J
KURT
L.
SCHWARZ
AN
ENCYCLOPAEDIA
OF
HINDU ARCHITECTURE
FRONTISPIECE
SVASTIKA MANSION (FRONT VIEW)
AN
ENCYCLOPAEDIA
OF
HINDU ARCHITECTURE
BY
PRASANNA KUMAR ACHARYA,
I.E.S.
M.A. (CAL.), PH.D. (LEYDEN), D.LIT. (LONDON)
HEAD OF THE ORIENTAL DEPARTMENTS
PROFESSOR OF SANSKRIT, UNIVERSITY
OF ALLAHABAD
MANASARA
SERIES
:
VOLUME
VII
PUBLISHED BY THE OXFORD UNIVERSITY PRESS
NEW YORK,
BOMBAY
LONDON,
MADRAS
CALCUTTA.
CHINA,
JAPAN
/V/)
ft*
PBINTBD BY THE SUPBPfNTENDBNT, PBINTINO AND STATIONERY, U.
LIBRARY
747610
.UNIVERSITY OF TORONTO
P.,
ALLAHABAD, INDIA
'
What
of us
certain
the learned world
in
India
of
our
monumental
exactly as
terpret
it
it
is
record
now
to
and
quite
place the
before
exists,
faithfully
be
to
data,
demand
and
them
to in-
literally.'
MANASARA SERIES
VOLUME
I
VOLUME
II
A
Dictionary of Hindu Architecture
Indian Architecture
according to
(
1927).
Mdnasdra
Silpd-
Sdstra (1927).
VOLUME
III
VOLUME IV
Mdnasdra
Sanskrit Text with Critical Notes
(1934).
Architecture
of Mdnasdra
Translation
in
English
(i934)-
VOLUME
V
Architecture of Mdnasdra
Plates
i-cxxxv (Architec-
tural), GXXXVI-CLVII (Sculptural) (1934).
VOLUME VI
Hindu Architecture
VOLUME VII
An
in India
and Abroad
(1946).
Encyclopaedia of Hindu Architecture (1946).
FOREWORD
THIS
and the
volume of the Mdnasdra series so far
A few more volumes are, however,
Those new volumes will have to
deal with the practical conclusions and workable plans and designs.
This remaining work will involve an additional expenditure and an
engineering study and draughtsmen's survey, estimate, calculations
and comparisons with the few extant structures referred to in the
is
the seventh
last
as the present writer is concerned.
required to complete the work.
writer's sixth
volume, the Hindu
Architecture in India
and Abroad.
In
fulfilment of the fateful prediction of the late Professor E. J. Rapson
of Cambridge University, the whole of the official career of the present writer commencing from the eventful year of 1914 has been fully
occupied in preparing and seeing through press some 5,000 pages
of these seven volumes. As the decree of fate would have it the war
of 1914-18 caused from the very beginning of this task all possible
interruption, risk and inconvenience while the work was carried out
in London, Oxford, Cambridge, and Leyden.
The difficult Indian
dilemma either to give up the selfas
is
task
imposed
altogether
usually done by us after securing a degree
and an appointment to a permanent post, or to carry it through, without much encouragement and assistance from any quarter, shoulderconditions presented the familiar
ing in addition to the peculiar duties of an occasionally unfortunate
Professor of an Indian University the heavy burden of research.
The unusual exigencies of the reconstructed Allahabad University
demanded of the writer preparation and delivery of lectures to
B. A., M. A., and Research classes up to 30 times per week and
18, and also to do the departmental administration,
work of various committees and examinations.
Contrary to the Sadler Committee's policy recommended for the
new type of Indian Universities research activities even for the
professors of the highest rank became practically of no importance,
the teaching and social activities, as in schools and colleges, being
much better appreciated by the authorities. Thus for instance our
autonomous University considered it a useless waste of public funds
never
and
less
than
the routine
to include a
few pages in
its
annual report in order to give publi-
city to the mere titles of papers and books written and published
by their teachers. Our non-interfering Government authorities also
ceased to take any notice of their own servants who were sent on
foreign service,' or rather banished to the universities.
'
ix
AN ENCYCLOPAEDIA OF
FOREWORD
The great educationist Governor, late Sir Harcourt Butler,
sanctioned the cost of publication of these volumes to be advanced
from the public funds before the delegation of the writer to the
Allahabad University. But he left to Sir Claude de la Fosse, who
was the first Vice-Chancellor of the reconstructed Allahabad University for a few months, to settle the terms of the publications includSir Harcourt was
ing the author's royalty and reward.
sorry to
learn of the changes which had taken place since his retirement from
'
India and was
shocked when he was told in London in 1933 that
an Indian successor of Sir Claude, as the Head of the Education
'
Department of the Government, actually questioned
'
correspondence
in an official
the public importance of
Indian
Architecprinting
tural researches.'
The commitment of his
predecessor had, however, to be carried out,
and the Government, at the suggestion of again an Indian Adviser
to the Governor, have since decided that after the
realization of
the full sum of money advanced by the Government for the cost of
printing and publishing through the Oxford University Press, the
further sale-proceeds, if there be
any, will go to the successors of the
This is certainly a business arrangement. But the
question
of profits was not unfortunately considered when the
first
five
volumes were published, for, the first two volumes
in
writer.
published
1927
actually gave a small profit to the Government of Rs.$oo to
.5.400
despite the fact that only 250 copies were then published for circulation among scholars and that the
prices of those volumes were fixed
not as a business proposition, but
merely to realize the cost of publication.
Naturally under such circumstances one would not feel
encouraged
to put in further labour and incur enormous
expenditure, which are
needed for the preparation of the
remaining volumes and completion
of the series. And there is not much
hope either that the Governments and the various corporations,
municipal boards, and other
authorities who sanction the
of
a
plan
private building or erect a public
structure will interest themselves in
introducing an Indian policy
in architecture until the new order
following the present devastating
war comes into being and until the new nations are
able to
rebuild and repair the rackless destruction.
In
the
peaceful times, however,
facilities
were
freely
pre-war and
provided by the State,
HINDU ARCHITECTURE
the
especially in
big European
FOREWORD
and American
cities like
London,
Leyden, Paris, Berlin, Rome, Washington, New York, etc., to hold
extramural evening classes and deliver popular lectures on architecCities like Milan used to
ture.
hold perpetual exhibition of
model houses in order to educate the public in the construction of
suitable dwellings.
India,
when
may
it
Perhaps a time will come even in countries like
be considered barbarous to question the public
'
importance of architectural researches.' The common sense of civilized and progressive peoples has recognized that residential buildings
are more important in some respects than even food and clothes.
It
known
that among the amenities of life, houses afford in a
not
large degree
only comfort and convenience but also health and
Nomads are not considered
longevity of life, safety, and security.
civilized ; they are not attached to any locality
they have no fixed
is
well
;
hearth and
home
they are not inclined to spend their fortune in
erecting dignified edifices, everlasting ancestral residences, memorials,
;
monuments, temples, churches, mosques, mausoleums, towers of
The art and culture of a people
silence, monasteries and pagodas.
are reflected and preserved in such monuments.
They sustain and
stimulate national pride.
various countries to suit
and
weather
soil,
spiritual progress.
policy
of each
taste
Thus
the architectural structures differ in
economic and climatic conditions,
and aspiration, and material, moral and
their
therefore, necessary to settle the architectural
For India no better
country in its own way.
It
is,
authority containing the experience of generations and experiments
of centuries will ever be available than what is revealed by the
Mdnasdra
series.
Apart from supplying cultural and historical information these
volumes contain a key which when understood may help the tackling
of Indian housing problems.
It has been shewn and recognized by
discerning authorities that whatever elements have been introduced
to India by the Persians, Moghals, Pathans, and the Europeans, have
Neither the
failed to suit the Indian climatic and soil conditions.
desert houses of Arabia nor the rain-coats and the snow covers of European countries can ever suit the peculiar conditions of India. Experience of generations and experiments of centuries are contained in
our Vdstu-sdstras (science of architecture). Like the Indian dietary
of predominantly vegetarian dishes and Indian clothes of loose types,
xi
AN ENCYCLOPAEDIA OF
FOREWORD
Indian houses of our Sastra (scientific) styles are naturally more
suitable for us.
A wide dissemination of an accurate knowledge of
true Indian architecture as revealed for the first time in these volumes
must be the first step of the housing reform in India.
The
is a revised and enlarged edition of the writer's
Architecture
Hindu
which was published in 1927, without
Dictionary of
any plates. Its change of title to An Encyclopaedia of Hindu Architecture
was originally suggested to the London University and missed by
present volume
several
learned
scholars.
A
review of the Dictionary on this
is a book which is so well done that
to say that for
many
decades
one1
commented in his
The Dictionary
point very strongly
respected
it
'
:
appears to be no exaggeration
cannot be improved upon unless, of
it
If there is
course, the South reveals to us more hidden treasures.
anything to object to, it is the tide of the book, which does less than
''Encyclopaedia" would be a fitter title. The term
is associated in our minds with word-meanings, while
Dictionary
''
word- meaning." Each
Dr. Acharya's work is very much more than
term is followed by its meanings, mostly technical, an exhaustive
account of the subject, and references to standard works of a wide
range of literature. Thus, it will be seen, the work deserves a
"
better title than
Dictionary." In fact Dr. Acharya himself suggested
London
to the
University the compiling of "An Encyclopaedia of
Hindu Architecture," and it appears to have been a mere freak of
to
justice
it.
"
''
when
the University decided to entrust the learned
"
Doctor with the work of compiling, they chose the term Dictionary."
fortune that
.They appear to have been led to do this by the nature of the usual run
of work done by modern scholars who hi many cases have the,
"
unhappy knack of shirking work "; but in being led away by the
prejudice, the University were unfair to their alumnus, who has, by this
work, more than justified the title that he had himself suggested.
It is a matter of special gratification to us of the Allahabad
University that we have at the head of our Sanskrit Department a
scholar capable of doing work which, as a monument of industry
and patience, compares favourably with the best of that class of
scholarly work which has liitherto been regarded as German.""*
.
.
.
Mahamahopadhyaya Dr. Sir Ganganatha Jha, Indian Review, March, 1928.
For similar comments by several other Reviewers, please see the concluding
appendix of this volume and also pp. IA to IIA of the writer's Architecture of
Manasnra (Volume IV of the Manasara Series).
1
xU
HINDU ARCHITECTURE
FOREWORD
Nath Tagore,
Abanindra
The
distinguished artist, Dr.
observes also that the Dictionary is
'
in the nature
C.I.E.,
of an Encyclopaedia
He (the author]
the existing treatises on Indian art.
has herein presented before us all the information that so long lay
embracing
all
...
it may be
hidden and scattered all over the world
approon
of
literature
the
Indian
Mahdbhdrata
art, for,
priately called the
in
we
it
Hitherto
find all that there
it
is
to
know about Indian
art.
has been extremely difficult to be able to read
nected literature that
is
to
be found in
libraries
all
.
.
.
the con-
whether in India or-
Everyone of us does not know the language in which the
treatises are written. Moreover, most of the original texts are preserved
In the circumstances, a volume of this nature,
in distant lands.
outside.
written in English and containing as perfect a compendium as is
all the existing treatises on art, came to be a necessity, not
possible, of
...
artists as well.
only for us but for foreign
to which I shall be able to
express the extent
and the
profit
which
pupils will derive
my
cannot adequately
make use of it
from
I
.
it.'
.
.
l
Students of Indian architecture should be grateful to him (author]
for accomplishing with such thoroughness a task which has been long
overdue, and which must have entailed a tremendous amount of
'
patient
and often
disinteresting work, in a
number of
different lan-
The Dictionary of Hindu Architecture contains all the architecguages.
tural terms used in the Mdnasdra and in the known Vdstu-$dstras,
records with full
inscriptions and other archaeological
published
references
and
2
explanations.'
Professor Acharya's Dictionary of Hindu Architecture is a monumenIt deals with three thousand words
tal work, the first of its kind.
'
relating to architecture
and sculpture and cognate
arts.
Under each
the necessary information in the form of a
short article illustrated with copious quotations from the ancient
as well as manuscripts, the general literature and the
printed books,
term
is
brought together
archaeological records.
all
And
this
has been done with a thoroughness
and accuracy which are the author's own. Full quotations for
shade of the meaning of a word are
bringing out each and every
'
Translated by Mr. B. N. Lahiri, M.A.,
2
The Times Literary Supplement,
May
I.P.,
from the
31, 1928.
xiii
Pravasi, April, 1928.
AN ENCYCLOPAEDIA OF
FOREWORD
In effect the Dictionary becomes more of an Encyclopaedia
1
rather than a dictionary.'
In consideration of such comments and in view of the fact tbat
given.
measured drawings and photographs
have been added, the Government and the Oxford University Press
have agreed to the present title. But
the freak of fortune
truly
has
Sir
continued
to
the
in
end
other
Ganganatha
designated by
very
respects as referred to in the opening paragraphs and mentioned
illustrative
plates containing
'
'
later on.
The
prediction that
'
for
many decades it cannot
be improved upon'
has also proved literally true.
No hidden treasures have been
revealed in any quarter. All the new publications including all
'
archaeological explorations
'
reports which came out between
The very extensive
closely searched.
and
1928 and 1943 have been
volumes, reports, and explorations relating to Central Asia which have
been largely due to Sir Aurel Stein, as well as the voluminous publica-
of the Dutch, the French and lately of the Indian scholars
relating to the Far East and Insulindia have also been patiently gone
2
But not many new terms have been discovered. The
through.
new terms added in this volume will be hardly one or two per cent,
under the old and
articles
of the original list. But a number of new
Articles like the playhouse (under
the new terms have been added.
tions
'
'
'
'
RANGA) and
Svastika symbol,
etc.,
contain
all
information which
is
at
Articles on fine arts (under KALA) and Indopresent available.
Persian Architecture, and Maya Architecture of Central America,
3
etc., are also new.
Thus although the matter has
largely increased, Lt.-Col. D.
W.
Crighton decided to reduce the unwieldy bulk of the volume by the
device of smaller types, larger pages, and closer printing, which, it
hoped, will not cause any inconvenience to the readers. Colonel
Crighton and Mr. M. G. Shome, his successor, as the Superintendent of Government Press, have endeavoured to produce a faultless
volume comparable with the best of European publications.
1
The Pioneer, February 13, 1928.
is
" Sources " in the Preface which
See further reference to these works under
follows this Foreword (pp. xvii-xviii) and also the Bibliography, pp. 679-84.
s Another additional and
very expensive effort, which is not directly concerned
with the present volume, has been made in erecting a residential house for a demonstration, the result of which is elaborated in the Preface of Volume VI (Hindu Architecture
in
India and Abroad}.
xiv
HMDU ARCHITECTURE
FOREWORD
original plan and scope as well as the ideal and general method
followed in the Dictionary l have been retained in this Encyclopaedia
The
also. 2
What remains
of fortune.'
'
be added refers to further instances of the freak
Under the war conditions of 1914-18 the work was
to
the present devastating war conditions it is
completed. Among various other disappointments it is painful to
recall that in April, 1939, Lt.-Col. D. W. Crighton took to England
about 250 pages manuscripts of the present volume and after the
commenced and under
declaration of the
war
in the fateful
month of September,
the Colonel
wrote that he would send back the manuscripts together with his sugHis suggestions were received and have been
gestions for printing.
came back. They had
and labour involved in
and additions and altera-
followed but the original manuscripts never
to be prepared again with all the annoyance
such a process.
made
tions
Some of
the
new
entries
during the past twelve years may
Those who work along this line
altogether.
in the missing pages
have been, however,
lost
disappointment and will recognize the fact
that it is hardly possible for a writer to rc-writc an article in the
same spirit, with the same fulness and satisfaction as at the first
share
may
the
writer's
inspiration.
Another unfortunate incident alluded to in the Preface refers to
the eye-trouble which started as the result of a very close examination
and decipherment for several years of a huge quantity of very badly
'
preserved old manuscripts on Silpa-sastras written in five different
scripts, and of some 50,000 lines of inscriptions.' Over and above this
the eyes were severely exercised
some 5,000 pages of these
word but also every letter
scrutinized at least
three times each.
thirty years aggravated
proofs of this last
by the reading of three proofs of
seven volumes, of which not only every
and every line thereof had to be minutely
the
volume had
ailment
All this strain for the past
to such an extent that the
be read, despite medical advice, with
one eye only, the other being unserviceable and requiring a risky
and expensive operation which had to be postponed with a view to
completing this work.
1
to
2
See pp. x-xii.
XV
For
details, see pp. xx-xxii.
AN ENCYCLOPAEDIA OF
FOREWORD
occasion to record my most respectful thanks to
the Government of the United Provinces for generously advancing the
cost of publication of all die seven volumes.
My respectful acknowlof
Government
to
the
due
also
are
India, especially to the
edgments
General
whose
Directors
and Provincial
Department of Archaeology
Superintendents very generously supplied all the necessary photographs of the extant monuments and reprints from the Government
I also take this opportunity to express my indebtedness
publications.
to the Governments of Siam, Netherlands (Java and Sumatra), and
take this
I
French
Indo-China
monuments
supply of photographic
for
and
in Insulinclia
views
of Indian
for permission to reprint certain plates
their official publications. Mr. S. G. Mukerjee, B.A., C.D., A.R.C.,
A.I.I.A., and his draughtsmen have supplied all the measured drawings
from
plates for the illustration of certain objects of which no extant
examples are available. These drawings and plates had to be prepared from the description found in the texts and required great skill
and the
in representation.
Lt.-Col. D.
W.
Thus they have earned
my
gratitude.
Crighton, and, after his ictirement, his successor,
as the Superintendent of the Government Printing and Stationery,
Mr. M. G. Shome, and their staff have endeavoured to produce
volume.
Colonel Grigh ton's plan and arrangement
In his great wisdom he
of the matter has been strictly followed.
cast the new types for the last two volumes of the series and
a
faultless
required amount of paper excepting those for plates
war of 1939 was declared. I shall always remain
grateful to Colonel Crighton, Mr. Shome and their staff for all they
have done to bring out these volumes and to mitigate my drudgery
for more than a quarter of a century during which these volumes
stocked
before
the
the
passed through the Press.
My thanks are due to Mr.
M.
substantially in preparing the
terms as translated in the
Sharma, M.A.,L.T., who assisted me
Index of the modern architectural
body of the work together with their
S.
Sanskrit equivalents.
I am also thankful to
Mr. M. G. Nayar, Senior Reader of
for arranging the plates and the final
the Government Press,
revision of the last proof.
P.
ALLAHABAD UNIVERSITY
April,
:
1944-46.
xvi
K.
ACHARYA.
PREFACE TO THE FIRST EDITION
This Dictionary (encyclopaedia) owes its
Origin and scope of the work
1
of
London.
to
the
name
glossary of the architectural
University
A
terms used in the Mdnasdra, the standard work on
Hindu architecture,
private use when I found it indispensable,
two and a half years to edit for the first time and
translate into English a text, which is written in five different scripts, 3
was prepared
for
my
after struggling for
badly preserved manuscripts, has undergone five
recensions, and comprises more than 10,000 lines of a language
{
3
rightly remarked by Dr. Biihler as the most barbarous Sanskrit.'
possesses eleven
In this connexion there arose an occasion for
me
to express to the
University the opinion that an encyclopaedia of Hindu architecture
was badly needed. Architectural expressions appear throughout
the whole field of general Sanskrit literature and epigraphical
records, as well as in the extensive special branch of literature
as Vdstu-Sdstras, more familiarly called Silpa-fdstras. Existing
dictionaries, in Sanskrit, English or any other language, do not
known
and the texts of the Vdstuhundreds of years to be unearthed
elucidate architectural expressions
;
have been waiting for
from manuscripts which are quite inaccessible without the guidance
of a special dictionary that would also be instrumental in bringing
fdstras
to light
many new
things hitherto
left
unexplained in inscriptions
and general literature. The University selected me as the person
most immediately concerned and entrusted me with the task,
"
of all architecthat I should make a full "
'
dictionary
the Mdnasdra, with explanations in English,
and illustrative quotations from cognate literature where available
suggesting
tural terms used in
for the purpose.'
Thus the terms included
found in the Mdnasdra.
1
It
in this encyclopaedia are primarily those
But
all
the
new
architectural terms of
has developed out of a Thesis, which was accepted by the University for
See the Foreword for the change of title to Encyclopaedia.'
'
the D. Lit. degree.
8
Grantha, Tamil, Telugu, Malayalam, and Nagari.
*
Ep. Ind., Vol.
I, p.
377
;
compare
also Sir
XII, pp. 140, 141.
xvij
R. G. Bhandarkar,
Ind. Ant.,
Vol.
AN ENCYCLOPAEDIA OF
PREFACE
any importance discovered in all the known architectural treatises,
epigraphical documents, and general literature have also been
added.
new terms
should estimate the
I
at about one-fourth of the
numbering approximately three thousand. No record has,
however, been kept of the extent of the architectural manuscripts
or the general literature searched, but some 50,000 pages of
archaeological documents have been gone through almost line by
1
total,
line.
Extent
of
architecture
is
taken in
or constructed in
ornamental
comprehended In the Vdstu-sastras
broadest sense and implies what is built
materials and with a design and an
terms
architectural
its
lasting
Thus, in the
finis.
buildings, religious, residential
first
and
place,
it
military,
denotes
and
members and component mouldings. Secondly,
all
sorts
of
their auxiliary
implies town-
it
constructing market places ; making
roads, bridges, gates ; digging wells, tanks, trenches, drains, sewers,
moats ; building enclosure walls, embankments, dams, railings,
planning
;
laying out gardens
of
;
for hills, ladders, etc.
steps
ghats, flights
articles of house furniture,
Thirdly, it denotes
such as bedsteads, couches, tables, chairs,
thrones, fans, wardrobes, clocks, baskets, conveyances, cages, nests,
mills, etc.
Architecture also implies sculpture, and deals with the making
of phalli, idols of deities, statues of sages, images of animals and
birds. It includes the making of garments and ornaments, etc.
Architecture
also
is
concerned with such preliminary matters
as the selection of site, testing of soil, planning, designing, finding
out cardinal points by means of a gnomon, dialling and astronomical and astrological calculations.
These and similar matters are expressed by technical names
which are to be understood as architectural terms for the purpose
;
of this dictionary (encyclopaedia).
Principal sources and arrangement of materials
upon
in this compilation
namely, literary
known
may be
classified
and archaeological.
Vdstu-sdstras,
in
since
Foreword
for
sources
The former
drawn
divisions,
includes
all
the
manuscript, which are avowedly
mostly
such as the Mdnasdra,
architectural treatises,
See the
The
under two
etc.
;
architectural
a reference to the further additional terms discovered
in this volume.
1928 and incorporated
xvjii
HINDU ARCHITECTURE
and the Purdnas, cognate portions of the
portions of the Agamas,
Vedic and
the
Kdvyas, dramas,
the inscriptions
all
following series
in the
Antiquary
volumes)
Indian
such as
classical literature,
Epics,
comprise
PREFACE
Dr.
of
Inscriptions
;
Carnatica
Epigraphia
the Sutras,
archaeological records
and other cognate matters published
3 volumes) ; Indian
Inscriptionum Indicarum
(2
Epigraphia Indica
:
44 volumes)
(fiist
;
the Brdhmanas,
The
etc.
E.
Corpus
(first 1
volumes, in
(12
Hultzsch,
and Rao Sahib H. Krishna
Venkayya,
General Sir A. Cunningham's
parts)
late
Sastri
15 parts)
Rai
(3
;
South
Bahadur V.
volumes, in 8
Archaeological Survey Reports
;
volumes) Archaeological Survey, New Imperial Series (Vols. IV,
XII, XVIII, XXI, XXIII, XXIV, XXXIII, XXXIV)
(23
;
XI,
;
and Mysore Archaeological Survey Reports (Vols. I, II, III), [Serindia,
Report on Archaeological Tour with
by Sir Aurel Stein
Bunar Field Force (1900), by Stein ; Ancient Khotan (Vols. I, II),
L'Art de Gandhara,
by Stein, Ville de Khotan, by Remusat
Notes
Foucher
M.
S.
Levi
Fa-hien's Travels,
M.
;
Chinoise, by
;
by
;
;
by Legge Asiatic Researches (Vols. I XIV) ; Marco Polo (Vols. I,
Ancient Colonies in the Far East, by R. C. Mazumdar ;
II), by Yule
Inventaire
History of Siam, by Wood ; History of Burma, by Phare
Descriptif des Monuments Chams de L'Annam (Vols. I, II), by
M. H. Parmentier Cambodge (Vols. I, II, III), by E. Aymonier ;
Le Cambodge, by M. L. Delaparte Java and Her Neighbours, by
;
;
;
;
;
A.
S.
Walcott
De
;
Sutrantraasche Period der Javansche Geschiedenis
Krom
;
Bijdragen tot-de Taal-Land en Volken-Kunde
(1922),
van Nederlandsche Indie (1918); Buddhist Records, translated by
Etudes
Bill
History of Art in Persia, by Perrot and Chipiez
Darmesteter
Scritores
rerum
Alexandri
;
Iraniennes,
by
Magni,
by
;
;
by C.
Miiller
Smitter; etc.
;
Architectural
Remains
:
Anuradhapur (Ceylon), by
1
].
quotations from these sources are, to speak very
generally, arranged in the order in which they are mentioned above.
Illustrations from other sources of smaller extent have been given
Illustrative
where they seemed most suitable.
Appendices
architecture
1
Stt
A
is
sketch
given in
important Sanskrit treatises on
Appendix I. In Appendix II is given an
of the
further details under Bibliography.
xix
AM ENCYCLOPAEDIA OF
PREFACE
of the historical
mentioned in the
archaeological records, together with short notes on their works
and dates, where available. This list does not include those names
which are casually mentioned without a reference to their works in
the general literature, Purdnas, Agamas, and in the Silpa-sdstras.
Ideal and general method
Dr. F. W. Thomas was the first to
the
idea
of
suggest
compiling such an encyclopaedia long before
I felt the necessity of the glossary mentioned above. In
carrying out
Dr. Thomtes's kind advice it seemed to me that the most natural
method was the one suggested by Dr. Burgess (Ind. Ant., Vol. XIV,
list
alphabetical
architects
pp. 319-20), for collecting materials for the ancient Geography of
India by indexing separately all the geographical words occurring
in the archaeological
and
literary documents. Dr. Fleet illustrated
a
by making
topographical list of such words found
in the Brihat-sarhhitd (Ind. Ant., Vol. XXII, p. 169). This was
followed by a similar list of words from the Bhdgavata-Purdna, by
this principle
Revd. J. E. Abbott
XXVIII, p. i, f.). There such
would have been much easier for me if
(Ind. Ant.,
Vol.
stopped. It
made use of any such list of architectural terms from
any of the documents consulted. 1
Professor L. D. Barnett, M.A., LITT.D., suggested that I should
list-making
I
could have
take Dr. S. Sorensen's Index to the names in the Mahdbhdrata as
my
model.
have followed
method, as well as that of Professors
Macdonell and Keith in the Vedic Index, so far as these indices are
concerned in bringing together everything useful in the form of a
I
his
short article.
Despite its bulk, Sorensen's Index mostly confines itself to
the proper names contained in the Mahdbhdrata, and does not
include any illustrative quotations. But I had to go much beyond
a single work and consult an extensive field of literature, like the
veteran workers of the Vedic Index of names and subjects, which,
though it contains subjects in addition to proper names, has not, for
obvious reasons, cited the original passages in text or translation in
addition to giving references to them. In this respect I took the
1
Dr. A. K.
Dictionary
Coomaraswamy published a short list after the publication of my
referring to a few new terms from the Buddhist literature and the
writer's Indian Architecture (1927).
XX
HINDU ARCHITECTURE
largest Sanskrit
PREFACE
the
work,
had
St.
Dictionary, as
Petersburg
from
my
ideal.
immortal authors, Messrs.
Bohtlingk and Roth, the fathers of the most useful Sanskrit rethe St. Petersburg Dicsearches, in two important points.
First,
But there, too,
tionary
I
to differ
does not, for obvious reasons, give in
of the passages quoted therein.
like
its
'prasadarudha'
all cases
the
For instance, from the
full
context
illustrations
'
and
St.
Pet.
Diet.,
(see
'prasadangana
difficult to
see whether 'prasada'
implies a
under PRASADA), it is
temple, or a palace, or
an ordinary
residential building, or
assembly room and confessional hall of
In spite of some tremendous difficulties,
the
Buddhist priesthood.
I
found it unavoidably
to
cite
or
translation, or sometimes
necessary
long passages, in text
both, to illustrate the particular bearing of a term.
'Pitha,'
for example, implies a seat, an altar, a platform, the pedestal of a
column, the basement of a building, the plinth, the yoni part of the
of meanings cannot be made
linga, etc. ; these different shades
by such
the
'
or 'pitham ashtangu'pithopari
lam.'
The second point, by far the more significant, will further
explain the need of long contexts. The St. Petersburg Dictionary
clear
refers
only
to
quotations
as
well-known
treatises
which, though covering
an
extensive field, are yet easily accessible, and does not deal with
manuscripts locked up and preserved as relics ; nor has it anything
do with the epigraphical documents.
My literary quotations
are in most cases from a large number of works and manuscripts
some of which are written in unfamiliar scripts and most of which
are neither well known nor easily accessible ; and the illustrations
from all the published inscriptions and other archaeological records,
to
comprising
approximately 50,000
pages,
also
necessitated
the
and partly with a view
the
of
the
attention of the reader
avoiding
possibility
distracting
and interfering with his grasping the argument rapidly.
full
context,
partly for reasons stated above,
to
Alphabetical order and
transliteration
I
could not avail myself of
the express advice of Dr. Fleet in his highly appreciative Review
of Dr. Sorenson's masterly Index (Ind. Ant., Vol. XXXIV, p. 92) to
arrange the words
according to the European alphabetical order,
which, in the opinion of the reviewer, has enhanced the value of the
work. The European alphabet, being more imperfect than the Sanskrit
alphabet with regard
to
the
number of
xxi
characters, especially
AJf
PREFACE
ENCYCLOPAEDIA OF
and the phonetical arrangement of them, seemed
unsuitable for the terms which are included in this dictionary
the vowels
In either of the alphabets, the transliterated
(encyclopedia.)
Sanskrit words in some cases would be more or less confusing (e.g.
Rishi, Riksha, Rintika, Ripu). But for the difficulties of making
l
before the
dictionary went to press, I
typewritten
copies
should have preferred to have Sanskrit words written in Sanskrit
characters. Following the order of the Sanskrit alphabet, words
like
'
varhsa,'
and
'
sanku
'
are given
(as in the St. Pet. Diet.,
's"aka'
M. W.
Dictionary
'
and
and the Vedic
not before
'
vakra
Index), but after 'vahana' and 'Sashpa.' The anusvdra is derived
from at least four nasal characters of the Sanskrit alphabet (h, n,
n, m). Logically the anusvdra should follow the order of the
sarhku should be where
sanku
would be
original letters
placed ; but this is an extremely confusing arrangement (see Apte's
There is no reason why samku
should be read
Dictionary)
'
'
'
'
:
'
'
.
'
is also no reason for its
being placed after
one
should be quite justified in doing so when
Sashpa,' although
he is following the order of a particular alphabet, and does
before
s"aka,'
there
'
not hesitate to read in another alphabet e after d, i after h, o
after n, and u after t, or / after k, h after g, and so forth.
In transliteration I have followed the system of the Archaeologi-
Survey of India. But I have not made any distinction between
e and ^, o and 6, simply because there is no such distinction in the
Sanskrit language. These deviations from the trodden paths,
which seem to be untenable, will not, it may be hoped, cause any
inconvenience to readers.
cal
Acknowledgment
important cases which deserve
names of the scholars who have edited a partior written an article have not been added after
Except
in
special notice, the
cular inscription
the quotations. This need not offend anybody.
I am sincerely
It seems,
grateful to the scholars to whom I owe the quotations.
of
little
interest
to
know
the
name
or
names of the authors
however,
or editors
of a particular passage, quoted occasionally a dozen
times with
full
1
references to the article
Four copies of the Thesis referred
University of London.
to
xxii
where
it
occurs.
'
Vedi,'
above had to be submitted to the
HINDU ARCHITECTURE
PREFACE
example, implying a throne, has a parallel instance in a passage
quoted from an inscription. The passage is borrowed from the
editors and my indebtedness is shown by the usual quotation
for
marks, and
have stated that
I
this
passage occurs in
'
Inscription
from Nepal, no. 15, inscription of Jayadeva, verse 25, Ind. Ant.,
Vol. IX, pp. 179, 182.' It, however, in no way enlightens the
reader to know the names of the editors, Pandit Bhagwanlal
Indraji and Dr. G. Biihler, C.I.E.
portion of a verse
Again, a
quoted in the
of the Sdnkhayana Srauta-sutra is
but the full context is given in
St. Petersburg Dictionary,
our encyclopaedia, and
it
stated thus
is
Sdnkhayana Srauta-sutra,
seems unnecessary to
XVI,
13
and
Roth.
Messrs.
of
names
add the
Bohtlingk
Lastly, in cases of
the extent of which cannot
quotations from general literature,
1
(St. Pet. Diet.}.
8,
Beyond
:
this, it
be indicated even by an approximate number of books,
some instances
impossible
in
Compare,
anonymous
for
example,
work
and
;
a
to
mention
Glossary
of
the
Grecian
was
name.
an
Architecture,
it
author's
Silpa-sastra-sdra-samgrahah
Sivandrdya-
sdram uddhritya prakdsitah Silpa-sdstrandtmajena prdchlna-granthebhyah
essential portions of the
sdra-samgraha, compiled by collecting
of
son
a
ancient treatises by
Sivanarayana'
again, Visvakarma;
Krishna-s'ankara-s'astri
the
by
author, if there were a real one beyond the mythical VisVakarman
is not stated anywhere in the treatise
(Creator of the Universe),
jndna,
corrected
(s'arhs'odhita)
;
itself.
Need of showing
the
results
achieved
Although
it
would
be
to say that the subject of a dictionary
presumptuous for anybody
a pioneer work, I might be permitted,
in
like this has been exhausted
in justice to myself, to add that all the known and knowable
materials which were likely to be of any use for this encyclopaedia,
have been closely consulted and utilized. Whether the results will
labour involved will have to be left to the actual
justify the great
1
are in need of such a work. But the
experiment of those who
'
Extracts from Opinions and Reviews,' at the end of this volume,
See the
IV (1934), by the writer, and |What
Architecture
of
the
also
of Mdnasara, Volume
Others Think in the writer's Hindu Architecture in India and Abroad, Appendix III,
i
'
pp. 422-49.
xxiii
AN ENCYCLOPAEDIA OF
PREFACE
tremendous
fully
of a compilation like this will perhaps be not
to all readers, because
no one but those who
difficulties
brought home
'
have taken part in similar labours, can at all realize the amount of
tedious toil, I might almost say drudgery, involved in doing
everything singlehanded, collecting the quotations and verifying
references and meanings, making indices and lists of words, sorting
and sifting an ever-increasing store of materials, revising old work,
arranging and re-arranging new, correcting and re-correcting,
"
copy," till reams upon
writing and re-writing, and interlineating
reams of paper have been filled, putting the eyesight, patience,
and temper
to a severe trial.'
My
Aids and encouragement received
sincere obligations are due,
to the Secretary of State for India in Council for all facilities and
help which I had the privilege of receiving as a Government of
India State scholar and which were needed by a pioneer in this
most exacting branch of oriental researches, specially during the
War of 1914-18. I take this opportunity to offer
thanks
in particular to late Sir Austen Chamberlain,
my respectful
late Sir T. W. Arnold, C.I.E., and late Mr. N. C. Sen, O.B.E. Words
fail me to express adequately my gratitude to Professor Dr. F. W.
Great European
Thomas,
above, I owe
take this task.
Office
the then Librarian of India Office, London. As stated
to him the inception of the idea and courage to under-
C.I.E.,
He
placed at
and procured
for
me most
different libraries in India
materials in the India
of the available manuscripts from
and Europe.
He
facilitated
my work
He
arranged, through the appreciation and kindness
H. Marshall, C.I.E., D.LITT., the then Director General of
in Holland.
of Sir John
my disposal all the
Archaeology in India, the creation of a prize post for me directly
under the Governor in Madras for the publication of this work ;
this arrangement, unfortunately, fell through owing to absence
on leave of Sir John Marshall and retirement of Lord Pentland at
the time when I went to take up this appointment. It was again
through Dr. Thomas's introduction that Sir Claude de la Fosse,
C.I.E., M.A., D.LITT., the first Vice-Chancellor of the reconstructed
Allahabad University, became personally interested in this work
and readily induced the great educationist Governor, Sir Harcourt
Butler, to recommend to the Government of the United Provinces
to advance the cost of its publication.
jcxiv
HINDU ARCHITECTURE
I take this
P sir AC
opportunity to express
Harcourt Butler and
his
my
Government.
respectful gratitude to Sir
And to Sir Claude I am
further indebted for his scholarly sympathy, friendly advice, and
constant encouragement. To those great lovers of oriental scholarthe then Minister of Educaship, Rai Rajeshwar Bali Sahib, O.B.E.,
tion
;
Kunwar Jagdish
Prasad,
C.I.E.,
O.B.E., i.c.s., the
Education
(then Chief) Secretary; and late Mr. A. H. Mackenzie, M.A., B.SG.,
the Director of Public Instruction, I am in a debt of gratitude
encouragement, which has kept up the energy and
needed in bringing out this dictionary, after working on it for
for further
spirit
the past twelve years.
For suggesting many improvements I am indebted to the veteran
orientalists, Dr. L. D. Barnett, of British Museum, London, and late
Professor E. J. Rapson, of Cambridge University, who examined the
whole manuscript before it went to press. I am thankful to Professor J. Ph. Vogel, PH.D., of Leiden University, for helping me with
To Mr. E. L. G. den
all necessary books during my stay there.
Ch.
L.
Du
van
de
and
Miss
Beest Holle of ZootoDoore-n
Ry
Jong
mical Laboratory, Leiden, I owe many friendly services in connexion with this work, but for which it would have been impossible for me to get on in Holland. To another talented lady friend,
Miss E. J. Beck, who took the trouble of putting in the
marks to a duplicate typewritten copy of this dictionary,
owe, like many other Indian students, more obligations than I can
late
diacritical
I
adequately express.
Last but not least
am
I
pleased
to
record
my
grateful
thanks
Major W. C. Abel, M.B.E., V.D., lately the Superintendent
Government Press, Allahabad, and to his able successor,
Mr. D. W. Crighton, and to their staff for their ever sympathetic
and kind treatment towards me and their zealous and careful
handling which was necessary in printing an encyclopaedia like
to
of
this.
P.
SANSKRIT DEPARTMENT,
UNIVERSITY OF ALLAHABAD
:
August, 1937.
XXV
K.
ACHARYA.
THE ORDER OF THE ROMAN CHARACTERS AND THE METHOD
OF TRANSLITERATION ADOPTED
a,
a
k,
kh
t,
th
p,
5,
;
I
i,
;
ph
;
gh
g,
d,
;
sh, s
;
n
;
h
bh
;
;
m
ri, ri
;
dh n
b,
;
u
u,
;
;
m
;
ch,
;
t,
;
h.
th
;
e, ai
chh
;
y, r,
d,
1,
;
;
o,
j,
jh
dh n
;
v
;
au
n
;
;
;
;
CONTENTS
PAGES
ix-xviii
FOREWORD
PREFACE TO THE FIRST EDITION (DICTIONARY)
METHOD OF
ORDER OF ROMAN CHARACTERS AND THE
THE
TRANSLITERATION ADOPTED
xxxi-xxxiv
LIST OF ILLUSTRATIONS
TEXT OF THE ENCYCLOPAEDIA
ON ARCHITECAPPENDIX I-A SKETCH OF SANSKRIT TREATISES
..
TURE
ARCHITECTS WITH SHORT
APPENDIX II-A LIST OF HISTORICAL
..
NOTES ON THEIR WORKS
CORRESPONDING SANSKRIT EQUIVALENTS
'77
670-84
BIBLIOGRAPHY
EXTRACTS FROM OPINIONS ON THE DICTIONARY
TERMS
INDEX TO MODERN ARCHITECTURAL
~
6I5 59
..
iA-i8A
WITH THEIR
. .
I
tO l8
LIST
OF ILLUSTRATIONS
Serial no.
I.
Facing page
.
.
Frontispiece
LIST OF ILLUSTRATIONS
Semi
Facing page
no.
47.
Kampa-bandha
..
Kadanga
Kabandhana
48.
Karnika
45.
46.
.
49.
Kama
50.
Karnika
51.
Kalpadruma
Kavata
52.
53.
54.
55.
..104
.
.
.
.
.
.
.
;"
112
118
..
.
Kunjaraksha
Kumari-pura
..
Kuntala
.
.
.
.
.
..
58.
..
..
59.
60.
Kubjaka
Keyura
.
.
61.
62.
Kokilargala
Kona-loshta
63.
64.
.
.
.
.
..
..
..
..
..
..
..
Kumbha-stambha
..
..
Kostha-stambha
.
67.
68.
Kshudra-nasa
Kumuda
.
.
.
.
.
.
..
131
..
130
..
132
132
136
..
.
.
.
..
.
.
..
130
130
..
.
.
..
..
..
..
128
.
.
.
.
.
.
..
..
.
..
..
76.
77.
Goji
..
..
..
..
..
78.
Gopana
..
..
..
..
..
.
.
71.
72.
73.
74.
75.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
..
..
..
..
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Graha-kundala
.
Ghatika-sthana
..
..
..
..
..
..
..
..
..
82.
Gopura
Chauvadi
..
..
..
..
..
83.
Chandra-gala
..
..
..
..
.
.
79.
80.
81.
84.
Chaitya
85.
86.
Chitra-torana
87.
88.
89.
90.
cji.
Jagati
.
.
.
.
Jala-garbha
Jala-dvara
Tala-mana
Torana
.
.
.
.
.
..
..
.
.
.
..
Jaya-stambha
.
..
.
.
.
.
.
.
..
..
.
.
.
..
.
..
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
..
18
118
..
. .
Kshepana
Kharvata
Kheta
..
Garbha
Ganda-bherunda
Gabhara
Garuda-stambha
Gavaksha
Guru-dvara
70.
1
.
..
..128
..
Kudya-stambha
.
124
128
Kokila
65.
66.
.
..
57.
69.
104
104
104
104
.
....
.
Kumbha-panjara
..
Kuta
56.
102
..
..
..
..
..
XXXII
..
..
1
36
136
136
138
138
146
148
148
149
148
1
48
15 6
156
156
156
158
174
174
1
74
174
184
184
184
1
84
196
218
LIST
ILLUSTRATIONS
Off
Serial no.
Facing page
92.
Tarahga
.
93.
..
94.
Tatika
Trikarna
95.
Tripatta
.
.
.
.
.
..
.
.
.
.
..
.
.
.
.
.
..
.
..
.
..
.
.
..
.
..
96.
Tribhanga
.
.
.
.
.
.
.
.
97.
Danta-klla
.
.
.
.
.
.
.
.
98.
Danta-nala
.
99.
100.
Dipa-danda
Dipa-stambha
101.
Dhara-kumbha
102.
Dhvaja-stambha
103.
Natya-griha
Natya-griha
Nala-geha
Naga-kala
104.
105.
06.
1
.
.
.
.
.
.
.
.
.
.
..
.
.
.
.
.
.
.
.
.
.
.
.
.
..
..
..
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
..
..
..
..
.
.
.
.
.
.
.
.
107.
108.
Nataka
.
.
.
.
.
.
.
.
.
.
Nasika
.
.
.
.
.
.
.
.
.
.
109.
Nidhana
.
.
.
.
.
.
.
.
.
.
Nidra
..
..
..
..
.
.
.
.
no.
in.
Pafijara
112.
Pafijara-lala
..
..
..
..
113.
Patra
..
Patra-torana
..
..
..
..
Padmasana
..
..
..
..
.
.
.
.
1
14.
115.
1
16.
117.
118.
Padma
.
.
.
Padma-pltha
.
.
.
.
.
.
.
.
.
.
.
.
..
.
.
.
.
.
..
..
..
..
..
..
..
..
.
.
.
.
222
222
322
222
222
226
226
226
226
226
226
274
274
278
280
280
280
280
280
288
288
288
288
298
302
302
302
302
302
119.
120.
Parigha
Parna-mafljusha
Padajala
121.
Palika
..
..
..302
122.
123.
Pitha
Potra
....
..
..
..
..
..
124.
Prachchhadana
125.
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394
396
406
414
414
414
414
438
442
442
442
476
484
526
526
526
526
534
604
612
612
AN ENCYCLOPAEDIA OF
HINDU ARCHITECTURE
AKSHA The
(1)
The
base of a column, the eye, a die.
base of a column
:
Athavaksharh (=adhishthanarh) navarhsochcharh janma
karayet
(2)
The
eye
chaikena
(Manasara, xiv, 17, note.)
I
:
tri-matrarh syad vistararh chaika-matrakam
Akshayamardha-matrarh syad vistararh yuktito nyaset
Asyayamam
I
I
(3)
A die
(M., LX, 29-30)
:
Akshaih sphatika-sarhyuktarh tula-bhajanam eva chai
(M., LXVIII, 28.)
Referring to the window-like part of a dold (swing,
palanquin), and of a chariot
hammock,
(4)
:
Puratah prishthato madhye parva(darpa)narh bhadra-samyutam
Parsvayor va(dva)ranarh kuryat tasyadho'ksharh susamyutam
I
I
(M.,
Tasyadhah karnanarh kuryad akshotsedhardham eva cha
see
(M., XLI, 51,
See
GAVAKSHA
)
I
further context under AKSHA-BHARA.)
Cf. Mitdkshara (ed. Gal. 1829) 146,
i
(Pet. Diet.)
Akshah pada-stambhayor upari-nivishta-tuladhara-pattah
Akshagra-kila
165-166
L,
:
I
I
Pushkaraksha (see Pdnini, 5, 4, 76).
Dharabhir aksha-matradhih (Arjunasamdgama, ed. Bopp,
AKSHA-BHARA A
8, 4.)
lower part of a chariot.
Tasyadho (below the pada or
dham eva cha
pillar)
karnarh kuryad akshotsedhar-
i
Tat-tad-dese tu chhidrarh syad aksha-bhare rathantakam
Chhidre pravesayet kilam yuktya cha pattayojitam
I
I
(M.,KW,
i
51-53.)
AN ENCYCLOPAEDIA OF
AKSHI-REKHA
AKSHI-REKHA The
eye-lines.
Akshi-rekham samalikhya savye'kshi krishna-mandalam
I
(M., LXX, 69.)
AKSHI-SUTRA The
line of the eyes.
Mukhayamarh tridha bhavet
Akshi-sutravaanam cha tasyadhas tat-padantakam
Hikka-sutrad adho bahu-dirghaih rikshangulam bhavet
I
I
I
(M., LXV, 12-13.)
AGNI-DVARA The
door on the south-east.
Ghatur-dikshu chatush-kone maha-dvaram prakalpayet
Purva-dvaram athaisane chagni-dvaram tu dakshine
I
I
Pitur-dvararh tu tat-pratyag vayau
dvaram tathottaram
(M.,
I
292, 294-295.)
ix,
AGRAHARA A village inhabited by the Brahmanas.
Viprair vidvadbhir abhogyam mangalam cheti kfrtitam
Agraharas tad evam uktaih viprendrah Kamikagame n
i
(Kamikagama, xx,
Agraharam vinanyeshu sthan!yadishu vastushu
ise
Prag-adishu chatur-dikshu vayau
NlLAKANTHA,
1
6,
3^.
Diet.)
sivalayah
3.)
I
II
(ibid.,
xxvi, 32.)
:
Agrarh brahmana-bhojanam tad-artham hriyante raja-dhanat prithak
kriyante te agraharah kshetradayah
I
Chatur-bhuja
AGHANA
Not
(ibid
solid,
comm. Mbh.)
;
:
Agrahara
Sasana.
a hollow moulding, column or
pillar.
Ghanan-chapy aghananchaiva vinyasam atha vakshyate
( Vistarayama-sobhadi-p urvavad-gopurantakam)
Yam manam bahir anyena chulika-mana-sammitam
I
I
I
(M., xxxiu, 290-292,
windows
see also
(or rather window-post)
Tad-vistara-ghanarin sarvam kuryad vai silpi(a)vit-tamah
Gopure kuta-kosht(h)adi-grive padantare tatha
Referring to
293-309.)
:
I
i
(ibid.,
Ghane vapy aghane vapi yatha vatayanair-yutam
bhavet
dvi-matram
cha
syad agram ekarigulam
Cf. Vistaram
592-594.)
I
Ghanam ekangulam
Referring to the
chaiva
i
(M., LX, 17-18.)
image of a bull
Ghanam vapy aghanam
I
:
vapikuryattu silpi(a)-vit-tamah
I
(A/..LXU, 17.)
2
HINDU ARCHITECTURE
AGHANA-MANA
(see
AftKA(GA)NA
Measurement by the
GHANA)
interior
of a structure.
Evarh tat(d) ghana-manam uktam aghanarh vakshyate' dhuna
Vistarayama-bhaktih syad uktavat(d)yuktito nyaset
II
I
Dvi-tribhaga-visale tu ayatam tat prakalpayet
Bhakti-tri-bhagam ekarhsaih bhitti-vistaram eva cha
I
I
Sesharh tad garbha geharh tu madhya-bhage tu veSanam
xxxm, 331-335.)
(M.,
AfrKA(GA)NA
(see
Same
PRANGANA)
as
I
a
Angana,
court,
a courtyard.
Yatha madhye'rikanam kuryat pancha-bhagena vistritam
I
(M., xxxiv, 143.)
(M., XLVIII,
Kalpa-drumasya purato bahir ankanam syat
Athatah sarhpravakshye'ham ariganasya tu lakshanam
Anganarii dhvaja-yonih syan mukhayamabhisamyutam
Padukanam bahir-bhagam anganam tat vidur budhah
I
72.)
I
II
I
Dhvajah sarvatra sarhpanna
iti
sastra-nidar^anam
(Vastu-vidya, ed.
i
Ganapati
Sastri, vi, 1-2.)
tu
Madhye
pranganam karyam vi^alenaika-pamktikam
Ardha-parhkti-vivridhya tu trimsat pamkty antam ishyate
!
Ayame chaika-pamkty adi tri-gunantam visalata
Evam brahmanganarh karyam jala-pata-yutam nava
I
I
Madhyamaih changana-sthanam mandapena yutam
i|
tu va
Prag anganam pradhanam syat pragavaganganam jvarah
II
I'
(KSmikdgama, xxxv, 40, 41, 66,
(Raghuvamsa, ed. Gal.
Ujatangana-bhumishu
Vimanam hamsa-y uktam etat
I
tishthati te'ngane
131.)
52, Pet. Diet.).
i,
I
(Devimahdtmya, ed. Cal. 5, 50.)
Nripangana
Nripangana
(Kavya chandrikd, 166, 15
ibid.).
(dental n, Bhartrihari, 2, 46, ibid.).
Maharajahganam 5urah pravisantu mahodayam
I
(Ramayana, II,
3,
19, ibid.)
Matsya-tirthada sannidhanadali Linganna bagitinda dodda-asvathada
balige angana 12 madida seva
Linganna with devotion erected
'
near the big asvattha tree in proximity to
the Matsyatlrtha, on the bank of the Arkapushkarini.'
(Ep. Carnal.,
(a
mantapa
Vol.
iv,
of)
12 anganas
Edatore Taluq, no.
3,
Roman
3
text, p. 84, Transl., p. 52).
AN ENCYCLOPAEDIA OF
AttGA-DOSHANA
AftGA-DOSHANA The
defects of the limbs
the penalties for
;
a defective construction.
Mdnasdra, Chap. LXIX, 1-73
The chapter
literally mean
is
:
named Angadushana
The term would
The chapter opens with the
in the colophon.
the defects of the limbs.
that the penalties on the master, the king,
following a defective construction will be described
proposal
and the kingdom
:
Alayadyanga-sarveshu hinadhikyarh bhaved yadi
I
Raja-rashtradi-kartrinam dosha-praptim(-r)ihochyate (1-2).
There should not be, as stated, any defect in the width, height, plinth,
lintel, pillar, entablature, finial, dome, door, adytum, staircase, terrace,
gate house, pavilion, wall,
Cf.
Tasmat
The
etc. (3-10).
tu dosha-sarhprapti(h) sllpidrishti(r) nivarayet (n).
illustrations, too, of penalties for defective construction are
from the different architectural
objects, such as door, staircase,
taken
pillar,
Thus it is stated that if the altar (vedika) be
if the dome be
defective, the master would lose his eyesight (26)
larger
if the
or shorter, the people would suffer from poverty (29)
pillars
be larger or shorter, the race of the master would be exterminated (23),
and so forth.
wall,
dome,
spire,
etc.
;
;
AlSJGULA
A
a finger-breadth, a measure of about threefourths of an inch ; one of some equal parts, into which an architectural or sculptural object is divided for proportional measurement.
(i)
finger,
Mdnasdra, Chap, n
The
definition of
Muninam
:
paramanu
or
atom
:
nayanodvikshya(s) tat paramanur udahritam (40).
Cf. Brihat-Samhitd (below).
(Paramanu or atom
The
is
the lowest measurement.)
details of the
angula-measure (41-46)
i Ratha-dhuli
8 Paramanu (atoms)
(car-dust),
i
8 Car dusts
Valagra (hair's end),
i Liksha
8 Hair's ends
(nit),
8 Nits
8 Lice
:
=
=
=
=
=
=
i
i
Yuka
Yava
(louse),
(barley corn),
i
8 Barley corns
Arigula (finger).
Three kinds of angulas are distinguished, the largest of which is equal
to 8 yavas, the intermediate one 7 yavas, and the smallest one 6 yavas
(47-48).
4
ANGULA
HINDU ARCHITECTURE
Further details (49-53)
:
12 Arigulas
2 Spans or 24 arigulas
25 Angulas
26
27
4 Cubits
=
=
=
=
=
=
=
Vitasti (span).
Kishku-hasta (smallest cubit)
.
Prajapatya-hasta.
Dhanur-mushti-hasta.
Dhanur-graha-hasta.
Dhanuh
or danda (bow or rod).
8 Dandas (rods)
Rajju (rope).
Direction is given with regard to the use of the cubits of different lengths
and other measures (54-58) conveyances and bedsteads, etc. are stated
to be measured in the cubit of 24 angulas, buildings in general (vimana)
:
in the cubit of 25 angulas, the ground or land (vastu) in the cubit of 26
angulas, and the villages, etc. in the cubit of 27 angulas. The cubit of 24
angulas can, however, be employed, as stated in measuring all these
objects.
Chap. LV
Three kinds of the angula-measure
Matrangula-gatam proktam arigulam tri-vidham bhavet (53).
The manangula is the standard measure it is equal to 8 barley corns
Yava-tarashta-matrarh syan manangulam iti smritam
(56)
The matrangula is the measure taken in the middle finger of the master
Kartur dakshina-hastasya madhyamangula-madhyame
Parva-dirgharh tan-naham matrangulam udahritam (57-58).
The details of the deha-labdhaiigula are left out ; but this measure is
:
:
I
:
;
.
I
:
I
I
frequently referred to
Trayas-trirhsach chhatantam syad deha-labdhangulena va
(64).
The deha-labdhangula is to be understood as the measure, which is
equal to one of the equal parts, into which the whole height of a statue
:
I
divided for sculptural measurement. This alone should otherwise be
called ams'a (part) ; but the term (ams'a) is indiscriminately used for all
the three angula-measures, as well as for the term matra. Compare, for
is
example, Chap. LXV
:
Murdh(n)adi-pada-paryantam tunga-manam praSasyate
(2).
I
Chatur-virhsach-chhatam kritva tathaivarhs'ena manayet
(3).
Ushnishat kesa-paryantarh chatur-matram praSasyate
(4).
Ardharhsarh gala-manam syad vedams'am gala-tuhgakam
(6).
I
I
I
Sa yava-tryarhsakarh chaivanamikayamam ishyate
Medhrantam uru-dirgharh
The deha-labdhangula is also
I
(26).
syat sapta-virhsangulam bhavet
(9).
called the bera- (idol) ahgula and the
I
Chap. LXIV, 49-53
Arhsakam manam evoktam angulair manam uchyate
Yal-linga-tungarh samgrahya chatur-virh^ach-chhatantakam
Lingangulam iti proktam berarh talava^ad api
Kritva berangularh proktam manangulam ihochyate
Yava-tarashta-matrarh syad devanam angulam bhavet
linga- (phallus) angula,
:
I
l
I
|
I
AN ENCYCLOPAEDIA OF
ANGULA
The deva-
(god's) angula
mentioned in the
last line (53) is
apparently
the mana- (standard) angula.
(2) Brihat-Samhitd,
LVIII,
1-2
:
Jalantarage bhanau yad-anutararh daiianam rajo yati
Tad vindyat paramanum prathamam tad-dhi pramananam
i
cheti
n
Paramanu-rajo-valagra-liksha-yuka yavo'ngulam
Ashta-gunani yathottaram angulam ekam bhavati matra u
Commentary quotes a parallel passage, the former stanza of which
recurs in Manu, vni, 132 (cf. below), whereas the latter wholly differs
i
;
Tatha cha jalantara-gate bhanau yat sukshmam
drisyate rajah
Prathamam tat pramananam trasa-renum prachakshate
Tasmad rajah kachagraih cha liksha yuka yavo'ngulam
Kramad ashta-gunarh jneyam jina-samkhyangulaih samah
From an unknown author are the verses quoted by
I
II
I
Bapu-Deva
(3)
It
in his edition of the Siddhdnta-siromani, p. 52
:
VeSmantah patiteshu bhaskara-kareshvalokyate yad-rajah
Sa proktah paramanur ashta gunitais tair eva renur bhavet n
Tair valagram athashtabhih kacha-mukhair liksha cha yukashtabhih
Syat tribhi^cha tadashtakena cha yavo'shtabhis cha tair angulam
'Digit (angula) has here (B.S., LVIII, 4) no absolute, but a relative value ;
it is the module and equal to T J T of the whole height of the idol, or T
of
idol and seat together.'
Commentary yasmat kashthat pashanadikad va pratima kriyate tad
i
I
i
^
:
dairghyarh
tatraiko
pitha-pramana-vivarjitarh
bhago
navadha karyah,
dvadaSa-bhagavibhaktam kritva
so'ngula-sajnako
bhavati,
ashtadhikam angula-Satam pratima pramanam vakshyati
N.
Vol.
S.,
vi, p.
323, notes
yasmad
(Kern, jf.R.A.S.
i, 2).
Introduction (pp. 8-9) to Rdjavallabha Mandana, ed. Narayana
Bharati and Ya^ovanta Bharati
(4)
:
1
2
3
4
5
6
7
8
9
10
This
is
= matra.
Angulas = kala.
= parvan.
= mushti.
= tala.
= kara-pada.
= drishti.
= tuni.
= prade^a.
= saya-tala.
1 1
Angula
12
14
21
24
42
84
Angulas
= go-karna.
= vitasti (span).
= anaha-pada.
= ratni.
= aratni.
= kishku.
= purusha
(height of a man).
96
106
=
dhanus.
danda.
apparently taken from the Brahmdnda-Purana
6
(see
below).
HINDU ARCHITECTURE
AftGULA
Brahmdnda-Purdna, Chap, vn (Vayu-prokte purva-bhage dvitlye
anushariga-pade) gives a curious origin of the angula measure
(5)
:
It
is
stated (in
w.
rivers, etc.
91-95) that people at first used to live in caves,
They began to build houses in order to protect
mountains,
themselves from cold and heat (sitoshna-varanat)
Then they
.
built khetas
And to
(cities).
(towns), puras (houses), gramas (villages)
measure their length, breadth, and the intermediate distance between
two settlements (sanniveSa) the people instinctively (yatha-jnanam) employed their own fingers. Thence forward the arigulas are used as
standards of measurement.
and nagaras
Then
follow the details of the angula
measurement
96-101)
(vv.
:
Jayangula-pradesams trin hastah kishkum dhanumshi cha
Dasatvangula-parvani pradeSa iti samjfiitah n (96).
Angushthasya pradesinya vyasa(h) prades"a uchyate
Talah smrito madhyamaya gokarnas" chapyanamaya
(97).
I
I
It
tu dvadasangula uchyate
Ratnir angula-parvani samkhyaya tvekavims'atih
Kanishthaya
vitastis
|
II
(98).
Chatvari-vims'atis chaiva hastah syad ahgulani tu
Kishkuh smrito dviratnis tu dvi-chatvarimad angulah
|
Chatur hasto dhanur dando nalika
(9^).
l|
yugam eva cha
Dhanuh sahasre dve tatra gavyutis taih krita tada u (100).
Ashtau dhanuh sahasrani yojanam tair vibhavitam
I
I
Etena jojaneneha sannivesas tatah kritah
(6)
II
Matsya-Purana, Chap. CGLVIII, vv. 17-19
(101).
:
Jalantara-pravishtanam bhanunam yad rajah sphutam
Trasa-renuh sa vijneyo valagrarh tair athashtabhih
(17).
Tad-ashtakena tu likhyatu yuka likhyashtakair mata
I
II
I
Javo yukashtakam tad-vad ashtabhis
Svakiyanguli-manena
mukham
tais
tad angulam
syad dvadasangulam
Mukha-manena karta^a sarvavayava-kalpana
(7)
u
(19).
3-5 f :
Tatradau sampravakshyami sarvesharh mana-sadhanam
Vdstu-vidyd, ed.
Ganapati
(18).
II
|
Sastri, i,
Manenaivakhilam loke vastu
samsadhyate yatah
i
n
Paramanuh kramad vriddho manangula iti smritah
Paramanur iti prokto yoginarii drish^i-gocharah
Paramanur ashtabhis trasa-renur_.iti smritah
|
II
I
Trasa-renu
cha romagram liksha-yuka-yavas tatha
and
7
so forth
II
(see
Manas am).
AN ENCYCLOPAEDIA OF
ANGULA
(8)
Bimbamdna, MS. (British
Museum
558, 5292), v. 9
Yad-bimba-pramanena manangula(m) vibhajite
Tena bimbasya manam tu tatra(m) ayamam ishyate
:
i
(9)
w.
Suprabheddgama, Patala, xxx,
1-9
I
:
Athatah sampravakshyami angulanam tu lakshanam
Manangulam tu prathamam syat matrarigulam dvitiyakam
Deha-labdha-pramanam tu tritiyam angularh smritam
Yasmat param amir nasti paramanus tad uchyate n (2)
Paramanur adhaS chaivapi cha kes"agra eva cha
I
u
(i)
I
i
matam
R(l)iksha-yuka-yavas tatra kramaso'shta-gunair
Manangulam
iti
proktarh tato
matrangulam
s"rinu
si
(3).
I
Acharya-dakshine haste madhyamanguli-madhyame
II
(4).
Parva(m) matrangulam jneyarh deha-labdhangulam Srinu
Pratimayas tathotsedhe tala-ganycna bhajite n (5).
Teshvekarh bhaga-van-manarh deha-labdhangulam smritam
I
The
objects measured in the three kinds of angulas
Prasada-mand Spams' chaiva prakaran gopuran api u
Gramadya-kshetra-ganyeshu manangula-vidhanatah
|
:
(6).
I
Acharya-dakshangulibhir mite vyasa-mitadhikaih (sic)
Kurche pavitrake chaiva sruve srugbhir athanyakaih
II
(7).
I
Yage prayojitaniha matranguli-vidhi^ charet (8).
Atha manangulair vapi karayed yaga-karmani
Deha-labdhangulenaiva pratimam karayed budhah n (9).
Then follow the technical names of the angulas (w. 10-16)
II
|
One
angula
Two
angulas are
is
called
:
bindu, moksha.
kala
(elsewhere
angula), kolaka,
it
is
the
padma,
name
of one
akshi, asvini.
Three
Four
rudrakshi, agni, guna, Sula (and) vidya.
yuga (and) bhaga, veda, and turiya.
Five
Seven
rudranana, indriya, bhuta, and vana.
karman, anga, ayana, and rasa.
patala, muni, dhatu, and abdhi.
Eight
basu, lokeSa,
Nine
dvara, sutra, graha, and
Six
and murti.
Ten
di$,
Twenty
trishu (and) vishku.
Thirty
gati.
s"akti.
nadi, ayudha, and pradurbhava.
Forty
trijagat (?).
Fifty
^akvari.
Sixty
ati^akvari.
8
HINDU ARCHITECTURE
Seventy arigulas are called
AftGULA
yashti.
Eighty
atyashti.
Ninety
clhriti.
Hundred
The
atidhriti.
cardinal
numbers are described
(vv.
17-20)
:
Ekam dasam Satam
chaiva sahasram ayutam punah u (17).
chaiva
kotirh chaiva yatharbudam
Niyutaih prayutam
kharvam
nikhvararh
cha
Brindarh
Sankham padmam atah param II
I
Samudra-madhyantarakhyam apararh tatha
Parardham evakhyatarh das"a-vritt(-ddh)yuttarottaram
(18).
I
Evam
etani choktani
II
(19).
samkhya-sthanam vimsatih
Three kinds of the vitasi (span), which is equal to 12 angulas, are
tinguished by their technical names
I
dis-
:
Talam yamam
Shat-kolakarh
tri-bhagarh
mukham
cha
chaiva
cha vitastakamll
shat-kalas"
dvadaSangula-sarhjnakam
Ahgushtha-tarjani-yuktam prade^am
iti
(20).
I
klrtitamll (21).
tala-manam
iti
smritam
(Madhyamangushtha-samyuktarh
Angushthanamika-yuktarh vitastir iti chochyate II (22).
Kanishthangushthayor yuktarh go-karnam iti sarhjnikam
l)
|
The
correct reading of the last
two
lines
should be
:
Ahgushthanamika-yuktarh go-karnam iti samjnikam II (22).
Kanishthangushthayor yuktam(-ta) vitastir iti chochyate
I
Cf. Brahmanda-Purana,
(See
cha ime trayah
Pradesas cha vitastis cha gokarna
The two kinds
of the measure by the
fist
i,
VH, 97, 98.
under GOKARNA and VITASTI.)
II
(23).
:
Jajnadike prayoktavyah prasadadau na mapayet
Ratnih samvrita-mushtih syad aratnih prasritangulih
I
Different kinds of the hasta or cubit measures
1
1
(24).
:
Kishkus cha prajapatayaS cha dhanur-mushti-dhanu(r)grahau
Angulas
tu
chatur-virhs'at
kishkur ityuchyate budhaih
Pancha-virhsatibhiS chaiva prajapatyam udahritam
I)
objects measured in these cubits
(25).
I
Shad-vimsati-dhanur-mushtih sapta-vim5ad-dhanu(r)grahah
The
II
(26).
:
Kishku-hastadi-chatvari-manangula-vas'at-tamah (?)
Ebhir hasta-pramanais tu prasadadini karayetll (27).
I
Sayanam chasanam chaiva kishku-mana-va^at kuru
Lingarh cha pindikam chaiva prasadarh gopuram tatha
I
Prakara-mandaparh chaiva prajapatya-karena tu
9
I
I
II
(28).
AftGULA
AN ENCYCLOPAEDIA OF
The higher measures
:
Dhanu(r)grahas" chatushkam yad danda-manam prakirtitam
Sahasra-danda-manena krosa-matrarh vidhiyate
II
(29).
I
Gavyutir dvi-gunarh jneyam tad-dhi(dvi)-gunarh cha ghatakam n
Ghatakasya chatushkam tu yojana parikirtita
(31).
1
Manu-Samhitd, vm, 271
(10)
(cf.
under
(30).
1
Brihat-Sarhhitd above)
Nikshepyo'yomayah Sarikur jvalannasye dasaiigulah
(u) Rdmqyana, vi, 20, 22
:
I
:
Na
hyaviddharht ayor gatre babhuvangulam antaram
I
(12) Aratni, cubit.
According to the Sulvasutra of Baudhayana (Fleet,
J.R.A.S., 1912, 231, 2), this measure is equal to 24 angulas or
fingerbreadths. The Satapatha-Brdhmana (x, 2, i,
3) also mentions 24
angulas or finger-breadths as a measure, but without reference to
the aratni
(see
below),
Eggeling, Sacred Books of
cf.
the East,
43,
300,
n. 3.
'
Pradesa frequently occurs in the Brahmanas
(Vedic Index
n, 152), (Aitareya, vm, 5
Satapatha, HI, 5, 4, 5, 'chhandogya Upanishad, v. 1 8, i, etc.,) as a measure of length, a span
(ibid., n,
(13)
:
'
50).
The
Satapatha-Brdhmana, 10, 2, i, 2
Tasy-aish-avama matra
yad angulayah, this is his lowest measure, namely the fingers.
(14)
'
:
In some table the aratni
is
distinguished from the hasta, and
21
measuring
angulas. But the Sulvasutra of Bauit
as equal to 2 pradesa, each of 12
dhayana defines
angulas, and so
in
it
agrees
making
equal to 24 angulas. In any case, our present
point is that the Kautiliya-Artha-sdstra gives its value as 24
angulas.'
(Fleet, J.R.A.S., 1912, p. 231, notes i, 2.)
(15)
is
defined
Compare
as
also ibid., pp. 231,
232, 233.
'
Like some of the other Hindu
tables, it (Kautiliya-Arthastarts
line
with
the
sdstra)
(p. 106,
3)
paramanu or most minute
atom.' It takes its measures
to
the
up
angula, through four intermediate grades, by eights ; it defines the
angula (line 7) as being
equal to 8 yava-madhya, or 8 barley-corns laid side
side and
(1 6)
'
further defines
it
as the
it
;
by
middle breadth of the middle
finger of a
middle-sized man. It tells us (line
n) that 12 angulas are i vitasti
or span, and (line 13) that 2 vitastis are i aratni
; here,
by its aratni
of 24 angulas it means the measure which in other
tables is
usually
10
ANGHRI
HINDU ARCHITECTURE
the cubit ; and, in fact,
called hasta or kara, the forearm,
hasta as another name of the its aratni.
adds
it
prajapatya
In the regular course of the table it tells us next (line 20) that 4
staff or dhanus, bow (from
aratnis (i.e. 4 hasta or cubits) are i danda,,
96 angulas).'
which it follows that i dhanus
Now the angula or finger-breadth may be the theoretical unit
the actual unit and the source of the
well have been
'
=
'
it
originally
may
other measures.
eventually took
scale
all
;
place
was maintained by
marked
is
But we can hardly doubt that the hasta or cubit
and that a correct
as the practical unit
its
keeping in public offices a standard hasta
and 24 angulas. At any rate, the hasta
measures to which we must attend in estimating
off into 2 vitasti
the practical
the others.'
'
I take the hasta
Following Colebrooke (Essays, I, 540, note),
(17)
inch as the
18 inches, which gives
for easy computation at exactly
value of the angula.'
a small (dwarf) pillar constructed on
of a storey, and pilaster ; a turret.
a large one, or in the upper parts
ANGHRI A
foot, generally
ekamSam prastaranvitam
Tad-dvayam changhri-tungarh syad
I
(M., xn, 35.)
cha dvi-padaikanghrim eva va
Chatush-padam tri-padam
I
(M., LXVII,
Tatra hinadhikam chet pada-sthananghrikasYayam
na vidyate
(M,
Sarvesham bhitti-maneshu tatra dosho
8.)
I
LXIX, 60-61.)
I
As a synonym of the pillar
Taneha cha charanam chaiva
:
sthali
stambhamanghrikam
I
(M,
As a pillar of the first floor :
Tadurdhve'nghri SaramSam syat
I
(M., xx,
xv,
4.)
16.)
Adri-sopana-parsve tu na kuryat parSvayor anghrikam
I
(M., xxx, 163.)
As a dwarf
pillar
a larger column
placed upon
:
Athava sapta-saptamSam vibhajet tritalodaye
Chatur-bhagam adhishthanam tad-dvayam pada-tungakam
manchordhve'rdhena vapra-yuk
Adhishthana-samam mancham
chordhve padodayaih bhavet
Sa-tripada-shadamsena
I
I
I
I
Tadurdhve prastarottungam sa-tri-padam tri-padakam
shad-amsakam
Tadurdhve'rdhena vaprarh syat tadurdhve'nghri
I
I
(M., xxi, 12-17.)
II
AN ENCYCLOPAEDIA OF
AftGHRIKA-VARI
A subordinate
:
pillar
Mula-pada-visalam va tat-tri-pada-visalakam
Etat kumbhanghrikarh proktam antaralam cha yojayet
I
I
(M., xv, 228-29.)
AftGHRIKA-VARI A
moulding of the lamp-post (dipa-danda)
a
of the shape of water-pot, a rope, a trap, a cover, or a band.
Agrc cha phalakantam cha tatikadyair vibhushitam
Athavanghrika-varirh syad urdhve cha kudmalanvitam
I
i
(M.,
ACHALA-SOPANA
A
SOPANA)
(see
L,
78-79.)
flight of stationary or immov-
able steps.
Achalam cha chalarh chaiva dvidha sopanam
iritam
(A/.,
I
93-124 under SOPANA.
tu
Evam
chala-sopanam achalam tat pravakshyate
Cf.
Then follows the measurement (152-54).
xxx, 90.)
See the contents of lines
ATTA, ATTALA High, lofty.
ATTALAKA An apartment on
I
(151)
the roof, an upper storey, a tower,
a military post.
ATTALIKA
palace.'
A
'
house of two or more
storeys, a lofty house
(M. W.Dict.}
:
(1) Kautiliya-Artha-Sdstra
Vishkambha-chaturasYam attalakam utsedha-samavakshepa-sopanam
karayet.
TrimSad-dandantaram cha dvayor attalakayor madhye sa-harmya.
dvi-talam
dvyardhayamam
pratolirii karayet.
Attalaka-pratoli-madhye trl-dhanushkadhishthanam sapididhana-chch(Chap, xxiv, 52.)
hidra-phalaka-sariihatam itmdrakosarh karayet.
(2)
Kdmikdgama, xxxv
:
Agrato'lindakopetam attalam salakantare
tu
Gopurasya
(3)
Rajatarangini
I.
274
:
I.
301
:
.
.
II
.
I
(126).
:
prakarattala-mandalam
kinnara-puram
nagaryah
trutyad attala-mekhalah
(4) Mahdbhdrata (Cock)
II.
80, 30
prakarattalakeshu
III.
15, 1 6
purl
sattalakagopura
III. 160, 30
VaiSravanavasam
prakarena parikshiptam
.
.
.
.
.
I
.
I
:
:
:
I
.
.
.
I
:
.
.
173,
3
III.
207,
XV.
5,
1
XVI.
6,
24
7
6
:
:
:
:
puram
.
.
Mithilam
.
.
.
.
I
puram attalaka-sambadham
nagarim
.
.
I
I
.
.
I
chayattalaka-s'obhinam
gopurattalakopetam
gopurattalakavatim
.
III.
.
.
(with very high storey).
prakarattalakopetam
i
12
ANOA
HALF PLAN HALF PLAN
!_ooking-up
Looking-down.
AflGURIKA-VARI
ANUHRI.
POLC
ATI-BHAttGA
HINDU ARCHITECTURE
Ramayana
(5)
:
5, ii
I.
Commentary
n
I
Uchchattala-dhvaja-vatim sataghni-sata-sarhkulam
attala upari griham (lit. house at the top).
:
:
cha
I
Chaityeshvattalakeshu
attalakah prakaroparitana-yuddha-sthanam (attaCommentary
towers built on the top of the enclosure walls).
the
II.
6,
:
:
military
lakas imply
lankam
'
V.
V.
V.
33
3,
37,
39
:
55,
32
:
V. 51, 36
V. 58, 158
V.
V.
2,
17
2,
21
lankam
satta-prakara-toranam
lanka satta-prakara-torana
purlrh satta-pratolikam
:
I
satta-prakara-toranam
.
.
.
I
I
I
purim satta-gopuram
attalaka-Satakirnam
lankam
I
:
purim
:
.
.
.
.
:
.
.
I
vapra-prakara-jaghanam
I
attalakavatarhsakam
sataghni-sula-kesantam
charyasu cha vividhasu cha
I
VI
(6)
6
75,
Turrets
:
I
gopuratta-pratolishu
:
ComGiri-sikhara-taru-tat-attalak-opatalpa-dvara-saranochchhraya.
pare with
Jundgadh
Sato
nivesah-(K ie lhorn,
talpatta
Raghuvamsa. xvi, n,
Vol. vm, pp. 43, 46
Rock Inscrip. of Rudradaman, Une 6, Ep. Ind.,
and note
visirna
:
3.)
ANDA A cupola.
cha
vibhushito'ndais
16
with
cupolas),
Shodasandayutah (furnished
C upolas)-(B^-5amAf^
20
with
(adorned
LVI, 22 , 24, *
I
Kern,
vimsatya
J.R.A.S.,
N.
S.,
Vol. vi, p. 319. 320).
Sobhanaih patra-vallibhir
andakaii cha vibhushitah
I
CGLXIX, v. 20, see also v. 37.)
(Matsya-Purdna, Chap.
ATI-BHAftGA
(see
BHANGA)-A
pose, in
which the idol
n more than two or three places.
ihochyate
Sarvesham deva-devinarh bhanga-manam
cha ati-bhangam tridha bhavet
Abhahgam sama-bhahgam
bent
is
I
I
(M., LXVII, 95-9 6 -)
Evam
tu
sama-bhangam syad ati-bhangam ihochyate
I
antare
I
Parshnyantaram Sarafigulyarh tat-padangushthayor
bhavet
Tad dvayor madhyame vimSad ahgulyarh dvyantaram
dvadasangulam
Tai-ianu-dvayor madhye dvyantaram
I
tjru-mula-dvayor madhye -^ha-dvyangula-kantakam
M* "7
Evam ati-bhahgarh syad etani yuktito nyaset
I
13
a
,
ADBHUTA
AN ENCYCLOPAEDIA OF
ADBHUTA
(see
One
UTSEDHA)
measurement of the height
;
in this
of the five
proportions of the
proportion the height is twice
the breadth.
1
i
)
Mdnasdra
:
Panchadhotsedham utkrishtam manat paficha-vidharh nama
Santikam paushtikaih Sreshtharh parshnikam (also, jayadam)
I
madhya-mane tu
tu dvayam ta(rf)-dvi-gunorh chadbhutarh kathitam
I
Hinam
Kara(sama)dhikodayam-harmye sarvakamikam udiritam
I
I
(M.,
xi,
20-22.)
Santikam paushtikaih jayadam chadbhutarh utturigurh sarvakami-
kam
A
(M,
I
xi, 76).
clear statement of the rule
:
Tad-vistara-samottungarh sapadardharh tu tuiigakam
Tri-padahikam utsedharh vistararh dvi-gunodayam
I
1
1
Prathamarh Santikotsedharh dvitiyam paushtikodayam
Tritiyarh jayadottungarh chaturtham dhanadodayam (i.e. sarvakaI
mikam)
I
Panchamam chadbhutotsedharh janmadi-stupikantakam
I
(M., xxxv, 21-25.)
Kdmikdgama, L, 24-28
A measurement of the height
Santikam pushti-jayadam adbhutarh sarvakamikam
:
(2)
:
|
Utsedhe dvi-guna-vyasah padadhikyarh cha sammatam
II
(24).
Vistara-dvi-gunad ashtaihsadhikarh vadhiyojayet
Kshudranam evam uddishtam kanishthanam athochyate II (25).
Saptarhse tu krite vyase saptarhsarh va shad-amsakam
Visfarad adhikas tungo madhya-manam athochyate II (26).
Vistararh purvavat kritva chatush-panchadhikarh tu yat
I
I
I
idarh proktarh uttamanarh trayarhsakam n
uddesa-manarh syad etarh nirddesa-manakam li
Madhya-manam
Purvam
(27).
Eka-dvi-tri-karayor yuktarh mana-hinarh tu vadhikam
Utsedham kalpayed dhiman sarvesham
(3)
A
class
sadmanam
II
(28).
of the two-storeyed buildings.
(See
A
api
I
class of buildings
ADRI-SOPANA
(see
(See
M., xx, 94, 28-33, under PRASADA.
Kdmikdgama, XLV, 6ia, under MALIKA.)
SOPANA)
A
flight
of steps for a
Adri-sopana-parsVe tu na kuryat parsvayo ahghrikam
hill
:
I
(M., xxx, 163.)
Adri-sopana-dese tu dirgha-manarh yatheshtakam
Adri-defc samarohya yatra tatraiva karayet
(ibid.,
I
I
14
(ibid.,
118.)
136.)
HINDU ARCHITECTURE
ADHISHTHANA
ADHIMANDAPA A
double-storeyed
buildings, see
pavilion built over and above another, a
(Pavilions are generally single-storeyed
pavilion.
MANDAPA.)
Kshudra-devalayam sarvarh purvavaj janmadim uditam
|
Mandapaih nava-talam kuryad bhavanam anya(madhya)-rarigarh
vadhimandapakaram (M., x, 143-44).
ADHISHTHANA
Etymologic ally (adhi-stha,
an object on which something stands.
or the lowest
member of
a building.
to stand) it denotes
Hence it is the basement
In the same way, it implies
the stand or base of the column, being the member between the
Its identification with the
shaft and the pedestal, if there be any.
not
be
It is clear beyond
base and the basement need
questioned.
doubt by a comparison of the component parts and the offices it
serves with the corresponding details (quoted below) of the Grecian
and
(1)
Roman
architecture.
Kdmikagdma, xxxv
:
Yajamanasya janvantam navyantam hridayavadhi
Galavadhi siro'ntam cha padardharh va tri-bhagikam II
Tri(tra)yadi-shodasa-bhaganam adhikam vokta-manatah
I
(22).
I
Adhisthanasya
manam
syat
...
II
(23).
Taladhishthana-padebhyah kirhchid-una-pramanakam
II
(114).
Mula-dhama-talottungadhishthana-tala-sarhyutam
Tad-vihina-talam vapi sama-sthala-yutam tu vail (116).
Adhishthanadi shad-vargarh tan-manam upapithake
Dvarotsedhaya datavyarh samam vapyadhikam tu va II (122).
I
I
Ibid.,
LV, 202
:
Masurakam adhishthanam vastvadharam dharatalam
Talam kuttimadyahgam adhishthanasya kirtitam II
I
These are stated to be the synonyms of adhishthana. But they appear
as the
(2)
component
parts of
Suprabheddgama, xxxi
it.
:
Tato jangala-bhumis ched adhishthanam prakalpayet
Tach-chatur-vidham akhyatam iha sastre vi^eshatah II
I
(16).
Padma-bandham charu-bandham pada-bandham prati-kramam
Vistarasya chaturthamsam adhishthanochchhrayam bhavet II (17).
(See the mouldings of these four bases under those terms.)
Padayamam adhishthanam dvi-gunam sarva-sammatam II (28).
15
I
AN ENCYCLOPAEDIA OF
ADHISHTHANA
Mdnasdra, Chap, xiv (named Adhishthana, 1-412)
Twelve kinds of heights (from one large span to four large
employed in twelve storeyes, one above the other
:
(3)
cubits) to
be
:
Trayodasangulam arabhya shat-shad-angula-vardhanat
Chatur-hastavasanarh
daSonnatam
syat
kuttima
(
I
adhishthana)-dva-
I
Eka-dva-dasa-bhumyantam harmyantarh tat kramat nyaset (2-4).
These heights vary in buildings of the different castes and ranks
I
:
Vipranarh tu chatur-hastarh bhu-patinarii trl-hastakam
Sardha-dvi-hastam utsedharh yuva-rajasya harmyake
Dvi-hastarh tu visarh proktam eka-hastam tu Sudrake
These heights are stated
buildings
to
be proportionate
to
I
I
I
(5-7).
the heights of the
:
Harmya-tuhga-vas'at proktam tasya masu(u)rakonnatam
Janmadi-vajanantarh syat kuttimodayam iritam
(8-9).
The height of the base as compared with that of the pedestal
I
I
:
Adhishthanonnate dese chopapitharh hi sarhsritam
Etam tat-tvam adhishthanam tungarii tach chatur-arhsakam
I
(M.,
The comparative
In a Tamil
I
xiii, 2-3.)
heights of the base, pedestal and shaft or pillar
fragment of a manuscript, purporting to be a
:
'
of Mdydmata (? Mayamata), it is said
The height
of the shaft or pillar is to be divided into four parts, and one to be
given to the base, which may or may not be accompanied by a
translation
:
and
where a pedestal is joined to the base,
the height of the pedestal may be either equal to that of the base, or
twice or three times as much.'
(Ram Raz, Ess. Arch, of Hind., p. 26.)
pedestal,
is
in the case
According to Ram Raz, the passage, M., xm, 2-3, quoted above,
meant to imply that the height of the pedestal consists of from
'
one-quarter to
According
six
times the height of the base.'
to the
Mdnasdra (xxi,
(Ibid., p. 26.)
below) and the Suprahalf of the pillar (pada)
13, see
bheddgama (xxxi, quoted above) the base is
does not give exact proportion, but says (xxxv,
see
114,
above) that the tala (the lowest part, or the pedestal
and the base) is a little less (kirhchid una) than the pillar or shaft
.
The Kdmikdgama
(pada).
Compare also verses 22, 23 of the same Agama quoted above.
The height of the base is sometimes included in that of
pillar
the
:
Padayamavasanam cha adhishthanodayena cha
16
I
(M., xv, 9.)
ADHISHTHANA
HINDU ARCHITECTURE
Further comparative measurement of the base
:
Athava sapta-saptamsam vibhajet tri-talodaye
Chatur-bhagam adhishthanarh tad-dvayam pada-tuhgakam
Adhishthana-samarhmaficham manchordhve'rdhcna vaprayuk
I
I
I
(A/., xxi, 12-14.)
Adhishthana implying the basement of a building
foundation pit)
nimnarh
Garbhavatasya (of the
:
adhishthana(rh)-samonnatam
syad
I
Ishtakair api pashanais chaturasrarh samarii bhavet
I
(M., XH, 6-7.)
The employment of
various
the building of three storeys
bases
recommended,
referring to
:
Nanadhishthana-sarhyuktam nana-padair alankritam
Nana-gopana-sarhyuktaih kshudra-nasyair vibhushitam
I
(A/.,
The penalty
I
xx, 65-66.)
having a disproportionate base
Adhishthanotturiga-hlnam syat sthana-nasarh dhana-kshayam
for
:
I
(M., LXIX, 20.)
The 64
types of bases
Evarh
manena
:
chatuh-shashti-masurakani(
vibhajitani
adhishthanam)
sastrokta-
I
Jnatva prakurvann iha gilpi-varyas tad vastu-bhartuh pradadati
sarhpat
I
(M., xiv, 393-96.)
These 64 bases are described under 19 technical
the details thereof are as follows
class
names
(10-372) ;
Mdnasdra, Chap, xiv (The mouldings are arranged in the successive
order, as given in the text, from the bottom upwards)
:
:
I.
Pada-bandha (10-22)
(a)
24 parts
(1)
Parts
:
Vapraka
(3)
(4)
Karna
(5)
Kampa
(6)
Pattika (band,
(7)
Kampa
29 parts
(1)
(2)
(3)
..
(plinth)
Kumuda (astragal)
Kampa (fillet)
(2)
(b)
:
.
..
.
.
..
..8
.
7
..
i
.
3
(ear)
(fillet)
fillet)
.
.
.
.
.
(fillet)
.
.
.
.
.
.
.
3
.
.
i
I
:
Janman (plinth)
Padma (cyma)
Kampa
The
.
..
(fillet)
rest as before.
17
..
..
. .
.
. .
. .
..
2
2
.
.
.
I
AN ENCYCLOPAEDIA OF
ADHISHTHANA
Paris
29 parts
(c)
(i)
:
The
(plinth)
rest as befoie.
28 parts
(d)
i
Janman
:
2
(1)
Janman
(2)
Kampa
(plinth)
I
(fillet)
I
(3)
(4)
Vapra (cavetto)
Kandhara (dado)
The
rest as before.
Uraga-bandha (23-43)
II.
(a)
1
8 parts
:
:
Vapra
(1)
7
(plinth)
(3)
Kumuda (astragal)
Kampa (fillet)
(4)
Kandhara (dado)
(2)
(6)
Patta 1
Pattikaj
(7)
Kampa
(5)
(b)
2
20 parts
6
i
i
(fiu t)
v
(fillet)
:
i
(a)
Vajana (fillet)
Kandhara (dado)
(3)
Vajana
(i)
2
I
The
(c)
(fillet)
rest as before.
22 parts
:
(1)
Kampa
(2)
Karna
(fillet)
(ear)
above kumbha (pitcher)
..
(4)
Kampa
Kampa
(5)
Kandhara (dado)
(6)
Vajana
(3)
(fillet)
(fillet)
I
3
(8)
Kandhara (dado)
Gopanaka (beam)
(9)
Prati-vajana (cavetto)
(7)
(d)
(fillet)
24 parts
.
II
.
:
(i)
Vapra
(a)
Kumuda
that
2
it
(plinth)
is
of this part
(torus) (the peculiarity
decorated with makara or shark),
is
etc.
6
I
(3)
Vajana
(fillet)
I
(5)
Kampana (fillet)
Kampa (fillet)
(6)
Prati-vajana (cavetto)
(4)
I
18
.
.
8
ADHISHTHANA
HINDU ARCHITECTURE
These four types of bases are shaped like the face of a snake and furand their kumbha (pitcher)
nished with two pratis or ... at the top
These are employed in the buildings of gods (i.e. temples),
is circular.
:
Brahmans, and
III.
(a)
21 parts
:
Parts
:
(1)
Kshudropana
(2)
Padma (cyma)
.
(3)
Kampa
..
(4)
Vapra (cavetto)
Dhara-kumbha (supporting
(5)
(small plinth)
(fillet)
(7)
Alihga (fillet)
Antarita (fillet)
(8)
Padma (cyma)
(6)
This base
etc.
kings.
Prati-krama (44-64)
.
..
..
.
.
.
..
i
2J
.
..
i\
.
7
.
.
.
.
.
6
.
.
.
.
.
.
i
.
.
.
.
.
.
i
. .
pitcher)
i or 2
or Kampa (fillet) Patta (band)
decorated with elephants, horses, and makaras (sharks),
is
(xiv, 53^.
kumudordhvc
(b) 22 parts (kumbhe
the pitcher and torus)
viseshatah,
specially above
:
Parts
(a)
Alinga
Vajana
(3)
Kandhara (dado)
(4)
Pattika (band)
(5)
Vajana
(i)
..
..
..
.
.
.
.
.
.
I
.
.
.
.
.
.
2
.
.
.
.
.
.
i
.
.
i
(fillet)
(fillet)
(this
(fillet)
is
part
decorated with the
carvings of trees and
The
(c)
(Kumbhantam purvavat
23 parts
(1)
Kampa
(2)
Kandhara (dado)
(3)
Kampa
(4)
Karna
(5)
Vajana
The
(d\
all ornaments)
should be as before.
rest
(fillet)
.
(ear)
.
.
i
.
.
.
i
.
.
.
.
.
.
.
.
.
.
.
(upper and lower).
.
(fillet)
I
2
.
.
i
:
Kampana
(2)
Antara(rita) (intervening
(3)
Tripatta (three bands)
(fillet)
.
fillet)
(5)
(6)
Vajana
rest
each
.
Antara (intervening fillet)
Pratima ( ? Prati-vajana= cavetto)
The
.
.
.
(i)
(4)
.
.
.
:
.
.
(fillet)
.
sordhve)
.
should be as before.
rest
24 parts
.
I
(fillet)
should be as before.
These are employed in the buildings of gods and three higher
(xiv, 100-101).
19
castes
AN ENCYCLOPAEDIA OF
ADHISHTHANA
Kumuda-bandha
IV.
27 parts
(a)
(65-77)
Paris
:
(2)
Janman (plinth)
Ambuja (cyma)
(3)
Kampa
(1)
:
..
2
.
u
.
.
..
..
.
.
.
.
.
.
6
.
.
i
i
(4)
Vapra
(5)
Padma (cyma)
.
.
.
.
(6)
Karna
.
.
.
.
(7)
Ams"u (filament)
.
.
.
.
.
.
i
(8)
Padma (cyma)
.
.
.
.
.
.
i
(9)
Kumuda
.
.
.
.
.
.
3
(ear)
.
.
(astragal)
Padma (cyma)
(n) Padma (cyma)
(12)
Karna
(ear)
(13)
Kampa
(14)
Abja (cyma)
1
6)
(17)
i
..
..
..
i
..
..
..
i
.
.
.
i
.
.
(fillet)
..
..
..
..
..
.
..
i
i
..
..
..
2
Abja (cyma)
..
..
..
i
Kampa
..
..
..
i
(15) Pa{ta (band)
(b)
.
..
(fillet)
(cavctto)
(10)
(
..
.
..
.
(fillet)
27 parts (pattike tu viseshatah)
:
Gopana (beam)
Some authorities recommend Tripatta
.
which should be equal
.
.
to the
naga
.
.
.
.
in place of
2
.
kumuda
(astragal)
or snake.
Pattas (bands) in the middle are decorated with flowers and jewels.
It is supplied with a declivity (kataka) or it may be circular.
Kumuda
In
this
may be
(astragal)
way,
eight kinds
triangular or hexagonal.
of (such) bases should be
made
Evam
:
ashta-
vidharh kuryat.
V.
Padma-kesara
(a)
19 parts
(suitable for all buildings)
:
Parts
:
(1)
Janman
(2)
Vapra
(3)
Padma (cyma)
(plinth)
(cavetto)
..
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
|
.
.
.
.
f
Kandhara (dado)
Ardha-padma (half cyma)
(6)
Kumuda
(7)
Padma (cyma)
.
(8)
Kampa
(9)
Karna
(astragal)
.
.
.
.
.
.
.
.
.
..
(fillet)
.
(ear)
20
..2
..
(5)
(4)
(78-91)
.
.,
.
.
.
.
.
i
.
1
..
.
4
.
1
i\
2
HINDU ARCHITECTURE
ADHISHTHANA
Parts
(10)
(
1 1
)
Kampa
(12) Pattika
..
.
(band)
(13)
..
..
(14)
Kampa
..
..
(fillet)
.
2
..
i
..
i
..
ii
:
(1)
Janman
(2)
Kampa
..
(plinth)
..
.
(fillet)
.
.
|
..
i
.
should be as before.
rest
:
Janman (plinth)
(2) Padma (cyma)
The rest should be as
(1)
19 parts
.
.
Padma (cyma)
19 parts
(rf)
.
..
The
(c)
.
..
19 parts
(b)
..
(fillet)
Padma (cyma)
.
.
..
.
.
.
.
.
before.
:
of this base, there is a slight difference
There should be two pattikas or (one)
(kinchit Sesham viSeshatah).
the
rest
as
before.
and
kapota
In
VI.
last
this
sort
Pushpa-pushkala (suitable, as stated, for
all
the storeys of the
buildings of the small, intermediate, and large sizes) (92-108)
(a]
32 parts
Parts
:
(i)
Janman
(a)
Vajana
(3)
Maha-padma
(4)
Karna
(5)
Ambuja (cyma)
(plinth)
(fillet)
(large
..
..
.
.
.
cyma)
(ear)
.
.
.
.
.
.
.
.
.
(7)
.
.
.
.
(8)
Kampa
.
.
(9)
Gala (dado)
..
..
Kampa
..
..
..
..
..
..
..
.
(11)
(fillet)
(fillet)
Gala (dado)
Gopana (beam)
(13) Alinga
(fillet)
(14) Antarita
..
(fillet)
(b)
Vajana
32 parts
..
(fillet)
7
i
.
.
.
.
i
.
.
i
4
3
..
i
.
i
.
..4
..
.
..
(15) Prati-mukha (a face-like ornament)
(16)
.
i
.
Kumbha
(pitcher)
2
i
.
Padma (cyma)
(12)
..
.
(6)
(10)
:
..
i
..
I
..
2
..
i
:
Padma (cyma) above
the large portion
the rest should be as before.
21
is
one part more and
AN ENCYCLOPAEDIA OF
ADHISHTHANA
(c)
32 parts
:
The cyma above
the plinth
one part and the
is
rest
should be
as before.
Parts
(d)
32 parts
(1)
Kampa
(2)
(fillet)
Mahambuja
The
VII.
:
rest
below mahambuja (large cyma)
(large
cyma)
should be as before.
Sri-bandha
(suitable
for the
temples of Vishnu and Siva) (109-22)
(a)
26 parts
i
6
palaces of
emperors
and the
:
Parts
:
(1)
Janman
(2)
Vapra
(3)
Kumuda
*
(plinth)
6
(cavetto)
6
(torus)
(5)
Karna
Karna
(6)
Kampa
Padma (cyma)
i
(7)
Gopana (beam)
i
(8)
(4)
1
(ear)
.
(ear)
4
.
i
(fillet)
I
Alinga (fillet)
(id) Antarita (fillet)
(9)
(n) Prati-vaktra (a
(12) Vajana (fillet)
(b)
26 parts
(1)
i
face-like
2
ornament)
i
:
Janman
2
(plinth)
=
Prati-vaktra, a face-like ornament)
(2) Pratika (
The rest should be as before.
(c)
26 parts
:
(2)
Kshepana (above Janman or
Gopana (beam)
(3)
Alinga
(4)
Antarita
(5)
Prati-vaktra (a face-like ornament)
(1)
plinth) (projection)
i
(fillet)
i
(fillet)
i
i
Ardha-vajana (half fillet)
The rest should be as before.
26 parts
(1)
:
Janman
Abjaka (small cyma)
(3)
Kampa
.
.
(fillet)
rest should
i
..
(plinth)
(2)
The
i
I
(6)
(d)
i
be as before.
22
.
.
.
.
i
i
HINDU ARCHITECTURE
Mancha-bandha
VIII.
(a)
26 parts
(1)
(2)
(4)
(5)
Vapra
..
..
.
.
.
..
(fillet)
(fillet)
.
..
..
.
.
.
.
.
.
2
.
.
.
.
.
6
.
.
.
.
.
.
(7)
(8)
Kandhara (dado)
.
.
.
.
. .
(9)
Kampa
.
.
.
.
.
.
.
..
(projection)
4
..
i
2
i
.
..
..
i
..
..
..
i
(band)
Kshepana
2
..2
.
..
(fillet)
\
.
Kumbha (pitcher)
Kampa (fillet)
(11)
:
.
(cavetto)
(10) Patta
..
..
(fillet)
..
..
..
(14) Prati (fillet)..
..
..
..
\\
..
..
..
\
(12) Alinga
Vajana
(15)
This
(2)
(3)
(4)
with
\
i
carvings (rupa) of vyalas (snakes)
the
sharks, etc. (137).
26 parts
(1)
(fillet)
decorated
is
and
(fillet)
Kampa
(13)
Parts
:
Janman (plinth)
Ambuja (cyma)
(6)
Kumuda (torus)
Kampa (fillet)
(7)
Kandhara (dado)
(8)
Kampa
(9)
(10)
2
.
.
.
.
.
.
.
.
.
.
.
i
.
.
.
.
.
.
6
.
.
.
.
.
.
.
.
.
.
.
.
i
.
.
.
.
.
.
2
..
i
..
4
Pattika (band)
.
.
2
(fillet)
..
..
..
i
(ear)..
..
..
..
i
(fillet)
..
..
..
i
..
..
..
i
..
..
..
i
Vajana
(13) Prati
(fillet)
Vajana
(14)
2
.
..
(fillet)
..
Kampa
(n) Karna
(12)
..
..
Kshepana (projection)
Vapra (cavetto)
(5)
(c)
temples and palaces) (123-143)
Parts
Kampa
Kampa
(6)
(b)
(for
:
Janman (plinth)
Padma (cyma)
(3)
lions,
ADHISHTHANA
26 parts
(fillet)
.
.
:
Kumuda and
The
.
.
band)
are the same.
(d) 26 parts
(threefold
;
are
prati
and the
furnished
a
with
Parts
:
same
(1)
Pattika
(2)
Kandhara (dado)
The
tripatta
also
and the ornaments
rest as before,
(fillet)
as before
.
rest as before.
23
.
;
.
.
.
.
i
AN ENCYCLOPAEDIA OF
ADHISHTHANA
26 parts
(e)
The
:
Pattika
and the
is
same but the Kandhara above
the
rest as before.
The ornaments should be
is
one part,
discreetly
made
(148).
IX.
(a)
Sreni-bandha
1
8 parts
Janman
(2)
Kshudra-kampa
(3)
Mahambuja
(4)
Kandhara (dado)
(small
Abja (cyma)
(6)
(7)
Padma (cyma)
(8)
Alinga
(9)
Vajana
fillet)
cyma)
(large
Kumbha
il
..
(plinth)
(5)
.
.
.
.
\
.
.
.
.
5
(pitcher)
(fillet)
(fillet)
..
..
..2
(fillet)
..
..
..
I
(plinth)
..
..
..
2
(fillet)
(n) Vajana
:
(1)
Janman
(2)
(3)
Kshudra-kshepana (small projection)
Ambuja (cyma)
(4)
Kandhara (dado)
(5)
Abjaka (small cyma)
(6)
Kumbha
(7)
Padma (cyma)
(8)
Kampa
(9)
.
.
.
.
.
.
i
.
.
.
.
i
.
(pitcher)
.
.
.
.
.
.
3
.
.
.
.
.
.
i
.
.
2
..
(fillet)
Kandhara (dado)
Kshepana (projection)
.
.
i
.
.
.
..
..
..
(12) Pattika (band)
..
(14)
\
. .
..
(13)
.
4$
(u) Padma (cyma)
(10)
(c)
other buildings) (144-169)
Parts
(1)
22 parts
all
:
(10) Prati
(b)
temples and
(for
..
i
i
..2
Padma (cyma)
..
..
..
i
Vajana
..
..
..
i
..
..
..
2j
.
. .
.
.
$
.
.
. .
5
23 parts
(fillet)
:
(1)
Paduka
(2)
Kampa
(3)
Mahambuja
(4)
Kandhara (dado)
.
.
.
.
.
.
i
(5)
Padma (cyma)
. .
.
.
.
.
i
(6)
Kumuda
.
.
.
.
.
.
3
(7)
Padma (cyma)
.
.
.
.
.
.
i
(plinth)
(fillet)
(large
.
cyma)
(astragal)
24
:
HINDU ARCHITECTURE
ADHISHTHANA
Parts
(8)
Kampa
(9)
Kandhara (dado)
Vajana
(10)
(
1 1
(12) Prati
Vajana
(13)
(d]
24 parts
..
(fillet)
(2)
Kshudra-padma
Vajana (fillet)
(plinth)
(4)
Maha-padma
(5)
Dala
.
3
.
..
..
j
..
..
..
\
.
.
.
t
cyma)
.
.
..
..
x
.
.
.
.
r
.
.
.
.
l
(for the
temples of gods and goddesses) (170-194):
parts
:
Janman (plinth)
Padma (cyma)
Kshepana
(6)
(7)
Adhah-padma
Karna (ear)
(8)
Kampa
(9)
Pattika
Kampa
..
..
..
x
.
.
.
.
i
.
.
. .
.
.
i
.
.
.
.
.
.
x
.
.
.
(projection)
(lower cyma)
(fillet)
(band)
Upana (plinth)
Padma (cyma)
.
.
.
.
i
.
.
.
.
3
.
.
.
.
.
i
.
.
.
.
. .
2
.
.
.
.
.
2
.
..
..
..
i
..
..
..
i
..
..
..2
(fillet)
(12) Patta (band)
(b) 21 parts :
.
.
(n) Kandhara (dado)
(2)
.
j
lions, etc. (174).
(5)
(1)
.
j
..
..
.
Kampa (fillet)
Kumbha (pitcher)
(10)
..
l
.
..2
..
(4)
(3)
.
.
rest as before.
(a) 21 parts
(2)
.
..
cyma)
(petal)
Padma-bandha
(1)
(small
(large
These are decorated with
X.
..
:
Janman
The
..
..
..
(1)
(3)
.
.
(fillet)
(fillet)
.
.
(fillet)
Antarita
)
..
(fillet)
.
.
.
.
.
.
3
.
.
.
.
.
.
i
.
.
.
.
.
.
5
.
.
.
.
.
.
i
(4)
Kumuda (astragal)
Kampa (fillet)
(5)
Padma (cyma)
.
.
.
.
.
.
4
(6)
Kampa
.
.
.
.
.
.
i
.
.
.
.
.
.
2
.
.
.
.
.
.
i
.
.
.
.
.
.
i
(3)
(fillet)
(8)
Gala (dado)
Kshepana (projection)
(9)
Padma (cyma)
(7)
(10)
Kapota (dove-cot)
(u) Kampa
(fillet)
..
..
..
2
..
..
..
i
25
AN ENCYCLOPAEDIA OF
ADHISHTHANA
(c)
21 parts
Parts
:
(i)
Abja (cyma)
(a)
Kampa
(3)
Karna
(4)
Kampa
as before
.
I
2
(fillet)
.
(7)
Vajana
The
rest as before.
I
.
I
(fillet)
:
(2)
Janman (plinth)
Padma (cyma)
(3)
Kandhara (dado)
(1)
2
.
(fillet)
(6) Prati (fillet)
19 parts
i
(fillet)
(ear)
(5) Antarita
(d)
;
(4)
Padma (cyma)
(5)
Kumbha
(6)
Padma (cyma)
(pitcher)
(7)
Kampa
(8)
Karna
(9)
Padma (cyma)
(fillet)
..
(ear)
Kapota (dove-cot)
(u) Alinga (fillet)
(10)
(12) Antarita
..
(fillet)
(13) Prati-vajana
.
(fillet)
.
..
.
.
These are discreetly adorned with grahas
XI. Kumbha-bandha (195-239)
..
i
.
i
.
(sharks), lions, etc. (203).
:
(a)
24 parts
Parts
:
(2)
Janman (plinth)
Padma (cyma)
(3)
Kampa
(4)
Karna
(5)
Kampa
1
i
)
(fillet)
(ear)
(6) Pattika
.
.
.
.
.
.
2
.
.
.
.
.
.
3
.
.
.
.
.
.
i
.
.
.
.
3
(band)
Kampa
(8)
Padma (cyma)
(9)
Karna
(fillet)
(ear)
(10)
Padma (cyma)
(11)
Kumbha
(pitcher)
(13)
Padma (cyma)
Nimna (drip)
(14)
Kampa
(15)
Nimna
(16) Prati
.
(fillet)
(7)
(12)
.
(fillet)
(drip)
(fillet)
26
..
..
..
..
..
..
HINDU ARCHITECTURE
(b]
24 parts
Parts
:
(1)
Kumbha
(pitcher)
(2)
Nimnaka
(drip)
(3)
(4)
(5)
Janman (plinth)
Padma (cyma)
Nimna (drip)
(7)
Kumbha (pitcher)
Kampa (fillet)
(8)
Kandhara (dado)
(6)
(9)
(10)
Kampa
Kampa
(c)
i
.
.
.
i
.
.
2
.
.
2
.
.
.
.
.
.
Kumbha
(18)
(19)
Kshepana
(20)
Nimna
(21)
Prati
(projection)
(drip)
(fillet)
:
..
.
.
.
.
.
.
2
.
.
.
.
.
.
i
.
.
.
.
.
.
i
.
.
.
.
.
i
.
.
.
.
i
.
.
2
(3)
Kandhara (dado)
(4)
Kumbha
(5)
Nimna
(6)
Kshudra-patta (small band)
(9)
(10)
(pitcher)
(drip)
.
Abja (cyma)
Kapota (dove-cot)
Kshepana (projection)
Padma (cyma)
(u) Kandhara (dado)
.2
..
(2)
(8)
.
..
Janman (plinth)
Padma (cyma)
(7)
.
.
(pitcher)
Padma (cyma)
Nimna (drip)
(1)
.
(dove-cot)
(16)
24 parts
..
.
(fillet)
(15)
(17)
..
(fillet)
Padma (cyma)
Nimna (drip)
Padma (cyma)
(14)
..
(fillet)
(u) Kapota
(12) Vajana
(13)
ADHISITTIIANA
..
..
.
.
.
.
.
.
i
i
..
..
..
..
..
..
i|
il
(12)
Padma (cyma)
..
..
..
ii
(13)
Kumbha
..
..
..
3
(pitcher)
(15)
Adhah-padma (lower cyma)
..
Kandhara (dado)
(16)
Kampa
(17)
Kshudrabja (small cyma)
..
Kapota (dove-cot)
(14)
(18)
(19)
..
(fillet)
Prati-vajana
(fillet),
the remainder.
27
..
i
..
..
i
..
..
i
..
..
i
..
2(?-J)
AN ENCYCLOPAEDIA OF
ADHISHTHANA
26 parts
(d)
Parts
:
(2)
Janman (plinth)
Padma (cyma)
(3)
Kampa
(4)
Kandhara (dado)
(1)
(5)
Kampa
Padma
(fillet)
(8)
(9)
Alinga
(7)
.
.
.
.
.
(fillet)
(cyma)
Pa{tika (band)
Padma (cyma)
(6)
..
..
.
.
.
.
.
i
.
.
.
.
2
i
.
.
2
.
.
..
..
..
.
.
.
.
.
.
.
.
.
.
.
.
2
.
.
.
.
.
.
i
..
(fillet)
2
..
i
..
i
(10)
Padma (cyma)
..
..
(11)
Kumbha
..
..
..
3
..
..
..
j
..
..
..
i
(pitcher)
(13)
Padma (cyma)
Padma (cyma)
(14)
Kendra
(central part)
(15)
Kampa
(fillet)
(16)
(17)
Abja (cyma)
Kapota (dove
(18)
Kampa
(12)
The
cot)
i
..2
.
..
..
..
i
..
..
..
i
..
..
..
i
..
i
..
(fillet)
should be discreetly made.
be
should
decorated with sharks, etc. and kshudra-nasi (small
These
rest
nose) (246).
This is stated to be of five kinds
Kumbha
[see (b) (i), (2)
above] specially in the
part (247).
These may be circular, triangular (tri-pajta), rectangular
and should be furnished with katakas. These are suitable
and palaces (248).
XII.
(a)
Vapra-bandha (240-248)
(?)
31 parts
(1)
Janman
(?
dharSya),
for temples
:
Parts
:
(plinth)
(2)
Kampa
(3)
Padma (cyma)
(fillet)
..
..
..
o
..
..
..
i
..
..
..
jj
..
..
..
}"
.
.
.
.
.
g
.
.
.
i
..
..
(5)
Vajana (fillet)
Vapra (cavetto)
(6)
Padma (cyma)
. .
(7)
Kampa
..
(8)
Kandhara (dado)
.
(9)
Kampa
(fillet)
...
..
..
Padma (cyma)
..
..
..
i
..
..
..
i
..
..
..
i
(4)
(10)
(fillet)
(u) Pat^ika (band)
(12)
Padma (cyma)
28
.
.
.
.
.
.
J
i"
2
i
HINDU ARCHITECTURE
(13)
(14)
(fillet)
(ear)
(15)
Kshepana
(16)
Ambuja (cyma)
..
(17)
Kapota (dove-cot)
..
( 1
XIII.
(a)
Vajana
Karna
(projection)
x
i
tt
~
Vajra-bandha (249-259)
31 parts
.
.
:
:
Par(s
(1)
Janman
(plinth)
..
(2)
Kampa
(fillet)
.
(3)
Padma (cyma)
(4)
Kampa
(5)
Kandhara (dado)
(6)
Kampa
(7)
Padma (cyma)
(8)
(10)
..
.
, ,
]
g t
J
..
|
.
.
.
.
i
(fillet)
(ear)
..
.
..
..
,
Kampa
(13)
Ambuja (cyma)
..
..
(14)
Kapota (dovecot)
..
..
(15)
Prati-vajana
..
..
(16)
Kandhara (dado)
..
..
(17)
Kampa-padma
(fillet)
(18) Vajra-patta
(fillet)
(fillet
..
}
i
"
y
.
x
2
x
..
2
..
fillet)
j
.
..
(round band)
Sri-bhoga (260-280)
(1)
and cyma)
Padma-kampa (cyma and
27 parts
2
.
.
(it)
(19)
^
^
"
.
.
..
.
(fillet)
Kampa
j
^
.
.
(fillet)
..
.
Vajra-kumbha (round pitcher)
Saro-ruha (cyma)
(u) Karna
(a)
..
8) Prati-vajana (fillet)
(9)
XIV.
ADHISHTHANA
..
j
:
:
Pafts
Janman
..
(plinth)
(2)
Kshudra-kampa
(3)
Ambuja (cyma)
(4)
Kshudra-padma
(small
.
275)
(5)
Karna
(6)
Kampa
(7)
Kshudrabja (small cyma)
(8)
Kumuda
(9)
Padma (cyma)
(fillet)
.
cyma)
the small karna, line
(ear)
..
fillet)
.
(small
..
2j
..
.
3
attached to
(it is
j"
i
;
.
.
.
.
.
.
l
.
.
.
.
...
|
.
.
.
3(?i)
.
(astragal)
..
29
..
..
j
AM ENCYCLOPAEDIA OF
ADHISHTHANA
Paris
(11)
Kshepana (projection)
Karna (ear)
(12)
Kampa
(13)
Padma (cyma)
(10)
..
(fillet)
.
.
i
.
.
..
..
..
|
..
..
..
|(?i)
i
..
..
..
(15)
..
..
..
(16)
Kampa
..
..
..
\
(17)
Kandhara (dado)
..
..
..
2
(18)
Kampa padma
...
..
..
..
i(?i-fi)
2
.
2
27 parts
1
i
)
(fillet)
and cyma)
(fillet
..
.
.
(fillet)
Janman
.
(plinth)
(3)
Mahambuja
.
(small plinth)
(8)
cyma)
mall cyma)
Kampa-karna (fillet and car)
Kampa-padma (fillet and cyma)
two Kapotas (dove-cots)
Gala (dado)
..
(9)
Prati-vajana
(6)
(7)
(10)
.
|
Parts
Kshudropana
(5)
.
.
:
(2)
(4)
(large
Kshudra-pankaja
2
.
.
.
.
.
.
.
i
,
,
.
.
3
.
.
.
.
.
.
.
.
(:
.
(fillet)
.
Gala (dado)
..
Padma -kampa (cyma and
.
.
.
.
i
2
.
..
..
i
.
.
.
i
.
..
\
..
..
.
..
..2
..
..
\
(14)
Gala (dado)
Vajana (fillet)
..
..
(15)
Kampa
(fillet)
..
..
..
\
(16)
Padma (cyma)
..
..
..
2^
(17)
Kapota (dove-cot)
..
..
..
2^
(18)
Prati(ma)
..
..
..2"
(11)
(12) Pattika (band)
(13)
(a)
J
Padma (cyma)
(20) Alinga
XV.
..
(14) Pattika (band)
(19) Kapotaka(dove-cot)
(V)
.
.
..
(fillet)
Ratna-bandha (281-296)
26 parts
fillet)
i
\
:
Parts
:
(1)
Janman
(2)
Kshudra-vajana (small
(3)
Vapra
(4)
Padma (cyma)
(5)
Asana
.
.
.
.
.
i
fillet)
.
.
.
.
J
.
.
i
.
.
i
.
.
(plinth)
.
(cavetto)
(seat)
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
(6)
Ratna-vapra (jewelled cavetto)
(7)
Kampa
(fillet)
(8)
Nimna
(drip)
..
.
30
.
..
.
.
(?3)
i
..
.
.
4^
4]
\
HINDU ARCHITECTURE
ADHISHTHANA
Paris
Kampa
(9)
(fillet)
Abja (cyma)
(10)
..
..
..
..
..
..
|
..
..
2
..
..
^
..
..
..
f
..
..
..
2
.
i
(n) Ratna-kampa (jewelled fillet)
..
(12) Kampaja (fillet)
(13)
Kampa
(14)
Kandhara (dado)
(fillet)
Kampa padma
(15)
(16) Ratna-patta
and cyma)
(fillet
(jewelled
fillet)
Padma-kampa (cyma and
(17)
Karna(ear) ..
Vajana (fillet)
Abja (cyma)
Kapota (dove-cot)
(18)
(19)
(20)
(21)
(22) Alinga
Prati-vajana
(23)
.
.
..
..
i
..
..
i
..
..
..
..
.
(fillet)
fillet)
.
.
|-
i
.
.
*
..
.
|
..
..
..
2
..
..
..
i|
.
the remainder.
(fillet),
This part is adorned with the carvings of snakes and sharks, etc., and
This base should be
all other parts are decorated with jewelled lotuses.
made in the temples of Siva and Vishnu (lines 307-309).
XVI.
Patta-bandha (297-304)
26 parts
Parts
:
..
.
.
.
.
.
.
.
.
.
Janman
Vajana
(3)
(5)
Mahabja (large cyma)
Padma-kampa (cyma and fillet)
Nimna-kampa (drip and fillet)
(6)
Padma (cyma)
(plinth)
(fillet)
.
.
.
.
.
(8)
Maha-patta (large band)
Padma-kampa (cyma and
(9)
Kandhara (dado)
(10)
(11)
adorned with
.
all
(fillet),
1
8 parts
ornaments
.
.
.
i
.
.
.
.
\
.
.
.
.
i
.
.
.
.
2
.
.
.
.
i
.
.
.
.
i
5
2
.
:
Parts
:
..
..
,
.
.
.
.
.
.
.
.
.
.
.
Janman
(2)
Kampa
(3)
Mahambuja (large cyma)
Padma-kampa (cyma and fillet)
Nimna (drip)
(5)
.
(line 318).
(1)
(4)
J
the remainder.
Kaksha-bandha (305-346)
XVII.
fillet)
2
<2.\
Kshepana-abja (projection and cyma)
..
..
Kapota (dove-cot)
(12) Prati-vajana
(a)
..
(2)
(7)
is
..
(1)
(4)
This
:
(plinth)
(fillet)
.
31
.
.
..
2
2^
i
I
AN ENCYCLOPAEDIA OF
ADHISimiANA
Parts
(6) Antarita
..
...
i
..
..
..
\
..
A
(fillet)
(7)
Prati
(8)
Vajana
(g)
Kandhara (dado)
(10)
..
(fillet)
(fillet)
Kampa-padma
and cyma)
(fillet
Vritta-kumbha (round pitcher)
(12) Padma-kshepana (cyma and projection)
(11)
(13)
(
i
(1
.1
)
5)
(16)
This
is
Kama
(ear)
Kampa-padma
and cyma)
Kapota (dove-cot)
Vajana (fillet)
adorned with
(b) 19 parts
all
..
..
etc. (line 328).
Parts
(2)
Kampa
(4)
Mahambuja
..
.
.
.
(fillet)
.
..
..
.
.
.
.
i
j
...
.
.
2
.
.
.
.
i
(6)
cyma)
Padma-nimna (cyma and drip)
Abja (cyma)
.
.
.
.
(7)
Kumuda
..
..
..
(8)
Abja (cyma)
.
.
.
.
.
(9)
Karna
.
.
.
.
(10)
(large
.
.
(astragal)
(ear)
.
.
Abja (cyma)
(11) Pattika (band)
..
i
..
..
i\
..
,
i
.
i
(13)
(14.)
Antarita
(15) Prati
(16)
1
7)
(1 8)
1
9)
(20)
(21)
Vajana
(fillet)
Kandhara (dado)
Kampa
(fillet)
..
..
..
..
..
..
.
.
.
.
..
..
.
.
.
-I
..
i
\
.
.
..
i
}
Padma (cyma)
Kapota
Vajana
(dove-cot)
(fillet
should be as
rest
all
ornaments
(c)
26 parts
.
..
(fillet)
(22) Prati-bandha
The
fillet)
..
..
(fillet)
J
..
Nimnaka
(drip)
i\
\
..
(12)
(fillet)
.
..
Padma-kampa (cyma and
(
.
ornaments, and sharks and snakes,
(3)
(5)
(
.
:
Janman (plinth)
Padma (cyma)
(1)
(fillet
and band)
before and
it
.
1
..
..
i
.
.
i
.
.
,
.
1
should be decorated with
(line 340).
Paris
:
(1)
Janman
(2)
Kampa
(plinth)
..
..
.
. .
.
(fillet)
32
..
.
.
I
i
HINDU ARCHITECTURE
ADHISHTHANA
Parts
(3)
Kandhara (dado)
(4)
Kampa
(5)
Padma (cyma)
(6)
Kampa
.
..
..
.
2
..
2
.
(fillet)
Argala (bar)
(8)
Kampa
Padma
(10)
.
(fillet)
(7)
(9)
v
(fillet)
(cyma)
Kapota (dove-cot)
(n) Prati-vajana
(fillet),
the remainder.
Kapota, and the two
Patta-kampa,
Paftas
may be
circular
(line 348).
The
etc.
parts of the two lower karnas are adorned with images of snakes,
(line 349 \
(d)
24 parts
Paris
:
(1)
Janman
(2)
Kampa
(fillet)
(3)
Nimna
(drip)
(4)
Bhadras (projecting ornaments)
(5)
Kampa
(6)
Nimnaka
(plinth)
(8)
Prati
(9)
Kampa
(10)
(12)
(13)
(14)
.
(fillet)
.
..
i
.
.
.
i
. .
.
.
i
.
.
I
.
.
.
(fillet)
.
.
.
(fillet)
Kumbha
(pitcher)
i
5(each)
.
Kapota (dove-cot)
Kandhara (dado)
.
.
.
(fillet)
i
.
..
.
.
.
.
.
.
3
.
.
.
.
. .
Padma (cyma)
(?
.
..
.
.
.
.
Kandhara (dado)
(15) Prati
(16)
.
(drip)
(fillet)
(u) Kampa
.
.
(fillet)
(7) Antarita
..
..
i
..
..
..
i
..
..
..
i
..
..
..
i
..
...
..
3
..
..
..
i
..
..
..
i
..
..
..
8
octangular).
There should be Bhadra-patta (front
fillet) in the Kapota part (line 359).
