J
KURT L. SCHWARZ
AN
ENCYCLOPAEDIA
OF
HINDU ARCHITECTURE
FRONTISPIECE
SVASTIKA MANSION (FRONT VIEW)
AN
ENCYCLOPAEDIA
OF
HINDU ARCHITECTURE
BY
PRASANNA KUMAR ACHARYA, I.E.S.
M.A. (CAL.), PH.D. (LEYDEN), D.LIT. (LONDON)
HEAD OF THE ORIENTAL DEPARTMENTS
PROFESSOR OF SANSKRIT, UNIVERSITY
OF ALLAHABAD
MANASARA SERIES : VOLUME VII
PUBLISHED BY THE OXFORD UNIVERSITY PRESS
LONDON, NEW YORK, BOMBAY
CALCUTTA. MADRAS
CHINA, JAPAN
/V/)
ft*
PBINTBD BY THE SUPBPfNTENDBNT, PBINTINO AND STATIONERY, U. P., ALLAHABAD, INDIA
LIBRARY
747610
.UNIVERSITY OF TORONTO
' What the learned world demand
of us in India is to be quite
certain of our data, to place the
monumental record before them
exactly as it now exists, and to in-
terpret it faithfully and literally.'
MANASARA SERIES
VOLUME I— A Dictionary of Hindu Architecture ( 1927).
VOLUME II— Indian Architecture according to Mdnasdra Silpd-
Sdstra (1927).
VOLUME III— Mdnasdra— Sanskrit Text with Critical Notes (1934).
VOLUME IV— Architecture of Mdnasdra— Translation in English
(i934)-
VOLUME V— Architecture of Mdnasdra— Plates i-cxxxv (Architec-
tural), GXXXVI-CLVII (Sculptural) (1934).
VOLUME VI— Hindu Architecture in India and Abroad (1946).
VOLUME VII— An Encyclopaedia of Hindu Architecture (1946).
FOREWORD
THIS is the seventh and the last volume of the Mdnasdra series so far
as the present writer is concerned. A few more volumes are, however,
required to complete the work. 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
writer's sixth volume, the Hindu Architecture in India and Abroad. In
fulfilment of the fateful prediction of the late Professor E. J. Rapson
of Cambridge University, the whole of the official career of the pre-
sent writer commencing from the eventful year of 1914 has been fully
occupied in preparing and seeing through press some 5,000 pages
of these seven volumes. As the decree of fate would have it the war
of 1914-18 caused from the very beginning of this task all possible
interruption, risk and inconvenience while the work was carried out
in London, Oxford, Cambridge, and Leyden. The difficult Indian
conditions presented the familiar dilemma either to give up the self-
imposed task altogether as is usually done by us after securing a degree
and an appointment to a permanent post, or to carry it through, with-
out much encouragement and assistance from any quarter, shoulder-
ing in addition to the peculiar duties of an occasionally unfortunate
Professor of an Indian University the heavy burden of research.
The unusual exigencies of the reconstructed Allahabad University
demanded of the writer preparation and delivery of lectures to
B. A., M. A., and Research classes up to 30 times per week and
never less than 18, and also to do the departmental administration,
and the routine 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
to include a few pages in its annual report in order to give publi-
city to the mere titles of papers and books written and published
by their teachers. Our non-interfering Government authorities also
ceased to take any notice of their own servants who were sent on
' foreign service,' or rather banished to the universities.
ix
FOREWORD AN ENCYCLOPAEDIA OF
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 Univer-
sity for a few months, to settle the terms of the publications includ-
ing the author's royalty and reward. Sir Harcourt was 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 in an official
correspondence ' the public importance of printing Indian Architec-
tural researches.'
The commitment of his predecessor had, however, to be carried out,
and the Government, at the suggestion of again an Indian Adviser
to the Governor, have since decided that after the realization of
the full sum of money advanced by the Government for the cost of
printing and publishing through the Oxford University Press, the
further sale-proceeds, if there be any, will go to the successors of the
writer. 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 published in 1927
actually gave a small profit to the Government of Rs.$oo to £.5.400
despite the fact that only 250 copies were then published for circula-
tion among scholars and that the prices of those volumes were fixed
not as a business proposition, but merely to realize the cost of publica-
tion.
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 Govern-
ments and the various corporations, municipal boards, and other
authorities who sanction the plan of a 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 pre-war and
peaceful times, however, facilities were freely provided by the State,
HINDU ARCHITECTURE FOREWORD
especially in the 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 architec-
ture. Cities like Milan used to hold perpetual exhibition of
model houses in order to educate the public in the construction of
suitable dwellings. Perhaps a time will come even in countries like
India, when it may be considered barbarous to question ' the public
importance of architectural researches.' The common sense of civiliz-
ed and progressive peoples has recognized that residential buildings
are more important in some respects than even food and clothes. It
is well known that among the amenities of life, houses afford in a
large degree not only comfort and convenience but also health and
longevity of life, safety, and security. Nomads are not considered
civilized ; they are not attached to any locality ; they have no fixed
hearth and home ; they are not inclined to spend their fortune in
erecting dignified edifices, everlasting ancestral residences, memorials,
monuments, temples, churches, mosques, mausoleums, towers of
silence, monasteries and pagodas. The art and culture of a people
are reflected and preserved in such monuments. They sustain and
stimulate national pride. Thus the architectural structures differ in
various countries to suit their economic and climatic conditions,
weather and soil, taste and aspiration, and material, moral and
spiritual progress. It is, therefore, necessary to settle the architectural
policy of each country in its own way. For India no better
authority containing the experience of generations and experiments
of centuries will ever be available than what is revealed by the
Mdnasdra series.
Apart from supplying cultural and historical information these
volumes contain a key which when understood may help the tackling
of Indian housing problems. It has been shewn and recognized by
discerning authorities that whatever elements have been introduced
to India by the Persians, Moghals, Pathans, and the Europeans, have
failed to suit the Indian climatic and soil conditions. Neither the
desert houses of Arabia nor the rain-coats and the snow covers of Euro-
pean countries can ever suit the peculiar conditions of India. Ex-
perience 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
FOREWORD AN ENCYCLOPAEDIA OF
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 present volume is a revised and enlarged edition of the writer's
Dictionary of Hindu Architecture which was published in 1927, without
any plates. Its change of title to An Encyclopaedia of Hindu Architecture
was originally suggested to the London University and missed by
several learned scholars. A respected one1 commented in his
review of the Dictionary on this point very strongly : ' 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 tide of the book, which does less than
justice to it. ''Encyclopaedia" would be a fitter title. The term
'' Dictionary " is associated in our minds with word-meanings, while
Dr. Acharya's work is very much more than '' word- meaning." Each
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
to the London University the 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 the learned
Doctor with 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 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.""*
1 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).
xU
HINDU ARCHITECTURE FOREWORD
The distinguished artist, Dr. Abanindra Nath Tagore, C.I.E.,
observes also that the Dictionary is ' in the nature of an Encyclopaedia
embracing all the existing treatises on Indian art. He (the author]
has herein presented before us all the information that so long lay
hidden and scattered all over the world ... it may be appro-
priately called the Mahdbhdrata of the literature on Indian art, for,
in it we find all that there is to know about Indian art. . . .
Hitherto it has been extremely difficult to be able to read all the con-
nected literature that is to be found in libraries whether in India or-
outside. Everyone of us does not know the language in which the
treatises are written. Moreover, most of the original texts are preserved
in distant lands. In the circumstances, a volume of this nature,
written in English and containing as perfect a compendium as is
possible, of all the existing treatises on art, came to be a necessity, not
only for us but for foreign artists as well. ... I cannot adequately
express the extent to which I shall be able to make use of it . . .
and the profit which my pupils will derive from it.' l
' Students of Indian architecture should be grateful to him (author]
for accomplishing with such thoroughness a task which has been long
overdue, and which must have entailed a tremendous amount of
patient and often disinteresting work, in a number of different lan-
guages. The Dictionary of Hindu Architecture contains all the architec-
tural terms used in the Mdnasdra and in the known Vdstu-$dstras,
published inscriptions and other archaeological records with full
references and explanations.' 2
' Professor Acharya's Dictionary of Hindu Architecture is a monumen-
tal work, the first of its kind. It deals with three thousand words
relating to architecture and sculpture and cognate arts. Under each
term is brought together all the necessary information in the form of a
short article illustrated with copious quotations from the ancient
printed books, as well as 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
' Translated by Mr. B. N. Lahiri, M.A., I.P., from the Pravasi, April, 1928.
2 The Times Literary Supplement, May 31, 1928.
xiii
FOREWORD AN ENCYCLOPAEDIA OF
given. In effect the Dictionary becomes more of an Encyclopaedia
rather than a dictionary.' 1
In consideration of such comments and in view of the fact tbat
illustrative plates containing 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
designated by Sir Ganganatha has continued to the very end in other
respects as referred to in the opening paragraphs and mentioned
later on.
The prediction that ' for many decades it cannot be improved upon'
has also proved literally true. ' No hidden treasures ' have been
revealed in any quarter. All the new publications including all
archaeological explorations and reports which came out between
1928 and 1943 have been closely searched. The very extensive
volumes, reports, and explorations relating to Central Asia which have
been largely due to Sir Aurel Stein, as well as the voluminous publica-
tions of the Dutch, the French and lately of the Indian scholars
relating to the Far East and Insulindia have also been patiently gone
through.2 But not many new ' terms ' have been discovered. The
new terms added in this volume will be hardly one or two per cent,
of the original list. But a number of new ' articles ' under the old and
the new terms have been added. Articles like the playhouse (under
RANGA) and Svastika symbol, etc., contain all information which is at
present available. Articles on fine arts (under KALA) and Indo-
Persian Architecture, and Maya Architecture of Central America,
etc., are also new.3
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
is hoped, will not cause any inconvenience to the readers. Colonel
Crighton and Mr. M. G. Shome, his successor, as the Superin-
tendent of Government Press, have endeavoured to produce a faultless
volume comparable with the best of European publications.
1 The Pioneer, February 13, 1928.
« See further reference to these works under " Sources " in the Preface which
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 demons-
tration, the result of which is elaborated in the Preface of Volume VI (Hindu Archi-
tecture in India and Abroad}.
xiv
HMDU ARCHITECTURE FOREWORD
The original plan and scope as well as the ideal and general method
followed in the Dictionary l have been retained in this Encyclopaedia
also.2
What remains to be added refers to further instances of the ' freak
of fortune.' Under the war conditions of 1914-18 the work was
commenced and under 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
declaration of the war in the fateful month of September, the Colonel
wrote that he would send back the manuscripts together with his sug-
gestions for printing. His suggestions were received and have been
followed but the original manuscripts never came back. They had
to be prepared again with all the annoyance and labour involved in
such a process. Some of the new entries and additions and altera-
tions made in the missing pages during the past twelve years may
have been, however, lost altogether. Those who work along this line
may share the writer's 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
inspiration.
Another unfortunate incident alluded to in the Preface refers to
the eye-trouble which started as the result of a very close examination
and decipherment for several years of a huge quantity of very badly
preserved old manuscripts on ' Silpa-sastras written in five different
scripts, and of some 50,000 lines of inscriptions.' Over and above this
the eyes were severely exercised by the reading of three proofs of
some 5,000 pages of these seven volumes, of which not only every
word but also every letter and every line thereof had to be minutely
scrutinized at least three times each. All this strain for the past
thirty years aggravated the ailment to such an extent that the
proofs of this last volume had to 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 See pp. x-xii. 2 For details, see pp. xx-xxii.
XV
FOREWORD AN ENCYCLOPAEDIA OF
I take this 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 acknowl-
edgments are also due to the Government of India, especially to the
Department of Archaeology whose Directors General and Provincial
Superintendents very generously supplied all the necessary photo-
graphs of the extant monuments and reprints from the Government
publications. I also take this opportunity to express my indebtedness
to the Governments of Siam, Netherlands (Java and Sumatra), and
French Indo-China for supply of photographic views of Indian
monuments in Insulinclia and for permission to reprint certain plates
from 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
and the plates for the illustration of certain objects of which no extant
examples are available. These drawings and plates had to be pre-
pared from the description found in the texts and required great skill
in representation. Thus they have earned my gratitude.
Lt.-Col. D. W. Crighton, and, after his ictirement, his successor,
as the Superintendent of the Government Printing and Stationery,
Mr. M. G. Shome, and their staff have endeavoured to produce
a faultless volume. Colonel Grigh ton's plan and arrangement
of the matter has been strictly followed. In his great wisdom he
cast the new types for the last two volumes of the series and
stocked the required amount of paper excepting those for plates
before the 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
passed through the Press.
My thanks are due to Mr. M. S. Sharma, M.A.,L.T., who assisted me
substantially in preparing the Index of the modern architectural
terms as translated in the body of the work together with their
Sanskrit equivalents.
I am also thankful to Mr. M. G. Nayar, Senior Reader of
the Government Press, for arranging the plates and the final
revision of the last proof.
P. K. ACHARYA.
ALLAHABAD UNIVERSITY :
April, 1944-46.
xvi
PREFACE TO THE FIRST EDITION
Origin and scope of the work — This Dictionary (encyclopaedia) owes its
name to the University of London.1 A glossary of the architectural
terms used in the Mdnasdra, the standard work on Hindu architecture,
was prepared for my private use when I found it indispensable,
after struggling for two and a half years to edit for the first time and
translate into English a text, which is written in five different scripts,3
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.'3
In this connexion there arose an occasion for me to express to the
University the opinion that an encyclopaedia of Hindu architecture
was badly needed. Architectural expressions appear throughout
the whole field of general Sanskrit literature and epigraphical
records, as well as in the extensive special branch of literature
known as Vdstu-Sdstras, more familiarly called Silpa-fdstras. Existing
dictionaries, in Sanskrit, English or any other language, do not
elucidate architectural expressions ; and the texts of the Vdstu-
fdstras have been waiting for hundreds of years to be unearthed
from manuscripts which are quite inaccessible without the guidance
of a special dictionary that would also be instrumental in bringing
to light many new things hitherto left unexplained in inscriptions
and general literature. The University selected me as the person
most immediately concerned and entrusted me with the task,
suggesting that I should ' make a full " dictionary " of all architec-
tural terms used in the Mdnasdra, with explanations in English,
and illustrative quotations from cognate literature where available
for the purpose.'
Thus the terms included in this encyclopaedia are primarily those
found in the Mdnasdra. But all the new architectural terms of
1 It has developed out of a Thesis, which was accepted by the University for
the D. Lit. degree. See the Foreword for the change of title to ' Encyclopaedia.'
8 Grantha, Tamil, Telugu, Malayalam, and Nagari.
* Ep. Ind., Vol. I, p. 377 ; compare also Sir R. G. Bhandarkar, Ind. Ant., Vol.
XII, pp. 140, 141.
xvij
PREFACE AN ENCYCLOPAEDIA OF
any importance discovered in all the known architectural treatises,
epigraphical documents, and general literature have also been
added. I should estimate the new terms at about one-fourth of the
total, numbering approximately three thousand.1 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
line.
Extent of architectural terms comprehended — In the Vdstu-sastras
architecture is taken in its broadest sense and implies what is built
or constructed in lasting materials and with a design and an
ornamental finis. Thus, in the first place, it denotes all sorts of
buildings, religious, residential and military, and their auxiliary
members and component mouldings. Secondly, it implies town-
planning ; laying out gardens ; constructing market places ; making
roads, bridges, gates ; digging wells, tanks, trenches, drains, sewers,
moats ; 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 with the making
of phalli, idols of deities, statues of sages, images of animals and
birds. It includes the making of garments and ornaments, etc.
Architecture is also concerned with such preliminary matters
as the selection of site, testing of soil, planning, designing, finding
out cardinal points by means of a gnomon, dialling ; and astrono-
mical and astrological calculations.
These and similar matters are expressed by technical names
which are to be understood as architectural terms for the purpose
of this dictionary (encyclopaedia).
Principal sources and arrangement of materials — The sources drawn
upon in this compilation may be classified under two divisions,
namely, literary and archaeological. The former includes all the
known Vdstu-sdstras, mostly in manuscript, which are avowedly
architectural treatises, such as the Mdnasdra, etc. ; architectural
» See the Foreword for a reference to the further additional terms discovered
since 1928 and incorporated in this volume.
xvjii
HINDU ARCHITECTURE PREFACE
portions of the Agamas, and the Purdnas, cognate portions of the
Vedic and classical literature, such as the Brdhmanas, the Sutras,
the Epics, Kdvyas, dramas, etc. The archaeological records
comprise all the inscriptions and other cognate matters published
in the following series : Epigraphia Indica (first 1 3 volumes) ; Indian
Antiquary (fiist 44 volumes) ; Corpus Inscriptionum Indicarum (2
volumes) ; Epigraphia Carnatica (12 volumes, in 15 parts) ; South
Indian Inscriptions of Dr. E. Hultzsch, late Rai Bahadur V.
Venkayya, and Rao Sahib H. Krishna Sastri (3 volumes, in 8
parts) ; General Sir A. Cunningham's Archaeological Survey Reports
(23 volumes) ; Archaeological Survey, New Imperial Series (Vols. IV,
XI, XII, XVIII, XXI, XXIII, XXIV, XXXIII, XXXIV) ;
and Mysore Archaeological Survey Reports (Vols. I, II, III), [Serindia,
by Sir Aurel Stein ; Report on Archaeological Tour with
Bunar Field Force (1900), by Stein ; Ancient Khotan (Vols. I, II),
by Stein, Ville de Khotan, by Remusat ; L'Art de Gandhara,
by M. Foucher ; Notes Chinoise, by M. S. Levi ; Fa-hien's Travels,
by Legge ; Asiatic Researches (Vols. I — XIV) ; Marco Polo (Vols. I,
II), by Yule ; Ancient Colonies in the Far East, by R. C. Mazumdar ;
History of Siam, by Wood ; History of Burma, by Phare ; Inventaire
Descriptif des Monuments Chams de L'Annam (Vols. I, II), by
M. H. Parmentier ; Cambodge (Vols. I, II, III), by E. Aymonier ;
Le Cambodge, by M. L. Delaparte ; Java and Her Neighbours, by
A. S. Walcott ; De Sutrantraasche Period der Javansche Geschiedenis
(1922), by Krom ; Bijdragen tot-de Taal-Land en Volken-Kunde
van Nederlandsche Indie (1918); Buddhist Records, translated by
Bill ; History of Art in Persia, by Perrot and Chipiez ; Etudes
Iraniennes, by Darmesteter ; Scritores rerum Alexandri Magni,
by C. Miiller ; Architectural Remains : Anuradhapur (Ceylon), by
Smitter; etc.1].
Illustrative 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
where they seemed most suitable.
Appendices — A sketch of the important Sanskrit treatises on
architecture is given in Appendix I. In Appendix II is given an
1 Stt further details under Bibliography.
xix
PREFACE AM ENCYCLOPAEDIA OF
alphabetical list of the historical architects 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
suggest the idea of 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,
pp. 319-20), for collecting materials for the ancient Geography of
India by indexing separately all the geographical words occurring
in the archaeological and literary documents. Dr. Fleet illustrated
this principle by making a 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
Revd. J. E. Abbott (Ind. Ant., Vol. XXVIII, p. i, f.). There such
list-making stopped. It would have been much easier for me if
I could have 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
take Dr. S. Sorensen's Index to the names in the Mahdbhdrata as
my model. I have followed his 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
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. Coomaraswamy published a short list after the publication of my
Dictionary referring to a few new terms from the Buddhist literature and the
writer's Indian Architecture (1927).
XX
HINDU ARCHITECTURE PREFACE
largest Sanskrit work, the St. Petersburg Dictionary, as my ideal.
But there, too, I had to differ from its immortal authors, Messrs.
Bohtlingk and Roth, the fathers of the most useful Sanskrit re-
searches, in two important points. First, the St. Petersburg Dic-
tionary does not, for obvious reasons, give in all cases the full context
of the passages quoted therein. For instance, from the illustrations
like 'prasadarudha' and 'prasadangana ' (see St. Pet. Diet.,
under PRASADA), it is difficult to see whether 'prasada' implies a
temple, or a palace, or an ordinary residential building, or the
assembly room and confessional hall of the Buddhist priesthood.
In spite of some tremendous difficulties, I found it unavoidably
necessary to cite long passages, in text or translation, or sometimes
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
linga, etc. ; these different shades of meanings cannot be made
clear by such quotations as 'pithopari ' or 'pitham ashtangu-
lam.' The second point, by far the more significant, will further
explain the need of long contexts. The St. Petersburg Dictionary
refers only to well-known treatises which, though covering an
extensive field, are yet easily accessible, and does not deal with
manuscripts locked up and preserved as relics ; nor has it anything
to 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 approximately 50,000 pages, also necessitated the
full context, partly for reasons stated above, and partly with a view
to avoiding the possibility of distracting the attention of the reader
and interfering with his grasping the argument rapidly.
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 Sans-
krit alphabet with regard to the number of characters, especially
xxi
PREFACE AJf ENCYCLOPAEDIA OF
the vowels and the phonetical arrangement of them, seemed
unsuitable for the terms which are included in this dictionary
(encyclopedia.) In either of the alphabets, the transliterated
Sanskrit words in some cases would be more or less confusing (e.g.
Rishi, Riksha, Rintika, Ripu). But for the difficulties of making
typewritten copies l before the dictionary went to press, I
should have preferred to have Sanskrit words written in Sanskrit
characters. Following the order of the Sanskrit alphabet, words
like ' varhsa,' and ' sanku ' are given not before ' vakra ' and
's"aka' (as in the St. Pet. Diet., M. W. Dictionary and the Vedic
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
original letters : ' sarhku ' should be where ' sanku ' would be
placed ; but this is an extremely confusing arrangement (see Apte's
Dictionary) . There is no reason why ' samku ' should be read
before ' s"aka,' there is also no reason for its being placed after
' Sashpa,' although one should be quite justified in doing so when
he is following the order of a particular alphabet, and does
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-
cal 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.
Acknowledgment — Except in important cases which deserve
special notice, the names of the scholars who have edited a parti-
cular inscription or written an article have not been added after
the quotations. This need not offend anybody. I am sincerely
grateful to the scholars to whom I owe the quotations. It seems,
however, of little interest to know the name or names of the authors
or editors of a particular passage, quoted occasionally a dozen
times with full references to the article where it occurs. ' Vedi,'
1 Four copies of the Thesis referred to above had to be submitted to the
University of London.
xxii
HINDU ARCHITECTURE PREFACE
for 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
marks, and I have stated that 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.
Again, a portion of a verse of the Sdnkhayana Srauta-sutra is
quoted in the St. Petersburg Dictionary, but the full context is given in
our encyclopaedia, and it is stated thus : Sdnkhayana Srauta-sutra,
XVI, 1 8, 13 (St. Pet. Diet.}. Beyond this, it seems unnecessary to
add the names of Messrs. Bohtlingk and Roth. Lastly, in cases of
quotations from general literature, the extent of which cannot
be indicated even by an approximate number of books, it was
impossible in some instances to mention the author's name.
Compare, for example, a Glossary of Grecian Architecture, an
anonymous work ; and Silpa-sastra-sdra-samgrahah Sivandrdya-
ndtmajena prdchlna-granthebhyah sdram uddhritya prakdsitah — Silpa-sdstra-
sdra-samgraha, compiled by collecting essential portions of the
ancient treatises by a son of Sivanarayana' ; again, Visvakarma-
jndna, corrected (s'arhs'odhita) by Krishna-s'ankara-s'astri ; the
author, if there were a real one beyond the mythical VisVakarman
(Creator of the Universe), is not stated anywhere in the treatise
itself.
Need of showing the results achieved — Although it would be
presumptuous for anybody to say that the subject of a dictionary
like this has been exhausted in a pioneer work, I might be permitted,
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
justify the great labour involved will have to be left to the actual
experiment of those who are in need of such a work.1 But the
i See the ' Extracts from Opinions and Reviews,' at the end of this volume,
also of the Architecture of Mdnasara, Volume IV (1934), by the writer, and |What
Others Think ' in the writer's Hindu Architecture in India and Abroad, Appendix III,
pp. 422-49.
xxiii
PREFACE AN ENCYCLOPAEDIA OF
tremendous difficulties of a compilation like this will perhaps be not
fully brought home to all readers, because ' no one but those who
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,
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.'
Aids and encouragement received — My sincere obligations are due,
to the Secretary of State for India in Council for all facilities and
help which I had the privilege of receiving as a Government of
India State scholar and which were needed by a pioneer in this
most exacting branch of oriental researches, specially during the
Great European War of 1914-18. I take this opportunity to offer
my respectful thanks in particular to late Sir Austen Chamberlain,
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.
Thomas, C.I.E., the then Librarian of India Office, London. As stated
above, I owe to him the inception of the idea and courage to under-
take this task. He placed at my disposal all the materials in the India
Office and procured for me most of the available manuscripts from
different libraries in India and Europe. He facilitated my work
in Holland. He arranged, through the appreciation and kindness
of Sir John H. Marshall, C.I.E., D.LITT., the then Director General of
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 P sir AC
I take this opportunity to express my respectful gratitude to Sir
Harcourt Butler and his Government. And to Sir Claude I am
further indebted for his scholarly sympathy, friendly advice, and
constant encouragement. To those great lovers of oriental scholar-
ship, Rai Rajeshwar Bali Sahib, O.B.E., the then Minister of Educa-
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
for further encouragement, which has kept up the energy and
spirit needed in bringing out this dictionary, after working on it for
the past twelve years.
For suggesting many improvements I am indebted to the veteran
orientalists, Dr. L. D. Barnett, of British Museum, London, and late
Professor E. J. Rapson, of Cambridge University, who examined the
whole manuscript before it went to press. I am thankful to Pro-
fessor J. Ph. Vogel, PH.D., of Leiden University, for helping me with
all necessary books during my stay there. To Mr. E. L. G. den
Doore-n de Jong and Miss Ch. L. Du Ry van Beest Holle of Zooto-
mical Laboratory, Leiden, I owe many friendly services in con-
nexion with this work, but for which it would have been impos-
sible for me to get on in Holland. To another talented lady friend,
late Miss E. J. Beck, who took the trouble of putting in the
diacritical marks to a duplicate typewritten copy of this dictionary,
I owe, like many other Indian students, more obligations than I can
adequately express.
Last but not least I am pleased to record my grateful thanks
to Major W. C. Abel, M.B.E., V.D., lately the Superintendent
of 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
this.
P. K. ACHARYA.
SANSKRIT DEPARTMENT,
UNIVERSITY OF ALLAHABAD :
August, 1937.
XXV
THE ORDER OF THE ROMAN CHARACTERS AND THE METHOD
OF TRANSLITERATION ADOPTED
a, a ; i, I ; u, u ; ri, ri ; e, ai ; o, au ;
k, kh ; g, gh ; n ; ch, chh ; j, jh ; n ;
t, th ; d, dh ; n ; t, th ; d, dh ; n ;
p, ph ; b, bh ; m ; y, r, 1, v ;
5, sh, s ; h ; m ; h.
CONTENTS
PAGES
ix-xviii
FOREWORD
PREFACE TO THE FIRST EDITION (DICTIONARY)
THE ORDER OF ROMAN CHARACTERS AND THE METHOD OF
TRANSLITERATION ADOPTED
xxxi-xxxiv
LIST OF ILLUSTRATIONS
TEXT OF THE ENCYCLOPAEDIA
APPENDIX I-A SKETCH OF SANSKRIT TREATISES ON ARCHITEC-
TURE .. •• 6I5~59
APPENDIX II-A LIST OF HISTORICAL ARCHITECTS WITH SHORT
NOTES ON THEIR WORKS .. •• '77
670-84
BIBLIOGRAPHY
EXTRACTS FROM OPINIONS ON THE DICTIONARY .. •• iA-i8A
INDEX TO MODERN ARCHITECTURAL TERMS WITH THEIR
CORRESPONDING SANSKRIT EQUIVALENTS . . • • I tO l8
LIST OF ILLUSTRATIONS
Serial no. Facing page
. . Frontispiece
I.
Svastika Mansion (front view)
f f
2.
Anghri (Half plans looking up and looking
down)
3-
Ahghrika-vari
4-
Anda
5-
Atibhanga
• •
6.
Adhishthana
• •
7-
Anu-sala
8.
Antara
9-
Anila-bhadraka
••
11.
Amrita-nandana
• •
12.
Alaksha
13-
Ardha-prana
14.
Ardha-mandapa
• *
'5-
Amsuka
16.
Ayaka-skambha
• •
17-
Ardha-hara
• •
18.
Alindaka
19-
Alpa-nasika
20.
Abhaiiga
21.
Aliiiga
22.
Andola
23-
Asana
24.
Asana
25-
Indra-kila
26.
Indra-kos"a
27-
Ishtaka
• *
28.
Upa-pada
29-
Upana
t
30.
Ugrapitha
f f
31-
Uttara
32.
Uttana-patta
33-
Upa-vedi
• •
34-
Upa-tula
• •
35-
Upa-pitha
• •
36.
Ushnisha
• •
37-
Kataka
• •
38.
Kapota
• •
39-
Kapota-palika
• •
40.
Karoti
. .
41.
Karna-patra . .
• •
42.
Kala'^a
43-
Kirtti-vaktra
• •
44-
Kampa
• »
I2
I2
I2
I2
oQ
Ov7
38
oq
3g
«g
.5
.g
4g
4g
.„
4g
4g
4g
54
g6
67
66
66
67
68
70
70
70
71
76
90
100
ioo
ioo
ioo
ioo
ioo
ioo
102
LIST OF ILLUSTRATIONS
Semi no. Facing page
45. Kampa-bandha .. .. .. •• 102
46. Kadanga .. •• •• ..104
47. Kabandhana . . . . • • . . 104
48. Karnika . . 104
49. Kama .... 104
50. Karnika . . ;"• • • • • 104
51. Kalpadruma 112
52. Kavata .. •• •• •• •• 118
53. Kunjaraksha . . . . . . . . . . 1 18
54. Kumari-pura .. .. 118
55. Kuntala .. •• •• •• •• 124
56. Kumbha-panjara 128
57. Kuta .. .. •• ..128
58. Kokila .. .. •• •• .. 128
59. Kubjaka . . . . . . . . . . 130
60. Keyura .. .. •• .. .. 130
61. Kokilargala .. .. .. .. .. 131
62. Kona-loshta .. .. .. .. 130
63. Kumbha-stambha .. .. .. .. 132
64. Kostha-stambha . . . . . . . . 132
65. Kudya-stambha .. .. .. .. 136
66. Kumuda . . . . . . . . . . 1 36
67. Kshudra-nasa .. .. .. .. 136
68. Kshepana . . . . . . . . . . 136
69. Kharvata . . . . . . . . . . 138
70. Kheta . . . . . . . . . . 138
71. Garbha .. .. .. .. .. 146
72. Ganda-bherunda . . . . . . . . 148
73. Gabhara . . . . . . . . . . 148
74. Garuda-stambha . . . . . . . . 149
75. Gavaksha . . . . . . . . . . 148
76. Guru-dvara . . . . . . . . 1 48
77. Goji .. .. .. .. .. 156
78. Gopana .. .. .. .. .. 156
79. Graha-kundala . . . . . . . . 156
80. Ghatika-sthana .. .. .. .. 156
81. Gopura .. .. .. .. .. 158
82. Chauvadi .. .. .. .. .. 174
83. Chandra-gala .. .. .. .. 174
84. Chaitya . . . . . . . . . . 1 74
85. Chitra-torana .. .. .. .. 174
86. Jagati . . . . . . . . . . 184
87. Jaya-stambha .. .. .. .. 184
88. Jala-garbha . . . . . . . . . . 184
89. Jala-dvara . . . . . . . . . . 1 84
90. Tala-mana . . . . . . . . . . 196
cji. Torana .. .. .. .. .. 218
XXXII
LIST Off ILLUSTRATIONS
Serial no. Facing page
92. Tarahga . . . . . . . . . . 222
93. Tatika .. .. .. .. .. 222
94. Trikarna . . . . . . . . . . 322
95. Tripatta .. .. .. 222
96. Tribhanga . . . . . . . . 222
97. Danta-klla . . . . . . . . 226
98. Danta-nala . . . . . . . . 226
99. Dipa-danda . . . . . . . . 226
100. Dipa-stambha . . . . . . . . 226
101. Dhara-kumbha .. .. .. .. 226
102. Dhvaja-stambha . . . . . . . . 226
103. Natya-griha . . . . . . . . 274
104. Natya-griha . . . . . . . . 274
105. Nala-geha .. .. .. .. 278
1 06. Naga-kala . . . . . . . . 280
107. Nataka . . . . . . . . . . 280
108. Nasika . . . . . . . . . . 280
109. Nidhana . . . . . . . . . . 280
no. Nidra .. .. .. .. .. 280
in. Pafijara . . . . . . . . . . 288
112. Pafijara-lala .. .. .. .. 288
113. Patra .. .. .. .. .. 288
1 14. Patra-torana . . . . . . . . 288
115. Padmasana .. .. .. .. 298
1 16. Padma . . . . . . . . . . 302
117. Padma-pltha .. .. .. .. 302
118. Parigha .. .. .. .. .. 302
119. Parna-mafljusha •• •• •• •• 302
120. Padajala . . . . . . . . . . 302
121. Palika .. .. .. ..302
122. Pitha .... 309
123. Potra .. .. •• .. .. 308
124. Prachchhadana . . . . . . . . 308
125. Pratoli .. .. .. 309
126. Phana .. .. .. .. .. 308
127. Phalaka .. .. .. .. • . 3°8
128. Pralamba . . . . • • S2^
129. Prastara . . . . . . . . . . 33°
130. Balika . . . . • . • • • • 366
131. Bali-pltha .. .. •• 3^6
132. Bahala . . . . . . 3^6
133. Bahula .. .. .. .. . • 366
134. Brahma-mastaka . . • • . • • • 3^8
135. Bhadra .. .. .. ..388
136. Bhrama .. .. .. •• •• 3^8
137. Bhrama-danda .. .. .. •• 388
138. Maftjusha .... 39°
xxxi n
LIST OP ILLUSTRATIONS
Serial no. Fac'ng page
139. Manika .. .. .. .. .. 3^4
140. Mani-dvara .. .. .. .. 394
141. Mandapa .. .. .. .. .. 396
142. Mandapa . . . . . . . . . . 406
143. Masiti .. .. .. .. .. 414
144. Masuraka .. .. .. .. .. 414
145. Mukula . . . . . . . . . . 414
146. Yupa-stambha .. .. .. .. 414
147. Raja-harmya . . . . . . . . 438
148. Lakshmi-stambha . . . . . . . . 442
149. Lupa . . . . . . . . . . 442
150. Vedi .. .. .. .. .. 442
151. Sariku .. .. .. .. .. 476
152. Sala (Dandaka) . . . . . . . . 484
153. Sikhara .. .. .. .. .. 526
154. Srivatsa . . . . . . . . . . 526
155. Setu . . . . . . . . . . 526
156. Stupi . . . . . . . . . . 526
157. Stambha . . . . . . . . . . 534
1 58. Svastika . . . . . . . . . . 604
159. Hasti-nakha .. .. .. .. 612
1 60. Hasti-hasta 612
AN ENCYCLOPAEDIA OF
HINDU ARCHITECTURE
AKSHA — The base of a column, the eye, a die.
(1) The base of a column :
Athavaksharh (=adhishthanarh) navarhsochcharh janma chaikena
karayet I (Manasara, xiv, 17, note.)
(2) The eye :
Asyayamam tri-matrarh syad vistararh chaika-matrakam I
Akshayamardha-matrarh syad vistararh yuktito nyaset I
(M., LX, 29-30)
(3) A die :
Akshaih sphatika-sarhyuktarh tula-bhajanam eva chai
(M., LXVIII, 28.)
(4) Referring to the window-like part of a dold (swing, hammock,
palanquin), and of a chariot :
Puratah prishthato madhye parva(darpa)narh bhadra-samyutam I
Parsvayor va(dva)ranarh kuryat tasyadho'ksharh susamyutam I
(M., L, 165-166 )
Tasyadhah karnanarh kuryad akshotsedhardham eva cha I
(M., XLI, 51, see further context under AKSHA-BHARA.)
See GAVAKSHA — Cf. Mitdkshara (ed. Gal. 1829) 146, i (Pet. Diet.) :
Akshah pada-stambhayor upari-nivishta-tuladhara-pattah I
Akshagra-kila I
Pushkaraksha (see Pdnini, 5, 4, 76).
Dharabhir aksha-matradhih (Arjunasamdgama, ed. Bopp, 8, 4.)
AKSHA-BHARA— A lower part of a chariot.
Tasyadho (below the pada or pillar) karnarh kuryad akshotsedhar-
dham eva cha i
Tat-tad-dese tu chhidrarh syad aksha-bhare rathantakam I
Chhidre pravesayet kilam yuktya cha pattayojitam I
(M.,KW, 51-53.)
i
AKSHI-REKHA AN ENCYCLOPAEDIA OF
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 I
Akshi-sutrava§anam cha tasyadhas tat-padantakam I
Hikka-sutrad adho bahu-dirghaih rikshangulam bhavet I
(M., LXV, 12-13.)
AGNI-DVARA— The door on the south-east.
Ghatur-dikshu chatush-kone maha-dvaram prakalpayet I
Purva-dvaram athaisane chagni-dvaram tu dakshine I
Pitur-dvararh tu tat-pratyag vayau dvaram tathottaram I
(M., ix, 292, 294-295.)
AGRAHARA — A village inhabited by the Brahmanas.
Viprair vidvadbhir abhogyam mangalam cheti kfrtitam i
Agraharas tad evam uktaih viprendrah Kamikagame n
(Kamikagama, xx, 3.)
Agraharam vinanyeshu sthan!yadishu vastushu I
Prag-adishu chatur-dikshu vayau ise sivalayah II (ibid., xxvi, 32.)
NlLAKANTHA, 1 6, 3—^. Diet.) :
Agrarh brahmana-bhojanam tad-artham hriyante raja-dhanat prithak
kriyante te agraharah kshetradayah I
Chatur-bhuja (ibid ; comm. Mbh.) : Agrahara— Sasana.
AGHANA — Not solid, a hollow moulding, column or pillar.
Ghanan-chapy aghananchaiva vinyasam atha vakshyate I
( Vistarayama-sobhadi-p urvavad-gopurantakam) I
Yam manam bahir anyena chulika-mana-sammitam I
(M., xxxiu, 290-292, see also 293-309.)
Referring to windows (or rather window-post) :
Tad-vistara-ghanarin sarvam kuryad vai silpi(a)vit-tamah I
Gopure kuta-kosht(h)adi-grive padantare tatha i
Ghane vapy aghane vapi yatha vatayanair-yutam I — (ibid., 592-594.)
Cf. Vistaram cha dvi-matram syad agram ekarigulam bhavet I
Ghanam ekangulam chaiva i (M., LX, 17-18.)
Referring to the image of a bull :
Ghanam vapy aghanam vapikuryattu silpi(a)-vit-tamah I
(A/..LXU, 17.)
2
HINDU ARCHITECTURE AftKA(GA)NA
AGHANA-MANA (see GHANA) — Measurement by the interior
of a structure.
Evarh tat(d) ghana-manam uktam aghanarh vakshyate' dhuna II
Vistarayama-bhaktih syad uktavat(d)yuktito nyaset I
Dvi-tribhaga-visale tu ayatam tat prakalpayet I
Bhakti-tri-bhagam ekarhsaih bhitti-vistaram eva cha I
Sesharh tad garbha geharh tu madhya-bhage tu veSanam I
(M., xxxm, 331-335.)
AfrKA(GA)NA (see PRANGANA) — Same as Angana, a court,
a courtyard.
Yatha madhye'rikanam kuryat pancha-bhagena vistritam I
(M., xxxiv, 143.)
Kalpa-drumasya purato bahir ankanam syat I (M., XLVIII, 72.)
Athatah sarhpravakshye'ham ariganasya tu lakshanam I
Anganarii dhvaja-yonih syan mukhayamabhisamyutam II
Padukanam bahir-bhagam anganam tat vidur budhah I
Dhvajah sarvatra sarhpanna iti sastra-nidar^anam »i
(Vastu-vidya, ed. Ganapati Sastri, vi, 1-2.)
Madhye tu pranganam karyam vi^alenaika-pamktikam !
Ardha-parhkti-vivridhya tu trimsat pamkty antam ishyate I
Ayame chaika-pamkty adi tri-gunantam visalata I
Evam brahmanganarh karyam jala-pata-yutam nava i|
Madhyamaih changana-sthanam mandapena yutam tu va II
Prag anganam pradhanam syat pragavaganganam jvarah I'
(KSmikdgama, xxxv, 40, 41, 66, 131.)
Ujatangana-bhumishu I — (Raghuvamsa, ed. Gal. i, 52, Pet. Diet.).
Vimanam hamsa-y uktam etat tishthati te'ngane I
(Devimahdtmya, ed. Cal. 5, 50.)
Nripangana — (Kavya chandrikd, 166, 15 ibid.).
Nripangana — (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 of) 12 anganas near the big asvattha tree in proximity to
the Matsyatlrtha, on the bank of the Arkapushkarini.' (Ep. Carnal.,
Vol. iv, Edatore Taluq, no. 3, Roman text, p. 84, Transl., p. 52).
3
AttGA-DOSHANA AN ENCYCLOPAEDIA OF
AftGA-DOSHANA— The defects of the limbs ; the penalties for
a defective construction.
Mdnasdra, Chap. LXIX, 1-73 :
The chapter is named Angadushana in the colophon. The term would
literally mean the defects of the limbs. The chapter opens with the
proposal that the penalties on the master, the king, and the kingdom
following a defective construction will be described :
Alayadyanga-sarveshu hinadhikyarh bhaved yadi I
Raja-rashtradi-kartrinam dosha-praptim(-r)ihochyate (1-2).
There should not be, as stated, any defect in the width, height, plinth,
lintel, pillar, entablature, finial, dome, door, adytum, staircase, terrace,
gate house, pavilion, wall, etc. (3-10).
Cf. Tasmat tu dosha-sarhprapti(h) sllpidrishti(r) nivarayet (n).
The illustrations, too, of penalties for defective construction are taken
from the different architectural objects, such as door, staircase, pillar,
wall, dome, spire, etc. Thus it is stated that if the altar (vedika) be
defective, the master would lose his eyesight (26) ; if the dome be larger
or shorter, the people would suffer from poverty (29) ; if the pillars
be larger or shorter, the race of the master would be exterminated (23),
and so forth.
AlSJGULA — A finger, a finger-breadth, a measure of about three-
fourths of an inch ; one of some equal parts, into which an architec-
tural or sculptural object is divided for proportional measurement.
(i) Mdnasdra, Chap, n :
The definition of paramanu or atom :
Muninam nayanodvikshya(s) tat paramanur udahritam (40).
Cf. Brihat-Samhitd (below).
(Paramanu or atom is the lowest measurement.)
The details of the angula-measure (41-46) :
8 Paramanu (atoms) = i Ratha-dhuli (car-dust),
8 Car dusts = i Valagra (hair's end),
8 Hair's ends = i Liksha (nit),
8 Nits = i Yuka (louse),
8 Lice = i Yava (barley corn),
8 Barley corns = i 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
HINDU ARCHITECTURE ANGULA
Further details (49-53) :
12 Arigulas = Vitasti (span).
2 Spans or 24 arigulas = Kishku-hasta (smallest cubit) .
25 Angulas = Prajapatya-hasta.
26 „ = Dhanur-mushti-hasta.
27 „ = Dhanur-graha-hasta.
4 Cubits = Dhanuh or danda (bow or rod).
8 Dandas (rods) = Rajju (rope).
Direction is given with regard to the use of the cubits of different lengths
and other measures (54-58) : conveyances and bedsteads, etc. are stated
to be measured in the cubit of 24 angulas, buildings in general (vimana)
in the cubit of 25 angulas, the ground or land (vastu) in the cubit of 26
angulas, and the villages, etc. in the cubit of 27 angulas. The cubit of 24
angulas can, however, be employed, as stated in measuring all these
objects.
Chap. LV :
Three kinds of the angula-measure :
Matrangula-gatam proktam arigulam tri-vidham bhavet I (53).
The manangula is the standard measure ; it is equal to 8 barley corns :
Yava-tarashta-matrarh syan manangulam iti smritam I (56) .
The matrangula is the measure taken in the middle finger of the master :
Kartur dakshina-hastasya madhyamangula-madhyame I
Parva-dirgharh tan-naham matrangulam udahritam I (57-58).
The details of the deha-labdhaiigula are left out ; but this measure is
frequently referred to :
Trayas-trirhsach chhatantam syad deha-labdhangulena va I (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
is 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
example, Chap. LXV :
Murdh(n)adi-pada-paryantam tunga-manam praSasyate I (2).
Chatur-virhsach-chhatam kritva tathaivarhs'ena manayet I (3).
Ushnishat kesa-paryantarh chatur-matram praSasyate I (4).
Ardharhsarh gala-manam syad vedams'am gala-tuhgakam I (6).
Sa yava-tryarhsakarh chaivanamikayamam ishyate I (26).
Medhrantam uru-dirgharh syat sapta-virhsangulam bhavet I (9).
The deha-labdhangula is also called the bera- (idol) ahgula and the
linga- (phallus) angula, Chap. LXIV, 49-53 :
Arhsakam manam evoktam angulair manam uchyate I
Yal-linga-tungarh samgrahya chatur-virh^ach-chhatantakam I
Lingangulam iti proktam berarh talava^ad api l
Kritva berangularh proktam manangulam ihochyate I
Yava-tarashta-matrarh syad devanam angulam bhavet |
ANGULA AN ENCYCLOPAEDIA OF
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 i
Tad vindyat paramanum prathamam tad-dhi pramananam n
Paramanu-rajo-valagra-liksha-yuka yavo'ngulam cheti i
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 ;
Tatha cha jalantara-gate bhanau yat sukshmam drisyate rajah I
Prathamam tat pramananam trasa-renum prachakshate II
Tasmad rajah kachagraih cha liksha yuka yavo'ngulam I
Kramad ashta-gunarh jneyam jina-samkhyangulaih samah It
From an unknown author are the verses quoted by
(3) Bapu-Deva in his edition of the Siddhdnta-siromani, p. 52 :
VeSmantah patiteshu bhaskara-kareshvalokyate yad-rajah i
Sa proktah paramanur ashta gunitais tair eva renur bhavet n
Tair valagram athashtabhih kacha-mukhair liksha cha yukashtabhih I
Syat tribhi^cha tadashtakena cha yavo'shtabhis cha tair angulam i
'Digit (angula) has here (B.S., LVIII, 4) no absolute, but a relative value ;
it is the module and equal to TJT of the whole height of the idol, orT^ of
idol and seat together.'
Commentary : yasmat kashthat pashanadikad va pratima kriyate tad
dairghyarh pitha-pramana-vivarjitarh dvadaSa-bhagavibhaktam kritva
tatraiko bhago navadha karyah, so'ngula-sajnako bhavati, yasmad
ashtadhikam angula-Satam pratima pramanam vakshyati — (Kern, jf.R.A.S.
N. S., Vol. vi, p. 323, notes i, 2).
(4) Introduction (pp. 8-9) to Rdjavallabha Mandana, ed. Narayana
Bharati and Ya^ovanta Bharati :
1 Angula = matra.
2 Angulas = kala.
3 „ = parvan.
4 „ = mushti.
5 „ = tala.
6 „ = kara-pada.
7 „ = drishti.
8 „ = tuni.
9 „ = prade^a.
10 „ = saya-tala.
1 1 Angulas = go-karna.
12 „ = vitasti (span).
14 „ = anaha-pada.
21 „ = ratni.
24 „ = aratni.
42 „ = kishku.
84 „ = purusha
(height of a man).
96 „ — dhanus.
106 „ = danda.
This is apparently taken from the Brahmdnda-Purana (see below).
6
HINDU ARCHITECTURE AftGULA
(5) Brahmdnda-Purdna, Chap, vn (Vayu-prokte purva-bhage dvitlye
anushariga-pade) gives a curious origin of the angula measure :
It is stated (in w. 91-95) that people at first used to live in caves,
mountains, rivers, etc. They began to build houses in order to protect
themselves from cold and heat (sitoshna-varanat) . Then they built khetas
(towns), puras (houses), gramas (villages) and nagaras (cities). And to
measure their length, breadth, and the intermediate distance between
two settlements (sanniveSa) the people instinctively (yatha-jnanam) em-
ployed their own fingers. Thence forward the arigulas are used as
standards of measurement.
Then follow the details of the angula measurement (vv. 96-101) :
Jayangula-pradesams trin hastah kishkum dhanumshi cha I
Dasatvangula-parvani pradeSa iti samjfiitah n (96).
Angushthasya pradesinya vyasa(h) prades"a uchyate I
Talah smrito madhyamaya gokarnas" chapyanamaya It (97).
Kanishthaya vitastis tu dvadasangula uchyate |
Ratnir angula-parvani samkhyaya tvekavims'atih II (98).
Chatvari-vims'atis chaiva hastah syad ahgulani tu |
Kishkuh smrito dviratnis tu dvi-chatvarim§ad angulah l| (9^).
Chatur hasto dhanur dando nalika yugam eva cha I
Dhanuh sahasre dve tatra gavyutis taih krita tada u (100).
Ashtau dhanuh sahasrani yojanam tair vibhavitam I
Etena jojaneneha sannivesas tatah kritah II (101).
(6) Matsya-Purana, Chap. CGLVIII, vv. 17-19 :
Jalantara-pravishtanam bhanunam yad rajah sphutam I
Trasa-renuh sa vijneyo valagrarh tair athashtabhih II (17).
Tad-ashtakena tu likhyatu yuka likhyashtakair mata I
Javo yukashtakam tad-vad ashtabhis tais tad angulam II (18).
Svakiyanguli-manena mukham syad dvadasangulam |
Mukha-manena karta^a sarvavayava-kalpana u (19).
(7) Vdstu-vidyd, ed. Ganapati Sastri, i, 3-5 f :
Tatradau sampravakshyami sarvesharh mana-sadhanam i
Manenaivakhilam loke vastu samsadhyate yatah n
Paramanuh kramad vriddho manangula iti smritah |
Paramanur iti prokto yoginarii drish^i-gocharah II
Paramanur ashtabhis trasa-renur_.iti smritah I
Trasa-renu§ cha romagram liksha-yuka-yavas tatha II
and so forth (see Manas am).
7
ANGULA AN ENCYCLOPAEDIA OF
(8) Bimbamdna, MS. (British Museum 558, 5292), v. 9 :
Yad-bimba-pramanena manangula(m) vibhajite i
Tena bimbasya manam tu tatra(m) ayamam ishyate I
(9) Suprabheddgama, Patala, xxx, w. 1-9 :
Athatah sampravakshyami angulanam tu lakshanam I
Manangulam tu prathamam syat matrarigulam dvitiyakam u (i)
Deha-labdha-pramanam tu tritiyam angularh smritam I
Yasmat param amir nasti paramanus tad uchyate n (2)
Paramanur adhaS chaivapi cha kes"agra eva cha i
R(l)iksha-yuka-yavas tatra kramaso'shta-gunair matam si (3).
Manangulam iti proktarh tato matrangulam s"rinu I
Acharya-dakshine haste madhyamanguli-madhyame II (4).
Parva(m) matrangulam jneyarh deha-labdhangulam Srinu I
Pratimayas tathotsedhe tala-ganycna bhajite n (5).
Teshvekarh bhaga-van-manarh deha-labdhangulam smritam |
The objects measured in the three kinds of angulas :
Prasada-mand Spams' chaiva prakaran gopuran api u (6).
Gramadya-kshetra-ganyeshu manangula-vidhanatah I
Acharya-dakshangulibhir mite vyasa-mitadhikaih (sic) II (7).
Kurche pavitrake chaiva sruve srugbhir athanyakaih I
Yage prayojitaniha matranguli-vidhi^ charet II (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) :
One angula is called bindu, moksha.
Two angulas are „ kala (elsewhere it is the name of one
angula), kolaka, padma, akshi, asvini.
Three „ „ „ rudrakshi, agni, guna, Sula (and) vidya.
Four „ „ „ yuga (and) bhaga, veda, and turiya.
Five „ „ „ rudranana, indriya, bhuta, and vana.
Six „ „ „ karman, anga, ayana, and rasa.
Seven „ „ „ patala, muni, dhatu, and abdhi.
Eight „ „ „ basu, lokeSa, and murti.
Nine „ „ „ dvara, sutra, graha, and s"akti.
Ten „ „ „ di$, nadi, ayudha, and pradurbhava.
Twenty „ „ „ trishu (and) vishku.
Thirty „ „ „ gati.
Forty „ „ „ trijagat (?).
Fifty „ „ „ ^akvari.
Sixty „ „ „ ati^akvari.
8
HINDU ARCHITECTURE AftGULA
Seventy arigulas are called yashti.
Eighty „ „ „ atyashti.
Ninety „ „ „ clhriti.
Hundred „ „ „ atidhriti.
The cardinal numbers are described (vv. 17-20) :
Ekam dasam Satam chaiva sahasram ayutam punah u (17).
Niyutaih prayutam chaiva kotirh chaiva yatharbudam I
Brindarh kharvam nikhvararh cha Sankham padmam atah param II (18).
Samudra-madhyantarakhyam apararh tatha I
Parardham evakhyatarh das"a-vritt(-ddh)yuttarottaram II (19).
Evam etani choktani samkhya-sthanam vimsatih I
Three kinds of the vitasi (span), which is equal to 12 angulas, are dis-
tinguished by their technical names :
Talam yamam tri-bhagarh cha shat-kalas" cha vitastakamll (20).
Shat-kolakarh mukham chaiva dvadaSangula-sarhjnakam I
Ahgushtha-tarjani-yuktam prade^am iti klrtitamll (21).
(Madhyamangushtha-samyuktarh tala-manam iti smritam l)
Angushthanamika-yuktarh vitastir iti chochyate II (22).
Kanishthangushthayor yuktarh go-karnam iti sarhjnikam |
The correct reading of the last two lines should be :
Ahgushthanamika-yuktarh go-karnam iti samjnikam II (22).
Kanishthangushthayor yuktam(-ta) vitastir iti chochyate I
Cf. Brahmanda-Purana, i, VH, 97, 98.
(See under GOKARNA and VITASTI.)
Pradesas cha vitastis cha gokarna£ cha ime trayah II (23).
The two kinds of the measure by the fist :
Jajnadike prayoktavyah prasadadau na mapayet I
Ratnih samvrita-mushtih syad aratnih prasritangulih 1 1 (24).
Different kinds of the hasta or cubit measures :
Kishkus cha prajapatayaS cha dhanur-mushti-dhanu(r)grahau I
Angulas tu chatur-virhs'at kishkur ityuchyate budhaih I) (25).
Pancha-virhsatibhiS chaiva prajapatyam udahritam I
Shad-vimsati-dhanur-mushtih sapta-vim5ad-dhanu(r)grahah II (26).
The objects measured in these cubits :
Kishku-hastadi-chatvari-manangula-vas'at-tamah (?) I
Ebhir hasta-pramanais tu prasadadini karayetll (27).
Sayanam chasanam chaiva kishku-mana-va^at kuru I
Lingarh cha pindikam chaiva prasadarh gopuram tatha II (28).
Prakara-mandaparh chaiva prajapatya-karena tu I
9
AftGULA AN ENCYCLOPAEDIA OF
The higher measures :
Dhanu(r)grahas" chatushkam yad danda-manam prakirtitam II (29).
Sahasra-danda-manena krosa-matrarh vidhiyate I
Gavyutir dvi-gunarh jneyam tad-dhi(dvi)-gunarh cha ghatakam n (30).
Ghatakasya chatushkam tu yojana parikirtita 1 1 (31).
(10) Manu-Samhitd, vm, 271 (cf. under Brihat-Sarhhitd above) :
Nikshepyo'yomayah Sarikur jvalannasye dasaiigulah I
(u) Rdmqyana, vi, 20, 22 :
Na hyaviddharht ayor gatre babhuvangulam antaram I
(12) Aratni, cubit. According to the Sulvasutra of Baudhayana (Fleet,
J.R.A.S., 1912, 231, 2), this measure is equal to 24 angulas or finger-
breadths. The Satapatha-Brdhmana (x, 2, i, 3) also mentions 24
angulas or finger-breadths as a measure, but without reference to
the aratni (see below), cf. Eggeling, Sacred Books of the East, 43, 300,
n. 3.
(13) ' Pradesa frequently occurs in the Brahmanas (Vedic Index
n, 152), (Aitareya, vm, 5 : Satapatha, HI, 5, 4, 5, 'chhandogya Upani-
shad, v. 1 8, i, etc.,) as a measure of length, a span ' (ibid., n, 50).
(14) The Satapatha-Brdhmana, 10, 2, i, 2 : Tasy-aish-avama matra
yad angulayah, this is his lowest measure, namely the fingers.
(15) ' In some table the aratni is distinguished from the hasta, and
is defined as measuring 21 angulas. But the Sulvasutra of Bau-
dhayana defines it as equal to 2 pradesa, each of 12 angulas, and so
agrees in making it 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.)
Compare also ibid., pp. 231, 232, 233.
(1 6) ' Like some of the other Hindu tables, it (Kautiliya-Artha-
sdstra) starts (p. 106, line 3) with the paramanu or ' most minute
atom.' It takes its measures up to the angula, through four inter-
mediate grades, by eights ; it defines the angula (line 7) as being
equal to 8 yava-madhya, or 8 barley-corns laid side by side ; and it
further defines it as the 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
HINDU ARCHITECTURE ANGHRI
called hasta or kara, the forearm, the cubit ; and, in fact, it adds
prajapatya hasta as another name of the its aratni.
' In the regular course of the table it tells us next (line 20) that 4
aratnis (i.e. 4 hasta or cubits) are i danda,, staff or dhanus, bow (from
which it follows that i dhanus = 96 angulas).'
' Now the angula or finger-breadth may be the theoretical unit
it may well have been originally the actual unit and the source of the
other measures. But we can hardly doubt that the hasta or cubit
eventually took its place as the practical unit ; and that a correct
scale was maintained by keeping in public offices a standard hasta
marked off into 2 vitasti and 24 angulas. At any rate, the hasta
is the practical measures to which we must attend in estimating
all the others.'
(17) ' Following Colebrooke (Essays, I, 540, note), I take the hasta
for easy computation at exactly 18 inches, which gives £ inch as the
value of the angula.'
ANGHRI— A foot, generally a small (dwarf) pillar constructed on
a large one, or in the upper parts of a storey, and pilaster ; a turret.
Tad-dvayam changhri-tungarh syad ekamSam prastaranvitam I
(M., xn, 35.)
Chatush-padam tri-padam cha dvi-padaikanghrim eva va I
(M., LXVII, 8.)
Tatra hinadhikam chet pada-sthananghrikasYayam I
Sarvesham bhitti-maneshu tatra dosho na vidyate I — (M, LXIX, 60-61.)
As a synonym of the pillar :
Taneha cha charanam chaiva sthali stambhamanghrikam I
(M, xv, 4.)
As a pillar of the first floor :
Tadurdhve'nghri SaramSam syat I — (M., xx, 16.)
Adri-sopana-parsve tu na kuryat parSvayor anghrikam I
(M., xxx, 163.)
As a dwarf pillar placed upon a larger column :
Athava sapta-saptamSam vibhajet tritalodaye I
Chatur-bhagam adhishthanam tad-dvayam pada-tungakam I
Adhishthana-samam mancham manchordhve'rdhena vapra-yuk I
Sa-tripada-shadamsena chordhve padodayaih bhavet I
Tadurdhve prastarottungam sa-tri-padam tri-padakam I
Tadurdhve'rdhena vaprarh syat tadurdhve'nghri shad-amsakam I
(M., xxi, 12-17.)
II
AftGHRIKA-VARI AN ENCYCLOPAEDIA OF
A subordinate pillar :
Mula-pada-visalam va tat-tri-pada-visalakam I
Etat kumbhanghrikarh proktam antaralam cha yojayet I
(M., xv, 228-29.)
AftGHRIKA-VARI — A moulding of the lamp-post (dipa-danda)
of the shape of a water-pot, a rope, a trap, a cover, or a band.
Agrc cha phalakantam cha tatikadyair vibhushitam I
Athavanghrika-varirh syad urdhve cha kudmalanvitam i
(M., L, 78-79.)
ACHALA-SOPANA (see SOPANA) — A flight of stationary or immov-
able steps.
Achalam cha chalarh chaiva dvidha sopanam iritam I — (A/., xxx, 90.)
See the contents of lines 93-124 under SOPANA.
Cf. Evam tu chala-sopanam achalam tat pravakshyate I (151)
Then follows the measurement (152-54).
ATTA, ATTALA— High, lofty.
ATTALAKA — An apartment on the roof, an upper storey, a tower,
a military post.
ATTALIKA — ' A house of two or more storeys, a lofty house
palace.'— (M. W.Dict.}
(1) Kautiliya-Artha-Sdstra :
Vishkambha-chaturasYam attalakam utsedha-samavakshepa-sopanam
karayet.
TrimSad-dandantaram cha dvayor attalakayor madhye sa-harmya.
dvi-talam dvyardhayamam pratolirii karayet.
Attalaka-pratoli-madhye trl-dhanushkadhishthanam sapididhana-chch-
hidra-phalaka-sariihatam itmdrakosarh karayet. — (Chap, xxiv, 52.)
(2) Kdmikdgama, xxxv :
Agrato'lindakopetam attalam salakantare I
Gopurasya tu . . . II (126).
(3) Rajatarangini :
I. 274 : prakarattala-mandalam . . . kinnara-puram I
I. 301 : nagaryah . . . trutyad attala-mekhalah I
(4) Mahdbhdrata (Cock) :
II. 80, 30 : prakarattalakeshu I
III. 15, 1 6 : purl . . . sattalakagopura I
III. 160, 30 : VaiSravanavasam . . . prakarena parikshiptam I
. . . chayattalaka-s'obhinam I
III. 173, 3 : puram . . . gopurattalakopetam I
III. 207, 7 : Mithilam . . . gopurattalakavatim I
XV. 5, 1 6 : puram attalaka-sambadham (with very high storey).
XVI. 6, 24 : nagarim . . . prakarattalakopetam i
12
ANOA
AflGURIKA-VARI
ANUHRI.
HALF PLAN
!_ooking-up
HALF PLAN
Looking-down.
POLC
HINDU ARCHITECTURE ATI-BHAttGA
(5) Ramayana :
I. 5, ii : Uchchattala-dhvaja-vatim sataghni-sata-sarhkulam I
Commentary : attala upari griham (lit. house at the top).
II. 6, n : Chaityeshvattalakeshu cha I
Commentary : attalakah prakaroparitana-yuddha-sthanam (atta-
lakas imply the military towers built on the top of the enclosure walls).
V. 3, 33 '• lankam . . . satta-prakara-toranam I
V. 37, 39 : satta-prakara-toranam lankam I
V. 55, 32 : lanka satta-prakara-torana I
V. 51, 36 : purlrh satta-pratolikam I
V. 58, 158 : purim satta-gopuram I
V. 2, 17 : lankam . . . attalaka-Satakirnam I
V. 2, 21 : purim . . . vapra-prakara-jaghanam I
sataghni-sula-kesantam attalakavatarhsakam I
VI 75, 6 : gopuratta-pratolishu charyasu cha vividhasu cha I
(6) Turrets :
Giri-sikhara-taru-tat-attalak-opatalpa-dvara-saranochchhraya. Com-
pare with : Raghuvamsa. xvi, n, visirna talpatta Sato nivesah-(Kielhorn,
Jundgadh Rock Inscrip. of Rudradaman, Une 6, Ep. Ind., Vol. vm, pp. 43, 46
and note 3.)
ANDA— A cupola.
Shodasandayutah (furnished with 16 cupolas), vibhushito'ndais cha
vimsatya (adorned with 20 Cupolas)-(B^-5amAf^ LVI, 22, 24, *» I Kern,
J.R.A.S., N. S., Vol. vi, p. 319. 320).
Sobhanaih patra-vallibhir andakaii cha vibhushitah I
(Matsya-Purdna, Chap. CGLXIX, v. 20, see also v. 37.)
ATI-BHAftGA (see BHANGA)-A pose, in which the idol is bent
n more than two or three places.
Sarvesham deva-devinarh bhanga-manam ihochyate I
Abhahgam sama-bhahgam cha ati-bhangam tridha bhavet I
(M., LXVII, 95-96-)
Evam tu sama-bhangam syad ati-bhangam ihochyate I
Parshnyantaram Sarafigulyarh tat-padangushthayor antare I
Tad dvayor madhyame vimSad ahgulyarh dvyantaram bhavet ,
Tai-ianu-dvayor madhye dvyantaram dvadasangulam I
tjru-mula-dvayor madhye -^ha-dvyangula-kantakam
Evam ati-bhahgarh syad etani yuktito nyaset I - M* "7 a
13
ADBHUTA AN ENCYCLOPAEDIA OF
ADBHUTA (see UTSEDHA) — One of the five proportions of the
measurement of the height ; in this proportion the height is twice
the breadth.
1 i ) Mdnasdra :
Panchadhotsedham utkrishtam manat paficha-vidharh nama I
Santikam paushtikaih Sreshtharh parshnikam (also, jayadam)
madhya-mane tu I
Hinam tu dvayam ta(rf)-dvi-gunorh chadbhutarh kathitam I
Kara(sama)dhikodayam-harmye sarvakamikam udiritam I
(M., xi, 20-22.)
Santikam paushtikaih jayadam chadbhutarh utturigurh sarvakami-
kam I — (M, xi, 76).
A clear statement of the rule :
Tad-vistara-samottungarh sapadardharh tu tuiigakam I
Tri-padahikam utsedharh vistararh dvi-gunodayam 1 1
Prathamarh Santikotsedharh dvitiyam paushtikodayam I
Tritiyarh jayadottungarh chaturtham dhanadodayam (i.e. sarvaka-
mikam) I
Panchamam chadbhutotsedharh janmadi-stupikantakam I
(M., xxxv, 21-25.)
(2) Kdmikdgama, L, 24-28 :
A measurement of the height :
Santikam pushti-jayadam adbhutarh sarvakamikam |
Utsedhe dvi-guna-vyasah padadhikyarh cha sammatam II (24).
Vistara-dvi-gunad ashtaihsadhikarh vadhiyojayet I
Kshudranam evam uddishtam kanishthanam athochyate II (25).
Saptarhse tu krite vyase saptarhsarh va shad-amsakam I
Visfarad adhikas tungo madhya-manam athochyate II (26).
Vistararh purvavat kritva chatush-panchadhikarh tu yat I
Madhya-manam idarh proktarh uttamanarh trayarhsakam n
Purvam uddesa-manarh syad etarh nirddesa-manakam li (27).
Eka-dvi-tri-karayor yuktarh mana-hinarh tu vadhikam I
Utsedham kalpayed dhiman sarvesham api sadmanam II (28).
(3) A class of the two-storeyed buildings.
(See M., xx, 94, 28-33, under PRASADA.
A class of buildings — (See Kdmikdgama, XLV, 6ia, under MALIKA.)
ADRI-SOPANA (see SOPANA)— A flight of steps for a hill :
Adri-sopana-parsVe tu na kuryat parsvayo ahghrikam I
(M., xxx, 163.)
Adri-sopana-dese tu dirgha-manarh yatheshtakam I — (ibid., 136.)
Adri-defc samarohya yatra tatraiva karayet I — (ibid., 118.)
14
HINDU ARCHITECTURE ADHISHTHANA
ADHIMANDAPA — A pavilion built over and above another, a
double-storeyed pavilion. (Pavilions are generally single-storeyed
buildings, see 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, to stand) it denotes
an object on which something stands. Hence it is the basement
or the lowest member of a building. In the same way, it implies
the stand or base of the column, being the member between the
shaft and the pedestal, if there be any. Its identification with the
base and the basement need not be questioned. It is clear beyond
doubt by a comparison of the component parts and the offices it
serves with the corresponding details (quoted below) of the Grecian
and Roman architecture.
(1) Kdmikagdma, xxxv :
Yajamanasya janvantam navyantam hridayavadhi I
Galavadhi siro'ntam cha padardharh va tri-bhagikam II (22).
Tri(tra)yadi-shodasa-bhaganam adhikam vokta-manatah I
Adhisthanasya manam syat ... II (23).
Taladhishthana-padebhyah kirhchid-una-pramanakam II (114).
Mula-dhama-talottungadhishthana-tala-sarhyutam I
Tad-vihina-talam vapi sama-sthala-yutam tu vail (116).
Adhishthanadi shad-vargarh tan-manam upapithake I
Dvarotsedhaya datavyarh samam vapyadhikam tu va II (122).
Ibid., LV, 202 :
Masurakam adhishthanam vastvadharam dharatalam I
Talam kuttimadyahgam adhishthanasya kirtitam II
These are stated to be the synonyms of adhishthana. But they appear
as the component parts of it.
(2) Suprabheddgama, xxxi :
Tato jangala-bhumis ched adhishthanam prakalpayet I
Tach-chatur-vidham akhyatam iha sastre vi^eshatah II (16).
Padma-bandham charu-bandham pada-bandham prati-kramam I
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
ADHISHTHANA AN ENCYCLOPAEDIA OF
(3) Mdnasdra, Chap, xiv (named Adhishthana, 1-412) :
Twelve kinds of heights (from one large span to four large cubits) to be
employed in twelve storeyes, one above the other :
Trayodasangulam arabhya shat-shad-angula-vardhanat I
Chatur-hastavasanarh syat kuttima (— adhishthana)-dva-
daSonnatam I
Eka-dva-dasa-bhumyantam harmyantarh tat kramat nyaset I (2-4).
These heights vary in buildings of the different castes and ranks :
Vipranarh tu chatur-hastarh bhu-patinarii trl-hastakam I
Sardha-dvi-hastam utsedharh yuva-rajasya harmyake I
Dvi-hastarh tu visarh proktam eka-hastam tu Sudrake I (5-7).
These heights are stated to be proportionate to the heights of the
buildings :
Harmya-tuhga-vas'at proktam tasya masu(u)rakonnatam I
Janmadi-vajanantarh syat kuttimodayam iritam I (8-9).
The height of the base as compared with that of the pedestal :
Adhishthanonnate dese chopapitharh hi sarhsritam I
Etam tat-tvam adhishthanam tungarii tach chatur-arhsakam I
(M., xiii, 2-3.)
The comparative heights of the base, pedestal and shaft or pillar :
In a Tamil fragment of a manuscript, purporting to be a
translation 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
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.' — (Ram Raz, Ess. Arch, of Hind., p. 26.)
According to Ram Raz, the passage, M., xm, 2-3, quoted above,
is meant to imply that the height of the pedestal consists ' of from
one-quarter to six times the height of the base.'— (Ibid., p. 26.)
According to the Mdnasdra (xxi, 13, see below) and the Supra-
bheddgama (xxxi, quoted above) the base is half of the pillar (pada) .
The Kdmikdgama does not give exact proportion, but says (xxxv,
114, see above) that the tala (the lowest part, or the pedestal
and the base) is a little less (kirhchid una) than the pillar or shaft
(pada).
Compare also verses 22, 23 of the same Agama quoted above.
The height of the base is sometimes included in that of the
pillar :
Padayamavasanam cha adhishthanodayena cha I — (M., xv, 9.)
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HINDU ARCHITECTURE ADHISHTHANA
Further comparative measurement of the base :
Athava sapta-saptamsam vibhajet tri-talodaye I
Chatur-bhagam adhishthanarh tad-dvayam pada-tuhgakam I
Adhishthana-samarhmaficham manchordhve'rdhcna vaprayuk I
(A/., xxi, 12-14.)
Adhishthana implying the basement of a building :
Garbhavatasya (of the foundation pit) nimnarh syad
adhishthana(rh)-samonnatam I
Ishtakair api pashanais chaturasrarh samarii bhavet I
(M., XH, 6-7.)
The employment of various bases recommended, referring to
the building of three storeys :
Nanadhishthana-sarhyuktam nana-padair alankritam I
Nana-gopana-sarhyuktaih kshudra-nasyair vibhushitam I
(A/., xx, 65-66.)
The penalty for having a disproportionate base :
Adhishthanotturiga-hlnam syat sthana-nasarh dhana-kshayam I
(M., LXIX, 20.)
The 64 types of bases :
Evarh chatuh-shashti-masurakani(— adhishthanam) sastrokta-
manena vibhajitani I
Jnatva prakurvann iha gilpi-varyas tad vastu-bhartuh pradadati
sarhpat I —(M., xiv, 393-96.)
These 64 bases are described under 19 technical class names
(10-372) ; the details thereof are as follows :
Mdnasdra, Chap, xiv (The mouldings are arranged in the successive
order, as given in the text, from the bottom upwards) :
I. — Pada-bandha (10-22) :
(a) 24 parts : Parts
(1) Vapraka (plinth) .. .. ..8
(2) Kumuda (astragal) . . . . . . 7
(3) Kampa (fillet) .. .. .. i
(4) Karna (ear) 3
(5) Kampa (fillet) . . . . i
(6) Pattika (band, fillet) . . . . • • 3
(7) Kampa (fillet) . . . . . . I
(b) 29 parts :
(1) Janman (plinth) .. .. .. 2
(2) Padma (cyma) . . . . 2
(3) Kampa (fillet) . . . . . . I
The rest as before.
17
ADHISHTHANA
AN ENCYCLOPAEDIA OF
(c) 29 parts :
(i) Janman (plinth)
The rest as befoie.
(d) 28 parts :
(1) Janman (plinth)
(2) Kampa (fillet)
(3) Vapra (cavetto)
(4) Kandhara (dado)
The rest as before.
II.— Uraga-bandha (23-43) :
(a) 1 8 parts :
(1) Vapra (plinth)
(2) Kumuda (astragal)
(3) Kampa (fillet)
(4) Kandhara (dado)
(5) Patta 1 (fiu t)
(6) Pattikaj v
(7) Kampa (fillet)
(b) 20 parts :
(i) Vajana (fillet)
(a) Kandhara (dado)
(3) Vajana (fillet)
The rest as before.
(c) 22 parts :
(1) Kampa (fillet) above kumbha (pitcher)
(2) Karna (ear) ..
(3) Kampa (fillet)
(4) Kampa (fillet)
(5) Kandhara (dado)
(6) Vajana (fillet)
(7) Kandhara (dado)
(8) Gopanaka (beam)
(9) Prati-vajana (cavetto) . .
(d) 24 parts :
(i) Vapra (plinth)
(a) Kumuda (torus) (the peculiarity of this part is
that it is decorated with makara or shark), etc.
(3) Vajana (fillet)
(4) Kampana (fillet)
(5) Kampa (fillet)
(6) Prati-vajana (cavetto) . .
18
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8
HINDU ARCHITECTURE ADHISHTHANA
These four types of bases are shaped like the face of a snake and fur-
nished with two pratis or ... at the top : and their kumbha (pitcher)
is circular. These are employed in the buildings of gods (i.e. temples),
Brahmans, and kings.
III. — Prati-krama (44-64) :
(a) 21 parts : Parts
(1) Kshudropana (small plinth) .. .. i
(2) Padma (cyma) . . . . . . 2 J
(3) Kampa (fillet) .. .. .. i\
(4) Vapra (cavetto) . . . . . . 7
(5) Dhara-kumbha (supporting pitcher) . . 6
(6) Alihga (fillet) . . . . . . i
(7) Antarita (fillet) . . . . . . i
(8) Padma (cyma) or Kampa (fillet) Patta (band) i or 2
This base is decorated with elephants, horses, and makaras (sharks),
etc. (xiv, 53^.
(b) 22 parts (kumbhe kumudordhvc viseshatah, specially above
the pitcher and torus) :
Parts
(i) Alinga (fillet) .. .. .. I
(a) Vajana (fillet) . . . . . . I
(3) Kandhara (dado) . . . . . . 2
(4) Pattika (band) . . . . . . i
(5) Vajana (fillet) (this part is decorated with the
carvings of trees and all ornaments) . . i
The rest should be as before.
(c) 23 parts (Kumbhantam purvavat sordhve) :
(1) Kampa (fillet) . . . . . . i
(2) Kandhara (dado) . . . . . . i
(3) Kampa (fillet) . . . . . . I
(4) Karna (ear) . . . . . . 2
(5) Vajana (fillet) . . . . . . i
The rest should be as before.
(d\ 24 parts :
(i) Kampana (fillet) (upper and lower). .
each
(2) Antara(rita) (intervening fillet)
(3) Tripatta (three bands) . .
(4) Antara (intervening fillet)
(5) Pratima ( ? Prati-vajana= cavetto)
(6) Vajana (fillet)
The rest should be as before.
These are employed in the buildings of gods and three higher castes
(xiv, 100-101).
19
ADHISHTHANA AN ENCYCLOPAEDIA OF
IV. — Kumuda-bandha (65-77) :
(a) 27 parts : Paris
(1) Janman (plinth) .. .. .. 2
(2) Ambuja (cyma) . . . . . . u
(3) Kampa (fillet) .. .. .. i
(4) Vapra (cavctto) . . . . . . 6
(5) Padma (cyma) . . . . . . i
(6) Karna (ear) . . . . . . i
(7) Ams"u (filament) . . . . . . i
(8) Padma (cyma) . . . . . . i
(9) Kumuda (astragal) . . . . . . 3
(10) Padma (cyma) .. .. .. i
(n) Padma (cyma) .. .. .. i
(12) Karna (ear) . . . . . . i
(13) Kampa (fillet) .. .. .. i
(14) Abja (cyma) .. .. .. i
(15) Pa{ta (band) .. .. .. 2
( 1 6) Abja (cyma) .. .. .. i
• (17) Kampa (fillet) .. .. .. i
(b) 27 parts (pattike tu viseshatah) :
Gopana (beam) . . . . . . . . 2
Some authorities recommend Tripatta in place of kumuda (astragal)
which should be equal to the naga or snake.
Pattas (bands) in the middle are decorated with flowers and jewels.
It is supplied with a declivity (kataka) or it may be circular.
Kumuda (astragal) may be triangular or hexagonal.
In this way, eight kinds of (such) bases should be made : Evam ashta-
vidharh kuryat.
V. — Padma-kesara (suitable for all buildings) (78-91) :
(a) 19 parts : Parts
(1) Janman (plinth) .. .. ..2
(2) Vapra (cavetto) . . . . . . 4
(3) Padma (cyma) . . . . . . £
(4) Kandhara (dado) . . . . . . |
(5) Ardha-padma (half cyma) . . . . f
(6) Kumuda (astragal) . . . . . . i
(7) Padma (cyma) . . . . . . 1 1
(8) Kampa (fillet) .. ., .. i\
(9) Karna (ear) . . . . . . 2
20
HINDU ARCHITECTURE ADHISHTHANA
Parts
(10) Kampa (fillet) .. .. £
( 1 1 ) Padma (cyma) . . . . . . £
(12) Pattika (band) .. .. .. 2
(13) Padma (cyma) .. .. i
(14) Kampa (fillet) .. .. .. i
(b) 19 parts :
(1) Janman (plinth) .. .. .. ii
(2) Kampa (fillet) . . . . |
The rest should be as before.
(c) 19 parts :
(1) Janman (plinth) . .. .. i
(2) Padma (cyma) . . . . . . £
The rest should be as before.
(rf) 19 parts :
In this last sort of this base, there is a slight difference
(kinchit Sesham viSeshatah). There should be two pattikas or (one)
kapota and the rest as before.
VI. — Pushpa-pushkala (suitable, as stated, for all the storeys of the
buildings of the small, intermediate, and large sizes) (92-108) :
(a] 32 parts : Parts
(i) Janman (plinth) .. .. .. 2
(a) Vajana (fillet) . . . . i
(3) Maha-padma (large cyma) . . 7
(4) Karna (ear) . . i
(5) Ambuja (cyma) . . . . . . i
(6) Kumbha (pitcher) . . . . 4
(7) Padma (cyma) . . . . . . i
(8) Kampa (fillet) . . . . i
(9) Gala (dado) .. .. •• 3
(10) Kampa (fillet) .. .. .. i
(11) Gala (dado) .. .. . . i
(12) Gopana (beam) .. .. ..4
(13) Alinga (fillet) .. . . .. i
(14) Antarita (fillet) .. .. .. I
(15) Prati-mukha (a face-like ornament) .. 2
(16) Vajana (fillet) .. .. .. i
(b) 32 parts :
Padma (cyma) above the large portion is one part more and
the rest should be as before.
21
ADHISHTHANA AN ENCYCLOPAEDIA OF
(c) 32 parts :
The cyma above the plinth is one part and the rest should be
as before.
(d) 32 parts : Parts
(1) Kampa (fillet) below mahambuja (large cyma) i
(2) Mahambuja (large cyma) 6
The rest should be as before.
VII.— Sri-bandha (suitable for the palaces of emperors and the
temples of Vishnu and Siva) (109-22) :
(a) 26 parts : Parts
(1) Janman (plinth) *
(2) Vapra (cavetto) 6
(3) Kumuda (torus) 6
(4) Karna (ear) 1
(5) Karna (ear) . . • • 4
(6) Kampa (fillet) i
(7) Padma (cyma) •• i
(8) Gopana (beam) i
(9) Alinga (fillet) I
(id) Antarita (fillet) i
(n) Prati-vaktra (a face-like ornament) 2
(12) Vajana (fillet) i
(b) 26 parts :
(1) Janman (plinth) 2
(2) Pratika ( = Prati-vaktra, a face-like ornament) i
The rest should be as before.
(c) 26 parts :
(1) Kshepana (above Janman or plinth) (projection) i
(2) Gopana (beam) I
(3) Alinga (fillet) i
(4) Antarita (fillet) i
(5) Prati-vaktra (a face-like ornament) i
(6) Ardha-vajana (half fillet) i
The rest should be as before.
(d) 26 parts :
(1) Janman (plinth) .. i
(2) Abjaka (small cyma) . . . . i
(3) Kampa (fillet) . . i
The rest should be as before.
22
HINDU ARCHITECTURE ADHISHTHANA
VIII. — Mancha-bandha (for temples and palaces) (123-143) :
(a) 26 parts : Parts
(1) Janman (plinth) .. .. .. \
(2) Padma (cyma) . . . . . . 2
(3) Kampa (fillet) .. .. ..2
(4) Kampa (fillet) . . . . . . 2
(5) Vapra (cavetto) . . . . . . 6
(6) Kumbha (pitcher) . . . . . . 4
(7) Kampa (fillet) .. .. .. i
(8) Kandhara (dado) . . . . . . 2
(9) Kampa (fillet) . . . . . . i
(10) Patta (band) . . .. .. i
(11) Kshepana (projection) .. .. .. i
(12) Alinga (fillet) .. .. \
(13) Kampa (fillet) .. .. .. i
(14) Prati (fillet).. .. .. .. \\
(15) Vajana (fillet) .. .. .. \
This is decorated with the carvings (rupa) of vyalas (snakes)
lions, and sharks, etc. (137).
(b) 26 parts : Parts
(1) Janman (plinth) .. .. .. 2
(2) Ambuja (cyma) . . . . . . 2
(3) Kshepana (projection) . . . . . . i
(4) Vapra (cavetto) . . . . . . 6
(5) Kumuda (torus) . . . . . . 4
(6) Kampa (fillet) . . . . . . i
(7) Kandhara (dado) . . . . . . 2
(8) Kampa (fillet) .. .. .. i
(9) Pattika (band) . . . . . . 2
(10) Kampa (fillet) .. .. .. i
(n) Karna (ear).. .. .. .. i
(12) Vajana (fillet) .. .. .. i
(13) Prati (fillet) .. .. .. i
(14) Vajana (fillet) .. .. .. i
(c) 26 parts :
The Kumuda and prati are furnished with a tripatta
(threefold band) ; and the rest as before, and the ornaments also
are the same.
(d) 26 parts : Parts
(1) Pattika (fillet) same as before ;
(2) Kandhara (dado) . . . . . . i
The rest as before.
23
ADHISHTHANA AN ENCYCLOPAEDIA OF
(e) 26 parts :
The Pattika is the same but the Kandhara above is one part,
and the rest as before. The ornaments should be discreetly made
(148).
IX.— Sreni-bandha (for temples and all other buildings) (144-169) :
(a) 1 8 parts : Parts
(1) Janman (plinth) .. il
(2) Kshudra-kampa (small fillet) . . . . \
(3) Mahambuja (large cyma) . . . . 5
(4) Kandhara (dado)
(5) Abja (cyma)
(6) Kumbha (pitcher)
(7) Padma (cyma)
(8) Alinga (fillet)
(9) Vajana (fillet)
(10) Prati (fillet) .. .. ..2
(n) Vajana (fillet) .. .. .. I
(b) 22 parts :
(1) Janman (plinth) .. .. .. 2
(2) Kshudra-kshepana (small projection) . . \
(3) Ambuja (cyma) 4$
(4) Kandhara (dado) . . . . . . i
(5) Abjaka (small cyma) . . . . . . i
(6) Kumbha (pitcher) . . . . . . 3
(7) Padma (cyma) . . . . . . i
(8) Kampa (fillet) .. . i
(9) Kandhara (dado) . . . . . . 2
(10) Kshepana (projection) .. .. .. i
(u) Padma (cyma) .. .. i
(12) Pattika (band) .. ..2
(13) Padma (cyma) .. .. .. i
(14) Vajana (fillet) .. .. .. i
(c) 23 parts :
(1) Paduka (plinth) .. .. .. 2j
(2) Kampa (fillet) . . . . . . $
(3) Mahambuja (large cyma) . . . . 5
(4) Kandhara (dado) . . . . . . i
(5) Padma (cyma) . . . . . . i
(6) Kumuda (astragal) . . . . . . 3
(7) Padma (cyma) . . . . . . i
24
HINDU ARCHITECTURE ADHISHTHANA
Parts
(8) Kampa (fillet) .. .. .. l
(9) Kandhara (dado) . . . . . . j
(10) Vajana (fillet) .. .. .. j
( 1 1 ) Antarita (fillet) . . . . . . 3
(12) Prati (fillet) .. .. .. ..2
(13) Vajana (fillet) .. .. .. j
(d] 24 parts :
(1) Janman (plinth) .. .. .. \
(2) Kshudra-padma (small cyma) . . . . t
(3) Vajana (fillet) .. .. .. x
(4) Maha-padma (large cyma) . . . . r
(5) Dala (petal) . . . . . . l
The rest as before.
These are decorated with lions, etc. (174).
X. — Padma-bandha (for the temples of gods and goddesses) (170-194):
(a) 21 parts : parts
(1) Janman (plinth) .. .. .. x
(2) Padma (cyma) . . . . . . i
(3) Kampa (fillet) . . . . . . i
(4) Kumbha (pitcher) . . . . . . x
(5) Kshepana (projection) . . . . . . i
(6) Adhah-padma (lower cyma) . . . . 3
(7) Karna (ear) . . . . . . i
(8) Kampa (fillet) . . . . . . 2
(9) Pattika (band) . . . . . . 2
(10) Kampa (fillet) .. .. .. i
(n) Kandhara (dado) .. .. .. i
(12) Patta (band) .. .. ..2
(b) 21 parts :
(1) Upana (plinth) . . . . . . 3
(2) Padma (cyma) . . . . . . i
(3) Kumuda (astragal) . . . . . . 5
(4) Kampa (fillet) . . . . . . i
(5) Padma (cyma) . . . . . . 4
(6) Kampa (fillet) . . . . . . i
(7) Gala (dado) . . . . . . 2
(8) Kshepana (projection) . . . . . . i
(9) Padma (cyma) . . . . . . i
(10) Kapota (dove-cot) .. .. .. 2
(u) Kampa (fillet) .. .. .. i
25
ADHISHTHANA
AN ENCYCLOPAEDIA OF
(c) 21 parts :
(i) Abja (cyma) as before ;
(a) Kampa (fillet)
(3) Karna (ear) . .
(4) Kampa (fillet)
(5) Antarita (fillet)
(6) Prati (fillet) . .
(7) Vajana (fillet)
The rest as before.
Parts
i
2
I
2
I
I
(d) 19 parts :
(1) Janman (plinth)
(2) Padma (cyma)
(3) Kandhara (dado)
(4) Padma (cyma)
(5) Kumbha (pitcher)
(6) Padma (cyma)
(7) Kampa (fillet)
(8) Karna (ear) ..
(9) Padma (cyma)
(10) Kapota (dove-cot)
(u) Alinga (fillet)
(12) Antarita (fillet) .. .. .. i
(13) Prati-vajana (fillet) . . . . . . i
These are discreetly adorned with grahas (sharks), lions, etc. (203).
XI. — Kumbha-bandha (195-239) :
(a) 24 parts : Parts
1 i ) Janman (plinth) . . . . . . 2
(2) Padma (cyma) . . . . . . 3
(3) Kampa (fillet) . . . . . . i
(4) Karna (ear) . . . . . . 3
(5) Kampa (fillet)
(6) Pattika (band)
(7) Kampa (fillet)
(8) Padma (cyma)
(9) Karna (ear)
(10) Padma (cyma)
(11) Kumbha (pitcher)
(12) Padma (cyma)
(13) Nimna (drip)
(14) Kampa (fillet)
(15) Nimna (drip) .. .. ..
(16) Prati (fillet) .. .. ..
26
HINDU ARCHITECTURE ADHISITTIIANA
•
(b] 24 parts : Parts
(1) Kumbha (pitcher) .. .. .. i
(2) Nimnaka (drip) . . . . . . i
(3) Janman (plinth) . . . . . . 2
(4) Padma (cyma) . . . . . . 2
(5) Nimna (drip)
(6) Kumbha (pitcher)
(7) Kampa (fillet)
(8) Kandhara (dado)
(9) Kampa (fillet)
(10) Kampa (fillet)
(u) Kapota (dove-cot)
(12) Vajana (fillet)
(13) Padma (cyma)
(14) Nimna (drip)
(15) Padma (cyma)
(16) Kumbha (pitcher)
(17) Padma (cyma)
(18) Nimna (drip)
(19) Kshepana (projection) ..
(20) Nimna (drip)
(21) Prati (fillet)
(c) 24 parts :
(1) Janman (plinth) .. .. .2
(2) Padma (cyma) . . . . . . 2
(3) Kandhara (dado) . . . . . . i
(4) Kumbha (pitcher) . . . . . . i
(5) Nimna (drip) . . . . . . i
(6) Kshudra-patta (small band) . . . . i
(7) Abja (cyma) .. .. i
(8) Kapota (dove-cot) . . . . . . 2
(9) Kshepana (projection) . . i
(10) Padma (cyma) .. .. .. i|
(u) Kandhara (dado) .. .. .. il
(12) Padma (cyma) .. .. .. ii
(13) Kumbha (pitcher) .. .. .. 3
(14) Adhah-padma (lower cyma) .. i
(15) Kandhara (dado) .. .. .. i
(16) Kampa (fillet) .. .. .. i
(17) Kshudrabja (small cyma) .. i£
(18) Kapota (dove-cot) .. .. .. 2(?-J)
(19) Prati-vajana (fillet), the remainder.
27
ADHISHTHANA AN ENCYCLOPAEDIA OF
(d) 26 parts : Parts
(1) Janman (plinth) .. .. .. 2
(2) Padma (cyma) . . . . . . 2
(3) Kampa (fillet) . . . . . . i
(4) Kandhara (dado) . . . . . . 2
(5) Kampa (fillet) .. .. .. i
(6) Padma (cyma) . . . . . . i
(7) Pa{tika (band) . . . . . . 2
(8) Padma (cyma) . . . . . . i
(9) Alinga (fillet) .. .. i
(10) Padma (cyma) .. .. i
(11) Kumbha (pitcher) .. .. .. 3
(12) Padma (cyma) .. .. .. j
(13) Padma (cyma) .. .. .. i
(14) Kendra (central part) . ..2
(15) Kampa (fillet) .. .. .. i
(16) Abja (cyma) .. .. .. i
(17) Kapota (dove cot) .. .. .. i
(18) Kampa (fillet) .. .. i
The rest should be discreetly made.
These should be decorated with sharks, etc. and kshudra-nasi (small
nose) (246).
This is stated to be of five kinds [see (b) (i), (2) above] specially in the
Kumbha part (247).
These may be circular, triangular (tri-pajta), rectangular (? dharSya),
and should be furnished with katakas. These are suitable for temples
and palaces (248).
XII. — Vapra-bandha (240-248) :
(a) (?) 31 parts : Parts
(1) Janman (plinth) .. .. .. o
(2) Kampa (fillet) .. .. .. i
(3) Padma (cyma) .. .. .. jj
(4) Vajana (fillet) .. .. .. }"
(5) Vapra (cavetto) . . . . . . g£
(6) Padma (cyma) . . . . . i J
(7) Kampa (fillet) .. .. .. i"
(8) Kandhara (dado) . . . . . . 2
(9) Kampa (fillet) ... .. .. i
(10) Padma (cyma) .. .. .. i
(u) Pat^ika (band) .. .. .. i
(12) Padma (cyma) .. .. .. i
28
HINDU ARCHITECTURE ADHISHTHANA
(13) Vajana (fillet)
(14) Karna (ear)
(15) Kshepana (projection) .. x
(16) Ambuja (cyma) .. tt i
(17) Kapota (dove-cot) .. . . ~
( 1 8) Prati-vajana (fillet)
XIII. — Vajra-bandha (249-259) :
(a) 31 parts : Par(s
(1) Janman (plinth) .. .. j
(2) Kampa (fillet) . . ^
(3) Padma (cyma) . . . . ^
(4) Kampa (fillet) .. .. " ^
(5) Kandhara (dado) . . , , ]
(6) Kampa (fillet) .. |
(7) Padma (cyma) . . g t J
(8) Vajra-kumbha (round pitcher) . . 2
(9) Saro-ruha (cyma) . . i
(10) Kampa (fillet)
(u) Karna (ear) .. . , j
(it) Kampa (fillet) .. .. .}
(13) Ambuja (cyma) .. .. .. i
(14) Kapota (dovecot) .. .. "y
(15) Prati-vajana (fillet) .. .. . x
(16) Kandhara (dado) .. .. 2
(17) Kampa-padma (fillet and cyma) .. x
(18) Vajra-patta (round band) .. 2
(19) Padma-kampa (cyma and fillet) .. .. j
XIV.— Sri-bhoga (260-280) :
(a) 27 parts : Pafts
(1) Janman (plinth) .. .. 2j
(2) Kshudra-kampa (small fillet) .. .. j"
(3) Ambuja (cyma) . . . . • • 3
(4) Kshudra-padma (small cyma) (it is attached to i
the small karna, line 275) ;
(5) Karna (ear) . . . . . . l
(6) Kampa (fillet) . . . . ... |
(7) Kshudrabja (small cyma) . . . . 3(?i)
(8) Kumuda (astragal)
(9) Padma (cyma) .. .. .. j
29
ADHISHTHANA AM ENCYCLOPAEDIA OF
Paris
(10) Kshepana (projection) .. .. .. J
(11) Karna (ear) . . . . . . i
(12) Kampa (fillet) .. .. .. |
(13) Padma (cyma) .. .. .. |(?i)
(14) Pattika (band) .. .. .. i
(15) Padma (cyma) .. .. .. |
(16) Kampa (fillet) .. .. .. \
(17) Kandhara (dado) .. .. .. 2
(18) Kampa padma (fillet and cyma) ... .. i(?i-fi)
(19) Kapotaka(dove-cot) .. .. .. 2
(20) Alinga (fillet) . . . . . . 2
(V) 27 parts : Parts
1 i ) Janman (plinth) . . . . . . 2
(2) Kshudropana (small plinth) . . . . i
(3) Mahambuja (large cyma) , , . . 3
(4) Kshudra-pankaja (: mall cyma)
(5) Kampa-karna (fillet and car) . . . . £
(6) Kampa-padma (fillet and cyma) . . . . i
(7) two Kapotas (dove-cots) . . . . 2
(8) Gala (dado) .. .. .. i
(9) Prati-vajana (fillet) . . . . . . i
(10) Gala (dado) .. .. \
(11) Padma -kampa (cyma and fillet) .. .. i
(12) Pattika (band) . • .. ..2
(13) Gala (dado) .. .. \
(14) Vajana (fillet) .. .. \
(15) Kampa (fillet) .. .. .. \
(16) Padma (cyma) .. .. .. 2^
(17) Kapota (dove-cot) .. .. .. 2^
(18) Prati(ma) (fillet) .. .. ..2"
XV.— Ratna-bandha (281-296) :
(a) 26 parts : Parts
(1) Janman (plinth) . . . . . . i£
(2) Kshudra-vajana (small fillet) . . . . J
(3) Vapra (cavetto) . . . . . . i (?3)
(4) Padma (cyma) . . . . . . i
(5) Asana (seat) . . . . . . i
(6) Ratna-vapra (jewelled cavetto) . . . . 4^
(7) Kampa (fillet) .. .. .. 4]
(8) Nimna (drip) . . . . . . \
30
HINDU ARCHITECTURE ADHISHTHANA
Paris
(9) Kampa (fillet) .. .. .. |-
(10) Abja (cyma) .. .. .. |
(n) Ratna-kampa (jewelled fillet) .. .. 2
(12) Kampaja (fillet) .. .. .. ^
(13) Kampa (fillet) .. .. .. f
(14) Kandhara (dado) .. .. .. 2
(15) Kampa padma (fillet and cyma) . . . . i
(16) Ratna-patta (jewelled fillet) .. .. i
(17) Padma-kampa (cyma and fillet) .. .. i
(18) Karna(ear) .. .. .. i£
(19) Vajana (fillet) .. .. .. *
(20) Abja (cyma) . . . . . . |
(21) Kapota (dove-cot) .. .. .. 2
(22) Alinga (fillet) .. .. .. i|
(23) Prati-vajana (fillet), the remainder.
This part is adorned with the carvings of snakes and sharks, etc., and
all other parts are decorated with jewelled lotuses. This base should be
made in the temples of Siva and Vishnu (lines 307-309).
XVI. — Patta-bandha (297-304) :
26 parts : Parts
(1) Janman (plinth) .. .. .. 2
(2) Vajana (fillet) . . . . . . J
(3) Mahabja (large cyma) . . . . . . <2.\
(4) Padma-kampa (cyma and fillet) . . . . i
(5) Nimna-kampa (drip and fillet) . . . . \
(6) Padma (cyma) . . . . . . i
(7) Maha-patta (large band) . . . . 2
(8) Padma-kampa (cyma and fillet) . . . . i
(9) Kandhara (dado) . . . . . i
(10) Kshepana-abja (projection and cyma) •• 5
(11) Kapota (dove-cot) .. .. . 2
(12) Prati-vajana (fillet), the remainder.
This is adorned with all ornaments (line 318).
XVII.— Kaksha-bandha (305-346) :
(a) 1 8 parts : Parts
(1) Janman (plinth) .. .. .. 2
(2) Kampa (fillet) , . . . . . §
(3) Mahambuja (large cyma) . . . . 2^
(4) Padma-kampa (cyma and fillet) . . . i
(5) Nimna (drip) . . I
31
ADHISimiANA AN ENCYCLOPAEDIA OF
Parts
(6) Antarita (fillet) .. .. ... i
(7) Prati (fillet) .. .. .. \
(8) Vajana (fillet)
(g) Kandhara (dado)
(10) Kampa-padma (fillet and cyma)
(11) Vritta-kumbha (round pitcher)
(12) Padma-kshepana (cyma and projection)
(13) Kama (ear)
( i .1 ) Kampa-padma (fillet and cyma) . .
( 1 5) Kapota (dove-cot)
(16) Vajana (fillet) .. .. .. A
This is adorned with all ornaments, and sharks and snakes, etc. (line 328).
(b) 19 parts : Parts
(1) Janman (plinth) .. .. .. i
(2) Padma (cyma) . . . . . . £
(3) Kampa (fillet) . . j
(4) Mahambuja (large cyma) ... . . 2
(5) Padma-nimna (cyma and drip) . . . . i
(6) Abja (cyma) . . . . . . £
(7) Kumuda (astragal) .. .. .. i\
(8) Abja (cyma) . . . . . . \
(9) Karna (ear) . . . . . . J
(10) Abja (cyma) .. .. .. i
(11) Pattika (band) .. .. .. i\
(12) Padma-kampa (cyma and fillet) .. „, i
(13) Nimnaka (drip) .. .. . . i
(14.) Antarita (fillet) .. .. -I
(15) Prati (fillet) .. .. .. i
(16) Vajana (fillet) .. .. \
( 1 7) Kandhara (dado) . . . . . . i
(1 8) Kampa (fillet) .. .. .. }
( 1 9) Padma (cyma)
(20) Kapota (dove-cot) . . . . , . 1 1
(21) Vajana (fillet) .. .. .. i
(22) Prati-bandha (fillet and band) . . . . i
The rest should be as before and it should be decorated with
all ornaments (line 340).
(c) 26 parts : Paris
(1) Janman (plinth) .. .. .. I
(2) Kampa (fillet) . . . . . . i
32
HINDU ARCHITECTURE
ADHISHTHANA
Parts
(3) Kandhara (dado) v . „ . . . 2
(4) Kampa (fillet)
(5) Padma (cyma)
(6) Kampa (fillet)
(7) Argala (bar)
(8) Kampa (fillet)
(9) Padma (cyma)
(10) Kapota (dove-cot) .. .. .. 2
(n) Prati-vajana (fillet), the remainder.
Patta-kampa, Kapota, and the two Paftas may be circular
(line 348).
The parts of the two lower karnas are adorned with images of snakes,
etc. (line 349 \
(d) 24 parts : Paris
(1) Janman (plinth) .. .. .. 3
(2) Kampa (fillet) . . . . . . i
(3) Nimna (drip) . . . . . . i
(4) Bhadras (projecting ornaments) .. .. 5(each)
(5) Kampa (fillet) . . . . . . i
(6) Nimnaka (drip) . . . . . . i
(7) Antarita (fillet) . . . . . . i
(8) Prati (fillet) . . . . . . i
(9) Kampa (fillet) . . . . . . I
(10) Kandhara (dado) .. .. .. i
(u) Kampa (fillet) .. .. .. i
(12) Padma (cyma) .. .. .. i
(13) Kapota (dove-cot) .. ... .. 3
(14) Kandhara (dado) .. .. .. i
(15) Prati (fillet) .. .. .. i
(16) Kumbha (pitcher) .. .. .. 8
(? octangular).
There should be Bhadra-patta (front fillet) and Patra-patta (leaf
fillet) in the Kapota part (line 359).
XVIII. — Kampa-bandha (347-358) :
36 parts : Parts
(1) Tunga (elevation) .. .. ..4
(2) Kshudra-upana (small plinth) . . . . I
(3) Mahabja (large cyma) . . . . 5
(4) Kshudrabja (small cyma) . . . . I
(5) Kampa (fillet) . . . . . . i
33
ADHISHTHANA S AJf ENCYCLOPAEDIA OF
Parts
(6) Nimna (drip)
(7) Vajana (fillet)
(8) Padma (cyma)
(9) Kumbha-mahabja (pitcher and cyma) 5
(10) Abja (cyma)
(n) Kampa (fillet)
(12) Alinga (fillet)
(13) Antarita (fillet)
(14) Prati (fillet)
(15) Vajana (fillet)
(16) Kshepana (projection) . .
(17) Kandhara (dado)
(18) Kampa (fillet)
(19) Padma (cyma)
(20) Kapota (dove-cot) • • 3
(21) Alinga (fillet) .. 1
(22) Prati (fillet) 1
XIX.— Sri-kanta (359-372) :
36 parts : Parts
(1) Upana (plinth) .. 3
(2) Kshudropana (small plinth) i
(3) Mahambuja (large cyma)
(4) Kshudrabja (small cyma) . . '
(5) Kandhara (dado) . . . • '
(6) Padma (cyma) i
(7) Pattika (band) .. 3
(8) Kshudra-kampa (small fillet) . . i
(9) Padma (cyma) . . 4
(10) Kshudrabja (small cyma) i
(11) Nimna (drip) . . . . i
(12) Padma (cyma) .. .. i
(13) Kumbha (pitcher) .. ... 3
(14) Kampa (fillet) i
(15) Kshepana (projection) .. i
(16) Kandhara (dado) .. •• 2
(17) Kampa (fillet) .. •• -• l
(18) Padma (cyma) .. •• *
(19) Kapota (dove-cot) .. .. •• J
(20) Alinga (fillet) . . . . i
(21) Prati (fillet) .. i
34
HINDU ARCHITECTURE ADHISHTHANA
This Sri-kanta is stated to be of four kinds (line 376) but only one
type is illustrated.
In the kumbha-part it should be round or there should be patta
(line 372). These should be constructed in the temples of Siva and
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 376~384) :
Tat-samarh nirgamam vapi tri-padam ardhardham eva cha I
Tad-eva kshepanarh sarve yatha-sobham tu karayet I
Upana-tunga-samam vapi tat-padona-vivardhanat I
Tungena tri-vidhanam cha tri-padam nirgamarh bhavet |
Vaprochcham tu samaih vapi yavat kumuda-nirgamam |
Kumudochcharh vapra-pattantam pattika-nirgamarh bhavet |
Tat-samam nirgamam vapi pattam gopana-nirgamarh I
Kshudra-pankaja-sarvesham tat-samam nirgamam bhavet I
Yatha-Sobharh balat sarvam anganarh sahito(-arh) nyaset I
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
details of the bases employed in early European architecture are given
below. Each column has its particular base :
I. — Tuscan order (Gwilt, Encycl., Art. 2555):
Base of the column 1 2 parts :
Projection from the axis of
column in parts of a
module
(1) Fillet .. ..i 13^
(2) Torus . . 5 i6£
(3) Plinth ..6 16^
II. — Doric order (Art. 2565) :
Base of the column 1 2 parts :
Projection
(1) Apophyge or cong6 ..2 12
(2) Fillet .. f 14
(3) Astragal .. . . ij 14!
(4) Torus . . . . 4 17
(5) Plinth .. ..1 17
35
ADHISHTHANA
AN ENCYCLOPAEDIA OF
Grecian Doric :
Cornice— 15-32 parts; Entablature— Frieze 14-88 parts;
architrave 17-10 parts; Capital— 11- 16 parts.
Column (proper)— Shaft 20-30 modules; ist step or plinth
6-90 ; 2nd step or plinth 6-70 ; 3rd step or plinth 6-90.
III._Ionic order (Art. 2573) :
Base of the column ig| parts, excluding apophyge 2 parts and
projection 18 :
(1) Fillet
(2) Torus
(3) Fillet
(4) Scotia
(5) Fillet
(6) Two beads
(7) Fillet
(8) Scotia
(9) Fillet
(10) Plinth
Grecian Ionic (art. 2581) :
Base of the column 33.27 parts :
(1) Apophyge
(2) Fillet .. .
(3) Bead
(4) Torus (horizontally
fluted)
(5) Fillet
(6) Scotia
(7) Fillet
(8) Torus
(9) Plinth
IV. — Corinthian order (Art. 2582)
Base of the column 14! parts :
(i) Torus
(«) Fillet
(3) Scotia
(4) Fillet
36
Projection in parts of a
module from axis of
the column
20
20
i 22
2 22
i 22
2 21
i 24
6 25
i -080
0-450 18-960
1-080 19-320
6-120 22-500
0-450 22-500
6-000 21-840
0-450 23-640
5*760 24-960
1 1 -880 26-520
Height in parts
of a module
3
i
it
i
Projection in parti
of a module
22
2O
ail
HINDU ARCHITECTURE
ANU-GRIHA
Height in parts
of a module
(5) Two beads
(6) Fillet
(7) Scotia
(8) Fillet
(9) Torus
(10) Plinth
V. — Composite order (Art. 2591) :
The base of the column 18 parts
4
6
Height in parts
of a module
Projection in parts
of a module
22
2lf
23
25
25
Projection in parts
of a module
20
20
22
2O
21*
2 if
21*
20f
23
25
25
(i) Gong6 .. .. 2
(a) Fillet .. .. 1 1
(3) Torus .. .. 3
(4) Fillet i
(5) Scotia .. .. i*
(6) Fillet .. .. i
(7) Bead .. .. *
(8) Fillet i
(9) Scotia . . • . 2
(10) Fillet .. i
(n) Torus . . • • 4
(12) Plinth .. •• 6
From the details given above it would be easy to understand and
subscribe to the following remark :
' The Indian (pedestals and) bases are made more systematically,
and afford by far a greater variety of proportions and ornaments
than the Grecian and Roman. In the European architecture, the
forms and dimensions of pedestals and bases are fixed by invariable
rules, with respect to the orders in which they are employed, but in
the Indian, the choice is left to the option of the artists.' — (Ram Raz
Ess. Arch, of Hind., pp. 39-40 and see Plate n.)
ANANTA (see LUPA) — A kind of lupa or ' a sloping and projecting
member of the entablature representing a continued pent-roof. '
Ambaram cha vyayarh jyotir gaganam cha vihayasi i
Anantarh chantariksham cha prastaram (? pushkalarh) chash-
tadha lupah I— (M, xvni, 174-175-)
ANU-GRIHA — The roof of a house.
Cf. Karna-kilaya-sambandho'nugriham setuh — ' The fastening of
the roof of a house to the transverse beam by means of iron bolts is called
Setu.' — (Kautiliya-Artha-stistra, Chap. LXV, p. 166.)
37
ANU-SALA AN ENCYCLOPAEDIA OF
ANU-&ALA (cf. SALA) — An ante-chamber, a hall or room behind
or at the side of a main hall.
Mdnasdra, xxvi : 9, 19, 23 :
(a) ShodasamSakam adhikyam bhagam harmya-visalakam | (7)
Ekarhsarh karna-kutarh syad dharantara(ih) sivamsakam I (8)
Dvi-bhagenanu-sala cha tad-ardham chantaralakam I (9)
Saptaihsena maha-Sala harmyam etat tu vinyaset I (10)
(b) 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 I (18)
AnuSala cha madhye cha chaika-bhagena bhadrakam I (19)
(c) Ekona-vimSad-arhsena ashta-bhumi-visalake I (21)
Ekaika-kuta-vistaram maha-§ala sararhSakam I (22)
Anu^ala tri-bhaga va bha(ha)rantara(m) dvi-bhagikam I (23)
Maha-£ala tri-bhagena bhadra-Sala visalata I (24)
ANEKA-LlftGA (see LINGA) — A class of the phallus, phalli in
group as exist in many places.
VedaSrarh vasvasrakam va vrittarh chaivarh proktaneka-linga-
mule I
Ekanekan chokta-linge livamfie kuryad dhara shodaSadi-dvayena I
(M., LII, 128-129, "SS-iSS-)
ANILA-BHADRAKA— A kind of chariot.
(See M., XLIII, 114, under RATH A)
ANTARA (see ANTARITA) — Literally the 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-
let (see Gwilt, Art. 2532, fig. 874). A moulding of the pedestal and
the base.
Shad-amSam chantare karne uttararhSam tad-urdhake I
(M,xm, 121.)
Purvottara-pradeSe tu kampanam chantaramSakam I
Dviihsakarh cha tri-pattam syat tad-urdhve chantaram bhavet I
(M., xiv, 59-60.)
ANTARALA(KA) — The intermediate space, the interior (=antara-
laya), corridor. — (M., XXIH, 39.)
(i) Intercolumnation :
Mula-pada-vi§alam va tat-tri-pada-vi§alakam I
Etat kumbhahghrikam proktam antaralarh cha yojayet I
(M., xv, 231-232.)
38
ANU-SAL
m
JU I
j» W « J
A-SALA •
CEIt-ING PLAN
SECTION THRO
BOSS STONE (ANGHRI.)
LONG SECTION.
ALAKSHA,
ABJA
ELEVATION
PLAN
ANILA BHADRAKA
• m M m
m m M m
m m • m
m m m m
m m m m
m m m m
m m m
m m m
^ — COUR'
r YARD ^ m
• • • •
m m m m
m m m m
m m m m
m m m m
• MM*
AMRITA-NANDANA.
Page 39
HINDU ARCHITECTURE ANTARITA
(2) Referring to corrider of the fifth storey :
Tasmat tri-mula-harmyantarh tad-dvayor mula-desake I
Antaralam prakurvita parsve sopana-samyutam I
Sarva-pradakshinarh kuryad yuktya dvararh prakalpayet |
(M., xxui, 20-22, see also 23-39.)
(3) Interior parts of a building :
Gopurair rnandapadyais cha chantarale tvalindake I
(M., LXIX, 8, see also xxx, 60.)
(4) 'The second mandapa of a temple, between the ardha-mandpa and
the shrine, J. B.'
Cf. Gorakshakarh bhairavam anjaneyarh Sarasvatim Siddhi-vina-
yakam cha I
Chakara panchayatanantaralebalendu-mauli-sthita-manaso yah I
(Cintra prasasti of the reign of Sarangadeva,
v. 45, Ep. Indie., Vol. i, pp. 284, 276, note 15.)
(5) ' In the antarala (or interior), they erected a most beautiful ranga-
mntapa, and a fine chandra-s"ala (or upper storey) according to the
directions given by the King Timmendra.' — (Ep. Carnal., Vol. xii, Pavugada
Taluq, no. 46, pp. 122 ; Translation, line 14, 203, Roman Text, v. 9.)
(6) ' An antarala or intermediate porch — (Fergusson, quoted by Rice
Ep. Carnat., Vol. v, Part I, Introduc., p. xxxix, para. 2, line 6.)
(7) Antarale yatha yuktya mandapakaram vinyaset I— (M, xxiii, 39.)
ANTARIKSHA— A quarter.
Jayante tat-pare saumye antarikshe'ka-purvake I — (M., vn, 39.)
Mrige chaivantarikshe va bhrihgaraja-mrishe tatha I — (M., ix, 357.)
A synonym of the lupa or pent-roof :
Arhbararh cha vyayam jyotir gaganarh cha vihayasi I
Anantarh cha antariksham cha pushkalam chashtadha lupah I
(M., xvm, 174-175.)
ANTARIKSHA-KANTA— A class of ten-storeyed buildings.
(M., xxvni, 14-15, set under PRASADA.)
ANTARITA — A fillet, a moulding of the pedestal, the base and
also of the entablature. In base it is connected with another crown-
ing moulding called alinga and in pedestal with prati-vajana.
In its office and situation it would resemble a fillet. Its synonyms
are_vajana, kshepana, vetra, patta, uttara, pattika, kampa, drikka,
and manda, etc.— (M., *vi, 46-4?-)
39
ANTAR-JANMAN AM ENCYCLOPAEDIA OF
A crowning moulding of the pedestal and the base :
(1) Tad-urdhve'ntaritarh charhsarh tat-samam prativajanam I
Ekarh chantaritarh chordhve sardhamsarh prativajanam |
(M., xin, 58, 69, etc.)
Alingam amSakam chaiva tat-samantaritam tatha I
Alingam amSakarh chordhve arhsenantaritarh tatha I
(M., xiv, 51, 101, etc.)
(2) The tenth moulding from the top of the entablature. — (See Kamik
agama, LIV, 2, under PRASADA.)
(See Ram Raz, Ess. Arch, of Hind., p. 25-
ANTAR-JANMAN— An. inner plinth.
Antarjanma bahirjanma nimnonnataya sthitam II
Nirvarhs'ameva tat sarvarh kartri-varhsam bhaved dhruvam I
(M., LXIX, 16, 17.)
ANTARITA-MANDAPA— The ante-chamber in front of a shrine.
(Chalukyan Architecture, Arch. Surv.,
New. Imp. Series, Vol. xxi, p. 37.
ANTAR-BHITTI — An inner wall, partition wall, etc.
Tan-mane tu salanarh vina-bhittim sabhittikam I
Antar-bhittis tu chaivam syad bahir-bhittis tu sarvada II
(M., XL, 51, 52.
ANTAR-MANPALA — The circular court in the interior of a com-)
pound.
Antar-mandalam arabhya mahamaryadikantakam I
Pancha-kut(d)yasya chotsedham pratyekam panchadha bhavet I
(M., xxxi, 57-58.)
ANTAR-MUKHA — Literally, with face towards the inside.
Cf. Griha-garbharh (=foundations) antar-mukham syad grama-
garbham bahir-mukhan 1 — (M., xii, 216.)
ANTAR-VAPRA — The internal rampart, the internal side of the
rampart.
Cf. Antar-vaprarh bahir-bhittiS cheshtam dirgham cha chulika I
(M., ix, 362.)
ANTAR-VlTHl — Internal roads, lanes, in a village or town.
Antar-vithi chaika-paksha bahya-vithl dvi-pakshaka I — (M., ix, 396.)
ANTAH-PURA— The female apartments.
40
HINDU ARCHITECTURE ANTAH-SALA
(1) Rdmdyana (Cock) :
II. 3, 13 : Antah-purasya dvarani sarvasya nagarasya cha I
II. 14, 29 : Dadaiiantah-puram sriman nana-dhvaja-ganayutam I
II. 14, 66 : Nirjagama . . . sagara-hrada-samkasat sumant-
ro'ntah-purach chhubhat I
II. 15, 1 8 : Ityuktvantahpura-dvaram ajagama puranavit I
V. 4, 30 : Sa hema-jambu-nada-chakravalaih maharha-muktamani
bhushitantam I
Pararghya-kalaguru-chandanarharii sa Ravanantahpuram
pravivesa 1 1
II. 15, 47 : Sarhriddham antahpuram avives"a ha II
Tatodri'-kuta-chala-megha-sannibham mahavimano-
pama-ves'ma-samyutam I
VII. 42, 27 : Purvahne dharma-karyani kritva dharmena dharma-
vitl
Sesham divasa-bhagardham antahpura-gato bhavet II
Compare also 11,10,11-17; 70,20; 11,70,27; II, 114,29; 111,54,
13 ; IV, 26, 22 ; V, 4, 24.
(2) Panchatantra, ed. Bombay, I, pp. 38, 58, 61, 168 :
Gatva kanyantahpure . . . raja-kanyam . . . sapta-bhumi-ka-
prasada pranta-gatam . . . bhaja II
Iha rajfias tu tanaya Patalityasti kanyaka I
Uparyantah-pure §a cha ratnam ityabhirakshyate 1 1
Pravisya so'drisringagra-tunga-vatayanena tarn I
Antahpure dadarSatha suptam rahasi Patalim 1 1
Pravrajakas cha gatvaiva vatayana-pathena sah I
Pravisyantah-purarh prapa suptam niSi nripatmajam II
(3) ' When the great minister, Verggade of the female apartments
(antahpura), great master of robes ' . . . — (Ep. Carnal., Vol. vn, Shikar-
pur Taluq. no. 144, Transl., p. 107 ; Roman text, p. 191.)
ANTAH-HARA — The 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 I — (M., xxxv, 281.)
ANTAH-SALA— Inner wall, internal partition.
Antah-salam-iti praktam bahya-salam-ihochyate I
(M., XL, 1 14, see also xxxvi, 79 ; XL, 44.)
41
.\NTIKA AM ENCYCLOPAEDIA OF
ANTIKA— A class of the two-storeyed buildings.
(M., xx, 94, 26-27, see under PRASADA.)
ANTIMA Limit, boundary, pilaster terminating the side-woll of a
temple, and having base and capital generally differing from those
of adjacent columns, same as prastara (entablature or plinth).
Tad (r^prati)-urdhve sardha-panchamsam padayamarh tritlyakam I
Antimam cha dvi-bhagarh syad vedikodayam Iritam I
(M., xxxm, 226-227.)
ANYA-RAftGA — The second court or theatre of a compound.
Mandapam nava-talarh kuryad bhavanam anya-rangam vadhiman
dapakaram I— (Af., xi, 144.)
ANVANTA — A synonym of mancha or a raised platform or couch.
(M., xvi, 43, see under MANCHA.)
APAGHCHHAYA— A light shadow.
(See AVACHCHHAYA.)
APASAMCHITA — A class of buildings in which the width (at the
bottom) is the standard of measurement ; the temples in which the
principal idol is in the recumbent posture.
Pratyekaih tri-vidharh proktam samchitam chapy-asamchitam upa-
(apa)-sarhchitamityeva I (Kdmikagama, XLV, 6-7.)
Utsedhe manam grihyaih chet sthanakam tat prakathyate I
Vistare manam samkalpya chasanam tad udiritam I
Parinahe pade vapi manam sayanam iritam I
Asanaih samchitam proktam sthanakam syad asarhchitam I
Apasarhchitam sayanam chet tat tat tri-vidha-harmyake I
(A/., xix, 7-11.)
Saihchitasariichitanam cha amsair ayadibhir yutam I
Apasamchita-harmyanam tithyantam shad grahishyate I
(M., xxx, 173-174.)
APOHA (see X)HA) — An additional or unprescribed member
attached to a structure.
ABJA (see PADMA) — A lotus, the cyma or ' a moulding taking its
name from its contour resembling that of a wave, being hollow in
its upper part and swelling below. Of this moulding there are
two sorts, the cyma recta, just described ; and the cyma reversa
42
HINDU ARCHITECTURE AMBARA
wherein the upper part swells, whilst the lower is hollow. By the
workmen these are called " ogees."
Compare the lists of mouldings given under ADHISHTHANA and
UPAPITHA.
ABJA-KANTA— A class of the ten-storeyed buildings.
(M., xxvin, 18, see under PRASADA.)
ABHAYA — Fearless, a refuge-offering pose of the hand of an image •
Chatur-bhujam tri-netrarh cha jata-mukuta-bhushitam I
Varadabhaya-samyuktam krishna-paras'u-dharinam I
(A/., xn, 120-121.)
Abhayarh dakshine . . . — (M., vn, 159.)
Purve cha tvabhayam . . . — (ibid., 166.)
Varadam chabhayam purve vame tu dvara-hastakam I
(M., LIV, 154.)
ABHAYA-HASTA (see ABHAYA) —With hand in the pose of offering
refuge.
Varadabhaya-hastam cha jata-mukuta-manditam I — (M., u, 30.)
ABHISHEKA-MANDAPA (see MANDAPA)— The coronation hall.
Nripanam abhishekartharh mandapam I— (M., xxxiv, 38.)
See Inscrip. of Rajaraja III (no. 39, H.S.I.I., Vol. in, p. 86) under
MANDAPA.
ABHYAVAHARA-MANDAPA— A dining-hall.
See 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.
(Fergussion, History of Indian and Eastern
Architecture, p. 323, note ; n, p. 129.)
AMALASARA (see AMALAKA) — The flat scolloped cushion or cog-
wheel member surmounting the Sikhara (dome or tower).
(Gousens : Somanath and other Medieval
Temples in Kathiavad, pp. 41, 45, 17.)
AMRITA-NANDANA.— A pavilion with 58 pillars.
(Matsya-Purana, Chap. CCLXX, v. 8, see under MANDAPA.)
AMBARA — The sky, one of the eight kinds of the lupa or pent -roof.
(M., xvra, 174-175, see under ANANTA.)
Cf. Lupakaradi jadanarh manayen manavit-tamah \
Ambaradyashtadhamani nidanam lupamanayet I — (A/., xvin, 329-330.)
43
AMBUJA AN ENCYCLOPAEDIA OF
AMBUJA — Lotus, the cyma (see ABJA and PADMA) .
Cf. Tad-dvayaih chambujarh chordhve kapotochchaih gunams'aka |
(M., xm, 57.)
(A)RANGA — A synonym of harmya (building).
Arangam iti chaitani harmyam uktam puratanaih I — (M., m, 8.)
ARATNI (see under ANGULA) — A measure.
(1) A cubit of 24 angulas (Introduct., Rdjavallabha Mandarin and Brah-
mdndana-Purdna, i. vii, 99 see under ANGULA).
A measure equal to the length of the forearms with the fingers fully
stretched (Suprabheddgama, xxx, 24, see under ANGULA).
(2) A measure equal to the first with fully stretched fingers (Suprabhedd
gama, xxx, 24, see under ANGULA).
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 fre-
quently from the Rig-Veda onwards. (R.-V., vm, 80, 8 ; A.-V.y xix, 57,
6; Aitareya Brdhmana, vm, 5; Satapatha-Brdhmana, vi, 3, i, 33, etc.)
as denoting a measure of length (ell or cubit), the distance from the elbow
to the tip of the hand. The exact length nowhere appears from the
early texts.' (Macdonell and Keith, Vedic Index, i, 34.)
Satapatha-Brdhmana also vn, i, 2, 6.
Kauslka-Sutra, 85 (Pet. Diet.) : Bahur va aratnih I
ARKA-KANTA — A class of the eleven-storeyed buildings.
Evarh tu vajra-kantam syad arka-kantam ihocyhate I
Tad eva sala-prante tu parsve chaikena saushtikam I
Tad-dvayor antare des"e tat-samarh kshudra-harayoh I
Purvavat kuta-vistararh Sesharh hararhSa-panjaram I
Tan-madhye tu tri-bhagena kshudra-^ala-visalatah(ta) I
Tat-parSve tri-tri-bhagena hara-madhye sa-bhadrakam I
Kshudra-§ala-tri-bhagena madhya-bhadram samanvitam I
Kshudra-hara cha sarvesharh nasika-panjaranvitam 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 1 1
Kavata-yugmam kartavyam kokilargala-sarhyutam II
(KamikSgama, LV, 49, 52.)
44
ttWDU ARCHITECTURE ARDHA-MANDAPA
A moulding of the base (see Kakshabandha, under ADHISHTHANA).
Kampam ekarh tad-urdhve cha ekenargalam eva cha 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 I
(M., LI, 10.)
Chitrangam ardha-chitrangam abhasangarh tridhochyate I
(M., u, 8.)
Sthavaram jangam vapi daru-sailarh cha lohajam I
Chitram va chardha-chitram cha chitrabhasam athapi va I
(M., LVI, 14-15.)
ARDHA-NARI$VARA— A name of Siva, an image the right half of
which is the representation of Siva and the left half of his consort
Durga.
Paschima-mula-tale madhye koshthe lingam adbhutam I
Athavardha-narlsvara(m) sthanakam I — (M.t xix, 224-225.)
ARDHA-PRANA (see SANDHI-KARMAN) — A kind of joinery resem-
bling the shape of the bisected heart.
Sarvesham api darunam sandheh prante tu yojayet I
Yatheshtam phana(m)-samgrahyam chodayed vistarantakam I
Mulagre kilakam yuktam ardha-pranam iti smritam I
Tad eva dvi-lalate cha vistarardhardha-chandravat I
Madhye cha danta-samyuktam agra-mule tu yojayet I
Sesham tu purvavat kuryat mahavritam iti smritam I
(M., xvn, 97-102.)
ARDHA-MANDAPA— A half-pavilion, a vestibule, a court, a
porch.
1 i ) Idam ayadikarh chardha-mandape sishta-mandape 1 1
(Kamikagama, L, 68.)
Ardha-mandapa-dakshamse vighnesa-nritta-rupinam I
(ibid., LV, 73.)
(2) ' On the west wall of the ardha-mandapa in front of the rock-cut
Jambukesvara shrine at Tiruvellarai.'— (Inscription no. XH, Ind. Ant.,
Vol. xxxiv, p. 268.)
(3) The ' court in a temple next to the sacred shrine.' Winslow,
Tamil Dictionary (loc. cit.) .
45
ARDHA-SALA AN ENCYCLOPAEDIA OF
(4) ' Ardha-mandapa : the enclosed building in front of a shrine.'
(Chalukyam Architecture, Rea, Arch. Surv.,
New. Imp. Series, Vol. xxi, p. 37.)
The detached building, sometimes open and sometimes enclosed, in
front of a shrine, is generally called the mukhamandapa (the pavilion in
front of the shrine) .
(5) The ardha-mandapa is ' a narrow passage or vestibule connecting'
the garbha-griha and mukha-mandapa, and ' is open on two sides to
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 indebted to Prof. R. W. Frazer.)
ARDHA-SALA — A half-hall, an antechamber with one or more
closed sides.
Ardha-sala visesho'sti chordhva-sala-samanvitam I
Madhya-koshtham dvi-parsve tu chardha-sala-samanvitam I
(M., xx, 67, 73.)
Netra-s"alardha-s"ala cha bhadra-Saladi-bhushitam I- (M., xxvi, 67.)
Bhadra-sala maha-nasi chardha-saladhyalankritam I (M., xxv, 34.)
ARDHA-HARA — A half chain of 64 strings, an ornament, a string
of pearls worn round the neck.
Nakshatra-malam api chardha-haram I
Suvarna-sutrarh paritah stanabhyam I — (M., L, 297-298.)
Cf. Brihat-Samhitd, LXXXII, 32.
ALAKSHA — A member of the entablature, some screen-work with
small (invisible) apertures.
Etat tu sarvato-bhadram alakshakritir ihochyate I
Tad eva karnavaSad varhsam prastiryat tu sarvasah I
Uttaraih prag-uktahghrih syat tad-vasat parito nyaset I
Tad evantam alaksham cha karnayos chottararh vina 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. /., Vol. i, p. 127, first para., see under MANDAPA.)
ALINDA(KA) — A corridor, a terrace, a balcony, a gallery.
(i) ' Alinda-sabdena sala-bhitter bahye ya gamanika jalakavritangana-
sammukha kriyante ' (commentary on Brihat-Samhitd or Kirana-tantra, see
46
ARDHA. MANDAPA
ELEVATION
o •
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<
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GARBHA.CEHA.
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AMSUKA.
r
ARDHA-PRANA.
ELEVATION
PLAN AT BASE
AYAKA SKAMBHA
Pane
4S
HINDU ARCHITECTURE ALINDA(KA)
below). By the word ' alinda ' is understood the lattice-covered path
beyond the wall of a hall and facing (or in front of) the courtyard.
Cf. Amarakosha (2, 2, 12).
(2) Senapati-nripatinarii saptati-sahite dvidha-krite vyase I
Sala-chatur-das"a-hiite pancha-trirhsad-vrite '(a)lindah II
' Add the number of 70 to those for the breadth of the mansions of the
King and the Commander-in-Chief.'
The same is more plainly expressed in Visvak :
' Write down the sum at two places. Divide it, in one place, by
14; this gives the measure for a hall. Divide the sum by 35 ; the
quotation is the measure of the terrace.'
Pramitam tveka-salaih tu s"ubhadam tat praklrtitam I
Senapati-nripadinam saptatya sahite krite 1 1
Vyase chaturdasa-hrite sala-manam vinirdiSet I
Pancha-trimsad-hrite'nyatralinda-manarh bhavech cha tat II
' The word might as well be rendered by balcony, gallery.'
(Kern, Bfihat-Samhild, LIII, 17 ; J.R.A.S.,
N. S., Vol. vi, p. 282, note 3.)
Apratishiddhalindarii samantato vastu sarvato-bhadrarh I
' An edifice with uninterrupted terraces on every side is termed
Sarvato-bhadra.'
Nandyavartam alindaih sala-kudyat pradakshinantargataih I
' 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).'
' The Vardhamana has a terrace before the (chief) entrance, ex-
tending to the end ; then, when you proceed in a direction from left
to right, another beautiful terrace, and there on, again, another in the
aforesaid direction.'
' The Svastika (house) is auspicious, if it has the terrace on the east
side, and one continual terrace along the west side, at the ends whereof
begin two other terraces going from west to east, while between the
extremities of the latter lies a fourth terrace.'
' The Ruchaka (house) has a western and eastern terrace running
to the end, and between their extremities two others.'— (Ibid., vv. 31-351
pp. 285-286.)
(3) Agni-Purdna, Chap, cvi, w. 20-24 :
Chatuh-salarh tri-salarh va dvi-salarh chaika-salakam I
Chatuh-sala-grihanarh tu Salalindaka-bhedatah II
47
ALPA AM ENCYCLOPAEDIA OF
Sata-dvayam tu jayante panchas'at-pancha teshvapi I
Tri-Salani tu chatvari dvi-s"alani tu panchadha 1 1
Eka-s"alani chatvari ekalindani vachmi cha I
Ashta-vimsad-alindani grihani nagarani cha 1 1
Chaturbhih saptabhiS chaiva pancha-panchas'ad cva tu I
Shad-alindani virhsaiva ashtabhir virhSa cva hi 1 1
Ashtalindarh bhaved evarh nagaradau grihani hi I
(4) Kdmikagama. xxxv :
Asam (— 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 I
Prithu-dvaras cha dvaramS cha evam eva prakalpayet 1 1 (38)
Alindah prithu-dvarena samo va chardha-manatah 1 1 (44)
Alinde dvaram evam syad anyatrapy-evam eva tu II (49)
Alindasya samantat tu bhagenaikena-varakam II (77)
See also ibid., L, 74, 75, 87.
Ibid., iv, 201 (the synonyms of alinda).
. . . andharam griham adyakam I
Parimandana(m) salinda va alindasyabhidanakam II
(5) Chantarale tvalindake I — (M., LXIX, 8.)
Urdhvordhva-talanam tu chaika-bhagenalindakam I
(M., xxiv, 45, etc.)
(6) See the views of the corridors (Pallaba Architecture, Arch. Surv.,
New. Imp. Series, Vol. xxxiv, plates vi, vn, vm, ix.)
ALPA — A class of buildings. — (Kamikagama, XLV, 53-54, see under MALIKA.)
ALPA-NASIKA (see NASA) — A small nose, a small vestibule.
Chatur-dikshu chatur-dvararh chatuh-shashty-alpa-nasikam I
(M., xxxiv, 106.)
AVACHCHHAYA — A dim light, shadowless spot, a light shadow.
Kanya-vrishabha-masau cha-avachchhaya na vidyate I
Meshe cha mithune chaiva tula-simha-chatushtaye I
Evam hi dvyangularii nyastam vrischikashadha-minayoh I
Chatur-ahgulam prakartavyam dhanuh-kumbhau shad angulam I
Makare'shtangulam proktam apachchhayam viseshatah I
(M., vi, 31-35.)
Cf. Vitruvius, Book ix, Chap, vm, under SANKU.
AVALAMBANA— A pendant.
Bahu-valaya-dama cha skandha-malavalambanam I (M., L, 15.)
AVASATHA (see PRATISRAYA) the rest-house, a house.
Ramyamavasatham chaiva datvamum lokamasritah I
' Having given away a charming house, he attained the other
world.' — (Hcmadri, p. 646.)
48
ABHANGA
ALINGA
ALINGA.
PL AM*
ALPA-NAblKA
ALINDAKA.
P&<>e
HINDU ARCHITECTURE ASHTA-TALA
Ramyaihs chavasathan datva dvijebhyo divam agatah I
' Having given away charming houses to the twice-born and gone
to heaven.' (Mbh. Anusdsanika-parvan, Chap, cxxxvn, v. 10).
(Ind. Ant., Vol. xii, p. 142, c. 1-2.)
AVASANA (see MA^CHA)— A synonym of the mancha or a raised
platform. — (M. xvi, 43.)
ASVATTHA-VRIKSHA— The holy fig-tree, carved along with
Buddha images.
Referring to the Bauddha images :
Sthanakarh chasanarh vapi simhasanadi-sarhyutam I
Asvattha-vriksha-sarhyuktarh kalpa-vriksharh tatha nyaset I
(M., LVI, 3-4.)
ASHTA-TALA— The eighth storey.
(Manasdra, xxvi, 1-76, see under PRASADA.)
A description of the seventh floor including the proportion and orna-
ments of the component pans (lit. limbs) from the plinth to the tower :
Evarh sreshtharh tvashta-tale sarvalankara-sarhyutam I
Janmadi-stupi-paryantam changa-manam ihochyatc I
Saikashta-panchakarhsa-harmye tungaih vibhajite I
Adhararh chashta-bhagena vedamsam charanayatam I
Tad-ardham valabhyutsedham sardharh vahnyarh^am aiighrikam I
Sa-tri-padarhsakam maficham urdhve padam gunamsakam I
* Tad-ardharh chordhva-mancham syat tri-padakshanghri-tungakam I
Sa-padamsarii prastarottungam dvyardhariis"arh charanayatam I
Tad-ardharh prastarotsedharh jahghayamarh cha sardhakam I
Prastararh chaika-bhagena dvyamsa-padadhikanghrikam I
Urdhva-mancharh tri-padarh syat sa-bhagam pada-tungakam I
Ekamsam prastarotsedharh tad-urdhve cha tri-bhagikam I
Tat-tri-bhagaika(a) vedim(h) syad dvi-bhagam gala-tuiigakam I
Sa-padarh chamsakarh chordhve sirah-sesharh sikhodayam I
Kechit tad eva tunge tu sapta-bhagadhikam tatha I
Urdhvordhva-pada-mule tu yuktyamsena masurakam I
Talanam chaika-bhagena karna-harmyavritarh nyaset I
Antara(m) prastaropetarh sarvalankara-sarhyutam I
Tasyantasyaika-bhagena kuryad avartyalindakam I
Mule bhage padamSena chordhve'rdha-talarhsakam I
Netra-salardha-sala cha bhadra-saladi-bhiishitam I
Toranair nida-^aladi nasikabhir alankritam I
Kosht(h)c sitadi-madhye cha chordhva-Sala cha manditam I
Nasika-pafijara-sala kuta-kosthe tu bhushitam I
Nasika-pafijaradyasya bhadra-salyair alankritam I
Kshudra-sala-pradek tu sarvalankara-sarhyutam I
49
ASHTA TALA AN ENCYCLOPAEDIA OF
Karna-kutanga-madhye tu nasika-panjaranvitam I
Sarvangarh kshudra-nasyangam prastaralankriti-kriya I
Nanadhishthana-sarhyuktarh nana-padair alankritam I
Nagara-dravidadlnam vesaradin Sikhanvitam I
Sarvalankara-sarhyuktaih purvavat parikalpayet I
(M., xxvi, 47-76.)
ASHTA-TALA (see under TALA-MANA) — A kind of sculptural mea-
surement in which the whole height of an idol is generally eight
times the face.
ASHTA-TRIMSAT-KALA— Thirty-eight kinds of mystic marks
on the body of an image.
Padadi-murdha-paryanta(m) paryayadi-chaksharam nyaset I
Ashta-trirhs'at-kalah sarvas tat-tad angani vinyaset I
(M., LXX, 90-91.
ASHTA- VARGA — The eight component parts of a single-storeyed
building, namely, adhishthana (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.)
ASHTA£(S)RA — Eight-cornered, a kind of single-storeyed building
which is octangular in plan and has one cupola.
(1) Bfihat-Samhitd, LVI, 28, Kasyapa, J.R.A.S., N. S., Vol. vi, p. 320,
note i (see under PRASADA).
(2) Matsya-Purdna, Chap. CCLXIX, w. 29, 53 (see under PRASADA).
(3) Bhavisfya-Purdna, Chap, cxxx, v. 25 (see under PRASADA).
ASAMCHITA — A class of buildings in which the height is the
standard of measurement, the temples in which the main idol is in
the erect posture. — (M., xix, 7-11 ; xxx, 173-174, see under APASAMGHITA.)
Pratyekam tri-vidham proktaih samchitarh chapyasarhchitam upasarii-
chitam ityevam I — (Kamikagama, XLV, 6-7.)
AM&A (see SHADVARGA). A part, one of the six varga formulas
for ascertaining the right proportion.
AM$ARU— The rim, the edge.
Cf. Darpanam suvrittarh syad arh£aru kiihchid unnatam I
— A moulding of the pedestal, generally placed between a
cyma and a corona (kapota). — (M.y xv, 122, see under UPAPITHA.)
50
HINDU ARCHITECTURE AGARA
ACHARYA-KULA — Residences of professors, sufficiently comfort-
able even for 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, Brah-
mans, comprising a quadrangular structure with cells on all sides
and the shrine and abbot's cell in the centre or the east. ' These
may be looked upon as the beginnings out of which the pre-Buddhistic
and Buddhistic centres of learning like in Nalanda of the residential
university type were evolved.' — (Sarkar, Social History of India,
P- 13-)
AGAMA — The scriptures, different from the Agama treatises of
Southern India some of which are predominently architectural texts.
Cf. M., XLIX, 176.
AGARA — A house, a room, a cell.
For synonyms, see Amarak~>sha (II, 2, 5).
Cf. (i) Ramayana (Cock) :
V. 3, 1 8 : Koshthagaravatarhsikam . . . nagarim I
II. 3, 44 : Koshthagara-yudhagaraih kritva saihnichayan bahun I
VI. 127, 56 : Aneka-satarh bhavan kosam koshthagaram griham
balam I
(2) Mahdbhdrata (Cock) :
XII. 69, 54 : Bhadagara-yudhagaran yodhagarams cha sarvasah I
Asvagaran gajagaran baladhikaranani cha I
XII. 86, 121 : Bhandagara-yudhagaran prayatnenabhivardhayet I
I. 134, ii : Prekshagararh suvihitam chakrus te tasya silpinah I
Rajnah sarvayudhopetam strinam chaiva narar-
shabha II
I. 134, 14 : Mukta-jala-parikshiptarh vaidurya-mani-Sobhitam I
Sata-kumbhamayam divyam prekshagaram upaga-
tam II
IV. 23, 1 6 : Yad etan nartanagararh matsya-rajena karitam I
Divya-atra kanya nrityanti ratrau yanti yathagri-
ham II
(3) Mdnasdra (xxv, 29, etc.) :
Tale tale bhadra-koshthasramagararh pariklrtitam I
51
ACHCHHADANA AX ENCYCLOPAEDIA OF
(4) Dharmma-sastra-prachoditam yogi-(a)garam idam proktarh
suribhih pariveshtitam I
' Agara, abode, room, covered place, cell.' Fleet. — (Skt. and Old
Canarese Inscriptions, no. cxxx, line 3, Ind. Ant., Vol. XIH, p. 222, note 44.)
(5) Vikhyata Santalakhya sa Jinagaram akarayat — ' The celebrated
lady had this Jina temple made'. — (Ep. Carnal., Vol. 11, no. 62, Roman
Text, p. 59, last line, Translation, p. 148, last line.)
ACHCHHADANA — A roof, the eighth covering moulding from
the top of the entablature.
(Kdmikagama, LIV, 2, see under PRASADA.)
ADIKA — Literally first or principal, ? a fast conveyance.
Adikam syandanarh Silpi(n) sibika cha ratham tatha I
Sarvair yanam iti khyatarh Sayanam vakshyate tatha I
(M., m, 9-10.)
A(R)DRA-PUSHAKRITI (see under LINGA)— A kind of phallus
looking like the rising sun.
Lingakaram ihochyate . . .
Daivikarh dindimakaram manush(am)a(r)dra-pushakriti(h) I
(M., LII, 237, 240.)
ADHARA — The basement, the plinth.
Dvitalanam alankaram vakshye samkshipyate'dhuna I
Upanadi-stupi-paryantam ashtavimsad vibhajite I
Adharochcharh gunamsarh syat pada-tungam shad-amsakam I
(M., xx, i, 3-4.)
Janmadi-stupi paryantam changa-manam ihochyate I
Saikashta-panchakarhsarh harmye tungam vibhajite I
Adhararh chashta-bhagena vedamsam charanayatam I
(M., xvi, 48-50.)
Uttaram vajanadharam adheyam sayanarh tatha I
Uddhritam cha mGrdhakam chaiva maha-tauli svavarhsakam I
Prachchhadanasy(am) adharam etat paryayam Iritam I
(M., xvi, 56-58.)
Parimana-virodhena rekha-vaishamya-bhushita I
Adharas tu chatur-dvaras" chatur-mandapa-sobhitah II
Sata-sringa-samayukto Meruh prasada-uttamah I
Mandapas tasya karttavya bhadrais tribhir alankrita(h) II
Ghatanakara-mananam bhinna bhinna bhavanti te (prasadah) I
Kiyanto yeshu chadhara niradharaS cha kechana II
(Garuda-Purana, Chap. XLVII, vv. 38-40.)
Valabhi chhadiradharah I
(Hemachandra, Abhidhana-chintdmani, ion, Pet. Diet.)
52
HINDU ARCHITECTURE
APANA
ADHI — Foundations. — (An inscription from Dabhoi, v. m, Ep. Indie.,
Vol. i, p. 31, see footnote, p. 24.)
ANDOLA — A swing, a hammock.
Tad-urdhve pattikam nyasya kilagre cha kabandhanam I
Chaturbhih srinkhala-yuktam andolarh chaikatopari I
Deva-bhu-sura-bhupanam anyesharh sayanarthakam I
(M., xuv, 69-71.)
ANDHARA (-RIKA)— A closed verandah, a balcony, a blind
screen.
Kdmikdgama, L :
Panjaro(ras) chardha-bhago va tri-pado vatha bhagikah I
Alindandharikandhara-hara bhagena kalpitah 1 1 (74)
Nava-bhaga-tri-bhago va vyasa-nali-grihanvitah I
Bahir andharikandhara-hara bhagena vistritah 1 1 (76)
Panchalindam shat-kudyarh bahir andharikavritam 1 1 (83)
Andharandhari-harokta-khanda-harmya-viseshitam(vimanam) II (91)
' Andharika ' and ' andhara ' are used as the synonyms of ' griha-pindi '
and 'alinda ' respectively (see Kdmikdgama, LV, 201, under ALINDA).
APANA — A shop, a market-place.
(i) Ramayana (Cock) :
II. 6, 12 Nana-panya-samriddheshu vanijam apaneshu l
II. 14, 27 Samriddha-vipanapanaih . . . (purim) l
II. 114, 13 Sarhkshipta-vipanapanam (Ayodhyam) I
VII. 43, 13 Chatvarapana-rathyasu l
II. 71, 41 Malyapaneshu rajante nadya panyani va tatha I
II. 42, 23 Samvritapana-vedikam . . . (purim) l
II. 41, 21 Samvritapana-vlthika I
I. 5, 10 Su-vibhaktantarapanam . . . (purim) I
II- 57 > J5 Anvantarapanara I
VI. 112,42 (Ayodhyam) sikta-rathantarapanam l
VII. 101,13 Ubhe (Takshasila and Pushkalavati) . . . suvibhaktan-
tarapane I
2) Rdjatarangim, I, 201, etc. : Riddhapanam . . . nagaram l
(3) Mahdbhdrata (ibid.} :
XII. 86, 8 : Chatvarapana-sobhitam (puram) I
XIII. 30, 17 : (Varanasim) . . . samriddha-vipanapanam I
II. 21, 25 : Malyapananarh cha dadriSuh sriyam uttamam I
53
APANA AN ENCYCLOPAEDIA OF
IX. 25, 33 : Vipanyapana-panyanam I
Comm. Nilkantha : Vipanaih panya-vithika I
Apana hattah panyani vikreya-dravyani I
(4) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan I
Sauvarna-dhvaja-toranapana-pura-grama-prapa-mandapan I
. . . vyadhapayad ayarh Chaulukya-chudamanih I
(Sridhara's Deva pattana Pra^asti, v. 10,
Ep. Ind., Vol. n, pp. 440-441.)
APANA — A tavern, a liquor-shop, a watering station, huts on road-
sides where drinking water is distributed gratis.
Devanam-piye Piyadasi laja hevam aha (:) magesu-pi me nigohani
lopapitani (:) chhayopagani hosamti pasumunisanarh ; ambavadikya
lopapita (;) adhak(o)s(i)kyani pi me uda-panani (2) khanapitani (;)
niiiisidhiya cha kalapita (;) apanan ime bahukani tata tata kalapitani
patibhogyaye pasu-munisanam (.)
' Apana cannot have here its usual meaning, namely, tavern, liquor
shop.'
' As professor Kern (Der Buddhismus, Vol. n, p. 385) assumes, it must
denote a watering station. Probably the huts on the roads are meant,
where water is distributed to travellers and their beasts gratis or against
payment. The usual Sanskrit name is prapa.' Dr. Biihler.
(Pillar edict of Asoka, no. vn, lines 2-3,
Ep. Ind., Vol. H, pp. 270, 274.)
ABHANGA (see under ATIBHANGA and BHANGA) — A pose in which
the idol is slightly bent.
Sarvesharh deva-devinam bhanga-manam ihochyate I
Abhanga-sama-bhangarh chaati-bhangam tridha bhavet I
(M., LXVII, 95-96.)
ABHASA — A class 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,
14-16).
A class of buildings :
(i) Etaj jati-va§at proktam chhandadinam santikotsedham I
Nava-tale tri-pancha-vidham vai vipulam kanyasadi-Sreshtham
pravakshyate I
Kramatas tri-padam ardha-karam padam cha idam sariikalpam
abhasam idam I — (M., ix. 103-104.)
54
HINDU ARCHITECTURE ABHASA
Eka-bhumi-vidhim vakshye lakshanarh vakshyate'dhuna I
Jatis chhandam vikalpam tu chabhasarh tu chatur-vidham I
Purva-hastena sarh-yuktam harmyarh jatir iti smritam I
Chhandam tri-pada-hastena vikalpam syat tad-ardhakam I
Abhasam chardha-hastena harmyadlnam tu manayet I
(M., xix, 1-5.)
Eka-tri-padam ardham cha pada-hastarh yatha-kramam I
Jatis chhanda(m) vikalpam cha-abhasaih chatur-vidham I
Etat tad eva samyuktarh harmyanarh mana-kalpanam I
(M., xxx, 175-177.)
Pavilions of some particular shape :
Devanam bhu-suranarh cha mandapam jati-rupakam I
Bhupanam mandape sarve chhanda-rupam itiritam I
Vaisyakanam tu sarveshath vikalpam cheti kathyate I
Sudranam mandapam sarvam chabhasam iti klrtitam I
(M., xxxrv, 547-55°-)
In connexion with door^ :
Sapta-vimsodayarh hy-evam tad-ardharh vistritarh bhavet I
Evaih jati-vasat proktam chhandadinam pravakshyate I
Trayovimsa-satantaih syach chhanda-dvara-visalakam I
Pancha-vimsangulam arabhya dvi-dvyangula-vivardhanat I
Eka-vimsangulam arabhya dvi-dvyangula-vivardhanat I
Eka-virh§a(m)-§atantarh syad vikalpa-dvara-vistritam I
Nava-panktyahgulam arabhya dvi-dvyangula-vivardhanat I
Eka-panktyanguladhikyam satantam abhasa-vistritam I
(M.y xxxix, 28-35.)
In connexion with the phallus :
Jatich-chhanda-vikalparh cha-abhasam tu chatur-vidham I
(M., tn, 49.)
A kind of glass of which idols and statues are made :
Brahma-vishnu-mahes'anam lakshanam vakshyate'dhuna I
Hiranya-rajatenaiva tamrenaiva §ile vapi I
Darve va sudhe vapi sarkarabhasa-mrittika(-bhih) I
Etais tu navadha dravyai(S) chottamadi trayam trayam I
Chalam chapy-achalam chapi nava-dravyais tu nirmitah I
Lohajair mrit-sudha chaiva Sarkarabhasa-mrittika I
Ghala-dravyam iti proktam anyesham chachalam viduh I
(M., LI, 1-7.)
55
ABHASA AM ENCYCLOPAEDIA OF
Three kinds :
Chitrangam ardha-chitrangam abhasangarh tridhochyate I
Sarvangam drisya-manam yat chitram evam prakathyate I
Ardhanga-driSyamanaiti cha tad ardha-chitram iti smritam I
Ardhardha-darsanam(drisya)-manam abhasam iti kathyate I
(A/., LI, 8-1 1.)
Uttamarh lohajarh bimbarh pithabhasarh tu chottamam I
(ibid., 19.)
Cf. Eka-kale kritarh sarvam sudha-mrit-kata-sarkaraih I
(ibid., 24-25.)
Beranarh dravyam ityuktam . . . lohaje va Sile'thava I
Darvabhasa-ratnena sudha-mrit-kata-s'arkara(aih) I
Ghanam vapy-aghanarh vapi kuryat tu £ilpi(a)vit-tamah I
(M., LXH, 15-17.)
(2) Silodbhavanam v(b)imbanarh chitrabhasasya va punah I
Jaladhivasanam proktarh vrishendrasya prakirtitam II
(Linga-Purana, Part II, uttara-bhaga,
Chap. XLVIII, v. 43.)
(3) Pratima saptadha prokta bhaktanaiii Suddha-vriddhaye I
Kanchanl rajati tamrl parthivl sailaja smrita 1 1
Varkshl chalekhyaka veti murti-sthanani sapta vai I
' Alckhyaka ' and ' abhasa ' seem to have the same meaning and
indicate the same material. — (Bhavistya-Purdna, Chap, cxxxi, vv. a, 3.)
(4) Indhanani cha vinyasya palalani cha vinyaset I
Tasmin loshtani vinyasya palalai.4 chhadayet punah II
Palalabhasakaih paSchad brihyabhasais tushais tatha I
Achchhadyadbhir atha sinchech chhakham prajjvalayet punah 1 1
(Vastu-vidyd, ed. Ganapati Sastri, xvi, 32-33.)
(5) Another class of buildings :
( Jati) Ghhandam Vikalpam Abhasam ekaike tu dvisamkhyakam I
(Kamikagama, L, 13.)
A class of kuta-koshtha or top-room, being a combination of the chhanda
and vikalpa classes (Kamikagama, LV, 130, 123-127, see under KARNA-
KUTA).
(6) Suprabheddgama, xxxiv, 3-4 (refers to the image of ISvara) :
Chitram chitrardham evam tu chitrabhasam tathaiva cha I
Sarvavayava-sarhpurnam dri^yam tach chitram uchyate 1 1
Ardhavayava-samdrijyam ardha-chitram chaiva cha I
Pate bhittau cha yo(ya) likhyam chitrabhasam ihochyate II
56
HINDU ARCHITECTURE ABHASA
Exactly similar definitions are given in the Mdnasdra, but therein
' abhasa ' refers to a material of which an idol is made, whereas in this
Agama, ' abhasa ' refers to the image itself made in full, middle or quar-
ter relief, and to the paintings made on cloth and walls.
Materials of which images are made :
Mrinmayam yadi kuryach chech chhulana(m) tatra prakalpayet I
Lohajam cha viSeshena madhuchchhishtena nirmitam I — (ibid., 31.)
(7) Lohajatve madhuchchhishtam agninardrikritas tu yat I
Vastrena sodhayet sarvam doshaih tyaktva tu Silpina II
(Karanagama, xi, 41.)
(8) Murtis tu vriksha-pashana-loha-dravyaih prakarayet I
The image should be made of materials like timber, stone, and iron.
(Silpa-SSstra-sara-sarhgraha, xi, 5.)
(9) Sauvarni rajati vapi tamri ratnamayi tatha I
Saili darumayi chapi loha-slsa-mayi tatha 1 1
Ritika-dhatu-yukta va tamra-kamsa-mayi tatha I
Sudha-daru-mayi vapi devatarcha pra^asyate 1 1
(Matsya-Purana, Chap. CCLVIH, w. 20-21.)
(10) Mrinmayl daru-ghatita lohaja ratnaja tatha II
Sailaja gandhaja chaiva kaumudi saptadha smrita I
Kamsamayi gandhaja chaiva mrinmayi pratima tatha II
(Agni-Purana, Chap. XLHI, vv. 9-10.)
(u) Mrinmaye prativ(b)imbe tu vaset kalpa-yutam divi I
Daru-pashana-dhatunam kramad da^a-gunadhikam 1 1
Mrinmaye vahane datte yat phalam jayate bhuvi I
Daruje tad-dasa-gunam Silaje tad-da^adhikam 1 1
Ritika-kamsa-tamradi-nirmite deva-vahane I
Datte phalam apnoti kramat ^ata-gunadhikam 1 1
(Mahanirvana-Tantra, xin, 22, 30, 31.)
(12) Svarnadi-lauha-bimbe cha deha-garbham na karayet II (4)
Kashtha-pashana-bimbe cha yat sandhau vidhir uchyate II (6)
Yat bimbe cha krite dravyam svarnam tamram tu mrinmaye I
Saile kashthe ishtika-churnam bimbam tatra prachakshate II (3)
(Bimbamana, British Museum, MS. i, 558,
5292, w. 4, 6 ; MS. 2, 5291, 559, v. 3.)
(13) ' Here they produced a linga, of seven metals, viz. gold, silver,
tin, lead, copper, iron and bell-metal.'— (Sahyadri-khanda of the Skanda-
PurSna, Ind. Ant., Vol. m, p. 194, c. i, last para.)
57
AMALAKA AN ENCYCLOPAEDIA OF
Cf. ' Again, 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
in images or chaityas two kinds of sariras (relics) — (i) the relics of the great
Teacher, and (2) the gatha of the chain of causation'. — (Itsing's work,
Record of the Buddhist Religion, Transl., Takakusu, p. 150, quoted by V. A.
Smith, Ind. Ant., Vol. xxxni, p. 175.)
AMALAKA (cf. AMALASITA and AMALASARA) — A massive circular
stone supporting a vase known as kalata. It figures as the crowning
member of sikhara (tower), as the crown of the simulated roofs,
and as the cushion-shaped portion of the capital of massive columns
(of Asoka and at Elephanta). In Sikhara it has a structural purpose
to serve, while in other places it is a mere ornament. It has
been frequently referred to by Fergusson, Burgess, Hanell, Coomara-
swamy 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
It is 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-
ko, describing the great vihara at Buddha Gaya as Amalaka. '
Free conjectures have thus been made by modern writers on its origin
from the dmalaka, fruit or tree, or from lotus. A writer has referred to the
matter in the Calcutta Oriental Journal (1934, Vol. i, pp. 189-195) and
accepts the lotus-theory because of its popularity as a Buddhist and Hindu
symbol, and also because it fits in well as a part of the Sikhara.
AMALAKA- VANTIKA-PITHA— Chairs with many legs.
(Mahavagga, vv. v>, a.)
AYA (see under SHADVARGA) — One of the six varga formulas for
ascertaining the right proportion of measurement.
AYAKA-SKAMBHA (see 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
they contain ; therein these pillars are designated as ' Ayaka-
khambha.' According to Vogel (Ep. Ind., xx, p. 2) it ' had no
structural function but utilized for sculpturing in low relief,
58
HINDU ARCHITECTURE AYATANA
Buddhist emblems and dedicatory inscriptions.' Vaddari Apparao
thinks that it means ' a pillar erected near the gate.' — (Indian Culture,
October, 1936, pp. 389-390.)
AYATANA — An enclosure, earlier an abode, a house, later an
enclosed settlement, temples and monasteries, an assembly hall.
(R.-V. iv, 4, 3 ; 37, i ; v. 3, 6 ; vi, 21, 4,
vn, 56, 22; 61,3; x, 91,2.)
A dwelling, a temple where an idol is installed :
(1) Purvena phalino vrikshah kshira-vrikshas tu dakshine I
Paschimena jalam Sreshtham padmotpala-vibhushitam II
Uttare saralais talaih subha syat pushpa-vatika 1 1
Sarvatas tu jalam sreshthaih sthiram asthiram eva cha I
Parsve chapi kartavyam parivaradikalayam I
Yamye tapovana-sthanarh uttare matrika-griham I
Mahanasam tathagneye nairritye'tha vinayakam II
Varune srlnivasas tu vayavye griha-malika I
Uttare yajna-Sala tu nirmalya-sthanam uttare 1 1
Varune soma-daivatye bali-nirvapanam smritam I
Purato vrishabha-sthanam seshe syat kusumayudhah 1 1
Jale vapi tathaisane Vishnus tu jala-Sayyapi I
Evam ayatanam kuryat kunda-mandapa-samyutam II
(Matsya-Purana, Chap. CCLXX, vv. 28-34.)
(2) Panchayatana-madhye tu Vasudevam nivesayet I
(Agni-Purana, Chap. XLIII, v. i.)
(3) Devatayatana-vapl-kupa-tadagadi-nirmanam I
(Narada-Purana, Part I, Purva-bhaga,
Chap, xin, Colophon.)
(4) Chatuh-shashti-padam kuryat devayatanarh sada I
(Bhauishya-Purdna, Chap, cxxx, v. 17 ;
Brihat-Samhita, LVI, 10.)
Pura-madhyarh sama^ritya kuryad ayatanam raveh II
(Bhaviskya-Purdna, Chap, cxxx, v. 40 ; see also v. 41.)
(5) Rdmayana (Cock) :
I. 5, 13 : purim . . . devayatanaiS chaiva vimanair api
Sobhitam I
I- T3> 37 : yajnayatana |
I. 77, 13 : devatayatanani I
II. 6, 4 : srimatyayatane vishnoh I
59
AYADI-KARMAN AM ENCYCLOPAEDIA OF
II. 6, ii
II. 3, 18
II. 25, 4
II. 52, 90
II. 56. 33
II. 71, 42
VII. 101, 15
sitabhra-likharabheshu devatayataneshu I
devayatana-chaityeshu I
chaityeshv-ayataneshu cha I
tlrthany-ayatanani cha I
chaityanyayatanani cha I
devayatana-chaityeshu I
ubhe purottame . . . s"obhite Sobhaniyais cha
devayatana-vistaraih I
(6) Mahdbkdrata, n, 80, 30, etc. (ibid.) :
Devayatana-chaityeshu I
(7) Taittiriya-Samhitd, 2, 2, 6, I, etc. (Pet. Diet.) :
Devanam evayatane yatate jayati tarn sarhgramam I
(8) Satapatha-Brahmana, 4, 4, 5, 3 ; 5, 2, 13 ; 6, 2, 1,14; 12, 5, i, 17,
etc. (ibid.) :
Kupa iva hi sarpapam ayatanani I
Chhandogya-upanishad, 6, 8, 2, etc. (ibid.) :
Sa yatha sakunili sutrena prabaddho disarh diSarh patitvanya-
trayatanamalabdhva bandhanam evopaSrayate I
(9) Sivasyayatanam ramyarh chakre — ' built a beautiful temple of
Siva.' — (An Abu Inscrip. of the reign of Bhimadeva II, Ind. Ant., Vol. xi,
pp. 221, 222.;
(10) Chakarayatanam sarhbhor ambhonidhi-samam sarah — 'he built
the temple of Sambhu and a tank equal to the sea.' — (Harsauda Inscrip. of
Devapaladeva, line 13-14, Ind. Ant., Vol. xx, p. 312.)
(n) Sri-Nanigasvami devayatanarh karapitam I
' The temple of the illustrious god Nanigasvamin was caused to be
made.' — (Atpur Inscrip. of Sakti-kumara, line 1-2, Ind. Ant., Vol. xxxix,
p. 191.)
(12) Somesvarayatana-mandapam uttarena I — (Cintra PraSasti of the reign
of Sarangadeva, w. 40, 41, 42, 45, 72 ; Ep. Ind., Vol. I, p. 284.)
AYADI-KARMAN (see under SHAD-VARGA) — The consideration of
Aya and other formulas for the verification of correct dimensions.
Evarh tu dandakarh (gramam) proktarh tasyayamam ihochyate I
Vistarad dvi-dandena vardhayed dvigunantakam I
Yah Subhayadi-karmartham danda-hinadhikam tu va I
(M., K, 12-14.)
AYADI-BHtJSHANA (see under SHAP-VARGA) — The consideration
of Aya, and other formulas for ascertaining right proportions.
Padanam api sarvesharh lakshanam vakshyate'dhuna I
Ayamam cha vi^alam cha ayadi bhushanadikam I — (M., xv, 1-2.)
60
HINDU ARCHITECTURE ARAMA
AYADI-SHAlp-VARGA (see under SHAD-VARGA.) — The six formulas
for the verification of correct dimensions called aya, vyaya, riksha,
yoni, vara, and arhsa or tithi.
Evam ayadi shad-vargarh kuryat tatra vichakshanaih(nah) I
(A/., ix, 74.)
AYIKA-PADA (cf. STAMBHA)— A kind of pillar.
Vedamsarh changhri-tungam chardham prastarotsedham I
Tad-dvayaih ayika-padam sardharhsam prastaram uttungam I
Tad-urdhvanghri gunariisam tad-ardham urdhva-manchochcham I
(A/., xxvm, 25-27.)
ARAMA (cf. UDYANA) — A pleasure-garden, a garden-house, an
orchard. A Buddhist convent (vihara), rest-house for quiet people
built ' not too far from the town and not too near, convenient for
going and for coming, easily accessible for all who wish to visit him,
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
ditches. — (Chullavagga, vi, 4, 8 ; 3, 10.)
(1) Nagasya vamake yamye kuryad arama-desakam I
Pushpodyanam tatah kuryat mukhya-bhalla{ake'pi cha I
Nrittagaram tatah kuryan nana-nrittahganani cha I
(A/., XL, 119-121.)
(2) Prantach-chhaya-vinir-mukta na manqjna jalasayah I
Yasmad ato jala-pranteshvaraman vinivesayet 1 1
' 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.'
(Brihat-Samhita, LV, i, J.R.A.S., N. S., Vol.
vi, p. 312.)
(3) Rdmqyana (Cock) :
II. 51, 23 : aramodyana-sarhpannam . . . rajadhanim I
VII. 70, 13 : aramais cha viharais cha sobhamanam(-naih) saman-
tatah II
Sobhitam . . . purim 1 1
(4) Mahdbhdrata (ibid.), xu, 69, 11, etc. :
Vihareshu . . . arameshu tathodyane I
(5) Garden :
Kashte kale kalavapy-abhibhavati jagat kupa-vapi-tadagair asan-
narama-sattraih sura-sadana-mathairm-manditayam amushyam . . .
nagaryam I — (Dewal Prasasti of Lalla the Chhinda, v. 20, Ep. Ind., Vol
'» PP- 79. 83-)
61
ARSHA AN ENCYCLOPAEDIA OF
(6) Pleasure-garden houses, orchards :
Aramany-atanot saran sarobhis Sobhitarhtaraih I
Utphulla-karhja-kirhjalka-purhja-pirhjaritantaraih 1 1
(Two pillar inscriptions at Amaravati,
no. A, Inscrip. of Keta, II, v. 42,
Ep. Ind., vi, p. 152.)
(7) Satra-prapa-prasraya-vrishotsargga-vapl-kupa-tadagarama-devalaya-
di-karanopakaranartharh cha I
(Cambay Plates of Govinda IV, line 58,
Ep. Ind., Vol. vii, pp. 41-46.)
(8) KrishnayaSasa arama — garden (Sir E. C. Bayley, Dr. Vogel) : vihdra
or monastery (Sir A. Cunningham) of Krishnayas'a.
(Rock Inscriptions in the Kangra valley,
the Kanhiara Inscrip., Ep. Ind., Vol.
vn, pp. 117-118.)
(9) Grove (Dr. Liiders) :
Yamoda-pushkaraninarh paschima pushkarani udapano drdmo stambho
. . . Sila patto cha — ' a tank, the western tank of these twin tanks, a
reservoir, a grove, a pillar and this stone slab ' (was caused to be made).
(Three early Brahmi inscriptions, iii,
Mathura stone inscrip. of the time of
Sondasa, lines 2-3, Ep. Ind., Vol. ix,
p. 247.)
( i o) Nana-desa - prabhava - suphala - vrata - bharati - namra - vriksha - sreni -
niyama-khachitah sala-samgupta-madhyah I
Aramo'yarh surabhi-sumanoraji-samarajamanah nana-virullal
tasaranih purna-kamah sadastam 1 1
(Inscriptions from Nepal, no. 23, Inscrip.
of Queen Lalita-tripura-sundari, v. 2,
second series, Ind. Ant., ix, p. 194.)
ARSHA — Belonging or relating to the ascetics, a phallus of Siva.
A kind of phallus. — (Kdmikdgama, L, 35, 37, see under LINGA ) — (M., ui
232, see under LINGA.)
ALAMBANA — The base, plinth of a railing (vedi) or balustrade.
Sarvesharh mukha-bhadranam syat lakshanam vakshyate' dhuna I
Sikharalambanaih chadau tat palikavasanakam I
(M., xvra, 275-276, etc.)
ALAMBANA-BAHU — ^The balustrade, a small pillar used as a
support to the rail of a staircase : balustrade or a row of balusters
62
HINDU ARCHITECTURE AVRITA
joined by a rail forming an ornamental parapet to a balcony.
See Indian Architecture, p. 13, Mahasudassana Sutta, i, 59 : Chullavagga,
vr, 3, 3-
ALAYA — A temple, a house.
Ramesvaraya ghanamantapa-vapra-saudharamalayam samatanot sama-
tarasajnah — ' he erected a temple (alaya), adorned with a solid hall (man.
tapa), a wall (vapra), and a plastered mansion (saudha) to Ramesvara' .
(Mangalagiri pillar inscrip., v. 39, Ep.
Ind., Vol. vi, pp. 123, 114.)
ALlftGA (cf. ANTARITA)— A moulding like the fillet, but with
greater projection. It is a flat moulding placed alternately together
with the Antarita and is inseparably connected with the latter.
The ninth moulding from the top of the entablature (Kdmikdgama, LIV,
2, see under PRASADA).
A crowning moulding of the pedestal and the base (e.g. M., xin, 126 ;
xiv, 50, etc., see the lists of mouldings under ADHISHTHANA and UPAPITHA).
A similar moulding of a throne :
Alingantaritam chordhve prativajanam uchyate I — (M., xiv, no.)
AVASATHA — A dwelling, an abode, ' a structure of some sort
for the reception of guests on the occasions of feasts and sacrifice,
later Dharma-sala or rest-houses.
(A.-V., ix, 6, 5 ; Taitt. Bra., i, i, 10, 6;
in, 7, 4, 6, Sat. Bra., xn, 4, 4, 6;
Chhand. Upa., iv, I, i ; Apa. Stambha
Srauta Sutra., v, 9, 3 ; Apa. Dh. Sutra.,
n, 9, 25, 4 ; A.-V., xiv, 2, 6.)
A VARAN A— Minor and associated deites.
(M., xv, 400.)
AVASA — A residence, a dwelling-house.
Avasa-vasa-vesmadau pure grame vanik-pathe II
Prasadarama-durgeshu devalaya-matheshu cha I
(Garuda-Purana, Chap. XLVI, w. 2, 3.)
Nirjagama nripavasan manya-manah priyam mahat I
(Ramayana, n, 15-28.)
AVRITA (see PRAKARA) — An enclosure.
Sikhare chavrite pare sabha-mandapa gopure . . . manayet I
(M., XVIII, 200 f.)
63
AVRITA-MANDAPA AN ENCYCLOPAEDIA 0
AVRITA-MANDAPA— An open pavilion surrounding a building
1 i) Kdmikdgama, xxxv :
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 II (99)
Mandapena vina vapi tena manena pithika II (100)
(2) Suprabheddgama, xxxi, 137 :
Prakara-bhittim asVitya kuryad avrita-mandapam II
AVE&ANA — An architectural office, a studio, a place where ar
works are taught and carried out.
Avesanarh silpi-sala prapa panlya-salika I — (Amarakdsha, n, 5, 7.)
ASRAMA (see under SHODASA-MANDIRA-CHAKRA) — A temple, a hei
mitage, a dwelling. A religious establishment comprising the mai
temple, its attached tank, kitchen, alms-house, guest-house, stori
house, cow-sheds, halls dressing-houses for the deity, bed-roon
and other houses and flower gardens, orchards and the surroundin
walls.
Surebhyah puratah karyo yasyagneyyarh mahanasam I
Va(? ka)pi-nirgamane yena purwatah sat(t)ra-mandapam II
Gandha-pushpa-griham karyyam aisanyam patta-samyutam I
Bhandagaram cha kauberyyam goshthagaram cha vayave II
Udagasrayam cha varunyam vatayana-samanvitam I
Samit-kusendhana-sthanam ayudhanam cha nairrite 1 1
Abhyagatalayam ramya-sa^ayyasana-padukam I
Toyagni-dipa-sad-bhrityair yuktam dakshinato bhavet 1 1
Grihantarani sarvani sajalaih kadali-grihaih I
Pancha-varnai^ cha kusumaih sobhitani prakalpayet II
Prakaram tad-bahir dadyat pancha-hasta-pramanatah I
Evam vishnva^ramarh kuryyad vanais chopavanair yutam II
(Garuda-Purana, Chap. XLVI, vv. 14-15
A&RAMAGARA — A class of the seven -storeyed buildings.
(M., xxv, 29, see under PRASADA
ASANA — A class of buildings, a seat, a throne, a bedstead, a mouk
ing, a site-plan, a temple, a type of dwellings, a sitting posture.
( i ) Mdnasdra :
A class of the three-storeyed buildings.
(A/., xxx, 12-31, see under PRASADA
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65
HINDU ARCHITECTURE ASANA
A class of buildings in which the breadth is the standard of measure-
ment ; the temples in which the idol is in the sitting posture.
(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 I
(M., vm, n, see details under PADAVINYASA.)
A moulding of the base. — (M., xiv, 296, see under ADHISHTHANA.)
The seat underneath the base of a pillar :
Tan (pillar's)-mule chasanam kuryat padukarh va sahambujam I
(M., xv, 31.)
A seat as opposed to a bedstead :
Evarh tu Sayanadinam asananarh cha darubhih(runi) I
(M., XLIV, 74.)
A throne :
Devanaih bhu-patinarh cha bhushanartham tu toranam I
Asanopari vinyasya sarvesharh toranam I — (M., XLVI, i, 3.)
. . . toranam I
Devanarh bhu-patmam cha sthanakasyasanasya cha I
(ibid., 29-30.)
Devanam bhu-patinam cha sthanakasana-yogyakam I
Mukta-prapanga-manarh cha lakshanam vakshyate'dhuna I
(M., XLVII, 1-2.)
Devanarh chakravaryadi-bhu-palanarh cha yogyakam I
Kalpa-vriskhadinam tararh manam lakshanam uchyate I
Toranodaya-padarh tu padardhadhikodayam I
Evam vrikshasya tungasya asanasyopari nyaset I
Asanayama-madhye tu toranasyopari nyaset I — (M., XLVIH, 1-5.)
The sitting posture (of the Garuda image) :
Sthankam chasanarh chaiva gamanarh cha yathavidhi I
(M., LXI, 19.)
Evarh proktam simha-rupam ... I
Sayanam va sthanakam chasanarh va . . . I — (M., LXIII, 44, 49.)
The sitting posture in connexion with the plumb-lines :
Sarvesharh deva-edvlnarh riju-sthanakarh chasane I
Mana-sutra-vidhirh samyak(g) lakshanam vakshyate'dhuna I
(M., LXVII, 1-2.)
ASANDA AX ENCYCLOPAEDIA OF
(2) Rdmdyana (Cock) :
V, 15, 4 : Bahvasana-kuthopetam . . . (aSoka-vanikam) I
VII, 42, 1 6 f. : Bahvasana-grihopetam . . . asoka vanikam I
. . . praviSya Raghu-nandanah I
Asane cha Subhakare pushpa-prakara-bhushite II
Kusastarana-samstlrne Ramah sarhnisasada ha I
(3) Katydyana-Srauta-sutra (Pet. Diet.) Sabhasana (4, 15, 33) ;
Salasana (7, 5, 8) ; Brahma-yajamanayor asane (i, 8, 27 ; 7, 4, 32 ;
9> 9> J2, 4. J5> etc-)-
(4) Manu-Sarhhitd (ibid.) :
Sahasana (8,281) ; Sahakhatvasana (8,357) ! Rahah sthanasanam
(6,59) ; asaneshupakalpiteshu (3,208) ; and Kumara-sambhava (7,12) ;
Sampraptaya tvathithaye pradadyad asanodake (3,99) ; dadyach chaivasa-
nam svakam (4,154) ; cf. :
Rajno mahatmike sthane sadyah sauchaih vidhlyate I
Prajanaih parirakshartham asanam channa-karanam II (5, 94).
Amatya-mukham ... I
Sthapayed asane tasmin iva nah karye kshane nrinam II (7, 141).
(5) Bhagavadgltd (ibid.), 6, n :
Suchau dese pratishthapya sthiram asanam atmanah I
(6) Nalopdkhydna (ibid.) 5, 4 :
Asaneshu vivid heshvaslnah I
(7) Raghu-varhSa (ed. Cal. Bibl. 134), 2, 6 :
Sayyasane'dhyacharite preyasa I
Cf. padmasana, bhadrasana, vajrasana, virasana, and svastikasana
(see M. W. Diet., loc. cit.).
(8) Bahu-hathika-asana bhagavato Mahadevasa — ' The seat of
the blessed Mahadeva (under the banyan tree) Bahuhastika (where
many elephants are worshipping).'
(Bharaut Inscriptions, no. 160, Ind. Ant., xxi, p. 239.)
ASANDA — "1 A settee, a throne-like seat, large couches, cushions,
ASANDI — /chairs, rectangular chairs, a throne carried by four
persons (Digha Nikaya n, 23 ; Chullavagga, vi, 14, i ; Mahdvagga,
v, 10, 3. See Child ers Dictionary, Rhys Davids and Oldenberg, Bud-
dhist Sutta, 27, 197, 2-09), with wooden frame-work for chiefs and
kings. — (A.-V., xv, 3, Ait. Bra. viu, 556; 12.)
66
THt WIDTH OF THIS
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S7
HINDU ARCHITECTURE INDRA KlLA(-KA)
ASTHANA-MANDAPA (see under MANDAPA) — An assembly room,
an audience-hall, a sitting room, a drawing room, a recreation
ground with a pavilion in it.
(1) Asthana-mandapam chaiva chatur-dikshu vidikshu cha I
(M., xxxn, 73.)
Samasram vatha vedasram kuryad asthana-mandapam I
(M., xxxiv, 208.)
Asthana-mandapam kuryat pushkarinyam cha vayave I
(M., XL, 1 18.)
(2) Riksha-bhallata-someshu bhaved asthana-mandapam I
(Kamikagama, xxxv, 191.)
(3) See first Draksharama pillar Inscrip. i, 9, Ep. Ind., Vol. iv, pp.
329> 33°) under MANDAPA.
(4) A hall (Vanapalli Plates of Anna-Vema, v. 10, Ep. Ind,, Vol. in,
PP- 61, 59).
Cf. Asthana-sila-mandapa (First Draksharama pillar Inscrip., line 9,
Ep. Ind., Vol. iv, pp. 329, 330).
(5) Of- ' The curious long series of subterranean chambers to the
west of Chitaldoorg, now forming part of the Ankli matha, are deserv-
ing of notice. They are approached by a good stone staircase, which
leads down to rooms of various sizes at different levels. In these are
shrines, lingas, baths, and pedestals, the latter apparently for yogasana.'
(Ep. Carnal., Vol. xi, Introduct., pp. 31-32.)
ASYA— A facia.
1
IKSHU-KANTA— A class of the six-storeyed buildings.
(M., xxiv, 55, see under PRASADA.)
INDRA-KANTA — A class of the four-storeyed buildings, and of the
gate-houses.
(M., xxn, 60-88, see under PRASADA.)
A class of gate-houses. — (M., xxxni, 558, see under GOPURA.)
INDRA KILA(-KA)— A pin, a nail, a bolt.
Phalaka bhajanordhve tu tad-urdhve chendrakllakam I
Tatah pratima-samyuktam sthapayet sthapatir budhah I
(M., xii, 125-126.)
An iron bolt : aratnir indrakilah — the iron bolt is one cubit long.
(Kautillya-Artha-sdstra, Chap, xxiv, p. 53.)
67
INDRA-KO^A AN ENCYCLOPAEDIA OF
INDRA-KOSA — "1 A projection of the roof of a house forming
INDRA-KOSHTHA - Ja kind of balcony, holes or jali work in
arches, crenelle, an opening in a parapet for shooting through.
Attalaka-pratoli-madhye tri-dhanushkadhishthanarh sapi-dhanach-
chhidra-phalaka-samhatam itindrakos"aih karayet I
(Kautillya-Artha-sdstra, Chap, xxiv, p. 52.)
ISHTAKA — Brick, a building material, 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),
circular (mandala, Tattt. Sam., iv, 4, 5 ; v, 3, 9), cornerless
(vikarni, Taitt., v, 3, 7), conical (choda, Taitt. Sam., iv, 4, 3), gold-
headed or enamelled (vamabhrit, Taitt. Sam., iv, 2, 9; v, 5, 3),
pot-shaped (kumbha, Taitt. Sam., v, 6, i). Thus the brick-
laying was already a developed art in the age of the Tajurveda
(1000 B.C.). But in 3000 B.C. burnt bricks were in use in Mohen-
jodaro, etc.
(i) Silabhis cheshtakair vapi darubhih . . . — (M., xxx, 95.)
Eka-dva-dala-bhumyantam cheshtake dva-dasantatah I
Harmyam nirmanato vakshye prathameshtaka-lakshanam |
(M., xn, 188-189.)
(a) Trinadi-nirmitarii yo dadyat paramesvari I
Varsha-koti-sahasrani sa vased deva-vesmani II
Ishtaka-griha-dane tu tasmach chhata-gunam phalam I
Tato'yuta-gunam punyam sila-geha-pradanatah II
(Mahanirvana-Tantra, xin, 24, 25.)
(3) ' The following written declaration (vyavastha) is (also) granted
(for the guidance of the donee) : Mansions of burnt tiles (bricks) may
be built (without special permission) ; . . . with the written declaration
thus denned (the village) was placed in the (hands) of the assembly
as a deva dana, with all immunities, to the (God) Mahadeva of the
Yajfiesvara (temple).' — (Velurpalaiyam plates, lines 47 to 63 ; no. 98, K. S.
I. I., Vol. ii, p. 512.)
(4) ' Mansions and large edifices may be built of burnt bricks.'
(Tandantottam Plates, no. 99, lines 26-38 :
K. S. I. /., Vol. n, p. 531.)
(5) ' The walls of the temple ... are in great preservation, the
bricks, which compose them, are of well-burnt red earth, each measur-
ing 12 inches by 7 and i| thick, disposed with about one-eighth of an
inch of chunam between them, and the layers, being quite even, look
as if the plaster had just been stripped off.'
68
THL 51TL PLANS
UGRAPlTHA PUN OF 36 PLOTS
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Page OS
HINDU ARCHITECTURE UGHCHHRAYA
Lieutenant Fagan (Cylon Government Gazette, August i, 1820) after
describing about twenty buildings (temples and edifices) made of such
burnt bricks concludes :
' I will leave it to the curious in 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 abundance of fine stone well calculated for their construc-
tion in the immediate neighbourhood.' — (An account of the ruins of
Topary, Ind. Ant., Vol. xxxvin, p. no, c. 2, line 12 f. ; c. 2, para. 2.)
I
ISA-KANTA — A class of the eleven -storey ed buildings.
(M., xxix, 10-11, see under PRASADA.)
ISVARA-KANTA— A site-plan, a class of buildings.
A site-plan in which the whole area is divided into 961 equal
squares :
. . . chaika trimsat-vidhane tu I
Eka-shashti-samadhikyam padam nava-s"ata-yutam I
Evam Isvara-kantam syat ... I
(M., vii, 46-48, see further context under PADA-VINYASA.)
A class of the four-storeyed buildings.
(M., xxii, 44-46, see under PRASADA.)
u
UGRA-JATI — Base-born, people of low castes, for whom buildings
of certain number of storeys are prescribed.
(M., xi, 138.)
UGRA-PlTHA — A site-plan in which the whole area is divided
into 36 equal squares.
(M., vn, 7, see further details under PADA-VTNYASA.)
UCHCHHRAYA— A kind of pillar, pillars of victory.
Giri-s'ikhara-taru-talattalakopatalpa-dvara-s'aranochchhraya (raised
places of shelter) Kielhorn quotes also Drs. Indraji and Biihler who
translate ' Parana ' by ' shelter ' and ' uchchhraya ' by ' pillars of
victory '.
(Junagadh rock Inscrip. of Rudradaman, line 6,
Ep. Ind., Vol. vii, pp. 43, 46 and note 3.)
69
UNHISA AM ENCYCLOPAEDIA OF
UNHISA — A headline running along the top of the banisters, a
figure-head at the lower end of such a head line.
(Rhys David's Buddhist Sutta, p. 262
Sudassanasutta, i, 59.)
UTTAMA-NAVA-TALA — A sculptural measurement : in this sys-
tem the whole height of an image is divided into 112 equal parts
which are proportionately distributed among the different parts of
the body from head to foot. The measurement of breadth of the
various limbs is not included in these 112 parts. The measurement
of the arms is also excluded from these.
For details, see M., LIX, 14-64, under TALA.
UTTAMA-DA&A-TALA — A sculptural measurement in which the
whole height of an image is generally divided into 1 20 equal parts.
(M., LXV, 2-179, see details under TALA.)
UTTAMBHA— A kind of rectangular building.
(Garuda-Purana, Chap. XLVII, w. 21-22
26-27, see under PRASADA.)
UTTARA — A rectangular moulding, a fillet. (For its synonyms,
see M., xvi, 56-58 below.) It is used sometimes to signify the whole
architrave or the beam, i.e. the lowest division of the entablature,
which extends from column to column ; also applied to the moulded
frame which bounds the sides and head of a door or window open-
ing. It also denotes a particular member of the pedestal and en-
tablature and resembles the corona or the square projection of the
upp er part of the cornice, having a broad and vertical face generally
plain.
(Cf. Ram Raz, Ess. Arch. Hind., p. 25.)
( i) Mdnasdra :
A crowning moulding of the pedestal :
Uttaram charhs'akarh chordhve kshepanardhadhikambujam I
Uttaram chardha-kampam syat tad-urdhve cha saro-ruham I
(M., xni, 67, 76, etc., see the lists of
mouldings under UPAP!THA.)
A similar moulding of the column :
Adhishthanoparisht(h)at tu chottaradho'vasanakam I
Upapithoparisht(h)at tu janmadau chottarantakam I
Padayamavasanam cha adhishthanodayena cha I
(M., xv, 7-9.)
70
UPA.VEDI.
UPA-VEDI.
f
.UTTARA
I
UTTARA.
UTTANA-PATTA.
Page 70
U PA TULA.
UFA TULA.
Page 71
HINDU ARCHITECTURE UTSAVA
A similar moulding of the entablature :
Uttarordhve chatush-pancha-shat-saptashtakam bhavet I
Purva-bhagika-manena chottarochcharh gunamsakam I
(M., xvi, 30, 59, etc., see the lists of
mouldings under PRASTARA.)
Its synonyms (or terms of similar signification) :
Uttararh bhajanam adhararh adheyam s"ayanarh tatha I
Uddhritarii cha murdhakam chaiva mahatauli svavarhsakam I
Prachchhadanasyadharam etat paryayam iritam I
(M., xvi, 56-58.)
(2) Vdstu-vidyd, ed. Ganapati Sastri, ix, i :
Atha vakshyami samkshepat pada-manam yathavidhi I
Uttaropanayor madhya-gatam etat praklrtitam II
(3) Kdmikdgama, (LIV, see under STAMBHA) : The moulding at the top
of the entablature.
(4) Suprabheddgama (xxxi, 107, see STAMBHA) : A crowning moulding
of a column.
UTTAROSHTHA (see under STAMBHA)— The upper lip, the
ovolo or the moulding above the cavetto or mouth (see Gwilt.,
Encycl , fig. 867, and also the list of mouldings in the five orders,
e.g. Art. 2553).
Stambharh vibhajya navadha vahanarh bhago ghato'sya
bhago'nyah I
Padmarh tathottaroshtharh kuryad bhagena it
(Brihat-Samhita, LIII, 29.)
UTTANA-PATTA— A pavement.
Vyddham chottana-pattam sakala-kanakhale . . . yas" chakara — ' who
made a broad pavement of (stone) slabs in the whole of Kanakhala.'
(An Abu inscrip. of the reign of Bhumadeva II,
v. 9, Ind. Ant., Vol. xi, pp. 221, 222.)
UTSAVA (J^UTSEDHA)— The height of a draught animal (vahana)
in comparison with that of the idol of whom the former is the
vehicle.
(i) Mula-bera-vas"arh manam utsavodayam iritam I — (M., LV, 34.)
Brahma vishnu(s cha)-rudranam buddhasya ja(ji)nakasya cha I
AnyaiS cha . . . manam tu samgraham I
Evam tu chotsavadlnam sthavara(m)-jamgamadinam I
(M. LXIV, 91-93.)
71
UTSAVA AN ENCYCLOPAEDIA OF
Vihanga-raja-manaih cha lakshanam vakshyate'dhuna I
Mula-bera-samottunga(m) tat-tri-padardham eva va I
Utsavochcha-samarh vapi dvi-gunam tri-gunam tu va I
Tri-gunam vadhikarh vapi tach-chatur-gunam eva va I
Evam navodayam proktam uttamadi trayarh trayam I
(M., LXI, 1-5.)
Vrishasya lakshanam samyag vakshyate'dhuna I
Vayor abhimukharh sthapyarh pithe va chotsave'pi va I
Vimane mandape vapi charopari parinyaset I — (M., LXII, 1-3.)
Three types :
Mula-berodayam s"reshtha(rh) tri-padam madhyamam bhavet l
Tungardham kanyasam proktam tri-vidham chotsavodayam I
(M., LV, 35 -36.
Berotsedha-samarh ^reshtham karnantam madhyamam bhavet I
Bahvantaih kanyasam proktam utsavam vrishabhodayam I
(Af., Lxn, 10-11.)
Nine kinds :
Evam lihga-vas"at proktam vishnu-bera-vaso(ad u)chyate I
Mula-bera-samam vapi netrantam va putantakam I
Hanvantam bahu-slmantam stanlntam hridayantakam I
Nabhyantam medhra-simantam nava-manam chotsavodayam I
Tad-ardham kautukotsedham kanyasadi trayam trayam I
(M., LXIV, 2 4-28.
Athava tena mancna shoda^am^am vibhajite I
Ekaikams'akam tasmat pancha-vim^amsakantakam I
Kanyasad uttamantam syan nava-manam utsavodayam I
Athava mula-berasya kesantarii tu bhruvantakam I
Netrantam nasikagrantam hanvantam bahu-simakam I
Stanantam hridayantam cha navyantam cha navodayam I
Kanyasad uttamantam syat nava tad utsavodayam I
Utsave chardha-manena kautukodayam iritam 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 :
Mula-berangularh chaiva manayed utsavodayam I — (M., LV, 55.)
Tat-tan-mana-vasat kechin mula-bera-vasan nayet I
Utsave chotsavam proktam angulam mana-vi^vatah |
(M., LXI, 21-22.)
72
HINDU ARCHITECTURE UTSEDHA
UTSAVA-MANDAPA— A festive hall.
See under MANDAPA and cf. :
Gopura-prakarotsava-maihtapair upachitarh sriramabhadraya
(Kondavidu Inscrip. of Krishnaraya, v. 27,
Ep. Ind., Vol. vi, pp. 237, 231.)
UTSAVA-VIGRAHA— Images for procession, idols to be carried in
procession.
Utsava-vigrahala samarpimchi-' presented idols to be carried m pro
cession '.
(Kondavidu Inscrip. of Krishnaraya, v. 28, lines 118-119,
Ep. Ind., Vol. vi, pp. 231, 232, 237.)
UTSEDHA (see MANA)— The height called santika, paushtika,
jayada, sarvakamika or dhanada, and adbhuta : they are respectively
equal to the breadth, i J, i\, i J , and twice of it.
(See M., xxxv, 22-26, under ADBHUTA.)
The height of a buidling is stated to be measured from the basement to
the top of the dome :
Utsedharh janmadi-stupikantam — (M., xxxv, 26.)
The technical names of the proportions of the height are significant.
The first one is called Santika ' or peaceful. In this proportion the helght is
equal to the breadth (M., xxxv line 22) ; and this is aesthetically a gracefu
proportion. The second one is called 'paushtika' which might be
rendered as strong, eminent, rich, complete, or perfect. In this proportion
the height is 1 1 of the breadth (ibid., line 22) ; and this would give
building a good stability. The third one is called ; jayada ' or joy-giving.
In this proportion the height is i* of the breadth (ibid., line 22) ; and this
gives a pleasant appearance to the building. The fourth one has two names,
' sarva-kamika ' or good in every way, and ' dhanada ' or wealth-giving. In
this proportion the height is if of the breadth (ibid., line 23) ; and according
to the literal meaning of the term « sarvakamika ' this would make the
building strong as well as beautiful. The fifth or last one is called « adbhuta '
or marvellous. In this proportion the height is twice the breadth (ibid.,
line 22) ; and this would give a wonderful loftiness and gorgeous look
to the building.
The comparative height of the component members of an architectural
structure is technically called 'ganya-mana.' The details thereof will be
found under GANYA-MANA.
Six kinds of measurements are prescribed for an image : mana
(full height of the image), pramana (breadth), parimana (width
73
UDAPANA AN ENCYCLOPAEDIA OF
or circumference), lambamana (length by the plumb-lines), unmana
(thickness) 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 compared with nine objects such as the adytum, door,
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
as it is made equal to nine successive parts of the object (ibid., lines 15-33).
When compared with the worshipper, it is equal to his full height,
reaches his hair-limit (on the forehead), nose-tip, chin, arm-limit (to the
shoulder), breast, heart, navel and sex-organ :
Kanyasad uttamantam syad yajamanodayam param I
KeSantam nasikagrantaih hanvantam bahu-slmakam I
Stanantarh hridayantarh cha nabhyantam medhra-simakam I
Navadha kanyasantam syat sthavaram jangamodayam I
(M., LV, 30-33.)
The height of the riding animals (vahana) of the gods is divided
into two kinds, utsava and kautuka (see details under these terms). The
latter is stated to be half of the former, and it does not seem to bear
any other independent signification. The former is compared with
the height of the main idol, exactly in the same way as the idol is com-
pared with the height of the worshipper (see e.g. M., LXIV, 24-28 ; LV,
40-43, under UTSAVA).
UDAPANA — A well, a pool or pond near a well.
Ima-kshayamada-pushkaranlnam paSchima-pushkaraniih udapana-
arama-stambhah I — (Mathura inscriptions, no. i, line 2, Cunningham, Arch.
Surv. Reports., Vol. m, p. 30.)
See Bhdgavadgltd, n, 46.
UDUMBARA — The threshold of a house, a door.
(1) Uchchhrayat pada-vistlrna Sakha tad-vad udumbarah — ' the
side-frame of the door has a breadth of J of the altitude ; likewise
the threshold.' Sakha-dvaye'pi karyam sardham tat syad udum-
barayoh— ' the thickness of the two side-frames of a door is as many digits
(angulas) as the altitude numbers cubits, one and a half that measure
gives the thickness of the threshold and upper timber.'
(Bfihat-Sathhita, LIII, 26 j LVI, 13, Kern,
J.R.A.S., N. S., Vol. vi, pp. 284, 318.)
(2) Garbha-griha-udumbara-pramana — ' measures of the central hall
and the threshold'. — (Prdsddamandana-Vdstu-^astraofSutra-dhara Mandana, HI,
MSS., Egg. 3147, 2253 fol. 150.)
74
HINDU ARCHITECTURE UDYANA
(3) Plaksha-dvaram bhavet purvarh yamye chodumbaram bhavet I
T^he back-door should be at the east and the udumbara or front-do or
at the south'. — (Matsya-Purdna, Chap. CCLXIV, v. 15.)
Tatha dvi-guna-vistlrna-mukhas tad-vad udumbarah I
(Ibid., Chap. CCLXX, v. 20.)
(4) Vistarad dvi-gunarh dvararh kartavyarh tu susobhanam I
Udumbarau tad-urddhvarh cha nyasech chhasnarh (?) suman
galaih II
Dvarasya tu chaturthamse karyau chanda-prachandakau II
Visvak senavat sadantau sikharddhodumbara-sriyarh II
(Agni-Purdna, Chap. XLII, vv. 19-20.)
(5) Bhavishya-Purdna (Chap, cxxx, v. 20) has the same verse as (i)
except that it reads ' udumbarl ' in place of ' udumbarah ' in the Brihat-
Sarhhitd.
(6) See jamb ornaments, Chalukyan Architecture, Arch. Surv.,
New Imp. Series, Vol. xxi, plates CL, figs. 2, 3.
UDDHRITA — A synonym of uttara or a crowning fillet.
(M., xvi, 56-58, see under UTTARA.)
UDBHUTA— A kind of phallus.
(M., LH, 226, 233, 236, 238, 241, see under LINOA.)
UDYANA (cf. ARAMA) — A pleasure-garden.
(i) Rdmayana (Cock) n, 71, 21 :
Esha natipratita me punyodyana yaSasvim I
Ayodhya dris"yate durat ... II
Ibid., 22-26 :
Udyanani hi sayahne kriditvoparatair naraih M
Samantad vipradhavadbhih prakas"ante mamanyatha I
Tanyadyanurudantiva parityaktani kamibhih 1 1
Aranya-bhuteva puri sarathe pratibhati mam I
Nahyatra yanair dri^yante na gajair na cha vajibhih 1 1
Niryanto vabhiyanto va nara-mukhya yatha pura I
Udyanani pura bhanti matta-pramuditani cha 1 1
Jananam rati-samyogeshvatyanta-gunavanti cha I
Tanyetanyadya pasyami niranandani sarvas"ah II
Ibid, n, 67, 19 :
Narajake jana-pade vahanaih Sighra-vahibhih I
Nara niryantyaranyani naribhih saha kaminah II
75
UNMANA AN ENCYCLOPAEDIA OF
(2) Lilodyana or pramadodyana — pleasure-garden, on the Dharagiri
hill, the scene of the second Art.
(Dhar Prasasti of Arjunavarman, lines 6,
12, 31, verse 30, lines 36, 75, Ep. Ind.,
Vol. VIH, pp. 99-100.)
UNMANA (see MANA) — The measurement of thickness or diameter.
(M.y LV, 3-9, see under MANA.)
Atah-pararh pravakshyami manonmanarh vis"eshatah I
(Matsya-Purana, Chap. CCLVIII, v. 16.)
