of Indian

Vol.

Architecture,

p.

i,

280.)

fo r

Tr a

kind of closed hall.

kind of

pillar, (A/.,

tre

KOSHTHA-STAMBHA A

(A/.,

xxvi, 37

;

see

under SALA.)

a pilaster.

xv, 84-87

;

see

under STAMBHA.)

KOSHTHAGARA A store-house,

C en

Nepal where there ing

emblem.

a class of Buddhist chaityas in a four-faced linga of Siva with a correspond-

is

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

UTSAVA

(cf.

and

height, (?) rather than for worship. ment)

Utsave(-savasys) chardha-manena

see

A

UTSEDHA)

made

the height of an image

lit.

Woodcut,

kind of

as a plaything (experi-

kautukodyam Iritam see

;

I

context under UTSAVA.)

n

(M., LXI, 22

ca t

io

Nabhyantarh medhra-slmantarh nava -manarh chotsavodayam Tad-ardharh kautukotsedharh kanyasadi trayarh trayam

context under UTSAVA.)

na

(Matsya-Purana, Chap. CCLXX, v, 8; see

under MANDAPA.)

see

under MANDAPA.)

tio

type of pavilion.

(M., xxxiv, 249

di

KAUSlKA A

see

pavilion with fifty-six pillars.

lE

KAU&ALYA A

;

I

I

du

(M., LXIV, 27-28

156.)

;

Tr a

KRIDA-KETANA A pleasure-house. I

fo r

Tirthottumga-sarasvati-krita-parishvarhgasya sarasvatam Ka-ketanam etad atra vidadhe vararhnidhe rodhasi II

(The poet Nanaka erected here) this Sarasvata pleasure-house on the banks of the sea that has been embraced by the high tirtha

tre

'

C en

(sacred banks) of the Sarasvati.' (Sanskrit Grants

Inscrip. Prasasti no. iv, 33,

Ind. Ant., Vol. xi, pp. 103, 106.)

KSHANIKA-BERA An generally with

and

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,

KSHUDRA-SALA A

small hall,

room or

house.

Khsudra-sala-pradese tu sarvalankara-samyutam

I

see

SALA.)

io

small lotus, a moulding of the pedestal, a small

ca t

cyma.

etc.; see

lE

A

lists of mouldings under UPAPITHA.)

the

du

(M., XIH, 61,

KSHEPANA

;

n

(M., xxvi, 71, etc

KSHUDRABJA A

L, 93.)

under GOPANA.

15)

ii,

I

projection. drip-moulding ; the door-frame, above the plinth in pedestal, generally placed between

a moulding a dado and cyma, a

na

Lit.

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 projec-

tre

fo r

Tr a

di

tio

fillet

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 mouldIn this sense

it is

also

C en

tion.

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.)

iha

tau-murttir

io

prishthatah

kari-vadhu-prishtha-pratishtha-jusham karhta-sameta dasa

vame asma-khattaka-gatah

I

du

Murttlnam

bedstead, a seat, a pedestal or throne.

ca t

A

KHATTAKA(-TTA)

n

KH

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.' .

.

.

na

lE

'

The word, khattaka, judging from the context, the meaning of pedestal or throne.' Dr. Luders.

Tr a

di

tio

'

(Mount Abu

seems

Inscrip. no.

I,

to

v. 64,

have

Ep. Ind.,

Vol. vni, pp. 212, 218, 200.)

tre

fo r

KHATVA A long couch, a bedstead. KHADGA A type of octangular building.

C en

(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.'

KSHUDRA-N/ftSA.

C en

tre

fo r

Tr a

di

tio

na

lE

du

ca t

io

n

KSHEPANA.

The ire ra* Men struck a little away from

IN ELEVATION:;--

'.heîine of

-

.

.

super-

PROFILE OF CLASSIC TORUS.

Page


ISfi


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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)

ki'ng

see also

;

168-169.)

:

mandapam

A fortress to defend a group of two hundred villages Dvi-sata-gramya kharvatikam

xii,

I

456-472, 567.)

:

I

Chap, xn,

(4)

Karvatani kunnagarani

I

io

(3)

p. 46.)

n

(Kautillya-Artha-fastra,

Kshullaka-prakara-veshtitam kharvatam

ca t

(Rayapasenl-sutra-vyakhydne, ibid., p. 206.)

du

|

(Praina-vyakarana-sutra-vydkhyane,

lE

na

(5)

Dhanuh-satarh parinaho grama-kshetrantaram bhavet Dve sate kharvatasya syan nagarasya chatuh-satam

306.)

I

tio

(Tajiiavalka, n, 167.)

Vanijam api bhogyarii tu tad-vad e a (like nagara) samlritam Yat sthanarh brahmananam tu kharvatam puravasinam Nagaryavartanam yat kharvatam tad udahritam

di

(6)

ibid., p.

I

I

Tr a

I

|

(Kamikagama, xx,

7, 9.)

of his

.

.

.

C en

tre

fo r

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 '

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.

n

With myriads of people,

25.)

practices of virtue, agreeable occupations,

io

'

(10)

19,

ca t

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

lotus-beds,

lE

du

tanks,

di

tio

na

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 i, last

fo r

KHALURAKA(-RIKA)

a parade, a place

;

seven lines

Tr a

Transl., p. 124, para,

;

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.

C en

tre

Diet.},

(i)

(Kamikagama, LV, 20

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-)

OUTLINE. OF KH&ftVAT*

TOWN

Tr a

di

tio

GLMERAL

na

lE

du

ca t

io

n

ILL AIL ROUND

SIDE WA.TCM

TOWER

C en

tre

fo r

RIVER

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,Lât Par/c J3S



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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

bhavet

|

io

mandapam

Dvi-tri-bhagankanarh purve eka bhagarh khalurakam

ca t

I

351-352.)

du

(Ibid.,

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

lE

(2)

296.)

n

(Ibid.,

Tad-vibhaga-dvi-bhagena vistararh

I

tio

na

I

Tr a

di

|

I

Etam

tre

fo r

I

(Kdmikagama, xxxv, 103-107

;

see also

C en

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

8, 128.)

|

Nagara-grama-durganam seshany-uktani ve^manam

1

1

(Ibid.,

LV, 20.)

KHETAKA A village

(M., ix, 456), a fortified town (M., x, 36, 39). Tatas (i) tan-nirmayamasuh khetani cha purani cha u Gramams chaiva yathabhagam tathaiva nagarani cha II Khetanarh cha puranarh cha gramanarh chaiva sarvasah I

Tri-vidhanarh cha durganarh parvatodaka-dhanvinam

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

io

du

ca t

(Mahabharata,

in, .

13, 220, etc.)

.

(Bhagavata-PurSna, 5, 30.)

lE

Rashtrakuta Grant of Krishna

town) Sri-Harsapura.'

.

which are designated

'

of the 750 villages

10.)

n

I

II,

by

(their chief

Ep. Ind., Vol.

i,

The modern kheda

di

p. 198.)

Lata-desantarvvartti

nama gramah

I

;

Vol. xiv

Kevancha52, Ep. Ind.,

pp. 40, 45.)

vii,

fo r

Vol.

khetaka-mandalantarggatah (Cambay Plates of Govinda IV, line

Tr a

(9)

(khaira) .'(Ind. Ant., Vol. x, p. 378

tio

'

(8)

na

PP- 55. 57. line 33, p. 53, footnote 3.)

(10) Sri-khetakahare-uppalaheta-pathake mahilabali-nama-gramah The village, named Mohibabali, in the Uppalahetapathaka in the

tre

'

C en

famous Khetaka

(

?

I

ahara.'

city)

(Ind.

Ant.,

Vol. vn,

p.

72,

Plate n,

lines 5-6.)

(11)

Khetakaharam

pallika

'

Khetaka

44' 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)

pations, streams of the lovers,

nine

19, 25.)

of virtue, agreeable

With myriads of people, practices

line

occu-

sentiments,

pleasure-gardens, separated beds, gilded boats for spring festivals, centres), the supports of dharmma and

full lotus

splendid tanks,

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

is

a'most identical with the corresponding passage in quotation

du

brackets

ca t

io

n

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

lE

no. 12 above.)

na

(Ep. Carnal., Vol. n, Shikarpur Taluq, no. 197,

Transl., p. 134

para,

text,

i,

seven lines

last

line

214,

p.

27

;

f.)

fo r

(M., xvni, 174-180

(cf. HASTI-PRISHTHA) A moulding, a under KUNJARA), a kind of oval buildings.

(1) (2)

;

see

under LUPA.)

of

type

building

C en

GAJA (see

of pent-roof.

tre

GAGANA A kind

Tr a

di

tio

Roman

;

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,

measurement

Eka-dasopapitharh

evarh vibhajite

I

masurakam

ca t

Tunge cha trayo-vimsad bhagam cha

referring to the sixteen storeys

:

n

similar comparative

io

The

of the gopuras (gate-houses)

chatur-bhaga(rh)

|

|

|

lE

syat tad-Qrdhve prastarad(h)ikam tu talanam adhunochyate

I

|

na

Dvi-bhagam pada-tungarh Sikhamsarh chordhva-mane

du

Vasu-bhaganghri-tungam syat shad-bhagarh tu vibhajite Tri-bhagam chopapitham tu îva-bhaga(rh) masurakam

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

tio

I

(

?

I

upanadi)-sikhantarh syat ganya-manarh pravakshyate (A/.,

tre

I

C en

Ganya-manam cha sarvesham bhaga-mana(rh)-vasochyate (Ibid.,

Bhaga-mana-vasad ganya-manam yat prochyate budhaih

I

215-216.)

|

(Ibid.,

similar comparative

throne

measurement

referring to the

I

xxxui, 133-144.)

Piirvavat prastarady-antam chordhve stupikantakam

The

I

I

fo r

Prastaradi

Tr a

di

I

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.)

measurement

component mouldings of the

:

ca t

Etat tu

referring to the

column

upa-pltha or pedestal of the

n

similar

io

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

lE

du

I

I

na

(M., xm, 35-39.)

tio A

(See

under PRASADA.)

(1)

Agni-Purdna (Chap, civ, vv. 20-21

(2)

Garuda-Purdna (Chap. XLVII, vv. 21, 23, 31-32

;

see

tre

C en

GANDHA-KUTI(-I) Budhha.

under STAMBHA.)

type of octangular buildings.

fo r

GADA A

kind of pillar.

Tr a

di

GANDA-BHERANDA-(STAMBHA)

I

I

The Buddhist

temple, any

Originally Buddha's abode

at Sravasti, later,

in

the

chapels and temples

all

;

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.

Cunningham's Bharhut Stupa (Plate

Mahip

7). '

ca t

note

LVJI).

>lala (line 2, Ind. Ant.,

Vol. xiv, p. 140

io

See Sarnath inscription of

n

See also

'

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.) '

lE

du

(3)

di

tio

na

(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.)

fo r

Tr a

GANDHA-MADANA A

GANDHARVA A and serving

tre

celestial

(M., xxxiv, 154

see

;

under MANDAPA.)

of demi-gods inhabiting Indra's heaven, musicians. See the description of their

C en

images.

as

class

of pavilions.

class

(M., Lvni, 8, 16-19.)

GABHARA (GARBHAGARA)-An

underground

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 :

J.RAS., N. S

(1)

Brihat-Samhitd (LVI, 24.

(2)

Matsya-Purdna (Chap. CCLXIX,

w.

(3)

Bhavishya-Purdna (Chap, cxxx,

v.

(4)

Vol. vr, p. 319).

41-43, 51

31

see

under PRASADA).

:

w.

Garuda-Purana (Chap. XLVII,

29-30

;

see

In connexion with the temples of the attendant deities

under PRASADA). :

Yan-mula-harmye vrishabhadi-vishnur-adi Mandapadi-garudadi cha gopuradin

lE

(5)

under PRASADA).

see

n

;

;

io

type of oval building

,

I

ca t

A

Karanarh shat-chatushkams cha vistirnau sapta-bhumikau Dasabhir dvigunair andair bhushitau karayet tu tau II

du

Cf.

I

na

I

Compare

also

image of Garuda

M., xix, 224.

(M., LXI, 1-148).

under STAMBHA) Pillars and belonging

(see

fo r

GARUDA-SK(-T)AMBHA

di

description of the

I

Tr a

The

tio

Tan-mula-harmya-paritah sthita pasyate'smin (?) (M., xxxn, 168-171.) Kuryat tu sarva-parivaram idam prasastam

rally bearing the statues of the garuda-bird

Had

stambha p.

the temple built, and setting

C en

'

tre

Vaishnavas. in front.'

130.)

GARUTMAN

(see

up

(Ep. Carnal., Vol. xii,

GARUDA)

A

this

saSana erected a garuda-

Pavugada Taluq, no. 78

;

Transl.

type of oval buildings. (Agni-Purana,

GARBHA

geneto the

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.)

Sravastiyanarh maha-matranarh sasanarh manavasiti-katat Srimati vamsagrama evaite dve koshthagare tri-garbhe ...

n

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

du

'

ca t

io

(4)

lE

situated) even in famous Vamsagrama require the storage of black loads of panicum.' lines 1-2, Ind. Ant.,

na

(Sohgaura Copper Plate,

Vol. xxv, p. 265.)

GARBHA-GE(-RI)HA The

tio

central hall, the adytum, the sanctuis placed the statue of the deity ; this (see

Tr a

di

ary in the middle of which is sometimes called mula-sthana

bhutamsam

GARBHAGARA).

tr(i)yarhsam garbha-gehakam (M., xrx, 114

fo r

tu (1) Harmya-tare

I

see also 119.)

;

tre

Garbha-geha, madhya-koshtha, and nali-geha are used in the same sense (central hall, cf. M., xxxm, 301, 305, 309, 313 and 318).

C en

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

;


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,

\

tio

na

lE

du

\

ca t

io

n

*

\

Tr a

di

\

C en

tre

fo r

15^15X50 SilE BH1CKS

ft

*

GARBHA www.cteindia.weebly.com

Page

US


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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).

and

divided into two classes, as

is first

human

to

dwellings

it

belongs

n

The foundation of buildings to temples (lines 4-149)

155-169).

(lines

io

is

Of

human

dwellings, there are four classes according to the four

Brahman, Kshatriya, Vaifya and Sudra.

The depth of

the foundation-pit

is

lE

the

stated to be equal to the

basement

na

Of castes

du

ca t

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).

tio

Garbhavatasya nimnarh syad adhishthana(m)-samonnatam

di

Ishtakair api pashanais chatur-asrarh samarh bhavet

Tr a

The

best

ground selected

for foundations

I

I

(M., XH, 6-7.)

details of laying the foundations are given (M.,

fo r

The

:

is

xvn, 6-9)

:

excavated to the depth

C en

tre

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

The arrangement of

GARBHA-NYASA)

(see

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

GALAftGA

n

ca t

the

UPAPITHA and PRAS-

A

dome

side-tower, a

at the neck-part

Literally neck portion, the middle member, the frieze the entablature which lies between the architrave and the

tre

fo r

cornice.

Tr a

of

dado,

di

of a building.

called

lE

KUTA)

na

(see

under GARBHA-NYASA.)

under PRASTARA.

(LIV, 47)

tio

Kdmikdgama

GALA-KDTA

see

of mouldings under ADHISHTHANA.,

TARA. See

;

du

lists

5

a moulding

neck,

frieze of the entablature. See the

xii,

io

The

KANTHA)

(see

105.)

-The foundation-pit, the excavation. (M.,

GALA

vi,

(see

V ATA YANA)

Kdmikdgama,

LIV, 47,

eye,

under PRASTARA.)

Windows resembling

C en

GAVAKSHA

(See

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

io

n

GAVAKSHA

C.ANDA BFIERUNPi,

C en

tre

fo r

Tr a

di

tio

na

lE

du

ca t

GARUOA STAM11H.

PLAN

GURU-DVARA. Time


U*

n io ca t du lE na tio di Tr a fo r C en

tre

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

(see

DURGA)

A fort,

a

37

;

set

under LINGA.)

io

IRI-DURGA

L, 35,

ca t

(Kamikdgama,

n

GANAVA A kind of phallus. 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-

du

Cf.

na

lE

:

'

di

tio

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.

(were built) (/>. Carnal., Vol. p. 54 ; Transl., p. 45.) .

text,

GURU-DVARA A Saheb

is

Nelamangala Taluq, no. 65

;

Sikh monastery, the Sikh temple where the woi shipped. Literally, same as the Jain

C en

Grantha

rx,

fo r

Roman

'

tre

the south

Tr a

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

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

;

see

under PRASADA).

'49


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,

;

i

;

4,

5.)

(Three Inscrip. from

XL, 78, etc.

of the five-storeyed buildings.

class

;

The

under PRASADA.)

see

foundation

of a

io

n

GARBHA-NYASA)

(see

ii,

203.)

(M., xxin, 30-32

GRIHA-GARBHA

11,

Griha-garbham Griha-garbham

proktarh grama-garbham ihochyate

du

antar-mukharh

syad

grama-garbham

lE

I

I

bahir-

(M., xn, 167, 216.)

na

mukham

iti

ca t

house.

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.'

.

.

(see

fo r

GRIHA-PINDI

Tr a

di

tio

'

.

PINDIKA)

(Bfihat-Samhitd,

The basement of a

griha-pindir athochyate

tre

Madhye chasavritam

C en

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

n

ca t

palaces.

Mdnasdra (Chap, xxxvi, 1-96, named Griha-mana-sthana vinyasa) the breadth The dimensions of houses in general (lines 6-13) three dandas of a house is said to be of five kinds, from two or

The

may

The

ten or eleven dandas (20 or 22 yards). to, ij, i-J, I J, or twice of, the breadth.

be equal

tio

length

to

na

(4 or 6 yards)

:

:

lE

du

(i)

rooms in dwelling houses

io

situation of houses, the location of various

and temples and

and

dismensions

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) :

Tr a

di

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

fo r

|

I

tre

|

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

C en

|

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

I

io

samharyo va bhumi-mayo va

n

parighau, aratnir indra-kilah, pancha-hasta-mani-dvararh, chatvaro hasti-parighah, nivesardharh has i-nakhah mukha-samas-sankrimo'

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

ca t

'

du

;

lE

;

;

na

;

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

Tr a

di

tio

;

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)

;

fo r

;

;

C en

tre

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

is

n

the

(5) $ilpa-$astra-sara-samgraha (ix,

:

devata-geharh purvasyam snana-mandiram

du

Isanyarh

24-28)

ca t

io

in

I

|

1

1

tio

na

lE

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

di

|

1

1

Tr a

I

fo r

I

Nairrityarh sutika-geharh nripanarh bhutim ichchhatam

Matsya-Purana (Chap. GCLVI, vv. 33-36)

tre

(6)

1

1

:

C en

I&ine devatagararh tatha santi-griharh bhavet

Mahanasam tathagneye

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-âlarh tato bahih n

Evam

vastu-viêshah 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

Salalindaka-bhedatah n

tu

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. ;

Griha-vdstu-pradipa

name

the following

some

from

(Lucknow, 1901) quotes

ca t

(8)

without mentioning his

io

n

;

authority

:

du

Atha nripanam shodaSa-griha-rachanopayah

|

I

na

cha purvata(h) syuh

lE

Snana-paka-5ayanatra-bhujesva(?)-dhanya-bharhdara-daivata-grihani tu mathana-ajya-purlsha-vidyabhyasakhya-rodanarataushadha-sarva-dhama 1 1

Kamikdgama (xxxv, 177-191) AiSanyarh pachana-sthanarh brahmananarh vidhiyate

di

:

I

Tr a

(9)

tio

Tan-madhyas

fo r

(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

C en

tre

sayana-sthanarh nairrityam ayudhalayah Maitra-sthanarh tu tatra tatra varunyam udakalayah

yaga-mandapam

Kanji-lavanayoh patrarh prag-udag-diî 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 aryarhê 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-âla cha varune 1

154


(186)

1

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

io

n

internal arrangement of rooms in small dwelling houses is essentially In the large edifices, palaces and mansions the like those described above.

lE

du

ca t

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,

tio

na

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

di

sala) are built the edifices for the

tre

fo r

Tr a

priests, ministers

C en

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.

GRIHA-RAJA

Vol.

rv,

(Karle note 4.)

90,

p.

A

no. 4,

Inscrip.

n

Series,

Arch.

Surv.,

io

Imp.

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).

du

(1)

GUHA-RAJA)

(see

ca t

New

;

;

lE

(2)

(3)

;

main column of the house,

na

GRIHA-STAMBHA The

the pillar

tio

regulating the whole composition.

more

details

A hall

fo r

GEHA(-KA)

Gopurarh

tre

C en (1)

nyasarh lakshanam vakshyate'dhuna

bhitti-vistararh paritah Sesharh tu

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)

gehakam

(A/.,

GOKARNA A

stretched

or room, a house, a habitation.

tri-talarh

Dvi-bhagam

|

MI, 132.)

(A/.,

under STAMBHA.

Tr a

See

di

Kudya-stambhe griha-stambhe harmya-garbharh vinikshipet

in that

(The Temple at Amarnath, p.

156


318,

c.

I,

Ind.

Ant., Vol.

m,

para. 2, middle.)

W

io

n

GOP AN A OR OVOLO

C en

tre

fo r

Tr a

di

tio

na

lE

du

ca t

GHATIKA-STHANA.

GCJ!.

GOJI.

GRAHA-KUNOALA. Page lie



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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

ca t

io

n

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

of the buildings of two to twelve storeys.

du

member

M., xx, 25,

(See

Gopanasi tu valabhi-chhadane vakra-daruni

di

Cf.

tio

na

lE

:

(Kamikdgama, LIV, 34.)

|

(Amarakosha

11,

15.)

ii,

Probably originated from Vedic Gomati-pur and epic the fortified extensive cowstalls, and connected with the

fo r

Go-grihar,

I

Tr a

GOPURA

etc.)

tre

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.

C en

Pura-dvaram tu gopuram Dvara-matre tu gopuram (1)

P

I

I

(Ibid,

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-praôlishu 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

n

:

I

ca t

io

:

Mdnasdra

:

lE

(6)

du

alone.

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

na

,

tio

:

I

di

(M., xi, 113.)

Tr a

In connexion with the base (M., xiv, 415). In connexion with the column :

fo r

Prasade mandape vapi prakare gopure tatha

(M., xv, 433.)

tre


windows (M., xxxm, 594

C en

In connexion with images of Yakshas

)

Vidyadharas,

etc.

gopurodhrita-hastakau vidyadharah proktah sarvabharana-bhushitah (M., Lvm,

Janv-usrita-hastau

Evarh

I

:

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

the whole

of a house

divided.

The gopura

which

compound belonging to the first (antar-mandala) is technically called the dvarathat belonging to the sobha or the beauty of the gate (line 8) is

;

158


THL GATLHOU5E.5 ALL THESE O *TE BOUSES ARE g IN

SHOULD SLWnYS BE. U&5 m MUMB

12

16

20

io

8

C en

tre

fo r

FOR THE.

Tr a

di

TYPE

tio

na

lE

du

ca t

04

n

bUINOT,



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

GOPURA

HINDU ARCHITECTURE second

court

is

The gate-house

known

as

or gate-house

dvara-sala

of the third court

called

is

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

circular

surrounding

side-tower, four small vestibules

553-564).

The remaining

dome and

is

is

and eight large

nine classes are

like sala (hall),

furnished with a

n

a

vestibules (lines

called

ca t

has

it

(gala-kuta) is thus

gopura

io

domes (stupika), side-tower or vestibules (kshudra-nasi) (lines 536-564). technically called Sribhoga when its sikha (spire)

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 Vishnu-kanta,

Indra-kanta,

du

Srivisala,

na

lE

.

tio

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 illus-

di

trated so minutely.

(7)

C en

tre

fo r

Tr a

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

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.,

121, 131.)

159


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

ca t

io

n

(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, to the

1

86

Malur Taluq,

no. 3

;

Roman

Text,

Transl., p. 154.)

;

di

p.

(Ep. Carnal., Vol. x,

tio

Anjala Divingoja.'

na

lE

Brought

du

'

(15)

Tr a

(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

fo r

(17)

tre

finials in the

no. 20

Chamundesvari

Roman

;

'

Text, p. 6

;

hill.'

(Ep.

Carnal.,

Vol. m,

Mysore Taluq,

Transl., p. 3.)

C en

(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

n

praise).'

ca t

io

(Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 3 ; Roman Text, in, p. 103, line 10 f ;

Transl., p. 45.)

'In front of the temple of Harihara-natha, he made a wide gateway (gopura) of five storeys, ado'ned with golden

du

(21)

beautifu

kalasas.'

Carnal.,

(Ep.

Roman

Vol.

xi,

lE

and

Davanagere Taluq, no. 36

;

Transl., p. 47,

na

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,

Plate v.)

Tr a

Vol. xxxiv.

di

tio

see

Buildings of the gate-house shape. Kechid vai malikakara kechid vai gopurakri jh n Matnnam alayarh kuryad gopurakaram eva tu II

fo r

GOPURAKARA(-KRITI)

Yo

tre

(Suprabhedagama, xxxi, 123, 129.)

Literally a monastery for cows, a cowstall.

C en

GO -MATH A

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

ca t

io

n

Garishtha-guna-goshthyadah atisurhdararh prathama-tlrthankrin-marhdiram (Bijapur Iriscrip. of Dhavala of Hastikundi, class of buildings.

lE

GEYA A

du

v.

1

34, Ep. Ind., Vol.

na

cities in size mostly.

A village,

slightly different

from towns and

tio

NAGARA)

(cf.

x, p. 22.)

under MALIKA.)

see

(Kamikagama, XLV, 580-59,

GRAMA

1

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 '

tre

fo r

Tr a

di

(i)

C en

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

:

Cf.

|

(Ibid.,

xxx,

9.)

ca t

(Part

v 94)

vv. 105, 111; see also

2nd

i,

anushamga-pada,

:

Chap, vn,

du

(3)

Brahmdnda-Purana

11

io

yuktya prakalpayet Utkrishtanarh samlpe syan nikrishtanam tu duratah

n

Jaty-otkarsha-vasenaiva si.hanaih

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

I

Kautillya-Artha-sdstra

(Chap,

xxii,

p.

45, 46)

:

di

(4)

tio

na

lE

Tri-vidhanarh

Tr a

Sudra-karshaka-prayarh kula-satavararh pancha-sata-kulapararh gramarh krosa-dvi-krosa-simanam anyonya-raksham nivesayet I

fo r

Nadl-saila-vana-ghnshti-dari-setubandha-salmali-saml-kshlra-vrikshan anteshu slmnam sthapayet I

tre

Ashta-sata-gramya madhye sthaniyam chatus-sata-gramya drona-

mukharh dvi-sata-gramya kharvatikarh dasa-grami-samgrahena

C en

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

(fortress

of that name) in the the centre of

villages, a drona-mukha ii

As novv-a-days^êe Zimmer, Altindisches Leben,

144, citing Hugel,

mir, 2, 45. 2

Jaiminiya-Upanishad-Brdhmana,

in,

13,

4.

163


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

n

Mdnasdra, Chap, ix (named Grama), 1-538 According to shape the villages are divided into eight :

classes,

namelyi

ca t

io

(8)

I

du

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,

lE

by

tio

na

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)

:

di

Prathamam grama-manam cha dvitiyam padam

I

I

Tr a

vinyaset

Tritlyarh tad-balirh datva chaturtharh grama(m) vinyaset

fo r

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

tre

:

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

C en

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

where a temple or a hall is generally built for of the the meeting villagers. The village is thus divided into four main blocks, each of which is again sub-divided into many blocks by streets which

at the centre of the village,

are always straight from one end to

164


the other of a

main

block.

The

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

n

and

Medieval

io

(Ancient

ca t

Architecture of India, pp. 9, 13, 12)

B. Havell will correctly

:

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

na

lE

du

'

The Manasara

:

and the utmost benefit of the cool

breezes.'

recognizes forty different classes of villages and towns

Tr a

'

di

perfect circulation of air

tio

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

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

C en

tre

fo r

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,

io

n

.

'

(12)


pp. 19, 25.)

ca t

Ind. Ant., Vol. xiv,

practices of virtue, agreeable occupations,

lE

du

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

di

tio

na

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-

brackets

is

Tr a

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 almost identical with the corresponding passage in quotation

fo r

no. ii above.)

tre

(Ep. Carnat., Vol. vn, Shikarpur Taluq, no.

Transl., p.

124, para,

C en

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/.,

GRAMA- VINYASA

(see

;

see

under GRAMA.)

The arrangement of

GRAMA)

of the village. 1

ix

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.,

The

GRlVA

(M,, LIV, 8.) sarva-s"aktinam graha-kundala-bhushimm

KANTHA)

an image.

The

I

neck, the dado

;

as

a

(M., LIV, 168.)

I

member of

the

ca t

(see

56,

io

Anyatha

53,

crocodile-shaped ear-ring for

Graha-kundala-bhushanam

Cf.

XLVI,

n

GRAHA-KUNDALA

comprises vedika (altar), griva (dado proper), and bhushana (ornament). (M., xv, 105-107)

pillar

it

du

i

GRIVA-BHOSHANA The (fillet).

lE

na

vajana

(M., xv, 111-113.)

GRAIVEYAKA A necklace

for

tio

It

pillar.

ornament of the neck, a part of the comprises uttara (fillet), vajana (fillet), gala (dado), and an image.

'

line 6, Ep. Ind., Vol.

v,

p.

37.)

Tr a

di

Sapta-suvarnna-nishka-kalitam graiveyakam kantimat charming necklace made of seven nishkas of gold.' (Four Inscrip. at Srikurmam, no. D,

fo r

GH

GRATA A

C en

Cf.

tre

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.

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

A flight

SOPANA)

(see

of steps.

Sri-vat a-raja-ghatto'yarh nunarh tenatra karitah Brahmandam ujjvalarh kirttim arohayitum atmanah I

indeed caused

this

of steps

flight

Vatsa-raja, in order to the universe.'

make

built

II

here,

of the

fame ascend up into

his bright

ca t

illustrious

be

to

n

He

io

'

Ghat Cf. mountain pass,

A

(i)

lE

du

(Chandella Inscrip. no. B, Deogadh Rock Inscrip. of Kirtivarman, v. 7, Ind.

flight

of

steps

na

(3) a ferry.'

Ant., Vol. xvni, pp. 238, 239.)

tio

[Vincent Smith's

to

leading

Gloss, (loc.

cit.}

to

water,

a

Cunningham's

di

Arch. Surv. Reports.]

building where the water-clock (Cintra

is

placed.

Prasasti of the

v. 40,

fo r

Tr a

GHATIK.ALAYA The

(2)

Ep. Ind.,

reign of Sarangadeva t Vol. i, pp. 284, 276.)

GHAT1KA-STHANA The

is

tre

place or building where a clock placed, a religious centre, an institution, a hermitage, a temple.

C en

'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,

197, Transl., p.

line

214,

p.

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

as

'

eligious centre

lE

du

ca t

io

n

it

na

(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).

tio

(6)

di

'

'

Tr a

.

.

.

Solid, a kind of

Inscrip. at Terdal, line


C en

Eka-hasta-samarh dirgharh tad-ekangula-vistritam Ghanam ardhangularh proktarh hasta-nischitya yojayet

GHANA-MAN A

(see

60

19, 25.

measurement, thickness.

tre

GHANA

fo r

(Old Kanarese

I

(M., u, 64-65 LX,

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 of Vishnu, a type of buildings. (See

Mdnasara LXV,

A class of octangular buildings

n

disc

LIV,

io

-The

145

;

147

;

XXXH, 125,

:

see under PRASADA). Agni-Purdna (Chap. XLVII, vv. 20-21 Garuda-Purdna (Chap. XLVII, vv. 21, 23, 31-32 see under PRASADA).

du

(1)

lE

(2)

;

;

In connexion with the foundations Madhye chakrarh tu bhaumena bhajanantarh vinikshipet

tio

na

:

class of the

PRASADA)

nine-storeyed buildings

tre

in

5

see

158.)

under PRASADA.)

(M., xxvn, 11-12


(M., vn, 9, see, for details,

in connexion with the village;

GHATUR-A&RA is

;

I

;

see

under

.

site-plan

squares

137

also

type of storeyed building, a site-plan.

C en

A

xn,

(M., xxxix, 11-15

fo r

GHANDITA A

(M.,

see

of the eleven-storeyed buildings.

Tr a

di

GHAKRA-KANTA A class

A

etc.)

ca t

CHAKRA

(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.'

(pillar), slrah (spire)

of vedika (platform), pada

io

of four mouldings of the door, consisting

and sikha see also

lE na

tio

see under PRASADA). Bhavishya-Purdna (Chap, cxxx, v. 25 see under PRASADA). Brihat-Samhitd (Chap. LVI, 18, 28

CHATUH-&ALA A

Tr a

(2)

.

;

;

house with four salas (rooms

or halls),

fo r

(1)

under CHATUR-ASRA)

(see

(M., xxxin, 531.)

Literally four-cornered, a type of quadran-

di

gular buildings

mem-

of four architectural

set

bers.

CHATUSH-KONA

xxxin, 591.)

du

(M., xxxix, 154-156,

CHATUR- VARGA-KANTAKA A

(finial).

ca t

CHATUR- VARGA A set

n

(Karkala Inscrip. of Bhairava II, line 17, Ep. Ind., Vol. vm, pp. 132, 135, notes n, 12, and p. 134, note 3.)

an

tre

open or closed quadrangle surrounded by buildings on all four sides, an enclosed courtyard, a mansion with four rows of buildings. xxxv,

C en

(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.,

Chatuh-sa'am

(Amarakdsha, n,

xxvi, 17-19.)

6).

ii,

CHATUH-SlLA

Literally four pieces of stone, a pedestal. Benasyaika(-ka)-sila proktam liriganarh tach-chatuh-sila (M.,

CHATUH-STALA The (M.,

fourth

89 106), the eight

xii,

its

storey,

general

I

LII,

177.)

description

classes (ibid., 1-88).

under PRASADA.)

(See

CHANDRA-KANTA

CHANDRA-SALA

A

(-LIKA)

du

.

room

lE

under STAMBHA)

at the top of a house, a kind

Tr a

N.

J.R.A.S.,

Vol.

S.,

bhumika-dvayam

I

see also

w.

Chandra-salanvita karyya bheri-Sikhara-saihyata

1

1

(Garuda-Purana, Chap. XLVII, v. 44.)

Tri-chandra-sala bhaved valabhi

u

(Bhavishya-Purana,

Hasti-prishtha-yuktam chandra-SalabhiS

annm)

Chap,

cha

cxxx,

w.

32,

Commentary ityadi

:

nihaddha

bhuS

chandra-âla Sirogriham

\

L,

92.)

I

chandradi-dvayam grihoparitana-grihasya uparam adi-

prasiddasya

I

(Amarakdsha,

CHAK.ANA (K,Lvm, 3,

34.)

II

Kuttimo'stri

attal

i

samanvitam (vim(KamikSgama,

(6)

;

40, 41, 42, 46.)

Babu-ruchira-chandra-salah shad-vimSad-bhaga-bhumi^ cha

(5)

vi,

(Matsya-Purana, Chap. CCLXIX, v. 38

C en

(4)

must have three

roof

fo r

(3)

27,

ParsvayoS chandra-sale'sya uchchhrayo

tre

(2)

320.)

the

di

319.

tio

na

of windows, sky-lights, dormer-windows. bhaved valabhl (1) Tri-chandra-Sala dormer-windows. (Brihat-Samhita, LVI, 25, PP-

;

ca t

io

n

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

.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

n

I

(M.,

staircase,

xxx,

130

under SOPANA.)

see

;

du

(A/.,

a ladder.

io

movable

lE

CHARA A platform.

Vrishabhasya lakshanarh samyag vakshyate'dhuna

na

Vimane mandape vapi charopari

parinyaset

I

tio

I

(M.,

LXII,

3.)

i,

di

type of base of the pillar.

Tr a

CJHARU-BANDHA A

84-85.)

ca t

GHALA-SOPANA The

L,

Tato janga'.a-b'.mmis ched adhishthanarh prakalpayet

I

which

C en

CHARYA A road

tre

fo r

Tach chatur-vidham akhyatam iha sastre viseshaâh n Padma-bandharh charu-bandharh pada-bandham pratikramam is

(Suprabhedagama, xxxi, 16-17.)

8 cubits broad.

Ashta-hasta-pramana-margah

GHITRA An

II

I

(See Kautillya-Artha-sdstra,

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

n

(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

du

ca t

io

I

I

lE

I

kumbha-mandya samyutah

na

Chatur-asrashta-vrittabha

I

di

tio

Pottika-sahita va syur viyukta va prakirtitah II Utsandhad avalambam tu kuryan makara-prishthakani

(Kamikagama, LV, 66-70.)

Tr a

CHITRA-PATTA A

moulding of the

an ornamented band.

see the lists of mouldings under ADHISHTHANA and UPAP!THA.)

fo r tre

C en

(see

pillar,

(M., xv, 34

CHITRA-SKAMBHA A padma-kanta

II

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



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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.)

:

io

n

I

ca t

I

(M., xvn, 104-105.)

Tad (prastara)-urdhve harmyakam

(pavilion)

mandapanam

chuiika-karna-

:

(M., xxxiv,j..)

di

api chulikadibhih

(M., L, 301.

I

Tr a

Lamba-haram

313.)

tio

head

for the

cha

na

I

An ornament

(M, xxxm,

:

lE

In connexion with the gopura In connexion with the mandapa

du

or gate-house.

(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 53-)

(3)

Trichuli vaisya-sudranam pancha sapta mahibhritam Brahmananam tathaiva syur ekadasa tu vedikah II

C en

P-

tre

fo r

'

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

io

n

I

;

du

;

ca t

;

na

lE

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. '

tio

'

'

'

'

'

'

Munda-harmya '

munda and

chuli

might be identical with '

'

'

chuli-harmya inasmuch as are almost synonyms, both meaning top or summit

KUMARI-PURA).

(Kautiliya-Artha-Sastra,

tre

(see

'

fo r

'

Tr a

di

'

Chap, xxrv,

p. 54.)

GHAITYA (GHAITYALAYA)

C en

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

The

chatiyarh

chaitya on (Mount) Arbuda.'

Miga-sakadakam chetaya telopes.'

(Bharaut Inscrip. nos.

5,

The

chaitya which gladdens the an-

n

Abode

Ind. Ant., Vol.

n,

io

(4)

12.)

xxi, pp. 227, 228.)

ca t

175,

p.

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

.

.

lE

du

(5)

.

and beautiful are the Udena, Gotamaka, Sat. tambaka, Bahuputta, Sarandada, and Ghapala chetiyas.' (Digha-Nikaya,

na

beautiful

p. 102, Udana,vi, i.) In speaking of these shrines

we

not to

are

think

of the

venerated

di

n,

is

tio

Vesali

(6)

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.,

fo r

Tr a

tree.;

126.)

p.

achikarat chaityalayam Boppanapara-namahkas another name Boppana, had the Jaina temple made.' (Ep. ;

Roman

Text, p. 60

Transl., p.

C en

no. 66

tre

(7)

;

'

he,

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

lofty

177


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-

:

n

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

120,

figs.

elevation 54, 53,

Cross Section and

ca t

section,

115,

(p.

fig.

figs.

49).

and views of Cave 55,

at

Karle (pp. 117-

56).

lE

Plan,

du

Plan of Cave at Nasik

118,

no-ni,

io

Bhaja

45-47-)

View of Caves

at

Ajunta (pp. 123-125,

figs.

fig.

65).

di

tio

na

57. 5 8 > 59 and 60). Cave at Ellora (p. 128, fig. 63). Plan of Cave at Dhumnar (p. 131,

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-

fo r

Tr a

(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

says

tre

prabodhika,

C en

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

ca t

io

n

'

du

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.

lE

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

tio

na

a

sacrifices,

agvamedha

for

the

and the Brahmans themselves having prohibted the

Tr a

animal

to

di

different parts of the country while the sacrificial chaityas of the Brahmans became scarce owing to the opposition made by the Bauddhas

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

fo r

It will

(in

5

C en

;

i

tre

'

'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

:

Mahavarhia, p. 295.)

179


AN ENCYCLOPAEDIA OF

CHERIKA

CHERTKA

(cf.

A village,

PANDI-CHERI)

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

n

chanya-dvi-jatnlam grihantas cherikoditah

I

I

io

Pars' ve

ca t

(M., x, 85-88.)

In the tiger-face chavadi

gods (named).' ;

Roman

four sloping roofs.

chauvadi) he i,

set

up images of his family

Channarayapatna Taluq, no. 160

Text, p. 451.)

na

Transl., p. 196

(i.e.


lE

'

du

CHAUCHALA(-VADI) A building with

is

fo r

Tr a

di

tio

In East Bengal also the term is used in the same sense, but there generally denotes straw-built houses.

CHHAT(-T)RA(-I)

tre

C en

line 6, Ep. Ind.

And

in

connexion with

(Fergusson, Hist, of Indian Architecture, Vol.

(1) See Inscriptions

'

SATTRA) Free quarters of a building.

(see

temples, finial or spire

(2)

GHH

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

xxx,

du

ca t

see

;

;

io

;

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). ;

7.)

n

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 ;

||

;

of buildings.

na

class

lE

CHHANDA-PRAKARA The court or the enclosure of the chhanda-

tio

(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.

Tr a

di

CHHANNA-VIRA A

(See

Rao, Elements of Hindu F.

fo r

M.

Iconography,

I,

152, p. 90, and F. A. 0. S. 48, 3, p.255.)

tre

Coomaraswamy Ordhva-kaye cha haradi parsvayor bala-lambanam Madhye dama cha lambam syach chhanna-vlram iti smritam |

C en

CHHELA (PHELA)

(see

xxxi,

A. Bulletin no.

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

II

Ghhela panchangula prokta grihanam nadhika bhavet n chhela Phela is perhaps the same as tu chatur-vimângulantakam Shad-angula(m) pramanam Bhajanasya samantat tu savakasa-samanvitam n Tathasmana chestakaya phelakaram tu garttakam n (Kdmikagama, xxxi, named Garbha-nyasa'

'

I

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

Chap.

io

Jagatl-vistararddhena tri-bhagena kvachid bhavet

ca t

XLII,

v.

5.)

||

civ, v. 6.)

Chap,

Pravrita jagati karyya phala-pushpa-jalanvita n

du

(3)

(Ibid.,

I

II

n

(Agni-Purana,

I

(Garuda-Purana, Chap. XLVII, v. 47.%

lE

na

(4)

Pada-bandha-vimane tu geha-garbhopari nyaset Pratibandha-vimane tu vriter upari vinyaset II Vriter upari vipranarh kumudopari bhubhritam

tio

Jagaty-upari vaiSyanam Sudranarh padukopari

I

u

(Kamikdgama, xxx, 91, 92.)

di

A

|

Tr a

moulding of the base (adhishthana) (5) Jagati tu shad-amSa syad dvi-bhagardha-dali kramat :

1

fo r

Shad-bhaga agati prokta kumudarh paficha-bhagikam

A

tre

C en

II

(Suprabheddgama, xxxi, 19, 24.)

class of buildings (6) Vol. xrv, p. 161, note 22).

JAftGAMA-(BERA)

1

(Ep. /
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.)


(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)

(see

The

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.

w.

1

13,

1

14 under RAJA-PATHA.)

of the five-storeyed buildings.

class

du

JAJNA-KANTA A

see also

ca t

VH, v, 115;

io

n

I

(M., XXIH, 41

class

na

of

see under PRASADA.) (M., xxvi, 39 of the twelve-storeyed buildings once prevailing in the ancient

tio

;

country of Janaka (Mithila)

Tr a

:

Tad eva maha-sala

tu dvi-bhagarh madhya-bhadrakam proktam sYeshtho ravi-talanvitam

|

I

fo r

Jana-kantam

iti

di

class

under PRASADA.)

of the eight-storeyed and

the twelve-storeyed buildings.

A

see

lE

A

JANAKA(JANA-KANTA)

;

(M., xxx, 35-36

see also

;

33-34, under

MAGADHA-KANTA.)

tre

JANA-CHAPAKRITI A

C en

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.)

A

JAYANTI(-I) (1)

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

column

part of the

n

Mudrikach cha tuladhikya jayanti tu tulopari

A

;

II

io

(Suprabhedagama, xxxi, 108 moulding of the column

see also

105-109, under STAMBHA)

ca t

(3)

:

du

Tula-vistara-tarochcha jayanti syat tulopari Jayanti vams'aka jneya tulavad anumargakam

lE

1

na

post,

II

(Kamikagama, LJV, 13, 16.)

staff.

a moulding,

di

parapet

A

1

a flag, a banner,

the

tio

JAYANTIKA(-KA)

xvi, 48.)

:

In connexion with the entablature (prastara) Etat prachchhadanat sthane dandam chopari sayayet

Tr a

:

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

fo r

I

I

tre

I

C en

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 MANÂPA.)

n io ca t

J

IHAPt Of WATER RETAINING WALL
\v

du

L

r

na

lE

JAVA STAMBHA

JA-* GARBMA

C en

tre

fo r

Tr a

di

tio

JALA DVARA,

TOP SURFACE OF PEDESTAL JAGATI.

JAGATI AS TOP

MOULDING

PART OF A PEDESTAL.

JAGATL Page JS4



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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

II

water-door are described. (Kamikagama, xxxv, 167.)

gutter

:

see

;

also

ix,

310-312, under DVARA.)

ca t

(M., xxxi, 99

I

io

Kuryat tu bhitti-mule tu jala-dvaram yatheshta-dik

n

A

lines the positions of the

Jala-dvararh yathasara(-salarii) nimna-des'e prakalpayet

I

;

see also 40.)

part of the pedestal (pitha) of the

lE

JALA-DHARA The gutter-like

du

(M., xxxvni, 8

na

phallus.

Nala-tara-tri-bhagaikarh jala-dhara-vialakam

tio

I

Tr a

di

JALA-PURITA-MANDAPA A detached

(M.,

Lin,

23,

etc.)

building where water

is

preserved for bathing, washing, etc.

reservior

I

xxxu,

(M.,

56,

etc.)

of water.

tre

JALA-STHALA A

fo r

Parjanye majjanarthaya jala-purita-mandapam

C en

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

1

I

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

n

I

A

'

The

engineers of the Belala Kings did not confine their attention

to building alone, but irrigation

has

works were also taken in hand.

Tradition

lE

(1)

channel, a hydraulic engineer.

du

JALA-SUTRA(-SGTRADA)

II

ca t

io

Agratah

s"odhayitva tu

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

tio

na

it

di

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 ;

p. 44, c.

Tr a

the spot where the channel crossed the saddle of the

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 '

fo r

Where

tre

(2)

C en

village Harahu.'-

p. 33, line 3

(3)

,

Ep. Carnat., Vol. in, Seringapatam Taluq, no. 139

Roman

god

erecting a jalandara (?) no. 64; Vol. in, Malavalli Taluq, (Ep. Carnat.,

Jalandarava madisi devahge

'

(?

temple).


;

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


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

Saying to them

A

;

n

Roman

'

Text, p. 285

;

io

Taluq, no. 10

;

Transl., p. 232.)

ca t

:

(5)

of buildings, a door, a type of top-room, a phallus, a kind of measure. '

du

class

and other

the Kesari

Kesaryadi-prasada-jati

c'asses of buildings.'

lE

JATI

of Sutra-dhara-

class of building

3147, 2253,

:

di

A

vi,

MS. Egg.

Tr a

Karna-madhye'natre kuta-koshthe panjara-sarhyutam

Shad-vargaka-samayuktam

jatir

fo r

of kuta-koshtha

under KARNA-KUTA) class of buildings

LV, 51

see

;

and

see also 7

cf. L,

9,

n.)

top rooms (Kamikdgama, LV, 123-128

xi, 104-107 under ABHASA).

(M.,

549-552 Cf. Kechid bhadra-viseshena ;

;

II

;

.

C en

A

or

tre

A see

26 b.)

|

esham hy-anarpitam

(Kamikdgama, XLV, 19

class

fol.

tio

Mandana,

na

(Prasada-Mandana-Vastu-sastfa

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

I

io

n

Toranady-anga-nTdais"

(M., xxvii, 44.)

In connexion with the gopuras (gate-houses) Naranam jalakarh sarvam devanam api yogyakam

du

ca t

:

(M.,

I

xxxm,

In connexion with the mandapas (pavilions) Tad eva cheshta-dig-vasam kuryad evarh tu jalakam

lE

na

I

xxxiv,

(M.,

205.)

:

tio

In connexion with the door

572.)

:

di

Jayante va mrige vapi chopadvaram tu jalakam

xxxvm,

Tr a

(M.,

In connexion with the doors of the

I

:

fo r

are provided for the easy passage of smoke)

Tad-urdhva-gamanarthaya kshudra-jalaka-samyuktam (M., xxxvm, Devanam harmyake sarvam madhya-dvararh tu jalakam

C en

tre

I

36.) i

(M., xxxix, 138.)

Jalakadhika-hinarh syad sYi-hlnam artha-nas"anam

An ornament

I

LXIX,

(At.,

for

the feet

|

(M.,

Chamundi jvala(? kam(-ka)

35.)

:

Ratnahguliyakau hastau padam jala-saratnakam

I

19.)

kitchen (latticed windows

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 .

:

.

.

Silpa-sdstra-sdra-samgraha iix. 23)

I

:

ca t

(5)

I

n

II.

40: Gavakshakais tathajalaihl (Avasatham) 34. 2J suvarna-jala-samvitan

128,

io

I.

Eka-bhagas chatus stambhaS chatur-dvarah sa-jalakah

Chhadya-ghamta-yuto mada-Sobhitah ^ridharamatah

du

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

lE

:

na

I

tio

:

adyam syat gavaksham kufijarakshakam Go-mutram ganika-patra'm) nandyavartam cha saptadha I

Tr a

di

Riju-jalakam

II

(158)

fo r

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

iti

kirtitam

tre

Vidig vaktra-gatam drishtirh go-mutram

Mulam

I

apy-agra-gulika-mridu-bhitty-antararchitam

II

(160)

I

Nana-chchhidra-samayuktarh ganika-jalakam bhavet Patrair vichitram randhrarh patra-jalakam ishyate

C en

(

(6,

I

I

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 parts of such windows

Jalaka-stambha-kudyanga-nasika-torananvitam Prastara-kshudra-sopanarh sopanadi-samanvitam

1

XLI,

(M.,

The ornaments and component

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

.

They

The

.

and protects them.'

ca t

which overshadows

cornice

io

n

.

Surv.,

(8) See

LXXIV,

Vol. xxix,

ibid.,

See

Arch.

2.)

fig.

windows.

perforated

Plate

of

Vol.

(Ibid.,

xxm,

Plate

XLH.)

geometrical

latticed

tre

JALA-GAVAKSHA The

Jala-gavakshaka-yuktah

of

window.

'furnished with latticed windows.' (Brihat-Sarhhita, LVI, 22, J.R.A.S.,

C en

(1)

(Chalukyan Architecture,

and very artistic patterns Pandit Kundanlal, pp. 188, second paging.) (Jala Kaumudi, by 264 kinds

fo r

screens.

of the

Tr a

(9)

Imp.

samples

XXXVIII, XXXIX.)

Series, Vol. xxi, Plate xxxvn,

tio

New

on the perforated windows.

di

(7) See bars

na

lE

du

(Ep. Carnal., Vol. v, Part i, Belur Taluq no. 72 ; Transl., p. 61 ; Roman Text, p. 61, line 7 ; Introduction, pp. xxxvi,

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, NagenDik-palas and Siddhas (lines 82-88). They are stated to be

five classes (line 89).

The 24

Tirthas

mea ured

Tirthankaras or apostles) are

(i.e.

accord-

(lines

91-92)

:

io

Their general features

n

ing to the dasa-tala system (line 91).

Nirabharana-sarvangarh nirvastranga-manoharam Savya-vaksha(h)-sthale hema-varnarh srivatsa-lafichhanam (see

A kind

LUPA)

of pent-roof.

(see

LUPA)

A kind

of pent-roof.

xvm, 174

see

under LUPA.)

;

see

under PRASADA.)

temple of the god of fever, a hospital dispensary for curing patients of fever which represents all

fo r

or

Tr a

(M., xxrv, 20

JVARA-DEVALAYA The

under LupA.)

see

;

I

of six-storeyed buildings.

di

class

tio

(M.,

JYOTISH-KANTA A

;

na

JYOTIH

177

lE

(M., xvm,

du

JYA

ca t

I

tre

diseases.

'

This

criptions

Vellore

vapi jvara-devalayarh bhavet

C en

Agnim (agnau) pusha-pade

(M.,

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).

-(H.S.I. /.,

Vol.

i,

Velur Inscrip.

p. 69, para. 2, notes 3, 4.)


nos. 43-50,

DOLA

AN ENCYCLOPAEDIA OF P

DOLA

(for

A

DOLA)

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

II

n

Etair jala-charaih sarddharh

io

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.

lE

du

ca t

I

(Malianirvana-tantra,

Dewal

PraSasti of Lalla the

na

(2) See

Ghhinda

(v.

xm,

167, 168, 169.)

20, Ep. Ind., Vol.

i

Anarhta-prani-suprlti-karibhir bhuribhih Tadagais sagarabhogair yo vibhushita-bhu-talah I

pillar Inscrip. at

(Two

(7)

II

Amaravati, no. A, Inscrip.

of Keta II, v. 41, Ep. Ind., Vol. vi,-p.

Wayside tank Aparh s"ala-malah pathi pathi tadagah

152.)

:

C en

(6)

tre

fo r

(5)

Tr a

di

tio

P- 79. 83-) (3) See Khajuraho Inscrip. no. iv (v. 38, Ep. Ind. Vol. i, p 144). (4) See Sridhara's Devapattana Prasasti (v. 10 Ep. Ind., Vol. 11, p. 440).

I

(Two Bhuvanesvara

Inscrip. no. A, of

Svap-

nesvara, v. 30, Ep. Ind., Vol. vi, p. 202.)

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

in capitals

ca t

io

n

Waves, an ornament or moulding employed terminating by undulating lines. Bodhikochcha-tarahgaih syat sarvalankara-samyutam tu

dva-daame

vibhajite

I

I

du

Tad eva tunga-mane

I

lE

Adho-bhage tri-bhagena tarangakriti(m) vinyaset

ornament of the entablature Devanam bhu-patlnaih cha chordhve madhye tarangakam

similar

:

di

tio

A

Tr a

Mdnasdra

C en

the column. (i)

fo r

BHUMI)

I

I

I

(M.,

L,

267-268.)

storey, the palm, the sole, a moulding of

tre

(see

The

164.)

(M., XVI, 202.)

Taranga-vetra-samyuktarh kufijarakshair alankritam Padanam cha tarangarh va choktavat samalankritam

TALA

see also

na

(M. xv, 155-157,

:

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

I

(M., xi, 127-141, I44-H5-) sole

:

syat tala-taram

yugangulam

io

Nalakantam tri-matram

n

The

ca t

(M., LVII, 34 :

;

see

also

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

tio

di

Tr a

C en (4)

I

.

A

etc.) I

tri-talam

fo r

Aruroha

tre

(3)

etc.)

Eka-bhumam dvi-bhumam va kshudranam bhavanam nrinam Sudranam

na

(2)

13,

(M., LIX, 49,

lE

Tala-dirgharh shad-angulyam

LXVI,

eshariiam madhyamahgulam

du

The palm

I

.

II

1 1

1 1

(Silpa-sastra-sdra-sarhgraha, .

1 1

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 a turret, a tower house, top of 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

of Vijayasena

Inscrip.

I

I

(M., L, 43-44 (2) See

48.)

an image.

Karne vibhushanarh kuryan makarankita-kundalam Athava svarna-tatankau. .

39,

n,

(v.

also

see

;

Ep.

294,

etc.)

Vol.

Ind.,

i,

pp. 308, 313). (3)

nama

Tadanka-darpano

named

'the second act

dvitiyo'nkah

'

moulding of the column,

tenia.

(M., xv, 60, 142

.

.

I

nayet

lE

.

under STAMBHA.)

tu vata-patradi-Sobhitam

tatikadini yuktya prag-uktaban

Pada-tunge'shta-bhage tu

see

(M., xv, 189-190.)

tio

Bodhikam mushti-bandhani cha phalaka-tatika-ghatam

I

di

(M., XLVH, 17-18.)

Tr a

Agre cha phalakantam cha tatlkadyair vibhushitam

TALA-MANA A

I

I

na

Nimnarh

;

du

KumbhadhaS chordhva-dee

82, Ep.

n

TATIKA A

(Dhara Prasasti of Arjunavarraan,

io

reflecting ear-ring. Vol. VIH, pp. 116, 100.)

ca t

the Ind.,

line

|

(Af.,

L, 78.)

tre

fo r

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

thumb and

C en

have the span or the distance between the 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

its

whole length

top of the head)

.

equal In the largest

originated from the following

( 3Jo

g;o

i,

R. X.)

195


is

:

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 .

.

.

.

8

.

.

.

.

1 1

..

if

.

. .

i

..

..

du

ca t

..

. .

lE

. .

(9) breadth of face (10) at the back of the head .. (n) length of face ..

.

.

..if

.

.

. .

.

.

.

3

..

..

2

..

..4

di

neck at the root [it tapers from bottom to top and is furnished with two faces (beaks)]

Tr a

.

(13) length of belly (kukshi)

..

..

fo r

the stomach (udara-sthana) (14) place of the from belly to the root of the tail (15)

tre

(16) breadth of wing (17) length of wing

C en

(22)

..

..

(23) (24)

(25) (26) (27)

.

.

.

..

..

(28) (29) breadth

.

.

6

.

. .

.

of middle-finger at the forepart

of two fingers (30) each of face (31) length

. .

196


i

8

.

.

side

.

i

. .

on either

.

..

i

.

.

.

. .

.

.

.

5 8

. .

.

.

16

2

.. .

. .

.

.

..

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

.

tio

na

.

(12)

4

.

.

n

.

.

.

io

.

(6) height of knee (7) length of leg (8) height of foot

.

.

..

2$

..

i

. .

i .

.

.

2

.

4

. .

. .

a

.

. .

3

.


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

TALA-MANA

HINDU ARCHITECTURE

Parts

breadth of face (33) length of eye and

.

(32)

tionate

.

. .

.

breadth should be propor-

its

. .

.

.

.

(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 :

n

parts which are distributed as follows

divided into 84 equal

is

face

(3)

neck

.. (from neck to) heart navel . heart to) (from (from navel to) sex-organ

(8)

thigh

(9)

knee (janu)

(uru)

is .

.

.

..

fo r

(14)

palm

(19) (20) (21)

(22)

(23)

(24) (25)

(26) (27)

.

tre

.

lE .

.

.

.

.

.

i

o 5

.

3

.

.-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

C en

.

(15) foot

(18)

.

..

(13)

(17)

.

..

arm

elbow forearm (prakoshtha)

(16)

.

3 10

of same parts as the back (pitharhs'a)

(10) leg (pada)

(11) length of

10

.

..

.

(7) suraga (? hole)

(12)

.

2

..

na

(6)

.

..

tio

(5)

.

.

..

di

(4)

.

..

ca t

(2)

of the head (murdhni)

du

Crown

Tr a

(1)

io

Parts

.

.

.

breadth of the face width of the neck

.

.

.

.

.

.

ii

..12 ..

16

.

12

.

..8 ..

.

197


5

4

.

.

.

3

..4

TALA-MANA


(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

the crown (ushnisha) to the end of the hair on the forehead .

(4)

thence to heart

.

(5)

thence to navel

..

.

.

.

.

du

..

(8)

knee

na

..

lE

(7)

thence the mid-belly (up to sex organ) the thigh (below sex organ up to knee)

(6)

(9) le g

.

3

.

.

.

ioj

.

.

loj

..

loj

. .

.

ca t

.

.

n

.

(2) thence the face (up to the chin) ... (3) thence the neck

io

(1)

Head from

3

.

.

.

.

ioj 21

.-3 ..3

..21 .. ..

..

..14

(12) breadth of face neck 1 ( 3) width of

..

..

..

Tr a

di

tio

(10) foot (height) .. (11) length of foot

.

..

.

fo r

(14) shoulder (up to arm-joint) (15) width at the root of arm .. 1 6)

length of

tre (

arm

..

..

(17) elbow

.

.

.

.

.

9 6

.

..

--41(3 and .. 6

..

..21

..

C en

.

.

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

..

..

.

.

thigh (twice the face)

(12) foot (13) (14)

elbow (16) forearm

(15)

(

1

7)

palm (up

.

.

.

.

..

..24

..

.. ..

..4

to forefinger)

..

16

.

.

.

.

.

.

.

..

(28) (29)

..8 8 ..8

.

..

between the armpits

. .

lE

..

breadth at the middle of the leg .. knee-tube .. (31) .. .. (32) ankle . (33) heel breadth

fo r

(30)

.

tre .

.

..19 ,.

.

7i 6

. .

.

.

..if ..if

.. .

4i

.

C en

.

17

.

. .

5

..

..

4

..

2

..

4

..

i

..

..

..

..

3 a

.

2

.

.

(42) little

toe (breadth 6 yavas) toe (breadth 5 yavas)

4

.

.

..

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

10^

.

.

middle toe (breadth 7 yavas)

15 17

..

(37)

(40)

..

..

(34) breadth of prapada (forepart of the foot) (35) breadth of the palm ( ? sole) (36) length of the largest toe ..

.

.

.

.

(breadth of nails is half the breadth of the fingers) at the middle of the arm width . . (43) .

(44) width

at the

elbow

.

.

5

20

..

na

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

.

.

. .

.

tio

(27)

.

di

(26)

n

..

.

.

12

. .

..

Tr a

(25)

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

.

..

n

(11) leg

(= neck)

io

(10) knee

ca t

(9)

..12 ..12

du

(7)

. .

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

..

..

..

..

..

(56) breadth of ring-finger

.

.

.

.

..

(?)

5i ..

.

..

5^ 3j

..

.

n

(54) breadth of forefinger (55) breadth of middle-finger

io

(53) breadth of thumb

4 6

.

.

.

.

r

6 yava

.

7

.

6

..

.

. .

4

.

du

.

ca t

. (57) breadth of little finger are made from the root towards the Fingers tapering

The

lE

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.

na

length and

tio

(parvan) and the other fingers into three parts (parvan). line of wisdom and such other lines are drawn on

The

Tr a

di

the palm. The eyebrow should extend from the eye-line to the hair (near the ear). .. .. (58) Length of eye .

.

. .

(60) length of ear

..

..

..

.

.

.

.

.

tre

fo r

(59) breadth of eye

drum

(61)

..

of ear

..

C en

(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.

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)

.

(7)

thence to heart

..

(8)

thence to navel

.

(9)

thence to sex organ

..

na ..

di

..

.

.

..

palm (up

n

io .

4

.

.

3$

..

i\

4

..

..12 ..12 ..12 ..25

..

.

..

..

..25

..

..

tre

(18) length of

.

.

from heel to largest toe arm of the line of windpipe below length elbow of .. .. length forearm .. .. length of

(14) length of foot

4^

.

. .

Tr a

(12) leg (13) foot

..

(17)

.

.

fo r

..

(16)

.

(from below sex organ)

(n) knee

(15)

.

.

..

lE

neck

(10) thigh

. .

..

(6)

.

.

ca t

.

..

(5) neck-joint

4

.

.

..12

du

thence to the chin

tio

(4)

C en

1

4

.

4 ..

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,

15 J

.

..

..

..

. ,

width at the root of thigh

..

..


i$

2oJ

. .

. .

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)

(39)

..

breadth of wrist breadth of palm

.

.

.

.

.

.

.

.

.

.

.

.

lE

(42) length of forefinger (43) length of ring-finger

.

na

(44) length of little finger (45) length of thumb

.

.

4 5

.

7

5i 5 5

. .

4i 4

....

tio

(46) length of ear

5 . .

du

(40) length of palm (41) length of middle-finger

.

n

(38)

6

..

..

io

(37)

breadth of elbow breadth of forearm

ca t

(36)

.

4i

(47) height of ear-drum the rest not specified here should be as in case of the .

.

.

4|

Tr a

di

.

largest type of ten-tala system.

tre

fo r

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, :

C en

2-78)

(1)

Parts

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

..

..

13

..

..

..26

..

..26

.

..

..

..

. .

. .

.

4 5

.

202


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

26

..

(up to the tip of middle-finger)

(19) middle-finger

16

.

.

.

.

.

..

. .

.

.

.

.

.

13

6

. .

7

. .

4 5i

.

..

. .

.

.

5j 4

.

.

.. 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)

2

i

11

io

n

(24)

.

(37) (38)

(39) (40) (41)

(42) (43)

(44)

..

.

tio

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

.

ca t

.

.

13

.

1 1

..

13

..

20

.

.

24

.

.

.

.

.

.

13 12

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

9 7

6 5

.

.

.

.

. .

.

. .

.

.

.

.

.

.

. .

.

.

..

..

.

15

.

.

.

i

.

.

.

9i 4^

.

.

.

(52) length of fourth toe

.

7

15

..2

.

sole at the fore-part (47) breadth of . heel (48) breadth of

length of largest toe (50) length of fore-toe (51) length of middle-toe

.

.

.

(49)

.

.

.

ankle (45) breadth of sole of width (46)

.

.

di

Tr a

(35) (36)

.

.

(nipples)

fo r

(34)

.

.

tre

(33)

.

.

breadth (below the breasts) by the heart width of mid-belly breadth (below this) by the navel .. breadth (of lower belly) below navel

C en

(32)

.

.

du

of breast (29) height between breasts (30) distance of the nipple (31) width

.

..

lE

(28)

breadth (between armpits) width of each breast

na

(27)

of chest

. .

203


.

.

..

4 4$ 4 5

4 4 4 3$ 3

AX ENCYCLOPAEDIA OF

TALA-MANA

length of

(53)

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

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

(6 1)

(62) (63) (64)

.

.

.

.

.

.

.

.

.

.

.

.

.

.

..

..

..

..

..

.

.

.

.

.

.

.

4

.

.

.

.

3

du

.

lE

.

.

.

.

tio

(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

.

Tr a

fo r

tre

(73) length of eye (74) breadth of nose

C en

(75)

(76)

(77)

(78)

. .

..

..

to

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

. .

end of the the middle

up

interior of the eye

tip

.

5 6 yavas 6 ,,

.

.

. .

.

.

di

.

to

.

na

little finger)

.

3 10

..

(65) width at fore-part of forearm (66) width at wrist (67) width (breadth) of the palm (from thumb .

5

.

ca t

(60)

.

n

.

..

io

(59)

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 . . . .

.

.

..

..

204


.

.

.

.

(85) length of lip

..

..

. .

..

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

on the forehead) on the forehead to chin) ..

to hair-line

n

. .

..

..

(5)

heart to navel

..

..

(6)

naval to sex organ

.

(7)

thigh from below sex organ .. knee ..

The

..

.

. .

length of face

is

.

.

lE .

na

.

tio

.. .

. .

.

di

(9) leg (10) foot

.

.

.

. .

..4

..

27

.

4

.

divided into three parts, head

fo r

. . elbow forearm (extending to

(14) length of

tre

(13)

. .

wrist-joint)

C en

middle-finger

(15) length

of foot

toe (16) largest

(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

. .

palm (up to the tip of comprising (a) palm proper (b)

13 j

37

..

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^

Tr a

(8)

.

13

du

. .

(4)

neck neck to heart (chest)

(3)

4

io

Head (from crown

hair-line (2) face (from

ca t

(1)

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

toe

plus i

Their

of their respective breadths. middle line from ankle to the tip of sole

n io

root of heel

this line to the

ca t

from

side to heel

lE

from

du

breadth of heel

(23)

tio

na

of heel (24) root of mid-sole (below ankle) width (25)

breadth of sole (at the fore-part)

(27)

its

di

(26)

Tr a

thickness

(28) height

(29)

C en

(31)

(32) (33)

(34)

(35)

(36)

width at the root of leg width of knee width of mid-thigh width at the root of thigh width of loins

i

yava

Si 6

6 and 6 yavas 6

54

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

4 5 and

12

(37)

(44)

6 yavas

44

have two parts (parvan). Breadth of ankle breadth of the tube (above) breadth at the middle of leg toes

8 and

3

mid-foot

tre

(30)

of the

fo r

The

yava

nails are half

The V22)

yava

2*

breadth

its

yava minus

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

n

i

lE

du

ca t

io

(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.

tio

na

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

and the brows

drum of ear

(= mid-brow)

fo r

(55) fore-part of ear

a bow.

Tr a

(54)

like

di

eyes are shaped like the fish (53) Length of ear

(56) ear-hole, its length

tre

and breadth

C en

i* 2 I

(57) distance between the drums (58) depth (befitting the ear) (59)

4*

.

.

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) breadth of nose-tip breadth of the middle of nose

(67) height (68) (69)

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

I*

bottom to

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

4

lip

Si .

.

ca t

io

n

.

.

du

.

I

na

tio

(nose bottom) from

If

jaw

1

di

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.

fo r

(90)

and

2 yavas

mid-neck (from jaw to

Tr a

(89)

i

10

(jaw) to ear-joint the jaws (86) height of drip between (87) breadth of semi-circular jaw this

2 each 2

H

lE

(84) length of 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

i

;

tre

on the neck and face should be

discreetly

made.

C en

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

|-

io

(beginning with the fore-finger) are each divided into and the thumb into two parts. the roots

of forefinger and

.. (no) thence to wrist the thickness of (m) portion below the

width .. breadth of heel (113) thickness

..

(115)

its

fore-part

..

(116) interior of

palm

width

The palm

is

2

..

..

3

..

...

4

..

..

..

3

..

..

..

1

..

..

tre

its

4!

. .

lE

.

thumb

..

..

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

and

2 yavas

..

C en

(117)

..

fo r

its

2

..

..

its

(114)

3

..