XVIII. Kampa-bandha (347-358)
and Patra-patta
fillet)
:
36 parts
Parts
:
..
(1)
Tunga
(2)
(4)
Kshudra-upana
Mahabja (large cyma)
Kshudrabja (small cyma)
(5)
Kampa
(3)
(elevation)
(small plinth)
(fillet)
.
.
33
..
..4
.
.
. .
I
.
.
. .
5
. .
.
I
. .
. .
.
i
(leaf
S
ADHISHTHANA
AJf
ENCYCLOPAEDIA OF
Parts
(6)
Nimna
(7)
Vajana
(8)
(9)
(10)
(drip)
(fillet)
Padma (cyma)
Kumbha-mahabja
(pitcher
and cyma)
5
Abja (cyma)
(n) Kampa
(12) Alinga
(fillet)
(fillet)
(13) Antarita (fillet)
(14) Prati (fillet)
(16)
Vajana (fillet)
Kshepana (projection)
(17)
Kandhara (dado)
(15)
(18)
Kampa
(19)
Padma (cyma)
(20)
Kapota
(21)
Alinga
(22) Prati
XIX.
.
(fillet)
3
(dove-cot)
1
..
(fillet)
1
(fillet)
Sri-kanta (359-372)
36 parts
.
:
Parts
:
(1)
Upana
(2)
Kshudropana
3
..
(plinth)
(4)
Mahambuja (large cyma)
Kshudrabja (small cyma)
(5)
Kandhara (dado)
(6)
Padma (cyma)
(7)
Pattika (band)
(8)
Kshudra-kampa
(9)
Padma (cyma)
(3)
(10)
(11)
(12)
(13)
(14)
(15)
(16)
'
.
.
.
'
.
.
i
3
..
(small
fillet)
.
.
i
.
4
.
i
Kshudrabja (small cyma)
Nimna
Padma
..
Kshepana (projection)
Kandhara (dado)
..
(18)
Padma (cyma)
(19)
Kapota
(20) Alinga
Prati
.
..
..
(cyma)
Kumbha (pitcher)
Kampa (fillet)
Kampa
.
.
.
(drip)
(17)
(21)
i
(small plinth)
i
i
3
...
i
i
2
..
..
(fillet)
l
-
*
..
(dove-cot)
..
.
(fillet)
.
..
(fillet)
34
J
..
.
.
i
i
ADHISHTHANA
HINDU ARCHITECTURE
This Sri-kanta
type
is
is
stated to be of four kinds (line 376) but only one
illustrated.
In the kumbha-part it should be round or there should be patta
These should be constructed in the temples of Siva and
(line 372).
Vishnu (line 387).
Projections (lines 318-409) :
Projections are the peculiarities of the mouldings from the plinth
to the crowning fillet
:
Janmadi-vajanantaim cha arhsanam tad viseshatah
(373)
These projections vary from being equal to one-fourth of the mould|
ings (lines 37 6 ~3 8 4)
:
Tat-samarh nirgamam vapi tri-padam ardhardham eva cha
Tad-eva kshepanarh sarve yatha-sobham tu karayet
I
I
Upana-tunga-samam vapi tat-padona-vivardhanat
Tungena tri-vidhanam cha tri-padam nirgamarh bhavet
Vaprochcham tu samaih vapi yavat kumuda-nirgamam
Kumudochcharh vapra-pattantam pattika-nirgamarh bhavet
Tat-samam nirgamam vapi pattam gopana-nirgamarh
I
|
|
|
I
Kshudra-pankaja-sarvesham tat-samam nirgamam bhavet
Yatha-Sobharh balat sarvam anganarh sahito(-arh) nyaset
These general rules are illustrated by giving in danda (rod) and hasta
(cubit) measures the projections of some plinth (lines 402-409).
For a comparative study and general knowledge of the subject the
I
I
details of the bases
below.
employed in early European architecture are given
Each column has its particular base
I.
Tuscan order (Gwilt, Encycl., Art. 2555):
Base of the column 1 2 parts
:
:
Projection from the axis of
column in parts of a
module
(1)
Fillet
..
(2)
Torus
.
..i
..6
(3) Plinth
II.
13^
5
.
Doric order (Art. 2565)
Base of the column 1 2 parts
i6
16^
:
:
Projection
(1)
Apophyge or cong6
(2)
Fillet
..
(3)
Astragal
..
(4)
Torus
.
(5)
Plinth
..
.
..2
12
f
.
.
.
.
14!
4
17
..1
35
14
ij
17
AN ENCYCLOPAEDIA OF
ADHISHTHANA
Grecian Doric
:
Cornice
15-32
Entablature
parts;
Frieze
14-88
parts;
11- 16 parts.
architrave 17-10 parts; Capital
Column (proper) Shaft 20-30 modules;
6-90 ; 2nd step or plinth 6-70
III._Ionic order (Art. 2573)
;
ist step
or plinth
3rd step or plinth 6-90.
:
Base of the column ig| parts, excluding apophyge 2 parts and
projection 18
:
Projection in parts of a
module from axis of
the
column
20
(1)
Fillet
(2)
Torus
(3)
Fillet
Scotia
20
(4)
(5)
Fillet
i
22
(6)
Two
i
22
(7)
Fillet
6
(10) Plinth
(art.
2581)
:
Base of the column 33.27 parts
(1)
Apophyge
(2)
Fillet
(3)
(4)
24
25
i
Fillet
Grecian Ionic
21
2
(8) Scotia
(9)
22
2
beads
:
i
..
.
Bead
Torus (horizontally
fluted)
Scotia
(7)
Fillet
(8)
Torus
(9)
Plinth
0-450
18-960
1-080
19-320
6-120
22-500
22-500
21-840
23-640
24-960
26-520
0-450
6-000
(5) Fillet
(6)
-080
0-450
5*760
1 1 -880
Corinthian order (Art. 2582)
Base of the column 14! parts
IV.
:
Height in parts
of a module
(i)
Torus
()
Fillet
of a module
22
3
i
(3) Scotia
(4)
Projection in parti
it
i
Fillet
36
2O
ail
HINDU ARCHITECTURE
ANU-GRIHA
Height in parts
of a module
(5)
Two
(6)
Fillet
of a
beads
module
22
2lf
(7)
Scotia
(8)
Fillet
(9)
Torus
4
(10) Plinth
6
V.
Projection in parts
23
25
25
Composite order (Art. 2591)
of the column 18 parts
:
The base
Height in parts
of a module
(i)
Gong6
..
..
2
(a)
Fillet
..
..
1
..
..
3
(3)
Torus
(4)
Fillet
(5)
Scotia
..
..
(6)
Fillet
..
..
(7)
Bead
..
..
(8)
Fillet
(9)
Scotia
.
.
(n) Torus
.
.
..
(12) Plinth
From the details given above
subscribe to the following remark
'
The Indian
and afford by
it
20
20
22
1
i
i*
i
*
i
2O
21*
2 if
21*
20f
..
i
23
4
25
6
25
be
would
easy to understand
2
.
(10) Fillet
Projection in parts
of a module
and
:
(pedestals and) bases are made more systematically,
far a greater variety of proportions and ornaments
than the Grecian and Roman. In the European architecture, the
forms and dimensions of pedestals and bases are fixed by invariable
to the orders in which they are employed, but in
rules, with respect
the Indian, the choice is left to the option of the
Ess. Arch, of Hind., pp. 39-40 and see Plate n.)
A kind
artists.'
(Ram Raz
'
a sloping and projecting
member of the entablature representing a continued pent-roof.
Ambaram cha vyayarh jyotir gaganam cha vihayasi
cha prastaram (? pushkalarh) chashAnantarh chantariksham
ANANTA
(see
LUPA)
of lupa or
'
i
tadha lupah
I
(M,
ANU-GRIHA The
xvni, 174-175-)
roof of a house.
The fastening of
Karna-kilaya-sambandho'nugriham setuh
the roof of a house to the transverse beam by means of iron bolts is called
'
Cf.
Setu.'
(Kautiliya-Artha-stistra,
Chap. LXV,
37
p. 166.)
AN ENCYCLOPAEDIA OF
ANU-SALA
ANU-&ALA
An
SALA)
(cf.
ante-chamber, a hall or room behind
or at the side of a main hall.
Mdnasdra, xxvi 9, 19, 23
(a) ShodasamSakam adhikyam bhagam harmya-visalakam
(7)
Ekarhsarh karna-kutarh syad dharantara(ih) sivamsakam (8)
:
:
|
I
Dvi-bhagenanu-sala cha tad-ardham chantaralakam (9)
Saptaihsena maha-Sala harmyam etat tu vinyaset (10)
AthavashtadaSamSe tu kuta-hara cha purvavat I'(i6)
Shad-bhagena maha-sala chatuh-sala tri-bhagikam 1(17)
Madhya-sala yugaihgena bhadra-sala cha madhyame (18)
AnuSala cha madhye cha chaika-bhagena bhadrakam (19)
Ekona-vimSad-arhsena ashta-bhumi-visalake (21)
Ekaika-kuta-vistaram maha-ala sararhSakam (22)
Anu^ala tri-bhaga va bha(ha)rantara(m) dvi-bhagikam (23)
I
I
(b)
I
I
I
(c)
I
I
Maha-ala tri-bhagena bhadra-Sala
ANEKA-LlftGA
group
as exist in
(see
many
LINGA)
A
class
I
(24)
the
of
vrittarh chaivarh proktaneka-linga-
I
Ekanekan chokta-linge
livamfie
kuryad dhara shodaSadi-dvayena
(M.,
ANILA-BHADRAKA A
LII,
I
128-129, "SS-iSS-)
kind of chariot.
(See
ANTARA
in
phallus, phalli
places.
VedaSrarh vasvasrakam va
mule
visalata
M.,
XLIII, 114,
under
RATH A)
distance between any two
objects, hence it implies a moulding which separates two other larger
mouldings. In this office it would resemble the fillet, listel or annulet (see
(see
ANTARITA)
Gwilt, Art. 2532,
Literally the
fig.
874).
A
moulding of the pedestal and
the base.
Shad-amSam chantare karne uttararhSam tad-urdhake
I
(M,xm,
121.)
kampanam chantaramSakam
Dviihsakarh cha tri-pattam syat tad-urdhve chantaram bhavet
Purvottara-pradeSe tu
I
I
(M., xiv, 59-60.)
ANTARALA(KA)
laya), corridor.
(i)
The intermediate
space, the interior (=antara-
(M., XXIH, 39.)
Intercolumnation
:
Mula-pada-vialam va tat-tri-pada-vialakam
kumbhahghrikam proktam antaralarh cha yojayet
I
Etat
I
(M., xv, 231-232.)
38
ANU-SAL
m
JU
A-SALA
j
W
I
J
SECTION THRO
BOSS STONE
CEIt-ING
(ANGHRI.)
PLAN
LONG SECTION.
ALAKSHA,
ABJA
ELEVATION
PLAN
ANILA BHADRAKA
HINDU ARCHITECTURE
(2)
ANTARITA
Referring to corrider of the
fifth
storey
:
Tasmat tri-mula-harmyantarh tad-dvayor mula-desake
Antaralam prakurvita parsve sopana-samyutam
I
I
Sarva-pradakshinarh kuryad yuktya dvararh prakalpayet
(M., xxui, 20-22,
(3) Interior parts
of a building
|
see also
23-39.)
:
Gopurair rnandapadyais cha chantarale tvalindake
I
see also
(M., LXIX, 8,
xxx, 60.)
'The second mandapa of a temple, between the ardha-mandpa and
(4)
the shrine, J. B.'
Gorakshakarh
yakam cha
Cf.
bhairavam anjaneyarh
Sarasvatim
Siddhi-vina-
I
Chakara panchayatanantaralebalendu-mauli-sthita-manaso yah
I
(Cintra prasasti of the reign of Sarangadeva,
v. 45, Ep. Indie., Vol. i, pp. 284, 276, note
15.)
In the antarala (or interior), they erected a most beautiful rangamntapa, and a fine chandra-s"ala (or upper storey) according to the
'
(5)
directions given by the King Timmendra.'
(Ep. Carnal., Vol. xii, Pavugada
line 14, 203, Roman Text, v.
9.)
Taluq, no. 46, pp. 122 ; Translation,
An
antarala or intermediate porch (Fergusson,
line
Ep. Carnat., Vol. v, Part I, Introduc., p. xxxix, para. 2,
(7) Antarale yatha yuktya mandapakaram vinyaset
'
(6)
I
quoted by Rice
6.)
(M,
xxiii, 39.)
ANTARIKSHA A quarter.
(M., vn, 39.)
Jayante tat-pare saumye antarikshe'ka-purvake
(M., ix,
Mrige chaivantarikshe va bhrihgaraja-mrishe tatha
I
I
A synonym
of the lupa or pent-roof
357.)
:
Arhbararh cha vyayam jyotir gaganarh cha vihayasi
Anantarh cha antariksham cha pushkalam chashtadha lupah
I
I
(M., xvm, 174-175.)
ANTARIKSHA-KANTA A class
of ten-storeyed buildings.
(M., xxvni, 14-15,
ANTARITA A
set
under PRASADA.)
a moulding of the pedestal, the base and
In base it is connected with another crownalso of the entablature.
called
alinga and in pedestal with prati-vajana.
ing moulding
In its office and situation it would resemble a fillet. Its synonyms
fillet,
are _vajana, kshepana, vetra, patta, uttara, pattika, kampa, drikka,
and manda,
etc.
(M., *vi, 46-4?-)
39
AM ENCYCLOPAEDIA OF
ANTAR-JANMAN
A
crowning moulding of the pedestal and the base
:
Tad-urdhve'ntaritarh charhsarh tat-samam prativajanam
Ekarh chantaritarh chordhve sardhamsarh prativajanam
(1)
I
|
(M., xin, 58, 69, etc.)
Alingam amSakam chaiva tat-samantaritam
Alingam
tatha
amSakarh chordhve arhsenantaritarh tatha
I
I
(M., xiv, 51, 101,
The tenth moulding from the top of the entablature.
(2)
agama, LIV, 2,
etc.)
Kamik
(See
under PRASADA.)
(See
Ram
Raz, Ess. Arch, of Hind.,
p. 25-
An. inner plinth.
ANTAR-JANMAN
Antarjanma bahirjanma nimnonnataya sthitam II
Nirvarhs'ameva tat sarvarh kartri-varhsam bhaved dhruvam
I
(M., LXIX, 16, 17.)
ANTARITA-MANDAPA The
ante-chamber in front of a shrine.
(Chalukyan Architecture, Arch. Surv.,
New. Imp. Series, Vol. xxi, p. 37.
ANTAR-BHITTI An
Tan-mane
inner wall, partition wall,
tu salanarh vina-bhittim sabhittikam
Antar-bhittis tu
chaivam syad
etc.
I
bahir-bhittis tu sarvada
II
(M., XL, 51, 52.
The
ANTAR-MANPALA
circular court in the interior of a
com-)
pound.
Antar-mandalam arabhya mahamaryadikantakam
Pancha-kut(d)yasya chotsedham pratyekam panchadha bhavet
I
I
(M., xxxi, 57-58.)
ANTAR-MUKHA
Literally, with face
(=foundations)
Griha-garbharh
Cf.
garbham bahir-mukhan
ANTAR-VAPRA The
1
(M.,
towards the inside.
antar-mukham
syad grama-
xii, 216.)
internal rampart, the
internal side of the
rampart.
Cf.
Antar-vaprarh bahir-bhittiS cheshtam dirgham cha chulika
(M.,
ANTAR-VlTHl
I
ix, 362.)
Internal roads, lanes, in a village or town.
Antar-vithi chaika-paksha bahya-vithl dvi-pakshaka
ANTAH-PURA The
female apartments.
40
I
(M., ix, 396.)
ANTAH-SALA
HINDU ARCHITECTURE
(1)
Rdmdyana (Cock)
II. 3,
13
:
II. 14,
:
II.
:
29
14, 66
:
Antah-purasya dvarani sarvasya nagarasya cha
Dadaiiantah-puram sriman nana-dhvaja-ganayutam
I
I
sumantsagara-hrada-samkasat
chhubhat
ro'ntah-purach
Ityuktvantahpura-dvaram ajagama puranavit
Sa hema-jambu-nada-chakravalaih maharha-muktamani
bhushitantam
Nirjagama
.
.
.
I
II. 15,
1
8
V. 4, 30
:
:
I
I
Pararghya-kalaguru-chandanarharii sa Ravanantahpuram
pravivesa
II. 15,
47
:
VII. 42, 27
:
1
1
Sarhriddham antahpuram avives"a ha II
mahavimanoTatodri'-kuta-chala-megha-sannibham
pama-ves'ma-samyutam
Purvahne dharma-karyani kritva dharmena dharmaI
vitl
Sesham divasa-bhagardham antahpura-gato bhavet
Compare
13
;
also
IV, 26, 22
;
11,10,11-17; 70,20; 11,70,27;
V, 4, 24.
(2) Panchatantra, ed.
Bombay,
Gatva kanyantahpure
I,
raja-kanyam
bhaja II
prasada pranta-gatam
Iha rajfias tu tanaya Patalityasti kanyaka
Uparyantah-pure a cha ratnam ityabhirakshyate
.
.
.
.
.
.
.
114,29; 111,54,
II,
pp. 38, 58, 61, 168
II
:
sapta-bhumi-ka-
.
.
I
Pravisya so'drisringagra-tunga-vatayanena tarn
Antahpure dadarSatha suptam rahasi Patalim
1
1 1
I
1
Pravrajakas cha gatvaiva vatayana-pathena sah
Pravisyantah-purarh prapa suptam niSi nripatmajam
I
'
II
When
the great minister, Verggade of the female apartments
'
.
.
(Ep. Carnal., Vol. vn, Shikar(antahpura), great master of robes
(3)
.
pur Taluq. no. 144, Transl.,
ANTAH-HARA The
p.
107
;
Roman
text, p. 191.)
second inner court, internal enclosure in a
temple or house, the whole compound being divided into five courts
or enclosures.
(M., xxxi, 11-14.)
(See under PRAKARA.)
ANTAH-SALA
Inner rooms, internal portions of a mansion.
Antah-sala yatha-dvaram dandakasyoktavat kuru
(M., xxxv, 281.)
I
ANTAH-SALA
Inner wall, internal partition.
Antah-salam-iti praktam bahya-salam-ihochyate
(M., XL,
41
1
I
14, see also
xxxvi, 79
;
XL, 44.)
AM ENCYCLOPAEDIA OF
.\NTIKA
ANTIKA A
of the two-storeyed buildings.
class
(M., xx, 94, 26-27,
under PRASADA.)
see
Limit, boundary, pilaster terminating the side-woll of a
base and capital generally differing from those
temple, and having
of adjacent columns, same as prastara (entablature or plinth).
ANTIMA
Tad (r^prati)-urdhve sardha-panchamsam padayamarh
Antimam cha dvi-bhagarh syad vedikodayam Iritam
tritlyakam
I
I
xxxm, 226-227.)
(M.,
ANYA-RAftGA The
Mandapam
nava-talarh kuryad
dapakaram
ANVANTA A
second court or theatre of a compound.
I
bhavanam anya-rangam vadhiman
(Af., xi, 144.)
synonym of mancha or a
raised platform or couch.
(M., xvi, 43,
APAGHCHHAYA A light
APASAMCHITA A
see
under MANCHA.)
(See
AVACHCHHAYA.)
shadow.
of buildings in which the width (at the
measurement
of
which the
; the temples in
bottom) is the standard
idol is in the recumbent posture.
class
principal
Pratyekaih tri-vidharh proktam samchitam chapy-asamchitam upa(Kdmikagama, XLV, 6-7.)
(apa)-sarhchitamityeva
Utsedhe manam grihyaih chet sthanakam tat prakathyate
I
I
manam
samkalpya chasanam tad udiritam
Parinahe pade vapi manam sayanam iritam
Asanaih samchitam proktam sthanakam syad asarhchitam
Vistare
I
I
Apasarhchitam sayanam chet tat tat tri-vidha-harmyake
I
I
(A/., xix, 7-11.)
Saihchitasariichitanam cha amsair ayadibhir
yutam
Apasamchita-harmyanam tithyantam shad grahishyate
I
I
(M., xxx, 173-174.)
APOHA
(see
X)HA)
An
additional
or
unprescribed
member
attached to a structure.
ABJA
(see
name from
its
PADMA)
A
lotus, the
cyma
or
'
a moulding taking
its
contour resembling that of a wave, being hollow in
upper part and swelling below. Of this moulding there are
two
sorts,
its
the
cyma
recta, just described
42
;
and the cyma reversa
AMBARA
HINDU ARCHITECTURE
workmen
these are called
Compare
the
hollow.
is
"
By the
ogees."
of
lists
lower
swells, whilst the
wherein the upper part
mouldings
given
ADHISHTHANA and
under
UPAPITHA.
ABJA-KANTA A
class
of the ten-storeyed buildings.
18, see
(M., xxvin,
ABHAYA
under PRASADA.)
hand of an image
Fearless, a refuge-offering pose of the
Chatur-bhujam tri-netrarh cha jata-mukuta-bhushitam
Varadabhaya-samyuktam krishna-paras'u-dharinam
I
I
(A/.,
Abhayarh dakshine
Purve cha tvabhayam
.
xn, 120-121.)
(M., vn, 159.)
.
.
.
.
166.)
(ibid.,
.
Varadam chabhayam purve vame
tu dvara-hastakam
I
(M., LIV, 154.)
ABHAYA-HASTA
(see
ABHAYA)
With hand
in the pose of offering
refuge.
Varadabhaya-hastam cha jata-mukuta-manditam
ABHISHEKA-MANDAPA
Nripanam
(see
abhishekartharh
See Inscrip. of Rajaraja
mandapam
(M., u, 30.)
The coronation
MANDAPA)
III (no. 39,
I
hall.
(M., xxxiv, 38.)
I
H.S.I.I., Vol.
in,
86)
p.
under
MANDAPA.
ABHYAVAHARA-MANDAPA A dining-hall.
Ranganatha inscript. of Sundarapandya (v. 23, Ep. Ind., Vol. m,
pp. 13, 1 6) under MANDAPA.
AMALA&ILA The crowning part of the (Hindu) Sikhara.
See
(Fergussion, History of Indian and Eastern
323, note
Architecture, p.
AMALASARA
wheel
(see
AMALAKA)
member surmounting
The
flat
the Sikhara
;
n, p. 129.)
scolloped cushion or cog-
(dome or tower).
(Gousens
Temples
:
Somanath and other Medieval
in Kathiavad,
pp. 41, 45, 17.)
AMRITA-NANDANA. A
pavilion with 58 pillars.
(Matsya-Purana, Chap. CCLXX, v. 8, see under MANDAPA.)
AMBARA
The
sky,
one of the eight kinds of the lupa or pent -roof.
(M., xvra, 174-175,
Cf.
Lupakaradi jadanarh manayen manavit-tamah
Ambaradyashtadhamani nidanam lupamanayet
see
under ANANTA.)
\
43
I
(A/.,
xvin, 329-330.)
AN ENCYCLOPAEDIA OF
AMBUJA
AMBUJA
Cf.
Lotus, the
cyma
ABJA and PADMA)
.
Tad-dvayaih chambujarh chordhve kapotochchaih gunams'aka
Arangam
ARATNI
(see
chaitani
iti
of harmya (building).
harmyam uktam puratanaih
A
under ANGULA)
A cubit of 24 angulas
mdndana-Purdna,
i. vii,
99
|
(M., xm, 57.)
(A)RANGA A synonym
(1)
(see
measure.
Mandarin and Brah-
(Introduct., Rdjavallabha
see
(M., m, 8.)
I
under ANGULA).
A
measure equal to the length of the forearms with the fingers
fully
stretched (Suprabheddgama, xxx, 24, see under ANGULA).
A
measure equal to the first with
gama, xxx, 24, see under ANGULA).
(2)
fully stretched fingers (Suprabhedd
According to this Agama 'ibid., v. 25) and the Mdnasara (n, 49) a
measure of 24 angulas is called kishku (hasta).
This word (aratni), which primarily means ' elbow," occurs frequently from the Rig-Veda onwards. (R.-V., vm, 80, 8 A.-V. y xix, 57,
'
;
6; Aitareya Brdhmana, vm, 5; Satapatha-Brdhmana, vi, 3, i, 33, etc.)
as denoting a measure of length (ell or cubit), the distance from the elbow
The exact length nowhere appears from the
to the tip of the hand.
early texts.'
(Macdonell and Keith,
Satapatha-Brdhmana also vn,
Kauslka-Sutra, 85
Vedic Index, i, 34.)
i, 2, 6.
(Pet. Diet.)
:
Bahur va aratnih
ARKA-KANTA A class of the eleven-storeyed
I
buildings.
Evarh tu vajra-kantam syad arka-kantam ihocyhate
Tad eva sala-prante tu parsve chaikena saushtikam
I
I
Tad-dvayor antare des"e tat-samarh kshudra-harayoh
Purvavat kuta-vistararh Sesharh hararhSa-panjaram
I
I
Tan-madhye
tu tri-bhagena kshudra-^ala-visalatah(ta)
I
Tat-parSve tri-tri-bhagena hara-madhye sa-bhadrakam
Kshudra-ala-tri-bhagena madhya-bhadram samanvitam
Kshudra-hara cha sarvesharh nasika-panjaranvitam
I
I
I
Madhye madhye mahanasi
netra-Sala cha par^vayoh
I
Sarvalankara-sarhyuktarh shad-vidham (ekadaSa-talam) pariklrtitam
I
(M., xxix, 25-34.)
ARGALA A bolt
or pin for fastening a door.
Argalarh dakshine bhage vama-bhage tu talpakam
Kavata-yugmam kartavyam kokilargala-sarhyutam
1 1
II
(KamikSgama, LV, 49, 52.)
44
ttWDU ARCHITECTURE
A
moulding of the base
Kampam
ARDHA-MANDAPA
Kakshabandha, under ADHISHTHANA).
ekarh tad-urdhve cha ekenargalam eva cha
(see
I
(M., xiv, 331, note.)
ARDHA-CHITRA
(see
ABHASA)
An image made
in half or
middle
relief.
Ardhanga-drisyamanam cha tad ardha-chitram
iti
smritam
(M.,
Chitrangam ardha-chitrangam abhasangarh tridhochyate
I
LI, 10.)
I
(M., u, 8.)
Sthavaram jangam vapi daru-sailarh cha
lohajam
Chitram va chardha-chitram cha chitrabhasam
I
athapi va
I
(M., LVI, 14-15.)
ARDHA-NARI$VARA A name of Siva,
which
is
an image the right half of
the representation of Siva and the
left
half of his consort
Durga.
Paschima-mula-tale madhye koshthe lingam adbhutam
Athavardha-narlsvara(m) sthanakam
I
ARDHA-PRANA
I
(M. xix, 224-225.)
t
A
kind of joinery resem(see SANDHI-KARMAN)
the
of
the
bisected
heart.
bling
shape
Sarvesham api darunam sandheh prante tu yojayet
Yatheshtam phana(m)-samgrahyam chodayed vistarantakam
Mulagre kilakam yuktam ardha-pranam iti smritam
Tad eva dvi-lalate cha vistarardhardha-chandravat
Madhye cha danta-samyuktam agra-mule tu yojayet
I
I
I
I
I
Sesham
tu purvavat kuryat
ARDHA-MANDAPA A
mahavritam
iti
smritam
I
(M., xvn, 97-102.)
half-pavilion,
a
vestibule,
a
court,
a
porch.
1
i
)
Idam ayadikarh chardha-mandape sishta-mandape
1 1
(Kamikagama,
Ardha-mandapa-dakshamse vighnesa-nritta-rupinam
'
(2)
On
the west wall of the
Jambukesvara shrine
at
Vol. xxxiv, p. 268.)
'
court in a
(3) The
Tamil Dictionary
(loc.
cit.)
ardha-mandapa
Tiruvellarai.'
(ibid., LV, 73.)
in front of the rock-cut
(Inscription no. XH, Ind.
temple next to the sacred shrine.'
.
45
L, 68.)
I
Ant.,
Winslow,
AN ENCYCLOPAEDIA OF
ARDHA-SALA
'
(4)
Ardha-mandapa
:
a
front of
the enclosed building in
shrine.'
Arch. Surv.,
(Chalukyam Architecture, Rea,
New. Imp. Series, Vol. xxi, p. 37.)
The detached
front of a shrine,
building, sometimes open and sometimes enclosed, in
is generally called the mukhamandapa (the pavilion in
front of the shrine)
.
The ardha-mandapa is a narrow passage or vestibule connecting'
garbha-griha and mukha-mandapa, and is open on two sides to
'
(5)
the
'
permit the priestly worshipper circumambulating the central shrine.'
(H. Krishna Sastri, South Indian Images of Gods
and Goddesses, p. 2. For this reference I
am
ARDHA-SALA A
half-hall,
indebted to Prof. R.
W.
Frazer.)
an antechamber with one or more
closed sides.
Ardha-sala visesho'sti chordhva-sala-samanvitam
I
tu chardha-sala-samanvitam
Madhya-koshtham dvi-parsve
I
(M., xx, 67, 73.)
Netra-s"alardha-s"ala cha bhadra-Saladi-bhushitam I- (M., xxvi, 67.)
Bhadra-sala maha-nasi chardha-saladhyalankritam
(M., xxv, 34.)
I
ARDHA-HARA A half
chain of 64 strings, an ornament, a string
of pearls worn round the neck.
Nakshatra-malam api chardha-haram
I
Suvarna-sutrarh paritah stanabhyam
I
(M.,
L,
297-298.)
Cf. Brihat-Samhitd, LXXXII, 32.
ALAKSHA A member
of the entablature, some screen-work with
small (invisible) apertures.
Etat tu sarvato-bhadram alakshakritir ihochyate
Tad eva karnavaSad varhsam prastiryat tu sarvasah
I
I
Uttaraih prag-uktahghrih syat tad-vasat parito nyaset
Tad evantam alaksham cha karnayos chottararh vina
I
I
(M., xvi, 185-188.)
ALAftKARA-MANDAPA The
dressing room, an attached hall
or detached pavilion of a temple where the idols are dressed.
(//. S. I. /.,
ALINDA(KA)
'
(i)
A corridor,
Vol.
i,
p. 127, first para., see
under MANDAPA.)
a terrace, a balcony, a gallery.
Alinda-sabdena sala-bhitter bahye ya gamanika jalakavritangana-
sammukha
'
kriyante
(commentary on Brihat-Samhitd or
46
Kirana-tantra, see
ARDHA. MANDAPA
ELEVATION
ARDHA-PRANA.
o
z
<
I
i
8
D
|
O
Z
<
1
GARBHA.CEHA.
j
Q
s.
PLAN
ARDHA MANDAPA.
AMSUKA.
ELEVATION
AMSUKA.
PLAN AT BASE
r
AYAKA SKAMBHA
Pane
4S
HINDU ARCHITECTURE
By
below).
'
word
the
beyond the wall of a
Amarakosha
Cf.
ALINDA(KA)
alinda
'
is
understood the lattice-covered path
and facing
hall
(or in front
the
of)
(2) Senapati-nripatinarii saptati-sahite
dvidha-krite vyase
I
Sala-chatur-das"a-hiite pancha-trirhsad-vrite '(a)lindah
Add
'
the
number of 70
Write
down
sum
the
at
in Visvak
two places.
14; this gives the measure for a hall.
quotation is the measure of the terrace.'
Pramitam
:
Divide
it,
one place, by
in
Divide the sum by 35
tveka-salaih tu s"ubhadam tat praklrtitam
Senapati-nripadinam saptatya sahite krite
Vyase chaturdasa-hrite sala-manam
'
II
breadth of the mansions of the
to those for the
King and the Commander-in-Chief.'
The same is more plainly expressed
'
courtyard.
(2, 2, 12).
1
;
the
I
1
vinirdiSet
I
Pancha-trimsad-hrite'nyatralinda-manarh bhavech cha tat
The word might as well be rendered by balcony, gallery.'
II
(Kern, Bfihat-Samhild, LIII, 17 ; J.R.A.S.,
N. S., Vol. vi, p. 282, note 3.)
Apratishiddhalindarii samantato vastu sarvato-bhadrarh
'
An
with
edifice
uninterrupted
terraces
on every
side
I
is
termed
Sarvato-bhadra.'
Nandyavartam alindaih sala-kudyat pradakshinantargataih
Nandyavarta is the name of a -building with terraces that form the
wall of the room extending to the extremity in a direction from east to
south (alias from left to right).'
I
'
'
The Vardhamana has
a terrace before the (chief) entrance, exwhen
to
the
end
then,
tending
you proceed in a direction from left
to right, another beautiful terrace, and there on, again, another in the
;
aforesaid direction.'
The
Svastika (house) is auspicious, if it has the terrace on the east
and one continual terrace along the west side, at the ends whereof
begin two other terraces going from west to east, while between the
'
side,
extremities of the latter
'
The Ruchaka
to the end,
lies
a fourth terrace.'
(house) has a western and eastern terrace running
their extremities two others.'
(Ibid., vv. 31-351
and between
pp. 285-286.)
(3) Agni-Purdna,
Chap,
cvi,
w.
20-24
:
Chatuh-salarh tri-salarh va dvi-salarh chaika-salakam
Chatuh-sala-grihanarh tu Salalindaka-bhedatah
47
II
I
AM ENCYCLOPAEDIA OF
ALPA
tu jayante panchas'at-pancha teshvapi
Sata-dvayam
Tri-Salani tu chatvari dvi-s"alani tu
I
panchadha
vachmi cha
Ashta-vimsad-alindani grihani nagarani cha
Chaturbhih saptabhiS chaiva pancha-panchas'ad cva
Eka-s"alani chatvari ekalindani
1
1
I
1
1
Shad-alindani virhsaiva ashtabhir virhSa cva hi
Ashtalindarh bhaved evarh nagaradau grihani hi
1
(4)
Kdmikagama. xxxv
Asam
(
tu
I
1
I
:
salanam) agre tu alinda(h) syuh pradhane va viseshatah
I
Eka-dvi-tri-chatush-pancha-shat-saptalinda-samyutah II (37)
Prishthe parsve tathaiva syuh ishta-dese'thava punah
Prithu-dvaras cha dvaramS cha evam eva prakalpayet
(38)
Alindah prithu-dvarena samo va chardha-manatah
(44)
Alinde dvaram evam syad anyatrapy-evam eva tu II (49)
I
1
1
Alindasya samantat tu bhagenaikena-varakam
II
1
1
(77)
See also ibid., L, 74, 75, 87.
iv, 201 (the synonyms of alinda).
Ibid.,
andharam griham adyakam
Parimandana(m) salinda va alindasyabhidanakam
.
(5)
.
I
.
Chantarale tvalindake
I
(M., LXIX,
II
8.)
Urdhvordhva-talanam tu chaika-bhagenalindakam
I
(M., xxiv, 45, etc.)
the views of the corridors (Pallaba Architecture, Arch. Surv.,
Imp. Series, Vol. xxxiv, plates vi, vn, vm, ix.)
(6) See
New.
ALPA A class of buildings. (Kamikagama, XLV, 53-54, see under MALIKA.)
ALPA-NASIKA (see NASA) A small nose, a small vestibule.
Chatur-dikshu chatur-dvararh chatuh-shashty-alpa-nasikam
I
(M., xxxiv, 106.)
AVACHCHHAYA A dim light, shadowless spot,
a light shadow.
Kanya-vrishabha-masau cha-avachchhaya na vidyate
Meshe cha mithune chaiva tula-simha-chatushtaye
I
I
Evam
hi dvyangularii
nyastam vrischikashadha-minayoh
Chatur-ahgulam prakartavyam dhanuh-kumbhau shad angulam
Makare'shtangulam proktam apachchhayam viseshatah
I
I
I
(M.,
Cf. Vitruvius,
Book
ix,
vi,
31-35.)
Chap, vm, under SANKU.
AVALAMBANA A
pendant.
(M.,
Bahu-valaya-dama cha skandha-malavalambanam
AVASATHA (see PRATISRAYA) the rest-house, a house.
I
Ramyamavasatham chaiva datvamum lokamasritah
Having given away a charming house, he attained
L, 15.)
I
'
world.'
(Hcmadri, p. 646.)
48
the other
ABHANGA
ALINGA
PL AM*
ALPA-NAblKA
ALINGA.
ALINDAKA.
P&<>e
ASHTA-TALA
HINDU ARCHITECTURE
Ramyaihs chavasathan datva dvijebhyo divam agatah
twice-born and gone
Having given away charming houses to the
I
'
(Mbh. Anusdsanika-parvan, Chap, cxxxvn,
to heaven.'
(Ind. Ant., Vol.
AVASANA
platform.
(see
(M.
MA^CHA)
A
synonym of
the
v.
10).
xii, p.
mancha
142, c. 1-2.)
or a raised
xvi, 43.)
ASVATTHA-VRIKSHA The
holy
carved
fig-tree,
with
along
Buddha images.
Referring to the Bauddha images
Sthanakarh chasanarh vapi simhasanadi-sarhyutam
tatha nyaset
Asvattha-vriksha-sarhyuktarh kalpa-vriksharh
:
I
I
(M., LVI, 3-4.)
ASHTA-TALA The
eighth storey.
(Manasdra, xxvi, 1-76,
under PRASADA.)
see
floor including the proportion and ornadescription of the seventh
tower :
ments of the component pans (lit. limbs) from the plinth to the
A
Evarh sreshtharh tvashta-tale sarvalankara-sarhyutam
Janmadi-stupi-paryantam changa-manam ihochyatc
I
I
Saikashta-panchakarhsa-harmye tungaih vibhajite
I
Adhararh chashta-bhagena vedamsam charanayatam
Tad-ardham valabhyutsedham sardharh vahnyarh^am aiighrikam
Sa-tri-padarhsakam maficham urdhve padam gunamsakam
Tad-ardharh chordhva-mancham syat tri-padakshanghri-tungakam
Sa-padamsarii prastarottungam dvyardhariis"arh charanayatam
Tad-ardharh prastarotsedharh jahghayamarh cha sardhakam
Prastararh chaika-bhagena dvyamsa-padadhikanghrikam
Urdhva-mancharh tri-padarh syat sa-bhagam pada-tungakam
Ekamsam prastarotsedharh tad-urdhve cha tri-bhagikam
I
I
I
*
I
I
I
I
I
Tat-tri-bhagaika(a) vedim(h) syad dvi-bhagam gala-tuiigakam
sirah-sesharh sikhodayam
Sa-padarh chamsakarh chordhve
Kechit tad eva tunge tu sapta-bhagadhikam tatha
I
I
Urdhvordhva-pada-mule tu
yuktyamsena masurakam
Talanam chaika-bhagena karna-harmyavritarh nyaset
Antara(m) prastaropetarh sarvalankara-sarhyutam
Tasyantasyaika-bhagena kuryad avartyalindakam
Mule bhage padamSena chordhve'rdha-talarhsakam
Netra-salardha-sala cha bhadra-saladi-bhiishitam
I
I
I
I
I
I
Toranair nida-^aladi nasikabhir alankritam
cha manditam
Kosht(h)c sitadi-madhye cha chordhva-Sala
tu bhushitam
Nasika-pafijara-sala kuta-kosthe
bhadra-salyair alankritam
I
I
I
Nasika-pafijaradyasya
Kshudra-sala-pradek tu sarvalankara-sarhyutam
49
I
I
I
I
ASHTA TALA
AN ENCYCLOPAEDIA OF
Karna-kutanga-madhye tu nasika-panjaranvitam
Sarvangarh kshudra-nasyangam prastaralankriti-kriya
I
Nanadhishthana-sarhyuktarh nana-padair alankritam
Nagara-dravidadlnam vesaradin Sikhanvitam
I
I
I
Sarvalankara-sarhyuktaih purvavat parikalpayet
I
(M., xxvi, 47-76.)
under TALA-MANA) A kind of sculptural measurement in which the whole height of an idol is generally eight
ASHTA-TALA
(see
times the face.
ASHTA-TRIMSAT-KALA
kinds of mystic
Thirty-eight
marks
on the body of an image.
Padadi-murdha-paryanta(m) paryayadi-chaksharam nyaset
Ashta-trirhs'at-kalah sarvas tat-tad angani vinyaset
I
I
(M., LXX, 90-91.
ASHTA- VARGA The
eight component parts of a single-storeyed
adhishthana
building, namely,
(basement), anghri (dwarf pillar),
prastara (entablature), grlva (a platform or neck), sikhara (tower)
stupi (dome), grlva-mancha (a projecting seat at the neck) and
vedika (a raised platform). (M., xix, 80-^5.)
Eight-cornered, a kind of single-storeyed building
octangular in plan and has one cupola.
ASHTA(S)RA
which
is
(1) Bfihat-Samhitd,
note
i
(see
LVI, 28,
Kasyapa, J.R.A.S., N.
S.,
Vol. vi, p. 320,
under PRASADA).
w.
(2)
Matsya-Purdna, Chap. CCLXIX,
(3)
Bhavisfya-Purdna, Chap, cxxx, v. 25
ASAMCHITA A
under PRASADA).
under PRASADA).
29, 53
(see
(see
of buildings in which the height is the
standard of measurement, the temples in which the main idol is in
the erect posture.
xxx, 173-174, see under APASAMGHITA.)
(M., xix, 7-11
class
;
Pratyekam tri-vidham proktaih samchitarh chapyasarhchitam upasariichitam ityevam
AM&A
(see
I
(Kamikagama, XLV, 6-7.)
SHADVARGA).
A
part,
one of the
six
varga formulas
for ascertaining the right proportion.
AM$ARU
Cf.
The
rim, the edge.
Darpanam
suvrittarh syad
A moulding of the
cyma and
a corona (kapota).
arharu kiihchid unnatam
I
pedestal, generally placed between a
(M. xv, 122, see under UPAPITHA.)
y
50
HINDU ARCHITECTURE
AGARA
ACHARYA-KULA
Residences of professors, sufficiently comfortfor
able even
princes and ordinary male and female pupils to be in
'
residence for instruction, teachers' family establishment with pupils
quarters in separate blocks. These might have supplied the general
plan of the later monastic establishments of Buddhists, Jains, Brahmans, comprising a quadrangular structure with cells on all sides
and the shrine and abbot's
cell in
'
the centre or the east.
These
may be looked upon as the beginnings out of which the pre-Buddhistic
and Buddhistic centres of learning like in Nalanda of the residential
university type were evolved.'
(Sarkar, Social History of India,
P- 13-)
AGAMA
The
different
scriptures,
from the
Agama
of
treatises
Southern India some of which are predominently architectural
texts.
M., XLIX, 176.
Cf.
AGARA A house,
For synonyms,
V.
VI.
see
3,
1
8
44
127, 56
3,
:
Koshthagaravatarhsikam
:
.
.
.
nagarim
I
:
Koshthagara-yudhagaraih kritva saihnichayan
:
Aneka-satarh
balam
Mahdbhdrata (Cock)
(2)
cell.
Amarak~>sha (II, 2, 5).
Ramayana (Cock)
Cf. (i)
II.
a room, a
XII.
69, 54
XII.
86, 121
:
I.
134, ii
:
bhavan kosam koshthagaram
bahun
griham
I
:
Bhadagara-yudhagaran yodhagarams cha sarvasah
Asvagaran gajagaran baladhikaranani cha
:
I
I
I
Bhandagara-yudhagaran prayatnenabhivardhayet
Prekshagararh suvihitam chakrus te tasya silpinah
Rajnah sarvayudhopetam strinam chaiva nararI
shabha
I.
IV.
134, 14
23,
1
6
:
:
II
Mukta-jala-parikshiptarh vaidurya-mani-Sobhitam
I
ham
Mdnasdra (xxv,
Tale
tale
I
Sata-kumbhamayam divyam prekshagaram upagatam II
Yad etan nartanagararh matsya-rajena karitam
kanya nrityanti ratrau yanti yathagri-
Divya-atra
(3)
I
II
29, etc.)
:
bhadra-koshthasramagararh pariklrtitam
51
I
AX ENCYCLOPAEDIA OF
ACHCHHADANA
'
idam
yogi-(a)garam
Dharmma-sastra-prachoditam
(4)
suribhih pariveshtitam
proktarh
I
Agara, abode, room, covered place,
Fleet.
cell.'
and Old
(Skt.
Canarese Inscriptions, no. cxxx, line 3, Ind. Ant., Vol. XIH, p. 222, note 44.)
The celebrated
(5) Vikhyata Santalakhya sa Jinagaram akarayat
'
lady had this Jina temple made'.
Text,
p. 59, last line,
Carnal.,
(Ep.
Vol.
Roman
no. 62,
11,
Translation, p. 148, last line.)
ACHCHHADANA A
eighth covering moulding from
the
roof,
the top of the entablature.
(Kdmikagama, LIV,
ADIKA
Literally
first
or principal,
?
a
fast
under PRASADA.)
2, see
conveyance.
Adikam syandanarh Silpi(n) sibika cha ratham
Sarvair yanam iti khyatarh Sayanam vakshyate
tatha
I
tatha
I
(M.,
A(R)DRA-PUSHAKRITI
(see
under LINGA)
A
m,
9-10.)
kind of phallus
looking like the rising sun.
Lingakaram ihochyate
Daivikarh dindimakaram manush(am)a(r)dra-pushakriti(h)
.
.
ADHARA
.
(M.,
The basement,
LII,
I
237, 240.)
the plinth.
Dvitalanam alankaram vakshye samkshipyate'dhuna
Upanadi-stupi-paryantam ashtavimsad vibhajite
Adharochcharh gunamsarh syat pada-tungam shad-amsakam
I
I
(M., xx,
Janmadi-stupi paryantam changa-manam ihochyate
Saikashta-panchakarhsarh harmye tungam vibhajite
Adhararh chashta-bhagena vedamsam charanayatam
I
3-4.)
i,
I
I
I
(M., xvi, 48-50.)
Uttaram vajanadharam adheyam sayanarh tatha
Uddhritam cha mGrdhakam chaiva maha-tauli svavarhsakam
Prachchhadanasy(am) adharam etat paryayam Iritam
I
I
I
(M., xvi, 56-58.)
Parimana-virodhena rekha-vaishamya-bhushita
Adharas tu chatur-dvaras" chatur-mandapa-sobhitah
Sata-sringa-samayukto Meruh prasada-uttamah
I
II
I
Mandapas tasya karttavya bhadrais tribhir alankrita(h) II
Ghatanakara-mananam bhinna bhinna bhavanti te (prasadah)
Kiyanto yeshu chadhara niradharaS cha kechana
I
II
(Garuda-Purana, Chap. XLVII, vv. 38-40.)
Valabhi chhadiradharah
I
(Hemachandra, Abhidhana-chintdmani, ion,
52
Pet. Diet.)
APANA
HINDU ARCHITECTURE
ADHI
Vol.
Foundations.
p. 31, see
i,
(An
from
inscription
m, Ep.
v.
Dabhoi,
Indie.,
footnote, p. 24.)
ANDOLA A
swing, a hammock.
Tad-urdhve pattikam nyasya kilagre cha kabandhanam
Chaturbhih srinkhala-yuktam andolarh chaikatopari
I
I
Deva-bhu-sura-bhupanam anyesharh sayanarthakam
I
(M., xuv, 69-71.)
ANDHARA
A
(-RIKA)
closed
a
verandah,
balcony, a blind
screen.
Kdmikdgama, L
:
va tri-pado vatha bhagikah
Panjaro(ras) chardha-bhago
Alindandharikandhara-hara bhagena kalpitah
(74)
I
1 1
Nava-bhaga-tri-bhago va vyasa-nali-grihanvitah
Bahir andharikandhara-hara bhagena vistritah
(76)
bahir
andharikavritam
Panchalindam shat-kudyarh
(83)
I
1 1
1
1
Andharandhari-harokta-khanda-harmya-viseshitam(vimanam)
II
(91)
'
Andharika and andhara are used as the synonyms of griha-pindi
and 'alinda respectively (see Kdmikdgama, LV, 201, under ALINDA).
'
'
'
'
'
'
APANA A shop,
(i)
a market-place.
Ramayana (Cock)
II.
II.
14,
Samriddha-vipanapanaih
27
II.
114, 13
VII.
43, 13
II.
71, 41
:
Nana-panya-samriddheshu vanijam apaneshu
6, 12
(purim)
l
Sarhkshipta-vipanapanam (Ayodhyam)
Chatvarapana-rathyasu
I
l
II.
42, 23
II.
41, 21
Samvritapana-vlthika
I.
5, 10
57
>
J
.
Anvantarapanara
5
VI. 112,42
.
.
.
.
(purim)
(Ayodhyam) sikta-rathantarapanam
(Takshasila and Pushkalavati)
Rdjatarangim, I, 201, etc.
:
Riddhapanam
.
(ibid.}
XII.
Chatvarapana-sobhitam (puram)
:
XIII. 30, 17
:
II. 21,
:
25
l
.
.
.
suvibhaktan-
I
Mahdbhdrata
86, 8
I
I
Ubhe
tarapane
.
.
nagaram
:
I
samriddha-vipanapanam
cha
dadriSuh sriyam uttamam
Malyapananarh
(Varanasim)
I
l
.
I
Su-vibhaktantarapanam
VII. 101,13
(3)
.
Malyapaneshu rajante nadya panyani va tatha
(purim)
Samvritapana-vedikam
II-
2)
.
.
l
.
.
.
53
I
I
l
AN ENCYCLOPAEDIA OF
APANA
IX.
25, 33
:
Vipanyapana-panyanam
Comm.
I
Nilkantha
Vipanaih panya-vithika
Apana hattah panyani vikreya-dravyani
:
I
I
(4)
Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan
I
Sauvarna-dhvaja-toranapana-pura-grama-prapa-mandapan
vyadhapayad ayarh Chaulukya-chudamanih
(Sridhara's Deva pattana Pra^asti,
I
.
.
.
I
v. 10,
Ep. Ind., Vol. n, pp. 440-441.)
APANA A tavern,
sides
a liquor-shop, a watering station, huts on road-
where drinking water
is
distributed gratis.
Devanam-piye Piyadasi laja hevam aha (:) magesu-pi me nigohani
ambavadikya
lopapitani (:) chhayopagani hosamti pasumunisanarh
;
adhak(o)s(i)kyani pi
me uda-panani
khanapitani (;)
cha kalapita (;) apanan ime bahukani tata tata kalapitani
patibhogyaye pasu-munisanam (.)
Apana cannot have here its usual meaning, namely, tavern, liquor
lopapita
(;)
(2)
niiiisidhiya
'
shop.'
'
As professor Kern (Der Buddhismus, Vol.
n, p. 385) assumes,
it
must
denote a watering station. Probably the huts on the roads are meant,
where water is distributed to travellers and their beasts gratis or against
payment. The usual Sanskrit name is prapa.' Dr. Biihler.
(Pillar edict of
Asoka, no. vn,
lines 2-3,
Ep. Ind., Vol. H, pp. 270, 274.)
ABHANGA
the idol
is
(see
under ATIBHANGA and BHANGA)
A
pose in which
slightly bent.
Sarvesharh deva-devinam
bhanga-manam ihochyate
I
Abhanga-sama-bhangarh chaati-bhangam tridha bhavet
I
(M., LXVII, 95-96.)
ABHASA A
of buildings, pavilions, doors, etc. One of the
nine materials of which idols are made, sand glass, lacquer (A/.,
Lxn, 15-16), a marble, bas-relief (M., LI, n), painting (ibid., 12, LVI,
class
14-16).
A
class
(i)
of buildings
:
Etaj jati-vaat proktam
Nava-tale
chhandadinam santikotsedham
tri-pancha-vidham
pravakshyate
vai
I
vipulam kanyasadi-Sreshtham
I
Kramatas tri-padam ardha-karam padam cha idam sariikalpam
abhasam idam
(M., ix. 103-104.)
I
54
HINDU ARCHITECTURE
ABHASA
Eka-bhumi-vidhim vakshye lakshanarh vakshyate'dhuna
Jatis chhandam vikalpam tu chabhasarh tu chatur-vidham
Purva-hastena sarh-yuktam harmyarh jatir iti smritam
Chhandam tri-pada-hastena vikalpam syat tad-ardhakam
Abhasam chardha-hastena harmyadlnam tu manayet
I
I
I
I
I
(M., xix, 1-5.)
Eka-tri-padam ardham cha pada-hastarh yatha-kramam
Jatis chhanda(m) vikalpam cha-abhasaih chatur-vidham
Etat tad eva samyuktarh harmyanarh mana-kalpanam
I
I
I
(M., xxx, 175-177.)
Pavilions of
some
particular shape
:
Devanam bhu-suranarh cha mandapam jati-rupakam
Bhupanam mandape sarve chhanda-rupam itiritam
I
I
Vaisyakanam tu sarveshath vikalpam cheti kathyate
Sudranam mandapam sarvam chabhasam iti klrtitam
I
I
(M., xxxrv, 547-55-)
In connexion with door^
:
Sapta-vimsodayarh hy-evam tad-ardharh vistritarh bhavet
Evaih jati-vasat proktam chhandadinam pravakshyate
Trayovimsa-satantaih syach chhanda-dvara-visalakam
I
I
I
Pancha-vimsangulam arabhya dvi-dvyangula-vivardhanat
Eka-vimsangulam arabhya dvi-dvyangula-vivardhanat
Eka-virha(m)-atantarh syad vikalpa-dvara-vistritam
Nava-panktyahgulam arabhya dvi-dvyangula-vivardhanat
Eka-panktyanguladhikyam satantam abhasa-vistritam
I
I
I
I
I
(M.y xxxix, 28-35.)
In connexion with the phallus
:
Jatich-chhanda-vikalparh cha-abhasam tu chatur-vidham
I
(M., tn, 49.)
A
kind of glass of which idols and statues are
made
:
Brahma-vishnu-mahes'anam lakshanam vakshyate'dhuna
Hiranya-rajatenaiva tamrenaiva ile vapi
Darve va sudhe vapi sarkarabhasa-mrittika(-bhih)
Etais tu navadha dravyai(S) chottamadi trayam trayam
Chalam chapy-achalam chapi nava-dravyais tu nirmitah
I
I
I
I
Lohajair mrit-sudha chaiva Sarkarabhasa-mrittika
Ghala-dravyam
iti
I
I
proktam anyesham chachalam viduh
I
(M.,
55
LI, 1-7.)
AM ENCYCLOPAEDIA OF
ABHASA
Three kinds
:
Chitrangam ardha-chitrangam abhasangarh tridhochyate
Sarvangam drisya-manam yat chitram evam prakathyate
Ardhanga-driSyamanaiti cha tad ardha-chitram iti smritam
Ardhardha-darsanam(drisya)-manam abhasam iti kathyate
I
I
I
I
8-1
(A/., LI,
Uttamarh lohajarh bimbarh pithabhasarh tu chottamam
1.)
I
(ibid., 19.)
Cf.
Eka-kale kritarh
sarvam sudha-mrit-kata-sarkaraih
I
(ibid.,
lohaje va Sile'thava
Beranarh dravyam ityuktam
Darvabhasa-ratnena sudha-mrit-kata-s'arkara(aih)
.
Ghanam
.
.
24-25.)
I
I
vapy-aghanarh vapi kuryat tu ilpi(a)vit-tamah
I
(M., LXH, 15-17.)
(2)
Silodbhavanam v(b)imbanarh chitrabhasasya va punah
Jaladhivasanam proktarh vrishendrasya prakirtitam II
I
(Linga-Purana, Part II, uttara-bhaga,
XLVIII, v. 43.)
Chap.
(3)
Pratima saptadha prokta bhaktanaiii Suddha-vriddhaye
Kanchanl rajati tamrl parthivl sailaja smrita
1
1
Varkshl chalekhyaka veti murti-sthanani sapta vai
'
'
I
I
abhasa seem to have the same meaning and
and
same material. (Bhavistya-Purdna, Chap, cxxxi, vv. a, 3.)
'
'
Alckhyaka
indicate the
(4)
Indhanani cha vinyasya palalani cha vinyaset
I
Tasmin
loshtani vinyasya palalai.4 chhadayet punah II
Palalabhasakaih paSchad brihyabhasais tushais tatha
Achchhadyadbhir atha sinchech chhakham prajjvalayet punah
I
(Vastu-vidyd, ed.
(5)
Another
( Jati)
class
of buildings
Ganapati
Sastri, xvi, 32-33.)
ekaike tu dvisamkhyakam
(Kamikagama,
A class of kuta-koshtha or top-room,
and vikalpa
I
L, 13.)
being a combination of the chhanda
(Kamikagama, LV, 130,
123-127,
see
under KARNA-
KUTA).
of ISvara)
Suprabheddgama, xxxiv, 3-4 (refers to the image
cha
tathaiva
Chitram chitrardham evam tu chitrabhasam
Sarvavayava-sarhpurnam dri^yam tach chitram uchyate
Ardhavayava-samdrijyam ardha-chitram chaiva cha
:
(6)
1
:
Ghhandam Vikalpam Abhasam
classes
1
1 1
I
Pate bhittau cha yo(ya) likhyam chitrabhasam ihochyate
56
II
I
HINDU ARCHITECTURE
'
ABHASA
Exactly similar definitions are given in the Mdnasdra, but therein
refers to a material of which an idol is made, whereas in this
abhasa
'
'
Agama,
abhasa
and
ter relief,
to
'
image itself made in full, middle or quarthe paintings made on cloth and walls.
refers to the
Materials of which images are
made
:
Mrinmayam yadi kuryach chech chhulana(m) tatra prakalpayet
(ibid., 31.)
Lohajam cha viSeshena madhuchchhishtena nirmitam
I
I
(7)
Lohajatve madhuchchhishtam agninardrikritas tu yat
Vastrena sodhayet sarvam doshaih tyaktva tu Silpina
I
II
(Karanagama,
(8)
xi, 41.)
Murtis tu vriksha-pashana-loha-dravyaih prakarayet
The image should be made of materials like timber, stone, and iron.
I
(Silpa-SSstra-sara-sarhgraha, xi, 5.)
(9)
tamri ratnamayi tatha
darumayi chapi loha-slsa-mayi tatha
Ritika-dhatu-yukta va tamra-kamsa-mayi tatha
Sauvarni
rajati vapi
I
Saili
1
1
Sudha-daru-mayi vapi devatarcha pra^asyate
I
1 1
(Matsya-Purana, Chap. CCLVIH,
(10)
Mrinmayl daru-ghatita lohaja ratnaja tatha II
Sailaja gandhaja chaiva kaumudi saptadha smrita
Kamsamayi gandhaja chaiva mrinmayi pratima
w.
20-21.)
I
tatha
II
(Agni-Purana, Chap. XLHI, vv. 9-10.)
(u) Mrinmaye prativ(b)imbe tu vaset kalpa-yutam divi
Daru-pashana-dhatunam kramad da^a-gunadhikam
Mrinmaye vahane datte yat phalam jayate bhuvi
1
I
1
I
Daruje tad-dasa-gunam
Silaje
tad-da^adhikam
Ritika-kamsa-tamradi-nirmite deva-vahane
1 1
I
Datte phalam apnoti kramat ^ata-gunadhikam
1 1
(Mahanirvana-Tantra, xin, 22, 30, 31.)
(12)
Svarnadi-lauha-bimbe cha deha-garbham na karayet II (4)
Kashtha-pashana-bimbe cha yat sandhau vidhir uchyate II (6)
Yat bimbe cha krite dravyam svarnam tamram tu mrinmaye
I
Saile kashthe
ishtika-churnam
bimbam
tatra prachakshate
II
(3)
(Bimbamana, British Museum, MS. i, 558,
5292, w. 4, 6 ; MS. 2, 5291, 559, v. 3.)
'
(13)
Here they produced a linga, of seven metals, viz. gold,
copper, iron and bell-metal.'
(Sahyadri-khanda of the
tin, lead,
PurSna, Ind. Ant., Vol.
m,
p.
194, c.
i, last
57
para.)
silver,
Skanda-
AMALAKA
AN ENCYCLOPAEDIA OF
'
when
the people
make images and
chaityas which consist
of gold, silver, copper, iron, earth, lacquer, bricks, and stone, or (? and)
when they heap up the snowy sand (lit. sand-snow, ? abhasa), they put
Again,
Cf.
in images or chaityas
Teacher, and
two kinds of sariras
(relics)
(i)
Record of the Buddhist Religion, Transl., Takakusu,
Smith, Ind. Ant., Vol. xxxni, p. 175.)
AMALAKA
(cf.
the relics of the great
chain of causation'.
(2) the gatha of the
p.
A
AMALASITA and AMALASARA)
(Itsing's
work,
by V. A.
150, quoted
massive circular
stone supporting a vase known as kalata.
It figures as the crowning
member of sikhara (tower), as the crown of the simulated roofs,
and as the cushion-shaped portion of the capital of massive columns
In Sikhara it has a structural purpose
(of Asoka and at Elephanta).
to
while in other places
serve,
it is
a mere ornament.
It
has
been frequently referred to by Fergusson, Burgess, Hanell, Coomaraswamy and their followers, but rarely occurs in the Silpa-sastras
or other Sanskrit texts. The following line has been quoted by some
writer from some text of the Mayamata Silpa-sastra
:
Tathamalaka-pakvabham
dirgha-vrittarh cha
golakam
1
1
held that the term as referring to the crown of a temple ' must
have arisen from a wrong rendering of the Chinese symbols O-mo-lo-kiaIt
is
Buddha Gaya as Amalaka.
have thus been made by modern writers on
ko, describing the great vihara at
Free conjectures
'
its
origin
from the dmalaka, fruit or tree, or from lotus. A writer has referred to the
matter in the Calcutta Oriental Journal (1934, Vol. i, pp. 189-195) and
accepts the lotus-theory because of its popularity as a Buddhist and Hindu
symbol, and also because it fits in well as a part of the Sikhara.
AMALAKA- VANTIKA-PITHA
Chairs with
many
legs.
(Mahavagga, vv. v>,
AYA
under SHADVARGA)
One
of the six varga
ascertaining the right proportion of measurement.
(see
formulas
a.)
for
under STAMBHA) A sort of pillar built
upon the rectangular projection from the dome and drum-like
parts of the Mahachaityas (of Amaravati and Nagarjunakonda).
Their identification has been rendered certain by the inscriptions
AYAKA-SKAMBHA
they
contain
khambha.'
structural
;
(see
therein
these pillars
are
designated as
xx, p. 2) it
According to Vogel (Ep. Ind.,
function but utilized for sculpturing in
58
'
'
Ayakahad no
low
relief,
AYATANA
HINDU ARCHITECTURE
Buddhist emblems and dedicatory inscriptions.' Vaddari Apparao
it means
a pillar erected near the gate.' (Indian Culture,
'
thinks that
October, 1936, pp. 389-390.)
AYATANA An
an abode, a house, later an
enclosed settlement, temples and monasteries, an assembly hall.
earlier
enclosure,
(R.-V. iv, 4, 3
37,
;
i
;
A
6
v. 3,
vn, 56, 22;
61,3;
dwelling, a temple where an idol is installed :
(1) Purvena phalino vrikshah kshira-vrikshas tu dakshine
Paschimena jalam Sreshtham padmotpala-vibhushitam
Uttare saralais talaih subha syat pushpa-vatika
Sarvatas tu jalam sreshthaih sthiram asthiram eva cha
Parsve chapi kartavyam parivaradikalayam
;
vi, 21, 4,
x, 91,2.)
I
1
II
1
I
I
Yamye tapovana-sthanarh uttare matrika-griham
Mahanasam tathagneye nairritye'tha vinayakam II
I
Varune srlnivasas tu vayavye griha-malika
Uttare yajna-Sala tu nirmalya-sthanam uttare
I
1 1
Varune soma-daivatye bali-nirvapanam smritam
Purato vrishabha-sthanam seshe syat kusumayudhah
I
Jale vapi tathaisane Vishnus tu jala-Sayyapi
Evam ayatanam
1 1
I
kuryat kunda-mandapa-samyutam
II
(Matsya-Purana, Chap. CCLXX, vv. 28-34.)
(2)
Panchayatana-madhye
tu
Vasudevam
nivesayet
I
(Agni-Purana, Chap. XLIII, v.
(3)
Devatayatana-vapl-kupa-tadagadi-nirmanam
I
(Narada-Purana, Part
(4)
Chatuh-shashti-padam
kuryat
i.)
Purva-bhaga,
I,
Chap, xin, Colophon.)
devayatanarh sada
I
(Bhauishya-Purdna,
Chap, cxxx,
v. 17
;
Brihat-Samhita, LVI, 10.)
Pura-madhyarh sama^ritya kuryad ayatanam raveh
(Bhaviskya-Purdna, Chap, cxxx, v. 40
(5)
Rdmayana (Cock)
I.
5,
13
:
purim
Sobhitam
.
devayatanaiS
.
.
I
T
37
:
yajnayatana
I.
77, 13
:
devatayatanani
4
:
II.
6,
see also v. 41.)
:
I-
3>
;
II
|
I
srimatyayatane vishnoh
59
I
chaiva
vimanair
api
AYADI-KARMAN
AM ENCYCLOPAEDIA OF
II.
6,
ii
sitabhra-likharabheshu devatayataneshu
II.
3,
18
devayatana-chaityeshu
II.
25,
4
II.
52,
90
II.
56
33
.
chaityeshv-ayataneshu cha
tlrthany-ayatanani cha
chaityanyayatanani cha
II.
71, 42
VII. 101, 15
devayatana-chaityeshu
ubhe
purottame
I
I
I
I
.
.
I
I
s"obhite
.
devayatana-vistaraih
n,
Mahdbkdrata,
80,
30, etc. (ibid.)
(6)
cha
Sobhaniyais
I
:
Devayatana-chaityeshu
Taittiriya-Samhitd, 2, 2, 6,
(7)
Devanam evayatane
I
I, etc. (Pet.
:
yatate jayati tarn sarhgramam
(8) Satapatha-Brahmana, 4, 4, 5, 3
etc. (ibid.)
Diet.)
5, 2, 13
;
;
6, 2,
1,14;
I
12, 5,
i,
17,
:
Kupa
iva hi
sarpapam ayatanani
Chhandogya-upanishad, 6, 8, 2, etc. (ibid.)
Sa yatha sakunili sutrena prabaddho disarh
I
:
diSarh patitvanya-
trayatanamalabdhva bandhanam evopaSrayate
(9)
Siva.'
Sivasyayatanam ramyarh chakre
(An Abu
'
I
built a beautiful
Inscrip. of the reign of Bhimadeva II,
Ind.
temple
Ant.,
Vol.
of
xi,
pp. 221, 222.;
(10)
(n) Sri-Nanigasvami devayatanarh karapitam
'
The temple
made.'
'he
Chakarayatanam sarhbhor ambhonidhi-samam sarah
the temple of Sambhu and a tank equal to the sea.'
Devapaladeva, line 13-14, Ind. Ant., Vol. xx, p. 312.)
of the
illustrious
of
(Atpur Inscrip.
(Harsauda
Inscrip.
of
I
god Nanigasvamin was caused
Sakti-kumara, line
built
1-2,
Ind.
to
be
Vol. xxxix,
Ant.,
p. 191.)
(12)
Somesvarayatana-mandapam uttarena
of Sarangadeva,
w.
40, 41, 42, 45, 72
AYADI-KARMAN
(see
Aya and other formulas
;
(Cintra PraSasti of the reign
Vol.
I, p. 284.)
Ep. Ind.,
I
under SHAD-VARGA)
The
consideration of
for the verification of correct dimensions.
Evarh tu dandakarh (gramam) proktarh tasyayamam ihochyate
Vistarad dvi-dandena vardhayed dvigunantakam
I
I
Yah Subhayadi-karmartham danda-hinadhikam
tu va
I
(M., K, 12-14.)
AYADI-BHtJSHANA
(see
under SHAP-VARGA)
The
consideration
of Aya, and other formulas for ascertaining right proportions.
Padanam api sarvesharh lakshanam vakshyate'dhuna
Ayamam cha vi^alam cha ayadi bhushanadikam
(M., xv,
I
I
60
1-2.)
ARAMA
HINDU ARCHITECTURE
The six formulas
(see under SHAD-VARGA.)
called
correct
dimensions
of
for the verification
aya, vyaya, riksha,
or tithi.
and
arhsa
vara,
yoni,
AYADI-SHAlp-VARGA
Evam
ayadi shad-vargarh kuryat tatra vichakshanaih(nah)
AYIKA-PADA
(cf.
(A/., ix, 74.)
A
STAMBHA)
I
kind of
pillar.
Vedamsarh changhri-tungam chardham prastarotsedham
Tad-dvayaih ayika-padam sardharhsam prastaram uttungam
Tad-urdhvanghri gunariisam tad-ardham urdhva-manchochcham
I
I
I
(A/., xxvm, 25-27.)
a
garden-house, an
pleasure-garden,
(cf.
for quiet people
rest-house
orchard. A Buddhist convent (vihara),
not too far from the town and not too near, convenient for
built
for coming,
and
easily accessible for all who wish to visit him,
going
by day not two crowded, by night not exposed to too much noise
and alarm.' The whole compound is enclosed with ramparts of
three kinds, namely, brick walls, stone walls and wooden fences,
which are again surrounded with bamboo fences, thorn fences and
UDYANA) A
ARAMA
'
ditches.
(Chullavagga, vi, 4, 8
;
3, 10.)
Nagasya vamake yamye kuryad arama-desakam
(1)
tatah
Pushpodyanam
kuryat
I
cha
mukhya-bhalla{ake'pi
Nrittagaram tatah kuryan nana-nrittahganani cha
XL, 119-121.)
(A/.,
(2)
Prantach-chhaya-vinir-mukta na manqjna jalasayah
Yasmad
I
I
I
ato jala-pranteshvaraman vinivesayet
Considering that water reservoirs without shade on the margin are
not lovely, one ought to have gardens laid out on the banks of the water.'
1 1
'
(Brihat-Samhita, LV,
i,
J.R.A.S., N. S., Vol.
vi, p.
312.)
Rdmqyana (Cock)
II.
rajadhanim
aramodyana-sarhpannam
51, 23
VII. 70, 13 aramais cha viharais cha sobhamanam(-naih) saman:
(3)
.
:
.
.
I
:
tatah
II
Sobhitam
(4)
Mahdbhdrata
Vihareshu
(5)
Garden
.
(ibid.),
.
.
.
.
purim
.
xu, 69,
1
1
11, etc.
:
arameshu tathodyane
I
:
Kashte kale kalavapy-abhibhavati jagat kupa-vapi-tadagair asan.
narama-sattraih sura-sadana-mathairm-manditayam amushyam
.
nagaryam
'
I
(Dewal
Prasasti of Lalla the
PP- 79. 83-)
61
Chhinda,
v.
20, Ep. Ind.,
.
Vol
ARSHA
(6)
AN ENCYCLOPAEDIA OF
Pleasure-garden houses, orchards
:
Aramany-atanot saran sarobhis Sobhitarhtaraih
I
Utphulla-karhja-kirhjalka-purhja-pirhjaritantaraih
(Two
1
pillar inscriptions
no.
1
at
Amaravati,
A, Inscrip. of Keta,
v. 42,
II,
Ep. Ind., vi, p. 152.)
(7)
Satra-prapa-prasraya-vrishotsargga-vapl-kupa-tadagarama-devalaya-
di-karanopakaranartharh cha
I
(Cambay
Govinda IV,
Plates of
Ep. Ind., Vol.
vii,
line 58,
pp. 41-46.)
(8) KrishnayaSasa arama
garden (Sir E. C. Bayley, Dr. Vogel)
or monastery (Sir A. Cunningham) of Krishnayas'a.
:
vihdra
(Rock Inscriptions in the Kangra valley,
the Kanhiara Inscrip., Ep. Ind., Vol.
vn, pp. 117-118.)
(9)
Grove (Dr.
Liiders)
:
Yamoda-pushkaraninarh paschima pushkarani udapano drdmo stambho
Sila patto cha
a tank, the western tank of these twin tanks, a
reservoir, a grove, a pillar and this stone slab (was caused to be made).
'
.
.
.
'
(Three
Brahmi inscriptions, iii,
early
stone inscrip. of the time of
Mathura
Sondasa, lines 2-3, Ep.
Ind.,
Vol.
ix,
p. 247.)
(
i o)
Nana-desa - prabhava - suphala - vrata - bharati - namra - vriksha - sreni niyama-khachitah sala-samgupta-madhyah
I
Aramo'yarh
surabhi-sumanoraji-samarajamanah
tasaranih purna-kamah sadastam
nana-virullal
1 1
(Inscriptions
of
Queen
second
ARSHA
Belonging or relating
A
kind of phallus.
232, see under LINGA.)
ALAMBANA
The
from Nepal, no. 23, Inscrip.
Lalita-tripura-sundari, v. 2,
series,
Ind.
Ant., ix,
p. 194.)
a phallus of Siva.
under LINGA ) (M., ui
to the ascetics,
(Kdmikdgama,
L, 35, 37, see
base, plinth of a railing (vedi) or balustrade.
Sarvesharh mukha-bhadranam syat lakshanam vakshyate'
Sikharalambanaih chadau
tat
palikavasanakam
dhuna
(M., xvra, 275-276,
ALAMBANA-BAHU
support to the
rail
I
I
etc.)
^The balustrade, a small pillar used as a
of a staircase : balustrade or a row of balusters
62
HINDU ARCHITECTURE
forming an ornamental parapet to a balcony.
Indian Architecture, p. 13, Mahasudassana Sutta, i, 59 Chullavagga,
joined by a
See
AVRITA
rail
:
vr, 3, 3-
ALAYA A
temple, a house.
Ramesvaraya ghanamantapa-vapra-saudharamalayam samatanot samahe erected a temple (alaya), adorned with a solid hall (man.
tarasajnah
a
wall
(vapra), and a plastered mansion (saudha) to Ramesvara'
tapa),
'
.
(Mangalagiri pillar inscrip., v. 39, Ep.
Ind., Vol. vi, pp. 123, 114.)
ALlftGA
(cf.
ANTARITA)
A
moulding like the fillet, but with
moulding placed alternately together
It is a flat
greater projection.
and
is inseparably connected with the latter.
Antarita
the
with
The
2, see
ninth moulding from the top of the entablature (Kdmikdgama, LIV,
under PRASADA).
A
crowning moulding of the pedestal and the base (e.g. M., xin, 126
xiv, 50, etc., see the lists of mouldings under ADHISHTHANA and UPAPITHA).
A similar moulding of a throne
;
:
Alingantaritam chordhve prativajanam uchyate
AVASATHA A
(M., xiv, no.)
I
'
a structure of some sort
dwelling, an abode,
of feasts and sacrifice,
on
the
occasions
of
for the reception
guests
later Dharma-sala or rest-houses.
(A.-V., ix,
in,
7,
6,
4, 6,
Chhand.
5
;
Taitt. Bra., i, i, 10, 6;
Sat.
Bra.,
Upa., iv,
i
I,
Srauta Sutra., v, 9, 3
n, 9, 25, 4
AVARAN A
Minor and
;
;
;
xn, 4, 4, 6;
Apa. Stambha
Apa. Dh. Sutra.,
A.-V., xiv, 2, 6.)
associated deites.
(M., xv, 400.)
AVASA A residence,
a dwelling-house.
Avasa-vasa-vesmadau pure grame vanik-pathe II
Prasadarama-durgeshu devalaya-matheshu cha
I
(Garuda-Purana, Chap. XLVI,
Nirjagama nripavasan manya-manah priyam mahat
w.
2, 3.)
I
(Ramayana, n, 15-28.)
AVRITA
(see
PRAKARA)
An
enclosure.
Sikhare chavrite pare sabha-mandapa gopure
.
.
.
manayet
(M.,
63
XVIII,
I
200
f.)
AN ENCYCLOPAEDIA
AVRITA-MANDAPA
AVRITA-MANDAPA An
1
i)
Kdmikdgama, xxxv
open pavilion surrounding a building
:
Evarhbhutasya vasasya samantan mandapam nayetll (97)
Pancha-bhagavasanantam kuryad avrita-mandapam II (98)
Hasta-manena va kuryat tri-hastad arddha-vriddhitah
I
Pancha-daSa-karantam tu kuryad avrita-mandapam
Mandapena
vina vapi tena
(2) Suprabheddgama, xxxi, 137
manena
pithika
:
AVE&ANA An
II
a studio, a place where ar
architectural office,
works are taught and carried out.
silpi-sala
(99)
(100)
II
Prakara-bhittim asVitya kuryad avrita-mandapam
Avesanarh
II
prapa panlya-salika
(Amarakdsha, n, 5,
I
7.)
ASRAMA
A temple, a hei
(see under SHODASA-MANDIRA-CHAKRA)
a
A
establishment
mitage,
dwelling.
religious
comprising the mai
temple, its attached tank, kitchen, alms-house, guest-house, stori
house, cow-sheds, halls dressing-houses for the deity, bed-roon
and other houses and flower gardens, orchards and the surroundin
walls.
Surebhyah puratah karyo yasyagneyyarh mahanasam
Va(? ka)pi-nirgamane yena purwatah sat(t)ra-mandapam II
Gandha-pushpa-griham karyyam aisanyam patta-samyutam
Bhandagaram cha kauberyyam goshthagaram cha vayave II
Udagasrayam cha varunyam vatayana-samanvitam
Samit-kusendhana-sthanam ayudhanam cha nairrite
I
I
I
1
1
Abhyagatalayam ramya-sa^ayyasana-padukam
Toyagni-dipa-sad-bhrityair yuktam dakshinato bhavet
I
Grihantarani sarvani sajalaih kadali-grihaih
Pancha-varnai^ cha kusumaih sobhitani prakalpayet
1 1
I
II
Prakaram tad-bahir dadyat pancha-hasta-pramanatah
Evam vishnva^ramarh kuryyad vanais chopavanair yutam
I
II
(Garuda-Purana, Chap. XLVI, vv. 14-15
A&RAMAGARA A
class
of the seven -storeyed buildings.
(M., xxv, 29,
ASANA A
see
under PRASADA
of buildings, a seat, a throne, a bedstead, a mouk
ing, a site-plan, a temple, a type of dwellings, a sitting posture.
( i )
class
Mdnasdra
:
A class of the three-storeyed
buildings.
(A/.,
64
xxx, 12-31,
see
under PRASADA
THL E.LLVATION
WOTE.:M.LTKE.SE. TYP1S
BE,
^S TEfvPt-ES A>JD DOMtST
V<ITK SLIOni DlffERF-MC
SE IMDICMeO IXTHEStC
'
ME. OTHER f 1VE. TYPES 5P
WITH PROPOaTIQMS^SFC
AS Hi6HT K
KAKALKK1GA
6RAH
50 PART
.
THE. SITE
PLANS
ASA MA PLAN OF 1OO PLOTS
.
Kl
HINDU ARCHITECTURE
A
ASANA
of buildings in which the breadth is the standard of measurethe temples in which the idol is in the sitting posture.
class
ment
;
(M., XK, 7-11,
see
under APASA&CHITA.)
A synonym of Sayana or bedstead. (M., m, 10-12, see under SAYANA.)
A site-plan the area of which is divided into 100 equal squares
:
Dasamarh sata-padam syan namanam(namna) asanam Iritam
(M., vm,
A moulding of the
The
seat
Tan
base.
(M., xiv, 296,
underneath the base of a
(pillar's)-mule
n,
see
pillar
I
under PADAVINYASA.)
under ADHISHTHANA.)
see details
:
chasanam kuryat padukarh va sahambujam
I
(M., xv, 31.)
A
opposed to a bedstead
Evarh tu Sayanadinam asananarh cha darubhih(runi)
seat as
:
I
(M., XLIV, 74.)
A throne
:
Devanaih bhu-patinarh cha bhushanartham tu toranam
(M., XLVI, i, 3.)
Asanopari vinyasya sarvesharh toranam
toranam
Devanarh bhu-patmam cha sthanakasyasanasya cha
I
I
.
.
.
I
I
29-30.)
(ibid.,
Devanam bhu-patinam cha sthanakasana-yogyakam
I
Mukta-prapanga-manarh cha lakshanam vakshyate'dhuna
I
(M., XLVII, 1-2.)
Devanarh chakravaryadi-bhu-palanarh cha yogyakam
Kalpa-vriskhadinam tararh manam lakshanam uchyate
Toranodaya-padarh tu padardhadhikodayam
I
I
I
Evam
vrikshasya tungasya asanasyopari nyaset
(M., XLVIH, 1-5.)
Asanayama-madhye tu toranasyopari nyaset
I
I
The
sitting posture (of the Garuda image)
Sthankam chasanarh chaiva gamanarh cha yathavidhi
:
I
(M., LXI, 19.)
Evarh proktam simha-rupam ...
Sayanam va sthanakam chasanarh va
I
The
.
.
.
I
(M.,
sitting posture in connexion with the plumb-lines
Sarvesharh
deva-edvlnarh
Mana-sutra-vidhirh
riju-sthanakarh
samyak(g)
lakshanam
LXIII, 44, 49.)
:
chasane
I
vakshyate'dhuna
I
(M., LXVII, 1-2.)
AX ENCYCLOPAEDIA OF
ASANDA
(2)
Rdmdyana (Cock)
V,
4
15,
VII, 42,
Bahvasana-kuthopetam
:
1
:
6
f.
.
.
.
Bahvasana-grihopetam
:
(aSoka-vanikam)
asoka vanikam
I
.
.
.
I
praviSya Raghu-nandanah
Asane cha Subhakare pushpa-prakara-bhushite
Kusastarana-samstlrne Ramah sarhnisasada ha
.
.
.
I
Sabhasana
(3) Katydyana-Srauta-sutra (Pet. Diet.)
Salasana
9> 9>
J
(7, 5, 8)
J
2, 4.
;
(6,59)
Brahma-yajamanayor asane
(8,281)
Sahakhatvasana
;
;
(4,154)
cf.
;
;
;
dadyach chaivasa-
:
Amatya-mukham ...
I
II
(5) Bhagavadgltd (ibid.), 6,
n
4
Sayyasane'dhyacharite preyasa
M. W.
(8)
2,
6
:
I
bhadrasana, vajrasana, virasana,
and svastikasana
Diet., loc. cit.).
Bahu-hathika-asana
the blessed
many
I
I
Raghu-varhSa (ed. Cal. Bibl. 134),
(see
(7, 141).
:
Asaneshu vivid heshvaslnah
padmasana,
II
:
Suchau dese pratishthapya sthiram asanam atmanah
(6) Nalopdkhydna (ibid.) 5,
(5, 94).
I
Sthapayed asane tasmin iva nah karye kshane nrinam
Cf.
;
!
Rajno mahatmike sthane sadyah sauchaih vidhlyate
Prajanaih parirakshartham asanam channa-karanam
(7)
32
7, 4,
Rahah sthanasanam
(8,357)
and Kumara-sambhava (7,12)
Sampraptaya tvathithaye pradadyad asanodake (3,99)
nam svakam
;
;
:
asaneshupakalpiteshu (3,208)
;
27
(i, 8,
I
5> etc -)-
(4) Manu-Sarhhitd (ibid.)
Sahasana
15, 33)
(4,
II
Mahadeva
elephants
are
bhagavato
(under the
Mahadevasa
banyan
tree)
'
The
seat
of
Bahuhastika (where
worshipping).'
(Bharaut Inscriptions, no. 160, Ind. Ant., xxi, p. 239.)
ASANDA
ASANDI
"1
A
/chairs,
a throne-like seat,
large couches, cushions,
rectangular chairs, a throne carried by four
settee,
persons (Digha Nikaya n, 23 ; Chullavagga, vi, 14, i ; Mahdvagga,
v, 10, 3. See Child ers Dictionary, Rhys Davids and Oldenberg, Buddhist Sutta, 27,
kings.
wooden frame-work
556; 12.)
197, 2-09), with
(A.-V., xv, 3, Ait. Bra. viu,
66
for chiefs
and
THt WIDTH OF THIS
rOUHIXtlOHMASB
TAKEM T06t SCUNTS
INDRA-KILA.
ISHTAKA
C 5
DWARF
PILLAR.
MINOR PILLAR.
J
UPA-PADA.
or
r^r
3XX
77?
s:
ELEVATION.
PLAN
fagtet
UPANA
UPANA
FORT GATE-AVAY
INDRA-KOSA.
S7
INDRA KlLA(-KA)
HINDU ARCHITECTURE
ASTHANA-MANDAPA
an audience-hall, a
(see
sitting
ground with a pavilion
in
under MANDAPA) An assembly room,
room, a drawing room, a recreation
it.
Asthana-mandapam chaiva chatur-dikshu vidikshu cha
(1)
I
(M., xxxn, 73.)
Samasram vatha vedasram kuryad asthana-mandapam
I
(M., xxxiv, 208.)
Asthana-mandapam kuryat pushkarinyam cha vayave
I
(M., XL,
Riksha-bhallata-someshu bhaved asthana-mandapam
(2)
1
18.)
I
(Kamikagama, xxxv, 191.)
Draksharama
33) under MANDAPA.
(3) See first
3 2 9>
(4)
A
pillar Inscrip. i, 9, Ep. Ind., Vol. iv, pp.
hall (Vanapalli Plates of
Anna-Vema,
v. 10,
Ep. Ind,, Vol. in,
PP- 61, 59).
Cf.
Asthana-sila-mandapa
(First
Draksharama
pillar Inscrip., line 9,
Ep. Ind., Vol. iv, pp. 329, 330).
The curious long series of subterranean
(5) Of'
chambers
to
the
west of Chitaldoorg, now forming part of the Ankli matha, are deserving of notice. They are approached by a good stone staircase, which
In these are
leads down to rooms of various sizes at different levels.
shrines, lingas, baths,
and
pedestals, the latter apparently for yogasana.'
(Ep. Carnal., Vol. xi, Introduct., pp. 31-32.)
ASYA A
facia.
1
IKSHU-KANTA A
class of the six-storeyed buildings.
(M., xxiv, 55,
INDRA-KANTA A
class
see
under PRASADA.)
of the four-storeyed buildings, and of the
gate-houses.
(M., xxn, 60-88,
A class of gate-houses.
INDRA KILA(-KA) A
(M., xxxni, 558,
see
see
under PRASADA.)
under GOPURA.)
pin, a nail, a bolt.
Phalaka bhajanordhve tu tad-urdhve chendrakllakam
Tatah pratima-samyuktam sthapayet sthapatir budhah
I
(M.,
An
iron bolt
:
aratnir indrakilah
the iron bolt
is
xii,
125-126.)
one cubit long.
(Kautillya-Artha-sdstra,
67
I
Chap, xxiv,
p. 53.)
AN ENCYCLOPAEDIA OF
INDRA-KO^A
A projection of the roof of a house forming
INDRA-KOSA
INDRA-KOSHTHA Ja kind of balcony, holes or jali work in
"1
arches, crenelle,
an opening in a parapet
tri-dhanushkadhishthanarh
Attalaka-pratoli-madhye
chhidra-phalaka-samhatam
for shooting through.
itindrakos"aih karayet
Chap, xxiv,
(Kautillya-Artha-sdstra,
ISHTAKA
Brick, a
sapi-dhanach-
I
p. 52.)
burnt (pakva, Sat. Bra.,
vi, i, 2, 22 ; vii, 2, i, 7), naturally perforated (svayamatrinna, Tailt.
Sam., iv, 2, 9 ; 3, 2 etc., v, 2, 3), of all colours (Taitt. Sam., v, 7, 8),
building
material,
;
Sam., iv, 4, 5 ; v, 3, 9), cornerless
conical
(choda, Taitt. Sam., iv, 4, 3), gold(vikarni, Taitt., v, 3, 7),
headed or enamelled (vamabhrit, Taitt. Sam., iv, 2, 9; v, 5, 3),
circular
(mandala,
Tattt.
(kumbha,
pot-shaped
Taitt.
Sam., v,
6,
Thus
i).
the
brick-
laying was already a developed art in the age of the Tajurveda
(1000 B.C.). But in 3000 B.C. burnt bricks were in use in Mohen-
jodaro, etc.
darubhih
(M., xxx, 95.)
cheshtake
dva-dasantatah
Eka-dva-dala-bhumyantam
Harmyam nirmanato vakshye prathameshtaka-lakshanam
Silabhis cheshtakair vapi
(i)
.
.
.
I
|
(M., xn, 188-189.)
Trinadi-nirmitarii yo dadyat paramesvari
(a)
I
Varsha-koti-sahasrani sa vased deva-vesmani
Ishtaka-griha-dane tu tasmach
II
chhata-gunam phalam
Tato'yuta-gunam punyam sila-geha-pradanatah
I
II
(Mahanirvana-Tantra, xin, 24, 25.)
'
The
following written declaration (vyavastha) is (also) granted
the
Mansions of burnt tiles (bricks) may
(for
guidance of the donee)
be built (without special permission)
with the written declaration
thus denned (the village) was placed in the (hands) of the assembly
(3)
:
;
as
a deva dana, with
Yajfiesvara (temple).'
Vol. ii, p. 512.)
all
.
.
.
immunities, to the (God)
(Velurpalaiyam
plates, lines
47
Mahadeva
to
63
;
of the
no. 98,
K.
S.
I. I.,
'
(4)
Mansions and large
edifices
may
be built of burnt bricks.'
(Tandantottam
'
(5)
The
bricks, which
ing 12 inches
Plates, no. 99, lines 26-38 :
K. S. I. /., Vol. n, p. 531.)
walls of the temple ... are in great preservation, the
compose them, are of well-burnt red earth, each measur-
by 7 and i| thick, disposed with about one-eighth of an
inch of chunam between them, and the layers, being quite even, look
as if the plaster had just been stripped off.'
68
THL
51TL PLANS
UGRAPlTHA PUN OF 36 PLOTS
VMU
HINDU ARCHITECTURE
UGHCHHRAYA
Lieutenant Fagan (Cylon Government
'
I will
leave
to the curious in
it
August
Gazette,
describing about twenty buildings (temples
burnt bricks concludes :
and
1820) after
of such
i,
made
edifices)
Ceylon antiquities to discover
the reason that the people, who built these great edifices, should take
the trouble of making so many millions of bricks for the work, where
there was
tion in the
Topary,
abundance of fine stone well calculated for their construcimmediate neighbourhood.' (An account of the ruins of
Ind. Ant., Vol.
c. 2, line
xxxvin, p. no,
12
f. ;
c. 2,
para. 2.)
I
ISA-KANTA A
class
of the eleven -storey ed buildings.
(M., xxix, 10-11,
ISVARA-KANTA A site-plan, a
A site-plan in which the whole
squares
.
class
area
under PRASADA.)
see
of buildings.
is
divided into
.
.
chaika trimsat-vidhane tu
I
Eka-shashti-samadhikyam padam nava-s"ata-yutam
Isvara-kantam syat ...
Evam
I
I
(M.,
A class
961 equal
:
vii,
46-48,
further context under PADA-VINYASA.)
see
of the four-storeyed buildings.
(M.,
xxii, 44-46, see
under PRASADA.)
u
UGRA-JATI
of certain
Base-born, people of low castes, for
are prescribed.
whom
buildings
number of storeys
(M.,
UGRA-PlTHA A
which the whole area
site-plan in
into 36 equal squares.
(M., vn,
UCHCHHRAYA A
7, see
is
xi, 138.)
divided
further details under PADA-VTNYASA.)
kind of pillar, pillars of victory.
(raised
Giri-s'ikhara-taru-talattalakopatalpa-dvara-s'aranochchhraya
Kielhorn quotes also Drs. Indraji and Biihler who
places of shelter)
translate
Parana
'
victory
'
by
'
shelter
'
and
'
'
uchchhraya
by
'
pillars
of
'.
(Junagadh rock
Inscrip. of
Ep. Ind., Vol.
69
vii,
Rudradaman, line 6,
pp. 43, 46 and note 3.)
AM ENCYCLOPAEDIA OF
UNHISA
UNHISA A
headline running along the top of the banisters, a
end of such a head line.
figure-head at the lower
(Rhys David's Buddhist
Sutta, p.
Sudassanasutta,
UTTAMA-NAVA-TALA A
sculptural
measurement
i,
262
59.)
in this sys-
:
tem the whole height of an image is divided into 112 equal parts
which are proportionately distributed among the different parts of
the body from head to foot. The measurement of breadth of the
various limbs is not included in these 112 parts. The measurement
of the arms is also excluded from these.
For
details, see
M.,
LIX, 14-64,
UTTAMA-DA&A-TALA A
whole height of an image
is
under TALA.
measurement
sculptural
generally divided into
(M., LXV, 2-179,
UTTAMBHA A
see
1
in
which the
20 equal parts.
under TALA.)
details
kind of rectangular building.
w. 21-22
under PRASADA.)
(Garuda-Purana, Chap. XLVII,
26-27,
see
UTTARA A
rectangular moulding, a fillet.
(For its synonyms,
see M., xvi, 56-58 below.)
It is used sometimes to signify the whole
architrave or the beam, i.e. the lowest division of the
entablature,
which extends from column to column also applied to the moulded
frame which bounds the sides and head of a door or window open;
member of the
pedestal and entablature and resembles the corona or the square projection of the
upp er part of the cornice, having a broad and vertical face generally
It also denotes a particular
ing.
plain.
(Cf.
(
i)
Mdnasdra
Ram
Raz,
Ess. Arch. Hind., p. 25.)
:
A crowning moulding
of the pedestal
:
Uttaram charhs'akarh chordhve kshepanardhadhikambujam
Uttaram chardha-kampam syat tad-urdhve cha saro-ruham
(M., xni, 67, 76,
A
etc., see
the
I
I
lists
of
mouldings under UPAP!THA.)
similar
moulding of the column
Adhishthanoparisht(h)at tu chottaradho'vasanakam
Upapithoparisht(h)at tu janmadau chottarantakam
Padayamavasanam cha adhishthanodayena cha
:
I
I
I
(M., xv, 7-9.)
70
UPA.VEDI.
UPA-VEDI.
.UTTARA
f
I
UTTARA.
UTTANA-PATTA.
Page 70
U PA TULA.
UFA TULA.
Page 71
HINDU ARCHITECTURE
A
UTSAVA
moulding of the entablature
Uttarordhve chatush-pancha-shat-saptashtakam bhavet
similar
:
Purva-bhagika-manena
chottarochcharh
gunamsakam
I
I
etc., see the lists of
mouldings under PRASTARA.)
(M., xvi, 30, 59,
Its
(or terms of similar signification)
synonyms
:
Uttararh bhajanam adhararh adheyam s"ayanarh tatha
Uddhritarii cha murdhakam chaiva mahatauli svavarhsakam
I
etat
Prachchhadanasyadharam
paryayam iritam
I
I
(M., xvi, 56-58.)
(2) Vdstu-vidyd, ed.
Ganapati
Sastri, ix,
i
:
Atha vakshyami samkshepat pada-manam yathavidhi
Uttaropanayor madhya-gatam etat praklrtitam II
Kdmikdgama, (LIV, see under STAMBHA) The moulding at the top
of the entablature.
I
(3)
(4)
:
(xxxi, 107, see
Suprabheddgama
of a column.
STAMBHA)
:
A
crowning moulding
UTTAROSHTHA
under STAMBHA) The upper lip, the
(see
ovolo or the moulding above the cavetto or mouth (see Gwilt.,
Encycl fig. 867, and also the list of mouldings in the five orders,
,
e.g. Art. 2553).
Stambharh
navadha
vibhajya
bhago'nyah
vahanarh
bhago
ghato'sya
I
Padmarh tathottaroshtharh kuryad bhagena
it
(Brihat-Samhita,
UTTANA-PATTA A
LIII,
29.)
pavement.
'
chottana-pattam sakala-kanakhale . yas" chakara
made a broad pavement of (stone) slabs in the whole of Kanakhala.'
Vyddham
.
(An Abu
.
inscrip. of the reign
of
who
Bhumadeva
II,
v. 9, Ind. Ant., Vol. xi, pp. 221,
222.)
UTSAVA
in
(J^UTSEDHA)
The height of a draught animal (vahana)
comparison with that of the idol of
whom
the
former
is
the
vehicle.
(i)
Mula-bera-vas"arh
Brahma
AnyaiS
Evam
manam
utsavodayam iritam
I
(M., LV, 34.)
vishnu(s cha)-rudranam buddhasya ja(ji)nakasya cha
cha
manam tu samgraham
.
.
.
tu chotsavadlnam
I
I
sthavara(m)-jamgamadinam
I
(M. LXIV, 91-93.)
7
1
UTSAVA
AN ENCYCLOPAEDIA OF
Vihanga-raja-manaih cha lakshanam vakshyate'dhuna
Mula-bera-samottunga(m) tat-tri-padardham eva va
Utsavochcha-samarh vapi dvi-gunam tri-gunam tu va
Tri-gunam vadhikarh vapi tach-chatur-gunam eva va
Evam navodayam proktam uttamadi trayarh trayam
I
I
I
I
I
(M., LXI, 1-5.)
Vrishasya lakshanam samyag vakshyate'dhuna
Vayor abhimukharh sthapyarh pithe va chotsave'pi va
I
Vimane mandape vapi charopari
parinyaset
I
(M., LXII, 1-3.)
I
Three types
Mula-berodayam s"reshtha(rh) tri-padam madhyamam bhavet
Tungardham kanyasam proktam tri-vidham chotsavodayam
:
l
I
(M., LV, 35 -36.
Berotsedha-samarh ^reshtham karnantam
madhyamam bhavet
Bahvantaih kanyasam proktam utsavam vrishabhodayam
I
I
Lxn, 10-11.)
(Af.,
Nine kinds
:
Evam
lihga-vas"at proktam vishnu-bera-vaso(ad u)chyate
Mula-bera-samam vapi netrantam va putantakam
Hanvantam bahu-slmantam stanlntam hridayantakam
Nabhyantam medhra-simantam nava-manam chotsavodayam
Tad-ardham kautukotsedham kanyasadi trayam trayam
I
I
I
I
I
(M., LXIV, 2 4-28.
Athava tena mancna shoda^am^am vibhajite
Ekaikams'akam tasmat pancha-vim^amsakantakam
Kanyasad uttamantam syan nava-manam utsavodayam
Athava mula-berasya kesantarii tu bhruvantakam
Netrantam nasikagrantam hanvantam bahu-simakam
Stanantam hridayantam cha navyantam cha navodayam
Kanyasad uttamantam syat nava tad utsavodayam
Utsave chardha-manena kautukodayam iritam
I
I
I
I
I
I
I
I
Tan-manam chashta-bhagaikam nava-bhagavasanakam
I
Kanyasad uttamantam syan nava-manam kautukodayam
I
(M., LV, 37-46.
It is
measured in the
idol's finger
:
(M., LV,
Mula-berangularh chaiva manayed utsavodayam
Tat-tan-mana-vasat kechin mula-bera-vasan nayet
I
55.)
I
Utsave chotsavam proktam angulam mana-vi^vatah
|
(M., LXI, 21-22.)
72
UTSEDHA
HINDU ARCHITECTURE
UTSAVA-MANDAPA A
See
under
MANDAPA and
festive hall.
cf.
:
sriramabhadraya
Gopura-prakarotsava-maihtapair upachitarh
of Krishnaraya,
(Kondavidu Inscrip.
v. 27,
Ep. Ind., Vol. vi, pp. 237, 231.)
UTSAVA-VIGRAHA
Images
for procession, idols to
be carried in
procession.
idols to be carried
Utsava-vigrahala samarpimchi-' presented
cession
m
pro
'.
(Kondavidu
v. 28, lines 118-119,
Inscrip. of Krishnaraya,
Vol.
vi,
pp. 231, 232, 237.)
Ind.,
Ep.
called
The height
santika,
paushtika,
are
adbhuta
and
respectively
they
or
dhanada,
jayada, sarvakamika
of it.
i
the
breadth, J, i\, i J and twice
equal to
under ADBHUTA.)
(See M., xxxv, 22-26,
UTSEDHA
MANA)
(see
:
,
height of a buidling
the top of the dome
The
is
stated to be
measured from the basement to
:
(M., xxxv, 26.)
Utsedharh janmadi-stupikantam
are
significant.
The technical names of the proportions of the height
helght is
the
The first one is called Santika or peaceful. In this proportion
xxxv line 22) and this is aesthetically a gracefu
equal to the breadth (M.,
be
one is called 'paushtika' which might
proportion. The second
'
;
or perfect. In this proportion
rendered as strong, eminent, rich, complete,
and this would give
the height is 1 1 of the breadth (ibid., line 22)
'
is
called
one
The third
jayada or joy-giving.
building a good stability.
and this
line 22)
In this proportion the height is i* of the breadth (ibid.,
two
names,
to the building. The fourth one has
gives a pleasant appearance
In
'
or
dhanada
wealth-giving.
and
sarva-kamika or good in every way,
and
line
according
23)
this proportion the height is if of the breadth (ibid.,
'
this would make the
sarvakamika
term
the
of
to the literal meaning
'
;
;
;
'
'
'
;
adbhuta
beautiful. The fifth or last one is called
building strong as well as
breadth
the
twice
is
(ibid.,
In this proportion the height
or marvellous.
and
loftiness
gorgeous look
line 22) ; and this would give a wonderful
to the building.
The comparative
structure
is
height of the component
technically called 'ganya-mana.'
members of an
The
architectural
details thereof will
be
found under GANYA-MANA.
Six
(full
kinds
height
of
measurements
of the
image),
are
an image
prescribed for
pramana
73
(breadth),
parimana
:
mana
(width
UDAPANA
AN ENCYCLOPAEDIA OF
lambamana (length by the plumb-lines), unmana
and upamana (measurement of the interspace, e.g. between
the two feet, M., LV, 3-9, see under MANA).
Of these, mana or height
is stated to be
with
nine objects such as the adytum, door,
compared
basement, and the height of the worshipper, etc. (ibid., lines 11-14, see
under MANA). In each case, the height of the idol admits of nine kinds
or circumference),
(thickness)
as
made equal
it is
to nine successive parts of the object
(ibid., lines 15-33).
with the worshipper, it is equal to his full height,
When compared
reaches his hair-limit (on the forehead), nose-tip, chin,
shoulder), breast, heart, navel and sex-organ
arm-limit (to the
:
Kanyasad uttamantam syad yajamanodayam param
KeSantam nasikagrantaih hanvantam bahu-slmakam
Stanantarh hridayantarh cha nabhyantam medhra-simakam
Navadha kanyasantam syat sthavaram jangamodayam
I
I
I
I
(M., LV, 30-33.)
The
height of the riding animals (vahana) of the gods is divided
into two kinds, utsava and kautuka (see details under these
terms). The
latter
is
stated to be half of the former,
any other independent
signification.
and
it
does not seem
The former
is
to bear
with
compared
the height of the main idol, exactly in the same way as the idol is compared with the height of the worshipper (see e.g. M., LXIV, 24-28
LV,
;
under UTSAVA).
40-43,
UDAPANA A
well,
a pool or pond near a well.
Ima-kshayamada-pushkaranlnam
paSchima-pushkaraniih
udapanaarama-stambhah
(Mathura inscriptions, no. i, line 2, Cunningham, Arch.
I
Surv. Reports., Vol.
m,
p. 30.)
See Bhdgavadgltd, n, 46.
UDUMBARA
The
threshold of a house, a door.
Uchchhrayat pada-vistlrna Sakha tad-vad udumbarah ' the
side-frame of the door has a breadth of J of the altitude
likewise
the threshold.'
sardham
tat
Sakha-dvaye'pi karyam
syad udumthe
of
thickness
the
two
side-frames
of
a
door is as many digits
barayoh
(angulas) as the altitude numbers cubits, one and a half that measure
gives the thickness of the threshold and upper timber.'
(1)
;
'
(Bfihat-Sathhita,
J.R.A.S., N.
'
(2)
Garbha-griha-udumbara-pramana
and the
threshold'.
MSS., Egg. 3147, 2253
S.,
LIII,
26
j
LVI, 13,
Kern,
Vol. vi, pp. 284, 318.)
measures of the central hall
(Prdsddamandana-Vdstu-^astraofSutra-dhara Mandana,
fol. 150.)
74
HI,
UDYANA
HINDU ARCHITECTURE
Plaksha-dvaram bhavet purvarh yamye chodumbaram bhavet
T^he back-door should be at the east and the udumbara or front-do or
I
(3)
(Matsya-Purdna, Chap. CCLXIV, v. 15.)
at the south'.
Tatha dvi-guna-vistlrna-mukhas tad-vad udumbarah
Chap. CCLXX,
(Ibid.,
(4)
I
Vistarad dvi-gunarh dvararh kartavyarh tu susobhanam
Udumbarau tad-urddhvarh cha nyasech chhasnarh (?)
galaih
v. 20.)
I
suman
II
Dvarasya tu chaturthamse karyau chanda-prachandakau
Visvak senavat sadantau sikharddhodumbara-sriyarh II
II
(Agni-Purdna, Chap. XLII, vv. 19-20.)
Bhavishya-Purdna (Chap, cxxx, v. 20)
'
except that it reads udumbarl in place of
(5)
'
'
has the same verse as (i)
udumbarah in the Brihat'
Sarhhitd.
(6)
New
See
Architecture,
ornaments, Chalukyan
Imp. Series, Vol. xxi, plates CL, figs. 2, 3.
UDDHRITA A synonym
of uttara or a crowning
UDBHUTA A
see
(cf.
A
ARAMA)
Esha natipratita
Ayodhya
22-26
under LINOA.)
:
me punyodyana
dris"yate
see
pleasure-garden.
n, 71, 21
Rdmayana (Cock)
Ibid.,
under UTTARA.)
kind of phallus.
(M., LH, 226, 233, 236, 238, 241,
UDYANA
durat ...
yaSasvim
I
II
:
Udyanani hi sayahne kriditvoparatair naraih M
Samantad vipradhavadbhih prakas"ante mamanyatha
Tanyadyanurudantiva parityaktani kamibhih
1
I
1
Aranya-bhuteva puri sarathe pratibhati mam
Nahyatra yanair dri^yante na gajair na cha vajibhih
Niryanto vabhiyanto va nara-mukhya yatha pura
Udyanani pura bhanti matta-pramuditani cha
Jananam rati-samyogeshvatyanta-gunavanti cha
I
I
1 1
I
Tanyetanyadya pasyami niranandani sarvas"ah
Ibid,
n, 67,
Surv.,
fillet.
(M., xvi, 56-58,
(i)
Arch.
jamb
19
II
:
Narajake jana-pade vahanaih Sighra-vahibhih
Nara niryantyaranyani naribhih saha kaminah
I
75
II
1 1
AN ENCYCLOPAEDIA OF
UNMANA
pleasure-garden, on the Dharagiri
Lilodyana or pramadodyana
hill, the scene of the second Art.
(2)
(Dhar Prasasti of Arjunavarman,
12, 31, verse 30, lines 36, 75,
lines
6,
Ep. Ind.,
Vol. VIH, pp. 99-100.)
UNMANA
The measurement of thickness or diameter.
MANA)
(see
(M. LV, 3-9,
y
under MANA.)
see
Atah-pararh pravakshyami manonmanarh vis"eshatah
I
(Matsya-Purana, Chap. CCLVIII, v. 16.)
Manarh
unmanam naham
tad-vistararh proktarh
eva cha
Pramanarh dirgham ityuktarh manonmana-pramanatah
II
II
(Suprabhedagama, xxxiv, 35, 36.)
UPAKANTA A
class
of the six-storeyed buildings.
see
(M., xxiv, 16,
UPATULA
(see
TULA)
A
part of the column.
(Brihat-Samhita,
UPATALPA An
upper
under PRASADA.)
room on
storey, a
LIII,
30, see
under TULA.)
the top of a house.
n,
(Raghu-vamsa, xvi,
UPADVARA
The
etc.)
smaller door.
(See
Mdnasara,
ix, 306,
309, 354, 360, under DVARA.)
Upadvaro(ramu)ktavat kuryad vishnu-dhisnam tu paschime
I
(M., ix, 109.)
Chatur-dikshu chatur dvaram upadvaram antaralake
I
(M., xxxi, 77.)
UPADHANA
UPAPADA
(see
A pillow,
under SAYANA)
The upper
an
or dwarf pillar which
article
is
of furniture.
subordinate to a
larger column.
Upapadani sarvesharh purva
mula)-pade tu yojayet
dvi-try-upapadena sarhyutam
(?
Ekopapada-sarhyuktam
Vedopapada-sarhyuktarh brahma-kantam Iritam
(cf.
PITHA)
The pedestal,
The pedestal
I
I
(M., xv, 239, 242, 244,
UPAPITHA
I
see also
245, 247.)
the upper pedestal, the
is
the lowest division
a site-plan.
in an order of columns, called also stylobates and stereobates.
It
the
the
consists of three principal parts
die,
cornice, and the base.
outer
surface,
'
(i)
pilaster,
The
but
not only placed under the base of a column or
frequently employed, both singly and together with the
pedestal
is
76
THL
5iTL PLXNS
U PA-pJTHA PLAM OF ZS PLOTS
JAABUT
HINDU ARCHITECTURE
UPAPlTHA
a pavement for temples and porticoes, over cornices of edifices
consisting of several storeys in height, and also as a platform for thrones,
latter, as
and
as seats for statues.'
In a Tamil fragment of a manuscript,
of Mayamata,
it
said that
is
divided into four
and
parts,
purporting
to
be a translation
'
the height of the shaft or pillar is to be
one to be given to the base which may or
may not be accompanied by a pedestal, and in the case where a pedestal
is joined to the base, the height of the pedestal may be either equal to
that of the base, or twice, or three times as much.
Here, the greatest
height, given to a pedestal, namely, three times that of the base, is equal
to a little more than a third part of the highest column, which is not
perhaps a bad proportion.'
(Ram Raz,
(2)
Kdmikdgama, xxxv
Ess. Arch. Hind., pp. 23, 26.)
:
Tad-varddhitopapitharh va tad-varddhita-masurakam
Adhishthanadi-shad-vargarh tan-manam upapithake
(3)
Suprabheddgama, xxxi, 12
II
II
(115).
(122).
:
tri-gunam garbhaiii ta(t)-tri-bhagaika-bhittikam
Sarhvikshya sama-bhumis' ched upapitham prakalpayet II
Pithasya
(4)
Mdnasdra
A
:
in which the whole area
under PADAVINYASA)
site-plan
squares
is
divided
into 25
(see
iti
smritam
(M,
sutra-sthitan
devan padastharhs chopapithake
In connexion with foundations
Ekamsam
nayet
equal
:
Panchamam pancha-panchamsam upapitham
Evam
I
I
vn, 6.)
(ibid., 70.)
I
:
koshtha-bhittyuchchhra(ya)rh
ghanam prag-uktavan-
I
Upapitham pade devan koshtham chokta-kramam nyaset
I
(M., XH, 38-39.)
In connexion with the
'
'
pita
or yoni part of the linga
:
Athava kumbha-dig-bhagarh padma-tunga(m) yugarhsakam
Sesham prag-ukta-vat kuryad upapitham prakalpayet
The pedestal of the column (M., xm, 2-156)
I
:
Its situation
:
Adhishthanonnate dese chopapitham hi samsritam
Its
heights (cf. also
I
Mayamata, quoted above)
Ete tattvam adhishthanam tach-chatur-amsakam
Vibhajet tvadimamsena ekaikamsam vivardhanat
Tad ashtamsavasanaih
(2)
:
syaj
77
janmadi-pattikantikam
I
I
I
I
UPAPITHA
AN ENCYCLOPAEDIA OF
Evam
tu chopaplthochcham navabhir bhedam
Athava kshudra-harmye tu chatur-bhagarhs"am
iritam
I
unnatam
Dvi-bhagam va tri-bhagam va chatur-bhagam athapi
Pancha-daSodayam vapi ri(s"a)ntikadi-sarodayam
I
va.
I
I
(3~9
The
general
description
ftt also
10-15, under UTSEDHA.)
:
Bhaga-padadi-sarvesham udgrivaih vastu-vaSan nyaset
Padanam api sarvesham patrajatibhir alahkritam
Antre natakair yuktam padmanam tu dalair yutam
I
I
I
Chatur-asYakritim chaiva prathamadin kampa-vajanaih
Athava ratna-pushapas' cha patradyair alankritam syat
Anyair yuktam svalankritya prativajana-de^ake
Prativajanakam tesham krite karkarikritam
Anyena vantaram chaiva vyala-sirhhadi-rupakaih
I
I
I
I
I
Khadgeva Srohi-samyuktam vrittasram pushpakair yutam
Anyanyamuktarh cha sarvesham yuktya tatraiva yojayet (145-154).
I
I
Sixteen types of pedestals are described under three technical names,
details whereof are given below (37-127).
(The mouldings are arranged
in the successive order, as given in the text,
I.
Vedibhadra
(a)
(b)
24 parts
27-53)
:
Parts
:
(1)
Upana
(2)
Kampa
(3)
Griva (dado)
..
..
(4)
Kampa
.
.
(plinth)
(fillet)
(fillet)
(5)
Vajana
(fillet
(6)
Kampa
(fillet)
12 parts
..
..
..
.
.
.
.
.
.
.
with greater projection)
.
.
.
.
.
.
i
. .
4
.
.
i
..
2
.
(2)
(3)
Kampa
..
. .
. .
.
(fillet)
..
..
..
..
..
(5)
Kantha (dado)
Kshepana (projection)
..
..
(6)
Padma (cyma)
(7) Pattika
(fillet)
Kampa
(fillet)
(8)
12 parts
i
..12
..
(4)
5
:
Janman (plinth)
Padma (cyma)
(1)
(c)
(lines
from bottom upwards.)
.
i
$
5
..
i|
.
.
..
.
.
.
i
.
.
.
.
.
.
\
.
.
.
.
. .
\
:
(1)
Paduka
(2)
Abja (cyma)
(plinth)
(3)
Kampa
(4)
Griva (dado)
(fillet)
78
..
...
..
ij
..
..
..
i|
. .
. .
.
..
..
..
.
J
5^
HINDU ARCHITECTURE
UPAPlTHA
Parts
(d)
(5)
Kshepana
(6)
Padma (cyma)
.
.
.
.
.
.
\
(7)
Vajana
(fillet)
.
.
.
.
.
.
i
(8)
Kampa
(fillet)
.
.
\
12 parts
(projection)
.
.
.
.
.
.
. .
.
.
:
(1)
Upana
(2)
Abja (cyma)
(3)
Kampa
(plinth)
.
..
..
..
.
.
, .
.
.
.
.
.
.
.
.
i
.
.
.
5
i
.
(fillet)
(4)
Karna
(5)
Pattika
(6)
Kandhara (dado)
. .
.
(7)
Kampa
(fillet)
..
..
..
(8)
Vajana
(fillet)
..
..
..2
(9)
Kampa
.
.
(ear)
.
.
(fillet)
These are suitable
(fillet)
for
all
.
.
kinds of buildings
.
.
:
Sarva-harmyeshu yogarh syad vedibhadram chaturvidham
Pratibhadra (lines 53-89)
II.
I
(52)
:
(a)
26 parts
Parts
:
(1)
Janman
(2)
Kampa
(3)
Abja (cyma)
.
.
(4)
Kampa
.
.
(5)
Griva (dado)
.
(6)
Kampa
.
(7)
Ambuja (cyma)
(8)
Kampa
(9) Antarita
(plinth)
(fillet)
(fillet)
(fillet)
32 parts
..
. .
.
.
(fillet)
(fillet)
(10) Prati-vajana (cavetto)
(b)
..
.
..
i
2
. .
.
.
,
.
.
.
.
.
.
.
. .
.
.
.
..
..
.
.
.
.
3
.
.
i
1 1
.
.
i
.
.
2
..
.
3
.
i
..
..
..
i
..
..
..
2
.
.
:
(1)
Janman
(2)
Kshepana
.
.
.
.
.
(3)
Padma (cyma)
.
.
.
.
.
(4)
Kshudrabja (small cyma)
.
.
.
.
|
(5)
Kampa
.
.
(6)
.
.
J
2
(7)
(8)
(9)
(10)
(plinth)
(projection)
z\
.
.
.
.
Kandhara (dado)
.
.
.
.
Kampa
..
..
Abja (cyma)
..
..
Pattika
..
..
..2
..
..
..
(fillet)
(fillet)
(fillet)
Padma (cyma)
79
..
|
UPAPITHA
AN ENCYCLOPAEDIA OF
Parts
(u) Kampa (fillet)
(12) Kandhara (dado)
(15)
Kampa
Padma
Kampa
(16)
Kandhara (dado)
(if)
(14)
(17) Uttara
(fillet)
(fillet)
Kshcpana
(19)
Ambuja (cyma)
(20)
Kapota (corona)
(projection)
Alinga (fillet)
(22) Antarita (fillet)
Prati-vajana (cavetto)
33 parts
Janman
(2)
Kampa
(3)
Padma (cyma)
(4)
Kampa
(5)
Kandhara (dado)
(6)
Kampa
(7)
Ambuja (cyma)
(8)
Vajrakumbha (round
Dala (petal)
(9)
(plinth)
..
10
..
..
|
..
..
j
..
..
..
z
..
..
..
i
..
..
..
..
..
..
..
..
..
..
..
z
..
..
..
ij
..
..
..
3|
..
..
j
. .
.
It
3
..
..
(fillet)
(fillet)
j
.
j
(fillet)
..
..
J
.
. .
2
..
..
..
f
..
..
..
5
..
..
..2
pitcher)
Gala (dado)
(u) Uttara (fillet)
(12) Ardha-kampa
.
..
j
..
7
(13)
Saroruha (cyma)
..
..
..
i
(14)
Kapota (corona)
..
..
..
3
(15) Alinga
(1 6)
(half-fillet)
(fillet)
Antarita
(fillet)
(17) Prati-vajana (cavetto)
(d)
..
..
:
(1)
(10)
..
(fillet)
(21)
(e)
..
(cyma)
(18)
(23)
..
..
33 parts
..
..
..
j"
..
..
..
r
j
:
(1)
Janman
(plinth)
..
..
..
2J
(2)
Kampa
(fillet)
..
..
..
j"
(3)
Padma (cyma)
.
.
.
.
(4)
Kampa
.
.
.
.
(5)
Karna
(fillet)
.
.
3
j
(ear)
(6)
Kampa
(7)
Ambuja (cyma)
(fillet)
80
..
..
..
j
. .
.
.
.
|
.
Hl.VDU ARCHITECTURE
UPAPTTHA
lUtna-patta (jewdled
(8)
U-'-.-<.
<<
filet)
..
frrito]
..
..
\
..
..
..
\
J
..
..
i
..
..
(10) Ksfaepana (projection) ..
(n) Kar9a(6K)
..
..
(w) KjfaefKua (projection)
(13) Ambaja (cyma)
(14)
KAe{pa
(15)
Ka*ha
(16) Uttaza
(17)
..
......
(projection)..
(dado)
(fillet)
..
Aidk^aMpaCkaM^let)
Ambuja (cyma)
(19)
Kapota (corona)
(21) Antarita
Vajana
(23)
..
,
,.
..
|
..
..
(fiDetj
C *X<Cof kings (91)
1
(fines
\
2
|
(fillet)
Maacfaahbadia
i
..
....
(18)
(20) Afinga (filet)
HI-
J
90-124)
AM ENCYCLOPAEDIA OF
UPAPlTHA
(b)
31 parts
Parts
:
Upana
(2)
Kampa
(3)
Saroruha (cyma)
(4)
Kshepana
(5)
Kampa
(6)
Karna
(7)
(8)
(plinth)
(fillet)
(projection)
(fillet)
(ear)
Ambuja (cyma)
Gopana (beam)
(9) Prati-vajana (cavetto)
(to)
Gala (dado)
(n) Uttara
.
.
\
.
.
.
.
.
.
3!
3
..
..
..
..
..
J
..
..
..
|
..
..
..
..
..
..
i|
aj
. .
.
.
.
.
3
.
.
.
.
.
8
.
..
i
..
..
\
..
..
..
i
..
..
..
3
..
..
..
..
..
..
..
..
i\
(plinth)
..
..
..
2
(fillet)
..
..
Kampa
Abja (cyma)
Kapota (corona)
(fillet)
(fillet)
(fillet)
(17) Prati-vajana (cavetto)
32 parts
.
..
(16) Antarita
(e)
.
..
(13)
(15) Alinga
..
.
..
(fillet)
(12)
(14)
..
.
..
(1)
\
:
(1)
Upana
(2)
Kampa
(3)
(4)
Mahambuja (large cyma)
Kshudrabja (small cyma)
(5)
Kampa
(6)
Antarita
(7)
Kampa
(8)
Padma (cyma)
.
(fillet)
(fillet)
.
2^
.
..
..
ij
.
.
.
.
\
.
.
.
.
2
. .
.
.
.
.
\
.
.
.
.
.
.
\
.
.
.
.
.
.
i
. .
(fillet)
(fillet)
(9) Pajtika
.
\
.
.
(10)
Padma (cyma)
..
..
..
(n)
Kampa
..
..
..
(12)
Gala (dado)
..
..
..
..
..
\
..
..
..
\
..
..
..
\
..
..
\
..
..
..
\
. .
.
.
.
\
(13) Uttara
(fillet)
..
(fillet)
(14)
Kampa
(15)
Ambuja (cyma)
(16)
(fillet)
Ardha-kampa
(half-fillet)
(17) Prati-vajana (cavetto)
(18)
Antarita
(19)
Karna
(20) Uttara
(fillet)
.
\
\
5
..
..
..
3
(fillet)
..
..
..
i
(fillet)
..
..
\
...
.
.
\
(ear)
(21)
Kampa
(22)
Padma (cyma)
82
HINDU ARCHITECTURE
UPAPlTHA
Parts
(23)
Kapota (corona)
(24) Alinga
(fillet)
Gala (dado)
(27) Uttara
34 parts
(d)
.
.
(fillet)
Janman
(2)
Kampa
(plinth)
(fillet)
(3)
Abja (cyma)
(4)
Kshudra-padma
(5)
Kampa
(7)
(8)
Kampa
(10)
.
.