Manarh tad-vistararh proktarh unmanam naham eva cha II
Pramanarh dirgham ityuktarh manonmana-pramanatah II
(Suprabhedagama, xxxiv, 35, 36.)
UPAKANTA — A class of the six-storeyed buildings.
(M., xxiv, 16, see under PRASADA.)
UPATULA (see TULA)— A part of the column.
(Brihat-Samhita, LIII, 30, see under TULA.)
UPATALPA — An upper storey, a room on the top of a house.
(Raghu-vamsa, xvi, n, etc.)
UPADVARA— The smaller door.
(See Mdnasara, ix, 306, 309, 354, 360, under DVARA.)
Upadvaro(ramu)ktavat kuryad vishnu-dhisnam tu paschime I
(M., ix, 109.)
Chatur-dikshu chatur dvaram upadvaram antaralake I
(M., xxxi, 77.)
UPADHANA (see under SAYANA) — A pillow, an article of furniture.
UPAPADA — The upper or dwarf pillar which is subordinate to a
larger column.
Upapadani sarvesharh purva (? mula)-pade tu yojayet I
Ekopapada-sarhyuktam dvi-try-upapadena sarhyutam I
Vedopapada-sarhyuktarh brahma-kantam Iritam I
(M., xv, 239, 242, 244, see also 245, 247.)
UPAPITHA (cf. PITHA)— The pedestal, the upper pedestal, the
outer surface, a site-plan. The pedestal is the lowest division
in an order of columns, called also stylobates and stereobates. It
consists of three principal parts — the die, the cornice, and the base.
(i) ' The pedestal is not only placed under the base of a column or
pilaster, but frequently employed, both singly and together with the
76
THL 5iTL PLXNS
U PA-pJTHA PLAM OF ZS PLOTS
JAABUT
)AUKHYA
SOKA
ADIT)
ISA
SOSH*
RUDP.A
BH13DHARA
APAVATSA
MXANTA
VARUN^
•
M1TRN
BR^I^X
ARYAKA
ADHYA
SUGRWA
INDRA
VIVASVAT
SKVITRA
BHP'.SA
•
PITRI
BHRINGA-
-RAJA
YAM
VITATKA
AGNl
Page 7 6
HINDU ARCHITECTURE UPAPlTHA
latter, as a pavement for temples and porticoes, over cornices of edifices
consisting of several storeys in height, and also as a platform for thrones,
and as seats for statues.'
In a Tamil fragment of a manuscript, purporting to be a translation
of Mayamata, it is said that ' 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 pedestal, and in the case where a pedestal
is joined to the base, the height of the pedestal may be either equal to
that of the base, or twice, or three times as much. Here, the greatest
height, given to a pedestal, namely, three times that of the base, is equal
to a little more than a third part of the highest column, which is not
perhaps a bad proportion.'
(Ram Raz, Ess. Arch. Hind., pp. 23, 26.)
(2) Kdmikdgama, xxxv :
Tad-varddhitopapitharh va tad-varddhita-masurakam II (115).
Adhishthanadi-shad-vargarh tan-manam upapithake II (122).
(3) Suprabheddgama, xxxi, 12 :
Pithasya tri-gunam garbhaiii ta(t)-tri-bhagaika-bhittikam I
Sarhvikshya sama-bhumis' ched upapitham prakalpayet II
(4) Mdnasdra :
A site-plan in which the whole area is divided into 25 equal
squares (see under PADAVINYASA) :
Panchamam pancha-panchamsam upapitham iti smritam I
(M, vn, 6.)
Evam sutra-sthitan devan padastharhs chopapithake I — (ibid., 70.)
In connexion with foundations :
Ekamsam koshtha-bhittyuchchhra(ya)rh ghanam prag-uktavan-
nayet I
Upapitham pade devan koshtham chokta-kramam nyaset I
(M., XH, 38-39.)
In connexion with the ' pita ' or yoni part of the linga :
Athava kumbha-dig-bhagarh padma-tunga(m) yugarhsakam I
Sesham prag-ukta-vat kuryad upapitham prakalpayet I
The pedestal of the column (M., xm, 2-156) :
Its situation :
Adhishthanonnate dese chopapitham hi samsritam I (2)
Its heights (cf. also Mayamata, quoted above) :
Ete tattvam adhishthanam tach-chatur-amsakam I
Vibhajet tvadimamsena ekaikamsam vivardhanat I
Tad ashtamsavasanaih syaj janmadi-pattikantikam I
77
UPAPITHA AN ENCYCLOPAEDIA OF
Evam tu chopaplthochcham navabhir bhedam iritam I
Athava kshudra-harmye tu chatur-bhagarhs"am unnatam I
Dvi-bhagam va tri-bhagam va chatur-bhagam athapi va. I
Pancha-daSodayam vapi ri(s"a)ntikadi-sarodayam I
(3~9» ftt also 10-15, under UTSEDHA.)
The general description :
Bhaga-padadi-sarvesham udgrivaih vastu-vaSan nyaset I
Padanam api sarvesham patrajatibhir alahkritam I
Antre natakair yuktam padmanam tu dalair yutam I
Chatur-asYakritim chaiva prathamadin kampa-vajanaih I
Athava ratna-pushapas' cha patradyair alankritam syat I
Anyair yuktam svalankritya prativajana-de^ake I
Prativajanakam tesham krite karkarikritam I
Anyena vantaram chaiva vyala-sirhhadi-rupakaih I
Khadgeva Srohi-samyuktam vrittasram pushpakair yutam I
Anyanyamuktarh cha sarvesham yuktya tatraiva yojayet I (145-154).
Sixteen types of pedestals are described under three technical names,
details whereof are given below (37-127). (The mouldings are arranged
in the successive order, as given in the text, from bottom upwards.)
I. Vedibhadra (lines 27-53) :
(a) 24 parts : Parts
(1) Upana (plinth) .. .. .. 5
(2) Kampa (fillet) . . . . . . i
(3) Griva (dado) .. .. ..12
(4) Kampa (fillet) . . . . . . i
(5) Vajana (fillet with greater projection) . . 4
(6) Kampa (fillet) . . . . . . i
(b) 12 parts :
(1) Janman (plinth) .. .. .. 2
(2) Padma (cyma) . . . . . . i
(3) Kampa (fillet) .. .. .. $
(4) Kantha (dado) .. .. 5
(5) Kshepana (projection) .. .. .. i|
(6) Padma (cyma) . . .. . . . i
(7) Pattika (fillet) . . . . . . \
(8) Kampa (fillet) . . . . . . \
(c) 12 parts :
(1) Paduka (plinth) .. ... .. ij
(2) Abja (cyma) .. .. .. i|
(3) Kampa (fillet) . . . . . . J
(4) Griva (dado) .. .. .. 5^
78
HINDU ARCHITECTURE UPAPlTHA
Parts
(5) Kshepana (projection) . . . . . . £
(6) Padma (cyma) . . . . . . \
(7) Vajana (fillet) . . . . . . i
(8) Kampa (fillet) . . . . . . \
(d) 12 parts :
(1) Upana (plinth) .. .. .. i
(2) Abja (cyma) . .
(3) Kampa (fillet) . . , . . . £
(4) Karna (ear) . .
(5) Pattika (fillet) . . . . . . i
(6) Kandhara (dado) . . . . . . 5
(7) Kampa (fillet) .. .. .. £
(8) Vajana (fillet) .. .. ..2
(9) Kampa (fillet) . . . . . . £
These are suitable for all kinds of buildings :
Sarva-harmyeshu yogarh syad vedibhadram chaturvidham I (52)
II. Pratibhadra (lines 53-89) :
(a) 26 parts : Parts
(1) Janman (plinth) .. .. .. 3
(2) Kampa (fillet) . . . . . . i
(3) Abja (cyma) . . . . . . 2
(4) Kampa (fillet) . . , . . . i
(5) Griva (dado) . . . . 1 1
(6) Kampa (fillet) . . . . . . i
(7) Ambuja (cyma) . . . . . . 2
(8) Kampa (fillet) .. .. .. 3
(9) Antarita (fillet) . . . . . . i
(10) Prati-vajana (cavetto) .. .. .. i
(b) 32 parts :
(1) Janman (plinth) .. .. .. 2
(2) Kshepana (projection) . . . . . . £
(3) Padma (cyma) . . . . . . z\
(4) Kshudrabja (small cyma) . . . . |
(5) Kampa (fillet) . . . . . . J
(6) Kandhara (dado) . . . . . . 2
(7) Kampa (fillet) .. .. .. £
(8) Abja (cyma) .. .. •• |
(9) Pattika (fillet) .. .. ..2
(10) Padma (cyma) .. .. .. £
79
UPAPITHA AN ENCYCLOPAEDIA OF
Parts
(u) Kampa (fillet) .. .. .. £
(12) Kandhara (dado) .. .. .. 10
(if) Kampa (fillet) .. .. .. |
(14) Padma (cyma)
(15) Kampa (fillet) .. .. j
(16) Kandhara (dado) .. .. .. z
(17) Uttara (fillet) .. .. .. i
(18) Kshcpana (projection) .. .. .. £
(19) Ambuja (cyma) .. .. .. £
(20) Kapota (corona)
(21) Alinga (fillet) .. .. j
(22) Antarita (fillet) .. .. .. z
(23) Prati-vajana (cavetto) .. .. .. ij
(e) 33 parts :
(1) Janman (plinth) .. .. .. 3|
(2) Kampa (fillet) .. .. j
(3) Padma (cyma) . . . . It 3
(4) Kampa (fillet) .. .. j
(5) Kandhara (dado)
(6) Kampa (fillet)
(7) Ambuja (cyma) .. .. J
(8) Vajrakumbha (round pitcher) . . . . 2
(9) Dala (petal) .. .. .. fj
(10) Gala (dado) .. .. .. 5
(u) Uttara (fillet) .. .. ..2
(12) Ardha-kampa (half-fillet) .. .. 7
(13) Saroruha (cyma) .. .. .. i
(14) Kapota (corona) .. .. .. 3
(15) Alinga (fillet)
(1 6) Antarita (fillet) .. .. .. j"
(17) Prati-vajana (cavetto) .. .. .. rj
(d) 33 parts :
(1) Janman (plinth) .. .. .. 2J
(2) Kampa (fillet) .. .. .. j"
(3) Padma (cyma) . . . . . . 3
(4) Kampa (fillet) . . . . j
(5) Karna (ear)
(6) Kampa (fillet) .. .. .. j
(7) Ambuja (cyma) . . . . . . |
80
Hl.VDU ARCHITECTURE UPAPTTHA
(19) Kapota (corona)
(20) Afinga (filet)
(21) Antarita (fillet)
(23) Vajana (fiDetj
C *X<C- 1
of kings (91)
HI- Maacfaahbadia (fines 90-124)
(8) lUtna-patta (jewdled filet) .. .. \
<< U-'-.-<. frrito] .. .. .. \
(10) Ksfaepana (projection) .. .. J
(n) Kar9a(6K) .. .. .. .. i
(w) KjfaefKua (projection) .. J
(13) Ambaja (cyma) „ .. .. i
(14) KAe{»pa (projection).. .. .. ,
(15) Ka*ha (dado) ...... „
(16) Uttaza (fillet) .. ,. .. |
(17) Aidk^aMpaCkaM^let) .. .. \
(18) Ambuja (cyma) .... 2
|
UPAPlTHA AM ENCYCLOPAEDIA OF
(b) 31 parts : Parts
(1) Upana (plinth) .. .. .. 3
(2) Kampa (fillet) . . . . . . \
(3) Saroruha (cyma) . . . . . . 3!
(4) Kshepana (projection) .. .. i|
(5) Kampa (fillet) .. .. .. J
(6) Karna (ear) .. .. .. |
(7) Ambuja (cyma) .. .. .. £
(8) Gopana (beam) .. .. .. aj
(9) Prati-vajana (cavetto) . . . . . . 3
(to) Gala (dado) . . . . . . 8
(n) Uttara (fillet) .. .. .. i
(12) Kampa (fillet) .. .. .. \
(13) Abja (cyma) .. .. .. i
(14) Kapota (corona) .. .. .. 3
(15) Alinga (fillet) .. .. .. £
(16) Antarita (fillet) .. .. \
(17) Prati-vajana (cavetto) .. .. .. i\
(e) 32 parts :
(1) Upana (plinth) .. .. .. 2
(2) Kampa (fillet) .. .. \
(3) Mahambuja (large cyma) . . . . 2^
(4) Kshudrabja (small cyma) .. .. ij
(5) Kampa (fillet) . . . . . . \
(6) Antarita (fillet) . . . . . . 2
(7) Kampa (fillet) . . . . . . \
(8) Padma (cyma) . . . . . . \
(9) Pajtika (fillet) . . . . . . i
(10) Padma (cyma) .. .. .. \
(n) Kampa (fillet) .. .. .. \
(12) Gala (dado) .. .. .. •• 5
(13) Uttara (fillet) .. .. .. \
(14) Kampa (fillet) .. .. .. \
(15) Ambuja (cyma) .. .. .. \
(16) Ardha-kampa (half-fillet) .. .. \
(17) Prati-vajana (cavetto) .. .. .. \
(18) Antarita (fillet) . . . . . . \
(19) Karna (ear) .. .. .. 3
(20) Uttara (fillet) .. .. .. i
(21) Kampa (fillet) .. .. \
(22) Padma (cyma) ... . . \
82
HINDU ARCHITECTURE UPAPlTHA
Parts
(23) Kapota (corona) . . . . . . 3
(24) Alinga (fillet) . . . . £
(25) Antarita (fillet) . , . . . . \
(26) Gala (dado) . . . . . . . . 2
(27) Uttara (fillet) . . . . . . i
(d) 34 parts :
(1) Janman (plinth) .. .. .. 3
(2) Kampa (fillet) .. .. .. \
(3) Abja (cyma) .. .. 3£
(4) Kshudra-padma (small cyma) .. .. £
(5) Kampa (fillet) .. .. .. \
(6) Gala (dado) . . . . . . • • 7
(7) Antara (fillet) . . . . . . i
(8) Kampa (fillet) ... . . . . \
(9) Padma (cyma) .. .. .. \
(10) Amsuka (filament) .. .. .. z£
(n) Kapota (corona) .. .. .. ij
(12) Antara (fillet) .. .. ..6
(13) Karna (ear) and
( 14) Uttara (fillet) . . . . . . i
(15) Kampa (fillet) .. .. .. \
(16) Abja (cyma) .. .. .. •• J
(17) Gopana (beam) .. .. .. 3
(18) Vajana (fillet) .. .. ..2
Projections (lines 125-144) :
The projection of the plinth (and other members) is equal to the
moulding, larger by one-fourth, one-half, three-fourths, or twice :
Tat-tad-angani sarvesham upanadi tathakramam I
Tat-samam nirgamam vapi tat padadhikam eva cha I
Tad ardhadhika-bhagam vapi tat tri-bhagadhikam tatah I
Tat samadhikam evam va padad upana-nirgamam I (128-131).
Janma-nirgamam evoktam padma nirgamam ishyate I (138).
The projection of the cyma is not up to twice of it :
Tungarh tat-samam evam va padadhikyardham adhikam I
Padonadvi -gun aril vapi padmam evam tu nirgamam I (139-140).
Upamanasya manena yuktya padmasya tu nirgamam I (142).
The projections of the other mouldings are (generally) equal to them :
Kshudra-padmani kampani tat-samam vatha nirgamam I
Pattikadini sarvani tat samam nirgamam bhavet | (143-144).
83
UPAPITHA AN ENCYCLOPAEDIA OF
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,
12, 13, 14, or 15 equal parts ; of these i, 2, 3, 4, 5, 6, 7 or 8 parts are
projections (lines 20-26). But the choice of that proportion which
would make it look beautiful is left to the discretion of the artist :
Purvarh nirgamarh proktarh yan-manoramyam anayet I (26).
The extent of projection :
Nirgamam chopapitham(thasya) syat pada-bahyavasanakam I (34).
These pedestals of the Indian architecture may be compared, in the
following pages, with those of the early European orders, for a general
knowledge of the subject.
(5) ' Whether the pedestal is to be considered a component part of an
order is of little importance. There are so many cases that arise in
designing a building, in which it cannot be dispensed with, that we
think it useful to connect it with the column and entablature. Vitru-
vius, in the Doric, Corinthian and Tuscan orders, makes no mention
of pedestals, and in the Ionic order he seems to consider them rather as
a necessary part in the construction of a temple than as belonging to
the order itself.' — (Gwilt, Encycl, Art. 2601.)
' The height of the podium, or pedestal, with its cornice and base,
from the level of the pulpitum, is one-twelfth part of the diameter of the
orchestra (in a theatre). The columns on the podium, with their
capitals and bases, are to be one-fourth of its diameter high. The
architraves 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
less in height than the lower columns.'
' The architrave and its cornice are one-fifth of the columns. If
there is to 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
of the columns.' (Vitruvius, Book V, Chap, vn.)
Tables showing the height of pedestals in ancient and modern works
Plinth (basel Mouldings
* Die
Doric :
Palladio ..26 14 80 20 = 140
Scamozzi , .. 30 15 88- 22j =
84
HINDU ARCHITECTURE
UPAPITHA
Plinth (base) Mouldings
in above
minutes plinths
Ionic :
Temple of Fortune
Virilis . . 44
Coliseum . . 33^
Palladio . . 28§
Scamozzi . . 30
Corinthian :
Arch of Constan-
tine .. 17^
Coliseum . . 23
Palladio . . 23 \
Scamozzi . . 30
Composite :
Arch of Titus . . 55
Arch of the Gold-
smiths . . 46
Arch of Septimus
Severus . . 30
Palladio . . 33
Scamozzi . . 30
9*
14*
15
29
15
'5
Die
93l
»'S
971
141
144*
'4<>i
133
Cornice
i? =
Total
= I80J
150
153
295
= 229
78
i9l
= 131
93
19
= 150
132*
22^
— 200
29 = 255
= 241
' The minutes used in the above table are each equal to i 60
diameter of the shaft.' (Gwilt, Encycl., Art. 2600).
231*
2OO
1 80
of the
PEDESTALS
I. In the Tuscan order (Art. 2555)
Cornice cymatium,
6 parts
Die, 44 parts
Base, 6 parts
(Listel)
Die or dado 3 modules
and
Cong6 or apophyge
Fillet
Plinth
85
Height in
parts of a
module
2
I
5
Projection
from the axis
of column in
parts of a
module
2O
4
UPAPITHA
AN ENCYCLOPAEDIA OF
II. In the Doric order (Art. 2665)
r i. Listel
2. Echinus
Cornice, 6 parts . . •{ 3.
Fillet
4-
Corona
I 5.
Cyma reversa
Die .. ..6.
Die, 4 modules.
f 7'
Cong6
8.
Fillet
|
Base . . . . •{
Astragal
Cyma (inverted)
n.
Second plinth
I12-
First plinth
III. In the Ionic order :
i.
Fillet
2.
Cyma reversa
3-
Corona
Cornice, 1 1 f parts ^
4-
Fillet of the drip
5-
Ovolo
6.
Bead
7-
Fillet
*- 8.
Cong6
Die (4 modus) . . 9.
Die
'10.
Cong4
n.
Fillet
Base, i o parts . . •<
12.
'3-
Bead
Cyma reversa
14.
Fillet
Li*
Plinth
IV. In the Corinthian order (Art. 2582) :
" I.
Fillet
2.
Cyma reversa
3-
Corona
Cornice, 14^ parts <
4.
5-
Throat
Bead
6.
Fillet
7-
Frieze
*
. 8.
Bead
Height in
Projection
from the axis
parts of a
of column in
module
parts of a
module
i
23
I
22|
1
2l|
•2\
21
li
|B|
I
17
I
18
I
i8|
2
19
2*
21
4
«i
§
35
Jl
S4l
3
33l
1
30
3
29!
i
27
i
26J
ii
25
I2f I
mod. 7
2
25
I
27
l|
28
3
271
4
33
§
33i
*$
33i
3
32
ii
3°f
i
26£
1
25f
5
25
i*
26|
86
HINDU ARCHITECTURE
UPAPITHA
Height in
parts of a
module
Projection
from the axis
of column in
parts of a
module
f 9- Fillet .. .. f
26J
j 10. Cong6 . . i|
25
Die, 91 J parts . . -{ n. Die .. .. 87^
25
| 12. Fillet .. i£
^13. Cong6 .. .. f
25
("14. Bead .. . . i J
27i
j 15. Inverted cyma reversa 3
26f
Bnse, I4i parts . . •{ 16. Fillet .. .. i
3°t
17. Torus .. •• 3
32^
[18. Plinth .. ..6
32|
V. In the Composite order (Art. 2591) :
r i. Fillet .. .. §
33
2. Cyma reyersa . . ij
32I
3. Corona . . • • 3
3i|
4. Cyma recta il
Cornice, 1 4 parts ^ F;11
Q. Irliict . . . .
26^
6. Cavetto . . i
25i
7. Frieze . . 5
25
8. Bead .. .. i
27
f 9. Fillet .. ..i
27i
j 10. Cong6 .. . . ii
25
Die, 94 parts .J n. Die .. .. 88f
25
j 12. Apophyge.. .. 2
27
^13. Fillet .. ..i
27
14. Bead . . i
271
15. Inverted cyma reversa 3
3°i
16. Fillet .. ..i
3Ji
17. Torus .. --3
33
18. Plinth .. ..4
33
On the comparison of the pedestals employed in the early periods of
Indian and European architecture, Ram Raz and others are of
opinion that ' the most finished specimens of them (Indian pedestals)
may be justly said to surpass anything of the kind in the Grecian or
Roman orders, both in the beauty of their proportions and the richness
of their ornament.' — (Ram Raz, p. 23.)
(6) See Ranganatha inscription of Sundarapandya. — (Verse 19, Ep.
Ind., Vol. in, pp. 13, 16.)
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.)
(7) ' 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
in height.'— (Inscription of Rajaraja, no. 34, para. 6, H.S.LI., Vol. n, p. 144.)
(8) 'One pedestal (having or called) an auspicious mark (bhadra).
The word, 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.)
(9) See Essay on Arch, of Hind., Ram Raz, Plate i, figs. 1-12.
(10) See pedestal of statue inside the great temple at Gaya, Cunning-
ham, Arch. Surv. Reports, Vol. i, Plate v, p. 6, ibid., Vol, ix, Plate in
(plan and section of pedestal for statues).
UPABHAVANA— A sub-temple.
' Caused to be erected a sub-temple (upabhavana) adorned with the
images of Hari and GanesV.— (Ep. Carnal., Vol. v, Part i, Arsikere Taluq
n°- 79. Transl., p. 142, last two lines.)
UPAMANA — The measurement of the interspace.
UPALEPANA-Plastering.
Tad-vasati-sambandhi -nava-karmmottara -bhavi -khanda - sphutita-
sam-marjjanopalepana-paripalanadi I— (Konnur Inscrip. of Amogha-
varsha I, line 37, Ep. Ind., Vol. vi, pp. 31, 36.)
Deva-griham karapya punas tasya upalepana I— (Buchkala Inscrip. of
Naga Bhatta, lines 17-18, Ep. Ind., Vol. ix, p. 200.)
UPAVANA— A pleasure-garden, a planted forest.
Upavanam atha chakre tena meghesVarasya sphurita-kusumarenu-
s'reni-chandratapa-s'rl i
Avirata - makaranda - syanda -sandoha - varshair ddhrita -rati -pati-
lilayan-tradharagrihatvam II— (Two BhuvanesVar Inscriptions, no. A
of SvapnesVara, v. 26, 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.)
HIJ\DU ARCHITECTURE UPANA
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
committed. — (Childer's 5. F., Kern, quoted by W. Geiger : MahavamSa, p. 296.)
UPASTHANA (cf. Asthana-mandapa)— A 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.
Yasyopasthana-bhumi . . . ' whose hall of audience.' — (Kahaun Stone
Pillar Inscrip. of Skandagupta, line i, C. I. /., Vol. in, F. G. I., no. 15, p. 67.)
UPANA— A rectangular moulding, a fillet ; it corresponds, in the
import of the term and the purpose to which it is applied, to the
plinth or the lower square member of the base of a column or the
projecting base of any moulding (cf. Ram Raz, Ess. Arch. Hind.,
P- 25).
Atha vakshyami samkshepat pada-manam yatha-vidhi I
Uttaropanah(-y)or madhya-gatam etat prakirtitam II
Apparently ' upanaha ' is used in the sense of ' upana.'
(Vastu-vidya, ed. Ganapati Sastri, ix, i.)
The bottom of the foundation-pit :
Tat-pada-mule dese va tathopana-prades'ake I
Kudya-stambhe griha-stambhe harmya-garbham vinikshipet I
(M., xn, 130-131.)
The moulding (plinth) at the bottom of a pedestal, it is also called
Janman :
Utesedhe tu chatur-vims'at panchamsam upanam Iritam I
Ekena kampam ityuktarh grivochcham dva-dasarhs'akam I
Kampam ekam tu vedarhs'am vajanam kampam ariisakam I
Vedibhadram iti proktam athava dva-das'ariis'akam I
Janma dvayarhs'akarh padam kampam ardhena karayet I
(M., xra, 36-40, see the lists of mouldings under UPAP!THA.)
The similar moulding of the base is also called ' janman ':
Eka-vims'ams'akam tunge kshudropanarh s'iva.riis'akani I
Janmadi-vajanantam cha sapta-vimsamSam uchchhrayet I
Dvi-bhagam janma-tungarii syat tat-samarh chambujodayam I
(M., xiv, 44, 65-66.)
It is also called pdduka and vapra, see the lists of mouldings under
ADHISHTHANA.
89
UBHAYA-CHANDITA AM ENCYCLOPAEDIA OF
UBHAYA-CHANDITA-A site plan of one hundred and sixty-
nine square plots.
(M. vii, 15-16, cf. PADA-VINYASA.)
URAGA-BANDHA (See under ADHISHTHANA)-A class of bases It
has four types differing from one another in the height and num-
ber of the mouldings. (See the details under ADHISHTHANA.)
It is shaped like the face of a snake (uraga) and is furnished with two
pratts at the top (M., xiv, 44). The pitcher-shaped moulding of this
class of bases is circular or round. — (M., xiv, 45.)
USHNISHA— The top of a building, a diadem, a crownet, the top
knot on the Buddha's head.
(i) Mdnasdra :
The top of a building :
Salavrite salakute cha nide cha Sikhare chordhva-kutake I
Lupa-yukta-bhramakare tat-tad-ushmsha-desike I
. . . Stupikavahanam bhavct I (M> xvni> 333,334.)
The top knot on the crown of a Buddhist image :
Bauddhasya lakshanarh vakshye samyak cha vidhinadhuna |
Dvi-bhujam cha dvi-netram cha choshnishojjvala-maulikam I
_,, (M., LVI, I, 10.)
The crown of the statue of a devotee (bhaktd) :
Ushnishat pada-paryantam bhavottara-Satamlakam I
Ushnlsham tu chatur-matram netrantam tu yugangulam I
. (M., ux, 14-15.)
Referring to the situation of the plumb-lines :
Ushnlsha-madhyame chaiva lalatam(sya) chaiva madhyame I
Ushnishat tu yatha parsve lalajasya tu partake I
Ushnishat purva-parsve tu yathoktam netra-madhyame 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 distinguished : « he is never represented in
Indian sculpture with any sort of covering on his head.' Dr Bureess -
(Ind. Ant., Vol. ix, p. 195, note 3.)
USHNISHI— A 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 PRASADA).
9°
USHNISHA
Pane 96
HINDU ARCHITECTURE OHAPOHA
U
OHAPOHA — Philosophically ' uha ' implies a conjecture, a
guess, ' a hypothetical reasoning which helps the right recognition,'
hence architecturally an additional moulding or member to fill
up any unspecified gap ; ' apoha ' or ' pratyuha ' means ' a removal,'
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 I
Tasmat tu silpibhih prajnair uhapohan na yojayet I
(M., VH, 268-269.)
Referring to two-storeyed buildings :
Sarvesham devata-harmye purvavad devatah nyaset I
Ukta-vach chhastra-margena uhapohena yojayet I
(M., xx, 105-106.)
In connexion with penalties for defects in important members :
Uhapohadi-klrtibhyam Sastrokte tu yad(th)a tatha I
Uhi(uha)-hina chokta-hma tvadhikartri(ta) vinalyati I
Tasmat tu s"ilpa-vidvadbhih parigrahoktavat kuru I
(M., LXIX, 66-68.
(2) Kdmikagama, XLI :
Sabhavad vihita bahye prasadavad alankrita I
Cha-pratyuha-samyukta ya sabha sa cha malika II (3).
Antara-prastaropetam uha-pratyuha-samyutam 1 1 (13).
Ibid, XLI:
Cha-pratyuha-samyuktam yatha-yukti yatha-ruchi II (37).
(3) Suprabheddgama, XXXI, 71 :
A quadrangular moulding of an arch :
Vritter urdhve u(u)ham kritva chatur-ayatam eva tu II
(For the context, see vv. 68-70, under TORANA.)
(4) Mahdbhdrata, i, 3, 133 :
Nagalokam . . . aneka-vidha-prasada-harmya-valabhi-
niryuha-fiata-samkulam I
91
DRDHVA-DHARANA AM ENCYCLOPAEDIA OF
ORDHVA-DHARANA— A kind of phallus and pedestal combined.
In connexion with the phallus :
Berasyaika-sila proktarh linganarh tach-chatuh-s"ila I
Nandyavarta(a)-kritih sthapya tatha chaikaSmana bhavet I
Atho(dhah) pashana-kurmakhyarh chordhva-dharanam iti smri-
tam I (M., LII, 176-178.)
ORDHVA-SALA (see &ALA) — The upper room or hall.
Referring to two-storeyed buildings :
Nana-gopana-sarhyuktam kshudra-nasyair vibhusitam I
Ardha-Sala-visesho'sti chordhva-s'ala-samanvitam I
(M., xx, 66-67, etc.)
OVARAKA — A kind of room, an inner room, a store room, an
apartment.
Ramadattasya deya-dhamas" cha bhikshu-griharh uyarakas" cha-
bharyayah sa velidattaya deyadharma uyarakah I
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
alive.
' Uyaraka apparently corresponds with uvaraka of Nasik no. 24.
Transactions of Congr. 1874, p. 347, which Professor Bhandarkar renders
by apartment. Childers' Pali Diet, gives ovaraka with the meaning of
inner or store room and this explanation fits here also very well.'^ — Trof.
H. Jacobi. — (Ind. Ant., Vol. vn, Kuda inscriptions, no. 8, p. 256.)
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 I
Utsedhe chashta-bhage tu charhsena masurakam I
Dvi-bhagarh changhrikottungarh mancham ekena karayet I
Kandhararh tat-samam kuryat tad-dvayarh Sikharodayam I
Tad-ardharh stupikottungarh vaktrarh shad-vidham iritam I
(M., xix, 20-24.)
92
HINDU ARCHITECTURE EKA-PAKSHA
Athava manu-bhagarh tu harmya-tunga(m) vibhajite I
Sa-tri-padam adhishthanarh tad-dvayam changhri-bhajite(-kon-
natam) \
Tad-ardham prastarotsedharh yugarhsam griva-tungakam I
Tad-ardharii sikharottuhgam tad-urdhve stupikams'akain I
Griva-manchordhvam arhsena yatheshtadhishthana-sariiyutam I
Urdhve padodaye bandham(=4)bhagam ekamsa(rh)-vedikaml
Sesharh purvavat kuryad ashta-varga-vido viduh I — (Ibid., 80-86.)
Evam proktarh harmyake madhya-bhadram I
Sala-koshtham dig-vidike kuta-yuktam I
Hara-sranta-nasika-panjaradhyam I
Kuryat sarvam vedika-bhadra-yuktam I
Harmya-tara-samarh chatur-asrakam tat-tri-padam ardham athapi
cha I
Kudya-tara-samadi (?) yatha-kramam I
Kanyasarh tri-vidham mukha-mandapam I
Tan-mukha-mandapam mukhya-vimane I
Madhya-vimanasya mandapa-parsve I
Ambaram dandam atha dvayam I
Harmya-vagad upaveSana-yuktam I
Yat tat kshudra-vimane tan-mukhe mandapam syat I — (Ibid.
192-203.)
Anya-mandapa-deSe yan-manoramyam alankritam I
Mandape prastarasyordhve karna-harmyadi-manditam I
Yat tan namantaralarh chordhve nasika jala-panjararh vapi I
Tat-tan-mandapa-madhye prasada-vasad dvara(m)-saihkalpyam |
Purvavat kavata-yuktaih mandapasyantah sa-kila-yuktam I
(Ibid., 213-217.)
Eka-bhumirh kuryad adhikam chopapitha(m) ruchirartha(ih)-
sarh-yutam I
Sopapltha-bhavanair yutam tu va karayet tu kathitarh puratanaih I
Evam sarva-harmyalankara-yuktya nana-padair vedika-tara-mafi,
cham (kuryat) (—(Ibid., 258-261.)
EKATALA (see under TALA) — A kind of sculptural measurement.
EKA-PAKSHA (cf. DVIPAKSHA)— One side, a road or wall having
the footpath on one side only.
Antar-vithI chaika-pakshaih bahya-vithi dvi-pakshakam I
(M., ix, 396.,
Anyat salam tu sarvesharh chaika-pakshalaya-kramat I
Anyat salam tu sarvesham alayartham dvi-pakshakam I
(M., xxxvi, 86-87.)
See also M., ix, 351-354, 465, under DVI-PAKSHA.
93
EKA-LlftGA AN ENCYCLOPAEDIA OF
EKA-LlNGA — The single phallus as opposed to phalli in group.
Sarvesham chaika-harmye tu ekaika-linge tu sarhmatam I
Bahudha sarva-lingeshu tat-tri-karnam na karayet I
Dvi karnam bahu linge tu tri karnarh-chaika-lingake 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 I — (M., xix, 57.)
EKADA&A-TALA — An eleven-storeyed building, the eleventh storey.
Tad-adhastat talarh chaika-das"a-dva das"a bhumikam I
(Kamikagama, xxxv, 86.)
Sesha-bhagam tu sarvesham yuktya tatraiva yojayet I
Evam vistara-ganyam syat tunga-ganyam ihochyate I
Janmadi stupi-paryantam uktavat samgraham viduh I
Eka dasarhga-bhagena dala-talodayadhikam I
Tad eva sardha-bandh(v)amiam masurakottungam ishyate I
Saptamsam pada-dirgham syat tad-ardam prastarodayam I
Sesham prag-uktavad ganyam eka das"a-talodaye I
Talordhvordhva-tale sarve karna harmyadi-manditam I
Eka bhaga-dvi-bhagarh va parito'lindam ishyate I
Nanadhishthana-samyuktam nana-padair alahkritam I
Sala-kutaig cha uktavat samalahkritam I
Harantare kuta-§ala cha griva-de^okta-devatan(h) I
Anu-salashta-dik-palas tat-tad-vahana-samyutam I
Yaksha-vidyadharadinam garudadini vinyaset I
Ganetyadi ganaiS chaiva sarva-harmyeshu nikshipet I
(M., xxix, 35-49.)
ETAKA-PADAKA-PITHA— A chair raised on a pedestal.
(Mahavagga, v, 10, 2.)
EVAMKANTA — A column connected with one, two or three minor
pillars, and having a lotus-shaped base.
Ekopapada-samyukt 'in dvi-try-upapadena sarhvutam I
Evam-kantam iti proktam mule padmasananvitam I
(M., xv, 242-243.)
94
HINDU ARCHITECTURE KATAKA
AI
AIRAVATA— The great elephant, the riding animal (vahana) of
the god Isa (? Indra).
Is"a murtim iti dhyatva rakta-varnam cha Sishpatam (Sachipatim) I
Dvi-bhujam dvi netraih cha rathairavata-vahanam I
(M., vii, 190-191.)
A class of the five-storeyed buildings.
(M., xxiu, 3-12, see under PRASADA.)
K
KAKSHA — The armpit of an image, a residential room.
Kakshayor antararh tararh vimSa-matram prasasyate I
(M., LIX, 29.)
Eka-vimsangulam chordhve kakshayor antara-sthale I
(M., LXV, 52, etc.)
KAKSHA-BANDHA— A class of bases.
See the four types, the component mouldings and other details under
ADHISHTHANA.— (M., xiv, 320-358.)
KATA — A mat of split cane or bamboo.
(Taitt. Sam., v, 3, 12, 2 : Sat. Bra., XIH, 3, i, 3.)
KATAKA— An architectural ornament (like a ring) of a base, a
bracelet for an image, camp, capital.
Madhye pattair viSesham tu pushpa-ratnais cha sobhitam I
Katakavritam eva va Suddha-vrittam athapi va I— (M,, xiv, 75-76.)
Compare also the list of mouldings under ADHISHTHANA.
Vrittarh vidhim tri pattarh va dharaya katakanvitam I — (Ibid., 238.)
Etat tu chitra-kalpam (=an ornament) tu natakabhi(kai)r alankri-
tam I — (M., L, 11.)
Keyura-katakak yuktarh prakoshtha-valayam tatha I — (M., LIV, 13-
See also M. LI, 57, udder KATI-SUTRA.
In connexion with the plumb lines :
Saktlnarh pushpa-hastam tu stanantam katakagrakam I
Tad-angushthavasanantam cha dvyantaram chatur angulam I
(M., LXVH, 135-136.)
c 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
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, consist-
ing of thirty-nine karanju and seven manjadi of gold.' — (Inscriptions of
Rajendra-Chola, no. 8, line 19, H. S. 1. 1., Vol. n, p. 89.)
Astyuttara-giri katake (declivity of the Northern Mountain) Vijaya-
puram-nama nripa-dhanl I — (Grant of Jayaditya of Vijaya-pura, line 6, Ind.
Ant., Vol. xxi, p. 170.)
' In the world-renowned Raya-chalukya's camp (or capital, kataka),
the bodyguard Keta-nayaka gained unlimited fame and the greatest
reputation for energy and readiness.' — (Ep. Carnal., Vol. v, Part I, Chan-
narayapatna Taluq, no. 210 ; Transl., p. 216, line 9 of no. 210.)
KATAKAKARA — An ornament shaped like a bracelet or ring.
Referring to lupa or a pent-roof :
Evam cha lakshanam proktam katakakaram tu yojayet I
(M., xvm, 249.)
KATI — The hip-part of a building, the hip of an image, a flight
of steps.
(1) Yo vistaro bhaved yasya dvi-guna-tat-samunnatih I
Uchchhrayad yas tritiyo'ms'as tena tulya katir bhavet I
' The height of a building should be twice its width and its kati
(lit. hip) should be (equal to) £ of its height.' — (Brihat-Samhita, LVI, 11.)
Dr. Kern translates ' kati ' by « the flight of steps ' (J.R.A.S., N. S.,
Vol. vi, p. 318) ; but in this sense the word never occurs in dictionaries
or literature ; nor does this rendering suit the context here, first, because
the description concerns a single-storeyed building, where the flight
of steps, if there be any at the entrance, would not be usually one-third
of the height of the whole building ; secondly, the measures of the flight
of steps mostly in buildings of more than one storey are never considered
in any architectural treatises as being dependent on the height of the
building or the storey.
(2) Chatuh-shashti-padam kritva madhye dvararii prakalpayet I
Vistarad dvi-gunochhrayam tat-tri-bhagah katir bhavet II
(Matsya-Purana, Chap. CGLXX, v, 18.)
(3) Bhavishya-Purdna (Chap, cxx, v. 18) has the same verse as (i),
except ' tasya ' in place of ' yasya ' in the first line, and ' atha ' for
' ariisa ' in the second line. Brihat-Samhita seems to have improved
the lines.
96
HINDU ARCHITECTURE KANTHA
(4) In the sense of the hip or buttocks :
Katrs) choru-visalarh syan madhya-kanchina-lambavat I
(M., LIV, 91.)
Kati-tararh bhaskaramsam syad ashtamsarh choru-vistritam I
Mukharii vakshas cha kukshis cha kati-dirghe dvudasarhsakam I
(M., LVII, 32, 55.)
Virhsamsam cha kati-taram urdhve sroni-visalakam I — (M., LXV, 48.)
KATI-SOTRA— The (plumb) line by the hip or buttocks, a girdle.
Kati-sutravasanarh syat pura-sutram iti smritam I
Kati-sutram tu sarhyuktarh kati-prante sa-pattika I — (M., L, 21, 27.)
Tasmat kati-sutrantarh sapta-virhsangularh bhavet I
Trayodasamsakarh chaiva kati-sutram tu vistritam I
(M., LXV, 150, 164.)
A girdle.
Katakam kati-sutram cha keyurarh ratna-puritam I — (M. , LI, 57.)
KANTHA — Also called ' gala,' ' gnva,' ' kandhara,' meaning literally
the neck or throat. This is a quadrangular moulding, sometimes
square and sometimes rectangular. ' When employed in pedestals
(see the lists of mouldings under UPAPITHA), it is made very high and
it resembles the dado (or the portion of a pedestal between its base
and cornice, also applied to the lower portions of the walls). But
everywhere else it serves as a neutral member from which the pro-
ection of the rest of the mouldings are generally measured.'
(Ram Raz, Ess. Arch. Hind., p. 25.)
The neck of a column (Suprabheddgama, xxxi, 58, see under STAMBHA).
Tuiige trimsati-bhagena ... I
Tad-urdhve kantharh ashtarhsam . . . I — (M., XIH, 90, 94.)
Utsedhe tu chatur-virhsat . . . |
Grivochcharh dva-dasamsakam I — (Ibid., 36-37.)
Tad-evamsena . . .
Pancharhsa(rh) kandhararh proktarh . . . — (Ibid., 48, 50.)
Tad-evarhsa (of 30 parts) . . .
Tad-urdhve galam ashtarhsam . . . — (Ibid., 97, 101.)
For further examples, see the lists of mouldings under UPAPITHA.
Gala-tuiigarii yugangulam I
Gala-tararh sardham ashtarhsam . . . I — (M., nx, 71,81.)
For further examples, see the lists of limbs under TALA-MANA.
97
KADAftGA AN ENCYCLOPAEDIA OF
KADAftGA — A large trench, a ditch, a boundary mark.
' Kadangas or war-trenches are described in the Rev. G. Ritcher's Manual
of Coorg (pp. 190-191) : these are enormous trenches defended by a bank
of the excavated soil, and stretch over hills, woods, and comparatively
flat countries, for miles and miles, at some place branching off in various
directions, or encircling hilltops. Mr. Ritcher quotes old records to show
that they were constructed by ancient Rajas to fortify the principality.
In South Kanara also these trenches abound.'
' So, too, great and massive walls, 8 feet high, half as thick, and ex-
tending for long distances, are found buried in desp forest on the crest of
the ghats between Kanara and Maisur, with large trees rooted in them.'
(See GRAMA and compare the above with the surrounding defensive
ditches of the village as given in the Mdnasdra.)
(Ind. Ant., Vol. iv, p. 162, c. i., last para,
line 2 f. ; c. 2, line 6.)
' From this it appears to follow that the Coorg Kadangas or large
trenches, originally were intended for landmarks.' — (Three Kongu inscrip-
tions, no. n, Ind. Ant., Vol. vi, p. 103, c. i, line 29, Transl. and footnote,
last para.)
KANDARA-GRIHA (see DARI-GRIHA)— A cave-house.
Khyatam ( ? syatarh) kanakadi-kandaragrihodlrna-pratapam divi
khyatam naikavanig-visala-bibhavo bhutabhisobham Subham I
(Description of the town of Atapura, Atpur
inscrip. of Saktikumara, v, n, Ind. Ant.,
Vol. xxxix, pp. 191, note 25, 187.)
KANDHARA— The neck, the dado.
See KANTHA and compare the lists of mouldings under UPAPITHA.
KANYA — A girl, a virgin, the name of a month, the lower part of an
architectural object.
Luparh prag-ukta-vistaram tat-tad-vamsanghri-kantakam I
Adho(ah)-padasya lupadyais cha tatra dosho na vidyate I
Karnat kanyavasanarh syan nava-sutr rh prasarayet I
(M., xvni, 231-233.)
KAPATA (see KAVATA)— A door, the panel of a door.
Kapata-torana-vatim suvibhakantarapanam I — (Rdmayana, i, 5, 10.)
Dridha-baddha- kapatani mahaparighavanti cha I — (Ibid., vi, 3, n.)
KAPOTA — A pigeon, a section of circular moulding made in the form
of a pigeon's head, from which it takes it name. It is a crowning
98
HINDU ARCHITECTURE KAPOTA
member 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,
813 814). When employed in the entablature, it serves the pur-
pose of a spout in the shape of a pigeon's beak to throw off water
falling on the cornice. In this office it resembles, in some measure,
the corona having a broad vertical face and with its soffit or under
portion recessed so as to form a drip which prevents water running
down the building. Its synonyms are : vaktra-hasta (face supported
by hand, wherefrom it takes its shape), lupd (pent-roof), gopdnaka
(beam), and chandra (the moon). (Also see M.} xvi, 18-20.)
(i) Mdnasdra :
Referring to the pedestal :
Tad-dvayarh chambujarh chordhve kapotochcham gunamsakam I
(M., xiii, 57.)
For further illustrations, see the lists of mouldings under UPAPITHA.
Referring to the base :
Padmam arhsarh tad-urdhve tu kapotochcham tri(y)arhsakam I
(M., xiv, 357.)
For further illustrations, see the lists of mouldings under ADHISH-
THANA.
Referring to the entablature :
Tad-urdhve vajanam chaikam dhatu-bhagam kapotakam I
(M., xvi, 27.)
For further illustrations see the lists of mouldings under PRASTARA.
A synonym of the entablature :
Kapotam prastram chaiva mancham prachchhadanam tatha I
. . . paryaya-vachakah I — (Ibid., 18, 20.)
Referring to the six-storeyed buildings :
Prastaradi-kapotantarh khsudra-nasya vibhushitam I
(M., xxiv, 39.)
(2) ' A kapotam is a section of moulding made in the form of a
pigeon's head. It is a crowning member of cornices, pedestals and
entablatures. When employed in the latter, it often connects
utility with beauty, inasmuch as the beak of the bird is so
placed as to serve the purpose of a spout.' — (Ram Raz, Ess. Arch, of
Hind., p. 24.)
99
KAPOTA-PALIKA(-PALI) AN ENCYCLOPAEDIA OF
KAPOTA-PALIKA(-PALI) — A pigeon -house, an aviary, 'properly
dove-ridge, dove-list, may be rendered by crown-work, fillet, gable-
edge, and even by cornice. A water-spout used at the roof to drain
off water having the shape of pigeon's head or beak. In Tamil,
kapotakam is explained as a moulding in masonry : sec Winslow's
Tarn. Diet. i. v.' Then Dr. Kern quotes Ram Raz's passage noticed
under ' Kapota ' and adds ' the same author (Ram Raz) notices
(p. 51) that the spout may be made to spring from the head of a
lion, etc.'
With this, Kern compares Utpala's definition :
Kapota-palika grahanena bahir nirgata mukhani kashthany
uchyante — by the acceptation of Kapota-pali, the projecting lion-
face timbers (mouldings) are understood ; (and also Visvak, 6
767) :
Prasadau nirgatau karyau kapotau garbha-manatah I
Ordhvarh bhitty-uchchhrayat tasya manjaram tu prakalpayet I
Manjaryas chardha-bhagena suka-nasarh prakalpayet |
Crdhvarh tathiirdha-bhagena vedi-bandho bhaved iha II
Then Kern finds fault with Colebrooke's rendering of Kapota-
palika and vitanka (in his Amara-Kosha, quoted below) as ' dove-
cot ' and says ' Colebrooke's error, strange to say, has been per
petuated in all dictionaries ; the more reason now to draw atten-
tion to it.' — (J.R.A.S., N. S., vi, p. 320, note 2.)
' A storey's altitude is of 108 digits (angulas) according to Maya
but Visva-karman pronounces it to be of 3 cubits and a half,
(i. e. 84 digits). As to this, however, able architects have declared
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 equal (the greater).' (Brihat-Samhitd, LVI, 29, 30.)
There is a compound word ' kapota-palika ' or ' kapota-pali '
(dove-cot) in Sir William's Diet., p. 202, c. 3. Similarly the
words, ' kapota ' and ' palika ' or ' pali ' occur together in the
Brihat-Samhitd and (its commentary) Dtpala quoted above. But they
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 render-
ing of the term by ' dove-ridge,' or of Colebrooke's and Sir M.
William's by ' dove-cot ' nothing can be stated definitely as the term
100
\
KALASA AS CAP MOULOINO.
KALASA
KARNA PATRA
KAPOTA-PALIKA.
KIRTTI-VAKTRA.
KAROTI.
KAROTI-
I'age 100
HINDU ARCHITECTURE K(H)A-BHITTI
is used figuratively to indicate a moulding and both the interpre-
tations are possible.
Kapota-palinl-yukta-mato gachchhati tulyatam I
(Bliavishya-Purana, Chap, cxxx, v. 37.)
Kona-paravatarh kuryat stupy-achchhadanakani cha II
Kona-paravatarh nyasya kona-loshtani vinyaset II
( Vdstu-vidya, ed. Ganapati Sastri, xvi, 27, 36.)
Bahih kapota-karanam vajanopari kalpayet II
Ardha-tri-pada-dandam va kapota-lambanarh bhavet II
(Kdmikagama, LIV, ai, 22 : see also vv. 36, 37.)
Chatur-gunam (of the main temple) mukhayamam prakaranarh
viseshatah I
Kapotantam samutsedham hasta-vistara-bhittikam II
(Suprabhedagama, xxxi, 119.)
Kapota-palikayam tu vitankarii purii-napumsakarh II
(Amarakosha, n, 3, 15.)
KAPOLA — The cheek of an image, an upper part of a building.
(1) Prasadau nirgatau karyau kapolau garbha-manatah I
(Matsya-Purana, Chap. CCLXIX, v. 11.)
(2) Chaturdha sikhararh bhajya(m) ardha-bhaga-dvayasya tu I
Suka-nasam prakurvlta tritiye vedika mata II
Kantham amalasararii tu chaturthe parikalpayet I
Kapolayos tu samharo dvi-guno'tra vidhlyate II
(Ibid., Chap. CCLXIX, 18-19.)
(3) Mukha-taram kapolantarii nava-matram prasasyate I
(M., LXIII, 7>\
KABANDHANA — A knob at the end of the nail above the post of
the bedstead.
Adhah kilena padanarh madhye randhram pravesayet I
Tad-urdhve pattikam nyasya kilagre cha kabandhanam I
Chaturbhih srinkhala-yuktam andolam chaikatopari I
Deva-bhu-sura-bhupanam anyesham sayanarthakam I
(M., XLIV, 68-71.)
K(H)A-BHITTI — An upper storey- wall, an upper wall, ' kha '
implying ' sky ' and ' bhitti ' wall.
Garbhadhana-kramanakarh kah(kha)-bhittir mukhya-dhamani I
Kah(kha)-bhittir dakshine bhage saumyavasah prasasyate ||
101
KAMALA AN ENCYCLOPAEDIA OF
Kah-(kha)-bhitty-agrabhittcr dvara-dvayarh kuryad viseshatah I
Vastu-dvara-yutam chaiva k(h)a-bhittes cha viseshatah II
Vastunarh parsvayor madhye stambha-sajnam nidhapayet I
K(h)a-buitti-vistritartharh tu tat-parsvayor dvayor hi (tat) II
(Kamikdgama, xxxv, 45, 47, 48, 62 : LV, 31.)
KAMALA — A lotus, a class of the six-storeyed buildings.
(M., xxiv, 17-18, see under PRASADA.)
KAMALAftGA — A class of the three-storeyed buildings.
(M., xxi, 33-38, see under PRASADA.)
KAMPA— A fillet, a small flat band which occurs chiefly between
mouldings to connect or separate them. ' Of all the rectangular
mouldings it has the least height. Its projection, though generally
equal to its altitude, frequently varies according to the position of
the principal members, which it is employed, to connect or to separate.
It answers in every respect to the fillet.'
(Ram Raz, Ess. Arch. Hind., p. 24.)
Referring to the pedestal :
Utsedhe tu chatur-virhsat ... I
Ekena kampam ityuktam ... I
Kampam ardharh tatha karnam . . . I — (M., xm, 36-37, 49.)
For further examples, see the lists of mouldings under UPAPITHA.
Referring to the base :
Ekena-trimsad angarh (=amsam) lu tuhgarh kritva ... I
Kampam ekena kartavyam . . . I — (M., xiv, 14-16.)
For further examples, see the lists of mouldings under ADHISHTHANA.
KAMPA-DVARA — A side-door, a private entrance.
(1) Kampa-dvararh tu va kuryan madhya-parsva-dvayos tatha I
(Kamikdgama, xxxv, 49.)
(2) Mukhya-dvaram tu tad-vame kampa-dvaram tad-anyake I
(Ibid., LV, 32.)
KAMPANA (same as KAMPA)— A fillet.
Cf. the lists o mouldings under ADHISHTHANA.
KAMPA-BANDHA — A class of bases. It has four types differing
from one another in height and in the addition or omission of some
mouldings. — (See M., xiv, 361-372, under ADHISHTHANA.)
KAMPA- VRITTA— The round or circular fillet.
Kampa-vrittam cha lupa-mule sobhartham tu balarthakam I
(M., xvni, 274.)
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HINDU ARCHITECTURE KAROTI(I)
KARANDA — A head-gear, a basket or bee-hive-like ornament.
Karanda-mukutopctarii rakta-vastrottariyakam I
Karanda-mukutopctam dhyatva . . . I — (M., vir, 164, 205.)
Devanarh bhupatinaih cha mauli-lakshanam uchyatc I
Jata-mauli-kirltam cha karandaih cha sirastrakam(-stranam) I
Kanyasa(m) devatanarii cha karanda-makutanvilam I
(M., XLIX, 12-13, 19.)
Dvi-bhujam cha dvi-netrarh cha karanda-mukutanvitam I
(M., LIV, 69, 76.)
KARAVlRA — A fragrant plant, or flower (oleander or Nerintn
odorum), an ornament of that shape, a pent-roof having the slope
(or colour) of that flower.
In connexion with the pent roof :
Sroynam madhya-lupah sarve(va) lupa-samkhya yathcshtaka I
Karavira-bahu-varna sarhputabham vikalpayet I
(M, xxvm, 242-243.)
KARI-KARNA(NIKA)— The car of the elephant, (? the tip of an
elephant's trunk, karnika), an ornament of that shape.
Upabja(m) karikarna- (another reading, karnika) -yuktam kuryat
tat kshudra-pithakam I — (M., xxxii, 117.)
KARIKA — A moulding of a column.
VIra-karna(-kantha)syodayarh jnatva nava-bhaga(e) vibhajite I
Ekaihsarh padukarh kuryat pancha-bhagam tu samgraham I
Tad-urdhve karikamsaih syad abjam aihsena yojayet I
(M, xv, 176-178.)
KARUNA-VINA — A flute, a sculptural ornament.
Vadana-garuda-bhavarh bahukau paksha-yuktau I
Mukuta-kamala-yuktam pushpa-sachchhaya-varnam I
Parita(h) karunavlna kinnarasya rupakam I — (A/., LVIII, 21-22.)
KAROTI(I) — A basin, the drum of the ear of an image, an archi-
tectural ornament.
An ornament of the pent-roof:
Evam uktarh lupa chordhve sikharair vambare'pi va I
Phalaka-kshepanam vapi tamram vayasi kllayet I
Hemajena karotirh va mrit-karotirh vidhanayet I
(M., xviii, 269-271 .)
Referring to a single-storeyed building :
Karotivad alarikrilya lambane patra-samyutam I — (M, xix, 41.)
103
KARKATA AN ENCYCLOPAEDIA Ol<
KARKATA — A crab, a moulding, a kind of joinery resembling the
crab's leg.
Karkatakanghrivat kri;va pautra-nasaiighrhh vesayet I
Etat sarhkirna-sandhih syat sarva-harmyeshu yogyakam I
(M., xvii, 143-148.)
KARKARI-KRITA— Paved with small pieces of stone. Consoli-
dated with kankar (nodular limestone or gravels).
(1) Maha-margarh tu sarvesham vlthlnarh karkari-kritam I
Vither(thyah) etad dvayam proktam tan-madhye karkari-
kritam I— (M., ix, 197, 333.)
Referring to the pedestal :
Prativajanakarh tesharh kriteh karkari-kritam I— (A/., xm, 151.)
Referring to the gate-house (gopura) :
Etat tu gikharam proktam karkari-nasika-kritam I
(M., xxxm, 561.)
Referring to the mandapa (pavilion) :
Tach-chatush-karna-dese tu karkari chashta-bhadrakam I
Tat karnarh cha dvayor bhadrarh chaturtharii karkari-kritam I
Karkarl-bhadra-sarhyuktarh mandapasya visalakam I
(M, xxxiv, 305, 308, 309.)
Mandape chordhva-kutarh syat salakararh tu yojayet I
Ashta-vaktra-samayuktarh karneshu karkari-kritam I
(Ibid., 530-531.)
Referring to the sala (haU, mansion) :
Veda-vedamsakarh madhye vivritarh samvritank(g)anam I
Tad-bahis chavritarhsena karkarl-samalankritam I
(M., xxxv, 300-301.)
(2) In connexion with the description of a Svastika (shaped) -house :
Prishtiie tu dirgha-koshtharh syat purva-koshtham tatha bhavet I
Bahya(-e) bahya(-e) sala-dvayam netram yuktam tu karkari-yutam 1 1
(K ' amikdgama, XLII, 7.)
KARNA — The ear of an image, a moulding, any side-object,
a corner-tower.
Kampam ardharh tatha karnarh tad-urdhve'rhsena pattika I
(M., xm, 49.)
For further examples, see the lists of mouldings under UPAPITHA.
A moulding of the base :
Karna-tunga(rh) tr(i)yarhsarh syat tad-urdhve kampa(m) sivamsa-
kam II — (M.t xiv, 12.)
104
FORTIFICATION TRENCH.
KAOANGA
KARNA
(XXXXXXXXXXXXXJO
KARIKA.
KARNIKA
KARNIKA.
COVER FILLED
,-KABANDHANA.
KABANDHANA
HINDU ARCHITECTURE KARNA-KCTA
For further examples, see the lists of mouldings under ADHISHTHANA.
A moulding of the column :
Kumbhayamam tathotkarnam urdhve karna(rh) samarh bhavet I
(M., xv, 54.)
Referring to the vimana (building in general, temple) :
Padmasyopari karnarh syat tat-tridha kumbha-vistritam I
(M., xvin, 129.)
Karnat kanyavasanam syan nava-sutrarii prasarayct I — (Ibid., 235.)
Referring to the door :
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 I — (M., L, 205.)
A moulding of a vedika (altar, railing, platform) :
Vedikayarh vihinarh chet kartri-drishti(r) dinam vrajet I
Tat-karne'dhika-hinarh ched bhojanena vinasanam I
(M., LXIX, 26-27.)
Referring to a single-storeycd building :
Tad eva vedikamsena nava-bhaga(-e) vibhajite) I
Dvi-bhagarh vajanam mule chordhve karnam gunamsakam I
(M., xix, 64-65.)
KARNASHTAKA — A site-plan of 324 square plots.
(M. vii, 213-24, see PADA-VINYASA.)
KARNA-K.UTA (see KUTA-KOSHTHA) — The tower at the corner of
the roof, the side-niches, corner pavilions, the attic.
(i) Karna-harmyasya vistararh shad-bhagam(ge) tu vibhajite I
Ekarhsarh karna-kutarh syan madhye sala dvayarhsakam I
(M., xix, 54-55, see also 167.)
In connexion with the six-storeyed buildings :
Ekarh vatha dvi-bhagam va karna-kuta-visalakam I
Tale tale karna-kuta-koshtha-haradi-bhushitam I
Karna-kuta-visale tu tri-bhagaikarh madhya-bhadrakam I
(M., xxiv, 29, 30, 33.)
Ekarh vatha dvi-bhagam va karna-kuta-visalakam I — (M., xxv, 17.)
In connexion with the gate-house (gopura) :
Evam lalatayos chaiva dirgham vinyasyam uchyate I
Karna-kuta-dvayam chaiva tad-bhaga-dvayam Iritam I
Madhya-koshtharh chaturtharh cha karna-kutam chatushtayam I
(M., xxxni, 418-424.)
105
KARNA-PATRA AN ENCYCLOPAEDIA OF
(2) A^ra-karna-samayukUirii karna-kuta-dvayanvitam II
Karna-kuta-vihmarh va chanyat sarvam tu vastushu 1 1
Chatush-kone chatush-kutarh tad-vistarena nirniitain II
Pafijara-dvitayam karyarh karna-kuta-samodayam I
Pradhanavasa-netrastha-nctra-kuta-dvayarii nayet 1 1
(Kamikagama, xxxv, 65, 66, 73, 75.)
Sarvam arigarh sabhakararh karna-kuta-vivarjitam II
Chatasras tu sabha karya kona-kuta-chatushtayam II
(Ibid., XLV, 41, 44.)
Kula-koshthaka-mdanarh pramanam ilia kirlitain I
Kuta-koshthadi-sarvangam mana-sutrad bahir nayet II
Antah pramana-sutrat tu vcsanarh sarva-desadam I
Chatur-asrarh vasvasram shodasasraih tu vartulam 1 1
Mastakam stupikopetarh karna-kutam idarh matam I
Madhyc nasa-samayuktam ardha-kuti-samanvitam II
Mukha-pattikayopctarh sakti-dvaya-sama vitam I
Ancka-stupikopctarh koshthakarii madhyaso bhavet 1 1
Haihsa-tunda-nibham prishthe salakaram mukhc mukhe I
Pafijaraiii vihitam kuta-koshthayor antaram dvijah 1 1
Parsva-vaktram tad evashtarh hasti-tunda-sa-mandanam I
Esha jati-kramat proktah karna-koshtlia-samanvitam 1 1
Madhyc kutaih tayor madhye kshudra-koshthadi-sobhitam I
Chhandom etat samuddishtarh kutaih va koshthakam tu va II
Antara-prastaYopetarh nimnam vonnatam eva va I
Vikalpam iti nirdishtam abhasam tad vimisritam II
(Ibid., LV, 123-130.)
(3) Prastarad-urdhva-bhage tu karna-kuta-samayutam II
(Suprabheddgama, xxx, 30.)
' The attic is formed of different kinds of little pavilions. Those which arc
at the angles of the edifice are called karna-kuta. They have a roof of
square or circular section and are surrounded by a single awn, stupi.'
' Those which are placed in the middle are called said, they have an
elongated roof and have three stupis.' — (Cf. M., xix , 54-55.)
' Between the karna-kuta and sala are found some kinds of little
windows called panjara.' — (Dravidian Architecture, by Jouveau-Dubreuil, ed. S.
Krishna Swami Aiyangar, pp. 1 3, 5.)
KARNA-PATRA — A leaf-like ornament for the ear, a corner leaf.
Tasyadho ratna-damais' cha lalatordhve'rdha-chandravat I
Karna-patra-samayuktam srotrordhve karna-pushpayuk I
Tasmat tu lambanam dama sarva-ratnair alankritam I
(M., XLIX, II2-I 14.)
I O6
HINDU ARCHITECTURE KARNA-HARMYA
KARNA-PCRAKA— An car ornament.
Kuryat tri-valayopetam na kuryat tu sikha-manim I
Sarva-ratnarh vinyasya vina cha karna-purakam I
(M., XLIX, 138-139.)
KARNA-BANDHA — An ornament for the ear, a part of the ear.
Karna-bandhaih karna-rudraksha-mala I — (M., LXH, 67.)
The lower part of the ear :
Hanvantam karna-bandhantam dvayantaram dasangulam I
(M., LXV, 1 02.)
KARNA-HARMYA — A tower, a side-tower, a minaret, a turret.
In connexion with single-storey ed buildings :
Karna-harmyasya vistararh shad-bhagam tu vibhajite I
Ekamsam karna-kutarii syan madhye sala dvayamsakam I
Ekarh va dvi-tri-dandcna nirgamam bhadram eva va I
Sala-kuta-dvayor madhye chaika-harasa-panjaram I
Tat-tunga(rh) sapta-bhagaih syad ekarii^am vedikodayam I
Tad-urdhve'dhyardha-bhagena galam tryamsena mastakam I
Tad-ardharh stupikottuhgam karna-harmyam iti smritam I
(M., xix, 54-60.)
Mandape prastarasyordhve karna (another reading, khanda)-
harmyadi-manditam I — (Ibid., 214.)
Stupi-tungam dvayamsam syad dvi-tale tad dvitiyakam I
Tad evordhvam adhishthanam vimanamseka(aika)-vitastikam I
Tad-urdhve'hghrl saramsam syat karna-harmyadi-manditam I
(At., xx, 14-16.)
Prachchhadanopari stambhaih k rna-harmyadi-manditam I
(M., xxxr, 10.)
Tad-urdhve mandapanam cha chu ika kaina-harmyakam I
(M., xxxiv, 64.)
Harmyc chordhva-tale padam bahya-kutadi(m) vinyaset I
Karna-harmyakritim vatha santara-prastaram tu va I
(M., xx, 57-58.)
Cf. ' They (tomb of the Rajas at Mahadevapura in 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-
carving may sometimes be seen in the domestic architecture.' — (Ep. Car-
nat., Vol. i, Introduction, p. 27, last paragraph.)
107
KARNIKA AN ENCYCLOPAEDIA OF
KARNIKA — Generally implies a crowning projection and resembles
the cornice, i.e., the crowning or upper portion of the entablature,
a creeper-like ornament.
Vistare pancha-bhage tu vcdardham paclma-vistritam I
Padma-tara-tri-bhagaikarh karnika-vistritam bhavct I
(M., xxxu, iio-i u.)
A moulding of the entablature :
Kapota-nasika-kshudra-nivrordhve sthita-karnik'i II
Vatahata-cha'ach-charu-latavat karnika-kriya II
(Kamikagama, LIV, 37, 40.)
KARNIKARA — A pavilion with twenty pillars, a tree, a class of
people.
(Matsya-Purana, Chap. CCLXX, v. 13;
see under MANDAPA.)
Mahendre vatha satye va karnikaral jyarii bhavet I
(M., ix, 238, XL, 109.)
KALA$(S)A (cf. STUPI) — A 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).
(2) Gamda-Purdna (Chap. XLVH, vv. 21, 23, 28-29, see under PRASADA).
(3) Stambhardham kalasad bahye lata-vartanam ishyate II
Mushti-bandhopari kshiptarh vyalantarh kalasavadhi II
(Kamikagama, LV, 103, 109.)
(4) Dome : Kandhananda-kalasa I — (Khajuraho Inscrip. no. v, line 19,
Ep. Ind., Vol. i, p. 150.)
(5) Pinnacle : Vimanopari sauvarnnah kalasa . . . pratishthiipitah I
Placed golden pinnacle on the shrine. — (Yena-Madala Inscrip. of Gana-
painba, v. 17, Ep. Ind., Vol. in, pp. 99, 102.)
(6) Dome or pinnacle :
Devalayais sudha-subhrais suvarna-kalasamkitah I
Pataka-churhbitambhodair yyad-dharmmo nita unnatim II
(Two pillar Inscrip. at Amaravati, no. A, Inscrip. of
Keta, II, v. 43, Ep. Ind., Vol. vi, p. 152.)
(7) Prasadarh navabhis cha hema-kalasair atyunnatarh gopura-
prakarotsava-marhtapair upachitarh sri-Ramabhadraya cha I
' An exceedingly high temple furnished with nine gilt domes, a gate-
tower, a wall, and a festive hall, to the holy Ramabhadra.'
(Kondavidu Inscrip. of Krishnaraya, v, 27,
Ep. Ind., Vol. vi, pp. 237, 331.)
1 08
HINDU ARCHITECTURE KALASA
(3) Suvarnna-kalasa-sthapana cha — ' in setting golden pinnacles (on
temples)'. — (Karkala Inscrip. of Bhairava II, line 18, Ep. Ind., Vol. vm,
PP- 132. I35-)
(9) Abhinava-nlshpanna-prcksha-madhya-mamdapc . . .
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,
no. XIX, Jalor stone Inscrip. of Samarasirhhadeva, lines 5, 6, Ep. Ind.,
Vol. xi, p. 55.)
(10) Utturhgataspada-devayatanagra-hema-kalasarh . . . purnna-
kalasam . . . ' The golden cupola on the summit of the god's dwelling,
a seat of exaltation . . . like a full pitcher.' — (Inscrip. at Ittagi, A of
A. D. 1 1 12, v. 64, Ep. Ind., Vol. XHI, pp. 46, 56.)
(n) 'And Visvakarmma built his temple (Ananta-Kotisvara) with
complete devotion, adorned with all manner of pictures, its fronts
brilliant with many golden kalasas decked with precious stones, its tower
kissing the clouds.' — (Ep. Carnal., Vol. vin, Part i, Sorab Taluq, no. 276 ;
Transl., p. 475 second para, last sentence.)
(12) ' We grant to you, in addition, two five-branched torches, five
kalasas above the palanquin and so forth.' — (Ep. Carnal., Vol. vm, Part i,
Nagar Taluq, no. 68, p. 158 ; Transl., line 12.)
(13) Chakre jambu-nadyair gurutara-kalasair bhasvarair ekavimsaih I
Nepala-kshonl-palah prathita-bhuja-bhushanarh tanmathasya II
(Inscrip. from Nepal, no. 17,. Inscrip. of Siddhi
Nrisimha of Lalita pattana, v. 17, Ind. Ant.,
Vol. ix, pp. 185, 187, c. i.)
(14) ' Above the seventh or highest row of cells, there is a roomy
terrace occupied by four large bulls couchant at the corners, and from
the centre rises a comparatively slender neck surmounted by an
umbrella or semi-dome crowned by the usual kalasa or finial.' — (Gangai-
Konda-puram Saiva temple, Ind. Ant., Vol. xi, p. 118, c. I.)
(15) ' Erected a new gopura with golden finials (suvarna-kalasa) in
the Chamundesvari hill.' — (Ep. Carnal., Vol. HI, Mysore Taluq, no. 20 ;
Transl., p. 3 ; Roman text, p. 6.)
(16) 'The pinnacle (kalasa) of a ruined temple in the fort of Bel-
lur, in Naga-mahgala Taluq, shows 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-
ple restored' (Hist, of Ind. and East. Arch., p. 400). 'The crowning
ornament is really a kalasa or sacrificial vase, such as is used at the
109
HINDU ARCHITECTURE KALA$A-BANDHA
final consecration ceremonies round the rim of which is tied a cloth
in narrow folds and knotted into a bunch at each of the four cardinal
points. In later ornamentation the cloth was replaced by wreaths of
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
suggested a lantern.'— (Ep. Carnal., Vol. iv, Introduction, p. 38.)
(17) Saumya-kes'ava-nathasya gopuragre hiranmayi |
Sthapita kalasi gunda-danda-nathena sasvatl u
Saudhfigram ujvalad anyun a-divakarabho I
Balatapa-pratima-kantir aharnisam yah II
(Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 3 ;
Roman text, p. 103, last two verses ; Transl.,
p. 45, para, i, last two lines.)
(18) Murahara-bhavanada salakheyam madisi vistaradirh kalasama
nilisida — ' He made a spire to the temple of Murahara, and fixed a
kalasa upon it.' — (Ep. Carnat., Vol. v, Part i, Arsikere Taluq, no. 131 ; Roman
text, p. 396; Transl., p. 172.)
( 1 9) Aneka-ratna-khachita-ruchira-mani-kulas'a-kalita-kuta-koti-ghati-
tam-apy- ittu iga-chaityalayam — 'having erected ... a lofty chaitya-
laya, with kalas"as (perhaps by mistake Mr. Rice has put in gopuras)
or towers surmounted by rounded pinnacles set with all manner of
jewels.' — (Ep. Carnat., Vol. vi, Mudgere Taluq, no. 22 ; Roman text, p. 148,
line 12 ; Transl., p. 63, para. 2.)
(20) ' Kalasa, a term applied generally to the summit of a tower ;
also a pot or vessel with water and some grains in it.'— (Rca, Chalukyan
Architecture, Arch. Surv., New Imp. Series, Vol. xxi, p. 38.)
(21) ' Kalasa (Kalas) — pinnacle of temple steeple.' — (Smith, Gloss.,
loc. cit., to Cunningham Arch. Surv. Reports.)
(22) See Maghul Arch, of Fatehpur-Sikri, Smith, Arch. Surv., New
Imp. Series, Vol. xvm, Plate LXH, fig. i, 2, 3.
(2,3) Essay on Arch, of Hind., Ram Raz, Plates xx to XLII ;
(24) Mysore Arch. Report, 1914-15, Plate xiv, fig. 3, p. 28 ; fig. i,
p. 22 ; Plate v, fig. 2, p. 10 ; Top of tower of Bhoganandlsvara
shrine at Nandi, ibid., 1913-14, Plate vi, fig. 2, p. 16.
(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) — -A class of bases.
(Af., xrv, 195-239; see under ADHISHTHANA.)
110
HINDU ARCHITECTURE KALA
KALA — Art, sciences dealing with the traditional sixty-four branches
which some authorities reckon as 528.
(i) Glta, (2) vadya, (3) nritya, (4) alekhya, (5) viseshaka-chchhedya,
(6) tandula-kusuma-vali-vikara, (7) pushpastaruna, (8) dasana-vasana-
anga-raga, (9) mani-bhumika-karma, (10) Sayana-rachana, (u) udaka-
vaclya, (12) udakaghata, (13) chitra-yoga, (14) malya-grathana-vikalpa, (15)
s"ekharaka-pidana-yojana, (16) ncpathya-prayoga, (17) karna-patra-bhanga,
(18) gandha-yukti, (19) bhushana-yojana, (20) aindra-jala, (21) kauchumara-
yoga. (22) hasta-laghava, (23) vichitra-saka-yusha-pupa-bhakshya-vikara
kriya, (24) panakarasa-ragasava-yojana, (25) suchi-vaya-karma, (26) sutra-
krida (27) vina-damaruka-vadya, (28) prahelika, (29) pratimala, (30) durva-
chaka-yoga, (31) pustaka-vachana, (32) natakakhyayika-darsana, (33) kavya-
samasya-purana, (34) pattika-vetra-vana-vikalpa, (35) tarku-karman, (36^
takshana, (37) vastu-vidya, (38) suvarna-rupya-pariksha, (39) dhatuvada,
(40) mani-ragakara-jnana, (41) vrikshayur-veda-yoga, (42) mesha-kukkuta-
lavaka-yuddha-vidhi, (43) suka-sarika-pralapana, (44) utsadana-samva-
hana-kesamardana-marjana-kausala, (45) akshara-mushtika-kathana, (46)
mlechchhita-kutarka-vikalpa, (47) desa-bhasha-vijnana, (48) pushpa-saka-
tika, (49) nimitta-jfiana, (50) yantra-matrika, (51) dharana-matrika, (52)
sampathya, (53) manasi-kavya-kriya, (54) abhidhana-kosha, (55) chhanda-
jnana, (56) kriya-vikalpa, (57) chhalitaka-yoga, (58) vastra-gopana, (59)
dyuta-visesha, (Go) akarsha-krlcla, (61) bala-krldanaka, (62) vaitalika, (63)
vaijayika, (64) vyayamika-vainayika-vidya-jnana. — (Kamasutra of Vatsya-
yana, ed. Bombay, pp. 32-35; see also pp. 43, 95.)
See J.R.A.S., 1924, pp. 355-367-
Compare the lists from (i) Kalpasutra (211), (2) Dasakumara-charita
(u, 21), (3) Kadamban, p. 75, (4) Kaldvilasa by Kshemendra, (5) Samavdya-
sfitra, (6) Ramachandra's Commentary on Champurdmayana by Vidabharaya,
(7) Narayana's Commentary on Lalita-sahasranama, (8) Srimad-Bhdgavata, (9)
Kamasutra of Vatsyayana, and (10) Bhaskararaya's Commentary on Lalita-
sahasranama (N. S. P., 1917), p. 72.
Similar lists are also given by Sridhara in his Commentary .on Srimad-
Bhdgavata (Part x, Chap. XLV, v. 36), Jiva-gosvami in explaining Sridhara's
commentary refers also to the Vishnu- Pur dna, and Hari-vamsa ; in the Buddhist
Lalitavistara (Chap, x, ed. R. L. Mitra, p. 182 ; see also p. 186), and in
the Jain Uttarddhydyana-stitra (text, Chap, xxi, 6, Transl., S. B. E., Vol. XLV,
p. 108). See also The Kalds, by Venkatasubbia (pp. 25-32).
Chatuhshashthikalah, Sarngadharlye kathamse cha Srldharlya-Lak-
shmTpithikayarh cha vailakshanyena ganitasta nishkrishya likhyante : Then
follows a list of sixty-four arts including eighteen scripts, various languages,
III
KALAPAKA AN ENCYCLOPAEDIA OF
poetry books, Natakas (dramas), alankar (poetics), vedas, upa-vedas,
vedangas, Sastras (without specification), Tantras, Puriinas, Smritis,
agriculture, witchcraft, sorcery, gambling, etc.
For fuller details see the writer's article ' Fine Arts ' (Indian Historical
Quarterly} and 'Fine Arts in Our System of Education' (Convocation
address, Gurukula, Brindavan, 1937, The Hindustan Review, June, 1936,
pp. 784-796). Vide the Introduction to the writer's Hindu Architecture in
India and Abroad.
KALAPAKA — A tuft of braided hair, a sectarian mark on the fore-
head of an image.
Prakoshte valayarh chaiva mani-bandha-kalapakam I
(M, L, 16, etc.)
KALKA — A paste used as plaster or cement, also called ' yoga '
(mixture).
(Brihat-Samhita, LVII, 3, 6, 7, 8, J.R.A.S.,
N. S., Vol. vi, pp. 321, 322.)
KALPA-DRUMA— 1 The ornamental tree, employed as a carv-
KALPA-VRIKSHA— J ing (see SR!-VRIKSHA).
Compare Akshaya-vata at Prayag (Allahabad), Siddha-vata at Ujjain.
and Bodhi-tree at Gaya.
(i) Manasdra (Chap. XLVII, 1-77) :
The name of the chapter is Kalpa-vriksha, which literally means a
tree yielding all wishes, or, in other words, an all-productive tree.
This tree is used as an ornament of the throne of gods and kings
(lines 1-2). Such a tree is made above the throne and the arch
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). Be-
yond the front of the ornamental tree, there should be represented
a yard where the votaries of gods and kings are seated in the pose
of praising and worshipping them (lines 70-75).
The minute description and measurement of all the various
parts of the tree are given. The tree is coiled round with a
serpent the outspread hood of which reaches the top (lines 11-12).
The measurement of the hood and tail of the serpent is described
at great length (lines 13-20). The number of branches as also the
measurement of them varies according to the various thrones
for the decoration of which the tree is constructed (lines 21-43).
112
THE ORNAftEKTAL TREE
FOR THKONE.S OF GODSAHD KINGS
HOT TO 5CKLL
KALPADRUMA
712
HINDU ARCHITECTURE KALPA-VRIKSHA
. The tree is beautifully decorated with creepers, leaves and flowers
of various colours and forms (lines 114-155, 62-66). Bees are repre-
sented on the branches (line 56). Jewels and garlands of pearls
are inserted in suitable places (line 57). The figures of monkeys,
deities and semi-divine beings (Sidhas, Vidyadharas, etc.) are beauti-
fully carved in the intervals between the branches (lines 58-61).
Many other particulars regarding the ornamental tree are
expressly left to the choice and discretion of the artists :
Evarh tu kalpa-vrikshah syat s"esham yuktya prayojayet I
Tasya madhye cha range tu muktikena prapanvitam I
Tan-madhye sasanadinarh toranarh kalpa-vrikshakam I
(M., xxxiv, 167, 218-219.)
A carving on the car :
Kalpa-vriksha-yuta-chakravartibhir manditarh kuru sarvavedi-
bhih I
(M., XLIII, 169-170.)
The materials of which the tree is constructed :
Sirhhasanam makara-torana-kalpa-vriksham I
Mukta-praparigam api daru-s"ileshtakadyaih |
Ratnair aneka-bahu-loha-viseshakais cha (kuryat) I
(M., XLVII, 30-33.)
Paschat sirhhasanadhya's cha kalpa-vriksham cha toranam |
(M., XLIX, 185.)
Padma-pitharh maha-pitham tri-murtinarh cha yojayet |
Praoa cha toranarh vapi kalpa-vriksham cha sarhyutam I
(M., ii, 86-87.)
Apare tu niryuharh kuryan makara-toranam |
Tad-urdhve kalpa-vriksham syat sa-ha( ? ga)jendra-sva( ? sva)
raih saha I — (M., LV, 79-80.)
(2) ' (He) covered with fine gold the enclosure, the gate-towers, halls
and buildings surrounding the shrine of pu e gold . . . covered with
splendid gold the altar on which offerings abound . . . covered with
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
KALYANA AN ENCYCLOPAEDIA OF
cut off fine gold, together with a kalpa (tree) of pure gold.' — (Inscrip. at
Tirumalavadi, no. 79, lines 14-23, H.S.I. I., Vol. HI, p. 185.)
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, Inscrip. of
Queen Lalita-tripura-sundari, v. 4,
Ind. Ant., "Vol. ix, p. 194.)
KALYANA — A class of the five-storeyed buildings (same as GRIHA-
KANTA) .
(M., xxin, 30-32 ; see under PRASADA.)
KALYANA-MANDAPA— A wedding pavilion.
(See details under MANDAPA.)
KAVATA — The leaf or panel of a door, a door.
(1) Vdstu-vidyd (ed. Ganapati Sastri) xiv, i :
Kavata-dvitayam kuryan matri-putry-abhidham budhah 1 1
(2) Kautilfya-Artha-fdstra, Chap, xxiv, p. 53 :
Tri-pancha-bhagikau dvau kavata-yogau I
(3) Kdmikdgama, LV :
Deva-dvija-narendranam kavata-yugalam matam I
Anyayor ekam uddishtam maha-dvare chatur-yugam II (51)
Aneka-sririkhalopetam bahu-kundala-bhushitam I
Kavata-yugmam kartavyam kokilargala-sariiyutam II ( 2)
Bhitti-madhyad bahis tasya(h) stambha-yoga-kavataMyuk I
Kavata-yug 1 :m va-ekam ghatanodghatam samam II (166)
See also verses, 38, 49, 53.
Jalakas cha kavataS cha bahye bahye prakalpayet II (Ibid., XLI, 8).
(4) Rdmdyana,vi, 31, 27, etc. :
Purim maha-yantra-kavata-mukhyam I
(5) Mdnasdra :
Yon(g)yarh kavata-yugmarh cha sreshtham madhyarh cha harmyakel
(M., xix, 152.)
Dakshine cha kavate tu dvaram kuryat tu mukhyake I
Devanam cha manushyanam maha-dvaram kavatake I
(M., xxxvai, 9, u.)
114
HINDU ARCHITECTURE KAMYA
As compared with ' prakara ' :
Dakshinasya kavataih tu visaladhikam ayatuh I
Eka-dvi-tryangulam vapi kavataih syat dvi-hastakam I
Kuryat kavata-dirgheshu kshepanarh vistrito'dhikam I
Prakare cha maha-dvaram kshudra-dvaram kavatake I
(M., xxxix, 101, 102, 108, 115; see also 124-137.)
(6) 'He, the emperor of the south, caused to be made of stone for Vijaya-
narayana temple, latticed window, secure door-frame (dridha-kavatam)
door-lintel, kitchen, ramparts, pavilion, and a pond named the Vasudeva
tirtha.'— (Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 72, Transl., p. 61 ;
Roman text, p. 142, line 7.)
KA$A— •)
KA&PU \ mat> a cushion, a golden seat.
(R.-V. x, ioo, 10 : Taitt. Aran., vi, 9, i : A.-V. vi, 138, 5.)
KAKASHTA — A synonym of paryanka or bedstead, a couch of
eight-fold crow design.
(M., ni, 11-12; see under PARYANKA.)
KACHA — A house with a southern and northern hall.
(Brihat-Samhitd, LIII, 40.)
KANTA — A type of pavilions.
(M., xxxiv, 513-516; see under MANDAPA )
KANTARA — A large forest, a difficult road, a class of six-storeyed
buildings.
(M., xxiv, 13-14 ; see under PRASADA.)
KAMA-KOSHTA — A comfortable compartment, usually a bed-
room, a temple of one of the thirty-two attendant deities.
Jayante bhaskaram sthapya(m) ise pasupatam tatha I
Athava kama-koshthaih syad alayam kalpayet sudhih I
Dvatrimsan murtir evam va kuryat tu parivarakam 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 I
Kamyadi-bheda-harmyanam tan-manena vinyaset I — (M., xxxi, 2-3.)
Nitya-naimittikakhyadi-kamyair api cha sarvabhih I — (M., XLVIII, 27.)
KARAPAKA AN ENCYCLOPAEDIA OF
KARAPAKA- -Persons appointed to look after the construction of
a temple.
Karapakas tu sunuh pitamahakhyasya satya-dcvakhyah I
GoshthyS prasadaparaya nirupito janmana sa vanik II
' The Karapaka selected 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.
xix, p. 62, no. 53), ' persons appointed to look after the construction of
the temple.'
(Vasantagadh Inscrip. of Varmalata, v. 9, Ep. Ind.,
Vol. ix, pp. 192, 189, notes 4 and 3.)
Cf. GOMANASA KARAVAKASA I
'The gift of Gomana the Karavaka ' (=karapaka).
(Four early Inscrip. no. B,
Ep. Ind., Vol. xii, p. 301.)
KARMUKA — A kind of village. It is situated on the banks of
a river or sea (nadi-tire'bdhi-tire va karmukam cha vinyaset). Its
plan is like a bow (tad-dyayor vithi-bahye tu karmukakaravat
prithak). See further details under GRAMA.
(M., ix, 3, 459, 463, 452-472.)
KARYA-SATRA — Working lines, the plumb-lines drawn for the
purpose of the sculptural measurement.
(M., LXVII, 93 ; see under PRALAMBA.)
KALA-KOTA — A kind of poison, the cobra represented on the neck
of the image of Siva.
Grivasya vama-parsve tu kala-kuta-samanvitam I — (A/., LI, 80.)
KALA-MUKHA— A kind of phallus.
(M., LII, 2, LXVIII, 2 ; see under LINGA.)
KALIftGA-(KANTA)— A class of the twelve-storeyed buildings
once prevailing in the country along the Coromandal coast.
Madhya-kantam iti proktam tasya kuta-dvi-bhagike I
Anu-sala shad-amsam syat tasyangam purvavad bhavet I
Evam kalinga-kantam syan nanakaranga-samyuktam I
(M., xxxi, 14-16.)
116
HINDU ARCHITECTURE KIRTANA
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 chaiva narayanams"a-yogyakam I — (Ibid., 18.)
KIMBARA(-RI) — A crocodile, a shark, used both as an architec-
tural and sculptural object.
Chitra-toranam . . . graha-kimbara-samyuktam I
(M., XLVI, 52-53.)
Syama-varnam mukham sarvam kimbari-makarananam I
(M., xvni, 311.)
In connexion with the galas or buildings :
Sarve(a) -sala-nasika-toranadyaih I
Patrais chitraih kimbari-vaktra-yuktam I — (M., xxxv, 401-402.)
In connexion with the single-storeyed buildings :
Nasikagrantam sarvam kimbarl-samalankritam I — (M., xix, 36.)
KISHKU — A measure, a cubit of 24 or 42 angulas.
Kishku(h) smrito dvi-ratnis tu dvi chatvarims'ad angulah I
(Brahmdnda-Purdna, Part I, and Anushanga-pada,
Chap, vii, v. 99.)
But according to the Suprabheddgama (xxx, 25 ; see under ANGULA),
it is a cubit of 24 angulas, which in the above Purana (v. 99) is called
' aratni.'
KIRTANA (also 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
suggestion of Pandit Bhagvan Lai'.
(New Silara copper plate grant, line 7, Ind. Ant.}
Vol. ix, pp. 34, 36, and note 13.)
(2) Kartapi yasya khalu vismayam apa Silpi tan-nama-kirttanam
akaryyata rajna I
' This is the abode of Svayambhu Siva, and no artificially made
(dwelling) ; Sri (if she could be) seen (would be) such as this.
Verily even the architect who built it felt astonishment, saying
" (the utmost) perseverance would fail to accomplish such a work
again; aho ! how has it been achieved by me?" (and), by reason
of it the king was caused to praise his name.' Dr. Fleet.
(Skt. and Old Canarese Inscrip. no. cxxvn, line
14 f.; Ind. Ant., Vol. xn, pp. 159, 163, c. I.)
KIRTI-VAKTRA AN ENCYCLOPAEDIA OF
(3) Dr. Hultzsch referring to the passage quoted above says :
' The word, Kirtana, has been understood in its usual and etymo-
logical sense by Dr Fleet and the first translator (B.A.S.J., Vol. vni,
p. 292 f., Mr. Prinsep) ; that sense is not at all appropriate here
and the word must be taken to signify a temple.'' He then refers to
the Silara grant mentione 1 above and quotes the following :
(a) Kirtanani cha karayet I
' Cause temples to be constructed.' — (Agni-Purana, Bib. Ind.,
Vol. i, p. III.)
(b) Kurvan klrtanani lekhayan Sasanani . . . prithivim vicha-
chara— ' he travelled the earth, . . . constructing temples, causing
grants to be written, etc. (Bana's Kadambari).'
(c) Purta-kirtanodharanena tu — ' by the restoration of dilapidated
works of public utility (such as tanks, wells, etc.) and temple.'
(Ind. Ant., Vol. xn, pp. 228-229.)
(4) ' In addition to the authorities quoted by Bhandarkar in
support of this meaning of KTrttana (in no. 2 above), I have since
found that it is used in the same sense in the five inscriptions of Deva-
labdhi, the grandson of the Chandella king YaSovarman and the son
of Krishnapa and Asarva, in the temple of Brahma at Dudahi (Arch.
Surv. of Ind., Vol. x, Plate xxxn).'— Dr. Fleet.
(Ind. Ant., Vol. xn, p. 289, c.2.)
(5) Achikarat kirttanam— ' built temples.'— (Gwalior Inscrip. v. 15
Ind. Ant., Vol. xv, pp. 203, 202, note 8.)
(6) Kirttanam idarh sarwarh karitam (a. line 9 f.).
Kirttanam idarh sarwarh api (b. line 8 f.).
Sarvva-kirttanam idam (c. line 5).
Saktaih kirttanam idam (d. line 3).
Kirttanam idam («).
In all these places, ' Kirttana ' means a temple. — (Chandella Inscrip.
no. A, Dudahi stone Inscrip. of Devalabdhi, a grandson of YoSovarman,
Ind. Ant., Vol. xvui, p. 237.)
(7) Cf. Sa dakshinarkkasya . . . chakara kirttim bahu-klrttinathah—
' he famous for many (good) deeds made the temple of Dakshinarka'.
(Gaya Inscrip. of Vikrama-samvat 1429, lines 4-5, 8 ;
Ind. Ant., Vol. xx, pp. 314-315.)
KIRTI-VAKTRA— The monumental face, used as an architectural
member.
In connexion with the ' mukha-bhadra ' or front tabernacle, porch
or hall :
Tad-urdhve kirti-vaktram tu nirgamakriti(r) bhavet I
(M., xvni, 293.)
118
JiliiUl
PLAN OF RAMPART*.
KUMAHI-PURA.
SECTION
ELEVATION
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PIVOTED.
PLAN
KUNJARAKSHA.
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REAR .VIEW.
FIXING KNOB
KAVATA.
FRONT VIEW.
KAVATA,,
JU
HNIDU ARCHITECTURE KUKSHI
KIRTI-STAMBHA — A memorial or monumental pillar.
(Ahmadabad Arch., Burgess, Arch. Surv., New. Imp.
Series, Vol. xxxm, p. 94; see under STAMBHA.)
KILA — A stake, pin, nail, wedge, post.
Etat tu pratimarh bhavet I
Kila-tara-samady-ardharh dvi-gunam va galaka bhavet I
(M., xii, 122-123.)
In connexion with joinery :
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 I
(M., L, 120 ; see also M., xxxix, 121-123.)
KILA-BHAJANA— The pin-hold.
In connexion with the door :
Kila-bhajanam ity-uktam kilanarh tu pravakshyate I
(M., xxxix, 119; see also 120-131.)
KILA-SULAKA— The pin-point.
In connexion with the door :
Kuryat tat kavatanarh yuktya tat kila-Sulakam I — (M., xxxix, 128.)
KUKSHI — The belly, a cavity, the middle part, the interior, the
hub of the wheel.
(M., XLVIII, i a.)
In connexion with the foundations :
Gramadinarh nagaradinam pura-pattana-kharvate I
Koshtha-koladl-sarvesharh garbha-sthanam ihochyate I
Sthira-vastu-kukshi-des"e tu chara-vastu tathapi cha I
Grama-dvarasya yoge va garbha-Svabhram prakalpayet I
(M., xn, 168-171.)
In connexion with the pent roof (lupa) :
Tat-sutrad adho dde kukshirh jnatva purordhvake I — (M., xviu, 236.)
In connexion with the front porch or tabernacle (mukha-bhadra) :
Pancham§a-dvi (-ya)rhs'a-taram syad ardham va kukshi-vistritam I
Kukshy-antararh sadma-sarhyuktam vatayanam athapi va I
(Ibid., 286-287.)
In connexion with the single-storyed buildings :
Nasl-tararh tri-bhagaikam kukshshi-taram iti-smritam I
(M., xix, 37.)
"9
KUKSHI-BANDHA AN ENCYCLOPAEDIA OF
In connexion with the chariot (ratha) :
Vistararh cha tridha kritva madhye kukshy:im)-arh£akena tu I
Pancha-daSam cha vipularh nalarh kuksh(as)ya veSanam I
(Af., XLIII, 12, 14.)
In connexion with the arch :
Ratnakaranganair yuktaih kukshir avrita-lambitam I
Toranasyopari dese tu bhujanga-pada dvayor api I
(M., XLVI, 59.)
Mukharh vakshaS cha kukshiS cha kati dirghe dva-daSamSakam I
(M. LVII, 55.)
Kukshi-tarashta-matram syat . . . I — (M., LX, 14.)
KUKSHI-BANDHA— A class of bases, it has four types differing
from one another in height and the addition or omission of some
mouldings.
(M., xrv, 319-359; see under ADHISHTHANA.)
KUGHA-BANDHANA— An ornament for the (female) breast.
Kucha-bandhana-samyuktarh bahu-mala-vibhushini
(Af., LIV, 12.)
KUNJARA — A type of building which is shaped like the elephant's
back, 1 6 cubits long and broad at the bottom and has a roof with
three dormer-windows.
(1) Bnhat-Samhitd (LVI, 25, J. R. A. S., N. S., Vol. vi, p. 319).
(2) Matsya-Pwana (Chap. CCLXIX, vv. 36, 41, 49, 53 ; see under PRASADA).
(3) Bhamshya-Purana (Chap, cxxx, v. 32 ; see under PRASADA).
KUNJARAKSHA (cf. VATAYANA)— A window resembling the
elephant's eye in design.
Naga-bandharii tatha valli gavaksharh kunjarakshakam I
. . . esham vatayanarii rupam I — (Af., xxxm, 581, 582, 585.)
Gavakshakaram yuktya cha pattikordhve samantatah I
Kunjaraksham alaksham va patra-pushpady-alahkritam I
(A/., XLIV, 22, 23.)
KUTI (see GANDHA-KUTI)— A hall, a cottage, cornice, entabla-
ture.
Kosamba-kutf— ' The hall at Kausambi.'— Dr. Hultzsch—(Bharaut
Inscrip. no. 39 ; Ind. Ant., Vol. xxi, p. 230).
120
HINDU ARCHITECTURE KUTTIMA
KUTIKA— A village under one headman.
Eko gramaniko yatra sa-bhritya-paricharakah I
Kutikarh tad vijanlyad eka bhogah sa eva tu II
(Kdmikdgama, xx, 4.)
KUTUMBA-BHUMI — The ground for houses, a site where a house
is built.
Kutumbha-bhumi-manarh tu vata-kshetra-vivarjitam i
(Ibid., xxi, 3.)
KUTTIMA — A floor, a base, a wall, a pavement, an entablature,
a cottage, a small house, the ground prepared for the site of a
building, a paved ground.
It is also used as a synonym of Prastara or entablature. — ( M., xvi, 2-4 ;
see under PRASTARA.)
(1) Same as adhishthana or the base of a column :
Adhishthana-vidhlm vakshye gastri sarhkshipyate' dhuna i
Trayodasangulam arabhya sha^-shad-angula-vardhanat I
Chatur hastavasanarh syat kuttima-dvadagonnatam i (M., xiv, 1-3.)
Janmadi-vajanantam syat kuttimodayam Iritam I- (Ibid., 9.)
Vimana-saleshu cha mandapeshu i
Nidhana-sadmeshv-api gopureshv-api i
Eteshv-adho-deSa-talopapithe i
Tasyoparishthat krita-ku^timani {—(Ibid., 397-400.)
Referring to the entablature :
Shad-vidham kut^imottungam prastarodayam Iritam i — (M., xvi, 4.)
In connexion with the four-storeyed buildings :
Tad-urdhve pada(rh)-bandhvarh£arh gopanochcharh tad-ardhakam i
Tad-urdhve kuttimarh charhsam sardha-pakshanghri-tungakam i
(M., XXH, 36-37.)
In connexion with the gopura or gate-house :
Dvi-bhagarh chopaplthochcham tasmad ekaih^a(m) kuttimam i
(M., xxxm, 249.)
(2) As a synonym of the wall (bhitti) :
. . . dvari kundarh cha kuttiman n
Bhitter akheyeyam akhyatam . . . n — (Kdmikdgama, LV, 199-200.)
As a member (lit. limb) of the base :
Masurakam adishthanarh vastvadhararh dharatalam i
Talarh kuttimady-angam adhi^thanasya klrtitam n — (Ibid., 202.)
121
KUTTIMA AN ENCYCLOPAEDIA OF
(3) Prasada-s"ata-sambadharh mani-pravara-kuttimam I
Karayamasa vidhivad dhema-ratna-vibhushitam 1 1
(Mahdbharata, xiv, 25, 22.)
. . . prasadaih sukritochhrayaih 1 1
Suvarna-jala-sarhvritair mani-kuttima-bhushanaih II
(Ibid., i, 185, 19-20.)
(4) Kuttimo'str! nibaddha-bhus chanclra-sala sirogriham I
Commentary : Pashanadi-nibadhha-bhuh sa kuttima ity-ckam I
(Amarakosha, H, 5~8.\
(5) Griharh kanchana-kuttimam I — (Ramayana, vi, 37, 27, etc.)
(6) Tan . . . pathi . . . mamlatur na mani-kuttimochitau I
(Raghuvarhfa, ed. Stenzler, n, 9.)
(7) Padangushthalulita-kusume kuttime I
(Malavikagnimitra, ed. Tullberg, n, 27.)
(8) Vcdikeyam tu samanya kuttimanam prakiritita I
(Vastu-vidya, ed. Ganapati Sastri, ix, 19.)
(9) Mani-kuttima — 'jewel-paved floor.' — (Kadaba plates of Prabhuta-
varsha, line 29 ; Ep. Ind., Vol. iv, pp. 341, 342.)
(10) Vapl-kupa-tadaga-kuttima-matha-prasada-satralayan I
Sauvarna-dhvaja-toranapana-pure-grama-prapa-marhdapan 1 1
. . . . vyadhapayad ayarh Chaulukya-chuda-manih I
Here ' kuttima' is evidently a detached building.
(Sridhara's Devapattana Prasasti, v. 10;
Ep. Ind., Vol. n, p. 440.)
(n) Mani-kuttima — 'jewel-paved floor.' 'And it must have been an
uncommonly magnificent building, for nearly the sixth part of whole
inscription (of 103 lines) is devoted to its description, and its erection is the
only deed of the king, which the author has thought worth mentioning.
The temple spoken of here must, therefore, necessarily be that splendid
Siva temple which, according to the Baroda-grant was built by Krishna
on the hill of Etapura, the modern Elura.' — (Kadaba plates of Prabhuta-
varsha, line 34, Ep. Ind., Vol. iv, p. 337 and note 2 ; Ind. Ant., Vol. xn,
p. 159 and p. 228 f.)
(12) Srikrishna-kshiti-pala-datta-manibhir vidvat-kavmam griha nana-
ratna-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
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 I
Danambuni nirurhdhana 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 mani-kuttima-sankrarhta-prati-bimba-
vyajcna svayam avatlryya ... I
' The sun . . . under pretence of seeing his reflection in the jewelled
floor.'
(Ep. Carnal., Vol. xn, Gubbi Taluq, no. 61 ; Roman
text, p. 49, line 32 ; Transl., p. 29, line 20.)
KUDYA— A wall, plastering.
Bhittih strl kudyam I
'Bhittih kudye prabhede cha' iti Haimah I
'Kudyam bhittau vilepane ' iti MedinI I — (Amarakosha, 2, 2, 4.)
(1) Prasada-harmya-valabhi-linga-pratimasu kudya-kupeshu l
' In the temple, mansion, roof, phallus, image (idol), wall, and tank
(the cement should be used).
(Brihat-Samhita, LVII, 4, J.R.A.S.,
N.S., Vol. vi, p. 322.)
(2) Silaya cha mridapy-athava taruna rachayed atha kudyam atlva-
dridham I
Tad-ihottara-vistaratah sadrisarh bahalam kathitam talipadi-yutam I
Svotsedha-dararhs'aika-hina-mastakam eva tat I
Kudyam kuryad bahir-bhagarh svantar-bhagarh bhavet samam II
(Vastu-vidya, ed. Ganapati-Sastri, xv, 1-2.)
(3) Para-kudyam udakenopaghnato — ' cause to collect water and thereby
injure the wall of a neighbouring house.'
(Kautiliya-Artha-iastra, Chap. LXV, p. 167.)
(4) Panchalindarh shat-kudyam bahir andharikavritam 1 1
Ldnge ^ilante cha krodhe bhitti(h) pancha^a-varjitah I
Kirhchin nyunam alindam va ^esham kudyeshu yojayet ||
(Kamikagama, L, 83, 87.)
Jalakarh phalakam sailam aishtam kudyam cheshyate I
Jalakair bahubhir yuktarh jalakarh kudyam ishyate II
Nishpadam va sa-padam va kudyam Sailam atheshtakam I
Athava mrinmayam vapi kudyam ishtam dvijottamah 1 1
123
KUDYA-STAMBHA AN ENCYCLOPAEDIA OF
Kudye stambha-lata karya vastvadharasya chopari I
Vedikordhvadhare kuta-koshtadlnarh tridha. tridha smritah II
(Kamikagama, LV, 94, 97, 98.)
Jalaka cha kavatas" cha bahye bahye prakalpayet I
Sarvatah kudya-sarhyuktam mukhya-dhamatra kirtitam II
Anta-vivrita-padarh cha bahye kudyarh prakirtitam II
Bahir abhyantare mukhya-geham vidhiyate II — (Ibid., XLI, 8, 9, 14.)
(5) In connexion with the number of walls (sala) in the buildings of the
kings of various ranks :
Ekadikaih tri-salantarh pattadharadibhis tribhih I
Praharakastragrahabhyam kudyam etad (? ekam) dvayantakam 1 1
(A/., XL, 42-43.)
Geha-tridhaika-parito bahi(h) kudya-taram i — (M. LIII. 59).
Kudya(ama)ty-adhika-hinam ched vistare chodaye'pi va i
Dvi-jati-sarva-varnanarii sarva-na^akaram bhavet i
(M. LXIX. 57, 58.)
KUDYA-STAMBHA— The column of the wall, thus the pilaster or
a square pillar projecting from the wall.
Sila-stambham s"ila-kudyam naravase na karayet 11
(Kamikagama, xxxv. 161.)
In connexion with the foundations :
Kudya-stambhe griha-stambhe harmya-garbham vinikshipet i
(M. xii. 132.)
Referring to the pillar :
Tri-chatush-pancha-shan-matrarh kudya-stambha-vigalakam I
Tad-dvi-gunitam vapi tri-gunarh va chatur-gunam
Etat(s) kampa(-bha)-vi§alamsyad athava tunga-manatah i
(M. xv. 14-16.)
Set Ghalukyan Architecture, Arch. Surv. New Imp. series, vol. xxi,
plates xvi, XL vi, fig. 3 ; plate LXXVIII, figs. 1,2; Buddhist Gave Temples,
ibid, vol. rv, plate xvin, no. 3 ; plate XXH, no. 2 ; plate xxrx. no. 2.
KUNDA — A pool 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 first descent, from which a series of short stairs,
parallel to the sides, lead down from one narrow landing to another,
124
KUNTALA
Pagi Jit
HINDU ARCHITECTURE KUMARI-PURA
and reaching a broader one about 33 feet from the first. Between each
pair of descending steps in each of five tiers is a niche — some hundred
and thirty-six in all — originally occupied by images ... In the
centre is a deep well about nine and a half feet square.'
(Ahmadabad Arch., Burgess, Arch. Surv. New. Imp.
series, vol. xxxni, p. 94, plates LXXX, LXXXI.)
KUNDIKA — A water pot on the hand of an image.
Kundika chaksha-mala cha vame vame kare kramat I — (M. LI. 31.)
Kundika vama-haste cha dharayet tu sarasvatl I — (M. LIV. 22.)
KUNTALA— A head gear, a lock of hair.
Devanarh bhupatlnam cha mauli-lakshanam uchyate I
Jata-mauli-kirltam cha karandarh cha Sirastrakam I
Kuntalarh kesa-bandham cha dhammillalaka-chudakam I
Mukutarh cheti khyatam . . . I — (M. XLIX 12-15).
Dukula-vasanopetaih mukutam kunu talam tva | — (M., LIV, 78.)
Kechit tu kuntala-nibharh tungam makutam kuntalam tu va I
(Ibid., 119.)
KUBJAKA (see NAGARA) — Hump backed, crooked, a town of the
similar plan (cf. KANYA-KUBJA) , according to the Kdmikdgama,
it is a suburb or a place on the confines of any city or large village.
Gramadinarh samlpam yat sthanam kubjam iti smritam II
(Kamikdgama, xx, 15.)
Sarvesharh nagaradinarh bhedarh lakshauam uchyate I
Kubjakarh pattanarh chaiva ... I
. . . durgam ashta-vidharh bhavet I — (M., x, 37, 40, 42.)
KUMARI-PURA — A gymnasium or school for higher studies, a
stadium, arena or sports ground.
Sotsedha-randhra-prakaram sarvatah khatakavritam I
Ruchaka(h)-pratika-dvararh kumari-puram eva cha II
Dvi-hastah srotasa sreshtharh kumari-puram anchatam I
Hasta-sato-dasa-Sreshtho navahasto'shta eva cha II
(Brahmdnda-Purdna, Part i, 2nd Anusamga-pada
Chap, vn, vv. 103, 104.)
Prakara-madhye kritva vapim pushkarinlrh dvaram chatus-^alam
adhyardhantaranikarh kumari-purarh munda-harmyam dvi-talam mun-
daka-dvaram bhumi-dravya-vasena va tribhagadhikayamah bhanda-
vahini(h)-kulyah karayet I — (Kautillya-Artha-Sastra, xxiv, 54, see Translation
under Chuli-harmya.)
125
KUMUDA AJV ENCYCLOPAEDIA OF
KUMUDA — The water-lily. ' A semi-circle projecting from a
vertical diameter. It is chiefly employed in cornices and bases. 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.t xiv, 83.)
In connexion with the foundations :
Janmantam vathava prantam kumudantarh va galantakam I
Pattikantam kshipech chapi vinyaset prathameshtakam I
(M., xn, 202-203.)
A moulding of the base (M., xiv, 12, etc.; see the lists of mouldings
under ADHISHTHANA).
A moulding of the throne :
Tach-chhesharh dvi-bhage tu kumudam vrittakritis tatha |
(M.. XLV, 136.)
A headgear
Etesham mahishblbhyam(-shyoh) cha dhammilla(m) kumuda-
kritam I— (M, XLIX, 28.)
KUMUDA-BANDHA— A class of bases, it has four types differing
from one another in height and in the addition or omission of some
mouldings.
(M., xiv, 65-108, see under ADHISHTHANA.)
KUMBHA (see KALASA)— A pitcher, the capital, a moulding, the
cupola, a plinth. (M., xiv, 33, etc., see the lists of mouldings under
ADHISHTHANA). A kind of building (see under GHATA).
A part of a column (Suprabheddgama, xxxi, 58, see under STAMBHA).
A pinnacle :
Prasadam apy-amala-kanchana-kumbha- arhpata-sambhavaniyam-
akarod anukarmma silpaih I— (Ghebrolu Inscrip. of Jaya, postscript,
lines 9-1 1, Ep. Ind., Vol. v, pp. 150, 151.)
Ghanarii prasadarh nava-hema-kumbha-kalitam ramyam maha-
mamtapam— ' a solid temple adorned with nine golden pinnacles
and a beautiful large hall.'— (Mangalagiri Pillar Inscrip., v. 51, Ep. Ind.,
Vol. vi, pp. 125, 115.)
126
HINDU ARCHITECTURE KULA
Protturhge'py-aparajitesa-bhavane sauvarnna-kumbha-dhvajaropl
rupyaja-mekhala-vitaranas tasyaiva devasva yah ... I
' He placed a golden cupola (kumbha) and a flagstaff (dhvaja) on
the temple of (the god) Aparajitesa, to whom at the same time
he gave a silver girdle.'— Pro. Kielhorn.
(T he Chahamanas of Naddula, no. C, Sundha Hill
Inscrip. of Chachigadeva, v. 51, Ep. Ind.,
Vol. ix, pp. 78, 74.)
Prasadam urdhva-s(s)ikhara-sthira-hema-kumbham — ' (Into) the
temple (which by the stately display of) firm golden capital, upon
lofty spires.'— (Bhubaneswar Inscrip., v. 15, Ep. Ind., Vol. xiu, pp. 152, 154.)
KUMBHAKA— The base of a column.
Ayam kumbhaka-danam .... ' This pillar-base (where the ins-
cription is written) is the gift of . . .
The same inscription is repeated on many other bases of pillars.
(Catalogue of the Arch. Museum at Mathura,
sections 21,22, 25, 30, 32, pp. 176, 177, 178.)
KUMBHA-PANJARA (cf. PANJARA)— A niche in the wall. It con-
sists of a vase, a pilaster and a little pavilion (panjara) at the top.
KUMBHA-PADA (cf. STAMBHA)— Literally the pillar at the foot of
a pitcher, an upper pillar of the two-storeyed buildings (M ., xx, 63),
of the bedstead (M., XLIV, 59).
KUMBHA-BANDHA— A class of bases, it has five types differing
from one another in height and in the addition or omission of some
mouldings.
(M., xiv, 195-239 ; see under ADHISHTHANA.)
KUMBHAL ANKARA — Ornaments of the column, mouldings of the
pedestal, base, and entablature.
(M., xv, 201-232 ; see under UPAPITHA,
ADHISHTHANA and PRASTARA.)
KUMBHA -STAMBHA (see STAMBHA and compare KUMBHA-
PADA)— A small pillar, generally employed at the upper part of
a structure.
(M., xv, 72-200 ; see under STAMBHA.)
KULA (see ACHARYA-KULA) — A residence, a residential private
school, a dwelling house of a small individual family (R.-V., x, 179,
2 ; A.-V., i, 14, 3 ; Sat. Brdhmana, i, i, 2, 4 ; n, i, 4, 4 ; 4, i, 14 ; xi, 5,
3, ii ; 8, i, 3 , Brihat-Upamshad, i, 5, 32 ; Chhdnd. Upa., m, 15, 6),
a sanctuary, a temple.
127
KULA-DHARANA AN ENCYCLOPAEDIA OF
KULA-DHARANA— A type of pavilion.
(M., xxxiv, 262 ; see under MANDAPA.)
KULAMBHA-DVARA— A front door, the threshold.
(M., xxxiv, 365.)
KULIKANpHRI(KA) (see STAMBHA)— An ornament of the en-
tablature, the main pillar, calyx, see NATAKA.
Vallika patra-valli cha chitrangam kulikanghrikam I
Etat paryaya-vakyani . . . I— (M., xvi, 54-55.)
KULI(I)RA— A crab, a part of the joinery shaped like a crab.
(M., xvn, 153.)
KUHARA— A window, the interior windows.
Tatra shad-asiir merur dvadasa-bhaumo vichitra-kuharas cha I
Commentary : Kuhara abhyantara-gavakshah I
(Brihat-Sarhhita, LVI, 20, J.R.A.S.,
N. S., Vol. vi, p. 318.)
Merur dvadasa-bhaumo vividha-kuharaS cha I
(Bhavishya-Purdna, Chap, cxxx, v, 27.)
KUTA — The peak or summit, head, top of a building.
(1) The top of a building : karna-kuta, sala-kuta. — (M., xix, 55, 57;
xv, 134 ; LX, 45 ; LXX, ao.)
(2) Ekaika-bhagam syat tu kuta-saladikarh nayet I
Adho bhaga-dvayenatha kutam ekena va bhavet I
Kuta-Sala (v. 92), mula-kuta, vana-kuta (95).
(Kamikagama, L, 88, 90, 92, 95.)
(3) Pinnacle : Mata-kuta-prakara-khanda-sphutita-iirnoddharakam
— ' for the repairs of whatever might become broken'or torn or worn
out belonging to the enclosure, with beautiful pinnacles'. — (Inscrip.
at Ablur, no. E, lines 59, 76, Ep. Ind., Vol. v, pp. 249, 257, 258.)
Sivagamokta-vage parvvata-pramanada degulamam tri-kuta vage —
' in accordance with Siva traditions, founded a temple with three
pinnacles, as vast as a mountain'. — (Ibid., no. E, line 74, Ep. Ind., Vol. v,
pp. 250, 258.)
(4) Tara-ganeshunnata-kuta-koti-tatarppitasujvala-dipikasu I
' Like clusters of stars the bright lamps be placed on its pinnacles.'
(Ep. Carnal., Vol. xii, Gubbi Taluq, no. 61 ;
Roman text, p. 49, lines 28 ;
TransL, p. 29, line 17.)
128
PART OF A THRONE
KOKILA
PLAN.
KUMBHA-PANJARA.
HINDU ARCHITECTURE KG PA
(5) Sambhos charu-subhair akari bhavanarh pashana-kutair idam I
' He built this temple of Sambhu with beautiful and brilliant most
excellent stones.' — 'Dr. Biihler. This translation of kuta does not seem
to suit the context.
(Two Skt. Inscrip. in the British Museum, no. I,
line 12, Ind. Ant., Vol. xm, p. 251.)
(6) Aneka-ratna-khachita ruchira-mani-kalasa-kalita-kuta-koti-ghati-
tam apy-uttunga-chaltyalayam — : (having erected) a lofty chait-
yalaya, with ' kalasas ' or towers surmoun-ed by rounded pinnacles
set with all manner of jewels.' (For ' kalasa ,' Mr. Rice has put in
' gopura,' perhaps a slip.)
(Ep. Carnal. Vol. vi, Mudgere Taluq, no. 22 ; Roman text,
p. 148, line 12 ; Transl., p. 63, para. 2.)
(7) Sri-vlra-somanatha-devara tri-kuta-devalaya — ' the three pin
nacled temple of the god Vlra-Somanatha'. — (Ep. Carnal., Vol. vn,
Channagiri Taluq, no. 32 ; Roman text, p. 322, line 18 ; Transl., p. 183.)
KOCHAKRA (see KRIP A) —Water-wheels for wells (R.-V., x, 102,
11, cf. Zimone, All. Lib., 157).
KOTA-KOSHTHA — A compartment on the top of a building,
an attic room.
(Kamikagama, LV, 123-130 ; see under KARNA-KUJA.)
KOTA-SALA — A small room on the top of a building.
Kuta-sala sabharh kritva bhoga-bhogyarh viseshatah II
Kuta-sala-yutarh vapi kuta-salantam eva cha I
Prakarena samayuktarh gopurena vidhiyate II
(Suprabludagama, xxxi, 113, 120.)
KOTAGARA (see KUTA-SALA) — A small room at the top of a
building. Window-chambers (W. Griger : Mahdvamsa, p. 297).
Ramayana (i, 5, 15, etc.) :
Kutagarai i cha sarhpurnam indrasyevamaravatlm II
Commentary : Kutakhyair agaraih strinam krida-grihair iti yavt
kutah salagararh griham anye I
KOPA — A well with its mechanism of water-wheels, etc. (R.-V., x,
102, ii ; vn, 36, 3; ix, 97, 4), masonry sides (Parsu, R.-V.,i, 105, 8;
x, 33, 2) and metal fittings or ribbed resembling sickles (see
KUCHAKRA).
(i) Dcwal Prasasti of Lalla the Chhinda (v. 20, Ep. Ind. Vol. I,
PP- 79. 83).
129
KRISHNA-MANDALA AJf ENCYCLOPAEDIA OF
(2) Sridhara's Devapattana Prasasti (v. 10, Ep. Ind., Vol., u, p. 440).
(3) A well with flights of steps :
Sita-svadu-visuddha-bhuri-salilarh sopana-malojjvalam I
. . . kuparh chainam akarayad I
(Gangdhar stone Inscrip. of Visvavarman, lines 38,
39, C. I. I., Vol. in, F. G. I., no. 17, p. 76.)
(4) Anarhda-putrcna Samgamitrena kue (kupa) katite mata-
pitae puyae save-satana hida-suhae — ' This well was excavated
by Sarhgamitra, the son of Ananda, in honour of his father (and,
mother (and) for 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,
Ind. Ant., XXXVH, p. 65.)
(5) Khane kupe Dashaverana — he dug well of Dashaveras.
(Inscrip. of Ara, lines 4-5, Ind. Ant., Vol. XLII, p. 133.)
KRISHNA-MANDALA— The iris of the eye of an image.
(M., LXV, 66, LXVI, 65, LXX, 69.)
KEYORA — The armlet worn on the upper arm of an image.
(M., L, 14, LIV, 13, etc.)
KERALA-(KANTA) — A class of the twelve-storeyed building., once
prevailing in the ancient country of Kerala.
Tad eva bhuta-bhagena kshudra-sala-visalakam I
Kara cha tat-tri-bhagena cha yuktya samalankritam I
Sesharh prag-ukta-vat kuryad eva(rh) kerala-kantakam I
(M., xxx, 28-30 ; see under VARATA, ibid. 17-27.)
KE$A-KOTAKA— The tip of the hair, the top knot of an image.
(M., L, 301 ; see USHNISHA.)
KE&A-BANDHA — A head-gear for the images of goddesses and
queens.
(M., XLIX, 14, 88 ; LIV, 88 ; see details under BHUSHANA.)
KE&ARA — A lion's or horse's mane, the filament of a lotus, a mould-
ing, a type of building.
A class of the single -storeyed buildings (M., xix, 173-175 ; see
under PRASADA).
A class of the three-storeyed buildings (M., xxi, 31-39 ; see under
PRASADA).
130
KONA LOSHTA.
QEMERAL OUTLIME. OF
KEYURA.
Page 130
Page 131
HINDU ARCHITECTURE KONA
KAILAS(S)A — A type of building which is 28 cubits wide, lias
eight storeys, and turrets.
(1) Brihat-Samhild (LVI, 21 ; J.R.A.S., N. S., vi, p. 319; see under
PRASADA) .
(2) A class of the three-storeyed buildings.
(M., xxi, 52 ; see under PRASADA.)
(3) Matsya-Purdna (Chap. CGLXIX vv., 32, 47, 53 ; see under PRASADA.)
(4) Bhavishya-Purdna (Chap, cxxx, v, 28 ; see under PRASADA).
(5) A building with four salas (compartments, halls) and four kutas
(towers or domes) :
Chatuh-sala-chatush-kuta-yuktah kailasa eva hi II
(Suprabhedagama, xxxi, 42.)
A class of buildings, circular in plan and names as follows :
(i) Balaya, (2) Dundubhi, (3) Padma, (4) Maha-padma, (5)
VarddhanI, (6) Ushnisha, (7) Sankha, (8) Kalasa and (9) Sva-
vrlk-sha.
(6) Garu.da-Pu.rdna (Chap. XLVII, vv. 21, 23, 24-29; see under
PRASADA) .
(7) Agni-Purdna (Chap, civ, vv. n, 17, 18 ; see under PRASADA).
KOKILA — A moulding of the throne.
(M., XLV, 125, see under SIMHASANA.)
KOKILARGALA— A latch, bolt or bar attached to the throne.
Ancka-srinkha'opetarh bahu-kundala-bhushitam I
Kavata-yugmam kartavyarh kokilargala-sarhyutam I
(Kdmikagama, LV, 52.)
KOCHCHHA— A cane-bottomed chair.
(Mahdvagga, v, 10, 2.)
KOTA— A fort, a hut, a shed.
Atyuchair bhitti-bhagair divi divasa-pati-syandanarh va vigrihnan
yenakari kotah I ' By whom the fort (in this place) was built,
which perhaps may arrest the chariot of the sun in the sky by its
high walls.'
(An Abu Inscrip. of the reign of Bhimadeva, II, v. 9,
Ind. Ant., Vol. xi, pp. 221, 222.)
KONA — A 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-
ridge.
(Vdstu-vidyd, xvi, 27, 36 ; see under KAPOTA-PALIKA.)
KONA-LOSHTA— A moulding, the pendulent-like ornament at the
corner of a pent-roof.
(See details under LOSIITA.)
KOLAKA (see ANGULA) — A measurement of two angulas, a fort,
a village, a building material.
A kind of village ( M., ix, 486 ; see under GRAMA) .
A kind effort (M., x, 41 ; see under DURGA and NAGARA).
Some fruit or material employed in the foundation-pit.
(M., XH, 98.)
KOLHI-VESMIKA— A hall-mansion.
Srl-krishnagiri-maharaja-maha-vlhare upasama-kolhivesmikah sachl-
varlkah sameta akshainitih dramma-sataikena karapitah — ' have had
hall-mansions (suitable) for meditation built at this great monastery of the
famous mount of Krishna and have given as a perpetual endowment
one hundred drammas.'
Srimat-krishna-giri-maha-vihare bhadra-srl-vishnu-bhikshunaih tatra-
stharya-(sarhghasya) drammanam satamekarh (datva) pasamana-sadisarh
chlvarikadi-labha-samanvitarh kolhivesmikarh kshityam nyavivisat —
' gave one hundred drammas to the monks of the worshipful community
dwelling at the great monastery of the famous mount of Krishna, and
caused to be built in the ground a hall-mansion suitable for meditation.' —
Dr. Hult/sch.
The translations quoted above are. it should be noticed, too free. The
term ' kolhi ' also does not sound like a Sanskrit word ; but there
arc words like 'kalhana'; there is a phonetic resemblance between
' kolhi ' and ' kulya ' which means something belonging to the family
and hence ' main ' or ' chief.'
(Three Inscrip. from Kanheri, no. 15, line 4 f. ; no. 43A,
line 2 f., Ind. Ant., Vol. xm, pp. 134, 135, 136.)
KO&A — -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 coffers).
KO&A-MANDAPA — A store-room, a treasury.
(M., xxxn, 68 ; see under MANDAPA.)
132
g
2
8
van nYlYn777
HINDU ARCHITECTURE KOSIITHAGARA
KOSHTHA — A store-room, a granary, a chamber, a wall ; the
mezzanine room.
(A/., xxxv, 210, etc.)
Eka-nasikaya yuktarii panjaraih samudahritam I
Kuteshu nasika-yuktam koshtam etat prakirtitam 1 1
(Suprabhedagama, xxxi, 80.)
KOSHTHAKA — A part of the pillar, a granary, a surrounding
wall.
Ko hthakastv-iha chatvaras chatush-koneshu chaiva hi I
(Suprabhedagama, xxi, 50.)
Koshthakam tad-dvi-parsve tu janma-padakriti(s) tatha I
(A/., xv, 85.)
Astarh tavat pratoli tad-upavirachitam koshthaka-dvarh-dvam getat
prauchchair alana-yugmam vijaya-(vara)-kareh(-karinah) s"atru-laksh-
myas cha sadma — near the gate-way were constructed two granaries.'
(Hansi Stone Inscrip. of Prithviraja, V. S. 1224,
v. 6, Ind. Ant., Vol. XLI, pp. 19, 17.)
KOSHTHAKARA— A type of Nepalese chaityas, erected on a low
flat mound one-tenth of its diameter in height.
(See Woodcut 156, Fergusson, History of Indian
and Eastern Architecture, Vol. i, p. 280.)
KOSHTHA-SALA— A kind of closed hall.
(A/., xxvi, 37 ; see under SALA.)
KOSHTHA-STAMBHA— A kind of pillar, a pilaster.
(A/., xv, 84-87 ; see under STAMBHA.)
KOSHTHAGARA — A store-house, a class of Buddhist chaityas in
Nepal where there is a four-faced linga of Siva with a correspond-
ing emblem.
Sravastiyanam maha-matranarh sasanam manavasili-katat I
Srimati varhsa-grame evaite dve koshthagare (duve kotagalani),
trigarbhe ... I (Translated into Sanskrit by Dr. Buh'er.)
' The order of the great officials of Sravasti (issued) from their camp
at Manavasitikata.'
' These two store-houses with three partitions (which are situated
even in famous Vamsagrama), require the storage of loads (bharaka) of
black Pancium.'
(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 I
' Erected a kottara (koshthagara) giving it the name of Yakshesa-
bhandara (=store-house).'
(Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 20 ; Text, p. 119,
line 3 f. ; Transl., p. 52 ; see Fergusson, Ind. and
East. Arch., H, 279, Woodcut, 156.)
KAUTUKODAYA (cf. UTSAVA and see UTSEDHA)— A kind of
height, lit. (?) the height of an image made as a plaything (experi-
ment) rather than for worship.
Utsave(-savasys) chardha-manena kautukodyam Iritam I
(M., LXI, 22 ; see context under UTSAVA.)
Nabhyantarh medhra-slmantarh nava -manarh chotsavodayam I
Tad-ardharh kautukotsedharh kanyasadi trayarh trayam I
(M., LXIV, 27-28 ; see context under UTSAVA.)
KAU&ALYA — A pavilion with fifty-six pillars.
(Matsya-Purana, Chap. CCLXX, v, 8;
see under MANDAPA.)
KAUSlKA— A type of pavilion.
(M., xxxiv, 249 ; see under MANDAPA.)
KRIDA-KETANA— A pleasure-house.
Tirthottumga-sarasvati-krita-parishvarhgasya sarasvatam I
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
(sacred banks) of the Sarasvati.'
(Sanskrit Grants and Inscrip. Prasasti no. iv, 33,
Ind. Ant., Vol. xi, pp. 103, 106.)
KSHANIKA-BERA — An idol for temporary use, as is carved
generally with mud by the worshipper himself.
(M. LXVIII, 26, etc.)
KSHANIKALAYA — A 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, etc.
(Kamikagama, LIV, 2 ; see under PRASTARA.)
134
HWDU ARCHITECTURE KSHEPANA
KSHUDRA-NASA(-I)— 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
correspond to lower pillars ; and that corresponding to the karnapada
(side pillar) is half of the forepart of the column (or entablature). —
(M., xv:, 92-95 ; XLVI, 24, etc.)
Tilaka-kshudra-nasi-yukta-toranaiS cha samanvitam (vimanam) I
(Kdmikdgama, L, 93.)
See Amarakosha (u, ii, 15) under GOPANA.
KSHUDRA-SALA— A small hall, room or house.
Khsudra-sala-pradese tu sarvalankara-samyutam I
(M., xxvi, 71, etc ; see SALA.)
KSHUDRABJA— A small lotus, a moulding of the pedestal, a small
cyma.
(M., XIH, 61, etc.; see the lists of mouldings
under UPAPITHA.)
KSHEPANA — Lit. projection. A drip-moulding ; the door-frame,
a moulding above the plinth in pedestal, generally placed between
a dado and cyma, a fillet and cyma, or a petal and fillet. Etymologi-
cally 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 under-
portion 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-
tion. In this sense it is also found in the western architecture (cf.
Fletcher, Hist, of Arch., figs. 191, 192, 197, 198). In Indian
architecture it also implies a door-frame (M., xxxix, 105-110).
A moulding of the pedestal (M., xin, 45, etc. ; see the lists of mould-
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/., xxxix, 105.)
In connexion with the bedstead :
Ekarii vatha dvayarh vapi kshepanam bahudhanvitam I
(M., XLIV, 20.)
135
KSHEMA AN ENCYCLOPAEDIA OF
A moulding of the pitha or pedestal of the phallus :
Utsedhe shodasTirhse tu prathamochcharh dvi-bhfigikam I
Padmochcharii tu tri-bhagam syat tat-urdhve kshepanamsakam I
• (M., ur, 30, 31.)
KSHEMA— A class of buildings.
(Kamikagama, xxxv, 32-34 ; see under MALIKA.)
KSHONl — A kind of pent-roof, stated to be employed in residential
buildings.
(I/., xvm, 177-178.)
KH
KHATTAKA(-TTA)— A bedstead, a seat, a pedestal or throne.
Murttlnam iha prishthatah kari-vadhu-prishtha-pratishtha-jusham
tau-murttir vame asma-khattaka-gatah karhta-sameta dasa I
' Behind the statues placed on the backs of female elephants, . . .
(he) caused to be made here ten images of those persons mentioned
above) together with their wives on khattaka of spotless stones.'
' The word, khattaka, judging from the context, seems to have
the meaning of pedestal or throne.' Dr. Luders.
(Mount Abu Inscrip. no. I, v. 64, Ep. Ind.,
Vol. vni, pp. 212, 218, 200.)
KHATVA — A long couch, a bedstead.
KHADGA — A type of octangular building.
(Garuda-Purana, Chap. XLvn, vv. 21, 23,
31-32 ; see under PRASADA.)
KHANDA-HARMYA— A sectional tower, a tower with open veran-
dahs or balconies.
Adho-bhaga-dvayenatha kutam ekena va bhavet I
Talam ekarh bhaved grasam (?) khanda-harmyarh tri-bhumike II
Andharandhari-harokta-khanda-harmya-viscshitam (vimanam) 1 1
(Kdmikdgama, L, 80, 91.)
KHANDOTTARA— A kind of entablature (prastara).
Pada-vistara-vistararh samodaya-samanvitam I
Khandottaram iti jneyam padenotesedham samyutam n
(Ibid., LIV, 5.)
136
KSHEPANA
AS PROJECTION.
KSHEPANA AS
DRIP MOULD.'
KSHEPANA.
KSHUDRA-N/ftSA.
IN ELEVATION:;-- -
The ire r»a* Men
struck a little away .
from '.he^iine of super-
. • PROFILE OF CLASSIC TORUS.
Page ISfi
HINDU ARCHITECTURE KHARVATA
KHAR V ATA— A village, a fort, a fortified city.
(1) A village (M., ix, 456), a fortified town (M., x., 36).
In connexion with the foundations :
Gramadlnarh nagariidinam pura-pattana-kharvate I
Koshtha-koladi-sarvesharh garbha-sthanam ihochyate I
(M., xii, 168-169.)
A kind of pavilion used as the dining hall of the ki'ng :
Nripanaria bhojanartharh syat kharvatakhyarh tu mandapam I
(M., xxxiv, 455 ; see also 456-472, 567.)
(2) A fortress to defend a group of two hundred villages :
Dvi-sata-gramya kharvatikam I
(Kautillya-Artha-fastra, Chap, xn, p. 46.)
(3) Kshullaka-prakara-veshtitam kharvatam I
(Rayapasenl-sutra-vyakhydne, ibid., p. 206.)
(4) Karvatani kunnagarani |
(Praina-vyakarana-sutra-vydkhyane, ibid., p. 306.)
(5) Dhanuh-satarh parinaho grama-kshetrantaram bhavet I
Dve sate kharvatasya syan nagarasya chatuh-satam I
(Tajiiavalka, n, 167.)
(6) Vanijam api bhogyarii tu tad-vad e a (like nagara) samlritam I
Yat sthanarh brahmananam tu kharvatam puravasinam I
Nagaryavartanam yat kharvatam tad udahritam |
(Kamikagama, xx, 7, 9.)
(7) lya-khavadamhi — ' (By means of his vase Vagra Mardga's son
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 by atra khanate (in this city
or town).
(The Inscrip. on the Wardak vase, line i, Ep. Ind.,
Vol. xi, pp. 210, 211, 212, last para.)
(8) ' An ornament to the Kuntala-des"a was the Vanavase twelve thousand
Kingdom, the chief capital (pradhana-rajadhani) was Chandragupt.
with another name of Gomanta-parvata, in the twelve kharvata country
(attached to which), in Nagarakhanda of Yada-nada Kantapuri, other-
wise named Vira-Marapapuri, belonging to Kamattampuri, situated on
the bank of the Varada-river, the king, in order that his government might
137
KHALORAKA(-RIKA) AN ENCYCLOPAEDIA OF
continue as long as sun and moon, as an offering to Krishna (with all the usual
rights), gave, free of all imposts.' — (Ep. Carnat., Vol. vm, Part i, Sorab Taluq,
no- 375> Transl., pp. 66, last para.)
(9) Grama-nagara-kheda-karvvada-madarhba-dronarnukha-pattananigali-
nidam ancka-mata-kuta-prasada-devayatananigalidam oppuva-agrahara-
pattanamgalimdam atisayav-appa ... I
' At Teridal 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 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. 19, 25.)
(10) ' With myriads of people, practices of virtue, agreeable occupations,
stream of the (nine) sentiments, pleasure-gardens, separated lovers, splendid
tanks, full lotus-beds, gilded boats for spring festivals, ghatika-sthanas
(religious centres), the supports of dharmma and mines of enjoyment,
moats which were as if the sea being overcome had returned here on account
of the collection of gems, groups of the lotus faces of beautiful women fair
as the moon (grama-nagara-kheda-kharvvana-madamba-dronamukha-pura-
pattana-rajadhani), on whatever side one looked, in these nine forms did
the Kuntala-desa shine.'— (Ep. Carnat., Vol. vm, Shikarpur Taluq, no. 197 ;
Transl., p. 124, para, i, last seven lines ; Roman text, p. 214, line 27, f.)
KHALURAKA(-RIKA)— Waffenubungen bestimter Platz (Pet.
Diet.}, a parade, a place 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.
(Kamikagama, LV, 20 ; see below.)
(i) Etad dronam cha bhupanam ayudhabhyasa-mandapam I
Sarvarh dasamSakam dirgham netra-tri-bhaga-mandapam I
Tat-pure'lindam ekarhSarh navamSena yutankanam I
Tat-parsVe puratas chaiva te yugmamSe khalurikah 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 I
Tad-bahi£ chavrittams'ena kuryach chaika khaliirika u
(Ibid., 440-442-)
138
ILL AIL ROUND
GLMERAL OUTLINE. OF KH&ftVAT* TOWN
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HINDU ARCHITECTURE KHETAKA
See also lines 433-453, and then compare :
Nripanarh bhojanartharh syat kharvatakhyarh tu mandapam I
(M., xxxiv, 455.)
Then ' khalurika ' is stated (lines 446, 450) to be built round a dining-
hall and hence not for any military purpose ; it appears like a parlour.
Compare also :
Tan-madhye pancha-bhagena sapta-bhagarikanam tatha I
Tad-bahye paritarhsena kuryad antar alindakam |
Kalurikapi tad-bahye tri-tri-bhagena mandapam I
(Ibid., 284-286.)
Evarh vasanta-yogyarh syat devanarh kshatriyadinam I
(Ibid., 296.)
Tad-vibhaga-dvi-bhagena vistararh mandapam bhavet |
Dvi-tri-bhagankanarh purve eka bhagarh khalurakam I
(Ibid., 351-352.)
(2) Evarhbhutasya vasasya samantat syat khalurika I
Vasa-vyasarh chatur-bhagarh kritva chaikadi-bhagatah I)
Vriddhyarh vasasya bahye tu shodasavadhi-bhagakan I
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 I
Sabhadra va vibhadra va khaluri syad yatheshtatah ||
Etasam antaralarh tu samam va vishamarh tu va I
Kaluri-dhama-madhyam tu tad-vad eva vidhiyate II
(Kdmikagama, xxxv, 103-107 ; see also 108-116.)
Etam hkalurikarh kuryat prasadadishu buddiman II
Devanarh manujanarh cha viseshad raja-dhamani II
Gopuram cha khaluri cha mula-vastu nirikshitam II
(Ibid., \o-ja, 1 1 8, 128.)
Samavrita khalurika tany-evoktani panditah |
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).
(i) Tatas 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 I)
139
KHETAKA AN ENCYCLOPAEDIA OF
Nagarad ardha-vlshkambah khetarh pararh tad-urddvatah I
Nagarad yojanarh khetarh khetad gramo'rdha-yojanam II
(Brahmanda-Purana, Part i, and Anusharhga-pada,
Chap, vn, vv. 93, 94, 105, in.)
(2) Parhsu-prakara-nibaddha-khetam I
(Rdyapaseni--sutra-vyakhyane , p. 206.)
(3) Khetani dhull-prakaropetani |
(PraSna-vyakarana-sutra-vyakhyane, p. 306.)
(See Kautlllya-Artha-idslra, Chap, XXH, p. 46, footnote.)
(4) Vane jana-pade chaiva kevale Sudra-sevitah I
Kantakah khetako gramah kramat tri-vidham Iritah I
(Kamikagama, xx, 10.)
(5) Nagarani khetan jana-padams tatha I
(Mahabharata, in, 13, 220, etc.)
(6) Pura-gramakara-kheta-vata-$ibira-vraja-ghosha . . .
(Bhagavata-PurSna, 5, 30.)
(7) One of the 750 villages ' which are designated by (their chief
town) Sri-Harsapura.' — Rashtrakuta Grant of Krishna II, Ep. Ind., Vol. i,
PP- 55. 57. line 33, p. 53, footnote 3.)
(8) ' The modern kheda (khaira) .'—(Ind. Ant., Vol. x, p. 378 ; Vol. xiv»
p. 198.)
(9) Lata-desantarvvartti khetaka-mandalantarggatah Kevancha-
nama gramah I — (Cambay Plates of Govinda IV, line 52, Ep. Ind.,
Vol. vii, pp. 40, 45.)
(10) Sri-khetakahare-uppalaheta-pathake mahilabali-nama-gramah I
' The village, named Mohibabali, in the Uppalahetapathaka in the
famous Khetaka ( ? city) ahara.' — (Ind. Ant., Vol. vn, p. 72, Plate n,
lines 5-6.)
(11) Khetakaharam vishaye bandarijidri pathakantarggata-as"ila-
pallika gramah I
' Khetaka is of course the modern Kheda or Kaira itself (lat. 22 °
44' N. :' long. 72° 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 2, 3.)
(12) Grama-nagara-kheda-karvvada - madamba - dronamukha - patta
nanigalimdam aneka-mata-kuta-prasada-devayatanam galidam
oppuva-agrahara-pattanamgalirhdam atisayavappa I
' At Teridala, a merchant-town situated in the centre and the
first in importance among the twelve (towns) in the glorious, Kundi.
140
HINDU ARCHITECTURE GANYA-MANA
Three thousand, adorned with villages, towns, hamlets, villages, surround-
ed by hills, groups of villages, sea-grit towns, and chief cities, with
elegant mansions, palaces, and with shining temples, and agrahara-
towns in the country of Kuntala.'
(Old Kanarese Inscrip. at Terdal, line
58, Ind. Ant., Vol. xiv, pp. 19, 25.)
(13) ' With myriads of people, practices of virtue, agreeable occu-
pations, streams of the nine sentiments, pleasure-gardens, separated
lovers, splendid tanks, full lotus beds, gilded boats for spring festivals,
ghatika-sthanas (religious centres), the supports of dharmma and
mines of enjoyment, moats which were as if the sea being over-
come 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 - dronamukha-pura-pattana-raja
dhanim) on whatever side one looked, in these nine forms did the
Kuntala-desa shine.' (It should be noticed that the passage within
brackets is a'most identical with the corresponding passage in quotation
no. 12 above.)
(Ep. Carnal., Vol. n, Shikarpur Taluq, no. 197,
Transl., p. 134 ; para, i, last seven lines ;
Roman text, p. 214, line 27 f.)
GAGANA— A kind of pent-roof.
(M., xvni, 174-180 ; see under LUPA.)
GAJA (cf. HASTI-PRISHTHA)— A moulding, a type of building
(see under KUNJARA), a kind of oval buildings.
(1) Agni-Putdna (Chap, civ, vv. 19-20; see under PRASADA).
(2) 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 — The comparative height of the component mem-
bers of an architectural structure. In the sculptural measurement,
the similar height is 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 I
Harmye chashta-tale tunge sashta-bhagadhikam tatha I
141
KHETAKA AN ENCYCLOPAEDIA OF
Sardha-dvyamsam adh'-shthanam tad-dvayarii pada-turigakam I
Tad-ardharh prastarotscdharii sesham ashta-taloktavat I
Evarh nava-talotsedhaih saivalarikara-samyutam I
(M., xxvn, 35-39.)
Evarh vistara-ganyarh syat tunga-ganyam ihochyate I
Janmadi-stupi-paryantam uktavat samgrahath viduh I
(M., xxix, 36-37 ; see also 38-49 under
EKA-DASA-TALA.)
See the details o'" the other storeys under EKA-TALA, DVI-TALA, TRI-
TALA, GHATUS-TALA, PA^CHA-TALA, SHAT-TALA, SAPTA-TALA, ASHTA
TALA, DASA-TALA, EKA-DASA-TALA and DVA-DASA-TALA.
The similar comparative measurement referring to the sixteen storeys
of the gopuras (gate-houses) :
Tunge cha trayo-vimsad bhagam evarh vibhajite I
Eka-dasopapitharh cha chatur-bhaga(rh) masurakam |
Vasu-bhaganghri-tungam syat shad-bhagarh tu vibhajite |
Tri-bhagam chopapitham tu ^iva-bhaga(rh) masurakam |
Dvi-bhagam pada-tungarh syat tad-Qrdhve prastarad(h)ikam I
Sikhamsarh chordhva-mane tu talanam adhunochyate |
Adhishthana-samarh mancha(rh) tat-samarh gala-tungakam I
Galochcha-dvi-gunam proktam sikharasyodayam nyaset I
Sikharordhva(m) sikhottungam stupi(pi)-traya-sam(m)eva cha I
Evam eka-talam proktam dvi-taladi-tala(m) eva cha I
Kshudra-madhyam cha mukhyanam gopure tu viseshatah I
Prastaradi ( ? upanadi)-sikhantarh syat ganya-manarh pravakshyate I
(A/., xxxui, 133-144.)
Piirvavat prastarady-antam chordhve stupikantakam I
Ganya-manam cha sarvesham bhaga-mana(rh)-vasochyate I
(Ibid., 215-216.)
Bhaga-mana-vasad ganya-manam yat prochyate budhaih |
(Ibid., 247.)
The similar comparative measurement referring to the componet parts of
throne :
Sarvesham manam ity-uktarh ganya-manam ihochyate I
Asanasyodayardharh va tri-bhagaikonam eva va I
Upapithodayam hy-eva(m) chokta-tuhge'dhikam tu va I
Sesham masurakam vapi samadhishthana-tuhgakam I
Utsedha-ravi-bhage tu janma-tuhgam sivarhsakam I
Tad-urdhve chardha-kampam syat pada-bhagena yojayet I
(M., XLV, 85, 96-100.)
142
HINDU ARCHITECTURE GANDHA-KUTI(-I)
GANITA — A site plan of 369 square plots.
(M. VH, 25-26 ; see PADA-VINYASA.)
The similar measurement referring to the component mouldings of the
Pitha (yoni or the pedestal of the phallus) :
Pitha-tungam iti proktarh ganya-manam ihochyate I
Utsedhe shodasarhse tu prathamochcham dvi-bhagikam I
Padmochcharh tu tri-bhagarh syat tad-urdhve kshepanamsakam I
Kandharam cha tri-bhagarh syat tad-urclhve kampam arhsakam I
Urdhva-padmam tr(i)yarhsarh syad vajanarh cha tri-bhagikam I
Ekarhsam ghrita-vari syad bhadra-pitham iti smritam I
(M., LIH, 29-34.)
The similar measurement referring to the component mouldings of the
upa-pltha or pedestal of the column :
Etat tu nirgamam proktarh ganya-manam ihochyate I
Utsedhe tu chatur-virhsat panchamsopanam Iritam I
Ekena kampam ity-uktam grivochcham dva-dasarhsakam I
Kampam ekam tu vedamsarh vajanarh kampam amsakam I
Vesi-bhadram iti proktam athava dva-dasarhsakam I
(M., xm, 35-39.)
GANDA-BHERANDA-(STAMBHA)— A kind of pillar.
(See under STAMBHA.)
GADA— A type of octangular buildings.
(1) Agni-Purdna (Chap, civ, vv. 20-21 ; see under PRASADA.)
(2) Garuda-Purdna (Chap. XLVII, vv. 21, 23, 31-32 ; see under PRASADA.)
GANDHA-KUTI(-I)— The Buddhist temple, any chamber used by
Budhha. Originally Buddha's abode in the Jetavana monastery
at Sravasti, later, all chapels and temples wherein the Buddha
images were installed.
(i) Punyoddesa-vasach chakara ruchiraih sauddhodaneh sraddhaya
srimad-gandha-kutlm imam iva kutirii mokshasya saukhyasya cha I
' —has constructed this gandha-kuti of Buddha, graceful and like a hall
of emancipation and bliss for the spiritual benefit of ' —
' Gandha-kuti ' is lit -rally a ' chamber of perfume,' an epithet applied to
Buddha temples. The large temple at Buddha Gaya is called, in the
inscriptions, ' M;iha-gandha-kutl-prasada ' (Ind. Ant., Vol. ix, pp. 142-143)
and the room in which Buddha lived in Jetavana at Sravasti was also known
143
GANDHA-MADANA AN ENCYCLOPAEDIA OF
by this name (Cunningham's Bharhut Stupa, Plate xxxvm, and page 133,
no. 22).
(An Inscrip. at Gaya, v. 9, Ind. Ant.,
Vol. x, pp. 343, 343, note 8.)
(2) Kritavantau cha n vinam ashta-maha-sthana-saila-gandha-kutim—
'they constructed this new gandha-kuti (made) of stone; (coming from)
eight holy places.'
Gandhakuti— ' perfumed chamber, any private chamber dovoted to
Buddha's use. ' Childers (s. v.).
The gandha-kuti at Jetavana near Sravasti is represented on a Bharhut
bas-relief.
See also Cunningham's Bharhut Stupa (Plate LVJI).
See Sarnath inscription of Mahip >lala (line 2, Ind. Ant., Vol. xiv, p. 140
note 7).
(3) ' Garhdha-kuti '— • the hall of perfumes,' i.e., ' the Buddhist temple.'
(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.)
(4) 'On the other side of his (Buddha's) body, towards the west, he caused
to be built a beautiful gandha-kuti, pleasing to the eye.'-(Ajanta Inscrip.
no. 4, line 27, Arch. Surv., New Imp. Series, Vol. iv, pp. 130, 132.)
GANDHA-MADANA— A class of pavilions.
(M., xxxiv, 154 ; see under MANDAPA.)
GANDHARVA— A class of demi-gods inhabiting Indra's heaven,
and serving as celestial musicians. See the description of their
images.
(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. i, last para.)
GARUDA— 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
HINDU ARCHITECTURE GARBHA
which is shaped like the sun-eagle (garuda), has wings and tail, and
seven storeys, twenty cupolas (anda) and 24 cubits wide.
Nandl tadakritir jneyah pakshadi-rahitah punah II
Garudakritis cha garudah I
Commentary quotes clearer description from Kasyapa :
Garudo garudakarah paksha-puchchha-vibhushitah I
Cf. Karanarh shat-chatushkams cha vistirnau sapta-bhumikau I
Dasabhir dvigunair andair bhushitau karayet tu tau II
(1) Brihat-Samhitd (LVI, 24. J.RAS., N. S , Vol. vr, p. 319).
(2) Matsya-Purdna (Chap. CCLXIX, w. 41-43, 51 ; see under PRASADA).
(3) Bhavishya-Purdna (Chap, cxxx, v. 31 ; see under PRASADA).
A type of oval building :
(4) Garuda-Purana (Chap. XLVII, w. 29-30 ; see under PRASADA).
In connexion with the temples of the attendant deities :
(5) Yan-mula-harmye vrishabhadi-vishnur-adi
Mandapadi-garudadi cha gopuradin I
Tan-mula-harmya-paritah sthita pasyate'smin (?)
Kuryat tu sarva-parivaram idam prasastam I — (M., xxxn, 168-171.)
The description of the image of Garuda — (M., LXI, 1-148).
Compare also M., xix, 224.
GARUDA-SK(-T)AMBHA (see under STAMBHA) —Pillars gene-
rally bearing the statues of the garuda-bird and belonging to the
Vaishnavas.
' Had the temple built, and setting up this saSana erected a garuda-
stambha in front.' — (Ep. Carnal., Vol. xii, Pavugada Taluq, no. 78 ; Transl.
p. 130.)
GARUTMAN (see GARUDA)— A type of oval buildings.
(Agni-Purana, Chap, civ, w. 19-20 ;
see under PRASADA.)
GARBHA — 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), SIBIKA-GARBHA (square halls), and HARMYA-GARHBA (top
rooms, etc.).
(i) Vistarardham bhaved garbho bhitty-anyah samantatah I
Garbha-padena vistirnam dvararh dvi-gunam uchchhritam 1 1
H5
GARBHA-GE(-RI)HA AX ENCYCLOPAEDIA OF
' The adytum measures half the extent (of the whole) and has its separate
walls all around. Its door is one-fourth of the adytum in breadth and twice
as high.'
(Brihat-Sarhhita, LXI, 12, J.R.A.S., N. S., Vol. vi, p. 318.)
(2) Raja prasada-garbharh gatva I
(Hilopadesa, ed. Botlingk, p. 157, etc.)
(3) The foundations of the village (M., IK, 7).
The adytum :
Garbhe nanda-vibhage tu ekaikarh lihga-tuhgakam I
Garbha-tara-samarh sreshtharh tri-vidham linga-tungakam I
(M., LH, 16, 21.)
(4) Sravastiyanarh maha-matranarh sasanarh manavasiti-katat I
Srimati vamsagrama evaite dve koshthagare tri-garbhe ... I
' The order of the great officials of Sravasti (issued from their camp at)
Manavasitikata ; these two store-houses with three partitions (which are
situated) even in famous Vamsagrama require the storage of black loads
of panicum.'
(Sohgaura Copper Plate, lines 1-2, Ind. Ant., Vol. xxv, p. 265.)
GARBHA-GE(-RI)HA— The central hall, the adytum, the sanctu-
ary in the middle of which is placed the statue of the deity ; this
is sometimes called mula-sthana (see GARBHAGARA).
(1) Harmya-tare tu bhutamsam tr(i)yarhsam garbha-gehakam I
(M., xrx, 114 ; see also 119.)
Garbha-geha, madhya-koshtha, and nali-geha are used in the same
sense (central hall, cf. M., xxxm, 301, 305, 309, 313 and 318).
Dvi-tale tara-saptarhsam vedamsam garbha-gehakam I
(M., xxxin, 164 ; see also 161.)
Garbha-gehe tu manarii syat linga-tungam prakalpayet I
(M., LH, 22 ; see also LIII, 4.)
(2) ' And the balance he will apply to building the garbha-griha and
enclosure of the goddess's temple.' — (Ep. Carnal., Vol. vin, Part I, Sagar
Taluq, no. 135 ; Roman text, p. 225 ; Transl., p. 119, last para., last line.)
(3) ' His wife (with various praises) Kallard-Siyamma had the shrine
(garbba-grihada) of the god Sidda-Mallikarjuna renewed.' — (Ep. Carnal. t
Vol. xii, Gubbi Taluq, no. 29 ; Roman text, p. 41 ; Transl., p. 23, line 8.)
(4) Garbha-griha-sthita-mantapa-sikhara — ' the ruined tower over the
shrine (of the god Arkanatha). '—(Ep. Carnal., Vol. in, Ma|avaJJi Taluq,
no. 64 ; Roman text, p. 127, line 3 ; Transl., p. 63.)
146
\
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GARBHA
Page US
HWDU ARCHITECTURE GARBHA-MANjCSHA-(-IKA)
(5) ' Garbha-griha — sanctum of a temple.'
(6) Vincent Smith's Gloss, (loc. cit.) to Cunningham's Arch. Surv.
Reports.
GARBHA-NYASA— Laying the foundation, the foundations.
Mdnasdra (Chap, xn, 1-128, named Garbha-nyasa) :
The foundation is classed under three heads — for buildings (lines
4-169) for villages, etc. (lines 172-186) and for tanks, etc. (lines
188-216).
The last-named foundation, which is meant for a tank, well or pool
is said to be as high as the joint palm of man (naranjali, line 1 88).
The foundation of buildings is first divided into two classes, as it belongs
to temples (lines 4-149) and to human dwellings (lines 155-169). Of
temples, those of Vishnu (lines 4-137) and Brahman (lines 139-149) are
illustrated and the others are said to be like these (cf. line 132).
Of the human dwellings, there are four classes according to the four
castes — Brahman, Kshatriya, Vaifya and Sudra.
The depth of the foundation-pit is stated to be equal to the basement :
Garbhavatasya nimnarh syad adhishthana(m)-samonnatam I
Ishtakair api pashanais chatur-asrarh samarh bhavet I
(M., XH, 6-7.)
The details of laying the foundations are given (M., xvn, 6-9) :
The best ground selected for foundations is excavated to the depth
of a man's height with uplifted arms. The bottom of the pit thus
excavated should be rocky or water, and the pit is filled with sands
and water which are closely pressed and hardened by means of wooden
hammers shaped like the elephant's foot. Upon such foundations,
the strength whereof varies according to the weight of the construc-
tion 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, 103.)
GARBHA-MANjt)SHA(-IKA)— The basket-shaped roof upon the
foundation-pit, the vault.
(Ibid, 47.)
147
GARBHA-VINYASA AM ENCYCLOPAEDIA OF
GARBHA-VINYASA (see GARBHA-NYASA) — The arrangement of
the foundation, the foundations.
(M., XII, 2.)
Garbha-nyasa-vidhirh vakshye gramadlnam cha sadmanam I
Sa-garbham sarva-sampattyair vigarbharh naSanarh bhavet II
(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., vi, 105.)
GARBHAVATA— -The foundation-pit, the excavation.
(M., xii, 5 ; see under GARBHA-NYASA.)
GALA (see KANTHA) — The neck, a moulding called dado, the
frieze of the entablature.
See the lists of mouldings under ADHISHTHANA., UPAPITHA and PRAS-
TARA.
See Kdmikdgama (LIV, 47) under PRASTARA.
GALA-KDTA (see KUTA) — A side-tower, a dome at the neck-part
of a building.
GALAftGA — Literally neck portion, the middle member, the frieze
of the entablature which lies between the architrave and the
cornice.
(See Kdmikdgama, LIV, 47, under PRASTARA.)
GAVAKSHA (see V ATA Y ANA) — Windows resembling the cow's
eye, a latticed window.
Sardha-gavakshakopeto nirgavaksho'thava bhavet I
(Garuda-Purdna, Chap. XLVH, v. 36.)
Cf. M., XVIH, 290 ; xx, 81 ; xxxm, 582, etc.
' The chief adornment of the temple at Gangai-konda-puram is the
repetition everywhere on the cells and cornices of the fanlike window
ornament resembling a spread peacock's tail.' — (Ind. Ant., Vol. ix, p. 1 18, c. i,
para. 3, last sentence.)
See Pallava Architecture (Arch. Surv., New. Imp. Series, Vol. xxxiy,
Plate cxxn).
See the pierced window in BhoganandisVara shrine (Mysore Arch. Repoit,
1913-14, Plate v, fig. 2, p. 14).
148
GARUOA STAM11H.
WITH SHUTTER WITH STONE LATTICE
GAVAKSHA
BHERUNOA.'
C.ANDA BFIERUNPi,
PLAN
GURU-DVARA.
Time U*
GABHARA
Pajt 149
:
HINDU ARCHITECTURE GUHA-RAJA
GAVAKSHAKARA — 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 I
Kunjaraksham alaksharh va patra-pushpady-alankritam I
(M., XLIV, 21-23.)
GATRA — Literally the body, the columns of a pavilion.
(Suprabhedagama, xxxi, 102-103 ; see under MANDAPA.)
GANAVA— A kind of phallus.
(Kamikdgama, L, 35, 37 ; set under LINGA.)
IRI-DURGA (see DURGA)— A fort, a hill-fort.
Cf. ' In the reign of Chikka-Deva-Raya-vodeya-raiya the servant of
the lord of this village, Bilugeli Kempar-ajayya's son Dasarajayya began to
build the stone fort of Nijagal, which has received another name of Sura-
Igiri-durgga.'
' In 1698 to 1700 the bastions of the fort and the town-gate on the east
were completed. In 1701 to 1702 the town-gate on the south was made.
In Parthiva (1705) the elephant-gate on the east, this hall and the chavadi
with the tiger-face gate, and the VighnesVara temple at the town-gate on
the south ' (were built) .— (£/>. Carnal., Vol. rx, Nelamangala Taluq, no. 65 ;
Roman text, p. 54 ; Transl., p. 45.)
GURU-DVARA— A Sikh monastery, the Sikh temple where the
Grantha Saheb is woi shipped. Literally, same as the Jain
Tirthankara or path-maker.
See Vincent Smith's Gloss, (loc. cit.) to Cunningham's Arch. Surv. Reports.
GUVA-VRIKSHA— A type of round buildings.
(Garua'a-Purana, Chap. XLVII, w. 21, 23, 28-29 ;
see under PRASADA.)
GUHA-RAJA — A type of building which is 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 ; see under
PRASADA.)
(2) Bhavishya-Purdna (Chap, cxxx, v. 32 ; see under PRASADA).
'49
GRIHA AN ENCYCLOPAEDIA OF
GRIHA — 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 I
Grihah pumsi cha bhumny-eva nikayya-nilayalayah II
(Amarakosha, 11, ii, 4, 5.)
Cf. Sudipika-griham — 'a house of beautiful lamps'. — (Three Inscrip. from
Travancore, no. B, line 3, Ep. 2nd., Vol. iv, p. 203.)
See M., ix, 7, 8 ; xxxvi, 2 ; xxxvii, i ; XL, 78, etc.
GRIHA-KANTA— A class of the five-storeyed buildings.
(M., xxin, 30-32 ; see under PRASADA.)
GRIHA-GARBHA (see GARBHA-NYASA) — The foundation of a
house.
Griha-garbham iti proktarh grama-garbham ihochyate I
Griha-garbham antar-mukharh syad grama-garbham bahir-
mukham I
(M., xn, 167, 216.)
GRIHA-CHULLI — A building with an eastern and western hall,
' a house with two rooms contiguous to each other, but one facing
west and the other east.'
(Bfihat-Samhitd, LIII, 40.)
GRIHA-PINDI (see PINDIKA)— The basement of a building.
. . . griha-pindir athochyate II
Madhye chasavritam vasavasa-pindikandhariketi cha I
Sarhjfieyam griha-pindeh sayat ... II
(Kamikagama, LV, 200-201.)
GRIHA-PRAVE§A— 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,
58, 73, 74. 83, 85). They lead the procession in circumambulating the
village and the compound before the ceremonial entry into a new house
(lines 73-90). The guardian-angel of the house (Griha-Lakshmi) is prayed
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 life to the master and other
members of the family (lines 67-72).
The chapter closes with the description of an elaborate scheme of feeding
the Brahmans and the artists, and of liberal gifts to them for the sake of
prosperity and success of the family (lines 84-90). (See also M., ix, 8.)
GRIHA-MAJSJGALA — An 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 dismensions and
situation of houses, the location of various rooms in dwelling houses
and temples and palaces.
(i) Mdnasdra (Chap, xxxvi, 1-96, named Griha-mana-sthana vinyasa) :
The dimensions of houses in general (lines 6-13) : the breadth
of a house is said to be of five kinds, from two or three dandas
(4 or 6 yards) to ten or eleven dandas (20 or 22 yards). The
length may be equal to, ij, i-J, I J, or twice of, the breadth.
The situation : 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) :
Dvi-jatlnam cha sarvesharh varnanarh vasa-yogyakam |
Grihanarh mana-vinyasam sthanarh cha vakshyate'dhuna I
Grame cha nagare vapi pattane khetake'pi va |
Vane va chasrame vapi nadyadri(e)s" cha pars' vake 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
the whole compound is divided. In that chapter houses for various
purpose; of a family are located in different squares in which a
single court is divided, and which have been described in the chapter
called Pada-vinyasa.
The Brahma-sthana or the central square is stated to be unfit
fora residential building (line 15). The temple of the family god
is generally built in this part. Round this are constructed all other
houses (lines 16-85), such as the house for the master of the family,
for his wife, for the children, for servants, for cows, horses, fowls,
etc., for kitchen and dining-hall, etc., for guests, for the library or
GRIHA-VINYASA AX ENCYCLOPAEDIA OF
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 is left to the
choice of the master of the house (line 85).
(2) Kautillya-Artha-sastra (Chap, xxvi, p. 53) :
Adi-talasya pancha-bhagah Sala vapi, slma-griharh cha da£a-
bhagikau dvau prati-manchau, antara mani-harmyam cha sam-
uchchhrayad 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
parighau, aratnir indra-kilah, pancha-hasta-mani-dvararh, chatvaro
hasti-parighah, nivesardharh has i-nakhah mukha-samas-sankrimo'
samharyo va bhumi-mayo va I
' Of the first floor, five parts (are to be taken) for the formation
of a hall, a well, and a boundary house ; two-tenths of it for the
formation of two platforms opposite to each other ; and upper storey
twice as high as its width, carvings of images, an uppermost storey
half or three-fourths as broad as the first floor ; side-walls built of
bricks ; on the left side, a staircase circumambulating from left to
right ; on the right a secret staircase hidden in the wall, a top-support
of ornamental arches projecting as far as 2 cubits, two door-panels
(each) occupying three-fourths of the space, two and two cross-bar
(to fasten the door) ; an iron bolt (indrakila) as long as an aratni
(24 angulas) ; a boundary-gate. 5 cubits in width, four beams to
shut the door against elephants ; and turrets (hasti-nakha, outside
the rampart) raised up to the height of the face of a man, remov-
able or irremovable, or made of earth in places devoid of water.'
(3) The plan of a house having a quadrangular courtyard in the centre
and comprising sixteen rooms (Vdstu-tattva, Lahore, 1853, p. i f.):
In the north-east corner is stated to be (i) the family chapel (deva-
griha) ; in the east (2) the room for all things (sarva-vastu-griha), (3)
the bathroom (snana-griha), and (4) the room for churning milk (dadhi-
manthana) ; in the south-east corner (5) the kitchen ; in the south (6)
the bri(vri)tasagriha (?), (7) the saina-griha, (? sayana= bedroom),
and (8) the lavatory (purisha-griha) ; in the south-west corner (9) the
library (5astra-griha) ; in the west (10) the study (vidyabhyasa-griha) , (11)
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 (sambhoga-griha, or
152
HINDU ARCHITECTURE GRIHA-VINYASA
the house for enjoying oneself in), (15) the store-room (dravya-griha) ,
and (16) the room for invalids or medicine (aushadha-griha).
In this plan the houses face the north where the residential rooms are
located. Here north is the best direction, and the west, the east and the
south come in order of inferiority. This plan is suitable for western and
northern India where the northern and western winda are salubrious.
(4) Vdstu-pravandha (n, 25, 26, compiled by Rajakisora Varmma) :
Stha(Sna)nagaram dis"i prachyam agneyyam pachanalayam I
Yamyayam sayanagaram nairrityarh sastra-mandiram n
Pratichyam bhojanagararh vayavyarh pas"u-mandiram |
Bhanda-kosarh chottarsyam ais"inyam deva-mandiram II
This is a smaller house with eight rooms. Here the bedroom is located
in the south, indicating the southern aspect of the house, suitable for
southern and eastern provinces.
(5) $ilpa-$astra-sara-samgraha (ix, 24-28) :
Isanyarh devata-geharh purvasyam snana-mandiram I
Agneyyam paka-sadanam dravyagararh tathottare ||
Agneya-purvayor madhye dadhi-manthana-mandiram |
Agni-pretesayor madhye ajya-geham pras"asyate 1 1
Yamya-nairrityayo(r) madhye purlsha-tyaga-mandiram |
Nairrityam-bu(?)payor madhye -'idyabhasasya-mandiram 1 1
Paschimanilayor madhye rodanartharh griharh smritam I
Vayavottarayo(r) madhye rati-geharh prasasyatell
Uttaresanayor madhye aushadhartham tu karayet I
Nairrityarh sutika-geharh nripanarh bhutim ichchhatam 1 1
(6) Matsya-Purana (Chap. GCLVI, vv. 33-36) :
I&ine devatagararh tatha santi-griharh bhavet II
Mahanasam tathagneye tat-par^ve chottare jalam \
Grihasyopaskararh sarvarh nairritye sthapayed budhah ||
Ba(n)dha-sthanam bahih kuryat snana-mandapam eva cha I
Dhana-dhanyam cha vayavye karmma-^alarh tato bahih n
Evam vastu-vi^eshah syad griha-bharttuh subhavahah II
In plans (5) and (6) it should be noticed, the bandha-sthana (lit. place
to 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 corner, the four main directions
being left entirely vacant. This is stated to bring peace, prosperity and
health to householders.
153
GRIHA-VINYASA AN ENCYCLOPAEDIA OF
(7) Agni-Purdna (Chap, cvi, vv. 18-20) :
Purvayarh srl-griharh proketam agneyyarh vai mahanasam I
Sayanam dakshinasyarh tu nairrityarh ayudhasrayam n
Bhqjanarh paschimayarh tu vayavyarh dhanya-sarhgrahah I
Uttare dravya-sarhsthanarh aiSanyarh devata-griham II
Chatuh-salarh tri-£alam va dvi-Salarh chaika-salakam I
Chatauh-sala-grihanaih tu Salalindaka-bhedatah n
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
on three sides and the fourth side in continuation of the courtyard being
left free for light and air ; rooms being built on two sides only ; and rooms
being built on one side only, apparently without any courtyard. This
is an eight-roomed plan.
(8) Griha-vdstu-pradipa (Lucknow, 1901) quotes from some authority
without mentioning his name the following :
Atha nripanam shodaSa-griha-rachanopayah |
Snana-paka-5ayanatra-bhujesva(?)-dhanya-bharhdara-daivata-grihani
cha purvata(h) syuh I
Tan-madhyas tu mathana-ajya-purlsha-vidyabhyasakhya-rodana-
rataushadha-sarva-dhama 1 1
(9) Kamikdgama (xxxv, 177-191) :
AiSanyarh pachana-sthanarh brahmananarh vidhiyate I
(And of the Kshatriyas to the south-east, of the Vaisyas to the south-
west, and of the Sudras to the north-west, vv. 177-178).
Purvasyarh bhojana-sthanam agneyyarh tu mahanasam I
Yamyayam sayana-sthanarh nairrityam ayudhalayah || (179)
Maitra-sthanarh tu tatra tatra varunyam udakalayah |
Goshthagararh cha vayavyam uttarasyarh dhanalayah || (180)
Nitya-naimittikartharh syad aiSanyarh yaga-mandapam I
Kanji-lavanayoh patrarh prag-udag-di^i vinyaset II (181)
Antarikshe' pi va chullyulukhali savita api I
Anna-pra£anam aryarh^e chendragnyarh cha savitrake II (182)
Vivasvad-arhSe Sravanam vivado maitra-desake I
Kshaudram indrajaye vidyad vayau some cha va bhavet II (183)
VitathopanayoS chaiva pitri-dauvarika pade I
Sugrive pushpa-dante cha prasuti-griham ishyate II (184)
Apavatse tu kosah syat kundam ape vidhiyate II (1840)
Ankanam tu mahendrarhs'e peshani cha mahldharell (185)
Arishtagaram ishtarh syat tatropaskara-bhumikam 1 1 (186)
Vahanam dvara-yame syat snana-^ala cha varune I
154
HINDU ARCHITECTURE GRIHA-VINYASA
Asure dhanya-vasah syad ayudhad (?) indra-rajake II (187)
Mitravasas tatha mitre roge volukhalarh matam I
Bhudare kosa-geharh syan nagamse ghritam aushadhamil (188)
Jayante chapavatse cha parjanye cha sive kramat I
Visha-pratyaushadham chaiva kupe deva-griharh bhavet |l (189)
Riksha-bhallata-someshu bhaved asthana-mandapam II (191)
This is a plan with the southern aspect. It comprises thirty rooms
and the arrangement is much like in the Mdnasdra.
Compare the Mdnasdra (XL, 71-111, antah-sala, or houses in the inner
court ; 1 12-153, bahih-sala, or buildings forming the part of the palace in
the outer court, see under RAJA-HARMYA.)
The internal arrangement of rooms in small dwelling houses is essentially
like those described above. In the large edifices, palaces and mansions the
buildings of various storeys are artistically arranged. There are stated to
be one to seven enclosures in palaces of kings of nine orders. These
enclosures are surrounded by walls, each of which is furnished with a large
gateway known as the gopuram. In the innermost court (antarmandala,
with the gateway called the dvarasobha) are erected the residential palaces
of the king, queens and princesses, and would be analogous to the Muslim
harem. In the second circle (antanihara, with the gateway called dvara-
sala) are built the edifices for the crown prince and other princes, royal
priests, ministers and such other people. In the middle court (madhyama
hara, with the gateway dvara-prasada) are built mansions for council
hallr 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
king. In the fourth enclosure (prakara, with gateway dvara-harmya)
are quartered the foregin offices, for negotiating war, peace and such other
matters. In the fifth court (mahamaryada, with the gateway called the
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 gate-
houses are furnished with one to seventeen storeys.
155
GRIHA-MUKHA AN ENCYCLOPAEDIA OF
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
Architecture, — The Modern Review, September, 1934, pp. 282-287.
GRIHA-MUKHA — A 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.)
' A facade implies also the architrave and sculpture round the door
with the arc over it.' Dr. Burgess.— (Karle Inscrip. no. 4, Arch. Surv.,
New Imp. Series, Vol. rv, p. 90, note 4.)
GRIHA-RAJA (see GUHA-RAJA)— A type of building.
(1) Bhavishya-Purana (Chap, cxxx, v. 32 ; see under PRASADA).
(2) Agni-Purdna (Chap, civ, vv. 16-17 ; see under PRASADA).
(3) Garuda-Purdna (Chap. XLVH, vv. 21-22, 26-27 ; see under PRASADA).
GRIHA-STAMBHA— The main column of the house, the pillar
regulating the whole composition.
Kudya-stambhe griha-stambhe harmya-garbharh vinikshipet |
(A/., MI, 132.)
See more details under STAMBHA.
GEHA(-KA) — A hall or room, a house, a habitation.
Gopurarh tri-talarh nyasarh lakshanam vakshyate'dhuna I
Dvi-bhagam bhitti-vistararh paritah Sesharh tu gehakam |
(A/., xxxni, 489, 492.)
GOKARNA — A measure, the distance between the tips of the fully
stretched thumb and the ring-finger.
(1) Talah smrito madhyamaya gokarnas" chapy-anamaya |
(Brahmanda-Purana, Part i, and anushanga-pada,
Chap, vn, v. 97.)
(2) Angushthanamika-yuktam gokarnam iti samjnikam |
(Suprabhedagama, xxx, 22.)
GOKHLA — The niche, a recess in a wall.
' In the east wall of the mandapa on each side, is a gokhla or niche
for images, and in that on the south side is a defaced GaneSa.'
' In the vestibule to the shrine are also small recesses one on each hand.'
(The Temple at Amarnath, Ind. Ant., Vol. m,
p. 318, c. I, para. 2, middle.)
156
GHATIKA-STHANA.
GCJ!.
GOJI.
W
GOP AN A OR OVOLO
GRAHA-KUNOALA.
Page lie
HINDU ARCHITECTURE GOPURA
GOJI — The septum of the nose, the bridge-like part between the two
nostrils connecting the tip of the nose with the surface of the upper
lip of an image.
(M., LXV, 105, etc., see the lists of limb
under TALA-MANA.
GOTRA— A cowstall (Roth. St. Petersburg Dictionary}.
GOPANA — (GOPANAKA) — A moulding, the entablature, the beam.
A moulding of the pedestal generally placed between a cyma and cavetto
or a cyma and fillet (M., xin, 95, 100, etc. ; see the list of mouldings
under UPAPITHA).
A moulding of the base (M., xrv, 32, etc. ; see the lists of mouldings
under ADHISTHANA).
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 member of the buildings of two to twelve storeys.
(See M., xx, 25, etc.)
A moulding of the entablature :
Dandikordhve valayam gopanam syat tad-urdhvatah I
(Kamikdgama, LIV, 34.)
Cf. Gopanasi tu valabhi-chhadane vakra-daruni |
(Amarakosha 11, ii, 15.)
GOPURA — Probably originated from Vedic Gomati-pur and epic
Go-grihar, the fortified extensive cowstalls, and connected with the
divine bull, thus a gate-house, doors in general, the colossal buildings
over or near the gate giving entrance to a city, temple, monastery,
etc.
Pura-dvaram tu gopuram I
Dvara-matre tu gopuram I
(Ibid, ii, 16 : m, iii, 182.)
(1) P asadat pada-hinam tu gopurasyochchhrayo bhavet I
(Agni-Purana, Chap. XLII, v. 22.)
(2) Prakara-samam 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 alligator up
to three-fourths of its height.'— (Kautiliya-Artha-sastra, Chap, xxiv, p. 53.)
(3) Sala-gopurayos tufigas tv-adhikas chapi mulatah I
Gopurasyapy-alankaram galalankaravan nayet II
Sabhakara-siro-yuktarh salakara-sirah-kriyam I
Mandapakara-samyuktam chuli-harmya-vibhushitam 11
157
GOPURA AJf ENCYCLOPAEDIA OF
Agrato'iindakopetam attalarh salakantare I
Gopurasya tu vistara-tri-bhagad eka-bhagikam II
Chalur-bhagaika-bhagas tu pancha-bhagaika-bhagikah I
Nirgamo gopuranarh tu prakarad bahyato hhavet n
Gopurarh cha khaluri cha mula-vastu-nirlkshitam I
Antare raja-devlnarh grihany-antar-mukhani cha II
(Kdmikagama, xxxv, 124-128.)
In the above instance, it should be noticed, the gopura or gate-
house does not belong to a temple ; it is the part of a residential
house.
(4) Rdmaydna : vi, 75, 6, etc. : Gopuratta-pra^olishu charyasu I
(5) Mahdbhdrata :
m, 173, 3 : Puram gopurattalakopetam I
m, 207, 7 : Mithilarh gopurattalakavatim I
These two examples will show that gopura denotes gate-houses of
palaces and cities, and that they need not necessarily belong to temple
alone.
(6) Mdnasdra :
The gate-house of a town (M , x, 48).
In connexion with the height of storeys (bhumi-lamba) :
Devatalayanarh nripanarh sala-gopure (e)vam uttungam I
(M., xi, 113.)
In connexion with the base (M., xiv, 415).
In connexion with the column :
Prasade mandape vapi prakare gopure tatha I
(M., xv, 433.)
In connexion with the windows (M., xxxm, 594 )
In connexion with images of Yakshas Vidyadharas, etc. :
Janv-usrita-hastau gopurodhrita-hastakau I
Evarh vidyadharah proktah sarvabharana-bhushitah I
(M., Lvm, 16-17.)
Chapter xxxm (named Gopura) 1-601 :
The gate-houses are built for temples and residential buildings
alike (line i). Hence it will be inaccurate to suppose that gopuras
are constructed only for temples. In the Mdnasdra, rules are laid
down for gopuras belonging to residential buildings of various
descriptions (cf. lines 2-601).
They are built in front of each of the five courts into which
the whole compound of a house is divided. The gopura belong-
ing to the first (antar-mandala) is technically called the dvara-
sobha or the beauty of the gate (line 8) ; that belonging to the
158
THL GATLHOU5E.5
ALL THESE O *TE BOUSES ARE g
IN
SHOULD SLWnYS BE. U&5 m MUMB
bUINOT,
04 8 12 16 20
TYPE
FOR THE.
HINDU ARCHITECTURE GOPURA
second court is known as dvara-sala or gate-house (line 9).
The gate-house of the third court is called dvaraprasada (line
9), and of the fourth court dvara-harmya (line 9). The gate-
house of the fifth court or at the furthest boundary (maha-
maryada) is known as maha-gopura or the great gate-house
(line 10).
The gopuras are furnished with as many as sixteen storeys
(lines 97, 103). They are divided into ten classes (line 564) with
regard to the number of architectural members designated as
s"ikharas or cupolas, domes (stupika), side-tower or dome (gala-kuta)
and vestibules (kshudra-nasi) (lines 536-564). A gopura is thus
technically called Sribhoga when its sikha (spire) is like sala (hall),
it has a circular surrounding dome and is furnished with a
side-tower, four small vestibules and eight large vestibules (lines
553-564). The remaining nine classes are called respectively
Srivisala, Vishnu-kanta, Indra-kanta, Brahma-kanta, Skanda-
kanta, Sikhara, Stupika and Saumya-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
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-
trated so minutely.
The measurement, both absolute and comparative, of length,
breadth, and height of each storey belonging to each of the fifteen
kinds of gate-houses is described at great length. The ornaments
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
windows, etc., are described in great detail (cf. lines 2-601).
(7) Gate-tower (Hampe Inscrip. of Krishnaraya. ! ne 33, north
face, Ep. Ind., Vol. i, p. 336).
(8) Tower (Ranganath Inscrip. of Sundarapandya, v. 7, Ep. Ind.,
Vol. in, pp. 12, 15).
(9) Durggarh cha Tamranagarlm abhito vyadhatta prakaram
urhnatam udamchita-gopurarh sah — ' he surrounded Tarhranagari with
a wall surmounted by towers.' — Hultzsch — (Chebralu Inscrip. of Jaya,
v. 27, Ep. Ind., Vol. v, pp. 147, 149.)
(10) Gate-tower :
Vapra-gopura-mayair nava-harmaih — ' by erecting new build-
ings adorned with a wall and a gate-tower.' — (Mangalagiri Pillar
Inscrip., v. 29, Ep. Ind., Vol. vi, pp. 121, 131.)
159
GOPURA AN ENCYCLOPAEDIA OF
(11) Vapra-gopura-yutair-nava-harmyaih (verse 26 .
Gopura-prakarotsava-mamtapair upachitarh (verse 27).
Sikhara-marhtapa-gopuralu (line 116).
(Kondavidu Inscrip. of Krishnaraya, vv. 26, 27, line
116, Ep. Ind., Vol. vi, pp. 236, 237, 321, 322.)
(12) Vipulotturhga-gopurarh deva-marhdiram — ' the temple of god
(adorned) with lofty towers.' — (Krishnapuram Plates of Sadasivaraya,
v. 56, Ep. Ind., Vol. ix, pp. 336, 341.)
(13) ' In it (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
glittering gopuras (temple-towers).' — (Ep. Carnal., Vol. vm, Part i, Sagar
Taluq, no. 55 ; Transl., p. too.)
(14) ' Built (in the year specified) the tower of the temple (gopura)
of the god SivamisVaram udaiyar.' — (Ep. Carnal. Vol. ix, Bangalore
Taluq, no. 1393 ; Transl., p. 26 ; Roman Text, p. 32.)
(15) ' Brought to the door of the gopura of the mantapa facing
mukha-mantapa of the god Varadaraja, and having the wood-work done
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,
Anjala Divingoja.' — (Ep. Carnal., Vol. x, Malur Taluq, no. 3 ; Roman Text,
p. 1 86 ; Transl., p. 154.)
(16) Gate-pyramid, gate-way tower.— (Colonel B. R. Branfill. Ind. Ant.,
Vol. ix, p. 117, c. i, p. 119, c. i.)
(17) Nutana-vagi gopuravarh kattisi gopura-pratishthe suvarna-
kalasa-pratishthe saha madisl — ' erected a new gopura with golden
finials in the Chamundesvari hill.' — (Ep. Carnal., Vol. m, Mysore Taluq,
no. 20 ; Roman Text, p. 6 ; Transl., p. 3.)
(18) Viras Srl-chika-deva-raya-nripati reme pure samvasan I
Srirange ramamya-gopuravati kshoni-vadhu-bhushane n
The heroic king Chikka-Deva Raya, residing in the beautiful
city Srlranga having (i. e. which is furnished with) splendid gate-
ways (? gate-house) an ornament to the lady Earth . . .
It 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
city-gates.
(Ep. Carnal., Vol. ni, Malavalli Taluq, no. 61 ;
Roman Text, p. 126, line n f. ; Transl., p. 62.)
(19) ' 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
1 60
HINDU ARCHITECTURE GOSHTHA
continue as long as sun and moon.' — (Ep. Carnal. Vol. in, Nanjangud
Taluq, no. i ; Transl., p. 95 ; Roman Text, p. 183.)
(20) Meros srihgam utandhakari-bhavanarh praleya-prithvi-dhritah
kutarii kim muravairi-nirmmita-maha-dvaravati-gopuram I
Kim va kim maya-silpa-sara-sahitarh pandudbhavanarh sabha-
dvararh gunda-chamupa-nirmita-mahashatkarh samujrim-
bhate 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
• Rebuilt with seven storeys the gopura, over the doorway (and
its praise).'
(Ep. Carnal., Vol. v, Part i, Belur Taluq,
no. 3 ; Roman Text, in, p. 103, line 10 f ;
Transl., p. 45.)
(21) 'In front of the temple of Harihara-natha, he made a wide
and beautifu gateway (gopura) of five storeys, ado'ned with golden
kalasas.' — (Ep. Carnal., Vol. xi, Davanagere Taluq, no. 36 ; Transl., p. 47,
Roman Text, p. 77-78 ; see Introduction, p. 32, para. 2, line 3 f.)
(22) See • Views of the second main entrance-gopura, Kailasa-
natha temple.' — (Pallava Architecture, Arch. Surv., New Imp. Series,
Vol. xxxiv. Plate v.)
GOPURAKARA(-KRITI)— Buildings of the gate-house shape.
Kechid vai malikakara kechid vai gopurakri jh n
Matnnam alayarh kuryad gopurakaram eva tu II
(Suprabhedagama, xxxi, 123, 129.)
GO -MATH A — Literally a monastery for cows, a cowstall.
Yo 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.
(Batihagarh Stone Inscrip., w. 8, 9, Ep. 2nd.,
Vol. XH, pp. 46-47.)
GOSHTHA— A cowstall.
161
GOSHTHA-PANJARA AN ENCYCLOPAEDIA OF
GOSHTHA-PANJARA (see PANJARA)— The niche or recess in the
wall which ^generally contains a statue, and sometimes serves as
a decoration.
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, p. 190, note 50 ;
' trustee,' Dr. Hultzch, Ind. Ant., Vol. xi, p. 338, last line of the text.)
Cf. Goshthika-bhutena idarh stambham ghatitam I
(Deogadh Pillar Inscrip. of Bhojadeve of Kanauj, no. A,
line 9, Ep. Ind., Vol. iv, p. 310, 829, note 5.)
The managing committee of a building :
Garishtha-guna-goshthyadah samudadidharad-dhlra-dhlru-darani
atisurhdararh prathama-tlrthankrin-marhdiram 1 1
(Bijapur Iriscrip. of Dhavala of Hastikundi,
v. 34, Ep. Ind., Vol. x, p. 22.)
GEYA — A class of buildings.
(Kamikagama, XLV, 580-59, see under MALIKA.)
GRAMA (cf. NAGARA) — A village, slightly different from towns and
cities in size mostly.
(i) ' 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 ani-
mals and plants with those that lived or grew wild in the woods.4 The
villages contained cattle, horses, and other domestic animals, as well
as men.5 Grain was also stored in them.6 In the evening the cattle
regularly returned thither from the forest.7 The villages were probably
1 i, 44, 10 ; 114, i , ii, 12, 7 (perhaps to be taken as in 10) ; x, 146, i,
149, 4, etc., A-V. , iv, 36, 7, 8, v. 17, 4, vi, 40, 2, etc. , Vajasaneyi-Sarhhita,
m, 45, xx, 17, etc.
2 Satapatha-Brahmcna, xui, 2, 4, 2 , Aitar eya Brdhmana, HI, 44.
3 Chhdndogya-Upanishad, vin, 6, 2 .
4 Animals: R-V., x, 90, 8, A-V., n, 34, 4, HI, 10, 6, 31, 3, Taittrlya-
Samhitd, vn, 2, 2, i , Kathaka-Samhita, vn, 7 , xni, i , Vajasaneyi-Sarhhita, ix, 32 ,
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.
6 Bfihaddranyaka-Upanishad, vi, 3, 13 (Kanva, 22, Madhyamdina).
7 R-V., x, 149, 4, Maitrdyanl-Samhitd, iv. i, i.
162
HINDU ARCHITECTURE GRAMA
open, though perhaps a fort (pur) might on occasion be built inside.1
Prcsumaby they consisted of detached houses with enclosures, but no
details are to be found in Vedic literature. Large villages (mahagra-
mah) were known.'2
(Professors Macdonell and Keith, Vedic Index,
Vol. i. pp. 244-245.)
(2) Kdmikdgama (xx, 4, the definition) :
Vipralr alhanyair varnair va bhogyo grama udahritah II
The situation of the village-gods and temples (ibid., xxvi. 1-41).
The general arrangement (ibid., xxvm, 1-21).
Further details of the same (ibid.: ix, 1-9 and xxx. 1-22).
Cf. Jaty-otkarsha-vasenaiva si.hanaih yuktya prakalpayet |
Utkrishtanarh samlpe syan nikrishtanam tu duratah 11
(Ibid., xxx, 9.)
(3) Brahmdnda-Purana (Part i, 2nd anushamga-pada, Chap, vn,
vv. 105, 111; see also v 94) :
Khetanarh cha puranarh cha gramanarii chaiva sarvasah I
Tri-vidhanarh cha durganarh parvatodaka-dhanvinam II
Nagarad yojanam khetam khetad gramo'rddha-yojanam I
Dvi-krosah parama-slma kshetra-sima chatur-dhanuh II
(4) Kautillya-Artha-sdstra (Chap, xxii, p. 45, 46) :
Sudra-karshaka-prayarh kula-satavararh pancha-sata-kulapararh
gramarh krosa-dvi-krosa-simanam anyonya-raksham nivesayet I
Nadl-saila-vana-ghnshti-dari-setubandha-salmali-saml-kshlra-vri-
kshan anteshu slmnam sthapayet I
Ashta-sata-gramya madhye sthaniyam chatus-sata-gramya drona-
mukharh dvi-sata-gramya kharvatikarh dasa-grami-samgrahena
sarhgrahanam sthapayet I
' Villages consisting each of not less than a hundred families and
of not more than 500 families of agricultural people of Sudra caste,
with boundaries extending as far as a kros"a (2,250 yards.) or two.
and capable of protecting each other shall be formed. Boundaries
shall be denoted by a river, a mountain, forests, bulbous plants,
caves, artificial buildings (? setubandha= bridge) or by trees such
as salmall sami and milky trees.'
' There shall be set up a sthanlya (fortress of that name) in the
centre of eight hundred villages, a drona-mukha ii the centre of
1 As novv-a-days^^ee Zimmer, Altindisches Leben, 144, citing Hugel, Kash-
mir, 2, 45.
2 Jaiminiya-Upanishad-Brdhmana, in, 13, 4.
163
GRAMA AN ENCYCLOPAEDIA OF
four hundred villages, and a samgrahana in the midst of a collec-
tion of ten villages.'
(5) Yajnavalka-Sarhhita (n, 167, etc.) :
Dhanuh-satarh parinaho grama-kshetrantararh bhavet I
Dve Sate kharvatasya <,yan nagarasya chatuh-satam II
(6) Manu-Samhitd (vni, 237, etc.) :
Dhanuh-satarh pariharo gramasya syat samantatah I
Samyapatas trayo vapi tri-guno nagarasya tu 1 1
(7) Mahabhdrata (xxii, 69, 35) :
Ghoshan nyaseta margeshu graman utthapayed api I
PraveSayech cha tan sarvan sakha-nagareshv-api 1 1
Ibid, 2, 5, 81 :
Kechid nagara-gupty-artham grama nagaravat kritah I
(8) Mdnasdra, Chap, ix (named Grama), 1-538 :
According to shape the villages are divided into eight classes, namelyi
Dandaka, Sarvatobhadra, Nandyavarta, Padmaka, Svastika, Prastara
Karmuka, and Chatur-mukha (lines 2-4). (For the plans represented
by these eight names, see Ram Raz, Ess. Arch, of Hind., Plates XLIII to
XLVI, and the writer's illustrations.) The measurement, the ground
plans, the offerings to the presiding deity, the internal arrangement,
the laying out of the houses, and the ceremonial opening of new
buildings are described in order (lines 5-8) :
Prathamam grama-manam cha dvitiyam padam vinyaset I
Tritlyarh tad-balirh datva chaturtharh grama(m) vinyaset I
Paiichamam griha-vinyasam tatra garbharh vinikshipet I
Shatkam griha-pravesam cha tan-manam adhunochyate I
The general plan (lines 95-503) :
Each village is surrounded by a wall made of brick or stone, strong and
high enough to prevent leaping over (lines 143, etc.). Beyond this wall there
is a ditch broad and deep enough to cause a great obstruction in the event
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,
daily round of the police, open-air drive and similar matters of public
concern. Two other large streets are those which run from one gate to
another in the middle of the wall on each side. They intersect each other
at the centre of the village, where a temple or a hall is generally built for
the meeting of the villagers. The village is thus divided into four main
blocks, each of which is again sub-divided into many blocks by streets which
are always straight from one end to the other of a main block. The
164
HINDU ARCHITECTURE GRAMA
ground-floor of the houses on the main streets are used as shops. The
surrounding street has footpaths and houses only on one side. These
houses are mainly public buildings, such as schools, colleges, libraries,
guest-houses, etc. All other streets generally have residential buildings
on both sides. The houses high or low are always uniform in make (line
500, see also line 501). Congestion is carefully avoided. The 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
are generally housed in the same quarter.
(9) The following conclusions drawn by Mr. E. B. Havell will correctly
elucidate some of the points referred to above (Ancient and Medieval
Architecture of India, pp. 9, 13, 12) :
' The experience of many generations had proved that they (plans of vil-
lages) were the best for purposes of defence, and gave the most healthy,
pleasant and practical layout for an Indian village or town. The easterly
axis of the plan ensured that the principal streets were purified by the rays
of the sun sweeping through them from morning till evening : while the inter-
section of main streets by shorter ones running north and south provided a
perfect circulation of air and the utmost benefit of the cool breezes.'
' The Manasara recognizes forty different classes of villages and towns
according to the extent of the lands owned by them : commencing with a
village-unit 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
square. Of this area about one-third was devoted to building space, and
the rest to the agricultural lands owned by the community. ... In the
description of Ayodhya given in the 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.'
' The Manasara gives the maximum width of the main village-streets as
5 dandas ( a danda, rod or pole =8 feet). The others varied in width from
i to 5 dandas. The size of a single cottage was reckoned as being 24 feet
by 1 6 feet to 40 feet by 32 feet. They were generally grouped together by
fours, so as to form an inner square or quadrangle. The magic of the square
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.'
GRAMA-GARBHA AM ENCYCLOPAEDIA OF
(10) ' Of stone-built walls, such as ancient Indian fortified village or
town possessed, there is an extant example older than the sixth century
B. c. in the hill-fortress of Giribraja, near the modern Rajgir, said to have
been planned by a master-builder called Maha-govinda.' — (Rhys Davids,
Buddklst India, p. 37.)
( 1 1 ) 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
agrahara-towns in the country of Kuntala. . . . '
(Old Kanarese Inscrip. at Terdal, line 58,
Ind. Ant., Vol. xiv, pp. 19, 25.)
(12) ' With myriads of people, practices of virtue, agreeable occupations,
streams of the (nine) sentiments, pleasure-gardens, separated lovers, splendid
tanks, full lotus beds, gilded boats for spring festivals, ghatika-sthanas
(religious centres), the supports of dharmma and mines of enjoyment,
moats which were as if the sea being overcome had returned here on account
of the collection of gems, groups of the lotus faces of beautiful women fair
as the moon — (Grama-nagara-kheda-kharwana-madamba-drona-mukha-
pura-pattana-rajadhani) — on whatever side one looked, in these nine forms
did the Kuntala-des"a shine.' (It should be noticed, that the passage within
brackets is almost identical with the corresponding passage in quotation
no. ii above.)
(Ep. Carnat., Vol. vn, Shikarpur Taluq, no. 197,
Transl., p. 124, para, i, last seven lines ;
Roman Text, p. 214, line 27 f.)
GRAMA-GARBHA (see under GARBHA-NYASA) — The foundation
of a village.
GRAMA- MARGA— The village-road (see details under GRAMA).
Vims'ad-dhanur grama-margah sima-margo daSaiva tu I
(Brahmand^-Purdna, Part i, 2nd anushamga-
pada, Chap, vn, v. 112.)
See further details under GRAMA and NAOARA.
GRAMA-LAKSHANA— The description of the village.
(A/., ix ; see under GRAMA.)
GRAMA- VINYASA (see GRAMA)— The arrangement of laying-out
of the village.
1 66
i
HINDU ARCHITECTURE GHATA
GRAHA — A crocodile, a shark, an architectural and sculptural
ornament.
A kind of mukha-bhadra or front porch, hall, or tabernacle.
(M., xvin, 302, etc.)
An ornament of the arch :
Graha-kinnara-samyuktam I
Graha-kinnara-bhushitam I
Graha-puchchhadi-sarvesharh svarna-ratnena bandhayet I
Grahantarh sarva-ratnais cha puritarii sreni-sarhyutam |
(M., XLVI, 53, 56, 57, 60.)
GRAHA-KUNDALA — The crocodile-shaped ear-ring for an image.
Cf. Graha-kundala-bhushanam I — (M,, LIV, 8.)
Anyatha sarva-s"aktinam graha-kundala-bhushimm I — (M., LIV, 168.)
GRlVA (see KANTHA) — The neck, the dado ; as a member of the
pillar it comprises vedika (altar), griva (dado proper), and bhushana
(ornament). — (M., xv, 105-107)
GRIVA-BHOSHANA— The ornament of the neck, a part of the
pillar. It comprises uttara (fillet), vajana (fillet), gala (dado), and
vajana (fillet). — (M., xv, 111-113.)
GRAIVEYAKA— A necklace for an image.
Sapta-suvarnna-nishka-kalitam graiveyakam kantimat — ' charming neck-
lace made of seven nishkas of gold.' — (Four Inscrip. at Srikurmam, no. D,
line 6, Ep. Ind., Vol. v, p. 37.)
GH
GRATA — A pot, jar, pitcher, same as kumbha of the column (see
STAMBHA), the torus (see Gwilt, Encycl. fig. 870), a type of building,
a carving on the door.
Cf. Stambharh vibhajya navadha vahanam bhago ghato'sya bhago'nyah I
(Brihat-Samhitd, LIU, 29.)
Dr. Kern's rendering by •' base ' seems rather doubtful. — (J.R .A.S., N.S.,
Vol. vi, p. 285.)
( i ) 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
under PRASADA.)
A jar-shaped carving (on the doorframe) :
Sesham mangalya-vihagaih s'ri-vriksha-svastika-ghataih I
Mithunaih patra-vallibhih pramathais chopaSobhayet II
(Ibid., LVI, 15.)
167
GHATTA AN ENCYCLOPAEDIA OF
A type of building :
(2) Matsya-Purdna (Chap. CCLXIX, vv. 37, 49, 53 ; see under PRASADA.)
(3) Bhavishya-Purdna (Chap, cxxx, v. 33 ; see under PRASADA.)
(4) Mdnasdra (XLII, 15-18) :
Shat-sapta-htangularh vapi sila-stambham visalakam I
Vrittarh va chatur-a-rarh va ashtasrarh shodasaSrakam I
Pada-turige'shta-bhage tu trirhs'enordhvam alankritam I
Bodhlkarii mushti-bandharh cha phalaka-tatika-ghatam I
(See further context under SILA-STAMBHA.)
GHATTA (see SOPANA)— A flight of steps.
Sri-vat a-raja-ghatto'yarh nunarh tenatra karitah I
Brahmandam ujjvalarh kirttim arohayitum atmanah II
' He indeed caused this flight of steps to be built here, of the
illustrious Vatsa-raja, in order to make his bright fame ascend up into
the universe.'
(Chandella Inscrip. no. B, Deogadh Rock
Inscrip. of Kirtivarman, v. 7, Ind.
Ant., Vol. xvni, pp. 238, 239.)
Cf. Ghat — (i) A flight of steps leading to water, (2) a
mountain pass, (3) a ferry.'
[Vincent Smith's Gloss, (loc. cit.} to Cunningham's
Arch. Surv. Reports.]
GHATIK.ALAYA — The building where the water-clock is placed.