.

..

di

(112)

--

. .

.

..

Tr a

(109)

thickness

tio

.

its

na

..

du

The portion between thumb

ca t

three parts (108)

n

is

. .

.

..

..

(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

4

.

..

5 27

. .

..

..

..

..

21

..

..

17

209


TALA-MANA


(127) width of the back or middle-body (madhya-kaya)

above

this

.

.

. .

.

(131) breadth of the loins-joint back-bone . .

.

.

.

.

.

..

27 i

.

.

.

.

2

..

..12

..

..4

..

5i

.

.

length (up to armpits)

up

to breast limit

(138) breadth of loins line

du

(137) brihati

. .

.

io

.

ca t

(brihati)

n

portion between the breast and back-bone

(135) the

..

.. ..

..

na

lE

.. (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)

Tr a

di

tio

.

(145) distance between windpipe

fo r

(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.

tre

to

(?)

..

navel-pit .. (147) Length of lower belly from navel to loins lower navel from to where cloth is attached belly (148)

C en

7 21

:

(133) distance between ribs-planks (134) height from ribs-plank to shoulder

(136)

.

connected with the

Thence should be measured the belly (132) Width (breadth) of ribs-plank

its

*

.

(128) distance between the breadth above this .. (129) distance between the arm-pits of the backbone .. .. (130) drip

.

.

.

.

.

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,

ca t

io

n

(4) Tala is and the middle-finger.

(Suprabhedagama, xxx, 22, see under

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

du

:

na

lE

(5)

The measurement of the

idol

tio

of the idol (w. 73-91).

when

it

is

made

in

the sitting

Tr a

di

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

One

tala

(eka)

is

fo r

measured in twelve-tala measures used

for

:

measuring the vandhuka, probably

C en

'

tre

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

the

appendix gives

(features) of

dhyanas

the

eight

(ashta-natha).

Suprabheddgama (xxxrv, 30-34). Isvaradi-chatur-murttirh das"a-talena karayet II Saktinam anya-devanarh nava-talaih prakittitam

n

(6)

next

io

I

ashta-talena karayet

ca t

Divyam arsha-manushyanam

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

lE

du

I

I

na

I

di

tio

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

Tr a

:

I

fo r

VimSach chhatam cha madhyarh

tu kanyasarh

shodaâdhikam

II

(32)-

C en

tre

Dva-daSadhikam evarh yan nava-talottamarh bhavet Ashtau âtarh chatuh Satarh madhyamarh kanyasarh tatha Satarh

I

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) statue

to (the

is

n

architect)

Dravida

the face of his

angulas long and broad. But according Nagnajit it should be fourteen angulas in the

twelve

style.

io

own

The commentary quotes Nagnjit in full Vistirnarh dvadasa-mukham dairghyena cha

ca t

:

chatur-das"a

I

du

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

lE

na

of measurement).

i,

Appendix

(10) See Some Indian Sculpture

Hindu

by Mr.

Hindu Iconographgy

B.

in

Sdstras

Silpa

W.

Vol.

di

The Elements of

Vol.

Tr a

See

S.

their

Hadaway

fo r

(9)

tio

(Brihat-Samhita, LVIII,

Rao,

;

(

4

;

J. R. A. S., N. S., p. 323, note 3.)

vi,

by T. A. Gopinatha relation

to

South

Ostasiatische Zeitschrift,

April- June, 1914, vol. n, no. I). (u) See Iconometry by T. A.

Gopinath Rao (Archaeological Survey of and In Appendix B, the author 1920) compare

tre

no. 3,

'

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, :

C en

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.)

TITHI

io

n

Ind. Ant., Vol.

One of

ca t

VARGA)

the six varga-formulas (see details under SHADascertaining the right dimensions for an architectural

du

for

object.

TILAKA A mark made on

na

lE

the forehead and between the eyebrows either as an ornament or as a sectarian distinction of an image.

tio

(M., vn, 160,

amanvitam

di

Cf. Tilaka-kshudra-nasi-yuktarh toranais cha

(Kdmikagama,

Tr a

TILAMAKA A

41.)

L,

93.)

channel, a watercourse, a pipe.

fo r

Viditam astu bhavatam

(i)

LI,

I

.

.

.

yushmadiya-gramanam upakaraya

tre

yo'sau tilamaka anito'bhut pratisamskarabhavad vinashtam ud-

vikshya

'

Be

.

.

.

yushmad-gramanam evopakaraya

pratisarhskritah

I

known

C en

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

to be used

is

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. twenty-four Jain saints or apostles (M., LV, 90.) Fergusson, Hist, of Ind. and East. Arch. (p. 748) Cf.

Name

n

1.

Adinatha

..

..

2.

Adjitanatha

..

..

..

.

.

.

.

.

.

.

.

ca t

Bull.

Elephant. Horse.

4.

Abhayanandanatha

5.

Sumatinatha

..

..

6.

Supadmanatha

.

.

.

.

Lotus.

7.

Suparsvanatha

.

.

Swastika.

8.

Chandraprabha Pushpadanta

lE

(red goose).

na

.

Monkey.

Chakwa

tio

.

.

.

di

.

.

.

Tr a

.

.

du

3.

Sambhunatha

9.

.

Cresent moon. Crocodile.

Sitalanatha

..

..

..

Tree or flower.

n.

Sn-Arhs'anatha

..

..

Rhinoceros.

..

..

Buffalo.

.

.

.

.

Boar.

.

.

.

.

.

.

.

.

.

.

.

.

fo r

10

12.

..

Va<;upadya

15.

Dharmmanatha

16.

Santanatha

C en

tre

14.

V'malanatha Anantanatha

13.

.

.

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

io

The

.

.

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,

column (Suprabheddgama,

under STAMBHA).

month

(M.,

TULA-DANDA The

L,

(

M.

vi, 32),

beam

the

du ca

of a

163), a balance

16.)

105-107,

see

of a balance (M., XH,

172-195.)

48,

horizontal rod of a balance, the beam,

al E

The name

(4)

108,

xxxi,

n

(3)

of a

tio

A member

on

synonyms. Tuladandam jayanti cha phalaka-paryaya-vachakah

I

xvi,

48,

etc.)

di ti

(M.,

its

TULA-BHARA An

tu nripa-harmye tu tula-bhararh tu

fo

Evam

tula-bhara-tula-lakshanarh uchyate the pavilion:

(M.,

I

L.,

48.)

with

rT

connexion

of furniture used as a hanging balance.

ra

Bhupanam cha In

article

yogyakam

re

(M.,

en t

TAILA-MAftJUSHIKA An

oil-pot, used as (M.,

L,

an 144

article :

see

I

xxxiv,

287.)

of furniture.

under

BHUSHANA.)

TORANA

C

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 a called bow-shape which is apparently aspects,

namely,

(i)

the

2l6


in

TORANA

HIMDU ARCHITECTURE

as

The

'

semi-circle.

said

truly

Mr.

by does

laws of statics

of

investigation

not

Gwilt

the

have

to

appear

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 form (see under STHAPATI), does not perfect necessary to allude to the assistance which may be afforded in the construction

and

than

the

of

examples

science.

(practically, buildings as

'

(2)

how

much

first

who

and who

must have been of such

vast

curved structures,

similarly

their plan.'

or radiating arch, the Romans a regular and essential architectural time introduced its complements, the

true

as

it

it

construction

the

employed Coliseum, and other

least)

the

Whoever invented the

were the feature,

in

applied the same

at

al E

respects

seeing

on

as

ignorant,

tio

at

du ca

been

have

could

n

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

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.

di ti

radiating

Mdnasdra, Chap. XLVI (named Torana)

The torana

1-77

:

fo

(3)

rT

ra

:

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

en t

re

(line i), as well as for temples

C

(? 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

as well be quite plain, that

may

is,

without any such

carvings (chitra-hina) (ibid, 68, 70.) In connexion with a detached pavilion (mandapa) : Chatur-dikshu chatur-dvararh chatus-torana-samyutam

n

(M., LXX, 21

see also

:

I

xxxiv, 217.)

tio

In connexion with the pedestal of an image Padma-pltham maha-pltharii tri-murtinam cha yojayet Prapa cha toranarii vapi kalpa-vriksharh cha sarhyutam

du ca

:

al E

In connexion with the coronation-hall

(M.,

,

,

on

.

86-87.)

LI,

:

PaSchat simhadyais cha kalpa-vriksham cha toranam

I

(M., XLIX, 185.) :

di ti

In connexion with the car or chariot

I

I

Sikhi-sikhandaka-chamara-toranam (M., XLUI, In connexion with the two-storeyed buildings I

156.)

ra

:

rT

Toranair nfda-bhadradi(-dyaih) mule^chordhve cha bhushitam (M.,

xx,

64.)

(M., xviii, 201,

etc.)

fo

In connexion with buildings in general (vimana) Sala cha nasika-bhadre kuta-nldais tu toranaih :

re

en t C


I

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.)

ra

di ti

on

al E

du ca

tio

n

ft

$

C

en t

re

fo

rT

o H

'3:

ex

uJ

Q-

Ill



re

en t

C

tio

du ca

al E

on

di ti

ra

rT

fo

n

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

6

:

:

26,

i,

I

.

:

Bahu-prakara-toranam Sthuna-bhavanam. .

V, 143, 23

185, 17

.

I

:

;i,

n

Toranani Sata-kumbha-mayani Puram. dridha-prakara-toranam Hema-torana-bhushitam griham :

.

XII, 44, 8 VIII, 33, 19 V, 191, 21 See also

toranani

tio

1

cha

kanaka-chitrams

;

m,

284, 2

;

I

uchcha-prakara-toranam

.

.

in, 160,

39

etc.

109,8,

I

du ca

85, 29

5,

Stambhan

:

I

al E

XIV,

XV,

23

25,

cha

68-72.)

:

in, 15, 5

;

n

;

;

i

9,

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

di ti

:

(7)

:

.

.

I

I

.

ra

:

.

.

.

I

rT

:

ii

n, 3,

;

on

XIV, vritanti

1

xxxi,

(Suprabheddgama,

Mahabharata (Cock)

(6)

1

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, 45,

:

:

.

;

;

;

v, 47, 7, 38 vi,

vii, 13,

27

v, 42,

41, 31, 56

5; vn,

;

14,

I

;

;

v, 39, 42

;

v, 53, 39

;

C

20, 41 26, 12

25;

41, 21

v,

en t

;

;

I

.

.

re

:

39

I

fo

III,

vi, 42,

;

15

v, ;

;

55, vi,

29;

24, 27, 28,

;

;

v, 44, 6

32

;

75, 21 vii,

v, 42, 6

;

vi,

;

25, 24,

vn,

v, 46,

30 vn, ;

vi,

27 5, 15, 36; vn. 38. 17. ;

3,

;

Matsya-Purdna (Chap. CCLXIV, v. 15) Chaturbhis toranair yukto mandapa(h) syach chatur-mukhah The pavilion should have four faces and be furnished with four

(8)

:

1

arched gateways (arches). Aishtaka dar(a)vas chaiva (9)

Vdyu-Purdna (Part

I,

aila

va syuh sa-torana

1

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

II

219


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

triumphal arch, supported by two

n

sort of

cf.

note 72.)

:

pillars

tio

A

(12)

;

Atma-bahu-yuga-sauhrid-arhchita-stambha-saurabha-subham

toranam i,

pp. 284, 276.)

(13) See Sridhara's p. 440),

and compare

:

v. 46,

Ep.,

suInd.,

(verse to, Ep. Ind., Vol. n,

Devapattana prasasti

al E

Vol.

du ca

the reign of Saranga-deva, (Cintra PraSasti of

'

an

at

excellent

di ti

on

porch Sughatita-vrisha-Sata-torana-dvaram v. carved. is 12, bull 121.) a '(Ibid., p. which skilfully Prasada-toranam Ornamental arch (for the temple)

rT

A

(Jaina Inscrip. from Mathura, no. i, Ep. Ind., Vol. H, p. 198.)

semi-circular arch with sculpture.

(Specimens of sculptures from Mathura, Plate

fo

(15)

re

m, Ep.

en t

Makara-torana

'

(Ranganatha

of Sundarapandya, v. 9, Ind., Vol. in, pp. 12, 15.)

Inscrip.

Ep.

Ill,

Vol. n, p. 320-321.)

line 10, Ep. Ind., (Cochin plates of Bhaskara Ravivarman,

Arch

(17)

Vol.

Ind.,

arch with a shark.'

C

(16)

I

:

ra

(14)

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

,


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

;

Roman

Text, p. 185, line 5 from the bottom

crown

banner,

n

Channapatna Taluq, nos. 82, 83 upwards Transl., 149.) White chamaras, the (22) camels.'

makara-torana, herds of

du ca

'

tio

;

(Ibid. no. 85; Transl., p. 150.)

'

Built a beautiful stone temple with the torana-gate

(23)

and the surround-

al E

Having provided the temple^with a flower-garden, kitchen, ings walls. suitable environs, musical instrument (two named) and ornaments pond, '

Roman (Ep. Carnal., Vol. x, Kolar Taluq, no. 132 (some named) text, p. 54 ; Transl., p. 49.) (24) Svarna-dvararh sthapitarh toranena sarddham Srimal-Lokanathasya .

.

;

di ti

on

.

gehe Placed a golden door and torana in the temple of glorious Lokanatha.' The inscription is on the lintel of the door of the temple of AvalokiteS-

ra

I

rT

'

'

re

fo

vara 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,

en t

encloses three images of Lokesvara.'

C

(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 '

;

no.

down

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, :

A

'

Toran(a)

(30)

resting

on columns

Chalukyan (31) See

:

8

n

Text, p. 124, line

f.)

uc at io

Roman

structure formed of one or

or

a gateway

Architecture, Arch. Surv.,

other

New

;

Transl., p. 51, para

more horizontal beams

detached

entrance.'

(Rea,

Imp. Series, Vol. xxi, p. 40.)

Arch. Surv. Reports

Cunningham,

of great temple, Nand-Chand).

Ed

;

Chikmagalur Taluq, no. 109

(Ep. Carnal., Vol. vi,

etc.'

2

Plate XL,

(Vol. xxi,

Torana

(i)

ra di ti

Reports.)

TAULI The

on al

Gate-way of a temple or Stupa, (2) a peg used in marriage ceremonies.' (Vincent Smith, Gloss, to Cunningham's Arch. Surv.

'Torana

(32)

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

fo rT

Padam

C

TRI-KARNA A kind The 5

of joinery, of three-earn pattern. (M., xvn, 106

TRI-TALA The 2 ~55

I

(M., xxxm, 372-374.)

PRACHCHHADANA and compare PRATAULI.

en tre See

I

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.

c

T.ATIKA.

C

en tre

fo rT

ra di ti

o

on al

Ed

uc at io

n

TRIPATTA

TRIKARNA

JOINERY

TRIKAP.NA

Pane 223


tre

en

C

I


rT

fo

du

lE

na

tio

di

ra

tio

ca

n

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,

62-63.)

LI,

Brahma, Vishnu and

images of

the

Siva. (M.,


289 equal squares.

TRI-VARGAKA A

23

;

see


of three architectural members or mould-

du

set

vii,

2-95.)

divided into

ca

(M.,

is

n

plan in

site

tio

TRI-YUTA A

LI,

harmyam cheva mandapam cha

tri-vargakam

na

Pinopapitharh

lE

ings.

(M., xxxiv, 68.)

Nanda-pankty-ama(-5e) vibhajet chatus-tale tu tri-vargakam

tio

I

I

di

(M., XXXHI, 505.)

:

ra


rT

Manjushochchrayam chatur-bhagam tat-tad ekasanam bhavet Tad-dvayam changhri-tungarh syad ekams'am prastaranvitam

I

I

fo

Tri-varga-mandapakaram adbhih svantam pravishtake

I

tre

(M., xn, 34-36.)

called

en

TRI-VISHTAPA A class of buildings, octangular in plan and (i)

Vajra, (2) Chakra, (3) Svastika, (4) Vajra-svastika, (5) Chitra,

(6)

Svastika-khadga,

C

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.)

(1) (2)

(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 AÔULA) 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.)

;

connexion with

in

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

protector of the earth, Samara, caused a golden flagstaff to be erect(in the temple at Abu) for the lord of the mountain.'

n

ed here

tio

'

of Samarasimha

v. 54, Ind. Ant.,

Vol. xvi, pp. 350, 355.

Danda

Inscrip.

ca

(Mount Abu

an unspecified measure, also called Stambha.' Bamani of the Silahara Inscrip. Vijayaditya, lines 20, 21, 23, Ep. Ind., Vol. 111, pp. 212,

du

'

lE

(6)

na

2I3-)

DANDAKA A pillar,

tio

a village, a pavilion, a hall, a moulding. part of a column.

A

(2)

Manasdra

di

(1)

ra

(Suprabhedagama, xxx, 586, etc.; see under STAMBHA.)

:

fo

rT

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).

tre

;

C

en

type of pavilion with two faces : Dvi-vaktram dandakarii proktam tri-vaktram svastikarh tatha

3,

further context under

(M., xxxrv, 552 ; of halls or storeyed mansions built in a single row description ibid, 65-66, 82-95, under ALA.)

A

see

class

DANDA-KANTA A class of halls, The

fifth

Cf.

xxxv,

see

DANPAKA.)

moulding from the top of the entablature. (KSmikdgama, uv, 2

DANDITA

MANDAPA.) (M.,

a type of storeyed mansions. (M. t xxxv, 104;

DANDIKA

I

;

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 (

A

(R.-V.,

i,

i,

DARI-GRIHA See Kalidasa's

Kumarasambhava

10, 14

(i,

;

8

;

i,

ii,

;

also

quoted

looking-glass, a mirror, In connexion with the single-storeyed

lE

tio

:

chordva-des"asya alankaram pravakshyate

di

Rathanam

:

darpana(m) proktavat

In connexion with the car or chariot

46),

.

.

\-( M

,

description

rT

DARBHA A type of pavilion,

.

ra

Vividha-kinkini-nirmala-darpanam. article of furniture (M., L, its

used as stables

fo

24, etc.)

generally

by Professor Liider)

(M., xix, 42.

I

na

tatra sYenya

vm

Sam.

Vj.

an ornament.

buildings

lambanam

T fifl ^

ca

DARPANA A

An

a

Vol. xxxiv, p. 199.)

Palike

xix

The cave-house

(see KANDARA-GRIHA) hewn out of rocks, underground rooms.

Ind. Ant.,

A

house.

n

DHAMAN)

tio

(see

du

DAM(A)

I

(M., xxxiv, 253

XLHI, 148, 157.)

(ibid.,

foi ;

I

111-131).

elephants. see

under

MAISTDAPA.)

tre

DALA-A petal, a leaf, a moulding of leaf-pattern.

en

A moulding of the mgs under UPAP!THA).

etc.; see

the

lists

of mould-

C

A

pedestal (M. } xin, 75, 82,

moulding of the throne (M., XLV,

DASA-KANTA-A

collective

name

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

(M

225


)

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

(ibid.,

57-83, 84, 96).

lE du

description in detail

ca

tio

n

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

DIPA-DANA A

tio

na

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. These pillars are erected

di

outside the front entrance.

rT

ra

(Chalukyan Architecture, p. 38, Arch. Surv., New Imp. Series, Vol. xxi see Plate cix, fig. i.) ;

DIPA-MALA(-SKAMBHA,

fo

(see

pillar,

DIPTI-STAM.

generally

belonging

tre

to

DIPA-STAMBHA,

STAMBHA) A lamp-bearing the Jain monuments.

BHA)

lamp-pillar, standing inside the temple (Chalukyan ArchitecNew Imp. Series, Vol. xxi see Plate cix, fig. i).

en

A small

C

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

tio

na

lE du

ca

tio

n

DHARA KUMBHA.

PEGS.

ra

di

BAMBOO

STAMBHA

K!LA. DHVAJA STAMBHA

C

IMPA

DANTA

en

tre

fo

rT

7

TOOTH-SHAPED.

DENTICULATED.

DANTA NALA. Pitae 226



tre

en

C rT

fo di

ra tio ca

lE du

na tio

n

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

n

durgam nimnavaruddham audakam

tio

karayat antar-dvlpam sthalam va

lE du

ca

prastaram guharii va parvatam nirudaka-stambam-irinam va dhanvanam kha-janodakarh stamba-gahanam va vana-

durgam Tesham nadi-parvata-durgam jan-padaraksha-sthanam dhanI

na

vana-vana-durgam atavi-sthanam apadya prasaro va

Then

I

The

and convenience of the inhabitants.

ra

for the comfort

arrangement

di

tio

follows the very interesting description of the plan and other architectural details, the military defences, and intern a

rT

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-

fo

:

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

tre

with

C

en

rounded

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. '

niralamba

Lankapuri

deva-durga-bhayavaha Nadeyam parvatarh vanyam kritrimarh cha chatur-vidham Sailagre rachita-durga sa pur deva-puropama

(4)

I

II

I

(Ramdyana, Laiikakanda, Sarga

n

ca

tio

(5)

lE du


pada, Chap, vn,

v.

i,

II

105

; see also v.

102.)

varksharh eva va

na

I

II

(Manu-Samhita, vn,

tio

Shad-vidharh

I

2nd Anushanga-

Dhanur-durga-mahi-durgam ab-durgarh Nri-durgam giri-durgarh va samaSritya vaset puram

(6)

70,

durgam asthaya purany-atha niveSayet Sarva-sarhpat-pradhanarh yad bahulyarh chapi sambhavet

etc.)

I

di

(7)

vv. 20, 22.)

3,

Khetanarh cha puranarh cha gramanam chaiva sarvasah Tri-vidhanam cha durganam parvatodaka-dhanvinam

II

ra

Dhanva-durgarh mahi-durgam giri-durgarh tathaiva cha Manushya-Hurgarh mrid-durgarh vana-durgam cha tani sha^ll

rT

I

Then

fo

follows the description of details

of these fortified places.

tre

(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

C

en

(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

smriti-dharma-vidyaih

Srutiparaih

karayati deva-nripas-saro'gryam '

In the fort

named

sma

II

protected on the east by (the having a deep moat, filled with

Malavalli,

Lakshmi-Nrisirhha, of) learned in the Vedanta

temple

men

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.)

Door-posts, belonging to doors, dwellings. 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

ca

DURLABHA-GRAMA A

n

i, 9,

tio

(R.-V.,

n

DURYA

lE du

(maha-grama) and inhabited by the free-holders (agraharopajivin) (Af., x,

class

(M., xxvi, 46-47

A

under PRASADA.)

di .

.

.

caused

temple (deva-kula)

(this)

(Vallam Inscip. of Mahendrapotaraja, no. 72, A.

fo

Vol. H, p. 341.) (2) See inscriptions

tre

from Northern

Vol. u, p. 31.) (3) See the inscription

Compare

Gujarat (no. xxr,

Samvat 168

of the

B

in

;

H.

S. I. I.,

line 4,

Ep.

Sarada character at

C

Peshwar Museum.

en

Ind.,

(4)

ra

Kandasenan (Skandasena)

be made.'

to

see

;

rT

'

under GRAMA.)

chapel, a shrine, a temple, a statue shrine,

a statue gallery. (1)

see

tio

DEVA-KULA(-IKA)

;

of the eight-storeyed buildings.

na

DEVA-KANTA A

79-80

.

statue gallery of Ikshvaku Kings described in the Pra-

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

under

(see

GARBHA-

NYASA).

DEVATA-MANDAPA A class of pavilions. (Suprabhedagama, xxxi, 96, 98

DEVA-DURGA

(see

DURGA)

A

god's

fort,

;

see

under MANDAPA.)

a divine or natural

fort.

229


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.

F. G.

I.

no. 12,

50

DEVA-BHCSHANA-MANDAPA A room

detached pavilion where the

n

in a temple.

tio

idols are dressed, a dressing

ca

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,

lE du

(see

I

na

'

ill,

let

one

tio

build a temple to heighten one's reputation and merit.' i

J. R. A. S., N. S Vol. vi, p. 316.)

:

ra

di

(Brihat-Samhitd, LVI,

77>

tre

I-

II.

'3

5>

fo

I-

rT

Ramayana (Cock):

'3

4

II.

6,

ii

II.

3,

18

C

en

6,

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 atiâyav-appa [At Teridala, a merchant-town situated

...

I

centre and the the twelve importance among (towns) in the glorious Kundi Three-Thousand, adorned with] towns, hamlets, villages villages in

the

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

DEVALAYA A

;

Ant., Vol. xiv, pp. 19, 25.)

Ind.

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

tio

n

'

lE du

ca

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 may be made to spring from the head of a lion, etc. and the whole so devised as to project like a plantain flower.'

na

'

rT

ra

di

tio

'

Krishnaraja-udayar,

tre

(2)

fo

(Ram Raz,

'

Ess. Arch, of Hind., pp. 49, 50, 51.)

created

having

Chamaraja-nagara,

en

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

C

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.' nagar Taluq, no. 86

;

Transl., p.

1

1,

line

(Ep. Carnal.,

4

f.

;

Vol.

Roman Text,

231


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.

Carnal.,

vi,

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

:

'

:

;

Beyond this

the principal are two rooms.

this is

mandapa

tio

mandapa ...

porch. in the inner corner of

n

sides it has a large projecting

Imp.

Series, Vol. xxxni, p. 29.)

.

.

ca

hall

Three doors with richly carved thresholds lead from the into the shrine. (Ahmedabad Arch., Burgess, Arch. Surv., New '

lE du

.

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 '

na

(6)

'

The newly

restored

Vindya-s"ankara,

is

may have had

Sarada temple, situated

to

a fine

Dravidian

structure in the

rT

the

ra

'

di

tio

garbha-griha, a sukha-nasi and a nava-ranga, and ' porch once.

a

the north of style

fo

consisting of a garbha-griha, sukha-nasi, a nava-ranga, and a It faces east and has three entrances prakara or enclosure.

C

en

tre

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

;

Ind., Vol. n, p. 32.)

Ep.

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

ca

tio

n

to

DEHARA A porch, (1)

a terrace.

'In a discourse on dharmma

in

I,

tio

From Vira-Hoysala he obtained

Arsikere

(the

ra

'

di

Transl., p. 167, para. 2, line 4.) (2)

na

.

see

under ANGULA.)

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 '

;

lE du

(Suprabheddgama, xxx, 5, 6, 9

Taluq, no.

appointment)

pector of the servants of the porch or terrace (dehara).'

123

:

of ins-

rT

(Ibid., no. 127,

fo

Transl., p. 170, para. 2, line 16.)

A

type of phallus, a phallus of divine origin.

tre

DAIVIKA-(LlNGA)

DOLA A '

The

C

en

Devais cha sthapitarh lingam daivikarii lingam uchyate

swing, a

(M.,

LII,

230.

I

See

Kamikdgama under LINGA.)

L, 35. 37,

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.

I.

S,

0. A. of June, 1934, p. 23.)

233


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.

vn, 86, 5

;

Vdj. Sam.,

xx, 20.

A

fortified

city

n

(see

A.-V'

;

:

Samudratatini-yuktarh tatinya dakshinottare Vanighih saha nanabhih janair yuktam janaspadam

ca

tio

I

cha samavritam Nagarasya dronantaram udahritam Kraya-vikraya-sarhyuktaih

class of pavilion.

na

A

lE du

prati-tate grahakaiS

(M., xxxiv, 423

di

ra

rT

(1)

fortress.

:

I

Chap, xxn,

p. 46.)

fo

(Kautillya-Artha-Sastra,

en

jala-sthalapathopetani

(3)

under MANDAPA.)

Nagarani kara-varjitani nigama-vanijarh sthanani janapada desah pura-varani nagaraika-desa-bhutani drona-mukhani

tre

(2)

see

defend a group of 400 villages ChatuS-sata-gramya drona-mukham

fortress to

I

(M., x, 75-78.)

town, a

I

(PraSna-Vyakarana-sutra-vyakhyane,

C

A

tio

DRONA-MUKHA A fort, a fortified

;

I

I

p. 306, ibid., p. 46, footnote.)

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.


lines

DVA-DA$A-TALA The

;

DVARA A door,

ca

ra

a gate, an entrance.

C

Gramasya

see

8-36,

37-88,

I

xxxv,

prakalpayat

86.)

I

Compare GURUDVARA.

parito bahye rakshartharh

Nandya-

(called

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

f.)

:

en

:

27


Mdnasdra (Chap, xxxvm, 2-54 ; xxxix, 1-163) The situation of gates in the village or town

varta)

seven

twelfth

ibid.,

(Kamikagama,

bhumau bhumau

tre

(i)

evarii

rT

Adva-dasa-talad

di

tio

Tad-adhastat talarh chaikadaSa-dva-dasa-bhumikam

fo

(3)

ibid., 5-7,

classes,

the general description of the twelfth storey,

89-191).

last

the

buildings,

na

under PRASADA

i,

p. 214, line

lE du

Mdnasdra (Chap, xxx, 1-191, ten

(1) See

Roman Text,

twelve-storeyed

storey.

(2)

;

n

;

tio

197

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

tio

n

I

The

(M.,

I

290-313.)

ix,

lE du

ca

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

na

I

etad upa-dvaram kuryat tatra vichakshanah tu sarvesham langalakara-sannibham

Maha-dvaram

I

tio

Evam

I

tat prithak prithak

ra

di

Kapata-dvaya-samyuktam dvaranam

fo

tre

iti

proktam upa-dvaram

en

Bhu-suradi-naranarh cha

vame

madhye dvaram na tu

(cha) yojayet

(M., xxxi,

Referring to the two-storeyed buildings

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

C

Madhya-sutram

tu

tu choktavat

I

355-361.)

rT

(Ibid.,

Chatur-dikshu chatur-dvaram upa-dvaram antaralake Devanam chakravartinarh madhye dvaram prakalpayet

Maha-dvaram

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).

is

236


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).

ca

tio

n

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

main

sandhi),

closes with

a lengthy description of the

The door-panel

parts of doors.

door-plank

bolt

(kavata),

(kilabhajana),

f.).

six or rather

the

door-joint (dvaraare minutely

etc.

tio

described ^line 137

(phalaka),

na

The chapter four

lE du

Chaps, xix, xxx).

Many other

still

spaces (lines 19, etc). (lines

Drains or jala-dvara (water-gate) are made The main doors are always furnished with a

(line 8).

en

beneath the halls

5-7).

tre

downwards

smaller doors are constructed at the intervening gutters are made conveniently and sloped

The

fo

(line 4).

rT

ra

di

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

flight of stairs (line

12).

C

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 '

How

a house can be said

I

to face the east, is

himself,

S.,

however, states

its

Kern.

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

di

tio

the most

Kern

N.

na

(J.R.A.S.,

Varaha-mihira

without having

beyond our comprehension.'

lE du

door facing the same quarter, Compare no. 4 below.

iti

ca

mukhasya paschimabhimukham

tio

n

I

ra

lation of the following verse, J. R. A. S.,

N.

S., Vol. vi, p. 318)

:

rT

Chatuh-shashti-padarh karyam devayatanam sada Dvaram cha madhyamam tatra samadikstham prasasyate

fo

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

tre

:

Therein

is

in the temple)

C

en

.

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

that the house

(by one

may have

Mandana, Ahmedabad, 1878)

lays

down

(i,

6)

any direction states distinctly that the

the front side (with entrance) at

according to the choice of the occupants, and 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-

recommend

ten suitable doors (for a building)'.

n

tects)

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

tio

Vdstu-pravandha (n, 8, compiled

:

ca

(6)

Silpa-Sdstra-sdra-samgraha. vn,

expensive.'

24 Chatur-dvararh chatur-dikshu chaturam (?) cha gavakshakam Nripanarh bhavane sreshtham anyatra parivarjayet I) :

'

I

di

tio

(7)

it is

lE du

or in front of another because

1

na

'

I

1

highly commendable for the buildings of the kings to make four doors at four directions and four windows. This rule need not

rT

ra

It is

'

fo

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. '

Matsya-Purdna (Chap. CCLV,

C

(9)

en

'

tre

(8)

w.

7-9)

:

Vasa-geharh sarvesham praviSed dakshinena tu Dvarani tu pravakshyami praâstaniha 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

'

24-32

Ganapati

Vdstu-vidyd (ed.

(12) ,

xiv, 1-3)

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

n

(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 raâu tatra dvararh na karayet (20) Grihakshate cha mahendre brahmananarii prakirtitam Mahidhare cha some cha pha(bha)llatargalayos tatha II (21) 1

ca

tio

1

I

lE du

I

I

na

Sayaniyam tu kartavyarh praSastarh purvatah sikha Nava-dvarakritarh kuryad antarikshe mahanasam II (22) Dvaram yatra cha vihitarh tad-dig-adhiâdhiparh bhaved dhama Eka-talaih va dvi-talam dvi-tale dvi-mukham cha nirmukham va syat II (21)

tio

I

rT

ra

di

I

Position of the door

:

Dvaram cha

tre

fo

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)

C

en

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

n

Sa-dvadasa-dvaro yuktodaka-bhumich-chhanna-pathah Sainapatyani dvarani bahih parikhayah

I

rathyabhyah

cha

anyatra

I

tio

(Ibid.,

f.)

raja-marga-

na

Pratiloma-dvara-vatayana-badhayarh

54

p.

khanda-phullartham

antarikayarh

lE du

asarhpatarh karayet

Chap, xxv,

ca

(Ibid.,

Kishku-matra-mani-dvaram

I

tio

I

Chap. LXV, pp. 166,

rT

ra

di

(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

II

(16)

Kamikagama (xxxv, 6-13) Bhallate pushpadante cha mahendre cha graha(griha)kshate Chatur-dvararh prakartavyarh sarvesham api vastunam (6) :

I

C

(16)

en

tre

fo

I

Then

1

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 nanuvamârh syach chhayanarh cha tathaiva cha

II

I

AnuvarhSa-griha-dvararh

naiva karyarh ûbharthibhih (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

n

(7) Bahya-bhittau chatur-dvaram athava dvaram ekatah in the attendant deities built the of the to temples Referring 1

tio

1

five

ca

courts (prakara)

19.)

:

:

lE du

Prakara-samyutam kritva bahye vabhyantare'pi va Purve tu paschime dvaram paschime purvato mukham II (131) Dakshine chottara-dvaram uttare dakshinonmukham I

na

I

paschime dvaram

tat

tio

Vahnlsana-sthitam yat ishyate Nilanila-sthitarh chaiva purva-dvararh prasasyate

1

1

(132)

I

:

;

rT

ra

di

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

fo

1

Prasadaih sukritochhrayaih Suvarnajala-sarhvritair mani-kuttima-bhushanaih 1

tre

1

en

Sukharohana-sopanair mahasana-parichchhadaih Asambadha-Sata-dvaraih Sayanasana-sobhitaih

C

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

Arch.

Cunningham's

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

(M., xvm, 326-328.)

I

The gate-house of

(same as MAHA-GOPURA)

DVARA-KOSHTHA(-KA)

Agate-chamber.

under PRAKARA.)

ca

The index of

see

;

tio

(Suprabhedagama, xxxi, 125

n

the fifth or last court.

the

lE du

Divyavadana quoted by way of comparison with Svakiyavasanika-dvaroshtha, dvaroshtha-nishkasapravesaka, and nishk asa-pravesa-dvaroshthaka.

lines

na

(Siyodoni Inscrip.,

Ep. Ind. t Vol

di

ra The

SAKHA)

(see

the

door-frame,

made

of stone for

door-lintel,

fo

DVARA-SAKHA

tre

jamb or post. He, the emperor of the '

C

(dvdra-sakhali) ,

South, caused

to

be

latticed

window, secure door-frame, doorkitchen, ramparts, pavilion and a pond named

(temple),

en

Vijaya-narayana lintel

33,

gate-house of the third court. Mdnasdra (xxxin, 9, under GOPURA). also Suprabhedagama (xxxi, 124, under PRAKARA).

rT

See

32,

tio

DVARA-PRASADA The See

14,

pp. 165, 175, 177.)

i,

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

8, ;

243


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.

sculptural measure

having footpaths on both

vi,

pp. 40, 39.)

under TALA-MANA.)

tio

Two

EKA-PAKSHA)

(cf.

details

(see

n

DVI-TALA A DVI-PAKSHA

Vol.

Ind.,

sides,

a street

(or

wall)

ca

attendants.'

sides.

I

na

kam

lE du

Dakshinottara-rathyam tat tat samkhya yatheshtaka Evaih vithir dvi-paksharh(-sha) syan madhya-rathyena(-ka)-paksha-

Tasya mulagrayo(r) deSa kshatra(

I

kskudro)-manarh prakarayet Bahya-vithir dvi-paksham(-sha) syat tad-bahis" chavritam budhaih

tio

?

di

rT

tre

column with

en

Cf. Vajro'shtasrir dvi-vajrako

C

yathech-

;

xxxvi,

under EKA-PAKSHA.)

5

sixteen rectangular sides.

dvi-gunah

I

(BrihatSarhhita, LHI, 28

DVYA^RA-VRITTA A

350-353.)

465. See also M., ix, 396

(Ibid.,

86-87

DVI-VAJRAKA A

ix,

tiryan-margam

syat

dvi-paksham(-sha)

fo

I

(M,

ra

Rathya sarva chhaya

I

I

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,

53

n,

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, headgear (M., XLIX,

14, etc.).

n

A

etc.

DHARMA-GANJA A ranjaka.

lE du

ca

tio

library in the University of Nalanda, comprising three buildings known as Ratnodadhi, Ratnasdgara, and Ratna(Tibetan account of the Univeristy of Nalanda.)

DHARMA-DHATU-MANDALA

The

relic

shrine

of

Nepalese

tio

na

temples, situated at the fourth storey of five-storeyed pagoda-like structures, the basal floor being occupied by Sakya-muni, second by

or apex

fifth

ra

di

Amitabha, the third being a small chaitya, and the being called vajra-dhatu-mandala.

Deva Bhavani temple, Bhatgaon, Fergusson

rT

(See

fo monument, a

tre

DHARMA-RAJIKA A

:

and East. Arch., 1910, Vol. i, p. 281.)

History of Ind.

tope.

en

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.,

C

'

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

n

DHAMAN A dwelling house. i,

6 1, 4

of

x,

;

xii,

lE du

class

type of building, a

the

pillar,

i

ii,

;

i

13,

52

3, 2

;

ra, 55,

Vaj. Sam., iv,

;

10

A.-V., iv, 25, 7

;

34

Sam.,

;

ii,

vra,

;

;

vn,

Taitt. 7,

2.)

a roof, a tree.

seven-storeyed buildings.

na

A

i

144,

ca

68,

;

tio

(R.-V.,

DHARANA A

under STAMBHA.)

see

;

di

tio

A synonym of pillar (M., xv, 6) A kind of tree of which pillars

;

see

under PRASADA.)

xvi, 52).

are constructed (M., xv, 348-350).

ra

DHARA-KUMBHA A

(M., xxv, 26

and of roof (M.,

rT

moulding of the base. (M., xiv, 46

see

;

the

lists

of mouldings,

fo

under ADHISHTHANA.)

DHARA-NILA A

en

tre

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

C

:

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.,

etc.,

21.)

an ornament.

297

L,

LXV,

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,

developed

i).

city,

35

;

3,

4

;

Matt.

;

Thus pur might have been the prototype of pura, the and nagara the full-fledged capital city.

(1) Definition

Janaih

;

2,

n

n

8,

Sam., vi,

Ait. Bra., n,

tio

m,

(Tail.

:

parivritam

ca

Sam.,

Sat. Bra. vi, 3, 3,

dravya-kraya-vikrayakadibhih

lE du

Aneka-jati-sarhyuktarh karmakaraih samanvitam

1

I

1

Sarva-devata-saihyuktam nagararii chabhidhlyate

II

Dhanu-satam pariharo gramasya syat samantatah Samyapatas trayo vapi tri-guno nagarasya tu II

I

di

tio

(2)

na

(Kamikagama, xx, 5-6.)

ra

rT

Dhanuh-Satam pariharo grama-kshetrantaram bhavet Dve sate kharvatasya syan nagarasya chatuh satam 1

fo

(3)

(Manu-Samhita, vni, 237.)

tre

(Tdjnavalka, n,

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

en

(4)

I

1

II

C

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 trade and It

n

facilities for

the foreigners (line 63).

lE du

ca

tio

should have

36-38).

di

(lines

tio

na

than in a village. Towns are divided into eight classess, namely, Raja-dhani, Nagara, Pura, Nagari, Kheta, Kharvata, Kubjaka, and Pattana is

applicable

rT

ra

The general description of towns given above more or less to all of these classes.

fo

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,

tre

:

C

en

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

and lanes were admirably disposed, It was filled with merchants and adorned with abundance of jewels

the streets

streets well

descriptions,

of access,

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,

rT

;

ra

di

tio

na

;

lE du

ca

tio

n

;

tre

fo

;

C

en

'

;

;

'

;

resembling that of the gods, protected by King DaSaratha, the chief of the Ikshvakus. This city was inhabited by the twiceborn who maintained the

and

its

six

fire, (men) deeply read in the Veda with excellent qualities, profusely generous, Angas, endowed

constant

sacrificial

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

structures.

On

the approach of the hostile

ca

and many rows of grand

tio

n

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

lE du

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

.

.

(cf.

,

ra

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

di

of streams kinds.

tio

na

dreadful and resembling a celestial citadel, Lanka cannot be ascended by means of any support. She hath fortresses composed

;

fo

rT

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.)

tre

s"ataghnis

.

en

.

.

'

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'

C

(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



the walls.

NAGARA(-Rl)

store-house was built

near

The

1

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

priests,

ministers

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

n

artisans.

by squads of men and

lE du

ca

tio

shops,

3 Door-keepers guarded the single wardens. courts of the palace as well as the city gates.' 4 (Hopkins, J.A.O.S., 13,

na

pp. 175, 176.) (n) 'It will probably be a revelation to

architects to

know

tio

how

modern

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

rT

ra

di

ancient India's architectural treatises.

fo

mind of the European expert.' The most advanced science of Europe has not yet improved upon

tre

'

1

cities

of

India

based

en

the principles of the planning of the garden upon the Indian village-plan as a unit.'

The Mbh. recommends

C

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, vi, 112, 42 Sikta-rathyantarapana. Mbh., i, 221, 36 Indraprastha is described as sammrishtasikta-pantha. 3 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 are told to go to the four quarters to the gates. :

:

,

.

:

4

.

.

These courts have mosaic pavements of gold. n, 33 and 34.) 185, 20

(R., vi, 37, 27, 58,

;

25 1


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 '

;

.

on the

city

insalubrious.'

sea-side,

exposed to the

Book

(Vitruvius,

I,

Chap.

IV.)

.

.

south or west,

will

be

n

A

'

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

tio

are satisfied with the

take into consideration the

lE du

ca

'

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

tio

na

the city.

ra

di

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

rT

thickness than the walls above.

From

the exterior face of the wall, towers

tre

fo

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

C

en

;

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

should

walls will be intercepted

252


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

width of the tower

The

space the tower will consequently occupy.

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

filling in

earth into

from being thrust in the spot bricks.' '

The

:

comb

many The

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.'

by

and

Book

I,

outer and inner on the plan after the

lE du

of the

teeth of a

The

Chap,

flint,

v.)

streets (of which

no

'

what are found

na

manner of the

city.

cross walls, disposed

ca

be built within the former, towards the

rubble stones, burnt or unburnt

tio

to

walls are then to be connected

details are given) of the city

di

is

tio

n

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

being set

ra

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

rT

out, the choice of sites for the convenience

fo

;

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 inland

it

en

tre

if

C

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

performing in

253


his temple.

AN ENCYCLOPAEDIA OF

NAGARA(-Rl) The temple frays

Mars should be

of

may

may, moreover, be ready

also out

of

disturb the peace

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

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

vyadhatta

vijayabhidhanam

visVottaram

yo

Book

I,

nagarim

I

Ya hema-kutam

nija-sala-bahu-lata-chhaleneva parishvajanti

Yat-prakara-Sikhavali-parilasat

n

(13) Vijitya

(Vifrtwius,

-

kinjalka

-

I

ca

chhaka-pura-jala-nachitarh sad-danti-bhringanvitam

II

yach

punjachitarh

tio

religious awe them to visit

bate

II

all

Having conquered

the

world,

he

(Bukka-Raja)

na

'

lE du

Sphayad yat-parikha-jala-prati-phalad yat-pranta-prithvl-dharachchhaya-nalam idam purabjam naisarh lakshmya sahalambuilt a

tio

Its four splendid city called the City of Victory (Vijayanagarl) walls were like arms stretching out to embrace Hema-kuta. The

di

of the battlemants like

points

its

.

filaments, the suburbs like

its

tre

fo

rT

ra

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

4)

line

4.)

Grama nagara - kheda- karvvada - madamba - drona - mukha - pat

en

(

2,

-

C

tanam galirhdam aneka-mata-kuta-prasada-devayatanamga-

lidam 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.)


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

;


f.)

n

(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;

tio

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,

NANDANA A

NANDA-VRITTA)

A

storeyed building, a pavilion.

(1)

:

Brihal-Samhild

(LVI,

N.

S.,

Vol.

vi, p.

48,

53

tre

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

en

(3)

;

319;

see

see

under

under PRASADA).

see

:

C

A

22, J.R.A.S.,

fo

under PRASADA). (2)

ra

32 cubits wide

di

type of building which has six storeys and sixteen cupolas (anda), is

rT

and

(cf.

para. 6.)

na

90,

p.

tio

Transl.,

lE du

ca

(17)

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,

New

Imp.

fig. 4.)

255


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) Mdnasdra

A

PRASADA)

A A A A

:

class of the six-storeyed

under buildings (M., xxrv,24; 5^

.

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)

;

;

.

;

;

.

177

.

see

;

(M.,

vin,

du ca

PADA-VINYASA)

LII,

tio

In connexion with the phallus (M., In connexion with the site-plan

n

(1)

.

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 (2)

(Brihat-Samhita, Lin,

1

must have doors on every

It

to right).

32, J.R.A.S., N.

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

rT

C

Ibid.,

The

I

II

fo

re

entablature

en t

An

side,

S., Vol., vi, p. 285.)

ra

(3)

left

'

on

from

except the west.

1

di ti

to south (alias

al E

'

I

1

I

1

(Kamikagama, xxxv, 88, 89, 90.)

(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)


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.)

type of building.

n

NANDI-VARDHANA A A kind wide

cubits

tio

of building which is shaped like the sun-eagle but is devoid and has seven and wings tail, storeys twenty cupolas, and is 24

du ca

(i)

of the

:

al E

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

di ti

on

Garudo garudakarah paksha-puchchha-vibhushitah Nandi tad-akritir jneyah pakshadi-rahitah punah

Karanam shat-chatushkams cha

ra

vistirnau sapta-bhumikau Dasabhir dvi-gunair andair bhushitau karayet tu tau

rT fo

re

;

kind of quadrangular building (4) (5)

:

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.)

;

C

A

;

Matsja-Purdna (Chap. CGLXIX, vv. 33, 48, 53 see under PRASADA). Bhavishya-Pardna (Chap, cxxx, vv. 28, 31 see under PRASADA).

en t

(3)

I

1 1

(Brihat-Samhita, LVII, 24

(2)

I

1 1

(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.,

XLIII,

112;

257


see

under RATHA.)

AN ENCYCLOPAEDIA OF

NAYANONMILANA would imply the

it

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


stairs.

Chatuh-Sala-samayukto vedi-sopana-samyutah Nalinakas tu samprokta(-tah) ... II

I

n

(Suprabheddgama, xxxi, 46.)

nine -storey ed buildings (M., xxvn, 2-47) ; the seven classes ( 2 ~33) description of the ninth storey (ibid., 35~47)

tio

NAVA-TALA The under PRASADA)

measurement

in accordance with

which

lE

NAVA-TALA A sculptural

du

(see

ca

5

.

=

di tio

9X12

na

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 over the different limbs.

ra

Nava-tala-pramanas

fo

tre

proktaih

devanam pratimasu cha lakshanam papa-nasanam

of this

details

I

system of measure

and female statues are given.

NAVA-BHUMI the ninth storey

(see

(Ibid.,

II

(see

employed both

for

male

vv. 26-74.)

as

NAVA-TALA) NAVA-TALA)

(same

NAVA-RANGA 1

I

(Ibid., v. 75.)

C en The

deva-danava-kinnarah

tu

Evarii narishu sarvasu

Nava-talam

under TALAMANA.) v. 16.) (Matsya-Purana, Chap. CCLVIH,

rT

Cf.

(See

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

(5)

17

(ibid, ;

Channarayapatna Taluq no.

Transl.,

p

185

;

Roman

Text, p. 467

n

.'

.

205.)

Compare Sapta-ranga

(at

tio

.

Comilla in Bengal) which

a pagodathe right side is

ca

out.

lines 8,

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

lE

du

shaped detached

buildings and the tank behind the shrine wall (prakara).

di tio

na

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

ra

(6)

rT

being about 4^ feet square, while the nava-ranga measures 16 feet by '

(Mysore Arch. Report, 1915-16, p. 4, para. 10

12, Plate ra, fig. 2.)

The nava-ranga

tre

'

;

\see also

p. 5, para.

fo

14 feet.

is

an open

C en

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.)

resembling the hood of

window

kind 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. Mdnasdra

:

characteristic feature of the three styles

:

io

The

n

(t)

vatha

vrittakritarh

I

grivadi-sikharakritih

I

uc

Dvyas"rarh

chayatasYakam

at

Muladi-stupi-paryantarh vedaSrarh

Ed

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

on

al

Grlvadi-stupi-paryantarh yuktatho (-dhas) tad yugasrakam Vrittasyagre dvyas"rakam tad Vesara-namakarh bhavet ashtas"ram

I

I

va shad-asrakam

Tr ad

iti

Mulagrat stupi-paryantam Tad-agrarh chayatarh vapi grlvasyadho yugasrakam Purvavach chordhva-desarh syad Dravidarh tat prakirtitam SamaSraika-s'ikha-yuktarh

chayame tach-chhikha-trayam

fo r

DryaSra-vrittopari-stupi vrittarh va chatur-a^rakam vakriti(rh)

C en

tre

Padmadi-kudmalantarh syad uktavad

Compare

I

I

I

I

nyaset

I

(M., xviii, 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

123-124.)

XLIII,

important addition

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

at

a distinct style of architecture (see below). If the identification of Vesara with Telugu

io

n

is

uc

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 if

al

Ed

below), and

discussion below).

The same

Tr ad

iti

on

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 three styles are distinguished in sculpture also:

matam

Dravidam

(M., LHI, 76, also 100.)

tre

I

cha tridha

chaiva Vesrarh

fo r

Nagararh

(Lingam)

C en

Kuryat tu nagare linge pitham Nagararh eva cha Dravide Dravidam proktarh vesare Vesararh tatha

)

Srikumara

Silparatna of

I

I

(Ibid.,

(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

io

n

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 '

at

'

uc

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

al

Ed

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

fo r

Tr ad

iti

on

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.

tre

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

C en

:

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 syat sarmkritam

Yugmayugma-vibhagcna Nagaram

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 ûbhe

explicitly in the following

Agama

II

(18)

described more briefly but

n

are

styles

(17)

io

details of the three

II

I

:

at

The

I

Suprabheddgama (xxxi, 37-39): Dvara-bhedam idarh proktam jati-bhedam tatah srinu II (37) Nagaram Dravidarh chaiva Vesararh cha tridha matam

Ed

uc

(4)

I

al

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

on

I

1

Tr ad

iti

1

quadrangular from the base to the top

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

fo r

;

According

C en

tre

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 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) ;

20,

no.

235

;

Transl., p.

135,

para. 2

Roman

;

f.)

io

line

(Ibid.,

Text, p. 238,

n

Sovi-deva.'

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 ;

at

(8)

uc

;

Ed

;

;

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., ;

al

;

on

lines).

padralik (? ksh) Nagara-bhuktau valavi-vaishayika-s'aiva of Of the which lies . Varunika, village antash-pati Varunika-grama .

.

.

iti

(9)

'

Tr ad

.

.

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

(10)

fo r

pp. 216, 218.)

:

that king (king Harihara's son Deva-Raya) of men was ruling in peace and wisdom, shining in beauty beyond all countries

'When

C en

tre

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 .

no.

(13)

manner of

trees

(named)

is

Nagara-khanda.'

no.

(Ibid.,

The

expression

;

all

Transl.,

Nagara-khanda Seventy' occurs

in several of the

at

(14)

329

.

io

58, para. 2, line 4.)

p.

.

265 ; Roman Text, p. Sy.Transl., p. 43). In Jambudvipa, in the Karnnataka-vishaya, adorned with

n

(Ibid.,

Sorab Taluq Inscriptions,

uc

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.

Ed

To

p. 60.)

al

(15) 'In the ocean-girdled Jambu-diva (dvipa) to the south of which is the Bharata-kshetra, in

on

the

Mandara mountain is ... wherein is

which

the chief villages of that

iti

Among

the beautiful Nagara-khanda.

is

nad

is

the

Tr ad

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.,

fo r

'

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

with a moat,

C en

tre

(16)

its

.

.

.,

and the houses of dancing

girls,

how

beautiful to

It surpassed Alakapura, AmaravatI and the eyes was Kuppatur. Bhogavati. Within that village, vying with Kailasa, stood the temple of Koti-

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 by

'

technical terms of the Silpa-fdstra or science of architecture.' Mr. Rice. (They are evidently the three styles of architecture called the Dravida,

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)

named Naga-khanda

265


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

at

io

n

'

and

Tr ad

iti

on

al

Ed

uc

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 running in a circuitous course, at

so,

last arrives at

the very lowest

fo r

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,

tre

solid rock for the

admission of

C en

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 the

Bay of Bengal.'

uc

eastwards to

farther

at

io

n

of Ceylon, extends

(Encyclopaedia,

ed.

n,

Ed

P- 550-)

Brit.

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 Vesara

is

'

otherwise called

on

al

(21)

by the Krishna.'

The

Tr ad

iti

(Dr. Barnett, Catalogue of the Telugu Books, Preface.) boundaries of the Telugu or Vesara country are given in detail

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

Madras

in the south.

From Barwa

the frontier

fo r

District in the north to

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

C en

tre

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,

19).

267


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

al

Ed

uc

at

io

n

in

his Travels, Index).

The Nagaras

are mentioned in the

Tr ad

iti

on

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

fo r

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).

tre

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 Na-

C en

India.

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,

at

io

n

all

uc

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

Ed

like those

Tr ad

iti

on

al

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 namely, Padchala, Dravida, Madhya-kanta (meaning

fo r

designations,

C en

tre

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.)

at

The third who for his

io

n

appears to

so called

is

species, Corinthian,

because

Callimachus,

Corinth.'

on

al

Ed

uc

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 (Ibid.,

Tr ad

When Solomon

iti

Chap, i.) ascended the throne, anxious to his father had long entertained of erecting a fixed '

fulfil

the wish of

temple for

the

fo r

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,

consummate

tre

with

of

simplicity,

urges

the Greeks, were the invention

that the orders, instead of being of God Himself, and that Calli-

C en

invention

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.' see also

Progress Report of the Assistant Archaeological

io

August, 1915, p. 90,

n

century of

uc

at

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

Ed

the

on

al

therein

iti

passage, pointed out above, where Randhra or Andhra is mentioned as a type of chariots. It has also been stated above that these

Vesara.

C en

as

tre

fo r

Tr ad

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

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

at

first

presumably

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

n

nion (Study of

and East. Arch.,

The

at

of Ind.

io

the Dravidian, as Fergusson and Burgess suppose to be 1910).

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

al

Ed

uc

seem

fact that the

Hindu

art-consciousness

Tr ad

The

iti

on

a geographical nature, is more in agreement with the system of the Silpa-fastras than Havell's division. 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

C en

tre

fo r

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

number

ten

:

io

cardinal

n

(M., XLVI, 66-67.)

The

I

at

Shat-saptashtaka-dandam va nanda-nataka-rudrakam

kulikanghrika.

(Af.

xvi,

chitranga

53-55.)

moulding.

In connexion with the arch (torana) Natika phalaka mushti-bandhanam patra-vallikam

on

:

I

iti

(Af., XLVI, 65.)

Tr ad

In connexion with the pillar Kumbhayamarh tathotkantam urdhve karna-samam bhavet :

and

al

NATIKA A

valli,

Ed

synonym

are anta, mrinalika vallika, patra,

uc

(Af., ix, 430.)

Its

fo r

Tat-samam natikakhyam syad unnatam tad

(Af.,

-ALA)

I

I

xv, 54-55.)

The

play-

tre

NATYA-GRIHA(-MANDAPA, -VEMA,

viseshtah

music

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) theatre,

hall,

C en

house,

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

n

(vedika)

dramas were intended

Ed uc

at

io

Like

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

to enjoy the dramas. element of recitation

di ti

on al

all classes

Thus the drama

fo rT

ra

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 '

architect,

is

re

dramatic

styles essential to the effect of

en t

stated to have built the

first

any

play.' Visvakarman, the divine playhouse in which the sage Bharata

C

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.

fo rT

ra

di ti

---"

on al

\

Ed uc

at

io

n

|

C

en t

re

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


re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

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

n

(x, 5-18) refers to three types of theatres

io

:

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

at

I

Ed uc

The

'

performs

on al

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

Prithivl sagaraS chaiva trailokyarh

I

di ti

atavi tatha

1 1

fo rT

ra

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

re

I

en t

Yatra vartha pravarteta tatra kaksharh prayojayet II Bahyarh va madhyamam vapi tathaivabhyantararh punah

I

Durarh va sannikishtam va deâm tu parikalpayet (Ndtya-sdstra, ed. Joan Grosset, Paris, 1898.) The same text describes with minute particulars and dimensions the

C

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;

see

Macdonell, History of Sanskrit

347.

275


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

|

The

25).

i,

Silpa-ratna of

I,

10,

and SILA-VESMAN

14)

Ed uc

(Megha-duta,

(Kumdra-sambhava,

at

Compare DARIGRIHA

io

n

I

(Ibid., H, 70, 84.)

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

on al

The

quotations under

MADHYARANGA).

di ti

The

epigraphical evidences are also not wanting. Thus from its a rangeinscriptions the cave in Ramgarh hill in Sarguja appears to '

ra

ments and

fo rT

have been evidently intended for dramatic performances.' cave and that of Ganesa in Udayagiri are further examples the doings of these ladies 2

*

The

queen's

'

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

re

way.'

en t

realistic

C

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

êitsckrift 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

io

n

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.

Ed uc

at

Mahenjo-Daro

on al

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

scientific

fo rT

ra

with

di ti

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

the platform with a thick drop scene in front proper with various realistic sceneries and curtains

re

The former comprised

C

en t

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

n

floor or the platform (Vedika, ibid,

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

n

hall."

io

Nafta-Sala cha karttavya dvara-des'a-samas'raya the music hall should be built attached to the gateway (of the I

Ed uc

at

And

temple).

(Garuda-Purdna, Chap. XLVII, v. 45.)

music, built in front of the

on al

A mandapa or hall for religious

main temple

:

purah sthapayamasa gurvvirh sYiman Srinatha-viryyah sthagita-das"a-dian natya-Salarh chhalena

ra

di ti

Durgga-devalayasyabharanam iva

fo rT

NABHI-VlTHI A

road

I

(Dirghasi Inscrip. of Vanapati, lines 14-15, Ep. Ind., Vol. iv, p. 316.)

proceeding from the central part of a

village or town.

en t

re

Brahma-bhaga-vriddhya

C

NARANA A

vlthir nabhi-vithiti

kathyate

I

(Kamikdgama, xxv,

i.)

temple of Vishnu.

NARAGHA A

(Note on a Tamil Inscription in Siam, Hultsch, J. R A. S., 1913, pp. 337-339-)

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.)


re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc


re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

NASA

HINDU ARCHITECTURE NALA-GEHA A

middle

channel,

canal-house,

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

'

'

Ed uc

at

io

n

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 .

canal, the lower leg. tad-dhatam bhitti-taram sesham

(M., XLV, 42,

leg.

rectangular

I

(M, xxxm,

hall of the length

438.)

twice the

ra

NALIKA-GARBHA A

etc.)

cha nalika

on al

Ekamsam The lower

A

NALA)

(see

di ti

NALIKA

Nalika gabbho

ti

bitt

The

fo rT

breadth.

harato dvigunita-gunayamo digha-gabbho (Buddhaghosha, Chullavagga, vi, I

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.

C

NALIKA-GRIHA

en t

re

'

(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)

NASA) A nose-shaped architectural object, an open court or porch before a house, a hall next to

NASIKA(-SI)

(see

a vestibule, the entrance to a house, a bracket.

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

n

I

io

Kuteshu nasika-yuktarh koshtham etat prakirtitam Kdmikdgama, LV (eight kinds of Nasika)

II

at

(80)

Ed uc

:

Nasika tv-ashtadha jneya tasyadau simha-samjnitam Sardha-panjaram anyat syat tritlyam matam II (132)

Shaped

like

the nose (M., xxxra, 541).

height ends by the fore-part of the See also M., xxxm, 550-561.

on al

Its

like gala, Sikha, circular,

di ti

Shaped

I

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)

They

fo rT

ra

I

are also called panjaras

manam evam

udahritamll (149)

details of these nasikas or panjaras (ibid., 134-146).

en t

The

:

re

Sarvesham panjaranam tu

I

sama-nirgamam Shat-varga-sahitam Sakti-dhvajayor mukha-pattikam

C

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


:

w

r

NA51KA.

j

HARA.

i BH * DRA

I

:

U-

i

L 4.

HARA.

IN

NASIKA

PLAN.

en t

re

fo rT

ra

di ti

on al

Ed uc

at

io

n

NASIKA VESTIBULE

S

NATAKA.

C

NAGA-KALA.

SHEET

IRO^ LINING.

>-

g

DOCUMENT _

PLAN.

LONG SECTION. NIDHANA.

Pnit



re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

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.)

io

n

I

town, the quarters inhabited by traders, a market. (Af., x,

Ed uc

NIGAMA A

at

;

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. 5.)

di ti

note

on al

Cf.

cha

A

and has been written on boards according '

'

C

Nigama-sabhaya, the assembly of line 4, Arch. Surv.,

NIDRA A

the

guild-hall,

traders,

sarva-sravita-nigama-sabhaya nibaddha cha phalakaand all this has been proclaimed in the guild-hall '

iti

en t

vare charitra

NIGABIA)

(Senart, Nasik

re

assembly. Cf. Eta

(see

fo rT

NIGAMA-SABHA

ra

Nigama-sabhaya-nibadha registered at the town's hall. Cave Inscrip. no. 12, line 4, Ep. Ind., Vol. vm, pp. 82, 83.)

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

moulding of the base (M., xiv, 247, under ADHISHTHANA). moulding of the column (M., xv, 52).

ings

A A

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.,

depressed part of the chin

:

n

The

L, 285.)

Mdnasara

(1)

The

projection.

:

projections

of the mouldings of the base

under ADHISHTHANA). under UPAPITHA.)

projection of the (whole) pedestal

(ibid..

ra

The

(M., xiv, 385-412

projections of the mouldings of the pedestal (M.,

di ti

The

Ed uc

The

I

(M., XLV, 103.)

on al

NIRGAMA

at

io

Hanvantarh tad-dvayor madhye nimna-tungam Sivayatarn

;

xm, 128-146;

see

see

20-35).

Nirgamodgamane vapi putra-naSam avapnuyat

(2)

Nirgamam

I

(M., LXIX, 19.)

fo rT

Cf.

tu punas tasya yavad vai lesha-pa^tika

I

(Matsya-Purana, Chap. CGLXII, v. 4.) Chatur-diksku tatha jneyarh nirgamam tu tatoh budhaih

re

I

en t

I

;

C

(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

(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


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

I

io

Nirgalagre dvayagram syat phalaka-valayanvitam

I

n

1

L,

168-171.)

at

(M.,

NIRETANA The

Ed uc

forepart of the branch of an ornamental tree

(kalpa-vriksha) Cf. Bhramarair abhirayuktam sarva-Sakha-niretane

I

on al

.

NIRYUHA A kind of a

(M., xLvm, 58.)

di ti

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 ;

fo rT

ra

a pinnacle, a turret

:

Niryuhadyair alankritya (M., XLIX, 186,

(2)

Rdmayana V. 9, 20 V. 9, 58

en t

:

Vimanair hema-niryuhaih

|

Charu-torana-niryuha (lahka)

I

C

(3)

: :

etc.}.

re

(1)

Mahdbhdrata I.

43,

44

I.

7,

96

:

:

:

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

of chariots.

class

(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

io

n

class of buildings without the kuta-sala (top-hall) but with eight other halls and eight aviaries : Prasado nishadhas tatra kuta-Sala-vihinakah

at

I

1 1

Ed uc

Ashta-Sala-samayuktaS chashta-panjara-samyutah

xxxi,

(Suprabhedagama,

NISHADYA A

bedstead, a couch, a hall, a shop, a market place.

monument.

plan.

nishkalam proktam ayugmarii sakalam tatha (M., vii, 73 ; see under PADA-VINYASA.) I

fo rT

Yugmam

site

on al

NISHKALA A

A

di ti

NISADDHI)

(see

(Sisupala-vadha, xvni, 15, etc.)

ra

NISHIDHI

45.)

NISHKASA A

verandah, a portico, a balcony, a projection.

re

Prag-grivah pancha-bhagena nishkasas tasya chochyate Karayet sushiram tadvat prakarasya tri-bhagatah

en t

1

Prag-grivah pancha-bhagena nishkasena viSeshatah

I

1

I

C

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)

Jinanathapura and

gifts in

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


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)

n

;

;


at

Roman

;

Transl., p. 159, line

Ed uc

(No. 90

io

A

'

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 '

;

on al

'

upwards; Transl., p.

114, line 22 '

(10)

His

and setup

p. 185, line 9.)

tomb (nisidhigeham) ;

son this

Transl., p. 8,

for him.

ra

(9)

a

line 9

'

(No. 144

;

Roman

Text,

from bottom upwards.)

Taila-gauda made a grant for the god Siddesvara (Ep. Carnal., Vol. vn, Honnali (nisaddhi).'

fo rT

Had

'

di ti

'

monument

re

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

en t

'

style, is

is

in the

C

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.)

The lower

NlPYA(? RA)

portion, the end, the border as of a cloth (Mayamata, xxxm, 62, 63, 64.

NRITTA(-TYA)-MANDAPA

A

MANDAPA)

(see

detached

build-

A

preformed (Suprabheddgama, xxxi, 96, 98

NETRA

The

eye, a

side

where religious music under MANDAPA).

of a temple,

portico

;

or

see

porthole,

on al

is

in front

pavilion generally

I

(M., xxxiv, 38, etc.)

Ed uc

at

io

n

ing used as a music hall, a pavilion. Nripanam abhishekartharh mandapam nritta-mandapam

gable-window

(M., xxxiv, 396), a wing (M., xzxv, 101), face (M., xxxv, 257-260).

LALATA (M., xxxv

NETRA-K.OTA

(see

257-260).

di ti

as

KARNA-KUTA)

A

front

a

apartment,

side-

ra

Same

fo rT

hall, a corner-tower.

Pradhanavasa-netrastha-netra-kuta-dvayam nyayet

re

NETRA-BHADRA

(see

1

1

(Kamikagama, xxxv,

MUKHA-BHADRA)

A

75.)

side tabernacle, side

en t

porch, portico.

C

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

In connexion with staircases (M., xxx, 100, In connexion with streets :

vithir

etc.).

dvi-paksham syan madhya-rathyaika-pakshaka

In connexion with walls

(M.,

xi,

on al

Evam

io

a flank, a footpath.

at

side,

Ed uc

A

PAKSHA-(KA)

n


:

di ti

Anyat salam tu sarvesham chaika-pakshalayakshma-kramat Anyat salam tu sarvesham alayartham dvi-pakshakam xxxvi,

ra

(M.,

chatus-paksham iva chhadih (square roof),

Ya

350.)

I

I

fo rT

Compare

I

86-87.)

and

dvipaksha chatush-paksha shat-paksha ya nirmayate Ashta-paksham dasa-pakshaim salam manasya patnim agnir garte

re

I

(Atharva-Veda, ix,

en t

ivaâye

I

C

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

A

PAftKA

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., '

PANCHA-TALA The

Roman

Transl., p. 49.)

;

the five-storeyed

storey,

io

fifth

Text, p. 54

The

eight classes

fifth

(ibid.,

xxm,

1-55.)

attached

and

at

description of the

buildings.

(M.,

storey (M., xxxi, 48-51).

1-48

;

Ed uc

A

;

n

Vol. x, Kolar Taluq, no. 132

see

PANCHA-PRAKARA-HARMYA

under PRASADA).

The

various

di ti

on al

detached buildings constructed in the five courts into which the whole compound is divided (see PRAKARA).

PA&CHA-BHUMI storeyed buildings.

fo rT

PANCHA-SALA The

enclosure wall of the

fifth court.

(M., xxxi, 28, 29.)

re

I

(M., xxxi, 13,

C

PANCHAYATANA A

(Chalukyan Architecture, Arch.

cage,

etc.)

phallus with five heads. Imp.

PANJARA A

the five

fifth storey,

Tatah panchama-sala cha maha-maryadim iritam

en t

Cf.

PANCHA-TALA)

2.)

ra

(see

(M., xxxi,

The

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


Ed uc

at

io

n

PANJARA SALA.

fo rT

PAT Rfr -TOK.A h< A_

C

en t

re

PATRA

ra

di ti

on al

PATRA

-TL r^?

PLAN CAGE FOR PARROT.

PANJARA

PANJARA AS FALSE WINDOW.

www.cteindia.weebly.com 2SS


re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

PATTI


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,

Kdmikdgama, xxxv

;

75

see also

;

L,

92

1

1

io

Panjara-dvitayarh karyarh karna-kuta-samodayam Ibid,

178, etc.)