(fillet)
Padma (cyma)
Amsuka (filament)
(n) Kapota (corona)
(12)
Antara
(fillet)
(13)
Karna
(ear)
14)
Uttara
(fillet)
(
.
.
.
.
.
.
3
.
.
,
.
.
.
.
.
.
.
.
.
.
2
.
.
.
.
.
.
i
\
..
..
..
3
..
..
..
\
..
..
cyma)
3
..
..
..
..
..
.
.
.
.
.
.
.
.
.
.
i
...
.
.
.
.
\
..
..
..
\
..
..
..
z
..
..
..
ij
..
..
..6
(small
(fillet)
Gala (dado)
Antara (fillet)
(9)
.
:
(1)
(6)
.
(fillet)
(25) Antarita
(26)
.
\
7
and
.
.
.
.
.
i
.
(15)
Kampa (fillet)
..
(16)
Abja (cyma) ..
Gopana (beam)
Vajana (fillet)
..
..
..
..
..
..
..
..2
(17)
(18)
Projections (lines 125-144)
The
..
..
\
J
3
:
projection of the plinth
(and other members)
equal to the
is
moulding, larger by one-fourth, one-half, three-fourths, or twice
Tat-tad-angani sarvesham upanadi tathakramam
Tat-samam nirgamam vapi tat padadhikam eva cha
:
I
Tad ardhadhika-bhagam vapi tat tri-bhagadhikam
Tat samadhikam evam va padad upana-nirgamam
I
tatah
I
I
(128-131).
Janma-nirgamam evoktam padma nirgamam ishyate (138).
The projection of the cyma is not up to twice of it
Tungarh tat-samam evam va padadhikyardham adhikam
Padonadvi -gun aril vapi padmam evam tu nirgamam (139-140).
Upamanasya manena yuktya padmasya tu nirgamam (142).
I
:
I
I
I
The
projections of the other mouldings are (generally) equal to
Kshudra-padmani kampani tat-samam vatha nirgamam
Pattikadini sarvani tat
samam nirgamam bhavet
83
|
them
I
(143-144).
:
AN ENCYCLOPAEDIA OF
UPAPITHA
The
projection of the (whole) pedestal (lines 20-35)
The height of the
pedestal
is
divided into
3,
:
4, 5, 6, 7, 8, 9, 10,
n,
of these i, 2, 3, 4, 5, 6, 7 or 8 parts are
12, 13, 14, or 15 equal parts ;
But the choice of that proportion which
projections (lines 20-26).
would make it look beautiful is left to the discretion of the artist
:
Purvarh nirgamarh proktarh yan-manoramyam anayet
The extent of projection
I
(26).
:
Nirgamam chopapitham(thasya)
syat
pada-bahyavasanakam
I
(34).
These pedestals of the Indian architecture may be compared, in the
for a general
following pages, with those of the early European orders,
knowledge of the
subject.
be considered a component part of an
order is of little importance. There are so many cases that arise in
that we
designing a building, in which it cannot be dispensed with,
think it useful to connect it with the column and entablature. Vitruvius, in the Doric, Corinthian and Tuscan orders, makes no mention
Whether the pedestal
'
(5)
is
to
of pedestals, and in the Ionic order he seems to consider them rather as
a necessary part in the construction of a temple than as
the order itself.' (Gwilt, Encycl, Art. 2601.)
belonging to
The
height of the podium, or pedestal, with its cornice and base,
level of the pulpitum, is one-twelfth part of the diameter of the
orchestra (in a theatre).
The columns on the podium, with their
'
from the
and bases, are to be one-fourth of its diameter high. The
and cornices of those columns are one-fifth of their height.
The upper pedestal, including the base and cornice, is half the height
of the lower pedestal. The columns on this pedestal are one fourth
capitals
architraves
less in
'
height than the lower columns.'
The
architrave and
its
cornice
are
one-fifth
of the
columns.
If
be a third order, the upper pedestal is to be half the height
of that under the middle order and the architrave and cornice one-fifth
there
is
to
of the columns.'
(Vitruvius,
Book V, Chap,
vn.)
Tables showing the height of pedestals in ancient and modern works
Plinth
*
Doric
(basel
Mouldings
Die
:
..26
Palladio
Scamozzi
,
..
30
14
80
20
15
88-
22j
84
=
=
140
HINDU ARCHITECTURE
Ionic
UPAPITHA
Plinth (base)
in
Mouldings
above
minutes
plinths
Die
Cornice
Total
:
Temple of Fortune
Virilis
.
.
Coliseum
.
.
Palladio
.
.
Scamozzi
.
.
Corinthian
44
=
93l
33^
28
14*
30
15
17^
29
9*
'S
971
150
:
Arch of Constantine
..
Coliseum
.
.
.
.
23 \
Scamozzi
.
.
30
Composite
153
23
Palladio
15
:
Arch of Titus
Arch of the Goldsmiths
.
.
55
141
.
.
46
144*
Arch of Septimus
Severus
.
.
30
'4<>i
Palladio
.
.
.
.
33
30
133
Scamozzi
'5
I80J
i?
=
AN ENCYCLOPAEDIA OF
UPAPITHA
II.
In the Doric order (Art. 2665)
r
Cornice, 6 parts
.
.
{
i.
Listel
2.
Echinus
3.
HINDU ARCHITECTURE
UPAPITHA
Height in
parts of a
module
UPABHAVANA
AN ENCYCLOPAEDIA OF
The ends of the ring (of the Konkadara plates of
Allava-Dodda) are
secured in the crescent-shaped base of an
oblong pedestal which bears a
recumbent figure of the sacred bull Nandin, with the
symbols of the
sun and the moon in front of it. (Ep. Ind., Vol. v,
p. 53.)
'
One
lower pedestal (upapitha), on which this
image stood, set
with jewels (and measuring) one muram and eleven viral in
length,
three-quarters (of a muram) and five viral in breadth, and seven viral
(7)
in height.'
(Inscription of Rajaraja, no. 34, para. 6, H.S.LI., Vol. n, p.
144.)
'One
pedestal (having or called) an auspicious mark (bhadra).
Hiadra, occurs in two other inscriptions in the description
of a pedestal (above, p. 223, para.
4 ; p. 225, para. 4).' (V.S.I.I., Vol.
ii, no. 79, para. 4, p.
398, note 2.)
(8)
The word,
Ram
See Essay on Arch, of Hind.,
Raz, Plate i, figs. 1-12.
See
(10)
pedestal of statue inside the great temple at Gaya,
Cunningham, Arch. Surv. Reports, Vol. i, Plate v, p. 6, ibid., Vol, ix, Plate in
(plan and section of pedestal for statues).
(9)
UPABHAVANA A
sub-temple.
Caused to be erected a sub-temple
(upabhavana) adorned with the
images of Hari and GanesV. (Ep. Carnal., Vol. v, Part i, Arsikere
Taluq
n 79. Transl., p. 142, last two
'
-
lines.)
UPAMANA
The measurement of
the interspace.
UPALEPANA-Plastering.
Tad-vasati-sambandhi -nava-karmmottara -bhavi -khanda sam-marjjanopalepana-paripalanadi
varsha
I, line
I
(Konnur
37, Ep. Ind., Vol. vi, pp. 31, 36.)
Deva-griham karapya punas tasya upalepana
(Buchkala
Naga Bhatta, lines 17-18, Ep. Ind., Vol. ix, p. 200.)
I
UPAVANA A
Upavanam
sphutita-
Inscrip. of Amogha-
Inscrip. of
pleasure-garden, a planted forest.
atha chakre tena
meghesVarasya sphurita-kusumarenu-
s'reni-chandratapa-s'rl
i
Avirata - makaranda - syanda -sandoha - varshair
lilayan-tradharagrihatvam
of SvapnesVara,
v. 26,
II
ddhrita -rati -pati-
(Two BhuvanesVar
Inscriptions, no.
A
Ep. Ind., Vol. vi, p. 202.)
UPAVASANA A coverlet, an upper garment.
UPAVEDI The upper or the smaller pedestal,
a seat or dais.
Suddha-toyena sampurya vedikopari vinyaset
Upavedyopari sthapya choktavach chashta-mangalam
|
|
(M., LXX, 41, 45.)
UPANA
HIJ\DU ARCHITECTURE
UPASATHAGARA A
building belonging to a Buddhist monastery
used for the performance of the priestly ceremony of confession, in
which every member of the order is to acknowledge the faults he has
W. Geiger MahavamSa, p. 296.)
committed.
(Childer's 5. F., Kern, quoted by
:
UPASTHANA
A
Asthana-mandapa)
(cf.
reception-room.
The meritorious gift of a reception-room (upasthana) by the two
men
(Junnar Inscriptions, no. 2, Arch. Surv., New Imp. Series, Vol. iv,
'
'
P- 92.)
UPASTHANA-BHUMI A
hall of audience.
Pillar Inscrip.
.
.
hall of audience.'
whose
'
Yasyopasthana-bhumi
.
of Skandagupta, line
i,
C.
I. /.,
Vol. in, F. G.
(Kahaun Stone
I.,
no. 15, p. 67.)
UPANA A
rectangular moulding, a fillet ; it corresponds, in the
import of the term and the purpose to which it is applied, to the
of a column or the
plinth or the lower square member of the base
projecting base of
any moulding
(cf.
Ram
Raz, Ess. Arch. Hind.,
P- 25).
Atha
vakshyami samkshepat pada-manam yatha-vidhi
I
Uttaropanah(-y)or madhya-gatam etat prakirtitam II
'
Apparently upanaha is used in the sense of upana.'
'
'
(Vastu-vidya, ed.
Ganapati
Sastri, ix, i.)
The bottom of
the foundation-pit :
Tat-pada-mule dese va tathopana-prades'ake
I
Kudya-stambhe griha-stambhe harmya-garbham vinikshipet
I
(M., xn, 130-131.)
The moulding
(plinth) at the
bottom of a pedestal,
it is
also called
Janman
Utesedhe tu chatur-vims'at panchamsam upanam Iritam
Ekena kampam ityuktarh grivochcham dva-dasarhs'akam
:
I
I
Kampam ekam tu vedarhs'am vajanam kampam ariisakam
Vedibhadram iti proktam athava dva-das'ariis'akam
I
I
Janma
dvayarhs'akarh
padam kampam ardhena
(M., xra, 36-40,
The
see
the
lists
karayet
I
of mouldings under UPAP!THA.)
'
moulding of the base is also called janman ':
Eka-vims'ams'akam tunge kshudropanarh s'iva.riis'akani
Janmadi-vajanantam cha sapta-vimsamSam uchchhrayet
Dvi-bhagam janma-tungarii syat tat-samarh chambujodayam
similar
I
I
I
(M., xiv, 44, 65-66.)
It
is
also called pdduka
and
vapra, see
ADHISHTHANA.
89
the
lists
of mouldings
under
UBHAYA-CHANDITA
UBHAYA-CHANDITA-A
AM ENCYCLOPAEDIA OF
site
of one hundred and
sixty-
plan
nine square plots.
(M.
15-16,
vii,
cf.
URAGA-BANDHA
PADA-VINYASA.)
(See under ADHISHTHANA)-A class of bases
It
has four types
differing from one another in the height and number of the mouldings.
(See the details under
ADHISHTHANA.)
It
like the face of a snake
(uraga) and is furnished with two
the top (M., xiv,
The pitcher-shaped
44).
moulding of this
class of bases is circular or round.
(M., xiv,
is
shaped
pratts at
45.)
USHNISHA The
top of a building, a diadem, a crownet, the top
knot on the Buddha's head.
(i)
Mdnasdra
:
The top
of a building
Salavrite salakute cha nide cha Sikhare
chordhva-kutake
Lupa-yukta-bhramakare tat-tad-ushmsha-desike
:
I
I
.
.
.
Stupikavahanam bhavct
the crown of a Buddhist
I
(M>
The top knot on
xvni> 333,334.)
image
Bauddhasya lakshanarh vakshye samyak cha vidhinadhuna
Dvi-bhujam cha dvi-netram cha choshnishojjvala-maulikam
:
|
(M., LVI,
_,,
The crown of the statue of a devotee
(bhaktd)
Ushnishat pada-paryantam
bhavottara-Satamlakam
Ushnlsham tu chatur-matram netrantam tu
yugangulam
I
I, 10.)
:
I
(M., ux, 14-15.)
.
Referring to the situation of the plumb-lines :
Ushnlsha-madhyame chaiva lalatam(sya) chaiva
Ushnishat tu yatha parsve
tu
lalajasya
Ushnishat purva-parsve tu
yathoktam
I
madhyame
partake
netra-madhyame
I
I
I
(M., LXVII, 98, 103, 107.)
The word
ushnisha
'
usually means a turban, but is used by the
Buddhists as a technical term for the
top knot on Buddha's head by
which all figures of him are
he is never represented in
distinguished
Indian sculpture with
sort
of
any
covering on his head.' Dr Bureess :
(Ind. Ant.,
Vol. ix, p. 195, note
USHNISHI A
3.)
type of round buildings.
(i) Agni-Purdna,
Chap, civ, vv. 17-18 (see under PRASADA)
Garuda-Purdna, Chap. XLVII, vv. 21, 23,
28-29 (see under
9
PRASADA).
USHNISHA
Pane 96
OHAPOHA
HINDU ARCHITECTURE
U
'
OHAPOHA
'
a
uha
a
implies
conjecture,
the
which
a hypothetical reasoning
right recognition,'
helps
guess,
or
additional
member to fill
an
hence architecturally
moulding
apoha or pratyuha means a removal,'
up any unspecified gap
Philosophically
'
'
'
'
'
'
;
hence leaving out a moulding, or an architectural member to complete
a structure. Thus the former implies the addition and the latter
the omission of a moulding.
(1)
Mdnasdra
:
In connexion with the ground-plan
Ajnanad anga-hinam cha karta chaiva vinagyati
:
Tasmat
tu silpibhih prajnair
I
uhapohan na yojayet
I
(M., VH, 268-269.)
Referring to two-storeyed buildings
:
Sarvesham devata-harmye purvavad devatah nyaset
Ukta-vach chhastra-margena uhapohena yojayet
I
I
(M., xx, 105-106.)
In connexion with penalties for defects in important members
Uhapohadi-klrtibhyam Sastrokte tu yad(th)a tatha
:
I
Uhi(uha)-hina chokta-hma tvadhikartri(ta) vinalyati
Tasmat tu s"ilpa-vidvadbhih parigrahoktavat kuru
I
I
(M., LXIX, 66-68.
(2)
Kdmikagama, XLI
Sabhavad vihita bahye prasadavad
:
alankrita
I
Cha-pratyuha-samyukta ya sabha sa cha malika II
Antara-prastaropetam uha-pratyuha-samyutam
(3).
1 1
(13).
XLI:
Ibid,
Cha-pratyuha-samyuktam yatha-yukti yatha-ruchi
(3) Suprabheddgama,
XXXI,
71
II
(37).
:
A
quadrangular moulding of an arch :
Vritter urdhve u(u)ham kritva chatur-ayatam eva tu II
(For the context, see vv. 68-70, under TORANA.)
(4) Mahdbhdrata, i, 3, 133
Nagalokam
.
:
.
aneka-vidha-prasada-harmya-valabhi-
.
niryuha-fiata-samkulam
I
91
DRDHVA-DHARANA
AM ENCYCLOPAEDIA OF
ORDHVA-DHARANA A kind
of phallus and pedestal combined.
In connexion with the phallus
:
Berasyaika-sila proktarh linganarh tach-chatuh-s"ila
Nandyavarta(a)-kritih sthapya tatha chaikaSmana bhavet
I
Atho(dhah) pashana-kurmakhyarh chordhva-dharanam
tam
(M.,
I
ORDHVA-SALA
(see
&ALA)
The upper room
Referring to two-storeyed buildings
LII,
I
smri-
iti
176-178.)
or hall.
:
Nana-gopana-sarhyuktam kshudra-nasyair vibhusitam
Ardha-Sala-visesho'sti chordhva-s'ala-samanvitam
I
I
(M., xx, 66-67, etc.)
OVARAKA A
kind of room, an inner room, a store room, an
apartment.
Ramadattasya deya-dhamas" cha bhikshu-griharh uyarakas" chabharyayah sa velidattaya deyadharma uyarakah
A dwelling for the ascetics and an uyaraka (has) been dedicated as
a charitable gift by Ramadatta
and an uyaraka (has been given)
as a charitable gift by his wife Velidata (Velidatta), whose husband is
I
.
.
.
alive.
Uyaraka apparently corresponds with uvaraka of Nasik no. 24.
Transactions of Congr. 1874, p. 347, which Professor Bhandarkar renders
by apartment. Childers' Pali Diet, gives ovaraka with the meaning of
'
inner or store room
H. Jacobi.
and
this
explanation
(Ind. Ant., Vol. vn,
RIKSHA-NAYAKA
(see
Kuda
fits
here also very
Trof.
well.'^
inscriptions, no. 8, p. 256.)
SI&HA)
A
kind of round buildings.
(Agni-Purana, Chap, civ,
w.
19-20,
see
under PRASADA.)
E
EKA-TALA(-BHUMI)
(see
under
PRASADA)
A
single-storey
building, the ground floor.
Ahatyam (vibhajya) ashtadha harmyarh ganya-manam ihochyate
Utsedhe chashta-bhage tu charhsena masurakam
Dvi-bhagarh changhrikottungarh mancham ekena karayet
Kandhararh tat-samam kuryat tad-dvayarh Sikharodayam
Tad-ardharh stupikottungarh vaktrarh shad-vidham iritam
I
I
I
I
I
(M., xix, 20-24.)
92
HINDU ARCHITECTURE
EKA-PAKSHA
Athava manu-bhagarh tu harmya-tunga(m) vibhajite
Sa-tri-padam adhishthanarh tad-dvayam changhri-bhajite(-konnatam)
Tad-ardham prastarotsedharh yugarhsam griva-tungakam
I
\
I
Tad-ardharii sikharottuhgam tad-urdhve stupikams'akain
Griva-manchordhvam arhsena yatheshtadhishthana-sariiyutam
I
I
Urdhve padodaye bandham(=4)bhagam ekamsa(rh)-vedikaml
Sesharh purvavat kuryad ashta-varga-vido viduh
Evam proktarh harmyake madhya-bhadram
I
(Ibid.,
80-86.)
I
Sala-koshtham dig-vidike kuta-yuktam
Hara-sranta-nasika-panjaradhyam
Kuryat sarvam vedika-bhadra-yuktam
Harmya-tara-samarh chatur-asrakam tat-tri-padam ardham athapi
cha
I
I
I
I
Kudya-tara-samadi (?) yatha-kramam
Kanyasarh tri-vidham mukha-mandapam
I
Tan-mukha-mandapam mukhya-vimane
Madhya-vimanasya mandapa-parsve
Ambaram dandam atha dvayam
I
I
I
I
Harmya-vagad upaveSana-yuktam
Yat tat kshudra-vimane tan-mukhe mandapam
I
syat
(Ibid.
I
192-203.)
Anya-mandapa-deSe yan-manoramyam alankritam
Mandape prastarasyordhve karna-harmyadi-manditam
Yat tan namantaralarh chordhve nasika jala-panjararh vapi
I
I
I
Tat-tan-mandapa-madhye prasada-vasad dvara(m)-saihkalpyam
Purvavat kavata-yuktaih mandapasyantah sa-kila-yuktam
|
I
(Ibid.,
213-217.)
kuryad adhikam chopapitha(m) ruchirartha(ih)sarh-yutam
Sopapltha-bhavanair yutam tu va karayet tu kathitarh puratanaih
Evam sarva-harmyalankara-yuktya nana-padair vedika-tara-mafi,
Eka-bhumirh
I
I
cham
EKATALA
(see
EKA-PAKSHA
the footpath
(kuryat) ((Ibid., 258-261.)
under TALA)
(cf.
on one
A
DVIPAKSHA)
kind of sculptural measurement.
One
side,
a road or wall having
side only.
Antar-vithI chaika-pakshaih bahya-vithi dvi-pakshakam
I
(M.,
Anyat salam tu sarvesharh chaika-pakshalaya-kramat
Anyat salam tu sarvesham alayartham dvi-pakshakam
ix, 396.,
I
I
(M., xxxvi, 86-87.)
See also
M.,
ix,
351-354, 465, under DVI-PAKSHA.
93
AN ENCYCLOPAEDIA OF
EKA-LlftGA
EKA-LlNGA The
single phallus as
opposed
to phalli in group.
Sarvesham chaika-harmye tu ekaika-linge tu sarhmatam
Bahudha sarva-lingeshu tat-tri-karnam na karayet
Dvi karnam bahu linge tu tri karnarh-chaika-lingake
I
I
I
Evam
tu chaika lingam syad vistaram parikirtitam
I
(M., ui, 71-73, 82.)
EKA-SALA
Mansion consisting of one row of
buildings.
(M., xxxv,
9, 35.)
EKA-HARA (cf. KARA) With one chain-like ornament below the
neck of the column, head or astragal.
In connexion with a single storey ed building
Sala-kuta-dvayor madhye chaika-hara sapanjaram
:
EKADA&A-TALA An
(M., xix, 57.)
I
eleven-storeyed building, the eleventh storey.
Tad-adhastat talarh chaika-das"a-dva das"a
bhumikam
I
(Kamikagama, xxxv, 86.)
Sesha-bhagam
tu sarvesham yuktya tatraiva yojayet
Evam
I
vistara-ganyam syat tunga-ganyam ihochyate
Janmadi stupi-paryantam uktavat samgraham viduh
I
I
Eka dasarhga-bhagena dala-talodayadhikam
Tad eva sardha-bandh(v)amiam masurakottungam ishyate
Saptamsam pada-dirgham syat tad-ardam prastarodayam
Sesham prag-uktavad ganyam eka das"a-talodaye
I
I
I
I
Talordhvordhva-tale sarve karna harmyadi-manditam
Eka bhaga-dvi-bhagarh va parito'lindam ishyate
I
I
Nanadhishthana-samyuktam nana-padair alahkritam
Sala-kutaig cha uktavat samalahkritam
Harantare kuta-ala cha griva-de^okta-devatan(h)
I
I
I
Anu-salashta-dik-palas tat-tad-vahana-samyutam
I
Yaksha-vidyadharadinam garudadini vinyaset
Ganetyadi ganaiS chaiva sarva-harmyeshu nikshipet
I
I
(M., xxix, 35-49.)
ETAKA-PADAKA-PITHA A
chair raised on a pedestal.
(Mahavagga, v,
EVAMKANTA A column connected
pillars,
and having a lotus-shaped
10, 2.)
with one, two or three minor
base.
Ekopapada-samyukt 'in dvi-try-upapadena sarhvutam
Evam-kantam iti proktam mule padmasananvitam
I
I
(M., xv, 242-243.)
94
KATAKA
HINDU ARCHITECTURE
AI
AIRAVATA The
the god Isa
animal (vahana) of
great elephant, the riding
Indra).
(?
dhyatva rakta-varnam cha Sishpatam (Sachipatim)
Dvi-bhujam dvi netraih cha rathairavata-vahanam
Is"a
murtim
iti
I
I
(M.,
A class
vii,
190-191.)
of the five-storeyed buildings.
see
(M., xxiu, 3-12,
under PRASADA.)
K
KAKSHA
The armpit of an image, a
residential
room.
Kakshayor antararh tararh vimSa-matram prasasyate
I
(M., LIX, 29.)
Eka-vimsangulam chordhve kakshayor antara-sthale
I
(M., LXV, 52, etc.)
KAKSHA-BANDHA A class of bases.
component mouldings and other
four types, the
See the
ADHISHTHANA.
KATA A
under
(M., xiv, 320-358.)
mat of
split
cane or bamboo.
(Taitt. Sam., v, 3, 12, 2
KATAKA An
details
architectural
bracelet for an image,
camp,
ornament
(like
:
Sat. Bra., XIH, 3, i, 3.)
a ring)
of a base, a
capital.
Madhye pattair viSesham tu pushpa-ratnais cha sobhitam
(M,, xiv, 75-76.)
Katakavritam eva va Suddha-vrittam athapi va
list of mouldings under ADHISHTHANA.
the
also
Compare
I
I
(Ibid., 238.)
pattarh va dharaya katakanvitam
Etat tu chitra-kalpam (=an ornament) tu natakabhi(kai)r alankri-
Vrittarh vidhim
tam
See
I
tri
I
(M., L, 11.)
Keyura-katakak yuktarh prakoshtha-valayam tatha
also M. LI, 57, udder KATI-SUTRA.
In connexion with the
plumb
lines
(M., LIV, 13-
I
:
Saktlnarh pushpa-hastam tu stanantam katakagrakam
Tad-angushthavasanantam cha dvyantaram chatur angulam
I
I
(M., LXVH, 135-136.)
One
pair of bracelets (kataka) for the arms of the goddess (consisting
of) fifty-six karanju, two manjadi and (one) kunri of gold.'
(Inscriptions of
c
Rajaraja, no. 2, line 37, H.S.I.I., Vol. u, p. 19.)
95
KATAKAKARA
AM ENCYCLOPAEDIA OF
One
'
pair of bracelets (kataka) for the arms of the goddess, consistof
ing
thirty-nine karanju and seven manjadi of gold.'
(Inscriptions of
H.
1.
S.
1., Vol. n, p. 89.)
Rajendra-Chola, no. 8, line 19,
Astyuttara-giri
katake (declivity of the Northern Mountain) Vijaya-
puram-nama nripa-dhanl
(Grant of Jayaditya of Vijaya-pura,
I
line 6, Ind.
Ant., Vol. xxi, p. 170.)
'
In the world-renowned Raya-chalukya's camp (or capital, kataka),
Keta-nayaka gained unlimited fame and the greatest
the bodyguard
(Ep. Carnal., Vol. v, Part
reputation for energy and readiness.'
no.
210
; Transl., p. 216, line 9 of no. 210.)
narayapatna Taluq,
KATAKAKARA An
ornament shaped
Referring to lupa or a pent-roof
like
Chan-
a bracelet or ring.
:
Evam cha lakshanam proktam katakakaram
tu yojayet
I
(M.,
KATI The
I,
xvm,
249.)
hip-part of a building, the hip of an image, a flight
of steps.
(1)
Yo
vistaro
bhaved yasya dvi-guna-tat-samunnatih
Uchchhrayad yas
tritiyo'ms'as
I
tena tulya katir bhavet
I
height of a building should be twice its width and
of its height.'
be (equal to)
should
(Brihat-Samhita, LVI,
hip)
The
'
(lit.
kati
its
11.)
'
'
Dr. Kern translates kati by the flight of steps (J.R.A.S., N. S.,
Vol. vi, p. 318) ; but in this sense the word never occurs in dictionaries
or literature ; nor does this rendering suit the context here, first, because
'
the description concerns a single-storeyed building, where the flight
of steps, if there be any at the entrance, would not be usually one-third
of the height of the whole building ; secondly, the measures of the flight
of steps mostly in buildings of more than one storey are never considered
any architectural
in
as being
treatises
dependent on the height of the
building or the storey.
(2)
Chatuh-shashti-padam kritva madhye dvararii prakalpayet
Vistarad dvi-gunochhrayam tat-tri-bhagah katir bhavet II
I
(Matsya-Purana, Chap. CGLXX, v, 18.)
(3) Bhavishya-Purdna
'
except
'
'
ariisa
the
'
(Chap,
in place
tasya
in the second
of
cxx,
'
'
line.
yasya
v.
in
18)
has the same verse
the
Brihat-Samhita
lines.
96
first line,
seems to
'
as (i),
'
and atha for
have improved
KANTHA
HINDU ARCHITECTURE
(4)
In the sense of the hip or buttocks
:
Katrs) choru-visalarh syan madhya-kanchina-lambavat
I
(M., LIV, 91.)
bhaskaramsam syad ashtamsarh choru-vistritam
Mukharii vakshas cha kukshis cha kati-dirghe dvudasarhsakam
Kati-tararh
I
I
(M., LVII, 32, 55.)
Virhsamsam cha kati-taram urdhve sroni-visalakam
KATI-SOTRA The
by the hip or buttocks, a
line
(plumb)
(M., LXV, 48.)
I
Kati-sutravasanarh syat pura-sutram iti smritam
Kati-sutram tu sarhyuktarh kati-prante sa-pattika
girdle.
I
(M.,
I
Tasmat
kati-sutrantarh sapta-virhsangularh bhavet
Trayodasamsakarh chaiva kati-sutram tu vistritam
L, 21, 27.)
I
I
(M., LXV, 150, 164.)
A
girdle.
Katakam
KANTHA
kati-sutram cha keyurarh ratna-puritam
Also called
'
'
(M.
,
LI,
57.)
'
gnva,' kandhara,' meaning literally
a quadrangular moulding, sometimes
gala,'
This
the neck or throat.
I
is
'
When employed in pedestals
square and sometimes rectangular.
under UPAPITHA), it is made very high and
(see the lists of mouldings
it resembles the dado (or the portion of a pedestal between its base
and cornice, also applied to the lower portions of the walls). But
everywhere else it serves as a neutral member from which the proection of the rest of the mouldings are generally measured.'
(Ram Raz, Ess. Arch. Hind., p. 25.)
The neck
of a column (Suprabheddgama, xxxi, 58,
Tuiige trimsati-bhagena ...
Tad-urdhve kantharh ashtarhsam
Utsedhe tu chatur-virhsat
Grivochcharh dva-dasamsakam
(Ibid.,
Tad-evamsena
Pancharhsa(rh) kandhararh proktarh
.
.
.
.
.
.
.
.
.
Gala-tuiigarii
see
the
yugangulam
.
36-37.)
see
the
.
(Ibid.,
48, 50.)
.
lists
.
.
(Ibid., 97, 101.)
.
of mouldings under UPAPITHA.
I
Gala-tararh sardham ashtarhsam
For further examples,
(M., XIH, 90, 94.)
I
.
.
Tad-evarhsa (of 30 parts)
Tad-urdhve galam ashtarhsam
For further examples,
under STAMBHA).
|
I
.
see
I
lists
97
.
.
.
I
(M., nx, 71,81.)
of limbs under TALA-MANA.
AN ENCYCLOPAEDIA OF
KADAftGA
KADAftGA A
large trench, a ditch, a boundary mark.
Kadangas or war-trenches are described in the Rev. G. Ritcher's Manual
these are enormous trenches defended by a bank
of Coorg (pp. 190-191)
of the excavated soil, and stretch over hills, woods, and
comparatively
'
:
flat countries, for
miles
and
some place branching off in various
Mr. Ritcher quotes old records to show
miles, at
directions, or encircling hilltops.
that they were constructed by ancient Rajas to
fortify the principality.
In South Kanara also these trenches abound.'
'
and massive
walls, 8 feet high, half as thick, and exare
buried in desp forest on the crest of
found
tending
long distances,
the ghats between Kanara and Maisur, with large trees rooted in them.'
So, too, great
for
GRAMA and compare
(See
ditches of the
village
as
the above
given
with
the
in
the
surrounding defensive
Mdnasdra.)
(Ind. Ant.,
Vol. iv, p. 162,
line 2
'
From
this it
appears
to follow that the
trenches, originally were intended
tions,
no. n, Ind. Ant., Vol. vi,
p.
c.
i,
last
para,
c. 2, line 6.)
;
Coorg Kadangas or large
for landmarks.'
103,
c. i.,
f.
line 29,
(Three
Kongu
inscrip-
Transl. and footnote,
last para.)
KANDARA-GRIHA
Khyatam
(
(see
DARI-GRIHA)
? syatarh)
A
cave-house.
khyatam naikavanig-visala-bibhavo bhutabhisobham Subham
(Description of the town of Atapura,
inscrip. of
See
The
Atpur
Ant.,
note 25,
187.)
neck, the dado.
KANTHA and compare
KANYA A girl,
191,
I
Ind.
Saktikumara, v, n,
Vol. xxxix, pp.
KANDHARA
divi
kanakadi-kandaragrihodlrna-pratapam
the
a virgin, the
lists
of mouldings under UPAPITHA.
name
of a month, the lower part of an
architectural object.
Luparh prag-ukta-vistaram tat-tad-vamsanghri-kantakam
Adho(ah)-padasya lupadyais cha tatra dosho na vidyate
Karnat kanyavasanarh syan nava-sutr rh prasarayet
I
I
I
(M., xvni, 231-233.)
KAPATA
(see
KAVATA)
A
door, the panel of a door.
(Rdmayana, i, 5,
Kapata-torana-vatim suvibhakantarapanam
Dridha-baddha- kapatani mahaparighavanti cha
(Ibid., vi,
I
I
KAPOTA A pigeon, a section of circular moulding
of a pigeon's head, from which it takes it name.
98
10.)
3,
n.)
made
in the
It is
a crowning
form
KAPOTA
HINDU ARCHITECTURE
of bases, pedestals, and entablatures.
Compare the lists of
mouldings, from the Mdnasdra, given under UPAPITHA (where Kapota
occurs eight times), ADHISTHANA (fifteen times), and PRASTARA (five
times) and also see Gwilt (Encycl. of Arch., Art. 2532, 2555, pp. 806,
member
When employed in the entablature, it serves the pur813 814).
pose of a spout in the shape of a pigeon's beak to throw off water
In this office it resembles, in some measure,
falling on the cornice.
the corona having a broad vertical face and with its soffit or under
portion recessed so as to form a drip which prevents water running
down
the building.
Its
synonyms are
vaktra-hasta (face
supported
by hand, wherefrom it takes its shape), lupd (pent-roof), gopdnaka
(Also see M. xvi, 18-20.)
(beam), and chandra (the moon).
:
}
(i)
Mdnasdra
:
Referring to the pedestal
:
Tad-dvayarh chambujarh chordhve kapotochcham gunamsakam
(M.,
For further
illustrations, see
Referring to the base
Padmam
the
lists
I
xiii,
57.)
of mouldings under UPAPITHA.
:
arhsarh tad-urdhve tu
kapotochcham tri(y)arhsakam
I
(M., xiv, 357.)
For further
the
see
illustrations,
lists
of mouldings under ADHISH-
THANA.
Referring to the entablature
:
Tad-urdhve vajanam chaikam dhatu-bhagam kapotakam
I
(M., xvi, 27.)
For further illustrations see the
A synonym of the entablature
lists
of mouldings under PRASTARA.
:
Kapotam prastram chaiva mancham prachchhadanam
.
.
.
paryaya-vachakah
to
Referring
I
I
(Ibid., 18, 20.)
the six-storeyed buildings
Prastaradi-kapotantarh
tatha
:
khsudra-nasya vibhushitam
I
(M., xxiv, 39.)
'
(2)
A
entablatures.
utility
a section of moulding made in the form of a
member of cornices, pedestals and
When employed in the latter, it often connects
bird is so
beauty, inasmuch as the beak of the
kapotam
pigeon's head.
with
is
It is
placed as to serve the
a crowning
purpose of a spout.'
Hind., p. 24.)
99
(Ram Raz,
Ess.
Arch,
of
AN ENCYCLOPAEDIA OF
KAPOTA-PALIKA(-PALI)
KAPOTA-PALIKA(-PALI) A pigeon -house, an aviary, 'properly
dove-ridge, dove-list, may be rendered by crown-work, fillet, gableedge, and even by cornice. A water-spout used at the roof to drain
In Tamil,
off water having the shape of pigeon's head or beak.
sec Winslow's
kapotakam is explained as a moulding in masonry
:
Tarn. Diet.
under
(p. 51)
i.
Then Dr. Kern quotes
v.'
'
'
'
and adds
Kapota
that the spout
Raz's passage noticed
the same author (Ram Raz) notices
be
may
Ram
made
from the head of a
to spring
lion, etc.'
With
this,
Kern compares Utpala's
definition
:
Kapota-palika grahanena bahir nirgata mukhani kashthany
uchyante by the acceptation of Kapota-pali, the projecting lionface timbers (mouldings) are understood ; (and also Visvak, 6
767)
:
Prasadau nirgatau karyau kapotau garbha-manatah
I
tu prakalpayet
Ordhvarh bhitty-uchchhrayat tasya manjaram
Manjaryas chardha-bhagena suka-nasarh prakalpayet
Crdhvarh tathiirdha-bhagena vedi-bandho bhaved iha II
Then Kern finds fault with Colebrooke's rendering of Kapotapalika and vitanka (in his Amara-Kosha, quoted below) as dovecot
and says Colebrooke's error, strange to say, has been per
petuated in all dictionaries the more reason now to draw attenI
|
'
'
'
;
tion to
(J.R.A.S., N.
it.'
note
S., vi, p. 320,
2.)
A storey's altitude of 108 digits (angulas) according to Maya
but Visva-karman pronounces it to be of 3 cubits and a half,
As to this, however, able architects have declared
(i. e. 84 digits).
'
is
that in reality there is no discrepancy of opinion, for, if you add
the height of the crown-work (kapota-pali), the smaller number
will
(Brihat-Samhitd, LVI, 29, 30.)
equal (the greater).'
or
a compound word
is
kapota-pali
kapota-palika
(dove-cot)
words,
'
'
There
'
in Sir
'
kapota
William's
and
Diet.,
'
'
palika
or
p.
'
pali
'
Similarly the
occur together in the
202,
'
'
c.
3.
above. But they
(its commentary) Dtpala quoted
do not occur as one word in Winslow's Tamil Diet., in Visvak
and in Ram Raz. In the twenty-eight instances in the Manasdra,
too, pointed out above (under KAPOTA), only the word Kapota
occurs. There is a different moulding called both Pali and Palika
in the Manasdra. As regards the correctness of Dr. Kern's renderdove-ridge,' or of Colebrooke's and Sir M.
ing of the term by
Brihat-Samhitd
and
'
'
'
'
'
'
'
William's by
'
dove-cot
'
nothing can be stated definitely as the term
100
\
KALASA AS CAP MOULOINO.
KALASA
KAPOTA-PALIKA.
KARNA PATRA
KAROTI.
KIRTTI-VAKTRA.
KAROTII'age 100
HINDU ARCHITECTURE
is
K(H)A-BHITTI
used figuratively to indicate a moulding and both the interpre-
tations are possible.
Kapota-palinl-yukta-mato gachchhati tulyatam
(Bliavishya-Purana,
I
Kona-paravatarh kuryat stupy-achchhadanakani cha
Kona-paravatarh nyasya kona-loshtani vinyaset II
(
Vdstu-vidya, ed.
Ganapati
II
Sastri, xvi, 27, 36.)
Bahih kapota-karanam vajanopari kalpayet II
Ardha-tri-pada-dandam va kapota-lambanarh bhavet
(Kdmikagama, LIV, ai, 22
Chatur-gunam
viseshatah
(of
the
:
v. 37.)
Chap, cxxx,
II
vv. 36, 37.)
see also
main temple) mukhayamam prakaranarh
I
Kapotantam samutsedham hasta-vistara-bhittikam
II
(Suprabhedagama, xxxi, 119.)
Kapota-palikayam
tu vitankarii
purii-napumsakarh
II
(Amarakosha, n, 3, 15.)
KAPOLA
(1)
The cheek of an image, an upper
part of a building.
Prasadau nirgatau karyau kapolau garbha-manatah
I
(Matsya-Purana, Chap. CCLXIX, v. 11.)
(2)
Chaturdha sikhararh bhajya(m) ardha-bhaga-dvayasya tu
Suka-nasam prakurvlta tritiye vedika mata II
Kantham
amalasararii tu chaturthe parikalpayet
Kapolayos tu samharo dvi-guno'tra vidhlyate II
Mukha-taram
kapolantarii
nava-matram
I
Chap. CCLXIX, 18-19.)
(Ibid.,
(3)
prasasyate
I
(M.,
KABANDHANA A
knob
at the
end of the
I
nail
LXIII, 7>\
above the post of
the bedstead.
Adhah
kilena padanarh madhye randhram pravesayet
Tad-urdhve pattikam nyasya kilagre cha kabandhanam
Chaturbhih srinkhala-yuktam andolam chaikatopari
I
I
I
Deva-bhu-sura-bhupanam anyesham sayanarthakam
I
(M., XLIV, 68-71.)
K(H)A-BHITTI
'
'
An
'
upper
'
storey- wall,
wall.
an upper
'
wall,
implying sky and bhitti
Garbhadhana-kramanakarh kah(kha)-bhittir mukhya-dhamani
Kah(kha)-bhittir dakshine bhage saumyavasah prasasyate ||
101
'
kha
I
KAMALA
AN ENCYCLOPAEDIA OF
Kah-(kha)-bhitty-agrabhittcr dvara-dvayarh kuryad viseshatah
Vastu-dvara-yutam chaiva k(h)a-bhittes cha viseshatah II
I
Vastunarh parsvayor madhye stambha-sajnam nidhapayet
K(h)a-buitti-vistritartharh tu tat-parsvayor dvayor hi (tat) II
I
(Kamikdgama, xxxv, 45, 47, 48, 62
KAMALA A lotus,
fillet,
see
under PRASADA.)
class of the three-storeyed buildings.
(M., xxi, 33-38,
KAMPA A
LV, 31.)
a class of the six-storeyed buildings.
(M., xxiv, 17-18,
KAMALAftGA A
:
a small
see
band which occurs
flat
under PRASADA.)
chiefly
between
Of all the rectangular
connect or separate them.
mouldings
mouldings it has the least height. Its projection, though generally
equal to its altitude, frequently varies according to the position of
'
to
the principal members, which
It
it is employed, to connect or to separate.
answers in every respect to the fillet.'
(Ram Raz,
Referring
the
to
pedestal
Utsedhe tu chatur-virhsat ...
Ekena kampam ityuktam ...
I
I
ardharh tatha karnam
Kampam
For further examples,
see
Referring to the base
the
Ess. Arch. Hind., p. 24.)
:
xm, 36-37, 49.)
of mouldings under UPAPITHA.
lists
.
.
.
I
(M.,
:
Ekena-trimsad angarh (=amsam) lu tuhgarh kritva ...
(M., xiv, 14-16.)
Kampam ekena kartavyam
.
For further examples,
KAMPA-DVARA A
(1)
see
the
lists
.
.
I
I
of mouldings under ADHISHTHANA.
side-door, a private entrance.
Kampa-dvararh tu va kuryan madhya-parsva-dvayos tatha
I
(Kamikdgama, xxxv, 49.)
(2)
Mukhya-dvaram
KAMPANA
tu
tad-vame kampa-dvaram tad-anyake
A
(same as KAMPA)
(Ibid.,
I
LV, 32.)
fillet.
mouldings under ADHISHTHANA.
It has four types differing
class of bases.
from one another in height and in the addition or omission of some
Cf. the lists
o
KAMPA-BANDHA A
mouldings.
(See
M., xiv, 361-372, under ADHISHTHANA.)
KAMPA- VRITTA The
round or circular fillet.
cha
lupa-mule sobhartham tu balarthakam
Kampa-vrittam
I
(M., xvni, 274.)
I
O2
I
o
8
uJ
<C
cQ
oc
S^
SP
efl
M
a:
>
c*
J
HINDU ARCHITECTURE
KARANDA A
KAROTI(I)
head-gear, a basket or bee-hive-like ornament.
Karanda-mukutopctarii rakta-vastrottariyakam
(M., vir, 164, 205.)
Karanda-mukutopctam dhyatva
Devanarh bhupatinaih cha mauli-lakshanam uchyatc
Jata-mauli-kirltam cha karandaih cha sirastrakam(-stranam)
I
.
.
.
I
I
Kanyasa(m) devatanarii cha karanda-makutanvilam
I
I
(M., XLIX, 12-13, 19.)
Dvi-bhujam cha dvi-netrarh cha karanda-mukutanvitam
I
(M., LIV, 69, 76.)
KARAVlRA A
fragrant plant, or flower (oleander or Nerintn
odorum), an ornament of that shape, a pent-roof having the slope
(or colour) of that flower.
In connexion with the pent roof
Sroynam madhya-lupah
:
sarve(va) lupa-samkhya yathcshtaka
Karavira-bahu-varna sarhputabham vikalpayet
I
I
(M, xxvm,
242-243.)
car of the elephant, (? the tip of an
elephant's trunk, karnika), an ornament of that shape.
KARI-KARNA(NIKA)
karikarna- (another reading, karnika) -yuktam kuryat
Upabja(m)
tat
The
kshudra-pithakam
KARIKA A
I
(M., xxxii, 117.)
moulding of a column.
VIra-karna(-kantha)syodayarh jnatva nava-bhaga(e) vibhajite
Ekaihsarh padukarh kuryat pancha-bhagam tu samgraham
Tad-urdhve karikamsaih syad abjam aihsena yojayet
I
I
I
(M,
KARUNA-VINA A
flute,
xv, 176-178.)
a sculptural ornament.
Vadana-garuda-bhavarh bahukau paksha-yuktau
Mukuta-kamala-yuktam pushpa-sachchhaya-varnam
(A/., LVIII,
Parita(h) karunavlna kinnarasya rupakam
I
I
I
KAROTI(I) A
tectural
basin, the
drum
21-22.)
of the ear of an image, an archi-
ornament.
An ornament
of the pent-roof:
Evam uktarh lupa chordhve sikharair vambare'pi va
Phalaka-kshepanam vapi tamram vayasi kllayet
Hemajena karotirh va mrit-karotirh vidhanayet
I
I
I
(M., xviii, 269-271
Referring to a single-storeyed building
:
Karotivad alarikrilya lambane patra-samyutam
103
I
(M,
xix, 41.)
.)
AN ENCYCLOPAEDIA
KARKATA
KARKATA A crab,
Ol<
a moulding, a kind of joinery resembling the
crab's leg.
Karkatakanghrivat kri;va pautra-nasaiighrhh vesayet
Etat sarhkirna-sandhih syat sarva-harmyeshu yogyakam
I
I
(M., xvii, 143-148.)
KARKARI-KRITA
Paved with small pieces of
Consoli-
stone.
dated with kankar (nodular limestone or gravels).
(1)
Maha-margarh
tu
sarvesham vlthlnarh karkari-kritam
etad dvayam
Vither(thyah)
kritam
(M., ix, 197, 333.)
proktam
I
karkari-
tan-madhye
I
Referring to the pedestal
:
Prativajanakarh tesharh kriteh karkari-kritam
Referring to the gate-house (gopura)
I
(A/.,
xm,
151.)
:
Etat tu gikharam proktam karkari-nasika-kritam
I
(M.,
xxxm,
561.)
Referring to the mandapa (pavilion)
Tach-chatush-karna-dese tu karkari chashta-bhadrakam
Tat karnarh cha dvayor bhadrarh chaturtharii karkari-kritam
:
I
Karkarl-bhadra-sarhyuktarh mandapasya visalakam
(M,
Mandape chordhva-kutarh
xxxiv, 305, 308, 309.)
syat salakararh tu yojayet
Ashta-vaktra-samayuktarh karneshu karkari-kritam
I
I
530-531.)
(Ibid.,
Referring to the sala (haU, mansion)
I
I
:
Veda-vedamsakarh madhye vivritarh samvritank(g)anam
Tad-bahis chavritarhsena karkarl-samalankritam
I
I
(2)
(M., xxxv, 300-301.)
In connexion with the description of a Svastika (shaped) -house
Prishtiie tu dirgha-koshtharh syat purva-koshtham tatha bhavet
:
I
Bahya(-e) bahya(-e) sala-dvayam netram yuktam tu karkari-yutam
1
1
'
(K amikdgama,
KARNA
The
ear of an
image,
a moulding,
any
XLII, 7.)
side-object,
a corner-tower.
Kampam
ardharh tatha karnarh tad-urdhve'rhsena pattika
I
(M.,
For further examples, see the
A moulding of the base
lists
xm,
49.)
of mouldings under UPAPITHA.
:
Karna-tunga(rh) tr(i)yarhsarh syat tad-urdhve kampa(m) sivamsakam II (M. t xiv, 12.)
104
FORTIFICATION TRENCH.
KAOANGA
(XXXXXXXXXXXXXJO
KARIKA.
KARNA
COVER FILLED
,-KABANDHANA.
KARNIKA
KARNIKA.
KABANDHANA
KARNA-KCTA
HINDU ARCHITECTURE
For further examples,
A
moulding of the
see
the
column
lists
of mouldings under ADHISHTHANA.
:
tathotkarnam urdhve karna(rh) samarh bhavet
Kumbhayamam
I
(M., xv, 54.)
Referring to the
vimana (building
Padmasyopari
in general, temple)
karnarh syat tat-tridha kumbha-vistritam
:
I
(M., xvin, 129.)
Karnat kanyavasanam syan nava-sutrarii prasarayct
Referring to the
door
I
(Ibid.,
235.)
:
Ardhena kampa-sarhyukatarh karna(rh) bandh(v)amsam Iritam
I
(M., xxxix, 69.)
Referring to the tula (balance)
Suvritta-nala-dese tu patra-mule tu karna-yuk
A moulding of a vedika (altar, railing, platform)
:
(M.,
I
L,
205.)
:
Vedikayarh vihinarh chet kartri-drishti(r) dinam vrajet
Tat-karne'dhika-hinarh ched bhojanena vinasanam
I
I
(M., LXIX, 26-27.)
Referring to a single-storeycd building
:
Tad eva vedikamsena nava-bhaga(-e) vibhajite)
Dvi-bhagarh vajanam mule chordhve karnam gunamsakam
I
I
(M., xix, 64-65.)
KARNASHTAKA A site-plan of 324
square plots.
(M.
KARNA-K.UTA
(see
KUTA-KOSHTHA)
vii,
see
213-24,
The tower
PADA-VINYASA.)
at the corner
of
the roof, the side-niches, corner pavilions, the attic.
(i)
Karna-harmyasya
vistararh
shad-bhagam(ge) tu vibhajite
madhye sala dvayarhsakam
Ekarhsarh karna-kutarh syan
(M., xix, 54-55,
In connexion with the six-storeyed buildings
I
I
see also
167.)
:
Ekarh vatha dvi-bhagam va karna-kuta-visalakam
Tale tale karna-kuta-koshtha-haradi-bhushitam
I
I
Karna-kuta-visale tu tri-bhagaikarh
madhya-bhadrakam
I
(M., xxiv, 29, 30, 33.)
Ekarh vatha dvi-bhagam va karna-kuta-visalakam
In connexion with the gate-house (gopura)
(M., xxv,
I
17.)
:
Evam
lalatayos chaiva
dirgham vinyasyam uchyate
Karna-kuta-dvayam chaiva tad-bhaga-dvayam Iritam
Madhya-koshtharh chaturtharh cha karna-kutam chatushtayam
I
I
I
(M., xxxni, 418-424.)
105
AN ENCYCLOPAEDIA OF
KARNA-PATRA
(2)
A^ra-karna-samayukUirii karna-kuta-dvayanvitam II
Karna-kuta-vihmarh va chanyat sarvam tu vastushu
1
Chatush-kone chatush-kutarh tad-vistarena nirniitain
Pafijara-dvitayam karyarh karna-kuta-samodayam
Pradhanavasa-netrastha-nctra-kuta-dvayarii nayet
1
II
I
1
1
(Kamikagama, xxxv, 65, 66,
Sarvam
arigarh sabhakararh karna-kuta-vivarjitam
Chatasras tu sabha karya kona-kuta-chatushtayam
73, 75.)
II
II
(Ibid.,
Kula-koshthaka-mdanarh pramanam ilia kirlitain
Kuta-koshthadi-sarvangam mana-sutrad bahir nayet II
Antah pramana-sutrat tu vcsanarh sarva-desadam
Chatur-asrarh vasvasram shodasasraih tu vartulam
Mastakam stupikopetarh karna-kutam idarh matam
Madhyc nasa-samayuktam ardha-kuti-samanvitam II
Mukha-pattikayopctarh sakti-dvaya-sama vitam
Ancka-stupikopctarh koshthakarii madhyaso bhavet
Haihsa-tunda-nibham prishthe salakaram mukhc mukhe
antaram dvijah
Pafijaraiii vihitam kuta-koshthayor
tad
evashtarh
hasti-tunda-sa-mandanam
Parsva-vaktram
Esha jati-kramat proktah karna-koshtlia-samanvitam
XLV, 41, 44.)
I
I
1
1
I
I
1
1
1
I
1
1
I
1
Madhyc kutaih tayor madhye kshudra-koshthadi-sobhitam
Chhandom etat samuddishtarh kutaih va koshthakam tu va
Antara-prastaYopetarh nimnam vonnatam eva va
I
II
I
Vikalpam
iti
nirdishtam abhasam tad vimisritam
II
(Ibid.,
(3)
Prastarad-urdhva-bhage tu
karna-kuta-samayutam
LV, 123-130.)
II
(Suprabheddgama, xxx, 30.)
'
The
attic
is
formed of different kinds of
little
pavilions.
Those which arc
at the angles of the edifice are called karna-kuta.
They have a roof of
square or circular section and are surrounded by a single awn, stupi.'
Those which are placed in the middle are called said, they have an
'
(Cf. M., xix 54-55.)
elongated roof and have three stupis.'
Between the karna-kuta and sala are found some kinds of
,
'
windows called panjara.'
Krishna Swami Aiyangar, pp.
KARNA-PATRA A
(Dravidian Architecture,
1
little
by Jouveau-Dubreuil, ed. S.
3, 5.)
leaf-like
ornament
for the ear, a corner leaf.
Tasyadho ratna-damais' cha lalatordhve'rdha-chandravat
Karna-patra-samayuktam srotrordhve karna-pushpayuk
Tasmat tu lambanam dama sarva-ratnair alankritam
I
I
I
(M., XLIX, II2-I
I
O6
14.)
KARNA-HARMYA
HINDU ARCHITECTURE
KARNA-PCRAKA An
car ornament.
Kuryat tri-valayopetam na kuryat tu sikha-manim
Sarva-ratnarh vinyasya vina cha karna-purakam
I
I
(M., XLIX, 138-139.)
KARNA-BANDHA An
ornament
for the ear, a part of the ear.
Karna-bandhaih karna-rudraksha-mala
The lower
part of the ear
I
(M., LXH, 67.)
:
Hanvantam karna-bandhantam dvayantaram dasangulam
I
(M., LXV,
KARNA-HARMYA A
Ekamsam
vistararh
:
shad-bhagam tu vibhajite
I
karna-kutarii syan
Ekarh va dvi-tri-dandcna
Sala-kuta-dvayor
02.)
tower, a side-tower, a minaret, a turret.
In connexion with single-storey ed buildings
Karna-harmyasya
1
madhye sala dvayamsakam
nirgamam bhadram eva va
I
I
madhye chaika-harasa-panjaram
I
Tat-tunga(rh) sapta-bhagaih syad ekarii^am vedikodayam
I
Tad-urdhve'dhyardha-bhagena galam tryamsena mastakam
Tad-ardharh stupikottuhgam karna-harmyam iti smritam
I
I
(M., xix, 54-60.)
Mandape
prastarasyordhve
harmyadi-manditam
I
karna
(Ibid.,
(another
khanda)-
reading,
214.)
Stupi-tungam dvayamsam syad dvi-tale tad dvitiyakam
Tad evordhvam adhishthanam vimanamseka(aika)-vitastikam
I
Tad-urdhve'hghrl saramsam
syat
karna-harmyadi-manditam
(At.,
I
I
xx, 14-16.)
Prachchhadanopari stambhaih k rna-harmyadi-manditam
I
(M., xxxr, 10.)
Tad-urdhve mandapanam cha chu ika kaina-harmyakam
I
(M., xxxiv, 64.)
Harmyc
chordhva-tale
padam bahya-kutadi(m)
vinyaset
Karna-harmyakritim vatha santara-prastaram tu va
I
I
(M., xx, 57-58.)
Coorg from iCog)
are square building
much in the Muhammadan style, on well raised
dome in the centre, and minaret-like turrets
a
with
handsome
basements,
at the four corners (? karna-harmya ) surmounted by basavas or bulls.
On the top of the dome is a gilded ball, with a vane. All the windows
have well-carved syenite frames with solid brass bar
Good wood'
Cf.
They (tomb of the Rajas
at
Mahadevapura
in
,
.
.
.
sometimes be seen in the domestic architecture.'
carving may
nat., Vol. i, Introduction, p. 27, last paragraph.)
107
(Ep. Car-
AN ENCYCLOPAEDIA OF
KARNIKA
KARNIKA
Generally implies a crowning projection and resembles
the cornice, i.e., the crowning or upper portion of the entablature,
a creeper-like ornament.
pancha-bhage tu vcdardham paclma-vistritam
Padma-tara-tri-bhagaikarh karnika-vistritam bhavct
Vistare
I
I
A
(M., xxxu, iio-i u.)
moulding of the entablature
:
Kapota-nasika-kshudra-nivrordhve sthita-karnik'i
Vatahata-cha'ach-charu-latavat karnika-kriya II
II
(Kamikagama, LIV, 37, 40.)
KARNIKARA A
pavilion with twenty pillars,
a tree, a class of
people.
(Matsya-Purana, Chap. CCLXX, v. 13;
see
Mahendre vatha
under MANDAPA.)
satye va karnikaral jyarii bhavet
(M.,
I
ix, 238, XL, 109.)
A
STUPI)
pitcher, a cupola, a finial, a dome,
a pinnacle, a tower, a type of round buildings.
(1) Agni-Purdna (Chap, civ, vv. 17-18, see under PRASADA).
vv. 21, 23, 28-29, see under PRASADA).
(2) Gamda-Purdna (Chap. XLVH,
kalasad
bahye lata-vartanam ishyate II
(3) Stambhardham
KALA$(S)A
(cf.
Mushti-bandhopari kshiptarh vyalantarh kalasavadhi
II
(Kamikagama, LV, 103, 109.)
(4)
Dome
Ep. Ind., Vol.
(5)
Kandhananda-kalasa
:
i,
I
(Khajuraho Inscrip. no.
v, line 19,
p. 150.)
Pinnacle
:
Vimanopari sauvarnnah kalasa
Placed golden pinnacle on
the
shrine.
.
.
.
pratishthiipitah
(Yena-Madala
I
Inscrip. of Gana-
Vol. in, pp. 99, 102.)
painba, v. 17, Ep. Ind.,
Dome
or
(6)
pinnacle :
Devalayais sudha-subhrais suvarna-kalasamkitah
Pataka-churhbitambhodair yyad-dharmmo nita unnatim
I
(Two
pillar Inscrip. at
Keta,
Prasadarh
navabhis
cha
II
Amaravati, no. A, Inscrip. of
II, v. 43, Ep. Ind., Vol. vi, p. 152.)
hema-kalasair atyunnatarh
gopuraprakarotsava-marhtapair upachitarh sri-Ramabhadraya cha
'
An exceedingly high temple furnished with nine gilt domes, a gatetower, a wall, and a festive hall, to the holy Ramabhadra.'
(7)
I
(Kondavidu
Inscrip. of Krishnaraya, v, 27,
Ep. Ind., Vol. vi, pp. 237, 331.)
1
08
HINDU ARCHITECTURE
KALASA
Suvarnna-kalasa-sthapana cha
(3)
'
(Karkala Inscrip. of Bhairava
temples)'.
in setting
II,
line
golden pinnacles (on
Ep. Ind., Vol. vm,
18,
PP- 132. I35-)
Abhinava-nlshpanna-prcksha-madhya-mamdapc
(9)
Suvarnnamaya-kalasa-ropana-pratishtha krita
.
.
'
.
the ceremony of
placing a golden cupola on the newly-made central hall, intended for
dramatic performances, was carried out.' (The Chahamanas of Marwar,
stone
no. XIX, Jalor
Vol. xi, p. 55.)
Inscrip.
of Samarasirhhadeva,
lines
Ep.
6,
5,
Ind.,
purnna(10) Utturhgataspada-devayatanagra-hema-kalasarh
kalasam
The golden cupola on the summit of the god's dwelling,
like a full pitcher.'
a seat of exaltation
(Inscrip. at Ittagi, A of
.
.
.
'
.
.
.
.
A. D.
1 1
.
.
12, v. 64, Ep. Ind.,
Vol. XHI, pp. 46, 56.)
(n) 'And Visvakarmma
built his temple (Ananta-Kotisvara) with
adorned
with all manner of pictures, its fronts
complete devotion,
brilliant with many golden kalasas decked with precious stones, its tower
kissing the clouds.'
'
(12)
We
Carnal.,
(Ep.
Transl., p. 475 second para,
Taluq, no. 68, p. 158
(13)
i,
Sorab Taluq, no. 276
;
grant to you, in addition, two five-branched torches, five
kalasas above the palanquin
Nagar
Vol. vin, Part
last sentence.)
;
and
so forth.'
(Ep. Carnal., Vol.
vm, Part
i,
Transl., line 12.)
Chakre jambu-nadyair gurutara-kalasair bhasvarair ekavimsaih
Nepala-kshonl-palah prathita-bhuja-bhushanarh tanmathasya II
I
from Nepal, no. 17,. Inscrip. of Siddhi
Nrisimha of Lalita pattana, v. 17, Ind. Ant.,
(Inscrip.
Vol. ix, pp. 185,
187, c. i.)
Above the seventh or highest row of cells, there is a roomy
(14)
terrace occupied by four large bulls couchant at the corners, and from
the centre rises a comparatively slender neck surmounted by an
umbrella or semi-dome crowned by the usual kalasa or finial.' (Gangai'
Konda-puram Saiva temple, Ind. Ant., Vol. xi, p. 118, c. I.)
Erected a new gopura with golden finials (suvarna-kalasa) in
(15)
the Chamundesvari hill.'
(Ep. Carnal., Vol. HI, Mysore Taluq, no. 20
'
;
Transl., p.
3
Roman
;
text, p.
'The pinnacle
6.)
a ruined temple in the fort of Belshows
Naga-mahgala Taluq,
exactly what the finial ornament
of this style of temple was, which Fergusson, from its appearance in
photographs mistook for a lantern and though unable to account for
so incongruous a feature introduced it into his picture of Halebid tem(16)
lur, in
'The crowning
of Ind. and East. Arch., p. 400).
really a kalasa or sacrificial vase, such as is used at the
ple restored'
ornament
is
(kalasa) of
(Hist,
109
HINDU ARCHITECTURE
KALA$A-BANDHA
consecration ceremonies round the rim of which
final
narrow
and knotted
bunch
is
a cloth
tied
each of the four cardinal
In later ornamentation the cloth was replaced by wreaths of
points.
leave? and flowers with a cluster or bouquet at the four points, the
sprays and flowers depending from which went down as far as the foot
of the vase, and thus produced the appearance which in the picture
in
folds
suggested a lantern.'
into a
at
(Ep. Carnal., Vol. iv, Introduction, p. 38.)
Saumya-kes'ava-nathasya gopuragre hiranmayi
Sthapita kalasi gunda-danda-nathena sasvatl u
Saudhfigram ujvalad anyun a-divakarabho
(17)
|
I
aharnisam yah
Balatapa-pratima-kantir
(Ep. Carnal., Vol.
Roman
v,
Part
II
i,
Belur Taluq,
text, p. 103, last
two
p. 45, para,
(18)
nilisida
kalasa
1
'
He made
upon
it.'
a spire to
p.
last
no.
3
;
Transl.,
;
two
lines.)
salakheyam madisi vistaradirh kalasama
the temple of Murahara, and fixed a
(Ep. Carnat., Vol. v, Part
396; Transl.,
text, p.
(
Murahara-bhavanada
i,
verses
i,
Arsikere Taluq, no. 131
;
Roman
172.)
Aneka-ratna-khachita-ruchira-mani-kulas'a-kalita-kuta-koti-ghatiittu iga-chaityalayam
'having erected ... a lofty chaitya-
9)
tam-apy-
laya, with kalas"as (perhaps by mistake Mr. Rice has put in gopuras)
or towers surmounted by rounded pinnacles set with all manner of
(Ep. Carnat., Vol. vi,
jewels.'
line 12
;
Mudgere Taluq,
no. 22
;
Roman
text, p. 148,
Transl., p. 63, para. 2.)
Kalasa, a term applied generally to the
(20)
also a pot or vessel with water and some grains in
'
Architecture, Arch. Surv.,
New
summit of a tower
it.'
;
(Rca, Chalukyan
Series, Vol. xxi, p. 38.)
Imp.
Kalasa (Kalas) pinnacle of temple steeple.' (Smith, Gloss.,
(21)
loc. cit., to Cunningham Arch. Surv. Reports.)
See Maghul Arch, of Fatehpur-Sikri, Smith, Arch. Surv., New
(22)
'
Imp.
Series, Vol.
(2,3)
xvm,
Plate LXH,
Essay on Arch, of Hind.,
fig. i, 2, 3.
Ram
Raz, Plates xx to XLII
;
1914-15, Plate xiv, fig. 3, p. 28 ; fig. i,
10 ; Top of tower of Bhoganandlsvara
2,
p.
1913-14, Plate vi, fig. 2, p. 16.
Mysore Arch. Report,
(24)
p. 22 ; Plate v, fig.
shrine at Nandi, ibid.,
(25)
Cunningham.. Arch. Surv. Reports, Vol.
vii, Plates
xvn (showing
the details of the mouldings of the tower of the temple at Khalari),
xiv (showing the mouldings and section of another temple tower).
KALA&A-BANDHA
(see
KUMBHA-BANDHA)
(Af., xrv,
110
-A class of bases.
195-239;
see
under ADHISHTHANA.)
KALA
HINDU ARCHITECTURE
KALA
Art, sciences dealing with the traditional sixty-four branches
which some authorities reckon as 528.
(i)
(6)
Glta, (2) vadya, (3) nritya, (4) alekhya, (5) viseshaka-chchhedya,
tandula-kusuma-vali-vikara,
(7)
pushpastaruna,
mani-bhumika-karma,
(10)
dasana-vasana-
(8)
Sayana-rachana,
(u) udaka-
anga-raga,
(9)
vaclya, (12)
udakaghata, (13) chitra-yoga, (14) malya-grathana-vikalpa, (15)
s"ekharaka-pidana-yojana, (16) ncpathya-prayoga, (17) karna-patra-bhanga,
gandha-yukti, (19) bhushana-yojana, (20) aindra-jala, (21) kauchumara-
(18)
(23) vichitra-saka-yusha-pupa-bhakshya-vikara
panakarasa-ragasava-yojana, (25) suchi-vaya-karma, (26) sutrakrida (27) vina-damaruka-vadya, (28) prahelika, (29) pratimala, (30) durva-
yoga.
(22)
kriya,
(24)
hasta-laghava,
chaka-yoga, (31) pustaka-vachana, (32) natakakhyayika-darsana, (33) kavya-
samasya-purana, (34) pattika-vetra-vana-vikalpa, (35) tarku-karman, (36^
takshana, (37) vastu-vidya, (38) suvarna-rupya-pariksha, (39) dhatuvada,
(40) mani-ragakara-jnana, (41) vrikshayur-veda-yoga, (42) mesha-kukkutalavaka-yuddha-vidhi,
(43)
suka-sarika-pralapana,
utsadana-samva-
(44)
(45) akshara-mushtika-kathana,
hana-kesamardana-marjana-kausala,
mlechchhita-kutarka-vikalpa, (47) desa-bhasha-vijnana,
(48)
(46)
pushpa-saka-
nimitta-jfiana, (50) yantra-matrika, (51) dharana-matrika, (52)
sampathya, (53) manasi-kavya-kriya, (54) abhidhana-kosha, (55) chhandatika, (49)
jnana,
kriya-vikalpa, (57) chhalitaka-yoga, (58) vastra-gopana, (59)
(56)
dyuta-visesha, (Go) akarsha-krlcla, (61) bala-krldanaka, (62) vaitalika, (63)
(64) vyayamika-vainayika-vidya-jnana.
(Kamasutra of Vatsyavaijayika,
yana, ed. Bombay, pp. 32-35;
see also
pp. 43, 95.)
See J.R.A.S., 1924, pp. 355-367-
Compare
the
lists
from
(i)
Kalpasutra (211),
(2)
Dasakumara-charita
(3) Kadamban, p. 75, (4) Kaldvilasa by Kshemendra, (5) Samavdya(6) Ramachandra's Commentary on Champurdmayana by Vidabharaya,
(u, 21),
sfitra,
(7)
Narayana's Commentary on Lalita-sahasranama,
(8) Srimad-Bhdgavata, (9)
Bhaskararaya's Commentary on Lalita-
Kamasutra of Vatsyayana, and (10)
sahasranama (N. S. P., 1917), p. 72.
Similar
lists
are also given by
Bhdgavata (Part x, Chap. XLV,
Sridhara in his Commentary
v. 36),
Srimad-
.on
Jiva-gosvami in explaining Sridhara's
and Hari-vamsa
commentary
refers also to the Vishnu- Pur dna,
Lalitavistara
(Chap, x, ed. R. L. Mitra, p. 182
;
see
also
;
in the Buddhist
and
p. 186),
in
Chap, xxi, 6, Transl., S. B. E., Vol. XLV,
See
The
Venkatasubbia
also
Kalds,
p. 108).
by
(pp. 25-32).
Chatuhshashthikalah, Sarngadharlye kathamse cha Srldharlya-LakThen
shmTpithikayarh cha vailakshanyena ganitasta nishkrishya likhyante
the Jain Uttarddhydyana-stitra
(text,
:
follows a
list
of sixty-four arts including eighteen scripts, various languages,
III
AN ENCYCLOPAEDIA OF
KALAPAKA
books, Natakas
poetry
Sastras
vedangas,
alankar
(dramas),
(without
specification),
(poetics),
Tantras,
vedas, upa-vedas,
Puriinas,
Smritis,
etc.
agriculture, witchcraft, sorcery, gambling,
For fuller
Quarterly}
address,
and
details see the writer's
Arts
'Fine
in
article
'
Fine Arts
Our System of
'
(Indian Historical
Education'
(Convocation
Brindavan, 1937, The Hindustan Review, June, 1936,
Vide the Introduction to the writer's Hindu Architecture in
Gurukula,
pp. 784-796).
India and Abroad.
KALAPAKA A
tuft
of braided hair, a sectarian mark on the fore-
head of an image.
Prakoshte valayarh chaiva mani-bandha-kalapakam
I
(M,
KALKA A
paste used as plaster or cement,
also
L,
called
16, etc.)
'
'
yoga
(mixture).
(Brihat-Samhita,
LVII,
N.
KALPA-DRUMA
1
KALPA-VRIKSHA
J
Compare Akshaya-vata
The ornamental
ing
at
(see
3,
Vol.
S.,
tree,
6,
vi,
7,
8,
J.R.A.S.,
pp. 321, 322.)
employed as a carv-
SR!-VRIKSHA).
Prayag (Allahabad), Siddha-vata
at Ujjain.
and Bodhi-tree at Gaya.
(i)
Manasdra
The name
(Chap.
XLVII,
of the chapter
is
1-77)
:
Kalpa-vriksha, which literally means a
an all-productive tree.
an ornament of the throne of gods and kings
Such a tree is made above the throne and the arch
(lines 1-2).
as well as at the middle of the length of the throne (lines 4-5). It is
also constructed inside the Mukta-prapanga or an open courtyard,
the mandapa or a pavilion, and the royal palace (lines 68-69). Beyond the front of the ornamental tree, there should be represented
wishes, or, in other words,
tree yielding
This tree is used as
all
a yard where the votaries of gods and kings are seated in the pose
of praising and worshipping them (lines 70-75).
description and measurement of all the various
The tree is coiled round with a
are given.
the
tree
of
parts
reaches the top (lines 11-12).
of
which
serpent the outspread hood
The measurement of the hood and tail of the serpent is described
The number of branches as also the
at great length (lines 13-20).
thrones
them
varies
measurement of
according to the various
is
constructed (lines 21-43).
for the decoration of which the tree
The minute
112
THE ORNAftEKTAL TREE
FOR THKONE.S OF GODSAHD KINGS
HOT TO 5CKLL
KALPADRUMA
712
KALPA-VRIKSHA
HINDU ARCHITECTURE
.
tree is beautifully decorated with creepers, leaves and flowers
of various colours and forms (lines 114-155, 62-66). Bees are represented on the branches (line 56). Jewels and garlands of pearls
The
are inserted in suitable places (line 57).
The figures of monkeys,
and semi-divine beings (Sidhas, Vidyadharas, etc.) are beauti-
deities
fully
carved in the intervals between the branches
58-61).
(lines
particulars regarding the ornamental
expressly left to the choice and discretion of the artists
other
Many
are
tree
:
Evarh tu kalpa-vrikshah syat s"esham yuktya prayojayet
Tasya madhye cha range tu muktikena prapanvitam
I
I
Tan-madhye
sasanadinarh
toranarh
kalpa-vrikshakam
I
(M., xxxiv, 167, 218-219.)
A
carving on the car
:
Kalpa-vriksha-yuta-chakravartibhir
bhih
kuru sarvavedi-
manditarh
I
(M.,
The
materials of which the tree
is
constructed
169-170.)
XLIII,
:
Sirhhasanam makara-torana-kalpa-vriksham
I
Mukta-praparigam api daru-s"ileshtakadyaih
Ratnair aneka-bahu-loha-viseshakais cha (kuryat)
|
I
(M., XLVII, 30-33.)
Paschat sirhhasanadhya's cha kalpa-vriksham cha toranam
|
(M., XLIX, 185.)
Padma-pitharh maha-pitham tri-murtinarh cha yojayet
Praoa cha toranarh vapi kalpa-vriksham cha sarhyutam
(M.,
|
I
ii,
Apare tu niryuharh kuryan makara-toranam
Tad-urdhve kalpa-vriksham syat sa-ha( ? ga)jendra-sva(
86-87.)
|
raih saha
'
(2)
I
?
sva)
LV, 79-80.)
(M.,
(He) covered with fine gold the enclosure, the gate-towers, halls
and buildings surrounding the shrine of pu e gold
covered with
covered with
splendid gold the altar on which offerings abound
pure gold and adorned with numerous strings of large round pearls
the sacred car temple
was pleased to build a long temple street
of mansions covered with jewels and called it after his royal
prosperous
name, and made numberless splendid insignia, beginning with dishes
.
.
.
.
.
"3
.
.
.
.
AN ENCYCLOPAEDIA OF
KALYANA
cut off fine gold, together with a kalpa (tree) of pure gold.'
Tirumalavadi, no. 79, lines 14-23, H.S.I. I., Vol. HI, p. 185.)
(Inscrip.
at
Doshonmosha-vrisha-praghosha-divishat-santosha-posha-kshamah
sarhya-tatula-tirtha-bhuta-parishat-satkara-kalpa-drumah
I
Nana-mangala-divya-vastu-nivritas taurya-trikollasito hridyah ko'pi
sa vasarah samabhaval-loka-pramodojjvalah II
(Inscrip.
from Nepal, no. 23,
Queen
Inscrip. of
Lalita-tripura-sundari,
Ind. Ant., "Vol. ix, p.
KALYANA A
KANTA)
class
v.
4,
194.)
of the five-storeyed buildings (same as GRIHA-
.
(M., xxin, 30-32
;
see
under PRASADA.)
KALYANA-MANDAPA A wedding pavilion.
(See details
KAVATA
(1)
The
under MANDAPA.)
leaf or panel of a door, a door.
Vdstu-vidyd (ed.
Ganapati
Sastri) xiv,
i
:
Kavata-dvitayam kuryan matri-putry-abhidham budhah
(2)
Kautilfya-Artha-fdstra,
Chap, xxiv,
p.
Tri-pancha-bhagikau dvau kavata-yogau
(3)
Kdmikdgama, LV
53
1
1
:
I
:
Deva-dvija-narendranam kavata-yugalam matam
Anyayor ekam uddishtam maha-dvare chatur-yugam
Aneka-sririkhalopetam bahu-kundala-bhushitam
I
II
(51)
I
Kavata-yugmam kartavyam
kokilargala-sariiyutam II ( 2)
bahis
tasya(h) stambha-yoga-kavataMyuk
Bhitti-madhyad
Kavata-yug
1
:m va-ekam ghatanodghatam samam
II
I
(166)
See also verses, 38, 49, 53.
Jalakas cha kavataS cha bahye bahye prakalpayet
(4)
(5)
Rdmdyana,vi, 31, 27, etc.
Purim maha-yantra-kavata-mukhyam
II
(Ibid., XLI, 8).
:
Mdnasdra
I
:
Yon(g)yarh kavata-yugmarh cha sreshtham madhyarh cha harmyakel
(M., xix, 152.)
Dakshine cha kavate tu dvaram kuryat tu mukhyake
Devanam cha manushyanam maha-dvaram kavatake
I
I
(M., xxxvai, 9, u.)
114
KAMYA
HINDU ARCHITECTURE
'
As compared with prakara
Dakshinasya kavataih tu visaladhikam ayatuh
'
:
I
Eka-dvi-tryangulam vapi kavataih syat dvi-hastakam
Kuryat kavata-dirgheshu kshepanarh vistrito'dhikam
Prakare cha maha-dvaram kshudra-dvaram kavatake
I
I
I
see also
(M., xxxix, 101, 102, 108, 115;
124-137.)
'He, the emperor of the south, caused to be made of stone for Vijayanarayana temple, latticed window, secure door-frame (dridha-kavatam)
(6)
door-lintel, kitchen, ramparts, pavilion,
tirtha.'
Roman
(Ep. Carnal., Vol. v, Part
text, p.
KA$A
KA&PU
Belur Taluq,
no.
Transl., p. 61
72,
;
142, line 7.)
)
mat a cushion, a golden
>
\
(R.-V. x,
KAKASHTA A
eight-fold
i,
and a pond named the Vasudeva
ioo,
10
seat.
Taitt. Aran.,
:
vi,
i
9,
A.-V. vi,
:
138, 5.)
synonym of paryanka or bedstead, a couch of
crow design.
(M.,
ni,
11-12; see under PARYANKA.)
KACHA A
house with a southern and northern
KANTA A
type of pavilions.
hall.
(Brihat-Samhitd,
(M.,
KANTARA A
xxxiv,
large forest, a difficult road,
40.)
MANDAPA
under
see
513-516;
LIII,
)
a class of six-storeyed
buildings.
(M., xxiv, 13-14
;
under PRASADA.)
see
KAMA-KOSHTA A
comfortable compartment, usually a bedroom, a temple of one of the thirty-two attendant deities.
Jayante bhaskaram sthapya(m) ise pasupatam tatha
Athava kama-koshthaih syad alayam kalpayet sudhih
Dvatrimsan murtir evam va kuryat tu parivarakam
I
I
I
(M., xxxn, 58-60.)
KAMAKSHI-DHARMA- MANDAPA A
type of pavilions.
(Madras Museum Plates of Srigiri-bhu-pala, vv. 21-22
Ep. Ind., Vol. vm, pp. 311, 316 ; see under MANDAPA.
KAMYA A class of buildings,
a chamber in the shrine used as bed-
room of deities.
Pancha-prakara-harmyanam adhuna vakshyate kramat
(M.,
Kamyadi-bheda-harmyanam tan-manena vinyaset
cha
sarvabhih
(M.,
Nitya-naimittikakhyadi-kamyair api
I
I
xxxi, 2-3.)
I
XLVIII, 27.)
KARAPAKA
AN ENCYCLOPAEDIA OF
KARAPAKA- -Persons
appointed to look after the construction of
a temple.
Karapakas tu sunuh pitamahakhyasya satya-dcvakhyah
GoshthyS prasadaparaya nirupito janmana sa vanik II
The Karapaka
I
by the goshthi (assembly) to see this work
through was Satyadeva, the son of Pitamaha, who was a merchant by
birth.'
Dr. Bhandarkar also refers to Prof. Kielhorn (Ind. Ant., Vol.
'
selected
'
xix, p. 62, no. 53),
persons appointed to look after the construction of
the temple.'
(Vasantagadh Inscrip. of Varmalata,
v. 9, Ep. Ind.,
Vol. ix, pp. 192, 189, notes 4 and 3.)
Cf.
GOMANASA KARAVAKASA
'The
gift
of
Gomana
I
the Karavaka
'
(=karapaka).
(Four
early
KARMUKA A
kind
of village.
It is situated
on
no. B,
Inscrip.
Ep. Ind., Vol.
xii,
p.
301.)
banks of
the
a river or sea (nadi-tire'bdhi-tire va karmukam cha vinyaset). Its
plan is like a bow (tad-dyayor vithi-bahye tu karmukakaravat
prithak).
See further details
under GRAMA.
(M.,
KARYA-SATRA
Working
lines,
ix, 3,
459, 463, 452-472.)
drawn
the plumb-lines
for
the
purpose of the sculptural measurement.
(M., LXVII, 93
KALA-KOTA A kind
;
under PRALAMBA.)
see
of poison, the cobra represented on the neck
of the image of Siva.
Grivasya vama-parsve tu kala-kuta-samanvitam
KALA-MUKHA A kind
A
LI,
80.)
of phallus.
(M.,
KALIftGA-(KANTA)
(A/.,
I
class
LII, 2, LXVIII,
of the
2
;
see
under LINGA.)
twelve-storeyed
buildings
once prevailing in the country along the Coromandal coast.
Madhya-kantam iti proktam tasya kuta-dvi-bhagike
Anu-sala shad-amsam syat tasyangam purvavad bhavet
I
Evam
kalinga-kantam syan nanakaranga-samyuktam
I
I
(M., xxxi, 14-16.)
116
KIRTANA
HINDU ARCHITECTURE
KIRlTA A
diadem, a crown, a
tiara.
Devanam
bhu-patlnarh cha mauli-lakshanam uchyate
Jata-mauli-kiritarh cha karandam cha Sirastrakam
|
|
(M., XLIX, 12-13.)
Kirita-makutam
KIMBARA(-RI)
tural
and
chaiva
A
narayanams"a-yogyakam
I
(Ibid., 18.)
an architec-
crocodile, a shark, used both as
sculptural object.
Chitra-toranam
.
.
graha-kimbara-samyuktam
.
I
(M., XLVI, 52-53.)
Syama-varnam mukham sarvam kimbari-makarananam
I
(M., xvni, 311.)
In connexion with the galas or buildings
Sarve(a) -sala-nasika-toranadyaih
:
I
Patrais chitraih kimbari-vaktra-yuktam
(M., xxxv, 401-402.)
I
In connexion with the single-storeyed buildings
Nasikagrantam sarvam kimbarl-samalankritam
KISHKU A
:
I
(M., xix, 36.)
measure, a cubit of 24 or 42 angulas.
Kishku(h) smrito dvi-ratnis tu dvi chatvarims'ad angulah
(Brahmdnda-Purdna, Part I, and Anushanga-pada,
I
But according to the Suprabheddgama (xxx, 25 see
a cubit of 24 angulas, which in the above Purana
;
it is
'
Chap, vii, v. 99.)
under ANGULA),
(v.
99)
is
called
aratni.'
KIRTTANA) A temple, a shrine.
(1)
S()ambhor yo dva-das(s")api vyarachayad achirat kirttanani
who erected (soon) twelve temples of Sambhu.' Mr. Telang at the
KIRTANA
(also
'
'
suggestion of Pandit
Bhagvan Lai'.
(New Silara copper plate grant,
Vol.
ix,
line 7, Ind. Ant. }
pp. 34, 36, and note 13.)
Kartapi yasya khalu vismayam apa Silpi tan-nama-kirttanam
akaryyata rajna
'
This is the abode of Svayambhu Siva, and no artificially made
Sri (if she could be)
seen (would be) such as this.
(dwelling)
the
even
architect
it felt
who
built
astonishment, saying
Verily
"
(the utmost)
perseverance would fail to accomplish such a work
how has it been achieved by me?" (and), by reason
again; aho
(2)
I
;
!
of
it
the king was caused
to
praise
(Skt.
his
name.'
and Old Canarese
14
f.;
Dr. Fleet.
Inscrip. no.
Ind. Ant., Vol. xn, pp.
cxxvn,
159, 163,
line
c. I.)
AN ENCYCLOPAEDIA OF
KIRTI-VAKTRA
Dr. Hultzsch referring to the passage quoted above says
The word, Kirtana, has been understood in its usual and etymo:
(3)
'
by Dr Fleet and the first translator (B.A.S.J., Vol. vni,
that sense is not at all appropriate here
Mr.
Prinsep)
p. 292 f.,
be
taken
to signify a temple.'' He then refers to
and the word must
the Silara grant mentione above and quotes the following
logical sense
;
:
1
(a)
cha karayet
Cause temples to be constructed.'
Kirtanani
'
Vol.
i,
I
(Agni-Purana, Bib. Ind.,
p. III.)
klrtanani lekhayan Sasanani
prithivim vichahe travelled the earth,
constructing temples, causing
Kurvan
(b)
chara
'
.
.
.
.
.
.
be written, etc. (Bana's Kadambari).'
tu
Purta-kirtanodharanena
by the restoration of dilapidated
(c)
works of public utility (such as tanks, wells, etc.) and temple.'
grants to
'
(Ind. Ant.,
Vol. xn, pp. 228-229.)
Bhandarkar in
I have since
support of this meaning of KTrttana (in no. 2 above),
found that it is used in the same sense in the five inscriptions of Devalabdhi, the grandson of the Chandella king YaSovarman and the son
'
In addition
(4)
the
to
authorities
by
quoted
of Krishnapa and Asarva, in the temple of Brahma at Dudahi (Arch.
Dr. Fleet.
Surv. of Ind., Vol. x, Plate xxxn).'
(Ind. Ant.,
Achikarat
(5)
Ind. Ant.,
(6)
'
kirttanam
Vol. xv, pp.
built
Vol. xn, p. 289, c.2.)
(Gwalior Inscrip. v. 15
temples.'
202, note 8.)
203,
Kirttanam idarh sarwarh karitam
Kirttanam idarh sarwarh api (b.
Sarvva-kirttanam idam
Saktaih kirttanam idam
(a.
line 9
line 8
f.).
f.).
line 5).
line 3).
(d.
(c.
Kirttanam idam ().
In
no.
all
these places,
A, Dudahi stone
'
Kirttana
'
means a temple.
a
Inscrip. of Devalabdhi,
(Chandella Inscrip.
grandson of YoSovarman,
Ind. Ant., Vol. xvui, p. 237.)
chakara kirttim bahu-klrttinathah
(7)
Cf. Sa dakshinarkkasya
he famous for many (good) deeds made the temple of Dakshinarka'.
(Gaya Inscrip. of Vikrama-samvat 1429, lines 4-5, 8
.
'
.
.
;
Ind. Ant.,
KIRTI-VAKTRA The
monumental
face,
Vol. xx, pp. 314-315.)
used as an architectural
member.
In connexion with the
or hall
'
mukha-bhadra
'
or front
tabernacle,
porch
:
Tad-urdhve kirti-vaktram tu nirgamakriti(r) bhavet
I
(M., xvni, 293.)
118
JiliiUl
SECTION
PLAN OF RAMPART*.
KUMAHI-PURA.
ELEVATION
PIVOTED.
-J
PLAN
KUNJARAKSHA.
KUKSHI
HNIDU ARCHITECTURE
KIRTI-STAMBHA A
memorial or monumental
pillar.
Arch., Burgess, Arch. Surv.,
(Ahmadabad
Series, Vol.
xxxm,
New. Imp.
94; see under STAMBHA.)
p.
KILA A
stake, pin, nail, wedge, post.
Etat tu pratimarh bhavet
I
Kila-tara-samady-ardharh dvi-gunam va galaka bhavet
(M.,
In connexion with joinery
xii,
I
122-123.)
:
Mulagre kilakarh yuktam ardha-pranam
iti
smritam
I
(M., xvn, 99.)
In connexion with a mirror or the looking-glass
:
Darpanasya tri-bhagaikam mule kilayatam tatha
(M., L, 120
KILA-BHAJANA The
;
see also
I
M., xxxix, 121-123.)
pin-hold.
In connexion with the door
:
Kila-bhajanam ity-uktam kilanarh tu pravakshyate
(M., xxxix,
KILA-SULAKA The
I
also
see
119;
120-131.)
pin-point.
In connexion with the door
Kuryat tat kavatanarh yuktya tat kila-Sulakam
:
KUKSHI
The
belly,
(M.,
I
a cavity, the middle part, the
xxxix, 128.)
interior, the
hub of the wheel.
(M.,
In connexion with the foundations
XLVIII,
i
a.)
:
Gramadinarh nagaradinam pura-pattana-kharvate
Koshtha-koladl-sarvesharh garbha-sthanam ihochyate
Sthira-vastu-kukshi-des"e tu chara-vastu tathapi cha
Grama-dvarasya yoge va garbha-Svabhram prakalpayet
I
I
I
I
(M., xn, 168-171.)
In connexion with the pent roof (lupa)
Tat-sutrad adho dde kukshirh jnatva purordhvake
(M., xviu, 236.)
In connexion with the front porch or tabernacle (mukha-bhadra)
:
I
:
Panchama-dvi
(-ya)rhs'a-taram
syad ardham va
kukshi-vistritam
Kukshy-antararh sadma-sarhyuktam vatayanam athapi va
(Ibid.,
In connexion with the single-storyed buildings
Nasl-tararh tri-bhagaikam kukshshi-taram iti-smritam
I
I
286-287.)
:
I
(M., xix, 37.)
"9
AN ENCYCLOPAEDIA OF
KUKSHI-BANDHA
In connexion with the chariot (ratha)
Vistararh cha tridha kritva madhye kukshy:im)-arhakena tu
Pancha-daSam cha vipularh nalarh kuksh(as)ya veSanam
:
I
I
(Af., XLIII,
In connexion with the arch
12,
14.)
:
Ratnakaranganair yuktaih kukshir avrita-lambitam
Toranasyopari dese tu bhujanga-pada dvayor api
I
I
(M., XLVI, 59.)
Mukharh vakshaS cha
kukshiS cha kati dirghe
dva-daSamSakam
(M.
Kukshi-tarashta-matram syat
KUKSHI-BANDHA A
from one another
.
I
of bases,
class
in height
.
.
I
LVII, 55.)
(M., LX, 14.)
has four types differing
it
and the addition or omission of some
mouldings.
(M.,
KUGHA-BANDHANA An
319-359;
xrv,
ornament
see
under ADHISHTHANA.)
for the (female) breast.
Kucha-bandhana-samyuktarh bahu-mala-vibhushini
(Af.,
LIV,
12.)
KUNJARA A
type of building which is shaped like the elephant's
back, 1 6 cubits long and broad at the bottom and has a roof with
three dormer-windows.
Bnhat-Samhitd (LVI, 25, J. R. A. S., N. S., Vol.
(2) Matsya-Pwana (Chap. CCLXIX, vv. 36, 41, 49, 53
(1)
(3)
Bhamshya-Purana (Chap, cxxx,
KUNJARAKSHA
elephant's eye
(cf.
v.
32
VATAYANA)
;
see
A
vi, p. 319).
under PRASADA).
under PRASADA).
;
see
window resembling the
in design.
Naga-bandharii tatha
valli
gavaksharh kunjarakshakam
esham vatayanarii rupam
(Af., xxxm, 581, 582,
Gavakshakaram yuktya cha pattikordhve samantatah
.
.
.
I
I
585.)
I
Kunjaraksham alaksham va patra-pushpady-alahkritam
(A/.,
KUTI
(see
GANDHA-KUTI)
A
hall,
a cottage,
I
XLIV,
cornice,
22,
23.)
entabla-
ture.
Kosamba-kutf
Inscrip. no. 39
'
;
The
hall at
Ind. Ant.,
Kausambi.'
Vol. xxi, p. 230).
120
Dr.
Hultzsch(Bharaut
KUTTIMA
HINDU ARCHITECTURE
KUTIKA A village
under one headman.
Eko gramaniko yatra sa-bhritya-paricharakah
Kutikarh tad vijanlyad eka bhogah sa eva tu
I
II
(Kdmikdgama, xx,
KUTUMBA-BHUMI
is
The ground
for houses, a site
4.)
where a house
built.
Kutumbha-bhumi-manarh
tu vata-kshetra-vivarjitam
i
(Ibid., xxi, 3.)
KUTTIMA A floor, a
base, a wall, a pavement, an entablature,
house, the ground prepared for the site of a
a cottage, a small
building, a paved ground.
It is also
see
used as a synonym of Prastara or entablature.
(
M., xvi, 2-4
;
under PRASTARA.)
(1)
Same
column
as adhishthana or the base of a
:
dhuna
Adhishthana-vidhlm vakshye
Trayodasangulam arabhya sha^-shad-angula-vardhanat
Chatur hastavasanarh syat kuttima-dvadagonnatam (M., xiv,
gastri sarhkshipyate'
i
I
1-3.)
i
Janmadi-vajanantam syat kuttimodayam Iritam
Vimana-saleshu cha mandapeshu
i
Nidhana-sadmeshv-api gopureshv-api
Eteshv-adho-deSa-talopapithe
I- (Ibid., 9.)
i
i
Tasyoparishthat krita-ku^timani {(Ibid., 397-400.)
Referring to the entablature
:
Shad-vidham kut^imottungam prastarodayam Iritam
In connexion with the four-storeyed buildings
(M., xvi,
i
4.)
:
Tad-urdhve pada(rh)-bandhvarharh gopanochcharh tad-ardhakam
Tad-urdhve kuttimarh charhsam sardha-pakshanghri-tungakam
i
i
(M., XXH, 36-37.)
In connexion with the gopura or gate-house
:
Dvi-bhagarh chopaplthochcham tasmad ekaih^a(m) kuttimam
(M.,
(2)
As a synonym of the wall (bhitti)
dvari kundarh cha kuttiman
.
.
.
Bhitter
akheyeyam akhyatam
As a member
(lit.
limb) of the base
.
.
249.)
:
n
.
n
(Kdmikdgama, LV, 199-200.)
:
Masurakam adishthanarh vastvadhararh dharatalam
Talarh kuttimady-angam adhi^thanasya klrtitam
121
xxxm,
i
n
i
(Ibid.,
202.)
AN ENCYCLOPAEDIA OF
KUTTIMA
(3)
Prasada-s"ata-sambadharh mani-pravara-kuttimam
Karayamasa vidhivad dhema-ratna-vibhushitam
1
I
1
(Mahdbharata, xiv, 25, 22.)
prasadaih sukritochhrayaih
Suvarna-jala-sarhvritair mani-kuttima-bhushanaih
.
.
1
.
1
II
(Ibid.,
(4)
Kuttimo'str! nibaddha-bhus chanclra-sala sirogriham
Commentary
185,
i,
I
Pashanadi-nibadhha-bhuh sa kuttima ity-ckam
:
19-20.)
I
(Amarakosha, H, 5~8.\
(5)
Griharh kanchana-kuttimam
(6)
Tan
.
.
pathi
.
.
.
.
(Ramayana,
I
vi, 37, 27, etc.)
mamlatur na mani-kuttimochitau
I
(Raghuvarhfa, ed. Stenzler, n, 9.)
(7)
Padangushthalulita-kusume kuttime
I
(Malavikagnimitra, ed. Tullberg, n, 27.)
(8)
tu
Vcdikeyam
samanya kuttimanam
prakiritita
(Vastu-vidya, ed.
(9)
Mani-kuttima
varsha, line 29
(10)
;
'jewel-paved
Ep. Ind., Vol.
iv,
floor.'
I
Ganapati
(Kadaba
Sastri, ix, 19.)
Prabhuta-
plates of
pp. 341, 342.)
Vapl-kupa-tadaga-kuttima-matha-prasada-satralayan
Sauvarna-dhvaja-toranapana-pure-grama-prapa-marhdapan
I
.
Here
.
'
.
vyadhapayad ayarh Chaulukya-chuda-manih
.
kuttima'
is
1 1
I
evidently a detached building.
(Sridhara's Devapattana Prasasti, v. 10;
Ep.
Ind.,
Vol. n, p. 440.)
(n) Mani-kuttima 'jewel-paved floor.' 'And it must have been an
uncommonly magnificent building, for nearly the sixth part of whole
inscription (of 103 lines) is devoted to its description, and its erection is the
only deed of the king, which the author has thought worth mentioning.
The temple spoken of here must, therefore, necessarily be that splendid
Siva temple which, according to the Baroda-grant was built by Krishna
on the
hill
of Etapura,
the
modern
varsha, line 34, Ep. Ind., Vol. iv, p.
p. 159
and
p.
228
(Kadaba plates of Prabhutaand
note
2 ; Ind. Ant., Vol. xn,
337
Elura.'
f.)
vidvat-kavmam griha nanaratna-vichitra-kuttima-bhuvo ratnakaratvarh gatah
Through the precious
stones presented by the glorious king Krishna, the houses of the learned
and the poets have pavements (? floor) sparkling with jewels of different
kinds, and have (thus) become jewel-mines.'
(Two inscrip. of Krishnaraya
(12) Srikrishna-kshiti-pala-datta-manibhir
'
no. A, Mangalagiri pillar, Inscrip. v. 7, Ep. Ind., Vol. vi, pp. 118, 128.)
122
HINDU ARCHITECTURE
KUDYA
(13) Mani-kuttima-vithlshu mukta-saikata-setubhih
Danambuni nirurhdhana
I
yatra kridanti balikah
II
'
There the girls play on roads paved with precious stones, stopping
by
embankments of pearl and the water poured out at donations.'
(Vijayanagara Inscrip. of Harihara, II, v. 27, H. S. /.,
Vol. i, no. 152, pp. 158, 160.)
(14)
Lokaika-chudamanina
vyajcna svayam avatlryya
'
The sun
.
.
.
...
mani-kuttima-sankrarhta-prati-bimbaI
under pretence of seeing
his
reflection in the jewelled
floor.'
(Ep. Carnal., Vol. xn,
text, p. 49, line
KUDYA A wall,
Bhittih
'Bhittih
32
;
no. 61
;
Roman
Transl., p. 29, line 20.)
plastering.
kudyam
strl
I
kudye prabhede cha'
'Kudyam
Gubbi Taluq,
bhittau vilepane
iti
'
iti
Haimah
MedinI
I
I
(Amarakosha,
2, 2, 4.)
Prasada-harmya-valabhi-linga-pratimasu kudya-kupeshu l
In the temple, mansion, roof, phallus, image (idol), wall, and tank
(the cement should be used).
(1)
'
(Brihat-Samhita, LVII, 4, J.R.A.S.,
N.S., Vol.
(2)
vi, p. 322.)
Silaya cha mridapy-athava taruna rachayed atha kudyam atlvadridham
I
Tad-ihottara-vistaratah sadrisarh
bahalam kathitam talipadi-yutam
Svotsedha-dararhs'aika-hina-mastakam eva tat
Kudyam kuryad
I
I
bahir-bhagarh svantar-bhagarh bhavet
samam
II
(Vastu-vidya, ed. Ganapati-Sastri, xv, 1-2.)
(3)
Para-kudyam udakenopaghnato
'
cause to collect water and thereby
injure the wall of a neighbouring house.'
(Kautiliya-Artha-iastra,
Chap. LXV,
bahir andharikavritam
(4) Panchalindarh shat-kudyam
1
1
cha krodhe bhitti(h) pancha^a-varjitah
Ldnge
Kirhchin nyunam alindam va ^esham kudyeshu yojayet
^ilante
p. 167.)
I
||
(Kamikagama,
Jalakarh phalakam sailam aishtam
kudyam cheshyate
kudyam ishyate II
Nishpadam va sa-padam va kudyam Sailam atheshtakam
Athava mrinmayam vapi kudyam ishtam dvijottamah
L,
I
Jalakair bahubhir yuktarh jalakarh
1 1
123
I
83, 87.)
AN ENCYCLOPAEDIA OF
KUDYA-STAMBHA
Kudye stambha-lata karya vastvadharasya chopari
I
Vedikordhvadhare kuta-koshtadlnarh
smritah
tridha. tridha
II
(Kamikagama, LV, 94, 97, 98.)
Jalaka cha kavatas" cha bahye bahye prakalpayet
Sarvatah kudya-sarhyuktam mukhya-dhamatra kirtitam
I
Anta-vivrita-padarh cha bahye kudyarh prakirtitam
Bahir abhyantare mukhya-geham vidhiyate II (Ibid.,
In connexion with the number of walls
(5)
(sala) in
II
II
XLI, 8, 9, 14.)
the buildings of the
kings of various ranks
Ekadikaih tri-salantarh pattadharadibhis tribhih
Praharakastragrahabhyam kudyam etad (? ekam) dvayantakam
:
I
1
1
(A/., XL, 42-43.)
Geha-tridhaika-parito bahi(h) kudya-taram
LIII.
(M.
i
59).
Kudya(ama)ty-adhika-hinam ched vistare chodaye'pi va
Dvi-jati-sarva-varnanarii sarva-na^akaram bhavet
i
i
(M. LXIX. 57,
KUDYA-STAMBHA
58.)
The column of
the wall, thus the pilaster or
a square pillar projecting from the wall.
Sila-stambham s"ila-kudyam naravase na karayet
11
(Kamikagama, xxxv. 161.)
In connexion with the foundations
:
Kudya-stambhe griha-stambhe harmya-garbham vinikshipet
(M.
Referring to the pillar
i
xii.
132.)
:
Tri-chatush-pancha-shan-matrarh kudya-stambha-vigalakam
Tad-dvi-gunitam vapi tri-gunarh va chatur-gunam
Etat(s) kampa(-bha)-vialamsyad athava tunga-manatah
I
i
(M. xv. 14-16.)
Set
plates
Ghalukyan Architecture, Arch. Surv. New Imp. series, vol. xxi,
xvi, XL vi, fig. 3
plate LXXVIII, figs. 1,2; Buddhist Gave Temples,
ibid, vol. rv,
;
plate xvin, no. 3
KUNDA A pool
;
plate XXH, no. 2
;
plate xxrx. no. 2.
or well in or about a temple.
Sarvatah kunda-samyuktarh griha-dvara-samanvitam
i
(Kamikagama, xxxv. 64.)
'At Kapadvanj ... is a large spuare kunda or reservoir in the
market place. This occupies an area about a hundred feet square with
a platform below the
parallel to the sides,
first
descent,
lead
from which a
series
down from one narrow
124
of short
stairs,
landing to another,
KUNTALA
Pagi Jit
HINDU ARCHITECTURE
KUMARI-PURA
and reaching a broader one about 33
from the
feet
pair of descending steps in each of five
and
thirty-six
centre
is
in all
tiers is
occupied by
originally
Between each
some hundred
first.
a niche
...
images
In
the
a deep well about nine and a half feet square.'
(Ahmadabad
KUNDIKA A water pot on
New. Imp.
Arch., Burgess, Arch. Surv.
series, vol.
xxxni, p. 94, plates LXXX, LXXXI.)
hand of an image.
Kundika chaksha-mala cha vame vame kare kramat
the
Kundika vama-haste cha dharayet
tu sarasvatl
(M.
I
LI.
31.)
LIV. 22.)
(M.
I
KUNTALA A head
gear, a lock of hair.
Devanarh bhupatlnam cha mauli-lakshanam uchyate
Jata-mauli-kirltam cha karandarh cha Sirastrakam
Kuntalarh kesa-bandham cha dhammillalaka-chudakam
Mukutarh cheti khyatam
(M. XLIX 12-15).
mukutam
kunu
talam tva
Dukula-vasanopetaih
(M., LIV, 78.)
Kechit tu kuntala-nibharh tungam makutam kuntalam tu va
I
I
I
.
.
.
I
|
I
(Ibid.,
119.)
KUBJAKA (see NAGARA) Hump backed, crooked, a town of the
similar plan
according to the Kdmikdgama,
(cf. KANYA-KUBJA)
a
on
the
confines
of any city or large village.
it is a suburb or
place
,
Gramadinarh samlpam yat sthanam kubjam
iti
smritam
II
(Kamikdgama, xx,
Sarvesharh nagaradinarh bhedarh lakshauam uchyate
Kubjakarh pattanarh chaiva ...
15.)
I
I
.
.
.
durgam
ashta-vidharh bhavet
KUMARI-PURA A
gymnasium
I
(M., x, 37, 40, 42.)
or school for higher studies, a
stadium, arena or sports ground.
Sotsedha-randhra-prakaram sarvatah khatakavritam
Ruchaka(h)-pratika-dvararh kumari-puram eva cha
I
II
Dvi-hastah srotasa sreshtharh kumari-puram anchatam
Hasta-sato-dasa-Sreshtho navahasto'shta eva cha II
I
2nd Anusamga-pada
Chap, vn, vv. 103, 104.)
(Brahmdnda-Purdna, Part
i,
Prakara-madhye kritva vapim pushkarinlrh dvaram chatus-^alam
adhyardhantaranikarh kumari-purarh munda-harmyam dvi-talam mundaka-dvaram bhumi-dravya-vasena va tribhagadhikayamah bhandavahini(h)-kulyah karayet
under Chuli-harmya.)
I
(Kautillya-Artha-Sastra,
125
xxiv, 54,
see
Translation
KUMUDA
KUMUDA
AJV
The
'
water-lily.
vertical diameter.
It
is
A
semi-circle
employed
chiefly
ENCYCLOPAEDIA OF
from
projecting
in cornices
and
bases.
a
It
corresponds with the astragal (a small circular moulding ornamented
with a bead or reel), or with torus ' (a large convex
moulding used
principally in the bases of columns). (Ram-Raz, Arch. Hind., p. 23.)
In bases it may be triangular or hexagonal.
(M.
In connexion with the foundations
xiv, 83.)
t
:
Janmantam vathava prantam kumudantarh va galantakam
Pattikantam kshipech chapi vinyaset prathameshtakam
I
I
(M., xn, 202-203.)
A
moulding of the base (M., xiv,
under ADHISHTHANA).
A
moulding of the throne
12,
etc.; see
the
lists
of mouldings
:
Tach-chhesharh dvi-bhage tu
kumudam
vrittakritis tatha
|
(M.. XLV, 136.)
A
headgear
Etesham
mahishblbhyam(-shyoh)
kritam
(M,
I
cha
dhammilla(m)
kumuda-
XLIX, 28.)
KUMUDA-BANDHA A class of bases, it has four types differing
from one another in height and in the addition or omission of some
mouldings.
(M., xiv, 65-108,
KUMBHA
cupola, a plinth.
A
ADHISHTHANA).
A
A
A
under ADHISHTHANA.)
the capital, a moulding, the
(M., xiv, 33, etc., see the lists of mouldings under
KALASA)
(see
see
pitcher,
kind of building
(see
under GHATA).
part of a column (Suprabheddgama, xxxi, 58,
pinnacle
see
under STAMBHA).
:
Prasadam
akarod
apy-amala-kanchana-kumbha- arhpata-sambhavaniyam-
anukarmma
silpaih
I
(Ghebrolu Inscrip. of Jaya, postscript,
lines 9-1 1, Ep. Ind., Vol.
v, pp. 150, 151.)
Ghanarii
mamtapam
prasadarh
a solid
'
and a beautiful large
Vol.
vi,
nava-hema-kumbha-kalitam ramyam mahatemple adorned with nine golden pinnacles
hall.'
(Mangalagiri Pillar Inscrip.,
pp. 125, 115.)
126
v. 51,
Ep.
Ind.,
KULA
HINDU ARCHITECTURE
sauvarnna-kumbha-dhvajaropl
Protturhge'py-aparajitesa-bhavane
rupyaja-mekhala-vitaranas tasyaiva devasva yah
...
I
a flagstaff (dhvaja) on
placed a golden cupola (kumbha) and
the temple of (the god) Aparajitesa, to whom at the same time
he gave a silver girdle.' Pro. Kielhorn.
'
He
(T he Chahamanas of Naddula, no. C, Sundha Hill
Inscrip. of Chachigadeva, v. 51, Ep. Ind.,
Vol.
Prasadam urdhva-s(s)ikhara-sthira-hema-kumbham
firm golden
temple (which by the stately display of)
lofty spires.'
KUMBHAKA
(Bhubaneswar
is
(Into)
capital,
the
upon
The base of a column.
written)
The same
pp. 78, 74.)
'
Inscrip., v. 15, Ep. Ind., Vol. xiu, pp. 152, 154.)
Ayam kumbhaka-danam ....
cription
ix,
is
the gift of
This pillar-base
(where the
ins-
.
.
repeated on many other bases of
is
inscription
.
'
pillars.
(Catalogue of the Arch. Museum at Mathura,
sections 21,22, 25, 30, 32, pp. 176, 177, 178.)
KUMBHA-PANJARA
sists
(cf.
PANJARA)
of a vase, a pilaster and a
KUMBHA-PADA
(cf.
little
STAMBHA)
A
niche in the wall.
It
con-
pavilion (panjara) at the top.
Literally the pillar at the foot of
a pitcher, an upper pillar of the two-storeyed buildings (M ., xx, 63),
of the bedstead (M., XLIV, 59).
KUMBHA-BANDHA A class of bases, it has five types differing
from one another in height and in the addition or omission of some
mouldings.
under ADHISHTHANA.)
of the column, mouldings of the
(M., xiv, 195-239
KUMBHAL ANKARA
Ornaments
;
see
and entablature.
pedestal, base,
under UPAPITHA,
ADHISHTHANA and PRASTARA.)
(M., xv, 201-232
KUMBHA -STAMBHA
A
PADA)
small pillar,
;
see
compare KUMBHAgenerally employed at the upper part of
(see
and
STAMBHA
a structure.
(M., xv, 72-200
KULA
(see
ACHARYA-KULA)
A
residence,
a
;
see
under STAMBHA.)
residential
private
school, a dwelling house of a small individual family (R.-V., x, 179,
Sat. Brdhmana, i, i, 2, 4 n, i, 4, 4 ; 4, i, 14 ; xi, 5,
2 ; A.-V., i, 14, 3
ii
8, i, 3
Brihat-Upamshad, i, 5, 32 ; Chhdnd. Upa., m, 15, 6),
3,
;
;
;
,
a sanctuary, a temple.
127
AN ENCYCLOPAEDIA OF
KULA-DHARANA
KULA-DHARANA A
type of pavilion.
(M., xxxiv, 262
KULAMBHA-DVARA A
under MANDAPA.)
see
;
front door, the threshold.
(M., xxxiv, 365.)
KULIKANpHRI(KA)
tablature, the
main
STAMBHA) An ornament of the encalyx, see NATAKA.
(see
pillar,
Vallika patra-valli cha chitrangam kulikanghrikam
Etat paryaya-vakyani
(M., xvi, 54-55.)
.
KULI(I)RA A
.
.
I
I
crab, a part of the joinery shaped like a crab.
(M., xvn, 153.)
KUHARA A window,
the interior windows.
Tatra shad-asiir merur dvadasa-bhaumo vichitra-kuharas cha
Commentary
Kuhara abhyantara-gavakshah
:
I
I
(Brihat-Sarhhita, LVI, 20, J.R.A.S.,
N.
Merur dvadasa-bhaumo vividha-kuharaS cha
(1)
xv,
The peak
(2)
;
top of a building
LX, 45 ; LXX, ao.)
Chap, cxxx,
:
karna-kuta, sala-kuta.
v, 27.)
(M., xix, 55, 57;
Ekaika-bhagam syat tu kuta-saladikarh nayet
Adho bhaga-dvayenatha kutam ekena va bhavet
I
Kuta-Sala
(v.
Pinnacle
:
I
92), mula-kuta, vana-kuta (95).
(Kamikagama,
(3)
318.)
or summit, head, top of a building.
The
134
vi, p.
I
(Bhavishya-Purdna,
KUTA
Vol.
S.,
L,
88,
90,
92,
95.)
Mata-kuta-prakara-khanda-sphutita-iirnoddharakam
for the repairs of whatever might become broken'or torn or worn
out belonging to the enclosure, with beautiful pinnacles'. (Inscrip.
'
at Ablur,
'
no.
E,
lines 59, 76,
Ep. Ind., Vol. v, pp. 249, 257, 258.)
Sivagamokta-vage parvvata-pramanada degulamam tri-kuta vage
in accordance with Siva traditions, founded a temple with three
pinnacles, as vast as a mountain'.
(Ibid.,
no. E, line 74, Ep. Ind., Vol. v,
pp. 250, 258.)
Tara-ganeshunnata-kuta-koti-tatarppitasujvala-dipikasu
Like clusters of stars the bright lamps be placed on its pinnacles.'
I
(4)
'
(Ep.
Carnal., Vol. xii,
Roman
Gubbi Taluq,
text,
no. 61
;
28
;
p. 49, lines
TransL, p. 29, line
128
17.)
PART OF A THRONE
KOKILA
PLAN.
KUMBHA-PANJARA.
KG PA
HINDU ARCHITECTURE
Sambhos charu-subhair
(5)
'
He
built this temple of
excellent stones.'
akari bhavanarh pashana-kutair idam
with beautiful and brilliant most
I
Sambhu
This translation of kuta does not seem
Biihler.
'Dr.
to suit the context.
(Two
Skt. Inscrip. in the British
Museum, no. I,
xm, p. 251.)
line 12, Ind. Ant., Vol.
Aneka-ratna-khachita ruchira-mani-kalasa-kalita-kuta-koti-ghatichait(having
erected) a lofty
kalasas
or towers surmoun-ed by rounded pinnacles
yalaya, with
(6)
tam apy-uttunga-chaltyalayam
'
'
set
'
with
all
:
manner of
gopura,' perhaps a
(For
jewels.'
'
kalasa
Channagiri Taluq, no. 32
KOCHAKRA
11, cf.
(see
Roman
;
KRIP A)
Roman
text,
(Ep.
text, p. 322, line 18
three pin
the
Carnal.,
Vol.
vn,
Transl., p. 183.)
;
Water-wheels for wells (R.-V.,
x,
102,
Zimone, All. Lib., 157).
KOTA-KOSHTHA A
an
tri-kuta-devalaya
god Vlra-Somanatha'.
;
Transl., p. 63, para. 2.)
;
'
Sri-vlra-somanatha-devara
the
no. 22
Mudgere Taluq,
p. 148, line 12
nacled temple of
in
slip.)
(Ep. Carnal. Vol. vi,
(7)
Mr. Rice has put
,'
compartment on the top of a building,
room.
attic
(Kamikagama, LV, 123-130
KOTA-SALA A
small
room on
;
under KARNA-KUJA.)
see
the top of a building.
Kuta-sala sabharh kritva bhoga-bhogyarh viseshatah
Kuta-sala-yutarh vapi kuta-salantam eva cha
Prakarena
samayuktarh
gopurena vidhiyate
II
I
II
(Suprabludagama, xxxi, 113, 120.)
KOTAGARA
KUTA-SALA) A small room at the top of a
building. Window-chambers (W. Griger
Mahdvamsa, p. 297).
(see
:
Ramayana (i, 5, 15, etc.)
Kutagarai cha sarhpurnam indrasyevamaravatlm II
Commentary Kutakhyair agaraih strinam krida-grihair
kutah salagararh griham anye
:
i
:
iti
yavt
I
KOPA A
102, ii
x,
33,
;
well with
vn, 36, 3; ix,
2)
mechanism of water-wheels, etc. (R.-V., x,
97, 4), masonry sides (Parsu, R.-V.,i, 105, 8;
its
and metal
fittings
or
ribbed
resembling
sickles (see
KUCHAKRA).
(i)
Dcwal
Prasasti
of
Lalla the
PP- 79. 83).
129
Chhinda
(v. 20,
Ep. Ind. Vol.
I,
KRISHNA-MANDALA
AJf
(2)
Sridhara's Devapattana Prasasti
(3)
A
well
with
flights
of steps
(v. 10,
ENCYCLOPAEDIA OF
Ep. Ind., Vol., u, p. 440).
:
Sita-svadu-visuddha-bhuri-salilarh sopana-malojjvalam
.
.
.
kuparh
chainam
akarayad
(Gangdhar stone Inscrip. of Visvavarman,
39, C.
(4)
I
I
I. I.,
Vol. in, F. G.
I.,
lines 38,
no. 17, p. 76.)
Anarhda-putrcna Samgamitrena kue (kupa) katite mataThis well was excavated
pitae puyae save-satana hida-suhae
the
son
of
in
honour
of his father (and,
Ananda,
by Sarhgamitra,
'
mother (and)
the well-being and happiness of all beings.
(Paja Inscrip. of the year in, New Kharoshthi Inscrip.
from the Lalv re Museum, no. n, line 2,
for
Ind. Ant.,
(5)
Khane kupe Dashaverana
XXXVH,
p. 65.)
he dug well of Dashaveras.
(Inscrip. of Ara, lines 4-5, Ind. Ant., Vol. XLII, p. 133.)
KRISHNA-MANDALA
The
iris
of the eye of an image.
(M., LXV, 66, LXVI, 65, LXX, 69.)
KEYORA
The armlet worn on
the upper
arm of an image.
(M.,
KERALA-(KANTA)
A
L,
14,
LIV,
13,
class of the twelve-storeyed building.,
etc.)
once
of Kerala.
prevailing in the ancient country
Tad
eva bhuta-bhagena kshudra-sala-visalakam
Kara cha tat-tri-bhagena cha yuktya samalankritam
I
I
Sesharh prag-ukta-vat kuryad eva(rh) kerala-kantakam
see under VARATA,
(M., xxx, 28-30
;
KE$A-KOTAKA
The
ibid.
17-27.)
tip of the hair, the top knot of an image.
(M.,
KE&A-BANDHA A
I
head-gear
for
the
L,
301
;
see
USHNISHA.)
images of goddesses and
queens.
(M., XLIX, 14, 88
KE&ARA A lion's or horse's mane,
;
LIV,
88
;
see details
under BHUSHANA.)
the filament of a lotus, a mould-
ing, a type of building.
A
of the single -storeyed buildings (M., xix, 173-175
class
;
see
under PRASADA).
A
class
of the three-storeyed buildings (M., xxi, 31-39
PRASADA).
130
;
see
under
KONA LOSHTA.
QEMERAL
OUTLIME. OF
KEYURA.
Page 130
Page 131
KONA
HINDU ARCHITECTURE
A
KAILAS(S)A
eight storeys,
(1)
A
which
(4)
(5)
28 cubits wide, lias
J.R.A.S., N.
;
S.,
vi,
see
under
p.
319;
see
under PRASADA.)
.
class of the three-storeyed buildings.
xxi, 52
(M.,
(3)
is
turrets.
Brihat-Samhild (LVI, 21
PRASADA)
(2)
and
of building
type
;
Matsya-Purdna (Chap. CGLXIX vv., 32, 47, 53 see under PRASADA.)
Bhavishya-Purdna (Chap, cxxx, v, 28 see under PRASADA).
A building with four salas (compartments, halls) and four kutas
;
;
(towers or domes)
:
Chatuh-sala-chatush-kuta-yuktah kailasa eva hi
II
(Suprabhedagama, xxxi, 42.)
A
of buildings, circular in plan and names as follows
class
(i)
:
Balaya, (2) Dundubhi, (3) Padma, (4) Maha-padma, (5)
(6) Ushnisha, (7) Sankha, (8) Kalasa and (9) Sva-
VarddhanI,
vrlk-sha.
(6)
Garu.da-Pu.rdna
PRASADA)
(Chap.
XLVII,
vv.
21,
23,
24-29;
under
see
.
(Chap, civ,
(7) Agni-Purdna
KOKILA A
vv. n, 17, 18
;
see
under PRASADA).
moulding of the throne.
(M., XLV, 125,
KOKILARGALA A
latch, bolt or
bar attached
Ancka-srinkha'opetarh bahu-kundala-bhushitam
see
under SIMHASANA.)
to the throne.
I
Kavata-yugmam kartavyarh kokilargala-sarhyutam
I
(Kdmikagama, LV, 52.)
KOCHCHHA A cane-bottomed chair.
(Mahdvagga,
KOTA A fort,
v, 10, 2.)
a hut, a shed.
Atyuchair bhitti-bhagair divi divasa-pati-syandanarh va vigrihnan
By whom the fort (in this place) was built,
yenakari kotah
which perhaps may arrest the chariot of the sun in the sky by its
high walls.'
'
I
(An Abu
KONA A
Inscrip. of the reign of Bhimadeva, II, v. 9,
Ind. Ant., Vol. xi, pp. 221, 222.)
class of buildings.
(Kdmikagama, XLV, 55-58
;
see
under MALIKA.)
KONA PARAVATA
AN ENCYCLOPAEDIA OF
KONA-PARAVATA
(see
KAPOTA-PALIKA)
A
dove-cot or dove-
see
under KAPOTA-PALIKA.)
ridge.
(Vdstu-vidyd, xvi, 27,
KONA-LOSHTA A
36
;
moulding, the pendulent-like ornament at the
corner of a pent-roof.
(See details
KOLAKA
(see
ANGULA)
A
under LOSIITA.)
measurement of two angulas, a
fort,
a village, a building material.
A
A
kind of village ( M., ix, 486 see under GRAMA)
kind effort (M., x, 41 see under DURGA and NAGARA).
Some fruit or material employed in the foundation-pit.
.
;
;
(M., XH, 98.)
KOLHI-VESMIKA A hall-mansion.
Srl-krishnagiri-maharaja-maha-vlhare upasama-kolhivesmikah sachlhave had
varlkah sameta akshainitih dramma-sataikena karapitah
hall-mansions (suitable) for meditation built at this great monastery of the
'
famous mount of Krishna and have given
one hundred drammas.'
as a perpetual
endowment
Srimat-krishna-giri-maha-vihare bhadra-srl-vishnu-bhikshunaih tatrastharya-(sarhghasya) drammanam satamekarh (datva) pasamana-sadisarh
kolhivesmikarh kshityam nyavivisat
the monks of the worshipful community
hundred
drammas
to
one
gave
the
at
great monastery of the famous mount of Krishna, and
dwelling
caused to be built in the ground a hall-mansion suitable for meditation.'
Dr. Hult/sch.
chlvarikadi-labha-samanvitarh
'
The
term
'
translations quoted above are. it should be noticed, too free. The
'
but there
kolhi
also does not sound like a Sanskrit word
;
arc words
like
'
'kalhana';
there
is
resemblance between
a phonetic
'
and kulya which means something belonging
and hence main or chief.'
'
kolhi
'
'
'
to the family
'
(Three Inscrip. from Kanheri, no.
line 2
f.,
Ind. Ant., Vol.
KO&A
15, line
xm, pp.
4
f.
;
no. 43A,
134, 135, 136.)
'
-A coffer with a pillow (A.-V., xiv, i, 6)
rent along with a
bride to her husband's house which may be used as a couch or bed
'
(cf.