(Cintra Prasasti of the reign of Sarangadevat
v. 40, Ep. Ind., Vol. i, pp. 284, 276.)
GHAT1KA-STHANA— The place or building where a clock is
placed, a religious centre, an institution, a hermitage, a temple.
(1) Uttankoktya sama-vede vyadhattam ghatikas"ramam — 'in accord-
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, Chamunaraya-
patna Taluq, no. 178, Roman Text,
p. 462, Transl., p. 202.)
(2) ' Possessor of thirty-two velama, eighteen cities, sixty-four
yoga-pithas, and sixty-four ghatikd-sthdnas(?).' — (Ep. Carnat., Vol. vr, Shikar-
pur Taluq, no. 94 ; Transl., p. 61, line 6 f., Roman Test, p. 114, line 4 f.)
(3) ' He set out for the city of the Pallava Kings, together with
his guru ViraSarmma, desiring to be proficient in pravachana, entered
1 68
HINDU ARCHITECTURE GHAT (-TA)
into all religious centres (ghatika-sthana) and (so) became a quick (or
ready) debater (or deputant).' — (Ep. Carnal., Vol. v, Part I, Ghamunaraya-
patna Taluq, no. 176, Transl., p. 113, para, last, but one.)
(4) ' With myriads o." people, practices of virtue, agreeable occu-
pations, streams of the (nine) sentiments, pleasure-gardens, separated
lovers, splendid tanks, full lotus beds, gilded boats for spring festivals,
ghatika-sthdnas(?), the supports of dharmma and mines of enjoyment
. . . did the Kuntala-desa shine.' — (Ibid., no. 197, Transl., p. 127, first
para, last seven lines ; Roman Text, p. 214, line 30.)
(5) Mr. Rice is not certain about the accurate meaning of the
term. He refers to quotations nos. i, 2, 3, 4, and seems to think that
it means some kind of institution. He says that Mr. Pathak has trans-
lated it as ' eligious centre ' (Ind. Ant., xiv 34^. Dr. Kielhorn has
published an article on the subject (Gottingen Nachrichten for 1900,
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
view that it means something like brahma-puri.' It is to be noted
that Mr. Rice's reference to Ind. Ant. is not accurate, see below.
(Ep. Carnal., Vol. vn, Introduct., p. 8, note 2.)
(6) Dva-trimsat tu velavuramum ashtadasa-pattanamum basa shati-
yoga-pithamum aruvattanalku-ghatika-sthanarnum — (the people of
the) ' thirty-two seaside towns, the 18 towns, 62 seats of contemplation,
and 64 religious centres ' (together with . . . held a convocation there).
(Old Kanarese Inscrip. at Terdal, line 60
Ind. Ant., Vol. xiv, pp. 19, 25.
GHANA — Solid, a kind of measurement, thickness.
Eka-hasta-samarh dirgharh tad-ekangula-vistritam I
Ghanam ardhangularh proktarh hasta-nischitya yojayet I
(M., u, 64-65 ; see also xxxin, 311-313, 593-595.
LX, 17-18 ; LXII, 17, under AGHANA.)
GHANA-MAN A (see AGH ANA-MAN A) — The measurement by the
exterior of a structure.
(M., xxxni, 291-330, and 331-335 , see under AGHANA-MANA.)
Cf. Yogadi-ghana-manam cha kritva bahye navarhsakam I
(M., xxxrx, 64.)
GHAT (-TA) (cf. TIRTHA)— A landing, a flight of steps leading
to water, a mountain pass, a ferry.
(See Vincent Smith's Gloss, to Cunningham's
Arch. Surv. Reports, loc. cit.)
169
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. P!THA)— The water-pot, a part of the Pitha
or the pedestal of the Phallus.
Pithasyordhvc viSale tu chatush-pancha-shad-amsake I
Ekams'ena cha sesharh tu ghrita-vari-vis'alakam I
(A/., mi, 24-52.)
CH
CHAKRA— -The disc of Vishnu, a type of buildings.
(See Mdnasara LXV, 145 ; LIV, 147 ; XXXH, 125, etc.)
A class of octangular buildings :
(1) Agni-Purdna (Chap. XLVII, vv. 20-21 ; see under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, vv. 21, 23, 31-32 ; see under PRASADA).
In connexion with the foundations :
Madhye chakrarh tu bhaumena bhajanantarh vinikshipet I
(M., xn, 137 ; see also 158.)
GHAKRA-KANTA — A class of the eleven-storeyed buildings.
(M., xxxix, 11-15 5 see under PRASADA.)
GHANDITA — A type of storeyed building, a site-plan.
A class of the nine-storeyed buildings (M., xxvn, 11-12 ; see under
PRASADA) .
A site-plan in which the whole area is divided into 64 equal
squares (M., vn, 9, see, for details, 77-110, cf. also vm 39 ; ix, 166,
in connexion with the village; xv 390, etc.).
GHATUR-A&RA (see CHATUSHKONA) — A type of building which
is quadrangular in plan, has one storey and five cupolas.
(1) Brihat-Samhita (LVI. 28, and Kdsyapa, J.R.A.S., N. S., Vol. vi, p.
320, note i).
(2) Matsya-Purdna (Chap. CCLXIX, vv. 28, 53; see under PRASADA).
(3) Bhaoishya-Purana (Chap, cxxx, v. 25; see under PRASADA).
GHATUR-MUKHA (see under GRAMA and SALA)— Literally four-
faced, 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' .
170
HINDU ARCHITECTURE CHATUH-SALA
A class of villages (M., ix, 3, cf. the description n detail, 490-507; see
also xix, 212).
A class of salas (hall, mansion, pavilion, etc. M., xxxv, 3-4 ;
see under SALA).
Cf. Sarvatobhadra - chatur - mukha - ratna - traya - rupa - tri - bhuvana
tiiaka-Jina-chaityalayavanu — ' the Tribhuvana-tilaka-Jina-chaityalaya
(temple, which is) auspicious on every side (sarvatobhadra), has four
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 Ara, Malli and Munisuvrata.'
(Karkala Inscrip. of Bhairava II, line 17,
Ep. Ind., Vol. vm, pp. 132, 135, notes n,
12, and p. 134, note 3.)
CHATUR- VARGA — A set of four mouldings of the door, consisting
of vedika (platform), pada (pillar), slrah (spire) and sikha (finial).
(M., xxxix, 154-156, see also xxxin, 591.)
CHATUR- VARGA-KANTAKA— A set of four architectural mem-
bers.
(M., xxxin, 531.)
CHATUSH-KONA— Literally four-cornered, a type of quadran-
gular buildings (see under CHATUR-ASRA) .
(1) Bhavishya-Purdna (Chap, cxxx, v. 25 ; see under PRASADA).
(2) Brihat-Samhitd (Chap. LVI, 18, 28 ; see under PRASADA).
CHATUH-&ALA — A house with four salas (rooms or halls), an
open or closed quadrangle surrounded by buildings on all four sides,
an enclosed courtyard, a mansion with four rows of buildings.
(M., xxxv, 35.)
Evarii chatur-griham proktarh Salayaih kalpayen na va II
Chatus'-sala-prades'e tu tad-adho-bhumir uchyate II
Madhya-mandapa-samyuktaih chatur-griham udahritam n
(Kamikagama, xxxv, 5-7, 70, 93.)
Chatuh-sala-gra(gri) ham sreshtham tri-salarh madhyamam
bhavet I
Dvi-salam adhamam proktam hinam syad eka-salakam n
(Ibid., xxv, 13, 14.)
Salaika danda khandabha dvi-sala tad-dvayena tu I
Tat-trayena tri-Sala syat chatuh-sala chatushtayl n
Saptabhih sapta-Sala syad evam anyam tj klrcitah(-m) n
(Ibid., xxxv, 34, 35.)
CHATUH-SlLA AN ENCYCLOPAEDIA OF
Shad-bhagena maha-£ala chatuh-Sala tri-bhagikam I
Madhya-sala («ir) yugamsena bhadra-sala cha madhyame |
Anusala cha madhye cha chaika-bhagena bhadrakam i
(Af., xxvi, 17-19.)
Chatuh-sa'am — (Amarakdsha, n, ii, 6).
CHATUH-SlLA — Literally four pieces of stone, a pedestal.
Benasyaika(-ka)-sila proktam liriganarh tach-chatuh-sila I
(M., LII, 177.)
CHATUH-STALA — The fourth storey, its general description
(M., xii, 89 106), the eight classes (ibid., 1-88).
(See under PRASADA.)
CHANDRA-KANTA— A site-plan in which the whole area is
divided into 1,024 equal squares (M., vn, 50 ; see under PADAVINYASA),
a class of ten-storeyed buildings (M., xxvin, 6-8 ; see under PRASADA),
one of the five Indian orders (Suprabheddgama, xxxi, 65, 66 ; see
under STAMBHA) .
CHANDRA-SALA (-LIKA)— A room at the top of a house, a kind
of windows, sky-lights, dormer-windows.
(1) Tri-chandra-Sala bhaved valabhl — the roof must have three
dormer-windows.— (Brihat-Samhita, LVI, 25, 27, J.R.A.S., N. S., Vol. vi,
PP- 319. 320.)
(2) ParsvayoS chandra-sale'sya uchchhrayo bhumika-dvayam I
(Matsya-Purana, Chap. CCLXIX, v. 38 ;
see also w. 40, 41, 42, 46.)
(3) Chandra-salanvita karyya bheri-Sikhara-saihyata 1 1
(Garuda-Purana, Chap. XLVII, v. 44.)
(4) Tri-chandra-sala bhaved valabhi u
Babu-ruchira-chandra-salah shad-vimSad-bhaga-bhumi^ cha i
(Bhavishya-Purana, Chap, cxxx, w. 32, 34.)
(5) Hasti-prishtha-yuktam chandra-SalabhiS cha samanvitam (vim-
annm) II
(KamikSgama, L, 92.)
(6) Kuttimo'stri nihaddha bhuS chandra-^ala Sirogriham I
Commentary : chandradi-dvayam grihoparitana-grihasya uparam adi-
attal ityadi prasiddasya I
(Amarakdsha, n, 5, 8.)
CHAK.ANA — \ .ynonym of the pillar (M., xv, 4), a foot
(K,Lvm, 3, etc.).
(See under STAMBHA.)
172
HINDU ARCHITECTURE CHITRA
GHARA-VASTU— A movable structure, a temporary building.
Gramadlnarh nagaradinam pura-pattana-khaivate I
Koshtha-koladi-sarvesharh garbha-sthanam ihochyate I
Sthira-vastu-kukshi-des'e tu chara-vastu tathapi cha I
(Af., XH, 168-170.)
CHARUKA (see RUCHAKA) — A type of building.
Nispatarh charukam vidyat sarvatraiva viseshatah I
(Kamikagama, xxxv, 91 ; see also 88-90,
under NANDYAVARTA.)
CHALA-DANDA— The movable lamp-post.
Chatur-asrarh va tad ashtagrarh vrittarh va chala-dandakam I
Sthira-danda-viSale tu manangula-vasan nayet I
(M., L, 84-85.)
GHALA-SOPANA— The movable staircase, a ladder.
(A/., xxx, 130 ; see under SOPANA.)
CHARA— A platform.
Vrishabhasya lakshanarh samyag vakshyate'dhuna I
Vimane mandape vapi charopari parinyaset I
(M., LXII, i, 3.)
CJHARU-BANDHA— A type of base of the pillar.
Tato janga'.a-b'.mmis ched adhishthanarh prakalpayet I
Tach chatur-vidham akhyatam iha sastre visesha^ah n
Padma-bandharh charu-bandharh pada-bandham pratikramam II
(Suprabhedagama, xxxi, 16-17.)
CHARY A — A road which is 8 cubits broad.
Ashta-hasta-pramana-margah I
(See Kautillya-Artha-sdstra, under PATHA.)
GHITRA — An image, a painting, a marble, glass, high or full relief.
A painting (M., xxxv, 402, etc.).
A kind of marble or glass (Af., LVI, 15, etc.).
A kind of octangular building (Agni-Purdna, Chap, civ vv. 20-2 1 ;
see under PRASADA).
A full relief or image whose whole body is fully shown :
Sarvangarh drisyamanarh yat chitram evam prakathyate I
(A/., L, 1-9.)
See Suprabhedagama (xxxiv, 3) under ABHASA.
173
CHlTRA-KALPA AN ENCYCLOPAEDIA OF
CHITRA-KALPA— A head-gear, an ornament foi an image.
Patra-kalpam chitra-kalpam ratna-ka'parh cha misritam I
Esharh chatur-vidhaih proktarh kuryad abharanarh budhah I
(M., L, 3-4.)
CH1TRA-KARNA— A kind of pillar.
(M., xv, 30 ; see under STAMBHA.)
CHITRA-TORANA (see TORANA) — A type of arches, an ornamental
arch employed in gods' temples and kings' palaces as well as in
their thrones, decorated with the images cf demi-gcds, demons,
lions, leogfaphs, and geese.
Tad eva (like the Makara-torana) parsvayor madhyarh puritarh
cha dvayor (makarayor) api I
Nakra-tunda-prag-grahais cha tayor asya-vinirgataih II
Vidyadharais cha bhutaischa sirhhe(-hairi)va vyala-harhsakair api I
Bale srag-dandakair anyair mani-bandhair vichitritam 11
Chitra-toranam etat syad devanarh bhu-bhritaih varam I
Ihasu pratimadyasu padah sarvahga-sobhitah II
Chatur-asrashta-vrittabha kumbha-mandya samyutah I
Pottika-sahita va syur viyukta va prakirtitah II
Utsandhad avalambam tu kuryan makara-prishthakani II
(Kamikagama, LV, 66-70.)
CHITRA-PATTA — A moulding of the pillar, an ornamented band.
(M., xv, 34 ; see the lists of mouldings
under ADHISHTHANA and UPAP!THA.)
CHITRA-SKAMBHA— A column with all characteristics of the
padma-kanta (see below) except the asana (seat).
(M., xv, 39 ; see under STAMBHA.)
CHITRAGARA— A picture gallery.
(Rhys David's Buddhist Sutta, p. 68.)
CHITRABHASA (see ABHASA) — A kind of marble, glass, an image.
(M.y LVI, 15 ; see under ABHASA.)
Silodhavanarh vi(bi)mbanarh chitrabhasasya va punah I
Jaladhivasanarh proktarh vrishendrasya prakirtitam II
(Linga-Purana, Partu, Uttara-bhaga, Chap. XLVIII, v. 43.)
An image painted on a pata (a piece of cloth, a tablet, a plate) or
wall (Suprabheddgama, xxxiv. 4; see under ABHASA).
174
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CHAITYA.
HIJWU ARCHITECTURE CHOLI HARMYA
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, LIII, 38, J. R. A. S., N. S., Vol. vi, p. 282.)
CHOLIKA (CHULI) — A tower, a head ornament, the capital,
the top.
(i^ Antar vapra(h) bahir bhittis cheshtarh dirgham cha chulika I
(M., ix, 362.)
In connexion with the joinery :
Etat suvritta-padanarii tri-karnarh vakshyate'dhuna I
Tad eva cha tri-karnam syat tri-chulikam eva cha I
(M., xvn, 104-105.)
In connexion with the gopura or gate-house.— (M, xxxm, 313.)
In connexion with the mandapa (pavilion) :
Tad (prastara)-urdhve mandapanam cha chuiika-karna-
harmyakam I
(M., xxxiv,j..)
An ornament for the head :
Lamba-haram api chulikadibhih I (M., L, 301.
(2) Stambhasya parikshepash shad-ayama dvi-guno nikhatah chuli"
kayas chatur-bhagah — ' in fixing a pillar 6 parts are to form its
height on the floor, twice as much (12 parts) to be entered into the
ground, and one-fourth for its capital.'— (Kautiliya-Artha-sastra, Chap, xxiv
P- 53-)
(3) Trichuli vaisya-sudranam pancha sapta mahibhritam I
Brahmananam tathaiva syur ekadasa tu vedikah II
Pashandasraminarii yugma-samkhya chuli vidhiyate II
(Kamikagama, xxxv, 160, 161.)
The synonyms of chulika :
St(h)upika cha ghatah kilo sulakah st(h)upir ity-api I
Sikha st(h)upir iti khyata chulika cha dvijottamah II
(Ibid., LV, 207.)
CHULI-HARMYA (cf. CHULLI)— A tower, a room at the top of
a house, an attic room, the garret.
(i) Prastarordhve visesho'sti chuli-harmyadi-manditam I
(A', xxxiv, 499.)
175
CHAITYA AM ENCYCLOPAEDIA OF
(2) Ekaneka-talantarh syat chuli-harmyadi-manditam I
(M., xxxv, 37, etc.)
(3) 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 I
Taladhisthana-padebhyah kimchid-una-pramanakam 1 1
(Kdmikdgama, xxxv, 63, 65, 71, 114.)
(4) Prakara-madhye kritva vapirh pushkarimrh dvararh chatus-salam
adhyardhantaranikam kumarl-puram munda-harmyarh dvi-talam mundaka-
dvararh bhumi-dravya-vasena va tri-bhagadhikayamah bhanda-vahinih
kulyah karayet I
• 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 ;
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,' munda-
harmya ' and ' dvi-tala ' (two-storeyed) ' mundaka-dvara ' bear apparently
some technical meanings which are not well expressed in the translation.
' Munda-harmya ' might be identical with ' chuli-harmya ' inasmuch as
' munda ' and ' chuli ' are almost synonyms, both meaning top or summit
(see KUMARI-PURA).
(Kautiliya-Artha-Sastra, Chap, xxrv, p. 54.)
GHAITYA (GHAITYALAYA)— Primarily a heap or tumulus,
implies also a place of sacrifice or religious worship, an altar,
derived from ' chita ', a heap, an assemblage, etc. ; a monumental
tomb, a sanctuary, a monastery, a shrine, a temple, the church-like
Buddhist assembly halls. ' 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) Tasminn Iruga-dandesa-pure charu-silamayam I
Sri-Kurhthu-Jinanathasya chaityalayam achikarat 1 1
• In this city the general Iruga caused to be built of fine stones a temple
(chaityalaya) of the blessed Kunthu, the Lord of Jinas.'
(Vijayanagara Inscrip. of Harihara, 11, v. 28,
H. S.I.I., Vol. i, no. 152, pp. 158, 1 60.)
I76
HINDU ARCHITECTURE CHAITYA
(2) Parsvanathasya Arhatah Silamayarh chaityalayam achikarat I
' Caused a temple (chaityalaya) of stone to be built to the Arhat Par-
svanatha.'
Cf. Bhavya-paritosha-hetum silamayarh setum akhiladharmmasya I
Chaityagaram achikarad adharanl-dyumani-hima-kara-sthai-
ryyam II
(Vijayanagara Inscrip. of Devaraja II, v. 20,
H.S.I.I., no. 153, pp. 162, 164, 166.)
(3) Sri-yogasvaminah. . . . esha Malukaya-chaitya — ' this is the
Malukaya temple of the god Yoga Svamin. ' — (Sanskrit and old Kanarese
Inscrip. no. 170, Asni Inscrip. of Mahipala, line 7 f. ; Ind. Ant., Vol. xvi ;
p. 175, note 12.)
(4) Abode chatiyarh — The chaitya on (Mount) Arbuda.'
Miga-sakadakam chetaya — The chaitya which gladdens the an-
telopes.'— (Bharaut Inscrip. nos. 5, n, Ind. Ant., Vol. xxi, pp. 227, 228.)
(5) • Kayastha Palhadeva (or Palhaja) . . . built a tank and a
temple (chaitya) of Sambhu (Siva), and also laid out a garden.' — (Narawar
Stone Inscrip. of Ganapati of Nalapura, vv. 22-25, ^- Ant., Vol. xxn, p. 81.)
(6) • Vesali is beautiful and beautiful are the Udena, Gotamaka, Sat.
tambaka, Bahuputta, Sarandada, and Ghapala chetiyas.' (Digha-Nikaya,
n, p. 102, Udana,vi, i.)
• In speaking of these shrines we are not to think of the venerated
tree.; 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 them-
selves standing as natural landmarks of the sacred sites.' — (Barua, J. I.R.I.,
p. 126.)
(7) Boppanapara-namahkas chaityalayam achikarat — ' he, having
another name Boppana, had the Jaina temple made.' — (Ep. Carnat., Vol. n,
no. 66 ; Roman Text, p. 60 ; Transl., p. 149.)
(8) ' They caused to be erected the lofty chaityalaya called Trijagan-
mahgalam, 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
the two chaityalayas.' — (Ep. Carnat., Vol. in, Nanjangud Taluq, no. 64 ;
Transl., pp. 101, 102 ; Roman Text, p. 193.)
(9) • Caused to be set up afresh the image of the Tirtha(n)-kara Chandra-
prabha, the god Vijaya and the goddess Jvalini, in the chaityalaya at
Kelasur, which he had caused to be repaired and painted anew.' — Ep.
Carnat., Vol. iv, Gundlupet Taluq, no. 18 ; Transl., p. 38.)
( i o) Aneka-ratna-khachita-mchira-mani-kalasVkalita-kuta-koti-ghatitam
apy-uttunga-chaityalayamarh — ' having erected ... a lofty chaityalaya,
177
CHAITYA AX ENCYCLOPAEDIA OF
with kalasas or towers surmounted by rounded pinnacles set with all manner
of jewels.' — (Ep. Carnal., Vol. vi, Mudgere Taluq, no. 22 ; Roman Text,
p. 148, line 12 ; Transl., p. 63, para. 2.)
( 1 1 ) ' 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
same in both, and their uses are identical in so far as the ritual forms of the
one religion resemble those of the other.' — (Fergusson, Hist, of Ind. and East.
Arch., pp. 50-51.)
For architectural details of the existing (Buddhist) chaitya-halls see Fer-
gusson :
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 Bhaja (pp no-ni, figs.
45-47-)
Plan of Cave at Nasik (p. 115, fig. 49).
Plan, section, elevation and views of Cave at Karle (pp. 117-
118, 120, figs. 54, 53, 55, 56).
Cross Section and View of Caves at Ajunta (pp. 123-125, figs.
57. 58> 59 and 60).
Cave at Ellora (p. 128, fig. 63).
Plan of Cave at Dhumnar (p. 131, fig. 65).
(12) See 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-
prabodhika, says that it denotes a building, because it is the result
of the collection, 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
chayana, i e., the collection of the sacred ashes and other relics and
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.'
' This place of worship, from its connexion with Vedic rites, is
probably of older date than the devayatanas.'
' It is, therefore, clear that the Ramdyana alludes to the Brahma-
nical and not to the Bauddha Chaitya. The commentators are
not consistent in saying that chaitya means a Brahmanical building
178
HINDU ARCHITECTURE CHAITYA-GRIHA
when it is mentioned in connexion with Rama and his country, a
Buddhist building 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
describing the Dasarna country in his Meghaduta. Mallinatha quotes
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
is grouped into a human form and bas"ali or food offered to it. I take
the smaSana-chaitya alluded to in no. 9, to be a monumental building
erected on such spot in memory of departed kin^s and other grea.
personages.'
' It may, therefore, be presumed that in accordance with custom
a cha tya was built in memory of Buddha, and that his disciples
began to worship and multiply it by taking his funeral relics to
different parts of the country while the sacrificial chaityas of the Brah-
mans became scarce owing to the opposition made by the Bauddhas
to animal sacrifices, and the Brahmans themselves having prohibted the
agvamedha for the Kaliyuga.'
' It will be seen that the Rdmayana mention; temple i 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
(in 5 '3)-'
(Ind. Ant., Vol. xi, pp. 21-22.)
(14) ' Properly speaking it is not temple (chaitya-griha) but the dagaba
inside it that is called a chaitya. In a secondary sense it is used by Jainas
and Buddhists, however, to denote a temple containing a chaitya, and
is also applied in Buddhist books to a sacred tree as well as to a stupa.'
' Hence it is closely connected in meaning with stupa. Ghaityas were
known before Buddha's time (see J. As. Soc. Beng., Vol. vn, p. 1001, cf
Alwis' Buddhism, pp. 22, 23).' Dr. Burgess. — (Ibid., pp. 20, 21, notes i, 2.)
CHAITYA-GRIHA (see STUPA-GRIHA)— A dome-like construction in
tope, supported by pillars.
(W. Geiger : Mahavarhia, p. 295.)
179
CHERIKA AN ENCYCLOPAEDIA OF
CHERTKA (cf. PANDI-CHERI) — A village, a town, a fortified capital
city on the hill top and on the banks of a river or sea, flourishing
and well inhabited by people of Brahman and other castes and
containing royal residence and king's palace.
A suburb town inhabited by the weavers :
Gramadinam samlpam yat sthanaih kubjam iti smritam II
Tad eva cherika prokta nagari tantuvaya-bhuh 1 1
(Kamikdgma, xx, 15, 16.)
According to the Mdnasdra, it is a prosperous capital city connected
with rivers and hills, and well fortified :
Nadyadi-kananopetam bahu-tlra-janalayam I
Raja-mandira-sarhyuktarh skandhavara-samanvitam I
Pars' ve chanya-dvi-jatnlam grihantas cherikoditah I
(M., x, 85-88.)
CHAUCHALA(-VADI)— A building with four sloping roofs.
' In the tiger-face chavadi (i.e. chauvadi) he set up images of his family
gods (named).' — (Ep. Carnal., Vol. v, Part i, Channarayapatna Taluq, no. 160 •
Transl., p. 196 ; Roman Text, p. 451.)
In East Bengal also the term is used in the same sense, but there is
generally denotes straw-built houses.
GHH
CHHAT(-T)RA(-I) (see SATTRA) — Free quarters in connexion with
temples, finial or spire of a building.
(Fergusson, Hist, of Indian Architecture, Vol. i, p. 279.)
(1) See Inscriptions from Northern Gujarat (no. xvii, line 6, and no. xrx.
line 6, Ep. Ind. Vol, n pp. 30, 31).
(2) ' And as a work of dharma, (I) wish to erect a chhatra in the
presence of the god Vinayaka . . . and erecting a chhatra for daily
feeding of six Brahmans in the presence of the god Vinayaka.' (Ep.
Camat., Vol. x, Mulbagal Taluq, no. 259 ; Transl., p. 132.)
(3) ' And (he) presented the land to AmaresVara-tirtha-Srlpada, for
a chhatra (perhaps by slip Mr. Rice puts in chatra, because in the
text, the reading is chhatra) in connexion with this matha, providing
for i yati, 4 Brahman pilgrims, and 2 cooks altogether 7 persons, from
the proceeds of cultivating the land.'
From this passage it is clear beyond doubt that ' chhatra ' and ' sattra '
point to the same object, namely, a building or buildings constructed in
1 80
HINDU ARCHITECTURE CHHELA (PHELA)
connexion with a temple, matha, or chaityalaya to provide lodgings and
food gratis to deserving persons.
(Ep. Carnal., Vol. vi, Koppa Taluq, no. 27 ;
Transl., p. 80, Roman Text, p. 274, para.
2, line 5 f.)
CHHANDA (see VIMANA-CHHANDA) — A building, a door, a phallus.
The temple (prasada) named vimana belonging to the chhanda class.
(Brihat-Sarhhitd, LVI, 17, 22.)
A class of buildings (Kdmikagama, XLV, 20).
Karne Sala sabha madhye chhandarh syach chhandam eva tat ||
(Ibid., L, 13 and 7.)
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 ; xxx,
175-177 ; xxxiv, 549-552 ; see under ABHASA.)
A class of doors (M., xxxix, 28-35 ; see under ABHASA).
A type of the phallus (M., LII, 49 ; see under ABHASA).
CHHANDA-PRAKARA— The court or the enclosure of the chhanda-
class of buildings.
(M, xxxi, 24.)
CHHANNA-VIRA — A sculptural ornament. It passes over shoulders
and hips, crossing and fastening in the middle of the breasts and the
back of an image.
(See Rao, Elements of Hindu Iconography, I, xxxi,
M. F. A. Bulletin no. 152, p. 90, and
Coomaraswamy F. A. 0. S. 48, 3, p.255.)
Ordhva-kaye cha haradi parsvayor bala-lambanam |
Madhye dama cha lambam syach chhanna-vlram iti smritam II
(M., ^35-36.)
CHHELA (PHELA) (see GARBHA-MANJUSHA) — The 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
Phela is perhaps the same as ' chhela '
Shad-angula(m) pramanam tu chatur-vim^angulantakam I
Bhajanasya samantat tu savakasa-samanvitam n
Tathasmana chestakaya phelakaram tu garttakam n
(Kdmikagama, xxxi, named Garbha-nyasa-
vidhi, 6, 7, 12, 74, 75.)
181
JAGATA (-TI) AN ENCYCLOPAEDIA OF
JAGATA(-TI) (cf. JATI)— A moulding of the base, or of the
pedestal of an idol or phallus, a class of buildings, platform over ?
well.
(1) Pi^hika-lakshanam vakshye yathavad anupurvas"ah II
Plthochchhrayarh yathavach cha bhagan shoda'a karayet I
Bhumavekah pravishtah syach chaturbhir jagati mata II
(Matsya-Purarfa, Chap. CCLXII, vv. 1-2, see also 4-5.)
(2) Sikharena samarh karyam agre jagati (ti)-vistaram I
Dvi-gunenapi karttavyam yatha-Sobhanurupatah II
(Agni-Purana, Chap. XLII, v. 5.)
Jagatl-vistararddhena tri-bhagena kvachid bhavet ||
(Ibid., Chap, civ, v. 6.)
(3) Pravrita jagati karyya phala-pushpa-jalanvita n
(Garuda-Purana, Chap. XLVII, v. 47.%
(4) Pada-bandha-vimane tu geha-garbhopari nyaset |
Pratibandha-vimane tu vriter upari vinyaset II
Vriter upari vipranarh kumudopari bhubhritam I
Jagaty-upari vaiSyanam Sudranarh padukopari u
(Kamikdgama, xxx, 91, 92.)
(5) A moulding of the base (adhishthana) :
Jagati tu shad-amSa syad dvi-bhagardha-dali kramat 1 1
Shad-bhaga agati prokta kumudarh paficha-bhagikam II
(Suprabheddgama, xxxi, 19, 24.)
(6) A class of buildings (Ep. /«</., Vol. i, pp. 165, 277 ; Ind. Ant..
Vol. xrv, p. 161, note 22).
JAftGAMA-(BERA)— The movable idol.
Sthavaram jangamam chaiva dvi-vidharh beram uchyate I
Jangamarh chotsavam bhavet sarvarh sthavaram ishyate I
(M., LI, 17-18.)
Evam tu chotsavadinam sthavaram jangamadinah(-nam) I
(M., LXIV, 93.)
— The leg of an image, the pillar in a building, a column,
(i) A synonym of the pillar (M., xv, 4; see under STAMBHA).
A pillar in an upper storey (M., xxvi, 55 ; see under STAMBHA).
A part of the leg from the ankle to the knee :
Janu-taram Sararhsarh syaj jangha-taram yugaihs'akam |
(M., LVII, 33, etc.)
HINDU ARCHITECTURE JANMA-NIRGAMA
(2) Jahghochchhrayam tu karttavyarh chatur-bhagena chaya'am |
Janghayam(-yah) dvi-gunochchhrayaih manjaryyah kalpayed
budhah II
(Agni-Purdna, Chap, v, 423.)
(3) 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.
3, 12, 17 ; see also v. 13.)
JANGHA-PATHA (see RAJA-PATH A)— The footpath, a road, a
street, a lane.
Jangha-pathas chatush-padas tri-padas cha grihantaram I
Dhriti-margas turddhva-shashtharh kramasah padikah smritah n
(Brahmanda-Purana, Part I, 2nd anushamga-pada, Chap.
VH, v, 115; see also w. 1 13, 1 14 under RAJA-PATHA.)
JAJNA-KANTA — A class of the five-storeyed buildings.
(M., XXIH, 41 ; see under PRASADA.)
JANAKA(JANA-KANTA)— A class of the eight-storeyed and of
the twelve-storeyed buildings.
(M., xxvi, 39 ; see under PRASADA.)
A class of the twelve-storeyed buildings once prevailing in the ancient
country of Janaka (Mithila) :
Tad eva maha-sala tu dvi-bhagarh madhya-bhadrakam |
Jana-kantam iti proktam sYeshtho ravi-talanvitam I
(M., xxx, 35-36 ; see also 33-34, under MAGADHA-KANTA.)
JANA-CHAPAKRITI— A type of bow-shaped arch.
Vrittarh vatha tri-yugmam va chardha-chandrakritis tatha I
Jana-chapakritir vapi yatheshtakara-toranam 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., see the lists of mouldings
under UPAPITHA).
The plinth of the base (M., xiv, 16, etc., see the lists of mouldings under
ADHISHTHANA.)
JANMA-NIRGAMA (-NISHKRAMANA)— The projection or ex-
tension of the base or basement.
(M., xin, 138 ; vi, 106, etc.)
183
JAYADA AN ENCYCLOPAEDIA OF
JAY ADA (see UTSEDHA) — A height which is \\ of the breadth.
(M., xxxv, 22, 26, and Kamikagama,
L, 24 f., see under ADBHUTA.)
JAYANTA-PURA — A town, a village, an establishment for pious
and learned Brahmans.
(Kamauli Plates of the Kings of Kanauj, no. U,
line 28, Ep. Ind., Vol. iv, pp. 128, 129.)
JAYANTI(-I) — A column, a post, a moulding, a flag, a banner.
(1) A synonym of the balance-post (tula-danda) :
Tula-dandarh jayanti cha phalaka paryaya-vachakah |
(M, xvi, 48.)
(2) A part of the column :
Mudrikach cha tuladhikya jayanti tu tulopari II
(Suprabhedagama, xxxi, 108 ; see also 105-109, under STAMBHA)
(3) A moulding of the column :
Tula-vistara-tarochcha jayanti syat tulopari 1 1
Jayanti vams'aka jneya tulavad anumargakam II
(Kamikagama, LJV, 13, 16.)
JAYANTIKA(-KA)— A post, a moulding, a flag, a banner, the
parapet staff.
In connexion with the entablature (prastara) :
Etat prachchhadanat sthane dandam chopari sayayet I
Etad dvara-vas"ad dirgharh tasyopari jayantikam I
Daru-dandam s"ila vapi ishfakena jayantikam I
Athava daru jayantis cha sila chet saha-dandakam I
Vina dendam tatha kuryat pashanam phalaka nyaset I
Etat sarvalaye kuryad deva-harmye viseshatah I
(M., xvi, 124-129.)
Adhara-patta-samyuktam sa-tulam tu jayantikam I
(Ibid., xvi, 149; see M., xxxni, 372-374.)
JAYA-BHADRA — A pavilion with twenty-two columns.
(Suprabhcd&gama, xxxi, 102, too ; see under MANDAPA.)
JAYA-STAMBHA — A pillar of victory (see under STAMBHA).
JAYALA — A type of pavilion.
(M., xxxiv, 294 ; see under MANDAPA.)
JAYAVAHA — A pavilion with fifty pillars.
(Matsya-Purana, Chap. CCLXX, v. 9 ;
see under MAN^APA.)
184
JALA DVARA,
L
J
JAVA STAMBHA
r IHAPt Of WATER RETAINING WALL
\ <S PCNTA QONAU OR LIKE THE
v PALM Of HUMAN H*ND.
•JA-* GARBMA
TOP SURFACE OF
PEDESTAL JAGATI.
JAGATI AS TOP
MOULDING
PART OF A PEDESTAL.
JAGATL
Page JS4
HINDU 'ARCHITECTURE JALA-STHALA
JALA-GARBHA (see GARBHA) — The water-foundations, the founda-
tion of a tank, etc.
(M., xii, 184-189 ; see under GARBHANYASA.)
JALA-DURGA (see under DURGA) — A water-fort.
(1) Kautiliya-Arlha-sastra (Chap, xxiv, para, i, p. 51 ; see under
DURGA).
(2) See Sukraniti under DURGA.
JALA-DVARA — The water-door, a gutter, a drain.
Jala-dvararii punas tesharh pravakshyami nivesanam II
In the three following lines the positions of the water-door are described.
(Kamikagama, xxxv, 167.)
A gutter :
Kuryat tu bhitti-mule tu jala-dvaram yatheshta-dik I
(M., xxxi, 99 ; see also ix, 310-312, under DVARA.)
Jala-dvararh yathasara(-salarii) nimna-des'e prakalpayet I
(M., xxxvni, 8 ; see also 40.)
JALA-DHARA— The gutter-like part of the pedestal (pitha) of the
phallus.
Nala-tara-tri-bhagaikarh jala-dhara-vi£alakam I
(M., Lin, 23, etc.)
JALA-PURITA-MANDAPA— A detached building where water is
preserved for bathing, washing, etc.
Parjanye majjanarthaya jala-purita-mandapam I
(M., xxxu, 56, etc.)
JALA-STHALA — A reservior of water.
In connexion with the three-storeyed buildings :
ParitaS chaika-bhagena kuta-Saladi-bhushitam I
Tasyantas chavritarhsena chordhva-de£e jala-sthalam I
(M, xxi, 58-59.)
In connexion with the four-storeyed buildings :
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 I
(M., xxxi, 95.)
JALANTA AN ENCYCLOPAEDIA OF
JALANTA — Foundations reaching the underground water in con-
nexion with buildings.
(1) Khanayed bhu-talam sVeshtham purushanjali-matrakam I
Jalantam va Silantam va purayed valukair jalaih 1 1
(M., xvm, 6-7.)
(2) Sarhgraha-tiromani, by Sarayu Prasada (xx, 23) quotes from Man-
el ayva :
Jalantam prastarantarh va purushantam athapi va I
Kshetrarh samfodhya chodhritya Salya-sadanam arabhet I
(3) Vastu-yaga-tattva by Raghunandana quotes from the Linga(-Pu-
rdna) without any reference :
Agratah s"odhayitva tu bhumirh yasya puroditam I
Dvi-hastarh chatur-hastarh va Jalantam vapi Sodhya cha II
JALA-SUTRA(-SGTRADA)— A channel, a hydraulic engineer.
(1) ' The engineers of the Belala Kings did not confine their attention
to building alone, but irrigation works were also taken in hand. Tradition
has it 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
brought by a channel to supply the capital with water and fill the neighbour-
ing tanks ; a deep cutting on the Hasan-Bailur road at the i6th mile, works
the spot where the channel crossed the saddle of the hills.' — (Ind. Ant. Vol. i,
p. 44, c. 2, para. 2 middle.)
(2) ' Where as we constructed a new dam in the Kaveri and led a channel
therefrom, and the Brahmans of Harahu made with us the following agree-
ment in order that the channel might be brought within the limits of their
village Harahu.'-— Ep. Carnat., Vol. in, Seringapatam Taluq, no. 139 ; Transl.
p. 33, line 3 , Roman Text, p. 77, line 5.)
(3) Jalandarava madisi devahge — ' erecting a jalandara (?) for the
god ' (? temple).— (Ep. Carnat., Vol. in, Malavalli Taluq, no. 64; Roman
Text, p. 147, line 3 ; Transl., p. 63.)
(4) ' Vira-prataya Bukka-Raya in his court gave an order to the
emperor (or master) of ten sciences (daSa-vidya-chakra-varti) , the
hydrauUc engineer (jala-sutra-dd) Singaya-bhatta, that they must
bring the Henne river to Penugonde — and that Singaya-bhatta con-
ducting a channel to the Siruvera tank gave to the channel the name
Pratapa-Bukka-Raya mandala channel and had this Sasana written.'
' An interesting case is recorded in this inscription : when the
prince Bukka Raya was Governor of Penugonda in A. D. 1388, he
ordered the hydraulic engineer to bring the Henne river (the modern
186
HINDU ARCHITECTURE JATI-SALA
Pennar) to the city. Accordingly a channel was made from Kal.
ludi to the Siravera tank, 10 miles to the north. How the water
was carried beyond that does not appear. An amusing accounr
is given of the accomplishments of the engineer who was mastet
of ten science '
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 ; Roman
Text, p. 259 f. ; Transl., p. 212 ; Preface, p. 2.
(5) : Saying to them ;' 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
Taluq, no. 10 ; Roman Text, p. 285 ; Transl., p. 232.)
JATI — A class of buildings, a door, a type of top-room, a phallus, a
kind of measure.
Kesaryadi-prasada-jati — ' the Kesari and other c'asses of buildings.'
(Prasada-Mandana-Vastu-sastfa of Sutra-dhara-
Mandana, vi, MS. Egg. 3147, 2253, fol. 26 b.)
A class of building :
Karna-madhye'natre kuta-koshthe panjara-sarhyutam |
Shad-vargaka-samayuktam jatir esham hy-anarpitam II
(Kamikdgama, XLV, 19 ; see also 7 and cf. L, 9, n.)
A class of kuta-koshtha or top rooms (Kamikdgama, LV, 123-128 ;
see under KARNA-KUTA) .
A class of buildings (M., xi, 104-107 ; xix, 1-5 ; xxx, 175-177 ; xxxiv,
549-552 ; LV, 51 ; see under ABHASA).
Cf. Kechid bhadra-viseshena jatir uktarh puratanaih I
(M., xxxiv, 553.)
A class of doors (M., xxxix, 28-35 ; see under ABHASA).
A type of the phallus (M., LII, 49 ; see under ABHASA).
JATI-PRAKARA— The enclosure- (buildings) of the Jati class.
(M., xxxi, 35 ; see under PRAKARA.)
JATI-SALA (see JATI) —The sala (hall, mansion) of the Jati class.
Evarh tu jati-sala cha kuryad-dharmya-vaSat sudhih I
(A/., xxxi, 20, etc.)
JATI-HARMYA AN ENCYCLOPAEDIA OF
JATI-HARMYA— The buildings of the Jati class.
Vaksh'harh jati-harmyanam ayadi-lakshanarh kramat I
(A/., xxx, 169, etc.)
JALA-(KA, KA) (cf. VATAYANA)— A latticed window, an ornament,
(i) 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 :
Toranady-anga-nTdais" cha jalakadi-vibhushitam I
(M., xxvii, 44.)
In connexion with the gopuras (gate-houses) :
Naranam jalakarh sarvam devanam api yogyakam I
(M., xxxm, 572.)
In connexion with the mandapas (pavilions) :
Tad eva cheshta-dig-vasam kuryad evarh tu jalakam I
(M., xxxiv, 205.)
In connexion with the door :
Jayante va mrige vapi chopadvaram tu jalakam I
(M., xxxvm, 19.)
In connexion with the doors of the kitchen (latticed windows
are provided for the easy passage of smoke) :
Tad-urdhva-gamanarthaya kshudra-jalaka-samyuktam I
(M., xxxvm, 36.)
Devanam harmyake sarvam madhya-dvararh tu jalakam i
(M., xxxix, 138.)
Jalakadhika-hinarh syad sYi-hlnam artha-nas"anam I
(At., LXIX, 35.)
I An ornament for the feet :
Ratnahguliyakau hastau padam jala-saratnakam |
(M., LI, 39.)
Chamundi jvala(? jala)-mauli cha bhairavi pibarala-
kam(-ka) i
(M., LIV, 136.)
(2) Manu-Sarhhitd (via, 132, etc.) :
Jalantara gate-bhanau yat sukshmam driSyate rajah I
(3) R&mayana (Cock) :
V, 2, 49 : (Purlrh) s"ata-kumbha-nibhair jalair gandharva-nagaro-
pamam I
1 88
HINDU ARCHITECTURE JALA- (K A, KA)
V. 2, 53
V. 4, 6
V. 8, i
mam I
V. 9, 22
V. 54, 22
HI, 55, 10
Maharha-jambhu-nada-jala-toranam (Lankam) I
Vajra-jala-vibhushitaih griha-meghaih I
Mahad vimanam . . . pratapta-jambu-nada-jala-kritri-
(Salarn). . . hema-jala-virajitam I
Kanchana-jalani. . . (bhavanani) I
Hema-jalavritaS chasams tatra prasada-pahktayah I
(4) Mahdbhdrata :
I. 185, 19-20 : Prasadaih sukritochchhrayaih I
Suvarna-jala-samvritair mani-kuttima-bhushanaihl
I. 134, 14: Mukta-jala-parikshiptam vaiduiya-mani-s'obhitam |
Sata-kumbha-mayam divyarh prekshagaram upagatam I
I. 128, 40: Gavakshakais tathajalaihl
II. 34. 2J : (Avasatham) . . . suvarna-jala-samvitan I
(5) Silpa-sdstra-sdra-samgraha iix. 23) :
Eka-bhagas chatus stambhaS chatur-dvarah sa-jalakah I
Chhadya-ghamta-yuto mada-Sobhitah ^ridharamatah I
(6,( Kdmikdgama (LV, 94, 158-163) :
Jalakarh palakam sailam aishtarh kudyarh cha ishyate I
Jalakair bahubhir yuktam jalakam kudyam ishyata || (94)
The seven kinds of the latticed windows :
Riju-jalakam adyam syat gavaksham kufijarakshakam I
Go-mutram ganika-patra'm) nandyavartam cha saptadha II (158)
Riju-kampa-yutam yat tu riju-jalakam uchyate I
Karna-gatya yada srotram gavaksham iti kirtitam II (159)
Tad eva chatur-as'rottharh kufijaraksham iti smritam I
Vidig vaktra-gatam drishtirh go-mutram iti kirtitam II (160)
Mulam apy-agra-gulika-mridu-bhitty-antararchitam I
Nana-chchhidra-samayuktarh ganika-jalakam bhavet II (161)
Patrair vichitram randhrarh patra-jalakam ishyate I
Patra-sutra-gatarh randhram pradakshinya-kramena tu II (162)
Nandyavartam iti proktam vedy-urdhve Jalakarh nayet I
Svayambhuvadi lihge tu yathakamam prayojayet II (163)
The situation of latticed windows :
Jalakam cha kavatam cha bahye bahye prakalpayet I
Sarwatah kudya-sariiyuktam mukhya-dhamatra-klrtitam 1 1
Ghatur-dig-bhadra-samyuktam dvara jalaka-Sobhitam II
(M., XLI, 8, 26.)
The ornaments and component parts of such windows :
Jalaka-stambha-kudyanga-nasika-torananvitam I
Prastara-kshudra-sopanarh sopanadi-samanvitam 1 1
(M., XLII, 25.)
189
JALA-GAVAKSHA AN ENCYCLOPAEDIA OF
(7) Suprabheddgama (xxxi, 52, etc.) :
Vedika-jalakopeta (parvatakritih, a building).
(6) ' He, the emperor of the south, caused to be made of stone for
Vijaya-Narayana (temple) latticed window (jalaka-jalakam), secure door-
frame (kavatam), door-lintel, kitchen, ramparts, pavilion, 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 1200 (refers
to the inscription quoted above) and due to Ballala II.'
In connexion with the same windows, Mr. Rice quotes Mr. Fergusson :
' The richness and variety of pattern displayed in the windows of the
porch are astonishing. They are twenty-eight in number, and all arc
different . . . The pierced slabs themselves, however, are hardly so
remarkable as the richly-carved base on which they rest, and the deep
cornice which overshadows and protects them.'
(Ep. Carnal., Vol. v, Part i, Belur Taluq
no. 72 ; Transl., p. 61 ; Roman Text,
p. 61, line 7 ; Introduction, pp. xxxvi,
XXXVIII, XXXIX.)
(7) See bars on the perforated windows. — (Chalukyan Architecture, Arch.
Surv., New Imp. Series, Vol. xxi, Plate xxxvn, fig. 2.)
(8) See samples of the perforated windows. — (Ibid., Vol. xxm, Plate
LXXIV, ibid., Vol. xxix, Plate XLH.)
(9) See 264 kinds of geometrical and very artistic patterns of
screens. — (Jala Kaumudi, by Pandit Kundanlal, pp. 188, second paging.)
JALA-GAVAKSHA— The latticed window.
(1) Jala-gavakshaka-yuktah — 'furnished with latticed windows.'
(Brihat-Sarhhita, LVI, 22, J.R.A.S.,
N. S., Vol. xi, p. 319.)
(2) Jala-gavakshair yuktah (Bhavishya-Purdna, Chap, cxxx, v. 29.)
(3) Mundana jalandravam madisidaru — ' had the latticed win-
dows made for the Tirthankaras, which their father had had
made.' — (Ep. Carnal., Vol. n, no. 78; Roman Text, p. 62; Transl., p. 151.)
JALI — A trellis window or screen.
Sri-uttaresVara-deva-mandape jali karapita — ' a trellis was caused
to be made in the temple of '. . . — (Ahmadabad Inscrip. of Visaladeva,
A.D. 1251, lines 7-8, Ep. Ind., Vol. v, pp. 103, 102.)
JINA(-KA) (see TIRTHANKARA.) — The temple of the Jains, the Jain
deity.
(A/., xix, 252 ; xxxn, 165 ; xun, 145, etc.)
IQO
HINDU ARCHITECTURE JVARA-DEVALAYA
The description of the Jain deities (Mdnasdra, Chap. LV, 71-95):
They are either stationary or movable (71).
The general features :
Dvi-bhujarh cha dvi-netrairh cha munda-tararh cha sirshakam I
(72)
Sphatika-Sveta-raktarh cha pita-Syama-hibharh tatha I (86)
They are made in the erect, sitting or recumbent posture (line
73-76) and in the lotus-seat pose (padmasana).
The attendant deities are Narada, Yakshas, Vidyadharas, Nagen-
dra, Dik-palas and Siddhas (lines 82-88). They are stated to be
five classes (line 89).
The 24 Tirthas (i.e. Tirthankaras or apostles) are mea ured accord-
ing to the dasa-tala system (line 91).
Their general features (lines 91-92) :
Nirabharana-sarvangarh nirvastranga-manoharam I
Savya-vaksha(h)-sthale hema-varnarh srivatsa-lafichhanam I
JYA (see LUPA) — A kind of pent-roof.
(M., xvm, 177 ; see under LupA.)
JYOTIH (see LUPA)— A kind of pent-roof.
(M., xvm, 174 ; see under LUPA.)
JYOTISH-KANTA— A class of six-storeyed buildings.
(M., xxrv, 20 ; see under PRASADA.)
JVARA-DEVALAYA— The temple of the god of fever, a hospital
or dispensary for curing patients of fever which represents all
diseases.
Agnim (agnau) pusha-pade vapi jvara-devalayarh bhavet I
(M., xi, 390.)
' This (no. 43 and the next following seven, 44-50, Velur, ins-
criptions record grants to Jvara Khandesvarasvamin of Velur, i.e. to the
Vellore temple, which is now-a-days called Jala-kanthesvara (North
Arcot Manual, p. 189). The name of the temple is spelt Jvara-kan-
desVara in five inscriptions, Jvara-kanthesvara in two others, and Jvara-
kandhesvara in one of them. The Sanskrit original of these various
forms seems to have been Jvara-khandesVara. Jvara-khanda, "the des-
troyer 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 Anti-
quities, Vol I, p. 1 80). ' — -(H.S.I. /., Vol. i, Velur Inscrip. nos. 43-50,
p. 69, para. 2, notes 3, 4.)
DOLA AN ENCYCLOPAEDIA OF
P
DOLA (for DOLA) — A hammock, a swing, a litter.
(A/., L, 47, 152-171 ; see under PARYANKA.)
T
TAKSHAKA (see STHAPATI) — A wood-cutter, a carpenter.
(See details under STHAPATI.)
TADAGA— A tank, a pool.
(1) Mlna-manduka-makara-kurmmas' cha jala-jantavah I
Karya dhatu-mayas chaite karttri-vittanusaratah II
Matsyau svarnamayau kuryat mandu vapi hemajau I
Rajatau makarau kurmma-mithunam tamra-ritikam II
Etair jala-charaih sarddharh tadagam api dirghikam I
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.
(Malianirvana-tantra, xm, 167, 168, 169.)
(2) See Dewal PraSasti of Lalla the Ghhinda (v. 20, Ep. Ind., Vol. i
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).
(5) Anarhta-prani-suprlti-karibhir bhuribhih I
Tadagais sagarabhogair yo vibhushita-bhu-talah II
(Two pillar Inscrip. at Amaravati, no. A, Inscrip.
of Keta II, v. 41, Ep. Ind., Vol. vi,-p. 152.)
(6) Wayside tank :
Aparh s"ala-malah pathi pathi tadagah I
(Two Bhuvanesvara Inscrip. no. A, of Svap-
nesvara, v. 30, Ep. Ind., Vol. vi, p. 202.)
(7) Khsetresasya tatha suralaya-vararh sphitarh tadagam tatha bandham
Kaudika-samjnakam bahu-jalarh dlrgharh tatha khanitam I
(Kanker Inscrip. of Bhanudeva, v. 7,
Ep. Ind., Vol. ix, p. 127.)
(8) Pratinidhim udadhinam sarhchayan toyasrishter akrita jagad-kesar-
yyakhya yas tatakam I
'And who constructed a tank (which he called) by (his) name Jagati-
kesarin, which equalled the oceans, and which accumulated the downpour
of water.'— (Ekamranath Inscrip. of Ganapati, v. 9, Ind. Ant., Vol. xxi,
pp. 200, 20 1.)
192
HINDU ARCHITECTURE TALA
TANDULA-MANDAPA — The store-room, a granary, a detached
building where stores are kept.
(M., xxxii, 64 ; see under MANDAPA.)
TADBHADRA — A site plan in which the whole area is divided into
196 equal squares.
(M., vn, 18 ; see under PADA-VINYASA.)
TANTRA — Used in the same sense as &ASTRA or the science of
architecture (M., xi, I, 14, 102, 145 ; M., xn, 67).
Cf. SlLPA-TANTRA (M., XII, 67).
TAPASH-KANTA— A class of the eight-storeyed buildings.
(M., xxvi, 41-42 ; see under PR AS AD A.)
TARAfrGA — Waves, an ornament or moulding employed in capitals
terminating by undulating lines.
Bodhikochcha-tarahgaih syat sarvalankara-samyutam I
Tad eva tunga-mane tu dva-da£am§e vibhajite I
Adho-bhage tri-bhagena tarangakriti(m) vinyaset I
(M. xv, 155-157, see also 164.)
A similar ornament of the entablature :
Devanam bhu-patlnaih cha chordhve madhye tarangakam I
(M., XVI, 202.)
Taranga-vetra-samyuktarh kufijarakshair alankritam I
Padanam cha tarangarh va choktavat samalankritam I
(M., L, 267-268.)
TALA (see BHUMI) — The storey, the palm, the sole, a moulding of
the column.
(i) Mdnasdra :
Buildings of one to twelve storeys are prescribed for people (and
animals) of different ranks :
Ekadi-dvi-bhumyantam kalpa-gramasya harmyake bhavati I
Ekadi-tri-bhumyantam prabhakarasya chalayam proktam I
Ekadi-chatul-talantam pattabhak-chalayam iti kathitam I
Tri-talady-ashta-talantarh narendrasya chalayam proktam I
Tri-taladi-nava-talantam maharajasya bhavanam uditam I
Pancha-talady-arka-talantarh chakravarti-harmyam syat I
Ekadi-tri-talantam yuva-rajasya chalayam proktam I
Samanta-pramukhanarh chaikadi-tri-tala-paryantam syat I
Kshudra-bhupasya(-panam) sarvesham ekadi-tri-tala-bhumi-
paryantam I
193
TALPA(KA) AN ENCYCLOPAEDIA OF
Sthapati-sthapakanarh tu gabhastikadikarh(-kanam) tu yuthakanaih
chat
Dvi-jati-£(-sm)aranam tv-eka-dvi-tri-tala-paryantam I
Ugraiva-jivinam chaiva §alaika-dvi-tri-tala-paryantam I
Gajasvadi-Salanam talam ekam kartavyam prokam I
Devanam api sarvesham hary-aikady-anta-bhupatinam chaiva I
Anyat sarva-jatmam nava-talam kuryat tad-alayarh proktam I
Mandapam nava-talam kuryad bhavanam anya-rangam vadhi-
mandapakaram I
Etat tu bhumi-lambam puranaih sarvais tantravit-proktam I
(M., xi, 127-141, I44-H5-)
The sole :
Nalakantam tri-matram syat tala-taram yugangulam I
(M., LVII, 34 ; see also LXVI, 13, etc.)
The palm :
Tala-dirgharh shad-angulyam £esharii£am madhyamahgulam I
(M., LIX, 49, etc.)
(2) Eka-bhumam dvi-bhumam va kshudranam bhavanam nrinam I
Sudranam tri-talam kuryad vaisyanam tu chatus-talam |l
Kshatriyadeh pancha-bhumir dvijanam raga-bhumikam 1 1
Saptadhyam mandalikanam bhu-bhujam nava-bhumikam II
Ekadasa-tala-geham vidadhyach chakra-varttinam 1 1
Udayarkarka-bhagena hina urdhordhva-bhumikah 1 1
(Silpa-sastra-sdra-sarhgraha, vra, 29-31.)
(3) Aruroha . . . prasadam hima-pandurarii bahu-tala-samutsedham I
(Ram&yana, vi, 26, 5, etc.)
(4) A moulding of the column.
(Suprabhedagama, xxxi, 108, 105-107 ; see under STAMBHA.
TALPA(KA) — ' A couch, bed, sofa, an upper storey, a room on the
top of a house, a turret, a tower ' made of heavy and strong udum-
bara wood (Taitt. Bra., i, 2, 6, 5), 'with four feet and four frame
pieces (ushyala) fashioned (moulded and carved) by tvashtar (car-
penter) and embroidered and inlaid.' Nuptial bedstead (R.-V., vn,
55, 8 ; A.-V., iv, 5, 3 ; v, 7, 12 for king and his wife ; xiv, 2, 31, 41
bridal : Taitt. Sam., vi, 2, 6, 4 : Taitt. Bra., n, 2, 5, 3 ; Punch. Bra.,
xxui, 4, 2 ; xxv, i, 10) Compare TALPYA (legitimate son born in
nuptial bed, Guru-lalpa (bed for preceptor) . Base of the neck of a
dome on the top of an edifice (M., xvm, 170).
HINDU ARCHITECTURE TALA-MANA
Argalam dakshine bhage vama-bhage tu talpakam n
Yugme mahati talpe cha dakshinasthe kavatake II
(Kamikagama, LV, 49, 42 ; see also 39, 48.)
TAT(-D)A&KA — An ornament for the ear of an image.
(1) Karne vibhushanarh kuryan makarankita-kundalam I
Athava svarna-tatankau. . . I
(M., L, 43-44 ; see also 294, etc.)
(2) See Deopara Inscrip. of Vijayasena (v. n, Ep. Ind., Vol. i,
pp. 308, 313).
(3) Tadanka-darpano nama dvitiyo'nkah — 'the second act named
the reflecting ear-ring. ' — (Dhara Prasasti of Arjunavarraan, line 82, Ep.
Ind., Vol. VIH, pp. 116, 100.)
TATIKA — A moulding of the column, tenia.
(M., xv, 60, 142 ; see under STAMBHA.)
KumbhadhaS chordhva-de£e tu vata-patradi-Sobhitam I
Nimnarh tatikadini yuktya prag-uktaban nayet I
(M., xv, 189-190.)
Pada-tunge'shta-bhage tu . . . I
Bodhikam mushti-bandhani cha phalaka-tatika-ghatam I
(M., XLVH, 17-18.)
Agre cha phalakantam cha tatlkadyair vibhushitam |
(Af., L, 78.)
TALA-MANA — A sculptural measurement. In this system the
length of the face (including the top of the head) is stated to be the unit
(Matsya-Purdna, Chap. CCLVIII, v. 19). But it seems more logical to
have the span or the distance between the tips of the fully stretched
thumb and middle-finger, which is technically called tala (see below),
as the unit. It admits of many varieties : the ten-tala measures are
mentioned in the Mdnasdra. But the Bimbamdna has reference to
twelve kinds (see below) . Each of these ten or twelve kinds is again
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-tala1 measure when its whole length is equal
to ten times the face (including the top of the head) . In the largest
1 The idea of da$a-tala may have been originated from the following :
( 3Jo g;o i, R. X.)
195
TALA-MANA AN ENCYCLOPAEDIA OF
type of the da£a-tala system, however, the whole length is divided into
124 equal parts which are proportionately distributed over the
different parts of the body ; in the intermediate type, the whole
length is divided into 120 equal parts, and in the smallest type into
116 equal parts. In the nava-tala system, the whole length would
be nine times the face, in the ashta-tala, eight times, and so forth.
The details of the following tala measures are given in the Mdnasdra :
The largest type of the two-tala system in which the goose, the riding
animal of Brahma, is measured (AT, LX, 6-35) :
Parts
(i) Height of head . . . . . . 4
(2-3) height of neck . . . . . . 8
(4) height (length) of heart (chest) . . . . 1 1
(5) (below this) height of thigh .. .. if
(6) height of knee . . . . . . i
(7) length of leg .. .. ..if
(8) height of foot . . . . . . I
(9) breadth of face . . . . . . 3
(10) at the back of the head .. .. 2
(n) length of face .. .. .. ..4
(12) neck at the root [it tapers from bottom to top and
is furnished with two faces (beaks)] . . i
(13) length of belly (kukshi) .. .. ..8
(14) place of the stomach (udara-sthana) . . 8
(15) from the belly to the root of the tail . . 16
(16) breadth of wing .. .. .. 5
(17) length of wing .. .. .. 8
(1 8) height of wing .. .. 2
(19) height of wing at the edge (agra) . . . . i
(20) thickness of wing . . . . . . i
(21) length of arm (bahu) .. .. .. 8
(22) elbow . . . . . . . . i
(23) width at the forepart of the head . . . . 6
(24) width at the root of the perfectly round thigh .. 2$
(25) breadth at the forepart .. .. i£
(26) breadth of knee . . . . . . £
(27) breadth of leg . . . . i
(28) breadth of sole (palm) . . . . . . 2
(29) breadth of middle-finger at the forepart . . 4
(30) each of two fingers on either side . . . . a
(31) length of face . . . . . . 3
196
HINDU ARCHITECTURE TALA-MANA
Parts
(32) breadth of face . . . . . . i
(33) length of eye and its breadth should be propor-
tionate . . . . . . £
(34) distance between the eye-line and ear-line . . 2 yavas
(35) the crest above the head . . . . I or 2 parts
(36) its width ending by the back of head . . 6
(37) its breadth . . . . . . 4
and the rest is left to the discretion of the artist :
Sesharh yuktya prayojayet (35).
In the seven-tala system the whole height is divided into 84 equal
parts which are distributed as follows :
Parts
(1) Crown of the head (murdhni) .. .. 2
(2) face . . . . . . 10
(3) neck .. .. 3
(4) (from neck to) heart .. .. 10
(5) (from heart to) navel . . . . . . i o
(6) (from navel to) sex-organ . . . . 5
(7) suraga (? hole) is of same parts as the back (pitharhs'a)
(8) thigh (uru) . . . . . . 3
(9) knee (janu) .. .-3
(10) leg (pada) .. 3
(11) length of arm .. .. ..20
(12) elbow . . .. . . i£
(13) forearm (prakoshtha) .. .. .. 16
(14) palm (including fingers) . . . . . . 8
(15) foot . . .. . . ii
(16) breadth of the face .. .. .. 7
(17) width of the neck .. .. .. 5
(18) width at the arm-joint .. .. .. 5
(19) width of the chest between armpits .. 14
(20) width by heart .. .. ..12
(21) width by mid-belly .. .. .. 16
(22) width by loins (kati) . . . . . . 12
(23) width of the thigh .. .. ..8
(24) width of the knee .. .. .. 5
(25) width of the leg (jarigha) . . . . — 4
(26) width at the ankle . . . . . . 3
(27) width of the sole .. .. ..4
197
TALA-MANA AN ENCYCLOPAEDIA OF
Parts
(28) width of the forepart of arm . . . . 4
(29) width of the forearm . . . . . . 4^
(30) the wrist . . . . . . i
(31) width of the palm .. .. .. 3^
and length of the plam . . . . . . 4
(32) length of finger . . . . . . i
In the eight-tala system the whole length is divided into 96 equal parts
which are distributed as follows :
Parts
(1) Head from the crown (ushnisha) to the end of the
hair on the forehead . . . . . . 3
(2) thence the face (up to the chin) . . . . ioj
(3) thence the neck ... . . 3
(4) thence to heart . . . . . . loj
(5) thence to navel .. .. .. loj
(6) thence the mid-belly (up to sex organ) . . ioj
(7) the thigh (below sex organ up to knee) . . 21
(8) knee .. .-3
(9) leg •• ..21
(10) foot (height) .. .. .. ..3
(11) length of foot .. .. ..14
(12) breadth of face .. .. .. 9
( 1 3) width of neck . . . . . . 6
(14) shoulder (up to arm-joint) . . --41(3 and i £)
(15) width at the root of arm .. .. .. 6
( 1 6) length of arm .. .. .. ..21
(17) elbow .. „ ij
(18) (from elbow) forearm (half of face) .. • • 5i
(19) palm (including fingers) (equal to face) . . io£
the rest should be as before.
In the largest type of the nine-tala system the whole length is divided
into 112 equal parts (M., LK, 14-64) :
Parts
(1) Crown (head proper) .. .. .. 4
face (comprising) .. .. X2
(2) (thence) forehead (up to the eye-line) . . 4
(3) thence to tip of nose . . . . . . 4
(4) thence to chin . . . . . . 4
(5) neck . . . . 4
(6) thence to heart .. .. ..12
1 08
HINDU ARCHITECTURE TALA-MANA
Parts
(7) thence to navel .. .. ..12
(8) thence to sex organ .. .. ..12
(9) thigh (twice the face) . . . . 24
(10) knee (= neck) .. .. .. 4
(11) leg (=thigh).. .. .. ..24
(12) foot (= knee) .. .. .. ..4
(13) palm (from thumb to forefinger) .. 16
(14) arm . . . . . . 24
(15) elbow . . . . .. ..2
(16) forearm . . .. . . 12
( 1 7) palm (up to the tip of middle-finger) . . 12
(18) breadth of face .. .. n
(19) width of neck .. .. ..8
(20) width round the arm-joint . . . . 8
(21) width of knee .. .. ..8
(22) shoulder . . . . . . 5
(23) chest between the armpits . . 20
(24) width (breadth) at the mid-belly .. .. 15
(25) width at buttocks .. .. 17
(26) width of the loins .. .. ..19
(27) width at the root of the thigh .. ,. 10^
(28) width at the root of the leg . . • • 7i
(29) width at the middle of the leg . . 6
(30) breadth at the middle of the leg . . . . 4
(31) knee-tube .. .. .. ..if
(32) ankle .. .. .. ..if
(33) heel breadth . . . . . . • • 4i
(34) breadth of prapada (forepart of the foot) . . 17 (?)
(35) breadth of the palm ( ? sole) . . . . 5
(36) length of the largest toe .. .. .. 4
(37) breadth of the largest toe .. .. 2
(breadth of nails is half of their length)
(38) length of fore-toe (=thumb) . . .. 4
(39) breadth of fore-toe .. .. .. i (? 2)
(40) middle toe (breadth 7 yavas) .. .. 3
(41) fourth toe (breadth 6 yavas) .. .. a£
(42) little toe (breadth 5 yavas) . . . . 2
(breadth of nails is half the breadth of the fingers)
(43) width at the middle of the arm . . . . 7
(44) width at the elbow . . . . . . 7
199
TALA-MANA AN ENCYCLOPAEDIA OF
Parts
(45) width at the forearm . . . . . . 4
(46) width at the wrist . . . . . . 3
(47) breadth at the root of the palm . . . . 6
(48) breadth at the forepart of the palm . . 4
(49) length of the palm . . . . 6
and the remainder is the middle-fingers (?)
(50) forefinger .. .. .. • • 5i
(51) ring-finger .. _ ... .. 5^
(52) little finger .. .. .. • • 3j
(53) breadth of thumb .. .. .. r
(54) breadth of forefinger . . . . . . 6 yava
(55) breadth of middle-finger . . . . 7 „
(56) breadth of ring-finger .. .. .. 6 „
(57) breadth of little finger . . . . . . 4 „
Fingers are made tapering from the root towards the
tip. The forepart of the nails is £ or J more than their
length and their breadth at the tip is one, two, or
three yavas. The thumb is divided into two parts
(parvan) and the other fingers into three parts (parvan).
The line of wisdom and such other lines are drawn on
the palm. The eyebrow should extend from the eye-line
to the hair (near the ear).
(58) Length of eye .. .. ..2
(59) breadth of eye . . . . . . i
(60) length of ear .. .. .. ..4
(61) drum of ear .. .. . . ^
(62) breadth of ear . . . . 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 i 3
divided into 108 equal parts :
Parts
1 i) Head .. .. .. •• "J
(2) neck . . . . . . • • 3
(3) knee .. .. .. •• 3
(4) foot . . . . 3
(5) face .. ..12
(6) chest .. .. ..12
(7) belly .. .. .. ..12
200
HINDU ARCHITECTURE TALA-MANA
Parts
(8) loins .. .. .. ..12
(9) thigh .. .. .. ..24
(10) leg .. .. .. ..24
(n) arm .. .. . . . . 24
(12) (from arm) forearm (including middle-finger) .. 18
(13) largest toe (up to heel) «=face .. .. 12
(14) foot .. .. .. ..15
the rest should be discreetly made.
In the smallest type of the ten-tala system the whole height is divided into
1 16 equal parts (M., LIX, 67-100) :
Paris
(1) Head (from crown to hair-line in the forehead) . . 4
face (comprising) .. .. ..12
(2) thence to the eye-line (i.e., forehead) . . 4^
(3) thence to the tip of the nose . . . . 4
(4) thence to the chin . . . . . . 3$
(5) neck-joint .. .. .. .. i\
(6) neck . . . . . . 4
(7) thence to heart .. .. ..12
(8) thence to navel . . . . ..12
(9) thence to sex organ .. .. ..12
(10) thigh (from below sex organ) .. ..25
(n) knee .. . . .. . . 4
(12) leg .. .. .. ..25
(13) foot .. .. .. 4
(14) length of foot from heel to largest toe .. i6£
(15) length of arm below the line of windpipe (glottis) 25
(16) length of elbow .. .. .. 2
(17) length of forearm .. .. ..19
(18) length of palm (up to the tip of middle-finger) . . 12^
(19) breadth of face .. .. .. i\\
(20) width of neck . . . . . . 8J
(21) width of arm .. .. .. 8J
(22) width of knee . . . . . . 8£
(23) width of arm by root, elbow, wrist .. 6, 6, i$
(24) length of shoulder . . . . . . 2oJ
(25) width of the mid-belly . . . . 15 J
(26) width of the buttocks .. .. i8J
(27) breadth of the loins .. .. . , . 19
(28) width at the root of thigh .. .. 12$
2OI
TALA-MANA AN ENCYCLOPAEDIA OF
Parts
(29) width of the knee-(cap) . . . . . . 6J
(30) breadth or width of knee-tube . . . . 4
(31) breadth of ankle .. .. .. 5
(32) prapada (tip of the toes) 6
(33) length of largest toe . . . . . . 4
(34) length of fore-toe . . . . . . 4
(35) length of other toes (half a part less) 3 J
and their breadth or width is the same (? half of their
length)
(36) breadth of elbow .. .. 6£
(37) breadth of forearm .. •• 5
(38) breadth of wrist . . . . 4
(39) breadth of palm . . . . 5
(40) length of palm . . 7
(41) length of middle-finger . . 5i
(42) length of forefinger . . 5
(43) length of ring-finger . . . . 5
(44) length of little finger . . 4i
(45) length of thumb . . 4£
(46) length of ear .... 4i
(47) height of ear-drum . . . . 4|
the rest not specified here should be as in case of the
largest type of ten-tala system.
In the intermediate type of the ten-tala system the whole height of
the image (of a famale deity) is divided into 120 equal parts (M., LXVI,
2-78) :
Parts
(1) Head (from crown to hair-line on the forehead) 4
(2) forehead (up to eye-line) . . 5
(3) nose (up to the tip) . . . . 4
(4) thence to chin . . . . 3i
(5) neck-joint . . . . • • i
(6) neck . . . . . . 4
(7) from windpipe (glottis) to heart 13
(8) thence to the limit of navel .. .. 13
(9) thence to sex organ .. .. 13
(10) thigh below sex organ .. .. ..26
(n) knee . . .. •• 4
(12) leg .. .. .. ..26
(13) foot . . . . • • --4
202
HINDU ARCHITECTURE TALA-MANA
Parts
(14) length of foot (from heel to the tip of largest toe) 16
(15) length of arm below the line of windpipe (glottis) 26
(16) elbow .. .. .. ..2
(17) forearm .. .. .. ..20
(18) palm (up to the tip of middle-finger) . . 13
(19) middle-finger . . . . . . . . 6
and palm proper the remainder . . . . 7
(20) thumb . . . . . . . . 4
(21) forefinger .. .. .. •• 5i
(22) ring-finger .. • • 5j
(23) little finger . . . . . . . . 4
(24) breadth of face up to ear .. .. i2
(25) breadth of face (below this) from ear to ear 11
(26) breadth of neck (at root, middle, and top) . . 7
(27) breadth of chest (between armpits) .. 15
(28) width of each breast . . . . • • 9i
(29) height of breast . . . . . . 4^
(30) distance between breasts (nipples) . . . . i
(31) width of the nipple .. ..2
(32) breadth (below the breasts) by the heart . . 13
(33) width of mid-belly . . . . 1 1
(34) breadth (below this) by the navel .. .. 13
(35) breadth (of lower belly) below navel .. 15
(36) width of buttocks . . . . . . 20
(37) width of loins . . . . . . 24
(38) width at the root of each thigh . . . . 13
(39) width by the mid-thigh . . . . 12
(40) width at the fore-part of the thigh . . 9
(41) width of knee . . . . • • 7
(42) width at the root of leg . . 6
(43) width at the mid-leg .. •• 5
(44) breadth of knee-tube . . . . . . 4
(45) breadth of ankle . . 4$
(46) width of sole . . . . . . 4
(47) breadth of sole at the fore-part . . . . 5
(48) breadth of heel . . . . 4
(49) length of largest toe . . . . 4
(50) length of fore-toe . . . . . . 4
(51) length of middle-toe .. .. .. 3$
(52) length of fourth toe . . 3
203
TALA-MANA
AX ENCYCLOPAEDIA OF
(53) length of little toe . . . . . .
(54) width (breadth) of largest toe . .
(55) width (breadth) of fore-toe .. ..
(56) width (breadth) of middle toe . . . .
(57) width (breadth) of fourth toe . . . .
(58) width (breadth) of little toe .. ..
(59) width at the root of arm . . . .
and width of knee . . . . . .
(60) width at mid-arm . . . . . .
(6 1) width at fore-part of arm .. ..
(62) width at elbow .. .. ..
(63) width at root of forearm .. .. ..
(64) width at middle of forearm . . . .
(65) width at fore-part of forearm . . . .
(66) width at wrist . . . . . .
(67) width (breadth) of the palm (from thumb to
little finger) . . . . . . • •
(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 eyes.
(72) Breadth of eye . . . . . .
(73) length of eye .. .. • •
(74) breadth of nose up to end of the tip . .
(75) width of nose at the middle . . . .
(76) width of nose at the root . . . .
(77) distance between the eyes .. ..
(78) distance between the eyebrows . . . .
(79) length of eyebrow . . . . . .
(80) breadth of eyebrow . . . . . .
The interior of the eye is divided into three (equal)
parts (as before), of which the black sphere is one part ;
the rest of the detail is stated to be found in the list
of the largest type of the ten-tala systems.
(8 1) Breadth and height of nostril (each) ..
(82) width of face (up to the corner) . . . .
(83) width of upper lip . . . . • •
(84) width of lower lip . . . . . .
(85) length of lip .. .. .. ..
204
Parts
2
2
i(=:8
yavas)
7 „
6 „
5 „
3
10
4
3
5
6 yavas
6 ,,
3
2
4.
5 yavas
6 „
a
HINDU ARCHITECTURE TALA-MANA
Parts
(86) ear = mid -eyebrow . . . . . . (?)
(87) height of ear . . . . . . 4
(88) length of the drum of ear . . . . 4
(89) depth (of the drum of ear) . . . . £
(90) width of sex organ . . . . . . 4
(91) length of sex organ .. .. .. 7
(92) upper breadth of sex organ (= length) . . 7
The rest should be as in the case of the largest type of the
ten-tala system.
In the largest type of the ten-tala system the whole height of a male
person (god) is divided into 124 equal parts (M., LXV, 2-179) :
Parts
(1) Head (from crown to hair-line on the forehead) 4
(2) face (from hair-line on the forehead to chin) .. 13
(3) neck . . . . . . . . 4^
(4) neck to heart (chest) .. .. ••
(5) heart to navel .. ..
(6) naval to sex organ . . . . . . 13 j
(7) thigh from below sex organ . . . . 37
(8) knee .. .. .. ..4
(9) leg .. .. .. 27
(10) foot . . . . . . 4
The length of face is divided into three parts, head
to eye-line, eye-line to lip-line, lip-line to windpipe-line.
(11) Length of arm from (below the line of) windpipe 27
(12) elbow . . . . . . 2
(13) forearm (extending to wrist-joint) .. .. 21
(14) length of palm (up to the tip of middle-finger) 13^
comprising (a) palm proper . . . . j
(b) middle-finger .. .. 6£
(15) length of foot .. .. --17
(16) largest toe (from heel) . . . . . . 4^
its breadth . . . . . . . . aj
its nail . . . . . . . . i ^
breadth of nail . . . . . . f
The nail is made circular and its fore-edge is fleshy and
one part in extent.
(17) Fore-toe .. .. .. .. 4 less
i yava
its breadth . . . . . . i and
i yava
205
TALA-MANA
AN ENCYCLOPAEDIA OF
(18) middle toe
its breadth
(19) fourth toe
its breadth
(20) little toe
its breadth
Their nails are half of their respective breadths.
The middle line from ankle to the tip of sole
V22) from this line to the root of heel
breadth of heel
(23) from side to heel
(24) root of heel
(25) width of mid-sole (below ankle)
(26) breadth of sole (at the fore-part)
(27) its thickness
(28) height of the mid-foot
The toes have two parts (parvan).
(29) Breadth of ankle
(30) breadth of the tube (above)
(31) breadth at the middle of leg
(32) width at the root of leg
(33) width of knee
(34) width of mid-thigh
(35) width at the root of thigh . .
(36) width of loins
(37) 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
(43) breadth between the arms
(44) breadth of neck
(45) breadth of face in its fore-part
Parts
Sf
I*
3 Plus
i yava
i minus
i yava
2*
£ plus
i yava
8 and
6 yavas
4
5 and
i yava
Si
6
6 and
6 yavas
6
3
44
54
44
6J
8
9
12
134
20
18* (0
i8|
16
21
22
241
9
It
HINDU ARCHITECTURE
TALA-MANA
(46) breadth of head by the hair-line on the forehead
From the hair-line on the forehead to the eye-line
there are 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.
(47) Length of eyebrow
(48) breadth of eyebrow
The breadth at the middle is half of this and the brows
taper from root to the other end.
(49) ^Distance between two brows
(50) length of eye
(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
is the white sphere. The shiny sphere within the black
sphere is one part. The sight (retina) proper is situated
within the shiny sphere. The upper and lower coverings
(lids) of the interior of the eye are each two parts. The
eyes are shaped like the fish and the brows like a bow.
(53) Length of ear
(54) drum of ear
(55) fore-part of ear (= mid-brow)
(56) ear-hole, its length
and breadth
(57) distance between the drums
(58) depth (befitting the ear) . .
(59) 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 of nose
(63) breadth of nostril
(64) length of nostril
(65) hole of nostril
(66) its breadth
(67) height of nose-tip (pushkara or four-faced part)
(68) breadth of nose-tip
(69) breadth of the middle of nose
207
Parts
10
£ and
6 yavas
3
i
4*
i*
2
I
2
I
6 yavas
\
5 yavas
i
2
TALA-MANA
AN ENCYCLOPAEDIA OF
(70) breadth at the root of nose
(71) height of nose
(72) height of nose (from bottom to tip)
(73) tip (from below bottom)
(74) drip
(75) breadth
(76) circumference (above this)
(77) breadth of upper lip below this
(78) lower lip
(79) width of upper lip
(80) length of crescent-shaped lower lip . .
(81) three-faced part (trivaktra), length and breadth . .
(82) circumference (above)
Teeth numbering 32 are in both lower and upper jaws
(83) Chin below the lower lip
(84) length of jaw . .
'85^ from this (jaw) to ear-joint
(86) height of drip between the jaws
(87) breadth of semi-circular jaw
(88) goji (nose bottom) from jaw
(89) mid-neck (from jaw to its root)
(90) its projection . .
(91) the eye on the forehead (third eye) J or f part of
other eyes. There should be 98 eye-lashes ; the hairs
on the neck and face should be discreetly made.
(92) Width at mid-arm
(93) width of elbow
(94) width at mid-forearm
(95) width of wrist
(96) breadth at the root of palm
(97) breadth of mid-palm
(98) breadth of fore-palm
(99) back of palm up to wrist
thence the length of the fingers should be propor-
tionate as stated before.
(100) Length of ring-finger and of middle-finger
808
Parts
I*
2
4 yavas
i ,,
3 .,
i
4
Si
2 each
2
i
H
10
I
If
1 and
2 yavas
2
i
Parts
8 and
2 yavas
7
5 and
i yava
9*
7
6|
5 and
I yava
6|
4! each
HINDU ARCHITECTURE
TALA-MANA
(101) length of forefinger . . . . . .
(102) length of thumb .. .. ..
(103) length of little finger . . . . . .
(104) width at the root of thumb .. ..
(105) width at the root of forefinger . . . .
(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
is § of the breadth of the respective finger tips, and the
length of the nails is £ greater than their width, and the
fore-parts of the nails measure two yavas. The four fingers
(beginning with the fore-finger) are each divided into
three parts and the thumb into two parts.
(108) The portion between the roots of forefinger and
thumb . . . . . . --
(109) its thickness .. .. .. ..
(no) thence to wrist .. .. ..
(m) thickness of the portion below the thumb . .
(112) its width .. .. .. ..
(113) breadth of heel .. .. ...
(114) its thickness .. .. .. ..
(115) its fore-part .. .. .. ..
(116) interior of palm .. .. ..
(117) its width .. .. .. ..
The palm is lined with the five marks like of lotus,
trident, couch, disc., etc. And the rest regarding the
hand should be discreetly made by the wise artist.
Measurement by the back-side :
(i 1 8) width at the back of head .. ..
(119) thence to the end of ear .. .. ..
(120) thence to the end of nose . . . .
(121) shoulder (above the line of windpipe) from the
neck-joint . . . . . .
(122) from neck-joint to hump .. .. ..
(123) thence to the line of buttocks . .
(124) thence to anus .. .. ..
(125) breadth to the left of it .. .. ..
(126) width of the back of loins .. ..
209
Parts
5
4
4
i
i
|-
3
2
4!
2 £
3
4
3
1 and
2 yavas
2
4 yavas
4
5
27
21
17
TALA-MANA
AN ENCYCLOPAEDIA OF
Parts
(127) width of the back or middle-body (madhya-kaya)
above this . . . . . . • • * 7
(128) distance between the breadth above this . . 21
(129) distance between the arm-pits .. . . 27
(130) drip of the back- bone .. .. .. i
(131) breadth of the loins-joint connected with the
back-bone . . . . . . . . 2
Thence should be measured the belly :
(132) Width (breadth) of ribs-plank .. ..12
(133) distance between ribs-planks .. ..4
(134) height from ribs-plank to shoulder .. • • 5i
(135) the portion between the breast and back-bone
(brihati) . . . . . . • • 7
(136) its length (up to armpits) .. . . (?)
(137) brihati up to breast limit .. .. i6|
(138) breadth of loins line .. .. . . 13
(139) projection of the root of thigh .. •• 5
(140) width of perfectly round or spherical balls .. 9
(141) width at the back of perfectly round breast . . 2
(142) drip or depth of windpipe . . . . i yava
(143) drip or depth of heart .. .. .. i
(144) distance between the limit of breasts . . 13 £
(145) distance between windpipe and armpit .. 13^
(146) depth of navel .. .. .. 2 yavas
The navel-pit is made circular.
(147) Length of lower belly from navel to loins .. 6
(148) lower belly from navel to where cloth is attached
to body . . . . . . . . 4
(149) height from loins to the root of sex organ . . 7$
(150) breadth of sex organ at the back . . . . 4
(151) thence (? loins) the length of sex organ . . 12
(152) length of testicle .. .. . . a£
(153) breadth of testicle .. .. .. 2j
(154) breadth of sex organ .. .. .. i
The rest is left to the discretion of the artists.
Sesharh yuktito nyaset — (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
HINDU ARCHITECTURE TALA-MANA
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 I
Tad-urdhve'dhika-hinam chet sarva-dosha-samudbhavam I
Tasmat pariharech chhilpi pratimanam tu sarvada I
(M., LXV, 180-183.)
(2) See Amsumadbheda of Kasyapa (MS. Egg. 3148, 3012 ; fol. 251,
different kinds of the tala measures) .
(3) Talah smrito madhyamaya gokarnas chapy-anamaya I
The distance between the tips of the fully stretched thumb and the
middle-finger is called Tala.
(Brahmdnda-Purana, Part i, and Anushanga-pada, Chap, vn, v. 97.)
(4) Tala is the distance between the tips of the fully-stretched thumb
and the middle-finger.
(Suprabhedagama, xxx, 22, see under ANGULA.)
(5) Bimbamdna (British Museum, MS. no. 558-592) :
Illustration in minute detail of the largest type of the ten-tala
measure (vv. 71-72).
Description of the plumb-lines and the horizontal measurement
of the idol (w. 73-91).
The measurement of the idol when it is made in the sitting
posture, such as Yogasana (vv. 92-122) and the recumbent posture
(w. 123-138).
In an appendix are given the rules regarding the objects to be
measured in twelve-tala measures :
One (eka) tala is used for measuring the vandhuka, probably
misread for kabandha, a headless trunk, also a class of rakshasa or
demon whose ' head and thighs were forced into the body by Indra and
reduced to long arms and a huge mouth in the belly.' (See nos. 5,6.)
Two (dvi) tala is used for measuring the birds.
Three (tri) tala ,, „ „ ,, kinnaras (mythical
beings with human body and horse's head).
Four (chaturthaka) tala is used in measuring bhutas (goblins).
Five (pancha) tala „ „ „ GaneSa (a mythi-
cal deity with human body and elephant's head).
Six (shat) tala is used for measuring the tiger.
Seven (sapta) tala „ „ „ „ yakshas (demi-gods).
Eight (ashta) tala „ ,, ,, man (male and female).
Nine (nava) tala „ „ „ danavas (demons).
Ten (das"a) tala „ „ „ superhuman beings and
Buddha.
211
TALA-MANA AN ENCYCLOPAEDIA OF
Eleven (ekadaSa) tala is used for measuring gods.
Twelve (dvadasa) tala is used for measuring rakshasas (fiends).
Cf. Brahmadi-lokesVara-deva-devarh surasura-danava-rakshasarh
cha yaksham cha naga-garudarh cha na-kinnararh bhutam cha
kumbhanda-nara-svaruparh vyaghrarh chatush-pada-vihanga-
madi-sarvaih tu dirghayata-vandhukadi-tala-pramanarh bhuva-
natrayoktam I
This is followed by the details of the twelve tala measures quoted
above.
The next appendix gives the dhyanas (features) of the eight
deities (ashta-natha).
(6) Suprabheddgama (xxxrv, 30-34).
Isvaradi-chatur-murttirh das"a-talena karayet II
Saktinam anya-devanarh nava-talaih prakittitam I
Divyam arsha-manushyanam ashta-talena karayet II
Rakshasam asuranam cha sapta-talena ihochyate I
Shat-talenaiva gandharvan pancha-talena vighnakam II
Vamanat (-narh) pancha-talais tu chatus-talais tu bhutakan I
Tritalarh kinnaranam tu matsyanam tu dvi-talakam II
Eka-talas tu kusmandat (?) piSacha virhsad-angulah I
Sthula-sukshma-prabhedarhs tu tala-bhedam ihochyate II
Measures of the ten tala of three types each (Suprabheddgama xxx,
31-40) :
Pratimayas tad-utsedham tala-dandena bhajayet II (31)
Chatur-virhs'ach chhatarh chaiva uttamarh dasa-talakam I
VimSach chhatam cha madhyarh tu kanyasarh shoda^adhikam II
(32)-
Dva-daSadhikam evarh yan nava-talottamarh bhavet I
Ashtau ^atarh chatuh Satarh madhyamarh kanyasarh tatha II (33)
Satarh shan-navati§ chaiva navaty-uttara-kara-dvayam I
Ashta-talam idarh proktam tri-vidharh purvah-paddhatih I (34)
Ety-evarh bhaga-hinam syad eka-talam tarn eva hi I
Measurement of the face :
Trayo-dasardharh mukharh jyeshtham trayo-dasarh tu madhya-
mam 1 1 (35)
Tad-dva-daSardham adhamam uttamat(-m)dasa-talake I
Nava-talottame chaiva mukharh vai dva-daSangulam n (36)
Ardhardhangula-hmena madhyamadhamam uchyate I
The statues measured in these tala measures (cf. above xxxrv, 30-
34) :
Tri-vidha da§a-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 II (39)
Tri-talarh kinnaranarh tu matsyanam tu dvi-talakam I
Anujanam tathaikam syat piSachanam tu vimSatih II (40)
(7) Matsya-Purdna (Chap. CCLVIII, v. 19) :
Svakiyanguli-manena mukharh syad dva-daSarigulam I
(8) Brihat-Sarhhitd (LVIII, 4) :
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) the face of his
own statue is twelve angulas long and broad. But according
to (the architect) Nagnajit it should be fourteen angulas in the
Dravida style.
The commentary quotes Nagnjit in full :
Vistirnarh dvadasa-mukham dairghyena cha chatur-das"a I
Angulani tatha karyarh tan-manaih dravidam smritam II
The face shall be 12 angulas broad and 14 angulas long ; such
a measure is known as Dravida (i.e. this is the Dravida style
of measurement).
(Brihat-Samhita, LVIII, 4 ; J. R. A. S., N. S.,
Vol. vi, p. 323, note 3.)
(9) See The Elements of Hindu Iconographgy by T. A. Gopinatha
Rao, Vol. i, Appendix B.
(10) See Some Hindu Silpa Sdstras in their relation to South
Indian Sculpture by Mr. W. S. Hadaway ( Ostasiatische Zeitschrift,
April- June, 1914, vol. n, no. I).
(u) See Iconometry by T. A. Gopinath Rao (Archaeological Survey of
India, Memoir, no. 3, 1920) and compare : ' In Appendix B, the author
(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
principle. The same subject has been treated on broader lines . . .,
by Mr. W. S Hadaway (see above), who is himself a worker in metal,
with practical knowledge of the application of the rules. (The war,
unfortunately, has prevented the author from continuing his valuable
study, as he 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
213
TITHI AM ENCYCLOPAEDIA OF
these with those observations and study of natural detail. It is, in
fact, a series of anatomical rules and formulae, of infinitely more
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
articulation of bones. '
' There is in the Hindu system nothing complicated or difficult
to understand or remember, but like every other canon of artistic
proportion, these methods are no more capable of producing works
of art in unskilled hands than are any other aids or methods . . .
These Sastras are the common property of Hindu artisans, whether
of northern or southern India. ' — Mr. V. A. Smith.
(Architecture and Sculpture in Mysore,
Ind. Ant., Vol. xuv, pp. 90-91.)
TITHI — One of the six varga-formulas (see details under SHAD-
VARGA) for ascertaining the right dimensions for an architectural
object.
TILAKA — A mark made on the forehead and between the eyebrows
either as an ornament or as a sectarian distinction of an image.
(M., vn, 160, LI, 41.)
Cf. Tilaka-kshudra-nasi-yuktarh toranais cha amanvitam I
(Kdmikagama, L, 93.)
TILAMAKA — A channel, a watercourse, a pipe.
(i) Viditam astu bhavatam . . . yushmadiya-gramanam upakaraya
yo'sau tilamaka anito'bhut pratisamskarabhavad vinashtam ud-
vikshya . . . yushmad-gramanam evopakaraya pratisarhskritah I
' Be it known to you that, seeing the watercourse, which the
illustrious lord 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
to him ; that he, with our permission) has repaired it for the
benefit of your villages.'
' The word, tilamaka, is not found in any dictionary. But
it seems certain, from the context, that it must be some kind
of watercourse. Probably 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.
(Inscriptions from Nepal, no. 9, Jishnugupta's Inscrip.,
line 6 f., Ind. Ant., Vol. ix, p. 172, note 30.)
214
tilNDU ARCHITECTURE TUftGA
(2) Devena yathayarh tilamako bhabatam anyesh(en)arh chopaka-
ray I
(Inscription from Nepal, no. 10, line 14, p. 173.)
(3) Tilamakas" cha saptadha vibhajya paribhoktavyah I
' The watercourse is to be used by dividing it into seven parts.'
(Ibid., no. 14, line 10, p. 177.)
TIRTHA (see TIRTHANKARA)— A stairs of a landing place, a shrine,
a holy place, a Jain teacher.
TlRTHAfrKARA — -A path-maker, the foundation of a religious or
philosophical school, a Jain arhat or saint.
The twenty-four Jain saints or apostles — (M., LV, 90.)
Cf. Fergusson, Hist, of Ind. and East. Arch. (p. 748) :
Name Distinction sign
1. Adinatha .. .. Bull.
2. Adjitanatha .. .. .. Elephant.
3. Sambhunatha . . . . Horse.
4. Abhayanandanatha . . . . Monkey.
5. Sumatinatha .. .. Chakwa (red goose).
6. Supadmanatha . . . . Lotus.
7. Suparsvanatha . . . . Swastika.
8. Chandraprabha . . . . Cresent moon.
9. Pushpadanta . . . . Crocodile.
10 Sitalanatha .. .. .. Tree or flower.
n. Sn-Arhs'anatha .. .. Rhinoceros.
12. Va<;upadya .. .. .. Buffalo.
13. V'malanatha . . . . Boar.
14. Anantanatha . . . . Porcupine.
15. Dharmmanatha . . . . Thunderbolt.
16. Santanatha . . . . . . Antelope.
17. Kunthanatha .. .. Goat.
18. Aranatha . . . . . . Fish.
19. Mallinatha .. .. .. Pinnacle.
20. Munisuvrata . . . . . . Tortoise.
21. Naminatha .. .. .. Lotus with stalk.
22. Neminatha . . . . . . Shell.
23. ParSvanatha . . . . Snake.
24. Vardhamana or Mahavira . . Lion.
For reference to their images see JiNA(ka).
TUftGA (see UTSEDHA) —Height, plinth, vault, arched roof.
(M., xix, lao.)
215
TULA AX ENCYCLOPAEDIA Of
TULA (see under STAMBHA) — A balance, a moulding of the column,
a month, a beam.
(1) Stambha-samam bahulyam bhara-tulanam upary-upary-
asam I
Bhavati tulopatulanam unam padena padena II
(Bnhal-Sarhhitd, LIU 30 : see Kern's Transl.,
J. B. A. S., N. S., Vol. vi, p. 285.)
A moulding of the entablature :
(2) Maha-bhara-tula karya balikordhve viseshatah I
Tula-vistara-tarochcha jayanti syat tulopari II
Tula-balikayor madhye dvi-dandam athava punah II
(Kamikagama, LIV, 13, 16.)
(3) A member of a column (Suprabheddgama, xxxi, 108, 105-107, see
under STAMBHA).
(4) The name of a month ( M. vi, 32), the beam of a balance (M., XH,
163), a balance (M., L, 48, 172-195.)
TULA-DANDA — The horizontal rod of a balance, the beam, its
synonyms.
Tuladandam jayanti cha phalaka-paryaya-vachakah I
(M., xvi, 48, etc.)
TULA-BHARA — An article of furniture used as a hanging balance.
Bhupanam cha tula-bhara-tula-lakshanarh uchyate I — (M., L., 48.)
In connexion with the pavilion:
Evam tu nripa-harmye tu tula-bhararh tu yogyakam I
(M., xxxiv, 287.)
TAILA-MAftJUSHIKA — An oil-pot, used as an article of furniture.
(M., L, 144 : see under BHUSHANA.)
TORANA — An arch, a canopy, a gate-way of a temple or stupa,
a peg, a mechanical arrangement of blocks of any hard material
disposed in the line of some curve and supporting one another by
their 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.
In modern architectural treatises arches are considered in three
aspects, namely, (i) form, (ii) the mode in which their parts are
constructed, and (iii) the thrust they exert.
In respect of their form arches are either straight, triangular,
semi-circular or circular. The Mdnasdra adds another form
called bow-shape which is apparently a little wider than the
2l6
HIMDU ARCHITECTURE TORANA
semi-circle. ' The investigation of the equilibrium of arches '
as truly said by Mr. Gwilt (Encycl., article 1353), ' by the
laws of statics does not appear to have at all entered into the
thoughts of the ancient architects. Experience, imitation and
a sort of mechanical intuition seem to have been their guides.
They appear to have preferred positive solidity to nice balance
and the examples they have left are rather the result of art
than of science. Vitruvius, who speaks of all the ingredients
necessary to form a perfect architect (see under STHAPATI), does not
allude to the assistance which may be afforded in the construction
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 geo-
metry, though of the latter it seems scarcely possible the ancients
could have been ignorant, seeing how much it must have been
(practically, at least) employed in the construction of such vast
buildings as the Coliseum, and other similarly curved structures,
as respects their plan.'
(2) ' Whoever invented the true or radiating arch, the Romans
were the first who applied it as a regular and essential architectural
feature, and who at the same time introduced its complements, the
radiating dome, into architectural construction at what peiiod it is not
now known.' (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.
(3) Mdnasdra, Chap. XLVI (named Torana) 1-77 :
The torana is an ornament (bhushana) for all kinds of thrones
(line i), as well as for temples and royal palaces (line 30). These arches
admit of various forms. They may be circular, semi-circular, triangular
(? hexagonal, tri-yugma), bow-shaped, or of any other desirable
forms (lines 31-32, 33-36). The directions for making these arches as
well as the measurements of their different parts are given in detail
(lines 3-29, 45-76). With regard to ornaments and decorations, arches
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 I
Tad-pradese dvi-parsve tu makaradi-vibhushitam I
217
TORANA AJf ENCYCLOPAEDIA OF
Toranasyagra-mule tu graha-patrais" cha bhushitam I
Toranadyarh tu patradi-bhuta-vyala-samanvitam I
Padanam cha dvi-parsVe tu vyala-torana-dharinam I
(M., XLVI, 45-49.)
Ratnakarariganair yuktaih kukshi(r) avrita-lambitam I
Toranasyopari-dese tu bhujariga-pada-dvayor api I
Grahantaih sarva-ratnais" cha puritaih sreni-samyutam I
(ibid, 5&-6o.)
But these arches may as well be quite plain, that is, without any such
carvings (chitra-hina) — (ibid, 68, 70.)
In connexion with a detached pavilion (mandapa) :
Chatur-dikshu chatur-dvararh chatus-torana-samyutam I
(M., LXX, 21 : see also xxxiv, 217.)
In connexion with the pedestal of an image :
Padma-pltham maha-pltharii tri-murtinam cha yojayet I
Prapa cha toranarii vapi kalpa-vriksharh cha sarhyutam I
(M., LI, 86-87.)
In connexion with the coronation-hall :
PaSchat simhadyais cha kalpa-vriksham cha toranam I
. , , (M., XLIX, 185.)
In connexion with the car or chariot :
Sikhi-sikhandaka-chamara-toranam I (M., XLUI, 156.)
In connexion with the two-storeyed buildings :
Toranair nfda-bhadradi(-dyaih) mule^chordhve cha bhushitam I
(M., xx, 64.)
In connexion with buildings in general (vimana) :
Sala cha nasika-bhadre kuta-nldais tu toranaih !
(M., xviii, 201, etc.)
In connexion with the dome and the pillar :
Athava toranam kritva stambhasyopari vajanam I
Tad-udhve toranasyante makara-patra-samyutam I
Tad-urdhve toranantam syad eka-dandam tu tach-chhiram I
Makari-vaktra-samyuktam. . .
(M., xiv, 130, 133-135.)
(4) Tilaka-kshudra-nasi-yukta-toranais cha samanvitam 1 1
(Kamikagama, L, 93, etc.)
See ibid., LV, 59-63, 56-70, and compare :
Toranam tri-vidharh patra-toranam makaranvitam I
Chitra-toranam ity-esham mandanarh chadhunochyate 1 1
Deva-dvija-narendranam toranam makarakhyakam I
Toranam chitra-sajnam tu vaisyanam pravidhiyate I
Padma(patra)khya-toranam sudre sarvam sarvatra va matam 1 1
(Ibid, LV, 64, 93.)
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HINDU ARCHITECTURE TORANA
(5) ... Toranam vakshyate'dhuna I
Prishthe tu parsvayos' chaiva kartavyas toranas tatha II
Dvarasyotsedha-manam yat toransyochchhrayarh bhavet I
Tad-ardham vistararh proktam uchchhraye shad-vibhajite II
Makararh tu dv(i)yarhs'ena sesham padam iti smritam I
Mula-padasya ckardhena tasya pada-pramanakam 1 1
Makararhs'arii tad-urdhve tu madhye vrittarh sa-nimnakam I
Vritter urdhve uharh kritva ckatur-ayatam eva tu II
Pramanam toranasyoktam prastaraih cha tatah srinu 1 1
(Suprabheddgama, xxxi, 68-72.)
(6) Mahabharata (Cock) :
XIV, 25, 23 : Stambhan kanaka-chitrams cha toranani
vritanti cha I
XIV, 85, 29 : Toranani Sata-kumbha-mayani I
XV, 5, 1 6 : Puram. . . . dridha-prakara-toranam I
XII, 44, 8 : Hema-torana-bhushitam griham I
VIII, 33, 19 : Bahu-prakara-toranam I
V, 191, 21 : Sthuna-bhavanam. . . . uchcha-prakara-toranam
See also V, 143, 23 ; m, 284, 2 ; in, 160, 39 ; in, 15, 5 ; n ; 9, i ; n, 3,
26, i, 185, 17 ;i, 109,8, etc.
(7) Rdmayana (Cock) :
II j 91, 32 : Harmya-prasada-samyukta-toranani I
I, 5, 10 : Kapata-torana-vatim. . . . purim I
II, 15, 32 : Rama-vesma. . . . mani-vidruma-toranam I
III, 45, ii : Hema-kakshya purl ramya vaidurya-maya-torana I
V, 3, 33 : Nagarim lankam satta-prakara-toranam I
V, 4, 24 : Griham. . . . maha-hataka-toranam I
SeealsoIV, 33, 17 ; v, 2, 18, 51 ; v. 6,4 ; v, 18, 8 ; v, 27, 31 ; v, 37,
39 ; v, 41, 21 ; v, 42, 27 ; v, 39, 42 ; v, 44, 6 ; v, 42, 6 ; v, 46,
20, 41 ; v, 47, 7, 38 ; v, 53, 39 ; v, 55, 32 ; vi, 25, 24, 30 ;• vi,
26, 12 ; vi, 41, 31, 56 ; vi, 42, 15 ; vi, 75, 21 ; vn, 3, 27 ; vn, 5,
25; vii, 13, 5; vn, 14, 24, 27, 28, 29; vii, 15, 36; vn. 38. 17.
(8) Matsya-Purdna (Chap. CCLXIV, v. 15) :
Chaturbhis toranair yukto mandapa(h) syach chatur-mukhah 1 1
The pavilion should have four faces and be furnished with four
arched gateways (arches).
Aishtaka dar(a)vas chaiva £aila va syuh sa-torana 1 1
(Ibid., Chap. CCLXIX, v. 46.)
(9) Vdyu-Purdna (Part I, Chap, xxxix, vv. 36, 51, 60) :
Harmya-prasada-kalilah praihs'u-prakara-toranah 1 1
Asltya-amara-pury-abha maker-prakara-toranah II
Pandure charu-sikhare maha-prakara-torane II
219
TORANA AN ENCYCLOPAEDIA of
(10) Kautillya-Artha-Sastra (Chap, xxiv, p. 53) :
Dvi-hastam torana-Sirah — ' a top-support of ornamental arches
projecting as far as two cubits. '
(11) Sarva-deva-maya-charu-toranam svarga-khandam iva vedhasa
svayam— c the beautiful porch which contains all the gods like a
portion of heaven made by the Creator himself. '
' In his account of the ruins of the temple, Mr. Dean speaks of a
doorway relieved by an architrave of most elaborate sculpture,
divilded into twelve compartnents, in each of which a group
from the Hindu Pantheon occupies a place. '
(Harsha Stone Inscrip., v. 44, Ep. Ind., Vol. n,
pp. 121, 126, 124, 128 ; cf. note 72.)
(12) A sort of triumphal arch, supported by two pillars :
Atma-bahu-yuga-sauhrid-arhchita-stambha-saurabha-subham su-
toranam — (Cintra PraSasti of the reign of Saranga-deva, v. 46, Ep., Ind.,
Vol. i, pp. 284, 276.)
(13) See Sridhara's Devapattana prasasti (verse to, Ep. Ind., Vol. n,
p. 440), and compare :
Sughatita-vrisha-Sata-torana-dvaram — ' an excellent porch at
which a bull is skilfully carved. '—(Ibid., v. 12, p. 121.)
(14) Ornamental arch (for the temple) : Prasada-toranam I
(Jaina Inscrip. from Mathura, no. i,
Ep. Ind., Vol. H, p. 198.)
(15) A semi-circular arch with sculpture.
(Specimens of sculptures from Mathura, Plate
m, Ep. Ind., Vol. n, p. 320-321.)
(16) Makara-torana — ' arch with a shark.'
(Ranganatha Inscrip. of Sundarapandya, v. 9,
Ep. Ind., Vol. in, pp. 12, 15.)
(17) Arch (Cochin plates of Bhaskara Ravivarman, line 10, Ep. Ind.,
Vol. Ill, p- 68, 69).
(18) Vyadhatta sri-somesaspada-mukutavat toranam karhchanasya I
' Erected a golden torana like a diadem for the abode of the
holy Somesa. '
(The Chahamanas of Naddula, no. c,
Sundha Hill Inscrip. of Chachigadeva
v. 34, Ep. Ind., Vol. ix, pp. 77, 72.)
(19) ' In front of the basadi of nokkijabbe, the family goddess of her
husband Vira-Santara, she had a makara-torana made. ' — (Ep. Carnal.,
Vol. via, Part I, Nagar Taluq, no. 47 , Transl., p. 151, para. 2.)
220
HINDU ARCHITECTURE TORANA
(20) ' We grant to you in addition throne, crown palanquin, white
umbrella, chamaras on both sides, makara-torana (a kind of arched
canopy), fan, day-light torch, yellow and red flags and such insignia,
with cymbals, . . .' — (Ibid., no. 67, Transl., p. 157, line 14 f.)
(21) ' Who ( Sri-Raj endra-Sola-Devar, A. D. 1034) — having sent
(many ships in the midst of the bellowing sea) and having captured
Sangirama-visaiyot-tungapannam, the king of Kidaram, along with his
victorious fine elephants 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
splendour, and the door set with large jewels.' — (Ep. Carnal., Vol. ix,
Channapatna Taluq, nos. 82, 83 ; Roman Text, p. 185, line 5 from the bottom
upwards ; Transl., 149.)
(22) ' White chamaras, the crown banner, makara-torana, herds of
camels.' — (Ibid. no. 85; Transl., p. 150.)
(23) ' Built a beautiful stone temple with the torana-gate and the surround-
ings walls. Having provided the temple^with a flower-garden, kitchen,
pond, suitable environs, musical instrument (two named) and ornaments
(some named) . . . ' — (Ep. Carnal., Vol. x, Kolar Taluq, no. 132 ; Roman
text, p. 54 ; Transl., p. 49.)
(24) Svarna-dvararh sthapitarh toranena sarddham Srimal-Lokanathasya
gehe I
' 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-
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,
encloses three images of Lokesvara.'
(Inscrip. from Nepal, no. 21, Inscrip. of Srinivasa,
line 6 f., Ind., Ant., Vol. rx, p. 192, note 62.)
(25) Suganam raje . . . Dhanabhutina karitam toranarh silakammarhta
cha uparimo (=Sunganam rajye . . . Dhanabhutina karitam toranarh
Silakarmantas" chotpannah) I
' During the reign of the Sungas (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, line 3 f., Ind. Ant.,
Vol. xrv, pp. 138, 139 ; no. i, Vol. xxi, p. 227.)
(26) ' Pulling down 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 :
Transl., p. 88 ; Roman Text, p. 170.)
221
TAULI AN ENCYCLOPAEDIA OF
(27) ' The sculptor Kalidasi, champion over the proud, a thunderbolt
to the rock (vajra-giri), titled sculptor, made the makara-torana (or
carved headpiece for the lintel).' — (Ep. Carnal., Vol. v, part I, Supplement,
Belur Taluq, no. 239 ; Transl., p. 275 j Roman Text, p. 592.)
(28) ' Those Brahmans, pleased with Basi-Setti, gave to his wife and
children a large palanquin and a canopy (torana) to descend to his
children.' — (Ep. Carnal., Vol. vi, Chikmagalur Taluq, no. 44 ; Transl., p. 39 ;
Roman Text, p. 104.)
(29) ' The Vira-bhikshavati-udana-svami honoured the Svami of the
Galipuje throne with the follwing : a palanquin with silver mountings,
a pearl necklace, a golden umbrella, the double chamaras, a makara (torana)
canopy ... for the feet, a Mukkanna drum, a Basava drum, a Nandi flag,
etc.' — (Ep. Carnal., Vol. vi, Chikmagalur Taluq, no. 109 ; Transl., p. 51, para
2 ; Roman Text, p. 124, line 8 f.)
(30) ' Toran(a) — A structure formed of one or more horizontal beams
resting on columns : a gateway or other detached entrance.' — (Rea,
Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi, p. 40.)
(31) See Cunningham, Arch. Surv. Reports (Vol. xxi, Plate XL, Torana
of great temple, Nand-Chand).
(32) 'Torana — (i) Gate-way of a temple or Stupa, (2) a peg used in
marriage ceremonies.' — (Vincent Smith, Gloss, to Cunningham's Arch. Surv.
Reports.)
TAULI — The top of a building, a roof, the ceiling.
Mukhottarayate nyasya tiryak taulim prakalpayet I
Padam vayate taulim kuryad yuktya vichakshanah I
Tad-urdhve jayantikam kuryat tat-tat-prachchhadananvitam I
(M., xxxm, 372-374.)
See PRACHCHHADANA and compare PRATAULI.
TRI-KARNA — A kind of joinery, of three-earn pattern.
(M., xvn, 106 ; see under SANDHI-KARMAN.)
TRI-TALA — The second floor, the third storey.
The description of the third storey. — (M., xxi, 56-72 ; the eight classes,
2~55 5 see 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.)
TRI-BHAftGA (see BHANGA) — A pose in which the image is bent
in three places. In this pose a figure has its head and hips displaced
about one arhSa (part) to the right or left of the centie line.
(See details under BHANGA.)
222
TRIPATTA
TARAMGA.
o
c
T.ATIKA.
TRIKARNA JOINERY
TRIKAP.NA
Pane 223
I
HINDU ARCHITECTURE DANDA(-MANA)
TRI-BHITT-(IKA)— A three-fold wall, a structure having such a
wall.
(M., xxxiv, 74.)
TRI-BHtJMI (see TRI-TALA) — The third storey, a three-storeyed
building.
In connexion with an image :
Evam tu Vishnu-murtih syach chhakti-yuktam tu parsVayoh I
Tri-bhumirdakshine vame sthavare jangame'piva I
(M., LI, 62-63.)
TRI-MURTI— The triad, the images of Brahma, Vishnu and
Siva.
(M., LI, 2-95.)
TRI-YUTA — A site plan in which the whole area is divided into
289 equal squares.
(M., vii, 23 ; see under PADA-VINYASA.)
TRI-VARGAKA — A set of three architectural members or mould-
ings.
Pinopapitharh harmyam cheva mandapam cha tri-vargakam I
(M., xxxiv, 68.)
Nanda-pankty-am£a(-5e) vibhajet chatus-tale tu tri-vargakam I
(M., XXXHI, 505.)
In connexion with the foundations :
Manjushochchrayam chatur-bhagam tat-tad ekasanam bhavet I
Tad-dvayam changhri-tungarh syad ekams'am prastaranvitam I
Tri-varga-mandapakaram adbhih svantam pravishtake I
(M., xn, 34-36.)
TRI-VISHTAPA — A class of buildings, octangular in plan and called
(i) Vajra, (2) Chakra, (3) Svastika, (4) Vajra-svastika, (5) Chitra,
(6) Svastika-khadga, (7) Gada, (8) Srikantha, and (9) Vijaya.
(1) Agni-Purdna — (Chap, civ, w. 12, 20-21 ; see under PRASADA).
(2) Garuda-Purdna — (Chap. XLVH, w. 21, 22, 23, 31-32 ; see under PRASADA.)
TVASHTRI — An architect (see details under STHAPATII.
D
DANDA(-MANA) — A measure, a type of building, a flag-staff, a
pillar, a parapet (M., xvi, 194-196).
(i) A measure of four cubits (see under A^OULA) :
Chatur-hastarh dhanur dandarh dandashtam rajjum eva cha I
(M., n, 53.)
223
DANDAKA AN ENCYCLOPAEDIA OF
Compare hasta-danda (M., n, 68), mana-danda (ibid., 76).
A stick (M., n, 223), a measure (M., ix, 10, etc.) ; in connexion with
joinery (M., xvn, 200).
(2) A house with a northern and eastern hall (see DANDA-KANTA) .
(Bfihat-Samhita, LIII, 39.)
(3) Chatur-hasto dhanur dando nalika-jugam eva cha >
(Brahmanda-Purana, Part I, and Anushariga-
pada, Chap, vn, v. 100.)
(4) A class of buildings. — (Kamikagama, XLV, 64 ; see under MALIKA.)
(5) AchaleSa-damdam uchchaih sauvarnnarii Samara-bhupalah Karaya-
masa I
' The protector of the earth, Samara, caused a golden flagstaff to be erect-
ed here (in the temple at Abu) for the lord of the mountain.'
(Mount Abu Inscrip. of Samarasimha
v. 54, Ind. Ant., Vol. xvi, pp. 350, 355.
(6) Danda— ' an unspecified measure, also called Stambha.'— Bamani
Inscrip. of the Silahara Vijayaditya, lines 20, 21, 23, Ep. Ind., Vol. 111, pp. 212,
2I3-)
DANDAKA— A pillar, a village, a pavilion, a hall, a moulding.
(1) A part of a column.
(Suprabhedagama, xxx, 586, etc.; see under STAMBHA.)
(2) Manasdra :
A class of villages (M., ix, 2, etc.; see under GRAMA).
A part (? shaft) of the column (A/., xv, 44, 149 ; L, 85).
A small pillar (M., xvm, 172).
type of pavilion with two faces :
Dvi-vaktram dandakarii proktam tri-vaktram svastikarh tatha I
(M., xxxrv, 552 ; see further context under MANDAPA.)
A class of halls or storeyed mansions built in a single row— (M., xxxv,
3, description ibid, 65-66, 82-95, «« under §ALA.)
DANDA-KANTA— A class of halls, a type of storeyed mansions.
(M.t xxxv, 104; see DANPAKA.)
DANDIKA— The fifth moulding from the top of the entablature.
(KSmikdgama, uv, 2 ; see under PRASTARA.)
DANDITA— Smaller buildings, pavilions near the door.
Cf. Dvara-manam tathaivaih syat dandita-dvaram ardhatah I
(Ibid., xxxv, 45, etc.)
224
HINDU ARCHITECTURE DA$A TALA
DANTA-KILA— A kind of tooth-like joinery.
(M., XVH, 177 ; see SANDHI-KARMAN.)
DANTA-NALA— A tooth-like drain or canal.
In connexion with the general description of the single-storeyed build-
ings :
Madhyame chottame harmye danta-nalam pramanakam I
( A£ xix T fifl ^
DAM(A) (see DHAMAN) — A house.
(R.-V., i, i, 8 ; ii, i, a ; Vj. Sam. vm 24, etc.)
DARI-GRIHA (see KANDARA-GRIHA)— The cave-house generally
hewn out of rocks, underground rooms.
See Kalidasa's Kumarasambhava (i, 10, 14 ; quoted also by Professor Liider)
Ind. Ant., Vol. xxxiv, p. 199.)
DARPANA — A looking-glass, a mirror, an ornament.
In connexion with the single-storeyed buildings :
Palike lambanam tatra sYenya darpana(m) proktavat I— (M., xix, 42.
In connexion with the car or chariot :
Rathanam chordva-des"asya alankaram pravakshyate I
Vividha-kinkini-nirmala-darpanam. . . . \-(M, XLHI, 148, 157.)
An article of furniture (M., L, 46), its description (ibid., 111-131).
DARBHA— A type of pavilion, used as stables foi elephants.
(M., xxxiv, 253 ; see under MAISTDAPA.)
DALA-A petal, a leaf, a moulding of leaf-pattern.
A moulding of the pedestal (M.} xin, 75, 82, etc.; see the lists of mould-
mgs under UPAP!THA).
A moulding of the throne (M., XLV, 160, etc.).
DASA-KANTA-A collective name 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
DASA-TALA AN ENCYCLOPAEDIA OF
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 da§a-tala measure ; and fol. 274, the smallest type of the same.)
DASA-BHUMI (see DASA-TALA) — The tenth storey, the ninth floor-
DAGABA — A Singalese word applied to a stupa, derived from Sanskrit
' dhatu,' a relic, element, and garbha, a womb, receptacle, or shrine.
See further details under DHATUGARBHA, cf. Vinaya Texts, 4, 308.
They were pre-Buddhistic in origin, see White Yajurveda, Chap. xxxv.
DIPA-DANDA — A lamp-post, a lamp-bearing pillar.
Compare Dipa-stambha, and Dipa-skambha under STAMBHA and see
the plates referred to.
The stationary lamp-post is generally built in front of the house
(M., L. 64) ; the movable lamp-stand is square, octagonal or circular
(ibid., 84) ; they are made of iron, wood, or stone (ibid., 71-89) ; their
description in detail (ibid., 57-83, 84, 96).
DIPA-DANA — A lamp-pillar. In the south (of India) it is usually
a high monolith, with an iron lamp-bracket on the top. In the north-
west of the Presidency of Madras such pillars are sometimes constructed
in courses, with lamp-brackets in the joints. These pillars are erected
outside the front entrance.
(Chalukyan Architecture, p. 38, Arch. Surv., New
Imp. Series, Vol. xxi ; see Plate cix, fig. i.)
DIPA-MALA(-SKAMBHA, DIPA-STAMBHA, DIPTI-STAM.
BHA) (see STAMBHA) — A lamp-bearing pillar, generally belonging
to the Jain monuments.
A small lamp-pillar, standing inside the temple (Chalukyan Architec-
ture, p. 38, Arch. Surv., New Imp. Series, Vol. xxi ; see Plate cix, fig. i).
DUNDUBHI— A type of round buildings.
(1) Agni-Purdna (Chap, civ, w. 17-18 ; see under PRASADA).
(2) 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 cities, the forts are called sibira, vahini-mukha,
sthaniya, dronaka, sambidhha, kolaka, nigama and skandh-
avara.
(M., x, 40-42.)
236
DHARA KUMBHA.
P
IMPA STAMBHA
7
BAMBOO PEGS.
DANTA K!LA.
DHVAJA STAMBHA
TOOTH-SHAPED.
DENTICULATED.
DANTA NALA.
Pitae 226
HINDU ARCHITECTURE DURGA
For purely military purposes, they are classified as giri-durga (hill-
fort), 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 (ibid., 90-103).
Their common features :
Sarvesham api durganam vaprais" cha parikhair vritam I
PraveSa-nirgama-sthane dvarair api samanvitam I
Ishtakadi-kritam vaprarh hasta-dvadasakochchhrayam I
Tad-ardharh bhitti-mule tu samcharaih saha vistritam I
(M., x. 106-109.)
(2) Kautiliya-Arlha-sastra (Chap, xxiv, para i, p. 51):
Chatur-disarh jana-padante samparayikam daiva-kritam durgam
karayat antar-dvlpam sthalam va nimnavaruddham audakam
prastaram guharii va parvatam nirudaka-stambam-irinam va
dhanvanam kha-janodakarh stamba-gahanam va vana-
durgam I
Tesham nadi-parvata-durgam jan-padaraksha-sthanam dhan-
vana-vana-durgam atavi-sthanam apadya prasaro va I
Then follows the very interesting description of the plan and
other architectural details, the military defences, and intern a
arrangement for the comfort and convenience of the inhabitants.
The contents of Chapters xxrv, xxv, and xxn, when taken to-
gether, will give a good idea of the ancient fortified cities :
They can be circular, square or rectangular. They are sur-
rounded with moats (parikha), enclosure walls and ramparts
(prakara and vapra), and are furnished with various entrances,
exits and gateways (pratoli). Circumambulating flights of
steps (pradakshina-sopana) and secret staircases in the walls (gudha
bhitti-sopana) are constructed. Towers are built on the enclo-
sure walls and warlike weapons are placed therein. In the interior
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.
(3) Sukraniti (Chap. iv. sect, vi, vv. 2-16, 23-28, ed. Jivananda Vidya
sagara, p. 447 f.)
' Fortresses are made inaccessible through ditches, thorns,
rocks and deserts. The Parikha fort is that which is surrounded on
all sides by great ditches (parikha); and the Parigha fort is known
to be that which is protected by walls of bricks, stones and mud.
227
DURGA AN ENCYCLOPAEDIA OF
The Vana or forest-fort is one which is encircled by huge thorns and
clusters of trees. The Dhanva-durga is known to be that round about
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. '
(4) Lankapuri niralamba deva-durga-bhayavaha I
Nadeyam parvatarh vanyam kritrimarh cha chatur-vidham II
Sailagre rachita-durga sa pur deva-puropama I
(Ramdyana, Laiikakanda, Sarga 3, vv. 20, 22.)
(5) Khetanarh cha puranarh cha gramanam chaiva sarvasah I
Tri-vidhanam cha durganam parvatodaka-dhanvinam II
(Brahmanda-Purana, Part i, 2nd Anushanga-
pada, Chap, vn, v. 105 ; see also v. 102.)
(6) Dhanur-durga-mahi-durgam ab-durgarh varksharh eva va I
Nri-durgam giri-durgarh va samaSritya vaset puram II
(Manu-Samhita, vn, 70, etc.)
(7) Shad-vidharh durgam asthaya purany-atha niveSayet I
Sarva-sarhpat-pradhanarh yad bahulyarh chapi sambhavet II
Dhanva-durgarh mahi-durgam giri-durgarh tathaiva cha I
Manushya-Hurgarh mrid-durgarh vana-durgam cha tani sha^ll
Then follows the description of details of these fortified places.
(Mahabharata, xn, 86, 4-5, etc.\
(8) Yo'yarh samastam api mandalam a§u Satror achchhidya kirtti-
giri*durgam idam vyadhatta — ' having quickly wrested from the enemy
this whole district (mandala) made this fort of Kirtigiri.' — (Chandella
Inscrip. no. 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 I
Vedantagaih Srutiparaih smriti-dharma-vidyaih purne sma
karayati deva-nripas-saro'gryam II
' In the fort named Malavalli, protected on the east by (the
temple of) Lakshmi-Nrisirhha, having a deep moat, filled with
men learned in the Vedanta (i.e., philosophy), Sruti (Vedas),
Smriti and Dharma-Sastra that Deva-nripati made a maginificent
pond. '
228
HINDU ARCHITECTURE DEVA-DURGA
Evidently this ' durga ' or fort is not a military post or station ;
its inmates are people learned not in the military science but in
philosophy and religion. At the same time it is protected by
' deep moat.' It is, therefore, just like the villages or towns
described in the Mdnasdra.
(Ep. Carnal., Vol. in, Malavalli Taluq
no. 6 1 ; Roman Text, last verse >
p. 126 ; Transl., p. 62.)
(10) See the fort-temple.
(Chalukyan Architecture, Arch. Surv., New Imp .
Series, Vol. xxi, Plate cxiv, figs, i, 2.)
DURYA — Door-posts, belonging to doors, dwellings.
(R.-V., i, 9, 18 ; 2, 12 ; vii, i, n ; i, 91, 19 ; x, 40,
12 ; Taitt. Sam., i, 6, 3, i ; Vdj. Sam., i, u.)
DURLABHA-GRAMA — A village situated close to a large village
(maha-grama) and inhabited by the free-holders (agraharopajivin) .
(Af., x, 79-80 ; see under GRAMA.)
DEVA-KANTA— A class of the eight-storeyed buildings.
(M., xxvi, 46-47 ; see under PRASADA.)
DEVA-KULA(-IKA) — A chapel, a shrine, a temple, a statue shrine,
a statue gallery.
(1) ' Kandasenan (Skandasena) . . . caused (this) temple (deva-kula)
to be made.' — (Vallam Inscip. of Mahendrapotaraja, no. 72, A. B ; H. S. I. I.,
Vol. H, p. 341.)
(2) See inscriptions from Northern Gujarat (no. xxr, line 4, Ep.
Ind., Vol. u, p. 31.)
(3) See the inscription of the Samvat 168 in Sarada character at
Peshwar Museum.
(4) Compare 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 (see under GARBHA-
NYASA).
DEVATA-MANDAPA— A class of pavilions.
(Suprabhedagama, xxxi, 96, 98 ; see under MANDAPA.)
DEVA-DURGA (see DURGA)— A god's fort, a divine or natural
fort.
229
DEVA-NIKETA-MANDALA AN ENCYCLOPAEDIA OF
' 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
King.' — (Ep. Carnal., Vol. v, Parti ; Belur Taluq, no. 119 ; Transl., p. 78 ;
Roman Text, pp. 182-183.)
DEVA-NIKETA-MANDALA— A group of temples.
Achikarad deva-niketa-mandalam . . . stambha-varo-chchhraya-pra-
bhase — ' caused to be made a group of temples . . . which is
beautiful with the erection of (this) best of columns. ' — (Bihar Stone
Pillar Inscrip. of Skandagupta, lines 5-6, C.I.I., Vol. ill, F. G. I. no. 12,
PP- 49. 5»0
DEVA-BHCSHANA-MANDAPA— A detached pavilion where the
idols are dressed, a dressing room in a temple.
(M., xxxii, 71; see under MANDAPA.)
DEVAYATANA (see AYATANA)— A temple.
Kritva prabhutarh salilam araman vinivesya cha I
Devayatanarii kuryad yaSo-dharmabhivriddhaye II
' Having made great water reservoirs and laid out gardens, let one
build a temple to heighten one's reputation and merit.'
(Brihat-Samhitd, LVI, i : J. R. A. S., N. S
Vol. vi, p. 316.)
Ramayana (Cock):
I- 5> '3
I- 77> '3
II. 6, 4
II. 6, ii
II. 3, 18
II. 25, 4
VII. 101, 15
(Purim) . . . devayatanais chaiva vimanair api-
Sobhitam I
Devayatanani I
Srlmaty-ayatane vishnoh I
Sitabhra-sikharabheshu devayataneshu I
Devayatana-chaityesbu (also n, 71, 72).
Deveshv-ayataneshu cha I
(Ubhe purottame) . . . sobhite Sobhaniyais" cha
devayatana-vistaraih I
Devayatana-chaityeshu I — (Mahabhdrata, H, 80, 30, etc.)
Cf. Grama-nagara-kheda-karvvada-madamba-drona-mukha-pattanam
galimdam aneka-mata-kuta-prasada-devayatanarhgalidarh-oppuva-
agrahara-pattanamgalimdam ati^ayav-appa ... I
[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, villages
surrounded by hills, groups of villages, sea-girt towns, and chief cities
230
HINDU ARCHITECTURE DEVALAYA
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. 19, 25.)
DEVALAYA — A god's residence or dwelling, in the sense of temple
it is 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-
tion of the term.
The general plan :
(i) ' Sometimes a portico is made round the garbha-griha (shrine
and antarala (corridor) together. The whole being closed on all
sides but the front, in which are the doors for entrance, approached
by the front portico, which is generally a peristyle, and it serves as
the innermost court for pradakashina (circumambulation).'
' Temples on a large scale have three or four successive porti-
coes (mandapa) attached to them in the front, which are called
ardha-mandapa, maha-mandapa, sthapana-mandapa, vritya
mandapa, etc. '
' A water spout is made over the base on the back wall of
the garbha-griha on the left side of the idol. On the surface of
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.'
(Ram Raz, Ess. Arch, of Hind., pp. 49, 50, 51.)
(2) ' Krishnaraja-udayar, having created Chamaraja-nagara,
created the Chamarajesvara temple (devalaya), together with its
precincts (prakara), gopura (gateway) adorned with golden kalasas
and tower (vimana), — set up the great (maha) linga under the
name of Chamarajesvara, and in the shrine (garbha-griha) to his left
set up the goddess named Kempa-Nanjamaba, and in the shrine to
his right the 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
(sahasra) lingas and on the colonnade to the north twenty-five
pleasing statues (lilamurti, cf. dhyana-murti) — and on the south-
west side building a separate temple (mandapa), set up the god
Narayana together with Lakshmi.' — (Ep. Carnal., Vol. iv, Chamaraj-
nagar Taluq, no. 86 ; Transl., p. 1 1, line 4 f. ; Roman Text, p. 18, line 8 f.)
231
DEVALAYA AN ENCYCLOPAEDIA OF
(3 ' In Lakkugundi, which was his birth-place, Amritadanda-
dhls"a built a temple (devalaya) , made a large tank, established
a satra, formed an agrahara, and set up a water-shed. ' — (Ep.
Carnal., Vol. vi, Kadur Taluq, no. 36 ; Roman Text, p. 22, line 1 1 f. ;
Transl., p. 8.)
(4) Devalayaih prathayata nija-kirttim uchchaih — ' who spread
his fame aloft by (building) temple. ' — (Sharqi Arch, of Jaunpur, Shahet-
Mahet Inscrip., v. 14, Arch. Surv., New Imp. Series, Vol. xi, pp. 72, 73.)
The general plan :
(5) ' The temple itself consists of the usual three parts : an
open mandapa on a base, .... with a double row of pillars on
the three exposed sides, and roofed by a large ribbed dome
standing on the twelve inner pillars ; on each of the three outer
sides it has a large projecting porch. Beyond this is the principal
mandapa ... in the inner corner of this mandapa are two rooms.
. . . Three doors with richly carved thresholds lead from the
hall into the shrine. ' — (Ahmedabad Arch., Burgess, Arch. Surv., New
Imp. Series, Vol. xxxni, p. 29.)
(6) ' 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
garbha-griha, a sukha-nasi and a nava-ranga, and may have had a
porch once. '
' The newly restored Sarada temple, situated to the north of
the Vindya-s"ankara, is a fine structure in the Dravidian style
consisting of a garbha-griha, sukha-nasi, a nava-ranga, and a
prakara or enclosure. It faces east and has three entrances
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.)
(7) ' 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).'
(Cunningham, Arch. Suro. Reports, Vol. vn,
p. 40 : see also ibid., plate, xix, showing in
detail the 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, xn, xni, xiv, xv,
xvi, groups of temples.)
232
HINDU ARCHITECTURE DRAVIDA
DE&YA — A site plan of one hundred and forty-four squares.
(M. vii, 13, 14 ; 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 i ; xxv, line 2 ; Ep. Ind., Vol. n, p. 32.)
DEHI — A defensive wall, trench or rampart.
(R.-V., vi, 47, 2 ; vn, 6, 5, Schroder Pre-historic :
Antiquities, 344 ; Zimner, All. Lib., 143,
as in the names Videha or even Delhi.)
DEHA-LABDHA&GULA (see under ANGULA) — A measure equal
to 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
according to the tala measures. This is employed in measuring
the sculptural objects like the image of a god or man.
(Suprabheddgama, xxx, 5, 6, 9 ; see under ANGULA.)
DEHARA — A porch, a terrace.
(1) 'In a discourse on dharmma in an assembly held in the porch
or terrace (dehara), the chaplain . . . set up a god in the name
of their father. ' — (Ep- Carnal., Vol. v, Part I, Arsikere Taluq, no. 123 :
Transl., p. 167, para. 2, line 4.)
(2) ' From Vira-Hoysala he obtained (the appointment) of ins-
pector of the servants of the porch or terrace (dehara).'— (Ibid., no. 127,
Transl., p. 170, para. 2, line 16.)
DAIVIKA-(LlNGA) — A type of phallus, a phallus of divine origin.
Devais cha sthapitarh lingam daivikarii lingam uchyate I
(M., LII, 230. See Kamikdgama
L, 35. 37, under LINGA.)
DOLA — A swing, a hammock.
' The great minister caused to be erected a dipti-stambha for the
Krittika festival of lights and a swing (dola) for the swinging rade
festival (dolarohotsavakke) of the god Chenna-Kesava of Belur. '
(Ep. Carnat., Vol. v, Part I, Belur Taluq, no. 14 ; Transl., p. 47 ; Roman Text,
p. 107. See Mdnasara, 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 AX ENCYCLOPAEDIA OF
A class of the twelve-storeyed builirigs :
Ravi-bhumi-visale tu chashta-virhsariisakam bhavet I
Maha-s"ala dasams"am syat Sesham purvavad acharet I
Panchalarh dravidarh chaiva ravi-bhumy-alpha harmyake I
(M., xxx, 8-10.)
DRUPADA — The civic and sacrificial posts, symbolical of royal
and divine power to which offenders and sacrificial victims were
tied.
(R.-V., i, 24, 13 ; iv, 32, 23 ; vn, 86, 5 ; A.-V'
63. 3 5 "5> 2 5 XIX> 47> 9 : Vdj. Sam., xx, 20.
DRONAKA (see under DURGA and NAGARA) — A fortified city
situated on the bank of a sea, a sea-side town.
Samudratatini-yuktarh tatinya dakshinottare I
Vanighih saha nanabhih janair yuktam janaspadam I
Nagarasya prati-tate grahakaiS cha samavritam I
Kraya-vikraya-sarhyuktaih dronantaram udahritam I
(M., x, 75-78.)
A class of pavilion. — (M., xxxiv, 423 ; see under MANDAPA.)
DRONA-MUKHA— A fort, a fortified town, a fortress.
A fortress to defend a group of 400 villages :
(1) ChatuS-sata-gramya drona-mukham I
(Kautillya-Artha-Sastra, Chap, xxn, p. 46.)
(2) Nagarani kara-varjitani nigama-vanijarh sthanani janapada
desah pura-varani nagaraika-desa-bhutani drona-mukhani
jala-sthalapathopetani I
(PraSna-Vyakarana-sutra-vyakhyane,
p. 306, ibid., p. 46, footnote.)
(3) Grama-nagara-kheda-karvvada-madarhba-drona-mukha-pat-
tana-galirhdam aneka-mata-kuta-prasada- devayatanarhgal-imdam-
oppuva-agrahara-pattanarhgalirhdamatisayav-appa. . . .
[At Tridala, a merchant town situated in the centre and the first
in importance among the twelve (towns), in the glorious Kundi
Three-Thousand adorned with] ' villages, towns, hamlets, villages
surrounded by hills, groups of villages, sea-girt towns and chief cities,
with elegant mansions, palaces and temples, and with shining
agrahara towns in the country of Kuntala. ' — (Old Kanarese Inscrip.
at Terdal, line 58, Ind. Ant., Vol. xiv, pp. 19, 25.)
234
HINDU ARCHITECTURE DVARA
(4) ' With myriads of people, practices of virtue, agreeable
occupations, streams of the (nine) sentiments, pleasure gardens,
separated lovers, splendid tanks, full lotus-beds, gilded boats for
spring festivals, ghatika-sthanas (religious centres), the supports of
dharmma and mines of enjoyment, moats which were as if the sea
being overcome had returned here on account of the collection of
gems, groups of the lotus faces of beautiful women fair as the moon
(grama-nagara-kheda-kharwana-madamba-drona- mukha-pura- patta-
na-raja-dhani), on whatever side one looked, in these nine forms did
the Kuntala-des > shine.'
(It should be noticed that the passage within brackets is almost
identical with the corresponding passage in quotation no. 3 above).
(Ep. Carnat., Vol. vn, Shikarpur Taluq, no.
197 ; Transl., p. 124, para, i, last seven
lines ; Roman Text, p. 214, line 27 f.)
DVA-DA$A-TALA— The twelve-storeyed buildings, the twelfth
storey.
(1) See Mdnasdra (Chap, xxx, 1-191, ten classes, ibid., 5-7, 8-36, see
under PRASADA ; the general description of the twelfth storey, ibid., 37-88,
89-191).
(2) Tad-adhastat talarh chaikadaSa-dva-dasa-bhumikam I
(Kamikagama, xxxv, 86.)
(3) Adva-dasa-talad evarii bhumau bhumau prakalpayat I
(Suprabhedagama, xxxi, 33.)
DVARA — A door, a gate, an entrance. Compare GURUDVARA.
(i) Mdnasdra (Chap, xxxvm, 2-54 ; xxxix, 1-163) :
The situation of gates in the village or town (called Nandya-
varta) :
Gramasya parito bahye rakshartharh vapra-samyutam I
Tad-bahih parito yukatarh paritoya-pravedakaih I
Chatur-dikshu chatush-kone maha-dvaram prakalpayet I
Vrittarh va chatur-asrarh va vastu-sva(-a)-kriti-vaprayuk I
Purva-dvararh athaisane chagni-dvaram tu dakshine I
Pitur dvararh tu tat-pratyag vayau dvaram tathottaram I
Purva-paschima-tad-dvarau (-rayoh) riju-sutrarh tu yojayet I
Dakshinottarayor dvarau tatra sesharh (-dese) viseshatah I
Dakshinottaratah sutrarh vinyasech chhilpavit-tamah I
Tasya sutrat tu tat-purve hastarh tad-dvara-madhyame I
Evam dakshinato dvaram tad-dhi taro(-rarh) tathoktavat I
Uttare dvaram tat sutrat pratyag-hastavasanakam I
235
£>VARA AM ENCYCLOPAEDIA OF
Chatur-dikshu chatur-dvararh yuktam va neshyate budhaih I
Purve pas"chimake vapi dvaram etad(-kam) dvayor api I
Paritas chatur-aSragrad dvaram kuryat tu sarvada I
Etat sarvarh maha-dvaram upa-dvaram ichochyate I
The smaller doors :
Nage vapi mrige vatha aditis"-chodito'pi va I
Parjanye vantarikshe va pushe va vitathe'thava I
Gandharve bhringaraje va sugrive vasure'thava I
Yathesht(am)evam upa-dvaram kuryat tal-lakshanoktavat I
The water-doors (drains) :
Mukhyake vatha bhallate mrige va chodite'pi va I
Jayante va mahendre va satyake va bhrise'thava I
Evam evarh jala-dvaram kuryat tatra vichakshana I
(M., ix, 290-313.)
The gates of villages :
Svastikagram chatur-dikshu dvaram tesharh prakalpayet I
Evam chashta-maha-dvaram dikshu dikshu dvayam tatah »
Mrige chaivantarikshe va bhringaraja-bhrise tatha I
Seshe vapi cha roge va chaditau chodite'pi va I
Evam etad upa-dvaram kuryat tatra vichakshanah I
Maha-dvaram tu sarvesham langalakara-sannibham I
Kapata-dvaya-samyuktam dvaranam tat prithak prithak I
(Ibid., 355-361.)
Chatur-dikshu chatur-dvaram upa-dvaram antaralake I
Devanam chakravartinarh madhye dvaram prakalpayet I
Maha-dvaram iti proktam upa-dvaram tu choktavat I
Bhu-suradi-naranarh cha madhye dvaram na (cha) yojayet I
Madhya-sutram tu vame tu harmya-dvaram prakalpayet I
(M., xxxi, 77-81.)
Referring to the two-storeyed buildings :
Tat-pure madhyame dvaram gavaksham vatha kalpayet I
Dakshine madhyame dvaram syad agre madhya-mandapam I
Chatur-dvara-samayuktam purve sopana-sarhyutam I
(M., xx, 81-83.)
Two entire chapters are devoted to the description of doors of the
residential buildings and temples, in one of which (Chap, xxxix, 1-163^
the measurement and the component parts and mouldings are given ;
mainly the situation of the doors is described in the other (Chap.
xxxvra, 2-54).
236
HINDU ARCHITECTURE DVARA
It is stated (Chap, xxxix) that the height of the door should be
twice its width (line 14). But various alternative measures are also
given, (lines 17-18). The height may vary from if cubits to 7 cubits
(line 7). The height of the smaller doors vary from i cubit to 3 cubits
(lines 9-10). The height of the windows which are sometimes made in
place of smaller doors vary from half a cubit to 2 cubits. This measure-
ment is prescribed for doors in the Jati class of buildings (line 28). Such
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
length (lines 50, 111-163). Doors are generally of two flaps ; but one-
flapped door are also mentioned (line 98).
Doors are profusely decorated with the carvings of leaves and
creepers (line 116). The images of Ganesa, Sarasvati and other deities
are also carved on both sides of a door (cf. the concluding portions of
Chaps, xix, xxx).
The chapter closes with a lengthy description of the six or rather the
four main parts of doors. The door-panel (kavata), door-joint (dvara-
sandhi), door-plank (phalaka), bolt (kilabhajana), etc. are minutely
described ^line 137 f.).
It is stated (Chap, xxxvm) that four main doors should be constructed
on the four sides of all kinds of buildings of gods and men (lines 2-4)
and the smaller doors are stated to be constructed at convenient places
(line 4). Many other still smaller doors are constructed at the intervening
spaces (lines 19, etc). The gutters are made conveniently and sloped
downwards (lines 5-7). Drains or jala-dvara (water-gate) are made
beneath the halls (line 8). The main doors are always furnished with a
flight of stairs (line 12).
In some residential buildings the entrance door is made, not in the
middle of the frontage, but on either side of the middle (line 17),
although the general rule is to make the door in the middle of the
(front wall, lines 6, etc.). But in temples and in case of kitchens in
particular, the doors are generally made at the middle of the wall (line
35, see also Chap, xxxix, 140). For the easy upward passage (urdhva-
gamana) of the kitchen smoke, they are furnished with the lattice (Jala,
line 37).
(2) Varaha-mihira (Bnhat-Samhitd, LHI, 26-27, 70-82 ; LVI, 10) has
condensed the contents of the two chapters, dealing with the measure-
ment of door (dvara-mana) and situation of the door (dvara-sthana)
of the Mdnasara. But he does not give any absolute measurement. As
237
DVARA AN ENCYCLOPAEDIA OF
regards the situation of door, the principle seems to be two-fold in all the
architectural treatises. ' The door is made on either said of the middle
of the wall, mostly in private residential buildings for ladies in parti-
cular.' But according to Ram Raz (p. 46) ' if the front of the house
be ten paces in length, the entrance should be between five on the right
and four on the left.'
After this, Dr. Kern quotes Utpala to show the different prin-
ciples :
Tatha cha karyani yatha bhananam grihabhyantaram anganam
visatam tany-eva vasa-grihani dakskinato dakshinasyam disi bha-
vanti I Etad uktam bhavati pran-mukhasya grihasyangana-(sya-
gara)-dvaram uttararabhimukharii karyam dakshinabhimukhasya
pran mukham palchimabhimukhasya dakshinabhimukham uttarabhi-
mukhasya paschimabhimukham iti I
' How a house can be said to face the east, without having its
door facing the same quarter, is beyond our comprehension.' Kern.
Compare no. 4 below.
(J.R.A.S., N. S., Vol. vi, p. 291, note i.)
Varaha-mihira himself, however, states (Bfihat-Sarhhitd, LVI, 10)
the most general principle of the position of the door, which Dr.
Kern does not seem to have taken any notice of (compare his trans-
lation of the following verse, J. R. A. S., N. S., Vol. vi, p. 318) :
Chatuh-shashti-padarh karyam devayatanam sada I
Dvaram cha madhyamam tatra samadikstham prasasyate II
: The (area of the) temple is always divided into 64 squares (see
PADA-VINYASA) . Therein (i.e. in the temple) the door is made at the
middle (of the front wall) and it is highly commendable, when the
door is placed at the same line (lit. same direction) with the idol.'
Dr. Kern interprets the second line as ' the middle door in one of
the four cardinal points.' The rules in the Mdnasara as also the
existing temples support the interpretation, namely, ' the door is
made at the middle ' (of the front wall).
(3) Vdstu-sdra (by one Mandana, Ahmedabad, 1878) lays down (i, 6)
that the house may have the front side (with entrance) at any direction
according to the choice of the occupants, and states distinctly that the
face of the house may be made at four directions (kuryach chatur-disaih
mukham).
(4) Gdrga-Sarhhita (MS. R. 15, 96, Trinity College, Cambridge) has
apparently three chapters on the subject of door : dimensions of door
(dvara-pramana, fol. 57^, 686, same as dvara-mana of the Mdnasara) ;
238
HINDU ARCHITECTURE DVARA
situation of door (dvara-nirdesa, Chap, m, fol. 573, corresponds more or
less with dvara-sthana or position of door, of the Mdnasdrd) ; and height
of the door-pillar (dvara-stambhochchhraya-vidhi, fol. 606) ; there is no
such separate chapter in the Mdnasdra, although door pillars are occa-
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. Narayana
Bharati and Yasovanta Bharati, Anahillapura, S. V. 947) :
Dvararh matsya-matanusari dasakarh yogyam vidheyam bu-
dhaih — ' following the rules of the Matsya-Purdna the learned (archi-
tects) recommend ten suitable doors (for a building)'.
(6) Vdstu-pravandha (n, 8, compiled by Rajakisora Varmma) :
Dvarasyopari ya(d)-dvararh dvarasyanya (?) cha sammukham I
Vyayadam tu yada tach cha na karttavyam subhepsubhih 1 1
' Those, who want prosperity, should not make one door above
or in front of another because it is expensive.'
(7) Silpa-Sdstra-sdra-samgraha. vn, 24 :
Chatur-dvararh chatur-dikshu chaturam (?) cha gavakshakam I
Nripanarh bhavane sreshtham anyatra parivarjayet I)
' It is highly commendable for the buildings of the kings to make
four doors at four directions and four windows. This rule need not
be observed in other cases. '
(8) 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.
(9) Matsya-Purdna (Chap. CCLV, w. 7-9) :
Vasa-geharh sarvesham praviSed dakshinena tu I
Dvarani tu pravakshyami pra^astaniha yani tu 1 1
Purvenendrarh jayantarh cha dvararh sarvatra Sasyate I
Yamyam cha vitatham chaiva dakshinena vidur budhah 1 1
Paschime pushpadantarh cha varunam cha praSasyate I
Uttarena tu bhallatam saumyam tu Subhadam bhavet 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 I
(Ibid., Chap. CGLXX, v. 28.)
239
DVARA AN ENCYCLOPAEDIA OF
(10) Agni-Purdna (Chap, civ, v. 24) :
Dikshu dvarani karyani na vidikshu kadachana I
' The doors should be constructed at the cardinal points and never
at the intermediate corners '.
(11) Garuda-Purdna (Chap. XLVI, v. 31) :
Dvararh dirgharddha-vistaram dvarany-ashtausmritani cha I
' The breadth of the door should be half of its height (length)
and there should be eight doors (in each house).'
(12) Vdstu-vidyd (ed. Ganapati Sastri, iv, 1-2, 19-22 ; v. 21 ; xin,
24-32 , xiv, 1-3) :
Atha dve pranmukhe dvare kuryad dve dakskinamukhe I
Dvare pratyanmukhe dve cha dve cha kuryad udanmukhe II (i)
Mahendre pranmukham dvararh pras"astarh s"ishta-jatishu I
Apararh tu tatha dvararh jayante praha nis"chayat 1 1 (2)
Antar-dvarani choktani bahir-dvaram athochyate II (19)
Yatronnatarh tato dvararh yatra nimnarh tato griham I
Grihe chapy-ashtame ra^au tatra dvararh na karayet I (20)
Grihakshate cha mahendre brahmananarii prakirtitam I
Mahidhare cha some cha pha(bha)llatargalayos tatha II (21)
Sayaniyam tu kartavyarh praSastarh purvatah sikha I
Nava-dvarakritarh kuryad antarikshe mahanasam II (22)
Dvaram yatra cha vihitarh tad-dig-adhi^adhiparh bhaved dhama I
Eka-talaih va dvi-talam dvi-tale dvi-mukham cha nirmukham
va syat II (21)
Position of the door :
Dvaram cha dikshu kartavyarh sarvesham api vesmanam I
Madhyastha-dvara-madhyam syad vastu-mandira-sutrayoh 1 1 (24)
Upadvarani yujyantani pradakshinyat sva-yonitah I
Dvara-padasya vistararh tulyam uttara-taratah II (25)
Sva-sva-yonya grihadinam kartavya dvara-yonayah I (26)
Agneyyam mandiram dvarani dakshinabhimukham smritam I
Pratyanmukham tu nairrityam vayavyam tad udanmukham II (31)
lie tat pranmukham kuryat tani syuh padukopari I (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
Dvara-tare chatush-pancha-shat-saptashta vibhajite II (i)
Ekam§a(m) sutra-pattih syat samara va bahalam bhavet I
Ardham va pada-hlnam va bahalam parikirtitam II (2)
Dvarayama-saniayama karya yugmy cha pahktayah I
A^vyadi-veSma-paryantah panktayah parikirtitah II (3)
240
HINDU ARCHITECTURE DVARA
(13) Matha-pratisthd, by Raghunandana quotes from the Devl-Purdna
without further reference :
Plaksharh dvararh bhavet purve yamye chaudumbararh bhavet I
Paschad asvattha-ghatitam naiyagrodharh tathottare I
(14) Kautillya-Artha fdstra (Chap, xxiv, pp. 52, 53, 54) :
Agrahye de£e pradhavitikarh niskhura-dvararh cha I
Prakaram ubhayato mandalaka-madhyardha-dandam kritva
pratoli-shat-tulantararh dvararh niveSayet I
Pancha-hasta-mani-dvaram I
Prakara-madhye kritva vapirh pushkarimrh dvararh chatus'-s'a-
lam adhyardhantaranikarh kumarl-purarh munda-harmyarh dvi-
talarh mundaka-dvararh bhumi-dravya-vasena va tri-bhagadhi-
kayamah bhanda-vahim-kulyah karayet I
Sa-dvadasa-dvaro yuktodaka-bhumich-chhanna-pathah I
Sainapatyani dvarani bahih parikhayah I
(Ibid., Chap, xxv, p. 54 f.)
Kishku-matra-mani-dvaram antarikayarh khanda-phullartham
asarhpatarh karayet I
Pratiloma-dvara-vatayana-badhayarh cha anyatra raja-marga-
rathyabhyah I
(Ibid., Chap. LXV, pp. 166, 167.)
(15) Ramayana, (Lankakanda, Sarga 3, i, n, 13, 16) :
Dridha-vaddha-kapatani maha-parigha-vanti cha I
Chatvari vipulany-asya dvarani sumahanti cha II (ii)
Dvareshu samskrita bhlmah kalaya-samayah sitah I
Sataso rachita viraih sataghnyo rakshasa ganaih II (13)
Dvareshu tasarii chatvarah sakramah paramayatah II
Yantrair upeta bahubhir mahadbhir griha-panktibhih II (16)
(16) Kamikagama (xxxv, 6-13) :
Bhallate pushpadante cha mahendre cha graha(griha)kshate I
Chatur-dvararh prakartavyarh sarvesham api vastunam 1 1 (6)
Then are given the details concerning the position of doors in various
quarters (7-9). Next follows their measurement (10-13).
Cf. Devanarh manujanam cha viseshad raja-dhamani I
Pushpadante cha bhallate mahendre cha graha(griha)kshate II
Upa-madhye'thava dvarani upa-dvararh tu va nayet 1 1
(Ibid., v. 118, u8a.)
Pratyanmukharh tu Sayanarh doshadam dakshinamukham I
Dvare padetu neshta(rh) syat nodak-pratyak chh(s")iro bhavet II
Bhojanam nanuvam^arh syach chhayanarh cha tathaiva cha I
AnuvarhSa-griha-dvararh naiva karyarh ^ubharthibhih 1 1
(Ibid., v. 146, 157.)
241
DVARA AM ENCYCLOPAEDIA OF
Bhallate dvaram ishtarh syad brahmananam viseshatah It
Madhya-sutrasya vame va dvaram vidhivad acharet 1 1
(Ibid., v. 165, 168.)
Jala-dvaram punas tesharh pravakshyami niveSanam I
(Ibid., v. 167-176.)
Devanam ubhayarh grahyarh madhya-dvaram tu vai tale 1 1
Gopurarh cha khaluri cha mula-vastu-nirikshitam li
Antare raja-devinam grihany-antar-mukhani cha II
(Ibid., xxxv, 54, 128.)
Dandika-vara-sarhyuktarh shan-netra-sama-vamsakam I
Varhsopari gatah salas chattaro'shtanananvitah II
(Ibid., XLII, 19.)
(17) Suprabhedagama (xxxi, 7, 131-133) :
Bahya-bhittau chatur-dvaram athava dvaram ekatah 1 1 (7)
Referring to the temples of the attendant deities built in the five
courts (prakara) :
Prakara-samyutam kritva bahye vabhyantare'pi va I
Purve tu paschime dvaram paschime purvato mukham II (131)
Dakshine chottara-dvaram uttare dakshinonmukham I
Vahnlsana-sthitam yat tat paschime dvaram ishyate 1 1 (132)
Nilanila-sthitarh chaiva purva-dvararh prasasyate I
Vrishasya mandapam tatra chatur-dvara-samayutam II (133)
(18) Mahabhdrata (v, 91, 3 ; i, 185, 119-122) :
Tasya (duryodhana-grihasya) kakshya vyatikramya tisro dvah-
sthair avaritah 1 1
Prasadaih sukritochhrayaih 1 1
Suvarnajala-sarhvritair mani-kuttima-bhushanaih 1 1
Sukharohana-sopanair mahasana-parichchhadaih 1 1
Asambadha-Sata-dvaraih Sayanasana-sobhitaih 1 1
(19) See Ep. Ind. (Vol. i, Dabhoi Inscrip, v. in, p. 31).
(20) Vijaya-vikshepat bharukachchha-pradvaravasakatat — -' from the
camp of victory fixed before the gates of Bharukachchha.' — (Umeta grant
of Dadda n, line i, Ind. Ant., Vol. vu, pp. 63, 64.)
(21) Svarna-dvaram sthapitam toranena sarddharh ^rimal-lokanathasya
gehe — c placed a golden door and a torana in the temple of glorious
Lokanatha.'
' The inscription is on the lintel of the door of the temple of Avaloki-
tesvara 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, encloses three images of Lokesvara.' — (Inscriptions from Nepal,
no. 21, Inscrip. of Srinivasa, line 6 f., Ind. Ant., Vol. ix, p. 192, note 62.)
242
HINDU ARCHITECTURE DVARA-$OBHA
(22) Atirtha-dvara-paksha-sobharttharh madisidam — ' had the side-
doors of that tirtha made for beauty.'— (Ep. Carnal., Vol. n, no. 115;
Roman Text, p. 87 ; Transl., p. 171.)
(23) See Chalukyan Architecture. — (Arch. Surv., New Imp. Series, Vol.
xxi, Plates v, flgs. 1,2; LIV ; LXXIV ; xcv ; cxm, figs, i, 2.)
(24) See Buddhist Cave Temples.— (Ibid., Vol. iv, Plates xxiv ; xxiv,
no. i ; xxxn, nos. r, 2 ; xxxv ; XLIII, no. 2.)
(25) See Cunningham's Arch. Surv. Reports. — (Vol. xix. Plates xrx.)
DVARAKA— A gate-house.
Prasade mandape sarve gopure dvarake tatha I
Sarva-harmyake kuryat tan-mukka-bhadram I — (M., xvm, 326-328.)
DVARA-GOPURA (same as MAHA-GOPURA) — The gate-house of
the fifth or last court.
(Suprabhedagama, xxxi, 125 ; see under PRAKARA.)
DVARA-KOSHTHA(-KA)— Agate-chamber.
The index of the Divyavadana quoted by way of comparison with
Svakiyavasanika-dvaroshtha, dvaroshtha-nishkasapravesaka, and nish-
k asa-pravesa-dvaroshthaka.
(Siyodoni Inscrip., lines 14, 32, 33,
Ep. Ind.t Vol i, pp. 165, 175, 177.)
DVARA-PRASADA— The gate-house of the third court.
See Mdnasdra (xxxin, 9, under GOPURA).
See also Suprabhedagama (xxxi, 124, under PRAKARA).
DVARA-SAKHA (see SAKHA) — The door-lintel, the door-frame,
jamb or post.
' He, the emperor of the South, caused to be made of stone for
Vijaya-narayana (temple), latticed window, secure door-frame, door-
lintel (dvdra-sakhali) , kitchen, ramparts, pavilion and a pond named
Vasudeva-tirtha.'
(Ep. Carnal., Vol. v, Part i, Belure Taluq, no. 72 ;
Transl.} p. 61 ; Roman Text, p. 142, line 7.)
DVARA-&ALA (see GOPURA) — A gate-house.
The gate-house of the second court.
(M., xxxni, 8, and Suprabhedagama,
xxxi, 124 ; see under PRAKARA.)
DVARA-SOBHA (see GOPURA)— A gate-house.
The gate-house of the first court.
(M., xxxm, 8, and Suprabhedagama,
xxxi, 123 ; see under PRAKARA.)
243
DVARA-HARMYA AX ENCYCLOPAEDIA OF
DVARA-HARMYA (see GOPURA)— A gate-house.
The 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-
dvayena ramyany-achlkaraj jaya-sainyesah — ' in front of the temple
he (Jaya) erected two rows of double-storeyed house for sixteen female
attendants.' — (Chebrolu Inscrip. of Jaya, v. 46, Ep. Ind., Vol. vi, pp. 40, 39.)
DVI-TALA — A sculptural measure (see details under TALA-MANA.)
DVI-PAKSHA (cf. EKA-PAKSHA)— Two sides, a street (or wall)
having footpaths on both sides.
Dakshinottara-rathyam tat tat samkhya yatheshtaka I
Evaih vithir dvi-paksharh(-sha) syan madhya-rathyena(-ka)-paksha-
kam I
Tasya mulagrayo(r) deSa kshatra( ? kskudro)-manarh prakarayet I
Bahya-vithir dvi-paksham(-sha) syat tad-bahis" chavritam budhaih I
(M, ix, 350-353.)
Rathya sarva dvi-paksham(-sha) syat tiryan-margam yathech-
chhaya I
(Ibid., 465. See also M., ix, 396 ; xxxvi,
86-87 5 under EKA-PAKSHA.)
DVI-VAJRAKA— A column with sixteen rectangular sides.
Cf. Vajro'shtasrir dvi-vajrako dvi-gunah I
(Brihat—Sarhhita, LHI, 28 ; see under STAMBHA.)
DVYA^RA-VRITTA— A two-angled circle, an oval building.
(M,, xix, 171 ; 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 — (See M., xxxv,
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 ; see under MANDAPA).
244
HINDU ARCHITECTURE DHARMALAYA
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,
xxx, 26 ; see under ANGULA.)
DHANUS — A measure of four cubits.
(M, n, 53 ; see under ANGULA.)
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, etc.
A headgear (M., XLIX, 14, etc.).
DHARMA-GANJA — A library in the University of Nalanda, com-
prising three buildings known as Ratnodadhi, Ratnasdgara, and Ratna-
ranjaka.
(Tibetan account of the Univeristy of Nalanda.)
DHARMA-DHATU-MANDALA— The relic shrine of Nepalese
temples, situated at the fourth storey of five-storeyed pagoda-like
structures, the basal floor being occupied by Sakya-muni, second by
Amitabha, the third being a small chaitya, and the fifth or apex
being called vajra-dhatu-mandala.
(See Deva Bhavani temple, Bhatgaon, Fergusson :
History of Ind. and East. Arch., 1910,
Vol. i, p. 281.)
DHARMA-RAJIKA— A monument, a tope.
Tau darmma-rajikam sangarh dharmma-chakraih punar navam I
' They repaired the dharma-rajika (i.e. stupa) and the dharma-
chakra with all its parts.' — (Sarnath Inscrip. of Mahipala, line a, Ind. Ant.,
Vol. xiv, p. 140, note 6.)
DHARMA-SALA— A rest-house.
(Vincent Smith, Gloss., loc. cit., to
Cunningham's Arch. Surv. Reports.)
DHARMA-STAMBHA— A kind of pillar.
(M., XLVII, 14 ; see under STAMBHA.)
DHARMALAYA— A rest-house.
Tatraiva sa(t)tra-s"ala va agneye panlya-mandapam I
Anya-dharmalayarh sarvarh yatheshtarh dis"ato bhavet I
(M, ix, 139-140.)
245
DHATU AN ENCYCLOPAEDIA OF
DHATU (cf. TRIDHATUSARANA) — Storey. (R--V., iv, 200.)
DHATU-GARBHA — Buddhist dagoba, same as chaitya and as
stupa, the relic receptacle or inner shrine, and is ' strictly applicable
only to the dome of the stupa, sometimes called the anda or egg.'
These monuments were ' not merely relics in the literal sense, but
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 ; see under STAMBHA.)
DHAMAN — A dwelling house.
(R.-V., i, 144, i ; ii, 3, 2 ; ra, 55, 10 ; vra,
6 1, 4 ; x, 13, i ; A.-V., iv, 25, 7 ; vn,
68, i ; xii, 52 ; Vaj. Sam., iv, 34 ; Taitt.
Sam., ii, 7, 2.)
DHARANA — A type of building, a pillar, a roof, a tree.
A class of the seven-storeyed buildings.
(M., xxv, 26 ; see under PRASADA.)
A synonym of pillar (M., xv, 6) and of roof (M., xvi, 52).
A kind of tree of which pillars are constructed (M., xv, 348-350).
DHARA-KUMBHA— A moulding of the base.
(M., xiv, 46 ; see the lists of mouldings,
under ADHISHTHANA.)
DHARA-NILA— A blue stream of water, the line of sacred water
descending from the phallus.
In connexion with the phallus :
Garbha-geha-sthale dhara-nila-madhye samarh bhavet I
(M., 01,173.)
DHARA-LINGA — A kind of phallus with fluting at the top portion.
(M., m, 135 ; un, 48 ; see details under LINGA.)
DHVAJA-STAMBHA (see STAMBHA)— 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 — The cage of the mungoose (M., L, 245 ; see under
BHUSHANA) .
246
HINDU ARCHITECTURE NAGARA(-Rl)
NAKHA — The nail, its measurement, etc., when belonging to an
image.
(M., LIX, LXV, etc., 21.)
NAKSHATRA- MALA —The garland of stars, an ornament.
(M., L, 297 ; see under BIIUSHANA.)
NAGARA(-RI) (cf. GRAMA) — Probably from Naga, lit. immovable
or rock, implying permanence and strength with reference to stone-
walls, etc. The purs were mere fort while pura as in Tripura and
Mahapura was something much bigger (Tail. Sam., vi, 2, 3, 4 ;
Kdth. Sam., xxiv, 10 ; Sat. Bra. vi, 3, 3, 35 ; Ait. Bra., n, n ; Matt.
Sam., m, 8, i). Thus pur might have been the prototype of pura, the
developed city, and nagara the full-fledged capital city.
(1) Definition :
Janaih parivritam dravya-kraya-vikrayakadibhih I
Aneka-jati-sarhyuktarh karmakaraih samanvitam 1 1
Sarva-devata-saihyuktam nagararii chabhidhlyate II
(Kamikagama, xx, 5-6.)
(2) Dhanu-satam pariharo gramasya syat samantatah I
Samyapatas trayo vapi tri-guno nagarasya tu II
(Manu-Samhita, vni, 237.)
(3) Dhanuh-Satam pariharo grama-kshetrantaram bhavet I
Dve sate kharvatasya syan nagarasya chatuh satam 1 1
(Tdjnavalka, n, 167.)
(4) Nagaradi-vastum cha vakshye rajyadi-vriddhaye I
Yojanarhyojanarddham va tad-artham sthanam a^rayet II
Abhyarchya vastu-nagaram prakaradyani tu karayet I
Isadi-trims"at-padake pQrva-dvararh cha suryake II
Gandharvabhyarh dakshine syad varunye pa^chime tatha I
Saumya-dvaram saumya-pade karya hatyas tu vistarah 1 1
(Agni-Purdna, Chap, cvi, v. 1-3.)
Then follows the location of the people of different castes and
professions in various quarters (ibid., v. 6-17).
(5) 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
NAGARA(-RI) AN ENCYCLOPAEDIA OF
(6) Kautiliya-Artha-Sastra (Chap, xxii, p. 46, footnote) :
Nagararh raja-dhanl I
(Rayapaseni—sulra—vyakhyane, 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
south 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
should have facilities for trade and commerce (lines 48, 74) with
the foreigners (line 63). It 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
than in a village.
Towns are divided into eight classess, namely, Raja-dhani,
Nagara, Pura, Nagari, Kheta, Kharvata, Kubjaka, and Pattana
(lines 36-38).
The general description of towns given above is applicable
more or less to all of these classes.
For purposes of defence, the capital towns commanding
strategic points are well fortified and divided into the following
classes : Sibira, Vahini-mukha, Sthaniya, Dronaka, Sarhvidda,
Kolaka, Nigama, and Skandhavara (lines 38-41, 65-86). The forts
for purely military purposes are called giri-durga, vana-durga,
salila-durga, panka-durga, ratha-durga, deva-durga and misra-
durga (lines 86-87, ^nes 88-90 90-107 ; see under DURGA).
(8) ' On the banks of the Sarayu is a large country called Kosala
gay and 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, the streets and lanes were admirably disposed,
and the principal streets well watered. It was filled with merchants
of various descriptions, and adorned with abundance of jewels ;
difficult of access, filled 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
stately gates and porticoes and constantly guarded by archers. As
Maghavan protects Amaravatl, so did the magnanimous Dasaratha ,
the enlarger of his dominions, protects Ayodhya, fortified by gates,
firmly barred, adorned with ureas disposed in regular order, and
abounding with a variety of musical instruments and war-like wea
pons ; and with artifices of every kind. Prosperous, of unequalled
splendour it was constantly crowded with charioteers and messengers,
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
spacious buildings and full of inhabitants. It abounded with learned
sages, in honour equal to the immortals ; it was embellished with
magnificent palaces, the domes of which resemble the tops of mountains,
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 goddess of prosperity) ; the walls were variegated with divers
sorts of gems like the division of a chess-board, and it was filled with
healthful and happy inhabitants ; the houses formed one continued
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
of happy men. It abounded with food of the most excellent kinds ;
the inhabitants were constantly fed with the sail rice ; it was perfumed
with incense, chaplets of flowers, and articles for sacrifice, by their
odour cheering the heart.'
' It was guarded by heroes in strength equal to the quarter-masters
and versed in all Sastras ; by warriors, who protect it, as the nagas guard
Bhogavati. As the Great Indra protects his capital, so was this city,
resembling that of the gods, protected by King DaSaratha, the chief of
the Ikshvakus. This city was inhabited by the twiceborn who main-
tained the constant sacrificial fire, (men) deeply read in the Veda
and its six Angas, endowed with excellent qualities, profusely generous,
249
NAGARA(-RI) AN ENCYCLOPAEDIA OF
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 elephants, ever rejoiccth. She is great,
thronging with cars and inhabited by Rakshasas. Her doors are
firmly established and furnished with massy bolts. And she hath
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 set in order by bands of heroic Rak-
shasas, hundreds of sharp iron s"atagnis (firearms, guns). She hath
a mighty impassable golden wall, having its side emblazoned in the
centre with costly stones, coral, lapises and pearls. Round about is
a moat, exceedingly dreadful, with cool water, eminently grand,
fathomless, containing ferocious aquatic animals, and inhabited
by fishes. At the gates are four broad bridges, furnished with machines
and many rows of grand structures. On the approach of the hostile
forces, their attack is repulsed by these machines, and they are thrown
into the ditch. One amongst these bridges is immovable, strong
;md fast established ; adorned with golden pillars and daises . . .
And dreadful and resembling a celestial citadel, Lanka cannot be
ascended by means of any support. She hath fortresses composed
of streams (cf. JALA-DURGA) , those of hills, and artificial ones of four
kinds. And way there is none even for barks, and all sides destitude
of division. And that citadel is built on the mountain's brow ; and
resembling the metropolis of the immortals, the exceedingly invin-
cible Lanka is filled with horses and elephants. And a moat and
s"ataghnis and various engines adorn the city of Lanka, belonging
to the wicked Ravana . . . his abode consists of woods, hills, moat,
gateways, walls, and dwellings.' — (Ibid., vi, Lankakanda, 3rd Sarga.)
(9) The Mahdbhdrata has ' short but comprehensive account of the city
ofDvaraka (i, in, 15), Indra-prastha (i, 207, 30 f.), the floating city
(in, 173, 3), Mithila (in, 207, 7), Ravana' s Lanka (in, 283, 3 and 284
4, 30), the sky-town (vm, 33, 19), and the ideal town (xv, 5, 16). In the
Ramayana we find nearly the same descriptions as those in this later part
of the Epic (Mbh.}.'
(10) ' We may examine the general plan of a Hindu city ... it
had high, perhaps concentric, walls about it, in which were watch-
towers. Massive gates, strong doors1 protected chiefly by a wide bridge
moat, the latter filled with crocodiles and armed with palings, guarded
1 xv, 1 6, 3 : the king left Hastinapur by a high gate.
250
HINDU ARCHITECTURE NAGARA(-Rl)
the walls. The store-house was built near the rampart. The city
was laid out in several squares.1 The streets were lighted with
torches.2 The traders and the king's court made this town their resi-
dence. The farmers lived in the country, each district guarded if
not by a tower modelled on the great city, at least by a fort of some
kind. Out of such fort grew the town. Round the town as round
the village, was the ommon land to some distance ' (later converted
into public gardens, as we see in the Mudrdrdkshasa} .
' In the city special palaces existed for the king, the princes, the chief
priests, ministers and military officers. Besides these 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,
shops, and the work -places of other artisans. 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
by squads of men and single wardens.3 Door-keepers guarded the
courts of the palace as well as the city gates.'4— (Hopkins, J.A.O.S., 13,
pp. 175, 176.)
(n) 'It will probably be a revelation to modern architects to know
how scientifically the problems of town-planning are treated in these
ancient India's architectural treatises. 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
mind of the European expert.'
' The most advanced science of Europe has not yet improved upon
the principles of the planning of the garden cities of India based
upon the Indian village-plan as a unit.'
1 The Mbh. recommends six squares, but I find only four mentioned in the
Rdmayana, H, 48, 19.
Mbh., xv, 5, 16 : Puram Sapta-padam sarvato-disam (town of seven walls,
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 Kathaka—Upanishad, 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
by Varaha, p. 52, 5 : Nava dvaraih . . . ekastambharh chatushpatham.
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. (R., vi, 37, 27, 58, Mbh., I,
185, 20 ; n, 33 and 34.)
251
NAGARA(-RI) AN ENCYCLOPAEDIA OF
' The Indo-Aryan villages took the layout of the garden-plot as
the basis of its organization. But more probably the village scheme
was originally the plan of the military camp of the Aryan tribes when
they first established themselves in the valley of the Indus.'— (Havel
A Study of Indian Civilization, pp. 7-8, 18.)
(12) The principles of Indian town-planning have some striking
similarity to those of early European cities. It would be interesting to
compare the Mdnasdra with Vitruvius :
' In setting out the walls of a city the choices 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 . . .
' A city on the sea-side, exposed to the south or west, will be
insalubrious.'— (Vitruvius, Book I, Chap. IV.)
' When we are satisfied with the 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
provisions for the support of the population, the communications by good
roads and river or sea navigation for the transport of merchandise, we should
take into consideration the method of constructing the walls and towers of
the city. These foundations should be carried down to a solid bottom
(cf. Mdnasdra under GARBHA-NYASA) if such can be found, and should
be built thereon of such thickness as may be necessary for the proper support
of that part of the wall which stands above the natural level of the ground.
They should be of the soundest workmanship and materials, and of greater
thickness than the walls above. From the exterior face of the wall, towers
must be projected, from which an approaching enemy may be annoyed by
weapons, from the ambrasures of those towers, right and left. An easy
approach to the walls must be provided against ; indeed they should be sur-
rounded by uneven ground, and the roads leading to the gates be winding
and turn to the left from the gates. By this arrangement the right side of
the attacking troops, which are not covered by their shields, will be open
to the weapons of the besieged.'
' The plan of the city should not be square, nor formed with acute angles,
but polygonal, so that the motions of the enemy may be open to observa-
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 distance between each tower should not exceed an arrow's
flight. . . . The walls will be intercepted by the lower parts of the towers
252
HINDU ARCHITECTURE NAGARA(-Rl)
where they occur, leaving an interval equal to the width of the tower ; which
space the tower will consequently occupy. The towers should be made
either round or polygonal. A square (tower) is a bad form, on
account of its being easily fractured at the quoins by the battering
ram ; 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
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
the foundation of the wall. This must be of sufficient thickness to resist
the pressure of the earth against it. Then, according to the space requisite
for drawing up the cohorts in military order on the ramparts, another wall
is to be built within the former, towards the city. The outer and inner
walls are then to be connected by cross walls, disposed on the plan after the
manner of the teeth of a comb or a saw, so as to divide the pressure
of the filling in earth into many and less forces, and thus prevent the walls
from being thrust out.' The materials are stated to be ' what are found
in the spot : such as square stones, flint, rubble stones, burnt or unburnt
bricks.' — (Vitruvius, Book I, Chap, v.)
' The lanes and streets (of which no details are given) of the city being set
out, the choice of sites for the convenience 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 ;
if inland it should be in the centre of the town. The temples of the gods,
protectors of the city, as those of Jupiter, Juno, and Minerva, should be on
some eminence which commands a view of the greater part of the city. The
temple of Mercury should be either in the forum or, as also the temple of
Isis and Scrapis in the great public square ; those of Apollo and Father
Bacchus near the theatre. If there be neither amphitheatre nor gymnasium,
the temple of Hercules should be near the circus. The temple of
Mars should be out of the city, in the neighbouring country ; that
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 con-
taminating the matrons and youth with the influence of lust ; that
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 his temple.
253
NAGARA(-Rl) AN ENCYCLOPAEDIA OF
The temple of Mars should be also out of the city, that no armed
frays may disturb the peace of the citizens, and that this divinity
may, moreover, be ready to preserve them from their enemies and
the perils of war. The temple of Ceres should be in a solitary spot
out of the city, to which the public are not necessarily led but for the
purpose of sacrificing to her. This spot is to be reverenced with
religious awe and solemnity of demeanour by those whose affairs lead
them to visit it. Appropriate situations must also be chosen for the
temple and places of sacrifice to the other divinities.' — (Vifrtwius, Book I,
Chap, vii.)
(13) Vijitya visvarh vijayabhidhanam visVottaram yo nagarim
vyadhatta I
Ya hema-kutam nija-sala-bahu-lata-chhaleneva parishvajanti II
Yat-prakara-Sikhavali-parilasat - kinjalka - punjachitarh yach
chhaka-pura-jala-nachitarh sad-danti-bhringanvitam I
Sphayad yat-parikha-jala-prati-phalad yat-pranta-prithvl-dhara-
chchhaya-nalam idam purabjam naisarh lakshmya sahalam-
bate II
' Having conquered all the world, he (Bukka-Raja) built a
splendid city called the City of Victory (Vijayanagarl) . Its four
walls were like arms stretching out to embrace Hema-kuta. The
points of the battlemants like its filaments, the suburbs like its
blossom, the elephants like bees, the hills reflected in the water
of the moat like stems, — the whole city resembled the lotus on
which Lakshmi is ever seated.' — (Ep. Carnal., Vol., v, Part i,
Channarayapatna Taluq, no. 256 ; Roman Text, p. 521, lines 1-6 ; Transl.,
p. 732, para. 2, line 4.)
( 1 4) Grama - nagara - kheda- karvvada - madamba - drona - mukha - pat
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
first in importance among the twelve (towns) in the glorious
Kundi Three-Thousand, adorned with] ' villages, towns, ham-
lets, 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.' — (Old Kanarese Inscrip. at Terdal, line 58, Ind. Ant., Vol.
xiv, pp 19, 25.)
(15) ' With myriads of people, practices of virtue, agreeable occu-
pations, streams of the (nine) sentiments, pleasure gardens, separated
lovers, splendid tanks, full lotus beds, gilded boats for spring festivals,
254
HINDU ARCHITECTURE NANDI-MANDAPA
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 what-
ever 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. —
Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 197 ; Transl., p. 124,
para, i, last seven lines ; Roman Text, p. 214, line 27 f.)
(16) 'Visiting' the gramas, nagaras, khedas, kharvvadas, madambas,
pattanas, drona-mukhas and samvahanas, — the cities of the elephants at
the cardinal points.' — (Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 118;
Transl., p. 86, last para., line 14.)
(17) '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,
Transl., p. 90, para. 6.)
NANDANA (cf. NANDA-VRITTA) — A storeyed building, a pavilion.
A type of building which has six storeys and sixteen cupolas (anda),
and is 32 cubits wide :
(1) Brihal-Samhild (LVI, 22, J.R.A.S., N. S., Vol. vi, p. 319; see
under PRASADA).
(2) Matsya-Purdna (Chap. CCLXIX, v. 29, 33, 48, 53 ; see under
PRASADA) .
(3) Bhavishya-Purdna (Chap, cxxx, v. 29; see under PRASADA).
A type of quadrangular building :
(4) Garuda-Purdna (Chap. XLVII, v. 242-5 ; see under PRASADA).
(5) A pavilion with thirty pillars (Malsya-Purana, Chap. CCLXXIII,
v. 12 ; see under MANDAPA, and compare Suprabheddgama, under
NANDA-VRITTA) .
NANDA-VRITTA— An open pavilion, gracefully built with sixteen
columns.
(Suprabheddgama, xxxi, 101 ; see under MANDAPA.)
NANDI-MANDAPA (see under MANDAPA) — A pavilion.
See Pallava Architecture.
(Arch. Surv., New Imp. Serirs, Vol. xxxiv
plate LXIX, fig. 4.)
255
NANDYAVARTA AN ENCYCLOPAEDIA OP
NANDYAVARTA— A type of building where rooms are surrounded
with terraces, a village, a window, a pavilion, a phallus, a ground-
plan, an entablature (see under PRASTARA), a joinery (see under
SANDHI-KARMAN) .
(1) Mdnasdra :
A class of the six-storeyed buildings (M., xxrv,24; 5^ under
PRASADA) .
A class of villages (M., ix, 2 ; see under GAMA).
A kind of joinery (M., XVH, 54. ; see under SANDHI-KARMAN).
A type of window (M ., xxxiii, 583 ; see under VATAYANA) .
A type of four-faced pavilion (M., xxxiv, 555 ; see under MAN-
PAPA) .
In connexion with the phallus (M., LII, 177 ; see under LINGA).
In connexion with the site-plan (M., vin, 35 ; see under
PADA-VINYASA) .
(2) Nandyavartam alindaih Sala-kudyat pradakshinantargataih I
Dvaram paschimam asmin vihaya Sesharii karyani 1 1
' Nandyavarta is the name of a building with terraces that from
the wall of the room extends to the extremity in a direction from east
to south (alias from left to right). It must have doors on every side,
except the west. ' — (Brihat-Samhita, Lin, 32, J.R.A.S., N. S., Vol., vi, p. 285.)
(3) Sarvatobhadram ashtasyam vedasyarh vardha-manakam II
Dakshine chottare chaiva shan-netrarh svastikarii matam I
ParsVayoh puratas" chaiva chatur-netra-samayutam II
Nandyavartam smritam purve dakshine paschime tatha I
Uttare saumya-saladi Salanam asyam Iritam 1 1
(Kamikagama, xxxv, 88, 89, 90.)
An entablature (ibid., LIV. 7).
Ibid., XLI (named Nandyavarta-vidhi : 1-37) :
The three sizes (1-6), and the four classes, namely, jati, chhanda,
vikalpa and abhasa (7-9) :
Nandyavartam chatush-pattam mulenatra vihinakam I
Dvaram chatushtayarh vapi yatheshtha- disi va bhavet 1 1 (7)
Jalakas" cha kavataS cha bahye bahye prakalpayet I
Sarvatah kudya-samyuktam mukhya-dhamatra klrtitam 1 1 (8)
Antar-vivrita-padarh cha bahye kudyam prakirtitam I
Chatur-dikshu vinishkrantam ardha-kutarh prayojayet 1 1
Dandika-vara-samyuktam jati-rupam idam matam II (9)
The other details of this and the remaining three classes and the
sub-classes are also given (10-36) :
Evarh shodas"adha proktam nandyavartarh dvijottamah II (37)
256
HINDU ARCHITECTURE NABHASVAN
(4) A class of buildings :
. . . Nandyavartam iti s"rinu I
Chatush-kutas" chatuh-s'alas' chatvarah parsva-nasikah 1 1
Mukha-nasi tatha yuktam dva-dasarh chanu-nasikah 1 1
Chatuh-sopana-sariiyuktam bhumau bhumau vis"eshatah 1 1
Nandyavartam idam vatsa. . . .
(Suprabhedagama, xxxi, 48, 49, 50.)
A pavilion with 36 columns (ibid., xxxi, 103 ; see under MANDAPA).
NANDIKA— A type of quadrangular building.
(Agni-Purdna, Chap, civ, w. 14-15 ; see
under PRASADA.)
NANDI-VARDHANA— A type of building.
(i) A kind of building which is shaped like the sun-eagle but is devoid
of the wings and tail, has seven storeys and twenty cupolas, and is 24
cubits wide :
Garudakritis cha garuda nanditi cha shat-chatushka-vistirnah I
Karyas cha sapta-bhaumo vibhushito'ndais cha vimsatya 1 1
Commentary quotes the clearer description from KdSyapa :
Garudo garudakarah paksha-puchchha-vibhushitah I
Nandi tad-akritir jneyah pakshadi-rahitah punah 1 1
Karanam shat-chatushkams cha vistirnau sapta-bhumikau I
Dasabhir dvi-gunair andair bhushitau karayet tu tau 1 1
(Brihat-Samhita, LVII, 24 ; J.R.A.S., N. S.,
Vol. vi, p. 319.)
(2) Matsja-Purdna (Chap. CGLXIX, vv. 33, 48, 53 ; see under PRASADA).
(3) Bhavishya-Pardna (Chap, cxxx, vv. 28, 31 ; see under PRASADA).
A kind of quadrangular building :
(4) Agni-Purdna (Chap, civ, vv. 14-15 ; see under PRASADA).
(5) Guruda-Purdna (Chap. XLVII, vv. 24-35 '> see under PRASADA).
NAPUMSAKA (cf. STRILINGA and PUMLINGA)— A neuter type of
building (see under PRASADA).
Cf. Pancha-varga-yutam misram arpitanarpitangakam I
Pashandanam idam sastam napumsaka-samanvitam II
(Kamikagama, xu, n.)
For the meaning of pancha-varga, see ibid., xxxv, 21, under SHAD-
VARGA.
NABHASVAN— A class of chariots.
(M., XLIII, 112; see under RATHA.)
257
NAYANONMILANA AN ENCYCLOPAEDIA OF
NAYANONMILANA— Chiselling the eye of an image ; sculpturally
it would imply the finishing touch with regard to making an image.
For details, see M., LXX (named Nayanomlana] 1-114.
NARA-GARBHA— The foundation of residental buildings.
(See details under GARBHA-NYASA.)
NALlNAKA— A class of buildings distinguished by open quad-
rangles and surrounded by buildings, and furnished with platforms
and stairs.
Chatuh-Sala-samayukto vedi-sopana-samyutah I
Nalinakas tu samprokta(-tah) ... II
(Suprabheddgama, xxxi, 46.)
NAVA-TALA — The nine -storey ed buildings (M., xxvn, 2-47) ; the
description of the ninth storey (ibid., 35~47) 5 seven classes (2~33)
(see under PRASADA) .
NAVA-TALA— A sculptural measurement in accordance with which
the whole length of an image is nine times the height of the face
which is generally twelve angulas (nine inches) ; this length is divided
into 9X12 = 1 08 equal parts which are proportionally distributed
over the different limbs. (See under TALAMANA.)
Cf. Nava-tala-pramanas tu deva-danava-kinnarah I
(Matsya-Purana, Chap. CCLVIH, v. 16.)
Evarii narishu sarvasu devanam pratimasu cha I
Nava-talam proktaih lakshanam papa-nasanam II
(Ibid., v. 75.)
The details of this system of measure employed both for male
and female statues are given. (Ibid., vv. 26-74.)
NAVA-BHUMI (same as NAVA-TALA)— Nine-storeyed buildings,
the ninth storey (see NAVA-TALA) .
NAVA-RANGA (see SAPTA-RANGA)— A detached pavilion (with
1 08 columns).
(1) Salindam nava-rangarh syad ashtottara-satanghrikam I
(M., xxxtv, 107.)
(2) 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 ;
Roman Text, p. 134.)
258
HINDU ARCHITECTURE NAGA
(3) Santigramada nava-rahgada kalla-bagilann kattisi huli-mukha-
van— (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.)
(4) Srl-gopala-svamiyavara nava-ranga-patta-s'ale-prakaravanu
kattisi — for the god Gopala ' he erected a nava-ranga-patta-sale (a
nava-ranga and a pattasala, see below) and an enclosure wall (and
promoted a work of merit).'
Nava-ranga-prakara-patta-sale-samasta-dharmma — ' this nava-ranga,
enclosure wall, patta-sala and all the work of merit were carried
out. . . .' — (ibid, Channarayapatna Taluq no. 185 ; Roman Text, p. 467
lines 8, 17 ; Transl., p 205.)
(5) Compare Sapta-ranga (at Comilla in Bengal) which is a pagoda-
shaped detached building of seven storeys built on the right side
of the ranga-mandapa, another detached building, facing the front
side of the main shrine or temple of the god Jagannatha. All these
buildings and the tank behind the shrine are within the enclosing
wall (prakara).
(6) ' 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
being about 4^ feet square, while the nava-ranga measures 16 feet by
14 feet. ' — (Mysore Arch. Report, 1915-16, p. 4, para. 10 ; \see also p. 5, para.
12, Plate ra, fig. 2.)
' The nava-ranga is an open hall with two rows of four pillars at
the side, all the pillars except two being carved with large female
figures in relief in the front. ' — (Ibid., p. 15, para. 19.)
NAVA-RATNA — Nine gems, ruby (padma-raga), diamond (vajra),
coral (vidruma), sapphire (nila), topaz (pushpa-raga), emerald
(marakata), pearl (mukta), lapis lazuli (sphatika), and gomedaka.
(M., xvni, 390—394-)
NAGA — Supernatural beings, ' snake-demons, sometimes represent-
ed 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, fol.)
259
NAGA-KALA AN ENCYCLOPAEDIA OF
NAGA-KALA — A stone on which the image of a serpent is carved.
(See Chalukyan Architecture Arch. Surv., New Imp. Series, Vol. xxi,
p. 39, Plates xcrx, fig. 2 ; xc, figs. 2, 3.)
NAGA-BANDHA — A kind of window resembling the hood of
a cobra.
(M., XXXIH, 582 ; see under VATAYANA.)
NAGARA — One of the three styles of architecture ; it is quadrangular
in shape, the other two (Vesara and Dravida) being respectively
round and octagonal.
(t) Mdnasdra :
The characteristic feature of the three styles :
Muladi-stupi-paryantarh vedaSrarh chayatasYakam I
Dvyas"rarh vrittakritarh vatha grivadi-sikharakritih I
Stupi-karna-sarhyuktarh dvayarh va chaikam eva va I
Chatur-asrakritirh yas tu Nagararh tat prakirtitam I
Mulagrarh vrittam akararh tad yat ayatam eva va I
Grlvadi-stupi-paryantarh yuktatho (-dhas) tad yugasrakam I
Vrittasyagre dvyas"rakam tad Vesara-namakarh bhavet I
Mulagrat stupi-paryantam ashtas"ram va shad-asrakam I
Tad-agrarh chayatarh vapi grlvasyadho yugasrakam »
Purvavach chordhva-desarh syad Dravidarh tat prakirtitam I
SamaSraika-s'ikha-yuktarh chayame tach-chhikha-trayam I
DryaSra-vrittopari-stupi vrittarh va chatur-a^rakam I
Padmadi-kudmalantarh syad uktavad vakriti(rh) nyaset I
(M., xviii, 90-102.)
Compare Vishnu-dharmottara (a supplement to the Vishnu- Parana) ,
Part III, Chap. XLI, where paintings are divided into four classes — Satya,
Vainika, Nagara and Mis"ra. (Cf. S. Kramrisch : A Treatise on Indian
Painting and Image-making, 1928, pp. 8, 51 ; A. K. Coomaraswamy's
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 :
(Referring to the pedestal of the pallus) :
Nagararh chatur-asram ashtas"rarh Dravidarh tatha I
Vrittarh cha Vesararh proktam etat pithakritis tatha I
(M., mi, 53-54.)
2 60
HINDU ARCHITECTURE NAGARA
These distinguishing features are noticed generally at the upper
part of a building :
Griva-mastaka-s'ikha-pradesake I
Nagaradi-samalankritoktavat I — (M., xxi, 71-72.)
Nagara-Dravida-Vesaradin(-dinarh) Sikhanvitam (harm yam) I
(M, xxvi, 75.)
Referring to chariots (ratha) :
Vedasrarh Nagaram proktarh vasvasram Dravidarh bhavet I
Suvrittam Vesararh proktarh ra(A)ndhrarh syat tu shad-
asrakam I — (M., XLIII, 123-124.)
An important addition is 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
a distinct style of architecture (see below).
If the identification of Vesara with Telugu or Tri-kallnga is
accepted (see below), and if the reading Andhra for Randhra
is also accepted, the Kalinga and the Andhra would be two
branches of Vesara. And as the Dravida style is stated to be of the
hexagonal or octagonal shape (see above) it would appear that the
Dravida proper is octagonal and the Andhra, which is placed
between the Dravida and the Vesara, is hexagonal (see further
discussion below).
The same three styles are distinguished in sculpture also:
(Lingam) Nagararh Dravidam chaiva Vesrarh cha tridha
matam I
(M., LHI, 76, also 100.)
Kuryat tu nagare linge pitham Nagararh eva cha I
Dravide Dravidam proktarh vesare Vesararh tatha I
(Ibid., 46-47, etc.)
) Silparatna of Srikumara (xvi, 51-53) :
Muladi-sikhararh yugaSra-rachitam geha smritarh nagararh I
Muladi-Sikhara-kriyarh shaduragasrodbheditam dravidam I
Mulad va galato'thava parilasat-vrittatmakam vesaram I
Teshvekarh prithagallakshma suridadadhyadatmanah sam-
matam II (51)
Janmadi-stupiparyantarh yugasrarh nagararh bhavet I
Vasvasram Sirshakam karnam (kantham) dravidarh bhavanam
viduh II (52)
Vritta-karna (kantha)-5iropetam vesararh harmamlritam I
Kuta-koshthadi-hlnanam harmyanarh kathim tvidam II (53)
261
NAGARA AM ENCYCLOPAEDIA OF
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 it expressly says (v. 44) that buildings of all these styles
may be found in all countries according to some authorities. This
is quite natural and would further indicate the migration of styles
from the land of their origin.
The unwarranted assumption of Messrs. F. H. Gravely and T. N. Rama-
chandran, in the Bulletin of the Madras Government Museum (New Series —
General Section, Vol. Ill, Part i, 1934), that all Silpa-sastras including
the Manasdra originated and restricted their jurisdiction in the South, is respon-
sible for a series of further assumptions raised like a house of cards. Under
the plea of ' Three Main Styles of temple Architecture ' the authors of this article
of 26 pages deliberately ignored both the references to other objects of these
styles as also the examination of North Indian buildings of Nagara style except
a passing mention of a single structure at Bareilly District and excluded the places
north of the Vindhya range which are known by the name of Nagara. The
alternative designations of Vesara style by Andhra and Kalinga have equally
been ignored. Thus the learned authors had to delimit the Indian Continent
by the Vindhya range of limited eastern boundary as the northern limit, and
of this truncated India, Dravida being the south and Nagara and Vesara the
two northern flanks. There was no necessity for any discussion to explain the
mixture of Pallava and Chalukyan types. The migration of styles also is very
common and natural in architecture.
The contention that the styles, Nagara, Vesara, Dravida, all belong to the
south has been disproved by Dr. S. K. Aiyangar (Journal of the Indian Society
of Oriental Art, Vol. n, no. i, June 1934, pp. 23-27) : 'the primary division
is Nagara, India north of the Vindhyas, Vesara, India between the Vindhyas
and the Krishna, corresponding to Dakhan of secular history, and Dravida or
India south of the Krishna corresponding to Tamil India, ' . . . ' But in
regard to Vesara from Ves"ya, Mr. Jayaswal ( J. I. S. 0. A., Vol. i, no. i,
p. 57) has little authority to rest on '. . . . ' our derivation may fail or may
prove satisfactory, but that is something entirely different from what the artist
or the craftsman understood by the terms '....' That they (Nagara, Vesara,
Dravida) had no territorial significance would be to argue too much, in the
face of the explicit statement by the text writers."
(3) Kdmikdgama (LXV, 6-7, 12-18) :
Pratyekarh tri-vidharh proktam sarhchitarh chapy-asarhchitam I
Upasarhchitam ity-evarh Nagararh Dravidarh tatha 1 1 (6)
VeSararh cha tatha. jatis chhando vaikalpam eva cha II (7)
Savistara-vaSach chhanna-hasta-purnayatanvitam I
262
HINDU ARCHITECTURE NAGARA
Yugmayugma-vibhagcna Nagaram syat sarmkritam II (12)
Antara-prastaropetam uha-pratyuha-samyutam I
Nivra-sandhara-samstambha-vrate paridridhaih s"ubhaihll (13)
Dravidarh vakshyate' thatah vistara-dvayorghakam (?) I
Raktachchhanna-pratikshepat yugmayugma-vis'eshatah II (14)
Hitva tatra samrbhutam bhadralahkara-samyutam I
Aneka-dvara-sarhyuktam shad-vargam Dravidarh smritam I
Labdha-vyasayatam yat tu natiriktarh na hlnakam I
Bahu-varga-yutam vapi dandika-vara-s'obhitam II (16)
Maha-vararh vimanordhve nirvuhanana-samyutam (?) I
Sakshetropeta-madhyarhghri-yuktarh tad Vesaram matam II (17)
Yatmarh ganikanam cha jivinarh krura-karmanah I
Pras"astarh Vesararh tesharh anyesham itare ^ubhe II (18)
The details of the three styles are described more briefly but
explicitly in the following Agama :
(4) Suprabheddgama (xxxi, 37-39):
Dvara-bhedam idarh proktam jati-bhedam tatah srinu II (37)
Nagaram Dravidarh chaiva Vesararh cha tridha matam I
Kanthad arabhya vrittam yad Vesaram iti smritam II (38)
Grivam arabhya chashtarhs'am vimanam Dravidakhyakam I
Sarvam vai chaturasrarh yat prasadam Nagaram tu-idam 1 1 (39)
According to this Agama, the buildings of the Nagara style are
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
buildings of the two latter styles is quadrangular.
(5) Svair angula-pramanair dva-das"a-vistlrnam ayatarh cha mukham :
Nagnajita tu chatur-dasa dairghyena Dravida (m) kathitam II
According to one's own angula (finger) the face (of his own
statue) is twelve angulas long and broad. But according to (the
architect) Nagnajit it should be fourteen angulas in the Dravida
style.
The commentary quotes Nagnajit in full :
Vistirnam dva-dasa-mukharh dairghyena cha chatur-dasa I
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
measurement). — (Brihat-Samhita, LVIII, 4, J.R.A.S., N. S., Vol. vi, p. 323,
note 3.)
(6) ' 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
263
NAGARA AN ENCYCLOPAEDIA OF
fortune (then follows a description of its groves, gardens, tanks, etc.). In
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 read-
ing of all the Vedas, Puranas, moral precepts, Sastras, logic, agamas, poems,
dramas, stories, smriti, and rules for sacrifices.' — (Ep. Carnal., Vol. vn, Shikar-
pur Taluq, no. 225 ; Transl., p. 132, paras. 6, 7 ; Roman Text, p. 229, line 24 to
p. 235, line 2.)
(7) ' In the world beautiful is the Kuntala-land, in which is the charming
Vanavasa country ; in it is the Nagara-khanda, in which was the agreeable
Bandhavapura. (The list of its trees and other attractions.) In that royal
city (rajadhani) was formerly a king of that country famed for his liberality
Sovi-deva.'— (Ibid., no. 235 ; Transl., p. 135, para. 2 ; Roman Text, p. 238,
line 20, f.)
(8) Nagari-khanda and Nagari-khanda (ibid., no. 236 ; Transl., p. 137,
paras. 3, 4), Nagara-khanda seventy (no. 240 ; Transl., p. 138), Nagara-
khandanada (no. 241 ; Transl., p. 138), Nagara-khanda (no. 243 ; Roman
Text, p. 248, line 8), Nagara-khanda seventy (no. 267 ; Transl., p. 143, last
para., line 7), Nagari-khanda seventy (no. 277 ; Transl., p. 145, largest para.,
lines).