:

n

(2)

57

:

Ed uc

at

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

:

further

(See

:

ra

fo rT

little

1

1

also

'

called panjara.

(Dravidian Arch.,

Krishnaswami Aiyangar, p. 5.) His son Kangala-deva having

by Jouveau-Dubreuil,

wandered

abroad

C

'

(5)

NASIKA.)

I

etat

(See

en t

S.

windows

re

'

ed.

under

details

prakirtitam v. 79, under NASIKA.) Between the " karna-kuta " and " sala '' are found some kinds

(4)

of

1

I

Eka-nasikaya yuktarh panjararh samudahritam

Kuteshu nasika-yuktarh koshtham

1

1

on al

II

1

di ti

(3)

Panjarabhidhanarh syat Suprabheddgama, xxxi, 80

I

(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,


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

A

of

the pedestal (M., xni, 5, 49,

203.)

82, etc.;

at

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 the

Ed uc

see

I

XH,

io

n

(M.,

see

etc.;

the

lists

samyuktam kati-prante

fo rT

Kati-sutrarh tu

etc.).

:

ra

di ti

on al

.

sa-pattika 27 ; see

I

re

Athava ratna-pattam syat svarna-tatarika-karnayoh

Compare

'

en t

C

(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 I

Nirgamas tu punas tasya yavad vai sesha-pattika The neck (of the pedestal of an idol or phallus)

1

'

I

(M., LIV, 47.) '

Patta-dhara, crowns. special (M., LI, 3,

also 28, etc.)

(A/., L,

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

Karya-vikraya-sarhyuktam abdhi-tira-samasritam Des"antara-gata-janair nana-jatibhir anvitam

Pattanam

tat

I

1

Ed uc

1

at

(2)

io

n

(Rayapaserii-sutra-vyakhydnc, p. 206.)

samakhyatarh vaisyair adhyushitam

II

(Kamikdgama, xx,

8,

9.)

of mouldings under ADHISHTHANA (M., xiv, 297-304). part of the crown (M., L, in). lists

fo rT

ra

See the

'

'

at the time of his coronation. Nija-patta-bandha-samaye (Six Eastern Chalukya Grants, Bervada Plates of Ghalukya-Bhima I, line 129,

130.)

re

20, Ep. Ind., Vol. v, pp.

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.)

en t

Godavarl-tata-samipasthe '

C

A

of some mouldings.

di ti

in the addition or omission

on al

PATTA-BANDHA The coronation, a crown, a class of bases comprising four types which differ from one another in height and

'

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

pattam

I

lokanuragaya (crown)

291


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.)

broken

staff at the

details

under SALA.)

Ed uc

at

io

like a

(M., xxxv, 97

PATTANA

town (M., seaside

see

settlement.

on al

village inhabited mostly

by traders (Vaisyas). (At.,

ix,

456-457.)

x, 40).

commercial

ra

A A

new

;

a town, a commercial city

village,

river or sea, a

di ti

A

(i)

A

PATTANA)

(see

on the bank of a

i,

kind of hall, a two-storeyed mansion consisting

of a single row of building which look forehead part above the second storey.

n

PANDI-&ALA A

Part

city

:

fo rT

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

re

I

(M., x, 63-66.)

en t A

C

(it)

seaside commercial city inhabited mostly

(3)

by tradesmen.

(Kamikagama, xx, 8, 9

;

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


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

n

Three surrounded by

at

io

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,

pations,

With

.

pp.

25.)

19,

of people, practices of virtues, agreeable occustreams of the (nine) sentiments, pleasure gardens, separated

myriads

on al

'

(9)

.

Ed uc

.

lovers, splendid tanks, full lotus beds, gilded boats

for spring

festivals,

women

fair

as

fo rT

the lotus faces of beautiful

ra

di ti

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

moon (grama-nagara-

kheda-kharvvana-madamba-drona-mukha-pura-pattana-raya-dhani), whatever side one looked in these nine forms did the Kuntala should be noticed that the passage within brackets

en t

(It

'

re

shine.

is

on des"a

almost

C

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.,

L,

leaf

writing

190-191, 197, 199).

leaf-shaped

diadem, a moulding.

crown (M., XLIX, 16). moulding of the base (M., xiv, 345). turban

for

under BHUSHANA.

PATRA-PATTA A A A

(tula)

A

or

293


the

AN ENCYCLOPAEDIA OF

PATRA-KALPA

PATRA-KALPA A set of ornaments

(M.,

PATRA-TORANA An

arch

Bala-chandra-nibhaih

L, 3,

chitritam

patraiS

6

;

see

under BHUSHANA.)

under TORANA.)

details

(see

of kings and gods.

for the use

patra-toranam

II

(Kamikagama, LV, 64.)

PATRA-BANDHA A PRASTARA)

of

type

entablature

details

(see

.

Pada-vistara-samyuktam patra-bandham

iti

smritam

I

(Ibid.,

PATRA-VALLI-(KA) A moulding of the entablature

LIV, 6.)

(Af.,xvi,54),

n

of the arch (M., XLVI, 65). See more details under PRASTARA.

io

PATHA A

at

road, a street, a way, a path. Kautiliya-Artha-Sastra (measures of various paths): Antareshu dvi-hasta-vishkambharh parsVe chatur-gunayamam anu-

Ed uc

(i)

under

prakaram ashta-hastayatarh deva-patham karayet Dandantara dvi-dandantara va charyah (ashta-hasta-pramana-

on al

I

margah-Rayapaseni-sutra-vyakhyane, p. 13) karayet Bahir jauu-bhaginirh tri-Sula-prakara-kutavapata-kantaka-prati-

di ti

I

saradi-prishtha-tala-patra-gringataka-Sva-darhshtrarga-lopaskan-

ra

dana-padukambarisodapanakaih chhanna-patharh karayet

I

fo rT

(Chap, xxrv, p. 52-53.)

Trayah prachina raja-margas traya undlchina iti vastu-vibhagah Sa-dva-daa-dvaro yuktodaka-bhumich-chhanna-pathah I

re

I

en t

Chatur-dandanatra

rathya

rashtra-vivlta-pathah

raja-marga-drona-mukha-sthainya-

I

C

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-paû-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

(\\

Mdnasdra (Chap, vn,

The geometrical

:

while in the raised plan the elevation of a Encycl. of Arch., Glossary, p. 1240.)

io

;

shown.'-- (Gwilt

named PADA-VINYASA)

plans concerning the

are described in this

chapter

What

is

no mention of

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

ra

it is

There

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

fo rT

plot,

:

on al

the

building. are designated

They

1-267 rather than a building,

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

di ti

site

site,

1-267).

(lines

the perspective or the raised the

at

building

is

Ed uc

would

objects ^themselves

n

:

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,

en t

re

seventh, Sthandila,

C

;

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

(M. VH,

271).

Nagara-grama-durgadya(-der)

(2)

of 1,024 plots

is

Chandrakanta,

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. .

;

;

xvni

Plate

xxm,

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

by

reversa or reversed

i,

eye, a moulding, a also called ogee or

cyma

Gopinatha Rao

n).

io

lotus,

an

at

PADMA-(KA) A

T. A.

n

(Appendix A, pp. 1-45, diagrams facing pp.

cyma

recta, a

cyma

talon

figs.

The moulding,

called

Padma

on al

'

(i)

Ed uc

(see Gwilt, 869, 869), a site plan, a pavilion, a type of village, a class of buildings.

EntycL,

(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 is

composed

of two

opposite curves, meeting at the bisecting between the points of recess and projection,

ra

point of a line drawn

;

di ti

section

fo rT

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. is

re

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

en t

one facing

C

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.)

Ed uc

at

io

'

'

1

n

1

'

'

A

type of building which is planned like a lotus, has and one spire, and is (?) 8 cubits wide (sayanashâu)

class (71 (8)

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 seat

;

;

special type of pillar (M., xv, 38). It is based Its cornice or edge of (asana), plinth or lotus (cyma).

re

on a

:

di ti

A

;

;

ra

(6)

Matsya-Purana (Chap CCLXIX, vv. 30, 39, 49, 53 see under PRASADA; Bhavishya-Purdna (Chap, cxxx, v. 30 see under PRASADA).

fo rT

(5)

under PRASADA).

on al

(4) Brihat-Samhita (LVI, 23, see

only one storey

:

C

en t

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


is

divided

256 squares. (M.,

PADMA-PlTHA A

lotus-shaped pedestal for

VII, 21.)

an image. (M.,

297


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

at

tu

padma-bandharh

Ed uc

Tad-urdham eka-bhagarh

io

n

1

Dvi-bhaga pattika ya tu cka-bhagena yojanam Tad votes' chaika-bhagarh tu padma-bandham

PADMASANA A image

1 1

I

iti

smritam

1 1

posture in which carved, a throne, a type of base, a kind of pedestal.

PARATA

XLVII, 19).

pedestal for an image (M., LW, 36, etc.).

(corrupted into

a wall.

;

;

fo rT

A A lotus-shaped

di ti

lotus-shaped pedestal and base of a column (M., xv, 67 type of throne (M., XLV, 12 see under SIMHASANA).

an

ra

A

tata upari

on al

is

1

I

a lotus-like

lotus seat,

I

The

PARATA)

parapet, the coping of

re

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,

en t

'

C

14, Ind. Ant., Vol. x, p. 63, notes 51, 53.)

PARAMA-$ADHI(-YI)KA A divided into 81 equal squares

site

(see


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.


re

en t

C

di ti

ra

fo rT on al

I i Q

n

io

at

Ed uc


re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

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,

62, etc.)

ix,

n

(2) Kautiliya-Artha-fdstra (Chap, xxiv, pp. 51, 56, paras.

io

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-

at

tisro

Ed uc

Tasya parikhas

parivahah padma-grahatih Chatur-dandavakrishtam parikhayah shad-dandochchhritam avaruddharh tad-dviguna-vishkambham khatad vaprarh karayet

on al

I

I

I

ra

Ibid.,

:

di ti

Chap, xxv, para, Dvarani bahih parikhayah i

Durga-gambhira-parikham durgam anyair dur-asadam SarvataS cha maha-bhimah ita-toyaayah ûbhah

fo rT

(3)

1

re

Agadha graha-sampurnah parikha mina-sevitah

1

1 1

en t

(Ramqyaria,

Yantrais tair avakiryante parikhasu samantatah Parikha^ cha SataghnyaS cha yantrani vividhani cha

C

1

(5)

iii,

5,

13,

vi,

3,

17, 23.)

15.)

1

(Ibid., 1

1

(Ibid.,

Ep., Ind., Vol.

i,

1 1

Parikhabhih sapadmabhih sotpalabhir alamkritam (4) Parighe for Parikhe

I

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.)

Roman

Text,

PARIKHA-DURGA A

ditch-fort,

details see Sukraniti, etc.,

Malavalli Taluq,

;

a

Transl., p. 62.)

fort.

,

under DURGA.

io

For

126

last verse, p.

Cross-bars to fasten the door, a

beam

;

metal

at

PARIGHA(-GHA)

named

the fort

in

n

61,

'

(Ep. Carnal., Vol. in,

having a deep moat.'

Malavalli, no.

Malavalli namni

Durge subhima-parighe

(7)

Ed uc

bolts.

(Chhand. Upanishad, n, 24, 6, 10, 15.)

Dvau dvau parighau

elephants.'

to

Chap, xxxiv, p. 53). shut the door against

di ti

Dridha-vaddha-kapatarh maha-parighavanti cha

PARINAHA Vriti, Avriti

I

(Ramayana,

vi, 3,

n.)

ra

(2)

four beams hasti-parigha (Ibid., Chap, xxiv, p. 53.)

on al

Chatvaro

(Kautiliya-Artha-Sdstra,

Otherwise called Marga, Praves"a, Parinaha, Naha,

fo rT

(1)

and Nata,

the width, breadth, circumference, extent.

Griva-madhya-parinahas' chatur-virhs'atikangulah

re

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

C

en t

The width by The width by

5>

47.

See Mdnasdra

ckhakatika

mddhava

(in,

9,

15 (i

:

5i> 53

MrichKirdtdrjunlya (xii, 20, etc.) MdlatiMahdvira-charita etc.) 24, (vn, etc.) 13, etc.) Stana-parindha, etc.) ; Ratndvalt (n,

(LX, 68, etc.)

(in,

Sisupdla-vadha

PARIMANA

w. 43, 58 ; see also w. 41, 54. 55. 5 6 > 57. 59. 6 3> 66 . etc -)

(Matsya-Purana, Chap. CCLVIH,

;

;

;

;

;

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

io

n

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

Ed uc

at

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

on al

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

ra

di ti

It

so

assembly,

musicians,

en t

C (3)

dancing

67-101). Etc parivara vastoh pujanlya prayatnatah

(lines (2)

horses,

re

bed,

fo rT

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,

and cows,

girls,

etc.

I

(Mahdnirvana-Tantra, xin, 45.)

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

and doors

follows the description of their faces

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

n

(6)

io

shape in the Ceylon fashion (Iraparisu) (and) which weighed palaia.' 149

at

(Inscrip. of Rajaraja, no. 36, H.S.I.I., Vol. u, p.

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

Ed uc

'

The

'

Vol. n, no. 85, p. 407, last para.)

on al

(V. S.

temple.'

1. 1.,

gold presented until the twenty-ninth year (of the king's reign)

by the Lord

ra

di ti

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

fo rT

.

(parivara) which was probably in i, p. 410, note I.)

para,

bell-dish

re

One

'

in

en t

(8)

no.

(Ibid.,

.

86

.

' .

.

.

no.

(Ibid.,

88,

p.

412.)

C

,

enclosing hall.'

was presented ... to (the shrine of) Pillaiyar parivaralaya of the temple of the Lord Sri Raja.

Ganapatiyar rajesvaramudaiyar

the

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.)

n io

en t

re

fo rT

ra

di ti

on al

Ed uc

at

PARNA MANJUSHA.

C

PADMA PITHA.

r PADMA.



re

en t

C

di ti

ra

fo rT on al n

io

at

Ed uc

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

children

and the

the other

26,

(lines

latter

used

by

various parts of the two kinds of bedsteads are

described separately (lines 3-79). The materials of which bedsteads

are

seats (asana)

generally

n

(line 74).

of buildings.

io

class

and

kinds of timber

are various

PARVATA A

be

to

by the grown-up, the one being distinguished from

The measurement and

constructed

intended

is

size alone.

its

by

The former

28).

Vedika-jalakopeta parvatakritir uchyate

1

I

Ed uc

Kuta-sala-samayukta punah panjara-nasika

at

(paryanka)

1


under PRASADA.

PAXLANKA A

on al

See details

bedstead.

PAVANA A

ra

type of chariot.

(M.,

fo rT

A

PASTYA(A) home with

Mahdvagga, v,

;

di ti

(Ckullavagga, vi, 141

dwelling house, a

XLIII,

stall

for

113;

see

horses

10, 3.)

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

5

;

ix, 65,

xix, 55,

23

;

30

;

iv, i,

ii

;

vi, 49,

C

10, 40, 7, 164,

en t

re

its

x,

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


of pillars and their characteristic features. (See Suprabheddgama, under STAMBHA.)

PADA-JALA An ornament

for the foot. 33

(A/., L,

class

LI,

59

;

LIV, 17, etc.; see

of bases.

at

PADA-BANDHA A

;

n

five kinds

in

Ed uc

(M,, xiv, 10-32

A base

connexion with the bedstead

the

see

;

on al

I

(M., XLIV, 44.)

:

1

fo rT

ra

di ti

I

pattika prokta griva chaiva tryamsaka

1

Maha-pattika tr(i)yamâ ekam vajanam uchyate iti khyatarh sarva-karyeshu pujitam

I

1

re

1

Pada-bandham

en t

1

I

1

pattika viddhi (h) tr(i)yamâ chordhva-pattika

1

1

type of throne.

C

PADA-BANDHAKA A

of

:

Adhishthanasya chotsedham chatur-viihsati-bhajitam Dvi-baga pattika prokta hy-upanam chaika-bhagikam Shad-bhaga jagati prokta kumudam pancha-bhagikam

Ekamsa Ekamsa

lists


Pada-bandham adhishtahnam sarva-jatyarhakam bhavet Cj. Suprabheddgama (xxxi, 23-26)

BHUSHANA.)

io

The

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


PASHYA

column

pedestal (or base) of a

:

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

an

nest for the pigeon, L, 52,

of pavilions. ;

see

under MANDAPA.)

ornament, a part of the crown.

n

An

of furniture.

description of its architectural details, 224-227.)

(M., xxxiv, 154

PARS VA-PULI

article

karna-pura or patra

at

as

ear-ring.

Ed uc

PAR&VA-PURITA Same

io

(M., XLDC, 94.)

(M., XLIX, 96, 106, 115, 117-119, 141

A

;

14-26,302.)

cf. L,

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

di ti

on al

PALIKA(-I)

I

I

see also

33, 70, etc.;

lips

220, 44,

xxxvn,

cf.

fo rT


ra

(M., xv, 201-202;

4.0.)

:

Tr(i)yams"ardhadharayam chardha(m)-chandravad-akriti Tri-vaktram chottara pali cha( ? sa) ntarais" chaiva samyutam

re

I

;

en t

(M., XLV, 95-96

I

see also 89.)

PALIKA-STAMBHA A

C

kind of pillar.

PASUPATA A

(A/.,

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

n

1

io

(Matsya-Purana, Chap. CCLXIX, v. 8.)

at

Pratimayah pramanena karttavya pindika Subha Garbhas tu pindikardhena garbha-manas tu bhittayah I

Ed uc

(3)

1

1

(Agni-Purana, Chap. XLII, v.

on al

Arddha-bhagena garbhah syat pindika pada-vistarat Panch-bhaglkrite kshetre'ntar-bhage tu pindika

Garbho bhagena

vistirno

1

bhaga-dvayena pindika

1

1

m idhyamanta hy-udahrita

II

di ti

Pindika kona-vistirna

1

ra

Atah pararh pravakshyami pratimanarh tu pindikarh

Chap,

cv, v. 30

Chap. LX, v.

ibid.,

Dvau bhagau pratima

I

1

1

civ, vv. i, 5, 24.)

Chap,

v.

Chap. LV,

i, f.

also

i).

Manashtamena bhagena pratima

en t C

(4)

;

vistrita

(Ibid.,

follows a lengthy description (see

re

Then

fo rT

Dairghyena pratima tulya tad-arddhena tu

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

Â

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

PlTHA(-THIKA)

is

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

io

by the discuss of Vishnu.

at

pieces

n

fifty-one Pitha-sthanas are the sacred spots where the limbs of ParvatI, consort of Siva, fell after she had been cut to

As the

part of the phallus.

The

LDI,

named PITHA)

:

on al

Mdnasdra (Chap.

Ed uc

linga or phallus symbolically represents Siva, so the pitha does his consort Parvati. The pitha forms the yoni or the lower

must 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

ra

di ti

pitha

(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-

fo rT

Upapitha

C

en t

re

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


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.)

io

n

:

at

Tatha pancha-guno vapi pitha-vistara ishyate altar

L,

45

Ed uc

(Kdmikdgama,

The

:

see also

;

I

It

vv, 44, 47, 48, 50.)

Brahma(-me) va madhyame bhage pltham parikalpayet

on al

(Ibid.,

Panch-daSa-karantam tu kuryad avrita-mandapam pithika

di ti

Mandapena vina vapi tena manena

I

1

1

xxxv, 99, 100.)

(Ibid.,

ra

18.)

II

Vibhadra va sabhadra va kartavya malika budliaih '

II

xxvin,

projecting part of the basepi$hika a tree, etc. round the Buddhist ment, resembling railing

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,

C

en t

re

(4)

'

fo rT

Here

(5)

I

tri-bhagikritya tat

punah Bhaga-dvayena pratima Pithika bhagatah karya natinicha na chochchhrita II Pithika lakshanam vakshye yathavad anupurvaâh 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-patâs tu bhagatah I

Bhagabhyasam urdhva-pattafi cha Sesha-bhagena patîka 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

eODMiik*

Ed uc

h SECTION

at

io

MAMA

n

CEILING PLAN. MAHA TAULI

CEILINQ PLAN

en t

re

fo rT

ra

di ti

on al

PRACHChr;,",DANA.

C

PHALAKA POTRA.

PHANA. Pane SOS


^

,

-i

J C

PITHA.

Ed uc

at

io

n

BHADRA

PLAN.

on al

SRIVISALA.

C

en t

re

fo rT

ra

di ti

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

v.

15.)

XLII, v.

22.)

Chap. CCLXIX,

eka-hasta

dcvasya

Pancha-hastasya

(6)

When

I

tu plthika pedestal is one cubit.

its

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, '

ii,

137.)

p.

at

Vol

H.S.I.I.,

io

n

(7)

One

on a

pillar of the south enclosure,

p. 138.) '

(9)

The hero Madavan

of

Anda

.

.

.

got this

109

b

di ti

(Ep. Carnal., Vol. x, Kolar Taluq, no.

He had

para. 4,

on al

raja, no. 30,

Ed uc

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)

;

pldam

H.S.I. I.,

Vol. n,

(pedestal) made.'

Transl., p. 40.)

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)

;

fo rT

ra

'

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,

rubies.'

Ind.

Vol.

Ant., '

(Sanskrit

for the line 7,

en t

god with

re

entire gift of a Hiranya-garbha,

x, p.

103.)

He made

C

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

cities,

sixty-four yoga-pithas,

io

and asramas at the four points of the compass.'

n

'

(14)

(Ep.

Carnat., Vol.

at

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).

Ed uc

'

'

pp. 13, 16).

inscrip. of

on al

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,

Sundara-pandya,

di ti

(17) Purana-pithe pitharhtararh sa chaturarh vidhivad vidhaya

ra

(Chebrolu Inscrip. of Jaya, postscrip., Ep.

Ind.,

v. 19,

I

lines 7-8,

Vol. v, pp. 115-151.)

fo rT

a platform of stone (see Specimens of Jain Sculptures (18) Pithika Mathura, Plate in, Ep. Ind., Vol. n, p. 320).

from

PRITHIVI-DHARA A (2)

re

en t

(1)

type of oval building. Agni-Purdna (Chap, civ, vv. 19-20, see under PRASADA). Garuda-Purdna (Chap. XLVII, vv. 29-30 see under PRASADA).

C

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,

Chap, cxxx,

v. 40.)

Karkkotadhma-raksharh svapuram idam atho nirmarae Javrishakhyam named Javrisha, the protection of which was (Buddhist Stone inscrip. from Sravasti, lines 4-5, Ind-

Karkota.'

at

Ant., Vol.

to

xvn, pp. 62, 63.) krite dese

Jagapala puram jatarh

Ed uc

entrusted

io

then built this town of his

(5)

see also v. 93.)

n

(4) '

;

I

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.)

of

With myriads of people, practices of virtue, agreeable occupastreams of the

(nine) sentiments,

di ti

tions,

(Rajim inscrp.

on al

'

(6)

newly re-creat-

pleasure gardens, separated

ghatika-sthanas

ra

lovers, splendid tanks, full lotus beds, gilded boats for spring festivals,

centres),

(religious

the supports

of

dharmma and

fo rT

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

re

fair

en t

nine forms did the Kuntala-desa shine. pur Taluq, no. 197; Transl., p. '

(7)

The

Balligave.' last

two

124, para.

(Ep. Carnal., Vol. vn, Shikar-

I, last

seven lines;

Roman

Text,

C

p. 214, line

'

27

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

quarters

(here

3"


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.

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

n

PURUSHAjsjJALI foundations

the

at

io

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

Chihnam

I

:

di ti

fo rT

Puta-bhedakas" cha tasmin pashano bhavati toyam adhah

Commentary

re

en t

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

I

Ed uc .

ra

pitah

.

on al

.

(Brihat-Samhita,

with uplifted arms, that is, 120 ahgulas LIV, 7, J.R.A.S., N. S., Vol. vi, p. 301'

C

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-


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)

n

'>

PUSHPA-PATTA A

io

;

a diadem. (M., LXIX,

6

;

see details

under BHUSHANA.)

of bases.

class

on al

PUSHPA-PUSHKALA A

1

Ed uc

at

flower plate, a turban, a head-gear, a tiara,

see the lists of 97-112 mouldings under ADHISHTHANA.)

(M., xiv,

di ti

;

PUSHPA-BANDHA A

window of flower-band

ra

type of

fo rT

(M., XXXHI, 584

PUSHPA-BANDHANA-MANDAPA A

;

see

design. under VATAYANA.)

detached building where

flowers are garlanded for the worship of the deity.

en t

re

Pushpa-danta-pade chaiva pushpa-bandhana-mandapam

(M., xxxii, 42.)

C

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

I

;

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.

or

flat

vase, a moulding. part of the back wall of each recess between the

io

The panel

at

'

n

PURANA-KAMBA A

is ornamented projecting tower-like compartments, very florid object called purana-kambam.'

Ed uc

by a vase or some

(Gangai-Kondo Puram Temple,

PORTA A well,

(2)

di ti

Purtam vaprkupa-tadakadikam \vell, and pond, etc.

para

4.)

(the word) purta implies the step-

Vapl-kupa-tadakadi-devatayatanani cha

ra

well,

ix, p. 118,

Ind. Ant.,

c. 2,

a pond, a step-well.

I

fo rT

(1)

on al

Vol.

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

Vapi-kupa-tadakadi-purtam ayatanani cha Svarga-sthitirh sada kuryat tada tat purta-sajnitam I

C

(3)

en t

purta.'

1

re

The

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

A

PADA-VINYASA)

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 (ibid.,

LV, 69

;

see

.

io

STAMBHA.)

at

moulding, an architectural object resembling the snout

Ed uc

POTRA A

of a hog or a ploughshare. In connexion with joinery

:

(M., XVH, 143.)

which

height

and compare

is

of the two-storeyed buildings (M., xx, 93, 19-25

re

PRASADA).

of

(L,

24, 28)

the

forearm, a hall, a

;

room near

see

,

under

the gate,

en t

PRAKOSHTHA(KA) The

i\

Kamikagama

fo rT

class

A

UTSEDHA)

I

di ti

(see

breadth, a class of buildings. See Mdnasdra (xxxv, 22-26) under ADBHUTA.

ra

PAUSHTIKA

on al

Karkatanghrivat kritva potra-nasanghrim vesayet

A

under

see

n

Pottika

A

I

C

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

tio

n

I

120-121,

xvi,

143-144

;

I

proposed

uc a

(A/.,

the

description, ibid., 121-142, 145-168, 170-204.)

materials of which they arc constructed

:

Ed

The

Kevalam cheshtaka-harmye daru-prachchhadananvitam

From

this

The

it

apears that the term

tio

passage especially, indicates the roof of a building.

I

I

na l

Sila-harmyc sila-taulim kuryat tat tad viseshatah

'

'

prachchhadana

133-134.)

(Ibid.,

drip or channel-like part of the pedestal of the linga (phallus), a gutter, a canal, a patter, a bracket.

rT

ra di

PRANALA(KA)

(1) Vari-nirgamanartham tu tatra karyah pranalakah Therein (in the pedestal) should be made the pranala (gutter) as an out-

fo

water.

re

let for

I

en t

(Matsya-Purana, Chap.

Ardhangula-bhruvo-raji pranala-sadrisi sama

Chap.

square or round platter or bracket to which a spout

ornamental purposes

v.

6.)

I

(Ibid.,

C (2)

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

n

1 1

class

from one another

of bases comprising four types which

and

in height

uc a

PRATI-KRAMA A differ

tio

(fCamikdgama, LIV, 44, 46.)

in the addition or omission of

Ed

some mouldings.

under ADHISHTHANA.)

see

;

na l

(M., xiv, 44-64

tio

Vedikeyarh tu samanya kuttimanam prakirtita Pratikramasya chotsedhe chatur-virhs'ati vibhajite

ra di

(Vastu-vidyS, ed.

I

II

Ganapati

rT

Pratikramam viseshena kartavyam pada-bandhavat ste

the details under PADA-BANDHA.)

moulding of the base.

re

PRATI-BANDHA A

;

en t

(M., xiv, 324

the

see

lists

of mouldings under ADHISHTHANA.)

of the three classes of the pedestals, the

C

PRATI-BHADRA One

;

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

fo


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

;

see

under ADHISHTHANA). 31 ?


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

n

(4.)

uc a

tio

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

na l

I

2.)

I

Ed

(5)

i.)

1

1

1

I

ra di

tio

Madhyottama-kanishtha tu karya vittanusaratah II Dvarochchhrayasya yan-manam ashtadha tat tu karayet Bhagam ekarh tatas tyaktva pariîshtam tu yad bhavet II Bhaga-dvayena pratima tri-bhaglkritya tat punah Pithika bhagatah karya nati nicha nachochchhrita

I

rT

I

1

1

fo

(Matsya-Purdna, Chap. CCLVIII, vv. 22-25.)

the Chamkirajena Supar^va-pratima uttama excellent image of Suparsva made by Chamkiraja adorns there.' (Honwad

Vinirmmita

inscrip.

'

rajate

en t

re

(6)

of Somesvara

line

I,

32, Ind.

Ant., Vol.

xix,

273.)

p.

C

(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 Nakaloka (Indra) to look on it is

unequal

fully

;

upon or

this

being

it

so,

or the Lord of Serpents (Adis"esha) to priase it, who else are able to draw the likeness, to look

praise the unequalled

wondrous beauty.'

form of the southern Kukkutesa with

(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

:

Ed

uc a

tio

n

,

na l

;

of the pura Soma-dandadhipa set and Bayiralesvara, with Revalesvara, .

.

.

ra di

middle,

And he set up Bhava named

and Lakshml-Nrisimha f.

;

Vol.

Roman

xi,

rT

Carnal.,

Davanagere Taluq,

no.

36

Transl., p.

;

46, para. 3,

Text, pp. 76, 77).

PRATIMA-MANDAPA A

re

detached building used as a temple, a

en t

pavilion.

Yoga-Narayana Somanathapura.

Nrisirhhesvara,

in the middle of the Kaverl at

fo

(Ep. line 7

up Bijjalesvara, PerggadesVara, Somanatha Siva-linga in the

tio

east

C

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

;

see

3*9


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.

tio

n

;

Satra-prapa-pra(ti)sVaya-vrishotsargga vapi-kupa tadarama-devalafor the purpose of (supplying) requisite yadi-karanopakaranartham iha i

-

-

uc a

1

)

'

Ed

materials for preparing alms-house (feeding establishment), a place for distributing water gratis to travellers, a shelter-house for travellers, a

na l

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

ra di

tio

(see

-

Chatu-6alavasadha-prati$raya-pradena arama-tadaga-udapana karena has given the shelter of quadrangular rest-houses, has made (2)

rT

'

(Nasik Cave

and gardens.' Vol. vni, pp. 78, 79.)

inscrip. no.

10, line 2, Ep.

Ind.,

fo

wells, tanks,

1

en t

re

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 fed without charge.'

C

and are (3)

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,

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

kritva pratoli-

tio

I

sapidhana-

I

n

(2)

ii,

uc a

(Kautillya-Artha-sastra,

Chap. xxiV

5

paras. 8, 9, 15, pp. 52, 53.)

25, 21

:

Tarn cha ttitam

(4)

:

Parikhas chaiva kauravya pratolir nishkutani cha

Rdmayana (Cock) II, 80,

V,

3,

1

8

17

:

Pratolivara-Sobhitah

:

(Lankam)

:

.

.

I

.

.

.

(niveSah)

|

pandurabhih pratolibhir uchchabhir

.

rT

abhisamvritam

I

Gopuratta-pratolishu charyasu vividhasu cha and its new Indian derivatives.' (J.R.A.S.,

:

I

fo

VI, 75, 6

sugha-

tio

XII, 69, 55

sala-chayam srlmat sampratoli

I

na l

XIV,

:

Ed

Mahdbhdrata (Cock)

ra di

(3)

(5) See The Sanskrit Pratoli Vol. xix, July, 1906.) .

.

en t

abihramarh muni-vasatirh .svargga-sopanarupam kaubera-chchhanda-bimbam sphatika-marhdala-bhasa-gaurarh

Kritva

.

.

.

.

C

(6)

re

'

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.

(Bilsad stone pillar inscrip. I.,

no.

321


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

;

n

Ep. Ind., Vol.

kritina

Deva-sri-s"asi-bhushanasya

(9)

2,

pp. 60, 61.)

ix,

karitarh

devalayarh

tio

(Benares inscrip. of Pantha, v.

streets.'

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.'

uc a

I

(Kanker

inscrip.

of Bhanudeva, v.

3.)

7,

Ep. Ind., Vol.

PRATYA&GA A

minor limb,

tio

ra di

(see

pp. 127, 128, 125,

a moulding of the entablature.

(Kdmikagama, LTV, 2

PRATYOHA

ix,

na l

note

Ed

'

UHA)

Lit.

an

obstacle,

;

see

under PRASTARA.)

hence any architec-

moulding or member separating two others, a supporting member, a moulding, an architectural object.

fo

rT

tural

The throne

for the preliminary coronation.

Prathamabhisheka-yogyarh syat prathamasanam eva cha

en t

Cf.

re

PRATHAMASANA

I

C

(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., '

:

Series, Vol. xxxni, p. 87.)

PRADAKSHINA-SOPANA A surrounding

flight ;

under SOPANA.)

see

uc a

(Kautillya-Arlha-sdstra

of steps.

n

Imp.

tio

New

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

Ed

;

prapathas (R.-V., vra,

30).

shed on the roadside for accommodatis distributed, a

tio

PRAPA (PRAPAfrGA) A

i,

na l

;

for his

with water, a place where water ing cistern, a tank, a building. given (gratis).

Amarakosha

Diet.}

(n, 5, 7)

A

Panlya-dana-griha

:

:

Avesanarh

silpi-sala

re

(2)

rT

Kulluka (M. W.

fo

(1)

ra di

travellers

synonym of harmya (edifice) (M., n, In connexion with the staircase :

prapa pamya-salika

is

I

7).

en t

(3)

a house where water

Prapange pramukhe bhadre sopanarh purva-parsvayoh

C

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

87.)

I

(Kamikagama,

L, 88.)

'

hall for the supply of water.' mandapam (Inscrip. of the Chandella Viravarman, v. 19, Ep. Ind., Vol. i, pp. 328, 330.)

n

Prapayas cha

II

Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan

Ed

(6)

uc a

tio

(5)

9.)

:

I

Sauvarna-dhvaja-toranapana-pura-grama-prapa-mamdapan Vyadhapayad ayarh Chaulukya-chudamanih Here (shed) does not, evidently, mean a tank, which idea Prapa I

na l

'

'

I

(7) See

ra di

tio

expressed by the words vapi, kupa, and tadaga. Prasasti, V. 10, Ep. Ind., Vol. u, p. 440.)

Rahganath

inscrip. of

Sundarapandya

(Sridhara's Devapattana

(v.

15,

Ep.

Ind.,

Vol. in,

rT

pp. 13. l6 -)

is

Satra-prapa-prasraya-vrishotsargga-vapi-kupa-tadarama-devala-yadi-

(8)

fo

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

en t

re

I

C

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.' (Ep. Ind., Vol. H, p. 274,

Dr. Biihler.

i.)

PRABH AVA A type of rectangular building. (Agni-Purana, Chap, civ, vv. 16-17

PRABHAtfJANA A

see

under PRASADA.)

type of chariot. (M.,

a

XLIII,

see

112;

under RATHA.)

city.

kumbham maha-mandapam

tio

Sailam s"obhita-ata-kumbha-vilasat

n

PRABHA A canopy,

;

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

uc a

'

I

na l

Ed

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

tio

The measurement of breadth.

(M., LV, 3-6

ra di

II

(Suprabheddgama,

xxxiv, 36.)

the lines

re

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

:

C

(2)

under MANA.)

drawn through an out the perpendicular and the horizontal or

en t

(1)

find

see

manonmana-pramanatah

The plumb-lines

image in order to measurement of the

;

fo

PRALAMBA

ity-uktaih

rT

Pramanam dirgham

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 horizontoes (lines 32-40). (feet) and two largest

between the different parts of the body are described in detail The variations of these measurements are consi(lines 41-78, 99-139). with to dered regard postures (lines 1-96), namely, erect (sthanaka), sitting (asana) and recumbent (Sayana), and poses (lines 98-140), called abhahga, sama-bhanga, ati-bhanga and tri-bhahga (see under BHANGA).

uc a

tio

n

tal distances

ing

Ed

These plumb-lines are stated to be drawn only :

for the

purpose of measur-

na l

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

.

(3)

treatise.

.

.

rT

a

:

was the first who contrived scenery, upon which he Agatharcus This led Democritus and Anaxagarus, who wrote thereon,

'

left

ra di

tio

The

to explain how the points of sight as in nature, to a centre, so that by

'

C

en t

re

fo

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
masons, carpenters (sculptors), etc., to

is

an instrument used by

draw perpendiculars or

326


verticals, for

n tio uc a Ed na l tio ra di rT fo re en t C

PRALAMBA www.cteindia.weebly.com

Pagi


re

en t

C

na l

tio

ra di

rT

fo

n

tio

uc a

Ed

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,

is

level,

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

uc a

tio

n

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 sides in the

Ed

its

it

from accident, and has

its

upper end kerfed in three places,

na l

to secure

tio

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

fo

rT

ra di

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

case

may

require,

freely,

re

plummet hangs

en t

the

till

C

if

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 (Gwilt, Encycl., p. 1217.)

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

The square plank

column with 32 rectangular

:

madhye Pralinakah

Pralinakam atah srinu ...

(Brihat-Samhitd, Lin, 28).

II

327


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

PRASTARA The

entablature.

It

1

comprises the parts of an is divided into three parts

The assemblage

order above a column.

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

:

I

n

Prastaram pada-di(-ai)rghyasya chardha-manena karayet

tio

Nyunam vapi chadhikam vapi prastaraih karayed budhah II

uc a

Prastarokta-pramanam tu sarvaih kanthe vidhiyate

1 1

(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.

Ed

:

na l

:

cornice.

The mouldings

ra di

tio

I

rT

of the prastara (entablature) Uttaram vajanam chaiva mushti-bandham mrinalikam :

II

fo

en t

re

Dandika valaya-kshudra-gopanachchhadanam cha II Alihgantarita chaiva pratyangam vajanam kramat II Their comparative measurement

(i)

(2)

:

I

C

Tryam&ikamsam-panchaika-dvi-tri-bhagaika-bhagaih Tri-bhagenaika-bhagena upary-upari yojatet II (3) Three kinds of the prastara :

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 xin,

I

26

set also

;

28.)

tio

(3)

tat ah srinu

n

(Ibid.,

... prastaram cha

uc a

Prastarotsedha-manam tu pancha-bhaga-vibhajitam Tri-bhagam uttarotsedham padonottara-vajanam

II

I

Ed

Eka-bhagarh tad-urdhve tu kartavya padma-pattika Gaja-sYenlrh mriga-srenlm prastaranteshu yojayet Evam prastaram akhyatam talam prati viseshatah

1

1

I

na l

1 1

tio

(Suprabhedagama, xxxi, 72, see also vv. 68-71, under

Mdnasdra (Chap, xvi, named PRASTARA)

ra di

(4)

The

74

;

:

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

rT

is

73,

TORANA.)

.

;

en t

These

,

re

fo

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). six

kinds

of entablatures

are

respectively

employed in the

C

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. (1)

Uttara

(2)

kampa

59-71)

:

..

(fillet) (fillet)

abja (cyma)

vajana (fillet) mushti-bandha (band)

(9)

kandhara (dado)

.

.

.

..

3

.

.

.

.

i

.

.

. .

i

.

.

. .

9

.

.

.

.

.

.

. .

.

. .

2|

.

.

.

J

.

. .

2

..

..

..

..

..

..

. .

.

.

ra di

.

kshepana (projection)

padma (cyma)

rT

(10)

(11)

(12) vajana

fo

(fillet)

adhara (base)

re

(13)

.

.

tio

(8)

vajana (fillet) mrinalika (stalk)

(7)

.

na l

(4) (5)

.

..

Ed

(3) valabhi (roof, capital)

(6)

n

lines

(ibid.,

tio

31 parts

uc a

II.

en t

(14) patta (band) (15) vajana

(fillet)

(band)

C

(16) mushti-bandha (17) vajana (fillet) (18)

mahavajana

(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)

2 i

.

;

2

..

..

..

. .

.

.

.

.

i

. .

.

.

.

.

3

. .

.

.

.

.

i

.

.

.

.

.

.

2

.

.

.

.

.

.

i

33


(?

2)

THE. E.MTAbL*TURtS MOTL-THt TOTAL OF THE ).

FOR EACH

WHAT

IS

AMD TWRD

GIVEN IMTHEiTLXT 1

lAAGtS

AMD LEXXSK/' VHS

SUIT OTHE.RS

Ed

uc a

tio

n

DO HOT

NUM6E.S OF PARTS

TYPE. VAK1E.S ?

fo re

C

en t

z

rT

ra di

tio

na l

F!



re

en t

C

na l

tio

ra di

rT

fo

n

tio

uc a

Ed

PRASTARA

HINDU ARCHITECTURE 78-88)

:

kampa

(3)

valabhT (roof, capital)

(4)

vajana

(5)

kapota (corona)

(fillet)

(8) (9)

prati-vajana (cavetto)

(drip)

(12) griha (?griva, (13)

vajana

(14)

kapota (corona)

kulikanghri

.

.

.

5

.. .

.

.. ..

..

..

..

.

.. ..

i

.

2

.

J

.

..

..

..

..

..

..

..

..

ra di ;

.

rT

.

.

2

.

(5)

kapota (corona) as before

fo

. .

.

.

re

;

en t

C

5

;

as before (7) kshudra-nasl (small nose or vestibule) the rest as before.

decorated

i

I

..

(6)

is

I

|

..

(main pillar) (this part is furnished with nataka) nataka (theatre, quadrangular part) as before

This entablature

i

..4

na l

:

i

..2 ..2

..

..

(base) as before ; (2) gopana (beam) as before (fillet)

.

.

.

..

tio

(4)

i

.

..

dado)

(18) prastara.(ovolo) V. 30 parts (ibid., lines 89-99)

vajana

.

..

(drip)

(3)

.

..

(fillet)

Mula

.

.

(fillet)

(1)

.

..

(fillet)

nimna

2

.

..

(fillet)

(17)

.

.

.

kandhara (dado)

antarita

.

.

.

.

nimna

(15) alinga

i

.

..

alinga (fillet) (7) antarita (fillet)

(16)

.

.

.

(6)

(n) vajana

.

.

(fillet)

3

.

.

.

n

(fillet)

(2)

(10)

..

..

tio

(ibid., lines

uc a

30 parts (1) Uttara

Ed

IV.

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)

.

.

3 . .

i

.

. .

i

. .

.

.

. .

i

.

.

. .

. .

2

. .

. .

.

.

i

.

. .

.

.

3

.

33

.

.

.

.

. .

(fillet)

.

.

.

.

(stalk)

:

.

.

.

. .

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)

;

their

may be

tio

n

of them, or their projections projections are half or one-fourth one, two, or three dandas.

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

Ed

uc a

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

na l

of temples.

tio

;

26 parts

(ibid., lines

rT

VIII.

ra di

mushti-bandhas (fishbands) are rest should be as before.

117

part)

34 parts Nataka should be

en t

re

IX.

fo

(i) Kapota'_ (corona) 8 more ; the rest

these

C

With lature

may

(ibid., lines

made f.)

straight with the columns.

The

:

8 more (a) nataka (theatre, quadrangular should be as before. ;

117-119)

:

(theatre, quadrangular part) as before.

be compared the

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

Tuscan (Gwilt,

Encycl., Art. 2555)

round

f (i) Quarter

Cymtinum

S

and parts 6

Bed mould-

Conge" or cavetto

(5)

Corona

(6)

Drip

(7)

i

from

Sinking corona or hollow

1

Ed

Fillet or listel

(fa)

Conge

tio

j

Fascia

(u)

or

i

cavetto

i

9i

2

2

8 is

9*

taken on that member, and that

fo

rT

^(13) Fascia The height of the drip under the corona of the hollow in the height of the fillet.

4 14

small

ra di

fFillet j

Ogee

na l

(9)

(10) Frieze

Frieze, 1 4 parts

22^ 5

(8) Fillet

12 parts

27i

i

(4)

ing

Architrave,

4

Asragal

I (3) Fillet

<

parts

module

n

Cornice,

1

(2)

parts of a

:

tio

I.

^^ ^

uc a

'

Encycl., Art. 2564,

re

Doric (Gwilt,

C

Entablature

(1) Fillet

(2)

2562)

:

Height in parts of a module

en t

II.

of corona

1

8 parts

j

Cavetto

26

(4)

Cyma

(5)

Corona

(6)

Drip

reversa

I*

4

(7) Fillet (8)

module

34

(3) Fillet

Cornice,

parts of a

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

C

en t

re

fo

rT

ra di

tio

na l

Ed

uc a

tio

n

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)

.

12 -40

of

II -20

I4-40

.

Ionic (Gwilt, Encyd., Art. 2573, 2581)

(2)

I2-50

-OO

O-20

4) Architrave below guttae

(1) Fillet

1-50 I

:

4

cyma

Cyma recta

(3) Fillet (4)

Cyma

(5)

Corona

parts

(7)

Ovolo

(8)

Astragal

n tio

Cornice, 34

of the drip

uc a

(6) Fillet

reversa

i

..

fillet

o)Dentel

na l

(n)Dentels (12) Fillet

reversa

ra di

Cyma

(13)

Frieze, 27 parts (14) Frieze

1

rT

(15) Listel (

tio

(

Ed

(9) Fillet

Cyma reversa

6)

fo

(17) First fascia

Second

(19)

Third

fascia

re

(18)

fascia

en t

Architrave,

22^ parts

on the side Capital on the coussinet or

C

(20) Capital (21)

Grecian Ionic

cushion

(in the

16

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


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

IV. Corinthian (Gwilt, Encycl., Art. 2583) (1) Fillet of cornice (2)

17-880

27 -60O

17 -160

:

I

53

5

53

(3) Fillet

(5)

Corona

(6)

Cyma

(7)

Modillion

( 8 j FiUet

P arts

reversa.

.

6~

rem ainder of modil( ..

na

Ovolo Bead

tio

(9)

ca

5

lion band)

(10)

tio

.

n

(4)

.

du

^

48

Cyma reversa

lE

Cornice, 38

di

(11) Fillet

ra

(12) Dentils

rT

(13) Fillet

Hollow or cong6

mod.,

C

en

parts

(15) Frieze

tre

Frieze,

fo

(14) i

(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

-20O

recta

Cyma

3

20 -100

I

(^(14) Fascia

-920

2-520

I2 )

recta

.

it

5

.

(3) Fillet

i

336


45*

46

PRAKARA

HINDU ARCHITECTURE oi

(4)

Cyma reversa

parts

i

5

.

.

i

.

.

i

..

4

33^ 28

Cyma reversa.

43!

.

.

43 41

\

33

..

(11) Dentils

..

..

7!

29

(12) Fillet

.

.

.

.

i

23

.

.

.

.

5

.

.

.

.

i

.

.

.

.

i

..

..

f

..

..

17^

15

.

.

.

.

22

(19) Fillet

.

.

.

.

(20) Cavetto

.

.

.

.

.

.

..

(23) First fascia

..

(24)

Cyma reversa

(25)

Second

.

.

n tio

16^

7

2oJ 20

3

.

From

15

22

i

2

17!

..

i

..

10

..

2

i6f

.

8

15

.

17

rT

fascia

ra

(22)

.

di

Ovolo Bead

(21)

17

ca

Apophyge

22

lE

(18)

na

Conge

tio

Ovolo Bead

(17) Upright face

[_

.

o) Fillet of the dentils

(16)

27 parts

.

.

(15) Fillet

Architrave,

.

Cyma under corona

(14)

parts

.

(7)

(13)

Frieze, 27

.

du

(

.

(6)

(9)

2

.

i

(8) Fillet

Cornice, 36^

a module

.

Bead Corona

(5)

Projection from the axis of column in parts of a module

Height in parts

Entablature

fo

the details given above it would be clear that both the Indian European entablatures have much similarity in their composition

Indian

a

striking

Raz,

contrast

but the richness of the former

may

'

the massiveness of the the

to

be said

to

lightness of the

be unrivalled.'

C

;

(Ess. Arch,

offers

en

entablature

Grecian

Ram

In the words of

tre

relative proportion.

and and

of Hind.,

p. 40, also see Plate xix, figs. 1-4.)

PRASTIRYA Same

as

PRASTARA or entablature. (A/., xvi,

PRAVESA The

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.

mound

support-

But in the Mdnasdra

337


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, Mdnasdra (Chap, xxxi, named Prakara, 1-134)

(i)

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

tio

n

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).

ca

name

lE

du

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

number

of buildings (salas)

na

Kamya classes (lines 3-5). Under each class a are exhaustively described (lines 6-86).

A

di

tio

further classification (Sarhkirna, etc.) is made with regard to materials of which these prakara-buildings are made (line 103). The materials are

same

namely

ra

as in other cases,

brick

stone,

and wood

102).

(line

The

and

fo

fourth

rT

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 fifth

courts are

;

called respectively dvara-sala,

tre

dvara-harmya, and maha-gopura

xxxm,

Suprabheddoama (Chap, xxxi, 115-128) Five courts or enclosure buildings

C

en

(2)

(ibid.,

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-daâ-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

1 1

I

ca

tio

n

I

Prakara-bhittim asritya kuryad avrita-mandapam

II

du

Tad-bahye'bhyantare vapi malika-manddaparh hi va Pancha-prakaram evarh syat privaralayam srinu

lE

1

Then

na

f.).

di

RALAYA).

18,

13,

rT

:

tre

v.


24)

II

(14)

C

nishkas(s)as tasya chochyate

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)

Vol.

I,

prasadan

:

Prag-grivah pancha-bhagcna Karayet sushiram tadvat prakarasya tri-bhagatah (5)

dikshu

uparishtat sarhvyadhaih prakaraih parighnanti

en

(4)

abhito

fo

Samsthite madhyame'hany-ahavanlyam viminvanti II (13)

Tan

14, Bibliotheca Indica,

ra

Sdnkfydyana-Srauta-sutra (xvi,

(3)

p. 210)

1

follows the description of the temples of the attendant deities (v. These buildings are built in the five prakaras (see under PARIVA-

tio

129

I

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

gopuraih karayet

kritva prato-

I

tri-bhaga-godha

avasthapya

mukharh

I

n

Prakara-samam

I

tio

Prakara-madhyc kritva vapirh puslikarimm

.

.

.

Rdmayana (Cock) Sauvarnas cha maharhs tasyah prakaro dushpradharVI. 3,14 shanah

ca

:

(9)

du

:

lE

I

29

:

55, 32

:

Lanka atta-prakara-torana

:

(purlm)

5,

3,

6

Dridha-prakara-parikharh

III.

48, ii

:

V,

fo 34

;

vi, 25,

C (10)

169

;

33

;

24

sata-kumbhena mahata prakarenabhisarh-

.

Kanchancnavritarh prakarena mahapurim

v, 4, 2

vi, 25,

;

46

vn, 3, 27

Mahdbhdrata

.

.

;

;

25

;

39

;

v, 55,

vi, 26, 12

10

vi, 51, 8,

vii, 5,

;

v, 37,

;

30

;

;

32

vi, 60,

15

;

.

:

Prakarena cha sampannam

80, 30

Prakarattalakeshu

90

n

;

vi, 65,

29

vi, 3,

32

vi, 31, 56,

98

53

;

;

vi, 66,

i

;

;

;

:

:

III. 200,

vi, 3,

vn, 38, 37.

207, 30

60, 38

;

vi, 38, 10,

I.

1

I

prakarena-parikshipta

.

II.

III.

I

I

vi, 42, 15, 21, 22, 45, vi, 67,

lankam

.

.

I

(Lanka-nama purl subha) pandurena

en

vi, 24,

tre

also v, 3, 7,

.

1 1

I

2. 16:

rT

31, 27

:

ra

vritarh

IV.

See

.

.

di

V. V.

tio

VII.

na

Mani-vidruma-vaidurya-mukta-virachitantarah

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.,

m,

This Grantha inscrip.

is

n

p. 72.) '

(13)

engraved on the north wall of the first Madras.' (Ep.

tio

Vol.

Vol. '

(14)

v,

p.

106.)

Ranganatha

inscrip. of Ravivarman of Kerala

'

du

Ind.,

ca

prakara of the AdipurisVara temple at Tiruvattiyur near is

on the north wall

na

lE

of the second prakara of the temple of Ranganatha (Vishnu) on the island of Srirarigam.' (Ep. Ind., Vol. iv, p. 148.)

an enclosure of stone for the temples of Kunti Madhava

(15) Silaprakara

second Draksharama

di

tio

and BhimesVara. (Pithapuram Pillar inscrip. line n, Pillar inscrip., lines 13-14, Ep. Ind., Vol. iv, pp. 329, 330.)

ra

Durggarh cha Tamra-nagarim abhito vyadhatta Prakaram umnatain udarhchita-gopurarh sah he surrounded the Tamra nagari with a wall surmounted by towers.' (Chebrolu inscrip. of Jaya, v. 27, (16)

fo

rT

'

Ep. Ind., Vol. v, pp. 147, 149.)

'

tre

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

C

en

(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

II, v. 19,

Ep. Ind., Vol.

341


vi, p. 150.)

AN ENCYCLOPAEDIA OF

PRAKARA Iha

(21)

mmahopala-nirmmita jala-dharagatir

prakara-srir

vijayina

aty-aty-unna niroddhum ivoddhata (Two BhuvanesVara I

vara,

v.

24,

Ind.,

Ep.

Gopura-prakarotsava-mamtapair upachitam

(22)

(Kondavidu line

prapa(bha)m

inscrip.

I

of Krishnaraya,

Ep. Ind., Vol.

18,

vi,

v.

27,

pp. 237, 231, 232.)

para-malikavilasitam muktamaylrh cha

Mahamandapam prakaram

(23)

1

A, of SvapneSVol. vi, p. 202.)

inscrip. no.

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.

tio

n

(24)

Vol.

inscrip. of

ca

(The Chahamanas of Naddula, no. C, Sundha Hill v. 38,

Chachigadeva,

pp. 77, 73.) Ep. encircled by Paritah pranavakara-pra(pra)kara-valayarhchitam of a wall of the shape of the pranava.' (Krishnapuram plates Sadasivaraya, ix,

'

du

Ind.,

Vol.

pp. 336, 341.)

re,

na

v, 55, Ep.Ind.,

lE

(25)

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

tio

'

p. 127.)

This inscription (no. 85, H.S.I.I., Vol. ra)

'

is

engraved on the

rT

(27)

.

di

i,

ra

Vol.

.

District.'

(H.S.I.I.,

tre

Arcot

fo

right of the entrance into the east wall of the prakara of the VamanapurlsVara temple at Tirumanikuli in the Guddalore Taluka of the South

Vol. in, p. 209.)

C

en

(28) '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.,

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


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

n

Katha-sarit-sagara (Pet. Diet.)

15, (2)

89

:

:

:

Nripasthana-pranganam Sa prangana-dvara-kavatanta-vilambini

HitopadeSa

I

du

59, 26

tio

(see

(2, 3, etc.)

:

I

Tasya prangane gardhabho baddhas

lE

(1)

auxiliary shed to a sacrificial room. ANGANA) The court, the courtyard.

ca

PRAftGANA

:

Pranganad bahih

tishthati

I

I

tio

(3) Rajatarangini (i, 247, etc.)

na

kukkuras" chopavishtah

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

ra

di

(4) See the first PraSasti of Baijnath, v, 34,

I

ANGULA) thumb and

The

distance

between the

tre

en

C

of the

forefinger.

Daatva(? a)ngula-parvani pradeSa

iti

sarhjnitah

II

Angushthasya pradesinya vyasa-(h) pradeSa uchyate

(2)

tips

fo

(see

fully-stretched (1)

rT

PP- 38, 29.)

RADE&A

I

(Brahmdnda-Purdna, Part I, and Anushangapada, Chap, vn, vv. 96, 97.)

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

:

n

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

ca

tio

I

:

Eka-bhumi-vimanadi-ravi-bhumy-avasanakam (3) Their plans (lines 12-91) see under VIMANA-LAKSHANA. three styles

and

their characteristic features (92-105) are given

lE

The

I

du

;

description of the towers and domes (106-137 see under STUPI). building materials are stone, brick, timber and iron (138).

tio

of buildings Suddha or pure, made of one material Misia or mixed, made of two materials (lines 139, 140)

classes

(lines 139, 140)

;

di

Three

I.

;

ra

The The

na

under NAGARA, DRAVIDA and VESARA.

:

fo

mended

rT

and Samkirna or amalgamated, made of three materials, namely stone, brick and timber (lines 139, 141) one material alone is especially recom(line 142).

all

the parts above the

en

tre

Description of the Stupi-kila which comprises Stupi or dome is given in detail (lines 145-417). Chap, xrx (named Eka-bhumi) : classifications

II.

Referring to measurement, in accordance with the various cubits

C

The

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

of buildings the male

class

(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:

;

;

n

;

;

ca

tio

towers at the corners of the roof, and its nose, head and neck are round or quadrangular (lines 173-175). For further details, see

du

EKA-BHUMI.

The eight kinds of the two-storeyed buildings (Chap, xx,

i-i 14)

:

lE

VII.

na

(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

Siddha

16-18)

94,

(lines

2-9); (10) Vijaya (lines 94, 10-15); (n) (12) Parshnika or Paushtika (lines 94,

di

Srikara (lines 94,

;

ra

(9)

tio

floor to the top.)

ground

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

;

;

;

fo

rT

;

The

:

eight kinds of the three-storeyed

(Chap, xxi,

buildings

C

1-74)

en

VIII.

tre

buildings are used as temples are described (lines 44-93, 96-116). For further details, see DVI-TALA.

(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)

;

(26)

Chatur-mukha

345


(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

:

n

(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

28)

(line 30).

fo

Bhu-kanta

tre

en

Svarga-kanta

C

details, see

The

1-48.)

For further

(lines

3-21)

29-34)

(lines ;

;

(63)

(^5)

>

29)

(line

(59)

;

and

;

(61)

(Chap, xxvi,

buildings

Bhupa-kanta (lines 22-28) Maha-kanta (lines 35-39)

Deva-kanta

(69)

:

SAPTA-TALA.

(67) Tapa(s)-kanta (lines 41-42)

and ASHTA-TALA. ;

details, see

eight-storeyed

(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.

;

(56) Sri-bhoga

;

Panjara (line 27)

(58)

;

Harmya-kanta

(60)

;

eight kinds of the

Jana-kanta (line 40) kanta (lines 43-45)

XIV.

;

(line 26)

rT

The

:

3-23)

(lines

Dharana

(57)

Asramagara Hima-kanta

(62)

54)

(line

lE

;

(55) Sri-kanta (line 24)

ra

(line 25)

1-76.)

Nandyavarta

(52)

na

(54) Pundarika

XIII.

;

;

;

Ikshu-kanta (line 55). For further details, see SHAT TALA. eight kinds of the seven-storeyed buildings (Chap, xxv, 1-40)

tio

The

XII.

(51) Svasti-kanta (line 53)

;

di

(53)

du

;

and

ca

;

;

(line 52)

:

tio

;

;

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



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)

28-30)

(lines

Magadha-kanta

(96)

;

(lines

(lines

(lines

(lines 7,

;

33-34)

(91)

;

Madhya-

(93)

;

:

Varata

(95) Varhsa-kanta ;

(97)

Jana-kanta

37-84, description of the

n

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 it

Dravida are stated to be of the smallest type

ca

in the ancient

du

marked

tio

These ten kinds are named,

(line

10),

next

in

and

size

Kalinga-kanta, the The largest and the

na

lE

importance are respectively the Madhya-kanta, the Varata ( ? Viraja), the Kerala, and the Varhs'a-kanta.

tio

most important are the Magadha (connected with the capital of King Asoka and of the early Gupta Emperors) and the Jana-kanta, and also

The

description of the twelfth storey

is

rT

ten terms.

ra

di

perhaps the Sphurjaka, which, however, is not specified in detail (n). The architectural details of these buildings will be found under these

fo

TALA.

given under DVADAS"A-

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

(names, :

shapes and description

of

forty-five

C

temples)

classes,

en

1 1

tre

(2)

Prasadarh sampravakshyami sarva-sadharanarh sYinu Sarva-sadharanarh chaitat prasadasya cha lakshanarh

Manena

I

1 1

(Chap.

Vakshye prasada-samanya-lakshanarh

of

1

1

pratimaya va prasadarh apararh sYinu

kinds

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

includes

rectangular

:

(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.

(Chap, civ, vv. 17, 18.) oval (vrittayata) includes

Manika

IV.

:

(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.)

Tri-vishtapa

includes

octangular

:

n

V.

vv, 20, 21.)

civ,

(44)

ca

-(Chap,

(40)

Gada,

Vajra-svastika, (41) Srikantha, and (45)

du

Vijaya.

(43)

tio

(37)Vajra, (38) Chakra, (39) Svastika, Chitra, (42) Svastika-khadga,

na

lE

(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

Vairaja

square

:

di

I.

given later on

tio

description

is

30)

(v.

(vv.

21-22)

includes

ra

Nandika is called Nandana, and Ruchaka (vv. 24-25).

(6)

Pushpaka rectangular (vv. 21-22) Valabhi is correctly spelt, (13) Visala

fo

II.

the

Gharuka

rT

(7)

reading, Manika,

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 is

C

en

tre

(10)

:

(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.

(Chap. XLVII, vv. 31-32.) Matsya-Purdna (Chap. CCLXIX, vv. 1-7, 8-14, 15-20, 21-27)

(4)

(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 II

sikharochchhrayo

bhitty-uchchhraya-pramana-

(3)

n

tah

(2) I

tio

Sikharardhasya chardhena vidheya tu pradakshina

I

du

ca

Garbha-sutra-dvayarh chagre vistaro mandalasya tu II (4) Ayatah syat tribhir bhagair bhadra-yuktah susobhanah I

PaHcha-bhagena sambhajya garbha-manam vichakshanah grihitva tu prag-grlvarh kalpayed

lE

Bhagam ekam

Garbha-sutra-sama-bhagad agrato mukha-mandapah Etat samanyam uddishtam prasadasya cha lakshnam

tio

na

1

is

1

I

(5)

I

(6) (7)

followed by that of some

di

This description of the general plan special plans (see w. 8-14, 15-20).

\

I

budhah

ra

Samanyam apararh tad-vat prasadam srinuta dvijah Tri-bhagarh karayet kshetrarh yatra tishthanti devatah Rathankas tena manena bahya-bhaga-vinirgatah

rT

I

fo

Nemi padena

II

(21)

I

vistlrna prasadasya

samantatah

II

(22)

tre

Garbharh tu dvi-gunam kuryat tasya manam bhaved iha Sa eva bhitter utsedho dvi-gunah sikharo matah (23)

I

1

en

1

Prag-grivah pancha-bhagena nishkasas tasya chochyate Karayet sushirarh tad-vat prakarasya tri-bhagatah (24)

C

|

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

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) : (b)

(i)

Meru

has 100 cupolas (Sringha), 16 storeys

variegated spires (sikharas), and

is

50 cubits broad

349


(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 broad

34 cubits

(w.

29, 33,

(6)

48,

(7)

is

faces,

and

seven

storeys,

storeys,

and

and

is

32 cubits broad

is

with horns

furnished

30 cubits broad (vv. 29, 33, 48, 53). has

five

storeys,

furnished with art-gallcrics

16

(chitra-sala),

(vv. 29, 34, 35, 48, 53).

with

corners

and

is

various

30 cubits

tio

Vallabhi-chchhandaka has five storeys, 16 cubits broad (vv. 35, 50, 53).

many

spires

and

faces,

ca

(8)

and

is

and

53).

Sarvato-bhadra

shapes,

broad

has

Nandana has seven

(vishana) and

spires

(vv. 25, 32, 33, 47, 53).

Nandi-vardhana

(5)

many

storeys,

n

(4) is

du

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

na

lE

;

36, 44, 45, 53).

and and should be prominent top-rooms,

di

tio

(10) Sirhha resembles the lion

is

16 cubits broad,

at the front

neck

is

adorned with

six storeys

high

ra

(vv. 29, 36, 40, 49, 53).

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)

tre

and

top-rooms (vv. 36, 41, 49,

is

fo

many

rT

(n) Gaj a resembles the elephant and

en

37, 49. 53).

Samudraka has 16 sides around, two top-rooms dows) at the two sides, and two storeys (vv. 38, 53).

(?

gable win-

variegated

auspicious

C

(13)

(14)

Padma

has three storeys, 16 corners, a

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

same

as in the Brihat-Samhitd, see below)

:

ca

buildings (almost

tio

n

(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

and

(7)

:

;

(

3)

C

(see v. 30)

special description (18)

(8)

v. 31)

;

(10)

;

;

it is

.

na

di

(v. 33)

29, 49) but here (v. 33)

No

(v.

;

29)

Nandana

(5)

;

(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.

fo

:

en

33)

J

Padma

but Nandi,

(v. 29,

rdja (v. 32)

(v. 34)

;

ra

(v.

28-53)

vardhana

(v.

30), but Samudra

Samudga

(LVI,

:

windows

latticed

tre

(6)

Vimana with

is

eight storeys (v. 28)

clearer in the Brihat-Samhitd, quoted

rT

(4)

and

finials,

The description of the following below. The names are given here

tio

cubits broad, has spires

lE

du

(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

;

(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

Vimana-(chchhanda) (w.

26)

(v.

Sarvato-bhadra

(v.

Chatush-kona

(18)

ShodaSasra (vv.

Kdmikdgama

No

Hamsa

(13) ;

(16) 18,

(vv.

Simha 28)

:

is

(v.

;

26)

;

(v. 28)

(19)

;

(u) Guha-raja (v. (14) Ghata (v. 26)

:

Ashtasra (vv.

(w.

18,

di

(LV, 131, this chapter

Buildings in general (LV, 1-210)

ra

;

(15)

18, 28);

28)

(cf.

vimanam sampadam(-s)-padam

tio

Jatyadi-bhedakair yuktam

is

(20)

;

also the

I

named Prasada-bhushana.)

;

:

rT

Their component parts

25)

;

(17) Vritta

;

made between PRASADA and VIMANA

40, etc.)

(6)

;

Nandi-

(9)

;

25)

21);

(v.

22)

na

L,

;

27)

(8)

;

(v.

18, 28).

distinction

Mdnasdra,

Kunjara

(10)

;

(v. 23)

n

Vrisha

(12)

24)

(v.

Padma

Nandana (v. Garuda (v. 24) (5)

;

du

vardhana

(7)

;

Kailasa

(3)

ca

23)

(v.

22)

17,

21);

(v.

lE

Samudga

(7)

Mandara

20); (2)

(v.

tio

Meru

(i) (4)

:

fo

Prasada-bhushana(rh) vakshye sruyatam dvijasattamah Syat pada-prastararh-griva-varge mule tu vedika II (i)

tre

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-deâke

C

en

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),

named MalikaPrasada- vyasa-

:

:

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.

V.

and Napumsaka or neuter

linga or feminine (vv. 9, 10), class

(v.

n).

(V) does not refer (like the Mdnasdra] to the sexes of the

tio

This

n

IV.

Here they appear like residential buildTheir characteristic features are determined by some architectural

du

ca

deities installed in temples. ings.

its

1

Samchita, Apasamchita, and Upasamchita

I.

(w.

it is

;

mean anything but Prasada

does not

it

and

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

na

lE

The

tio

those terms, Samchita, Nagara, etc.). VI. The technical names of Prasada

ra

di

Sindhuka (Chap. XLV, vv. 23-28) (2) Sarhpurna (w. Kshema Meru-kuta ) (5) (3) (vv. 32-34) (v. 31) (4) ;

Siva (vv. 35-38)

;

Harmya

rT

(i)

2 9-3

:

(6)

(8) Vis"ala (v. 41)

(9)

fo

;

;

;

;

(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 50)

;

tre

(v.

;

(16)

en

;

(v.

6ia)

;

(13)

(v. 60)

;

(17)

Pushkara (vv. 61-63)

;

(18)

(19) Sarhkirna (v. 62)

;

(20)

Danda

(vv.

(v. 64).

C

Adbhuta See details

Sara

;

;

;

;

580-59)

40)

(10) Vijaya

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

(vv. 16-20).

353


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

Nandyavarta,

(9)

(4)

Himavat,

(5)

Nishadha

Nalinaka, (7) Pralinaka, Srivarta (also Sripada), and (10) Parvata. (6)

(See vv. 40-45.)

tio

n

(8)

namely,

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,

du

ca

:

lE

sided, eight-sided,

two

They may be with

na

first

;

(v. 67).

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

di

(spire), stupi

rT

ra

The description of the Some ornaments, like (dome),

etc.,

arches

given (w. 68-71). vedika (platform), sikhara (vestibule), are also described (w. 72-93). is

nasika

closes the description of the temples

fo

Here

(v.

and the

tio

The

:

tre

Prasada-lakshanarh proktam mandapanam vidhirh sYinu II (94) This leads to the description of the detached buildings such as the pavilions,

C

en

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

n

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

ca

tio

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

du

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.

lE

,

di

tio

na

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

rT

ra

of the

tre

The

have consulted.

en

treatises I

is

brief,

fo

very explicit and to the point. The language also of the Suprabheddgama is much better than most of the architectural

Agama, though

attention of readers

C

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

The most important

sense in the Agamas.

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.

under which the Mdnasara describes the buildings in twelve or

storeys

thirteen chapters has lost

its

prominence in the

Thus the Mdnasara has the

largest

latter works.

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.

tio

n

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

lE

brevity, explicitness

number of

types, surpasses all others.

tio

the smallest

But in respect of and precision, the Suprabheddgama, which contains most improved description.

the

na

has

Brihat-Samhitd

du

ca

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.