Germanic marriage
KO&A-MANDAPA A
coffers).
store-room, a treasury.
(M., xxxn, 68
132
;
see
under MANDAPA.)
g
2
8
van nYlYn777
KOSIITHAGARA
HINDU ARCHITECTURE
KOSHTHA A
store-room, a granary, a chamber, a wall
;
the
mezzanine room.
xxxv, 210,
(A/.,
Eka-nasikaya yuktarii panjaraih samudahritam
Kuteshu nasika-yuktam koshtam etat prakirtitam
etc.)
I
1
1
(Suprabhedagama, xxxi, 80.)
KOSHTHAKA A
part of the pillar, a granary, a surrounding
wall.
Ko
hthakastv-iha chatvaras chatush-koneshu chaiva hi
I
(Suprabhedagama, xxi, 50.)
Koshthakam tad-dvi-parsve
tu janma-padakriti(s) tatha
I
(A/., xv, 85.)
Astarh tavat pratoli tad-upavirachitam
koshthaka-dvarh-dvam getat
prauchchair alana-yugmam vijaya-(vara)-kareh(-karinah) s"atru-lakshnear the gate-way were constructed two granaries.'
myas cha sadma
(Hansi Stone Inscrip. of Prithviraja, V. S. 1224,
v. 6, Ind. Ant., Vol. XLI, pp. 19, 17.)
KOSHTHAKARA A
flat
mound
type of Nepalese chaityas, erected on a low
one-tenth of
its
diameter in height.
(See Woodcut 156, Fergusson,
and Eastern
KOSHTHA-SALA A
History of Indian
Vol.
Architecture,
p.
i,
280.)
kind of closed hall.
(A/., xxvi,
KOSHTHA-STAMBHA A
kind of
pillar,
(A/.,
37
;
see
under SALA.)
a pilaster.
xv, 84-87
;
see
under STAMBHA.)
KOSHTHAGARA A store-house,
Nepal where there
ing
is
a class of Buddhist chaityas in
a four-faced linga of Siva with a correspond-
emblem.
Sravastiyanam maha-matranarh sasanam manavasili-katat
varhsa-grame evaite dve koshthagare (duve kotagalani),
(Translated into Sanskrit by Dr. Buh'er.)
trigarbhe ...
the
The order of
great officials of Sravasti (issued) from their camp
I
Srimati
I
'
at
Manavasitikata.'
'
These two store-houses with three partitions (which are situated
even in famous Vamsagrama),
black Pancium.'
require the storage of loads (bharaka) of
(Sohgaura copper plate Inscrip. 1-2, Ind. Ant., Vol. xxv, pp. 265,
262 ; see B. A. Society Proceedings of 1894, P- 84 f.)
133
KAUTUKODAYA
AN ENCYCLOPAEDIA OF
Narayana-devara kottaravan akalpam age yakshes"ana bhandaram
enalu madisidan udararh ballala-deva dharani-natham
'
Erected a kottara (koshthagara) giving it the name of YakshesaI
bhandara (=store-house).'
(Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 20
line
3
f.
;
Transl., p. 52
see
;
; Text,
p. 119,
Fergusson, Ind. and
East. Arch., H, 279,
KAUTUKODAYA
lit.
UTSAVA
(cf.
and
height,
(?)
rather
than for worship.
ment)
Utsave(-savasys) chardha-manena
see
A
UTSEDHA)
made
the height of an image
Woodcut,
kind of
as a plaything (experi-
kautukodyam Iritam
(M., LXI, 22
156.)
see
;
I
context under UTSAVA.)
Nabhyantarh medhra-slmantarh nava -manarh chotsavodayam
Tad-ardharh kautukotsedharh kanyasadi trayarh trayam
I
I
(M., LXIV, 27-28
KAU&ALYA A
;
see
context under UTSAVA.)
pavilion with fifty-six pillars.
(Matsya-Purana, Chap. CCLXX, v, 8;
KAUSlKA A
see
under MANDAPA.)
see
under MANDAPA.)
type of pavilion.
(M., xxxiv, 249
;
KRIDA-KETANA A pleasure-house.
Tirthottumga-sarasvati-krita-parishvarhgasya sarasvatam
Ka-ketanam etad atra vidadhe vararhnidhe rodhasi II
I
(The poet Nanaka erected here) this Sarasvata pleasure-house on
the banks of the sea that has been embraced by the high tirtha
'
(sacred banks) of the Sarasvati.'
(Sanskrit Grants
and
Inscrip. Prasasti no. iv, 33,
Ind. Ant., Vol. xi, pp. 103, 106.)
KSHANIKA-BERA An
generally with
mud
idol
for
temporary use,
as
is
carved
by the worshipper himself.
(M.
KSHANIKALAYA A
LXVIII, 26, etc.)
temple where temporary idols are wor-
shipped.
(M., LXI, 127.)
KSHUDRA-GOPANA
(see
GOP ANA)
The
small beam,
a mould-
ing of the entablature, the plinth, the base, and the capital,
(Kamikagama, LIV, 2
134
;
see
etc.
under PRASTARA.)
HWDU
KSHEPANA
ARCHITECTURE
The
small nose, a moulding resembling the
nose, a vestibule (prati, pratimukha) side pillar, lower pillars.
It terminates by the beam in entablatures
all the kshudra-nasas
and
that
to
lower
correspond
pillars
corresponding to the karnapada
of
is
half
of
the
the column (or entablature).
(side pillar)
forepart
KSHUDRA-NASA(-I)
;
;
(M., xv:, 92-95
;
XLVI, 24, etc.)
Tilaka-kshudra-nasi-yukta-toranaiS cha samanvitam (vimanam)
(Kdmikdgama,
See Amarakosha (u,
15)
ii,
KSHUDRA-SALA A
L, 93.)
under GOPANA.
small hall,
room or
house.
Khsudra-sala-pradese tu sarvalankara-samyutam
I
(M., xxvi, 71, etc
KSHUDRABJA A
I
;
see
SALA.)
small lotus, a moulding of the pedestal, a small
cyma.
etc.; see
(M., XIH, 61,
KSHEPANA
lists of mouldings
under UPAPITHA.)
the
A
projection.
drip-moulding ; the door-frame,
above the plinth in pedestal, generally placed between
Lit.
a moulding
a dado and cyma, a
and cyma, or a petal and fillet. Etymologically it would indicate a moulding like a spout to throw off water,
and in this office it would resemble the corona (kapota), i.e. the
square projection having a broad vertical face and the soffit or underportion recessed so as to form a drip which prevents water from
running down the building. In bases it would resemble a cornice
(cf. M., xiv, 370) which is used as the term for any crowning projecfillet
found in the western architecture (cf.
In Indian
of Arch., figs. 191, 192, 197, 198).
architecture it also implies a door-frame (M., xxxix, 105-110).
A moulding of the pedestal (M., xin, 45, etc. see the lists of mould-
tion.
In this sense
it is
also
Fletcher, Hist,
;
ings
under UPAPITHA).
A moulding of the base (M., xiv, 120, etc. see the lists of mouldings
under ADHISHTHANA)
In connexion with the door
Madhye tu kshepanarh vame suddha-dvaravasanakam
;
.
:
I
(A/.,
In connexion with the bedstead
Ekarii
xxxix, 105.)
:
vatha dvayarh vapi kshepanam bahudhanvitam
I
(M., XLIV, 20.)
135
AN ENCYCLOPAEDIA OF
KSHEMA
A
moulding of the pitha or pedestal of the phallus
Utsedhe shodasTirhse tu prathamochcharh dvi-bhfigikam
Padmochcharii tu tri-bhagam syat tat-urdhve kshepanamsakam
:
I
I
(M., ur, 30, 31.)
KSHEMA A class
of buildings.
(Kamikagama, xxxv, 32-34
KSHONl A
see
;
under MALIKA.)
kind of pent-roof, stated to be employed in residential
buildings.
(I/.,
xvm, 177-178.)
KH
A
KHATTAKA(-TTA)
Murttlnam
iha
tau-murttir
bedstead, a seat, a pedestal or throne.
prishthatah
kari-vadhu-prishtha-pratishtha-jusham
karhta-sameta dasa
vame asma-khattaka-gatah
I
Behind the statues placed on the backs of female elephants,
(he) caused to be made here ten images of those persons mentioned
above) together with their wives on khattaka of spotless stones.'
'
.
The word, khattaka, judging from the context,
the meaning of pedestal or throne.' Dr. Luders.
'
(Mount Abu
seems
Inscrip. no.
I,
to
.
.
have
v. 64, Ep. Ind.,
Vol. vni, pp. 212, 218, 200.)
KHATVA A long couch, a bedstead.
KHADGA A type of octangular building.
(Garuda-Purana, Chap. XLvn, vv. 21, 23,
31-32
KHANDA-HARMYA A
;
see
under PRASADA.)
sectional tower, a tower with
open veran-
dahs or balconies.
Adho-bhaga-dvayenatha kutam ekena va bhavet
Talam ekarh bhaved grasam (?) khanda-harmyarh tri-bhumike
Andharandhari-harokta-khanda-harmya-viscshitam (vimanam)
I
(Kdmikdgama,
KHANDOTTARA A
iti
1 1
L, 80, 91.)
kind of entablature (prastara).
Pada-vistara-vistararh
Khandottaram
II
samodaya-samanvitam
jneyam padenotesedham samyutam n
I
(Ibid., LIV, 5.)
136
KSHEPANA
AS PROJECTION.
KSHEPANA AS
DRIP MOULD.'
KSHEPANA.
KSHUDRA-N/ftSA.
The ire ra* Men
struck a little away
from
IN ELEVATION:;--
'.he^iine of
-
.
.
super-
PROFILE OF CLASSIC TORUS.
Page
ISfi
KHARVATA
HINDU ARCHITECTURE
KHAR V ATA A
village,
a
a
fort,
fortified city.
A village (M., ix, 456), a fortified town (M.,
In connexion with the foundations
(1)
x., 36).
:
Gramadlnarh nagariidinam pura-pattana-kharvate
Koshtha-koladi-sarvesharh garbha-sthanam ihochyate
I
I
(M.,
A
kind of pavilion used as the dining hall of the
Nripanaria bhojanartharh syat kharvatakhyarh tu
(M., xxxiv, 455
(2)
A fortress to defend a group of two hundred villages
Dvi-sata-gramya kharvatikam
ki'ng
168-169.)
:
mandapam
see also
;
xii,
I
456-472, 567.)
:
I
Chap, xn,
(Kautillya-Artha-fastra,
(3)
Kshullaka-prakara-veshtitam kharvatam
(4)
Karvatani kunnagarani
p. 46.)
I
(Rayapasenl-sutra-vyakhydne, ibid., p. 206.)
|
(Praina-vyakarana-sutra-vydkhyane,
(5)
Dhanuh-satarh parinaho grama-kshetrantaram bhavet
Dve sate kharvatasya syan nagarasya chatuh-satam
ibid., p.
306.)
I
I
(Tajiiavalka, n, 167.)
(6)
Vanijam api bhogyarii tu tad-vad e a (like nagara) samlritam
Yat sthanarh brahmananam tu kharvatam puravasinam
Nagaryavartanam yat kharvatam tad udahritam
I
I
|
(Kamikagama, xx,
7, 9.)
vase Vagra Mardga's son
(7) lya-khavadamhi
(By means
Kamagulya, who has fixed his residence) in this place Khavata
Mr. Pargiter.
So far the editor is right. But in his lon^ note on this expression he has
rather too elaborately dwelt on a number of conjectures without however
having been able to arrive at any conclusion whatever. This Prakrit
'
of his
.
expression can easily be rendered into Sanskrit
or town).
(The
Inscrip.
(8)
An ornament
Kingdom, the
with another
atra
on the Wardak
Vol.
'
by
xi,
khanate
.
.
(in this city
vase, line i, Ep. Ind.,
pp. 210, 211, 212, last para.)
was the Vanavase twelve thousand
(pradhana-rajadhani) was Chandragupt.
to the Kuntala-des"a
chief
capital
name
of Gomanta-parvata, in the twelve kharvata country
to
(attached
which), in Nagarakhanda of Yada-nada Kantapuri, otherwise named Vira-Marapapuri, belonging to Kamattampuri, situated on
the bank of the Varada-river, the king, in order that his government might
137
AN ENCYCLOPAEDIA OF
KHALORAKA(-RIKA)
continue as long as sun and moon, as an offering to Krishna (with all the usual
(Ep. Carnat., Vol. vm, Part i, Sorab Taluq,
rights), gave, free of all imposts.'
no 375> Transl., pp. 66, last para.)
-
Grama-nagara-kheda-karvvada-madarhba-dronarnukha-pattananigaliancka-mata-kuta-prasada-devayatananigalidam oppuva-agrahara-
(9)
nidam
pattanamgalimdam atisayav-appa ...
At Teridal a merchant town situated
I
'
in the centre
the twelve (towns) in the glorious
Kundi
and the
first
in
three thousand,
importance among
adorned with villages, towns, hamlets, villages sorrounded by hills, groups
of villages, sea-girt towns, and chief cities, with elegant mansions, palaces
and temples, and with shining agrahara-towns
in the country of Kuntala.'
(Old Kanarese Inscrip. at Terdal,
line 58,
Ind. Ant., Vol. xiv, pp.
'
(10)
With myriads of people,
19,
25.)
practices of virtue, agreeable occupations,
stream of the (nine) sentiments, pleasure-gardens, separated lovers, splendid
gilded boats for spring festivals, ghatika-sthanas
the
supports of dharmma and mines of enjoyment,
(religious centres),
moats which were as if the sea being overcome had returned here on account
full
tanks,
lotus-beds,
of the collection of gems, groups of the lotus faces of beautiful women fair
as the moon (grama-nagara-kheda-kharvvana-madamba-dronamukha-puraone looked, in these nine forms did
pattana-rajadhani), on whatever side
the Kuntala-desa shine.'
(Ep. Carnat., Vol. vm, Shikarpur Taluq, no. 197
;
Transl., p. 124, para,
i, last
seven lines
KHALURAKA(-RIKA)
a parade, a place
;
Roman
Waffenubungen
text, p. 214, line 27, f.)
bestimter
Platz
(Pet.
for military exercise
(M. Williams, Diet.),
a parlour, a reception-hall or a drawing-room round a house ; an
enclosure-building round a house, village, city or fort.
Diet.},
(Kamikagama, LV, 20
(i)
Etad dronam cha bhupanam ayudhabhyasa-mandapam
below.)
I
Sarvarh dasamSakam dirgham netra-tri-bhaga-mandapam
Tat-pure'lindam ekarhSarh navamSena yutankanam
Tat-parsVe puratas chaiva te yugmamSe khalurikah
see
;
I
I
I
Dronakhya-mandapam chaivam esha yuddhartha-yogyakam
I
(M., xxxiv, 434-439-)
AshtashtamSa-vistaram
ayamam
tatra
kalpayet
I
Tan-madhye dvi-dvi-bhagena kalpayet vivritankanam
Tad-bahi chavrittams'ena kuryach chaika khaliirika u
(Ibid.,
138
I
440-442-)
ILL AIL ROUND
GLMERAL
OUTLINE. OF KH&ftVAT*
RIVER
TOWN
SIDE
WA.TCM
TOWER
rtF.ULRXL OUTLINE- OF KHE-TK TOWN
OF KINGS OR OPPE.R
THE.RE. SHOULD 6 MOKE.S\DtNCE
CK5TE PE.OPLE. 1W TWb VlL,L^at
Par/c J3S
KHETAKA
HINDU ARCHITECTURE
See
also
lines
433-453, and then compare
:
Nripanarh bhojanartharh syat kharvatakhyarh tu
mandapam
I
(M., xxxiv, 455.)
Then
hall
'
khalurika
and hence not
'
is
for
stated (lines 446, 450) to be built
any military purpose
;
it
round a dining-
appears like a parlour.
Compare also
Tan-madhye pancha-bhagena sapta-bhagarikanam
:
Tad-bahye
paritarhsena kuryad antar alindakam
tad-bahye
tri-tri-bhagena
Evarh vasanta-yogyarh
syat devanarh
Kalurikapi
tatha
|
mandapam
I
284-286.)
(Ibid.,
kshatriyadinam
I
(Ibid.,
Tad-vibhaga-dvi-bhagena vistararh
bhavet
mandapam
Dvi-tri-bhagankanarh purve eka bhagarh khalurakam
296.)
|
I
(Ibid.,
(2)
I
351-352.)
Evarhbhutasya vasasya samantat syat khalurika
Vasa-vyasarh chatur-bhagarh kritva chaikadi-bhagatah I)
Vriddhyarh vasasya bahye tu shodasavadhi-bhagakan
Vyapohya paritah kuryat pratharnavaranaditah II
Kalurikarii(s) tu chaikadi-sapta-bhagavasanakah
Mukhe cha parsvayoh prishthe pattayah syur yatheshtatah n
Oja-yugma-pramanena nyuna vapy-adhika tu va
Sabhadra va vibhadra va khaluri syad yatheshtatah ||
Etasam antaralarh tu samam va vishamarh tu va
Kaluri-dhama-madhyam tu tad-vad eva vidhiyate II
I
I
|
I
I
(Kdmikagama, xxxv, 103-107
;
see also
Etam
hkalurikarh kuryat prasadadishu
buddiman
Devanarh manujanarh cha viseshad raja-dhamani II
Gopuram cha
khaluri cha mula-vastu nirikshitam
II
II
(Ibid., \o-ja,
Samavrita khalurika tany-evoktani panditah
108-116.)
1 1
Nagara-grama-durganam seshany-uktani ve^manam
1
1
(Ibid.,
KHETAKA A village
8, 128.)
|
LV, 20.)
456), a fortified town (M., x, 36, 39).
(i) Tatas tan-nirmayamasuh khetani cha purani cha u
Gramams chaiva yathabhagam tathaiva nagarani cha II
(M.,
ix,
Khetanarh cha puranarh cha gramanarh chaiva sarvasah
Tri-vidhanarh cha durganarh parvatodaka-dhanvinam I)
139
I
KHETAKA
AN ENCYCLOPAEDIA OF
Nagarad ardha-vlshkambah khetarh pararh tad-urddvatah
Nagarad yojanarh khetarh khetad gramo'rdha-yojanam II
(Brahmanda-Purana, Part
i,
and Anusharhga-pada,
vv. 93, 94,
Chap, vn,
(2)
Parhsu-prakara-nibaddha-khetam
(3)
Khetani dhull-prakaropetani
I
in.)
105,
I
(Rdyapaseni--sutra-vyakhyane , p. 206.)
|
(PraSna-vyakarana-sutra-vyakhyane, p. 306.)
(See Kautlllya-Artha-idslra,
Chap, XXH,
Vane jana-pade chaiva kevale Sudra-sevitah
Kantakah khetako gramah kramat tri-vidham
(4)
p. 46, footnote.)
I
Iritah
I
(Kamikagama, xx,
(5)
Nagarani khetan jana-padams tatha
(6)
Pura-gramakara-kheta-vata-$ibira-vraja-ghosha
(7)
One
10.)
I
(Mahabharata,
.
in,
.
13, 220, etc.)
.
(Bhagavata-PurSna, 5, 30.)
of the 750 villages
which are designated
'
Rashtrakuta Grant of Krishna
town) Sri-Harsapura.'
II,
by
(their chief
Ep. Ind., Vol.
i,
PP- 55. 57. line 33, p. 53, footnote 3.)
'
(8)
The modern kheda
(khaira) .'(Ind. Ant., Vol. x, p. 378
;
Vol. xiv
p. 198.)
(9)
Lata-desantarvvartti
nama gramah
Vol.
khetaka-mandalantarggatah
(Cambay Plates of Govinda IV, line
I
Kevancha52, Ep. Ind.,
pp. 40, 45.)
vii,
(10) Sri-khetakahare-uppalaheta-pathake mahilabali-nama-gramah
The village, named Mohibabali, in the Uppalahetapathaka in the
I
'
famous Khetaka
(
?
ahara.'
city)
(Ind.
Ant.,
Vol. vn,
p.
72,
Plate n,
lines 5-6.)
(11)
Khetakaharam
pallika
'
44'
Khetaka
N.
:'
is
gramah
vishaye
of course the
long. 72
bandarijidri pathakantarggata-as"ila-
I
modern Kheda or Kaira
itself (lat.
22
45' E.).'
(Alina Copper Plate Inscrip. of Siladitya vn, lines
66-67, C. /. /., Vol. HI, F. G. I., no. 39,
pp. 179, 189, 173, and notes
(12)
Grama-nagara-kheda-karvvada madamba - dronamukha
-
-
2, 3.)
patta
nanigalimdam
aneka-mata-kuta-prasada-devayatanam
galidam
oppuva-agrahara-pattanamgalirhdam atisayavappa
At Teridala, a merchant-town situated in the centre and the
Kundi.
first in importance among the twelve (towns) in the glorious,
I
'
140
GANYA-MANA
HINDU ARCHITECTURE
Three thousand, adorned with
villages, towns, hamlets, villages, surroundof
villages,
hills, groups
sea-grit towns, and chief cities, with
with
and
shining temples, and agraharaelegant mansions, palaces,
of
Kuntala.'
towns in the country
ed by
(Old Kanarese Inscrip. at Terdal,
58, Ind. Ant., Vol. xiv, pp.
'
(13)
With myriads of people, practices
pations, streams of the
lovers,
splendid tanks,
nine
line
19, 25.)
of virtue, agreeable
occu-
sentiments,
pleasure-gardens, separated
beds, gilded boats for spring festivals,
centres), the supports of dharmma and
full lotus
ghatika-sthanas (religious
mines of enjoyment, moats which were as
come had returned here on account of
the
if
sea
being
over-
collection of gems,
the
groups of the lotus faces of beautiful women fair as the moon (gramanagara - khcda kharvvana madamba dronamukha-pura-pattana-raja
dhanim) on whatever side one looked, in these nine forms did the
the passage within
Kuntala-desa shine.'
(It should be noticed that
brackets
is
a'most identical with the corresponding passage in quotation
no. 12 above.)
(Ep. Carnal., Vol. n, Shikarpur Taluq, no. 197,
Transl., p. 134
Roman
GAGANA A kind
;
para,
text,
(cf.
HASTI-PRISHTHA) A moulding, a
under KUNJARA), a kind of oval buildings.
(2)
line
27
;
f.)
of pent-roof.
GAJA
(1)
seven lines
last
214,
p.
(M., xvni, 174-180
(see
i,
;
see
under LUPA.)
of
type
building
Agni-Putdna (Chap, civ, vv. 19-20; see under PRASADA).
Garuda-Purdna (Chap. XLVII, vv. 29-30; see under PRASADA).
(3) See
the
plan
and
sections
of
a
Gaja-prlshthakriti
building.
(Ind. Ant., Vol. xn, between pages 104-5.)
GANYA-MANA
bers of
The comparative height of
an architectural
the similar height
is
the
component mem-
In the sculptural measurement,
structure.
generally called
'
ta.la-ma.na.
'
Implying the comparative height of the component members of the
buildings of one to twelve storeys
:
Janmadi-stupi-paryantarh ganya-manam ihochyate
Harmye chashta-tale tunge sashta-bhagadhikam tatha
I
141
I
KHETAKA
AN ENCYCLOPAEDIA OF
Sardha-dvyamsam adh'-shthanam
tad-dvayarii pada-turigakam
Tad-ardharh prastarotscdharii sesham ashta-taloktavat
Evarh nava-talotsedhaih saivalarikara-samyutam
I
I
I
xxvn, 35-39.)
(M.,
Evarh vistara-ganyarh syat tunga-ganyam ihochyate
Janmadi-stupi-paryantam uktavat samgrahath viduh
(M., xxix, 36-37
;
I
I
38-49 under
EKA-DASA-TALA.)
see also
See the details
o'" the other
storeys under EKA-TALA, DVI-TALA, TRIGHATUS-TALA, PA^CHA-TALA, SHAT-TALA, SAPTA-TALA, ASHTA
TALA, DASA-TALA, EKA-DASA-TALA and DVA-DASA-TALA.
TALA,
The
similar comparative
measurement
of the gopuras (gate-houses)
Tunge cha trayo-vimsad bhagam
Eka-dasopapitharh
cha
referring to the sixteen storeys
:
evarh vibhajite
chatur-bhaga(rh)
I
masurakam
|
Vasu-bhaganghri-tungam syat shad-bhagarh tu vibhajite
Tri-bhagam chopapitham tu ^iva-bhaga(rh) masurakam
|
|
Dvi-bhagam pada-tungarh
Sikhamsarh chordhva-mane
syat tad-Qrdhve prastarad(h)ikam
tu talanam adhunochyate
I
|
Adhishthana-samarh mancha(rh) tat-samarh gala-tungakam
Galochcha-dvi-gunam proktam sikharasyodayam nyaset
Sikharordhva(m) sikhottungam stupi(pi)-traya-sam(m)eva cha
Evam eka-talam proktam dvi-taladi-tala(m) eva cha
Kshudra-madhyam cha mukhyanam gopure tu viseshatah
I
I
I
I
I
Prastaradi
(
?
upanadi)-sikhantarh syat ganya-manarh pravakshyate
(A/.,
Piirvavat prastarady-antam chordhve stupikantakam
I
Ganya-manam cha sarvesham bhaga-mana(rh)-vasochyate
(Ibid.,
Bhaga-mana-vasad ganya-manam yat prochyate budhaih
I
215-216.)
|
(Ibid.,
The
similar comparative
throne
measurement
referring to the
I
xxxui, 133-144.)
247.)
componet parts
of
:
Sarvesham
manam
ganya-manam ihochyate
I
Asanasyodayardharh va tri-bhagaikonam eva va
Upapithodayam hy-eva(m) chokta-tuhge'dhikam tu va
Sesham masurakam vapi samadhishthana-tuhgakam
I
ity-uktarh
I
I
janma-tuhgam sivarhsakam
Tad-urdhve chardha-kampam syat pada-bhagena yojayet
Utsedha-ravi-bhage
tu
I
I
(M., XLV, 85, 96-100.)
142
HINDU ARCHITECTURE
GANITA A
site
GANDHA-KUTI(-I)
plan of 369 square plots.
(M. VH, 25-26
The
similar
measurement
referring to the
Pitha (yoni or the pedestal of the phallus)
;
see
PADA-VINYASA.)
component mouldings of the
:
Pitha-tungam iti proktarh ganya-manam ihochyate
Utsedhe shodasarhse tu prathamochcham dvi-bhagikam
Padmochcharh tu tri-bhagarh syat tad-urdhve kshepanamsakam
Kandharam cha tri-bhagarh syat tad-urclhve kampam arhsakam
I
I
I
I
Urdhva-padmam
tr(i)yarhsarh syad vajanarh
Ekarhsam ghrita-vari syad bhadra-pitham
iti
cha tri-bhagikam
smritam
I
I
(M., LIH, 29-34.)
The
similar
measurement
upa-pltha or pedestal of the
Etat tu
referring to the
column
component mouldings of the
:
nirgamam proktarh ganya-manam ihochyate
I
Utsedhe tu chatur-virhsat panchamsopanam Iritam
Ekena kampam ity-uktam grivochcham dva-dasarhsakam
Kampam ekam tu vedamsarh vajanarh kampam amsakam
Vesi-bhadram iti proktam athava dva-dasarhsakam
I
I
I
I
(M., xm, 35-39.)
A
GANDA-BHERANDA-(STAMBHA)
kind of pillar.
(See
GADA A
type of octangular buildings.
under PRASADA.)
(1)
Agni-Purdna (Chap, civ, vv. 20-21
(2)
Garuda-Purdna (Chap. XLVII, vv. 21, 23, 31-32
The Buddhist
GANDHA-KUTI(-I)
Budhha.
under STAMBHA.)
;
in
the
chapels and temples
all
;
temple, any
Originally Buddha's abode
at Sravasti, later,
see
see
under PRASADA.)
chamber used by
Jetavana monastery
wherein the Buddha
images were installed.
(i)
Punyoddesa-vasach
chakara
ruchiraih
sauddhodaneh sraddhaya
srimad-gandha-kutlm imam iva kutirii mokshasya saukhyasya cha
'
has constructed this gandha-kuti of Buddha, graceful and like a hall
bliss for the spiritual benefit of
'
of emancipation and
'
I
Gandha-kuti
Buddha
'
is lit
temples.
-rally
The
a
large
'
chamber of perfume,' an epithet applied to
temple at Buddha Gaya is called, in the
'
'
inscriptions,
M;iha-gandha-kutl-prasada
and the room
in
(Ind. Ant., Vol. ix, pp.
which Buddha lived in Jetavana at Sravasti was
143
142-143)
also
known
GANDHA-MADANA
by
AN ENCYCLOPAEDIA OF
name (Cunningham's
this
Bharhut Stupa, Plate
no. 22).
(An
xxxvm, and page
Inscrip. at
Gaya,
133,
v. 9, Ind. Ant.,
Vol. x, pp. 343,
343, note 8.)
Kritavantau cha n vinam
(2)
'they constructed
this
ashta-maha-sthana-saila-gandha-kutim
of stone;
(coming from)
new gandha-kuti (made)
eight holy places.'
Gandhakuti
Buddha's use.
'
perfumed
chamber,
any private chamber dovoted
to
'
Childers
The gandha-kuti
at
(s.
v.).
Jetavana near Sravasti
is
represented on a Bharhut
bas-relief.
See also
Cunningham's Bharhut Stupa (Plate
See Sarnath inscription of
note
Mahip
LVJI).
>lala (line 2, Ind. Ant.,
Vol. xiv, p. 140
7).
'
'
Garhdha-kuti
the hall of perfumes,'
the Buddhist temple.'
i.e.,
(Bharaut Inscrip. no. 40, Ind. Ant., Vol. xxi, p. 230, note
34 refers to Arch.
Sun. of W. India, Vol. v,
p. 77 and to Ind. Ant., Vol. xiv, p. 140,
already
quoted above.)
(3)
'
(4) 'On the other side of his (Buddha's) body, towards the
west, he caused
to be built a beautiful
gandha-kuti, pleasing to the eye.'-(Ajanta
Inscrip.
no. 4, line 27, Arch.
Surv., New Imp. Series, Vol. iv, pp. 130,
132.)
GANDHA-MADANA A
of pavilions.
class
(M., xxxiv, 154
GANDHARVA A
and serving
as
class
celestial
see
;
under MANDAPA.)
of demi-gods
inhabiting Indra's heaven,
musicians. See the
description of their
images.
(M., Lvni,
GABHARA (GARBHAGARA)-An
underground
8, 16-19.)
shrine, the sanc-
tuary of a temple, the room where the deity is placed, a private
room,
the female apartments, a
lying-in chamber.
'Through the door at the east end of the hall, we descent by some
nine steps into ihe gabhara or
shrine, which is also square, measuring
13 feet 9 inches each way.'
(The temple of Amarnath, Ind. Ant., Vol. ii^
p.
318,
c.
GARUDA
i,
last para.)
The king of
birds,
the
'
sun-eagle ;
winged beings,
resembling the griffin, mythical creatures (suparna), foes of nagas '
(Grundel Buddhist Kunst in India, p. 47) ; a type of
building
:
144
GARBHA
HINDU ARCHITECTURE
shaped like the sun-eagle (garuda), has wings and
seven storeys, twenty cupolas (anda) and 24 cubits wide.
Nandl tadakritir jneyah pakshadi-rahitah punah II
which
is
Garudakritis cha garudah
tail,
and
I
Commentary quotes clearer description from Kasyapa
Garudo garudakarah paksha-puchchha-vibhushitah
:
Cf.
A
Karanarh shat-chatushkams cha vistirnau sapta-bhumikau
Dasabhir dvigunair andair bhushitau karayet tu tau II
J.RAS., N. S
(1)
Brihat-Samhitd (LVI, 24.
(2)
Matsya-Purdna (Chap. CCLXIX,
w.
(3)
Bhavishya-Purdna (Chap, cxxx,
v.
type of oval building
(4)
,
41-43, 51
31
see
;
I
Vol. vr, p. 319).
;
see
under PRASADA).
under PRASADA).
:
w.
Garuda-Purana (Chap. XLVII,
29-30
;
see
In connexion with the temples of the attendant deities
(5)
I
under PRASADA).
:
Yan-mula-harmye vrishabhadi-vishnur-adi
Mandapadi-garudadi cha gopuradin
I
Tan-mula-harmya-paritah sthita pasyate'smin (?)
(M., xxxn, 168-171.)
Kuryat tu sarva-parivaram idam prasastam
I
The
description of the
Compare
also
image of Garuda
(M., LXI, 1-148).
M., xix, 224.
GARUDA-SK(-T)AMBHA
under STAMBHA) Pillars
and belonging
(see
rally bearing the statues of the garuda-bird
geneto the
Vaishnavas.
'
Had
stambha
p.
the temple built, and setting
in front.'
up
(Ep. Carnal., Vol. xii,
this
saSana erected a garuda-
Pavugada Taluq, no. 78
;
Transl.
130.)
GARUTMAN
(see
GARUDA)
A
type of oval buildings.
(Agni-Purana,
GARBHA
Chap, civ, w. 19-20
see under
PRASADA.)
;
The womb,
the foundation, the adytum, the chamber in
a temple where the deity is placed, halls of various shapes and sizes
used for various purposes. Compare NALIKA-GARBHA (rectangular
halls),
rooms,
(i)
SIBIKA-GARBHA
(square
halls),
and HARMYA-GARHBA (top
etc.).
Vistarardham bhaved garbho bhitty-anyah samantatah
Garbha-padena vistirnam dvararh dvi-gunam uchchhritam
I
H5
1 1
AX ENCYCLOPAEDIA OF
GARBHA-GE(-RI)HA
The adytum measures
'
walls all around.
Its
door
half the extent (of the whole) and has its separate
is one-fourth of the
adytum in breadth and twice
as high.'
N.
(Brihat-Sarhhita, LXI, 12, J.R.A.S.,
(2)
Raja prasada-garbharh gatva
(Hilopadesa,
(3) The foundations
The adytum
S.,
Vol. vi, p. 318.)
I
of the village (M.,
ed.
Botlingk,
157, etc.)
p.
IK, 7).
:
Garbhe nanda-vibhage
tu ekaikarh lihga-tuhgakam
I
Garbha-tara-samarh sreshtharh tri-vidham linga-tungakam
I
(M., LH, 16, 21.)
(4)
'
Sravastiyanarh maha-matranarh sasanarh manavasiti-katat
Srimati vamsagrama evaite dve koshthagare tri-garbhe ...
I
The order
Manavasitikata
;
I
of Sravasti (issued from their camp at)
these two store-houses with three partitions (which are
of the great
officials
situated) even in famous Vamsagrama require the storage of black loads
of panicum.'
(Sohgaura Copper Plate,
lines 1-2, Ind. Ant.,
Vol. xxv, p. 265.)
GARBHA-GE(-RI)HA The
central hall, the adytum, the sanctuis placed the statue of the deity ;
this
ary in the middle of which
is sometimes called mula-sthana
tu
(1) Harmya-tare
(see
bhutamsam
GARBHAGARA).
tr(i)yarhsam garbha-gehakam
(M., xrx, 114
I
see also 119.)
;
Garbha-geha, madhya-koshtha, and nali-geha are used in the same
sense (central hall, cf. M., xxxm, 301, 305, 309, 313 and 318).
Dvi-tale tara-saptarhsam
vedamsam garbha-gehakam
I
(M., xxxin, 164
Garbha-gehe tu manarii syat linga-tungam prakalpayet
(M., LH, 22
;
see also 161.)
;
I
see also
LIII,
4.)
And
the balance he will apply to building the garbha-griha and
(2)
the goddess's temple.'
of
enclosure
(Ep. Carnal., Vol. vin, Part I, Sagar
'
Taluq, no. 135
;
Roman
text, p.
225
;
Transl., p. 119, last para., last line.)
His wife (with various praises) Kallard-Siyamma had the shrine
(3)
(Ep. Carnal. t
(garbba-grihada) of the god Sidda-Mallikarjuna renewed.'
'
Vol.
xii,
Gubbi Taluq,
no. 29
;
Roman
text, p. 41
'
(4)
Garbha-griha-sthita-mantapa-sikhara
;
Transl., p. 23, line 8.)
the ruined tower over the
shrine (of the god Arkanatha). '(Ep. Carnal., Vol.
no. 64 ; Roman text, p. 127, line 3 ; Transl., p. 63.)
146
in,
Ma|avaJJi Taluq,
\
*
\
\
\
15^15X50
SilE BH1CKS
ft
*
GARBHA
Page
US
HWDU ARCHITECTURE
'
Garbha-griha
(5)
GARBHA-MANjCSHA-(-IKA)
sanctum of a temple.'
Vincent Smith's Gloss,
to
Arch.
Surv.
Laying the foundation, the foundations.
Mdnasdra (Chap, xn, 1-128, named Garbha-nyasa)
The foundation is classed under three heads for buildings
4-169) for villages, etc. (lines 172-186) and for tanks, etc.
(lines
(6)
(loc.
cit.)
Cunningham's
Reports.
GARBHA-NYASA
:
(lines
188-216).
The last-named
foundation, which is meant for a tank, well or pool
said to be as high as the joint palm of man (naranjali, line 1 88).
is
The foundation of buildings
to temples (lines 4-149)
and
is first
divided into two classes, as
human
to
dwellings
it
belongs
155-169).
(lines
Of
temples, those of Vishnu (lines 4-137) and Brahman (lines 139-149) are
illustrated and the others are said to be like these (cf. line 132).
Of
the
human
dwellings, there are four classes according to the four
Brahman, Kshatriya, Vaifya and Sudra.
castes
The depth of
the foundation-pit
is
stated to be equal to the
basement
Garbhavatasya nimnarh syad adhishthana(m)-samonnatam
Ishtakair api pashanais chatur-asrarh samarh bhavet
:
I
I
(M., XH, 6-7.)
The
details of laying the foundations are given (M.,
The
best
ground selected
for foundations
is
xvn, 6-9)
:
excavated to the depth
of a man's height with uplifted arms. The bottom of the pit thus
excavated should be rocky or water, and the pit is filled with sands
and water which are closely pressed and hardened by means of wooden
hammers shaped like the elephant's foot. Upon such foundations,
the strength whereof varies according to the weight of the construction above, various structures are constructed.
From
this it
would appear that the best
soils for
receiving foundations
are rock, gravel, or closely-pressed sandy earth.
GARBHA-BHAJANA The
foundation-pit, the excavation.
(Ibid,
GARBHA-MANjt)SHA(-IKA)
The basket-shaped roof upon
103.)
the
foundation-pit, the vault.
(Ibid, 47.)
147
AM ENCYCLOPAEDIA OF
GARBHA-VINYASA
GARBHA-VINYASA
(see
The arrangement of
GARBHA-NYASA)
the foundation, the foundations.
(M.,
XII,
2.)
Garbha-nyasa-vidhirh vakshye gramadlnam cha sadmanam
Sa-garbham sarva-sampattyair vigarbharh naSanarh bhavet II
I
(Kdmikdgama, xxxi, 2-104.)
GARBHA-SOTRA The
line in the interior or middle, the inner or
central line of a foundation.
Garbha-sutrasya karnais" cha dvi-dvi-s"ankurh nikhanayet
I
(M.,
GARBHAVATA
The
KANTHA)
(see
105.)
-The foundation-pit, the excavation.
(M.,
GALA
vi,
xii,
5
;
see
a moulding
neck,
under GARBHA-NYASA.)
called
dado,
the
frieze of the entablature.
See the
lists
of mouldings under ADHISHTHANA.,
UPAPITHA and PRAS-
TARA.
See
Kdmikdgama
GALA-KDTA
under PRASTARA.
(LIV, 47)
(see
KUTA)
A
dome
side-tower, a
at the neck-part
of a building.
GALAftGA
of
Literally neck portion, the middle member, the frieze
the entablature which lies between the architrave and the
cornice.
(See
GAVAKSHA
eye,
(see
V ATA YANA)
Kdmikdgama,
LIV, 47,
under PRASTARA.)
Windows resembling
the
cow's
a latticed window.
Sardha-gavakshakopeto nirgavaksho'thava bhavet
I
(Garuda-Purdna, Chap. XLVH, v. 36.)
Cf. M., XVIH, 290
'
The
;
xx, 81
;
xxxm,
adornment of the temple at Gangai-konda-puram is the
everywhere on the cells and cornices of the fanlike window
chief
repetition
ornament resembling a spread peacock's
para.
See
582, etc.
tail.'
(Ind. Ant.,
Vol. ix, p.
1
18, c.
i,
3, last sentence.)
Pallava
Architecture
Plate cxxn).
See the pierced
1913-14, Plate v,
window
(Arch. Surv.,
New. Imp.
Series, Vol.
xxxiy,
in BhoganandisVara shrine (Mysore Arch.
Repoit,
fig. 2, p. 14).
148
BHERUNOA.'
WITH SHUTTER
WITH STONE LATTICE
GAVAKSHA
GARUOA STAM11H.
C.ANDA BFIERUNPi,
PLAN
GURU-DVARA.
Time
U*
GABHARA
Pajt 149
HINDU ARCHITECTURE
GAVAKSHAKARA
GUHA-RAJA
Resembling the cow's eye, a moulding or
structure shaped like a cow's eye.
In connexion with the bedsteads
:
Vrittakritlshta-padanarh yuktya varnena lepayet
I
Gavakshakara-yuktya cha pattikordhve samantatah
Kunjaraksham alaksharh va patra-pushpady-alankritam
I
(M.,
GATRA
Literally the body, the
I
XLIV,
21-23.)
columns of a pavilion.
(Suprabhedagama, xxxi, 102-103
;
under MANDAPA.)
see
GANAVA A kind of phallus.
(Kamikdgama,
IRI-DURGA
(see
DURGA)
A fort,
a
L, 35,
37
;
set
under LINGA.)
hill-fort.
'
In the reign of Chikka-Deva-Raya-vodeya-raiya the servant of
lord
the
of this village, Bilugeli Kempar-ajayya's son Dasarajayya began to
build the stone fort of Nijagal, which has received another name of Sura-
:
Cf.
'
In 1698 to 1700 the bastions of the fort and the town-gate on the east
were completed. In 1701 to 1702 the town-gate on the south was made.
In Parthiva (1705) the elephant-gate on the east, this hall and the chavadi
Igiri-durgga.'
with the tiger-face gate, and the VighnesVara temple at the town-gate on
the south
Roman
'
(were built)
(/>. Carnal., Vol.
p. 54 ; Transl., p. 45.)
.
text,
GURU-DVARA A
Grantha
Saheb
is
rx,
Nelamangala Taluq, no. 65
;
Sikh monastery, the Sikh temple where the
woi shipped.
Literally, same as the Jain
Tirthankara or path-maker.
See
Vincent Smith's Gloss,
GUVA-VRIKSHA A
(loc. cit.)
to
Cunningham's Arch.
type of round buildings.
Chap. XLVII,
(Garua'a-Purana,
w.
see
GUHA-RAJA A
Surv. Reports.
type of building which
is
21, 23, 28-29 ;
under PRASADA.)
16 cubits wide
and has
a roof with three dormer-windows.
(1)
Brihat-Sarhhita (LVI, 25, J.R.A.S.,
N.
S.,
Vol.
vi, p.
319
;
PRASADA.)
(2)
Bhavishya-Purdna (Chap, cxxx, v. 32
'49
;
see
under PRASADA).
see
under
GRIHA
GRIHA
AN ENCYCLOPAEDIA OF
The
house, a building, a room, a hall, a family home.
(R.-V., x, 91-92.)
Griharii gehodavasitam ves"ma
sadma niketanam
1
1
NiSanta-vastya-sadanam bhavanagara-mandiram
Grihah pumsi cha bhumny-eva nikayya-nilayalayah
I
II
(Amarakosha,
Cf.
See
M.,
ix, 7,
8
3, Ep.
xxxvi, 2
;
GRIHA-KANTA A
house of beautiful lamps'.
'a
Sudipika-griham
Travancore, no. B, line
Vol. iv, p.
2nd.,
xxxvii,
;
class
i
;
(see
ii,
4,
5.)
(Three Inscrip. from
203.)
XL, 78, etc.
of the five-storeyed buildings.
(M., xxin, 30-32
GRIHA-GARBHA
11,
GARBHA-NYASA)
;
The
under PRASADA.)
see
foundation
of a
house.
Griha-garbham
Griha-garbham
mukham
iti
proktarh grama-garbham ihochyate
antar-mukharh
I
grama-garbham
syad
bahir-
I
(M., xn, 167, 216.)
GRIHA-CHULLI A
building with an eastern and western hall,
a house with two rooms contiguous to each other, but one facing
west and the other east.'
'
(Bfihat-Samhitd,
GRIHA-PINDI
.
.
.
(see
PINDIKA)
The basement of a
griha-pindir athochyate
Madhye chasavritam
40.)
building.
II
cha
vasavasa-pindikandhariketi
Sarhjfieyam griha-pindeh sayat
LIII,
...
I
II
(Kamikagama, LV, 200-201.)
GRIHA-PRAVEA
The opening of
or the
first
entry into the
house, the house-warming ceremony.
Mdnasdra (Chap, xxxvm, 1-89, named Griha-pravesa)
The ceremonies in connexion with the opening of and first entry into
a house are described in detail (lines 1-90). The consideration of auspi.
cious
day and moment, and the worship and
sacrifice in this
connexion
are also described in detail (lines 5-74). The masters of the ceremonies are
stated to be the sthapati (architect) and the sthapaka (lines 14, 15, 16, 17,
They lead the procession in circumambulating the
village and the compound before the ceremonial entry into a new house
The guardian-angel of the house (Griha-Lakshmi) is prayed
(lines 73-90).
58, 73, 74. 83, 85).
150
HIND U ARCHITECTURE
GRIHA-VINYAS A
to after completing the worship
and
sacrifice to confer happiness, comfort,
plenty of wealth, children, health and long
members of the family (lines 67-72).
life
to the
master and other
The chapter closes with the description of an elaborate scheme of feeding
Brahmans and the artists, and of liberal gifts to them for the sake of
the
prosperity
and
success of the family (lines 84-90).
GRIHA-MAJSJGALA An
(See also M., ix, 8.)
auspicious ceremony in connexion with
a newly-built house.
Sarva-mangala-ghoshais cha svasti-vachana-purvakam
I
Paschat(d) griha-marigalam kuryat nana-vastrais cha Sobhitam
I
(M., xxxvii, 55-56.)
GRIHA(-MANA-STHANA)-VINYASA The
situation of houses, the location of various
and temples and
(i)
and
dismensions
rooms in dwelling houses
palaces.
Mdnasdra (Chap, xxxvi, 1-96, named Griha-mana-sthana vinyasa)
the breadth
The dimensions of houses in general (lines 6-13)
of a house is said to be of five kinds, from two or three dandas
:
:
(4 or 6 yards)
length
The
may
to
The
ten or eleven dandas (20 or 22 yards).
to, ij, i-J, I J, or twice of, the breadth.
be equal
houses are built in villages, towns, settlements,
suburbs, groves, hermitages, near a hill, and on the banks of a
sea or river (lines 1-5)
situation
:
:
Dvi-jatlnam cha sarvesharh varnanarh vasa-yogyakam
Grihanarh mana-vinyasam sthanarh cha vakshyate'dhuna
Grame cha nagare vapi pattane khetake'pi va
Vane va chasrame vapi nadyadri(e)s" cha pars' vake
|
I
|
I
Tesharh tu vesmanah sthanam kalpayech chhilpavit-tamah
In the chapter on pavilions (mandapas) various sorts of houses
are stated to be located in different parts of the five courts into which
In that chapter houses for various
the whole compound is divided.
in which a
purpose; of a family are located in different squares
the chapter
in
have
been
described
and
which
is
divided,
single court
|
called Pada-vinyasa.
The Brahma-sthana
or the central square
fora residential building
(line
is
stated to be unfit
The temple of the family god
15).
Round this are constructed all other
generally built in this part.
houses (lines 16-85), such as the house for the master of the family,
is
for his wife, for the children, for servants, for cows, horses, fowls,
for kitchen and dining-hall, etc., for guests, for the library or
etc.,
AX ENCYCLOPAEDIA OF
GRIHA-VINYASA
study, for the daily sacrifices of the upper castes, for amusements and
music, for the dancing girls, and for all other domestic purposes.
But the distribution of these several detached buildings
choice of the master of the house (line 85).
(2)
Kautillya-Artha-sastra
(Chap, xxvi,
p.
53)
is left
to the
:
pancha-bhagah Sala vapi, slma-griharh cha daadvau
bhagikau
prati-manchau, antara mani-harmyam cha samuchchhrayad ardha-talarh, sthunavabandha cha ardhavastukam
uttamagaram tri-bhagantararh va ishtakavabandha-parsvarh, vamatah
pradakshina-sopanam gudha-bhittisopanam, itaratah dvi-hastarh
torana-Sirah, tri-pancha-bhagikau dvau kavata-yogau, dvau dvau
Adi-talasya
parighau, aratnir indra-kilah, pancha-hasta-mani-dvararh, chatvaro
hasti-parighah, nivesardharh has i-nakhah mukha-samas-sankrimo'
samharyo va bhumi-mayo va
I
Of the first floor, five parts (are to be taken) for the formation
two-tenths of it for the
a
of
hall, a well, and a boundary house
formation of two platforms opposite to each other and upper storey
twice as high as its width, carvings of images, an uppermost storey
side-walls built of
half or three-fourths as broad as the first floor
a
staircase
left
on the
bricks
side,
circumambulating from left to
'
;
;
;
;
right on the right a secret staircase hidden in the wall, a top-support
of ornamental arches projecting as far as 2 cubits, two door-panels
(each) occupying three-fourths of the space, two and two cross-bar
;
an iron bolt (indrakila) as long as an aratni
a
boundary-gate.
5 cubits in width, four beams to
(24 angulas)
and turrets (hasti-nakha, outside
shut the door against elephants
(to fasten the door)
;
;
;
the rampart) raised up to the height of the face of a man, removable or irremovable, or made of earth in places devoid of water.'
The plan
(3)
of a house having a quadrangular courtyard in the centre
and comprising sixteen rooms
(Vdstu-tattva,
In the north-east corner
stated to be
is
Lahore, 1853, p.
(i)
i
f.):
the family chapel (deva-
in the east (2) the room for all things (sarva-vastu-griha), (3)
the bathroom (snana-griha), and (4) the room for churning milk (dadhimanthana) in the south-east corner (5) the kitchen in the south (6)
griha)
;
;
the
;
the
saina-griha, (? sayana= bedroom),
and (8) the lavatory (purisha-griha) in the south-west corner (9) the
in the west (10) the study (vidyabhyasa-griha) , (11)
library (5astra-griha)
bri(vri)tasagriha
(?),
(7)
;
;
the dining-hall (bhojana-griha), and (12) the weeping (reception-)-room
(rodana-griha) in the north-west corner (13) the granary (dhanya-griha) ;
;
in the north (14)
the
bedroom or drawing-room
152
(sambhoga-griha,
or
GRIHA-VINYASA
HINDU ARCHITECTURE
the house for enjoying oneself in), (15) the store-room (dravya-griha) ,
and (16) the room for invalids or medicine (aushadha-griha).
where the residential rooms are
plan the houses face the north
Here north is the best direction, and the west, the east and the
located.
south come in order of inferiority. This plan is suitable for western and
In
this
northern India where the northern and western winda are salubrious.
(4)
by Rajakisora Varmma)
Stha(Sna)nagaram dis"i prachyam agneyyam pachanalayam
Yamyayam sayanagaram nairrityarh sastra-mandiram n
Vdstu-pravandha (n, 25, 26, compiled
:
Pratichyam bhojanagararh vayavyarh pas"u-mandiram
Bhanda-kosarh chottarsyam ais"inyam deva-mandiram
I
|
II
a smaller house with eight rooms. Here the bedroom is located
south, indicating the southern aspect of the house, suitable for
southern and eastern provinces.
This
in
is
the
(5) $ilpa-$astra-sara-samgraha (ix,
Isanyarh
24-28)
:
devata-geharh purvasyam snana-mandiram
I
Agneyyam paka-sadanam dravyagararh tathottare ||
Agneya-purvayor madhye dadhi-manthana-mandiram
Agni-pretesayor madhye ajya-geham pras"asyate
Yamya-nairrityayo(r) madhye purlsha-tyaga-mandiram
Nairrityam-bu(?)payor madhye -'idyabhasasya-mandiram
Paschimanilayor madhye rodanartharh griharh smritam
Vayavottarayo(r) madhye rati-geharh prasasyatell
Uttaresanayor madhye aushadhartham tu karayet
|
1
1
|
1
1
I
I
Nairrityarh sutika-geharh nripanarh bhutim ichchhatam
(6)
Matsya-Purana (Chap. GCLVI, vv. 33-36)
:
I&ine devatagararh tatha santi-griharh bhavet
Mahanasam tathagneye
1 1
II
tat-par^ve chottare jalam
sarvarh
Grihasyopaskararh
nairritye sthapayed budhah
\
||
Ba(n)dha-sthanam bahih kuryat snana-mandapam eva cha
Dhana-dhanyam cha vayavye karmma-^alarh tato bahih n
Evam
vastu-vi^eshah syad griha-bharttuh subhavahah
I
II
In plans (5) and (6) it should be noticed, the bandha-sthana
(lit. place
bind in ? slaughter-house, vadha-sthana), the bathroom and the
office
(karmma-sala) are directed to be built outside the (residential
building proper). Both these are nine-roomed houses facing the north-east.
In this house, rooms are all built in the
the four main directions
to
being left entirely vacant.
health to householders.
This
is
corner,
stated to bring peace, prosperity
153
and
AN ENCYCLOPAEDIA OF
GRIHA-VINYASA
(7)
Agni-Purdna (Chap, cvi, vv. 18-20)
:
Purvayarh srl-griharh proketam agneyyarh vai mahanasam
Sayanam dakshinasyarh tu nairrityarh ayudhasrayam n
Bhqjanarh paschimayarh tu vayavyarh dhanya-sarhgrahah
Uttare dravya-sarhsthanarh aiSanyarh devata-griham II
Chatuh-salarh tri-alam va dvi-Salarh chaika-salakam
I
I
I
tu
Salalindaka-bhedatah n
Chatauh-sala-grihanaih
This plan is specially meant for houses in towns, etc. (cf, w. 1-12). It
recommends the four typical arrangement of houses, namely, rooms being
built covering the four sides with the courtyard in the middle
rooms being
sides and the fourth side in continuation of the courtyard being
;
on three
left free for light and air
rooms being built on two sides only and rooms
being built on one side only, apparently without any courtyard. This
is an eight-roomed
plan.
;
(8)
Griha-vdstu-pradipa
without mentioning his
;
(Lucknow, 1901) quotes
name
the following
some
from
authority
:
Atha nripanam shodaSa-griha-rachanopayah
|
Snana-paka-5ayanatra-bhujesva(?)-dhanya-bharhdara-daivata-grihani
cha purvata(h) syuh
I
tu mathana-ajya-purlsha-vidyabhyasakhya-rodanarataushadha-sarva-dhama
Tan-madhyas
1 1
(9)
Kamikdgama (xxxv, 177-191)
AiSanyarh pachana-sthanarh brahmananarh vidhiyate
:
I
(And of the Kshatriyas to the south-east, of the Vaisyas to the southwest, and of the Sudras to the north-west, vv. 177-178).
Purvasyarh bhojana-sthanam agneyyarh tu
mahanasam
Yamyayam
sayana-sthanarh nairrityam ayudhalayah
Maitra-sthanarh tu tatra tatra varunyam udakalayah
yaga-mandapam
Kanji-lavanayoh patrarh prag-udag-di^i vinyaset
Antarikshe' pi va chullyulukhali savita api
II
(179)
||
(180)
|
Goshthagararh cha vayavyam uttarasyarh dhanalayah
Nitya-naimittikartharh syad aiSanyarh
I
||
I
(181)
I
Anna-praanam aryarh^e chendragnyarh cha savitrake
Vivasvad-arhSe Sravanam vivado maitra-desake
II
(182)
I
Kshaudram
indrajaye vidyad vayau some cha va bhavet
VitathopanayoS chaiva pitri-dauvarika pade
II
(183)
I
(184)
Sugrive pushpa-dante cha prasuti-griham ishyate II
Apavatse tu kosah syat kundam ape vidhiyate II (1840)
Ankanam tu mahendrarhs'e peshani cha mahldharell (185)
Arishtagaram ishtarh syat tatropaskara-bhumikam
Vahanam dvara-yame syat snana-^ala cha varune
(186)
1 1
154
I
GRIHA-VINYASA
HINDU ARCHITECTURE
Asure dhanya-vasah syad ayudhad (?) indra-rajake
Mitravasas tatha mitre roge volukhalarh matam
II
(187)
I
Bhudare kosa-geharh syan nagamse ghritam aushadhamil
Jayante chapavatse cha parjanye cha sive kramat
(188)
I
Visha-pratyaushadham chaiva kupe deva-griharh bhavet |l (189)
Riksha-bhallata-someshu bhaved asthana-mandapam II
(191)
This
is
a plan with the
and the arrangement
is
southern
much
It comprises
Mdnasdra.
aspect.
like in the
thirty
rooms
the Mdnasdra (XL, 71-111, antah-sala, or houses in the inner
12-153, bahih-sala, or buildings forming the part of the palace in
Compare
court
;
1
the outer court, see under
RAJA-HARMYA.)
The
internal arrangement of rooms in small dwelling houses is essentially
In the large edifices, palaces and mansions the
like those described above.
There are stated to
buildings of various storeys are artistically arranged.
be one to seven enclosures in palaces of kings of nine orders. These
enclosures are surrounded by walls, each of which is furnished with a large
gateway known as the gopuram. In the innermost court (antarmandala,
with the gateway called the dvarasobha) are erected the residential palaces
of the king, queens and princesses, and would be analogous to the Muslim
harem. In the second circle (antanihara, with the gateway called dvara-
crown prince and other princes, royal
and such other people. In the middle court (madhyama
hara, with the gateway dvara-prasada) are built mansions for council
hall r office rooms, and quarters for the resident members of the council,
high civil and military officers, resident clerks and others. Within this
enclosure in some properly secured lanes are built secret residences for the
sala) are built the edifices for the
priests, ministers
In the fourth enclosure (prakara, with gateway dvara-harmya)
king.
are quartered the foregin offices, for negotiating war, peace and such other
In the fifth court (mahamaryada, with the gateway called the
matters.
great gate-house) are erected military quarters, barracks, and offices of
smaller importance. The sixth and the seventh enclosures, which are not
included in the smaller palaces, are reserved for the defence forces, guards,
royal stables, houses for domestic animals, zoological gardens, etc. which
are sometimes accommodated in the fifth court also. Prisons, cemeteries,
cremation grounds and temples of certain fearful deities are quartered
beyond the palace compounds. Temples are built within each court.
The
pleasure-gardens, orchards, tanks, etc. are suitably built within all
the enclosures.
In each of the enclosures mansions of one to twelve storeys
are artistically arranged in rows varying from one to ten, while the gatehouses are furnished with one to seventeen storeys.
155
AN ENCYCLOPAEDIA OF
GRIHA-MUKHA
The exact situation of particular private and public buildings is specified.
Thus it is stated that the main royal chapel should be built in the central
plot known as the Brahmapitha, and the public audience hall in the quarter
of
Yama, Soma, Vayu,
or Nairrita in accordance with the situation of the
palace in a particular province or city, and so forth.
For fuller details vide the writer's article A Peep into the Early Hindu
The Modern
Architecture,
GRIHA-MUKHA A
Review, September, 1934, pp. 282-287.
door, a facade, the exterior, front or face of
a building.
Danarh ghara-mukha
'
|
(Karle Cave Inscrip. nos. 4, 6, Ep. Ind.,
Vol. vii, pp. 52-53.)
the architrave and sculpture round the door
A
facade implies also
with the arc over it.' Dr. Burgess.
New
Imp.
Series,
GRIHA-RAJA
Vol.
rv,
p.
(Karle
note 4.)
90,
no. 4,
Inscrip.
Arch.
Surv.,
A
type of building.
v. 32
see under PRASADA).
cxxx,
Bhavishya-Purana (Chap,
vv.
under PRASADA).
see
Agni-Purdna (Chap, civ,
16-17
Garuda-Purdna (Chap. XLVH, vv. 21-22, 26-27 see under PRASADA).
(1)
GUHA-RAJA)
(see
;
(2)
;
(3)
;
GRIHA-STAMBHA The
main column of the house,
the pillar
regulating the whole composition.
Kudya-stambhe griha-stambhe harmya-garbharh vinikshipet
See
more
details
under STAMBHA.
A hall
GEHA(-KA)
Gopurarh
or room, a house, a habitation.
tri-talarh
Dvi-bhagam
nyasarh lakshanam vakshyate'dhuna
bhitti-vistararh paritah Sesharh tu
gehakam
(A/.,
GOKARNA A
stretched
(1)
measure, the distance between the
thumb and
'
Angushthanamika-yuktam gokarnam
iti
of the fully
i,
|
and anushanga-pada,
Chap, vn, v. 97.)
samjnikam
|
(Suprabhedagama, xxx, 22.)
The
niche, a recess in a wall.
In the east wall of the mandapa on each
and
a gokhla or niche
a defaced GaneSa.'
side, is
on the south side is
In the vestibule to the shrine are also small recesses one on each hand.'
for images,
'
|
xxxni, 489, 492.)
tips
Talah smrito madhyamaya gokarnas" chapy-anamaya
GOKHLA
I
the ring-finger.
(Brahmanda-Purana, Part
(2)
|
MI, 132.)
(A/.,
in that
(The Temple at Amarnath,
p.
156
318,
c.
I,
Ind.
Ant., Vol.
m,
para. 2, middle.)
W
GOP AN A OR OVOLO
GHATIKA-STHANA.
GCJ!.
GOJI.
GRAHA-KUNOALA.
Page lie
GOPURA
HINDU ARCHITECTURE
The septum of the
nose, the bridge-like part between the two
the
nostrils connecting
tip of the nose with the surface of the upper
lip of an image.
GOJI
(M., LXV, 105,
GOTRA A cowstall (Roth.
GOPANA (GOPANAKA) A
the lists of limb
under TALA-MANA.
etc., see
St. Petersburg Dictionary}.
moulding, the entablature, the beam.
A moulding of the pedestal generally placed between a cyma and cavetto
see the list of
or a cyma and fillet (M., xin, 95, 100, etc.
mouldings
;
under UPAPITHA).
A moulding of the base (M.,
under ADHISTHANA).
xrv, 32, etc.
;
the
see
of mouldings
lists
A synonym of the entablature (M., xvr, 19, see under PRASTARA).
A beam-like member of the single-storey ed buildings (M. xrx, 46).
A
similar
A
moulding of the entablature
Dandikordhve valayam gopanam syat tad-urdhvatah
member
of the buildings of two to twelve storeys.
M., xx, 25,
(See
etc.)
:
I
(Kamikdgama, LIV, 34.)
Cf.
Gopanasi tu valabhi-chhadane vakra-daruni
|
(Amarakosha
11,
15.)
ii,
GOPURA
Go-grihar,
Probably originated from Vedic Gomati-pur and epic
the fortified extensive cowstalls, and connected with the
divine bull, thus a gate-house, doors in general, the colossal buildings
over or near the gate giving entrance to a city, temple, monastery,
etc.
Pura-dvaram tu gopuram
Dvara-matre tu gopuram
I
I
(Ibid,
(1)
P
16
ii,
asadat pada-hinam tu gopurasyochchhrayo bhavet
(Agni-Purana,
Prakara-samam
Chap.
m,
:
iii,
182.)
I
XLII,
v.
22.)
mukham
avasthapya tri-bhaga-godha-mukhaih
gopuram karayet *'A turret above the gate and starting from the top
of the parapet shall be constructed, its front resembling an
(2)
alligator
to three-fourths of
(3)
its
height.'
(Kautiliya-Artha-sastra,
Chap, xxiv,
Sala-gopurayos tufigas tv-adhikas chapi mulatah
Gopurasyapy-alankaram galalankaravan nayet II
Sabhakara-siro-yuktarh salakara-sirah-kriyam
I
I
Mandapakara-samyuktam
chuli-harmya-vibhushitam
157
11
p. 53.)
up
GOPURA
AJf
salakantare
attalarh
Agrato'iindakopetam
ENCYCLOPAEDIA OF
I
Gopurasya tu vistara-tri-bhagad eka-bhagikam II
Chalur-bhagaika-bhagas tu pancha-bhagaika-bhagikah
Nirgamo gopuranarh tu prakarad bahyato hhavet n
Gopurarh cha khaluri cha mula-vastu-nirlkshitam
Antare raja-devlnarh grihany-antar-mukhani cha II
(Kdmikagama,
I
I
xxxv,
124-128.)
In the above instance, it should be noticed, the gopura or gatethe part of a residential
it is
house does not belong to a temple
;
house.
(4)
(5)
Rdmaydna vi, 75,
Mahdbhdrata
:
6,
etc.
:
Gopuratta-pra^olishu charyasu
I
:
m, 173, 3 Puram gopurattalakopetam
Mithilarh gopurattalakavatim
m, 207, 7
These two examples will show that gopura denotes gate-houses of
palaces and cities, and that they need not necessarily belong to temple
:
I
:
I
alone.
(6)
Mdnasdra
:
of a town (M x, 48).
In connexion with the height of storeys (bhumi-lamba)
Devatalayanarh nripanarh sala-gopure (e)vam uttungam
The gate-house
,
:
I
(M., xi, 113.)
In connexion with the base (M., xiv, 415).
In connexion with the column
:
Prasade mandape vapi prakare gopure tatha
I
(M., xv, 433.)
In connexion with the
windows (M., xxxm, 594
In connexion with images of Yakshas
)
Vidyadharas,
etc.
gopurodhrita-hastakau
Evarh vidyadharah proktah sarvabharana-bhushitah
(M., Lvm,
Janv-usrita-hastau
:
I
Chapter xxxm (named Gopura) 1-601
The gate-houses are built for temples and
I
16-17.)
:
alike (line i).
Hence
it
are constructed only for
down
residential buildings
be inaccurate to suppose that gopuras
In the Mdnasdra, rules are laid
temples.
will
for gopuras belonging
to
residential buildings of various
descriptions (cf. lines 2-601).
They are built in front of each of the five courts into which
the whole
compound of a house
ing to the first (antar-mandala)
sobha or the beauty of the gate
158
is
divided.
The gopura
belong-
technically called the dvara(line 8) ; that belonging to the
is
THL GATLHOU5E.5
ALL THESE O *TE BOUSES ARE g
IN
SHOULD SLWnYS BE. U&5 m MUMB
bUINOT,
04
8
12
16
20
TYPE
FOR THE.
GOPURA
HINDU ARCHITECTURE
second
court
is
The gate-house
known
as
or gate-house
dvara-sala
of the third court
is
called
and of the fourth court dvara-harmya
9),
court
house of the
fifth
maryada)
known
is
as
(line
or at the furthest
The
9).
9).
(line
dvaraprasada
(line
gate-
boundary (maha-
maha-gopura or the great gate-house
(line 10).
The gopuras
with as many as sixteen storeys
are
divided into ten classes (line 564) with
They
(lines 97, 103).
regard to the number of architectural members designated as
are furnished
s"ikharas or cupolas,
dome
and
A
domes (stupika), side-tower or
vestibules (kshudra-nasi) (lines 536-564).
technically called Sribhoga when its sikha (spire)
has
it
a
circular
surrounding
side-tower, four small vestibules
553-564).
The remaining
dome and
is
is
like sala (hall),
furnished with a
and eight large
nine classes are
(gala-kuta)
is thus
gopura
vestibules (lines
called
respectively
Brahma-kanta, Skandaand
Sikhara,
Saumya-kanta
Stupika
kanta,
(lines 556-564)
The fifteen kinds of gate-houses referred to above may have
one to sixteen or seventeen storeys. But the details of five storeys
Srivisala,
Vishnu-kanta,
Indra-kanta,
.
only are given, others being left to the discretion of the architects
and stated to be built in the same way as those five storeys illustrated so minutely.
absolute and comparative, of length,
of
each
and
breadth,
height
storey belonging to each of the fifteen
is
described at great length. The ornaments
kinds of gate-houses
and mouldings of each storey are also given in detail. The central
or main hall as well as all other rooms, together with different
parts such as pillars, entablatures, walls, roofs, floors, and
The measurement, both
(7)
windows, etc., are described in great detail (cf.
Gate-tower (Hampe Inscrip. of Krishnaraya.
face, Ep. Ind., Vol.
(8)
i,
!
ne
2-601).
33,
north
p. 336).
Tower (Ranganath
Vol. in, pp.
lines
Inscrip. of
Sundarapandya,
v. 7,
Ep.
Ind.,
12, 15).
cha Tamranagarlm abhito vyadhatta prakaram
(9) Durggarh
he surrounded Tarhranagari with
urhnatam udamchita-gopurarh sah
a wall surmounted by towers.' Hultzsch (Chebralu Inscrip. of Jaya,
'
v.
27, Ep.
Ind.,
Vol.
(10) Gate-tower
v,
pp.
147,
149.)
:
by erecting new buildVapra-gopura-mayair nava-harmaih
a
and
a
wall
gate-tower.'
(Mangalagiri Pillar
ings adorned with
'
Vol. vi, pp.
Inscrip., v. 29, Ep. Ind.,
159
121, 131.)
GOPURA
AN ENCYCLOPAEDIA OF
Vapra-gopura-yutair-nava-harmyaih (verse 26
Gopura-prakarotsava-mamtapair upachitarh (verse 27).
Sikhara-marhtapa-gopuralu (line 116).
(11)
.
Inscrip. of Krishnaraya,
(Kondavidu
116, Ep. Ind.,
vv.
26, 27, line
Vol. vi, pp. 236, 237, 321, 322.)
the temple of god
Vipulotturhga-gopurarh deva-marhdiram
towers.'
with
Plates
of Sadasivaraya,
lofty
(adorned)
(Krishnapuram
'
(12)
v.
Ep. Ind., Vol.
56,
ix,
pp. 336, 341.)
(Taulava) country, on the south bank of the Ambu river
shining like the Sri-pundra (central sectarian mark on the forehead
of Vaishnavas) is Kshemapura, like Purandara (Indra's city), with
'
(13)
In
it
(Ep. Carnal., Vol. vm, Part i, Sagar
glittering gopuras (temple-towers).'
Taluq, no. 55 ; Transl., p. too.)
'
Built (in the year specified) the tower of the temple (gopura)
(14)
of the god SivamisVaram udaiyar.' (Ep. Carnal. Vol. ix, Bangalore
Taluq, no. 1393 ; Transl., p. 26 ; Roman Text, p. 32.)
door of the gopura of the mantapa facing
the
god Varadaraja, and having the wood-work done
mukha-mantapa of
by the hand of the carpenter Bevoja's son Chaja-oja, and having the
door set up and the iron work done by the hand of the blacksmith,
'
(15)
Brought
to the
Anjala Divingoja.'
p.
1
86
(Ep. Carnal., Vol. x,
Malur Taluq,
no. 3
;
Roman
Text,
Transl., p. 154.)
;
(16) Gate-pyramid, gate-way tower.
Vol. ix, p. 117, c. i, p. 119, c. i.)
(Colonel B. R. Branfill. Ind. Ant.,
Nutana-vagi gopuravarh kattisi gopura-pratishthe suvarnaerected a new gopura with golden
kalasa-pratishthe saha madisl
(17)
'
finials in the
no. 20
Chamundesvari
Roman
;
Text, p. 6
;
hill.'
(Ep.
Carnal.,
Vol. m,
Mysore Taluq,
Transl., p. 3.)
(18) Viras Srl-chika-deva-raya-nripati
reme pure samvasan
kshoni-vadhu-bhushane n
I
Srirange ramamya-gopuravati
heroic king Chikka-Deva Raya, residing in the beautiful
city Srlranga having (i. e. which is furnished with) splendid gateways (? gate-house) an ornament to the lady Earth
The
.
.
.
should be noticed that from this instance it s clear beyond doubt
that gopuras or gate-houses were constructed not only in connexion
with temples but also as parts (of residential houses and) of the
It
city-gates.
(Ep.
Carnal., Vol. ni,
Roman
Malavalli Taluq, no. 61
Text, p. 126, line
n
f.
;
;
Transl., p. 62.)
With his approva causing a gopura of seven storeys to
be newly erected on the eastern side of the holy presence dedicated the
gopura together with its golden kalas"as, for the services of the god, to
'
(19)
1
60
GOSHTHA
HINDU ARCHITECTURE
Taluq, no.
(20)
i
and
sun
as
continue as long
Transl., p. 95
;
moon.'
Roman
;
(Ep. Carnal. Vol. in,
Nanjangud
Text, p. 183.)
Meros srihgam utandhakari-bhavanarh praleya-prithvi-dhritah
kutarii kim muravairi-nirmmita-maha-dvaravati-gopuram
Kim va kim maya-silpa-sara-sahitarh pandudbhavanarh sabhaI
dvararh
bhate
gunda-chamupa-nirmita-mahashatkarh
samujrim-
II
Sapta-dvipa-samudra-gotra-dhara-loka-chhanda-rishyasvasarh
khyataneka-jagan-nidhana-mahanlyas'esha-vastu-sriyam
Sararh gopura-nishtha-sapta-bhuvana-vyajena shatko mahan
ekibhutam ivavabhati satatarh sri-gunda-dandadhipah n
|
with
Rebuilt
its
seven
storeys
the
gopura, over the doorway (and
praise).'
(Ep. Carnal., Vol. v, Part i, Belur Taluq,
no. 3 ; Roman Text, in, p. 103, line 10 f ;
Transl., p. 45.)
(21)
and
'In front of the temple of Harihara-natha, he made a wide
gateway (gopura) of five storeys, ado'ned with golden
beautifu
kalasas.'
Carnal.,
(Ep.
Roman
Vol.
xi,
Davanagere Taluq, no. 36
;
Transl., p. 47,
Introduction, p. 32, para. 2, line 3 f.)
Text, p. 77-78 ;
the
second
main entrance-gopura, KailasaViews of
(22) See
natha temple.' (Pallava Architecture, Arch. Surv., New Imp. Series,
see
Vol. xxxiv.
Plate v.)
Buildings of the gate-house shape.
Kechid vai malikakara kechid vai gopurakri jh n
Matnnam alayarh kuryad gopurakaram eva tu II
GOPURAKARA(-KRITI)
(Suprabhedagama, xxxi, 123, 129.)
GO -MATH A
Yo
Literally a monastery for cows, a cowstall.
dharmma-puriijarh hi vicharya v(b)uddhya so'karayad goma-
(th)a-namdheyam
II
V(b)atihadiih-pure ramye go-mat(th)ah karitah subhah
'
'
|
Asrayah sarvva-jantunarii kailas(s)adrir ivaparah II
Caused to be made the place known by the name of Gomatha (?).'
This auspicious gomatha (?) was caused to be made in the beautiful
town of Batihadim. (It is) a shelter to all being like another K.ailas"a.'
(R. B. Hira Lai, B.A.)
But fom the context the meaning of go-matha (lit. house for cows)
seems certain
:
it
is
pasu-s'ala or sheds for animals.
GOSHTHA A cowstall.
(Batihagarh Stone Inscrip., w. 8, 9, Ep. 2nd.,
Vol. XH, pp. 46-47.)
161
AN ENCYCLOPAEDIA OF
GOSHTHA-PANJARA
GOSHTHA-PANJARA
(see
The niche
PANJARA)
or recess in the
which ^generally contains a statue, and sometimes serves as
a decoration.
wall
GOSHTHI-(KA) A committee, trustees, the managing committee
of a building, a club-house.
Members of Panch or committee entrusted with the management of
religious
'
endowments.
Prof. Bilhler.
(Ep.
Ind.,
Vol.
i,
190, note 50
p.
;
trustee,' Dr. Hultzch, Ind. Ant., Vol. xi, p. 338, last line of the text.)
Cf. Goshthika-bhutena idarh stambham ghatitam
I
(Deogadh
Inscrip. of Bhojadeve of Kanauj, no. A,
line 9, Ep. Ind., Vol. iv, p. 310, 829, note 5.)
Pillar
The managing committee
of a building
:
samudadidharad-dhlra-dhlru-darani
Garishtha-guna-goshthyadah
atisurhdararh prathama-tlrthankrin-marhdiram
(Bijapur Iriscrip. of Dhavala of Hastikundi,
1 1
v.
GEYA A
34, Ep. Ind., Vol.
A village,
NAGARA)
(cf.
under MALIKA.)
see
(Kamikagama, XLV, 580-59,
GRAMA
x, p. 22.)
class of buildings.
slightly different
from towns and
cities in size mostly.
The primitive sense of this word, which occurs frequently
from the Rig-Veda*- onwards, appears to have been village. The Vedic
Indians must have dwelt in villages, which were scattered over the country,
some close together, 2 some far apart and were connected by roads. 3
The village is regularly contrasted with the forest (aranya), and its animals and plants with those that lived or grew wild in the woods. 4 The
'
(i)
villages contained cattle, horses, and other domestic animals, as well
as men. 5
In the evening the cattle
Grain was also stored in them. 6
7
regularly returned thither from the forest.
1
i,
149,
44, 10
4, etc.,
m, 45, xx,
;
i
114,
A-V.
,
,
ii,
12, 7
iv, 36, 7,
8,
v.
17,
4,
vi, 40,
2, etc.
,
were probably
10)
;
x,
146,
i,
Vajasaneyi-Sarhhita,
17, etc.
Satapatha-Brahmcna, xui,
4
villages
(perhaps to be taken as in
2
3
The
2,
4,
Chhdndogya-Upanishad, vin, 6, 2
2
,
Aitar eya Brdhmana, HI, 44.
.
Animals: R-V.,
x, 90, 8, A-V., n, 34, 4, HI, 10, 6, 31, 3, Taittrlyaxni, i , Vajasaneyi-Sarhhita, ix, 32 ,
Kathaka-Samhita, vn, 7
PanchavimSa-Brahmana, xvi, I, 9, Saiapatha-Brahmana, in, 8, 4, 16, etc. Plants:
Tittiriya-Sathhita, v. 2, 5, 5 , vn, 3, 4, i, etc.
5
A-V., iv, 22, 2, VIH, 7, n, etc.
Samhitd, vn, 2, 2,
i
,
,
6
7
Bfihaddranyaka-Upanishad, vi, 3, 13 (Kanva, 22,
R-V., x, 149, 4, Maitrdyanl-Samhitd, iv. i, i.
162
Madhyamdina).
GRAMA
HINDU ARCHITECTURE
1
might on occasion be built inside.
Prcsumaby they consisted of detached houses with enclosures, but no
details are to be found in Vedic literature.
Large villages (mahagra2
known.'
were
mah)
(Professors Macdonell and Keith, Vedic Index,
though perhaps a
open,
fort (pur)
Vol.
(2) Kdmikdgama (xx, 4, the definition) :
Vipralr alhanyair varnair va bhogyo
The
The
i.
pp. 244-245.)
grama udahritah
II
and temples (ibid., xxvi. 1-41).
general arrangement (ibid., xxvm, 1-21).
Further details of the same (ibid. ix, 1-9 and xxx. 1-22).
situation of the village-gods
:
Jaty-otkarsha-vasenaiva si.hanaih
Cf.
yuktya prakalpayet
Utkrishtanarh samlpe syan nikrishtanam tu duratah
|
(Ibid.,
(3)
Brahmdnda-Purana
(Part
v 94)
vv. 105, 111; see also
i,
2nd
anushamga-pada,
11
xxx,
9.)
Chap, vn,
:
Khetanarh cha puranarh cha gramanarii chaiva sarvasah
cha durganarh parvatodaka-dhanvinam II
Nagarad yojanam khetam khetad gramo'rddha-yojanam
Dvi-krosah parama-slma kshetra-sima chatur-dhanuh II
I
Tri-vidhanarh
(4)
Kautillya-Artha-sdstra
(Chap,
xxii,
p.
45, 46)
I
:
Sudra-karshaka-prayarh kula-satavararh pancha-sata-kulapararh
gramarh krosa-dvi-krosa-simanam anyonya-raksham nivesayet
I
Nadl-saila-vana-ghnshti-dari-setubandha-salmali-saml-kshlra-vrikshan anteshu slmnam sthapayet
I
Ashta-sata-gramya madhye sthaniyam chatus-sata-gramya drona-
mukharh dvi-sata-gramya kharvatikarh dasa-grami-samgrahena
sarhgrahanam sthapayet
I
Villages consisting each of not less than a hundred families and
of not more than 500 families of agricultural people of Sudra caste,
with boundaries extending as far as a kros"a (2,250 yards.) or two.
'
and capable of protecting each other shall be formed. Boundaries
be denoted by a river, a mountain, forests, bulbous plants,
setubandha= bridge) or by trees such
caves, artificial buildings (?
as salmall sami and milky trees.'
shall
'
There
shall
centre of eight
1
be
set
up a sthanlya
hundred
As novv-a-days^^ee Zimmer, Altindisches Leben,
mir, 2, 45.
2
(fortress
of that name) in the
the centre of
villages, a drona-mukha ii
Jaiminiya-Upanishad-Brdhmana,
in,
13,
163
4.
144, citing Hugel,
Kash-
AN ENCYCLOPAEDIA OF
GRAMA
four
hundred
villages,
and a samgrahana
of a collec-
in the midst
tion of ten villages.'
Yajnavalka-Sarhhita (n, 167, etc.)
(5)
:
Dhanuh-satarh parinaho grama-kshetrantararh bhavet
Dve Sate kharvatasya <,yan nagarasya chatuh-satam II
Manu-Samhitd (vni, 237, etc.)
Dhanuh-satarh pariharo gramasya syat samantatah
I
:
(6)
I
Samyapatas
Mahabhdrata
(7)
trayo vapi tri-guno nagarasya tu
(xxii, 69, 35)
1
1
:
Ghoshan nyaseta margeshu graman utthapayed api
PraveSayech cha tan sarvan sakha-nagareshv-api
Ibid, 2, 5, 81
1
I
1
:
Kechid nagara-gupty-artham grama nagaravat kritah
Mdnasdra, Chap, ix (named Grama), 1-538
According to shape the villages are divided into eight
I
:
(8)
classes,
namelyi
Dandaka, Sarvatobhadra, Nandyavarta, Padmaka, Svastika, Prastara
Karmuka, and Chatur-mukha (lines 2-4). (For the plans represented
Ram
these eight names, see
Raz, Ess. Arch, of Hind., Plates XLIII to
The measurement, the ground
the
writer's
and
illustrations.)
XLVI,
by
the internal arrangement,
plans, the offerings to the presiding deity,
the laying out of the houses, and the ceremonial opening of new
buildings are described in order (lines 5-8)
:
Prathamam grama-manam cha dvitiyam padam
vinyaset
I
Tritlyarh tad-balirh datva chaturtharh grama(m) vinyaset
I
Paiichamam griha-vinyasam tatra garbharh vinikshipet
Shatkam griha-pravesam cha tan-manam adhunochyate
I
I
The
general plan (lines 95-503)
village is surrounded by a wall
:
made of brick or stone, strong and
over
(lines 143, etc.). Beyond this wall there
high enough to prevent leaping
is a ditch broad and deep enough to cause a great obstruction in the event
Each
of an attack on the village (lines 143, etc.). There are generally four main
gates at the middle of the four sides and as many at the four corners (lines
109-1 10, 144, etc.). Inside the wall there is a large street around the village.
This street is generally used for circumambulation on some special occasion,
and similar matters of public
are
those
which run from one gate to
concern. Two other large streets
another in the middle of the wall on each side. They intersect each other
daily
round of the
police, open-air drive
at the centre of the village,
where a temple or a
The
the meeting of the villagers.
village
blocks, each of which is again sub-divided into
is
are always straight from one end to
164
hall is generally built for
thus divided into four main
many
by streets which
main block. The
blocks
the other of a
GRAMA
HINDU ARCHITECTURE
ground-floor of the houses on the main streets are used as shops. The
These
surrounding street has footpaths and houses only on one side.
houses are mainly public buildings, such as schools, colleges, libraries,
All other streets generally have residential buildings
guest-houses, etc.
on both sides. The houses high or low are always uniform in make (line
500, see also
line 501).
Congestion
is
The
carefully avoided.
drains or
jala-dvara (lit. water-passage) are made towards the slope of the village.
Tanks and ponds are dug in all the inhabited parts and located in such
quarters as can be conveniently reached by a large number of inhabitants.
The temples of public worship as well as the public commons, gardens
and parks are similarly located. The people of the same caste or profession
same quarter.
(9) The following conclusions drawn by Mr. E.
elucidate some of the points referred to above
are generally housed in the
Architecture of India, pp. 9, 13, 12)
B. Havell will correctly
(Ancient
and
Medieval
:
The experience of many
generations had proved that they (plans of vilwere
the
best
for
lages)
purposes of defence, and gave the most healthy,
The easterly
and
pleasant
practical layout for an Indian village or town.
axis of the plan ensured that the principal streets were purified by the rays
'
of the sun sweeping through them from morning till evening while the intersection of main streets by shorter ones running north and south provided a
:
perfect circulation of air
'
The Manasara
and the utmost benefit of the cool
breezes.'
and towns
recognizes forty different classes of villages
according to the extent of the lands
owned by them
:
commencing with a
which was 500 dandas, or 4,000 feet square, so that the extent
of the largest cities would be 20,000 dandas or about 30 English miles
Of this area about one-third was devoted to building space, and
square.
the rest to the agricultural lands owned by the community. ... In the
village-unit
Rdmqyana (see under NAGARA), the
proportion between its breadth and length is as one is to four. Pataliputra
was about 9 miles in length and ij miles in breadth. Hindu Gaur was
also a long rectangle, one of the long sides generally faced a lake or river,
an arrangement which provided bathing facilities for all the inhabitants
and obviated the necessity of building defensive works all round.'
description of
'
Ayodhya given
The Manasara
gives the
in the
maximum
width of the main
village-streets as
a danda, rod or pole =8 feet). The others varied in width from
The size of a single cottage was reckoned as being 24 feet
1 6 feet to
feet
by
40
by 32 feet. They were generally grouped together by
fours, so as to form an inner square or quadrangle. The magic of the square
5 dandas
i
(
to 5 dandas.
depends on the fact that it afforded the best protection for the cattle of the
joint household when they were driven in from pastures every evening.'
AM ENCYCLOPAEDIA OF
GRAMA-GARBHA
'
(10)
Of
stone-built walls, such as ancient Indian
town possessed, there
is
village or
sixth century
fortified
an extant example older than the
the hill-fortress of Giribraja, near the modern Rajgir, said to have
been planned by a master-builder called Maha-govinda.' (Rhys Davids,
B. c. in
Buddklst India, p. 37.)
)
Grama-nagara-kheda-karwada-madamba-drona-mukha-pattanarh
galimdam aneka-mata-kuta-prasada-devayatanani galidampppuva-agrahara
pattanamgalimdam atisayav-appa.
(At Teridala, a merchant-town situated in the centre and the first
in importance among the twelve (towns)
in the glorious Kundi Three
Thousand, adorned, with) villages, towns, hamlets, sea-girt towns, and
chief cities, with elegant mansions, palaces and temples, and with shining
(
1 1
.
.
.
|
'
agrahara-towns in the country of Kuntala.
(Old Kanarese
.
.
'
.
Inscrip. at Terdal, line 58,
Ind. Ant., Vol. xiv,
'
(12)
With myriads of people,
pp. 19, 25.)
practices of virtue, agreeable occupations,
streams of the (nine) sentiments, pleasure-gardens, separated lovers, splendid
tanks, full lotus beds, gilded boats for spring festivals, ghatika-sthanas
(religious centres), the supports of dharmma and mines of enjoyment,
moats which were
as if the sea being overcome had returned here on account
of the collection of gems, groups of the lotus faces of beautiful women fair
as
the moon
(Grama-nagara-kheda-kharwana-madamba-drona-mukha-
on whatever side one looked, in these nine forms
pura-pattana-rajadhani)
did the Kuntala-des"a shine.' (It should be noticed, that the passage within
brackets
is
almost identical with the corresponding passage in quotation
no. ii above.)
(Ep. Carnat., Vol. vn, Shikarpur Taluq, no.
Transl., p.
124, para,
Roman
GRAMA-GARBHA
(see
197,
seven lines
i, last
Text, p. 214, line 27
;
f.)
The foundation
under GARBHA-NYASA)
of a village.
GRAMA- MARGA The village-road
(see details
under GRAMA).
Vims'ad-dhanur grama-margah sima-margo daSaiva tu
(Brahmand^-Purdna, Part i, 2nd anushamgapada, Chap, vn, v. 112.)
See further details under GRAMA and NAOARA.
I
GRAMA-LAKSHANA
The
description of the village.
(A/., ix
GRAMA- VINYASA
(see
GRAMA)
of the village.
1
;
see
under GRAMA.)
The arrangement of
66
laying-out
HINDU ARCHITECTURE
GRAHA A
GHATA
a shark, an architectural and sculptural
crocodile,
ornament.
A
kind of mukha-bhadra or front porch,
An ornament
hall,
or tabernacle.
(M., xvin,
of the arch
302,
etc.)
57,
60.)
:
Graha-kinnara-samyuktam
Graha-kinnara-bhushitam
I
I
Graha-puchchhadi-sarvesharh svarna-ratnena bandhayet
Grahantarh sarva-ratnais cha puritarii sreni-sarhyutam
I
|
(M.,
GRAHA-KUNDALA
The
Anyatha
GRlVA
(see
53,
(M,, LIV, 8.)
sarva-s"aktinam graha-kundala-bhushimm
KANTHA)
56,
an image.
crocodile-shaped ear-ring for
Graha-kundala-bhushanam
Cf.
XLVI,
The
I
neck, the dado
;
as
a
(M., LIV, 168.)
I
member of
the
comprises vedika (altar), griva (dado proper), and bhushana
(ornament).
(M., xv, 105-107)
pillar
it
i
GRIVA-BHOSHANA The
It
pillar.
vajana
ornament of the neck, a part of the
comprises uttara (fillet), vajana (fillet), gala (dado), and
(fillet).
(M., xv, 111-113.)
GRAIVEYAKA A necklace
for
an image.
'
Sapta-suvarnna-nishka-kalitam graiveyakam kantimat
charming necklace made of seven nishkas of gold.'
(Four Inscrip. at Srikurmam, no. D,
line 6, Ep. Ind., Vol.
v,
p.
37.)
GH
GRATA A
pot, jar, pitcher, same as kumbha of the column (see
the
torus (see Gwilt, Encycl. fig. 870), a type of building,
STAMBHA),
a carving on the door.
Cf.
Stambharh vibhajya navadha vahanam bhago ghato'sya bhago'nyah
(Brihat-Samhitd,
'
Dr. Kern's rendering by
base
'
seems rather doubtful.
(J.R
Vol.
LIU,
.A.S.,
vi,
p.
I
29.)
N.S.,
285.)
A
type of building which is shaped like a water jar (kalaSa) and is
( )
8 cubits wide.
(Brihat-Samhita, LVI, 26, J.R.A.S., N.S., Vol. vi, p. 319, see
i
under PRASADA.)
A
jar-shaped carving (on the doorframe)
Sesham mangalya-vihagaih
Mithunaih patra-vallibhih
:
s'ri-vriksha-svastika-ghataih
pramathais
I
chopaSobhayet
II
(Ibid., LVI, 15.)
167
GHATTA
A type
(2)
AN ENCYCLOPAEDIA OF
of building
:
(4)
see under PRASADA.)
under PRASADA.)
Matsya-Purdna (Chap. CCLXIX, vv. 37, 49, 53
(3) Bhavishya-Purdna (Chap, cxxx, v. 33
Mdnasdra
15-18)
(XLII,
;
see
;
:
Shat-sapta-htangularh vapi sila-stambham visalakam
Vrittarh va chatur-a-rarh va ashtasrarh shodasaSrakam
I
Pada-turige'shta-bhage tu trirhs'enordhvam alankritam
Bodhlkarii mushti-bandharh cha phalaka-tatika-ghatam
I
I
I
(See further context under SILA-STAMBHA.)
GHATTA
(see
A
SOPANA)
of steps.
flight
Sri-vat a-raja-ghatto'yarh nunarh tenatra karitah
Brahmandam ujjvalarh kirttim arohayitum atmanah
I
'
He
indeed caused
this
of steps
flight
Vatsa-raja, in order to
the universe.'
illustrious
make
be
to
built
II
here,
of the
fame ascend up into
his bright
(Chandella Inscrip. no. B, Deogadh Rock
Inscrip. of Kirtivarman, v. 7, Ind.
Ant., Vol. xvni, pp. 238, 239.)
Ghat
Cf.
mountain pass,
(i)
A
flight
of
steps
to
leading
water,
(2)
a
(3) a ferry.'
[Vincent Smith's
Gloss, (loc.
cit.}
to
Cunningham's
Arch. Surv. Reports.]
GHATIK.ALAYA The
building where the water-clock
(Cintra
is
placed.
Prasasti of the
v. 40,
Ep. Ind.,
reign of Sarangadeva t
Vol. i, pp. 284, 276.)
GHAT1KA-STHANA The
place or building where a clock
placed, a religious centre, an institution, a hermitage, a temple.
is
'in accord(1) Uttankoktya sama-vede vyadhattam ghatikas"ramam
ance with Uttanka's saying in the Sdma-veda, the ghatikd (hermitage)
was established.' (It should be noted that this inscription is on the
door of the Ammanavaragudi in the enclosure of the same Janardana-
ivami temple.)
(Ep. Carnat., Vol. v, Part i,
patna Taluq, no. 178,
p.
'
Possessor
Chamunaraya-
Roman
462, Transl.,
p.
Text,
202.)
of
velama, eighteen cities,
(2)
thirty-two
sixty-four
yoga-pithas, and sixty-four ghatikd-sthdnas(?).'
(Ep. Carnat., Vol. vr, Shikarpur Taluq, no. 94 ; Transl., p. 61, line 6 f., Roman Test, p. 114, line 4 f.)
'
(3)
his
He
set
out for the city of the Pallava
guru ViraSarmma,
desiring to
Kings,
together with
be proficient in pravachana, entered
1
68
GHAT
HINDU ARCHITECTURE
into all religious
(ghatika-sthana) and
centres
ready) debater (or deputant).'
patna Taluq, no. 176, Transl.,
'
(4)
With myriads
o."
became
(so)
(Ep. Carnal., Vol. v, Part
para,
113,
p.
a quick (or
Ghamunaraya-
but one.)
last,
of virtue,
practices
people,
I,
(-TA)
agreeable occu-
pations, streams of the (nine) sentiments, pleasure-gardens, separated
lovers, splendid tanks, full lotus beds, gilded boats for spring festivals,
ghatika-sthdnas(?),
.
.
the
did the Kuntala-desa shine.'
.
para, last seven lines
Mr. Rice
(5)
He
term.
it
dharmma and mines
supports of
is
;
Roman
no.
(Ibid.,
Text,
214,
p.
197, Transl., p.
line
refers to quotations nos.
institution.
first
of the
meaning
and seems to think that
Mr. Pathak has trans-
i, 2, 3, 4,
He
127,
30.)
not certain about the accurate
means some kind of
of enjoyment
that
says
'
(Ind. Ant., xiv 34^. Dr. Kielhorn has
on
the
an
article
subject (Gottingen Nachrichten for 1900,
published
Heft 3) with special reference to the use of the word in this inscription
(quotation no. 3 above) and gives quotations in support of his
It is to be noted
view that it means something like brahma-puri.'
that Mr. Rice's reference to Ind. Ant. is not accurate, see below.
lated
it
as
'
eligious centre
(Ep. Carnal., Vol. vn, Introduct., p. 8, note 2.)
Dva-trimsat tu velavuramum ashtadasa-pattanamum basa shatiyoga-pithamum
aruvattanalku-ghatika-sthanarnum
(the people of
the
seaside
18
seats
of
towns, 62
towns,
the)
thirty-two
contemplation,
and 64 religious centres (together with
held a convocation there).
(6)
'
'
.
.
.
(Old Kanarese
Inscrip. at Terdal, line
Ind. Ant., Vol. xiv, pp.
GHANA
Solid, a kind of
60
19, 25.
measurement, thickness.
Eka-hasta-samarh dirgharh tad-ekangula-vistritam
Ghanam ardhangularh proktarh hasta-nischitya yojayet
I
(M., u, 64-65
LX,
GHANA-MAN A
(see
AGH ANA-MAN A)
;
see also
17-18
;
I
xxxin, 311-313, 593-595.
LXII,
17,
under AGHANA.)
The measurement
by the
exterior of a structure.
(M., xxxni, 291-330, and 331-335
Cf.
see under AGHANA-MANA.)
cha
kritva
navarhsakam
Yogadi-ghana-manam
bahye
,
I
(M., xxxrx, 64.)
GHAT
TIRTHA)
(cf.
mountain pass, a
(-TA)
to water, a
A
landing, a flight of steps leading
ferry.
(See
Vincent Smith's
Gloss,
to
Cunningham's
Arch. Surv. Reports,
169
loc.
cit.)
GHATANA
AN ENCYCLOPAEDIA OF
GHATANA A
bolt.
Yogyam kavata-yugmarh sre^htham madhyarh cha harmyake
Antar vapi bahir vapi ghatanarh kila-samyutam
|
I
(M., xix, 152-153.)
GHRITA-VARI
(ef.
The
P!THA)
water-pot, a part of the Pitha
or the pedestal of the Phallus.
Pithasyordhvc viSale tu chatush-pancha-shad-amsake
Ekams'ena cha sesharh tu ghrita-vari-vis'alakam
I
I
mi, 24-52.)
(A/.,
CH
CHAKRA
-The
disc
of Vishnu, a type of buildings.
(See
Mdnasara LXV,
A class of octangular buildings
145
LIV,
;
147
;
XXXH, 125,
etc.)
:
see under PRASADA).
Agni-Purdna (Chap. XLVII, vv. 20-21
Garuda-Purdna (Chap. XLVII, vv. 21, 23, 31-32 see under PRASADA).
(1)
;
(2)
;
In connexion with the foundations
Madhye chakrarh tu bhaumena bhajanantarh vinikshipet
:
(M.,
GHAKRA-KANTA A class
xn,
A
class of the
PRASADA)
A
158.)
5
see
under PRASADA.)
type of storeyed building, a site-plan.
nine-storeyed buildings
in
(M., xxvn, 11-12
which the whole area
(M., vn, 9, see, for details,
in connexion with the village;
GHATUR-A&RA
is
I
;
see
under
.
site-plan
squares
;
also
of the eleven-storeyed buildings.
(M., xxxix, 11-15
GHANDITA A
137
see
(see
xv
77-110,
(1) Brihat-Samhita (LVI.
divided
cf.
also
into
vm
39
64 equal
;
ix, 166,
390, etc.).
CHATUSHKONA)
quadrangular in plan, has
is
A
type
of building which
one storey and
five cupolas.
and
28,
Kdsyapa, J.R.A.S., N. S., Vol.
vi, p.
320, note i).
(2)
(3)
Matsya-Purdna (Chap. CCLXIX, vv. 28, 53; see under PRASADA).
Bhaoishya-Purana (Chap, cxxx, v. 25; see under PRASADA).
GHATUR-MUKHA
under GRAMA and SALA)
Literally fourfaced, a class of villages, a type of building, a kind of hall.
A class of the four-storeyed buildings (M., xxn 12-23 see under
PR As ADA'
(see
>
.
170
CHATUH-SALA
HINDU ARCHITECTURE
A class of villages
also
(M.,
ix, 3, cf.
the description n detail, 490-507;
see
xix, 212).
A
class
of salas
(hall,
mansion,
pavilion,
etc.
xxxv,
M.,
3-4
;
under SALA).
Sarvatobhadra - chatur - mukha - ratna - traya - rupa - tri - bhuvana
see
Cf.
'
tiiaka-Jina-chaityalayavanu
the
Tribhuvana-tilaka-Jina-chaityalaya
(temple, which
side (sarvatobhadra), has four
is) auspicious on every
faces (chaturmukha), and is the embodiment of the three jewels.'
The icmple has four doors each of which opens on three identical
stone
images
of the
Tirtharhkaras
Malli
Ara,
and
Munisuvrata.'
(Karkala Inscrip. of Bhairava II, line 17,
Ep. Ind., Vol. vm, pp. 132, 135, notes n,
12, and p. 134, note 3.)
CHATUR- VARGA A set
of four mouldings of the door, consisting
(pillar), slrah (spire)
of vedika (platform), pada
and sikha
(M., xxxix, 154-156,
CHATUR- VARGA-KANTAKA A
see also
(finial).
xxxin, 591.)
mem-
of four architectural
set
bers.
(M., xxxin, 531.)
CHATUSH-KONA
gular buildings
(1)
(2)
Literally four-cornered, a type of quadran-
under CHATUR-ASRA)
(see
.
see under PRASADA).
Bhavishya-Purdna (Chap, cxxx, v. 25
see under PRASADA).
Brihat-Samhitd (Chap. LVI, 18, 28
;
;
CHATUH-&ALA A
house with four salas (rooms
or halls),
an
open or closed quadrangle surrounded by buildings on all four sides,
an enclosed courtyard, a mansion with four rows of buildings.
xxxv,
(M.,
Evarii chatur-griham proktarh Salayaih kalpayen
na va
35.)
II
tad-adho-bhumir uchyate II
Madhya-mandapa-samyuktaih chatur-griham udahritam n
Chatus'-sala-prades'e tu
(Kamikagama, xxxv, 5-7, 70, 93.)
Chatuh-sala-gra(gri)
bhavet
Dvi-salam
ham
sreshtham
tri-salarh
madhyamam
I
adhamam proktam hinam
syad eka-salakam n
xxv,
(Ibid.,
Salaika
danda khandabha
Tat-trayena
tri-Sala
Saptabhih sapta-Sala
syat
dvi-sala
tad-dvayena tu
chatuh-sala
syad evam anyam
13,
14.)
I
chatushtayl n
tj klrcitah(-m)
(Ibid.,
n
xxxv, 34, 35.)
CHATUH-SlLA
AN ENCYCLOPAEDIA OF
Shad-bhagena maha-ala chatuh-Sala tri-bhagikam
Madhya-sala (ir) yugamsena bhadra-sala cha madhyame
Anusala cha madhye cha chaika-bhagena bhadrakam
I
|
i
(Af., xxvi, 17-19.)
Chatuh-sa'am
(Amarakdsha, n,
ii,
6).
CHATUH-SlLA
Literally four pieces of stone, a pedestal.
Benasyaika(-ka)-sila proktam liriganarh tach-chatuh-sila
(M.,
CHATUH-STALA The
(M.,
89 106), the eight
xii,
fourth
storey,
its
general
I
LII,
177.)
description
classes (ibid., 1-88).
under PRASADA.)
(See
CHANDRA-KANTA
A site-plan in which the whole area is
divided into 1,024 equal squares (M., vn, 50 ; see under
PADAVINYASA),
a class of ten-storeyed buildings (M., xxvin, 6-8 see under
PRASADA),
one of the five Indian orders (Suprabheddgama, xxxi, 65, 66 ; see
;
under STAMBHA)
.
CHANDRA-SALA
A
(-LIKA)
room
at the top of a house, a kind
of windows, sky-lights, dormer-windows.
bhaved valabhl
(1) Tri-chandra-Sala
dormer-windows. (Brihat-Samhita, LVI, 25,
PP-
319.
(2)
the
27,
must have three
roof
N.
J.R.A.S.,
Vol.
S.,
vi,
320.)
ParsvayoS chandra-sale'sya uchchhrayo
bhumika-dvayam
I
(Matsya-Purana, Chap. CCLXIX, v. 38
see also
(3)
w.
Chandra-salanvita karyya bheri-Sikhara-saihyata
1
;
40, 41, 42, 46.)
1
(Garuda-Purana, Chap. XLVII, v. 44.)
(4)
Tri-chandra-sala bhaved valabhi
u
Babu-ruchira-chandra-salah shad-vimSad-bhaga-bhumi^ cha
(Bhavishya-Purana,
(5)
Hasti-prishtha-yuktam chandra-SalabhiS
annm)
Chap,
cha
cxxx,
w.
32,
II
Kuttimo'stri
Commentary
attal
ityadi
:
nihaddha
bhuS
chandra-^ala Sirogriham
\
L,
92.)
I
chandradi-dvayam grihoparitana-grihasya uparam adi-
prasiddasya
I
(Amarakdsha,
CHAK.ANA
(K,Lvm, 3,
34.)
samanvitam (vim(KamikSgama,
(6)
i
.ynonym
of
the
pillar
(M.,
xv,
4),
n,
5,
a
8.)
foot
etc.).
(See
172
under STAMBHA.)
CHITRA
HINDU ARCHITECTURE
GHARA-VASTU A
movable
structure, a
temporary building.
Gramadlnarh nagaradinam pura-pattana-khaivate
Koshtha-koladi-sarvesharh garbha-sthanam ihochyate
Sthira-vastu-kukshi-des'e tu chara-vastu tathapi cha
I
I
I
XH,
(Af.,
CHARUKA
(see
RUCHAKA)
A
168-170.)
type of building.
Nispatarh charukam vidyat sarvatraiva viseshatah
(Kamikagama, xxxv, 91
I
see also
;
88-90,
under NANDYAVARTA.)
CHALA-DANDA
The movable lamp-post.
Chatur-asrarh va tad ashtagrarh vrittarh va chala-dandakam
Sthira-danda-viSale tu manangula-vasan nayet
I
I
(M.,
GHALA-SOPANA The
movable
staircase,
(A/.,
L,
84-85.)
a ladder.
xxx,
130
under SOPANA.)
see
;
CHARA A platform.
Vrishabhasya lakshanarh samyag vakshyate'dhuna
Vimane mandape vapi charopari
parinyaset
I
I
(M.,
CJHARU-BANDHA A
LXII,
3.)
i,
type of base of the pillar.
Tato janga'.a-b'.mmis ched adhishthanarh prakalpayet
I
Tach chatur-vidham akhyatam iha sastre visesha^ah n
Padma-bandharh charu-bandharh pada-bandham pratikramam
II
(Suprabhedagama, xxxi, 16-17.)
CHARYA A road
which
is
8 cubits broad.
Ashta-hasta-pramana-margah
I
(See Kautillya-Artha-sdstra,
GHITRA An
image, a painting, a marble,
glass,
under PATHA.)
high or
A painting (M., xxxv, 402, etc.).
A kind of marble or glass (Af., LVI, 15, etc.).
A kind of octangular building (Agni-Purdna, Chap,
full relief.
civ vv. 20-2
under PRASADA).
full relief or image whose whole
body is fully shown
chitram
evam prakathyate
Sarvangarh drisyamanarh yat
1
;
see
A
:
I
(A/., L,
See
Suprabhedagama (xxxiv, 3) under ABHASA.
173
1-9.)
AN ENCYCLOPAEDIA OF
CHlTRA-KALPA
CHITRA-KALPA A
head-gear, an ornament
an image.
foi
Patra-kalpam chitra-kalpam ratna-ka'parh cha misritam
Esharh chatur-vidhaih proktarh kuryad abharanarh budhah
I
(M.,
CH1TRA-KARNA A kind
I
L,
3-4.)
of pillar.
(M., xv, 30
;
see
under STAMBHA.)
A type of arches, an ornamental
(see TORANA)
arch employed in gods' temples and kings' palaces as well as in
their thrones, decorated with the images cf demi-gcds, demons,
CHITRA-TORANA
lions, leogfaphs,
and
geese.
Tad eva
(like the Makara-torana) parsvayor madhyarh puritarh
cha dvayor (makarayor) api
Nakra-tunda-prag-grahais cha tayor asya-vinirgataih II
Vidyadharais cha bhutaischa sirhhe(-hairi)va vyala-harhsakair api
Bale srag-dandakair anyair mani-bandhair vichitritam 11
Chitra-toranam etat syad devanarh bhu-bhritaih varam
Ihasu pratimadyasu padah sarvahga-sobhitah II
I
I
I
Chatur-asrashta-vrittabha
kumbha-mandya samyutah
I
Pottika-sahita va syur viyukta va prakirtitah II
Utsandhad avalambam tu kuryan makara-prishthakani
II
(Kamikagama, LV, 66-70.)
CHITRA-PATTA A
moulding of the
pillar,
an ornamented band.
see the lists of mouldings
under ADHISHTHANA and UPAP!THA.)
(M., xv, 34
CHITRA-SKAMBHA A
padma-kanta
(see
column with
;
all
characteristics
of the
below) except the asana (seat).
(M., xv, 39
;
see
under STAMBHA.)
CHITRAGARA A picture gallery.
(Rhys David's Buddhist
CHITRABHASA
(see
ABHASA)
A
kind of marble,
(M.
y
LVI,
15
;
Sutta, p. 68.)
an image.
glass,
see
under ABHASA.)
Silodhavanarh vi(bi)mbanarh chitrabhasasya va punah
Jaladhivasanarh proktarh vrishendrasya prakirtitam II
(Linga-Purana, Partu, Uttara-bhaga,
An image
wall
Chap.
I
XLVIII, v. 43.)
painted on a pata (a piece of cloth, a tablet, a plate) or
(Suprabheddgama, xxxiv. 4; see under ABHASA).
174
CHOLI HARMYA
HIJWU ARCHITECTURE
CHITRARDHA A
half relief or an image half of whose body
is
shown.
(Suprabheddgama, xxxiv, 4, see under ABHASA.)
CHULLI A building
lacking a southern hall, an apartment of three
divisions, one looking north, another east, and the third west.
Yamya-hinam chulli tri-salakam vitta-nasa-karam etat
|
(Bnhat-Samhita,
38, J. R. A.
LIII,
CHOLIKA (CHULI) A
S.,
N.
S.,
Vol.
a head ornament,
tower,
vi,
p. 282.)
the capital,
the top.
(i^
Antar vapra(h) bahir
bhittis cheshtarh
dirgham cha chulika
(M.,
In connexion with the joinery
Etat suvritta-padanarii tri-karnarh vakshyate'dhuna
Tad eva cha tri-karnam syat tri-chulikam eva cha
I
ix, 362.)
:
I
I
(M., xvn, 104-105.)
or gate-house.
In connexion with the gopura
In connexion with the mandapa
Tad (prastara)-urdhve
harmyakam
(pavilion)
mandapanam
(M, xxxm,
313.)
:
cha
chuiika-karna-
I
(M., xxxiv,j..)
An ornament
for the
Lamba-haram
head
:
api chulikadibhih
(M.,
I
L,
301.
(2) Stambhasya parikshepash shad-ayama dvi-guno nikhatah chuli"
in fixing a pillar 6 parts are to form its
kayas chatur-bhagah
twice
as much (12 parts) to be entered into the
height on the floor,
ground, and one-fourth for its capital.' (Kautiliya-Artha-sastra, Chap, xxiv
'
P-
53-)
(3)
Trichuli vaisya-sudranam pancha sapta mahibhritam
Brahmananam tathaiva syur ekadasa tu vedikah II
Pashandasraminarii
yugma-samkhya
chuli
vidhiyate
I
II
(Kamikagama, xxxv, 160, 161.)
The synonyms
of chulika
:
St(h)upika cha ghatah kilo sulakah st(h)upir ity-api
Sikha st(h)upir iti khyata chulika cha dvijottamah
I
II
(Ibid.,
LV, 207.)
CHULLI) A tower, a room at the top of
(cf.
a house, an attic room, the garret.
visesho'sti chuli-harmyadi-manditam
(i) Prastarordhve
CHULI-HARMYA
I
(A', xxxiv, 499.)
175
AM ENCYCLOPAEDIA OF
CHAITYA
(2)
Ekaneka-talantarh syat chuli-harmyadi-manditam
I
(M., xxxv,
(3)
37,
etc.)
Chuli-harmya-yutam chorddhve chagra-dvara-samanvitam II
Sorddhva-vastavya-sarhyuktarh chuliharmya-yutam tu va II
Sa bhumir mandapagara-chuli-harmya-vibhushita II
Athava mandaporddhve tu chuli-harmya-vibhushitam
Taladhisthana-padebhyah kimchid-una-pramanakam
I
1 1
(Kdmikdgama, xxxv, 63, 65,
71,
114.)
vapirh pushkarimrh dvararh chatus-salam
(4) Prakara-madhye
adhyardhantaranikam kumarl-puram munda-harmyarh dvi-talam mundakadvararh bhumi-dravya-vasena va tri-bhagadhikayamah bhanda-vahinih
kritva
kulyah karayet
In the centre of the parapets, there shall be constructed a deep lotus
pool a rectangular building of four compartments, one within the other,
an abode of the goddess Kumari (?) having its external area i \ times as
broad as that of its innermost room a circular building with an archway
I
;
;
;
and in accordance with available space and materials, there shall also be
constructed canals (?) to hold weapons and three times as long as broad.'
Pandit Shama Sastri's translation, as given above, does not seem to have
resulted from a happy construction of the text.
Kumaripura,' mundaharmya and dvi-tala (two-storeyed) mundaka-dvara bear apparently
some technical meanings which are not well expressed in the translation.
'
'
'
'
'
'
'
Munda-harmya
'
munda and
(see
'
chuli
might be identical with
'
'
'
'
'
chuli-harmya inasmuch as
are almost synonyms, both meaning top or summit
KUMARI-PURA).
(Kautiliya-Artha-Sastra,
Chap, xxrv,
p. 54.)
GHAITYA (GHAITYALAYA)
Primarily a heap or tumulus,
of
a
sacrifice
or religious worship, an altar,
place
implies
chita ', a heap, an assemblage, etc. ; a monumental
derived from
a
tomb,
sanctuary, a monastery, a shrine, a temple, the church-like
also
'
Buddhist assembly
'
All structures of the nature of sanctuaries
are chaityas, so that sacred trees, statues, religious inscriptions and
sacred places come also under this general name.'
(i)
halls.
Tasminn Iruga-dandesa-pure charu-silamayam
I
Sri-Kurhthu-Jinanathasya chaityalayam achikarat
In
1 1
the general Iruga caused to be built of fine stones a
temple
the blessed Kunthu, the Lord of Jinas.'
of
(chaityalaya)
this city
(Vijayanagara Inscrip. of Harihara, 11,
H. S.I.I., Vol. i, no. 152, pp. 158,
I
76
v. 28,
1
60.)
HINDU ARCHITECTURE
CHAITYA
Parsvanathasya Arhatah Silamayarh chaityalayam achikarat
Caused a temple (chaityalaya) of stone to be built to the Arhat Par-
(2)
'
I
svanatha.'
Cf.
Bhavya-paritosha-hetum silamayarh setum akhiladharmmasya
achikarad
adharanl-dyumani-hima-kara-sthaiChaityagaram
I
ryyam
II
(Vijayanagara Inscrip. of Devaraja
no.
H.S.I.I.,
153, pp.
II, v.
162,
164,
20,
166.)
esha Malukaya-chaitya ' this is the
Sri-yogasvaminah.
'
Malukaya temple of the god Yoga Svamin.
(Sanskrit and old Kanarese
Ind. Ant., Vol. xvi ;
Inscrip. no. 170, Asni Inscrip. of Mahipala, line 7 f.
.
(3)
.
.
;
note
175,
p.
(4)
Abode
12.)
The
chatiyarh
chaitya on (Mount) Arbuda.'
Miga-sakadakam chetaya
telopes.'
(Bharaut Inscrip. nos.
5,
The
chaitya which gladdens the an-
Ind. Ant., Vol.
n,
xxi, pp. 227, 228.)
built a tank and a
(or Palhaja)
and
also
laid
of
Sambhu
out
a
(Siva),
garden.'
temple (chaitya)
(Narawar
Stone Inscrip. of Ganapati of Nalapura, vv. 22-25, ^- Ant., Vol. xxn, p. 81.)
Palhadeva
Kayastha
(5)
.
.
.
and beautiful are the Udena, Gotamaka, Sat.
tambaka, Bahuputta, Sarandada, and Ghapala chetiyas.' (Digha-Nikaya,
Vesali
(6)
n,
is
beautiful
p. 102, Udana,vi, i.)
In speaking of these shrines
we
not to
are
think
of the
venerated
only, apart from some structure of art and architecture, an enclosed
terrace at the foot, and, in some instances, a temple near by, the trees themselves standing as natural landmarks of the sacred sites.'
(Barua, J. I.R.I.,
tree.;
126.)
p.
achikarat
chaityalayam
Boppanapara-namahkas
another name Boppana, had the Jaina temple made.'
(Ep.
'
he,
(7)
no. 66
;
Roman
Text, p. 60
;
Transl., p.
having
Carnat., Vol. n,
149.)
(8)
They caused to be erected the lofty chaityalaya called Trijaganmahgalam, and set up (the god) Manikya-deva also caused to be rapaired
'
;
the Paramesvara-chaityalaya which the blessed ones (Jains) had formerly
erected in Hullanahalli and granted lands to privide for the offerings at
two chaityalayas.'
the
Transl., pp. 101, 102
;
(Ep.
Roman
Carnat.,
Text, p.
Vol.
in,
Nanjangud Taluq,
no.
64
;
193.)
up afresh the image of the Tirtha(n)-kara Chandraprabha, the god Vijaya and the goddess Jvalini, in the chaityalaya at
Kelasur, which he had caused to be repaired and painted anew.' Ep.
(9)
Caused
Carnat., Vol. iv,
(
i
to
be
set
Gundlupet Taluq, no. 18
;
Transl., p. 38.)
o) Aneka-ratna-khachita-mchira-mani-kalasVkalita-kuta-koti-ghatitam
'
apy-uttunga-chaityalayamarh
having erected ... a
177
lofty
chaityalaya,
AX ENCYCLOPAEDIA OF
CHAITYA
with kalasas or towers surmounted by rounded pinnacles
of jewels.'
(Ep. Carnal., Vol. vi, Mudgere
148, line 12 ; Transl., p. 63, para. 2.)
p.
set
Taluq, no. 22
with
;
all
manner
Roman
Text,
Chaityas or assembly halls These in Buddhist art correspond in
every respect with the churches of the Christian religion. Their plans, the
position of the altar or relic-casket, the aisles and other peculiarities are the
'
(
1 1
)
same in both, and their uses are identical in
one religion resemble those of the other.'
so far as the ritual forms of the
(Fergusson, Hist, of Ind. and East.
Arch., pp.
50-51.)
architectural details of the existing (Buddhist) chaitya-halls
For
gusson
see
Fer-
:
Plans of Chaity Hall at Sanchi (p. 105, fig. 41).
Lomas Rishi Cave (p. 109, figs. 43, 44).
Plan and Elevation of Chaitya Cave at
(pp
Bhaja
no-ni,
figs.
45-47-)
Plan of Cave at Nasik
Plan, section, elevation
118,
120,
figs.
54, 53,
Cross Section and
115,
(p.
49).
fig.
and views of Cave
55,
Karle (pp. 117-
at
56).
View of Caves
57. 5 8 > 59 and 60).
Cave at Ellora (p. 128, fig. 63).
Plan of Cave at Dhumnar (p. 131,
at
Ajunta (pp. 123-125,
fig.
figs.
65).
Buddhist
cave-temples
(Arch.
Surv., New
Imp. Series,
Vol. iv, the chaitya-cave at Kondane,
photo, facing the title page).
(13) 'The word, chaitya, is derived from the root, chin, chayane,
to collect, and the commentary on
Amara, called the Gurubala(12) See
that
it denotes a
building, because it is the result
or putting together of stones
(chiyate pashanadina
chaityam). But it will be seen that in some of the above quotations
the word is used in close connexion with
yupa, the sacrificial post.
The ceremony performed at the end of the great sacrifices is called
prabodhika,
says
of the collection,
the collection of the sacred ashes and other relics and
i e.,
the grouping them into the form of a tortoise, or of the bird Garutmat
as in the sacrifice called
Garuda-chayana, chita being the scared things
thus collected, it appears that the
building constructed to preserve
them for the purpose of worship was called
chaitiya or chaitya.'
chayana,
'
This place of worship, from its connexion
probably of older date than the devayatanas.'
'
It
nical
is,
therefore, clear that the
and not
not consistent in
with
Vedic
rites, is
Ramdyana alludes to the BrahmaBauddha Chaitya. The commentators are
saying that chaitya means a Brahmanical building
to
the
178
CHAITYA-GRIHA
HINDU ARCHITECTURE
mentioned in connexion with Rama and his country, a
when mentioned in connexion with the enemy's
country, forgetting that Valmiki has peopled Lanka with Vedic
students and sacrificers without ever mentioning the Buddhists.'
'No. 7 (Rdmayana, v. 12, 17) mentions chaitya trees so called
probably because instead of constructing a building it was also the
custom to plant trees with revetment round their stems where the
chayana ceremony was performed. In course of time, however, all
revetted trees began to be called chaitya trees and to such trees, which
are generally found in all villages Kalidasa evidently alludes when
Mallinatha quotes
describing the Dasarna country in his Meghaduta.
when
is
it
Buddhist building
;
Visva (chaityam ayatane Buddhavandye choddesapadape).'
The
ceremony performed after the burning of dead bodie< is
samchayana, in which, after collecting the bones, a portion of the ashes
offered to it.
I take
is grouped into a human form and bas"ali or food
'
the smaSana-chaitya alluded to in no. 9, to be a monumental building
erected on such spot in memory of departed kin^s and other grea.
personages.'
may, therefore, be presumed that in accordance with custom
cha tya was built in memory of Buddha, and that his disciples
began to worship and multiply it by taking his funeral relics to
'
It
a
different parts of the country while the sacrificial chaityas of the Brahmans became scarce owing to the opposition made by the Bauddhas
animal
to
sacrifices,
agvamedha
for
the
and the Brahmans themselves having prohibted the
Kaliyuga.'
be seen that the Rdmayana mention; temple and idolatry ;
but these seem to be of old date in India, though not so very prevalent
as at present.