(9) Nagara-bhuktau valavi-vaishayika-s'aiva . . . padralik (? ksh)
antash-pati Varunika-grama — ' Of the village of Varunika, which lies . . .
in the Nagara bhukti (and) belonging to the Valavi-vishaya.' — (Deo Bara-
nark Inscrip. of Jivitagupta n, lines 6-7 : C. /. /., Vol., m, F. G. I. no. 46,
pp. 216, 218.)
(10) 'When that king (king Harihara's son Deva-Raya) of men was ruling
the kingdom in peace and wisdom, shining in beauty beyond all countries
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,
beautiful with lotus ponds, pleasure gardens and fields of gandha-sali rice.
(Further description of its attractions).' — (Ep. Carnal., Vol. vm, Part I, Sorab
Taluq, no. 261 ; Roman Text, p. 82 ; Transl., p. 41.)
(i i) ' In the island of Jambu trees ( Jambu-dvipa), in the Bharata-kshetra,
near the holy mountain (Sridhara), protected by the wise Chandragupta,
an abode of the good usages of eminent Kshatriyas, filled with a popula-
tion worthy of gifts (dakshina-patra), a place of unbroken wealth, was the
district (vishaya) named Naga-khanda of good fortune, possessed of all com-
forts, and from being ever free from destruction (laya) of the wise, called
Nilaya (an asylum). There, adorned with gardens of various fruit trees
264
HINDU ARCHITECTURE NAGARA
(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 identity of Nagara-khanda with Naga-khanda is undoubted owing
to the fact that the one and same village Kuppatur is contained in both.
(12) 'The headman of Pithamane village, the first in the Kuppatur
Twenty-six of the Nagara-khanda Malu-nad, belonging to the Chandragutti-
venthe, of the Banavasi Twelve Thousand in the South country . . . — •
(Ibid., no. 265 ; Roman Text, p. Sy.Transl., p. 43).
(13) In Jambudvipa, in the Karnnataka-vishaya, adorned with all
manner of trees (named) is Nagara-khanda.' — (Ibid., no. 329 ; Transl.,
p. 58, para. 2, line 4.)
(14) The expression • Nagara-khanda Seventy' occurs in several of the
Sorab Taluq Inscriptions, e.g., nos. 326, 327, 328, 336, 337, etc.
• To the ocean-girdled earth like a beautiful breast formed for enjoyment
was Nagara-khanda in the Banavasi-mandala.' — (Ibid., no. 345 ; Transl.
p. 60.)
(15) 'In the ocean-girdled Jambu-diva (dvipa) is the Mandara mountain
to the south of which is the Bharata-kshetra, in which is ... wherein is
the beautiful Nagara-khanda. Among the chief villages of that nad is the
agrahara named Kuppatura.'
' Grants were also made (as specified) by the oil-mongers, the betel-sellers
and the gandas(?) of Nagara-khanda for the perpetual lamp.' — (Ibid., no.
276 ; Transl., p. 47.)
(16) 'In the pleasant Nagara-khanda 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
with a moat, its . . ., and the houses of dancing girls, — how beautiful to
the eyes was Kuppatur. It surpassed Alakapura, AmaravatI and Bhoga-
vati. Within that village, vying with Kailasa, stood the temple of Koti-
natha, built by Visvakarmma and carved with complete devotion, planned in
perfect accordance with the many rules of architecture, and freely decorated
with drdvida, bhumija and ndgara.' ' These and bhadropeta appear to be
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 — Ep. Carnal., Vol.
vra, Part I ; Sorab Taluq, no. 275 ; Roman Text, p. 92, line 9 from bottom
upwards ; transl., p. 46, note i.)
(17) • The earliest Vijayanagar inscription (Sb. 263, noted above) contains
the interesting statement that the district (vishaya) named Naga-khanda
265
NAGARA AN ENCYCLOPAEDIA OF
generally Nagara-khanda, corresponding more or less with the Shikarpur
Taluq was (formerly) protected by the wise Chandragupta, an abode of
the usages of eminent Kshatriyas.' — (Ep. Carnal., Vol., vm, Part I ; Introduc-
tion, p. ii, para. 5.)
(18) The Sorab Taluq Inscriptions (no. 261 f.) have reference to Nagara-
khanda and its pompous buildings (temples), picturesque gardens and other
natural and artificial beauties. From these it may be inferred that the
buildings of Nagara-khanda possessed, as stated in the Mdnasdra, a distinct
style of architecture like those of the Dravida and Vesara countries.
(19) Compare Fah Hian's Kingdom of the Dakshina (Ind. Ant., Vol.,
VH, pp. 1-7, note 2) :
' Going two hundred yojanas south from this, there is a country
called Ta-thsin (Dakshina). Here is a Sangharama of the former
Buddha, Kas"yapa. It is constructed out of a great mountain of rock
hewn to the proper shape. This building has altogether five storeys.
The lowest is shaped into the form of an elephant, and has five hundred
stone cells in it. The second is in the form of a lion and has four
hundred chambers. The third is shaped like a horse, and has three
hundred chambers. The fifth storey is in the shape of a dove, and
has one hundred chambers in it. At the very top of all is a spring of
water, which flowing in a stream before the rooms, encircles each tier
and so, running in a circuitous course, at last arrives at the very lowest
storey of all, where, flowing past the chambers as before, it finally issues
through the door of the building. Throughout the consecutive tiers,
in various parts of the building, windows have been pierced through the
solid rock for the admission of light, so that every chamber is quite illu-
minated, and there is no darkness (throughout the whole). At the
four corners of this edifice they have hewn out the rock into steps,
as a means for ascending. Men of the present time point out a small
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)
signifying " pigeon." There are always Arhtas abiding here. This
land is hilly and barren, without inhabitants. At a considerable
distance from the hill there are villages, but all of them are inhabited
by heretics. They know nothing of the law of Buddha or Sramanas, of
Brahmans, or of any of the different schools of learning. The men of
that country continually see persons come flying to the temple. On
a certain occasion there were some Buddhist pilgrims from different
countries who came here with a desire to pay religious worship at this
temple. Then the men of the villages above alluded to ask them saying
266
HINDU ARCHITECTURE NAGARA
•• Why do you not fly to it • We behold the religious men who
occupy those chamber constantly on the wing." " Because our wings
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
guides, 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
in the above passages merely what he heard.' — (Beat's Travels of Fah Hian
and Sung-Yan, pp. 139, 141.)
(20) ' The territory (Dravida) which also includes the northern half
of Ceylon, extends 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
farther eastwards to the Bay of Bengal.' — (Encyclopaedia, Brit. ed. n,
P- 550-)
(21) Vesara is otherwise called Andhra or Telugu. ' The old 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
by the Krishna.' (Dr. Barnett, Catalogue of the Telugu Books, Preface.)
The boundaries of the Telugu or Vesara country are given in detail
in the Linguistic Survey of India : ' The Telugu country is bounded
towards the east of the Bay of Bengal from about Barwa in the Ganjam
District in the north to Madras in the south. From Barwa the frontier
line goes 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
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, towards Bidar
where Telugu meets with Kanarese.' — (Linguistic Survey of India, Vol. iv>
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., 10, 8).
Brihaddranyaka-upanishad (8, 15).
Sisupalabadha (Bibl. 141, Gal. 12, 19).
267
NAGARA AN ENCYCLOPAEDIA OF
(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 ancient place called Nagarakota are
situated on the Bias in the district of Kangra, in the Punjab ; that
we find Nagaravasti in Darbhanga, the town Nagaraparken in Sindh
and Nagarakhas in the district of Basti ; that there is a number of
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
district of Dacca ; and that of some nine or ten places, called Nagara
in 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
Chitor (Smith's History, p. 187). Hieun Tsiang also mentions
Nagara (modern Jellalabad) which was a province of ancient Kapisa
(Kadphisa), the people whereof were the followers of Buddha (see
his Travels, Index).
The Nagaras are mentioned in the list of countries and peoples'
given in the Yogdvas'istha-Rdmdyana (Utpatti-prakarana, xxxv, 33)
as a people. The same list refers to the Dravidas (ibid., 40) also as
a people living south of the mount Chitra-kuta, below the river
Godavari. In this list the Andhras, Kalingas, and Chaulikas are clear-
ly distinguished from the Dravidas (ibid., 26-27).
Nagara is the name of a script also mostly prevailing in Northern
India. There lives a powerful tribe called Nagara, in the moun-
taneous 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-
garanandapura. From these Nagara Brahmans, it is said, came the
use of the Nagari alphabet. A portion (part VI) of the Skanda-
Purdna 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 I
Tatra sthasyanti te vadhya bhavishyanti yatba-sukham I \
Adya prabhriti tat sthanarh (Chamatkara-purarh) nagarakhyam
dhara-tale I
Bhavishyati su-vikhyatarh tava kirtti-vivarddhanam 1 1
Evam tan nagaram jatam asmat kalad anantaram 1 1
(Skanda-Purana, Part vi, Nagara-khanda,
Chap, cxrv, w., 76, 77, 78, 93.)
From all 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,
like those of Dravida and Vesara, are not traceable. The epigraphical
quotations, however, would tend to localize Nagara somewhere
within the territory of modern Mysore. But the Nagara script, the
Nagara-khanda of the Skanda-Purdna, and the Nagara-Brahmins,
representing some way or other the Northern India from the Himalaya
to the Vindhya and from Gujrat to Magadha, would jointly give
a wider boundary to Nagara. Besides the author of the Mdnasdra
shows his acquaintance with buildings of the whole of India in the
passage where he divides the best types of buildings by the following
designations, namely, Padchala, Dravida, Madhya-kanta (meaning
apparently MadhyadeSa), Kalinga, Varata (Virata), Kerala, Vam-
saka, 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
conflicting ideas are reconciled by many a scholar. Let whatever be
the boundaries of Nagara, it is clear beyond doubt that the three
styles of architecture have arisen from three geographical names,
Nagara, Vesara, and Dravida. And there we have a parallel instance
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 AN ENCYCLOPAEDIA OF
' In 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. Many provinces of Greece bore
the name of Doria; but the name is often the least satisfactory mode
of accounting for the birth of the thing which bears it.' — (Encycl.,
Art. 142.)
' The Ionic order, at first chiefly confined to the states of Asia
Minor, appears to have been coeval with the Doric order.' — (Gwilt.,
Encycl. Art. 153). 'That species, of which the lonians (inhabitants,
of Ion) were the inventors, has received the appellation of lonic.'-
(Vitruvius, Book iv, Chap, i.)
The third species, Corinthian, is so called because • Callimachus,
who for his great ingenuity and taste was called by the Athenians
Catatechnos, happening at this time to pass by the tomb, observed
the basket and the delicacy of the foliage which surrounded it. Pleased
with the form and novelty of combination, he constructed, from
the hint thus afforded, columns of this species in the country about
Corinth.'— (Ibid., Chap, i.)
' When Solomon ascended the throne, anxious to fulfil the wish of
his father had long entertained of erecting a fixed temple for the
reception of the ark, he was not only obliged to send to Tyre for work-
men, but for an architect also. Upon this temple a dissertation has
been written by a Spaniard of the name of Villalpanda, wherein he,
with consummate simplicity, urges that the orders, instead of being
invention of the Greeks, were the invention of God Himself, and that Calli-
machus most shamefully put for the pretentions to the formation of
the Corinthian capital which, he says, had been used centuries before
in the temple at Jerusalem.' — (Ibid., Art. 52.)
' The other two orders, Tuscan and Composite, which are of
a later date than the time of Vitruvius, are of Italian or Roman origin.
The Composite, as its title denotes, is the combination of other orders
and has thus no independent importance. The Tuscan order has
also reference to the country of Tuscany, formerly called Eutruria,
a country of Italy.' — (Gwilt, Encycl., Art. 1 78.)
The origin of the Indian architecture is attributed to a mytholo-
gical person Vis"vakarman, literally the Creator of the Universe.
But the styles of architecture are stated to have been invented by
one Bammoja.
270
HINDU ARCHITECTURE NAGARA
' An interesting record from Holal is the label cut on the capital
of a finely carved pillar in the Amrites'vara temple. It is called in
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
master of 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, viz. Nagara, Kalinga,
Dravida and Vesara. An earlier sculptor of about A. D. ninth
century of whom we hear from an inscription on a pedestal at
Kogali, was a grandson of Sivananni. It is stated that he made the
image of the sun (divasa-kara) of which the stone in question was
evidently the pedestal.' — (Government of Madras G. O. no. 1260, i5th
August, 1915, p. 90, see also Progress Report of the Assistant Archaeological
Superintendent for Epigraphy, Southern Circle, 1914-15, p. 90.)
It has been pointed out already that Kalinga is mentioned in
the Mdnasdra (xxx. 5-7) as the name of a type of building, but
therein it is never stated as a style like the Nagara, Vesara and
Dravida, the Kalinga type of buildings being apparently included
in one of these three styles. In the same treatise there is another
passage, pointed out above, where Randhra or Andhra is mentioned
as a type of chariots. It has also been stated above that these
Kalinga and Andhra might be two branches of the Vesara, being
geographically placed on the two sides of it, the three together
forming Tri-Kalinga or three Kalihgas. In one of the epigraphical
quotations (no. 15) Bhumija is mentioned alongside Dravida and
Nagara, and this Bhumija (lit. originated in the land or the style
of the land, where the document was written) is apparently same
as Vesara.
Some of the numerous literary and epigraphical quotations given
above must be placed in dates later than the time of Bammoja, men-
tioned in the present document. But neither his name nor his style
(Kalinga) is associated with the three styles, Nagara, Vesara, Dra-
vida, in any of the instances quoted above. It is not unlikely that
Bammoja ' discovered ' the three styles, which had been perhaps
existing long before him, and adding his own invention (Kalinga)
claimed the originality for all the four. 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
all 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
271
NATAKA AN ENCYCLOPAEDIA OF
circumstances at different periods, before they were recorded,
presumably first in the architectural treatises and then 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
Indian architecture. Here it is clear that the expressions Nagara,
Vesara and Dravida are geographical, and that they imply three
styles of architecture in its broadest sense.
But on the last point, too, modern authorities hold different views.
In discussing the styles of Indian architecture, Mr. Havell is of opi-
nion (Study of the Indian Civilization, Preface) that they are Siva
and Vishnu and not Northern and Southern, or the Indo-Aryan and
the Dravidian, as Fergusson and Burgess suppose to be (cf. History
of Ind. and East. Arch., 1910). The Silpd-sdstra and the Agamas
seem 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
a geographical nature, is more in agreement with the system of the
Silpa-fastras than Havell's division.
The fact that the Hindu art-consciousness is largely dominated
by a spiritual motive being strictly adhered to, it would follow that
Havell's division into Siva and Vishnu, or others, into Hindu, Buddhist
and Jain, would be more logical than that into Northern, Eastern
and Southern, or Nagara, Vesara and Dravida. But even admit-
ting this, we must not forget that the Hindus knew the point where
exactly to draw the line between religion, on the one hand, and
social and political life, on the other. It is needless to observe that
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 some-
times so called ; a cardinal number.
Padanam api sarvesharh patra-jatyair alankritam I
Antare natakair yuktarh padmanam tu dalair yutam I
(M., xiv, 149-150.)
In connexion with the entablature : Natakanta-mrinalika I
(M., xvi, 53.)
272
HINDU ARCHITECTURE NATYA-GRIHA
Narair va natakange tu kuryad devalayadinam I
Harmyantaralayah sarve nrinarh nataka-samyutam I
Etat tu prastarasyordhve natakasyordhvarhs"avat I
(A/., xvi, 112, 114, 117.)
Athava tapasvinlnam cha kathe va natakahakam (mandapam) I
(Af., xxxiv, 426.)
In connexion with pavilions (mandapa) :
Natka-vistararh pancha-pancha-bhagena yojayet I
(Ibid., 503.)
In connexion with the arch (torana) :
Makara-kimbari-vaktrarh natakadi-bhujarigavat I
Kesari-mandanarh bhavati chitra-torana-natakaih I
(M., XLVI, 66-67.)
The cardinal number ten :
Shat-saptashtaka-dandam va nanda-nataka-rudrakam I
(Af., ix, 430.)
Its synonym are anta, mrinalika vallika, patra, valli, chitranga and
kulikanghrika. — (Af. xvi, 53-55.)
NATIKA— A moulding.
In connexion with the arch (torana) :
Natika phalaka mushti-bandhanam patra-vallikam I
(Af., XLVI, 65.)
In connexion with the pillar :
Kumbhayamarh tathotkantam urdhve karna-samam bhavet I
Tat-samam natikakhyam syad unnatam tad viseshtah I
(Af., xv, 54-55.)
NATYA-GRIHA(-MANDAPA, -VE§MA, -§ALA)— The play-
house, theatre, music hall, 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)
semi-circular (vikrishta), quadrangular (chaturasra), and triangular
(tryasra). Abhinava-gupta, the commentator of Bharata-Ndtya-sdstra
refers to some eighteen varieties with reference to shape and size.
It consists of two main parts : the auditorium (preksha-griha) and the stage
(ranga-mandapa) . The former faces the latter and is one storey (bhumi)
lower in situation. The auditorium supplies the seating arrangement which
varies in accordance with the shape of the theatre ; nd in consideration
of its 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
273
NATYA-GRIHA AN ENCYCLOPAEDIA OF
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
gods, to be seated together with their consorts, as also for the accommoda-
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
right and the bards on their left. Immediately behind the court ladies is the
royal seat, on the left of which seats are reserved for the harem (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 immediate-
ly behind for acting), and nepathya-griha (green-room). It is shaped like
a mountain cave and have two floors. The upper floor or the platform
(vedika) is made of wood, and the surrounding walls, of bricks.
Like many other things the Indian tradition has ascribed a divine, that
is, an indigenous origin to Sanskrit drama rather than a Grecian influence.
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 signi-
ficant that dramas were intended at origin to provide facilities for the enjoy-
ment of all classes of people, thus indicating popularity and interest to the
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
to enjoy the dramas. Thus the drama is stated to have been compiled of the
element of recitation from the Rig- Veda, the element of chanting or songs
from the Sdma-Veda, the element of mimic art from the Tqjur-Veda, and the
element of sentiment from the Athar-Veda. Siva and Parvatl are stated
to have contributed the Tandava and Lasya dances, and Vishnu ' the four
dramatic styles essential to the effect of any play.' Visvakarman, the divine
architect, is stated to have built the first playhouse in which the sage Bharata
carried into practice the dramatic art thus created.1
This traditional account has been gathered from the Bharata-Ndtya-sdstra
which treatise the Western scholars have placed in the third century of the
Christian era. There is also a class of works, called Natasutra, referred to
in Panini's 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
1 Keith : Sanskrit Drama, p. 1 2.
»For instance Rig-Veda, v. 10, 51-53, 86, 95, 108 ; vm, 100 ; i, 179, 28-
rv, 1 8.
274
A SUGGESTION FOR THE INTERIOR
10 5 10 15 20 25 30 35 40 45 50
SCALE OF MI. in i i i i i i i | | FEET.
\ ---"•
PLAN-SEMI CIRCULAR TYPE.
PLAN-TRIANQULAR TYPE
SCALE 16 FT. --ONE INCH.
NA . YA GRIM.
PLAN-QUADRANGULAR TYPE
SCALE 8 FT. -ONE INCH
I'age 274
HINDU ARCHITECTURE NATYA-GRIHA
itself the germs of drama ' and in the ceremonies ' there was undoubtedly
present the element of dramatic representation.' l
In the Rdmqyana mention is made of the dramatic artists (nata), pro-
fessional dancer (nartaka), and plays in mixed languages ( Vyamisraka) .
In the Harivamsa which is a continuation of the Mahdbhdrata mention is
made 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
Mahdbhdshya ' which mentions representations of Kama-vadha (slaying of
Karhsa) and the Balibandha (binding of Bali).2
The Prekshagara or auditorium is mentioned in the Mdlavikdgnimitra
(Act I). Sanglta-sala or music hall is referred to in the Sdkuntala (Act V).
The Bhavaprakdsana (x, 5-18) refers to three types of theatres and thirty
different kinds of dramas which were actually played by a dramatic company
under the direction of Divakara :
Chaturasra-tryasra-vritta-bhedat so'pi tridha bhavet I
The Sangita-chuddmant, a text in manuscript, describes the drop scene
and other curtain : ' the first curtain is the front drop which is removed as
soon as the show begins. Behind the mist-like curtain, the danseuse performs
the dance called lasyu (nude) ' (Triveni, p. 722). Sceneries are described
in great detail in the Bharata-Ndtya-sdstra :
Kaksha-vibhage jneyani grihani nagarani cha I
Udyanarama sarid-asrama atavi tatha 1 1
Prithivl sagaraS chaiva trailokyarh sacharacharam I
Varshani sapta-dvipas cha parvata vividhas tatha II
Aloka£ chaiva lokas cha rasatalamathapi cha I
Daityanam alayas chaiva griham bhuvanarh cha 1 1
Nagare cha vane chapi varshe vai parvate tatha I
Yatra vartha pravarteta tatra kaksharh prayojayet II
Bahyarh va madhyamam vapi tathaivabhyantararh punah I
Durarh va sannikishtam va de^am tu parikalpayet I
(Ndtya-sdstra, ed. Joan Grosset, Paris, 1898.)
The same text describes with minute particulars and dimensions the
auditorium of three types :
Idarh prekshagriharh drishtva dhlmata Visvakarmana I
Tri-vidhah sannivesascha sastratah parikalpitah I
Viprakrishtas-chaturasras cha trya^ras chaiva tu mandapah I
Prekshagrihanarh sarvesharh tri-prakaro vidhih smritah II
(Natya-fastra, Gaekwad's Series,
xxxvi, Chap, n, 7, 8, 25.)
1 Keith : Sanskrit Drama, p. 23.
2 Mahabhashya on Panini 3, i, 26; see Macdonell, History of Sanskrit
Literature, p. 347.
275
NATYA-GRIHA AN ENCYCLOPAEDIA OF
The pillars, doors, walls, green-rooms, etc. are fully described :
Stambharii dvararh cha bhittith cha nepathyagriham eva cha I
Evam utthapayet tajjno vidhi-drishtena karmana 1 1
(Ndtya-ias'ra, Gaekwad's Series,
xxxvi, Chap, n, 65-66.)
The stage proper with its different members are also described :
Ranga-pitham tatah karyarh vidhi-drishtena karmana I
(Jbid., n, 71.)
Rariga-Sirsham tu kartavyam shad-daru-samanvitam I
Karyarh dvara-dv;iyarh chatra nepathyasya grihasya cha I
(Ibid., u, 71, 72 ; see also 78.)
Evam kashtha-vidhim kritva bhitti-karnena prayojayet I
Nirvyuha-kuharopetam nana-gratitha-vedikam |
Karyah saila-guhakaro dvi-bhumir natya-mandapah I
(Ibid., H, 70, 84.)
Compare DARIGRIHA (Kumdra-sambhava, I, 10, 14) and SILA-VESMAN
(Megha-duta, i, 25).
The Silpa-ratna of Srikumara also describes two or three types of play-
houses (Chap, xxxix, 60-68).
The playhouses belonging to temples, palaces and ordinary dwelling
houses are described in the Mdnasdra (XLVII, 2-12, 16, 20, 24-29, see
quotations under MADHYARANGA).
The epigraphical evidences are also not wanting. Thus from its a range-
ments and inscriptions the cave in Ramgarh hill in Sarguja ' appears to
have been evidently intended for dramatic performances.' * The queen's
cave and that of Ganesa in Udayagiri •' are further examples : they represent
the doings of these ladies and gentlemen (actresses and actors) in a highly
realistic way.' 2 ' 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
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 elucida-
tion that the Hindu mind is essentially musical. Music was required for the
Hindus to celebrate one's birth, wedding and : similar other happy occasions.
1 Dr. Block : ^eitsckrift der Deutsclien Morgenlandischen, Bd., LVIII, S. 455.
2 Luders : Indian Caves as Pleasure Resorts, Indian Antiquary, xxxiv, pp.
199-200. But Jacobi is still under the old prejudice when referring to the cave
theatre of Ramgarh hill he says that ' it is 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 Hampe
Inscription of Krishnaraya, lines 24, 32, North Face.
276
HINDU ARCHITECTURE NATYA-GRIHA
It was also required to mourn one's death and similar sad incidents
including even calamities as like earthquakes and epidemics. Religious
ceremonies had to be accompanied by music. These musics include both
vocal and instrumental songs, dancing, and enacting of plays varying
from a single act or scene to a performance which continued for days and
nights. Thus the elements of drama are available in the earliest Vedas. The
excavations at Mahenjo-Daro, Harappa and other sites may supply
evidence of regular theatre even for the Pre-Vedic period. In order to
carry out into practice the musical habit of the Hindus, which was so con-
vincingly in existence for milleniums, no doubt suitable accommodation
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 under-
stood and successfully practised at least between 3000 and 4000 B. c. when
Mahenjo-Daro edifices might have been erected, yet they did not think of
constructing a playhouse even after the model of the then existing natural
caves until the Grecian invaders supplied the pattern between 300 and 350
B. c. Those who are not thus prejudiced will find it easy to infer from the
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
built with scientific knowledge of acoustics, light, ventilation, safety and
security. They were erected in villages, small country towns, centres of
pilgrimages, and in big capital cities. They were attached to commodious
dwelling houses, king's palaces, and god's temples. In all these constructions
provisions were distinctly made for the stage proper and the auditorium.
The former comprised the platform with a thick drop scene in front
and the theatre proper with various realistic sceneries and curtains
behind which even semi-nude dance could be performed, the indecency
being prevented by the mistiness caused by the device of thin curtains and
light. The green-rooms and other rooms were made for dressing and rest-
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
seats for all classes and ranks of audience, which were artistically arranged
in tiers and galleries. It was adorned with beautiful doors, windows, bal-
conies, and walls and ceilings with carvings and paintings on them. There
were also open air auditorium with surrounding walls and terraces which
latter served as galleries. But the stage appears never to have been uncover-
ed either on the sides or at the top.1
1 For further details, see the writer's article, ' The Playhouse of the Hindu
Period ' (Modern Review, April, 1935, pp. 370-378, Krishnaswami Aiyangar's
Commemoration Volume, pp. 363-380).
277
NATYA-MANDAPA AN ENCYCLOPAEDIA OF
NATYA-MANDAPA — The stage proper consisting of ranga-slrsha
(stage-front), ranga-pltha (place for acting), and nepathya-griha
(green-room). In shape it should be like a mountain cave and have
two floors :
Karyah Sailaguhakaro dvi-bhumir natya-mandapa I
(Bharata-Natya-taslra n, 84, also 91.)
The upper floor or the platform (Vedika, ibid, n 80) should be made of
wood :
Evarh kashtha-vidhirh kritva bhitti-karma prajojayet I — (Ibid., n, 82.)
The surrounding walls should be made of bricks (Slishteshtaka) .
NATTA (NATYA)-SALA — A detached building used as a music
hall." '
Nafta-Sala cha karttavya dvara-des'a-samas'raya I
And the music hall should be built attached to the gateway (of the
temple).
(Garuda-Purdna, Chap. XLVII, v. 45.)
A mandapa or hall for religious music, built in front of the main temple :
Durgga-devalayasyabharanam iva purah sthapayamasa gurvvirh sYiman
Srinatha-viryyah sthagita-das"a-di£an natya-Salarh chhalena I
(Dirghasi Inscrip. of Vanapati, lines 14-15,
Ep. Ind., Vol. iv, p. 316.)
NABHI-VlTHI — A road proceeding from the central part of a
village or town.
Brahma-bhaga-vriddhya vlthir nabhi-vithiti kathyate I
(Kamikdgama, xxv, i.)
NARANA— A temple of Vishnu.
(Note on a Tamil Inscription in Siam, Hultsch,
J. R A. S., 1913, pp. 337-339-)
NARAGHA — A road running towards the east.
Pran-mukha vlthayah sarva narachakhye(a i)ti smritah I
(Kamikdgama, xxv, 3.)
NALA — A canal or gutter, channel, lotus stalk (M., xix, 144, 148*
153, etc.), a tubular vessel of the body (M., L, 198, 201, 205, etc.),
middle, central (M., xxxni, 360, XLIH, 14).
In connexion with the phallus. — (M., LII, 294-296, etc.)
278
HINDU ARCHITECTURE NASA
NALA-GEHA — A canal-house, channel, middle chamber, central
hall.
. . . Bhitti-gcham ihochyate I
Tri-chatush-pancha-shad-bhagarh saptarhSarh kudya-vistaram I
Seshaih tu nala-geharh tu. . . . I
(M., xxxiu, 359, 360.)
NALANDA — The famous Buddhist institution at Bihar, comprising
several vihara, sangarama, dharmaganja, and chaitya buildings ;
there were colleges, halls, libraries, observatories, priests' chambers,
' richly adorned towers and the fairy-like turrets ' and ' brilliant
and magnificent memorial ' buildings. ' The whole establishment
is surrounded by a brick-wall. One gate opens into the great
college, from which are separated eight other halls, standing in the
middle. (Accounts of Hiuen Tsiang, I-tsing, Tibetan writers,
Excavations, Archaeological Survey, and Sankalia) ; see under
VlS VA VID YALAYA .
NALIKA (see NALA) — A canal, the lower leg.
Ekamsam tad-dhatam bhitti-taram sesham cha nalika I
(M, xxxm, 438.)
The lower leg. — (M., XLV, 42, etc.)
NALIKA-GARBHA— A rectangular hall of the length twice the
breadth.
Nalika gabbho ti bitt harato dvigunita-gunayamo digha-gabbho I
(Buddhaghosha, Chullavagga, vi, 33.)
The interpretation of Oldenberg and Rhys Davids as ' palanquin-shaped'
given under the translation of the term is not supported by the commenta-
tor Buddhaghosha as quoted above.
NALIKA-GRIHA (see NALA-GEHA) — A canal house.
(M., xix, 98, etc.)
NALI (see NALIKA) — A canal, a gutter.
Geha-tare tu saptamsarh nali-taram yugamsakam I
(M., xix, 115; set also 116.)
NASA — A nose, a nose-shaped object, the upper piece of a door,
a vestibule.
Vijneya nasika nasa nasa dvarordhva-daru cha I
(Amarakosha, n, ii, 13.)
In connexion with the base :
Grahadi-chitra-sarvesham kshudra-nasadi-bhushitam I
(M., xiv, 236, etc.)
279
NASIKA-(SI) AN ENCYCLOPAEDIA OF
NASIKA(-SI) (see NASA) — A nose-shaped architectural object,
a vestibule, an open court or porch before a house, a hall next to
the entrance to a house, a bracket.
In connexion with the pillar (M.. xvi 76, 77, go, 120, etc).
Some component part of a building (M., xvn 207 ; xrx, 174, etc.).
Chatur-dikshu chatur-nasi (M., L, 284).
Suprabhedagama, xxxi (referring to a class of buildings) :
Chatush-kutas' chatuh-Salas" chatvarah parsVa-nasikah I (48)
Mukha-nasi tatha yuktam dva-das"aih chanu-nasikah I (49)
Chatur-nasi-samayuktam anu-nasi-das"ashtakam 1 1 (51)
Kuta-Sala-samayukta punah panjara-nasika II (52)
ParsVayor nasika-yuktam tan-madhye tanu(tvanu)-nasika U (79)
Eka-nasikaya yuktam panjaram samudahritam I
Kuteshu nasika-yuktarh koshtham etat prakirtitam II (80)
Kdmikdgama, LV (eight kinds of Nasika) :
Nasika tv-ashtadha jneya tasyadau simha-samjnitam I
Sardha-panjaram anyat syat tritlyam matam II (132)
Shaped like the nose (M., xxxra, 541).
Its height ends by the fore-part of the dome (M.: xxxm, 549).
See also M., xxxm, 550-561.
Shaped like gala, Sikha, circular, galakuta (M., xxxm, 552-553).
Niryuha-panjararh pakhat panchamam lamba-nasikam I
Simha-^rotram tu shashtarh syat khanda-niryuhakam tatha I
Jhasa-panjaram anyat syat tasam lakshanam uchyate II (133)
They are also called panjaras :
Sarvesham panjaranam tu manam evam udahritamll (149)
The details of these nasikas or panjaras (ibid., 134-146).
Slishta-prasada-nivrariga-vipularh sama-nirgamam I
Shat-varga-sahitam Sakti-dhvajayor mukha-pattikam I (134)
Vedika-jalaka-stambha-rajitam simha-panjaram I
Tri-dandadi-chatur-danda-paryantam vipulanvitam II (135)
Yatharhayama-samyuktam suchi-pada-dvayam dvijah I
Sarvesham panjaranam tu madhyame samprayojayet II (136)
Dhamni prasadam a^lishtam sanivram chardha-nirgatam 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 I
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
280
: j w r :
NA51KA.
<r4 — i i — U-
«fc J HARA. BH*DRA HARA. L 4.
I S
NASIKA VESTIBULE IN PLAN. NASIKA
NATAKA.
NAGA-KALA.
SHEET IRO^
LINING. >- g
DOCUMENT _ °
PLAN.
LONG SECTION.
NIDHANA.
Pnit
HINDU ARCHITECTURE NIDHANA
Kapotadyanga-sarhyuktam etan niryuha-panjaram II (141)
Samslishta-mvra-karnanghri-krita-naga-talarh sirah I
Niryuha-rahitarh yuktam sarvangarh lamba-nasikam II (142)
Tad eva sirhha-s'rotrabha-s'ikharh yad-vad nivrakam I
Sarhsritarh karna-padena sirhha-s'rotrarh tad uchyate II (143)
Vistare panchamarhs'e tu dvyarhSarh nirgamananvitam I
NIvradhastat kapotadyair arhsair mandita-rupakam II
Namna tu khanda-niryuha(m) jnatva samyak prayojayet II (144)
Danda-dandanta-nishkrantam nivradhastad upary-adhah I
Angair yuktam kapotadyaih kandharam torananvitam II (145)
Jhasa-panjaram etat syad ashtamam namatah dvijah II (146)
NAHA-LlftGA— A kind of phallus.
Acharya-hastena va lingam Sishya -(sya)s tu naha-linga-vat I
(M, LII, 335 ; see details under LINGA.)
NIGAMA — A town, the quarters inhabited by traders, a market.
(Af., x, 42 ; see details under NAGARA.)
Cf. Nagara-nigama-jana-padanam — ' towns, marts and rural parts
(e. g. Grama-nagara-nigama, Harshacharita, p. 220, i, i.)'— (Junagadh
Inscrip. of Rudradaman, lines 10-11, Ep. Ind., Vol. vin, pp. 43, 37, and
note 5.)
Nigama-sabhaya-nibadha — registered at the town's hall. — (Senart, Nasik
Cave Inscrip. no. 12, line 4, Ep. Ind., Vol. vm, pp. 82, 83.)
NIGAMA-SABHA (see NIGABIA)— A guild-hall, the traders,
assembly.
Cf. Eta cha sarva-sravita-nigama-sabhaya nibaddha cha phalaka-
vare charitra iti — ' and all this has been proclaimed in the guild-hall
and has been written on boards according to custom. '
' Nigama-sabhaya, ' in the guild-hall, ' may also be translated • in
the assembly of the traders. ' Dr. Burgess. — (Kshatrapa Inscrip. no. 9,
line 4, Arch. Surv., New Imp. Series, Vol. iv, pp. 102, 103, note 3 on page 103.)
NIDRA— A moulding.
Vajanarh chaika-bhagena nidrcka vajanam tribhih II
Vajanam chaika-bhagena tatha nidra tri-bhagatah 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.)
NIB(-V)IDA AJf ENCYCLOPAEDIA OF
NIB(-V)IDA — An ornament covering the lower part of the pent-
roof, a moulding.
Agram vikasltabharh syan mularh cha nibidanvitam I
(A/., xviu, 245, etc.)
NIMNA(-KA) — The cavity, depth, ^depressed part, drip, projection,
edge of an architectural or sculptural object, a moulding.
A moulding of the base (M., xiv, 247, etc. ; see the lists of mould-
ings under ADHISHTHANA).
A moulding of the column (M., xv, 52).
A moulding of the pitha or pedestal of the phallus (M., LIII, 27).
Chatur-dikshu sabhadram va chaika-dvy-arhs'ena nimnakam I
(M., L, 285.)
The depressed part of the chin :
Hanvantarh tad-dvayor madhye nimna-tungam Sivayatarn I
(M., XLV, 103.)
NIRGAMA— The projection.
(1) Mdnasara :
The projections of the mouldings of the base (M., xiv, 385-412 ; see
under ADHISHTHANA).
The projections of the mouldings of the pedestal (M., xm, 128-146; see
under UPAPITHA.)
The projection of the (whole) pedestal (ibid.. 20-35).
Cf. Nirgamodgamane vapi putra-naSam avapnuyat I — (M., LXIX, 19.)
(2) Nirgamam tu punas tasya yavad vai lesha-pa^tika I
(Matsya-Purana, Chap. CGLXII, v. 4.)
Chatur-diksku tatha jneyarh nirgamam tu tatoh budhaih I
(Ibid., Chap. CCLXIX, v. 2.)
(3) Ashtamams'ena garbhasya rathakanam tu nirgamah I
(Agni-Purdna, Chap. XLH, v. 13 ; see also v. 14.)
(4) Nirgamas tu Sukanghres" cha uchchhraya-s'ikhararddhagah 1 1
Chatur-dikshu tatha jneyo nirgamas tu tatha budhaih II (9)
Bhagam ekam grihltva tu nirgamam kalpayet punah 1 1 ( 10)
Nirgamas tu samakhyatah Sesham purvavad eva tu II (14)
Sukahghrih purvavaj jneya nirgamochchhrayakam bhavet II (17)
(Garuda-Purana, Chap. XLVII, vv. 4, 9, 10, 14,17.)
(5) Salanam tu chatur-dikshu chaika-bhagaditah kramat I
Pada-bhaga-vivriddhya cha ashta-bhagavasanakam 1 1 (101)
Vinirgamasya chayamo tad-vriddhya tasya vistarahll (102)
Nirgamo gopuranam tu prakarad bahyato bhavet II (127)
(Kdmikagama, xxxv, 101, 102, 127.)
HINDU ARCHITECTURE NIRVASA-MANDAPA
Madhyagara-vinishkranta-nirgamena samanvitah 1 1
Nirgamas tu dvi-bhagena vistara-dv(a)yam£a-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 1 1
Of all columns the projection is one-fourth of the height.
(Suprabheddgama, xxxi, 65.)
NIRGALA — A part of a swing, a moulding.
Ayase nirgalam kuryad yojayet rajjum eva va 1 1
Vastrordhve chaika-hastantam dolaya phalakantakam I
Tad-urdhve vajanantam syan nirgalayamam iritam \
Nirgalagre dvayagram syat phalaka-valayanvitam I
(M., L, 168-171.)
NIRETANA — The forepart of the branch of an ornamental tree
(kalpa-vriksha) .
Cf. Bhramarair abhirayuktam sarva-Sakha-niretane I
(M., xLvm, 58.)
NIRYUHA — A kind of a turret-like ornament on columns or gates
a pinnacle, a turret ; 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
for doves to build their nest upon : a door, a gate.
(1) Niryuhadyair alankritya (M., XLIX, 186, etc.}.
(2) Rdmayana :
V. 9, 20 : Vimanair hema-niryuhaih |
V. 9, 58 : Charu-torana-niryuha (lahka) I
(3) Mahdbhdrata :
I. 43, 44 : Dvara-torana-niryuhair yuktarh nagaram I
I. 7, 96 : Aneka-vidha-prasada-harmya-valabhl-niryuha-Satasam-
kulah (naga-lokah) I
(4) HarivamSa (Pet. Diet.), 5021 (5015, 5018, 5023) :
Nagaryah paSchimam dvaram uttaram naga-dvaram purvam nagara-
niryuharh dakshinam nagara-dvaram I
NIRVASA-MANDAPA — A pavilion for banishment, a private room.
Tat-pure'lindam ekamSam athava nirvasa-mandapam I
(M., xxxiv, 326, etc.)
283
NIRVYOHA AN ENCYCLOPAEDIA OF
NIRVYOHA — A cross circle, a small tower.
Cf. Maha-varam vimanordhve nirvyuhanana-samyutam I
(Kdmikagama, XLV, 17.)
NIVATA-BHADRAKA— A class of chariots.
(M., XLIII, 113 ; see under RATHA.)
NIVE&ANA — A resting place, a stall for cattle, a colonial settle-
ment.
(R.-V., 19, 9 ; vii, 19, 5.)
NISHADAJA(-DHA) — A class of pavilions, a type of building.
(A/., xxxiv, 152 ; see under MANDAPA.)
A class of buildings without the kuta-sala (top-hall) but with eight
other halls and eight aviaries :
Prasado nishadhas tatra kuta-Sala-vihinakah I
Ashta-Sala-samayuktaS chashta-panjara-samyutah 1 1
(Suprabhedagama, xxxi, 45.)
NISHADYA — A bedstead, a couch, a hall, a shop, a market place.
(Sisupala-vadha, xvni, 15, etc.)
NISHIDHI (see NISADDHI) — A monument.
NISHKALA— A site plan.
Yugmam nishkalam proktam ayugmarii sakalam tatha I
(M., vii, 73 ; see under PADA-VINYASA.)
NISHKASA — A verandah, a portico, a balcony, a projection.
Prag-grivah pancha-bhagena nishkasas tasya chochyate I
Karayet sushiram tadvat prakarasya tri-bhagatah 1 1
Prag-grivah pancha-bhagena nishkasena viSeshatah I
Kuryad va pancha-bhagena-prag-grivarh karna-mulatah 1 1
(Matsya-Purana, Chap. CCLXIX, vv. 24-25.)
NISADDHI(NISIDI) (see NISHIDHI)— A house for rest, a tomb,
a monument.
(i) Kami settiyara Nisidi — ' The Nisidi of Rami setti.'
' Nisidi is given by Sanderson as a bill of acquaintance ; Dr. Bhau Daji
(Journ. Bom. Br. R. As. Soc., Vol., ix, p. 315, Inscription, no. 4) translates it
by house of rest, on the analogy of an inscription in the Udayagiri cave in
Orissa ; 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
HINDU ARCHITECTURE NISADDHI (NISlDI)
(2) ' Erected a stone hall for gifts in Jinanathapura and set up a tomb
(nisidhiyam) in memory of the Maha-mandalacharyya Devakirtti Pandita
Deva. (No. 40 ; Roman Text, p. 10, line 3 from the bottom upwards ;
Transl., p. 122, line 19 f.)
(3) ' By Madhavachandra Deva was the tomb (Nishadyakakarayeta)
raised to his memory.' (No. 41 ; Roman Text, p. 12, line 15 ; Transl.,
p. 123, line 5.)
(4) ' The excellent minister Naga-deva erected in memory of the famous
Yogi Nayakirtti ... a tomb (nishidhyalayam) to endure as along as sun,
moon and stars continue.' (No. 42 ; Roman Text, p. 16 line 10, Transl.,
p. 124 line 4.)
(5) ' Raised a tomb (nisidhigeham) to her memory.' (No. 44 ; Roman,
Text, p. 20, line 23 ; Transl.. p. 125, line 20.)
(6) ' A group of tombs (nisidhika), a collection of ponds and lakes, who
(but him) made these in memory of Nayakirtti Deva Saiddhantika.'
(No. 90 ; Roman Text, p. 73, line 23 ; Transl., p. 159, line i.)
(7) ' He, from devotion to his guru, set up his tomb (nishayam).
(No. 105; Roman Text, p. 80, line 27 ; Transl., p. 165, line 30.)
(8) ' Mankabbe Ganti had erected a tomb (nisidhiggehadyam)
for her guru. ' (No. 139; Roman Text, p. no, line 6 from bottom
upwards; Transl., p. 185, line 9.)
(9) ' Had a tomb (nisidhigeham) for him. ' (No. 144 ; Roman Text,
p. 114, line 22 ; Transl., p. 8, line 9 from bottom upwards.)
(10) ' His son Taila-gauda made a grant for the god Siddesvara
and setup this monument (nisaddhi).' — (Ep. Carnal., Vol. vn, Honnali
Taluq, no. 79; Transl., p. 174.)
(11) •' A third feature, even more characteristic of the style, is
found in the tombs of the priests, a large number of which is in the
neighbourhood of Moodbidri. Three of these are illustrated in the
woodcut (no. 154, Fergusson). They vary much in size and magni-
ficence, 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 is a sloping roof, like those of the pagodas at Katmandhu,
and in China or Tibbet. '
(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 cone-
shape. 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
NIHARA AM ENCYCLOPAEDIA OF
NIHARA (see PRAKARA) — A court of the compound, a courtyard.
Dvitiyam anta-nihara cha madhyama-hara tritlyakam 1 1
(A/., xxxi, n.)
NlDA — A nest, a lair, a covered place.
In connexion with buildings :
Nidasya chadho grivo-vatayanam karayet I — (M., xvm, 329.)
Toranair nlda-bhadradi-mule chordhve cha bhushitam I
(M., xx, 64.)
NlPYA(? RA) — The lower portion, the end, the border as of a cloth
(Mayamata, xxxm, 62, 63, 64.
NRITTA(-TYA)-MANDAPA (see MANDAPA)— A detached build-
ing used as a music hall, a pavilion.
Nripanam abhishekartharh mandapam nritta-mandapam I
(M., xxxiv, 38, etc.)
A pavilion generally in front of a temple, where religious music
is preformed (Suprabheddgama, xxxi, 96, 98 ; see under MANDAPA).
NETRA — The eye, a side portico or porthole, gable-window
(M., xxxiv, 396), a wing (M., xzxv, 101), face (M., xxxv, 257-260).
Same as LALATA (M., xxxv 257-260).
NETRA-K.OTA (see KARNA-KUTA) — A front apartment, a side-
hall, a corner-tower.
Pradhanavasa-netrastha-netra-kuta-dvayam nyayet 1 1
(Kamikagama, xxxv, 75.)
NETRA-BHADRA (see MUKHA-BHADRA) — A side tabernacle, side
porch, portico.
Parito'lind(r)a-bhagena varanam mukha-bhadrakam I
Athava netra-bhadraih syat I — (M., xxxiv, 251-252.)
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, etc.)
NETRA-SALA— A side-hall.
Tad-adho bhu-praves"e tu tad dvarasyavasanakam I
Shannam vai netra-s"alanam antarale cha va sthalam 1 1
(tbid., 8 1.)
Tach-chhalaya dvi-par^ve tu netra-sala sa-bhadrakam >
(M., xxvi, 40, etc.)
a86
HINDU ARCHITECTURE PAKSHA-SALA
NEPHATHYA-GRIHA— The green-room in a theatre (see details
under NATYAGRIHA).
NEMI (see PRAKARA and PRADAKSHINA) — The circumference,
a surrounding verandah or balcony.
(1) Nemih padena-vistirna prasadasya samantatah I
(Agni-Purdna, Chap, civ, v. 7.)
(2) Nemih padena vistirna prasadasya samantatah I
Garbham tu dvi-gunam karyyarh nemya manarh bhaved iha 1 1
(Garuda-Purana, Chap. XLVII, vv. 19-20.)
PAKSHA-(KA)— A side, a flank, a footpath.
In connexion with staircases (M., xxx, 100, etc.).
In connexion with streets :
Evam vithir dvi-paksham syan madhya-rathyaika-pakshaka I
(M., xi, 350.)
In connexion with walls :
Anyat salam tu sarvesham chaika-pakshalayakshma-kramat I
Anyat salam tu sarvesham alayartham dvi-pakshakam I
(M., xxxvi, 86-87.)
Compare chatus-paksham iva chhadih (square roof), and
Ya dvipaksha chatush-paksha shat-paksha ya nirmayate I
Ashta-paksham dasa-pakshaim salam manasya patnim agnir garte
iva^aye I
(Atharva-Veda, ix, 3.)
See further illustration under EKA-PAKSHA and DVI-PAKSHA.
PAKSHAGHNA— A type of building.
Yamya hinam chulli tri-salakarh vitta-nasa-karam etat I
Pakshaghanam aparaya varjitam suta-dhvamsa-vaira-karam I
' A 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.'— (Brihat-
Samhitd, LOI, 38, J.R.A.S., N. S., Vol. vi, p. 286.)
PAKSHA-SALA— A side-hall.
Madhya-koshthasya Sale tu bhadra-sala viseshatah I
Paksha-s"alanvitam vatha urdhva-salanvitarh tu va I
(Af., xxxra, 518-519.)
287
PAftKA AN ENCYCLOPAEDIA OF
PAftKA — A moulding of the pillar.
Sikharasyordhve pattochcham uttarochcham samam bhavet I
Tad-urdhve vajanam pankam nimnam kumbham sadandakam 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.
Devanam pachana-mandapam — ' built a beautiful stone temple with
the torana-gate and the surrounding walls, having provided the temple
with a flower garden, kitchen, pond and suitable environs.' — (Ep. Carnal.,
Vol. x, Kolar Taluq, no. 132 ; Roman Text, p. 54 ; Transl., p. 49.)
PANCHA-TALA— The fifth storey, the five-storeyed buildings.
(M., xxm, 1-55.)
A description of the fifth storey (M., xxxi, 48-51).
The eight classes (ibid., 1-48 ; see under PRASADA).
PANCHA-PRAKARA-HARMYA— The various attached and
detached buildings constructed in the five courts into which the whole
compound is divided (see PRAKARA).
(M., xxxi, 2.)
PA&CHA-BHUMI (see PANCHA-TALA)— The fifth storey, the five
storeyed buildings.
PANCHA-SALA— The enclosure wall of the fifth court.
(M., xxxi, 28, 29.)
Cf. Tatah panchama-sala cha maha-maryadim iritam I
(M., xxxi, 13, etc.)
PANCHAYATANA— A phallus with five heads.
(Chalukyan Architecture, Arch. Surv., New
Imp. Series, Vol., xxi, p. 39.)
PANJARA — A cage, an aviary, a nest, an architectural object,
windows.
The cages for domestic birds and animals, such as pigeon, tiger,
etc., are counted among the articles of furniture (M., L, 50-55), their
architectural description (ibid., 213-288). — (Kamikagama, LV, 134-146 ; see
under NASIKA.)
PANJARA-&ALA — A small top-room, a small window, a class of
storeyed buildings, a type of bedstead, a moulding, a nest-like
architectural object.
288
PANJARA SALA.
•PATRA
PATRA
PAT Rfr -TOK.A h< A_
PLAN
CAGE FOR PARROT.
-TL
r^?
PANJARA
PANJARA AS FALSE WINDOW.
2SS
HINDU ARCHITECTURE PATTI
(1) Manasdra :
A small room above the dome (stupi) :
Etat panjara-salam cha padmam ekarh sikha-trayam I
(M., xv, 131.)
A class of the seven-storeyed buildings (A/., xxv, 27 ; see under
PRASADA) .
A synonym of the bedstead (M., in, n).
A member of the pillar (M., xv, 89, 98, 99-103, etc.)
In connexion with buildings of one to twelve storeys :
Sala-kuta-dvayor-madhye chaika-hara sa-panjaram I
(A/., xix, 57 ; see also 178, etc.)
(2) Kdmikdgama, xxxv; 75 :
Panjara-dvitayarh karyarh karna-kuta-samodayam 1 1
Ibid, L, 92 :
Kuta-Salanvitam yat tu panjarais cha samanvitam (vimanam) II
Ibid., LV, 196-198 (the synonyms of the panjara) :
Pramana-bhavanam karma-prasadasyashtakarh tatha I
Sabheti kuta-nama syach chhaya valabhi(r) eva cha 1 1
Brahma-dvararh tato madhye mandaparh koshthake matam 1 1
Riju-vaktrarh dvijavasam kridarh syat sirhha-vaktrakam I
Panjarabhidhanarh syat II— (See further details under NASIKA.)
(3) Suprabheddgama, xxxi, 80 :
Eka-nasikaya yuktarh panjararh samudahritam I
Kuteshu nasika-yuktarh koshtham etat prakirtitam 1 1
(See also v. 79, under NASIKA.)
(4) ' Between the " karna-kuta " and " sala '' are found some kinds
of little windows called panjara. ' — (Dravidian Arch., by Jouveau-Dubreuil,
ed. S. Krishnaswami Aiyangar, p. 5.)
(5) ' His son Kangala-deva having wandered abroad (as a
mendicant) 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,
Transl., p. 180 ; Roman Text, p. 317.)
(6) See Chalukyan Architecture (Arch. Surv., New Imp. Series, Vol.
xxi, Plates xxvi, xcvm).
(7) See Mysore Arch. Report (1915-16, p. 22, Plate x, fig. 2).
(8) See Cunningham : Arch. Surv. (Vol. i, Plate v, p. 6).
PATTA— ") A band, a fillet, a moulding of the base, etc., an
PATTIKA— - ornament for the body, a crown, a diadem,
a turban, an upper garment, a cloth, a plate,
289
PATTl AN ENCYCLOPAEDIA OF
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).
(1) 'It is often confounded with the moulding called "vajana"
especially in pedestals and bases as it appears to be of the same form
to be used in the same situation, and to have the same height and
projection with the latter, but when employed in architraves and
friezes its height and projection increases considerably. ' — (Ram Raz,
Ess. Arch. Hind., p. 25.)
(2) In connexion with the plough : phala-patta, tri-patta, madhya-
patta (M., v, 52, 61, 73).
In connexion with the foundations :
Pattikantarh kshipech chapi vinyaset prathameshtakam I
(M., XH, 203.)
A crowning moulding of the pedestal (M., xni, 5, 49, 82, etc.;
see the lists of mouldings under UPAPITHA).
A moulding of the base (M., xiv, 13, 26, 48, etc.; see the lists
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, etc.).
An ornament for the body :
Kati-sutrarh tu samyuktam kati-prante sa-pattika I
(A/., L, 27 ; see also 28, etc.)
Athava ratna-pattam syat svarna-tatarika-karnayoh I
(M., LIV, 47.)
Compare ' Patta-dhara, ' and ' Patta-bhaj, ' meaning kings, with
special crowns. — (M., LI, 3, 4.)
(3) Bhagais tribhis tatha kantah khantha-pattas tu bhagatah I
Bhaga (? go) bhyasam urdhva-pattaS cha sesha-bhagena pattika 1 1
Nirgamas tu punas tasya yavad vai sesha-pattika 1 1
' The neck (of the pedestal of an idol or phallus) 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
part is pattika (fillet or band). Its projection should extend as
far as the last pattika. '— (Matsyet-Purana, Chap. CCLXII, w. 3, 4.)
(4) Vedikam prastara-samarh shad-amsikritya bhagasah I
Ekamsam prati-pattam syad amSabhyam antari bhavet 1 1
Crdhva-vajanam ekams'am amSam tat-pattika bhavet I
Ordhva-pattarh tad-ekamsam antari kusumair yuta 1 1
(Vdstu-vidya, ed. Ganapati Sastri, ix, 23, 24.)
290
HINDU ARCHITECTURE PATTA-BANDHA
(5) Polakesir apy-avadid anujan pratibaddha-pattam avantu 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) (see PATTANA) — A town, a commercial city acces-
sible by water-ways.
(1) Kautillya-Artha-Saslra (Chap, xxii, p. 46, footnote) :
Pattanam sakatair gamyarh ghatikair naubhir eva cha I
Naubhir eva tu yad gamyarh pattanam tat prachakshate II
Drona-mukharh jala-nirgama-praves'arh pattanam ity-arthah I
(Rayapaserii-sutra-vyakhydnc, p. 206.)
(2) Karya-vikraya-sarhyuktam abdhi-tira-samasritam I
Des"antara-gata-janair nana-jatibhir anvitam 1 1
Pattanam tat samakhyatarh vaisyair adhyushitam II
(Kamikdgama, xx, 8, 9.)
PATTA-BANDHA — The coronation, a crown, a class of bases com-
prising four types which differ from one another in height and
in the addition or omission of some mouldings.
See the lists of mouldings under ADHISHTHANA (M., xiv, 297-304).
A part of the crown (M., L, in).
Nija-patta-bandha-samaye — ' at the time of his coronation. ' — •
(Six Eastern Chalukya Grants, Bervada Plates of Ghalukya-Bhima I, line
20, Ep. Ind., Vol. v, pp. 129, 130.)
Godavarl-tata-samipasthe Kapitthakagrame patta-v(b)andha-
mahotsave tula-purusham aruhya.
' The term Pattabandha, which literally means " binding of the
fillet " has been generally supposed to signify " coronation cere-
mony." But, it does not suit here. ' Mr. D. R. Bhandarkar. —
(Cambay Plates of Govinda IV, line 46, Ep. Ind., Vol. vn, pp. 40, 27, note 2.)
Sri-patta-bandhotsavaya Kurundakam agatena maya I
(The grants of Indraraya m, no. 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 pattam I
Yo'dhad udaya-girindro ravim iva lokanuragaya II
' Put on to please the world the fillet (crown) in the twelfth
year of (his) birth. '
291
PATTA-SALA AN ENCYCLOPAEDIA OF
Niravadya-dhavalah Kataka-raja-patta-Sobhita-lalatah — ' (his son
was) Niravadyadhavala, whose forehead was decorated with the
fillet (crown) of Katakaraja.' Dr. Hultzsch. — (Maliyapundi grant of
Ammaraja II, lines 40, 45, Ep. Ind., Vol. ix, pp. 53, 55, 56.)
PATTA-SALA — A religious establishment.
See Mandhata Plates of Jayasiriiha of Dhara (line n, Ep. Ind.,
Vol. in, pp. 49, 47).
Cf. ' (To provide) for the eight kinds of ceremonies of the god
Mallinatha of the patta-s°ale(la) which they had made within
precincts of that Santinatha basadi.' — (Ep. Carnal., Vol. v. Part i,
Belur Taluq, no. 129; Transl., p. 86 ; Roman Text, p. 193.)
PANDI-&ALA — A kind of hall, a two-storeyed mansion consisting
of a single row of building which look like a broken staff at the
forehead part above the second storey.
(M., xxxv, 97 ; see details under SALA.)
PATTANA (see PATTANA) — A village, a town, a commercial city
on the bank of a river or sea, a new settlement.
(i) A village inhabited mostly by traders (Vaisyas).
(At., ix, 456-457.)
A town (M., x, 40).
A seaside commercial city :
Abdhi-tira-pradese tu nana-jati-grihair vritam I
Vanig-jatibhir akirnam kraya-vikraya-puritam I
Ratnair dvipantarair nityaih kshaumaih karpuradibhih I
Etat pattanam akhyatam vaprayata-samanvitam I
(M., x, 63-66.)
(it) A seaside commercial city inhabited mostly by tradesmen.
(Kamikagama, xx, 8, 9 ; see under PATTANA.)
(3) Kaufilya-Artha-Sdstra (Chap, xxn, p. 46, footnote) :
Pattanam sakatair gamyarh ghatikair naubhir eva cha I
Naubhir eva tu yad gamyam pattanam tat prachakshate II
(Rayapaseni—sutra-vydkhyane, p. 206.)
(4) Pattanani jala-sthala-pathayor anyatara-yuktani I
(Prafna-vydkarana-sutra-vyakhyane, p. 306.)
(5) Tad-bhuktau pattanam ramyarh Samipatiti namakam I
(The Chahanas of Marwar, no. iv, Sevadi stone inscrip.
of Katukaraja, v. 6, Ep. Ind., Vol. xi, p. 31.)
(6) ' Piriya-Rajaiya-Deva, son of — , caused this town (pattana)
to be rebuilt and gave it the name of Piriyaraja pattana (patana in
292
HINDU ARCHITECTURE PATRA-PATTA
the text) after himself. . . . Whoever calls it Singapattana is guilty
of killing his father and mother.' — (Ep. Carnal., Vol. iv, Hunsur Taluq.
no. 15 ; Transl., p. 84 ; Roman Text, p. 135-136.)
(7) Dva-trirhsa(t) tu velavuramum ashtadasa-pattanamum basashti
yoga-pithamum — ' (the people of) the thirty-two seaside towns, the 18
towns, 62 seats of contemplation. . . . (held a convocation there).' — (Old
Kanarese Inscrip. at Terdal, line 60, Ind. Ant., Vol. xiv, pp. 19, 25.)
(8) Grama-nagara-kheda-karvvada-madamba-dronamukha-pattanam-
galimdam aneka-mata-kuta-prasada-devayatanarhgali-dam oppuvaagra-
hara-pattanamgalirhdam atisayav-appa. ... I
' [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, 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. . . . ' — (Old Kanarese
Inscrip. at Terdal, line 58, Ind. Ant., Vol. xiv, pp. 19, 25.)
(9) ' With myriads of people, practices of virtues, agreeable occu-
pations, 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 enjoyments, moats which were as if the sea being overcome
had returned here |on account of the collection of gems, groups of
the lotus faces of beautiful women fair as the moon (grama-nagara-
kheda-kharvvana-madamba-drona-mukha-pura-pattana-raya-dhani), on
whatever side one looked in these nine forms did the Kuntala des"a
shine. '
(It should be noticed that the passage within brackets is almost
indentical with the corresponding passages in quotation no. 8 above). —
(Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 197; Transl., p. 124, para, i,
last seven lines, Roman Text., p. 124, line 27 f.)
PATRA — A leaf, 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).
Cf. Vatsararambha-lekhartharh patram — A leaf for writing the
almanac on. — -(M., L, 49.)
In connexion with the balance (tula) (M., L, 190-191, 197, 199).
See more details under BHUSHANA.
PATRA-PATTA— A leaf-shaped diadem, a moulding.
A turban or crown (M., XLIX, 16).
A moulding of the base (M., xiv, 345).
293
PATRA-KALPA AN ENCYCLOPAEDIA OF
PATRA-KALPA — A set of ornaments for the use of kings and gods.
(M., L, 3, 6 ; see under BHUSHANA.)
PATRA-TORANA— An arch (see details under TORANA.)
Bala-chandra-nibhaih patraiS chitritam patra-toranam II
(Kamikagama, LV, 64.)
PATRA-BANDHA — A type of entablature (see details under
PRASTARA) .
Pada-vistara-samyuktam patra-bandham iti smritam I
(Ibid., LIV, 6.)
PATRA-VALLI-(KA) — A moulding of the entablature (Af.,xvi,54),
of the arch (M., XLVI, 65).
See more details under PRASTARA.
PATHA — A road, a street, a way, a path.
(i) Kautiliya-Artha-Sastra (measures of various paths):
Antareshu dvi-hasta-vishkambharh parsVe chatur-gunayamam anu-
prakaram ashta-hastayatarh deva-patham karayet I
Dandantara dvi-dandantara va charyah (ashta-hasta-pramana-
margah-Rayapaseni-sutra-vyakhyane, p. 13) karayet I
Bahir jauu-bhaginirh tri-Sula-prakara-kutavapata-kantaka-prati-
saradi-prishtha-tala-patra-gringataka-Sva-darhshtrarga-lopaskan-
dana-padukambarisodapanakaih chhanna-patharh karayet I
(Chap, xxrv, p. 52-53.)
Trayah prachina raja-margas traya undlchina iti vastu-vibha-
gah I
Sa-dva-da§a-dvaro yuktodaka-bhumich-chhanna-pathah I
Chatur-dandanatra rathya raja-marga-drona-mukha-sthainya-
rashtra-vivlta-pathah I
Sayoniya-vyuha-^maSana-grama-pathas chashta-dandah I
Chatur-dandas setu-vana-pathah I
Dvidando hasti-kshetra-pathah I
Pancharatnayo ratha-pathaS chatvarah paSu-pathah I
Dvau kshudra-pa^u-manushya-pathah 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 quotes from the Linga-
Purdna without further reference :
Ghatuh-shashti-padam vastu sarva-deva-griham prati I
Ekafltis-padam vastu manusharh pratisiddhidam II
294
HINDU ARCHITECTURE PADA-VINYASA
(2) Brihat-Samhitd (LIU, 42) :
Ekaslti-vibhage dasa dasa purvottarayata rekhah I
Varahamihira apparently dees not give different rules for temples
and residential buildings.
(3) The'' foot; the site plan (M., LVII, 47, etc. ; vu, 1-267; see
under PADA-VINYASA).
PADA-VINYASA— The plan, the site plan.
' The plan is the respresentation of the horizontal section of a building,
showing its distribution, the form and extent of its various parts
This is the geometrical plan where the parts are represented in their
natural properties. The modern architects consider other plans too :
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
objects ^themselves would ; while in the raised plan the elevation of a
building is shown.'-- (Gwilt : Encycl. of Arch., Glossary, p. 1240.)
(\\ Mdnasdra (Chap, vn, named PADA-VINYASA) 1-267 :
The geometrical plans concerning the site, rather than a building,
are described in this chapter (lines 1-267). There is no mention of
the perspective or the raised plan. What is given there is all about
the site or the plot or the piece of ground selected to receive the
building. Thirty-two kinds of square plans are described (lines 2-40).
They are designated by technical names. The first one is a site of one
plot, which may be square, rectangular, round, oval or sixteen-sided,
it is called Sakala. The second is of 4 plots, named PaiSacha or Pechaka ;
thef third,* Pitha, is of 9 plots ; the fourth, Mahdpitha, is of 16 plots ; the
fifth, Upapitha, is of 25 plots ; the sixth, Ugra-pitha, is of 36 plots ; the
seventh, Sthandila, is of 49 plots ; the eighth, Chandita, is of 64 plots ;
the ninth, Parama-iayika, is of 81 plots ; the tenth, Asana, is of 100
plots ; the eleven th,]_Sthdni)/a, is 121 plots ; the twelfth, Desj/a, is of 144
plots ; ahe thirteenth, Ubhaya-chandita, is of 169 plots ; the fourteenth,
Bhadra, is of 196 plots ; the fifteenth, Mahdsana, is of 225 plots ;
the sixteenth, Padma-garbha, is of 256 plots ; the seventeenth, Triyuta,
is of 289 plots ; the eighteenth, Karndshtaka, is of 324 plots ; the nine-
teenth, Ganita, is of 369 plots ; the twentieth, Surya-vitdlaka, is of 400
plots ; the twenty-first, Susarhhita, is of 441 plots ; the twenty-second,
Supratikdnta, is of 484 plots ; the twenty-third, ViSdlaka, is of 529 plots ;
the twenty-fourth, Vipra-garbha, is of 526 plots ; the twenty-fifth, Viveia,
is of 625 plots ; the twenty-sixth, Vipula-bhoga, is of 676 plots ; the twenty-
seventh, -Viprakdnta, is of 729 plots ; the twenty-eighth, Vitdldksha, is of
784 plots ; the twenty-ninth, Vipra-bhakti, is of 841 plots ; the thirtieth,
VtiveJa-sara, is of 900 plots ; the thirty-first, Isvarakdnta, is of 961
295
PAD MA- (K A) AN ENCYCLOPAEDIA OF
plots ; and the thirty-second, Chandrakanta, is of 1,024 plots (M. VH,
2-50, see also 51 — 271).
(2) Nagara-grama-durgadya(-der) griha-prasada-vriddhaye I
Ekas"iti-padair-vastu(m) pujayet siddhaye dhruvam II
(Agni-Purana, Chap, cv, v. i.)
(3) See Cunningham, Arch. Surv. Reports, Vol. n, Plate xcvii (site
plans of Saiva temples), p. 419; Plate xcvm (site plans of Vaishnava
temples), p. 421 ; Vol. xx, Plate xx (site plan of a Jaina temple) .
Vol. xxi, Plate XLII (site plan of Slab temples of Kundalpur) ; Vol.
xxm, Plate xvni (site plan of Jaina temple of Naulakha, mark
the Svastika figures) ; Vol. xn, Plate v (plan of a temple) ; Vol. xvn
Plate xxi (peculiar plan of a temple).
(4) See elements of Hindu Iconography, by T. A. Gopinatha Rao
(Appendix A, pp. 1-45, diagrams facing pp. i, n).
PADMA-(KA) — A lotus, an eye, a moulding, a cyma recta, a cyma
reversa or reversed cyma also called ogee or talon (see Gwilt,
EntycL, figs. 869, 869), a site plan, a pavilion, a type of village,
a class of buildings.
(i) ' The moulding, called Padma (abja, ambuja or saroruha, etc.),
literary lotus, is supposed to resemble a petal of that flower. It is
a sort of compound figure, partly convex and partly concave ; and its
section is composed of two opposite curves, meeting at the bisecting
point of a line drawn between the points of recess and projection,
and very much resembling the "cyma recta" and "cyma reversa''
of the Western architects. This moulding is distinguished into greater
and less, and forms the principal ornaments of Indian architecture.
It is generally employed, in detached pairs, in bases and cornices,
one facing the other in opposite directions, and is formed upright
or the reverse according to its situation, either as a crowning member
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
base of columns, and looks very much like an apophyge or ogee of
the Ionic and Corinthian orders being formed either with a curved
line having more or less convexity at the top, or with an upright
tangent to the concave part below. It is sometimes made exactly in
the form of an ovolo of the Western architects. ' — (Ram Raz, Ess.
Arch, Hind., p. 32-24.)
296
HINDU ARCHITECTURE PADMA-PlTHA
Mdnasura :
A site plan (M., vm, 36 f., see PADA-VINYASA) .
A kind of village (M., rx, 2 ; see under GRAMA).
A moulding of the pedestal and the base (M., xm, 41, 61, 64, 68, etc. ;
xiv, 68, etc. ; see the tests of mouldings under UPAPITHA and ADHISHTHANA).
A type of pavilion :
Evam tu padmakarh proktarh devanarh pachanalayam I
Padmakhyarh pushpa-mandapam. ... I
(M., xxxiv, 173, 180 ; see MANDAPA.)
A moulding of pitha or the pedestal of the phallus (M., LII, 31).
(3) Stambham v.'bhajya navadha vahanam bhago ghato'sya bhago' -
nyah I
Padmam tathottaroshtham kuryad bhagena bhagena 1 1
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.)
A type of building which is planned like a lotus, has only one storey
and one spire, and is (?) 8 cubits wide (sayanash^au) :
(4) Brihat-Samhita (LVI, 23, see under PRASADA).
(5) Matsya-Purana (Chap CCLXIX, vv. 30, 39, 49, 53 ; see under PRASADA;
(6) Bhavishya-Purdna (Chap, cxxx, v. 30 ; see under PRASADA).
A class of round buildings :
(71 Agni-Purana (Chap, civ, w. 17-18 ; see under PRASADA).
(8) Garuda-Purdna (Chap. XLVII, vv. 21, 23, 28-29 ; see under PRASADA.)
PADMA-KANTA— A special type of pillar (M., xv, 38). It is based
on a seat (asana), plinth or lotus (cyma). Its cornice or edge of
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 in which the whole area is divided
into 256 squares.
(M., VII, 21.)
PADMA-PlTHA — A lotus-shaped pedestal for an image.
(M., LI, 86.)
297
PADMA-BHADRA AN ENCYCLOPAEDIA OF
PADMA-BHADRA— A type of throne.
(M., XLV, 12 ; see under SII&HASANA.)
PADMA-BANDHA — A class of bases comprising four types which
differ from one another in height and in the addition or omission of
some mouldings.
(M., xiv, 170-194 ; see the lists of mouldings
under ADHISTHANA.)
A base (cf. Suprabheddgama, xxx, 18-22) :
Utsedham sapta-virhSat tu dvi-bhaga pattika bhavet 1 1
EkaihSam dalam evoktam upanarii chaika-bhagikam I
Jagati tu shad-ams'a syad dvi-bhagardha-dali-kramat 1 1
Ardha-bhagarh bhavet skandham bhagam urdhva-dalam tatha I
Tri-bhagam kumudam vidyad adho'bjam bhagam eva tu 1 1
Pattika chaika-bhaga tu griva chaiva dvi-bhagika I
Tad-urdham eka-bhagarh tu padma-bandharh tata upari 1 1
Dvi-bhaga pattika ya tu cka-bhagena yojanam I
Tad votes' chaika-bhagarh tu padma-bandham iti smritam 1 1
PADMASANA — A lotus seat, a lotus-like posture in which an
image is carved, a throne, a type of base, a kind of pedestal.
A lotus-shaped pedestal and base of a column (M., xv, 67 ; XLVII, 19).
A type of throne (M., XLV, 12 ; see under SIMHASANA).
A lotus-shaped pedestal for an image (M., LW, 36, etc.).
PARATA (corrupted into PARATA) — The parapet, the coping of
a wall.
Cf. Badaviya Durggavanu mudana parafavanu Chamaraja —
' Chamaraja constructed the fort and the eastern parapet of that
same Badavi.' — -(Sanskrit and Old Kanarese Inscrip., no. LXXXVII, lines 13,
14, Ind. Ant., Vol. x, p. 63, notes 51, 53.)
PARAMA-$ADHI(-YI)KA— A site plan in which the whole area is
divided into 81 equal squares (see PADA-VINYASA).
(M., vn, 10, 72, no : almost same in
Bfihat-Sarhhitd, mi, 42 f.)
In connexion with the plan of a village (M., ix, 174) and of a wall
(M., XL. 72).
PARARTHA-LIftGA— A phallus for the public worship.
(M., LII, 243 ; see details under LINOA.I
PARIKHA — A ditch, a moat, a trench round a fort or town.
898
I
i
Q
HINDU ARCHITECTURE PARIKHA
(1) Manasara :
In connexion with a village and a fortified city :
VapramSa-bhitti-rakshartham paritah parikhanvitam I
(M., ix, 354.)
Sarvesham api durganaih vapraiS cha parikhair vritam I
(M., x, 1 06.)
Bahye prakara-samyuktarh paritah parikhanvitam I
(M, ix, 450.)
Paritah parikha bahye vapra-yuktam tu karayet I
(M., x, 108.)
Paritah parikha bahye kuryad grameshu sarvasah I
(M, ix, 62, etc.)
(2) Kautiliya-Artha-fdstra (Chap, xxiv, pp. 51, 56, paras. 2, 3) :
Tasya parikhas tisro dandantara karayet chatur-daSa dva-da£a
daSeti dandamivistirnah vistarad avagadhah padunam ardharia va
tri-bhaga-mula mule chatura£rah pashanopahitah pashaneshtaka-
baddha-parsva va toyantikoragas tu toyapurna va sa-
parivahah padma-grahatih I
Chatur-dandavakrishtam parikhayah shad-dandochchhritam ava-
ruddharh tad-dviguna-vishkambham khatad vaprarh karayet I
Ibid., Chap, xxv, para, i :
Dvarani bahih parikhayah I
(3) Durga-gambhira-parikham durgam anyair dur-asadam I
SarvataS cha maha-bhimah §ita-toya§ayah ^ubhah 1 1
Agadha graha-sampurnah parikha mina-sevitah 1 1
(Ramqyaria, i, 5, 13, 15.)
Yantrais tair avakiryante parikhasu samantatah 1 1
Parikha^ cha SataghnyaS cha yantrani vividhani cha 1 1
(Ibid., vi, 3, 17, 23.)
Parikhabhih sapadmabhih sotpalabhir alamkritam 1 1
(Ibid., vi, 5, 2, 14.)
(4) Parighe for Parikhe (Satyamangalam plates of Devaraya u, v. 22,
Ep., Ind., Vol. iii, pp. 38, 40).
(5) Durllamgha - dushkara - vibheda-viSala - sala-durggadha - dustara-
brihat-parikha-parita 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
PARIKHA-DURGA AN ENCYCLOPAEDIA OF
(6) Kanakojjvala-sala-ras'mi-jalaih parikhambu-pratibirhbitair alaih ya
vasudheva vibhati badabarchchir vrita-ratnakara-mekhala-parita 1 1
' Through the mass of the rays (which issue from) its golden walls,
and which are reflected in the water of its moat, this (city, Vijaya-
nagara) closely resembles the earth, that is surrounded by the girdle
of the ocean, which is encircled by the lustre of the submarine fire.' —
(Vijayanagara Inscrip. of Devaraja II, lines 7-8, H.S.I. I., Vol. i, no. 153,
pp. 162, 164.)
(7) Durge subhima-parighe Malavalli namni — ' in the fort named
Malavalli, having a deep moat.'— (Ep. Carnal., Vol. in, Malavalli Taluq,
no. 61, Roman Text, last verse, p. 126 ; Transl., p. 62.)
PARIKHA-DURGA— A ditch-fort, a fort. ,
For details see Sukraniti, etc., under DURGA.
PARIGHA(-GHA) — Cross-bars to fasten the door, a beam ; metal
bolts.
(Chhand. Upanishad, n, 24, 6, 10, 15.)
(1) Dvau dvau parighau (Kautiliya-Artha-Sdstra, Chap, xxxiv, p. 53).
Chatvaro hasti-parigha — four beams to shut the door against
elephants.' — (Ibid., Chap, xxiv, p. 53.)
(2) Dridha-vaddha-kapatarh maha-parighavanti cha I
(Ramayana, vi, 3, n.)
PARINAHA — Otherwise called Marga, Praves"a, Parinaha, Naha,
Vriti, Avriti and Nata, the width, breadth, circumference, extent.
Griva-madhya-parinahas' chatur-virhs'atikangulah I
Nabhi-madhya-parinaho dvi-chatvarims'ad-arigulah I
The width by the middle of the neck is 24 angulas.
The width by the middle of the navel is 42 angulas.
(Matsya-Purana, Chap. CCLVIH, w. 43, 58 ; see also w. 41,
47. 5°> 5i> 53» 54. 55. 56> 57. 59. 63> 66. etc-)
See Mdnasdra (LX, 68, etc.) ; Kirdtdrjunlya (xii, 20, etc.) ; Mrich-
ckhakatika (in, 9, etc.) ; Mahdvira-charita (vn, 24, etc.) ; Mdlati-
mddhava (in, 15 : Stana-parindha, etc.) ; Ratndvalt (n, 13, etc.) ;
Sisupdla-vadha (i 19, etc.).
PARIMANA — The measurement of width or circumference.
(M., LV, 3-9 ; see under MANA.)
PARIRATHYA— A road suitable for chariots (A.-V., vn, 8, 22 ; xii,
300
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 built round the Pra-
kara (the fourth enclosure ) :
Sarvesham api devanarh prakaranta-pravishtake I
Paritah parivaranam lakshanarh vakshyate' dhuna I (1-2)
At the eight cardinal points of the innermost or the first cour
the temples of the group of eight deities are built (lines 3-5). The
groups of sixteen and thirty-two deities are housed in the second and
the third court respectively (lines 6-7). Between the third and the
fifth court is stated to be the Viniyoga (offering) -pavilion (line 8).
The description of the location of temples for each of the deities of
these three groups is given (lines 10-119). The temples of the
attendant deities of Vishnu are specified (lines 121-156). The
temples and the attendant deities of Ganesa and Kshetrapala and
also those of Buddha, Jina and all such petty (kshudra) gods are
passed over and stated to be built in accordance with the rules of
Sdstras (lines 157-166).
It should be noticed that the description of temples intended for
so many deities does not contain any measurement, etc. It is solely
occupied with the position of these temples or deities in the com-
pound. But a considerable portion of the chapter is devoted to the
description of the mandapas (pavilions) for such purpose as bath,
bed, assembly, horses, musicians, dancing girls, and cows, etc.
(lines 67-101).
(2) Etc parivara vastoh pujanlya prayatnatah I
(Mahdnirvana-Tantra, xin, 45.)
(3) ParsVatas chapi kartavyam parivaradikalayam I
At the side (too) should be built temples for the attendant and
other deities.
(Matsya-Purdna, Chap. CCLXX, v. 30.)
( 4) Parivaralaye tunga-harmye anyasmin prakalpayet 1 1
(Kdmikdgama, L, 69.
Parivaralayanarh tu kulavat karma chacharet I
Salanam tu chatushkoneshv-ishta-dese pragrihyatam 1 1
Malika-yukta-salarh chet kona-stambhe dvitiyake I
Prathamavarane vapi dvitiyavarane nyaset 1 1
(Ibid., xxxi, 95, 96.)
301
PARI-VENA AX ENCYCLOPAEDIA OF
(5) Pancha-prakaram evam syat parivaralayarh srinu 1 1
Prasadasya chaturtham va tad-ardham vardham eva va I
Matrlnam (of female deities) alayarh kuryad gopurakaram eva
tu II
Hasti-prishtharh tapa (tarn) proktam prasadam tu vis"eshatah I
Madhyam tu pachanakaram chatuh-salaika-s'alakam 1 1
Prakara-sarhyutam kritva bahye vabhyantare" pi va II
(Suprabhedagama, xxxi, 128-31.)
Then follows the description of their faces and doors (ibid., vv. 131-
133, see under DVARA).
(6) ' (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
shape in the Ceylon fashion (Iraparisu) (and) which weighed palaia.' —
(Inscrip. of Rajaraja, no. 36, H.S.I.I., Vol. u, p. 149 f.)
(7) ' This image was probably in the central shrine and was known
as Alaiyattu Pillaiyar perhaps to distinguish him from the Parivara-
laiyattu-Pillaiyar set up apparently in the enclosing verandah of the
temple.' — (V. S. 1. 1., Vol. n, no. 85, p. 407, last para.)
' The gold presented until the twenty-ninth year (of the king's reign)
by the Lord Sri Rajarajadeva to (the image of) Pillaiyar Ganapatiyar in
the parivaralaya of the temple of the Lord Sri Rajarajesvaramudaiyar
. . . ' parivaralayah, i.e. the temple (alaya) of the attendant deities
(parivara) which was probably in the enclosing hall.'— (Ibid., no. 86
para, i, p. 410, note I.)
' One bell-dish . . . was presented ... to (the shrine of) Pillaiyar
Ganapatiyar in , parivaralaya of the temple of the Lord Sri Raja-
rajesvaramudaiyar . . . ' — (Ibid., no. 88, p. 412.)
(8) 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 Text, p. 248, lines 1-2.)
PARI-VENA — Monk's cell, the private dwelling o,f a Bhikhu within
the monastery.
(W. Greiger : Mahavamia, p. 294.)
PARNA-MANJUSHA — A basket made of leaves, an article of furni-
ture.
(A/., L, 47, 132-146 ; see details under BHUSHANA.)
302
PARNA MANJUSHA.
PADMA PITHA.
r
PADMA.
HINDU ARCHITECTURE PAD A
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 (i)
They are of two kinds — the small (bala-paryanka) and the large
(paryanka) (lines 26, 28). The former is intended to be used by
children and the latter by the grown-up, the one being distinguished from
the other by its size alone.
The measurement and various parts of the two kinds of bedsteads are
described separately (lines 3-79).
The materials of which bedsteads and seats (asana) are generally
constructed are various kinds of timber (line 74).
PARVATA— A class of buildings.
Kuta-sala-samayukta punah panjara-nasika I
Vedika-jalakopeta parvatakritir uchyate 1 1
(Suprabhedagama, xxxi, 52.)
See details under PRASADA.
PAXLANKA— A bedstead.
(Ckullavagga, vi, 141 ; Mahdvagga, v, 10, 3.)
PA V ANA— A type of chariot.
(M., XLIII, 113; see under RATHA.)
PASTYA(A) — A dwelling house, a stall for horses (asvapastya),
a home with its 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,
10, 40, 7, 164, 30 ; iv, i, ii ; vi, 49, 9 ; vn, 97, 5 ; vni, 7, 291, 27,
5 ; ix, 65, 23 ; x, 46, 6, 96, 10, n ; ix, 86, 41 ; A.-V., vi, 77, i ;
xix, 55, i.)
PAN CH ALA — A class of the twelve- storeyed buildings once pre-
vailing in the ancient country of Pa.ncha.la (the Gangetic Doab).
For details, see M., xxx, 8-10, under TALA and DRAVIPA.
PAD A (see 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
PADA-JALA AJf ENCYCLOPAEDIA OF
(2) Atha vakshyami samkshepat pada-manarh yatha-vidhi I
Uttaropanayor madhya-gatam etat prakirtitam II
(Vastu-vidya, ed. Ganapati Sastri, ix, i.)
(3) The architrave of the entablature (Kdmikdgama, xxxv, 27 ; LIV.
47 ; TW under PRASTARA).
(4) The comparative measures of pada (pillar), adhishthana (base)
and prastara (entablature) :
Padayamam adhishthanam dvi-gunam sarva-sammatam I
Padardham prastaram proktam karnam prastaravat samam 1 1
(Suprabheddgama, xxxi, 28.)
The five kinds of pillars and their characteristic features.
(See Suprabheddgama, under STAMBHA.)
PADA-JALA — An ornament for the foot.
(A/., L, 33 ; LI, 59 ; LIV, 17, etc.; see BHUSHANA.)
PADA-BANDHA— A class of bases.
(M,, xiv, 10-32 ; see the lists of
mouldings under ADHISHTHANA.)
A base in connexion with the bedstead :
Pada-bandham adhishtahnam sarva-jatyarhakam bhavet I
(M., XLIV, 44.)
Cj. Suprabheddgama (xxxi, 23-26) :
Adhishthanasya chotsedham chatur-viihsati-bhajitam I
Dvi-baga pattika prokta hy-upanam chaika-bhagikam 1 1
Shad-bhaga jagati prokta kumudam pancha-bhagikam I
Ekamsa pattika prokta griva chaiva tryamsaka 1 1
Ekamsa pattika viddhi (h) tr(i)yam^a chordhva-pattika I
Maha-pattika tr(i)yam^a ekam vajanam uchyate 1 1
Pada-bandham iti khyatarh sarva-karyeshu pujitam 1 1
PADA-BANDHAKA— A type of throne.
(A/., XLV, 15; see under SIMHASANA.)
PADA-VEDl — The storeyed base of a Buddhist stupa (Mahd-
varhsa, 35, 2), the balustrade, the railing.
(W. Greiger : Mahdvamsa, p. 297.)
PADAl^GA — Literally the lowest member, hence, the architrave or
the bottom portion of the entablature.
(See Kamikagama, LIV, 47, under PRASTARA. )
PADUKA — The plinth, the pedestal, the base, a moulding.
The plinth or the base (M.. xiv, 162 ; see the lists of mouldings
under ADHISHTHANA).
304
HINDU ARCHITECTURE PASHYA
The pedestal (or base) of a column :
Tan-mule chasanam kuryat padukam va sahambujam I
Ekarhs'arii padukam kuryat pancha-bhagaih tu samgraham I
(M., xv, 31, 177.)
A moulding at the bottom of the pedestal (M., xui, 43 ; see the lists of
mouldings under UPAPIJHA).
PARAVATA-NlDA — A nest for the pigeon, an article of furniture.
(M., L, 52, description of its architectural details, 224-227.)
PARIYATRA— A class of pavilions.
(M., xxxiv, 154 ; see under MANDAPA.)
PARS VA-PULI — An ornament, a part of the crown.
(M., XLDC, 94.)
PAR&VA-PURITA — Same as karna-pura or patra — ear-ring.
(M., XLIX, 96, 106, 115, 117-119, 141 ; cf. L, 14-26,302.)
PALIKA(-I) — A boundary, a margin, an edge, an ornament, a
bridge-like moulding of the column.
Atha vakshye viSeshena kumbhalankaram uchyate I
Tan-mule palikotsedhe vibhajet tu shad-ams'akam I
(M., xv, 201-202; see also 220, 44,
33, 70, etc.; cf. xxxvn, 4.0.)
In connexion with the lips :
Tr(i)yams"ardhadharayam chardha(m)-chandravad-akriti I
Tri-vaktram chottara pali cha( ? sa) ntarais" chaiva samyutam I
(M., XLV, 95-96 ; see also 89.)
PALIKA-STAMBHA— A kind of pillar.
(A/., xv, 39-73; see under STAMBHA.\
PASUPATA— A kind of phallus.
(M., 111, 2 ; LXVIII, 2 ; see under LINGA.)
PASHANA-KORMA — A stone tortoise, a component part of a
phallus.
(M., LII, 178.)
PASHANA-VEDI— The stone terrace on which the sacred trees
usually stand, cf. MahdvamSa, 36, 52.
PASHYA— Stone-bulwarks.
(R.-V. i, 56, 6.)
305
PINDA AN ENCYCLOPAEDIA OF
PINDA — The testicle, its sculptural details.
(M., -LXV, 1 66.)
PINDIKA (see P!THA) — The pedestal of an image, a seat, the yoni
part or the pedestal of the phallus.
(1) Dvara-manashta-bhagona pratima syat sapindika I
Dvau-bhagau pratima tatra tritlyariis'a(s') cha pindika 1 1
' The idol along with the seat (i.e., pedestal) ought to have a height
equal to that of the door, diminished by one-eighth, of which two-thirds
are appropriated to the image, and one-third to the seat.' — (Brihat-Samhitd,
i.vi, 16 ; also LVIII, 3, 54 ; J.R.A.S., N. S., Vol. vi, pp. 318, 323, 329.)
(2) Linga-puja-pramanena kartavya pithika budhaih I
Pindikardhena bhagah syat tan-manena tu bhittayah 1 1
(Matsya-Purana, Chap. CCLXIX, v. 8.)
(3) Pratimayah pramanena karttavya pindika Subha I
Garbhas tu pindikardhena garbha-manas tu bhittayah 1 1
(Agni-Purana, Chap. XLII, v. 10.)
Arddha-bhagena garbhah syat pindika pada-vistarat I
Panch-bhaglkrite kshetre'ntar-bhage tu pindika 1 1
Garbho bhagena vistirno bhaga-dvayena pindika 1 1
Pindika kona-vistirna m idhyamanta hy-udahrita II
Atah pararh pravakshyami pratimanarh tu pindikarh I
Dairghyena pratima tulya tad-arddhena tu vistrita 1 1
(Ibid., Chap, civ, vv. i, 5, 24.)
Then follows a lengthy description (see ibid., Chap. LV, v. i, f. also
Chap, cv, v. 30 ; Chap. LX, v. i).
(4) Manashtamena bhagena pratima syat sapindika 1 1
Dvau bhagau pratima tatra tritlyo bhagah pindika 1 1
Tri-bhagaih pindika karya dvau bhagau pratima bhavet 1 1
(Bhavishya-Purana, Chap, cxxx,
w. 22, 32 : Chap, cxxxi, v. 6.)
The yoni part or the pedestal of the phallus :
(5) Lirigam cha pindikam chaiva prasadam gopuram tatha I
(Suprabhedagama, xxx, 28.)
(6) Kuryad ekam pindikam tarn tu par^ve I — (M., LII, 152.)
PII^DI — ^A 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)
PlTHA(-THIKA)— Pitha is possibly corrupted from pi-sad to sit
upon, hence means a stool, seat, chair, throne, pedestal, altar. A
wooden seat (Vdj. Sam., xxx, 21 : Taitt. Bra., in, 4, 17, i), low
rectangular, plain or carved and sometimes with painted designs.
The pedestal of an idol, the yoni part of the phallus, a pavement,
chairs of various kinds (Mahdvagga, v, 10, 2 ; see BHADRAPITHA,
ETAKA-PADAKA PITHA). Fire-altars of the Vedic and Brahmanic
periods built on river banks, mistaken by Alexander for memorials,
which Chandra Gupta Maurya utilized for sacrificial purposes. A
site-plan of nine square plots. (M. vii, 4).
The well-known fifty-one Pitha-sthanas are the sacred spots where
the limbs of ParvatI, consort of Siva, fell after she had been cut to
pieces by the discuss of Vishnu.
As the linga or phallus symbolically represents Siva, so the pitha
does his consort Parvati. The pitha forms the yoni or the lower
part of the phallus.
Mdnasdra (Chap. LDI, named PITHA) :
The pitha must match the phallus of which it forms the lower
part (line 49). It should, therefore, be of as many kinds as there
are phalli. But the mouldings of the pitha are described under four
classes, technically called Bhadra-pitha, Sribhadra, SrlviSala, and
Upapitha (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-
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
architectural 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).
A site plan in which the whole area is divided into nine equal
squares. — (M., vii 4; see PADA-VINYASA.)
A pavement on the side of a road :
Pechakarh vatha pitham va rathya yuktarh tu vinyaset I
(M., ix, 423.)
3°7
PITHA(-THIKA) AM ENCYCLOPAEDIA OF
In connexion with the palm of the hand :
Patra-tulyam yugangulyam pithe tuhga(ih) dvayangularh I
(M., L, 197.)
The pedestal of an image :
Uttamam lohajaih bimbam pithabhasaih tu chottamam I
(M., LI, 19 ; see also LVI, 16 ; LXII, 13, etc.)
The pedestal of the phallus (M., LII, 245, 246, 247.)
(2) Etat samanyam uddishtarh prasadasya hi lakshanam I
Linga-manam ato vakshye pitho linga-samo bhavet II
Dvaravat pltha-madhye tu s"esham sushirakaih bhavet 1 1
(Garuda-Purana, Chap. XLVII, vv. n, 16.)
The pedestal or the yoni part of the linga :
(3) Linga-vishkambha-manena bhaved dvi-tri-chatur-gunah I
Tatha pancha-guno vapi pitha-vistara ishyate It
(Kdmikdgama, L, 45 ; see also vv, 44, 47, 48, 50.)
The altar :
Brahma(-me) va madhyame bhage pltham parikalpayet II
(Ibid., xxvin, 18.)
Panch-daSa-karantam tu kuryad avrita-mandapam II
Mandapena vina vapi tena manena pithika I
Vibhadra va sabhadra va kartavya malika budliaih 1 1
(Ibid., xxxv, 99, 100.)
Here ' pi$hika ' would indicate the projecting part of the base-
ment, resembling the Buddhist railing round a tree, etc.
(4) 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 I
(Suprabhtdagama, xxxi, 9, n, 12.)
(5) Bhaga-dvayena pratima tri-bhagikritya tat punah |
Pithika bhagatah karya natinicha na chochchhrita II (25)
Pithika lakshanam vakshye yathavad anupurva^ah I
Pithochchrayarh yathavach cha bhagan shodasa karayet II (i)
Bhumavekah pravishtah syach chaturbhir jagati mata I
Vritto bhagas tathaikah syad vritah patala-bhagatah II (2)
Bhagais tribhis tatha kanthah kantha-pat^as tu bhagatah I
Bhagabhyasam urdhva-pattafi cha Sesha-bhagena pat^ika 1 1 (3)
Pravishtam bhagam ekaikam jagatirii yavad eva tu I
Nirgamam tu punas tasya yavad vai Sesha-pattika 1 1 (4)
Vari-nirgamanarthaih tu tatra karyah pranalakah I
Pithikanam tu sarvasam etat samanya-lakshanam II (6)
308
ADHARA PATTA.
SECTION.
FOR SMALL SPACE IN TEMPLES ETC.
CEILING PLAN
SECTION
CEILING PLAN.
MAHA TAULI
MAMA eODMiik*
SECTION
h
CEILINQ PLAN
PRACHChr;,",DANA.
PHALAKA
POTRA.
PHANA.
Pane SOS
BHADRA PITHA.
± J
^ , • -i C
PLAN.
SRIVISALA.
P~THA AS PART OF LINGAM
.•p=n
JM—
PRATOLI
HINDU ARCHITECTURE PlTHA(-THIKA)
Purna-chandra vajra cha padma vardha-sas"! tatha I
Tri-kona dasaml tasarh sarhsthanam va nibodhatah II (7)
Devasya yajanartharh tu plthika dasa kirtitah II (19)
Linga-puja-pramanena kartavya plthika budhaih II (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 I
(Ibid., Chap. CCLXIX, v. 15.)
(6) Pancha-hastasya dcvasya eka-hasta tu plthika I
When the idol is 5 cubits high, its pedestal is one cubit.
(Agni-Purana, Chap. XLII, v. 22.)
(7) ' 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,
H.S.I.I., Vol ii, p. 137.)
(8) ' One pedestal (surmounted by) a lotus (padma-pltha) on which
this (image of Panchadeha Siva) stood (measuring) three viral and four
torai in height, and fifteen viral and four torai square.' —(Inscrip. of Raja-
raja, no. 30, on a pillar of the south enclosure, para. 4, H.S.I. I., Vol. n,
p. 138.)
(9) ' The hero Madavan of Anda . . . got this pldam (pedestal) made.' —
(Ep. Carnal., Vol. x, Kolar Taluq, no. 109 b ; Transl., p. 40.)
' He had a temple and a bali-pltha built for the god Chandra-sekhara,
the processional form of the god Sankaresvara of Kergodi.' — (Ibid., Vol. VH
Tiptur Taluq, no. 72 ; Transl., p. 57.)
(10) ' Whose daughter, Vinapati, having at this very place bestowed the
entire gift of a Hiranya-garbha, and having made a pedestal (pitha) for the
god with rubies.' — (Sanskrit and Old Kanarese inscrip., no. xciv, line 7,
Ind. Ant., Vol. x, p. 103.)
(n) ' He made petition at the feet of Vidyaranya-Sripada, representing
that in Srihgapura, in (connexion with) the dharmma-pltha (religious
throne, — simhasane dharmamaye, in the original) established by Sankara-
charyya(-charya, in the original), there must be a matha and agrahara.'
Of this dharma-pitha (simhasana) , Mr. Rice further says : ' The Sringeri
dharma-pltha or religious throne was established as is well known (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
PRITHIVI-DHARA AN ENCYCLOPAEDIA OF
the establishment at that time.' (Then is added that his brother was Sayana,
the well-known commentator of the Rig-Veda. The architectural charac-
teristics are, however, not given.)— (Ep. Carnat., Vol. vi, Sringeri Jagir, no. 1 1;
Transl., p. 95, last para.; Roman Text, p. 195, lines i, 12 f ; Introduct., p. 23,
para. 5.)
(12) ' Possessor of thirty-two velama, eighteen cities, sixty-four yoga-
plthas, and sixty-four ghatika-sthanas.' — (Ep. Carnat., Vol. vn, Shikarpur
Taluq, no. 94; Transl., p. 61, line yf; Roman Text, p. 114, line 4 f.)
(13) Dva-trirhsat tu velavuramum ashtadasa-pattanamum basashti-
yoga-pithamum aruvattanalku-ghatika-sthanamum I
' (The poeple of) the thirty-two seaside towns, the 18 towns, 62 seats of
contemplation, and 66 religious centres . . . (held a convocation.)' —
(Old Kanarese inscrip. at Terdal, line 60, Ind. Ant., Vol. xiv, pp. 19, 25.)
(14) ' Having thirty-two velama, eighteen cities, sixty-four yoga-pithas,
and asramas at the four points of the compass.' — (Ep. Carnat., Vol. VH,
Shikarpur Taluq, no. 1 18 ; Transl., p. 86, last para., line 6.)
(15) ' Made a grant ... of the Mallasamudra village . . . belonging
to the Sadali throne (pithika). ' — (Ep. Carnat., Vol. x, Sidla-ghatta Taluq,
no. 94; Transl., p. 194, last para.)
(16) Pithi — a pedestal (Ranganath inscrip. of Sundara-pandya, v. 19,
Ep. Ind., Vol. in, pp. 13, 16).
(17) Purana-pithe pitharhtararh sa chaturarh vidhivad vidhaya I
(Chebrolu Inscrip. of Jaya, postscrip., lines 7-8,
Ep. Ind., Vol. v, pp. 115-151.)
(18) Pithika — a platform of stone (see Specimens of Jain Sculptures from
Mathura, Plate in, Ep. Ind., Vol. n, p. 320).
PRITHIVI-DHARA— A type of oval building.
(1) Agni-Purdna — (Chap, civ, vv. 19-20, see under PRASADA).
(2) Garuda-Purdna — (Chap. XLVII, vv. 29-30 ; see under PRASADA).
PUNDARlKA — A class of the seven-storeyed buildings.
(M., xxv, 3-23 ; see under PRASADA.)
PUR — A fortification, a small fortified place, a 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
HINDU ARCHIECTURE PURATO-BHADRA
A village (M., ix, 215, etc.), a town (M., x 39, etc.).
Gramadinam nagaradinam pura-pattana-kharvate I
Koshtha-koladi-sarveshaih garbha-sthanam ihochyate I
(A/., xii, 168-169.)
Khetanarh cha puranam cha gramanarh chaiva sarvas"ah I
Trividhanam cha durganarh parvatodaka-dhanvinam II
Param ardhardham ayamarh prag-udak-plavanaih puram 1 1
Chatur-asra-yutarh divyarh prasastam taih puram kritam 1 1
(Brahmanda-Purdna, Part i, and anushamgapdda,
Chap, vii, vv. 105, 107, 1 08 ; see also v. 93.)
Pura-madhyam samasYitya kuryad ayatanarh raveh I
(Bhavishya-Purana, Chap, cxxx, v. 40.)
(4) Karkkotadhma-raksharh svapuram idam atho nirmarae Javrishakhyam
• — ' then built this town of his named Javrisha, the protection of which was
entrusted to Karkota.' — (Buddhist Stone inscrip. from Sravasti, lines 4-5, Ind-
Ant., Vol. xvn, pp. 62, 63.)
(5) Jagapala puram jatarh krite dese punar nnave — in the newly re-creat-
ed site, the town of Jagapala grew up (i.e., was built). — (Rajim inscrp. of
Rajapal, line 12, Ind. Ant., Vol. xvii, p. 140.)
(6) ' With myriads of people, practices of virtue, agreeable occupa-
tions, streams of the (nine) sentiments, pleasure gardens, separated
lovers, splendid tanks, full lotus beds, gilded boats for spring festivals,
ghatika-sthanas (religious centres), the supports of dharmma and
mines of enjoyment, moats which were as if the sea being overcome
had returned here on account of the collection of beautiful women
fair as the moon (grama-nagara-kheda-kharvvana-madamba-drona-
mukha pura-pattana rajadhani) on whatever side one looked in these
nine forms did the Kuntala-desa shine. ' — (Ep. Carnal., Vol. vn, Shikar-
pur Taluq, no. 197; Transl., p. 124, para. I, last seven lines; Roman Text,
p. 214, line 27 f.)
(7) ' The three puras belonging to the great royal city (? rajadhani)
Balligave.' — (Ep. Carnal., Vol. vii., Shikarpur Taluq, no. 99; Transl., p. 66-
last two lines.)
PURATO-BHADRA (see MUKHA-BHADRA) — The front tabernacle,
a porch, a portico, a vestibule.
Deva-Sri-sasibhushanasya (i.e., of Siva) kritva devalayam karitam-
yugmam mamdapa-sobhitarh cha purato-bhadrarh pratolya saha I
' I have not b en able to find purato-bhadra in the Kos"as to which
I have access, but sarvato-bhadra is described as a kind of house (?)
with four doors facing the four quarters (here refers to Ram
3"
PURI(-l) AN ENCYCLOPAEDIA OF
Raz's Essay on Architecture of the Hindus, 1 834, p. 43 ; here a village
called sarvato-bhadra is described not a house of the same name).
From this I infer that a purato-bhadra was a building with only one
door in front. ' — Mr. Hira Lai.
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
the ancient Hindu buildings, resembling more or less the front
tabernacle. — (Kanker inscrip. of Bhanudeva, v. 7, Ep. Ind., Vol. ix, pp. 127,
125, and note 4.)
PURI(-I) — A temple, an adytum, a building, a town.
(The second Praiasti of Baijnath, v. 25, Ep. Ind.,
Vol. i, pp. 117, 114; see also no. 32.)
PURUSHAjsjJALI— The palm of a man. It refers to the depth of
foundations upon which buildings of one to twelve storeys are
stated to be erected.
Khanayed bhutalarh sreshtharh purushanjali-matrakam I
Jalantam va Silantarh va . . . I — (M., xvin, 6-7.)
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 api chardha-purushe manduka-panduro'tha mrit-
pitah I
Puta-bhedakas" cha tasmin pashano bhavati toyam adhah 1 1
Commentary : purusha-sabdenordhnva-bahuh purusho jneyah; sa cha
virhsat-adhikarh angula-satam bhavati — by the word ' purusha ' is
to be understood the man with uplifted arms, that is, 120 ahgulas
(or 5 cubits).— (Brihat-Samhita, LIV, 7, J.R.A.S., N. S., Vol. vi, p. 301'
note i.)
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 ; see under MALIKA).
PUSHKARINI (see TADAGA and VAP!)— A tank, a lotus-pool.
Datia-putrena thai Norena pukarani karavita savrasapana puyae •
' By the son of Dati, the Thera Nora, a tank was caused to be
made for the worship of all snakes. ' — (New Kharoshti inscrip. from
Swat, Ind. Ant., Vol. xxv, p. 141, and Vol. xxxvn, p. 66.)
PUSHKALA — A class of storeyed buildings, a tree, a type of pent-
roof.
312
HINDU ARCHITECTURE PUSHPA-VATIKA
A class of the two-storeyed buildings (M.. xx, 94, 42-43 ; see under
PRASADA).
A tree (M., xv, 354, etc.).
A kind of pent-roof (M., xvm, 188).
PUSHPAKA — A flower, the car of Kubera, a bracelet, a type of
pavilion, a class of buildings.
pavilion with sixty-four pillars (Matsya-Pu.ra.na, Chap. CCLXX, v. 7 ;
under MANDAPA).
A class of buildings, rectangular in plan and named (i) Ba(va) labhi
(2) Griharaja, (3) Salagriha or Salamandira, (4) Visfila, (5) Sama,
(6) Brahma-mandira or Brahma-bhuvana, (7) Prabhava, (8) Sivika, and
(9) Vesma :
(1) Agni-Pu'dna (Chap, civ, vv. 11, 16-17 '> see under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, vv. 2-22, 26-27 ; see under PRASADA).
PUSHPA-PATTA — A flower plate, a turban, a head-gear, a tiara,
a diadem.
(M., LXIX, 1 6 ; see details under BHUSHANA.)
PUSHPA-PUSHKALA— A class of bases.
(M., xiv, 97-112 ; see the lists of
mouldings under ADHISHTHANA.)
PUSHPA-BANDHA— A type of window of flower-band design.
(M., XXXHI, 584 ; see under VATAYANA.)
PUSHPA-BANDHANA-MANDAPA— A detached building where
flowers are garlanded for the worship of the deity.
Pushpa-danta-pade chaiva pushpa-bandhana-mandapam I
(M., xxxii, 42.)
PUSHPA-BODHAKA— A type of capital.
(M., xv, 155-168 ; see under STAMBHA.)
PUSHPA-BHADRA— A pavilion with sixty-two pillars
(Matsya-Purana, Chap. CCLXX, v. 7 ; see MANDAPA.)
PUSHPA-RATHA— A 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.)
3J3
PUMLlftGA AJf ENCYCLOPAEDIA OF
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 I
Sarhchitam proktarh pumlihgarh tad ghani-kritam 1 1
Devanam asuranarh cha siddha-vidyadhareshv-api I
Raksha-gandharva-yakshanarh prasastanam cha janminam
(bhogyam) II
(Kamikagama, XLV, 8, 9.)
See the Mdnasdra and the Agamas under PRASADA, and compare STRI-
LINGA and NAPUMSAKA.
PURANA-KAMBA — A vase, a moulding.
' The panel or flat part of the back wall of each recess between the
projecting tower-like compartments, is ornamented by a vase or some
very florid object called purana-kambam.'
(Gangai-Kondo Puram Temple, Ind. Ant.,
Vol. ix, p. 118, c. 2, para 4.)
PORTA— A well, a pond, a step-well.
(1) Purtam vaprkupa-tadakadikam — (the word) purta implies the step-
well, \vell, and pond, etc.
(2) Vapl-kupa-tadakadi-devatayatanani cha I
Anna-pradanaramah purtam ity-abhidhiyate 1 1
The step- well, well, pond, and the temple (and) the pleasure-house
(aim-house, hotel) where food is given (gratis) — these are called the
' purta.'
(3) Vapi-kupa-tadakadi-purtam ayatanani cha I
Svarga-sthitirh sada kuryat tada tat purta-sajnitam I
The step well, well, pond and temples are purta. It always ensures
the residence in heaven (for the doer), it is for this reason designated
as purta.
(Quotations from the Commentary, KaSyapa,
on the Brihat-Samhitd, LVI, 2 ; J. R. A. S,
N. S., Vol. vi, pp. 316-37, note i.)
(4) Vapi-kupa-tadagadi-devatayatanani cha I
Anna-pradanaramah purtam aryah prachakshate 1 1
(Ep. Ind., Vol. iv, p. 318, note 3.)
PRISHTHA-SDTRA— The plumb-line drawn by the back-bone.
(M., LXVII, 80 ; see under PRALAMBA.)
HINDU-ARCHITECTURE PRACHCHHADANA
PECHAKA — An owl, the tip or root of an elephant's tail, a couch, a
bed, a shelter on a street, a site plan of four squares.
(M. vii, 3.)
In connexion with streets in a village :
Pechakam vatha pithaih va rathya yuktarh tu vinyaset I
(M., ix, 423, etc.
PAI&ACHA (see PADA-VINYASA) — A site plan of four squares.
(M. vii, 3.)
POTA(-I)KA (POTTIKA)— A part of a column, the site of a
house.
Tat-samotsedham potikalarikriti-kriya I — (Kamikagama, uv, u.)
Potikantavalambarh va tulantaritam antaram I — (Ibid., 23.)
Pottika (ibid., LV, 69 ; see under MAKARA-TORANA) .
A part of the bottom of a column.— (Suprabhedagama, xxxi, 60; see under
STAMBHA.)
POTRA — A moulding, an architectural object resembling the snout
of a hog or a ploughshare.
In connexion with joinery :
Karkatanghrivat kritva potra-nasanghrim vesayet I
(M., XVH, 143.)
PAUSHTIKA (see UTSEDHA)— A height which is i\ of the
breadth, a class of buildings.
See Mdnasdra (xxxv, 22-26) and compare Kamikagama (L, 24, 28) ,
under ADBHUTA.
A class of the two-storeyed buildings (M., xx, 93, 19-25 ; see under
PRASADA).
PRAKOSHTHA(KA)— The forearm, a hall, a room near the gate,
of a palace, a court, a quadrangle, a part of the door-frame.
Ekarhsam madhya-bhadram tu madhye yuktya prakoshthakam I
(M., xxvi, 1 08.)
The forearm :
Prakoshtharh shodasamsarh syat talam ashtamsam ayatam I
(M., LVH, 26, etc.)
PRACHCHHADANA — A covering, a canopy, the roof, an entab-
lature.
A synonym of the entablature (M., xvi, 18 ; see under PRASTARA).
In connexion with the three-storeyed buildings :
Prachchhadanopari stambham karna-harmyadi-manditam I
(M., xxi, 9.)
315
PRANALA(KA; AN ENCYCLOPAEDIA Of
The roof :
Prastarasyopari-deSe karna-harmyadi-manditam I
Yuktya prachchhadanam kuryat sudheshtakadi-gulodakaih I
(M., xxxi, 69, 72.)
Padarh vayate taulirh kuryad yuktya. vichakshanah I
T-.id-urdhve jayantikarii kuryat tat-tat-prachchhadananvitam I
(A/., xxxm, 373-374-)
Prachchhadanankanam kuryan na prachchhadanam eva cha I
(M., xxxv, 295.)
Prachchhadanam yatha-harmye dvararh kuryat tathaisake I
(A/., xxxviii, 7.)
Prastarochcham iti proktam prachchhadanam ihochyate I
Prasadadini(-nam) sarvesharh prachchhadanadi-lakshanam I
Etat prachchhadanam gehe proktarh mama munisVaraih I
Anyat-vastuni-(nam) sarvesham prachchhadanam ihochyate I
(A/., xvi, 120-121, 143-144 ; the proposed
description, ibid., 121-142, 145-168, 170-204.)
The materials of which they arc constructed :
Kevalam cheshtaka-harmye daru-prachchhadananvitam I
Sila-harmyc sila-taulim kuryat tat tad viseshatah I
From this passage especially, it apears that the term ' prachchhadana '
indicates the roof of a building. — (Ibid., 133-134.)
PRANALA(KA) — The drip or channel-like part of the pedestal of
the linga (phallus), a gutter, a canal, a patter, a bracket.
(1) Vari-nirgamanartham tu tatra karyah pranalakah I
Therein (in the pedestal) should be made the pranala (gutter) as an out-
let for water.
(Matsya-Purana, Chap. CGLXII, v. 6.)
Ardhangula-bhruvo-raji pranala-sadrisi sama I
(Ibid., Chap. CCLVIII, v. 37.)
(2) A square or round platter or bracket to which a spout is attached for
ornamental purposes :
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.
(i) Pituh punyabhivriddhaye karita sat-pranaliyam ... I
' 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.y
Vol. ix, p. 171, c. 2.)
316
HINDU ARCHITECTURE PRATIMA
(2) Kugrame pranalikayas cha khanda-sphutita-samadhanartham —
' for repairing the spout of the water-course in Kugrama.' — (Ibid., no. n
line 15, p. 174.)
PRATIKA(-I) — A moulding of crescent shape, the frieze ; for its
synonyms, see M., xvr, 42-44. It is shaped like a petal in two
parts (M., xvi, 45).
(1) A moulding of the base (M., xiv, 39, 138. 148, etc.; see the lists of
mouldings under ADHISHTHANA}.
A moulding of the column (M., xv, 217 ; xxxm, 225, etc.).
(2) Pratim nivesayet tasya tri-tri-bhagaika-bhagatah II
Anyayos" chardha-chandrabha pratl karya dvijottamah 1 1
(fCamikdgama, LIV, 44, 46.)
PRATI-KRAMA — A class of bases comprising four types which
differ from one another in height and in the addition or omission of
some mouldings.
(M., xiv, 44-64 ; see under ADHISHTHANA.)
Vedikeyarh tu samanya kuttimanam prakirtita I
Pratikramasya chotsedhe chatur-virhs'ati vibhajite II
(Vastu-vidyS, ed. Ganapati Sastri, ix, 19.)
Pratikramam viseshena kartavyam pada-bandhavat 1 1
(Suprabhedagama, xxxi, 26 ; ste the details under PADA-BANDHA.)
PRATI-BANDHA— A moulding of the base.
(M., xiv, 324 ; see the lists of mouldings under ADHISHTHANA.)
PRATI-BHADRA— One of the three classes of the pedestals, the
other two being Mancha-bhadra and Vedi-bhadra : it has four types
differing from one another in height and in the addition or omission
of some mouldings.
(M., xm, 53—89 ; see the lists of mouldings under UPAP!THA.)
PRATIMA — A moulding, an architectural object.
In connexion with foundations :
Brahma-garbham iti proktam pratimam tat sva-rupakam I
Evam tu pratimam proktam etad garbhopari nyaset I
(M., xn, 149, 166.)
A moulding of the base (M., xiv, 61, 137, 279 ; see the lists of mouldings
under ADHISHTHANA).
31?
PR ATI MA AN ENCYCLOPAEDIA OF
PRATIMA — An image, an idol, a bust, a statue.
(1) Mdnasdra, Chap. LXIV (named Pratima) :
Description of the images of the sixteen attendant deities of the
Vishnu temple (lines 1-92).
Cf. Pratimam lohajam choktarh tatha ratnaih tu vinyaset I
(M., LXX, 100.)
Pratimadhikara (M.. LXVII, colophon).
(2) An image or idol (Brihat-Samhild, LVI, 16, J.R.A.S., N. S., Vol. iv,
p. 318).
(3) Eka-hasta dvi-hasta va tri-hasta va pramanatah I
Tatha sarva tri-hasta cha savituh pratima subha II
(Bhavishya-Purdna, Chap, cxxxii, v. i.)
(4.) Athatah sampravakshyami sakalanarh tu lakshanam 1 1
Sarvavayava-drisyatvat pratima tv-iti chochyate II
IsVaradi-chatur-murttih pathyate sakalarh tv-iti 1 1
(Suprabheddgama, xxxiv, I— 2.)
(5) Angushtha-parvad arabhya vitastir-yavad eva tu I
Griheshu pratima karya nadhika sasyate budhaih 1 1
Ashodasa tu prasade karttavya nadhika tatah I
Madhyottama-kanishtha tu karya vittanusaratah II
Dvarochchhrayasya yan-manam ashtadha tat tu karayet I
Bhagam ekarh tatas tyaktva pari^ishtam tu yad bhavet II
Bhaga-dvayena pratima tri-bhaglkritya tat punah I
Pithika bhagatah karya nati nicha nachochchhrita 1 1
(Matsya-Purdna, Chap. CCLVIII, vv. 22-25.)
(6) Vinirmmita rajate Chamkirajena Supar^va-pratima uttama — ' the
excellent image of Suparsva made by Chamkiraja adorns there.' — (Honwad
inscrip. of Somesvara I, line 32, Ind. Ant., Vol. xix, p. 273.)
(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 Naka-
loka (Indra) to look on it or the Lord of Serpents (Adis"esha) to priase it,
it is unequal ; this being so, who else are able to draw the likeness, to look
fully upon or praise the unequalled form of the southern Kukkutesa with
its wondrous beauty.' — (Ep. Carnal., Vol. n, Vindhyagiri inscrip., no. 85 ;
Transl., p. 154, line 13 f. ; Roman Text, p. 67 f.)
(8) ' In the presence of these gods, setting up the stone images (Sila-pratima)
of the crowned queen Lakshmivilasa, the lawful queen Krishnavilasa, and
318
HINDU ARCHITECTURE PRATI-VAKTRA
the lawful queen Ramavilasa, together with my own.' — (Ep. Carnal., Vol. iv,
Chamarajnagar Taluq, no. 86 ; Transl., p. n, para. 3 ; Roman Text, p. 18,
para, i, last three lines.)
(9) Vichitiye Jina-dasiya pratima Bhagavata pitamahasa pratima pratish-
thapita I — (Mathura Inscrip. no. 16, line 2 ; Bitha Inscrip. no. C, lines 1-3 ;
Cunningham, Arch. Surv. Reports, Vol. in, pp. 34, 48.)
(10) ' In the highly celebrated Somanatha-pura he made a great temple
setting up therein according to all the directions of the Agama the various
incarnations of Vishnu, — and shone with the fame he had acquired, Soma-
chamupati, the Gayi-govala. Under the profound name of Prasanna-
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, Sari-
karshana 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 south-
east of the pura Soma-dandadhipa set up Bijjalesvara, PerggadesVara,
Revalesvara, and Bayiralesvara, with Somanatha Siva-linga in the
middle, . . . And he set up Bhava named Nrisirhhesvara, Yoga-Narayana
and Lakshml-Nrisimha in the middle of the Kaverl at Somanathapura. —
(Ep. Carnal., Vol. xi, Davanagere Taluq, no. 36 ; Transl., p. 46, para. 3,
line 7 f. ; Roman Text, pp. 76, 77).
PRATIMA-MANDAPA— A detached building used as a temple, a
pavilion.
(M., xxxiv, 55.)
PRATI-MUKHA— A moulding 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, 23-24 ; see under PATTA.)
PRATI-ROPA— A moulding of the entablature.
(M., xvi, 45 ; see the lists of mouldings
under PRASTARA.)
PRATI-VAKTRA— A moulding of the base.
(M., xiv, 118 ; see the lists of mouldings
under ADHISHTHANA.)
3*9
PRATI-VAJANA AN ENCYCLOPAEDIA OF
PRATI-VAJANA— A concave moulding resembling the cavetto.
See Fletcher (Hist. Arch., p. 101).
It is ' the same thing in the 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.' — (Ram Raz, Ess. Arch'
Hind., p. 25.)
Alingantararii chordhve prativajanam uchyate I — (M. XLV, in.)
A moulding of the pedestal (M., xin, 58, 93, in. etc. ; see the lists of
mouldings under UPAPITHA.)
A moulding of the base (M., xiv, 39, etc. ; see the lists of mouldings
under ADHISHTHANA.)
PRATlSRAYA — Help, a shelter house for travellers, a dwelling
house, a residence, a sacrificial hall, an assembly.
1 i ) Satra-prapa-pra(ti)sVaya-vrishotsargga - vapi-kupa - tadarama-devala-
yadi-karanopakaranartham iha — ' for the purpose of (supplying) requisite
materials for preparing alms-house (feeding establishment), a place for
distributing water gratis to travellers, a shelter-house for travellers, a
vrishotsargga (see 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.)
(2) Chatu£-6alavasadha-prati$raya-pradena arama-tadaga-udapana -
karena — ' has given the shelter of quadrangular rest-houses, has made
wells, tanks, and gardens.' — (Nasik Cave inscrip. no. 10, line 2, Ep. Ind.,
Vol. vni, pp. 78, 79.)
1 But pratiSraya, as I have stated in a note (Nasik inscr ption, the Inter-
national Congress of the Orientalists held in London in 1874) is what is
in these days called an anna-sattra, i.e. a house where travellers put up
and are fed without charge.' — Dr. Bhankarkar, and compares :
(3) Hemddri (p. 152) : PratiSrayah pravasinarh asiayah, i.e., a shelter
house for travellers.
(4) Vahni-Purdna (p. 763, quoted also by Dr. Hoernle) :
Pratisrayarh suvistirnam sad-annam sujalanvitam I
Dina-natha-janarthaya karayitva griharh Subham I
Nivedayet pathisthebhyah Subha-dvararh manoharam II »
' Having caused to be constructed for poor and helpless persons a prati-
Sraya (in the shape of) a good house, very commodious (wide), having food
and plentiful water, provided with a good door, and charming, he should
dedicate it to travellers.' — (Ind. Ant., Vol. xn, p. 142, c. 1-2.)
320
HINDU ARCHITECTURE PRATOLl
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 flight of steps,
a small turret, the main road of a town.
1 i ) Rathya pratoli visikha syach chayo vapram astriyam I
(Amarakosha, n, ii, 3.)
(2) Trirhsad-dandamtararh cha dvayor attalakayor-madhye saharmya-
dvi-talarh dvy-ardhayamam pratollrh karayet I
Attalaka-pratoli-madhye tri-dhanushkadhishthanam sapidhana-
chchhidra-phalaka-sarhhatam indra-kos"am karayet I
Prakaram ubhayato mandalakam adhyardha-dandarh kritva pratoli-
shat-tulantararh dvaram nivesayet I
(Kautillya-Artha-sastra, Chap. xxiV5
paras. 8, 9, 15, pp. 52, 53.)
(3) Mahdbhdrata (Cock) :
XIV, 25, 21 : Tarn cha sala-chayam srlmat sampratoli sugha-
ttitam I
XII, 69, 55 : Parikhas chaiva kauravya pratolir nishkutani cha I
(4) Rdmayana (Cock) :
II, 80, 1 8 : Pratolivara-Sobhitah . . . (niveSah) |
V, 3, 17 : (Lankam) . . . pandurabhih pratolibhir uchchabhir
abhisamvritam I
VI, 75, 6 : Gopuratta-pratolishu charyasu vividhasu cha I
(5) See ' The Sanskrit Pratoli and its new Indian derivatives.' — (J.R.A.S.,
Vol. xix, July, 1906.)
(6) Kritva . . . abihramarh muni-vasatirh . . . .svargga-sopanarupam
kaubera-chchhanda-bimbam sphatika-marhdala-bhasa-gaurarh
pratolim I
' Having made a gateway, charming (and) . . . the abode of Saints,
(and) having the form of a staircase leading to heaven (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 was constructed).' — (Bilsad stone pillar inscrip.
of Kumaragupta, line 10, C. 1. 1., Vol. in, F. G. I., no. 10, pp. 44, 45, 43,
and note I.)
321
PRATYAttGA AN ENCYCLOPAEDIA OF
(7) Hammira vira kva sa tava mahima nirdisarhti dhvajagrair-divya-
kara-pratoli-hridayami-bhuvo nirmita Kilhanena I
Astarh tavat pratoll tad-upavirachitarh koshthaka-dvarh-dvam- etat
prochchair-alana-yugmarh Vijaya[vara]kareh Satrulakshmas cha
sadma I
(Hansi stone inscrip. of Prithviraja, V. S. 1224,
vv. 5, 6, Ind. Ant., Vol. XLI, pp. 19, 17.)
(8) Asyam uttunga-£ringa-sphuta-§a§I-kirana- (svetabhasa-sanatharh-
ramyarama) pratoli-vividha-jana-pada-stri-vilasabhiramam I
' 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
turrets ; charming with the gracefulness of the wives of the various inha-
bitants of the (beautiful and extensive, lit. whose extent was charming)
streets.' — (Benares inscrip. of Pantha, v. 2, Ep. Ind., Vol. ix, pp. 60, 61.)
(9) Deva-sri-s"asi-bhushanasya kritina devalayarh karitarh yugmarh
mamdapa-sobhitam cha purato-bhadrarh pratolya saha I
' 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.' —
(Kanker inscrip. of Bhanudeva, v. 7, Ep. Ind., Vol. ix, pp. 127, 128, 125,
note 3.)
PRATYA&GA — A minor limb, a moulding of the entablature.
(Kdmikagama, LTV, 2 ; see under PRASTARA.)
PRATYOHA (see UHA) — Lit. an obstacle, hence any architec-
tural moulding or member separating two others, a supporting
member, a moulding, an architectural object.
PRATHAMASANA — The throne for the preliminary coronation.
Cf. Prathamabhisheka-yogyarh syat prathamasanam eva cha I
(M., XLV, 2-3.)
PRADAKSHINA — A surrounding terrace or verandah, a circum-
ambulating path round a temple, a circular road round a village
or town.
(1) Sikharardhasya chardhena vidheya tu pradakshina I
Garbha-sutra-dvayarh chagre vistaro 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. 8.)
322
HINDU ARCHITECTURE PRAPA
See Matsya-Purdna above : this line is identical, except that it is used in
the plural number here.
(4) ' The procession-path round the cell — called Pradakshina — as that
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.
and East. Arch., p. 221.)
(5) ' In the pradakshina or passage behind images, are other two gratings
over shafts from the lower hall.' — (Ahmadabad Arch. Burgess : Arch. Surv.,
New Imp. Series, Vol. xxxni, p. 87.)
PRADAKSHINA-SOPANA— A surrounding flight of steps.
(Kautillya-Arlha-sdstra ; see under SOPANA.)
PRAPATHA — A broad path, long journey by a broad road, high
roads for travellers, rest-houses thereupon (R.-V., x, 17, 4, 6 ; 63,
1 6 ; Kath. Sam., xxxvn, 14; Ait. Bra.) VH, 15). A prince is landed
for his prapathas (R.-V., vra, i, 30).
PRAPA (PRAPAfrGA) — A shed on the roadside for accommodat-
ing travellers with water, a place where water is distributed, a
cistern, a tank, a building.
(1) Kulluka (M. W. Diet.} : Panlya-dana-griha — a house where water is
given (gratis).
(2) Amarakosha (n, 5, 7) : Avesanarh silpi-sala prapa pamya-salika I
(3) A synonym of harmya (edifice) (M., n, 7).
In connexion with the staircase :
Prapange pramukhe bhadre sopanarh purva-parsvayoh I
(M., xxx, 105.)
In connexion with mandapas (pavilions) :
Bhakti-manarh tatha bhitti-vistaram chapy-alindakam I
Prapahga-mandapakaram pancha-bhedam kramochyate I
(M., xxxiv, 3-4 ; see also 15.)
Madhye prachchhadanam kuryat prapangam vadhikalpayet I
Tasya madhye cha range tu mauktikena prapanvitam I
Mandapagre prapangam syat ... I
(Ibid., 201, 218, 222; see also 224-225.)
Prapa is shed as an alternative for pavilion.
Prapanga is shed with open yards. — (M., xxxiv, 567-568.)
Mandapasya bahir-de£e praparh paritas tu karayet I — (Ibid., 290.)
323
PRAPA AN ENCYCLOPAEDIA OF
In connexion with madhya-rahga (central quadrangle or courtyard) :
Devanam cha nripanarh cha sthanakasana-yogyakam I
Mukta-prapanga-manarh cha lakshanarh vakshyate'dhuna I
Yad-ukta-madhya-rahge tu chatus-trirhsad vibhajite I
Ekaikam-bhaga-hlnarh syat prapa-vistaram ishyate I
. . . prapa-tungam sivam£am syat I
(M., XLVII, 1-4, 9.)
In connexion with the pedestals of the images of the Triad :
Prapa cha toranam \api kalpa-vriksham cha sarhyutam I
(M., LI, 87.)
(4) Prag-varhsayor anya-vamsais" cha nalikera-daladibhih I
Achchhaditah(-ta) prapa nama prastararh chatra mandapah II
(Kamikagama, L, 88.)
(5) Prapayas cha mandapam — ' hall for the supply of water.'
(Inscrip. of the Chandella Viravarman, v. 19,
Ep. Ind., Vol. i, pp. 328, 330.)
(6) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan I
Sauvarna-dhvaja-toranapana-pura-grama-prapa-mamdapan I
Vyadhapayad ayarh Chaulukya-chudamanih I
Here ' Prapa ' (shed) does not, evidently, mean a tank, which idea is
expressed by the words vapi, kupa, and tadaga. — (Sridhara's Devapattana
Prasasti, V. 10, Ep. Ind., Vol. u, p. 440.)
(7) See Rahganath inscrip. of Sundarapandya (v. 15, Ep. Ind., Vol. in,
pp. 13. l6-)
(8) Satra-prapa-prasraya-vrishotsargga-vapi-kupa-tadarama-devala-yadi-
karanopakaranartharh cha I
Prapa — (?) a place of distributing water gratis (D. R. Bhandarkar).—
(Cambay Plates of Govinda IV, line 58, Ep. Ind., Vol. vii, pp. 41, 46.)
(9) Nadinam ubhato tiraih sabha prapa-karena — ' erected on both banks
shelters for meeting and such for gratuitous distributing of water.' — (Nasik
Cave inscrip. no. 10, line a f., Ep. Ind., Vol. vm, pp. 78, 79.)
( I o) Aneka-devatayatana-sabha-praparamavasatha-vihara-karayita —
' who caused to be built many temples of the gods, halls, drinking-foun-
tains, gardens, rest-houses, and (Buddhist) monasteries.'— (Palitana Plates of
Simhaditya, line 12, Ep. Ind., Vol. xi, pp. 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. '
Tatha prapa-kshetram dvitlyam tatha grame uttara-disayam — ' in the
northern part of the village there is given a second field, for the watering
trough.' — (Grant of Bhimadeva n, Vikrama Samvat 1266, lines 26, 27, 31, 32,
Ind. Ant., Vol. xvm, pp. 113, 1 15.)
324
HINDU ARCHITECTURE PRALAMBA
(12) 'Apana cannot have here (Asoka pillar-edict, vn, Mines, 2-3) its
usual meaning " tavern, liquor-shop." As professor Kern (Der Buddhism,
Vol. n, p. 385) assumes, it must denote a watering station. Probably the
huts on the roads are meant, where water is distributed to travellers and
their beasts gratis or against payment. The usual Sanskrit name is prapa.'
Dr. Biihler.— (Ep. Ind., Vol. H, p. 274, i.)
PRABH AVA — A type of rectangular building.
(Agni-Purana, Chap, civ, vv. 16-17 ; see under PRASADA.)
PRABHAtfJANA— A type of chariot.
(M., XLIII, 112; see under RATHA.)
PRABHA — A canopy, a city.
Sailam s"obhita-£ata-kumbha-vilasat kumbham maha-mandapam pra-
karam paramalika-vilasitam muktamayim cha prapa(-bha)m I
' A great maha-mandapa of stone, resplendent with pitchers (? domes)
of shining gold, a surrounding wall, adorned with excellent buildings, and
a canopy of pearls.' Dr. Hultzsch. — (Fourteen inscrip. at Tirukkovalur,
no. K, Inscrip. of Rajendradeva, lines 1-2, Ep. Ind., Vol. vn, pp. 145-46.)
PRAMANA — The measurement of breadth.
(M., LV, 3-6 ; see under MANA.)
Pramanam dirgham ity-uktaih manonmana-pramanatah II
(Suprabheddgama, xxxiv, 36.)
PRALAMBA — The plumb-lines or the lines drawn through an
image in order to find out the perpendicular and the horizontal
measurement of the different parts of the body.
(1) See Bimbamdna (w. 73-91, 92-122, 123-138) under TALAMANA.
(2) Mdnasdra (Chap. LXVTI, named PRALAMBA) :
The instrument by means of which the plumb-lines are drawn is
called pralamba-phalaka. This is a square 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
size 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
in the upper plank of the pralamba-phalaka wherefrom are suspended
some 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 deter-
mined, varies from five to eleven, according to the different postures
and poses of the image. The five principal plumb-lines consist of one
325
PRALAMBA AN ENCYCLOPAEDIA OF
drawn from 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
the number seven (line 20). Another two lines drawn on the right
and left sides of the back of the head make the number nine (line
22) ; and two lines drawn from the two armpits make the total of
lines eleven (line 28).
The line drawn from the crown of the head (sikha-mani) passes by the
middle of the front, 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
(feet) and two largest toes (lines 32-40). The perpendicular and horizon-
tal distances between the different parts of the body are described in detail
(lines 41-78, 99-139). The variations of these measurements are consi-
dered with regard to 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).
These plumb-lines are stated to be drawn only for the purpose of measur-
ing :
Evaih tu karya-sutrarh syat lambayet Silpavittamah I (91)
The principles and mechanism of plumb-lines followed by the European
architects are almost similar. The following quotations from Vitruvius
and Gwilt would throw more light on the point :
(3) ' Agatharcus . . . was the first who contrived scenery, upon which he
left a treatise. This led Democritus and Anaxagarus, who wrote thereon,
to explain how the points of sight and distance ought to guide the k'nes,
as in nature, to a centre, so that by means of pictorial deception, the real
appearances of buildings appear on the scene, which, painted on a flat
vertical surface, seem, nevertheless, to advance and recede.' — (Vitruvius
Book vii, Introduction.)
' This (levelling) is performed either with the dioptra, the level (libra
acquaria) or the chorobates. The latter instrument is, however, the beste
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 extre-
mities 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.' — (£6f</.,Book vni, Chap, vi.)
(4) ' Plumb-rule, plumb-line, or plummet is an instrument used by
masons, carpenters (sculptors), etc., to draw perpendiculars or verticals, for
326
PRALAMBA
Pagi
HINDU ARCHITECTURE PRALINAKA
ascertaining 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 perpendi-
cularly on another, and then it is called a level.' — (Gwilt, Encycl., p. 1241.)
' The term, level, is used substantively to denote an instrument which
shows the direction of a straight line parallel to the plane of the horizon.
The plane of the sensible horizon is indicated in two ways : by the direction
of the plummet or the plumb-line, to which it is perpendicular ; and by the
surface of a fluid at rest. Accordingly, levels are formed either by means
of the plumb-line, or by the agency of a fluid applied in some particular
manner.'
' They all depend, however, upon the same principle, namely, the action
of terrestrial gravity. The carpenter's level consists of a long rule, straight
on its lower edge, about 10 or 12 feet in length, with an upright fixed
to its upper edge, perpendicular to and in the middle of the length, having
its sides in the same plane with those of the rule, and a straight line drawn on
one of its sides perpendicular to the straight edge of the rule. This standing
piece is generally mortised into the other, and finally braced on each side
to secure it from accident, and has its upper end kerfed in three places,
viz. through the perpendicular line, and on each side. The straight edge cf
the transverse piece has a hole, or notch, cut out on the other side equal on
each side of the perpendicular line. A plummet is suspended by a string
from the middle kerf, at the top of the standing piece, to vibrate freely in the
hole or notch when hanging at full length. When the straight edge of the
level is applied to two distant points, with its two sides placed vertically,
if the plummet hangs freely, 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, till the string is brought to a coincidence with the per-
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 plummet suspended from the vertex over
a mark in the centre of the base.' — (Gwilt, Encycl., p. 1217.)
PRALAMBA-PHALAKA (see under PRALAMBA) — The square plank
through which the plumb-lines are drawn.
PRALINAKA — A class of buildings, a column with 32 rectangular
sides, i.e., 32 -sided shaft :
Dva-trimsat tu madhye Pralinakah (Brihat-Samhitd, Lin, 28).
Pralinakam atah srinu ... II
327
PRASTARA AN ENCYCLOPAEDIA OF
Sirshakam chatur-asrarh tu parsvayoh koshtha-samyutah I
Panjaram nasika-yuktam sopanarh parsVayos tatah 1 1
Pralinaka iti prokta (-ah) . . . [—(Suprabhedagama, xxxi, 46, 47, 48.)
PRASTARA — The entablature. It comprises the parts of an
order above a column. The assemblage is divided into three parts
in the 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,
see Af., xvi, 18-20, 42-44. It is also used as a synonym for plinth
(M., xxxm, 220-227).
( i ) The entablature is stated to be half of the column :
Prastaram pada-di(-ai)rghyasya chardha-manena karayet I
Nyunam vapi chadhikam vapi prastaraih karayed budhah 1 1
Prastarokta-pramanam tu sarvaih kanthe vidhiyate II
(Kdmikagama, xxxv, 27, 28, 29.)
Ibid. Chap. LTV (named Prastara-vidhi) :
Three essential parts of the prastara (entablature) :
Hinadhikam tu changanam prastarasya dvijottamah I
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
cornice.
The mouldings of the prastara (entablature) :
Uttaram vajanam chaiva mushti-bandham mrinalikam II (i)
Dandika valaya-kshudra-gopanachchhadanam cha II
Alihgantarita chaiva pratyangam vajanam kramat II (2)
Their comparative measurement :
Tryam&ikamsam-panchaika-dvi-tri-bhagaika-bhagaih I
Tri-bhagenaika-bhagena upary-upari yojatet II (3)
Three kinds of the prastara :
Etani prastarahgani tri-vidham chottaram bhavet I
Khandottaram patra-bandham rupottaram iha dvijah 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 prastara (vv. 9-46).
Ibid., LV, 204 (synonyms) :
Prastaram chaiva gopanam kapotam mancham eva cha I
Nivram ity-evam akhyatam prastarasya dvijottamah I
328
HINDU ARCHITECTURE PRASTARA
Prastara (entablature) compared with base, pillar, tower (karna),
finial or dome (sekhara) :
Padayamam adhishthanam dvi-gunaih sarva-sammatam I
Padardharh prastaraih proktam karnam prastaravat samam 1 1
Prastara-dvi-gunayamam Sekharam hi tarn uchyate 1 1
Prastarad urdhva-bhage tu karna-kuta-samayutam II
(Kamikagama., xxxi, 28-30.)
(2) Vedikam prastara-samarh shad-arhsikritya bhagasah I
(Vastu-vidya, ed. Ganapati Sastri, ix, 23.)
Sva-sva-yonya grihadinarh kartavya dvara-yonayah I
Prastarottarayor madhyam panchadha vibhajed budhahll
(Ibid., xin, 26 ; set also 28.)
(3) ... prastaram cha tat ah srinu I
Prastarotsedha-manam tu pancha-bhaga-vibhajitam II
Tri-bhagam uttarotsedham padonottara-vajanam I
Eka-bhagarh tad-urdhve tu kartavya padma-pattika 1 1
Gaja-sYenlrh mriga-srenlm prastaranteshu yojayet I
Evam prastaram akhyatam talam prati viseshatah 1 1
(Suprabhedagama, xxxi, 72, 73, 74 ;
see also vv. 68-71, under TORANA.)
(4) Mdnasdra (Chap, xvi, named PRASTARA) :
The height of the entablature as compared with that of the base
is of six kinds (line 4) . The former may be equal to the latter, or less
by J, or greater by J, \, f , or twice (lines 2-3) ; or in cubit measure-
ment, these six kinds of height of the entablature begin with 7 cubits
and end in 4^ cubits, the decrement being by | cubit (lines 5-6).
These six kinds of entablatures are respectively employed in the
houses of the gods, the Brahmans, the king or Kshattriyas, the crown
princes, the Vaisyas, and the Sudras (lines 8-9).
The height of the entablature as compared with that of the column may
be half, three-fourths, equal, or greater by J, |, and f (lines 10-12). These
six heights of entablature should discreetly be employed (line 13). Another
set of six heights is also prescribed : the height of the pillar being divided into
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 (fillet) .. .. 3$
(2) vajana (fillet) . . . . . . i
(3) valabhi(-bhi) (roof, capital) . . . . 4
329
PRASTARA AN ENCYCLOPAEDIA OF
(4) vajana (fillet) .. .. .. ij
(5) uttara (fillet) .. .. 3
(6) vajana (fillet) . . . . . . i
(7) kshudra-padma (small cyma) . . . . i
(8) maha-padma (large cyma) . . . . 3
(9) vajana (fillet) . . . . . . i
(10) kapota (corona) .. .. .. 7
(u) alinga (fillet) .. .. .. i
(12) antarita (fillet) .. .. .. £
(13) prastara (ovolo) .. .. .. 2
(14) vajana (fillet) .. .. .. ij
The projection of these mouldings are in most cases equal to them,
but in some cases they may be f , |, or J of them.
II. 31 parts (ibid., lines 59-71) :
(1) Uttara (fillet) .. .. .. 3
(2) kampa (fillet) . . . . . . i
(3) valabhi (roof, capital) . . . . . . i
(4) abja (cyma) . . . . . . 9
(5) vajana (fillet) . . . . . . £
(6) mushti-bandha (band) . . . . . . 2| (? 2)
(7) vajana (fillet) . . • . . . J
(8) mrinalika (stalk) . . . . . . 2
(9) kandhara (dado)
(10) kshepana (projection)
(11) padma (cyma)
(12) vajana (fillet)
(13) adhara (base)
(14) patta (band)
(15) vajana (fillet)
(16) mushti-bandha (band) .. .. ..
(17) vajana (fillet)
(18) mahavajana (large fillet) .. .. .. 2
(19) abja (cyma) . . i
III. 36 parts (ibid., lines 72-77) :
(1) Base, etc., should be as before ;
(2) alinga (fillet) .. .. .. 2
(3) vajana (fillet) . . . . . . i
(4) antarita (fillet) . . . . . . 3
(5) kampa (fillet) . . . . . . i
(6) prati (-vajana) (cavetto) . . . . . . 2
(7) vajana (fillet) . . . . . . i
33°
THE. E.MTAbL*TURtS
MOTL--
). THt TOTAL OF THE NUM6E.S OF PARTS
FOR EACH TYPE. VAK1E.S ?
WHAT IS GIVEN IMTHEiTLXT
AMD TWRD 1 lAAGtS AMD LEXXSK/' VHS
DO HOT SUIT OTHE.RS
F!
z
HINDU ARCHITECTURE PRASTARA
IV. 30 parts (ibid., lines 78-88) :
(1) Uttara (fillet) .. .. •• 3
(2) kampa (fillet) . . . . . . i
(3) valabhT (roof, capital) . . . . . . 2
(4) vajana (fillet) . . . . . . i
(5) kapota (corona) . . . . . . 5
(6) alinga (fillet) .. .. .. i
(7) antarita (fillet) . . . . . . 2
(8) nimna (drip) . . . . J
(9) prati-vajana (cavetto) .. .. .. i£
(10) kandhara (dado) .. .. ..2
(n) vajana (fillet) .. .. .. i
(12) griha (?griva, dado) .. .. ..2
(13) vajana (fillet) .. .. .. I
(14) kapota (corona) .. . ..4
(15) alinga (fillet) .. .. |
(16) antarita (fillet) .. .. .. i
(17) nimna (drip) .. .. .. £
(18) prastara.(ovolo) .. .. I
V. 30 parts (ibid., lines 89-99) :
(1) Mula (base) as before ;
(2) gopana (beam) as before ;
(3) vajana (fillet) . . . . 2
(4) kulikanghri (main pillar) (this part is furnished
with nataka) . . . . • • 5
(5) nataka (theatre, quadrangular part) as before ;
(6) kapota (corona) as before ;
(7) kshudra-nasl (small nose or vestibule) as before ;
the rest as before.
This entablature is decorated all over with crocodiles and bees (makara
and bharamara, 94-95).
VI. 26 parts (ibid., lines 100-109) :
(1) Uttara (fillet) . . . . 3
(2) vajana (fillet) . . . . . . i
(3) padma (cyma) . . . . . . i
(4) vajana (fillet) . . . . . . i
(5) mushti-bandha (band) . . . . . . 2
(6) vajana (fillet) . . . . . . i
(7) mrinalika (stalk) . . . . . . 3
(8) vajana (fillet) . . . . . . i
(9) pattika (band) . . . . 4
331
PRASTARA AX ENCYCLOPAEDIA OF
(10) vajana (fillet ^
(u) kampa (fillet) •• i
(12) padma (cyma)
(13) vajana (fillet) •• \
(14) kapota (corona) 4
(15) alihga (fillet) •• \
(16) vajana (fillet) . • • • •• \
(17) antarita (fillet) •• i
(18) prati-vajana (cavetto) .. i
VII. 26 parts (ibid., lines 110-116) :
(1) Nataka (theatre, quadrangular part) as before ;
(2) upper columns as before ;
(3) lower columns as before.
Above these, all the members are same as before except that their
projections are half or one-fourth of them, or their projections may be
one, two, or three dandas.
The images of Bhutas (imps), Ganas (attendant demi-gods of Ganesa),
Yakskas (attendant demi-gods of Kubera), Vidyadharas (semi-divine
beings), or of men are carved in the nataka (crowning or capital) parts
of temples. 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
mushti-bandhas (fishbands) are made straight with the columns. The
rest should be as before.
VIII. 26 parts (ibid., lines 117 f.) :
(i) Kapota'_ (corona) 8 more ; (a) nataka (theatre, quadrangular
part) 8 more ; the rest should be as before.
IX. 34 parts (ibid., lines 117-119) :
Nataka (theatre, quadrangular part) 8 parts more, and the rest
should be as before.
With these may be compared the details of the early European entab-
lature :
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.
Entablature is fourth part of the column. ' In general terms, its sub-
divisions of architrave, frieze, and cornice are obtained by dividing its height
into ten equal parts, whereof three are given to architrave, three to frieze,
332
HINDU ARCHITECTURE
PRASTARA
and four to cornice ; 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.'
' 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.)
Entablature Height in parts ^^ ^
parts of a module
27i
Height in parts
of a module
I. Tuscan (Gwilt,
Cornice, 1 6 •<
parts
Cymtinum
and parts
Bed mould-
ing
Encycl., Art. 2555) :
f (i) Quarter round
Frieze, 1 4 parts
fFillet
Architrave, j
12 parts 1 Fascia
S (2) Asragal
I (3) Fillet
(4) Conge" or cavetto
(5) Corona
(6) Drip
(7) Sinking from
corona or hollow
(8) Fillet
(9) Ogee
(10) Frieze
(u) Fillet or listel
j (fa) Conge or small
i cavetto
i
^(13) Fascia
4
i
5
i
4
14
2
2
8
22^
9i
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.
II. Doric (Gwilt, Encycl., Art. 2564, 2562) :
Entablature
Cornice,
1 8 parts
(1) Fillet of corona
(2) Cavetto
(3) Fillet
(4) Cyma reversa
(5) Corona
j (6) Drip
(7) Fillet
(8) Gutta under the corona
(9) Dentil
(10) Fillet
(n) Cyma reversa
I (12) Capital of triglyph
333
Height in parts
of a module
I*
4
parts of a module
34
26
28J
25
15
13
2
2
PRASTARA
AN ENCYCLOPAEDIA OF
Entablature
Height in parts
Projection from the
axis of column in
of a module
parts of a module
Frieze, f (13) Triglyph
18
IOJ
18 parts I (14) Metope
18
10
f(i5) Listel
2
»i
Architrave, J (16) Capital of guttae
*
II
i o parts 1 (17) Guttae
»J
II
(.(18) Fascia
10
10
Mutular Doric :
(i) Fillet of the corona
I
34
(2) Cyma
3
3i
(3) Fillet
i
3i
(4) Cyma reversa . .
i
3<>f
(5) Corona
Si
30
Cornice, 18 «
(6) Cyma reversa. .
i
29l
parts
(7) Mutule
3
28£
(8) Drip
\
28
(9) Guttae of the mutule
i
26
(10) Echinus or quater round . .
2
13*
(i i) Fillet
1
"I
.(«) Capital of triglyph
2
ii
Frieze, 1 8 ((13) Triglyph
18
IOJ
parts 1(14) Metope
18
10
f(i5) Listel
2
12
1 (16) Capital of the guttae
i
"1
Architrave, 1 (17) Guttae
«4
"I
12 parts 1 (18) First fascia
6
I0|
^(19) Second fascia
4
10
Grecian Doric (Parthenon) (ibid., Art. 2579)
I
' (i) Fillet
o -60
22 -10
(2) Echinus
3-12
2O -40
(3) Fillet, with sunk cyma
Cornices,
reversa
2 '20
15-12
(4) Corona
4-88
18-98
parts
(5) Fillet
I -10
18-80
(6) Capitals of mutules
I -10
(7) Mutules
0-32
18-66
(8) Bead and capital of triglyph
2 -00
ii -46
Frieze, 1 4 -88 f (9) Frieze (in metope)
I5-I2
parts I (10) Triglyph
14-88
ii -40
334
HINDU ARCHITECTURE
PRASTARA
Entablature
Height in parts
of a module
Architrave,
i y -10
parts
Cornice, 34
parts
f (i i) Fillet
1 (12) Cap of guttae
(13) Guttae
4) Architrave below guttae . .
III. Ionic (Gwilt, Encyd., Art. 2573, 2581) :
(1) Fillet of cyma
(2) Cyma recta
(3) Fillet
(4) Cyma reversa
(5) Corona
(6) Fillet of the drip
(7) Ovolo
(8) Astragal
(9) Fillet
( i o)Dentel fillet ..
(n)Dentels
(12) Fillet
(13) Cyma reversa
Frieze, 27 parts (14) Frieze
(15) Listel
( 1 6) Cyma reversa
(17) First fascia
(18) Second fascia
(19) Third fascia
(20) Capital on the side
(21) Capital on the coussinet or
cushion
Architrave,
22^ parts
Grecian Ionic (in the temple on the Ilyssus)
Cornice,
supposed
height,
18-33
parts
(1) Fillet
(2) Cyma recta
(3) Fillet
(4) Echinus
(5) Corona
(6) Drip
(7) Cyma reversa
(8) Fillet
(9) Echinus
1-50
I -OO
O-20
I4-40
16
Projection from the
axis of column in
parts of a module
I2-50
12 -40
II -20
4
46
5
i
41
2
40*
6
38*
i
29i
4
28J
i
25
I
24!
\\
21
6
24
i
20
4
I9l
27
15
li
20
3
'9*
7*
'7
6
16
4l
15
19
20
2 -040
6 -240
4-680
2-700
0-720
i -260
17*
restored restored
30-440
33 '96°
20 -520
1 8 -360
335
PRASTARA
AN ENCYCLOPAEDIA OF
Entablature
Projection from the
Height m parts ajs of column in
of a module parts of a module
Frieze, (10) Frieze
29-901
parts
f(n) Fillet
Architrave, j ( I2) Echmus
33 >66 I(i3) Bead
parts
(^(14) Fascia
IV. Corinthian (Gwilt, Encycl., Art. 2583) :
(1) Fillet of cornice
(2) Cyma recta
(3) Fillet
(4) Cyma reversa . .
(5) Corona
(6) Cyma reversa. .
(7) Modillion
Cornice, 38 ^ (8j FiUet (remainder of modil-
Parts lion band) ..
(9) Ovolo
(10) Bead
(11) Fillet
(12) Dentils
(13) Fillet
(14) Hollow or cong6
Frieze, i
mod.,
parts
(15) Frieze
(16) Fillet
(17) Cyma reversa
(i8)Bead
(19) First fascia
(20) Cyma reversa
(21) Second fascia . .
(22) Bead
(23) Third fascia . .
Composite (Gwilt., Encycl, 2591)
f (i) Fillet of cornice
Cornice, 36^ (2) Cyma recta . .
parts i_ (3) Fillet
336
Architrave,
27 parts
V.
29-901
I -920
2-520
I -20O
27 -60O
I
5
5
6~
i
4
i
7
2
6
i
5
it
5
i
17 -400
3° '520
20 -100
17-880
17 -160
53
53
48
45*
46
£
28^
4
28
i
25
6
24
i
20
3
!9f
'5
20
17
'5
46
HINDU ARCHITECTURE
PRAKARA
Entablature
Height in parts
oi a module
Projection from the
axis of column in
parts of a module
Cornice, 36^
parts
Frieze, 27
parts
Architrave,
27 parts
(4) Cyma reversa . . . . 2
(5) Bead i 43!
(6) Corona . . . . 5 43
(7) Cyma under corona . . i \ 41
(8) Fillet . . . . i 33
(9) Cyma reversa. . .. 4 33^
( i o) Fillet of the dentils .. £ 28
(11) Dentils .. .. 7! 29
(12) Fillet . . . . i 23
(13) Ovolo . . . . 5 22
(14) Bead . . . . i 17
(15) Fillet . . . . i 16^
(16) Conge .. .. f 15
(17) Upright face .. .. 17^ 15
(18) Apophyge . . . . 7 22
(19) Fillet . . . . i 22
(20) Cavetto . . . . 2 2oJ
(21) Ovolo . . . . 3 20
(22) Bead .. .. i 17!
(23) First fascia .. .. 10 17
(24) Cyma reversa .. 2 i6f
[_ (25) Second fascia . . . . 8 15
From the details given above it would be clear that both the Indian and
European entablatures have much similarity in their composition and
relative proportion. In the words of Ram Raz, ' the massiveness of the
Indian entablature offers a striking contrast to the lightness of the
Grecian ; but the richness of the former may be said to be unrivalled.' —
(Ess. Arch, of Hind., p. 40, also see Plate xix, figs. 1-4.)
PRASTIRYA — Same as PRASTARA or entablature.
(A/., xvi, 184, 186.)
PRAVESA — The front door, the gate, the entrance.
Pravesa-nirgama-sthane dvarair api samanvitam I
(M., x, 107; see also xxxm, 536.)
PRAKARA — A wall, an enclosure, a fence, a rampart, a surrounding
wall elevated on a mound of earth. In the Sdnkhydyana Srauta-
sutra (xvi, 18, 14, quoted below) it denotes a walled mound support-
ing a raised platform (prasada) for spectators. But in the Mdnasdra
337
PRAKARA AN ENCYCLOPAEDIA OF
it is used in a slightly different sense and implies the fourth of the
five courts into which the compound of a house is divided,
(i) Mdnasdra (Chap, xxxi, named Prakara, 1-134) :
The uses of the prakaras :
They are built for bala (strength), parivara (attendant deity),
sobha (beauty), and rakshana (defence) :
Balartham parivarartham Sobhartharh rakshanarthakam I
Pancha-prakara-harmyanam adhuna vakshyate kramat I
The whole compound of a house or temple is divided into five courts.
The first one is called the antar-mandala or the innermost court (line n).
The second is known as antar-nihara and the third as madhyama-hara
(line 12). The fourth court is technically named prakara (line 12). The
fifth and last one is known as the maha-maryada or the extreme boundary
where the large gate-houses (gopuras) are constructed (line 14). As the
name of the chapter (Prakara-lakshana, description of Prakara) indicates,
the greater part of it describes only the fourth court (lines 15-102).
Prakaras are also divided into the Jati, Chhanda, Vikalpa (Abhasa) and
Kamya classes (lines 3-5). Under each class a number of buildings (salas)
are exhaustively described (lines 6-86).
A further classification (Sarhkirna, etc.) is made with regard to materials
of which these prakara-buildings are made (line 103). The materials are
same as in other cases, namely stone, brick and wood (line 102). The
gopura or gate-house of the first court (antar-mandala) is technically
called dvara-sobha or beauty of die gate ; and those of the second, third
fourth and fifth courts are called respectively dvara-sala, dvara-prasada>
dvara-harmya, and maha-gopura (ibid., xxxm, 9).
(2) Suprabheddoama (Chap, xxxi, 115-128) :
Five courts or enclosure buildings :
Prakaranam paritam kuryat prasadasya pramanatah I
Bhumau vinyasya vistaram prasadasya su-nischitam 1 1
Prasadasya tu vistaram tasya dandam ihochyate I
Dandat tena kritarh yatra tv-antarmala-samaiva hi 1 1
Eka-dandantar-bhara tu madhya-bhara dvi-dandatah I
Chatur-danda-pramanena kritva maryyadi-bhittikam 1 1
Maha-maryyadi-bhittih syat sapta-danda-pramanatah I
Prishthe chaivagrato' py-ardham dvi-gunarh tri-gunam tu va II
Chatur-gunarh mukhayamam prakaranam viseshatah I
Kapotantam samutsedham hasta-vistara-bhittikam 1 1
Kuta-Sala-yutam vapi kuta-salantam eva cha I
Prakarena samayuktarh gopurasya vidhiyate II
338
H1XDV ARCHITECTURE PRAKARA
Mandale dvarake vatha dvara-salarh tu bharake I
Prasadam madhya-bharayam maryyadau harmyam eva cha 1 1
Gopuram tu maha-madhye evarh pancha-vidhi smritam I
Chatur-dikshu cha samyojyah prakaranam prithak prithak 1 1
Kechid vai malikakara kechid vai gopurakritih 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
Chatur-dasa-pancha-da^a-dvara-harmyam iti smritam I
Eka-virh£a trayo-virhsa dvara-gopuram uchyate II
Their height as compared with length and breadth :
Vistara-dvi-gunayamam ayama-dvi-gunochchhrayam I
Bhaumordhvottara-simantam dvarasyochchhraya-lakshanam 1 1
Tad-ardharh vistaram proktam(m) alankaram vimanavat I
Prakara-bhittim asritya kuryad avrita-mandapam II
Tad-bahye'bhyantare vapi malika-manddaparh hi va I
Pancha-prakaram evarh syat privaralayam srinu 1 1
Then follows the description of the temples of the attendant deities (v.
129 f.). These buildings are built in the five prakaras (see under PARIVA-
RALAYA).
(3) Sdnkfydyana-Srauta-sutra (xvi, 18, 13, 14, Bibliotheca Indica, Vol. I,
p. 210) :
Samsthite madhyame'hany-ahavanlyam abhito dikshu prasadan
viminvanti II (13)
Tan uparishtat sarhvyadhaih prakaraih parighnanti II (14)
(4) Matsya-Purdna (Chap. CCLXIX, v. 24) :
Prag-grivah pancha-bhagcna nishkas(s)as tasya chochyate I
Karayet sushiram tadvat prakarasya tri-bhagatah II
(5) Agni-Purdna (Chap. XLH, 812) :
Tatha prakara-vinyase yajed dva-trimsad antagan l|
Prasadasya chaturthamsaih prakarasyochchhrayo bhavet II
Ibid., Chap, cvi, 1-2 :
Nagaradika-vastum cha vakshye rajyadi-vriddhaye I
Yojana-yojanarddham va tad-artham sthanam a^rayet II
Abhyarchya vastu-nagaram prakaradyarh tu karayet II
In this instance ' prakara ' indicates the whole city wall.
(6) Garuda-Purdna (Chap. XLVI, 19) :
Prakaraih tad-bahir dadyat pancha-hasta-pramanatah |
339
PRAKARA AN ENCYCLOPAEDIA OF
(7) Brahmdnda-Purdna (Part I, and Anusharhga-pada, Chap, vn, 103) :
Sotscdha-rarhdra-prakararh sarvatah khatakavritam I
(8) Kautillya-Arlha-fdstra (Chap, xxtv, pp. 52, 53, 54) :
Vaprasyopari prakararh vishkambha-dvi-gunotsedham aishtakam-
dva-dasa-hastad urdhvam ojam yugmam va achatur-vimSati
hastad iti karayet I
Antareshu dvi-hasta-vishkambharh parsvc chafur-gunayamam
anuprakaram ashta-hastayatarh deva-patham karayet I
Prakaram ubhayato mandalakam adhyardha-dandarh kritva prato-
lishat-lulantararh dvararh nivesayet I
Prakara-samam mukham avasthapya tri-bhaga-godha mukharh
gopuraih karayet I
Prakara-madhyc kritva vapirh puslikarimm . . .
(9) Rdmayana (Cock) :
VI. 3,14 : Sauvarnas cha maharhs tasyah prakaro dushpradhar-
shanah I
Mani-vidruma-vaidurya-mukta-virachitantarah 1 1
VII. 5, 29 : Dridha-prakara-parikharh . . . lankam I
V. 55, 32 : Lanka atta-prakara-torana I
V. 3, 6 : (purlm) . . . sata-kumbhena mahata prakarenabhisarh-
vritarh I
IV. 31, 27 : V, 2. 16: Kanchancnavritarh prakarena mahapurim I
III. 48, ii : (Lanka-nama purl subha) . . . prakarena-parikshipta
pandurena I
See also v, 3, 7, 33 ; v, 4, 2 ; v, 37, 39 ; v, 55, 32 ; vi, 3, 29 ; vi, 3, 32 ;
vi, 24, 34 ; vi, 25, 24 ; vi, 25, 30 ; vi, 26, 12 ; vi, 38, 10, n ; vi, 31, 56, 98 ;
vi, 42, 15, 21, 22, 45, 46 ; vi, 51, 8, 10 ; vi, 60, 15 ; vi, 65, 53 ; vi, 66, i ;
vi, 67, 169 ; vn, 3, 27 ; vii, 5, 25 ; vn, 38, 37.
(10) Mahdbhdrata :
I. 207, 30 : Prakarena cha sampannam . . . (pura-sreshtham) I
II. 80, 30 : Prakarattalakeshu I
III. 1 60, 38 f. : (VaiSravanavasam) . . . prakarena parikshiptam I
Sauvarnena samantatah sarva-ratna-dyutimata I
III. 200, 90 ; 206, 7 : (Mithilarh) . . . harmya-prakara-Sobhanarh I
See also in, 284, 2 ; iv, n, i ; v, 143, 23 ; vm, 33, 19 ; xn, 86, 6 ; xv, 5,
1 6 ; xvi, 6, 24.
(n) 'This inscription (Ranganatha inscrip. of Sundarapandya) was
discovered on the east wall of the second prakara of the temple.'
340
HINDU ARCHITECTURE PRAKARA
' Inscription on the north wall of the fourth prakara of the Ranganatha
temple at Srirarigam.'
' Inscription on the west wall of the second prakara of the JambukesVara
temple.'
' Inscription on the south wall of the second prakara of the Ranganatha
temple.'
' Inscription on the south-west corner of the third prakara of the same
temple.'— (Ranganatha inscrip. of Sundarapandya, Ep. Ind., Vol. in, pp. 7, 9, 10.)
(12) ' This inscription (JambukesVara inscrip. of Valaka-Kamaya)
is engraved on the north wall of the second prakara of the Saiva temple of
JambukesVara on the island of the Srirarigam near Trichinopoly.' — (Ep. Ind.,
Vol. m, p. 72.)
(13) ' This Grantha inscrip. is engraved on the north wall of the first
prakara of the AdipurisVara temple at Tiruvattiyur near Madras.'— (Ep.
Ind., Vol. v, p. 106.)
(14) ' Ranganatha inscrip. of Ravivarman of Kerala ' is on the north wall
of the second prakara of the temple of Ranganatha (Vishnu) on the island
of Srirarigam.'— (Ep. Ind., Vol. iv, p. 148.)
(15) Silaprakara — an enclosure of stone for the temples of Kunti Madhava
and BhimesVara. — (Pithapuram Pillar inscrip. line n, second Draksharama
Pillar inscrip., lines 13-14, Ep. Ind., Vol. iv, pp. 329, 330.)
(16) Durggarh cha Tamra-nagarim abhito vyadhatta Prakaram um-
natain udarhchita-gopurarh sah — ' he surrounded the Tamra nagari
with a wall surmounted by towers.' — (Chebrolu inscrip. of Jaya, v. 27,
Ep. Ind., Vol. v, pp. 147, 149.)
(17) Mata-kuta-prakara-khanda-sphutita-jirnnoddharakam — ' for the
reparis of whatever might become broken or torn or worn out belonging to
the enclosure ' (the more usual expression here would be ' Prasada ')_
Dr. Fleet, Ep. Ind., Vol. v, p. 249, note 6. — (Inscrip. at Ablur, no. E, lines
59. 75> Ep. Ind., Vol. v, pp. 249, 257, 250, 258.)
(18) 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 I
Pradhvasarh ripu-durgganarh prag-bhava-samam vyadhat I
(Two pillar inscrip. at Amaravati, no. A, inscrip. of
Keta II, v. 19, Ep. Ind., Vol. vi, p. 150.)
341
PRAKARA AN ENCYCLOPAEDIA OF
(21) Iha vijayina prakara-srir mmahopala-nirmmita jala-dharagatir
aty-aty-unna niroddhum ivoddhata I
(Two BhuvanesVara inscrip. no. A, of SvapneS-
vara, v. 24, Ep. Ind., Vol. vi, p. 202.)
(22) Gopura-prakarotsava-mamtapair upachitam I
(Kondavidu inscrip. of Krishnaraya, v. 27,
line 1 18, Ep. Ind., Vol. vi, pp. 237, 231, 232.)
(23) Mahamandapam prakaram para-malikavilasitam muktamaylrh cha
prapa(bha)m I
(Fourteen inscrip. at Tirukkovalur, no. K,
lines 1-2, Ep. Ind., Vol. vn, 145-46.)
(24) Prakarah Kanakachale virachitah — built extensive ramparts on the
Kanakachala (the name of the fort of Jalar, Mr. Ojha). Prof. Kielhorn. —
(The Chahamanas of Naddula, no. C, Sundha Hill inscrip. of Chachigadeva,
v. 38, Ep. Ind., Vol. ix, pp. 77, 73.)
(25) Paritah pranavakara-pra(pra)kara-valayarhchitam — ' encircled by
a wall of the shape of the pranava.'— (Krishnapuram plates of Sadasivaraya,
v, 55, Ep.Ind., Vol. re, pp. 336, 341.)
(26) ' There are several similar inscriptions in the outer wall of the (Velur)
temple, viz., two on the pedestal of the two dvara-palakas in front of the
gopura, one on the left outer wall of the inner prakara . . .' — (H. S.I.I.,
Vol. i, p. 127.)
(27) ' This inscription (no. 85, H.S.I.I., Vol. ra) is engraved on the
right of the entrance into the east wall of the prakara of the Vamana-
purlsVara temple at Tirumanikuli in the Guddalore Taluka of the South
Arcot District.'— (H.S.I.I., Vol. in, p. 209.)
(28) 'This inscription (H.S.I.I., Vol. in, no. 88) is engraved on the
left of the entrance to the north wall of the fourth prakara of the Ranga-
natha temple on the island of Sriranga near Trichinopoly.' — (H.S.I.I.,
Vol. ra, p. 217.)
(29) ' For this Prasanna-Virupaksha, a temple, enclosing wall (prakara) ,
gopura, finial covered with gold, and a Manmatha tank were cons-
tructed.'— (Ep. Carnal., Vol. x, Mulbagal Taluq, no. 2 ; Roman Text, p. 82 ;
Transl, p. 71.)
(30) Kanchipura-prakarantarita-pratapam akarod yah Pallavanam
patim — ' he caused leader of the Pallavas ... to hide his prowess behind
the ramparts of (the city) of Kafichipura.' — (Sanskrit and Old Kanarese
inscrip., no. LV, line 14, Ind. Ant., Vol. vm, pp. 242, 245, c. i, line 23 f.)
(31) ' There are three enclosures (prakaras) in the Tiruvellarai Temple,
the first two being studded with inscriptions.' — (Notes in the TiruveUarai
inscrip, Ind. Ant., Vol. xxxiv, p. 264, para. 5, lines 1-2.)
342
HINDU ARCHITECTURE PRASADA
(32) ' 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
ruins. It had on the top all round thick stone discs, about 6£ feet in
diameter, with rectangular bases, both in one piece, the outer faces being
sculptured with fine figures of flowers, animals, gods, etc., in relief . . . The
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,
p. 93, para. 6.)
PRAGATA— A type of pavilion.
(M., xxxiv, 410 ; see under MANDAPA.)
PRAG-VAM&A — An auxiliary shed to a sacrificial room.
PRAftGANA (see ANGANA) — The court, the courtyard.
(1) Katha-sarit-sagara (Pet. Diet.) :
59, 26 : Nripasthana-pranganam I
15, 89 : Sa prangana-dvara-kavatanta-vilambini I
(2) HitopadeSa (2, 3, etc.) : Tasya prangane gardhabho baddhas tishthati
kukkuras" chopavishtah I
(3) Rajatarangini (i, 247, etc.) : Pranganad bahih I
(4) See the first PraSasti of Baijnath, v, 34, Ep. Ind., Vol. I, pp. 107, in.
(5) Cf. Kalapriya(name of the god and temple of Mahakala at Ujjain),
pranganam tirnna I— (Cambay Plates of Govinda IV, v. 19, Ep. Ind., Vol. vn,
PP- 38, 29.)
RADE&A (see ANGULA) — The distance between the tips of the
fully-stretched thumb and forefinger.
(1) Da£atva(? a)ngula-parvani pradeSa iti sarhjnitah II
Angushthasya pradesinya vyasa-(h) pradeSa uchyate I
(Brahmdnda-Purdna, Part I, and Anu-
shangapada, Chap, vn, vv. 96, 97.)
(2) Angushtha-tarjam-yuktarh pradesam iti kirtitam I
(Suprabhedagama, xxx, ai.)
PRASADA — A temple, a palace, an edifice, buildings in general,
a platform, a Buddhist assembly or confessional hall.
Harmyadi dhaninam vasah prasado deva-bhu-bhujam I
(Amarakosha, n, a, 9.)
(i) Mdnasdra :
Temple :
Prasada-mandapam chaiva sabha-s"ala-prapa-(ih) tatha I
(A)rangam iti chaitani harmyam uktarh(-tani) puratanaih I
(M., in, 7-8.)
343
PRASADA AN ENCYCLOPAEDIA OF
Prasada-mandapam tatha varunadi-dese I
Sange cha gopura-pade tv-apareshu sarve I
(There should not be any defect).
(M., LXIX, 70, 71.)
The palace of a king :
Nripa-prasada-samyukta (bhumih) sama chaitya-samipaga I
(M., iv, 23.)
Palaces are elaborately described ( M., XLI, 1-51 ; see under RAJAHARMYA.)
Buildings in general (called Vimana in the Mdnasara and Prasada in
the works quoted below) :
The general description (M., xvm, 1-418) :
They are used as residences of gods and men :
Taitilanam dvijatmam varnanam vasa-yogyakam I (2)
Their sizes (see details below) — from one to twelve storeys :
Eka-bhumi-vimanadi-ravi-bhumy-avasanakam I (3)
Their plans (lines 12-91) ; see under VIMANA-LAKSHANA.
The three styles and their characteristic features (92-105) are given
under NAGARA, DRAVIDA and VESARA.
The description of the towers and domes (106-137 ; see under STUPI).
The building materials are stone, brick, timber and iron (138).
I. Three classes of buildings — Suddha or pure, made of one material
(lines 139, 140) ; Misia or mixed, made of two materials (lines 139, 140)
and Samkirna or amalgamated, made of three materials, namely stone,
brick and timber (lines 139, 141) : one material alone is especially recom-
mended (line 142).
Description of the Stupi-kila which comprises all the parts above the
Stupi or dome is given in detail (lines 145-417).
Chap, xrx (named Eka-bhumi) :
The classifications :
II. Referring to measurement, in accordance with the various cubits —
Jati (lines 2, 3), Chhanda (lines 2, 4), Vikalpa (lines 2, 4), and Abhasa
(lines 2, 5).
III. 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
(line 10) and Apasamchita (line n) respectively. These classes of build_
ings also refer to the postures of the idols, namely erect, sitting and
recumbent respectively. But the details of these postures are reserved for
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
HINDU ARCHITECTURE PRASADA
female deities (line 16) ; but in the feminine class of buildings the male
deities also can be installed (line 17).
The details of the component parts of the ground floor are common for
various types which are described below (lines 18-164).
VI. The eight kinds of the single-storeyed buildings with their charac-
teristic features (Chap, xix, 1-264) :
(i) Vaijayantika is furnished with round spire (Sirsha), pinnacle
(sirah) and neck (griva) (line 166) ; (2) Bhoga has similar wings
(line 167); (•:) Srivisala has the bhadra or front porch in it (line
1 68) ; (4) Svasti-bandha has the octangular finial (line 169) : (5)
Srikara has a quadrangular steeple (line 170) ; (6) Hasti-prishtha has
an oval steeple (line 171) ; (7) Skandatara has a hexagonal spire
and neck (line 172) ; and (8) Kesara has the front porch, the side-
towers at the corners of the roof, and its nose, head and neck are
round or quadrangular (lines 173-175). For further details, see
EKA-BHUMI.
VII. The eight kinds of the two-storeyed buildings (Chap, xx, i-i 14) :
(The generl features are similar in all the eight kinds, the distinction lying
in the different proportions given to the component parts from above the
ground floor to the top.)
(9) Srikara (lines 94, 2-9); (10) Vijaya (lines 94, 10-15); (n)
Siddha (lines 94, 16-18) ; (12) Parshnika or Paushtika (lines 94,
J9-25) ; (13) Antika (lines 94, 26-27) ; (14) Adbhuta (lines 94, 28-33) ;
(15) Svastika (lines 95, 35-41) ; and (16) Pushkala (lines 94, 42-43).
The projection, general features, and carvings on the doors when these
buildings are used as temples are described (lines 44-93, 96-116).
For further details, see DVI-TALA.
VIII. The eight kinds of the three-storeyed buildings (Chap, xxi,
1-74) :
(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) ; (21) Kamalanga (lines
33-38) ; (22) Brahma-kanta (lines 39-40) ; (23) Meru-kanta (lines
41-49) ; and (24) KailaSa (lines 50-52). 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 buildings.
IX. The eight kinds of the four-storeyed buildings (Chap, xxn, 1-106) :
(25) Vishnu-kanta (lines 3-12) ; (26) Chatur-mukha (lines 13-24) ;
345
PRASADA AN ENCYCLOPAEDIA OF
(27) Sada-Siva (lines 25-33) ; (28) Rudra-kanta (lines 34-43; ; (29)
Isvara-kanta (lines 44-46) ; (30) Mancha-kanta (lines 47-57) ; (31)
Vedi-kanta (lines 58-59) ; and (32) Indra-kanta (lines 60-88). For
further details, see CHATUS-TALA.
X. The eight kinds of the five-storeyed buildings (Chap, xxui 1-50) :
(33) Airavata (lines 3-12) ; (34) Bhuta-kanta (lines 13-15) ; (35)
VisVa-kanta (lines 16-18) ; (36) Murti-kanta (lines 19-24) ; (37) Yama-
kanta (lines 25-29) ; (38) Griha-kanta (lines 30-32) ; (39) Yajiia-kanta
(lines 33-40) ; and (40) Brahma-kanta (lines 41-42). For further details,
See PAftCHA-TALA.
XI. The thirteen kinds of the six-storeyed buildings (Chap, xxrv,
1-48.) :
(41) Padma-kanta (lines 3-12) ; (42) Kantara (lines 13-14) : (43)
Sundara (line 15) ; (44) Upa-kanta (line 16) ; (45) Kamala (lines
17-18) ; (46) Ratna-kanta (line 19) ; (47) Vipulanka (line 20) ; (48)
Jyoti(sh)-kanta (line 50) ; (49) Saroruha (line 50) ; (50) Vipulakritika
(line 52) ; (51) Svasti-kanta (line 53) ; (52) Nandyavarta (line 54) ;
and (53) Ikshu-kanta (line 55). For further details, see SHAT TALA.
XII. The eight kinds of the seven-storeyed buildings (Chap, xxv, 1-40) :
(54) Pundarika (lines 3-23) ; (55) Sri-kanta (line 24) ; (56) Sri-bhoga
(line 25) ; (57) Dharana (line 26) ; (58) Panjara (line 27) ; (59)
Asramagara (line 28) ; (60) Harmya-kanta (line 29) ; and (61)
Hima-kanta (line 30). For further details, see SAPTA-TALA.
XIII. The eight kinds of the eight-storeyed buildings (Chap, xxvi,
1-76.) :
(62) Bhu-kanta (lines 3-21) ; (63) Bhupa-kanta (lines 22-28) ; (64)
Svarga-kanta (lines 29-34) > (^5) Maha-kanta (lines 35-39) ; (66)
Jana-kanta (line 40) ; (67) Tapa(s)-kanta (lines 41-42) ; (68) Satya-
kanta (lines 43-45) ; and (69) Deva-kanta (lines 46-47) . For further
details, see ASHTA-TALA.
XIV. The seven kinds of the nine-storeyed buildings (Chap, xxvn,
1-48.) :
(70) Saura-kanta (lines 5-9) ; (71) Raurava (line 10) ; (72) Chandita
(lines 11-12); (73) Bhushana (lines 13-14); (74) Vivrita (lines
20-22) ; (75) Suprati-kanta (lines 23-26) ; and (76) VisVa-kanta
(lines 27-33). For further details, see NAVA-TALA.
XV. The six kinds of the ten-storeyed buildings (Chap, xxvm, 1-40.) :
(77) Bhu-kanta (lines 6-8) ; (78) Chandra-kanta (lines 6-8); (79)
Bhavana-kanta (lines 9-13) ; (80) Antariksha-kanta (lines 14-15) ; (81)
Megha-kanta (lines 16-17) » an<^ (^2) Abja-kanta (line 18). For
further details, see DA£A-TALA.
346
HINDU ARCHITECTURE PRASADA
XVI. The six kinds of the eleven-storeyed buildings (Chap, xxix, 1-50.) :
(83) Sambhu-kanta (lines 3-7) ; (84) Isa-kanta (lines 8-9) ; (85)
Chakra-kanta (lines 10-14) ! (86) Yama-kanta (lines 15-17) ; (87)
Vajra-kanta (lines 18-24) ; and (88) Akra-kanta (lines 24-33). For
further details, see EKADASA-TALA.
XVII. The ten kinds of twelve-storeyed buildings (Chap, xxx, 1-194.) :
(89) Panchala (lines 8-10) ; (90) Dravida (lines 8-10) ; (91) Madhya-
kanta (lines 11-14) > (92) Kaliriga-kanta (lines 14-16) ; (93) Varata
(? Virata) (lines 17-27) ; (94) Kerala (lines 28-30) ; (95) Varhsa-kanta
(lines 31-32) ; (96) Magadha-kanta (lines 33-34) ; (97) Jana-kanta
(lines 35-36) ; and (98) Sphurjaka (lines 7, 37-84, description of the
twelfth storey).
These ten kinds are named, it should be noticed, after the historic places
well marked in the ancient geography of India, which cover the whole length
and breadth of the Indian Continent. Of these, the Panchala and the
Dravida are stated to be of the smallest type (line 10), next in size and
importance are respectively the Madhya-kanta, the Kalinga-kanta, the
Varata ( ? Viraja), the Kerala, and the Varhs'a-kanta. The largest and the
most important are the Magadha (connected with the capital of King
Asoka and of the early Gupta Emperors) and the Jana-kanta, and also
perhaps the Sphurjaka, which, however, is not specified in detail (n).
The architectural details of these buildings will be found under these
ten terms. The description of the twelfth storey is given under DVADAS"A-
TALA.
(2) 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),
1 1 -2 1 (names, classes, shapes and description of forty-five kinds of
temples) :
Prasadarh sampravakshyami sarva-sadharanarh sYinu 1 1
Sarva-sadharanarh chaitat prasadasya cha lakshanarh I
Manena pratimaya va prasadarh apararh sYinu 1 1
(Chap. XLII, vv. 1,9.)
Vakshye prasada-samanya-lakshanarh te Sikhidhvaja |
(Chap, civ, v. i.)
Five divisions depending on five shapes or plans, and each including nine
kinds of temples (Chap., crv, w. 11-13) :
I. Vairaja — quadrangular or square — includes :
(i) Meru, (2) Mandara, (3) Vimana, (4) Bhadra, (5) Sarvato-bhadra ,
(6) Charuka (Ruchaka, in the Kdmikdgama, xxxv, 87, 91), (7) Nandika,
(8) Nandi-vardhana, and (9) Srlvatsa. — (Chap, civ, vv. 14, 15.)
347
PRASADA AN ENCYCLOPAEDIA OF
II. Pushpaka — rectangular — includes :
(io)Ba(Va)labhI, (n) Griha-raja, (12) Sala-griha or Sala-mandira,
(13) Visala, (14) Sama, (15) Brahma-mandira, (16) Bhavana or Bhu-
vana, (17) Prabhava, and (18) Sivika-vesma. -(Chap, civ, vv. 16, 17.)
III. KailaSa — round — includes :
(19) Ba(Va)Iaya, (20) Dundubhi, (21) Padma, (22) Maha-padmaka,
(23) Varddhani, (24) Ushnishi, (25) Sankha, (26) Kalasa, and (27)
Sva-vriksha.— (Chap, civ, vv. 17, 18.)
IV. Manika — oval (vrittayata) — includes :
(28) Gaja, (29) Vrishabha, (30) Harhsa, (31) Garutman, (32)
Riksha-nayaka, (33) Bhushana, (34) Bhu-dhara, (35) Srijaya, and (36)
Prithivi-dhara. — (Chap, civ, vv. 19, 20.)
V. Tri-vishtapa — octangular — includes :
(37)Vajra, (38) Chakra, (39) Svastika, (40) Vajra-svastika, (41)
Chitra, (42) Svastika-khadga, (43) Gada, (44) Srikantha, and (45)
Vijaya. — -(Chap, civ, vv, 20, 21.)
(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 description but the other reading, Manika,
(v. 30) is given later on :
I. Vairaja— square (vv. 21-22)— includes the same nine kinds, but
(7) Nandika is called Nandana, and (6) Gharuka is correctly read as
Ruchaka (vv. 24-25).
II. Pushpaka— rectangular (vv. 21-22)— includes nine kinds, of which
(10) Valabhi is correctly spelt, (13) Visala is read as Vimana, which is ap-
parently a mistake in the Garuda-Purana 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 quot-
ed here :
(10) Valabhi, (11) Griha-raja, (12) Sala-griha, (13) Mandira,
(14) Visala (text has Vimana), (15) Brahma-mandira, (16) Bhavana,
(17) Uttambha, and (18) Sibi(-vi)ka-vesma.— (Chap. XLVII, vv. 26-27.)
III. Kailasa— round (w. 21, 23)— includes nine kinds which also seem
to have better reading :
(i9)Valaya, (20) Dundubhi, (21) Padma, (22) Maha-padma,
(23) Mukuli (in place of Vardhani), (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, Simha, and Bhumukha
respectively (vv. 29, 30).
348
HINDU ARCHITECTURE PRAsADA
V. Tri-vishtapa — octangular (vv. 21, 23) — includes nine kinds which
seem to be better read here :
(37) Vajra, (38) Chakra, (39) Mushtika (preceded by Babhru, v. 31).
(40) Vakra, (41) Svastika, (42) Khadga, (43) Gada, (44) Sri-vriksha,
and (45) Vijaya.— (Chap. XLVII, vv. 31-32.)
(4) Matsya-Purdna (Chap. CCLXIX, vv. 1-7, 8-14, 15-20, 21-27) :
(a) The general plan :
Evarh vastu-balirh kritva bhajet shodasa-bhagikam I
Tasya madhye chaturbhis tu bhagair garbharh tu karayet 1 1 ( i )
Bhaga-dva-dasaka-sardharh tatas tu parikalpay^t I
Chatur-dikshu tatha jneyam nirgamam tu tato budhaih II (2)
Chatur-bhagena bhittinam uchchhrayah syat pramanatah I
Dvi-gunah sikharochchhrayo bhitty-uchchhraya-pramana-
tah II (3)
Sikharardhasya chardhena vidheya tu pradakshina I
Garbha-sutra-dvayarh chagre vistaro mandalasya tu II (4)
Ayatah syat tribhir bhagair bhadra-yuktah susobhanah I
PaHcha-bhagena sambhajya garbha-manam vichakshanah I \ (5)
Bhagam ekam grihitva tu prag-grlvarh kalpayed budhah I
Garbha-sutra-sama-bhagad agrato mukha-mandapah 1 1 (6)
Etat samanyam uddishtam prasadasya cha lakshnam I (7)
This description of the general plan is followed by that of some
special plans (see w. 8-14, 15-20).
Samanyam apararh tad-vat prasadam srinuta dvijah I
Tri-bhagarh karayet kshetrarh yatra tishthanti devatah II (21)
Rathankas tena manena bahya-bhaga-vinirgatah I
Nemi padena vistlrna prasadasya samantatah II (22)
Garbharh tu dvi-gunam kuryat tasya manam bhaved iha I
Sa eva bhitter utsedho dvi-gunah sikharo matah 1 1 (23)
Prag-grivah pancha-bhagena nishkasas tasya chochyate |
Karayet sushirarh tad-vat prakarasya tri-bhagatah 1 1 (24)
Prag-grivarh pancha-bhagena nishkashena viseshatah I
Kuryad va pancha-bhagena prag-grlvarh karna-mulatah 1 1 (25)
Sthapayet kanakam tatra garbhante dvara-mulatah I
Evam tu tri-vidham kuryaj jyeshtha-madhya-kamyasam II (26)
Linga-mananubhedena rupa-bhedena va punah I
Etc samasatah prokta namatah srinutadhuna II (27)
(b) The names (vv. 28-30), description of architectural details (vv.
31-46), measures (vv. 47-51), and division (w. 53-54), of twenty kinds
of buildings (temples) :
(i) Meru has 100 cupolas (Sringha), 16 storeys (bhumika), many
variegated spires (sikharas), and is 50 cubits broad (vv. 28, 31, 53).
349
PRASADA AM ENCYCLOPAEDIA OF
(2) Mandara has 12 storeys, many spires and faces, and is 4.3 cubits
broad (vv. 28, 37, 47, 53).
(3) Kailasa has nine storeys, many spires and faces, and is 40
rubits broad (vv. 32, 47, 53).
(4) Vimana-chchhanda has eight storeys, many spires and faces, and
is 34 cubits broad (vv. 25, 32, 33, 47, 53).
(5) Nandi-vardhana has seven storeys, and is 32 cubits broad
(w. 29, 33, 48, 53).
(6) Nandana has seven storeys, and is furnished with horns
(vishana) and is 30 cubits broad (vv. 29, 33, 48, 53).
(7) Sarvato-bhadra has five storeys, 16 corners with various
shapes, furnished with art-gallcrics (chitra-sala), and is 30 cubits
broad (vv. 29, 34, 35, 48, 53).
(8) Vallabhi-chchhandaka has five storeys, many spires and faces,
and is 16 cubits broad (vv. 35, 50, 53).
(9) Vrisha should resemble the height and length of the bull, should
be round and without corners ; it should have five cupolas and
two storeys, and it should be 4 cubits at the central hall (vv. 30,
36, 44, 45, 53).
(10) Sirhha resembles the lion and is 16 cubits broad, is adorned with
prominent top-rooms, and should be at the front neck six storeys high
(vv. 29, 36, 40, 49, 53).
(n) Gaj a resembles the elephant and is 16 cubits broad, and has
many top-rooms (vv. 36, 41, 49, 53).
(12) Kumbha resembles the water-jar, has nine storeys, five cupolas
and a cavity (anguli-puta-sarhsthana), and is 16 cubits broad (vv.
37, 49. 53).
(13) Samudraka has 16 sides around, two top-rooms (? gable win-
dows) at the two sides, and two storeys (vv. 38, 53).
(14) Padma has three storeys, 16 corners, a variegated auspicious
spire and is 20 cubits broad (vv. 30, 39, 49, 53).
(15) Garuda has the bird-shape around, seven storeys and three
top-rooms, is 8 cubits broad, and there should be 86 storeys or
compartments (bhumika) (v. 42) all around the outside (w. 41, 43,
51). There is a similar Garuda-building with ten storeys and a second
Padmaka building with two storeys more (i. e., twelve storeys, v. 43).
(16) Harhsa (goose) -shaped is 10 cubits broad (vv. 30, 51).
(17) Vartula (ball or round) -shaped is 20 cubits broad (vv. 29, 49,
53)-
35°
HINDU ARCHITECTURE PRAsADA
No special description is given of the remaining kinds :
(18) Chatur-asra (four-cornered, vv. 28, 53).
(19) Ashtasra (eight-cornered, vv. 29, 53).
(20) Shodasasra (sixteen-cornered, vv. 29, 53).
The three divisions of these buildings according to three sizes :
Tatha mervadayah sapta jyestha-linge Subhavahah I
$rivrikshaka(-valabhi-a)dayas chashtau madhyamasya pra-kirtitah II
(53)
Tatha harhsa(Simha)dayah pancha kanyase subhada matah II (54)
Similar kinds of prasadas (temples) are described almost in the same
manner in both the Bhavishya-Purdna and the Brihat-Samhitd.
(5) Bhavishya-Purdna, Chap, cxxx, names (vv 23-26), description of the
architectural details and measures (vv. 27-35), and the twenty kinds of
buildings (almost same as in the Brihat-Samhitd, see below) :
(i) Meru is 39 cubits high and 32 cubits broad, has twelve storeys,
various windows (kuhara) and four gateways (v. 27). (2) Mandara
is 30 cubits broad and has ten storeys (v. 28). (3) Kailasa is 28
cubits broad, has spires and finials, and eight storeys (v. 28) .
The description of the following is clearer in the Brihat-Samhitd, quoted
below. The names are given here :
(4) Vimana with latticed windows (v. 29) ; (5) Nandana (v. 29) ,
(6) Samudga (v. 30), but Samudra (v. 24) as in the Brihat-Samhitd
(LVI, 28-53) ; (7) Padma (v. 30) ; (8) Garuda (v. 31) ; (9) Nandi-
vardhana (v. 29, but Nandi, v. 31) ; (10) Kunjara (v. 32) ; (n) Griha-
rdja (v. 32) : Brihat-Samhitd (LVI, 25) reads Guha-raja ; (12) Vrisha
(v. 33) : (J3) Harhsa (v. 33) ; (14) Ghata (v. 33) ; (15) Sarvato-bhadra
(v. 34) ; (16) Sirhha (v. 35) ; (17) Vritta (as in the Brihat-Samhitd, LVI
29, 49) but here (v. 33) it is read Vrisha like (12), which is apparently
a mistake (see v. 30) .
No special description is given of the remaining kinds :
(18) 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) Brihat-Samhitd (LVI, 1-19) :
The religious merits acquired by building temples (vv. 1-2).
The suitable sites are stated to be gardens, woods, banks of rivers, seas or
tanks (vv. 3-8); ground (v. 9); general plan (v. 10); situation of doors (v.
10); comparative measures of the length, breadth, and height (v. n); of the
351
PRASADA AN ENCYCLOPAEDIA OF
adytum (garbha, v. 12), of the doors and their different parts (vv. 12-14) ;
carvings on doors (v. 15); comparative measures of the idol, pedestal, and
door (v. 1 6) ; the heights of storeys (vv. 29-30).
This is followed by the classification (vv. 17-19) and the description of
the architectural details (w. 20-28) of the same twenty kinds of temples
(prasada) as are given in the Matsya-Purdna and the Bhavishya-Purdna.
The names of these buildings are given below : their details which are
almost same as in the Purdnas, will be found described under these terms ;
(i) Meru (v. 20); (2) Mandara (v. 21); (3) Kailasa (v. 21);
(4) Vimana-(chchhanda) (w. 17, 22) ; (5) Nandana (v. 22) ; (6)
Samudga (v. 23) ; (7) Padma (v. 23) ; (8) Garuda (v. 24) ; (9) Nandi-
vardhana (v. 24) ; (10) Kunjara (v. 25) ; (u) Guha-raja (v. 25) ;
(12) Vrisha (v. 26) ; (13) Hamsa (v. 26) ; (14) Ghata (v. 26) ; (15)
Sarvato-bhadra (v. 27) ; (16) Simha (v. 28) ; (17) Vritta (w. 18, 28);
(18) Chatush-kona (vv. 18, 28) ; (19) Ashtasra (vv. 18, 28) ; (20)
ShodaSasra (vv. 18, 28).
(7) Kdmikdgama :
No distinction is made between PRASADA and VIMANA (cf. also the
Mdnasdra, L, 40, etc.) :
Jatyadi-bhedakair yuktam vimanam sampadam(-s)-padam I
(LV, 131, this chapter is named Prasada-bhushana.)
Buildings in general (LV, 1-210) ;
Their component parts :
Prasada-bhushana(rh) vakshye sruyatam dvijasattamah I
Syat pada-prastararh-griva-varge mule tu vedika II (i)
Shapes and kinds of Prasada (buildings in general ) :
Yanarii va sayanarh vapi gopurakritir eva va I
Pithakritir va mervadi-parvatakritir eva va II (194)
Nandyakritir va dhama vidheyam chesta-de^ake I
Mandape gopure vapre parivaralayadishu 1 1
Evam evarii vidheyam syat tatha bhuvi visishyate II (195)
The synonyms :
Vimanam bhavanam harmyam saudham dhama niketanam I
Prasadah sadanam sadma geham avasatham griham 1 1 (208)
Alayarh nilayam vaso'py-alayo vastu-vastukam I
Kshetram ayatanam vesma mandiram dhishnakarii padam 1 1 ( 1 29)
Layam kshayam agaram cha tathodavasitarh punah I
St liana m ity-evam uktani paryaya-vachanani hi II (210)
The four classes :
Jati (v. 128), Chhanda (129), Vikalpa (130), and Abhasa (130).
352
HINDU ARCHITECTURE PRASADA
The Chapter LV refers to the description of a single building and its
component parts.
So also does the Chapter XLV (see under MALIKA) ; it is named Malika-
(lakshana), but it does not mean anything but Prasada : Prasada- vyasa-
dirghochcha prokta prasada-malika 1 1 (4)
Further classifications (Chapter XLV) :
I. Samchita, Apasamchita, and Upasamchita (v. 6).
II. Nagara (vv. 6, 12, 13), Dravida (vv. 6, 14, 15), and Vesara
(w. 7, 16-18).
III. Jati (vv. 7, 19), Chhanda (vv. 7, 20,) and Vikalpa (vv. 7, 20).
IV. Suddha (w. 7, 21), Misra (vv. 7, 22), and Sarhklrna (vv. 7, 22) •
V. Pumlinga or masculine also called Samchita (vv. 8, 9), Stri-
linga or feminine (vv. 9, 10), and Napumsaka or neuter (v. n).
This class (V) does not refer (like the Mdnasdra] to the sexes of the
deities installed in temples. Here they appear like residential build-
ings. Their characteristic features are determined by some architectural
details (see under these terms — PuMLi5JGA, etc.).
The distinguishing marks of the other four classes (I to IV) are
similar to those of the Mdnasdra noticed above (see the details under
those terms, Samchita, Nagara, etc.).
VI. The technical names of Prasada :
(i) Sindhuka (Chap. XLV, vv. 23-28) ; (2) Sarhpurna (w.
29-30) ; (3) Meru-kuta (v. 31) ; (4) Kshema (vv. 32-34) ; (5)
Siva (vv. 35-38) ; (6) Harmya (vv. 39-40) ; (7) Saumya (v. 40) ;
(8) Vis"ala (v. 41) ; (9) Sarva-kalyana (w. 42-49) ; (10) Vijaya
(v. 50) ; (u) Bhadra (v. 51) ; (12) Ranga-mukha (v. 52) ; (13)
Alpa (w. 53-54) ; (14) Kona (vv. 55-58) ; (15) Geya (vv.
580-59) ; (16) Sara (v. 60) ; (17) Pushkara (vv. 61-63) ; (18)
Adbhuta (v. 6ia) ; (19) Sarhkirna (v. 62) ; (20) Danda (v. 64).
See details 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), Vardhamana
(w. 87, 88), Svastika (vv. 87, 89), Nandyavarta (vv. 87, 90), and Charuka
(vv. 87, 91).
Their characteristic features will be found under these terms.
(8) 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
(vv. 6-8), of the linga or phallus and the pujha or pedestal (w. 9-15).
The description of the four types of bases, namely, Padma-bandha,
Charu-bandha, Pada-bandha, and Pratikrama (vv. 16-20).
353
PRASADA AN ENCYCLOPAEDIA OF
The description of the ground floor consisting in the comparative
measurement of the base, column, entablature, finial, dome, corner-tower,
dove-cot, and spire (vv. 28-31).
All the twelve storeys are stated to be built in the same way :
Adva-daSa-talad evarh bhumau bhumau prakalpayet I
Evam uktam ihotsedharh dvara-bhedam tatah srinu II (33)
The doors are then described (vv. 34-37).
Three styles of temples, namely, Nagara, Dravida and Vesara, are
mentioned (v. 38).
Their essential features (vv. 38-39, see under those terms).
Ten types of temples :
(i) Kailasa, (2) Mandara, (3) Meru, (4) Himavat, (5) Nishadha
(also called Nila-parvata, and Mahendra), (6) Nalinaka, (7) Pralinaka,
(8) Nandyavarta, (9) Srivarta (also Sripada), and (10) Parvata.
(See vv. 40-45.)
The comparative measurements of the storeys :
Evarh tale tale karyam nunam ekaika-bhagikam II (53)
The five kinds of columns— Srikara, Chandra-kanta, Saumukhya (also
Sumukha), Priya-darsana, and Subharhkari(-ra) (v. 65) ; their shapes— four-
sided, eight-sided, sixteen-sided, cylindrical, and of the combination of the
first two (v. 67). They may be with or without a kumbha or pitcher (v.
54). The general features of the component parts (vv. 55-64) and the
special features of the five orders are described (w. 66-67).
The description of the arches is given (w. 68-71).
Some ornaments, like nasika (vestibule), vedika (platform), sikhara
(spire), stupi (dome), etc., are also described (w. 72-93).