The common names

ra

di

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

fo

rT

are not perhaps unconnected. And the variation in the number of types described in these works does not also seem to be meaningless.

en

tre

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

C

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.}

:


(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.)

:

3,

27

:

KailaSa-sikharakarat prasadad avarohata Prasadastho daSarathah ...

3,

31

I

I

I

(Here II.

1

:

Sa

'

Prasada

must mean a palace.)

'

tarn

kailaSa-sYingabham nandanah aruroha .

II.

n

7,

12

1

tio

II.

:

:

.

.

Prasada-sringeshu

Aruroha

I

Bahu-tala-samutsedham tu

.

.

ragu-

.

nagaririi

^rutva

.

prasadam

.

.

I

.

.

.

tio

arohata

I

na

Ruddham

I

prasadam hima-panduram

.

.

.

.

prasadarh

ca

II.

Rdmdyana (Cock) i Prasadam chandra-samkas'am aruroha 7, Ayodhyam manthara tasmat prasadad anvavaikshata

du

II.

lE

(12)

I

di

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

rT

ra

I

I

fo

I

tre

I

Prasada-sikhare

17

:

en

17,

Prasada-Sringair vividhaih kailaâ-sikharopamaih

^V.

33,

15

I

I

C

II.

ramye chitra-malyopaSobhite II Prah-mukham vidhivan mantraih styapayitva varasane Megha-samghopamaih ubhaih ...

:

Vanarenda-griharh

:

Sikharopamaih Prasada-Sikharam âila-^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 .

.

.

I

I

I

lanka parama-bhushita alankritam purim

.

.

.

.

.

.

.

I

I

harmya-prasada-saih-

I

357


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,

II.

88,

5

:

II.

88,

7

:

IV.

33,

5

:

IV.

42,

44 41, 86

:

Harmya-prasada-sarhyukta-toranani

Mahatim guharh .harmya-prasada-sambadham Bhavanam prasadangana-sambadham .

.

.

aila-saihkaam

Prasadarh

:

.

.

.

16; 57,

I

.

I-

5>

5

:

.

.

Harmya-prasada-sambadham

I

Prasadair anta-vikritaih parvatair iva ôbhitam

(13) Mahabharnta (Cock) V. 91, 3 Tasya (Duryodhana-grihasya)

I

rT

:

kaksharh vyatikramya

:

fo

agnir

I

tio

3

ra

5,

I

di

'

V.

dvah-sthair avaritah

tisro

I

tre

Tato abhra-ghana-sarhkas'am griha-kutam ivochchhri-

en

tam

II

Sriyaivalambantarh prasadam aruroha mahaSayah 3>

J

33

:

Naga-lokam.

.

.

.

aneka

I.

109,

9

:

Nagaram.

II.

10,

3

:

Sabha.

V.

88,

20

:

Etad

.

.

.

.

.

.

I

I

(DuhSasanasya griharh)dhi ruchirakaraih prasadair

:

I

prasada-Sata-sarhbadham, divya hemamayair uchchaih prasadair

upaôbhita

ii

I

vidha-prasada-harmya-

valabhi-niryuha-lata-sarhkulam

89,

I

I

7.)

lE

na

:

dahati tatra vai

C

I

Prasadah parvatakarah (cf. also vi, 75, 6.) 12: Mukta-mani-vichitrams cha prasadarii cha 7

II

n

:

(Cf. also v, 6,

V.

I

I

32

I-

I

Prasada-vara-varyeshu s"itavatsu sugandhishu Ushitva meru-kalpeshu krita-kanchana-bhittishu

91,

75,

niveSah

.

Prasadagra-vimaneshu valabhlsu cha sarvada Haima rajata-bhaumeshu varastarnaalishu II

II.

VI.

.

tio

:

57, 20.)

;

.

ca

19

75,

57, 18

du

80,

VI-

;

Prasada-mala-sarhyuktah.

I.

VI.

9

upaobhitam

I

Griharh (Dhritarashtrasya)

tam

.

.

.

.

prasadair upaSobh'-

I

XII.

44,

6

:

Duryodhana-griharh prasadair upaSobhitam

XII.

44,

8

:

Prasada-mala-sarhyuktarh (Duhâsanasya 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

Afanu-Samhitd (vn, 147,

etc.)

:

.

p. 38, etc.)

i,

sapta-bhumika-prasada-pranta-gatam

(16) HitopadeSa (Bohtlingk, p. 157, .

.

i,

30, etc.)

prasada-garbham gatva

.

I

ra

Prasada-prishthe-sukhopavishtanam raja-putranam

Megha-duta (ed. Stenzler, 64,

etc.)

:

I

Abhrarh-lihagraih prasadaih

rT

(17)

I

:

di

Raja

:

na

Rajakanyam.

.

.

tio

(Bombay,

I

lE

du

Giri-prishtharh samaruhya prasadam va raho gatah Aranye nihâlake va mantrayed avibhavitah || (15) Panchatantra

Prasadam abhram-liham aruroha Raghu-vamfa (14, 29, etc.) Mfkhchha-katika (ed. Stenzler, (19) Cock) (18)

fo

:

I

:

Arama-prasada-vedikayam

84

:

Vidyut-kanchana-dipikeva rachita prasada-samcharini

I

tre

en

p. 21, 132, 162, 164

C

(20) Rdjatarangini

(Pet.

:

Diet., 4,

Prasada-balagram 102,

I

:

p. 79 p.

I

I

ca

(14)

tio

n

Prasada-sala-sarhbadham mani-pravara-kuttimam Karayamasa vidhivad-dhema-ratna-vibhushitam

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 munih (Deopara inscrip. of dyapi krito'sti dakshinadiâh konantavasi

it

I

Vijaya Sena, v. 27, Ep.

Ind.,

Vol.

i,

pp. 310, 314.)

359


AN ENCYCLOPAEDIA

PRASADA

Akarayat svayrh Sambhu-prasadali-dvayam

(24)

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

n

I

'

(Mangalagiri Pillar inscrip.,

pp. 125, 115.)

v. 51,

lE

vi,

du

the lord of Mangalas"aila).

ca

tio

(He presented) a solid temple (prasada) adorned with nine golden pinnacles (kumbha) and a beautiful large hall (to the temple of Hari, Ep. Ind., Vol.

(29) Prasado rachitas sudha-chchhavi-hasat-kailasa-s'ailesVarasya, (v. 22),

prasadam

ISasya

inscrip. no.

A

na

tio

(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-

di

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 '

rT

ra

prakarotsava-mamtapair

1

fo

Krishnaraya, v. 27, Ep.

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, )

en

tre

(3

C

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

n

'

feckled

tio

is

ca

with various metals and has the appellation of Gopa, a stone temple, the chief among the best of temples of the Sun.'

Tavad

I.,

du

lE

hill.'

F. G.

(Gwalior stone inscrip. of Mihirakula, lines no. 37, pp.

6, 8,

9

;

C.

I. /.,

Vol. HI,

na

(this)

the

'

so long giri-murdhni tishthati Sila-prasada-mukhyo ramye chief of (stone) -temples shall stand upon the delightful summit of

162, 163, 164.)

tio

(37) Tenochchair bodhimande s"as"i-kara-dhavalah sarwato mandapena

I

di

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

fo

rT

ra

'

exalted Bodhimanda.'

Bodhimanda

also called Vajrasana, the throne

en

tre

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 is

In the Mdnasdra, the names of the buildings of various storeys end with so also kanta,' e. g., meru-kanta, hima-kanta, etc.

C

meaning.

'

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)

divishadarh

achlkarad

prasadam

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)

Roman Text, p. 86.) The above-mentioned

(dated

inscription

n

'

conjecturally

tio

subhasitan

A. D.

1113)

architects (griha-vastu) '

:

du

and

ca

ends with the following passage apparently quoted from a book for sculptors Vimana-sarwato-bhadra-vrishabha-nalinika-uttunga-viraja-garuda-

lE

varddhamana-Sankha-vritta-pushpaka-griha-raja-svasti.' '

na

(Ibid.,

Text, p.

9, last

3 lines.)

tio

(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.' (Man18,

inscrip. of

Kumaragupta,

line 7, C.

I. I.,

Vol. in, F. G.

I.,

no.

81, 85.)

tre

(44) Svargartharh kritavan

pratapa-nripatih

sadyoshito-retayoh prasa-

dam

vasu-patra-padma-sadris'am sYirigashtakaih Sobhitam on a slab in the wall near the southern door of a inscription is

en

I

'

C

The

1

;

rT

stone

pp.

fo

dasor

1

di

Here

ra

'

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

KeSavasya

sthira-kalaSa-yutarh

Najnayaryo

1309'

Prasadam

'

tio

'

Prasadam

'

vyatanit

ca

'

1697

divyam

n

'

1659

I

'

Mr. Rice has translated prasada in all these three instances by tower', although the term means primarily temple here. (Ep. Camat., Vol. v. '

;

Roman

59-)

P-

Text, pp.

Transl.,

135, 136;

na

Part I; Belur Taluq, nos. 63, 64, 65

lE

du

'

'

a tower (prasada), decorated with carvings and figures (chitra-vichitra-patra-nutamam prasadamam), to be erected of stone, in

di

kalas"a to

be made for the pinnacle of the temple (devalaincreased

many ways

rT

and a golden yagrake), he

tio

Causing

ra

(48)

KaSyam

;

visVesVara-dvari hima-diSi

tre

(49)

fo

Carnal., Vol. vn, Shikarpur Taluq, no. 243 Text, p. 247, last four lines.)

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. '

C

I5th

New

I

en

'

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

and guha (underground p.

73-74

:

Ckullavagga, vi,

(larger type of storeyed buildings)

harmya

residential 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

storey, or the storeyed buildings

Chullavagga, p.

;

his

'

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

buildings of seven storeys in height.'

pp. 227, 346 ; v, pp. 52, 426 ; vi, p. 577.) ' it is clear that the term prasada

i,

'

the illustrations given above,

ca

tio

n

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 It

'

lE

residences.

du

smaller

or inhabited by a prince, a temple, a palace, and the assembly confessional hall of the Buddhist priesthood.'

na

deity

tio

room and

PRASADA-TALA

ra

di

Floor, roof.

rT

PRASADA-MALIKA A

class

by Rhys Davids,

fo

of the

five

under MALIKA.)

;

see

under STAMBHA.)

amphitheatre.

C

en

see

Indian orders.

(Suprabhedagama, xxxi, 65, 67

PREKSHAGARA An

p. 262.)

of buildings. (Kamikagama, XLV, 4;

PRIYA-DARSANA One

tre

(Buddhist Sutlas,

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

n

coffer.

tio

PLAKSHA-DVARA A

ca

back-door, a side-door, a private entrance. (Matsya-Purana, Chap. CCLXIV, v. 15 see under UDUMBARA.) ;

lE

hood

connexion with the joinery.

in

na

PHANA A

du

PH

(M., xvn, 134;

PHALAKA A

see

SANDHI-KARMAN.)

di

tio

plank, a moulding, an architectural member, the abacus, a leaning board. (Mahdvagga, v, 10,

ra

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) :

fo

rT

(1)

etc.).

:

Natika phalaka mushti-bandhanam patra-vallikam

I

tre

en

(2) See also

M.,

L, 66,

74

;

2.)

(M., XLVI, 65.)

LXV, 161, 162

;

LXVII, 16, etc.

C

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

of the bedstead. (M.,

PHALA-PATTA

under STAMBHA).

see

;

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

inscrip. no. i, v. 61, Ep. Ind., Vol. viu, pp. 212, 200.)

ca

Abu

tio

n

Dictionary of Molesworth and Candy means a raised seat along the walls of the gabhara or Sabha-mandapa of a temple.' Dr. Ltiders. (Mount

A moulding of the

entablature, the edge of a roof.

du

BALI(-I)KA(-A)

Maha-bhara-tula-karya balikordhve viSeshatah Tula-balikayor madhye dvi-dandam athava punah

na

lE

1 1

Harhsa-bhuta-balir vatha nidra va danda-manatah

tio

Tri-padodaya-yukta va vidheya vajanopari

I

1

(Kdmikdgama, LIV, 13, 16, 20.)

di The

seat of sacrifice,

an

altar for offerings.

rT

ra

BALI-PITH A- (KA)

1

1 1

Brishabhasyopari-bhage tu kalpayed bali-pithakam Gopurasya bahir vapi sthapayed antar vapi bali-pithakam I

fo

(1)

tre

Antar mandala-deSe tu purvavat bali-pithakam

(M., xxxii, 99, 100, 133.)

en (2)

I

I

Srimat-saundara-pancha-ratra-vidhiyim

nirmanamam madisi

I

C

Srimantam bali-pithamarii pramudadirh viprarggalam madisi II Caused a bali-pitha to be erected according to the rule of the (Silpa-

'

sdslra)

Pancharatra.'

Roman

Text, p. 105

'

(3)

;

v,

Part

i,

Belur Taluq, no. 8

;

Transl., p. 46.)

There he enlarged the Kalideva-mantapa, and re-established the

bali-pitha.' p.

(Ep. Carnal., Vol.

(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

lE

du

ca

tio

n

& na

n

di

tio

n

C

en

tre

fo

rT

ra

BAH t. LA

BAHULA.

BAHULA.



tre

en

C rT

fo

du

lE

na

tio

di

ra

tio

ca

n

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. Jaina

Kadalalaya-basadi

(1)

laya. '

(2)

temple

of the Jaina

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 unnum-

n

it

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,

ca

'

tio

bered others.' '

;

du

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

lE

;

'

.

na

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

.

'

tio

;

iv, p.

1

8 1,

c. i, line

10,

and

footnote.)

rT

Vol.

ra

di

;

Purigereyalu madisid-Anesejjeya-basadige In the lands of Gudigere, which . were under the control of the Jain

temple called line

Ind.

21,

Ane

sejjeya.

.

.

.

tre

'

fo

(4)

Ant., Vol.

.

built at Purigere.'

xvm, pp.

en

C

'

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)

'

(13)

And

in Kcllangere

he

(also)

five large bastis

and

five

beau-

n

ponds.'

The money obtained from

this

place

will

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

du

ration

ca

Archari's

to the assembly of Rishis.'

(No. 1370

;

Roman

lE

and

made

tio

'

;

north

at the

tiful

built a small basti

Transl., p. 182, paras. 5, n.)

Keep whatever you have obtained from

'

na

(14)

Text, p. 104, lines 6, 9

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,

tio

fields,

Kamatha

basadi,

and

which he had made ... a small tank

east

ra

di

ParSva deva, Sri-vallabha deva of Bhandaraiya's

principal basadis.' (15)

for the basadi '

.

.

.

fo

of the basadi

(No. 137^.; Transl., p. 183.)

rT

And

'

(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.'-

en

tre

(16)

C

(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.)

(18) 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 '

temple (basadigarh devalyakkam bhumi samana-vagi basadige washing the feet of Ahobala-Pamdita.'

368


.

.

.

),


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

the basadis hitherto

all

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'

.

.

.

ca

tio

n

(20)

du

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

na

lE

'

tio

chamaras, and big drums.'

And Ganga-permmadi-deva

di

customs of Tattikere.' 11, last two paras.,

12, paras. 2, 3.)

p.

rT

p.

granted for the basadi the shop-tax and (Ep. Carnal., Vol. vn, Shimoga Taluq, no. 10 ; Tr ans

ra

'

'

(22) See both

patam Taluq, volumes

133 basti

nos.

of Ep.

;

Roman

tre

Transl., p.

'

and

en

;

144,

Carnal,

C

no. 228

fo

of Bandanike was erected a mantapa in (21) 'For the mathadhipati front of the Santi-Jina basadi.' (Ep. Carnal., Vol. vn, Shikarpur Taluq, '

Text, p. 232.)

basadi'

146,

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

;

ca

tio

n

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 :

(see

BAHULYA)

du

extension,

a projection,

Dvara-tare chatush-pancha-shat-saptashta-vibhajite II Ekamâ(m) siitra-pattih syat samam va bahalam bhavet Ardharii va pada-hinarh va bahalam (2 )

ra

di

(1)

parikirtitam

rT

Silaya cha mrida py-athava taruna

dridham

rachayed atha kudyam

fo

ihottara-vistaratah sadris"am (Vastu-vidya, ed.

ativa-

Sastri, xiv,

i,

2

;

xv,

I

i.)

:

en

In connexion with a pillar

bahalam kathitam talipadi-yutam Ganapati

C

Ashtamsam yoga-vistaram tad-ardham bahalam bhavet

(3)

I

1 1

I

tre

Tad (2)

a sugar-

tio

cane-like moulding.

An

na

BAHALA

earth, a type of pent-roof. (M., xviii, 177; see under LUPA.)

lE

BA(VA)SUNDHARA The

I

(M., xxxix, 59.)

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,

under

17,

.

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.)

kind

of

group

n

A

MUKHA-MANDAPA)

(cj.

tio

BAHU-MANDAPA pavilion.

ca

Devalayeshu sarveshu sammukhe bahu-mandapam

I

(M., xxxiv,

BAHU-LlftGA

A

du

33

generally called

is

Mukha-mandapa.

lE

pavilion in front of a temple

kind of phallus, phalli in group. 75, 77, 72, etc.

LII,

see

;

under LINGA.)

tio

(M.,

na

The

BAHULA An

rT

ra

di

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

BAHYA-&ALA

fo

(M.,

(see

A

PARYANKA)

tre

BALA-PARYA&KA

I

L,

184.)

small bedstead, a couch.

C

BAHYA-SALA

en

Outer rooms, external portion of mansions under ANTAH-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

instance

first

by

bahulya

translates

(see

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

'

22

LI,

image of

;

civ,

v.

29.)

LXVIII, i, etc.)

Santi-natha

was

line 30, Ind. Ant., Vol. xix, p. 273.)

i,

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

first,

ca

tio

n

in

set

memory of

lE

;

du

;

a warrior.

na

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

rT

ra

di

tio

'

of that biragal

we most

tre

fo

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)

C

en

'

'

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 to able 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. ;

n

Le Siam Ancien, i, by P. N. Bose in

(See Plate LXVIII, p. 242,

of Siam, pp. 64-65.)

ca

his Indian Colony

tio

M. Fournereau, quoted by

The

1427

(vide Plate LXVIII,

na

detail in a Pali inscription of A. D.

lE

du

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

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.

fo

rT

ra

di

tio

It

tre

BUDDHI-SAMKIRNA A pavilion BRIHATI

Brihati

v. 9

;

under MANDAPA.)

see

part of the body between the breast and backbone. das"a-tala measure

In connexion with the Brihati

fifty pillars.

Chap. CCLXX,

C

The

with

en

(Matey a-Purana,

:

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

The capital of the member of the capital

MANDI)

373


;

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

62

;

Vol. XLI,

BODHI-GRIHA

figs,

no. 21, Arch. Surv.,

i, 2, 3, 4, 5,

New

Jamalgiri

Imp.

Series,

n

rv, p.

(fig.

etc.)

6).

tio

Vol.

Cave Temples

ca

-A temple for the Bodhi-tree.

du

See Buddhist

8,

BODHI-MANDA A

(W. Geiger, Mahavamfa,

p. 296.)

na

mond

lE

raised terrace near a temple, the miraculous throne under the Bodhi-tree at Gaya also called Vajrasana or dia-

tio

throne.

Bodhi-mande

Tenochchair

sarwato

sasi-kara-dhavalah

mandapena

di

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

fo

rT

ra

I

Bodhi-manda

en

'

tre

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

C

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

n

They

tio

corner (line 6), chest gracefully broad, arms long (line 10), belly large fleshy (line 8). They are furnished with

ca

and round, and the body

BRAHMA-KANTA A class

of

du

shining top-knots (ushnishojj-vala-maulika) (line 10).

a type of storeyed buildings

pillars,

four minor pillars

:

na

The square columns with

lE

a class of gate-houses.

brahma-kantam syat (M., xv, 20.) brahma-kantam iritam -(Ibid., Vedopapada-sarhyuktarh Chatur-as"rarh

class

of the three-storeyed

class

of the five-storeyed buildings. of gate-houses.

(M.,

tre

class

fo

PRASADA.)

A

(M., xxi, 39-40

buildings.

rT

PRASADA.)

A

I

244.)

;

under

see

ra

A

di

tio

I

BRAHMA-GARBHA

en

The

C

BRAHMA-DVARA

xxm, 41-42

(M.,

xxxm, 558

;

;

under

see

under GOPURA.)

see

foundations of temples (of Brahma). see

(M., xn, 142-152;

The door

in the


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

;

LII,

165, etc.

;

see

375


under PADA-VINY.&SA.)

AN ENCYCLOPAEDIA OF

BRAHMA-BHITTI

BRAHMA-BHITTI The

middle wall.

Athava brahma-bhittau va garbhadhanam vidhiyate

I


BRAHMA-MANDALA

The

central part of a village or town. see under GRAMA.) (M., ix. 128 ;

BRAHMA-MANDIRA A (2)

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

description of the goose (M.. LX, 4-46

goose. ;

du

na

(M.,

xii,

142

;

see

tio

.

.

.

long as 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.'

en

tre

water

1

15,

18.)

assigned (one) patti of land in the neighbourhood, to moon and the sun, for his own merit (and) for the

fo

meritorious

where

ra

Senai

1

(Kamikagama, xxvni,

rT

(2) last as

under

under GRAMA.)

Brahma-sthane sabhadini kalpayed vidhina budhah II Brahma(-me) va madhyame bhage pitham parikalpayet '

see

central part of a village or town, assemblage of the inhabitants.

di

(1)

The

built for the

lE

BRAHMA-STHANA a public hall

Brahma, the

tio

riding animal of

VAHANA.)

is


see

ca

The measures and

;

n

(1)

type of rectangular building.

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.)

C

'

.

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

is

37 6


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

n

The

ca

tio

.

du

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

pose in which an image

is

carved.

na

BHAfrGA A

lE

(For details of these measures, see TALA-MANA.)

(line 12).

'

In

ati-

di

tio

There are four bhangas or poses, namely, sama-bhanga, abhahga, bhariga (M., LVII, 98), and tri-bhanga (ibid., 125). (sama-bhanga) type the right and

fo

rT

ra

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

en

tre

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.

C

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 S.

Ray, Modern Review, March, 1914,

BHADRA

(cf.

p.

I

f.)

A

SARVATO-BHADRA and MUKHA-BHADRA)

n

by

mould-

vii,

17-18.)

du

PADAVINYASA; M.

ca

tio

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.

A

the

lists

of portico

of mouldings under

na

A kind

see

;

lE

moulding of the base (M., xrv, 345 ADHISHTHANA). (i)

:

tio

In connexion with buildings of one to twelve storeys Ekam va dvi-tri-dandena nirgamam bhadram eva va

MADHYA-BHADRA (M.,

rT

Cf.

ra

di

:

(M., xix, 56.) xrx, 177)

nida-bhadradi-mule

:

chordhve

cha

bhushitam

fo

Toranair

I

\

(M., xx, 64.)

tre

In connexion with pavilions (mandapas) Chatur-dig-bhadra-vistaram eka-bhagena nirgamam

en

:

I

(M., xxxiv, 76.)

C

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

I

322-323.)

:

chatur-bhadrarh

syat

I

Bhadra-madhye tu bhadram syat Yuktya bhadram sarvesharh nasika-yuktam eva va I

I

(M., XLHI,

378


107-109.)

BHADRA-PlTHA

HINDU ARCHITECTURE Bhadra

the general

is

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.

tasya karttavya bhadrais tribhir alankritah

tio

Mandapas

A type

of quadrangular building

:

du ;

1

1

tio

Sa-bhadra va vi-bhadra va khahlri syad yatheshtatah xxxv,

di

(Kamikagama.,

rT

fo

tre en

C

BHADRAKA

The

(Ibid.,

XLV, 41

general

A

name

;

XLI, a6.)

for chariots. ;

see

under RATHA.)

moulding of the base.

BHADRA-PlTHA A type

;

see

the lists of mouldings under ADHISHTHANA.)

of pedestal of the phallus or an image. (M., Lin, 34

pedestal of an image.

State chair.

1

under MALIKA.)

(M., xiv, 345

A

1

(Ibid.,

see

(M., XLIH, 112-116

BHADRA-PATTA

II

(JWrf.,XLv, 35.)

Chatur-dig-bhadra-samyuktam dvara-jalaka-Sobhitam of buildings

106.)

I

Tad-tad-agre prakartavyam vare bhadrasya pachime

A class

II

100,

ra

Salananam prakartavyam eka-dvyamâ-vinirmitam

The

35, 39.)

see

lE

;

na

(6)

w.

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)

5.)

1

ca

(Garuda-Purana, Chap. XLVII,

1

II

n

(3)

bhadrah karyyo vijanata

Mandapasya chaturthamSad

|

-(M.,

(Mahavagga, v.

nv,

129,

10, 2.)

379


173.)

;

see

under

PI-THA.)

BHADRA-MANDAPA

AN ENCYCLOPAEDIA OF

BHADRA-MANDAPA-A Cf.

type of pavilion.

bhadram

ity-uktarh

Maâpam

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

du

ca

tio

n

kind of throne>

kind of rectangular building

the

fo

-

rT

ra

di

tio

na

lE

***<

(i)

u

f.,

W.

.to., Vol.

pie)

^f pp

.

en

line

tre

.

^^

<

'

na!Wa

r ln!lcn P-

Subhrabrabham idam Bhavalya bhavanam karapitam bhutalc

C

(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

bhara

'

S.,

a synonym of the column.

See Suprabheddgama (xxxi, (see

under STAMBHA.)

under BHARA.

A support,

BHARA and HARA)

a beam.

ca

BHARA

121)

see

xv, 5;

(A/.,

n

BHARAKA A support,

du

In connexion with buildings of one to twelve storeys

:

lE

Chatuh-Sala chatush-kutam chashta-bhara sa-panjaram

tu

Eka-dandantar-bhara

madhya-bhara

na

(2)

Vol.

285).

p.

(1)

(J.R.A.S., N.

by cross-beams

30.)

LIII,

tio

vi,

'

I

I

(M.,xx, 72,

dvi-dandatah

Ghatur-danda-pramanena kritva maryyada-bhittikam Mandale dvarake vatha dvara-salarh tu bharake II

etc.)

I

di

tio

II

harmyam eva cha

II

ra

Prasadarh madhya-bharayarh maryyadau

(1)

A wall,

Bhittih stri

a partition, a support.

tre

BHITTI

fo

rT

(Suprabhedagama, xxxi, 117, 121 ; for full context sen vv. 115-122, under PRAKARA.)

kudyam

I

kudye prabhede cha

I

(Amarakosha, 2, 2, 4.)

C

en

Bhittih

(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,

12

LVI,

Chap. CCLXIX,

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

II

82, 86, 87,)

L,

:

cha kuttimam

kudyarh

akhyeyam akhyatam ...

1

1

II

(Ibid., LV,

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

tio

199-200.)

1

n

(5)

|

II

I

ca

Anyat sarvarh samam proktam stupy-antam karayed budhah Yad uktarh bhitti-vistaram bahyabhyantarayoh samam Bahyc vabhyantare vapi tri-vidham bhitti-manakam

du

1

tio

(Suprabheddgama, xxxi, 4, 6,

di

fo

7, 8,

1

1

2.)

1

(Ramayana, n, 88,

bhitti-bhagair divi

nan yenakari kotah

II

I

ra rT

Atyuchchair

(7)

1

1

ta-(t)-tri-bhagaika-bhittikam

Prasada-vara-varyeshu silavatsu sugandhishu Ushitva meru-kalpeshu krita-kanchana-bhittishu

(6)

1

I

lE

garbham

na

Pithasya tri-gunam

I

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.)

en

tre

'

Suttalayada bhittiya madisi chawlsa-tfrttha-kararh madisidaru

C

(8)

I

... had the wall round the cloisters and the twenty-four Tirtha-karas made.'(/!>. Carnal., Vol. n, no. 78 ; Roman Text p. 62 ; Transl., p. 151.) 'Sri Basavi Setti

Koneri, son of

(9)

secure foundation

the no.

central i

;

street

...

and walls

erected a nava-ranga of 10 ankanas, with for the (vajra-bhitti-gode) god Tirumala of

of Malalavadi.'

Transl., p. 83;

Roman

BHITTI-GRIHA A

(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 made through a

kind of surrounding steps

wall.

under SOPANA.)

(See Kautiliya-Artha-sdstra

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

under SALA.)

see

;

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

;

under

see

PRASADA.)

of the five-storeyed buildings. (M., xxni, 13-15

Agni-Purdna (Chap, civ, vv. 19-20 see under PRASADA). Garuda-Purdna (Chap. XLVH, vv. 29-30 see under PRASADA). ;

du

(2)

type of oval building.

;

BHOPA-KANTA A

of the eight-storeyed buildings.

na

class

lE

(1)

BHO-PARlKSHA All the

The

soil

where a

village,

town

di

and

The

of the plot, where a village, town, fort, palace, temple or to be built, is examined with regard to its shape, colour, odour,

fo

soil

tre

is

details

site

under PRASADA.)

have elaborate descriptions on the subject. are similar in the treatises examined below.

Vdstu-sdstras

and

principles

house

Testing the constructed.

see

ra

is

;

rT

or building

tio

(M., xxvi, 22-28

(i)

under PRASADA.)

see

;

ca

BHO-DHARA A

n

class

tio

BH0TA-KANTA A

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

C

en

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 some water in the hole, the selected plot of land would be fit for remains 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.

New

Bengal,

(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

:

pleased with

lE

The Visvak

same

contains the

(i, 61, sqq.)

na

'

(4)

words.'

rules,

Part of the corresponding passage from Kasyapa

tio

Raz

:

Garga by the commentary of Brihat-Samhitd, which are again quoted

by Dr. Kern.

(5)

quoted f om

also the eleven lines

du

(3)

it.'

ca

Compare

is

tio

n

I

'

is

but in other

Ram

quoted by

di

(Arch, of Hind., p. 17.)

ra

(J.R.A.S., N. S., Vol. vi, p. 295, note 2.) Vdstu-Ratandvall (a compilation, ed. Jivanatha Jyotishi, 1883, PP- 8, 10)

rT

:

tre

fo

(6)

:

On colour of ground, quotation from Vasishtha-sariihitd Sveta-sasta dvijendranam rakta bhumir mahi-bhujam ViSarh pita cha s"udranarii krishnanyesham vimisrita the

Vdstu-pradlpa

C

||

:

en

(7)

From

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

cxxx, vv. 42-44)

Bhavishya-Purana (Chap,

(12)

Ishta-gandha-rasopeta

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

A storey,

TALA)

a

floor.

n

(see

tio

BHtJMA

ca

Eka-bhumaih dvi-bhumarh va kshudranam bhavanam nnnam vm,

I

29.)

du

(Silpa-sdstra-sdra-samgraha,

Bhumi-lamba-vidhirh vakshye

sarhkshepatah kramat

sastre

di

hi

bhumi-lambam syad ekanta-bhumikam

rT

Etad dva-dasa-bhumy-antarh janmadi-stupikantarh syat (M.,

I

xi, i, 5,

fo

en

(Nigantu

;

see

I

Ramdyarja under VIMANA.)

(5)

Ekaiva cha bhumika tasya syad eka tasya cha bhumika

C

(4)

Sapta-bhaumashta-bhaumas cha sa dadarsa mahapurlm (Rdmayana, v. 2, 50

(Brihat-Samhita, LVI, 23

Sata-sringas

chatur-dvaro

I

(Silpa-saslra-sdra-sarhgraha, vin, 30.)

(3) Vimano'strl deva-yane sapta-bhumau cha sadmani

(6)

125, etc.)

Kshatriyadeh pancha-bhumir dvijanam raga-bhumikam

tre

(2)

I

I

ra

Uktam

:

tio

cribes the dimensions of different storeys

na

lE

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 des-

;

I

see also vi, 33,

8.)

I

see

Kasyapa, quoted by Kern, J.R.A.S., N. S., Vol. vi, p. 320.) bhumika-shodasochchhritah ;

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

;

37, 38, 39, 40, 42, 43, 44, etc.)

Bombay,

Alhanadevi, v. 27, Ep.

6.)

385


I

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.)

n

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.

du

ca

tio

These are stated

I

(Kdmikagama,

L,

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-

tio

(ibid.,

'

means, are given under the same five technical names as Mdnasdra, viz., Santika, Pushta, Jayada, Adbhuta, and Sarva-

di

bhumi-lamba the

in

smritam

ra

'

iti

na

Then teen

lE

Chatur-amsadi-samsthanam bhumi-lambam

(2)

The Jati, Chhanda, Vikalpa and Abhasa classes (vv. 24, 25-28). of buildings are also distinguished (vv. 9-13).

rT

kamika

Varahamihira

en

tre

fo

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)

C

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

n

'

(lines

into

four

classes,

ca

Ornaments are here divided broadly

tio

shana, (44-288).

namely,

prescribed for all other kings. so called because it is made of leaves and creepers. made of flowers, leaves, paintings, all precious stones

tio

is

is

Patra-kalpa

mixture of

the

The Ratna-kalpa Misra-kalpa is made

others.

made

of flowers

and

fo

all

is

of leaves, jewels and the These four kinds are specially made for the

rT

jewels.

And

di

Chitra-kalpa is and other decorations.

ra

Misra-kalpa

na

lE

du

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

(ear-ring),

Valaya

(bracelet),

C

Kundala

en

tre

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),

Kankana

(bracelet for the wrist),

(little-bells)

Tatanka

,

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

and Nida

(cage),

(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.

meritorious

(Sangha) by the '

gift

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.)

Arch.

8,

BHUMI)

A

New

Imp.

Series,

Vol.

storey, the floor

iv,

of a house.

du

(see

Surv.,

ca t

P- 94-)

BHAUMA

appur-

under MANDAPA.)

n

The

see

;

io

'

an

refectory,

enance of the temple.

BHOJANA-MATHA A refectory,

under PRASADA.)

see

(M., xrx, 167;

lE

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.

tio

na

an enclosed

The temple itself, with its The court is surrounded by

enclosing cloisters (bhrama)

di

'

measures

.

.

.

(bharhti-bhrama) in which, besides

Tr a

cloisters

fo r

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

The

tre

sikhara or spire.'

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

C en

'

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

C en

tre

fo r

Tr a

di

tio

na

lE

du

ca t

io

n

BHADRA

BHRAMA DANDA

PLAN

BRAHMA MASTAK9

BHRAMA.

Pant 3SS



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

HINDU ARCHITECTURE

BHRAMA-DANDA A

MAftGALA

kind of post for a large fan. (M.,

BHRAMALINDA A

104

L,

under VYAJANA.)

see

;

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

io

n

(an animal-like shark or crocodile). Dvayor makarayor vakraih Saktarh madhyama-puritam Nana-vidha-lata-yuktam etan makara-toranam

ca t

|

1

1

lE

f.),

tio

(xxix, 68-72) under TORANA.

MAKARA-BHtJSHANA An

di

ear-ornament.

Tr a

MAKARAPATRA An

26

see

;

under BHUSHANA.)

makarapatra-sarhyutam

tre

C en

member of a

hall.

(M., xxxv, 373

The

I

(M., xv, 133.)

architectural

MAKARl-VAKTRA for

L,

ornament of an arch generally above the

toranasyante

MAKARALA An

ornament

(M.,

fo r

column. Tad-urdhve

65.)

an arch, see Annual Report of Arch. Survey of India Mdnasdra (Chaps. XLVI, XLVIII) and Suprabhedagama

details of such

(1903-04, p. 227

LV,

na

For the

du

(Kamikagama,

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.)

katvya-samah

Mancha-paryanka-palyankah

I

Palyanko mancha-paryanka-vrishl-paryastikasu cha

io

n

(Amarakdsha,

In connexion with buildings of one to twelve storeys Adhishthana-samarh manchardhe'rdhena vapra-yuk

:

2,

3,

I

138.)

:

ca t

du

platform

lE

component part of the bedstead (M., XLIV,

na

A A

Medini

Iti

I

I

(Af.,xxi, 14, etc.)

86).

two-tenths of it for the formaDaSa-bhagau dvau pratimanchau tion of two platforms, opposite to each other.' (Kaulillya-Ariha-sastra,

Chap, xxrv,

di

tio

'

Tr a

p. 53.)

MAftCHA-KANTA A

class

of the four-storeyed buildings.

fo r

(M., xxii, 47-57

see

;

under PRASADA.)

differ

tre

MA^CHA-BANDHA A class of bases from one another

in

height and

comprising four types which in the addition or omission of

C en

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.)

n io ca t du lE na tio di Tr a fo r tre C en

MANJOSHA Page 390



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

MATHA


(12)

Had

matha

a

the Govi-matha.'

Roman

Text, p.

built

(matha

(Ep. Carnat., Vol.

in,

for

kattiSi)

Siva-Basappa-Svami of no. 24

Mysore Taluq,

;

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

(a detached residential intended for receiving and

n

building which belongs to a house and is accommodating the guests) to conduct the

made a ;

Transl., p. 93

;

Roman

meanings of the term in the above passage should be noted.

The

'

(Ep. Carnat., Vol. iv,

Text, 15.)

matha

'

noted within brackets

tio

different

lE

no. 104

grant of Haranahalli.'

na

expenses of the same

Hunsur Taluq,

du

ca t

io

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

'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.' '

fo r

Tr a

di

(15)

He

caused the stone-fort to be

built,

tre

evening-matha (sandhya-matha), pond, (Ep. Carnat., Vol. v,

images of gods.'

and well,

set

up the matha, mantapa, pillar, swing and

Basava

Part

C en

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.)

This matha is mentioned in no. 1 3 and is called Sri-matha in nos. 25, 26 and 31. Of this 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 .

piece.'

.

.

,

(Introd., p. 24, para. 2.)

But no architectural

393


details are given.

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 class of buildings. of buildings which are oval in plan and sub -divided under the

class

names

(i)

:

Gaja,

nayaka,

dhara

(6)

Vrishabha,

(2)

Bhushana,

(7)

(3)

Harhsa,

Bhu-dhara,

Garutman, Srijaya, and

(4)

(8)

Riksha-

(5)

Prithivl-

(9)

n

following

:

io

A

(2)

Agni-Purana (Chap, civ, v. n, 19-20 see under PRASADA). Garuda-Purana (Chap. XLVII, vv, 29-30 see under PRASADA).

Cf.

Rock

ca t

;

;

inscriptions at

Mulbe

MANI-GRAMA A

(no. iv, Ind. Ant.,

du

(1)

Vol. xxxv, pp. 79, 80). 1

na

)

kind of top door or window.

tio

MANI-DVARA A

lE

(Note on Tamil Inscriptrading corporation. tion in Siam, E. Hultzsch, J. R. A. S., 1913, pp. 337-33Q.

di

Uparishtat trayarhSarh tu chatvarardhariisam dvi-parsVayoh Tesharh madhye tu yad dvararh mani-dvaram ihochyate

I

Tr a

1 1

(Kamikagama, LV, 43.)

the wrist, a string of pearls, the

fo r

MANI-BANDHA An ornament for collet.

tre

Prakoshthe valayarh chaiva mani-bandha-kalapakam

I

C en

(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


n io ca t du lE

C en

tre

fo r

Tr a

di

tio

na

MANIKA.

MANI DVARA

MAMI-DVARA.

394



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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

is

the

Pudu mantapam

Sabha (M. xxxiv, 559-562)

Mandapa and

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. :

n

(i)

the

It implies in the first place

a house in the

ca t

io

But

village, etc., or built

on the

tank or lake

;

.

are both temples

and

residential buildings

:

di

Mandapas

tio

na

lE

sea, river,

du

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

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 descrip-

and

(v)

(ii)

the bhitti (wall),

the form of the

Seven mandapas

balcony (alinda),

(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,

C en

edifice (line 157).

(iii)

mandapas

tre

tions of

fo r

Tr a

I

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),

rupa

(line 480),

Kharvata

Mangala

built

Drona

(lines 455, 472),

(lines

423-434), Sri-

are described under these terms.

(line 488), etc.,

ornaments, etc., of mandapas are described in detail. A description of the forms of mandapas is given (lines 549-557). The mandapas (rooms) of temples and of the houses of the Brahman as should have the

The

plan,

the Chhanda shape is given to the mandapas of the Kshattrithe Vikalpa shape to those of the VaiSyas, and the Abhasa shape to yas, 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

n

;

dandaka, of three faces svastika,

io

Jati shape

ca t

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

(lines

554-556).

mandapas in a village or town is also given 558-572). Their principal members are stated to be the lupa (pent-

(lines

lE

short description of the

na

A

du

;

(roof), sabha (council hall), are also built on the roadside and at

prachchhadana

tio

roof), prastara (entablature),

and kuta (dome),

etc.

Mandapas

Tr a

di

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

fo r

VaiSyas, and the Sudras respectively Cf. the following :

(cf.

lines

571-578).

C en

tre

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

mandapam pavanalayam

Maryadi-bhittikasyantam

(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


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

!



C en tre fo r tio

di

Tr a lE

na du

n

io

ca t


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

Some mandapas

mitya-yogya-mandapa

etc.

(line 79),

(line

are stated to be furnished with 100 or 1,000 columns

vatha

sahsranghrika-mandapam

:

I

(M., xxxiv, 240.)

na

Sata-pada-yutam

Bandha-sthanam bahih kuryat snana-mandapam eva cha

I

tio

(2)

(line 71),

ca t

pushpa-mandapa

du

(line 69),

nityarchana-mandapa

74),

lE

mandapa

io

n

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-

35.)

Tr a

di

(Matsya-Purana, Chap. CCLVI, v. va Prasadasyottare vapi purve mandapo bhavet II Chaturbhis toranair yukto mandapa-(h) syach chatur-mukhah (Ibid.,

(lit.

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

C en

Then

follow the

according to the

one having 64 (i)

dana,

(5)

number of columns they

(17)

(2)

Pusha-bhadra,

Kausalya,

(6)

(9) Srivatsa, (10)

(22)

Vijaya,

and

Sirhha, (26) Syama-bhadra,

Suvrata,

so

on

(4)

:

Amritanan-

Gajabhadra,

(8)

(11) Vastu-kirti, (12) Srutirhjaya,

(19)

Manava,

Karni-kara,

(23)

and

(7)

(15) Suslishta, (16)

Nandana,

Harita,

(3)

Buddhi-samkirna,

(14) Visala,

Bhaga-pancha, (18) Sugiiva,

(2)

are furnished with, the largest

pillars, the next 62, one following 60,

(13) Yajna-bhadra,

(21)

I

names of twenty-seven mandapas. They are divided

Pushpaka,

Jayabaha,

15.)

north or east of the temple. faces (facades) and be furnished with four arched

should have four

gateways

II

built to the

tre

It

The mandapa should be

13,

fo r

'

Chap. CCLXIV, vv.

(27)

(20)

(24)

Subhadra.

397


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.,

Chap. XLVIH, vv. 4-5.)

Mandapam Description of

I

io

n

Ahuya visva-karmmanam karayamasa sadaram cha suvistlrnarh vedikabhir carving hand

its

manoramam

II

(2)

paintings

:

na vidus tattvato janah Kvachit sirhhah kvachid-dhamsah sarasas cha maha-prabhah Kvachich chhikharhdinas tatra kritrima sumanoharah

du

tatra

I

lE

Jalam kim nu sthalam

1

na

tio

satyah ke asatyas cha sarhskrita visva-karmana Taithaiva chaivarh vidhina dvara-pada-bhutah kritah

II

(7)

II

(8)

di

Tr a

I

fo r

I

tre C en

further description

Tan-madhye mandapam (Ibid.,

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,

Mandapas implying

temple

etc.

(Skanda-Purdna, Mahesvara-khanda-prathama, Chap, xxiv, vv. 2, 6, 7, 8, 13, 20 ; for

Rathasyesana-dig-bhage salarh kritva susobhanam

(6)

the detatched buildings

g6
and forming part of a

(Suprabhedagama, xxxv, 94-104).

Measurement

as

(6)

I

Ratha rathi-yuta hy-asan kritrima hy-akritopamah Sarvesham mohanarthaya tatha cha samsadah kritah (13), Evambhutah kritas Lena mandapo divya-rupavan II (20)

(5)

1

I

Tatha nagah kritrimas cha hayas chaiva tatha mrigah

Ke

1

ca t

(4)

I

1

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

n

:

Tesharh namani vakshyami srinu vatsa samahitah Nanda-vrittam sriya-vrittam virasanam cha vrittakam

Their characteristic features

visalarh cheti kirttitam

(100)

II

I

du

Nandyavartam mani-bhadram

ca t

io

I

:

chatush-padam shodasam sripratishthitam Virhsati-stambha-samyuktarh virasanam iti smritam

lE

Nanda-vrittam

na

jaya-bhadram iti kathyate Shat-trimsad-gatra-sarhyuktarh nandyavartam iti smritam Chatuh-shashti-samayuktarh stambhanam mani-bhadrakam

tio

Dvatrirhsad-gatra-samyuktam

Tr a

tu satair yuktarh visalam

iti

samjnitam

Prasada-vat samakhyatam prastarantarii pramanatah

II

(104)

(Suprabhedagama, xxxv, 94-104.)

fo r

follows

an account of these columns

C en

STAMBHA).

Kautiliya-Artha-Sdstra

(ibid.,

vv. 105-108

(Chap, xxn, p. 46, footnote)

(7) Ardha-gavyuta(-ti)-tritiyan

;

see

under

ar-gramantara-rahitam

:

mandapam

(Rdyapasenl-sulra-vydkhydne, p. (8)

II

I

tre

Then

II

I

di

Stambhanam

II

I

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.)

Chandella Viravarmanl

pp. 328, 330).

399


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

440.) Plates

of

mandapam

II

nidravasana-

n

kritva

Deva-

|

io

vijayiti

nama

bhadrahvayarh

virachyya Sambhor

Bhadrakhya-mandapam(mum) cha

(Satymangalam

mandapam ...

akarod bhadrahvyam

(Sridhara's

see also v. 10, p.

II

du

padi-valla-puryyam

ca t

Chakre cha Nayaka-sivalayam asya parsve srl-jnana-murttir atisam-

Dhama, Mamdira, Prasada and Bhavana

na

(17)

lE

(Bilvanathesvara inscrip. of Virachampa, vv. i, 2, 3, Ep. Ind., Vol. HI, pp. 70, 71.)

are used indiscriminately of Ganpati, vv. 23-25, inscrip.

Abhyavahara-mandapa

Tr a

(18)

di

tio

for temple or mandapa. (Ganapesvaram Ep. Ind., Vol. in, pp. 86-87).

Sundarapandya, (19)

v.

dining

23, Ep. Ind., Vol. in, pp.

The immediate purpose

hall. 13,

'(Ranganath

inscrip.

of

16.)

of the Ranganatha inscription of Sundara-

fo r

'

a

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

tre

is

both of which were covered with gold, and a tower which contained an image of Narasirhha (v. 7). Further he covered (v. 8),

C en

attendant Vishvaksena gilt

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


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

an abode of Krishna, an open

mandapam

n.)

hall.

(Three inscrip. from Travancore, no. B, line 4

n

; 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.

io

'

ca t

(22)

43)

(v.

(pp. 123, 114).

maha-mamtapam

ramyarh

123, 114).

Ramyam maha-mamtapam

(v.

'a

47)

a

hall

fine

of stone,

large

beautiful large hall'

hall,

(pp. 124,

di

5)-

44)

tio

(pp.

'

(v.

na

Vipulam

a plastered

lE

'

Sudha-liptam sila-mamtapam

du

123, 114).

'

Tr a

Ghanam prasadarh nava-hema-kumbha-kalitam ramyarh maha-mamtahe presented a solid temple (prasada), adorned with nine pam (v. 51) '

fo r

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, '

tre

I24,_I25.)

(23)

Anandaika-niketanarh jyotsnaughah khalu

bhuh

|

C en

II 5 ,

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.)

Two

of Irugappa,

mandapa

n

buildings to be erected in the temple of Arulalanatha (are) of one thousand pillars, a canopy of gems for (the image of)

io

a

inscrip.

Mudivalanginan

.

.

(Arulala-Perumal inscrip. of Prataparudra, line 8,

.

pp. 131, 132.)

vii,

du

Ep. Ind., Vol.

ca t

'

(29)

(Two Jaina

Sri-kovalure bhajan vasaiii visva-

lE

(30) Sri-nara-simha-varma-nripatih

jagan-nivasa-vapushah Sri-vamanasyakarot Sailam sumbhita-sata-kumbha-vilasat-kumbham

na

I

maha-mandapam

'

I

tio

prakaram para-malika-vilasitam muktamayim cha prapa(-bha)m

glorious prince Nara-simha-varman, residing in Srikovalura made the god Vamana, in whose body the whole world abides, a great

The

di

for

Tr a

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.'

fo r

mandapa

1-2, Ep. Ind., Vol. vn, pp.

145, 146.)

tre

Dhara-giri-garbha-marakata-mamdape in an emerald pavilion on the Dharagiri hill. (Dhara Prasasti of Arjunavarman, line 12, Ep. Ind.,

C en

(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


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

io

n

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-

du

ca t

'

lE

svatala) of Naddula.'

vol.i, pp, 114, 1-27 p. 173,

mandapika)

p. 177,

;

i,

29 and

i,

(Slyadoni-Satka-mandapika),

p. 179,

f.,

The meaning

I,

7.

i,

p.

47

;

45

p. 262,

;

i,

3 (pattana-

(Sripathastha-mandapika)

iv, p. 48,

Sulka-mandapika occurs, and 18.

11, 10, 15

of

i,

Tr a

205,

inscrip., p. 158 '

1-6,

e. g.,

and

e.

v.

g.,

;

in

;

Bhavnagar Bhavnagar

fo r

p.

,

Ind. Ant., vol. xiv. p. 10, col. 2

;

Journ. As. Soc. Beng., vols. LV, part inscrip.,

30

tio

Ind.,

p. 175, i, 19

di

Ep.

na

For passages in which the term Mandapika occurs, compare,

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.) is

suggested by the

(36)

.

.

.

C en

tre

mandapika

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)

The ceremony of

placing a golden cupola on the newly performances was carried out.'

io

'

no. xix, Jalar stone inscrip., lines

P- 55-)

Tenochchair

central

-(The Chaha-

Ep. Ind., Vol. xi,

bbodhi-mande sasi-kara-dhavalah sarwato manda-

lE

(42)

5, 6,

made

du

manas of Marwar,

ca t

hall, intended for dramatic

I

I

n

Suvarnnamaya-kalasaropana-pratishtha krita

na

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-

Tr a

di

tio

'

fo r

or perfect wisdom.) I. I., Vol. in, F. G.

C.

tre

Canarese

inscrip.

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.)

C en

Ind. Ant., Vol. xv,

(Bodh-Gaya

'

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


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-

n

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

;

ca t

;

io

(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

'

all

.

lE

.

du

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),

Text,

p.

175

;

Transl., p.

146.)

Varadaraja-devara-mukha-mantapada-sannidhiyalu ran emba kottalavanu.'

Tr a

(51)

Roman

di

Taluq, no. 380;

tio

na

ing hall (nirutta, i.e., nritta-mandapam) , the vestibule (nadai-maligai), the surrounding hall and the tower.' (Ep. Carnal., Vol. x, Bowringpet

'

Rajagambhi-

Text, p. 186

;

Transl., p. 155.)

tre

Roman

fo r

In proximity to the mantapa facing the god Varadaraja having erected the bastion named Rajagambhlra.' (Ep. Carnal., Vol. x, Malur Taluq, no. i ;

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 '

C en

(52)

;

.

mantapa).' '

(53) front of

(Ibid.,

Setti it.'

.

.

no.

Devan

4;

Roman

Text, p. 187; Transl., p. 156.)

built a beautiful stone


Ghintamani

temple with a mantapa in Taluq, no. 83; Transl.,

p. 258, para. 2.)

45


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

Gubbi Taluq,

n

(Ibid.,

6.)

no.

29

;

Roman

ca t

;

io

provide for the offerings (specified).' Text, p. 41, middle Transl., p. 23, line '

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

du

(57)

;

lE

;

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

'

(59)

(Ep. Carnal.,

Pavugada Taluq, no.

193,

di

Text, p.

f.)

Tr a

village.'

tio

na

'

In the antarala

mantapa, and a

(interior)

fine chandra-sale

4, Transl.,

117

p.

;

most beautiful ranga-

they erected a

(upper storey) according to the direc-

'

tre

fo r

tions given by the king Timmendra.' (Ibid., Vol. xu, Pavugada no. 46 ; Transl., p. 122, line 14 ; Roman Text, p. 203, v. 9.)

KailaSadres

C en

(60)

svatulyarh

kalita-Suchi-gunarh srimati

Vanchl-bhu-pala-chuda-manir

mauleh

Roman

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-

C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

I


< CU

I


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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

'

(64)

SrI-Brahma-Devara-mantapavanu

presented

io

Vimana.'

n

designed and completed

Brahma Deva

the

ca t

is

du

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 '

no. 9

;

Transl., p. 8

;

Roman

na

lE

Prasanna-Vengataramana to the north-west of the precincts of the temple of the god Pas"chima-Ranganatha.' (Ep. Carnat., Vol. in, Seringapatam Taluq, 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 (Ibid., no. 13

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

fo r

It

(festival), i.e.,

Tr a

Ramanavami occasion.'

di

tio

'

as

Vishnu-mandapa, Kali-mandapa, and so

C en

in them, such as

tre

It is by itself or detached building, to any temple. named are after the whose idols are consecrated or gods temples mandapas

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)

1

p.

14

Roman Text,

; '

.

.

(Ep. Carnal.,

p. 188.)

in front

of

the god

offerings (bali-pitha). '(Ep. Carnal.,


mantapa ahkana) Kes"ava.'

as

ca t

Belur Taluq, no. 12; Transl., p. 46

I,

Kalyana-mandapa

(Kattisi samarpisida at the lotus-feet of the god

na

Text, p. 106.) Newly built the

du

the god.'

;

lE

'

(73)

an offering

The

tio

(Ep. Carnal., Vol. v, Parti, Belur Taluq, no. 21

Text, p. 119.)

;

;

KalyanaChenna-

Transl., p. 52

;

di

Roman

up

(utsava) mantapa, a pillar for lights

;

'

set

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,

(74)

no.

Nagamangala Taluq,

Prasanna-Madhava of Bellur a festival (dipa-maleya-kambha) and an altar for

Roman

a gandhagodi-mantapa, in front

,

...

Haridasa-Rauta, son of

(72)

.

n

god Virabhadra

for the

io

made

of the ranga-mantapa.'

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 '

Tr a

(75)

fo r

;

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 ;

C en

tre

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

Roman

;

Text, p. 52.)

to be

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

ed on

pillars.'

on twelve

Surv.,

New

or hall

roofed by an octagonal

is

pillars.'

.

.

Series, Vol.

(83) See Arch. Reports, 1913-14, Plate vn,

dome

supported, as

Architecture, Burgess, Arch.

(Ahmadabad xxxm, pp. 87, 90.) Mukha-mandapa, of SomesVara temple

Imp.

.

lE

usual,

du

The mandapa

fig.

3,

at

Kolar.

(Mysore

na

'

ca t

io

n

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-

p. 20.)

tio

(Kandariya Mahadeo temple's) general plan is similar to that of most of the larger mediaeval temples of Northern India (see its '

Its

di

(84)

Tr a

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,

fo r

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 Surv. Reports, Vol. n, p. 419,

C en

no. 3.) '

(Cunningham, Arch.

tre

lofty spire of the sanctum.'

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.

(Vincent Smith, Gloss,

Arch. Surv. Reports.}

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., ;

(2)

lE

du

ca t

io

n

inscrip., p. 205, line 7.

Cf.

Mandapika-dayat Sreshthi-nara-sirhha-go-vrisha-dhlradi-tyaih

I

Mandapika

(Ind. Ant.,

tio

the town.

official

building of

second col., line 5 ; and Journ. Beng. Siyadoni inscrip., lines 6, 19, 29, 30, 45,

Vol. xrv, p. 10,

xxx, p. 332,

Ep. Ind., Vol.

i,

last line

;

Tr a

As. Soc., Vol.

p. 166,

173

f.)

Sri-Timma-dandanayaka mahisi Sri-Ranga-nayaki rachita Sampat-kumara-mahisi-puratah pratibhati ranga-mantapika

I

fo r

(4)

means some public or

evidently

di

(3)

na

(Shergadh stone inscrip., lines 1-2, Ind. Ant., Vol. XL, p. 176.)

II

'

C en

tre

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.

Wax,

LXVIII,

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

n

:

ca t

io

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,

not covered with earth, is washed in water. If any of the minor limbs be

This process

lost

lE

several times.

du

it

through

is

repeated

this process,

tio

na

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. process

di

has

be

to

ceremonies in different stages.

Tr a

The whole

If the master does not like the image,

performed through

:

If images

and poured

tre

'

have to be

cast

(out of the

C en

ly described

fo r

In other texts the process of casting an image in in

metal,

mould) and

all

wax

is

wax must

many

ritualistic

much more

clear-

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 in

wax moulds

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,

The middle

vestibule.

n

NAS!)

(see

io

MADHYA-NASI

etc.)

ca t

(M., xv, 119, 124, etc.)

MADHYA-BHADRA

The middle

BHADRA)

(see

du

central porch or hall.

no

lE

(M., xv,

;

xix, 177

(see

(A/.,

tio

MADHYA-RAftGA

xxxm,

;

MUKHTA-PRAPANGA)

The

380, etc.)

Manasdra (Chap. XLVII, 1-36 named Madhya-ranga,)

xxxix, 72.)

central theatre,

surrounded

Tr a

di

the enclosed courtyard, the quadrangle on four sides and open at the top.

the

door.

na

MADHYA-BHUVAftGA A moulding of the

tabernacle,

by buildings

refers in this con-

tre

fo r

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,

C en

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

II

io

n

Trimsad-dhastarhs cha vistlrnah prasado'yam dvitiyakah

ca t

(Brihat-samhitd, LVI, 21, J. R. A. S.>

N.

(6)

du

:

type

II


fo r

A

;

ity-uktas chatuh-salashta-kutakam

type of building, a hall, a room, a temple, a shrine. of rectangular :

sec

building

Chap.

(Garuda-Purdna,

XLVII,

under PRASADA).

C en

vv. 21-22, 26-27

tre

MANDIRA A

(3)

lE

na

;

Mand(h)ara-nama

(2)

319.)

Garuda-Purdna (Chap. XLVII, vv. 21-22, 24-25 see under PRASADA). A building with four salas (compartments) and eight kutas (towers

or domes)

(1)

vi, p.

tio

(5)

di

(3) (4)

Vol.

(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

Tr a

(2)

S.,

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

n

'

io

established in a

ca t

(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.) ;

du

.

.

no. 65

;

A mosque,

fo r

MASI(-SI)TI

u,

Tr a

(Ep. Carnal., Vol.

'

na

tio

Jainarh mandiram indira-kula-griharh sad-bhaktito' chikarat of pure faith, he made this Jaina temple a home for Lakshmi.'

Out

Rangai-Nayakayya,

I

di

(8) '

II

Kings of Chedi, no. A, Tewar stone inscrip. line 17, Ind. Ant., Vol. XVHI, p. an.) Karnadeva, Gaya

(Inscrip. of the

of

I

lE

(7)

Tenedarh marhdirarh Kama-vidvishah Karitam muktaye bhaktya kirttayecha kritatmanam .

Roman

a

Text, p. 60; Transl., p. 149.)

Muhammadan

in order to

endow

tre

(kalla-masltiya-deva-sthanakke), which Babu

inner street of Sindaghatta,

C en

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

\

ca t

io

n

MASURAKA

du

MASURAKA.

C en

tre

fo r

Tr a

di

tio

na

lE

VUPA STAMBHA.

SECTION.

r

MUKULA.

* ^

K -


/--.


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t

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.

47

LIV,

(Ibid.,

under PRASTARA.)

see

;

n

Masura, a synonym, as stated, but apparently a component part, of adhishthana or base Masurakam adhishthanarh vastvadhararh dharatalam

io

:

class

na

(M., xxvi, 35-39

MAHA-GOPURA

LV,

(Ibid.,

202.)

of eight-storeyed buildings.

lE

MAHA-KANTA A

II

du

Talaih kuttimady-angam

ca t

I

adhishthanasya kirtitam

The gate-house of

tio

extreme boundary of a compound.

the

see

di

(M., xxxm, 10

;

;

fifth

see

under PRASADA.)

court or at the

under GOPURA and PRAKARA.^

Tr a

MAHA-GRAMA A large village. floor.

see

details

synonym of prachchhadana or

under GRAMA.)

roof, the top(M., xvi, 57.)

C en

MAHA-DVARA

;

tre

MAHA-TAULI A

79

fo r

(M., x,

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

The

pedestal of an image

sixteen equal

tathii

(M.,

I

429,

ix,

ca t

:

under

MANDAPA)

lE

(see

du

Padma-pitharh maha-pl{ham tri-murtinarh cha yojayet

MAHA-MANDAPA

etc.)

io

n

Cf.

into

(M.,

The

I

86,

LI,

etc.)

hall

great

of

under

MANDAPA

Imp.

Surv.,

Series, Vol. xxi,

New

p. 39.)

:

Tr a

See

(Chalukyan Architecture, Arch.

di

tio

na

entrance to the main shrine of temples.

Mangalagiri pillar

(vv. 44, 47, 51,

inscrip.

Ep. Ind., Vol.

vi,

pp. 114,

fo r

115, 123, 124, 125).

Two Jain

tre

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).

C en

v.

inscrip. of

(maha-mandapa) stands

This building the large court. '

...

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.) till it

The

boundary of a compound, gopura or dvara-gopura.

enclosure (prakara) at the extreme the gate-house thereof is called maha-

fifth

large

a moulding of the entablature.

fillet,

(M., xvi, 69

see

;

the

lists

of mouldings under PRASTARA.)

lE

kind of phallus.

(M.,

(M., xxvi, 10, site

;

under LINGA.)

see

;


see

Tr a

width of a building the maha-sala

is

seven parts

etc.).

which the

plan in

tre

MAHASANA A

hall.

fo r

Cf. of the sixteen parts

2

di

(M., xvn, 102

MAHA-SALA A large

LII,

na

kind of joinery.

tio

MAHA-VRITTA A

broad.

under PRAKARA.)

du

MAHA-VAJANA A MAHA-VRITA A

118, 125; see

io

(Suprabhedagama, xxxi,

n

MAHA-MARYADA

rested.'

ca t

tions,

whole area

divided

is

C en

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


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


;

set

417


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),

The

linear

The measurement from

ference

(vistrita).

Parimana

is

du

is

breadth

the foot to the top of the head is called Mana Pramana is the measurement of

in fact nothing but height.

the measurement of width

or circum-

lE

which

ca t

io

n

(i)

Lamba-mana

is

the measurement along the

na

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).

Tr a

di

tio

lines or the lines

;

:

fo r

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

C en

tre

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.)

no

;

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-

the term

ca t

details

'

'

MANA.' the division under

the details of the height of an image as

lE

Of

(viii)

to his hair-limit (on the forehead), or, as

height

may

extend

sometimes stated, to the eye-

sex organ

di

nose-tip, chin, arm-limit (to the shoulder), breast, heart, navel,

Tr a

line,

The

tio

na

compared with the height of the worshipper are given here. of the image may be equal to the full height of the worshipper,

up

'

du

The

(ii),

n

occasions

(i),

io

Under

:

Kanyasad uttamantam syad yajamanodayam param Kesantam nasikagrantarh hanvantam bahu-simakam Stanantam hridayantam cha navyantam medhra-slmakam Navadha kanyasantam syat sthavaram jangamodayam I

fo r

I

tre

C en

And

of the division under

and

I

I

(Idid.,

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

io

n

;

(Further details will be found under these terms.)

etc.

ca t

width,

Atah-pararh pravakshyami manonmanam viseshatah After this I shall speak about the Mana and Unmana measurements I

du

(2) '

lE

in particular.'

followed by an account of various measures. tala measurements employed in statues.)

This

(Note the different

tio

na

is

di

Tr a

(4)

I

(Suprabhedagama, xxxiv, 35.)

Parimanonmana-manam dharyarh raja-vimudritam Guna-sadhana-samdaksha bhavamtu nikhila janah II

fo r

(3)

(Matsya-Purana, Chap. CCLVHI, v. 16.)

Manarh tad-vistaram proktam unmanam naham eva cha 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

tre

Prof.

'

C en

'

'

'

'

'

'

'

'

'

(Sukranitisara, ed.

Oppert,

i,

310.)

MANA-BHADRA A

pavilion with twenty-six pillars. see under (Matsya-Purana, Chap. CCLXX, v. 12 MANÂPA.) ;

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


smallest

measure

visible in the sunshine

8

atoms= I

is

MALIKA(-KA)

the

atom or paramanu,

through a lattice

the particle of dust

i.e.,

(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

human

being, a kind of phallus. (Kamikagama, L, 35, 38 ; see under LI&GA.)

n

Relating to the

MARGA A road, a street,

ca t

io

MANUSHA

under ANQULA.)

see

;

a way, a path, a lane, a passage, a canal,

du

a course.

8.)

Tr a

I

I

(M., xxxi, 60, 64.)

type of pavilion (mandapa) Evam tu malikakaram êsharh prag-uktavan nayet :

C en

Mandape (2)

1

of buildings, a type of pavilion.

Kudyasyanta-prades'e tu yuktya chavrita-malikam Malikopari vapra(rh) syad adhishthanarh samodayam

tre

A

class

fo r

(1)

A

1

(Kamikagama, xxxvin,

di

MALIKA(-KA)

I

tio

na

lE

Ghandalanarh pravesaya nirgamaya malasya cha Jalasya nirgamartharh tu kshudra-margah pras"arhsitah

(M., xxxiv, 315

;

see for

I

description 297-314.)

chordhva-kutarh syan malikakriti(rh) vinyaset

I

(M.jXxxrv, 291.)

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

1

xxxi, 128.)

1

avrita-mandapam

Mandapena vina vapi tena manena plthika Vibhadra va sabhadra va karatavya malika budhaih

1 1

I

1

1


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,

du

(v)

(Excepting the last one,

all

under Vimana-lakshana.)

not specified). ;

details of these classes are given (vv. 8-22).

tio

Still

is

the other classes occur in the Mdnasdra also

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), :

di

The

(v.

fo r

Saumya

Tr a

see

lE

(iv)

Chhanda, and Vikalpa. Suddha, MiSra, and Samkirna. Vija, Mula, and Ankura (this class

Jati,

na

(iii)

ca t

io

n

:

Vijaya

(v.

40),

50),

Bhadra

(w. 53-54). Kona

tre

ViSala

(vv-

(v.

41),

(v.

51),

55-5 8 )

C en

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

i-a, Ep. Ind., Vol. vn, pp. 145, 146.)

422


MUKHA

HINDU ARCHITECTURE

MALIKA-MANDAPA A

pavilion of the

Malika

class

of build-

ings. (Suprabheddgama, xxxr, 128

MALYAJA A

(M. y xxxiv, 153

;

building

under MANDAPA.)

see


class

made of any two

under MANDAPA.)

see

(M., xxxiv, 316;

MI&RA A

under MALIKA.)


class

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

bahubhir yutam

sarhklrnarh

n

Dravya-dvaya-yutarh

io

(Kdmikdgama,

MI&RITA A

I

XLV,

22.)

MUKULA A

L,

1-3

under BHUSHANA.)

see

;

du

(M.,

ca t

kind of ornament prescribed for idols and kings.

lE

bud-like crowning ornament of a pillar.

na

(M., xv, 32 ; see lists of mouldings under ADHISHTHANA, UPAPJTHA and PRASTARA.)

MUKULI A

tio

type of round building.

MUKTA-PRAPANGA

Tr a

di

(Garuda-Purana, Chap. XLII,

29

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

'

fo r

'

tre

'

(M., XLVII, 2

C en

court.

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.) (at

itself faces

Amarnath)

the hall of the shrine

the west but the

n

The temple

or

mandapa

has also doors to the north and south.

ca t

antarala

io

'

i,

(The temple of Amarnath,

Vol.

Ind. Ant.,

m,

p. 317,

lE

attached to the wall.' c.

du

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 last para.)

na

kritina devalayarh karitam yugmam cha purato-bhadram pratolya saha mamdapa-sobbitam

Deva-Sri-s'ai-bhushanasya

tio

I

di

Kshetresasya tatha suralaya-vararh sphitam tadagarh tatha bandham Kaudika-samjnakam bahu-jalam dirgham tatha khanitam

fo r

Tr a

I

inscrip.

Ep.

The

C en

tre

MUKHA-MANDAPA

(Ranker

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

it,

balustrade, railing. (Mahavamsa, 35,

MUNI An

An

railings in relief are

tee,

n

to

so-called Buddhist

account

of the

under STAMBHA.)

io

frequently added

The

see

ca t

MUDDHA-VEDI

;

2, ed.

W.

Geiger, p. 297.)

ascetic.

du

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.)

lE

given in detail in the Manasara.

(M., LVII, 2-6.)

characteristic features of the patriarchs are also described.

fo r

The

Tr a

di

tio

na

is

(Ibid.,

7-17.)

MUSHTI-BANDHA A

The

C en

tre

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. 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

under TORANA.)

425


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.' .

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, .

S. 1. 1., Vol.

(Trisirapalli

n

.

pp. 29, 30.)

i,

io

The two inscriptions king Gunabhara '

Kaisaleyalli

ca t

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)

du

I

(vigraba)

;

Transl., p.

na

lE

'

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) this inscription,

tio

In

di

:

Tr a

expresses almost the same idea, men, and so also does pratimd.