Stenzler's Gautama Sutra (9, 66) prescribes the going
round of Devayatana griha-devatas or household gods are mentioned
'
It will
i
;
(in
5
'3)-'
(Ind. Ant.,
Vol.
xi,
pp. 21-22.)
'
Properly speaking it is not temple (chaitya-griha) but the dagaba
In a secondary sense it is used by Jainas
is called a chaitya.
and Buddhists, however, to denote a temple containing a chaitya, and
(14)
inside
is
it
that
Buddhist books to a sacred tree as well as to a stupa.'
closely connected in meaning with stupa.
Ghaityas were
also applied in
'
Hence
known
it is
before Buddha's time
CHAITYA-GRIHA
tope, supported
by
(see
J. As. Soc. Beng., Vol. vn, p. 1001, cf
Dr. Burgess.
(Ibid., pp. 20, 21, notes i, 2.)
(see
Alwis' Buddhism, pp. 22, 23).'
STUPA-GRIHA)
A
dome-like construction in
pillars.
(W. Geiger
179
:
Mahavarhia, p. 295.)
AN ENCYCLOPAEDIA OF
CHERIKA
CHERTKA
PANDI-CHERI)
(cf.
A village,
a town, a fortified capital
city on the hill top and on the banks of a river or sea, flourishing
and well inhabited by people of Brahman and other castes and
containing royal residence and king's palace.
A suburb town inhabited by the weavers
:
Gramadinam samlpam yat sthanaih kubjam iti smritam
Tad eva cherika prokta nagari tantuvaya-bhuh
1
II
1
(Kamikdgma, xx,
15, 16.)
a prosperous capital city connected
According to the Mdnasdra,
with rivers and hills, and well fortified
it is
:
Nadyadi-kananopetam bahu-tlra-janalayam
Raja-mandira-sarhyuktarh skandhavara-samanvitam
I
Pars' ve
chanya-dvi-jatnlam grihantas cherikoditah
I
I
(M., x, 85-88.)
CHAUCHALA(-VADI) A building with
'
In the tiger-face chavadi
gods (named).'
Transl., p. 196
;
(i.e.
chauvadi) he
(Ep. Carnal., Vol. v, Part
Roman
four sloping roofs.
i,
set
up images of his family
Channarayapatna Taluq, no. 160
Text, p. 451.)
In East Bengal also the term is used in the same sense, but there
generally denotes straw-built houses.
is
GHH
CHHAT(-T)RA(-I)
SATTRA) Free quarters
of a building.
(see
temples, finial or spire
in
connexion with
(Fergusson, Hist, of Indian Architecture, Vol.
(1) See Inscriptions
line 6, Ep. Ind.
'
(2)
And
as
from Northern Gujarat (no.
n pp. 30, 31).
a work of dharma,
xvii, line 6,
p. 279.)
i,
and
no. xrx.
Vol,
wish
(I)
to erect
a chhatra in the
and erecting a chhatra for daily
presence of the god Vinayaka
feeding of six Brahmans in the presence of the god Vinayaka.'
(Ep.
Camat., Vol. x, Mulbagal Taluq, no. 259 ; Transl., p. 132.)
And (he) presented the land to AmaresVara-tirtha-Srlpada, for
(3)
.
.
.
'
a chhatra (perhaps by slip Mr. Rice puts in chatra, because in the
reading is chhatra) in connexion with this matha, providing
for i yati, 4 Brahman pilgrims, and 2 cooks altogether 7 persons, from
text, the
the proceeds of cultivating the land.'
From
this
passage
it is
clear
beyond doubt that
'
chhatra
point to the same object, namely, a building or buildings
1
80
'
and
'
'
sattra
constructed in
CHHELA
HINDU ARCHITECTURE
(PHELA)
connexion with a temple, matha, or chaityalaya to provide lodgings and
food gratis to deserving persons.
(Ep. Carnal., Vol. vi,
Transl., p. 80,
no. 27
Koppa Taluq,
Roman
;
Text, p. 274, para.
2, line
5
f.)
A building,
CHHANDA
a door, a phallus.
(see VIMANA-CHHANDA)
The temple (prasada) named vimana belonging to the chhanda class.
(Brihat-Sarhhitd, LVI, 17, 22.)
A
class of buildings
Karne
Sala
(Kdmikagama, XLV, 20).
sabha madhye chhandarh syach chhandam eva
(Ibid.,
L,
13
tat
||
and
A type of kuta-koshtha or top-room (ibid., LV, 129, 123-127).
A class of buildings or top-rooms (M., xi, 104-107 xix, 1-5
;
;
7.)
xxx,
under ABHASA.)
175-177 xxxiv, 549-552
A class of doors (M., xxxix, 28-35 see under ABHASA).
A type of the phallus (M., LII, 49 see under ABHASA).
;
;
see
;
;
CHHANDA-PRAKARA The court or the enclosure of the chhandaclass
of buildings.
(M, xxxi, 24.)
ornament.
It
over
shoulders
sculptural
passes
and hips, crossing and fastening in the middle of the breasts and the
back of an image.
CHHANNA-VIRA A
(See
Rao, Elements of Hindu
M.
F.
Iconography,
I,
xxxi,
A. Bulletin no.
152, p. 90, and
F. A. 0. S. 48, 3, p.255.)
Coomaraswamy
Ordhva-kaye cha haradi parsvayor bala-lambanam
Madhye dama cha lambam syach chhanna-vlram iti smritam
|
CHHELA (PHELA)
(see
GARBHA-MANJUSHA)
The
II
(M.,
^35-36.)
vault
of the
foundation-pit.
Hemakarena tamrena chhelam va karayed budhah II
Chhelotsedham tri-padarh syad apidhanasya samuchchhrayah
Ghhela panchangula prokta grihanam nadhika bhavet n
chhela
Phela is perhaps the same as
tu
chatur-vim^angulantakam
Shad-angula(m) pramanam
Bhajanasya samantat tu savakasa-samanvitam n
'
II
'
Tathasmana chestakaya phelakaram
tu
garttakam
(Kdmikagama, xxxi,
I
n
named Garbha-nyasa-
vidhi, 6, 7, 12, 74, 75.)
181
JAGATA
AN ENCYCLOPAEDIA OF
(-TI)
A
moulding of the base, or of the
JATI)
pedestal of an idol or phallus, a class of buildings, platform over ?
JAGATA(-TI)
(cf.
well.
(1)
Pi^hika-lakshanam vakshye yathavad anupurvas"ah II
Plthochchhrayarh yathavach cha bhagan shoda'a karayet
Bhumavekah pravishtah syach chaturbhir jagati mata II
(Matsya-Purarfa,
(2)
Chap. CCLXII, vv.
1-2, see also 4-5.)
Sikharena samarh karyam agre jagati (ti)-vistaram
Dvi-gunenapi karttavyam yatha-Sobhanurupatah
(Agni-Purana,
(3)
I
II
Chap.
Jagatl-vistararddhena tri-bhagena kvachid bhavet
(Ibid.,
I
XLII,
v.
5.)
||
civ, v. 6.)
Chap,
Pravrita jagati karyya phala-pushpa-jalanvita n
(Garuda-Purana, Chap. XLVII, v. 47.%
(4)
Pada-bandha-vimane tu geha-garbhopari nyaset
Pratibandha-vimane tu vriter upari vinyaset II
Vriter upari vipranarh kumudopari bhubhritam
Jagaty-upari vaiSyanam Sudranarh padukopari
|
I
u
(Kamikdgama, xxx, 91, 92.)
A
moulding of the base (adhishthana)
(5)
Jagati tu shad-amSa syad dvi-bhagardha-dali kramat
:
1
Shad-bhaga agati prokta kumudarh paficha-bhagikam
1
II
(Suprabheddgama, xxxi, 19, 24.)
A
class of buildings
(6)
Vol. xrv, p. 161, note 22).
JAftGAMA-(BERA)
(Ep. /</., Vol.
The movable
i,
pp. 165, 277
;
Ind. Ant..
idol.
Sthavaram jangamam chaiva dvi-vidharh beram uchyate
Jangamarh chotsavam bhavet sarvarh sthavaram ishyate
I
I
Evam
(M., LI, 17-18.)
tu chotsavadinam sthavaram jangamadinah(-nam)
I
(M., LXIV, 93.)
The
(i)
A
A
A
leg of an image, the pillar in a building, a column,
synonym of the pillar (M., xv, 4; see under STAMBHA).
pillar in an upper storey (M., xxvi, 55 see under STAMBHA).
part of the leg from the ankle to the knee
;
:
Janu-taram
Sararhsarh
syaj
jangha-taram yugaihs'akam
|
(M., LVII, 33,
etc.)
HINDU ARCHITECTURE
(2)
(3)
JANMA-NIRGAMA
Jahghochchhrayam tu karttavyarh chatur-bhagena chaya'am
dvi-gunochchhrayaih
manjaryyah kalpayed
Janghayam(-yah)
budhah II
|
(Agni-Purdna, Chap, v, 423.)
rjrddhva-kshetra-sama-jangharddha-dvi-gunarh bhavet II
Tad-dvidha cha bhaved dhitir jangha tad vistararddhaga II
Tad-vistara-sama jangha sikharam dvi-gunam bhavet
II
(Garuda-Purdna, Chap. XLVII, vv.
12,
3,
JANGHA-PATHA
street,
RAJA-PATH A)
The
(see
17
see
;
footpath,
also
a
v.
13.)
road, a
a lane.
Jangha-pathas chatush-padas tri-padas cha grihantaram
Dhriti-margas turddhva-shashtharh kramasah padikah smritah n
(Brahmanda-Purana, Part I, 2nd anushamga-pada, Chap.
I
VH, v, 115;
JAJNA-KANTA A
class
w.
see also
1
13,
1
14 under RAJA-PATHA.)
of the five-storeyed buildings.
(M., XXIH, 41
A
JANAKA(JANA-KANTA)
class
;
see
under PRASADA.)
of the eight-storeyed and
of
the twelve-storeyed buildings.
see under PRASADA.)
(M., xxvi, 39
of the twelve-storeyed buildings once prevailing in the ancient
;
A
class
country of Janaka (Mithila)
:
Tad eva maha-sala
Jana-kantam
iti
tu dvi-bhagarh madhya-bhadrakam
proktam sYeshtho ravi-talanvitam
|
I
(M., xxx, 35-36
see also
;
33-34, under
MAGADHA-KANTA.)
JANA-CHAPAKRITI A
type of bow-shaped arch.
Vrittarh vatha tri-yugmam va chardha-chandrakritis tatha
Jana-chapakritir vapi yatheshtakara-toranam
I
I
(M., XLVI, 31-32.)
JAN MAN
(cf.
UPANA)
The
base, the plinth, the basement.
The basement (A/., xi, 125, 126 xn, 202, etc.)
The plinth of the pedestal (M., xin, 5, etc.,
;
under UPAPITHA).
The plinth of the base (M., xiv,
ADHISHTHANA.)
see
the
16, etc., see the lists
JANMA-NIRGAMA (-NISHKRAMANA)
The
lists
of mouldings
of mouldings under
projection or ex-
tension of the base or basement.
(M., xin, 138
183
;
vi,
106, etc.)
AN ENCYCLOPAEDIA OF
JAYADA
JAY ADA
(see
A
UTSEDHA)
height which
is
of the breadth.
\\
(M., xxxv, 22, 26, and Kamikagama,
24
L,
JAYANTA-PURA A
see
f.,
under ADBHUTA.)
town, a village, an establishment for pious
and learned Brahmans.
(Kamauli Plates of the Kings of Kanauj, no. U,
line 28, Ep. Ind., Vol. iv, pp. 128, 129.)
JAYANTI(-I)
(1)
A
column, a post, a moulding, a
A synonym of the
balance-post (tula-danda)
a banner.
flag,
:
Tula-dandarh jayanti cha phalaka paryaya-vachakah
|
(M,
(2)
A
part of the
column
Mudrikach cha tuladhikya jayanti tu tulopari
(3)
A
xvi, 48.)
:
(Suprabhedagama, xxxi, 108
moulding of the column
;
see also
II
105-109, under STAMBHA)
:
Tula-vistara-tarochcha jayanti syat tulopari
Jayanti vams'aka jneya tulavad anumargakam
1
1
II
(Kamikagama, LJV, 13, 16.)
JAYANTIKA(-KA)
parapet
A
post,
a moulding,
a flag, a banner,
the
staff.
In connexion with the entablature (prastara)
Etat prachchhadanat sthane dandam chopari sayayet
:
Etad dvara-vas"ad dirgharh tasyopari jayantikam
Daru-dandam s"ila vapi ishfakena jayantikam
Athava daru jayantis cha sila chet saha-dandakam
Vina dendam tatha kuryat pashanam phalaka nyaset
I
I
I
I
Etat sarvalaye kuryad deva-harmye viseshatah
I
I
(M., xvi, 124-129.)
Adhara-patta-samyuktam sa-tulam tu jayantikam
(Ibid.,
JAYA-BHADRA A
xvi,
149;
see
M., xxxni, 372-374.)
pavilion with twenty-two columns.
(Suprabhcd&gama, xxxi, 102, too ; see under MANDAPA.)
JAYA-STAMBHA A pillar of victory
JAYALA A type of pavilion.
(see
under STAMBHA).
(M., xxxiv, 294
JAYAVAHA A
I
pavilion with
;
see
under MANDAPA.)
fifty pillars.
(Matsya-Purana, Chap. CCLXX,
see
184
v.
9
;
under MAN^APA.)
r
IHAPt Of WATER RETAINING WALL
<S PCNTA QONAU OR LIKE THE
PALM Of HUMAN H*ND.
\v
L
J
JAVA STAMBHA
JA-* GARBMA
JALA DVARA,
TOP SURFACE OF
PEDESTAL JAGATI.
JAGATI AS TOP
MOULDING
PART OF A PEDESTAL.
JAGATL
Page JS4
HINDU 'ARCHITECTURE
JALA-GARBHA
(see
JALA-STHALA
The water-foundations,
GARBHA)
the founda-
tion of a tank, etc.
(M.,
JALA-DURGA
(1)
(see
A
under DURGA)
Kautiliya-Arlha-sastra
184-189
xii,
see
under GARBHANYASA.)
water-fort.
xxiv,
(Chap,
;
para,
51
p.
i,
under
see
;
DURGA).
(2)
See
Sukraniti
under DURGA.
JALA-DVARA The
water-door, a gutter, a drain.
Jala-dvararii punas tesharh pravakshyami nivesanam
In the three following
A
lines the positions of the
II
water-door are described.
(Kamikagama, xxxv, 167.)
gutter
:
Kuryat tu bhitti-mule tu jala-dvaram yatheshta-dik
(M., xxxi, 99
;
see
also
ix,
I
310-312, under DVARA.)
Jala-dvararh yathasara(-salarii) nimna-des'e prakalpayet
I
(M., xxxvni, 8
JALA-DHARA The gutter-like
;
see also 40.)
part of the pedestal (pitha) of the
phallus.
Nala-tara-tri-bhagaikarh jala-dhara-vialakam
I
(M.,
JALA-PURITA-MANDAPA A detached
Lin,
23,
etc.)
building where water
is
preserved for bathing, washing, etc.
Parjanye majjanarthaya jala-purita-mandapam
I
xxxu,
(M.,
JALA-STHALA A
reservior
56,
etc.)
of water.
In connexion with the three-storeyed buildings
ParitaS chaika-bhagena kuta-Saladi-bhushitam
:
I
Tasyantas chavritarhsena chordhva-dee jala-sthalam
I
(M,
In connexion with the four-storeyed buildings
58-59.)
xxi,
:
Ekena karna-harmyadi tasyantar jala-(tat)-sthalam
I
(M., XXH, 78, etc.)
In connexion with the nine-storeyed buildings
Sreshtham nava-talam proktam visva-kantam udiritam
:
I
Tad-urdhve dvyamsa-manena vakshye chordhve jala-sthalam
I
(M., xxvn, 33, 34, etc.)
In connexion with the prakara buildings
Shad-angulavasanam syat kramat
(?
:
bhramat) sarve jala-sthale
(M.,
I
xxxi,
95.)
JALANTA
AN ENCYCLOPAEDIA OF
JALANTA
Foundations reaching the underground water in con-
nexion with buildings.
Khanayed bhu-talam sVeshtham purushanjali-matrakam
(1)
Jalantam va Silantam va purayed valukair jalaih
I
1 1
xvm,
(M.,
(2)
el
6-7.)
Sarhgraha-tiromani, by Sarayu Prasada (xx, 23) quotes from Man-
ayva
:
Jalantam prastarantarh va purushantam athapi va
I
Kshetrarh samfodhya chodhritya Salya-sadanam arabhet
Vastu-yaga-tattva by
rdna) without any reference
(3)
Raghunandana quotes from
I
the Linga(-Pu-
:
bhumirh yasya puroditam
Dvi-hastarh chatur-hastarh va Jalantam vapi Sodhya cha
Agratah
s"odhayitva tu
I
JALA-SUTRA(-SGTRADA)
'
(1)
The
channel, a hydraulic engineer.
engineers of the Belala Kings did not confine their attention
to building alone, but irrigation
has
A
II
works were also taken in hand.
Tradition
that the waters of the Yagachi which flows through a valley distant
10 miles and divided by a range of hills from the Halabid valley, were
it
brought by a channel to supply the capital with water and fill the neighbouring tanks a deep cutting on the Hasan-Bailur road at the i6th mile, works
;
the spot where the channel crossed the saddle of the
p. 44, c.
hills.'
(Ind.
Ant. Vol.
i,
para. 2 middle.)
2,
as we constructed a new dam in the Kaveri and led a channel
and
the Brahmans of Harahu made with us the following agreetherefrom,
ment in order that the channel might be brought within the limits of their
'
Where
(2)
village Harahu.'p. 33, line 3
,
Ep. Carnat., Vol. in, Seringapatam Taluq, no. 139
Roman
erecting a jalandara (?)
no. 64;
Vol.
in, Malavalli Taluq,
(Ep. Carnat.,
Jalandarava madisi devahge
(3)
'
god
(?
temple).
Text, p. 147, line 3
;
Transl.
Text, p. 77, line 5.)
;
'
for
the
Roman
Transl., p. 63.)
to the
Vira-prataya Bukka-Raya in his court gave an order
the
emperor (or master) of ten sciences (daSa-vidya-chakra-varti)
'
(4)
,
hydrauUc engineer (jala-sutra-dd) Singaya-bhatta, that they must
bring the Henne river to Penugonde and that Singaya-bhatta conto the channel the name
ducting a channel to the Siruvera tank
gave
Pratapa-Bukka-Raya mandala channel and had
'
An
interesting
case
is
recorded in
this
this
Sasana written.'
when the
inscription
of Penugonda in A.
prince Bukka Raya was Governor
ordered the hydraulic engineer to bring the
186
Henne
river
:
D.
(the
1388, he
modern
HINDU ARCHITECTURE
the
to
Pennar)
JATI-SALA
was made from Kal.
How the water
amusing accounr
engineer who was mastet
a channel
Accordingly
city.
ludi to the Siravera tank, 10 miles to the north.
was carried beyond that does not appear. An
given of the
of ten science
the
accomplishments of
is
'
Jala-sutra-svara-Sastre
rasa-vaidye satya-bhashayam
I
Rudraya-singari-bhavatah sadri"ah ko va mahi-tale Surah u
(Ep. Carnal., Vol. x, Goribidpur Taluq, no. 6
Text, p. 259
f.
;
Transl., p. 212
Roman
;
Preface, p. 2.
;
"
you must make this channel
they sent for
the last Voja's son Peda-Bayiraboja, and gave them the contract.
And they dug a channel from before Peda Nandisiyuru and carrying
it on below led it so as to fill the tank.'
(Ep. Carnat., Vol. x, Bagepalli
:
(5)
Saying to them
Taluq, no. 10
A
;
Roman
;
'
Text, p. 285
;
Transl., p. 232.)
of buildings, a door, a type of top-room, a phallus, a
kind of measure.
JATI
class
'
Kesaryadi-prasada-jati
and other
the Kesari
c'asses of buildings.'
of Sutra-dhara-
(Prasada-Mandana-Vastu-sastfa
Mandana,
A
class of building
vi,
MS. Egg.
3147, 2253,
Shad-vargaka-samayuktam
A
of kuta-koshtha
under KARNA-KUTA)
A
class of buildings
LV, 51
;
see
;
and
see also 7
II
cf. L,
9,
n.)
top rooms (Kamikdgama, LV, 123-128
or
;
.
xi, 104-107
under ABHASA).
(M.,
549-552
Cf. Kechid bhadra-viseshena
;
|
esham hy-anarpitam
jatir
(Kamikdgama, XLV, 19
see
26 b.)
:
Karna-madhye'natre kuta-koshthe panjara-sarhyutam
class
fol.
xix, 1-5
;
jatir uktarh
;
xxx, 175-177
puratanaih
;
xxxiv,
I
(M., xxxiv, 553.)
A
A
class of doors (M., xxxix,
type of the phallus (M.,
JATI-PRAKARA The
28-35
LII,
49
;
;
see
see
under ABHASA).
under ABHASA).
enclosure- (buildings) of the Jati class.
(M., xxxi, 35
JATI-SALA
(see
JATI)
The
sala (hall,
;
see
under PRAKARA.)
mansion) of the Jati
Evarh tu jati-sala cha kuryad-dharmya-vaSat sudhih
(A/.,
class.
I
xxxi, 20, etc.)
AN ENCYCLOPAEDIA OF
JATI-HARMYA
JATI-HARMYA The
buildings of the Jati class.
Vaksh'harh jati-harmyanam ayadi-lakshanarh kramat
(A/.,
JALA-(KA, KA)
(i)
(cf.
A
VATAYANA)
latticed
I
xxx,
169, etc.)
window, an ornament,
Mdnasdra
In connexion with the single-storeyed buildings
Yat tan namantaralam chordhve nasika Jala -pan] aram vapi
:
:
|
(M., xix, 215.)
In connexion with the seven-storeyed buildings
Nana-prastara-sarhyuktarh jalakabhir alankritam
:
|
M., xxv, 37.)
In connexion with the nine-storeyed buildings
:
cha jalakadi-vibhushitam
Toranady-anga-nTdais"
I
(M., xxvii, 44.)
In connexion with the gopuras (gate-houses)
Naranam jalakarh sarvam devanam api yogyakam
:
(M.,
I
xxxm,
In connexion with the mandapas (pavilions)
Tad eva cheshta-dig-vasam kuryad evarh tu jalakam
572.)
:
xxxiv,
(M.,
In connexion with the door
I
205.)
:
Jayante va mrige vapi chopadvaram tu jalakam
xxxvm,
(M.,
In connexion with the doors of the
I
19.)
kitchen (latticed windows
are provided for the easy passage of smoke)
:
Tad-urdhva-gamanarthaya kshudra-jalaka-samyuktam
(M., xxxvm,
Devanam harmyake sarvam madhya-dvararh tu jalakam
I
36.)
i
(M., xxxix, 138.)
Jalakadhika-hinarh syad sYi-hlnam artha-nas"anam
An ornament
LXIX,
(At.,
for
the feet
|
(M.,
Chamundi jvala(?
kam(-ka)
35.)
:
Ratnahguliyakau hastau padam jala-saratnakam
I
I
cha
jala)-mauli
bhairavi
LI,
39.)
pibarala-
i
(M., LIV, 136.)
(2)
Manu-Sarhhitd (via, 132, etc.)
Jalantara gate-bhanau yat
(3)
:
sukshmam
driSyate rajah
R&mayana (Cock)
V, 2, 49 (Purlrh) s"ata-kumbha-nibhair
I
:
:
pamam
I
1
88
jalair
gandharva-nagaro-
HINDU ARCHITECTURE
V.
V.
V.
mam
V.
(4)
2,
4,
Maharha-jambhu-nada-jala-toranam (Lankam)
53
6
8,
JALA- (K A, KA)
Vajra-jala-vibhushitaih griha-meghaih
Mahad vimanam
i
.
.
.
I
I
pratapta-jambu-nada-jala-kritri-
I
9,
22
V.
54, 22
HI,
10
55,
(Salarn).
.
hema-jala-virajitam
.
Kanchana-jalani.
.
.
I
(bhavanani)
I
Hema-jalavritaS chasams tatra prasada-pahktayah
Mahdbhdrata
I
:
I.
185, 19-20
I.
134,
:
Prasadaih sukritochchhrayaih
Suvarna-jala-samvritair mani-kuttima-bhushanaihl
I
14: Mukta-jala-parikshiptam vaiduiya-mani-s'obhitam
|
Sata-kumbha-mayam divyarh prekshagaram upagatam
I.
II.
(5)
40: Gavakshakais tathajalaihl
(Avasatham)
34. 2J
suvarna-jala-samvitan
.
:
.
.
Silpa-sdstra-sdra-samgraha iix. 23)
I
:
Eka-bhagas chatus stambhaS chatur-dvarah sa-jalakah
Chhadya-ghamta-yuto mada-Sobhitah ^ridharamatah
(
(6,
I
128,
I
I
Kdmikdgama (LV, 94, 158-163)
Jalakarh palakam sailam aishtarh kudyarh cha ishyate
Jalakair bahubhir yuktam jalakam kudyam ishyata || (94)
The seven kinds of the latticed windows
:
I
:
adyam syat gavaksham kufijarakshakam
Go-mutram ganika-patra'm) nandyavartam cha saptadha
Riju-jalakam
I
II
(158)
Riju-kampa-yutam yat tu riju-jalakam uchyate
Karna-gatya yada srotram gavaksham iti kirtitam II (159)
Tad eva chatur-as'rottharh kufijaraksham iti smritam
I
I
Vidig vaktra-gatam drishtirh go-mutram
Mulam
iti
kirtitam
apy-agra-gulika-mridu-bhitty-antararchitam
II
(160)
I
Nana-chchhidra-samayuktarh ganika-jalakam bhavet
Patrair vichitram randhrarh patra-jalakam ishyate
II
(161)
I
randhram pradakshinya-kramena tu II
proktam vedy-urdhve Jalakarh nayet
Nandyavartam
Svayambhuvadi lihge tu yathakamam prayojayet II (163)
The situation of latticed windows
Jalakam cha kavatam cha bahye bahye prakalpayet
Sarwatah kudya-sariiyuktam mukhya-dhamatra-klrtitam
Patra-sutra-gatarh
iti
(162)
I
:
I
Ghatur-dig-bhadra-samyuktam dvara jalaka-Sobhitam
XLI,
(M.,
The ornaments and component
parts of such windows
Jalaka-stambha-kudyanga-nasika-torananvitam
Prastara-kshudra-sopanarh sopanadi-samanvitam
1 1
II
8,
26.)
:
I
1 1
(M.,
189
XLII,
25.)
AN ENCYCLOPAEDIA OF
JALA-GAVAKSHA
(7)
Suprabheddgama (xxxi, 52,
etc.)
:
Vedika-jalakopeta (parvatakritih, a building).
He, the emperor of the south, caused to be
'
(6)
made
of stone for
window (jalaka-jalakam), secure
latticed
Vijaya-Narayana (temple)
frame (kavatam), door-lintel, kitchen, ramparts,
pavilion,
door-
and a pond
'
named the Vasu-deva-tirtha.
The pierced stone-windows, which form one
'
of the most beautiful
features of the Belur temple, may be of a later date, about
to the inscription quoted above) and due to Ballala II.'
1200
(refers
In connexion with the same windows, Mr. Rice quotes Mr. Fergusson
richness and variety of pattern displayed in the windows of the
:
'
The
are twenty-eight in number, and all arc
pierced slabs themselves, however, are hardly so
remarkable as the richly-carved base on which they rest, and the deep
porch are astonishing.
different
cornice
.
.
They
The
.
which overshadows
and protects them.'
(Ep. Carnal., Vol. v, Part i, Belur Taluq
no. 72 ; Transl., p. 61 ; Roman Text,
p. 61, line 7 ; Introduction, pp. xxxvi,
XXXVIII, XXXIX.)
(7) See bars
New
Surv.,
(8) See
LXXIV,
(9)
Imp.
samples
ibid.,
See
screens.
on the perforated windows.
of the
Vol. xxix,
Plate
2.)
fig.
windows.
perforated
Arch.
Vol.
(Ibid.,
xxm,
Plate
XLH.)
and very artistic patterns
Pandit
Kundanlal, pp. 188, second paging.)
(Jala Kaumudi, by
264 kinds
of
geometrical
JALA-GAVAKSHA The
(1)
(Chalukyan Architecture,
Series, Vol. xxi, Plate xxxvn,
latticed
Jala-gavakshaka-yuktah
of
window.
'furnished with latticed windows.'
(Brihat-Sarhhita, LVI, 22, J.R.A.S.,
N.
S.,
Vol.
xi, p. 319.)
Jala-gavakshair yuktah (Bhavishya-Purdna, Chap, cxxx, v. 29.)
had the latticed winmadisidaru
(3) Mundana jalandravam
dows made for the Tirthankaras, which their father had had
(2)
'
made.'
JALI
A
(Ep. Carnal., Vol. n, no. 78;
trellis
window
Roman
Text, p. 62; Transl., p. 151.)
or screen.
'
Sri-uttaresVara-deva-mandape
to be made in the temple of '.
karapita
jali
.
.
(Ahmadabad
A.D. 1251, lines 7-8, Ep. Ind., Vol. v, pp.
JINA(-KA)
(see
TIRTHANKARA.)
103,
a
trellis
was caused
of Visaladeva,
Inscrip.
102.)
The temple of the
Jains, the Jain
deity.
(A/., xix,
IQO
252
;
xxxn, 165
;
xun,
145, etc.)
HINDU ARCHITECTURE
The
JVARA-DEVALAYA
description of the Jain deities (Mdnasdra, Chap.
They are either stationary or movable (71).
The
general features
LV,
71-95):
:
Dvi-bhujarh cha dvi-netrairh cha munda-tararh cha sirshakam
I
(72)
Sphatika-Sveta-raktarh cha pita-Syama-hibharh tatha
(86)
They are made in the erect, sitting or recumbent posture (line
73-76) and in the lotus-seat pose (padmasana).
I
The
dra,
attendant deities are Narada, Yakshas, Vidyadharas, NagenSiddhas (lines 82-88). They are stated to be
Dik-palas and
five classes (line 89).
The 24
Tirthas
mea ured
Tirthankaras or apostles) are
(i.e.
accord-
ing to the dasa-tala system (line 91).
Their general features
(lines
91-92)
:
Nirabharana-sarvangarh nirvastranga-manoharam
Savya-vaksha(h)-sthale hema-varnarh srivatsa-lafichhanam
I
JYA
(see
A kind
LUPA)
of pent-roof.
(M., xvm,
JYOTIH
(see
LUPA)
A kind
class
177
;
under LupA.)
see
of pent-roof.
(M.,
JYOTISH-KANTA A
I
xvm, 174
;
see
under LUPA.)
of six-storeyed buildings.
(M., xxrv, 20
;
see
under PRASADA.)
JVARA-DEVALAYA The
or
temple of the god of fever, a hospital
dispensary for curing patients of fever which represents all
diseases.
Agnim (agnau) pusha-pade
vapi jvara-devalayarh bhavet
(M.,
'
This
criptions
Vellore
I
xi, 390.)
and the next following seven, 44-50, Velur, ins(no. 43
record grants to Jvara Khandesvarasvamin of Velur, i.e. to the
temple, which is now-a-days called Jala-kanthesvara (North
Manual, p. 189). The name of the temple is spelt Jvara-kandesVara in five inscriptions, Jvara-kanthesvara in two others, and Jvarakandhesvara in one of them. The Sanskrit original of these various
Arcot
forms seems to have been Jvara-khandesVara. Jvara-khanda, "the destroyer of fever" would be synonym of Jvara-hara, which is applied to Siva
in the name o'^ one of the Kanchipuram temples. (Sewell's Lists of Antiquities,
Vol
'
I,
p.
1
80).
p. 69, para. 2, notes 3, 4.)
-(H.S.I. /.,
Vol.
i,
Velur Inscrip.
nos. 43-50,
DOLA
AN ENCYCLOPAEDIA OF
P
DOLA
(for
DOLA)
A
hammock,
a swing, a
(A/., L, 47,
TAKSHAKA
(see
152-171
T
A wood-cutter,
STHAPATI)
see
;
under PARYANKA.)
a carpenter.
(See details
TADAGA A
(1)
litter.
under STHAPATI.)
tank, a pool.
Mlna-manduka-makara-kurmmas' cha jala-jantavah
Karya dhatu-mayas chaite karttri-vittanusaratah II
Matsyau svarnamayau kuryat mandu vapi hemajau
Rajatau makarau kurmma-mithunam tamra-ritikam
I
I
Etair jala-charaih sarddharh
II
tadagam api dirghikam
Sagararh cha samutsrijya prarthayan nagam archchayet II
The execution of the images of fish, shark, frog and tortoise for a
tank with metals like gold, silver, copper, etc., is worth notice.
I
(Malianirvana-tantra,
(2) See
Dewal
PraSasti of Lalla the
Ghhinda
(v.
xm,
167, 168, 169.)
20, Ep. Ind., Vol.
i
P- 79. 83-)
(3) See
Khajuraho Inscrip. no. iv (v. 38, Ep. Ind. Vol. i, p 144).
See
Sridhara's Devapattana Prasasti (v. 10 Ep. Ind., Vol. 11,
(4)
p. 440).
(5)
Anarhta-prani-suprlti-karibhir bhuribhih
Tadagais sagarabhogair yo vibhushita-bhu-talah
I
pillar Inscrip. at
(Two
II
Amaravati, no. A, Inscrip.
of Keta II, v. 41, Ep. Ind., Vol. vi,-p.
(6)
Wayside tank
Aparh s"ala-malah pathi pathi tadagah
152.)
:
I
(Two Bhuvanesvara
Inscrip. no. A, of
Svap-
nesvara, v. 30, Ep. Ind., Vol. vi, p. 202.)
(7)
Khsetresasya tatha suralaya-vararh sphitarh tadagam tatha bandham
Kaudika-samjnakam bahu-jalarh dlrgharh tatha khanitam
I
(Kanker
Inscrip. of
Ep.
(8)
Ind.,
Bhanudeva,
Vol.
ix,
p.
v. 7,
127.)
Pratinidhim udadhinam sarhchayan toyasrishter akrita
jagad-kesar-
yyakhya yas tatakam
'And who constructed a tank (which he
called) by (his) name Jagatikesarin, which equalled the oceans, and which accumulated the
I
downpour
of water.'
(Ekamranath
Inscrip.
of
Ganapati,
pp. 200, 20 1.)
192
v.
9,
Ind.
Ant.,
Vol.
xxi,
TALA
HINDU ARCHITECTURE
TANDULA-MANDAPA
The
store-room, a granary, a detached
building where stores are kept.
(M., xxxii, 64
TADBHADRA A
see
;
under MANDAPA.)
plan in which the whole area
site
is
divided into
196 equal squares.
(M., vn, 18
TANTRA
Used
Cf.
same sense
in the
architecture (M., xi,
14, 102, 145
I,
SlLPA-TANTRA (M.,
TAPASH-KANTA A
;
as
;
under PADA-VINYASA.)
see
&ASTRA or the science of
M., xn, 67).
XII, 67).
class
of the eight-storeyed buildings.
see under PR AS AD
(M., xxvi, 41-42
A.)
;
TARAfrGA
Waves, an ornament or moulding employed
terminating by undulating lines.
Bodhikochcha-tarahgaih syat sarvalankara-samyutam
Tad eva tunga-mane
tu
dva-daame
vibhajite
I
I
Adho-bhage tri-bhagena tarangakriti(m) vinyaset
I
(M. xv, 155-157,
A
in capitals
see also
ornament of the entablature
Devanam bhu-patlnaih cha chordhve madhye tarangakam
similar
164.)
:
I
(M., XVI, 202.)
Taranga-vetra-samyuktarh kufijarakshair alankritam
Padanam cha tarangarh va choktavat samalankritam
I
I
(M.,
TALA
(see
The
BHUMI)
L,
267-268.)
storey, the palm, the sole, a moulding of
the column.
(i)
Mdnasdra
:
Buildings of one to twelve storeys are prescribed for people (and
animals) of different ranks
:
Ekadi-dvi-bhumyantam kalpa-gramasya harmyake bhavati
Ekadi-tri-bhumyantam prabhakarasya chalayam proktam I
Ekadi-chatul-talantam pattabhak-chalayam iti kathitam
Tri-talady-ashta-talantarh narendrasya chalayam proktam
Tri-taladi-nava-talantam maharajasya bhavanam uditam
Pancha-talady-arka-talantarh chakravarti-harmyam syat
Ekadi-tri-talantam yuva-rajasya chalayam proktam
Samanta-pramukhanarh chaikadi-tri-tala-paryantam syat
sarvesham
ekadi-tri-tala-bhumiKshudra-bhupasya(-panam)
I
I
I
I
I
I
I
paryantam
I
193
AN ENCYCLOPAEDIA OF
TALPA(KA)
Sthapati-sthapakanarh tu gabhastikadikarh(-kanam) tu yuthakanaih
chat
Dvi-jati-(-sm)aranam tv-eka-dvi-tri-tala-paryantam
Ugraiva-jivinam chaiva alaika-dvi-tri-tala-paryantam
I
I
Gajasvadi-Salanam talam ekam kartavyam prokam
Devanam api sarvesham hary-aikady-anta-bhupatinam chaiva
Anyat sarva-jatmam nava-talam kuryat tad-alayarh proktam
I
I
I
nava-talam
Mandapam
kuryad
mandapakaram
bhumi-lambam puranaih
bhavanam anya-rangam vadhi-
I
Etat tu
sarvais tantravit-proktam
(M.,
The
sole
xi,
I
127-141, I44-H5-)
:
Nalakantam tri-matram
syat tala-taram
yugangulam
(M., LVII, 34
The palm
;
see
also
I
LXVI,
13,
etc.)
:
Tala-dirgharh shad-angulyam
eshariiam madhyamahgulam
I
(M., LIX, 49,
(2)
Eka-bhumam dvi-bhumam va kshudranam bhavanam nrinam
Sudranam
kuryad vaisyanam tu chatus-talam |l
Kshatriyadeh pancha-bhumir dvijanam raga-bhumikam
Saptadhyam mandalikanam bhu-bhujam nava-bhumikam
Ekadasa-tala-geham vidadhyach chakra-varttinam
Udayarkarka-bhagena hina urdhordhva-bhumikah
etc.)
I
tri-talam
1 1
II
1 1
1 1
(Silpa-sastra-sdra-sarhgraha,
(3)
Aruroha
(4)
A
.
.
.
vra, 29-31.)
prasadam hima-pandurarii bahu-tala-samutsedham
(Ram&yana,
vi,
I
26, 5, etc.)
moulding of the column.
(Suprabhedagama, xxxi, 108,
105-107
;
under STAMBHA.
see
A couch, bed, sofa, an upper storey, a room on the
made of heavy and strong uduma
turret, a tower
top of a house,
bara wood (Taitt. Bra., i, 2, 6, 5), 'with four feet and four frame
TALPA(KA)
'
'
(moulded and carved) by tvashtar (carand inlaid.' Nuptial bedstead (R.-V., vn,
penter) and embroidered
55, 8 ; A.-V., iv, 5, 3 v, 7, 12 for king and his wife ; xiv, 2, 31, 41
pieces (ushyala) fashioned
;
bridal
:
Taitt.
Sam., vi, 2, 6,
4
:
Taitt. Bra., n, 2, 5,
Compare TALPYA
3
;
Punch. Bra.,
(legitimate son born in
xxui, 4, 2 ; xxv, i, 10)
Base of the neck of a
nuptial bed, Guru-lalpa (bed for preceptor)
an
edifice
dome on the top of
(M., xvm, 170).
.
TALA-MANA
HINDU ARCHITECTURE
Argalam dakshine bhage vama-bhage tu talpakam n
Yugme mahati talpe cha dakshinasthe kavatake II
(Kamikagama, LV, 49, 42
TAT(-D)A&KA An ornament
(1)
for the ear of
;
also
see
.
Deopara
Inscrip.
I
I
(M.,
(2) See
48.)
an image.
Karne vibhushanarh kuryan makarankita-kundalam
Athava svarna-tatankau.
.
39,
L,
of Vijayasena
43-44
(v.
see
;
n,
also
Ep.
294,
etc.)
Vol.
Ind.,
i,
pp. 308, 313).
(3)
nama
Tadanka-darpano
named
'the second act
dvitiyo'nkah
'
the
Ind.,
reflecting
ear-ring.
Vol. VIH, pp. 116, 100.)
TATIKA A
(Dhara Prasasti of Arjunavarraan,
moulding of the column,
Nimnarh
82, Ep.
tenia.
(M., xv, 60, 142
KumbhadhaS chordhva-dee
line
;
see
under STAMBHA.)
tu vata-patradi-Sobhitam
tatikadini yuktya prag-uktaban
nayet
I
I
(M., xv, 189-190.)
Pada-tunge'shta-bhage tu
.
.
.
I
Bodhikam mushti-bandhani cha phalaka-tatika-ghatam
I
(M., XLVH, 17-18.)
Agre cha phalakantam cha tatlkadyair vibhushitam
|
(Af.,
L, 78.)
TALA-MANA A
In this system the
sculptural measurement.
length of the face (including the top of the head) is stated to be the unit
(Matsya-Purdna, Chap. CCLVIII, v. 19). But it seems more logical to
have the span or the distance between the
thumb and
middle-finger, which
tips
of the
fully stretched
technically called tala (see below),
varieties : the ten-tala measures are
is
as the unit. It admits of many
mentioned in the Mdnasdra. But the Bimbamdna has reference to
Each of these ten or twelve kinds is again
twelve kinds (see below)
.
subdivided into three types, namely, the uttama or the largest, the
madhyama or the intermediate, and the adhama or the smallest.
Thus an image
is
of daSa-tala 1 measure when
to ten times the face (including the
1
The
idea of da$a-tala
may have been
whole length
top of the head)
.
g;o
i,
R. X.)
is
equal
In the largest
originated from the following
( 3Jo
195
its
:
AN ENCYCLOPAEDIA OF
TALA-MANA
type of the daa-tala system, however, the whole length is divided into
124 equal parts which are proportionately distributed over the
of the body ; in the intermediate type, the whole
length is divided into 120 equal parts, and in the smallest type into
116 equal parts. In the nava-tala system, the whole length would
be nine times the face, in the ashta-tala, eight times, and so forth.
The details of the following tala measures are given in the Mdnasdra
different
parts
:
The
which the goose, the riding
measured (AT, LX, 6-35)
largest type of the two-tala system in
animal of Brahma,
is
:
Parts
(i) Height of head
(2-3) height of neck
(4) height (length) of heart (chest)
(5) (below this) height of thigh
.
.
.
(6) height of knee
(7) length of leg
(8) height of foot
.
.
.
.
.
.
.
8
.
.
.
.
1 1
..
..
if
.
. .
i
..
..
. .
.
.
. .
.
.
.
.
.
.
..if
3
..
..
2
..
..4
neck at the root [it tapers from bottom to top and
is furnished with two faces (beaks)]
(13) length of belly (kukshi)
..
..
the stomach (udara-sthana)
(14) place of
the
from
belly to the root of the tail
(15)
(16) breadth of wing
(17) length of wing
(23)
(24)
(25)
(26)
(27)
(28)
(29) breadth
.
..
..
.
.
.
.
..
..
. .
.
.
.
6
.
. .
. .
196
i
8
.
.
of middle-finger at the forepart
of face
(31) length
.
i
.
side
.
..
i
.
. .
on either
. .
.
.
.
5
8
. .
.
.
16
2
..
.
of two fingers
(30) each
.
..
elbow
width at the forepart of the head
width at the root of the perfectly round thigh
..
breadth at the forepart
knee
of
breadth
breadth of leg
breadth of sole (palm)
.
8
.
.
..
.
i
..8
.
..
..
height of wing
the
at
edge (agra)
(19) height of wing
.
of
thickness
wing
(20)
(21) length of arm (bahu)
.
..
(1 8)
I
.
.
(22)
4
.
. .
(9) breadth of face
(10) at the back of the head
..
(n) length of face ..
(12)
.
..
2$
..
i
. .
i
.
.
.
2
.
4
. .
. .
a
.
. .
3
.
TALA-MANA
HINDU ARCHITECTURE
Parts
breadth of face
(33) length of eye and
.
(32)
tionate
.
its
. .
.
breadth should be propor. .
.
.
.
(34) distance between the eye-line and ear-line
(35) the crest above the head
.
(36) its
(37)
its
width ending by the back of head
breadth
.
and the
rest
is left
i
. .
.
.
.
.
.
.
.
I
. .
.
.
2 yavas
or 2 parts
6
4
.
to the discretion of the artist
:
Sesharh yuktya prayojayet (35).
In the seven-tala system the whole height
parts which are distributed as follows
divided into 84 equal
is
:
Parts
(1)
Crown
(2)
face
(3)
neck
(4)
(5)
(6)
of the head (murdhni)
.
.
.
..
(from neck to) heart
navel
.
heart
to)
(from
(from navel to) sex-organ
.
(8)
thigh
(9)
knee (janu)
(uru)
is
.
.
.
palm
.
(20)
(21)
(22)
(23)
(24)
(25)
(26)
(27)
.
.
.
.
.
.
.
.
i
o
5
.
.
3
.
.
(including fingers)
3
..
..
..
.
..
..
..20
i
.
16
..
8
.
.
.
..
.
.
..
..
..
7
..
..
..
5
..
width at the arm-joint ..
width of the chest between armpits
width by heart
..
..
..
..
width by mid-belly
width by loins (kati)
..
width of the thigh
..
knee
the
..
width of
..
. .
width of the leg (jarigha) .
.
. .
width at the ankle
..
..
width of the sole
..
5
..
14
(15) foot
(19)
3
10
..
(14)
(18)
..
.-3
arm
(13)
(17)
10
..
elbow
forearm (prakoshtha)
(16)
.
.
of same parts as the back (pitharhs'a)
(10) leg (pada)
(11) length of
2
..
..
..
(7) suraga (? hole)
(12)
.
..
.
.
.
breadth of the face
width of the neck
.
.
.
.
.
.
ii
..12
..
16
.
12
.
..8
..
.
197
5
4
.
.
.
3
..4
TALA-MANA
AN ENCYCLOPAEDIA OF
Parts
(28) width of the forepart of arm
(29) width of the forearm
(30) the wrist
(31)
. .
width of the palm
.
. .
.
.
.
.
.
.
.
.
..
and length of the plam
. .
i
..
3^
4
.
.
.
. .
.
.
.
.
.
In the eight-tala system the whole length
which are distributed as follows
is
4^
..
.
(32) length of finger
4
.
i
.
divided into 96 equal parts
:
Parts
(1)
Head from
the crown (ushnisha) to the end of the
hair on the forehead
.
.
(2) thence the face (up to the chin)
...
(3) thence the neck
(4)
thence to heart
.
(5)
thence to navel
..
.
.
.
.
3
.
.
.
ioj
.
.
loj
..
loj
. .
.
.
.
..
(7)
thence the mid-belly (up to sex organ)
the thigh (below sex organ up to knee)
(8)
knee
(6)
.
..
3
.
.
.
.
ioj
21
.-3
..3
..21
(9) le g
(10) foot (height) ..
(11) length of foot
..
..
..
..14
(12) breadth of face
neck
1
(
3) width of
..
..
..
.
..
.
(14) shoulder (up to arm-joint)
(15) width at the root of arm ..
(
1 6)
length of
arm
..
..
(17) elbow
.
.
.
.
.
9
6
.
..
--41(3 and
..
6
..
..21
..
.
.
In the largest type of the nine-tala system the whole length
into 112 equal parts (M., LK, 14-64)
5i
io
is
divided
:
Parts
(1)
..
proper)
face (comprising)
..
..
4
..
..
X2
. .
4
4
forehead (up to the eye-line)
.
(3) thence to tip of nose
to
chin
thence
(4)
(2) (thence)
.
(5)
(6)
neck
thence to heart
.
)
ij
(from elbow) forearm (half of face) ..
(19) palm (including fingers) (equal to face)
the rest should be as before.
(18)
Crown (head
i
.
.
.
.
.
.
..
1
08
.
.
. .
.
. .
..
4
4
..12
TALA-MANA
HINDU ARCHITECTURE
Parts
thence to navel
..
..
(8) thence to sex organ
..
..
.
.
(7)
(9)
thigh (twice the face)
(10) knee
(11) leg
(12) foot
(13)
(14)
(= neck)
.
elbow
(16) forearm
(15)
(
1
7)
palm (up
.
.
.
..
..
..24
..
..
..
..4
to forefinger)
..
16
.
.
.
.
.
.
.
(25)
(26)
(27)
(28)
(29)
12
.
..
..
.
width (breadth) at the mid-belly
width at buttocks
..
width of the loins
..
width at the root of the thigh
width at the root of the leg
width at the middle of the leg
breadth at the middle of the leg
..
knee-tube
..
(31)
..
..
(32) ankle
.
(33) heel breadth
(30)
.
..8
8
..8
.
.
. .
5
. .
20
..
..
17
..
..19
..
,.
.
7i
6
. .
.
.
..if
..if
..
.
4i
.
.
17
.
. .
5
..
..
4
..
2
..
4
..
i
..
..
..
..
3
a
.
2
breadth of the largest toe
..
nails
half
of
is
of
their
(breadth
length)
(38) length of fore-toe (=thumb)
..
..
(39) breadth of fore-toe
.
.
(41) fourth
(42) little
toe (breadth 6 yavas)
toe (breadth 5 yavas)
4
.
.
..
(37)
middle toe (breadth 7 yavas)
10^
.
.
(40)
15
..
(34) breadth of prapada (forepart of the foot)
(35) breadth of the palm ( ? sole)
(36) length of the largest toe ..
.
.
..
.
between the armpits
.
n
..
.
.
12
. .
..
width round the arm-joint
..
(21) width of knee
shoulder
(22)
(24)
..2
to the tip of middle-finger)
(20)
(23) chest
24
.
..
.
..
(18) breadth of face
(19) width of neck
.
24
4
.
..
..
(=thigh)..
(= knee) ..
palm (from thumb
arm
.
..12
..12
.
.
.
.
(breadth of nails is half the breadth of the fingers)
at the middle of the arm
width
.
.
(43)
.
(44) width
at the
elbow
.
199
.
. .
.
.
7
.
7
(?)
(?
2)
AN ENCYCLOPAEDIA OF
TALA-MANA
Parts
(45) width at the forearm
.
(46) width at the wrist
(47) breadth at the root of the palm
(48) breadth at the forepart of the palm
(49) length of the palm
and the remainder
.
.
.
.
.
.
is
.
. .
4
.
. .
. .
. .
3
6
.
.
.
the middle-fingers
(50) forefinger
..
..
..
(51) ring-finger
..
_
...
(52) little finger
..
..
..
..
..
(53) breadth of thumb
(54) breadth of forefinger
(55) breadth of middle-finger
(56) breadth of ring-finger
.
.
.
.
..
4
6
.
.
(?)
5i
..
3j
..
.
.
..
5^
.
.
r
6 yava
.
7
.
6
..
.
(57) breadth of little finger
are
made
from
the
root towards the
Fingers
tapering
.
.
. .
4
.
The
or J more than their
forepart of the nails is
their breadth at the tip is one, two, or
three yavas. The thumb is divided into two
parts
tip.
length and
(parvan) and the other fingers into three parts (parvan).
line of wisdom and such other lines are drawn on
The
the palm. The eyebrow should extend from the eye-line
to the hair (near the ear).
..
..
(58) Length of eye
(59) breadth of eye
.
.
. .
(60) length of ear
..
..
..
.
.
.
.
.
(61)
drum
..
of ear
..
(62) breadth of ear
.
..2
..4
i
. .
^
2
the rest should be as in the (uttama) daSa-tala
system :
Navatalottamarh proktarh sesham cha das"a-talavat
I
(64).
In the intermediate type of the nine-tala system the whole
length
divided into 108 equal parts
:
Parts
1
i)
(2)
(3)
Head
neck
knee
..
..
. .
.
..
.
..
(4) foot
. .
(5) face
. .
..
.
.
..
(6) chest
(7) belly
..
..
200
..
..
..
..
"J
3
3
3
..12
..12
..12
i 3
TALA-MANA
HINDU ARCHITECTURE
Parts
(8)
(9)
..
..
..
thigh
..
..
..
..
..
..
..
..
.
..12
..24
..24
loins
(10) leg
(n) arm
(12) (from
.
.
arm) forearm (including middle-finger)
(13) largest
toe (up to heel) =face
(14) foot
..
..
24
.
..
18
..
..
12
..
..15
the rest should be discreetly made.
1
In the smallest type of the ten-tala system the whole height
16 equal parts (M., LIX, 67-100) :
is
divided into
Paris
Head (from crown to hair-line in the forehead)
..
..
face (comprising)
the
thence
to
(2)
eye-line (i.e., forehead)
. .
(3) thence to the tip of the nose
(1)
(4)
thence to the chin
..
(5) neck-joint
(6)
neck
(7)
(8)
(9)
.
..
.
. .
..
. .
thence to heart
..
..
thence to navel
.
.
thence to sex organ
..
.
.
(from below sex organ)
(n) knee
..
(12) leg
(13) foot
(16)
(17)
4^
.
.
4
.
.
3$
i\
..12
..12
..12
..25
.
..
..
.
..
.
..
..
..
..25
..
..
..
.
from heel to largest toe
arm
of
the line of windpipe
below
length
elbow
of
..
..
length
forearm
..
..
length of
(18) length of
.
..
palm (up
4
.
4
(14) length of foot
(15)
.
4
.
(10) thigh
.
.
4
.
.
..12
..
i6
(glottis)
25
..
2
to the tip of middle-finger)
..19
.
12^
(19) breadth of face
(20) width of neck
..
..
..
i\\
.
.
.
width of arm ..
(22) width of knee
(23) width of arm by
..
..
.
. .
(21)
.
.
(26)
width of the mid-belly
width of the buttocks
.
..
. .
.
.
.
8
6, 6,
i$
2oJ
. .
15 J
. .
.
..
..
..
. ,
width at the root of thigh
..
..
2OI
8J
8J
.
..
(27) breadth of the loins
(28)
.
root, elbow, wrist
(24) length of shoulder
(25)
.
.
i8J
.
19
12$
AN ENCYCLOPAEDIA OF
TALA-MANA
Parts
(29) width of the knee-(cap) .
(30) breadth or width of knee-tube
.
(31)
(32)
breadth of ankle
prapada (tip of the
.
.
.
.
.
.
..
toes)
.
width
is
6J
4
5
6
.
(34) length of fore-toe
a
other
toes
of
(half
(35) length
their breadth or
.
..
..
toe
(33) length of largest
and
.
.
.
.
.
.
. .
.
. .
part less)
the same (? half of their
4
4
3J
length)
(36)
(37)
(38)
(39)
breadth of elbow
breadth of forearm
6
..
..
..
breadth of wrist
breadth of palm
(40) length of palm
(41) length of middle-finger
(42) length of forefinger
(43) length of ring-finger
(44) length of little finger
(45) length of thumb
5
.
.
. .
4
.
.
.
5
.
.
.
.
.
.
.
.
.
.
.
.
7
5i
5
5
. .
4i
4
....
(46) length of ear
.
4i
(47) height of ear-drum
the rest not specified here should be as in case of the
.
.
.
.
4|
largest type of ten-tala system.
In the intermediate type of the ten-tala system the whole height of
the image (of a famale deity) is divided into 120 equal parts (M., LXVI,
2-78)
:
Parts
(1)
Head (from crown
to hair-line
(4)
forehead (up to eye-line)
nose (up to the tip)
thence to chin
(5)
neck-joint
(6)
neck
(2)
(3)
.
.
.
.
.
.
.
on the forehead)
.
.
.
.
.
.
(glottis) to heart
(7)
limit
of navel
the
to
(8) thence
.
.
.
.
.
.
4
3i
i
4
from windpipe
(9)
thence to sex organ
(10) thigh below sex organ
(n) knee
(12) leg
(13) foot
..
..
13
..
13
..
..
..26
..
..26
..
..
..
. .
. .
202
13
..
.
.
4
5
.
4
--4
HINDU ARCHITECTURE
TALA-MANA
Parts
of foot (from heel to the tip of largest
toe)
(15) length of arm below the line of windpipe (glottis)
(14) length
(16)
(17)
(18)
elbow
forearm
palm
..
..
..2
..
..
..
..20
.
.
.
.
.
and palm proper the remainder
(20)
thumb
.
.
(21) forefinger
..
(22) ring-finger
..
(23)
little
finger
.
.
.
.
.
..
. .
.
.
.
.
.
7
4
5i
..
. .
.
.
.
breadth
(between armpits)
width of each breast
(32)
(33)
(34)
(35)
(36)
(37)
(38)
(39)
(40)
(41)
(42)
(43)
(44)
..
.
.
.
.
.
.
.
.
.
.
.
.
.
.
ankle
(45) breadth of
sole
of
width
(46)
(52) length of fourth toe
203
1 1
..
13
..
20
.
.
24
.
.
.
.
.
.
13
12
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
9
7
6
5
.
.
.
.
. .
.
. .
.
.
.
.
.
.
. .
.
.
..
..
.
15
.
.
.
length of largest toe
(50) length of fore-toe
(51) length of middle-toe
13
.
.
.
i
.
.
.
4^
.
.
.
7
15
.
.
sole at the fore-part
(47) breadth of
.
heel
(48) breadth of
(49)
.
.
.
11
..2
breadth (below the breasts) by the heart
width of mid-belly
breadth (below this) by the navel ..
breadth (of lower belly) below navel
width of buttocks
width of loins
width at the root of each thigh
width by the mid-thigh
width at the fore-part of the thigh
width of knee
width at the root of leg
..
width at the mid-leg
knee-tube
breadth of
2
i
9i
..
.
.
.
(nipples)
5j
4
.
.
of chest
of breast
(29) height
between breasts
(30) distance
of the nipple
(31) width
6
. .
.
..
breadth of face up to ear
..
from
ear
face
of
to ear
(below this)
(25) breadth
neck
of
and
breadth
root,
middle,
(at
top)
(26)
(28)
13
. .
(24)
(27)
26
..
(up to the tip of middle-finger)
(19) middle-finger
16
. .
.
.
..
4
4$
4
5
4
4
4
3$
3
AX ENCYCLOPAEDIA OF
TALA-MANA
(53)
length of
little
toe
.
.
width (breadth) of largest toe
width
(breadth) of fore-toe
(55)
. .
(54)
.
.
Parts
2
2
. .
..
..
i(=:8
.
.
.
.
7
.
.
.
.
yavas)
(56) width
(breadth)
of middle toe
(57) width (breadth) of fourth toe
(58) width (breadth) of little toe
(59)
width at the root of arm
and width of knee
width at mid-arm
width at fore-part of arm
width at elbow
..
width at root of forearm ..
width at middle of forearm
.
(60)
(6 1)
(62)
(63)
(64)
.
.
..
.
.
.
.
.
.
.
.
.
.
.
.
.
little finger)
.
.
.
..
..
..
..
..
.
.
.
.
.
.
.
4
.
.
.
.
3
.
.
(75)
(76)
(77)
(78)
..
width of nose at
width of nose at the root
distance between the eyes
distance between the eyebrows
(79) length of eyebrow
(80) breadth of eyebrow
The
. .
..
to
interior of the eye
tip
.
.
5
6 yavas
6
,,
.
.
. .
.
. .
end of the
the middle
up
to
.
(68) width (at the root) of the fore finger
(69) width (at the root) of ring-finger (same)
(70) width (at the root) little finger
(71) width (at the root) of middle-finger
Eyebrows are placed between forehead and
(72) Breadth of eye
(73) length of eye
(74) breadth of nose
3
10
.
.
.
5
..
(65) width at fore-part of forearm
(66) width at wrist
(67) width (breadth) of the palm (from thumb
.
6
..
.
.
..
eyes.
.
.
.
.
3
2
. .
. .
.
..
..
.
.
.
.
.
.
.
.
. .
.
.
.
.
. .
.
divided into three (equal)
of
which
the
black sphere is one part
parts (as before),
the rest of the detail is stated to be found in the list
of the largest type of the ten-tala systems.
is
;
(8 1)
(82)
(83)
(84)
Breadth and height of nostril (each)
width of face (up to the corner)
width of upper lip
.
.
width of lower lip
.
. .
(85) length of lip
.
.
.
..
204
.
.
.
.
..
..
..
. .
..
4.
5 yavas
6
a
HINDU ARCHITECTURE
TALA-MANA
Parts
(86) ear
= mid -eyebrow
(87) height of ear
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
length of the drum of ear
(89) depth (of the drum of ear)
(90) width of sex organ
..
(91) length of sex organ
(88)
.
.
.
.
.
4
.
.
..
(?)
4
4
..
upper breadth of sex organ (= length)
The rest should be as in the case of the largest
(92)
7
7
.
.
type of the
ten-tala system.
In the largest type of the ten-tala system the whole height of a male
person (god) is divided into 124 equal parts (M., LXV, 2-179)
:
Parts
(1)
Head
(from crown to hair-line on the forehead)
on the forehead to chin) ..
hair-line
(2) face (from
. .
. .
(4)
neck
neck to heart (chest)
..
..
(5)
heart to navel
..
..
(6)
naval to sex organ
.
(7)
thigh from below sex organ
..
knee
..
(3)
(8)
.
(9) leg
(10) foot
The
.
. .
.
.
.
.
.
.
.
. .
(13)
..
..4
..
27
.
. .
.
.
is
4
.
divided into three parts, head
. .
elbow
forearm (extending to
. .
wrist-joint)
palm (up to the tip of
comprising (a) palm proper
middle-finger
(b)
of foot
(from heel)
its
breadth
.
.
its
nail
.
.
The
nail
is
made
circular
..
middle-finger)
. .
. .
..
..
21
13^
j
6
..
..
--17
. .
. .
4^
.
aj
.
.
.
. .
and
..
.
. .
breadth of nail
27
2
. .
(14) length of
toe
(16) largest
13 j
37
..
length of face
(15) length
4^
..
to eye-line, eye-line to lip-line, lip-line to windpipe-line.
(11) Length of arm from (below the line of) windpipe
(12)
4
13
its
. .
.
.
. .
fore-edge
is
fleshy
.
^
. .
i
.
f
.
and
one part in extent.
(17) Fore-toe
its
breadth
..
.
.
..
. .
..
.
.
..
4
less
i
yava
and
i
i
205
yava
AN ENCYCLOPAEDIA OF
TALA-MANA
Parts
(18)
middle toe
breadth
Sf
its
I*
(19) fourth toe
3 P lus
i
its
breadth
i
i
(20)
little
its
toe
yava
2*
breadth
plus
i
Their
yava
minus
of their respective breadths.
middle line from ankle to the tip of sole
yava
nails are half
The
8 and
6 yavas
V22)
from
this line to the
root of heel
4
5 and
breadth of heel
i
(23)
from
side to heel
of heel
(24) root
of mid-sole (below ankle)
width
(25)
(26)
breadth of sole (at the fore-part)
(27)
its
thickness
(28) height
The
(29)
(30)
(31)
(32)
(33)
(34)
(35)
(36)
of the
Si
6
6 and
6 yavas
6
3
mid-foot
44
have two parts (parvan).
Breadth of ankle
breadth of the tube (above)
breadth at the middle of leg
toes
width at the root of leg
width of knee
width of mid-thigh
width at the root of thigh
width of loins
44
6J
8
9
.
.
width of buttocks (above)
^8) width of mid-belly
(39) width at the heart
(40) width by the chest
(41) distance between the armpits
(42) breadth above this
the arms
(43) breadth between
breadth of neck
of face in
(45) breadth
54
12
(37)
(44)
yava
134
20
18* (0
i8|
16
21
22
241
9
its
fore-part
It
TALA-MANA
HINDU ARCHITECTURE
Parts
(46) breadth of head by the hair-line on the forehead
From the hair-line on the forehead to the eye-line
10
two (equal) parts, one of which is the forehead,
and the remainder is the eye-part. Between the forehead
and the eyes, the places for eyebrows are left.
there are
Length of eyebrow
(48) breadth of eyebrow
The breadth at the middle is half of
taper from root to the other end.
(49) ^Distance between two brows
(47)
this
and the brows
and
6 yavas
(50) length of eye
3
(51) breadth of eye
(52) distance between two eyes
The interior of the eye is divided into three parts of
which the black sphere is one part and the remainder
The shiny sphere within the black
is the white sphere.
i
sphere is one part. The sight (retina) proper is situated
within the shiny sphere. The upper and lower coverings
(lids)
of the interior of the eye are each two parts.
The
eyes are shaped like the fish and the brows like a bow.
(53) Length of ear
(54)
drum
of ear
(55) fore-part of ear
4*
(= mid-brow)
(56) ear-hole, its length
and breadth
I
(57) distance between the drums
(58) depth (befitting the ear)
.
(59)
i*
2
.
2
I
breadth of ear
The
rest
is left
to the choice of the skilful.
(60) Distance from eye to ear
(61) width of nose
(62) tip
(63)
of nose
breadth of nostril
(64) length
(65)
(66)
of nostril
6 yavas
hole of nostril
its
\
breadth
5 yavas
of nose-tip (pushkara or four-faced part)
of nose-tip
breadth
(68)
(69) breadth of the middle of nose
(67) height
207
i
2
AN ENCYCLOPAEDIA OF
TALA-MANA
Parts
breadth at the root of nose
height of nose
(70)
(71)
(72) height of nose (from
bottom to
I*
2
tip)
(from below bottom)
(73)
tip
(74)
drip
(75)
breadth
(76) circumference
(above
(77)
breadth of upper
(78)
lower
(79)
width of upper
lip
4 yavas
below
(84) length of jaw
4
lip
Si
.
.
.
.
2 each
2
i
H
.
10
(jaw) to ear-joint
the jaws
(86) height of drip between
(87) breadth of semi-circular jaw
(88) goji
.,
i
lip
Teeth numbering 32 are in both lower and upper jaws
Chin below the lower lip
from
3
this
.
'85^
,,
this)
lower lip
(80) length of crescent-shaped
three-faced
part (trivaktra), length and breadth
(81)
(82) circumference (above)
(83)
i
this
(nose bottom) from
I
If
jaw
1
and
2 yavas
(89)
mid-neck (from jaw to
its
.
its
2
root)
.
projection
the forehead (third eye) J or f part of
(91) the eye on
the hairs
should be 98 eye-lashes
There
other eyes.
(90)
i
;
on the neck and face should be
discreetly
made.
Parts
Width
(92)
at
mid-arm
8 and
2 yavas
(94)
width of elbow
width at mid-forearm
(95)
width of wrist
9*
(97)
breadth at the root of palm
breadth of mid-palm
6|
(98)
breadth of fore-palm
5 and
(99)
back of palm up to wrist
I yava
6|
(93)
7
5 and
i
(96)
yava
7
thence the length of the fingers should be proportionate as stated before.
(100)
Length of ring-finger and of middle-finger
808
4! each
HINDU ARCHITECTURE
TALA-MANA
Parts
(101) length of forefinger
(102) length of thumb
(103) length of
.
. .
.
.
5
..
..
..
4
4
.
little
.
finger
at the root of
.
.
.
.
.
thumb
..
width
..
the
root
of
at
forefinger
(105) width
(106) width at the root of ring-finger
..
(107) width at the root of middle finger ..
The width of (tapering) fingers at their tips is f or
one-fourth less than at the root. The width of the nails
(104)
.
.
.
.
i
.
.
.
.
i
|-
of the breadth of the respective finger tips, and the
length of the nails is
greater than their width, and the
nails
of
the
measure
two yavas. The four fingers
fore-parts
is
(beginning with the fore-finger) are each divided into
and the thumb into two parts.
three parts
(108)
The portion between
thumb
the roots
of forefinger and
.
--
3
..
..
2
..
(no) thence to wrist
the
thickness
of
(m)
portion below the
..
..
4!
. .
2
width
..
breadth
of
heel
(113)
..
..
..
3
..
..
...
4
.
(109)
its
(112)
thickness
. .
.
.
..
..
its
thumb
(114)
its
thickness
..
..
..
..
3
(115)
its
fore-part
..
..
..
..
1
and
2 yavas
(116) interior of
(117)
its
palm
width
The palm
is
..
..
..
..
2
..
..
..
4 yavas
lined with the five
marks
of lotus,
regarding the
like
couch, disc., etc. And the rest
hand should be discreetly made by the wise artist.
Measurement by the back-side
..
(i 1 8) width at the back of head
trident,
:
(119) thence to the
(120) thence to the
(121) shoulder
end of ear
end of nose
..
..
. .
..
..
. .
(above the line of windpipe) from the
neck-joint
.
.
(122) from neck-joint to
hump
. .
.
..
..
(123) thence to the line of buttocks
..
(124) thence to anus
(125) breadth to the left of it ..
(126) width of the back of loins
209
4
.
..
5
27
. .
..
..
..
..
21
..
..
17
TALA-MANA
AN ENCYCLOPAEDIA OF
Parts
(127) width of the back or middle-body (madhya-kaya)
above
this
.
.
. .
.
(131) breadth of the loins-joint
back-bone
.
.
.
.
.
.
..
7
21
27
i
.
.
.
.
2
..
..12
..
..4
..
5i
portion between the breast and back-bone
(brihati)
(136)
.
:
(133) distance between ribs-planks
(134) height from ribs-plank to shoulder
its
.
connected with the
Thence should be measured the belly
(132) Width (breadth) of ribs-plank
(135) the
*
.
(128) distance between the breadth above this
..
(129) distance between the arm-pits
of
the
backbone
..
..
(130) drip
.
.
.
. .
.
length (up to armpits)
(137) brihati
up
..
to breast limit
(138) breadth of loins line
..
..
..
..
(139) projection of the root of thigh
(140) width of perfectly round or spherical balls
(141) width at the back of perfectly round breast
.
(142) drip or depth of windpipe
of
or
heart
..
..
depth
(143) drip
between
the
of
distance
limit
breasts
(144)
.
(145) distance between windpipe
(146) depth of navel
The
is
and armpit
..
made
..
7
.
.
..
i6|
.
13
.
5
..
.
.
body
(149) height from
.
9
2
. .
i
..
i
.
.
..
..
yava
13
13^
2 yavas
circular.
navel-pit
..
(147) Length of lower belly from navel to loins
lower
navel
from
to
where
cloth
is
attached
belly
(148)
to
(?)
.
.
.
.
.
loins to the root of sex organ
.
(150) breadth of sex organ at the back
the
of
thence
sex
length
(? loins)
organ
(151)
.
6
4
.
.
.
.
.
.
4
.
.
12
.
a
7$
(152) length of testicle
..
..
.
(153) breadth of testicle
(154) breadth of sex organ
..
..
..
2j
..
..
..
i
The
rest is left
to the discretion of the
Sesharh yuktito nyaset
artists.
(A/., LXV, 179.)
This largest type of the ten-tala measure is used in measuring the
images of Brahma, Vishnu, Rudra, and such other gods (M., LI, 29
XLV, 184-185) and of the statues of the devotees of the Sayujya class
;
(M., LIX, 12).
210
TALA-MANA
HINDU ARCHITECTURE
These rules are for the general guidance, there is no restriction in
altering them for aesthetic reasons by not more than one part
:
Tad evadhika-hinarh va sobhartharh chaika-matrakam
I
Ukta-manangakaih sarvaih tatra dosho no vidyate
Tad-urdhve'dhika-hinam chet sarva-dosha-samudbhavam
I
Tasmat pariharech
chhilpi
pratimanam tu sarvada
I
I
(M., LXV, 180-183.)
(2) See
Amsumadbheda of Kasyapa
(MS.
different kinds of the tala measures)
(3) Talah smrito madhyamaya gokarnas
Egg.
3148, 3012
fol.
;
251,
.
The
distance between the tips of the
middle-finger is called Tala.
chapy-anamaya
fully
I
thumb and
stretched
the
and Anushanga-pada, Chap, vn, v. 97.)
the distance between the tips of the fully-stretched thumb
(Brahmdnda-Purana, Part
i,
(4) Tala is
and the middle-finger.
(Suprabhedagama, xxx, 22, see under
(5)
ANGULA.)
Bimbamdna (British Museum, MS. no. 558-592)
Illustration in minute detail of the largest type of the ten-tala
measure (vv. 71-72).
Description of the plumb-lines and the horizontal measurement
:
of the idol (w. 73-91).
The measurement of the
idol
when
it
is
made
in
the sitting
posture, such as Yogasana (vv. 92-122) and the recumbent posture
(w. 123-138).
In an appendix are given the rules regarding the objects to be
measured in twelve-tala measures
One
tala
(eka)
is
used
for
:
measuring the vandhuka, probably
misread for kabandha, a headless trunk, also a class of rakshasa or
demon whose head and thighs were forced into the body by Indra and
'
reduced to long arms and a huge mouth in the belly.' (See nos. 5,6.)
Two (dvi) tala is used for measuring the birds.
kinnaras
Three (tri) tala
,,
,,
(mythical
human
with
and
horse's
beings
head).
body
Four (chaturthaka) tala is used in measuring bhutas (goblins).
Five
GaneSa
(pancha) tala
(a mythi-
cal deity with human body and elephant's head).
Six (shat) tala is used for measuring the tiger.
Seven (sapta) tala
Eight (ashta) tala
Nine (nava)
Ten
(das"a)
yakshas
,,
tala
,,
(demi-gods).
man
(male and female).
danavas (demons).
superhuman beings and
tala
Buddha.
211
AN ENCYCLOPAEDIA OF
TALA-MANA
Eleven (ekadaSa) tala
used for measuring gods.
Twelve (dvadasa) tala is used for measuring rakshasas (fiends).
surasura-danava-rakshasarh
Cf. Brahmadi-lokesVara-deva-devarh
cha yaksham cha naga-garudarh cha na-kinnararh bhutam cha
is
kumbhanda-nara-svaruparh vyaghrarh chatush-pada-vihangamadi-sarvaih tu dirghayata-vandhukadi-tala-pramanarh bhuvanatrayoktam
This is followed by the
I
details of the twelve
tala
measures quoted
above.
The
deities
(6)
next
the
appendix gives
dhyanas
(features) of
the
eight
(ashta-natha).
Suprabheddgama (xxxrv, 30-34).
Isvaradi-chatur-murttirh das"a-talena karayet II
Saktinam anya-devanarh nava-talaih prakittitam
Divyam arsha-manushyanam
I
ashta-talena karayet
II
Rakshasam asuranam cha sapta-talena ihochyate
Shat-talenaiva gandharvan pancha-talena vighnakam II
Vamanat (-narh) pancha-talais tu chatus-talais tu bhutakan
Tritalarh kinnaranam tu matsyanam tu dvi-talakam II
Eka-talas tu kusmandat (?) piSacha virhsad-angulah
I
I
I
Sthula-sukshma-prabhedarhs tu tala-bhedam ihochyate II
Measures of the ten tala of three types each (Suprabheddgama xxx,
31-40)
Pratimayas tad-utsedham tala-dandena bhajayet II (31)
Chatur-virhs'ach chhatarh chaiva uttamarh dasa-talakam
:
I
VimSach chhatam cha madhyarh
tu kanyasarh
shoda^adhikam
II
(32)-
Dva-daSadhikam evarh yan nava-talottamarh bhavet
Ashtau ^atarh chatuh Satarh madhyamarh kanyasarh tatha
I
Satarh
shan-navati
chaiva navaty-uttara-kara-dvayam
II
(33)
I
Ashta-talam idarh proktam tri-vidharh purvah-paddhatih
Ety-evarh bhaga-hinam syad eka-talam tarn eva hi
Measurement of the face
I
(34)
I
:
Trayo-dasardharh mukharh jyeshtham
mam
1
1
trayo-dasarh tu
madhya-
(35)
Tad-dva-daSardham adhamam uttamat(-m)dasa-talake
Nava-talottame chaiva mukharh vai dva-daSangulam n (36)
Ardhardhangula-hmena madhyamadhamam uchyate
The statues measured in these tala measures (cf. above xxxrv, 30I
I
34)
:
Tri-vidha daa-talena tri-murttinarh tu kirttitall (37)
Tri-vidharh nava-talena devanam yoshitam api
I
HINDU ARCHITECTURE
TALA-MANA
Ashta-talena martyanarh sapta-talena rakshasam II (38)
Shat-talena tu gandharvan pancha-talo ganadhipah
I
Vamanasya tathaiva syach chatus-talas tu bhutakah
Tri-talarh kinnaranarh tu matsyanam tu dvi-talakam
Anujanam tathaikam
syat
piSachanam tu vimSatih
CCLVIII, v. 19)
(7)
Matsya-Purdna
(8)
Brihat-Sarhhitd (LVIII, 4)
II
II
(39)
I
(40)
(Chap.
Svakiyanguli-manena mukharh syad dva-daSarigulam
:
I
:
Svair angula-pramanair dva-daSa-vistlrnarn ayatam cha mukhaml
Naganajita tu chatur-das"a-dairghyena dravidarh kathitam II
According to one's own angula (finger-breadth)
own
statue
to (the
is
architect)
Dravida
the face of his
angulas long and broad. But according
Nagnajit it should be fourteen angulas in the
twelve
style.
The commentary quotes Nagnjit in full
Vistirnarh dvadasa-mukham dairghyena cha
:
chatur-das"a
I
Angulani tatha karyarh tan-manaih dravidam smritam II
The face shall be 12 angulas broad and 14 angulas long such
a measure is known as Dravida (i.e. this is the Dravida style
;
of measurement).
(Brihat-Samhita, LVIII,
Vol.
(9)
Rao,
See
The Elements of
Vol.
i,
Appendix
(10) See Some
Indian Sculpture
Hindu
by Mr.
Hindu Iconographgy
4
;
J. R. A. S., N. S.,
p. 323, note 3.)
vi,
by T. A. Gopinatha
B.
W.
in
Sdstras
Silpa
S.
their
Hadaway
(
relation
to
South
Ostasiatische Zeitschrift,
April- June, 1914, vol. n, no. I).
(u) See Iconometry by T. A.
no. 3,
Gopinath Rao (Archaeological Survey of
and
In Appendix B, the author
1920)
compare
'
Memoir,
(Gopinatha Rao) gives a detailed description of the uttama-daSatala
measure to be used in the making of images, and shows that the
formal, apparently mechanical, rules for construction followed by Indian
artists work out in practice as the adequate expression
of aesthetic
The same subject has been treated on broader lines
.,
principle.
by Mr. W. S Hadaway (see above), who is himself a worker in metal,
India,
:
.
.
with practical knowledge of the application of the rules.
(The war,
unfortunately, has prevented the author from continuing his valuable
'
had hoped to do).
The Hindu image-maker or sculptor,
Mr. Hadaway observes,
does not work from life, as is the usual practice among Europeans,
but he has, in place of the living model, a most elaborate and
beautiful system of proportions, which he uses constantly, combining
study, as he
'
'
'
213
AM ENCYCLOPAEDIA OF
TITHI
and study of natural detail. It is, in
and formulae, of infinitely more
fact,
practical use than any European system which I know of, for the
Indian one treats of the actual proportion and of the surface form,
rather than the more scientific attachments of muscles and the
these with
those observations
of anatomical
a series
'
articulation of bones.
'
There
is
in the
rules
Hindu
system
complicated
nothing
or difficult
to understand or remember, but like every other canon of artistic
proportion, these methods are no more capable of producing works
These
are any other aids or methods
property of Hindu artisans, whether
unskilled hands than
of art in
Sastras
are the
.
common
of northern or southern India.
'
.
.
Mr. V. A. Smith.
(Architecture
and Sculpture in Mysore,
xuv, pp. 90-91.)
Ind. Ant., Vol.
TITHI
One of
for
VARGA)
the six varga-formulas (see details under SHADascertaining the right dimensions for an architectural
object.
TILAKA A mark made on
the forehead and between the eyebrows
either as an ornament or as a sectarian distinction of an image.
(M., vn, 160,
Cf. Tilaka-kshudra-nasi-yuktarh toranais cha
amanvitam
(Kdmikagama,
TILAMAKA A
(i)
LI,
41.)
L,
93.)
I
channel, a watercourse, a pipe.
Viditam astu bhavatam
.
.
.
yushmadiya-gramanam upakaraya
yo'sau tilamaka anito'bhut pratisamskarabhavad vinashtam ud-
vikshya
'
Be
.
.
.
yushmad-gramanam evopakaraya
pratisarhskritah
I
known
to
you that, seeing the watercourse, which the
and great king AmSuvarman led to your villages
for
your benefit, destroyed through want of repairs (we being
addressed by the feudal chief Chandravarman, have presented it
it
illustrious
him
to
;
lord
that he,
with
our
permission)
has
repaired
it
for
the
benefit of your villages.'
'
The
found
any dictionary. But
context, that it must be some kind
it
denotes a channel which leads the
water from the hillside over the fields which rise in terraces one
above the other.' Pandit Bhagvanlal Inderjit and Dr. Buhler.
word,
tilamaka,
it seems certain, from the
of watercourse.
Probably
is
not
(Inscriptions
line
in
from Nepal, no.
6
f.,
214
Ind.
9,
Ant., Vol.
Jishnugupta's Inscrip.,
ix, p. 172, note 30.)
ARCHITECTURE
tilNDU
(2)
TUftGA
Devena yathayarh tilamako bhabatam anyesh(en)arh
ray
(Inscription
from Nepal, no.
10, line 14, p.
(3) Tilamakas" cha saptadha vibhajya paribhoktavyah
'
The watercourse
TIRTHA
a holy
chopaka-
I
(see
is
to be used
173.)
I
into seven parts.'
(Ibid., no. 14, line 10, p. 177.)
by dividing
A
TIRTHANKARA)
it
of a landing place, a shrine,
stairs
place, a Jain teacher.
TlRTHAfrKARA
-A path-maker, the foundation of a religious or
philosophical school, a Jain arhat or saint.
The
twenty-four Jain saints or apostles (M., LV, 90.)
Fergusson, Hist, of Ind. and East. Arch. (p. 748)
Cf.
Name
1.
Adinatha
..
..
2.
Adjitanatha
..
..
..
.
.
.
.
.
.
.
.
Bull.
Elephant.
Horse.
3.
Sambhunatha
4.
Abhayanandanatha
5.
Sumatinatha
..
..
Chakwa
6.
Supadmanatha
.
.
.
.
Lotus.
7.
Suparsvanatha
Swastika.
8.
Chandraprabha
Pushpadanta
9.
.
.
.
.
.
.
.
.
.
.
.
.
Monkey.
(red goose).
Cresent moon.
Crocodile.
10
Sitalanatha
..
..
..
Tree or flower.
n.
Sn-Arhs'anatha
..
..
Rhinoceros.
..
..
12.
..
Buffalo.
.
.
.
.
Boar.
14.
V'malanatha
Anantanatha
.
.
.
.
15.
Dharmmanatha
.
.
.
.
16.
Santanatha
.
.
.
.
13.
Va<;upadya
.
.
Porcupine.
Thunderbolt.
Antelope.
Goat.
18.
Kunthanatha
Aranatha
19.
Mallinatha
..
..
..
Pinnacle.
20.
Munisuvrata
.
.
.
Tortoise.
21.
Naminatha
Neminatha
17.
22.
..
.
23.
ParSvanatha
24.
Vardhamana
.
.
..
.
.
.
(see
..
.
.
.
.
Fish.
..
..
Lotus with
.
.
Shell.
.
.
.
or Mahavira
UTSEDHA)
.
.
For reference to their images
TUftGA
:
Distinction sign
.
.
see
stalk.
Snake.
.
.
Lion.
JiNA(ka).
Height, plinth, vault, arched roof.
(M., xix, lao.)
215
AX ENCYCLOPAEDIA Of
TULA
under STAMBHA) A balance, a moulding of the column,
a month, a beam.
bhara-tulanam
upary-uparybahulyam
(1) Stambha-samam
asam
TULA
(see
I
unam padena padena
Bhavati tulopatulanam
II
(Bnhal-Sarhhitd, LIU 30
J. B. A. S., N.
A
(2)
see
:
S.,
moulding of the entablature
Maha-bhara-tula karya balikordhve viseshatah
Kern's Transl.,
Vol.
vi, p. 285.)
:
Tula-vistara-tarochcha
jayanti syat tulopari
I
II
Tula-balikayor madhye dvi-dandam athava punah
II
(Kamikagama, LIV, 13,
(3)
A member
of a
column (Suprabheddgama,
108,
xxxi,
16.)
105-107,
see
under STAMBHA).
(4)
The name
163), a balance
of a
month
(M.,
TULA-DANDA The
L,
(
M.
vi, 32),
beam
the
of a balance (M., XH,
172-195.)
48,
horizontal rod of a balance, the beam,
synonyms.
Tuladandam jayanti cha phalaka-paryaya-vachakah
(M.,
TULA-BHARA An
Bhupanam cha
In
connexion
Evam
article
its
I
xvi,
48,
etc.)
of furniture used as a hanging balance.
tula-bhara-tula-lakshanarh uchyate
the pavilion:
(M.,
I
L.,
48.)
with
tu nripa-harmye tu tula-bhararh tu
yogyakam
(M.,
TAILA-MAftJUSHIKA An
oil-pot, used as
(M.,
L,
an
144
article
:
see
I
xxxiv,
287.)
of furniture.
under
BHUSHANA.)
TORANA
An arch, a canopy, a gate-way of a temple or stupa,
a peg, a mechanical arrangement of blocks of any hard material
disposed in the line of some curve and supporting one another by
mutual pressure. It is employed both as an architectural
member, as well as an ornament to buildings, thrones, pedestals for
an image, boundary walls, and over gate-ways, cars and chariots.
their
In modern architectural
treatises
are
arches
mode
considered in three
which
their parts are
form, (ii)
constructed, and (iii) the thrust they exert.
In respect of their form arches are either straight, triangular,
another form
adds
semi-circular
or circular.
The Mdnasdra
than the
wider
little
called
bow-shape which is apparently a
aspects,
namely,
(i)
the
2l6
in
TORANA
HIMDU ARCHITECTURE
as
The
'
semi-circle.
said
truly
investigation
Mr.
by
does
laws of statics
not
of
Gwilt
appear
the
have
to
have
to
preferred
at
imitation
been
their
nice
solidity to
positive
by
'
the
entered into the
all
have
arches
1353),
Experience,
to
of
'
article
(Encycl.,
architects.
of the ancient
thoughts
intuition
seem
a sort of mechanical
They appear
equilibrium
and
guides.
balance
they have left are rather the result of art
who speaks of all the ingredients
Vitruvius,
architect
a
(see under STHAPATI), does not
perfect
necessary to form
allude to the assistance which may be afforded in the construction
and
than
the
of
examples
science.
of edifices by a knowledge of the resolution of forces nor the aid that
may be derived from the study of such a science as descriptive geometry, though of the latter it seems scarcely possible the ancients
been
have
could
at
(practically,
buildings as
as
respects
'
(2)
seeing
in
how
much
it
must have been
of such
construction
the
employed
Coliseum, and other
least)
the
vast
curved structures,
similarly
their plan.'
Whoever invented the
were the
feature,
ignorant,
first
who
and who
it
or radiating arch, the Romans
a regular and essential architectural
time introduced its complements, the
true
as
applied
the same
at
dome, into architectural construction at what peiiod it is not
known.'
now
(Fergusson Hist, of Ind. and East. Architecture, p. 212.)
But we have got clear references to it in the Rdmayana (see below) which
must be placed before sixth or seventh century B c.
radiating
:
(3)
Mdnasdra, Chap. XLVI (named Torana)
The torana
1-77
:
an ornament (bhushana) for all kinds of thrones
and royal palaces (line 30). These arches
admit of various forms. They may be circular, semi-circular, triangular
is
(line i), as well as for temples
(? hexagonal,
tri-yugma),
forms (lines 31-32, 33-36).
bow-shaped, or
The
of any
directions for
making
other
desirable
these arches as
measurements of their different parts are given in detail
With regard to ornaments and decorations, arches
3-29, 45-76).
well as the
(lines
are divided into four kinds, technically called, Patra-torana (leaf-arch),
Pushpa-torana (flower-arch), Ratna-torana (jewelled arch), and Chitra-
torana (ornamental-arch) (lines 37-38).
All these arches are both structurally and
ornamentally decorated with
the carvings of gods, sages, demi-gods, goblins, crocodiles, sharks, fishes,
leographs, serpents, lions, flowers, leaves, creepers, etc., and are beautifully
set
with jewels
:
Sarvesham torana-madhye chordhve tumburu-naradam
Tad-pradese dvi-parsve tu makaradi-vibhushitam
I
217
I
TORANA
AJf
ENCYCLOPAEDIA OF
Toranasyagra-mule tu graha-patrais" cha bhushitam
Toranadyarh tu patradi-bhuta-vyala-samanvitam
Padanam cha dvi-parsVe tu vyala-torana-dharinam
I
I
I
(M., XLVI, 45-49.)
Ratnakarariganair yuktaih kukshi(r) avrita-lambitam
Toranasyopari-dese tu bhujariga-pada-dvayor api
Grahantaih
sarva-ratnais"
I
I
cha puritaih sreni-samyutam
I
5&-6o.)
(ibid,
But these arches
may
as well be quite plain, that
is,
without any such
carvings (chitra-hina)
(ibid, 68, 70.)
In connexion with a detached pavilion (mandapa) :
Chatur-dikshu chatur-dvararh chatus-torana-samyutam
(M., LXX, 21
see also
:
I
xxxiv, 217.)
In connexion with the pedestal of an image
Padma-pltham maha-pltharii tri-murtinam cha yojayet
Prapa cha toranarii vapi kalpa-vriksharh cha sarhyutam
:
I
I
(M.,
In connexion with the coronation-hall
PaSchat simhadyais cha kalpa-vriksham cha toranam
.
,
86-87.)
LI,
:
I
(M., XLIX, 185.)
,
In connexion with the car or chariot
:
Sikhi-sikhandaka-chamara-toranam
(M., XLUI,
In connexion with the two-storeyed buildings
I
156.)
:
Toranair nfda-bhadradi(-dyaih) mule^chordhve cha bhushitam
(M.,
I
xx,
64.)
(M., xviii, 201,
etc.)
In connexion with buildings in general (vimana)
Sala cha nasika-bhadre kuta-nldais tu toranaih
:
In connexion with the
dome and
the pillar
!
:
Athava toranam kritva stambhasyopari vajanam
Tad-udhve toranasyante makara-patra-samyutam
Tad-urdhve toranantam syad eka-dandam tu tach-chhiram
I
I
Makari-vaktra-samyuktam.
.
I
.
(M., xiv, 130, 133-135.)
(4)
Tilaka-kshudra-nasi-yukta-toranais cha samanvitam
1
1
(Kamikagama,
See ibid., LV, 59-63, 56-70, and compare
Toranam tri-vidharh patra-toranam
L, 93, etc.)
:
makaranvitam
mandanarh
ity-esham
chadhunochyate
Deva-dvija-narendranam toranam makarakhyakam
I
Chitra-toranam
1
1
I
Toranam
chitra-sajnam tu vaisyanam pravidhiyate
Padma(patra)khya-toranam sudre sarvam sarvatra va
I
matam
(Ibid,
2l8
1
1
LV, 64, 93.)
ft
o
H
$
'3:
ex
uJ
Q-
Ill
TORANA
HINDU ARCHITECTURE
... Toranam vakshyate'dhuna
(5)
I
Prishthe tu parsvayos' chaiva kartavyas toranas tatha
II
Dvarasyotsedha-manam yat toransyochchhrayarh bhavet
Tad-ardham vistararh proktam uchchhraye shad-vibhajite
Makararh tu dv(i)yarhs'ena sesham padam iti smritam
I
II
I
Mula-padasya ckardhena tasya pada-pramanakam
Makararhs'arii tad-urdhve tu madhye vrittarh sa-nimnakam
1
1
Vritter urdhve uharh kritva ckatur-ayatam eva tu II
Pramanam toranasyoktam prastaraih cha tatah srinu
Mahabharata (Cock)
(6)
XIV,
XIV,
XV,
23
25,
cha
vritanti
1
6
:
:
26,
i,
68-72.)
:
Stambhan
:
cha
kanaka-chitrams
Toranani Sata-kumbha-mayani
Puram.
dridha-prakara-toranam
Hema-torana-bhushitam griham
:
toranani
I
.
.
XII, 44, 8
VIII, 33, 19
V, 191, 21
See also
1
I
85, 29
5,
1
xxxi,
(Suprabheddgama,
I
I
I
:
:
Bahu-prakara-toranam
Sthuna-bhavanam.
.
V, 143, 23
185, 17
.
;i,
;
m,
284, 2
;
I
uchcha-prakara-toranam
.
.
in, 160,
39
in, 15, 5
;
;
n
;
i
9,
n, 3,
;
etc.
109,8,
Rdmayana (Cock)
II j 91, 32
Harmya-prasada-samyukta-toranani
10
I,
Kapata-torana-vatim.
purim
5,
Rama-vesma.
mani-vidruma-toranam
II, 15, 32
:
(7)
:
I
.
.
:
ii
.
.
:
I
.
.
I
Hema-kakshya purl ramya vaidurya-maya-torana
V, 3, 33 Nagarim lankam satta-prakara-toranam
Griham.
maha-hataka-toranam
V, 4, 24
SeealsoIV, 33, 17 v, 2, 18, 51 v. 6,4 v, 18, 8 v, 27, 31 v, 37,
III,
45,
:
I
:
I
.
:
.
.
;
39
;
41, 21
v,
20, 41
26, 12
;
;
;
27
v, 42,
v, 47, 7, 38
I
v, 39, 42
;
;
;
;
v, 44, 6
v, 42, 6
;
;
v, 46,
30 vi,
vi, 41, 31, 56
vi, 42, 15
vn, 3, 27
vi, 75, 21
vn, 5,
25; vii, 13, 5; vn, 14, 24, 27, 28, 29; vii, 15, 36; vn. 38. 17.
(8) Matsya-Purdna (Chap. CCLXIV, v. 15)
Chaturbhis toranair yukto mandapa(h) syach chatur-mukhah
;
;
;
v, 53, 39
;
;
v,
55,
32
;
vi,
25, 24,
;
;
;
;
:
1
The
pavilion should have four faces and
arched gateways (arches).
Aishtaka dar(a)vas chaiva
(9)
Vdyu-Purdna (Part
I,
aila
be
furnished
va syuh sa-torana
1
with four
1
(Ibid., Chap. CCLXIX,
Chap, xxxix, vv. 36, 51, 60)
:
Harmya-prasada-kalilah praihs'u-prakara-toranah
Asltya-amara-pury-abha maker-prakara-toranah
II
Pandure charu-sikhare maha-prakara-torane
219
II
1
1
1
v. 46.)
AN ENCYCLOPAEDIA of
TORANA
(Chap, xxiv, p. 53)
a top-support of ornamental
Dvi-hastam torana-Sirah
:
(10)
Kautillya-Artha-Sastra
'
far as two cubits.
projecting as
arches
'
Sarva-deva-maya-charu-toranam svarga-khandam iva vedhasa
the beautiful porch which contains all the gods like a
svayam
'
heaven made by the Creator himself.
portion of
In his account of the ruins of the temple, Mr. Dean speaks of a
elaborate
of most
sculpture,
doorway relieved by an architrave
a group
of
which
in
each
divilded into twelve compartnents,
(11)
c
'
'
from the Hindu Pantheon occupies a place.
(Harsha Stone
Inscrip., v. 44, Ep. Ind., Vol. n,
pp. 121, 126, 124, 128
A
(12)
sort of
triumphal arch, supported by two
;
cf.
note 72.)
:
pillars
Atma-bahu-yuga-sauhrid-arhchita-stambha-saurabha-subham
the reign of Saranga-deva,
(Cintra PraSasti of
toranam
Vol.
i,
Ep.,
suInd.,
pp. 284, 276.)
(13) See Sridhara's
p. 440),
v. 46,
and compare
(verse to, Ep. Ind., Vol. n,
Devapattana prasasti
:
'
an
at
excellent
porch
Sughatita-vrisha-Sata-torana-dvaram
v.
carved.
is
12,
bull
121.)
a
'(Ibid.,
p.
which
skilfully
Prasada-toranam
Ornamental arch (for the temple)
I
:
(14)
(Jaina Inscrip. from Mathura, no. i,
Ep. Ind., Vol. H, p. 198.)
A
(15)
semi-circular arch with sculpture.
(Specimens of sculptures from Mathura, Plate
m, Ep.
Makara-torana
(16)
'
line 10, Ep. Ind.,
(Cochin plates of Bhaskara Ravivarman,
Arch
Ill,
of Sundarapandya, v. 9,
Ind., Vol. in, pp. 12, 15.)
Inscrip.
Ep.
(17)
Vol. n, p. 320-321.)
arch with a shark.'
(Ranganatha
Vol.
Ind.,
68,
p-
69).
toranam karhchanasya
Vyadhatta sri-somesaspada-mukutavat
the abode of the
like a diadem for
Erected a golden torana
I
(18)
'
holy Somesa.
'
(The Chahamanas of Naddula, no. c,
Sundha Hill Inscrip. of Chachigadeva
v. 34,
Ep.
Ind.,
Vol. ix, pp. 77, 72.)
In front of the basadi of nokkijabbe, the family goddess of her
made.
(Ep. Carnal.,
husband Vira-Santara, she had a makara-torana
'
(19)
Vol. via, Part
'
I,
Nagar Taluq,
no. 47
,
Transl., p. 151, para. 2.)
220
TORANA
HINDU ARCHITECTURE
We
grant to you in addition throne, crown palanquin, white
chamaras on both sides, makara-torana (a kind of arched
canopy), fan, day-light torch, yellow and red flags and such insignia,
'
(20)
umbrella,
with cymbals,
no. 67, Transl., p.
157, line 14 f.)
A.
D.
endra-Sola-Devar,
Sri-Raj
1034)
having sent
(21)
the
the
midst
of
in
and
bellowing sea)
(many ships
having captured
Sangirama-visaiyot-tungapannam, the king of Kidaram, along with his
.'
.
.
Who
'
(Ibid.,
(
which had (well formed) frontal globes and
resembled the impetuous sea took the large heap of treasure which
he had rightfully amassed, the Vichchadira-toranam at the war-gate
of the enemy's extensive city, the wicket-door set with jewels of great
(Ep. Carnal., Vol. ix,
splendour, and the door set with large jewels.'
victorious fine elephants
Channapatna Taluq, nos. 82, 83
upwards Transl., 149.)
White chamaras, the
(22)
;
Roman
Text, p. 185, line 5 from the bottom
crown
banner,
;
'
camels.'
makara-torana, herds of
(Ibid. no. 85; Transl., p. 150.)
and the surroundHaving provided the temple^with a flower-garden, kitchen,
pond, suitable environs, musical instrument (two named) and ornaments
Roman
(Ep. Carnal., Vol. x, Kolar Taluq, no. 132
(some named)
'
Built a beautiful stone temple with the torana-gate
(23)
ings walls.
'
.
.
.
;
54 ; Transl., p. 49.)
(24) Svarna-dvararh sthapitarh toranena sarddham Srimal-Lokanathasya
gehe
Placed a golden door and torana in the temple of glorious Lokanatha.'
text, p.
I
'
The
'
on the lintel of the door of the temple of AvalokiteSvara in Bungmati. The door is made of gilt brass plates, and adorned by
relieves. The arch or torana above the door, which is likewise made of brass,
inscription
is
encloses three images of Lokesvara.'
(Inscrip.
line 6
from Nepal, no. 21, Inscrip. of Srinivasa,
f.,
Ind., Ant.,
Vol. rx, p. 192, note 62.)
Dhanabhutina karitam toranarh silakammarhta
(25) Suganam raje
cha uparimo (=Sunganam rajye
Dhanabhutina karitam toranarh
.
.
.
.
Silakarmantas" chotpannah)
'
During the reign of the Sungas
.
.
I
(first
or second century
B. c.) this
gate-
way was erected, and the masonry finished by Vachhi-puta (Vatsi-putra)
Dhanabhiiti.'
(Sunga Inscrip. of the Bharhut Stupa,
Vol. xrv, pp. 138, 139
'
down
;
no.
i,
line 3 f., Ind. Ant.,
Vol. xxi, p. 227.)
the temple which had fallen to ruin, had it securely
rebuilt with a gopura, a makara-torana for the god Durgisvara, and god
Vrishabha.'
(Ep. Carnal., Vol. ni, Tirumakiidlu-Narasipur Taluq, no. 103 :
(26)
Pulling
Transl., p.
88
;
Roman
Text, p. 170.)
221
AN ENCYCLOPAEDIA OF
TAULI
The
'
(27)
to
rock
the
champion over the proud, a thunderbolt
sculptor Kalidasi,
(vajra-giri),
titled
made
sculptor,
carved headpiece for the lintel).'
Belur Taluq, no. 239 Transl., p. 275
;
the makara-torana
(Ep. Carnal., Vol. v, part
Roman
j
I,
(or
Supplement,
Text, p. 592.)
Those Brahmans, pleased with Basi-Setti, gave to his wife and
(28)
children a large palanquin and a canopy (torana) to descend to his
'
Vol. vi,
(Ep. Carnal.,
children.'
Roman
Chikmagalur Taluq, no. 44
Transl., p. 39
;
;
Text, p. 104.)
'
(29)
The Vira-bhikshavati-udana-svami honoured
the
Svami of the
a palanquin with silver mountings,
Galipuje throne with the follwing
the
double chamaras, a makara (torana)
a pearl necklace, a golden umbrella,
canopy ... for the feet, a Mukkanna drum, a Basava drum, a Nandi flag,
:
;
Chikmagalur Taluq, no. 109
(Ep. Carnal., Vol. vi,
etc.'
2
Roman
Text, p. 124, line
A
'
Toran(a)
(30)
resting
on columns
Chalukyan
(31) See
:
8
Transl., p. 51, para
f.)
more horizontal beams
structure formed of one or
or
a gateway
Architecture, Arch. Surv.,
other
New
detached
entrance.'
(Rea,
Imp. Series, Vol. xxi, p. 40.)
Arch. Surv. Reports
Cunningham,
;
Plate XL,
(Vol. xxi,
Torana
of great temple, Nand-Chand).
Gate-way of a temple or Stupa, (2) a peg used in
marriage ceremonies.' (Vincent Smith, Gloss, to Cunningham's Arch. Surv.
'Torana
(32)
(i)
Reports.)
TAULI The
top of a building, a roof, the ceiling.
Mukhottarayate nyasya tiryak taulim prakalpayet
vayate taulim kuryad yuktya vichakshanah
Tad-urdhve jayantikam kuryat tat-tat-prachchhadananvitam
I
Padam
I
I
(M., xxxm, 372-374.)
See
PRACHCHHADANA and compare PRATAULI.
TRI-KARNA A kind
of joinery, of three-earn pattern.
(M., xvn, 106
TRI-TALA The
The
2 ~55
5
second
see
under SANDHI-KARMAN.)
floor, the third storey.
description of the third storey.
see
;
(M., xxi, 56-72
;
the eight classes,
under PRASADA.)
TRI-PATTA A three-fold band, a moulding.
A moulding of the vase. (M., xrv, 74, 143, 248,
etc.;
compare the
lists
of
mouldings under ADHISHTHANA.)
A pose in which the image is bent
a
this pose
figure has its head and hips displaced
about one arhSa (part) to the right or left of the centie line.
TRI-BHAftGA
(see
in three places.
In
BHANGA)
(See details
222
under BHANGA.)
TARAMGA.
TRIPATTA
c
o
T.ATIKA.
TRIKARNA
JOINERY
TRIKAP.NA
Pane 223
I
HINDU ARCHITECTURE
A
TRI-BHITT-(IKA)
DANDA(-MANA)
three-fold wall, a structure having such a
wall.
(M., xxxiv, 74.)
TRI-BHtJMI
(see
The
TRI-TALA)
third
a
storey,
three-storeyed
building.
In connexion with an image
Evam tu Vishnu-murtih syach chhakti-yuktam tu parsVayoh
Tri-bhumirdakshine vame sthavare jangame'piva
:
I
I
(M.,
TRI-MURTI
The
triad,
the
62-63.)
LI,
Brahma, Vishnu and
images of
Siva.
(M.,
TRI-YUTA A
plan in
site
which the whole area
is
LI,
2-95.)
divided into
289 equal squares.
(M.,
TRI-VARGAKA A
set
vii,
23
;
see
under PADA-VINYASA.)
of three architectural members or mould-
ings.
Pinopapitharh
harmyam cheva mandapam cha
tri-vargakam
I
(M., xxxiv, 68.)
Nanda-pankty-ama(-5e) vibhajet chatus-tale tu tri-vargakam
I
(M., XXXHI, 505.)
In connexion with the foundations
:
Manjushochchrayam chatur-bhagam tat-tad ekasanam bhavet
Tad-dvayam changhri-tungarh syad ekams'am prastaranvitam
I
I
Tri-varga-mandapakaram adbhih svantam pravishtake
I
(M., xn, 34-36.)
TRI-VISHTAPA A class of buildings, octangular in plan and
called
(i)
Vajra, (2) Chakra, (3) Svastika, (4) Vajra-svastika, (5) Chitra,
(6)
Svastika-khadga,
(1)
(2)
Gada, (8) Srikantha, and (9) Vijaya.
Agni-Purdna (Chap, civ, w. 12, 20-21 see under PRASADA).
Garuda-Purdna (Chap. XLVH, w. 21, 22, 23, 31-32 see under PRASADA.)
(7)
;
;
TVASHTRI An
architect (see details
under STHAPATII.
D
DANDA(-MANA)
pillar,
(i)
A
measure, a type of building, a
flag-staff,
a parapet (M., xvi, 194-196).
A measure of four cubits (see under A^OULA)
Chatur-hastarh dhanur dandarh dandashtam rajjum eva cha
a
:
I
(M., n, 53.)
223
DANDAKA
AN ENCYCLOPAEDIA OF
Compare hasta-danda (M.,
A
stick (M., n, 223),
n, 68),
mana-danda
a measure (M.,
ix, 10,
(ibid., 76).
etc.)
;
in connexion with
joinery (M., xvn, 200).
(2)
A
(3)
Chatur-hasto dhanur dando nalika-jugam eva cha
house with a northern and eastern hall
DANDA-KANTA)
(see
(Bfihat-Samhita,
(5)
A
of buildings.
class
(Kamikagama, XLV, 64
;
39.)
LIII,
>
and Anusharigapada, Chap, vn, v. 100.)
see under MALIKA.)
(Brahmanda-Purana, Part
(4)
.
I,
AchaleSa-damdam uchchaih sauvarnnarii Samara-bhupalah Karayamasa
I
'
The
ed here
protector of the earth, Samara, caused a golden flagstaff to be erect(in the temple at Abu) for the lord of the mountain.'
(Mount Abu
Inscrip.
v. 54, Ind. Ant.,
Danda
of Samarasimha
Vol. xvi, pp. 350, 355.
an unspecified measure, also called Stambha.' Bamani
of
the
Silahara
Inscrip.
Vijayaditya, lines 20, 21, 23, Ep. Ind., Vol. 111, pp. 212,
(6)
'
2I3-)
DANDAKA A pillar,
a village, a pavilion, a hall, a
moulding.
part of a column.
(1)
A
(2)
Manasdra
(Suprabhedagama, xxx, 586, etc.; see under STAMBHA.)
:
A class of villages (M., ix, 2, etc.; see under GRAMA).
A part (? shaft) of the column (A/., xv, 44, 149 L,
A small pillar (M., xvm, 172).
;
85).
type of pavilion with two faces :
Dvi-vaktram dandakarii proktam tri-vaktram svastikarh tatha
I
further context under
(M., xxxrv, 552 ;
MANDAPA.)
of halls or storeyed mansions built in a
(M., xxxv,
single row
description ibid, 65-66, 82-95,
under ALA.)
see
A
3,
class
DANDA-KANTA A class of halls,
a type of storeyed mansions.
(M. t xxxv, 104;
DANDIKA
The
fifth
Cf.
DANPAKA.)
moulding from the top of the entablature.
(KSmikdgama, uv, 2
DANDITA
see
;
see
under PRASTARA.)
Smaller buildings, pavilions near the door.
Dvara-manam
tathaivaih syat dandita-dvaram ardhatah
(Ibid.,
224
I
xxxv, 45,
etc.)
HINDU ARCHITECTURE
DANTA-KILA A
DA$A TALA
kind of tooth-like joinery.
(M., XVH, 177
DANTA-NALA A
see
;
SANDHI-KARMAN.)
tooth-like drain or canal.
In connexion with the general
description of the single-storeyed buildings
:
Madhyame chottame harmye danta-nalam pramanakam
(
DAM(A)
(see
DHAMAN)
A
i,
i,
DARI-GRIHA
Kumarasambhava
10, 14
(i,
;
8
;
i,
ii,
;
also
quoted
looking-glass, a mirror,
In connexion with the
single-storeyed
lambanam
tatra sYenya
Vividha-kinkini-nirmala-darpanam.
article of furniture (M., L,
its
46),
.
.
.
\-( M
,
description
used as stables
pedestal (M. } xin, 75, 82,
moulding of the throne (M., XLV,
DASA-KANTA-A
name
collective
(M., xix, 42.
I
;
I
111-131).
elephants.
see
under
DALA-A petal, a leaf, a moulding of leaf-pattern.
A
generally
XLHI, 148, 157.)
(ibid.,
foi
(M., xxxiv, 253
A moulding of the
mgs under UPAP!THA).
24, etc.)
:
chordva-des"asya alankaram pravakshyate
DARBHA A type of pavilion,
vm
Sam.
:
darpana(m) proktavat
In connexion with the car or chariot
Rathanam
Vj.
an ornament.
buildings
Palike
T fifl ^
by Professor Liider)
Vol. xxxiv, p. 199.)
DARPANA A
An
a
The cave-house
(see KANDARA-GRIHA)
hewn out of rocks, underground rooms.
See Kalidasa's
xix
house.
(R.-V.,
Ind. Ant.,
A
I
MAISTDAPA.)
etc.; see the lists
of mould-
160, etc.).
of the ten
classes
of twelve-
storeyed buildings.
(M., xxx,
7.)
DASA-TALA The
tenth storey, the
ten-storeyed buildings.
Etad das"a-talam proktam
rajju-sutram adhas-talam
I
(KSmikagama, xxxv, 85
storey
225
(M
)
AN ENCYCLOPAEDIA OF
DASA-TALA
DA&A-TALA A
sculptural measure (see under TALA-MANA).
See Amhmadbheda of Kasyapa (MS. Egg. 3148, 3012, fol. 266, the largest
type of the daa-tala measure ; and fol. 274, the smallest type of the same.)
DASA-BHUMI (see DASA-TALA) The tenth storey, the ninth floorDAGABA A Singalese word applied to a stupa, derived from Sanskrit
'
and garbha, a womb, receptacle, or shrine.
under
See further details
DHATUGARBHA, cf. Vinaya Texts, 4, 308.
They were pre-Buddhistic in origin, see White Yajurveda, Chap. xxxv.
dhatu,' a relic, element,
DIPA-DANDA A
lamp-post, a lamp-bearing pillar.
Compare Dipa-stambha, and Dipa-skambha under STAMBHA and
the plates referred
see
to.
The
stationary lamp-post is generally built in front of the house
(M., L. 64) ; the movable lamp-stand is square, octagonal or circular
(ibid., 84) ; they are made of iron, wood, or stone (ibid., 71-89) ; their
description in detail
(ibid.,
57-83, 84, 96).
DIPA-DANA A
In the south (of India) it is usually
lamp-pillar.
a high monolith, with an iron lamp-bracket on the top. In the northwest of the Presidency of Madras such pillars are sometimes constructed
in courses, with lamp-brackets in the joints.
outside the front entrance.
These
pillars are erected
(Chalukyan Architecture, p. 38, Arch. Surv., New
Imp. Series, Vol. xxi see Plate cix, fig. i.)
;
DIPA-MALA(-SKAMBHA,
to
DIPA-STAMBHA,
STAMBHA) A lamp-bearing
the Jain monuments.
BHA)
(see
A small
pillar,
DIPTI-STAM.
generally
belonging
lamp-pillar, standing inside the temple (Chalukyan ArchitecNew Imp. Series, Vol. xxi see Plate cix, fig. i).
ture, p. 38, Arch. Surv.,
;
DUNDUBHI A type of round buildings.
(1)
(2)
Agni-Purdna (Chap, civ, w. 17-18 see under PRASADA).
Garuda-Purdna (Chap. XLvn, w. 21, 23, 28, 29, see under
PRASADA).
;
DURGA
Lit.
'
'
difficult to
go
into,
hence a
fortified place,
a
fort,
a fortified city.
(i)
Manasara:
As
fortified
sthaniya,
avara.
cities,
dronaka,
the forts are called sibira,
vahini-mukha,
sambidhha, kolaka, nigama and skandh(M., x, 40-42.)
236
P
DHARA KUMBHA.
BAMBOO
PEGS.
7
DANTA
K!LA.
DHVAJA STAMBHA
IMPA
STAMBHA
TOOTH-SHAPED.
DENTICULATED.
DANTA NALA.
Pitae 226
DURGA
HINDU ARCHITECTURE
For purely military purposes, they are classified as giri-durga (hillfort), vana-druga (forest-fort), salila-durga (water-fort), panka-durga
(clay-fort), ratha-durga (chariot-fort), deva-durga (divine-fort), and
misra-durga (mixed fort) (M., x, 90-91). Their description in detail
is
given
Their
(ibid.,
90-103).
common
features
:
Sarvesham api durganam
vaprais"
cha parikhair vritam
PraveSa-nirgama-sthane
api samanvitam
Ishtakadi-kritam vaprarh hasta-dvadasakochchhrayam
dvarair
Tad-ardharh
bhitti-mule tu
I
I
samcharaih
I
saha vistritam
I
(M., x. 106-109.)
(2)
Kautiliya-Arlha-sastra
(Chap, xxiv, para
i,
p. 51):
Chatur-disarh jana-padante samparayikam daiva-kritam
karayat antar-dvlpam sthalam va
durgam
nimnavaruddham audakam
prastaram guharii va parvatam nirudaka-stambam-irinam va
dhanvanam kha-janodakarh stamba-gahanam va vanadurgam
Tesham nadi-parvata-durgam jan-padaraksha-sthanam dhanI
vana-vana-durgam atavi-sthanam apadya prasaro va
I
Then
follows the very interesting description of the plan and
other architectural details, the military defences, and intern a
arrangement
for the comfort
and convenience of the inhabitants.
The
contents of Chapters xxrv, xxv, and xxn, when taken together, will give a good idea of the ancient fortified cities
They can be circular, square or rectangular. They are sur:
moats (parikha), enclosure walls and ramparts
and
vapra), and are furnished with various entrances,
(prakara
exits
and gateways
(pratoli).
Circumambulating flights of
steps (pradakshina-sopana) and secret staircases in the walls (gudha
Towers are built on the enclobhitti-sopana) are constructed.
sure walls and warlike weapons are placed therein.
In the interior
rounded
with
are constructed tanks, ponds, canals, etc. Various kinds of roads
are constructed, and buildings for the people of different castes
and professions are erected in a suitable manner.
Sukraniti
(3)
sagara, p. 447
'
(Chap.
2-16, 23-28, ed. Jivananda Vidya
f.)
Fortresses
are
rocks and deserts.
all sides
iv. sect, vi, vv.
made inaccessible through
The Parikha fort is that which
ditches,
is
thorns,
surrounded on
by great ditches (parikha); and the Parigha fort is known
which is protected by walls of bricks, stones and mud.
to be that
227
DURGA
AN ENCYCLOPAEDIA OF
The Vana
or forest-fort
clusters of trees.
one which
is
The Dhanva-durga
encircled by huge thorns and
known to be that round about
is
is
which there is no water. The Jala-durga or water-fort is that which
is surrounded by great
sheets of water.
The Giri-durga or hill-fort
is described as that one which is on the
high level and is supplied
with plenty of water. The Sainya-durga or troop-fort is that one
which is defended by heroes well up in vyuhas or military defence
and hence impregnable. The Sahaya-durga or help- fort is known to
be that which belongs to valorous and friendly kinsfolk.
'
Lankapuri
niralamba
deva-durga-bhayavaha
Nadeyam parvatarh vanyam kritrimarh cha chatur-vidham
Sailagre rachita-durga sa pur deva-puropama
(4)
I
II
I
(Ramdyana, Laiikakanda, Sarga
vv. 20, 22.)
3,
Khetanarh cha puranarh cha gramanam chaiva sarvasah
Tri-vidhanam cha durganam parvatodaka-dhanvinam
(5)
(Brahmanda-Purana, Part
pada, Chap, vn,
v.
i,
II
2nd Anushanga-
105
; see also v.
102.)
varksharh eva va
Dhanur-durga-mahi-durgam ab-durgarh
Nri-durgam giri-durgarh va samaSritya vaset puram
(6)
Shad-vidharh
I
II
(Manu-Samhita, vn,
(7)
I
70,
durgam asthaya purany-atha niveSayet
Sarva-sarhpat-pradhanarh yad bahulyarh chapi sambhavet
etc.)
I
II
Dhanva-durgarh mahi-durgam giri-durgarh tathaiva cha
Manushya-Hurgarh mrid-durgarh vana-durgam cha tani sha^ll
I
Then
follows the description of details
of these fortified places.
(Mahabharata, xn, 86, 4-5, etc.\
Yo'yarh samastam api mandalam au Satror achchhidya kirttigiri*durgam idam vyadhatta
having quickly wrested from the enemy
this whole district (mandala) made this fort of Kirtigiri.'
(Chandella
(8)
'
no.
Inscrip.
B, Deogattha rock
Inscrip. of Kirtivarman, v. 6, Ind. Ant., Vol.
xvra, pp. 238, 239.)
(9)
Lakshml-nrisirhha-paripalita-purva-tishte durge su-bhima-parighe
MalavaHi-namni
Vedantagaih
I
Srutiparaih
smriti-dharma-vidyaih
karayati deva-nripas-saro'gryam
'
In the fort
sma
II
protected on the east by (the
having a deep moat, filled with
Malavalli,
Lakshmi-Nrisirhha,
of)
learned in the Vedanta
temple
men
named
purne
Sruti (Vedas),
(i.e., philosophy),
Smriti and Dharma-Sastra that Deva-nripati made a maginificent
'
pond.
228
HINDU ARCHITECTURE
DEVA-DURGA
'
or fort is not a military post or station
Evidently this durga
are people learned not in the military science but in
its inmates
At the same time it is protected by
philosophy and religion.
'
;
'
deep moat.'
It
the villages
just like
therefore,
is,
towns
or
described in the Mdnasdra.
(Ep.
Vol.
Carnal.,
no. 6 1
Malavalli
in,
Roman
;
126
p.
;
Taluq
last
Text,
verse >
Transl., p. 62.)
(10) See the fort-temple.
(Chalukyan Architecture,
Arch. Surv.,
New Imp
.
Series, Vol. xxi, Plate cxiv, figs, i, 2.)
DURYA
Door-posts, belonging to doors, dwellings.
(R.-V.,
DURLABHA-GRAMA A
n
i, 9,
18
12
Taitt. Sam., i, 6, 3,
;
;
2,
12
;
vii, i,
i
i,
;
91, 19
;
x, 40,
Vdj. Sam., i,
;
u.)
village situated close to a large village
(maha-grama) and inhabited by the free-holders (agraharopajivin)
(Af., x,
DEVA-KANTA A
class
79-80
see
under GRAMA.)
of the eight-storeyed buildings.
(M., xxvi, 46-47
DEVA-KULA(-IKA)
;
.
A chapel,
;
see
under PRASADA.)
a shrine, a temple, a statue shrine,
a statue gallery.
'
(1)
Kandasenan (Skandasena)
be made.'
to
.
.
.
caused
temple (deva-kula)
(this)
(Vallam Inscip. of Mahendrapotaraja, no. 72, A.
Vol. H, p. 341.)
(2) See inscriptions
from Northern
Vol. u, p. 31.)
(3) See the inscription
B
Gujarat (no. xxr,
;
H.
S. I. I.,
line 4,
Ep.
Ind.,
Samvat 168
of the
in
Sarada character at
Peshwar Museum.
(4)
statue gallery of Ikshvaku Kings described in the Pra-
Compare
tima Nataka of Bhasa, and Kushan Kings Vamatakeshma and Kanishka
and the Saka Satrap Ghastana excavated in a mound near Mathura and
preserved in the
Mathura Museum.
DEVA-GARBHA
Foundations
of temples
(see
under
GARBHA-
NYASA).
DEVATA-MANDAPA A class of pavilions.
(Suprabhedagama, xxxi, 96, 98
DEVA-DURGA
(see
DURGA)
A
god's
fort.
229
fort,
;
see
under MANDAPA.)
a divine or natural
AN ENCYCLOPAEDIA OF
DEVA-NIKETA-MANDALA
Having sacked deva-durga. which formerly the Chola King (or the
Chola named Narendra) had made certain could not be taken, he by his
valour captured Uchchahgi, together with all the empire of the Pandya
'
(Ep. Carnal., Vol. v,
King.'
Roman
Text, pp.
Parti
Belur Taluq, no. 119
;
Transl., p. 78
;
;
182-183.)
DEVA-NIKETA-MANDALA A
group of temples.
Achikarad deva-niketa-mandalam
stambha-varo-chchhraya-prawhich is
caused to be made a group of temples
bhase
beautiful with the erection of (this) best of columns.
(Bihar Stone
.
.
.
'
.
.
.
'
Pillar
of Skandagupta, lines 5-6,
Inscrip.
PP- 49.
C.I.I.,
Vol.
ill,
F. G.
I.
no. 12,
50
DEVA-BHCSHANA-MANDAPA A
idols are dressed, a dressing
room
detached pavilion where the
in a temple.
DEVAYATANA
under MANDAPA.)
see
(M., xxxii, 71;
A
AYATANA)
temple.