Here closes the description of the temples :
Prasada-lakshanarh proktam mandapanam vidhirh sYinu II (94)
This leads to the description of the detached buildings such as the pavilions,
quarters for the attendant deities, gate-houses, and the enclosure, tanks,
guest-houses, etc., which form parts of the temple in its wider sense.
The mandapas or pavilions are first divided into four classes, namely,
Deva(god)-mandapa, snapana(bath)-mandapa, Vrisha (the bull, Nandin)-
mandapa, and Nritta (music) -mandapa (vv. 96-97, 98-99).
They are further classified under the names Nanda-Vritta, Sriya-
vritta, Virasana, Jaya-bhadra, Nandyavarta, Mani-bhadra, and Visala
(vv. 100-104).
These pavilions are distinguished by the number of columns they are
furnished with :
Stambhanam tu satair yuktarh visalam iti sarhjiiitam I
Prasad-vat samakhyatarh prastarantarh pramanatah II (104)
354
HINDU ARCHITECTURE PRAsADA
The columns of the prasadas and those of the mandapas are stated
to be differently measured :
Prasada-stambha-manasya etat stambharh visishyate II (105)
These latter columns have also other characteristic features (vv. 106-1 13).
The 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 like the Mdnasdra divides the whole compound into five
enclosed quadrangular courts. In both the treatises, each of the courts
is stated to be furnished with a separate gate-house. Moreover these
gate-houses are given the same technical names in both the works, viz.
Dvara-s"obha (in the first court), Dvara-s"ala (in the second), Dvara-prasada
(in the third), Dvara-harmya (in the fourth), and the Dvara-gopura (in the
fifth or the extreme boundary, maha-maryada ; cf. Mdnasdra under GOPURA.)
The Parivaralayas (temples of attendant deities) , which are made in
some of these five courts, are described (129 f.), and are also similar in both
the treatises.
In the remaining portion of the chapter some objects like the fa£ades of
the temples, etc., are described.
From the abstracts given above, it will be clear that this chapter
of the 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
Agama, though brief, is very explicit and to the point. The language
also of the Suprabheddgama is much better than most of the architectural
treatises I have consulted.
The attention of readers is invited to the lists of the buildings described
in the eight works under observation.
The list in the Mdnasdra contains under twelve classes (or storeys) 98 types
of buildings ; the Agni-Purdna has under five classes 45 types, the Garuda-
Purdna also has under the same five classes 45 types ; the Mastya-Purdna
has under three classes 20 types ; the Bhavishya-Purdna has left out the
broader divisions and contains 20 types ; the Brihat-Samhitd in the very same
way contains 20 types ; the Kdmikdgama has under three divisions (of
various kinds) 20 types ; 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.
The various broader divisions, such as the Suddha, Sarhchita, Sthanaka,
Jati, Purhlinga, etc., we have seen in the Mdnasdra, are repeated in the
355
PRASADA AN ENCYCLOPAEDIA OF
same terms and same sense in the Agamas. The most important division,
namely, the styles — Nagara, Vesara and Dravida — is also preserved intact
in the latter works. These are purely architectural divisions, consequently
they are not taken into consideration in the non-architectural treatises
like the Purdnas and the Brihat-Samhitd. Even the broadest division into
storeys under which the Mdnasara describes the buildings in twelve or
thirteen chapters has lost its prominence in the latter works.
Thus the Mdnasara has the largest number of the types, namely. 98.
The Agni-Purdna and the Garuda-Purdna have 45 types each.
The Matsya-Purdna, the Bhavishya-Purdna, the Brihat-Samhitd, and the
Kdmikdgama have 20 types each.
The Suprabheddgama has the smallest number of types, namely, 10.
The technical names of the types of buildings are common in many cases.
In some instances the architectural details are identical. The lists of the
Agni-Purdna and the Garuda-Purdna on the one hand, and the Matsya-
Purdna, the Bhavishya-Purdna and the Brihat-Samhitd on the other, are
strikingly similar. Of the works containing the lists of 20 types, the
Brihat-Samhitd has the most improved description. But in respect of
brevity, explicitness and precision, the Suprabheddgama, which contains
the smallest number of types, surpasses all others.
The common names of the types, the identity of their details and the
similarity in their description do not seem to be accidental. The grades
of the linguistic style and the explicitness and precision of the description
are not perhaps unconnected. And the variation in the number of types
described in these works does not also seem to be meaningless.
The mutual relation and the historical connexion of these eight works
have been discussed in great detail in the chapter on the date of the
Mdnasara in the writer's Silpa-sastra and the Hindu Architecture in India and
Abroad.
The object of this article is, however, to show by illustrations the
denotation of the term ' Prasada.' And before drawing any conclusion, we
shall 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
too the term is used casually.
(9) Sdnkhydyana-Srauta-sutra, xvi, 18, 13 (Pet. Diet.}:
Sarhsthite madhyamc' hany-ahavaniyam abhito dikshu prasadan
viminvanti I
(10) Adbhuta-Brdhmana, in Indische Studien, i, 40 (ibid.} :
Harmya-prasada-sarhkula I
356
HINDU ARCHITECTURE
PRASADA
(11) ' Prakara in the Sdnkhydyana-Srauta-sutra (xvi, 18, 14) denotes
a walled mound supporting a raised platform (prasada) for spectators.'
(Professors Macdonell and Keith, Vedic Index, n, 44.)
Cf. the text : Tan uparishtat samvyadhaih prakaraih parighnanti I
' Prasada in the sense of palace does not occur until the late Adbhuta-
Brdhmana' (see above, no. 10). — (Indische Studien, i, 40, Vedic Index,
n, 51.)
(12) Rdmdyana (Cock) :
II. 7, i : Prasadam chandra-samkas'am aruroha 1 1
Ayodhyam manthara tasmat prasadad anvavaikshata I
II. 7, 12 : KailaSa-sikharakarat prasadad avarohata I
II. 3, 27 : Prasadastho daSarathah ... I
(Here ' Prasada ' must mean a palace.)
II. 3, 31 : Sa tarn kailaSa-sYingabham prasadarh . . . ragu-
nandanah . . . aruroha . . I
Prasada-sringeshu I
Aruroha . . prasadam hima-panduram I
Bahu-tala-samutsedham I
Ruddham tu nagaririi ^rutva . . . prasadam . . .
arohata I
Tatah prasada-harmyani vimana-sikharani cha I
Abhiruhya janah srlman udasino vyalokayata II
Aruhya tasmat prasadad dinah pa^yanti raghavam I
Aruhya giri-sarhkasarh prasadam ... I
Tato hema-pratishthane varastarana-sarhvrite I
Prasada-sikhare ramye chitra-malyopaSobhite II
Prah-mukham vidhivan mantraih styapayitva varasane I
II. 17, 17 : Megha-samghopamaih §ubhaih ... I
Prasada-Sringair vividhaih kaila^a-sikharopamaih I
^V. 33, 15 : Vanarenda-griharh . . . sukla-prasada-sikharaih kailasa-
Sikharopamaih I
VI 41, 88 : Prasada-Sikharam ^aila-^ringam ivonnatam I
VI. 41, 90 : Prasada-sikhareshu I
II. 51, 21 : Harmya-prasada-sampannam . . . raja-dhanlm I
II. 100, 42 : Prasadair vividhakarair vritam . . . ayodhyam I
V. 2, 49 : Prasada-mala-vitatarh . . . maha-purim I
VI. 39, 21 : PrasadaiS cha . . . lanka parama-bhushita I
VI. 39, 27 : Prasada-malabhir alankritam . . . purim I
III. 55, 7 : Griham deva-grihopamam . . . harmya-prasada-saih-
badham I
357
II.
16,
42
VI.
26,
5
VI.
42,
2
II.
33,
3
II.
33,
4
V.
43,
4
IV.
26,
41
PRASADA AN ENCYCLOPAEDIA OF
III. 55, 10 : Hema-jala-vritas' chasarhs tatra prasada-panktayah I
V. 6, 44 : Prasada-sarhghata-yutarh . . . maha-griham I
V. 9, 2 : Bhavanam rakshasendrasya bahu-prasada-sarhkulam I
IV. 33, 8 : Vindhya-meru-prakhyaih prasadair naika-bhumibhih I
II. 65, 3 : Rajanam stuvatarh tesharh . . . prasadaghoga-vistlrnas
tu Sabdo hy-avartatal
(Cf. also II, 27, 9 ; 57, 18 ; 57, 20.)
I. 80, 19 : Prasada-mala-sarhyuktah. . . . niveSah I
II. 88, 5 : Prasadagra-vimaneshu valabhlsu cha sarvada I
Haima rajata-bhaumeshu varastarna£alishu II
II. 88, 7 : Prasada-vara-varyeshu s"itavatsu sugandhishu I
Ushitva meru-kalpeshu krita-kanchana-bhittishu II
II. 91, 32 : Harmya-prasada-sarhyukta-toranani I
IV. 33, 5 : Mahatim guharh . . . .harmya-prasada-sambadham I
IV. 42, 44 : Bhavanam . . . prasadangana-sambadham I
VI. 41, 86 : Prasadarh £aila-saihka£am I
(Cf. also v, 6, 16; 57, 7.)
VI- 75, 7 : Prasadah parvatakarah I (cf. also vi, 75, 6.)
VI. 75, 12: Mukta-mani-vichitrams cha prasadarii£ cha . . . agnir
dahati tatra vai I
V. 5, 3 '• Harmya-prasada-sambadham I
I- 5> 5 : Prasadair anta-vikritaih parvatair iva ^obhitam I
(13) Mahabharnta (Cock) :
V. 91, 3 : Tasya (Duryodhana-grihasya) kaksharh vyatikramya
tisro dvah-sthair avaritah I
Tato abhra-ghana-sarhkas'am griha-kutam ivochchhri-
tam II
Sriyaivalambantarh prasadam aruroha mahaSayah I
I- 3> J33 : Naga-lokam. . . . aneka vidha-prasada-harmya-
valabhi-niryuha-lata-sarhkulam I
I. 109, 9 : Nagaram. . . . prasada-Sata-sarhbadham, I
II. 10, 3 : Sabha. . . . divya hemamayair uchchaih prasadair
upa^obhita I
V. 88, 20 : Etad (DuhSasanasya griharh)dhi ruchirakaraih pra-
sadair upa£obhitam I
V. 89, ii : Griharh (Dhritarashtrasya) . . . . prasadair upaSobh'-
tam I
XII. 44, 6 : Duryodhana-griharh prasadair upaSobhitam I
XII. 44, 8 : Prasada-mala-sarhyuktarh (Duh^asanasya griham) I
358
HINDU ARCHITECTURE PRASADA
I. 185, 19, 20, 22 : Sarvatah sarhvritah (samajavatah) Subhraih
prasadaih sukritochchhrayaih I
Suvarna-jala-saihvritair mani-kuttima-bhushanaih I
Sukharohana-sopanair mahasana-parichchhadaih 1 1
Asarhbadha-s'ata-dvaraih Sayanasana-Sobhitaih I
Bahu-dhatu-pinaddhangair himavach chhikarair
iva II
V. 90, 14 : Ye . . . prasadagreshv-abodhyantaranka-vajina-
Sayinah (Pandavah) I
XV. 1 6, i : Prasada-harmyeshu vasudhayarh cha. ... I
Narinam cha naranarh cha nihsvanah sumahan
abhut I
XIV. 25, 22 : Seyarh bhumau pariSranta Sete prasada-Sayini I
Prasada-sala-sarhbadham mani-pravara-kuttimam I
Karayamasa vidhivad-dhema-ratna-vibhushitam I
(14) Afanu-Samhitd (vn, 147, etc.) :
Giri-prishtharh samaruhya prasadam va raho gatah I
Aranye nih^alake va mantrayed avibhavitah ||
(15) Panchatantra (Bombay, i, p. 38, etc.) :
Rajakanyam. . . . sapta-bhumika-prasada-pranta-gatam I
(16) HitopadeSa (Bohtlingk, p. 157, i, 30, etc.) :
Raja . . . prasada-garbham gatva I
Prasada-prishthe-sukhopavishtanam raja-putranam I
(17) Megha-duta (ed. Stenzler, 64, etc.) : Abhrarh-lihagraih prasadaih I
(18) Raghu-vamfa (14, 29, etc.) : Prasadam abhram-liham aruroha I
(19) Mfkhchha-katika (ed. Stenzler, Cock) :
p. 79 : Arama-prasada-vedikayam I
p. 84 : Vidyut-kanchana-dipikeva rachita prasada-samcharini I
p. 21, 132, 162, 164 : Prasada-balagram I
(20) Rdjatarangini (Pet. Diet., 4, 102, etc.): Prasadanganam I
(21) Ekas tayor amum akarayad indu-mauleh prasadam adri-tanaya
bhavanarh tathanya — ' the one of them built this temple of the god who
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.)
(22) Ishtapurtta-prachura-sukritarambha-nityadritena prasado'yarh
. . . nirmapyate — ' he caused this edifice to be erected ... in
it there is here the god Narayana.'— (Mau-chandella inscrip. of Madana-
varman, v. 46, Ep. Ind., Vol i, pp. 202, 206.)
(23) Prasadena tavamunaiva haritam adhva niruddho mudhabhano'-
dyapi krito'sti dakshinadi^ah konantavasi munih I — (Deopara inscrip. of
Vijaya Sena, v. 27, Ep. Ind., Vol. i, pp. 310, 314.)
359
PRASADA AN ENCYCLOPAEDIA OF
(24) Akarayat svayrh Sambhu-prasadali-dvayam nijah — ' She too made
her people construct that hall of study (and) lay out that long line of
gardens in two ranges (adjoining Sambhu's temple). — (Bhera-ghat inscrip.
of Alhanadevi, v. 38, Ep. Ind., Vol. n, pp. 13, 16.)
(25) Aneka-prasadaih parivritamati pramsukalasarh girisaprasadam vya-
rachayat I- -(Chitorgadh inscrip. of Mokala of Mewad, Part n, v. 2, Ep.
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.)
(27) Maha-saila-prasada — great stone temple. — (Pattadakal inscrip. of
Kirtivarman II, lines 7, n, 14, Ep. Ind., Vol. in, pp. 4, 5.)
(28) Ghanarh prasadam nava-hema-kumbha-kalitarh ramyarh maha-
maihtapam I
' (He presented) a solid temple (prasada) adorned with nine golden
pinnacles (kumbha) and a beautiful large hall (to the temple of Hari,
the lord of Mangalas"aila).— (Mangalagiri Pillar inscrip., v. 51, Ep. Ind., Vol.
vi, pp. 125, 115.)
(29) Prasado rachitas sudha-chchhavi-hasat-kailasa-s'ailesVarasya, (v. 22),
prasadam ISasya (v. 32), prasada-kirttih (v. 34). — (Two Bhuvanesvara
inscrip. no. A of Svapnesvara, Ep. Ind., Vol. vi, p. 202.)
(30) Prasadam navabhiS cha hema-kalas'air aty-unnatam gopura-
prakarotsava-mamtapair upachitarh sYl-rama-bhadraya cha — ' an ex-
ceedingly high temple furnished with nine gilt domes, a gate tower, a
wall and festive hall, to the holy Ramabhadra.' — '(Kondavidu inscrip. of
Krishnaraya, v. 27, Ep. Ind., Vol. vi, pp. 237, 231.)
(3 1 ) 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,
pp. 293, 286.)
(32) Tena bhratri-yugena ya prati-pura-gramadhva-Saila-sthalarh vapi-
kupa-nipanaka sarah prasada-satradika I
Dharmma-sthana-pararhpara nava-tara chakre'tha jirnnoddhrita-tat-
samkhyapi na budhyate yadi pararii tad-vedini medini I
(Mount Abu inscrip. no. i, v. 66,
Ep. Ind., Vol. vm, p. 213.)
(33) Tirthe deva-hrade tena kritarh prasada-panchakam I
Svlyam tatra dvayam jatarh yatra Samkara-keSavau II
(Sihawa stone inscrip. of Karnaraja,
v. 9, Ep. Ind., Vol. ix, p. 186.)
360
HINDU ARCHITECTURE PRASADA
(34) 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
inscrip. of Ranaviradeva, line 15 f., Ep., Ind., Vol. xi, p. 64.)
(35) Esha bhagavato varaha murtter jagat-parayanasya narayanasya
Sila-prasadah sva-vishayc'sminn Airikine karitah |
' This stone temple of the divine (god) Narayana, who has the form
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. i Go, 1 6 1.)
(36) Nana-dhatu vichitre gopahvaya-namni bhu-dhare ramye kari-
tavan saila-mayam bhanoh prasada-vara-mukhyam I
' Has caused to be made, on the delightful mountain which is feckled
with various metals and has the appellation of Gopa, a stone temple, the
chief among the best of temples of the Sun.'
Tavad giri-murdhni tishthati Sila-prasada-mukhyo ramye — ' so long
(this) chief of (stone) -temples shall stand upon the delightful summit of
the hill.' — (Gwalior stone inscrip. of Mihirakula, lines 6, 8, 9 ; C. I. /., Vol. HI,
F. G. I., no. 37, pp. 162, 163, 164.)
(37) Tenochchair bodhimande s"as"i-kara-dhavalah sarwato mandapena I
Kantah prasada esha smara-bala-jayinah karito loka-s"astuh II
' By him this beautiful mansion of the Teacher of mankind, who over-
came the power of (the god) Smara, dazzling white as the rays of the moon
with an open pavilion on all sides, has been caused to be made at the
exalted Bodhimanda.'
Bodhimanda is also called Vajrasana, the throne under the Bodhi-tree
at Bodh-Gaya, on which Buddha sat when attaining Bodhi or perfect wis-
dom. The word ' Kanta ' here might have a technical architectural
meaning. In the Mdnasdra, the names of the buildings of various storeys
generally end with ' kanta,' e. g., meru-kanta, hima-kanta, etc. ; so also
the names of the columns, e.g., Brahma-kanta, Vishnu-kanta, etc. — •
(Bodh-Gaya inscrip. of Mahanaman, lines 10, n, C. 7. /., Vol. m, F. G. I.,
no. 71, pp. 276, 278, 275, and Sanskrit and Old Kanarese inscrip. no. 166,
Bodh-Gaya inscrip. of Mahanaman, line 10 f., of A. D. 588, 589, Ind. Ant., Vol.
xv, pp. 358, 359, 357, c. i, para, a.)
(38) 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
PRASADA AN ENCYCLOPAEDIA OF
(39) Sa prasadam achlkarad divishadarh kedara-devasya cha I
' 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.
65, 66.)
(40) Vejarhto pasadc (prasada) — ' Vaijayanta, the palace (of Indra).'-
(Bharaut inscrip. no. 79, Ind. Ant., Vol. xxi, p. 233.)
(41) Nayaka-sYi-hari-raja-devo Ha(ha)takes"varasya prasadam kritam—
' The temple of Hatakesvara (Siva) was founded by Nayaka (leader)
the illustrious Hariraja.' --(Nagpur Museum stone inscrip. of Brahmadeva of
Rayapura, lines 9-12, Ind. Ant., Vol. xxn, p. 83.)
(42) Maha-lakshmi-deviya prasadavam geyada VisVakarmma-nirmmita-
subhasitan — ' built the temple of the goddess Mahalakshml, as if a crea-
tion of Visvakarmma.'— (Ep. Carnal., Vol. v, Part I, Hasan Taluq, no. 149,
Roman Text, p. 86.)
The above-mentioned inscription (dated conjecturally A. D. 1113)
ends with the following passage apparently quoted from a book for sculptors
and architects (griha-vastu) :
' Vimana-sarwato-bhadra-vrishabha-nalinika-uttunga-viraja-garuda-
varddhamana-Sankha-vritta-pushpaka-griha-raja-svasti.'
(Ibid., Text, p. ' 9, last 3 lines.)
(43) Prasada-malabhir alamkritarh dharam vidaryyaiva samutthitam I
Vimana-mala-sadri§am yattra griham purnnendu-karamalam 1 1
' Here 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.'— (Man-
dasor stone inscrip. of Kumaragupta, line 7, C. I. I., Vol. in, F. G. I., no.
18, pp. 81, 85.)
(44) Svargartharh kritavan pratapa-nripatih sadyoshito-retayoh prasa-
dam vasu-patra-padma-sadris'am sYirigashtakaih Sobhitam I
The inscription is ' on a slab in the wall near the southern door of a
temple of Vishnu close to the royal palace in Katmandu. This temple
is apparently the building mentioned in the inscription (quoted above).
It is an octagon, and has three storeys.'
The plan of the temple is like a lotus of eight leaves (Vasu-patra-padma-
sadriSa).— (Inscrip. from Nepal, no. 18, inscrip. of Pratapamalla, v. 10, Ind.
Ant., Vol. ix, pp. 1 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 mudah II
(Inscrip. from Nepal, no. 23, Ind. Ant., Vol. ix, p. 194.)
362
HINDU ARCHITECTURE PRASADA
(46) Grama-nagara-kheda-kharvada - madamba-dronamukha-pattanam-
galimdam aneka-mata-kuta-prasada-devayatanarhgali-dam oppuva-
agrahara-pattanamgalirhdam atisayavappa ... I
' 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, 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.' — (Old Canarese inscrip. at Terdal, line 58, Ind. Ant.,
Vol. xiv, pp. 19, 25.)
(47) ' Prasadam Kes"avasya sphuta-ruchi-kalas'enanchayat kanchanena
1309'
' Prasadam Kesavasya sthira-kalas°a-yutarh karayamasa divyam
1659 ' '
' Prasadam KeSavasya sthira-kalaSa-yutarh Najnayaryo vyatanit
1697 ' I
Mr. Rice has translated ' prasada ' in all these three instances by ' tower',
although the term means primarily temple here. — (Ep. Camat., Vol. v.
Part I; Belur Taluq, nos. 63, 64, 65 ; Roman Text, pp. 135, 136; Transl.,
P- 59-)
(48) ' Causing a tower (prasada), decorated with carvings and figures
(chitra-vichitra-patra-nutamam prasadamam), to be erected of stone,
and a golden kalas"a to be made for the pinnacle of the temple (devala-
yagrake), he in many ways increased his fame in the world.' — (Ep.
Carnal., Vol. vn, Shikarpur Taluq, no. 243 ; Transl., p. 139, para. 6 ; Roman
Text, p. 247, last four lines.)
(49) KaSyam visVesVara-dvari hima-diSi kharopamam I
PadmesVarasya devasya prasadam akarot sudhih I
' 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.
I5th May, 1296.— (Sharqi Arch, of Jaunpur, inscrip. no. xxvi, v. 3, Arch. Surv.,
New Imp. Series, VoL i, p. 51.)
(50) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan |
Sauvarna-dhvaja-toranapana-pura-grama-prapa-mandapan I
Vyadhapayad ayam chaulukya-chudamanih 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
(pancha-lenani) — vihara (monastery), ardha-yoga (stated by the com-
mentator Buddhaghosa to imply ' suvarna-vanga-griha,' a type of two-
rooted buildings, partly religious and partly residential), prasada (wholly
363
PRASADA-TALA AN ENCYCLOPAEDIA OF
residential storeyed buildings), harmya (larger type of storeyed buildings) t
and guha (underground buildings).- -(Vinaya Texts, Mahdvagga i, 30, 4,
p. 73-74 : Ckullavagga, vi, i, 2, p. 158.)
The commentator Buddhaghosa does not explain ' 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
whole of an upper storey, or the storeyed buildings ' (cf. his transl. of Mahu-
vagga, p. 173 ; Chullavagga, p. 151, note 2). Sir M. William seems to
explain (in his dictionary) this ' prasada ' by ' the monks' hall for
assembly and confession.'
Cf. satta-bhumika-prasada — ' buildings of seven storeys in height.'
(Jdtaka, i, pp. 227, 346 ; v, pp. 52, 426 ; vi, p. 577.)
From the illustrations given above, it is clear that the term ' prasada '
.mplies both religious and residential buildings. It denotes the gorgeous
temples as well as small pavilions (mandapa) where a deity or the emble-
matical phallus of Siva is installed. It includes magnificent palaces and
smaller residences. It implies a succession of storeys, and a tower, ' a
lofty seat or platform for spectators, a building erected on high founda-
tions and approached by means of steps, a building consecrated to a
deity or inhabited by a prince, a temple, a palace, and the assembly
room and confessional hall of the Buddhist priesthood.'
PRASADA-TALA— Floor, roof.
(Buddhist Sutlas, by Rhys Davids, p. 262.)
PRASADA-MALIKA— A class of buildings.
(Kamikagama, XLV, 4; see under MALIKA.)
PRIYA-DARSANA— One of the five Indian orders.
(Suprabhedagama, xxxi, 65, 67 ; see under STAMBHA.)
PREKSHAGARA— An amphitheatre.
Sata-kumbhamayam divyam prekshagaram upagatam I
(Mbh. Adiparvan, see under RANGA and compare
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.
(Ibid., ii, 7, 13.)
In theatre proper it should be semi-circular, quadrangular and tri-
angular :
Preksha-grihanaih sarvesham tri-prakaro vidhih smritah I
VikrishtaS-chaturasYas-cha trya£ra£-chaiva prayukribhih It
(Ibid., n, 25.)
364
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 I
Trividhah sannives"ascha Sastratah parikalpitah II
Vikrishtas'-chaturasras'-chaiva tu mandapah I- — (Ibid., n, 7-8.)
PREKSHA-NIVESANA— The auditorium of a playhouse (Bha-
rata Ndlya-sdstra). See details under NATYAGRIHA.
PROSHTHA — A high and broad bench with moulded and turned
legs (R.-V., vii, 55, 8 ; A.-V., iv, 5, 3 ; Taitt. Bra., n, 7, 17, i), long
timber seats fixed against walls, combinations of a settee and a
coffer.
PLAKSHA-DVARA — A back-door, a side-door, a private entrance.
(Matsya-Purana, Chap. CCLXIV, v. 15 ; see under UDUMBARA.)
PH
PHANA— A hood in connexion with the joinery.
(M., xvn, 134; see SANDHI-KARMAN.)
PHALAKA — A plank, a moulding, an architectural member, the
abacus, a leaning board.
(Mahdvagga, v, 10, 2.)
(1) A plank : cf. pralamba-phalaka (M., xn, 125).
A member of the column (M., xv, 50, 51, 83, 185, etc.).
In connexion with the arch (torana) :
Natika phalaka mushti-bandhanam patra-vallikam I
(M., XLVI, 65.)
(2) See also M., L, 66, 74 ; LXV, 161, 162 ; LXVII, 16, etc.
Padashtamsa-shad-amsaika-phalakais chhadayet paritah II
Kaya-padantaram chhadyam phalakaih sara-darujaih II
(Kamikagama, LIV, 24, 30.)
(3) A part of a column (Suprabheddgama, xxxi, 58 ; see under STAMBHA).
PHALAKASANA — A synonym of the bedstead.
(M., in, ii ; see under PARYANKA.)
PHALA-PATTA— Front plate, a plough-share-like moulding.
(A/., XLIX 93.)
PIIELA (cf. CHHELA) — The vault of the foundation pit.
(Kamikagama, xxxi, 74-75 ; see under CHHELA.)
365
BANDHA AN ENCYCLOPAEDIA OF
B
BANDHA— Joining or folding together, a band, the foundation.
Dvav-aratnim tri-padiih va pade bandharh karayet — ' Foundation
shall be 2 aratnis by 3 padas.' — (Kautiliya-Artha-fdstra, Chap. LXV, p. 166.)
BA(VA)LANAKA — A raised platform or seat along the wall of the
council hall of a temple.
Tejah-pala iti kshitimdu-sachivah Sarhkhojjvalabhih sila-srenibhih
sphurad-irhdu-ruchirarh nemi-prabhor mamdiram I
Uchchair mamdapam agrato jina-(vara)-vasa-dviparh chasatam
tat-parsVeshu balanakarh cha purato nishpadayamasivan I
It ' apparently is identical with Marathi balarh which according to the
Dictionary of Molesworth and Candy means a raised seat along the walls
of the gabhara or Sabha-mandapa of a temple.' Dr. Ltiders. — (Mount
Abu inscrip. no. i, v. 61, Ep. Ind., Vol. viu, pp. 212, 200.)
BALI(-I)KA(-A) — A moulding of the entablature, the edge of a roof.
Maha-bhara-tula-karya balikordhve viSeshatah 1 1
Tula-balikayor madhye dvi-dandam athava punah 1 1
Harhsa-bhuta-balir vatha nidra va danda-manatah I
Tri-padodaya-yukta va vidheya vajanopari 1 1
(Kdmikdgama, LIV, 13, 16, 20.)
BALI-PITH A- (KA)— The seat of sacrifice, an altar for offerings.
(1) Brishabhasyopari-bhage tu kalpayed bali-pithakam I
Gopurasya bahir vapi sthapayed antar vapi bali-pithakam I
Antar mandala-deSe tu purvavat bali-pithakam I
(M., xxxii, 99, 100, 133.)
(2) Srimat-saundara-pancha-ratra-vidhiyim nirmanamam madisi I
Srimantam bali-pithamarii pramudadirh viprarggalam madisi II
' Caused a bali-pitha to be erected according to the rule of the (Silpa-
sdslra) Pancharatra.' — (Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 8 ;
Roman Text, p. 105 ; Transl., p. 46.)
(3) ' There he enlarged the Kalideva-mantapa, and re-established the
bali-pitha.' — (Ep. Carnal., Vol. v, Part I, Arsikere Taluq, no. 22 ; Transl.,
p. 119, largest para., last line.)
(4) ' 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
bali-pitha.' — (Notes on Tiruvellarai inscrip., Ind. Ant., Vol. xxxiv, p. 264,
para. 5, line 10 f.)
366
Q
•&
n
n
BAH t. LA
BALIKA.
BAHULA.
BAHULA.
HINDU ARCHITECTURE BASADI
(5) ' Haridasa-Rauta, ... set up in front of the god Prasanna-
Madhava of Belur, a festival (utsava) mantapa, a pillar for lights (dipa-
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 (see VASATI) — A Jain temple, a shrine, a monastery,
modern Basti or slum quarters.
(1) Kadalalaya-basadi — Jaina temple of the Jaina goddess Kadala-
laya. — (Anmakonda inscrip. of Prola, v. 9, Ep. Ind., Vol. ix, pp. 262, 257 .)
(2) ' And on the top of the rock to the south of the Badra tank of that
mountain, Ganeyana Mara had the Parsva-Jina vasati erected. This
Jogavattige basadi, may it endure as long as sun and moon, protected by
the paiicha-maha-sabda (five words for Jain obeisance), and by unnum-
bered others.'
' Basadi ' in the sense of Jaina temple is of frequent use in the volumes of
Ep. Carnal. Its Sanskrit form is, of course, ' vasati ' an instance of which
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
. . . five 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.,
Vol. iv, p. 1 8 1, c. i, line 10, and footnote.)
(4) Purigereyalu madisid-Anesejjeya-basadige . . .
' In the lands of Gudigere, which . . . were under the control of the Jain
temple called Ane sejjeya. . . . built at Purigere.'— (Gudigere Jain inscrip.,
line 21, Ind. Ant., Vol. xvm, pp. 39, 37.)
See Ep. Carnal., Vol. n, inscriptions (i) on Chandra-giri, nos. 1-74, (ii)
on Vindhya-giri, nos. 75-123; and (iii) in the town, nos. 124-144.
(5) ' Caused basadis and mana-stambhas to be erected in numerous
places.'— (No. 38, Roman Text, p. 7, line 17 ; Transl., p. 121, line 5.)
(6) ' The basadi of his guru Sri-rupa-narayana of Kollapura.'- -(No.
39 ; Roman Text, p. 7-8 ; Transl., p. 122, line 18.)
(7) ' The basadis of Ganga-vadi, however, many there were, he
restored.'— (No. 45 ; Roman Text, p. 21 ; Transl., p. 126, line 12.)
(8) ' This Lakshmi, wife of Ganga sena-pati, the abode of all good
qualities, had this new Jina temple (vasati) made.'— (No. 63 ; Roman Text,
p. 59; Transl., p. 149.)
(9) ' The Dandanayaka Ganga had this basadi made for his mother
Porhavue.'— (No. 64 ; Roman Text, p. 59 ; Transl., p. 149.)
367
BASADI AM ENCYCLOPAEDIA OF
(10) 'The bastis (basadinal) of Gaiiga-vadi, however many there were,
he had renewed.' — -(No. 90 ; Roman Text, p. 72, line 10 from bottom up-
wards ; Transl., p. 158, para. 5.)
(11) 'He had these images of Bharata and Bahubali Kevali, the basa-
dis, 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
Text, p. 87 ; Transl., p. 171.)
(12) 'He built a small basti on the lower hill ; repaired three bastis
at the north gate, (and) the Mangayi basti, repaired the Hagalaya
(a village to the south of Sravana Belgola)-basti, and made gifts for supply-
ing food in one.' — (No. 134; Roman Text, p. 100 ; Transl., p. 179.)
(13) ' And in Kcllangere he (also) made five large bastis and five beau-
tiful ponds.'
' The money obtained from this place will be used for repairing the
Archari's and other dwelling and the basadis, for the worship and deco-
ration of the god, and for gifts, of food to the people visiting the basadi
and to the assembly of Rishis.' — (No. 1370 ; Roman Text, p. 104, lines 6, 9 ;
Transl., p. 182, paras. 5, n.)
(14) ' Keep whatever you have obtained from the paddy lands and dry
fields, together with the waste land, the firewood, leaves, decay of the
basadi house and so forth, belonging to the endowments of Gommata dcva,
Kamatha ParSva deva, Sri-vallabha deva of Bhandaraiya's basadi, and
principal basadis.' — (No. 137^.; Transl., p. 183.)
(15) ' And for the basadi which he had made ... a small tank east
of the basadi . . . ' — (No. 144 ; Transl., p. 187, line 9 from bottom upwards.)
(16) '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.'-
(Ep. Carnal., Vol. iv, Chamarajnagara Taluq., no. 83 ; Transl., p. 10.)
(17) 'He caused a basadi to be erected in Muguli in Sige-nad, and
setting up therein the god Parsva, presented the basadi and land for the god
to their guru.'
In this instance, it should be noted, the meaning of ' basadi ' as a Jaina
temple is unquestionable. — (Ep. Carnal., Vol. v, Part I, Hasan Taluk,
no. 129 ; 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
HINDU ARCHITECTURE BASADI
The distinction 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.)
(19) 'Thus celebrated, Barmma-Deva, the Bhujabala-Gariga Permmadi-
Dcva, made the basadi, which Dadiga and Madhava had formerly
established on the hill of Mandali, and for which the kings of his Gahga
line had continued to provide the offerings, and which they had after-
wards caused to be built of wood, the chief of all the basadis hitherto
existing or in future to be established in the Edadore-seventy of the Mandali-
Thousand, giving it the name of Pattada-basadi (the Crown-basadi), and
endowed it with certain lands (specified). ' — (Ep. Carnal., Vol. va, Shimoga
Taluq, no. 4; Transl., p. 8, para. 4.)
(20) ' The great minister, . . . , enlarged a tank, formed paddy fields
erected a temple, and established places for distribution of water and
food. And the basadi he built shone with big tank of Tattckere surround-
ing it.'
' And for those 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,
chamaras, and big drums.'
' And Ganga-permmadi-deva granted for the basadi the shop-tax and
customs of Tattikere.' — (Ep. Carnal., Vol. vn, Shimoga Taluq, no. 10 ; Tr ans
p. 11, last two paras., p. 12, paras. 2, 3.)
(21) 'For the mathadhipati of Bandanike was erected a mantapa in
front of the Santi-Jina basadi.'— (Ep. Carnal., Vol. vn, Shikarpur Taluq,
no. 228 ; Transl., p. 133 ; Roman Text, p. 232.)
(22) See both ' basti ' and ' basadi' (in Ep. Carnal., Vol. m, Seringa -
patam Taluq, nos. 144, 146, etc.; Transl., p. 34 and also in other
volumes of Ep. Carnal, referred to above) and the sketches of bastis
between pp. 50, 51 (Introduction, Ep. Carnat., Vol. n), and pp. 150, 151
(Translation), and compare the following from Fergusson :
' The principal group of the bastis of the Jains at present known at
least above the ghats, is that of Sravana Belgola. There are there
wo hills — the Indragiri, on a shoulder of the other, called Chandragiri,
stand the bastis, fifteen in number. As might be expected from the
situation, they are all of the Dravidian style of architecture, and are conse-
quently built in gradually receding storeys, each of which is ornamented
with small simulated cells. ... No instance occurs among them
of the curvilinear sikra (sikhara) or spire, which is universal with the
northern Jains, except in the instance of Ellora.'
369
BA(VA)SUNDHARA AN ENCYCLOPAEDIA Of
1 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
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).'
' It may be a vain speculation, but it seems impossible to look at this
wood-cut (no. 149), and not to be struck with its resemblance to the temples
of southern Babylonia. The same division into storeys with their cells ;
the backward position of the temple itself; the panelled or pilastered
basement, all these points of resemblance, it seems difficult to regard as
purely accidental.' — (Fergusson : Ind. and East. Arch., pp. 269-270.)
BA(VA)SUNDHARA— The earth, a type of pent-roof.
(M., xviii, 177; see under LUPA.)
BAHALA (see BAHULYA) — An extension, a projection, a sugar-
cane-like moulding.
(1) Dvara-tare chatush-pancha-shat-saptashta-vibhajite II
Ekam^a(m) siitra-pattih syat samam va bahalam bhavet I
Ardharii va pada-hinarh va bahalam parikirtitam 1 1 (2 )
Silaya cha mrida py-athava taruna rachayed atha kudyam ativa-
dridham I
Tad ihottara-vistaratah sadris"am bahalam kathitam talipadi-yutam I
(Vastu-vidya, ed. Ganapati Sastri, xiv, i, 2 ; xv, i.)
(2) In connexion with a pillar :
Ashtamsam yoga-vistaram tad-ardham bahalam bhavet I
(M., xxxix, 59.)
(3) Stambha-vyasa-samo(-mam) va tad-ardham bahalam ( ? bahu
lam) bhavet 1 1
Kavata-bahulam proktam dandardharh va ghanam bhavet II
(Kamikagama, LV, 35, 38.)
It is clear from v. 38 that ghana or thickness is 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 I
Anyesham sarva-linganam nagarat bahir-angatah I
(M, ix, 257, 402.)
370
HINDU ARCHITECTURE BAHULYA
BAHIR-JANMA.N— The outer plinth (see M., LXIX, 16, 17, under
ANTARJANMAN) .
BAHIR-BHITTI— The outer wall, an outside partition.
Antar-vapram bahir-bhittih sreshtham dirgam cha chulika(-am) I
(M., ix, 361, etc.)
Cf. ANTARBHITTI. — (See M., XL, 51, 52.)
BAHIR-MUKHA — With face towards the outside, projecting out-
ward.
In connexion with foundations :
Griha-garbham antar-mukharh syad gi ama-garbhaih bahir-mukham
(M., xn, 216.)
BAHU-MANDAPA (cj. MUKHA-MANDAPA)— A kind of group
pavilion.
Devalayeshu sarveshu sammukhe bahu-mandapam I
(M., xxxiv, 33
The pavilion in front of a temple is generally called Mukha-mandapa.
BAHU-LlftGA— A kind of phallus, phalli in group.
(M., LII, 75, 77, 72, etc. ; see under LINGA.)
BAHULA — An architectural member of the balance, the extended
part of the scales outside the holes through which the scales are
joined with the beam by strings.
Tad(jihvagra)-ardham bahulam kuryat tan-mule chhidra-samyutam I
(M., L, 184.)
BALA-PARYA&KA (see PARYANKA) — A small bedstead, a couch.
BAHYA-&ALA — Outer rooms, external portion of mansions (see
under ANTAH-SALA).
BAHYA-SALA — Outer walls, external wall (see under ANTAH-
SALA).
BAHULYA (perhaps for BAHALYA, see BAHALA) — Abundance
superfluity, extension, hence projection.
(i) Stambha-samam bahulyam — bahulya is equal to the column.
(Brihat-Samhitd, LIII, 30.)
Vistara-pada-pratimam bahulyam Sakhayoh smritam — the projection
of the two door-frames is equal to nearly one-fourth of the breadth
(of the door).
(Ibid., LVI, 13.)
371
B1MBA AN ENCYCLOPAEDIA OF
Kern translates ' bahulya ' by thickness, which does not suit at least
to the first instance (see J.R.A.S., N. S., Vol. vi, pp. 285, 318.)
(2) Vistara-pada-pratimam bahulyarh sakhayoh smritam I
( Matsya-Purana, Chap. CCLXX, v. 20, same as
no. 2 above.)
(3) Vistararddhena bahulyam sarvesham eya kirtitam I
(Agni-Purana, Chap, civ, v. 29.)
BIMBA— An idol, an image.
(M., LI, 22 ; LXVIII, i, etc.)
Nirmmitam samti-nathasya bimbakam— ' image of Santi-natha was
made.' — (Honwad inscrip. of Somesvara i, line 30, Ind. Ant., Vol. xix, p. 273.)
BI(VI)RA-GALA (also B!RAGAL or BIRAKAL, see VIRA-S"ASANA)-
Monuments set up in memory of a hero at first, and this honour
is next extended to any one who dies after having done some good
work ; lastly, it implies a simple memorial monument, resembling
perhaps the pagoda-shaped mathas, constructed by the relatives
and admirers of the departed ; a monumental stone erected in
memory of a warrior.
(1) ' But her son Pilleya-Nayaka, (after her death) performing the further
cer monies, set up this biragal in the presence of the god HonnesVara, and
made a grant of land (specified) for the offerings to the god Honnesvara
and for carrying on the worship of the biragal washing the feet of Janneya-
guru. That Janneyaguru and his successors will carry on the worship
of that biragal we most firmly believe.' — (Ep, Carnal., Vol. vn, Shimoga
Taluq, no. 62, last four lines; Roman Text, p. 42 ; Transl., nos. 61-62, p. 24,
line 4 f.)
(2) ' His younger brother 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.)
(3) ' A grant of land (specified) was made for maintaining the worship
and ceremonies of this biragal.' — (Ep. Carnal., Vol. vn, Honnati Taluq,
no. 117 ; Transl., p. 178.)
(4) ' And killing 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,
no. 144; Transl., p. 107; Roman Text, p. 191.)
BUDDHA — ' A being who by his own force has attained to posses-
sion of the highest knowledge. He is neither man nor god. He is
able to perform certain wonders in accord with the laws of nature.
In an endless series of existences the Buddha prepares himself for his
372
HINDU ARCHITECTURE BODHIKA-(A)
state of Buddhahood. During the whole of this time he is called
a Budhisattva till in his last existence as a man he attains to knowl-
edge (bodhi).'
(Mahavamfa, W. Geiger, pp. 292-293.)
BUDDHA-PADA — The sacred footprint of Buddha, found in many
places in Northern India, Indo-China, Siam and other places :
analogous to the Ratna-pada of Samantakuta of Ceylon ; but the
Buddhapada of Sukhodaya in Siam is more elaborate and artistic ;
on the centre of the footprints are engraved two wheels (chzkra),
each containing six circles wherein are marked 108 signs. These
signs are stated to represent the past, present, and future universe.
(See Plate LXVIII, p. 242, Le Siam Ancien, i, by
M. Fournereau, quoted by P. N. Bose in
his Indian Colony of Siam, pp. 64-65.)
The footprint of Buddha, otherwise called Sripada and Ratna-pada.
It is seen in many places in Northern India, Ceylon, Indo-China, and
Indian Archipelago. The one in Siam at Sukhodaya is described in
detail in a Pali inscription of A. D. 1427 (vide Plate LXVIII, Fournereau, i,
p. 242). It was carved after the pattern of the Sripada at Samanta-
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.
BUDDHI-SAMKIRNA— A pavilion with fifty pillars.
(Matey a-Purana, Chap. CCLXX, v. 9 ; see under MANDAPA.)
BRIHATI — The part of the body between the breast and backbone.
In connexion with the das"a-tala measure :
Brihati saptamsakam kaksha-tararh samayatam I
Brihati stana-simantam sardha-dvir-ashta matrakam I
(M., LXV, 162- 163.
BERA — An idol or image.
(M., LI, 17, 25 ; LXVII, 3, etc.)
' Created the temple of Chamarajesvara together with new images
(vera) .'--(Ep. Carnal., Vol. iv, Chamarajnagar Taluq, no. 86; Roman Text,
p. 18, line 9 f.; Transl., p. n.)
BODHIKA(-A) (also VODHIKA, see MANDI)— The capital of the
column (M., xv, 40, 44, etc.), the crowning member of the capital ;
373
BODHI-GRIIIA AN ENCYCLOPAEDIA OF
this is placed upon the abacus (phalaka) and under the table of
cornices. It may be identified with the carbel which in European
architecture is a block of stone projecting from a wall and supporting
the beams of a roof or any weight.
(See Dravidian Arch. Jouveau Dubreuil, ed. Aiyangar, p. 26.)
(See Suprabheddgama xxxi, 107, 57 under STAMBHA.)
Cj. Bodhikam mushti-bandham cha phalaka tatika ghatam I
(M., XLVII, 1 8, etc.)
See the photographic views of the Corinthian capitals from Jamalgiri
(Fergusson : Hist, of Ind. and East. Arch., p. 173, figs. 94, 95).
See Buddhist Cave Temples (fig. no. 21, Arch. Surv., New Imp. Series,
Vol. rv, p. 62 ; Vol. XLI, figs, i, 2, 3, 4, 5, 6).
BODHI-GRIHA— -A temple for the Bodhi-tree.
(W. Geiger, Mahavamfa, p. 296.)
BODHI-MANDA — A raised terrace near a temple, the miraculous
throne under the Bodhi-tree at Gaya also called Vajrasana or dia-
mond throne.
Tenochchair Bodhi-mande sasi-kara-dhavalah sarwato mandapena
kantah prasada esha smare-bala-jayinah karito loka-sastuh I
' By him this beautiful mansion of the Teacher of mankind, who over-
came 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.'
' Bodhi-manda is the name of the miraculous throne under the Bodhi-
tree at Bodh-Gaya, also called the vajrasana or diamond throne, on which
Buddha and his predecessors sat, when attaining bodhi or perfect wisdom.
And 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
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 in the present inscription.' — (Sanskrit and Old Kanarese inscrip.
no. 1 66, Bodh Gaya inscrip. of Mahanaman, line 10 f., Ind. Ant., Vol. xv,
PP- 358, 359. 357. c. i, 2.)
BETTA — One of the two classes of the southern Jain architecture,
the other is known as Basadi or Vasati. Bettas are courtyards usually
on a hill or rising ground, open to the sky and containing images of
Gomata or GomatesVara.
374
HIMDV ARCHITECTURE BRAHMA-PADA
BAUDDHA— Belonging to the Buddhists or Buddha, the Buddhist
images.
Mdnasdra (Chap. LVI, named Buddha, 1-18) :
Like all other images, the Buddhist images also are made of wood,
stone or iron (line 14). Their pedestals are made of the three kinds
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
in the erect or sitting posture 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).
They are pure white in colour (line 5). Their garment is yellow
(line 12), face large (line 5), ears long (line 6), eyes smiling at the
corner (line 6), chest gracefully broad, arms long (line 10), belly large
and round, and the body fleshy (line 8). They are furnished with
shining top-knots (ushnishojj-vala-maulika) (line 10).
BRAHMA-KANTA — A class of pillars, a type of storeyed buildings
a class of gate-houses.
The square columns with four minor pillars :
Chatur-as"rarh brahma-kantam syat I — (M., xv, 20.)
Vedopapada-sarhyuktarh brahma-kantam iritam I — -(Ibid., 244.)
A class of the three-storeyed buildings. — (M., xxi, 39-40 ; see under
PRASADA.)
A class of the five-storeyed buildings.— (M., xxm, 41-42 ; see under
PRASADA.)
A class of gate-houses.— (M., xxxm, 558 ; see under GOPURA.)
BRAHMA-GARBHA— The foundations of temples (of Brahma).
(M., xn, 142-152; see under GARBHA-NYASA.)
BRAHMA-DVARA — The door in the middle or central part of an
object.
Brahma-dvara-patakadyair angair yuktam vimanakam I
(Kamikagama, L, 93.)
Brahma-dvaram iti proktarh vimananam sanatanam I
(Ibid., LV, 155.)
Brahma-dvaram tato madye mandapam koshthake matam \
(Ibid., LV, 197.)
BRAHMA-PADA — The central part, the plot at the centre of a
design.
(M., XL, 73 ; LII, 165, etc. ; see under PADA-VINY.&SA.)
375
BRAHMA-BHITTI AN ENCYCLOPAEDIA OF
BRAHMA-BHITTI— The middle wall.
Athava brahma-bhittau va garbhadhanam vidhiyate I
(Kamikagama, xxxv, 46.)
BRAHMA-MANDALA — The central part of a village or town.
(M., ix. 128 ; see under GRAMA.)
BRAHMA-MANDIRA— A type of rectangular building.
(1) Agni-Purdna (Chap, civ, w. 16-17 ; see under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, vv. 21-22, 26-27 ; see under PRASADA.)
BRAHMA-MASTAKA— A kind of joinery.
(M., xvn, 149 ; see under SANDHI-KARMAN.)
BRAHMA- VAHANA— The riding animal of Brahma, the goose.
The measures and description of the goose (M.. LX, 4-46 ; see under
VAHANA.)
BRAHMA-STHANA — The central part of a village or town, where
a public hall is built for the assemblage of the inhabitants.
(M., xii, 142 ; see under GRAMA.)
(1) Brahma-sthane sabhadini kalpayed vidhina budhah II
Brahma(-me) va madhyame bhage pitham parikalpayet 1 1
(Kamikagama, xxvni, 15, 18.)
(2) ' Senai . . . assigned (one) patti of land in the neighbourhood, to
last as long as the moon and the sun, for his own merit (and) for the
meritorious purpose of supplying to the Brahma-sthana in this village
water during six months and firepans (agnishtha) during six months
and of constructing a water-lever in front of the mandapa.' — (Inscrip. of
Aditya II, no. 14, lines 1-2, H. S. 1. 1., Vol. in, pp. 21-22.)
(3) ' We the great assembly of Manimangalam . . . being assembled
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.)
(4) ' We the great assembly of Manimangalam . . . being assembled,
without a vacancy in the assembly, in the large mandapa (of) the Brahma-
sthana of our village.' — (Inscrip. of Virarajendra I, no. 30, line 36, H. S. 1. 1.,
Vol. HI, p. 70.)
BRAHMANGANA— The central courtyard.
(See Kamikagama, under ANGANA.)
BRAHMA MS A (see BRAHMA-STHANA) — The central part of a
village or town, where a public hall is generally built.
376
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, knowledge and renunciation (vairagya) (line 5) .
The Samipyas specialize in knowledge and renunciatian (line 6). The
Sarupyas are distinguished as those who are devoted to the medita-
tion of God (line 7). And the Sayujyas are those who have acquired
the true knowledge (of God) and are aware of the final beatitude
(paramartha) (line 8).
The limbs of the Salokya class of great men are measured in the largest
type of the nava-tala system (line 9) . The Samipyas are measured in the
smallest type of the dala-tala system (line 10). The Sarupyas are
measured in the intermediate type of the das"a-tala system (line n).
And the Sayujyas are measured in the largest type of the da£a-tala system
(line 12).— (For details of these measures, see TALA-MANA.)
BHAfrGA — A pose in which an image is carved.
There are four bhangas or poses, namely, sama-bhanga, abhahga, ati-
bhariga (M., LVII, 98), and tri-bhanga (ibid., 125).
' In this (sama-bhanga) type the right and left of the figure are disposed
symmetrically, the sutra or 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
inclining in any way to right or left. Images of Buddha, Surya (sun) and
Vishnu are generally made to follow this scheme of rigid, vertical symmetry.
The dispositions or attitudes of the limbs and organs on either side are
made exactly similar, except that the mudra or symbolical posing of the
fingers is different.'
' In such a (abhanga) figure the plumb-line or the centre line, from
the crown of the head to a point midway between the heels, passes slightly
to the right of the naval. 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
are two male and two female, in tri-bhangas, placed on either side with
their heads inclined inwards towards the principal figure. The figures on
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
BHADRA AN ENCYCLOPAEDIA OF
would lean away from the central figure, and spoil the balance and
harmony of the whole group.'
' A tri-bhanga figure had its head and hips displaced about one arhSa
to the right or left of the centre line.'
' This (ati-bhanga) is really an emphasized form of the tri-bhanga, the
sweep of the tri-bhanga curve being considerably enhanced. The upper
portion of the body above the hips, or the limbs below, are thrown to right
or left, backwards or forwards, like a tree caught in a storm. This type is
usually seen in such representations as Siva's dance of destruction, and
fighting gods and demons, and is specially adapted to the portrayal of
violent action, of the impetus of the Tandava dancing, etc.' — (Translated
by S. Ray, Modern Review, March, 1914, p. I f.)
BHADRA (cf. SARVATO-BHADRA and MUKHA-BHADRA) — A mould-
ing, a type of portico, the general epithet of chariots, a type of
building, site plan of one-hundred and ninety-six square plots (cf.
PADAVINYASA; M. vii, 17-18.)
(i) A moulding of the base (M., xrv, 345 ; see the lists of mouldings under
ADHISHTHANA).
A kind of portico :
In connexion with buildings of one to twelve storeys :
Ekam va dvi-tri-dandena nirgamam bhadram eva va I
(M., xix, 56.)
Cf. MADHYA-BHADRA (M., xrx, 177) :
Toranair nida-bhadradi-mule chordhve cha bhushitam \
(M., xx, 64.)
In connexion with pavilions (mandapas) :
Chatur-dig-bhadra-vistaram eka-bhagena nirgamam I
(M., xxxiv, 76.)
In connexion with mansions (salas) :
Salayah parito'lindarh prishthato bhadra-sarhyutam I
(M., xxxv, 40.)
Dvi-chatur-bhaga-vistaram parsvayor bhadra-sarhyutam I
Prishthe cha dvyaika-bhagena bhadram kuryad vichakshanah I
(Ibid., 322-323.)
In connexion with chariots :
Chatur-dikshu chatur-bhadrarh syat I
Bhadra-madhye tu bhadram syat I
Yuktya bhadram sarvesharh nasika-yuktam eva va I
(M., XLHI, 107-109.)
378
HINDU ARCHITECTURE BHADRA-PlTHA
Bhadra is the general name for chariot (ratha) :
Nivata-bhadra, Pavana-bhadra, Prabhanjana-bhadra, Nabhasvan-
bhadra, etc.
(M,xLiii, 111-115.)
In connexion with dola (palanquin or hammock) :
Purato prishthato madhye parva (darpa)nam bhadrasamyutam |
(M., L, 165.)
Chatur-dikshu sa-bhadram va chaika-dvyamsena nimnakam I
(Ibid., 284.)
(a) Ayatah syat tribhir bhagair bhadra-yukta-susobhanah I
(Matsya-Purana, Chap. GCLXIX, v. 5.)
(3) Mandapasya chaturthamSad bhadrah karyyo vijanata 1 1
Mandapas tasya karttavya bhadrais tribhir alankritah II
(Garuda-Purana, Chap. XLVII, w. 35, 39.)
A type of quadrangular building :
(4) Agni-Purdna (Chap, civ, vv. 14-15 ; see under PRASADA).
(5) Garuda-Purana (Chap. XLVII, vv. 24-25 ; see under PRASADA).
(6) Vi-bhadra va sa-bhadra va kartavya malika budhaih 1 1
Sa-bhadra va vi-bhadra va khahlri syad yatheshtatah II
(Kamikagama., xxxv, 100, 106.)
Salananam prakartavyam eka-dvyam^a-vinirmitam I
Tad-tad-agre prakartavyam vare bhadrasya pa£chime II
(JWrf.,XLv, 35.)
Chatur-dig-bhadra-samyuktam dvara-jalaka-Sobhitam 1 1
(Ibid., XLI, a6.)
A class of buildings (Ibid., XLV, 41 ; see under MALIKA.)
BHADRAKA — The general name for chariots.
(M., XLIH, 112-116 ; see under RATHA.)
BHADRA-PATTA— A moulding of the base.
(M., xiv, 345 ; see the lists of mouldings
under ADHISHTHANA.)
BHADRA-PlTHA — A type of pedestal of the phallus or an image.
(M., Lin, 34 ; see under PI-THA.)
The pedestal of an image. — -(M., nv, 129, 173.)
A State chair. — (Mahavagga, v. 10, 2.)
379
BHADRA-MANDAPA AN ENCYCLOPAEDIA OF
BHADRA-MANDAPA-A type of pavilion.
Cf. Ma^apam bhadram ity-uktarh bahya(dhanya)-nikshepa-yOgya.
. 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
BHADRASANA-A kind of throne>
A kind of rectangular building •
(i) ***»<
- the pie) °r
. <
line u f., W. .to., Vol. ^f pp. ^^ 'na!Wa ln!lcnP-
(5) Subhrabrabham idam Bhavalya bhavanam karapitam bhutalc
of Chachcha, v. „, /«,. ^t> Vol. X
BHAVANA-KANTA-A class of the ,en,,oreyed building,.
RH j „ . (M" **""• 9-3 J «. under
BHAGA-PASCHA-A pavilion wift thirty-two pillan,
(Matsya-Purana,
380
xni, 43 .
247, etc. ; j« MANA.)'
HINDU ARCHITECTURE BHITTI
BHARA (see 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 I
Bhavati tulopatulanam unaih padena padena II
(Bfihat-Samhitd., LIII, 30.)
Dr. Kern translates ' bhara ' by cross-beams (J.R.A.S., N. S., Vol.
vi, p. 285).
BHARAKA— A support, a synonym of the column.
(A/., xv, 5; see under STAMBHA.)
See Suprabheddgama (xxxi, 121) under BHARA.
BHARA (see BHARA and HARA) — A support, a beam.
(1) In connexion with buildings of one to twelve storeys :
Chatuh-Sala chatush-kutam chashta-bhara sa-panjaram I
(M.,xx, 72, etc.)
(2) Eka-dandantar-bhara tu madhya-bhara dvi-dandatah I
Ghatur-danda-pramanena kritva maryyada-bhittikam II
Mandale dvarake vatha dvara-salarh tu bharake II
Prasadarh madhya-bharayarh maryyadau harmyam eva cha II
(Suprabhedagama, xxxi, 117, 121 ; for full
context sen vv. 115-122, under PRAKARA.)
BHITTI — A wall, a partition, a support.
(1) Bhittih stri kudyam I
Bhittih kudye prabhede cha I
(Amarakosha, 2, 2, 4.)
(2) Purato'lindam ekaihsarh bhittim kuryat samantatah I
(M., xxxv, 118 ; compare also xv, 231 ;
xxxvin, 6 ; XL, 57 ; LVI, 16 ; etc.)
(3) Vistarardharh bhaved garbho bhittayo'nyah samantatah I
' The adytum measures half the extent (of the whole) and has its
separate walls all around.' — (Brihat-Samhitd, LVI, 12 ; J.R.A.S., N. S.,
Vol. vi, p. 318 ; see also Matsya-Purdna, Chap. CCLXIX, w. 8, 9, 12.)
(4) Tri-hastantarh tu vistaro bhittlnam parikirtitah II
Mula-bhitter idarh manam iirdhve padardha-hlnakam I
Anyo'nyam adhika vapi nyuna va bhittayah samah 1 1
(Kamikdgama, xxxv, 32, 33.)
381
BHITTI-GRIHA AX ENCYCLOPAEDIA OF
Tri-bhagena bhaved garbham samantad bhittir ishyate 1 1
Dvy-adhikena bahir-bhittih sesharh pragvat prakirtitam II
Linge silanta(-te) cha krodhe bhitti(h) pancha-(rh)sa-varjitah I
Kimchin nyunam alindam va Sesham kudyeshu yojayct II
(Kamikagama, L, 82, 86, 87,)
The synonyms of bhitti :
. . . dvari kudyarh cha kuttimam 1 1
Bhitter akhyeyam akhyatam ... II
(Ibid., LV, 199-200.)
(5) Navamsam garbha-geharh tu bhitti-manam tu shodasa 1 1
Shodasarh bhitti-manam tu bhittim abhyantararh viduh |
Tad-bahyaikam tu salilam tad-bahyaikam tu bhittikam II
Bahya-bhittau chatur-dvaram athava dvaram ekatah I
Anyat sarvarh samam proktam stupy-antam karayed budhah 1 1
Yad uktarh bhitti-vistaram bahyabhyantarayoh samam I
Bahyc vabhyantare vapi tri-vidham bhitti-manakam 1 1
Pithasya tri-gunam garbham ta-(t)-tri-bhagaika-bhittikam II
(Suprabheddgama, xxxi, 4, 6, 7, 8, 1 2.)
(6) Prasada-vara-varyeshu silavatsu sugandhishu I
Ushitva meru-kalpeshu krita-kanchana-bhittishu 1 1
(Ramayana, n, 88, 7, etc.)
(7) Atyuchchair bhitti-bhagair divi divasa-pati-syandanarii va vigrih-
nan yenakari kotah 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.)
(8) Suttalayada bhittiya madisi chawlsa-tfrttha-kararh madisidaru I
'Sri Basavi Setti ... 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.)
(9) • Koneri, son of ... erected a nava-ranga of 10 ankanas, with
secure foundation and walls (vajra-bhitti-gode) for the god Tirumala of
the central street of Malalavadi.'— (Ep. Carnal., Vol. iv, Hunsur Taluq,
no. i ; Transl., p. 83; Roman Text, p. 134.)
BHITTI-GRIHA— A wall-house, a small closet inside the wal
resembling a cupboard.
(M., XL, 63, etc.)
382
HINDU ARCHITECTURE BHtf-PARlKSHA
BHITTI-SOPANA— A kind of surrounding steps made through a
wall.
(See Kautiliya-Artha-sdstra under SOPANA.)
BHINDA-SALA — A kind of detached building with a balcony in
front, pandi-sala with a verandah in front (see PANDI-SALA).
(M., xxxv, 98 ; see under SALA.)
BHO-KANTA — A class of storeyed buildings.
A class of eight-storeyed buildings. — (M., xxvi, 3-20; see under PRASADA.)
A class of the ten-storeyed buildings. — (M., xxvm, 6-8 ; see under
PRASADA.)
BH0TA-KANTA— A class of the five-storeyed buildings.
(M., xxni, 13-15 ; see under PRASADA.)
BHO-DHARA— A type of oval building.
(1) Agni-Purdna (Chap, civ, vv. 19-20 ; see under PRASADA).
(2) Garuda-Purdna (Chap. XLVH, vv. 29-30 ; see under PRASADA).
BHOPA-KANTA— A class of the eight-storeyed buildings.
(M., xxvi, 22-28 ; see under PRASADA.)
BHO-PARlKSHA — Testing the site and soil where a village, town
or building is constructed.
All the Vdstu-sdstras have elaborate descriptions on the subject. The
principles and details are similar in the treatises examined below.
(i) The soil of the plot, where a village, town, fort, palace, temple or
house is to be built, is examined with regard to its shape, colour, odour,
feature, taste 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
a village, town, fort, or house, as the case may be. But even after this
selection, it would be wise to test the ground by some other ways.
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
time, the earth is taken to be very bad. But if, on the other hand, there
remains some water in the hole, the selected plot of land would be fit for
any building — (M., v. 20-30).
Another final test is that a similar hole is dug on the plot and filled
up with the earth taken out of it. If this earth be not quite enough to fill
383
BHO-PARIKSHA AN ENCYCLOPAEDIA OF
up the hole, the ground is taken to be very bad, but if this earth overfills
the hole, the soil is stated to be very good for any building.-— (M, v. 34-37.)
The general import of the last two tests that in the former case, the very
dry land is avoided, while in the latter, very loose or sandy land is said to
be unfit for the construction of a building.
(2) Brihat-Samhita, Chap. LIII, vv. 96, 97 (ed. Kern, Bibliotheca hd.
A. S. Bengal, New Series, nos. 51, 54, 59, 63, 68, 72 and 73).
Sita-rakta-pita-krishna vipradmam prasasyate bhumih |
Gandhas cha bhavati yasya ghrita-rudhirannadya-madyasamah I
Kusa-yukta sara-bahula durvakasavrita kramena mahi I
Anuvarnam vriddhi-kari madhura-kashayamla-katuka cha II
See also w. 85-94 and then compare the last line of the verse 95 :
Tat tasya bhavati subhadam yasya cha yasmin mano ramate I
' In general the soil (ground) will be suitable to any one whose mind is
pleased with it.'
Compare also the eleven lines quoted f om :
(3) Garga by the commentary of Brihat-Samhitd, which are again quoted
by Dr. Kern.
(4) ' The Visvak (i, 61, sqq.) contains the same rules, but in other
words.'
(5) Part of the corresponding passage from Kasyapa is quoted by Ram
Raz (Arch, of Hind., p. 17.)
(J.R.A.S., N. S., Vol. vi, p. 295, note 2.)
Vdstu-Ratandvall (a compilation, ed. Jivanatha Jyotishi, 1883, PP- 8, 10) :
(6) On colour of ground, quotation from Vasishtha-sariihitd :
Sveta-sasta dvijendranam rakta bhumir mahi-bhujam I
ViSarh pita cha s"udranarii krishnanyesham vimisrita ||
(7) From the Vdstu-pradlpa :
Sukla-mritsna cha ya bhumir brahmani sa prakirtita I
Kshatriya rakta-mritsna cha harid-vai^ya prakirtita II
Krishna bhumir bhavech chhudra chaturddha pariklrtita II
(8) On taste, from Mrada :
Madhuram katukam tiktam kashayam cha rashah kramat 1 1
(9) On smell, from the Griha-kdrikd :
Ghritasrig-anna-madyanarh gandhas cha kramaso bhavet 1 1
(10) On declivity, from Bhrigu :
Udag-adi plavam ishtam vipradinam pradakshincnaiva f
Viprah sarwatra vased anuvarnam atheshtam anyesham iti I \
(it) Silpa-dlpaka (ed. Gangadhara, i, 22-23) :
Sveta bramhana-bhumika cha ghritavad-gandha susvadinl I
Ratka sonita-gandhini nripati-bhuh svade kashaye cha sa II
384
HINDU ARCHITECTURE BHOMI-(KA)
Svade'mla tila-taila-gandhir udita pita cha vaisya-mahi I
Krishna matsya-sugandhini cha katuka sudreti bhu-lakshanam 1 1
(12) Bhavishya-Purana (Chap, cxxx, vv. 42-44) :
Ishta-gandha-rasopeta nimna bhumih prasasyate I
Sarkara-tusha-kesasthi-kshararigara-vivarjita 1 1
Megha-durhdubhi-nirghosha sarva-vija-prarohim I
Sukla rakta tatha pita krishna kathita kshitih II
Dvija-rajanya-vaisyanarh sudranam cha yatha-kramat I
Then follows the examination proper of the soil (vv. 44-45). A pit is dug
in the ground and filled up with the sand which is taken out exactly
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.
BHtJMA (see TALA) — A storey, a floor.
Eka-bhumaih dvi-bhumarh va kshudranam bhavanam nnnam I
(Silpa-sdstra-sdra-samgraha, vm, 29.)
BHOMI-(KA) (see TALA) — Earth, ground, soil, a place, a region
a spot, a site, a situation, a storey, the floor of a house.
(1) In the Mdnasdra a chapter (xi) is named Bhumi-lamba which des-
cribes the dimensions of different storeys :
Bhumi-lamba-vidhirh vakshye sastre sarhkshepatah kramat I
Uktam hi bhumi-lambam syad ekanta-bhumikam I
Etad dva-dasa-bhumy-antarh janmadi-stupikantarh syat I
(M., xi, i, 5, 125, etc.)
(2) Kshatriyadeh pancha-bhumir dvijanam raga-bhumikam I
(Silpa-saslra-sdra-sarhgraha, vin, 30.)
(3) Vimano'strl deva-yane sapta-bhumau cha sadmani I
(Nigantu ; see Ramdyarja under VIMANA.)
(4) Sapta-bhaumashta-bhaumas cha sa dadarsa mahapurlm I
(Rdmayana, v. 2, 50 ; see also vi, 33, 8.)
(5) Ekaiva cha bhumika tasya syad eka tasya cha bhumika I
(Brihat-Samhita, LVI, 23 ; see Kasyapa, quoted by
Kern, J.R.A.S., N. S., Vol. vi, p. 320.)
(6) Sata-sringas chatur-dvaro bhumika-shodasochchhritah I
(Matsya-Purdna., Chap. CCLXIX, v. 31 ;
see also w. 37, 38, 39, 40, 42, 43, 44, etc.)
(7) Raja-kanyam . . . sapta-bhumika-prasada-pranta-gatam I
(Pafichatan'ra, ed. Bombay, i, p. 38.)
(8) A floor (Bheragha inscrip. of Alhanadevi, v. 27, Ep. Ind., Vol. n
pp. 12, 1 6.)
385
BHCMI-LAMBA AN ENCYCLOPAEDIA OF
BHUMI-LAMBA — The height of a storey ; according to the Kdmi-
kagama (see below) and the Mdnasdra the term implies the dimen-
sions of storeys.
(1) The five series of breadth in the smallest type of one-storeyed build-
ings 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,
7, 9, ii and 13 cubits and the five series of length 6, 8, 10, 12 and 14
cubits. In the largest type the five series of breadth are 6, 8, 10, 12 and
14 cubits and the five series of length are 7, 9, n, 13 and 15 cubits.
(M., xi, 6-12.)
All the twelve storeys are in this way measured separately.
(M., xi, 13-125.)
These are stated 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.
(2) Chatur-amsadi-samsthanam bhumi-lambam iti smritam I
(Kdmikagama, L, I.)
Then follow the dimensions of the storeys from one to twelve and six-
teen (ibid., w. 2-34). The five proportions of the height of storeys, as
' bhumi-lamba ' means, are given under the same five technical names as
in the Mdnasdra, viz., Santika, Pushta, Jayada, Adbhuta, and Sarva-
kamika (vv. 24, 25-28). The Jati, Chhanda, Vikalpa and Abhasa classes
of buildings are also distinguished (vv. 9-13).
(3) Varahamihira describes the height, etc. of the buildings of the
Brahmans, kings, ministers and others (Brihat-Samhitd, LIII, 4-26). But the
general rule about the height of the storey (bhumika) is also given (Brihat-
Samhita, LVI, 29-30) :
Bhumikangula-manena mayasyashtottaram satam I
Sardham hasta-trayarh chaiva kathitarh visvakarmana 1 1
Prahuh sthapatayas chatra matam ekam vipaschitah I
Kapota-pali-samyukta nyuna gachchhanti tulyatam II
' A storey's altitude is of 108 digits according to Maya, but Visvakarman
pronounces it to be of three cubits and a half (i.e. 84 digits). As to this,
however, able architects have declared that (in reality) there is no discre-
pancy of opinion, for, if you add the height of the crown-work (kapota-
pali) the smaller number will equal (the greater).' — Dr. Kern.
BHO-MUKHA— A type of oval building.
(Garuda-Purdna, Chap. XLVII, vv. 29-30 ;
see under PRASADA.)
386
HINDU ARCHITECTURE BHOSHANA
BHUSHANA— A class of storeyed buildings, a moulding, a type of
pavilion, articles of furniture, ornaments.
A type of oval building— (Agni-Purdna., Chap, civ, vv. 19-20 ; see under
PRASADA.)
A class of the nine-storeyed buildings — (M., xxvn, 13-14 ; see under
PRASADA.)
A moulding of the column — (M., xv, 93, etc.)
A type of pavilion :
Devanarh cha maunartharh bhushanakhyam tu mandapam I
(M, xxxiv, 349.)
Mdnasdra (Chap. L, 1-309) named Bhushana :
The ordinary ornaments for the body are called ' anga-bhushana'
(lines 1-44, 288-309) and the articles of house-furniture ' bahir-bhu-
shana, (44-288).
Ornaments are here divided broadly into four classes, namely,
Patra-kalpa, Chitra-kalpa, Ratna-kalpa and Misrita or Misra-kalpa
(lines 3-4). All these are suited to the deities. The emperor or Chakra-
vartin can put on all these except the Patra-kalpa. The kings called
Adhiraja and Narenda can wear both Ratna-kalpa and Misrita. The
Misra-kalpa is prescribed for all other kings.
Patra-kalpa is so called because it is made of leaves and creepers.
Chitra-kalpa is made of flowers, leaves, paintings, all precious stones
and other decorations. The Ratna-kalpa is made of flowers and
jewels. And the Misra-kalpa is made of leaves, jewels and the
mixture of all others. These four kinds are specially made for the
images of Gods and Kings only (line i).
The ordinary ornaments of the body include among others Padanu-
pura (anklet), Kirita (diadem), Mallika (a jasmine-like ornament),
Kundala (ear-ring), Valaya (bracelet), Mekhala (belt), Kara (chain),
Kankana (bracelet for the wrist), Siro-vibhushana (head-gear), Kinkini
(little-bells) , Karna-bhushana (ear-rings, etc.), Keyura (armlet),
Tatanka (large ear-ring), Karna (ear ornament), Chuda-mani (crest-
jewel), Bala-patta (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
necklace of four strings), Svarna-kanchuka (gold armour), Hiranya-
malika (gold chain), Lamba-hara (long suspended chain), etc. The
ornaments like crown, etc. are described elsewhere.
The articles of house furniture include among others Dlpa-danda
(lamp-post), Vyajana (fan), Darpana (mirror), Manjusha. (basket,
wardrobe, almirah,etc.), Dola (swing, hammock, palanquin, etc.), Tula
387
BHOGA AN EWCTCLOPAEDIA OF
and Tula-bhara (balance), Panjara (cage), and Nida (nest), etc., for the
domestic animals (except cows, horses, elephants, described elsewhere)
and birds (lines 45-288). The articles of furniture like car, chariot,
throne, bedstead, etc., are described elsewhere.
BHOGA — A class of the single-storeyed buildings.
(M., xrx, 167; see under PRASADA.)
BHOGA-MANDAPA (cf. MANDAPA)— The refectory, an appur-
enance of the temple.
(M., XXXH, 55, etc. ; see under MANDAPA.)
BHOJANA-MATHA— A refectory, a dining-hall.
' The meritorious gift of a refectory (bhojana-matha) for the community
(Sangha) by the Yavana Chita (Chaitra) of the gates (or of the Gata
country.) ' — (Junnar inscrip. no. 8, Arch. Surv., New Imp. Series, Vol. iv,
P- 94-)
BHAUMA (see BHUMI) — A storey, the floor of a house.
Dvadasa-bhauma, daga-bhauma, shad-bhauma, sapta-bhauma I
(Brihat-Samhita, LVI, 20, 21, 22, 24, 27.)
BHRAMA — The enclosing cloisters, a covered arcade, an enclosed
place of religious retirement, a monastic establishment.
' The temple itself, with its enclosing cloisters (bhrama) measures . . .
The court is surrounded by cloisters (bharhti-bhrama) in which, besides
three small temples on the north, south and west sides each in line with
the centre of the principal mandapa, there are the orthodox number of
fifty-two small shrines (cf. Prakara and Parivaralaya) each crowned by a
sikhara or spire.'
' The inner fagade of the cloister or bharhti (Skr. bhrama) is interrupted
only by the three small temples mentioned above, by the large entrance
porch on the east, and by smaller entrances on the north and south near
the east end. The corridor (alinda) is about nine feet wide all round and is
raised 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 . . . '—
(Ahmadabad Arch. Burgess, Arch. Surv., New 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
OUT LINE PLAN RHADRA
BHADRA
1_
BHRAMA DANDA
BHRAMA.
PLAN
BRAHMA MASTAK9
Pant 3SS
HINDU ARCHITECTURE MAftGALA
BHRAMA-DANDA— A kind of post for a large fan.
(M., L, 104 ; see under VYAJANA.)
BHRAMALINDA — A surrounding balcony 01 terrace.
(M., xxxiv, 304, 497, etc. ; see under ALINDA.)
M
MAKARA-KUNDALA— A crocodile-shaped ornament for the ear
of an image.
(M., LI, 53 ; see under BHUSHANA.)
MAKARA-TORANA (see TORANA)— An arch marked with makara
(an animal-like shark or crocodile).
Dvayor makarayor vakraih Saktarh madhyama-puritam |
Nana-vidha-lata-yuktam etan makara-toranam 1 1
(Kamikagama, LV, 65.)
For the details of such an arch, see Annual Report of Arch. Survey of India
(1903-04, p. 227 f.), Mdnasdra (Chaps. XLVI, XLVIII) and Suprabhedagama
(xxix, 68-72) under TORANA.
MAKARA-BHtJSHANA— An ear-ornament.
(M., L, 26 ; see under BHUSHANA.)
MAKARAPATRA — An ornament of an arch generally above the
column.
Tad-urdhve toranasyante makarapatra-sarhyutam I
(M., xv, 133.)
MAKARALA — An architectural member of a hall.
(M., xxxv, 373 ; see under §ALA.)
MAKARl-VAKTRA — The face of a female shark, employed as an
ornament for an arch above a column.
(M, xv, 136.)
MAKUTA — A head-gear, a diadem, a crown.
(M., vn, 164'; xn, 120 ; XLDC, 15 ; LIV 23, etc.)
MAN GALA — A kind of throne, a village, a type of pavilion.
A throne. — (Af., XLV, 4; see under SI&HASANA.)
A village (Kamikagama, xx, 3 ; see under AGRAHARA^ .
A type of pavillion — (M., xxxiv, 481-448 ; see under MANDAPA.)
389
MANGALA-VITHI AN ENCYCLOPAEDIA OF
M AftGALA-VlTHI— A broad road surrounding a village or town,
also called Raja-vlthi and Ratha-vithi.
(See Kamikagama, under RAJA-VITHI.)
MAJJANALAYA — A detached building for bath or washing.
(M., XL, 103.)
— A bedstead, couch, bed, sofa, a chair, throne, a plat-
form, a pulpit, a loft.
A synonym of the bedstead (M., in, n), of the entablature— (M., xvi,
18.)
Mancha-paryanka-palyankah katvya-samah I
Palyanko mancha-paryanka-vrishl-paryastikasu cha I Iti Medini I
(Amarakdsha, 2, 3, 138.)
In connexion with buildings of one to twelve storeys :
Adhishthana-samarh manchardhe'rdhena vapra-yuk I
(Af.,xxi, 14, etc.)
A component part of the bedstead (M., XLIV, 86).
A platform :
DaSa-bhagau dvau pratimanchau — ' two-tenths of it for the forma-
tion of two platforms, opposite to each other.' — (Kaulillya-Ariha-sastra,
Chap, xxrv, p. 53.)
MAftCHA-KANTA— A class of the four-storeyed buildings.
(M., xxii, 47-57 ; see under PRASADA.)
MA^CHA-BANDHA — A class of bases comprising four types which
differ from one another in height and in the addition or omission of
some mouldings.
(M., xiv, 127-149 ; see the lists of mouldings
under ADHISHTHANA.)
MAftCHA-BHADRA— One of the three classes of pedestals, the
other two being Vedi-bhadra and Prati-bhadra. It has four types
differing from one another in height and in the addition or omission
of some mouldings.
(M., xiu, 93-127 ; see the lists of
mouldings under UPAPITHA.)
MAftCHALl — -A synonym of the bedstead.
(M., in, ii ; see under PARYANKA.)
39°
MANJOSHA
Page 390
HINDU ARCHITECTURE MATHA
(12) ' Had a matha built (matha kattiSi) for Siva-Basappa-Svami of
the Govi-matha.'— (Ep. Carnat., Vol. in, Mysore Taluq, no. 24 ; Transl., p. 3 ;
Roman Text, p. 7.)
(13) ' 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-
atti and Sambhupura are granted as an endowment for it, as an offering
to Siva.' The peculiarities of this matha should be noted. — (Ep. Carnat.,
Vol. in, Nanjangud Taluq, no. 81 ; Transl., p. 103 ; Roman Text, p. 196.)
(14) ' Having erected a matha (Sattra or alms-house) for the distribution
of food to those who come to the car-festival of the god. . . , caused his
guru to take up his residence in the king's matha (a detached residential
building which belongs to a house and is intended for receiving and
accommodating the guests) to conduct the worship of Chandraiekhara
(who might be installed in a matha or temple which, however, does not
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
expenses of the same made a grant of Haranahalli.' —(Ep. Carnat., Vol. iv,
Hunsur Taluq, no. 104 ; Transl., p. 93 ; Roman Text, 15.)
The different meanings of the term ' matha ' noted within brackets
in the above passage should be noted.
(15) 'He had the stone-fort built, together with the matha, mantapa,
pond, well . . . '
1 In the evening-matha (sandhya-matha) he set up the image of the god
and built the pond.'
' He caused the stone-fort to be built, and set up the matha, mantapa,
evening-matha (sandhya-matha), pond, well, Basava pillar, swing and
images of gods.' — (Ep. Carnat., Vol. v, Part i, Channarayapatna Taluq, nos.
158, 160, 165; Transl., pp. 195, 196,198; Roman Text, pp. 450, 451, 454.)
(16) Sri-Sankaracharya-vinirmite lasat-simhasane dharmamaye mathe
subhah . . .
' 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
agrahara.' — (Ep. Carnat., Vol. vi, Sringeri Jagir, no. II ; Roman Text, p. 195,
line 12 f. ; 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 cere-
monial 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 details are given.
393
MANIKA AM ENCYCLOPAEDIA OF
(17) 'This temple is a Brahma-chari-matha. — (Ep. Carnal., Vol. vn,
Shikarpur Taluq, no. 242 ; Transl., p. 140, line 7 ; Roman Text, p. 248,
lines 20-21.)
(18) Vinitesvara-matha-samavesarh matham etat karitam Sri-Narayana-
devakulasya — ' built this matha of the deva-kula of Narayana, near the
temple of Vinitesvara.' — (MundesVari inscrip. of Udayasena, lines 5, 6 ;
Ep. Ind., Vol. ix, pp. 219-290.)
MANIKA — A water-jar, a class of buildings.
A class of buildings which are oval in plan and sub -divided under the
following names :
(i) Gaja, (2) Vrishabha, (3) Harhsa, (4) Garutman, (5) Riksha-
nayaka, (6) Bhushana, (7) Bhu-dhara, (8) Srijaya, and (9) Prithivl-
dhara :
(1) Agni-Purana (Chap, civ, v. n, 19-20 ; see under PRASADA).
(2) Garuda-Purana (Chap. XLVII, vv, 29-30 ; see under PRASADA).
Cf. Rock inscriptions at Mulbe (no. iv, Ind. Ant., Vol. xxxv, pp. 79, 80).
MANI-GRAMA — A trading corporation. (Note on Tamil Inscrip-
tion in Siam, E. Hultzsch, J. R. A. S., 1913, pp. 337-33Q.1)
MANI-DVARA — A kind of top door or window.
Uparishtat trayarhSarh tu chatvarardhariisam dvi-parsVayoh I
Tesharh madhye tu yad dvararh mani-dvaram ihochyate 1 1
(Kamikagama, LV, 43.)
MANI-BANDHA — An ornament for the wrist, a string of pearls, the
collet.
Prakoshthe valayarh chaiva mani-bandha-kalapakam I
(M., L, 16.)
Mani-bandha-katakam va mauktika-chudam eva cha I
(M., LIV, 14.)
Prakoshtha-valayarh chaiva valayair mani-bandhakaih
(Ibid., 99, etc.)
MANI-BHADRA (see MANDAPA) — A pavilion with 64 columns.
(Suprabhedagama, xxx, 101, 103 ; see under MANDAPA.)
MANI-BHITTI — The 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 upper storey, a crystal palace, a jewelled
mansion. (See Artha-tastra under GRIHA-VINYASA.)
394
MANIKA.
MANI DVARA
MAMI-DVARA.
394
HINDU ARCHITECTURE MANDAPA
MANDAPA — A detached building, a pavilion, an open hall, an
arbour, a corridor (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 I — (Amarakosha, 2, 2, 9.)
' Mandapas are not furnished with walls ; the roofing is formed of large
slabs of granite supported by monolithic pillars. ' — (D. A. lyengar, p. 20.)
' The resting place where the gods are every year (occasionally) carried.
The most celebrated part of the temple of Madura is the Pudu mantapam
which is only a vast corridor.' — (Ibid., p. 38.)
Difference between Mandapa and Sabha (M. xxxiv, 559-562) :
the former having a pent-roof, and the latter pinnacled (i.e. spherical roof).
(i) Mdnasdra (Chap, xxxiv, 1-578, named Mandapa) :
Mandapa generally means a temple, bower, shed or hall. But the
term has been used in three technical senses in this chapter.
It implies in the first place a house in the village, etc., or built on the
bank of a sea, river, tank or lake ; 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 resi-
dential buildings. The most part of this long chapter is devoted to a des-
cription of these rooms.
Mandapas are both temples and residential buildings :
Taita(-ti)lanam dvi-jatlnam varnanam vasa-yogyakam I
The general comparative measurement of the mandapas is discussed at
the beginning. This is followed by the measurement and other descrip-
tions of (ii) the bhitti (wall), (iii) balcony (alinda), (iv) prapa (alms-house),
and (v) the form of the mandapas (lines 3-4).
Seven mandapas are, as stated, built in front of the prasada or the main
edifice (line 157). They are technically called Himaja, Nishadaja, Vijaya,
Malyaja, Pariyatra, Gandhamadana and Hema-kuta (lines 163-156).
Various parts of these, such as walls, roofs, floors, balconies, courtyards,
doors, windows, "pillars, etc., are described in detail (lines 166-175).
Besides these seven, various other mandapas are also described in accord-
ance 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
181), Bhadra for water reservoir, store-house, etc. (line 185), Siva for
unhusking paddy corn (line 197), Veda 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
MANDAPA AN ENCYCLOPAEDIA OF
stable, Saukhyaka and others built 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
(lines 349, 366), Kharvata (lines 455, 472), Drona (lines 423-434), Sri-
rupa (line 480), Mangala (line 488), etc., are described under these terms.
The plan, 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
Jati shape ; the Chhanda shape is given to the mandapas of the Kshattri-
yas, the Vikalpa shape to those of the VaiSyas, and the Abhasa shape to
those of the Sudras. But according to some, these four classes are also
based on the form of the Bhadra (portico).
The mandapas of two faces are called dandaka, of three faces svastika,
the latter one having also the plough shape ; the mandapas of four faces
are known as chatur-mukha, of six faces maulika, and of five faces sarvato-
bhadra (lines 554-556).
A short description of the mandapas in a village or town is also given
(lines 558-572). Their principal members are stated to be the lupa (pent-
roof), prastara (entablature), prachchhadana (roof), sabha (council hall),
and kuta (dome), etc. Mandapas are also built on the roadside and at
other places.
All the mandapas mentioned above are separately described as they
belong to a temple or to the houses of the Brahman as, the Kshattriyas, the
VaiSyas, and the Sudras respectively (cf. lines 571-578).
Cf. the following :
The detached buildings or attached halls for various purposes :
Some bhallata-mukhye cha kalpayet kosa-mandapam I
Pushpa-dante sukarau cha Sastra-mandapa-sarhyutam I
Varune vasure vapi vastu-nikshepa-mandapam I
Nage vapi mrige vapi deva-bhushana-mandapam I
A(a)ditau choditau vapi sayanartharh cha mandapam I
Asthana-mandapam chaiva chatur-dikshu vidikshu cha I
Snapanartharh mandapam snana-mandapam eva cha I
Griha-kshate yame vapi vahana-sthana-mandapam I
Maryadi-bhittikasyantam mandapam pavanalayam
(M., xxxii, 68-76.)
Dakshine nairriti vapi bhojanartham tu mandapam I
Vayavyena dhanangamse pushpa-mandapa-(m) yojayet I
Tat-tad-bahya-pradese tu kaya-Suddhyartha-mandapam I
Vayavye nairrite vapi sutika-mandapam bhavet I
(M., XL, 98, 102, 104, 105.)
396
!
HINDU ARCHITECTURE MANpAPA
The height :
Mandaparh nava-talam kuryad ... I
(M., xi, 144.)
ISanadi-chatush-karne matharh va mandapam tu va I
(M., rx, 138.)
Mandapadi cha bhupanam vesma kuryat tu purvavat I
(Ibid., 445.)
In connexion with columns :
Prasade mandape vapi prakare gopure tatha |
(M., xv, 433.)
Cf. Ayuda-mandapa (M., xxxvi, 34), v(b)alalokana-mandapa (ibid., line
48), vivaha-mandapa (line 49), vastrachchhadana-mandapa (line 50),
vidyabhyasartha-mandapa (line 53), tailabhyarigartha-mandapa (line 54),
asthana-mandapa (line 55), vilasartha-mandapa (line 56), dhanya-karshana-
mandapa (line 69), pushpa-mandapa (line 71), mitya-yogya-mandapa (line
74), nityarchana-mandapa (line 79), etc.
Some mandapas are stated to be furnished with 100 or 1,000 columns :
Sata-pada-yutam vatha sahsranghrika-mandapam I
(M., xxxiv, 240.)
(2) Bandha-sthanam bahih kuryat snana-mandapam eva cha I
(Matsya-Purana, Chap. CCLVI, v. 35.)
Prasadasyottare vapi purve va mandapo bhavet II
Chaturbhis toranair yukto mandapa-(h) syach chatur-mukhah II
(Ibid., Chap. CCLXIV, vv. 13, 15.)
' The mandapa should be built to the north or east of the temple.
It should have four faces (facades) and be furnished with four arched
gateways (lit. arches).'
Athatah sarhpravakshyami mandapanarh tu lakshanam I
Mandapa-pravaran vakshye prasadasyanurupatah II (i)
Vividha mandapah karya jyeshtha-madhya-kaniyasah I
Namas tan pravakshyami srinudhvam rishi-sattamah II (2)
Then follow the names of twenty-seven mandapas. They are divided
according to the number of columns they are furnished with, the largest
one having 64 pillars, the next 62, one following 60, and so on :
(i) Pushpaka, (2) Pusha-bhadra, (3) Suvrata, (4) Amritanan-
dana, (5) Kausalya, (6) Buddhi-samkirna, (7) Gajabhadra, (8)
Jayabaha, (9) Srivatsa, (10) Vijaya, (11) Vastu-kirti, (12) Srutirhjaya,
(13) Yajna-bhadra, (14) Visala, (15) Suslishta, (16) Satru-mardana,
(17) Bhaga-pancha, (18) Nandana, (19) Manava, (20) Mana-bhadraka,
(21) Sugiiva, (22) Harita, (23) Karni-kara, (24) Satardhika, (25)
Sirhha, (26) Syama-bhadra, and (27) Subhadra.
397
MANDAPA AN ENCYCLOPAEDIA OF
The plans of mandapas are given next :
Tri-konarh vrittam ardhendum ashta-konarii dvir-ashtakam I
Chatush-konam tu kartavyam samsthanam mandapasya tu II
(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 I
Dhvajashtakais chatur-hastarh madhyc vedim cha karayet 1 1
(Ibid., Chap. XLVIH, vv. 4-5.)
(4) Ahuya visva-karmmanam karayamasa sadaram I
Mandapam cha suvistlrnarh vedikabhir manoramam II (2)
Description of its carving hand paintings :
Jalam kim nu sthalam tatra na vidus tattvato janah I
Kvachit sirhhah kvachid-dhamsah sarasas cha maha-prabhah 1 1 (6)
Kvachich chhikharhdinas tatra kritrima sumanoharah I
Tatha nagah kritrimas cha hayas chaiva tatha mrigah II (7)
Ke satyah ke asatyas cha sarhskrita visva-karmana I
Taithaiva chaivarh vidhina dvara-pada-bhutah kritah II (8)
Ratha rathi-yuta hy-asan kritrima hy-akritopamah I
Sarvesham mohanarthaya tatha cha samsadah kritah I (13), etc.
Evambhutah kritas Lena mandapo divya-rupavan II (20)
(Skanda-Purdna, Mahesvara-khanda-prathama,
Chap, xxiv, vv. 2, 6, 7, 8, 13, 20 ; for
further description see vv. 36-67.)
Rathasyesana-dig-bhage salarh kritva susobhanam I
Tan-madhye mandapam kritva vedim atra sunirmalam II
(Ibid., Vaishnava-khanda-dvitiya, Chap, xxv, v. 26.)
(5) Eka-dvi-tri-talopetam chatush-pancha-talam tu va 1 1
Mandaparia tu vidhatavyam salanam agra-desake II
(Kamikagama, xxxv, 96, g6<z.)
(6) Mandapas implying the detatched buildings and forming part of a
temple — (Suprabhedagama, xxxv, 94-104).
Measurement as compared with the temple :
Prasada-lakshanarh proktam mandapanam vidhirh srinu II (94)
Prasadardharh mukhayamam vistaram samam uchyate I
Tri-padarh va mukhayamam sardharh mandapam uchyate II
398
HINDU ARCHITECTURE MANDAPA
Classification :
Devata-mandapam purvaih dvitiyam snapanarthakam I
Vrishartham mandapam paschach chaturtham nritta-manda-
pam II (96)
Description of these four classes of mandapas :
Devata-pratima-rupa(-am) sthapitarh deva-mandapam I
Kalasa-sthapanam yatra proktarh snapana-mandapam II (97)
Vrishabha-sthapitam yatra vrishabha-mandapam tatha I
Nrittam yatra kritarh tat tu nritta-mandapam eva tu II (98)
Gopure'tha vayavye'pi vayavye vikritam tatha I
Evarh chatur-vidheshv-anya-niandapaih chagrato bahih II (99)
Their names :
Tesharh namani vakshyami srinu vatsa samahitah I
Nanda-vrittam sriya-vrittam virasanam cha vrittakam II (100)
Nandyavartam mani-bhadram visalarh cheti kirttitam I
Their characteristic features :
Nanda-vrittam chatush-padam shodasam sripratishthitam II
Virhsati-stambha-samyuktarh virasanam iti smritam I
Dvatrirhsad-gatra-samyuktam jaya-bhadram iti kathyate II
Shat-trimsad-gatra-sarhyuktarh nandyavartam iti smritam I
Chatuh-shashti-samayuktarh stambhanam mani-bhadrakam II
Stambhanam tu satair yuktarh visalam iti samjnitam I
Prasada-vat samakhyatam prastarantarii pramanatah II (104)
(Suprabhedagama, xxxv, 94-104.)
Then follows an account of these columns (ibid., vv. 105-108 ; see under
STAMBHA).
Kautiliya-Artha-Sdstra (Chap, xxn, p. 46, footnote) :
(7) Ardha-gavyuta(-ti)-tritiyan ar-gramantara-rahitam mandapam I
(Rdyapasenl-sulra-vydkhydne, p. 206.)
(8) Mandapani dura-sthala-simantarani I
(Prasna-yydkamna-sutra-vyakhydne, p. 306.)
(9) See the first Prasasti of Baijnath (v. 29, Ep. Ind., Vol. i, p. 106),
also the second Prasasti (v. 25, pp. 114, 117).
(10) Somesvaraya tan-mandapam uttarena — ' to the north of the hall
of the temple of Somesvara.' — (Chintra Prasasti of the reign of Sarangadeva,
v. 40, Ep, Ind., Vol. i, pp. 284, 276.)
(11) A hall for the supply of water (inscrip. of Chandella Viravarmanl
v. 19, Ep. Ind., Vol. i, pp. 328, 330).
399
MANDAPA AN ENCTCLOPAEDlA Of
(12) A chapel (Harsha stone inscrip., vv. 12, 44, Ep. Ind., Vol. n,
pp. 121, 124, 126, 128).
(13) Narayanasyayatanarh . . . saha mandapena — the temple of Nara-
yana together with the hall. — (Khalari Stone inscrip. of Haribrahmadeva,
v. 10, Ep. Ind., Vol. n, p. 231.)
(14) SomesVara-mamdapa — the temple of Somanath. — (Sridhara's Deva-
pattana Prasasti, v. 23, Ep, Ind., Vol. n, p. 442 ; see also v. 10, p. 440.)
(15) Mantapa (the Kanarese form) — a hall. — (Satymangalam Plates of
Devaraya II, v. 8, Ep. Ind., Vol. in, pp. 37, 40.)
(16) Sri-valladhipates sivasya sukhaclam bhadrahvayarh mandapam
. . . akarod bhadrahvyam mandapam ... II
Bhadrakhya-mandapam(mum) virachyya Sambhor nidravasana-
vijayiti cha nama kritva |
Chakre cha Nayaka-sivalayam asya parsve srl-jnana-murttir atisam-
padi-valla-puryyam II
(Bilvanathesvara inscrip. of Virachampa,
vv. i, 2, 3, Ep. Ind., Vol. HI, pp. 70, 71.)
(17) Dhama, Mamdira, Prasada and Bhavana are used indiscriminately
for temple or mandapa. — (Ganapesvaram inscrip. of Ganpati, vv. 23-25,
Ep. Ind., Vol. in, pp. 86-87).
(18) Abhyavahara-mandapa — a dining hall. — '(Ranganath inscrip. of
Sundarapandya, v. 23, Ep. Ind., Vol. in, pp. 13, 16.)
(19) ' The immediate purpose of the Ranganatha inscription of Sundara-
pandya is 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
attendant Vishvaksena (v. 8), both of which were covered with gold, and a
gilt tower which contained an image of Narasirhha (v. 7). Further he covered
the (original or central) shrine of the temple with gold — 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
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 month of Chaitra he celebrated the procession-festival of
the god (v. 20). For the festival of the gods sporting with Lakshmi, he built
a golden ship (v. 21). The last verse (v. 30) of the inscription states that the
king built three golden domes over the image of Hema-chchhadana-raja
Hari, over that of Garuda (v. 16) and over the hall which contained the
couch of Vishnu (v. 6).'
400
HINDU ARCHITECTURE MANDAPA
' The following miscellaneous gifts (for articles of furniture) to Ranga-
natha are enumerated in the inscription : — 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
golden fruits (v. 13), a golden car (v. 14), a golden trough (v. 15), a
golden image of Garuda (v. 16), a golden under-garment (v. 17), a golden
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
(v. 29).' — (Ranganatha inscrip. of Sundarapandya, Ep. Ind., Vol. in, p. n.)
(20) Krishnalayarh mandapam — an abode of Krishna, an open hall. —
(Three inscrip. from Travancore, no. B, line 4 ; Ep. Ind., Vol. iv, p. 203.)
(21) Asthana-sila-mandapa (not translated by Hultzsch). — (First Draksha-
rama pillar inscrip., line 9, Ep. Ind., Vol. iv, pp. 329, 330.)
(22) Ghana-mantapa-vapra-saudha-ramyalayam (v. 39) — ' a temple
(alaya) adorned with a solid hall, a wall and a plastered mansion ' (pp.
123, 114).
Sudha-liptam sila-mamtapam (v. 43) — ' a plastered hall of stone,
(pp. 123, 114).
Vipulam ramyarh maha-mamtapam (v. 44) — ' a fine large hall,
(pp. 123, 114).
Ramyam maha-mamtapam (v. 47) — 'a beautiful large hall' (pp. 124,
»5)-
Ghanam prasadarh nava-hema-kumbha-kalitam ramyarh maha-mamta-
pam (v. 51) — ' he presented a solid temple (prasada), adorned with nine
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,
II5, I24,_I25.)
(23) Anandaika-niketanarh nayanayoh s(s)asvan manah-kairava-
jyotsnaughah khalu visVakarmma-nipuna-vyapara-vaidaghdya-
bhuh |
Grishma-grasa-bhayatibhita-janata-sautlrya-durggalayo marggah
kifttivijrimbhanasya jayina prottambhito mandapah II
(Two Bhuvanesvara inscrip., no. i, of Svapnes-
vara, v. 29, Ep. Ind,, Vol. vi, p. 202.)
(24) ' This inscription (Bhimavaram inscrip. of Kulottunga i) is en-
graved on a pillar in the mandapa in front of the Narayanasvamin temple
at Bhimavaram in the Cocanada division of the Godavari District.' —
(Ep. Ind., Vol. vi, p. 219.)
(25) Utsava-mamtapa — a festive hall.— (Kondavidu inscrip. of Krishna-
raya, v. 27, Ep. Ind., Vol. vi, pp. 237, 231.)
(26) ' The village of Sivamangalam of the North Arcot District contains
a Siva temple named Stambhesvara, which consists of a rock-cut shrine,
two mandapas in front of it, and a stone enclosure. The two rock-cut
401
MANDAPA AN ENCYCLOPAEDIA
pillars of the gate by which the shrine is entered bears the two subjoined
inscriptions. Besides, there are several Chola inscriptions on the walls of
the enclosure.' — (Dr. Hultzsch. Ep. Ind., Vol. vi, p. 319.)
(27) Madapo nava-gabha — a nine-celled hall.
Patho madapo — a study. — '(Kalre Cave inscrip. no. 20, Ep. Ind.,
Vol. VH, pp. 71, 72, 73.)
(28) Srl-Kanchi-Jina-Vardhamana-nilayasyagre maha-mandapam sam-
gitarttham achikarach cha silaya baddham samantat sthalam II
' Caused to be built, in front of the temple of the Jina-Vardhamana
at the prosperous Kanchi, a great hall for concerts and (caused to be)
paved with stones the space all round.' — (Two Jaina inscrip. of Irugappa,
no. B, line 2, Ep. Ind., Vol. vn, p. 116.)
(29) ' Two buildings to be erected in the temple of Arulalanatha (are)
a mandapa of one thousand pillars, a canopy of gems for (the image of)
Mudivalanginan . . . — (Arulala-Perumal inscrip. of Prataparudra, line 8,
Ep. Ind., Vol. vii, pp. 131, 132.)
(30) Sri-nara-simha-varma-nripatih Sri-kovalure bhajan vasaiii visva-
jagan-nivasa-vapushah Sri-vamanasyakarot I
Sailam sumbhita-sata-kumbha-vilasat-kumbham maha-mandapam
prakaram para-malika-vilasitam muktamayim cha prapa(-bha)m I
' The glorious prince Nara-simha-varman, residing in Srikovalura made
for the god Vamana, in whose body the whole world abides, a great
mandapa of stone, resplendent with pitchers (kalasa or kumbha) of shining
gold, a surrounding wall, adorned with excellent buildings, and a canopy of
pearls.' — (Fourteen inscrip. at Tirukkovalur, no. K, of Rajendradeva, lines
1-2, Ep. Ind., Vol. vn, pp. 145, 146.)
(31) Dhara-giri-garbha-marakata-mamdape — in an emerald pavilion
on the Dharagiri hill. — (Dhara Prasasti of Arjunavarman, line 12, Ep. Ind.,
Vol. vm, pp. 103, 100.)
(32) Tejahpala iti kshitimdu-sachivah samjjvalabhih sila-srenibhih
sphurad imdu-kumda-ruchiram Nemi-prabhor mamdiram I
Uchchair mamdapam agrato Jina-(vara)-vasa-dvi-pamcha-satam
tatparsVeshu balanakam cha purato nishpadayamasivan II
' The minister Tejahpala, a moon on earth, erected the temple of the
Lord Nemi, which shines by lines of stones as white as conch shells (and)
is resplendent like the moon and jasmine flowers, a lofty hall (mandapa)
in front (of it), fifty-two shrines for the best of the Jinas on the sides of it
and a seat (balanaka) in the front.' — (Mount Abu inscrip. no. i, v. 61,
Ep. Ind., Vol. vm, pp. 212, 218.)
(33) . . . Kamakshl-dharma-mandape 1 1
Pratyabdan dvija-bhukty-arttham bhagam ekam akalpayat II
402
HINDU ARCHITECTURE MANDAPA
' Set apart one share for the yearly feeding of Brahmanas in the Ka-
makshi-dharma-mandapa.' — (Madras Museum plates of Srlgiribhupala, w.
21, 22, Ep. Ind., Vol. vm, pp. 311, 316.)
(34) ' Marangari . . . the prime minister of king Maranjadaiyan,
made this stone temple and ascended heaven (i.e., died) without con-
secrating it. Subsequently his brother Maran, Eyinan . . . who
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.)
(35) Of- Mandapika (lit., a small pavilion) :
SrI-Naddula-maha-sthane Sri-Sarhderaka-gachchhe Sri-Mahavlra-
devaya Sri-Naddula-talapada-sulka-mamdapikayam masanuma-
sarh dhupa-ve(tai)lartham I
' Granted to the Jaina temple of Mahavlradeva in the Sanderak
gachchha, at the holy place (Mahasthana) of Naddula, a monthly (sum of
five drammas), (to be paid) from the custom-house in the grounds (talapada-
svatala) of Naddula.'
For passages in which the term Mandapika occurs, compare, e. g.,
Ep. Ind., vol.i, pp, 114, 1-27 p. 173, 1-6, (Slyadoni-Satka-mandapika),
p. 175, i, 19 ; p. 177, i, 29 and i, 30 , p. 179, i, 45 ; p. 262, i, 3 (pattana-
mandapika) ; Ind. Ant., vol. xiv. p. 10, col. 2 (Sripathastha-mandapika) ;
Journ. As. Soc. Beng., vols. LV, part i, p. 47 ; iv, p. 48, and v. ; Bhavnagar
inscrip., p. 205, I, 7. Sulka-mandapika occurs, e. g., in Bhavnagar
inscrip., p. 158 f., 11, 10, 15 and 18.
' The meaning of mandapika is suggested by the Marathi mamdavl, a
custum-house.' Prof. Kielhorn. — (The Chahamanas of Naddula, no. A, Nadol
plates of Alhanadeva, lines 22-23, Ep. Ind., Vol. ix, pp. 66, 63, and note 8.)
(36) . . . Vidadhe' sya mamdirc mamdapam 1 1
Chakre'(a)kshaya-tritiyayam pratishtha mamdape dvijaih II
(Chahamanas of Naddula, no. G., Sundha Hill inscrip. of
Chachigadeva, vv. 56, 57, Ep. Ind., Vol. ix, p. 79.)
(37) Deva-Sri-Sasi-bhushanasya kritina devalayam karitam yugmarii
mamdapa-sobhitam cha purato-bhadrarh pratolya saha 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 1 1
Visamkata-vitamkali-virajad rarhga-mamtapam I
403
MANDAPA AN ENCYCLOPAEDIA OF
' It is a large rangamandapa raised on a collection of beautiful stone
pillars and adorned with rows of spouts.'— (Krishnapuram plates of Sada-
sivaraya, w. 55, 56, Ep. Ind., Vol. ix, pp. 336, 341.)
(39) Pahini mamdapa karamyah Akshasamalapaniyah dama karttavya
pashana-itakayam ghatitah ... I
' Pahini (the architect) constructed the mandapa, aksha-sama (?),
and dama (?) with stones and bricks.' — (The Chahamanas of Marwar, no.
xni, Sanderava stone inscrip. of Kelhanadeva, line 2 f., Ep. Ind., Vol. xi, p. 48.)
(40) ' This inscription (the Chahamanas of Marwar, no. xvn) . . .
is incised on a pillar in the Sabha-mandapa of the temple of Mahavira.' —
(Ep. Ind., Vol. xi, p. 51.)
(41) Abhinava-nishpanna-preksha-madhya-marhdape ... I
Suvarnnamaya-kalasaropana-pratishtha krita I
' The ceremony of placing a golden cupola on the newly made central
hall, intended for dramatic performances was carried out.' — -(The Chaha-
manas of Marwar, no. xix, Jalar stone inscrip., lines 5, 6, Ep. Ind., Vol. xi,
P- 55-)
(42) Tenochchair bbodhi-mande sasi-kara-dhavalah sarwato manda-
pena kantah prasada esha smara-bala-jayinah karito loka-sastuh II
' By him this beautiful mansion of the Teacher of mankind, who over-
came 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 exalt-
ed Bodhi-manda' (also called Vajrasana, the miraculous throne under
the Bodhi-tree at Bodh-Gaya, on which Buddha sat, when attaining Bodh-
or perfect wisdom.) — (Bodh-Gaya inscrip. of Mahanaman, lines 10-11
C. I. I., Vol. in, F. G. I., no. 71, pp. 276, 278, 275 ; also Sanskrit arid Old'
Canarese inscrip. no. 166, Bodh-Gaya inscrip. of Mahanaman, line 10 f.,
Ind. Ant., Vol. xv, pp. 358, 359.)
(43) ' 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
floor of the alarhkaramandapa.' — (H.S.I.I., Vol. i, p. 127, first para.)
(44) ' 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.)
(45) ' Brahmapriyan . . . caused to be made the stone work of a
flight of steps, with tiger's head at the bottom, for the abhisheka-mandapa
in the temple of Vanduvarapati Emberuman at Manimangalam . . . ' —
(Inscrip. of Rajaraja III, no. 39, H.S.I.I., Vol. m, p. 86.)
(46) Sri-kusala-mandapadi-yukta-rajaka-mala karakhya-padma-karabhi-
rama-nutana-omkaresvara-deva-sthanam I
404
HINDU ARCHITECTURE MANDAPA
' A beautiful new Omkaresvara temple, a lotus ornament to the earth ,
which with its skilfully designed mantapas, etcetera, might be called a royal
lotus.' — (Ep. Carnal., Vol. i, pp. 38, f., 61.)
(47) ' This is the sacred marriage hall (Kalyana-manclapa) built (on
the date specified) by Tirukkanam Ayya Mudeliyar's son Vedagiri Mudeliyar
for the god Sri-Subharaya Subhamiyar of Alasur.'
' This inscription is at Halasur, on the basement of the Kalyana-mandapa
in the prakara of the Subrahmanya temple.' — (Ep. Carnal., Vol. ix, Banga-
lore Taluq, no. 14 ; Roman Text, p. 8 ; Transl., p. 7.)
(48) ' This is the outer mandapa ( ? Churru-mandapam) called Sri-
Rajendra-Sola-devar after the name of (the king) Sri-Raj endra-Sola-
devar, caused to be erected by Jakkiyappai, daughter of Tirbhuvanaiyam
of Ittakirai, at the foot of Sulkal-malai, otherwise called Kanaka-parvvatam
(the golden mountain) in the Kadambanakkai-nadu.' — (Ep. Carnal., Vol. x,
Kolar Taluq, no. 115 ; Roman Text, p. 49 ; Transl., p. 44.)
(49) ' Agrahara village, mantapas, mantapas for alms (bhiksha-man-
tapa), and all other religious provisions ' . . . — (Ibid., Vol. x, Mulbagal
Taluq, no. 2; Roman Text, p. 82; Transl., p. 71.)
(50) ' Caused to be built in the temple of Jayambu-nayakar the danc-
ing hall (nirutta, i.e., nritta-mandapam) , the vestibule (nadai-maligai),
the surrounding hall and the tower.' — (Ep. Carnal., Vol. x, Bowringpet
Taluq, no. 380; Roman Text, p. 175 ; Transl., p. 146.)
(51) Varadaraja-devara-mukha-mantapada-sannidhiyalu Rajagambhi-
ran emba kottalavanu.'
' In proximity to the mantapa facing the god Varadaraja having erected
the bastion named Rajagambhlra.' — (Ep. Carnal., Vol. x, Malur Taluq, no. i ;
Roman Text, p. 186 ; Transl., p. 155.)
(52) ' 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 man-
tapas made before and behind the temple (hindana-mundana-bhagada
mantapa), had a pond constructed called after Gopa Raja the Gopa-
samudra, had a palace built for Gopa Raja to the west of that pond, and
to the right of the god, Singa-Raja's palace ; and that he might at sunrise
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
Raja's temple . . . and at the eastern gopura which Kundapa-
dannayaka had built in front of the mantapa facing the god (mukha-
mantapa).' — (Ibid., no. 4; Roman Text, p. 187; Transl., p. 156.)
(53) ' Setti Devan built a beautiful stone temple with a mantapa in
front of it.' — (Ep. Carnal., Vol. x, Ghintamani Taluq, no. 83; Transl.,
p. 258, para. 2.)
4°5
MANDAPA AN ENCYCLOPAEDIA OF
(54) ' 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
gift. . . .' — (Ep. Carnal.,. Vol. xn, Tumkur Taluq, no. 11 ; Transl., p. 5,
para. 2.)
(55) ' Caused to be made the Honna-devi-mantapa.'
This expression is like those, as Vishnu-mandapa, where mandapa is a
detached shrine or temple. — (Ibid., no. 26 ; Transl., p. 8.)
(56) ' 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
portico made to the front of the temple, erected a bhoga-mandapa. . .
and building a tower and a hall for the god, made a grant of land to
provide for the offerings (specified).' — (Ibid., Gubbi Taluq, no. 29 ; Roman
Text, p. 41, middle ; Transl., p. 23, line 6.)
(57) ' Presented at the feet of the god Chandra-sekhara the processional
form of the god SankaresVara, a dipamale pillar, and a patala-mantapa.'
— (Ep. Carnal., Vol. xu ; Tiptur Taluq, no. 70 ; Transl., p. 57.)
(58) ' At the time of the eclipse of the sun, in the presence of the god
Virupaksha on the bank of the Tungabhadra, in the mukti-mantapa to
the sacrificer Naganatha (descent, etc., stated), he granted the Timaduga
village.' — (Ep. Carnal., Pavugada Taluq, no. 4, Transl., p. 117 ; Roman
Text, p. 193, f.)
(59) ' In the antarala (interior) they erected a most beautiful ranga-
mantapa, and a fine chandra-sale (upper storey) according to the direc-
tions given by the king Timmendra.' — (Ibid., Vol. xu, Pavugada Taluq,
no. 46 ; Transl., p. 122, line 14 ; Roman Text, p. 203, v. 9.)
(60) ' KailaSadres svatulyarh kalita-Suchi-gunarh srimati £ri-£uchindre
Vanchl-bhu-pala-chuda-manir akrita puro-mandape chandra-
mauleh 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, in south Travan-
core, Ind. Ant., Vol. n, p. 361 ; c. 2, v. 2, p. 362 ; c. i, para. 2.)
(61) '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,
c. I, last four lines.)
(62) Rambha-patra-phala-prasuna-lalite sat-toranachchhadane nana-
varna-pataka-ketana-lasat-prante maha-mandape I
406
I
<
CU
I
HINDU ARCHITECTURE MANDAPA
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.)
(63) ' On the east side of this great Stubi or Vimana stands the Veli-
mandapam or " outer hall," a plain rectangular building 160 feet long
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 Mele-
mandapam, covering the transverse aisle between the north and south
entrances by which the shrine is approached. This portico or transept
is designed and completed in keeping with the grand scale and style of the
Vimana.' — (Gangai-Kondapuram Saiva temple, Ind. Ant., Vol. ix, p. 118, c. i.)
(64) SrI-Brahma-Devara-mantapavanu — ' presented the Brahma Deva
mantapa.' — (Ep. Carnat., Vol. n, no. 121; Roman Text, p. 88 ; Transl., p. 172.)
(65) ' Tupada-Vengatapa made a stone mantapa and a well for the god
Prasanna-Vengataramana to the north-west of the precincts of the temple
of the god Pas"chima-Ranganatha.' — (Ep. Carnat., Vol. in, Seringapatam Taluq,
no. 9 ; Transl., p. 8 ; Roman Text, p. 17.)
(66) ' Also land for the god Hanumanta newly set up in the mantapa
in the middle of the village, to which the god Rama pays a visit at the
Ramanavami (festival), i.e., the idol of Rama is brought there on that
occasion.' — (Ibid., no. 13 ; Transl., p. 9 ; Roman Text, p. 21.)
It should be noticed that this mandapa does not belong, as an attached
or detached building, to any temple. It is by itself a temple. Such
mandapas or temples are named after the gods whose idols are consecrated
in them, such as Vishnu-mandapa, Kali-mandapa, and so forth.
(67) ' His awful wife Rangamma, . . . had erected a mantapa, with
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 ; Transl.,
pp. 26-27 ; Roman Text, p. 57.)
(68) §r!-Timma-dandanayaka mahisi Sri-Ranga-nayakl-rachita 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.' — (Ibid., no. 97 ; Roman Text, p. 59 ; Transl., p. 28.)
In this sense mandapa is most generally understood. This is what is
called nat (i.e., nritya or ranga)-mandira, as stated above.
407
MANDAPA AN ENCYCLOPAEDIA OF
(69) ' Caused to be erected the ranga-mantapa of the god Kesava,
. . . also the ranga-mantapa of the god Ranganatha to the south-
east of that village and a sabha-mantapa for ... the village.'—
(Ep. Carnal., Vol. HI, Tirumakudlu-Narasipur Taluq, no. 58 ; Transl., p. 78.)
(70) ' The accountant Lingana, son of ... with devotion erected
(a mantapa of) 12 ankanas near the big asVattha tree, in proximity to
the Matsya-tirtha, on the bank of the Arkapushkarini.'— (Ep. Carnal.,
Vol. iv, Yedatore Taluq, no. 3 ; Transl., p. 52 ; Roman Text, p. 84.)
(71) ' The manager of his (Krishna-Deva-maharaya's) palace, . .
made for the god Virabhadra . . . , a gandhagodi-mantapa, in front
of the ranga-mantapa.'— (Ep. Carnal., Nagamangala Taluq, no. 4; Transl.,
p. 1 14 ; Roman Text, p. 188.)
(72) ' Haridasa-Rauta, son of ... set up in front of the god
Prasanna-Madhava of Bellur a festival (utsava) mantapa, a pillar for lights
(dipa-maleya-kambha) and an altar for offerings (bali-pitha). '—(Ep. Carnal.,
Vol. iv, Nagamangala Taluq, no. 42 ; Transl., p. 124 ; Roman Text, p. 213.)
(73) ' Caused a uyyale-mantapa to be erected for the spring festival of
the god.'— (Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 12; Transl., p. 46 ;
Roman Text, p. 106.)
(74) ' Newly built the Kalyana-mandapa (Kattisi samarpisida Kalyana-
mantapa ahkana) as an offering at the lotus-feet of the god Chenna-
Kes"ava.'— (Ep. Carnal., Vol. v, Parti, Belur Taluq, no. 21 ; Transl., p. 52 ;
Roman Text, p. 119.)
(75) The grant was made ' that a pond and mantapa may be con-
structed in front of the temple upper storey for the spring water-festival
(vasanta-kaladalli abage-seve nadeve-bagge) for the god.'— (Ibid., no. 29 ;
Transl., p. 54; Roman Text, p. 122, line 15 f.)
(76) ' He constructed a pond for a raft and a 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., p. 64-65 ; Roman
Text, p. 150.)
(77) ' Built a brick enclosure for the temple, erected a kalasa to it,
and a wooden ranga-mantapa, in front, had the whole plastered,' . . .
—(Ep. Carnal., Vol. v, Part I, Arsikere Taluq, no. 8 ; Transl., p. 115, line 6
f. ; Roman Text, p. 263, line 9.)
(78) ' Seated on the diamond throne in the 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., no. 94; Transl., p. 150, line 2 f.)
(79) ' (On the date specified), all the Brahmanas of the immemorial
agrahara Brahma-samudra, agreeing among themselves, and going to
the prabhu-mantapa (pabu-mantapadalli) and seating themselves, Damoja,
408
HINDU ARCHITECTURE MANDAPA
son of the carpenter Madiyoja, having worshipped their feet and pre-
sented 5 pa, they granted to him a rent-free estate (specified). ' — (Ep.
Carnal., Vol. vi, Kadur Taluq, no. 57 ; Transl., p. 12 ; Roman Text, p.
(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 ; Transl., p. 16 ; Roman Text, p. 52.)
(81) ' Caused the Nandi-mantapa to be erected.' — (Ibid., Chikmagalur
Taluq, no. 76 ; Transl., p. 44 ; Roman Text, p. in, line 7.)
(82) ' Outside, it (the temple of Sambhava-natha) is very plain and
unpretentious, whilst inside it consists of three apartments — a mandapa
or porch, the Sabha-mandapa, or assembly hall, and the nij(a) mandira
or shrine. The floors are laid with coloured marbles and the roof support-
ed on pillars.'
' The mandapa or hall is roofed by an octagonal dome supported, as
usual, on twelve pillars.' . . . — (Ahmadabad Architecture, Burgess, Arch.
Surv., New Imp. Series, Vol. xxxm, pp. 87, 90.)
(83) See Mukha-mandapa, of SomesVara temple at Kolar. — (Mysore
Arch. Reports, 1913-14, Plate vn, fig. 3, p. 20.)
(84) ' Its (Kandariya Mahadeo temple's) general plan is similar to
that of most of the larger mediaeval temples of Northern India (see its
plan, Plate xcvn). It has the usual ardha-mandapa or portico, the manda-
pa or nave, the maha-mandapa or transept, the antarala or ante-chamber,
and the garbhagriha or sanctum, each of which has its separate pinnacled
roof rising in regular gradation from the low pyramid of the entrance to the
lofty spire of the sanctum.' — (Cunningham, Arch. Surv. Reports, Vol. n, p. 419,
no. 3.)
' There are eighteen carved pillars, each of 9' 9* high, supporting the
dome 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.)
(85) ' Mandapa — any open or enclosed building in connexion with
a temple. If used for any purpose, the distinctive name is prefixed.'—
Rea. (Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi, p. 39.)
(86) Madhya-mandapa — second hall of a temple.
Maha-mandapa — central hall of a temple, the nave.
Mandapa — the porch of a temple. — (Vincent Smith, Gloss, to Cun-
ningham's Arch. Surv. Reports.}
It should be noticed that the architectural treatises, general literature,
and epigraphical records corroborate one another as regards the various
types of this class of buildings.
409
MANDAPIKA AN ENCYCLOPAEDIA OF
MANDAPIK.A (see MANDAPA) — A small pavilion, a custom house.
(1) SrI-Naddula-maha-sthane sri-Sarhderaka-gachchhe sri-Maha-virade-
vaya grl-Naddula-talapada-s'ulka-mamdapikayam masanumasariu
dhupa-tailartham I
(Granted to the Jaina temple of) ' Mahaviradeva in the Sanderaka
gachchha, at the holy place (Mahasthana) of Naddula, a monthly (sum of
five drammas) (to be paid) from the custom house in the grounds (talapada-
svatala) of Naddula.'
' For passages in which the term mandapika occurs, compare Ep. Ind.f
Vol. i, p. 114, line 27 ; p. 173, line 6 (Siyadoni-satka-mandapika) ; p. 175,
lins 19 ; p. 177, lines 29 and 30 ; p. 179, line 45 ; p. 262, line 3 (pattana-
mandapika) ; Ind. Ant., Vol. xrv, p. 10, col. 2 (Sri-pathastha-mandapika) ;
Journ. As. Soc. Beng., Vols. LV, Part i, p. 47 ; iv, p. 48, and v., Bhavnagar
inscrip., p. 205, line 7. Sulka-mandapika occurs, e.g., in Bhavnagar in-
scrip., p. 158 f., lines 10, 15 and 18. The meaning of mandapika is sug-
gested by the Marathi mamdavi, a custom house.' Prof. Kielhorn. —
(The Chahamanas of Naddula, no. A, Nadol plates of Alhanadeva, lines 22-231
Ep. Ind., Vol. ix, pp. 66, 63, and note 8.)
(2) Cf. Mandapika-dayat Sreshthi-nara-sirhha-go-vrisha-dhlradi-tyaih I
(Shergadh stone inscrip., lines 1-2, Ind. Ant., Vol. XL, p. 176.)
(3) Mandapika — evidently means some public or official building of
the town. — (Ind. Ant., Vol. xrv, p. 10, second col., line 5 ; and Journ. Beng.
As. Soc., Vol. xxx, p. 332, last line ; Siyadoni inscrip., lines 6, 19, 29, 30, 45,
Ep. Ind., Vol. i, p. 166, 173 f.)
(4) Sri-Timma-dandanayaka mahisi Sri-Ranga-nayaki rachita I
Sampat-kumara-mahisi-puratah pratibhati ranga-mantapika II
' Timma-dandanayaka's wife (Queen Consort) Ranga-nayaki erected a
ranga-mantapa in front of (the temple of) the goddess of Sampat-kumara.' —
(Ep. Carnal., Vol. m, Seringapatam Taluq, no. 97 ; Roman Text, p. 59 ;
Transl., p. 28.)
MANDI (see BODHIKA) — The crowning part of the capital of a
column, a market-place, a market.
(Suprabhedagama, xxx, 57, 107 ; see under STAMBHA.)
MATTA-VARANA — An elephant in rut, a kind of entablature.
(M., xvi, 19, also L, 279 ; see under PRASTARA.)
MADIRA-GRIHA (SALA) — A drinking house, a tavern, an ale-
house.
Siva-vais'ravanasvi-s'rimadira-griharh cha pura-madhye karayet I
(Kautillya-Artha-iastra, Chap, xxv, p. 55-56.)
410
HINDU ARCHITECTURE MADHOCHCHHISHTA
MADDALA (see VALABHI) — A synonym of valabhi or a sloping
roof.
(M., xvi, 51 ; see under (BA)VALABHI.)
MADHUCHCHHISHTA— Wax, the casting of an image in wax.
Manasara (Chap. LXVIII, 1-56, named Madhuchchhishta) :
The chapter opens with an enumeration of phalli and ascetics as
well as architects whose images are to be cast in wax (lines 2-19).
The architects, called sthapati and sthapaka, make the can for pre-
paring the 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
20-44) : some part of the image is covered with a thin copper-leaf,
and the wax is laid on two or three angulas deep. Mulika(?) is
spread above the part covered with wax. The idol is heated after
it 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. This process is repeated
several times. If any of the minor limbs be lost through this process,
the image should be furnished with it again after having been heated.
But if the head or the middle of the body be damaged, the whole
image should be changed. If the master does not like the image,
it should be recast.
The whole process has to be performed through many ritualistic
ceremonies in different stages.
In other texts the process of casting an image in wax is much more clear-
ly described :
' If images have to be cast in metal, the wax must first be melted
and poured (out of the mould) and all defects removed with cloth.'—
(Karandgama, n, 41.)
' If the 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
wax.' — (Suprabheddgama, xxxrv, 21.)
' If an image is to be made of metal, it must be first made of wax, and then
coated with earth ; gold and other metals are purified and cast into (the
mould) and a complete image is thus obtained by capable workmen.'—
(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
MADHYA-KANTA AN ENCYCLOPAEDIA OF
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 class of the twelve-storeyed buildings once
prevailing in the central country (see details under PRASADA) .
Madhyamalaya-vistare-trayas-trim£ad-vibhajite I
Tri-bhagam kuta-vistararh madhya-bhadraika-bhagikam I
Maha-lala navamsarh syat £esham purvavad acharet I
Madhya-kantam iti proktam I
(M., xxx, 1 1-14.)
MADHYA-KOSHTHA— The middle compartment, the central hall.
(M., xxxm, 305, etc.)
MADHYA-NASI (see NAS!)— The middle vestibule.
(M., xv, 119, 124, etc.)
MADHYA-BHADRA (see BHADRA)— The middle tabernacle, the
central porch or hall.
(M., xv, no ; xix, 177 ; xxxm, 380, etc.)
MADHYA-BHUVAftGA— A moulding of the door.
(A/., xxxix, 72.)
MADHYA-RAftGA (see MUKHTA-PRAPANGA)— The central theatre,
the enclosed courtyard, the quadrangle surrounded by buildings
on four sides and open at the top.
Manasdra (Chap. XLVII, 1-36 named Madhya-ranga,) refers in this con-
nection to the open quadrangle, stone column and grain-column (mukta-
prapanga, Sila-stambha and dhanya-stambha). The Madhya-ranga is
provided with dwarf pillars, entablatures, platforms, daises, pedestals,
tabernacles, vestibules, pent-roofs, top-rooms, etc. The upper portion is
adorned with figures of leographs and crocodiles.
The meaning of the term is clear from the contents of this chapter and also
from the quotations given below :
Madhya-rangam tad-uddi$ya chordhve'lankara(m) vakshyate I
Evam tu chordhvalankaram madhya-range tu vinyaset I
(M., xvi, 155, 169 ; see also lines 156-168.)
In connexion with mandapas or pavilions.
(M., xxxrv, 128,210,234,324,456,610.)
Grihe va madhya-range va pars' ve va chaiSa-konake (ankurarpanam
kuryat) I
(M., xxxvii, 13.)
The central part of the coronation hall.— (Af.,xnx, 183.)
4I2
HINDU ARCHITECTURE MANDIRA
MADHYA-&ALA (cf. SALA)— The middle hall, a special interior
chamber, a kind of council hall.
Kshudra-salashtadha proktam koshtha-sala-chatushtayam I
Madhya-sala-tri-bhagena bhadra-sala cha madhyame I
(M., xxvi, 12-13; see also M.t xx, 56, etc.)
MANDARA — A type of building which is 30 cubits wide, has ten
storeys and turrets.
(1) Trimsad-dhastayamo dasa-bhaumo mandarah Sikhara-yuktah I
(Compare this with Kasyapa quoted by the commentary and given
below) :
Mandarah sikharair yuktah shad-asrir dasa-bhumikah I
Trimsad-dhastarhs cha vistlrnah prasado'yam dvitiyakah II
(Brihat-samhitd, LVI, 21, J. R. A. S.>
N. S., Vol. vi, p. 319.)
(2) Bhavishya-Purdna (Chap, cxxx, v. 28; see under PRASADA).
(3) Matsya-Purana (Chap. CCLXIX, vv. 28, 32, 47, 53; see under PRASADA).
(4) Agni-Purdna (Chap, civ, w. 14, 15 ; see under PRASADA).
(5) Garuda-Purdna (Chap. XLVII, vv. 21-22, 24-25 ; see under PRASADA).
(6) A building with four salas (compartments) and eight kutas (towers
or domes) :
Mand(h)ara-nama ity-uktas chatuh-salashta-kutakam II
(Suprabhedagama, xxxi, 43.)
MANDIRA — A type of building, a hall, a room, a temple, a shrine.
(1) A type of rectangular building (Garuda-Purdna, Chap. XLVII,
vv. 21-22, 26-27 : sec under PRASADA).
(2) Three kinds of mandira (Vdstu-vidyd, ed. Ganapati Sastri, vn, 15-18) :
(3) Shodasa-mandira-chakra (Vdstu-tattva, 1853, p. if., see under GRIHA-
VINYASA).
(4) Paritah pranavakara-prakara-valayamchitam I
Kamanlya-sala-stambha-kadambottambitarhvaram 1 1
Visamkata-vitam kali-virajad-ramga-mamtapam 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 ranga-
mandapa 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
MASi-(sl)Ti AN ENCYCLOPAEDIA of
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 I
' 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,
ibid. no. 18, inscrip. at the Dharmaraja mandapa, Mamallapuram, v. 10, p. 6.)
(6) ' Kosa-varddhana-girer anupurwam so'yam unmishita-dhih suga-
tasya I
Vyastam arani-karaika-garimnyo mandirarh sma vidadhati yathar-
tham II
' To the east of mount Kosa-vardhana, this man of open intellect
established in a manner suitable to the purpose a temple of that Sugata
(Buddha), the dignity of whom alone sufficed to defeat hosts of Maras.' —
(Buddhist Sanskrit inscript., from Kota, v. 17 ; Ind. Ant., Vol. xiv, pp. 46, 48.)
(7) . . . Tenedarh marhdirarh Kama-vidvishah I
Karitam muktaye bhaktya kirttayecha kritatmanam II
(Inscrip. of the Kings of Chedi, no. A, Tewar stone inscrip.
of Gaya Karnadeva, line 17, Ind. Ant., Vol. XVHI, p. an.)
(8) Jainarh mandiram indira-kula-griharh sad-bhaktito' chikarat I
' Out of pure faith, he made this Jaina temple a home for Lakshmi.' — •
(Ep. Carnal., Vol. u, no. 65 ; Roman Text, p. 60; Transl., p. 149.)
MASI(-SI)TI — A mosque, a Muhammadan place of worship.
' Rangai-Nayakayya, in order to endow the stone masiti (mosque)
(kalla-masltiya-deva-sthanakke), which Babu Setti had erected in the
inner street of Sindaghatta, made a grant for it of the village of Sivapura
and Habiba's house.' — (Ep. Carnal., Vol. iv, Krishnarajapet Taluq, no. 72 ;
Transl., p. in, Roman Text, p. 183.)
MASORAKA — A lintel, i.e., thin piece of timber or stone that
covers an opening and supports a weight above it. It implies the
cornice of the entablature. It is sometimes used in the sense of
adhishthana or base.
(i) Adhishthana-vidhirh vakshye sastre sarhkshipyate'dhuna I
Harmya-tunga-vasat proktam tasya masurakonnatam I
(M., xiv, i, 8.)
Tasman masurena sahaiva sarvam kritam vimaneshu cha bhu-
shanani I
(Ibid., 409-410.)
414
VUPA STAMBHA.
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UPPER FLOOR PLAN.
MASITI.
Page ilt
ARCHITECTURE MAHA-NAsl
Evaih chatuh-shashti-masurakani sastrokta-manena vibhajitani I
(Ibid., 393-394-)
Ahatya(m) ashtadha harmyaih ganya-manam ihochyate I
Utsedhe chashta-bhage tu ekamsena masurakam I
Dvi-bhagam changhri-tungam. ... I
(M., xix, 20-22 ; see also XLVII, 5 ; xxxiv, 266, etc.)
(2) Tad-varddhitopapitham va tad-varddhita-masurakam I
Padayama-samottunga-masuraka-yutam tu va I
(Kdmikagama,xxxv, 115.)
Masura implies the cornice of the entablature.
(Ibid., LIV, 47 ; see under PRASTARA.)
Masura, a synonym, as stated, but apparently a component part, of
adhishthana or base :
Masurakam adhishthanarh vastvadhararh dharatalam I
Talaih kuttimady-angam adhishthanasya kirtitam II
(Ibid., LV, 202.)
MAHA-KANTA— A class of eight-storeyed buildings.
(M., xxvi, 35-39 ; see under PRASADA.)
MAHA-GOPURA— The gate-house of the fifth court or at the
extreme boundary of a compound.
(M., xxxm, 10 ; see under GOPURA and PRAKARA.^
MAHA-GRAMA— A large village.
(M., x, 79 ; see details under GRAMA.)
MAHA-TAULI — A synonym of prachchhadana or roof, the top-
floor.
(M., xvi, 57.)
MAHA-DVARA — The great door, the chief or outer gate of a village,
town or house.
(A/., ix, 290, 315 ; see under DVARA.)
Maha-dvaram tu sarvesham langalakara-sannibham I
Kapata-dvaya-samyuktarh dvaranam tat prithak prithak I
(M., ix, 360-361 ; see also xxxi, 79.)
MAHA-NASl (see NASI) — A large vestibule.
(Nasika-sikharanvitam) tad-ardham stupikottunge tan-maha nasika-
Sraye I
(M., xv, 91.)
Dvi-lalate maha-nasi ekadasa-sikhanvitam I
(M., xxxm, 202, etc.)
MAHA-PADMA AN ENCYCLOPAEDIA OF
MAHA-PADMA — A type of round building.
(1) Agni-Purdna (Chap, civ, vv. 17-18; see under PRASADA).
(2) Garuda-Pxrdna (Chap. XLVII, vv. 21, 23, 28-29; see under PRASADA).
MAHA-PATTA— A moulding of the base, a laige fillet.
(M., xiv, 301 ; see the lists of mouldings
under ADHISHTANA.)
MAHA-PlTHA— The pedestal, a site plan, the lower part of the
phallus :
A site plan in which the whole area is divided into sixteen equal
squares. — (M., vu, 5, 61 ; see under PADA-VINYASA.)
Cf. Maha-pltha-padc rathya dikshu dikshu trayam tathii I
(M., ix, 429, etc.)
The pedestal of an image :
Padma-pitharh maha-pl{ham tri-murtinarh cha yojayet I
(M., LI, 86, etc.)
MAHA-MANDAPA (see under MANDAPA)— The great hall of
entrance to the main shrine of temples.
(Chalukyan Architecture, Arch. Surv., New
Imp. Series, Vol. xxi, p. 39.)
See under MANDAPA :
Mangalagiri pillar inscrip. (vv. 44, 47, 51, Ep. Ind., Vol. vi, pp. 114,
115, 123, 124, 125).
Two Jain inscrip. of Irugappa. (no. B, line 2, ibid., Vol. vn, p. 116).
Inscrip. from Nepal (no. 23, inscrip. of Queen Lalita-Tripu; a Sundari,
v. 3, Ind. Ant. Vol. rx, p. 94).
' This building (maha-mandapa) stands in the east central portion of
the large court. ... it originally stood detached from the central
vimana.'
' The plan is a rectangle with the greater length from north to south.
The four sides are open in the centre, and on each fagade, a portion of the
wall is returned along the several elevations from the four corners. The
east front has the entrance divided into three bays by two square piers,
with a responding pilaster on the return wall at each side.'
' The west side or back is similarly divided, but the piers are octagonal
for a portion of their length.'
' The north and south entrances are simple openings, with pilasters on
the sides, undivided by piers.'
416
HINDU ARCHITECTURE MANI-BHADRA
' Two yalis on the back responding pilasters are abutted against and
partly covered by the east wall of the modern ardha-mandapam. The
forated window in the east wall of the ardha-mandapam opens in to the
maha-mandapam.' — (Pallava Architecture, Arch. Surv., New. Imp. Series,
Vol. xxxiv, p. 36, paras, i, 2, 3, 4, 8 and 10 ; see also Plate L.)
' The maha-mandapa was roofed also by overlapping courses of stones :
the square corners were gradually rounded off by successive small por-
tions, till it formed an octagon, over which the circular roof proper rested.'
— (Cunningham, Arch. Surv. Reports, Vol. vm, p. 171, para. 2.)
MAHA-MARYADA — The fifth enclosure (prakara) at the extreme
boundary of a compound, the gate-house thereof is called maha-
gopura or dvara-gopura.
(Suprabhedagama, xxxi, 118, 125; see under PRAKARA.)
MAHA-VAJANA — A large fillet, a moulding of the entablature.
(M., xvi, 69 ; see the lists of mouldings under PRASTARA.)
MAHA-VRITA— A kind of phallus.
(M., LII, 2 ; see under LINGA.)
MAHA-VRITTA— A kind of joinery.
(M., xvn, 102 ; see under SANDHI-KARMAN.)
MAHA-SALA— A large hall.
Cf. of the sixteen parts width of a building the maha-sala is seven parts
broad. — (M., xxvi, 10, etc.).
MAHASANA — A site plan in which the whole area is divided
into 225 equal squares.
( M., vii, 18-20 ; see under PADA-VINYASA.)
MAHAMBUJA — A large cyma, a moulding of the pedestal.
(A/., xni, 91 ; see the lists of mouldings under UPAPITHA.)
MAGADHA(-KANTA) — A class of twelve-storeyed buildings once
prevailing in the country of Magadha.
Tad evam anu-sala madhye bhadra-salaika-bhagikam I
Evarii magadha-kantam syat karna-kuta-sabhadrakam I
(M., xxx, 33-34; see also 31-32 under VAMSA-KANTA.)
MANI-BHADRA (see MANI-BHADRA) — A pavilion with sixty-four
columns.
i
(Suprabhedagama, xxxi, 103 ; set under MANDAPA.)
417
MATRAftGULA AN ENCYCLOPAEDIA OF
MATRAftGULA (see under ANGULA) — A measure equal to the
middle digit of the middle finger in the right hand of the architect
or priest, employed in measuring the sacrificial objects like the kusa-
grass or seat, the spout of a ladle, and the ladle, etc.
(Suprabheddgama, xxx, 4-5, 7-8 ; see under ANGULA.)
MANA— A house well measured (A.-V., ix, 3 ; HI, 12). The measure-
ment of height or length.
(i) The linear measurement is divided into six kinds — Mana (Ayama,
Ayata, Dirgha), Pramana, Parimana (Vistara, Tara, Striti Vistriti, Vis-
trita, Vyasa, Visarita, Vipula, Tata, Vishkambha, Visala), Lamba-mana
(Sutra, Unmita), Unmana (Bahala, Ghana, Miti, Uchchhraya, Tunga,
Unnata, Udaya, Utsedha, Uchcha, Nishkrama, Nishkriti, Nirgama,
Nirgati, Udgama), and Upamana (Nivra, Vivara, Antara).
The measurement from the foot to the top of the head is called Mana
which is in fact nothing but height. Pramana is the measurement of
breadth (vistrita). Parimana is the measurement of width or circum-
ference (paritah). Lamba-mana is the measurement along the plumb
lines or the lines drawn perpendicularly through different parts of the
body, Mana, or the measurement of height being determined by the sur-
face of the body. Unmana is the measurement of thickness (nimna) or
diameter. And Upamana is the measurement of interspace (antara),
such as the distance between the two feet of an image ; this measurement is
apparently taken from one plumb line to another :
Manam chapi pramanam cha parimanam lamba-manakam I
Unmanam upamanam cha manam padmam samiritam I
Padangushthi-sasimantaih siro'ntarh manam chapi prakathyate I
Pramanam vistritam proktarh paritah parimanakam I
Tat-sutral lamba-manarh syan nimnam unmanam uchyate I
Avantaropamanam syad bimbodayadi-sarvasah I
Manam evam tu shad-bhedam manenangani manayet I
(M., LV, 3-9.)
The primary measurement (adi-mana) is but the comparative measure-
ment and is 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 sanc-
tuary or central hall (garbha-griha), (iii) the length of the door (dvara-
mana), (iv) the measurement of the basement (adhishthana), (v) cubit,
(vi) tala (a span), (vii) angula (finger's breadth), (viii) the height of
418
HINDU ARCHITECTURE MANA
the worshipper, and (ix) the height of the riding animal (vahana) of the
principal idol :
Adimana-vidhirh samyak(-g) lakshanam cha ihochyate I
Harmya-tara-vasan manam garbha-geha-vasodayam I
Dvara-mana-vasat tungam adhishthana-vasodayam I
Hasta-mana-vasan manam tala-mana-vasodayam I
Angulenapi chottungam yajamana-vosodayam I
Mula-bera-vasan manam uttamadi traya rh trayam I
(M., LV, 10-15.)
Each of these nine measures is again divided into nine kinds :
Tasmad ekarh tu pratyekarii nava-manam ihochyate I
(Ibid., 22.)
Under (i), (ii), (iii), (iv), the proportions naturally vary on various
occasions ; no specific rules are, therefore, prescribed.
The details of (v) cubit or hasta and (vii) angula will be found under
the term ' Angula ' and the details of (vi) tala are given under ' TALA-
MANA.'
Of the division under (viii) the details of the height of an image as
compared with the height of the worshipper are given here. The height
of the image may be equal to the full height of the worshipper, may extend
up to his hair-limit (on the forehead), or, as sometimes stated, to the eye-
line, nose-tip, chin, arm-limit (to the shoulder), breast, heart, navel, and
sex organ :
Kanyasad uttamantam syad yajamanodayam param I
Kesantam nasikagrantarh hanvantam bahu-simakam I
Stanantam hridayantam cha navyantam medhra-slmakam I
Navadha kanyasantam syat sthavaram jangamodayam I
(Idid., 30-33-)
And of the division under (ix) 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).
Hasta (v) and angula (vii) are the real units, employed equally in measur-
ing both architectural and sculptural objects.
The rest are exclusively sculptural and comparative measures. The
similar measures have also been prescribed for architectural objects. The
architectural ' Ganya-mana ' or the comparative heights of the component
members of a structure corresponds to the sculptural ' Tala-mana ' or the
comparative heights of the component limbs of a statue (see details under
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
MANA-BHADRA AN ENCYCLOPAEDIA OP'
Paushtika, Jayada, Sarva-kamika or Dhanada, and Adbhuta (see details
under UTSEDHA).
The ' Ghana-mana ' or the measurement by the exterior and the
' Aghana-mana ' or the measurement by the interior are exclusively archi-
tectural (see details under these terms).
Like the sculptural terms Mana, Pramana, Parimana, Lamba-mana,
Unmana and Upamana, there are architectural terms also to express
length, breadth and width, e.g. dirgha (for dairghya), tara, vistara, visala,
vistriti, vistrita, vishkambha, etc. Mana as stated above is the tech-
nical 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,
width, etc. (Further details will be found under these terms.)
(2) Atah-pararh pravakshyami manonmanam viseshatah I
' After this I shall speak about the Mana and Unmana measurements
in particular.'
This is followed by an account of various measures. (Note the different
tala measurements employed in statues.)
(Matsya-Purana, Chap. CCLVHI, v. 16.)
(3) Manarh tad-vistaram proktam unmanam naham eva cha I
(Suprabhedagama, xxxiv, 35.)
(4) Parimanonmana-manam dharyarh raja-vimudritam I
Guna-sadhana-samdaksha bhavamtu nikhila janah II
Prof. Benoy Kumar Sarkar's translation of ' Parimana ' by ' standard
of measurement for lands,' ' Unmana ' by ' unit of measurement for
liquids,' and ' Mana ' by ' unit of measurement for grains ' is untenable.
(Sukranitisara, ed. Oppert, i, 310.)
MANA-BHADRA — A pavilion with twenty-six pillars.
(Matsya-Purana, Chap. CCLXX, v. 12 ; see under MAN^APA.)
MANA-MANDIRA (see MANDIRA) — The observatory.
Cf. The observatories at Benares, Delhi, Ujjain, Mathura, and Jaipur.
(See Ind. Ant., Vol. xxxv, p. 234.)
MANA V A — Relating to Manu or human being, a pavilion with
twenty-eight pillars.
(Matsya-Purana, Chap. CCLXX, v. 12 ; see under MANDAPA.)
MANANGULA (see under ANGULA) — The standard measure (equal
to f inch), the unit of length.
420
HINDU ARCHITECTURE MALIKA(-KA)
The smallest measure is the atom or paramanu, i.e., the particle of dust
visible in the sunshine through a lattice — (Brihat-samhitd, LVIII, i).
8 atoms= I car-dust.
8 car-dusts= i hair's end.
8 hair's ends= i nit.
8 nits= i 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 ; see under ANQULA.)
MANUSHA — Relating to the human being, a kind of phallus.
(Kamikagama, L, 35, 38 ; see under LI&GA.)
MARGA — A road, a street, a way, a path, a lane, a passage, a canal,
a course.
Ghandalanarh pravesaya nirgamaya malasya cha I
Jalasya nirgamartharh tu kshudra-margah pras"arhsitah 1 1
(Kamikagama, xxxvin, 8.)
MALIKA(-KA) — A class of buildings, a type of pavilion.
(1) Kudyasyanta-prades'e tu yuktya chavrita-malikam I
Malikopari vapra(rh) syad adhishthanarh samodayam I
(M., xxxi, 60, 64.)
A type of pavilion (mandapa) :
Evam tu malikakaram ^esharh prag-uktavan nayet I
(M., xxxiv, 315 ; see for description 297-314.)
Mandape chordhva-kutarh syan malikakriti(rh) vinyaset I
(M.jXxxrv, 291.)
(2) Kechid vai malikakara kechid vai gopurakritih 1 1
(Suprabhedagama, xxx, 123 : see for full
context 115-122, under PRAKARA.)
Tad-bahye'bhyantare vapi malika-mandaparh hi va II
(Ibid., xxxi, 128.)
(3) Ta (Sala) eva malikah prokta malavat kriyate yatah 1 1
Pancha-das'a-karantarh tu kuryad avrita-mandapam 1 1
Mandapena vina vapi tena manena plthika I
Vibhadra va sabhadra va karatavya malika budhaih 1 1
(Kamikagama, xxxv, 6, 99, 100.)
42I
MALIKA(-KA) AN ENCYCLOPAEDIA OF
Kdmikdgama (Chap. XLI, named Malika-lakshana) :
Classification :
Chaturdha malika Sala sabha-mundaja-saudhaje II (r)
Definitions (vv. 2-5) :
Salayam api Salanga nishkrantanana-Sobhita I
Sa s"ala malika jfieya sastre' smin Kamikagame II
Sabhavad vihita bahye prasadavad alankrita I
Uha-pratyuha-sarhyukta ya sabha sa cha malika 1 1
Yatheshta-disi samyukta bhoga-bhumi-samanvita I
Prasada-vyasa-dirghochcha prokta prasada-malika 1 1
Mandapasyokta-vistarayama-tunga-vibhushinl I
Sarvatra mundakaratvat kathita munda-malika 1 1
Further classifications (vv. 6-7) :
(i) Samchita, Asamchita, and Upa(also Apa)samchita.
(ii) Nagara, Dravida, and Vesara.
(iii) Jati, Chhanda, and Vikalpa.
(iv) Suddha, MiSra, and Samkirna.
(v) Vija, Mula, and Ankura (this class is not specified).
(Excepting the last one, all the other classes occur in the Mdnasdra also ;
see under Vimana-lakshana.)
The details of these classes are given (vv. 8-22).
Still further classifications are given under the following names :
Sindhuka (w. 23-28), Sarhpurna (vv. 29-30), Meru-kuta (v. 31),
Kshema (vv. 32-34), Siva (w. 35-38), Harmya (vv. 39-40),
Saumya (v. 40), ViSala (v. 41), Sarva-kalyana (vv. 42-49)
Vijaya (v. 50), Bhadra (v. 51), Rangamukha (v. 52), Alpa
(w. 53-54). Kona (vv- 55-58)» Geya (w. 58-59), Sara (v. 60),
Pushkara (vv. 61-63), Adbhuta (v. 6ia), Samkirna (v. 62), and
Danda (v. 64).
Aneka-bhumi-yukta tu malakara tu malika II
(Ibid., L, 89.)
Malika-yukta-sa(? sa)lam chet kona-stambhe dvitiyake I
Prathamavarane vapi dvitiyavarane nyaset 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 (domes) of shining gold, surrounding wall, adorned with ex-
cellent buildings, 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
HINDU ARCHITECTURE MUKHA
MALIKA-MANDAPA— A pavilion of the Malika class of build-
ings.
(Suprabheddgama, xxxr, 128 ; see under MALIKA.)
MALYAJA — A class of buildings, a type of pavilion.
(M.y xxxiv, 153 ; see under MANDAPA.)
MALYAHUTA — A class of buildings, a type of pavilion.
(M., xxxiv, 316; see under MANDAPA.)
MI&RA — A building made of any two materials out of wood, brick,
stone, iron, etc.
Eka-dravyam tu suddarh syad dvi-dravyarh misra-harmyakam I
(M., xvin, 138, etc.)
Dravya-dvaya-yutarh misraih sarhklrnarh bahubhir yutam I
(Kdmikdgama, XLV, 22.)
MI&RITA — A kind of ornament prescribed for idols and kings.
(M., L, 1-3 ; see under BHUSHANA.)
MUKULA — A bud-like crowning ornament of a pillar.
(M., xv, 32 ; see lists of mouldings under
ADHISHTHANA, UPAPJTHA and PRASTARA.)
MUKULI — A type of round building.
(Garuda-Purana, Chap. XLII, w. 21, 23, 28
29 ; see under PRASADA.)
MUKTA-PRAPANGA (see MADHYA-RANGA)— The open court-
yard connected with a tank (' mukta ' meaning open, and ' pra-
panga ' the body part or bank of a tank). It is built inside the
court.
(M., XLVII, 2 f.)
It is stated to be made of wood, stone, brick, etc., and also of jewels and
iron especially :
Mukta-prapangam api daru-sileshtakadyaih I
Ratnair aneka-bahu-loha-viseshakaih I
(M., XLVII, 31-32 ; see also XLVIII, 68.)
MUKHA — 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.)
MUKHA-BHADRA AN ENCYCLOPAEDIA OF
The front side of a building (see Kamikdgama and Brihat-samhitd
under DVARA).
MUKHA-BHADRA (see BHADRA)— A portico, a porch, the front
tabernacle, the middle niche, the front room corresponding to
modern drawing-room or reception hall, staircase room.
Sarvesharh mukha-bhadrarh syal lakshanarii vakshyate'dhuna I
(M., xviu, 275 ; see also 276 f.)
Sarvesham mukha-bhadranam parsve sopana-samyutam I
(A/., xxx, 93.)
Parito'linda-bhagena varanam (=door) mukha-bhadrakam I
(M., xxxiv, 251.)
' The temple (at Amarnath) itself faces the west but the mandapa or
antarala — the hall of the shrine — has also doors to the north and south.
Each of the three doors has a porch (mukha-bhadra), approached by four
or five steps, and supported by four nearly square pillars, two of them
attached to the wall.' — (The temple of Amarnath, Ind. Ant., Vol. m, p. 317,
c. i, last para.)
Deva-Sri-s'a£i-bhushanasya kritina devalayarh karitam yugmam
mamdapa-sobbitam cha purato-bhadram pratolya saha I
Kshetresasya tatha suralaya-vararh sphitam tadagarh tatha band-
ham Kaudika-samjnakam bahu-jalam dirgham tatha khanitam I
(Ranker inscrip. of Bhanudeva, v. 7,
Ep. Ind., Vol. ix, p. 127.)
MUKHA-MANDAPA— The pavilion in front of a temple.
(M., xix, 198-199, etc.; see under MANDAPA.)
Garbha-sutra-sama-bhagad agrato mukha-mandapam 1 1
(Matsya-Purana, Chap. CCLXIX, v. 6 ; see also
v. ii ; also Garuda-Ptrana, Chap. XLVII, v. 10.)
Prasada-garbha-manam va kurwlta-mukha-mandapam II
Sikharasya chaturthena agrato mukha-mandapam II
(Agni-Purana, Chap. XLII, vv. 7, 12.)
' Made the mukha-mandapa (muga-mandaman) and consecrated (the
shrine).' — (Two Anaimalai inscrip. no. II, Ep. Ind., Vol. vm, pp. 320-321).
MUKHA-VARANA— The entrance door.
(M., xxxv, 395 ; see DVARA.)
MUKHYA-HARMYA— The main building, the chief temple.
(M., xra, 14.)
424
HINDU ARCHITECTURE MUSHTI-BANDHA
MUNDA-MALIKA— A class of buildings, the top room.
(Kdmikagama, XLI, 5 ; see under MALIKA.)
MUNDA-HARMYA— The top room.
(See Kautillya-Arllia-sastra under CHULIHARMYA. )
MUNDAKA-DVARA— A kind of upper door.
(See Kautillya-Artha-sdstra under DVARA.)
MUDRIKA — A small seal, a stamped coin, an impression, a mould-
ing of the column.
(Suprabhedagama, xxxi, 108, 105-177,
109 ; see under STAMBHA.)
MUDDHA-VEDI— The so-called Buddhist tee, railings in relief are
frequently added to it, balustrade, railing.
(Mahavamsa, 35, 2, ed. W. Geiger, p. 297.)
MUNI — An ascetic. An account of the images of the seven
patriarchs is given in detail in the Manasara. Agastya is measured
according to the seven tala, Kasyapa and Bhrigu according to the
eight tala, and Vashishtha, Bhargava, Visvamitra and Bharadvaja
according to the nine tala. (Details of these measures will be found
under TALA-MANA.)
(M., LVII, 2-6.)
The characteristic features of the patriarchs are also described.
(Ibid., 7-17.)
MUSHTI-BANDHA— A moulding of the entablature and of the
column, a kind of roof, the topmost part of a building, a part of
the rampart and of the arch.
The third moulding from the top (downwards) of the entablature (Kdmi-
kagama, LIV, i, see under PRASTARA).
A member of the column (M., xv, 185, see under STAMBHA).
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
MURTI AM ENCYCLOPAEDIA OF
MORTI — An image, a statue, an idol.
(1) An image, a statue (A/., LI, 26, etc.).
(2) Amgulais cha tatha murti§ chatur-a&ti-sammitaih I
(Bhavishya-Purana, Chap, cxxxn, v. 7.)
(3) De&nurupa-bhushana-veshalankara-murtibhih karya I
(Brihat-samhitd, LVHI, 29.)
(4) Silakharena janita satya-sandhyasya bhautiki I
Murtih kirtimayi chasya krita tenaiva sasvati II
'By the stone-chisel a material body of Satyasandha was executed,
and by the same an eternal body of his fame was produced.'
' The two inscriptions (nos. 33, 34, H. S. I. I., Vol. i.) record that a
king Gunabhara . . . constructed a temple of Siva on the top of the
mountain and placed in it a lihga and a statue of himself.' — (Trisirapalli
Cave inscrip., no. 33, v. 4, H. S. 1. 1., Vol. i, pp. 29, 30.)
(5) Uttara-bhagada Kaisaleyalli pancha-vimsati-llla-murtigalarh pra-
tishtheyam I
' Set up on the colonnade to the north twenty-five pleasing (lila — a
particular attitude, like dhyana-murti) statues.'— [Ep. Carnal., Vol. iv,
Chamarajnagar Taluq, no. 86 ; Roman Text, p. 18, lines 15, 10 (bera), 13
(vigraba) ; Transl., p. 11.]
In this inscription, the expressions bera, vigraha, and murti occur ; they
are to be distinguished : bera or bimba is an idol of a god, vigraha (or image)
expresses almost the same idea, mini implies the statue of both gods and
men, and so also does pratimd.
MORTI-KANTA— A type of storeyed building.
A class of five-storeyed buildings (M., XXIH, 19-24 ; see under PRASADA.)
MOLA-DANDA — The regulating column of a building, the founda-
tion pillar.
The main column (M., xv, 236; see also L, 104, etc., under STAMBHA).
MDLA-BERA — The chief deity in a shrine, the principal idol of a
temple.
(M., LV, 34; LXI, 21 j LIV, 3, etc.)
MULA-STAMBHA — The foundation pillar, 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.' — (Inscrip. at Tirukkalukkunram,
line 34, H. S. I. /., Vol. HI, p. 148.)
426
HINDU ARCHITECTURE MERU
MDLA-HARMYA— The chief of the buildings forming a group,
the principal shrine, the main temple.
(M., xin, 19; xxxix, 135, etc.)
MRIGA-VANA — 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 bhagna-
nakha-damshtra-vyala-margayuka-hasti-hastini-kalabha-mriga-vanam viha-
rartham rajnah karayet I
Sarva-tithi-mrigam pratyante chanyan mriga-vanam bhumivasena va
nivesayet I
(Kautiliya-Artha-saslra, Chap, xxm, p. 49.)
MRINALAKA — A lotus stalk or fibre, a moulding of the entablature,
base, or pedestal, etc., shaped like the lotus stalk or fibre.
A moulding of the lintel (M., xix, 145, etc.).
The fourth moulding from the top (downwards) of an entablature.
(Kamikdgama, LIV, i ; see under PRASTARA.)
A moulding of the entablature (M., xvi, 63 ; see the list of mouldings
under PRASTARA.)
MEGHA-KANTA— A type of storeyed building.
A class of ten-storeyed buildings (M., xxvin, 16-17; see under
PRASADA.)
MERU — A class of buildings mostly storeyed.
(1) A type of buildings which are hexagonal (in plan), have twelve
storeys, variegated windows and four entrances, and are 32 cubits wide.
(Brihat-samhitd, LVI, 20 ; see J. R. A. S.
N. S., Vol. vi, p. 318.)
Pancha-chatvarimsan-meru-lakshanadhyayah — the chapter on the des-
cription of forty-five kinds of Meru buildings ; they are described by the
following authorities :
(2) Prdsdda-mandana-Vdstu-s'dstra of Sutradhara Mandana (Chap, vi,
Ms. Egg. 3146, 2253, fol. 26 b).
(3) Matsya-Purdna (Chap. CCLXDC, w. 28, 31, 53, see under PRASADA).
(4) Bhavishya-Purdna (Chap, cxxx, v. 27 ; see under PRASADA.)
(5) Agni-Purdna (Chap, civ, vv. 14-15 ; see under PRASADA.)
(6) Garud.a-Pu.rdna also describes the same kind of Meru temple as the
Agni-Purdna :
Sata-sringa-samayukto meruh prasada-uttamah I
Mandapas tasya karttavya bhadrais tribhir alankritah II
(Chap. XLVII, v. 24, cf. also v. 39 ; see under PRASADA.)
427
MERU AN ENCYCLOPAEDIA OF
(7) A building with eight Salas (compartments) and eight kutas (towers
or domes) :
Merur nama iti khyatas tv-ashta-salashta-kutakam(-h) II
(Suprabhedagama, xxxi, 43.)
(8) ' Meru denotes a particular kind of temple (hexagonal with twelve
stories, variegated windows, and four entrances, Brihat-samhitd, LVI,
20.)' — (jabbalpur copperplate of Yasahkarnadeva, v. 13, Ep. Ind., Vol. n,
pp. 4, 6, note 42.)
(9) See Bheraghat inscrip. of the Queen Alhana Devi (v. 9, Ep*
Ind., Vol. n, pp. n, 15).
( 10) Kanaka-si-(s"i)glapita-gagana-khelat-khecharl-chakra-khedah I
Kim aparam iha kas(s)yam yasya dughdhabdhi-vichl-valaya-
bahalakirtteh kirttanarh karnna-meruh II
' Of him whose fame is like the circle of waves of the milky ocean, need
we 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
the sky.' — (Khairha plates of Yasahkarnadeva, v. 13, Ep. Ind., Vol. m, pp. 211,
212, 216.)
(n) ' Meru is primarily the name of the fabulous golden mountain
(hemadri), the centre of Jambu dvipa on which the gods dwell (suralaya),
and 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
mount Meru is the home of the gods, a large temple with six towers, twelve
stories and wonderful vaults (Brihat-samhitd, LVI, 20).'
' 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, its meaning is no doubt (as the
Prithvi-rdja-vijqya, v. 100, suggests), the Meru made by 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,
properly Kumbhala-meru, ' the meru built by Kumbhala or Kumbha-
karna,' which is the well-known hill-fort in Mevad. (In the Rajputana
Gazetteer, Vol. in, p. 52, the fort is called Komalgarh, while Col. Tod
428
HINDU ARCHITECTURE MAULI
gives Komalmer) . The name Kumbhala-mcru occurs in the Jaina Patta-
valis (see the description of the 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,
Vol. ii, p. 271). The form Bahada-meru is used by the Jainas (see the
description of the Kharatara, no. 58, Sripuj-Jina-samudra, Ind. Ant., Vol.
xi, p. 249). In Kathiavad, there is Jhanjmer, (Bombay Gazetteer, Vol.
vin, p. 459) properly Jhanjha-meru, the Meru made by Jhaiijha, and in
the Central Provinces there is another Ajmir-garh, properly Ajaya-meru-
gadha, the fort, i.e., the Meru made by Ajaya.' — -(Origin of the town
of Ajmer and of its name, Dr. Biihler, Ind. Ant., Vol. xxvi, p. 164, last para.,
notes 11-15.)
(12) ' 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
Imp. Series, Vol. xxxm, p. 85.)
(13) ' Mandiram had the surname Jaya-meru-Sri-Karana-mangalam
(lines 1 1 and 15 f.), which seems to be derived from Jaya-meru, one of the
surnames of the Bana king Vikramaditya.'— (Inscrip. of Rajaraja I, no. 50,
H.S.I.I., Vol. HI, p. 103, para. 2.)
MERU-KANTA— A type of storeyed building.
(1) A class of three-storeyed buildings (M., xxi, 41-49, see under
PRASADA) .
(2) A type of building (Kamikdgama, LXV, 31 ; see under MALIKA).
MERUJA — A type of building, a class of pavilions.
(M., xxxiv, 160 ; see under MANDAPA.)
MESHA-YUDDHA— A kind of joinery.
(M., XVH, 93, 112-113; see under SANDHI-KARMAN.)
MAULI— A head-gear, a crown.
Mdnasdra (Chap. XLIX, 1-232, named Mauli-lakshana) :
Various crowns and head-dresses are described : Jata, Mauli,
Kirita, Karanda, Sirastraka, Kundala(Kuntala), KeSa-bandha,
Dhammilla, Alaka, Chuda, Makuta, and Patta (lines 13-15).
Of these, the Pattas are sub-divided into three kinds, namely, Patra-
patta, Ratna-patta, and Pushpa-patta (line 16). Kuntala, Kesa-bandha,
Dhammila, Alaka and Chuda are apparently various fancy modes of hair-
dressing. Jata (clotted hair) and Makuta (lit. diadem) are stated to
suit Brahma and Siva (Rudra) ; Kirita and Makuta are prescribed for
Vishnu in his different forms, such as, Narayana and others (lines
17-18).
429
MAULIKA AN ENCYCLOPAEDIA OF
Other petty gods wear Karanda and Makuta (line 19). The love god-
dess Rati (Manonmani) wears Jata, Mauli, Mandala or Kundala. Sarasvati
and Savitri put on Kes"a-bandha and Kundala. All the female deities
may wear Karanda or Makuta. The kings Chakra-vartin (Sarva-bhauma)
and Adhiraja wear Kirita, Narendra puts on Karanda, Parshnika uses
Sirastraka, or the Chakra-vartin and other kings may, as stated, wear
Karanda or Makuta. Patra-patta is stated to be suitable for the king
Patta-dhara, Ratna-patta for Parshnika, Pushpa-patta for Patta-bhaj,
and Pushpa-malya (flower wreath) for Astra-graha (lines 20-28).
Kundala (Kudmala) and Makuta are prescribed for the queen of Chakra-
vartin, Kcsa-bandha for the queens of Adhiraja and Narendra, Dhammilla
and Kumuda for the queens of Parshnika, Patta-dhara, MandaleSa and
Patta-bhaj, and Alaka and Chuda for the queens of Astra-graha (lines
29-33)-
The height, etc., of a crown is determined in comparison with the width
of the face of the wearer. Different proportions are suggested in different
cases (lines 34-63).
Next is described in detail the number of gold pieces and precious jewels
in the crowns of the kings of various ranks and of their consorts (lines
64-88, 89-92).
Forms of these crowns are then described :
Jata, Makuta, Kesa-bandha and Dhavala (? Dhammilla) are stated
to be shaped like tri-purusha (lit. three ancestors or the length of
three men) Kirlta like venu-karna (bamboo-ear), Karanda like the
beak of a peacock, Sirastra like budbuda (water bubble), and
Dhammilla like vallika (creeper) (lines 93-95).
Then follows the description of the plan and the various parts of these
crowns, as well as of their measurement (lines 96-168).
MAULIKA— A type of pavilion, a class of halls, a type of build-
ing.
A type of pavilion with six faces (M., xxxiv, 554; see under MANDAPA.)
A class of halls (M., xxxv, 3, 10 ; see under SALA.)
MAULI-BANDHA— A head-gear.
(M., XLIX, 109 ; see under BHUSHANA.)
MAULI-MUNDA— The 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 RAKTA-PATTA
YAKSHA — A class of demi-gods, the attendants of Kubera or the
god of wealth, who guard his treasures ; they are also the chowry-
bearers of other gods. They are stated to be measured according
to the nine tala ; they assume a purely human appearance, possess
two arms and two eyes, dark blue and yellow complexion, and
benevolent disposition.
(M., LVIII, 2-5 ; see TALA-MANA.)
YAJNA-KANTA— A type of five-storeyed building.
(M., XXIH, 34-41 ; see under PRASADA.)
YAJNA-BHADRA — A type of building, a pavilion with four
pillars.
(Matsya-Purana, Chap. CCLXX, v. n ; see under MANDAPA.)
YANTRAKA — An architectural member of the bedstead, a band,
a machinery or wheel at the legs to move a couch easily.
Padagre chantaralarh syat kuryat tiryak cha yantrakam I
(M., XLIV, 13.)
YAMA-SORYA — A type of building, a house with a western and
northern hall.
(Brihat-samhita, LIII, 39.)
YAMA-KANTA— A type of storeyed building.
A class of five-storeyed and eleven-storeyed buildings.
(M., XXIH, 25-29, xxrx, 16-18 ; see under PRASADA.)
YAGA-MANDAPA— A sacrificial pavilion.
(M., xxxiv, 37 ; xxxn, 65, etc.)
YAGA-SALA— A sacrificial hall.
(M., xxxii, 55, etc.)
YANA — A conveyance, a car, one of the four kinds of Vastu con-
sisting of Adika, Syandana, Sibika, and Ratha.
(M., in, 3, 9-10.)
YOPA-STAMBHA— The sacrificial pillar (see under STAMBHA).
R
RAKTA-KAMPA— A moulding of the base, a fillet.
(M., xiv, 287 ; see the list of mouldings under ADHISIITHANA.)
RAKTA-PATTA (cf. RATNA-PATTA)— A moulding of the base, a
band.
(M ., xiv, 289 ; see the list of mouldings under ADHISHTHANA.)
431
RAKTA-BANt)HA AJf ENCYCLOPAEDIA OF
RAKTA-BANDHA— A class of bases.
(M., xiv, 281-296 ; see the list of mouldings
under ADHISHTHANA ; see also xv, 223.)
RAKTA-VAPRA— A moulding of the base, the cavetto.
(M., xiv, 284 ; see the list of mouldings under ADHISHTHANA.)
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, L, 94.)
(2) Courtyard :
Tasya madhye cha range tu mauktikena prapanvitam I
(M., xxxiv, 218.)
Mukha-sala visala cha chatur-bhagarh tathayatam I
Purato'lindam ekarhsam bhittim kuryat samantatah I
Mulagre dvi-dvi-bhagena vasa-rangarh cha karayet I
(M., xxxv, 117-119 ; see also xxm, 50 ; xxxvm, 44, etc.)
(3) Uttare rangam ity-uktarh tad-grihinya griharh bhavet II
Eka-sala prasasta syat strinarh rangopajivinam 1 1
Pradhana-sala yatraiva ranga-sthanarh vidhlyate II
Ranga-bhitti-samayuktarh dhama-sopana-sarhyutam 1 1
(Kamikagama, xxxv, 47, 60, 62, 64.)
RAftGA-PlTHA— The stage proper.
(Bharata's Ndlya-sastra, 11, 66, 771, 102.)
See details under NATYA-GRIHA.
RAftGA-BHtJMI — The stage, the playhouse (see details under
NATYA-GRIHA).
RAftGA-MANDAPA — A pavilion, an assembly-hall, a council
chamber, the stage proper (Bharata's Ndtya-sdstra, n, 68, 96), the
whole playhouse including auditorium also (ibid., n, 91). Music
hall as defined in the Bhavaprakasana (x, 518), implying singing,
playing upon musical instruments, dancing and acting jointly or
separately. See details under NATYA-GRIHA (VESMA).
Cf. Nat (nritta) mandira implying the detached mandapa or hall in
front of a temple, where the visitors assemble and indulge in religious
music.
(i) An assembly-hall (Hampe inscrip. of Krishnaraya, lines 24, 32, north
face) .
432
HINDU ARCHITECTURE RATNA-KANTA
' In the Zeitschrift der Deutschen Morgenlandischen (Bd. LVIII, s. 455)
Dr. Bloch makes some remarks respecting a cave in Ramgarh 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
attention : they represent the doings of these ladies and gentlemen (actresses
and actors) in a highly realistic way. The cave-theatre discovered by
Bloch has, however, a special interest : it is arranged after the Greek
pattern.'
Prof. Luders refers to Kalidasa (i) dari-griha (Kumdra-sambhava, i,
10, 14) ; (2) Sila-vesman (Megha-duta, i, 25).
(Indian Caves as Pleasure-resorts, Ind. Ant., Vol. xxxiv, p. 199, para. 3 ; p. 200,
para, i.)
(2) Irangada happaligeyuman imaha-sopana pantiyumarh rachisidam
Sri-Gommata-devara suttalu rarigama-happaligeym bigiyisidan — ' had this
rahgada happalige (? painted hall or hall of assembly) and the flight of
grand stairs laid out ; had the rangama happalige set up around Srl-
Gommata Deva.' — (Ep. Carnal., Vol. n, no. 115 ; Roman Text, p. 87 ; Transl.,
p. 171.)
(3) Karite vira-Ballala-pattana-svaminamuna I
Nagena ParsVa-devagre nritya-rangasma-kuttime I
' By Naga, the Vlra-Ballala, pattana-svami, were built the dancing hall
and terrace of Parsva Deva.'
Nritya-rangamumarh madisida — ' and in front of the basadi of Kama-
tha Parsva Deva stone pillars and a dancing hall ' were made. —
(Ep. Carnat., Vol. n, no. 130; Roman Text, p. 99, lines 1-4; Transl., p. 178,
para, i.)
RANGA-MUKHA — A class of buildings, the forepart of a theatre or
stage.
(Kamikagama, XLV, 52 ; see under MALIKA.)
RANGA-SINSHA— The forepart of the stage, the platform made of
wood (Bharata's Ndtya-sdstra n, 71). See details under NATYA-GRIHA
(-VESMA) .
RATNA-KALPA — A kind of ornament prescribed for idols and
kings.
(M., L, 3 ; see under BHUSHANA.)
RATNA-KANTA — A class of six-storeyed buildings.
(Af., xxiv, 19 ; see under PRASADA.)
433
RATNA-GRIHA AN ENCYCLOPAEDIA OF
RATNA-GRIHA— The jewel-house, the adytum of a Buddhist
temple, a stupa or tope.
Ratna-grihecha dipako jvalatu I mama chapararddhat panchaiva
bhikshavo bhumjatarh ratna-grihe cha dipaka iti II
' From the interest of the dinaras given by him . . . let a lamp
burn in the jewel-house . . . and with the other half ... let
the same number of five Bhikshus be fed and a lamp burn 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
the contest : a lamp was provided to light up the ratna-griha which must
imply a room or a particular part thereof, and not the whole ' stupa.'—
(Sanchi stone inscrip. of Ghandragupta II, lines 9-10, C. I. I,, Vol. m, F. G. I.,
no. 5, pp. 32, 33-34, note 5 on p. 33.)
RATNA-PATTA — A moulding, a jewelled band, a jewelled turban.
A moulding of the pedestal (M., xm, 84 ; see the list of mouldings,
under UpAPixHA.)
A head-gear (M., XLIX, 16; see under BHUSHANA).
RATNA-PAD A— Otherwise called Sripada, the footprint of Buddha,
on Adam's Peak in Ceylon. For details see BUDDHA-PAD A.
RATNA-PUSHPA — A diamond flower, an ornament.
(Deopara inscrip. of Vijayasena, v. n, Ep. Ind.,
Vol. r, pp 308, 313.)
RATNA-BANDHA (see RAKTA-BANDHA) — A class of bases.
(M., xiv, 281-296 ; see the list of mouldings
under ADHISHTHANA.)
RATNA-MANDAPA— A kind of pavilion.
(M., xxxii, 48 ; see MANDAPA.)
RATNA-RANJAKA— One of the three library buildings in the
University of Nalanda (see under DHARMAGANJA) .
RA.TNA-SAGARA— One of the three library buildings in the
University of Nalanda (see under DHARMAGANJA).
RATNI (cf. ARATNI) — A measure of 21 angulas or about 16 inches.
R;a1nir angula-parvarh sarhkhyaya tv-eka-virhs'atih I
(Brahmanda-Pufdna, Part I, and anushamgapada-
Chap, vn, v. 98,)
434
HINDU ARCHITECTURE RATHA
A measure equal to the cubit with closed or clenched fist (Suprabhed-
dgama, xxx, 24).
RATNODADHI— One of the three library buildings in the Uni-
versity of Nalanda. It was nine-storey high and stocked the sacred
scriptures, Prajna-pdramita-sutra, and the Tantric works such as
Samajaguhya, etc. (See under DHARMAGANJA) .
RATHA — A chariot, a carriage, a car, a vehicle, a tank, a war
chariot, the body, a limb, a shrine.
(1) Mdnasdra (Chap. XLIII, 1-107, named Ratha) :
Rathas are constructed for ceremonial and ordinary drives of
idols, Brahmans and kings ; as well as for fighting, mock-fighting
and other purposes (lines i, 131-133).
Wheels and other parts of Rathas, their shapes, measurement, and orna-
ments and mouldings are described (lines 2-3 f.). Other architectural
details are also given (lines 3-11).
With regard to shape, Rathas are divided into seven classes, namely,
Nabhasvan-bhadraka, Prabhanjana-bhadraka, Nivata-bhadraka, Pavana-
bhadraka, Prishada-bhadraka, Indraka-bhadraka, and Anila-bhadraka
(lines 112-115). The first of these is square, the second hexagonal; the
third should 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
some, the seven shapes proper are respectively semi-circular, circular,
elliptical, rectangular, octagonal, hexagonal, and oval (lines 121-123).
Rathas are further divided into four types, namely, Nagara, Dravida
Andhra, and Vesara. The square Rathas are called Nagara, the octagonal
ones Dravida, the hexagonal ones Andhra, and the round ones Vesara
(lines 124-125).
In accordance with various purposes, Rathas are furnished with differ-
ent 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
festival is furnished with five wheels, one for special festival may have six,
seven, eight, nine or ten wheels (lines 131-37).
The number of vedis or platforms, storeys, etc., of these Rathas as well
as the Rathas of' the Bauddhas and of the Jinakas are described (lines
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, v. 8.)
435
RATHAKA AN ENCYCLOPAEDIA OF
, (,) « On the east elevation of the temple . . .eight small shrines
(known as Ratha) stand in a row from north to south on each side c
eastern entrance, six on the left.'
• The Ratha, on the extreme left, stands completely detached.
is a square shrine, with carved panels on the back of the chamber
• A small platform is in front, with yali piers (block uncarved), each
having its capital complete.'
. The basemen, is a square granite plinth, and square free stone eourse
ters are brackets which carry the
. As these shrines are very similar to the monoliths at Mamallapura^
known by the name of Rathas, the term is here used advised y
(PaTavalrchitecture,^.^,, New Imp. Series, Vol. xxxxv, p. «, para, 3,
4, 5, 6 : note 96 ; set Plate xxv.)
RATHAKA— A type of building, a shrine, a temple.
Ashtamarhsena garbhasya rathakanam tu nirgamah I
Paridher-guna-bhagena rathakams tatra kalpayet
Tat-tritiyena va kuryad rathakanam tu nirgamah I
Vama-trayarh sthapaniyam rathaka-tritaye sada II
(Agni-Purana, Chap. XLH, w. 13-14-)
Nernih padona-vistirna prasadasya samantatah I
Paridhes trayarhsako madhye rathakams tatra karayet
(Ibid., Chap, civ, v. 7.)
RATHA-KUMBHA-A pitcher-like part of the column.
(M., xv, 68 ; see under STAMBHA.)
RATHA-VlTHI-The broad road fit for driving chariot and other
vehicles, the highway, the main street.
(See Kamikagama, under RAJA-VITHI.)
RAHASYAVASA-MANDAPA-A pavilion where kings reside in
secret, a bed-room, a private chamber.
(M., XL, 147 ; see under MAI^PAPA.)
RATA-GRIHA— The royal palace.
(See details under RAJA-HARMYA.)
RAJA-DHANI (see under NAGARA)-The king's residence, the
capital city where the king usually resides, the seat of Government,
the metropolis.
436
HINDU ARCHITECTURE RAJA-HARMYA
Definition :
Vidya-sthanam tu tadvat syat bahu-sena-saraanvitam I
Raja-veSma-samayukta raja-dhaniti kathyate II
(Kamikagama, xx, 14.)
Cf. ' With myriads of people, practices of virtue, agreeable occupations,
streams of the (nine) sentiments, pleasure-gardens, separated lovers,
splendid tanks, full lotus beds, gilded boats for spring-festivals, ghatika-
sthanas (religious centres), the supports of dharmma and mines of enjoy-
ment, moats which were as if the sea being overcome had returned here
on account of the collection of gems, groups of the lotus-faces of beautiful
women fair as the moon (grama-nagara-kheda-kharwana-madamba-
drona-mukha-pura-pattana-raja-dhanl), on whatever side one looked, in
these nine forms did the Kuntala-des"a shine.'— (Ep. Carnal., Vol. vn,
Shikarpur Taluq, no. 197 ; Transl., p. 124, para, i, last seven lines ; Roman
Text, p. 214, line 27 f.)
RAJA-PATHA— The broad street, the big road, the highway.
Dhanumshi daga-vistlrnah sriman raja-pathah kritah I
Nri-vaji-ratha-naganam asarhbadhas tu samcharah 1 1
Dhanumshi chapi chatvari s'akha-rathyas' cha tair mita I
Trika rathyoparathyah syur dvikas" chapy-uparathyakah II
Jahgha-pathas chatush-padas tri-padam cha grihantaram I
Dhriti-margas turddhva-shashtham krama^ah padikah smritah II
(Brahmanda-Purana, Part i, and annushamga-pada,
Chap, vn, vv. 113, 114, 115.)
RAJA-VITHI— The public road, the broad street, a road which runs
round a village or town, also called Mangala-vithi and Rathavithi.
Raja-vlthlti vikhyata gramader bahir-avrita I
Saiva mangala-vithiti ratha-vlthiti kathita II
(Kamikagama, xxi, 2.)
RAJA-HARMYA— The palace of a king.
Manasara (Chap. XL, 1-160, named Raja-griha) :
Palaces are divided into nine classes with regard to their size and
as they belong to the nine classes of kings, 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
(lines 29-31), 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
437
RAJA-HARMYA AN ENCYCLOPAEDIA OF
4 I0 15 36) and the number of walls, storeys, rooms, ditches, gardens,
etc (lines 38-69). Thus three kinds of breadth are given to each palace.
The length and height are determined in comparison with the breadth.
The former (length) may vary from being equal to the breadth to being
ai times of it. Height is determined mostly by the number of storeys,
rules for which have been discussed in another place (set under TALA
and BHUMI-LAMBA). The number of storeys a palace should possess, has
also been discussed in the same place. The enclosure, surroundmg moat,
etc of each palace are briefly described in the present chapter,
main object of the chapter is to give an account of inner and outer I
ings belonging to royal palaces (lines 71-1", 112-153).
The Brahma-pitha or royal chapel is installed in the Bramasthana or
central part (lines 156-159)- The main Palace is built in the best of the
remaining parts called Indra, Varuna, Yama, Pushpadanta, etc. Round
the palace proper are arranged all other houses, such as the houses for the
queen and the princesses, for private council hall, drawing-room, dressing-
room, bathroom, dining hall, kitchen, bed-chambers, quarters for attend-
ants, places for tanks and inner gardens, etc. (cf. Shodasa-mandira-chakra .
Beyond the royal harem, the charm and luxuries of which are so wel
known, are placed the official quarters, including residences of the crown
prince, family priest, ministers, and others.
The royal council and other offices are suitably accommodated : e.g.,
the palace of peace and war office are directed to be built at the fourth
compound in the southern side of the palace (line 148) . Pleasure gardens,
flower gardens, groves, tanks, etc., are gracefully laid out. Compare
following :
Yamye cha soma-dig vapi vayavye vatha nairnte I
Asthana-mandaparh kuryat pushkarinyarh cha vayave I
Nagasya vamake yamye kuryad arama-des"akam I
Pushpodyanam tatah kuryat mukhya-bhallatake'pi cha I
Nrittagararh tatah kuryan nana-nrittanganani cha I
(M., XL, 117-121.)
Tritiye vithis tasyarhse rahasyavasa-mandapam I ^
Ise va vitathe chaiva ranga-mandapam eva cha I
(ibid., I5*«J
Stables, cow-sheds, etc., where domestic animals are kept, are generally
built near the main gate :
Dvauvarika-pade chaiva mayuralayam eva cha I
Dvarasya dakshine parsVe vyagrakalayam eva cha I
(Ibid., i44-'45-)
438
HINDU ARCHITECTURE RUCHIRA
ParsVake mesha-Sala cha satyake vanaralayam I
Somad Is"ana-paryantaiii vaji-Salam prakalpayet I
Yamyadi-pavakantaih syad gaja-Salam prakalpayet I
Tasmat tu nairrityantam kukkutalayam eva cha I
Vayu-konadi-mukyantarh mriganarii harinalayam I
(Ibid., 128-132.)
The elevated platforms to see the mock-fight from are also placed near
the door (lines 148-150). The iron-pike (Sula-kampa) for capital punish-
ment is placed in a prominent place near the gate (line 135). But the jail
(karagara) is built in a rather out-of-the-way place, such as the iBhrisa, or
the Antariksha part.
All these are given by way of illustrations, the most part of the arrange-
ment being left, as stated here, to the discretion of the artists, and the choice
of the king (line 155).
RAjAftGA — 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
nine classes of kings, their courts, kingdoms, royalties and some special
characteristics.
' Had a palace (Rajanga) built for Goparaja to the west of that pond.' —
(Ep. Carnat., Vol. x, Malur Taluq, no. 4 ; Roman Text, p. 187 ; Transl., p. 156.)
RUCHAKA — A type of building, a class of columns.
(1) Prak-paSchimavalindav-anta-gatau tad-avadhi-sthitau s*eshau I
Ruchake dvararh na s"ubhadam uttarato'nyani Sastani II
' The (building called) Ruchaka has a western and eastern terrace run-
ning to the end, and between their extremities two others. A northern
door in it brings evil, doors on any other side are auspicious.' — (Brihat-
samhitd, LHI, 35, J. R. A. S., N. S., Vol. vi, p. 286.)
Sama-chaturas'ro ruchakah — a column with four rectangular sides is
(called) ruchaka (ibid., v. 28).
A kind of quadrangular building :
(2) Agni-Purdna (Chap, crv, w. 14-15 has ' Charuka,' see under
PRASADA).
(3) Garuda-Purdna (Chap. XLVII, vv. 24-25; see under PRASADA).
RUCHIRA — A kind of pedestal or platform at the bottom of a
column, a portico.
Garbha-mana-pramanena prasadarh sVinuta dvijah I
Vibhajya navadha garbhaih madhye syal lihga-pithika II
Padashtakam tu ruchirarh parsVatah parikalpayet I
Manena tena vistaro bhittinarh tu vidhiyate 1 1
(Matsya-Purana, Chap. CCLXIX, vv. 15-16.)
439
RUDRA-KANTA AN ENCYCLOPAEDIA 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 ; see under BHUSHANA.)
RUPOTTARA— A type of entablature (see PRASTARA).
Cf. Athochcharh pada-vistararh rupottaram ihoditam I
(Kamikdgama, LIV, 6, etc.)
RAURAVA — A type of storeyed building.
A class of nine-storeyed buildings (Af., xxvn, 10 ; see under PRASADA).
LAKSHMI-SK(-ST)AMBHA (see STAMBHA)— A type of column :
the main pillar of a house, which is believed to be the abode of the
guardian angel of the house.
LAMBANA — A pendant, a moulding of the front portico, same as
alambana or plinth (M., xrx, 28).
(M., xvm, 285 ; see MUKHA-BHADRA.)
Sikharalambanantam cha vedi-tara-samanvitam I
(M., xrx, 27.)
Lambanordhve dalarh badhya .... I
(Ibid., 39.)
Utsedhe cha tri-bhagaikam tasyadho chagra-lambanam I
(Ibid., 170.)
Tr(i)yarh£arh chagra-vistararh lambanarh pancha-bhagikam I
(Ibid., 172.)
See also M., xx, 25, etc.
A pendant (Af., L, 15, etc.).
LAMBA-PATRA — An ornament shaped like a leaf.
(M., LI, 73 ; see BHUSHANA.)
LAMBA-MANA — The measurement along the plumb lines.
(Af., LV, 3-6 ; see under MANA.)
LAMBA-HARA — A kind of long necklace, a pendant.
(Af., L, 301 ; see BHUSHANA.)
LALATA(-MANDAPA) — Same as munda-harmya, and chuli-
harmya, a tower, a top-room.
(Af., xxxiv, 400, 406, 409, 414, 429, 454, 505, 568.)
Same as VAKTRA and NETRA (Af., xxxv, 257-260).
44°
HINDU ARCHITECTURE LlNGA
LAftGALA— The plough.
For its architectural details see Mdnasdra (Chap, v, 55-77).
LANGALAKARA— Anything shaped like the plough, a pavilion with
three faces, a type of hall.
(M.,xxxrv, 553 ; see under MANDAPA ;
xxxv, 67 ;see under SALA.)
LAftGALA-BHITTI— A kind of round cornei wall, shaped like
the plough.
Karne langala-bhittih syad bhramaravrita-bahyake I
(M., xxxiv, 333.)
Prapagraika-dvi-bhagarh va karne larigala-bhittikam I
(Ibid., 225.)
LlNGA — A distinguishing mark, a badge, a symbol, an emblem?
the genital organ, the image of a god, an idol, the emblematical
phallus of Siva.
(i) Mdnasdra (Chap. LIT, 1-376, named Lihga) :
Various classifications of phalli have been given (line 2 f.). They
are classified firstly into six heads : (i) Saiva, Pasupata, Kala-mukha,
Mahavrata, Varna and Bhairava ; secondly, into four : (2) Sama-karna,
Vardhamana, Sivanka and Svastika ; thirdly, into four with regard to
height : (3) Jati, Chhanda, Vikalpa and Abhasa ; fourthly, into three
types with regard to breadth or width : (4) Nagara, Dravida and Vesara
(line 99) ; fifthly, into five : (5) Svayambhu or Udbhuta, Daivika,
Manusha, Ganava and Arsha ; sixthly, into two : (6) Athmartha (for
one's personal worship) , and Parartha (for others, for public worship) ;
again into two : (7) Eka (single) linga, and Bahu-linga (phalli in
group) ; then into many kinds : such as (8) Vajra, Svarna, etc., with
regard to materials of which they are made ; and lastly into two :
(9) Kshanika (for temporary worship) as contrasted with the (10)
Sthira or permanent linga. All these kinds of phalli are described
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
by a comparison to different parts of the body of the worshipper
(yajamana). The height of the phallus may 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
regard to the Garbha-griha or adytum. Various absolute measures
are also given in some cases. The set of the nine alternatives
441
LlftGA AM ENCYCLOPAEDIA OF
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 I
Susnigdharh cha suvarnarh cha lingam kuryad vichakshanafr II
Prasadasya pramanena linga-manarh vidhiyate I
Linga-manena va vidyat prasadam Subha-lakshanam II
(Matsya-Purana, Chap. CCLXIII, v, 1-2.)
Etat samanyam uddishtam prasadasyeha lakshanam I
Tathanyarh tu pravakshyami prasadam linga-manatah II
(Ibid., Chap., CCLXIX, v. 7.)
Evarh ratna-mayam kuryat sphatikam parthivam tatha I
Subharh daru-mayam chapi yad va manasi rochate II
(Ibid., Chap. CCLXHI, v. 25.)
(3) In the Brihat-samhitd (LVIII, 53-55) where Varahamihira seems to
have condensed the details from the Matsya-Purana, are given especially
the architectural characteristics :
Lingasya vritta-paridhirh dairghyenasutrya tat tridha vibhajet I
Mule tach chaturasYarh madhye tv-ashta^ri vrittam atah 1 1
Chatura^ram avani-khate madhyarh karyarh tu pindika^v-abhre I
DriSyochchhrayena sama samantatah pindika sVabhrat II
' (For the construction of an emblem of Siva) set out in the length the
(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 quad-
rangular, that in the midst octangular, and the rest round. (The same
shapes are prescribed in the Mdnasard). Sink the quadrangular portion
into a pit in the earth and put the middle member into the cavity of the
pedestal. The pedestal is visible upwards to its cavity, in all directions
over an extent equal to its height.' — (Brihat-sarhhitd, LVIII, 53, 54,
J.R.A.S., N. S., Vol. vi, p. 329, notes i, 2.)
(4) Sarvesham eva linganam lakshanam Srinu sampratam II
Madhya-sutrarh samasadya brahma-rudrantika budhah I
ShodaSangula-lirigasya shad-bhagair bhajito yatha 1 1
Tad vaiyamana-sutrabhyarh manam antaram uchyate I
Yavashtam uttare karyyarh Seshanam yava-hanitah II
Adho-bhagam tridha kritva tv-ardham ekam parityajet I
Ashtadha tad-dvayarh kritva urddha-bhaga-trayarh tyajet 1 1
Urddhvarh cha panchamad bhagad bhramya-rekham pralambayet I
Bhagam ekam parityajya sarhgamam karayet tayoh II
Etarh sadharanarh proktarh linganam lakshanam maya II
(Agni-Purana, Chap. Lm, vv. 8-13.)
442
NOTE:— Her* each unit ia one-eighth
ol the height of Sikhara.
PENT:ROOF.
aAOANA. VIHAYA3. ANANTA. ANTARIK»MA
PROPORTIONS OF LUPA.
LUPA.
LAKSHMI STAMBHA
VEDIKA.
1
i -
SECTION. ELEVATION.
VEDI,
Page
HINDU ARCHITECTURE LU(-TJ)PA
(5) Svayambhuvaih vana-lingarh daivikarh charshakam tu iti I
Bha-(Ga)navam manusham lihgam shat prakaram praklrtitam II
(Kamikagama, L, 35.)
Details of these Lingas (see ibid., 36-43) are the same as given in the
Mdnasara.
The pitha (pedestal) of the Linga (phallus) is described. — (Ibid., 44-52.)
Twelve Jyotir-lingas :
(1) Somanatha (at Verawal, Junagadh State, Guzrat).
(2) TrimbakesVara (at source of the Godavari, Nasik).
(3) MummalesVara (at Onkar, Mandhata, district Nimar, G. P.).
(4) Mahakalesvara (at Ujjain).
(5) Kedarnatha (at Kedar, Garhwal District).
(6) VisVanath (at Benares) .
(7) Vaidyanatha (in Santal Pargana, district Birbhum, Bihar) ,
or
Vaijnatha (at Parli, Hyderabad State, Deccan).
(8) Ramesvara (at Ramnad District, Madras).
(9) Mallikarjuna (at Sri^aila, Garnool District, Madras).
(10) Naganatha (near Dwaraka, Guzrat, or at Oundh, Hyderabad,
Deccan).
(n) Ghrishnesvara (Purna-jyotish, near Ellora Caves, Hyderabad,
Deccan).
(12) Bhlma-s'ankara (30 miles from Poona).
N.B. — These do not include three other famous lingas, namely :
(A) PaSupatinatha (at Katmundu, Nepal).
(B) Amarnatha (in Kasmir).
(C) Kailasanatha (on the Manas-sarovara, in the Himalayas).
LlftGA(-MUDRA)-STAMBHA— A pillar marked with the linga
or emblem of Siva (see under STAMBHA).
LU(-O)PA — A sloping and projecting member of the entablature,
etc., representing a continued pen t- roof ; it is made below the cupola,
and its ends are placed as it were suspended from the architrave
and reaching the stalk of the lotus below. Slope or breadth (M.,
xxx, 135.)
(See Ram Raz, Ess. Arch, of Hind., p. 52.)
(1) Atha samkshipya vakshyamo lupanam lakshanam vayam I
Uttarasyanurupena tasaih taram udiritam I
(Vdstu-vidya, ed. Ganapati Sastri, x, i, f.)
(2) Luparoha-kriya-yuktam anyat purvokta-vartmana I
Athava-sarva-Salayaih luparohanam eva va 1 1
(Kamikagama, xxxv, 69.)
443
LOGA AN ENCYCLOPAEDIA OF
(3) 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.).
The lupas (inner roof or the ceiling) prescribed for temples are techni-
cally called ambara, vyaya, jyotis, gagana, vihayas, ananta, antariksha,
and pushkala ; and those for residential buildings are called mahl, jya,
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 (see
further details under THUNA and &ANKU).
LOSHTA (see KALAS"A) — A lump of earth, a clod, an architectural
object resembling partly the finial.
The Vdstu-vidfyd (ed. Sastri) has a chapter (xvi) named Mrit-loshta-
lakshana (description of the lump of earth). In it loshta is directed to be
built on the stupi (top, dome, vv. 27, 37). At the top of a building the
kalasa (water-jar, finial) is generally built. It is variously named in this
last chapter of the work : loshtani (vv. 28-30, 32), nivra-loshtani (v. 34),
krura-loshtani (v. 35), kona-loshtani, puta-loshtani, urdhva-loshtani
(v. 36), and svarnadi-loshta (v. 39).
LOHA (see under ABHASA) — Iron used both as an architectural and
sculptural material.
One of the metals of which idols are made :
(1) Mrinmayarh yadi kuryach chech chhulam tatra prakalpayet I
Lohajam tv-aviseshena madhuchchhishtena nirmitam 1 1
(Suprabheddgama, xxxrv, ai.)
(2) Evam dvi-tryangularii vapi lohajaih pratimodayam I
(M., xn, 1 19.)
Lohajair mrit-sudha chaiva ... I
Uttamam lohajaih bimbarh pithabhasam tu chottamam I
(M., LI, 6, 19.)
See further illustrations under ABHASA.
VAKTRA— The face, a moulding.
, A moulding of the column (M., xv, 212-219).
The face (M., LVH, 20, etc.).
See the lists of mouldings under ADHISHTHANA and UPAP!THA.
444
HINDU ARCHITECTURE VAJRA-BANDHA
VAKRA — Bent, winding, curved, curled, a type of octagonal build-
ing.
(Garuda-Purana, Chap. XLVII, vv. 21, 23, 31-32 ; see under PRASADA.)
VAJRA— Adamantine, forked, zigzag, a diamond, the thunderbolt
of Indra, a type of column, a paste, plaster or cement, a type of
building.
A column with eight rectangular sides (Brihut-samhitd, Lin, 28).
A paste, plaster or cement : Kalkah krito dvitiyo'yam vajrakhyah I
(Brihat-samhitd, LVII, 6, J. R. A. S., N. S., Vol. vi, p. 322.)
A type of octangular building :
(1) Agni-Purdna (Chap, civ, w. 20-21, see under PRASADA).
(2) Garuda-Purdna (Chap, xxxvn, vv. 21, 23,31-32; see under
PRASADA).
VAJRA-KANTA— A type of storeyed building.
A class of eleven-storeyed buildings (M., xxxrv, 19-25 ; see under
PRASADA).