;

mini implies the statue of both gods and

fo r

MORTI-KANTA A type of storeyed A class of five-storeyed

tre

MOLA-DANDA

The

building.

buildings (M., XXIH, 19-24

;

see

under PRASADA.)

regulating column of a building, the founda-

C en

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

io

moulding of the lintel (M., xix, 145, etc.). fourth moulding from the top (downwards) of an entablature.

ca t

A

n

lotus stalk or fibre, a moulding of the entablature, base, or pedestal, etc., shaped like the lotus stalk or fibre.

The

under PRASTARA.) the list of mouldings see

i ;

du

(Kamikdgama, LIV,

A moulding of the entablature (M., xvi, 63 under PRASTARA.) of

class

lE

na

A

see

type of storeyed building.

tio

MEGHA-KANTA A

;

buildings

ten-storeyed

16-17;

see

under

di

PRASADA.)

xxvin,

(M.,

Tr a

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.)

fo r

(1)

C en

tre

;

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.

24,

cf.

also v. 39

427


;

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


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, (9) See

Ind.,

windows,

variegated

stories,

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

like

n

is

II

the circle of waves of the milky ocean, need

io

Of him whose fame

I

dughdhabdhi-vichl-valaya-

bahalakirtteh kirttanarh karnna-meruh '

Devi

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

(Khairha plates of Yasahkarnadeva, v.

lE

the sky.'

du

ca t

we

13, Ep. Ind., Vol.

m, pp. 211,

na

212, 216.)

primarily the name of the fabulous golden mountain (hemadri), the centre of Jambu dvipa on which the gods dwell (suralaya),

Meru

'

is

tio

(n)

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

Tr a

di

and

mount Meru is the home of the gods, a large temple with and wonderful vaults (Brihat-samhitd, LVI, 20).'

six towers,

fo r

stories

twelve

'

C en

tre

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

used by the Jainas

is

(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

Vol. xxvi, p. 164, last para.,

Biihler, Ind. Ant.,

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, '

.

.

ca t

io

.

n

(12)

103, para. 2.)

na

H.S.I.I., Vol. HI, p.

lE

du

'

A A

buildings

xxi,

(M.,

41-49,

see

under

di

PRASADA) (2)

of three-storeyed

class .

Tr a

(1)

tio

MERU-KANTA A type of storeyed building. type of building (Kamikdgama, LXV, 31

MERUJA A

;

under MALIKA).

see

fo r

type of building, a class of pavilions. (M., xxxiv, 160

;

see

under MANDAPA.)

MAULI A

C en

tre

MESHA-YUDDHA A kind of joinery. (M., XVH, 93, 112-113;

see


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,

;

(lit.

diadem)

stated to

and Makuta are prescribed for as, Narayana and others (lines

Kirita

such

are

17-18).

429


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,

n

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 is

determined in comparison with the width

ca t

crown

height, etc., of a

Different proportions are suggested in different

du

The

of the face of the wearer.

io

29-33)-

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 described in detail the

tio

64-88, 89-92).

these crowns are then described

di

Forms of

lE

is

na

Next

:

be shaped

Tr a

Jata, Makuta, Kesa-bandha and Dhavala

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.

fo r

beak of a peacock, Sirastra

Then

budbuda

(water

bubble),

and

like vallika (creeper) (lines 93-95).

tre

Dhammilla

like

C en

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,

a

(Matsya-Purana, Chap. CCLXX, v.

n

see

;

member of the to move a couch

architectural

with

pavilion

under MANDAPA.)

bedstead, a band,

du

a machinery or wheel at the legs easily. Padagre chantaralarh syat kuryat tiryak cha yantrakam

YAGA-MANDAPA A

16-18

;

see

under PRASADA.)

fo r

sacrificial pavilion.

tre

(M., xxxiv, 37

xxxn, 65,

;

etc.)

sacrificial hall.

(M., xxxii, 55,

C en

YAGA-SALA A

sisting

39.)

LIII,

di

(M., XXIH, 25-29, xxrx,

YANA A

(Brihat-samhita,

type of storeyed building. of five-storeyed and eleven-storeyed buildings.

Tr a

class

(M., XLIV, 13.)

lE

na

YAMA-KANTA A A

I

type of building, a house with a western and

hall.

tio

northern

four

n

pillars.

under PRASADA.)

see

io

of building,

type

;

ca t

YAJNA-BHADRA A

YAMA-SORYA A

TALA-MANA.)

type of five-storeyed building. (M., XXIH, 34-41

YANTRAKA An

see

;

etc.)

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


RAKTA-BANt)HA

ENCYCLOPAEDIA OF

AJf

RAKTA-BANDHA A

class

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


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,

Courtyard Tasya madhye cha range tu mauktikena prapanvitam

94.)

io

I

ca t

du ;

see also

lE

(M., xxxv, 117-119

I

xxm, 50

;

I

xxxvm,

na

Uttare rangam ity-uktarh tad-grihinya griharh bhavet Eka-sala prasasta syat strinarh rangopajivinam 1

tio

II

di

Ranga-bhitti-samayuktarh dhama-sopana-sarhyutam

1

Tr a

(Kamikagama, xxxv, 47, 60, 62, 64.)

(Bharata's Ndlya-sastra,

11,

66, 771, 102.)

under NATYA-GRIHA.

tre

See details

1

stage proper.

fo r

The

44, etc.)

II

1

Pradhana-sala yatraiva ranga-sthanarh vidhlyate

RAftGA-PlTHA

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 (3)

L,

:

n

(2)

RAftGA-BHtJMI

C en

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


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

:

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, 14)

i,

(2)

p. 199, para. 3

i.)

ca t

para,

;

;

p. 200,

io

10,

n

and

Irangada happaligeyuman imaha-sopana pantiyumarh rachisidam Sri-Gommata-devara suttalu rarigama-happaligeym bigiyisidan had this '

du

(2)

;

Deva.'

(Ep. Carnal., Vol. n, no. 115

Text, p. 87

Karite vira-Ballala-pattana-svaminamuna

;

Transl.,

I

di

(3)

;

tio

171.)

p.

Roman

na

Gommata

lE

rahgada happalige (? painted hall or hall of assembly) and the flight of grand stairs laid out had the rangama happalige set up around Srl-

Nagena ParsVa-devagre nritya-rangasma-kuttime

Tr a

I

By Naga, the Vlra-Ballala, pattana-svami, were built the dancing hall and terrace of Parsva Deva.' Nritya-rangamumarh madisida Parsva

Deva

stone

i.)

Roman

'

'

Text, p. 99, lines 1-4; Transl., p. 178,

C en

(Ep. Carnat., Vol. n, no. 130;

para,

pillars

tre

tha

and in front of the basadi of Kamaand a dancing hall were made.

fo r

'

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.,

xxiv, 19

433


;

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.'

io

n

'

on

p. 33.)

Vol. m, F. G.

I. I,,

I.,

moulding, a jewelled band, a jewelled turban. moulding of the pedestal (M., xm, 84 see the list of mouldings,

na

A

9-10, C.

lE

RATNA-PATTA A

II, lines

du

(Sanchi stone inscrip. of Ghandragupta no. 5, pp. 32, 33-34, note 5

'

ca t

:

;

tio

under UpAPixHA.)

Tr a

di

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

fo r

diamond

details see

flower,

tre

(Deopara

BUDDHA-PAD A.

an ornament.

inscrip. of Vijayasena, v.

Vol.

RATNA-BANDHA

C en

For

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


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 :

Brahmans and

(lines

as well as for fighting, mock-fighting

;

131-133).

i,

io

and other purposes

kings

n

idols,

ca t

Wheels and other parts of Rathas, their shapes, measurement, and ornaments and mouldings are described (lines 2-3 f.). Other architectural

du

details are also given (lines 3-11).

na

lE

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

The first of these is square, the second hexagonal; the have two bhadras or porticoes (? storeys) and the fourth three porticoes, the fifth and the sixth should have ten porticoes, and the last one should have twelve porticoes (lines 117-120). But according to 112-115).

tio

(lines

Tr a

di

third should

elliptical,

fo r

some, the seven shapes proper are respectively semi-circular, circular, rectangular, octagonal, hexagonal,

and oval

(lines

121-123).

C en

tre

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 its

capital

The basemen,

to the monoliths at

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 .

complete.'

set

;

the

term

New Imp.

is

Mamallapura^ here used advised y para, 3 Vol. xxxxv, p.

n

.

Series,

,

io

having

stands

left,

,

ca t

is

of the temple

the extreme

The Ratha, on

Plate xxv.)

a shrine, a temple. type of building, tu nirgamah Ashtamarhsena garbhasya rathakanam

I

lE

du

RATHAKA A

na

rathakams tatra kalpayet Paridher-guna-bhagena rathakanam tu nirgamah Tat-tritiyena va kuryad rathaka-tritaye sada II Vama-trayarh sthapaniyam XLH, (Agni-Purana, Chap.

di

tio

I

w.

13-14-)

samantatah Nernih padona-vistirna prasadasya madhye rathakams tatra karayet

Tr a

I

Paridhes trayarhsako

fo r

(Ibid.,

tre

RATHA-KUMBHA-A

C en

,

of the column. pitcher-like part see under STAMBHA.) (M., xv, 68

broad road

highway, the main

fit

for driving chariot

and other

street. (See

RAHASYAVASA-MANDAPA-A secret,

civ, v. 7.)

;

RATHA-VlTHI-The vehicles, the

Chap,

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.) '


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.

broad

last

i,

seven lines

io


;

vn,

Roman

ca t

RAJA-PATHA The

;

the big road, the highway.

street,

du

Shikarpur Taluq, no. 197 Text, p. 214, line 27 f.)

n

these nine forms

Dhanumshi

lE

daga-vistlrnah sriman raja-pathah kritah Nri-vaji-ratha-naganam asarhbadhas tu samcharah 1

I

1

na

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 kramaâh padikah smritah

tio

I

Tr a

di

I

II

i, and annushamga-pada, Chap, vn, vv. 113, 114, 115.)

RAJA-VITHI

The

fo r


public road, the broad street, a road which runs also called Mangala-vithi

tre

round a village or town,

C en

Raja-vlthlti vikhyata

gramader bahir-avrita

Saiva mangala-vithiti ratha-vlthiti kathita

RAJA-HARMYA

and Rathavithi.

I

II

(Kamikagama, xxi,

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

or royal chapel

is

Bramasthana or i n the best of the

installed in the

The main P alace is built Varuna, Yama, Pushpadanta,

n

central part (lines 156-159)remaining parts called Indra,

71-1", 112-153).

io

The Brahma-pitha

(lines

etc.

Round

du

ca t

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

lE

.

tio

na

ants, places for tanks

:

di

The

royal

Tr a

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

fo r

:

tre

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

C en

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-)


C en tre fo r tio

di

Tr a lE

na du

n

io

ca t


tre

en

C rT

fo di

ra tio ca

lE du

na tio

n

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,

n

of the king (line 155).

tio

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

lE du

ca

RAjAftGA

and some

nine classes of kings, their courts, kingdoms, royalties 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.)

na

'

RUCHAKA A

di

type of building, a class of columns.

door in

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, it

brings

fo

The

I

rT

ra

Prak-paSchimavalindav-anta-gatau tad-avadhi-sthitau s*eshau Ruchake dvararh na s"ubhadam uttarato'nyani Sastani II

tre

'

tio

(Ep. Carnat., Vol. x,

(1)

special

en

samhitd, LHI, 35, J. R. A. S.,

N.

Sama-chaturas'ro ruchakah

S.,

Vol.

vi, p. 286.)

a column with four rectangular sides

is

C

(called) ruchaka (ibid., v. 28). A kind of quadrangular building (2)

Agni-Purdna

(Chap,

crv,

:

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

1

II

I

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

type of entablature (see PRASTARA). Athochcharh pada-vistararh rupottaram ihoditam

Cf.

I

(Kamikdgama, LIV,

RAURAVA A

of nine-storeyed buildings (Af., xxvn, 10

LAKSHMI-SK(-ST)AMBHA

see

;

under PRASADA).

A

type of column believed to be the abode of the

n

class

main

building.

STAMBHA)

(see

:

tio

A

of storeyed

type

6, etc.)

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). pillar

lE du

ca

the

na

(M., xvm, 285

see

;

tio

Sikharalambanantam cha vedi-tara-samanvitam

(M., xrx, 27.)

....

I

ra

di

Lambanordhve dalarh badhya

MUKHA-BHADRA.)

I

(Ibid., 39.)

rT

Utsedhe cha tri-bhagaikam tasyadho chagra-lambanam

I

fo

(Ibid., 170.)

tre

Tr(i)yarharh chagra-vistararh lambanarh pancha-bhagikam

en

See also

(Ibid., 172.)

etc.

M., xx, 25,

(Af., L, 15, etc.).

C

A pendant

I

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.,

xxxv, 257-260).

44


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.)

Mdnasdra (Chap. LIT, 1-376, named Lihga) Various classifications of phalli have been given :

are classified

firstly into six heads

lE du

(i)

ca

tio

n

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. (line 2 f.).

They

(i) Saiva,

;

tio

;

na

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) ;

di

:

:

rT

;

ra

:

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 :

fo

;

,

group)

;

tre

:

then into

many

;

kinds

:

such as

(8)

Vajra, Svarna,

etc.,

with

en

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. The 9 alternative heights of a phallus are determined in some cases regard to materials of

:

C

;

by a comparison

The

to different

parts of the

height of the phallus

body of the worshipper

reach the worshipper's sex-organ, navel, heart, breast, arm-joint, chin, nose, eye, or be equal to his full height. Another comparative measurement is given with (yajamana).

may

regard to the Garbha-griha or adytum. Various absolute measures are also given in some cases. The set of the nine alternatives

441


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

II

Chap., CCLXIX, v.

(Ibid.,

7.)

Evarh ratna-mayam kuryat sphatikam parthivam tatha Subharh daru-mayam chapi yad va manasi rochate II

I

v. 25.)

Chap. CCLXHI,

n

(Ibid.,

(LVIII, 53-55) where Varahamihira seems to from the Matsya-Purana, are given especially

tio

details

the architectural characteristics

ca

In the Brihat-samhitd

:

lE du

(3)

have condensed the

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

na

1

tio

di

'

I

rT

ra

(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.

tre

fo

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

its

in all directions

cavity,

LVIII,

(Brihat-sarhhitd,

53,

54,

C

en

to its height.' over an J.R.A.S., N. S., Vol. vi, p. 329, notes i, 2.)

to

(4)

Sarvesham eva linganam lakshanam Srinu sampratam II Madhya-sutrarh samasadya brahma-rudrantika budhah

ShodaSangula-lirigasya shad-bhagair bhajito yatha

1

1

Tad vaiyamana-sutrabhyarh manam antaram uchyate Yavashtam

I

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

ia

one-eighth

of Sikhara.

aAOANA.

ANANTA.

VIHAYA3.

ANTARIKMA

PROPORTIONS OF LUPA.

PENT ROOF. :

LAKSHMI STAMBHA

C

en

tre

fo

rT

ra

di

tio

na

lE du

ca

tio

n

LUPA.

VEDIKA.

1

i

SECTION.

-

ELEVATION.

VEDI,

Page



tre

en

C rT

fo di

ra tio ca

lE du

na tio

n

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

Onkar, Mandhata,

(at

(6)

Mahakalesvara (at Ujjain). Kedarnatha (at Kedar, Garhwal VisVanath (at Benares)

(7)

Vaidyanatha

(8)

Ramesvara

(9)

Mallikarjuna

Nimar, G.

P.).

District).

.

Santal Pargana, district Birbhum, Bihar) or

,

(at

Hyderabad

Ramnad

State, Deccan).

Madras). Garnool District, Madras).

District,

(at Sriâila,

Naganatha (near Dwaraka, Guzrat, or

at

Oundh, Hyderabad,

na

(10)

(at Parli,

lE du

Vaijnatha

ca

tio

(in

n

(4) (5)

district

tio

Deccan). (n) Ghrishnesvara (Purna-jyotish, near Ellora Caves, Hyderabad,

(A) PaSupatinatha (at

Amarnatha

:

rT

ra

di

Deccan). (12) Bhlma-s'ankara (30 miles from Poona). N.B. These do not include three other famous lingas, namely

Katmundu, Nepal).

Kasmir). (C) Kailasanatha (on the Manas-sarovara, in the Himalayas).

fo

(in

tre

(B)

pillar

marked with the linga

en

LlftGA(-MUDRA)-STAMBHA A

C

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


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).

A

KALAS"A)

object resembling partly the

lump of

earth, a clod,

an architectural

n

(see

finial.

tio

LOSHTA

(see

krura-loshtani

LOHA

kona-loshtani, svarnadi-loshta (v. 39). (v.

35),

under ABHASA)

(see

made

:

fo

of the metals of which idols are

Mrinmayarh yadi kuryach chech chhulam tatra prakalpayet Lohajam tv-aviseshena madhuchchhishtena nirmitam

en

tre

(1)

Evam

1

dvi-tryangularii vapi lohajaih

pratimodayam

Uttamam

...

chottamam (M.,

A

The

face,

face (M., LVH, 20, etc.).

See the

lists

of mouldings under

ADHISHTHANA and UPAP!THA.

444


19.)

I

LI, 6, 19.)

under ABHASA.

a moulding. moulding of the column (M., xv, 212-219).

The

1

I

lohajaih bimbarh pithabhasam tu

See further illustrations

,

I

(M., xn,

Lohajair mrit-sudha chaiva

VAKTRA

I

1

(Suprabheddgama, xxxrv, ai.)

C

(2)

urdhva-loshtani

Iron used both as an architectural and

rT

sculptural material.

One

puta-loshtani,

tio

and

It is variously named in this generally built. loshtani (vv. 28-30, 32), nivra-loshtani (v. 34),

di

36),

:

ra

(v.

is

na

kalasa (water-jar, finial) chapter of the work

last

lE du

ca

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

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.

under PRASADA). 21, 23,31-32; see under

see

20-21, vv.

xxxvn,

VAJRA-KANTA A

of eleven-storeyed

ca

class

xxxrv,

(M.,

buildings

19-25

see

;

under

lE du

A

type of storeyed building.

tio

n

PRASADA).

PRASADA).

VAJRA-KU'MBHA A

tio

na

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.

ra

di

;

nama

kalko'nyah

I

tre

Vajrataro

fo

rT

;

en

(Brihat-samhita, LVH, 7, J.R.A.S.,

top

C

VAJRADHATU-MANDALA

The

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 ;

small pillar.

type of base. the

list

ADHISHTHANA).

445


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).

BODHI-MANDA)

A

diamond throne, the miraGaya, on which Buddha and

n

(see

tio

VAJRASANA

attaining perfect wisdom.

lE du

when

ca

culous throne under the Bodhi-tree at his predecessors sat

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 '

wisdom.'

Ant.,

Vol. xv, p.

257, c.

1-2.)

tio

(Ind.

na

(1)

Tenaitad atra kritam atma-manovad uchchair vajrasanasya bhava-

nam

bhuvanottamasya

di

(2)

I

here for the diamond throne, the best thing in the He world, this habitation, lofty like his own mind.' (Ghosrawa Buddhist Ind. Vol. lines Ant., xvn, 14-15, inscrip., pp. 310, 311, 308, note 5.) '

fo

rT

ra

erected

VADH0-NATAKA A

en

tre

theatre for females, a gallery, a balcony. Vadhu-nataka-sarhghais cha samyuktarh sarvatah purim :

vadhunam

nataka-sala

VANA-DURGA

I

(Ramdyana,

C

Commentary

I

(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


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

n

.

tio

:

ca

I

(M., xxi, 14,

Ep. Ind., Vol.

pp. 300, 303).

v.

23

Yasyotturhga-turarhga-tarhdava-bhavah prarhsutkarah sainikah svahsimasu marud-ganabhaya-maha-vapra-prakaro'bhavat

di

(5)

i,

na

(4)

(M., xxxi, 64.)

Wall (Dabhoi inscrip. v. in, Ep. Ind., Vol. i, p. 31). Rampart (Badnagar Prasasti of the reign of Kumarapala,

tio

(3)

etc.)

I

lE du

Malikopari vaprarh syad adhishthanam samodayam

ra

I

rT

(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

fo

(6)

tre

I

122, 124, 112, (7)

(8)

39

;

see also

C

v. pillar inscrip.,

en

'

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

;

see

the

list

ADHISHTHANA).

447


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 panjara-sala

I

I

tio

n

Dvyamsam

ca

I

bhadrakam

lE du

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

na

I

tio

I

I

di

(M., xxx, 17-27.)

ra

Ân architect, the designer, the painter. (See details under STHAPATI.)

rT

VARDHAKI

I

I

tre

fo

VARDHANI(I) A type of building. A class of round buildings (Agni-Purdna, Chap, PRASADA)

civ, vv.

17-18

;

see

under

.

en

VARDHAMANA A class of buildings,

a type of storeyed mansion,

C

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

VA(BA)LABHI(-I)

7).

roof, the

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. (1)

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 tion

it

is

" roof" of an Indian house. In the

flat

here used by Utpala, and frequently elsewhere

sarit-sdgara (95,

18)

:

sva-grihottunga-vatayana-gatah

mya-vatayanarudhah,

Vol. vi, pp. 319, 322, note.)

162)

har-

:

J.R.A.S., N.

of five-storeyed buildings (Matsya-Purdna, Chap. CCLXIX,

see

under PRASADA).

of rectangular

building

:

S.,

w.

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,

w.

'>

sce

(5)

>

I

Naga-lokam

I

(Mahabharata,

A

synonym of the entablature (M.,

C

(7)

aneka-vidha-prasada-harmya-valabhl-niruhya-

.

en

sata-samkulam

A

.

.

tre

(6)

fo

rT

(4) Garud.a-Pu.rana (Chap. XLVII,

ra

(3)

type

;

(103,

Kathd-

e.g.

na

53

35, 50,

A

class

;

tio

A

di

(2)

;

(Brihat-samhita, LVI, 25, LVH, 4,

etc.'

latter accepta-

n

other times the

tio

it,

;

ca

by

Comm.

lE du

'

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

those of the

mountain) having

Gandharvas

449


;

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.)

Roman

VALAYA An A

in,

n

Vol.

ornament, a type of building, a moulding. bracelet (M., XLIX, 138; L, 33, etc. see BHUSHANA Deopara ;

na

(1)

/.,

Text, p. 462, Transl., p. 202.)

lE du

;

/.

jewelled pillars supporting the roof (valabhi) (Ep. Carnal., Vol. v, Part I, Channarayapatna Taluq, like

of the three worlds.' no. 179, line 2

C.

tio

Whose arms

2,

ca

'

(10)

line

inscrip.,

inscrip. of Vijayasen, v. n, Ep. class of round buildings

i,

;

pp. 303, 313.)

tio

A

Ind., Vol.

:

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,

di

(2)

rT

ra

;

(cf.

A

VAT AYANA)

tre

VALLI

under PRASTARA).

fo

LIV, 9; see

VASATI

type of window. (M., xxxiii, 483

A

;

see

under VATAYANA.)

BASADI)

mart,

C

en

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

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

n

(Lala-Pahad Rock inscrip. of Narasimhadcva, line 6 Ind. Ant., Vol. xvm, pp. 212, 213, note 2.)

VAHANA

(Brihat-samhita,

VAM&A

'

A

bamboo, a

LIII,

a

I

lE du

ca

tio

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

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.' flute,

ra

Bhojanarh nanuvamsarh syach chhayanam cha tathaiva cha Anuvamsa-griha-dvaram naiva karyam subhartliibliih II

rT

(i)

di

tio

na

shaft,

fo

Dvija-gehasya variisarh tu purvagram parikalpayet

1

1

kshatriyanarii paschimagram visam bhavet Sudranarh uttarasyarh syad esha vamsagrako vidhih n tu

tre

Yamyagrarh

I

I

en

(Kamikdgama, xxxv, 147, 149, 150.)

Prag-varhsayor anya-varhsais cha nalikera-daladibhih

C

|

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 (M.,

I2O-I2I.)

XVII,

In connexion with the pavilion (mandapa) Adhishthanam vina kuryaj janmadi-prastarantakam

I

I

:

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

128.)

n

(M. xxxv,

tio

Harmya-tara-vasad dvar^m vamsadhishthana-paduko

(M., LXIV,

ca

VAM&A-KANTA A

I

5.)

lE du

of twelve-storeyed buildings once prethe vailing in Varhsa-(ka), capital of Kausambi. class

iti

proktam sesham purvavad acharet

tio

Vamsa-kantam

na

Tad eva haram(-ra) tan-madhye chaika-bhagena saushtikam

square or rectangular moulding resembling a

fillet, i.e.

ra

VAJANA A

II

28-30, under KERALA-KANTA.)

di

(M., xxx, 31-32,

see also

I

a small band which placed between mouldings and as the uppermost member of a cornice. (For its synonyms, see M., xvi, 46-47.)

fo

rT

is

tre

Crdhva-vajanam ekariisam amSarh

en ;

see

C

i

bhavet

I

(Vdstu-vidyd, ed. Sastri, ix, 24.)

The moulding LIV,

tat pattika

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

village named Tamara-cheru combined with (The Madras Museum Plates of Vajrahasta III,

let.'

Vol.

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

tio

At the

I

left

or right side a three-fold pavilion should be built for the

ca

'

n

bhage dakshine va nripanam tredha karya vatika kridanar,

tham

sport of the kings.'

lE du

(Silpa-sastra-fara-samgraha, ix, 29.)

Uttare saralais talaih subha syat pushpa-vatlka

I

(Matsya-Purdna, Chap. CCLXX, v. 29.)

na

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,

tio

I

!75.

J

type of building, a house with an eastern and southern

tre

VATA A

74-)

fo

PP-

rT

ra

di

'

en

hall.

C

VATA-KSHETRA

(see

(Brihat-samhitd,

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,

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 (572). The measures, etc., are left to the discretion of the architects (573). The general plan of windows is also given (574-581). (i)

:

:

I

453


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,

A

VAPI(-PI)-(KA)

tank (Dewal Prasasti of Lalla the Chhinda,

v. 20,

n

A

flight

of

stairs,

while

(Mahesvara's p. 46, note 2; p. 41, line 58.)

Ep. Ind., Vol.

kupa denotes an ordinary

Commentary on the Amarakosha,

well.'

p. 167.)

tio

pp. 79, 83). ' well with a (2)

i,

ca

A

Chap. LXV,

tank, a well, a reservoir of water.

Ep.

lE du

(1)

raja-marga-

I

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

di

Vol. xvni, pp. 113, 115.)

tio

na

'

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.) I

ra

(4)

During the reign of Ganapati, the son of the prince Gopala, the

fo

'

(5)

II,

rT

'

Vamana built a public tank (vapika).' (Sarwaya stone inscrip. of Ganapati of Nalapura, vv. 23-28, Ind. Ant., Vol. XXH, p. 82.) 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.)

en

(6)

I

C

'

tre

thakkura

his

VAMA A kind

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

(84)

1 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

1

n

1

tio

(30 Agre cha parsvayos chaiva kuryad ekamsa-varakam Tad-bahir varam ekamsam tad-bahye tu vrisha-sthalam

(38)

1

I

lE du

ca

1

Tad-bahis cha chatur-dikshu dvyamsarhsam vara-nishkramah See also vv. 44, 45, 46, 55, 56, etc.

ankanam dvyamsam margas

Antar-varam athaikena 5*1, 526, 529

VASA

1

(43)

I

dvi-bhagatah (23) xxxiv, 119, 190, 200, 394, 408, 514 xxxv, 100, 120, 123, 238, 243, 265 xxxix, 128, etc.

300, 519 ;

1

(-KUTI,

;

II

s"ala-vyaso

xxxin, 383

di

ix,

tu parito'msatah

;

ra

M.,

rT

See

na

:

Utkrishte tu

tio

Ibid,, XLII

1

SALA, SABHA)

fo

assembly-hall (Amarakosha, ivi,

2, 3,

;

Residence,

synonym

of

an

604), hall terrace.

festival.

en

221, 227, 241, 250, 282, 286, 288, 383.,

dwelling for use in spring, a house for the spring

C

VASANIKA A

tre

(M., xxxv, 43-46, 82-84, 127-128, 138, 142, 155-156

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 ekamsam bhittirh kuryat samantatah Purato'lindam (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

i.)

-

Prasadarama-durga-devalaya-mathadi-vastu-mana lakshana nirupa-

n

-

I

ca

nam

tio

(3)

cvi, v.

Chap,

(Agni-Purana,

(Garuda-Purana, Chap. XLVI, colophon.)

lE du

Avasa-vasa-vesmadau pure grame vanik-pathe Prasadarama-durgeshu devalaya-matheshu cha

na

Cf.

Samgraka-siromani by Sarayu Prasad Vasishtha without further reference :

(Ibid.,

Chap. XLVI, vv. 2-3.)

(xx,

i)

from one

quotes

di

tio

(4)

II

I

ra

Vastu-jnanam pravakshyami yad uktam brahmana pura 1

1

rT

(5)

I

Grama-sadma-puradmam nirmanam vakshyate' dhuna Griham kshetram aramas setu-bandhas tatakam adharo va vastuh

The heavenly

architect

Visvakarman, the mythical originator of

en

(6)

tre

fo

Houses, fields, gardens, buildings of any kind (see SETU), lakes and tanks are each called Vastu. (Kautillya-Artha-iastra, Chap. LXV, p. 166.)

C

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


'

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

;

;

opposite, as in the

its

human

The arms,

figure.

another

Arrangement

is

the disposition in their just

feet,

and proper

;

so

places of all

lE du

'

ca

tio

hands, fingers are similar to and symmetrical with one should the respective parts of a building correspond.'

n

corresponding to

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

:

na

:

tio

they are called ichnography, arthography, and scinography. The first is the representation on a plane of the site plan of the work, drawn

rT

ra

di

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

fo

to their proper vanishing points.' (Book I, Chap, n.) Architecture consists of three branches, namely, building,

dialling

tre

'

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

mechanics.

en

and

C

;

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,

I,

Chap,

is,

on the

directions of Vitruvius are

Mdnasara (see BHUPARIKSHA), and climates would necessarily require.

of the

different

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,

roads,

canals,

tanks,

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.

of pavilion, a pavilion with forty-four

n

type

tio

VASTU-KIRTI A pillars.

ca

(Matsya-Purana, Chap. CCLXX, v. 10

VASTU-VIDYA

;

see

MANDAPA.)

na

lE du

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

tio

'

di

(Dialogues of Buddha, Part

I,

p. 18.)

ra

lucky or not.'

'

and other good works.' (Sukra-niti, iv, Harsha stone inscrip. (v. 43, Ep. Ind., Vol.

3,

115,

116).

n, pp. 123, 128.)

tre

fo

houses, canals See the

rT

the science According to Sukrdchdrya, Vdstu-vidya or Silpa-Sastra is which deals with the rules for the construction of palaces, images, parks,

VAHANA

en

Carrying, conveying, a vehicle, a conveyance, an animal

C

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



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.) '

Roman


tio

Chamarajnagar Taluq, no. 86;

iv,

n

set Dakshina-bhagada-kisaleyalli puratana-vigrahagala pratishtheyam south the to the ancient colonnade the on Vol. (Ep. Carnal., images.' up

VIJAYA A

Transl.,

of storeyed buildings, a type of pavilion, a

lE du

class

ca

n.)

p.

;

a kind of throne.

hall,

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; A A

tio

see

under SIMHASANA).

ra

;

di

under MANDAPA.) type of throne (M., XLV, 6 class of octagonal buildings

see

na

;

;

rT

:

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). ;

fo

(1)

is

'

tre

shape. Vitanka

;

A

KAPOTA-PALIKA)

en

(see

C

A VITAftKA

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,

xxx, 20-23

ANGULA).

459


;

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

x,

(R.-V., iv,

VIDYADHARA A

men's assembly.

foi

85, 26, 27

4, cf.

7,

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.)

ca

:

tio

n

class

lE du

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.

tio

na

compound of xxxn, 8

;

see

under MANDAPA.)

di

(A/.,

a temple, where

type of storeyed building, a class of six-storeyed

rT

ra

VIPULAftKA A buildings.

;

(M., xxiv, 19

fo

VIPULAKRITIKA A

;

see

under PRASADA.)

type of storeyed building, a class of

six-

tre

storeyed buildings.

en

(M., xxiv, 52 site

;

see

(M., vn, 37-38;

VIPRA-KANTA A

site

under PRASADA.)

plan of 676 square plots.

C

VIPULA-BHOGA A

see

PADA-VINYASA.)


is

divided

into 729 equal squares. (A/.,

VIPRA-GARBHA A into

site

VIH,

39-40

;

see



is

divided

576 equal squares. (A/.,

VIPRA-BHAKTI A

site

vn, 33-34

;

see



is

divided

into 841 equal squares. (M.,

vii,

460


43-44

;

see


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

Diet.)

I

(i)

:

n

Cf.

ca

tio

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

lE du

:

Taitilanarh dvi-jatinarh varnanarh vasa-yogyakam

Eka-bhumi-vimanadi ravi-bhumy avasanakam

I

na

I

'

(Ibid., 2,

3 .)

'

M.,

xii,

214).

rT

(e.g.,

ra

'

'

'

di

'

tio

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

The

three styles, namely,

92-113).

These

styles

Nagara, Dravida, and Vesara are described

C

(lines

12-91).

en

(ibid.,

tre

fo

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

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

;

see

also

m, 5-6

461


;

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,

n

1

Sarva-ratna-samakirnarh vimana-griha-sobhitam

tio

ca

deva-yane

conveyance)

(god's

8.)

(a seven-storeyed

:

lE du

Vimano'stri

v.

I

Commentary Vimana-griharh sapta bhumi-griham building), and quotes the following from Nighantu :

1

sapta-bhumau cha

sadmani (seven-storeyed building). :

na

See also the following

88, 5 Prasadagra-vimaneshu valabhishu cha sarvada (See further context under PRASADA).

II,

16

;

vi,

;

67, 82

fo

;

v, 12, 25

rT

14 39, 21 12,

30

iv, 50,

;

;

n, 33, 3

di

32, 4

in,

n, 15, 48

;

ra

II, 2,

tio

:

;

;

v,

2,

v, 13,

vi, 75,

i

53 ;

23

;

Mahdbhdrata,

(5)

Nana-prakareshu vimaneshu Commentary quotes Medini

185, 23

Amarakosha

v, 6,

v, 54, 23

i

40

;

;

v,

;

n, 88, 5 10,

34

vi, 24, 10

;

;

;

;

v, vi,

VH, 101, 14.

:

tre

en

C (8)

vi, 75,

;

;

u, 59, 12

(N.

121)

:

Vimanarh vyoma-yane

I

Hema-chandra

(7) Haldjudh-a

v, 4, 27

;

I

sapta-bhumi-grihe'pi chet See the following Kashas also (6)

57, 18

v, 53, 19

(4)

i,

;

11,

;

I

(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 Ep. Ind., Vol.

10, 22, 30,

A

of

inscrip.

Sundarapandya.

in.

pp. 11-17). shrine (Yenamadala inscrip. of Ganapamba,

v.

17,

Ep. Ind.,

tio

n

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 .

.

ca

(16)

.

.

.

na

lE du

.

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

tio

inscrip. at Tirukkovalur, no.

ra

di

I

Here, cleaving asunder the earth, there rise up houses which are decorated with successions of storeys, which are like rows of aerial chariots

rT

'

tre

fo

(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)

C

en

.

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,

in Saiva temples, e.g. the Saiva temples at Suman-

463


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. type of building which

windows

(1)

Brihat-samhitd

319

under PRASADA). Matya-Purdna (Chap. CGLXIX, vv.

(2)

;

ca

(see

MANDAPA)

;

v.

29

A

;

see

;

see

under

under PRASADA).

pavilion erected

for the

Mahesvara-khandaprathama, Chap, xxiv, vv. 1-67.)

di

tio

type of storeyed building, a class of the nine-storeyed (M., XXVH, 20-22

ra

buildings.

;

see

under PRASADA.)

plan of 625 square plots.

rT

site

(M.,

fo

A

vi

(Shanda-Purana,

na

wedding ceremonies.

VIVRITA A

28, 32, 33, 47, 53

lE du

VIVAHA-MANDAPA

vii,

35-36

;

see

PADA-VINYASA.)

fixed abode.

tre

VIS

Vol.

S.,

see

Bhaviskya-Purdna (Chap, cxxx,

VIVE&A A

N.

(Chap. LVI, 22, J.R.A.S.,

PRASADA). (3)

seven storeys and

has

21 cubits wide,

n

p.

is

:

tio

A

latticed

(R.-V., x, 91, 2.)

en

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

C

VlSALA-(KA)

;

PADA-VINYASA.)

A

type of rectangular building

A

Agni-Purdna (Chap, civ, vv. 16-17; see under PRASADA). (2) Garuda-Purdna (Chap. XLVII, vv. 21-22, 26-27; see under PRASADA). see under pavilion with 100 columns (Suprabheddgama, xxxi, 104

:

(1)

;

MANDAPA)

A A see

.

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.

VI$VA-KANTA A type of storeyed A class of five-storeyed buildings (M.,


see

(M., vn, 41-42,

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,

n

Sravasti,

tio

Mathura, Nasika, Amaravati, Nagarjunikunda, Jagayyapeta, Kanchipura, and Madura. For structural details, see NALANDA. Writer's articles on Universities during Hindu Period (University Studies,

ca

Kannipattana

lE du

Allahabad, 1936, the Twentieth Century, July, 1935, the Science and Culture,

December, 1935, Modern Review, August, 1935.)


site

na

VI&VE&A-SARA A

into 900 equal squares.


horn, the tusk, the wing of a building.

ra

Vishanaka-samayukto nandanah sa udahritah That (prasada) is called nandana which is furnished with a vishanaka I

rT

(wing).'

(Matsya-Purana, Chap. CGLXIX, v. 33.)

VISHKAMBHA

fo

'

The

see

di

VISHANA-(KA)

tio

(M., vn, 45-46,

divided

is

The diameter of a

en

tre

the length or width of an object, a post, a pillar, the prop or beam, the bolt or bar of a door. circle,

Harmya-padasya vishkambham samarh manjusha-vistritih

The

sion.'

C

(1) '

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).

tion prescribed for

VISTARA VIHARA

n

see

;

tio

154

;

under GARBHA-NYASA) the Vishnu temples. (See

A kind of founda(M.,xn, 141.)

under MANA).

(see

na

Breadth, length

under GOPURA).

see

under LINGA).

lE du

VISHNU-GARBHA

towers (M., xxxni, 557

ca

A gate-house with sixteen A kind of phallus (M., LII,

ra

di

tio

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

rT

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,

fo

;

tre

'

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.

en

Ind.

C

'

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.

Vol.

Ind.,

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 '

to be such, or contained images, At present this is only a theory.'

a

false impression

;

tio

it is

di

is

the last gasp of the style, as at Kholvi

not substantiated by literary or archaeo-

ra

(This

till

na

lE du

ca

tio

n

this

rT

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

tre

fo

Like the chaityas,

pp. 130, note

C

en

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., 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

(p. 176, fig. 96).

467


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,

a way, a street, a market place, a

A road,

VITHI(-I)

a shop,

stall,

a terrace. vidhiyate Madhya-rathyavrita vithi samam tri-dandakam Mukhya vithi dvi-paksha syad griha-tararh

evarh

Evam

I

n

bahya-vithi syad antar-vithir ihochyate hinarh tu margakam Paksha-yukta tu vithi syat paksha vistritir bhavet vfthinarh va

tio

ca

lE du

Tri-chatush-pancha-dandarh va Shat-saptashta-dandarh va nanda-panktisa-bhanurh Evarh tu svastika-vithi langalakaravad bhavet

I

I

na

I

I

I

tio

Vithinarh parsvayor dese vithikadyair alankritam

2

see

101, 104, 191, 196, 199, 200, 338, 396, 477, 5 9 \' also 99, 136, 184-187, 197, 201, 203, 206, 324, 339,

rT

ra

di

ix,

I

I

Antar-vithi chaika-paksha bahya-vlthi dvi-pakshaka Paritas tu maha-vithir vither esha dvi-pakshayuk

(M.,

I

I

Pada-dandarh

345. 347. 352, 426, 43i

463 5I9-)

I

pada-pada-vivardhitam vithi-manam eka-das"a-dandantam ihagame II Syad tu tavat syan na dvararh vithikagrake

tre

fo

samarabhya

en

Marga-manarh

C

VlTHIKA A

I

(Kamikagama, xxv,

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) deê vavrita vithika bhavet I

Tat-paisacha-pade

468


I

HINDU ARCHITECTURE

VlRA-ÂSANA

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

;

also 323, 334-336.)

see

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

II

1 1

warrior's neck, 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).

New.

front plate, the diadem, of heroes forming part

tio

VlRA-PATTA The

na

stone erected in

Arch. Surv.,

monument, a

lE du

memorial.

A A

tio

A

BIRA-GALA)

(see

ca

VlRA-GALA

n

(Kamikdgama, LV, 62, in.)

di

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.) '

Given

fo

rT

ra

(1)

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.' to

en

tre

'

(2)

On (it) 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,

C

'

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

VlRASANA A A A

ENCYCLOPAEDIA OF

AJf

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

under PRASADA.)


(2)

29, 49, 53

lE du

(Chap, xxx, under JAYA-BHADRA)

;

see

100,

see

102

;

Vol. vi, p. 320,

S.,

see

under PRASADA.)

under PRASADA.)

where

is

it

called Jaya-

na

Suprabheddgama

(4)

bhadra

N.

.

tio

A

w.

Bhavishya-Purdna (Chap, cxxx, v. 30, type of pavilion (mandapa) : (3)

S.,

:

tio

i, see

(Chap. LVI, 28, J. R. A.

ca

note

sandhyakara, Kasyapa)

n

(1) Brihat-samhitd

;

'

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.

ra

di

(5)

fo

rT

the top. The whole appears to have been coated with five pilaster small parts of which still adhere. I examined closely but could not

en

tre

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.)

C

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.

under MANDAPA) and compare chatur-dvara-samayutam

see

xxxi, 133.

cane, a stick, an architectural ornament, a moulding.

lE du

The

ca

(Ibid.,

VETRA

:

I

tio

mandapam

Vrishasya

;

tatra

n

Suprdbheddgama (xxxi, 96, 98

A moulding of the diadem (makuta) (M., A moulding of the bedstead (M., XLIV, 41.)

of the throne (M., XLV, 162, 188

na

An ornament

XLIX, 99-100).

;

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

di

tio

VEDI-(KA)

ra

'

tre

fo

rT

with rail-pattern.' The platform of a stage (Bharata's Ndlya-sdstra n, 102, see details under NATYA-GRIHA(VISMA), terrace, altar, rail, terrace with balustrade (Dipavarhfa H, p. 181-183, Oldenburg).

en

Compare Pdshdnavedi and vedi and Pdda-vedi (ibid.,

Sildvedi (Mahdvarhsa, 36, 52, 103),

35,

(W. Geiger, Mahdvamfa, pp. 296-297.)

2.)

C

Salantam vedikordhve tu yuddhartharh kalpayet sudhih

(i)

(M.,

A

moulding of the column

Muddha-

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,

Vedikeyam tu samanya kuttimanam

prakirtita chotsedhe chatur-vims'ati Pratikramasya bhajite

II

Vedika-prastara-samam shad-ams'ikritya bhagas"ah Ekarhs'am prati-pa^tam syad amâbhyam antarlbhavet I

tio

ca (

Vastu-vidya,

ed.

Sastri,

II

ix,

(5)

(Nalinim)

lE du

Kanchanair bahubhih stambhair vedikabhiS cha Sobhitah

Athatah sampravakshyami

tio

(6)

(Rdmayana,

vi, 3, 18, etc.)

pratishtha-vidhim

uttamam

di

ra

rT

fo

tre en

C

|

1

1

I

Madhye-vedikaya yuktah parikshiptah samantatah Pancha-saptapi chaturah karan kurvita vedikam

1

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

|

(Mahabhdrata, n, 3, 32, etc.)

Kunda-mandapa-vedlnam pramanarh cha yatha-kramam Prasadasyottare vapi purve va mandapo bhavet Hastan shodaâ kurvita daâ dva-dasa va punah

From

|

maha-mani-sila-patta-baddha-paryanta-vedikam

.

na

.

23.)

19,

(4)

.

i.)

I

n

(3)

same

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

17,

18.)

1 1

kritva vedirh tatra su-nirmalam

1

1

(Skanda-Purana, Mahe^vara-khanda-prathama, Chap, xxiv, v. 2, Vaishnava-khandadvitiya,

(9)

See specimens of

Chap, xxv,

Jaina sculptures from Mathura (Plate

Vol. n, p. 319, last para.).

472


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

ca

tio

n

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.' '

made

of

Ant.y

Vol.

rx,

'

(Inscrip.

from Nepal, no.

15,

of Yaya-deva,

Vedi (bedi) Hall for reading the Vedas General Cunningham's Arch. Surv. Reports.)

(14) See

Cunningham,

Arch. Surv. Reports (Vol.

rT

Gloss, to

ra

di

(13)

silver).'

pp. 179, 182).

tio

are

na

lE du

(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

(Vincent-Smit^

xvu, Plate xxxi, Buddhist

fo

railings).

in.'

v. 25, Ind.

Veyika, which, as well as Vedika and vetika in other Buddhist inscriptions, stands for Sanskrit vedika, does not mean altar, dais, etc., '

tre

(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)

C

en

:

:

;

'

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.


|

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.)

are identical

lines

the

in

Matsya-Purdna

(Chap. CCLXIX, vv.

ca

These

tio

n

J. R. A.

lE du

H-I3-)

VEDI-BHADRA One

tio

mouldings and in height.

na

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 27-53

>

di

(A/., XHI,

VE&ANA An

ê

list

of mouldings under UPAP!THA.)

a gateway, a band, an architec-

rT

ra

entrance, a gate,

see

tural moulding.

fo

Eka-dvi-tri-dandarh va chantaralasya vesanarh syat

tre

Harmya-vasad upa-vesanarh yuktam

en

A

band

C

Cf.

.

I

I

(M., xrx, 191, 187.)

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)


:

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,

n

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

tio

(2)

Nandi-varddhana

(8)

Srivatsa.

(9) (1)

Mandara, Ruchaka, (7) Nandika,

A

GARBHA-NYASA)

kind

(M., xn, 162;

fan,

an account of

its

architectural details. 46, 97-110

L,

;

see

BHUSHANA.)

tio

(M.,

foundation


see

na

VYAJANA A

of

lE du

prescribed for the buildings of the Vaisyas.

ca

and

square in plan and named as (3) Vimana, (4) Bhadra, (5)

of buildings, (2)

(6)

under PRASADA.)

see

;

ra

under SHAD-VARGA.)

(See details

Srimach-chhali-sakabdake cha galite nagabhra-banerhdubhis chabde sad-vyaya-namni-chaitra-sita-shashthyam saumya-vare vrishe ' in the excellent year named Yyaya

fo

'

)

year.

And

.

tre

1

i

an architectural measure,

rT

name of a

di

VYAYA One of the six Varga-formulas, the

.

en

(Karkala inscrip. of Bhairava n, Ep. Ind., Vol. vui, pp.

Sali-vahana-saka-varsha

vatsara '

(2)

lent

v. 6, line 7,

131, 134, 124.)

(1508) neya vyaya-sarhvatsarada) In the Salivahana saka year which corresponded to the Vyaya sarh-

C

'

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,

251-269

;

see

475


under BHUSHAIJA.)

AX ENCYCLOPAEDIA OF

VYALA-TORANA

VYALA-TORANA

An

TORANA)

(see

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

:

tio

n

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

lE du

ca

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,

Chamundl,

na

Samanya

Mahendri,

and

Vaishnavl,

Brahman!

(lines

tio

Bhairavi,

di

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).

rT

ra

;

TALA-MANA.

Details of these measures will be found under

sculptural details include the measures of the limbs, and the poses , features of each of these female deities are des-

fo

The

tre

and the ornaments and

en

cribed in detail (lines 4-128, 132-195).

Matri-ganah kartavyah sva-nama-devanurupakrita-chihnah (Brihat-samhita,

C

Cf.

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


;


tre

en

C rT

fo di

ra tio ca

lE du

na tio

n


tre

en

C rT

fo di

ra tio ca

lE du

na tio

n

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-

n

(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

tio

:

to find

out the third

8)

(v.

;

precession of the

lE du

any two being given

;

ca

Construction

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

and

sine

its

and

cosine

(vv.

di

to find,

the latitude,

zenith-distance,

;

latitude being given to find the equinoctial shadow (v. 17) ; from the latitude and the sun's zenith, distance at noon,

ra

14-17)

;

;

tio

his

noon,

na

;

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) ;

fo

rT

his declination,

;

en

tre

;

;

and

is

the

amplitude

upon the prime-vertical

C

the sun

latitude

being

(w. 27-28)

;

(vv. 25-27)

to find

the

;

sine

given, find the sine of the

to

when upon

the sun's declination

and

the

altitude

measure of and zenith-

and south-west vertical and hypotenuse shadow (vv. 28-33) the difference and the sun's ascensional hour-angle being (w. 33-34) given, to find the sines of his altitude and zenith-distance, and the 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 latitude and the sun's amplitude being known to find his declination and true to draw the path described by the extremity of longitude (w. 40-41) distance of the sun,

circles

the

south-east

to find ^the corresponding

;

;

;

;

;

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 and after noon meets two points where (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

;

(To draw a

perpendicular to and bisecting the line joining two usual to describe two arcs from the two given points as

line

it is

lE du

given points,

line.'

ca

south line or the meridian

tio

n

.

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

'

on account of its form).

fish,

tio

a

;

na

line passing

And

ra

;

In the same manner, determine the intermediate

directions through

fo

'

line.'

rT

west

di

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 '

the timis formed between the points of the determined directions (east,

tre

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

C

en

'

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 and so on.'

adjacent

hand

it

denotes 48 minutes

past sunrise,

When

the sun has passed the meridian, the position must be altered

accordingly.

Rule IITake a straw eleven

'

one part to

raising

it,

against

the

place serve as a gnomon, the

west of

or

east

sun,

fingers in length,

the

it

on the ground, bend

gnomon The

meridian.

being erected height of the

found by raising the end of the bent portion no higher than suffices exactly to throw its shadow to the extreme point of the recumbent portion of the remainder of the straw. The gnomon

gnomon

is

contains (7)

gives

the

;

The

time

the

sum

is

of

Ascertain

day.

how many

fingers

it

the time in Indian hours.'

details given

above

may

be compared for further knowledge

n

found

so

tio

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. :

lE du

ca

'

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 :

na

'

In the centre of this plane, for the purpose not be necessary. of marking the shadow correctly, a brazen gnomon must be erected.

tio

may

di

slab

ra

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.

just observed,

meridian, the cast till

with a distance

centre,

tre

the

as a

stands,

shadow

describe

moment when

which has been described. the circumference

of the

a

circle.

shadow which

watch the

en

the

C

gnomon

fo

rT

'

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

and the

479


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

lE du

ca

tio

n

'

G and

na

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

H to

rT

ra

di

tio

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

fo

H

;

M

:

:

C

en

tre

;

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

octagon '

tial

It

is

'.

(Vitruvius,

clearly

gnomons

Book

I,

Chap.

vi).

by a divine and are of

surprising arrangement, that the equinocdifferent lengths in Athens, Alexandria, Rome,

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

;

;

tio

n

;

of the said

line, let

a circle be described.

This

na

B

centre to the extremity is called the meridian.

lE du

ca

;

Then

and

ra

di

tio

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.

ray of the sun at the equinoxes. Extend the compasses from the centre to the line on the plane, and mark on the left

rT

will represent a

fo

it

C

en

tre

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 circumference to C, F,

G

to L,

;

and A,

and opposite will

and from

G and H

K

the points and L, and opposite Diameters are then to be drawn from

be the point N. The lower one

H to K.

the upper the winter portion. the middle at the points

m

to

will

determine the summer and

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

P and

letters

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

tio

n

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

'

In

all

will

the

be completed

'

lE du

analemma

ca

from the summer interval on the equinoctial point, as a centre, describe the circle of the months, which is called Manacus. Thus will the .

.

.

and diagrams the

figures

na

say, the equinoctial as well as the solstitial

into twelve equal parts.'

(Book

Chap, vm.)

tio

ix,

be the same, that is to days, will always be divided

effect will

of

Brahmagupta (xrx, 1-20). Varahamihira (n, 10-13; xrv, i-n, 14-22.)

di

(8) Brahma-siddhdnta-sphuta

ra

(9) Pancha-sidhdntikd of

(10)

Mayamala

(n)

Silparatna of

1-28).

fo

rT

(vi,

(i,

(xi,

1-22).

60-70).

tre

(12) Katyapa-silpa

Srlkumara

Vdstu-vidyd (m, 7-10).

en

(13) (14)

Manushydlaya-chandrikd (n, 1-4).

C

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). see under PRASADA).

28-29

;

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.) class

of eleven-storeyed buildings. see

;

under PRASADA.)

tio

(M., xxix, 2-8

n

SAMBHU-KANTA A &AYANA

lE du

ca

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).

married

woman

di

tio

'

na

Compare Asandi, Talpa,

refers to

rT

ra

A

The recumbent

posture (M., LXH, 15; Lxra, 47, etc.). the roof of a house (M., xvi, 56, 58

fo

A synonym of

The wood used

PRACHCHHA-

in constructing a bedstead (M., XLIV, 74). xrx, (M., 7-11, See under APA-SAMCHITA.) temple

en

A

see

tre

DANA).

;

C

&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 s"akhabhis

Tri-paficha-sapta-navabhih

tat

prasasyate

Adhah-sakha-chatur-bhage pratiharau nivesayet (Brihat-samhita,

The

(2)

third

and fourth

of the

lines

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

Uchchhrayat pada-vistirna

(3)

s"akhas

Vistararddhena bahulayam sarvesham eva kirtitam Tri-paficha-sapta-navabhih sakhabhir dvaram ishtadam

tio

n

I

Adhah-Sakha-chaturthamse pratiharau nivesayet Mithunaih pada-varnabhih Sakha-Sesharh vibhushayct

II

ca

I

II

A

wing (Dabhoi

SANTIKA

(see

inscrip. v. in,

UTSEDHA)

A

Ep.

(See

di

tio

to the breadth.

SALA

Ind.,

Vol.

i,

p. 31).

measure, the height which

na

(4)

lE du

(Agni-Purana, Chap, civ, vv. 28-30.)

is

equal

M., xxxv, 22-28, and cf. Kdmikdgama, L. 24-28, under ADBHUTA.)

C

en

tre

fo

rT

ra

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



tre

en

C rT

fo di

ra tio ca

lE du

na tio

n


tre

en

C rT

fo di

ra tio ca

lE du

na tio

n

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)

(40)

I

I

Ekaneka-talantarh syat chuli-harmyadi-manditam (47) Like villages, Salas are divded into six classes, namely, dandaka, svastika

tio

n

I

lE du

ca

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.).

na

A

The maximum number

tio

All the

Kdmikagama (Chap, xxxv, 1-1930) Salas are meant to be the dwellings of the Brahmans and others :

(vv. 1-2)

rT

ra

(2)

of storeys a sala has is twelve as usual. these Salas are described in detail (lines 5-401).

all

di

storeys of

:

fo

Eka-dvi-tri-chatuh-sapta-dasa-sala prakirtitah Tad-urdhvarh tri-tri-vridhya tu yavad ishtarh pragrihyatam

tre

Ta (vv.

en

eva malikah prokta mala-vat kriyate yatah

follow the measurement

13-20).

The

(vv.

3-12),

:

The measurement

iti

kathyate

of the base, pillar, entablature, tower,

II

wall

is

also described

(w.

32, 33)

and dome

:

Tri-hastantam tu vistaro bhittinarh parikirtitah Mula-bhitter idarh manam urdhve padardha-hmakam 1 1

Anyonyam adhika The groups of

vapi nyuna va bhittayah

samah

Salas are described (vv. 34-36).

485


I

(21)

finial,

given next (w. 22-32).

The

1

and the ayadi-shadvarga

component parts of the Sala Adhishthanam cha padam cha prastararh karnam eva cha

different

Sikhararh stupika chaiva salarigam

is

1

II

C

Then

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

as sixteen (vv.

many

59-86) eva prakarena kuryad ashodas"a-kshmakam

(58)

tio

and towns,

tu sarvato-bhadrarh dvitiyam

classified

1

(86)

1

(w. 87-88)

vardhamanakam

II

are given next (w. 89-96).

tio

s"alas

from each other âlanam agra-desake II (g6a) Mandaparh tu vidhatavyam The remaining portion of the chapter deals with some constituent Salas are distinguished

rT

ra

di

:

bers of salas, such as the plthika, bhadra, khalurika (vv.

gopura

fo

i32a), varhSa

The

tre

(v.

I24a), chuli-harmya

(v.

stone-pillars

(w. and

en

salas or buildings (v.

(v.

pinda

149),

147,

125), (v.

ankana

(v.

103,

161)

:

C

m naravase

na karayet

drawing-room (asthana-mandapa, (v.

I

179), etc.

v.

90 (definition)

VamSadir

the situation

191), kitchen

II

(i57a) (158)

:

ariisa-rahita îkhara-stupikanvita(h) saleti pariklrtita

I

Nasika-mukha-pattamâ Dhana-dhanyarh cha vayavye karmma-salam tato bahih The treasury and granary should be built at the north-west, outside II

I

(3) '

(w.

:

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-

na

(abhi)dhanakam

Mandapas and

II

Ruchakam) pancham-(am) vidyach chhalanam

(for

Details of these

:

I

Tritiyam svastikarh proktarh nandyavartam chaturthakam

Charukarh

which

n

:

like the villages

s"alas are,

Adyam

II

details of the storeys

ca

as

Evam The

and other

follow the architectural

lE du

Then number

I

that should be the

office.'

(Matsya-Purdna, Chap. CCLVI, v. 35.)

486


SAL A


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 (

Sastri, vni,

hasti-salarii

yana-ratha-sala

I

Chap, xxv,

lE du

(Kautiliya-Artha-satra,

ca

bhagam

koshthagararh

tio

I

Paschimottararh

(7) Sala-tri-bhaga-tulya kartavya vithika bahir bhavanat

(Brihat-samhita, Lin, 20, see

13,

16.)

monorama

rivisala

s"ala

S.,

Vol. vi, p. 283.)

I

ra

(9) Teneyarh karita

being in width a

(Bheraghat inscrip. of Alhanadevi,

hall of study.

28, Ep. Ind., Vol. n, pp.

v.

J.R.A.S. N.

rT

Dhatreva svechchhaya srishtih sthapitadisura-trayah Sala Manovativaisha Brahma-yukta virajate Atra vidyarthinah santi nana-janapadodbhavah II I

fo

He

made here, magnificent in its splendour and handmade by the Creator after his own will, in which he

got this school

some, as

en

it were, the three principal gods. placed

This school shines forth

C

mythical town on mount Meru) joined by Brahman

(a

II

tre

'

p. 55.)

I

tio

Vyakhyana-Sala

gallery,

na

third of the hall.' (8)

make a

dwelling one should

Outside the

di

'

1-3.)

n

(6)

Vastu-vidya, ed.

Purva-dakshinarh bhagarh mahanasarh cha

;

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.

Ind.,

for the distribution of food.

Vol. v, pp. 184, 183, 187.)

487


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.)

n

'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, Transl., p. 46, line 14

;

'By him

(17)

this

f.

college

(established), rich, spacious

Roman

Text, p. 203, v. 9.) has been caused to be constructed

lE du

no. 46

ca

tio

(16)

;

(sala)

and

beautiful

.

.

.

no. 9 above).

-(Salotgi inscrip., Ind. Ant., Vol.

is i,

(hereby)

provided.'

p. 210, c. 2. para,

i.)

di

(cf.

tio

na

of the intelligence is resplendent with Brahmanas. born in various districts. For their subsistence

and this college full Here there are scholars

ra

(18) Saleyarh vividha-pravasi-manuja-prajyopakara-kshama rathya chatvara-ramya-koshta-vilasad-vatayana slakshna-bhuh

rT

I

fo

Nana-desa-samagatan pathi parisrantan asangrahino nityam bho-

tre

jana-vasa-dana-vidhina

kamanugan

(Inscrip.

II

toshayet

from Nepal, no. 23,

en

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

C

'

(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)

;

'

.

.

.

.

memory.' (Ep. Carnal., Vol. n, no. 51 ; Transl., p. 120, last para. ; Roman Text, p. 34, last three lines; Introduction, p. 51. para. 3.) Mr. Rice translates it by (22) Madida padasale (pada or pada-sala) verandah. (Ep. Carnal., Vol. in, Mysore Taluq, no. 59 ; Roman Text, p. 13 ;

sala in his

Transl., p. 6).


HINDU ARCHITECTURE He was

'

(23)

pleased to set with precious


(salai).'

Text, p. 147, line

i

Tirumakudlu-Narasipur Taluq, no. 35

Transl. p. 74, line

;

Kandalur

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.'

and the enclosure

he erected the nava-rariga, the patta-

n

sala,

...

wall. '

tio

For the god Gopala

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,

...

Roman Text, p. 467 Transl., p. The virupaksha-sala was erected

;

;

'

(27)

The

205.)

to the temple.'

na

no. 185

lE du

ca

Nava-rariga

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.' '

di

tio

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-

rT

To

fo

'

ra

Koppa Taluq,

more than twenty-five

tre

tion

A

en

Roman

vm, Shikarpur Taluq,

Text, pp. 97-98).

dwelling house, a type of building.

C

SALA-GRIHA A

(Ep. Carnal., Vol.

times.

no. 45 (bis), Transl., pp. 49, 50;

type of rectangular building (1)

(2)

:

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.)

Science

(of Architecture).

n

&ASTRA (see TANTRA) &IKHARA The top, an

(3)

319).

M., xvm, 276, xrx, 51, Padoktam sarva-manam tu

See

order sikhara, sikha, Sikhanta,

turrets (Brihat-samhitd,

tio

(2)

vi, p.

or

di

Vol.

towers

Small

ra

(1)

(stupi) are built in

na

Above the dome and slkhamani. turret.

lE du

ca

tio

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

LVI,

21, jf.R.A.S.,

N.

S.,

etc.

sikharo'pi vidhiyate

1 1

rT

Dhruva-vidhana-rltya va sikharam parikalpayet

II

(Kamikagama, xxxv, 29, 30).

fo

The synonyms

:

en

tre

Sikharam sirah murdha cha sikha maulis cha mundakam Slrsham kam iti vijneyam Siro-vargasya panditah II (Ibid., L,

C (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.)

Prasadam urddhva-Sikhara-sthira-hema-kumbham temple (which by

n

(Into) the

'

inscrip. v, 15, line

(Bhuvaneswar

.

.

.

Ep. Ind.,

and

lofty

tio

Manmatha

.

.

Roman Text, p. 82 The same word

.'

.

di

(sikhara) covered with gold, a

and illuminations

a temple,

god Prasanna-Virupaksha,


Transl., p. 71.)

;

in a similar sentence :

tre

following inscriptions

is

translated

(u) 'For the god Prasanna-Somesvara having

Roman

for

and

alms,

C

mantapas

Text, p. 87

Manmatha

en

enclosure, tower (sikhara),

;

all

tank, the

other religious

enclosing

wall,

tank, decoration,

Mulbagal Taluq, no. 2

ra

finial

gopura,

this

rT

'For

(10)

20,

na

(its) charming spires. (Mandasor stone inscrip. of Kumaragupta, lines 17, C. /. /., Vol. m, F. G. I., no. 18, pp. 83, 86, 87).

fo

spire.'

having)

temple

(a Vistlrrma-tunga-sikharam Manoharaih-s"ikharaih with

broad

lE du

'

(9)

n,

ca

upon lofty spires. Vol. xm, pp. 152, 154.)

I

the stately display of) firm golden capitals

tio

(8) '

'

by

tower

'

;

in the

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.

39.)

491


AN ENCYCLOPAEDIA OF

SlKHA The

'

(16)

twelve steps,

on which this temple stands is approached by more lead to the sanctum, over which rises a tall dome

platform

and

or truncated

six

sikri (sikhara).'

Arch. Surv. Reports, Vol.

(Cunningham,

xxm,

'350

P-

Sikhara

'

(17)

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 '

Chap,

temples. Inventaire Descriptif

x, pp. 236, 237.)

lower part of the

is

tio

termination. Sikha

Monuments Chams D.

L. i,

pinnacle or small turret-like

finial,

na

&IKHA The

des

summarized by R. C. Mazumdar, Champa,

Parmentier, as

lE du

(For

Annam by

sec

tio

details

ca

Amalaka of Indian

n

'

the upper part,

and

sikhara, the lower

:

di

Sikharordhva-sikhottungarh stupi-traya-samam eva cha Prastaradi-sikhantam syad ganya-manam pravakshyate

rT

ra

I

fo

SlKH ANT A The

(M., xxxm,

finial

(Latin

finis),

141,

I

144,

etc.)

the top or finishing portion of

tre

a pinnacle.

(M.,

crest-jewel, the top

C

en

&IKHA-MANI The Cf. Ind.,

Vol.

Siro-ratna i,

(Deopara

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.

end of the

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,

The head,

the

finial,

the top, the summit, the pinnacle. (M., xv, 231, etc.

A

13, etc.

;

&ILADHIVASANA

138,

na

tio


gateway was erected and the

(this)

by Dhanabhuti.'

finished

lE du

(s'ila-karmantas'-chotpannah)

I

(Sunga 139

;

no.

inscrip. r,

of the Bharhut Stupa,

Vol. xxi, pp. 227.)

Preparation of stones for building, the worship

ra

f.,

STAMBIIA.)

di

masonry

see

toranam silakammamto cha

karitarh

During the reign of the Sungas

line 3

;

Masonry, the art of building in stone, the stone-work

Sugana-raje-Dhanabhutana

upamno

BHUSHANA.)

ca

(M., xv, 101

'

see

crowning ornament of a column. \

SlLA-KARMA

LVII, 54, etc.)

head-gear, a helmet. (M., XLIX,

SlRALAMBA A

;

n

SlRASTRAKA(-STRANA)

11.)

tio

&IRAS

|

II

rT

of stones for building.

fo

Siladhivasana(h)-karmma yathavidhi sampadya tasminn-eva Sake

....

of the stones for the building.'

vanlal Indraji.

Dr. Biihler and Bhag-

en

The worship

tre

bhadra-krishna-navamyarh sukle îla-prave5am vidhaya '

C

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 1

14, line i, Ind. Ant., Vol. x, pp. 170, 117,

SlLAVEDl The

stone

terrace

on which sacred

Cf.

ca

&ILA-VE&MA

usually

i.

lE du

Mahavams'a, 36, 103,

trees

tio

stand. Cf.

note 58.)

n

inscrip., no.

Stone-houses, cave-houses.

Megha-duta,

i,

25 (quoted by Prof. Liiders, Ind. Ant,, Vol. xxxiv,

na

P- I99-)

&ILA-STAMBHA The

tio

stone

column,

a

kind

of column,

the

ra

di

monolith.

Shat-saptashtangulam vapi sila-stambha(m)-vis'alakam Vrittam va chatur-as"ram va ashtaSram shodasasrakam

rT

I

I

fo

Pada-tunge'shta-bhage tu tri(trya)msenordhvam alahkritam

tre

Bodhikam mushti-bandhaih cha phalaka tatika ghatam Sarvalankara-samyuktam mule padmasananvitam

I

I

en

I

C

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

tio

n

top end of a building, almost same as sikhanta. Slrsham cha Sikha-grivarh vrittarh syad vaijayantikam

ca

I

xrx,

181,

etc.)

lE du

(M.,

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.

tio

Chaturdha sikhararh bhajya ardha-baga-dvayasya tu Suka-nasarh prakurvita tritiye vedika mata 1

I

1

di

(1)

na

SUKA-NASA(-SIKA)

hi sutrani chatvari vinipatayet

I

rT

(2) Sikharartharh (?-dharh)

ra

(Matsya-Purana, Chap. CCLXIX, v. i8 v

fo

Suka-naso(-sa)rddhatah sutrarh tiryyag-bhutarh nipatayet Sikharasyardha-bhagastharh sirhham tatra tu karayet

tre

Suka-nasarh sthirikritya madhya-sandhau nidhapayet II Apare cha tatha parSve tadvat sutrarh nidhapayet Tad-urddhvam tu bhaved vedi sakantha manasarakam

C

en

I

1 1

(Agni-Purdna, Chap. XLII, vv. 15-17.)

Chaturdha Sikhararh kritva 5uka-nasa dvi-bhagika (Ibid.,

(3)

I

I

II

civ, v.

Chap,


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


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.)

A

SUKAftGHRI

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.)

(generally) of one material, namely,

tio

brick, or stone, etc.

ca

Drumcneshtakaya vapi driSadadyair athapi va

I

See also Mdnasdra, etc.

The

(Kdmikagama, XLV, 21.)

fifth

or composite type of the five Indian

tio

orders.

;

see

under STAMBHA.)

ra

di

(Suprabheddgama, xxxi, 65, 67

pike, a dart, a lance, the trident of Siva, the finial.

rT

A

II

under PRASADA.

na

SUMBHAMKARI

lE du

Etena sahitarh geham Suddham ity-abhidhlyate

&CTLA

wood,

n

&UDDHA A house built

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

tre

fo

;

en

SOLA-KAMPA

(see

SULA)

A

(M.,

tiger.

L, 262.)

pike.

C

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., main

to

in

and

Sikharas.

types described in the

R.-V.,

and

A.-V., Vastu

n

three

and referred

Satapatha Brahmana

in later temples

as

xm, 8, i, i), as also pyramidal The Compare Buddhist stupas.

tio

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

ca

;

lE du

'

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 '.

ibid.')