Kritva prabhutarh salilam araman vinivesya cha
Devayatanarii kuryad yaSo-dharmabhivriddhaye II
Having made great water reservoirs and laid out gardens,
(see
I
'
let
one
build a temple to heighten one's reputation and merit.'
(Brihat-Samhitd, LVI,
i
J. R. A. S., N. S
Vol. vi, p. 316.)
:
Ramayana (Cock):
I-
'3
5>
I-
77>
II.
6,
4
II.
6,
ii
II.
3,
18
'3
II.
4
25,
VII. 101, 15
(Purim)
Sobhitam
.
devayatanais chaiva vimanair api-
.
.
I
Devayatanani
Srlmaty-ayatane vishnoh
Sitabhra-sikharabheshu devayataneshu
Devayatana-chaityesbu (also n, 71, 72).
Deveshv-ayataneshu cha
sobhite Sobhaniyais" cha
(Ubhe purottame)
I
I
I
I
.
devayatana-vistaraih
Devayatana-chaityeshu
.
.
I
I
(Mahabhdrata, H, 80, 30, etc.)
Grama-nagara-kheda-karvvada-madamba-drona-mukha-pattanam
galimdam
aneka-mata-kuta-prasada-devayatanarhgalidarh-oppuvaCf.
agrahara-pattanamgalimdam ati^ayav-appa
[At Teridala, a merchant-town situated
...
I
in the centre
and the
the
twelve
importance among
(towns) in the glorious Kundi
Three-Thousand, adorned with]
towns, hamlets, villages
villages
first in
'
surrounded by
hills,
groups of villages, sea-girt towns, and chief
230
cities
DEVALAYA
HINDU ARCHITECTURE
with elegant mansions, palaces and temples, and with shining agrahara
'
towns in the country of Kuntala
.
.
.
(Old Kanarese Inscrip. at Terdal, line 58
Ind.
DEVALAYA A
;
Ant., Vol. xiv, pp. 19, 25.)
god's residence or dwelling, in the sense of temple
of very common occurrence and needs no illustrative quotations.
But the passages quoted below are the most descriptive of all the
essential features of a Hindu temple and will fully explain the denota-
it is
tion of the term.
The general plan
:
Sometimes a portico is made round the garbha-griha (shrine
(i)
and antarala (corridor) together. The whole being closed on all
sides but the front, in which are the doors for entrance, approached
by the front portico, which is generally a peristyle, and it serves as
'
the innermost court for pradakashina (circumambulation).'
'
Temples on a large scale have three or four successive porticoes (mandapa) attached to them in the front, which are called
ardha-mandapa,
maha-mandapa,
vritya
sthapana-mandapa,
mandapa, etc.
A water spout is made over the base on the back wall of
On the surface of
the garbha-griha on the left side of the idol.
the spout a cavity is made for discharging water.
The spout
made
to
from
the
head of a lion, etc. and the
may be
spring
whole so devised as to project like a plantain flower.'
'
'
(Ram Raz,
'
(2)
Krishnaraja-udayar,
having
Ess. Arch, of Hind., pp. 49, 50, 51.)
created
Chamaraja-nagara,
created the Chamarajesvara temple (devalaya), together with its
precincts (prakara), gopura (gateway) adorned with golden kalasas
set up the great (maha) linga under the
of Chamarajesvara, and in the shrine (garbha-griha) to his left
set up the goddess named Kempa-Nanjamaba, and in the shrine to
and tower (vimana),
name
goddess Chamundesvari, and at the main entrance
(mahadvara) on the east set up a gopura, on the colonnade
(kaisaleyalli), to the south the ancient images (puratana-vigraha)
on the colonnade to the west a row of lifigas forming the thousand
his right the
,
(sahasra) lingas and on the colonnade to the north twenty-five
and on the southpleasing statues (lilamurti, cf. dhyana-murti)
west side building a separate temple (mandapa), set up the god
Narayana together with Lakshmi.' (Ep.
nagar Taluq, no. 86 ; Transl., p. 1 1, line 4 f.
;
231
Carnal.,
Vol.
Roman Text,
iv,
Chamaraj-
p. 18, line
8
f.)
AN ENCYCLOPAEDIA OF
DEVALAYA
In Lakkugundi, which was his birth-place, Amritadandadhls"a built a temple (devalaya) made a large tank, established
a satra, formed an agrahara, and set up a water-shed.
(Ep.
'
(3
,
'
Vol. vi,
Carnal.,
Kadur Taluq,
no. 36
Roman
;
Text, p. 22, line
1 1
f.
;
Transl., p. 8.)
'
Devalayaih prathayata nija-kirttim uchchaih
(4)
who spread
'
fame aloft by (building) temple.
(Sharqi Arch, of Jaunpur, ShahetMahet Inscrip., v. 14, Arch. Surv., New Imp. Series, Vol. xi, pp. 72, 73.)
The general plan
The temple itself consists of the usual three parts an
(5)
open mandapa on a base, .... with a double row of pillars on
the three exposed sides, and roofed by a large ribbed dome
on each of the three outer
standing on the twelve inner pillars
his
:
'
:
;
sides it has a large projecting
mandapa ...
porch.
in the inner corner of
Beyond
this
the principal
are two rooms.
this is
mandapa
hall
Three doors with richly carved thresholds lead from the
into the shrine.
(Ahmedabad Arch., Burgess, Arch. Surv., New
Imp.
Series, Vol. xxxni, p. 29.)
.
.
.
'
It (the MallesVara temple at Hulikat) faces north and consists
of a garbha-griha. an open sukha-nasi a nava-ranga and a porch.'
The Chennekesava temple, which faces east, consists of a
'
(6)
'
garbha-griha, a sukha-nasi and a nava-ranga, and
'
porch once.
'
The newly
the
restored
Vindya-s"ankara,
is
may have had
Sarada temple, situated
to
a fine
Dravidian
structure in the
a
the north of
style
consisting of a garbha-griha, sukha-nasi, a nava-ranga, and a
It
faces east and has
three entrances
prakara or enclosure.
on the north, south, and east, the east entrance, which is the
main entrance, having two open mandapas at the sides inside.'
(Mysore Arch. Reports, 1915-16, p. 4, para. 10
p. 5, para. 12 ; p. 15, para. 19 ; see Plate
m
figs,
i,
;
}
2.)
There is, however, no doubt that it (the Hindu temple at
Danui) was in the form of a cross with the usual ardha-mandapa,
mandapa, maha-mandapa, antarala, and griha-garbha (garbha-griha).'
'
(7)
(Cunningham,
p.
40
:
see
detail the
Arch.
Suro.
also ibid.,
Reports,
plate, xix,
Vol.
vn,
showing in
mouldings of the Narayana-pura
temple, ibid., Vol. xiv, Plate vn, Ionic temple
of sun, ibid., Vol. xv, Plate vu, island temple,
ibid.,
Vol.
xiu, Plates xi,
xvi, groups of temples.)
232
xn, xni, xiv, xv,
DRAVIDA
HINDU ARCHITECTURE
DE&YA A
site
plan of one hundred and forty-four squares.
(M.
14
vii, 13,
;
see
PADA-VINYASA.)
DEHARI(-LI) A temple, the threshold of a door, a raised terrace.
(See inscriptions from Northern Gujarat nos. xxn, line 3 xxxm, line 2
;
xxiv, line
DEHI A
i
;
xxv, line 2
;
Ep.
Ind., Vol. n, p. 32.)
defensive wall, trench or rampart.
(R.-V., vi, 47, 2
;
vn, 6, 5, Schroder Pre-historic
Antiquities,
as in the
344
Zimner,
;
All. Lib.,
:
143,
names Videha or even Delhi.)
A measure equal
(see under ANGULA)
one of the equal parts into which the whole height of the statue
of a god (or of the master and sometimes of the sculptor too) is divided
This is employed in measuring
according to the tala measures.
the sculptural objects like the image of a god or man.
DEHA-LABDHA&GULA
to
(Suprabheddgama, xxx, 5, 6, 9
DEHARA A porch,
(1)
;
see
under ANGULA.)
a terrace.
'In a discourse on dharmma
in
an assembly held in the porch
set up a god in the name
.
.
or terrace (dehara), the chaplain
of their father.
(Ep- Carnal., Vol. v, Part
.
'
I,
Arsikere
Taluq, no.
123
:
Transl., p. 167, para. 2, line 4.)
'
(2)
From Vira-Hoysala he obtained
(the
appointment)
pector of the servants of the porch or terrace (dehara).'
of ins-
(Ibid., no. 127,
Transl., p. 170, para. 2, line 16.)
A
DAIVIKA-(LlNGA)
type of phallus, a phallus of divine origin.
Devais cha sthapitarh lingam daivikarii lingam uchyate
(M.,
LII,
230.
I
See
Kamikdgama
under LINGA.)
L, 35. 37,
DOLA A
'
The
swing, a
hammock.
caused to be erected a dipti-stambha for the
of lights and a swing (dola) for the swinging rade
(dolarohotsavakke) of the god Chenna-Kesava of Belur.
great
minister
Krittika festival
'
festival
(Ep. Carnat., Vol. v, Part I, Belur
p. 107.
See Mdnasara,
Taluq, no. 14
;
Transl., p. 47
;
Roman
Text,
under BHUSHANA.)
DRAVIDA A style of achitecture,
a type of building once prevailing
in the ancient Dravida country (see details under NAGARA), India
south of the Krishna corresponding to Tamil India.
(S.
K. Aiyangar, J.
233
I.
S,
0. A. of June, 1934, p. 23.)
DRUPADA
A
AX ENCYCLOPAEDIA OF
class of the twelve-storeyed builirigs
:
Ravi-bhumi-visale tu chashta-virhsariisakam bhavet
I
Maha-s"ala dasams"am syat Sesham purvavad acharet
Panchalarh dravidarh chaiva ravi-bhumy-alpha harmyake
I
xxx, 8-10.)
(M.,
DRUPADA
The
and divine power
I
and sacrificial posts, symbolical of royal
which offenders and sacrificial victims were
civic
to
tied.
24, 13 ; iv, 32, 23
63. 3 5 "5> 2 5 XIX > 47> 9
(R.-V.,
DRONAKA
i,
under DURGA and NAGARA)
situated on the bank of a sea, a sea-side town.
(see
A.-V'
;
vn, 86, 5
;
:
Vdj. Sam.,
xx, 20.
A
fortified
Samudratatini-yuktarh tatinya dakshinottare
Vanighih saha nanabhih janair yuktam janaspadam
city
I
cha samavritam
Nagarasya
dronantaram
udahritam
Kraya-vikraya-sarhyuktaih
prati-tate grahakaiS
I
I
I
(M., x, 75-78.)
A
class of pavilion.
(M., xxxiv, 423
DRONA-MUKHA A fort, a fortified
A
see
under MANDAPA.)
town, a
defend a group of 400 villages
ChatuS-sata-gramya drona-mukham
fortress to
(1)
;
fortress.
:
I
(Kautillya-Artha-Sastra,
(2)
Chap, xxn,
p. 46.)
Nagarani kara-varjitani nigama-vanijarh sthanani janapada
desah pura-varani nagaraika-desa-bhutani drona-mukhani
jala-sthalapathopetani
I
(PraSna-Vyakarana-sutra-vyakhyane,
p. 306, ibid., p. 46, footnote.)
(3)
Grama-nagara-kheda-karvvada-madarhba-drona-mukha-pat-
tana-galirhdam
aneka-mata-kuta-prasada- devayatanarhgal-imdam-
oppuva-agrahara-pattanarhgalirhdamatisayav-appa.
[At Tridala, a merchant town situated in the centre and the first
in importance among the twelve (towns), in the glorious Kundi
.
.
.
Three-Thousand adorned with]
villages, towns, hamlets, villages
surrounded by hills, groups of villages, sea-girt towns and chief cities,
with elegant mansions, palaces and temples, and with shining
'
agrahara towns in the country of Kuntala.
'
at Terdal, line 58, Ind. Ant., Vol. xiv, pp. 19, 25.)
234
(Old Kanarese Inscrip.
DVARA
HINDU ARCHITECTURE
With myriads of people,
'
(4)
occupations,
of
practices
streams of the (nine)
sentiments,
virtue, agreeable
pleasure
gardens,
gilded boats for
spring festivals, ghatika-sthanas (religious centres), the supports of
dharmma and mines of enjoyment, moats which were as if the sea
lovers,
separated
splendid tanks,
full
lotus-beds,
being overcome had returned here on account of the collection of
gems, groups of the lotus faces of beautiful women fair as the moon
(grama-nagara-kheda-kharwana-madamba-drona- mukha-pura- pattana-raja-dhani), on whatever side one looked, in these nine forms did
the Kuntala-des shine.'
>
(It
be noticed that the passage within brackets
should
identical with the corresponding passage in quotation no. 3
is
almost
above).
(Ep. Carnat., Vol. vn, Shikarpur Taluq, no.
197
;
Transl., p. 124, para,
lines
DVA-DA$A-TALA The
;
Roman Text,
twelve-storeyed
last
i,
p. 214, line
the
buildings,
seven
27
f.)
twelfth
storey.
Mdnasdra (Chap, xxx, 1-191, ten
(1) See
under PRASADA
;
ibid., 5-7,
classes,
the general description of the twelfth storey,
see
8-36,
ibid.,
37-88,
89-191).
(2)
Tad-adhastat talarh chaikadaSa-dva-dasa-bhumikam
I
xxxv,
(Kamikagama,
(3)
Adva-dasa-talad
evarii
bhumau bhumau
prakalpayat
86.)
I
(Suprabhedagama, xxxi, 33.)
DVARA A door,
(i)
a gate, an entrance.
Compare GURUDVARA.
Mdnasdra (Chap, xxxvm, 2-54 ; xxxix, 1-163)
The situation of gates in the village or town
:
varta)
Nandya-
(called
:
Gramasya
parito bahye rakshartharh
vapra-samyutam
Tad-bahih
I
parito yukatarh paritoya-pravedakaih
Chatur-dikshu chatush-kone maha-dvaram prakalpayet
Vrittarh va chatur-asrarh va vastu-sva(-a)-kriti-vaprayuk
I
Purva-dvararh athaisane chagni-dvaram tu dakshine
Pitur dvararh tu tat-pratyag vayau dvaram tathottaram
I
I
I
I
Purva-paschima-tad-dvarau (-rayoh) riju-sutrarh tu yojayet
Dakshinottarayor dvarau tatra sesharh (-dese) viseshatah
Dakshinottaratah sutrarh vinyasech chhilpavit-tamah
I
I
Tasya sutrat tu tat-purve hastarh tad-dvara-madhyame
Evam
dakshinato dvaram tad-dhi taro(-rarh) tathoktavat
Uttare dvaram tat sutrat pratyag-hastavasanakam
235
I
I
I
I
AM ENCYCLOPAEDIA OF
>VARA
Chatur-dikshu chatur-dvararh yuktam va neshyate budhaih
Purve pas"chimake vapi dvaram etad(-kam) dvayor api
Paritas chatur-aSragrad dvaram kuryat tu sarvada
Etat sarvarh maha-dvaram upa-dvaram ichochyate
The smaller doors
I
I
I
I
:
Nage vapi mrige vatha
aditis"-chodito'pi
va
I
Parjanye vantarikshe va pushe va vitathe'thava
Gandharve bhringaraje va sugrive vasure'thava
I
I
Yathesht(am)evam upa-dvaram kuryat tal-lakshanoktavat
The
water-doors
(drains)
I
:
Mukhyake vatha bhallate mrige va chodite'pi va
Jayante va mahendre va satyake va bhrise'thava
Evam evarh jala-dvaram kuryat tatra vichakshana
I
I
(M.,
I
290-313.)
ix,
The
gates of villages :
Svastikagram chatur-dikshu dvaram tesharh prakalpayet
Evam chashta-maha-dvaram dikshu dikshu dvayam tatah
Mrige chaivantarikshe va bhringaraja-bhrise tatha
Seshe vapi cha roge va chaditau chodite'pi va
I
I
I
Evam
etad upa-dvaram kuryat tatra vichakshanah
tu sarvesham langalakara-sannibham
I
Maha-dvaram
Kapata-dvaya-samyuktam dvaranam
I
tat prithak prithak
(Ibid.,
355-361.)
Chatur-dikshu chatur-dvaram upa-dvaram antaralake
Devanam chakravartinarh madhye dvaram prakalpayet
Maha-dvaram
iti
proktam upa-dvaram
Bhu-suradi-naranarh cha
Madhya-sutram
tu
vame
tu choktavat
madhye dvaram na
tu
(cha) yojayet
(M., xxxi,
Tat-pure
Dakshine
I
I
I
77-81.)
:
madhyame dvaram gavaksham vatha kalpayet
madhyame dvaram syad agre madhya-mandapam
I
Chatur-dvara-samayuktam purve sopana-sarhyutam
entire chapters
I
I
(M., xx,
Two
I
I
harmya-dvaram prakalpayet
Referring to the two-storeyed buildings
I
81-83.)
are devoted to the description of doors of
the
buildings and temples, in one of which (Chap, xxxix, 1-163^
the measurement and the component parts and mouldings are given
residential
;
the situation of the doors
mainly
xxxvra, 2-54).
236
is
described
in the
other
(Chap.
DVARA
HINDU ARCHITECTURE
It
is
twice
(Chap, xxxix) that the height of the door should be
width (line 14). But various alternative measures are also
stated
its
The height may vary from if cubits to 7 cubits
of
the smaller doors vary from i cubit to 3 cubits
height
The height of the windows which are sometimes made in
given, (lines 17-18).
The
(line 7).
(lines 9-10).
place of smaller doors vary from half a cubit to 2 cubits. This measureis
Such
prescribed for doors in the Jati class of buildings (line 28).
ment
other measurements are given to doors of buildings of
the
Ghhanda,
Vikalpa, and Abhasa classes (line 29 f.). The pillars, joints, planks,
shutters, panels, frames, and other parts of doors are described at great
Doors are generally of two flaps ; but onelength (lines 50, 111-163).
flapped door are also mentioned (line 98).
Doors are profusely decorated with the carvings of leaves and
The images of Ganesa, Sarasvati and other deities
creepers (line 116).
on
are also carved
both sides of a door (cf. the concluding portions of
Chaps, xix, xxx).
The chapter
four
main
sandhi),
closes with
a lengthy description of the
The door-panel
parts of doors.
door-plank
described ^line 137
(phalaka),
bolt
(kavata),
(kilabhajana),
six or rather
the
door-joint (dvaraare minutely
etc.
f.).
It is stated (Chap, xxxvm) that four main doors should be constructed
on the four sides of all kinds of buildings of gods and men (lines 2-4)
and the smaller doors are stated to be constructed at convenient places
(line 4).
Many other
still
spaces (lines 19, etc).
downwards
(lines
beneath the halls
smaller doors are constructed at the intervening
gutters are made conveniently and sloped
The
5-7).
(line 8).
flight of stairs (line
Drains or jala-dvara (water-gate) are made
The main doors are always furnished with a
12).
In some residential buildings the entrance door is made, not in the
middle of the frontage, but on either side of the middle (line 17),
is to make the door in the middle
of the
But in temples and in case of kitchens in
particular, the doors are generally made at the middle of the wall (line
For the easy upward passage (urdhva35, see also Chap, xxxix, 140).
gamana) of the kitchen smoke, they are furnished with the lattice (Jala,
although the general rule
(front wall, lines 6, etc.).
line 37).
Varaha-mihira (Bnhat-Samhitd, LHI, 26-27, 70-82
LVI, 10) has
condensed the contents of the two chapters, dealing with the measurement of door (dvara-mana) and situation of the door (dvara-sthana)
of the Mdnasara. But he does not give any absolute measurement. As
(2)
;
237
AN ENCYCLOPAEDIA OF
DVARA
the principle seems to be two-fold in all the
regards the situation of door,
'
door is made on either said of the middle
The
treatises.
architectural
of the wall, mostly in private residential buildings for ladies in parti'
But according to Ram Raz (p. 46) if the front of the house
cular.'
be ten paces in length, the entrance should be between five on the right
and four on the left.'
After this, Dr.
ciples
Kern quotes Utpala
show
to
the
different
prin-
:
Tatha cha karyani yatha bhananam grihabhyantaram anganam
visatam tany-eva vasa-grihani dakskinato dakshinasyam disi bhaEtad uktam bhavati pran-mukhasya grihasyangana-(syavanti
gara)-dvaram uttararabhimukharii karyam dakshinabhimukhasya
uttarabhipran mukham palchimabhimukhasya dakshinabhimukham
I
mukhasya paschimabhimukham
'
How
a house can be said
door facing the same quarter,
Compare no. 4 below.
iti
I
to face the east,
is
himself,
N.
S.,
however, states
its
Kern.
beyond our comprehension.'
(J.R.A.S.,
Varaha-mihira
without having
Vol. vi, p. 291, note
(Bfihat-Sarhhitd,
LVI,
i.)
10)
the door, which Dr.
general principle of the position of
notice
of
taken
does not seem to have
(compare his transany
the most
Kern
lation of the following verse, J. R. A. S.,
N.
S., Vol. vi, p. 318)
:
Chatuh-shashti-padarh karyam devayatanam sada
Dvaram cha madhyamam tatra samadikstham prasasyate
I
II
always divided into 64 squares (see
the door is made at the
(i.e.
PADA-VINYASA)
and
it
is
middle (of the front wall)
highly commendable, when the
door is placed at the same line (lit. same direction) with the idol.'
:
The
(area of the) temple
is
in the temple)
Therein
.
Dr. Kern interprets the second line as
the four cardinal points.'
The
rules
in
'
the middle door in one of
the Mdnasara
existing temples support the interpretation,
'
at the middle
(of the front wall).
as
'
namely,
also the
the door
is
made
(3) Vdstu-sdra
(by one
Mandana, Ahmedabad, 1878)
lays
down
(i,
6)
that the house may have the front side (with entrance) at any direction
that the
according to the choice of the occupants, and states distinctly
face of the house
may be made
at four directions (kuryach chatur-disaih
mukham).
(MS. R. 15, 96, Trinity College, Cambridge) has
of door
three
apparently
chapters on the subject of door : dimensions
of
the
Mdnasara)
(dvara-pramana, fol. 57^, 686, same as dvara-mana
(4) Gdrga-Sarhhita
;
238
HINDU ARCHITECTURE
DVARA
situation of door (dvara-nirdesa,
Chap, m, fol. 573, corresponds more or
with dvara-sthana or position of door, of the
and height
Mdnasdrd)
of the door-pillar (dvara-stambhochchhraya-vidhi, fol.
there is no
606)
such separate chapter in the Mdnasdra, although door
pillars are occaless
;
;
sionally described.
As regards dvara-dosha (penalties of defective doors), Varahamihira
seems to have condensed (Brihat-Sarhhita, LIII, 72-80) the contents of
Garga
(fol.
68*).
(5) Vastu-Sdstra (of Rajavallabha
Mandana, v. 28, ed.
Bharati and Yasovanta Bharati, Anahillapura, S. V.
947)
Narayana
:
Dvararh matsya-matanusari dasakarh yogyam
vidheyam
dhaih
following the rules of the Matsya-Purdna the learned
bu-
'
(archi-
tects)
recommend
ten suitable doors (for a
building)'.
by Rajakisora Varmma)
Dvarasyopari ya(d)-dvararh dvarasyanya (?) cha sammukham
Vyayadam tu yada tach cha na karttavyam subhepsubhih
Those, who want prosperity, should not make one door above
Vdstu-pravandha (n, 8, compiled
(6)
:
I
1
'
or in front of another because
(7)
it is
Silpa-Sdstra-sdra-samgraha. vn,
1
expensive.'
24
Chatur-dvararh chatur-dikshu chaturam (?) cha gavakshakam
Nripanarh bhavane sreshtham anyatra parivarjayet I)
'
:
I
highly commendable for the buildings of the kings to make
four doors at four directions and four windows.
This rule need not
It is
be observed in other cases.
'
Bhavishya-Purdna (Chap, cxxx, v. 17) has the same verse as (2^
'
except that it reads samadik sampraSasyate in place of samadikstharh
'
prasasyate of the Brihat-Samhitd.
(8)
'
(9)
Matsya-Purdna (Chap. CCLV,
'
w.
7-9)
:
Vasa-geharh sarvesham praviSed dakshinena tu
Dvarani tu pravakshyami pra^astaniha yani tu
Purvenendrarh jayantarh cha dvararh sarvatra Sasyate
Yamyam cha vitatham chaiva dakshinena vidur budhah
Paschime pushpadantarh cha varunam cha praSasyate I
Uttarena tu bhallatam saumyam tu Subhadam bhavet
I
1 1
I
1
1
1 1
For all kinds of residential buildings the southern face of the house is
expressly recommended here, while doors are directed to be constructed
at all the eight cardinal
points.
Cf.
Dasa-dvarani chaitani kramenoktani sarvada
(Ibid.,
239
I
Chap. CGLXX,
v. 28.)
AN ENCYCLOPAEDIA OF
DVARA
(10) Agni-Purdna (Chap, civ, v. 24)
:
Dikshu dvarani karyani na vidikshu kadachana
The doors should be constructed at the cardinal points and never
I
'
at the intermediate corners
'.
(11) Garuda-Purdna (Chap. XLVI, v. 31)
:
Dvararh dirgharddha-vistaram dvarany-ashtausmritani cha
The breadth of the door should be half of its height (length)
and there should be eight doors (in each house).'
I
'
Vdstu-vidyd (ed.
(12)
24-32
,
xiv, 1-3)
Ganapati
Sastri,
iv,
1-2,
19-22
21
v.
;
xin,
;
:
Atha dve pranmukhe dvare kuryad dve dakskinamukhe
Dvare pratyanmukhe dve cha dve cha kuryad udanmukhe
I
Mahendre pranmukham dvararh
II
pras"astarh s"ishta-jatishu
(i)
I
(2)
Apararh tu tatha dvararh jayante praha nis"chayat
Antar-dvarani choktani bahir-dvaram athochyate II (19)
Yatronnatarh tato dvararh yatra nimnarh tato griham
Grihe chapy-ashtame ra^au tatra dvararh na karayet (20)
Grihakshate cha mahendre brahmananarii prakirtitam
Mahidhare cha some cha pha(bha)llatargalayos tatha II (21)
1
1
I
I
I
Sayaniyam tu kartavyarh praSastarh purvatah sikha
Nava-dvarakritarh kuryad antarikshe mahanasam II (22)
Dvaram yatra cha vihitarh tad-dig-adhi^adhiparh bhaved dhama
Eka-talaih va dvi-talam dvi-tale dvi-mukham cha nirmukham
va syat II (21)
I
I
Position of the door
:
Dvaram cha
dikshu kartavyarh sarvesham api vesmanam
Madhyastha-dvara-madhyam syad vastu-mandira-sutrayoh
I
1
1
Upadvarani yujyantani pradakshinyat sva-yonitah
Dvara-padasya vistararh tulyam uttara-taratah II (25)
Sva-sva-yonya grihadinam kartavya dvara-yonayah
(26)
Agneyyam mandiram dvarani dakshinabhimukham smritam
(24)
I
I
tu nairrityam
tad
udanmukham
I
Pratyanmukham
vayavyam
(31)
lie tat pranmukham kuryat tani syuh padukopari
(32)
Then follows the measurement of the mouldings of the door (26-30).
The door-panels are described next
Kavata-dvitayarh kuryan matri-putry-abhidharh budhah
I
:
I
Dvara-tare chatush-pancha-shat-saptashta vibhajite II (i)
Ekama(m) sutra-pattih syat samara va bahalam bhavet
Ardham va pada-hlnam va bahalam
parikirtitam
II
Dvarayama-saniayama karya yugmy cha pahktayah
A^vyadi-veSma-paryantah panktayah parikirtitah II
240
(2)
I
(3)
I
II
DVARA
HINDU ARCHITECTURE
by Raghunandana quotes from the Devl-Purdna
Matha-pratisthd,
(13)
without further reference
Plaksharh dvararh bhavet purve yamye chaudumbararh bhavet
:
Paschad asvattha-ghatitam naiyagrodharh tathottare
(14) Kautillya-Artha fdstra (Chap, xxiv, pp. 52, 53, 54)
I
I
:
Agrahye dee pradhavitikarh niskhura-dvararh cha
Prakaram
mandalaka-madhyardha-dandam
ubhayato
I
pratoli-shat-tulantararh dvararh niveSayet
Pancha-hasta-mani-dvaram
kritva
I
I
Prakara-madhye kritva vapirh pushkarimrh dvararh chatus'-s'alam adhyardhantaranikarh kumarl-purarh munda-harmyarh dvitalarh mundaka-dvararh bhumi-dravya-vasena va tri-bhagadhi-
kayamah bhanda-vahim-kulyah karayet
I
Sa-dvadasa-dvaro yuktodaka-bhumich-chhanna-pathah
Sainapatyani dvarani bahih parikhayah
I
I
(Ibid.,
Kishku-matra-mani-dvaram
asarhpatarh karayet
antarikayarh
54
p.
f.)
khanda-phullartham
I
Pratiloma-dvara-vatayana-badhayarh
rathyabhyah
Chap, xxv,
cha
anyatra
raja-marga-
I
(Ibid.,
Chap. LXV, pp. 166,
(15) Ramayana, (Lankakanda, Sarga 3, i, n, 13, 16) :
Dridha-vaddha-kapatani maha-parigha-vanti cha
Chatvari vipulany-asya dvarani sumahanti cha II
167.)
I
(ii)
Dvareshu samskrita bhlmah kalaya-samayah sitah
Sataso rachita viraih sataghnyo rakshasa ganaih II (13)
Dvareshu tasarii chatvarah sakramah paramayatah II
Yantrair upeta bahubhir mahadbhir griha-panktibhih
I
(16)
II
(16)
Kamikagama (xxxv, 6-13)
Bhallate pushpadante cha mahendre cha graha(griha)kshate
Chatur-dvararh prakartavyarh sarvesham api vastunam
(6)
:
I
1
Then
1
are given the details concerning the position of doors in various
Next follows their measurement (10-13).
quarters (7-9).
Devanarh manujanam cha viseshad raja-dhamani
Pushpadante cha bhallate mahendre cha graha(griha)kshate
Upa-madhye'thava dvarani upa-dvararh tu va nayet
Cf.
I
(Ibid., v.
Pratyanmukharh tu Sayanarh
II
1
1
118,
doshadam dakshinamukham
u8a.)
I
Dvare padetu neshta(rh) syat nodak-pratyak chh(s")iro bhavet
Bhojanam nanuvam^arh syach chhayanarh cha tathaiva cha
II
I
AnuvarhSa-griha-dvararh naiva karyarh ^ubharthibhih
(Ibid.,
241
v.
1
1
146, 157.)
AM ENCYCLOPAEDIA OF
DVARA
Bhallate
dvaram
ishtarh syad
brahmananam
viseshatah
acharet
Madhya-sutrasya vame va dvaram vidhivad
(Ibid., v.
niveSanam
Jala-dvaram punas tesharh pravakshyami
It
1
1
165, 168.)
I
(Ibid., v.
167-176.)
tu vai tale
Devanam ubhayarh grahyarh madhya-dvaram
Gopurarh cha khaluri cha mula-vastu-nirikshitam
Antare raja-devinam grihany-antar-mukhani cha II
I
II
XLII,
(Ibid.,
(17) Suprabhedagama (xxxi,
131-133)
7,
1
xxxv, 54, 128.)
(Ibid.,
Dandika-vara-sarhyuktarh shan-netra-sama-vamsakam
Varhsopari gatah salas chattaro'shtanananvitah
1
li
(7)
Bahya-bhittau chatur-dvaram athava dvaram ekatah
in
the
attendant
deities
built
the
of
the
to
temples
Referring
1
courts (prakara)
19.)
:
1
five
:
Prakara-samyutam kritva bahye vabhyantare'pi va
Purve tu paschime dvaram paschime purvato mukham II (131)
Dakshine chottara-dvaram uttare dakshinonmukham
I
I
paschime dvaram
tat
Vahnlsana-sthitam yat
ishyate
Nilanila-sthitarh chaiva purva-dvararh prasasyate
1
1
(132)
I
Vrishasya mandapam tatra chatur-dvara-samayutam II (133)
i, 185, 119-122)
(18) Mahabhdrata (v, 91, 3
Tasya (duryodhana-grihasya) kakshya vyatikramya tisro dvahsthair avaritah
:
;
1
1
Prasadaih sukritochhrayaih
Suvarnajala-sarhvritair mani-kuttima-bhushanaih
1
1
Sukharohana-sopanair mahasana-parichchhadaih
Asambadha-Sata-dvaraih Sayanasana-sobhitaih
1
(19) See Ep. Ind. (Vol.
i,
Dabhoi
Inscrip, v.
in,
1
1
1
1
1
p. 31).
from the
(20) Vijaya-vikshepat bharukachchha-pradvaravasakatat
fixed
before
the
(Umeta grant
gates of Bharukachchha.'
camp of victory
-'
Dadda n, line i, Ind. Ant., Vol. vu, pp. 63, 64.)
(21) Svarna-dvaram sthapitam toranena sarddharh ^rimal-lokanathasya
gehe
placed a golden door and a torana in the temple of glorious
of
c
Lokanatha.'
The inscription is
tesvara in Bungmati.
'
by
relieves.
on the
The arch
three
lintel
The door
is
of the door of the temple of Avalokiof gilt brass plates, and adorned
made
or torana above the door, which is likewise made of
images of Lokesvara.' (Inscriptions from Nepal,
brass, encloses
no. 21, Inscrip. of Srinivasa, line 6
f.,
Ind. Ant., Vol. ix, p. 192,
242
note 62.)
HINDU ARCHITECTURE
DVARA-$OBHA
had the sideAtirtha-dvara-paksha-sobharttharh madisidam
doors of that tirtha made for beauty.'
(Ep. Carnal., Vol. n, no. 115;
'
(22)
Roman
Text, p. 87
;
Transl.,
171.)
p.
Chalukyan Architecture. (Arch. Surv., New Imp. Series, Vol.
LXXIV xcv cxm, figs, i, 2.)
xxi, Plates v, flgs. 1,2; LIV
(Ibid., Vol. iv, Plates xxiv
xxiv,
(24) See Buddhist Cave Temples.
xxxv XLIII, no. 2.)
no. i
xxxn, nos. r, 2
(23)
See
;
;
;
;
;
;
;
(25)
See
Cunningham's
Arch.
Surv.
(Vol. xix. Plates xrx.)
Reports.
DVARAKA A gate-house.
Prasade
mandape
sarve gopure dvarake tatha
Sarva-harmyake kuryat tan-mukka-bhadram
DVARA-GOPURA
I
I
(M., xvm, 326-328.)
The gate-house of
(same as MAHA-GOPURA)
the fifth or last court.
(Suprabhedagama, xxxi, 125
DVARA-KOSHTHA(-KA)
The index of
see
;
under PRAKARA.)
Agate-chamber.
the
Divyavadana quoted by way of comparison with
Svakiyavasanika-dvaroshtha, dvaroshtha-nishkasapravesaka, and nishk asa-pravesa-dvaroshthaka.
lines
(Siyodoni Inscrip.,
Ep. Ind. t Vol
14,
32,
33,
pp. 165, 175, 177.)
i,
DVARA-PRASADA The
See
See
gate-house of the third court.
Mdnasdra (xxxin, 9, under GOPURA).
also Suprabhedagama (xxxi, 124, under PRAKARA).
DVARA-SAKHA
SAKHA)
(see
jamb or post.
He, the emperor of the
Vijaya-narayana
door-frame,
to
be
made
of stone for
latticed
window, secure door-frame, doorkitchen, ramparts, pavilion and a pond named
(temple),
(dvdra-sakhali) ,
the
door-lintel,
South, caused
'
lintel
The
Vasudeva-tirtha.'
(Ep. Carnal., Vol. v, Part i, Belure Taluq, no. 72
Transl.} p. 61 ; Roman Text, p. 142, line
;
7.)
DVARA-&ALA
(see
A gate-house.
GOPURA)
The gate-house of the second
court.
(M., xxxni,
xxxi, 124
DVARA-SOBHA
(see
GOPURA)
The gate-house of the
first
8,
;
and Suprabhedagama,
see
under PRAKARA.)
A gate-house.
court.
(M., xxxm,
xxxi, 123
243
8,
;
and Suprabhedagama,
see
under PRAKARA.)
DVARA-HARMYA
DVARA-HARMYA
The
AX ENCYCLOPAEDIA OF
(see
A gate-house.
GOPURA)
gate-house of the fourth
court.
(M., xxxni, 9, and Suprabheddgama,
xxxi, 125 ; see under PRAKARA.)
DVI-TALA The
two-storeyed buildings.
Mdnasdra describes the two-storeyed buildings in a separate chapter
(xx, 1-115); the eight classes (ibid., 2-45; see under PRASADA); the
general description of the second floor (ibid., 46-115).
Cf. Purato'sya shodas'anam varaihgakanarh dvi-bhumika-grihani ali'
in front of the temple
ramyany-achlkaraj jaya-sainyesah
two
rows
of
erected
he (Jaya)
double-storeyed house for sixteen female
dvayena
(Chebrolu Inscrip. of Jaya, v. 46, Ep.
attendants.'
DVI-TALA A
DVI-PAKSHA
sculptural measure
Two
EKA-PAKSHA)
(cf.
having footpaths on both
details
(see
Vol.
Ind.,
vi,
pp. 40, 39.)
under TALA-MANA.)
sides,
a street
(or
wall)
sides.
Dakshinottara-rathyam tat tat samkhya yatheshtaka
Evaih vithir dvi-paksharh(-sha) syan madhya-rathyena(-ka)-pakshaI
kam
I
Tasya mulagrayo(r) deSa kshatra(
kskudro)-manarh prakarayet
Bahya-vithir dvi-paksham(-sha) syat tad-bahis" chavritam budhaih
?
I
I
(M,
Rathya sarva
chhaya
tiryan-margam
syat
dvi-paksham(-sha)
ix,
350-353.)
yathech-
I
465. See also M., ix, 396
(Ibid.,
86-87
DVI-VAJRAKA A
column with
Cf. Vajro'shtasrir dvi-vajrako
xxxvi,
5
sixteen rectangular sides.
dvi-gunah
I
(BrihatSarhhita, LHI, 28
DVYA^RA-VRITTA A
;
under EKA-PAKSHA.)
two-angled
circle,
(M,, xix, 171
;
;
see
under STAMBHA.)
an oval building.
xi, 3, etc.
;
see
under PRASADA.)
DH
DHANADA
(see
UTSEDHA)
A
type of pavilion, a kind of height,
an image.
A height which is if of the breadth of an object
22-26 and cf. Kamikagama, L, 24-28, under ADBHUTA).
The image of the god of wealth (M., xxxii, 140).
A
class
of pavilions
(M., xxxiu, 398
244
;
see
(See
under MANDAPA).
M., xxxv,
DHARMALAYA
HINDU ARCHITECTURE
DHANUR-GRAHA A
measure, a cubit (hasta) of 27 angulas.
(M., n, 52, and Suprabheddgama,
xxx, 26 ; see under ANGOLA.)
DHANUR-MUSHTI A
measure, a cubit (hasta) of 26 angulas.
(M., n, 51, and Suprabheddgama,
see under ANGULA.)
xxx, 26
;
DHANUS A
measure of four
cubits.
(M,
n,
53
under ANGULA.)
see
;
DHANVA-DURGA A fort (see details under DURGA).
DHAMMILLA The braided and ornamented hair of a woman tied
round the head and intermixed with flowers, pearls,
A
headgear (M., XLIX,
etc.
14, etc.).
DHARMA-GANJA A
library in the University of Nalanda, comprising three buildings known as Ratnodadhi, Ratnasdgara, and Ratnaranjaka.
(Tibetan account of the Univeristy of Nalanda.)
DHARMA-DHATU-MANDALA
The
relic
shrine
of
Nepalese
temples, situated at the fourth storey of five-storeyed pagoda-like
structures, the basal floor being occupied by Sakya-muni, second by
Amitabha, the third being a small chaitya, and the
being called vajra-dhatu-mandala.
(See
Deva Bhavani temple, Bhatgaon, Fergusson
monument, a
:
and East. Arch., 1910,
Vol. i, p. 281.)
History of Ind.
DHARMA-RAJIKA A
or apex
fifth
tope.
Tau darmma-rajikam sangarh dharmma-chakraih punar navam
I
They repaired the dharma-rajika (i.e. stupa) and the dharmachakra with all its parts.'
(Sarnath Inscrip. of Mahipala, line a, Ind. Ant.,
'
Vol. xiv, p. 140, note 6.)
DHARMA-SALA A rest-house.
(Vincent Smith, Gloss.,
Cunningham's
loc.
cit.,
to
Arch. Surv. Reports.)
DHARMA-STAMBHA A kind of pillar.
(M., XLVII, 14
;
see
under STAMBHA.)
DHARMALAYA A rest-house.
va agneye panlya-mandapam
sarvarh
yatheshtarh dis"ato bhavet
Anya-dharmalayarh
Tatraiva
I
sa(t)tra-s"ala
(M,
245
ix,
I
139-140.)
DHATU
AN ENCYCLOPAEDIA OF
DHATU (cf. TRIDHATUSARANA)
DHATU-GARBHA Buddhist
Storey.
(R--V., iv, 200.)
same as chaitya and as
and is
strictly applicable
dagoba,
'
stupa, the relic receptacle or inner shrine,
only to the dome of the stupa, sometimes called the
anda or egg.'
in the literal sense, but
'
These monuments were
not merely relics
memorials in an extended acceptation, and were classified as corporeal
remains objects belonging to the teacher, as his staff, bowl, robe
holy spots, etc., and any memorial, text of a sacred book, cenotaph
;
of a teacher,
etc.'
DHANYA-STAMBHA A kind
of pillar.
(M.
t
XLVII, 14
under STAMBHA.)
see
;
DHAMAN A dwelling house.
(R.-V.,
i,
6 1, 4
68,
i
;
;
144,
x,
xii,
i
ii,
;
i
13,
52
3, 2
;
ra, 55,
Vaj. Sam., iv,
;
34
Sam.,
DHARANA A
A
class
of
type of building, a
the
pillar,
10
A.-V., iv, 25, 7
;
;
ii,
vra,
;
;
vn,
Taitt.
7,
2.)
a roof, a tree.
seven-storeyed buildings.
(M., xxv, 26
A synonym of pillar (M., xv, 6)
A kind of tree of which pillars
DHARA-KUMBHA A
and of roof (M.,
;
see
under PRASADA.)
xvi, 52).
are constructed (M., xv, 348-350).
moulding of the base.
(M., xiv, 46
see
;
the
lists
of mouldings,
under ADHISHTHANA.)
DHARA-NILA A
blue stream of water, the
from
the
descending
phallus.
line
of sacred water
In connexion with the phallus
Garbha-geha-sthale dhara-nila-madhye samarh bhavet
:
DHARA-LINGA A kind of phallus
(M.,
DHVAJA-STAMBHA
(see
m,
I
(M., 01,173.)
with fluting at the top portion.
135
STAMBHA)
;
un, 48
;
see details
under LINGA.)
Flagstaff's, free-pillars erect-
ed generally by the worshippers of Siva, a
pillar or pilaster decorated
with banner or flag (dhvaja) at the top.
N
NAKULA
BHUSHANA)
The cage of
the
mungoose (M.,
.
246
L,
245
;
see
under
HINDU ARCHITECTURE
NAKHA
The
nail, its
NAGARA(-Rl)
measurement,
when belonging
etc.,
to
an
image.
(M.,
NAKSHATRA- MALA The
garland of
stars,
(M.,
LXV,
etc.,
21.)
an ornament.
297
L,
LIX,
;
see
under BIIUSHANA.)
Probably from Naga, lit. immovable
permanence and strength with reference to stoneThe purs were mere fort while pura as in Tripura and
NAGARA(-RI)
(cf.
GRAMA)
or rock, implying
walls, etc.
Mahapura was something much bigger
10
Kdth. Sam., xxiv,
Sam.,
m,
8, i).
developed
city,
35
Sam., vi,
;
2,
n
Ait. Bra., n,
3,
4
;
Matt.
;
Thus pur might have been the prototype of pura, the
and nagara the full-fledged capital city.
(1) Definition
Janaih
;
Sat. Bra. vi, 3, 3,
(Tail.
:
parivritam
dravya-kraya-vikrayakadibhih
Aneka-jati-sarhyuktarh karmakaraih samanvitam
1
I
1
Sarva-devata-saihyuktam nagararii chabhidhlyate
II
(Kamikagama, xx, 5-6.)
(2)
Dhanu-satam pariharo gramasya syat samantatah
Samyapatas trayo vapi tri-guno nagarasya tu II
I
(Manu-Samhita, vni, 237.)
(3)
Dhanuh-Satam pariharo grama-kshetrantaram bhavet
Dve sate kharvatasya syan nagarasya chatuh satam
1
I
1
(Tdjnavalka, n,
(4)
Nagaradi-vastum cha vakshye rajyadi-vriddhaye
Yojanarhyojanarddham va tad-artham sthanam a^rayet
Abhyarchya vastu-nagaram prakaradyani tu karayet
Isadi-trims"at-padake pQrva-dvararh cha suryake II
167.)
I
II
I
Gandharvabhyarh dakshine syad varunye pa^chime tatha
Saumya-dvaram saumya-pade karya hatyas tu vistarah
I
1
1
(Agni-Purdna, Chap, cvi, v. 1-3.)
Then
follows the location of the
professions
(5)
in
various quarters
people
(ibid., v.
of different
castes
and
6-17).
Chhinna-karna-vikarnarii cha vyajanakriti-samsthitam
II
Vrittam vajram cha dirgharii cha nagararii na prasasyate
1
1
(Brahmdnda-Purdna, Part I 2nd Anushnaga-pada,
Chap, vn, vv. 107, 1 08 ; see also vv. 94, no, in.)
247
AN ENCYCLOPAEDIA OF
NAGARA(-RI)
(6) Kautiliya-Artha-Sastra
Nagararh raja-dhanl
(Chap, xxii, p. 46, footnote)
:
I
(Rayapasenisulravyakhyane, p. 206.)
Nagrani kara-varjitani nigama-vanijam sthanani
I
(PraSna-vySkarana-futra-vyakhyane, p. 306.)
(7)
Manasara (Chap, x, named Nagara)
The dimension of the smallest town unit is 100x200X4
cubits; the largest town-unit is 7200X14400X4 cubits (lines
3~33)- A town may be laid out from east to west or north to
:
according to the position it occupies (line 102). There
should be one to twelve large streets in a town (lines no-in).
It should be built near a sea, river or mountain (lines 73, 51), and
south
commerce (lines 48, 74) with
should have defensive walls, ditches
and forts (line 47) like a village. There should be gate-houses
(gopura, line 46), gates, drains, parks, commons, shops, exchanges,
temples, guest houses, colleges (line 48 f.) etc., on a bigger scale
should have
facilities for
trade and
the foreigners (line 63).
It
than in a village.
Towns are divided into eight classess, namely, Raja-dhani,
Nagara, Pura, Nagari, Kheta, Kharvata, Kubjaka, and Pattana
(lines
36-38).
The general description of towns given above
more or less to all of these classes.
is
applicable
For purposes of defence, the capital towns commanding
strategic points are well fortified and divided into the following
classes
Sibira, Vahini-mukha, Sthaniya, Dronaka, Sarhvidda,
:
Kolaka, Nigama, and Skandhavara (lines 38-41, 65-86). The forts
for purely military purposes are called giri-durga, vana-durga,
salila-durga, panka-durga, ratha-durga, deva-durga and misradurga (lines 86-87, ^ nes 88-90 90-107 see under DURGA).
On the banks of the Sarayu is a large country called Kosala
(8)
and
gay
happy and abounding with cattle, corn and wealth. In that
country was a famous city called Ayodhya, built formerly by Manu,
the lord of men. A great city twelve yojanas (108 miles) in length and
nine yojanas (81 miles) in breadth, the houses of which stood in triple
and long extended rows. It was rich and perpetually adorned with
;
'
new improvements,
and the principal
of
various
difficult
descriptions,
of access,
and lanes were admirably disposed,
It was filled with merchants
and adorned with abundance of jewels
the streets
streets well
filled
watered.
;
with spacious houses, beautified with gardens,
HINDU ARCHITECTURE
NAGARA(-Rl)
and groves of mango trees, surrounded by a deep and impassable
moat, and completely furnished with arms; was ornamented with
As
stately gates and porticoes and constantly guarded by archers.
so
did
the
Dasaratha
magnanimous
Maghavan protects Amaravatl,
,
enlarger of his dominions, protects Ayodhya, fortified by gates,
firmly barred, adorned with ureas disposed in regular order, and
the
abounding with a variety of musical instruments and war-like wea
Prosperous, of unequalled
pons and with artifices of every kind.
it was constantly crowded with charioteers and messengers,
splendour
furnished with s"ataghnis (lit. an instrument capable of destroying a
hundred at once, that is, a cannon) and parighas (a kind of club),
adorned with banners and high-arched porticoes, constantly filled with
dancing girls and musicians, crowded with elephants, horses and chariots,
with merchants and ambassadors from various countries, frequented
by the chariots of the gods, and adorned with the greatest magnificence.
It was decorated with various kinds of jewels, filled with wealth, and
amply supplied with provisions, beautified with temples and sacred
chariots (large cars), adorned with gardens and bathing tanks and
It abounded with learned
spacious buildings and full of inhabitants.
it
was embellished with
sages, in honour
equal to the immortals
domes
of
which
resemble
the tops of mountains,
the
magnificent palaces,
and surrounded with the chariots of the gods like the Amaravatl of
Indra, it resembled a mine of jewels or the residence of Lakshmi
the walls were variegated with divers
goddess of prosperity)
(the
sorts of gems like the division of a chess-board, and it was filled with
the houses formed one continued
healthful and happy inhabitants
row, of equal height, resounding with the delightful music of the tabor,
the flute and the harp.'
The city, echoing with the twang of the bow, and sacred sound of
the Veda was constantly filled with convivial assemblies and societies
It abounded with food of the most excellent kinds
of happy men.
it was perfumed
the inhabitants were constantly fed with the sail rice
with incense, chaplets of flowers, and articles for sacrifice, by their
odour cheering the heart.'
It was guarded by heroes in strength equal to the quarter-masters
and versed in all Sastras by warriors, who protect it, as the nagas guard
Bhogavati. As the Great Indra protects his capital, so was this city,
;
;
;
;
'
;
;
'
;
resembling that of the gods, protected by King DaSaratha, the chief of
the Ikshvakus.
This city was inhabited by the twiceborn who maintained the
constant
and
Angas, endowed with
its
six
sacrificial
fire,
(men)
deeply read in the
Veda
excellent qualities, profusely generous,
249
AN ENCYCLOPAEDIA OF
NAGARA(-RI)
full
of truth, zeal, and compassion, equal to the great sages, and having
their
minds and appetites in complete subjection.'
(Ramayana,
i,
5,
5-I7-)
'
Lanka,
filled
with
mad
thronging with cars and
elephants, ever rejoiccth.
inhabited by Rakshasas.
She
is
great,
Her doors are
And she hath
firmly established and furnished with massy bolts.
four wide and giant gates.
(At those gates) are powerful and large
arms, stones and engines, whereby a hostile host approaching is opposed.
At the entrance are arrayed and
shasas, hundreds of sharp iron
order by bands of heroic Raks"atagnis (firearms, guns). She hath
set in
a mighty impassable golden wall, having
centre with costly stones, coral,
lapises
its
and
emblazoned in the
Round about is
pearls.
side
a moat, exceedingly dreadful, with cool water, eminently grand,
fathomless,
containing ferocious aquatic animals, and inhabited
the gates are four broad bridges, furnished with machines
fishes.
At
by
and many rows of grand
structures.
On
the approach of the hostile
forces, their attack is repulsed by these machines, and they are thrown
One amongst these bridges is immovable, strong
into the ditch.
.
;md fast established ; adorned with golden pillars and daises
.
.
And
dreadful and resembling a celestial citadel, Lanka cannot be
ascended by means of any support. She hath fortresses composed
of streams
(cf.
of
JALA-DURGA) those of hills, and artificial ones of four
there is none even for barks, and all sides destitude
that citadel is built on the mountain's brow
and
,
And way
division. And
kinds.
;
resembling the metropolis of the immortals, the exceedingly invinAnd a moat and
cible Lanka is filled with horses and elephants.
and various engines adorn the city of Lanka, belonging
his abode consists of woods, hills, moat,
to the wicked Ravana
gateways, walls, and dwellings.' (Ibid., vi, Lankakanda, 3rd Sarga.)
s"ataghnis
.
.
.
'
The Mahdbhdrata has short but comprehensive account of the city
ofDvaraka (i, in, 15), Indra-prastha (i, 207, 30 f.), the floating city
s Lanka
(in, 283, 3 and 284
(in, 173, 3), Mithila (in, 207, 7), Ravana'
(9)
4, 30), the
sky-town (vm, 33, 19), and the ideal town (xv,
Ramayana we
find nearly the
same
5, 16).
In the
descriptions as those in this later part
of the Epic (Mbh.}.'
We may
examine the general plan of a Hindu city ... it
had high, perhaps concentric, walls about it, in which were watchMassive gates, strong doors 1 protected chiefly by a wide bridge
towers.
moat, the latter filled with crocodiles and armed with palings, guarded
'
(10)
1
xv,
1
6, 3
:
the king
left
Hastinapur by a high gate.
250
HINDU ARCHITECTURE
The
the walls.
NAGARA(-Rl)
store-house was built
1
near
The
the
rampart.
The
city
were lighted with
several squares.
was laid out
2
The traders and the king's court made this town their resitorches.
The farmers lived in the country, each district guarded if
dence.
not by a tower modelled on the great city, at least by a fort of some
Out of such fort grew the town. Round the town as round
kind.
the village, was the ommon land to some distance
(later converted
in
streets
'
we
into public gardens, as
'
see in the Mudrdrdkshasa}
.
In the city special palaces existed for the king, the princes, the chief
ministers
priests,
and
Besides these
military officers.
and humble
dwellings (the larger houses being divided into various courts), there
were various assembly halls, dancing-halls, liquor-saloons, gambling
halls, courts of justice, and the booths of small traders with goldsmiths,
and the work -places of other
The
arsenal appears to
have been not far from the king's apartments. Pleasure parks abounded.
The royal palace appears always to have had its dancing-hall attached.
The city-gates ranged in number from four to eleven, and were guarded
shops,
artisans.
by squads of men and
3
Door-keepers guarded the
single wardens.
courts of the palace as well as the city gates.' 4
(Hopkins, J.A.O.S., 13,
pp. 175, 176.)
(n) 'It will probably be a revelation to
how
modern
architects to
know
problems of town-planning are treated in these
Beneath a geat deal of mysticism
which may be scoffed at as pure superstition, there is a foundation of
sound common sense and scientific knowledge which should appeal to the
scientifically the
ancient India's architectural treatises.
mind of the European expert.'
The most advanced science of Europe has not yet improved upon
'
the principles of the planning of the garden
upon the Indian village-plan as a unit.'
1
cities
of
India
based
The Mbh. recommends
six squares, but I find only four mentioned in the
Rdmayana, H, 48, 19.
Puram Sapta-padam sarvato-disam (town of seven walls,
Mbh., xv, 5, 16
but Hopkins does not think that there were walls)
:
2
Rdmayana,
Mbh.,
3
i,
vi,
221, 36
112, 42
:
:
Sikta-rathyantarapana.
is described as
sammrishtasikta-pantha.
Indraprastha
KathakaUpanishad, v, i speaks of a town with eleven gates as a possibility
(the body is like a town with eleven gates.) Nine gates are given to a town
ekastambharh chatushpatham.
by Varaha, p. 52, 5 Nava dvaraih
Lanka has four bridged gates (eight in all and eight walls) (R., vi, 93, 7).
Four gates are implied in the 6th act of Mrichchhakatika where the men
,
.
:
4
.
.
are told to go to the four quarters to the gates.
These courts have mosaic pavements of gold. (R.,
n, 33 and 34.)
185, 20
;
25 1
vi, 37, 27, 58,
Mbh.,
I,
AN ENCYCLOPAEDIA OF
NAGARA(-RI)
layout of the garden-plot a s
But more probably the village scheme
the basis of its organization.
was originally the plan of the military camp of the Aryan tribes when
in the valley of the Indus.'
(Havel
they first established themselves
The
'
A
Indo-Aryan
villages took the
Study of Indian Civilization, pp. 7-8,
18.)
town-planning have some striking
principles
(12)
It would be interesting to
cities.
similarity to those of early European
Vitruvius :
with
Mdnasdra
the
compare
of Indian
The
In setting out the walls of a city the choices of a healthy situation
It should be on high ground neither
is of the first importance.
its
rains
aspects should be neither violently hot
subject to fogs nor
nor intensely cold, but temperate in both respects
'
;
.
A
'
on the
city
insalubrious.'
sea-side,
(Vitruvius,
exposed to the
Book
I,
Chap.
.
.
south or west,
will
be
IV.)
spot fixed on for the site of the city,
as well as in respect of the goodness of the air as of the abundant supply of
of the population, the communications by good
provisions for the support
roads and river or sea navigation for the transport of merchandise, we should
When we
'
are satisfied with the
take into consideration the
method of constructing the
walls
and towers of
These foundations should be carried down to a solid bottom
if such can be found, and should
(cf. Mdnasdra under GARBHA-NYASA)
be built thereon of such thickness as may be necessary for the proper support
the city.
of that part of the wall which stands above the natural level of the ground.
They should be of the soundest workmanship and materials, and of greater
thickness than the walls above.
From
the exterior face of the wall, towers
must be projected, from which an approaching enemy may be annoyed by
weapons, from the ambrasures of those towers, right and left. An easy
approach to the walls must be provided against indeed they should be surrounded by uneven ground, and the roads leading to the gates be winding
and turn to the left from the gates. By this arrangement the right side of
the attacking troops, which are not covered by their shields, will be open
;
to the
'
weapons of the
The plan of the
besieged.'
city should not
be square, nor formed with acute angles,
may be open to observa-
but polygonal, so that the motions of the enemy
'
tion.
'
.
The
.
.
thickness of the walls should be sufficient for
two armed men
to pass
each other with ease. The walls ought to be tied, from front to rear, with
many pieces of charred olive wood by which means the two faces, thus
;
connected, will endure for ages.'
'
The
flight.
.
distance between
.
.
The
each
tower
walls will be intercepted
252
should
not exceed
an
arrow's
by the lower parts of the towers
HINDU ARCHITECTURE
NAGARA(-Rl)
where they occur, leaving an interval equal
to the
space the tower will consequently occupy.
width of the tower
The
which
;
made
towers should be
round or polygonal.
A square (tower) is a bad form, on
account of its being easily fractured at the quoins by the battering
either
whereas the circular tower has this advantage, that when battered,
the pieces of masonry whereof it is composed being cuneiform, they cannot
be driven in towards their centre without displacing the whole mass.
Nothing tends more to the security of walls and towers than backing them
ram
;
with walls or terraces
;
it
counteracts the effects of rams as well as of under-
mining.'
In the construction of ramparts, very wide and deep trenches are to be
first excavated the bottom of which must be still further dug out for receiving
'
;
This must be of sufficient thickness to
the foundation of the wall.
resist
the pressure of the earth against it. Then, according to the space requisite
for drawing up the cohorts in military order on the ramparts, another wall
is
to
be built within the former, towards the
walls are then to be connected
manner of the
of the
filling in
teeth of a
earth into
from being thrust
in the spot
bricks.'
'
The
:
by
and
Book
many
The
I,
The
outer and inner
on the plan after the
comb
or a saw, so as to divide the pressure
and less forces, and thus prevent the walls
materials are stated to be
such as square stones,
(Vitruvius,
lanes
out.'
city.
cross walls, disposed
Chap,
flint,
'
what are found
rubble stones, burnt or unburnt
v.)
streets (of which
no
details are given) of the city
being set
and use of the state remains to be
decided on; for sacred edifices, for the forum, and for other public buildings.
If the place adjoin the sea, the forum should be seated close to the harbour
out, the choice of sites for the convenience
;
should be in the centre of the town.
The temples
of the gods,
as those of Jupiter, Juno, and Minerva, should be on
of
the
city,
protectors
some eminence which commands a view of the greater part of the city. The
if
inland
it
temple of Mercury should be either in the forum or, as also the temple of
those of Apollo and Father
Isis and Scrapis in the great public square
Bacchus near the theatre. If there be neither amphitheatre nor gymnasium,
;
The temple of
the temple of Hercules should be near the circus.
that
Mars should be out of the city, in the neighbouring country
of Venus near to the gate. According to the revelations of the
;
Hetrurian Haruspices, the temples of Venus, Vulcan and Mars
should be so placed that those of the first be not in the way of conthat
taminating the matrons and youth with the influence of lust
those of the Vulcan be away from the city, which would consequently
freed from the danger of fire; the divinity presiding over that element
;
bring
drawn away by the
rites
and
sacrifices
253
performing in
his temple.
AN ENCYCLOPAEDIA OF
NAGARA(-Rl)
The temple
frays
Mars should be
of
disturb the peace
may
may, moreover, be ready
also out
of
the
to preserve
of the
city,
that
and that
citizens,
them from
their
no armed
this
divinity
enemies and
the perils of war. The temple of Ceres should be in a solitary spot
out of the city, to which the public are not necessarily led but for the
purpose of sacrificing to her. This spot is to be reverenced with
religious awe
them to visit
and solemnity of demeanour by those whose affairs lead
it.
Appropriate situations must also be chosen for the
temple and places of
Chap, vii.)
sacrifice to the other divinities.'
visvarh
(13) Vijitya
vyadhatta
vijayabhidhanam
(Vifrtwius,
visVottaram
yo
Book
I,
nagarim
I
Ya hema-kutam
nija-sala-bahu-lata-chhaleneva parishvajanti
Yat-prakara-Sikhavali-parilasat
-
kinjalka
-
yach
punjachitarh
chhaka-pura-jala-nachitarh sad-danti-bhringanvitam
II
I
Sphayad yat-parikha-jala-prati-phalad yat-pranta-prithvl-dharachchhaya-nalam idam purabjam naisarh lakshmya sahalambate
'
II
Having conquered
all
the
world,
he
(Bukka-Raja)
built a
Its four
splendid city called the City of Victory (Vijayanagarl)
walls were like arms stretching out to embrace Hema-kuta. The
.
of the battlemants like
points
its
filaments, the suburbs like
its
blossom, the elephants like bees, the hills reflected in the water
of the moat like stems, the whole city resembled the lotus on
which Lakshmi is ever seated.' (Ep. Carnal., Vol., v, Part i,
Channarayapatna Taluq, no. 256 ; Roman Text, p. 521, lines 1-6 ; Transl.,
p. 732, para.
(
1
2,
line
4.)
Grama nagara - kheda- karvvada - madamba - drona - mukha - pat
-
4)
tanam galirhdam aneka-mata-kuta-prasada-devayatanamgalidam oppuva-agrahara-patta-narhgaliihdam atisayav-apya.
[At Tridala, a merchant-town situated in the centre and the
importance among the twelve (towns) in the glorious
Kundi Three-Thousand, adorned with] villages, towns, hamhills,
lets, villages surrounded by
sea-girt
groups of villages,
chief
with
and
mansions,
palaces and
towns,
cities,
elegant
the
in
towns
country of
temples, and with shining agrahara
in
first
'
Kuntala.'
pp
xiv,
'
(15)
19,
(Old Kanarese Inscrip. at Terdal, line 58,
Ind.
Ant., Vol.
25.)
With myriads of people,
practices of virtue, agreeable occu-
pations, streams of the (nine) sentiments, pleasure gardens, separated
lovers, splendid tanks, full lotus beds, gilded boats for spring festivals,
254
NANDI-MANDAPA
HINDU ARCHITECTURE
ghatika-sthanas (religious centres), the supports of dharmma and mines
of enjoyment, moats which were as if the sea being overcome had
returned here on account of the collection of gems, groups of the
lotus faces of beautiful women fair as the moon (grama-nagara-khcda
kharvvana-madamba-drona-mukha-pura-pattana-raja-dhani) on whatever side one looked, in these nine forms did the Kuntala-desa
shine.'
It should be noticed that the passages within brackets is almost
indentical with the corresponding passage in quotation no. 14 above.
Transl., p. 124,
Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 197
(
;
para,
last
i,
seven lines
;
Roman
Text, p. 214, line 27
f.)
(16) 'Visiting' the gramas, nagaras, khedas, kharvvadas, madambas,
the cities of the elephants at
pattanas, drona-mukhas and samvahanas,
the cardinal points.'
(Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 118;
Transl., p. 86, last para., line 14.)
'Thus entitled in many ways to honour, residents of Ayyavole
Challunki and many other chief gramas, nagaras, khedas, kharvvadas
maaambas, drona-mukhas, puras, and pattanas, of Lala Gaula, Bangala
Kasmira, and other countries at the points of the compass.' (Ibid, no. 119,
(17)
Transl.,
90,
p.
NANDANA
A
and
(cf.
para. 6.)
NANDA-VRITTA)
A
storeyed building, a pavilion.
type of building which has six storeys and sixteen cupolas (anda),
is
32 cubits wide
(1)
:
Brihal-Samhild
(LVI,
22, J.R.A.S.,
N.
S.,
Vol.
vi, p.
48,
53
319;
see
under PRASADA).
(2)
Matsya-Purdna (Chap. CCLXIX, v. 29, 33,
PRASADA)
Bhavishya-Purdna (Chap, cxxx, v. 29;
type of quadrangular building
(4) Garuda-Purdna (Chap. XLVII, v. 242-5
see
under
under PRASADA).
see
(3)
A
;
.
:
see under PRASADA).
with
(5)
pavilion
thirty pillars (Malsya-Purana, Chap. CCLXXIII,
see
v.
12
under MANDAPA, and compare Suprabheddgama, under
NANDA-VRITTA)
;
A
;
.
NANDA-VRITTA An
open pavilion, gracefully
built with sixteen
columns.
(Suprabheddgama, xxxi, 101
NANDI-MANDAPA
See
(see
under MANDAPA)
A
see
;
under MANDAPA.)
pavilion.
Pallava Architecture.
(Arch. Surv.,
plate LXIX,
255
New
Imp.
fig. 4.)
Serirs, Vol.
xxxiv
AN ENCYCLOPAEDIA OP
NANDYAVARTA
NANDYAVARTA A type of building where
rooms are surrounded
with terraces, a village, a window, a pavilion, a phallus, a grounda joinery (see under
plan, an entablature (see under PRASTARA),
SANDHI-KARMAN)
(1)
.
Mdnasdra
A
PRASADA)
A
A
A
A
:
of the six-storeyed buildings (M., xxrv,24; 5^ under
class
.
see under GAMA).
(M., ix, 2
kind of joinery (M., XVH, 54. see under SANDHI-KARMAN).
under VATAYANA)
type of window (M ., xxxiii, 583 see
see under MANtype of four-faced pavilion (M., xxxiv, 555
class of villages
PAPA)
;
;
.
;
;
.
In connexion with the phallus (M.,
In connexion with the site-plan
PADA-VINYASA)
LII,
177
(M.,
see
;
vin,
under LINGA).
under
see
35
;
.
Nandyavartam alindaih Sala-kudyat pradakshinantargataih
Dvaram paschimam asmin vihaya Sesharii karyani
that from
Nandyavarta is the name of a building with terraces
from
east
direction
in
a
the wall of the room extends to the extremity
I
(2)
1
1
'
to south (alias
from
except the west.
(3)
left
must have doors on every
It
to right).
'
(Brihat-Samhita, Lin,
32, J.R.A.S., N.
side,
S., Vol., vi, p. 285.)
Sarvatobhadram ashtasyam vedasyarh vardha-manakam II
Dakshine chottare chaiva shan-netrarh svastikarii matam
ParsVayoh puratas" chaiva chatur-netra-samayutam
Nandyavartam smritam purve dakshine paschime tatha
Uttare saumya-saladi Salanam asyam Iritam
I
II
1
I
1
(Kamikagama, xxxv, 88, 89, 90.)
An
entablature
Ibid.,
The
(ibid.,
LIV. 7).
XLI (named Nandyavarta-vidhi
1-37)
three sizes (1-6), and the four classes, namely, jati, chhanda,
:
vikalpa and abhasa (7-9)
:
:
Nandyavartam chatush-pattam mulenatra vihinakam
Dvaram chatushtayarh vapi yatheshtha- disi va bhavet
Jalakas" cha kavataS cha bahye bahye prakalpayet
Sarvatah kudya-samyuktam mukhya-dhamatra klrtitam
Antar-vivrita-padarh cha bahye kudyam prakirtitam
Chatur-dikshu vinishkrantam ardha-kutarh prayojayet
I
(7)
1 1
I
1 1
(8)
I
1
1
(9)
Dandika-vara-samyuktam jati-rupam idam matam
details of this and the remaining three classes and the
II
The other
sub-classes are also given (10-36)
:
Evarh shodas"adha proktam nandyavartarh dvijottamah
256
II
(37)
HINDU ARCHITECTURE
(4)
A
class
.
.
of buildings
Nandyavartam
.
NABHASVAN
:
iti s"rinu
I
Chatush-kutas" chatuh-s'alas'
chatvarah parsva-nasikah
Mukha-nasi tatha yuktam dva-dasarh chanu-nasikah
Chatuh-sopana-sariiyuktam bhumau bhumau vis"eshatah
1
Nandyavartam idam
vatsa.
.
.
1
1
1
1
1
.
(Suprabhedagama, xxxi, 48, 49, 50.)
A
pavilion with 36 columns
NANDIKA A
xxxi, 103
(ibid.,
;
under MANDAPA).
see
type of quadrangular building.
(Agni-Purdna,
Chap,
w.
civ,
14-15
see
;
under PRASADA.)
NANDI-VARDHANA A
type of building.
A kind
(i)
of building which is shaped like the
sun-eagle but is devoid
and
has
seven
and
wings
tail,
storeys
twenty cupolas, and is 24
of the
wide
cubits
:
Garudakritis cha garuda nanditi cha shat-chatushka-vistirnah
Karyas cha sapta-bhaumo vibhushito'ndais cha vimsatya
Commentary quotes the clearer description from KdSyapa
I
1 1
:
Garudo garudakarah paksha-puchchha-vibhushitah
Nandi tad-akritir jneyah pakshadi-rahitah punah
I
1
1
Karanam shat-chatushkams cha
vistirnau sapta-bhumikau
Dasabhir dvi-gunair andair bhushitau karayet tu tau
I
1 1
(Brihat-Samhita, LVII, 24
(2)
(3)
A
(4)
;
;
:
see under PRASADA).
Agni-Purdna (Chap, civ, vv. 14-15
Guruda-Purdna (Chap. XLVII, vv. 24-35 see under PRASADA).
;
'>
NAPUMSAKA
building
Cf.
J.R.A.S., N. S.,
Vol. vi, p. 319.)
Matsja-Purdna (Chap. CGLXIX, vv. 33, 48, 53 see under PRASADA).
Bhavishya-Pardna (Chap, cxxx, vv. 28, 31 see under PRASADA).
kind of quadrangular building
(5)
;
(see
STRILINGA and PUMLINGA)
(cf.
under PRASADA).
A
neuter type of
Pancha-varga-yutam misram arpitanarpitangakam
Pashandanam idam sastam napumsaka-samanvitam
I
For the meaning of pancha-varga,
VARGA.
see ibid.,
II
(Kamikagama, xu, n.)
xxxv, 21, under SHAD-
NABHASVAN A class of chariots.
(M.,
257
XLIII,
112;
see
under RATHA.)
AN ENCYCLOPAEDIA OF
NAYANONMILANA
it
would imply the
For
an image sculpturally
touch with regard to making an image.
Chiselling the eye of
NAYANONMILANA
finishing
;
M., LXX (named Nayanomlana] 1-114.
details, see
NARA-GARBHA The
foundation of residental buildings.
(See details
NALlNAKA A class
distinguished by open quadwith platforms
buildings, and furnished
buildings
and surrounded by
rangles
and
of
under GARBHA-NYASA.)
stairs.
Chatuh-Sala-samayukto vedi-sopana-samyutah
Nalinakas tu samprokta(-tah) ... II
I
(Suprabheddgama, xxxi, 46.)
nine -storey ed buildings (M., xxvn, 2-47) ; the
seven classes ( 2 ~33)
description of the ninth storey (ibid., 35~47)
NAVA-TALA The
5
(see
under PRASADA)
.
NAVA-TALA A sculptural
measurement
in accordance with
which
of the face
the whole length of an image is nine times the height
which is generally twelve angulas (nine inches) ; this length is divided
distributed
1 08
into
equal parts which are proportionally
9X12
=
over the different limbs.
Cf.
(See
Nava-tala-pramanas
under TALAMANA.)
deva-danava-kinnarah
tu
I
v. 16.)
(Matsya-Purana, Chap. CCLVIH,
Evarii narishu sarvasu
Nava-talam
proktaih
devanam pratimasu cha
lakshanam papa-nasanam
I
II
(Ibid., v. 75.)
The
of this
details
system of measure
and female statues are given.
NAVA-BHUMI
the ninth storey
NAVA-RANGA
1
(see
for
male
vv. 26-74.)
as
NAVA-TALA)
NAVA-TALA)
(same
(see
(Ibid.,
employed both
buildings,
Nine-storeyed
.
SAPTA-RANGA)
A
detached
pavilion
08 columns).
(1) Salindam nava-rangarh syad ashtottara-satanghrikam
(M.,
(with
I
xxxtv,
107.)
Koneri
erected a nava-ranga of 10 ankanas, with secure
foundation and walls, for the god Tirumala of the central street of
Malalavadi.' (Ep. Carnat., Vol. iv, Hunsur Taluq, no. I Transl., p. 83
'
(2)
;
Roman
Text, p.
134.)
258
;
HINDU ARCHITECTURE
NAGA
(3) Santigramada nava-rahgada kalla-bagilann kattisi huli-mukhavan (Deva Maharaya)
caused the stone gateway of Sautigrama
to be constructed and ornamented with the tiger-face.
(This work
was carried out by Singanahe-baruva of the village).' (Ep. Carnal.,
'
Vol. v, Part
I,
Hassan Taluq, no. 17
Roman
;
Text, p. 75
Transl.,
;
.p.
34.)
Srl-gopala-svamiyavara
nava-ranga-patta-s'ale-prakaravanu
the god Gopala
nava-ranga and a pattasala,
promoted a work of merit).'
he erected a nava-ranga-patta-sale (a
see below) and an enclosure wall
(and
(4)
for
kattisi
'
'
this nava-ranga,
Nava-ranga-prakara-patta-sale-samasta-dharmma
enclosure wall, patta-sala and all the work of merit were carried
out.
.
.'
.
lines 8,
(5)
17
(ibid,
;
Channarayapatna Taluq no.
Transl.,
p
185
;
Roman
Text, p. 467
205.)
Compare Sapta-ranga
(at
Comilla in Bengal) which
a pagodathe right side
is
building of seven storeys built on
of the ranga-mandapa, another detached building, facing the front
side of the main shrine or temple of the god Jagannatha.
All these
shaped detached
buildings and the tank behind the shrine
wall (prakara).
are within the enclosing
'
It (Mallesvara temple at Hulikat) faces north and consists of
a garbha-griha, an open sukha-nasi, a nava-ranga, and a porch.
The garbha-griha, sukha-nasi and porch are all of the same dimensions
(6)
being about 4^ feet square, while the nava-ranga measures 16 feet by
'
14 feet.
(Mysore Arch. Report, 1915-16, p. 4, para. 10
;
\see also
p. 5, para.
12, Plate ra, fig. 2.)
'
The nava-ranga
is
an open
the side, all the pillars except
figures in relief in the front.
hall with
two
two rows of four
'
(Ibid.,
15, para.
p.
19.)
NAVA-RATNA
Nine gems, ruby (padma-raga), diamond
coral
sapphire
(vidruma),
pillars at
being carved with large female
(vajra),
emerald
(nila),
topaz (pushpa-raga),
(marakata), pearl (mukta), lapis lazuli (sphatika), and gomedaka.
(M., xvni,
NAGA
390394-)
'
Supernatural beings, snake-demons, sometimes represented in human form with a snake's hood in the nake, sometimes as
mixed forms, half man, half snake. Their sworn enemies are
Garuda.
'
(W. Gieger
:
Mahavarhsa, p. 294
;
Griinwedel
Buddhist Kunst, p. 42,
259
:
fol.)
AN ENCYCLOPAEDIA OF
NAGA-KALA
NAGA-KALA A stone on which
(See
Chalukyan Architecture
p. 39, Plates xcrx,
fig. 2
NAGA-BANDHA A
;
xc,
the image of a serpent
Arch.
New
Surv.,
Imp.
carved.
is
Vol. xxi,
Series,
figs. 2, 3.)
kind of
window
resembling the hood of
a cobra.
(M., XXXIH, 582
NAGARA
One of the
in shape, the other
see
;
three styles of architecture
under VATAYANA.)
it is
quadrangular
two (Vesara and Dravida) being respectively
;
round and octagonal.
(t)
Mdnasdra
The
:
characteristic feature of the three styles
Muladi-stupi-paryantarh vedaSrarh
Dvyas"rarh
vrittakritarh
vatha
:
chayatasYakam
I
grivadi-sikharakritih
I
Stupi-karna-sarhyuktarh dvayarh va chaikam eva va
Chatur-asrakritirh yas tu Nagararh tat prakirtitam
Mulagrarh vrittam akararh tad yat ayatam eva va
I
I
I
Grlvadi-stupi-paryantarh yuktatho (-dhas) tad yugasrakam
Vrittasyagre dvyas"rakam tad Vesara-namakarh bhavet
ashtas"ram
I
I
va shad-asrakam
Mulagrat stupi-paryantam
Tad-agrarh chayatarh vapi grlvasyadho yugasrakam
Purvavach chordhva-desarh syad Dravidarh tat prakirtitam
SamaSraika-s'ikha-yuktarh
chayame tach-chhikha-trayam
DryaSra-vrittopari-stupi vrittarh va chatur-a^rakam
Padmadi-kudmalantarh syad uktavad
vakriti(rh)
(M.,
Compare
I
I
I
I
nyaset
xviii,
I
90-102.)
Vishnu-dharmottara (a supplement to the Vishnu- Parana)
,
Chap. XLI, where paintings are divided into four classes Satya,
A Treatise on Indian
Vainika, Nagara and Mis"ra. (Cf. S. Kramrisch
A. K. Coomaraswamy's
Painting and Image-making, 1928, pp. 8, 51
Part III,
:
;
article,
Rupam, January, 1929.)
The Nagara
style is distinguished by its
quadrangular shape,
the Vesara by its round shape and the Dravida by its octagonal
or hexagonal shape
:
See Suprabheddgama
below and compare
:
to the pedestal of the pallus) :
Nagararh chatur-asram ashtas"rarh Dravidarh
(Referring
Vrittarh
cha Vesararh proktam
etat
tatha
pithakritis
I
tatha
I
(M., mi, 53-54.)
2 60
NAGARA
HINDU ARCHITECTURE
These distinguishing features are noticed generally at the upper
part of a building
:
Griva-mastaka-s'ikha-pradesake
Nagaradi-samalankritoktavat
I
I
(M., xxi, 71-72.)
Nagara-Dravida-Vesaradin(-dinarh) Sikhanvitam (harm yam)
(M,
Referring to chariots (ratha)
I
xxvi, 75.)
:
Vedasrarh Nagaram proktarh vasvasram Dravidarh bhavet
tu shadSuvrittam Vesararh proktarh ra(A)ndhrarh syat
I
asrakam
An
(M.,
I
XLIII,
important addition
123-124.)
noticed
in this
passage; this style is
designated as Randra, which is perhaps a corruption of Andhra.
In an ephigraphical record Kaliriga also is mentioned as
is
a distinct style of architecture (see below).
If the identification of Vesara with Telugu
or Tri-kallnga is
the
Andhra
for Randhra
reading
accepted (see
Andhra
the
and
the
would
be two
is also
Kalinga
accepted,
as
the
is
Dravida style
stated to be of the
branches of Vesara. And
below), and
if
hexagonal or octagonal shape (see above) it would appear that the
Dravida proper is octagonal and the Andhra, which is placed
between the Dravida and the Vesara, is hexagonal (see further
discussion below).
The same
three styles are distinguished in sculpture also:
Nagararh
(Lingam)
matam
Dravidam
cha tridha
chaiva Vesrarh
I
(M., LHI, 76, also 100.)
Kuryat tu nagare linge pitham Nagararh eva cha
Dravide Dravidam proktarh vesare Vesararh tatha
I
I
(Ibid.,
)
Srikumara
Silparatna of
(xvi,
51-53)
46-47,
etc.)
:
Muladi-sikhararh yugaSra-rachitam geha smritarh nagararh
Muladi-Sikhara-kriyarh shaduragasrodbheditam dravidam
Mulad va galato'thava parilasat-vrittatmakam vesaram
I
I
I
Teshvekarh
matam
prithagallakshma
II
sam-
suridadadhyadatmanah
(51)
Janmadi-stupiparyantarh yugasrarh nagararh bhavet
Vasvasram Sirshakam karnam (kantham) dravidarh bhavanam
I
viduh
II
(52)
Vritta-karna (kantha)-5iropetam vesararh harmamlritam
Kuta-koshthadi-hlnanam harmyanarh kathim tvidam
261
II
I
(53)
AM ENCYCLOPAEDIA OF
NAGARA
This treatise locates Nagara region from the Himalayas to the
Vindhyas, Dravida region from the Vindhyas to the Krishna, and
Vesara region from the Krishna to the Cape Comorin (see verses
40-50).
But
may
it
expressly says (v. 44) that buildings of all these styles
This
all countries according to some authorities.
be found in
quite natural and would further indicate the migration of styles
from the land of their origin.
is
The unwarranted assumption
of Messrs. F.
H. Gravely and T. N. Rama-
chandran, in the Bulletin of the Madras Government Museum (New Series
General Section, Vol. Ill, Part i, 1934), that all Silpa-sastras including
the Manasdra originated and restricted their jurisdiction in the South, is responUnder
sible for a series of further assumptions raised like a house of cards.
of
this
article
the plea of Three Main Styles of temple Architecture the authors
'
'
of 26 pages deliberately ignored both the references to other objects of these
styles as also the examination of North Indian buildings of Nagara style except
a passing mention of a single structure at Bareilly District and excluded the places
north of the Vindhya range which are known by the name of Nagara. The
alternative designations of Vesara style by Andhra and Kalinga have equally
been ignored. Thus the learned authors had to delimit the Indian Continent
by the Vindhya range of limited eastern boundary as the northern limit, and
of this truncated India, Dravida being the south and Nagara and Vesara the
two northern flanks. There was no necessity for any discussion to explain the
mixture of Pallava and Chalukyan types. The migration of styles also is very
common and natural in architecture.
The contention that the styles, Nagara, Vesara, Dravida, all belong to the
south has been disproved by Dr. S. K. Aiyangar (Journal of the Indian Society
'the primary division
of Oriental Art, Vol. n, no. i, June 1934, pp. 23-27)
is Nagara,
India north of the Vindhyas, Vesara, India between the Vindhyas
:
to Dakhan of secular history, and Dravida or
Krishna corresponding to Tamil India,
But in
regard to Vesara from Ves"ya, Mr. Jayaswal ( J. I. S. 0. A., Vol. i, no. i,
our derivation may fail or may
p. 57) has little authority to rest on '.
prove satisfactory, but that is something entirely different from what the artist
and the Krishna, corresponding
India south
'
of the
'
.
.
.
'
.
.
or the craftsman understood by the terms
had no
.
'....' That
they (Nagara, Vesara,
significance would be to argue too
face of the explicit statement by the text writers."
Dravida)
(3)
territorial
Kdmikdgama (LXV, 6-7, 12-18)
much,
in the
:
Pratyekarh tri-vidharh proktam sarhchitarh chapy-asarhchitam
Upasarhchitam ity-evarh Nagararh Dravidarh tatha
(6)
1
VeSararh cha
tatha. jatis
1
chhando vaikalpam eva cha
Savistara-vaSach chhanna-hasta-purnayatanvitam
262
I
II
(7)
I
NAGARA
HINDU ARCHITECTURE
Yugmayugma-vibhagcna Nagaram
syat sarmkritam
II
(12)
Antara-prastaropetam uha-pratyuha-samyutam
Nivra-sandhara-samstambha-vrate paridridhaih s"ubhaihll (13)
Dravidarh vakshyate' thatah vistara-dvayorghakam (?)
I
I
Raktachchhanna-pratikshepat yugmayugma-vis'eshatah II (14)
Hitva tatra samrbhutam bhadralahkara-samyutam
Aneka-dvara-sarhyuktam shad-vargam Dravidarh smritam
I
I
Labdha-vyasayatam yat tu natiriktarh na hlnakam
Bahu-varga-yutam vapi dandika-vara-s'obhitam II (16)
Maha-vararh vimanordhve nirvuhanana-samyutam (?)
I
Sakshetropeta-madhyarhghri-yuktarh tad
Vesaram matam
Yatmarh ganikanam cha
jivinarh krura-karmanah
Pras"astarh Vesararh tesharh anyesham itare ^ubhe
The
details of the three
explicitly in the following
Agama
II
(17)
I
II
(18)
described more briefly but
are
styles
I
:
Suprabheddgama (xxxi, 37-39):
Dvara-bhedam idarh proktam jati-bhedam tatah srinu II (37)
Nagaram Dravidarh chaiva Vesararh cha tridha matam
(4)
I
Kanthad arabhya vrittam yad Vesaram iti smritam II (38)
Grivam arabhya chashtarhs'am vimanam Dravidakhyakam
Sarvam vai chaturasrarh yat prasadam Nagaram tu-idam
(39)
According to this Agama, the buildings of the Nagara style are
I
1
quadrangular from the base to the top
1
those of the Dravida style
;
are octagonal from the neck to the top
and those of the Vesara style
are round from the neck to the top. Apparently the lower part of the
;
buildings of the two latter styles is quadrangular.
(5) Svair angula-pramanair dva-das"a-vistlrnam ayatarh cha mukham
Nagnajita tu chatur-dasa dairghyena Dravida (m) kathitam II
According
to
one's
own angula
(finger)
the
face
(of his
:
own
twelve angulas long and broad.
But according to (the
statue)
architect) Nagnajit it should be fourteen angulas in the Dravida
is
style.
The commentary quotes Nagnajit
in full
:
Vistirnam dva-dasa-mukharh dairghyena cha chatur-dasa
Angulani tatha karyam tan-manam Dravidam smritam II
The face should be twelve angulas broad and fourteen angulas long
such a measure is known as Dravida (i. e., this is the Dravida style of
I
:
measurement).
note
(Brihat-Samhita,
LVIII,
4,
J.R.A.S., N.
S.,
Vol.
vi,
p. 323,
3.)
Like the face of the lady Earth shone the Vanavase-nad on which
Niigara-khanda at all times was conspicuous like the tilaka, a sign of good
'
(6)
263
AN ENCYCLOPAEDIA OF
NAGARA
In
fortune (then follows a description of its groves, gardens, tanks, etc.).
the Nagara-khanda shone the splendid Bandhavanagara.'
In Nagara-khanda, like the mouths of Kara, were five agraharas, from
which proceeded the sounds of all Brahmans reading and teaching the readof all the Vedas, Puranas, moral precepts, Sastras, logic, agamas, poems,
'
ing
dramas,
and
stories, smriti,
pur Taluq, no. 225
Transl., p. 132, paras. 6, 7
;
(Ep. Carnal., Vol. vn, Shikarp. 229, line 24 to
rules for sacrifices.'
Roman Text,
;
p. 235, line 2.)
'
(7)
In the world beautiful
the Kuntala-land, in which
is
the Nagara-khanda, in
is the charming
which was the agreeable
Vanavasa country in it is
In that royal
other attractions.)
Bandhavapura. (The list of its trees and
famed
for
his liberality
that
of
a
was
country
king
formerly
city (rajadhani)
;
Sovi-deva.'
line
20,
(Ibid.,
no.
235
;
Transl., p.
135,
para. 2
Roman
;
Text, p. 238,
f.)
Nagari-khanda and Nagari-khanda (ibid., no. 236 Transl., p. 137,
Transl., p. 138), Nagaraparas. 3, 4), Nagara-khanda seventy (no. 240
Roman
Transl.,
khandanada (no. 241
p. 138), Nagara-khanda (no. 243
;
(8)
;
;
;
last
Text, p. 248, line 8), Nagara-khanda seventy (no. 267 Transl., p. 143,
para., line 7), Nagari-khanda seventy (no. 277 Transl., p. 145, largest para.,
;
;
lines).
padralik
(? ksh)
Nagara-bhuktau valavi-vaishayika-s'aiva
of
Of
the
which
lies
.
Varunika,
village
antash-pati Varunika-grama
.
(9)
.
.
'
.
.
in the Nagara bhukti (and) belonging to the Valavi-vishaya.'
(Deo BaraC.
lines
/.
F.
G.
I. no. 46,
nark Inscrip. of Jivitagupta n,
/., Vol., m,
6-7
:
pp. 216, 218.)
(10)
that king (king Harihara's son Deva-Raya) of men was ruling
in peace and wisdom, shining in beauty beyond all countries
'When
the kingdom
was the entire Karnnata province ; and in that Karnnata country famous
was the Gutti-nad, which contained eighteen Kampanas in which the most
"
"
famous nad was
Nagara-khanda to which Kuppatur was an ornament,
owing to the settlement of the Bhavyas (or Jains), and its Chaityalayas,
and fields of gandha-sali rice.
of
its attractions).'
(Ep. Carnal., Vol. vm, Part I, Sorab
(Further description
82
Roman
no.
261
Transl., p. 41.)
;
Text, p.
Taluq,
beautiful with lotus ponds, pleasure gardens
;
'
In the island of Jambu
in the Bharata-kshetra,
( Jambu-dvipa),
(i i)
near the holy mountain (Sridhara), protected by the wise Chandragupta,
an abode of the good usages of eminent Kshatriyas, filled with a population
(dakshina-patra), a place of unbroken wealth, was the
of good fortune, possessed of all comfrom being ever free from destruction (laya) of the wise, called
worthy of
gifts
district (vishaya)
forts,
and
trees
named Naga-khanda
Nilaya (an asylum).
There, adorned with gardens of various
264
fruit trees
NAGARA
HINDU ARCHITECTURE
(named), shines the village named Kuppatur, protected by GopcSa. There
like the forehead-ornament to the wife, in the territory of king Harihara,
was a Jlna Chaityalaya which had received a sasana from the Kadambas.'
(Ep. Carnal., Vol.
vm, Part
I,
Sorab Taluq, no. 263
;
Roman
Text, p. 86
;
Transl., p. 43.)
The
Nagara-khanda with Naga-khanda is undoubted owing
one and same village Kuppatur is contained in both.
headman of Pithamane village, the first in the Kuppatur
identity of
to the fact that the
(12)
'The
Twenty-six of the Nagara-khanda Malu-nad, belonging to the Chandraguttiventhe, of the Banavasi Twelve Thousand in the South country
.
(Ibid.,
no.
(13)
.
265 ; Roman Text, p. Sy.Transl., p. 43).
In Jambudvipa, in the Karnnataka-vishaya, adorned with
manner of
trees
(named)
is
Nagara-khanda.'
no.
(Ibid.,
329
;
.
all
Transl.,
58, para. 2, line 4.)
p.
(14)
The
expression
Nagara-khanda Seventy' occurs
in several of the
Sorab Taluq Inscriptions,
e.g., nos. 326, 327, 328, 336, 337, etc.
the ocean-girdled earth like a beautiful breast formed for enjoyment
was Nagara-khanda in the Banavasi-mandala.' (Ibid., no. 345 ; Transl.
To
p. 60.)
(15) 'In the ocean-girdled Jambu-diva (dvipa)
to the south of which is the Bharata-kshetra, in
the beautiful Nagara-khanda.
Among
is
the
Mandara mountain
is ... wherein is
which
the chief villages of that
nad
is
the
agrahara named Kuppatura.'
Grants were also made (as specified) by
the oil-mongers, the betel-sellers
for
the
of
and the gandas(?)
Nagara-khanda
perpetual lamp.'
(Ibid., no.
'
276
;
Transl.,
p. 47.)
is the agrahara which is
jewel
mirror to the earth, the beautiful Kuppatur, with its splendid temples, its
golden towers, its lofty mansions, its streets of shops, its interior surrounded
'In the pleasant Nagara-khanda
(16)
and the houses of dancing girls, how beautiful to
was Kuppatur. It surpassed Alakapura, AmaravatI and Bhoga-
with a moat,
the eyes
vati.
its
.
Within that
.
.,
vying with Kailasa, stood the temple of Koti-
village,
by Visvakarmma and carved with complete devotion, planned in
perfect accordance with the many rules of architecture, and freely decorated
with drdvida, bhumija and ndgara.'
These and bhadropeta appear to be
natha, built
'
technical terms of the Silpa-fdstra or science of architecture.'
Mr. Rice.
are
the
three
of
architecture
called
the Dravida,
evidently
styles
(They
Vesira and Nagara in the Mdnasdra and elsewhere
Sorab Taluq, no. 275 Roman Text, p. 92,
vra, Part I
upwards
(17)
;
;
;
transl., p. 46,
The
earliest
the interesting
note
Ep. Carnal.,
line 9
Vol.
from bottom
i.)
Vijayanagar inscription (Sb. 263, noted above) contains
statement that the district (vishaya)
265
named Naga-khanda
AN ENCYCLOPAEDIA OF
NAGARA
more or less with the Shikarpur
generally Nagara-khanda, corresponding
Taluq was (formerly) protected by the wise Chandragupta, an abode of
the usages of eminent Kshatriyas.'
tion,
para.
ii,
p.
(Ep. Carnal., Vol.,
vm, Part
I
;
Introduc-
5.)
261 f.) have reference to Nagara(18) The Sorab Taluq Inscriptions (no.
khanda and its pompous buildings (temples), picturesque gardens and other
From these it may be inferred that the
natural and artificial beauties.
as stated in the Mdnasdra, a distinct
buildings of Nagara-khanda possessed,
and Vesara countries.
the
Dravida
like
those
of
architecture
style of
Compare Fah Hian's Kingdom
(19)
VH, pp. 1-7, note 2)
of the Dakshina (Ind. Ant., Vol.,
:
Going two hundred yojanas south from this, there is a country
Here is a Sangharama of the former
called Ta-thsin (Dakshina).
Buddha, Kas"yapa. It is constructed out of a great mountain of rock
'
hewn to the proper shape. This building has altogether five storeys.
The lowest is shaped into the form of an elephant, and has five hundred
The second is in the form of a lion and has four
stone cells in it.
hundred chambers. The third is shaped like a horse, and has three
hundred chambers. The fifth storey is in the shape of a dove, and
has one hundred chambers in it. At the very top of all is a spring of
water, which flowing in a stream before the rooms, encircles each tier
and
so,
running in a circuitous course, at
last arrives at
the very lowest
storey of all, where, flowing past the chambers as before, it finally issues
through the door of the building. Throughout the consecutive tiers,
windows have been pierced through the
light, so that every chamber is quite illuno darkness (throughout the whole). At the
in various parts of the building,
solid rock for the
admission of
minated, and there is
four corners of this edifice they have hewn out the rock into steps,
Men of the present time point out a small
as a means for ascending.
ladder which reaches up to the highest point (of the rock) by which men
of old ascended it, one foot at a time (?). They derive the name which
they give to this building, viz. Po-loya, from an Indian word (paravata)
"
pigeon." There are always Arhtas abiding here. This
signifying
At a considerable
hilly and barren, without inhabitants.
from
the
hill
there are villages, but all of them are inhabited
distance
by heretics. They know nothing of the law of Buddha or Sramanas, of
land
is
Brahmans, or of any of the different schools of learning. The men of
that country continually see persons come flying to the temple.
a certain occasion there were some Buddhist pilgrims from different
On
who came here with a desire to pay religious worship
Then the men of the villages above alluded to ask them
countries
temple.
266
at this
saying
NAGARA
HINDU ARCHITECTURE
do you not fly to it
We behold the religious men who
"
Because our wings
occupy those chamber constantly on the wing."
Why
are not yet perfectly formed." The country of Ta-thsin is precipitous,
and the road dangerous and difficult to find. Those who wish to go
there ought to give a present to the king of the country, either money
or goods.
The king then deputes certain men to accompany them as
and
so they pass the travellers from one place to another, each
party pointing out their own roads and intricate bye-paths. Fah Hian
finding himself in the end unable to proceed to that country, reports
guides,
above passages merely what he heard.' (Beat's Travels of Fah Hian
and Sung-Yan, pp. 139, 141.)
The territory (Dravida) which also includes the northern half
(20)
in the
'
northwards up to an irregular line drawn from a
point on the Arabian sea about i ,000 miles below Goa along the Western
Ghats as far as Kolhapur, thence north-east through Hyderabad, and
of Ceylon, extends
eastwards to
farther
the
Bay of Bengal.'
(Encyclopaedia,
Brit.
ed.
n,
P- 550-)
The old Telugu
Andhra or Telugu.
country covers about 8,000 square miles, and is bounded on the east
by the Bay of Bengal, on the north by the river Godavari, on the south
(21)
Vesara
is
'
otherwise called
by the Krishna.'
(Dr. Barnett, Catalogue of the Telugu Books, Preface.)
boundaries of the Telugu or Vesara country are given in detail
The
The Telugu country is bounded
of India :
towards the east of the Bay of Bengal from about Barwa in the Ganjam
in
the
'
Linguistic Survey
District in the north to
Madras
in the south.
From Barwa
the frontier
westwards through Ganjam to the Eastern Ghats, and then
southwards, crosses the Sobari on the border of the Sunkum and the
Bijai Talukas in the Baster state, and thence runs along the range of the
line goes
Bela Dila to the Indravati.
It follows that river to its
confluence with
the Godavari, and then runs through Chanda, cutting off the southern
part of the district, and further eastwards, including the southern border
of the district Wun. It then turns southwards to the Godavari at its
confluence with the Manjira, and thence further south,
where Telugu meets with Kanarese.'
(Linguistic Survey
P- 577-)
See
also the following
Trikdndasesha (Bibl., 258, Gal., 2, 8, 44).
Hemachandra-abhidhdna-chintdmani (12, 53).
:
Haldyudha
(2, 295).
Naishadha-kdrikd (Bibl.,
Cal.,
Brihaddranyaka-upanishad
Sisupalabadha (Bibl.
141,
(8,
10,
8).
15).
Gal.
12,
267
19).
of
towards Bidar
India,
Vol. iv>
AN ENCYCLOPAEDIA OF
NAGARA
(22)
Nagara seems
to
be a very popular geographical name
(see
J. A. S. B., 1896, Vol. LXV, Part i, pp. 116-117)
It is clear from the references that Nagara was formerly the capital
of Birbhum in Bengal that Nagara is the name of a famous port in
Tanjore that it is the name of an extensive division in Mysore that
:
;
;
;
a town
named Nagara and an
situated
on the Bias
ancient place called Nagarakota are
Kangra, in the Punjab that
in the district of
;
find Nagaravasti in Darbhanga, the town Nagaraparken in Sindh
and Nagarakhas in the district of Basti that there is a number of
we
;
ancient villages in the Deccan called Nagaram and that Nagara is
the name of two rivers in North Bengal, the name of a village in the
and that of some nine or ten places, called Nagara
district of Dacca
;
;
Rajputana proper, three being towns, that a fortified village in the
Santal Parganah is called Nagara. The ancient
Madhyamika,
which was once besieged by Menander, is now called Nagari near
Hieun Tsiang also mentions
Chitor (Smith's History, p. 187).
a province of ancient Kapisa
which
was
Nagara (modern Jellalabad)
(Kadphisa), the people whereof were the followers of Buddha (see
in
his Travels, Index).
The Nagaras
are mentioned in the
of countries and peoples'
(Utpatti-prakarana, xxxv, 33)
given in the Yogdvas'istha-Rdmdyana
The same list refers to the Dravidas (ibid., 40) also as
as a people.
list
a people living south of the mount Chitra-kuta, below the river
Godavari. In this list the Andhras, Kalingas, and Chaulikas are clearly distinguished from the Dravidas (ibid., 26-27).
Nagara is the name of a script also mostly prevailing in Northern
There lives a powerful tribe called Nagara, in the mountaneous tract of Kabul in Afghanistan. Nagara is the designation of
a sect of Brahmins also who, it is held, came over from some part of
Northern India and settled down in Gujrat at a place known as NaIndia.
garanandapura. From these Nagara Brahmans, it is said, came the
use of the Nagari alphabet. A portion (part VI) of the SkandaPurdna bears the name Nagara-khanda.
From this instance, it
would appear that the expression Nagara is at least as old as the
Nagara-khanda incorporated into the Skanda-Purdna which was
according to a general concensus, composed in honour of or, r.t
least, named after Skandagupta (A.D. 455-480), the seventh Emperor
of the early Gupta dynasty.
Why the Nagara-khanda, the 6th part of the Skanda-Purdna, is so
called is not explained explicitly in the Parana itself.
But from the
contents of Chapters cxrv, CLxnr, cxcix, cc, CGI and coin of this (6th)
part, it seems to have been named after the Nagara Brahmins.
268
HINDU ARCHITECTURE
NAGARA
The
etymological origin of the term nagara is, however, explained in
Chapter cxiv of the Nagara-khanda. It is stated (vv. 76, 77, 78,
93) to have arisen from an incantation of snake-posioning (cf. verses
i-i 13, nagara, no poison).
Compare the following
:
Garam visham
iti
proktam na
tatrasti
cha sampratam
II
Na garam na
gararh chaitach chhrutva ye pannagadhamah
Tatra sthasyanti te vadhya bhavishyanti yatba-sukham
Adya prabhriti tat sthanarh (Chamatkara-purarh) nagarakhyam
dhara-tale
I
I
\
I
Bhavishyati su-vikhyatarh tava kirtti-vivarddhanam
Evam tan nagaram jatam asmat kalad anantaram
From
1
1
1
1
(Skanda-Purana, Part vi,
Nagara-khanda,
Chap, cxrv, w.,
76, 77, 78, 93.)
the literary and epigraphical instances given above
it appears certain that the expressions Nagara, Vesara, and Dravida
are primarily geopraphical. But the precise boundaries of Nagara,
all
of Dravida and Vesara, are not traceable. The epigraphical
would tend to localize Nagara somewhere
quotations, however,
within the territory of modern Mysore. But the Nagara script, the
like those
Nagara-khanda of the Skanda-Purdna, and the Nagara-Brahmins,
representing some way or other the Northern India from the Himalaya
to the Vindhya and from Gujrat to Magadha, would jointly give
a wider boundary to Nagara. Besides the author of the Mdnasdra
shows his acquaintance with buildings of the whole of India in the
passage where he divides the best types of buildings by the following
designations,
namely, Padchala, Dravida, Madhya-kanta (meaning
apparently MadhyadeSa), Kalinga, Varata (Virata), Kerala, Vamsaka, Magadha, Janaka, and Sphurjaka
(M., xxx, 5-7.)
If the country of Nagara, like those of Dravida and Vesara be
included in Southern India, in other words, if Northern India be
excluded from the scope of the styles of buildings mentioned in records
quoted above, the passage, mentioning the ten different types of
buildings of the ten countries covering the whole of India, will have to
be treated as what is called a spurious record, a term under which the
Let whatever be
conflicting ideas are reconciled by many a scholar.
the boundaries of Nagara, it is clear beyond doubt that the three
of architecture have arisen from three geographical names,
Nagara, Vesara, and Dravida. And there we have a parallel instance
styles
of similar divisions in the early Grecian architecture
The three ancient orders the Doric, Ionic, Corinthian
:
on
which were based the three styles of Grecian architecture have
been traced by Vitruvius, an authority on architecture of the
first
century.
269
NAGARA
'
In
AN ENCYCLOPAEDIA OF
this
country (Smyrna) allotting different spots for different pur-
poses, they began to erect temples, the first of which was dedicated
to Apollo Panionios, and resembled that which they had seen in
Achaia, and they gave it the name of Doric, because they had first
seen that species in the cities of Deoria.'
(Book iv, Chap, i.)
Gwilt comments on it thus
The origin of the Doric order is
'
:
a question not easily disposed of.
the name of Doria; but the name
provinces of Greece bore
Many
often the least satisfactory
is
of accounting for the birth of the thing which bears
it.'
mode
(Encycl.,
Art. 142.)
'
The
Ionic order, at
first
chiefly confined to
the states of Asia
have been coeval with the Doric order.' (Gwilt.,
Minor,
Art.
Encycl.
153). 'That species, of which the lonians (inhabitants,
of Ion) were the inventors, has received the appellation of lonic.'(Vitruvius, Book iv, Chap, i.)
appears to
The third
who for his
is
species, Corinthian,
so called
because
Callimachus,
great ingenuity and taste was called by the Athenians
Catatechnos, happening at this time to pass by the tomb, observed
the basket and the delicacy of the foliage which surrounded it. Pleased
with the form and novelty of combination, he constructed, from
the hint thus afforded, columns of this species in the country about
Corinth.'
Chap, i.)
ascended the throne, anxious to
his father had long entertained of erecting a fixed
'
(Ibid.,
When Solomon
fulfil
the wish of
temple for
the
reception of the ark, he was not only obliged to send to Tyre for workmen, but for an architect also. Upon this temple a dissertation has
been written by a Spaniard of the name of Villalpanda, wherein he,
with
consummate
invention
of
simplicity,
urges
the Greeks, were the invention
that the orders, instead of being
of God Himself, and that Calli-
machus most shamefully put
for the pretentions to the formation of
the Corinthian capital which, he says, had been used centuries before
in the temple at Jerusalem.'
(Ibid., Art. 52.)
The other two orders, Tuscan and Composite, which are of
'
a later date than the time of Vitruvius, are of Italian or
The Composite,
as
its title
denotes,
is
and has thus no independent importance.
also reference to the country of
Roman origin.
the combination of other orders
The Tuscan
order has
Tuscany, formerly called Eutruria,
a country of Italy.'
(Gwilt, Encycl., Art.
The origin of the Indian architecture
1
78.)
attributed to a mythological person Vis"vakarman, literally the Creator of the Universe.
But the styles of architecture are stated to have been invented by
one Bammoja.
270
is
NAGARA
HINDU ARCHITECTURE
An interesting record from Holal is the label cut on the capital
It is called in
of a finely carved pillar in the Amrites'vara temple.
the inscription a Sukara-pillar. Speaking of the sculptor who made
it, the record says that he, Bammoja, the pupil of Padoja of Soge,
'
was a VisVakarma,
i.e. the architect of the gods in this Kali age, the
of
master
the sixty-four arts and sciences, the clever builder of the
sixty-four varieties of mansions and the architect who had invented
(discovered)
the
four
types of buildings,
An
Dravida and Vesara.
earlier
sculptor
viz.
Nagara, Kalinga,
of about A. D. ninth
whom we hear from an inscription on a pedestal at
It is stated that he made the
Kogali, was a grandson of Sivananni.
of
sun
the
of
the stone in question was
which
image
(divasa-kara)
of
Madras
G. O. no. 1260, i5th
the
(Government
evidently
pedestal.'
century of
August, 1915, p. 90,
see also
Progress Report of the Assistant Archaeological
Superintendent for Epigraphy, Southern Circle, 1914-15, p. 90.)
It has been pointed out already that Kalinga is mentioned in
Mdnasdra (xxx. 5-7) as the name of a type of building, but
and
it is never stated as a style like the Nagara, Vesara
Dravida, the Kalinga type of buildings being apparently included
in one of these three styles. In the same treatise there is another
the
therein
passage, pointed out above, where Randhra or Andhra is mentioned
as a type of chariots.
It has also been stated above that these
Kalinga and Andhra might be two branches of the Vesara, being
geographically placed on the two sides of it, the three together
forming Tri-Kalinga or three Kalihgas. In one of the epigraphical
quotations (no. 15) Bhumija is mentioned alongside Dravida and
Nagara, and this Bhumija (lit. originated in the land or the style
of the land, where the document was written) is apparently same
as
Vesara.
Some of the numerous literary and epigraphical quotations given
above must be placed in dates later than the time of Bammoja, mentioned in the present document.
But neither his name nor his style
is
associated
with
the
three
(Kalinga)
styles, Nagara, Vesara, DraIt is not unlikely that
vida, in any of the instances quoted above.
'
Bammoja discovered the three styles, which had been perhaps
'
existing long before him, and adding his
claimed the originality for all the four.
own
invention (Kalinga)
Such instances of unscru-
pulously adding to the works of one's predecessors and claiming the
originality are not rare in the literary or the archaeological records.
It does not seem
probable that any one person could have invented
the styles of architecture at one time and issued them as a royal
command they are more likely to have arisen out of the local
all
;
271
AN ENCYCLOPAEDIA OF
NATAKA
circumstances
presumably
at
first
periods, before they were recorded,
architectural treatises and then in the
different
in
the
epigraphical records.
The
object of this article
is
not, however,
to identify the country
of Nagara, nor to find out the inventor or inventors of the styles,
although on them depend many interesting points of the ancient
Here it is clear that the expressions Nagara,
are
Vesara and Dravida
geographical, and that they imply three
broadest sense.
styles of architecture in its
Indian architecture.
But on the
last point, too,
modern
authorities hold different views.
In discussing the styles of Indian architecture, Mr. Havell is of opithe Indian Civilization, Preface) that they are
Siva
and Vishnu and not Northern and Southern, or the Indo-Aryan and
nion (Study of
the Dravidian, as Fergusson and Burgess suppose to be
of Ind.
and East. Arch.,
1910).
The
Silpd-sdstra
(cf.
History
and the Agamas
to disagree to HavelPs theory nor do they wholly support the
views of Fergusson and Burgess. The division proposed by Havell,
being not geographical, may be systematically applied to religious
architecture, while that adopted by Fergusson and Burgess being of
seem
a geographical nature, is more in agreement with the system of the
Silpa-fastras than Havell's division.
The
fact that the
Hindu
art-consciousness
is
largely
dominated
by a spiritual motive being strictly adhered to, it would follow that
Havell's division into Siva and Vishnu, or others, into Hindu, Buddhist
and Jain, would be more logical than that into Northern, Eastern
and Southern, or Nagara, Vesara and Dravida. But even admitting this, we must not forget that the Hindus knew the point where
exactly to draw the line between religion, on the one hand, and
It is needless to observe that
social and political life, on the other.
within the three
geographical styles the sectarian subdivisions are
quite feasible.
NATAKA A
moulding, a theatre, a calyx, a crowning, moulding
or ornament of a pillar ; it is generally used together with petals ;
the part of the capital which supports the abacus (phalaka) is sometimes so called ; a cardinal number.
Padanam
api
sarvesharh
Antare natakair yuktarh
patra-jatyair alankritam
tu dalair yutam
I
padmanam
I
(M., xiv, 149-150.)
In connexion with the entablature
:
Natakanta-mrinalika
I
(M., xvi, 53.)
272
NATYA-GRIHA
HINDU ARCHITECTURE
Narair va natakange tu kuryad devalayadinam
I
Harmyantaralayah sarve nrinarh nataka-samyutam
Etat
tu
prastarasyordhve
natakasyordhvarhs"avat
I
I
(A/., xvi, 112, 114, 117.)
Athava tapasvinlnam cha kathe va natakahakam (mandapam)
xxxiv, 426.)
(Af.,
with
connexion
In
(mandapa)
Natka-vistararh pancha-pancha-bhagena yojayet
I
:
pavilions
I
(Ibid.,
In connexion with the arch (torana)
503.)
:
Makara-kimbari-vaktrarh natakadi-bhujarigavat
Kesari-mandanarh bhavati chitra-torana-natakaih
I
I
(M., XLVI, 66-67.)
The
cardinal
number
ten
:
Shat-saptashtaka-dandam va nanda-nataka-rudrakam
I
(Af., ix, 430.)
Its
synonym
kulikanghrika.
NATIKA A
are anta, mrinalika vallika, patra,
(Af.
xvi,
valli,
chitranga
and
53-55.)
moulding.
In connexion with the arch (torana)
Natika phalaka mushti-bandhanam patra-vallikam
:
I
(Af., XLVI, 65.)
In connexion with the pillar
Kumbhayamarh tathotkantam urdhve karna-samam bhavet
:
Tat-samam natikakhyam syad unnatam tad
viseshtah
(Af.,
NATYA-GRIHA(-MANDAPA, -VEMA,
music
-ALA)
I
I
xv, 54-55.)
The
play-
dancing pavilion, used for enacting a
drama (abhinaya), holding a music performance (sariglta) or dancing
show (nritta). It is built in connexion with a temple, a palace, and
independently for the use of general public in towns, countryside
and mountain valley. It is built in various shapes circular (vritta)
house,
theatre,
hall,
semi-circular (vikrishta), quadrangular (chaturasra), and triangular
(tryasra). Abhinava-gupta, the commentator of Bharata-Ndtya-sdstra
some eighteen
with reference to shape and size.
It consists of two main parts the auditorium (preksha-griha) and the stage
The former faces the latter and is one storey (bhumi)
(ranga-mandapa)
lower in situation. The auditorium supplies the seating arrangement which
varies in accordance with the shape of the theatre
nd in consideration
refers to
varieties
:
.
;
being attached to a temple, or palace, or built independently for the
use of the general public. In an open variety of the theatre built in the
of
its
273
AN ENCYCLOPAEDIA OF
NATYA-GRIHA
courtyard of a temple all kinds of seats are assigned for ordinary, special,
and occasional uses to Chakravartin and other classes of kings, as well for the
'
their consorts, as also for the accommodagods, to be seated together with
tion of ordinary people.' (Mdnasdra, XLVH, 26-29). In a closed variety of
the palace theatre the seating arrangement is more specifically shown.
The first row corresponding to stall and facing the stage is occupied in the
centre by the court ladies (varangana) having the learned courtiers on their
on their left. Immediately behind the court ladies is the
right and the bards
are reserved for the harem
royal seat, on the left of which seats
(antahpura)
and on the right is the seat for the chief queen and others. The stage pro-
per consists of ranga-slrsha (stage-front), rariga-pitha (the place immediateand nepathya-griha (green-room). It is shaped like
ly behind for acting),
a mountain cave and have two floors. The upper floor or the platform
made of wood, and the surrounding walls, of bricks.
many other things the Indian tradition has ascribed a divine, that
to Sanskrit drama rather than a Grecian influence.
is, an indigenous origin
The Ndtyaveda is stated to have been created by Brahma for the benefit of
all castes including the Sudras who had no access to the Vedas.
It is signiis
(vedika)
Like
dramas were intended
at origin to provide facilities for the
enjoythus
of
ment of
indicating popularity and interest to the
people,
subject of the general public, men, women and children, who could hardly be
expected even if they were all literate, to read the texts in Sanskrit in order
ficant that
all classes
to enjoy the dramas.
element of recitation
Thus the drama
is stated to have been
compiled of the
from the Rig- Veda, the element of chanting or
songs
from the Sdma-Veda, the element of mimic art from the Tqjur-Veda, and the
element of sentiment from the Athar-Veda. Siva and Parvatl are stated
to have contributed the Tandava and Lasya dances, and Vishnu
the four
'
dramatic
styles essential to the effect of
architect,
is
stated to have built the
first
any
play.'
Visvakarman, the divine
playhouse in which the sage Bharata
carried into practice the dramatic art thus created. 1
This traditional account has been gathered from the
which
Bharata-Ndtya-sdstra
Western scholars have placed in the third
century of the
There is also a class of works, called Natasutra, referred to
treatise the
Christian era.
grammar (4, 3, no), dealing with directions to actors (nata).
But the dialogues and other elements have been discovered in the
early
Vedas. z These dialogues are romantic in nature and dramatic in essence.
Thus the conversations between Yama and YamI, or Pururavas and tfrvasi
would charm a modern audience in a most up-to-date theatre. Professor
Keith has further recognized that 'the Vedic ritual contained within
in Panini's
1
Keith
Sanskrit Drama, p. 1 2.
For instance Rig-Veda, v. 10, 51-53, 86, 95, 108
:
rv,
1
8.
274
;
vm, 100
;
i,
179,
28-
A SUGGESTION FOR THE INTERIOR
10
SCALE OF
5
MI. in
10 15 20 25 30 35
i
i
i
i
i
i
40 45 50
i
|
\
|
FEET.
---"
PLAN-SEMI CIRCULAR TYPE.
PLAN-TRIANQULAR TYPE
SCALE 16 FT. --ONE INCH.
NA YA GRIM.
.
PLAN-QUADRANGULAR TYPE
SCALE 8 FT. -ONE INCH
I'age 274
HINDU ARCHITECTURE
NATYA-GRIHA
'
the germs of drama and in the ceremonies
l
present the element of dramatic representation.'
'
itself
there was undoubtedly
In the Rdmqyana mention is made of the dramatic artists (nata), prodancer (nartaka), and plays in mixed languages ( Vyamisraka) .
In the Harivamsa which is a continuation of the Mahdbhdrata mention is
fessional
of players who made a drama out of the Rdmayana legend. The
evidence of dramas being actually played in a theatre is found in the
which mentions representations of Kama-vadha (slaying of
Mahdbhdshya
made
'
2
Karhsa) and the Balibandha (binding of Bali).
The Prekshagara or auditorium is mentioned in the Mdlavikdgnimitra
(Act
Sanglta-sala or music hall
I).
The
is
referred to in the Sdkuntala (Act V).
and thirty
Bhavaprakdsana
were
which
dramas
a
of
dramatic
kinds
different
actually played by
company
under the direction of Divakara
(x, 5-18) refers to three types of theatres
:
Chaturasra-tryasra-vritta-bhedat so'pi tridha bhavet
in manuscript, describes the
Sangita-chuddmant, a text
drop scene
'
the first curtain is the front drop which is removed as
and other curtain :
soon as the show begins. Behind the mist-like curtain, the danseuse
I
The
performs
'
the dance called lasyu (nude)
(Triveni, p. 722). Sceneries are described
in great detail in the Bharata-Ndtya-sdstra :
Kaksha-vibhage jneyani grihani nagarani cha
Udyanarama sarid-asrama
atavi tatha
I
1 1
Prithivl sagaraS chaiva trailokyarh
sacharacharam
Varshani sapta-dvipas cha parvata vividhas tatha
Aloka chaiva lokas cha rasatalamathapi cha
I
II
I
Daityanam alayas chaiva griham bhuvanarh cha
Nagare cha vane chapi varshe vai parvate tatha
1 1
I
Yatra vartha pravarteta tatra kaksharh prayojayet II
Bahyarh va madhyamam vapi tathaivabhyantararh punah
I
Durarh va sannikishtam va de^am tu parikalpayet
(Ndtya-sdstra, ed. Joan Grosset, Paris, 1898.)
The same text describes with minute particulars and dimensions the
I
auditorium of three types
Idarh prekshagriharh drishtva dhlmata Visvakarmana
Tri-vidhah sannivesascha sastratah parikalpitah
Viprakrishtas-chaturasras cha trya^ras chaiva tu mandapah
Prekshagrihanarh sarvesharh tri-prakaro vidhih smritah II
:
I
I
(Natya-fastra,
I
Gaekwad's
xxxvi, Chap, n,
1
2
Keith
:
Sanskrit
Drama,
p. 23.
Mahabhashya on Panini
Literature, p.
Series,
7, 8, 25.)
3,
i,
26;
347.
275
see
Macdonell, History of Sanskrit
AN ENCYCLOPAEDIA OF
NATYA-GRIHA
The
described
pillars, doors, walls, green-rooms, etc. are fully
Stambharii dvararh cha bhittith cha nepathyagriham eva cha
:
Evam
utthapayet tajjno vidhi-drishtena
karmana
(Ndtya-ias'ra,
1
I
1
Gaekwad's
Series,
xxxvi, Chap, n, 65-66.)
are also described :
stage proper with its different members
Ranga-pitham tatah karyarh vidhi-drishtena
The
karmana
I
(Jbid.,
Rariga-Sirsham tu kartavyam shad-daru-samanvitam
Karyarh dvara-dv;iyarh chatra nepathyasya grihasya cha
n, 71.)
I
(Ibid., u, 71, 72
Evam
kashtha-vidhim kritva bhitti-karnena prayojayet
Nirvyuha-kuharopetam nana-gratitha-vedikam
Karyah saila-guhakaro dvi-bhumir natya-mandapah
;
I
see also 78.)
I
|
I
(Ibid., H, 70, 84.)
Compare DARIGRIHA
(Megha-duta,
The
(Kumdra-sambhava,
I,
10,
and SILA-VESMAN
14)
25).
i,
Silpa-ratna of
Srikumara also describes two or three types of play-
houses (Chap, xxxix, 60-68).
playhouses belonging to temples, palaces and ordinary dwelling
houses are described in the Mdnasdra (XLVII, 2-12, 16, 20, 24-29, see
The
quotations under
The
MADHYARANGA).
epigraphical evidences are also not wanting. Thus from its a rangeinscriptions the cave in Ramgarh hill in Sarguja
appears to
ments and
'
have been evidently intended for dramatic performances.'
cave and that of Ganesa in Udayagiri are further examples
*
The
queen's
'
the doings of these ladies
2
and gentlemen
(actresses
and
:
they represent
actors) in a highly
'
By Naga, the Vira-Ballala-pattam-svami, were built the
dancing hall and terrace of Parsva-deva, and in front of the Basadi of
Kamatha Parsva Deva stone pillars and a dancing hall were made.' 3
realistic
way.'
All these documents, comprising general literature, technical works on
music, architectural texts, and epigraphical records, may supply a fairly
complete picture of the playhouse of the Hindu period. It needs no elucidation that the
Hindu mind
Hindus to celebrate one's
1
Dr. Block
2
Luders
:
is
essentially musical.
birth,
wedding and
:
Music was required for the
happy occasions.
similar other
^eitsckrift der Deutsclien Morgenlandischen, Bd., LVIII, S.
455.