VAJRA-KU'MBHA — A moulding of the base and the pedestal,
generally placed between a cyma and petal, it is so called, as it
resembles an elongated pitcher.
A moulding of the base (M., xiv, 253 ; see the list of mouldings under
ADHISHTHANA).
A moulding of the pedestal (M., xm, 74 ; see the list of mouldings under
UPAPITHA).
VAJRATARA — A paste, plaster, cement.
Vajrataro nama kalko'nyah I
(Brihat-samhita, LVH, 7, J.R.A.S., N. S., Vol. vi, p. 322.)
VAJRADHATU-MANDALA— The top floor of five-storeyed
Nepalese temples.
(For details see DHARMADHATU-MANDALA. )
VAJRA-PATTA — A moulding, a diamond band, a fillet.
A moulding of the base (M., xrv, 258 ; see the list of mouldings under
ADHISHTHANA) .
VAJRA-PADA— A diamond pillar, a type of small pillar.
A pillar of the bedstead (M., XLIV, 61).
VAJRA-BANDHA— A diamond band, a type of base.
A class of bases (M., xiv, 259-271 ; see the list of mouldings under
ADHISHTHANA).
445
VAJRA-LEPA AN ENCYCLOPAEDIA OF
VAJRA-LEPA — A paste, plaster, cement.
Kalko'yam vajra-lepakshah I
(Brihat-samhita, LVII, 3 ; see J.R.A.S., N. S., vi, p. 321.)
VAJRA-LIftGA (see LINGA)— A kind of phallus.
(M., LI, 330 ; see under LINOA.)
VAJRA-SAMGHATA— A paste, plaster, cement.
Maya-kathito yogo'yarii vijfieyo vajra-samghatah I
(Brihat-samhitS, LVII, 8 ; see J.R.A.S., N. S., Vol. vi, p. 322.)
VAJRA-SVASTIKA— A type of building.
A kind of octangular building (Agni-Purdna, Chap, civ, vv. 20-21 ; see
under PRASADA).
VAJRASANA (see BODHI-MANDA) — A diamond throne, the mira-
culous throne under the Bodhi-tree at Gaya, on which Buddha and
his predecessors sat when attaining perfect wisdom.
(1) ' Bodhimanda is the name of the miraculous throne under the Bodhi-
tree at Bodh Gaya, also called the Vajrasana or diamond-throne, on
which Buddha and his predeccessors sat, when attaining bodhi or perfect
wisdom.' — (Ind. Ant., Vol. xv, p. 257, c. 1-2.)
(2) Tenaitad atra kritam atma-manovad uchchair vajrasanasya bhava-
nam bhuvanottamasya I
' He erected here for the diamond throne, the best thing in the
world, this habitation, lofty like his own mind.' — (Ghosrawa Buddhist
inscrip., lines 14-15, Ind. Ant., Vol. xvn, pp. 310, 311, 308, note 5.)
VADH0-NATAKA — A theatre for females, a gallery, a balcony.
Vadhu-nataka-sarhghais cha samyuktarh sarvatah purim I
Commentary : vadhunam nataka-sala I
(Ramdyana, i, 5, 12.)
VANA-DURGA (cf. NAGARA)— A 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 avarud-
dham tad-dvi-guna-vishkambham khatad vaprarh karayet I
Vaprasyopari prakaram .... I
(Kautillya-Artha-iastra, Chap, xxiv, pp. 51, 52.)
446
HINDU ARCHITECTURE VAPRA-BANDHA
(2) The surrounding wall of a village :
Gramasya parito bahye rakshartham vapra-sarhyutam I
Bahye vaprarh suvrittakam ... I
(M., vm, ii, 37.)
Evam grama (rh)-prasaraih cha bahir vapra-sarhyutam I
Paritah parikha bahye vapra-yuktam tu karayet I
(M., ix, 61, 107 ; see also 147.)
In connexion with towers :
Etat pattanam akhyatam vaprayata-samanvitam I
Sarvesham api durganarh vapraii cha parikhair vritam I
(M., x, 66, 106.)
A moulding of the base (M., xrv, 20, 24, etc.; see the list of mouldings
under ADHISHTHANA) .
In connexion with buildings of one to twelve storeys (parapet) :
Adhishthana-samarh mancharh manchordhve'rdhena vaprayuk I
(M., xxi, 14, etc.)
Malikopari vaprarh syad adhishthanam samodayam I
(M., xxxi, 64.)
(3) Wall (Dabhoi inscrip. v. in, Ep. Ind., Vol. i, p. 31).
(4) Rampart (Badnagar Prasasti of the reign of Kumarapala, v. 23
Ep. Ind., Vol. i, pp. 300, 303).
(5) Yasyotturhga-turarhga-tarhdava-bhavah prarhsutkarah sainikah svah-
simasu marud-ganabhaya-maha-vapra-prakaro'bhavat I
(Sridhara's Devapattana Prasasti, v. 13,
Ep. Ind., Vol. ii, p. 441.)
(6) Ramesvaraya ghana-marhtapa-vapra-saudha-ramyalayarh samatanot
samata rasajnah I
' He erected a temple (alaya), adorned with a solid hall (mantapa),
a wall and a plastered mansion (saudha) to Ramesvara.' — (Mangalagiri
pillar inscrip., v. 39 ; see also w. 29, 38, 48, Ep. Ind., Vol. vi, pp. 123, lai,
122, 124, 112, 113,114,115.)
(7) Vapra-gopura-yutair nava-harmyaih I
(Kondavidu inscrip. of Krishnaraya, v. 26,
Ep. Ind., Vol. vi, pp. 237, 231.)
(8) • He, the emperor 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.' — (Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 72 ;
Transl., p. 61 ; Roman Text, p. 142, line 8.)
VAPRA-BANDHA— A type of base.
A class of bases (M., xrv, 250, 259 ; see the list of mouldings under
ADHISHTHANA).
447
VAHYA AN ENCYCLOPAEDIA OF
VAHYA — Lit. that which can be 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
the bride mounts and lies with her groom in the marriage ritual
(A.-V., xiv, 2, 20).
VI(VAI)RATA — A type of storeyed building, a class of twelve-
storeyed buildings once prevailing in the country of Virata (Jai-
pur).
Chatur-adhika-tri-dasa-bhagaih harmya-visalake I
Ashtamsena maha-sala parsve sala Sivarhsakam I
Dvyamsam panjara-sala tad-ardham chantaralakam I
Anusala tri-bhagarh syad ekarhsam antaralakam I
Dvi(dvya)m£arh panjara-sala cha parsve bha(ha)rah sivarh-sakam I
Kuta-nava(-nam cha) dvi-bhagarh syat sarvam yuktyam sa-
bhadrakam
Maha-sala yugarhsena madhyam atra (bhadram) prakarayet I
Tale tale vimane tu sala-panjara-shodasam I
Kshudra-sala dvi-hara cha tan-madhye chashtakam bhavet I
Ghatur-dikshu maha-sala chatush-kutam tale tale I
Evarh vairata-kantaih syach chhesharh bhagaih tu puravat I
(M., xxx, 17-27.)
VARDHAKI — ^An architect, the designer, the painter.
(See details under STHAPATI.)
VARDHANI(I)— A type of building.
A class of round buildings (Agni-Purdna, Chap, civ, vv. 17-18 ; see under
PRASADA) .
VARDHAMANA — A class of buildings, a type of storeyed mansion,
a kind of phallus, a joinery, an entablature.
(i) 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 of joinery (M., xvn, 84, see under SANDHI-KARMAN).
An entablature (see under PRASTARA).
(a) Dvaralindo'nta-gatah pradakshino' nyah s"ubhas tatas chanyah I
Tad-vach cha vardhamane dvaram tu na dakshinam karyam 1 1
" The Vardhamana has a terrace before the (chief) entrance, extending
to the end ; then, when you proceed in a direction from left to right, another
beautiful terrace and thereon again, another in the aforesaid direction.
No southern door should be made in it.' — (Brihat-samhita, LIU, 33, J.R.A.S.,
N. S., Vol. vi, pp. 285-286.)
448
HINDU ARCHITECTURE VA(BA)LABHI(-I)
(3) Vedasyarh vardhamanakam— the Vardhamana house (sala) has
four laces. — (Kamikdgama, xxxv, 88.)
An entablature — (Kamikdgama, LIV, 7).
VA(BA)LABHI(-I)— The 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 :
' Comm. valabhl vatayana ; vatayana in general means " any place
whither one goes to take an airing ;" sometimes " a window " is intended
by it, other times the flat " roof" of an Indian house. In the latter accepta-
tion it is here used by Utpala, and frequently elsewhere ; e.g. Kathd-
sarit-sdgara (95, 18) : sva-grihottunga-vatayana-gatah ; (103, 162) : har-
mya-vatayanarudhah, etc.' — (Brihat-samhita, LVI, 25, LVH, 4, J.R.A.S., N. S.,
Vol. vi, pp. 319, 322, note.)
(2) A class of five-storeyed buildings (Matsya-Purdna, Chap. CCLXIX, w.
35, 50, 53 ; see under PRASADA).
A type of rectangular building :
(3) Agni-Purdna (Chap, cciv, vv. 16-17 '> sce under PRASADA).
(4) Garud.a-Pu.rana (Chap. XLVII, w. 21-22, 26-27 > see under PRASADA).
(5) Prasadagravimaneshu valabhishu cha sarvada I
(Ramayana, n, 88, 5, see further context under PRASADA.)
(6) Naga-lokam . . . aneka-vidha-prasada-harmya-valabhl-niruhya-
sata-samkulam I
(Mahabharata, I, 3, 133.)
(7) A synonym of the entablature (M., xvi, 19 ; see under PRASTARA).
A moulding of the entablature (M., xvi, 79 ; see the list of mouldings
under PRASTARA).
In connexion with four-storeyed buildings :
Nanadhishthana-padais cha valabhibhis cha bahu-bidhaih I
(M., XXH, 94.)
(8) Kailasa-turiga-sikahra-pratimani chanyany-abhanti dirggha-vala-
bhini sa-vedikani I
Gandharvva-sabda-mukharani nivishta chitra-karmmani lolakadali-
vanasobhltani 1 1
' And other long buildings on the roofs of the houses, with arbours in
them, are beautiful, being like the lofty summits of (the mountain)
Kailasn ; being vocal with songs (like those of the Gandharvas ; having
449
VALAYA AN ENCYCLOPAEDIA OF
pictured representations arranged (in them) ; (and) being adorned with
groves of waving plantain trees.'— (Mandasor stone inscrip. of Kumaragupta,
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 ... I
' Having caused (a temple having) a flat roof to be made, for the sake
of increasing the religious merit of ... (and) having installed the
feet of (the god) Anantasvamin.' . . .
' Vadabhi (also called valabhi, see above) is explained as meaning
the wooden frame of a roof; a flat roof, house-top, top-room, turret,
top-floor, balcony ; any temporary erection on the top of a palace : an
awning, a tent ; but it seems to refer to a building here, and to denote
a flat-roofed temple.'— (Gadhwa stone inscrip., line 2, C. /. /., Vol. in,
F. G. I., no. 66, p. 268, note 9.)
(10) ' Whose arms like jewelled pillars supporting the roof (valabhi)
of the three worlds.' — (Ep. Carnal., Vol. v, Part I, Channarayapatna Taluq,
no. 179, line 2 ; Roman Text, p. 462, Transl., p. 202.)
VALAYA — An ornament, a type of building, a moulding.
(1) A bracelet (M., XLIX, 138; L, 33, etc. ; see BHUSHANA ; Deopara
inscrip. of Vijayasen, v. n, Ep. Ind., Vol. i, pp. 303, 313.)
A class of round buildings :
(2) Agni-Purdna (Chap, civ, vv. 12-18, see under PRASADA.)
(3) Garuda-Purdna (Chap. XLVII, vv. 21, 23, 28, 29 ; see under PRASADA).
(4) The sixth moulding from the top of an entablature (Kdmikdgama,
LIV, 9; see under PRASTARA).
VALLI (cf. VAT AY ANA) — A type of window.
(M., xxxiii, 483 ; see under VATAYANA.)
VASATI (see BASADI) — A mart, 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
Tirthankara.
(Jaina Rock inscrip. at Vallimalai, no. A,
v. 2, Ep. Ind., Vol. iv, p. 141, note 7, and
refer to Mr. Kittel's Dictionary, p. 1383.)
VASUDHA— The 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 vinya-
set I
(M., xv, 223.)
45°
HINDU ARCHITECTURE VAMSA
VA(VA)-HA-(KA, LA) — Bearing, carrying, supporting, a way, a
road, a vehicle, a conveyance, a river, a channel.
(1) ' Given the village with ... its hills and water-courses (vahala).
(Plate of Deva Varmadeva, line 8 f., Ind., Ant.,
Vol. xvi, pp. 206, 207, note 33.),
(2) ' Vahaka — a water-channel in the Gwalior inscrip. of Sarhvat
933 ; Hultzsch in J. D. Morg Ges., Vol. XL, p. 37 (vaha, a watercourse,
Elliot, Suppl. Glossary, Vol. n, p. 225) ; Grierson, Bihar Pseaant Life
ss. 954).'
(3) V(b)allala-devakasya vahah I
' Water-channel constructed by Ballaladeva.'
(Lala-Pahad Rock inscrip. of Narasimhadcva, line 6
Ind. Ant., Vol. xvm, pp. 212, 213, note 2.)
VAHANA (see under STAMBHA) — Conveying, carrying, supporting
flowing, a boat, a raft, a conveyance, part of a column.
Stambharh vibhajya navadha vahanam bhago ghato'sya bhago'nyah I
(Brihat-samhita, LIII, 29, J. R. A. S., N. S., Vol. vi, p. 285.)
VAM&A — ' A bamboo, a shaft, a flute, 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 run-
ning across a roof.'
(i) Bhojanarh nanuvamsarh syach chhayanam cha tathaiva cha I
Anuvamsa-griha-dvaram naiva karyam subhartliibliih II
Dvija-gehasya variisarh tu purvagram parikalpayet 1 1
Yamyagrarh kshatriyanarii tu paschimagram visam bhavet I
Sudranarh uttarasyarh syad esha vamsagrako vidhih n
(Kamikdgama, xxxv, 147, 149, 150.)
Prag-varhsayor anya-varhsais cha nalikera-daladibhih |
Achchhaditah prapa nama prastaram chatra mandapah II
Vamsadir asriasa-sahita sikhara-stupikanvitah I
Nasika-mukha-pattanisa saleti parikirtita II — (Ibid., L, 88, 90.) .
JayantI vamsaka jneya tula-vad anumargakam 1 1
(Ibid., LIV, 15.)
Dandika-vara-samyuktam shan-netra-sama-varhsakam I
Varhsopari gatah salas chatasro' shtanananvitah II
(Ibid., XLII, 19.)
(2) The backbone (M., vn, 264; see also LXV, 158; LXVII, 82).
In connexion with the entablature :
Yatha-balarh yatha-bhararh tatha varhsadi(rh) yojayet I
(M., xvi, 198.)
451
VAMSA-KANTA AX ENCYCLOPAEDIA OF
In connexion with the pillar :
Kutya-varhsa-prati(r)-vamsam tungarh yat tu samam bhavet I
Tungasyadhika-hinam chcd dvi-pahktirii nityam avahet I
(M., XVII, I2O-I2I.)
In connexion with the pavilion (mandapa) :
Adhishthanam vina kuryaj janmadi-prastarantakam 1
Athava pada-vams'am cha samyuktam tat prapangakam I
(M., xxxiv, 14-15.)
VamSa-mulagrayoh sarve karkarikrita-netrakam I
(Ibid., 399.)
In connexion with the hall (Sala) :
VamSa-mulagrayor vasarh varhsa-muUiika-vasakam I
(M. xxxv, 128.)
Harmya-tara-vasad dvar^m vamsadhishthana-paduko I
(M., LXIV, 5.)
VAM&A-KANTA — A class of twelve-storeyed buildings once pre-
vailing in Varhsa-(ka), the capital of Kausambi.
Tad eva haram(-ra) tan-madhye chaika-bhagena saushtikam I
Vamsa-kantam iti proktam sesham purvavad acharet II
(M., xxx, 31-32, see also 28-30, under KERALA-KANTA.)
VAJANA — A square or rectangular moulding resembling a fillet, i.e.
a small band which is placed between mouldings and as the upper-
most member of a cornice. (For its synonyms, see M., xvi, 46-47.)
Crdhva-vajanam ekariisam amSarh tat pattika bhavet I
(Vdstu-vidyd, ed. Sastri, ix, 24.)
The moulding at the top and bottom of the entablature (Kdmikdgama,
LIV, i ; see 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., L, 106.)
VAJI-&ALA— A horse stable.
(M., XL, 362 ; see under SALA.)
452
HINDU ARCHITECTURE VATAYANA
VATA — A road, a fence, an enclosure, courtyard.
Cf. Vata-bhumi (Kamikagama, xxi, 3).
Corrupted to Bada, ' enclosure of a town or village, fence, wall, hedge.'
(I/id. Ant., Vol. iv, p. 211, footnote under KAMPANA.)
VATAKA— A hamlet.
Tamara-cheru-gramo nama I
Chikhali-vatakena samam ekikritya ... I
' The village named Tamara-cheru combined with the Chikhali ham-
let.'— (The Madras Museum Plates of Vajrahasta III, lines 43-44, Ep. Ind.
Vol. ix, pp. 94-95.)
VATIKA — A small house, a garden house, a pleasure pavilion, an
orchard.
Vame bhage dakshine va nripanam tredha karya vatika kridanar,
tham I
' At the left or right side a three-fold pavilion should be built for the
sport of the kings.' — (Silpa-sastra-fara-samgraha, ix, 29.)
Uttare saralais talaih subha syat pushpa-vatlka I
(Matsya-Purdna, Chap. CCLXX, v. 29.)
Bhaktya vidhapitarh chabhyam amralohita-mamdiram (ma)tri-ha
(rmye)na (sarhyu)ktarh vapya vatikayapi hi I
' 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,
PP- !75. J74-)
VATA — A type of building, a house with an eastern and southern
hall.
(Brihat-samhitd, LIII, 39 ; see under PRASADA.)
VATA-KSHETRA (see VATAYANA) — A place for airing, a roof.
Kutumba-bhumi-manam tu vata-kshetra-vivarjitam I
(Kamikagama, xxi, 3.)
VANA-LIftGA— A kid nof phallus.
(Kamikagama, L, 35, 36 ; see under LINOA.)
VATAYANA — A window, a porch, a portico,
(i) Description of windows (M., xxxin, 568-597) :
Windows are constructed in all kinds of buildings (ibid., 569-572).
The latticed windows are also prescribed :
Naranarh jalakam sarvarh devanam api yogyakam I (572).
The measures, etc., are left to the discretion of the architects (573).
The general plan of windows is also given (574-581).
453
VAPI(-PI)-(KA) AN ENCYCLOPAEDIA OF
Their shapes are represented by the following designs : naga-bandha
(snake's band), valll (creeper), gavaksha (cow's eye), kunjaraksha (ele-
phant's or deer's eye), svastika (cross figure), sarvato-bhaclra (a figure
with four fa£adcs), nandyavarta (a figure with openings on the sides),
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 I
Pratiloma-dvara-vatayana-badhayam cha anyatra raja-marga-
rathyabhyah I
(Kautiliya-Artha-iastra, Chap. LXV, p. 167.)
VAPI(-PI)-(KA) — A tank, a well, a reservoir of water.
(1) A tank (Dewal Prasasti of Lalla the Chhinda, v. 20, Ep. Ind., Vol.
i, pp. 79, 83).
(2) ' A well with a flight of stairs, while kupa denotes an ordinary
well.' — (Mahesvara's Commentary on the Amarakosha, Ep. Ind., Vol. vn,
p. 46, note 2; p. 41, line 58.)
(3) Dakshina-di£abhage karapita vapi tatha prapeyarh cha I
' 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,
Vol. xvni, pp. 113, 115.)
(4) Vapl-putakc bhumi-hala-vaha I
' In the hollow ground below an irrigation well.' — (Grant of Bhimadeva II,
Simba-samvat 93, line 7, Ind. Ant., Vol. xvni, p. no.)
(5) ' During the reign of Ganapati, the son of the prince Gopala, the
thakkura Vamana built a public tank (vapika).' — (Sarwaya stone inscrip.
of Ganapati of Nalapura, vv. 23-28, Ind. Ant., Vol. XXH, p. 82.)
(6) Dharmmarthe svayam eva vapi karapita I
' For charitable purpose the step-well was caused to be constructed a
his own cost.' — (Manglan stone inscrip., line 6, Ind. Ant., Vol. XLI, p. 87.)
VAMA— A kind of phallus.
(M., LH, 3 ; see under LINGA.)
VARA — A day of the week, a door, a gate, a formula of architectural
measurement, a verandah.
(M., xxxiv, 170, 394, 529, 538, see
details under SHAD-VARGA.)
V~ARA-(KA, NA) — A covering, an enclosure, a door, a gate.
Kdmikdgama, xxx :
Alindasya samantat tu bhagenaikena varakam I
ParsVayor ubhayoS chaiva chagra-lalanusaratah || (77)
454
HINDU ARCHITECTURE VASA-RANGA
Kamikdgama, xxxv :
Etat sapta-talarh proktarh rajnam avasa-yogyakam 1 1 (84)
Tad-adhastat samantat tu bhagcnaikena varakam 1 1 (85)
Sala-bhiige tu alinde va prithu-vararhsake api I
Vinyasas tv-ishta akhyato mandapa ukta-bhumike 1 1 (93)
Vinirgamasya chayamo tad-vriddhya tasya vistarah I
Dvi-gunanto vidheyah syad evam syan madhya-varanam | (102)
Madhye-varana-yuktam va tad-vihinarh tu va dvijah I
Evambhutasya vasasya samantat syat khalurika II (103)
Ibid., XLV :
Bahu-varga-yutarh vapi dandika-vara-sobhitam 1 1 (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 1 1 (28)
Purvokta-sindukam (building) vara-vriksha-sthala-samanvitam 1 1
(30
Agre cha parsvayos chaiva kuryad ekamsa-varakam 1 1 (38)
Tad-bahir varam ekamsam tad-bahye tu vrisha-sthalam I
Tad-bahis cha chatur-dikshu dvyamsarhsam vara-nishkramah 1 1 (43)
See also vv. 44, 45, 46, 55, 56, etc.
Ibid,, XLII :
Utkrishte tu ankanam dvyamsam margas tu parito'msatah I
Antar-varam athaikena s"ala-vyaso dvi-bhagatah II (23)
See M., ix, 300, 519 ; xxxin, 383 ; xxxiv, 119, 190, 200, 394, 408, 514
5*1, 526, 529 ; xxxv, 100, 120, 123, 238, 243, 265 ; xxxix, 128, etc.
VASA (-KUTI, SALA, SABHA)— Residence, synonym of an
assembly-hall (Amarakosha, ivi, 2, 3, 604), hall terrace.
(M., xxxv, 43-46, 82-84, 127-128, 138, 142, 155-156
221, 227, 241, 250, 282, 286, 288, 383.,
VASANIKA — A dwelling for use in spring, a house for the spring
festival.
Tatha vanik-Mahallakena satka vasanika pradatta — ' by the Mahallaka
the satka (?) hamlet ( ? house) was given.'
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, n, Ind. Ant., Vol. XL, p. 176.)
VASA-RA&GA (see RANGA) — The open or closed quadrangular
enclosure, the courtyard of a residential building.
Purato'lindam ekamsam bhittirh kuryat samantatah I
Mulagre dvi-dvi-bhagena vasa-rangarh cha kalpayet I
(M, xxxv, 118-119.)
455
VASTU AN ENCYCLOPAEDIA OF
VASTU— Architecture in the broadest sense implying the earth
(dhara), building (harmya), conveyance (yana), and bedstead
(paryanka) (M., in, 2-3). The building or harmya includes prasada,
mandapa, sabha, sala, prapa, and (a)ranga. The conveyance or
yana includes adika, syandana, sibika, and ratha. The bedstead or
paryanka includes panjara, manchali, mancha, kakashta, phala-
kasana and bala-paryanka (ibid., 7-12). The term denotes also
villages, towns, forts, commercial cities, etc., a dwelling house, a
group of houses (cf. PASTY A), a site (R. V., iv, 37, i, 2, A. V. n,
12, i, etc.). Sculpture is the handmaid of architecture and is
secondarily implied by the term Vastu.
(2) Nagaradika-vastum cha vakshye rajyadi-vriddhaye I
(Agni-Purana, Chap, cvi, v. i.)
(3) Prasadarama-durga-devalaya-mathadi-vastu-mana - lakshana - nirupa-
nam I
(Garuda-Purana, Chap. XLVI, colophon.)
Cf. Avasa-vasa-vesmadau pure grame vanik-pathe II
Prasadarama-durgeshu devalaya-matheshu cha I
(Ibid., Chap. XLVI, vv. 2-3.)
(4) Samgraka-siromani by Sarayu Prasad (xx, i) quotes from one
Vasishtha without further reference :
Vastu-jnanam pravakshyami yad uktam brahmana pura I
Grama-sadma-puradmam nirmanam vakshyate' dhuna 1 1
(5) Griham kshetram aramas setu-bandhas tatakam adharo va vastuh —
Houses, fields, gardens, buildings of any kind (see SETU), lakes and tanks
are each called Vastu.— (Kautillya-Artha-iastra, Chap. LXV, p. 166.)
(6) The heavenly architect Visvakarman, the mythical originator of
Vastu, is stated to be the father of nine artisans — goldsmith (svarna-kara),
blacksmith (karma-kara), brazier or utensil-maker (karhsya-kara) , maker
of shell ornaments (s"ankha-kara), carpenter (sutra-dhara) , potter (kumbha-
kara), weaver (kuvindaka), painter (chitra-kara) , and florist, gardener
or garland-maker (mala-kara). — (Brahmavaivarta-Purana, Brahma-khanda,
Chap, x, w. 19-21.)
(7) On the different branches of architecture, Vitruvius agrees with the
Manasara (i) :
It might be pointed out that Vitruvius deals with similar objects,
in the same manner as in the Manasara. He describes the subject
in three chapters :
' Of those things on which architecture depends.'
45 6
HINDU ARCHITECTURE VASTU
' Of the different branches of architecture.'
' Of the choice of healthy situations.'
On the first of these topics Vitruvius says that ' Architecture depends
on fitness and arrangement ; it also depends on proportion, uniformity,
consistency and economy.'
•' Fitness is the adjustment of size of the several parts to their several
uses and requires due regard to the general proportions of the fabric ; it
arises out of dimensions. Dimension regulates the general scale of the
work, so that the parts may all tell and be effective.'
' Proportion is that agreeable harmony between the several parts of a
building, which is the result of a just and regular agreement of them with
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
corresponding to its opposite, as in the human figure. The arms, feet,
hands, fingers are similar to and symmetrical with one another ; so
should the respective parts of a building correspond.'
' Arrangement is the disposition in their just and proper places of all
the parts of the building and the pleasing effect of the same, keeping in
view its appropriate character. It is divisible into three heads, which con-
sidered together, constitute design : these by the Greeks, are named ideals :
they are called ichnography, arthography, and scinography. The first
is the representation on a plane of the site plan of the work, drawn
by rule and compasses. The second is the elevation of the front, slightly
shadowed, and shewing the forms of the intended building. The last
exhibits the front and a receding side properly shadowed, the lines being
drawn to their proper vanishing points.' (Book I, Chap, n.)
' Architecture consists of three branches, namely, building, dialling
and mechanics. Building is divided into two parts (in the Mdnasara
buildings are divided into six classes as we have seen above). The first
regulates the general plan of the walls of a city and its public buildings ;
the other relates to private buildings. Public buildings are for three pur-
poses : defence, religion and the security of the public ' (compare M. ,
xxxi, 1-2, under PRAKARA). — (Ibid., Book I, Chap, in.)
On the choice of healthy situation, that is, on the selection of site and
the examination of soil, directions of Vitruvius are not so elaborate as
i hose of the Mdnasara (see BHUPARIKSHA), and differ so far as two
different climates would necessarily require.
' 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
VASTU-KARMAN AN ENCYCLOPAEDIA OF
VASTU-KARMAN (cf. VASTU-VIDYA)— The building-work ; the
actual work of constructing temples, palaces, houses, villages, towns,
forts, tanks, canals, roads, bridges, gates, drains, moats, sewers,
thrones, couches, bedsteads, conveyances, ornaments and dresses,
images of gods and sages.
The building-work (vastu-karman) is distinguished from the science of
building (vastu-vidya) :
Vatthu-vijja ghara-vatthu-arama-vatthadinam guna-dosa-sallak-
khana vijja I Vathu-kammanti akata-vatthumhi geha-patittha
pana I
(Digha-nikdya, i, pp. 9, 12.)
Cf. Sukra-niti (rv, 3, 115, 116, 169).
See the Preface to this Encyclopaedia.
VASTU-KIRTI — A type of pavilion, a pavilion with forty-four
pillars.
(Matsya-Purana, Chap. CCLXX, v. 10 ; see MANDAPA.)
VASTU-VIDYA (see VASTU-KARMAN) — The science dealing with
the rules of construction of all kinds of architectural and sculptural
objects, the science of architecture.
According to Buddhaghosha's definition, Vastu-vidya is ' a science,
the object of which is to ascertain whether a site selected for a building is
lucky or not.' — (Dialogues of Buddha, Part I, p. 18.)
According to Sukrdchdrya, Vdstu-vidya or Silpa-Sastra is ' the science
which deals with the rules for the construction of palaces, images, parks,
houses, canals and other good works.' — (Sukra-niti, iv, 3, 115, 116).
See the Harsha stone inscrip. (v. 43, Ep. Ind., Vol. n, pp. 123, 128.)
VAHANA — Carrying, conveying, a vehicle, a conveyance, an animal
for riding or draught.
The riding animals of gods (M., LX, i), their images are described (M.,
LX, 2-46 ; LXI, 2-151 ; LXII, 2-73 ; LXIII, 2-46 ; see under HAMSA,
GARUDA, VRISHABHA, and SIMHA.
VAHINI-MUKHA— A fort, fortified city.
(M., x, 40 ; see under NAGARA and DUROA.)
VIKATA — Formidable, a hall, -a courtyard.
(Harsha stone inscrip., vv. 12, 33, Ep. Ind., Vol. n,
pp. 121, 126, notes 64, 123, 128.)
VIKALPA — A class of buildings, a kind of door, pent-roofs, a type
of chamber, a kind of phallus.
458
HINDU ARCHITECTURE VITASTI
A class of buildings (M., xi, 104-107 ; xix, 1-5 ; xxx, 175-177 ; xxxrv,
549-552 , see under ABHASA).
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 I
Tat-tad-madhyarhsake koshthe yasya syat tad vikalpakam 1 1
(Kamikagama, XLV, 20; see also XLV, 7 ; L, 13 ;
A class of top-chambers (Ibid., LV, 130, 123-127).
VIGRAHA — An idol, an image, a figure, a form, a shape.
(M., LIV, 180, etc.)
Dakshina-bhagada-kisaleyalli puratana-vigrahagala pratishtheyam — ' set
up on the colonnade to the south the ancient images.' — (Ep. Carnal., Vol.
iv, Chamarajnagar Taluq, no. 86; Roman Text, p. 18, line 13 ; Transl.,
p. n.)
VIJAYA — A class of storeyed buildings, a type of pavilion, a hall,
a kind of throne.
A class of two-storeyed buildings (M., xx, 93, 10-15 ; see under PRASADA).
A class of pavilions (M., xxxrv, 153 ; see under MANDAPA).
A pavilion with forty-six pillars (Matsya-Purana, Chap. CCLXX, v. 10;
see under MANDAPA.)
A type of throne (M., XLV, 6 ; see under SIMHASANA).
A class of octagonal buildings :
(1) Agni-Purdna (Chap, civ, vv. 20-21 ; see under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, w. 21, 23, 31-32 ; see under PRASADA)
A type of building (Kamikagama, XLV, 50, see under MALIKA).
VITAftKA (see KAPOTA-PALIKA) — A dovecot, a moulding of that
shape.
' Vitanka is exactly the English " fillet " in its different acceptations :
it denotes more generally also gable-edge, battlement.' Kern. — (J.R.A.S..
N. S., Vol. vi, pp. 321, 320, note 2.)
See further references under KAPOTA and KAPOTA-PALIKA.
VITASTI (see under ANGULA) — A measure, the span, the distance
between the tips of the fully-stretched thumb and the little finger.
(1) Kanishthaya vitastis tu dva-dasangula uchyate I
(Brahmdnda-Purana, Part I, 2nd anushamga-
pada, Chap, vn, v. 98.)
(2) Three kinds of span (Suprabheddgama, xxx, 20-23 ; see under
ANGULA).
459
VITANA-(KA) AJV ENCYCLOPAEDIA 01
VITANA-(KA)— A cushion, a canopy.
A canopy of pearls (Ranganath inscrip. of Sundarapandya, v. 12, Ep.
hid., Vol. in, pp. 12, 15).
Cf. ' Torana-vitana — a canopy (in the shape) of an arch.'— (Cochin
plates of Bhaskara Ravivarman, lines 10-11, Ep. Ind., Vol. in, pp. 68, 69.)
VIDATHA — A house, a holding, an asylum, a smaller or secular
assembly, a rich or royal establishment like palaces, audience hall
for women, Sabha being foi men's assembly.
(R.-V., x, 85, 26, 27 , A.-V., vn, 38, 4, Maitra. Sam.
iv, 7, 4, cf. R.-V., it, i, 4, 27, 12, 17, in, 38, 5, 6,
v, 63, 2, vn, 66, 10, vin, 39, i, x, 12, 7 , A.-V.,
i, 13, 4, xvn, i, 15.)
VIDYADHARA — A class 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.)
VIDHANA— An entablature.
(M., xvi, 20, 43, 203 ; see under PRASTARA.)
VINIYOGA-MANDAPA— A refectory, a type of pavilion built in
the third, fourth or fifth court of the compound of a temple, where
refections or meals are prepared.
(A/., xxxn, 8 ; see under MANDAPA.)
VIPULAftKA— A type of storeyed building, a class of six-storeyed
buildings.
(M., xxiv, 19 ; see under PRASADA.)
VIPULAKRITIKA— A type of storeyed building, a class of six-
storeyed buildings.
(M., xxiv, 52 ; see under PRASADA.)
VIPULA-BHOGA— A site plan of 676 square plots.
(M., vn, 37-38; see PADA-VINYASA.)
VIPRA-KANTA— A site plan in which the whole area is divided
into 729 equal squares.
(A/., VIH, 39-40 ; see under PADA-VINYASA.)
VIPRA-GARBHA— A site plan in which the whole area is divided
into 576 equal squares.
(A/., vn, 33-34 ; see under PADA-VINYASA.)
VIPRA-BHAKTI— A site plan in which the whole area is divided
into 841 equal squares.
(M., vii, 43-44 ; see under PADA-VINYASA.)
460
HINDU ARCHITECTURE VIMANA
VIMANA — Etymologically an object measured (from root ma)
or prepared or made in various ways ; hence a well-measured convey-
ance, a balloon, a heavenly car, a temple, building in general, the
palace of an emperor, a tower surmounting the sanctuary (garbha-
griha) which is made in the centre of the temple.
' A car or chariot (of the gods) sometimes serving as seat or throne,
sometimes self-moving and carrying its occupants through the skies ; other
descriptions make the Vimana more like a house or palace and one kind
is said to be seven storeys high ; that of Ravana was called Pushpaka-
(vimana) ; any car or vehicle ; a horse ; a palace, the palace of an
emperor or supreme monarch.'
Cf. Rajato-vimanarh sapta-chakrarh ratham I (Pet. Diet.)
(i) Mdnasdra (Chap, xvm, 1-422), named Vimana :
Vimanas are buildings of one to twelve storeys and are used as
residences of gods and men, i.e., the term implies both temples
and residential buildings :
Taitilanarh dvi-jatinarh varnanarh vasa-yogyakam I
Eka-bhumi-vimanadi ravi-bhumy avasanakam I
(Ibid., 2, 3.)
That the term ' vimana ' implies not temples alone but buildings in
general, is clear from the expression ' vimana-vesman,' ' vimana-sadman,'
' deva-vimana ' (god's buildings), etc., which are frequently mentioned
(e.g., M., xii, 214).
Further, the general features of all kinds of buildings are described in
the chapter (xvm) which is named Vimana :
The general comparative measures of different storeys are given
(ibid., 12-91).
The three styles, namely, Nagara, Dravida, and Vesara are described
(lines 92-113).
These styles are distinguished generally by the shapes of the stupis
(domes), which are next described (lines 114-171).
A special account of the lupas (pent-roofs) which are apparently very
characteristic features of all buildings is given (lines 171-278).
Mukha-bhadras (front porticoes or tabernacles) are also characteristic
features of all buildings, large or small, and they are described in detail
(279 f.)«
Spires (stupi-kilas) are also described (lines 144-171, 354-417)...
Vimanasya tu sarvesham prajapatyena manayet I
(M., u, 55 ; see also m, 5-6 ; xiv, 426, etc.)
461
VIMANA AN ENCYCLOPAEDIA OF
Vimane tri-grihe vapi mandapadlni vastuke I
Gramadiiiam cha sarvesharh manayen mana-sutrakam I
(M., vi, 1 01-102.)
Purusharh deva-vimanasya sthapayet purushcshtakam I
(M., xii, 2 14.)
A tower :
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.)
(2) Kechid vadanti devanam manushanarii vimanakc I
Vistare sapta-shat-pancha-chatus-tryrhse'dhikarh tribhih 1 1
(Mayama'a, Chap, xx, v. 8.)
(3) Rdmayana, I, 5, 16 :
Sarva-ratna-samakirnarh vimana-griha-sobhitam I
Commentary : Vimana-griharh sapta bhumi-griham (a seven-storeyed
building), and quotes the following from Nighantu :
Vimano'stri deva-yane (god's conveyance) sapta-bhumau cha
sadmani (seven-storeyed building).
See also the following :
II, 88, 5 : Prasadagra-vimaneshu valabhishu cha sarvada I
(See further context under PRASADA).
II, 2, 16 ; n, 15, 48 ; n, 33, 3 ; 11, 57, 18 ; u, 59, 12 ; n, 88, 5 ;
in, 32, 4 ; iv, 50, 30 ; v, 2, 53 ; v, 4, 27 ; v, 6, i ; v, 10, 34 ; v,
12, 14 ; v, 12, 25 ; v, 13, i ; v, 53, 19 ; v, 54, 23 ; vi, 24, 10 ; vi,
39, 21 ; vi, 67, 82 ; vi, 75, 23 ; vi, 75, 40 ; VH, 101, 14.
(4) Mahdbhdrata, i, 185, 23 :
Nana-prakareshu vimaneshu I
(5) Commentary quotes Medini (N. 121) : Vimanarh vyoma-yane
sapta-bhumi-grihe'pi chet I
See the following Kashas also :
(6) Hema-chandra (Abhidhdna-chintdmani, 89, 190; 3, 417).
(7) Haldjudh-a (i, 83, etc.).
(8) Amarakosha (I, i, i, 4, 3, 36, Pet. Diet.).
The essential parts :
(9) Shad-varga-sahitarh yat tu garbha-griha-samanvitam I
Andharandhari-harokta-khanda-harmya viseshitam 1 1
Kuta-salanvitam yat tu panjarais cha samanvitam I
Tilaka-kshudra-nasi-yukta-toranais cha samanvitam I
Brahma-dvara-patakadyair angair yuktam vimanakam II
(Kdmikagama, L, 91-93.)
462
HINDU ARCHITECTURE VIMANA
A type of quadrangular building :
(10) Agni-Purdna, (Chap, civ, vv. 14-15; see under PRASADA).
(u) Garuda-Purdna (Chap. XLVII, vv. 24-25; see under PRASADA).
(12) ' There is one other peculiarity common to both Jain and Hindu
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, p. 221.)
(13) A car of the gods (Asoka's Rock Edicts, no. iv, Ep. Ind., Vol. n, pp.
45 i > 467)-
(14) A shrine and dome (Ranganatha inscrip. of Sundarapandya.
vv. 3, 8, 10, 22, 30, Ep. Ind., Vol. in. pp. 11-17).
(15) A shrine (Yenamadala inscrip. of Ganapamba, v. 17, Ep. Ind.,
Vol. in, pp. 99, 102).
(16) ' Having perceived that the central shrine of the god of the
Tiruvidaikali (temple) . . . which formerly consisted of layers of bricks,
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
inscrip. at Tirukkovalur, no. K, lines 5-7, Ep. Ind., Vol. vn, pp. 145, 146, 147.)
(17) Prasada-malabhir alamkritarh dhararh vidaryyaiva samutthitam I
Vimana-mala-sadrisani yattra grihani purnnendu-karamalani II
' Here, cleaving asunder the earth, there rise up houses which are
decorated with successions of storeys, which are like rows of aerial chariots
(and) which are as pure as the rays of the full moon.' — (Mandasor stone
inscrip. of Kumaragupta, line 7, C. I. I., Vol. in, F. G. I., no. 18, pp. 81, 85.)
(18) ' . . . 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.)
(19) ' V'marasa-nayakkan caused to be built vimanas with all the
necessary characteristics for the god and goddesses at Ponnuclukki.' —
(Ep. Carnal., Vol. xn, Tumkur Taluq, no. 19; Transl., p. 6, para. 2.)
(20) ' The Vimana (of the temple of Paramesvara at Gudimallam)
has the so-called gaja-prishthakriti shape (i.e., like the back of an elephant,
see plate c-b, facing page 104, Ind. Ant., Vol. XL) ; but a close study of
the plan and sections, given in the accompanying plate (referred to above) ,
warrant the conclusion that the architect had distinctly in view the shape
of the liiiga (phallus of Siva) ; and hence the vimana might better be styled
a lirigakriti -vimana.'
' The gajaprishthakriti-vimana is found only in Saiva temples, e.g.
the Dharmesvara temple at Manimangalam, the Saiva temples at Suman-
463
VIMANA-CHCHHANDAKA AN ENCYCLOPAEDIA OP
galam, Pennagaram, Bhara-dvajasrama near Arcot, Tiruppulivanam
Konnur (near Madras), vada Tirumullaivayil, etc.' — (Five Bana inscrip.
at Gudimallam, Ind. Ant., Vol. XL, p. 104, line 6, note 2.)
(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-
rajnagar Taluq, no. 86 ; Roman Text, p. 18, lines 8-g f.; Transl., p. 1 1.)
(22) ' Vimana — The tower of a shrine." Rca. — (Chalukyan Architecture,
Arch. Surv., New. Imp. Series, Vol. xxi, p. 40.)
VIMANA-CHCHHANDAKA— A class of buildings.
A type of building which is 21 cubits wide, has seven storeys and
latticed windows :
(1) Brihat-samhitd (Chap. LVI, 22, J.R.A.S., N. S., Vol. vi ;
p. 319 ; see under PRASADA).
(2) Matya-Purdna (Chap. CGLXIX, vv. 28, 32, 33, 47, 53 ; see under
PRASADA).
(3) Bhaviskya-Purdna (Chap, cxxx, v. 29 ; see under PRASADA).
VIVAHA-MANDAPA (see MANDAPA) — A pavilion erected for the
wedding ceremonies.
(Shanda-Purana, Mahesvara-khanda-
prathama, Chap, xxiv, vv. 1-67.)
VIVRITA — A type of storeyed building, a class of the nine-storeyed
buildings.
(M., XXVH, 20-22 ; see under PRASADA.)
VIVE&A — A site plan of 625 square plots.
(M., vii, 35-36 ; see PADA-VINYASA.)
VIS— A fixed abode.
(R.-V., x, 91, 2.)
VlSALA-(KA) — 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
PADA-VINYASA.)
A type of rectangular building :
(1) Agni-Purdna (Chap, civ, vv. 16-17; see under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, vv. 21-22, 26-27; see under
PRASADA).
A pavilion with 100 columns (Suprabheddgama, xxxi, 104 ; see under
MANDAPA) .
A class of buildings (Kdmikdgama, XLV, 41 ; see under MALIKA).
A hall with thirty-eight pillars (Matsya-Purdna, Chap. CCLXX, v. u :
see under MANDAPA).
464
HINDU ARCHITECTURE VISHKAMBHA
VlSALAKSHA— A site plan of 784 square plots.
(M., vn, 41-42, see under PADA-VINYASA.)
VI$VA-KANTA— A type of storeyed building.
A class of five-storeyed buildings (M., xxxm, 16-18; see under PRA-
SADA).
A class of nine-storeyed buildings (M., xxvu, 27-33; see under PRASADA).
VI&VA-VIDYALAYA — A university, a place of learning of univer-
sal subjects in Arts and Sciences, comprising various college build-
ings, prayer halls, residences, etc.
The famous universities were at Taxila, Valabhi, Vikramas'ila, Odan-
tapuri, Jagaddala, Somapuri, Vikramapuri, and Nalanda. Compare
big colleges at Bodh-Gaya, Sanchi, Barhut, Sravasti, KausambI, Sarnath,
Mathura, Nasika, Amaravati, Nagarjunikunda, Jagayyapeta, Kanchipura,
Kannipattana and Madura. For structural details, see NALANDA. —
Writer's articles on Universities during Hindu Period (University Studies,
Allahabad, 1936, the Twentieth Century, July, 1935, the Science and Culture,
December, 1935, Modern Review, August, 1935.)
VI&VE&A-SARA — A site plan in which the whole area is divided
into 900 equal squares.
(M., vn, 45-46, see under PADA-VINYASA.)
VISHANA-(KA)— The horn, the tusk, the wing of a building.
Vishanaka-samayukto nandanah sa udahritah I
' That (prasada) is called nandana which is furnished with a vishanaka
(wing).' — (Matsya-Purana, Chap. CGLXIX, v. 33.)
VISHKAMBHA— The diameter of a circle, the length or width of
an object, a post, a pillar, the prop or beam, the bolt or bar of a
door.
(1) Harmya-padasya vishkambham samarh manjusha-vistritih I
' The length of the vault is equal to the width at the foot of the man-
sion.'— (M., xii, 29.)
(2) Dvarasyardhena vishkambhah — ' half of the door gives the width '.
(Brihat-sarhhitd, LHI, 24.)
SashtamSo vishkambho dvarasya dvi-guna uchhrayah I
(Ibid., v. 25 ; see J. R. A. S., N. S., Vol. vi, p. 284, note 3.)
(3) Tehsam ayama-vishkambhah sannivesarhtarani cha I
Kritrimanarh cha durganarh vishkambhayamam eva cha I
Yojanad arddha-vishkambham ashta-bhagadhikayatam 1 1
(Brahmanda-Purana, Part i, and anusharaga-
pada, Chap, vn, w. 94, 106.)
465
VISHNU-KANTA AN ENCYCLOPAEDIA OF
(4) Chatur-dandavakrishtam parikhayah shad-dandochchhritam avar-
uddharh tad-dvi-guna-vishkambharh khatad vaprarh karayet I
Vaprasyopari prakararh vishkambha-dvi-gunotsedham I
Antareshu dvi-hasta-vishkambham parsve chaturgunayamam
anuprakararh ashta-hastayatarh deva-patharh karayet I
(Kautiliya-Artha-sastra, Chap, xxiv,
paras. 3, 5,10, pp. 51-52.)
VISHNU-KANTA — A class of storeyed buildings, a type of column,
a type of gate-house, a kind of phallus, a jewel.
A class of four-story ed buildings (M., xxii, 3-12 ; see under PRASADA).
A jewel (M., XH, 90, etc.).
An octagonal column with eight minor pillars (M., xv, 20, 245, see under
STAMBHA).
A gate-house with sixteen towers (M., xxxni, 557 ; see under GOPURA).
A kind of phallus (M., LII, 154 ; see under LINGA).
VISHNU-GARBHA— (See under GARBHA-NYASA)— A kind of founda-
tion prescribed for the Vishnu temples.
(M.,xn, 141.)
VISTARA— Breadth, length (see under MANA).
VIHARA — Originally monasteries for Buddhist monks and nuns ;
later at the time of Nalanda University, the residential quarters for
the professors (compare Sangarama), a dwelling, a habitation for
gods and for monks, a temple, a convent (W. Geiger, Mahdvams'a,
p. 297) ; a group of apartments for a community of monks, a
Sangarama or monastery in Ceylon and Nepal used to designate ' not
only a cell but also any monastic establishment (Fergusson,
Ind. and East. Arch., 1910, i, p. 170). A Buddhist monastery, a
convent, a temple. With the Buddhists and Jains was ' a hall where
the monks met and walked about ; afterwards these halls came to
be used as temples and sometimes became the centres of monastic
establishments.'
(1) Prag-GangesVara-sannidhau . . . chakre-darumayarh viharam
amalam Sri-Lokanathaspadam |
' 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. Ind., Vol. ix, p. 302.)
(2) Viharo nava-khanda-mandala-mahl-harah krito'yarh taya tarinya
vasudharaya nanu vapur vibhranyalarhkritah I
466
HINDU ARCHITECTURE VIHARA
Yam 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
herself in the shape of Tarini, 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.'
(Sarnath inscrip. of Kumaradevi, v. 21, Ep. Ind., Vol. rx, pp. 325, 327.)
(3) ' Throughout this work the term vihara is applied only to monas-
teries, the abodes of monks or hermits. It was not, however, used in that
restricted sense only, in former times, though it has been so by all modern
writers. Hiouen Thsang, for instance, calls the great tower at Buddh-
Gaya a vihara, and describes similar towers at Nalanda, 200 and 300 feet
high, as viharas. The Mahawanso also applies the term indiscriminately
to temples of a certain class, and to residences. My impression is that all
buildings designed in storeys were called viharas (?), whether used for the
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, till the last gasp of the style, as at Kholvi
At present this is only a theory.'
(This is a false impression ; it is not substantiated by literary or archaeo-
logical evidences.)
Like the chaityas, ' 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
times they were furnished with chapels and altars in which the service
could be performed independently of the chaitya halls, which may or may
not be found in their proximity.' Fergusson. — (Hist, of Ind. and East. Arch.,
pp. 130, note i, 51.)
For the photographic views and architectural details of the existing
viharas, see Fergusson :
Diagram explanatory of the arrangement of a Buddhsit vihara of four
storeys in height (p. 134, fig. 67, 66).
Ajunta-Vihdras (p. 154-155, fig. 83, 84, 85).
Plan of the great Vihara at Bagh (p. 160, fig. 87).
Plan of Dehrwarra at Ellora (p. 163, fig. 88).
Plan of Monastery at Jamalgiri (p. 171, fig. 92).
Plan of Monastery at Takht-i-Bahi (p. 171, fig. 93).
PU\n of Ionic Monastery at Sha Dehri (p. 176, fig. 96).
467
VIHRITA AN ENCYCLOPAEDIA OF
(4) See Buddhist Gave Temples (Arch. Surv., New Imp. Series, Vol. iv,
Plate xxvn).
VIHRITA— An architectural ornament, a moulding, a moulding of
the upper part of a column.
(M., xv, 78 ; see the list of mouldings under STAMBHA.)
VINA— A flute, a lute, a carving on the chariot.
(A/., XLIII, 163, etc.)
VITHI(-I)— A road, a way, a street, a market place, a stall, a shop,
a terrace.
Madhya-rathyavrita vithi samam evarh vidhiyate I
Mukhya vithi dvi-paksha syad griha-tararh tri-dandakam I
Evam bahya-vithi syad antar-vithir ihochyate I
Paksha-yukta tu vithi syat paksha hinarh tu margakam I
Tri-chatush-pancha-dandarh va vfthinarh vistritir bhavet I
Shat-saptashta-dandarh va nanda-panktisa-bhanurh va I
Evarh tu svastika-vithi langalakaravad bhavet I
Antar-vithi chaika-paksha bahya-vlthi dvi-pakshaka I
Paritas tu maha-vithir vither esha dvi-pakshayuk I
Vithinarh parsvayor dese vithikadyair alankritam I
(M., ix, 101, 104, 191, 196, 199, 200, 338, 396, 477, 529 \'see
also 99, 136, 184-187, 197, 201, 203, 206, 324, 339,
345. 347. 352, 426, 43i» 463» 5I9-)
Pada-dandarh samarabhya pada-pada-vivardhitam I
Syad eka-das"a-dandantam vithi-manam ihagame II
Marga-manarh tu tavat syan na dvararh vithikagrake I
(Kamikagama, xxv, 4, 5.)
VlTHIKA— A gallery, a picture gallery, a road, a narrow street,
a lane.
(i) Salato yas tritiyarhSas tena karya tu vithika I
(Kiranakhya-Tantra ; see Brihat-samhita below.)
(a) Sala-tri-bhaga-tulya cha kartavya vithika bahih I
(Visvaka ; see Brihat-samhita, below.)
(3) Sala-tri-bhaga-tulya kartavya vithika bahir-bhavanat I
1 Outside the dwelling one should make a gallery, being in width a
third part of the hall.'— (Brihat-samhita, mi, 20, J.R.A.S., N. S., Vol. vi,
p. 283, note 2.)
(4) Asmat tu chatu-rathyagrad avrita vithika tatah I
Tat-paisacha-pade de^e vavrita vithika bhavet I
468
HINDU ARCHITECTURE VlRA-^ASANA
AntaS-chatush-padam madhye vlthikagram chatur-disi I
Vithlnam parsvayor de£e vithikadyair alarikritam I
(M., ix, 337, 434, 478, 529 ; see also 323, 334-336.)
VlRA-KANTHA (see VIRA-GALA) — A warrior's neck, a part of the
column, a monument.
(Suprabhedagama, xxxi, 59 ; see under STAMBHA.)
VlRA-KARNA — A warrior's ear, 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 II
Vlra-kandavadhi kshepya tad-urdhve nakra-pattika 1 1
(Kamikdgama, LV, 62, in.)
VlRA-GALA (see BIRA-GALA) — A warrior's neck, a monument, a
memorial.
A monumental stone (Ind. Ant., Vol. ix, p. 96, c. 2, line 10).
A stone erected in memory of a fallen warrior (Chalukyan Architecture,
Arch. Surv., New. Imp. Series, Vol. xxi, p. 40).
VlRA-PATTA — The front plate, the diadem, of heroes forming part
of a crown.
(1) ' (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.)
(2) ' Given to the image of Ardha-narisvara) one front plate (vira-
patta), weighing, — inclusive of sixteen nerunji (a kind of thistle), flowers
made of gold, — four karanju and three manjadi, and worth three kasu.'
' 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,
H.S.I.I., Vol. n, p. 1 66.)
(3) ' One 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.)
(4) ' One diadem (vlra-patta), made for the lord of the Sri-Raja-
rajeSvara temple . . . ' — (Inscrip. of Rajraja, no. 59, para. 22, H. S. I. I.
Vol. n, p. 242.)
VlRA-SASANA (see BIRA-GALA and VIRA-GALA) — A monument,
a memorial.
469
VIRASANA AJf ENCYCLOPAEDIA OF
VlRASANA— A throne, a type of pavilion.
A kind of coronation throne (M., XLV, 41 ; see under SIMHASANA).
A pavilion with twenty columns (Suprabheddgama, xxxi, 102 ; see
under MANDAPA).
VRITA(-TTA) — A circular object, a kind of mound column, a type
of building, a class of pavilions.
Dva-trims'ata tu madhye pralinako vritta iti vrittah I
(Bfihat-samhitd, LIII, 28 ; see under STAMBHA.)
A type of building which is circular in shape, has one storey and one
cupola. According to Kern's interpretation it is dark in the interior
(anjanarupa, Varaha-mihira ; sandhyakara, Kasyapa) :
(1) Brihat-samhitd (Chap. LVI, 28, J. R. A. S., N. S., Vol. vi, p. 320,
note i, see under PRASADA.)
(2) Matsya-Purdna (Chap. CCLXIX, w. 29, 49, 53 ; see under PRASADA.)
(3) Bhavishya-Purdna (Chap, cxxx, v. 30, see under PRASADA.)
A type of pavilion (mandapa) :
(4) Suprabheddgama (Chap, xxx, 100, 102 where it is called Jaya-
bhadra ; see under JAYA-BHADRA) .
(5) Cf. ' Within this and rising from a ledging of cut stone 4 feet
high and 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
the top. The whole appears to have been coated with five pilaster
small parts of which still adhere. I examined closely but could not
discover the smallest appearance of its ever having had a roof.' Lieut.
Fagan. — (An Account of the Ruins of Topary, Ceylon Govt. Gazette, Aug., i .
1820, Ind. Ant., Vol. xxxvm, p. no, c. i, para i, line 24.)
VRIDDHA — A finial, a spire, the top-part of a building.
(M., xvii, 126 ; see under SIKHA.)
VRISHA-(BHA)— The bull, the riding animal of a god, a type of
building.
The riding animal of Siva, description of his image (M., LXU, 2-7)
see under VAHANA.)
A type of building which has one storey, one turret (sringa), is round
everywhere and twelve cubits wide :
(1) Brihat-samhitd (Chap. LVI, 26, J. R. A. S., N. S., Vol. vi, p.
319 ; see under PRASADA).
(2) Matsya-Purdna (Chap. CCLXIX, vv. 30, 36, 44, 45, 53 ; see under
PRASADA).
47°
HWDU ARCHITECTURE VEDI-(KA)
(3) Bhamshya-Purana (Chap, cxxx, v. 33; see under PRASADA).
A type of oval building :
(1} Agni-Purdna (Chap, civ, vv. 19-20 ; see under PRASADA.)
(2) Garuda-Purdna (Chap. XLVII, vv. 29-30 ; see under PRASADA.)
VRISHABHALAYA— A detached building near the gate of a
temple where the bull (nandin) is installed.
Prakara-dvara-sarvesharh kalpayed vrishabhalayam I
Vrishabhasyopari-bhage tu kalpayed bali-plthakam I
(M., xxxii, 98-99.)
VRISHA-MANDAPA — A pavilion where the nandin or bull is in-
stalled.
Suprdbheddgama (xxxi, 96, 98 ; see under MANDAPA) and compare :
Vrishasya mandapam tatra chatur-dvara-samayutam I
(Ibid., xxxi, 133.
VETRA — The cane, a stick, an architectural ornament, a moulding.
A moulding of the diadem (makuta) (M., XLIX, 99-100).
A moulding of the bedstead (M., XLIV, 41.)
An ornament of the throne (M., XLV, 162, 188 ; see also M., vn, 241.)
VEDI-(KA) — 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
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).
Compare Pdshdnavedi and Sildvedi (Mahdvarhsa, 36, 52, 103), Muddha-
vedi and Pdda-vedi (ibid., 35, 2.) (W. Geiger, Mahdvamfa, pp. 296-297.)
(i) Salantam vedikordhve tu yuddhartharh kalpayet sudhih I
(M., ix, 36).)
A moulding of the column :
Griva-turigarh tridha bhajyarh ekamse vedikonnatam I
(M., xv, 105.)
' The quadrangular spot in the courtyard of a temple or palace
(Apte). That portion of a building which is 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
VEDI-(KA) AX ENCYCLOPAEDIA OF
The altar or dais (M., LXX, 29, 35, etc.).
Kuryat sarvam vedikam bhadra-yuktam I
(M., XK, 1 80.)
(2) Tri-chuli vaisya-Sudranam pancha-sapta mahi-bhritam I
Brahmananam tathaiva syur ekadaSa tu vedikah II
It should be noticed that ' vedika ' and ' chuli ' refer to the same
object. — (Kdmikagama, xxxv, 60.)
The basement :
Prasada-bhushanam vakshye Sruyatam dvija-sattamah I
Syat pada-prastaram griva varge mule tu vedika 1 1
(Ibid, LV, i.)
(3) Vedikeyam tu samanya kuttimanam prakirtita I
Pratikramasya chotsedhe chatur-vims'ati bhajite II
Vedika-prastara-samam shad-ams'ikritya bhagas"ah I
Ekarhs'am prati-pa^tam syad am^abhyam antarlbhavet II
( Vastu-vidya, ed. Sastri, ix, 19, 23.)
(4) Kanchanair bahubhih stambhair vedikabhiS cha Sobhitah |
(Rdmayana, vi, 3, 18, etc.)
(5) (Nalinim) . . . maha-mani-sila-patta-baddha-paryanta-vedikam |
(Mahabhdrata, n, 3, 32, etc.)
(6) Athatah sampravakshyami pratishtha-vidhim uttamam |
Kunda-mandapa-vedlnam pramanarh cha yatha-kramam 1 1
Prasadasyottare vapi purve va mandapo bhavet I
Hastan shoda^a kurvita da^a dva-dasa va punah 1 1
Madhye-vedikaya yuktah parikshiptah samantatah I
Pancha-saptapi chaturah karan kurvita vedikam 1 1
(Matsya-Purana, Chap. CCLXIV, vv. i, 13, 14 ;
see also Chap. CCLXIX, vv. 13, 18.)
From the position and measures given here to the vedi or vedika, it
appears to imply some platform other than the pedestal or throne of
the idol.
(7) Tad-urdhvarh tu bhaved vedi sakantha manasarakam ||
Urddhvarh cha vedika-manat kalasam parikalpayet II
(Agni-Purana, Chap. XLII, vv. 17, 18.)
(8) Mandaparh cha su-vistirnam vedikabhir manoramam 1 1
Tan-madhye mandapam kritva vedirh tatra su-nirmalam 1 1
(Skanda-Purana, Mahe^vara-khanda-prathama,
Chap, xxiv, v. 2, Vaishnava-khanda-
dvitiya, Chap, xxv, v. 26.)
(9) See specimens of Jaina sculptures from Mathura (Plate ni, Ep. Ind.,
Vol. n, p. 319, last para.).
472
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.)
( 1 1 ) Chanyany abhanti dirggha-valabhirh sa-vedikam I
' And 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.)
(12) Esha bhati kulachalaih parivrita praleya-sarhsarggibhir vvedi
meru-sileva kanchana-mayi devasya visrama-bhuh I
Subhraih pranta-vikasi-pankaja-dalair ity-akalayya svayarii rau-
pyam padmam achikarat paSupateh pujartham aty-ujjvalam II
' Thinking that this throne on which the deity rests, golden-like mouns
meru, was surrounded by the imperishable (seven) primeval mountains
covered by snow, (the king) himself caused an exceedingly resplendent
silver lotus with brilliant wide opened petals to be made for the worship of
Palupati.'
' (The poet tries to prove that the lotus resembles the shrine of Pasu-
pati. As the latter is of gold, so the centre also of the lotus is golden, and
as the temple is surrounded by snowy mountains, so the petals of the lotus
are made of silver).' — (Inscrip. from Nepal, no. 15, of Yaya-deva, v. 25, Ind.
Ant.y Vol. rx, pp. 179, 182).
(13) ' Vedi (bedi) — Hall for reading the Vedas in.' — (Vincent-Smit^
Gloss, to General Cunningham's Arch. Surv. Reports.)
(14) See Cunningham, Arch. Surv. Reports (Vol. xvu, Plate xxxi, Buddhist
railings).
(15) ' Veyika, which, as well as Vedika and vetika in other Buddhist
inscriptions, stands for Sanskrit vedika, does not mean altar, dais, etc.,
but hands or string-courses carved with rail-pattern : compare Mahdvamsa,
228,' Dr. Burgess. — (Karle inscrip. no. 3, Arch. Surv., New Imp. Series,
Vol. iv, p. 90, note 3 ; see also nos. 15, 16 : Kshatrapa inscrip. no. 3.)
(16) ' These (rails, ? vedi) have recently been discovered to be one of
the most important features of Buddhist architecture. Generally they are
foui.d surrounding topes, but they are also represented as enclosing sacred
tree?, temples and pillars, and other objects.' Fergusson. — (Hist, of Ind.
an I East. Arch., p. 50.)
See the photographic views and architectural details of the following
Rails in Fergusson :
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
VEDIKA-VATAPANA AN ENCYCLOPAEDIA OF
VEDIKA-VATAPANA— A balustrade.
(S. B. E.} xx, p. 104, 4, 3 ; p. 162, 4, 4 ;
W. Geiger, Mahdvariiia, p. 297.)
VEDI-KANTA-(KA)— A type of storeyed building, a class of
four-storeyed buildings.
(M., xxii, 58-59 ; see under PRASADA.)
VEDI-BANDHA — The pedestal, the base, the basement.
Prasadau nirgatau karyau kapotau garbha-manatah |
Drdhvam bhitty-uchchhrayat tasya manjarirh tu prakalpayet 1 1
ManjaryaS chardha-bhagena Suka-nasarh prakalpayet I
Ordhvarh tathardha-bhagena vedi-bandho bhaved iha II
(Visvak 6, 767, J. R. A. S., N. S.,
Vol. vi, pp. 421, 320, note 2.)
These lines are identical in the Matsya-Purdna (Chap. CCLXIX, vv.
H-I3-)
VEDI-BHADRA— One of the three classes of pedestals, the other
two being Prati-bhadra and Mancha-bhadra. It has four types
differing from one another in the addition or omission of some
mouldings and in height.
(A/., XHI, 27-53 > see ^e list of mouldings under UPAP!THA.)
VE&ANA — An entrance, a gate, a gateway, a band, an architec-
tural moulding.
Eka-dvi-tri-dandarh va chantaralasya vesanarh syat I
Harmya-vasad upa-vesanarh yuktam I
(M., xrx, 191, 187.)
A band in connexion with joinery (M., xvn, 139).
Cf. Crdhva-kuta-vesanam I
(M., xx, 72.)
. . . bhitti-vistaram eva cha I
Sesham tad-gar bha-geharh tu madhya-bhage tu vesanam I
(M., xxxin, 333-334 ; see also 488.)
In connexion with chariots : Kukshasya veSanam I
(Af.jXLin, 14)
In connexion with the phallus :
Liriga-tunga-viSesham syad vesanarh tan nayet budhah |
(M., ui, 313.)
VE&MAN — A ' house as the place where one is settled. '
(R.-V., x, 107, 10 ; 146, 3 ; A.-V., v, 17, 13 ; ix, 6, 30 ; Ait. Bra. vin, 24, 6.)
474
HINDU ARCHITECTURE VYAGHRA-NlDA
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.)
(See details under NAGARA.)
VAIJAYANTIKA — A type of building, a class of single-storeyed
buildings.
(M., xix, 166 ; see under PRASADA.)
VAIRAJA — A class of buildings, square in plan and named as
follows : (i) Meru, (2) Mandara, (3) Vimana, (4) Bhadra, (5)
Sarvato-bhadra, (6) Ruchaka, (7) Nandika, (8) Nandi-varddhana
and (9) Srivatsa.
(1) Agni-Purana (Chap, civ, w. n, 14-15; we under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, vv. 21-22, 24-25; see under PRASADA)
VAI&YA-GARBHA (see GARBHA-NYASA) — A kind of foundation
prescribed for the buildings of the Vaisyas.
(M., xn, 162; see under GARBHA-NYASA.)
VYAJANA — A fan, an account of its architectural details.
(M., L, 46, 97-110 ; see BHUSHANA.)
VYAYA — One of the six Varga-formulas, an architectural measure,
the name of a year.
(See details under SHAD-VARGA.)
1 i ) Srimach-chhali-sakabdake cha galite nagabhra-banerhdubhis chabde
sad-vyaya-namni-chaitra-sita-shashthyam saumya-vare vrishe I
' And in the excellent year named Yyaya . . . '
(Karkala inscrip. of Bhairava n, v. 6, line 7,
Ep. Ind., Vol. vui, pp. 131, 134, 124.)
Sali-vahana-saka-varsha (1508) neya vyaya-sarhvatsarada) I
' In the Salivahana saka year which corresponded to the Vyaya sarh-
vatsara . . . '—(Ibid., line 9.)
(2) ' When the year of glorious era called Salisaka, having the excel-
lent name of Vyaya and to be expressed in words by the elephants, the
sky, the arrows, 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,
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 under BHUSHAIJA.)
475
VYALA-TORANA AX ENCYCLOPAEDIA OF
VYALA-TORANA (see TORANA) — An arch marked with the leo-
graph.
Tatah samabhyunnata-purvva-kayas tenadhirudhah sa naradhipena I
Samutpatann uttama-sattva-vegah khe torana-vyala(ka)-vaddha
bhase 1 1
(Jatakamdla, Sarabha-jataka, xxv, 22; v. 19, ed. Kern, p. 165.)
&AKTI — Power, energy, capacity, strength, female divinity, the
female deities in general.
Mdnasdra (Chap. LIV, 1-195), named Sakti :
Sarasvati or goddess of learning, Lakshmi or goddess of wealth and
fortune, Mahi or the earth goddess, Manonmani (Manah-unmadini)
or goddess of love, 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
Samanya or the ordinary Lakshmi, the latter being installed in all family
chapels (lines 63-64). The seven goddesses consist of Varahi, Kaumari,
Chamundl, Bhairavi, Mahendri, Vaishnavl, and Brahman! (lines
126-127).
These seven goddesses are measured in the nine-tala system (line 128) ;
all other female deities are measured in the ten-tala system (lines 34-38).
Details of these measures will be found under TALA-MANA.
The sculptural details include the measures of the limbs, and the poses ,
and the ornaments and features of each of these female deities are des-
cribed in detail (lines 4-128, 132-195).
Cf. Matri-ganah kartavyah sva-nama-devanurupakrita-chihnah I
(Brihat-samhita, Lvm, 56.)
S AKTI-DHVAJA— A moulding of the column.
(M. xv, 77 ; see lists of mouldings under STAMBHA.)
&AfrKU— A stake, 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) .
See THUNA :
The memorial pillar set 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
(R-V., x, 18, 3 ; A.-V., xvni, 3, 52).
476
HINDU ARCHITECTURE
(1) Mdnasdra (Chap, vi, 1-120, named Sanku) :
Rules are laid down on the principles of dialling and for ascertaining the
cardinal points by means of a gnomon. The gnomon is made of some
particular wood (lines 10-12, 106-108). It may be 24, 18, or 12 afigulas
in length and the width at the base should be respectively 6, 5, and 4
angulas (lines 13-22). It tapers from bottom towards the top (line 14).
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
twelve months is divided into groups of ten days each, and the increase
and decrease of shadow (or days, as stated by Vitruvius, see below) are
calculated in these several parts of the different months.
Pegs (khata-s'anku) are stated to be posted in the foundations (lines no-
118).
(2) Surya-siddhdnta (Chap, in, w. 1-51, 2, 3, 4) :
Construction of the dial and description of its parts (vv. 1-6) ; the
measure of amplitude (v. 7), of the gnomon, hypotenuse and shadow,
any two being given to find out the third (v. 8) ; precession of the
equinoxes (vv. 9-12) ; the equinoctial shadow (w. 12-13) ; to find,
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
noon, his zenith-distance, the latitude, and its sine and cosine (vv.
14-17) ; latitude being given to find the equinoctial shadow (v. 17) ;
to find, from the latitude and the sun's zenith, distance at noon,
his declination, and his true and mean longitude (w. 17-30) ; latitude
and declination being given, to find the noon-shadow and hypotenuse
(w. 21-22) ; from the sun's declination and the equinoctial shadow to
find the measure of the amplitude (vv. 22-23) ; to find from the equin-
octial shadow and the measure of amplitude at any given time the base
of the shadow (vv. 23-25) ; to find the hypotenuse of the shadow when
the sun is upon the prime-vertical (vv. 25-27) ; the sun's declination
and the latitude being given, to find the sine and the measure of
amplitude (w. 27-28) ; to find the sine of the altitude and zenith-
distance of the sun, when upon the south-east and south-west vertical
circles (vv. 28-33) ; to find ^the corresponding shadow and hypotenuse
(w. 33-34) ; the sun's ascensional difference and the hour-angle being
given, to find the sines of his altitude and zenith-distance, and the
corresponding shadow and hypotenuse (vv. 34-36) ; to find, by a con-
trary process, from the shadow of the 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
longitude (w. 40-41) ; to draw the path described by the extremity of
477
AN ENCYCLOPAEDIA OF
the shadow (vv. 41-42) ; to find arcs of the right and oblique ascension
corresponding to the several signs of the ecliptic (w. 42-45) ; the sun's
longitude and the time being known, to find the point of the ecliptic
which is upon the horizon (vv. 46-48) ; the sun's longitude and the
hour-angle being known to find the point of the ecliptic which is
upon the meridian (v. 49) ; and the determination of time by means
of these data (w. 50-51).'
' On the surface of a stone levelled with water or on the levelled floor
of the chunam work, describe a circle with a radius of a certain number of
digits. Place the vertical gnomon of 12 digits as its centre and mark the
two points where the shadow (of the gnomon) before and after noon meets
the circumference of the circle ; these two points are called the east and
the west points (respectively) . Then draw a line through the timi (fish)
formed between the (said) east and west points and it will be the north and
south line or the meridian line.'
(To draw a line perpendicular to and bisecting the line joining two
given points, it is usual to describe two arcs from the two given points as
centres with a common radius, intersecting each other in two points ; the
line passing through the intersecting points is the line required. In this
construction the space contained by the intersecting arcs is called ' Timi ',
a fish, on account of its form).
' And thus, draw a line through the timi formed between the north
and the south points of the meridian line ; this line would be the east and
west line.'
' In the same manner, determine the intermediate directions through
the timis formed between the points of the determined directions (east,
south, etc.).'
(3) The Siddhdnta-Siromani (Chap, vn, w. 36-39) refers to the ' rules for
resolving the questions on directions ' by means of a gnomon. But it
does not apparently deal with the cardinal points we are discussing here.
(4) The Llldvatl (xi i-io, part 2, Chap, n, section 4) lays down a few
rules for ascertaining the shadow of the gnomon of 12 digits as well as the
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.,
Vol. v, p. 231) :
Rule I—
' Stand with the sun to your right, join your hands horizontally —
reject the thumbs — erect the index-finger from the middle. If the
shadow of the erect finger extends to the outer edge of the finger next
478
HINDU ARCHITECTURE
adjacent — to the index-finger of the left hand — it denotes 48 minutes
past sunrise, and so on.'
When the sun has passed the meridian, the position must be altered
accordingly.
Rule II-
' Take a straw eleven fingers in length, place it on the ground, bend
it, raising one part to serve as a gnomon, the gnomon being erected
against the sun, east or west of the meridian. The height of the
gnomon is 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
so found gives the time of day. Ascertain how many fingers it
contains ; the sum is the time in Indian hours.'
(7) The details given above may be compared for further knowledge
of the subject with those quoted below from Vitruvius :
' Thus are expressed the number and names of the winds and the
points whence they blow. To find and lay down their situation we
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
slab may not be necessary. In the centre of this plane, for the purpose
of marking the shadow correctly, a brazen gnomon must be erected.
The Greeks call this gnomon skiatheras.'
' The shadow cast by the gnomon is to be marked about the fifth
anti-meridional hour and the extreme point of the shadow accurately
determined. From the central point of the space whereon the
gnomon stands, as a centre, with a distance equal to the length of
the shadow just observed, describe a circle. After the sun has passed
the meridian, watch the shadow which the gnomon continues to
cast till the moment when its extremity again touches the circle
which has been described. From the two points, thus obtained in
the circumference of the circle, describe two arcs intersecting each
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 one-
eighth part of the circumference for the region of the north, and another
eighth part for the region of the south. Divide the remainders of the
circumference on each side into three equal parts and the divisions or
479
AN ENCYCLOPAEDIA OF
regions of the eight winds will be then obtained ; then let the directions
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 rules are laid down
may prevent their being clearly understood, I have thought it right to add
for the clearer undertsanding thereof two figures. . . . The first shows
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
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 com-
plete circle. Then replacing the gnomon correctly, watch its increasing
shadow, which after the sun has passed his meridian, will gradually leng-
then 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,
describe two arcs cutting each other in D. From the point D, through the
centre of the circle, draw the line EF, which will give the north and south
points. Divide the whole circle into sixteen parts. From the point E,
at which the southern end of the meridian line touches the circle, set off
at G and H to the right and left a distance, equal to one of the said six-
teenth parts, and in the same manner on the north side, placing one foot
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
and HI, so that the space from G to H will be given to the south wind and
its region ; that from / to K to the north wind. The remaining spaces
on the right and left are each to be divided into three equal parts ; the ex-
treme points of the dividing lines on the east sides, to be designated by the
letters L and M : those on the west by the letters NO : from M to 0 and
from L to JV draw lines crossing each other : and thus the whole circum-
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 '. — (Vitruvius, Book I, Chap. vi).
' It is clearly by a divine and surprising arrangement, that the equinoc-
tial gnomons are of different lengths in Athens, Alexandria, Rome,
Placenza and in other parts of the earth. Hence the construction of dials
varies according to the places in 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
deduced from the sun's course and founded on observation of the increase
480
HINDU ARCHITECTURE
of the shadow from the winter solstice, by means of which, with mechanical
operations and the use of compasses, we arrive at an accurate knowledge
of the true shape of the world.' — (Book ix, Chap, iv.)
' From the doctrines of the 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
that of the gnomon ; at Rhodes five-sevenths ; at Tarentum nine-elevenths ;
at Alexandria three-fifths ; and thus at all other places the shadows of the
gnomon at the equinoxes naturally differ. Hence in whatever place a
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
centre to the extremity B of the said line, let a circle be described. This
is called the meridian. Then of those nine parts between the plane and
the point of the gnomon, let eight be allotted to the line on the plane,
whose extremity is marked C. This will be the equinoctial shadow of
the gnomon. From the point C through the centre A, let a line be drawn,
and it will represent a ray of the sun at the equinoxes. Extend the com-
passes from the centre to the line on the plane, and mark on the left
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
semi-circles. This line by the mathematicians is called the horizon.
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
points G and H. From these, through the centre, draw lines to the plane
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 ; and opposite to G and H the points K and L, and opposite
to C, F, and A, will be the point N. Diameters are then to be drawn from
G to L, and from H to K. The lower one will determine the summer and
the upper the winter portion. These diameters are to be equally divided
m the middle at the points M and 0, and the points being thus marked,
481
SANKHA AN ENCYCLOPAEDIA OF
through them and the centre A a line must be drawn to the circumference,
where the letters P and Q, are 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-
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 is 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. Finally, let the point of the compasses be placed in that
point where this line is cut by the equinoctial ray, and letter the point
X, and let the other point be extended to that where the summer ray cuts
the circumference, and be lettered H. Then with a distance equal to that
from the summer interval on the equinoctial point, as a centre, describe
the circle of the months, which is called Manacus. Thus will the
analemma will be completed . . . '
' In all the figures and diagrams the effect will be the same, that is to
say, the equinoctial as well as the solstitial days, will always be divided
into twelve equal parts.' — (Book ix, Chap, vm.)
(8) Brahma-siddhdnta-sphuta of Brahmagupta (xrx, 1-20).
(9) Pancha-sidhdntikd of Varahamihira (n, 10-13; xrv, i-n, 14-22.)
(10) Mayamala (vi, 1-28).
(n) Silparatna of Srlkumara (xi, 1-22).
(12) Katyapa-silpa (i, 60-70).
(13) Vdstu-vidyd (m, 7-10).
(14) Manushydlaya-chandrikd (n, 1-4).
SANKHA — A type of round building.
(1) Agni-Purdna (Chap, civ, w. 17-18; see under PRASADA).
(2) Garuda-Purdna, (Chap. XLVH, w. 21, 23, 28-29 ; see under PRASADA).
&ANKHA-KUNDALA — An ornament, an ear-ring of conch-shell.
(M., LVI, 167, 170; see BHUSHANA.)
&A1SJKHA-PATRA — An ornament of leaf pattern, made of conch-
shell.
(M., LIV, 170; see BHUSHANA/
&ATARDHIKA— A pavilion with eighteen pillars.
(Matsya-Purdna, Chap. CCLXX, v. 13 ;
see under MANDAPA.)
482
HINDU ARCHITECTURE g ASTRA- MANDAPA
&ATA&GA — A car, a carriage, a war-chariot, an arm-chair, a
sofa.
(Ranganath inscrip. of Sundara-pandya, v. 14,
Ep. Ind., Vol. in, pp. 12, 15.)
See Chullavagga (vi, 2, 4 ; also vi, 20, 2 ; vra, i, 3) which reads Sattan-
go. There seems to be another expression, Apasayam, to mean a sofa or
arm-chair (see Buddhaghosa's note on ibid., vi, 2, 4).
SATRU-MARDANA— A pavilion with thirty-four pillars.
(Matsya-Purana, Chap. CCLXX, v. n ; see under
MANDAPA.)
SAMBHU-KANTA— A class of eleven-storeyed buildings.
(M., xxix, 2-8 ; see under PRASADA.)
&AYANA — Lying down, a bed, a couch, the recumbent posture,
the roof of a house, a building material, a class of buildings in which
the width (at the bottom) is the unit of measurement, the temples
in which the idol is in the recumbent posture.
Compare Asandi, Talpa, Proshtha, and Vahya, the Rig-Veda (vn, 55, 8)
refers to ' married woman occupying their commodious " talpas," the new
bride on the fashionable " vahya " and other single women of the house-
hold on the " proshthas " within the family home (harmya).'
A bedstead (M.,m, 10, n, 12 ; XLIV, 74, and colophon).
The recumbent posture (M., LXH, 15; Lxra, 47, etc.).
A synonym of the roof of a house (M., xvi, 56, 58 ; see PRACHCHHA-
DANA).
The wood used in constructing a bedstead (M., XLIV, 74).
A temple (M., xrx, 7-11, See under APA-SAMCHITA.)
&AYANA-MANDAPA — A bed-chamber, sleeping apartments.
(M., xxxn, 72, etc.)
SARKARA — Sugar, a small stone, a pebble, a gravel, sand, any
hard particle.
A material of which idols are made (M., LI, 6, etc.; see under AflHasA).
Cf. Musalena tu sampidya Sarkaradi-samanvitam I
(Suprabhedagama, xxxi, 1 10.)
SARMA— A house (R.-V., vn, 82, i).
SASTRA-VMANDAPA— An arsenal, a detached building for the
storage of arms.
(M., xxxn, 69, etc.)
483
SAKHA AN ENCYCLOPAEDIA OF
SAKHA — A branch, an arm, part of work, a wing, the door-
frame, the door-post, the jamb.
(1) Sakha-dvaye'pi karyam sardharh tat syad udumbarayoh II
Uchchhrayat pada-vistirna Sakha tadvad udumbarah I
Vistara-pada-pratimam bahulyarh sakhayoh smritam II
Tri-paficha-sapta-navabhih s"akhabhis tat prasasyate I
Adhah-sakha-chatur-bhage pratiharau nivesayet II
(Brihat-samhita, LIII, 24 ; LVI, 13, 14.)
(2) The third and fourth lines of the Brihat-samhita quoted above
are identical with those in the Matsya-Purdna (see Chap. CCLXX, vv. 20 21).
(3) Uchchhrayat pada-vistirna s"akhas tadvad udumbare II
Vistararddhena bahulayam sarvesham eva kirtitam I
Tri-paficha-sapta-navabhih sakhabhir dvaram ishtadam II
Adhah-Sakha-chaturthamse pratiharau nivesayet I
Mithunaih pada-varnabhih Sakha-Sesharh vibhushayct II
(Agni-Purana, Chap, civ, vv. 28-30.)
(4) A wing (Dabhoi inscrip. v. in, Ep. Ind., Vol. i, p. 31).
SANTIKA (see UTSEDHA) — A measure, the height which is equal
to the breadth.
(See M., xxxv, 22-28, and cf. Kdmikdgama,
L. 24-28, under ADBHUTA.)
SALA — • Primarily a thatch of straw (chdla) for shelter of men or
their cattle and stores, then the homestead inclusive of such stalls and
sheds (A. V. in, 12, i ; v, 31, 5 ; vi, 106, 3 ; vm, 6, 10 ; ix, 3, i ;
xiv, i, 63 ; Tail. Bra. i, 2, 3, i ; Sat. Bra. in, i, i, 6) ; then houses
generally as in Salapati or householder (A.-V., ix, 3, 12) ; finally a
section or a single room of a house as in patnl-sala, agni-sala. It
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 apart-
ment, a house, a stable, a stall. The three terms, s"ala, mandapa,
and griha, are sometimes indiscriminately used to imply houses
in general. 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
supplied to the primitive man the model of his future house. Sala
(house) is stated (vv, 117-120) to have been derived from Sakha
484
HINDU ARCHITECTURE
(branch), because originally branches were ai ranged lengthwise,
breadthwise, crosswise, up and down, and thatch them to make the
first house.'
Mandapas are detached single-storeyed pavilions (M., xxxiv) and
Salas are storeyed mansions furnished with pavilions (M., xxxv).
(1) Mdnasdra (Chap, xxxv, 1-404), named Sala :
In this chapter ' sala ' is used mostly in the sense of a house. Salas
imply both temples and residential buildings for the Brahmans, the Kshat-
riyas, the Vaisyas and the Sudras (lines 1-2).
Their characteristic features as single buildings :
Salayah parito'lindarh prishthato bhadra-sarhyutam I (40)
Purato mandapopetam ... I (41)
Ekaneka-talantarh syat chuli-harmyadi-manditam I (47)
Like villages, Salas are divded into six classes, namely, dandaka, svastika
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 differ-
ent castes (lines 32-37). A distinction is made with regard to the number
of storeys they should be furnished with (lines 78, 359-373, etc.).
The maximum number of storeys a sala has is twelve as usual. All the
storeys of all these Salas are described in detail (lines 5-401).
(2) Kdmikagama (Chap, xxxv, 1-1930) :
Salas are meant to be the dwellings of the Brahmans and others
(vv. 1-2) :
Eka-dvi-tri-chatuh-sapta-dasa-sala prakirtitah I
Tad-urdhvarh tri-tri-vridhya tu yavad ishtarh pragrihyatam 1 1
Ta eva malikah prokta mala-vat kriyate yatah II
Then follow the measurement (vv. 3-12), and the ayadi-shadvarga
(vv. 13-20).
The different component parts of the Sala :
Adhishthanam cha padam cha prastararh karnam eva cha I
Sikhararh stupika chaiva salarigam iti kathyate II (21)
The measurement of the base, pillar, entablature, tower, finial, and dome
is given next (w. 22-32).
The wall is also described (w. 32, 33) :
Tri-hastantam tu vistaro bhittinarh parikirtitah 1 1
Mula-bhitter idarh manam urdhve padardha-hmakam |
Anyonyam adhika vapi nyuna va bhittayah samah II
The groups of Salas are described (vv. 34-36).
485
SALA AX ENCYCLOPAEDIA OF
The verandahs (alinda) are also described (vv. 36-38) :
Asam agre tu alindah syuh pradhane va viseshatah I
Eka-dvi-tri-chatush-pancha-shat-saptalinda-sarhyuta(-a)h 1 1
Prishthe parsVe tathaiva syuh ishta-des"e athava punah 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 I
Hasty-asva-ratha-yodhanarh yaga-homadi-karmasu I
Devanam bhu-patinam cha nritta-gitadi-karmasu II (58)
Then follow the architectural and other details of the storeys which
number as many as sixteen (vv. 59-86) :
Evam eva prakarena kuryad ashodas"a-kshmakam 1 1 (86)
The s"alas are, like the villages and towns, classified (w. 87-88) :
Adyam tu sarvato-bhadrarh dvitiyam vardhamanakam I
Tritiyam svastikarh proktarh nandyavartam chaturthakam II
Charukarh (for Ruchakam) pancham-(am) vidyach chhalanam api-
(abhi)dhanakam II
Details of these s"alas are given next (w. 89-96).
Mandapas and Salas are distinguished from each other :
Mandaparh tu vidhatavyam ^alanam agra-desake II (g6a)
The remaining portion of the chapter deals with some constituent mem-
bers of salas, such as the plthika, bhadra, khalurika (vv. 103, 117-118),
gopura (v. I24a), chuli-harmya (v. 125), ankana (v. 131), parigha
(v. i32a), varhSa (w. 147, 149), pinda (v. 158), etc.
The stone-pillars and stone-walls are stated not to be built in residential
salas or buildings (v. 161) :
Sila-stambharii iila-kudya m naravase na karayet I
The drains (jala-dvara), etc., are next described.
The chapter closes with an account of the rules regarding the situation
of halls like the drawing-room (asthana-mandapa, v. 191), kitchen (w.
176-178), bedroom (v. 179), etc. :
Sarvada bhinna-salasu sandhi-karma na karayet II (i57a)
Devata-sthapanam pindam Salasu na vidhiyatell (158)
Ibid., L, 90 (definition) :
VamSadir ariisa-rahita ^ikhara-stupikanvita(h) I
Nasika-mukha-pattam^a saleti pariklrtita II
(3) Dhana-dhanyarh cha vayavye karmma-salam tato bahih I
' The treasury and granary should be built at the north-west, outside
that should be the office.' — (Matsya-Purdna, Chap. CCLVI, v. 35.)
486
HINDU ARCHITECTURE SAL A
(4) Sarhpadaya padma-nidhe(h) £alarh svarna-mayim kuru II
Rathasyes"ana-dig-bhage salarh kritva susobhanam I
Tan-madhye mandapam kritva vedirh tatra sunirmalam II
(Skanda-Purdna, Vaishanava-khanda, n, Chap, xxv,
vv. 3, 26.)
(5) Manavanarh griha prokta vasavas te kakub-gatah I
Sarhsthana-bhedena te jneyah panchadha syuh pramanatah II
Svayoni-vyasa-gatayo dig-vidikshu cha sarhsthitah I
Bhinna-sala cha sa prokta manujanarh subha-pradah II
Dig-vidikshv-eka-yonistha paryastena tathaiva cha I
Jneya chatur-saleti silpa-sastra-nidarsibhih n
( Vastu-vidya, ed. Sastri, vni, 1-3.)
(6) Purva-dakshinarh bhagarh mahanasarh hasti-salarii koshthagararh
cha I
Paschimottararh bhagam yana-ratha-sala I
(Kautiliya-Artha-satra, Chap, xxv, p. 55.)
(7) Sala-tri-bhaga-tulya kartavya vithika bahir bhavanat I
' Outside the dwelling one should make a gallery, being in width a
third of the hall.' — (Brihat-samhita, Lin, 20, see J.R.A.S. N. S., Vol. vi, p. 283.)
(8) Vyakhyana-Sala — hall of study. — (Bheraghat inscrip. of Alhanadevi,
v. 28, Ep. Ind., Vol. n, pp. 13, 16.)
(9) Teneyarh karita s"ala §rivisala monorama I
Dhatreva svechchhaya srishtih sthapitadisura-trayah II
Sala Manovativaisha Brahma-yukta virajate I
Atra vidyarthinah santi nana-janapadodbhavah II
' He got this school made here, magnificent in its splendour and hand-
some, as it were, made by the Creator after his own will, in which he
placed the three principal gods. This school shines forth like Manovati
(a mythical town on mount Meru) joined by Brahman ; here there are
scholars born in various lands.'
' To judge by the description of it, the sala must have been an establish-
ment of some importance.' — (Salotgi pillar inscrip. no. A, vv. 16, 17,
Ep. Ind., Vol. rv, pp. 60, 61, 63, 58, note 5.)
(10) Go-sala — cow-shed (three inscrip. from Travancore, no. B, line
3, Ep. Ind., Vol. iv, p. 203).
(11) Natya-sala — a hall for religious music (dancing) built in front of
the Durga temple. — (Dirghasi inscrip. of Vanapati, line 15, Ep. Ind., Vol. iv,
pp. 316, 318.)
(12) Bhakta-sala— an almshouse or place for the distribution of food.—
(Assam Plates of Vallabhadeva, v. 13, Ep. Ind., Vol. v, pp. 184, 183, 187.)
487
SALA AM ENCYCLOPAEDIA OF
(13) Chakre-sri-Aparajitesa-bhavane sala tathasyam rathah Kailasa-
pratimas triloka-kamalalaiiikara-ratnochchayah 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.)
( 14) Chatu(h)-salavasadha-pratisraya-pradena arama-tadaga-udapana-
karcna I
' Who has given the shelter of quadrangular rest-houses and made wells,
tanks, and gardens.'— (Nasik Cave inscrip. no. 10, line 2 f., Ep. Ind., Vol. vm,
PP- 78, 79-)
(15) ' Caused to be built in stone on the summit japa-sale, satra, and a
fort with bastion.' — (Ep. Carnal., Vol. x, Bagepalli Taluq, no. 68 ; Transl.,
p. 240.)
(16) 'In the antarala (or interior) they erected a most beautiful ranga-
mantapa, and a fine chandra-sale (or upper storey) according to the direc-
tions given by the King Timendra.' — (Ep. Carnal., Vol. xu, Pavugada Taluq,
no. 46 ; Transl., p. 46, line 14 f. ; Roman Text, p. 203, v. 9.)
(17) 'By him this college (sala) has been caused to be constructed
(established), rich, spacious and beautiful . . . and this college full
of the intelligence is resplendent with Brahmanas. Here there are scholars
born in various districts. For their subsistence is (hereby) provided.'
(cf. no. 9 above). — -(Salotgi inscrip., Ind. Ant., Vol. i, p. 210, c. 2. para, i.)
(18) Saleyarh vividha-pravasi-manuja-prajyopakara-kshama rathya chat-
vara-ramya-koshta-vilasad-vatayana slakshna-bhuh I
Nana-desa-samagatan pathi parisrantan asangrahino nityam bho-
jana-vasa-dana-vidhina kamanugan toshayet II
(Inscrip. from Nepal, no. 23, inscrip. of Queen
Lalita-tri-pura-Sundarl, v. 4, Second Series,
Ind. Ant., Vol. ix, p. 194.)
(19) ' The building, represented in the plate as adjoining the temple,
is a dharma-sala, or house of rest, where pilgrims of good caste receive
board and lodging gratis for a fixed period.' — (Ind. Ant., Vol. xvi, p. n, c. 2
line if.)
(20) ' 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.)
(21) ' His mother . . . and his sister . . . erected a paddi-
sala in his memory.' — (Ep. Carnal., Vol. n, no. 51 ; Transl., p. 120, last para. ;
Roman Text, p. 34, last three lines; Introduction, p. 51. para. 3.)
(22) Madida padasale (pada or pada-sala) — Mr. Rice translates it by
verandah. — (Ep. Carnal., Vol. in, Mysore Taluq, no. 59 ; Roman Text, p. 13 ;
Transl., p. 6).
HINDU ARCHITECTURE
(23) ' He was pleased to set with precious stones the Kandalur hall
(salai).' — (Ep. Carnal., Vol. in, Tirumakudlu-Narasipur Taluq, no. 35 ; Roman
Text, p. 147, line i ; Transl. p. 74, line i 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-
sala) in the middle, two oil-mills and two gardens. — (Ep. Carnal., Vol. iv,
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.)
(26) ' Sri - Gopala - svamiyavara - nava-rariga - patta-sale prakara-vanu
kattisi.'
For the god Gopala ... he erected the nava-rariga, the patta-
sala, and the enclosure wall.
Nava-rariga prakara-patta-sale-samasta-dharmma — ' this 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,
no. 185 ; Roman Text, p. 467 ; Transl., p. 205.)
(27) ' The virupaksha-sala was erected to the temple.'
The inscription is ' on the floor of the mantapa in front of the Virabhadra
temple. Sala apparently means here a mandapa or detached building
(pavilion) where the god Virupaksha is installed.' — (Ep. Carnal., Vol. vi,
Koppa Taluq, no. 4 ; Transl., p. 76 ; Roman Text, p. 166.)
(28) ' To the thousand of Gautamagrama were given three salas (halls
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-
tion more than twenty-five times. — (Ep. Carnal., Vol. vm, Shikarpur Taluq,
no. 45 (bis), Transl., pp. 49, 50; Roman Text, pp. 97-98).
SALA-GRIHA — A dwelling house, a type of building.
A type of rectangular building :
(1) Agni-Purdna (Chap, civ, vv. 16-17; see under PRASADA).
(2) 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 I
Sikharam stupika chaiva salamgam iti kathyate II
(Kamikdgama, xxv, ai.)
489
SALA-BHANJIKA AN ENCYCLOPAEDIA OF
SALA-BHAftjIKA — A wooden middled image.
(Bharata-Natya-sastra, n, 79.)
SALA-MALIKA — A class of buildings, a type of hall.
(Kdmikdgama, xxxv, 6 ; see under MALIKA.)
&ASANA — An architectural member, a plate, a part of an enclosing
wall.
Tad (mukha-bhadra)-agre vatha parsve cha kuryat sopana-bhusha I
nam I
Tasya (mandapasya) madhye cha range tu mauktikena prapanvitam I
Tan-madhye sasanadinarii toranarh kalpa-vrikshakam I
(M., xxxiv, 217-219.)
&ASTRA (see TANTRA) — Science (of Architecture).
&IKHARA — The top, an 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
turret. Above the dome (stupi) are built in order sikhara, sikha, Sikhanta,
and slkhamani.
(1) Small towers or turrets (Brihat-samhitd, LVI, 21, jf.R.A.S., N. S.,
Vol. vi, p. 319).
(2) See M., xvm, 276, xrx, 51, etc.
(3) Padoktam sarva-manam tu sikharo'pi vidhiyate 1 1
Dhruva-vidhana-rltya va sikharam parikalpayet II
(Kamikagama, xxxv, 29, 30).
The synonyms :
Sikharam sirah murdha cha sikha maulis cha mundakam I
Slrsham kam iti vijneyam Siro-vargasya panditah II
(Ibid., L, 206.)
(4) Vanarendra-griham . . . Sukla-prasada-sikharaih kailasa-sikha-
ropamaih I
(Rdmdyana, iv, 33, 15 ; see also iv, 26, 31 ;
vi, 41, 88, under PRASADA.)
(5) Spire :
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 dhvajaropana-
pratishthayam kritayam — ' also of the hoisting of the flag on the golden
flag-staff on the original spire.' — (The Chahamanas of Marwar, no. xix,
Jalor stone inscrip. of Samarasimhadeva, line 4 f., Ep. Ind., Vol. xi, p. 55.)
490
HINDU ARCHITECTURE SlKHARA
(7) Idu-rajatadri hema-sikhara-pratipattiyan-Isamye pettudu Harahasa-
kalpa-taru kemdalirindesev-agra-bhagadol-pudidud Umadhinatha-
sita-gatra-sapirhga-sutumga-jutadondo-davenipa Svayambhu-siva-
gehada pomgalasarh sa-mamgalam II
' The golden spire, with its auspicious ornament of this house of Sva-
yarhbhu-Siva is such that it may be said that this is the silver mountain
which has obtained, by the gift of Is"a, the possession of a golden summit ;
it is a tree of desire on the (white pile of) Hara's laughter (namely, the
mountain Kailasa), crowned by a summit radiant with young red spouts,
in it there is combined the unique substance of the white body and the
tawny towering matted hair of the Lord of Uma.' — -(Inscrip. from Yewur,
B. of A. D. 1017, v. 98, Ep. Ind., Vol. XH, pp. 282,289.)
(8) Prasadam urddhva-Sikhara-sthira-hema-kumbham I
' (Into) the temple (which by the stately display of) firm golden capitals
upon lofty spires. . . . ' — (Bhuvaneswar inscrip. v, 15, line n, Ep. Ind.,
Vol. xm, pp. 152, 154.)
(9) Vistlrrma-tunga-sikharam — ' (a temple having) broad and lofty
spire.' Manoharaih-s"ikharaih — with (its) charming spires.
(Mandasor stone inscrip. of Kumaragupta, lines 17, 20,
C. /. /., Vol. m, F. G. I., no. 18, pp. 83, 86, 87).
(10) 'For this god Prasanna-Virupaksha, a temple, enclosing wall,
gopura, finial (sikhara) covered with gold, a Manmatha tank, decoration,
and illuminations . . . .' — (Ep. Carnal., Vol. x, Mulbagal Taluq, no. 2 ;
Roman Text, p. 82 ; Transl., p. 71.)
The same word in a similar sentence is translated by ' tower ' in the
following inscriptions :
(u) 'For the god Prasanna-Somesvara having restored the temple,
enclosure, tower (sikhara), Manmatha tank, the endowed villages, the
mantapas for alms, and all other religious provisions.' — (Ibid., no. 18 ;
Roman Text, p. 87 ; Transl., p. 75.)
(12) Varadaraja-devara sikhara (sikhara) — ' the spire of Varadaraja's
temple.' — (Ibid., Malur Taluq, no. 4 ; Roman Text, p. 187 ; Transl., p. 156.
(13) ' And erecting a stone pillar, according to the rules set up the spire
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
the shrine (of the god Arkanatha).' — (Ibid., Vol. in, Malavalli Taluq, no. 64 ;
Roman Text, p. 127, line 3 ; Transl., p. 63.)
(15) ' Sik(h)ara— applied to the summit of a tower.' Rea. — (Chalakyan
architecture, Arch. Surv., New Imp. Series, Vol. xxi, p. 39.)
491
SlKHA AN ENCYCLOPAEDIA OF
(16) ' The platform on which this temple stands is approached by
twelve steps, and six more lead to the sanctum, over which rises a tall dome
or truncated sikri (sikhara).'— (Cunningham, Arch. Surv. Reports, Vol. xxm,
P- '350
(17) ' Sikhara (sikar, sikri) — Steeple of temple'. -(Vincent Smith, Gloss.,
loc. cit., to Cunningham's Arch. Surv. Reports.)
(18) In the temples of Champa three distinct types of sikhara are noticed.
The common type consists of a series of four storeys, diminishing as they
rise, a curvilinear stone slab being as the crowning moulding. Another
type comprises two storeys ; the upper is ridge-shaped looking like an
elongated arched vault with ogival ends at two sides with a slightly
concave curve at the top. The third type ' consists of a curvilinear pyra-
midal dome springing directly from the walls of the sanctuary, and sur-
mounted by a massive circular member of corrugated form ' resembling
Amalaka of Indian temples.
(For details sec Inventaire Descriptif des Monuments Chams D. L.
Annam by Parmentier, as summarized by R. C. Mazumdar, Champa, i,
Chap, x, pp. 236, 237.)
&IKHA — The lower part of the finial, pinnacle or small turret-like
termination.
Sikha is the upper part, and sikhara, the lower :
Sikharordhva-sikhottungarh stupi-traya-samam eva cha I
Prastaradi-sikhantam syad ganya-manam pravakshyate I
(M., xxxm, 141, 144, etc.)
SlKH ANT A — The finial (Latin finis), the top or finishing portion of
a pinnacle.
(M., xi, 119, etc.)
&IKHA-MANI — The crest-jewel, the top end of the finial, the apex.
(A/., XLIX, 85, LXVH, 31, etc.)
Cf. Siro-ratna — crest-jewel. — (Deopara inscrip. of Vijayasena, v. 14, Ep.
Ind., Vol. i, pp. 308, 313.)
&IBIK.A — A synonym of yana or conveyance, a litter, a palanquin.
(M., m, 9, etc.)
SlBIKA-GARBHA— A square hall.
Sibika-gabbho ti chaturassa-gabbho. — -(Buddhaghosha, Chullavagga,
vi, 3> 3-)
The interpretation of Oldenberg and Rhys Davids as ' quart-measure
shaped ' is not supported by the Commentator Buddhaghosha as quoted
above.
492
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, etc.)
Sama(sama)ntanaih samriddhanam yat sthanarii sibirarh smritam |
Gaja-vaji-samayuktam sena-sthanarh tad eva hi II
(Kamikagama, xx, 11.)
&IRAS — The head, the finial, the top, the summit, the pinnacle.
(M., xv, 231, etc. ; LVII, 54, etc.)
SlRASTRAKA(-STRANA)— A head-gear, a helmet.
(M., XLIX, 13, etc. ; see BHUSHANA.)
SlRALAMBA— A crowning ornament of a column.
(M., xv, 101 ; see STAMBIIA.)
\
SlLA-KARMA — Masonry, the art of building in stone, the stone-work
Sugana-raje-Dhanabhutana karitarh toranam silakammamto cha
upamno (s'ila-karmantas'-chotpannah) I
' During the reign of the Sungas (this) gateway was erected and the
masonry finished by Dhanabhuti.' — (Sunga inscrip. of the Bharhut Stupa,
line 3 f., Ind. Ant., Vol. xiv, pp. 138, 139 ; no. r, Vol. xxi, pp. 227.)
&ILADHIVASANA — Preparation of stones for building, the worship
of stones for building.
Siladhivasana(h)-karmma yathavidhi sampadya tasminn-eva Sake
bhadra-krishna-navamyarh sukle ^ila-prave5am vidhaya ....
' The worship of the stones for the building.' Dr. Biihler and Bhag-
vanlal Indraji.
This interpretation of Siladhivasana does not seem to be appropriate.
The term may refer to some processes or ceremonies similar to those in
connexion with Sila-sarhgraha or collecting and selecting stones for build-
ings.— (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— ' Now known as Silawat caste, who are
masons and found in the neighbourhood of Damoh.' Rai Bahadur
Hiralal.
(Ep. Ind., Vol. XH, p. 44, note i.)
S(£)ila-patta-s'ubhe variise sutradhara vichakshanah I
Bhojukah Kamadevas" cha karmanistha Hala sudhlh II
(Batihagarh stone inscrip., v. 12, ibid., p. 46.)
493
$ILA-PRAVE$A AN ENCYCLOPAEDIA OF
&ILA-PRAVE&A — Laying the corner-stone or foundation.
Siladhivasana(h)-karmma yathavidhi sampadya tasminn eva Sake
. . . Sila-praveSam vidhaya — ' the corner stone was laid.' Dr. Biihler
and Bhagvanlal Indraji. — (Inscrip. from Nepal, no. 23, , inscrip. of Queen
Lalita-tri-pura-sundarl, line 14, Ind. Ant., Vol. ix, pp. 193, 194, c. 2.)
SlLA-MARDDAKA (SILE-MUDDAS)— A guild of stone masons,
the stone-cutters.
' Sile is the Canarese form of the Sanskrit £ila, a stone, and Mudda is
a jaihgam or Lingayat name. Sile-mudda must be the name of some par-
ticular guild of stone-masons.' Dr. Fleet. — (Sanskrit and Old Canarese
inscrip., no. 1 14, line i, Ind. Ant., Vol. x, pp. 170, 117, note 58.)
SlLAVEDl — The stone terrace on which sacred trees usually
stand.
Cf. Mahavams'a, 36, 103, i.
&ILA-VE&MA — Stone-houses, cave-houses.
Cf. Megha-duta, i, 25 (quoted by Prof. Liiders, Ind. Ant,, Vol. xxxiv,
P- I99-)
&ILA-STAMBHA — The stone column, a kind of column, the
monolith.
Shat-saptashtangulam vapi sila-stambha(m)-vis'alakam I
Vrittam va chatur-as"ram va ashtaSram shodasasrakam I
Pada-tunge'shta-bhage tu tri(trya)msenordhvam alahkritam I
Bodhikam mushti-bandhaih cha phalaka tatika ghatam I
Sarvalankara-samyuktam mule padmasananvitam I
Chatur-dikshu chatur-bhadram kechid bhadram tu karayet I
Kuttimam chopapitham va sopapitha-masurakam I
Athava chihna-vedih syat prapalankaram uchyate I
(Af.,LVH, 15-22.)
&ILPA-&ASTRA — The science of architecture and other cognate
arts.
See details under VASTU, VASTU-VIDYA and VASTU-KARMAN.
See also the Preface of this Encyclopaedia and the Preface of Indian
Architecture by the writer.
SlLPI-LAKSHANA— The description of the artists : their quali-
fications, rank, caste, etc. (see under STHAPATI).
494
HINDU ARCHITECTURE SUKA-NASA(-SIKA)
SlLPI-SALA— A school or workshop of architecture.
(M., LXVIII, 50.)
SlVA — A class of buildings.
(Kamikdgama, XLV, 35-38 ; see under MALIKA.)
SlVA-KANTA — -The pentagonal or five-sided pillar furnished with
five minor pillars.
(M., xv, 22, 245 ; see under STAMBHA.)
SlVA-MANDAPA— The Siva temple, a type of pavilion.
(M., xxxiv, 196.)
SlSHTA-MANDAPA— A type of pavilion.
(See Kamikdgama, under ARDHA-MANDAPA.)
SlRSHA — The top end of a building, almost same as sikhanta.
Slrsham cha Sikha-grivarh vrittarh syad vaijayantikam I
(M., xrx, 181, etc.)
SUKA-NASA(-SIKA) — The parrot's nose, an object having an
acquiline nose, the part of the finial looking like the parrot's nose.
The lower half part of a tower.
(1) Chaturdha sikhararh bhajya ardha-baga-dvayasya tu I
Suka-nasarh prakurvita tritiye vedika mata 1 1
(Matsya-Purana, Chap. CCLXIX, v. i8v
(2) Sikharartharh (?-dharh) hi sutrani chatvari vinipatayet I
Suka-naso(-sa)rddhatah sutrarh tiryyag-bhutarh nipatayet I
Sikharasyardha-bhagastharh sirhham tatra tu karayet I
Suka-nasarh sthirikritya madhya-sandhau nidhapayet II
Apare cha tatha parSve tadvat sutrarh nidhapayet I
Tad-urddhvam tu bhaved vedi sakantha manasarakam 1 1
(Agni-Purdna, Chap. XLII, vv. 15-17.)
Chaturdha Sikhararh kritva 5uka-nasa dvi-bhagika II
(Ibid., Chap, civ, v. 10.)
(3) Prasadau nirgatau karyau kapotau garbha-manatah I
Ordhvam bhitty-uchchhrayat tasya mafijarirh tu prakalpayet II
Manjaryas chardha-bhagena suka-nasarh prakalpayet I
Crdhvarh tathardha-bhagena vedi-bandho bhaved iha 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 Matsya-Purdna (Chap. CCLXIX, w.
11-13).
495
SUKAftGHRI AM ENCYCLOPAEDIA OF
(4) Vrittfxkararh samarh chet tu torananghrivad ayatam I
Sakandharam tad-urdhve tu suka-nasya vibhushitam II
Garbha-dvi-tri-kara-vyasa-suka-nasa mukhe mukhe I
Na kartavya vimaneshu nasikordhve na nasika II
(Kdmikagama, LV, 120, 157.)
SUKAftGHRI— A type of pillar.
Crddhva-kshetra-sama jangha jangharddha-dvi-gunarh bhavet I
Garbha-vistara-vistlrnah Sukanghris" cha vidhlyate ||
Tat-tri-bhagena karttavyah pancha-bhagcna va punah I
Nirgamarh tu SukarighreS cha uchchhrayah Sikhararddhagah It
(Garuda-Purdna, Chap. XLVII, vv. 3-4; see also vv. 13, 17.)
&UDDHA — A house built (generally) of one material, namely, wood,
brick, or stone, etc.
Drumcneshtakaya vapi driSadadyair athapi va I
Etena sahitarh geham Suddham ity-abhidhlyate II
(Kdmikagama, XLV, 21.)
See also Mdnasdra, etc. under PRASADA.
SUMBHAMKARI— The fifth or composite type of the five Indian
orders.
(Suprabheddgama, xxxi, 65, 67 ; see under STAMBHA.)
&CTLA — A pike, a dart, a lance, the trident of Siva, the finial.
A dart (M., vn, 223, 236 ; LIV, 142).
A synonym of Sikha or finiai (M., xvri, 126).
A pike as a component part of the cage for the tiger. — (M., L, 262.)
SOLA-KAMPA (see SULA)— A pike.
Paritah Sula-kamparii syad dvararh tad dakshinottaram I
(M., XL, 136.)
SRlftKHALA— A chain.
In connexion with the bedstead :
Chaturbhih sYinkhala-yuktam andolam chaikatopari I
(M., XLIV. 70).
— The top, the turret, elevation, height, the spire, a horn.
(M., LXH, 25, etc.)
Sringenaikena bhavet — furnished with one spire.
(Brihat-samhita, LVI, 23, 26, J. R. A. S.,
N. S., Vol. vi, p. 319.)
496
HINDU ARCHITECTURE SRI-KARA
SRIftGARA-MANDAPA — A bed-chamber, the pavilion or room
where the deity of a temple is made to retire at night.
Devanam cha vilasartham sringarakhyarh tu mandapam I
(M., xxxiv, 388, etc.)
£ MAS ANA (J^CHAITYA)- — Funeral and memorial structures, tombs
of various shapes, round and dome-shaped (parimandala, Sat. Bra.,
xni, 8, i), hemispherical bowl-shaped (chamu) resembling a vault,
enclosed by an indefinite number of enclosing stones (ibid., xin, 8,
2, 2) or bricks (A.-V.,yiViu, 4, 55), square or quadrilateral (Sat. Bra.,
xm, 8, i, i), as also pyramidal as in later temples and Sikharas.
Compare Buddhist stupas. The three main types described in the
Satapatha Brahmana and referred to in R.-V., and A.-V., Vastu
(reliquary of bones, etc.) or tumulous, round or square ; Grihan or
house with many chambers probably dedicated to some religious or
philanthropic use and ' erected over or beside the grave in memory
of the 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
pillars might have grown up '. (For further details, compare
Sarkar, ibid.')
&YAMA-BHADRA — A type of pavilion with fourteen pillars.
(Matsya-Purana, Chap. GCLXX, v. 14 ; see MANDAPA.)
SRANTA — An architectural ornament, a shed.
In connexion with single-storeyed buildings :
Evarh proktam harmyake madhya-bhadram I
Sala-koshtharh dig-vidike kuta-yukta I
Hara-sVanta-nasika-panjaradhyam I
(M., xix, 192-194.)
&RI-KANTHA — Anything possessing a beautiful neck, a class of
buildings.
A type of octagonal buildings (Agni-Purana, Chap, civ, w. 20-21, see
under PRASADA).
&RI-KARA — An order, a class of columns, a type of storeyed build-
ings, a sect of people, a sub-caste of the Kayasthas, originally those
who used to write the legal documents (Karana), hence the clerical
community, clerks.
(i) One of the five orders (Suprabheddgama, xxxi, 65, 66; see under
STAMBHA).
497
SRI-KANTA AN ENCYCLOPAEDIA OF
(2) A class of single-storeyed buildings (M., xix, 170, see under
PRASADA).
(3) A class of two-storeyed buildings ; the measurement of the com-
ponent parts (see under SALAI^GA), etc. (M., xx, 93, 2-9; see under
PRASADA).
(4) A sect of people (M., ix, 152, 226, etc.).
&R.I-K.ANTA — A type of storeyed building, a class of bases compris-
ing four types which differ from one another in the addition or
omission of some mouldings and also in height.
(M., xiv, 371-387 ; see the list of mouldings
under ADHISHTHANA.)
A class of three-storeyed buildings (M., xxi. 2-11 ; see under PRASADA).
A class of seven-storeyed buildings (M., xxv, 24; see under PRASADA).
&RI-JAYA — A type of oval building.
(1) Agni-Purdna, (Chap, civ, vv. 19-20, see under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, vv. 29-30, see under PRASADA).
&RI-PADA— A class of buildings.
. . . . SrI-padarii cha tatah Srinu I
Koshthakastv-iha chatvaras" chatush-koneshu chaiva hi II
Chatur-nasi-samayuktam anu-nasl-das"ashtakam I
Evaih lakshana-sariiyuktam Srl-padarh tv-iti kirtitam 1 1
(Suprabheddgama, xxxi, 50, 51).
SRI-PAD A— The footprint of Buddha on Adam's Peak in Ceylop,
otherwise called Ratnapada. For details, see BUDDHA-PADA.
&RI-BANDHA — A class of bases comprising four types which differ
from one another in the addition or omission of some mouldings.
(M., xrv, 109-122; see the list of
mouldings under ADHISHJHANA.)
SRI-BANDHA-KUTTIMA— The flat part of the Sri-bandha type
of bases.
(A/., xuv, 43.)
&RI-BHADRA — A kind of throne, a type of pedestal.
A class of thrones (M., XLV, 13, etc.).
A kind of pitha or the pedestal of the phallus (M., LIII, 36, etc.)
SRI-BHOGA — A type of storeyed buildings, a class of bases compris-
ing two types which differ from each other in the addition or omis-
sion of some mouldings.
(M., xiv, 260-280, see the list of
498
mouldings under ADHISHTHANA.)
HINDU ARCHITECTURE SRENITA-DVARA
A class of seven-storeyed buildings (M., xxv, 25 ; see under PRASADA).
SRl-MUKHA — A beautiful face, a kind of throne.
(M., XLV, 14, etc., see under SIMHASANA.)
SRI-RUPA— A type of pavilion.
(M., xxxiv, 478, etc.; see under MANDAPA.)
&RI-VATSA — A class of buildings, a type of pavilion, a special
mark on the breast of the image of Vishnu.
A pavilion with 48 pillars (Matsya-Purdna, Chap. CCLXX, v. 9 ; see under
MANDAPA).
A type of quadrangular buildings :
(1) Agni-Purdna, (Chap, crv, vv. 14-15 ; see under PRASADA).
(2) Garuda-Purdna (Chap. XLVH, vv. 24-25 ; see under PRASADA).
A particular mark on the breast of Vishnu or Krishna ' represented in
pictures by a symbol resembling a cruciform flower.' — (M., XLIX, 150 ;
LV, 92 ; xvm, 375, etc.)
SRI-VI&ALA — A type of gate-houses, a class of storeyed buildings,
a kind of throne, a type of pedestals.
A class of gopuras or gate-houses (M., xxxin, 555).
A class of single-storeyed buildings, (M., xix, 168 ; see under PRASADA).
A kind of throne (M., XLV, 13; see SIMHASANA).
A type of the pitha or pedestal of the phallus (M., LIU, 39).
&RI-VRIKSHA (see KALPA-VRIKSHA) — An ornamental tree em-
ployed as a carving.
Seshaih mangalya-vihagaih sYi-vriksha-svastikair ghataih |
Mithunaih patra-vallibhih pramathais chopasobhayet II
' Let the remaining part (of the door) be ornamented with sculptured
birds of good augury sri-vriksha-figures, crosses (svastika), jars, cupolas,
foliage (leaves and creepers), tendrils and goblins.' — (Brihat-samhitS, LVI, 15,
J. R. A. S., N. S., Vol. vi, p. 318.)
&RUTIMJAYA — A pavilion with forty-eight 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
$RENI(-NI)-BANDHA AN ENCYCLOPAEDIA OF
£RENI(-NI)-BANDHA— A class of bases comprising four types
which differ from one another in height and in the addition or omis-
sion of some mouldings.
(A/., xiv, 149-175; see the list of
mouldings under ADHISHTHANA.)
&RONI (-NI)— The buttocks (of an image), the hip or loins, a waist-
band, a string worn round the loins ; figuratively used for building
also, compare KATI.
SVETA-MANDA— The white part of the eye of an image.
(A/., LXV, 68.
SH
SHAT-TALA— The sixth storey, the six-storeyed buildings.
Their general features (M., xxrv, 27-46).
Thirteen types (ibid., 2-26 ; see under PRASADA.)
SHODASA-TALA (see GOPURA)— The sixteenth storey, the sixteen-
storeyed gate-houses.
Evam eva prakarena kuryad ashodasa-kshmakam I
(Kamikagama, xxxv, 86.)
SHAD-VARGA A group of six, six formulas, ' with which the
perimeter of a structure should conform,' six proportions, six main
component parts of a building comprising adhishthana (base),
pada or stambha (column), prastara (entablature), karna (ear, wings)
sikhara (roof), and stupi (dome).
(i) According to the Manasdra the Ayadi-Shad-varga represents a set
of six formulas with which any particular measurement must conform
before it can be accepted. Mention of the Shad-varga is found also in the
Bimba-mana and the Agamas. The formulas in each case, however, are
not the same and differ in these several works (see below).
The formulas according to the Manasdra :
I X 8
Aya is the remainder of -— (/ for length).
Vyaya „ * ,. 6-^9 (6 for breadth).
1x8
Riksha ,, ;, •• -jy
... . 6x3
Yom „ ,, :• —
5CO
HINDU ARCHITECTURE
SHAD-VARGA
Vara is the remainder of •—•* (c for circumference, thickness or
height) .
Tithi
Arhsa1
exg
~
0x4
~
Etesham grama-rupanam ayadi-lakshanam tatha I
Nandayama-samuhe va chayate vatha vistare I
Parinahe pade vapi ayadi-suddhirh cha karayet I
Kechit tv-ayatane chaivam ayarh cha tad-dine (nakshatre) bhavet I
Parinahe tithir varam vyaya-yoni(s) cha vistare I
Vasubhir gunitam bhanur(-nuna) hanyayamam ashta-sishtakam |
Ashtabhir vardhite nksharh(-shena) hritva sesham ksham ishyate I
Navabhir vardhayet panktih(-tya) hritva sesharh vyayarh bhavet I
Guna-nagam cha yoni(h) syad vriddhi-hanya-yatha-kramam I
Nava-vriddhya rishim(-shina) hritva tach-chhesham varam eva cha j
Navabhir gunite trimsat-(a) kshapech chhesham tithir bhavet I
(M., rx, 63-73.)
The six formulas include ' amsa ' in the Samchita and Asarhchita build-
ings, while in the Apasamchita ' tithi ' is included :
Vakshye'ham jati-harmyanam ayadi-lakshanam kramat I
Purvoktanarh vimananam vistaradi-vasadibhih I
Aya-vyayam cha yonim cha nakshatrarh varam arhsakam I
Tithir vatha shaql etani tathayadi-vido viduh I
Samchitasamchitanam cha amsair ayadibhir yutam I
Apasarhchita-harmyanam tithy -antani shad grahlshyate I
(M., xxx, 169-174.
(It should be noticed, that the divisor in each case is the same in all the
works under observation) .
The names of all the different classes of formulas, such as Aya, Vyaya,
Vara, etc. represent well-known groups of objects that always follow a
certain serial order. Aya represents the group of twelve beginning with
Siddhi. Vyaya represents the group of ten beginning with sikhara.
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
1Also Rasi, Gana, Nayana (M., ix, 88, 89, 90-93).
501
SHAp-VARGA AN EMCTCLOPAED1A OF
day and the full moon day. And Arhsa represents the group of nine be-
ginning with Taskara :
Siddhadi-dva-dasayah syach chhikharadi vyayam dasa I
Dhvajadim ashta yoni(h) syat taskaradi navarhsakam I
Prathamadi-tithir ity-evarh choktavad ganayet sudhih I
(M., xxx, 188-190.)
Dhvaja-dhuma-sirhha-Sunaka-vrisha-gardabhas cha I
Danti cha kakas cha vasu-yoni(h) yatha-kramena I
(M., LII, 357-358.)
Tach-chhesharh chapi nakshatrarh ganayed asvini-kramat I
Sesharh tad varam ity-uktam arka-varadi-vara-yuk I
(M., xxx, 183, 185; see context below.)
It should be noticed that the measurement of length is tested by the
formulas under Aya and Riksha, of breadth under Vyaya and Yoni, and
of circumference or height under Vara and Tithi.
It will be noted that the formula in each case consists of the product
of the measurement to be considered and a certain other number divided
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 pre-
vailing would be considered auspicious then the particular measurement
would be acceptable, if not it would have to be rejected. For example,
if in a particular instance ^? coming under the class Yoni, the
remainder left is two, it will point to the second Yoni Dhuma. If this
Yoni is stated to be inauspicious, then the particular measurement of
breadth cannot be approved. If again in the formula -^? the remainder
happens to be 4, it will indicate the 4th day (Wednesday) of the
week, and if it be stated to be auspicious, the circumference (c) selected
satisfies the test.
The auspicious and inauspicious remainders :
' When there is no remainder left in the formula of ' Aya ' it increases
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 hinarii sarva-sarhpat-kararh sada I
Yat-phalam subha-yuktam chcd aya-hinam tu dushanam I
Pujyam vyayam samam evarii tatra dosho na vidyate I
(M., LXIV, 69-72.)
502
HINDU ARCHITECTURE SHAD-VARGA
Ayam sarva-haram purnam ( ? punyam) vyayam sarva-gatena hi I
Ayadhikyam vyayam hlnam sarva-sampat-kararh tatha I
Aya-hinaih vyayadhikyam sarva-dosha-karam bhavet I
(M, ix, 75-77.)
Subhadam purna-nakshatram asubham karna-rikshakam I
Yugmayugmadya-turyarh shad-ashta-nanda-subharksha-yuk I
Dvitlya-paryayasyardhe gananais cha subhavaham I
Sita-guru-sasi-budha-varam evarh subham bhavet I
(M., ix, 78-81.)
Dhvaja-sirhha-vrisha-hasti syat tesharh subha yonayah I
Janma-dvayam chatuh-shashtibhir ashta-nanda-subha-ksham I
Nama-janmadi-nandam cha gananais tu vidhlyatc I
(Kartri-rasyadi-nasyaih cha sena-dvitiyantakam I
Tritiye mana-j(y)akshadau purva-vad gananais tu va l)
Tasmat tritiya-paryantam rikshaih sarva-subhavaham I
Guru-sukra-budhas chandra-mukhya-varam prasasyate I
Taskaro dhana-shandas cha preshtanyan subharhsakam I
Varjyarh shashtashtamarh rasim anyat sarvarh subham bhavet I
Gajah sarva-subharh proktam manushasura(m) varjayet I
(M., LXIV, 73-82.)
Gaja-yonirh vina kuryat sirhhasananyatha subham I
Ayadhikyam vyayam hinam sarva-sarhpach-chhubhavaham I
Aya-hlnam vyayadhikyam sarva-sampad vinasanam I
(M., LV, 81-83.)
Dhuma-yonis cha kakas cha gardhavan suno varjayet I
Anya-yoni-subham sarve subhayan iha vojayet I
(M., LV, 81, 84-85.)
Dhvaja-simha-hasti-vrisha-yoni(h) subham prasastam I
Anyeshu yonir asubham uditam puranaih |
(M., LII, 359-360.)
There are other rules as well, e.g. where Aya, etc. are considered with
regard to height in the Jati class, and with regard to length in the other
classes of buildings.
Again Aya, etc. are considered with regard to breadth :
Jati-dvarodaye sarve chayadi-sarhgraharh bhavet I
Chhandadinarh tu sarvesharh tare chayadi-sarhgraham I
Vriddhi-hanyadi-sarvesharh prasadasyoktavad bhavet I
(M., xxxix, 39-41.)
Vistare chatur-ange va shat-subhayadi karayet I
(M, LV, 72.)
503
SHAD-VARGA AN ENCYCLOPAEDIA OF
The formulas also vary on different occasions :
Tri-chatuh-pancha-shat-vridhya chashta-hanis" cha yonayah I
Shat-saptashtaka-vriddhya tu dvadasa kshapayet budhah |
Sesham ayam iti proktam saptashta-nava-vardhanat I
DaSabhih kshapayech chhesham evarh vyayam udiritam I
Ashta-nanda-daSe vriddhya sapta-vimSe kshayo bhavet I
Sesham dinam iti proktam vriddhashta-nandanadhika 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 I
Sesham tad ayam ity-uktam sarhchitadi-yatha-kramam I
Saptashta-nava-vriddhya tu haret panktya vyayam bhavet I
Eka-dvi-traya-vriddhya tu kshapayet tv-ashta cha yonikam I
Shat-saptashta-vriddhya tu sapta-vimsa-kshayo bhavet I
Tach-chhesham chapi nakshatram ganayed asvini-kramat I
Shashta-nanda-vriddhya tu saptabhih kshapayet tatah I
Sesham tad varam ity-uktam arka-varadi-vara-yuk I
Tribhir vedas tu vriddhih syan nanda-hani-navarh^akam I
Tithi-randhroshna-vriddhih syat trirh^ata tu kshayo bhavet I
(M., xxx, 177-187.
Daighye lihgasyayadi-shad-varga-suddhirh kuryat sarvathoktavat I
Manalinge chanya-svayambhuvadi-manarh cha yuktarh thata-
yadlni sarvarh na kuryat I
Bandhashta-nanda-vasu-nanda-yugena vriddhya I
Ghashtarka-pankti-turagair munibhir nanda-hanyat I
Yonayas cha vriddhir vyayam cha tu varam amsam I
Lingaikena kuryat tu parartha-lihge I
(M., LII, 349-354-)
Application of the rules :
' They are applied 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 (LII. 350-356).
Cf, also :
Ayadi-shad-varga-(h) surair (=suranam) vimane I
Chayadhikarh kshina-vyayam subham syat I
5°4
HINDU ARCHITECTURE SHAD-VARGA
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 archi-
tecture quote more dimensions than one. Thus for the length that an
object is to be of, they instead of giving a single figure would quote, say,
nine different measures. The Mdnasara in fact invariably gives nine differ-
ent lengths, nine different breadths, and five heights concerning a building
or image. Out of these different and varying measures which is to be
selected would be determined by the application of the six formulas.
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-
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
in contemplation in prescribing the rules of the Ayadi Shad-varga in all
the architectural treatises. The testing of measurements by the Shad-
varga thus formed one of the most important points to be followed in
architecture and sculpture, and we find a reference to it in these ancient
works so many times and almost without exception wherever there are
any specifications prescribed.
(2) Bimbamdna (British Museum, MS. no. 558, 5292, w. 10, 11-13)
Manaih tu yoni-nakshatra-sarhyuktam 1 1
Ayamashta-gunite cha dva-dasamse'ti Seshata I
Nandamse tu gunite'pi dharmamse'ti vyayarh bhavet 1 1
Yonir gunibhir gunitau(-ta) chashtams'e 'pi tathaiva cha I
Rikshakam ashta-gunitam cha sapta-viriisati-s'eshatah 1 1
Varakarh nava-gunitam cha saptarhse tu hritarh bhavet I
Amsakam chabdhi-gunite'pi nava-bhaga-hritam matam II
(3) Kdmikdgama (xxxvi, 13-20, 169-172) :
Ayadi-sarhpad-artham tu vistare chayatau tatha I
Utsedhe chaiva hastanam samyak sampurnatam nayet II (13)
Vistarat kevalam vatha vayamad unnates tatha I
Vistarayama-samsargad ayadyarh parigrihyatam II (14)
Ashta-tri-tri-ashtabhir hritvashta-manvarka-bhair bhajet I
Ayo vyayas cha yonis cha nakshatram seshato bhavet II (15)
Trimsad apnuta paryantam tithir vanarh tu saptabhih I
'Athavanya-prakarena chayadyarh parigrihyatam I
505
SHAD-VARGA AM ENCYCLOPAEDIA OF
Dvayor bhyarh dvayardhasya vistaram dvayardham nahariitu
nahakam II (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 I
Yajamanasya yanmarkshe nanukulam yatha bhavet II (18)
Tatha parikshya kartavyarh nama nakshatrakarh tu va. I
Parlkshya bahudha kuryad ubhayam va parikshayet II (19)
Sarvanukulyaih sarvatra vastu yasman na labhyate I
Tasmad gunadhikam grahyam alpa-dosharh yatha bhavet II (20)
Eka-tri-pancha-saptamse dhvaja-sirhha-vrisha-dvipah |
Purvad yasu subha hy-ete ayadyas tv-anulobhatah 1 1 (169)
Dvi-chatuli-shad-vasu-sthanam dhGma-sva-khara-vayasah I
Agneyadi vidikshv-ete varjaniya bubhukshubhih 1 1 (170)
and so on.
See also Kdmikagama., Chap. L :
Evam adau parikshyaiva prasadam parikalpayet I
Etesham api sarvesham ayadi-vidhir uchyate II (57)
Various rules are again given :
Vistaram dvi-gunarh kritva vasubhir bhajite sati I
Sishtam yonir iha prokta tad-abhave tu saudhakah II (58)
Udaye vasubhih-sapta-vimsadbhir bham ihoditam I
Paridhau nanda-gunite sapta-bhur dvaram uchyate 1 1 (59)
Sakalam tri-gunam kritva triihsadbhir bhajitva I
Tithi-udayam vasubhir bhaktva suryayas(-yais) tu seshatah II (60)
Punar apy udayaih nanda-vasubhir vyayah uchyate I
Padadhikam tu yat sishtam tat sarvarh sakalarii bhavet II (61)
Purva-vad gunitam kritva bhagam(0 bharam samam kritva I
Tenaiva vibhajed yal-labhad adhikarh bhavet II (62)
Yugma-hastaih svarodbhutaih sikhibhir yonir uchyate I
Athavanya-prakarena ayadi-vidhir uchyate II (63)
Nage sutragni-randhra-bhuvana-dasa-vasvabdhi-sishtas tu I
Tat syad ayo na yonir varam vasu-hatarh udubhir ( '. ) bhaktva II ( 64 )
Sishtam tu riksham hatva bhaktvatha sutrair bhuvanam I
Atha phalam sishtam amsam vasughnam trimsad bhaktam II (65)
Tithih syad graha-dina-tithi-yogadayo yoni-bhedah I
Athavanya-prakarena chayadln parikalpayet 1 1 (66)
Naga-nanda-guna-naga-nanda-drik-bhanu-nadl-vasu-bham munir
va I
Ayam anyatra yoni-rikshakam varam amsaka-guna-kshayakramat II
(67)
506
HINDU ARCHITECTURE SHAD-VARGA
Application of the rules :
Idarh linge cha sakale dvare stambhadike matam I
Idam ayadikam chardha-mandape s"ishta-mandape II (68)
Parivaralaye tunga-harmye anyasmin prakalpayet I
Evarh parikshya bahudha prasadarh parikalpayet II (69)
Kdmikdgama, LV, 28-30 :
Manarfi labdhodayarh yat syat bhaktva matrayor viseshatah I
Parihrityanguli-chchhedyam ayadyarh parikalpayet 1 1 (28)
Ashta-nandagnibhis chaiva vasu-nanda cha chatushtayair hi I
Gunatvara-vidhi-murti-riksha-sapta-navarhsakair hi II (29)
Hrityam ayam vyayaih chaiva yonis taras tu varakah I
Arhsaka chavasishtas tu kalpamyas tu desikaih 1 1 (30)
Ibid., xxxv, 21 (refers to six component parts of a building) :
Adhishthanarh cha padarh cha prastararh karnam eva cha I
Sikhararh stupika chaiva salangam iti kathyate II (21)
These are called Shad-varga : cf. XLV, v. 8 (under Purhlinga), v. I5)
(under Dravida), v. 10 (under Strilinga), and v. 11 (under Napurhsaka).
(4) Laghu-silpa-jyotih-sara (ed. Sivarama, i. 3-5) :
Ayo rasis cha nakshatrarh vyayas tararhsakas tatha I
Graha-maitri rasi-maitrl nadi-vedha-ganendavah n
Adhipatyarh vara-lagne tithy-utpattis tathaiva cha I
Adhipatyam varga-vairarh tathaiva yoni-vairakam 1 1
Riksha-vairarh sthitir naso lakshanany-eka-virhsatih I
Kathitani muni-sreshthaih silpa-bi(vi)dbhir grihadishu II
(5) 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
in this article.
These Shad-varga formulas are rules which are not easily grasped in
the abstract form. They, however, need not be neglected if we are
incapable of interpreting them correctly. While quoting a few extracts
on this subject from a Tamil version of the Myen ('. Mayamata) Rev.
J. F. Kearns, Missionary; Tanjorc, lost his temper and priestly patience
and has recorded the following :
' Strange as all this appears to us Europeans, natives regard these things
as matters of great importance.' — (Ind. Ant., Vol. v, p. 296, c. i, last
para.).
I fear whether the learned missionary understood the importance of
the matters correctly. We may, however, compare in the absence of the
Tamil text his translation (ibid., p. 295-296) :
507
SHAD-VARGA AM ENCYCLOPAEDIA OF
' 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).
Again, take the square number and multiply it by 9, divide the prodnct
by 10, the_remainder is the Selavu or loss (i.e., Vyaya). Again, take the
square number and multiply it by 27, and divide the product by 100,
the remainder is the age or durability of the house. Again, take the square
number, multiply it by 8, and divide the product by 27, the remainder is
the star (i.e. Riksha). Again, multiply the square number by 3, and
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.
Vara). Multiply the square number by 9, and divide the product by 4,
the remainder is the caste. Multiply the square numDer by 4, and divide
the product by 9, the remainder is the Arhsam. Multiply the square num-
ber 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
15 to the decrescent moon. Again, multiply tne square number by 4,
and divide the product by 12, the remainder is Uie constellation. Multi-
ply the square number by 8, and divide the product by 5, the remainder
gives the b'utra. The following are the Yoms : Garuda (Punai ;),
bimha, Moy, JPambu, Eli, Ani, Musi ; ol these (Punai s) (cat), Eli (rat),
and Musi (hare) are bad. The following are the Arhsams : Arsam,
b'oram, Puttni, batthi, Thanium, Rasium, Kahbam, Varuttham, Rokam,
and bubam. The following are the butras : Balan, Kumaran, Rajan,
Kilavan, Marnan.'
The following examples are given to illustrate the foregoing :
• Given the length of the house 1 1 cubits, and the width 5 cubits, to
find the age, — that is to say, how many years such a house will stand.
By the rule n — 5 — 55, and 55 — 27 — 1485, 1485 — 100 — 14, the remainder
being 85, — which remainder indicated the number of years the house will
stand.'
' Given the length of a house 15 cubits, and the width 7 cubits, to find
the caste for whom it is suitable, 15 — 7 — 105, 105 — 9 — 945, and 945 — 4 —
236, remainder i. The remainder i indicates the first caste, i.e. Brah-
mans.'
' Given the length of the house 17 cubits, and the width 7, to ascertain
the caste for whom it is suitable, 17 — 7 — 119, 119 — 9 — 1071, and 1071 — 4
— 267, remainder 3. The remainder 3 denotes the third or Vaisya caste.'
' The next example exhibits the entire series. Given the length of the
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
HINDU ARCHITECTURE SHAD-VARGA
and so on according to the rule. The Yon! is Garuda, the star Revati,
the part of the lunar month the third day, the day of the week Thursday,
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
too many assumptions. The ' Architectural Significance ' can hardly
be explained by a reference to Astrological importance : an unknown
matter cannot be understood by referring to an equally unknown thing.
' Some at least of these formulae,' says Mr. Menon, ' have a very great
architectural significance ' and he ' hopes ' to show that ' all of them can
be explained in a simple manner with reference to Astrology.' ' When
we realize,' continues Mr. Menon, ' that in the symbolic language of
the Silpa-sastras the newly-erected edifice represents not only a human
being, but also a bridegroom, joined in holy wedlock to the plot of
earth on which it is erected, we can sympathize with the strict injunctions
to avoid the fifth (of life, death) at all costs, and to choose the second
(youth) whenever possible. This picturesque identification of the structure
with a human being must have given rise to the last five formulae of the
Ayada Shad-varga ' (pp. 5-6). It is true, however, ' that they (the applica-
tion of these formulae) occasionally prove troublesome when planning
small houses and villas ; but they do put a stop to the addition of dispro-
portionately large verandahs to puny structure.' But he gives up curious-
ly this architectural ground when he says that the ' satisfaction of conform-
ing to the religion of one's motherland, should amply recompensate for
such minor restrictions ' (p. 7). He further imagines that these for-
mulae have something to do with the orientation of buildings (which
subject has been treated under SANKU in the Mdnasara] and emphatically
says that ' this formula (on Yoni) — if my deductions are correct — is a
purely architectural device compelling the sthapati (architect) to orient
his structures properly.' He illustrates his doubtful assumption with
an inaccurate reference when he says that ' All the temples, palaces, cities,
villages and important roads of ancient India exactly faced the four
primary points of the compass (N., S., E., and W.).' He comments thus :
' This is as it should be, for it places the Indian ideal in tune with the ideals
of every other ancient nations.' His reference to examples of other coun-
tries are more accurate : ' The Egyptian pyramids faced exactly north.
The Theban obelisks faced the rising sun.' The Palace of Sennacherib,
the Tabernacle of the Jews, the temple of Solomon, the church at Bethle-
hem, the Holy Sepulchre of Christ at Jerusalem : all these satisfy the first
formula (on Yoni) of Ayadi Shad-varga ' (p. 9). The Indian monuments
face other than these four cardinal points also.
5°9
SHODASA-PRATIMA AN ENCYCLOPAEDIA OF
SHODA§A-PRATIMA — The sixteen images, a group of sixteen
deities.
Cf. Purato'sya shodaSanam vara-ganikanam dvi-bhumikagrihani ali-
dvayena — ' in front of the temple he erected two rows of double-storeyed
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 ;
see under PRASADA).
(2) Matsya-Purdna (Chap. CCLXIX, w. 29, 53 ; see under PRASADA).
(3) Bhavishya-Purdna (Chap, cxxx, v. 25; see under PRASADA).
SAKALA — A site plan, an idol, a group of images of four deities
including Isvara.
(1) A site plan (M., vn, 2, 51, 73 ; xu, 64 ; see PADA-VINYASA) .
(2) An image or idol (M., LXIV, 48).
(3) Suprabheddgama (xxxiv, named Sakala-lakshana-vidhi, i, 2) :
Athatah sampravakshyami sakalanam tu lakshanam I
Sarvavayava-drisyatvat pratima tv-iti chochyate 1 1
IsVaradi-chatur murttih pathyate sakalam tv-iti n
SAKALIKARANA — The ceremony of making a joint offering of
all things (with which a deity is worshipped), which generally consist
of eight kinds of grains such as sesamum, barley, rice, etc., sandal
paste, clarified butter, sugar and honey, etc.
SATI-MANDAPA — A kind of pavilion where perhaps certain cere-
monies 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 ; see under PRASADA.)
510
HINDU ARCHITECTURE SATRA(-TTRA)
SATRA(-TTRA) (cf. CHHATRA, CHHATRI)— An alms-house, the
modern dharma-sala, a rest-house, a residence.
(1) Alms-house (Dewal Prasasti of Lalla the Chhinda, v. 20, Ep. Ind.,
Vol. i, pp. 79, 83).
(2) Hall of charity (stone inscrip.. at Vaghli in Kandesh, no. C, lines 4.
12, Ep. Ind., Vol. n, p. 226, 227).
(3) See Sridhara's Devapattana PraSasti (verse 10, Ep. Ind., Vol. n,
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
Bubhukshu-bhikshu-samghata-prabhuta-priti-hetubhih 1 1
(Two pillar inscrip. at Amaravati, no. A, of Keta, II,
v. 40, Ep. Ind., Vol. vi, p. 152.)
(6) A feeding establishment :
Deva-bhogartham cha deva-kulebhyah khanda-sphutitadi-nimittaih
gandha-dhupa-pushpa-dipa-naivedady-upacharartharh tapovana-
sattrottarasanga-danady-artham cha ... I
(Cambay plates of Govinda IV, line 48,
Ep. Ind., Vol. vii, pp. 40-45.)
(7) Bilvapadrake parikalpita-sattra-bhoktrlnarh yatha-prapta-brah-
manadi-jananam triih£atah pratyaham upabhogaya ... 'In order to
feed daily thirty Brahmanas or other men who happen to arrive (and)
who use the rest-house established at Bilvapadraka.' — (Baloda plates of
Tivaradeva, lines 26-27, &P- ^-> Vol. vn, pp. 105, 107.)
(8) A charitable dining-hall of a temple :
Sri-sarvva-lokasraya-jina-bhavana-khyata-satrarttham— ' for the
purpose of the renowned dining-hall of the holy and famous Jain
temple called Sarvalokasraya-Jina-bhavana.' — (Kaluchumbarru Grant
of Amma II, line 60, Ep. Ind., Vol. vn, pp. 188, 191, 179.)
(9) Khanda-shputa-vava-krityopili-prapujadi-sattra-siddhyartham I
' For the cost of repairs of breaks and cracks, offerings, worship,
etc.. and of an aim-house.' — (Maliyapundi Grant of Ammaraja
II, line 54, Ep. Ind., Vol. ix, pp. 54, 56.)
(10) Draksharame pavane punya-bhaja punya-kshetre Plthapuryyarh
cha yena I
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
5"
SATTANGA AN ENCYCLOPAEDIA OF
order that they might daily enjoy their meals (there) till the
end of the Kalpa.'— (Eastern Chalukya Grants, no. 39, a Grant of
Vira-Choda, v. 33, H. S. I. I., Vol. i, pp. 56, 61 ; see also quotation
no. 1 6 below.)
(11) 'The hiranya-garbha, brahmanda, and all the other great gifts
prescribed in the Sdstras had he made, — wells, ponds, tanks, with satras
from road to road, had he established — and temples of the gods he had
made.'— (Ep. Carnal., Vol. xu, Kunigal Taluq, no. 37; Transl., p. 38,
para. 3.)
(12) ' Having allotted to the avasara-satra of the god sYi-hari-haradeva
two shares of the village . . . '
' Satra — oblation, charity, asylum or alms-house, charitable dining
hall ; " avasara-satra " seems to mean an occasional satra.' Dr. Fleet.
But ' rest-house ' as opposed to both resting and dining-hall would
perhaps give better meaning.
(Sanskrit and Old Canarese inscrip. no. vr, Ind. Ant.,
Vol. iv, p. 329, c. i, line 3 f., and footnote.)
(13) Sa prasadam achikarad divishadaih Kedara-devasya cha khya-
tasyottara-manasasya khananam sattram tatha chakshaye I
' He caused to be built a temple of the inhabitants of heaven
called ... and of the god Kedara ; he likewise had the famous
Uttara-manasa (tank) dug, and (established) a hall of charity,
to last for ever.'— (Gaya inscrip. of Yakshapala, v. 12, Ind. Ant.,
Vol. xvi, pp. 65, 66.)
(14) 'A grant of land for a satra for feeding twelve Brahmans in front
of the matha on the bank of the Tungabhadra.'— (Ep. Carnal., Vol. vi,
Koppa Taluq, no. 32; Transl., p. 81 ; Roman Text, p. 176-177.)
(15) He halting at Marasinga's Behur, constructed there the Biruda-
sarwajna-gatta and other tanks ; and to provide a satra for food for the
students in the matha of the god Mallikarjuna there . . . made a
grant of land.'— (Ep. Carnat., Vol. vn, Shikarpur Taluq.no. 19; Transl.,
p. 43 ; Roman Text, p. 98.)
(16) 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 Vira-Choladeva,
lines 97-98, Ind. Ant., Vol. XK, pp. 432, 436.)
SATTAftGA (same as SATANGA)— An arm-chair, sofa, sofa with
arm to it.)
(Mahavagga, v. 10, a.)
I
HINDU ARCHITECTURE SANDHI
SATRA-MANDAPA— A type of pavilion, the alms-house of a temple.
Vapi-nirgamane yena purvatah satra-mandapam \
(Garuda-Purana, Chap. XLVI, v. 14.)
SATRAVASA-MATHA— A monastery, a free rest-house.
Chatushkone tapasvinam satravasa-matham bhavet \
r
(M., xxxii, 89.)
SADANA — A temple, a seat, a sacrificial hall, a house, a mansion,
a palace, the abode of the god of death (Yama).
(1) A temple (Dabhoi inscrip. v. in, Ep. Ind., Vol. i, p. 31).
(2) Sura-sadana (Dewal Prasasti of Lalla, v. 20, Ep. Ind.t Vol. I, p. 79).
(3) 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. 10,
Ind. Ant., Vol. xi, pp. 221, 222.)
(4) Sarasvatam knda-ketanam etad atra vidadhe \
Sarasvatam sadanam akshayam etad astu \
(Sanskrit Grants and inscrip. no. i, vv. 33, 34,
Ind. Ant., Vol. xi, pp. 103, 106.)
SADAS — A seat probably raised for sadasya or councillors at a
sacrifice.
(Sat. Bra., x, 4, 2, 9.)
SADASIVA — A class of four-storeyed buildings.
(M., xxii, 25-33 ; see under PRASADA.)
SADMAN — A temple, a seat, an altar, an abode, a dwelling, a
house.
Ghakre nava-nivida-vis'ale sadmani Sulapaneh — ' built a new solid large
temple of Sula-pani.'
Sambhoh sadamani stambha-malarh . . . vyatatana — ' erected a row
of pillars in the temple of Sambhu.' — (An Abu inscrip. of the reign of
Bhimadeva II. w. 10, 12, Ind. Ant., Vol. xi, pp. 221, 222.)
SANDHI — A joint, a connexion, a combination, a junction.
Eka-salanu-sandhi£ cha dvi-sala chaika-sandhikam \
Tri-Sala cha dvi-sandhih syach chatuh-sandhis chatur-mukham \
Shat-sandhih sapta-sala cha bahu-sandhi(r) dasalayam ^
(M., xxxv, 73-74.)
5«3
SANDHI-KARMAN AN ENCYCLOPAEDIA OF
SANDHI-KARMAN — The joinery, the framing or joining of wood
for the internal and external finishings of houses ; thus the covering
and lining of rough walls, the covering of rough timbers, the manu-
facture of doors, shutters, sashes, stairs, and the like, are classed under
the head of joinery.
(See Gwilt, Encycl. of Arch., p. 1214.)
Mdnasara (Chap, xvn, 2-225), named Sandhi-karman :
The definition :
Harmyanam daru-sarhyogam sandhi-karma (m)udiritam I (2).
Various kinds of joinery are described under the following names :
Malla made with two pieces of wood, Brahma-raja with three or
four pieces, Venu-parvan with five pieces, Puga-parvan with six
pieces, Deva with seven pieces, Parvan with eight pieces, and Danda
with more than eight pieces of wood and other materials (line 18 f.).
Forms of the joinery are described under the titles Nandyavarta
and Svastika (lines 59-60), etc., see details (lines 18-58, 61-225).
SANDHI-BANDHA — A bond of union, a material that makes two
bodies stick together, cement, mortar.
Sarhsthapyapi na tasya tushtir abhavad, yavad Bhavani-griharh suslishta-
mala-sandhi-bandha-ghatitarh ghanta-ninadojjvalam I
' Not satisfied with the erection (of this image only, the pious man)
caused to be built a shrine of Bhavani, which was joined with a very
adhesive and bright cement, resplendent with the sounds of bells. t
(Benares inscrip. of Pantha, v. 5, Ep. Ind., Vol. ix, pp. 61-62.)
SAPTA-TALA (see TALA) — The seventh storey, seven-storeyed
buildings.
Etat sapta-talarh proktam rajnam avasa-jogyaklam I
(Kamikagama, xxxv, 84.)
The seven-storeyed buildings are described in a separate chapter in the
Mdnasara.
Description of the seventh storey (M., xxv, 2-23, 32-39), the eight
classes (ibid., 3-31), see under PRASADA.
SAPTA-TALA (see TALA-MANA) — A system of measurement in
accordance with which the whole body is seven times the face
inclusive of head.
(Sukranlti, Chap, iv, sect, iv, ed. Jivananda
Vidyasagara, p. 359 ; see details under TALA.)
5H
HINDU ARCHITECTURE SABHA
SAPTA-BHCMI-(KA) (see SAPTA-TALA)— The seventh storey, seven-
storeyed buildings.
Raja-kanyam . . . sapta-bhurhika-prasada-pranta-gatam I
(PaKchatantra, ed. Bombay, i, p. 38.)
SAPTA-SALA— A seven-fold wall.
Madhya-sutrarh tu vame tu harmya-dvaraih prakalpayet I
Tad-bahih parito-dese sapta-salam prakalpayet I
Naravasartha-rathya cha prakara-dvaya-manditam I
(M., xxxi, 81-83.)
SABHA — A type of building, an edifice, a public hall, an assembly
room, a council chamber, a society room in a private dwelling house.
(A.-V., xrx, 55, 6 ; Taitt. Sam., in, 4, 8, 6 , Taitt. Bra., i, i, 10, 3 ;
Chhdnd-Upanishad, vin, 14). The special features in Vedic times
were their pillars and fire-altars. There must have been suitable
structural arrangements for the transaction of judicial, commercial
and political business, and for the reception of ' courtly ' well-born
wealthy persons and kings, and for the performance of gambling,
merriment, social intercourse, debates and contests (Vedic India,
Vol. n, p. 426-427).
(1) A class of buildings :
Prasada-mandapam chaiva sabha-sala-praparh tatha I
(A) rangam iti chaitani harmyam uktarh puratanaih |
(M., m, 7-8.)
Sikhare chavrite'pare sabha-mandapa-gopure I
(M., xviii, 200.)
A public hall :
Mandapaih sabham vapi grama-yogyarh yatha-disi I
Nagare cha yathakaram dvi-gunatyarthakayatam I
(M., xxxiv, 562-563.)
Bhudhare chasure vapi sabha-sthanarh prakalpayet I
(M., vin, 34.)
(2) A council chamber :
Tato vichintya manasa loka-nathah Prajapatih I
Chodayamasa tvarh krishnah sabha vai kriyatam iti 1 1
Yadi tvarh kartukamo'si priyarh ^ilpa-vatarh vara I
Dharmma-rajasya daiteya yadnsim iha manyase II
Yam kritarh nanukurvanti manavah prekshyadhisthitah I
Manushya-loke sakale tadris"Im kuru vai sabham II
515
SABHA AN ENCYCLOPAEDIA OF
Yatra divyan abhiprayan pasyema hi kritams tvaya I
Asuran manusharhs chaiva sabham tarn kuru vai Maya II
Pratigrihya tu tad vakyarh samprahrishto Mayas tada I
Vima'na-pratimam chakre Pandavasya Subham sabham II
The penultimate verse is explained by the commentator Nilakantha :
Asuran manushan ity upalakshanarh deva-garhdharvadinam apy
abhiprayan lepa-chitre lekhya-chitre cha chaturdasa-bhuvanam-
tarastha-tat-taj-jatlya-svabhavika-nana-vidha-lila-pradar^anena
manovrittih pasyema yad-darsanena brahmamdamtara-varti-
sarvarii vastu-jatam drishta-prayarh bhavatity arthah I
(Mahdbhdrata, Sabha-parvan, Chap, i, vv. 9-13-)
See also the description of the Indra-sabha (ibid., Chap, vu), Yama-
sabha (Chap, vm), Varuna-sabha (Chap, ix), Kubera-sabha (Chap, x),
and Brahma-sabha (Chap. xi).
Sabha . . . divya hema-mayair uchchaih prasadair upasobhita |
(Ibid., u, 10, 3.)
(3) Chatur-bhaga-dvi-bhagena prishthavasa-sabham nayet II
Agra kuta-dvayor madhye ^alah prishtha-sabha-yatha II
Prishthavasa-sabha tad-vad anyat sarvam adhas-tale II
(Kamikagama, xxxv, 73, 74, 76.)
Definition :
Mula-kuta -samayukta vana-kuta -samanvita 1 1
Kachchha (=ke^a)-griha-samakukta sabheti parikirtita II
(Ibid., xxxv, 4, 95.)
Brahma-sthane sabhadini kalpayed vidhina budhah II
(Ibid., xxvm, 15.)
(4) ' Martanda-varma, the king of Kerala, desirous of extensive pros-
perity, fame and long life, built the sabha of Sambhu (Siva) a
Suchindram.'
Sthane mani-Suchlndre samakuruta sabham Kerala-kshma-patindrah I—
(Inscrip. in the Pagodas of Tirukurungudi, in Tinnevelly, and of Suchindram
in South Travancore, Ind. Ant., Vol. n, p. 361, c. 2 ; v. i, p. 362, para i.)
(5) ' The word (Sabha) denotes also (i.e. other than a regular assembly
or meeting) a ' hall ' or a ' house.' Dr. Bhandarkar.— (Ind. Ant., Vol. xn,
p. 145, c. 2, line 9 f.)
(6) Sri-ramga-kanchana-sabha yatha-puram abhasayat I
' The regilded (central shrine of the temple at) Srirangam and the
golden hall (at Chidambaram).'— (Ariyur Plates of Virupaksha, lines 21-22,
Ind. Ant., Vol. xxxvni, pp. 14, 12 ; para 4, line 6).
HINDU ARCHITECTURE SARVATO-BKADRA
SABHA-MALIKA— A class of buildings.
(Kamikagama, XLV ; see under MALIKA.)
SAMA (see SAMUDGA) A type of rectangular building.
(Agni-Purdna, Chap, xiv, vv. 16—17; see under PRASADA.)
SAMA-BHAftGA (see BHANGA) — A pose, in this type the right and
left of the figure are disposed symmetrically, the figure seated or
standing being poised firmly on both legs without inclining to right
or left.
SAMITI — Assembly houses ; see SABHA in which senses it is used in
Atharva-veda (xv, 9, 2, 3).
SAMUDGA — A type of round buildings.
Cf. Vrittah Samudga-nama I
(1) Brihat-sarhhitd (Chap. LVI, 23, J. R. A. S., N. S., Vol. vi, p. 319;
see under PRASADA).
(2) Matsya-Purdna (Chap. CCLXIX, vv. 38, 53 ; see under PRASADA).
(3) Bhavishya-Purdna (Chap, cxxx, w. 30, 24 ; see under PRASADA) .
SAMUDRA— A type of building.
(1) Matsya-Purdna (Chap. CCLXIX, w. 38, 53; see under PRASADA).
(2) Bhavishya-Purdna (Chap, cxxx, v. 24; see under PRASADA).
SARORUHA — A type of building, a moulding.
A moulding of the pedestal (M., xxra, 76, etc.).
See PADMA and compare the lists of mouldings under UPAPITHA
and ADHISHTHANA.
A class of six-storeyed buildings (M., xxiv, 47 ; *ee under PRASADA).
SARVA-KALYANA— A class of buildings.
(Kamikagama, XLV, 42-49 ; see under MALIKA.)
SARVA-KAMIKA (see UTSEDHA) — Also called ' dhanada', a height
which is i f of the breadth.
(See M., xxxv, 22-26, and cf. Kdmikdgama,
L, 24—28, under ADBHUTA.)
SARVATO-BHADRA— A type of building, pavilion, hall, entab-
lature, window, phallus ; a 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
SARVATO-BHADRA AM ENCYCLOPAEDIA OF
(1) Apratishiddhalindarh samantato vastu sarvato-bhadram I
Nripa-vibudha-samuhanam karyarh dvarais chaturbhir api II
' An edifice with uninterrupted terraces on every side is termed
Sarvato-bhadra (i.e., goodly on every side) ; such a one is fit for kings
and gods, and ought to have four entrances.
(Bfihat-sathhita, LIU, 31, J. R. A. S., N. S., Vol. vi, p. 285.)
' Sarvato-bhadra is the name of a kind of building which has four
g trances, many spires or turrets (sikhara) , many beautiful dormer
windows and five storeys, and is 26 cubits broad."
(Ibid., LVI, 27, J. R. A. S., N. S., Vol. vi, p. 320.)
(2) Matsya-Purdna (Chap. CCLXIX, w. 29, 34, 35, 48, 53 ; see under
PRASADA).
(3) Bhavishya-Purdna (Chap, cxxx, v. 34 ; see under PRASADA) .
A type of quadrangular building :
(4) Agni-Purdna (Chap, civ, w. 14-15; see under PRASADA).
(5) Garuda-Purdna (Chap. XLVH, w. 24-25; see under PRASADA).
(6) Sarvato-bhadram ashtasyam — the Sarvato-bhadra house (s"ala) has
eight faces. — (Kamikdgama, xxxv, 88.)
An entablature (ibid., uv, 8).
(7) 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).
(8) Sarvato-bhadra-devaiaya — ' according to Varahamihira (Brihat-
sarhhitd, 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,
p. 382, note 50.)
(9) Sarvato-bhadra-chatur-mukha ratna-traya-rupa-tri-bhuvana-tilaka-
Jina-chaityalaya vanu I
' The Tribhuvana Jina chaityalaya temple . . . (which is) auspicious
on every side, has four faces (and) is the embodiment of the three jewels
(of the Jainas).'— (Karkala inscrip. of Bhairava II, line 17, Ep. Ind., Vol. vm,
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 ARCHITECTURE SAMCHARA
(u) Sarvato-bhadra-pratima — 'literally an image lovely on all sides>
is apparently a technical term for a "four-fold image," one being carved
on each side of a four-faced column.' — (Jaina Inscrip. from Mathura, no. 11,
Ep. Ind., Vol. i, p. 382, footnotes 50, 51.)
SAHAYA-DURGA— A kind effort.
(See details under DURGA.)
SAHASRA-LlftGA— A thousand-phalli, a group of phalli of Siva.
' Set up on the colonnade to the west a row of lingas forming the
thousand lingas.' — (Ep. Carnal., Vol. iv, Chamrajnagar Taluq, no. 86 ; Transl.,
p. 11, line 9; Roman Text, p. 18, line 14.)
SAMKlRNA — A type of building, houses built with a certain number
of materials, a joinery.
Buildings made of more than two materials (M., xvm, 139, etc.. see
under VIMANA and PRASADA).
A class of buildings (Kamikagama, XLV, 62 ; see under MALIKA).
A kind of joinery (M., xvn, 140, 146).
SAMGAVINl — A cattle-shed, an open shed for milking cows.
SAMGRAHA — A combination of mouldings at the bottom of a
column.
Ekarhsam padukam kuryat pancha-bhagarh tu samgraham I
(M., xv, 179, etc.)
For its synonyms see M., xvi, 51-52.
SAMGRAHANA — A fortress to defend a group of ten villages.
Dasa-graml-samgrahena samgrahanarh sthapayet I
(Kautiliya-Ariha-sastra, Chap, xxn, p. 46.)
SAMGHARAMA (see VIHARA) — Originally the assembly place of
the Sarigha 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
quarters of the monks or professors, residences of monks or hermits,
the monastery.
(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, etc.)
519
SAMCHITA AN ENCYCLOPAEDIA OF
SAMCHITA — A class of buildings in which the breadth is the
unit of measurement, the temples in which the idol is in the sitting
posture.
(M., xrx, 7-11 ; xxx, 103-174 ; see under APASA&CHITA.)
Pratyekarh tri-vidhath proktarh samchitaih chapy-asamchitam I
Upa-sarhchitam ity-evam .... I
(Kamikagama, XLV, 6-7.)
SAMPCRNA— A class of buildings.
(Kdmikdgama, XLV, 29-30 ; see under MALIKA.)
SAMVIDDHA— A fortified city.
(M., x, 41 ; see under NAGARA.)
Cf. Visiting ' the gramas, nagaras, khetas, kharvatas, madambas,
pattanas, dronamukhas and sarhbahanas — the cities of the elephants
at the cardinal points.' — (Ep. Carnal., Vol. va, Shikarpur Taluq, no. 1 18 ;
Transl., p. 86, last para., line 14.)
SAMSAD — An assembly hall (built within a wedding pavilion).
Cf. Ratha-rathi-yuta hy asan kritrima hy akritopamah I
Sarvesharh mohanarthaya tatha cha samsadah kritah II
(Skanda-Purana, Mahesvara-khanda-prathma, Chap, xxiv, v. 13.)
SAMSTHANA — The arrangement, laying-out, plans of buildings
and other objects.
(1) Tri-konam vrittam ardhendum ashta-konarh dvir-ashtakam I
Chatush-konam tu kartavyarh samsthanam mandapasya tu II
The plan of a mandapa should be made triangular, quadrangular,
octagonal, sixteen-angular, half moon-shaped, and circular.
(Matsya-Purana, Chap. CCLXX, w. 15-16.)
(2) Tri-konam padmam arddhendurh chatush-konam dvir-ashtakaml
Yatra tatra vidhatavyam samsthanam mandapasya tu II
(Garuda-Purana, Chap. XLVII, vv. 32-33.)
SARA — A class of buildings.
(Kamikagama, XLV, 60 ; see under MALIKA.)
SALA(-LA) — A wall, a rampart, an apartment, a house,
(i) Udyanamra-vanopetaih mahatlrii sala-mekhalam I
Commentary : salah prakarah (enclosure wall) , sala-vanarh va I
(Rdmayana, i, 5-12.)
520
HINDU ARCHITECTURE SIDDHARTHA
(2) Antare sesha-bhagaihs tu hitva madhye tu salakam II
Sala-gopurayos tungastv-adhikas chapi mulatah II
Agrato'lindakopetam attalam salakantare II
(Kdmikagama, xxxv, USA, 124, 126.;
(3) Salantam vedikordhve tu yuddhartharh kalpayet sudhih I
(M, ix, 364.
See also 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 I
Salangadhikarh hinam chech chorair artharh vinaSyate I
(M., LXIX, 42, 45.)
(4) Kanakojvala-sala-rasmi-jalaih parikhambhu . . . prati-bhimbitaih I
' Through the mass of the rays which issue from its golden walls and
which are reflected in the water of its (Vijayanagara's) moat.' — (Vijaya-
nagara inscrip. of Devaraja II, lines 7-8, H. S. I. I., Vol. i, no. 153, pp. 162,
164.)
(5) Antararh sadma-salam — ' the inner wall of the shrine.' — (Ranganatha
inscrip. of Sundara-pandya, v. 22, Ep. Ind., Vol. in, pp. 13, 16.)
(6) Sphatika-sala-nibharh babandha — ' like a wall of crystal.' — (Two
inscrip. of Tammusiddhi, no. A, Tiruvalahgadu inscrip., v. 16, Ep. Ind.
Vol. vii, pp. 124, 125.)
(7) Durllamgha-dushkara-vibheda-visala-sala-durggadha-dustara-brihat-
parikha-parita I
' (The city of Kafichi) 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 Vikramaditya I,
v. 6, line 21, Ep. Ind., Vol. x, pp. 103, 105.)
(7) Sriman esho'rkka-kirttir nnripa iva vilasat sala-sopanakadyaih I
' That honourable one like a king of sun-like glory (erected) splendid
walls and stairs.' — (Ep. Carnal., Vol. H, no. 105 ; Roman Text, p. 97, line 14;
Transl., p. 164, para. 6.)
SIDDHA — A type of storeyed building, a class of divine beings.
A class 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 I
' A house with only a western and southern hall is termed Siddhartha.'
(Brifiat-samhita, mi, 39, J. R. A. S., N. S., Vol. vi, p. 286.'
521
SINDHUKA AX ENCYCLOPAEDIA OF
SINDHUKA— A class of buildings.
(Kdmikagama, XLV, 23-28 j see under MALIKA.)
SI (Si) LA- VAT A— A stone mason.
' Sudradhara-Asalena bamdhita tatha silavata-jahadena ghatita I
• The step-well was constructed by the architect Asala and (the
stones were) worked and shaped by the mason Jahada. — (Manglan stone
inscrip., lines 13-14, Ind. Ant., Vol. XLI, p. 88.)
SIMHA — A type of pavilion, a class of oval buildings, a riding animal
(lion) of gods.
A mandapa or pavilion with sixteen pillars (Matsya-Purdna, Chap.
CCLXX, v. 13 ; see under MANDAPA).
Sirhha is the name of a kind of one-storeyed building which is
dudecagonal in plan, covered by lions (? simhakranta) and eight
cubits wide :
(1) 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
explicit.
Sirhhah sirhhaih samakrantah konair dva-dasabhir yutah I
Vishkambhad ashta-hastah syad eka tasya cha bhumika It
(3) Matsya-Purdna (Chap. CCLXIX, vv. 29, 36, 40, 49, 53 ; see under
PRASADA).
(4) Bhavislya-Purdna (Chap, cxxx, v. 35 ; see under PRASADA).
A kind of oval building :
(5) Garuda-Purdna (Chap. XLVH, v. 29-30 ; see under PRASADA).
(6) The lion, a riding animal of gods.
Devanam vahanam sirhham (M., Lxm, i), the sculptural description of
his image (ibid., 2-46).
SIMHASANA (cf. ASANA) — A throne or seat, marked with a lion.
(i) Sirhha-mudrita-manoharasanam 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 4-8) —
the Prathama (first) throne is stated to be fit for the first corona-
tion, the Mangala throne for the Mangala-coronation, the Vira
throne for the 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,
1 66, etc.)
522
HINDU ARCHITECTURE SIMHASANA
Concerning deities, the Nityarchana throne is used for daily worship,
Visesha-throne on some special occasions ; the Nityotsava-throne, and
the Viseshotsava-throne are used for ordinary and special festivals respec-
tively (lines 9-11).
But the thrones for both deities and kings, for all purposes, are divided
into ten kinds (see below) . An account of the general plan as well as of
the measurement of the various parts of them is given in detail (lines 17-
213). They are technically called — Padmasana, Padma-kesara, Padma-
bhadra, SrI-bhadra, Sri-visala, Sri-mukha, Bhadrasana, Padma-bandha,
and Pada-bandha (lines 12-16).
Of the ten kinds, the first, Padmasana, is used as the throne for
Siva or Vishnu (121) ; the Padma-bhadra for the king Adhiraja (i.e.,
Ghakravartin or emperor) (line 143) ; the Sri-bhadra is fit for the kings
Adhiraja and Narendra for all purposes (line 153) ; the Sri-visala is fit for
the kings Parshnika and Narendra (171) ; the Sri-bandha is for the kings
Parshnika and Patta-dhara (line 174) ; the SrI-mukha for the king
Mandalesa (line 177) ; the Bhadrasana for the king Patta-bhaj (line
179) ; the Padma-bandha for the king Praharaka (line 182) ; and the
Pada-bandha throne is fit for the king Astra-graha (line 190).
The lion-legs are, however, not attached to the throne of Astra-graha
(line 191). Thrones of all other petty kings of the Vaisya and the Sudra
castes are stated to be furnished with pedestals instead, and are made four-
cornered square (lines 192-193). But thrones of all other kings are
marked with lions and furnished with six legs (line 196). These thrones
are stated to be made facing the east (pranmukha) (line 197).
Of the thrones of deities, the Nirikshana(eyes, windows) is made on
the four sides (line 198).
Various kinds of thrones are thus described but the most beautiful one
according to one's choice should be used :
Evarii cha vividham proktam yan manoramya(m) manayet I (200)
(2) ' This is the mighty lion-throne (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,
royal throne, throne ... In this case there was actually a large lion
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 ,
p. 247, c. 2, para. 4 ; p. 249, c. 2.)
523
SUKA(-KHA)-NASIKA AN ENCYCLOPAEDIA OF
(3) ' 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
Division, p. 95, no. 23, line 6.)
(4) Seats are referred to under various names in Buddhist literature :
Asandi (large couches, Chullavagga, vi, 14, i ; Mahavagga, v. 10, 3) ;
couches covered with canopy (Chullavagga, vi, 14-1 ; Mahavagga, v. 10-3) ;
Asandaka (rectangular chairs), sattango (arm-chair, sofa) ; bhaddapitham
(state-chair), pithika (cushioned chair), same on a pedestal (etaka-
padaka-pltham), same with many legs (Amalaka-vantika-pitham), cane-
bottomed chair (kochhom), leaning board (phalakam).
SUKA(-KHA)-NASIKA— A small room in front of the idol in a
temple.
(1) ' The great minister Kampanna for the repair of the roof stones in
the Sukanasike (a small room in front of the idol) of the god Chenna-
kesava set up four pillars with capitals and repaired them.' — (Ep. Carnal.,
Vol. v, Part i, Belur Taluq, no. 52 ; Transl., p. 55, note i; Roman Text,
p. 126.)
(2) ' It (MallesVara temple at Hulikal) faces north and consists
of a garbha-griha, an open sukhanasi, a navarariga, and a porch. The
garbha-griha, sukhanasi, and porch are all of the same dimensions, being
about 4^ feet square, while the navaranga measures 16 feet by 14 feet.'
' The Sukhanasi doorway has on its lintel a figure of ...
The garbha-griha and sukhanasi have likewise ceilings of the same kind,
but that of the porch is the largest and the best of all.'
(Mysore Arch. Report, 1915-16, p. 4, para. 10 ; see also
p. 5, para. 12 ; p. 7, para. 13 • p. 15, para. 19.)
(3) ' The outer walls of the garbha-griha and sukhanasi have besides
pilasters and turrets . . . ' — (Ibid., p. 21, para. 27).
SUKSHETRA— An edifice, a type of building.
Prak-salaya viyuktam Sukshetram vriddhidam vastu I
An edifice ' without an eastern hall is named Sukshetra and brings
prosperity.'— (Brihat-sarhhitd, LIII, 37 ; see J. R. A. S., N. S., Vol. vi, p. 286.)
SUKHAfrGA— A type of pavilion, a rest-house.
A kind of pavilion used as a rest-house :
Sukhangakhyam iti proktarh satra-yogyam tu mandapam |
(M., xxxiv, 272 ; see under MANDAPA.)
524
HINDU ARCHITECTURE SUBHOSHANA
SUKHALAYA — A pleasure-house, a type of storeyed buildings.
A class of three-storeyed buildings (M., xxi, 22-30 ; see under
PRASADA) .
SUGRlVA — An object having a beautiful neck, a type of pavilion.
A pavilion with twenty-four pillars — (Matsya-Purdna, Chap. CGLXX,
v. 13; see under MANDAPA) .
SUCHIYA— Cross-bar in a Buddhist rail.
(Mahasudassana-sutta, I, 5, 9 ; compare
Chullavagga, vi, 3, 3.)
SUDHA — Stucco, one of the building materials, also used for plaster,
mortar, whitewash.
(1) See Ratnapura inscrip. , A.D., 1114 of Jajalladeva, v. 16, Ep. Ind.,
Vol. i, pp. 35-38.
(2) See Dewal Prasasti of Lalla the Chhinda, v. 28, Ep. Ind., Vol. i,
pp. 80, 84.
(3) See Mdnasdra under ABHASA.
SUNDARA — A beautiful object, a type of storeyed buildings.
A class of six-storeyed buildings. (M., xxrv, 15 ; see under PRASADA.X
SUPRATI(-I)KANTA— A type of building, a kind of site-
plan.
A kind of prakara or enclosure buildings — (M., xxxi, 24 ; see PARIVARA
and PRAKARA.)
A class of nine-storeyed buildings — (M., xxvii, 23-36 ; see under
PRASADA).
A site plan in which the whole area is divided into 484 equal
squares. — (M., vn, 30-31 ; see under PADA-VINYASA.)
SUBHADRA — A type of pavilion, buildings furnished with a beauti-
ful front 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
couple, a type of pavilion where a ceremony is performed on a
wife's perceiving the first signs of conception.
Subhushanakhyam vipranarh yogyarh purhsavanarthakam I
(M., xxxiv, 354 ; see under MANDAPA.)
525
SUMAflGALl AX ENCYCLOPAEDIA OF
SUMAftGALl - A kind of ornament.
An ornament for the images of female deities.— (M., LIV, 49, 95 ; see
under BHUSHANA.)
SURATA— A type of pavilion.
A pavilion with sixty-pillars.— (Matsya-Purdna, Chap. CCLXX, v. 7 ; see.
under MANDAPA.)
SUSLISHTA— A type of pavilion.
A pavilion with thirty-six pillars.— (Matsya-Purdna, Chap. CCLXX, v. n ;
sex under MANDAPA.)
SUSHIRA— A hole, a hollow, an aperture, a cavity.
(1) Prag-grivah-pancha-bhagena nishkasa(£a)s tasya chochyate I
Karayet sushirarh tad-vat prakarasya tri-bhagatah II
(Matsya-Purdna, Chap. CCLXIX, v. 24.)
(2) Sushirarh bhaga-vistirnam bhittayed bhag-vistarat |
(Agni-Purana, Chap, civ, v. 3.)
(3) Dvara-vat pitha-madhye tu sesham sushirakam bhavet I
(Garuda-Purana, Chap. XLVII, v. 16.)
(4) See M., LVX, 83, LXVII, 15, etc.
SUSAMHITA— A site plan in which the whole area is divided
into 400 equal squares.
(M., vn, 28-29, also xxxi. 18, etc.; see under PADA-VINYASA.)
St}(-SU)-(T)ALAYA— An enclosure, a cloister, a covered arcade
forming part of a monastic or collegiate establishment, an enclosed
place of religious retirement, a Jain monastery.
Cf. Ep. Carnal., Vol. 11, nos. 59, 75, 76, 78, 85 ; Introduction, p. 37, last
para., line 3 ; Roman text, p. 57, line 27, pp. 62, 70 ; Transl., pp. 147,
151, 156 :
(1) Sri-Ganga-Rajem Suttale karaviyale (no. 75, Roman text, p. 62).
(2) Sri-Gahga-Raja Suttaiayavam madisidam (no. 76, Roman text,
p. 62).
(3) Suttalayada bhittiya madisi— ' had the wall round the cloisters
and the twenty-four Tirthankaras made ' (no. 78, line i).
(4) Gommata devara Suttalayadolu (no. 86, line i).
(5) Gafigavadiya gommata-devargge suttalayamam eyde madisi-
dam—' for Gommatadeva of Gangavadi he had the cloisters around
made.'— (No. 90 ; Roman text, p. 72, line 9 from bottom upwards ; Transl ,
p. 158, para. 5 ; see also no. 59 ; Roman text, p. 57, line 27.)
526
JHfc
SOUTH INDIA!*
SIMPLE CENTRALINDI*N/
SIKHARA
EAST INDIAN.
SRI VATSA
STUPI
STUPI KIUX
STUPI
foot 526
HINDU ARCHITECTURE SETU
(6) ' Inside (the bastis or Jaina temples) is a court probably square
and surrounded by cloisters (see photo no. 149 of Jaina basti at Sravana
Belgola, Fergusson p. 270), at the back of which rises the vimana over the
cell, which contains the principal image of the Tirthaiikara.' — -(Fergusson,
Ind. and East. Arch., p. 269, last para., photo no. 149, p. 270.)
SCTRA-GRAHIN (see under STHAPATI)— The draftsman, an
architect.
SUTRA-DHARA (see under STHAPATI) — A carpenter, an archi-
tect.
SUTRA-DHARIN (see under STHAPATI)— The thread-holder, the
manager, an architect.
SUTRA-PATTI (see PATTA and PATTIKA)— A part of a door.
Dvara-tare chatush-pancha-shat-saptashta vibhajite II
Ekamsarh sutra-pattih syat samam va bahalam bhavet II
(Vastu-vidya, ed. Ganapati Sastri, xiv, i, a.)
SURYA-VISALAKA— A site plan of 400 square plots.
(M., vii, 26-27, see PADA-VINYASA.)
SETU — A bridge in general, a barrier, a boundary, a limit, a land-
mark, a bridge of earth, a cause-way, narrow pass or mountain-road,
a mound, a bank, a dam.
(1) Karna-kllaya-sambandho'nugriham setuh — ' the fastening of the
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.)
(2) Matha vedadinam dvija-pura-viharah prati-disam virajante satryany
api cha paritas setu-nivabhah II
(Two BhuvanesVara inscrip. no. A, of Svapnesvara, v. 30,
Ep. Ind., Vol. vi, p. 202.)
(3) Sa khalu Bhagirathi-patha-pravarttamana-nana-vidha-nauvata-
sampadita-setu-vandha-nihita-saila-s'ikhara-Srenl-vibhramat I
' From the illustrious camp of victory at Srl-Mudgagiri, where the
bridge, which is produced by the wall of boats of various kinds pro-
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
SENA-MUKHA AN ENCYCLOPAEDIA OF
SENA-MUKHA — A division of an army, a mound in front of the
gate of a city, a prosperous royal city (see under NAGARA).
(1) Nana-janais cha sampurnam bhupa-harmyena samyutam I
Bahu-raksha-samopetam etat sena-mukharh bhavet I
(M., x, 70-71.)
(2) Raja-veSma-samayuktam sarva-jati-samanvitam I
Guhya-pradesa-sarhyuktaih sena-mukham ihochyate II
(Kamikagama, xx, 12.)
SE(-Sl)LA-Rt)PAKA— A statue, a rock-sculpture.
Cf. ' The rock sculpture or statues, gift of his (Sivama's) wife Vijaya.'
(Kuda Inscrip. no. 6, line 7, Arch. Surv., new Imp. Series, Vol. iv, p. 85.)
SAINYA-DURGA— A fort (see details under DURGA).
SO PAN A — Stairs, steps, a stair -case, a ladder,
(i) Mdnasara, Chap, xxx :
Flights of steps are constructed for ascending up and descend-
ing from temples, residential buildings, pavilions, enclosure (prakara) ,
gate-houses, hilly tracts (parvata-de£a) , step-wells, wells, ponds,
villages, and towns (lines 85-89).
Their situation :
They are stated to be constructed on the front, back and sides
of a residential building or temple :
Sarvesham mukha-bhadranam parsve sopana-samyutam I (93)
Parsvayor dvara-dese tu mukha-sopanam eva va I (94)
Guhyanta-dvara-dese tu vame sopana-samyutam I (97)
Pramukhe mukha-sopanam kuryach chhilpa-vit-tamah I (102)
Prapange pramukhe bhadre sopanam purva-parsvayoh I (105)
Parsvayoh prishtha-de£e tu tat-purve paksha-parsvayoh I (100)
Yatra de£e tu sopanam tatra dosho na vidyate I (101)
Alinda-yuktam tad-dvare vame sopana-samyutam I (113)
Vinalinda-pradeSe tu pramukhe sopanam eva cha I (114)
Their situation in other places :
Gopuranam tu tat-parsve sopanam lakshananvitam I ( 1 1 7)
Adri-deSe samarohya yatra tatraiva karayet I (118)
Vapl-kiipa-tatake va paritah sopana-samyutam I (119)
Chatur-dikshu chatush-kone chantarale'thava punah I (120)
Evam eva yatha-dese bhadra-sopanam eva va I (121)
Their plan :
Trayo-vimsach chhatantarh syad devanam iti kathyate I (141)
Pattadri-marga-paryantam tiryak chordhvordhva-choktavat I (142)
528
HINDU ARCHITECTURE SOPANA
Manushanam tu sopanam pattika-yugma-samyutam I (143)
Sopana-parsvayor dese hasti-hasta-vibhushitam I (155)
Hasta-mula-visale tu choktangulirii na manayet I (156)
Mulena tat (mule chagra) -tri-bhagaikarh hastagrantam kshayam
kramat I (157)
Hasti-hasta-vad akaram raga-yuktam manoharam I (150)
Tri-chatush-pancha-vaktram va mulena sirhhananair yutam I (159)
Agradho-dharapattarh syat pattika chokta-manakam I (160)
Adhara(agradhara)m palikakaram pattika vedikakritih I (161)
Adri-sopana-parsve tu na kuryat parsVayo'righrikam I (163)
Adri-Sopana-dese tu dirgha-manaih yatheshtakam I ( 1 36)
Sarvalankara-samyuktam sopanam lakshananvitam I (162)
Measures of the other flights of steps are given in detail (lines 125-
I32. iS^S6)-
The two kinds of steps (and the materials of which they are constructed) :
Achalam cha chalam chaiva dvidha sopanam iritam I (90)
Silabhis cheshtakair vapi darubhih sachalam matam I (91)
Sarvais chaivachalam proktam kshudra-sopana-samyutam I (92)
The account given above is that of the stationary steps, that of the mov-
able ( ? moving) steps is also given :
Achalam cheti proktam chalam sthapyam yathesh^akam I (124)
Tri-chatush-pancha-shan-matram chalam sopana-padake I (144)
Tad-ghanam cha visale tu samam va padam adhikam I (145)
Ardhadhikam tu padona-dvi-gunam tri-gunam tatah I (146)
Danda-dvaya-samayuktam chitra ( ? chhidra)-yuktam tu pattika |
(H7)
Eka-dvi-try-angularii vapi pattika-ghanam eva cha I (148)
Dvi-tri-veda-sarangulyam shat-saptangulam eva va I ( 149)
Ashta-nanda-dasangulyam pattika-vistritam bhavet I (150)
Evam tu chala-sopanam achalam tat pravakshyate I (151)
(2) Vishkambha-chatur-asram attalakam utsedha-samavakshepa-sopa-
naih karayet I
Ishtakavabandha-par^varh vamatah pradakshina-sopanam gudha-
bhitti-sopanam itaratah i
(Kaufiltya-Artha-hstra, Chap, xxiv, pp. 52, 53.)
(3) Sopanam cha yatha-yuktya hasti-hastam tathaiva cha II
(SuprabhedSgama, xxxi, 114.)
Ibid, LV :
Tale tale tu sopanam arohartham prakalpayet 1 1 (167)
Compare Sankha-sopana (v. 170), hasti-sopana and laja-sopana
(v. 174), pradakshina-sopana (v. 176).
529
SOPANA AX ENCYCLOPAEDIA OF
The general plan :
Sopanam parsvayor agre tan-mulasya prayojayet I
Tan-mulam syad adhishthanam pada-prastara-varga-yuk II ( 1 77)
AsVa-padopari sthitvarohanam dakshinahghrina I
Idrig-lakshana-sarhyuktam sopanaih sampadaspadam U (178)
(4) Mahdbhdrata, i, 185, 20 :
Prasadaih sukritochchhrayaih ... I
Sukharohana-sopanaih mahasana-parichchhadaih 1 1
(5) Fh'ghts of steps (Vanapalli Plates of Anna-vema, v. 10, Ep. Ind., Vol.
ui, pp. 61, 59.)
(6) Meru-mamdara-kailas'an arurukshur mahamatih I
Sopana-panktim srl-saile vyatanod vema-bhu-patih 1 1
' Desirous of ascending Meru, Mandara and Kailasa, i.e. to gain heaven
through charity) the high-minded king Vema constructed a flight of steps
at Sri-saila.' — (Nadupuru Grant of Anna-vema, v. 6, Ep. Ind., Vol. m,
pp. 288, 291.)
The sopana is a kind of religious architecture peculiar to India, cf. eg.,
the flight of steps in Chandra-sekhara peak, Sita-kunda, Chittagong, Ben-
gal.
(7) Patala-gariga-tate srl-saile . . . sopana vlthim subham — ' a
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,
p. 322.)
(8) Srl-sailagrat prabhavati pathi prapta-patala-gange I
Sopanani pramatha-padavim arurukshus chakara 1 1
' Constructed the flight of steps from Patalagahga to the summit of the
Sri-saila as if to climb up to the abode of Siva.' — ^(Inscrip. of the Reddis
of Kondavidu, no. A, v. 6, Ep. Ind., Vol. xi, pp. 320, 314.)
(9) ' Brahmapryan . . . caused to be made the stone work of a
flight of steps, with tiger's head at the bottom for the abhisheka-mandapa
in the temple of Vanduvarapati-Emberuman at Manimangalam . . .'
(Inscrip. of Rajaraja III, no. 39, H. S. I. I., Vol. m, p. 86.)
(10) Sri-Vagmati-jalavatara-sopanararna-ghanta-dharmma-sala-pratish-
tha-karmma samapayan I
Sopanalir iyarh vidagdha-rachana-suslishta-chitropala ramyS vayu-
sutadhivasa-vihita-proddama-vighnavalih I
Sampadyanhika-sakta-loka-vihita-svechchhavakasa-sthala snana-
dhyana-hita sudha-dhavalita-pranta chirarh rajatarh 1 1
(Inscrip. from Nepal, no. 23, Inscrip. of Queen
Lalita-tri-pura-sundari, v. i, Second
Series, Ind. Ant., Vol, ix. p. 194.)
53°
HINDU ARCHITECTURE SAUDHA
(n) oriman esho'rkka-kirttir nnripa iva vilasat sala-sopanakadyaih t
' That honourable one, like a king of sun-like glory (erected) splendid
walls and stairs.' — (Ep. Carnal., Vol. n, no. 105 ; Roman text, p. 79, line 14;
Transl., p. 164, para. 6.)
(12) Maha-sopana-panktiyumam rachisidam — 'had the flight of grand
stairs laid out.' — (Ep. Carnal., Vol. n, no. 115 ; Roman text, p. 87 ; Transl.,
p. 171.)
(13) ' For the new Jina temple in the place of his government, in order
that long life might be to Permmanadi, caused steps to be cut to the deep
tank of Balora-katta, had the embankment built, provided a sluice,
and . . .' — (Ep. Carnal., Vol. in, Mandya Taluq, no. 78 ; Transl., p. 47 ;
Roman text, pp. 101-102.)
(14) The Chullavagga (vv. 11, 6 ; vi, 3, 3) and the Mahdsudassana-sutta
(i, 59) have referred to stairs of three kinds, namely, brick stairs, stone
stairs, and wooden stairs. All these are furnished with balustrades (alam-
bana-bahu). Each of these had posts or banisters (thamba), cross-bars
(suchiyo) let into these banisters, and a head-line (unhisam) running along
the top of the banisters.— (Compare Rhys Davids' Buddhist Suttas, p. 262,
and the writer's Indian Architecture, p. 13.)
SOMA-SUTRA — A drain, a channel for conveying holy water from
a Phallus of Siva or any other deity of a shrine.
' The drainage channel from the shrine, an ornamental feature of these
temples.' — (Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi,
P- 39-)
See also Champa by Mazumdar, p. 237.
SETU — A bridge, a dam, a causeway (R.- V. ix, 41, 2 ; Taitt. Sam.,
m, 2, 2, i ; vi, i, 4> 9» 5» 3> 3 5 vn» 5» 8» 5 '> Kath- Sam., xxvii,
4; Ait. Bra., HI, 35; Taitt. Bra., u, 4, 2, 6 ; Sat. Bra., xm, 2, 10,
i ; Brihad-Upanished, iv, 4, 4; Chhand-Upa., vm, 4, i, 2).
SAUKHYAKA — A pleasure-house, a type of pavilion.
(M., xxxiv, 279 ; see under MANDAPA.)
SAUDHA — A plastered, stuccoed or whitewashed house, a large
house, a great mansion, a palatial building, a palace.
(1) Kailasa-saila-vilasinas samuttumgga-s'ikharasya saudhasyasthana-
bhumau 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-pandi-
taya II
SAUDHA-MALIKA AJV ENCYCLOPAEDIA OF
' (He) in the sacred Prabhasa, the habitation of good actions, gave to
Nanaka, the Poet and Pandit, having washed his feet, a palace among the
mansions of the Brahma-purl founded by himself.' -(Sanskrit Grants and
Inscrip., no. u, v. 8, Ind. Ant., Vol. xi, pp. 106, 107.)
SAUDHA-MALIKA (see PRASADA-MALIKA) — A class of buildings,
an edifice of the Malika class.
SAUMUKHYA — An object having a beautiful face, a type of column,
one of the five Indian orders.
(Suprabhedagama, xxxi, 65, 67; see under STAMBHA.)
SAUMYA — A class of buildings.
(Kamikagama, XLV, 40 ; see under MALIKA.)
SAUMYA-KANTA— A tpye of gate-house.
(A/., XXXHI, 563 ; see under GOPURA.)
SAURA-KANTA —A type of storeyed buildings.
A class of nine-storeyed buildings.
(M., xxvn, 5-9 ; see under PRASADA.)
SAUSHTHIKA — An architectural object or moulding added for
the sake of elegance or beauty.
Tad-eva s"ala-parsve chaikam dvyaikena shausthika-harah I
(M., xxvm, 1 6.)
Tad-eva-sala-prante tu parsve chaikena saushthikam I
(M., xxix, 26 ; see for context, 24-33 '•> see under AKRA-KANTA.)
SKAND-(H)A-KANTA— A type of column, a type of gate-house.
The hexagonal or six-sided pillars with six upa-padas or minor pillars —
(M., xv, 246, 23-245).
A type of gate-house —(M., xxxra ; see under GOPURA).
SKANDHA-TARA — A type of building extending like the shoulders.
A class 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, f. ; see under NAGARA.)
Cf. Sri-Venu-grama-skaihdhavare sukhena samrajya-lakshmlm anu-
bhavan 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 Buddhist-
sultas by Rhys Davids, p. 262, compare Chullavagga, VL, 3, 3.)
For references to Vedic pillars, vide 107 below.
The column is generally four times the base (M., xin, 2-3, see under
ADHISTHANA), and the pedestal is stated to be twice or three times the base
(see Mayamata, under ADHISHTHANA) and the entablature is directed to be
| 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 called jangha, charana, (s)tali, stambha, angrika,
sthanu, thuna, pada, skambha, arani, bharaka, and dharana (lines
4-6). The height or length of a column is measured from above
the base to below the Uttara, or above the pedestal from Janman
to the Uttara (lines 7-9). The height of a column is, in other words,
' measured from the plinth (of the former) up to the lowest part of
the entablature, that is, from the base to the capital inclusive.' The
length of a column is twice, ii or ij times of its base (lines 8-10) ;
or the heights of the column begin with z\ cubits and end at 8 cubits,
the increment being by 6 angulas or J cubit (lines 1 1-12). But accord-
ing to KaSyapa (see Ram Raz, Ess. Arch, of Hind., p. 29), the height
of the pillar may be 3 times that of the base ; or 6 or 8 times that of
the pedestal. The diameter of a pillar may be £th, £th, ^th, or ^th
of its height, if it be made of wood or stone, |rd, Jth, or £th, of the
height, if it be a pilaster joined to a wall (kudya-stambha). In other
words, the column is from three to ten times the diameter. The
width of the pilaster, according to the Mdnasdra, is 3, 4, 5, or 6
matras (parts), and twice, thrice, 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).
Columns admit almost of all shapes (lines 20-23). A quadran-
gular (four-sided) pillar is called Brahma-kanta ; an octangular one
is called Vishnu-kanta ; a sixteen-sided or circular one is known as
Rudra-kanta ; a pentagonal one is called Siva-kanta ; and a hexa-
gonal column is called Skanda-kanta. These columns are stated to
be uniform from bottom to top ; but the bases of these may be
quadrangular (lines 24-25).
533
STAMBHA *N ENCYCLOPAEDIA OF
With reference to dimensions and ornaments the five kinds of
columns-Brahma-kanta, Vishnu-kanta, Rudra-kanta, Siva-kanta, and
Skanda-kanta-are called Chitra-karna (line 31), Padma-kanta (line
oq), Chitra-skambha (line 40), Palika-stambha (line 73), and Kumbha-
stambha (lines 73> 204). The sixth one, Koshtha-stambha (line 84)
in the latter division, is stated to be two-sided, and hence it is same
as Kudya-stambha or pilaster. It should be noticed that the former
set of five names refer to the shapes of columns, i.e. shafts, wlul(
the latter set of five names is based on the shapes of the capitals.
But in the detailed account both the capital and shaft are mcluded.
Columns when in rows, must be in a straight line.
' The inter-columniation may be two, three, four, or five diameters ;
it is measured in three ways, first from the inner extremity of the
base of one pillar to that of another, secondly from the centre of
two pillars, and thirdly from the outer extremities of the pillars
including the two bases.' ' There are no fixed inter-columniations in
Indian Architecture. '-(Ram Raz, Ess. Hind. Arch., pp. 32, 39-)
Cf. Dhvaja-stambha (M ., LXIX, 24 , Dhanya-stambha and Sila-stambha
(M., XLVII, i). The shapes and mouldings of the last one (ibid., 16-18) :
Vrttarh va chatur-aSrarh va ashtas'ra-shodas'atrakam I
Pada-tuhge'shta-bhage tu trirhs'enordhvam alahkritam I
Bodhikarh mushti-bandham cha phalaka tatika ghatam I
These are apparently the five component parts of the shaft.
The entablature, base, and pedestal are separately described :
Kuttimam chopapitham va sopapitha-masurakam (ibid., 21).
See further details under UPAPITHA, ADHISHTHANA and PRASTARA.
For the component parts of a column, see further details below.
(2) Kdmikagama, xxxv :
Nava-hasta-pramanantah stambhotsedhah-prakirtitah 1 1 (24)
Chatur-arhs-am samarabhya shad-da§am§am yatha-vidhi I
Bhagat kritvaika-bhagena nyunarh syad agra-vistarah II (26)
Sila-stambharh Sila-kudyam naravase na karayet II ( 1 6 1 )
Jbid., LV, 203 (the synonyms) :
Sthanu(h) sthunaS cha padaS cha jangha cha charananghrikam I
Sthambho hasto lipyam kamparh (skambham) padanam abhidha-
nakam II
(3) Suprabheddgama, xxxi :
The coloumn compared with its base and entablature :
Padayamam adhishthanam dvi-gunarh sarva-sammatam I
Padardharh prastararh proktarh karnam prastaravat samam II (28)
534
HINDU ARCHITECTURE STAMBHA
The shapes of the five orders, the fifth being composite of two :
Jati-bhedam samakhyatam padanam adhunochyate 1 1 (53)
Chatur-asram athashtasrarh shodaSasram tu vrittakam I
Kumbha-yuktas tatha kechit kechit kumbha-vihinakah 1 1 (54)
The five names and characteristic features of the five orders :
Sri-kararh chandra-kantarh cha saumukhyam priya-dars"anam 1 1
(65)
Subhamkari cha namani kartavyani vis"eshatah I
Sri-kararh vritta-padanam shodas"asre tu kantakam 1 1 (66)
Saumukhyam hi tathashtasre turyagre priya-darsanam I
Ghatur-asrashta-misre cha pada karya subharhkarl 1 1 (67)
This last one is the Indian Composite order.
The common features and mouldings of the five orders :
Pada nama iti prokto tesharh lakshanam uchyate 1 1 (55)
Vistarasya chatur-vimsat(d)-bhagaikam pada-vistaram I
Tad-eva dandam akhyatam padalamkara-karmani 1 1 (56)
Mula-padasya vistarat saptaikamsena margatah I
Dvi-dandarh mandir utsedharh danda-padarh tu vistaram II (57)
Ashtamsam kantham utsedham dvi-dandam kumbha-vistaram I
Utsedham tu tri-padarh hi padona phalaka bhavet 1 1 (58)
Tri-dandam vistaram proktarh tad-ardham nirgatarh smritam I
Vira-kantharh tu dandena vistaram tat-samam bhavet 1 1 (59)
Tad-urdhve potikayamarh tat-tri-padarh tad-uchchhritam I
Tri-dandam adhamayamarh chatur-dandam tu madhyamam 1 1 (60)
Uttamarh pancha-dandam tu potikayamam uchyate I
Chitra-patra-tararhgais' cha bhushayitva tu potikam I (61)
Kumbha-padam idam proktarh kumbha-nimnarh prachakshmahe I
Padarh potikaya yuktam ^esham karma na karayet II (62)
Kumbha-hmas tv-ime prokta lata-kumbharh tad uchchyate I
Kumbhakararh tu tan-mule tad-urdhvam padmam eva tu II (63)
Phalakordhve latarh kuryat tach-chhesharh kumbha-pada-vat I
Padantare tu kartavyani asaktas chet tu varjayet 1 1 (64)
Sarvesham eva padanam tat-padarh nirgamam bhavet II (65)
(Of all orders, the projection is J).