(For

type of pavilion with fourteen (Matsya-Purana, Chap. GCLXX, v. 14

architectural

In connexion with single-storeyed buildings Evarh proktam harmyake madhya-bhadram

pillars. see

MANDAPA.)

tre

:

en

Sala-koshtharh dig-vidike kuta-yukta

C

Hara-sVanta-nasika-panjaradhyam

&RI-KANTHA

;

ornament, a shed.

fo

SRANTA An

compare

details,

ra

&YAMA-BHADRA A

further

tio

grown up

rT

Sarkar,

have

di

might

pillars

na

of the

I

I

I

(M., xix, 192-194.)

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,

xxxi,

65,

STAMBHA).

497


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

the measurement of the

;

(M., xx,

etc.

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

n

(M., xxi. 2-11 of seven-storeyed buildings (M., xxv, 24;

;

the list of mouldings under ADHISHTHANA.)

see

see

see


tio

A

ca

type of oval building. (Chap, civ, vv.

(1) Agni-Purdna,

Garuda-Purdna

&RI-PADA A

19-20,

(Chap. XLVII, vv.

class

lE du

&RI-JAYA (2)

;

see


see

29-30,

of buildings.

SrI-padarii cha tatah Srinu Koshthakastv-iha chatvaras" chatush-koneshu chaiva hi .

.

.

I

tio

na

.

Chatur-nasi-samayuktam anu-nasl-das"ashtakam

The

footprint of

rT

SRI-PAD A

ra

di

Evaih lakshana-sariiyuktam

fo

otherwise called Ratnapada.

&RI-BANDHA A

Srl-padarh

II

I

tv-iti

kirtitam

1

1

(Suprabheddgama, xxxi, 50, 51).

Buddha on Adam's Peak For

details, see

in Ceylop,

BUDDHA-PADA.

en

tre

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.)

C

(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


498



class

SRENITA-DVARA

of seven-storeyed buildings (M., xxv, 25

SRl-MUKHA A

14,

etc., see

under SIMHASANA.)

(M., xxxiv, 478,

etc.; see

under MANDAPA.)

(M., XLV,

SRI-RUPA A &RI-VATSA

under PRASADA).

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

(Chap, crv, vv.

14-15

see

;

under PRASADA).

n

(1) Agni-Purdna,

:

tio

see under PRASADA). (2) Garuda-Purdna (Chap. XLVH, vv. 24-25 represented in particular mark on the breast of Vishnu or Krishna ;

by a symbol resembling a cruciform xvm, 375, etc.)

pictures LV, 92

;

SRI-VI&ALA

ca

'

flower.'

(M., XLIX,

150

;

lE du

A

A

na

type of gate-houses, a class of storeyed buildings, a kind of throne, a type of pedestals.

di

tio

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).

fo

KALPA-VRIKSHA)

(see

ployed as a carving.

An

ornamental tree em-

tre

&RI-VRIKSHA

rT

ra

;

patra-vallibhih

C

Mithunaih '

en

Seshaih mangalya-vihagaih sYi-vriksha-svastikair ghataih

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

four types in the addition or omis-

comprising

from one another in height and

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.

;

white part of the eye of an image.

SVETA-MANDA The

(A/.,

LXV, 68.

tio

n

SH sixth storey, the six-storeyed buildings.

ca

SHAT-TALA The

;

SHODASA-TALA

The

GOPURA)

sixteenth storey, the sixteen-

na

(see

lE du

Their general features (M., xxrv, 27-46). Thirteen types (ibid., 2-26 see under PRASADA.)

storeyed gate-houses.

tio

Evam eva prakarena kuryad ashodasa-kshmakam

ra

di


group of

'

six

six,

formulas,

with which the

rT

SHAD-VARGA A

I

fo

a structure should conform,' six proportions, six main perimeter of a building comprising adhishthana (base), component parts of (entablature), karna (ear, wings)

en

tre

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.

C

(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

for circumference, thickness or

(c

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

|

I

n

Vasubhir gunitam bhanur(-nuna) hanyayamam ashta-sishtakam Ashtabhir vardhite nksharh(-shena) hritva sesham ksham ishyate

tio

Navabhir vardhayet panktih(-tya) hritva sesharh vyayarh bhavet Guna-nagam cha yoni(h) syad vriddhi-hanya-yatha-kramam

I

ca

I

formulas include

six

amsa '

in the '

tithi

(M.,

included

di

rT

ra

I

fo

tre

I

Vara,

en

C

is

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.

I

(M., xxx, 169-174.

should be noticed, that the divisor in each case

etc.

I

I

Samchitasamchitanam cha amsair ayadibhir yutam Apasarhchita-harmyanam tithy -antani shad grahlshyate

The names of

63-73.)

I

Purvoktanarh vimananam vistaradi-vasadibhih Aya-vyayam cha yonim cha nakshatrarh varam arhsakam Tithir vatha shaql etani tathayadi-vido viduh

(It

rx,

:

Vakshye'ham jati-harmyanam ayadi-lakshanam kramat

works under observation)

j

I

Samchita and Asarhchita build-

is

tio

ings, while in the Apasamchita

'

na

The

'

lE du

Nava-vriddhya rishim(-shina) hritva tach-chhesham varam eva cha Navabhir gunite trimsat-(a) kshapech chhesham tithir bhavet

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.,

ix, 88,

89, 90-93).

501


AN EMCTCLOPAED1A OF

SHAp-VARGA day and the

moon

full

ginning with Taskara

And

day.

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

Aya and Riksha,

of breadth under

Vyaya and Yoni, and

n

It

formulas under

lE du

ca

tio

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

in a

if

rT

ra

di

tio

na

by a figure which corresponds to the number constituting the group or series 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, particular

remainder

two,

fo

left is

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

tre

Yoni

instance

C

en

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

test.

The '

auspicious and inauspicious remainders When there is no remainder left in the formula of :

'

'

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

evarh

Sita-guru-sasi-budha-varam

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

tio

n

I

I

ca

Guru-sukra-budhas chandra-mukhya-varam prasasyate Taskaro dhana-shandas cha preshtanyan subharhsakam

lE du

I

I

na

Varjyarh shashtashtamarh rasim anyat sarvarh subham bhavet Gajah sarva-subharh proktam manushasura(m) varjayet

(M., LXIV, 73-82.)

subham

tio

Gaja-yonirh vina kuryat sirhhasananyatha

I

di

Ayadhikyam vyayam hinam sarva-sarhpach-chhubhavaham Aya-hlnam vyayadhikyam sarva-sampad vinasanam

I

ra

I

rT

(M., LV, 81-83.)

fo

Dhuma-yonis cha kakas cha gardhavan suno varjayet Anya-yoni-subham sarve subhayan iha vojayet

I

tre

I

(M., LV, 81, 84-85.)

subham prasastam uditam asubham puranaih Anyeshu yonir

en

Dhvaja-simha-hasti-vrisha-yoni(h)

I

|

C There are other

I

I

(M.,

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

n

I

tio

I

ca

Eka-dvi-traya-vriddhya tu kshapayet tv-ashta cha yonikam Shat-saptashta-vriddhya tu sapta-vimsa-kshayo bhavet I

saptabhih kshapayet tatah

I

lE du

Tach-chhesham chapi nakshatram ganayed asvini-kramat tu

I

I

Shashta-nanda-vriddhya Sesham tad varam ity-uktam arka-varadi-vara-yuk Tribhir vedas tu vriddhih syan nanda-hani-navarhâkam

na

I

I

tio

Tithi-randhroshna-vriddhih syat trirhâta tu kshayo bhavet

ra

di

(M., xxx,

I

177-187.

Daighye lihgasyayadi-shad-varga-suddhirh kuryat sarvathoktavat Manalinge chanya-svayambhuvadi-manarh cha yuktarh thatayadlni sarvarh na kuryat

rT

I

fo

I

Bandhashta-nanda-vasu-nanda-yugena vriddhya Ghashtarka-pankti-turagair munibhir nanda-hanyat Yonayas cha vriddhir vyayam cha tu varam amsam

en

tre

I

(M.,

Application of the rules '

I

I

C

Lingaikena kuryat tu parartha-lihge

I

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

tio

n

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 measure-

lE du

ca

ments 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

na

in contemplation in prescribing the rules of the Ayadi Shad-varga in all the architectural treatises. The testing of measurements by the Shad-

and almost without exception wherever there are

di

times

specifications prescribed.

(2)

Bimbamdna

(British

Manaih

Museum, MS.

rT

any

many

ra

works so

tio

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

tu yoni-nakshatra-sarhyuktam Ayamashta-gunite cha dva-dasamse'ti Seshata

fo

1

10,

I

en

tu gunite'pi dharmamse'ti vyayarh bhavet Yonir gunibhir gunitau(-ta) chashtams'e 'pi tathaiva cha

C

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

tre

Nandamse

w.

no. 558, 5292,

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

:

n

I

(170)

1

and

tio

Kdmikagama., Chap. L

Evam adau

1

parikshyaiva prasadam parikalpayet

so on.

I

lE du

See also

bubhukshubhih

ca

Agneyadi vidikshv-ete varjaniya

(20)

II

|

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

na

:

tio

I

di

I

Paridhau nanda-gunite sapta-bhur dvaram uchyate

ra

(59) kritva triihsadbhir bhajitva Tithi-udayam vasubhir bhaktva suryayas(-yais) tu seshatah II (60)

Sakalam tri-gunam

1

1

rT

I

fo

Punar apy udayaih nanda-vasubhir vyayah uchyate Padadhikam tu yat sishtam tat sarvarh sakalarii bhavet I

(61)

tre

II

I

en

Purva-vad gunitam kritva bhagam(0 bharam samam kritva Tenaiva vibhajed yal-labhad adhikarh bhavet II (62)

C

Yugma-hastaih svarodbhutaih sikhibhir yonir uchyate

Athavanya-prakarena ayadi-vidhir uchyate

II

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 taras tu varakah chaiva yonis Hrityam ayam vyayaih

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

tio

n

:

I

ca

Sikhararh stupika chaiva salangam iti kathyate II (21) These are called Shad-varga cf. XLV, v. 8 (under Purhlinga), v. I5

(under Dravida),

(under Strilinga), and

v. 11

)

(under Napurhsaka).

Laghu-silpa-jyotih-sara (ed. Sivarama, i. 3-5) : Ayo rasis cha nakshatrarh vyayas tararhsakas tatha

I

na

(4)

v. 10

lE du

:

tio

Graha-maitri rasi-maitrl nadi-vedha-ganendavah n

di

Adhipatyarh vara-lagne tithy-utpattis tathaiva cha Adhipatyam varga-vairarh tathaiva yoni-vairakam Riksha-vairarh sthitir naso lakshanany-eka-virhsatih

rT

ra

1

I

1

I

II

fo

Kathitani muni-sreshthaih silpa-bi(vi)dbhir grihadishu

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

en

tre

(5)

in this article.

C

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.

n

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.

ca

tio

'

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,

lE du

and divide

na

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, :

ra

Kilavan, Marnan.'

di

b'oram, Puttni, batthi,

:

tio

(hare)

The

rT

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.

fo

:

n 5 55, and 55 27 1485, 1485 100 14, the remainder which remainder indicated the number of years the house will

tre

By the

rule

en

being 85,

C

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,'

says

'

'

'

'

continues

realize,'

'

and he manner with reference to Astrology.' When Mr. Menon, that in the symbolic language of '

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

life,

death) at

(youth) whenever possible.

with a

human

all costs,

and

to choose the

lE du

to avoid the fifth (of

ca

tio

n

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

second

This picturesque identification of the structure rise to the last five formulae of the

being must have given '

'

is

true,

tio

(pp. 5-6). It

na

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

di

;

ra

portionately large verandahs to puny structure.' But he gives up curioussatisfaction of conformly this architectural ground when he says that the

rT

'

fo

ing to the religion of one's motherland, should amply recompensate for ' He further imagines that these forsuch minor restrictions (p. 7).

tre

mulae have something to do with the orientation of buildings (which subject has been treated under SANKU in the Mdnasara] and emphatically

C

'

en

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.

The Indian monuments

59


AN ENCYCLOPAEDIA OF

SHODASA-PRATIMA

SHODAA-PRATIMA

The

sixteen

a

images,

group of sixteen

deities. Cf.

shodaSanam vara-ganikanam dvi-bhumikagrihani alitwo rows of double-storeyed

Purato'sya '

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)

Brihat-samhita (LVI, 28, J. R. A. S., N. S., Vol. vi. p. 320, note

r

;

under PRASADA). Matsya-Purdna (Chap. CCLXIX,

(3)


v.

29, 53

;

see

25;


see

n

w.

(2)

SAKALA A

site

plan,

lE du

ca

tio

see

an

idol, a

(1)

A

(2)

An image

(3)

Suprabheddgama

plan (M., vn,

2, 51,

73

;

xu, 64

;

see

PADA-VINYASA)

deities

.

tio

or idol (M., LXIV, 48).

(xxxiv,

di

site

na

including Isvara.

group of images of four

named

Sakala-lakshana-vidhi,

rT

ra

Athatah sampravakshyami sakalanam tu lakshanam Sarvavayava-drisyatvat pratima

tv-iti

chochyate

fo

IsVaradi-chatur murttih pathyate sakalam

tre

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 of eight kinds of grains such as sesamum, barley, rice, etc., sandal paste, clarified butter, sugar and honey, etc. is

C

en

all

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. v. 20,

Alms-house (Dewal Prasasti of Lalla the Chhinda,

(1)

Vol.

SATRA(-TTRA)

i,

(2)

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

n

Bubhukshu-bhikshu-samghata-prabhuta-priti-hetubhih (Two pillar inscrip. at Amaravati, no. A, of Keta, II, :

152.)

ca

(6)

feeding establishment

tio

v. 40, Ep. Ind., Vol. vi, p.

A

lE du

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,

na

I

(7)

tio

Ep. Ind., Vol.

Bilvapadrake

vii,

pp. 40-45.)

yatha-prapta-brah-

parikalpita-sattra-bhoktrlnarh

rT

who

ra

di

manadi-jananam triihatah pratyaham upabhogaya ... 'In order to feed daily thirty Brahmanas or other men who happen to arrive (and) use the rest-house established at Bilvapadraka.'

Tivaradeva, 26-27, &P- ^-> charitable (8) dining-hall of a temple

fo

lines

plates

of

:

tre

A

(Baloda

Vol. vn, pp. 105, 107.) '

en

for the Sri-sarvva-lokasraya-jina-bhavana-khyata-satrarttham purpose of the renowned dining-hall of the holy and famous Jain

(9)

C

temple called Sarvalokasraya-Jina-bhavana.' of

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, asylum or alms-house, charitable dining " " avasara-satra seems to mean an occasional satra.' Dr. Fleet. ;

But

'

rest-house

'

as

opposed to both resting and dining-hall would

n

hall

tio

'

ca

perhaps give better meaning.

and Old Canarese

(Sanskrit

iv, p.

329,

lE du

Vol.

c.

i,

inscrip. no. vr, Ind. Ant., line 3

and

f.,

(13) Sa prasadam achikarad divishadaih Kedara-devasya tasyottara-manasasya khananam sattram tatha chakshaye

khya-

I

na

He

called

caused to be built a temple of the inhabitants of heaven ... and of the god Kedara he likewise had the famous

tio

'

footnote.)

cha

;

ra

di

Uttara-manasa (tank) dug, and (established) a hall of charity, to last for ever.' (Gaya inscrip. of Yakshapala, v. 12, Ind. Ant.,

rT

Vol. xvi, pp. 65, 66.)

fo

(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,

tre

He

en

(15)

no. 32; Transl., p. 81 at halting Marasinga's

C

sarwajna-gatta and other tanks students

in

the

Roman

Text, p. 176-177.) Behur, constructed there the Biruda;

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.)

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). (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. \

n

(1)

(4)

10,

Vol. xi, pp. 221, 222.)

lE du

Ind. Ant.,

ca

tio

'

Sarasvatam knda-ketanam etad atra vidadhe

\

\

na

Sarasvatam sadanam akshayam etad astu (Sanskrit Grants and seat

di

probably raised for sadasya or councillors at a

ra

SADAS A

tio

inscrip. no. i, vv. 33, 34, Ind. Ant., Vol. xi, pp. 103, 106.)

house.

Bra., x, 4, 2, 9.)

(Sat.

fo

of four-storeyed buildings. (M., xxii, 25-33

temple, a seat, an altar,

an

en

SADMAN A

class

tre

SADASIVA A

rT

sacrifice.

C

I

Ghakre nava-nivida-vis'ale sadmani Sulapaneh

;

see

under PRASADA.)

abode, a dwelling, a '

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 and

for the internal

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

Venu-parvan with

pieces,

five

Puga-parvan with

pieces,

six

tio

n

pieces, Deva with seven pieces, Parvan with eight pieces, and Danda with more than eight pieces of wood and other materials (line 18 f.).

lE du

ca

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

tio

na

bodies stick together, cement, mortar. Sarhsthapyapi na tasya tushtir abhavad, yavad Bhavani-griharh with the erection (of

satisfied

this

ra

Not

di

mala-sandhi-bandha-ghatitarh ghanta-ninadojjvalam '

suslishta-

I

image only, the pious man)

rT

caused to be built a shrine of Bhavani, which was joined with a very adhesive and bright cement, resplendent with the sounds of bells.

fo

t

tre

(Benares inscrip. of Pantha, v. 5, Ep. Ind., Vol. ix, pp. 61-62.) (see

TALA)

The

seventh

storey,

en

SAPTA-TALA

C

buildings. Etat sapta-talarh proktam rajnam avasa-jogyaklam

seven-storeyed

I


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. 359

5H


sect,

iv, ;

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.

I

Bombay,

i,

p.

38.)

SAPTA-SALA A seven-fold 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

n

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

were their

and

pillars

14).

Vedic times There must have been suitable the transaction of judicial, commercial features in

special

fire-altars.

lE du

structural arrangements for and political business, and for the reception of

ca

Chhdnd-Upanishad,

The

tio

,

vin,

'

'

tio

na

well-born courtly and and for the of kings, wealthy persons performance gambling, merriment, social intercourse, debates and contests (Vedic India,

(1)

A

class

of buildings

di

Vol. n, p. 426-427). :

rT

ra

Prasada-mandapam chaiva sabha-sala-praparh tatha (A) rangam iti chaitani harmyam uktarh puratanaih

fo

(M., m, 7-8.)

(M., xviii, 200.)

en

hall

public

I

tre

Sikhare chavrite'pare sabha-mandapa-gopure

A

I

|

:

C

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 îlpa-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-pradarânena 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.,

.

|

(Ibid., u, 10, 3.)

II Chatur-bhaga-dvi-bhagena prishthavasa-sabham nayet II Agra kuta-dvayor madhye âlah prishtha-sabha-yatha Prishthavasa-sabha tad-vad anyat sarvam adhas-tale II


di

Definition

tio

na

(3)

.

lE du

.

ca

tio

n

sabha (Chap, vm), Varuna-sabha (Chap, ix), and Brahma-sabha (Chap. xi). Sabha divya hema-mayair uchchaih prasadair upasobhita

:

ra

Mula-kuta -samayukta vana-kuta -samanvita

rT

Kachchha (=keâ)-griha-samakukta

1 1

sabheti parikirtita

xxxv,

fo

(Ibid.,

Brahma-sthane sabhadini kalpayed vidhina budhah

tre

II

4, 95.)

II

(Ibid.,

xxvm,

15.)

en '

C

(4)

perity,

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

SABHA

see

;

which

in

senses

it is

used in

Atharva-veda (xv, 9, 2, 3).

(1) Brihat-sarhhitd

I

(Chap. LVI, 23, J. R. A.

(2)

Matsya-Purdna (Chap. CCLXIX, vv. 38, 53

(3)


w.

;

30, 24

w.

(1)


(2)

Bhavishya-Purdna (Chap, cxxx, v. 24; see

ra

di

38,

;

53;

.

under PRASADA). under PRASADA). see

rT

type of building, a moulding.

fo

moulding of the pedestal (M., xxra,

See

Vol. vi, p. 319;

under PRASADA). see under PRASADA)

PADMA and compare

the

lists

76, etc.).

of mouldings

tre

A

S.,

see

na

SAMUDRA A type of building. SARORUHA A

N.

S.,

lE du

under PRASADA).

tio

see

tio

Samudga-nama

ca

Cf. Vrittah

n

SAMUDGA A type of round buildings.

under

UPAPITHA

A

class

en

and ADHISHTHANA.

of six-storeyed buildings (M., xxiv, 47

C

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

side.

517


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,

(sikhara)

w.

(Chap. CCLXIX,

Matsya-Purdna

S.,

Vol.

vi, p.

285.)

,

many

beautiful

dormer

26 cubits broad."

is

(Ibid., LVI, 27,

(2)

N.

of a kind of building which has four

turrets

and

II

J. R. A.

S.,

N.

S.,

Vol. vi, p. 320.)

29, 34, 35, 48, 53

;

see

under

PRASADA). v.

34

;

under PRASADA)

see

n

A

.

tio

(Chap, cxxx, of type quadrangular building

(3) Bhavishya-Purdna

:

ca

Agni-Purdna (Chap, civ, w. 14-15; see under PRASADA). (5) Garuda-Purdna (Chap. XLVH, w. 24-25; see under PRASADA).

lE du

(4)

Sarvato-bhadram ashtasyam

An

the Sarvato-bhadra house

(s"ala)

has

(Kamikdgama, xxxv, 88.)

entablature

na

(6)

eight faces.

(ibid.,

uv,

8).

tio

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).

tre

fo

rT

ra

di

(7)

'

en

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,

C

(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

under DURGA.)

A

SAHASRA-LlftGA

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;

18, line

Text, p.

14.)

kind of joinery (M., xvn, 140, 146).

an open shed

cattle-shed,

see

under MALIKA).

for milking cows.

combination of mouldings at the bottom of a

tio

SAMGAVINl A SAMGRAHA A

;

ca

of buildings (Kamikagama, XLV, 62

139, etc.. see

lE du

class

xvm,

na

A A

(M.,

tio

of materials, a joinery. Buildings made of more than two materials under VIMANA and PRASADA).

n

SAMKlRNA A type of building, houses built with a certain number

di

column.

synonyms

SAMGRAHANA A

see

(M., xv, 179,

etc.)

M., xvi, 51-52.

fortress to

defend a group of ten

tre

Dasa-graml-samgrahena samgrahanarh sthapayet

en

I

rT

its

fo

For

ra

Ekarhsam padukam kuryat pancha-bhagarh tu samgraham

(Kautiliya-Ariha-sastra,

villages.

I

Chap, xxn,

p. 46.)

SAMGHARAMA

C

(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

;

under APASA&CHITA.)

see

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

the gramas,

khetas, the

nagaras,

ca

pattanas, dronamukhas and sarhbahanas at the cardinal

under NAGARA.)

n

Cf. Visiting

see

;

kharvatas, madambas, cities of the elephants

tio

'

under MALIKA.)

see

;

SAMSAD An

;

assembly hall (built within a wedding pavilion).

na

Ratha-rathi-yuta hy asan kritrima hy akritopamah Sarvesharh mohanarthaya tatha cha samsadah kritah I

II

tio

Cf.

18

1

lE du

points.' (Ep. Carnal., Vol. va, Shikarpur Taluq, no. Transl., p. 86, last para., line 14.)

di

(Skanda-Purana, Mahesvara-khanda-prathma, Chap, xxiv, v. 13.)

SAMSTHANA

ra

laying-out,

plans of buildings

objects.

Tri-konam vrittam ardhendum ashta-konarh dvir-ashtakam

fo

(1)

The arrangement,

rT

and other

I

tre

Chatush-konam tu kartavyarh samsthanam mandapasya tu of a

en

The plan

should

mandapa

C

octagonal, sixteen-angular, half moon-shaped,

(2)

and

circular.

w.

(Matsya-Purana, Chap. CCLXX,

Tri-konam

padmam

II

be made triangular, quadrangular,

15-16.)

arddhendurh chatush-konam dvir-ashtakaml

Yatra tatra vidhatavyam samsthanam mandapasya tu

II


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.)


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.)

reflected in the water of

its

'

I

ca

lE du

164.)

Antararh sadma-salam

prati-bhimbitaih golden walls and

(Vijaya(Vijayanagara's) moat.' I. I., Vol. i, no. 153, pp. 162,

nagara inscrip. of Devaraja II, lines 7-8, H. S. (5)

.

.

its

tio

which are

.

n

Kanakojvala-sala-rasmi-jalaih parikhambhu Through the mass of the rays which issue from

(4) '

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. '

(7)

tio

pp. 124, 125.)

di

vii,

Durllamgha-dushkara-vibheda-visala-sala-durggadha-dustara-brihat-

ra

Vol.

na

(6)

parikha-parita (The city of Kafichi) whose large rampart was insurmountable and

rT

I

'

(7)

Ep. Ind., Vol. x, pp. 103, 105.)

Sriman

esho'rkka-kirttir nnripa iva vilasat sala-sopanakadyaih

en

v. 6, line 21,

tre

fo

hard to be breached (and) which was surrounded by a great moat, unfathomable and hard to be crossed.' (Gadval Plates of Vikramaditya I,

That honourable one like a king of walls and stairs.' (Ep. Carnal., Vol. H, no.

C

'

I

sun-like glory (erected) splendid

105

;

Roman

Text, p. 97, line 14;


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.

S.,

521


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, of gods.

A

or pavilion with sixteen

mandapa v.

CCLXX,

Sirhha

13

;

the

is

in

Chap.

(Matsya-Purdna,

name

kind of

of a

plan, covered

by

building which

one-storeyed

lions

(?

and

simhakranta)

is

eight

tio

dudecagonal wide

cubits

pillars

under MANDAPA).

see

n

(lion)

a class of oval buildings, a riding animal

:

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

lE du

ca

(1)

explicit.

Sirhhah sirhhaih samakrantah konair dva-dasabhir yutah Vishkambhad ashta-hastah syad eka tasya cha bhumika ;

It

see

under

tio

CCLXIX, vv. 29, 36, 40, 49, 53

di

(4)

(Chap.

na

(3) Matsya-Purdna PRASADA).

I

Bhavislya-Purdna (Chap, cxxx, v. 35

;

see

under PRASADA).

see

under PRASADA).

ra

A kind of oval building

rT

:

Garuda-Purdna (Chap. XLVH,

(5)

v.

29-30

The lion, a riding animal of gods. Devanam vahanam sirhham (M., Lxm,

tre

his

;

fo

(6)

image

(ibid.,

en

SIMHASANA

the sculptural description of

2-46).

A

throne or seat, marked with a lion. Sirhha-mudrita-manoharasanam

ASANA)

(cf.

C (i)

i),

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

n

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).

tio

;

ca

;

lE du

;

;

;

The

;

na

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 lions

are stated to be

and furnished with

made

rT

marked with

ra

di

tio

lion-legs are,

six legs (line

facing the east (pranmukha)

(line

197).

fo

Of

These thrones

196).

is

made on

tre

the thrones of deities, the Nirikshana(eyes, windows) four the sides (line 198).

en

Various kinds of thrones are thus described but the most beautiful one according to one's choice should be used

:

Evarii cha

C

vividham proktam yan manoramya(m) manayet (200) (Simhasana) on which sat the glorious powerful king, in whose arm is strength, the Lord Emperor Kalinga Nissahka Kankeswara.' 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 and which formed the support, or one of the supports of the royal seat. A freize of lions runs round the building.' Rhys Davids. (Inscrip. at the Audience Hall of Parakrama Bahu, Pulastipur, Ceylon, Ind. Ant., Vol. u '

(2)

This

is

I

the mighty lion-throne

'

,

p. 247, c. 2, para.

523


4

;

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

room

tio

temple.

The

'

in front of the idol in a

n

small

lE du

ca

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,

na

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.'

ra

di

tio

(2)

by 14

The Sukhanasi doorway has on its lintel a figure of ... The garbha-griha and sukhanasi have likewise ceilings of the same

fo

rT

'

but that of the porch

tre

is

pilasters

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.

en The

C

'

(3)

the largest

19.)

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.

buildings

three-storeyed

(M.,

22-30

xxi,

under

see

;

object having a beautiful neck, a type of pavilion.

with twenty-four pillars

pavilion

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,

Ratnapura

inscrip.

,

1114 of Jajalladeva,

A.D.,

Dewal

Mdnasdra under ABHASA.

class of six-storeyed buildings.

fo

of nine-storeyed buildings

tre

class

A

kind

a

of

site-

(M., xxxi, 24

(M.,

;

23-36

xxvii,

see

;

PARIVARA under

see

en

PRASADA).

under PRASADA. X

see

building,

or enclosure buildings

and PRAKARA.)

A

of

rT

plan.

A kind of prakara

type

;

ra

SUPRATI(-I)KANTA A

(M., xxrv, 15

di

A

i,

beautiful object, a type of storeyed buildings.

na

SUNDARA A

28, Ep. Ind., Vol.

v.

Chhinda,

tio

See

Ep. Ind.,

lE du

Prasasti of Lalla the

pp. 80, 84. (3)

16,

ca

pp. 35-38.

i,

(2) See

v.

tio

(1) See

Vol.

n

whitewash.

mortar,

plan in which the whole area is divided into 484 equal (M., vn, 30-31 see under PADA-VINYASA.) squares.

C

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. I

tio

n

tasya chochyate (1) Prag-grivah-pancha-bhagena nishkasa(a)s II tad-vat sushirarh tri-bhagatah prakarasya Karayet

lE du

|

(Agni-Purana,

Chap,

Dvara-vat pitha-madhye tu sesham sushirakam bhavet (Garuda-Purana, Chap. M., LVX, 83, LXVII,

SUSAMHITA A

site

into

ra

(4) See

na

(3)

Sushirarh bhaga-vistirnam bhittayed bhag-vistarat

civ, v. 3.)

I

XLVII, v. 16.)

15, etc.

tio

(2)

ca

(Matsya-Purdna, Chap. CCLXIX, v. 24.)

di

area plan in which the whole

is

divided

rT

400 equal squares.

(M., vn, 28-29, also xxxi. 18,

etc.; see


fo

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

An

en

tre

St}(-SU)-(T)ALAYA

C

;

;

;

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

'

had the wall round

and the twenty-four Tirthankaras made

'

the cloisters

(no. 78, line i).

Gommata

devara Suttalayadolu (no. 86, line i). madisigommata-devargge suttalayamam eyde (5) Gafigavadiya around cloisters the had dam' for Gommatadeva of Gangavadi he 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.

n

SIMPLE CENTRALINDI*N /

fo

rT

ra

di

tio

na

lE du

ca

tio

SIKHARA

STUPI

C

en

tre

STUPI KIUX

SRI

VATSA

STUPI

foot 526



tre

en

C rT

fo di

ra tio ca

lE du

na tio

n

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

under

(see

The

STHAPATI)

-(Fergusson,

an

draftsman,

architect.

SUTRA-DHARA

(see

A

under STHAPATI)

carpenter, an archi-

tect.

SUTRA-DHARIN

(see

under STHAPATI)

The

the

thread-holder,

architect.

SUTRA-PATTI

A

PATTA and PATTIKA)

(see

part of a door.

tio

Dvara-tare chatush-pancha-shat-saptashta vibhajite II Ekamsarh sutra-pattih syat samam va bahalam bhavet

n

manager, an

site

ca

SURYA-VISALAKA A

Ganapati

plan of 400 square (M.,

SETU A

II

Sastri, xiv,

lE du

(Vastu-vidya, ed.

vii,

i,

a.)

plots.

26-27,

see

PADA-VINYASA.)

di

tio

na

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.)

rT

ra

(1)

Matha vedadinam dvija-pura-viharah

fo

(2)

prati-disam virajante satryany

tre

api cha paritas setu-nivabhah II (Two BhuvanesVara inscrip. no. A, of Svapnesvara,

khalu

en

Sa

v. 30,

vi, p. 202.)

Bhagirathi-patha-pravarttamana-nana-vidha-nauvata-

C

(3)

Ep. Ind., Vol.

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

A

The rock

SAINYA-DURGA A fort SO PAN A Stairs, steps, a

(see details

stair -case,

under DURGA).

n

(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.

a ladder,

tio

'

Cf.

ca

Mdnasara, Chap, xxx Flights of steps are constructed for ascending up and descend:

lE du

(i)

12.)

statue, a rock-sculpture.

ing from temples, residential buildings, pavilions, enclosure (prakara) ,

and towns

Their situation

:

tracts

(parvata-dea) ,

ponds,

wells,

step-wells,

(lines 85-89).

tio

villages,

hilly

na

gate-houses,

di

They are stated to be constructed on the front, of a residential building or temple

back and

ra

:

rT

Sarvesham mukha-bhadranam parsve sopana-samyutam Parsvayor dvara-dese tu mukha-sopanam eva va (94)

(93)

I

I

fo

Guhyanta-dvara-dese tu vame sopana-samyutam

(97)

I

Pramukhe mukha-sopanam kuryach chhilpa-vit-tamah Prapange pramukhe bhadre sopanam purva-parsvayoh

(102)

en

tre

I

Parsvayoh prishtha-dee tu tat-purve paksha-parsvayoh Yatra dee tu sopanam tatra dosho na vidyate (101)

C

sides

I

I

(105)

(100)

I

Alinda-yuktam tad-dvare

vame sopana-samyutam

Vinalinda-pradeSe tu pramukhe sopanam eva cha Their situation in other places

(113)

I

(114)

I

:

Gopuranam

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)

manoharam

Hasti-hasta-vad akaram raga-yuktam

(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

n

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)

tio

:

Sarvais chaivachalam proktam kshudra-sopana-samyutam (92) account given above is that of the stationary steps, that of the mov?

(

is

moving) steps

Achalam

also given

:

I

na

The able

lE du

ca

I

I

(124) proktam chalam sthapyam yatheshâkam 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) I

tio

cheti

ra

di

I

chitra

I

(

?

chhidra)-yuktam tu pattika

fo

rT

Danda-dvaya-samayuktam (H7)

I

Eka-dvi-try-angularii vapi pattika-ghanam eva cha

en

tre

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

C

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),

hasti-sopana

174), pradakshina-sopana (v. 176).

529


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 Sri-saila.'

(Nadupuru Grant of Anna-vema,

6,

Ep.

Vol.

Ind.,

m,

ca

pp. 288, 291.)

The sopana

v.

tio

at

n

'

a kind of religious architecture peculiar to India, cf. eg., of steps in Chandra-sekhara peak, Sita-kunda, Chittagong, Ben-

lE du

the flight

is

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, .

'

.

tio

na

(7)

di

p. 322.)

prabhavati pathi prapta-patala-gange pramatha-padavim arurukshus chakara

rT

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

fo

'

ra

(8) Srl-sailagrat

(9)

Brahmapryan

.

.

Ind., .

Vol.

xi,

pp. 320, 314.)

caused to be

made

work of a

the stone

en

'

tre

of Kondavidu, no. A, v. 6, Ep.

C

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)


.'

.

no. 78

Mandya Taluq,

Transl., p. 47

;

;

text, pp. 101-102.)

The

Chullavagga (vv. 11, 6

and the Mahdsudassana-sutta

vi, 3, 3)

;

tio

n

have referred to stairs of three kinds, namely, brick stairs, stone (i, 59) All these are furnished with balustrades (alamstairs, and wooden stairs. (suchiyo)

let

Each of these had posts or banisters (thamba), cross-bars and a head-line (unhisam) running along

ca

bana-bahu).

into these banisters,

lE du

the top of the banisters. (Compare Rhys Davids' Buddhist Suttas, p. 262, and the writer's Indian Architecture, p. 13.)

SOMA-SUTRA A

ra

temples.' P- 39-)

m,

2,

4;

Ait. Bra., HI,

i

Brihad-Upanished,

i

;

vi,

i,

4>

9

a

causeway (R.- V. ix, 41, 2 Taitt. Sam., vn 5 8 5 Kath Sam., xxvii, 5 3> 3

35;

;

5

iv,

4,

C

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

-

'>

Taitt. Bra., u,

en

2,

dam,

rT

bridge, a

p. 237.

fo

SETU A

Champa by Mazumdar,

tre

See also

;

tio

the shrine, an ornamental feature of these (Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi,

The drainage channel from

di

'

na

drain, a channel for conveying holy water from a Phallus of Siva or any other deity of a shrine.

;

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

ENCYCLOPAEDIA OF

AJV

'

(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

n

(A/.,

under MALIKA.)

XXXHI, 563

under GOPURA.)

see

;

lE du

class of nine-storeyed buildings.

ca

A type of storeyed buildings.

SAURA-KANTA A

see

tpye of gate-house.

tio

SAUMYA-KANTA A

;

(M., xxvn, 5-9

under PRASADA.)

object or moulding added for

architectural

na

SAUSHTHIKA An

see

;

ra

di

tio

the sake of elegance or beauty. Tad-eva s"ala-parsve chaikam dvyaikena shausthika-harah

rT

Tad-eva-sala-prante

tu

(M., xxix, 26

(M., xxvm,

parsve chaikena saushthikam ;

see for

I

context, 24-33

'>

see

1

6.)

I

under AKRA-KANTA.)

fo

SKAND-(H)A-KANTA A

tre

type of column, a type of gate-house. The hexagonal or six-sided pillars with six upa-padas or minor pillars

en

(M., xv, 246, 23-245). type of gate-house

C

A

(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,

:

stambha, angrika,

(s)tali,

n

,

lE du

ca

tio

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). '

na

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, ing to

Raz,

1-12).

But accord-

words,

it

fo

be a

from three

is

C

and

to ten times the

according to

pilaster,

(parts),

In other

pilaster joined to a wall (kudya-stambha).

the column

width of the matras

;

tre

height, if

en

its

1

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

rT

KaSyapa

by 6 angulas or J cubit

(see Ram

ra

the increment being

di

tio

;

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

columns, i.e. shafts, wlul( on the shapes of the capitals. the latter set of five names is based and shaft are mcluded. in the detailed account both the capital

But

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

including the

and two

ca

pillars,

thirdly

There are no fixed inter-columniations in

'

bases.'

lE du

two

tio

n

'

Ess. Hind. Arch., pp. 32, 39-) Indian Architecture. '-(Ram Raz,

Dhvaja-stambha

Cf.

(M

.,

LXIX, 24

,

Dhanya-stambha and Sila-stambha

na

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

:

tio

I

di

I

I

ra

tatika ghatam Bodhikarh mushti-bandham cha phalaka

:

fo

rT

of the shaft. These are apparently the five component parts The entablature, base, and pedestal are separately described

tre

Kuttimam chopapitham va sopapitha-masurakam (ibid., 21). ADHISHTHANA and PRASTARA. See further details under UPAPITHA,

en

For the component parts of a column, Kdmikagama, xxxv

further details below.

:

C

(2)

see

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)


tre

en

C rT

fo di

ra tio ca

lE du

na tio

n


tre

en

C rT

fo di

ra tio ca

lE du

na tio

n

STAMBHA


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.

(67)

1

1

n

:

1

I

tio

The common features and mouldings of the five orders Pada nama iti prokto tesharh lakshanam uchyate

1

(66)

1

1

(55)

ca

Vistarasya chatur-vimsat(d)-bhagaikam pada-vistaram

Tad-eva dandam akhyatam padalamkara-karmani

I

(56)

lE du

1 1

Mula-padasya vistarat saptaikamsena margatah Dvi-dandarh mandir utsedharh danda-padarh tu vistaram II (57) Ashtamsam kantham utsedham dvi-dandam kumbha-vistaram

na

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 1

1

di

tio

tu tri-padarh hi

ra

rT

I

1

fo

I

1 1

(60)

1

I

tre

Chitra-patra-tararhgais' cha bhushayitva tu

potikam

(61)

I

Kumbha-padam idam proktarh kumbha-nimnarh prachakshmahe

I

C

en

Padarh potikaya yuktam êsham 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

(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 viate 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 suôbhitam 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

Mandi

and the

(v. 57),

kantha

(v.

Kantha, (v. 58), and Potika (v.

Kumbha

are otherwise

Uttara

called Bodhika,

(v.

56),

58), Vira-

(v.

(v.

108).

(v.

107),

Vajana,

tio

Mudrika, Tula, Jayanti, and Tala (4) Kauliliya-Artha-fastra

(v.

58), Phalaka

60).

59),

The same

Danda

described above, called

shafts, are, as

n

the capital

base, that is,

(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-

ca

Stambhasya

fourth for

its capital.'

R&mayana (18, vi, 3, etc.) Kanchanair bahubhih stambhair vedikabhis' cha sobhitah

na

:

tio

(5)

lE du

'

Mahdbhdrata (xrv, 2523,

etc.)

:

di

(6)

ra

Stambhan kanaka-chitrarhS cha toranani Matsya-Purdna (Chap. CCLV,

v.

1-6)

vrihanti cha

I

:

rT

(7)

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

fo

1

1

tre

I

en

Dvi-vajrah shodasa^tras tu dva-trirha5rah pralinakah Madhya-prades"e yah stambho vritto vritta iti smritah Etc pancha-maha-stambhah praâstah sarva-vastushu

C

I

II

(3)

I

Padma-valll-lata-kumbha-patra-darpana-ropitah

II

(4)

Stambhasya navamamêna 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 daârhâ-hino'gre II (27) I

53 6


STAMBHA


'

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

Kern.

top.'

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

Commentary quotes Kirana-Tantra ( ? Kiranagama] Vibhajya navadha stambham kuryad udvahanam ghatam :

ca

tio

Cf.

I

Kamalam chottaroshtharh tu bhage bhage prakalpayet When you divide the whole column into nine parts, one part would 1

1

lE du

'

tathottaroshtharh kuryad bhagena bhagenall (29)

n

Padmam

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.)

Kern.

All this exceedingly vague.'

tio

'

na

;

tulopatulanam unam padena padena

ra

Bhavati

di

Stambha-samam bahulyam bhara-tulanam upary upary asam 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,

padma,

(3)

(4) uttaroshtha,

(5)

bahulya, (6) bhara

(?

hara), (7)

C

tula,

en

tre

fo

rT

'

and

(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)

recta, or

and

trived for a covering

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.

The

(iv)

ca

tio

n

is

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,

lE du

like

is

to

men-

bind and streng-

;

The

scotia or

trochilos (Fig. 871),

na

(v)

which always accompany the

tori,

is

placed between the

usually below the eye

;

fillets

its

use

di

tio

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

The

cavetto,

crowning moulding

like the

By workmen

fo

never used.

mouth or hollow

rT

(vi)

ra

base.

chiefly used as a

recta.

it is

The

astragal (Fig. 873) is nothing more than a small torus, and, seems applied for the purpose of binding and strengthening.

tre

(vii)

is

In bases and capitals a casement. called frequently

cyma

it is

(Fig. 872)

like

en

it,

The

is

astragal

The

also

known by

the

names of bead and baguette.

C

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

or hollow, are apparently the same.

538


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.

rv,

.

Bhojadeva of Kanauj,

lines 6, 9,

310).

n

p.

.

Pillar inscrip. of

(Deogadh

Vol.

Ind.,

'

Sri-Sailam evanayat Converted the SriPlates of v. Anna-vema, 10, Ep. Ind., Vol. m, (Vanapalli .

(15) Tri-Sula-mudrarhkah svakiyayatana-dvare maha-saila-stambhah The pillar is (now) called the Lakshmi Kambha, or the pillar of (the

tio

The upper

inscription). is

ocatgonal (and this part contains the inscription, the pillar is square.

is

Immediately below the

stamped with the mark of the tri-ula or

trident,

which

is

na

It

part of the pillar

lE du

(goddess) Lakshmi. '

I

ca

'

the

weapon

pp.

i, 3, 5, 7.)

di

in,

tio

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.

A

fo

rT

ra

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)

is

This inscription (Sravana-Belgola Epitaph of Mallisena, Saka> faces of pillar on a hill at Sravana-Belgola in Mysore.'

on four

en

1050)

tre

'

(17)

(19)

Used

(Ep. Ind., Vol. in, p. 184.)

stone pillar,

C

(18) Sila-stambha

in the sense of

(?) solid.

(Sravana-Belgola Epitaph of Mallisena, v. 9, Ep.Ind., Vol. m, pp. 190, 186.)

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

.

1

1

tri-bhuvana-vijaya-stambham

sahyadri-sVirhge

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. '

'

tio

n

(25)

(Ep. Ind., Vol. v, p. 151.)

(26)

II,

line

lE du

ca

Mana-stambha (Sravana-Belgola Epitaph of Marasimha

109).

(Ep. Ind., Vol. v, pp. 1 78, 171, note 5.)

",

is

na

honour

"

Mana-stambha", which means literally "a column of explained by Mr. Rice (Inscrip. at Sravana-Belgola, Introduc-

The word

"

refers us to

rT

Eastern Architecture,

a discussion regarding _them in Fergusson's Indian and Dr. Fleet (see below). p. 276.'

ra

and he

di

tio

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

Mana-sthambha

(27)

Jaina pillar (Krishna Sastri refers also to Epnote 5). 171, Manastambhas, which are generally graceful, high and imposing,

The

tre

'

fo

Ind., Vol. v, p.

en

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-

C

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)

He

'

is

worlds.'

I

for the erection of the city of the three

the foundation-pillar

(Inscrip. at Ablur, no. E, line i, Ep. Ind., Vol. v, pp. 245, 252.)

(Srikurmam inscrip. of Nara-hari-tlrtha) is inscribed on the and north faces of one of the black granite pillars, which support the It

(29) east

STAMBMA

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. '

.

.

.

.

.

tio

n

.

Ep. Ind., Vol. VH, pp. 123, 125.)

engraved on

(Sravana-Belgola inscription of inscription three faces of a quadrangular pillar behind the

ca

(32)

Trugapa) is image of the the Brahma-deva-mandapa in front

lE du

The

'

Kushmandinl YakshI which is set up in Gummata temple on the Vindhyagiri

of the

na

at Sravana-Belgola.' (Dr. Luders, Ep. Ind., Vol. viii, p. 15.)

Mr. Rice, the inscription (Talagunda pillar inscripKakusthavarman) 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

tre

fo

rT

ra

di

tio

According

(33) tion of

(35)

C

(34) in front

en

the top.'

(Prof. Kielhorn, Ep. Ind., Vol.

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

thick.

The

shaft

then becomes circular.'

541


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 '

tio

n

(37)

ca

over his lap crosswise.'

The

9

f.).'

na

(Ind. Int., vol. xi, p.

lE du

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 '

(

Anmakonda

inscrip. of Prola, Ep. Ind. Vol. ix, pp. 257, 256, note 8.) ,

first

ra

who, we

di

The

tio

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)

rT

tions.'

I

(Ghatiyala inscrip. of Kakkuka, no. n, v. i, Ep. Ind., Vol. ix, pp. 280, 278-279.)

tre

fo

Siddhim karotu sarwattra stambha-dhama-Vinayakah

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

en

(39)

1

1

C

'

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, 195, 196,

197.)

tio

Agrya-dhama-sreyaso veda-vidyavalllkandah svah sravantyah

tala-brahma-lokah

1

karnnavatiti

yena

Vra(bra)hma-stambho

kirl-

ca

I

pratyashthapi kshma-

lE du

tam

1

He

'

n

pp. (43)

na

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.'

tio

(Khairha plates of Yasahkarnadeva, v. 14, Ep. Ind., Vol. xn, pp. 212, 216.) Kirti-stambham (pillar of victory) nikhaya tri-bhuvana-bhavanaI

ra

stuyamanapadanah

di

(44)

rT

(Conjeeveram plates of Krishnadeva-Raya, Saka 1444, v. 9, Ep. Ind., Vol. xni,

(45)

fo

p. 127.)

Sthapayitva dharani-dharamayan sannikhatas tato'yam saila-stam-

tre

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

C

en

1

(Kahaum lines

no.

(46)

Dhvaja-stambha,

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.

of

Budhagupta,

543


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

line 6, C.

/. /.,

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

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

.

again sixteen-sided. Above this, it is once more octagonal over in sixteen flutes or ribs, into a

is

Above

.

this the pillar curves

n

.

tio

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.)

The

boundary-pillar Siva-dasena vala-yashti uchchhritah :

(this)

boundary-pillar has

na

(48)

lE du

ca

'

no. 24, pp.

in,

1

12.)

posthumous iron

inscription (Meharauli

ra

(49)

I.,

di

F. G.

The

'

tio

been set up by Sivadasa.' (Bhumara stone pillar inscrip. of the Maharajas Hastin and Sarvanatha, lines 6-7, C. I. I., Vol. in, pillar inscription

Ray

Pithara.'

(C.

tre

fort of

fo

rT

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 I.

/.,

Vol.

en C

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

'

.

.

,

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

.

same part of the capital of the other pillar one circular and eight rectangular socket-holes, just

.

.

.

the

top

lE du

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 '

has

as in the top of the lion-

ca

capital,

tio

n

slightly

.

.

.

.

.

though between

na

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

di

tio

instance of the

ra

;

which they can have belonged). They are evidently any of two actual instance Rana-stambhas or <; columns of victory in war," an traces of

rT

temple to

Kauthem

V

.

.

'

(51)

147,

The

143

f.)

C

line 7, pp.

en

tre

.

fo

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

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.)

n

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, I

tio

(53)

lE du

ca

'

H.S.I. I., Vol.

i,

no. 153, pp. 163, 165.)

(54) Sakra-pratapas tri-bhuvana-vijaya-stambham ambhodhi-tire

I

(Tiruvallam inscrip. of Rajaraja, v. i, 2, H.S.I.I., Vol. i, no. 155, p. 1 68.)

Trailokya-nagararambha-mula-stambhaya Sambhave

Adored be

Siva, the original foundation-pillar of the city of the three (Ep. Carnal., Vol. i, no. n, pp. 35, 57, first para.)

rT

worlds.'

II

ra

(55)

di

tio

pare

na

Punye

'

1 1

sahyadri-sringe tri-bhuvana-vijaya-stambham ambhodhi-

fo

(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

tre

'

en

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

C

'

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), informed the guru that they would erect a mana-stambha in front of the NemisVara chaityalaya which their grandfather, Yojana Sreshthi, had (58)

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


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

n

'

Roman

;

text, p. 234, line

lE du

no. 163

(Ibid.,

ca

tio

:

27

;

Transl., p. 124.) '

(60)

Glorious with a mana-stambha, a lotus pond and a moat.'

Dlpa-maleya-kambha text, p.

194,

Transl., p. 103, second para.) '

-(Ibid., Sagar Taluq, no. bottom upwards, and p. 103;

lamp-stand-pillar.

third line from the

di

Roman

ra

(61)

60;

tio

na

(Ep. Carnal., Vol. vni, Part i, Tirthahalli Taluq, no. 166; Transl., p. 196, second para.).

Bommanna-setti's son Machirusa-setti had

fo

rT

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)

'

Roman

Heggunda

text, p. 9.)

Baira-Dasa's

C

(63)

;

en

Transl., p. 7

tre

'

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., '

Set

(68)

up the yupa-stambha

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

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.)

We

erected this

have had the

village built,

Garuda-Kambha, and had

up (the god) Sanjivaraya, tank and well constructed.'

set

this

lE du

'

(72)

ca

tio

(Ibid.,

n

(71)

second line

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, roof of this hall

is

fo

rT

ra

di

tio

na

The

<

(73)

Malakaraya

tre

(74)

This

pillar

is

en

'

Vol. ni, p. 317,

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

C

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

is

man

<

the figure shews

G

very good,

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.)

tio

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 1

1

ayaka-khambhe

sava-satanam hita-sukhaya

rT

patithavitati

deyadhamma

apano

niyute

ra

save

di

tio

na

(79)

lE du

ca

...

n

(78)

fo

'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

C

en

tre

'

'

;

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)

;

'

last sentence.) p. 245, para. 3,

n

xxxvn,

Caused basadis and mana-stambhas

to

be erected in numerous

ca

(83)

Vol. lion-capital, Ind. Ant.,

tio

Mathura

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

lE du

'

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,

16

;

Introduction, p. 19, note 2.)

di

p. 7, line

tio

na

(See

'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,

ra

(84)

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

fo

rT

;

tre

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

C

en

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 shaft, anything less than ;

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

from bottom

text, p. 22, line 5,


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.)

on the death of

Tammarappa,

in conjunction with that deva's

ca

chakka, had his form engraved on a pillar (kambha) and (Ep. Carnal., Vol. in, Malavalji Taluq, no. 13 ; Transl., p 56 6.)

The

'

(89) .

.

a

.

royal karanika Devarasa set

Dipa-stambha.'

Carnal.,

(Ep.

-(Ep. Carnal., Vol.

Roman text, (91) 'He made 70

;

p.

iv,

it

up.' text,

of his father

Chamarajnagar Taluq,

(kambha)

Heggadadevankote

set

Roman

for the

Taluq, no. 21

god Lak;

Transl.,

ra

p.

a grant of a Dipa-mala pillar

iv,

name

queen Bayi-

117.)

rT

shmi-kanta.'

Vol.

in the

di

Made

'

(90)

up

tio

no. 156, Transl., p. 20.)

;

lE du

1 1

na

p.

his

tio

elder brother

n

Bachappa, son of Kirtti of Aruhanahalli,

(88)

a brass ornament for the Dhvaja-stambha (flagstaff) and the goddess Sarasvati of Kannam-

fo

of the goddess Mahalakshml

tre

(Ep. Carnal., Vol. iv, Krishnarajapet Taluq, no. 235 Transl., p. 103.)

badi.'

The

(92)

Krittika

C

festival

en

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.' '

Roman

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

Vol.

v,

Part

i,

Belur Taluq,

text, pp. 173, 174.)

He

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.'


i

para,

Roman

;

'

and

Dlpa-mala-kambha

patna Taluq, nos. 155, 165

The unshaken

'

(96)

Tarikere Taluq, no. 12 '

Lakshma

the king

;

Transl., p. 159,

'

Basava-pillar.'

(Ibid.,

Channaraya-

Transl., pp. 195, 198.)

(Tolagada kambha). '(Ep.

pillar

Carnal.,

Vol.

vi,

Transl., p. 105.)

;

Taking that

(97)

;

text, p. 365.)

'

(95)

Ariskere Taluq, no. 109

i,

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

Roman

;

Shikarpur Taluq, no. 136; Transl., p. 103, text, p. 184, line 10, from bottom upwards.)

vii,

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-

tio

n

'

'

The

ca

176.)

(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 ;

maha-mandales'vara

Chamunda-Rayarasa

lE du

(99)

;

na

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.

di

tio

'

fo

rT

ra

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. '

Its

tre

no. 120 of the Shikarpur Taluq).

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.'

C

en

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

broad at the plinth, and

feet

4

pillars,

to a platform on which stands a consists of two highly carved rising to a height of 13 feet 10 inches

up

Kirtti-stambha or Torana arch.

fine

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.)

tio

He

n

(Ahmadabad

up Rama

lE du

set

ca

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)

.

i,

on page

tio

(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.

;

di

;

.

22.)

na

1915-16, p. 21, Plate x, Fig.

Report,

.

New

ra

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,

rT

;

under SILPIN and STHAPATI).

p. 51,

fo

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.

Surv.,

New Imp.

en

tre

Cf.

See

3

C

See Lion-pillar (Mysore Arch. Report, 1915-16, Plate vn, Fig.

Elephant

xin, Fig.

pillars,

Brahma-deva-pillar

(ibid.,

i,

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 like and their Hindu workmen designed giants, 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). ;

tio

n

.

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 ;

5 (Udayagiri pillars) xxvn (Eran pillar) pillar of Narasinha temple) Vol. xiv, Pates xxix, xxx (Sati pillars).

pillar), 4,

;

xxx (Eran

;

;

xxvm

(Toran-pillar)

;

.

na

Ibid..

lE du

ca

Ibid.,

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).

rT

ra

di

tio

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.,

tre

fo

'

en

with emblems or animals on their capitals. With the Jains they were with the generally Deepadans (Dipa-stambhas) or lamp-bearing pillars ;

C

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

n

later literature 2 in the

and the

in the Rig-Veda 1

ca

tio

3

tio

na

lE du

'

rT

ra

di

'

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.

fo

fifth

tre

The

'

C

en

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,

i.

often Sutras.

etc.

i.

i.

Cf. Zimmer, Altindishches Leben, Vedic Index, i, p. 93.

153.

555


pillar)

;

xiv.

I,

63

AN ENCYCLOPAEDIA OF

STAMBHA The second

'

sort of

column

seven diameters in height it is placed in the base is two diameters high

is

;

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 ;

;

tio

n

,

lE du

ca

...

na

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

tio

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 ;

ra

di

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

rT

consist of one, two, three, four, five, six faces, according to the situation

which

in

fo

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

tre

'

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 ".'

artists call in

en

is

C

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.. 2555) the whole height according to the measuring unit of Vignola 1 6 modules and 3 parts

art.

Mouldings whereof the parts are composed

n

:

tio

is

of mouldings

ca

Heights

na

ENTABLATURE

Quarter round

.

4

Astragal

.

r

Fillet

.

.

}

ra

Conge, or cavetto

Corona

rT

A. Cornice, 16 parts.

tre

fo

Drip

en B. Frieze,

23*

.

.

5

22$

.

.

i

21*

.

.

.

.

Bed moulding ogee

C

.

27*

i

Sinking from corona, or hollow Fillet

in

module

.

di

parts.

column

parts of a

.

tio

Cymatium and

lE du

in parts of a module

Projections from the axis of

|

\

4

13*

14

9*

14 parts. Fillet

C.

Fillet,

Architrave,

12

or

r Conge Fascia

listel

or

.

.

2

small

cavetto

2

9i 8 I Fascia 9* The height of the drip under the corona is taken on that member, and that of the hollow in the height of the fillet. ^

.

.

.

.

parts.

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

C

en

tre

fo

rT

ra

di

tio

na

lE du

ca

tio

n

(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) with

Of

fascia (vajana).

:

two to the cymarecta and to the upper the seven parts of cornice, one occupies the fillet, and its

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 (fillet)

of the architrave

is

equal to that of the capital, that of the

ca

vajana

tio

n

;

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

lE du

is

di

tio

na

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,

tre

fo

rT

ra

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

the Mdnasara''s eight entablatures

en

in the Mdnasara (Chap. xiv).

consists of twenty-one parts like the one prescribed above for the

column

Ram

C

under description.

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

divided into thirty parts), including the fascia, forming the His cornice consists of thirty parts of the module

diameter

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

all

the details of the Doric order are given (Gwilt,

tio

In the following table

n

(Gwilt, Encycl., art. 2566.)

lE du

ca

Encycl., art. 2566).

Members composing

of Heights mouldings in parts of

a module


column module

di ra

Fillet

of corona

34

Cavetto

3

3i

Fillet

*

26

fo

rT

i

reversa

30

tre

Cyma

en

C

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-

2

12*

2

II

Triglyph

18

Metope

18

Capital of guttae

trave, 10

Guttae

parts.

Fascia

ioi IO

2

Listel

C.


III I

II

If

II

IO

560

in

parts of a

tio

na

the orders

ENTABLATURE


is

10

STAMBHA

HINDU ARCHITECTURE

of Heights mouldings in parts of a module


column

in

parts of a

module

COLUMN Listel

*

Cyma Band

a*

I

4

Echinus or quarter round

D. Capital,

Three annulets Neck of capital (~

I

10

Conge

ca 2

.

lE du

Fillet

Astragal

di

PEDESTAL Listel

Echinus

.

Fillet

..

Corona

.

.

.

..

.

.

.

tre

.

.

.

.

.

.

.

.

fo

.

reversa

17

23

.

..

j

Cyma

..

.

rT

.

F. Cornice,

\_

..

ra

..

17

tio

Plinth

14*

4 6

na

Torus

12

14

i

12

6 parts.

12

-^

Shaft of the column, 14 modules. . f Apophyge or cong6

C

IO

i

Fillet

.

I

parts.

4

n

Astragal

.

Ovolo

tio

12 parts.

E. Base,

15*

reversa

i

22f

|

2lf 21

z\

.

\\

en

Die of the pedestal, 4 modules,

C

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, :

-(Ram Raz,

tio

tion.'

n

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 descripp. 34.)

Ram

Raz

(p. 38) identifies this

Ionic order

III.

column with the Ionic order, the from Vitruvius and Gwilt

for comparison,

details :

na

whereof are given below

The account

lE du

ca

The sources of the details given above are not specified. of the entablature, capital and shaft is also not quite clear.

:

tio

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

di

According

rT

ra

'

he assigns half a diameter, and to the shaft

itself

fo

nearly eight diameters, surface being cut into twenty-four flutes separated by fillets from each His method of describing the volute is not thoroughly understood : other.

tre

its

perhaps, of little importance to trouble ourselves to decipher his directions, seeing that the mode of forming it is derived from mathematical

C

en

it is,

principles, as well understood '

now

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,

of the drip

n

parts.

tio

34

Fillet

Ovolo Astragal

ca

Fillet

Dentel

lE du

fillet

Dentals Fillet

Archi-

Cyma

trave, 22

reversa

First fascia

rT

^

tio

Listel

Second fascia Third fascia f Capital on the side on the ^ Capital

fo

parts.

.

.

tre

(_

D.

di

f C.

reversa

Freize

.

ra

.

na

Cyma B.

.

.

coussinet,

or

en

cushion

C

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

.

.

parts,

..

5 63


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

tio

n

Fillet

na

lE du

ca

I Plinth

if parts.

Base,

en

H.

tre

fo

rT

ra

di

i

tio

G. Cornice,

C

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) identifies this

(p.

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

n

:

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.

lE du

ca

tio

'

di

tio

na

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 (Gwilt., Encyd., art. 2587.)

ra

parts.'

rT

In the following table Gwilt (Encyd. art. 2583) gives, on the authority of Vignola, measurements of the mouldings of the Corinthian order ,

fo

:

the order

tre

Members composing

C

en

of Projections Heights from axis mouldings in parts of of column a module in parts of a module

Fillet

ENTABLATURE 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


Dentils Fillet

Hollow or conge Frieze, i mod. 7$ parts high

B.

Fillet

reversa

Cyma

Cyma

reversa

Second fascia Bead Third fascia

na

parts.

ca

27

trave,

tio

First fascia

Archi-

lE du

C.

n

Bead

fo

rT

ra

di

fEchinus

tio

COLUMN

Fillet

tre

D. Capital,

Lower member of abacus

(Fig. 890).

Large volutes

C

en

42 parts

Inverted echinus of the bell

Upper small

leaves

Large leaves

Lower

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

Cyma

tio

Fillet

reversa

ca

f

Corona F. Cornice, J Throat Bead 14J parts. ..

..

Frieze

.

.

.

.

.

.

Die

.

.

Fillet

.. .

parts.

..

cyma

Fillet

..

en

.

.

.

.. .

.

..

Inverted

C

G. Base, 14J

.

.

.

tre

( Cong6 r Bead

.

fo

parts

<

tio

Fillet

..

di

..

.

ra

Bead

Cong6 Die,

.

..

na

Fillet

lE du

3

rT

f

25

n

PEDESTAL

25

reversa ..

.

.

.. .

.

33i 32

it

26* |

25!

5

25

ij

265

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

..

Cyma

reversa

of the dentils

Dentils

Ovolo Bead {

tio

..

Fillet

di

Frieze,

Gong6 j

27 parts.

..

ra

B.

.

na

Fillet

I

.

lE du

Fillet

ca

Fillet

Cyma

rT

Upright face L

Apophyge

fo

f Fillet

tre

Cavetto

Archi-

en

C.

C

trave,

27

parts.

Ovolo Bead First fascia

Cyma

reversa

Second

fascia

COLUMN Echinus and

fillet

Lower member of abacus D.

Volute

..

Capital,

48 parts.

n

under the corona

tio


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

n

Fillet

tio

Torus

ca

Fillet

1

8

Fillet

Bead Fillet

parts.

na

column,

lE du

Scotia

Base of

E.

tio

Scotia Fillet

di

Torus

ra

Plinth

rT

PEDESTAL

fo

Fillet

Cyma

reversa

Cornice,

Cyma

recta

en

F.

tre

Corona Fillet

14 parts.

C

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

n

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.)

tio

(Further accounts of the origin of orders will be found under NAGARA.) There are other columns,' says Ram Raz (p. 38), in the Indian '

ca

'

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

lE du

architecture, not only

to

di

tio

na

;

'

tre

fo

rT

ra

:

'

shaft, or

en

breadth of the

'

one-half or three-quarters of it, according as

C

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 of whole the entablature may be either threegenerally height a one and a half, one and three-quarters, one and one, quarters, quarter, 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

of the

ing).

is

from the measured

termed Nichata-stambha.')

foot of the shaft a space equal in height to the hypotenuse of the

lower diameter

this, is

is measured in says Kasyapa, height is called Nigata-stambha, but when it is

deities,

is

made quadrangular, around which

and

the like, in bas-relief.

are sculptured images In about half a diameter above

made the ornament called Naga-bandha (a serpent-shape mouldThe remainder of the shaft, about three diameters and a half, is

made

ca

tio

n

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

lE du

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 water-

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

na

pot,

di

tio

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

ra

;

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;

(Ram

Raz, pp. 35-36.)

'

tre

bandha.'

;

fo

rT

;

C

en

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

more specimens which are quoted below Tiruvannamalai are estimated to be about 30

gives accounts of a few '

The

pillars at

:

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.'

lE du

ca

tio

n

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.' '

tio

na

'

The Egyptian columns appear

ra

tre

fo

rT

and

di

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

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

C

en

'

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

in the

;

diameter of the upper part of the

shaft, in a

572


column of

15 feet in height,

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

ca

tio

n

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 ;

lE du

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

tio

na

the columns found in the excavated temple of Elephanta, and some other places, and which differ materially from those employed in other situations

There are no

fixed, as

we saw

before, inter-columniations in the

Hindu

ra

'

di

in Hindustan.'

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, as

tian colonnades.'

The

and the same may perhaps be

said of the

Egyp-

capital of the Grecian columns invariably marks the distinction those of the Indian are varied at pleasure, though

en

'

it,

tre

they differ widely from

fo

rT

architecture,

C

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 '

'

says

affinity,'

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) for the

tio

n

Ceylon

lE du

ca

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 CunninSurv. Reports.)

di

gham's Arch.

tio

rial.

na

'

(i)

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 constructing the immortalization " 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 '

C

en

tre

fo

rT

ra

1

They were buried alive in a standing position.' greatly honoured. ' " The first traditional instance of the human pillars recorded in '

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.)


(2)

STOPA

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

;

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.)

details of the following

tio

Fergusson

great Tope at Sanchi (p. 63, Figs. 10, 1 1, 12). cut in the rock on a Dagoba at Ajanta (p. 64, Fig. 13).

lE du

The The

:

ca

stupas, see

n

For the photographic views and the architectural

Jelalabad Topes

(p. 78, Figs. 18, 19).

(pp. 80-82, Figs. 21, 22, 20, 23).

di

Manikyala Tope '

tio

na

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).

A diversity of opinion exists as to the propriety or

ra

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 '

'

rT

(3)

fo

;

.

where a conclusion has been somewhat hastily arrived " now used is

the term

.

'

en

.

tre

instances

many

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.' '

C

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

denied the existence of a

575


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

Thuva cha sarhgharama cha

I

on the Mathura Lion Capital, no. A, n> line 14, Ep. Ind., Vol. K, p. 141.)

STUPA-GRIHA rows of pillars

lE du

ca

(Inscrip.

tio

(6)

n

'

House of the

(as in

tope, a sort of Thuparama Dagoba in

(W. Geiger, Afahavamfa,

p. 295.)

tio

na

lon).

dome, supported by Anurudhapur, Cey-

A dome, a cupola, a spherical roof rising like an inverted a circular, square or multangular building, a pinnacle, a over cup steeple-tower. xi, 13

;

xv, 91

xvra, 4, 413

;

xxn,

10, etc.

en

(Vdstu-vidya,

Kanthoktam sarva-manam

ed.

Ganapati-Sastri,

1

1

xvi, 27, 37.)

tu stupy-utsedhah prakirtitah

C

(3)

;

Kona-paravatam kuryat stupy-achchhadanakani cha II Su-muhurte su-nakshatre stupy-achchhadanakarh nyaset

tre

(2)

M.,

fo

(1)

rT

ra

di

SYOPI

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.)

n

(7) See Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi, Plates LXXXII, Figs. 1,2; LXXXIV, Figs, i, 2 xci.

Cunnigham,

Arch. Surv. Reports, Vol. in, Plates XLVI, Fig.

ca

See

tio

;

Vol. xi, Plate

m

(see

STUPA and STUPI)

The

and ;

above the

di

(M., xvm, 144.)

ra

Lord Sri-Rajarajadeva gave one copper waterpot (kuta), on the copper pinnacle stupittari according to Winslow, a

rT

The Cf. to be placed '

(plan

(Nirvana-Stupa)

tio

dome.

4 (Birdaban

xxvn

spire, the nail

na

STOPI-KlLA

lE du

Stupa), XLVII, Fig. 3 (Nongarh Stupa) section of Mediaeval Stupa) ; Vol. xvm, Plates v, vi Vol. xix, Plate (Mahadeopur pinnacle). ;

;

Vol. n, p.

9.)

en

H.S.I.I.,

tre

fo

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, class

C

STRl-LlNGA A object.

and other

See definition

Cf. Sarvatra

Sarva

of buildings, a feminine type of architectural 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

plan in which

site

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 :

Purvanane visvakarma jayate dakshine

I

tio

mukhe

tvashta paschime tu

ca

Uttarasya

mayah manuh smritah

n

four classes of terrestrial artists

I

lE du

VisVakarmakhya-namno'sya putrah sthapatir uchyate Mayasya tanayah sutragrahiti parikirtitah Tvashtur devarsheh putrah varddhakir iti prakathyate Manoh putras takshakah syat sthapatyadi-chatushtayam I

na

I

(M.,

tio

One Manu is stated to be the architect who

di

Cf.

I

tatrasil loka-vis"ruta

ra

I

rT

(Ramayana,

fo

tre

en

C

Takshaka

i,

5, 6.)

:

I

(M., n, 29.)