Indian Caves as Pleasure Resorts, Indian Antiquary, xxxiv, pp.
199-200. But Jacobi is still under the old prejudice when referring to the cave
it is
theatre of Ramgarh hill he says that
arranged after the Greek pattern.'
The cave threatres are, however, referred to in the Kumdra-sambhava (i, 10, 14)
and Megha-duta (i, 25) of Kalidasa.
:
'
'Rice
Ep. Carnat., Vol. n, no. 130; Translation, p. 178. See also the
Inscription of Krishnaraya, lines 24, 32, North Face.
:
276
Hampe
HINDU ARCHITECTURE
NATYA-GRIHA
required to mourn one's death and similar sad incidents
even
calamities as like earthquakes and epidemics. Religious
including
ceremonies had to be accompanied by music. These musics include both
It
was
vocal
also
and instrumental
songs,
dancing, and enacting of plays varying
from a single act or scene to a performance which continued
nights.
Thus the elements of
drama
for days
and
are available in the earliest Vedas.
The
Mahenjo-Daro, Harappa and other sites may supply
In order to
evidence of regular theatre even for the Pre-Vedic period.
musical
habit
of
the
the
into
which
out
was so conHindus,
practice
carry
vincingly in existence for milleniums, no doubt suitable accommodation
at
excavations
had to be found out by indigenous efforts and evolution. It would
be the limit of prejudice to imagine that although the Hindus knew all
about a dramatic performance and although the art of building was understood and successfully practised at least between 3000 and 4000 B. c. when
edifices might have been erected, yet they did not think of
a
constructing
playhouse even after the model of the then existing natural
caves until the Grecian invaders supplied the pattern between 300 and 350
Those who are not thus prejudiced will find it easy to infer from the
B. c.
Mahenjo-Daro
evidences quoted above and to come to the conclusion that there were in
Hindu India rustic theatres for folk dance or popular performance, as well
as regularly constructed playhouses of various shapes
and
sizes.
They were
knowledge of acoustics, light, ventilation, safety and
erected in villages, small country towns, centres of
were
They
security.
They were attached to commodious
pilgrimages, and in big capital cities.
and
houses,
king's palaces,
god's temples. In all these constructions
dwelling
the stage proper and the auditorium.
were
made
for
distinctly
provisions
built
with
scientific
the platform with a thick drop scene in front
proper with various realistic sceneries and curtains
The former comprised
and the theatre
behind which even semi-nude dance could be performed, the indecency
being prevented by the mistiness caused by the device of thin curtains and
The green-rooms and other rooms were made for dressing and restlight.
ing of the actors and actresses and even for an interview with them by some
,
fascinated audience.
The auditorium with
the orchestra in front provided
and ranks of audience, which were artistically arranged
It was adorned with beautiful doors, windows, balin tiers and galleries.
There
conies, and walls and ceilings with carvings and paintings on them.
were also open air auditorium with surrounding walls and terraces which
seats for all classes
But the stage appears never to have been uncovered either on the sides or at the top. 1
latter served as galleries.
1
The Playhouse of the Hindu
(Modern Review, April, 1935, pp. 370-378, Krishnaswami Aiyangar's
Commemoration Volume, pp. 363-380).
For further
Period
details, see
the writer's
'
article,
'
277
AN ENCYCLOPAEDIA OF
NATYA-MANDAPA
NATYA-MANDAPA
The
stage proper consisting of ranga-slrsha
ranga-pltha (place for acting), and nepathya-griha
(green-room). In shape it should be like a mountain cave and have
(stage-front),
two
floors
:
Karyah Sailaguhakaro dvi-bhumir natya-mandapa
I
(Bharata-Natya-taslra n, 84, also 91.)
The upper
wood
floor or the platform (Vedika, ibid,
n
80) should be
made of
:
Evarh kashtha-vidhirh kritva bhitti-karma prajojayet
(Ibid.,
The surrounding walls should be made of bricks (Slishteshtaka)
I
n, 82.)
.
NATTA (NATYA)-SALA A
'
detached
building
used as a music
hall."
Nafta-Sala cha karttavya dvara-des'a-samas'raya
the music hall should be built attached to the gateway (of the
I
And
temple).
(Garuda-Purdna, Chap. XLVII, v. 45.)
A mandapa or hall for religious
music, built in front of the
main temple
:
purah sthapayamasa gurvvirh sYiman
Srinatha-viryyah sthagita-das"a-dian natya-Salarh chhalena
Durgga-devalayasyabharanam iva
I
(Dirghasi Inscrip. of Vanapati, lines 14-15,
Ep. Ind., Vol. iv, p. 316.)
NABHI-VlTHI A
road
proceeding from the central part of a
village or town.
Brahma-bhaga-vriddhya
vlthir nabhi-vithiti
kathyate
I
(Kamikdgama, xxv,
NARANA A
i.)
temple of Vishnu.
(Note on a Tamil Inscription in Siam, Hultsch,
J. R A. S., 1913, pp. 337-339-)
NARAGHA A
road running towards the
Pran-mukha vlthayah sarva narachakhye(a
east.
i)ti
smritah
I
(Kamikdgama, xxv,
NALA A canal or
lotus stalk (M., xix, 144,
3.)
gutter, channel,
148*
a tubular vessel of the body (M., L, 198, 201, 205, etc.),
middle, central (M., xxxni, 360, XLIH, 14).
153, etc.),
In connexion with the phallus.
(M.,
278
LII,
294-296,
etc.)
NASA
HINDU ARCHITECTURE
NALA-GEHA A
channel,
canal-house,
middle
central
chamber,
hall.
.
.
.
Bhitti-gcham ihochyate
I
Tri-chatush-pancha-shad-bhagarh saptarhSarh kudya-vistaram
Seshaih tu nala-geharh tu.
.
.
.
I
I
(M., xxxiu, 359, 360.)
NALANDA
several
The famous Buddhist
sangarama,
vihara,
institution at Bihar,
and
dharmaganja,
comprising
buildings ;
there were colleges, halls, libraries, observatories, priests' chambers,
'
'
'
brilliant
richly adorned towers and the fairy-like turrets and
chaitya
'
'
The whole establishment
and magnificent memorial buildings.
a brick-wall. One gate opens into the great
is surrounded by
from
which
are separated eight other halls, standing in the
college,
middle.
(Accounts of Hiuen Tsiang, I-tsing, Tibetan writers,
Excavations, Archaeological Survey, and Sankalia) ; see under
VlS VA VID YALAYA
.
NALIKA
A
canal, the lower leg.
tad-dhatam bhitti-taram sesham
NALA)
(see
Ekamsam
cha nalika
I
(M, xxxm,
The lower
leg.
(M., XLV, 42,
NALIKA-GARBHA A
438.)
etc.)
rectangular
hall of the length
twice the
breadth.
Nalika gabbho
ti
bitt
harato dvigunita-gunayamo digha-gabbho
(Buddhaghosha, Chullavagga, vi,
I
The
33.)
interpretation of Oldenberg and Rhys Davids as palanquin-shaped'
given under the translation of the term is not supported by the commentator Buddhaghosha as quoted above.
'
NALIKA-GRIHA
(see
NALA-GEHA)
A
canal house.
(M., xix, 98,
NALI
A
canal, a gutter.
Geha-tare tu saptamsarh nali-taram
(see
NALIKA)
yugamsakam
NASA A
I
set
115;
(M., xix,
etc.)
also
nose, a nose-shaped object, the upper piece of a
116.)
door,
a vestibule.
Vijneya nasika nasa nasa dvarordhva-daru cha
I
(Amarakosha, n,
In connexion with the base
ii,
13.)
:
Grahadi-chitra-sarvesham kshudra-nasadi-bhushitam
I
(M., xiv, 236,
279
etc.)
AN ENCYCLOPAEDIA OF
NASIKA-(SI)
A
nose-shaped architectural object,
or
court
a vestibule, an open
porch before a house, a hall next to
the entrance to a house, a bracket.
NASIKA(-SI)
(see
NASA)
pillar (M.. xvi 76, 77, go, 120, etc).
a
of
Some component part
building (M., xvn 207 xrx, 174, etc.).
Chatur-dikshu chatur-nasi (M., L, 284).
Suprabhedagama, xxxi (referring to a class of buildings)
connexion with the
In
;
:
Chatush-kutas' chatuh-Salas" chatvarah parsVa-nasikah (48)
Mukha-nasi tatha yuktam dva-das"aih chanu-nasikah (49)
I
I
Chatur-nasi-samayuktam anu-nasi-das"ashtakam
1
(51)
1
Kuta-Sala-samayukta punah panjara-nasika II (52)
ParsVayor nasika-yuktam tan-madhye tanu(tvanu)-nasika U (79)
Eka-nasikaya yuktam panjaram samudahritam
I
Kuteshu nasika-yuktarh koshtham etat prakirtitam
Kdmikdgama, LV (eight kinds of Nasika)
II
(80)
:
Nasika tv-ashtadha jneya tasyadau simha-samjnitam
Sardha-panjaram anyat syat tritlyam matam II (132)
I
Shaped
like
the nose (M., xxxra, 541).
height ends by the fore-part of the
See also M., xxxm, 550-561.
Its
Shaped
like gala, Sikha, circular,
dome (M. xxxm,
549).
:
galakuta (M., xxxm, 552-553).
Niryuha-panjararh pakhat panchamam lamba-nasikam
Simha-^rotram tu shashtarh syat khanda-niryuhakam tatha
Jhasa-panjaram anyat syat tasam lakshanam uchyate II (133)
I
I
They
are also called panjaras
Sarvesham panjaranam tu
The
:
manam evam
udahritamll (149)
details of these nasikas or panjaras (ibid., 134-146).
sama-nirgamam
Shat-varga-sahitam Sakti-dhvajayor mukha-pattikam
Slishta-prasada-nivrariga-vipularh
I
Vedika-jalaka-stambha-rajitam simha-panjaram
Tri-dandadi-chatur-danda-paryantam vipulanvitam
(134)
I
I
II
(135)
Yatharhayama-samyuktam suchi-pada-dvayam dvijah
Sarvesham panjaranam tu madhyame samprayojayet II (136)
Dhamni prasadam a^lishtam sanivram chardha-nirgatam
I
I
Adhisthanadi-panchanga-sakti-dhvaja-samanvitam
II
(137)
Mukha-pa{tikayopetam vedika-jalakanvitam II
Karna-pada-yutam sardha-pafijaram tu vidhiyate II (138)
Pragvad vipula-samyuktam pada-nirgamanvitam
Tri-bhagam nirgatam vapi vrita-sphatika-sannibham II (139)
Pafijarasyadimam s"esha(m) pragvad atra samiritam II (140)
Svanurupa-Sikhasv-agram Slishta-nlvranga-karnakam
I
I
280
:
j
<r 4
fc J
w
r
NA51KA.
HARA.
i
BH * DRA
I
:
U-
i
L 4.
HARA.
NASIKA VESTIBULE
IN
S
NASIKA
PLAN.
NATAKA.
NAGA-KALA.
SHEET
IRO^
LINING.
>-
g
DOCUMENT _
PLAN.
LONG SECTION.
NIDHANA.
Pnit
HINDU ARCHITECTURE
NIDHANA
Kapotadyanga-sarhyuktam etan niryuha-panjaram
II
Samslishta-mvra-karnanghri-krita-naga-talarh sirah
(141)
I
Niryuha-rahitarh yuktam sarvangarh lamba-nasikam
Tad eva sirhha-s'rotrabha-s'ikharh yad-vad nivrakam
II
(142)
I
Sarhsritarh karna-padena sirhha-s'rotrarh tad uchyate II (143)
Vistare panchamarhs'e tu dvyarhSarh nirgamananvitam
I
NIvradhastat kapotadyair arhsair mandita-rupakam
Namna
II
tu khanda-niryuha(m) jnatva
samyak prayojayet II (144)
nivradhastad
Danda-dandanta-nishkrantam
upary-adhah
Angair yuktam kapotadyaih kandharam torananvitam II (145)
I
Jhasa-panjaram etat syad ashtamam namatah dvijah
NAHA-LlftGA A
II
(146)
kind of phallus.
Acharya-hastena va lingam Sishya -(sya)s tu naha-linga-vat
(M, LII, 335 see details under LINGA.)
I
;
NIGAMA A
town, the quarters inhabited by traders, a market.
(Af., x,
42
;
under NAGARA.)
see details
'
towns, marts and rural parts
Nagara-nigama-jana-padanam
Harshacharita,
220, i, i.)'
p.
Grama-nagara-nigama,
(e. g.
(Junagadh
lines
Vol.
of
10-11,
Rudradaman,
Ind.,
Ep.
vin, pp. 43, 37, and
Inscrip.
Cf.
note
5.)
Nigama-sabhaya-nibadha registered at the town's hall.
Cave Inscrip. no. 12, line 4, Ep. Ind., Vol. vm, pp. 82, 83.)
NIGAMA-SABHA
assembly.
Cf. Eta
cha
vare charitra
(see
NIGABIA)
A
the
guild-hall,
traders,
sarva-sravita-nigama-sabhaya nibaddha cha phalakaand all this has been proclaimed in the guild-hall
'
iti
and has been written on boards according
'
'
Nigama-sabhaya,
the assembly of
line 4, Arch. Surv.,
NIDRA A
(Senart, Nasik
in
Imp.
custom.
'
the
the traders.
New
to
guild-hall,
'
may
Dr. Burgess.
'
also be translated
(Kshatrapa
Series, Vol. iv, pp. 102, 103, note 3
in
Inscrip. no. 9,
on page
103.)
moulding.
Vajanarh chaika-bhagena nidrcka vajanam tribhih
Vajanam chaika-bhagena tatha nidra tri-bhagatah
II
1
1
(Kamikagama, LV, 10, n.)-
NIDHANA A
store-room, a treasury.
Vimana-s"aleshu cha mandapeshu nidhana-sadmeshv-api gopuresh.
vapi
I
(M., xiv, 397-400.)
AJf
NIB(-V)IDA
An ornament
NIB(-V)IDA
roof,
ENCYCLOPAEDIA OF
covering the lower part of the pent-
a moulding.
Agram
vikasltabharh syan mularh cha nibidanvitam
The
NIMNA(-KA)
I
xviu, 245, etc.)
(A/.,
cavity, depth, ^depressed part, drip, projection,
edge of an architectural or sculptural object, a moulding.
A
ings
A
A
moulding of the base (M., xiv, 247,
under ADHISHTHANA).
moulding of the column (M., xv, 52).
etc.
;
see
the
of mould-
lists
moulding of the pitha or pedestal of the phallus (M., LIII, 27).
Chatur-dikshu sabhadram va chaika-dvy-arhs'ena nimnakam
I
(M.,
The
depressed part of the chin
L, 285.)
:
Hanvantarh tad-dvayor madhye nimna-tungam Sivayatarn
I
(M., XLV, 103.)
NIRGAMA
The
Mdnasara
(1)
The
projection.
:
projections
of the mouldings of the base
(M., xiv, 385-412
;
see
under ADHISHTHANA).
The
projections of the mouldings of the pedestal (M.,
xm, 128-146;
see
under UPAPITHA.)
The
projection of the (whole) pedestal
(ibid..
20-35).
Cf.
Nirgamodgamane vapi putra-naSam avapnuyat
(2)
Nirgamam
I
(M., LXIX, 19.)
tu punas tasya yavad vai lesha-pa^tika
I
(Matsya-Purana, Chap. CGLXII, v. 4.)
Chatur-diksku tatha jneyarh nirgamam tu tatoh budhaih
I
(3)
(Ibid., Chap. CCLXIX, v. 2.)
Ashtamams'ena garbhasya rathakanam tu nirgamah
see also v. 14.)
(Agni-Purdna, Chap. XLH, v. 13
Nirgamas tu Sukanghres" cha uchchhraya-s'ikhararddhagah
I
;
(4)
1 1
Chatur-dikshu tatha jneyo nirgamas tu tatha budhaih
Bhagam ekam
grihltva tu
nirgamam kalpayet punah
1 1
II
(
(9)
10)
Nirgamas tu samakhyatah Sesham purvavad eva tu II (14)
Sukahghrih purvavaj jneya nirgamochchhrayakam bhavet
(Garuda-Purana, Chap. XLVII, vv. 4,
(5)
Salanam tu chatur-dikshu chaika-bhagaditah kramat
II
(17)
9, 10, 14,17.)
I
Pada-bhaga-vivriddhya cha ashta-bhagavasanakam
(101)
Vinirgamasya chayamo tad-vriddhya tasya vistarahll (102)
Nirgamo gopuranam tu prakarad bahyato bhavet II (127)
1 1
(Kdmikagama, xxxv, 101, 102, 127.)
HINDU ARCHITECTURE
NIRVASA-MANDAPA
Madhyagara-vinishkranta-nirgamena samanvitah
1
1
Nirgamas tu dvi-bhagena vistara-dv(a)yama-manatah
1
1
(Kamikagama, XLV, 24, 26.)
Adhyardha-dvi-tri-dando va nirgamas' chodgamo bhavet
1
1
(Ibid., LIV,
21.)
(6) Sarvesham eva padanam tat-padam nirgam bhavet
Of all columns the projection is one-fourth of the height.
1
1
(Suprabheddgama, xxxi, 65.)
NIRGALA A
part of a swing, a moulding.
Ayase nirgalam kuryad yojayet rajjum eva va
Vastrordhve chaika-hastantam dolaya phalakantakam
Tad-urdhve vajanantam syan nirgalayamam iritam \
1
1
Nirgalagre dvayagram syat phalaka-valayanvitam
I
I
(M.,
NIRETANA The
L,
168-171.)
forepart of the branch of an ornamental tree
(kalpa-vriksha)
Cf. Bhramarair abhirayuktam sarva-Sakha-niretane
.
I
(M., xLvm, 58.)
NIRYUHA A kind of a
turret-like ornament on columns or gates
a chaplet, a crest, a head ornament, the crest
of a helmet ; a peg or bracket projecting from a wall to hang or
place anything upon (cf. NAGA -NIRYUHA) ; wood placed in a wall
a door, a gate.
for doves to build their nest upon
a pinnacle, a turret
;
:
(1)
Niryuhadyair alankritya (M., XLIX, 186,
(2)
Rdmayana
V. 9, 20
V. 9, 58
(3)
:
:
Vimanair hema-niryuhaih
43,
44
I.
7,
96
:
:
|
Charu-torana-niryuha (lahka)
Mahdbhdrata
I.
etc.}.
:
I
:
Dvara-torana-niryuhair yuktarh nagaram
I
Aneka-vidha-prasada-harmya-valabhl-niryuha-Satasamkulah (naga-lokah)
I
(4)
HarivamSa
(Pet. Diet.),
5021 (5015, 5018, 5023)
:
Nagaryah paSchimam dvaram uttaram naga-dvaram purvam nagaraniryuharh
dakshinam nagara-dvaram
I
NIRVASA-MANDAPA A pavilion for banishment,
a private room.
Tat-pure'lindam ekamSam athava nirvasa-mandapam
I
(M., xxxiv, 326,
283
etc.)
NIRVYOHA
AN ENCYCLOPAEDIA OF
NIRVYOHA A
Cf.
a small tower.
cross circle,
Maha-varam vimanordhve nirvyuhanana-samyutam
I
(Kdmikagama, XLV, 17.)
NIVATA-BHADRAKA A
class
of chariots.
(M.,
NIVE&ANA A
113
XLIII,
see
;
under RATHA.)
resting place, a stall for cattle, a colonial settle-
ment.
19, 9
(R.-V.,
A
NISHADAJA(-DHA)
class
vii,
;
19, 5.)
of pavilions, a type of building.
(A/.,
xxxiv, 152
;
under MANDAPA.)
see
A
class of buildings without the kuta-sala (top-hall) but with eight
other halls and eight aviaries :
Prasado nishadhas tatra kuta-Sala-vihinakah
I
Ashta-Sala-samayuktaS chashta-panjara-samyutah
1 1
xxxi,
(Suprabhedagama,
NISHADYA A
45.)
bedstead, a couch, a hall, a shop, a market place.
(Sisupala-vadha, xvni, 15, etc.)
NISHIDHI
(see
NISHKALA A
Yugmam
NISHKASA A
A
NISADDHI)
site
monument.
plan.
nishkalam proktam ayugmarii sakalam tatha
(M., vii, 73 ; see under PADA-VINYASA.)
I
verandah, a portico, a balcony, a projection.
Prag-grivah pancha-bhagena nishkasas tasya chochyate
Karayet sushiram tadvat prakarasya tri-bhagatah
1
Prag-grivah pancha-bhagena nishkasena viSeshatah
I
1
I
Kuryad va pancha-bhagena-prag-grivarh karna-mulatah
1
1
(Matsya-Purana, Chap. CCLXIX, vv. 24-25.)
NISADDHI(NISIDI)
(see
NISHIDHI)
A
house for
rest,
a tomb,
a monument.
(i)
Kami
settiyara Nisidi
'
The
Nisidi of
Rami
setti.'
given by Sanderson as a bill of acquaintance Dr. Bhau Daji
Br. R. As. Soc., Vol., ix, p. 315, Inscription, no. 4) translates it
Bom.
(Journ.
house
of
rest, on the analogy of an inscription in the Udayagiri cave in
by
'
Nisidi
Orissa
;
is
this is
;
probably
its
meaning
as used here.' Dr. Fleet.
Sanskrit
and
old Kanarese Inscrip. no. LVI, Ind. Ant., Vol. vra, p. 246, note 48.)
(Ep. Carnat., Vol. n, Inscriptions
on Chandragiri, Vindhyagiri and in the
town.)
284
NISADDHI
HINDU ARCHITECTURE
Erected a stone hall for
'
(2)
gifts in
Jinanathapura and
set
(NISlDI)
up a tomb
memory of the Maha-mandalacharyya Devakirtti Pandita
(No. 40 Roman Text, p. 10, line 3 from the bottom upwards
(nisidhiyam) in
Deva.
;
;
Transl., p. 122, line 19
f.)
By Madhavachandra Deva was the tomb (Nishadyakakarayeta)
'
(3)
raised to his memory.'
(No. 41
;
Roman
Text, p. 12, line 15
Transl.,
;
p. 123, line 5.)
The
'
(4)
excellent minister
...
Yogi Nayakirtti
moon and
p.
a
Naga-deva erected
tomb (nishidhyalayam)
stars continue.'
(No. 42
Roman
;
memory of the famous
endure as along as sun,
in
to
Text, p. 16 line 10, Transl.,
line 4.)
124
Raised a tomb (nisidhigeham) to her memory.'
'
(No. 44 ; Roman,
Text, p. 20, line 23 Transl.. p. 125, line 20.)
group of tombs (nisidhika), a collection of ponds and lakes, who
(6)
(but him) made these in memory of Nayakirtti Deva Saiddhantika.'
(5)
;
A
'
(No. 90
;
Roman
Text, p. 73, line 23
;
Transl., p. 159, line
i.)
He, from devotion to his guru, set up his tomb (nishayam).
(7)
(No. 105; Roman Text, p. 80, line 27 Transl., p. 165, line 30.)
Mankabbe Ganti had erected a tomb (nisidhiggehadyam)
(8)
for her guru.
(No. 139; Roman Text, p. no, line 6 from bottom
'
;
'
'
upwards; Transl.,
Had
'
(9)
p.
a
114, line 22
'
(10)
His
and setup
p. 185, line 9.)
tomb (nisidhigeham)
;
son
this
Transl., p. 8,
for him.
line 9
'
(No. 144
;
Roman
Text,
from bottom upwards.)
Taila-gauda made a grant for the god Siddesvara
(Ep. Carnal., Vol. vn, Honnali
(nisaddhi).'
monument
Taluq, no. 79; Transl., p. 174.)
A third feature, even more characteristic of the
(11)
found in the tombs of the priests, a large number of which
'
style,
is
is
in the
neighbourhood of Moodbidri. Three of these are illustrated in the
woodcut (no. 154, Fergusson). They vary much in size and magnificence, some being from three to five or seven storeys in height,
but they are not, like the storeys of Dravidian temples, ornamented
with simulated cells and finishing with domical roofs. The division
of each storey
and
in
is
a sloping roof, like those of the pagodas at
China or Tibbet.
Katmandhu,
'
(Fergusson, Ind. and East. Arch., p. 275.)
In Bengal, especially in Comilla and Noakhali Districts, these tombs
or monuments, which are even now built, have generally the coneshape. At the bottom there is in most cases a square cell or chamber.
They are sometimes constructed in groups and supplied with chambers
at the top,
cf.
Chatkhil Noakhali.
285
AM ENCYCLOPAEDIA OF
NIHARA
NIHARA
A
court of the compound, a courtyard.
Dvitiyam anta-nihara cha madhyama-hara tritlyakam
(see
PRAKARA)
1
1
(A/., xxxi,
NlDA A
nest, a lair, a
n.)
covered place.
In connexion with buildings
:
Nidasya chadho grivo-vatayanam karayet
(M., xvm,
Toranair nlda-bhadradi-mule chordhve cha bhushitam
I
329.)
I
(M., xx, 64.)
NlPYA(? RA)
The lower
portion, the end, the border as of a cloth
(Mayamata, xxxm, 62, 63, 64.
NRITTA(-TYA)-MANDAPA
A
MANDAPA)
(see
detached
build-
ing used as a music hall, a pavilion.
Nripanam abhishekartharh mandapam nritta-mandapam
I
(M., xxxiv, 38, etc.)
A
is
in front
pavilion generally
preformed (Suprabheddgama, xxxi, 96, 98
NETRA
The
eye, a
side
where religious music
under MANDAPA).
of a temple,
portico
;
or
see
porthole,
gable-window
(M., xxxiv, 396), a wing (M., xzxv, 101), face (M., xxxv, 257-260).
Same
as
LALATA (M., xxxv
NETRA-K.OTA
(see
257-260).
KARNA-KUTA)
A
front
a
apartment,
side-
hall, a corner-tower.
Pradhanavasa-netrastha-netra-kuta-dvayam nyayet
1
1
(Kamikagama, xxxv,
NETRA-BHADRA
(see
MUKHA-BHADRA)
A
75.)
side tabernacle, side
porch, portico.
Parito'lind(r)a-bhagena varanam mukha-bhadrakam
Athava netra-bhadraih syat
(M., xxxiv, 251-252.)
I
I
Karnaika-kara-bhadram syat salagre netra-bhadrakam
I
(M., xxxv, 246, etc.)
NETRA-BHITTI A
side-wall.
Dakshine netra-bhittau va grabhadhanam praklrtitam
I
(Kamikagama, xxxv, 46,
NETRA-SALA A
Tad-adho bhu-praves"e
Shannam
etc.)
side-hall.
tu tad dvarasyavasanakam
vai netra-s"alanam antarale cha
va sthalam
I
1 1
(tbid.,
Tach-chhalaya dvi-par^ve tu netra-sala sa-bhadrakam
(M., xxvi, 40,
a86
8 1.)
>
etc.)
HINDU ARCHITECTURE
NEPHATHYA-GRIHA
PAKSHA-SALA
The green-room
in a theatre
(see
details
under NATYAGRIHA).
NEMI
PRAKARA
(see
and
PRADAKSHINA)
The
circumference,
a surrounding verandah or balcony.
(1)
Nemih
padena-vistirna prasadasya samantatah
I
(Agni-Purdna,
(2)
Chap,
Nemih padena vistirna prasadasya samantatah
Garbham tu dvi-gunam karyyarh nemya manarh bhaved
civ, v. 7.)
I
iha
1
1
(Garuda-Purana, Chap. XLVII, vv. 19-20.)
A
PAKSHA-(KA)
side,
a flank, a footpath.
In connexion with staircases (M., xxx, 100,
In connexion with streets
etc.).
:
Evam
vithir
dvi-paksham syan madhya-rathyaika-pakshaka
(M.,
In connexion with walls
xi,
I
350.)
:
Anyat salam tu sarvesham chaika-pakshalayakshma-kramat
Anyat salam tu sarvesham alayartham dvi-pakshakam
I
I
xxxvi,
(M.,
Compare
chatus-paksham iva chhadih (square roof),
86-87.)
and
Ya
dvipaksha chatush-paksha shat-paksha ya nirmayate
Ashta-paksham dasa-pakshaim salam manasya patnim agnir garte
iva^aye
I
I
(Atharva-Veda, ix,
See further illustration
PAKSHAGHNA A
Yamya hinam
3.)
under EKA-PAKSHA and DVI-PAKSHA.
type of building.
chulli tri-salakarh vitta-nasa-karam etat
I
Pakshaghanam aparaya varjitam suta-dhvamsa-vaira-karam
A
I
building lacking a southern hall is called chulli it causes loss
of prosperity, one in which there is no western hall (the so-) called
Pakshaghna, occasions the loss of children and (the) enmity.' (BrihatSamhitd, LOI, 38, J.R.A.S., N. S., Vol. vi, p. 286.)
'
;
PAKSHA-SALA A
side-hall.
Madhya-koshthasya
Sale tu bhadra-sala viseshatah
Paksha-s"alanvitam vatha urdhva-salanvitarh tu va
(Af.,
287
I
I
xxxra, 518-519.)
AN ENCYCLOPAEDIA OF
PAftKA
PAftKA
A
moulding of the
pillar.
Sikharasyordhve pattochcham uttarochcham samam bhavet
Tad-urdhve vajanam pankam nimnam kumbham sadandakam
I
I
(M., xv, 126-127.)
In connexion with joinery
Eka-rupa(rh) cha
:
pankam cha vidhih syad eka-rupakam
I
(M., xvn, 153.)
PACHANALAYA A
kitchen, the refectory of a temple.
built a beautiful stone temple with
Devanam pachana-mandapam
the torana-gate and the surrounding walls, having provided the temple
with a flower garden, kitchen, pond and suitable environs.' (Ep. Carnal.,
'
Vol. x, Kolar Taluq, no. 132
PANCHA-TALA The
;
Roman
fifth
Text, p. 54
storey,
;
Transl., p. 49.)
the five-storeyed
buildings.
xxm,
1-55.)
attached
and
(M.,
A
description of the
The
eight classes
fifth
(ibid.,
storey (M., xxxi, 48-51).
1-48
;
see
PANCHA-PRAKARA-HARMYA
under PRASADA).
The
various
detached buildings constructed in the five courts into which the whole
compound is divided (see PRAKARA).
(M., xxxi,
PA&CHA-BHUMI
(see
PANCHA-TALA)
The
2.)
the five
fifth storey,
storeyed buildings.
PANCHA-SALA The
enclosure wall of the
fifth court.
(M., xxxi, 28, 29.)
Cf.
Tatah panchama-sala cha maha-maryadim iritam
I
(M., xxxi, 13,
PANCHAYATANA A
phallus with five heads.
(Chalukyan Architecture, Arch.
Imp.
PANJARA A
cage,
etc.)
an aviary, a
nest,
Surv.,
New
Series, Vol., xxi, p. 39.)
an architectural
object,
windows.
The
cages for domestic birds and animals, such as pigeon, tiger,
are
counted among the articles of furniture (M., L, 50-55), their
etc.,
architectural description (ibid., 213-288).
(Kamikagama, LV, 134-146 see
under NASIKA.)
;
PANJARA-&ALA A
storeyed buildings,
architectural object.
small top-room, a small window, a class of
a type of bedstead, a moulding, a nest-like
288
PANJARA SALA.
PATRA
PATRA
PAT Rfr -TOK.A h< A_
-TL
r^?
PLAN
CAGE FOR PARROT.
PANJARA
PANJARA AS FALSE WINDOW.
2SS
PATTI
HINDU ARCHITECTURE
(1)
A
Manasdra
small room above the dome (stupi)
Etat panjara-salam cha padmam ekarh sikha-trayam
:
:
I
(M., xv,
A
class of the seven-storeyed buildings
PRASADA)
(A/.,
xxv, 27
;
.
A synonym of the
A member of the
bedstead (M.,
pillar (M.,
in, n).
xv,
89, 98, 99-103, etc.)
connexion with buildings of one to twelve storeys
Sala-kuta-dvayor-madhye chaika-hara sa-panjaram
In
131.)
under
see
:
I
(A/., xix,
(2)
Kdmikdgama, xxxv
;
75
57
see also
;
Panjara-dvitayarh karyarh karna-kuta-samodayam
L,
Ibid,
92
178, etc.)
:
1
1
:
Kuta-Salanvitam yat tu panjarais cha samanvitam (vimanam)
Ibid., LV,
196-198 (the synonyms of the panjara)
Pramana-bhavanam karma-prasadasyashtakarh tatha
Sabheti kuta-nama syach chhaya valabhi(r) eva cha
Brahma-dvararh tato madhye mandaparh koshthake matam
Riju-vaktrarh dvijavasam kridarh syat sirhha-vaktrakam
II
:
I
1
1
1
1
I
(3)
Panjarabhidhanarh syat
Suprabheddgama, xxxi, 80
II
further
(See
Kuteshu nasika-yuktarh koshtham
prakirtitam
v. 79, under
NASIKA.)
Between the " karna-kuta " and " sala '' are found some kinds
'
(4)
little
S.
windows
1
1
also
'
called panjara.
(Dravidian Arch.,
Krishnaswami Aiyangar, p. 5.)
His son Kangala-deva having
by Jouveau-Dubreuil,
wandered
'
(5)
I
etat
(See
ed.
NASIKA.)
:
Eka-nasikaya yuktarh panjararh samudahritam
of
under
details
abroad
(as
a
and
brought alms, had a kuta-panjara made for the
god Hanumanta, and that fame might come to all, had a lipi-sasana
made and set up it.
(Ep. Carnal., Vol., vn, Channegiri Taluq, no. 17,
mendicant)
'
Transl., p. 180
(6)
See
Roman Text,
;
p. 317.)
Chalukyan Architecture
xcvm).
(Arch. Surv.,
New
Imp.
Series, Vol.
xxi, Plates xxvi,
See
Mysore Arch.
(8) See
Cunningham
(7)
PATTA
PATTIKA
A
")
-
Report (1915-16, p. 22, Plate x,
:
Arch. Surv. (Vol.
i,
fig.
2).
Plate v, p. 6).
fillet, a moulding of the base, etc., an
ornament for the body, a crown, a diadem,
a turban, an upper garment, a cloth, a plate,
band, a
289
AN ENCYCLOPAEDIA OF
PATTl
a slab, a seat, a junction, a town, an edict, a lintel (M., xix, 149),
a staircase (M., xxx, 140-143), a spoke (M., XLIII, u).
with the moulding called "vajana"
be of the same form
especially in pedestals and bases as it appears to
to be used in the same situation, and to have the same height and
projection with the latter, but when employed in architraves and
'It
(1)
friezes
its
is
often
confounded
'
height and projection increases considerably.
(Ram Raz,
Ess. Arch. Hind., p. 25.)
In connexion with the plough
(2)
(M.,
52, 61, 73).
In connexion with the foundations
:
phala-patta, tri-patta,
madhya-
v,
patta
:
Pattikantarh kshipech chapi vinyaset prathameshtakam
(M.,
A
of
the pedestal (M., xni, 5, 49,
crowning moulding
lists of mouldings under UPAPITHA).
A moulding of the base (M., xiv, 13, 26, 48,
of mouldings under ADSHISHTHANA)
A moulding of the pillar (M., xv, 121, 35, etc.).
In connexion with the staircase (M., xxx, 140).
In connexion with the door (M., xxxix, 73, etc.).
In connexion with the bedstead (M., XLIV, 18, 19,
An ornament for the body
see
I
XH,
203.)
82, etc.;
the
see
etc.;
the
lists
.
etc.).
:
Kati-sutrarh tu
samyuktam kati-prante
sa-pattika
27 ; see
I
also 28, etc.)
(A/., L,
Athava ratna-pattam syat svarna-tatarika-karnayoh
I
(M., LIV, 47.)
Compare
'
Patta-dhara,
crowns.
special
(M., LI, 3,
'
and
'
'
Patta-bhaj,
kings, with
meaning
4.)
Bhagais tribhis tatha kantah khantha-pattas tu bhagatah
Bhaga (? go) bhyasam urdhva-pattaS cha sesha-bhagena pattika
(3)
I
Nirgamas tu punas tasya yavad vai sesha-pattika
The neck (of the pedestal of an idol or phallus)
1
'
1
1
1
is made of
three parts and the band of the neck of one part. The abhyasa
(?) is one part, the upper band is also one part, and the remaining
Its projection should extend as
part is pattika (fillet or band).
'
far as the last pattika.
(Matsyet-Purana, Chap. CCLXII, w.
3, 4.)
(4)
Vedikam prastara-samarh shad-amsikritya bhagasah
Ekamsam prati-pattam syad amSabhyam antari bhavet
Crdhva-vajanam ekams'am amSam tat-pattika bhavet
I
Ordhva-pattarh tad-ekamsam antari kusumair yuta
(Vdstu-vidya, ed.
290
Ganapati
1
1
1
I
1
Sastri, ix, 23, 24.)
HINDU ARCHITECTURE
PATTA-BANDHA
Polakesir apy-avadid anujan pratibaddha-pattam avantu
(5)
I
Pulakesi too declared to his brethren (in the presence of his vassals)
that they were to support the encircling diadem of his sons and grand'
sons.
'
(Grant of
Kusumayudha IV,
line 18, Ind. Ant., Vol.
xxxn, pp. 282,
284.)
PATTANA(-NA)
sible
(see
A
PATTANA)
town, a commercial city acces-
by water-ways.
(1)
Kautillya-Artha-Saslra
xxii, p. 46, footnote)
(Chap,
:
Pattanam sakatair gamyarh ghatikair naubhir eva cha
Naubhir eva tu yad gamyarh pattanam tat prachakshate II
Drona-mukharh jala-nirgama-praves'arh pattanam ity-arthah
I
I
(Rayapaserii-sutra-vyakhydnc, p. 206.)
(2)
Karya-vikraya-sarhyuktam abdhi-tira-samasritam
Des"antara-gata-janair nana-jatibhir anvitam
1
Pattanam
tat
I
1
samakhyatarh vaisyair adhyushitam
II
(Kamikdgama, xx,
8,
9.)
PATTA-BANDHA The coronation, a crown, a class of bases comprising four types which differ from one another in height and
in the addition or omission
A
of some mouldings.
of mouldings under ADHISHTHANA (M., xiv, 297-304).
part of the crown (M., L, in).
See the
lists
'
'
at the time of his coronation.
Nija-patta-bandha-samaye
(Six Eastern Chalukya Grants, Bervada Plates of Ghalukya-Bhima I, line
20, Ep. Ind., Vol. v, pp.
129,
130.)
patta-v(b)andhaKapitthakagrame
mahotsave tula-purusham aruhya.
The term Pattabandha, which literally means " binding of the
"
has been generally supposed to signify " coronation cerefillet
Mr. D. R. Bhandarkar.
mony." But, it does not suit here.
(Cambay Plates of Govinda IV, line 46, Ep. Ind., Vol. vn, pp. 40, 27, note 2.)
Godavarl-tata-samipasthe
'
'
Kurundakam agatena maya
Sri-patta-bandhotsavaya
(The grants of Indraraya m, no.
I
n,
line 47,
Ep. Ind., Vol. ix, pp. 36, 40, 25, note 2
refers to Vol. vn, p. 27, note a.)
Coronation and crown
.
.
.
:
dva-dasa-varshe
tu
janmanah
ravim
iva
to please the world the
'
of
year
(his) birth.
fillet
Yo'dhad
'
udaya-girindro
Put on
291
pattam
I
lokanuragaya
(crown)
in
II
the twelfth
AN ENCYCLOPAEDIA OF
PATTA-SALA
'
(his son
Niravadya-dhavalah Kataka-raja-patta-Sobhita-lalatah
whose
forehead
was
with
the
decorated
was) Niravadyadhavala,
Ammaraja
See
religious establishment.
Mandhata
in,
(Maliyapundi grant of
II, lines 40, 45, Ep. Ind., Vol. ix, pp. 53, 55, 56.)
PATTA-SALA A
Vol.
Dr. Hultzsch.
(crown) of Katakaraja.'
fillet
Plates of Jayasiriiha of
Dhara
n, Ep.
(line
Ind.,
pp. 49, 47).
(To provide) for the eight kinds of ceremonies of the god
Cf.
Mallinatha of the patta-sale(la) which they had made within
'
(Ep. Carnal., Vol. v.
precincts of that Santinatha basadi.'
Belur Taluq, no. 129; Transl., p. 86 ; Roman Text, p. 193.)
Part
i,
PANDI-&ALA A kind of hall, a two-storeyed mansion consisting
of a single row of building which look like a broken staff at the
forehead part above the second storey.
(M., xxxv, 97
PATTANA
(i)
A
A
A
A
PATTANA)
(see
on the bank of a
new
village inhabited mostly
see
details
settlement.
by traders (Vaisyas).
(At.,
town (M.,
seaside
under SALA.)
a town, a commercial city
village,
river or sea, a
;
ix,
456-457.)
x, 40).
commercial
city
:
Abdhi-tira-pradese tu nana-jati-grihair vritam
I
Vanig-jatibhir akirnam kraya-vikraya-puritam
Ratnair dvipantarair nityaih kshaumaih karpuradibhih
Etat pattanam akhyatam vaprayata-samanvitam
I
I
I
(M., x, 63-66.)
(it)
A
seaside commercial city inhabited mostly
by tradesmen.
(Kamikagama, xx, 8, 9
(3)
;
see
under PATTANA.)
Kaufilya-Artha-Sdstra (Chap, xxn, p. 46, footnote)
Pattanam sakatair gamyarh ghatikair naubhir eva cha
Naubhir eva tu yad gamyam pattanam tat prachakshate
:
I
II
(Rayapasenisutra-vydkhyane, p. 206.)
(4)
Pattanani jala-sthala-pathayor anyatara-yuktani
(5)
Tad-bhuktau pattanam ramyarh Samipatiti namakam
I
(Prafna-vydkarana-sutra-vyakhyane, p. 306.)
(The Chahanas of Marwar, no.
of Katukaraja, v. 6, Ep.
'
(6)
to
Piriya-Rajaiya-Deva,
be rebuilt and gave
it
son
the
of
name
292
iv,
I
Sevadi stone inscrip.
Ind.,
Vol.
town
xi,
p.
31.)
caused
(pattana)
of Piriyaraja pattana (patana in
,
this
HINDU ARCHITECTURE
the
no. 15
(7)
father
his
of killing
Whoever calls it Singapattana is guilty
and mother.' (Ep. Carnal., Vol. iv, Hunsur Taluq.
himself.
text) after
84 ;
Dva-trirhsa(t) tu
;
Transl., p.
PATRA-PATTA
.
.
.
Roman
Text, p. 135-136.)
velavuramum
'
(the people of)
towns, 62 seats of contemplation.
Kanarese Inscrip. at Terdal, line 60, Ind. Ant., Vol. xiv, pp.
yoga-pithamum
.
.
basashti
ashtadasa-pattanamum
the thirty-two seaside towns, the 18
(Old
(held a convocation there).'
.
19, 25.)
(8) Grama-nagara-kheda-karvvada-madamba-dronamukha-pattanamgalimdam aneka-mata-kuta-prasada-devayatanarhgali-dam oppuvaagra-
hara-pattanamgalirhdam atisayav-appa. ...
[At Teridala, a merchant town situated
I
first
in
centre and the
the
in
'
importance' among the twelve (towns) in the glorious Kundi
Thousand, adorned with]
villages, towns, hamlets, villages
Three
surrounded by
hills, groups of
villages, sea-girt towns, and chief
with
mansions,
cities,
elegant
palaces and temples, and with shining
the
in
(Old Kanarese
country of Kuntala.
agrahara-towns
'
.
Inscrip. at Terdal, line 58, Ind. Ant., Vol. xiv,
'
(9)
pations,
With
pp.
.
.
25.)
19,
of people, practices of virtues, agreeable occustreams of the (nine) sentiments, pleasure gardens, separated
myriads
lovers, splendid tanks, full lotus beds, gilded boats
for spring
festivals,
the supports of dharmma
and
ghatika-sthanas (religious centres),
mines of enjoyments, moats which were as if the sea being overcome
had returned here |on account of the collection of gems, groups of
the lotus faces of beautiful
women
fair
as
the
moon (grama-nagara-
kheda-kharvvana-madamba-drona-mukha-pura-pattana-raya-dhani),
whatever side one looked in these nine forms did the Kuntala
shine.
(It
on
des"a
'
should be noticed that the passage within brackets
is
almost
indentical with the corresponding passages in quotation no. 8 above).
(Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 197; Transl., p. 124, para,
last seven lines, Roman Text., p.
124, line 27 f.)
PATRA A
i,
a leaf-like ornament, a moulding.
An ornament of the pillar (M. xv, 36, etc.).
A member of the sala or hall (M., xxxv, 402).
leaf,
:
Vatsararambha-lekhartharh
almanac on. -(M., L, 49.)
In connexion with the balance
patram
Cf.
See
more
details
(M.,
leaf-shaped
for
writing
190-191, 197, 199).
diadem, a moulding.
crown (M., XLIX, 16).
moulding of the base (M., xiv, 345).
turban
L,
leaf
under BHUSHANA.
PATRA-PATTA A
A
A
(tula)
A
or
293
the
AN ENCYCLOPAEDIA OF
PATRA-KALPA
PATRA-KALPA A set of ornaments
for the use
(M.,
PATRA-TORANA An
arch
Bala-chandra-nibhaih
L, 3,
chitritam
patraiS
of kings and gods.
;
see
under BHUSHANA.)
under TORANA.)
details
(see
6
patra-toranam
II
(Kamikagama, LV, 64.)
PATRA-BANDHA A
PRASTARA)
of
type
entablature
details
(see
under
.
Pada-vistara-samyuktam patra-bandham
iti
smritam
I
(Ibid.,
PATRA-VALLI-(KA) A moulding of the entablature
LIV, 6.)
(Af.,xvi,54),
of the arch (M., XLVI, 65).
See more details under PRASTARA.
PATHA A
(i)
road, a street, a way, a path.
Kautiliya-Artha-Sastra (measures of various paths):
Antareshu dvi-hasta-vishkambharh parsVe chatur-gunayamam anu-
prakaram ashta-hastayatarh deva-patham karayet
Dandantara dvi-dandantara va charyah (ashta-hasta-pramanaI
margah-Rayapaseni-sutra-vyakhyane, p. 13) karayet
Bahir jauu-bhaginirh tri-Sula-prakara-kutavapata-kantaka-pratiI
saradi-prishtha-tala-patra-gringataka-Sva-darhshtrarga-lopaskan-
dana-padukambarisodapanakaih chhanna-patharh karayet
I
(Chap, xxrv, p. 52-53.)
Trayah prachina raja-margas traya undlchina iti vastu-vibhagah
Sa-dva-daa-dvaro yuktodaka-bhumich-chhanna-pathah
I
I
Chatur-dandanatra
rathya
rashtra-vivlta-pathah
raja-marga-drona-mukha-sthainya-
I
Sayoniya-vyuha-^maSana-grama-pathas chashta-dandah
Chatur-dandas setu-vana-pathah
I
I
Dvidando hasti-kshetra-pathah
I
Pancharatnayo ratha-pathaS chatvarah paSu-pathah
Dvau kshudra-pa^u-manushya-pathah
I
I
(Chap, xxv, 54-55.)
PADA A
part,
the
foot,
a plot of the
site
plan
(see
PADA-
VINYASA).
(i) Vastu-yaga-tattva by Raghunandana
Purdna without further reference
quotes
from
:
Ghatuh-shashti-padam vastu sarva-deva-griham prati
Ekafltis-padam vastu manusharh pratisiddhidam II
2 94
I
the Linga-
HINDU ARCHITECTURE
PADA-VINYASA
(2) Brihat-Samhitd (LIU, 42)
:
Ekaslti-vibhage dasa dasa purvottarayata rekhah
Varahamihira apparently dees not give different rules for temples
I
and residential buildings.
(3) The'' foot;
the
site
plan
(M.,
LVII, 47,
etc.
vu,
;
1-267;
see
under PADA-VINYASA).
PADA-VINYASA The
'
The plan
its
showing
plan, the site plan.
the respresentation of the horizontal section of a building,
and extent of its various parts
distribution, the form
is
where the parts are represented in their
The modern architects consider other plans too
natural properties.
in the perspective plan objects are represented on a definite surface so as
toTorm a certain "position to affect the eye in the same manner as the
This
the geometrical plan
is
:
would
objects ^themselves
building
(\\
is
;
shown.'-- (Gwilt
Mdnasdra (Chap, vn,
The geometrical
:
while in the raised plan the elevation of a
Encycl. of Arch., Glossary, p. 1240.)
named PADA-VINYASA)
plans concerning the
are described in this
chapter
(lines
site
plot,
it is
:
There
is
no mention of
is given there
is all about
plan.
plot or the piece of ground selected to receive the
Thirty-two kinds of square plans are described (lines 2-40).
or
the
building.
are designated
They
1-267).
1-267
rather than a building,
What
the perspective or the raised
the
site,
by technical names.
The
one
a
site of one
which may be square, rectangular, round, oval or sixteen-sided,
called Sakala.
thef third,* Pitha,
Upapitha,
fifth,
is
is
first
is
The second is of 4 plots, named PaiSacha or Pechaka ;
of 9 plots ; the fourth, Mahdpitha, is of 16 plots ; the
of 25 plots ; the sixth, Ugra-pitha, is of 36 plots ; the
the eighth, Chandita, is of 64 plots ;
is of 49 plots ;
the ninth, Parama-iayika, is of 81 plots ; the tenth, Asana, is of 100
the eleven th,]_Sthdni)/a, is 121 plots ; the twelfth, Desj/a, is of 144
plots
plots ; ahe thirteenth, Ubhaya-chandita, is of 169 plots ; the fourteenth,
seventh, Sthandila,
;
is of
196 plots ; the fifteenth, Mahdsana, is of 225 plots ;
the sixteenth, Padma-garbha, is of 256 plots ; the seventeenth, Triyuta,
the nineis of 289 plots ; the eighteenth, Karndshtaka, is of 324 plots
Bhadra,
;
the twentieth, Surya-vitdlaka, is of 400
the
twenty-first, Susarhhita, is of 441 plots ; the twenty-second,
plots ;
Supratikdnta, is of 484 plots ; the twenty-third, ViSdlaka, is of 529 plots ;
teenth, Ganita,
is
of 369 plots
;
the twenty-fourth, Vipra-garbha, is of 526 plots ; the twenty-fifth, Viveia,
of 625 plots ; the twenty-sixth, Vipula-bhoga, is of 676 plots ; the twentyseventh, -Viprakdnta, is of 729 plots ; the twenty-eighth, Vitdldksha, is of
is
784 plots
;
the twenty-ninth, Vipra-bhakti, is of 841 plots ; the thirtieth,
the thirty-first, Isvarakdnta, is of 961
is of 900 plots ;
VtiveJa-sara,
295
AN ENCYCLOPAEDIA OF
PAD MA- (K A)
plots
and the
;
2-50,
see also
thirty-second,
51
Chandrakanta,
of 1,024 plots
(M. VH,
271).
Nagara-grama-durgadya(-der)
(2)
is
griha-prasada-vriddhaye
siddhaye
Ekas"iti-padair-vastu(m)
pujayet
See
Surv. Reports,
dhruvam
I
II
(Agni-Purana, Chap, cv, v.
(3)
Arch.
Cunningham,
Vol. n,
Plate xcvii
i.)
(site
plans of Saiva temples), p. 419; Plate xcvm (site plans of Vaishnava
Vol. xx, Plate xx (site plan of a Jaina temple)
temples), p. 421
Vol. xxi, Plate XLII (site plan of Slab temples of Kundalpur)
Vol.
.
;
;
Plate
xxm,
xvni
plan
(site
the Svastika figures)
Vol. xn, Plate
Plate xxi (peculiar plan of a temple).
;
See
(4)
temple of Naulakha, mark
Vol. xvn
(plan of a temple)
of Jaina
v
of Hindu Iconography,
elements
(Appendix A, pp. 1-45, diagrams facing pp.
PADMA-(KA) A
reversa or reversed
lotus,
an
cyma
;
by
i,
T. A.
Gopinatha Rao
n).
eye, a moulding, a
also called ogee or
cyma
recta, a
cyma
talon
(see Gwilt,
869, 869), a site plan, a pavilion, a type of village,
a class of buildings.
EntycL,
figs.
'
(i)
The moulding,
called
Padma
(abja,
ambuja or saroruha,
etc.),
It is
literary lotus, is supposed to resemble a petal of that flower.
a sort of compound figure, partly convex and partly concave and its
;
section
is
composed
point of a line drawn
of two
opposite curves, meeting at the bisecting
between the points of recess and projection,
and very much resembling the "cyma recta" and "cyma reversa''
of the Western architects. This moulding is distinguished into greater
and less, and forms the principal ornaments of Indian architecture.
generally employed, in detached pairs, in bases and cornices,
the other in opposite directions, and is formed
upright
or the reverse according to its situation, either as a
member
It
is
one facing
crowning
of the former or the supporting ornament of the latter. The concave
part of it, when placed with its bottom reversed, is often so designed
as to project forward or rise
up, after having touched as it were,
the fillet below, with a small perpendicular curvature,
resembling in
shape the petal of the lotus, with its pointed head somewhat inclined
towards the top. In some specimens, this moulding is
placed at the
of columns, and looks very much like an
apophyge or ogee of
and Corinthian orders being formed either with a curved
line having more or less
convexity at the top, or with an upright
to
the
concave part below. It is sometimes made
tangent
exactly in
the form of an ovolo of the Western architects. '
(Ram Raz, Ess.
base
the Ionic
Arch, Hind., p. 32-24.)
296
HINDU ARCHITECTURE
Mdnasura
A
site
PADMA-PlTHA
:
plan (M., vm, 36 f.,
of village (M., rx, 2
see
A kind
A
xiv,
;
PADA-VINYASA)
under GRAMA).
.
see
moulding of the pedestal and the base (M., xm, 41, 61, 64, 68, etc.
68, etc. see the tests of mouldings under UPAPITHA and ADHISHTHANA).
;
;
A type of pavilion
Evam
:
padmakarh proktarh devanarh pachanalayam
Padmakhyarh pushpa-mandapam. ...
tu
I
I
(M., xxxiv, 173, 180
A moulding of pitha
(3)
Stambham
nyah
or the pedestal of the phallus (M.,
v.'bhajya
see
;
LII,
MANDAPA.)
31).
navadha vahanam bhago ghato'sya
bhago'
-
I
Padmam
tathottaroshtham kuryad bhagena bhagena
Here, Kern's rendering of padma by capital seems untenable.
(Brihat-Samhita, Lin, 29, J.R.A.S., N. S., Vol. vi,
p. 285 ; see details under STAMBHA.)
1
'
'
'
A
type of building which is planned like a lotus, has
and one spire, and is (?) 8 cubits wide (sayanash^au)
(4) Brihat-Samhita (LVI, 23, see
(5)
(6)
A
class
(71
(8)
1
'
only one storey
:
under PRASADA).
Matsya-Purana (Chap CCLXIX, vv. 30, 39, 49, 53 see under PRASADA;
Bhavishya-Purdna (Chap, cxxx, v. 30 see under PRASADA).
;
;
of round buildings
:
Agni-Purana (Chap, civ, w. 17-18 see under PRASADA).
Garuda-Purdna (Chap. XLVII, vv. 21, 23, 28-29 see under
PRASADA.)
;
;
PADMA-KANTA A
on a
seat
special type of pillar (M., xv, 38). It is based
Its cornice or edge of
(asana), plinth or lotus (cyma).
the capital is decorated with opening buds.
Its base is decorated
with a bridge-like moulding (palika). The ornamental fillets are
constructed and two angulas (i
inches) on all sides are adorned
with foliage, jewels, flowers, etc. (ibid., 30-37).
A class of the six-storeyed buildings (M., xxiv, 3-12
;
see
under PRASADA).
PADMA-KE$(-S)ARA A type of base, a kind of throne.
A class of bases (M., xiv, 81-94 see under ADHISHTHANA).
A type of throne (M., XLV, 11-12 see under SIMHASANA).
;
;
PADMA-GARBHA A site plan
-
into
in
which the whole area
is
divided
256 squares.
(M.,
PADMA-PlTHA A
lotus-shaped pedestal for
(M.,
297
VII, 21.)
an image.
LI,
86.)
AN ENCYCLOPAEDIA OF
PADMA-BHADRA
PADMA-BHADRA A
type of throne.
(M., XLV, 12
under SII&HASANA.)
see
;
PADMA-BANDHA A
differ
class of bases comprising four types which
from one another in height and in the addition or omission of
some mouldings.
(M., xiv, 170-194
A
;
lists of
mouldings
under ADHISTHANA.)
the
see
Suprabheddgama, xxx, 18-22)
Utsedham sapta-virhSat tu dvi-bhaga pattika bhavet
base
:
(cf.
1
EkaihSam dalam evoktam upanarii chaika-bhagikam
1
I
Jagati tu shad-ams'a syad dvi-bhagardha-dali-kramat
1
1
Ardha-bhagarh bhavet skandham bhagam urdhva-dalam tatha
Tri-bhagam kumudam vidyad adho'bjam bhagam eva tu
Pattika chaika-bhaga tu griva chaiva dvi-bhagika
1
I
1
I
Tad-urdham eka-bhagarh
tu
padma-bandharh
Dvi-bhaga pattika ya tu cka-bhagena yojanam
Tad votes' chaika-bhagarh tu padma-bandham
PADMASANA A
is
image
A
tata upari
1 1
I
iti
smritam
1 1
a lotus-like
posture in which
carved, a throne, a type of base, a kind of pedestal.
lotus seat,
lotus-shaped pedestal and base of a column (M., xv, 67
type of throne (M., XLV, 12 see under SIMHASANA).
A
A lotus-shaped
PARATA
;
an
XLVII, 19).
;
pedestal for an image (M., LW, 36, etc.).
(corrupted into
The
PARATA)
parapet, the coping of
a wall.
mudana parafavanu Chamaraja
Badaviya
Cf.
Durggavanu
Chamaraja constructed the fort and the eastern parapet of that
same Badavi.' -(Sanskrit and Old Kanarese Inscrip., no. LXXXVII, lines 13,
'
14, Ind. Ant., Vol. x, p. 63, notes 51, 53.)
PARAMA-$ADHI(-YI)KA A
divided into 81 equal squares
site
(see
plan in which the whole area
is
PADA-VINYASA).
(M., vn, 10, 72,
no
:
almost same in
mi, 42 f.)
and of a wall
Bfihat-Sarhhitd,
In connexion with the plan of a village (M.,
ix, 174)
(M., XL. 72).
PARARTHA-LIftGA A
phallus for the public worship.
(M.,
PARIKHA A
LII,
ditch, a moat, a trench
898
243
;
see
round a
details
fort or
under LINOA.I
town.
I
i
Q
HINDU ARCHITECTURE
Manasara
(1)
PARIKHA
:
In connexion with a village and a fortified city
:
VapramSa-bhitti-rakshartham paritah parikhanvitam
I
(M.,
Sarvesham api durganaih vapraiS cha parikhair vritam
ix,
(M., x,
Bahye prakara-samyuktarh paritah parikhanvitam
1
06.)
I
(M,
Paritah parikha bahye vapra-yuktam tu karayet
354.)
I
ix,
450.)
I
(M., x, 108.)
Paritah parikha bahye kuryad grameshu sarvasah
I
(M,
(2) Kautiliya-Artha-fdstra (Chap, xxiv, pp. 51, 56, paras.
62, etc.)
ix,
2, 3)
:
dandantara karayet chatur-daSa dva-daa
daSeti dandamivistirnah vistarad avagadhah padunam ardharia va
tri-bhaga-mula mule chaturarah pashanopahitah pashaneshtakatu
baddha-parsva va toyantikoragas
toyapurna va sa-
Tasya parikhas
tisro
parivahah padma-grahatih
Chatur-dandavakrishtam parikhayah shad-dandochchhritam avaruddharh tad-dviguna-vishkambham khatad vaprarh karayet
I
I
Chap, xxv, para,
Dvarani bahih parikhayah
i
Ibid.,
(3)
:
I
Durga-gambhira-parikham durgam anyair dur-asadam
SarvataS cha maha-bhimah ita-toyaayah ^ubhah
1
Agadha graha-sampurnah parikha mina-sevitah
I
1
1 1
(Ramqyaria,
Yantrais tair avakiryante parikhasu samantatah
Parikha^ cha SataghnyaS cha yantrani vividhani cha
i,
5,
13,
vi,
3,
17, 23.)
15.)
1 1
1
1
(Ibid.,
Parikhabhih sapadmabhih sotpalabhir alamkritam
1
1
(Ibid.,
(4) Parighe for Parikhe
Ep., Ind., Vol.
(5)
iii,
vi,
5,
2,
14.)
(Satyamangalam plates of Devaraya u, v. 22,
pp. 38, 40).
Durllamgha
-
dushkara
-
brihat-parikha-parita
vibheda-viSala
-
sala-durggadha
-
dustara-
I
(The city of Kanchi) whose large rampart was insurmountable
and hard to be breached (and) which was surrounded by a great
moat, unfathomable and hard to be crossed.' (Gadval Plates of Vikra'
maditya
i,
v. 6, line 21,
Ep. Ind., Vol. x, pp. 103, 105.)
299
AN ENCYCLOPAEDIA OF
PARIKHA-DURGA
parikhambu-pratibirhbitair alaih ya
(6) Kanakojjvala-sala-ras'mi-jalaih
vasudheva vibhati badabarchchir vrita-ratnakara-mekhala-parita
Through the mass of the rays (which issue from) its golden walls,
and which are reflected in the water of its moat, this (city, Vijayanagara) closely resembles the earth, that is surrounded by the girdle
of the ocean, which is encircled by the lustre of the submarine fire.'
1
1
'
(Vijayanagara Inscrip. of Devaraja
lines
II,
7-8,
Vol.
H.S.I. I.,
no.
i,
153,
pp. 162, 164.)
61,
Roman
Text,
For
126
last verse, p.
PARIKHA-DURGA A
ditch-fort,
details see Sukraniti, etc.,
'
Malavalli Taluq,
Transl., p. 62.)
;
a
fort.
,
under DURGA.
Cross-bars to fasten the door, a
PARIGHA(-GHA)
named
the fort
in
(Ep. Carnal., Vol. in,
having a deep moat.'
Malavalli,
no.
Malavalli namni
Durge subhima-parighe
(7)
beam
;
metal
bolts.
(Chhand. Upanishad, n, 24, 6, 10, 15.)
(1)
Dvau dvau parighau
Chatvaro
elephants.'
(2)
(Kautiliya-Artha-Sdstra,
four beams
hasti-parigha
(Ibid., Chap, xxiv, p. 53.)
to
Chap, xxxiv, p. 53).
shut the door against
Dridha-vaddha-kapatarh maha-parighavanti cha
I
(Ramayana,
PARINAHA
Vriti, Avriti
vi, 3,
n.)
Otherwise called Marga, Praves"a, Parinaha, Naha,
and Nata,
the width, breadth, circumference, extent.
Griva-madhya-parinahas' chatur-virhs'atikangulah
I
Nabhi-madhya-parinaho dvi-chatvarims'ad-arigulah
the middle of the neck is 24 angulas.
the middle of the navel is 42 angulas.
I
The width by
The width by
w. 43, 58 ; see also w. 41,
54. 55. 5 6 > 57. 59. 6 3> 66 . etc -)
(Matsya-Purana, Chap. CCLVIH,
5>
47.
See Mdnasdra
ckhakatika
mddhava
(in,
Sisupdla-vadha
PARIMANA
Mrich68, etc.)
Kirdtdrjunlya (xii, 20, etc.)
MdlatiMahdvira-charita
;
etc.)
24,
(vn,
etc.)
13, etc.)
Stana-parindha,
etc.) ; Ratndvalt (n,
(LX,
(in,
9,
15
(i
:
5i> 53
;
;
;
;
19, etc.).
The measurement of width
or circumference.
(M., LV, 3-9
PARIRATHYA A
;
see
under MANA.)
road suitable for chariots (A.-V., vn,
300
8,
22
;
xii,
HINDU ARCHITECTURE
RARIVARA(-RALAYA)
PARIVARA(-RALAYA) The family the attendant deities ; the
subordinate temples, attached or detached, of a large religious
establishment, where the attendant deities are enshrined.
;
(1)
Mdnasdra, Chap, xxxn (named Parivara)
The temples of these deities are stated to be
:
round the Pra-
built
kara (the fourth enclosure )
Sarvesham api devanarh prakaranta-pravishtake
:
Paritah parivaranam lakshanarh vakshyate'
I
dhuna
(1-2)
I
At the
eight cardinal points of the innermost or the first cour
the temples of the group of eight deities are built (lines 3-5).
The
groups of sixteen and thirty-two deities are housed in the second and
the third court respectively (lines 6-7).
Between the third and the
fifth court is stated to be the Viniyoga (offering) -pavilion (line 8).
The
description of the location of temples for each of the deities of
these three groups is given (lines 10-119).
The temples of the
attendant deities of Vishnu are specified (lines 121-156). The
temples and the attendant deities of Ganesa and Kshetrapala and
also those of Buddha, Jina and all such petty (kshudra) gods are
passed over and stated to be built in accordance with the rules of
Sdstras (lines 157-166).
should be noticed that the description of temples intended for
many deities does not contain any measurement, etc. It is solely
It
so
occupied with the position of these temples or deities in the compound. But a considerable portion of the chapter is devoted to the
description of the mandapas (pavilions) for such purpose as bath,
bed,
assembly,
horses,
musicians,
dancing
67-101).
Etc parivara vastoh pujanlya prayatnatah
and cows,
girls,
etc.
(lines
(2)
I
(Mahdnirvana-Tantra, xin, 45.)
(3)
ParsVatas chapi kartavyam parivaradikalayam
side (too) should be built temples for the
I
At the
attendant and
other deities.
(Matsya-Purdna, Chap. CCLXX, v. 30.)
(
4) Parivaralaye
tunga-harmye anyasmin prakalpayet
1
1
(Kdmikdgama,
Parivaralayanarh tu kulavat karma chacharet
Salanam tu chatushkoneshv-ishta-dese pragrihyatam
L, 69.
I
Malika-yukta-salarh chet kona-stambhe dvitiyake
Prathamavarane vapi dvitiyavarane nyaset
1
1
I
1
(Ibid.,
301
1
xxxi, 95, 96.)
AX ENCYCLOPAEDIA OF
PARI-VENA
(5)
Pancha-prakaram evam syat parivaralayarh srinu
Prasadasya chaturtham va tad-ardham vardham eva va
1 1
Matrlnam
tu
I
(of female deities) alayarh kuryad gopurakaram eva
II
Hasti-prishtharh tapa (tarn) proktam prasadam tu vis"eshatah
Madhyam tu pachanakaram chatuh-salaika-s'alakam
1
Prakara-sarhyutam kritva bahye vabhyantare" pi va
I
1
II
(Suprabhedagama, xxxi, 128-31.)
Then
133, see
follows the description of their faces
and doors
vv. 131-
(ibid.,
under DVARA).
'
(He) gave to the (image of) PiUaiyar Ganapati in the surrounding
hall (parivaralaya) of the temple of the Lord Sri RajarajesVara one
brass spittoon (padikkam) which he had caused to be made of octagonal
(6)
shape in the Ceylon fashion (Iraparisu) (and) which weighed palaia.'
(Inscrip. of Rajaraja, no. 36, H.S.I.I., Vol. u, p.
149
f.)
This image was probably in the central shrine and was known
(7)
as Alaiyattu Pillaiyar perhaps to distinguish him from the Parivaralaiyattu-Pillaiyar set up apparently in the enclosing verandah of the
'
(V. S.
temple.'
'
The
Vol. n, no. 85, p. 407, last para.)
1. 1.,
gold presented until the twenty-ninth year (of the king's reign)
by the Lord
Sri Rajarajadeva to (the image of) Pillaiyar Ganapatiyar in
the parivaralaya of the temple of the Lord Sri Rajarajesvaramudaiyar
'
.
.
parivaralayah, i.e. the temple (alaya) of the attendant deities
.
(parivara) which was probably in
i, p. 410, note I.)
the
enclosing hall.'
no.
(Ibid.,
86
para,
'
One
bell-dish
in
Ganapatiyar
rajesvaramudaiyar
(8)
was presented ... to (the shrine of) Pillaiyar
parivaralaya of the temple of the Lord Sri Raja.
,
.
.
'
.
.
.
no.
(Ibid.,
88,
p.
412.)
Parivara-devata-vistaramarh linga-pratishtheyam madisidam
I
He
also set up a linga, with the associated gods, in Bandanika.'
(Ep. Carnal., Vol. vn, Shikarpur Taluq, no. 242; Transl., p. 139, para. 6, last
'
two
lines
;
Roman
PARI-VENA
Text, p. 248, lines 1-2.)
Monk's
cell,
the private dwelling
o,f
a Bhikhu within
the monastery.
(W. Greiger
PARNA-MANJUSHA A
basket
:
Mahavamia,
made of leaves, an
article
p.
294.)
of furni-
ture.
(A/., L, 47,
132-146
302
;
see details
under BHUSHANA.)
PARNA MANJUSHA.
PADMA PITHA.
r
PADMA.
PAD A
HINDU ARCHITECTURE
PARYANKA A
couch, a bedstead.
Mdnasdra, Chap. XLIV (named Sayana)
Bedsteads are meant for the use of deities, the twice-born and all
:
other people
:
Devanarh cha dvi-jatlnam varnanarh sayanarthakam
(i)
the
small
and
kinds
the
They
(bala-paryanka)
large
I
are of two
(paryanka)
children
and the
the other
26,
(lines
latter
its
by
The former
28).
used
by
size alone.
various parts of the two kinds of bedsteads are
described separately (lines 3-79).
The materials of which bedsteads
are various
PARVATA A
be
to
by the grown-up, the one being distinguished from
The measurement and
constructed
intended
is
class
and
kinds of timber
seats (asana)
are
generally
(line 74).
of buildings.
Kuta-sala-samayukta punah panjara-nasika
Vedika-jalakopeta parvatakritir uchyate
1
I
1
(Suprabhedagama, xxxi, 52.)
See details
under PRASADA.
PAXLANKA A
bedstead.
(Ckullavagga, vi, 141
PAVANA A
Mahdvagga, v,
;
10, 3.)
type of chariot.
(M.,
A
PASTYA(A)
home with
dwelling house, a
XLIII,
stall
for
113;
see
horses
under RATHA.)
(asvapastya),
adjuncts and surroundings, a family settlement
(harmya-pastya), a noble man's abode with stables, etc., a group
of houses, a river having groups of houses on its banks. (R.-V., i, 25,
a
its
10, 40, 7, 164,
5
;
ix, 65,
xix, 55,
23
;
30
x,
;
iv, i,
ii
;
vi, 49,
46, 6, 96, 10,
n
vn, 97, 5
9
;
;
ix, 86, 41
class
7,
291, 27,
A.-V., vi, 77,
i
;
of the twelve- storeyed buildings once pre-
vailing in the ancient country of Pa.ncha.la (the
PAD A
vni,
i.)
PAN CH ALA A
For
;
;
details, see
(see
Gangetic Doab).
M., xxx, 8-10, under TALA and DRAVIPA.
STAMBHA)
The
foot,
the lowest part, a
quarter,
the
fourth part, the architrave, a pillar, a column,
(i)
M., xv (named Stambha), 1-448
Its synonyms are jangha, charana,
:
stali, stambha, ahghrika, sthanu
sthuna, pada, kampa, arani, bharaka, and dharana (ibid., 4-6).
303
AJf
PADA-JALA
ENCYCLOPAEDIA OF
Atha vakshyami samkshepat pada-manarh yatha-vidhi
Uttaropanayor madhya-gatam etat prakirtitam II
(2)
(Vastu-vidya, ed.
The
(3)
47
;
architrave of the entablature
Ganapati
I
Sastri, ix, i.)
(Kdmikdgama, xxxv, 27
;
LIV.
TW under PRASTARA).
measures of pada (pillar), adhishthana
(4) The comparative
and prastara (entablature)
Padayamam adhishthanam dvi-gunam sarva-sammatam
Padardham prastaram proktam karnam prastaravat samam
(base)
:
I
1
1
(Suprabheddgama, xxxi, 28.)
The
five kinds
of pillars and their characteristic features.
(See Suprabheddgama, under STAMBHA.)
PADA-JALA An ornament
for the foot.
33
(A/., L,
PADA-BANDHA A
class
;
LI,
59
;
LIV, 17, etc.; see
BHUSHANA.)
of bases.
(M,, xiv, 10-32
the
see
;
lists
of
mouldings under ADHISHTHANA.)
A base
in
connexion with the bedstead
:
Pada-bandham adhishtahnam sarva-jatyarhakam bhavet
I
(M., XLIV, 44.)
Cj. Suprabheddgama (xxxi, 23-26)
:
Adhishthanasya chotsedham chatur-viihsati-bhajitam
Dvi-baga pattika prokta hy-upanam chaika-bhagikam
Shad-bhaga jagati prokta kumudam pancha-bhagikam
I
Ekamsa
Ekamsa
pattika prokta griva chaiva tryamsaka
1
1
1
pattika viddhi (h) tr(i)yam^a chordhva-pattika
Maha-pattika tr(i)yam^a ekam vajanam uchyate
iti khyatarh
sarva-karyeshu pujitam
1
I
1
Pada-bandham
PADA-BANDHAKA A
1
I
1
1
type of throne.
XLV, 15;
(A/.,
see
under SIMHASANA.)
PADA-VEDl
The storeyed base of a Buddhist stupa (Mahdthe
balustrade, the railing.
varhsa, 35, 2),
(W. Greiger Mahdvamsa, p. 297.)
:
PADAl^GA
the
Literally the lowest member, hence, the architrave or
bottom portion of the entablature.
(See
PADUKA
The
The
Kamikagama,
LIV, 47,
under PRASTARA. )
plinth, the pedestal, the base, a moulding.
plinth or the
base
(M..
xiv,
under ADHISHTHANA).
304
162
;
see
the
lists
of mouldings
HINDU ARCHITECTURE
The
pedestal (or base) of a
PASHYA
column
:
Tan-mule chasanam kuryat padukam va sahambujam
Ekarhs'arii
padukam
kuryat pancha-bhagaih tu
I
samgraham
I
(M., xv, 31, 177.)
A
moulding
bottom of the pedestal (M.,
at the
xui, 43
;
the
see
lists
of
mouldings under UPAPIJHA).
PARAVATA-NlDA A
(M.,
PARIYATRA A class
nest for the pigeon,
L, 52,
an
An
of furniture.
description of its architectural details, 224-227.)
of pavilions.
(M., xxxiv, 154
PARS VA-PULI
article
;
see
under MANDAPA.)
ornament, a part of the crown.
(M., XLDC, 94.)
PAR&VA-PURITA Same
as
karna-pura or patra
(M., XLIX, 96, 106, 115, 117-119, 141
;
ear-ring.
14-26,302.)
cf. L,
A
boundary, a margin, an edge, an ornament, a
bridge-like moulding of the column.
Atha vakshye viSeshena kumbhalankaram uchyate
Tan-mule palikotsedhe vibhajet tu shad-ams'akam
PALIKA(-I)
I
I
(M., xv, 201-202;
see also
33, 70, etc.;
In connexion with the
lips
220, 44,
xxxvn,
cf.
4.0.)
:
Tr(i)yams"ardhadharayam chardha(m)-chandravad-akriti
Tri-vaktram chottara pali cha( ? sa) ntarais" chaiva samyutam
I
(M., XLV, 95-96
PALIKA-STAMBHA A
kind of pillar.
(A/.,
PASUPATA A
;
I
see also 89.)
xv, 39-73;
see
under STAMBHA.\
kind of phallus.
(M.,
PASHANA-KORMA A
stone
111,
tortoise,
2
;
LXVIII, 2
;
see
under LINGA.)
a component part of a
phallus.
(M.,
PASHANA-VEDI The
usually stand,
PASHYA
cf.
LII,
178.)
stone terrace on which the sacred trees
MahdvamSa, 36, 52.
Stone-bulwarks.
(R.-V.
305
i,
56, 6.)
AN ENCYCLOPAEDIA OF
PINDA
PINDA The
testicle, its
sculptural details.
(M., -LXV,
1
66.)
PINDIKA
The pedestal of an image, a seat, the yoni
(see P!THA)
of
or
the
the
part
pedestal
phallus.
Dvara-manashta-bhagona pratima syat sapindika
Dvau-bhagau pratima tatra tritlyariis'a(s') cha pindika
(1)
'
I
The
1
1
(i.e., pedestal) ought to have a height
diminished by one-eighth, of which two-thirds
idol along with the seat
equal to that of the door,
and one-third to the seat.' (Brihat-Samhitd,
J.R.A.S., N. S., Vol. vi, pp. 318, 323, 329.)
are appropriated to the image,
i.vi,
16
;
also LVIII, 3,
54
;
Linga-puja-pramanena kartavya pithika budhaih
Pindikardhena bhagah syat tan-manena tu bhittayah
(2)
I
1
1
(Matsya-Purana, Chap. CCLXIX, v. 8.)
Pratimayah pramanena karttavya pindika Subha
Garbhas tu pindikardhena garbha-manas tu bhittayah
(3)
I
1
1
(Agni-Purana, Chap. XLII, v.
Arddha-bhagena garbhah syat pindika pada-vistarat
Panch-bhaglkrite kshetre'ntar-bhage tu pindika
Garbho bhagena
vistirno
Pindika kona-vistirna
1
1
bhaga-dvayena pindika
1
1
m idhyamanta hy-udahrita
II
Atah pararh pravakshyami pratimanarh tu pindikarh
Dairghyena pratima tulya tad-arddhena tu
vistrita
(Ibid.,
Then
Chap,
(4)
follows a lengthy description (see
cv, v. 30
;
Chap. LX, v.
ibid.,
1
I
1
civ, vv. i, 5, 24.)
Chap,
v.
Chap. LV,
i, f.
also
i).
Manashtamena bhagena pratima
Dvau bhagau pratima
10.)
I
syat sapindika
tatra tritlyo bhagah pindika
1
1
1
1
Tri-bhagaih pindika karya dvau bhagau pratima bhavet
(Bhavishya-Purana,
w.
The yoni
22, 32
:
1 1
Chap, cxxx,
Chap, cxxxi,
(5)
part or the pedestal of the phallus
Lirigam cha pindikam chaiva prasadam gopuram tatha
(6)
Kuryad ekam pindikam
v. 6.)
:
I
(Suprabhedagama, xxx, 28.)
PII^DI
^A
tarn tu par^ve
I
(M.,
LII,
152.)
base for an image, the yoni part or pedestal of the phallus.
(Inscrip.
from Northern Gujarat, no. vn, line 8, Ep.
Ind., Vol. n, p. 27, see details under PiTHA.)
306
HINDU ARCHITECTURE
PlTHA(-THIKA)
Pitha
upon, hence means a
wooden
is
PlTHA(-THIKA)
possibly corrupted
from pi-sad
to
stool, seat, chair, throne, pedestal, altar.
21
seat (Vdj. Sam., xxx,
:
Taitt.
Bra.,
in,
4,
17,
i),
sit
A
low
rectangular, plain or carved and sometimes with painted designs.
The pedestal of an idol, the yoni part of the phallus, a pavement,
chairs of various kinds (Mahdvagga, v, 10, 2 ; see BHADRAPITHA,
ETAKA-PADAKA PITHA). Fire-altars of the Vedic and Brahmanic
periods built on river banks, mistaken by Alexander for memorials,
which Chandra Gupta Maurya utilized for sacrificial purposes. A
site-plan of nine square plots.
(M.
vii, 4).
The well-known
fifty-one Pitha-sthanas are the sacred spots where
the limbs of ParvatI, consort of Siva, fell after she had been cut to
pieces
by the discuss of Vishnu.
As the
linga or phallus symbolically represents Siva, so the pitha
does his consort Parvati. The pitha forms the yoni or the lower
part of the phallus.
Mdnasdra (Chap.
The
LDI,
pitha must
named PITHA)
:
match the phallus of which
it
forms the lower
It should, therefore, be of as many kinds as there
part (line 49).
are phalli. But the mouldings of the pitha are described under four
classes, technically called Bhadra-pitha, Sribhadra, SrlviSala, and
(lines 34. 36, 39, 41). The principal parts of the pitha are
the nala (canal), thejaladhara (gutter), the ghrita-vari (water-pot),
the nimna (drip), and the pattika (plate) (lines 22-27). The com-
Upapitha
ponent mouldings are prathama or janman (base), padma (cymal,
kshepana (projection), kandhara (neck, dado), kampa (fillet),
urdhvapadma (upper cyma), vajana (fillet), ghrita-vari (water-pot),
or vritta-kumbha (circular pot) (lines 30-33^.
With regard to shape, the pithas, like the phalli and all other
and sculptural structures, are divided into three types,
the Nagara, Dravida, and Vesara (lines 46-47). The Nagara pithas
are said to be square, the Dravida pithas octagonal, and the
Vesara pithas circular or round (lines 53-54).
architectural
A
site
plan in which the whole area
squares.
A pavement on
(M.,
vii
4;
see
is
divided into nine equal
PADA-VINYASA.)
the side of a road
:
Pechakarh vatha pitham va rathya yuktarh tu
vinyaset
(M.,
37
I
ix,
423.)
AM ENCYCLOPAEDIA OF
PITHA(-THIKA)
In connexion with the palm of the hand
:
Patra-tulyam yugangulyam pithe tuhga(ih) dvayangularh
I
(M.,
The
pedestal of an image
Uttamam
lohajaih
197.)
:
bimbam
pithabhasaih tu chottamam
(M.,
The
L,
pedestal of the phallus (M.,
(2) Etat samanyam uddishtarh
LI,
19
;
16
see also LVI,
;
I
LXII, 13, etc.)
245, 246, 247.)
LII,
prasadasya hi lakshanam
Linga-manam
vakshye pitho linga-samo bhavet
Dvaravat pltha-madhye tu s"esham sushirakaih bhavet
I
ato
(Garuda-Purana, Chap. XLVII, vv.
II
1
1
n,
The pedestal or the yoni part of the linga
(3) Linga-vishkambha-manena bhaved dvi-tri-chatur-gunah
16.)
:
Tatha pancha-guno vapi pitha-vistara ishyate
(Kdmikdgama,
The
altar
L,
45
see also
;
I
It
vv, 44, 47, 48, 50.)
:
Brahma(-me) va madhyame bhage pltham parikalpayet
(Ibid.,
Panch-daSa-karantam tu kuryad avrita-mandapam
Mandapena vina vapi tena manena
pithika
18.)
II
I
Vibhadra va sabhadra va kartavya malika budliaih
1
1
xxxv, 99, 100.)
(Ibid.,
'
II
xxvin,
projecting part of the basepi$hika
a tree, etc.
round
the
Buddhist
ment, resembling
railing
Here
(4)
'
would indicate
the
Yaval lihgasya vishkambham tri-gunarii pitha-vistaram II
Pujams"arh dvi-gunam pltham tri-gunam va viSeshatah II
Pijhasya tri-gunam garbham ta(t)-tri-bhagaika-bhittikam
(Suprabhtdagama, xxxi, 9, n,
I
(5)
tri-bhagikritya tat
punah
Bhaga-dvayena pratima
Pithika bhagatah karya natinicha na chochchhrita II
Pithika lakshanam vakshye yathavad anupurva^ah
Pithochchrayarh yathavach cha bhagan shodasa karayet
12.)
|
(25)
I
Bhumavekah pravishtah syach
chaturbhir jagati
II
mata
(i)
I
Vritto bhagas tathaikah syad vritah patala-bhagatah II (2)
Bhagais tribhis tatha kanthah kantha-pat^as tu bhagatah
I
Bhagabhyasam urdhva-pattafi cha Sesha-bhagena pat^ika
Pravishtam bhagam ekaikam jagatirii yavad eva tu
Nirgamam tu punas tasya yavad vai Sesha-pattika
Vari-nirgamanarthaih tu tatra karyah pranalakah
Pithikanam tu sarvasam etat samanya-lakshanam II (6)
1
1
(3)
I
1
308
(4)
1
I
ADHARA PATTA.
SECTION.
FOR SMALL SPACE
IN
TEMPLES
ETC.
CEILING PLAN
SECTION
CEILING PLAN.
MAHA TAULI
MAMA
eODMiik*
h
CEILINQ PLAN
SECTION
PRACHChr;,",DANA.
PHALAKA
POTRA.
PHANA.
Pane SOS
^
BHADRA
,
-i
J
C
PITHA.
PLAN.
SRIVISALA.
P~THA AS PART OF LINGAM
JM
.p=n
PRATOLI
HINDU ARCHITECTURE
PlTHA(-THIKA)
Purna-chandra vajra cha padma vardha-sas"! tatha
Tri-kona dasaml tasarh sarhsthanam va nibodhatah
I
II
Devasya yajanartharh tu plthika dasa kirtitah II (19)
Linga-puja-pramanena kartavya plthika budhaih II
(7)
(8)
(Matsya-Purana, Chap. CCLVHI, v. 25 ; Chap. CLXU,
vv. 1-4, 6-7, 19 ; Chap. CCLXIX, v. 8.)
Vibhajya navadha garbham madhye syal linga-plthika
(Ibid.,
the idol
5 cubits high,
is
its
v.
15.)
XLII, v.
22.)
Chap. CCLXIX,
eka-hasta
dcvasya
Pancha-hastasya
(6)
When
I
tu plthika
pedestal is one cubit.
I
(Agni-Purana,
Chap.
One
pedestal (pitha) on which the god and the goddess stood,
(measuring) one muram and two viral in length, sixteen viral in
'
breadth, and six viral in height.
(Inscrip. of Rajaraja, no. 30, para. 7,
'
(7)
Vol
H.S.I.I.,
ii,
137.)
p.
One
pedestal (surmounted by) a lotus (padma-pltha) on which
this (image of Panchadeha Siva) stood (measuring) three viral and four
torai in height, and fifteen viral and four torai square.'
(Inscrip. of Raja'
(8)
raja, no. 30,
on a
pillar of the south enclosure,
para. 4,
H.S.I. I.,
Vol. n,
p. 138.)
'
(9)
The hero Madavan
of
Anda
.
.
.
(Ep. Carnal., Vol. x, Kolar Taluq, no.
got this
109
b
;
pldam
(pedestal) made.'
Transl., p. 40.)
He had
a temple and a bali-pltha built for the god Chandra-sekhara,
the processional form of the god Sankaresvara of Kergodi.'
(Ibid., Vol. VH
'
Tiptur Taluq, no. 72
'
(10)
;
Transl., p. 57.)
Whose daughter, Vinapati, having
bestowed the
at this very place
and having made a pedestal (pitha)
and Old Kanarese inscrip., no. xciv,
entire gift of a Hiranya-garbha,
god with
rubies.'
Ind.
Vol.
Ant.,
'
(Sanskrit
x, p.
for the
line 7,
103.)
He made
petition at the feet of Vidyaranya-Sripada, representing
that in Srihgapura, in (connexion with) the dharmma-pltha (religious
(n)
simhasane dharmamaye, in the original) established by Sankaracharyya(-charya, in the original), there must be a matha and agrahara.'
throne,
Of this dharma-pitha
The Sringeri
(simhasana) Mr. Rice further says
or
throne
was
established
as
is
well
known
religious
dharma-pltha
(refers to
the inscription quoted above) by Sankaracharya, the great Saiva reformer
'
,
:
of the eighth century.
It is situated on the left bank of the
Tunga river,
in a fertile tract near the Western Ghats.
The celebrated scholar Madhava
or Vidyaranya (forest of learning), author of the Veda-bhdshya, who was
instrumental in founding the Vijayanagar Empire in 1336, was the head of
309
AN ENCYCLOPAEDIA OF
PRITHIVI-DHARA
the establishment at that time.'
is
(Then
added that
The
the well-known commentator of the Rig-Veda.
teristics are,
architectural charac-
(Ep. Carnat., Vol. vi, Sringeri Jagir, no.
however, not given.)
Transl., p. 95, last para.;
was Sayana,
his brother
Roman Text,
f
p. 195, lines i, 12
1
1;
;
Introduct., p. 23,
cities,
sixty-four yoga-
para. 5.)
Possessor of
'
(12)
and
plthas,
thirty-two velama, eighteen
sixty-four
(Ep. Carnat., Vol. vn, Shikarpur
ghatika-sthanas.'
Taluq, no. 94; Transl., p. 61, line yf;
(13) Dva-trirhsat tu velavuramum
Roman
Text, p. 114, line 4 f.)
ashtadasa-pattanamum basashti-
yoga-pithamum aruvattanalku-ghatika-sthanamum
I
the 18 towns, 62 seats of
(The poeple of) the thirty-two seaside towns,
(held a convocation.)'
contemplation, and 66 religious centres
Kanarese inscrip. at Terdal, line 60, Ind. Ant., Vol. xiv, pp. 19, 25.)
'
.
.
.
(Old
'
Having thirty-two velama, eighteen
(14)
cities,
and asramas at the four points of the compass.'
sixty-four yoga-pithas,
(Ep.
Carnat., Vol.
Shikarpur Taluq, no. 1 18 ; Transl., p. 86, last para., line 6.)
Made a grant ... of the Mallasamudra village
(15)
'
to the
Sadali
throne (pithika).
'
in,
.
.
belonging
(Ep. Carnat., Vol. x, Sidla-ghatta Taluq,
no. 94; Transl., p. 194, last para.)
a pedestal (Ranganath
(16) Pithi
Ep. Ind., Vol.
.
VH,
inscrip. of
Sundara-pandya,
v. 19,
pp. 13, 16).
(17) Purana-pithe pitharhtararh sa chaturarh vidhivad vidhaya
(Chebrolu Inscrip. of Jaya, postscrip.,
Ep.
Ind.,
I
lines 7-8,
Vol. v, pp. 115-151.)
a platform of stone (see Specimens of Jain Sculptures
(18) Pithika
Mathura, Plate in, Ep. Ind., Vol. n, p. 320).
from
PRITHIVI-DHARA A
(1)
(2)
type of oval building.
Agni-Purdna (Chap, civ, vv. 19-20, see under PRASADA).
Garuda-Purdna (Chap. XLVII, vv. 29-30 see under PRASADA).
;
PUNDARlKA A
class
of the seven-storeyed buildings.
(M., xxv, 3-23
PUR A
fortification,
a
small
fortified
;
place,
see
a
under PRASADA.)
township
(see
NAGARA).
PURA A
big fortified city as in Tripura and Mahapura described
in the Yajur-Veda and Brahmdnda-Purdna (see references under NAGARA)
but apparently less pretentious than the capital cities (nagara), a
castle, a fortress, a village, a fortified town, a city, a wall, a rampart,
a house, an abode, a residence, the female apartments, a store-house,
an upper
storey.
310
PURATO-BHADRA
HINDU ARCHIECTURE
A
town (M., x 39, etc.).
Gramadinam nagaradinam pura-pattana-kharvate
village (M., ix, 215, etc.), a
I
Koshtha-koladi-sarveshaih garbha-sthanam ihochyate
I
168-169.)
(A/., xii,
Khetanarh cha puranam cha gramanarh chaiva sarvas"ah
Trividhanam cha durganarh parvatodaka-dhanvinam II
Param ardhardham ayamarh prag-udak-plavanaih puram
Chatur-asra-yutarh divyarh prasastam taih puram kritam
I
1
1
1 1
and anushamgapdda,
(Brahmanda-Purdna, Part i,
Chap, vii, vv. 105, 107, 1 08
Pura-madhyam samasYitya kuryad ayatanarh raveh
(Bhavishya-Purana,
(4)
'
;
see also v. 93.)
I
Chap, cxxx,
v. 40.)
Karkkotadhma-raksharh svapuram idam atho nirmarae Javrishakhyam
named Javrisha, the protection of which was
then built this town of his
entrusted
Ant., Vol.
(5)
to
(Buddhist Stone inscrip. from Sravasti, lines 4-5, Ind-
Karkota.'
xvn, pp. 62, 63.)
Jagapala puram jatarh
krite dese
punar nnave
in the
ed site, the town of Jagapala grew up (i.e., was built).
Rajapal, line 12, Ind. Ant., Vol. xvii, p. 140.)
'
(6)
(Rajim inscrp.
of
With myriads of people, practices of virtue, agreeable occupastreams of the
tions,
newly re-creat-
(nine) sentiments,
pleasure gardens, separated
lovers, splendid tanks, full lotus beds, gilded boats for spring festivals,
ghatika-sthanas
(religious
centres),
the supports
of
dharmma and
mines of enjoyment, moats which were as if the sea being overcome
had returned here on account of the collection of beautiful women
as the moon (grama-nagara-kheda-kharvvana-madamba-dronamukha pura-pattana rajadhani) on whatever side one looked in these
fair
nine forms did the Kuntala-desa shine.
pur Taluq, no. 197; Transl., p.
p. 214, line
'
(7)
The
Balligave.'
last
two
27
124, para.
'
(Ep. Carnal., Vol. vn, Shikar-
I, last
seven lines;
Roman
Text,
f.)
three puras belonging to the great royal city (? rajadhani)
(Ep. Carnal., Vol. vii., Shikarpur Taluq, no. 99; Transl., p. 66-
lines.)
PURATO-BHADRA
(see
MUKHA-BHADRA)
The
front tabernacle,
a porch, a portico, a vestibule.
of Siva) kritva devalayam karitammamdapa-sobhitarh cha purato-bhadrarh pratolya saha
Deva-Sri-sasibhushanasya
yugmam
I
have not b en able to find purato-bhadra in the Kos"as to which
have access, but sarvato-bhadra is described as a kind of house (?)
'
I
(i.e.,
I
with
four
doors
facing
the
four
3"
quarters
(here
refers
to
Ram
AN ENCYCLOPAEDIA OF
PURI(-l)
here a village
Raz's Essay on Architecture of the Hindus, 1 834, p. 43
same name).
a
house
of
the
not
is
described
called sarvato-bhadra
From this I infer that a purato-bhadra was a building with only one
;
'
Mr. Hira Lai.
door in front.
But there does not seem to be much doubt that purato-bhadra and
mukha-bhadra are identical and that they are an essential part of
ancient
the
tabernacle.
buildings, resembling
(Kanker inscrip. of Bhanudeva, v.
and note
125,
A
PURI(-I)
more or
Hindu
7,
less
Ep. Ind., Vol.
ix,
front
pp.
127,
Ep.
Ind.,
4.)
temple, an adytum, a building, a town.
(The second Praiasti of Baijnath,
Vol.
PURUSHAjsjJALI
foundations
the
v. 25,
pp. 117, 114;
i,
no. 32.)
see also
The palm of a man.
upon which
It refers to the depth of
one
to twelve storeys are
of
buildings
stated to be erected.
Khanayed bhutalarh
sreshtharh purushanjali-matrakam
va
Silantarh
va
(M., xvin, 6-7.)
Jalantam
The depth is stated here to reach water or stone under ground.
Hence the expression seems to imply a depth measured by the
height of a man with uplifted arms.
The following passage seems to be a parallel instance
I
.
.
.
I
:
Chihnam
pitah
Puta-bhedakas" cha tasmin pashano bhavati toyam adhah
Commentary
1
;
'
'
man
be understood the
(or 5 cubits).
note i.)
1
purusha-sabdenordhnva-bahuh purusho jneyah sa cha
is
angula-satam bhavati by the word
purusha
:
virhsat-adhikarh
to
mrit-
manduka-panduro'tha
chardha-purushe
api
I
(Brihat-Samhita,
with uplifted arms, that is, 120 ahgulas
LIV, 7, J.R.A.S., N. S., Vol. vi, p. 301'
PUSHKARA A
blue lotus, a part, a portion, the forepart of
the nose (M., LXV, 84), water, a cage, a type of building, a class
of buildings (Kdmikdgatna, XLV, 61, 63
PUSHKARINI
(see
TADAGA and VAP!)
Datia-putrena thai
'
By
made
;
PUSHKALA A class
under MALIKA).
A
tank, a lotus-pool.
Norena pukarani karavita savrasapana puyae
the Thera Nora, a tank was caused to be
the son of Dati,
for the worship of all
Swat, Ind. Ant., Vol. xxv,
see
p. 141,
snakes.
'
(New Kharoshti
and Vol. xxxvn,
312
from
p. 66.)
of storeyed buildings, a
roof.
inscrip.
tree,
a type of pent-
HINDU ARCHITECTURE
A
PUSHPA-VATIKA
class of the two-storeyed buildings (M.. xx, 94,
42-43
see
;
under
PRASADA).
A
A
tree (M., xv, 354, etc.).
kind of pent-roof (M., xvm, 188).
PUSHPAKA A
Kubera, a bracelet, a type of
flower, the car of
pavilion, a class of buildings.
pavilion with sixty-four pillars (Matsya-Pu.ra.na,
Chap. CCLXX,
v. 7
;
under MANDAPA).
A
of buildings, rectangular in plan and
Griharaja, (3) Salagriha or Salamandira,
class
(2)
(6)
Brahma-mandira or Brahma-bhuvana,
(9)
Vesma
(7)
named
(i)
Ba(va) labhi
Visfila,
(4)
Prabhava,
(5)
Sama,
and
(8) Sivika,
:
Agni-Pu'dna (Chap, civ, vv. 11, 16-17 see under PRASADA).
see under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, vv. 2-22, 26-27
(1)
'>
;
PUSHPA-PATTA A
flower plate, a turban, a head-gear, a tiara,
a diadem.
(M., LXIX,
PUSHPA-PUSHKALA A
1
6
;
see details
under BHUSHANA.)
of bases.
class
see the
lists of
97-112
mouldings under ADHISHTHANA.)
(M., xiv,
PUSHPA-BANDHA A
;
window of flower-band
type of
(M., XXXHI, 584
PUSHPA-BANDHANA-MANDAPA A
;
see
design.
under VATAYANA.)
detached building where
flowers are garlanded for the worship of the deity.
Pushpa-danta-pade chaiva pushpa-bandhana-mandapam
I
(M., xxxii, 42.)
PUSHPA-BODHAKA A
type of capital.
(M., xv, 155-168
PUSHPA-BHADRA A
;
see
under STAMBHA.)
pavilion with sixty-two pillars
(Matsya-Purana, Chap. CCLXX, v. 7
PUSHPA-RATHA A
;
see
MANDAPA.)
chariot.
(Abulala-perumal inscrip. of Champa,
lines 3-4, Ep. Ind., Vol. m, p. 71.)
PUSHPA-VATIKA
(see
VATIKA)
A
garden, a bower, an arbour.
Uttare saralais talaih subha syat pushpa-vatika
I
(Matsya-Purdna, Chap. CCLXX, v. 29.)
3J 3
PUMLlftGA
ENCYCLOPAEDIA OF
AJf
PUIvlLlftGA (see Samchita) A class of buildings with the six
main component parts (see under SHAD-VARGA) and with terraces,
a masculine type of building, a division of the architectural and
sculptural objects as distinguished from the faminine (striliriga)
and "neuter (napumsaka) types.
Alinda-sahitaih shad-varga-sahitam cha yad arpitam
Sarhchitam proktarh pumlihgarh tad ghani-kritam
1
Devanam
asuranarh cha siddha-vidyadhareshv-api
(bhogyam)
I
cha
prasastanam
Raksha-gandharva-yakshanarh
I
1
janminam
II
(Kamikagama, XLV,
the
See
8,
9.)
Mdnasdra and the Agamas under PRASADA, and compare STRI-
LINGA and NAPUMSAKA.
PURANA-KAMBA A
'
The panel
or
flat
vase, a moulding.
part of the back wall of each recess between the
is ornamented
projecting tower-like compartments,
very florid object called purana-kambam.'
by a vase or some
(Gangai-Kondo Puram Temple,
Vol.
PORTA A well,
(1)
well,
(2)
ix, p. 118,
Ind. Ant.,
c. 2,
para
4.)
a pond, a step-well.
Purtam vaprkupa-tadakadikam
\vell, and pond, etc.
(the word) purta implies the step-
Vapl-kupa-tadakadi-devatayatanani cha
I
Anna-pradanaramah purtam ity-abhidhiyate
step- well, well, pond, and the temple (and) the pleasure-house
(aim-house, hotel) where food is given (gratis) these are called the
1
1
The
'
purta.'
(3)
Vapi-kupa-tadakadi-purtam ayatanani cha
Svarga-sthitirh sada kuryat tada tat purta-sajnitam
I
The
step well, well,
pond and temples
the residence in heaven (for the doer),
are purta.
always ensures
reason designated
for this
it is
I
It
as purta.
(Quotations from the Commentary, KaSyapa,
on the Brihat-Samhitd, LVI, 2 ; J. R. A. S,
N.
S.,
(4) Vapi-kupa-tadagadi-devatayatanani cha
Vol.
vi,
pp. 316-37, note
i.)
I
Anna-pradanaramah purtam aryah prachakshate
1
1
(Ep. Ind., Vol. iv, p. 318, note 3.)
PRISHTHA-SDTRA
The plumb-line drawn by
(M., LXVII, 80
;
the back-bone.
see under
PRALAMBA.)
PRACHCHHADANA
HINDU-ARCHITECTURE
PECHAKA An
owl, the tip or root of an elephant's
bed, a shelter on a street, a site plan of four squares.
a couch, a
tail,
(M.
In connexion with streets in a village
Pechakam vatha pithaih va rathya yuktarh tu vinyaset
vii,
3.)
:
I
(M.,
PAI&ACHA
(see
PADA-VINYASA)
A
site
423, etc.
ix,
plan of four squares.
(M.
POTA(-I)KA (POTTIKA) A
part of a column, the
vii,
3.)
of a
site
house.
Tat-samotsedham
potikalarikriti-kriya
(Kamikagama, uv, u.)
I
Potikantavalambarh va tulantaritam antaram
(Ibid.,
23.)
under MAKARA-TORANA)
a
the
bottom
of
column.
of
(Suprabhedagama, xxxi, 60;
part
Pottika
A
I
(ibid.,
LV, 69
;
see
.
under
see
STAMBHA.)
POTRA A
moulding, an architectural object resembling the snout
of a hog or a ploughshare.
In connexion with joinery
:
Karkatanghrivat kritva potra-nasanghrim vesayet
I
(M., XVH, 143.)
PAUSHTIKA
(see
UTSEDHA)
breadth, a class of buildings.
See Mdnasdra (xxxv, 22-26)
under ADBHUTA.
A
class
A
which
height
and compare
is
i\
of
(L,
24, 28)
Kamikagama
of the two-storeyed buildings (M., xx, 93, 19-25
;
see
the
,
under
PRASADA).
PRAKOSHTHA(KA) The
forearm, a hall, a
room near
the gate,
of a palace, a court, a quadrangle, a part of the door-frame.
Ekarhsam madhya-bhadram tu madhye yuktya prakoshthakam
(M., xxvi,
The forearm
I
1
08.)
:
Prakoshtharh shodasamsarh syat talam ashtamsam ayatam
I
(M., LVH, 26,
PRACHCHHADANA A
covering,
etc.)
a canopy, the roof, an entab-
lature.
A
synonym of the entablature (M.,
xvi, 18
;
In connexion with the three-storeyed buildings
see
under PRASTARA).
:
Prachchhadanopari stambham karna-harmyadi-manditam
I
(M., xxi,
315
9.)
AN ENCYCLOPAEDIA Of
PRANALA(KA;
The roof
:
Prastarasyopari-deSe karna-harmyadi-manditam
I
Yuktya prachchhadanam kuryat sudheshtakadi-gulodakaih
I
(M., xxxi, 69, 72.)
Padarh vayate taulirh kuryad yuktya. vichakshanah
T-.id-urdhve jayantikarii kuryat tat-tat-prachchhadananvitam
I
I
xxxm, 373-374-)
(A/.,
Prachchhadanankanam kuryan na prachchhadanam eva cha
I
(M., xxxv, 295.)
tathaisake
Prachchhadanam yatha-harmye dvararh kuryat
I
(A/., xxxviii, 7.)
Prastarochcham
proktam prachchhadanam ihochyate
Prasadadini(-nam) sarvesharh prachchhadanadi-lakshanam
Etat prachchhadanam gehe proktarh mama munisVaraih
Anyat-vastuni-(nam) sarvesham prachchhadanam ihochyate
iti
I
I
I
120-121,
xvi,
(A/.,
143-144
the
;
I
proposed
description, ibid., 121-142, 145-168, 170-204.)
The
materials of which they arc constructed
:
Kevalam cheshtaka-harmye daru-prachchhadananvitam
Sila-harmyc sila-taulim kuryat tat tad viseshatah
From
this
passage especially,
indicates the roof of a building.
it
I
I
apears that the term
'
'
prachchhadana
133-134.)
(Ibid.,
The
drip or channel-like part of the pedestal of
the linga (phallus), a gutter, a canal, a patter, a bracket.
PRANALA(KA)
(1) Vari-nirgamanartham tu tatra karyah pranalakah
Therein (in the pedestal) should be made the pranala (gutter) as an outI
let for
water.
(Matsya-Purana, Chap.
Ardhangula-bhruvo-raji pranala-sadrisi sama
(2)
Chap.
square or round platter or bracket to which a spout
ornamental purposes
v.
6.)
I
(Ibid.,
A
CGLXII,
CCLVIII, v. 37.)
is
attached for
:
Aisanyam pranalam
syat
purvasyam va
prakirtita
1
1
(Kdmikagama, LV, 82.)
See Mdnasdra,
LII,
298, etc.
PRANALA(-LIKA,-LI)
A
canal, a spout,
a conduit,
a water-
course, a drain.
Pituh punyabhivriddhaye karita sat-pranaliyam ...
This conduit has been built ... for the increase of his father's spiritual
merit.'
(Inscrip. from Nepal, no. 8, Vibhuvarman's inscrip., line 2 f., Ind. Ant.
(i)
I
'
y
Vol.
ix,
p.
171, c. 2.)
316
PRATIMA
HINDU ARCHITECTURE
Kugrame
(2)
'
cha
pranalikayas
line
15,
p.
n
no.
(Ibid.,
174.)
PRATIKA(-I)
synonyms,
khanda-sphutita-samadhanartham
water-course in Kugrama.'
for repairing the spout of the
see
A
moulding of crescent shape, the frieze
M., xvr, 42-44. It is shaped like a petal
for its
;
in
two
parts (M., xvi, 45).
A
moulding of the base (M., xiv, 39, 138. 148, etc.;
mouldings under ADHISHTHANA}.
A moulding of the column (M., xv, 217 xxxm, 225, etc.).
(2) Pratim nivesayet tasya tri-tri-bhagaika-bhagatah II
(1)
see
the
lists
of
;
Anyayos" chardha-chandrabha pratl karya dvijottamah
1 1
(fCamikdgama, LIV, 44, 46.)
PRATI-KRAMA A
differ
class
from one another
of bases comprising four types which
and
in height
in the addition or omission of
some mouldings.
(M., xiv, 44-64
under ADHISHTHANA.)
see
;
Vedikeyarh tu samanya kuttimanam prakirtita
Pratikramasya chotsedhe chatur-virhs'ati vibhajite
I
(Vastu-vidyS, ed.
II
Ganapati
Pratikramam viseshena kartavyam pada-bandhavat
(Suprabhedagama, xxxi, 26
PRATI-BANDHA A
;
ste
1
the details under PADA-BANDHA.)
moulding of the base.
(M., xiv, 324
PRATI-BHADRA One
;
the
see
lists
of mouldings under ADHISHTHANA.)
of the three classes of the pedestals, the
Mancha-bhadra and Vedi-bhadra it has four types
from one another in height and in the addition or omission
other two being
differing
1
Sastri, ix, 19.)
:
of some mouldings.
(M., xm,
PRATIMA A
5389
;
see
the
lists
of mouldings under UPAP!THA.)
moulding, an architectural object.
In connexion with foundations
:
Brahma-garbham iti proktam pratimam tat sva-rupakam
Evam tu pratimam proktam etad garbhopari nyaset
I
I
(M., xn,
A
moulding of the base (M., xiv, 61, 137, 279
under ADHISHTHANA).
31 ?
;
see
the
lists
149,
166.)
of mouldings
AN ENCYCLOPAEDIA OF
PR ATI MA
PRATIMA An image,
an
idol,
a bust, a statue.
Mdnasdra, Chap. LXIV (named Pratima)
Description of the images of the sixteen attendant deities of the
:
(1)
Vishnu temple (lines 1-92).
choktarh tatha ratnaih tu vinyaset
Cf. Pratimam lohajam
I
(M., LXX,
100.)
Pratimadhikara (M.. LXVII, colophon).
An image
(2)
or idol (Brihat-Samhild, LVI, 16, J.R.A.S., N.
S.,
Vol. iv,
p. 318).
Eka-hasta dvi-hasta va tri-hasta va pramanatah
Tatha sarva tri-hasta cha savituh pratima subha
I
(3)
(Bhavishya-Purdna,
II
Chap, cxxxii,
Athatah sampravakshyami sakalanarh tu lakshanam
(4.)
Sarvavayava-drisyatvat pratima tv-iti chochyate
IsVaradi-chatur-murttih pathyate sakalarh tv-iti
1
1
v.
II
1
(Suprabheddgama, xxxiv,
Angushtha-parvad arabhya vitastir-yavad eva tu
Griheshu pratima karya nadhika sasyate budhaih
Ashodasa tu prasade karttavya nadhika tatah
(5)
i.)
1
I
2.)
I
1
1
I
Madhyottama-kanishtha tu karya vittanusaratah II
Dvarochchhrayasya yan-manam ashtadha tat tu karayet
Bhagam ekarh tatas tyaktva pari^ishtam tu yad bhavet II
Bhaga-dvayena pratima tri-bhaglkritya tat punah
Pithika bhagatah karya nati nicha nachochchhrita
I
I
1
1
(Matsya-Purdna, Chap. CCLVIII, vv. 22-25.)
the
Chamkirajena Supar^va-pratima uttama
excellent image of Suparsva made by Chamkiraja adorns there.'
(Honwad
Vinirmmita
(6)
inscrip.
'
rajate
of Somesvara
I,
line
32, Ind.
Ant., Vol.
xix,
273.)
p.
(7) -An image (pratima) may be very lofty and yet have no beauty,
or it may be lofty and of real beauty, but have no dignity but height, true
beauty and exceeding dignity being all united in him, how highly is he worthy
;
of worship in the world, GommatesVara, the very form of Jina himself.
Should Maya address himself to drawing a likeness, the chief of Nakaor the Lord of Serpents (Adis"esha) to priase it,
being so, who else are able to draw the likeness, to look
unequal
or
praise the unequalled form of the southern Kukkutesa with
fully upon
loka (Indra) to look on
it is
;
it
this
wondrous beauty.'
(Ep. Carnal., Vol. n,
Vindhyagiri inscrip., no. 85
Text, p. 67 f.)
In the presence of these gods, setting up the stone images (Sila-pratima)
(8)
the
crowned
of
queen Lakshmivilasa, the lawful queen Krishnavilasa, and
its
Transl., p.
154, line 13
f.
;
Roman
'
318
;
HINDU ARCHITECTURE
PRATI-VAKTRA
the lawful queen Ramavilasa, together with my own.'
Chamarajnagar Taluq, no. 86 ; Transl., p. n, para. 3
para,
last
i,
(Ep. Carnal., Vol. iv,
Roman
;
Text, p. 18,
three lines.)
Vichitiye Jina-dasiya pratima Bhagavata pitamahasa pratima pratish(Mathura Inscrip. no. 16, line 2 ; Bitha Inscrip. no. C, lines 1-3 ;
thapita
(9)
I
Cunningham,
'
(10)
Arch. Surv.
Reports,
Vol.
in,
pp. 34, 48.)
In the highly celebrated Somanatha-pura he
made a
great temple
up therein according to all the directions of the Agama the various
and shone with the fame he had acquired, Somaincarnations of Vishnu,
the
Gayi-govala. Under the profound name of Prasannachamupati,
chenna he set KeSava on the right-hand side, and the source of world's
pleasure, his form Gopala, the lord who fills the mind with joy, Janardha
these three forms, united among themselves, were the chief in the Vishnu
temple in that pura. A cause of all manner of festivity were all the various
forms around the enclosure, as they were all exhibited in different ways
the Matsya and others, all the ten incarnations, Kes"ava and others, Sarikarshana and others, twelve in name, Narayana and others to the number
of thirty-four, including eighteen, Krishna and others
Ganapa, Bhairava,
Bhaskara, Vishvaksena, Durggi, and such gods numbering seventy-three
adorned the Vishnu temple in the middle of pura. And in the southsetting
,
:
;
of the pura Soma-dandadhipa set
and Bayiralesvara, with
Revalesvara,
east
middle,
.
.
.
And he set up Bhava named
and Lakshml-Nrisimha
(Ep.
line 7
Carnal.,
f.
;
up Bijjalesvara, PerggadesVara,
Somanatha Siva-linga in the
Vol.
Roman
xi,
Yoga-Narayana
Somanathapura.
Nrisirhhesvara,
in the middle of the Kaverl at
Davanagere Taluq,
no.
36
Transl., p.
;
46, para. 3,
Text, pp. 76, 77).
PRATIMA-MANDAPA A
detached building used as a temple, a
pavilion.
PRATI-MUKHA A moulding
(M., xxxiv, 55.)
of the base.
(M., xiv,
1
02
;
see
the
lists
of mouldings
under ADHISHTHANA.)
PRATI-PATTA
(see
PATTA)
A
moulding, a band, a plate, a slab,
a tablet.
(Vastu-vidya, ix,
PRATI-ROPA A
23-24
;
see
under PATTA.)
moulding of the entablature.
(M., xvi, 45
PRATI-VAKTRA A
see
;
the
lists of
mouldings
under PRASTARA.)
moulding of the base.
(M., xiv, 118
3*9
;
see
the lists of mouldings
under ADHISHTHANA.)
AN ENCYCLOPAEDIA OF
PRATI-VAJANA
PRATI-VAJANA A
See Fletcher
'
the
It is
concave moulding resembling the cavetto.
(Hist. Arch., p. 101).
same thing
the
in
pedestal
to
answer to the vajana
:
its
form, though generally rectangular, is sometimes, when placed in cornices,
found to be externally a little more inclined to one side than to the other,
and
in this situation
it
resembles the cavetto.'
Ess. Arch'
(Ram Raz,
Hind., p. 25.)
Alingantararii chordhve prativajanam uchyate
A moulding of the pedestal
(M., xin, 58,
in.
93,
(M. XLV, in.)
I
etc.
see
;
the
lists
of
mouldings under UPAPITHA.)
A
see the lists of mouldings
moulding of the base (M., xiv, 39, etc.
under ADHISHTHANA.)
PRATlSRAYA Help, a shelter house for travellers, a dwelling
house, a residence, a sacrificial hall, an assembly.
;
Satra-prapa-pra(ti)sVaya-vrishotsargga vapi-kupa tadarama-devalafor the purpose of (supplying) requisite
yadi-karanopakaranartham iha
1
i
-
-
)
'
materials for preparing alms-house (feeding establishment), a place for
distributing water gratis to travellers, a shelter-house for travellers, a
below, Ind. Ant., Vol. xn, p. 142), reservoirs, wells, tanks,
orchards, temples, etc.'
(Cambay Plates of Govinda IV, line 58, Ep. Ind.,
Vol. vn, pp. 41, 46, note 8.)
vrishotsargga
(see
-
Chatu-6alavasadha-prati$raya-pradena
arama-tadaga-udapana
karena
has given the shelter of quadrangular rest-houses, has made
(2)
'
(Nasik Cave
and gardens.'
Vol. vni, pp. 78, 79.)
wells, tanks,
inscrip. no.
10, line 2, Ep.
Ind.,
1
But pratiSraya, as I have stated in a note (Nasik inscr ption, the International Congress of the Orientalists held in London in 1874) is what is
in these days called an anna-sattra, i.e. a house where travellers put up
and are
(3)
fed without charge.'
Hemddri
house for
(4)
(p.
152)
:
Dr. Bhankarkar, and compares
PratiSrayah
pravasinarh
asiayah,
:
i.e.,
a shelter
travellers.
Vahni-Purdna
(p. 763,
quoted also by Dr. Hoernle)
Pratisrayarh suvistirnam
:
sad-annam sujalanvitam
I
Dina-natha-janarthaya karayitva griharh Subham
Nivedayet pathisthebhyah Subha-dvararh manoharam
I
'
II
be constructed for poor and helpless persons a praticommodious (wide), having food
and plentiful water, provided with a good door, and charming, he should
Having caused
to
Sraya (in the shape of) a good house, very
dedicate
it
to travellers.'
(Ind. Ant.,
Vol. xn, p. 142, c. 1-2.)
320
PRATOLl
HINDU ARCHITECTURE
PRATISHTHA An
establishment, a fixed abode.
(A.-V., vi, 32, 3, Sankh. Aran., XH, 14.)
PRATI (see PRATI) A moulding.
PRATOLl A gate-way, sometimes
provided with a
a small turret, the main road of a town.
1
i
)
Rathya
pratoli visikha syach
flight
chayo vapram astriyam
of
steps,
I
(Amarakosha, n,
(2)
ii,
3.)
Trirhsad-dandamtararh cha dvayor attalakayor-madhye saharmyadvi-talarh
dvy-ardhayamam
pratollrh karayet
I
tri-dhanushkadhishthanam
Attalaka-pratoli-madhye
chchhidra-phalaka-sarhhatam indra-kos"am karayet
Prakaram ubhayato mandalakam adhyardha-dandarh
shat-tulantararh dvaram nivesayet
sapidhana-
I
kritva pratoli-
I
(Kautillya-Artha-sastra,
Chap. xxiV
5
paras. 8, 9, 15, pp. 52, 53.)
(3)
Mahdbhdrata (Cock)
XIV,
25, 21
:
:
Tarn cha
ttitam
XII, 69, 55
(4)
:
V,
3,
1
8
17
(Lankam)
:
.
.
(5)
See
'
.
.
.
(niveSah)
|
pandurabhih pratolibhir uchchabhir
.
abhisamvritam
VI, 75, 6
I
:
Pratolivara-Sobhitah
:
sugha-
Parikhas chaiva kauravya pratolir nishkutani cha
Rdmayana (Cock)
II, 80,
sala-chayam srlmat sampratoli
I
I
Gopuratta-pratolishu charyasu vividhasu cha
Sanskrit Pratoli and its new Indian derivatives.'
(J.R.A.S.,
The
:
I
Vol. xix, July, 1906.)
(6)
abihramarh muni-vasatirh
.svargga-sopanarupam
kaubera-chchhanda-bimbam
sphatika-marhdala-bhasa-gaurarh
Kritva
.
.
pratolim
'
.
.
.
.
I
Having made a gateway, charming
.
the abode of Saints,
(and)
the
form
of
a
staircase
to
heaven
(and) having
leading
(and) resembling a
(pearl-) necklace of the kind called Kauberachchanda (and) white with the
.
.
adiance of pieces of crystalline gems.'
That the word (pratoli) has the meaning in the present inscription of a
gateway with a flight of steps seems to be shown by the comparison of the
'
pratoli with a svarga-sopana or flight of steps, or ladder, leading to heaven,
and by its being described as white with the radiance of pieces of crystalline
gems
(in the stones
of which
it
of Kumaragupta, line 10, C.
and note I.)
was constructed).'
1. 1.,
Vol. in, F. G.
321
(Bilsad stone pillar inscrip.
I.,
no.
10, pp. 44, 45, 43,
AN ENCYCLOPAEDIA OF
PRATYAttGA
Hammira
vira kva sa tava
mahima
nirdisarhti dhvajagrair-divyanirmita
Kilhanena
kara-pratoli-hridayami-bhuvo
Astarh tavat pratoll tad-upavirachitarh koshthaka-dvarh-dvam- etat
(7)
I
prochchair-alana-yugmarh Vijaya[vara]kareh Satrulakshmas cha
sadma
I
(Hansi stone inscrip. of Prithviraja, V. S. 1224,
vv.
Asyam
(8)
Vol. XLI, pp. 19, 17.)
5, 6, Ind. Ant.,
uttunga-ringa-sphuta-aI-kirana- (svetabhasa-sanatharh-
ramyarama) pratoli-vividha-jana-pada-stri-vilasabhiramam
In this (city of Benares there was) a place, renowned on earth (bathed
in the white light) of the bright rays of the moon (as they fell on its) lofty
I
'
charming with the gracefulness of the wives of the various inhabitants of the (beautiful and extensive, lit. whose extent was charming)
turrets
;
(Benares inscrip. of Pantha, v.
streets.'
Ep. Ind., Vol.
kritina
Deva-sri-s"asi-bhushanasya
(9)
2,
pp. 60, 61.)
ix,
karitarh
devalayarh
yugmarh
mamdapa-sobhitam cha purato-bhadrarh pratolya saha
Caused to be built two temples of the god whose ornament is the moon
(viz. Mahadeva), together with halls, a purato-bhadra with a gateway.'
I
'
(Kanker
note
inscrip.
of Bhanudeva, v.
7,
Ep. Ind., Vol.
ix,
pp. 127, 128, 125,
3.)
PRATYA&GA A
minor limb,
a moulding of the entablature.
(Kdmikagama, LTV, 2
PRATYOHA
(see
UHA)
Lit.
an
obstacle,
;
see
under PRASTARA.)
hence any architec-
moulding or member separating two others, a supporting
member, a moulding, an architectural object.
tural
PRATHAMASANA
Cf.
The throne
for the preliminary coronation.
Prathamabhisheka-yogyarh syat prathamasanam eva cha
I
(M., XLV, 2-3.)
PRADAKSHINA A
surrounding terrace or verandah, a circumambulating path round a temple, a circular road round a village
or town.
(1)
Sikharardhasya chardhena vidheya tu pradakshina
Garbha-sutra-dvayarh chagre vistaro
I
mandalasya tu
1
1
(Matsya-Purdna, Chap. CCLXIX, v. 4.)
(2)
Pradakshinarh bahih kuryat prasadadishu va na va
I
(Agni-Purana, Chap, civ, v. 9.)