The columns of the main prasada (edifice) and of the subordinate manda-
pas (pavilions) are distinguished :
Prasada-stambha-manasya etat stambham vi­ate I
Padadhikam athadhyardharh padona-dvi-gunam bhavet II (105)
Stambhayamashta-bhagaikam stambhasyaiva tu vistaram I
Vrittam va chatur-aSrarh va chatur-ashtaSra-mi^rakam 1 1 ( 106)
Shoda5a§ra-yutam vapi Silpaih sarvaih su^obhitam I
535
STAMBHA AJi ENCYCLOPAEDIA OF
Stambhach cha bodhikadhikya bodher apy uttaradhika II ( 107)
Uttarad vajanadhikya tasyordhve mudrikam nyaset I
Mudrikach cha tuladhikya jayanti tu taloparill (108)
Chhadayed ishtakabhis tu tasyordhve kalakan kshipetll ( ;og)
The above passage refers to only a part of the order. The pedestal,
base, and entablature are described elsewhere. (See Suprabteddgama>
under P!THA and UPAPITHA, ADHISTHANA and PRASTARA.)
The mouldings of the part between the entablature and base, that is,
the capital and the shafts, are, as described above, called Danda (v. 56),
Mandi (v. 57), Kantha, (v. 58), Kumbha (v. 58), Phalaka (v. 58), Vira-
kantha (v. 59), and Potika (v. 60).
The same are otherwise called Bodhika, Uttara (v. 107), Vajana,
Mudrika, Tula, Jayanti, and Tala (v. 108).
(4) Kauliliya-Artha-fastra (chap, xxrv, p. 53) :
Stambhasya parikshepash shad-ayama dvi-guno nikhatah chulikayas"
chatur-bhagah — ' in fixing a pillar, 6 parts are to form its height on the
floor, twice as much (12 parts) to be entered into the ground, and one-
fourth for its capital.'
(5) R&mayana (18, vi, 3, etc.) :
Kanchanair bahubhih stambhair vedikabhis' cha sobhitah I
(6) Mahdbhdrata (xrv, 2523, etc.) :
Stambhan kanaka-chitrarhS cha toranani vrihanti cha I
(7) Matsya-Purdna (Chap. CCLV, v. 1-6) :
Athatah sarhpravakshami stambha-mana-vinirnayam I
Kritva sva-bhavanochchhrayam sada sapta-gunarh budhaih 1 1
As"ity-aih£ah prithutve syad agre nava-gune sati I
RuchakaS chatur-a^rah syat tu ashtaSro vajra uchyatell (2)
Dvi-vajrah shodasa^tras tu dva-trirh§a5rah pralinakah I
Madhya-prades"e yah stambho vritto vritta iti smritah II (3)
Etc pancha-maha-stambhah pra^astah sarva-vastushu I
Padma-valll-lata-kumbha-patra-darpana-ropitah II (4)
Stambhasya navamam^ena padma-kumbhastararh tu I
Stambha-tulya tula prokta hina chopatula tatah n (5)
Tri-bhageneha sarvatra chatur-bhagena va punah I
Hinam hinarh chaturtharhSat tatha sarvasu bhumishu 1 1 (6)
These verses are almost identical in the Brihat-samhitd (LHI, 2^30) ;
see below :
(8) Brihat-samhitd (urn, 27-30, J. R. A. S., N. S., vol. vi, p. 285, notes
it 2) :
Uchchhrayat sapta-gunad asTti-bhagah prithutvam etesham I
Nava-gunite asTtyarhsah Stambhasya da^arh^a-hino'gre II (27)
536
HINDU ARCHITECTURE STAMBHA
' The eightieth part of nine times the altitude (of the storey) gives the
width of a column at the bottom ; this diminished by one-tenth is the width
of the column at the top.' Kern.
Sama-chatur'asro ruchako vajro'shtasYir dvi-vajrako dvi-gunah I
Dva-trirhsasras tu madhye prallnako vritta iti vrittah II (28)
A column with four sides equally rectangular (lit. of four equal corners)
is called Ruchaka (= beautiful) ; one with such eight sides is called Vajra :
one with such sixteen sides is called Dvi-Vajra : one with such thirty-two
sides at the middle (i.e., by the shaft) is called Pralinaka ; and a round
one is called Vritta.
Stambharh vibhajya navadha vahanarh bhago ghato'sya bhago'
nyah I
Padmam tathottaroshtharh kuryad bhagena bhagenall (29)
Cf. Commentary quotes Kirana-Tantra ( ? Kiranagama] :
Vibhajya navadha stambham kuryad udvahanam ghatam I
Kamalam chottaroshtharh tu bhage bhage prakalpayet 1 1
' When you divide the whole column into nine parts, one part would
be the pedestal (?) ; the second, the base (?). The capital(?) and also
the upper h'p(?) must be made so as to form one part, each of them.' (Sts
below.)
' All this exceedingly vague.' Kern.
Stambha-samam bahulyam bhara-tulanam upary upary asam I
Bhavati tulopatulanam unam padena padena 1 1 (30)
' Equal to the thickness of the column is that of the architraves ; the
thickness of the superior cross-beams and upper rafters is lessened by one-
quarter, again and again.' Kern.
The eight component parts of the column (order) mentioned in the
Matsya-Purdna, Brihat-samhitd, and Kirana-tantra are (i) vahana, (2)
ghata, (3) padma, (4) uttaroshtha, (5) bahulya, (6) bhara (? hara), (7)
tula, 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 .
But there is a very striking similarity between the number (eight) of the
mouldings, of which the Indian and the Greco-Roman orders are composed.
(See below).
(9) Samgraha-siromani by Sarayu Prasada (xx, 132-134), cites the
same three verses from Vardha-mihira (B. s. LIU, 28-30) as quoted above
(10) ' The subservient parts of an order, called mouldings, and common
to all the orders, are eight in number. They are —
(i) The ovolo, echinus, or quarter round (Fig. 867). It is formed
by a quadrant, or sometimes more of a circle, but in Grecian
537
STAMBHA AN ENCYCLOPAEDIA OF
examples its section is obtained by portions of an ellipse or some
other conic section. This latter observation is applicable to all
mouldings of Greek examples, and we shall not repeat it in enumer-
ating the rest of them. It is commonly found under the abacus of
capitals. The ovolo is also almost always placed between the corona
and dentils in the Corinthian cornice ; its form gives it the appear-
ance of seeming fitted to support another member. It should be used
only in situations above the level of the eye.
(ii) The talon, ogee, or reversed cyma (Fig. 868) seems also, like
the ovolo, a moulding fit for the support of another.
(iii) The cyma, cyma recta, or cymatium (Fig. 869) seems well con-
trived for a covering and to shelter other members. The cyma recta
is 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.
(iv) The torus (Fig. 870), like the astragal presently to be men-
tioned, is shaped like a rope, and seems intended to bind and streng-
then the parts to which it is applied ; while,
(v) The scotia or trochilos (Fig. 871), placed between the fillets
which always accompany the tori, is usually below the eye ; its use
being to separate the tori, and to contrast and strengthen the effect
of other mouldings as well as to impart variety to the profile of the
base.
(vi) The cavetto, mouth or hollow (Fig. 872) is chiefly used as a
crowning moulding like the cyma recta. In bases and capitals it is
never used. By workmen it is frequently called a casement.
(vii) The astragal (Fig. 873) is nothing more than a small torus, and,
like it, seems applied for the purpose of binding and strengthening.
The astragal is also known by the names of bead and baguette.
iviii) The fillet, listel or annulet (Fig. 874) is used at all heights and
in all situations. Its chief office is the separation of curved mould-
ings from one another.
(Gwilt, Encycl. of Arch., art., 2532 ; see also Gloss.
Grecian Arch., plates xxxiv, xxxiv, bis.)
(Attention of the reader should also be drawn to another striking affinity
between the Indian and the Greco-Roman orders : in both cases they
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 certainty with the corresponding mouldings of the Greco-
Roman order. Padma means lotus and it is same as cyma. Uttaroshtha,
literally lower lip, and cavetto, mouth or hollow, are apparently the same.
538
HINDU ARCHITECTURE STAMBHA
Bhara is read as hara (in the Mdnasdra) meaning a chain, and the. latter
expression implies the torus, bead or astragal. Ghata might correspond
to conge, Vahana to abacus, and Tula and Upatula (also called vajana and
uttara) to fillet or listel.
(n) Pillar with Garuda bird on the top (Badal Pillar inscrip., v. 27,
Ep. Ind., Vol. n, pp. 164, 167).
(12) Thambhani (Pillar Edicts of ASoka, no. vn, Ep. Ind., Vol. n,
p. 270).
(13) Stambhatvam . . . Sri-Sailam evanayat — ' Converted the Sri-
Saila into a pillar.'— (Vanapalli Plates of Anna-vema, v. 10, Ep. Ind., Vol. m,
pp. 61, 64.)
(14) Pillar (Deogadh Pillar inscrip. of Bhojadeva of Kanauj, lines 6, 9,
Ep. Ind., Vol. rv, p. 310).
(15) Tri-Sula-mudrarhkah svakiyayatana-dvare maha-saila-stambhah I
' The pillar is (now) called the Lakshmi Kambha, or the pillar of (the
(goddess) Lakshmi.
' The upper part of the pillar is ocatgonal (and this part contains the
inscription). Immediately below the inscription, the pillar is square.
It is stamped with the mark of the tri-§ula or trident, which is the weapon
of Siva, was set up in the middle of the three shrines by a sculptor named
Subhadeva.' — -(Pattadakal inscrip. of Kirtivarman II, line 1 8, Ep. Ind., Vol.
in, pp. i, 3, 5, 7.)
(16) A four-faced pillar made of stone (A. D. 1250) now " lying in the
temple of Venugopala in the Kistna District." — (Yenamadal inscrip. of
Ganapamba, Ep. Ind., Vol. in, pp. 94, 96.)
(17) ' This inscription (Sravana-Belgola Epitaph of Mallisena, Saka>
1050) is on four faces of pillar on a hill at Sravana-Belgola in Mysore.'
(Ep. Ind., Vol. in, p. 184.)
(18) Sila-stambha — stone pillar, (?) solid.
(Sravana-Belgola Epitaph of Mallisena, v. 9,
Ep.Ind., Vol. m, pp. 190, 186.)
(19) Used in the sense of danda (a measure) :
TriihSat-stambha-prarnana-pushpa-vatika. I
(Bamani inscrip. of Silhara Vijayaditya,
line 22, Ep. Ind., Vol. m, p. 213.)
(20) ' At the eastern entrance of this temple (named Kunti-Madhava
at Pithapuram, in the Godavari District) in front of the shrine itself,
stands (still) a quadrangular stone pillar.'— (Ep. Ind., Vol. rv, p. 32.)
(21) ' The (Salotgi) pillar is inscribed on all its four faces : on the front
or the first face, above the writing, are some sculptures, towards the top a
lihga, and below it a cow and a calf and something else which has been
defaced.'— (Ep. Ind., Vol. iv, p. 57.)
539
STAMBHA AN ENCYCLOPAEDIA OF
(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.)
(23) ' The Vishnu temple of Kurmesvara at Srikurman near Ghicalcole
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 . . . Vijaya-stambham ambhodhi-tlre 1 1
Punye sahyadri-sVirhge tri-bhuvana-vijaya-stambham II
(Four inscrip. of Kulottunga-Chola, no. A
vv. i, 2, Ep. Ind., Vol. v, p. 104).'
(25) ' 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. '
(Ep. Ind., Vol. v, p. 151.)
(26) Mana-stambha (Sravana-Belgola Epitaph of Marasimha II, line
109).
(Ep. Ind., Vol. v, pp. 1 78, 171, note 5.)
•The word " Mana-stambha", which means literally "a column of
honour ", is explained by Mr. Rice (Inscrip. at Sravana-Belgola, Introduc-
tion, p. 19, note 2) as denoting technically " the elegant tall pillars, with
a small pinnacled mantapa at the top, erected in front of the Jain temples "
and he refers us to a discussion regarding _them in Fergusson's Indian and
Eastern Architecture, p. 276.' Dr. Fleet (see below).
(27) Mana-sthambha— Jaina pillar (Krishna Sastri refers also to Ep-
Ind., Vol. v, p. 171, note 5).
' The Manastambhas, which are generally graceful, high and imposing,
have to be distinguished from other Jaina pillars neither so tall as the former
nor bearing any mandapas on their tops. These latter are called Brahma-
deva-pillars (cf. Brahma-kanta, in the Manasdra] and appear to be usually
set up in front of colossal statues. The Tyagada-Brahma-deva pillar
(figured on plate facing p. 33 of the Introduction to Mr. Rice's Sravana-
Belgola inscriptions) is set up opposite to the collosal statue on the Dodda-
betta hill at Sravana-Belgola ; the Kuge Brahma-deva pillar at the entrance
into the bastis on the Chikkapetta hill of the same village, indicates per-
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).'
' A lithograph of a similar pillar at Venur is given in Ind. Ant., Vol. v,
plate facing p. 39.' — (Karkala inscrip. of Bhairava II, Ep. Ind., Vol. vi i,
p. 123, note 2.)
54°
HINDU ARCHITECTURE STAMBMA
(28) Trai-lokya-nagararambha-mula-stambhaya sambhave I
' He is the foundation-pillar for the erection of the city of the three
worlds.' — (Inscrip. at Ablur, no. E, line i, Ep. Ind., Vol. v, pp. 245, 252.)
(29) • It (Srikurmam inscrip. of Nara-hari-tlrtha) is inscribed on the
east and north faces of one of the black granite pillars, which support the
hall enclosing the temple.' — -(H. Krishna Sastri, Ep. Ind., Vol. vi, p. 260.)
(30) Siha-thabo— lion pillar (no. i).
Sihadhayana-thambho (no. 7).
Sasariro thabo— pillar containing relics (Senart). ••— (Karle Cave
inscrip. nos. i, 7, 9, also 8, n, Ep. Ind., Vol. vir, pp. 49, 53, 54, 55, 56.)
(31) Chanchat-kirtti-patakaya tilakita-stambhah pratishthapitah I
Yasyagre Garuda . . . ' All erected the famous pillar adorned
with a waving banner of fame . . . the Garuda at the top.'
(Two inscrip. of Tammusiddhi, no. A, Tiruvalabgadu inscrip., v. i2>
Ep. Ind., Vol. VH, pp. 123, 125.)
(32) ' The inscription (Sravana-Belgola inscription of Trugapa) is
engraved on three faces of a quadrangular pillar behind the image of the
Kushmandinl YakshI which is set up in the Brahma-deva-mandapa in front
of the Gummata temple on the Vindhyagiri at Sravana-Belgola.'
(Dr. Luders, Ep. Ind., Vol. viii, p. 15.)
(33) • According to Mr. Rice, the inscription (Talagunda pillar inscrip-
tion of Kakusthavarman) is engraved on a pillar of very hard grey granite,
which stands in front of the ruined Prabhavesvara temple at Talagunda,
in the Shikarpur Taluk of the Shimoga District of the Mysore State. The
pedestal of the pillar is 5 feet. 4 inches high and i foot 4 inches at the top,
a little more at the base. The shaft is ocatgonal, 6 feet 4 inches high
(•'judging by the length of the lines, the shaft must really be slightly
higher"). Each face being 7 inches wide, but tapering slightly towards
the top.'
(Prof. Kielhorn, Ep. Ind., Vol. vm, p. 24.)
(34) • Alupa inscriptions nos. i-vm are engraved on ocatognal pillars
in front and in the courtyard of the Sambhukallu temple at Udiyavara.'
(Ep. Ind., Vol. ix, p. i-jf.)
(35) Stambho'yam nagarasya — ' this is the city pillar.'
(Ranker inscrip. of Bhanudeva, v. 6,
Ep. Ind., Vol. rx, p. 126.)
(36) In 1848 Captain J. D. Cunningham (in. J. R. A. S., Bengal, Vol.
xvn, part i, p. 305 ff) proceeds thus : ' near to the western edge of the
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
single block about 30 feet, in height and 2| thick. The shaft is square
in section, for a height of 8 feet, and it then becomes circular.'
541
STAMBHA AN ENCYCLOPAEDIA OF
In 1880 General Sir A. Cunningham (in his Archaeological Survey of
India, Vol. x, p. 70), noticed thus : ' Inside the town on the top of the
slope, there is a tall monolith with a bell-shaped capital. The shaft is
circular, rising from a base 8 feet 3 inches high and 2 feet 9 inches square
. . and from their (of the letters of the inscription on the pillar)
shapes I would assign the monument to somewhere about A.D. 600.
Close by this pillar there is a small temple with Vishnu sitting on Garuda
over the door-way.'
The main object of the inscription is to record the erection of the pillar
of which a vivid description is given.
(Pathari Pillar inscrip. of Parabala, vv. 24-29,
Ep. Ind., Vol. ix, pp. 254, 248, 249, 250.)
(37) ' In front of the temple is an inscribed quadrangular pillar of black
granite bearing in relief within a countersunk square at the top of each of
its four faces, the figure of a squatting Jaina ascetic with his arms folded
over his lap crosswise.'
' The thousand-pillared temple in the middle of the village of Anma-
konda was built by Prola's son Rudra in or about A. D. 1162-1163
(Ind. Int., vol. xi, p. 9 f.).'
( Anmakonda inscrip. of Prola, Ep. Ind. ,
Vol. ix, pp. 257, 256, note 8.)
(38) ' The first verse (quoted below) invokes the blessings of Vinayaka
(Ganapati) who, we are told, was placed on the column to ensure prosperity
at the top by a quadruple image of Ganapati, facing the cardinal direc-
tions.'
Siddhim karotu sarwattra stambha-dhama-Vinayakah I
(Ghatiyala inscrip. of Kakkuka, no. n, v. i,
Ep. Ind., Vol. ix, pp. 280, 278-279.)
(39) Kamaniya-sila-stambha-kadambottamvltamvaram 1 1
ViSarhkatavitamkali-virajad rarhga-marhtapam 1 1
' It (the temple) has a large Ranga-mandapa raised on a collection of
beautiful stone pillars and adorned with rows of spouts.' — (Krishnapuram
Plates of Sada&varaya, v. 55-56, Ep. Ind., Vol. ix, pp. 336, 341.)
(40) ' The two (Nalamba inscriptions from Dharamapuri of the ninth
century A. D.) are engraved on the four faces of a pillar, which was re-
moved 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 sur-
mounted by a pinnacle from which proceed in the eight directions eight
petals, which open downwards and are slightly raised at the edges where
they meet the margins of the pillar . . . The pillar was built into the
floor of a mandapa, in front of the Mallikarjuna temple at old Dharma-
pura.' — (H. Krishna Sastri, Ep. Ind., Vol. x, p. 54.)
542
HINDU ARCHITECTURE STAMBHA
(41) Matri-pada-sri-nimitte stambhakah pradattah — ' the pillar was
presented in memory of (their) mother.' — (The Chahamanas of Marwar,
no. xvn, Sanderav stone inscrip. of Kelhanadeva, line i, Ep. Ind., Vol. xi,
P- 52.)
(42) Tenanena Sri-ganapati-deva-maha-rajena sakala-dviparhta-ripa-
desamtara-pattaneshu gatagatarh kurvvanebhyah samya-kritebhya evam
abhayasasanarh dattam I
Ganapati-devah kirtyai sthapitavarhs chhasana-stambham 1 1
' By this glorious Maharaja Ganapati-deva the following edict (assur-
ing) safety has been granted to traders by sea starting for and arriving from
all continents, islands, foreign countries, and cities . . . Ganapati-
deva set up for the sake of glory (this) edict-pillar.'
(Motupalli pillar inscrip. of Ganapati-deva,
lines 135-140, v. 28, Ep. Ind., Vol. xn,
pp. 195, 196, 197.)
(43) Agrya-dhama-sreyaso veda-vidyavalllkandah svah sravantyah kirl-
tam I
Vra(bra)hma-stambho yena karnnavatiti pratyashthapi kshma-
tala-brahma-lokah 1 1
' He set up the pillar of piety, called Karnavati, the foremost abode of
bliss, the root of the creeping plant, knowledge of the Vedas, the diadem
of the stream of heaven, the world of Brahman on the surface of the earth.'
(Khairha plates of Yasahkarnadeva, v. 14, Ep. Ind., Vol. xn, pp. 212, 216.)
(44) Kirti-stambham (pillar of victory) nikhaya tri-bhuvana-bhavana-
stuyamanapadanah I
(Conjeeveram plates of Krishnadeva-Raya,
Saka 1444, v. 9, Ep. Ind., Vol. xni,
p. 127.)
(45) Sthapayitva dharani-dharamayan sannikhatas tato'yam saila-stam-
bhah su-charur giri-vara-£ikharagropamah kirtti-kartta 1 1
• 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).'
(Kahaum stone pillar inscrip. of Skandagupta,
lines 11-12, C. /. /., Vol. ni, F. G. I.,
no. 15, pp. 67, 68.)
(46) Dhvaja-stambha, also called simply ' dhvaja ' :
Matri-(ta)pittroh punya-pyayanartham esha bhagavatah punnya-
janarddanasya Janarddanasya dhvaja-stambho'bhyuchchhritah 1 1
' This flag-staff of the divine (god) Janardana, the troubler of the de-
mons, has been erected, for the purpose of increasing the religious merit
of (their) parents.'
Vishnu-pada girau bhagavato vishnor dhvajoh sthapithah I
' This lofty standard of the divine Vishnu was set up on the hill (called)
Vishnupada.' — (Eran stone pillar inscrip. of Budhagupta, lines 8-9 ;
543
STAMBHA AM ENCYCLOPAEDIA Of
Mcharauli posthumous iron pillar inscrip. of Chandra, line 6, C. /. /., Vol. m,
F. G. I., nos. 19, 32, p. 89 and note 1,90; 141, 142.)
(47) ' The original lower part of the pillar (at Eran) is now broken
away and lost ; the remnant of it is about 3' 1 1" high and i' 6" in diameter.
The hollow part is octagonal ; and the inscription (Eran posthumous
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 sixteen-sided. Above this, it is again octagonal ;
(and the faces here have sculpture of men and women, who are probably
intended for the Goparaja of the inscription and his wife and friends ; the
compartment immediately above the centre of the inscription represents
a man and a woman, sitting, who must be Goparaja and his wife). Above
this, the pillar is again sixteen-sided. Above this, it is once more octagonal
. . . Above this the pillar curves over in sixteen flutes or ribs, into a
round top'.
' As noted by Cunnigham, there are several other Sati-pillars (in com-
memoration of a Sati), but of much later date than at Eran.' -(C. /. /.,
Vol. m, no. 20, pp. 91, 92, note 2.)
(48) The boundary-pillar :
Siva-dasena vala-yashti uchchhritah — (this) boundary-pillar has
been set up by Sivadasa.' — (Bhumara stone pillar inscrip. of the
Maharajas Hastin and Sarvanatha, lines 6-7, C. I. I., Vol. in,
F. G. I., no. 24, pp. in, 1 12.)
(49) ' The inscription (Meharauli posthumous iron pillar inscription
of Chandra, no. 32) is on the west side of a tapering iron column, sixteen
inches in diameter at the base and twelve at the top, and twenty-three feet
eight inches high, standing near the well known Kutb Minar in the ancient
fort of Ray Pithara.'— (C. I. /., Vol. m, F. G. I., no. 32, p. 140.)
(50) Tenakalpanta-kalavadhir avani-bhuja Sri-Yasodharmmanayarh,
sthambhah sthambhabhirama-sthira-bhuja-parighenochchhritirh
nayito'ttra 1 1 .
This is 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
3' 4" square by 4' 5" high . . . From this base there rises a
sixteen-sided shaft, each of which is about 8J" broad, where it starts
from the base . . . The total length of which (the shaft) was
thus about 39' 3" or 34' 10* above the base . . . The next
part of this column, the lower part of the capital, ... is
a fluted bell, about 2' 6" high and 3' 2* in diameter, almost identical
in design with the corresponding part of a small pillar from an old
Gupta temple at Sanchi, drawn by General Cunningham (in the
544
HINDU ARCHITECTURE STAMBHA
Arch. Sum. Ind., Vol. x, plate xxn, no. i . . . ). The total
length of this column, up to the top of the lion-capital, is about 44' 5",
or forty feet above the ground, if it stood with the entire base
buried. The square lion-capital must have surmounted by a statue
or statues, of the same kind as that which stands on the summit
of the column at Eran.' — (See above and Arch. Surv. Ind., Vol. x.
p. 8 1 and plate xxvi.)
' The 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"
broad, where it starts from the base . . . This column also tapers
slightly from bottom to top . . . the fluted bell part of the
capital, about 3' o" high and 3' 3" in diameter (is) similar in design to the
same part of the capital of the other pillar . . . the top has
one circular and eight rectangular socket-holes, just as in the top of the lion-
capital of the first column.'
' The two inscribed columns were evidently intended as a pair, though
the full view of the second cannot be taken. (From the distance between
them, from the difference in the detailed measures, and from the analogous
instance of the 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
traces of any temple to which they can have belonged). They are evidently
an actual instance of two Rana-stambhas or <; columns of victory in war,"
such as the Kauthem grant of Vikramaditya V (Ind. Ant., Vol. xvi, p. 18)
. . . speaks of as having been set 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,
line 7, pp. 147, 143 f.)
(51) ' The inscription (Pahladpur stone pillar inscription, F. G. I.,
no. 57) is on a sandstone monolith column about 3 feet in diameter,
polished and rounded for a length of 27 feet ; with a rough base of 9
feet, the total length being 36 feet . . . in or about 1853 removed
to Benares and set up in the grounds of the Sanskrit College there.'
(C. /. /., Vol. m, F. G. I., no. 57, p. 249 f.)
(52) Kritau pundarlke yupo'yaih pratishthapitas . . . Varikena i
' On the ceremony of the Pundarika sacrifice (having been performed),
this sacrificial post has been caused to be set up by the Varika.'
The architectural characteristics of this (sacrificial) column are given
by Dr. Fleet : ' The pillar (Bijayagadh stone pillar inscrip. of Vishnu-
vardhana of A.D. 372) stands on a rubble masonry platform (which is
545
STAMBHA AN ENCYCLOPAEDIA OF
plainly of much more recent construction than the pillar itself), which is
about 13' 6" high and 9' 2" square at the top. The height of the pillar
above the plinth is 26' 3". The base is square, to the height of 3' 8".
each face measuring i' 6". Above this, the pillar is octagonal, for a length
of 22' 7", and it then tapers off to a point. The extreme top is however
broken ; and a metal spike, which projects from it, indicates that it was
originally surmounted by a capital on the south side of the pillar, towards
the top of the square base there is engraved a Srlyogi Vra(Bra)hma-
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.)
(53) Sphara kupara-tiravali-nihita-jaya-stambha-vinyasta-klrttih I
' 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,
H.S.I. I., Vol. i, no. 153, pp. 163, 165.)
(54) Sakra-pratapas tri-bhuvana-vijaya-stambham ambhodhi-tire 1 1
Punye sahyadri-sringe tri-bhuvana-vijaya-stambham ambhodhi-
pare I
(Tiruvallam inscrip. of Rajaraja, v. i, 2,
H.S.I.I., Vol. i, no. 155, p. 1 68.)
(55) Trailokya-nagararambha-mula-stambhaya Sambhave II
' Adored be Siva, the original foundation-pillar of the city of the three
worlds.' — (Ep. Carnal., Vol. i, no. n, pp. 35, 57, first para.)
(56) Hire-chavutiya-RamesVara-devara-gudiya-kallu-kelasa madisi dipa-
male-kambada — ' had the temple of RamesVara in Hire-Chavuti built of
stone and erected a dipa-male pillar.' — (Ep. Carnal., Vol. vm, Part i, Sorab
Taluq, no. 238 ; Roman text, p. 77 ; Transl., p. 37.)
(57) ' When Sivappa-Nayaka was protecting the kingdom in righteous-
ness (on a date specified), through the agency of Siddha-Basappayya
of the treasury, this dhvaja-stambha (or flag-staff) was set up.'
(Ep. Carnal., Vol. vm, Part i, Sagar
Taluq, no. 38 ; Transl., p. 97.)
(58) ' In order that they both might acquire merit (the couple), in-
formed the guru that they would erect a mana-stambha in front of the
NemisVara chaityalaya which their grandfather, Yojana Sreshthi, had
built. . . . On a propitious day they carried out their promise and
had a pillar of bell-metal made. Meanwhile, to Devarasa were born
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.
546
HINDU ARCHITECTURE STAMBHA
' To describe the mana-stambha : — In dimension like a mast of the
great ship of dharma and in the midst of the group (of temples) the mana-
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-Saman-
tabhadra-Nagappa-Sreshthi's son, Ambvana-Sreshthi caused to be mads
a rod for the umbrella of dharmma. Thus did they have the mana-
stambha made.'
(Ep. Carnal., Vol. vni, Part i, Sagar Taluq, no. 55 ;
Roman text, p. 192 f . ; Transl., p. 102, last
two paras.)
(59) ' When the Mahamandalesvara Saluvendra-maharaja, without
any enemies, was ruling the kindgom in peace : — with beautiful lofty
chaityalayas, with groups of mandapas, with mana-stambhas of bell-metal
with pleasure-groves for the town, with many images of metal and stone.
(Ibid., no. 163 ; Roman text, p. 234, line 27 ;
Transl., p. 124.)
(60) ' Glorious with a mana-stambha, a lotus pond and a moat.'
(Ep. Carnal., Vol. vni, Part i, Tirthahalli Taluq,
no. 166; Transl., p. 196, second para.).
(61) Dlpa-maleya-kambha — lamp-stand-pillar. — -(Ibid., Sagar Taluq, no.
60; Roman text, p. 194, third line from the bottom upwards, and p. 103;
Transl., p. 103, second para.)
(62) ' Bommanna-setti's son Machirusa-setti had this dipamale pillar
(dipa-maleya-kambhakke) made.'
This inscription is ' at the base of Garuda-kambha in front of the Gopala-
Krishna temple in the fort.' — (Ep. Carnal., Vol. ix, Bangalore Taluq, no. 16,
Transl., p. 7 ; Roman text, p. 9.)
(63) ' Heggunda Baira-Dasa's son Mara-Dasa, for the god Siva-
gangenatha, on the rock in front of the Machas"ale set up this dipamale
pillar.' (Kambha). — (Ibid., Vol. ix, Nelamangala Taluq, no. 37; Roman
text p. 59; Transl., p. 49.)
(64) ' Chika-Ankiya-Nayaka, from love to the god Tirumalenatha,
set up in front of it this dipamale pillar ' (Kambha). — (Ibid., Vol. DC,
Devanhalli Taluq, no. 40 ; Roman text, p. 97 ; Transl., p. 79.)
(65) ' Chandalir-Deva-ravutta had this dipamale pillar made for the
god of Varadaraja of Vogatta.' — (Ibid., Vol. ix, Hoskote taluq, no. 131 ;
Roman text, p. 128; Transl., p. 104.)
(66) ' Who (Sri-Rajendradeva), having conquered the Irattapadi seven
and a half lakh (country), set up a pillar of victory (jaya-stambha) at
Kollapuram.' — (Ep. Carnal., Vol. x, Kolar Taluq, no. 107 ; Roman text, p. 35 j
Transl., p. 35.)
547
STAMBHA ^JV ENCYCLOPAEDIA OF
(67) ' Had this mana-stambha made.'— (Ibid., Mulbagal Taluq, no. 59;
Transl., p. 91.)
(68) ' Set up the yupa-stambha for the Sarvaprishtha and Aptoryama
(sacrifices). '--(Ibid., Vol. x, Bagehalli Taluq, no. 17 ; Transl., p. 233.)
(69) ' Those who did the work (Devambudhi tank) :
Gantemadana Basavana made the pillars (kambha), Komaraiya the
ornamental work, and the stone-vedda Chenne-Boyi built the stones of the
embankment.'— (Ep. Carnal., Vol. xn, Tumkur taluq, no. 24 ; Transl., p. 8,
para. 2.) ,
(70) Harmya-mula-stambhanum— ' foundation pillar of the palace.
(Ibid., Gubbi Taluq, no. 13 ; Roman text,
p. 36, second line of the first prose
portion; Transl., p. 19, para. 3.)
(71) Linga-mudre-stambha— ' pillar marked with the linga."
(Ibid., Vol. xn, Tiptur Taluq, no. 108 ;
Roman text, p. 102 ; Transl., p. 64.)
(72) ' We have had the village built, set up (the god) Sanjivaraya,
erected this Garuda-Kambha, and had this tank and well constructed.'
(Ibid., Sira Taluq, no. 92 ;
Transl., p. 101, line 2 f.)
(73) < The roof of this hall is supported by four very elaborately carved
columns, nearly square at the base, changing into octagons at a little above
one-third their height. The capitals are circular under square abaci.
These again are surmounted by square dwarf columns terminating in the
usual bracket capitals of the older Hindu works.'
(The temple of Amarnath, Ind. Ant.,
Vol. ni, p. 317, c. 2, para, i, middle.)
(74) Malakaraya Mugu (palitasya de)yadharmah stambhahjl
' This pillar is the benefaction of the gardener Mugupalita.'
(Ind. Ant., Vol. VH, Kuda inscrip.,
no. 9, pp. 256-257.)
(75) 'This inscription (Inscriptions from Nepal, no. I, dated Samvat
386) is incised on the lower part of the broken pillar placed to the left of the
door of the temple of Changu-Narayana, about five miles to the north-e
of Katmandu. The pillar about 20 feet high is without the capital.
Its lower half is square, half of the upper part is octagonal, higher up i
becomes sixteen-cornered and finally round. Originally it was crowned
by a lotus-capital surmounted by a Garuda, about 4 feet high, i
like a winged man kneeling on one knee. The workmanship is very good,
and the figure shews the flowing locks, which occur frequently <
the sculptures of the Gupta period.' Pandit Bhagwanlal Indraji and
Dr G Biihler.— (ltd. Ant., Vol. DC, p. 163, c. i, para. 2.)
(76) 'Just outside the south-west gate of the village there is a mode
shrine of the god Hanumanta, with a stone dhvaja-stambha standing i
548
HINDU ARCHITECTURE STAMBHA
front of it. Into the pedestal of this dhvaja-stambha there has been built
a virgal on monumental stone.' Dr. Fleet.— (Sanskrit and Old Ganarese
inscrip., no. LXIX, Ind. Ant., Vol. ix, p. 96.)
(77) ' There stands a monolith pillar (on which the inscription referred
to below is engraved) apparently of red sandstone. The pillar is called
Lakshmi-Kambha or the "pillar of the goddess Lakshmi," and is worshipped
as a god.'
' The upper part of the pillar is octagonal. Below the octagonal part
of the pillar is a square four-sided division.'
(Ibid., no. 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.)
(78) '• 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-Konda-
puram Saiva Temple, Ind. Ant., Vol. ix, p. 117, c. 2.)
(79) Bhagvato Budhasa puva-dare ayakakarh 5 sava niyute apano
deyadhamma savatana hata-sukhaya patithapitati (no. i, line 5-6).
Bhagavato Budhasa maha-chetiya (puva) dare aya(ka)-kharhbhe
pamcha 5 savamyute apano deyadhammam (no. H, line 6.)
Bhagavato Budhasa maha-chetiya puva-dare ayaka-khambhe
save niyute apano deyadhamma sava-satanam hita-sukhaya
patithavitati 1 1
'Erected near the eastern gate of divine Buddha, five (5) Ayaka-pillars
which were dedicated for the good and the welfare of all living beings.
' I am unable to say at present what is meant by the epithet ayaka or
ayaka. It is possible to connect it either with aryaka " venerable " or
with ayas " iron, metal." But I think it more likely that the word has
some technical meaning. Dr. Biihler.
' I would suggest " lofty " or " frontal " ; they were pillars about 16 feet
high, erected on the east front of the stupa, exactly as represented on
the Amaravati slabs bearing representations of stupas.' Dr. Burgess.
(Inscrip. from Jaggayyapetta, nos. i, n, m,
Ind. Ant., Vol. xi, pp. 258, note 5 : 259.)
(80) Prathama-vihita-kirtti-praudha-yajna-kriyasu pratikritim iva nav-
yarii mamdape yupa-rupam I
Iha Kanakhala-Sambhoh sadmani stambha-malam amala-kashana-
pashanasya sa vyatatana 1 1
' He erected in the mandapa of this temple of Kanakhala-Sambhu
a row of pillars made of pure black stone and shaped like sacrificial posts,
549
STAMBHA A* ENCYCLOPAEDIA OF
a modern imitation, as it were (of those which were used) for the high
famed sacrifices of yore.'
(An Abu inscrip. of the reign of Bhimadeva n, v. 12,
Ind. Ant., Vol. xi, p. 221, c. 2 ; p. 222, c. 2.)
(81) Thabha, thabha, thambha, thambha (pillar, pillars, stambha or
sthambhah) gift of some person or persons.— (Bharaut inscrip., nos. 22, 25,
26, 35, 37, 64, 66, 67, 69, 70, 71, 75» 81, 88, 90, 94, 96, 97, Ind. Ant., Vol. xxi,
P- 227 f.)
(82) " 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
seem that reference is made to an army, to war and victory ; and if so, the
pillar would have been both a dharma-stambha and a jaya-stambha, a
monument of devotion and a trophy of victory.'— (The inscrip. P. on the
Mathura lion-capital, Ind. Ant., Vol. xxxvn, p. 245, para. 3, last sentence.)
(83) ' Caused basadis and mana-stambhas to be erected in numerous
places.
' Mana-stambha is the name given to the elegant tall pillars with a
small pinnacled mantapa at the top erected in front of the Jaina temples.'-
(See photographs nos. 149, 155, Fergusson, Ind. and East. Arch., pp. 270,
276, and his description quoted below).- — (Ep.Carnat., Vol. n, inscrip. on
Chandragiri, Sravana Belgola, no. 38; Transl., p. 121, line 5; Roman text,
p. 7, line 16 ; Introduction, p. 19, note 2.)
(84) 'The sub-base (of these mana-stambhas, photo nos. 149, 155)
is square and spreading ; the base itself is square, changing into an octagon
and thence into a polygonal figure approaching a circle ; and above a wide-
spreading capital of most elaborate design. To many this may at first
appear top-heavy, but it is not so in reality. If you erect a pillar at all, it
ought to have something to carry. Those we erect are coped from pillars
meant to support architraves and are absurd solicisms when merely sup-
porting statues ; we have, however, not accustomed to them and our eye
is offended if anything better proportioned to the work to be done is
proposed ; but looking at the breadth of the base and the strength of the
shaft, anything less than here exhibited would be found disproportionately
small.'
' On the tower or square part of these (mana)-stambhas we find that
curious interlaced basket-pattern, which is so familiar to us from Irish
manuscripts or the ornaments on the Irish crosses . . . it is equally
common in Armenia and can be traced up the valley of the Danube into
central Europe , but how it got to the west coast of India we do not know,
nor have we, so far as I know, any indication on which we can rely for its
introduction.'
55°
HINDU ARCHITECTURE STAMBHA
(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.)
(85) Sila-stambham sthapayati sma — ' caused a stone pillar to be
erected.' — (Ep. Carnal., Vol. n, no. 46 ; Roman text, p. 22, line 5, from bottom
upwards ; Transl., p. 127, line 6.)
(86) Tasya Jayastambha-nibhaih silaya stambharh vyavasthapayati
sma Lakshmih— ' a stone pillar (for her) as if a pillar of victory, did Lak-
shmi erect.' — (Ibid., no. 49, last verse ; Roman text, p. 28 ; Transl., p. 128.)
(87) Srl-Gommata-Jina-padagrada chhagada Kambakke yakshanam
madisidam — ' For the pillar of gifts in front of Sri-Gommata Jinapa, he
had a Yaksha made.'— (Ep. Carnal., Vol. n, no. no ; Roman text, p. 86;
Transl., p. 170.)
(88) ' Bachappa, son of Kirtti of Aruhanahalli, on the death of his
elder brother Tammarappa, in conjunction with that deva's queen Bayi-
chakka, had his form engraved on a pillar (kambha) and set it up.' —
(Ep. Carnal., Vol. in, Malavalji Taluq, no. 13 ; Transl., p 56 ; Roman text,
p. 1 1 6.)
(89) ' The royal karanika Devarasa set up in the name of his father
. . . a Dipa-stambha.' — (Ep. Carnal., Vol. iv, Chamarajnagar Taluq,
no. 156, Transl., p. 20.)
(90) ' Made a grant of a Dipa-mala pillar (kambha) for the god Lak-
shmi-kanta.' — -(Ep. Carnal., Vol. iv, Heggadadevankote Taluq, no. 21 ; Transl.,
p. 70 ; Roman text, p. 117.)
(91) 'He made a brass ornament for the Dhvaja-stambha (flagstaff)
of the goddess Mahalakshml and the goddess Sarasvati of Kannam-
badi.' — (Ep. Carnal., Vol. iv, Krishnarajapet Taluq, no. 235 Transl., p. 103.)
(92) ' The great minister caused to be erected a dipti-stambha for the
Krittika festival of lights (Krittika-dlpotsavake dipti-stambha) and a
swing for the swinging cradle festival of the god Chenna-Kes'ava of Vela-
pura.' — (Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 14 ; Transl., p. 47,
Roman text, p. 107.)
(93) ' While thus all the world was praising him as the founder of the
greatness and increase of king Ballala and the cause of his prosperity — the
dandisa Lakshma, together with his wife, mounted up on the splendid stone
pillar (Sila-stambha) covered with the poetical Vira-s"asana, proclaiming
his devotion to his master. And on the pillar they became united ( ? ) with
Lakshmi and with Garuda.' — (Ep. Carnal., Vol. v, Part i, Belur Taluq,
no. 112 ; Transl., p. 74, last para.; Roman text, pp. 173, 174.)
(94) ' He erected temples, raised pillars for lights (Dipa-male), granted
lands to Brahmans till they were satisfied, constructed five forts and large
551
STAMBHA AN ENCYCLOPAEDIA OF
tanks.' — (Ep. Carnal., Vol. v, Part i, Ariskere Taluq, no. 109 ; Transl., p. 159,
para, i ; Roman text, p. 365.)
(95) ' Dlpa-mala-kambha ' and ' Basava-pillar.' — (Ibid., Channaraya-
patna Taluq, nos. 155, 165 ; Transl., pp. 195, 198.)
(96) ' The unshaken pillar (Tolagada kambha). '—(Ep. Carnal., Vol. vi,
Tarikere Taluq, no. 12 ; Transl., p. 105.)
(97) ' Taking that to mind and desirous of performing a work of merit,
the king Lakshma built of stone that abode of Jina, as if erected by Indra
to endure in permanence, and afterwards set up a stone pillar (Sila-stam-
bha) 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. Carnal., Vol. vii, Shikarpur Taluq, no. 136; Transl., p. 103,
para. 3, last sentence ; Roman text, p. 184, line 10, from bottom upwards.)
(98) ' Several persons (named) set up this vira-stambha in his name.'—
(Ep. Carnal., Vol. xi, Challakere Taluq, no. 42 ; Transl., p. 102 ; Roman text,
P- 176.)
(99) ' The maha-mandales'vara Chamunda-Rayarasa (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 ;
Roman text, p. 193, last para.)
(100) ' The most striking object standing in the village is perhaps the
Bherundesvara pillar, now called the Garuda-kambha. It is a lofty and
elegant monolith, with a figure of the Ganda Bherunda at the top. It was
erected, according to the inscription on its base (quoted above, Shikarpur
Taluq, no. 151) by Chamunda-Raya in 1047, and probably fixed the
length of the Bherunda pole used in measuring length (refers to inscrip.
no. 120 of the Shikarpur Taluq).
' Its dimensions are as follows : The shaft, to the top of the cornice of the
capital, 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.'
(Ep. Carnal., Vol. H, Introduct., p. 47, note i.)
(looa) The dimensions of the Talagunda pillar, on which the inscrip.
no. 176 of the Shikarpur Taluq is incised, are given by Mr. Rice : ' The
pillar, which is of a very hard dark grey granite, is standing in front of the
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. The finial is a pear-shaped ornament, i foot 1 1 inches
high.' — (Ep. Carnal., Vol. vn, Introduct., p. 47, para. 2.)
552
HINDU ARCHITECTURE STAMBHA
( 101) Maha-rathisa Goti-putrasa Agni-mitranakasa siha-thabho danam —
' The gift of a lion-pillar (Simha-stambha) by the Maha-rathi Agni-mitra-
naka, the son of Goti.' — (Karle inscrip. no. 2, Arch. Surv., New Imp. Series,
Vol. iv, p. 90.)
(102) ' On the east side, steps lead up to a platform on which stands a
fine Kirtti-stambha or Torana arch. It consists of two highly carved
pillars, 4 feet broad at the plinth, and rising to a height of 13 feet 10 inches
including a broad cruciform capital, whose inner arms support the orna-
mental 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
architrave in two fasciae richly carved. . . . This supports the
projecting cornice with its decorative guttae, surmounted by a plinth and on
this stands the pediment in which Siva or Bhairava is the central figure.'
(Ahmadabad Architecture, Burgess, Arch. Suru., New
Imp. Series, Vol. xxxm, p. 94, Plate LXXXII.)
(103) ' He set up Rama in the Kondarama temple. Subsequently
Janmejaya performed the serpent sacrifice here, a stone pillar, about 9 feet
high, with the top fashioned like a trident or spear . . . being pointed
out as the Yupa-stambha or sacrificial post used by him.' — (Mysore Arch.
Report, 1915-16, p. 21, Plate x, Fig. i, on page 22.)
(104) See Buddhist cave temples (Arch. Surv., I\ew Imp. Series, Vol.
iv, Plates xvm, nos. 1-2 ; xxn, nos. 1-3 ; XXDC, no. 3).
See Sharqi Architecture of Jaunpur (Arch. Surv., New Imp. Series, Vol. xi,
Plates xxxix, Figs, i, 2, 3, 4 ; XL, Fig. 2 ; and read the inscrip. no. xxvn,
p. 51, under SILPIN and STHAPATI).
Cf. Moghul Architecture of Fatehpur-Sikri (Smith, Arch. Surv., New Imp.
Series, Vol. xvm, Part i, Plates LIII to LXXI).
See Ram Raz, Essay on Arch, of Hind., Plates iv to xvm.
See Lion-pillar (Mysore Arch. Report, 1915-16, Plate vn, Fig. i, p. 14).
See Elephant pillars, Brahma-deva-pillar (ibid., 1914-15, Plates ix, Fig.
3 ; xin, Fig. i, pp. 18, 26).
See pillars of Mukha-mantapa with a stone umbrella in front. — (Ibid.,
1913-14, Plate v, Fig. i, p. 14.)
(105) See Cunningham, Arch. Surv. Reports, Vol. i, Plate xxn (Bakhra
and Lauriya Lion pillars), p. 58 ; xxix (Kahaon and Bhitari pillars), p. 92 ;
XLVI (capital of ASoka Elephant pillar), p. 274.
Ibid., Vol. in, Plate xxxiv (Gaya granite pillars).
Ibid., Vol. iv, Plate v, the so-called Kutb-Minar, which is in reality a
Hindu structure.
Cf. its details— ' Total length of outer enclosure is 228 feet . . . The
law of geometrical proportion is thus seen to govern the entire Hindu
553
STABHAM AN ENCYCLOPAEDIA OF
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)
designed like giants, and their Hindu workmen " finished like jewellers " ;
but from the giant killed by jack, right through the whole genus, giants
have hitherto been noted only for supreme stupidity, combined with im-
mense strength. '—(Cunningham's Arch. Sun. Reports. Vol. iv, pp. 56-67.)
Ibid., Vol. v, Plates XXVH (Mallot temple pillar) ; XLV, XLVI (Indo-Per-
sian pillars) ; XLVII to L (Indo-Corinthian pillars).
Ibid., Vol. vi, Plate xx (Visala-deva temple pillar).
Ibid., Vol. vii, Plates xvui (Sati pillar from Simga ; the details of its
mouldings) ; ix (section of interior of garbha-griha shewing a pillar in
elevation) ; x (elevation of a pillar of the Maha-mandapa) .
Ibid., Vol. vin, Plates xi, xii (brick pillar, Balrampur).
Ibid., Vol. ix, Plates xiv, xxiv, xxix.
Ibid., Vol. x, Plates xiv (Besnagar Crocodile and Fan-palm pillars, p. 42) ;
xxi (pillar of Swami-Gosura) ; xxii, Figs, i, 2 (Sanchi pillars), 3 (Eran
pillar), 4, 5 (Udayagiri pillars) ; xxvn (Eran pillar) ; xxvm (Toran-pillar) ;
xxx (Eran pillar of Narasinha temple) .
Ibid.. Vol. xiv, Pates xxix, xxx (Sati pillars).
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).
Ibid., Vol. xxm, Plate xxii (pillar of victory or Jaya-stambha).
(106) ' These pillars are common to all the styles of Indian architecture.
With the Buddhists they were employed to bear inscriptions on their shafts,
with emblems or animals on their capitals. With the Jains they were
generally Deepadans (Dipa-stambhas) or lamp-bearing pillars ; with the
Vaishnavas they as generally bore statues of Garuda or Hanuman (Garuda-
stambhas) ; with the Saivas they were flagstaff's (Dhvaja-stambhas) ;
but whatever their destination they were always the most original, and
frequently the most elegant productions of Indian art.' — (Fergusson, Hist,
of Ind. and East. Arch., p. 50.)
' If any one wished to select one feature of Indian architecture which
would illustrate its rise and progress, as well as its perfection and weakness,
there are probably no objects more suited for this purpose than these stam-
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 first by the Buddhists
554
HINDU ARCHITECTURE STAMBHA
then by the Jains, and occasionally by the other sects in all parts of India ;
and notwithstanding their inherent frailty, some fifty — it may be a hundred
— are known to be still standing. After the first and most simple, erected
by As"oka, it may be safely asserted that no two are alike though all bear
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.)
(107) 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
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
in the Rig-Veda1 and the later literature2 in the same sense. The word
Stambha 3 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-Veda5
and the Atharva-Veda6 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
Upamit. Parimit denotes the beams connecting the Upamit horizontally.7
' 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
fifth with the Corinthian or composite pillar.' (Ram Raz, ibid., p. 38.)
The following details of the Indian and Greco-Roman orders may be
compared here for a clear knowledge of the subject.
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
porticoes of a pure Hindu style.' And the details of the five Greco-
Roman orders are quoted below from Vitruvius, Palladio and others as
given by Gwilt.
1R.-V. i, 59, i; v. 45, 2 ; 62, 7; vni, 17, 14; x, 18, 13 (of the grave).
2 A.-V. in, 12, 6 (of the vamsa, beam, being placed on the pillar) ; xiv. I, 63
Sata-patha-Brdhmana, xiv, i, 3, 7 ; 3, i, 22, etc.
Sthuna-raja — main pillar, HI, I, i, n ; 5, i, i.
3 Kathaka-Samhita, xxxi, i ; and often Sutras.
4 R.-V. i. 34 2; iv, 13, 5, etc.
5R.-V. i. 59 i ; iv. 5, i.
8 A.-V. ix. 3. i.
Cf. Zimmer, Altindishches Leben, 153.
7 Vedic Index, i, p. 93.
555
STAMBHA AN ENCYCLOPAEDIA OF
' The second sort of column is seven diameters in height ; it is placed in
most examples upon a base and pedestal ; the base is two diameters high ;
it 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.
The column is also placed . . . only on a pedestal which is
equal to half the height of the pillar, and which is one of the sorts called
Mancha-bhadra. The capital given to the first 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
says " it should be decorated with Tarahgas (projecting moulding employed
in capitals, terminating by a number of undulating lines) and other appro-
priate ornaments ; the height of the capital being divided into twelve parts,
let the form of Tarangas occupy three of them, let the Bodhika (capital) ,
which should resemble the cobra de capello, occupy six, and adorned with
flowers and the like, and let one part above this be given to ...
one to the cyma, and one to the listel. The projecting part of the Bodhika
should be fashioned like the stalk of a plantain flower. At the upper
extremity are the Tarangas of equal height or something more. The lower
part of the head of the Bodhika is one-third on the upper in breadth, and a
third of the former being divided into five parts, one of them is given to the
cavetto, one to the fillet, two to the cyma and one to the listel ; and the
whole should be decorated with foliages, rows of gems, and the like." In
another place the same author says " let the capital (Bodhika) be made to
consist of one, two, three, four, five, six faces, according to the situation
in which it is placed ".'
' The other form of capital given to the column is taken from a mandapa
at Mayalapur. It is to be met with in many other ancient buildings and
is what the artists call in Tamil surub-bodhika, roll capital. I cannot find
any particular description of it, except a passage in the Mdnasdra, which
says : " The projecting ornaments on the sides of the capital are made
either in the form of an inverted apex or of a wheel (chakra) or circle. It is
one diameter in height and projects but three-quarters of the diameter ".'—
(Ram Raz, pp. 31-32.)
This is compared with the Tuscan order, the details whereof are given
below from Vitruvius and Vignola as quoted by Gwilt.
I. Tuscan order :
' 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
is given by him. Over the capital he places the architrave of timber in
two thicknesses connected together by dovetailed dowels. He, however,
556
HINDU ARCHITECTURE
STAMBHA
leaves the height unsettled, merely saying that their height should be such
as may be suitable to the grandeur of the work where they are used. He
directs no frieze, but places over the architrave cantilevers or mutuli
projecting one-fourth of the height of the column, including the base and
capital. He fixes no measure for the cornice, neither does he give any
directions respecting the inter-columniations of this order. The instructions
are not so specific as those which he lays down for other orders, and there
have been various interpretations of the text, which unfortunately cannot
in any of the suppositions be tested on ancient remains.' (Gwilt., Encycl.,
art. 2556.)
In the following table of the parts of the Tuscan order (Gwilt., Encyd..
art. 2555) the whole height according to the measuring unit of Vignola
is 1 6 modules and 3 parts :
Mouldings whereof the parts are composed
Heights of
mouldings
in parts of
a module
ENTABLATURE
Projections
from the
axis of
column in
parts of a
module
A. Cornice,
1 6 parts.
Cymatium
and parts.
B. Frieze,
14 parts.
C. Archi-
trave, 12
parts.
Fillet
Fascia
Quarter round . . 4
Astragal . . r
Fillet . . }
Conge, or cavetto i
Corona . . 5
Drip . . i
Sinking from corona,
or hollow . . |
Fillet . . \
. Bed moulding ogee 4
14
Fillet, or listel . . 2
r Conge or small
•^ cavetto . . 2
I Fascia 8
27*
23*
22$
21*
13*
9*
9i
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.
COLUMN
p Fillet . . i 14*
Abacus . . -^ Conge, or cavetto i 13*
I Band . . 2 13*
557
D. Capital,
12 parts.
STAMBHA
AN ENCYCLOPAEDIA OF
Heights of Projections
mouldings from the
of
COLUMN
D. Capital,
12 parts —
(concld.).
j Cymatium
i
L Neck «
Shaft.
(i •»>•>! i/ 1 ; i ! i -v'
f Astragal,
or
1 necking
I
r
{
Ovolo
Fillet
Conge, or cavetto
Hypotrachelin . .
Bead
Fillet
Conge, or cavetto
in parts of
a module
3
i
axis
column in
parts of a
module
ii
iot
9i
Shaft
{
Cymatium
C Shaft
1 1 mod. 8 parts
9*
-< Conge, or apo-
L phyge.
i*
12
f Fillet
i
13!
•i. Torus
5
i6t
I Plinth pedestal . .
6
16*
f Listel
2
20j
I Ogee
4
20
{Die, or dado
3 mod. 4 parts
i6£
Conge", or apo-
phyge
2
i6t
/ Fillet
i
i8i
I Plinth
5
20|
E. Base,
12 parts.
G. Cornice,
6 parts.
F. Die,
44 parts.
Base,
6 parts.
The third sort of column, with its base and capital, is eight diameters
high, with a diminution of the shaft at the top of the eighth part of the
thickness at its bottom. The base occupies half a diameter and this height
is to be divided into ten parts. Two to be given to the plinth, one to the
fillet, three to the cymatia and its fillet, one and a half to the cavetto, the
same to the torus, and one to the cymbia. The whole projection of the
base is half of its height. The following passage from the Mdnasdra refers
to this kind of base : ' let a base ornamented with the lotus be made
under the foot to the pillars one or two diameters in height, and let
it be adorned with figures of demons, lions, and the like.'
' The height of the capital, which is made after the manner of the Pha-
laka, is three-quarters of the lower diameter of the column, and is divided
into thirteen parts ; two are given to the abacus, one to the fillet, two to
the mandana, seven to the cymarecta, and one to the cymbia. The upper
part of the shaft, about one and a half diameters below the capital, being
558
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
with its 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.'
' The height of the entablature is one-fourth of that of the column. It
is to be divided into twenty-one parts : eight are given to the architrave,
seven to the cornice, and six to the vyalam (frieze}. Of the eight parts
of the architrave, one is to be given to the cavetto, three to the tema or
benda (uttara) with its listels, two to the cymarecta and to the upper
fascia (vajana). Of the seven parts of cornice, one occupies the fillet, and
the remainder the ovolo (prastara) ; and of the six parts of the cornice (or
frieze, vyala) three to be given to the cavetto (or fillet, vyajana), two to
the prati -vajana (cavetto), and one to the fillet. The projection of the
vajana (fillet) of the architrave is equal to that of the capital, that of the
prastara (ovolo) is twice as much, and that of the cornice equal to its own
height. After making a similar division of the entablature, our author
(Mdnasara) lays down the following rule respecting the projection of the
members. The height of the architrave being divided into four, five, six,
seven or eight parts, one should be given to its projection beyond the pillars.
The kapota (corona) projects equal to its height, or to three-fourths of it,
and the vajana (fillet) one-fourth. The alinga (fillet) recedes about one
diameter, and the antarita (fillet) projects equal to its own height, and the
same may be said of the prati.' — -(Ram Raz, Ess. Arch. Hind., pp. 32, 33.)
This third sort of Ram Raz's column is apparently without a pedestal,
Its base too does not exactly correspond with any of the bases mentioned
in the Mdnasara (Chap. xiv). None of the Mdnasara' 's eight entablatures
consists of twenty-one parts like the one prescribed above for the column
under description.
Ram Raz (p. 38) identifies this column with the doric order, the details
whereof are given below from the texts of both Virtuvius, and Vignola,
as quoted by Gwilt.
II. Doric order :
Vitruvius (Book rv, Chap, in) describes the Doric order more clearly than
others. ' In order to set out its proportions, he tells us, though not giving
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
does not give. He assigns no particular base to the Doric order : but
nevertheless, places under half a diameter in height the Attic base, whose
559
STAMBHA
AN ENCYCLOPAEDIA OF
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
column. The height of the shaft he makes of six diameters, and its dimi-
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 hy-
potrachelium. To the architrave he assigns the height of one half diame-
ter of the column and to the frieze fifty parts of the module (semi-
diameter divided into thirty parts), including the fascia, forming the
capital of the triglyphs. His cornice consists of thirty parts of the module
and its projection forty. The whole height which he gives to the order is
(in the measurement here adopted) seventeen modules and twenty parts.' —
(Gwilt, Encycl., art. 2566.)
In the following table all the details of the Doric order are given (Gwilt,
Encycl., art. 2566).
Members composing the orders
Heights of Projections
mouldings from the
in parts of axis of
a module column in
parts of a
module
A. Cornice,
1 8 parts.
B. Frieze,
1 8 parts.
C. Archi-
trave, 10
parts.
ENTABLATURE
Fillet of corona
Cavetto
Fillet
Cyma reversa
Corona
Drip
Fillet
Gutta under the corona
Dentil
Fillet
Cyma reversa
Capital of triglyph . .
Triglyph
Metope
Listel
Capital of guttae
Guttae
Fascia
560
i
3
*
2
2
18
18
2
I
If
IO
34
3i
26
30
28£
27*
25
24!
15
13
12*
II
ioi
IO
III
II
II
10
HINDU ARCHITECTURE
STAMBHA
D. Capital,
12 parts.
E. Base, 12
parts.
COLUMN
Listel
Cyma reversa
Band
Echinus or quarter round
Three annulets
Neck of capital
(~ Ovolo
Astragal . . -^ Fillet
I I Conge
Shaft of the column, 14 modules.
f Apophyge or cong6 . .
Fillet
Astragal
Torus
Plinth
PEDESTAL
F. Cornice,
6 parts.
Heights of
mouldings
in parts of
a module
*
a*
4
i
2
i
4
6
C Listel .. .. .. £
Echinus . . . . . . i
«j Fillet .. .. .. |
Corona . . . . . . z\
\_ Cyma reversa . . . . \\
Die of the pedestal, 4 modules,
f Conge" . . . . . . i
Fillet .. \
G. Base, to i Astragal . . i
parts. Inverted cyma . . . . 2
Second plinth . . . . z\
L First plinth . . . . 4
' The fourth sort of column is nine diameters high. The
Projections
from the
axis of
column in
parts of a
module
15*
I4
IO
12
10
12
14
14*
17
17
23
22f
2lf
21
17
18
i8f
19
21
base
is one
of those called Prati-bhadra (see under ADHISHTHANA) , and is one diameter
in height. It is without a pedestal.
' The base is to be divided into eighteen equal parts, two to be given
to the plinth, one to its fillet, three to the cyma recta, three to the cavetto
with its listel, three to the torus, three to the upper cavetto, two to the
plat-band (pada-bandha), and one to the cimbra (? cymbia). The
561
STAMBHA AN ENCYCLOPAEDIA OF
projection of the plinth is one-third of the height of the whole base, the
torus and the plat -band project equal to their respective heights.'
' The upper ornaments (? entablature) of this column occupy two
diameters, and the capital takes three-quarters of the diameter, which is
to be divided into ten parts : two to be given to the abacus, which projects
half a diameter, one to the strings of pearls, one to the fillet, four to the
cymatia, and one to the circular cymbia. The ornaments under the
capital are to be divided into sixteen parts : of which give two to the cavetto
or collarino, one and a half to the cyma, four to the torus, which projects
perpendicular to the plinth or three-quarters part of its height, one and a
half to the lower cyma, three to the lower collarino, two to the astragal,
which projects equal to its own height, and two to the third cyma and its
fillet, below which a space equal to three diameters is taken up by strings
of pearls, but which are omitted in some columns of a similar descrip-
tion.'— -(Ram Raz, p. 34.)
The sources of the details given above are not specified. The account
of the entablature, capital and shaft is also not quite clear.
Ram Raz (p. 38) identifies this column with the Ionic order, the details
whereof are given below for comparison, from Vitruvius and Gwilt :
III. Ionic order :
Vitruvius's description of this order (Book in, Chap, m) is not clear.
According to his commentator Daniel Barbara (Gwilt, Encycl., art. 2577)
' the height of the pedestal is made nearly a third part (including its base
and cymatium) of the height of the column. To the base of the column
he assigns half a diameter, and to the shaft itself nearly eight diameters,
its surface being cut into twenty-four flutes separated by fillets from each
other. His method of describing the volute is not thoroughly understood :
it is, perhaps, of little importance to trouble ourselves to decipher his direc-
tions, seeing that the mode of forming it is derived from mathematical
principles, as well understood now as in the days of the author.'
' The architrave he leaves without any fixed dimensions, merely saying
that it 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, accord-
ing to our measures, is twenty-five modules and nearly nine parts.'
' Of the Ionic order there are many extant examples, both Grecian and
Roman, and except the debased later examples of the latter there is not
that wide difference between them that exists between the Grecian and
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
ENTABLATURE
Fillet of cyma
Cyma recta
Fillet
Cyma reversa
Corona
A. Cornice, Fillet of the drip
34 parts. Ovolo
Astragal
Fillet
Dentel fillet
Dentals
Fillet
Cyma reversa
B. . . Freize
f Listel
C. Archi- Cyma reversa
trave, 22 £ ^ First fascia
parts. Second fascia
(_ Third fascia
f Capital on the side . .
D. . . ^ Capital on the coussinet, or
cushion
COLUMN
Fillet
Cyma reversa
Listel
E. Gaptal, j Channel of the volute
17 parts. ] Ovolo ..
Astragal . . fBead . .
1 Fillet . .
(^ Conge", or cavetto . .
f Above
Shaft of the) 1 6 mod. 6 parts,
column. [Below ..
563
Heights of
mouldings
in parts of
a module
Projections
from the
axis of
column in
parts of a
module
«i
46
5
*
41
2
4°i
6
38!
I
29i
4
28±
i
25
24!
I<|
21
6
24
I
2O
4
19*
27
15
i£
2O
3
i9f
6
16
4*
15
19
20
16
*rt
i
20
2
ig£
I
IT*
3
*7
5
2
22
18
I
17
2
15
••
'5
• •
18
STAMBHA
AN ENCYCLOPAEDIA OF
COLUMN
F.
Base,
parts.
I
Apophyge
Fillet
Torus
Fillet
Scotia
Fillet
Two beads
Fillet
Scotia
Fillet
Plinth
G. Cornice,
i if parts.
H. Base,
10 parts
Heights of
mouldings
in parts of
a module
Projections
from axis
of column
in parts of
a module
2
18
l|
20
5
22£
i
20|
2
20
i
22
2
22|
i
22
2
21
i
6
24
25
35
34!
3°
29^
27
PEDESTAL
Fillet .. .. .. f
Cyma reversa . . . . i£
Corona . . . . . . 3
Fillet of the drip . . . . i
Ovolo . . . . . . 3
Bead . . . . . . i
Fillet .. .. .. i
Conge . . . . . . J
Die, 4 modules .. .. 12 f
Conge . . . . . . 2
Fillet .. .. .. i
Bead . . . . . . i £
Cyma reversa . . . . 3
Fillet .. .. .. f
I Plinth . . . . 4 33
' The fifth sort of column is ten diameters high, including the base which
ought to be three-quarters of the diameter. It should be divided into
twelve parts : two for the plinth whose projection is a fourth part of the
diameter, one for the fillet, four for the cyma, and one and a half for the
cavetto, one for the lesser cyma, one and a half for the torus, and one for
the cymbia. The projection of the cyma and torus is equal to their res-
pective heights. This column is sometimes erected on a high pedestal,
which is about a third part of the height of the column.'
' The height of the capital, which is called Pushpa-bandha, is equal
to the upper diameter of the column : its projection on the side is equal
564
25
mod. 7
25
27
28
27i
HINDU ARCHITECTURE
STAMBHA
to its height, and the middlemost square is ornamented with the petals
of a lotus. " The altitude of the capital," says Kasyapa, " may be equal
to the higher, lower, or the middle diameter of the column. Its breadth
may be equal to its height, or four or five diameters." A capital, the height
of which is from one to two diameters, and the breadth twice its height,
is of the superior sort ; and that which in height is half the diameter, and in
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 (p. 38) identifies this ' with the Corinthian or Composite pillar,'
the details of both of which are given below for comparison from Vitruvius
and Palladio as quoted by Gwilt.
IV. Corinthian order :
' Vitruvius (Book rv, Chap, i) is scanty in the information he gives on
the Corinthian order, and what he says respecting it relates more to the
origin of the capital and the like than to the proportion of the detail. He
makes the capital only one diameter high, and then forms upon the plan a
diagonal two diameters long by means whereof the four faces are equal
according to the length of the arc, whose curve will be the ninth part in
length and its height the seventh part of the capital. He forms the order
with a pedestal, with base and cornice (as Daniel Barbara would have it).
The whole height given to it in our measures is about 27 modules and 2
parts.' — (Gwilt., Encyd., art. 2587.)
In the following table Gwilt (Encyd. , art. 2583) gives, on the authority
of Vignola, measurements of the mouldings of the Corinthian order :
Members composing the order
Heights of Projections
mouldings from axis
in parts of
a module
A. Cornice,
38 parts.
ENTABLATURE
Fillet of cornice
Cyma recta
Fillet
Cyma reversa
Corona
Cyma reversa
Modillion
Fillet (remainder of modillion
band)
Ovolo . . . . . .
of column
in parts of
a module
I
5
53
53
48
46
45l
28*
28
STAMBHA
AN ENCYCLOPAEDIA OF
A. Cornice,
38 parts.
B.
C. Archi-
trave, 27
parts.
D. Capital,
42 parts
(Fig. 890).
ENTABLATURE
Bead
Fillet
Dentils
Fillet
Hollow or conge
Frieze, i mod. 7$ parts high
Fillet
Cyma reversa
Bead
First fascia
Cyma reversa
Second fascia
Bead
Third fascia
COLUMN
fEchinus
Fillet
Lower member of abacus
Inverted echinus of the bell
Large volutes
Upper small leaves
Large leaves
Lower leaves
Astragal
• *
Fillet
Shaft, 17
Cong4
t
modules i£ «
Shaft
f upper part
parts.
I lower part
Apophyge
, ,
. Fillet
• •
Heights of Projections
mouldings from axis
in parts of of column
a module in parts of
a module
I
25
\
24*
6
24
\
20
3
J9§
15
i
20
4
J9§
i
17
7
1 6£
2
i6|
6
15*
i
'Si
5
15
2
diagon-
ally 36,
on plane
33*
I
3
2
22§
6
Sift
4
12
at top,
24*
12
at top,
20^
2
18
I
17
'5
18
20
566
HINDU ARCHITECTURE
STAMBHA
COLUMN
f Torus
Fillet
Scotia
Fillet
E. Base, 14^ j Two beads
i T?"M j.
parts.
Fillet
Scotia
Fillet
Torus
Plinth
f Fillet
Cyma reversa
Corona
PEDESTAL
F. Cornice, J Throat
14 J parts.
Heights of
mouldings
in parts of
a module
3
i
i\
i
i
i
4
6
3
it
Die,
parts
G. Base, 14 J
parts.
(
r
Projections
from axis
of column
in parts of
a module
22
20|
20
20|
22
23
25
25
33i
32
26*
25!
25
265
25
25
25
26|
Bead
Fillet .. .. .. |
Frieze . . . . . . 5
Bead .. .. .. ij
f Fillet . . . . . . f
Cong6 . . . . . . i|
< Die . . . . . . 87^
Fillet .. .. .. i|
Cong6 . . . . . . |
Bead .. .. .. ij
Inverted cyma reversa . . 3
Fillet .. .. .. i
Torus . . . . . . 3 32^
Plinth . . . . . . 6 32!
V. Composite order (compound of Corinthian and Ionic) :
Vitruvius has not given any instructions on this order. Gwilt (Encycl.,
art. 2596) gives Palladio's details of this order. ' To the pedestal's height
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 dia-
meters and a little more than one-fourth, and cuts it into twenty-four
flutes. The height of this capital is one diameter and a sixth . . .
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.'
567
STAMBHA
AN ENCYCLOPAEDIA OF
In the following table Gwilt (Encycl., art. 2592)
of Vignola, measurements of the mouldings of the
Members composing the order :
ENTABLATURE
Fillet of cornice
Cyma recta
Fillet
Cyma reversa
Bead
Corona ..
Cyma under the corona
Fillet
Cyma reversa
Fillet of the dentils . .
Dentils
Fillet
I Ovolo ..
{ Bead
Fillet
j Gong6 ..
Upright face
L Apophyge
gives, on the authority
Composite order :
A. Cornice,
36 parts.
B. Frieze,
27 parts.
C. Archi-
trave, 27
parts.
D. Capital,
48 parts.
f Fillet
Cavetto
Ovolo
Bead
First fascia
Cyma reversa
Second fascia
COLUMN
Echinus and fillet
Lower member of abacus
Volute ..
Band of upper leaves. .
Upper leaves
Band of lower leaves . .
Lower leaves
568
Heights of
mouldings
Projections
from axis
in parts of
of column
a module
in parts of
a module
I*
51
5
51
i
46
2
45*
I
43!
5
43
!*
41
I
33
4
32|
\
28
7*
29
i
23
5
22
i
17
i
16*
f
I5
7
22
i
22
2
20|
3
2O
i
I7f
ro
*7
2
r6|
i
15
2
20j
4 dia-
32*
gonally
12 dia-
3°f
gonally
3
24
9
22$
3
2 Of
9
19*
HINDU ARCHITECTURE
STAMBHA
Column, 1 6
mod. 1 2
parts.
E. Base of
column, 1 8
parts.
Astragal .
Fillet
Conge
Shaft
Apophyge
Fillet
Conge
Fillet
Torus
Fillet
Scotia
Fillet
Bead
Fillet
Scotia
Fillet
Torus
Plinth
F. Cornice,
14 parts.
COLUMN
r above . .
.-{ 1 6 mod. 12 parts.
Ibelow .
PEDESTAL
Die, 94 parts
G. Base, 12
parts.
Fillet
Cyma reversa
Corona
Cyma recta
Fillet
Cavetto
Frieze
Bead
Fillet
Conge"
Die
Apophyge
Fillet
Bead
Inverted cyma reversa
Fillet
Torus
Plinth
569
Heights of
mouldings
Projections
from axis
in parts of
of column
a module
in parts of
a module
2
*7i
I
i6£
2
15*
15
. f
18
2
20
i£
20
2
20
i4
20
3
22
i
20\
i£
2O
i
21*
*
2lf
i
2l|
2
SOf
i
23
4
25
6
25
1
33
3
34
r)Q 1
4
Sfv«
26J
i
25^
5
25
i
27
i
27i
ii
25
88|
25
2
27
I
27
I
271
3
3°i
i
S«i
3
33
4
33
STAMBHA AN ENCYCLOPAEDIA OF
1 The orders and their several characters and qualities 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
so limited as to be confined within the expression of any single quality.
Thus the strength indicated in the Doric order is capable of being modified
into many shades and degrees of that quality.' — (Gwilt., Encyl., art. 2538.)
(Further accounts of the origin of orders will be found under NAGARA.)
' There are other columns,' says Ram Raz (p. 38), ' in the Indian
architecture, not only one diameter lower than the Tuscan, but from one
to two diameters higher than the Composite.' ' The first sort is a
column six diameters high ; it is rarely made but upon a high base and
pedestal. The entablature is more than half the altitude of the column,
and the inter-columniation generally four diameters. The pedestal is of
the Prati-bandha kind (see under UPAP!THA, and there it is called Prati-
bhadra) : 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 Mancha-
bandha (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
breadth of the shaft, or one-half or three-quarters of it, according as it may
appear proportionate to the size of the column. Let the breadth of it be
either one, one and a quarter, half, or three-quarters of the diameter.' The
entablature placed on this column does not differ from that placed on other
pillars, except perhaps in the height. On this subject Manasdra observes
generally : ' The whole height of the entablature may be either three-
quarters, one, one and a quarter, one and a half, one and three-quarters,
or twice that of the base. The height of the entablature may be a half,
one-fourth, or three-quarters of that of the shaft, or the height of the pillar,
being divided into eight parts, six, five, three or two may be given to that
of the entablature. The height of the entablature is measured from the
architrave up to the corona.' — (Ram Raz, p. 30.)
' The sixth sort of pillar is eleven diameters high. The design made to
illustrate this is selected from among the pillars found at Conj^veram : it
57°
HINDU ARCHITECTURE STAMBHA
represents a square pillar of the same height, exclusive of the base, which
is composed of a plinth, a cyma recta and torus, with their fillets, and is
one diameter high. The same pillar, including the base, may be taken
as an example also of the seventh sort, which ought to be twelve diameters
in height.'
(' When the pillar, ' says Kasyapa, ' is measured in height from the
upper fillet of the base, it is called Nigata-stambha, but when it is measured
from the plinth below it, is termed Nichata-stambha.')
' At the foot of the shaft a space equal in height to the hypotenuse of the
lower diameter is made quadrangular, around which are sculptured images
of the deities, and the like, in bas-relief. In about half a diameter above
this, is made the ornament called Naga-bandha (a serpent-shape mould-
ing). The remainder of the shaft, about three diameters and a half, is
made to consist of eight sides, including the strings of pearls, which occupy
three-quarters of a diameter, and appear to be suspended from the fillet
of the upper ornament called Padma-bandha (a lotus-shape moulding),
which takes up half a diameter. Next above this is the kalas"a or water-
pot, above three-quarters of a diameter, and above this are made, with the
same height given to them, three other mouldings, Harika, Asya, and
Tatika, which last projects a fourth part of the diameter. Above this
again is the lower collarino, in height about a quarter of a diameter, then
the ornament called Kumbha (pitcher) which is half a diameter high and
projects as much ; next the upper collarino, a little less than the lower
one ; next the moulding called Phalaka (abacus) which is one diameter
high and projects equal to its height ; next the third collarino, about three-
fourths of a diameter ; and last of all the capital of the kind called Pushpa-
bandha.' — (Ram Raz, pp. 35-36.)
' This pillar may, according to the definition of its form, be called Vishnu-
kanta and appears in most of the ornaments, though not in their propor-
tions, 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, three-
quarters, 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
or lower collarino. 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
diameter. 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 durdhura-
571
STAMBHA AN ENCYCLOPAEDIA OF
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.'
Concerning the dimensions of his seventh sort of column, Ram Raz
gives accounts of a few more specimens which are quoted below :
' The pillars at Tiruvannamalai are estimated to be about 30 feet high,
with proportionate thickness, diminished at the top by a twelfth part of the
lower diameter. There are three kinds of them. The first is placed on a
high pedestal and base ; the whole shaft is divided into ten compartments,
each being equal in height to the hypotenuse of the diameter of the pillar ;
and on all the four sides of these compartments are sculptured, in relief,
four small pillars or pilasters supporting an entablature. The second
pillar differs from the first in having two, instead of four, small ornamental
pilasters in relief, 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
pedestal, and the third on a pedestal without a base.' — (Ram Raz, p. 37.)
' The difference in the Indian orders, consists chiefly in the proportion
between the thickness and the height of pillars, while that of the Grecian
and the Roman orders, not only on the dimensions of columns, but also
on the form of the other parts belonging to them.'
' The Egyptian columns appear to have no fixed proportion in regard
to thickness and height. In some of the specimen of the ruins of upper
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.'
' The orders of India, and of Greece and Rome, are remarkable for
beautiful effect of their proportions, a circumstance to which little regard
has been paid by the Egyptians. Both the Indian and Grecian columns
are diminished gradually in their diameter from the base to the summit of
the shaft, a practice which has never been observed in the Egyptian ; on
the contrary, a diametrically opposite rule has been observed in their
shafts, which are made narrower at the bottom than at the top, and placed
upon a square or round plinth. The proportion in which the diminution
at the top of the columns of the two former is made, seems to have been
regulated by the same principle, though not by the same rule. The general
rule adopted by the Hindu architects in this respect is that the thickness
at the bottom, being divided into as many parts as there are diameters
in the whole height of the column, one of these parts is invariably
diminished at the top ; but in the Grecian and Roman architecture, the
diameter of the upper part of the shaft, in a column of 15 feet in height,
572
HINDU ARCHITECTURE STAMBHA
is made one-sixth less than its thickness at the base ; and in a column of
50 feet, the diminution is one-eighth. The higher the columns are, the less
they diminish, because the apparent diminution of the diameter in columns
of the same proportion, is always greater according to their height, and thi s
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 orna-
ments. The form of the Egyptian pillars too, is circular, and their shafts
are often fluted like the Corinthian, but the fluting of the Indian columns
resembles neither the one nor the other. The decorations of the Egyptian
columns often consist in representations " of the bundle of reeds " tied up
with a cord on the top, having a square stone placed over it ; in some
specimens are also found bindings or fillets in various parts of the shaft,
and in the interval between them, reeds and hieroglyphics are represented.
But there is nothing like these ornaments in the Indian orders, except in
the columns found in the excavated temple of Elephanta, and some other
places, and which differ materially from those employed in other situations
in Hindustan.'
' There are no fixed, as we saw before, inter-columniations in the Hindu
architecture, as are found in the Grecian, but the spaces allowed between
pillar and pillar in different Hindu buildings, are found nearly to coincide
with the Grecian mode of inter-columniations, though in too many instances,
they differ widely from it, and the same may perhaps be said of the Egyp-
tian colonnades.'
' The capital of the Grecian columns invariably marks the distinction
of the several orders ; those of the Indian are varied at pleasure, though
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 resem-
blance 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
STUPA AN ENCYCLOPAEDIA OF
In view of the classification and number (5) of the orders, their principal
composing mouldings (8), and other details of similarity pointed out above,
the ' affinity,' says Ram Raz truly (p. 38), ' between the columns of India
and of Rome and Greece is so striking, that one would be apt to ascribe it
to something more than mere chance.'1
STUPA— Name of edifices, which serve as receptacle for a relic or
as monument. They are hemispherical or bell-shaped, and rest
upon a base of three concentric storeys which form ambulatories
round the tope ; they sustain a cubical erection, the so-called tee
from which rises the spire (chhatra) which crowns the whole. The
relic-chamber (dhatugarbha, whence the name ' Dagoba,' used in
Ceylon for the whole edifice) is in the interior below the tee. Sometimes
a sort of roof or temple was built over the tope (Mahdvamsa, 31,
29). Chaitya (sanctuary) is often used as a synonym (W. Geiger,
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.
(i) ' The Buddhist dome-shaped tower built over relics, or as a memo-
rial. The earliest stupas were tombs.' — (Vincent Smith, Gloss, to Cunnin-
gham's Arch. Surv. Reports.)
1 ' Considerable interest is attached to the recent discovery (in Japan) beneath
the corner stones of the Double-Bridge (main entrance to the Imperial Palace)
of eight human skeletons. Most of the skeletons were found upright about twelve
feet below the bed of the Palace moat which is at present undergoing repair work
necessitated by the earthquake of 1923.'
' The theory of some Japanese scientists is that the skeletons are the remains
of persons who, several centuries past, offered themselves as " human pillars " for
the immortalization of the corner-stones used in constructing Edo Castle. The
tradition of the " human pillars " is an old one in Japan. In a past age it was
believed that if human beings were buried alive beneath the corner-stones of
great structures, the gods would accord permanent strength and solidity to the
foundations, and in addition, those who thus sacrificed themselves, would become
immortal. It was considered that those chosen as " human pillars " were
greatly honoured. They were buried alive in a standing position.'
' The first traditional instance of the " human pillars ' recorded in Japan dates
back to the reign of Emperor Nintoku, more than a thousand years ago. The Yodo
river at Osaka, where the Emperor had his palace, used to overflow each year,
drowning many people and causing much damage. Every dike built by the best
engineers was unable to withstand the floods. One night, it is said, the Emperor
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
story has it that the Emperor immediately caused human beings to be buried alive
beneath the foundation stone of the dike, and since then the embankment has
withstood all floods.' (Associated Press of America Dispatch, Tokio, July u, 1925.)
574
HINDU ARCHITECTURE STOPA
(2) ' Stupas or Topes — These, again, may be divided into two classes,
according to their destination ; first, the true Stupas or towers erected to
commemorate some event or mark some sacred spot dear to the followers
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 dis-
covered by which they can be distinguished from one another, and till this
is so, they must be considered, architecturally at least, as one."
' In Nepal, according to Hodgson, and, I believe, in Tibet, the monu-
ments, which are called stupas in India, are there called Chaityas. Ety-
mologically, this is no doubt the correct designation, as chaitya-like stupa,
means primarily a heap or tumulus.' — (Fergusson, Hist, of Ind. and
East. Arch., p. 50, note 2.)
For the photographic views and the architectural details of the following
stupas, see Fergusson :
The great Tope at Sanchi (p. 63, Figs. 10, 1 1, 12).
The cut in the rock on a Dagoba at Ajanta (p. 64, Fig. 13).
Tope at Sarnath (p. 66, Fig. 14).
Temple at Buddh-Gaya (p. 70, Fig. 16).
The great Tope at Amravati (p. 72, Fig. 17).
Gandhara Topes (description, pp. 72-76).
Jelalabad Topes (p. 78, Figs. 18, 19).
Manikyala Tope (pp. 80-82, Figs. 21, 22, 20, 23).
(3) ' A diversity of opinion exists as to the propriety or otherwise of call-
ing such monuments as the high stupa of Takkal Bala ' Tope ' ; and it
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
many instances where a conclusion has been somewhat hastily arrived at :
. . . the term now used is ' Thup " . . . it is, therefore, much
to be regretted that we should have adopted the word '• Tope," which
preserves neither the spelling nor the pronunciation of the true name.'—
(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— ' ' In neither sense is the word ever used by natives, who associate
' tope ' with something very different, that is, with cannon or artillery.
That the natives do use the word freely in designating such monuments
I will now endeavour to show. While they called all lower mounds in this
neighbourhood dehiri, the peasantry denied the existence of a Thupi,
575
STOPA-GRIHA AN ENCYCLOPAEDIA OF
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 under-
stood 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 ' tope ' or, more correctly, ' top.' ' Now, it would appear
from the above that the word is no mere " adoption of ours," and that it
is used by the natives of India (unless we allow the breadth of the Indus
to make a fine distinction), moreover, by the commonest of those natives
far and wide.' — (Cunningham, Arch. Surv. Reports, Vol. xix, pp. 134, 135.)
(5) Takshasilae ayam thuvo pratithavito sava-budhana puyea I
' This stupa was erected at Takhasila (Takshasila) in honour of all the
Buddhas.' — (Taxila Vase inscrip. Ep. Ind., Vol. vni, p. 297.)
(6) Thuva cha sarhgharama cha I
(Inscrip. on the Mathura Lion Capital, no. A, n>
line 14, Ep. Ind., Vol. K, p. 141.)
STUPA-GRIHA — House of the tope, a sort of dome, supported by
rows of pillars (as in Thuparama Dagoba in Anurudhapur, Cey-
lon).
(W. Geiger, Afahavamfa, p. 295.)
SYOPI — A dome, a cupola, a spherical roof rising like an inverted
cup over a circular, square or multangular building, a pinnacle, a
steeple-tower.
(1) M., xi, 13 ; xv, 91 ; xvra, 4, 413 ; xxn, 10, etc.
(2) Kona-paravatam kuryat stupy-achchhadanakani cha II
Su-muhurte su-nakshatre stupy-achchhadanakarh nyaset 1 1
(Vdstu-vidya, ed. Ganapati-Sastri, xvi, 27, 37.)
(3) Kanthoktam sarva-manam tu stupy-utsedhah prakirtitah 1 1
(Kdmikagama, xxxv, 30.)
(4) Ravi-varma-maha-raja alias the Lord Kula-sekhara-deva was pleased
to bathe up to the pinnacle (stupi-paryyanta) the Vanakaiyilaya-Tiru-
malai (name of the central shrine) in the temple of the Lord of Tiruvlratta-
nam, 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-)
(5) ' This inscription (V. S. I. /., Vol. n, no. 90) records the gifts, by
the priest Isana Siva Pandita, of eight gilt copper-pots. ... A ninth
pot was presented by Pavana-Pidaran. . . . The gilt copper-pots
were all intended to be used as pinnacles (Stupikkudam, para. 2).
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 Sri-
Rajarajesvara 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,
Vayu, Soma, and Isana. . . . The shrine of Indra, who is the
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.)
(6) ' The Gangai-konda-puram temple . . . consists of a nine-
storeyed stubi (steeple-tower) or vimana over the shrine or sanctuary,
99 feet square at the base, and about 165 feet high.' — (Ind. Ant., Vol. ix,
p. 117, c. 2, para, i.)
(7) See Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi,
Plates LXXXII, Figs. 1,2; LXXXIV, Figs, i, 2 ; xci.
See Cunnigham, Arch. Surv. Reports, Vol. in, Plates XLVI, Fig. 4 (Birdaban
Stupa), XLVII, Fig. 3 (Nongarh Stupa) ; Vol. xi, Plate xxvn (plan and
section of Mediaeval Stupa) ; Vol. xvm, Plates v, vi (Nirvana-Stupa) ;
Vol. xix, Plate m (Mahadeopur pinnacle).
STOPI-KlLA (see STUPA and STUPI) — The spire, the nail above the
dome.
(M., xvm, 144.)
Cf. ' The Lord Sri-Rajarajadeva gave one copper waterpot (kuta),
to be placed on the copper pinnacle stupittari ; according to Winslow, a
synonym of Sikhara, or the upper pinnacle of a temple of the sacred shrine
(Sri-Vimana) of the Lord of the Sri-Raj arajesvara (temple), weighing
three thousand and eighty-three pala.' — (Inscrip. of Rajaraja, no. i, line 18,
H.S.I.I., Vol. n, p. 9.)
STRl-LlNGA — A class of buildings, a feminine type of architectural
object.
See definition and other details under PR'VSADA.
Cf. Sarvatra bhoga-bhumy-ahgam alinda-parisobhitam I
Sarva ( ? 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 (see under these
terms).
577
STHANDILA AN ENCYCLOPAEDIA OF
STHANDILA — A site plan in which the whole area is divided
into forty-nine equal squares.
(M., vn, 8, vin, 39 ; ix, 129, etc., cf.
LXX, 30 ; see PADA-VINYASA.)
STHAPATI Lit. chief (pati) of fixed abode (stha as in goshtha,
pratishthd, German stadt), the chief architect, the master builder.
(i) Manasdra (Chap, n, named Silpi-lakshana or ranks and qualifications
of architects) :
From the four faces of Brahman are stated to have originated the
four heavenly architects, namely, Visva-karman, Maya, Tvashtri and
Manu. And their sons are called respectively Sthapati, Sutragrahin,
Vardhaki and Takshaka. These latter four evidently represent the
four classes of terrestrial artists :
Purvanane visvakarma jayate dakshine mayah I
Uttarasya mukhe tvashta paschime tu manuh smritah I
VisVakarmakhya-namno'sya putrah sthapatir uchyate I
Mayasya tanayah sutragrahiti parikirtitah I
Tvashtur devarsheh putrah varddhakir iti prakathyate I
Manoh putras takshakah syat sthapatyadi-chatushtayam I
(M., ii, 1 1- 1 2, 17-20.)
Cf. One Manu is stated to be the architect who built the city of Ayodhya :
Ayodhya-nama-nagari tatrasil loka-vis"ruta I
Manuna manavendrena ya purl nirmita svayam I
(Ramayana, i, 5, 6.)
Their ranks :
SthapatyadiS chatur varnah silpibhih parikirtitah I
(M., n, 29.)
The Sthapati is in rank the director general and the consulting architect
(M., n, line 21). The Sutragrahin is the guide (guru) of Vardhaki and
Takshaka (line 22), while the Vardhaki is the instructor of Takshaka (line
23) The Sthapati must be well versed in all sciences (line 24). He
must know the Vedas (line 26). He must have all the qualifications
of a supreme director (acharya) (line 31).
Cf. Sthapatih sthapanayarhah veda-vich chhastra-paragah I
Sthapanadhipatir yasmat tasmat sthapatir uchyate I
SthapateS chajnaya sarve sutragrahyadayah sada I
Kurvanti £astra-drishtena vastu-vastu prayatnatah I
Acharya-lakshanair yuktah sthapatir ity-abhidhiyate I
Sthapatis tu sva-turyebhyas tribhyo gurur iti smritah I
(M., n, 26-29, 3'. a i.)
HINDU ARCHITECTURE STHAPATI
Sthapatih sarva-sastrajnah — the chief architect knows all sciences.
(M., n, line 24.)
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 accurate-
ly and must make a special study in drawing (M., n, 32, 34, 22, 25, 33, 23,
25, 34) :
Srutajnah sutragrahl cha rekhajnah Sastra-vit-tamah I (32)
Sutra-grahiti sutra-dhrit I (24)
Sutra-grahi gurur dvyabhyam turyebhyo'dya iti smritah I (22)
The Vardhaki, 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
objects from his own ideas. Like the Sutragrahin, the Vardhaki too
should have an idea of accurate measurement.
Cf. Vardhakir mana-karmjnah I (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. He
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 I (34)
(2) Sthapatih sthapanarhah syat sarva-sastra-vis'aradah II
Na hlnango'tiriktango dharmikas tu dayaparah I
Amatsaryo'nasuyaS cha tantrikastv-abhijatavan II
Ganitajnah puranajnah anandatma py-alubdhakah I
Chitrajnah sarva-desajfiah satya-vadl jitendriyah 1 1
Arogi chapramadi cha sapta-vyasana-varjitah I
Sunama dridha-vandhus cha vastu-vidyabdhi-paragah 1 1
(Vdstu-vidya, ed. Ganapati Sastri, i, 12-15.)
' The Sthapati or master builder must be able to design (lit. placing,
sthapana). He must be proficient in all sciences (Sastras, see below).
He must not be deformed by lacking in or possessing too many limbs. He
must be pious and compassionate. He must not be malicious or spite-
ful. He must be trained in music (tantra=a stringed musical instru-
ment, 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
possess self-control. He must not have any disease, and must be
579
STHAPATI AX ENCYCLOPAEDIA OF
above committing errors. He must be free from the seven vices (hunting,
gambling, day-dreaming, blackmailing, addiction to women, etc., see Manu-
samhita, 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 qualifica-
tions are almost identical to those given in the Mdnasdra :
Sthapates tasya Sishyo va sutra-grahl suto'thava I
Sthapaty-ajnanusari cha sarva-karma-visaradah II
Sutra-danda-pramanajno manonmana-pramanavit I
Takshitanarh takshakenapy upary-upari yuktitah II
Vriddhikrit vardhakih proktah sutragrahy-anugah sada II
(Vastu-vidyd, ibid., i, 16-18.)
Takshanat sthula-sukshmanam takshakah sa tu kirtitah II
Mrit-karmajno gum Saktah sarva-karma-sva-tantrakah I
Guru-bhaktah sada hrishtah sthapaty-ady-anugah sada II
(ibid., i, 18-19.)
(3) Susila(s") chaturo daksha-sastrajna-lobha-varjita(-tah) I
Kshamavan asya (syad) dvijas chaiva sutradhara(h) sa uchyate II
' One who is of good behaviour, clever, skilful, learned, free from lust
(excessive desire of gain), can forgive (rivals), and belongs to the twice-
born class, is called Sutra-dhara.'
(&' Ipa-dipaka, ed. Garhgadhara, i, 3.)
(4) Vastu-vidhanajfio laghu-hasto jita-s"ramah
Dirgha-darsi cha ^uras cha sthapatih parikirtitah II
' One who is conversant with the architectural design (vidhana, the act
of arranging, disposing, etc.), skilful (lit. swift at hand), industrious (or
patient labourer), and foresees (everything), and is a champion (in archi-
tectural matters), is described as a sthapati.'— (Matsya-Purana, P. Diet.).
(5) Mahdbhdrata (xn, 3243-3244) :
Sat-kritas cha prayatnena acharyyartvik-purohitah I
Maheshvasah sthapatayah samvatsara-chikitsakah II
Prajna medhavino danta dakshah s"ura bahu-srutah I
Kulinah sattva-sampanna yuktah sarweshu karmmasu 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 II
Tad avaset sada prajfio bhavarthi manujesVara I
580
HINDU ARCHITECTURE STHAPATI
Here, a house built by a Brahmana and a Sthapati is specially recom-
mended. Sthapati implies an architect but his caste is not clear from this
passage.
Mahdbhdrata, xiv, 2520-2524 :
Tato yayau bhimasenah prajnah sthapatibhih saha I
Brahmanan agratah kritva kusalan yajna-karmmani II
Tarn sa sala-chayam srimat sarhpratoll-sughattitam I
Mapayamasa kauravyo yajna-vatam yatha-vidhi II
Prasada-sata-sarhbadharh mani-pravara-kuttimam I
Karayamasa vidhivad-dhema-ratna-vibhushitam 1 1
Stambhan kanaka-chitrams cha toranani vrihanti cha I
Yajnayatana-deseshu datva suddharh cha kanchanam II
Antah-puranam rajnarh cha nana-des"a-samlyusham I
Karayamasa dharmmatma tatra tatra yathavidhi II
Here, too, Sthapati is apparently the architect who built the palace with
jewelled floor, columns, arches, etc., and also the well-designed high gate-
houses.
Ibid., v. 255 :
Tato'atibhito rupat tu sakra aste vicharayan I
Athajagama parasurh skandhenadaya varddhakih II
Vardhaki is called here Takshan (see verses 256-266) not in the sense
of carpenter but to imply an executioner.
(6) Varttika of Katyayana on Panini, 2 (Pet. Diet] :
Sutra-graha=yah sutrarh grihnati na tu dharayati I
Sutra-graha=yah sutrarh grihnati dharayati cha I
This subtle distinction is not quite clear.
(7) Chaurapafichas'ika (ed. Bohlen, 7-3) :
Surata-tandava-sutra-dhari I
(8) Rdmdyana, (n, 80, 2, etc.) :
Karmantikah sthapatayah purusha yantra-kovidah I
Tatha vardhakayas chaiva margino vriksha-takshakah II
(9) Sakala-guna-ganalamkrita-kritottamangaru Parama-Brahmani^
chala-svarupar upadesa-p(r)arakaramaru Manu-Maya-Mandabyc-
VisVakarmma-nirmmitam appa Hem-migadeya mane enisida
stotakacheru 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 unchanging form
of Parama Brahma, distinguished in giving advice, of the Hemmigade
house created by Manu, Maya, Mandabya, and Visvakarma, was Sto-
takachari." — (Ep. Carnal., Vol. v, Part i, Channarayapatna Taluq, no. 265 ;
Roman text, p. 530, line 23 ; Transl., p. 237, para. 2.)
STHAPATI AN ENCYCLOPAEDIA OF
(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 21-
Ep. Ind., Vol. iv, pp. 224, 225.)
(11) Sthapati-Kalisuta-Simgali-kargi Navagrama-dranga vra(? lu)-dha-
jana I
' The Sthapati (architect of the tank was) Simgali Kargi, the son of Kali,
a Pandit (? vulha) from the Navagrama-dranga (compare Raja Tarang-
ini, Translation by Dr. Stein, Vol. n, p. 291, watch-station near moun-
tain passes).'
(Dr. Stein Konow (Peshawar Museum
inscrip. of Vanhadaka, line 6, Ep. Ind.,,
Vol. x, p. 80, note 3 ; p. 81.)
(12) Visadru-sutah Kamau Silpi — ' Visadru's son, Kamau, the archi-
tect (of the fifth octagonal pillar, middle row, of the north-west cloister).
This simple record of the architect or head mason Kamau is the most
valuable inscription of the Lai Darwaza, as it is another proof of the truth
of Fergusson's remark that the cause of the admixture of Hindu and Mu-
hammadan styles in the Jaunpur was the employment of Hindu masons.'
(Dr. A. Fiihrer, Sharqi Arch, of Jaunpur
inscrip. xxvn, Arch. Suro., New Imp.
Series, Vol. i, p. 51.)
(13) Rajapalasya putrena palhanena silpina I
Utkirnna-varnna-ghatana vaidagdhi-visvakarmana 1 1
' (The document) is engraved by the artist Palhana, son of Rajapala
who is a master of the art and craft.'
(Pachar Plate of Paramardideva, line 22,
Ep. Ind., Vol. x, pp. 49, 45.)
(14) Tvashtri, a recognized architect, connected with (the ancestor of)
both Sutradhara and Sthapati :
Tad-vad Vatakhyam nagaram vane'smin Tvashtuh prasadat
kritavan Vasishthah I
Prakara-vapropavanais tadagaih prasada-veSmaih su-ghanam su-
tuthgaih II
Bhanor griham daiva-vafiad vibhagnam Vasishtha-pauraih sukritam
yad asit I
Aslch cha Nagat sthapates tu Durggah II
Durggarkkato Deuka Suttra-dharah II
Asyapi sunuh Sivapala nama II
Yenotkrite'yam suSubha pra^astih II
(Vasantgadh inscrip. of Purnapala, A. D. 1042,
w. 21, 27, 34, Ep. Ind., Vol. ix, pp. 12,
13. 14. 15-)
582
HINDU ARCHITECTURE STHAPATI
(15) Sadas'ivainaharaya-s'as'anad Viranatmajah I
Tvashta Sri-viranacharyo vyalikhat tamra-sasanam II
(Krishnapuram Plates of Sada&varaya,
v. 107, Ep. Ind., Vol. DC, p. 339.)
(16) Sila-Silpi — stone mason — (Govindapur stone inscrip. of the poet
Garhgadhara, v. 39, Ep. Ind.. Vol. n, pp. 383, 342).
(17) Silpin — engraver— (Vilapaka Grant of Venkata I, v. 62, Ep. Ind.,
Vol. rv, pp. 277, 272).
(18) Cf. inscrip. from Dabhoi — (verse 112, Ep. Ind., Vol. i, p. 31.)
(19) Vardhaki — carpenter, sculptor (Senart) :
Vadhakina samina venuvasaput(e)na gharasa mugha kata I
(Karle Cave inscrip. no. 6, Ep. Ind.,
Vol. vn, p. 53.)
(20) Sutradhara — architect, artizan — (Bheraghat inscrip. of Alhanadevi,
w. 36, 37, Ep. Ind., Vol. n, pp. 13, 17).
(21) Mason — (inscrip. from Dabhoi, v. 112, Ep. Ind., Vol. i, p. 31).
(22) Cf. the first Prasasti of Baijnath — (verse 36, Ep. Ind., Vol. i, pp. 107,
in).
(23) Sutra-dhrit — artizan — (Kudarkot inscrip., v. 17, Ep. Ind., Vol. i,
pp. 182-183).
(24) Sutradhara — sculptor — (Verawal image inscrip., line 5, Ep. Ind.,
Vol. ra, 303, 304).
(25) Si(si)la-patta-s"ubhe varhs'e sutra-dhara vichakshanah I
Bhojukah KamadevaS cha karmmanishtha Hala sudhih II
' (Born) in the auspicious family of Silpapatta, the conspicuous architects
(were) Bhojuka, Kamadeva, and the wise Hala, (who) were perfect in their
work.'
' A Muhammadan ruler Jallala Khoja, son of Is"aka, appointed these
architects to build a Gomath(a) (? cow-shelter), a garden, and step-well
in the town of Batithadim.'
(Bhatihagarh stone inscrip., v. 12, Ep. Ind.,
Vol. xn, pp. 46, 47, 44.)
(26) ' Gokarna-svami — who is set upon the pure peak of the Mahendra
mountain, master (guru) of things movable and immovable, the sole archi-
tect (sutra-dhara) for the creation of all the world (sakala-bhuvana-nir-
manaika-sutra-dharasya) .'
(Ep. Carnat., Vol. rx, Bangalore Taluq, no.
140 ; Roman text, p. 33, Transl.,p. 26.)
583
STHAPATI AN ENCYCLOPAEDIA OF
(27) Krishna-suto-gunadhya§ cha suttra-dharo'tra Nannakah I
Etat kanvasramam jnatva sarvva-papa-hararh subham I
Kritarh hi mandirarh sambhoh dharmma-klrtti-vivarddhanam II
Here, Sutra-dhara is the architect who built the temple of Siva.
(Inscription from the Mahadeva temple,
w. 29, 30, Ind. Ant., Vol. xm, p. 165.)
(28) Sutradharo'sya Haridasanama — ' the architect (employed on the
repair of the temple of Dakshinaditya) was Haridasa.
(Gaya inscrip. of Vikrama Samvat 1429, line
9, Ind. Ant., Vol. xx, pp. 315, 313.)
(29) Cf. ' When the house is finished Brahmans and the friends of the
family are feasted. The mistri (master-builder) attends the dinner and
receives from the owner complimentary gifts, such as shawls, turban,
clothes and money, as his merits and the generosity of his employer
dictate.'
(Ind. Ant., Vol. xxiv, p. 303, c. 2, last para.)
(30) ' The royal draughtsman (raya or raja sutra-dhari) Gopoja's
younger brother Suroja engraved it.'
(Ep. Carnal., Vol. v, Part i, Arsikere Taluq,
no. 123 ; Transl., p. 168, line 2.)
(31) Svasti samadhigata-pancha-maha-sabda . . . svaradhipati-ma-
hanayaka-vibudha-vara-dayakan animitta Malla-vijaya-Sutra-dhari
svamidrohi . . . biruda, etc.
' Be it well (with various epithets, including), Ma'la-vijaya-sutradhari,
the dandanayaka Lachimayya's son, of the ministry for peace and war,
Hodimaiya and others (named) enlarging the town ; Rajimaiya. the
master of the town, desiring to make a feast granted certain land (speci-
fied).'
(Ibid., no. 194, Roman Text, p. 433 ;
Transl., p. 187.)
(32) ' Born in the family of VisVakarma, the architect of the three
worlds, VisVanatha — the son of Basavachariya, who was the son of Vode-
yappaya considered to be the jagad-guru — engraved it.'
(Ibid, Vol. v, Part i, Channarayapatna Taluq,
no. 187 ; Transl., p. 207.)
(33) ' To Damoja, son of the carpenter Madiyoja granted a rent-free
estate.'
(Ibid, Vol. vi, Kadur Taluq, no. 57 ;
Transl., p. 12.)
(34) 'Hail! There is no excommunication (balligavarte=bahish-
kara, Mr. Venkat Rango Katti) of the skilful people (binna-nigala, those
HINDU ARCHITECTURE STHAPATI
who axe conversant with painting or architecture, Sanderson's Canarese
Dictionary) of the world who have attained the favour (of the god), having
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
made the temple of the queen of Vikramaditya (II, of the Western Chalu-
kyas), the favourite of the world ; (and there is) immunity (parihara)
to the others who united themselves with the guilty man (doshika).'
(Sa/iskrit and Old Ganarese inscrip. no. 99 j
lines 1-7, Ind. Ant., Vol. x, p. 164,
notes 6-10.)
(35) ' Hail ! Let it be known that these are the the names (not given)
of the Acharya who averted the excommunication (villiga-varte=bahish-
kara) of the skilful people (better perhaps '' those who are conversant with
painting or architecture ") of this district, after that they had given the
mume-perjerepu to the Sutra-dhari who made this temple of LokesVara
(still exists under the name of god Virupaksha, Ante p. 163, c. i, paras.
3, i, 2) of Lokamahadevi (the queen) of Vikramaditya, the worshipful one,
who three times conquered Kanchi.'
' Hail ! Sri-Sarvasiddhiacharya, the asylum of all virtuous qualities,
the Pitamaha (Brahma, i.e., the Creator), the maker of many cities and
houses ; he whose conversation is entirely perfect and refined, he who has
for a jewelled diadem and creast-jewel the houses and palaces and vehicles
and seats and couches (that he has constructed), the (most eminent) sutra-
dharl, of the southern country.'
Svasti-Sri-sarva-siddhi-achari sakala-gunas'raya-aneka-pura vastu-Pita-
mahan sakala-nishkala-sukshmatibhashitau vastu-prasada-yanasana-
sayana-mani-makuta-ratnachudamani-te (m) kana-diSeya-sutra-dhari.
(Sanskrit and Old Canarese inscrip.
no. 100, Ante p. 165.)
(36) • Hail ! The grant that was given of Sri-Vijayaditya and Vikrama-
ditya . . . the 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 Anjana-
charya bhagavantargge kottu Sri-Lopapalesvarakam pare balli).'
' Sthana may mean the office of the priest of the temple, or the locality,
i.e., allotment of 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, and note 18.)
585
STRAP ATI AM ENCYCLOPAEDIA OF
(37) ' Hail ! Chattara-Revadi-Ovajja (Ojha, tee below) of the Sarva"
siddhi-Acharyas, who was acquainted with the secrets of Sri-£ilemuddas
(s"ila-mudda, the name of some particular guild of stone masons), made
the southern country.'
' (Old Canarese) Ovajja is perhaps the (modern) Canarese ojja, a priest,
preceptor ' (exactly the same meaning as acharya etymologically indicates) .
(Ibid., no. 114, pp. 170-171, 172, notes 57, 58.)
1 In addition to recording . . . the re-admission into caste of the
artisans of the locality, this inscription (no. 100) gives several titles of
the builder of the temple. Among them is that of Sarva-siddhi-Acharya.
The Sarva-siddhi-Acharyas are mentioned again in no. cxrv below, and
seem to have been some celebrated guild of architects or builders.'
(Dr. Fleet, Ind. Ant., Vol. x, p. 164, c. a, para. 2.)
' In addition to recording the name of Gunda as the builder of the temple,
this inscription (no. 99), as also the next (no. 100) seems to be intended
to record the re -admission into caste of the artisans of the locality, who had
been outcasted for some act which is not stated. The purport of this por-
tion hinges entirely upon the meaning to be given to the word balligavarte
(in nos. 99 and 100).'
Dr. Fleet is not quite certain whether he should agree with Mr. Katti
who says that ' it sounds to him like the Dravidian equivalent of the Sans-
krit bahishkara.' — (Ibid., pp. 163-164, last para.)
'The Sutra-dhari or Sutra-grahl, "the holder of the thread" was the
assistant of the sthapati, " the master-carpenter or master-mason," the
architect.' — (Dr. Fleet, Ind. Ant., Vol. x, p. 163, note 3.)
(38) It should be noted that Chari, Achariya, Acharya (with different
prefixes), Ojha, and Sutra-dhari are the surnames or titles of the Sthapati
(master-builder) who is also called Acharya in the Mdnasdra. (See above.)
(The titles in another form — Acharya or Acharyya — are the surnames
of the Jain teachers, of the famous philosopher Sankara, and the distinguished
astronomer Bhaskara.)
Here in these inscriptions we have seen that the architects have many
such titles, namely, Achari (no. 99, line 4, no. 100, line 8); Achariya (no.
100, line 7) ; Sarva-siddhi-Achari (no. 100, line 8) ; Sarva-siddhi-Acharjiya
(-yya) (no. 114, line 2 f); Tri-bhuvanachari (no. 99, line 5); Anjanacharya
(no. 101, line 5); Devacharya (no. 101, line 6); Ovajja (=Ojha, no. 114,
line 4); Sile-mudda (?"=s"ila-marddaka or modaka, no. 114, line i). The
very same architects are again given the titles of Sutra-dhari (no. 99, line
3 ; no. 100, lines 4, 12).
586
HINDU ARCHITECTURE STHAPATI
The titles, Chari and Achari, are frequently met with as the surnames
of stone masons or engravers of Copper-plates or other Sasanas in the Epi-
graphia Carnatica of Mr. Rice and also in the South Indian Inscriptions
edited by Prof. Hultzsch and Venkkayya ; compare the following :
(39) The naga (i.e., the cobra on the slab on which the inscription is
incised) has been made by Nataka (Nartaka), the pupil of the Achariya
(i.e., Acharya) Idomora (Indramayura) of the town of Sarhjayanti.'
' Acharya — probably means master (-mason), i.e., sthapati.'
(Banawasi Prakrit inscrip., line 2 f., Ind. Ant.t
Vol. xrv, p. 334, notes, ao, 23.)
(40) Badhuvallabha-Mallasya vachanenaiva Sasanam tvashta Nandi-
varmacharyya-danasyasya likhamy-aham I
' By order of Badhuvallabha-Malla I, the carpenter Nandi-varmacharya
inscribe the charter of this grant.'
(Bana Grant of Saka 261, lines 50-51,
Ind. Ant., Vol. xv, pp. 176, 177.)
(41) ' The carpenter Virana, son of Muddanacharya, was the engraver
of the Sasana, for which he received one share in the village.'
(Ep. Carnat., Vol. in, Seringapatam Taluq,
no. ii ; Transl., p. 9, line 3.)
(410) ' It was engraved by the carpenter Varadapacharya.'
(Ibid., no. 15 ; Transl., p. n.)
(42) ' The Sasana was engraved by Srigiri, the son of the carpenter
Varadapacharya.'
(Ibid., no. 15 ; Transl., p. 32.)
(43) ' And it is engraved by the carpenter Viranacharya, son of Malla.'
(Ibid. Mandya Taluq, no. 55 ;
Transl., p. 45, last para.)
(44) ' For the carpenter Mallana, son of Viranacharya, who engraved
the grant, one share was given.' (A.D. 1474.)
(Ep. Carnat., Vol. HI, Malavalli
Taluq, no. 121 ; Transl., p. 68.)
(45) ' It was engraved by Mallanacharya, son of Viranacharya.' (A. D.
1513.)
(Ibid., Nanjangud Taluq,
no. 16; Transl., p. 97.)
(46) ' Kontachari, son of Konguni-acharya, blacksmith of Bai ... of
Baguli, fighting in the war along with the ruler of the nad, went to Svarga
(died).'
(Ibid., Vol. iv, Chamarajnagar
Taluq, no. 20 ; Transl., p. 3.)
587
STHAPATI AN ENCYCLOPAEDIA OF
(47) ' Engraved by the carpenter Viranacharya, son of Mallana.'
(Ep. Carnal., Vol. iv, Transl., p. 41, no. 30.)
(48) • And it was engraved by the carpenter Viranacharya, son of
Virana.' (A.D. 1545.)
(Ibid., Nagamaiigala Taluq,
no. 58 ; Pransl., p. 128.)
(480) ' And this copper sasana was engraved by the carpenter Malla-
nacharya, son of Viranacharya.' (A.D. 1515.)
(Ibid., Vol. v, Husan Taluq, no. 16
Transl., p. 5, para. 2.);
(49) • Engraved by the carpenter Viranacharya, son of Virana.'
(A.D. 1561.)
(Ibid., no. 7 ; Transl., p. 6.)
(50) 'Engraved by Appanacharya, son of Viranacharya." (A. D. 1524.)
(Ibid., no. 94 ; Transl., p. 29.)
(51) ' Mallanacharya, son of Viranacharya, enjoys one share as the
engraver.' (A. D. 1512.)
(Ibid., Belur Taluq, no. 79 ; Transl., p. 65.)
(52) ' Engraved by Viranacharya, son of Mallanatha.' (A.D. 1539.)
(Ibid., Part i, Belur Taluq,
no. 197 ; Transl., p. 108.)
(53) ' By Mallana's son, the carpenter Viranacharya, was it written. '
(A.D. 1535.)
(Ibid., Ariskere Taluq, no. 126, Roman
text, last line; Transl., p. 169.)
(54) ' Mallana's son carpenter Viranacharya wrote (or engraved) it.'
(Ibid., Channaraypattana Taluq
no. 167 ; Transl., p. 199.)'
(55) ' Written by the Senabova Kalajachariya's son IsVara.'
(A.D. 1279.)
(Ibid., Vol. vi, Mudgere Taluq
no. 72 ; Transl., p. 72.)
(56) ' The carpenter Viranacharya, son of Mallana, engraved it.'
(A.D. 1513.) Engraved by Viranacharya, son of Ganapaya." (A.D. 1587.)
(Ibid., Vol. vii, Shimoga Taluq,
no. 83 ; Transl., p. 33.)
(57) ' Engraved by Viranacharya, son of Mallanatha.' (A.D. 1527.)
(Ibid., no. 85 ; Transl., p. 33.)
(58) Acharya, distinctly mentioned as an " architect " :
Acharya-dakshine haste madhyamariguli-madhyame II (4)
Parvarh matrangulam jneyarh . . . I (5)
Gramadhva-kshetra-ganyeshu manangula-vidhanatah I
Acharya-dakskahgulibhir mite vyasa-mithadhikaih (?) II (7)
(Suprabhedagama, xxx, 4, 5, 7.)
588
HINDU ARCHITECTURE STHAPATI
Cf. Acharya-lakshnair yuktam sthapatir ity abhidhiyate I
(59) Vastu-jnanam athatah kamalabhavanarh muni-paramparayatam
kriyate'dhuna mayedam vidagdha-samvatsara-prltyai 1 1
(Bfihat-samkita, LHI, i.)
' The knowledge of the science of architecture has come down from Brah-
man through an unbroken series of seers (sages). I am now dealing with
this (science of architecture) for the pleasure (i.e., benefit) of the learned
(educated, experienced, hence professional) astrologers (sthapatis, profes-
sional architects).'
Samvatsara — astrologer (see Sir M. W. Diet. p. 1102). Kern translates
the last pada as "to gratify clever astrologers" but he attempts no explana-
tion as to why the astrologers in particular are to be 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-
sional architects (sthapati), as also the astronomers like Bhaskaracharya
and others ; Sankaraacharya is, however, a philosopher.
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 composi-
tion of divine or temporal authority." It is sometimes known as Vidya,
meaning knowledge, science, learning, scholarship or philosophy. It also
means practical arts, such as agriculture, commerce, medicine, architecture,
sculpture, painting (cf. Silpa-sastra, Vastu-Sastra, etc.). Sastra or Vidya
has fourteen divisions, viz., the four Vedas, the six Vedangas, the Puranas,
the Mlmamsa, the Nyaya, and the Dharma or law ; or with the four
Upa- Vedas, 18 divisions ; others reckon 33 and even 64 sciences, generally
known as Kalas or arts (see under Kala).
But the expression " versed in all sastras " need not be taken in too
literal a sense. What architects are expected to know can be inferred from
the details given occasionally in many places in the Mdnasdra and other
works. The chapters on the selection of site and the minute examination
of soil (see Bhu-pariksha) will indicate an intimate knowledge of practical
geology, which is essentially necessary for architectural purposes. The
chapters on gnoman (see Sanku) and site plan (see Pada-vinyasa) demand
proficiency in mathematics (see also Jala). The frequent references to the
minute examination of trees and wood show a fair amount of knowledge
in timber work (Botany). The examination of stones and bricks for
building purposes, the preparation of different colours and mixtures of
589
STHAPATI AN ENCYCLOPAEDIA OF
different materials for painting, and the testing of jewels, etc., for decorative
purposes, point to an acquaintance with chemistry and other allied sciences.
The chapter on the joining of wood (see Sandhikarman) will indicate
a knowledge of everything architectural, however insignificant it may
appear to a layman. The chapter on ornaments (see Bhushana) and
mouldings (cf. Stambha) will show a high sense of aesthetics. A knowl-
edge of the climate and weather of the locality where a house is to be
built is essential to their work. The astrological and astronomical
calculation is also frequently referred to. (Cf. Manasdra, n, 40, quoted above,
and Brihat-sarhhitd, LIII, 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 expert carpenter and joiner. Vardhaki must be
expert in designing and painting. Sutragrahin must be an expert in draw-
ing. The chief architect, Sthapati, should, in addition to all these qualifica-
tions, have an intuitive foresight so as to be able to calculate and decide
everything quickly. This wise division of labour is necessary for success-
fully carrying out a big design in architecture or sculpture. From this it
may be inferred that the architects of ancient India were once a well organized
guild. It should be noticed that from the epigraphical records quoted
above Dr. Fleet has come to the same conclusion.
It is very interesting to note that Vitruvius describes the qualification of
architects in exactly the same way as given in the Manasdra (and the other
records quoted above). In both the treatises this topic is discussed at the
beginning and in fact in the same place, the second chapter, which is
preceded by a table of contents in the Manasdra, and an introduction in
Vitruvius.
'An architect,' says Vitruvius (Book I, chap, i), 'should be ingenious,
and adept in the acquisition of knowledge. Deficient in either of these
qualities, he cannot be a perfect master. He should be a good writer, a
skilful draughtsman, versed in geometry and optics, expert at figures,
acquainted with history, informed on the principles of natural and moral
philosophy, somewhat of a musician, not ignorant of the sciences of both
law and physic, nor of the motions, laws, and relations to each other, of
the heavenly bodies.'
'By means of the first-named acquirement, he is to commit to writing
his observations and experience, in order to assist his memory. Drawing
is employed in representing the forms of his designs. Geometry affords
much aid to the architect: to it he owes the use of the right line and circle,
the level and the square, whereby his delineations of buildings on plane sur-
faces are greatly facilitated. The science of optics enables him to introduce
59°
HINDU ARCHITECTURE STHAPATYA
with judgment the requisite quantity of light, according to the aspect.
Arithmetic estimates the cost, and aids in the 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 architecture, and 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 just, compliant and
faithful to his employer. . . . That branch of philosophy which the
Greeks 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]
catapultae and scorpions. . . . Skill in physic enables him to 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
to window lights. . . .
' Astronomy instructs him in the points of the heavens, the laws of the
celestial bodies, the equinoxes, soltices, and courses of the stars ; all of
which should be well understood, in the construction and proportions of
clocks.'
It is important to notice that Vitruvius denies the necessity of an archi-
tect's being completely trained in ' all the sciences and arts ' as suggested
in the Mdnasdra :
On this account Pythius, one of the ancient architects of the noble
temple of Minerva at Priene, says in his commentaries, that an architect
should have that perfect knowledge of each art and science, which is not even
acquired by the professors of any one in particular, who have every oppor
tumty of improving themselves in it. This, however, cannot be necessary '
for how can it be expected that an architect should equal Aristarchus as a
grammarian, yet should he not (?) be ignorant of G^mm^ -(Vitruvius
Book I, chap, i, translated by Gwilt.)
The social position of architects is not quite clear from the literary or
epigraphical records examined above. But from the functions assigned
to each of the four architects, it would appear that the first three, namely
Sthapati Sutragrahin and Vardhaki, belong to the higher classes. Further
from the liberal presents and rewards given on each occasion equally to the
Guru (preceptor) and the Sthapati, which are so frequently mentioned,
591
STHANA AN EXCTCLOPAEDIA OF
it seems probable that the Sthapati had an enviable position. This latter
point might account for his excommunication mentioned in the epigraphical
records quoted above.
STHANA — The place of standing or staying, any place, spot, locality,
the abode, dwelling house, room, shrine, a monastic establishment.
(1) ' We, Kausika-Nagama-Bhattana, a Siva-Brahmana, in charge of
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) "List of shrines to which allotments were made : — Virabhadra-deva
(i, 12), Brahmam, IsVari (i, 13), Vaishnavl (r, 14), Indrani (i, 15).,
Ganapati (i, 16), Chamundesvari of the chief shrine (mula-sthana)'
(Inscrip. at Kolar, no. 66, H. S. I. I., Vol. in,
pp. 136-137.)
STHANAKA — A class of buildings in which the height is the unit
of measurement, the temples in which the idols are placed in the erect
posture.
(M., xrx, 7-11, see under APASAMCHITA ; cf. also
XLVI, 30, XLVH, I, LVIII, II, etc.)
STHANlYA — A city, a fortress, a site plan in which the whole
area is divided into 121 equal squares.
(M., vn, 13 ; cf. also rx, 365, 368, 478.)
A fortified city (Af., x, 41).
A fortress to defend 800 villages :
Ashta-sata-gramya madhye sthaniyam, chatus-sata-gramya drona-
mukham,dvi-sata-gramya kharvatikarh, da£a-graml-sarhgrahena saihgra-
narh sthapayet I
(Kautiliya-Artha-sdstra, Chap, xxn, p. 64, para. 4.)
Jana-pada-madhye samudaya-sthanarh sthaniyam niveSayet I
(Ibid, Chap, xxiv, p. 51, para. 2.)
STHANU — A synonym of Stambha or column.
(M., xv, 5, see under STAMBHA.)
STHAPAKA — One who installs, actual worker, perhaps the principal
assistant to the chief architect (sthapati), not the master who is
called Karta.
(M. xxxvn, in particular, cf. lines 7 and 34,
70-71.)
STHAPATYA — A house relating to architects or architecture,
architectural or sculptural workshop.
Analanila-kone va sthapatyalayam eva cha I
(M., xxxii, 78, cf. also 66.)
592
HINDU ARCHITECTURE SYANDANA
STHAPANA-MANDAPA — A room or pavilion where the idol is
installed after it is washed and dressed, the sanctuary.
Prasadabhimukhe sapta-mandapam kalpayet kramat I
Adau cha snapanartham cha dvitlyam adhyayana-mandapam I
Visesham snapanartham cha mandapaih cha tritlyakam I
Chaturtharii pratimagaram pafichamarii sthapana-mandapam I
(M., xxxiv. 45-48.)
STHAVARA-BERA— A stationary idol.
(M., LI, 17, etc.)
STHIRA-VASTU— A permanent building.
Sthira-vastu-kukshi-des'e tu chara-vastu tathapi cha I
. . . garbha-svabhram prakalpayet I
(M., xn, 170-171, see also 43.)
STHDNA — The civic and sacrificial posts used as memorial pillars,
symbolising royal and divine power to which offenders and sacrificial
victims were tied, ' maintained by the Fathers ', upon which
' Yama makes seats for the departed.' (R.V. x, 18, 3 ; A. V. xvm,
3, 52), made of copper, bronze or iron (ayas, R.V. v, 62, 7, 8), a
synonym of Stambha or column. — (M., xv, 5 ; see under STAMBHA.)
SNAPANA-MANDAPA — A class of pavilions used for bathing, a
washing room.
(M., xxxiv, 43-48, etc.; Suprabheddgama
xxxi, 96, 97 ; see under MANDAPA.)
SNANA-DRONI— Bathroom for a deity.
(Champa, by Mazumdar, p. 237.)
SN &NA-MANDAP A — A pavilion for bath, a bathroom.
(M., xxxii, 74, etc. ; see MANDAPA.)
SNAPANA-MANDAPA — A washing room, a pavilion where idols
are washed.
Snapanartha-mandapam chapi snana-mandapam eva cha I
(M., xxxii, 74 ; cf. xxxiv, 46, 47, etc.)
SPHORJAKA — A class of twelve-storeyed buildings once prevail-
ing in the country of Sphurjaka (?).
Panchalam dravidaih chaiva madhya-kantam kalihgakam I
Viratam keralam chaiva vaihsakarii magadham tatha I
Janakam sphurjakaih chaiva dasa-kantam praklrtitam I
(M., xxx, 5-7 ; see under PRASADA.)
SYANDANA — A synonym of yana or conveyance, a chariot.
(M., in, 9, 10 ; xix, 145.)
593
SVAYAMBHO AH ENCYCLOPAEDIA OF
Cf. Visala-ratha-vlthirh cha syandanaih mandaropamam I
' Built a car like the Mandara mountain and also broad roads (round
the temple).'— (Krishnapuram Plates of Sadasivaraya, v. 57, Ep. Ind., Vol. ix,
PP- 336> 341-)
SVAYAMBHO— Self-revealed, a kind of phallus.
(Kamikagama, L, 35 ; M., LII, 227 ; see under LINGA.)
SVAMIKARA— Svadhyayaka, reader of sacred literature.
(M., XL, 124.)
SVARGA-KANTA— A class of eight -storeyed buildings.
(M., xxvi, 28-33 ; see under PRASADA.)
SVARNA-LlftGA— A kind of phallus, a phallus made of gold.
(M., LII, 333, etc.)
SVA-VRIKSHA— A type of round temple.
(Agni-Purana, Chap, civ, vv. 17-18 ; see under PRASADA.)
SVASTIKA— An auspicious mark, the Omkdra symbol, the fire
cross, the sun symbol, a symbol for Buddha and Siddha, the crossing
of the arms, the meeting of four roads, a type of village, a joinery,
a window, a type of pavilion, a kind of phallus, a class of halls, a type
of building, a sitting posture.
A class of two-storeyed buildings— (M., xx, 94, 34-41; see under
PRASADA).
A class of villages (M., ix, 3, 330; see GRAMA ; compare M., xn, 76, 77,
146 ; XLIX, 152 ; LIV, 120 ; LVIII. 12).
A kind of joinery— (M., xvn 60).
A kind of window— (M., xxxm, 583 ; see under VATAYANA).
A pavilion with three faces :
Dvi-vaktrarh dandakarh proktarh tri-vaktrarh svastikarh tatha I
(M., xxxiv, 552.)
A class of mansions or halls (M., xxxv, 3, 80).
A kind of phallus— (M., LII, 4, 120).
(2) Aparo'nta-gato' lindah pranta-gatau tad-utthitau chanyau I
Tad-avadhi-vivritas chanyah prag-dvararh svastike subhadam 1 1
' The Svastika (building) is auspicious if it have the entrance on the
east side, and one continual terrace along the west side, at the ends
whereof begin two other terraces going from west to east, while between
the extremities of the latter lies a fourth terrrace.'
Commentary quotes Garga:
Paschimo'ntagato'lindah prag-antau dvau tad-utthitau I
Anyas tan-madhye vidhritah prag dvararh svastikarh s"ubham 1 1
(Bfihal-samhitd, Lin, 34, J. R. A. S., N. S.
Vol. vi, p. 286, note i.)
594
HINDU ARCHITECTURE SVASTlKA
A kind of octagonal building :
(3) Agni-Purdna (chap. civ. w. 20, 21 : see under PRASADA).
(4) Garuda-Purdna (chap. XLVII, vv. 21, 23, 31-33; see under
PRASADA).
(5) Kamikdgama (xxxv, 89) refers to a mansion (sala) :
Dakshine chottare chaiva shan-netram svastikam matam I
Parsvayoh purataS chaiva chatur-netra-samayutamll
An entablature (ibid., LIV, 7).
Ibid., XLII (named Svastika-vidhi) divides buildings into four classes
namely, Jati, Chhanda, ^Vikalpa, and Abhasa (vv. 3-4), which are
described in detail (w. 5-30).
(6) See the figure L£ (specimens of Jaina sculpture from Mathura, Ep .
Ind., Vol. n, p. 311).
(7) ' The capacity of the well, well accounts for the time taken in its
construction. There are four entrances leading into the well, and they are
so constructed as to give it the shape of the svastika symbol Lj^. (This
should be compared with the village named Svastika.) From each of the
entrances, a flight of steps leads to the interior of the well.'— (Ep. Ind.
Vol. xi, p. 155, para, a, note i.)
(8) ' In the inscriptions from the cave temples of Western India,
Bombay, 1881, are given a quantity of clearly Buddhist Square Pali Ins-
criptions from Kuda, Karle, Sailawadi, Junnar, etc. Many of these contain
Svastikas at the beginning and end. Kuda no. 27 has at the end 3J ; but at
the end of 29 is Lpj 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 j^J occurs
at the beginning of Kuda 30 and of Junnar 6 and 27, and the end of 33.
The form pj is found at the end of the Sailawadi inscription, and ]-C at the
end of Karle 2. Thus cave temple disproves the theory that the Chris-
tian Svastikas point to the left or westwards, whereas the Indian
including Buddhist and Jain Svastikas, point to the right or eastwards.'
(Ind. Ant., Vol. xv, p. 96.)
(9) ' The Svastika is called 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
595
SVASTIKA AX ENCYCLOPAEDIA OF
represents such a Siddha in the following way. The point or 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 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
placed immediately after the word '• Siddham " a juxtaposition which cor-
roborates the above Jain interpretation. We find the Svastika either at
the beginning or end or at both ends of an inscription and it might mean
Svasti or Siddham.' Mr. Y. S. Vavikar.'
(Ind. Ant., Vol. xxvn, p. 196.)
(10) ' The usual Indian symbols are of frequent occurrence, e.g., the
Svastika in various forms on most of the Plates and specimens of the familiar
circular Sun-symbols.'
Mr. Fawcett quotes 32 sun and fire symbols of Plate I of Mr. Murray
Ansley's papers on Asiatic Symbolism (Ind. Ant. Vol xv, p. 66) and says
that ' the whole of these may be taken to be developments in various
directions of the cross, and for Indian investigations of the Svastika.'
(Ibid., Vol. xxx, pp. 413-414.)
(n) 'This emblem (the ancient mystic emblem of the Bon Religion
Tungdrung t-pj ) in my view was invented to represent the Sun as the creator
of East, South, West, and North, the little mark at the end of each line in-
dicating the inclination of the sun to proceed from one point to the other.'
' Rev. A. W. Heyde of Ghum tells me that Yungdrung as a monogram
is said to be composed of the two syllables, [J su and rfr ti, suti = Svasti.'
Mr. A. H. Francke.
(Ladakhi pre-Buddhist marriage Ritual
Ind. Ant., Vol. xxx, p. 132, paras, i, 4.)
(12) ' Plate iv (facing p. 400), Fig. 2 ( f, pjJ ) contains two reversed
forms of the Svastika (yungdrung).'
Mr. Francke refers to the above quotation ' for an explanation of this
orm of Svastika in Ladakh,' and repeats that ' it is the emblem of the Bon
Religion.'
(Notes on Rock-Carvings from lower Ladakh
Ind. Ant., Vol. xxxi, p. 400, para. 3.)
(13) ' M. Burnouf holds that this mysterious and much debated symbo
(Svastika p|-J, fj-j ) is intended to denote the invention of the fire-drill, and
preserve the sacred remembrance of the discovery of fire by rotating a peg
in dry wood. It represents according to him, the two pieces of wood laid
crosswise, one upon another, before the sacrificial altar, in order to produce
596
HINDU ARCHITECTURE SVASTIKA
the holy fire. 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 (pramantha, whence the myth of Prometheus , the
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
in all countries of Europe, Asia and Africa. " Its first appearance (in
Europe) is on the pottery of archaic Greece, as on that in the British
Museum ascribed to between the years 700 and 500 B.C." About India,
he says that " a character nearly resembling the runic G, occurs in a
Pali inscription, and reversed pj-J, in a rock-inscription at Salsette"
(J. R. A. S., Vol. xx, p. 250, etc.). He has also shewn that it is both
a Buddhist, Jaina, and Christian emblem. " In our own day," says he,
" it has become a favourite ornamental device," — we may be sure with no
thought of symbolism, — and archaeologist returning from India may
observe it covering ceilings, cornices, fenders, and other ironworks.'
(Ind. Ant., Vol. vn, p. 177, c. 2, para. 2 f.)
(14) 'In describing coin no. 3 of this series (Numismatic Chronicle, N. S.,
Vol. xx, pp. 18-48, p. 62) I pointed out that the place of the more definite
place of the Sun, in its rayed wheel form, was taken up by the emblematic
cross of the Svastika.'
' Under the advanced interpretation of the design and purpose of Svastika,
from an Indian point of view, now put forward . . . the figure, as repre-
senting one of the received attributes of the Sun, was used conventionally,
to typify the solar orb itself.' E. Thomas.
(Ind. Ant., Vol. ix, p. 65, c. i,
para. 2 ; p. 66, c. i, para. 2.)
(15) 'I come now to show that the figure called the Svastika symbolizes
the idea of circumambulation, derived from the apparent movement of the
sun from left to right round the earth. The idea is this, that if a person faces
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, therefore, amounts to this : 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, signi-
fied by its etymology, so also the practice of turning with the sun is considered
a lucky or fortunate proceeding and turning in the contrary way, especially
597
SVASTIKA AN ENCYCLOPAEDIA OF
among northern people, is dreaded as entailing a curse . . . ; the
custom and the symbol, therefore, we argue are co-related.' Rev. S. Deal.
(Ind. Ant., Vol. ix, p. 67, c. 2,
para. 5 ; 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), and of Mr. Baldwin (Ancient America, New York, 1879,
p. 186), says ' for myself, I boldly range myself under Mr. Thomas's
Sun-standard.' — (Ind. Ant., Vol. x, p. 202, c. i, line 6.)
(17) 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
Spain. — (Ind. Ant., Vol. xv, p. 93, c. i, para, i ; c. 2, para. 2.)
(18) ' The svastika or fylfot is one of the most ancient symbols mankind
has. Much is heard of it nowadays, and in one country much is seen of it,
where it is presumed to be especially connected with the mysterious con-
ception called Aryan1, and with the Christian Faith as a national possession
and discrimination. " Rise of a benign power " or " lucky time " is the
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
scientific abstraction. It was not invented by European peoples. Fifteen
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 Indo-
Europeans, nor in any sense the direct anscestors of the Germans. Europe,
it seems, knew nothing of the sign until a thousand years later than the date
of the specimens found in large numbers in that part of India. When early
Christians used it, as they often did, they were using something borrowed
from older religions or civilizations. A good claim can be made out
Hitler has, however, explained the significance of Svastika which
is 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.)
598
HINDU ARCHITECTURE SVASTIKA
for 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
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 left handed, in the ruins of Troy, and it has been discovered also on
Chaldaean bricks, in Egyptian temples, on vases of Cyprus, Hittite carvings,
Etruscan pottery, in India's cave temples, on Roman altars and British
runic monuments, in Tibet, China, Korea, Mexico, Peru, and in the pre-
historic burial ground of North America. Germany's sole right to it is far
from established.'
' The origin of its name is less disputed. Sanskrit has the credit — su (well)
asti (is) ka (a noun ending) Svasti (it is well) , India has said at the beginning
of any auspicious act, and " it is well " is the meaning of the sign through-
out the ages. "Life is beneficent." It indicates — we quote from a woman
writer on symbolism — " That the maze of life may bewilder, but a path of
life runs through it : // is well is the name of the path, and the key of life
eternal is in the strange labyrinth for those whom God leadeth." A rival
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
an assurance that he should struggle on in hope.'
' For this reason some have sought its origin not in the religious symbolism
of Egypt, but in the pattern of the heavens. In the sky only the Pole Star
is stable and constant. All else moves round it. So the fixed, the reliable,
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
an important piece of work with ' ' svasti " and welcome a guest with
" svastu " " be it well ".'
(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, Decem-
ber, 1940, pp. 754-761) below :
The term ' Svastika ' is etymologically composed of three parts ' su '
(good, auspicious), ' asti ' (' as ' to be, ' ti ' affix for third person singular
599
SVASTIKA AN ENCYCLOPAEDIA OF
or the suffix ' ti ' added to verbal root to form verbal or abstract noun,
like ' gati ' going ; ' rati ', love or love goddess, etc., thus ' asti ' may be
equivalent to ' sthiti ', stay or settlement) and the suffix ' ka ' (to imply
possession of, as in Bala (=hair) ka (possessing) which means a boy having
his hair grown. This derivation of the term from Sanskrit is corrobor-
ated by the monogram Yungdrung which as quoted above is composed or
two syllables, su ( j-J ) and ti ( j-jJ ) and is the mystic emblem ( Lpj ) of the
Bon religion Tungdrung. Mr. A. H. Francke (Ind. Ant. xxx, 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-
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
retained its original sense everywhere probably excluding Germany of
Kilter's day. But there are various theories to explain its design and
purpose.
According to some (see above M. Burnouf, 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 remem-
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
fire. 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
devoid of skilled workmanship. In the new stone age, however, higher
type of implements came into use. Men then developed the intelligence
and skill to grind and polish the rude instruments of earlier age in order
to make more 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.
They could then cook meat and fish. They could make with hand
pottery which was later turned on wheel. They honoured their dead
parents and relations by elaborate tombs frequently built of massive stones.
This sort of ancestral worship was the beginning of the belief and faith
in a. Creator or the God, who is the ultimate father of all beings. Thus
600
HINDU ARCHITECTURE SVASTIKA
if the svastika symbol be ascribed to the period when the production
and use of fire became known to humanity it would^claim a very great
antiquity so far as India is concerned. For the discoveries at Mahenjo-
Daro show unmistakably that at 3000 B. c. Indians not only knew the
use of all metals including gold but culturally made an all-round progress,
and this Mahenjo-Daro period must be at least 2000 years later than the
new stone age when the production and use of fire became known to
them.
It, however, should be noted that the fire-origin of svastika will mili-
tate against its root meaning. Because however useful fire may be, its
main function is to burn or destroy whatever comes in contact with it.
Thus it would be an emblem of destruction like cross with which Christ
was crucified or murdered. But etymologically svastika must mean
' the good settlement ' or an auspicious emblem as its later use will clearly
show.
According to another school of thought as represented by Rev. S. Beal
(Ind. Ant., Vol. rx, p. 67 ff.), Mr. Sewel (Ind. Ant., Vol. x, p. 202) and
Mr. Murray-Ansley (Ind. Ant., Vol. xv, p. 93 ff.) the svastika figure
' symbolizes the idea of circumambulation, derived from the apparent
movement of the sun from left to right round the earth.' The idea appears
to be this that if a person faces the east at sun-rising and follows its move-
ment 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.
This theory is corroborated by the world-wide use of the svastika symbol,
so also the custom of turning sunways or with the sun, which is equally
widespread. The further support to the sun theory is lent by the argu-
ment that ' the svastika is a sign of good luck, signified by its etymology,
so also the practice of turning with the sun is considered a lucky or fortu-
nate proceeding and turning in the contrary way is dreaded as entailing a
curse.' Thus the custom and 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
together by Murray-Ansley (Ind. Ant., Vol. xv, p. 66) ' may be taken
to 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.
Numerous other theories 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
60 1
SVASTIKA AN ENCYCLOPAEDIA OF
der Amerikanischen Umligionen, p. 497), Mr. Baldwin (Ancient America,
New York, 1879, p. 186), and many others associate the svastika figure
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.,
Vol. xvn, p. 229 ff.) and others associate the svastika symbol with the
mystic syllable ' Om '. This syllable in Sanskrit consists of three letters
' a ', ' u ' and ' m ', which are variously connected with the gods of Crea-
tion, Preservation, and Destruction, as well as with the three Vedas, the
Rig, Saman, and Yajus. But the sound ' o ' of the mystic syllable is re-
presented by a single letter which in the Brahmi script looks exactly like
one arm ( ^, 2 ) °f the svastika figure ( Lj^ ) and the nasal sound, ' m ' is
represented in Brahmi by a small circle or dot with two ear-like projections
( ^ ), which later on is shown by the dot only, with or without a crescent
line below ( o-» ). ' O ' in grammar is stated to be a long vowel and it
is 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
' m ', which is necessary in order to have a pause after a vowel sound, is
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
Coins of India and in Rapson's Coins of Andhras, and D'Alviella's Migra-
tion of Symbols (p. 71), and in other places. In fact, this dot mark
or a slight projection from the ends makes the svastika figure more
ornamental.
If this identification of svastika with the ' Om ' syllable, or the develop-
ment of the former out of the latter, be accepted, three points would be
further clarified. First, the auspicious character of the svastika figure
will get support because the ' Om ' syllable like the svastika figure is used
at the commencement of something auspicious. The prefacing of ' Om '
in pronouncing anything is followed down to this day by ' Svasti ' (good
luck) and it is also the practice to add ' Svasti ' immediately after ' Om '
in order probably to clarify or emphasize the meaning of the mystic
syllable. Secondly, if the formation of the svastika figure from the joining
of two Brahmi o's in a crosswise manner be accepted a very great anti-
quity can safely be attached to this classic symbol, because the title ' Brah-
mi ' implies its origin from Brahma or the Creator Himself and the Brahmi
alphabet may be associated with the writings discovered at Mahenjo-Daro
dating from 3000 B. c. Despite various other theories the indegenous
origin of the Brahmi can hardly be questioned although the history of its
origin has yet to be written. Thus, thirdly, the Indian origin of the
602
HINDU ARCHITECTURE SVASTIKA
svastika is further vouchsafed by the etymology of the term, which is un-
questionably Sanskrit and Indian.
Before examining the very widely spread use of the svastika figure in
Indian life and culture, it is desirable to notice briefly its antiquity and
use in other countries, without, however, committing oneself about its
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 on the site of Hissarlik,
identified with ancient Troy.' It is common also in the Fourth and Fifth
cities on the same site, and is principally found there on spindle whorls,
dating approximately from fourteenth or thirteenth century B. c. It is,
however, a remarkable fact that this svastika was not found in the First
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
Professor Winckler's discoveries at Boghaz Kuei. It has been established
by G. H. W. Johns (Ancient Assyria, 1912, p. 54) that about 1400 B. c.
kings with Indo-Aryan names and worshipping vedic gods were ruling
the region of Mitanni. ' The names Sutarna, Dushratta, etc., have a
distinctly Indo-Aryan appearance. It is instructive to compare the name
Gilukhipa, borne by a daughter of Sutarna I, who was also queen of Amer-
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
of Kosala 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
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).
In Greece the svastika appears on the archaic pottery ascribed to bet-
ween 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
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
SVASTIKA AM ENCYCLOPAEDIA OF
Rhodian vase. The Figs. 59 and 63 of the same list show the spindle whorl
of Troy.
The svastikas composed of four small squares (g°) and the archaic
cross type ( 3-J ) 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, Baby-
lonian 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 mark drawn both ways.
In the Roman Catacombs the svastika occurs not frequently, as a Chris-
tian symbol in Roman mosaic work in England, France, Spain and Algeria.
It is abundant on pottery, ornaments, and weapons of Roman-British
and Anglo-Saxon times, and of corresponding periods in Scotland, Ger-
many, 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 Corin-
thian 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
potters' marks (Ind. Ant., Vols. vn and xiv). Clothes used in Spain
for covering the trays, were bordered with the svastika only for ornamenta-
tion. Professor Max Miiller found it 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
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
a Christian tomb with a Latin inscription, discovered in 1879 at Rome.
It is most rare and common in Norway, Denmark, and Sweden. A stock
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
nearly every country of Europe (Ind. Ant., Vol. xv, p. 94). In his Early
History of Mankind, Mr. Tylor has shown the extensive use of the
svastika symbol at some period in every quarter of globe as exemplified
above. And Mr. Walhouse (Ind. Ant., Vol. vn, p. 177) has identified
both the right-handed and left-handed forms in all countries of Asia,
Europe, and Africa.
604
•
140
130— Grecian vase NAUKRATIS— Wilson, The Svastika, Fig. 130.
140 — Grecian geometric vase of Smyrna — Wilson, The Svastika, Fig. 140.
153 — Grecian geometric vase of Thesa — Wilson. The Svastika, Fig. 153.
155— Grecian vase OINOGHOE— Wilson, The Svasiika, Fig. 155.
171 — Rhodian vase — Wilson, The Svastika, Fig. 171.
186 — Ccrvetri-Italian Cinerary urn — Wilson, The Svastika, Fig. 186.
Vage 604
O
CO
Fig- 63 — The spindle whorl of Troy with ogee Svastika — Wilson, The Svastika, Fig. 63.
20
59
Fig- 59— Biconical spindle whorl of Troy — Wilson, The Svastika, Fig. 59
Fig. 20— Indian coin, Eran, Fig. 20, Plate XI, in Cunningham's " Coins of
Ancient India ", containing snake pattern of Svastika.
Fig. 7 — Indian coin, Ujjain, Fig. 7, Plate X, in Cunningham's " Coins o
Ancient India ''. (Reproduced through the courtesy of Smithsonian Institution.)
I'age COS
HINDU ARCHITECTURE SVASTIKA
In the land of its origin the svastika symbol , whether identified with the
' Omkara ' 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 Cun-
ningham'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 ' m ' actually depicted.
The svastika is called by the Jains 'Sathis'. They give it the first place
among the eight chief auspicious marks of their faith. Bhagwanlal Indraji
(Hathigumpha Inscriptions, Udayagiri Caves, p. 7) testifies on the autho-
rity of Yatis that ' the Jains believe it to be the figure of Siddha, who is
beyond the four conditions of life, viz. to become, after death according
to one's action in life, a god or to go to hell or to be born again as a man
or a lower animal.' The Siddha is represented by the svastika in this
way. The 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
that the four states are closed for him (Dictionary of Hindu Architecture,
PP- 734~35)- Specimens of Jain sculptures from Mathura (Ep. Ind.,
Vol. n, p. 311) contain this symbol.
The Buddhists appear to hold the svastika in the same light as the Jains.
In the Nasik Inscription (no. 10) of Ushavadata, the symbol is placed
immediately after the word ' Siddham ', a juxtaposition which corro-
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
from Kuda, Karle, Sailawadi, Junar, etc., among the Inscriptions from
the Cave Temples of Western India contain svastika at the beginning and
end ( rH S ffi fi, Ind- Ant-> Vo1- xv> P- 96).
In modern times it is a favourite ornamental device. It is found in
buildings, covering ceilings, cornices, fenders and other 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
posture. In the Silpa-fastra it has been elaborately worked out in the town-
planning, and village schemes, in designing screens, lattice, joinery work,
windows, pavilions, halls, and storeyed mansions, in digging wells, and
carving the phallus or the emblem of Siva (Dictionary of Hindu Architec-
ture, p. 732 ff.). The Manasdra-Vdstu-sastra contain elaborate details of
605
SVASTIKA AN ENCYCLOPAEDIA OP
svastika plan, of villages (Chap, ix, 3, 330; xn, 75-76, '146; XLIX,
152; LIV, 120; LVIU, 12), of joinery work (Chap. XVH, 60), of windows
(Chap. XXXIH, 583), of Pavilions (Chap, xxxiv, 552) and of Halls
and Storeyed Mansions (Chap, xxv, 3, 80). These references are further
elaborated in the general literature. For instance the Brihat-sarhhitd
(Chap. LHI, 34 ff.) contains a technical description of a svastika house :
" The svastika (house) is auspicious if it have the entrance on the east
side, and one continual terrace along the west side, at the 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.,
Vol. vi, p. 286).
The octagonal buildings of the svastika plan are described in the Agni-
Purdna (Chap, civ, vv 20-21), and the Garuda-Purana (Chap. XLVII, w.
21, 23, 31-33).
According to 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
Architecture in India and Abroad. The plough-shaped three-face design will
not at the first sight disclose the usual svastika plan, which has various
forms. The standard authorities on architecture have developed the plan
of the svastika house in three different forms as described in the Mdnasdra,
the Brihat-sarhhitd, and Agni-Purdna, and Garuda-Purana. The structure
referred to above is in conformity with the Manasara's rules and satisfies
all the essential requirements.
Thus there is some truth in the conclusion of Thomas Wilson (ibid.,
pp. 951-952) when he says that since ' we find the svastika used on small
and comparatively insignificant objects, those in common use such as
vases, pots, juds, implements, tools, household goods and utensils, objects
of the toilet, 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,
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,
origin. And according to its derivative meaning its auspicious signifi-
cance cannot be denied as long as the Sanskrit civilization and Hindu
606
HINDU ARCHITECTURE HARITA
culture will survive in this world. In India this classic symbol has taken
a corporal body and the Hindus have been building their roads, towns,
villages, images, various articles, and houses according to this plan. Thus
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
object.
(Indian Review, December, 1940, pp. 754-761.)
SVASTIKA-KHADGA— A type of octagonal buildings.
(Agni-Purdna, Chap, civ, vv, 20, 21 ; see under PRASADA.)
SVASTI-KANTA— A class of six-storeyed buildings.
(M., xxiv, 53 ; see under PRASADA.)
SVASTI-BANDHA— A class of single-storeyed buildings.
(M., xix, 169 ; see under PRASADA.)
SVARASANA— The lintel, the top of a door.
' The Svarasana of the gateway was made.'
(This inscription is on the top of the door of the Bhimesvara temple.)
(Ep. Carnal., Vol. x, Goribidnur Taluq, no. 2,
Roman text, p. 260, Transl., p. 212 f.,
H
HATTA — A market, a market-place, a fair.
(1) Saumya-dvararh saumya-pade karya hattas tu vistarah II
(Agni-Purdna, Chap, cvi, v. 3.)
(2) Attra hattah maha-janas cha sthapitah — here the market-place
and the shopkeeper (lit. big folk) were established.
Vichittra-vithl-sarhpurnnarii hattarh kritva grihani cha — having cons-
tructed a market-place full of variegated (various) streets and houses
(shops).
(Ghatiyala Inscrip. of Kakkuka, no. i , v. 6 ;
no. n, v. 3 ; Ep. Ind., Vol. ix, p. 280.)
(3) Nisranikshepa-hattam ekarh narapatina dattam I
' A bazar building or ware-house for storing goods to be exported
was granted by the king.'— (The Chahamanas of Marwar, no. xxm, Jalor
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. 13.)
HARITA — A moulding, an architectural ornament (see under
MANDAPA).
A moulding of the column (M., xv, 160, cf. L. 106).
An ornament of the pedestal (M., xxi, 31).
607
HARMIKA AN ENCYCLOPAEDIA Of
HARMIKA — The kiosk, the altar-like structure that rises on the
summit of the cupola of a stupa. The Nepalese stupas ' decorate the
Harmikd with painted human eyes, thus suggesting a human figure,
in the posture of meditation hidden in the stupa : the crossed legs
in the base, the body up to the shoulders in the hemisphere, the head
in the Harmikd. It was crowned by one or more umbrellas of stone
and served as a receptacle of relics. " The resemblance of the Harmikd
to a sacrificial altar is 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
umbrellas grouped over it are chhatravali and the shaft on which they
are supported is Yashti. (Foucher, L'Art Greco -Buddhique. tome i,
p. 97 ; Fergusson, Vol. i, p. 70, note 2.)
HARMYA (cf. RAJA-HARMYA) — An edifice, an upper room, a turret,
an apartment, buildings in general, a palace. A rich man's house.
(Amarakosha, see under PRASADA) including stables, etc. (R.V. i, 166,
4. ; vii, 56, 16 ; ix, 71, 4 ; x, 43, 3).
(1) One of the four divisions of the architectural objects :
Dhara harmyadi-yanam cha paryankadi-chatur-vidham I
(M., iii, 3.)
Buildings in general including prasada (big buildings), mandapa (pavi-
lion), sabha (hall), s"ala (mansion), prapa (alms-house), (a)ranga (theatre,
play-house with quadrangular court-yards) (ibid., 7-8).
Purva-hastena samyuktam harmyam jatir iti smritam I
(M., XDC, 3.)
A palace :
Bhupatlnam cha harmyanam lakshanaih vakshyate'dhuna I
(M., XL, i, etc.)
Harmya-janma-samarabhya sala-janma-pradesakam I
(M., LXIX, 37.1
Kudya-stambhe griha-stambhe harmya-garbham vinikshipet I
(M., xii, 132.)
(2) Prasada-harmya-valabhi-linga-pratimasu kudya-kupeshu I
' In the temple, mansion, roof, phallus, idol, wall and well.'
(Brihat-tamhita, J. R. A. S., N. S., Vol. vi, p. 332.)
(3) Harmyam prasada-manditam — the edifice furnished with a temple.
(Vayu-Purana, part i, Chap, xxxix, v. 57.)
608
HINDU ARCHITECTURE HARMYA
(4) Prabhuta-sikharopetam harmyath nama prakirtitam — that is
named harmya (edifice) which is furnished with a large tower or dome
(sikhara).
(Kamikagama, L, 89.)
A class of buildings (Ibid., xxxv, 39, 40 ; see under MALIKA).
(5) Ramayana (u, 91, 32 ; iv, 33, 5) :
Harmya-prasada-samyukta-toranani I
Mahatlm guham . . . harmya-prasada-sarhbadham I
See also n, 51, 21 ; n, 91, 32 ; in, 55, 7 ; iv, 33, 5 ; v, 15, 3, 19 ; vi, 75,
26, etc.
(6) Mahabhdrata (Cock) :
I- 3j J33; Naga-lokam. . . aneka-vidha-prasada-harmya-valabhi-
niryuha-sata-sarhkulam I
III. 207, 7 ; Harmya-prakara-sobhanam . . . nagarirn I
See also i, 3, 33 ; xv, 16, i ; v, 1 18, 19, etc.
(7) Vikramoraasl (Cock), p. 38 : Manihamma-alam (mani-harmya-
talam.)
(8) Mrichchliakatika (ibid.}, pp. 47, 158 :
Jirnarh harmyam ; harmyasthah striyah I
(9) RaghuvamSa, vi, 47, etc. :
Harmyagra-sarhrudha-trinamkureshu . . . ripu-mandireshu |
(10) Jdtakamdla (vi, ed. Kern, p. 80, i. 20) :
Vidyud-iva ghana-sikhararh harmya-talam avabhasanti vyatish-
thata I
(n) Kathd-sarit-sdgara (Cock), 14, 19:
Harmyagra-samsthah . . . paura-naryah I
(12) Vapra-gopuramayair-nava-harmaih I
'By erecting new buildings adorned with a wall and a gate-tower.'
(Mangalagiri Pillar Inscrip., v. 29, Ep. Ind., Vol. Vi, pp. 121, 131.)
(13) Navina-ratnojjvala-harmya-srirhgam — 'the top of the royal palace,
the scene of the first act.' — (Dhar Prasasti of Arjunavarman, v. 8, Ep. Ind.,
Vol. VIH, pp. 103, 99.)
(14) Madana-dahana-harmyam karayamasa tuhgam sa guna-gana-
nidhana-srlrhdrarajabhidhanah I
' 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
Govinda in, v. 17 ; Ind. Ant., Vol. VIH, pp. 41, 42.)
(15) Gommata-pura-bhushanam idu I
Gommatam ayat ene samasta-parikara-sahitam I
Sammadadim Hulla chamu I
Parh madisidarh Jinottamalayaman idam II
609
HARMYA-KANTA AN ENCYCLOPAEDIA OF
Parisutrarh nritya-geharh pravipula-vilasat-paksha-desastha-saila-
sthira-Jainavasa-yugmarh vividha-suvidha-patrollasad bhava-
rupotkara-raja-dvara harmmyam beras atula-chatur-vvirhsa-
tlrtthesa-gehana I
Paripurnnarh punya-punja-pratimam esudud lyandadirh Hulla-
nindam I
Abstract : — ' He also built an abode (or temple) for the Tlrthankaras
in this chief Tirtha of Belgula. And he built a large Jina temple, which,
like Gommata, was an ornament to Gommatapura. Together with its
cloisters, a dancing hall, a Jina house of stone on either side, a palace with
royal gates adorned with all manner of carving, and an abode for the 24
Tlrthankaras.'
(Ep. Carnal., Vol. 11, no. I37A., Roman text,
p. 104, lines 21-28 ; Transl., p. 182, line i6f.)
HARMYA-KANTA — A class of seven-storeyed buildings.
(M., xxv, 29 ; see under PRASADA.)
HARMYA-GARBHA — A top-room built at the topmost part of a
building, a dining hall.
Hammiya-gabbho ti kutagara-gabbho mudanuchchhadana-gabbha va.
(Buddha-ghosha, Chullavagya, vi, 3, 3.)
Compare the translation by Oldenberg and Rhys Davids.
HARMYA-TALA— The flat roof of a house.
Chandramsu-harmya-tala-chandana-tala-vrinta-haropabhoga-rahite
hima-dagdha-padme I
' 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.'
(Mandasor stone Inscrip. of Kumaragupta, lines 17-18,
C. /. /., Vol. m, F. G. I., no. 18, pp. 83, 87.)
HASTA (see ANGULA)— A cubit, a measure generally equal to 24
angulas or 18 inches.
(1) Chatyari-virhsatis chaiva hastah syad angulanarh tu I
(Brahmdtida-Purana, part I, second anusharhga-
pada, Chap, vii, v. 99.)
(2) Vastu-sarani (ed. Matri Prasada Pande, Benares) quotes the follow-
ing without giving reference — Visvakarmokta-hasta-pramanam :
Anamikantarh hastah syad urdhva-vahau savarhsakah I
Kanishthika-madhyama-pramanenaiva karayet 1 1
Svami-hasta-pramanena jyeshtha-patni-karena cha I
Jyesh^ha-putra-karenapi karma-kara-karena cha II
6lO
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.'
(3) Dvadasa-hasta-pramana-griha-nivesanam I
(Barmani Inscrip. of Vijayaditya, lines 22-23,
Ep. Ind., Vol. in, p. 213.)
(4) ParamesVarlya-hasta— the ' royal yards,'
(Second Inscrip. of Villabhattasvamin temple
at Gwalior, line 4, Ep. Ind., Vol. I, p. 159 ;
see also p. 155.)
(5) Ayamato hasta-satam samagram vistaratah shashtir athapi chash-
tau II
Utsedhato'nyat purushani sapta . . . hasta-sata-dvayasya 1 1
' (Built an embankment) a hundred cubits in all in length, and sixty and
eight in breadth, and seven men's height in elevation ... of two
hundred cubits .'
(Junagadh Rock Inscrip. of Skandgupta, lines
20-21. C. 1. 1., Vol. in., F. G. I., no. 14,
pp. 61, 64.)
HASTI-NAKHA— The elephant's nail, a turret.
(Kautillya-Arlha-sastra, see under GRIHA-VINYASA.)
HASTI-PARIGHA (see PARIGHA) — A beam to shut the door against
elephants.
(Kaulillya-Aitha-sdstra, see under GRIHA-VINYASA.)
HASTI-PRISHTHA (cf. GAJA)— A class of single-storeyed build-
ings, a part of a building.
(M., xix, 171, see under PRASADA.)
A part of a building (Kdmikdgama, L. 92, see under VIMANA).
' 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 gaja-
prishthakriti shape : but a close study of the plan and sections . . .
warrant the conclusion that the architect had distinctly in view the linga.'
' The gaja-prishthakriti-vimana is found only in Saiva temples, e.g., the
Dharmcsvara temple at Manimangalam, the Saiva temples at Sumahgalam,
Pennagaram, Bharadvajasrama near Arcot, Tiruppulivanam, Konnur
near Madras, Vada Tirumullaivayil, etc. etc.'
(Ind Ant., Vol. XL, p. 104, note 2.)
See the plan and sections of the Paramesvara temple at Gudimallam
(Ibid., plate between pp. 104, 105).
See the Pallava Antiquities (Vol. n, pp. 19-20, plate HI, the Pallava
temple at Tiruttani ; plate i, the Virattanesvara temple at Tiruttani and
Sahadeva Ratha at Mahabali-puram).
HASTI-HASTA AN ENCYCLOPAEDIA OF
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-
tectural member generally of the stair-cases.
Dvara-mukha-sopanam hasti-hastena bhushitam I
(M., XIX, 211.)
Sopana-parsvayor des"e hasti-hasta-vibhushitam I
(M., xxx, 155, cf. also XVHI, 209.)
HAMSA — A type of building which is shaped like the swan, a class
of oval buildings.
(1) Brihat-sarhhitd (Chap. LVI, 26, J. R, A. S., N. S., Vol. v, p. 319, see
under PRASADA).
(2) Matsya-Purdna (Chap. CGLXIX, vv. 30, 51, see under PRASADA).
(3) Bhavisfya-Purdna (Chap, cxxx, vv. 33, see under PRASADA).
A class of oval buildings :
(4) 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.
(M., LX, i, 4; the sculptural description
of its image, ibid., 5-46.)
—A chain, a chain of 108 strings of pearls worn
HARA
HARA
HARIKA(-A)
round the neck (Brihat-sarhhitd, LXXXII, 32), an
architectural ornament employed below the
neck of the column, bead, astragal or baguette
(see Gwilt, Encycl., Fig. 873).
(i) A moulding (bead) of the column :
Tat-(padma)-tungardham tu harikam I
(M., xv, 58.)
Hara-sranta-panjaradhyarii . . . (vimanam)l
(M., xix, 194, see also xx, 56, 112.)
Adhisthanaih cha padam cha prastararh cha tri-vargikam I
Sala-kutam cha hararh cha yuktya tatraiva yojayet 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 I
Anu-sala tri-bhaga va harantara(m)-dvi-bhagikam I
(M., xxvi, ii, 23.)
6l2
HASTI NAKHA
HASTI HASTA
Page 612
HINDU ARCHITECTURE HO MA
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 ; see also 431.)
Kute cha bhadrayor madhye harariis'aih madhyamena tu I
(M., xxxv, 343.)
A chain :
Haropagrlva-keyura-katakais cha supuritam I
(Af., L, 14.)
(2) Alindandharikandhara-hara bhagena kalpitah II
Bahir andharikandhara-hara(-a) bhagena vistritah II
Hara-pramanarh bahye tu rachanartham prakalpayet I
Bhitty-antastharh pramanam syad bhitti-bahye tv-abahyatah 1 1
Andharandhari-harokto (=hara-yukto) khanda-harmya-vise-shitam
(vimanam) II
(Kamikagama, L, 74, 76, 77, 93.)
(3) Pearl-strings (Deopara Inscrip. of Vijayasena, v. u, Ep. Ind., Vol.
i, pp. 308, 313).
HIKKA- SUTRA— The line over the glottis or along the larynx,
upper part of the windpipe. (See under TALAMANA.)
HIMA-K.ANTA (cf. HIMAVAT) — A class of seven-storeyed buildings.
(M., xxv, 31, see under PRASADA.)
HIMAJA — A class of pavilions.
(Af., xxxiv, 152, see under MANDAPA.)
HIMAVAT — A class of buildings, with sixteen panjaras (compart-
ments), eight salas (halls), and eight kutas (towers).
Himavan iti vikhyato yukta-shodaSa-panjarah I
Ashta-Salashta-kutas tu prasado lakshananvitah II
(Suprabhedagama, xxxi, 44.)
HIRANYA-NABHA— A type of edifice.
Uttara-s"ala-hinam Hiranya-nabham tri-^alakarh dhanyam — -( An edi-
fice with three halls, wanting as it does a northern hall, is styled Hiranya-
nabha, and insures luck.'
(Brihat-samhita, LHI, 37, J. R. A. S., N. S.,
Vol. vi, p. 286.)
HEMA-K.OTA — A class of pavilions.
(M., xxxiv, 155, see under MANDAPA.)
HOMA — An offering, a crowning moulding of the cages for domesti-
cated animals.
Mriga-nabhi-vidalasya panjarasya ... I
Homat prastarantarh va mastakantam-s'ikhantakam I
(A/., xxxiv, i-j.)
613
APPENDIX I
A SKETCH OF SANSKRIT TREATISES ON ARCHITECTURE
AGNI-PORANA— See under PURANAS.
ANKA-SASTRA— On architecture.
(Oppert's List of Sanskrit MSS. in Private Libraries
of South India, Vol. i, no. 2499, P- 228.)
APARAJITA-PRICHCHHA— by Bhuvana-deva, 'quoted by
Hemadri in the Parisesha-khanda, 2, 660-662, 819.'
(Aufrecht, Catalogus Catalogorum, part H, p. 4.)
APARAJITA-VASTU-SASTRA— attributed to Visvakarman, in pos-
session of Marti Sankara Bhatta, Surat.
(Catalogue of Sanskrit MSS. contained in Private
Libraries in Gujarat, Kathiavad, Kachchh
Sindh, and Khandesh, 1872, p. 276, no. i.)
ABHILASHITARTHA-CHINTAMANI— by Malla Somesvara, on
architecture.
(Taylor's Catalogue Raisonet, I. 478.)
ARTHA-SASTRA— (KAUTILIYA)— ed. R. Shama Sastri, B.A.,
Mysore, 1919.
Chapters :
22. Janapada-niveSa.
23. Bhumichchhidra-vidhana.
24. Durga-vidhana.
25. Durga-nives'a.
65. Vastuka, Griha-vastuka.
66. Vastu-vikraya ;
Sima-vivada ;
Maryada-sthapana ;
Badha-badhika.
67. Vastuke vivite kshetra-patha-hirhsa.
1 CJompare, Vartta — The Ancient Hindu Economic by Narendra Nath Law
M.A., B.L., PH.D. (Ind Ant., vol. XLVII, p. 256).
6I5
A XI$UMAT-( KASYAP I YA)
AN ENCYCLOPAEDIA OF
AKlSUMAT-(KASYAPlYA)— On architecture and sculpture.
(Taylor's Catalogue Raisonee, I. 314.)
AMSUMAD-BHEDAGAMA— See under AGAMAS.
AMSlJMANA-KALPA— On architecture.
(Aufrecht, ibid., part I, p. i.)
AGAMAS — Of the 28 Maha-agamas1, the following have special
reference to architecture and cognate arts :
I. Athfumad-bheddgama (patala or chapter) :
28. Uttama-daSa-tala-vidhi.
(There is another Arhsumad-bheda by Kasyapa, account of which is
given elsewhere.)
II. Rdmikdgama (patala or chapters):
11. Bhu-pariksha-vidhi.
12. Praves"a-bali-vidhi.
13. Bhu-parigraha-vidhi.
1 4. Bhu-karshana-vidhi.
15. Sanku-sthapana-vidhi.
1 6. Manopakarana-vidhi.
1 7. Pada-vinyasa.
1 8. Sutra-nirmana.
19. Vastu-deva-bali.
20. Gramadi-lakshana.
2 1 . Vistarayama-lakskana.
Ayadi-lakshana.
22.
1i. Kamikagama.
2. Yogajagama.
3. Chintyagama.
4. Karanagama.
5. Ajitagama.
6. Diptagama.
7. Sukshmagama.
8. Sahasragama.
9. Amsumanagama.
10. Suprabhedagama.
11. Vijayagama.
12. Niivasagama.
14. Anilagama.
1 5. Viragama.
1 6. Rauravagama.
1 7 . Makut again a .
1 8. Vimalagama.
19. Chandra-jnanagama.
20. Bimbagama.
2 1 . Prodgitagama.
22. Lalitagama.
23. Siddhagama, also called Vaikha-
nasagama.
24. Santvanagama.
25. Sarvoktagama.
26. Parme^varagama.
27. Kiranagama.
28. Vatulagama.
l(See Sukshmagama, British Museum, 14033, aa, 26.)
616
HINDU ARCHITECTURE AGAMAS
24. Dandika-vidhi (dealing with doors and gateways).
25. Vlthi-dvaradi-mana.
26. Gramadi-devata-sthapana.
28. Gramadi-vinyasa.
29. Brahma-deva-padati.
30. Gramadi-ariga-sthana-nirmana.
3 1 . Garbha-nyasa.
32. Bala-sthapana-vidhi.
33. Grama-griha-vinyasa.
34. Vastu-santi-vidhi.
35. Sala-lakshana-vidhi.
36. Visesha-lakskana-vidhi.
37. Dvi-£ala-lakskana-vidhi.
38. Chatuh-sala-lakshana-vidhi.
40. Varta (?dha) mana-Sala-lakshana.
4 1 . Nandyavar ta-vidhi .
42. Svastika-vidhi.
43. Paksha-saladi-vidhi.
44. (H)asti-^ala-vidhi.
45. Malika-lakshana vidhi.
46. Langala-malika-vidhi.
47. Maulika-malika-vidhi.
48. Padma-malika-vidhi.
49. Nagaradi-vibheda.
50. Bhumi-lakba-vidhi.
51. Adyesktaka-vidhana-vidhi.
52. Upapitha-vidhi.
53. Pada-mana-vidhi.
54. Prastara-vidhi.
55. Prasada-bhushana-vidhi.
56. Kantha-lakshana-vidhi.
57. Sikhara-lakshana-vidhi.
58. StQpika-lakshana-vidhi.
59. Naladi-sthapana-vidhi.
60. Eka-bhumyadi-vidhi.
6 1 . Murdhni-sthapana-vidhi.
62. Lihga-lakshana-vidhi.
63. Ahkurarpana-vidhi.
64. Linga-pratishtha-vidhi.
65. Pratima-lakshana-vidhi.
67. Devata-sthapana-vidhi.
6l7
AGAMAS AN ENCYCLOPAEDIA OF
68. Pratima-pratishtha-vidhi.
69. Vimana-sthapana-vidhi.
70. Mandapa-sthapana-vidhi.
71. Prakara-lakskana-vidhi.
72. Parivara-sthapana-vidhi.
It 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
Vastu-Sdstra under a different name.
III. Kdrandgama :
Part I (patala or chapters) :
3. Vastu-vinyasa.
4. Adyeshtaka-vidhi.
5. Adhishthana-vidhi.
6. Garbha-nyasa-vidhi.
7. Prasada-lakshana-vidhi.
8. Prakara-lakshana-vidhi.
9. Linga-lakshana.
10. Murdhmshtaka-lakshana.
11. Pratima-lakshana.
1 2. Strl-mana-da^a-tala-lakshana.
1 3. Kanishtha-da6a-tala-lakshana.
14. Nava-talottama-lakshana.
1 6. Bali-karma-vidhi.
19. Mrit-samgrahana-vidhi.
20. Ankurarpana-vidhi.
4 1 . Mahabhisheka-vidhi .
56. Vastu-homa-vidhi.
59. Lihga-sthapana-vidhi.
60. Parivara-sthapana-vidhi.
61. Bali-pitha-pratishtha-vidhi.
62. Ratna-linga-sthapana-vidhi.
66. Parivara-bali.
70. Vimana-sthapana-vidhi.
88. Bhakta-sthapana-vidhi.
138. Mrit-sariigrahana (cf. 19).
Part II, chapters :
4. Kila-pariksha.
5. Gopura-lakskana.
6. Mandapa-lakshana.
7. Pitha-lakshana. .
8. Sakti-lakskana.
618
HINDU ARCHITECTURE AGASTYA-SAKALADHIKARA
g. Grama-s'anti-vidhi.
10. Vastu-Santi-vidhi.
11. Mrit-sarhgrahana.
12. Ankurarpana.
13. Bimba-s'uddhi.
14. Kautuka-bandhana.
15. Nayanonmllana.
18. Bimba-s'uddhi (cf. II. 13).
19. Sayanaropana.
2 1 . Siva-linga-sthapa na .
98. Matha-prattshtha.
IV. Vaikhdnasagama (patala or chapters) :
22. Pratima-lakshana.
43. Uttama-das'a-tala.
V. Suprabheddgama (patala or chapters ) :
22. Karanadhikara-lakshana, deals with Ushnisha (crowns, head-
gears), Asana (chair, seats), Paryanka (bedsteads, couches, etc.)
Sirhhasana (thrones), Ranga (court-yards, theatres), Stambha
(columns, pillars), etc.
23. Gramadi-lakshana-vidhi.
26. Tarunalaya-vidhi.
27. Prasada-vastu-vidhi.
28. Adyeshtaka-vidhi.
29. Garbha-nyasa-vidhi.
30. Anguli-lakshana-vidhi.
3 1 . Prasada-lakshana-vidhi.
32. Murdhnlshtaka-vidhi.
33. Linga-lakshana.
34. Sakala-lakshana-vidhi.
35. Ankurarpana-vidhi.
36. Lihga-pratishtha-vidhi.
37. Sakala(image, idol)-pratishtha.
38. Sakti-pratishtha-vidhi.
39. Parivara-vidhi.
40. Vrishabha-sthapana-vidhi.
AGASTYA-SAKALADHIKARA (manuscript)-
(Aufrecht, part I, p. 683, see Taylor, i, 72.)
Chapters :
1. Mana-sarhgraha.
2. Uttama-daSa-tala.
3. Madhyama-dasa-tala.
AGARA-VINODA AM ENCYCLOPAEDIA OF
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,
attributed to Agastya. See Catalogue, Vol. XXH, nos. 13046, 13047, 13058.
Nos. 13046, 13047 are incomplete and deal with astrological matters bear-
ing upon architecture. No. 13058 is a portion of a large manuscript (see
under SILPA-SAMGRAHA) which is an anonymous compilation. The follow-
ing chapters of it are ascribed to Agastya :
1. Mana-samgraha-visesha.
2. Uttama-dasa-tala.
3. Madhyama-das"a-tala.
4. Somaskanda-lakshana.
5. Chandra-Sekhara-lakshana.
6. Vrisha-vahana-lakshana.
It is not quite clear whether the following 7-14 (which are not numbered
as such in the compilation) should be attributed to Agastya :
7. Tripurantaka-lakshana.
8. Kalyana-sundara-lakshana.
9. Ardha-narisvara-lakshana.
10. Pasupata-lakshana.
1 1 . Bhikshatana-lakshana.
12. Chandesanugraha-lakshana.
13. Dakshina-murti-lakshana.
14. Kala-dahana-lakshana.
15-18. Apparently missing.
19. Pratima-lakshana.
The following found in another portion of the compilation are indifferently
numbered as shown on the right parallel column :
20. (3) Upapitha-vidhana.
21. (9) Sula-mana-vidhana.
22. (10) Rajju-bandha-samskara-vidhi.
23. (u) Varna-samskara.
24. (21) Akshi-mokshana.
AGARA-VINODA — On the construction of houses.
(Aufrecht. ibid., part i, p. a.)
HINDU ARCHITECTURE KASYAPlYA
AYA-TATTVA — by Mandana Sutradhara.
(See Vastu-sastra, by Rajavallabha Manddana.)
AYADI-LAKSHANA — On architectural and sculptural measure-
ment.
(Aufrccht, part i, 62.)
ARAMADI-PRATISHTHA-PADDHATI— On the construction of
gardens, etc.
(Aufrecht, part i, p. 53.)
K
KAMIK.AGAMA — See under AGAMAS.
KARANAGAMA — See under AGAMAS.
K.A&YAPIYA — (Manuscript), deals with architecture and cognate
arts. (Govt. MSS. Library, Madras, Catalogue of MSS., Vol. xxn,
p. 8755, f., nos. 13032, 13033. See also Oppcrt's List of Sanskrit
MSS. in Private Libraries of South India, Vol. n, p. 395, no. 6336.)
' This work has attained universal authority amongst all the sculptors
of South India up to the present time, and the young pupils are even now
taught to learn by heart the verses given in this book regarding the rules
of constructions and measurements of images.'1 Kasyapa is said to have
learnt this science from Siva (patala i, verses 1-5).
The contents are divided into eighty-three patalas which are classified in
an overlapping manner into the following headings :
1 . Karshana.
2. Prasada-vastu.
3. Vastu-homa.
4. Prathameshtaka-vidhi.
5. Upapitha-vidhana.
6. Adhishthana-vidhi.
7. Nala-lakshana.
8. Stambha-lakshana.
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
KASYAPIYA
AN ENCYCLOPAEDIA OF
15. Kumbha-tala-lakshana.
16. Vritta-sphutita-lakshana, cf. 13.
17. Dvara-lakshana.
1 8. Kampa-dvara-lakshana.
19. Prastara-lakshana.
20. Gala-vidhana.
2 1 . Sikhara-lakshana.
22. Nasika-lakshana.
23. Manopakarana.
24. Mana-sutradi-lakshana.
25. Nagaradi-vidhi.
26. Garbha-nyasa-vidhi.
27. Eka-tala-vidhana.
28-40. Dvi-trayoda£a-tala-vidhana.
41. Shodasa-bhumi-vidhana.
42. Murdhanishtaka-vidhana.
43. Prakara-lakshana.
44. Manta(-da)pa-lakshana.
45. Gopura-lakshana.
46. Sapta-matrika-lakshana.
47. Vinayaka-lakshana.
48. Parivara-vidhi.
49. Linga-lakshanoddhara.
50. Uttama-dasa-tala-purusha-mana.
51 . Madhyama-dasa-tala-purusha-mana.
52. Uttama-nava-tala.
53. Madhyama-nava-tala.
54. Adhama-nava-tala.
55. Ashta-tala.
56. Sapta-tala.
57. Pitha-lakshanoddhara.
58. Sakala-sthapana-vidhi.
59-60. Sukhasana.
6 1 . Chandra-sekhara-murti-laksha na.
62. Vrisha-vahana-murti-lakshana.
63. Nritta-miirti-lakshana.
64. Gangadhara-murti-lakshana.
65. Tri-pura-murti-lakshana.
66. Kalyana-sundara-lakshana.
67. Ardha-nariSvara-lakshana.
68. Gajaha-murti-lakshana.
622
HINDU ARCHITECTURE KSHETRA-NIRMANA-VIDHI
69. Pasupati-murti-lakshana.
70. Kankala-murti-lakshana.
7 1 . Hary-ardha-hara-lakshana.
72. Bhikshatana-murti-lakshana.
73. Chandesanugraha.
74. Dakshina-murti-lakshana.
75. Kalaha-murti-lakshana.
76. Lingodbhava-lakshana.
77. Vriksha-sarhgrahana.
78. Sula-lakshana.
79. Sula-pani-lakshana.
80. Rajiju-bandha-lakshana.
8 1 . Mrit-samskara-lakshana.
82. Kalka-sarhskara-lakshana.
83. Varna-sarhskara-lakshana.
84. Varna-lepana-medhya-lakshana.
85. Gramadi-lakshana.
86. Grama-lakshana.
KUPADI-JALA-STHANA-LAKSHANA— On the construction of
wells, etc.
(In possession of the Maharaja of Travancore ; Oppert's
List of Sanskrit MSS. in Private Libraries of
South India, Vol. i, p. 467.)
KAUTUKA-LAKSHANA— On architecture.
(Oppert's List of Sanskrit MSS., ibid.,
Vol. ii, p. 258.)
KRIYA-SAMGRAHA-PANJIKA— A catalogue of rituals by Kula-
datta. It contains among other things instructions for the selec-
tion of site for the construction of a Nihara and also rules for building
a dwelling house.
( The Sanskrit and Buddhist Literature of Nepal, by
Rajendra Lai Mitra, 1882, p. 105.)
KSHIRARNAVA — Attributed to Visvakarman, on architecture'
etc.
(Aufrecht, ibid., part II, pp. 26, 138.)
KSHETRA-NIRMANA-VIDHI— On the preparation of ground
with a view to construction of buildings thereupon.
(In possession of the Raja of Cochin ; Oppert's
List of Sanskrit MSS. in Private Libraries
of South India, Vol. I, p. 354.)
623
„
„
GARUDA-PURANA AN ENCTCLOPAED1A OF
G
GARUDA-PURANA— See under PURANAS.
GARGYA-SAMHITA— (MSS. R. 15. 96, in Trinity College, Cam-
bridge ; it contains 108 leaves, in oblong folio; Indian paper;
Devanagari character ; copied in 1814). It deals with the follow-
ing architectural subjects :
Dvara-nirdesa I (fol. 513, chap. 3).
Dvara-pramana-vidhi | (fol. 57^).
Garglyayam vastu-vidyayarh chatuh-sala-dvi-tri-salaika-sala-vidhi I
(fol. 58a).
Vastu-vidyayarh chatur-bhaga-tri-bhaga-prati-bhaga, etc. (fol. 6oa) .
Dvara-stambhochchraya-vidhi. I (fol. Gob).
Vastu-vldyayam prathamo'dyayah I (fol. 673).
dvitlyo'dhyayah I (fol. 676).
dvara-pramana nirdesam I (fol. 68a).
Griha-pravesam I (fol. 68i).
GRIHA-NIROPANA-SAICIKSHEPA— A summary-work on house-
building.
(Aufrecht, ibid., part i, p. 157.)
GRIHA-NIRMANA-VIDHI— On rules for the erection of houses,
temples, and other edifices.
(Wilson's Mackenzie Collection, p. 304.)
GRIHA-PlTHIKA — On the construction of houses.
(Oppert's List of Sanskrit MSS. in Private
Libraries of South India, Vol. i, p. 545.)
GRIHA-VASTU-PRADlPA— (Lucknow, 1901)— Contains 87 pages
deals mostly with astronomical and ritualistic matters in connec-
tion 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. Vdstu-sarani.)
624 M
HINDU ARCHITECTURE JNANA-RATNA-KOSHA
GH
GHATTOTSARGA-SUCHANIKA— On the erection of steps on
the bank of a river.
(Aufrecht, ibid., part in, p. 37.)
GH
CHAKRA-SASTRA — On architecture and cognate arts.
(Oppert's List of Sanskrit MSS., ibid., Vol. n, p. 200.)
CHITRA-KARMA-SILPA-SASTRA— On painting.
(Aufrecht, ibid., part i, p. 187.)
CHITRA-PATA— On painting.
(Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 440.)
CHITRA-LAKSHANA— (ed. Laufer)— Treats largely with the sculp-
tural measurement of images and painting ; translated into German
from Tibetan, the original Sanskrit version is apparently missing.
CHITRA-SUTRA — On painting (mentioned in Kattani-mata, 22).
(Aufrecht, ibid., part i, p. 187.)
J
JAYA-MADHAVA-MANASOLLASA— Attributed to one Jaya-
simhadeva — On architecture.
(Aufrecht, ibid., part i, p. aoi.)
JALARGALA — Attributed to Varahamihira — On door-bars and
latticed windows.
(Oppert's List of Sanskrit MSS., ibid., Vol. n,
no. 3146, p. 217.)
JALARGALA- YANTRA — On the architectural instruments and
machines.
(Oppert's List of Sanskrit MSS., 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. contained in the Private Libra-
ries of Gujarat, etc. 1872, p. 276.)
625
TACHCHU-SASTRA AN ENCYCLOPAEDIA OF
T
TACHCHU-SASTRA— Same as Manushyalaya-chandrika (see
below).
TARA-LAKSHANA— On sculpture (image of the goddess Tara).
(Aufrecht, part i, p. 229.)
D
DASA-TALA-NYAGRODHA-PARIMANDALA-BUDDHA-PRA-
TIMA-LAKSHANA — On the ten-tala measure of Buddha images,
exists in Tibetan translation ; the original Sanskrit version is appa-
rently missing.
DASA-PRAKARA— Attributed to Vasishtha— On architectural
defects.
(See Vastu-sarani, by Matri-prasada-Pande, Benares, 1909.)
DIK-SADHANA— Attributed to Bhaskara— On architecture.
(See Vdsiu-sarani.)
DIRGHA-VISTARA-PRAKARA— Attributed to Narada— On
architectural measurement.
(See Vastu-sarani.')
DEVATA-SILPA— On sculpture, dealing specially with the images
of deities.
(A classified catalogue of Sanskrit works in
the Sarasvati Bhandaram Library of
His Highness the Maharaja of Mysore,
class XDC, no. 535.)
DEVALAYA-LAKSHANA— On the construction of temples.
(Oppert's List of Sanskrit MSS. in Private
Libraries of South India, Vol. i, p. 470.)
DVARA-LAKSHANA-PATALA— On the construction of doors.
(Ibid., no. 6003, p. 470.)
DH
DHRUVADI-SHODASA-GEHANI— Attributed to Ganapati— On
the architectural arrangement of buildings.
(See Vastu-sarani.)
636
HINDU ARCHITECTURE PlTHA-LAKSHA^A
N
NARADA-PURANA— See under PURANAS.
NARADA-SAMHITA— deals with the following subjects :
(i) Sura-pratishtha (20 verses).
(a) Vastu-vidhana (62 verses, describing briefly Bhupariksha, Dvara-
thana, Sariku-sthapana, Pada-nyasa, and Griha-nyasa).
(3) Vastu-lakshana— describes ceremonies of Griha-pravesa.
NAVA-$ASTRA-< On ship-building and navigation.' But the
. chiefly astrological. • Some directions are, however, given
respecting the materials and dimensions of vessels.
(Taylor's Catalogue Raisante, Vol. ni, p. 6.)
In Taylor's Catalogue Raisonee, there is mentioned another Manuscript
Of which them e is lost. Itis • ontheart of constructing forts, houses, fanes,
settling a village ; navigation and variety of other similar things enum-
erated as taught in 36 works, the names of which are given.' (Ibid., Vol. m,
P- 35°-)
P
PAKSHI-MANUSHYALAYA-LAKSHANA-On the construction
ol human dwellings and aviaries.
(Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 471 )
PA*rCHA-RATRA-(PRA)DlPIKA-(also called Mantra-dipika)-
t professes to form a part of the Padma-tantra of the Narada-Pancha-
ratra. It has a Telugu commentary by Peddanacharya. It deals
with images and consists of the following five chapters :
1. Sila-samgraha-lakshana.
2. Daru-sarhgrahana.
3. Pratima-lakshana.
4. ... nama-tritiyo'dhyaya.
5. Pratima-samgrahe jaladhivasana-ashtamo'dhyaya.
(See Egg. MSS., 3150, 2579, n, Mackenzie Collection.)
PWDA-PRAKARA-Attributed to Gopiraja-On architectural
subjects.
(See Vastu-sdrani.)
PITHA-LAKSHANA— On pedestals.
(Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 473.)
627
PURANAS AN ENCYCLOPAEDIA OF
PURANAS — (Bombay editions) — Of the 18 or 19 Maha-puranas,1
the following have special reference to Architecture and Sculpture :
I. Agni-Purdna :
Chapters :
42. Prasada-lakshana-kathana.
43. Prasada-devata-sthapana.
44. Vasudevadi-pratima-lakshana-vidhi.
45. Pindika-lakskana.
46. Salagramadi-murti-lakshana-kathana.
49. Matsyadi-daSavatara-kathana.
50. Devi-pratima-lakshana-kathana.
51. Suryadi-pratima-lakshana.
52. Devi-pratima-lakshana (cf. 50).
53. Linga-lakshana.
54. Linga-manadi-kathana.
55. Pindika-lakshana-kathana (cf. 45).
60. Vasudeva-pratishtha-vidhi (cf. 44).
62. Lakshmi-pratishtha-vidhi.
104. Prasada-lakshana (cf. 42).
105. Grihadi-vastu-kathana.
1 06. Nagaradi-vastu.
II. Garuda-Purdna :
Chapters :
45. Salagrama-murti-lakshana.
46. Prasada-arama-durga-devalaya-mathadi-vastu-mana-lak-
shana-nirupana.
47. Prasada-linga-mandapadi-subhasubha-lakshana-nirupana.
48. Devanam pratishtha-vidhi.
III. Ndrada-Purdna :
Part I, chapter :
13. Devatayana-vapi-kupa-tadagadi-nirmana.
IV. Brahmdnda-Purdna :
Chapter :
7. Grihddi-nirmdna.
!i. Brahma.
2. Padma.
3. Vishnu.
4. Si
iva.
5. Bhagavata.
6. Narada.
7. Markandeya.
8. Agni.
9. Bhavishya.
19. Kurma.
628
10. Brahma-vaivarta.
11. Linga.
12. Varaha.
13. Skanda (also called Kumara).
14. Vamana.
15. Matsya.
1 6. Garuda.
17. Brahmanda.
18. Vayu.
HINDU ARCHITECTURE PURANAS
V. Bhavishya-Purdna :
Chapters :
12. Madhya-parvani, Pratidevata-pratima-lakshana-varnana.
130. Brahma-parvani, Prasada-lakshana-varnana.
131. Murti-sthana, deals with the materials, etc., of which
images are made.
132. Pratima-mana, deals with the measurement of images.
VI. Matsya-Purdna :
Chapters :
252. Deals with the introduction of eighteen ancient architects —
Bhrigu, Atri, Vasistha, Visvakarma, Maya, Narada, Nagnajit,
Visalaksha, Purandara, Brahma, Kumara, Nandlsa, Saunaka,
Garga, Vasudeva, Aniruddha, Sukra, and Brihaspati.
255. Stambha-mana-vinirnaya.
257. Darvaharana.
258. Nava-tala-mana.
262. Plthika-lakshana.
263. Lihga-lakshana.
269. Prasada-varnana.
270. Mandapa-lakshana.
VII. Linga-Purdna :
Part II, chapter :
48. Yaga-kunda-vinyasa-kathana-purvakarh sarvasarh devatanarh
sthapana-vidhi-nirupanam, Prasadarchani-nirupanam.
VIII. Vayu-Purdna :
Part I, Chapter :
39. Saila-sthita-vividha-devalaya-kirtana.
IX. Skanda-Purdna :
Chapters :
24. Mahesvara-khande-prathame — Himalayena sva-sutaya viva-
hartharh Gargacharya-purohitarh puraskritya Visvakarma-dvara
purva-mandapa-nirmanadi-varnanam, Naradad Visvakarma-
krita-vivaha-mandaparh chaturyena sarva-deva-pratikriti-chitra-
vinyasarh srutva sarvesham devanarh ^anka-praptih.
Mahesvara-khande dvitiye — svayarh Visvakarma-dvara-nirmapite
Mahinagare sthapana-varnana.
25. Vaishnava-khande dvitiye — Narada-likhita-sahitya-sambhava-
sarhgraha-patrarh srutva Indradumnajnaya Padmanidhina svarna-
sala-nirmanam, Naradajnaya Visvakarmana syandana-traya-nirma-
narh, tasya rathasya Narada-karena sthapanarh, tat-prasarhgena
ratha-sthapana-prakara-vidhi-varnanam.
629
PRATIMA-DRAVYADI AX ENCYCLOPAEDIA OF
VACHANA
PRATIMA-DRAVYADI- VACHANA— On the materials of which
idols are made.
(Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 490.)
PRATIMA-MANA-LAKSHANA— On the tala-measures of images,
exists in Tibetan Translation ; Sylvian Levi reports that he has
traced its original Sanskrit version in the Palace Library of Tibet.
PRATISHTHA-TATTVA— Also called MAYA-SAMGRAHA— On
architecture.
(Aufrecht, ibid., part m, p. 74.)
PRATISHTHA-TANTRA— On architecture in a dialogue form
between Siva and Parvatl.
(Aufrecht, ibid., part in, p. 74.)
PRASADA-KALPA — On the construction of buildings.
(Oppert's List of Sanskrit MSS., ibid., Vol. n, p. 522.
PRASADA-KIRTANA— On architecture.
(Author not known ; in possession of Gopal Rao,
Malegamva, Catalogue of Sanskrit MSS. in
Private Libraries of Gujarat, etc., 1872, p. 276.)
PRASADA-DlPIKA — On architecture, quoted in Madana-Parijata
(Aufrecht, ibid., part i, p. 364.)
PRASADA-MANDANA-VASTU-SASTRA— Attributed to Sutra-
dhara Mandana — (Egg. MSS. 3147, 2253). It is written in Sanskrit,
but is largely mixed with Bhasha forms. It contains the following
eight chapters :
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, pancha-kshetra-pancha-chat-
van rhsan-meru-lakshanadhy aya .
7. Mandapa-balanaka-sambaranadhikara.
8. Jirnoddhara-bhinna-dosha-sthavara-pratishtha, Sutra-dhara-
puja, Jina-pratishtha, Vastu-purusha-vinyasa.
PRASADA-LAKSHANA— Attributed to Varahamihira— On arcl
lecture.
(Oppert's List of Sanskrit MSS., ibid., Vol. 11, p. 208.)
630
HINDU ARCHITECTURE BRAHMANDA-PURANA
PRASADA-LAKSHANA— On buildings.
(Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 473.)
PRASADALAftKARA-LAKSHANA— On the decoration (articles
of furniture) of buildings.
(In possession of the Maharaja of Travancore ; Oppert's
List of Sanskrit MSS., ibid., Vol. n, p. 473.)
B
BIMBAMANA — (MSS. British Museum, nos. i. 559, 5291, foil. 33, 7
lines to a page ; n, 558, 5292, foil. 27, 9 lines to a page ; written in
Simhalese character, has a Sirhhalese commentary) — This is a
treatise on religious sculpture, stated to be extracted from a Gautamlya
ascribed to Sariputra. The last colophon runs thus : Iti Gautamiye
Sari-putra-srute Bimba-manam samaptam. The commentator explains
this Bimbamana-vidhi as the Sarvajna-pratima-pramana-vidhi.
BRIHAT-SAMHITA— Of Varahamihira— On architectural and
sculptural matters.
Chapters :
53. Vastu-vidya.
56. Prasada-lakshana.
57. Vajra-lepa.
58. Pratima-lakshana.
79. Sayyasana-lakshana.
BUDDHA-PRATIMA-LAKSHANA— On the tala measure of Bud-
dha-images ; exists in Tibetan Translation ; the original Sanskrit
version is apparently missing.
BUDDHA-LAKSHANA— in Siamese, dealing with ' the more
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 Wat (temple) Sudas at Bangkok (capital of Siam). ' A paper
about the attitudes of Buddha images in the Siamese monasteries
was written by£the Somtej Phra Paramanujit, the son of the King
Phra Buddha Yot Fa (died in A.D. 1854).'
BRAHMANDA-PURANA— See under PURANAS.
631
BHAVISHYA-PURANA AN ENCYCLOPAEDIA OF
BH
BHAVISHYA-PURANA— See under PURANAS.
M
MATHA-PRATISHTHA-TATTVA— Attributed to Raghunandana
— Contains quotations from the Devi-purdna and the Deva-pratish-
thd-tattva, both of which deal with architectural and sculptura
matters.
MATSYA-PURANA— See under PURANAS.
MANUSHYALAYA-CHANDRIKA— (Also called TACHGHU-SASTRA)
— deals with measurement, etc., concerning private dwelling houses
as distinguished from religious temples, and military forts, etc. It
contains 65 stanzas and a Malayalam translation. There is a
manuscript also bearing the same title.
(Oppert's List of Sanskrit MSS., ibid, Vol. i, p. 475.)
MANUSHYALAYA-LAKSHANA— On the building of human
dwellings.
(In possession of the Maharaja of Travancore ;
Oppert's List of Sanskrit A1SS., ibid, Vol. i, p. 475.)
MANJU-SRI-MULA-KALPA— A Tantra work (cf. Trivandrum
Sanskrit Series), translated in Tibetan, deals with some architectural
matters.
MANTRA-DlPIKA (see PANCHA-RATRA-PRADIPIKA) — On archi-
tecture.
MAYAMATA — An oft quoted and well-known authority on architec-
ture. There are several treatises attributed to Maya :
I. Mayamata, edited by Ganapati Sastri, 1919, from three fragmen-
tary and one incomplete (with a Tamil translation) manuscripts ; it con-
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
commentary by Gannamacharya.
II. Mayamata-Silpa-Sastra-vidhana (Egg. 3150, 2575, 3151, 2630, with
Gannamacharya's Telugu commentary as noted above).
III. Maya-Silpa-satika (another manuscript).
IV. 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
Collection (Translation, class x, Sanskrit, 2-6).
632
HINDU ARCHITECTURE MAYAMATA
V. Mqya-vastu — text, pp. 33, published by Rama Svami Sastralu &
Sons, Madras, 1916.
VI. Mqya-vdstu-Jdstram — text, pp. 40, published by K. Lakshman
Mudali, Madras, 1917.
VII. A Sinhalese version of Maydmataya manuscripts is referred to by
A. K. Goomarswamy (Mediaeval Simhalese Art., pp. 124-128). It also
deals with a few architectural objects and is meant for ' learned and skilful
architects.'
VIII. Mqyamata-vastu-fdstra — Oriental Manuscripts Library, Madras,
Catalogue, Vol. xxn, nos. 13034 (with a Tamil commentary), 13035
(with a Telugu commentary), 13036, 13037, 13038, 13039 (with a Telugu
commentary) .