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

:

I

SthapatyadiS chatur varnah silpibhih parikirtitah

The

1- 1 2, 17-20.)

built the city of Ayodhya

Ayodhya-nama-nagari Manuna manavendrena ya purl nirmita svayam Their ranks

1

ii,

I

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

STHAPATI the

Sthapatih sarva-sastrajnah (M., n, line 24.)

chief

knows

architect

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-dhrit

Sutra-grahiti

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

lE du

ca

tio

n

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.

He

ra

di

tio

na

I

rT

(2)

I

Sthapatih sthapanarhah syat sarva-sastra-vis'aradah

Na

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

tre

fo

I

1

en

(34)

II

I

1

C

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 qualificaMdnasdra

tions are almost identical to those given in the

:

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

ibid.,

sa tu kirtitah

tio

Takshanat sthula-sukshmanam takshakah

16-18.)

i,

n

(Vastu-vidyd,

II

Mrit-karmajno gum Saktah sarva-karma-sva-tantrakah Guru-bhaktah sada hrishtah sthapaty-ady-anugah sada

II

lE du

ca

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

na

tio

'

(excessive desire of gain), can forgive class, is called Sutra-dhara.'

(rivals),

and belongs

to the twice-

ra

di

born

Garhgadhara, i,

3.)

rT

(&' Ipa-dipaka, ed.

Vastu-vidhanajfio laghu-hasto jita-s"ramah

(4)

fo

Dirgha-darsi cha ûras cha sthapatih parikirtitah II One who is conversant with the architectural design (vidhana, the act

tre

'

I

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.).

en

patient labourer), and

C

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

tio

is

ca

jewelled floor,

n

apparently the architect who built the palace with columns, arches, etc., and also the well-designed high gate-

Here, too, Sthapati

Ibid., v.

255

lE du

houses. :

Tato'atibhito rupat tu sakra aste vicharayan

I

This subtle distinction

(8)

ra

is

fo

Chaurapafichas'ika (ed. Bohlen, 7-3) Surata-tandava-sutra-dhari

Rdmdyana,

(n,

I

I

not quite clear.

tre

(7)

sutrarh grihnati na tu dharayati sutrarh grihnati dharayati cha

rT

Sutra-graha=yah Sutra-graha=yah

:

di

tio

na

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]

80, 2, etc.)

:

I

:

en

Karmantikah sthapatayah purusha yantra-kovidah Tatha vardhakayas chaiva margino vriksha-takshakah

II

C

(9)

I

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.)

;

'

ca

tio

n

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

lE du

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

na

inscrip.

xxvn, Arch.

Suro.,

Jaunpur Imp.

New

tio

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

di

1 1

rT

ra

'

fo

(Pachar Plate

tre

(14) Tvashtri, a recognized architect,

en C

connected with (the ancestor of)

:

nagaram vane'smin

Vatakhyam

kritavan Vasishthah

Tvashtuh

prasadat

I

tadagaih prasada-veSmaih su-ghanam su-

Prakara-vapropavanais tuthgaih

Paramardideva, line 22,

Ep. Ind., Vol. x, pp. 49, 45.)

both Sutradhara and Sthapati

Tad-vad

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

praâstih

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

(Vilapaka Grant of Venkata

(17) Silpin engraver Vol. rv, pp. 277, 272).

from Dabhoi

(18) Cf. inscrip.

(19)

Vardhaki

inscrip. of the

(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

Sutradhara

(Bheraghat inscrip. of Alhanadevi,

architect, artizan

ca

(20)

(21)

Mason

(22)

Cf. the first Prasasti of Baijnath

(inscrip.

from Dabhoi,

v. 112, Ep. Ind.,

in). artizan

(Kudarkot

sculptor

(Verawal image

rT

ra

(24) Sutradhara

Vol. ra, 303, 304).

inscrip., v.

di

pp. 182-183).

Vol.

i,

p. 31).

(verse 36, Ep. Ind., Vol.

tio

(23) Sutra-dhrit

lE du

36, 37, Ep. Ind., Vol. n, pp. 13, 17).

na

w.

tio

n

(Karle Cave inscrip. no. 6, Ep. Ind., Vol. vn, p. 53.)

inscrip., line

vichakshanah

fo

(25) Si(si)la-patta-s"ubhe varhs'e sutra-dhara

17, Ep.

i,

Ind.,

5,

pp. 107,

Vol.

Ep.

i,

Ind.,

I

II

tre

Bhojukah KamadevaS cha karmmanishtha Hala sudhih

(Born) in the auspicious family of Silpapatta, the conspicuous architects (were) Bhojuka, Kamadeva, and the wise Hala, (who) were perfect in their

en

'

'

C

work.'

A Muhammadan

ruler Jallala Khoja, son of Is"aka,

architects to build a

in the

Gomath(a) town of Batithadim.'

(?

appointed these a cow-shelter), garden, and step-well

(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

;

Roman

text, p. 33, Transl.,p. 26.)

583


AN ENCYCLOPAEDIA OF

STHAPATI (27)

Krishna-suto-gunadhya

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

n

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

The

royal draughtsman (raya brother Suroja engraved it.' younger

or

na

(Ep. Carnal., Vol. v, no. 123

(31) Svasti

c.

2, last para.)

sutra-dhari)

raja

lE du

(30)

Vol. xxiv, p. 303,

ca

(Ind. Ant., '

tio

dictate.'

Part

i,

Gopoja's

Arsikere Taluq,


;

samadhigata-pancha-maha-sabda svaradhipati-mahanayaka-vibudha-vara-dayakan animitta Malla-vijaya-Sutra-dhari svamidrohi biruda, etc. .

.

.

.

.

well (with various epithets, including), Ma'la-vijaya-sutradhari, dandanayaka Lachimayya's son, of the ministry for peace and war, it

ra

the

Be

rT

'

di

tio

.

Hodimaiya and

others (named) enlarging the town Rajimaiya. the master of the town, desiring to make a feast granted certain land (speci-

tre

fo

;

(Ibid.,

en

fied).'

no. 194,

Roman

Text, p. 433

;

Transl., p. 187.)

C

'

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 kara, (34)


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).' ;

and Old Ganarese

(Sa/iskrit

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)

tio

n

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

'

three times conquered Kanchi.'

na

who

lE du

ca

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) Sri-Sarvasiddhiacharya, the asylum of all virtuous qualities, the Pitamaha (Brahma, i.e., the Creator), the maker of many cities and

diadem and

seats

and

entirely perfect

and

refined,

he who has

creast-jewel the houses and palaces and vehicles couches (that he has constructed), the (most eminent) sutra-

rT

and

is

di

he whose conversation

;

for a jewelled

ra

houses

!

tio

Hail

fo

dharl, of the southern country.'

Svasti-Sri-sarva-siddhi-achari sakala-gunas'raya-aneka-pura vastu-Pita-

mahan

tre

sakala-nishkala-sukshmatibhashitau vastu-prasada-yanasana-

C

en

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.,

no. 101, pp. 165, 166,

585


and note

18.)

AM ENCYCLOPAEDIA OF

STRAP ATI Hail

'

(37)

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

!

siddhi-Acharyas, (s"ila-mudda, the

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.' c. a,

para. 2.)

n

(Dr. Fleet, Ind. Ant., Vol. x, p. 164,

name

tio

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

'

lE du

been outcasted for some act which

to

The purport

of this por-

be given to the word balligavarte

tio

is

'

(Ibid.,

pp.

163-164,

last para.)

ra

bahishkara.'

di

who

meaning

not stated.

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

na

tion hinges entirely upon the (in nos. 99 and 100).'

ca

this inscription (no. 99), as also the

Sutra-grahl, "the holder of the thread" was the " the master-carpenter or master-mason," the sthapati,

rT

'The Sutra-dhari or assistant of the

(Dr. Fleet, Ind. Ant., Vol. x, p. 163, note 3.)

fo

architect.'

be noted that Chari, Achariya, Acharya (with different Ojha, and Sutra-dhari are the surnames or titles of the Sthapati

en

prefixes),

tre

(38) It should

C

(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 ;

4, no. 100, line 8);

Sarva-siddhi-Achari (no. 100, line 8)

;

many

Achariya (no.

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

;

titles

no. 100, lines 4, 12).

586


of Sutra-dhari

line i).

The

(no. 99, line


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

n

'

tio

inscribe the charter of this grant.'

lines

50-51,

ca

(Bana Grant of Saka 261, Ind. Ant., Vol.

xv, pp. 176, 177.)

lE du

The carpenter Virana, son of Muddanacharya, was the engraver of the Sasana, for which he received one share in the village.' '

(41)

na

(Ep. Carnat., Vol. in, Seringapatam Taluq, no. ii ; Transl., p. 9, line 3.)

The

'

(42)

di

tio

was engraved by the carpenter Varadapacharya.'

fo

And it is engraved by the

(Ibid.,

;

Transl., p. n.)

no. 15

;

Transl., p. 32.)

carpenter Viranacharya, son of Malla.' (Ibid. Mandya Taluq, no. 55

;

Transl., p. 45, last para.)

en

tre

(43)

no. 15

Sasana was engraved by Srigiri, the son of the carpenter

Varadapacharya.' '

(Ibid.,

ra

It

rT

'

(410)

For the carpenter Mallana, son of Viranacharya, who engraved the grant, one share was given.' (A.D. 1474.) '

C

(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)

carpenter

son

Viranacharya,

of

Virana.'

(A.D. 1561.) (Ibid.,

(50)

no. 7

Transl., p. 6.)

;

'Engraved by Appanacharya, son of Viranacharya." no. 94

engraver.'

tio

Mallanacharya, son of Viranacharya, enjoys one (A. D. 1512.)

Belur Taluq, no. 79 son of Mallanatha.' Engraved by Viranacharya,

'

(53)

By Mallana's

Taluq,

Transl., p.

;

was

rT Written

by

Senabova

'

Roman p. 169.) it.'

Channaraypattana Taluq

no. 167

the

108.)

written.

it

Ariskere Taluq, no. 126,

(Ibid.,

Transl., p. 199.)'

;

son

Kalajachariya's

tre

(55)

1539.)

Belur

Mallana's son carpenter Viranacharya wrote (or engraved)

fo

'

(A.D. i,

text, last line; Transl.,

di

tio

(Ibid.,

1524.)

ra

'

no. 197

(A. D.

Transl., p. 29.) share as the

Transl., p. 65.)

;

Part

son, the carpenter Viranacharya,

(A.D. 1535.)

(54)

(Ibid.,

na

(52)

lE du

(Ibid.,

'

ca

'

(51)

;

n

(Ibid.,

IsVara.'

1279.)

en

(A.D.

'

The

C

(56)

(A.D. 1513.)

(Ibid.,

carpenter

Viranacharya,

son of Mallana,

it.'

Engraved by Viranacharya,

no. 83 ; Transl., p. 33.) son of Mallanatha.' (A.D. 1527.) (Ibid.,

(58)

engraved

Engraved by Viranacharya, son of Ganapaya." (A.D. 1587.) (Ibid., Vol. vii, Shimoga Taluq,

'

(57)

Vol. vi, Mudgere Taluq no. 72 ; Transl., p. 72.)

Acharya, distinctly

no. 85

mentioned as an " architect "

Transl., p. 33.)

;

:

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 yuktam

Cf. Acharya-lakshnair

kriyate'dhuna

sthapatir ity abhidhiyate

athatah kamalabhavanarh

Vastu-jnanam

(59)

STHAPATI

mayedam

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

M. W.

Sir

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-

ca

tio

n

,

architects (sthapati), as also the astronomers like others Sankaraacharya is, however, a philosopher.

and

Bhaskaracharya

lE du

sional

;

ra

di

tio

na

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."

sculpture, painting

(cf.

fo

rT

meaning knowledge, science, learning, scholarship or philosophy. It also means practical arts, such as agriculture, commerce, medicine, architecture, Silpa-sastra, Vastu-Sastra, etc.).

Sastra or Vidya

en

tre

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 known as Kalas or arts (see under Kala).

C

;

But the expression " versed in literal

a sense.

What

all

sastras

sciences, generally

"

architects are expected to

need not be taken in too 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

essential

is

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

ca

tio

n

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

lE du

tions,

na

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

tio

guild.

above Dr. Fleet has come to the same conclusion.

di

the qualification of very interesting to note that Vitruvius describes Manasdra (and the other architects in exactly the same way as given in the In both the treatises this topic is discussed at the records quoted above). fact in the same place, the second chapter, which is in and beginning in the Manasdra, and an introduction in preceded by a table of contents is

tre

fo

rT

ra

It

Vitruvius.

C

en

'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 ;

.

.

.

.

lights.

.

.

.

'

na

window

to

.

him

tio

.

lE du

ca

.

tio

n

.

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

the

equinoxes,

rT

clocks.'

It

;

ra

celestial bodies,

di

Astronomy

instructs

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

fo

tect's

'

'

tre

:

On

C

en

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 grammarian, yet should he not (?) be ignorant of '

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,

IsVari

(i,

Vaishnavl

13),

Chamundesvari

16),

made

Virabhadra-deva

:

(r, 14),

Indrani

of the chief shrine at

no. 66, H. S.

Kolar,

I.

tio

STHANAKA A

of buildings in which the height of measurement, the temples in which the idols are placed

lE du

ca

class

posture.

see

(M., xrx, 7-11,

is

city,

a

a

fortress,

the unit

is

in the erect

under APASAMCHITA

XLVI, 30, XLVH,

site

;

also

cf.

LVIII, II, etc.)

I,

which the whole

in

plan

Vol. in,

divided into 121 equal squares.

tio

area

na

STHANlYA A

I.,

pp. 136-137.)

n

(Inscrip.

(i, 15).,

(mula-sthana)'

(M., vn, 13

;

also rx, 365, 368, 478.)

cf.

rT

ra

di

A fortified city (Af., x, 41). A fortress to defend 800 villages Ashta-sata-gramya madhye

:

sthaniyam, chatus-sata-gramya

drona-

fo

mukham,dvi-sata-gramya kharvatikarh, daa-graml-sarhgrahena saihgraI

tre

narh sthapayet

(Kautiliya-Artha-sdstra,

Chap, xxn,

p. 64, para. 4.)

C

en

Jana-pada-madhye samudaya-sthanarh sthaniyam niveSayet

STHANU A

(Ibid,

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 civic

and

etc.)

I

sacrificial posts

170-171,

also 43.)

see

used as memorial

pillars,

n

The

17,

I

(M., xn,

STHDNA

LI,

building.

Yama makes

seats for the departed.'

or 3, 52), made of copper, bronze synonym of Stambha or column.

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

;

na

SNAPANA-MANDAPA A

(R.V. x, 18, 3

lE du

'

ca

tio

symbolising royal and divine power to which offenders and sacrificial ' maintained by the Fathers ', upon which victims were tied,

tio

washing room.

di

(M., xxxiv, 43-48, etc.; Suprabheddgama see under xxxi, 96, 97 MANDAPA.)

p. 237.)

fo

en

SNAPANA-MANDAPA A

(M., xxxii, 74, etc.

see

;

MANDAPA.)

washing room, a pavilion where

idols

C

are washed.

(Champa, by Mazumdar,

pavilion for bath, a bathroom.

tre

SN &NA-MANDAP A A

;

for a deity.

rT

Bathroom

ra

SNANA-DRONI

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.,

in,

chariot. 9,

593


10

;

xix,

145.)

AH ENCYCLOPAEDIA OF

SVAYAMBHO

cha syandanaih mandaropamam mountain and also broad roads (round Mandara the I

Cf. Visala-ratha-vlthirh '

Built a car like

(Krishnapuram Plates of Sadasivaraya,

the temple).' 1 PP- 33 6 34 -)

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.,

n

type of round temple. vv. 17-18 (Agni-Purana, Chap, civ,

;

see

LII,

333,

etc.)

under PRASADA.)

du ca

tio

SVA-VRIKSHA A

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, class

sitting posture.

of two-storeyed

class

ra

PRASADA).

A

(M.,

buildings

di ti

A

on

of building, a

al E

SVASTIKA An

of villages (M.,

rT

120 146 XLIX, 152 ; LIV, kind ofjoinery (M., ;

ix, 3, 330; see LVIII. 12).

94,

34-41;

GRAMA compare ;

under

see

M., xn, 76, 77,

;

fo

xvn 60). A A kind of window (M., xxxm, 583 A pavilion with three faces

re

xx,

;

see

under VATAYANA).

:

I

en t

Dvi-vaktrarh dandakarh proktarh tri-vaktrarh svastikarh tatha

(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, to while between east, whereof begin two other terraces going from west the extremities of the latter lies a fourth terrrace.'

C

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.,

Vol.

594


vi,

N.

p. 286, note

S. i.)


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

.

on

al E

du ca

tio

n

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

di ti

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 ;

ra

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 Lpj

at the beginning of is

2.

j^J

of Junnar 6 and 27, and the end of 33. found at the end of the Sailawadi at the inscription, and

re

pj

;

Kuda 30 and

]-C

en t

The form

end of Karle

fo

rT

is

Thus cave temple disproves the theory that the Chris-

C

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.'

n

(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

tio

The

du ca

'

(10)

circular Sun-symbols.'

al E

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.'

on

'

Vol. xxx, pp. 413-414.) (the ancient mystic emblem of the Bon Religion view was invented to represent the Sun as the creator

the

little

rT

ra

di ti

(n) 'This emblem Tungdrung t-pj ) in my of East, South, West, and North,

(Ibid.,

mark

at the

end of each

line in-

fo

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 '

said to be

composed of the two

re

is

syllables,

[J

su

and rfr

ti,

suti

=

Svasti.'

en t

Mr. A. H. Francke.

C

(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 he says that

and reversed

in

a

n

a rock-inscription at Salsette" inscription, pj-J, 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 be sure with no device," may in

it

symbolism,

Vol. vn, p.

177, c. 2, para. 2

on

(Ind. Ant.,

al E

observe

and archaeologist returning from India may covering ceilings, cornices, fenders, and other ironworks.'

of

thought

du ca

tio

Pali

f.)

its

rayed wheel form, was taken up by the emblematic

ra

place of the Sun, in

di ti

(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

rT

cross of the Svastika.'

Under the advanced interpretation of the design and purpose of Svastika,

'

fo

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.' .

.

(15) 'I

C

en t

re

.

come now

to

Ant., Vol. ix, p. 65, c. i, para. 2 ; p. 66, c. i, para. 2.)

(Ind.

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), '

says

p. 186),

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)

Vol. xv, p. 93, c. i, para, i ; c. 2, para. 2.) svastika or fylfot is one of the most ancient symbols

'

The

Much

al E

(Ind. Ant.,

Spain. (18)

du ca

tio

n

'

mankind

heard of it nowadays, and in one country much is seen of it, where it is presumed to be especially connected with the mysterious con1 ception called Aryan and with the Christian Faith as a national possession and discrimination. " Rise of a benign power " or " lucky time " is the is

di ti

,

on

has.

rT

ra

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

C

en t

re

fo

'

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 established.'

The

name

origin of its

is less

noun ending) Svasti of any auspicious act, and " it is ka (a

out the ages.

"Life

is

writer on symbolism

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

du ca

asti (is)

n

'

tio

from

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

al E

:

ra

di ti

on

A

rT

an assurance that he should struggle on in hope.' For this reason some have sought its origin not

in the religious

fo

'

symbolism

C

en t

re

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,

'

'

ti

affix for third

599


'

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

Mr.

Tungdrung.

religion

( j-jJ )

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 inclina-

its

sense everywhere probably excluding Germany of But there are various theories to explain its design and

tio

original

Kilter's day.

purpose.

above M.

du ca

retained

n

tion 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

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 rememto

some

(see

Burnouf,

al E

According

'

,

di ti

on

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

C

en t

re

fo

rT

ra

fire.

devoid of skilled workmanship. In the new stone age, however, higher type of implements came into use. Men then developed the intelligence grind and polish the rude instruments of earlier age in order effective use of them. The neolithic men were not, like their Palaeolithic fore-fathers, ignorant of the use of fire and the potter's art.

and to

skill to

make more

cook meat and fish. They could make with hand which was later turned on wheel. They honoured their dead pottery parents and relations by elaborate tombs frequently built of massive stones.

They could then

This sort of ancestral worship was the beginning of the belief and faith a. Creator or the God, who is the ultimate father of all beings. Thus

in

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

when

stone age

at

production and use of

the

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

n

Thus

tio

'

clearly

du ca

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.,

Murray-Ansley

(Ind.

Ant., Vol. xv, p.

the

al E

Mr. '

93

ff.)

svastika

figure

on

symbolizes the idea of circumambulation, derived from the apparent movement of the sun from left to right round the earth.' The idea appears

be

this that if

is

ra

corroborated by the world-wide use of the svastika symbol,

fo

This theory

rT

sun, in the centre of a circle.

di ti

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

ment southward and westward, he

en t

re

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

C

so also the practice of turning with the sun and turning in the contrary nate

is

etymology, considered a lucky or fortu-

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.'

way

is

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,

'

),

on

later

'

'

by a small circle or dot with two ear-like projections is shown by the dot only, with or without a crescent

n

^ below

(

which

'

O

tio

represented in

2Brahmi

'

'

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 (

o-

).

du ca

line

'

'

al E

is

m

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

rT

or

and

ra

Coins of India tion

di ti

on

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

fo

ornamental.

re

If this identification of svastika with the

en t

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

figure

'

is

C

will get support because the syllable like the svastika figure at the commencement of something auspicious. The prefacing of

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

'

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, It is, dating approximately from fourteenth or thirteenth century B. c. fact that this was a svastika not found remarkable in the First however, and Second cities but emerged in a variety of forms in the Third or the 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 on the same

site,

on

W. Johns

It

has been established

(Ancient Assyria, 1912, p. 54) that

kings with Indo-Aryan the region of Mitanni.

about 1400

B. c.

di ti

by G. H.

Winckler's discoveries at Boghaz Kuei.

names and worshipping vedic gods were ruling The names Sutarna, Dushratta, etc., have a '

ra

Professor

al E

du ca

tio

n

cities

Indo-Aryan appearance. It is instructive to compare the name Gilukhipa, borne by a daughter of Sutarna I, who was also queen of Amer-

rT

distinctly

re

fo

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

C

en t

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

Roman Catacombs the svastika occurs Roman mosaic work in England,

not frequently, as a Chris-

n

In the

mark drawn both ways. France, Spain and Algeria. weapons of Roman-British

tio

tian symbol in

al E

du ca

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).

ra

di ti

on

;

were bordered with the svastika only for ornamentait in Bishop's Island near Konigswalde 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

rT

for covering the trays,

Professor

Max

Miiller found

re

fo

tion.

C

en t

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 has extensive shown the Tylor 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,

ra

di ti

on

al E

du ca

tio

n

140

O

C

en t

re

fo

rT

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


The

spindle whorl of

Troy with ogee Svastika

Wilson,

The

Svastika, Fig. 63.

tio

n

Fig- 63

al E

Biconical spindle whorl of

Troy

Wilson,

The

Svastika, Fig. 59

en t C

20

re

fo

rT

ra

di ti

on

Fig- 59

du ca

59

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 '

who

is

n

it

The Siddha

or a lower animal.'

du ca

tio

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 represented by the svastika in this

is

The

al E

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.

Inscription

(no.

10)

rT

In the Nasik

ra

di ti

on

that the four states are closed

of Ushavadata, the symbol

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

word

'

'

en t

'

re

fo

after

S

C

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, -

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.

tio

n

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

di ti

on

al E

du ca

According

and Abroad.

not at the

three-face design will

sight disclose the usual svastika plan, which has various standard authorities on architecture have developed the plan

first

The

rT

forms.

The plough-shaped

ra


re

fo

of the svastika house in three different forms as described in the Mdnasdra, the Brihat-sarhhitd, and Agni-Purdna, and Garuda-Purana. The structure

en t

referred to above all

is

in conformity with the Manasara's rules

and

satisfies

the essential requirements.

C

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 In India

culture will survive in this world.

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. xxiv,

(M.,

SVASTI-BANDHA A

December, 1940, pp. 754-761.)

type of octagonal buildings.

class

53

see

;

under PRASADA.)

of single-storeyed buildings. (M., xix,

169

;

see

under PRASADA.)

n

SVARASANA The (This inscription

is

du ca

'

tio

lintel, the top of a door. The Svarasana of the gateway was made.'

on the top of the door of the Bhimesvara temple.) (Ep. Carnal., Vol. x, Goribidnur Taluq, no. 2, text, p. 260, Transl., p.

H HATTA A market,

di ti

on

a market-place, a fair. Saumya-dvararh saumya-pade karya hattas tu vistarah

(1)

212

al E

Roman

(Agni-Purdna,

Chap,

f.,

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

re

fo

rT

ra

Attra hattah

(2)

en t

(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 I

C

(3)

'

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).

L. 106).

An

607


(see

13.)

under

HARMIKA

AN ENCYCLOPAEDIA Of

HARMIKA

The

the

kiosk,

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

tio

n

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

du ca

;

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, ix, 71,

One

;

4

x, 43, 3).

;

of the four divisions of the architectural objects

:

di ti

(1)

16

edifice,

al E

vii, 56,

RAJA-HARMYA)

on

4. ;

(cf.

Dhara harmyadi-yanam cha paryankadi-chatur-vidham

ra

(M.,

rT

Buildings in general including prasada (big buildings),

sabha

(hall), s"ala

iii,

mandapa

3.)

(pavi-

(mansion), prapa (alms-house), (a)ranga (theatre,

fo

lion),

I

en t

re

play-house with quadrangular court-yards) (ibid., 7-8). Purva-hastena samyuktam harmyam jatir iti smritam

(M., XDC,

3.)

:

C

A palace

I

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

p. 332.)

the edifice furnished with a temple.

(Vayu-Purana, part

608


i,

Chap, xxxix,

v. 57.)

HARMYA

HINDU ARCHITECTURE

which

(edifice)

nama prakirtitam that is furnished with a large tower or dome

harmyath

Prabhuta-sikharopetam

(4)

named harmya

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

5

iv, 33,

;

I

v, 15, 3, 19

;

;

vi,

75,

26, etc.

Naga-lokam.

33;

.

aneka-vidha-prasada-harmya-valabhi-

.

niryuha-sata-sarhkulam III. 207, 7

See also

i,

3,

I

Harmya-prakara-sobhanam

;

33

;

Vikramoraasl

(7)

n

3j

:

xv, 16,

i

1

v,

;

(Cock),

RaghuvamSa,

al E

:

harmyam harmyasthah vi, 47, etc.

:

striyah

Harmyagra-sarhrudha-trinamkureshu ed. Kern, p. 80, i. 20) (vi,

(10) Jdtakamdla

I

I

on

(9)

pp. 47, 158

;

di ti

Jirnarh

nagarirn

.

Manihamma-alam (mani-harmya-

:

talam.) (8) Mrichchliakatika (ibid.},

.

18, 19, etc.

38

p.

.

tio

J

du ca

Mahabhdrata (Cock)

(6) I-

.

.

ripu-mandireshu

.

|

ra

:

(n)

I

fo

thata

rT

Vidyud-iva ghana-sikhararh harmya-talam avabhasanti vyatishKathd-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.' .

re

.

.

I

en t

I

C

(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

I

Parh madisidarh Jinottamalayaman idam

II

609


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

he

to

(or temple) for the Tlrthankaras built a large Jina temple, which,

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

Vol.

Carnal.,

no. I37A.,

;

under PRASADA.)

al E

on

kutagara-gabbho mudanuchchhadana-gabbha va.

(Buddha-ghosha, Chullavagya, the translation by Oldenberg and Rhys Davids.

vi,

3,

3.)

di ti

Compare

ti

see

;

top-room built at the topmost part of a

building, a dining hall.

Hammiya-gabbho

text,

Transl., p. 182, line i6f.)

(M., xxv, 29

HARMYA-GARBHA A

Roman

of seven-storeyed buildings.

du ca

HARMYA-KANTA A class

11,

21-28

tio

p. 104, lines

n

(Ep.

HARMYA-TALA

flat

roof of a house.

ra

The

rT

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.'

fo

I

en t

re

'

(Mandasor stone

C

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 ; also p.

see

II

n

tau

155.)

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

tio

.

'

du ca

...

.'

(Junagadh Rock 20-21.

C.

Inscrip.

1. 1.,

pp. 61, 64.)

A

PARIGHA)

beam

ra

(see

elephants.

rT A

GAJA)

class

door against

under GRIHA-VINYASA.)

of single-storeyed build-

fo

(cf.

ings, a part of a building.

GRIHA-VINYASA.)

to shut the

(Kaulillya-Aitha-sdstra, see

HASTI-PRISHTHA

under

di ti

(Kautillya-Arlha-sastra, see

HASTI-PARIGHA

of Skandgupta, lines F. G. I., no. 14,

in.,

elephant's nail, a turret.

on

HASTI-NAKHA The

Vol.

al E

hundred cubits

re

(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.'

en t

A

C

'

.

:

.

.

found only in Saiva temples, e.g., the Dharmcsvara Manimangalam, the Saiva temples at Sumahgalam, Pennagaram, Bharadvajasrama near Arcot, Tiruppulivanam, Konnur '

The

gaja-prishthakriti-vimana

is

temple at

near Madras,

Vada

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

Matsya-Purdna (Chap. CGLXIX, vv. 30, 51,

see

class

of oval buildings

du ca

(3) Bhavisfya-Purdna (Chap, cxxx, vv. 33, see

A


tio

(2)

n

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.

al E

(4)

on

4; the sculptural description of its image, ibid., 5-46.)

chain, a chain of 108 strings of pearls worn round the neck (Brihat-sarhhitd, LXXXII, 32), an

ra

HARA HARA

ornament

fo

rT

architectural

HARIKA(-A)

(see

below

employed

neck of the column, bead, astragal

the

or baguette

Gwilt, Encycl., Fig. 873).

re

A

moulding (bead) of the column Tat-(padma)-tungardham tu harikam

:

en t

(i)

i,

di ti

A

(M., LX,

I

C

(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.)

n tio du ca

C

en t

re

fo

rT

ra

di ti

on

al E

HASTI NAKHA

HASTI HASTA


Page 612


re

en t

C

n

tio

du ca

al E

on

di ti

ra

rT

fo

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,

Alindandharikandhara-hara bhagena kalpitah II Bahir andharikandhara-hara(-a) bhagena vistritah II Hara-pramanarh bahye tu rachanartham prakalpayet

pramanam syad

I

bhitti-bahye tv-abahyatah

1 1

tio

Bhitty-antastharh

14.)

n

(2)

du ca

Andharandhari-harokto (=hara-yukto) khanda-harmya-vise-shitam (vimanam) II (Kamikagama,

i,

(Deopara Inscrip. of Vijayasena,

Pearl-strings

pp. 308, 313).

HIKKA- SUTRA The

line

over the

L, 74, 76, 77, 93.)

u,

v.

Ep. Ind., Vol.

al E

(3)

along the larynx,

glottis or

class

and eight kutas

under MANDAPA.)

see

(towers).

re

Himavan

xxxiv, 152,

of buildings, with sixteen panjaras (compart-

ments), eight salas (halls),

fo

HIMAVAT A

rT

(Af.,

under PRASADA.)

see

(M., xxv, 31,

class of pavilions.

ra

HIMAJA A

di ti

on

upper part of the windpipe. (See under TALAMANA.) HIMA-K.ANTA (cf. HIMAVAT) A class of seven-storeyed buildings.

iti

vikhyato yukta-shodaSa-panjarah Ashta-Salashta-kutas tu prasado lakshananvitah

en t

I

II


C

HIRANYA-NABHA A

type of edifice. Uttara-s"ala-hinam Hiranya-nabham tri-âlakarh 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 An

N.

S.,

Vol. vi, p. 286.)

class

of pavilions. (M., xxxiv, 155,

HOMA

edi-

offering, a

see

under MANDAPA.)

crowning moulding of the cages

for domesti-

cated animals.

...

Mriga-nabhi-vidalasya panjarasya prastarantarh va mastakantam-s'ikhantakam I

Homat

I

(A/.,

613


xxxiv,

i-j.)


re

en t

C

n

tio

du ca

al E

on

di ti

ra

rT

fo

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.)

Bhuvana-deva,

by

in the Parisesha-khanda, 2, 660-662, 819.'

'quoted

tio

Hemadri

by

n

APARAJITA-PRICHCHHA

4.)

du ca

(Aufrecht, Catalogus Catalogorum, part H, p.

attributed to Visvakarman, in possession of Marti Sankara Bhatta, Surat.

al E

APARAJITA-VASTU-SASTRA

(Catalogue of Sanskrit

MSS.

contained in Private

Libraries in

on

Gujarat, Kathiavad, Kachchh Sindh, and Khandesh, 1872, p. 276, no. i.)

di ti

ABHILASHITARTHA-CHINTAMANI

(Taylor's Catalogue Raisonet,

rT

ra

architecture.

R.

Shama

Sastri,

478.)

B.A.,

re

Mysore, 1919.

en t

:

Janapada-niveSa.

23.

Bhumichchhidra-vidhana.

24.

Durga-vidhana.

C

22.

25.

Durga-nives'a.

65.

Vastuka, Griha-vastuka.

66.

ed.

I.

fo

ARTHA-SASTRA (KAUTILIYA) Chapters

by Malla Somesvara, on

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

architecture.

1

28

Maha-agamas architecture and cognate

to

,

13.

Bhu-parigraha-vidhi. Bhu-karshana-vidhi.

on

Manopakarana-vidhi.

1

7.

1

8.

Pada-vinyasa. Sutra-nirmana.

ra

Vastu-deva-bali.

Gramadi-lakshana.

fo

rT

19.

20.

Vistarayama-lakskana.

re

.

is

di ti

6.

1

:

Sanku-sthapana-vidhi.

1

2

have special

:

n

Praves"a-bali-vidhi.

15.

i.)

al E

Bhu-pariksha-vidhi.

12.

4.

p.

du ca

Rdmikdgama (patala or chapters): 11.

1

I,

tio

given elsewhere.) II.

part

another Arhsumad-bheda by Kasyapa, account of which

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.

Ayadi-lakshana.

en t

22.

i.

Kamikagama.

2.

Yogajagama. Chintyagama. Karanagama.

C

1

3.

4.

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

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.

Garbha-nyasa.

.

Bala-sthapana-vidhi.

32.

33.

Grama-griha-vinyasa.

34.

Vastu-santi-vidhi.

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

du ca

.

.

Svastika-vidhi.

43.

Paksha-saladi-vidhi.

44.

(H)asti-âla-vidhi. Malika-lakshana vidhi.

48.

Padma-malika-vidhi.

ra

47.

Langala-malika-vidhi. Maulika-malika-vidhi.

46.

di ti

45.

on

42.

al E

1

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.

.

C

en t

re

fo

rT

49.

n

35.

tio

31

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.

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.

Murdhmshtaka-lakshana.

11.

Pratima-lakshana.

al E

10.

2.

Strl-mana-daâ-tala-lakshana.

3.

Kanishtha-da6a-tala-lakshana.

Nava-talottama-lakshana.

di ti

6.

Bali-karma-vidhi.

ra

1

on

1

1

14.

Mrit-samgrahana-vidhi.

Ankurarpana-vidhi. Mahabhisheka-vidhi Vastu-homa-vidhi.

re

56.

.

fo

.

rT

19.

20.

41

Lihga-sthapana-vidhi.

61.

Bali-pitha-pratishtha-vidhi.

62.

Ratna-linga-sthapana-vidhi.

66.

Parivara-bali.

C

en t

59. 60.

Parivara-sthapana-vidhi.

70.

Vimana-sthapana-vidhi.

88.

Bhakta-sthapana-vidhi.

138.

Part

Mrit-sariigrahana II,

chapters

n

Kdrandgama

du ca

III.

tio

Vastu-Sdstra

(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.

Asana

Sirhhasana

n Paryanka

(chair, seats),

Ranga

(thrones),

Tarunalaya-vidhi.

27.

Prasada-vastu-vidhi.

28.

Adyeshtaka-vidhi.

29.

Garbha-nyasa-vidhi.

30.

Anguli-lakshana-vidhi. Prasada-lakshana-vidhi.

(court-yards,

theatres),

Stambha

ra

rT

fo

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.

C

en t

re

32.

AGASTYA-SAKALADHIKARA

(manuscript)-

(Aufrecht, part

Chapters

couches, etc.)

di ti

26.

Ushnisha (crowns, head(bedsteads,

on

(columns, pillars), etc. Gramadi-lakshana-vidhi. 23.

.

tio

:

du ca

gears),

(patala

al E

22.

or

chapters ) Karanadhikara-lakshana, deals with

Suprabheddgama

31

:

Uttama-das'a-tala.

43.

V.

(cf.

Matha-prattshtha.

98.

IV.

AGASTYA-SAKALADHIKARA

I, p.

:

1.

Mana-sarhgraha.

2.

Uttama-daSa-tala.

3.

Madhyama-dasa-tala.


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-

3.

4.

Madhyama-das"a-tala. Somaskanda-lakshana.

Chandra-Sekhara-lakshana. Vrisha-vahana-lakshana.

al E

5.

6.

not quite clear whether the following 7-14 (which are not numbered

on

It is

Mana-samgraha-visesha. Uttama-dasa-tala.

tio

2.

:

du ca

1.

n

ing chapters of it are ascribed to Agastya

Tripurantaka-lakshana.

8.

Kalyana-sundara-lakshana. Ardha-narisvara-lakshana.

1 1

.

rT

re

12.

Pasupata-lakshana. Bhikshatana-lakshana.

fo

9.

ra

7.

10.

:

di ti

as such in the compilation) should be attributed to Agastya

14.

Kala-dahana-lakshana.

C

en t 13.

Chandesanugraha-lakshana. Dakshina-murti-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.)

See

under AGAMAS.

KARANAGAMA

See

under AGAMAS.

MSS.

f.,

MSS. nos.

See also

13032, 13033.

in Private Libraries

Oppcrt's List of Sanskrit

al E

(Govt.

p. 8755,

(Manuscript), deals with architecture and cognate Library, Madras, Catalogue of MSS., Vol. xxn,

du ca

K.A&YAPIYA arts.

tio

KAMIK.AGAMA

n

K

of South India, Vol. n, p. 395, no. 6336.)

'

di ti

on

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

The

rT

ra

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). contents are divided into eighty-three patalas which are classified in into the following headings :

Karshana.

.

re

1

fo

an overlapping manner

Prasada-vastu.

3.

Vastu-homa.

4.

Prathameshtaka-vidhi.

C

en t

2.

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,

by Gangooli.

621


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.

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.

.

tio

du ca

al E

on

di ti

ra

rT

51

n

41.

Dvi-trayodaa-tala-vidhana. Shodasa-bhumi-vidhana.

Madhyama-dasa-tala-purusha-mana. Uttama-nava-tala.

53. 54.

Madhyama-nava-tala. Adhama-nava-tala.

55.

Ashta-tala.

C

en t

re

fo

52.

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

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.

.

77.

Lingodbhava-lakshana. Vriksha-sarhgrahana.

78.

Sula-lakshana.

76.

79. 80.

81

.

Sula-pani-lakshana.

Rajiju-bandha-lakshana. Mrit-samskara-lakshana.

n

71

Kalka-sarhskara-lakshana.

83.

Varna-sarhskara-lakshana.

84.

Varna-lepana-medhya-lakshana. Gramadi-lakshana.

Grama-lakshana.

al E

85. 86.

tio

82.

du ca

69.

wells, etc.

construction

of

Maharaja of Travancore Oppert's MSS. in Private Libraries of

di ti

(In possession of the

the

on

KUPADI-JALA-STHANA-LAKSHANA On

;

ra

List of Sanskrit

i,

p. 467.)

architecture.

rT

KAUTUKA-LAKSHANA On

South India, Vol.

fo

(Oppert's List of Sanskrit MSS., ibid., Vol. ii, p. 258.)

re

KRIYA-SAMGRAHA-PANJIKA A

C

en t

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,

the preparation

pp. 26, 138.)

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.

vastu-vidyayarh

57^). chatuh-sala-dvi-tri-salaika-sala-vidhi

I

5 8a).

Vastu-vidyayarh

etc.

chatur-bhaga-tri-bhaga-prati-bhaga,

I

(fol.

(fol.

dvara-pramana nirdesam Griha-pravesam

I

68i).

(fol.

673).

676).

du ca

dvitlyo'dhyayah

I

I

(fol.

68a).

al E

GRIHA-NIROPANA-SAICIKSHEPA A summary-work on

di ti

on

building.

GRIHA-NIRMANA-VIDHI On

(Aufrecht,

part

ibid.,

rules for the erection

house-

p.

i,

157.)

of houses,

edifices.

rT

ra

temples, and other

.

Gob).

(fol.

Vastu-vldyayam prathamo'dyayah

6oa)

(fol.

n

Dvara-stambhochchraya-vidhi.

I

tio

(fol.

:

(Wilson's Mackenzie Collection, p. 304.)

fo

GRIHA-PlTHIKA On

the

construction of houses.

re

(Oppert's List of

MSS.

Sanskrit

en t

Libraries of South India, Vol.

in i,

Private p. 545.)

GRIHA-VASTU-PRADlPA

C

(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


CHITRA-KARMA-SILPA-SASTRA On

painting. ibid.,

part


ibid.,

Vol.

;

on en t

ibid.,

part

i,

p.

187.)

di ti

ra

to

re

Attributed

Attributed

Varahamihira

one

to

ibid.,

On

part

i,

Jayap. aoi.)

and

door-bars

ibid., Vol. n, no. 3146, p. 217.)


C

windows.

German

apparently missing.

(Aufrecht,

fo

architecture.

rT

JAYA-MADHAVA-MANASOLLASA

latticed

p. 440.)

painting (mentioned in Kattani-mata, 22).

J

JALARGALA

i,

al E

is

(Aufrecht,

On

187.)

tio

translated into

from Tibetan, the original Sanskrit version

CHITRA-SUTRA On

p.

Treats largely with the sculp-

Laufer)

measurement of images and painting

du ca

(ed.

i,

n

painting.

CHITRA-LAKSHANA

simhadeva

Vol. n, p. 200.)

ibid.,

(Aufrecht,

CHITRA-PATA On

tural

arts.

JALARGALA- YANTRA On

the

architectural

instruments

and

machines. ibid., Vol. n, no. 3147, p. 217.)


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,

contained in the Private Libraetc.

1872, p. 276.)

625


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

Vasishtha

to

Attributed

du ca

defects.

tio

DASA-PRAKARA

n

rently missing.

appa-

architectural

by Matri-prasada-Pande, Benares, 1909.)

(See Vastu-sarani,

Attributed to Bhaskara

on

al E

DIK-SADHANA

On

is

On

(See Vdsiu-sarani.)

Attributed

to

On

Narada

di ti

DIRGHA-VISTARA-PRAKARA

architecture.

rT

ra

architectural measurement.

(A

in catalogue of Sanskrit works Bhandaram Library of the Sarasvati the His Highness Maharaja of Mysore,

classified

en t

re

of deities.

with the images sculpture, dealing specially

fo

DEVATA-SILPA On

(See Vastu-sarani.')

C

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-LAKSHAÂ

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

and

ship-building

respecting the materials

But the navigation.' directions are, however, given

Some

astrological.

and dimensions of

vessels.

a

e

is lost.

Itis

mentioned another Manuscript ontheart of constructing forts, houses, fanes,

settling village navigation erated as taught in 36 works, the ;

is

and variety of other similar names of which are given.'

P

al E

35-)

the

enum-

Vol. m,

construction

dwellings and aviaries.

ra

human

di ti

PAKSHI-MANUSHYALAYA-LAKSHANA-On ol

things

(Ibid.,

on

P-

tio

them

du ca

Of which

n

(Taylor's Catalogue Raisante, Vol. ni, p. 6.)

In Taylor's Catalogue Raisonee, there

rT


ibid.,

Vol.

i,

p.

471

PA*rCHA-RATRA-(PRA)DlPIKA-(also

)

fo

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

re

t

en t

with images and consists of the following Sila-samgraha-lakshana.

2.

Daru-sarhgrahana.

3.

Pratima-lakshana.

4.

...

5.

five

chapters

:

C

1.

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. 55.

Linga-manadi-kathana. Pindika-lakshana-kathana

(cf.

45).

60.

Vasudeva-pratishtha-vidhi

(cf.

44).

62.

Lakshmi-pratishtha-vidhi. Prasada-lakshana (cf. 42). Grihadi-vastu-kathana.

n

tio

du ca

al E

on

104.

105. 1 06.

di ti

Nagaradi-vastu. Garuda-Purdna :

ra

II.

50).

(cf.

Chapters Salagrama-murti-lakshana. 45. Prasada-arama-durga-devalaya-mathadi-vastu-mana-lak46.

fo

rT

:

shana-nirupana.

Prasada-linga-mandapadi-subhasubha-lakshana-nirupana.

Devanam

en t

re 47.

48.

C

III.

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,

du ca

tio

Garga, Vasudeva, Aniruddha, Sukra, and Brihaspati. Stambha-mana-vinirnaya. 255. Darvaharana. 257.

n

:

258. 262.

Nava-tala-mana.

263. 269.

Lihga-lakshana. Prasada-varnana.

270.

Mandapa-lakshana.

:

on

Yaga-kunda-vinyasa-kathana-purvakarh sarvasarh devatanarh

ra

48.

di ti

VII. Linga-Purdna : Part II, chapter

al E

Plthika-lakshana.

39.

re

:

fo

rT

sthapana-vidhi-nirupanam, Prasadarchani-nirupanam. VIII. Vayu-Purdna : Part I, Chapter Saila-sthita-vividha-devalaya-kirtana.

:

:

C

Chapters

en t

IX. Skanda-Purdna

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 ânka-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

n

between Siva and Parvatl. part in, p.

74.)

the construction of buildings.

du ca

PRASADA-KALPA On

ibid.,

tio

(Aufrecht,


Vol. n, p. 522.

architecture.

al E

PRASADA-KIRTANA On

ibid.,

(Author not known

in possession of

Catalogue of

Gopal Rao, MSS. in

Sanskrit

on

Malegamva,

;

Private Libraries of Gujarat, etc., 1872, p. 276.)

di ti

PRASADA-DlPIKA On

architecture, quoted in Madana-Parijata

ra

(Aufrecht,

rT

PRASADA-MANDANA-VASTU-SASTRA

Attributed

p. 364.)

i,

Sutra-

to

written in Sanskrit,

is

It

contains the following

:

en t

eight chapters

part

It

re

fo

dhara Mandana (Egg. MSS. 3147, 2253). but is largely mixed with Bhasha forms.

ibid.,

C

1.

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.


PRASADALAftKARA-LAKSHANA On

ibid.,

Vol.

i,

the decoration

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.

foil.

n, 558, 5292,

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. character,

Sirhhalese

tio

n

Simhalese

BRIHAT-SAMHITA Of

On

al E

Varahamihira

architectural

and

on

sculptural matters. :

di ti

Chapters

du ca

:

Vastu-vidya.

56.

Prasada-lakshana.

57.

Vajra-lepa.

58.

Pratima-lakshana.

79.

Sayyasana-lakshana.

re

fo

rT

ra

53.

en t

BUDDHA-PRATIMA-LAKSHANA On

the tala measure of Bud;

the original

Sanskrit

C

dha-images ; exists in Tibetan Translation version is apparently missing.

BUDDHA-LAKSHANA

'

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.,

title.

tio

manuscript also bearing the same

n

It as distinguished from religious temples, and military forts, etc. contains 65 stanzas and a Malayalam translation. There is a

du ca


MANUSHYALAYA-LAKSHANA On dwellings.

al E

(In possession of

the

the

ibid,

Vol.

i,

building

Maharaja of

Travancore

Oppert's List of Sanskrit A1SS., ibid, Vol.

on

MANJU-SRI-MULA-KALPA A

Tantra work

ra

di ti

Sanskrit Series), translated in Tibetan, deals with matters. (see

rT

MANTRA-DlPIKA tecture.

p. 475.)

human

of

i,

;

p. 475.)

(cf.

Trivandrum

some

architectural

PANCHA-RATRA-PRADIPIKA)

On

archi-

fo

MAYAMATA An oft quoted and well-known authority on architecThere are several

re

ture.

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

en t

I.

C

;

.

;

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,

40,

pp.

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

into the following 36 chapters

Vastu-prakara.

3.

Bhu-pariksha.

4.

Bhu-parigraha.

9. 10. 1 1

.

di ti

ra

rT

8.

Grama-garbha-vinyasa (incomplete).

fo

7.

Manopakarana.

Dik-parichchhedana. Pada-devata-vinyasa. Deva-bali-karma-vidhana (incomeplete). Nagara-vinyasa. Bhu-lamb(h)a-vidhana.

re

6.

al E

Sarhgrahadhyaya.

2.

5.

:

on

1.

Garbha-nyasa-vidhana.

13.

Upapitha-vidhana. Adhisthana-vidhana.

1

5

1

6.

.

17. 8.

C

en t

12.

14.

du ca

tio

n

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

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

list,

no.

which contains the

I,

first

.

34 out of 36 chapters given in

the variations are noted within brackets.

is

same

as no. 13035.

tio

13036

n

13035 contains in 74 pages the chapters 1-32.

No. No. No. No.

du ca

13037 contains only two incomplete chapters in six pages. 13038 contains in 94 pages the following twelve chapters

Pratima-vidhana.

2.

Aya-lakshana.

3.

4.

Linga-lakshana. Dasa-tala-vidhana.

5.

Kunchita-vidhana.

6.

Nava-tala-vidhana.

7.

Hasta-karma-vidhana.

on

di ti

ra

Upapitha-vidhana. Eka-bhumi-vidhana.

fo

9.

rT

8.

:

al E

1.

10. Dvi-tala-vidhana. .

Tri-t ala-vi dhana.

re

1 1

Gopura-vidhana.

en t

12.

runs

colophon

C

Its

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.

populous

site

Mayas, and

who

tio

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

of articles published in the

series

:

a once-

exploring for traces of the

al E

of Dr. Gann,

du ca

a great sea-faring people.' Exploration of the sites of a

n

" 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

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

'

from Chichenitza

to

The books

of Chilan

about

fifty

miles to the east of

Balam

are the old traditions of the Mayas, which

fo

'

is

rT

Cbichenitza.

Coba, which

ra

Itzas

di ti

on

'

re

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.

C

en t

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. I

then brushed the

saw the Maya

October,

The

A. D. 333!

was almost

soil

from the Date

Initial Series

as clear

stone,

and

there

9. 8. o. o. o.

sculpture preserved by as on the day when

and plain

glorious surprise

Aban

3 Chen, or 26 its burial in the earth, it was cut in the stone,

5

on

I

al E

'

du ca

tio

n

were

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

Maya

ruins in

di ti

the

;

en t

re

fo

rT

ra

all

C

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


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

tio

n

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.

This would, apparently, place the beginning of the Maya chronology The British Museum Guide to the Maudsley collection of

al E

'

du ca

fore,

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.

di ti

on

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.

en t

re

fo

rT

ra

'

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

C

'

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,

One assumed

Egypt, or Babylon.

that

all

the

and that

until quite late in their history they either among themselves or with alien races. '

Maya

clans dwelt in amity

had no experiene of fighting,

Yet here we have what is obviously a defensive work, and it seems signitwo walls of this kind which have hitherto been dis-

ficant that the only

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 in the earlier cities to the south.

The

this

innovation

?

space enclosed by this wall had evidently been densely populated bygone times. For in the places where the Indians have cleared the

al E

in

Why

du ca

'

tio

n

It has

on

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-

di ti

'

The

ra

tions.

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,

rT

'

is

en t

re

fo

season

C

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


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

du ca

tio

n

out in every direction.

al E

'

rT

ra

di ti

on

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.

en t

re

fo

'

C

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

that there are similar causeways in for

ceremonial purposes.

639


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

n

'

du ca

tio

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

al E

'

on

that they should not have discovered a continent that stretched from pole to pole.

To

the archaeologist the issue now raised was of supreme importance. fifty years ago the orthodox held that the Maya civilization was of

ra

Until

di ti

'

What supremely interests is that we find a

re

'

fo

rT

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. '

en t

continues,

Under

America.

the archaeologists,' Professor Elliot Smith civilization starting full-blown in Central

Asiatic influence,

it

rose to great heights, but

had already

C

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



The Maya

MANAVA-VASTU-LAKSHANA

civilization rose

and

soon as the energy of the

It fell so

fell.

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

Did the Maya

fairly raised.

civilization, or

was

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

Gann. At University

n

with the views put forward by the American school, and supported by Dr. '

College,'

he

tio

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.' '

said,

al E

du ca

civilization

on

(Central News, quoted from Morning Post, by Statesman,

di ti

March 21,

MAHA-NIRVANA-TANTRA

April 9, 17, 15, 1926.)

ra

Deals with both architectural and

rT

sculptural matters, such as temples, idols, phallus, ponds, and tanks, as well as with the directions concerning broken limbs of images,

en t

xrv and vi)

re

fo

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 .

Gild. Bibl. 93) I.

7. 8. 9.

10. 1 1.

C

MAHABHARATA 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

,

ibid.,

Vol. n, p. 473.)

architecture.

(Oppert's List of Sanskrit MSS., 64.1


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


and Abroad.

MANASOLLASA

Mandirarambha-muhurta-kathana.

.

2

Shodasa-prakara-griha-lakshana.

.

Raja-griha-lakshana.

4.

Vastu-deva-puja-vidhi.

5.

Griha-praves'a-kathana.

6.

Griha-varnana.

7.

Griha-chitra-varna-lakshana.

di ti

8.

ra

Vajra-lepa-lakshana. Lekhani-lakshana.

en t

13.

fo

12.

Tambula-bhoga-kathana. Vilepanopabhoga-kathana. Vastropabhoga-kathana. Malyopabhoga-kathana. Bhushabhoga-kathana. Asana-bhoga-kathana.

re

.

rT

9.

10.

on

al E

3.

1 1

:

du ca

1

182) it deals with the following subjects

n

p.

two chapters,

tio

Vol. HI,

(R. L. Mitra's Notices of Sanskrit Manuscripts, Attributed to the Chalukya king Somesvara. In

14.

C

15.

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.

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

is

stated

to

architectural description of the

pillar of a house. p. 464,

Oppert's List of Sanskrit MSS.,

n

(Ibid.,

tio

main

which

Vol. H, p. 202.)

ibid.,

RATNA-DIPIKA

du ca

R

On

(Attributed to Chandesvara)

ibid.,

al E

(Aufrecht,

architecture.

Part n, pp. 36, 114.)

Deals with astrological matters in conRATNA-MALA nexion with the construction of houses and idols of deities under the

on

of Sripati

di ti

following chapters : 1 7 Vastu-prakarana (28 verses) 20.

Griha-praves'a

(

1 1

.

verses)

.

rT

8.

ra

.

1

Deva-pratishtha (13 verses).

RAJA-GRIHA-NIRMANA On

re

fo

the building of royal palaces. (Burnell's Classified Index to the Sanskrit MSS. the

C

en t

RAJA-VALLABHA-TIKA A commentary dana.

(First

ed.

on Rajavallabha-Man MSS.

(Catalogue of Sanskrit ries

RAMAYANA

in

Palace Library of Tanjore, 1880.)

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.

Museum

Catalogue, 20, E. 32.)

n

(British

The

concerning architecture.

contents are indicated in the following

:

al E

verses

du ca

commentary

tio

Sivarama, with a Gujarati This pamphlet deals mostly with astrological matters

LAGHU-SlLPA-JYOTIH-SARA By

Aya-rasis cha nakshatram vyayas taramsakas tatha

on

Graha-maitri rasi-maitri nativedha-ganendavah

I

II

sthitir

ra

Riksha-vairam

di ti

Adhipatyam vara-lagne tithy-utpattis tathaiva cha Adhipatyam varga-vairam tathaiva yoni-vairakam

nao

(3) I

II

(4)

lakshanany eka-virhâtih

I

rT

Kathitani muni-sVeshthaih Silpa-vidvadbhir grihadishu See

fo

LlftGA-PURANA

(5)

under PURANAS.

en t

re

V

C

VALI-PITHA-LAKSHANA On

architecture.

(Oppert's List of Sanskrit

VAYU-PURANA

II

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.

n

1885, Part x, no.

karmd-prakdsa,

from the

extracts

Muhurta-chintdmani,

du ca

and contains

Brihat-sarhhitd,

Samgraka-siromani,

al E

1904)

(By Lala Rajakisora Varma, Lucknow, with astrological matters in connexion with

It deals largely

architecture,

P.,

p. 56.)

tio

VASTU-PRAVANDHA

I,

Visva-

Vdstu-vidyd-

prakdsa, Vdstu-pradipa, and Jyotis-sdra-muhurta-chakra-dlpikd. to

(Attributed

ra

di ti

architecture.

Mandana

on

VASTU-MAÎJARI

VASTU -MANDANA

rT

(Attributed to

(Cf.

On

Rajavallabha-Mandana.)

Mandana Sutradhara)

fo

architecture.

(Cf.

Sutradhara)

On

Rajavallabha-Mandana.)

re

VASTU-YOGA-TATTVA-( Attributed

en t

to Raghunandana) Treats and contains extracts from the deity, Matsya-Pardna, Devi-Purdna, Rudra-ydmala, and Vasishtha-sarhhitd.

C

largely of offerings to Vastu

VASTU-RATNA-PRAD IPA On

architecture. (Cf. Vdslu-sarani.}

VASTU-RATNAVALI Benares, 1883)

Pandit Jivanath Jyotishi,

(Compiled by 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.


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 see

n

manuscript, Aufrecht, 480 (a

du ca

Sadhana-kathana. Vasudha-lakshana.

3.

Vastu-devata-kathana.

4.

Vastu-purusha-kathana.

on

Vedi-sarhsthana.

Vastu-marma-sarhsthana.

ra

di ti

5. 6.

Kala-niyama. Sala-vidhana.

9.

Pada-mana-kathana.

fo

rT

7.

8.

Lupa-lakshana.

re

10.

1

2.

Lupa-karana. Dhuli-nirodhana

1

3.

Dvara-viny asa

.

C

en t

1 1

.

.

14.

Kavata-dvara-vinyasa.

15.

Bhavana-parigraha.

1

6.

:

al E

1.

2.

;

tio

;

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.

:

Ayadi-lakshana.

tio

Vastu-lakshana.

3.

du ca

2.

n

.

Prakara-yantra-vapi-kupa-tadaga-lakshana. Raja-griha-nivesadi-lakshana (verse 28 of this chapter mentions the Malsya-Purana as an authority). 4.

al E

5.

Eka-sala-dvi-sala-griha-lakshana.

7.

Dvi-sala-tri-sala-chatuh-sala-griha-lakshana.

8.

Sayana-simhasana-chhatra-gavaksha-sabhashtaka-vcdika-

di ti

on

6.

ra

chatushtaya-dlpa-lakshana.

Raja-grihadi-lakshana. (Mapita) kshetradbhuta-lakshana.

rT

9.

10.

11.

2.

Gochara-dina-ratri-mana-svarodaya-koja-chakra-matrika-

en t

1

re

fo

Dina-suddhi-griha-nivesa-griha-pravesa-vivaha-muhurtalakshana. lakshana.

14.

Jyotisha-lakshana.

C

13.

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


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. part

ibid.,

i,

p. 568.)

tio

n

(Aufrecht,

du ca

VASTU-SAMGRAHAMU Contains 100 pages, written in Tclugu character, and deals largely with astrological matters concerning architecture.

architecture,

comprises

16

pages. (By Nanjunda Dikshita, published by V. Ramasvami Sastralu and Sons, Madras, 1916.

di ti

on

VASTU-SARVASVA On

al E

(Mackenzie Collection, by Wilson, p. 171.)

commentary

rT

rati

(Attributed to Sutradhara Mandana) With a Guja(Ahmedabad, 1878), it deals largely with astrolo-

ra

VASTU-SARA

is

also another

(Aufrecht,

ibid.,

en t

VASTU-SARANI

part

i,

p.

569.)

(by Matri Prasada Pande, Benares, 1909) This a manual of astrological details in connexion with the construction

C

is

manus-

title.

re

cript of same

There

fo

gical matters concerning architecture.

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

a Ganarese commentary)

(Bangalore, 1884, with

compilation on

VIMANA-LAKSHANA 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). There

is

part n, p. 138.)

n

ibid.,

tio

(Aufrecht,

another treatise ascribed to Visvakarman (Rajendralala Mitra, MSS., Calcutta, 1871, Vol. n, no. 731, p. 142), fol. 63,

du ca

Notices of Sanskrit

English paper 9f"X7", copied 1872. None of the manuscripts examined by Mr. Burnell

is

perfect or even

al E

'

tolerably correct.'

a treatise on the manual arts attributed to Vivakarma, the divine it is written in the Tantric architect, but apparently a compilation

on

It is

;

di ti

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 chapters

:

.

Visvakarmotpattih, karma-visesha-bhedena vyavahrita-takshaka

fo

1

rT

ra

style,

re

varddhakyadi-sabda-vyutpatti. 2.

Takshakasya garbhadhanadi-sarhskara-kathanarh, garbhotpatti-

C

3.

yajnlya-kashthena-

en t

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-îladeva-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

al E

du ca

tio

n

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.

on

VlSVAKARMA-PRAKASA

(Egg.

MSS., 3153, 2614 ; Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 480.)

MSS.,

p.

1120)

also

called

rT

ra

It gives

di ti

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

tion of Visvakarman,

following editions of it are published

re

The

further traced back successively to Brihad-

ambhu.

and

fo

ratha, Parasara,

still

This

en t

I.

C

Khemraja II.

:

published in the Srlvenkatesvara Press, Bombay, Krishnadasa, in Samvat 1952, Saka 1817.

is

by

Sri

This

is

This

is

published without

any commentary

at

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. Sanku-sila-nyasa-nirnaya.

21. 22.

Vastu-deha-lakshanam pujanarfa bali-danam cha. Sila-nyasa (cf. 20 above).

23.

Prasada-vidhana.

tio

Prasada-nirnaya. Plthika-lakshana.

du ca

Silpa-nyasa.

25.

al E

24.

26.

n

20.

Mandapa-lakshana.

28.

Dvara-lakshana.

29. 30.

Vapi-kupa-tadagodyana-kriya. Daru-chhedana-vidhi.

31.

Griha-pravesa nirnaya.

32

rT

ra

di ti

on

27.

33.

Griha-pravesa-kala-suddhi Sayyasana-dolikadmam lakshana.

34.

Pravesa-kalasa-chakradi-vastu-ânti.

35.

Durga-nirnaya.

36.

Salya-jnanam salyoddhara. Nagara-sarhbandhi-raja-grihadlnam nirnaya.

37.

en t

re

fo

.

C

.

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

debt to Brahma, Indra, Maya, Bhargava,

his

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 commen-

n

Sutra,

tio

tary of Vijnanesvara.

;

Aufrecht,

ibid,

du ca

(Egg. MSS., v, 3151, 2680

VEDANTA-SARA

part n, p. 138.)

on

(Egg. MSS., n, 3151, 2680.)


di ti

VAIKHANASA - On

al E

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. It

See

part

i,

p. 610.)

under Agamas.

fo

rT

ra

VAIKHANASAGAMA

ibid.,

re

SASTRA-JALADHI-RATNA

by Hari Prasada (Aufrecht,

en t

SlLPA-KALA-DlPAKA

On

C

architecture.

ibid.,

part

i,

p. 644.)

ibid.,

part

i,

p. 647.)


SlLPA-GRANTHA

On

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

architecture, according to

Raya-mukuta quot-

du ca

ed by Sarvadhara.

tio

&ILPA-LEKHA On

n

pp. 176-177).

(Aufrecht,

ibid.,

part

i,

647.)

;

'

73-W

on

'

idols, shrines, etc.

ra

MasuHpatam

transcribed (for C. P. Brown) from a Telugu manuscript It consists of extracts from various works on in 1832.

rT

One copy was

di ti

'

at

al E

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. as stated in the following chapters

Amsumana-bhede kasyape

2.

Umaskanda-sahita-lakshana-patala.

parivara-lakshana-patala.

re

fo

1.

Chandra-sekhara-murti-patala.

4.

Dakshina-murti-lakshana.

5.

Kala-murti.

6.

Lingodbhava-lakshana.

C

en t

3.

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

tio

n

nos. 13046,

any author and contain frequent quotations from authorities yapa, Mayamata, Visvakarman, and Agastya.

du ca

to

like

Kas-

' another manuscript bearing a slightly different title, Silpa attributed to Visvakarman. The details of this will be found under

is

'

al E

There

on

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.

ra

di ti

'

en t

re

fo

rT

:

There

'

C

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") of temples and images. It is a compilation from various sources Visvakarman, Mdnasdra, Mayamata, Agastya, Kdsyapa, notably large

Sdrasvata, Diptisdra,

Bhrigu,

Visvasdra,

du ca

Paulastya, Ndrada,

tio

n

(a

Chitrasdra,

Kapinjala-sarhhitd, Brahma-ydmala, Chandrajndna, Manohalya, Kaumudi, Ndrdyana and others. &ILPA-SARA (An incomplete manuscript in the Oriental Manus-

al E

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,

Vol.

Catalogue,

architecture.

rT

SlLPARTHA-SASTRA On

ra

di ti

on

cripts Library,

(Egg. MSS. 3149, written on the fly-leaf in

'

Vaustoo'

(Vdstu-sdstra]

C

is

en t

SlLPI-SASTRA title

of South India,

re

fo

(Oppert's List of Sanskrit

architecture, with a

This manuscript

Nagara-khanda

added

ibid,

MSS. Vol.

in Private Libraries i,

covers

25786)

Telugu

and

underneath.

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.

Deals with architec-

Jrvananda Vidyasagara)

(in

chapter

iv, sections 4, 6)

and

:

Deva-mandiradi-nirmana-vyavastha.

3.

Pratima-nirmana-vyavastha. Murtinarh vahana-vyavastha.

4.

Ganapati-murti-vyavastha.

655


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-

which

Kalpa-sutras,

name

given to those portions or supplements of the measurement and construction of the

al E

the

is

tio

du ca

not clear in the Brahmanas. Sulva-sutra

n

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

treat of the

different vedis or altars, the

word

'

sutra

'

di ti

on

referring to the cords which 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. Among the treatises dealing with the measurement, etc., of the Vedis, for those

were employed

'

rT

ra

'

the two most

are the

fo

Apastamba.

important

Two

smaller treatises,

Sulva-sutras of

a

Baudhayana and of Manava Sulva-sutra and a Maitra-

en t

re

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

and more extensive treatment of the

topics in

question.

The

C

clearer

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 the of bricks, which was required at great Soma sacrifices.' The construction of altars, wherefrom seems to have developed the ChaitPaitriki-vedi,

yas,

and

Dagobas, Temples,

etc.,

was probably the beginning of

656


ecclesiastical

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.' '

;

;

du ca

tio

n

;

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.

al E

'

di ti

on

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.'

fo

rT

ra

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), (i)

re

1

C

en t

and because the

(3)

Alaja-chit

same

the

is

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

(b) is

a wheel with sixteen spokes. a vessel or tube, square or circular.

like

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

'

I,

Sulva Sutras

657


'

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 On

SHAD-VIDIK-SAlylDHANA

architecture,

chiefly

deals with

n

the finding out of the cardinal points which are necessary for the orien-

tio

tation of buildings.


Vol. n, p. 200.)

al E

du ca

ibid.,

SAKALADHIKARA

on

with image -ma king.

ibid.,

part

di ti

(Aufrecht,

SANAT-KUMARA-VASTU-SASTRA

i,

p.

683

;

sculpture, deals

Taylor, Vol.

Contains

i,

p. 72.)

a brief

Telugu colophon runs thus iti Sanatkumara-vastusamaptah. It deals with a few architectural

ra

The

last

:

rT

commentary.

On

(Attributed to Agastya)

sarvadhikaras

sastre

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.

C

en t

re

fo

topics in eight chapters. (See details in the writer's Hindu Architecture

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,

architecture.

du ca

SARASVAT IYA-SILPA-SASTRA On

tio

n

Narada, Varaha, Vastu-pradlpa, Visvakarman, Mandavya, Mayasastra, Samarangana-Sutradhara, Sarngadhara and others.

(Aufrecht,

ibid.,

part

i,

p. 714.)

on

al E

SUPRABHEDAGAMA See under AGAMAS. SKANDA-PURANA See under PURANAS. It deals

Narayana

with auspicious and inauspicious

archi-

sites for building. (Cf.

Vastu-sarani.)

en t

On architectural (Cf.

C

measures.

Attributed to Visvakarman

re

HASTA-PRAMANA

On

H

fo

rT

ra

tecture.

by

di ti

STHALA-SUBHASUBHA-KATHANA

659


Vdstu-sarayi.)


re

en t

C

n

tio

du ca

al E

on

di ti

ra

rT

fo

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.' Achyuta, was here the

overseer,

is

n

is

'

du ca

tio

'

(Pehoa Prasasti of the reign of Mahendrapala,

al E

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

on

'

di ti

architect

fo

include medicine.

rT

ra

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

Son of the brazier Marala, of

re

ANAKOJA

A.D.

1395.

C

en t

Mindoja of Patana made, together with his brother Kaloja, a pillar, (kambha) of bell-metal (weight specified) for a lamp.

ASALA An

(Ep. Carnal., Vol. v, part i, Belur Taluq, no. 61, TransL, p. 61, Roman text, p. 135.)

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

who

architect

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

tio

n

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.

du ca

(The Chahamanas of Marwar, no. xin, Sanderav Stone Inscrip. of Kelhanadeva, line 2 f., Ep. Ind., Vol. xi, p. 48.)

al E

o ODEYAPPA An

architect (A.D. 1386).

This pillar (dipamale kambha) was

on

'

di ti

son Odeyappa.'

made by Achari

Carnal.,

(Ep.

Vol.

ix,

Ponna-pille's

Devanhalli

Taluq,

rT

ra

no. 40, Transl., p. 78.)

fo

K

KALLAYYA An (A.D.

1521.) (Ep. Carnal., Vol. vi, Kadur Taluq, no. 91, Transl., p. 16.)

C

done.'

'

en t

re

of Kalloja of Banur, by whom the work of the (bhoga-)mantapa and the writing of this Sasana were architect, son

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

Silapatta-varhsa

architect, appointed by 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. xii, p. 46.)

662



KALI-DASI '

GANTEMADANA-BASAVANA

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

n

135.)

The

sculptor

of the image no. 32,

du ca

Belur temple (A.D. 1120).

tio

KENCHA-MALLIVANNA

text, p.

Belur Taluq, no.

(Ib id.,

47,

Roman

text,

al E

p. i25,Transl.,p.55.)

di ti

on

KETANA A sculptor (see under BALLANNA.) KEDAROJA A sculptor (see under BALLANNA). KEDAROJA A sculptor of Hoysala Narasimha

ra

(Ibid.,

(A.D. 1140). Supplement, Belur Taluq, no. 239,

rT

Transl., p. 275.)

The

sculptor of the

image no.

12,

Belur

fo

KUMARAM-ACHARI

Deva

re

temple (A.D. 1120).

(Ibid.,

Belur Taluq, no. 40,

Roman

text,

en t

p. 124, Transl., p. 55.)

C

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,


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-

He

Acharya.

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,

tio

n

pp. 164, 163, 165, 166, 170-171.)

CHANDI-&IVA The

du ca

CH

architect of the

'

Harsha temple, the famed Visvakarman, in the art (or .

.

.

on

al E

son of Virabhadra, omniscient, like He built this delightscience) of building houses (Vastuvidya) ful house of Sarhkara with its chapels (mandapa), the beautiful porch

ra

di ti

(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

fo

rT

'

re

occupies a place.'

Inscrip., w. 43, 44. Ep. Ind., Vol. n, pp. 123, 124, 128, note 72.)

C

en t

(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 (A.D.

i

of Pramatha-

tio

called the

Vijnana-visva-karttri-dharmadhara-Sutradhara

du ca

natha,

is

n

.

116).

(Khajuraho

Inscrip., no. iv, v. 60,

Ep. Ind., Vol.

146.)

architect of the temple at Halibid

and

on

al E

p.

di ti

The

JAKANACHARYA Jakanacharya

is

the reputed architect of this magnificent building is also credited with having built all the

rT

'

ra

Somanathpura. Cf.

(Kait Isvara temple), but he

fo

similar in style, throughout the district name is said to have built the temples at

temples,

i,

... A

man

of the

C

en t

re

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.

XLI,

pp. 88, 86,

665


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.,

n

Vol. xiv, p. 334, notes 20, 23.)

NANNAKA A

du ca

tio

son of Krishna, most qualified architect of the temSiva of (Malava era 795, A.D. 738). ple (Inscription from the Mahadeva temple, w. 29,

al E

30, 161, Ind. Ant., Vol. xin, pp. 165, 163.)

on

T TURAVASARI-KALIYUGA-MEYYAN An architect Another grant, by the same man, of lands Kaliyuga-meyyan, who built the temple.'

ra

di ti

'

rT

(Ep. Carnat., Vol. DC, Hoskote Taluq, no. 96, Transl., p. 99.)

fo

TH

architect of the temple,

re

THALU An

(A.D. 1331).

(specified) to Turavasari-

an account of which

is

given

en t

in the Behal inscription of Singhana (A.D. 1222-23). (Ep. Ind., Vol.

m, pp. in,

113.)

C

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

Ind.,

pp. 31, 24.)

under BALLANNA).

(see

DHARMA-VANANA

i,

Architect of the (An

historical

Qutb Minar. memoir on Qutb, by J. A. Page,

n


NANA-SALHA

(see

du ca

sculptor

under MALUTAMMA).

Architect of the

(An

Qutb Minar.

historical

memoir on Qutb, byj. A. Page,

al E

NANJAY A A

tio

N

architect (of A.D. seventh or eighth century).

di ti

NARA-&OBHA An

on


Jambu-dvlpantare kaschit vastu-prasada-tadgatah Nara-sobha-samo vidvan na bhuto na bhavishyati

I

ra

1 1

4

(San s krit and Old Canarese Inscrip., no. LXI, Ind. Ant.,

en t

re

equal to Nara-sbbha.'

fo

rT

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,

...

the rail (the gift of

'Veyika (Narh)dikena katarfa was made by Narhdika. Cf.

ix, p. 74.)

architect.

C

NAMDIKA An

Vol.

(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

i,



667


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.

n

(Sharqi Arch, of Jaunpur, Inscrip. no.

PADARI-MALLOJA The

New

Series, Vol.

Imp.

tio

Surv.,

i,

Arch,

p.

39.)

image no. 21 of the Belur

du ca

sculptor of the

xm,

temple (A.D. 1120).

PADU- MANNA A

sculptor

PADUMAYA A PADUMAVI An

di ti

al E

(Ep. Carnal., Vol. v, part i, Belur Taluq, no. 43, Roman text, p. 125, Transl., p. 55.)

on

sculptor

'

fo

rT

constructed the door, tion is written (A.D. 1407).

(was)

!

(Sutradhara), son of Sai-Sutradhara, of the right jamb on which the inscrip'

(Sharqi Arch, of Jaunpur, Inscrip., no. xv, Arch. Surv., Imp. Series, Vol. i, p. 40.)

re Hail

C

'

under MALLITAMMA).

New

en t

PAKA An

(see

under MALLITAMMA).

architect

ra

who

(see

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).

tio

n

(Ep. Carnal., Vol. v, part I, Belur Taluq, no. 41, Roman text, p. 124, Transl., p. 35.)

BALLANNA

The

vellous statues

and

(see (see

under MALLITAMMA).

under MALLITAMMA). under MALLITAMMA).

al E

(see

on

BAMAYA A sculptor BALUGA A sculptor BALEYA A sculptor

du ca

B

(Belur Taluq, no. 98, Roman text, informs us that a shrine of the goddess Nimbaja p. 165, Transl., p. 71) in the was set up temple in 1261. The sculptors who executed the mar-

on the outer walls of this temple

rT

figures

ra

di ti

inscription

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, side,

fo

on the western

their

en t

re

:

C

Kedaroja, Ketana, Mabalaki, Machanna, Manibalaki, Masa, son of Kanimoja, and Revoja.

BIKKAHAPPA The


sculptor of the

i,

Introduction, p. xxxvm.)

36, of the Belur

image no.

temple (A.D. 1120). (Ibid.,


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.,

n

Ep.

Ind.,

xii, p. 46.)

du ca

tio

M

v. 12,

Vol.

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

on

al E

'

di ti

tions.'

from Dabhoi,

w. in, Vol.

112, Ep. Ind., i,

pp. 31, 24.)

ra

MANA

(Inscrip.

;

rT

stated to

An architect, son of Vijala and grandson of VisaJa he is have built, being assisted by his followers, the famous temple

C

en t

re

fo

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,

Ân 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,



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

'

Report, 1912-3, p. 32).

(ibid.,

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

Report seven

the north.'

du ca

'

contains illustrations of the

for 1913-1914, Plate n,

sculptors

:

work of

Masanitamma, Nanjaya, Chau-deya, Baleya, Lohita, all from Somnathpur.'

al E

came from

tio

n

;

Yalamasaya, and Bamaya,

The

sculptor of the

ra

(A.D. 1120).

Roman

text,

p.

i,

temple


124,

Transl.,

p. 55.)

fo

rT


MALLOJA An

10, Belur

image no.

di ti

MALLIYANA

on

(V. A. Smith, Architecture and Sculpture in Mysore, Ind. Ant., Vol. XLIV, p. 94, paras. 3, 4 ; p. 95, para, i.)

en t

re

architect who built the central shrine (garbhathe of temple described in the inscription (A.D. 1167). griha) (Ibid., Vol. vn, Shimoga Taluq, no. 55,

C


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,


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)

.

sculptor (see under

BALLANNA).

du ca

MABALAKI A

tio

n

(Ep. Carnal., Vol. iv, Nagamaiigala Taluq, no. 95, Transl., p. 138, Roman text, p. 239.)

MAMARIYAKCHI-TAMMA A

son of the goldsmith Bandiyoja ; and roofed a bira-gal, which was made by Alibhanu-

'

on

al E

he repaired Achari (A.D. 1242).'

temples (A.D.

fo

(Ibid.,

Mandya

Taluq,

'

who

built

these

1408).'

Vol. x, Garibidnur Taluq, no. 59, Transl., p. 226, last para.)

re

en t

C

in,

no. 85, Transl., p. 48.)

di ti

rT

(described in the inscription)

MULANA A MODHAKIN

Vol.

son of Tipaji, a stone mason,

ra

MUDDOJA A

(Ibid.,

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, Ep. Ind.,

REVADI-OVAJJA Of

the Sarvasiddhi Acharyas, versed in the masons, probably the builder of the

n

stone

Papanatha temple.

LAKSHMI-DHARA An

al E

under BALLANNA).

(see

A.D. 1104). (Nagpur Stone Inscrip., (

image no.

sculptor of the

rT

LASE The

ra

di ti

architect

on

sculptor

on Papanath Temple.)

du ca

(Inscription

REVOJA A

fo

(A.D. 1120).

35,

re en t

(see

Roman

1

Ep. Ind. s 88, 194.)

of the Belur temple

text, p.

i,


125, Transl., p. 55.)

under MALLITAMMA).

C

sculptor

v. 56,

Vol. n, pp.


LOHITA A

76

tio

secrets

of Kanarese

v.

Vol. vm, pp. 117, 98.)

VAMA-DEVA

'

Famous

for

having built the temple of the Sun

called Mula-sthana.' (Inscrip.


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 The architect

(SRI) VIRANACHARYA(2) the copper plate.

(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

arts

all

including kalabhijnena) wrote the Sasana.'

text,

lines.)

(sarwa-kalantarpati-chitra-

n Vol.

Mudgere Taluq,

vi,

du ca

(Ibid.,

para., Transl., p. 67,

VlSVA-NATHA An

two

painter (A.D. 749).

painting

tio

'

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.'

SAMU

'

rT

ra

di ti

on

al E

'

This must be the

(Ibid.,

Vol. v, part

i,

Channarayapatna

Taluq, no. 187, Transl., p. 207.)

s

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

re

fo

'

Samu

C

en t

opinion of

SlVA-PALA

'

(A.D. 804).

(The

first

Vol.

Ind.,

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

(?)

tio

n

(Pattadakal Inscrip. of Kirtivarman II, lines 15, 16, 17, Ep. Ind., Vol. m, pp. i, 3, 5, 7.)

(KANAKA) SULA-PANI The

of Varendra

du ca

crest-jewel of the guild

(Varendraka-silpi-goshthi-chuda-mani), the son of Brihaspati, grandson of Manadasa, and great-grandson of Dharma (end of the

al E

artists

eleventh century).

on

(Deopara Inscrip. of Vijayasen,

v. 36,

pp. 311, 315.)

i,

ra

di ti

Ep.Ind., Vol.

SATYA-DEVA A

en t

re

fo

rT

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

C

goddess Kshemarya).

SADEVA An

(Vasantagadh Inscrip. of Varmalata, vv. Ep. Ind., Vol.

ix,


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 Dhenukakaâ, made the

doorway.' (Karle Cave Inscrip. no. 6, Arch. Surv., New Imp. Series, Vol. iv, p. go.)

SAMPULA

c

inscription of

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

n

the inscription no. 525.

SlftGANAHEBARUVA The anti-grama,

architect,

ornamented

who

with

al E

way of

du ca

tio

(Ep. Carnal., Vol. VTII, part i, Sorab Taluq, no. 525, Roman text, p. 168, Transl., p. 86.)

1573).

the

'

the stone gate-

tiger- face'

(A.D.

Vol. v, part I, Hassan Taluq, no. 117, Transl., p. 34.)

di ti

on

(Ibid.,

built

SlftGAYA-BHATTA

fo

rT

ra

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

given

:

re

is

Jala-sutra-svara-sastre rasa-vaidye satya-bhashayam Rudraya-singari bhavatah sadrisah ko va mahi-tale surah

en t

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

C

'

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

Tana

Gundur)

A

sculptor

(see

under

n

(of

BALLANNA). sculptor

(see

under BALLANNA).

du ca

HARISHA (2) (of Odeyagiri) A HAROJA A sculptor (A.D. 1243).

tio

HARLSHA(i)

Haroja, son of Honnacharyya, son of Botakacharyya, the equal of Manu, Maya, and Visvakarmma, beloved by all the people and farmers, set up an sun.'

on

image of the

al E

'

(Ep. Carnat., Vol. iv,

di ti

Transl., p.

HALA Of

Nagamangala Taluq, 127,

Roman

no. 55,

text, p.

219.)

fo

rT

ra

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 (Batihagarh Stone Inscrip., v. 12, Ep. Ind.. Vol. XH, p. 46.)

C

en t

re

of Batihadim.

677



re

en t

C

n

tio

du ca

al E

on

di ti

ra

rT

fo

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.

New

Imp.

Series

Archaeological Survey,

New

Indie (1918), of

du ca

van

tio

Asiatic Researches (Vols. I XIV). en tot-de taal-land volkenBijdragen

Kunde

Nederlandsche

M.

Finot, Kern,

al E

Vogel.

By M. Auroussean.

XIV)

Buddhist Cave Temples

India, Survey of Western Imperial Series, Vol. IV, 'Reports on the Buddhist Cave Temples and

Archaeological

on

B. E. F. (Vols. I

di ti

New

their

by Jas Burgess,

rT

ra

Inscriptions,' LL.D., F.R.G.S.

Buddhist India

fo

By Rhys Davids.

Translated by

Buddhist Records

re

III)

en t

C.I.I.

I, II,

C

Cambodge (Vols. Champa (Vol. I.)

Imperial Series.

n

Arch. Surv.,

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

of the

Indica

as

well

;

679


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


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. Re-

Archaeological Survey of India Reports, by General Sir Alexander Cunningham.

der

By Krom.

ports.

De

Periode

Sutrantraasche

n

Surv.

tio

Arch.

Cunningham,

.

.

.

.

Epigraphia Carnatica,

Ep. Ind.

.

.

.

.

Epigraphia Indica.

The most

al E

Ep. Carnal.

1

arbitrary abbreviations of the

names of the Taluqs, approximately first

because

it

seems impossible,

on

100 in the 12 volumes, have not been followed,

from

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.

du ca

Javansche Geschiedenis (1922).

his abbreviation, Cn.,

me, Introduction, and the table of contents, but patna

in the

title

'

di ti

'

rT

ra

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. full.

fo

written hundreds of times in

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, '

re

'

en t

:

Preface (page number is not given). is not given). (2) List of illustrations (page number (3) Introduction

C

(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. .

A

.

Glossary

Roman, G\vilt,

Encyd.

Terms

lowed by the cardinal number of articles and occasionally by .

n South Indian Incriptions, By Lassen.

.

A

History

of

1908. not a solitary instance

;

by

Fletcher,

compare also Vol. v, part I, which bears nine names of Taluqs, and a plate Vol. vn

on

is

Architecture,

fly-leaf,

;

di ti

This

kinds of paging exclusive of the has ten kinds of paging.

by Dr. Hultzsch.

du ca

.

History of Ancient Java (Vols. I, II) Hist, of Arch., Fletcher ..

al E

.

Grecian^

in

Gvvilt, F.S.A., F.R.A.S., 1867.

page). H.S.I.I.

used

and Gothic Architecture,

Anonymous, London, 1838. An Encyclopaedia of Architecture, by Joseph

fol-

(generally

of

Italian

tio

Gloss. Grecian Arch.

ra

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

rT

and

But neither the

Roman

text nor the translation,

even of the largest inscrip-

en t

text only.

re

fo

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

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 i

C

tions covering sometimes

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'

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

N. Bose.

B. R. Chatterjee. Bengal Asiatic Society's Jon rnal.

by volume,

(followed

P.

By By

n

page,

oilier

tio

etc.).

Java and Her Neighbours

By A.

Javaansche Greschiedenis

of Kern, Brandes, Krom, Hindoe.

added

etc.,

to indicate

jf.A.O.S. (followed

and N.

new

by

by S.

du ca

volume, page,

(followed

Bombay

al E

Br.

Asiatic

Branch,

Society's

Journal.

series).

part, page,

on

Bom.

J.A.S.

S. Walcott.

Oriental

Society.

di ti

etc.).

The- Journal of the American

1

rT

ra

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

fo

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

re

is

en t

:

C

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.,

S.

volume, page,

BIBLIOGRAPHY

M

as referred


The Journal of

by

(followed

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. .

M.

By M. L. Delaporte. By M. Foucher. By Fournereau. The Mdnasdra, edited and P.

K.

Acharya,

I.E.S.,

(Vols.

I,

By Yule.

II)

Mission to the Court of Ava.

and

Antiquities

Archaeological

of India,

Survey

al E

Monumental

North-Western Inscriptions, Arch. Provinces, Sun., New

perial Series, Vol.

Series Imp. volume, page,

in the

on

di ti

of

Arch.

Burgess,

etc.,

New

Imp. Series (followed by volume, page, etc.).

fo

Surv.,

Narasimhachar

'

of

Bharoch,

Cambay,

Dholka, Champanir, and Mahmudabad in Gujrat,' by Jas Burgess. C.I.E., LL.D., F.R.S.E.

Report,

(followed

Inscriptions

Survey

Architecture

re en t

Surv.

C

Arch.

Mysore

New Im-

The Monu-

of India, New ImVol. xxm (Western India, perial Series, The Muhammadaii Vol. vi), on

Archaeological

ra

Bharoch,

etc.).

Architecture

and

PH.D.,

North-Western Provinces and Oudh,' by A. Fiihrer, PH.D.

by

(followed

'

xn,

Antiquities

rT

Muhammadan

mental

M.A.,

du ca

D.LIT.

Marco Polo

translated by

n

.

I)

tio

Le Cambodge L'Art de Gandhara (Vols. Le Siam Ancient (Part I)

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

Sanskrit-Worterbuch, Ess. Arch, (of)

Raz,

Hind.

on Archaeological Tour with Bunar Field Force.

Report

rerum Alexandri Magni

Serindia (Vols.

I, II,

III)

Sharqi Arch, of Jaunpur, Fiihrcr, Arch.

New

Surv,

(followed

by

Imp. volume,

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. Survey of India,

Archaeological

New Im-

'

The Sharqi perial Series, Vol. xi, Architecture of Jaunpur,' by A.

Series

page,

Fuhrer, PH.D., with drawings and architectural descriptions by Ed. W.

etc.).

Smith.

Source of Oxus

By Wood. Macdonell

and

Vedic Index of names and subjects, by Arthur Anthony Macdonell, M.A., PH.D., and Arthur Berriedale Keith,

al E

Index, Keith.

du ca

Vedic

n

Scritores

particulars

tio

Ram

oilier

von Bohtlingk and Rudolf Roth, 1855.

Pet. Diet.

M.A., D.C.L., 1912.

de Khotan

By Rcmuset.

on

Ville

di ti

V.S.I.I.

rT

by Rai Bahadur

V. Venkayya.

The

ten books of Vitruvius, translated

from Latin, by Joseph Gwilt, 1880.

Translated by James Da^mesteta.

C

en t

re

Zend Avesta

.

fo

chapter)

ra

Vitruvius (followed by book and

South Indian Inscriptions,

684


F.S.A.,

INDIAN ARCHITECTURE ACCORDING TO ,

MANASARA-SILPA-SASTRA AND

A DICTIONARY OF HINDU ARCHITECTURE Published

OPINIONS AND REVIEWS EXTRACTS

du ca

tio

n

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

al E

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.

on

(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

di ti

-"

ra

E. B- Havell, Esq.

rT

....

fo

thorough treatment of the subject."

re

Dr. Abanindra Nath Tagore, D.LITT.,

C.I.E.

There are people who assume

en t

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

C

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

be able to read all the connected literature that is whether in India or outside. Everyone of us does not

n

difficult to

libraries

tio

been extremely to be found in

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

du ca

know

al E

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-

on

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

ra

di ti

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.

fo

rT

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.

re

dr.ss

en t

(Translated from Pravasi, April, 1928,

C

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.

'

Dictionary.'

In

compiling of An Encyclopaedia of Hindu Architecture,' and it appears to have been a mere freak of fortune that when the University decided to entrust '

sity the

'

'

work of compiling, they chose the term Dictionary 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 shirkbut in being led away by this prejudice, the University were unfair ing work to their alumnus, who has, by this work, more than justified the title that he had the learned Doctor with the

tio

n

;

du ca

;

himself suggested.

al E

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

on

;

I

was asked

I

fo

can bear personal testimony.

make

remember

that when, about fifteen years ago, sense out of a few extracts from the work, I had to give up

I

to

rT

ra

di ti

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,

re

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 '

C

en t

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.

Allahabad University that a we have at the head of our Sanskrit Department 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 hitherto been regarded as It

'

is

a matter

of special gratification to us of the

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

to scholars

and

archaeologists."

tio

permanent value

n

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

Archaeology Dictionary of Hindu Architecture, is really a monumental work, the value of which can hardly be exaggerated. I have no doubt

Deputy Director General

that indologists

du ca

K. N. Dikshit, Esq., M.A. Your recent publication, the

of

over the world will acknowledge their indebtedness to you for hands such a comprehensive study of the elements of Hindu

al E

"

all

in their

on

placing architecture."

di ti

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." '

rT

ra

"

"

We have received your two 0- C. Gangoly, Esq. Editor, Rupam.' I and hasten to congratulate you on your remarkable and books for review will remove one of the crying needs of the study of scholarly treatises which

re

fo

'

C

en t

Indian Art."

Dr. Prasanna

Kumar

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

but

Hindus

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

scientific

embedding

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.

n

Silpa-saslras are

du ca

tio

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

C

en t

re

fo

rT

ra

di ti

on

al E

'

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
many

n

the planning of towns, villages, and forts, the orientation of things, such as of kings and their ceremonial rites, the manufacture classification the buildings,

as

now

Muhammadan.

used, includes

du ca

tio

of couches, cars and chariots, ornaments, jewels, etc. ' The title would have been better Hindu Architecture,

Measurements are

'

since

iaid

down

'

Indian

'

for every

di ti

on

al E

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 '

is left

to the salat to express his

own

individuality.

And

the measure

fo

and nothing

rT

ra

'

re

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,

en t

:

C

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

du ca

tio

n

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 like this

al E

work

on

'

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

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. '

rT

us that he has gone

'

fo

tells

breaks entirely

ra

di ti

circle

re

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,

C

en t

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

tremendously detailed

:

the entry Stambha, for

example, occupying sixty pages. There are two appendices, the first of which 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

K. Acharya

is

n

P.

Full references are also provided,

and the index

du ca

mination.

tio

;

alone, beginning

a most painstaking performance. Both volumes will be welcomed by the increasing number of workers is

al E

on page 215,

in

and

(Asiatic Review, April, 1928.)

on

lovers of Indian art.

The

di ti

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),

ra

attention so far.

Sastri in

rT

were edited by Ganapati

Trivandrum Sanskrit

Series.

Besides that, at,

the portions dealing with architecture in the Purdnas.

fo

we knew

en t

re

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

C

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 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

n

we

Alsdorf, PH.D.)

tio

being given to us

Coomaraswamy.

al E

K

du ca

" 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.

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-

undertaking.

.

.

.

di ti

fessor's

on

;

The

ra

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

of

the

American Oriental

fo

("Journal

rT

accomplished, rather than further criticism." Society, vol.

48, no. 3, pp. 250

fol.

A

en t

re

This dictionary owes its name to the University of London. glossary architectural terms used in the Mdnasara, the standard work on Hindu the of

when he found it indistwo and a half years to edit for the first time and 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 the for the author to express to the University the opinion that an Encyclopaedia was prepared

for the author's private use

C

architecture,

pensable after struggling for translate into English a text

'

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 Vdstumore familiarly called Silpa-idstras. Existing dictionaries, in Sanskrit,

Saslras,

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-

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,

n

deals with

tio

It

and cognate

arts,

al E

du ca

relating to architecture, sculpture

works.

on

Indian architects, together with a short description of their is to be congra-

di ti

histories of ancient

:

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

C

en t

re

fo

rT

ra

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

'

:

n

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

its broadcast sense, implying practifrom buildings religious and secular to town-

tio

cally everything that

is

al E

du ca

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

on

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

ra

di ti

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

rT

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.

re

fo

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

en t

Paribhashendu-sekhara.

C

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). :

du ca

tio

n

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,

al E

the author will

the most

di ti

on

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

important sections are the author's discussions, relating to the three

rT

ra

styles or orders of architecture Nagara, Vesara and Dravida representing the three geographical divisions of India. We recommend the books of Dr.

fo

Acharya to all Indologists and expect eagerly the publication of the two supplementary volumes now in Press.

C

en t

re

(The Modern Review, February,

The two books

1928.)

(London Correspondent) 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

Muhammadan

Vedic, Buddhist and classical periods up to the

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.,

Leader,

Dr. P. K.

D., D.SC.

February 24, 1928.)

Acharya attempts

to offer

Hindu

the results of his twelve years' study of

tio

n

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

monument

i

The

nscriptions.

Dictionary, in particular,

a pioneer work,

du ca

literature, as well as

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

all

interested in the scientific study of

fine arts in general will find Silpa-idstra or

it

Hindu

culture or in that of

instructive.

Vdstu-sdstra

re

The Hindu

fo

students but

rT

ra

di ti

on

al E

'

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.,

with

all

C

en t

It deals

furniture like bedsteads,

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 residential the plan and erection of religious, military edifices and their The science which like the auxiliary members and component mouldings. derive its first Dharma-sdstra, Artha-sdstra and Kdma-sastra, professes to 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

spiritualists, those

who

Thus from a passage

living.

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

for

and open-roofed

wells

Of

them.

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,

n

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 and ornamented with flowers and carvings. It is needless here to stone with

du ca

tio

fire-place in the

it is

al E

enter into the details of domestic furniture but

benches were made

interesting to note, inter alia

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

None

the

less, it is

instructive.

A

village,

we

are told, should

rT

visitors.

ra

its

di ti

The plan for

on

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

C

en t

re

fo

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

Secondly, places

;

it

the English term.

military,

and

denotes

their auxiliary

implies town-planning

making

It

roads, bridges, gates

;

;

the term

all sorts

'

architecture,'

of buildings,

is

religious,

members and component mouldings.

n

'

laying out gardens

tio

and

residential,

conveyed by

is

; constructing marketdigging wells, tanks, trenches, drains, sewers,

du ca

Silpa-sastra or Vdstu-sastra,

much wider than

Wise Term

which

; 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

al E

moats

ra

di ti

on

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

rT

quick apprehension of the subject.

General Survey

fo

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-

en t

re

'

C

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.

du ca

tio

n

'

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

al E

V

on

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

di ti

indefatigable industry and enthusiasm in having ransacked the whole of the ancient Indian literature covering thousands of pages in print and in manuscript. '

'

rT

ra

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 Language language in which this important work has been found is very defective and faulty and has been termed barbarous Sanskrit It is all the like authorities Dr. Biihler and Dr. Sir Ram Bhandarkar. Krishna by

fo

It is regrettable that the

'

more

en t

re

'

creditable for Professor

Acharya

to

have taken pains and construed the text

In the appendix the learned author has given us some idea of the

C

correctly. defective language by collecting together the irregularities. Professor Acharya's Dictionary of Hindu Architecture is a monumental work, the

kind. It deals with three thousand words relating to architecture and 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 has laid the scholars and the general public under the deep debt of obligation first

of

its

by removing a

long-felt

want.

(The

l6A


Pioneer,

February

13, 1928.)

HINDU ARCHITECTURE (London correspondent)

Kumar

Dr. Prasanna

Allahabad,

is

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

in the elucidation of the subjects discussed.

permanent importance

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,

tio

n

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

du ca

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

al E

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 general literature. a Handbook of Indian

di ti

on

new things hitherto left unexplained in inscriptions and The other work which is somewhat less voluminous, is

ra

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

rT

dan

en t

re

fo

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

C

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."

mame

en

d'eloges 1'amdilore."

Pioneer,

:

pp. 225f.

on

Asiatica, vol. I,

by Jean BUHOT ouvrage teis digne il n'est edition ulterieure ne douteux temps pas qu'une

5&f.,

Allahabad, i3th Febr.

di ti

no. 162.

*[ Dr. P.K. ACHARYA,

1927, no. 125. :

Rupam,

fo

Reviewed

:

below

COOMARASWAMY,

1927.]

See An. Bibl.

I.

A.,

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 .

en t

.

nos.

The

re

Kumar MAITRA.

.

Indian Architecture according

M.A., D. LITT.:

ra

I.E.S.,

Cp.

1928.

Oxford University Press

rT

Mdnasdra-Silpa-sdstra.

.

al E

1928, pp. :

to

:

.

"

RAA,

151.

.

n

.

und was uns gegeben entegennehmen."

The

"Bei Pionier659661, by Sten KONOW auf Vollstindigkeit nicht Anspruch machen, wird, werden wir mit aufrichtiger Dankbarkeit

1928, columns

man

tio

Arbeiten

tg.,

draft'

du ca

Dtsche Lit.

.

FRAS, .

1928, pp.

943945, by H.

G.

'' .

:

.

.

."

C

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.

by E. B. HAVELL

S., vol. II, pp. g6f.,

:

.

.

.

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),

ADYTUM

ASSF.MBLY

(stha), 577.

;

145

(garbha),

(-rl)ha], 146.

ALMS HOUSE (satra), ALTAR (chaitya), 176

ATTIC ROOM (kQta-sala), 129; (chuliharmya), 175. AUDIENCE HALL (asthana-mandapa), 67, AUDITORIUM (prcksha-griha), 3().j. (-mandapa), 395.

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

AUSPICIOUS 151.

THE

ROOF

(attalaka),

53

,

rT

223

(tvashtri),

fo

215.

re

(turiga),

(vardhaki),

;

en t

448.

C

ARCHITECTURE (vastu), 456. ARCHITECTURAL MEMBER (makarala), 389. ARCHITECTURAL OFFICE (avesana), 64. ARCHITRAVE (pada), 303 (padaiiga), ;

34ARENA

;

;

(nishkasa), 284

ra

(chitra-torana) 174; (jana-chapa216 ; (patra183; (torana), (makara-torana), 389 ; torana), 294 ; (vyala-torana), 476.

ARCHITECT

BACK DOOR (plaksha-dvara), 365. BAGNETTE (hara), 612. BALANCE (tula), 216. BALCONY [alinda(ka)], 46 (andhara),

di ti

395.

kriti),

ARCHED ROOF

100.

on

12.

APEX (sikhara), 490. ARBOUR (mandapa),

ARCH

446,

(vadhu-nataka),

;

449

[va(ba)labhij,

(bhrama-

;

linda), 389.

BALUSTRADE (alambana), 62 (alambana(vedikabahu), 62 (pada-vcdi), 304 ;

;

;

vatapana), 474.

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

,

B

(uvaraka), 92.

ON

(grilia-mahgala)

AVIARY (kapota-palika),

46.

(ardha-sala),

CEREMONY

al E

CLOSED SIDES

APARTMENT APARTMENT

67.

ASTRAGAL, (hara), 612. ATTIC (karna-kuta), 105.

[garbha-gc

;

(samiti), 517.

ROOM (asthana-mandapa),

n

464

;

;

(rariga-

tio

(vis),

ASSEMBLY HOUSE

59 (avasatha), 63 321; (bhavana), 380;

(ayatana),

(pratishtha),

du ca

ABODE

;

(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

(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-

;

4.83

;

di ti

(sringara-mandapa), 497.

on

BED [talpa(ka)], 194. BED-CHAMBER (sayana-mandapa), ;

(rahasya-

ra

vasa-mandapa), 436.

DEITIES (kamya),

115.

rT

BED-ROOM OF

BED-STEAD (asana), 64 (kumbha-pada), 127

(kakashta), 115 ; [khattaka(-tta)], 136 ; (khatva), 136 ; (nishadya), 284 ; (pallarika), 303 ; (phalakasana), 365 ; (bala-paryanka), 371 ; (mancha), 390 ; (manchali), 390.

en t

re

fo

;

C

(proshtha),

BUILDING (isvara-kanta), 69 (upasatha(kamya), 115; (kunjara), gara), 89 ;

;

120

(kesara), 130

;

(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

;

;

;

131

(vahana),

451.

(indra-kila) , ;

(ghatana),

BOLT FOR

67

(kokilargala),

170.

FASTENING

;

;

;

DOOR

;

;

;

BLIND

BOAT BOLT

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.

al E

;

611.

BED-ROOM (kama-koshta), 115

(kucha-bandhana),

tio

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

n

52 ; 183

(adhara),

;

du ca

;

(argala),

;

;

;

;

44-

BORDER OF A CLOTH (nipya), BOUNDARY (antima), 42. BOUNDARY MARK (kadanga), Box (manjusha), 391.

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),

;

;

5

.

;

;

;

;

;

CANAL-HOUSE (nala-geha), 279. CANE-BOTTOM CHAIR (kochchha),

CANOPY

(torana), 216 (vitana), 460.

;

;

;

;

;

;

CAPITAL (kataka), 95 313; 436.

;

;

;

; ;

CAPITAL CITY

;

;

;

247.

CARPENTER

;

;

180

(cherika),

(takshaka),

(nagara),

;

192

;

(sutra-

CARVING ON THE DOOR (ghata), CASKET (manjQsha), 391. CATTLE-SHED (samgavinl), 519. CAVE-HOUSE (kandara-griha), 98 ;

167.

di ti

rT

;

;

fo

;

C

en t

re

(saudha- malika), 532 ; (saumya), (skandha-tara), 532 ; (sthanaka), (sthira-vastu), 593 ; (sphurjaka), (svarga-kanta), 594 ; (svastika), (svastika-khadga), 607 ; (svastikanta), 607 ; (svasti-bandha), 607 ;

610 ; (hasti-prish(harmya-kanta), (hamsa), 612; (hema; (himavat), 613.

tha), 611 ; kuta), 613

BUILDING FOR PRESERVING WATER (jalapurita-mandapa), 185. CLOCK THE WATER FOR BUILDING (ghatikalaya),

;

dhara), 527.

ra

;

532 532 592 593 594

(kumbha), 126

on

;

;

;

al E

;

;

131.

(prabha), 325

;

175 ; (pushpa-bodhaka), [bodhik(a)], 373 ; (raja-dhani),

(chulika),

;

;

168.

BUILDING MATERIAL (ishtaka,

(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 (apa-

PART (brahma-pada), (brahmams'a), 376.

CENTRAL

BUILDING WITH HEIGHT AS STANDARD OF MEASURE (asamchita), 50.

375

;

CENTRAL PART OF A TOWN (brahmasthana),

samchita), 42.

;

(marga), 421.

n

5

;

CAGE (vyaghra-nida), 475. CALYX [kulikahghri(ka)], 128. GAMP (kataka), 95 (skandhavara), 532. CANAL (nala), 278 (nalika), 279

tio

;

;

du ca

(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),

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,

COLUMN HAVING A (evarhkanta)

;

padaka-pitha),

94.

pitha),

58.

CHAMBER CHANNEL

(koshtha),

133.

(jala-sutra),

186

(tilamaka),

;

124.

COLUMN WITH ONE MINOR PILLAR

PILLARS

(evamkanta),

(nabhas(anila-bhadraka), 38 van), 257 ; (nivata-bhadraka), 284 (pushpa-ratha) , 313 ; (pavana), 303 (prabhanjana) 325 ; (bhadraka), 379 (ratha), 435 ; (syandana), 593. ;

94.

COLUMNS OF A PAVILION (gatra), 149. COMFORTABLE COMPARTMENT (kamakoshta),

(deva-kula), 229.

(evaiii-

94.

COLUMN WITH TWO OR THREE MINOR

214.

CHAPEL CHARIOT

LOTUS-SHAPED BASE

94.

COLUMN OF THE WALL (kudya-stambha),

kanta),

CHAIR WITH MANY LEGS (amalaka-vantika-

,

115.

COMMITTEE [goshthi-(ka)], 162. COMPARATIVE HEIGHT (ganya-mana),

141.

;

CONSIDERATION OF FORMULAS FOR CORRECT

;

n

DIMENSIONS (ayadi-karman), 60.

;

(sthapati),

CHISELLING THE EYE

578.

(nayanonmilana),

al E

CIRCLE (nirvyuha), 284. CIRCULAR COURT IN THE INNER COM-

on

POUND (antar-mandala), 40. CIRCULAR FILLET (kampa-vritta), CIRCULAR PATH (bhramana), 388. CIRCUMFERENCE (nemi), 287.

431. (karna-patra), 106.

(yana),

di ti

(karnikara),

en t 14.

C ;

43.

(jayanti), 184 (pota), 315 ;

(dvi-vajraka),

;

136; (paryanka), 303 (mancha), 390 (khatva),

108.

COLLEGE (raatha), 391. COLLET (mani-bandha), 394. COLONIAL SETTLEMENT (nivesana), 284. COLUMN (chitra-skambha), 174; (jaiigha), ;

COTTAGE (kuti), 120. COUCH (anvanta), 42;

(strl-

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),

[alinda(ka)], 46

;

(mandapa),

395-

CLASS OF TWO-STOREYED BUILDINGS (adbhuta),

(netra-

;

43-

rT

PEOPLE

OF

GLASS

fo

re

'inga), 577-

;

104

(karna),

286.

CORRIDOR

[khaluraka f-rika), 138 ; (sarhviddha), 520 ; (sthaniya)], 592.

CLASS OF BUILDING (abhasa), 54

kuta),

CORNICE (kuti), 120. CORONATION HALL (abhisheka-mandapa),

102.

ra

CITY

182

CONVEYANCE CORNER LEAF

CORNER TOWER

258.

244

tio

101.

(kapola),

du ca

CHEEK

CHIEF-ARCHITECT

CONSIDERATION OF FORMULAS FOR RIGHT PROPORTIONS (ayadi-bhushana), 60.

(lakshmi-stham-

(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),

;

445

;

;

GOWSTALL 161

592.


;

(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-

125.

291

117;

(kirita),

(ushnlsha),

(patta-bandha).

(kalaSa),

(parikha),

;

(gala-kit ta),

;

179.

(abhasa), 54 ; (udumbara), 74 ; (kapata), 98; (kavata), 114; (grihamukha), 156 ; (chhanda), 181 ; (jati), 187 ; (dvara), 235 ; (srenita-dvara) 499 (sutra-patti), 527.

n

08.

tio

(amalasila), 43.

;

,

CRYSTAL PALACE (mani-harmya), 394. CUBIT (hasta), 610.

DOOR-FRAME

CUPOLA

DOOR-LINTEL (dvara-lakha), 243. DOOR-MOULDING (chatur-varga),

108

(kalasa),

;

;

126.

CYMA

(abja), 42

;

135.

(kshe-

DADO

(kandhara), 167.

98

;

(gala),

148.

DEER FOREST

C

;

-

(purushaiijali),

DESIGNER (vardhaki), 448. DETACHED PAVILION OF A TEMPLE WHERE THE IDOLS ARE DRESSESD (alarikara-mandapa), 46. 377.

172.

(adhiman-

15.

DOVE-COT (kona-paravata), 132. DOVE-RIDGE (kona-paravata), 132. DRAFTSMAN (sutra-grahin), 527. DRAIN (jala-dvara), 185 (danta-nala), ;

(pranala),

316

(soma-sutra),

;

531-

DRAWING-ROOM (alankara-rnandapa) 46 ;

;

(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.

DEVOTEE (bhakta),

;

380.

DEITY-CHAMBER (garbha), 145. DEMI-GODS (gandharva), 144 (yaksha),

DEPTH (nimna), 282. DEPTH OF FOUNDATIONS

dapa),

(chandra-sala),

PAVILION

[khaluraka (-rika)], 138

DEFENSIVE WALL (dehi), 233.

43 1

DOUBLE-STOREYED

225

(mriga-vana), 427. DEFECTS OF THE LIMBS (anga-diishana), 4.

171

;

en t

(griva),

re

fo

rT

pana),

DORMER WINDOWS

410.

(ambuja), 44

;

di ti

115.

ra

kaspu),

CUSTOM HOUSE (mandapika),

(dvara-

(madhya-bhuvanga), 412. DOOR-POST (durya), 229.

(kas"u,

;

;

on

(kumbha), CUSHIONS (asanda, asandi), 66

135

(kshepana), 243.

sakha),

al E

13

;

;

DOOR

(karnika)

CROWNING FILLET (uddhrita), 75. CROWNING PART OF THE HINDU SIKHARA

(anda),

298.

148

576 (stupl), 576. CONSTRUCTION (chaitya-

DOME-LIKE gnha),

98

108

(stupa-griha),

90.

CROWNING OF THE ENTABLATURE 1

(kadaiiga),

DOME

429.

(mauli),

;

DITCH

du ca

(kubjaka),

CROWNET

117;

;

CROSS-BAR (suchiya), 525. CROSS-BEAMS (bhara), 381.

CROWN

(kirita),

43 (bhojana matha), 388 ; (harmyagarbha), 610. Disc OF VISHNU (chakra), 170.

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

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.

ENCLOSURE (ayatana) 59

94. 59.

on

di ti

526.

ENCLOSURE-BUILDING

rT

fo

;

;

re

en t

;

(prastirya), 328 (prastara), 315 337; (matta-varana), 410; (rupottara), (vidhana), 440 (vardhamana), 448

C

;

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. ; (praveâ), 337 (samchara), 519.

(dvara), 235

(velaria),

474

;

;

FLAG (jayanti), 184. FLAG STAFF (danda), 223. FLIGHT OF STEPS (achala-sopana),

ENTRANCE DOOR (mukha-varana), 424. EXCAVATION 147 (garbha-bhajana),

;

(kati),

96

;

(ghatta),

12

;

168.

FLIGHT OF STEPS FOR A HILL (adn-sopana), 14.

(garbhavata), 148.

EXTENSION (bahala), 370. EXTERIOR (griha-mukha), 156. EXTERNAL SIDE OF A BUILDING (bahiranga), 370.

EYE EYE

FAST CONVEYANCE (adika),

1

(kuttima), 121; (kumbhalankara), 127 ; (khandottara), 136 ; (gopana), 157 (patra-bandha), 294; (prachchhadana),

ENTRANCE

FAN (vyajana), 475. FAN POST (bhrama-danda),

(uttara), 70

ra

138.

;

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),

FIFTH ENCLOSURE (maha-maryada), 417. FIFTH STOREY (paficha-tala), 288.

; , (avrita), 63 ; (chhanda-prakara), 181; (jati-prakara), 187 ; (prakara), 337 ; (vara), 454 ;

(sutalaya),

;

FACE (vaktra), 444. FACE OF A BUILDING (griha-mukha), 156. FACE OF A SHARK (makarf- vaktra), 389.

al E

ELEVENTH STOREY (ekadasa-tala), ENCLOSED SETTLEMENT (ayatana),

FACADE (griha-mukha), 156

n

103.

tio

107

(karna-bandha),

,

du ca

EAR OF THE ELEPHANT (kari-karna) EAR OF AN IMAGE (karna), 104. EAR-ORNAMENT (karna-puraka),

(aksha), i. LINES (akshi-rekha), 2.

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-

;

GALLERY

shaka), 287.

(deva-kula),

;

,

115.

(kantara),

46

GARDEN (pushpa-vatika) 313. GARDEN HOUSE (arama), 61. GARRET (chuli-harmya), 175. GATE (dvara), 235 (vara), 454.

373-

FOREST

[alinda(ka)],

229.

FOOT-PRINTS (sri-pada), 498. FOOT-PRINTS OF BUDDHA (buddha-pada),

;

GATE-CHAMBER

,

131

(kota),

57 243 r

(dvaraka),

J

; (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), 137

;

;

;

;

;

;

216;

(tor.-ina),

(netra),

(pratoli), 321.

286.

GIRDLE (kati-sutra), 97. GLASS (chitra), 173 (chitrabhasa), GOD'S RESIDENCE (devalaya), 231.

(durga),

du ca

;

;

;

;

FORTIFIED CITY (kharvata), 137

(gopura),

;

243 (dvara-sobha), (dvara-harmya), 244 (brahmakanta), 375 (maha-gopura), 415 (srl-visaia), 499 (shodasa-tala), 500 (saumya-kanta), 532.

;

132

(kolaka),

;

(dvara-koshtha), 243.

GATE-HOUSE (indra-kaata), 67

n

FORT

73, etc*

tio

FOREST FORT (vana-durga) 446. FORMULA OF HEIGHT (utsedha),

226.

;

TOWN

(khetaka),

FORTRESS (drona-mukha), 234

139.

GOLDEN SEAT (kasa, GRANARY (koshtha),

(sarhgra-

;

hana), 519; (sthanlya), 592.^

FOUNDATION

133

;

115.

(koshthaka),

;

(tandula-mandapa),

;

193.

GREAT DOOR (maha-dvara), 415. GREAT ELEPHANT (airavata), 95. GREAT HALL (maha-mandapa), 416. GREEN ROOM (nepathya-griha), 287. GROUND FOR HOUSES (kutumba-bhumi),

A

OF

VILLAGE

(grama-

fo

FOUNDATION

rT

ra

;

133

174.

di ti

;

;

kaspu),

on

(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

al E

FORTIFIED

re

garbha), 166.

FOUNDATION PILLAR (mula-danda), 426

FOUNDATIONS

C

FOUNDATION-PIT (garbha-bhajana), 147 (garbhavata),

148

OF

;

(phcla),

TEMPLES

;

GUILD HALL (nigama-sabha),

en t

(mula-stambha), 426.

121.

GROUND FLOOR [eka-tala(-bhuml)], 92. GROUP PAVILION (bahu-mandapa), 371.

;

365.

GUTTER ( jala-dvara) 185 GYMNASIUM (kumarl-pura), ,

;

(sadasiva),

170. ,

513.

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. FURNITURE (upadhana), 76 nida),

305, etc.

279.

125.

H

(chatur-mukha),

FOUR-STOREYED BUILDING (indra-kanta) 67

(nail),

(brahma-

garbha), 375.

FOUR-FACED

;

281.

;

(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.

n

;

tio

,

(bhumi-lamba),

du ca

INDIAN ORDERS

386.

(asrama),

64

al E

(ghatika-

;

168.

HIGH RELIEF (chitra), HIGH WAY (raja-patha),

di ti

sthana),

on

HERMITAGE

INNER WALL (antah-sala), 41

493.

(Sirastraka),

INSTITUTION (RELIGIOUS CENTRE) (ghatika168.

rT

fo

re

IN

A TEMPLE (antah

en t

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), ;

(antar-

hara), 41.

(alaya), 63 ; (kacha), (ayatana), 59 (kshudra-sala), 135; (griha), 115; 156 [geha-(ka)], [dam(a)], 150 ; ;

;

40.

INTERNAL ENCLOSURE

C

51

bhitti),

sthana),

437.

HOSPITAL (jvara-devalaya), 191. HOUSE (avastha), 48 ; (agara),

496.

INTERIOR CORRIDOR (antaralaka), 38. INTERIOR WINDOWS (kuhara), 128. INTERIOR OF A WHEEL (kukshi), 119. INTERMEDIATE SPACE [antarala (ka)J, 38.

ra

173.

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 praveâ),

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

(apana),

288.

54.

591.

(sthana),

;

LOCK OF HAIR LOFTY HOUSE

(harmika), 608.

KNOB (kabandhaaa),

151

130

(kesara),

LIQUOR SHOPS

yasa],

KITCHEN (pachanalaya),

(svarasaaa),

;

607.

;

;

414

(masuraka),

;

(kiintala), 125.

(attalika),

12.

LOOKING-GLASS (darpana), 225. LOTUS (abja), 42 (kamala), 102.

101.

n

;

tio

173.

du ca

(chala-sopana),

LAIR (nlda), 286. LAMP-PILLAR (dipa-dana), 226. LAVTP-POST (dlpa-danda), 226 (rnanju-

OBJECT (kanya), 98.

LOWER PART OF A CHARIOT bhara),

;

LOWER

391.

40

;

rT

183.

fo

;

harhbuja), 417 (maha-vajana), 417. LARGE FILLET (maha-patta) 416 (maha-

re

;

en t

;

C

LARGE HALL (maha-sala), 417. LARGE VESTIBULE (maha-uasi), LARGE VILLAGE (maha-grama), LATCH (kokilargala), 131.

415.

MAIN MAIN MAIN MAIN MAIN

BUILDING (mukhya-harmya), 424.

COLUMN (griha-stambba), PILLAR

(eka-Sala),

94.

(chitra),

173.

(chitrabhasa),

174.

vinyasa), 166.

(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),

MARK ON THE FOREHEAD MARKET (nigama), 281 MARKET PLACE (apana),

;

(mandi),

(sila-patta-vamSa), 493.

MASONRY

;

53

(vasati), 450.

MASONS

42

(tilaka), 214.

(hatta), 607.

410.

MART

,

(avachchhaya), 48.

128.

436.

TEMPLE (rnula-hannya), 427. MANSION (jati-sala), 187. MANSION WITH ONE ROW OF BUILDING

;

FOUNDATIONS

156.

[kulikanghri(ka)],

STREET (ratha-vlthi),

MARBLE

415.

LATTICED WINDOW (jala-gavaksha), 190. LAYING-OUT OF THE VILLAGE (grama-

LAYING THE

144.

(jangha-patha),

LARGE COUGH (asanda, asandi), 66. LARGE CYMA (maha-patta), 416 (ma-

vajana), 417.

,

M

di ti

(antar-vlthl) ,

PILLARS [kshudra-nasa(i)], 135.

LYING-IN-CHAMBER (garbhagara)

ra

LANE

i.

on

danda),

LAMP-POST MOULDING IN THE SHAPE OF A WATER-POT (anghrika-vari), 12. LANDING [ghat (-ta)], 169.

(aksha-

al E

LADDER

LOTUS FILAME:-: :v, (liâra), 130. LOTUS STALK (nala), 278. LOWER PART OF AN ARCHITECTURAL

MAT MAT MAT

(sila-karma),

(kaâ, kaspu),

493.

115.

OF SPLIT BAMBOO (kata), 95. OF SPLIT CANE (kata), 95.


INDEX 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. (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.

216; 223 224 246

184;

(tri-patta),

466

;

284

(vira-karna)

;

(tula),

,

;

valh-(ka)], 294

;

[padma-(ka)], 296

;

(purna-kamba),

314; (potra), 315; 317; (pratima), 317; 317

(prati-bandha), ;

;

319

(prati),

;

(prati-patta) ,

319

(prati-rupa),

( prat i_

321

;

(

pra t-

.

/ u (phala-patta), [Bali(-i)ka(-a)], 366; tbali-pit'ha-(ka)]

365

;

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 ; (veâna), 474 (Saktidhvaja), 476 (saroruha), 517 (samgraha), 519 (saushthika), 532 (harita), 607 ; (homa), 613. MOULDING OF THE BASE (antara), 38 ; (antarita), 39 (argala), 44. ;

;

;

;

;

;

376.

;

;

;

;

MOULDING

OF THE ENTABLATURE (antarita), 39 (kshudra-gopana), 134. MOULDING OF THE PEDESTAL (antara), 38 (antarita), 39 ; (kumbhalankara), 127.' MOULDING OF THE THRONE (kokila),

(basadi), (satravasa-

;

;

MONASTIC ESTABLISHMENT (sthana), 592. MONK'S CELL (pari-vena), 302. ;

;

;

412.

,

12.

MONTH (kanya), 98 (tula), MONUMENT (dharma-rajika),

;

;

al E

on

di ti

rT

;

;

(tri-vargaka),

;

,

C

367 (vihara), matha), 513.

;

157 182

(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-

;

MINARET (karna-harmya) 107. MINOR DEITIES (avarana), 63. MONASTERY (ayatana), 59 ;

222;

;

141

;

fo

re

en t

(attalaka),

195

;

193;

(tala),

(tatika),

;

132 135

;

MIDDLE VESTIBULE (madhya-nasi) MIDDLE WALL (brahma-bhitti), MILITARY-POST

;

;

MIDDLE RELIEF (ardha-chitra), 45. MIDDLE TABERNACLE (madhya-bhadra), 412.

126;

;

(phalaka),

ra

119.

(kumbha),

(kona-loshta), ;

vaktra),

MEZZANINE ROOM (koshtha), 133. MIDDLE-DOOR (brahma-dvara) 375. MIDDLE MEMBER (galariga), 148. MIDDLE PART OF A WHEEL (kukshi),

; (asana), (karna), 104 j

;

(kshdurabja), [kshudra-nasa(-i)], 135 (gaja), (gavakshakara), 149 ; (gopana), (chitra-patta), 174 ; [jagata (-ti)],

319

BOLTS [parigha(-gha)], 300.

(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

n

;

tio

(aratni),

(gokarna), 156 (-mana)], 223

du ca

MEASURE

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 ; ;

[indra-klla(-ka)], 67

;

119.

(klla),

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.

BUILDING (gaja), 141 (dvyasra244 (bhu-mukha), 386.

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

on

PAINTING (chitra), 173. PAINTER (vardhaki), 448. PALACE (prasada), 343 (raja-harmya), (saudha), 531. 437 PALANQUIN (sibika), 492.

PALM (tala), 193. PANEL OF A DOOR (kapata),

rT

fo

re

PAVILION

en t

OPEN

(avrita-mandapa),

C

OPENING FOR SHOOTING THROUGH PARAPET (indra-kosa), 68.

ORCHARD (vatika), 453. ORDER AND ORNAMENTS

PARADE [khaluraka (-rika)], 138. PARAPET [danda(-manaj), 223 (parata), 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.

46

;

;

ra

ONE

(uttaroshtha), 71.

di ti

OIL-POT (taila-manjushika), 216. ONE OF THE FIVE PROPORTIONS OF THE

;

al E

OVOLO

;

du ca

vritta),

OBSERVATORY (mana-mandira), 420. OCTANGULAR BUILDING [ashtas"(s)ra], OFFERING (homa), 613.

(bahir-bhitti), 371.

n

OVAL

(nasa), 279.

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),

;

tio

NAIL

(karkari-krita), 104.

(bhushana), 387 ; (makarapatra), ; (misrita), 423 ; (mukula), 423 (ratna-kalpa), 433 ; (ratna-pushpa), ;

PAVEMENT

;

(uttanapatta),

ma), 121. II


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),

PEDESTAL MOULDING

PEG (torana), 216. PENDENT (avalambana), 48

;

PENTROOF

tio

;

al E

;

;

;

(jyotih), 191

PHALLI

38

(aneka-linga),

(sahasra-

;

Hnga), 519.

on

;

;

;

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

;

di ti

;

;

ra

rT

;

;

;

;

305 421

;

;

(bahu-iinga), 371

re

en t

;

;

;

;

;

;

;

(hema-kuta), 613.

PAVILION FOR DRESSING OF IDOLS (deva-

bhushana-mandapa), 230.

;

PICTURE GALLERY (chitragara), 174. PIGEON (kapota), 98. PIGEON-HOUSE [kapota-palika(-pali)], 100.

;

;

594

(manusha),

;

(vikalpa), 458; (svarna-lihga),

454;

(vama),

(svayainbhii), 594-

;

;

;

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-

;

;

;

;

(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),

(pasupata),

;

;

;

ha-mandapa), 464

298

(parartha-liriga),

fo

;

;

;

;

;

C

;

;

;

;

WITH

(pushkala),

;

370 [ba(va)sundhara], 312 ; (vikalpa), 458. (vasudha), 450 PETAL (kshepana), 135 ; (dala), 225.

;

;

;

du ca

(jya), 191

;

;

(lamba-

(ambara), 43 ; (karavlra), 103; (kshonl), 136; (gagana), 141

;

;

;

hara), 440.

;

PAVILION

(a;iisuka), 50.

;

;

n

yatra),

;

;

;

>

;

;

;

;

128.

[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

;

POT

>

184.

;

119;

(klla-bhajana),

vsiilaka),

(kila-

476.

(bahir-mukha), 371. PROJECTION (kshepana), 135 (nirgama), ;

282 108

[kalas(s)a], tghata), 167.

(kumbha),

;

PLANT (karavfra), 103. PLANTED FOREST (upavana), PLASTER (kalaka), 112

88.

PLASTERING (upalcpana), 88

[nimnfi(-ka)], 282 (bahulya), 371.

PULPIT

(bahala),

(bhaga-

(mancha), 390. PUBLIC ROAD (raja-vltlii), 437.

(kudya)'

;

;

370; PROPORTIONAL MEASUREMENTS mana), 380.

(vajratara), 445-

;

;

tio

;

(Sakti),

du ca

126

298.

PROJECTING

119.

PIPE (tilamaka), 214.

PITCHER

(padmasana),

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

119; (vishkambha), 465;

(ghata), 167.

POWER

76.

PINNACLE

;

n

(jaya-stambha),

PILLOW (upadhana),

(bhanga), 377

;

517.

(stambha), 533.

;

PILLAR OF VICTORY (uchchhraya), 69

(kila),

,

Q

123.

PLATE (prati-mukha), 319. PLATFORM (chara), 173 (prasada), 343;

171.

[ba(va)lanaka], 366. [jagata

QUARTER

(-tl)],

182.

PLAYHOUSE

RAISED PLATFORM (avasana), 49. RAISED TERRACE 233 [dehari(-li)], (bodhimanda), 374. RAMPART (vapra), 446 [sala(-la)], 520.

vesma,-sala)], 273.

75

;

PLEASURE-HOUSE (kiida-ketana), 134 (saukhyaka), 531. (sukhalaya), 525 PLINTH (adhara), 52 (kumbha), 126

;

fo

;

(kshudra-gopana), 134

;

(janman), 183;

RECESS IN A WALL (gokhla), 156. RECTANGULAR BUILDING (uttambha), 70 (brahma-mandira), 376.

C

(langala),

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.

en t

215.

;

PLINTH OF A RAILING (alambana), 62. PLOT OF THE SITE plan (pada), 294.

PLOUGH

;

;

'.RECEPTACLE

re

;

(turiga),

;

rT

(udyana),

61

(arama), (upavana), 88.

ra

GARDEN

PLEASURE

R

di ti

[natya-griha(-mandapa,-

,

(antariksha), 39.

on

PLATFORM OVER A WELL

(chatush-kona)

al E

QUADRANGULAR BUILDING

;

;

(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 (acharya-

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),

278 300

(nabhi-vithi),

(parirathya),

;

; ;

390; (marga), 421

;

ONLY (eka-paksha),

SIDE

ROOF

;

64

307

;

(sadas), 513

;

88

(upavedi),

;

136

(-tta)],

;

[pitha(-thika)], (sadana), 513. ;

SECOND COURT (anya ranga), 42. SECOND FLOOR (tri-tala), 222. SECTARIAN MARK

112.

(kalapaka),

al E

(dharana), 246

(asana),

[khattaka

[garbha52 ; 147 ; (tauli), 222 ; (prachchhadana), 315;

(-ika)],

(karuna-vina),

103 ; (chhanna-vira), 181. SEA-SIDE TOWN (dronaka), 234.

SEAT

(achchhadana),

manjusha

;

195-

93.

ROAD-SIDE HUTS (apana), 54. ROD OF A BALANCE (tula-danda), 216.

(ashta-tala),

;

SCULPTURAL ORNAMENT

ONE

ROAD HAVING THE FOOT-PATH ON

etc.

70 (uttama-dasa-tala), (uttama-nava-tala), 70 ; (tiila-mana),

50,

tio

(jangha-patha), 183

SCULPTURAL MEASUREMENT 451.

(charya), 173; (naracha), 278 ; 294 ; (patha), (mahgala-vithi), (vata), 453.

115;

(kantara),

68.

SCRIPTURES (agama), 51.

du ca

ROAD

490.

SCREEN WORK (alaksha), 46. SCREEN WORK IN ARCHES (indra-kosa),

;

vata),

(sastra),

SCIENCE OF ARCHITECTURE (vastu-vidya), 458 ; (silpa-sastra), 494.

;

n

kula),

(silpi-sala),

,

on

(prasada-tala), 364 ; [va(ba)labhi(-I)]. 449; (vata-kshetra),453; (harmya-tala), 610.

ROOF OF A HOUSE

(chatur-varga-kantaka)

di ti

(anu-griha), 37.

ROOM

(uvaraka), 92 51 (agara), (griha), 150 135 ; (kshudra-sala), Lsuka(-kha)-nasika], 524.

;

;

ra

;

64, etc. ;

(riksha-

SEVENTH

[kalas(s)a], 108 ; (dun(maha-padrna), 416 ;

re

nayaka), 92 ; 226 ; dubhi), (mukuli), 423.

en t

(laiigala-bhitti),

C

441.

TEMPLE

514

(sapta-tala),

;

SHADOWLESS SPOT (avachchhaya),

48.

SHARK [kimbara(-ri)], 117 (graha), 167. SHED (kota), 131 (prag-vamsa), 343

;

;

(sranta), 497.

SHOOT [manjari(i)], SHOP (apana), 53

(sva-vriksha) , 594.

CITY (sena-mukha)

,

528.

391.

;

COURT (rajanga), 439. PALACE (raja-griha), 436. RESIDENCE

STOREY

[sapta-bhumi-(ka)], 515.

;

ROUND CORNER WALL ROUND ROYAL ROYAL ROYAL ROYAL

171.

,

SETTEE (asanda, asandi), 66. SEVEN-FOLD WALL (sapta-sala), 515. SEVEN-STOREYED BUILDING (asramagara),

fo

rT

ROPE (anghrika-vari), 12. ROUND BUILDING (ushnishi), 90

SECTIONAL TOWER (khanda-harmya), 136. SET OF FOUR ARCHITECTURAL MEMBERS

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

âla), 287.

(yaga-Sala),

(drupada),

SIDE-NICHE (karna-kuta), 105.

431.

234

SIDE-OBJECT (karna),

104.

;

(sthuna), 593.

SANCTUARY (vimana), 461. SCHOOL FOR HIGHER STUDIES (kumaripura), 125.


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

;

223

;

(desya), 233

SPROUT

(ganita), 143 ; (chandra -kanta),

;

193

,

284,

(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.;

;

n

STAIRCASE ROOM (mukha-bhadra), 424. STAIRS (sopana), 528.

,

;

(vipula460 (vipra-kanta), 460 (visal(vivesa), 464 bhoga), 460 465 (visvesa-sara) aksha), 465 526 (susaiiihita), 510 (sakala), (sthandila), 578. (surya-visalaka), 527 ;

;

STAKE (kila), 119; STATUE (pratima),

;

,

;

du ca

;

;

64.

(ayadi-shad-varga), (shad-varga), 500.

;

(ikshu-kanta)> SIX-STOREYED BUILDING (kamala), 102 (upakanta), 76 67 etc. (kantara), 115; (ratna-kanta), 433,

in.

43.

fo

SKY (ambara),

(kala),

STONE TERRACE (pashana-vedi),

re

SKY-LIGHTS [chandra-sala(-lika)], 172. SLIGHTLY BENT POSE (abhahga), 54.

en t

C

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.

(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;,

,

;

(koshthagara), 133. (kosa92 ; (uvaraka), 133 ; (koshtha) 132; (tandula-mandapa), 193 ; (mdhana), 281.

STOREY

SLOPING ROOF (maddala), 411. SLOPING

305.

STORE-HOUSE STORE-ROOM mandapa),

rT

SIXTY-FOUR ARTS

;

522.

[si(-si)la-vata],

;

;

;

on

61

SIX-FORMULAS

323.

STONE-BULWARKS (pashya), 305. STONE COLUMN (s"ila-stambha), 494. STONE MASON (sila-marddaka), 494

di ti

(asana),

ra

POSTURE

[se(-si)la-

;

al E

;

SITTING

(sanku), 476.

318 rupaka], 528. STEPS (pradakshina-sopana),

;

;

492.

(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.

(tri-yuta),

;

(nishkala),

;

391.

[manjari(I)],

SQ.UARE HALL

(stupi-klla), 577.

;

(kumari-pura), 125.

tio

105 (karnashtaka), 170; (chandita), 172 ;" (tadbhadra),

169.

SPIRE (vriddha), 470

(isvara kanta), SITE-PLAN (asana), 64 (upa-pitha), 69 (ugra-pitha), 69 7688 ; (ubhaya-chandita), 90 ; ;

193.

(ghana),

;

468.

STRING OF PEARLS

[kshudra-

NECK (ardha-hara), STUCCO (sudha), 525. STUDIO

SMALL PILLAR (arighri), n. SMALL SEAL (mudrika), 425. SMALL VESTIBULE (alpa-nasika), 48. SMALLER BUILDINGS (dandita), 224.

(avesana),

46.

64.

STYLE OF ARCHITECTURE (dravida) (vesara), 475(nagara), 260 88. SUB-TEMPLE (upabhavana), ;

SUGAR

(sarkara), 483.

15


THE

WORN ROUND

;

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.

n

tio

54

(apana),

(madira-griha),

;

du ca

TAVERN

THRESHOLD (kulambha-dvara), 128. THRESHOLD OF A DOOR [deharl(-li)j, 233. THRESHOLD OF A HOUSE (udumbara)

;

410.

74-

TEMPLE

(ayatana), 59 ; (alaya), 63 ; (asana), 64 (klrtana), 117 ; (ghatikasthana), 168 ; (devayatana), 230 (deva-niketa-mandala), 230 ; [dehari ;

233 ; '(bodhi-griha), 374 (mandapa), 395 ; (mandira), 413 (Siva-mandapa), 495 (sadana), 513 ; (sadman), 513. TEMPLE OF THE GOD OF FEVER (jvara(-li)L

on

;

;

di ti

;

fo

TEMPLE OF THE JAINS [jina-(ka)], 190. TEMPLE WITH IDOL IN THE ERECT POSTURE (asaihchita) ,

TOMB

50.

re

TEMPLE WITH THE IDOL

IN

en t

BENT POSTURE (apasarhchita), 42. 173. 134.

C

TENIA (tatika), TEN-STOREYED

;

(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),

[khattaka(-tta),]

522, etc.

(nisaddhi), 284

(kuta),

134.

(antarikshakanta), 39 ; (abja-kanta), 43 ; (mandara), 413, etc.

TENTH-STOREY

64;

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),

(asana),

(padma-bhadra), 298. (p'adabandhaka), 304 ; (bhadrasana), 380 (vijaya), 459 ; (srl-mukha), 4 qn ;

(siriihasana),

ra

191.

136

THRONE-LIKE SEAT (asanda, asandi), TIARA (kirita), 117. TIP OF THE HAIR

rT

devalaya),

(sutra-dharin), 527. (kantha), 97.

THROAT THRONE

al E

;

THREAD-HOLDER

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. ;

;

VAULT (tunga), 215 (manjusha), 391. VAULT OF THE FOUNDATION-PIT (chhela), ;

310.

181. 2

VEHICLE (vahana), 458.

VERANDAH

12.

(anghrika-vari),

VILLAGE (karmuka), 116

TRELLIO WINDOW

(dharana),

;

(kadanga), 98

2 4b.

;

(dehi),

TRUNK OF AN ELEPHANT

(svastika),

(hasti-hasta),

VILLAGE

612.

(pushpa-patta), 313. (karr ; (anghri),

n

(grama-lakshana),

194 [talpa(ka)], 449! |va(ba)labhi(-i)l, DM. (hasti-nakha),

VILLAGE-ROAD (grama-marga), VIRGIN (kanya), 98.

;

re

en t

;

BUILDING (kant^ (kanta)l, 116; [kerala5 (madhya-kanta) 5 3 dva-daia-tala),2 5 (vamsa412 ; (magadha-kanta), 41?

C

,

kanta), 452, etc. SIDES

(dvi-paksha),

TWO-STOREYED BUILDING

244.

42

(antika),

;

UNDER-GROUND UNIVERSITY

SHRINE

(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.

425.

166.

w

;

;

TWELVE-STOREYED

Two

;

594, etc.

DESCRIBED

rT

162.

[goshthi-(ka)],

fo

TURBAN TURRET I07

(kutika), 121

;

166.

TRUSTEES

283 496

132

(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),

;

45

(nasa), 279.

al E

108

(karnikara),

TRIAD

>

281.

;

on

(nidhana),

TRENCH

i3 2

(kosa-mandapa),

[kshudra-nasa(i-)], 135

di ti

TREASURY

(vara), 454.

;

(ardha-mandapa),

ra

TRAP

TREE

(nishkasa), 284

VESTIBULE

394-

n

(pur),

TRADERS' ASSEMBLY (nigama-sabha), TRADING CORPORATION (mani-grama),

tio

184; (nigama), 291, etc.

TOWNSHIP

(jayanta-pura [pattana^na),,

,

(kubjaka), 125 281

du ca

TOWN

WATER-LILY (kumuda),

WATER-POT

185.

126.

(kundika), 125; (ghrita-vari),

170.

WATER-JAR (manika), 17


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), 119.

(kila),

(udapana),

(purta),

WOOD-CUTTER 74

;

(kupa),

129

;

314.

WINDOW

145.

(takshaka),

WOODEN IMAGE (sala WORKER (sthapaka), WORKSHOP

192.

bhanjika), 490. 592.

(sthapatya), 591.

WRIST ORNAMENT (mani-bandha) 394. ,

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en t

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fo

rT

ra

di ti

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du ca

tio

n

(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;

18


I


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re

en t

C

n

tio

du ca

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on

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n

SLIPS

du ca

CARDS OR

DO NOT REMOVE

tio

PLEASE

THIS

OF TORONTO

POCKET

LIBRARY

di ti

on

al E

UNIVERSITY

FROM

Acharya, Prasanna Kumar An encyclopaedia of Hindu architecture

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en t

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fo

rT

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NA 1501 A5 1946



re

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An Extensive Reseach on Hindu Architecture.pdf

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