Of these manuscripts no. 13034 is the largest, containing 390 pages of
13!" X 8" paper of 22 lines to a page. The subjects and the method of
description are strikingly similar to those of the Mdnasdra. It is divided
into the following 36 chapters :
1. Sarhgrahadhyaya.
2. Vastu-prakara.
3. Bhu-pariksha.
4. Bhu-parigraha.
5. Manopakarana.
6. Dik-parichchhedana.
7. Pada-devata-vinyasa.
8. Deva-bali-karma-vidhana (incomeplete).
9. Grama-garbha-vinyasa (incomplete).
10. Nagara-vinyasa.
1 1 . Bhu-lamb(h)a-vidhana.
12. Garbha-nyasa-vidhana.
13. Upapitha-vidhana.
14. Adhisthana-vidhana.
1 5 . Pada-pramana-dravya-parigraha.
1 6. Prastara-karana. '
17. Sandhi-karma-vidhana.
1 8. Skhara-karana-bhavana-samapti-vidhana.
19. Eka-bhumi-vidhana.
20. Dvi-bhumi-vidhana.
21. Tri-bhumi-vidhana.
22. Bahu-bhumi-vidhana.
23. Prakara-parivara (elsewhere, Sandhi-karma-vidhana).
24. Gopura-vidhana.
25. Sabha(mandapa)-vidhana.
26. Sala-vidhana.
633
MAYAMATA AN ENCYCLOPAEDIA OF
27. Griha-manadhikara (elsewhere Chatur-griha-vidhana,i .
28. Griha-pravesa.
29. Raja-vesma-vidhana.
30. Dvara-vidhana.
31. Yanadhikara.
32. Yana-sayanadhikara.
33. Linga-lakshana.
34. PItha-lakshana (incomplete).
35. Anukarma-vidhana.
36. Pratima-lakshana.
Compare no. I, which contains the first 34 out of 36 chapters given in
the above list, the variations are noted within brackets.
No. 13035 contains in 74 pages the chapters 1-32.
No. 13036 is same as no. 13035.
No. 13037 contains only two incomplete chapters in six pages.
No. 13038 contains in 94 pages the following twelve chapters :
1. Pratima-vidhana.
2. Aya-lakshana.
3. Linga-lakshana.
4. Dasa-tala-vidhana.
5. Kunchita-vidhana.
6. Nava-tala-vidhana.
7. Hasta-karma-vidhana.
8. Upapitha-vidhana.
9. Eka-bhumi-vidhana.
10. Dvi-tala-vidhana.
1 1 . Tri-t ala-vi dhana.
12. Gopura-vidhana.
Its colophon runs thus — ' iti Gannacharya-virachitayarh Mayamate
Silpa-sastre . . .
No. 1 3039 contains in 36 pages the first four chapters of no. 1 3038. ' There
is in Tamil a treatise on Silpa-Saslra, said to have been originally
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
as well as by additions. The work under consideration seems to have been
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. v., p. 230, c. i, para, i ; see also
M.t ii, 11-12, 17-20, under STHAPATJ.)
634
HINDU ARCHITECTURE MAYAMATA
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 is so overwhelming that
" the impartial reader must wonder why the issue was ever a controversial
one." It appears that it was India which contributed most to the develop-
ment of Maya culture. Among the Maya sculptures are to be found
representations of Hanuman, of Ganes"a, and of Indra and the pictorial
and ritualistic reminiscences of Buddhism. " All this suggests," says Mr.
Massingham, " that the ancient mariners reached the American coast from
A. D. 700 onwards not once but many times." The Hindu culture could
not have been transported to Central America unless the Hindus had been
a great sea-faring people.'
Exploration of the sites of a lost civilization is the fascinating pursuit
of Dr. Gann, who has discovered a hitherto unknown monolith and a once-
populous site in the forests of Yucatan. He is exploring for traces of the
Mayas, and his progress is recorded in a series of articles published in the
Morning Post :
' I discovered the ruins of the great city 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
Itzas from Chichenitza to Coba, which is about fifty miles to the east of
Cbichenitza.
' The books of Chilan Balam are the old traditions of the Mayas, which
survived the Spanish conquest of Yucatan. They record the migrations
of Maya clans, and were reduced to writing in the sixteenth century.
I 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
buried in the bush upon which were inscribed : "Ubalob uxben uincoob,"
or things belonging to the ancient people. He said he had found it
not many miles north of the British Honduras frontier.
' 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
for about thirty miles into the south of the Yucatan Peninsula. This is
surely one of the most desolate stretches of water in the world. It is
shallow, yellow, forbidding. On the east separating it from the Caribbean
Sea, is an unexplored, uninhabited peninsula, covered with virgin bush.
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
the bush to make a small maize plantation. My Indian guide directed
us to land here, and then led us to the stone we were seeking.
' The full importance of the discovery was not apparent at first. It
was a block of greyish schist, twelve feet long, eighteen inches wide, and
twelve inches thick. It had at one time stood upright, but now lay flat
and embedded in the ground. Upon one edge faint traces of sculpture
were visible, but the 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 soil from the stone, and there — glorious surprise —
I saw the Maya Initial Series Date — 9. 8. o. o. o. 5 Aban 3 Chen, or 26
October, A. D. 333! The sculpture preserved by its burial in the earth,
was almost as clear and plain as on the day when it was cut in the stone,
nearly sixteen centuries ago.
' Amid all the Maya ruins in 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
were, apparently, uninhabited regions.
' Earthquakes, pestilence, and foreign invasion have been suggested as
possible causes of this migration. The cities the Mayas left bear no traces
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 important to fix the date when they
first established themselves in Yucatan ; and this discovery may, in fact,
cause a complete reversion of the ideas generally held as to their first immi-
gration into this peninsula and their foundation of what is known as the
New Empire. It may, indeed, affect our views of the whole history of
the earliest and most advanced aboriginal civilization of America, which
was in many respects the highest civilization of ancient, if not of any time.
636
HINDU ARCHITECTURE MAYAMATA
' The carving on this stela begins with the initial glyph and in column
below this come the glyphs meaning —
9 Bactuns (periods of 400 years, each of 360 days) .
8 Katuns (periods of twenty years), O Tuns (years).
o Unials (Maya months of twenty days).
o Kins (days). It thus records the lapse of 3,760 years from the
beginning of the Maya chronology. The Mayas did not count any
period of time until it was completed, that is to say, their sign for the
first day of a month was o. So if written in our style these glyphs would
read i. i. 3761.
; It is generally assumed that the date from which the Mayas reckoned
their chronology is mythological rather than historical. But for the present
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-
fore, 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
in 3381. The British Museum Guide to the Maudsley collection of
Maya 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.
' 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
indecipherable. I have no doubt though that if we could read them we
should find that they recorded events which had occurred during the
preceding Katun or period of twenty Maya years, as such stelae were put
up by the Mayas to commemorate the ends of each of those periods.
' The monolith had been erected just in front of a great terraced pyramid
which stood between two others. All these pyramids were faced, in the
usual Maya style, with blocks of cut limestone. The central one had
three terraces and was 32 feet high. Its flat top, upon which there no
doubt stood a wooden temple, long since perished, was 135 feet long and
64 feet across.
' Further investigation showed that these pyramids were at one end of
a great enclosure, which was surrounded by a massive stone wall. This
wall is from 12 to 15 feet thick at the base, and in the places where it has
remained intact, it is 12 feet high ; but for the most part the growth of luxur-
ious vegetation has 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.
637
MAYAMATA AN ENCYCLOPAEDIA OF
' I think there can hardly be any doubt that this was intended as a forti-
fication, and therefore a particular interest is attached to it. For, judging
by all their sculptures, the ancient Mayas knew nothing of war. Their
sculptors have left no records of battles or triumphs, such as those of Greece,
Egypt, or Babylon. One assumed that all the Maya clans dwelt in amity
and that until quite late in their history they had no experiene of fighting,
either among themselves or with alien races.
' Yet here we have what is obviously a defensive work, and it seems signi-
ficant that the only two walls of this kind which have hitherto been dis-
covered are also in Yucatan, one being at Tuluum, on the east coast, and
the other at Chicken Itza, in the northern interior. Against whom were
these defences erected ? Judging by the date on the stela, they were built
centuries before the Mayas came in contact with the Tolecs, on the north.
It has 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. Why this innovation ?
' The space enclosed by this wall had evidently been densely populated
in bygone times. For in the places where the Indians have cleared the
undergrowth away, one could see that the ground is literally covered with
potsherds, flint and obsidian chips, clay beads, spindle whorls, small human
and animal heads, and other surviving evidences of human habitation -
' A great concourse of people must have lived there for many genera-
tions.
' The discovery of these ruins was, more or less, incidental. During this
season my primary objective is Northern Yucatan, where Professor Morley,
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
has seen.
' Along the east coast of Yucatan live the Santa Cruz Indians, presumably
the direct descendants of the ancient 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.
' The Santa Cruz 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
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 forests of the hills
and they permit no stangers to intrude.
638
HINDU ARCHITECTURE MAYAMATA
' The danger of penetrating into this Santa Cruz country arises from the
fact that the suspicious Indians may fire from the bush without inquiry
whether the strangers are friends or foes.'
About the vast cave of Loltun, which is possibly the largest cavern in the
world he adds that ' this cave is 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
earth, 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
out in every direction. On the floors of the chambers, buried in the cave
earth, innumerable potsherds have already been found, also human and
animal bones, flint and stone weapons and implements, and many other
relics of the ancient inhabitants. It is possible that the deeper layers of
earth and the remote galleries and passages may contain relics of the pre-
Maya 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
handed down amongst the modern Indians that during one of the innumer-
able 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
gases. Whatever their fate, the possibility of coming suddenly at any
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
vast catacombs, where silence is 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
thousand mocking echoes from the rocky walls. Upon the walls of the
lighted chamber many crude drawings have been left by the former inha-
bitants, 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 import-
ance. He regards it as having been built for the purposes of human sacrifice.
I disagree. My reason for disagreeing is that there are similar causeways in
Cambodia, which were designed purely for ceremonial purposes.
639
MAYAMATA AM ENCYCLOPAEDIA OF
' The whole Maya remains as discovered show the closest possible relation
with the civilization as it existed in Java and South-East Asia to what has
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 estab-
lished by them became fashionable and was built in stone.
' While the great causeway was of outstanding interest, it had to be
remembered that it could be paralleled with the remains of Indian
civilization. Further there was no question but that Maya carvings
represented Indian elephants and Indians with typical head-dresses.
' Indian navigators, it was known, had combed out the islands in the
Pacific, such as Easter Island and many others, and it was unthinkable
that they should not have discovered a continent that stretched from pole
to pole.
' To the archaeologist the issue now raised was of supreme importance.
Until fifty years ago the orthodox held that the Maya civilization was of
Indian origin. The dating derived from the hieroglyphs was so vague as
to give little help, and interpretation varies by as much as three or six
centuries.
' What supremely interests the archaeologists,' Professor Elliot Smith
continues, ' is that we find a civilization starting full-blown in Central
America. Under Asiatic influence, it rose to great heights, but had already
collapsed before the advent of the Spaniards who may have given it the
coup de grace. To know the real secret of Maya culture affects our whole
interpretation of civilization.
' Can different communities, such as the Indian, the Chinese and the
American, build up a civilization independent of each other, or is it possible
for a certain civilization to be spread about the world in the same way
that a steam engine can be distributed ?
' This is the great problem of ethnology today, and the issue now centres
in the problem as to how civilization started in Central America. There is
a large gap between Asia and America, but if diffusion means anything it
means that that gap must have been bridged as I have shown it could have
been.
640
HINDU ARCHITECTURE MANAVA-VASTU-LAKSHANA
' The Maya civilization rose and fell. It fell so soon as the energy of the
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 one now questions Dr. Gann's facts, but many competent archaeolo-
gists dispute the conclusions at which he arrived. An archaeological issue
has now been fairly raised. Did the Maya civilization arise from native
American civilization, or was it the result of peaceful penetration by the
Asiatic ?
Professor Grafton Elliot Smith, of University College, London, discus-
sing the subject with a Morning Post representative disagreed absolutely
with the views put forward by the American school, and supported by Dr.
Gann.
' At University College,' he said, ' we are absolutely convinced that the
Maya civilization was directly derived from India. We regard it as certain
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.'
(Central News, quoted from Morning Post, by Statesman,
March 21, April 9, 17, 15, 1926.)
MAHA-NIRVANA-TANTRA— Deals with both architectural and
sculptural matters, such as temples, idols, phallus, ponds, and tanks,
as well as with the directions concerning broken limbs of images,
especially the materials of which buildings and idols should be made
the Vastu god, and so on (Chapter xm, verses 22-286, see also chapters
xrv and vi) .
MAHABHARATA— (First Bombay edition ; and Calcutta edition
Gild. Bibl. 93) — Sabha-parvan, chapters :
I. Maya built a council hall (sabha) for the Pandavas.
7. Indra-sabha-varnana.
8. Yama-sabha-varnana.
9. Varuna-sabha-varnana.
10. Kubera-sabha-varnana.
1 1. Brahma-sabha-varnana.
MANA-KATHANA — On the system of measurement.
(Oppert's List of Sanskrit MSS , ibid., Vol. n, p. 473.)
MANAVA-VASTU-LAKSHANA— On architecture.
(Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 476.)
64.1
MANASA AN ENCYCLOPAEDIA OF
MANASA— (Same as MANASARA). See below.
(Oppert's List of Sanskrit Mbt>., ibid., Vol. n, p. 518.)
MANASARA — (edited and translated into English for the first
time by the writer) — The standard treatise and a complete text on
architecture 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
the writer's Summary of Mdnasdra, Leiden, 1917, in the Indian Architecture
according Mdnasdra-Silpa-Sdstra, 1927, and in Hindu Architecture in India
and Abroad.
MANASOLLASA — (R. L. Mitra's Notices of Sanskrit Manuscripts,
Vol. HI, p. 182) — Attributed to the Chalukya king Somesvara. In
two chapters, it deals with the following subjects :
1 . Mandirarambha-muhurta-kathana.
2 . Shodasa-prakara-griha-lakshana.
3. Raja-griha-lakshana.
4. Vastu-deva-puja-vidhi.
5. Griha-praves'a-kathana.
6. Griha-varnana.
7. Griha-chitra-varna-lakshana.
8. Vajra-lepa-lakshana.
9. Lekhani-lakshana.
10. Tambula-bhoga-kathana.
1 1 . Vilepanopabhoga-kathana.
12. Vastropabhoga-kathana.
13. Malyopabhoga-kathana.
14. Bhushabhoga-kathana.
15. Asana-bhoga-kathana.
1 6. Putradi-bhoga-kathana.
1 7. Anna-bhoga-kathana.
1 8. Panlya-bhoga-kathana.
19. Abhyanga-bhoga-kathana.
20. Yana-bhoga-kathana.
2 1 . Chhatra-bhoga-kathana.
22. Sayya-bhoga-kathana.
23. Dhupa-bhoga-kathana.
24. Stri-bhoga-kathana.
This work should not be confounded with that of the same name in
Taylor's Catalogue Raisorde (Vol. i, p. i) and its commentary, Manasollasa-
vrittanta-prakas'a (in Weber's Berlin Catalogue, p. 179.)
642
HINDU ARCHITECTURE RASI-PRAKARA
MANASOLLASA-VRITTANTA-PRAKASA— On architecture (cf.
Gaekwad Sanskrit Series).
(In possession of Vimana-Acharya, Benares,
Weber's Berlin Catalogue, p. 179.)
MURTTI-DHYANA— On sculpture.
(Aufrecht, ibid., Part i, p. 464.)
MORTTI-LAKSHANA— On idol-making.
(Ibid p. 464.)
There is another manuscript bearing the same title which is stated to
have been taken from the Garuda-samhita.
MOLA-STAMBHA-NIRNAYA— On architectural description of the
main pillar of a house.
(Ibid., p. 464, Oppert's List of Sanskrit MSS.,
ibid., Vol. H, p. 202.)
R
RATNA-DIPIKA— (Attributed to Chandesvara)— On architecture.
(Aufrecht, ibid., Part n, pp. 36, 114.)
RATNA-MALA — of Sripati — Deals with astrological matters in con-
nexion with the construction of houses and idols of deities under the
following chapters :
1 7 . Vastu-prakarana (28 verses) .
1 8. Griha-praves'a ( 1 1 verses) .
20. Deva-pratishtha (13 verses).
RAJA-GRIHA-NIRMANA— On the building of royal palaces.
(Burnell's Classified Index to the Sanskrit MSS. in
the Palace Library of Tanjore, 1880.)
RAJA-VALLABHA-TIKA— A commentary on Rajavallabha-Man
dana.
(Catalogue of Sanskrit MSS. in Private Libra-
ries of Gujarat, etc., 1872, p. 276.)
RAMAYANA— (First Calcutta edition, ed. Schlegel Gild. Bibl. 84,
ed. Gorrens, Gild, Bibl. 85, 2nd Bombay edition) — Devotes large
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 sculp-
tural matters in the Epics, the Puranas and the Agamas.)
RASI-PRAK.ARA— (Attributed to Garga)— Deals with astrological
mat! en concerning architecture.
(See Vdstu-Sdrani.)
643
ROPA-MANDANA AN ENCYCLOPAEDIA OF
ROPA-MANDANA — (Attributed to Mandana Sutradhara)— On
architecture.
(Cf. Rajavallabha Mandana.)
LAKSHANA-SAMUCHCHAYA— On the features in images of
deities, quoted by Hemadri in Danakhanda (p. 823), in Muhurta-
dipaka, and Parasurama-prakasa.
(Aufrecht, ibid., part i, p. 535.)
LAGHU-SlLPA-JYOTISHA— On architecture.
(British Museum Catalogue, 20, E. 32.)
LAGHU-SlLPA-JYOTIH-SARA— By Sivarama, with a Gujarati
commentary — This pamphlet deals mostly with astrological matters
concerning architecture. The contents are indicated in the following
verses :
Aya-rasis cha nakshatram vyayas taramsakas tatha I
Graha-maitri rasi-maitri nativedha-ganendavah II (3)
Adhipatyam vara-lagne tithy-utpattis tathaiva cha I
Adhipatyam varga-vairam tathaiva yoni-vairakam II (4)
Riksha-vairam sthitir na£o lakshanany eka-virh^atih I
Kathitani muni-sVeshthaih Silpa-vidvadbhir grihadishu II (5)
LlftGA-PURANA— See under PURANAS.
V
VALI-PITHA-LAKSHANA— On architecture.
(Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 473.)
VAYU-PURANA— See under PURANAS.
VASTU-CHAKRA— On architecture.
(Oppert's List of Sanskrit MSS., ibid., p. 538.)
VASTU-TATTVA— (By Ganapati Sishya, Lahore, 1853)— Consists of
four chapters and deals largely with astrological matters concerning
architecture.
VASTU-NIRNAYA— On architecture, dealing specially with the
classes of vastu (see under VASTTJ).
(Aufrecht, ibid., part i, p. 568.)
644
HINDU ARCHITECTURE VASTU-RATNAVALI
VASTU-PURUSHA-LAKSHANA— On architecture.
(Taylor's Catalogue Raisonee of Oriental MSS. in
the Library of the late College of Fort
St. George, Vol. i, p. 313.)
VASTU-PRAKASA— (Attributed to Visvakarman)— On architecture.
(Aufrecht, ibid., Part i., 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 (cf. VASTU-SARANI)— By Vasudeva, on archi-
tecture.
(In possession of Umasarhkara-Sastri, Azamgarh,
Catalogue of Sanskrit MSS. in N. W. P.,
1885, Part x, no. I, p. 56.)
VASTU-PRAVANDHA— (By Lala Rajakisora Varma, Lucknow,
1904) — It deals largely with astrological matters in connexion with
architecture, and contains extracts from the Brihat-sarhhitd, Visva-
karmd-prakdsa, Muhurta-chintdmani, Samgraka-siromani, Vdstu-vidyd-
prakdsa, Vdstu-pradipa, and Jyotis-sdra-muhurta-chakra-dlpikd.
VASTU-MA^IJARI— (Attributed to Mandana Sutradhara)— On
architecture.
(Cf. Rajavallabha-Mandana.)
VASTU -MANDANA— (Attributed to Mandana Sutradhara)— On
architecture.
(Cf. Rajavallabha-Mandana.)
VASTU-YOGA-TATTVA-( Attributed to Raghunandana)— Treats
largely of offerings to Vastu deity, and contains extracts from the
Matsya-Pardna, Devi-Purdna, Rudra-ydmala, and Vasishtha-sarhhitd.
VASTU-RATNA-PRAD IPA— On architecture.
(Cf. Vdslu-sarani.}
VASTU-RATNAVALI— (Compiled by Pandit Jivanath Jyotishi,
Benares, 1883) — 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, Brihat-
samhitd of Varahamihira, and Ratna-mdld.
(Burnell's Classified Index to the Sanskrit MAS. in the
Palace Library of Tanjore, p. 154.)
645
VASTU-RAJA-VALLABHA AM ENCYCLOPAEDIA OF
VASTU-RAJA-VALLABHA— (Attributed to Mandana Sutradhara,
probably same as Vdstu-sdstra, otherwise called Silpa-sdstra) — On
architecture.
(Catalogue of Sanskrit MSS. in N.W.P., ibid., p. 56.)
VASTU-LAKSHANA— On architecture.
(Oppert's List of Sanskrit MSS., ibid., Vol. i, p. 480.)
VASTU-VICHARA — (Attributed to Visvakarman) — A treatise on
architecture, apparently old.
(In possession of Gaurinath Sastri, Benares,
Catalogue of Sanskrit MSS. in N.W.P., 1885,
ibid., p. 56, Aufrecht, part i, p. 568.)
VASTU-VIDYA— (a manuscript, see Oppert's List of Sanskrit MSS.,
ibid., Vol. i, p. 480 ; Aufrecht, ibid., part i, p. 578 ; also a text
edited by T. Ganapati Sastri, 1913) — Deals with materials, etc. for
house building in the following sixteen chapters :
1. Sadhana-kathana.
2. Vasudha-lakshana.
3. Vastu-devata-kathana.
4. Vastu-purusha-kathana.
5. Vedi-sarhsthana.
6. Vastu-marma-sarhsthana.
7. Kala-niyama.
8. Sala-vidhana.
9. Pada-mana-kathana.
10. Lupa-lakshana.
1 1 . Lupa-karana.
1 2 . Dhuli-nirodhana .
1 3. Dvara-viny asa .
14. Kavata-dvara-vinyasa.
15. Bhavana-parigraha.
1 6. Mril-loshta-lakshana.
VASTU-VIDHI— (Attributed to Visvakarman) — On architecture.
(Aufrecht, ibid., part i, p. 568.)
VASTU-&ASTRA (see under SANAT-KUMARA) — On architecture.
(Oppert's List of Sanskrit MSS., tbid,Vo\. i, p. 580.)
VASTU-SASTRA— (also called Silpa-sdstra)— 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
HINDU ARCHITECTURE VASTU-SASTRA-SAMARAN-
GANA-SUTRADHARA
pura 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).
It 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
architect in the employ of king Kumbhakarna of Medapati (and the husband
of Marabai). According to Tod, ' the king Kumbha, who had a taste for
arts and built many temples and strongholds, ruled over the country of
Mewara from A. D. 1419 to 1469.' (Bhandarka,'s Report, 1882-83, p. 37-)
It contains the following fourteen chapters :
1 . Misraka-lakshana.
2. Vastu-lakshana.
3. Ayadi-lakshana.
4. Prakara-yantra-vapi-kupa-tadaga-lakshana.
5. Raja-griha-nivesadi-lakshana (verse 28 of this chapter men-
tions the Malsya-Purana as an authority).
6. Eka-sala-dvi-sala-griha-lakshana.
7. Dvi-sala-tri-sala-chatuh-sala-griha-lakshana.
8. Sayana-simhasana-chhatra-gavaksha-sabhashtaka-vcdika-
chatushtaya-dlpa-lakshana.
9. Raja-grihadi-lakshana.
10. (Mapita) kshetradbhuta-lakshana.
11. Dina-suddhi-griha-nivesa-griha-pravesa-vivaha-muhurta-
lakshana.
1 2. Gochara-dina-ratri-mana-svarodaya-koja-chakra-matrika-
lakshana.
13. Jyotisha-lakshana.
14. Sakuna-lakshana.
Six other works are ascribed to Mandana :
I. Rupa-mandana.
II. Vastu-mandana.
III. Prasada-mandana.
VI. Aya-tattva.
V. Vastu-manjarl.
VI. Vastu-sara.
VASTU-SASTRA-SAMARAfrGANA-SUTRADHARA— (Attributed
to Bhojadeva) — -On architecture.
(Aufrecht, ibid., part i, p. 568.
647
VASTU-SlROMANI AN ENCYCLOPAEDIA OF
VASTU-SlROMANI— On architecture.
(Aufrecht, ibid., part i, p. 568.)
There is another manuscript of the same title, attributed to Maharaja
Syamasaha Sankara.
VASTU-SAMUCHCHAYA— On architecture.
(Aufrecht, ibid., part i, p. 568.)
VASTU-SAMKHYA— On architecture, "an extract of Todara-
nanda, very rare, complete and incorrect."
(Catalogue of Sanskrit MSS. in JV. W. P., 1885, part ix, p. 56.)
VASTU-SAMGRAHA— (Attributed to Visvakarman)— On archi-
tecture.
(Aufrecht, ibid., part i, p. 568.)
VASTU-SAMGRAHAMU— Contains 100 pages, written in Tclugu
character, and deals largely with astrological matters concerning
architecture.
(Mackenzie Collection, by Wilson, p. 171.)
VASTU-SARVASVA — On architecture, comprises 16 pages.
(By Nanjunda Dikshita, published by V. Rama-
svami Sastralu and Sons, Madras, 1916.
VASTU-SARA — (Attributed to Sutradhara Mandana)— With a Guja-
rati commentary (Ahmedabad, 1878), it deals largely with astrolo-
gical matters concerning architecture. There is also another manus-
cript of same title.
(Aufrecht, ibid., part i, p. 569.)
VASTU-SARANI— (by Matri Prasada Pande, Benares, 1909)— This
is a manual of astrological details in connexion with the construction
of a house, compiled from the following treatises :
I . Grama-nirnay a, of Naray ana .
II. Rasi-prakara, of Garga.
III. DaSa-prakara, of Vasishtha.
IV. Dik-sadhana, of Bhaskara.
V. Sthala-Subhaiubha-kathana, of Narayana.
VI. Vastu-pradipa.
VII. Rahu-mukha, by Rama.
VIII. VisVakarma.
IX. Pinda-prakara, by Gopiraja.
X. Narada.
648
HINDU ARCHITECTURE VI$VAKARMA-MATA
XI. Dhruvadi-shodasa-gehani, by Ganapati.
XII. Griharambha, by Srlpati.
XIII. Vastu-ratna-pradipa.
XIV. Dikshu-vriksharopana, by Ganapati.
VASTU-SARA-SARVASVA-SAMGRAHA— (Bangalore, 1884, with
a Ganarese commentary) — A compilation on architecture.
VIMANA-LAKSHANA— On architecture.
(In possession of Archaka Yogananda Bhatta
of Melkota ; Oppert's List of Sanskrit
MSS., ibid., Vol. n, p. 266.)
VI SVAKARMA-MATA— Quoted by Hemadri in Parisesha-khanda
(2,817,825,827,828).
(Aufrecht, ibid., part n, p. 138.)
There is another treatise ascribed to Visvakarman (Rajendralala Mitra,
Notices of Sanskrit MSS., Calcutta, 1871, Vol. n, no. 731, p. 142), fol. 63,
English paper 9f"X7£", copied 1872.
' None of the manuscripts examined by Mr. Burnell is perfect or even
tolerably correct.'
It is a treatise on the manual arts attributed to Vi£vakarma, the divine
architect, but apparently a compilation ; it is written in the Tantric
style, 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 :
1 . Visvakarmotpattih, karma-visesha-bhedena vyavahrita-takshaka
varddhakyadi-sabda-vyutpatti.
2. Satyadi-yuga-jata-narochchata-pramanam, yajnlya-kashthena-
prastarena va deva-pratima nirmane manadi.
3. Takshakasya garbhadhanadi-sarhskara-kathanarh, garbhotpatti-
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, dig-
bhedena deva-sthapana-prakaradi, meru-dakshina-sthita-hema-^ila-
kathanadi.
649
VlSVAKARMA-JNANA AN ENCYCLOPAEDIA OF
1 1 . Lakshmi-Brahml-Mahesvaryadi-devindradi-dik-pala-grahadi-
murti-nirmana-prakara.
12-13. Mukuta-kirita-jata-mukutadi-nirmana-prakaradi.
14. Sthavarasthavara-simhasana-nirmana-prakaradi, punar vise-
shena kirita-lalata-pattikadi-nirmana-prakara, Devataya mandirasya
jirnoddhara-prakara.
1 5 . Linga-murti-mandira-dvaradi-kathana.
16. Pratima-murti-mandira-dvaradi-kathana.
1 7 . Vighnesa-murti-mandiradi-nirmanadi-vidhi.
VlSVAKARMA-JNANA— (edited by Krishna Sankara Sastri, the
real author is not known) — This pamphlet treats largely of ritualistic
matters, such as the sacrifices, etc., to Visvakarman.
VlSVAKARMA-PURANA— The title here adopted is that given to
the volume on the fly-leaf. No colophon of any kind is met with
on the manuscript. It is very incorrect and illegible. It has a Telugu
commentary equally unintelligible. It deals with architectural
matters.
(Egg. MSS., 3153, 2614 ; Oppert's List of
Sanskrit MSS., ibid., Vol. i, p. 480.)
VlSVAKARMA-PRAKASA— (Egg. MSS., p. 1120) also called
Vdstu-sdstra — It gives a course of directions in thirteen chapters, on
the building of houses, the making of roads, tanks, etc. and the rites
observed on such occasions, purporting to be founded on the revela-
tion of Visvakarman, still further traced back successively to Brihad-
ratha, Parasara, and £ambhu.
The following editions of it are published :
I. This is published in the Srlvenkatesvara Press, Bombay, by
Khemraja Sri Krishnadasa, in Samvat 1952, Saka 1817.
II. This is published without any commentary at Benares, in
1888.
III. This is a translation of Palaramavilasa into Bhasha, by
Mukula Saktidhara Sarma, Lucknow, 1896.
The topics treated of in the thirteen chapters are the following :
1. Mangalacharana.
2 . Vastu-purushotpatti-varnana-purvakam-pQjanadika.
3. Bhumi-lakshanam phalarh cha.
4. Griha-praveSa-samaye Sakuna-phala.
5. Khanana-vidhi.
6. Svapna-vidhi.
650
HINDU ARCHITECTURE VlSVAKARMlYA-SlLPA-
SASTRA
7. Bhumi-phala.
8. Griharambhe samaya-sudhi.
9. Dhvajadyaya-phalani.
10. Aya-vyayamsadinam phalani.
11. Griha-madhye devadlnam sthapana-nirnaya.
1 2 . Dhruvadi-griha-bheda .
13. Dvara-manani.
14. Stambha-pramanani.
15. Grihanam sala-nirnaya.
1 6. Griharambha-kala-nirnaya.
17. Griharambhe lagna-kundalishtha-graha-phalani.
1 8. Sayya-mandira-bhuvana-sudharadi-grihanam lakshanani.
19. Paduka-upanaha-manchadlnam mana-lakshana.
20. Sanku-sila-nyasa-nirnaya.
21. Vastu-deha-lakshanam pujanarfa bali-danam cha.
22. Sila-nyasa (cf. 20 above).
23. Prasada-vidhana.
24. Silpa-nyasa.
25. Prasada-nirnaya.
26. Plthika-lakshana.
27. Mandapa-lakshana.
28. Dvara-lakshana.
29. Vapi-kupa-tadagodyana-kriya.
30. Daru-chhedana-vidhi.
31. Griha-pravesa nirnaya.
32 . Griha-pravesa-kala-suddhi .
33. Sayyasana-dolikadmam lakshana.
34. Pravesa-kalasa-chakradi-vastu-^anti.
35. Durga-nirnaya.
36. Salya-jnanam salyoddhara.
37. Nagara-sarhbandhi-raja-grihadlnam nirnaya.
VlSVAKARMA-SAMPRADAYA— On architecture, dealing spe-
cially with a mythological account of the race of architects descended
from Visvakarman.
(Egg. MSS. iv, 3i5I, 2680.)
VlSVAKARMlYA-SlLPA-SASTRA— On architecture and cognate
arts.
(Oriental Manuscripts Library, Madras, Catalogue, Vol. xxii, no. 13057,
p. 8775, written on 100 pages of palm-leaf n" X i\" ; copied by one
Nitla Surappa on Saturday, the 5th day of the bright fortnight of the ASvija
month in the year Jaya).
VlSVA-VIDYABHARANA AN ENCYCLOPAEDIA OF
The author acknowledges his debt to Brahma, Indra, Maya, Bhargava,
Angirasa, Dhruva, Gautama, Gargeya, Manu, Vyasa and Bhrigu. He
also cites from Agastya.
The colophon runs thus — VisVakarma-sastre VisVakarma-mate, etc.
VlSVA-VIDYABHARANA— (Attributed to Basavacharya)— This is
a treatise on the duties of artisans, especially members of carpenter
(Rathakara) caste. Its scope is limited to the religious duties of the
Rathakara, who claims VisVakarma, Visvarupa, and Tvashtri, as
his divine guardians. It consists largely of quotations from the
Puranas, the Epics, the Sutras, and other works. Of other author-
ities may be mentioned Rudradatta's commentary on the Apastamba
Sutra, the Shad-guru Bhashya on the Asvalayana-Samanukrama-
manika, the Vidyaranya, and the Sarasvatl-vilasa with the commen-
tary of Vijnanesvara.
(Egg. MSS., v, 3151, 2680 ; Aufrecht, ibid, part n, p. 138.)
VEDANTA-SARA — by Garlapata Lakshanacharya — It contains 79
pages, has a Telugu commentary, and treats of the size of images,
the proper time for commencing to build, and similar subjects.
(Egg. MSS., n, 3151, 2680.)
VAIKHANASA - On architecture.
(Aufrecht, ibid., part i, p. 610.)
VAIKHANASAGAMA— See under Agamas.
SASTRA-JALADHI-RATNA— by Hari Prasada— On architecture.
(Aufrecht, ibid., part i, p. 644.)
SlLPA-KALA-DlPAKA— On architecture.
(Aufrecht, ibid., part i, p. 647.)
SlLPA-GRANTHA— by Bhuvanadeva Acharya (Egg. MSS., 3152,
1603 b, written in modern Deva-nagari) — A short history of the
work is given at the beginning. It is stated that God at the request
of Aparajita reveals the theory of constructive art, from the creation
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. 276).
652
HINDU ARCHITECTURE SILPA-&ASTRA
SlLPA-DlPAKA— by Gangadhara (B. H. Catalogue, 15, G. 14, 14,
B, 1 6) — On architecture, printed by Mahadeo Ramchandra ;
second edition in 1908, with diagrams of instruments and houses, etc.
SlLPA-NIGHANTU— by Aghore Sastri— On architecture.
(Classified Catalogue of Sanskrit Works in the Sarasvati
Bhandara Library of Mysore, class xix, no. 533.)
&ILPA-RATNA — by Srikumara (Trivandrum Sanskrit Series,
no. LXXV) under instructions from king Devanarayana of Ambala-
puzha in Travancore) — Deals with several architectural matters and
painting in 46 chapters, compiled from Mdnasdra and other treatises
(see details in the writer's Hindu Architecture in India and Abroad,
pp. 176-177).
&ILPA-LEKHA— On architecture, according to Raya-mukuta quot-
ed by Sarvadhara.
(Aufrecht, ibid., part i, 647.)
SILPA-SASTRA— (Egg. MSS., 3148, 3012), ascribed to both Kasyapa
and Agastya— Contains 276 foil, of which 1-72 marked at the top
« Silpa Sastra' ; 73-W 251-276, ' Silpa-Sastram Kasyapeyam,' and
! 51-250 ' Silpa-Sastram Agastyam. ' This is apparently a com-
bination of two separate works, of Kasyapa and Agastya.
One copy was transcribed (for C. P. Brown) from a Telugu manuscript
at MasuHpatam in 1832. It consists of extracts from various works on
idols, shrines, etc. as stated in the following chapters :
1. Amsumana-bhede kasyape parivara-lakshana-patala.
2. Umaskanda-sahita-lakshana-patala.
3. Chandra-sekhara-murti-patala.
4. Dakshina-murti-lakshana.
5. Kala-murti.
6. Lingodbhava-lakshana.
7. Nritta-murti.
8. Gangadhara-murti.
9. Tri-purantaka-murti.
10. Kalyana-murti.
1 1 . Ardha-narisvara-murti.
12. Gaja-bhara-murti.
13. Pasupata-murti.
14. Bhakta-lakshana.
15. Bhu-mana-patala.
1 6. Gramadi-lakshana.
653
SlLPA-SASTRA AN ENCYCLOPAEDIA OF
Foil.
151. Ity-agastye-sakaladhikare manasa-grahya-viseshanarii pra-
thamo'dhyaya.
181. Iti pancha-vimlati-rupa-bheda.
251. Ity-amsumana-bhede kasyape tala-bheda-patala.
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,
nos. 13046, 13047, 13048-13056, 13057). Of these two (nos. 13046.
13047) are attributed to Agastya, and one (no. 13057) to Visvakarman.
The rest of them are apparently compilations, as they are not ascribed
to any author and contain frequent quotations from authorities like Kas-
yapa, Mayamata, Visvakarman, and Agastya.
There is another manuscript bearing a slightly different title, ' Silpa '
attributed to Visvakarman. The details of this will be found under
Visvakarman.
There are four other manuscripts bearing the title of ' Silpa-gastra '
but containing no information regarding their authors. They are
mentioned in the descriptive Catalogue of the Mackenzie Collection by
H. H. Wilson (nos. 4-7) :
No. 4 — deals with the construction of temples and images.
No. 5 — deals with the construction of ornamental gateways.
No. 6 — deals with the construction of images.
No. 7 — deals with the construction of images and ornamental work
in gold and silver.
There is yet another manuscript bearing the title ' Silpa-Sastra.' It
is attributed to Kasyapa. It deals with the structure of Saiva temples.
(See the Catalogue Raisonee of Oriental Manuscripts in the Library of the late
College of Fort St. George by Taylor, Vol. i, no. 1585, p. 314.)
Another work bears a slightly different title, ' Silpa-sastra-bhushalaya.'
(See the Classified Catalogue of Sanskrit Works in the Sarasvati Bhanddra Library
of Mysore, class xrx, no. 533.)
A Silpa-sdstra ' by Myen (Maya) is also extant. (See Ind. Ant., Vol. v,
pp. 230-293.)
Another ' Silpa-Sastra ' containing no information regarding its author is
mentioned. (See the List of Sanskrit Manuscripts in Private Libraries of
South India, by Oppert, Vol. n, no. 4187, p. 267.)
654
HINDU ARCHITECTURE SUKRA-NlTI
SILPA-SASTRA-SARA-SAMGRAHA— (Compiled by a son of one
Sivanarayana) — Consists of extracts from unspecified ancient (pra-
china) works on architecture, and was compiled 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 trans-
lation by Kalyanadasa.
SlLPA-SARVASVA-SAMGRAHA— A compilation on architecture.
(Aufrecht, ibid., part i, p. 647.)
SlLPA-SAMGRAHA— (a large manuscript covering 429 pages of
25 lines to a page of paper 13^* X 8") — It deals with the construction
of temples and images. It is a compilation from various sources
notably Mdnasdra, Mayamata, Visvakarman, Agastya, Kdsyapa,
Paulastya, Ndrada, Bhrigu, Sdrasvata, Diptisdra, Visvasdra, Chitrasdra,
Chitrajndnd, Kapinjala-sarhhitd, Brahma-ydmala, Chandrajndna,
Manohalya, Kaumudi, Ndrdyana and others.
&ILPA-SARA — (An incomplete manuscript in the Oriental Manus-
cripts Library, Madras, Catalogue, Vol. xxn, no. 13059, p. 877),
containing no information regarding its author — (Comprises 76 pages
and deals with the descriptive features (dhyana) of gods and god-
desses, apparently intended to guide the artist in making images.
SlLPARTHA-SASTRA— On architecture.
(Oppert's List of Sanskrit MSS. in Private Libraries
of South India, ibid, Vol. i, no. 248, p. 26.)
SlLPI-SASTRA— (Egg. MSS. 3149, 25786)— covers 71 pages ; the
title is written on the fly-leaf in Telugu and Marathi, with
' Vaustoo' (Vdstu-sdstra] added underneath. It is a treatise on
architecture, with a Telugu commentary.
This manuscript is preceded in the same volume by two sections of the
Nagara-khanda of the Skanda-Purana, viz. Visvakarmopakhyana, and
Visvakarma-varhsanuvarnana.
SUKRA-NlTI — (ed. Jrvananda Vidyasagara)— Deals with architec-
ture, and sculpture (in chapter iv, sections 4, 6) and refers to the fol-
lowing matters :
1 . Deva-mandiradi-nirmana-vyavastha.
2. Pratima-nirmana-vyavastha.
3. Murtinarh vahana-vyavastha.
4. Ganapati-murti-vyavastha.
655
SULVA-SDTRAS AN ENCYCLOPAEDIA OF
5. SatI (Sakti)-murti-vyavastha.
6. Bala-murti-vyavastha.
7. Sapta-taladi-murti-bhavasya nirmana-vyavastha,
8. Paisachi-murti-vyavastha.
9. Bhagna-pratima-sthapana-vyavastha .
10. Utsava-vyapara-vyavastha.
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.
&ULVA-SOTRAS — Refers to very important architectural matters.
The rules for the size of the various Vedis, the shape and the varia-
tions of the Agni, etc. are given in the Brahmanas long before they
are embodied in the Kalpa-sutras of which the Sulva-sutras are
but portions. But the explanations of the manner in which the
manifold measurements and transformation had to be managed are
not clear in the Brahmanas.
Sulva-sutra is the name given to those portions or supplements of the
Kalpa-sutras, which treat of the measurement and construction of the
different vedis or altars, the word ' sutra ' referring to the cords which
were employed for those measurements. But in the Sutras themselves
the word ' rajju ' is used to express a chord and not the ' sutra.' A Sulva
Adhyaya or Prasna or Sulva-parisishta belongs to all Kalpa-sutras.
Among the treatises dealing with the measurement, etc., of the Vedis,
the two most important are the Sulva-sutras of Baudhayana and of
Apastamba. Two smaller treatises, a Manava Sulva-sutra and a Maitra-
yaniya Sulva-sutra bear the stamp of later times, compared with the works
of Baudhayana and Apastamba, which are entitled to the first place by a
clearer and more extensive treatment of the topics in question. The
literature 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-
sutra.
' The Sulva-sutras begin with general rules for measuring. In the next
place they describe how to fix the right places for the sacred fires, and how
to measure out the Vedis of the different sacrifices, the Samiki-vedi, the
Paitriki-vedi, and so on. The remainder of the Sutras contains the de-
tailed description of the construction of the Agni, the large altar built
of bricks, which was required at the great Soma sacrifices.'
The construction of altars, wherefrom seems to have developed the Chait-
yas, Dagobas, Temples, etc., was probably the beginning of ecclesiastical
656
HINDU ARCHITECTURE £ULVA-St)TRAS
architecture in India. The architectural details of these altars are in-
teresting.
' The altar could be constructed in different shapes, the earliest enumera-
tion of which is found in the Taittirlya-sarhhitd (v. 4-11). Following
this enumeration Baudhayana and Apastambha furnish us with full
particulars about the shape of all these different chitis and the bricks
which were employed for their construction.'
' Everyone of these altars1 was constructed out of five layers of bricks,
which reached together to the height of the knee ; for some cases 10 or 15
layers and a correspondingly increased height of the altar were prescribed.
Every layer in its turn was to consist of two hundred bricks, so that the
whole Agni (altar) contained a thousand ; the first, third and fifth layers
were divided into two hundred parts in exactly the same manner ;
a different division was adopted for the second and the fourth, so that one
brick was never lying upon another brick of the same size and form.'
' The first altar covered an area of 7| purushas, that means, yi square,
the side of which was equal to a purusha, i.e., the height of a man with
uplifted arms. On each subsequent occasion, the area was increased by
one square purusha. Thus at the second construction of the altar one
square purusha was added to the 7! constituting the first chiti, and at the
third construction two square purushas were added, and so on.'
But the shape of the whole, the relative proportions of the single parts,
had to remain unchanged. The area of every chiti whatever its shape might
be, falcon, wheel, tortoise, etc., had to be equal to 7^ square purushas.
Thus squares had to be found which would equal to two or more given
1(i) Chatur-asra-syena-chit — so called because it resembles the form of a falcon
and because the bricks out of which it is composed are all of a square shape.
(2) Kahka-chit — in the form of a heron (cf. Burnell, Cat. 29, of a Carrion
Kite), is the same as Syena-chit except the two additional feet.
(3) Alaja-chit — is the same as (2) except the additional wings.
(4) Prauga-chit — is an equilateral acute angular triangle ; and the Ubhayatah
Prauga-chit is made up of two such triangles joined with their bases.
(5) Ratha-chakra-chit — is in the form of a wheel, (a) a massive wheel
without spokes, and (b) a wheel with sixteen spokes.
(6) Drona-chit — is like a vessel or tube, square or circular.
(7) Parichayya-chit — has a circular outline and is equal to the Ratha-chakra-
chit, differing in the arrangement of bricks which are to be placed in six concentric
circles.
(8) Samuhya-chit — is circular in shape and made of loose earth and bricks.
(9) Kurma-chit — resembles a tortoise and is of an angular or circular shape.
(Cf. J. A, S. B. 1875, part I, ' Sulva Sutras ' by G. Thibaut.)
657
SHAD-VIDIK-SAMDHANA AN ENCYCLOPAEDIA OF
squares, or equal to the difference of two given squares, oblongs were turned
into squares and squares into oblongs. Triangles were constructed equal
to given squares or oblongs and so on. A circle had to be constructed, the
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,
no. i, Vols. i and iv, 1882 ; Old Series, June, 1874, no. 97, Vols. ix and x,
May, 1876. See also Sulva Sutra by G. Thibaut, PH.D., j. A. S. B., part
i, 1875) and in the writer's Hindu Architecture in India and Abroad (Plates
xx, a, b).
SH
SHAD-VIDIK-SAlylDHANA— On architecture, chiefly deals with
the finding out of the cardinal points which are necessary for the orien-
tation of buildings.
(Oppert's List of Sanskrit MSS., ibid., Vol. n, p. 200.)
SAKALADHIKARA— (Attributed to Agastya)— On sculpture, deals
with image -ma king.
(Aufrecht, ibid., part i, p. 683 ; Taylor, Vol. i, p. 72.)
SANAT-KUMARA-VASTU-SASTRA— Contains a brief Telugu
commentary. The last colophon runs thus : iti Sanatkumara-vastu-
sastre sarvadhikaras samaptah. It deals with a few architectural
topics in eight chapters.
(See details in the writer's Hindu Architecture in India and Abroad, p. 172.)
(Egg. MSS., m. 3151, 2680 ; see also the List of Sanskri
MSS. in Private Libraries of South India, by
Oppert, Vol. i, no. 8239, p. 580.)
In the Oriental Manuscripts Library, Madras, there are nine incomplete
manuscripts of this work (see Vol. xxn, no. 13060-13068, p. 8780 f.).
They deal with the following subjects :
1 . Griha-sarbsthapana.
2. Nakshatra-graha-yoga-vidhi.
3. Graha-lagna-vidhi.
4. Taru-tantra-vidhi.
5. Bhu-pariksha-vidhi.
6. Nakshatra-tithi-vara-suddhi.
7. Nakshatra-lagna-phala-dvara-bandha-s"ubha-sthana-nirnaya.
8. Griha-praveSa.
658
HINDU ARCHITECTURE HASTA-PRAMANA
Sanat-kumara acknowledges his debt to Brahman, Sakra, Yama, Bhar-
gava, Arigirasa, Maya, Gautama, Garga, Manu, Vyasa, Bhrigu, VisVa-
karmau, 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
Sakra is not replaced by Chandra although Maya is omitted.
SARVA-VIHARIYA-YANTRA— by Narayana Dikshita— On archi-
tectural instruments, and machines.
(Aufrecht, ibid., part i, p. 702.)
SAMGRAHA-SlROMANI— by Saryu Prasad— As the title implies
it is a compilation on architecture and sculpture largely from Vasishtha,
Narada, Varaha, Vastu-pradlpa, Visvakarman, Mandavya, Maya-
sastra, Samarangana-Sutradhara, Sarngadhara and others.
SARASVAT IYA-SILPA-SASTRA— On architecture.
(Aufrecht, ibid., part i, p. 714.)
SUPRABHEDAGAMA— See under AGAMAS.
SKANDA-PURANA— See under PURANAS.
STHALA-SUBHASUBHA-KATHANA— by Narayana— On archi-
tecture. It deals with auspicious and inauspicious sites for building.
(Cf. Vastu-sarani.)
H
HASTA-PRAMANA — Attributed to Visvakarman — On architectural
measures.
(Cf. Vdstu-sarayi.)
659
APPENDIX II
A LIST OF HISTORICAL ARCHITECTS WITH SHORT NOTES ON
THEIR WORKS *
\CHYUTA-An architect of A.D. 882-917.
' A man of Kamboja descent, the son of Rama, whose famous name
is Achyuta, was here the overseer, he who is 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.'
' As Dhanvatari,' adds Dr. Buhler, ' is the Indian 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.'
(Pehoa Prasasti of the reign of Mahendrapala,
v. 23, Ep., Ind., Vol. i, p. 250, footnote 40.)
According to Vitruvius (Book i, chap, i, TransL, by Gwilt, pp. 3, 4) the
architect ' should be a good writer, a skilful draughtsman, versed in geo-
metry and optics, expert at figures, acquainted with history, informed on
the principles of natural and moral philosophy, somewhat of a musician,
not ignorant of the sciences both of law and physic, nor of the motions,
laws and relations of each other of heavenly bodies.' But these do not
include medicine.
ANAKOJA — Son of the brazier Marala, of A.D. 1395.
Mindoja of Patana made, together with his brother Kaloja, a pillar,
(kambha) of bell-metal (weight specified) for a lamp.
(Ep. Carnal., Vol. v, part i, Belur Taluq,
no. 61, TransL, p. 61, Roman text, p. 135.)
ASALA — An architect (A.D. 1215, V. S. 1272) who constructed the
step-well.
(Manglana Stone Inscrip., line 13, Ind. Ant.,
Vol. xu, pp. 1 1 ; 86, line 9.)
1 This list does not include the mere Stone Masons or Engravers of Inscriptions,
nor those architects who are mentioned in treatises like the Puranas, Epics,
Kavyas, etc., which are less historical than the Epigraphical records.
66l
AHUKA AM ENCYCLOPAEDIA OF
AHUKA — An architect who built the Siva temple (A. D. 804).
(The first PraSasti of Baijnath, v. 35,
Ep. Ind., Vol. i, p. 107.)
I
IDAMORAKA (INDRAMAYt}RA)-ACHARYA— Sthapati or archi-
tect, the guru of the sculptor Nataka (Nartaka) who made the image
of the cobra on the slab on which the inscription is incised.
(Banawasi Prakrit Inscrip., line 2 f., Ind. Ant.,
Vol. xiv, p. 334, notes 20, 23.)
IMDARAKA — Sutradhara or the carpenter who assisted the chief
architect Pahini, the builder of the Mandapa, Akshasama, and Dama
of the temple of Bhlmesvara built with stones and bricks.
(The Chahamanas of Marwar, no. xin, Sanderav Stone Inscrip.
of Kelhanadeva, line 2 f., Ep. Ind., Vol. xi, p. 48.)
o
ODEYAPPA— An architect (A.D. 1386).
' This pillar (dipamale kambha) was made by Achari Ponna-pille's
son Odeyappa.'
(Ep. Carnal., Vol. ix, Devanhalli Taluq,
no. 40, Transl., p. 78.)
K
KALLAYYA — An architect, son of Kalloja of Banur, by whom ' the
work of the (bhoga-)mantapa and the writing of this Sasana were
done.' (A.D. 1521.)
(Ep. Carnal., Vol. vi, Kadur Taluq,
no. 91, Transl., p. 16.)
KAMAU— The architect (s~ilpi), son of Visadru, who built ' the fifth
octagonal pillar ' on the face of which the inscription is recorded.
(Sharqi Arch, of Jaunpur, Inscrip., no. xxvn
Arch. Surv., New Imp. Series, Vol. i, p. 51.)
KAMA-DEVA — Of Silapatta-varhsa (Silawat caste, masons), an
architect, appointed by a Muhammadan ruler Jallala as one of the
three architects to build a gomatha, a garden, and a step-well in the
town of Batihadim.
(Batihagarh Stone Inscrip., v. 12,
Ep. Ind., Vol. xii, p. 46.)
662
HINDU ARCHITECTURE GANTEMADANA-BASAVANA
KALI-DASI — A sculptor (A.D. 1140).
' For Pratapa-Hosala-Narasimha-Deva's sculptor Kedaroja, the sculptor
Kalidasi, champion over the proud, a thunderbolt to the rock (giri), titled
(i.e., very eminent) sculptor, made the makaratorana (or carved head-
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 text, p. 135.)
KENCHA-MALLIVANNA— The sculptor of the image no. 32,
Belur temple (A.D. 1120).
(Ib id., Belur Taluq, no. 47, Roman text,
p. i25,Transl.,p.55.)
KETANA — A sculptor (see under BALLANNA.)
KEDAROJA — A sculptor (see under BALLANNA).
KEDAROJA — A sculptor of Hoysala Narasimha Deva (A.D. 1140).
(Ibid., Supplement, Belur Taluq, no. 239,
Transl., p. 275.)
KUMARAM-ACHARI— The sculptor of the image no. 12, Belur
temple (A.D. 1120).
(Ibid., Belur Taluq, no. 40, Roman text,
p. 124, Transl., p. 55.)
G
GANGACHARI— An architect (A.D. 966).
' The work of this 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-Basa-
vana made the pillars, Komaraiya the ornamental work, the stone-Vedda
Chenne-Royi built the stones of the embankment.'
(Ibid., Vol. xii, Tumkur Taluq, no. 24,
Transl., p. 8, para. 2.)
663
(SRI)GUNDAN AN ENCYCLOPAEDIA OF
(SRl)GUNDAN — An architect, who built the temple of the (pre-
sent) god Virupaksha, originally of Lokesvara, as mentioned in the
inscription for Loka-mahadevi, the Queen-consort of the Western
Chalukya king Vikramaditya, the second.
He is called ' Sutradhari ' (one who supports the cause is the sutradhara
or carpenter, and the sutradhari is the guru or priest of the carpenter).
He is again called the Tribhuvanacharya and also the Sarva-siddhi-
Acharya. He is stated to be the ' creator of many cities and houses ;
perfect and refined in conversation ; houses, palaces, vehicles, seats,
couches, his jewelled crown and crest-jewel. '
(Sanskrit i.nd Old Canarese Inscrip., no. 99, also
nos. 100, 101, and 115, Int. Ant., Vol. x,
pp. 164, 163, 165, 166, 170-171.)
CH
CHANDI-&IVA— The architect of the Harsha temple, ' the famed
son of Virabhadra, omniscient, like Visvakarman, in the art (or
science) of building houses (Vastuvidya) . . . He built this delight-
ful house of Sarhkara with its chapels (mandapa), the beautiful porch
(torana) which contains all the gods, like a portion of heaven made
by the Creator himself.'
' In his account of the ruins of this temple, Mr. Dean speaks of a door-
way relieved by an architrave of the most elaborate sculpture, divided into
twelve compartments, in each of which a group from the Hindu Pantheon
occupies a place.'
(Harsha Stone Inscrip., w. 43, 44. Ep. Ind.,
Vol. n, pp. 123, 124, 128, note 72.)
Chahadadevapala son's grandson — Architect of the Qutb Minar.
(An historical 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 i, Belur Taluq, nos. 35,
39, 45, Roman text, pp. 124, 125, Transl., p. 55.)
CHIKA-HAMPA — The sculptor of the image no. 3, Belur temple
(A.D. 1120).
(Ibid., no. 33, Roman text, p. 123, Transl., p. 55.)
664
HINDU ARCHITECTURE JAHADA
(SRl)-CHEftGAMMA— A 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 of Pramatha-
natha, is called the Vijnana-visva-karttri-dharmadhara-Sutradhara
(A.D. i 116).
(Khajuraho Inscrip., no. iv, v. 60,
Ep. Ind., Vol. i, p. 146.)
JAKANACHARYA— The architect of the temple at Halibid and
Somanathpura.
Cf. ' Jakanacharya is the reputed architect of this magnificent building
(Kait Isvara temple), but he is also credited with having built all the
temples, similar in style, throughout the district ... A man of the
same name is said to have built the temples at Madura. Jakanacharya
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 tradi-
tion.'
(Ind. Ant., Vol. i, p. 44, c. 2, para. 2.)
JAftGAMAYA— An architect (A.D. 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.)
JAHADA — The mason (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.,
Vol. XLI, pp. 88, 86, lines 9-10.)
665
THODHUKA AN ENCYCLOPAEDIA OF
TH
THODHUKA— The son of Sammana, 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 first PraSasti of Baijnath, vv. 36, 37,
Ep. Ind., Vol. i, pp. 107, in.)
N
NATAKA (NARTAKA)— An architect and sculptor, who made the
cobra (naga) on the slab on which the inscription is incised, a pupil of
Acharya (Sthapati) Idamoraka (Indramayura).
(Banawasi Prakrit Inscrip., line 2 f., Ind. Ant.,
Vol. xiv, p. 334, notes 20, 23.)
NANNAKA — A son of Krishna, most qualified architect of the tem-
ple of Siva (Malava era 795, A.D. 738).
(Inscription from the Mahadeva temple, w. 29,
30, 161, Ind. Ant., Vol. xin, pp. 165, 163.)
T
TURAVASARI-KALIYUGA-MEYYAN— An architect (A.D. 1331).
' Another grant, by the same man, of lands (specified) to Turavasari-
Kaliyuga-meyyan, who built the temple.'
(Ep. Carnat., Vol. DC, Hoskote Taluq,
no. 96, Transl., p. 99.)
TH
THALU — An architect of the temple, an account of which is given
in the Behal inscription of Singhana (A.D. 1222-23).
(Ep. Ind., Vol. m, pp. in, 113.)
D
DASOJA — Of Balligrama, sculptor of the images nos. 5, 7, 9 of the
Belur temple (A.D. 1120).
(Ep. Carnal., Vol. v, part i, Belur Taluq, nos. 24,
36, 37, Roman text, p. 124, Transl., p. 55.)
DIVAKARA — The master architect of the famous Vishnu temple,
Angar Vat, constructed by King Parama Vishnuloka of Camboj.
DEMOJA — An architect who ' made the frame of the eastern door '
of the structure referred to in the inscription (A.D. 1240).
(Ibid., Supplement, Belur Taluq, no. 241, Transl., p. 275.)
666
HINDU ARCHITECTURE NAGOJA
DEVANAGA — ' Crest-jewel of sculptors, built the temple of Siva.'
(Ratnapura Inscrip. of Prithvldeva, v. 29,
Ep. Ind., Vol. i, pp. 49, 52.)
DEVADITYA— ' The son of Ahladana (who became) the firm (? pro-
fessional, permanent, sthira] architect of the Vaidyesa, is famous
among the first rank of masons.'
(Inscrip. from Dabhoi, vv. in, 112, Ep. Ind.,
Vol. i, pp. 31, 24.)
DEVOJA— A sculptor (see under BALLANNA).
DHARMA-VANANA— Architect of the Qutb Minar.
(An historical memoir on Qutb, by J. A. Page,
p. 43, Inscription no. 29.)
N
NAN JAY A — A sculptor (see under MALUTAMMA).
NANA-SALHA— Architect of the Qutb Minar.
(An historical memoir on Qutb, byj. A. Page,
p. 43, Inscription no. 28.)
NARA-&OBHA — An architect (of A.D. seventh or eighth century).
Jambu-dvlpantare kaschit vastu-prasada-tadgatah I
Nara-sobha-samo vidvan na bhuto na bhavishyati 1 1
4 There has not been, and there shall not be, in Jambu-dvipa (India)
any wise man, proficient in (the art of) building houses and temples,
equal to Nara-sbbha.'
(Sanskrit and Old Canarese Inscrip., no. LXI,
Ind. Ant., Vol. ix, p. 74.)
NAMDIKA— An architect.
Cf. 'Veyika (Narh)dikena katarfa — the rail (the gift of ... Koti)
was made by Narhdika.
(Karle Cave Inscrip., no. 18, Ep. Ind., Vol. vu, p. 64.)
NAGI-DEVA— A sculptor.
Cf. ' This Sasana of King Harihar was engraved by his orders by the
carpenter Sasanacharya Nagldeva, the sculptor.'
(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 i, Belur Taluq, no. 51,
Roman text, p. 125, Transl., p. 55.)
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 first Prasasti of Baijnath, w. 36, 37
Ep, Ind., Vol. i, pp. 107, in.)
PATU MAN— Carpenter (Sutradhara), son of Visaihva, probably
the builder of the gate where ' on a stone near the first niche on the
south side ' the inscription is found.
(Sharqi Arch, of Jaunpur, Inscrip. no. xm, Arch,
Surv., New Imp. Series, Vol. i, p. 39.)
PADARI-MALLOJA— The sculptor of the image no. 21 of the Belur
temple (A.D. 1120).
(Ep. Carnal., Vol. v, part i, Belur Taluq,
no. 43, Roman text, p. 125, Transl., p. 55.)
PADU- MANNA — A sculptor (see under MALLITAMMA).
PADUMAYA — A sculptor (see under MALLITAMMA).
PADUMAVI — An architect (Sutradhara), son of Sai-Sutradhara,
who constructed the door, ' of the right jamb ' on which the inscrip-
tion is written (A.D. 1407).
(Sharqi Arch, of Jaunpur, Inscrip., no. xv,
Arch. Surv., New Imp. Series, Vol. i, p. 40.)
PAKA — An architect.
' Hail ! The house of the temple of (the god) SrI-Vijayesvara. Paka
(was) the fashioner of the ornamentation (alarhkara-nirmrnana-kara)
of these two pillars of Matibhodamma.'
(Sanskrit and Old Canarese Inscrip., no. cxii,
Ind. Ant., Vol. x, p. 170, c. i.)
PAHINI — Son of the Sutradhara Mahadua and his wife Jasadevi,
the architect who constructed the Mandapa, Akshasama, and Dama
of the temple of Bhimesvara with stones and bricks.
He was assisted by the Sutradhara Mahidara and Irhdaraka.
(The Chahamanas of Marwar, no. xin, Sanderav
Stone Inscrip. of Kelhanadeva, line
2, Ep. Ind., Vol. xi, p. 48.)
668
HINDU ARCHITECTURE BOCHANA
PlTHE — 'The architect who knows the rules of Visvakarmaii (the
architect of the gods, also means one who knows how to execute
every kind of work), planned, designed and executed all the build-
ings, the 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) Sam-
bhu's temple' (A.D. 1155-56).
(Bheraghat Inscrip. of Alhanadevi, vv. 36, 27,
1 8, Ep. Jnd., Vol. ii, pp. 13, 17, 9.)
PAISSANANARA-BIRA— The sculptor of the image no. 16, of the
Belur temple (A.D. 1120).
(Ep. Carnal., Vol. v, part I, Belur Taluq,
no. 41, Roman text, p. 124, Transl., p. 35.)
B
BAMAYA — A sculptor (see under MALLITAMMA).
BALUGA — A sculptor (see under MALLITAMMA).
BALEYA — A sculptor (see under MALLITAMMA).
BALLANNA — The inscription (Belur Taluq, no. 98, Roman text,
p. 165, Transl., p. 71) informs us that a shrine of the goddess Nimbaja
was set up in the temple in 1261. The sculptors who executed the mar-
vellous statues and figures on the outer walls of this temple especially
on the western side, have not given their names, except here and
there, the following are the only ones : — Ballanna, Bochana, Chauga,
Devoja, Harisha of Odeyagiri, Harisha of Tanagundur, Ka.lida.si,
Kedaroja, Ketana, Mabalaki, Machanna, Manibalaki, Masa, son
of Kanimoja, and Revoja.
(Ep. Carnal., Vol. v, part i, Introduction, p. xxxvm.)
BIKKAHAPPA— The sculptor of the image no. 36, of the Belur
temple (A.D. 1120).
(Ibid., Belur Taluq, no. 50, Roman text, p. 125,
Transl., p. 55.)
BlRANAVA — The sculptor of the image no. 22, of the Belur temple
(A.D. 1120).
(Ibid., no. 44, Roman text, p. 125,
Transl., p. 55.)
BOGHANA — A sculptor (see under BALLANNA).
669
BHDTA-PALA AN ENCYCLOPAEDIA OF
BH
BHOTA-PALA— An architect.
Cf. This ' 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 Silapatta-vamsa (£ilawat caste, who are masons
and found in the neighbourhood of Damoh), a Sutradhara (carpen-
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
town of Batihadim.
(Batihagarh Stone Inscrip., v. 12, Ep. Ind.,
Vol. xii, p. 46.)
M
MANI-BALAKI — A sculptor (see under BALLANNA).
MAD ANA — ' A scion of (the race of) Visvakarman (? of the Brah-
mana caste, vipra), the builder of the wall of (glorious) Vaidyesa,
of the extensive temple, of the gates, of the wings, of the founda-
tions.'
(Inscrip. from Dabhoi, w. in, 112, Ep. Ind.,
Vol. i, pp. 31, 24.)
MANA — An architect, son of Vijala and grandson of VisaJa ; he is
stated to have built, being assisted by his followers, the famous temple
of Siva together with many palatial buildings having prominent
towers (A.D. 1428-29).
Aneka-prasadaih parivritamati prams'u-kalasam girisa-prasadaih
vyarachayad anunair anucharaih I
Manakhyo vikhyatah sakala-gunavan Vijala-sutah sutah silpi jato
guna-gana-yuto Visala iti II
Vijalasya sutah silpi Manakhyah sutra-dharakah I
(Chitragadh Inscrip. of Mokala of Mewad, second
part, w. 2, 3, Ep. Ind., Vol. n, p. 421.)
MANYUKA — ^An architect who built the Siva temple (A.D. 804).
(The first PraSasti of Baijnath, v. 35, Ep. Ind.,
Vol. i, p. 107.)
MAYINA — The sculptor of the image no. 31, of the Belur temple
(A.D. 1120).
(Ep. Carnal., Vol. v, part r, Belur Taluq, no. 46,
Roman text, p. 125, Transl., p. 55.)
670
HINDU ARCHITECTURE MAHl-DHARA
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.
60) ; and two other records at the same place, of the date unspecified,
mention Chandraditya and Naga-varma as having carved Jinas, animals,
and other figures for the Jains ' (ibid., Report, 1912-3, p. 32).
' The earliest records of the Hoysala sculptors seem to be those on the
Amritesvara temple at 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
came from the north.'
' Report for 1913-1914, Plate n, contains illustrations of the work of
seven sculptors : Masanitamma, Nanjaya, Chau-deya, Baleya, Lohita,
Yalamasaya, and Bamaya, all from Somnathpur.'
(V. A. Smith, Architecture and Sculpture in Mysore, Ind.
Ant., Vol. XLIV, p. 94, paras. 3, 4 ; p. 95, para, i.)
MALLIYANA — The sculptor of the image no. 10, Belur temple
(A.D. 1120).
(Ep. Carnal., Vol. v, part i, Belur Taluq, no. 38,
Roman text, p. 124, Transl., p. 55.)
MALLOJA — An architect who built the central shrine (garbha-
griha) of the temple described in the inscription (A.D. 1167).
(Ibid., Vol. vn, Shimoga Taluq, no. 55,
Transl., p. 21, line 3.)
MAS A — 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 i, Belur Taluq, no. 48,
Roman text, p. 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
MAHID(H)ARA AN ENCYCLOPAEDIA OF
MAHID(H)ARA — An architect (Sutradhara), who assisted Pahini,
the chief architect of the Mandapa, Akshasama, and Dama of the
temple of Bhimesvara which was constructed with stones and bricks.
(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 sculptor Machoja, the Acharya of Kalukuni-nad, the Visvakar-
man of the Kali-yuga, built it ' ( Jinalaya) .
(Ep. Carnal., Vol. iv, Nagamaiigala Taluq,
no. 95, Transl., p. 138, Roman text, p. 239.)
MABALAKI — A sculptor (see under BALLANNA).
MAMARIYAKCHI-TAMMA— A son of the goldsmith Bandiyoja ;
' he repaired and roofed a bira-gal, which was made by Alibhanu-
Achari (A.D. 1242).'
(Ibid., Vol. in, Mandya Taluq,
no. 85, Transl., p. 48.)
MUDDOJA — A son of Tipaji, a stone mason, ' who built these
(described in the inscription) temples (A.D. 1408).'
(Ibid., Vol. x, Garibidnur Taluq, no. 59,
Transl., p. 226, last para.)
MULANA — A sculptor (see under MALLITAMMA).
MODHAKIN — (also called 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 — (otherwise called Jajja) — An architect.
(Further Pabhosa Inscrip. no. i, Ep. Ind.,
Vol. ii, pp. 480-481.)
YALAMASAYA — A sculptor (see under MALLITAMMA).
672
HINDU ARCHITECTURE VIRANACHARYA
R
RAGHAVA — An artizan (sculptor), son of artizan (sculptor) Vlrh-
jhadeva, who carved the Verawal image (Valabhi Sarhvat, 927).
(Verawal Image Inscrip., line 5, Ep. Ind.,
Vol. in, pp. 303, 304.)
RAMA-DEVA — Silpin (artist), son of Rupa-kara (sculptor), the
engraver of the famous Dhar prasasti (panegyric) of Arjuna-
varman.
(Dhara PraSasti of Arjuna-varman, v. 76
Ep. Ind., Vol. vm, pp. 117, 98.)
REVADI-OVAJJA— Of the Sarvasiddhi Acharyas, versed in the
secrets of Kanarese stone masons, probably the builder of the
Papanatha temple.
(Inscription on Papanath Temple.)
REVOJA — A sculptor (see under BALLANNA).
LAKSHMI-DHARA— An architect ( A.D. 1104).
(Nagpur Stone Inscrip., v. 56, Ep. Ind.s
Vol. n, pp. 1 88, 194.)
LASE — The sculptor of the image no. 35, of the Belur temple
(A.D. 1120).
(Ep. Carnal., Vol. v, part i, Belur Taluq, no. 49,
Roman text, p. 125, Transl., p. 55.)
LOHITA— A sculptor (see under MALLITAMMA).
VAMA-DEVA — ' Famous for having built the temple of the Sun
called Mula-sthana.'
(Inscrip. from Dabhoi, vv. in, 112, Ep. Ind.,
Vol. i, pp. 31, 29.)
VlRANACHARYA(i)— A carpenter (see under STHAPATI) (A.D.
1558).'
' This copper Sasana was composed by Sabhapati Svayambhu, and
engraved by Virana's son, the carpenter Viranacharya.'
(Ep. Carnal., Vol. ix, Channapatna Taluq,
no. 186, Transl., p. 170, last para.)
673
(SRI) VIRANACHARYA AN ENCYCLOPAEDIA OF
(SRI) VIRANACHARYA(2)— The architect (tvashta), who engraved
the copper plate.
(Krishnapuram Plates of Sadasivaraya, v. 107,
Ep. Ind., Vol. ix, p. 339, see more details of
this architect under Sthapati.)
VlSVAKARMMACHARYA(i)— An artist and painter (A.D. 776).
' By the abode of all arts, skilled in painting pictures (sarvva-kaladhara-
bhuta-chitra-kalabhijnena), was this Sasana written?'
(Ep. Carnal., Vol. iv, Nagamangala Taluq, no. 86,
Transl., p. 136, last para., Roman text,
p. 235, last two lines.)
VlSVAKARMMACHARYA(a)— A painter (A.D. 749).
' Skilled in all arts including painting (sarwa-kalantarpati-chitra-
kalabhijnena) wrote the Sasana.'
(Ibid., Vol. vi, Mudgere Taluq, no. 36, last
para., Transl., p. 67, Roman text, p. 153.)
VlSVA-NATHA— An architect (A.D. 1530).
' Born in the family of Visvakarma, the architect of the three worlds,
VisVanatha, the son of Basavachariya, who was the son of Vodeyappayya.
considered to be the Jagad-guru, engraved it.'
(Ibid., Vol. v, part i, Channarayapatna
Taluq, no. 187, Transl., p. 207.)
s
SAMU — ' This must be the name of some writer on architecture.'
Samu-drishtim anusritya nirmita — ' constructed (the lofty temple of
Siva, by two architects, Nayaka and Thodhuka) in accordance with the
opinion of Samu ' (A.D. 804).
(The first prasasti of Baijnath, v. 37, Ep.
Ind., Vol. i, pp. in, 107, footnote 72.)
SlVA-PALA — 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 I
Durggarkkato Deuka-sutra-dharah I
Asyapi sunuh Siva-pala-nama I
Yenotkriteyarh susubha prasastih I
(Vasantgadh Inscrip. of Purnapala, v. 34,
Ep. Ind., Vol. ix, p. 15.)
674
HINDU ARCHITECTURE SAMI(NA)
&UBHA-DEVA — (A.D. 754) — Of Sandilya-gotra, sculptor or architect
(rupakara), ' son's son of the sculptor Siva-vardhamana, son of the
sculptor Siva ; or rather (bhuyah) the Acharya Jnana-siva, who is
the disciple of the disciple's disciple at the feet of him, the venerable
and worshipful Payo-bhakshin, who had the appellation of £iva-
sasana, (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) Ganga — there has been set up in
the (?) 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.
(Pattadakal Inscrip. of Kirtivarman II, lines 15,
16, 17, Ep. Ind., Vol. m, pp. i, 3, 5, 7.)
(KANAKA) SULA-PANI— The crest-jewel of the guild of Varendra
artists (Varendraka-silpi-goshthi-chuda-mani), the son of Brihaspati,
grandson of Manadasa, and great-grandson of Dharma (end of the
eleventh century).
(Deopara Inscrip. of Vijayasen, v. 36,
Ep.Ind., Vol. i, pp. 311, 315.)
SATYA-DEVA — A son of Pitamaha, a merchant by birth, who was
the Karapaka (persons appointed to look after the construction of
the temple, Kielhorn, Ind. Ant., Vol. xix, p. 62, note 53), selected
by the goshthi to see this work (the erection of the temple of the
goddess Kshemarya).
(Vasantagadh Inscrip. of Varmalata, vv. 9, 8,
Ep. Ind., Vol. ix, pp. 192, 189.)
SADEVA— An architect.
(Inscrip. from Dabhoi, vv. in, 112, Ep. Ind.,
Vol. i, pp. 31, 24.)
SAMI(NA) — otherwise called Syamila, Svamin-Vadhaki, (i.e.,
Vardhaki), carpenter or sculptor (Senart).
Samina . . . Vadhakina . . . gharasa mugha kata — the open-
ing (or door) was made by Sami, the Vardhakin.
(Karle Cave Inscrip. no. 6, Ep. Lid.,
Vol. VH, p. 53.)
675
SAMILA AN ENCYCLOPAEDIA OF
SAMILA — also called Syamila— A carpenter.
' Son of Venuvasa, a carpenter, a native of Dhenukaka^a, made the
doorway.'
(Karle Cave Inscrip. no. 6, Arch. Surv.,
New Imp. Series, Vol. iv, p. go.)
SAMPULA — c The intelligent artisan,' engraver of the Ratnapura
inscription of Prithvldeva, the ' crest -jewel of sculptors,' built the
temple of Siva (A.D. 1189).
(Ratnapura Inscrip. of Prithvideva, vv. 28,
29, Ep. Ind., Vol. i, pp. 49, 52.)
SIGGOJA — The sculptor, who made the sculpture mentioned in
the inscription no. 525.
(Ep. Carnal., Vol. VTII, part i, Sorab Taluq,
no. 525, Roman text, p. 168, Transl., p. 86.)
SlftGANAHEBARUVA— The architect, who built ' the stone gate-
way of £anti-grama, ornamented with the tiger- face' (A.D.
1573).
(Ibid., Vol. v, part I, Hassan Taluq,
no. 117, Transl., p. 34.)
SlftGAYA-BHATTA — Rudraya's son, hydraulic engineer (jala-
sutrada), master of ten sciences (dasa-vidya-chakravartti), made
(in A.D. 1388), at the order of the Governor Bukka-Raya, a channel
of ten miles from Kalludi to the Siravera tank. An interesting
account of his accomplishments is given :
Jala-sutra-svara-sastre rasa-vaidye satya-bhashayam I
Rudraya-singari bhavatah sadrisah ko va mahi-tale surah II
' In the science of hydraulics, in divination or telling omens from sounds,
in medical treatment with mercury ( ? perhaps alchemy), in speaking the
truth, — Rudraya's (son) Singari, what learned man is there in the world
equal to you ? '
(Ibid., Vol. x, Goribidnur Taluq, no. 6, Transl.,
p. 212, Roman text, p. 259, Preface, p. 2.)
SlftGALI-KARGI— The son of Kali, a pandita from the Nava-
grama-dranga (watch-station near mountain passes, cf. Translation,
Raja-Tarangini, v. n, p. 291), the sthapati (architect of the tank
specified).
(Shawar Museum Inscrip. of Vanhadaka, line
6, Ep. Ind., Vol. x, p. 80.)
676
HINDU ARCHITECTURE HALA
SUBUJAGA — A sculptor (see under MALLITAMMA).
SKANDA-SADHU— The son of Sri-kantha, a descendant of a
family of architects (sthapati-kula) .
(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).
(Gaya Inscrip. of Vikrama Samvat 1429,
line 9, Ind. Ant., Vol. xx, pp. 315, 313.
HARLSHA(i) — (of Tana Gundur)— A sculptor (see under
BALLANNA).
HARISHA (2) — (of Odeyagiri) — A sculptor (see under BALLANNA).
HAROJA— A sculptor (A.D. 1243).
' Haroja, son of Honnacharyya, son of Botakacharyya, the equal of Manu,
Maya, and Visvakarmma, beloved by all the people and farmers, set up an
image of the sun.'
(Ep. Carnat., Vol. iv, Nagamangala Taluq, no. 55,
Transl., p. 127, Roman text, p. 219.)
HALA — Of Silapatta-varhsa (Silawat caste, masons), an architect,
appointed by a Muhammadan ruler Jallala as one of the three
architects to build a Gomatha, a garden, and a step-well in the town
of Batihadim.
(Batihagarh Stone Inscrip., v. 12,
Ep. Ind.. Vol. XH, p. 46.)
677
BIBLIOGRAPHY
[References (o the quotations are given in full in all cases. No full list of works and authors
is, therefore, appended. Certain series and a few authors more frequently referred
to are mentioned below. The order is that of the English alphabet, as the names in
the following list are all English.]
Abbreviated titles as referred to
Ancient Colonies in the Far East
Ancient Khotan (Vols. I, II) . .
Architectural Remains : Anura-
dhapur.
Arch. Surv., New Imp. Series
Asiatic Researches (Vols. I — XIV).
Bijdragen tot-de taal-land en volken-
Kunde van Nederlandsche
Indie (1918), of M. Finot, Kern,
Vogel.
B. E. F. (Vols. I— XIV)
Buddhist Cave Temples
Buddhist India
Buddhist Records
Cambodge (Vols. I, II, III)
Champa (Vol. I.)
C.I.I.
Authors and other particulars
By R. C. Mazumdar.
By Sir Aurel Stein.
By Smitters.
Archaeological Survey, New Imperial Series.
By M. Auroussean.
Archaeological Survey of Western India,
New Imperial Series, Vol. IV, 'Reports
on the Buddhist Cave Temples and
their Inscriptions,' by Jas Burgess,
LL.D., F.R.G.S.
By Rhys Davids.
Translated by Bill.
By E. Aymonier.
Corpus Inscriptionum Indicarum, Vol. Ill,
' Inscription of the Early Gupta
Kings,' by Dr. Fleet. (Corpus Inscrip-
tionum Indicarum, Vol. I, ' Inscriptions
of Asoka,' by General Sir A. Cunning-
ham, has not been referred to, neither
M. Senart's editions of the same
inscriptions in different volumes of
the Indian Antiquary, as well as in
his French volumes. The only re-
ference to these inscriptions is given
from Dr. Biihler's edition in the
Epigraphia Indica ; the difference in
679
BIBLIOGRAPHY AN ENCYCLOPAEDIA OF
Abbreviated titles as referred to Authors and other particulars
reading, if any, among the editors
has been noted by their names Cun-
ningham, Senart, Biihlcr.)
C.I.I., F.G.I. . . . . Corpus Inscriptionum Indicarum, ' Fleet's
Gupta Inscriptions.'
Chalukyan Architecture, Arch. Archaeological Survey of India, New Im-
Surv., New Imp. Series (fol- perial Series, Vol. xxi, ' Chalukyan
lowed by volume, page, etc.). Architecture,' by Alexr. Rea, M.R.A.S.
Cock . . . . . . Eene Oud-indische stad Volgens het Epos, by
Dr. J. K. de Cock, Groningen, 1899.
Cunningham, Arch. Surv. Re- Archaeological Survey of India Reports, by
ports. General Sir Alexander Cunningham.
De Sutrantraasche Periode der By Krom.
Javansche Geschiedenis (1922).
Ep. Carnal. . . . . Epigraphia Carnatica, by Lewis Rice.1
Ep. Ind. . . . . Epigraphia Indica.
1The most arbitrary abbreviations of the names of the Taluqs, approximately
100 in the 12 volumes, have not been followed, first because it seems impossible,
at least for me, to read, from his abbreviation, Cn., Channarayapattana (in the
Introduction, and the table of contents, but indifferently spelt ' Channaraya-
patna ' in the title at the top of each page), from Mj., Manjarabad, etc. (see
Introduction, Vol. v, part I, p. i) ; secondly, 100 such abbreviations will be too
tedious for any patient reader to remember. These names have, therefore, been
written hundreds of times in full.
Again there are as many as 12 kinds of paging sometimes in each part of
each volume. Compare, for instance, Vol. in, ' Contents ' after one folio of the
fly-leaf, one of the names of the Taluqs, and one of a plate :
(1) Preface (page number is not given).
(2) List of illustrations (page number is not given).
(3) Introduction . . . . . . • • 1-36
(4) List of the Inscriptions classified in chronological order .. i-ix
(5) Text of the Inscriptions in Roman characters .. 1-218
(6) Translations of the Inscriptions .. .. ..1-117
Text of the Inscriptions :
(7) In Kannada characters . . . . • . 1-381
(8) in Grantha and Tamil characters . . . . 1-32
(9) in Arabic and Persian characters . . 1-4
(10) Addenda et Corrigenda . . . . . . 1-2
(u) Alphabetical list of towns and villages where the ins-
criptions were found . . . . . . 1-4
(12) Index to Introduction .. .. .. i-u
680
HL\DU ARCHITECTURE BIBLIOGRAPHY
Abbreviated titles as referred to Authors and other particulars
Etudes Iraniennes, torn II By Darmesteter.
Fa-hien's Travels . . By Legge.
F.G.I. . . . . . . Dr. Fleet's Gupta Inscriptions.
Fergusson, Hist, oflnd. and East. History of Indian and Eastern Architecture*
Arch. by James Fergusson, D.C.L., F.R.S.,
M.R.A.S., 1891.
Gloss. Grecian Arch. . . A Glossary of Terms used in Grecian^
Roman, Italian and Gothic Architecture,
Anonymous, London, 1838.
G\vilt, Encyd. (generally fol- An Encyclopaedia of Architecture, by Joseph
lowed by the cardinal number Gvvilt, F.S.A., F.R.A.S., 1867.
of articles and occasionally by
page).
H.S.I.I. . . . . South Indian Incriptions, by Dr. Hultzsch.
History of Ancient Java (Vols. I, II) By Lassen.
Hist, of Arch., Fletcher .. A History of Architecture, by Fletcher,
1908.
This is not a solitary instance ; compare also Vol. v, part I, which bears nine
kinds of paging exclusive of the fly-leaf, names of Taluqs, and a plate ; Vol. vn
has ten kinds of paging.
There is yet another difficulty, perhaps the most irritating one, of consulting
and 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
familiar with the various South Indian scripts. It is for this reason, and also for
sparing readers the trouble of confusing pagings, that I have referred to the Roman
text only. But neither the Roman text nor the translation, even of the largest inscrip-
tions covering sometimes i o pages of 40 lines to a page (cf. Vol. v, part I, pp. 362,
364, 530, etc.), has been numbered by verses, lines, or paragraphs. Consequently,
no one convenient method could be followed in referring to a particular passage
in the 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 : Ep. Carnal., Vol. v, part I, — Chan-
naraga-pattana Taluq no. . . . , Roman text or Translation, p. . . . >
line . . . (of that particular page, and not from the beginning of the inscription) ,
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
BIBLIOGRAPHY
XV ENCYCLOPAEDIA OF
Abbreviated tides as referred to
History of Art in Persia
History of Burma
History of China
History of Siam (1933)
Ind. Ant.
Indische Alterthumskunde
InventaireDescriptif des monuments
Chams de L' Annam (Vols. I, II).
Indian Colony of Siam
India and Java (Vol. I)
J.A.S.B. (followed by volume,
page, etc.).
Java and Her Neighbours
Javaansche Greschiedenis
J.A.S. Bom. Br. (followed by
volume, page, etc., and N. S.
added to indicate new series).
jf.A.O.S. (followed by part, page,
etc.).
Authors and oilier particulars
By Perrot and Chipicz.
By Phayre.
By Demetrius Boulger.
By W. A. R. Wood.
The Indian Antiquary.1
By Lasscn.
By M. H. Parmentier.
By P. N. Bose.
By B. R. Chatterjee.
Bengal Asiatic Society's Jon rnal.
By A. S. Walcott.
of Kern, Brandes, Krom, Hindoe.
Bombay Branch, Asiatic Society's
Journal.
The- Journal of the American Oriental
Society.
1 In the earlier volumes of this series, pages are divided, not invariably how-
ever, into two columns, which are abbreviated thus : Ind. Ant., Vol. v (preceded
by the name of the article or the inscription), p. 320, C. i or 2 (=column isi or
2nd), para, i or 2 (where there is more than one), line, say, 7 (of the para., when it
is 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
the earlier volumes the footnotes are not marked by the numerical figures, i, 2, 3
and so forth ; they are indicated by some inconvenient signs, e.g. *, j, J, etc. It
was not possible to refer to these notes by any particular name. Some of the
inscriptions published in this series have been given three different titles in three
places of reference, namely, one in the table of contents, a different one as the
heading of the inscription in the body of the volume, and a third one on the top of
the pages wherein it is described. Compare, for example, the following :
(1) 'Two Prasastis of Nanaka, a court poet of Visaladeva of Gujarata '
(Ind. Ant., Vol. xi, contents, at the end of the volume).
(2) ' Sanskrit Grants and Inscriptions of Gujrat Kings, nos. in and iv, Pra-
sastis of Nanaka, a court poet of King Visaladeva of Gujrat ' (in the heading
of the article, p. 98).
(3) Sanskrit Grants and Inscriptions (on the top of pages 99, 101, 103, 105,
107). I have generally referred to the last-named title, i.e. the one occurring
on the top of the pages.
682
HLVDU ARCHITECTURE
BIBLIOGRAPHY
Abbreviated titles as referred M
J.R.A.S., N. S. (followed by
volume, page, etc.).
K.S.I.I.
Lajonquiere Inventaire Dewriptif,
Tome II.
Le Royaume Actual Tonic I,
par Etienne Aymonier.
Le Cambodge
L'Art de Gandhara (Vols. I) . .
Le Siam Ancient (Part I)
M.
Marco Polo (Vols. I, II)
Mission to the Court of Ava.
Monumental Antiquities and
Inscriptions, North-Western
Provinces, Arch. Sun., New
Imp. Series (followed by
volume, page, etc.).
Muhammadan Architecture of
Bharoch, etc., Burgess, Arch.
Surv., New Imp. Series (fol-
lowed by volume, page, etc.).
Mysore Arch. Surv. Report,
Narasimhachar (followed by
year, page, etc.).
M. W. Diet.
Notes Chinoise L' Inde
Nouveaux Melanges Asiatiques
(Vol. II).
Pallava Architecture, Rea, Arch.
Sum., New Imp. Series (fol-
lowed by volume, page, etc.).
Authors and other particulars
The Journal of the Royal Asiatic Society of
Great Britain and Ireland, New Series.
South Indian Inscriptions, by Rao Sahib
H. Krishnashastri.
By M. L. Delaporte.
By M. Foucher.
By Fournereau.
The Mdnasdra, edited and translated by
P. K. Acharya, I.E.S., M.A., PH.D.,
D.LIT.
By Yule.
Archaeological Survey of India, New Im-
perial Series, Vol. xn, ' The Monu-
mental Antiquities and Inscriptions
in the North-Western Provinces and
Oudh,' by A. Fiihrer, PH.D.
Archaeological Survey of India, New Im-
perial Series, Vol. xxm (Western India,
Vol. vi), on ' The Muhammadaii
Architecture of Bharoch, Cambay,
Dholka, Champanir, and Mahmud-
abad in Gujrat,' by Jas Burgess.
C.I.E., LL.D., F.R.S.E.
Annual Report of the Mysore Archaeological
Department, by R. Narasimhachar.
A Sanskrit-English Dictionary, by Sir
Monier Williams, M.A., 1872.
By M. S. Levi.
Translated by Abel Remusat.
Archaeological Survey of India, New Im-
perial Series, Vol. xxiv, ' Pallava
Architecture,' by Alexander Rea,
F.S.A. (Scot.), M.R.A.S.
683
BIBLIOGRAPHY
Abbreviated 'itles as referred to
Pet. Diet.
Ram Raz, Ess. Arch, (of) Hind.
Report on Archaeological Tour
with Bunar Field Force.
Scritores rerum Alexandri Magni
Serindia (Vols. I, II, III)
Sharqi Arch, of Jaunpur, Fiihrcr,
Arch. Surv, New Imp. Series
(followed by volume, page,
etc.).
Source of Oxus
Vedic Index, Macdonell and
Keith.
Ville de Khotan
V.S.I.I.
Vitruvius (followed by book and
chapter) .
Zend Avesta
Aj\ ENCYCLOPAEDIA OF
HINDU ARCHITECTURE
Authors and oilier particulars
Sanskrit-Worterbuch, von Bohtlingk and
Rudolf Roth, 1855.
Essay on the Architecture of the Hindus, by
Ram Raz, London, 1834.
By Sir Aurel Stein (Ind. Ant. 1901.)
By C. Miiller.
By Sir Aurel Stein.
Archaeological Survey of India, New Im-
perial Series, Vol. xi, ' The Sharqi
Architecture of Jaunpur,' by A.
Fuhrer, PH.D., with drawings and
architectural descriptions by Ed. W.
Smith.
By Wood.
Vedic Index of names and subjects, by
Arthur Anthony Macdonell, M.A.,
PH.D., and Arthur Berriedale Keith,
M.A., D.C.L., 1912.
By Rcmuset.
South Indian Inscriptions, by Rai Bahadur
V. Venkayya.
The ten books of Vitruvius, translated
from Latin, by Joseph Gwilt, F.S.A.,
1880.
Translated by James Da^mesteta.
684
INDIAN ARCHITECTURE ACCORDING TO
, MANASARA-SILPA-SASTRA
AND
A DICTIONARY OF HINDU ARCHITECTURE
Published
OPINIONS AND REVIEWS
EXTRACTS
Professor A. B. Keith, D.C.L., D.LITT. — Of auxiliary sciences architecture
has at last received expert treatment from Professor Prasanna Kumar Acharya
in his Dictionary of Hindu Architecture and Indian Architecture based on a new text
and rendering of the Mdnasdra, for which the period of A.D. 500-700 is suggested.
Striking similarities between the prescriptions of the Manasara and Vitruvius
are unquestionably established.
(History of Sanskrit Literature, 1928, Preface, p. xx.)
E. B- Havell, Esq. — -" Let me congratulate you on the results of your monu-
mental researches by which you have contributed so much valuable data to the
study of this great subject. All students of Indian Architecture are deeply
indebted to you .... I have read enough to appreciate your very
thorough treatment of the subject."
Dr. Abanindra Nath Tagore, D.LITT., C.I.E.— There are people who assume
the role of critics of Art without having previously read a single treatise on Art.
Moreover, they consider themselves to be authorities on the subject of Art although
they 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
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
Professor Prasanna Kumar Acharya belongs to the latter category. The two
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
found anywhere.' 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
certain that no two books of such magnitude and such merit as these, namely,
Indian Architecture 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
world.
Before one can acquire a thorough knowledge of Indian Art it is essential to
make an acquaintance with the ancient books on the subject. Hitherto it has
been extremely difficult to be able to read all the connected literature that is
to be found in libraries whether in India or outside. Everyone of us does not
know the language in which the treatises are written. Moreover, most of the
original texts are preserved in distant lands. In the circumstances, a volume
of this nature, written in English and containing as perfect a compendium as is
possible, of all the existing treatises on Art, came to be a necessity, not only for
us but for foreign artists as well. It really makes me feel proud that this stupend-
ous task has been accomplished by our young friend, the author.
I cannot adequately express the extent to which I shall be able to make use
of these two books and the profit which my pupils will derive from them. It
is on all these grounds that I feel thankful to the author and wish an extensive
circulation of his books.
We are expecting a few more such comprehensive volumes from the author
on the subject of Indian Art written in the same beautiful style and including
sketches of temples and other buildings, etc. in various parts. May the God-
dr.ss of Art be his guide in this great venture.
(Translated from Pravasi, April, 1928,
by B. N. Lahiri, Esq., M.A., i.p.)
Mahamahopadhyaya Pandit Ganganatha Jha, M.A., D.LITT., LL.D., Vice-
Chaneellor. Allahabad University —These two books are the fruit of Dr.
Acharya's labour extending over several years and the learned Doctor deserves
congratulations on having completed and — what is more — seeing through the
Press, this monument of his industry and scholarship. The ideal that he set
before himself is neatly expressed by the sentence appearing as a motto on the
opening page — ' What the learned world demand of us in India is to be quite
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
to this ideal. There are many of us who have collected and presented before
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 of the book, which docs less than justice to it ; ' Ency-
clopaedia ' would be a fitter title. The term ' Dictionary ' is associated in our
minds with word-meanings ; while Dr. Acharya's work is very much more than
word-meaning. Each 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 to the London Univer-
sity the 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
the learned Doctor with 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 shirk-
ing work ; but in being led away by this prejudice, the University were unfair
to their alumnus, who has, by this work, more than justified the title that he had
himself suggested.
The Dictionary is based mainly upon the second work mentioned above. I
have had occasion to deal with the Manasara myself on one or two occasions,
and I know how hopelessly corrupt the available manuscripts of the work are ;
and on more than one occasion, I have had to give up the task as hopeless. As
Dr. Acharya remarks, it is a text which is written in five different scripts, possesses
eleven badly preserved manuscripts, has undergone five recensions, and comprises
more than 10,000 lines of a language rightly remarked by Dr. Biihler as the
'most barbarous Sanskrit.' To the 'barbarism' of the Sanskrit of Manasara,
I can bear personal testimony. I remember that when, about fifteen years ago,
I was asked to make sense out of a few extracts from the work, I had to give up
the task in disgust. Dr. Acharya deserves to be congratulated, therefore, for
having succeeded not only in making some sort of sense out of the ' barbarous
Sanskrit, ' but evolving out of it a readable text and thereby undertaking and
completing a work that deserves to be accepted as a standard treatise on Ancient
Indian Architecture and to be placed on the shelves of every decent library in
the country.
The 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 time or the inclination to take up the more voluminous Dictionary.
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 hitherto been regarded as
' German.'
(Indian Review, March, 1928.)
3A
AN ENCYCLOPAEDIA OF
Professor F. W. Thomas, C.I.E.. M.A., PH.D.—" The immense labour which
you have undergone and your devotion to a literature so obscure and difficult
will receive their due recognition. I admire your courage and perseverance and
your independence in working in a field where you could not expect much assis-
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
consulted as an authority on the subject. I hope that the Dictionary will become
a recognized work of reference as it deserves to do."
Sir Claude de la Fosse, c.i E.. M.A., D.LITT., once D. P. I. and the first
Viee-Chancellor of reconstructed Allahabad University.—" The patience, the
labour and the scholarship which you have devoted to these studies through so
many years of your life are at length rewarded by the publication of works of
permanent value to scholars and archaeologists."
K. N. Dikshit, Esq., M.A. Deputy Director General of Archaeology -
" Your recent publication, the Dictionary of Hindu Architecture, is really a monu-
mental work, the value of which can hardly be exaggerated. I have no doubt
that indologists all over the world will acknowledge their indebtedness to you for
placing in their hands such a comprehensive study of the elements of Hindu
architecture."
Professor Dr Sten Konow, Editor, ' Acta Orientalia,' Oslo, Norway. -
" 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."
0- C. Gangoly, Esq. Editor, ' Rupam.' — " We have received your two
books for review and I hasten to congratulate you on your remarkable and
scholarly treatises which will remove one of the crying needs of the study of
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
different languages. The Dictionary of Hindu Architecture contains all the archi-
tectural terms used in the Mdnasdra and in the known Vdstu-sdstras, published
inscriptions, and other archaeological records, with full references and- explana-
tions and Indian Architecture is, for the most part, an introduction to the text of
the Manasara.
The Mdnasdra is universally recognized as the standard Hindu treatise on
architecture, and is the most complete and probably the oldest one extant, though
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 eluci-
date it. It has never before been translated into English, and most writers on
Indian architecture disregard it or scarcely mention it. Eighty years ago indeed
Ram Raz examined a portion of it in his excellent Essay on the Architecture
of the Hindus ; but it has never hitherto received comprehensive treatment.
Scholars were no doubt shy of its technical terms or discouraged by its ' bar-
barous ' Sanskrit, while it must be admitted that the Hindu tradition of pre-
senting aesthetic principles as religious precepts and of embedding scientific
matter in astrological formulas and mystic ritual is 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 use the formulas of fifteen hundred years ago and the precepts of the
Silpa-saslras are still the everpresent guides of the architect and the sculptor.
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 classifi-
cations 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 consi-
dered 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
out, nor are they always easy to follow without plans. The Essay of Ram Raz
was illustrated, and it would have been a great help if Dr. Acharya could have
rounded off his work with the addition of a series of well-executed plates. These
would have been of especial value in examining what is perhaps the most
interesting chapter of Indian Architecture, that in which the treatise of Vitruvius
and the Manasara are compared. All that need be said here is that the two
works, with all their essential differences, have so many striking affinities (in
their classification, for instance, of the orders and mouldings) that we can hardly
doubt that the standard Indian treatise was somehow or other influenced by
the Roman architect who lived five hundred years or more earlier. Exactly
how is another question, the solution of which would establish some important
conclusions in architectural history.
(The Times' Literary Supplement, May 31, 1928.)
These two volumes are a valuable addition to the few English books dealing
with the little understood principles of Indian architecture and achitectural
terms as practised and used by the salats who built the fine old shrines whose
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. The numerous and lengthy quotations in the Dictionary would have
been better in smaller type ; and that of the Manasdra is by no means clean. The
paper is poor.
The author may not be averse to a few suggestions in the event of a second
edition being produced. As ancient Hindu architecture, in its modes of con-
struction, designs, and details, is more or iess strange compared with anything a
would-be student has been familiar with, it would be a very great help if the Dic-
tionary were well illustrated with small vignette insertions, showing, for instance
the different types of pillars, mouldings, etc.
The Manasdra, or " essence of measurement " probably written between A. D.
<joo and 700, which is one of the Silpa-saatras dealing with architecture does not
confine itself wholly to that art, buc, like the others, busies itself with many other
things, such as the planning of towns, villages, and forts, the orientation of
buildings, the classification of kings and their ceremonial rites, the manufacture
of couches, cars and chariots, ornaments, jewels, etc.
The title would have been better ' Hindu Architecture, ' since ' Indian '
as now used, includes Muhammadan. Measurements are iaid down for every
detail both in architecture and sculpture so it is not to be wondered at that we
find such sameness, stiffness and oft-repeated conventional forms in the old
temples which are still standing, especially in mediaeval work. The advance
of Islam gradually influenced later work and brought into it much that is not
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
acquaintance with Hindu architecture. The ' essence of measurement '
is brought out in all its scrupulous exactitude where every measurement in a
building must be regulated upon one measure — that of the side of the shrine
and nothing is left to the salat to express his own individuality. And the measure
of the side of the shrine depended upon the length of the blocks that could be
obtained from the quarry, for the shaft of every pillar was always a single stone
from the top of the base to the neck of the capital : it was never built, as a rule,
of more than one stone.
Professor Acharya does not confine himself to a description and summary
of the contents of the Manasdra, but gives us references to architecture in the
ancient epics, the Purdnas and other works and a resume of the contents of many
other Silpa-sastras. He also ventures upon a long discussion about the similarity
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. R. A. S., October, 1928.)
Dr. Acharya in this book (Indian Architecture) gives us a compact and interest-
ing, though somewhat technical, treatise upon Indian Architecture in the litera-
ture of India. The standard work upon the subject is the Afdnasdra, and a des-
cription of that work forms the kernel, so to speak, of Dr. Acharya's book.
6A
HINDU ARCHITECTURE
The author begins with a general survey of the references to architecture in
literature, dealing first with Vedic and Buddhist works, then with the Puranas,
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
one or two others. Section III deals with the Position of the Manasdra in Litera-
ture. Here, types of buildings are discussed, measurements, the five orders
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
works, and declines ' to attribute all these affinities to mere chance.' This is
a particularly interesting chapter.
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 has an excellent index.
A work like this (A Dictionary of Hindu Architecture) which treats of ' Sanskrit
architectural terms, with illustrative quotations from Silpa-sdstras, general litera-
ture and archaeological records ' will appeal probably to a comparatively small
circle 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
tells us that he has gone through 50,000 pages of archaeological material —
breaks entirely new ground. Dr. Acharya's work has been the greater since,
for his purposes, the term, ' architecture ' must include everthing built or cons-
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
architectural treatises of the Vastu-sdstras, and those portions of the Agamas and
Puranas, etc., which deal with architecture. In addition, all the inscriptions
published in such collections as Epigraphia Indica, the Indian Antiquary, and Epi-
graphia Carnatica, etc. have been taken into account.
Dr. Acharya has arranged his dictionary according to the Sanskrit alphabet.
He gives, in English, a concise explanation of each term, followed by quotations
sufficiently long to make clear the exact connotation of that term in its various
uses. Not only are precise references given to passages in such works as the Indian
Antiquary, when they have a bearing on the subject, but long and adequate quota-
tions are given. The work is tremendously detailed : the entry Stambha, for
example, occupying sixty pages. There are two appendices, the first of which
gives a sketch of Sanskrit treatises on Architecture, and the second, a list of archi-
tects. Finally there is an index arranged according to the English meanings
of the Sanskrit terms.
(Asiatica, June-July, 1929.)
7A
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-
sdstra — the author intended to issue it as an Introduction to his edition of the
Sanskrit test and English translation which are in preparation. But in studying
his subject he found the material increased considerably, and he has now pro-
duced a volume in crown 410 size of 268 pages. 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. 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-
mination. Full references are also provided, and the index alone, beginning
on page 215, is a most painstaking performance.
Both volumes will be welcomed by the increasing number of workers in and
lovers of Indian art.
(Asiatic Review, April, 1928.)
The indigenous Indian literature on architecture has not received much
attention so far. Ram Raz has published an Essay on the Architecture of the Hindus
(London, 1834), which I am afraid, is very difficult of access, and some works
were edited by Ganapati Sastri in Trivandrum Sanskrit Series. Besides that,
we knew the portions dealing with architecture in the Purdnas.
Now Prof. Acharya has been working on the subject for several years and
has paid special attention to the principal work, the Mdnasara. In 1918,
graduated at Leyden with a thesis on this work whereafter he published in the
Allahabad University Journal, a paper on its relation to Vitruvius. Now there
comes a comprehensive treatise together with a Dictionary of the architectural
terms and a survey of the literature, and an edition and translation of the Mdna-
sara are promised for a near future.
These works are to be greatly welcomed, making as they do, accessible for
research a new province of Indian literature.
The author tries to prove that the Mdnasdra in many respects is similar to the
classical science of architecture as we know it from Vitruvius. 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 classi-
cal architecture and fine arts have exercised a lasting influence on the develop-
ment in North-West India. In that corner, Greeks and their half-breeds had
at,
nd
he
he
HINDU ARCHITECTURE
settled for centuries, and it seems that in an Indian inscription of the second
century there is even mentioned an architect (Navakarmika) with a Greek
name* viz. the ' dasa Agisala ' of the relic casket of the Kaniska Stupa near
Peshawar.
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 litera-
ture as well as a survey of the indigenous Indian literature relative to the matter,
which is for the greatest part only available in MSS.
Yet with pioneer work completeness must not be insisted upon, and what is
being given to us we shall accept with sincere gratitude.
(Deutche Literatunzeitung, 1928 14 Heft 660 — Extracts translated from the original
German by Dr. Ludwig Alsdorf, PH.D.)
Dr. A. K Coomaraswamy. — " These two volumes, the latter (Dictionary)
especially, are monumental works, and will be indispensable to every student
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
they are almost the first of their kind ; the serious study of the Indian Silpa-sdstra
has been too long delayed, and a warm welcome may be extended to the Pro-
fessor's undertaking. . . .
The following notes, however, are meant to be a further contribution to the
subject and an acknowledgment of the value of what the Professor has already
accomplished, rather than further criticism."
("Journal of the American Oriental Society, vol. 48, no. 3, pp. 250 fol.
This dictionary owes its name to the University of London. A glossary
of the architectural terms used in the Mdnasara, the standard work on Hindu
architecture, was prepared for the author's private use when he found it indis-
pensable after struggling for two and a half years to edit for the first time and
translate into English a text which is written in five different scripts, possesses
eleven badly preserved manuscripts, has undergone five recensions and com-
prises more than 10,000 lines of a language rightly remarked by Dr. Biihler as
the ' most barbarous Sanskrit.' In this connexion there arose an occasion
for the author to express to the University the opinion that an Encyclopaedia
of Hindu architecture was badly needed. Architectural expressions appear
throughout the whole field of general Sanskrit literature and the epigraphical
records, as well as in the extensive special branch of literature known as Vdstu-
Saslras, more familiarly called Silpa-idstras. Existing dictionaries, in Sanskrit,
English, or any other language, do not elucidate architectural expressions ; and
the texts of the Vdstu-sdstras have been waiting for hundreds of years to be un-
earthed from manuscripts which are quite inaccessible without the guidance of a
9A
AN ENCYCLOPAEDIA OF
special dictionary that would also be instrumental in bringing to light many
new things hitherto left unexplained in inscriptions and general literature.
The University selected the author as the person most immediately concerned
and entrusted him with the task suggesting that he should ' make a full dictionary
of all achitectural terms used in the Manasara with explanations in English, and
illustrative quotations from cognate literature where available for the purpose.'
Thus the terms included in this dictionary are primarily those found in the Mana-
sara. But all the new architectural terms of any importance discovered in all the
known architectural treatises, epigraph! cal documents, and general literature
have also been added. To form even a faint idea of the herculean labour in-
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
volumes to complete the dictionary are in the Press. This dictionary is a verit-
able Encyclopaedia of Hindu architecture. It deals with some 3,000 terms,
relating to architecture, sculpture and cognate arts, 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
general literature. Two appendices enhance the utility of the work : in one
appendix is given a sketch of the literature on the subject, while the other contains
histories of ancient Indian architects, together with a short description of their
works. Great has been the labour of the erudite author and he is to be congra-
tulated 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
cognate arts. The author, Dr. Prasanna Kumar 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
classical periods of India up to the Muhammadan age. An interesting feature
is the comparison drawn between the Indian standard work Manasara and the
European standard work of the Roman architect, Vitruvius. Striking similari-
ties are shown to exist between Greco-Roman and Indian architecture.
(Indian Engineering, January 21 and 28, 1928.)
Dr. Kalidas Nag, M.A., D.LITT. — While Hindu Painting and Decorative art
were hovering between hope and despair as to the chance of gaining occiden-
tal 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 the Architecture of the Hindus by Ram Raz,
published in London (1834), there was a steady increase in the appreciation of
IOA
HINDU ARCHITECTURE
the 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.
But the indigenous tradition of India with regard to the science and art of Archi-
tecture 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 Mdna-
sara he plunged deeper and deeper into the intricacies of Hindu constructional
science : the more baffling were the problems of the texts preserved in the ' most
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 archi-
tecture. Thanks to the comprehensiveness of Hindu masters of the science,
Architecture in the work has been treated in its broadcast sense, implying practi-
cally everything that is constructed, — from buildings religious and secular to town-
planning, laying out of gardens, making of roads, bridges, tanks, drains, moats,
etc., as well as the furniture and conveyances. Thus the Dictionary of Dr. Acharya
gives us for the first time in a handy volume a rich vocabulary hitherto unknown
or only vaguely known. Dr. Acharya has earned the permanent gratitude
of all Indologists by collating and collecting not only manuscripts (largely un-
published) but also the epigraphic data scattered in the bewildering documents
of Indian inscriptions which have given a sureness of touch and a precision of
connotation that are admirable. Dr. Acharya has spared no pains to put the
meaning of the terms as much beyond doubt as possible, for he has placed the
terms invariably in their organic context by quoting in extenso from the generally
inaccessible texts. Thus the Dictionary will not only react in a wholesome way on
our accepted notions of Hindu art and archaeology but also on the future
compilation of a comparative lexicon of the Hindu technical terms — our future
Paribhashendu-sekhara.
As a pioneer work, it will hold its place high amongst the recent publications
of Indology. As a pioneer work again the author, let us hope, will take constant
note of friendly suggestions with a view to enhance the scientific value of this
lexicon. While comparisons with European treatises on Architecture (e.g. Vitru-
vius) 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 still lying idle in the latest publications
of the Trivandrum Sanskrit Series (e.g. Manjuhl-miila-kalpa or Tantra, translated
into Tibetan) and in the Gaekwad Sanskrit Series (e.g. Samarangana-Sulradhara and
Mdnasolldsa, etc.). 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
IIA
AM ENCYCLOPAEDIA OF
the titantic architechtonic genius of the 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 Diva-
kara. 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
on Architecture and of historical architects, enhance the value of the book. May
we request the learned lexicographer to add a special appendix of the techni-
cal terms and names scattered in the various living vernaculars of India where
we find, as in Orissa (cf. Nirmal Bose : Konarak), native architects still constructing
ace ording to their vernacular Vdstu-idstras or even conserving a rich tradition in
bhasd vocabulary (oral or textual).
This volume (Indian Architecture) incorporates the general problems, historical
as well as textual, that form the introduction to Dr. Acharya's Dictionary. In the
first 30 pages the author gives a tantalising survey of the popularity of Architecture
evinced by the Vedic, the Buddhist and the classical literature. We hope that
the author will make the treatment more exhaustive. The next hundred pages
are devoted to a very useful summari/.ing of the contents of the outstanding Silpa-
tdstras, e.g. Mdnasdra, Mayamata, and such manuals ascribed to Visvakarma,
Agastya, Kasyapa, Mandana and others. The comparison instituted between
Mdnasdra and Vitruvius may or may not lead to a discovery of the order of that
of a Romaka Siddhdnta and Hora-fdstra, yet the similarities are striking. But
the most important sections are the author's discussions, relating to the three
styles or orders of architecture — Nagara, Vesara and Dravida — representing the
three geographical divisions of India. We recommend the books of Dr.
Acharya to all Indologists and expect eagerly the publication of the two supple-
mentary volumes now in Press.
(The Modern Review, February, 1928.)
(London Correspondent)
The two books recently written under instructions from the Government of
India on Hindu architecture and published by the Oxford University Press,
ought to be valuable not only to the student of architecture, but also to the student
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
Vdstu-idstra have, as the author states in his preface, been waiting for hundreds of
years to 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,
and those who are competent to express an opinion agree that he has amply
fulfilled his mission and has brought to light many new things hitherto
unexplained in inscriptions and general literature.
ISA
HINDU ARCHITECTURE
The second book is a handbook of Indian architecture and deals with the
Vedic, Buddhist and classical periods up to the Muhammadan times.
Today there is in Great Britain an ever-increasing number of people to whom
such books appeal, probably because of the work of the India Society and kindred
bodies who have stimulated thought in this direction by persistent effort. It is,
therefore, likely that the present books will find a considerable reading public
here as well as in the East.
(The Leader, February 24, 1928.)
Dr. Beni Prasad, M.A., PH D., D.SC. Dr. P. K. Acharya attempts to offer
the results of his twelve years' study of Hindu architecture in four volumes,
two of which have just been published while the other two may soon be expected to
see the light. They ar e based on Mdnasdra, the standard authority, on a number
of minor works and a host of chapters or references, legal, religious, and general
literature, as well as i nscriptions. The Dictionary, in particular, a pioneer work,
is a monument of diligent research and systematic arrangement. In words
quoted in the preface, ' no one but those who have taken part in similar labours,
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 ever-
increasing 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
students but all interested in the scientific study of Hindu culture or in that of
fine arts in general will find it instructive.
The Hindu Silpa-idstra or Vdstu-sdstra is a comprehensive but by no means
unsystematic study. It deals with all kinds of buildings, town-planning, gardens,
and market-places, ports and harbours, roads, bridges, gateways, etc., wells,
tanks, trenches, drains, sewers, moats, walls, embankments, dams, railings, etc.,
furniture like bedsteads, couches, tables, chairs, baskets, cages, nests, mills,
conveyances, lamps, etc., and even dresses and ornaments such as chains, crowns,
headgear and foot- and arm-wear. The dominant topic, however, is architecture —
the plan and erection of religious, residential and military edifices and their
auxiliary members and component mouldings. The science which like the
Dharma-sdstra, Artha-sdstra and Kdma-sastra, professes to derive its first origins from
Brahma himself, developed in the course of centuries and reached its culmination
about the sixth century A.D. in the great treatise called Mdnasdra probably after
the name of its author.
Here as elsewhere in the domain of Hindu history it is difficult to determine
how far the theoretical descriptions in literature correspond with the practical
realities of life. A close comparison of architectural precepts with the details of
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 and spiritualists, those who could
afford maintained a high standard of living. Thus from a passage in the
Buddhist work Chullavaggti, VI, 4, 10, we learn that houses comprised dwelling-
rooms, retiring-rooms, store-rooms, service-halls, halls with fire-places, closets and
cloisters, halls for exercise, wells and ponds, sheds for wells and open-roofed
sheds, bath-rooms and halls attached to them. Of hot-air baths the following
description was given by the late T.W. Rhys Davids on the basis of the Vinaya
Texts III, 105-110, 297. ' They were built on an elevated basement faced with
brick or stone with stone stairs leading up to it, and a railing round the verandah.
The roof and walls were of wood, covered first with skins and then with plaster,
the lower part only of the wall being faced with bricks. There was an ante-
chamber and a hot-room and a pool to bathe in. Seats were arranged round a
fire-place in the middle of the hot-room and to induce perspiration hot water was
poured from the leathers.' Again, as we learn from the Dlgha Nikdya, there were
open air bathing tanks, with flights of steps leading to the water, faced entirely
with stone and ornamented with flowers and carvings. It is needless here to
enter into the details of domestic furniture but it is interesting to note, inter alia
that benches were made long enough to accommodate three persons, that couches
were covered with canopies, and that there were several types of Asandis, such as
sofas, armed chairs and cushioned chairs.
The plan of a village, outlined in the ninth chapter of Manasdra, is theoretical
for its details do not tally with any of the realistic descriptions by Greek, Chinese
or Arab visitors. None the less, it is instructive. A village, we are told, should
be surrounded by a wall or stone pierced by four main gates which should be
connected by roads. The villages should thus be divided say into four principal
blocks. A highway should also run round the village and public buildings be
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
fearful deities and places for cremation should be situated outside the walls.
Everywhere drains should follow the slope. The tenth chapter of Manasdra
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 Leader, December 4, 1927.)
I4A
HINDU ARCHITECTURE
Notable publications by the United Provinces Government
All students of Indian Art in England, and a good many in India, should be
grateful to the U. P. Government for these excellent books. They contain the
fruits of the labour of an Indian Educational Service officer, who has spent about 12
years on these works which, to say the least, are stupendous.
Except for an essay on the Architecture of the Hindus by Ram Raz published
in 1 834, no attempt till now was made to present the Ancient Indian Architecture
in a scientific, clear, 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
fascinating, materials.
A Wise Term
Silpa-sastra or Vdstu-sastra, which is conveyed by the term ' architecture,' is
much wider than the English term. ' It denotes all sorts of buildings, religious,
residential, and military, and their auxiliary members and component mouldings.
Secondly, it implies town-planning ; laying out gardens ; constructing market-
places ; making roads, bridges, gates ; digging wells, tanks, trenches, drains, sewers,
moats ; 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
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.'
Professor Acharya has divided his Indian Architecture into five parts which give us a
very clear idea of the subject, its authorities and all that is generally required for a
quick apprehension of the subject.
General Survey
In Part I Professor Acharya gives a general survey of the whole range of ancient
Indian literature and bears out ' that the authors of the Vedic literature were not
ignorant of stone-forts, walled cities, stone-houses, carved stones, and brick edifices.'
The relics of Mahenjo-daro and Harappa unearthed by the Archaeological De-
partment under the able guidance of Sir John Marshall give the same evidence
of a time much earlier than the earliest Veda. The Buddhist and Jain literature
is replete with reference to buildings, furniture and sculpture of a very high ordci,
The classical Sanskrit literature bears the testimony of a very well-developed
art in all these respects ; several Puranas have an elaborate description of Silpa
and some of the Agamas whose main objects is ' to inculcate the mystical worship
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
chapters, ' the first eight are introductory, the next forty-two deal with archi-
tectural matter, and the last twenty are devoted to sculpture.'
I5A
AN ENCYCLOPAEDIA OF
Here we have what claims to have taken the whole manifestation of architectural
art as its subject. It is up to the present moment, perhaps the most ambitious
effort of the kind, and the author has spared no pains to make his work as complete
and 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 to architecture and sculpture.
Comparison
Part IV compares Mdnasdra with the well-known treatise of Vitruvius on archi-
tecture which belongs to the first century before Christ. Professor Acharya
has been trained in scientific methods of criticism in Europe and in this part of the
work we find a considerable scope for this training. The comparison is thought-
ful, reasoned and balanced. The conclusions are cautious and well-supported.
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
some common source, quite open. In the present resources of our knowledge
it is impossible to arrive at a more definite conclusion.
In Part V he collaborates in a scholarly way both the internal and external
evidence for arriving at correct age of Mdnasdra. Here we have ample evidence
of Professor Acharya's unrivalled grasp of the subject, his critical acumen and of his
indefatigable industry and enthusiasm in having ransacked the whole of the
ancient Indian literature covering thousands of pages in print and in manuscript.
' The evidence submitted above would warrant the extent of the period of the
Mdnasdra from A.D. 500 to 700 ' — by no means an unwarranted conclusion.
Defective Language
It is regrettable that the language in which this important work has been
found is very defective and faulty and has been termed ' barbarous Sanskrit '
by authorities like Dr. Biihler and Dr. Sir Ram Krishna Bhandarkar. It is all the
more creditable for Professor Acharya to have taken pains and construed the text
correctly. In the appendix the learned author has given us some idea of the
defective language by collecting together the irregularities.
Professor Acharya's Dictionary of Hindu Architecture is a monumental work, the
first of its kind. It deals with three thousand words relating to architecture and
sculpture and cognate arts. Under each term is brought together all the necessary
informations in 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
by removing a long-felt want.
(The Pioneer, February 13, 1928.)
l6A
HINDU ARCHITECTURE
(London correspondent)
Dr. Prasanna Kumar Acharya, I.E.S., Professor of Sanskrit in the University of
Allahabad, is now recognized as one of the leading Indian authorities on his special
subject, particularly in its relation to ancient architecture. He has recently
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 con-
tribution of permanent importance in the elucidation of the subjects discussed.
This is not the place in which to give a lengthy review of these two volumes
the first of which runs to 861 pages. This book is a monument of erudition and
patient industry. A man who can produce works of this order must be wholly
immersed in his subjects. Existing dictionaries, in Sanskrit, English, or any
other language, do not elucidate the architectural terms of a long distant past,
and without such a survey as Dr. Acharya has undertaken there could be no
proper appreciation of the ancient genius. The texts of the Yds tu-s astro, have, as
the author stated in his preface, been waiting for hundreds of years to be unearthed
from manuscripts which are quite inaccessible without the guidance of a special
dictionary. This is the task to which the author has addressed himself, and those
who are competent to express an opinion will agree that he has brought to light
new things hitherto left unexplained in inscriptions and general literature.
The other work which is somewhat less voluminous, is a Handbook of Indian
Architecture, Sculpture and cognate Arts. It gives an account of the architecture
of the Vedic, the Buddhist, and the classical periods of India up to the Muhamma-
dan age. 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
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
study 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
features described. This, however, was not the purpose of the author. Rather
it was 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.
What the learned world demands from India is certainty of data in these
matters, and this 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.
(The Hindu, Madras, February 23, 1928 ;
The Tribune, Lahore, February, 28, 1928 ;
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. 35—36, July-Oct. 1928, pp. 39 — 44, by Akhay
Kumar MAITRA. FRAS, 1928, pp. 943f., by H. C. : ... a valuable
addition . . . careful and painstaking search . . . The printers, however,
have not turned out the books so well as the subject matter deserves."
The Asiatic Review, 1928, p. 349: "The work is conscientiously carried out
..." Ind. Art. & L., vol. II, pp. g6f., by E. B. HAVELL : "... a
monument of patient research which will be of invaluable help for the
student."
Dtsche Lit. £tg., 1928, columns 659—661, by Sten KONOW : "Bei Pionier-
Arbeiten draft' man . . . auf Vollstindigkeit nicht Anspruch machen,
und was uns gegeben wird, werden wir mit aufrichtiger Dankbarkeit
entegennehmen."
RAA, 1928, pp. 5&f., by Jean BUHOT : " . . . ouvrage teis digne
d'eloges : en mame temps il n'est pas douteux qu'une edition ulterieure ne
1'amdilore."
Asiatica, vol. I, pp. 225f.
The Pioneer, Allahabad, i3th Febr. 1928. Cp. below COOMARASWAMY,
no. 162.
151. *[ Dr. P.K. ACHARYA, I.E.S., M.A., D. LITT.: — Indian Architecture according
to Mdnasdra-Silpa-sdstra. Oxford University Press : 1927.] See An. Bibl. I. A.,
1927, no. 125.
Reviewed : Rupam, nos. 35 — 36, July-Oct. 1928, pp. 33 — 44, by Akhay
Kumar MAITRA. The reviewer offers some criticisms while acknowledging
the great merits of the work. FRAS, 1928, pp. 943—945, by H. G. : '' . . .
a valuable addition . . . ."
The Asiatic Review, 1928, p. 349: "It is most gratifying that Indian scholars
adopt the great care generally exhibited by European professors, and Mr.
P. K. ACHARYA is one of them."
Ind. Art. and L., N. S., vol. II, pp. g6f., by E. B. HAVELL : . . . a safe
foundation for future historians of Indian architecture."
RAA, 1928, p. 57, by Jean BUHOT : "... ouvrage tres conscien-
cieux."
ISA
INDEX
ABODE (ayatana), 59 ; (avasatha), 63 ;
(pratishtha), 321; (bhavana), 380;
(vis), 464 ; (stha), 577.
ADYTUM (garbha), 145 ; [garbha-gc
(-rl)ha], 146.
ALMS HOUSE (satra), 511.
ALTAR (chaitya), 176 ; (bali-pitha), 366 ;
(vedi), 471.
AMPHITHEATRE (prckshagara), 364.
ANTE-CHAMBER (anusala), 38.
ANTE-CHAMBER OF A SHRINE (aiitafita-
mandapa), 40.
ANTE-CHAMBER WITH ONE OR MORE
CLOSED SIDES (ardha-sala), 46.
APARTMENT (uvaraka), 92.
APARTMENT ON THE ROOF (attalaka),
12.
APEX (sikhara), 490.
ARBOUR (mandapa), 395.
ARCH (chitra-torana) , 174; (jana-chapa-
kriti), 183; (torana), 216 ; (patra-
torana), 294 ; (makara-torana), 389 ;
(vyala-torana), 476.
ARCHED ROOF (turiga), 215.
ARCHITECT (tvashtri), 223 ; (vardhaki),
448.
ARCHITECTURE (vastu), 456.
ARCHITECTURAL MEMBER (makarala), 389.
ARCHITECTURAL OFFICE (avesana), 64.
ARCHITRAVE (pada), 303 ; (padaiiga),
3°4-
ARENA (kumarl-pura), 125.
ARM-CHAIR (satahga), 483 ; (sattariga),
ARMLET (keyiira), 130.
ARMPIT OF AN IMAGE (kaksha), 95.
ARRANGEMENT (samsthana), 520.
ARSENAL (sastra-mandapa), 483.
ARTISTS (silpi-lakshana), 494.
ASCETIC (arsha), 62 ; (muni), 425.
ASSEMBLY (pratisraya), 320.
ASSEMBLY HALL (ayatana), 59 ; (rariga-
manclapa), 432 ; (samsad), 520.
ASSEMBLY HOUSE (samiti), 517.
ASSF.MBLY ROOM (asthana-mandapa), 67.
ASTRAGAL, (hara), 612.
ATTIC (karna-kuta), 105.
ATTIC ROOM (kQta-sala), 129; (chuli-
harmya), 175.
AUDIENCE HALL (asthana-mandapa), 67,
AUDITORIUM (prcksha-griha), 3().j. ;
(-mandapa), 395.
AUSPICIOUS CEREMONY (grilia-mahgala) ,
151.
AVIARY (kapota-palika), 100.
B
BACK DOOR (plaksha-dvara), 365.
BAGNETTE (hara), 612.
BALANCE (tula), 216.
BALCONY [alinda(ka)], 46 ; (andhara),
53 ; (nishkasa), 284 ; (vadhu-nataka),
446, [va(ba)labhij, 449 ; (bhrama-
linda), 389.
BALUSTRADE (alambana), 62 ; (alambana-
bahu), 62 ; (pada-vcdi), 304 ; (vedika-
vatapana), 474.
BAND (anghrika-vari), 12 ; (bandha), 366;
(yantraka), 431 ; (rakta-patta), 431.
BANNER (jayanti), 184.
BAR ATTACHED TO THE THRONE (kokil-
argala), 131.
BASE (OF A COLUMN) (aksha), i ; (alam-
bana), 62 ; (uraga-bandha), 90 ;
(kaksha-bandha) , 95 ; (kampa-ban-
dha), 102; (kalasa-bandha), no;
(kukshi-bandha) , 120 ; (kuttima), 121 ;
(kumuda-bandha), 126 ; (kumbhaka),
127 ; (kumbha-bandha), 127 ; (kum-
bhalankara), 127 ; (charu-bandha),
173 ; (janman), 183 ; (patta-bandha) ,
291 ; (padma-kesara) , 297 ; (padma-
bandha), 298 ; (paduka), 304 ;
(pada-bandha), 304 ; (pindl), 306 ;
(pushpa-pushkala), 313 ; (prati-
krama), 317 ; (prati-mukha), 319 ;
INDEX
(mancha-bandha) 390 ; (mula-sthana),
426 ; (rakta-bandha), 432 ; (ratna-
bandha), 434 ; (vajra-bandha), 445 ;
(vapra-bandha), 447 ; (srl-bandha),
498 ; (sVi-bandha-kuttima), 498 ;
(sreni-bandha), 500.
BASEBORN (ugra-jati), 69.
BASEMENT (adhisthana), 15 ; (adhara),
52 ; (griha-pindi), 150 ; (janman),
183 ; (janma-nirgama), 183.
BASE MOULDINGS (maha-patta), 416 ;
(rakta-kampa) , 431.
BASIN (karoti), 103.
BASKET (karanda), 103 ; (parna-manju-
sha), 302.
BATHROOM (majjanalaya), 390 ; (snana-
droni), 593.
BEAD (hara), 612.
BEAM (gopana), 157 ; (tula), 216 ; (tula-
danda), 216 ; (parigha), 300 ; (bhara),
381 ; (bhara), 381 ; (hasti-parigha),
611.
BED [talpa(ka)], 194.
BED-CHAMBER (sayana-mandapa), 4.83 ;
(sringara-mandapa), 497.
BED-ROOM (kama-koshta), 115 ; (rahasya-
vasa-mandapa), 436.
BED-ROOM OF DEITIES (kamya), 115.
BED-STEAD (asana), 64 ; (kakashta), 115 ;
(kumbha-pada), 127 ; [khattaka(-tta)],
136 ; (khatva), 136 ; (nishadya), 284 ;
(pallarika), 303 ; (phalakasana), 365 ;
(bala-paryanka), 371 ; (mancha), 390 ;
(manchali), 390.
BEEHIVE LIKE ORNAMENT (karanda), 103.
BELLY OF A WHEEL (kukshi), 119.
BENCH (proshtha), 365.
BLIND SCREEN (andhara), 53.
BLUE LOTUS (pushkara), 312.
BOAT (vahana), 451.
BOLT (indra-kila) , 67 ; (kokilargala),
131 ; (ghatana), 170.
BOLT FOR FASTENING DOOR (argala),
44-
BORDER OF A CLOTH (nipya), 286.
BOUNDARY (antima), 42.
BOUNDARY MARK (kadanga), 98.
Box (manjusha), 391.
BRACELET, (kataka), 95 ; (pushpaka), 313.
BRACELET LIKE ARCHITECTURAL ORNA-
MENT, (katakakara), 96.
BRACKET (nasika), 280 ; (pranala), 316.
BRAHMAN- VILLAGE (agrahara), 2.
BRAIDED HAIR (kalapaka), 112.
BRANCH (sakha), 484.
BREADTH (vistara), 466.
BREAST ORNAMENT (kucha-bandhana),
I2O.
BRICK (ishtaka), 68.
BRIDGE (setu), 527, 531.
BROAD PATH (prapatha), 323.
BUDDHIST IMAGES (bauddha), 375.
BUDDHIST RAILING (muddha-vedi), 425.
BUDDHIST TEMPLE [gandha-kuti (-1)], 143.
BUILDING (isvara-kanta), 69 ; (upasatha-
gara), 89 ; (kamya), 115; (kunjara),
120 ; (kesara), 130 ; [kailas(s)a], 131 ;
(kona), 131 ; (khadga), 136 ; (kshema),
136 ; (gaja), 141 ; (gada), 143 ;
(garutman), 145 ; (guva-vriksha), 149 ;
(guha-raja), 149; (griha), 150; (griha-
kanta), 150 ; (griha-chulll), 150 ;
(griha-raja), 156 ; [gopurakara (-kriti)],
161 ; (geya), 162 ; (ghata), 167 ;
(chatur-asra), 170; (chatur-mukha),
170; (chakra), 170; (chakra-kanta) ,
170 ; (chandita), 170 ; (charuka), 173;
(chulli), 175 ; [chauchala (-vadi)],
1 80 ; (chhanda), 181 ; [jagata, (-ti)],
182 ; (janaka) 183; (jajna-kanta), 183 ;
(jati), 187; (jati-harmya), 188; (jyotish-
kanta), 191 ; (tapash-kauta), 193 ;
(tauli), 222 ; (tri-vishtapa), 223 ; (tri-
bhumi), 223 ; [danda (mana)], 223 ;
(dandita), 224 ; (dasa-kanta), 225 ;
(dharana), 246 ; (nandana), 255 ;
(nandyavarta), 256 j (nandika), 257 ;
(nandi-vardhana), 257 ; (paksha-
ghana), 287 ; (panjara-sala), 288 ;
(pandi-sala), 292 ; (padma), 296 ;
(parvata), 303 ; (panchala), 303 ;
(pundarika), 310 ; (prithivi-dhara),
310 ;' (puri), 312 ; (pushpaka), 313 ;
(prapa), 323 ; (prabhava), 325 ;
(pralinaka), 327 ; (prasada-malika),
364 ; (brahma-kanta), 375 ; (bhadra),
378 ; (bhavana-kanta), 380 ; (bhu-
kanta), 383 ; (bhu-dhara), 383 ;
(bhupa-kanta), 383 ; (bhoga), 388 ;
INDEX
(mancha-kanta), 390 ; (manika), 394 ;
(malika), 421 ; (meru), 427 ; (meruja),
429 ; (yama-sutra), 431 ; (rariga-
mukha), 433 ; (rathaka),
(ruchaka), 439 ; (rudra-kanta)
(vajra), 445 ; (vajra-svastika),
(vardhamana) 448 ; (vardhani)
(virata), 448 ; (valabhi),
(valaya), 450
nika), 455
(vijaya), 458
(vipulakritika),
436
440;
446 ;
44.8 ;
449 5
(vasa-
458;
460;
464;
(vata), 453
(vikalpa),
(vipulanka),
, „ 46° 5 (vivrita), _ . .
(vimana-chchhandaka), 464 ; (visala),
464 ; (visva-kanta), 465 ; (vishnu-
kanta), 466 ; (vrisha), 470 ; (vrita),
470 ; (vrishabhalaya), 471 ; (vedi-
kanta), 474 ; (vairaja), 475 ; (vaijayan-
tika), 475 ; (sankha), 482 ; (sambhu-
kanta), 483 ; (sala-malika), 490 ;
(libika-vesma), 493 ; (siva), 495 ;
(sri-kantha), 497 ; (sn-bhoga), 498 ;
(srl-kanta), 498 ; (sri-jaya), 498 ;
(sri-pada), 498 ; (Irl-vatsa) 499 ;
(shat-tala), 500 ; (shodaSasra), 510 ;
(satya-kanta), 510 ; (sabha-malika),
517 ; (sarvato-bhadra), 517 ; (sarvakal-
yana), 517; (sama), 517; (saroruha),
517; (samudra), 517; (samudga),
517; (saihchita),52o ; (sampurna),
520; (sara), 520; (siddha), 521;
(siddhartha), 521 ; (sindhuka), 522 ;
(sundara), 525 ; (suprati-kanta), 525 ;
(subhushana), 525 ; (saura-kanta),
532 (saudha- malika), 532 ; (saumya),
532 (skandha-tara), 532 ; (sthanaka),
592 (sthira-vastu), 593 ; (sphurjaka),
593 (svarga-kanta), 594 ; (svastika),
594 (svastika-khadga), 607 ; (svasti-
kanta), 607 ; (svasti-bandha), 607 ;
(harmya-kanta), 610 ; (hasti-prish-
tha), 611 ; (hamsa), 612; (hema-
kuta), 613 ; (himavat), 613.
BUILDING FOR PRESERVING WATER (jala-
purita-mandapa), 185.
BUILDING FOR THE WATER CLOCK
(ghatikalaya), 168.
BUILDING MATERIAL (ishtaka, etc.), 68 ;
(kolaka), 132.
BUILDING WIDTH AS MEASUREMENT (apa-
samchita), 42.
BUILDING WITH HEIGHT AS STANDARD
OF MEASURE (asamchita), 50.
BUILDING WORK (vastu-karman), 458.
BUTTOCKS (sroni), 500.
CAGE (vyaghra-nida), 475.
CALYX [kulikahghri(ka)], 128.
GAMP (kataka), 95 ; (skandhavara), 532.
CANAL (nala), 278 ; (nalika), 279 ;
(marga), 421.
CANAL-HOUSE (nala-geha), 279.
CANE-BOTTOM CHAIR (kochchha), 131.
CANOPY (torana), 216 ; (prabha), 325 ;
(vitana), 460.
CAPITAL (kataka), 95 ; (kumbha), 126 ;
(chulika), 175 ; (pushpa-bodhaka),
313; [bodhik(a)], 373 ; (raja-dhani),
436.
CAPITAL CITY (cherika), 180 ; (nagara),
247.
CARPENTER (takshaka), 192 ; (sutra-
dhara), 527.
CARVING ON THE DOOR (ghata), 167.
CASKET (manjQsha), 391.
CATTLE-SHED (samgavinl), 519.
CAVE-HOUSE (kandara-griha), 98 ; (dari-
griha), 225.
CAVETTO (prati-vajana), 320 ; (rakta-
vapra), 432.
CAVITY (nimna), 282 ; (sushira), 526.
CAVITY OF A WHEEL (kukshi) , 119.
ClELING (tauli), 222.
CELL (agara), 51.
CEMENT (kalaka) ,112; (vajra-sarhghata) ,
446 ; (vajra-lepa), 446 ; (sandhi-
bandha), 514.
CENTRAL COURT-YARD (brahmangana),
CENTRAL HALL [garbha-ge (-ri)ha], 146 ;
(madhya-koshtha), 412.
CENTRAL LINE OF A FOUNDATION (garbha-
sutra), 148.
CENTRAL PART (brahma-pada), 375 ;
(brahmams'a), 376.
CENTRAL PART OF A TOWN (brahma-
sthana), 376.
CENTRAL PART OF A VILLAGE (brahma-
mandala), 376.
INDEX
CENTRAL THEATRE (madhya-ranga) , 41 2.
CHAIN (srinkhala), 496 ; (hara), 612.
CHAIN-ORNAMENT (eka-hara), 94.
CHAIR (mancha), 390.
CHAIR RAISED ON A PEDESTAL (ctaka-
padaka-pitha), 94.
CHAIR WITH MANY LEGS (amalaka-vantika-
pitha), 58.
CHAMBER (koshtha), 133.
CHANNEL (jala-sutra), 186 ; (tilamaka),
214.
CHAPEL (deva-kula), 229.
CHARIOT (anila-bhadraka), 38 ; (nabhas-
van), 257 ; (nivata-bhadraka), 284 ;
(pavana), 303 ; (pushpa-ratha) , 313 ;
(prabhanjana) 325 ; (bhadraka), 379 ;
(ratha), 435 ; (syandana), 593.
CHEEK (kapola), 101.
CHIEF-ARCHITECT (sthapati), 578.
CHISELLING THE EYE (nayanonmilana),
258.
CIRCLE (nirvyuha), 284.
CIRCULAR COURT IN THE INNER COM-
POUND (antar-mandala), 40.
CIRCULAR FILLET (kampa-vritta), 102.
CIRCULAR PATH (bhramana), 388.
CIRCUMFERENCE (nemi), 287.
CITY [khaluraka f-rika), 138 ; (sarh-
viddha), 520 ; (sthaniya)], 592.
CLASS OF BUILDING (abhasa), 54 ; (strl-
'inga), 577-
GLASS OF PEOPLE (karnikara), 108.
CLASS OF TWO-STOREYED BUILDINGS (ad-
bhuta), 14.
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 (amala-
sara), 43.
COLLEGE (raatha), 391.
COLLET (mani-bandha), 394.
COLONIAL SETTLEMENT (nivesana), 284.
COLUMN (chitra-skambha), 174; (jaiigha),
182 ; (jayanti), 184 ; (dvi-vajraka),
244 ; (pota), 315 ; (lakshmi-stham-
bha), 440 ; (vajra), 445 ; (saumukh-
ya), 532 ; (skanda-kanta), 532 ;
(sthanu), 592.
COLUMN HAVING A LOTUS-SHAPED BASE
(evarhkanta) , 94.
COLUMN OF THE WALL (kudya-stambha),
124.
COLUMN WITH ONE MINOR PILLAR (evaiii-
kanta), 94.
COLUMN WITH TWO OR THREE MINOR
PILLARS (evamkanta), 94.
COLUMNS OF A PAVILION (gatra), 149.
COMFORTABLE COMPARTMENT (kama-
koshta), 115.
COMMITTEE [goshthi-(ka)], 162.
COMPARATIVE HEIGHT (ganya-mana), 141.
CONSIDERATION OF FORMULAS FOR CORRECT
DIMENSIONS (ayadi-karman), 60.
CONSIDERATION OF FORMULAS FOR RIGHT
PROPORTIONS (ayadi-bhushana), 60.
CONVEYANCE (yana), 431.
CORNER LEAF (karna-patra), 106.
CORNER TOWER (karna), 104 ; (netra-
kuta), 286.
CORNICE (kuti), 120.
CORONATION HALL (abhisheka-mandapa),
43-
CORRIDOR [alinda(ka)], 46 ; (mandapa),
395-
COTTAGE (kuti), 120.
COUCH (anvanta), 42; (kakashtu), 115;
(khatva), 136; [talpa (ka)], 194;
(paryanka), 303 ; (bala-paryanka), 371;
(mancha), 390 ; (vahya), 448.
COUNCIL CHAMBER (sabha), 515.
COUNCIL HALL [ba(va) lanaka], 366 ;
(madhya-sala), 413.
COURSE (marga), 421.
COURT (ardha-mandapa), 45 ; (prari-
gana), 343.
COURT [ahka(ga)na], 3.
COURTYARD [anka (ga) na], 3 ; (nihara),
286 ; (vasa-ranga), 455 ; (vikata), 458.
COURTYARDS WITH JAIN IMAGES OF
GOMATA (betta), 374.
COVER (anghrika-vari), 12.
COVERED ARCADE (bhrama), 388.
COVERLET (upavasana) , 88.
GOWSTALL (gotra), 157 ; (goshtha),
161 ; (go-matha), 161.
INDEX
GRAB (karkata), 104; (kuli(I)ra], 128.
CREEPER-LIKE ORNAMENT (karnika), 108.
CRENELLE (indra-kosa), 68.
CREST-JEWEL (likha-mani), 492.
CROCODILE (kirhbara), 117 ; (graha), 167.
CROCODILE-SHAPED ORNAMENT (makara-
kundala), 389.
CROOKED (kubjaka), 125.
CROSS-BAR (suchiya), 525.
CROSS-BEAMS (bhara), 381.
CROWN (kirita), 117; (patta-bandha).
291 ; (mauli), 429.
CROWNET (ushnlsha), 90.
CROWNING OF THE ENTABLATURE (karnika)
1 08.
CROWNING FILLET (uddhrita), 75.
CROWNING PART OF THE HINDU SIKHARA
(amalasila), 43.
CRYSTAL PALACE (mani-harmya), 394.
CUBIT (hasta), 610.
CUPOLA (anda), 13 ; (kalasa), 108 ;
(kumbha), 126.
CUSHIONS (asanda, asandi), 66 ; (kas"u,
kaspu), 115.
CUSTOM HOUSE (mandapika), 410.
CYMA (abja), 42 ; (ambuja), 44 ; (kshe-
pana), 135.
DADO (kandhara), 98 ; (gala), 148.
(griva), 167.
DEER FOREST (mriga-vana), 427.
DEFECTS OF THE LIMBS (anga-diishana),
4.
DEFENSIVE WALL (dehi), 233.
DEITY-CHAMBER (garbha), 145.
DEMI-GODS (gandharva), 144 ; (yaksha),
431-
DEPTH (nimna), 282.
DEPTH OF FOUNDATIONS (purushaiijali),
312.
DESIGNER (vardhaki), 448.
DETACHED PAVILION OF A TEMPLE WHERE
THE IDOLS ARE DRESSESD (alarikara-man-
dapa), 46.
DEVOTEE (bhakta), 377.
DIADEM (ushnlsha), 90; (kirita), 117;
(vira-patta), 469.
DIAMOND BAND (vajra-patta), 445.
DIAMOND THRONE (vajrasana), 446.
DIM LIGHT (avachchhaya), 48.
DINNING HALL (abhyavahara-mandapa),
43 ; (bhojana matha), 388 ; (harmya-
garbha), 610.
Disc OF VISHNU (chakra), 170.
DITCH (kadaiiga), 98 ; (parikha), 298.
DOME (kalaSa), 108 ; (gala-kit ta), 148 ;
(stupa-griha), 576 ; (stupl), 576.
DOME-LIKE CONSTRUCTION (chaitya-
gnha), 179.
DOOR (abhasa), 54 ; (udumbara), 74 ;
(kapata), 98; (kavata), 114; (griha-
mukha), 156 ; (chhanda), 181 ; (jati),
187 ; (dvara), 235 ; (srenita-dvara) ,
499 ; (sutra-patti), 527.
DOOR-FRAME (kshepana), 135 ; (dvara-
sakha), 243.
DOOR-LINTEL (dvara-lakha), 243.
DOOR-MOULDING (chatur-varga), 171 ;
(madhya-bhuvanga), 412.
DOOR-POST (durya), 229.
DORMER WINDOWS (chandra-sala), 172.
DOUBLE-STOREYED PAVILION (adhiman-
dapa), 15.
DOVE-COT (kona-paravata), 132.
DOVE-RIDGE (kona-paravata), 132.
DRAFTSMAN (sutra-grahin), 527.
DRAIN (jala-dvara), 185 ; (danta-nala),
225 ; (pranala), 316 ; (soma-sutra),
531-
DRAWING-ROOM (alankara-rnandapa) 46 ;
[khaluraka (-rika)], 138 ; (bhadra-sala),
380.
DRINKING-HOUSE (madira-griha), 410.
DRIP (nimna), 282.
DRIP-MOULDING (kshepana), 135.
DRUM OF THE EAR OF AN IMAGE (karotl),
103.
DWARF PILLAR (upapada), 76.
DWELLING (avasatha), 63 ; (a^rama), 64 ;
(asana), 64 ; (durya), 229 ; (bha-
vana), 380.
DWELLING-HOUSE (avasa), 63 ; (sthanal.
592.
INDEX
E
EAR OF THE ELEPHANT (kari-karna) , 103.
EAR OF AN IMAGE (karna), 104.
EAR-ORNAMENT (karna-puraka), 107 ;
(karna-bandha), 107 ; (makara-bhu-
shana), 389.
EAR-RING (graha-kundala), 167 ; (parSva-
purita), 305.
EDGE (arhlru), 50.
EDIFICE (sukshetra), 524 ; (stupa), 574 ;
(harmya), 608 ; (hiranya-nabha), 613.
EIGHT PARTS OF A BUILDING (ashta-
varga), 50.
EIGHTH STOREY (ashta-tala), 49.
EIGHT-STOREYED BUILDING (deva-kanta),
229 ; (maha-kanta), 415, etc.
ELEVEN-STOREYED BUILDING (arka-kanta),
44 ; (isa-kanta), 69 ; (ekadaSa-tala),
94, etc.
ELEVENTH STOREY (ekadasa-tala), 94.
ENCLOSED SETTLEMENT (ayatana), 59.
ENCLOSURE (ayatana) , 59 ; (avrita), 63 ;
(chhanda-prakara), 181; (jati-prakara),
187 ; (prakara), 337 ; (vara), 454 ;
(sutalaya), 526.
ENCLOSURE-BUILDING [khaluraka(-rika)],
138.
ENCLOSURE WALL (pancha-sala), 288.
ENLIGHTENED ONE (Buddha), 373.
ENTABLATURE (alaksha), 46 ; (kuti), 120 ;
(kuttima), 121; (kumbhalankara), 127 ;
(khandottara), 136 ; (gopana), 157 ;
(patra-bandha), 294; (prachchhadana),
315 ; (prastara), 328 ; (prastirya),
337; (matta-varana), 410; (rupottara),
440 ; (vardhamana), 448 ; (vidhana),
460.
ENTRANCE (dvara), 235 ; (prave^a), 337 ;
(velaria), 474 ; (samchara), 519.
ENTRANCE DOOR (mukha-varana), 424.
EXCAVATION (garbha-bhajana), 147 ;
(garbhavata), 148.
EXTENSION (bahala), 370.
EXTERIOR (griha-mukha), 156.
EXTERNAL SIDE OF A BUILDING (bahir-
anga), 370.
EYE (aksha), i.
EYE LINES (akshi-rekha), 2.
F
FACADE (griha-mukha), 156 ; (mukha),
FACE (vaktra), 444.
FACE OF A BUILDING (griha-mukha), 156.
FACE OF A SHARK (makarf- vaktra), 389.
FACIA (asya), 67.
FAIR (hatta), 607.
FAIRY (vidyadhara), 460.
FAMILY (parivara), 301.
FAMILY HOME (griha), 150.
FAN (vyajana), 475.
FAN POST (bhrama-danda), 389.
FAST CONVEYANCE (adika), 52.
FEMALE APARTMENT (antah-pura), 40 ;
(garbhagara), 144.
FERRY [ghat (-ta)], 169.
FESTIVE HALL (utsava-mandapa), 73.
FIFTH ENCLOSURE (maha-maryada), 417.
FIFTH STOREY (paficha-tala), 288.
FIGURE HEAD (unhisa), 70.
FILLET (antarita), 39 ; (aliiiga), 63 ;
(uttara), 70 ; (upana), 89 ; (kampa),
1 02 ; (kampana), 102 ; (kshepana),
135 ; (patta), 289 ; (rakta-kampa),
431 ; (vajana), 452.
FINGER (aiigula), 4.
FINGER-BREADTH (ahgula), 4.
FINIAL (kalasa), 108 ; (salanga), 489 ;
(sikhanta), 492.
FIVE-STOREYED BUILDING (kalyana), 114;
(pancha-bhumi), 288 ; (yajna-kanta),
431, etc.
FLAG (jayanti), 184.
FLAG STAFF (danda), 223.
FLIGHT OF STEPS (achala-sopana), 12 ;
(kati), 96 ; (ghatta), 168.
FLIGHT OF STEPS FOR A HILL (adn-sopana),
14.
FLOOR (kuttima), 121 ; (bhauma), 388.
FLOOR INLAID WITH JEWELS (mani-bhu),
394-
FLOWER-BUD (manjarl), 391.
FLUTE (karuna-vlna), 103 ; (varhsa), 451 ;
(vina), 468.
INDEX
FOOT (arighri) u ; (charana), 172.
FOOT-PATH (jaiigha-patha), 183 ; (pak-
shaka), 287.
FOOT-PRINTS (sri-pada), 498.
FOOT-PRINTS OF BUDDHA (buddha-pada),
373-
FOREST (kantara), 115.
FOREST FORT (vana-durga) , 446.
FORMULA OF HEIGHT (utsedha), 73, etc*
FORT (kota), 131 ; (kolaka), 132 ;
(kharvata), 137 ; (khaluraka (-rika)],
138 ; (giri-durga), 149 ; (durga), 226 ;
(dhanva-durga), 245 ; (parikha-
durga), 300 ; (vahinl-mukha), 458 ;
(sahaya-durga), 519 ; (sainya-durga),
528.
FORTIFIED CITY (kharvata), 137 ; (durga),
226.
FORTIFIED TOWN (khetaka), 139.
FORTRESS (drona-mukha), 234 ; (sarhgra-
hana), 519; (sthanlya), 592.^
FOUNDATION (adhi), 53 ; (garbha),
145 ; (garbha-nyasa), 147 ; (garbha-
vinytsa), 148 ; (griha-garbha), 150 ;
(jalanta), 186 ; (deva-garbha), 229 ;
(bandha), 366 ; (mula-sthana), 426 ;
(vaiSya-garbha), 475 ; (Silapravesa),
494-
FOUNDATION OF A VILLAGE (grama-
garbha), 166.
FOUNDATION PILLAR (mula-danda), 426 ;
(mula-stambha), 426.
FOUNDATION-PIT (garbha-bhajana), 147 ;
(garbhavata), 148 ; (phcla), 365.
FOUNDATIONS OF TEMPLES (brahma-
garbha), 375.
FOUR-FACED (chatur-mukha), 170.
FOUR-STOREYED BUILDING (indra-kanta) ,
67 ; (sadasiva), 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 ; (paravata-
nida), 305, etc.
G
GALLERY [alinda(ka)], 46 ; (deva-kula),
229.
GARDEN (pushpa-vatika) , 313.
GARDEN HOUSE (arama), 61.
GARRET (chuli-harmya), 175.
GATE (dvara), 235 ; (vara), 454.
GATE-CHAMBER (dvara-koshtha), 243.
GATE-HOUSE (indra-kaata), 67 ; (gopura),
r57 J (dvaraka), 243 ; (dvara-sobha),
243 ; (dvara-harmya), 244 ; (brahma-
kanta), 375 ; (maha-gopura), 415 ;
(srl-visaia), 499 ; (shodasa-tala), 500 -
(saumya-kanta), 532.
GATEWAY (tor.-ina), 216; (pratoli), 321.
GABLE WINDOW (netra), 286.
GIRDLE (kati-sutra), 97.
GLASS (chitra), 173 ; (chitrabhasa), 174.
GOD'S RESIDENCE (devalaya), 231.
GOLDEN SEAT (kasa, kaspu), 115.
GRANARY (koshtha), 133 ; (koshthaka),
133 ; (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),
121.
GROUND FLOOR [eka-tala(-bhuml)], 92.
GROUP PAVILION (bahu-mandapa), 371.
GUILD HALL (nigama-sabha), 281.
GUTTER ( jala-dvara) , 185 ; (nail), 279.
GYMNASIUM (kumarl-pura), 125.
H
HABITATION [geha. (-ka)], 156.
HALF CHAIN OF 64 STRINGS (ardha-hara),
46.
HALF PAVILION (ardha-mandapa), 45.
HALF-RELIEF (chitrardha), 175.
HALL (kuti), 120 ; (griha), 150 ; [geha
(-ka)], 156; (chatur-mukha), 170;
(danda-kanta), 224 ; (dandaka), 224 ;
(prakoshtha), 315; (vikata), 458;
(vijaya),' 459; (sabha), 515.
INDEX
HALL BEHIND THE MAIN HALL (anu-Sala),
38.
HALL OF AUDIENCE (upasthana-bhumi),
89-
HALL-MANSION (kolhi-veSmika), 132.
HAMLET (vataka), 453.
HAMMOCK (andola), 53 ; (dola), 192, 233.
HANGING BALANCE (tula-bhara), 216.
HEAD (kuta), 128 ; (siras), 493.
HEAD GEAR (karanda), 103 ; (kuntala),
125 ; (kesa-bandha), 130 ; (chitra-
kalpa), 174; fmakuta), 389; (mauli-
bandha), 430.
HEIGHT (kautukodaya), 134; (jayada),
184; (tunga), 215; (dhanada), 244;
(paushtika), 315 ; (sarva-kamika) , 517.
HEIGHT OF A STOREY (bhumi-lamba),
386.
HEADLINE RUNNING ALONG THE TOP OF
THE BANISTERS (unhlsa), 70.
HEAD ORNAMENT (chulika), 175.
HELMET (Sirastraka), 493.
HERMITAGE (asrama), 64 ; (ghatika-
sthana), 168.
HIGH RELIEF (chitra), 173.
HIGH WAY (raja-patha), 437.
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.
HOSPITAL (jvara-devalaya), 191.
HOUSE (avastha), 48 ; (agara), 51 ;
(ayatana), 59 ; (alaya), 63 ; (kacha),
115; (kshudra-sala), 135; (griha),
150 ; [geha-(ka)], 156 ; [dam(a)],
225 ; (dhaman), 246 ; (pastya), 303 ;
(sarma), 483 ; (s"ala), 484 ; (sala-
griha), 489 ; (luddha), 496.
HOUSE WITH FOUR HALLS (chatuh-sala),
171. •
HOUSE-ENTERING CEREMONEY (eriha-
prave^a), 150.
HUB OF THE WHEEL (kukshi), 119.
HUMP-BACKED (kubjaka), 125.
HUT (kota), 131.
', HYDRAULIC ENGINEER [jala-sutra (-sutra-
da)], 186.
IDOL (vigraha), 459 ; (sakala), 510 ;
(sthavara-bera), 593.
IDOL, POSES OF (ati-bhanga), 13, etc.
IMAGE (chitra), 173 ; (chitrabhasa), 174 ;
(bimba), 372 ; (bera), 373 ; (miirti),
426 ; (shodaSa-pratima), 510.
IMAGE FOR PROCESSIONS (utsava-vigraha),
73-
IMAGE WITH THE RIGHT HALF REPRESENT-
ING SlVA AND THE LEFT HALF OF HIS
CONSORT DURGA (ardha-narisvara), 45.
INDIAN ORDERS (sumbharhkarl), 496.
INNER PARTITION (antah-sala), 41.
INNER PLINTH (antar-janman), 40.
INNER ROOM (uvaraka), 92.
INNER WALL (antah-sala), 41 ; (antar-
bhitti), 40.
INSTITUTION (RELIGIOUS CENTRE) (ghatika-
sthana), 168.
INTERIOR CORRIDOR (antaralaka), 38.
INTERIOR WINDOWS (kuhara), 128.
INTERIOR OF A WHEEL (kukshi), 119.
INTERMEDIATE SPACE [antarala (ka)J, 38.
INTERNAL ENCLOSURE IN A TEMPLE (antah
hara), 41.
INTERNAL PORTIONS OF A MANSION (antah-
sala), 41.
INTERNAL RAMPART (antar-vapra), 40.
IRIS OF THE EYE (krishna-mandala),
ISO-
IRON (loha), 444.
JAIN-SAINT (tlrthankara), 215.
JAIN TEMPLE (basadi), 367.
JAMB (dvara-sakha), 243 ; (s"akha), 484.
JAR (ghata), 167.
JEWELLED MANSION (mani-harmya), 394.
JEWELLED PAVILION (mani-mandapa), 39^.
8
INDEX
JOINERY (karkata), 104 ; j"kuli(!)ra],
128 ; (tri-karna), 222 ; (danta-kila),
225 ; (brahma-mastaka), 376 ; (maha-
vritta), 417 ; (tnesha-yuddha), 429 ;
(vardhamana), 448 ; (sandhi-karman),
514 ; (samkirna), 519 ; (svastika), 594.
JOINERY RESEMBLING THE SHAPE OF A
BISECTED HEART (ardha-prana), 45.
JOINT (phana), 365 ; (saadhi), 513.
K
KIOSK (harmika), 608.
KITCHEN (pachanalaya), 288.
KNOB (kabandhaaa), 101.
LADDER (chala-sopana), 173.
LAIR (nlda), 286.
LAMP-PILLAR (dipa-dana), 226.
LAVTP-POST (dlpa-danda), 226 ; (rnanju-
danda), 391.
LAMP-POST MOULDING IN THE SHAPE OF
A WATER-POT (anghrika-vari), 12.
LANDING [ghat (-ta)], 169.
LANE (antar-vlthl) , 40 ; (jangha-patha),
183.
LARGE COUGH (asanda, asandi), 66.
LARGE CYMA (maha-patta), 416 ; (ma-
harhbuja), 417 ; (maha-vajana), 417.
LARGE FILLET (maha-patta) 416 ; (maha-
vajana), 417.
LARGE HALL (maha-sala), 417.
LARGE VESTIBULE (maha-uasi), 415.
LARGE VILLAGE (maha-grama), 415.
LATCH (kokilargala), 131.
LATTICED WINDOW (jala-gavaksha), 190.
LAYING-OUT OF THE VILLAGE (grama-
vinyasa), 166.
LAYING THE FOUNDATIONS (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), 42 ;
(avachchhaya), 48.
LIMIT (antima), 42.
LINE OF THE EYES (akshi-sutra), 2.
LINES (karya-satra), 116.
LINTEL (masuraka), 414 ; (svarasaaa),
607.
LION'S MANE (kesara), 130
LIQUOR SHOPS (apana), 54.
LITTER (dola), 192.
LOCALITY [gfiha (-mana-sthana)-vin-
yasa], 151 ; (sthana), 591.
LOCK OF HAIR (kiintala), 125.
LOFTY HOUSE (attalika), 12.
LOOKING-GLASS (darpana), 225.
LOTUS (abja), 42 ; (kamala), 102.
LOTUS FILAME:-: :v, (li^ara), 130.
LOTUS STALK (nala), 278.
LOWER PART OF AN ARCHITECTURAL
OBJECT (kanya), 98.
LOWER PART OF A CHARIOT (aksha-
bhara), i.
LOWER PILLARS [kshudra-nasa(i)], 135.
LYING-IN-CHAMBER (garbhagara) , 144.
M
MAIN BUILDING (mukhya-harmya), 424.
MAIN COLUMN (griha-stambba), 156.
MAIN PILLAR [kulikanghri(ka)], 128.
MAIN STREET (ratha-vlthi), 436.
MAIN TEMPLE (rnula-hannya), 427.
MANSION (jati-sala), 187.
MANSION WITH ONE ROW OF BUILDING
(eka-Sala), 94.
MARBLE (chitra), 173. (chitrabhasa),
174.
MARK ON THE FOREHEAD (tilaka), 214.
MARKET (nigama), 281 ; (hatta), 607.
MARKET PLACE (apana), 53 ; (mandi),
410.
MART (vasati), 450.
MASONS (sila-patta-vamSa), 493.
MASONRY (sila-karma), 493.
MAT (ka^a, kaspu), 115.
MAT OF SPLIT BAMBOO (kata), 95.
MAT OF SPLIT CANE (kata), 95.
INDEX
MEASURE (aratni), 44; (kishku) ; 117;
(gokarna), 156 ; (jati), 187 ; [danda
(-mana)], 223 ; (daSa-tala), 226 ;
(dvi-tala), 244 ; (dhanur-graha), 245 ;
(dhanur-mushti), 245 ; (dhanus), 245 ;
(ratni), 434 ; (vitasti), 459 ;
(vyaya), 475 ; (santika), 484.
MEASUREMENT (aghana-mana), 3 ;
(ghana), 169 ; (ghana-mana), 169 ;
(lamba-mana), 440.
MEASUREMENT OF BREADTH (pramana),
MEASUREMENT OF THICKNESS (unmana),
76.
MEASUREMENT OF HEIGHT OR LENGTH
(mana), 418.
MEASUREMENT OF THE INTERSPACE (upa-
mana), 88.
MEMORIAL (vfra-gala), 469 ; (vira-
sasana), 469.
MEMORIAL PILLAR (kirti-stamha), 119.
METAL BOLTS [parigha(-gha)], 300.
MEZZANINE ROOM (koshtha), 133.
MIDDLE-DOOR (brahma-dvara) 375.
MIDDLE MEMBER (galariga), 148.
MIDDLE PART OF A WHEEL (kukshi),
119.
MIDDLE RELIEF (ardha-chitra), 45.
MIDDLE TABERNACLE (madhya-bhadra),
412.
MIDDLE VESTIBULE (madhya-nasi) , 412.
MIDDLE WALL (brahma-bhitti), 376.
MILITARY-POST (attalaka), 12.
MINARET (karna-harmya) , 107.
MINOR DEITIES (avarana), 63.
MONASTERY (ayatana), 59 ; (basadi),
367 ; (vihara), 466 ; (satravasa-
matha), 513.
MONASTIC ESTABLISHMENT (sthana), 592.
MONK'S CELL (pari-vena), 302.
MONTH (kanya), 98 ; (tula), 216.
MONUMENT (dharma-rajika), 245 ;
(nishidhi), 284 ; (vira-kantha), 469 ;
(vira-karna) 469.
MONUMENTAL FACE (kirti-vaktra), 1 18.
MOSQUE (masi(-si)ti), 414.
MOUNTAIN PASS [(ghat-(ta)], 169.
MOULDING (achchhadana), 52 ; (asana),
64 ; (karika), 103 ; (karna), 104 j
(karkata), 104; (kumbha), 126;
(kesara), 130 ; (kona-loshta), 132 ;
(kshepana), 135 ; (kshdurabja), 135 ;
[kshudra-nasa(-i)], 135 ; (gaja), 141 ;
(gavakshakara), 149 ; (gopana), 157 ;
(chitra-patta), 174 ; [jagata (-ti)], 182 ;
[jayanti(-I)], 184; (tala), 193;
(tarahga), 193 ; (tatika), 195 ; (tula),
216; (tri-patta), 222; (tri-vargaka),
223 ; (dandaka), 224 ; (dandika),
224 ; (dala) 225 ; (dhara-kumbha) ,
246 ; (nataka), 272 ; (natika), 273 •
(nidra), 281 ; [nib(-v)ida], 282 •
(nirgala), 283 ; (pahka), 288 ; (patra),
293 ; (patra-patta), 293 ; [patra-
valh-(ka)], 294 ; [padma-(ka)], 296 ;
(purna-kamba), 314; (potra), 315;
[pratika(-I)], 317; (pratima), 317;
(prati-bandha), 317 ; (prati-patta) ,
319 ; (prati-rupa), 319 • (prati_
vaktra), 319 ; (prati), 321 ; (prat-
£« / u.
(phalaka), 365 ; (phala-patta),
[Bali(-i)ka(-a)], 366; tbali-pit'ha-(ka)] i
366 ; (bhadra), 378 ; (bhadra-patta),
379 ; (bhOshana), 387 ; (mahambuja),
417; (mudrika), 425; (mushti-ban-
dha), 425 ; (mrinalaka), 427 ; (ratna-
Pa«a), 434 ; (lambana), 440 ; (vaktra),
444 ; (vajra-patta), 445 ; (valaya),
450 ; (vitaiika), 459 ; (vihrita), 468;
(vetra), 471 ; (ve^ana), 474 ; (Sakti-
dhvaja), 476 ; (saroruha), 517 ;
(samgraha), 519 ; (saushthika), 532 ;
(harita), 607 ; (homa), 613.
MOULDING OF THE BASE (antara), 38 ;
(antarita), 39 ; (argala), 44.
MOULDING OF THE ENTABLATURE
(antarita), 39 ; (kshudra-gopana), 134.
MOULDING OF THE PEDESTAL (antara), 38 ;
(antarita), 39 ; (kumbhalankara), 127.'
MOULDING OF THE THRONE (kokila), 131.
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 ;
[nritta(-tya)-mandapa], 286.
10
INDEX
N
NAIL [indra-klla(-ka)], 67 ; (klla), 119.
NATURAL FORT (deva-durga), 229.
NECK (kantha), 97 ; (kandhara), 98 ;
(gala), 148 ; (galanga), 148 ; (grlva),
167.
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),
15^ > (goshtha-panjara), 162.
NINE GEMS (nava-ratna), 259.
NINE-STOREYED BUILDING (nava-tala), 258.
NOSE (goji), 157 ; (nasa), 279.
OBSERVATORY (mana-mandira), 420.
OCTANGULAR BUILDING [ashtas"(s)ra], 50.
OFFERING (homa), 613.
OIL-POT (taila-manjushika), 216.
ONE OF THE FIVE PROPORTIONS OF THE
MEASUREMENT (adbhuta), 14.
ONE OF THE NINE MATERIALS FOR SCULP-
TURE (abhasa), 54.
ONE OF THE SIX FORMULAS FOR ASCERTAIN-
ING THE RIGHT PROPORTION (arilSa), 50.
ONE OF THE SIX FORMULAS FOR THE
RIGHT PROPORTIONS (aya), 58.
OPEN HALL (mandapa), 395.
OPEN PAVILION (avrita-mandapa), 64.
OPENING FOR SHOOTING THROUGH IN A
PARAPET (indra-kosa), 68.
ORCHARD (vatika), 453.
ORDER AND ORNAMENTS (ardha-hara),
46 ; (karavira), 103 ; (kari-karna), 103 ;
(karna-patra), 106 ; (kumbhalankara),
127; [kulikahghri(ka)], 128; (kona-
loshta), 132 ; (graha), 167 ; (chitra-
kalpa), 174; [jala-(ka, ka)], 188 ;
[tat(-d) aiika], 195 ; (darpana), 225 ;
(nakshatra-mala), 247 ; (pa.da-ja.la),
304 ; (parsva-puli), 305 ; [palika(-i)],
305 ; (bhushana), 387 ; (makarapatra),
389 ; (misrita), 423 ; (mukula), 423 ;
(ratna-kalpa), 433 ; (ratna-pushpa),
434 ; (rudra-bandha), 440 ; (lamba-
patra), 440 ; (valaya), 450 ; [vastra-
nip(y)a], 450 ; (sarikha-kundala), 482 ,
(sarikha-patra), 482 ; (siralamba), 493 ;
(sri-kara), 497 ; (sumarigali), 526 ;
(harita), 607.
ORNAMENT AT THE BASE (kataka), 95.
ORNAMENTAL BAND (chitra-patta), 174.
ORNAMENTAL TREE (kalpa-druma, kalpa-
vriksha), 112 ; (sri-vriksha) , 499.
ORNAMENTED HAIR (dhammilla), 245.
OUTER COURT (bahir-aiiga), 370.
OUTER PLINTH (bahir-janman), 371.
OUTER ROOMS (bahya-Sala), 371.
OUTER WALL (bahir-bhitti), 371.
OUTSIDE PARTITION (bahir-bhitti), 371.
OVAL BUILDING (gaja), 141 ; (dvyasra-
vritta), 244 ; (bhu-mukha), 386.
OVOLO (uttaroshtha), 71.
PAINTING (chitra), 173.
PAINTER (vardhaki), 448.
PALACE (prasada), 343 ; (raja-harmya),
437 ; (saudha), 531.
PALANQUIN (sibika), 492.
PALM (tala), 193.
PANEL OF A DOOR (kapata), 98; (kavatal,
114.
PARADE [khaluraka (-rika)], 138.
PARAPET [danda(-manaj), 223 ; (para-
ta), 298.
PARAPET STAFF [jayantika(-ka)], 184.
PARLOUR [khaluraka (-rika)J, 138.
PART OF A TOWER [suka-nasa(-sika)], 495.
PART OF COLUMN (upatula), 76.
PART OF THE BODY BETWEEN THE BREAST
AND BACKBONE (brihati), 373.
PART OF THE EYE (sveta-manda), 500.
PART OF THE PILLAR (koshthaka), 133.
PARTITION (bhitti), 381.
PARTITION WALL (antar-bhitti), 40.
PATH-MAKER (tlrthankara), 215.
PAVED WITH SMALL PIECES OF STONB
(karkari-krita), 104.
PAVEMENT (uttanapatta), 71 ; (kutji-
ma), 121.
II
INDEX
PAVILION (abbasa), 54 ; (karna-kuta),
105; (kanta), 115; (kamakshi-
dharina-mandapa), 115 > (kula-
dharana), '128; (kausika), 134;
(k.uisalya), 134 ; (gandha-madana),
144; (jaya-bhadra), 184; (jayala),
184; (dandaka), 224; (dandita),
224 ; (darbha), 225 ; (devata-
mandapa), 229 ; (dhanada), 244 ;
(nandana), 255 ; (nandi-mandapa),
255 > (nava-rariga), 258 ; (nirvasa-
mandapa), 283"; [nisha-daja(-dha)],
284 ; [padma(-ka)], 296 ; (pari-
yatra), 305 ; (pushpaka), 313 ;
(pushpa-bhadra), 313 ; (pratima-
mandapa), 319; (pragata), 343;
(buddhi-sariklrna), 373 ; (bhadra-
mandapa), 380 ; (bhaga-pancha), 380 ;
(bhushana), 387 ; (maiigala), 389 ;
(mani-bhadra), 394, 417 ; (man-
dapa), 395 ; (mana-bhadra), 420 ;
(manava), 420 ; (malika), 421 ;
(malika-mandapa), 423 ; (malyaja),
423 ; (malyahuta), 423 ; (mukha-
mandapa), 424 ; (meruja), 429 ;
(maulika), 430 ; (yajna-bhadra),
431 ; (yaga-mandapa), 431 ; (ranga),
432 ; (ratna-maandapa), 434 ;
(vastu-kirti), 458 ; (viniyoga-man-
dapa), 460 ; (vlrasana), 470 ; [vrita
(-tta)j, 470 ; (vrisha mandapa), 471 ;
(satardhika), 482; (satru-raardana),
483 ; (sishta-mandapa), 495 ; (syama-
bhadra), 497; (srutiiii-jaya), 499;
(srirupa), 499 ; (satl-mandapa), 510;
(satra-mandapa), 513 ; (sirhha), 522 ;
(sukhanga), 524; (sugrlva), 525;
(subhadra), 525 ; (surata), 526 ;
(suslishta), 526 ; (snapana-mandapa),
593 ; (snana-mandapa), 593 ;
(snapana-mandapa), 593 ; (sthapana-
mandapa), 593 ; (svastika), 594 ;
(harita), 607 ; (himaja), 612 ;
(hema-kuta), 613.
PAVILION FOR DRESSING OF IDOLS (deva-
bhushana-mandapa), 230.
PAVILION FOR MARRIAGE CEREMONY (viva-
ha-mandapa), 464 .
PAVILION WITH FIFTY PILLARS (jayavaha),
184.
PAVILION WITH FIFTY-EIGHT PILLARS
(amrita-nandana), 43.
PAVILION WITH TWENTY PILLARS (karni-
kara), 1 08.
PEAK (kuta), 128.
PEARL-STRING (mani-bandha), 394.
PEDESTAL (upapltha), 76; [khattaka
(-tta)j 136; (ghrita-vari), 170;
(chatuh-sila), 172 ; (padma-pitha),
297 ; (pindika), 306 ; (prati-bhadra),
317 ; (bhadra-pltha), 379 ; (mancha-
bhadra), 390 ; (maha-pitha), 416 :
(ruchira), 439 ; (vedi-bandha), 474 ;
(vedi-bhadra), 474 ; (^rl-bhadra), 498.
PEDESTAL MOULDING (a;iisuka), 50.
PEG (torana), 216.
PENDENT (avalambana), 48 ; (lamba-
hara), 440.
PENTROOF (ambara), 43 ; (karavlra),
103; (kshonl), 136; (gagana), 141 ;
(jya), 191 ; (jyotih), 191 ; (pushkala),
312 ; [ba(va)sundhara], 370 ;
(vasudha), 450 ; (vikalpa), 458.
PETAL (kshepana), 135 ; (dala), 225.
PHALLI (aneka-linga), 38 ; (sahasra-
Hnga), 519.
PHALLUS fa(r)dra-pushakriti], 52
(arsha), 62 ; (udbhuta), 75 ; (urdhva"
dharana), 92; (kala-mukha), 116,
(ganava), 149 ; (chhanda), 181 ; (jati):
187 ; [daivika(-linga)], 233 ; (naha-
linga), 281 ; (panchayatana), 288 ;
(parartha-liriga), 298 ; (pasupata),
305 ; (bahu-iinga), 371 ; (manusha),
421 ; (vama), 454; (vikalpa), 458;
(svayainbhii), 594 ; (svarna-lihga),
594-
PICTURE GALLERY (chitragara), 174.
PIGEON (kapota), 98.
PIGEON-HOUSE [kapota-palika(-pali)],
100.
PIKE (sula), 496 ; (sula-kampa), 496.
PILASTER (arighri), n ; (antima), 42 ;
(kudya-stambha), 124 ; (koshtha-
stambha), 133.
PILLAR (aghana), 2 ; (ayika-pada), 61 ;
(uchchhraya), 69 ; (kumbha-stambha^
127; (koshtha-stambha), 133; [ganda^
bheranda (-stambha)], 143 ; fgaruda
sk(-t)ambha], 145 ; (charana), 172 -
(chitra-karna), 174 ; (jangha), 182 '•>
[danda(-mana)], 223; (dandaka), 224!
(dharma-stambha), 245 ; (dhanya!
stambha), 246; (dharana), 246;
12
INDEX
(padma-kanta), 297 ; (pada), 303 ;
(palika-stambha), 305 ; (brahma-
kanta), 375 ; (yupa-stambha), 431 ;
(salaiiga), 489 ; (Siva-kanta), 495 ;
(sukanghri), 496 ; (stambha), 533.
PILLAR OF VICTORY (uchchhraya), 69 >
(jaya-stambha), 184.
PILLOW (upadhana), 76.
PIN [indra-kila(-ka)], 67; (kila), 119.
PINNACLE [kala$(s)a], 108 ; (sikha), 492.
PIN-POINT (klla-bhajana), 119; (kila-
vsiilaka), 119.
PIPE (tilamaka), 214.
PITCHER [kalas(s)a], 108 ; (kumbha),
126 ; tghata), 167.
PLANT (karavfra), 103.
PLANTED FOREST (upavana), 88.
PLASTER (kalaka), 112 ; (vajratara), 445-
PLASTERING (upalcpana), 88 ; (kudya)'
123.
PLATE (prati-mukha), 319.
PLATFORM (chara), 173 ; (prasada), 343;
[ba(va)lanaka], 366.
PLATFORM OVER A WELL [jagata (-tl)],
182.
PLAYHOUSE [natya-griha(-mandapa,-
vesma,-sala)], 273.
PLEASURE GARDEN (arama), 61 ;
(udyana), 75 ; (upavana), 88.
PLEASURE-HOUSE (kiida-ketana), 134 ;
(sukhalaya), 525 ; (saukhyaka), 531.
PLINTH (adhara), 52 ; (kumbha), 126 ;
(kshudra-gopana), 134 ; (janman), 183;
(turiga), 215.
PLINTH OF A RAILING (alambana), 62.
PLOT OF THE SITE plan (pada), 294.
PLOUGH (langala), 441.
PLOUGH-LIKE (langalakara), 441.
PLUMB LINES (prishtha-sutra), 314 ;
(pralamba), 325.
PLUMB LINE BY THE HIPS (kati-sutra), 97.
POISON (kala-kuta), 116.
POOL (udapana), 74 ; (tadaga), 192.
PORCH (ardha-mandapa), 45 ; (dehara),
233-
PORTICO (nishkasa), 284 ; (netra), 286 ;
(netra-bhadra), 286 ; (purato-bhadra),
311 ; (mukha-bhadra), 424 ; (ruchira),
439 ; (vatayana), 453.
POSE (tri-bhanga), 222 ; (bhanga), 377 ;
(sama-bhariga) , 517.
POST (kila), 119; (vishkambha), 465;
(stambha), 533.
POSTURE (padmasana), 298.
POT (ghata), 167.
POWER (Sakti), 476.
PRIVATE ENTRANCE (kampa-dvara), 102.
PRIVATE ROOM (garbhagiira), 144.
PRIVATE SCHOOL (kula), 127.
PROJECTING (bahir-mukha), 371.
PROJECTION (kshepana), 135 ; (nirgama),
282 ; [nimnfi(-ka)], 282 ; (bahala),
370; (bahulya), 371.
PROPORTIONAL MEASUREMENTS (bhaga-
mana), 380.
PULPIT (mancha), 390.
PUBLIC ROAD (raja-vltlii), 437.
Q
QUADRANGULAR BUILDING (chatush-kona) ,
171.
QUARTER (antariksha), 39.
R
RAISED PLATFORM (avasana), 49.
RAISED TERRACE [dehari(-li)], 233 ;
(bodhimanda), 374.
RAMPART (vapra), 446 ; [sala(-la)], 520.
'.RECEPTACLE (manjusha), 391.
RECEPTION-HALL [khaluraka (-rika)], 138
RECEPTION-ROOM (upasthana), 89.
RECESS IN A WALL (gokhla), 156.
RECTANGULAR BUILDING (uttambha), 70 ;
(brahma-mandira), 376.
RECTANGULAR MOULDING (uttara), 70 ;
(upana), 89.
REFECTORY (bhoga-tnandapa), 388.
RELIGIOUS CENTRE (ghatika-sthana), 168.
RELIGIOUS ESTABLISHMENT (a^rama), 64 ;
(patta-sala), 292.
REFUGE-OFFERING POSE OF THE HAND OF
AN IMAGE (abhaya), 43.
RESERVOIR OF WATER Cjala-sthala), 185.
RESIDENCE (avasa), 63 ; (kula), 127 ;
(vasati), 450 ; [vasa(-kuti, sala,
sabha)], 455; Lsatra(-«ra)]. 5"-
INDEX
RESIDENTIAL QUARTERS FOR THE ANCIENT ,
PROFESSORS AND THEIR PUPIL (acharya-
kula), 51.
REST-HOUSE (avasatha), 48 ; (avasatha),
63 ; (dharma-sala) , 245 ; (dharma-
laya), 245 ; Lsatra(-ttra)], 511.
RIDING ANIMAL OF THE GOD ISA (aira"
vata), 95.
RIM (arhsaru), 50.
RIVER va(va)-ha-fka,la), 451.
ROAD (kantara), 115; (charya), 173;
(jangha-patha), 183 ; (naracha), 278 ;
(nabhi-vithi), 278 ; (patha), 294 ;
(parirathya), 300 ; (mahgala-vithi),
390; (marga), 421 ; (vata), 453.
ROAD HAVING THE FOOT-PATH ON ONE
SIDE ONLY (eka-paksha), 93.
ROAD-SIDE HUTS (apana), 54.
ROD OF A BALANCE (tula-danda), 216.
ROOF (achchhadana), 52 ; [garbha-
manjusha (-ika)], 147 ; (tauli), 222 ;
(dharana), 246 ; (prachchhadana), 315;
(prasada-tala), 364 ; [va(ba)labhi(-I)].
449; (vata-kshetra),453; (harmya-tala),
610.
ROOF OF A HOUSE (anu-griha), 37.
ROOM (agara), 51 ; (uvaraka), 92 ;
(kshudra-sala), 135 ; (griha), 150 ;
Lsuka(-kha)-nasika], 524.
ROPE (anghrika-vari), 12.
ROUND BUILDING (ushnishi), 90 ; (riksha-
nayaka), 92 ; [kalas(s)a], 108 ; (dun-
dubhi), 226 ; (maha-padrna), 416 ;
(mukuli), 423.
ROUND CORNER WALL (laiigala-bhitti),
441.
ROUND TEMPLE (sva-vriksha) , 594.
ROYAL CITY (sena-mukha) , 528.
ROYAL COURT (rajanga), 439.
ROYAL PALACE (raja-griha), 436.
ROYAL RESIDENCE (sibira), 493.
s
SACRIFICIAL HALL (yaga-Sala), 431.
SACRIFICIAL POST (drupada), 234 ;
(sthuna), 593.
SANCTUARY (vimana), 461.
SCHOOL FOR HIGHER STUDIES (kumari-
pura), 125.
SCHOOL OF ARCHITECTURE (silpi-sala),
495-
SCIENCE (sastra), 490.
SCIENCE OF ARCHITECTURE (vastu-vidya),
458 ; (silpa-sastra), 494.
SCREEN WORK (alaksha), 46.
SCREEN WORK IN ARCHES (indra-kosa), 68.
SCRIPTURES (agama), 51.
SCULPTURAL MEASUREMENT (ashta-tala),
50, etc. ; (uttama-dasa-tala), 70 ;
(uttama-nava-tala), 70 ; (tiila-mana),
195-
SCULPTURAL ORNAMENT (karuna-vina),
103 ; (chhanna-vira), 181.
SEA-SIDE TOWN (dronaka), 234.
SEAT (asana), 64 ; (upavedi), 88 ;
[khattaka (-tta)], 136 ; [pitha(-thika)],
307 ; (sadas), 513 ; (sadana), 513.
SECOND COURT (anya ranga), 42.
SECOND FLOOR (tri-tala), 222.
SECTARIAN MARK (kalapaka), 112.
SECTIONAL TOWER (khanda-harmya), 136.
SET OF FOUR ARCHITECTURAL MEMBERS
(chatur-varga-kantaka) , 171.
SETTEE (asanda, asandi), 66.
SEVEN-FOLD WALL (sapta-sala), 515.
SEVEN-STOREYED BUILDING (asramagara),
64, etc.
SEVENTH STOREY (sapta-tala), 514 ;
[sapta-bhumi-(ka)], 515.
SHADOWLESS SPOT (avachchhaya), 48.
SHARK [kimbara(-ri)], 117 ; (graha), 167.
SHED (kota), 131 ; (prag-vamsa), 343 ;
(sranta), 497.
SHOOT [manjari(i)], 391.
SHOP (apana), 53 ; (nishadya), 284.
SHRINE (klrtana), 117; (tlrtha), 215;
[deva-kula(ika)], 229 ; (basadi), 367.
SIDE-DOOR (kampa-dvara), 102.
SIDE-HALL (netra-sala), 286 ; (paksha-
^ala), 287.
SIDE-NICHE (karna-kuta), 105.
SIDE-OBJECT (karna), 104.
SIDE-TOWER (karna-harmya), 107 ; (gala-
kuta), 148.
SIDE-WALL (netra-bhitti), 286.
SIKH TEMPLE (guru-dvara), 149.
INDEX
SINGLE PHALLUS (eka-linga) , 94.
SlNGLE-STOREYED BUILDING [eka-tala
(-bhumi)j, 92.
SITE FOR THE HOUSES (kutumba-bhumi),
121.
SITE-PLAN (asana), 64 ; (isvara kanta),
69 ; (ugra-pitha), 69 ; (upa-pitha),
76—88 ; (ubhaya-chandita), 90 ;
(karnashtaka), 105 ; (ganita), 143 ;
(chandita), 170; (chandra -kanta),
172 ;" (tadbhadra), 193 ; (tri-yuta),
223 ; (desya), 233 ; (nishkala), 284,
etc.; (pada-vinyasa), 295 ; (padma-
garbha), 297; [parama-sadhi(-yi)ka],
298; (pechaka), 315; (paisacha), 315 ;
(bhadra), 378 ; (maha-pitha), 416 ;
(vipra-bhakti), 460 ; (vipra-garbha) ,
460 ; (vipra-kanta), 460 ; (vipula-
bhoga), 460 ; (vivesa), 464 ; (visal-
aksha), 465 ; (visvesa-sara) , 465 ;
(sakala), 510 ; (susaiiihita), 526 ;
(surya-visalaka), 527 ; (sthandila), 578.
SITTING POSTURE (asana), 64.
SIX-FORMULAS (ayadi-shad-varga), 61 ;
(shad-varga), 500.
SIX-STOREYED BUILDING (ikshu-kanta)>
67 ; (upakanta), 76 ; (kamala), 102 ;
(kantara), 115; (ratna-kanta), 433, etc.
SIXTY-FOUR ARTS (kala), in.
SKY (ambara), 43.
SKY-LIGHTS [chandra-sala(-lika)], 172.
SLIGHTLY BENT POSE (abhahga), 54.
SLOPING ROOF (maddala), 411.
SLOPING AND PROJECTING MEMBER OF
THE ENTABLATURE REPRESENTING A
CONTINUED PENT-ROOF (ananta), 37.
SLUM QUARTER (basadi), 367.
SMALL BEAM (kshudra-gopana), 134.
SMALL CYMA (kshudrabja) , 135.
SMALL DOOR (upadvara), 76.
SMALL HALL (kshudra-sa!a), 135.
SMALL LOTUS (kshudrabja), 135.
SMALL NOSE (alpa-nasika), 48 ; [kshudra-
nasa(-I)], 135.
SMALL PILLAR (arighri), n.
SMALL SEAL (mudrika), 425.
SMALL VESTIBULE (alpa-nasika), 48.
SMALLER BUILDINGS (dandita), 224.
SMALLER PEDESTAL (upa-vedi), 88.
SOFA [talpa(-ka)], 194 ; (mancha), 390.
SOIL [bhumi-(ka)], 385.
SOLE (tala), 193.
SOLID (ghana), 169.
SPIRE (vriddha), 470 ; (stupi-klla), 577.
SPORTS GROUND (kumari-pura), 125.
SPROUT [manjari(I)], 391.
SQ.UARE HALL (sibika-garbha), 492.
SQUARE PLANK (pralamba-phalaka) , 327.
STABLE FOR ELEPHANTS (darbha), 225.
STADIUM (kumari-pura), 125.
STAGE (natya-mandapa), 278.
STAGE PROPER (ranga-pitha), 432.
STAIRCASE ROOM (mukha-bhadra), 424.
STAIRS (sopana), 528.
STAKE (kila), 119; (sanku), 476.
STATUE (pratima), 318 ; [se(-si)la-
rupaka], 528.
STEPS (pradakshina-sopana), 323.
STONE-BULWARKS (pashya), 305.
STONE COLUMN (s"ila-stambha), 494.
STONE MASON (sila-marddaka), 494 ;
[si(-si)la-vata], 522.
STONE TERRACE (pashana-vedi), 305.
STORE-HOUSE (koshthagara), 133.
STORE-ROOM (uvaraka), 92 ; (kosa-
mandapa), 132; (koshtha) 133 ;
(tandula-mandapa), 193 ; (mdhana),
281.
STOREY (tala), 193 ; (bhuma), 385 ;
Lbhumi-(ka)], 385.
STOREYED BUILDING (murti-kanta), 426 ;
(megha-kanta), 427; (meru-kanta), 429;
(yama-kanta), 431 ; (raurava), 440 ;
(vajra-kanta), 445.
STOREYED MANSION (danda-kanta), 224.
STREET (jangha-patha), 183 ; (vithika;,
468.
STRING OF PEARLS WORN ROUND THE
NECK (ardha-hara), 46.
STUCCO (sudha), 525.
STUDIO (avesana), 64.
STYLE OF ARCHITECTURE (dravida) ; 233 ;
(nagara), 260 ; (vesara), 475-
SUB-TEMPLE (upabhavana), 88.
SUGAR (sarkara), 483.
15
INDEX
SUOARCANE-LIKE MOULDING (bahala), 370.
SUMMIT (kuta), 128.
SUN-EAGLE (garuda), 144.
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
2:*3 ; (nirgala), 283.
SYMBOL (liriga), 441 ; (svastika), 594.
TANK (tadaga), 192 ; (pushkarinl), 312 ;
[vapi(-pi)-(ka)], 454.
TAVERN (apana), 54 ; (madira-griha),
410.
TEMPLE (ayatana), 59 ; (alaya), 63 ;
(asana), 64 ; (klrtana), 117 ; (ghatika-
sthana), 168 ; (devayatana), 230 ;
(deva-niketa-mandala), 230 ; [dehari
(-li)L 233 ; '(bodhi-griha), 374 ;
(mandapa), 395 ; (mandira), 413 ;
(Siva-mandapa), 495 ; (sadana), 513 ;
(sadman), 513.
TEMPLE OF THE GOD OF FEVER (jvara-
devalaya), 191.
TEMPLE OF THE JAINS [jina-(ka)], 190.
TEMPLE WITH IDOL IN THE ERECT POSTURE
(asaihchita) , 50.
TEMPLE WITH THE IDOL IN THE RECUM-
BENT POSTURE (apasarhchita), 42.
TEMPORARY BUILDING (chara-vastu), 173.
TEMPORARY IDOL (kshanika-bera), 134.
TEMPORARY TEMPLE (kshanikalaya), 134.
TENIA (tatika), 195.
TEN-STOREYED BUILDING (antariksha-
kanta), 39 ; (abja-kanta), 43 ; (man-
dara), 413, etc.
TENTH-STOREY (dasa-tala), 225 ; (dasa-
bhumi), 226.
TERRACE [alinda (ka)], 46 ; (dehara) ;
233 5 (pradakshina), 322 ; [vithi(-i)],
468, (silavedi), 494.
TESTICLE (pinda), 306.
TESTING THE SOIL (bhu-parlksha), 383.
THE GOOSE (brahma-vahana), 376.
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-
bhurni), 223.
THIRTY-EIGHT MYSTIC MARKS (ashta-
trimsat-kala), 50.
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)
102.
THRESHOLD (kulambha-dvara), 128.
THRESHOLD OF A DOOR [deharl(-li)j, 233.
THRESHOLD OF A HOUSE (udumbara)
74-
THREAD-HOLDER (sutra-dharin), 527.
THROAT (kantha), 97.
THRONE (asana), 64; [khattaka(-tta),]
136 ; (padma-bhadra), 298. (p'ada-
bandhaka), 304 ; (bhadrasana), 380 •
(vijaya), 459 ; (srl-mukha), 4qn •
(siriihasana), 522, etc.
THRONE-LIKE SEAT (asanda, asandi), 66.
TIARA (kirita), 117.
TIP OF THE HAIR (kesa-kutaka), 130.
TOMB (nisaddhi), 284 ; (smasana), 497.
TOOTH-LIKE JOINERY (danta-kila), 225.
TOP OF ORNAMENTAL TREE (mauli-
munda), 430.
TOP OF A BUILDING (ushnisha). QO •
(kuta), 128.
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 HEAD
(ushnisha), 90.
TOPMOST ROOM (upatalpa), 76 ; (kuta-
gara), 129.
TOP-ROOM [chandra-sala(-lika)], 172 ;
(munda-malika), 425'; (munda-
harmya),425; [IaIata(-mandapa)J, 440.
Top WINDOW (mani-dvara), 394.
16
INDEX
TOPE (dharma-rajika), 245.
TORTOISE (pashana-kurma), 305.
TORUS (ghata), 167.
TOWER (attalaka), 12 ; (karna-
kuta), 105; (karna-harmya), 107;
|kalas"(s)a], 108 ; (chuhka), 175 ;
(chuli-harmya), 175 5 [talpa(ka)J,
194 ; (nirvyuha), 284 ; (mandapa),
395-
TOWER WITH OPEN VERANDAHS (khanda-
harmya), 136.
TOWN (kubjaka), 125 ; (jayanta-pura ,
184; (nigama), 281 ; [pattana^na),,
291, etc.
TOWNSHIP (pur), 310.
TRADERS' ASSEMBLY (nigama-sabha), 2
TRADING CORPORATION (mani-grama),
394-
TRAP (anghrika-vari), 12.
TREASURY (kosa-mandapa), i32 >
(nidhana), 281.
TREE (karnikara), 108 ; (dharana), 24b.
TRELLIO WINDOW (jali), 19°-
TRENCH (kadanga), 98 ; (dehi), 233.
TRIAD (tri-murti), 223.
TRUNK OF AN ELEPHANT (hasti-hasta),
612.
TRUSTEES [goshthi-(ka)], 162.
TURBAN (pushpa-patta), 313.
TURRET (anghri), n ; (karr
I07 ; [talpa(ka)], 194 ;
283 ; |va(ba)labhi(-i)l, 449!
496 ; (hasti-nakha), DM.
TWELVE-STOREYED BUILDING
(kanta)l, 116; [kerala- (kant^
dva-daia-tala),235 5 (madhya-kanta) ,
412 ; (magadha-kanta), 41? 5 (vamsa-
kanta), 452, etc.
Two SIDES (dvi-paksha), 244.
TWO-STOREYED BUILDING (antika), 42 ;
(dvi-tala), 244.
UNDER-GROUND SHRINE (gabhara), 144.
UNIVERSITY (visva-vidyalaya), 465.
UPPER HALL (urdhva-sala), 92.
UPPER DOOR (mundaka-dvara), 425.
UPPER GARMENT (upavasana), 88.
UPPER LIP (uttaroshtha), 71.
UPPER PART OF A BUILDING (kapoi'a), 101 .
UPPER PIECE OF A DOOR (nasa), 279.
UPPER ROOM (urdhva-sala), 92.
UPPER STOREY (attalaka), 12 ; (upa-
talpa), 76 ; [talpa (ka)], 194 ; (mani-
harmya), 394.
UPPER WALL [k(h)a-bhitti], 101.
VAULT (tunga), 215 ; (manjusha), 391.
VAULT OF THE FOUNDATION-PIT (chhela),
181.
VEHICLE (vahana), 458.
VERANDAH (nishkasa), 284 ; (vara), 454.
VESTIBULE (ardha-mandapa), 45 ;
[kshudra-nasa(i-)], 135 ; (nasa), 279.
VILLAGE (karmuka), 116 ; (kutika), 121 ;
(kolaka), 132 ; (kharvata), 137 ;
[khaluraka (-rika], 138; (khetaka), 139;
(grama), 162; (chatur-mukha), 170;
(jayanta-pura), 184 ; (dandaka), 224 ;
(pattana), 292 ; [padma-(ka)], 296 ;
(svastika), 594, etc.
VILLAGE DESCRIBED (grama-lakshana),
166.
VILLAGE-ROAD (grama-marga), 166.
VIRGIN (kanya), 98.
w
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), 382.
WARDROBE (manjusha), 391.
WATERCOURSE (tilamaka), 214.
WATER-DOOR (jala-dvara), 185.
WATER-FORT (jala-durga), 185.
WATER-FOUNDATION (jala-garbha), 185.
WATER-LILY (kumuda), 126.
WATER-POT (kundika), 125; (ghrita-vari),
170.
WATER-JAR (manika), 394.
17
INDEX
WATER WHEELS FOR WELLS (kuchakra)
129.
WATERING STATION (apana), 54.
WAVES (taranga), 193.
WAX (madhuchchhishta), 411.
WEDDING PAVILION (kalyana-mandapa),
114.
WEDGE (kila), 119.
WELL (udapana), 74 ; (kupa), 129 ;
(purta), 314.
WINDOW (kunjaraksha), 120; (kuhara),
128; (gavaksha), 148; [chandra-sala
(-lika)], 172; [jala-(ka, ka)], 188 ;
(naga-bandha), 260 ; (pafijara), 288 ;
(pushpa-bandha), 313; (valli), 450;
(svastika), 594.
WINDOW-CHAM i3 EKS (kutagara), 129.
WIDTH (parimana), 300.
\ViNG OK A BUILDING [vishana-(ka)], 465.
\VOMB (garbha), 145.
WOOD-CUTTER (takshaka), 192.
WOODEN IMAGE (sala bhanjika), 490.
WORKER (sthapaka), 592.
WORKSHOP (sthapatya), 591.
WRIST ORNAMENT (mani-bandha) , 394.
18
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UNIVERSITY OF TORONTO LIBRARY
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Acharya, Prasanna Kumar
An encyclopaedia of
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