(3)
Sikhararddhasya charddhena vidheyas tu pradakshinah
I
(Garuda-Purdna, Chap. XLVII, v.
322
8.)
PRAPA
HINDU ARCHITECTURE
See Matsya-Purdna
above
:
except that
this line is identical,
it is
used in
number here.
The procession-path round the cell called Pradakshina as that
(4)
round apse, remained for some centuries as a common but not a universal
feature. The verandah disappeared.
Round a windowless cell it was
useless, and the pillared porches contained in themselves, all the elements
of shelter or of the shadow that were required.'
(Fergusson Hist, of Ind.
the plural
'
:
and East. Arch., p. 221.)
In the pradakshina or passage behind images, are other two gratings
(5)
over shafts from the lower hall.'
(Ahmadabad Arch. Burgess Arch. Surv.,
'
:
New
Imp.
Series, Vol. xxxni, p. 87.)
PRADAKSHINA-SOPANA A surrounding
flight
(Kautillya-Arlha-sdstra
of steps.
;
under SOPANA.)
see
PRAPATHA A
broad path, long journey by a broad road, high
roads for travellers, rest-houses thereupon (R.-V., x, 17, 4, 6
63,
1 6
Kath. Sam., xxxvn, 14; Ait. Bra.) VH, 15). A prince is landed
;
;
for his
prapathas (R.-V., vra,
PRAPA (PRAPAfrGA) A
i,
30).
shed on the roadside for accommodatis distributed, a
with water, a place where water
ing
cistern, a tank, a building.
travellers
(1)
Kulluka (M. W.
Diet.}
:
Panlya-dana-griha
a house where water
is
given (gratis).
(2)
Amarakosha
(n, 5, 7)
:
Avesanarh
silpi-sala
A
synonym of harmya (edifice) (M., n,
In connexion with the staircase :
(3)
prapa pamya-salika
I
7).
Prapange pramukhe bhadre sopanarh purva-parsvayoh
I
(M., xxx,
In connexion with mandapas (pavilions)
Bhakti-manarh tatha bhitti-vistaram chapy-alindakam
105.)
:
I
Prapahga-mandapakaram pancha-bhedam kramochyate
(M., xxxiv, 3-4
;
I
see
also
Madhye prachchhadanam kuryat prapangam vadhikalpayet
Tasya madhye cha range tu mauktikena prapanvitam
15.)
I
I
Mandapagre prapangam
syat
...
(Ibid.,
I
see also
201, 218, 222;
224-225.)
shed as an alternative for pavilion.
Prapanga is shed with open yards. (M., xxxiv, 567-568.)
(Ibid., 290.)
Mandapasya bahir-dee praparh paritas tu karayet
Prapa
is
I
323
AN ENCYCLOPAEDIA OF
PRAPA
In connexion with madhya-rahga (central quadrangle or courtyard)
Devanam cha nripanarh cha sthanakasana-yogyakam
:
I
Mukta-prapanga-manarh cha lakshanarh vakshyate'dhuna
Yad-ukta-madhya-rahge tu chatus-trirhsad vibhajite
I
I
Ekaikam-bhaga-hlnarh syat prapa-vistaram ishyate
.
.
.
prapa-tungam sivamam
syat
I
I
(M., XLVII, 1-4,
In connexion with the pedestals of the images of the Triad
Prapa cha toranam \api kalpa-vriksham cha sarhyutam
I
(M.,
(4)
LI,
Prag-varhsayor anya-vamsais" cha nalikera-daladibhih
Achchhaditah(-ta) prapa nama prastararh chatra mandapah
(6)
87.)
I
(Kamikagama,
(5)
9.)
:
Prapayas cha
II
L, 88.)
'
hall for the supply of water.'
mandapam
(Inscrip. of the Chandella Viravarman, v. 19,
Ep. Ind., Vol. i, pp. 328, 330.)
Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan
I
Sauvarna-dhvaja-toranapana-pura-grama-prapa-mamdapan
Vyadhapayad ayarh Chaulukya-chudamanih
Here
(shed) does not, evidently, mean a tank, which idea
Prapa
I
I
'
'
expressed by the words vapi, kupa, and tadaga.
Prasasti, V. 10, Ep. Ind., Vol. u, p. 440.)
(7) See
Rahganath
inscrip. of
Sundarapandya
is
(Sridhara's Devapattana
(v.
15,
Ep.
Ind.,
Vol. in,
pp. 13. l6 -)
Satra-prapa-prasraya-vrishotsargga-vapi-kupa-tadarama-devala-yadi-
(8)
karanopakaranartharh cha
Prapa (?) a place of distributing water gratis (D. R. Bhandarkar).
(Cambay Plates of Govinda IV, line 58, Ep. Ind., Vol. vii, pp. 41, 46.)
erected on both banks
(9) Nadinam ubhato tiraih sabha prapa-karena
I
'
shelters for
Cave
(I
'
meeting and such for gratuitous distributing of water.'
inscrip. no. 10, line a
o)
who
f.,
Ep. Ind., Vol.
vm,
(Nasik
pp. 78, 79.)
Aneka-devatayatana-sabha-praparamavasatha-vihara-karayita
caused to be built many temples of the gods, halls, drinking-foun-
tains, gardens, rest-houses,
and (Buddhist) monasteries.'
(Palitana Plates of
Simhaditya,
18, 19, note 3.)
(n) Dakshina-diSabhage karapita vapi tatha prapeyam cha 'in the
'
southern part there has been made an irrigation well also a watering-trough.
line 12, Ep. Ind., Vol. xi, pp.
Tatha prapa-kshetram dvitlyam tatha grame uttara-disayam
'
in the
northern part of the village there is given a second field, for the watering
(Grant of Bhimadeva n, Vikrama Samvat 1266, lines 26, 27, 31, 32,
trough.'
Ind. Ant.,
Vol.
xvm,
pp. 113,
1
15.)
324
PRALAMBA
HINDU ARCHITECTURE
'Apana cannot have here (Asoka pillar-edict, vn, Mines, 2-3) its
"
usual meaning
tavern, liquor-shop." As professor Kern (Der Buddhism,
(12)
Vol. n, p. 385) assumes, it must denote a watering station.
Probably the
is
distributed
to
travellers
and
water
where
are
huts on the roads
meant,
their beasts gratis or against payment. The usual Sanskrit name is prapa.'
Dr. Biihler.
(Ep. Ind., Vol. H, p. 274,
i.)
PRABH AVA A type of rectangular building.
(Agni-Purana, Chap, civ, vv. 16-17
PRABHAtfJANA A
see
under PRASADA.)
type of chariot.
(M.,
PRABHA A canopy,
;
a
XLIII,
see
112;
under RATHA.)
city.
Sailam s"obhita-ata-kumbha-vilasat
kumbham maha-mandapam
pra-
karam paramalika-vilasitam muktamayim cha prapa(-bha)m
A great maha-mandapa of stone, resplendent with pitchers (? domes)
of shining gold, a surrounding wall, adorned with excellent buildings, and
I
'
a canopy of pearls.' Dr. Hultzsch. (Fourteen inscrip. at Tirukkovalur,
no. K, Inscrip. of Rajendradeva, lines 1-2, Ep. Ind., Vol. vn, pp. 145-46.)
PRAMANA
The measurement of breadth.
(M., LV, 3-6
Pramanam dirgham
ity-uktaih
;
see
manonmana-pramanatah
under MANA.)
II
(Suprabheddgama,
PRALAMBA
The plumb-lines
image in order to
measurement of the
(1)
(2)
find
xxxiv, 36.)
drawn through an
out the perpendicular and the horizontal
or
the lines
different parts of the body.
Bimbamdna (w. 73-91, 92-122, 123-138) under TALAMANA.
Mdnasdra (Chap. LXVTI, named PRALAMBA)
The instrument by means of which the plumb-lines are drawn
See
:
This
is
a square
pralamba-phalaka.
plank of four, three,
two or one ahgula in thickness with the sides equal to three-fourths or
half of the length of the image (line 6). Another plank of the same
called
is
is made and used as the stool on which the
image is placed. The
other plank (pralamba-phalaka) is fixed to the crown of the head of the
image. The planks are kept level to each other. Some holes are made
size
in the
some
upper plank of the pralamba-phalaka wherefrom are suspended
strings at the other end of which are attached small balls
made
of iron or stone (lines 7-16). The number of holes and the strings
suspended through the planks, by which the plumb-lines are determined, varies from five to eleven, according to the different postures
and poses of the image. The five principal plumb-lines consist of one
325
AN ENCYCLOPAEDIA OF
PRALAMBA
the centre of the upper plank corresponding to the crown
of the head, and four on the four sides of the body (line 19). Two
other lines drawn adjoining the right and left sides of the face make
drawn from
number seven
the
and
22)
left
;
(line 20).
Another two
sides of the back of the head
and two
lines
lines
make
the
drawn on the
number nine
drawn from the two armpits make the
right
(line
total
of
lines eleven (line 28).
The line drawn from the
middle of the
front,
crown of the head (sikha-mani) passes by the
root and patta (band) of the diadem (mauli), middle of
the forehead, eyebrows, nose, chin, neck, chest (hridaya), navel, sex organ,
root of the thighs, halfway between the knees, nalakas (ankles), heels, soles
The perpendicular and horizonlargest toes (lines 32-40).
tal distances between the different parts of the body are described in detail
and two
(feet)
41-78, 99-139). The variations of these measurements are considered with regard to postures (lines 1-96), namely, erect (sthanaka), sitting
(lines
and recumbent (Sayana), and poses (lines 98-140), called abhahga,
sama-bhanga, ati-bhanga and tri-bhahga (see under BHANGA).
(asana)
These plumb-lines are stated to be drawn only
ing
for the
purpose of measur-
:
Evaih tu karya-sutrarh syat lambayet Silpavittamah (91)
principles and mechanism of plumb-lines followed by the European
similar. The following quotations from Vitruvius
architects are almost
and Gwilt would throw more light on the point
I
The
:
was the first who contrived scenery, upon which he
Agatharcus
This led Democritus and Anaxagarus, who wrote thereon,
'
.
(3)
left
a
.
.
treatise.
to explain how the points of sight
as in nature, to a centre, so that by
and distance ought to guide the k'nes,
means of pictorial deception, the real
of
on
the scene, which, painted on a flat
buildings appear
appearances
vertical surface, seem, nevertheless, to advance and recede.'
(Vitruvius
Book vii, Introduction.)
'
This
(levelling)
is
performed either with the dioptra, the
level (libra
The latter instrument is, however, the beste
acquaria) or the chorobates.
inasmuch as the dioptra and level are often found to be incorrect. The
chorobates is a rod about 20 feet in length, having two legs at its extremities of equal length and dimensions, and fastened to the ends of the rod
at right angles with it
between the rod the legs are cross-pieces fastened
;
with tenons, whereon vertical lines are correctly marked, through which
corresponding plumb-lines hang down from the rod. When the rod is set,
these will coincide with the lines marked, and show that the instrument
stands
level.'
'
(4)
(6f</.,Book vni, Chap, vi.)
Plumb-rule, plumb-line, or plummet
masons, carpenters (sculptors), etc., to
326
is
an instrument used by
draw perpendiculars or
verticals, for
PRALAMBA
Pagi
HINDU ARCHITECTURE
PRALINAKA
whether their work be upright, horizontal and so on. The
instrument is little more than a piece of lead or plummet at the end of a
string, sometimes descending along a wooden or metal ruler raised perpendiascertaining
cularly
'
on another, and then
The
it is
called a level.'
(Gwilt, Encycl., p. 1241.)
used substantively to denote an instrument which
shows the direction of a straight line parallel to the plane of the horizon.
term,
level,
is
The plane of the sensible horizon is indicated in two ways by the direction
of the plummet or the plumb-line, to which it is perpendicular and by the
:
;
surface of a fluid at rest. Accordingly, levels are formed either by means
of the plumb-line, or by the agency of a fluid applied in some particular
manner.'
'
They
all
depend, however, upon the same principle, namely, the action
of terrestrial gravity. The carpenter's level consists of a long rule, straight
on its lower edge, about 10 or 12 feet in length, with an upright fixed
to its upper edge, perpendicular to and in the middle of the length, having
same plane with those of the rule, and a straight line drawn on
of
its
sides
one
perpendicular to the straight edge of the rule. This standing
piece is generally mortised into the other, and finally braced on each side
its
sides in the
to secure
it
from accident, and has
its
upper end kerfed in three places,
viz. through the perpendicular line, and on each side. The straight edge cf
the transverse piece has a hole, or notch, cut out on the other side equal on
each side of the perpendicular line. A plummet is suspended by a string
from the middle kerf, at the top of the standing piece, to vibrate freely in the
hole or notch when hanging at full length. When the straight edge of the
level is applied to two distant points, with its two sides placed vertically,
and the string coincides with the straight line
on the standing piece, the two points are level. If not, suppose one of the
points to be at the given height, the other must be lowered or raised, as the
if
the
case
plummet hangs
may
require,
till
freely,
the string
brought to a coincidence with the per-
is
pendicular line. By two points is meant two surfaces of contact, as two
blocks of wood, or the upper edges of two distant beams.'
The mason's level is formed of three pieces of wood, joined in the form
'
of an isosceles triangle, having a
a mark in the centre of the base.'
plummet suspended from
PRALAMBA-PHALAKA
(see
PRALINAKA A class of
buildings, a
under PRALAMBA)
through which the plumb-lines are drawn.
sides, i.e.,
32 -sided shaft
Dva-trimsat tu
the vertex over
(Gwilt, Encycl., p. 1217.)
The square plank
column with 32 rectangular
:
madhye Pralinakah
Pralinakam atah srinu ...
II
327
(Brihat-Samhitd, Lin, 28).
AN ENCYCLOPAEDIA OF
PRASTARA
Sirshakam chatur-asrarh tu parsvayoh koshtha-samyutah
I
Panjaram nasika-yuktam sopanarh parsVayos tatah
Pralinaka iti prokta (-ah) . . . [(Suprabhedagama, xxxi, 46, 47, 48.)
1 1
PRASTARA The
entablature.
order above a column.
It
comprises the parts of an
is divided into three parts
The assemblage
European architecture, namely the architrave which rests
immediately on the column, the frieze next over the architrave being
the middle member, and the cornice which is the uppermost part.
These three parts are again variously subdivided. For its synonyms,
in the
see
xvi,
Af.,
(M.,
(
It is also
18-20, 42-44.
used as a synonym for plinth
xxxm, 220-227).
i
)
The
entablature
is
stated to be half of the
column
:
Prastaram pada-di(-ai)rghyasya chardha-manena karayet
Nyunam vapi chadhikam vapi prastaraih karayed budhah
Prastarokta-pramanam tu sarvaih kanthe vidhiyate
I
1 1
II
(Kdmikagama, xxxv, 27, 28, 29.)
Chap. LTV (named Prastara-vidhi)
Three essential parts of the prastara (entablature)
Hinadhikam tu changanam prastarasya dvijottamah
Padanganam tatha kuryad galange cha masurake II (47)
The pada (foot, pedestal, base), gala (neck, middle part), and masuraka
(lintel) would,
apparently, correspond to the architrave, frieze, and
Ibid.
:
:
I
cornice.
The mouldings
of the prastara (entablature)
Uttaram vajanam chaiva mushti-bandham mrinalikam
:
Dandika valaya-kshudra-gopanachchhadanam cha II
Alihgantarita chaiva pratyangam vajanam kramat II
Their comparative measurement
II
(i)
(2)
:
Tryam&ikamsam-panchaika-dvi-tri-bhagaika-bhagaih
Tri-bhagenaika-bhagena upary-upari yojatet II (3)
Three kinds of the prastara
I
:
Etani prastarahgani tri-vidham chottaram bhavet
Khandottaram patra-bandham rupottaram iha dvijah
I
II
(4)
Their description (vv. 5-6 see under those terms).
Further classification under SVASTIKA, VARDHAMANA, NANDYAVARTA and
;
SARVATOBHADRA (vv. 7-8).
The other details of the
Ibid., LV,
prastara (vv. 9-46).
204 (synonyms)
Prastaram chaiva gopanam kapotam mancham eva cha
Nivram ity-evam akhyatam prastarasya dvijottamah
:
I
328
I
HINDU ARCHITECTURE
Prastara
finial
or
compared with
(entablature)
dome
(sekhara)
PRASTARA
base,
tower
pillar,
(karna),
:
dvi-gunaih sarva-sammatam
Padardharh prastaraih proktam karnam prastaravat samam
Prastara-dvi-gunayamam Sekharam hi tarn uchyate
Padayamam adhishthanam
I
1 1
1 1
Prastarad urdhva-bhage tu karna-kuta-samayutam
II
(Kamikagama., xxxi, 28-30.)
(2)
Vedikam prastara-samarh
shad-arhsikritya bhagasah
(Vastu-vidya, ed.
I
Ganapati
Sva-sva-yonya grihadinarh kartavya dvara-yonayah
Sastri, ix, 23.)
I
Prastarottarayor madhyam panchadha vibhajed budhahll
(Ibid.,
(3)
... prastaram cha
tat ah srinu
xin,
26
set also
;
28.)
I
Prastarotsedha-manam tu pancha-bhaga-vibhajitam
Tri-bhagam uttarotsedham padonottara-vajanam
II
I
Eka-bhagarh tad-urdhve tu kartavya padma-pattika
Gaja-sYenlrh mriga-srenlm prastaranteshu yojayet
Evam prastaram akhyatam talam prati viseshatah
1
1
I
1 1
(Suprabhedagama, xxxi, 72,
see also vv. 68-71, under
(4)
Mdnasdra (Chap, xvi, named PRASTARA)
73,
74
;
TORANA.)
:
The
is
height of the entablature as compared with that of the base
of six kinds (line 4)
The former may be equal to the latter, or less
.
by J, or greater by J, \, f or twice (lines 2-3) or in cubit measurement, these six kinds of height of the entablature begin with 7 cubits
and end in 4^ cubits, the decrement being by | cubit (lines 5-6).
,
These
six
kinds
;
of entablatures
are
respectively
employed in the
houses of the gods, the Brahmans, the king or Kshattriyas, the crown
princes, the Vaisyas, and the Sudras (lines 8-9).
The
be
height of the entablature as compared with that of the column may
These
half, three-fourths, equal, or greater by J, |, and f (lines 10-12).
six heights
set
of entablature should discreetly be employed (line 13). Another
is also
the height of the pillar being divided into
prescribed
of six heights
:
8 parts, 7, 6, 5, 4, 3, 2, may be given to that of the entablature.
These entablatures are divided into eight or rather nine classes, the details
of which are given below
I.
31 parts
:
(ibid., lines
22-29)
:
(1)
Uttara
(2)
vajana
(3)
valabhi(-bhi) (roof, capital)
(fillet)
(fillet)
..
..
.
. .
.
.
i
.
.
.
4
.
329
.
3$
AN ENCYCLOPAEDIA OF
PRASTARA
vajana
(4)
(fillet)
(5) uttara
(fillet)
..
..
..
..
. .
.
.
. .
i
.
.
.
.
i
. .
.
.
3
.
. .
(6)
vajana
(7)
(8)
kshudra-padma (small cyma)
maha-padma (large cyma)
(9)
vajana
(fillet)
.
.
(fillet)
..
ij
3
.
i
..
..
..
7
..
..
..
i
..
..
..
(13) prastara (ovolo)
..
..
..
(14) vajana
..
..
..
(10)
kapota (corona)
(u) alinga
(fillet)
(12) antarita
(fillet)
(fillet)
2
ij
The projection of these mouldings are in most cases equal to them,
but in some cases they may be f , |, or J of them.
II.
31 parts
lines
(ibid.,
(1)
Uttara
(2)
kampa
59-71)
:
..
(fillet)
(fillet)
(3) valabhi (roof, capital)
(4)
abja (cyma)
(5)
vajana (fillet)
mushti-bandha (band)
(6)
(8)
vajana (fillet)
mrinalika (stalk)
(9)
kandhara (dado)
(7)
3
.
.
.
.
.
i
.
.
.
.
. .
i
.
.
.
.
. .
9
.
.
.
.
.
.
.
. .
kshepana (projection)
padma (cyma)
.
. .
2|
.
.
.
J
.
. .
2
..
..
..
..
..
..
.
(10)
(13)
..
.
. .
(11)
(12) vajana
..
.
.
(fillet)
adhara (base)
(14) patta (band)
(15) vajana
(fillet)
(16) mushti-bandha
(17) vajana (fillet)
(18)
mahavajana
(band)
(large
fillet)
(19) abja (cyma)
III.
36
.
parts (ibid., lines 72-77)
(1) Base,
etc.,
(3)
vajana
(fillet)
(4) antarita
:
should be as before
(2) alinga (fillet)
(fillet)
(5)
kampa
(6)
prati (-vajana) (cavetto)
(7)
vajana
(fillet)
(fillet)
33
2
i
.
;
2
..
..
..
. .
.
.
.
.
i
. .
.
.
.
.
3
. .
.
.
.
.
i
.
.
.
.
.
.
2
.
.
.
.
.
.
i
(?
2)
THE. E.MTAbL*TURtS
MOTL-THt TOTAL OF THE
).
FOR EACH
WHAT
IS
AMD TWRD
DO HOT
NUM6E.S OF PARTS
TYPE. VAK1E.S ?
GIVEN IMTHEiTLXT
1
lAAGtS
AMD LEXXSK/' VHS
SUIT OTHE.RS
F!
z
PRASTARA
HINDU ARCHITECTURE
IV.
30 parts
(1) Uttara
(ibid., lines
78-88)
:
(fillet)
(2)
kampa
(3)
valabhT (roof, capital)
(4)
vajana
(5)
kapota (corona)
(fillet)
(9)
prati-vajana (cavetto)
(drip)
kapota (corona)
(15) alinga
(17)
nimna
vajana
(4)
kulikanghri
i
.
.
.
.
5
..
.
.
.
.
.
..
i
.
2
.
J
.
..
..
i
..
..
i
..
..
..2
..2
..
..
..
I
dado)
..
(18) prastara.(ovolo)
V. 30 parts (ibid., lines 89-99)
(3)
.
..
..4
.
..
..
..
..
..
..
..
..
..
..
(drip)
Mula
.
..
(fillet)
(1)
.
.
(fillet)
antarita
.
..
(fillet)
(16)
2
.
..
(fillet)
(14)
.
.
.
kandhara (dado)
vajana
.
.
.
.
(8)
(12) griha (?griva,
i
.
..
nimna
(13)
.
.
.
alinga (fillet)
(7) antarita (fillet)
(n) vajana
.
.
(fillet)
3
.
.
.
(6)
(10)
..
..
|
i
I
:
(base) as before ;
(2) gopana (beam) as before
;
.
(fillet)
.
.
2
.
(5)
(main pillar) (this part is furnished
with nataka)
nataka (theatre, quadrangular part) as before
(6)
kapota (corona) as before
. .
.
.
5
;
;
as before
(7) kshudra-nasl (small nose or vestibule)
the rest as before.
This entablature
is
decorated
all
;
over with crocodiles and bees (makara
and bharamara, 94-95).
VI.
26 parts (ibid., lines 100-109)
(1) Uttara (fillet)
.
(2)
vajana
(3)
padma (cyma)
(4)
(6)
vajana (fillet)
mushti-bandha (band)
vajana (fillet)
(7)
mrinalika
(8)
vajana
(9)
pattika (band)
(5)
.
(fillet)
.
.
.
(stalk)
:
.
.
3
. .
i
.
. .
i
.
. .
i
.
.
.
. .
. .
2
. .
. .
.
.
i
.
. .
.
.
3
.
33
.
.
. .
.
. .
(fillet)
.
.
1
.
.
.
. .
. .
i
4
AX ENCYCLOPAEDIA OF
PRASTARA
^
(10) vajana
(fillet
(u) kampa
(fillet)
i
padma (cyma)
(12)
(13) vajana
(14)
\
(fillet)
(16) vajana
(17) antarita
VII.
4
kapota (corona)
(15) alihga
(18)
\
(fillet)
\
.
(fillet)
i
(fillet)
..
prati-vajana (cavetto)
26 parts (ibid., lines 110-116)
i
:
Nataka (theatre, quadrangular part) as before
as before
(2) upper columns
as before.
(3) lower columns
Above these, all the members are same as before except that
;
(1)
;
of them, or their projections
projections are half or one-fourth
one, two, or three dandas.
their
may be
of Bhutas (imps), Ganas (attendant demi-gods of Ganesa),
Yakskas (attendant demi-gods of Kubera), Vidyadharas (semi-divine
or of men are carved in the nataka (crowning or capital) parts
The images
beings),
In the corresponding parts of the palaces, the images of
Yakshas and Vidyadharas are carved in all other residential buildings,
the human figures are made in the nataka (crowning) parts. All the
of temples.
;
mushti-bandhas (fishbands) are
rest should be as before.
VIII.
26 parts
(ibid., lines
117
(i) Kapota'_ (corona)
more ; the rest
part) 8
IX.
34 parts
Nataka
should be
(ibid., lines
made
f.)
The
:
8 more (a) nataka (theatre, quadrangular
should be as before.
;
117-119)
:
(theatre, quadrangular part)
as before.
With these may be compared the
lature
straight with the columns.
8 parts more, and the rest
details of the early
European entab-
:
The
height of the entablatures of the different orders :
(1) In the Tuscan order, J of 7== if diameters.
(2) In the Doric order, J of 8=2 diameters.
(3) In the Ionic order, J of 9=2 J diameters.
(4) In the Corinthian order, J of 10=2 \ diameters.
(5) In the Composite order, \ of 1 1 =2| diameters.
According to Vitruvius both to the Corinthian and the Composite orders
ten parts are given.
In general terms, its subEntablature is fourth part of the column.
divisions of architrave, frieze, and cornice are obtained by dividing its height
'
into ten equal parts,
whereof three are given
33 2
to architrave, three to frieze,
HINDU ARCHITECTURE
PRASTARA
except in the Roman Doric order in which the whole
height of the entablature is divided into eight parts of which two are given
to the architrave, three to the frieze, and three to the cornice.'
and four
to cornice
;
From
these general proportions variations have been made by different
masters, but not so great as to call for particular observation.'
(Gwilt,
Encycl. Arch., Art. 2542, 2543, 2549.)
'
Height in parts
of a module
Entablature
I.
Tuscan (Gwilt,
Encycl., Art. 2555)
Cymtinum
S
and parts
Cornice,
1
6
module
Asragal
4
27i
i
I (3) Fillet
<
Bed mould-
parts
(2)
parts of a
:
round
f (i) Quarter
^^ ^
(4)
Conge" or cavetto
(5)
Corona
(6)
Drip
(7)
ing
22^
5
i
from
Sinking
corona or hollow
(8) Fillet
(9)
fFillet
Architrave,
12 parts
j
1
Ogee
4
(10) Frieze
Frieze, 1 4 parts
j
Fascia
14
(u)
Fillet or listel
(fa)
Conge
i
or
9i
2
small
cavetto
2
i
^(13) Fascia
The height of the drip under the corona
of the hollow in the height of the fillet.
II.
Doric (Gwilt,
Encycl., Art. 2564,
(2)
is
2562)
:
of corona
1
8 parts
j
module
Cavetto
26
(4)
Cyma
(5)
Corona
(6)
Drip
reversa
I*
4
(7) Fillet
(8)
parts of a
34
(3) Fillet
Cornice,
9*
taken on that member, and that
Height in parts
of a module
Entablature
(1) Fillet
8
28J
25
Gutta under the corona
(9) Dentil
15
(10) Fillet
13
(n) Cyma reversa
2
I (12) Capital of triglyph
333
2
PRASTARA
AN ENCYCLOPAEDIA OF
Entablature
PRASTARA
HINDU ARCHITECTURE
Projection from the
Height in parts
axis of column in
of a module
parts of a module
Entablature
i) Fillet
f (i
Architrave,
i
1
Cap
(13)
Guttae
y -10
parts
III.
of guttae
(12)
.
Ionic (Gwilt, Encyd., Art. 2573, 2581)
(2)
I2-50
-OO
12 -40
O-20
4) Architrave below guttae
(1) Fillet
1-50
I
of
I4-40
.
:
4
cyma
Cyma recta
(3) Fillet
(4)
Cyma
(5)
Corona
(6) Fillet
Cornice, 34
parts
reversa
of the drip
(7)
Ovolo
(8)
Astragal
(9) Fillet
(
i
fillet
o)Dentel
..
(n)Dentels
(12) Fillet
(13)
Cyma
reversa
Frieze, 27 parts (14) Frieze
(15) Listel
(
1
6)
Cyma reversa
(17) First fascia
Architrave,
22^ parts
(18)
Second
(19)
Third
fascia
fascia
on the side
Capital on the coussinet or
(20) Capital
(21)
cushion
Grecian Ionic
(in the
temple on the Ilyssus)
(1) Fillet
(2)
Cornice,
Cyma recta
(3) Fillet
(4)
Echinus
(5)
Corona
18-33
(6)
Drip
parts
(7)
Cyma
supposed
height,
reversa
(8) Fillet
(9)
Echinus
16
II -20
AN ENCYCLOPAEDIA OF
PRASTARA
Height
Entablature
(10) Frieze
Frieze,
m
Projection from the
parts
of a module
29-901
j
a s of column in
par ts of a module
17 -400
29-901
parts
Fillet
f(n)
Architrave,
Ech m us
j
I(i 3 ) Bead
(
33 >66
parts
I
I2 )
IV. Corinthian (Gwilt, Encycl., Art. 2583)
(1) Fillet of cornice
(2)
-20O
17-880
27 -60O
17 -160
I
53
5
53
(3) Fillet
Cornice, 38
^
48
(4)
Cyma reversa
(5)
Corona
(6)
Cyma
(7)
Modillion
( 8 j FiUet
P arts
lion
(9)
(10)
.
.
reversa.
.
45*
5
6~
rem ainder of modil(
band)
..
Ovolo
Bead
(11) Fillet
(12) Dentils
(13) Fillet
Hollow or cong6
(14)
Frieze,
i
(15) Frieze
mod.,
parts
(16) Fillet
(17)
i
Cyma
reversa
4
i
(i8)Bead
(19) First fascia
Architrave,
(20)
27 parts
(21)
(22)
(23)
V.
7
Cyma reversa
Second fascia
Bead
Third fascia
2
.
6
.
i
.
5
.
Composite (Gwilt., Encycl, 2591)
f (i) Fillet of cornice
Cornice, 36^
parts
i_
(2)
Cyma
'520
:
recta
Cyma
3
20 -100
I
(^(14) Fascia
-920
2-520
recta
.
it
5
.
(3) Fillet
i
336
46
PRAKARA
HINDU ARCHITECTURE
Height in parts
Entablature
oi
(4)
Cyma reversa
(
i
.
5
.
.
i
.
.
i
..
4
33^
28
Cyma reversa.
43!
.
.
43
41
\
33
..
(11) Dentils
..
..
7!
29
(12) Fillet
.
.
.
.
i
23
.
.
.
.
5
.
.
.
.
i
17
.
.
.
.
i
16^
..
..
f
15
..
..
17^
15
.
.
.
.
7
22
(19) Fillet
.
.
.
.
i
(20) Cavetto
.
.
.
.
2
.
.
.
.
3
Ovolo
Bead
Conge
(17) Upright face
(18)
Apophyge
22
22
2oJ
20
Ovolo
Bead
..
..
i
(23) First fascia
..
..
10
..
2
i6f
.
8
15
(21)
(22)
[_
.
o) Fillet of the dentils
(16)
27 parts
.
.
(15) Fillet
Architrave,
.
Cyma under corona
(14)
parts
.
(7)
(13)
Frieze, 27
.
(6)
(9)
parts
.
i
(8) Fillet
Cornice, 36^
2
.
Bead
Corona
(5)
a module
Projection from the
axis of column in
parts of a module
(24)
Cyma reversa
(25)
Second
fascia
.
.
.
17!
17
From
the details given above it would be clear that both the Indian
European entablatures have much similarity in their composition
relative proportion.
In the words of
Indian
offers
entablature
Grecian
;
(Ess. Arch,
a
Ram
striking
contrast
but the richness of the former
of Hind.,
Raz,
may
'
the massiveness of the
to
the
be said
to
lightness of the
be unrivalled.'
p. 40, also see Plate xix, figs. 1-4.)
PRASTIRYA Same
as
PRASTARA or entablature.
(A/., xvi,
PRAVESA The
and
and
184,
186.)
front door, the gate, the entrance.
Pravesa-nirgama-sthane dvarair api samanvitam
(M., x, 107;
I
see also
xxxm,
536.)
PRAKARA A wall, an enclosure,
wall elevated on a
sutra (xvi, 18, 14,
mound
a fence, a rampart, a surrounding
of earth. In the Sdnkhydyana Srauta-
quoted below)
it
denotes a walled
ing a raised platform (prasada) for spectators.
337
mound
support-
But in the Mdnasdra
AN ENCYCLOPAEDIA OF
PRAKARA
it is
five
used in a slightly different sense and implies the fourth of the
courts into which the compound of a house is divided,
(i)
Mdnasdra (Chap, xxxi, named Prakara, 1-134)
The
uses of the prakaras
They
:
:
are built for bala (strength), parivara
(attendant deity),
sobha (beauty), and rakshana (defence)
Balartham parivarartham Sobhartharh rakshanarthakam
:
Pancha-prakara-harmyanam adhuna vakshyate kramat
I
I
The whole compound of a house or temple is divided into five courts.
The first one is called the antar-mandala or the innermost court (line n).
The second is known as antar-nihara and the third as madhyama-hara
The fourth court is technically named prakara (line 12). The
(line 12).
fifth and last one is known as the maha-maryada or the extreme boundary
where the large gate-houses (gopuras) are constructed
(line
As the
14).
name
of the chapter (Prakara-lakshana, description of Prakara) indicates,
the greater part of it describes only the fourth court (lines 15-102).
Prakaras are also divided into the Jati, Chhanda, Vikalpa (Abhasa) and
Kamya classes (lines 3-5). Under each class a
are exhaustively described (lines 6-86).
number
of buildings (salas)
A
further classification (Sarhkirna, etc.) is made with regard to materials
of which these prakara-buildings are made (line 103). The materials are
same
as in other cases,
namely
brick
stone,
and wood
102).
(line
The
gopura or gate-house of the first court (antar-mandala) is technically
called dvara-sobha or beauty of die gate
and those of the second, third
;
fourth
and
fifth
courts are
called respectively dvara-sala,
dvara-harmya, and maha-gopura
(2)
(ibid.,
xxxm,
Suprabheddoama (Chap, xxxi, 115-128)
Five courts or enclosure buildings
dvara-prasada>
9).
:
:
Prakaranam paritam kuryat prasadasya pramanatah
Bhumau vinyasya vistaram prasadasya su-nischitam
Prasadasya tu vistaram tasya dandam ihochyate
1
I
1
I
Dandat tena
kritarh yatra tv-antarmala-samaiva hi
Eka-dandantar-bhara tu madhya-bhara dvi-dandatah
1
Chatur-danda-pramanena
Maha-maryyadi-bhittih
1
kritva maryyadi-bhittikam
1
I
1
sapta-danda-pramanatah
Prishthe chaivagrato' py-ardham dvi-gunarh tri-gunam tu va
Chatur-gunarh mukhayamam prakaranam viseshatah
syat
I
I
Kapotantam samutsedham
hasta-vistara-bhittikam
Kuta-Sala-yutam vapi kuta-salantam eva cha
Prakarena samayuktarh gopurasya vidhiyate II
338
I
1 1
II
H1XDV ARCHITECTURE
PRAKARA
Mandale dvarake vatha dvara-salarh tu bharake
Prasadam madhya-bharayam maryyadau harmyam eva cha
Gopuram tu maha-madhye evarh pancha-vidhi smritam
I
1
1
I
Chatur-dikshu cha samyojyah prakaranam prithak prithak
Kechid vai malikakara kechid vai gopurakritih
1
1
I
Cf.
The measurement of the five gate-houses
(gopuras) of the five prakaras:
Vistaram dvara-sobhaya dvi-tri-pancha-kararh bhavet II
Shat-saptashta-nava-karair dvara-sala prakirttita
I
Eka-daia-trayo-dasa-hastam
(dvara)-prasada-vistritam
II
smritam
Chatur-dasa-pancha-da^a-dvara-harmyam
Eka-virha trayo-virhsa dvara-gopuram uchyate II
Their height as compared with length and breadth
iti
I
:
Vistara-dvi-gunayamam ayama-dvi-gunochchhrayam
Bhaumordhvottara-simantam dvarasyochchhraya-lakshanam
Tad-ardharh vistaram proktam(m) alankaram vimanavat
I
Prakara-bhittim asritya kuryad avrita-mandapam
1
129
I
II
Tad-bahye'bhyantare vapi malika-manddaparh hi va
Pancha-prakaram evarh syat privaralayam srinu
Then
1 1
I
1
follows the description of the temples of the attendant deities (v.
These buildings are built in the five prakaras (see under PARIVA-
f.).
RALAYA).
18,
Sdnkfydyana-Srauta-sutra (xvi,
(3)
p. 210)
13,
Samsthite madhyame'hany-ahavanlyam
viminvanti II (13)
Tan
(4)
14, Bibliotheca Indica,
abhito
dikshu
uparishtat sarhvyadhaih prakaraih parighnanti
v.
Matsya-Purdna (Chap. CCLXIX,
24)
II
(14)
:
Prag-grivah pancha-bhagcna
Karayet sushiram tadvat prakarasya tri-bhagatah
Agni-Purdna (Chap. XLH, 812)
II
:
Tatha prakara-vinyase yajed dva-trimsad antagan
l|
Prasadasya chaturthamsaih prakarasyochchhrayo bhavet
cvi, 1-2
Chap,
Nagaradika-vastum cha vakshye rajyadi-vriddhaye
Yojana-yojanarddham va tad-artham sthanam a^rayet
Abhyarchya vastu-nagaram prakaradyarh tu karayet
In this instance prakara indicates the whole city wall.
Ibid.,
:
I
'
(6)
I,
prasadan
nishkas(s)as tasya chochyate
(5)
Vol.
:
II
II
'
Garuda-Purdna (Chap. XLVI, 19)
Prakaraih tad-bahir dadyat pancha-hasta-pramanatah
:
339
|
II
I
AN ENCYCLOPAEDIA OF
PRAKARA
Brahmdnda-Purdna (Part
(7)
and Anusharhga-pada, Chap, vn, 103)
I,
(Chap, xxtv, pp. 52, 53, 54)
Kautillya-Arlha-fdstra
(8)
khatakavritam
sarvatah
Sotscdha-rarhdra-prakararh
:
I
:
Vaprasyopari prakararh vishkambha-dvi-gunotsedham aishtakamdva-dasa-hastad urdhvam ojam yugmam va achatur-vimSati
hastad
iti
karayet
I
dvi-hasta-vishkambharh
Antareshu
chafur-gunayamam
parsvc
anuprakaram ashta-hastayatarh deva-patham karayet
Prakaram ubhayato mandalakam adhyardha-dandarh
lishat-lulantararh dvararh nivesayet
mukham
Prakara-samam
gopuraih karayet
I
kritva prato-
I
tri-bhaga-godha
avasthapya
mukharh
I
Prakara-madhyc kritva vapirh puslikarimm
.
.
.
Rdmayana (Cock)
Sauvarnas cha maharhs tasyah prakaro dushpradharVI. 3,14
shanah
:
(9)
:
I
Mani-vidruma-vaidurya-mukta-virachitantarah
VII.
29
:
55, 32
:
Lanka atta-prakara-torana
:
(purlm)
V,
5,
V.
V.
3,
6
Dridha-prakara-parikharh
vritarh
IV.
31, 27
:
III.
48, ii
:
.
.
.
lankam
.
.
1 1
I
I
sata-kumbhena mahata prakarenabhisarh-
.
I
Kanchancnavritarh prakarena mahapurim
2. 16:
(Lanka-nama purl subha)
pandurena
.
.
I
prakarena-parikshipta
.
I
See
also v, 3, 7,
vi, 24,
34
;
vi, 25,
33
;
24
vi, 25,
;
46
vi, 42, 15, 21, 22, 45,
vi, 67,
(10)
169
;
vn, 3, 27
Mahdbhdrata
v, 4, 2
;
;
39
25
;
;
v, 55,
vi, 26, 12
vi, 51, 8, 10
vii, 5,
;
v, 37,
;
30
;
;
32
vi, 60,
15
;
.
207, 30
:
Prakarena cha sampannam
80, 30
:
Prakarattalakeshu
III. 200,
90
60, 38
n
;
vi, 65,
29
vi, 3,
32
vi, 31, 56,
98
53
;
;
vi, 66,
i
;
;
;
:
I.
1
vi, 3,
vn, 38, 37.
II.
III.
;
vi, 38, 10,
f.
:
.
.
(pura-sreshtham)
I
I
(VaiSravanavasam)
prakarena parikshiptam
Sauvarnena samantatah sarva-ratna-dyutimata
.
.
.
I
I
;
206, 7
See also in, 284, 2
1
6
;
(Mithilarh)
:
;
iv,
n,
i
;
.
.
.
harmya-prakara-Sobhanarh
v, 143,
23
;
vm,
33, 19
;
xn, 86, 6
I
;
xv, 5,
xvi, 6, 24.
(n) 'This inscription (Ranganatha inscrip. of Sundarapandya) was
discovered on the east wall of the second prakara of the temple.'
340
PRAKARA
HINDU ARCHITECTURE
Inscription on the north wall of the fourth prakara of the
temple at Srirarigam.'
'
'
Inscription
on the west wall of the
second prakara of the
Ranganatha
JambukesVara
temple.'
'
Inscription
on the south wall of the
second
prakara of the Ranganatha
temple.'
'
Inscription
on the south-west corner of the
(Ranganatha
temple.'
'
inscrip. of
third
Sundarapandya, Ep.
prakara of the same
Ind.,
Vol. in, pp.
7, 9, 10.)
This
inscription (JambukesVara inscrip. of Valaka-Kamaya)
(12)
is
engraved on the north wall of the second prakara of the Saiva temple of
JambukesVara on the island of the Srirarigam near Trichinopoly.' (Ep. Ind.,
Vol.
m,
p. 72.)
'
(13)
This Grantha inscrip.
is
engraved on the north wall of the first
Madras.' (Ep.
prakara of the AdipurisVara temple at Tiruvattiyur near
Ind.,
Vol.
'
(14)
v,
p.
106.)
Ranganatha
inscrip. of Ravivarman of Kerala
'
is
on the north wall
of the second prakara of the temple of Ranganatha (Vishnu) on the island
of Srirarigam.'
(Ep. Ind., Vol. iv, p. 148.)
(15) Silaprakara
an enclosure of stone for the temples of Kunti Madhava
and BhimesVara. (Pithapuram Pillar inscrip. line n,
Pillar inscrip., lines 13-14, Ep. Ind., Vol. iv, pp. 329, 330.)
(16)
second Draksharama
Durggarh cha Tamra-nagarim abhito vyadhatta Prakaram um-
natain udarhchita-gopurarh sah
he surrounded the Tamra nagari
with a wall surmounted by towers.' (Chebrolu inscrip. of Jaya, v. 27,
'
Ep. Ind., Vol. v, pp. 147, 149.)
'
for
the
Mata-kuta-prakara-khanda-sphutita-jirnnoddharakam
of
whatever
become
or
worn
out
broken
or
torn
reparis
might
belonging to
'
the enclosure
Prasada ')_
(the more usual expression here would be
(17)
'
Dr. Fleet, Ep.
Ind.,
Vol. v, p. 249, note 6.
59. 75> Ep. Ind., Vol. v,
(18)
(Inscrip. at
Ablur, no. E, lines
pp. 249, 257, 250, 258.)
Kirhjalpitena bahuna grava-prakara-valaya-bahyam iha
I
(Gadag inscrip. of Vira-Ballala II,
v. 47, Ep. Ind., Vol. vi, p. 97.)
(19)
Prakaram atyunnatarh
a very high wall.
(Mangalagiri Pillar inscrip. v. 47,
Ep. Ind., Vol. vi, pp. 124, 125.)
(20) Prakaraih patitais
samyak parikhah paripuryya yah
Pradhvasarh ripu-durgganarh prag-bhava-samam vyadhat
(Two pillar inscrip. at Amaravati, no. A, inscrip. of
I
I
Keta
341
II, v. 19,
Ep. Ind., Vol.
vi, p. 150.)
AN ENCYCLOPAEDIA OF
PRAKARA
(21) Iha
prakara-srir
vijayina
mmahopala-nirmmita jala-dharagatir
aty-aty-unna niroddhum ivoddhata
(Two BhuvanesVara
I
vara,
v.
24,
Ind.,
Ep.
Gopura-prakarotsava-mamtapair upachitam
(22)
(Kondavidu
line
Mahamandapam prakaram
(23)
prapa(bha)m
1
A, of SvapneSVol. vi, p. 202.)
inscrip. no.
inscrip.
18, Ep. Ind.,
I
of Krishnaraya,
Vol.
vi,
v.
27,
pp. 237, 231, 232.)
para-malikavilasitam muktamaylrh cha
I
(Fourteen inscrip. at Tirukkovalur, no. K,
lines 1-2, Ep. Ind., Vol. vn, 145-46.)
Prakarah Kanakachale virachitah built extensive ramparts on the
Kanakachala (the name of the fort of Jalar, Mr. Ojha). Prof. Kielhorn.
(24)
(The Chahamanas of Naddula, no. C, Sundha Hill
Vol.
v. 38,
inscrip. of
Chachigadeva,
pp. 77, 73.)
Ep. Ind.,
encircled by
Paritah pranavakara-pra(pra)kara-valayarhchitam
of
a wall of the shape of the pranava.' (Krishnapuram plates
Sadasivaraya,
ix,
'
(25)
v, 55, Ep.Ind.,
Vol.
re,
pp. 336, 341.)
There are several similar inscriptions in the outer wall of the (Velur)
(26)
temple, viz., two on the pedestal of the two dvara-palakas in front of the
.'
(H. S.I.I.,
gopura, one on the left outer wall of the inner prakara
'
.
Vol.
i,
.
p. 127.)
'
(27)
This inscription (no. 85, H.S.I.I., Vol. ra)
is
engraved on the
right of the entrance into the east wall of the prakara of the VamanapurlsVara temple at Tirumanikuli in the Guddalore Taluka of the South
Arcot
District.'
(H.S.I.I.,
Vol. in, p. 209.)
'This inscription (H.S.I.I., Vol. in, no. 88) is engraved on the
of the entrance to the north wall of the fourth prakara of the Ranganatha temple on the island of Sriranga near Trichinopoly.' (H.S.I.I.,
(28)
left
Vol. ra, p. 217.)
For
'
(29)
gopura,
tructed.'
Transl,
Prasanna-Virupaksha, a temple, enclosing wall (prakara) ,
covered with gold, and a Manmatha tank were cons-
this
finial
(Ep. Carnal., Vol. x,
Mulbagal Taluq, no. 2
;
Roman
Text, p. 82
;
p. 71.)
akarod yah Pallavanam
he
caused
leader
of
the
to
Pallavas ...
hide his prowess behind
patim
the ramparts of (the city) of Kafichipura.'
(Sanskrit and Old Kanarese
(30) Kanchipura-prakarantarita-pratapam
'
inscrip., no. LV, line 14, Ind. Ant., Vol.
'
(31)
the
first
vm, pp. 242, 245, c. i, line 23 f.)
There are three enclosures (prakaras) in the Tiruvellarai Temple,
two being studded with inscriptions.' (Notes in the TiruveUarai
inscrip, Ind. Ant., Vol. xxxiv, p. 264, para. 5, lines 1-2.)
34 2
HINDU ARCHITECTURE
PRASADA
The
stone prakara or compound wall (of the AmritesVara temple at
Amritapura in the Tarikere Taluq, described and illustrated in the Mysore
Archaeological Reports for 1911-12, pp. 24-26, and frontispiece) is now in
'
(32)
had on the top all round thick stone discs, about 6 feet in
with
diameter,
rectangular bases, both in one piece, the outer faces being
The
sculptured with fine figures of flowers, animals, gods, etc., in relief
ruins.
It
.
.
.
prakara must have once presented the appearance of a veritable art-gallery,
seeing that the artistically carved figures are of various kinds and designs.'
(V. A. Smith, Architecture and Sculpture in Mysore, Ind. Ant., Vol. XLIV,
93, para. 6.)
p.
PRAGATA A
type of pavilion.
(M., xxxiv, 410
see
;
under MANDAPA.)
PRAG-VAM&A An
PRAftGANA
(1)
(see
Katha-sarit-sagara (Pet. Diet.)
59, 26
15,
(2)
auxiliary shed to a sacrificial room.
ANGANA) The court, the courtyard.
89
:
:
:
Nripasthana-pranganam
Sa prangana-dvara-kavatanta-vilambini
HitopadeSa
I
(2, 3, etc.)
:
I
Tasya prangane gardhabho baddhas
kukkuras" chopavishtah
(3) Rajatarangini (i, 247, etc.)
:
Pranganad bahih
tishthati
I
I
Ep. Ind., Vol. I, pp. 107, in.
and
of
the
god
(5) Cf. Kalapriya(name
temple of Mahakala at Ujjain),
tirnna
of
Govinda
Plates
IV, v. 19, Ep. Ind., Vol. vn,
pranganam
(Cambay
(4) See the first PraSasti of Baijnath, v, 34,
I
PP- 38, 29.)
RADE&A
ANGULA)
thumb and
(see
fully-stretched
(1)
The
distance
between the
tips
of the
forefinger.
Daatva(? a)ngula-parvani pradeSa
iti
sarhjnitah
II
Angushthasya pradesinya vyasa-(h) pradeSa uchyate
I
(Brahmdnda-Purdna, Part I, and Anushangapada, Chap, vn, vv. 96, 97.)
(2)
Angushtha-tarjam-yuktarh pradesam
iti
kirtitam
I
(Suprabhedagama, xxx, ai.)
PRASADA A
temple, a palace, an edifice, buildings in general,
a platform, a Buddhist assembly or confessional hall.
Harmyadi dhaninam vasah prasado deva-bhu-bhujam
I
(Amarakosha, n, a, 9.)
(i)
Mdnasdra
:
Temple
Prasada-mandapam chaiva sabha-s"ala-prapa-(ih) tatha
(A)rangam iti chaitani harmyam uktarh(-tani) puratanaih
:
I
I
(M.,
343
in,
7-8.)
AN ENCYCLOPAEDIA OF
PRASADA
Prasada-mandapam tatha varunadi-dese
Sange cha gopura-pade tv-apareshu sarve
(There should not be any defect).
I
I
(M., LXIX, 70, 71.)
The
palace of a king
:
Nripa-prasada-samyukta (bhumih) sama chaitya-samipaga
I
(M.,
iv, 23.)
Palaces are elaborately described ( M., XLI, 1-51 see under RAJAHARMYA.)
Buildings in general (called Vimana in the Mdnasara and Prasada in
;
the works quoted below)
:
The
general description (M., xvm, 1-418) :
They are used as residences of gods and men
:
Taitilanam dvijatmam varnanam vasa-yogyakam (2)
Their sizes (see details below) from one to twelve storeys
I
:
Eka-bhumi-vimanadi-ravi-bhumy-avasanakam (3)
Their plans (lines 12-91) see under VIMANA-LAKSHANA.
I
;
The
three styles
and
their characteristic features (92-105) are given
under NAGARA, DRAVIDA and VESARA.
The
The
description of the towers and domes (106-137 see under STUPI).
building materials are stone, brick, timber and iron (138).
;
Three
I.
of buildings Suddha or pure, made of one material
Misia or mixed, made of two materials (lines 139, 140)
classes
(lines 139, 140)
;
and Samkirna or amalgamated, made of three materials, namely stone,
brick and timber (lines 139, 141)
one material alone is especially recom:
mended
(line 142).
Description of the Stupi-kila which comprises
Stupi or dome is given in detail (lines 145-417).
Chap, xrx (named Eka-bhumi) :
all
the parts above the
The
classifications
II.
Referring to measurement, in accordance with the various cubits
Jati (lines 2, 3),
:
Chhanda
(lines 2, 4),
Vikalpa
(lines 2, 4),
and Abhasa
(lines 2, 5).
Sthanaka referring to height (line 7), Asana referring to breadth
(line 8), and Sayana referring to width or length (line 9).
IV. The same are otherwise called Samchita (line 10), Asamchita
III.
(line 10)
ings
also
and Apasamchita
These classes of build_
(line n) respectively.
to the postures of the idols, namely erect, sitting and
But the details of these postures are reserved for
respectively.
refer
recumbent
a subsequent chapter.
V. Masculine buildings are equiangular (line 14) and have male deities
in them (line 16), feminine buildings are rectangular (line 18) and house
344
PRASADA
HINDU ARCHITECTURE
female deities
16)
(line
but in the feminine
;
can be installed
deities also
class
of buildings the male
(line 17).
component parts of the ground floor are common
various types which are described below (lines 18-164).
The
details of the
for
The
eight kinds of the single-storeyed buildings with their characteristic features (Chap, xix, 1-264) :
VI.
Vaijayantika is furnished with round spire (Sirsha), pinnacle
(2) Bhoga has similar wings
(sirah) and neck (griva) (line 166)
(line 167); (:) Srivisala has the bhadra or front porch in it (line
(i)
;
1
Svasti-bandha has the octangular finial (line 169)
68)
(4)
(5)
Srikara has a quadrangular steeple (line 170)
(6) Hasti-prishtha has
an oval steeple (line 171) (7) Skandatara has a hexagonal spire
and neck (line 172) and (8) Kesara has the front porch, the side:
;
;
;
;
towers at the corners of the roof, and its nose, head and neck are
round or quadrangular (lines 173-175).
For further details, see
EKA-BHUMI.
The eight kinds of the two-storeyed buildings (Chap, xx,
VII.
i-i 14)
:
(The generl features are similar in all the eight kinds, the distinction lying
in the different proportions given to the component parts from above the
floor to the top.)
ground
(9)
Srikara (lines 94,
Siddha
94,
(lines
16-18)
2-9); (10) Vijaya (lines 94, 10-15); (n)
(12) Parshnika or Paushtika (lines 94,
;
J9-25)
(lines 94, 26-27)
(14) Adbhuta (lines 94, 28-33)
Svastika
and
(15)
(lines 95, 35-41)
(16) Pushkala (lines 94, 42-43).
The projection, general features, and carvings on the doors when these
;
(13) Antika
;
;
;
buildings are used as temples are described (lines 44-93, 96-116).
For further details, see DVI-TALA.
VIII.
1-74)
The
eight kinds of the three-storeyed
(Chap, xxi,
buildings
:
(The general features and the characteristic marks are similar to those
of the two-storeyed buildings.)
(17) Srikanta (lines 2-11)
(18) Asana (lines 12-21); (19) Sukhalaya
;
(lines 22-30)
(20) Kesara (lines 31-32)
Brahma-kanta
(22)
33-38)
(lines 39-40)
and (24) KailaSa (lines 50-52).
41-49)
;
;
;
;
;
(21)
Kamalanga
(lines
(23)
Meru-kanta
(lines
For further
details,
see
TRI-TALA.
The
general features, characteristic marks and concluding details of the
following kinds are similar, except the number of storeys, to those of the two-
and three-storeyed
IX.
The
buildings.
eight kinds of the four-storeyed buildings (Chap, xxn, 1-106)
(25) Vishnu-kanta
(lines
3-12)
345
;
(26)
Chatur-mukha
(lines
13-24)
:
;
AN ENCYCLOPAEDIA OF
PRASADA
(27) Sada-Siva (lines 25-33)
Isvara-kanta
Vedi-kanta
The
(30)
;
(lines
34-43;
(lines
47-57)
and (32) Indra-kanta
CHATUS-TALA.
58-59)
(lines
further details, see
X.
44-46)
(lines
Rudra-kanta
Mancha-kanta
(28)
;
(29)
;
(31)
;
For
(lines 60-88).
;
eight kinds of the five-storeyed buildings (Chap, xxui
1-50)
:
(34) Bhuta-kanta (lines 13-15)
(35)
(33) Airavata (lines 3-12)
VisVa-kanta (lines 16-18) (36) Murti-kanta (lines 19-24) (37) Yamakanta (lines 25-29) (38) Griha-kanta (lines 30-32)
(39) Yajiia-kanta
;
;
;
;
;
;
33-40) and (40) Brahma-kanta (lines 41-42). For further details,
PAftCHA-TALA.
(lines
See
The
XI.
1-48.)
;
of the
kinds
thirteen
(Chap, xxrv,
six-storeyed buildings
:
(43)
(41) Padma-kanta (lines 3-12)
(42) Kantara (lines 13-14)
Sundara (line 15)
(45) Kamala (lines
(44) Upa-kanta (line 16)
(48)
17-18)
(47) Vipulanka (line 20)
(46) Ratna-kanta (line 19)
Saroruha
(50) Vipulakritika
(line 50)
Jyoti(sh)-kanta (line 50)
(49)
:
;
;
;
;
;
;
;
;
(line 52)
and
(53)
The
XII.
(51) Svasti-kanta (line 53)
;
(54) Pundarika
(line 25)
;
(57)
Asramagara
Hima-kanta
The
XIII.
1-76.)
3-23)
(lines
Dharana
28)
(line
(line 30).
(55) Sri-kanta (line 24)
;
(line 26)
54)
(line
For further
details, see
29)
(line
:
(59)
;
and
;
(61)
SAPTA-TALA.
(Chap, xxvi,
buildings
eight-storeyed
;
(56) Sri-bhoga
;
Panjara (line 27)
(58)
;
Harmya-kanta
(60)
;
eight kinds of the
Bhu-kanta
Svarga-kanta
(lines
details, see
The
XIV.
3-21)
29-34)
(lines
Jana-kanta (line 40)
kanta (lines 43-45)
;
(63)
(^5)
>
Bhupa-kanta (lines 22-28)
Maha-kanta (lines 35-39)
(67) Tapa(s)-kanta (lines 41-42)
and
ASHTA-TALA.
;
;
Deva-kanta
(69)
(lines
;
46-47)
.
(68)
;
(64)
(66)
;
Satya-
For further
seven kinds of the nine-storeyed buildings (Chap, xxvn,
:
(70) Saura-kanta (lines 5-9)
(lines
11-12); (73)
20-22)
;
(75)
(lines 27-33).
XV.
Nandyavarta
(52)
:
(62)
1-48.)
;
Ikshu-kanta (line 55). For further details, see SHAT TALA.
eight kinds of the seven-storeyed buildings (Chap, xxv, 1-40)
;
Bhushana
Suprati-kanta
For further
(71)
Raurava
(lines
(lines
13-14); (74)
23-26)
details, see
(line 10)
;
and
(72)
;
Chandita
Vivrita
(76)
(lines
VisVa-kanta
NAVA-TALA.
The
six kinds of the ten-storeyed buildings (Chap, xxvm, 1-40.)
Bhu-kanta
(77)
(lines 6-8)
(78) Chandra-kanta (lines 6-8); (79)
Bhavana-kanta (lines 9-13) (80) Antariksha-kanta (lines 14-15) (81)
an<^ (^ 2 )
Abja-kanta (line 18). For
Megha-kanta (lines 16-17)
:
;
;
;
further details, see
DAA-TALA.
34 6
HINDU ARCHITECTURE
The
XVI.
kinds of the eleven-storeyed buildings (Chap, xxix, 1-50.) :
(lines 3-7)
(84) Isa-kanta (lines 8-9)
(85)
six
Sambhu-kanta
(83)
Chakra-kanta
Vajra-kanta
(lines
The
see
;
10-14)
(lines
further details,
XVII.
PRASADA
!
;
Yama-kanta
(86)
and (88) Akra-kanta
EKADASA-TALA.
18-24)
>
Virata) (lines 17-27)
(lines
For
ten kinds of twelve-storeyed buildings (Chap, xxx, 1-194.)
;
(lines
(87)
;
24-33).
(lines
;
(89) Panchala (lines 8-10)
(90) Dravida
kanta (lines 11-14)
2
(9 ) Kaliriga-kanta
(?
(lines 15-17)
31-32)
35-36)
;
and
(94)
;
Kerala
(98)
Sphurjaka
8-10)
14-16)
(lines
Magadha-kanta
(96)
;
(lines
(lines
28-30)
(lines
(lines 7,
;
33-34)
(91)
;
Madhya-
(93)
;
:
Varata
(95) Varhsa-kanta
;
(97)
Jana-kanta
37-84, description of the
twelfth storey).
should be noticed, after the historic places
well
geography of India, which cover the whole length
and breadth of the Indian Continent. Of these, the Panchala and the
These ten kinds are named,
marked
it
in the ancient
Dravida are stated to be of the smallest type
(line
10),
importance are respectively the Madhya-kanta, the
Varata ( ? Viraja), the Kerala, and the Varhs'a-kanta.
next
in
and
size
Kalinga-kanta, the
The largest and the
most important are the Magadha (connected with the capital of King
Asoka and of the early Gupta Emperors) and the Jana-kanta, and also
perhaps the Sphurjaka, which, however, is not specified in detail (n).
The architectural details of these buildings will be found under these
ten terms.
The
description of the twelfth storey
is
given under DVADAS"A-
TALA.
Agni-Purdna, Chap. XLII, vv. 1-9 (general plan), 10-25 (plan with
reference to the idol), Chap, civ, w. i-n, 22-34 (further general plan),
(2)
1 1
-2 1
(names,
temples)
classes,
shapes and description
of
forty-five
kinds
of
:
Prasadarh sampravakshyami sarva-sadharanarh sYinu
Sarva-sadharanarh chaitat prasadasya cha lakshanarh
1
1
Manena
pratimaya va prasadarh apararh sYinu
I
1 1
(Chap.
Vakshye prasada-samanya-lakshanarh
te Sikhidhvaja
XLII, vv. 1,9.)
|
(Chap, civ,
v.
i.)
and each including nine
Five divisions depending on five shapes or plans,
kinds of temples (Chap., crv, w. 11-13)
:
I.
quadrangular or square includes
Meru,
(2) Mandara, (3) Vimana, (4) Bhadra, (5) Sarvato-bhadra
(i)
Charuka
(6)
(Ruchaka, in the Kdmikdgama, xxxv, 87, 91), (7) Nandika,
(Chap, civ, vv. 14, 15.)
(8) Nandi-vardhana, and (9) Srlvatsa.
Vairaja
:
,
347
PRASADA
II.
AN ENCYCLOPAEDIA OF
Pushpaka
rectangular
includes
:
(io)Ba(Va)labhI, (n) Griha-raja, (12) Sala-griha or
Sala-mandira,
(14) Sama, (15) Brahma-mandira, (16) Bhavana or Bhuvana, (17) Prabhava, and (18) Sivika-vesma.
-(Chap, civ, vv. 16, 17.)
III.
KailaSa round includes
(13) Visala,
:
Ba(Va)Iaya, (20) Dundubhi, (21) Padma, (22) Maha-padmaka,
Varddhani, (24) Ushnishi, (25) Sankha, (26) Kalasa, and
(27)
(19)
(23)
Sva-vriksha.
Manika
IV.
(Chap, civ, vv. 17, 18.)
oval (vrittayata)
includes
:
(28) Gaja,
(29) Vrishabha, (30) Harhsa, (31) Garutman,
(32)
Riksha-nayaka, (33) Bhushana, (34) Bhu-dhara, (35) Srijaya, and
(36)
Prithivi-dhara.
(Chap, civ, vv. 19, 20.)
V.
Tri-vishtapa
octangular
includes
:
(37)Vajra, (38) Chakra, (39) Svastika,
Chitra, (42) Svastika-khadga,
Vijaya.
-(Chap,
(43)
(40)
Gada,
(44)
Vajra-svastika, (41)
Srikantha, and (45)
vv, 20, 21.)
civ,
(3) Garuda-Purana (Chap. XLVH) has exactly the same
general plan (w.
1-20, 32-47), five shapes, five classes (vv. 21-23), and
45 kinds of buildings'
(w. 24-32); but the wording is not identical. The fourth class is called
Malika (v. 21) in the general
but the other
description
is
30)
(v.
I.
given later on
Vairaja
square
(vv.
21-22)
includes
Nandika is called Nandana, and
Ruchaka (vv. 24-25).
(7)
II.
reading, Manika,
:
(6)
Pushpaka rectangular (vv. 21-22)
Valabhi is correctly spelt, (13) Visala
the
Gharuka
same nine
is
kinds,
but
correctly read as
includes nine kinds, of which
read as Vimana, which is
apa
mistake
in
the
Garuda-Purana
parently
because (3) Vimana is a kind of
building included in the square (I) Vairaja class. But the
reading of the
Pushpaka class (II) seems better in the Garuda-Purana, which may be quoted here
(10)
is
:
(10) Valabhi,
(14) Visala
(17)
III.
to
(11)
(text has
Griha-raja,
Vimana),
(15)
(12)
Sala-griha,
Brahma-mandira,
Mandira,
(13)
(16)
Bhavana,
Uttambha, and (18) Sibi(-vi)ka-vesma. (Chap. XLVII, vv.
26-27.)
round (w. 21, 23) includes nine kinds which also
seem
Kailasa
have better reading
(i 9 )Valaya,
(20) Dundubhi,
(21) Padma,
Mukuli (in place of Vardhani),
(23)
:
(22)
Maha-padma,
(24)
Ushnishi, (25) Sankha,
(26) KalaSa, and (27) Guva-vriksha.
(Chap. XLVII, vv. 28-29.)
IV. Manika oval (v. 30) includes the same
nine kinds of which,
however, (31), (32), and (33) are read as Garuda,
and
Simha,
respectively (vv. 29, 30).
348
Bhumukha
HINDU ARCHITECTURE
V.
seem
PRAsADA
includes nine kinds which
Tri-vishtapa octangular (vv. 21, 23)
be better read here :
to
Mushtika (preceded by Babhru, v. 31).
Svastika, (42) Khadga, (43) Gada, (44) Sri-vriksha,
(37) Vajra, (38) Chakra, (39)
(40)
Vakra, (41)
and
(45) Vijaya.
(4)
(Chap. XLVII, vv. 31-32.)
Matsya-Purdna (Chap. CCLXIX, vv. 1-7, 8-14, 15-20, 21-27)
(a)
The
:
general plan
Evarh vastu-balirh kritva bhajet shodasa-bhagikam
Tasya madhye chaturbhis tu bhagair garbharh tu karayet
Bhaga-dva-dasaka-sardharh tatas tu parikalpay^t
Chatur-dikshu tatha jneyam nirgamam tu tato budhaih II
Chatur-bhagena bhittinam uchchhrayah syat pramanatah
:
I
1 1
(
i
)
I
Dvi-gunah
tah
II
sikharochchhrayo
(2)
I
bhitty-uchchhraya-pramana-
(3)
Sikharardhasya chardhena vidheya tu pradakshina
I
Garbha-sutra-dvayarh chagre vistaro mandalasya tu II (4)
Ayatah syat tribhir bhagair bhadra-yuktah susobhanah
I
PaHcha-bhagena sambhajya garbha-manam vichakshanah
Bhagam ekam
grihitva tu prag-grlvarh kalpayed
Garbha-sutra-sama-bhagad agrato mukha-mandapah
Etat samanyam uddishtam prasadasya cha lakshnam
This description of the general plan
special plans (see w. 8-14, 15-20).
is
\
I
budhah
1
1
I
(5)
I
(6)
(7)
followed by that of some
Samanyam apararh tad-vat prasadam srinuta dvijah
Tri-bhagarh karayet kshetrarh yatra tishthanti devatah
Rathankas tena manena bahya-bhaga-vinirgatah
I
II
(21)
I
Nemi padena
vistlrna prasadasya
samantatah
II
(22)
Garbharh tu dvi-gunam kuryat tasya manam bhaved iha
Sa eva bhitter utsedho dvi-gunah sikharo matah
(23)
1
I
1
Prag-grivah pancha-bhagena nishkasas tasya chochyate
Karayet sushirarh tad-vat prakarasya tri-bhagatah
(24)
|
1
1
Prag-grivarh pancha-bhagena nishkashena viseshatah
Kuryad va pancha-bhagena prag-grlvarh karna-mulatah
Sthapayet kanakam tatra garbhante dvara-mulatah
I
1 1
(25)
I
Evam
tu tri-vidham kuryaj jyeshtha-madhya-kamyasam
II
(26)
Linga-mananubhedena rupa-bhedena va punah
Etc samasatah prokta namatah srinutadhuna II (27)
I
(b) The names (vv. 28-30), description of architectural details (vv.
31-46), measures (vv. 47-51), and division (w. 53-54), of twenty kinds
of buildings (temples) :
(i)
Meru
has 100 cupolas (Sringha), 16 storeys
variegated spires (sikharas), and
349
is
50 cubits broad
(bhumika),
many
(vv. 28, 31, 53).
AM ENCYCLOPAEDIA OF
PRASADA
Mandara has
(2)
broad
many
12 storeys,
and
and
faces,
is 4.3
cubits
(vv. 28, 37, 47, 53).
Kailasa has nine storeys,
(3)
spires
many
and
spires
and
faces,
is
40
rubits broad (vv. 32, 47, 53).
Vimana-chchhanda has eight
(4)
34 cubits
is
29, 33,
(6)
48,
(7)
(8)
and
is
is
spires
and
faces,
and
seven
storeys,
storeys,
and
and
is
32 cubits broad
53).
is
with horns
furnished
30 cubits broad (vv. 29, 33, 48, 53).
Sarvato-bhadra
shapes,
broad
has
Nandana has seven
(vishana) and
many
storeys,
(vv. 25, 32, 33, 47, 53).
Nandi-vardhana
(5)
(w.
broad
has
five
storeys,
furnished with art-gallcrics
16
with
corners
(chitra-sala),
and
is
various
30 cubits
(vv. 29, 34, 35, 48, 53).
Vallabhi-chchhandaka has five storeys,
16 cubits broad (vv. 35, 50, 53).
many
spires
and
faces,
Vrisha should resemble the height and length of the bull, should
it
round and without corners
should have five cupolas and
two storeys, and it should be 4 cubits at the central hall (vv. 30,
(9)
be
;
36, 44, 45, 53).
and
and
should
be
prominent top-rooms,
(10) Sirhha resembles the lion
is
16 cubits broad,
at the front
neck
is
adorned with
six storeys
high
(vv. 29, 36, 40, 49, 53).
(n) Gaj a resembles the elephant and
many
16 cubits
broad, and has
53).
Kumbha resembles
the water-jar, has nine storeys, five cupolas
a cavity (anguli-puta-sarhsthana), and is 16 cubits broad (vv.
(12)
and
top-rooms (vv. 36, 41, 49,
is
37, 49. 53).
Samudraka has 16 sides around, two top-rooms
dows) at the two sides, and two storeys (vv. 38, 53).
(13)
(14)
Padma
has three storeys, 16 corners, a
(?
gable win-
variegated
auspicious
spire and is 20 cubits broad (vv. 30, 39, 49, 53).
(15) Garuda has the bird-shape around, seven storeys and three
or
top-rooms, is 8 cubits broad, and there should be 86 storeys
all
around
the
outside
compartments (bhumika) (v. 42)
(w. 41, 43,
There is a similar Garuda-building with ten storeys and a second
51).
Padmaka building with two storeys more (i. e., twelve storeys, v. 43).
Harhsa (goose) -shaped is 10 cubits broad (vv. 30, 51).
(17) Vartula (ball or round) -shaped is 20 cubits broad (vv. 29, 49,
(16)
53)-
35
PRAsADA
HINDU ARCHITECTURE
No
given of the remaining kinds
(18) Chatur-asra (four-cornered, vv. 28, 53).
(19) Ashtasra (eight-cornered, vv. 29, 53).
is
special description
:
Shodasasra (sixteen-cornered, vv. 29, 53).
(20)
three divisions of these buildings according to three sizes
The
Tatha mervadayah sapta jyestha-linge Subhavahah
$rivrikshaka(-valabhi-a)dayas chashtau
:
I
madhyamasya
pra-kirtitah
II
(53)
Tatha harhsa(Simha)dayah pancha kanyase subhada matah
II
(54)
almost in the same
are described
Similar kinds of prasadas (temples)
in both the Bhavishya-Purdna and the Brihat-Samhitd.
manner
(5) Bhavishya-Purdna, Chap, cxxx, names (vv 23-26), description of the
architectural details and measures (vv. 27-35), an d the twenty kinds of
same
buildings (almost
as in the Brihat-Samhitd, see below)
:
(i) Meru is 39 cubits high and 32 cubits broad, has twelve storeys,
various windows (kuhara) and four gateways (v. 27).
(2) Mandara
broad and has ten storeys (v. 28). (3) Kailasa is 28
is 30 cubits
cubits broad, has spires
The
below.
(6)
Vimana with
(v.
28-53)
(7)
vardhana
33)
:
(v. 34)
;
(
J
:
3)
Padma
(v. 33)
29, 49) but here (v. 33)
(see v. 30)
special description
(18)
(v.
;
(8)
v. 31)
;
(10)
29)
Nandana
(5)
;
;
;
it is
(14)
Ghata
24)
Garuda
(v.
Kunjara
(v.
(17) Vritta (as
(v.
29)
,
as in the Brihat-Samhitd
(v.
Nandi-
31)
;
(9)
32)
;
(n) Griha-
Brihat-Samhitd (LVI, 25) reads Guha-raja
Harhsa
(16) Sirhha (v. 35)
a mistake
(v.
30)
(v.
.
clearer in the Brihat-Samhitd, quoted
windows
latticed
but Nandi,
(v. 29,
rdja (v. 32)
(v.
;
is
eight storeys (v. 28)
:
30), but Samudra
Samudga
(LVI,
and
finials,
description of the following
The names are given here
(4)
No
and
;
(12)
Vrisha
(15) Sarvato-bhadra
33)
in the Brihat-Samhitd, LVI
;
read Vrisha like (12), which
is
apparently
.
is
given of the remaining kinds
Chatush-kona (four-cornered,
v.
25)
:
:
Matsya-Purdna
(Chap.
CCLXIX, vv. 28, 53) reads Chatur-asra, and Brihat-Samhitd (LVI, 28)
has Chatur-asra
(19) Ashtasra (octangular, v. 25)
(20) Shodasasra
;
;
(sixteen-cornered, v. 25).
(6)
The
Brihat-Samhitd (LVI, 1-19)
The religious merits acquired by building temples (vv. 1-2).
suitable sites are stated to be gardens, woods, banks of rivers, seas or
tanks (vv. 3-8); ground
:
general plan (v. 10); situation of doors (v.
10); comparative measures of the length, breadth, and height (v. n); of the
(v. 9);
351
AN ENCYCLOPAEDIA OF
PRASADA
adytum (garbha, v. 12), of the doors and their different
carvings on doors (v. 15); comparative measures of the
door
1
(v.
6)
parts (vv. 12-14)
;
and
idol, pedestal,
the heights of storeys (vv. 29-30).
;
followed by the classification (vv. 17-19) and the description of
the architectural details (w. 20-28) of the same twenty kinds of temples
This
is
(prasada) as are given in the Matsya-Purdna and the Bhavishya-Purdna.
their details which are
of these buildings are given below
almost same as in the Purdnas, will be found described under these terms ;
The names
Meru
(i)
(4)
:
Vimana-(chchhanda) (w.
Samudga
(v.
vardhana
23)
(7)
;
24)
(v.
Vrisha
(12)
(v.
Chatush-kona
(18)
ShodaSasra (vv.
Kdmikdgama
No
L,
;
;
18,
(vv.
Simha
28)
;
25)
;
26)
;
21);
(v.
22)
(6)
;
Nandi-
(9)
;
(v. 28)
(19)
;
Nandana (v.
Garuda (v. 24)
(8)
(v.
Kailasa
(3)
(5)
;
(v.
Hamsa
(16)
22)
(v. 23)
Kunjara
(13)
27)
17,
21);
(v.
(u) Guha-raja (v.
(14) Ghata (v. 26)
25)
(15)
;
(17) Vritta
;
Ashtasra (vv.
(w.
18,
;
18, 28);
28)
(20)
;
18, 28).
:
distinction
Mdnasdra,
Padma
(10)
;
26)
(v.
Sarvato-bhadra
(7)
Mandara
20); (2)
(v.
is
made between PRASADA and VIMANA
40, etc.)
(cf.
also the
:
Jatyadi-bhedakair yuktam
vimanam sampadam(-s)-padam
(LV, 131, this
Buildings in general (LV, 1-210)
Their component parts
chapter
is
I
named Prasada-bhushana.)
;
:
Prasada-bhushana(rh) vakshye sruyatam dvijasattamah
Syat pada-prastararh-griva-varge mule tu vedika II (i)
Shapes and kinds of Prasada (buildings in general
Yanarii va sayanarh vapi gopurakritir eva va
I
:
)
I
va mervadi-parvatakritir eva va II (194)
Nandyakritir va dhama vidheyam chesta-de^ake
Pithakritir
I
Mandape gopure vapre
Evam
evarii
vidheyam
parivaralayadishu
1 1
syat tatha bhuvi visishyate
II
(195)
The synonyms
Vimanam bhavanam harmyam saudham dhama niketanam
Prasadah sadanam sadma geham avasatham griham
(208)
:
I
1 1
Alayarh nilayam vaso'py-alayo vastu-vastukam
I
Kshetram ayatanam vesma mandiram dhishnakarii padam
Layam kshayam agaram cha tathodavasitarh punah
1 1
(
1
I
St liana
The
m ity-evam uktani paryaya-vachanani hi
four classes
Jati (v. 128),
II
(210)
:
Chhanda
(129), Vikalpa (130),
352
and Abhasa
(130).
29)
HINDU ARCHITECTURE
The Chapter LV
PRASADA
to the description of a single building
refers
component parts.
So also does the Chapter XLV
(lakshana), but
under MALIKA)
(see
dirghochcha prokta prasada-malika
(4)
Further classifications (Chapter XLV)
1
II.
Nagara
7,
(vv. 6, 12, 13),
:
its
named MalikaPrasada- vyasa-
1
:
Samchita, Apasamchita, and Upasamchita
I.
(w.
it is
;
mean anything but Prasada
does not
it
and
Dravida (vv.
6,
(v. 6).
and Vesara
15),
14,
16-18).
Chhanda
(vv. 7, 20,) and Vikalpa (vv. 7, 20).
Misra
7, 21),
(vv. 7, 22), and Sarhklrna (vv. 7, 22)
or
masculine
also
called Samchita (vv. 8, 9), StriPumlinga
III.
Jati (vv. 7, 19),
Suddha (w.
IV.
V.
linga or feminine (vv. 9, 10),
This
class
and Napumsaka or neuter
(v.
n).
(V) does not refer (like the Mdnasdra] to the sexes of the
Here they appear like residential buildTheir characteristic features are determined by some architectural
deities installed in temples.
ings.
under these terms PuMLi5JGA, etc.).
distinguishing marks of the other four classes (I to IV) are
similar to those of the Mdnasdra noticed above (see the details under
details (see
The
those terms, Samchita, Nagara, etc.).
VI. The technical names of Prasada
(i)
2 9-3
:
Sindhuka (Chap. XLV, vv. 23-28)
(2) Sarhpurna (w.
Kshema
Meru-kuta
)
(5)
(3)
(vv. 32-34)
(v. 31)
(4)
;
;
;
;
Siva (vv. 35-38)
;
(6)
(8) Vis"ala (v. 41)
Harmya
(9)
;
(vv. 39-40)
;
(7)
Saumya
Sarva-kalyana (w. 42-49)
;
(v.
(u) Bhadra (v. 51) (12) Ranga-mukha (v. 52)
Alpa (w. 53-54) (14) Kona (vv. 55-58)
(15) Geya
(v.
50)
;
;
;
Adbhuta
See details
(16)
(v.
Sara
6ia)
;
(v. 60)
;
(17)
Pushkara (vv. 61-63)
(19) Sarhkirna (v. 62)
;
(20)
;
;
(13)
;
(18)
;
;
580-59)
40)
(10) Vijaya
Danda
(vv.
(v. 64).
under MALIKA and these terms.
In Chapter xxxv, Salas, in almost the same sense as of Prasada, are
divided into five classes, namely, Sarvato-bhadra (vv. 87-88),
(w. 87, 88), Svastika (vv. 87, 89), Nandyavarta (vv. 87, 90),
Vardhamana
and Charuka
(vv. 87, 91).
Their characteristic features will be found under these terms.
=
Suprabheddgama, Chap, xxxi (named Prasada temple)
The nine kinds of width (vv. 1-3) the comparative measurements
of the temple and adytum (vv. 4-6), of the inner and outer walls
(8)
:
;
and the pujha or pedestal (w. 9-15).
four types of bases, namely, Padma-bandha,
(vv. 6-8), of the linga or phallus
The
description of the
Charu-bandha, Pada-bandha, and Pratikrama
353
(vv. 16-20).
AN ENCYCLOPAEDIA OF
PRASADA
floor consisting in the comparative
description of the ground
measurement of the base, column, entablature, finial, dome, corner-tower,
The
dove-cot, and spire (vv. 28-31).
All the twelve storeys are stated to be built in the
Adva-daSa-talad evarh
bhumau bhumau
same way
prakalpayet
Evam uktam ihotsedharh dvara-bhedam tatah
The
srinu
:
I
II
(33)
doors are then described (vv. 34-37).
Three
styles
of temples,
mentioned (v. 38).
Their essential features
Ten
types of temples
are
Nagara, Dravida and Vesara,
(vv. 38-39, see
under those terms).
:
Mandara, (3) Meru,
Nila-parvata, and Mahendra),
Kailasa, (2)
(i)
(also called
(8)
namely,
Nandyavarta,
(9)
(4)
Himavat,
(5)
Nishadha
Nalinaka, (7) Pralinaka,
Srivarta (also Sripada), and (10) Parvata.
(6)
(See vv. 40-45.)
The comparative measurements of the storeys
Evarh tale tale karyam nunam ekaika-bhagikam II (53)
The five kinds of columns Srikara, Chandra-kanta, Saumukhya (also
their shapes fourSumukha), Priya-darsana, and Subharhkari(-ra) (v. 65)
of the
the
combination
and
of
sixteen-sided, cylindrical,
:
;
sided, eight-sided,
first
two
(v. 67).
They may be with
or without a
kumbha
or pitcher
general features of the component parts (vv. 55-64)
54).
orders are described (w. 66-67).
special features of the five
The
The description of the
Some ornaments, like
(spire), stupi
Here
(dome),
etc.,
arches
(v.
and the
given (w. 68-71).
vedika (platform), sikhara
(vestibule),
are also described (w. 72-93).
is
nasika
closes the description of the temples
:
Prasada-lakshanarh proktam mandapanam vidhirh sYinu II (94)
This leads to the description of the detached buildings such as the pavilions,
the enclosure, tanks,
quarters for the attendant deities, gate-houses, and
in its wider sense.
guest-houses, etc., which form parts of the temple
The mandapas
or pavilions are
divided into four classes,
namely,
Vrisha
(the bull, Nandin)Deva(god)-mandapa, snapana(bath)-mandapa,
mandapa, and Nritta (music) -mandapa (vv. 96-97, 98-99).
They are further classified under the names Nanda-Vritta, SriyaVisala
vritta, Virasana, Jaya-bhadra, Nandyavarta, Mani-bhadra, and
first
(vv. 100-104).
These pavilions are distinguished by the number of columns they are
furnished with
:
Stambhanam
tu satair yuktarh visalam iti sarhjiiitam
Prasad-vat samakhyatarh prastarantarh pramanatah
354
I
II
(104)
HINDU ARCHITECTURE
The columns
to
PRAsADA
of the prasadas and those of the
be differently measured
mandapas are
stated
:
Prasada-stambha-manasya etat stambharh visishyate II (105)
These latter columns have also other characteristic features (vv. 106-1
The
13).
description of the pavilions closes with that of the flights of steps
Sopanarh cha yathayuktya hasti-hastarh tathaiva cha
:
I
Evam samasatah
proktarh mandapam vidhi-purvakam II (114).
The prakaras or enclosures are then described (vv. 115-128). They are
strikingly similar to those described in the Mdnasdra.
This
Agama
Mdnasdra divides the whole compound into
like the
five
In both the treatises, each of the courts
enclosed quadrangular courts.
be furnished with a separate gate-house. Moreover these
is stated to
gate-houses are given the same technical names in both the works, viz.
Dvara-s"obha (in the
first court), Dvara-s"ala
(in the second), Dvara-prasada
the
the
third), Dvara-harmya (in
(in
fourth), and the Dvara-gopura (in the
fifth or the extreme boundary, maha-maryada cf. Mdnasdra under GOPURA.)
;
The
Parivaralayas (temples of attendant deities) which are made in
some of these five courts, are described (129 f.), and are also similar in both
the treatises.
,
In the remaining portion of the chapter some objects like the faades of
the temples, etc., are described.
From the abstracts given above, it will be clear that this chapter
Suprabheddgama deals with all the essential parts of a temple,
which in the Mdnasdra, including the residential buildings, occupy a space
of twenty-eight chapters (xm to xxxix, XLVI). The description of this
of the
very explicit and to the point. The language
also of the Suprabheddgama is much better than most of the architectural
Agama, though
treatises I
The
brief,
is
have consulted.
attention of readers
is invited to the lists of the
buildings described
in the eight works under observation.
The list in the Mdnasdra contains under twelve classes (or storeys) 98 types
of buildings
the Agni-Purdna has under five classes 45 types, the Garuda;
Purdna also has under the same five classes 45 types
the Mastya-Purdna
has under three classes 20 types
the Bhavishya-Purdna has left out the
;
;
broader divisions and contains 20 types the Brihat-Samhitd in the very same
way contains 20 types the Kdmikdgama has under three divisions (of
;
;
and the Suprabheddgama has left out all the minor
divisions but has preserved the most important divisions, namely, the three
styles (Nagara, Vesara, and Dravida) which comprise ten types of buildings.
various kinds) 20 types
The
;
various broader divisions, such as the Suddha, Sarhchita, Sthanaka,
we have seen in the Mdnasdra, are repeated in the
Jati, Purhlinga, etc.,
355
AN ENCYCLOPAEDIA OF
PRASADA
same terms and same
sense in the Agamas.
The most important
division,
is also preserved intact
namely, the styles Nagara, Vesara and Dravida
architectural
are
divisions, consequently
These
in the latter works.
purely
treatises
non-architectural
the
they are not taken into consideration in
Even the broadest division into
like the Purdnas and the Brihat-Samhitd.
the buildings in twelve or
storeys under which the Mdnasara describes
latter works.
in
the
thirteen chapters has lost its prominence
Thus the Mdnasara has the
largest
number of
the types, namely. 98.
The Agni-Purdna and the Garuda-Purdna have 45 types each.
The Matsya-Purdna, the Bhavishya-Purdna, the Brihat-Samhitd, and
the
Kdmikdgama have 20 types each.
The Suprabheddgama has the smallest number of types, namely, 10.
The technical names of the types of buildings are common in many cases.
In some instances the architectural details are identical. The lists of the
Agni-Purdna and the Garuda-Purdna on the one hand, and the MatsyaPurdna, the Bhavishya-Purdna and the Brihat-Samhitd on the other, are
Of the works containing the lists of 20 types, the
strikingly similar.
has
the
brevity, explicitness
and
Brihat-Samhitd
the smallest
number of
most improved description.
But in respect of
which contains
the Suprabheddgama,
precision,
types, surpasses all others.
The common names
of the types, the identity of their details and the
The grades
similarity in their description do not seem to be accidental.
of the linguistic style and the explicitness and precision of the description
are not perhaps unconnected. And the variation in the number of types
described in these works does not also seem to be meaningless.
The mutual relation and the historical connexion of these eight works
have been discussed in great detail in the chapter on the date of the
Mdnasara in the writer's Silpa-sastra and the Hindu Architecture in India and
Abroad.
The
object of this
denotation of the term
article
'
is,
however, to show by illustrations the
And
Prasada.'
before drawing any conclusion,
we
examine briefly a few more literary quotations from works which are
not architectural and where the term occurs quite incidentally, as well as
from the archaeological records and the Buddhist canonical texts, where
shall
too the term
is
used casually.
(9) Sdnkhydyana-Srauta-sutra, xvi, 18,
Sarhsthite
13 (Pet. Diet.}:
madhyamc' hany-ahavaniyam abhito dikshu prasadan
viminvanti
I
(10) Adbhuta-Brdhmana,
in Indische Studien,
Harmya-prasada-sarhkula
I
35 6
i,
40
(ibid.}
:
HINDU ARCHITECTURE
'
(11)
a walled
PRASADA
Prakara in the Sdnkhydyana-Srauta-sutra (xvi, 18, 14) denotes
mound supporting a raised platform (prasada) for spectators.'
(Professors
Macdonell and Keith, Vedic
Cf. the text
Index, n, 44.)
Tan
uparishtat samvyadhaih prakaraih parighnanti
Prasada in the sense of palace does not occur until the late AdbhutaBrdhmana' (see above, no. 10). (Indische Studien, i, 40, Vedic Index,
:
I
'
n, 51.)
(12)
II.
II.
II.
Rdmdyana (Cock)
i
Prasadam chandra-samkas'am aruroha
7,
Ayodhyam manthara tasmat prasadad anvavaikshata
:
:
7,
12
:
3,
27
:
1
KailaSa-sikharakarat prasadad avarohata
Prasadastho daSarathah ...
3,
31
I
I
I
(Here
II.
1
:
Sa
'
tarn
Prasada
kailaSa-sYingabham
aruroha
nandanah
II.
.
.
.
.
arohata
prasadarh
prasadam hima-panduram
.
.
.
ragu-
.
I
I
Bahu-tala-samutsedham
Ruddham
.
.
Prasada-sringeshu
Aruroha
must mean a palace.)
'
tu
I
I
nagaririi
^rutva
.
prasadam
.
.
.
.
.
I
Tatah prasada-harmyani vimana-sikharani cha
Abhiruhya janah srlman udasino vyalokayata II
Aruhya tasmat prasadad dinah pa^yanti raghavam
Aruhya giri-sarhkasarh prasadam ...
Tato hema-pratishthane varastarana-sarhvrite
I
I
I
I
Prasada-sikhare
II.
17,
17
:
ramye chitra-malyopaSobhite II
Prah-mukham vidhivan mantraih styapayitva varasane
Megha-samghopamaih ubhaih ...
I
Prasada-Sringair vividhaih kaila^a-sikharopamaih
^V.
33,
15
I
:
Vanarenda-griharh
:
Sikharopamaih
Prasada-Sikharam ^aila-^ringam ivonnatam
Prasada-sikhareshu
.
.
.
I
kailasa-
sukla-prasada-sikharaih
I
VI
41,
88
VI.
41,
90
:
II.
51,
21
:
II. 100,
42
:
I
I
Harmya-prasada-sampannam
.
.
Prasadair vividhakarair vritam
V.
VI.
VI.
2,
39,
39,
27
:
Prasada-malabhir
III.
55,
7
:
Griham deva-grihopamam
49
:
Prasada-mala-vitatarh
21
:
PrasadaiS cha
badham
.
.
.
.
.
raja-dhanlm
.
ayodhyam
maha-purim
.
.
.
lanka parama-bhushita
alankritam
purim
357
I
I
.
I
I
.
.
.
.
.
.
I
I
harmya-prasada-saih-
AN ENCYCLOPAEDIA OF
PRASADA
III.
55,
10
V.
6,
44
V.
9,
2
tatra prasada-panktayah
Hema-jala-vritas' chasarhs
:
Prasada-sarhghata-yutarh
:
33,
8
II.
65,
3
.
maha-griham
.
I
Bhavanam rakshasendrasya bahu-prasada-sarhkulam
:
IV.
.
I
I
:
Vindhya-meru-prakhyaih prasadair naika-bhumibhih
:
Rajanam
stuvatarh tesharh
.
.
I
prasadaghoga-vistlrnas
.
tu Sabdo hy-avartatal
(Cf. also II, 27,
80,
19
:
II.
88,
5
:
II.
88,
7
:
II.
91,
32
:
IV.
33,
5
:
IV.
42,
44
41, 86
:
75,
VI.
75,
57, 18
57, 20.)
;
.
.
niveSah
.
I
Prasadagra-vimaneshu valabhlsu cha sarvada
Haima rajata-bhaumeshu varastarnaalishu II
I
Prasada-vara-varyeshu s"itavatsu sugandhishu
Ushitva meru-kalpeshu krita-kanchana-bhittishu
I
Harmya-prasada-sarhyukta-toranani
.
.
.
16; 57,
I
7.)
I
:
.
dahati tatra vai
'
V.
5,
3
I-
5>
5
:
I
I
aila-saihkaam
Prasadarh
:
.
.
.
Prasadah parvatakarah
(cf. also vi, 75, 6.)
12: Mukta-mani-vichitrams cha prasadarii cha
7
II
I
Mahatim guharh
.harmya-prasada-sambadham
Bhavanam
prasadangana-sambadham
(Cf. also v, 6,
VI-
;
Prasada-mala-sarhyuktah.
I.
VI.
9
.
.
agnir
I
Harmya-prasada-sambadham
I
Prasadair anta-vikritaih parvatair iva ^obhitam
(13) Mahabharnta (Cock)
V. 91,
3
Tasya (Duryodhana-grihasya)
I
:
kaksharh vyatikramya
:
dvah-sthair avaritah
tisro
I
Tato abhra-ghana-sarhkas'am griha-kutam ivochchhri-
tam
II
Sriyaivalambantarh prasadam aruroha mahaSayah
I-
3>
J
33
:
Naga-lokam.
.
.
.
aneka
vidha-prasada-harmya-
valabhi-niryuha-lata-sarhkulam
I.
109,
9
:
Nagaram.
II.
10,
3
:
Sabha.
V.
88,
20
:
Etad
.
.
.
.
.
89,
:
.
I
I
(DuhSasanasya griharh)dhi ruchirakaraih prasadair
ii
I
prasada-Sata-sarhbadham,
divya hemamayair uchchaih prasadair
upa^obhita
V.
I
upaobhitam
I
Griharh (Dhritarashtrasya)
tam
.
.
.
.
prasadair upaSobh'-
I
XII.
44,
6
:
Duryodhana-griharh prasadair upaSobhitam
XII.
44,
8
:
Prasada-mala-sarhyuktarh (Duh^asanasya griham)
35 8
I
I
HINDU ARCHITECTURE
185, 19, 20, 22
I.
PRASADA
Sarvatah
:
sarhvritah
Subhraih
(samajavatah)
prasadaih sukritochchhrayaih
I
Suvarna-jala-saihvritair mani-kuttima-bhushanaih
Sukharohana-sopanair mahasana-parichchhadaih
I
1 1
Asarhbadha-s'ata-dvaraih Sayanasana-Sobhitaih
Bahu-dhatu-pinaddhangair himavach chhikarair
I
iva
V.
90,
14
Ye
:
II
.
prasadagreshv-abodhyantaranka-vajinaSayinah (Pandavah)
.
.
I
XV.
1
i
6,
...
Prasada-harmyeshu vasudhayarh cha.
Narinam cha naranarh cha nihsvanah
abhut
:
I
sumahan
I
XIV.
25, 22
Seyarh bhumau
:
pariSranta Sete prasada-Sayini
I
Prasada-sala-sarhbadham mani-pravara-kuttimam
Karayamasa vidhivad-dhema-ratna-vibhushitam
I
I
(14)
Afanu-Samhitd (vn, 147,
etc.)
:
Giri-prishtharh samaruhya prasadam va raho gatah
Aranye nih^alake va mantrayed avibhavitah ||
(15) Panchatantra
(Bombay,
Rajakanyam.
.
.
.
p. 38, etc.)
i,
.
.
:
sapta-bhumika-prasada-pranta-gatam
(16) HitopadeSa (Bohtlingk, p. 157,
Raja
i,
30, etc.)
I
Prasada-prishthe-sukhopavishtanam raja-putranam
(17)
Megha-duta (ed. Stenzler, 64,
etc.)
I
:
prasada-garbham gatva
.
I
:
I
Abhrarh-lihagraih prasadaih
Prasadam abhram-liham aruroha
Raghu-vamfa (14, 29, etc.)
Mfkhchha-katika
(ed.
Stenzler,
(19)
Cock)
(18)
:
I
I
:
p. 79
:
Arama-prasada-vedikayam
84
:
Vidyut-kanchana-dipikeva rachita prasada-samcharini
p.
p. 21, 132, 162, 164
(20) Rdjatarangini
(Pet.
:
Diet., 4,
I
Prasada-balagram
102,
etc.):
I
I
Prasadanganam
I
(21) Ekas tayor amum akarayad indu-mauleh prasadam adri-tanaya
the one of them built this temple of the god who
bhavanarh tathanya
wears the moon on his head, and the other that of the Daughter of the
Mountain.' (Dewal PraSasti of Lalla the Chhinda, v. 27, Ep, Ind., VOL. i,
'
pp. 80, 84.)
.
prasado'yarh
(22) Ishtapurtta-prachura-sukritarambha-nityadritena
'
in
he caused this edifice to be erected
.
nirmapyate
...
.
there is here the god Narayana.'
(Mau-chandella inscrip. of Madanavarman, v. 46, Ep. Ind., Vol i, pp. 202, 206.)
mudhabhano'(23) Prasadena tavamunaiva haritam adhva niruddho
(Deopara inscrip. of
dyapi krito'sti dakshinadi^ah konantavasi munih
it
I
Vijaya Sena, v. 27, Ep.
Ind.,
Vol.
i,
pp. 310, 314.)
359
AN ENCYCLOPAEDIA
PRASADA
(24)
Akarayat svayrh Sambhu-prasadali-dvayam
She too made
'
nijah
her people construct that hall of study (and) lay out that long
gardens in two ranges (adjoining Sambhu's temple).
of Alhanadevi, v. 38, Ep. Ind., Vol. n, pp. 13, 16.)
OF
line
of
(Bhera-ghat inscrip.
Aneka-prasadaih parivritamati pramsukalasarh girisaprasadam vyaof Mokala of Mewad, Part n, v. 2, Ep.
rachayat I- -(Chitorgadh inscrip.
(25)
Ind.,
Vol.
ii,
p.
421.)
(26) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan
I
(Sridhara's Devapattana Prasasti, v, 10,
Ep. Ind., Vol. n, p. 440.)
Maha-saila-prasada
Kirtivarman II, lines 7, n,
(27)
(28)
great stone temple.
(Pattadakal
14, Ep. Ind., Vol. in, pp. 4, 5.)
inscrip.
of
nava-hema-kumbha-kalitarh ramyarh maha-
Ghanarh prasadam
maihtapam
I
'
(He presented) a solid temple (prasada) adorned with nine golden
pinnacles (kumbha) and a beautiful large hall (to the temple of Hari,
the lord of Mangalas"aila).
vi,
(Mangalagiri Pillar inscrip.,
v. 51,
Ep. Ind., Vol.
pp. 125, 115.)
(29) Prasado rachitas sudha-chchhavi-hasat-kailasa-s'ailesVarasya, (v. 22),
prasadam
ISasya
inscrip. no.
A
(30)
(v. 32), prasada-kirttih (v. 34).
(Two
of Svapnesvara, Ep. Ind., Vol. vi, p. 202.)
Prasadam
navabhiS
cha
hema-kalas'air
Bhuvanesvara
aty-unnatam
gopura-
an exupachitarh sYl-rama-bhadraya cha
ceedingly high temple furnished with nine gilt domes, a gate tower, a
wall and festive hall, to the holy Ramabhadra.' '(Kondavidu inscrip. of
'
prakarotsava-mamtapair
Krishnaraya, v. 27, Ep.
1
Ind.,
Vol.
vi,
pp. 237, 231.)
Khanda-sphutita-prasada-punah-samskaranartham
pratipaditah
'
he granted for defraying the expenses of the repairs of the temple broken
in parts.'
(Plates of Dantivarman of Gujarat, line 67, Ep. Ind., Vol. vi,
(3
)
pp. 293, 286.)
(32)
Tena bhratri-yugena ya
prati-pura-gramadhva-Saila-sthalarh
sarah
kupa-nipanaka
prasada-satradika
vapi-
I
Dharmma-sthana-pararhpara nava-tara chakre'tha jirnnoddhrita-tatsamkhyapi na budhyate yadi pararii tad-vedini medini
I
(Mount Abu
inscrip.
Ep. Ind., Vol.
(33) Tirthe
Svlyam
deva-hrade tena kritarh
tatra
no.
vm,
i,
p.
v.
66,
213.)
prasada-panchakam
dvayam jatarh yatra Samkara-keSavau II
I
(Sihawa stone
inscrip. of Karnaraja,
v. 9, Ep. Ind., Vol. ix, p. 186.)
360
PRASADA
HINDU ARCHITECTURE
Sri-ncmisvarasya nirakrita-jagad-vishadah prasadah samuddadhre
Erected the temple of Ncmisvara which (temple) has removed the
sorrows of the world.'
(The Chahamanas of Manvar, no. xxv, Nadlai stone
(34)
'
inscrip.
of Ranaviradeva, line 15
Esha
Ep., Ind., Vol. xi, p. 64.)
f.,
bhagavato varaha murtter
jagat-parayanasya narayanasya
Airikine
karitah
sva-vishayc'sminn
Sila-prasadah
This stone temple of the divine (god) Narayana, who has the form
(35)
|
'
of a boar (and) who is entirely devoted to (the welfare of) the universe,
has been caused to be made in this in his own vishaya of Airikina.'
(Eran stone Boar Inscrip. of Toramana, line 7, C. I. I., Vol. in, F. G. I.,
no. 36, pp.
(36)
i
Go,
1
6 1.)
Nana-dhatu
vichitre
gopahvaya-namni
bhu-dhare
ramye
tavan saila-mayam bhanoh prasada-vara-mukhyam
to be made, on the delightful mountain which
caused
Has
kari-
I
'
feckled
is
with various metals and has the appellation of Gopa, a stone temple, the
chief among the best of temples of the Sun.'
Tavad
(this)
the
hill.'
F. G.
'
so long
giri-murdhni tishthati Sila-prasada-mukhyo ramye
chief of (stone) -temples shall stand upon the delightful summit of
I.,
(Gwalior stone inscrip. of Mihirakula, lines
no. 37, pp.
6, 8,
9
;
C.
I. /.,
Vol. HI,
162, 163, 164.)
(37) Tenochchair bodhimande s"as"i-kara-dhavalah sarwato mandapena
I
Kantah prasada esha smara-bala-jayinah karito loka-s"astuh II
By him this beautiful mansion of the Teacher of mankind, who overcame the power of (the god) Smara, dazzling white as the rays of the moon
with an open pavilion on all sides, has been caused to be made at the
'
exalted Bodhimanda.'
Bodhimanda
also called Vajrasana, the throne
under the Bodhi-tree
at Bodh-Gaya, on which Buddha sat when attaining Bodhi or perfect wis'
dom. The word ' Kanta here might have a technical architectural
meaning.
is
In the Mdnasdra, the names of the buildings of various storeys
end with
so also
kanta,' e. g., meru-kanta, hima-kanta, etc.
'
generally
the names
(Bodh-Gaya
;
of
the columns, e.g., Brahma-kanta, Vishnu-kanta, etc.
inscrip. of Mahanaman, lines 10, n, C. 7. /., Vol. m, F. G. I.,
no. 71, pp. 276, 278, 275,
Bodh-Gaya inscrip. of
xv, pp. 358, 359, 357,
(38)
and Sanskrit and Old Kanarese
Mahanaman,
c.
i,
line 10
f.,
inscrip.
no.
166,
of A. D. 588, 589, Ind. Ant., Vol.
para, a.)
Adbhutah sirhha-paniya-nagare yena karitah
I
Kirtti-stambha ivabhati prasadah parwatl-pateh n
In the town of Sirhhapaniya he caused to be built a wonderful temple
of the Lord of Parvati, which shines like a column of fame.
(Sasbahu
'
incrip. of
Mahipala,
v.
1
1,
Ind. Ant., Vol. xv, pp. 37, 42.)
361
AN ENCYCLOPAEDIA OF
PRASADA
kedara-devasya cha
He caused to be built a temple of the inhabitants of heaven and of the
god Kedara.' --(Gaya inscrip. of Yakshapala, v. 12, Ind. Ant., Vol. xvi, pp.
Sa
(39)
prasadam
divishadarh
achlkarad
I
'
65, 66.)
'
(40) Vejarhto
Vaijayanta, the palace (of Indra).'-
pasadc (prasada)
(Bharaut inscrip. no. 79,
Ind.
Vol. xxi, p. 233.)
Ant.,
prasadam kritam
was
founded by Nayaka (leader)
The temple of Hatakesvara (Siva)
the illustrious Hariraja.' --(Nagpur Museum stone inscrip. of Brahmadeva of
(41) Nayaka-sYi-hari-raja-devo Ha(ha)takes"varasya
'
lines 9-12, Ind. Ant., Vol.
Rayapura,
xxn, p. 83.)
Maha-lakshmi-deviya prasadavam geyada VisVakarmma-nirmmitabuilt the temple of the goddess Mahalakshml, as if a creation of Visvakarmma.'
(Ep. Carnal., Vol. v, Part I, Hasan Taluq, no. 149,
(42)
subhasitan
'
Roman Text, p. 86.)
The above-mentioned
inscription
(dated
conjecturally
A. D.
1113)
ends with the following passage apparently quoted from a book for sculptors
and
architects (griha-vastu)
'
:
Vimana-sarwato-bhadra-vrishabha-nalinika-uttunga-viraja-garuda-
varddhamana-Sankha-vritta-pushpaka-griha-raja-svasti.'
'
(Ibid.,
Text, p.
9, last 3 lines.)
(43) Prasada-malabhir alamkritarh dharam vidaryyaiva samutthitam
I
Vimana-mala-sadriam yattra griham purnnendu-karamalam
cleaning as under the earth, there rise up houses which are
decorated with succession of storeys which are like rows of aerial chariots
(and) which are as pure (white) as the rays of the full moon.'
(Man1
'
1
Here
;
dasor
18,
stone
pp.
inscrip. of
Kumaragupta,
line 7, C.
I. I.,
Vol. in, F. G.
(44) Svargartharh kritavan
pratapa-nripatih
no.
sadyoshito-retayoh prasa-
dam
The
I.,
81, 85.)
vasu-patra-padma-sadris'am sYirigashtakaih Sobhitam
on a slab in the wall near the southern door of a
inscription is
I
'
temple of Vishnu close to the royal palace in Katmandu.
This temple
apparently the building mentioned in the inscription (quoted above).
It is an octagon, and has three storeys.'
is
The plan
sadriSa).
of the temple
(Inscrip.
Ant., Vol. ix, pp.
1
is
like
a lotus of eight leaves (Vasu-patra-padma-
from Nepal, no.
18, inscrip. of
Pratapamalla, v. 10, Ind.
88, 187, 189, c. 2, para 2.)
(45) Dig-bhagantara-sannive&ta-chatur
dvarah sukharohanah pakhad
ramya-suvarna-ketana-tala-nyasta-tri-Sulo'ntarah
1
1
Sauvamojjvala-kumbha-patra-patala-prodbhasitas'a-mukhah prasado.
diSatad abhipsita-sadavasa-prasakto
(Inscrip.
mudah
from Nepal, no. 23,
362
II
Ind. Ant., Vol. ix, p. 194.)
PRASADA
HINDU ARCHITECTURE
Grama-nagara-kheda-kharvada madamba-dronamukha-pattanamgalimdam aneka-mata-kuta-prasada-devayatanarhgali-dam oppuva-
(46)
agrahara-pattanamgalirhdam atisayavappa ...
At Teridala, a merchant town situated in the centre and the
I
'
the twelve
in
importance among
Thousand, adorned with
(towns)
first
Kundi Three
in the glorious
towns, hamlets, villages surrounded
of
towns and chief cities, with elegant
villages,
sea-girt
groups
with
and
and
mansions, palaces
shining agrahara towns in the
temples,
by
villages,
hills,
country of Kuntala.'
(Old
Canarese
at Terdal, line 58, Ind. Ant.,
inscrip.
Vol. xiv, pp. 19, 25.)
'
(47)
Prasadam
kanchanena
Kes"avasya
sphuta-ruchi-kalas'enanchayat
Kesavasya
sthira-kalasa-yutarh
karayamasa
divyam
KeSavasya
sthira-kalaSa-yutarh
Najnayaryo
vyatanit
1309'
Prasadam
'
'
1659
'
Prasadam
'
'
1697
I
'
Mr. Rice has translated prasada in all these three instances by tower',
although the term means primarily temple here. (Ep. Camat., Vol. v.
'
Part I; Belur Taluq, nos. 63, 64, 65
'
;
Roman
Text, pp.
Transl.,
135, 136;
59-)
P-
'
a tower (prasada), decorated with carvings and figures
(chitra-vichitra-patra-nutamam prasadamam), to be erected of stone,
(48)
Causing
and a golden
yagrake), he
kalas"a to
in
be made for the pinnacle of the temple (devala-
many ways
increased
Carnal., Vol. vn, Shikarpur Taluq, no. 243
Text, p. 247, last four lines.)
(49)
KaSyam
;
visVesVara-dvari hima-diSi
his
fame
Transl., p.
in the world.'
139, para. 6
kharopamam
(Ep.
Roman
;
I
PadmesVarasya devasya prasadam akarot sudhih
On the north side of the entrance to the VisVesVara temple at KaSi
built a solid and lofty temple of the god PadmesVara (Vishnu)
on A. D.
I
'
'
I5th
New
May, 1296.
Imp.
Series,
(Sharqi Arch, of Jaunpur, inscrip. no. xxvi, v. 3, Arch. Surv.,
VoL
i,
p.
51.)
(50) Vapi-kupa-tadaga-kuttima-matha-prasada-satralayan
|
Sauvarna-dhvaja-toranapana-pura-grama-prapa-mandapan
Vyadhapayad ayam chaulukya-chudamanih
I
I
(Sridhara's Devapattana PraSasti, v. 10,
Ep.
Ind.,
Vol. n, p. 440-441.)
(51) In the Buddhist literature buildings are divided into five classes
vihara (monastery), ardha-yoga (stated by the com(pancha-lenani)
mentator Buddhaghosa to imply
suvarna-vanga-griha,' a type of two'
rooted buildings, partly religious and partly residential), prasada (wholly
3 63
AN ENCYCLOPAEDIA OF
PRASADA-TALA
harmya
residential storeyed buildings),
and guha (underground
p.
73-74
:
Ckullavagga, vi,
(larger type of storeyed buildings)
Texts,
buildings).- -(Vinaya
i, 2,
Mahdvagga
i,
t
30, 4,
158.)
p.
The commentator Buddhaghosa
not
does
'
'
prasada
quoted
above from the Vinaya Texts he simply says prasado iti digha-pasado.'
According to Rhys Davids prasada is a long-storeyed mansion, or the
explain
'
;
'
'
whole of an upper
173
vagga, p.
explain
(in
;
his
'
storey, or the storeyed buildings
Chullavagga, p.
dictionary)
note 2).
151,
'
this
(cf.
Sir
'
prasada
'
by
'
his transl.
of Mahu-
M. William seems
to
monks'
for
the
hall
assembly and confession.'
'
Cf. satta-bhumika-prasada
(Jdtaka,
From
i,
buildings of seven storeys in height.'
pp. 227, 346 ; v, pp. 52, 426 ; vi, p. 577.)
'
it is clear that the term
prasada
'
the illustrations given above,
It denotes the gorgeous
.mplies both religious and residential buildings.
where
a deity or the emblewell
as
small
as
pavilions (mandapa)
temples
installed.
It
includes
of
Siva
is
matical phallus
magnificent palaces and
a
implies a succession of storeys, and a tower,
a
for
erected
on
foundaseat
or
lofty
building
platform
spectators,
high
tions and approached by means of steps, a building consecrated to a
smaller
deity
residences.
'
It
or inhabited by a prince, a temple, a palace, and the assembly
confessional hall of the Buddhist priesthood.'
room and
PRASADA-TALA
Floor, roof.
(Buddhist Sutlas,
PRASADA-MALIKA A
class
by Rhys Davids,
(Kamikagama, XLV, 4;
PRIYA-DARSANA One
of the
five
see
under MALIKA.)
Indian orders.
(Suprabhedagama, xxxi, 65, 67
PREKSHAGARA An
p. 262.)
of buildings.
;
see
under STAMBHA.)
amphitheatre.
Sata-kumbhamayam divyam prekshagaram upagatam
(Mbh. Adiparvan, see under RANGA and compare
I
Bharata Ndtya-sastra,
n,
7, 13, 25).
PREKSHA-GRIHA (-MANDAPA)
Auditorium in a theatre, the
front room or pavilion facing a shrine wherefrom the deity is seen.
7,
13.)
quadrangular and
tri-
(Ibid.,
In theatre proper
angular
it
should
be semi-circular,
ii,
:
Preksha-grihanaih sarvesham tri-prakaro vidhih smritah
VikrishtaS-chaturasYas-cha tryara-chaiva prayukribhih It
I
(Ibid., n,
364
25.)
HINDU ARCHITECTURE
PHELA
In large theatres, attached to temples it should be semi-circular, in
middle-sized ones attached to palaces it should be quadrangular, and in
ordinary small theatres for the general public it should be triangular.
(Bharata Natya-fdstra, u, 26.)
Ilia preksha-griham drishtva dhlmata visvakarmana
Trividhah sannives"ascha Sastratah parikalpitah II
Vikrishtas'-chaturasras'-chaiva tu
PREKSHA-NIVESANA
PROSHTHA A
(Bha-
under NATYAGRIHA.
high and broad bench with moulded and turned
legs (R.-V., vii, 55, 8
timber seats
n, 7-8.)
(Ibid.,
I-
The auditorium of a playhouse
See details
rata Ndlya-sdstra).
mandapah
I
fixed
;
A.-V., iv, 5, 3
Taitt. Bra., n, 7, 17, i),
;
long
of a settee and a
walls, combinations
against
coffer.
PLAKSHA-DVARA A
back-door, a side-door, a private entrance.
(Matsya-Purana, Chap. CCLXIV, v. 15 see under UDUMBARA.)
;
PH
PHANA A
hood
in
connexion with the joinery.
(M., xvn, 134;
see
SANDHI-KARMAN.)
PHALAKA A
plank, a moulding, an architectural member, the
abacus, a leaning board.
(Mahdvagga, v, 10,
A
plank cf. pralamba-phalaka (M., xn, 125).
A member of the column (M., xv, 50, 51, 83, 185,
In connexion with the arch (torana)
(1)
2.)
:
etc.).
:
Natika phalaka mushti-bandhanam patra-vallikam
I
(M., XLVI, 65.)
(2) See also
M.,
L, 66,
74
;
LXV, 161, 162
;
LXVII, 16, etc.
Padashtamsa-shad-amsaika-phalakais chhadayet paritah
Kaya-padantaram chhadyam phalakaih sara-darujaih
II
II
(Kamikagama, LIV, 24, 30.)
(3)
A
part of a column (Suprabheddgama, xxxi, 58
PHALAKASANA A synonym
under STAMBHA).
see
of the bedstead.
(M.,
PHALA-PATTA
;
in, ii
;
see
under PARYANKA.)
Front plate, a plough-share-like moulding.
(A/.,
PIIELA
(cf.
CHHELA)
The
vault of the foundation
(Kamikagama, xxxi, 74-75
365
;
see
XLIX 93.)
pit.
under CHHELA.)
AN ENCYCLOPAEDIA OF
BANDHA
B
BANDHA
Joining or folding together, a band, the foundation.
Foundation
Dvav-aratnim tri-padiih va pade bandharh
karayet
LXV,
aratnis
shall be 2
p. 166.)
by 3 padas.' (Kautiliya-Artha-fdstra, Chap.
'
BA(VA)LANAKA A
raised platform or seat along the wall of the
council hall of a temple.
kshitimdu-sachivah Sarhkhojjvalabhih sila-srenibhih
iti
Tejah-pala
sphurad-irhdu-ruchirarh nemi-prabhor
mamdiram
I
agrato jina-(vara)-vasa-dviparh chasatam
cha purato nishpadayamasivan
balanakarh
tat-parsVeshu
to the
apparently is identical with Marathi balarh which according
Uchchair
mamdapam
I
'
It
Dictionary of Molesworth and Candy means a raised seat along the walls
of the gabhara or Sabha-mandapa of a temple.' Dr. Ltiders.
(Mount
Abu
inscrip. no. i, v. 61, Ep. Ind., Vol. viu, pp. 212, 200.)
BALI(-I)KA(-A)
A moulding of the
entablature, the edge of a roof.
Maha-bhara-tula-karya balikordhve viSeshatah
Tula-balikayor madhye dvi-dandam athava punah
1 1
Harhsa-bhuta-balir vatha nidra va danda-manatah
Tri-padodaya-yukta va vidheya vajanopari
1
1 1
I
1
(Kdmikdgama, LIV, 13, 16, 20.)
BALI-PITH A- (KA)
(1)
The
seat of sacrifice,
an
altar for offerings.
Brishabhasyopari-bhage tu kalpayed bali-pithakam
Gopurasya bahir vapi sthapayed antar vapi bali-pithakam
I
Antar mandala-deSe tu purvavat bali-pithakam
I
I
(M., xxxii, 99, 100, 133.)
(2)
'
Srimat-saundara-pancha-ratra-vidhiyim
sdslra)
Pancharatra.'
Roman
Text, p. 105
'
(3)
I
(Ep. Carnal., Vol.
;
v,
Part
i,
Belur Taluq, no. 8
;
Transl., p. 46.)
There he enlarged the Kalideva-mantapa, and re-established the
bali-pitha.'
p.
nirmanamam madisi
Srimantam bali-pithamarii pramudadirh viprarggalam madisi II
Caused a bali-pitha to be erected according to the rule of the (Silpa-
(Ep.
Carnal., Vol.
v, Part I, Arsikere
Taluq, no. 22
;
Transl.,
119, largest para., last line.)
There are also fragments (of inscriptions) belonging to the time
of Rajaraja I, and Rajendra-Chola I, on a mandapa to the west of the
(Notes on Tiruvellarai inscrip., Ind. Ant., Vol. xxxiv, p. 264,
bali-pitha.'
'
(4)
para. 5, line 10
f.)
366
BALIKA.
Q
&
n
n
BAH t. LA
BAHULA.
BAHULA.
HINDU ARCHITECTURE
BASADI
Haridasa-Rauta, ... set up in front of the god Prasannaof Belur, a festival (utsava) mantapa, a pillar for lights (dipa-
'
(5)
Madhava
maleya-kambha), and an altar for offerings (balli-pitha, i.e., bali-pltha).'
(Ep. Carnal., Vol. iv, Nagamangala Taluq, no. 42 ; Transl., p. 124; Roman
Text, p. 213.)
BASADI
modern
(see
Basti or
VASATI) A Jain temple, a shrine, a monastery,
slum quarters.
laya.
'
(2)
temple of the Jaina
Jaina
Kadalalaya-basadi
(1)
goddess
Kadala-
(Anmakonda inscrip. of Prola, v. 9, Ep. Ind., Vol. ix, pp. 262, 257 .)
And on the top of the rock to the south of the Badra tank of that
Mara had
mountain, Ganeyana
the Parsva-Jina vasati
erected.
This
endure as long as sun and moon, protected by
Jogavattige basadi, may
the paiicha-maha-sabda (five words for Jain obeisance), and by unnumit
bered others.'
'
Basadi
'
in the sense of Jaina temple
Its Sanskrit
Ep. Carnal.
form
is,
of frequent use in the volumes of
'
an instance of which
vasati
is
of course,
'
should be noticed in the passage quoted above.
(Ep. Carnal., Vol. xii,
Pavugada Taluq, no. 52 Transl., p. 125, line 2 Roman Text, p. 206 f.)
(3)
Being actuated by veneration, gave to the basadi of the Bhalarar
;
;
'
mattars (of land).'
Basadi (means) a Jain temple
the word is a Tadbhava corruption
of the Sanskrit " vasati," abode, dwelling, a Jain monastery the modern
form is " Basti ".' Dr. Fleet. (Sanskrit and Old Kanarese inscrip., Ind. Ant.,
.
.
five
.
'
;
;
Vol.
iv, p.
1
8 1,
c. i, line
10,
and
footnote.)
Purigereyalu madisid-Anesejjeya-basadige
In the lands of Gudigere, which
.
were under the control of the Jain
(4)
'
.
.
temple called
line
Ind.
21,
Ane
sejjeya.
Ant., Vol.
.
.
.
built at Purigere.'
xvm, pp.
'
Caused basadis and
places.'
.
(Gudigere Jain inscrip.,
39, 37.)
See Ep. Carnal., Vol. n, inscriptions
on Vindhya-giri, nos. 75-123; and
(5)
.
.
(i)
on Chandra-giri,
nos.
1-74,
(ii)
(iii) in the town, nos. 124-144.
mana-stambhas to be erected in numerous
(No. 38, Roman Text, p. 7, line 17 ; Transl., p. 121, line 5.)
basadi of his guru Sri-rupa-narayana of Kollapura.'- -(No.
Text, p. 7-8 ; Transl., p. 122, line 18.)
basadis of Ganga-vadi, however, many there were, he
The
Roman
39
The
(7)
'
(6)
;
'
Roman Text, p. 21 Transl., p. 126, line 12.)
(No. 45
This Lakshmi, wife of Ganga sena-pati, the abode of all
good
qualities, had this new Jina temple (vasati) made.'
(No. 63 Roman Text,
restored.'
;
;
'
(8)
;
p.
59; Transl., p. 149.)
The Dandanayaka Ganga had this basadi made for
Porhavue.' (No. 64 Roman Text, p.
59 Transl., p. 149.)
'
(9)
;
;
367
his
mother
AM ENCYCLOPAEDIA OF
BASADI
'The
(10)
however many there were,
bastis (basadinal) of Gaiiga-vadi,
he had renewed.' -(No. 90 Roman Text, p. 72, line 10 from bottom upwards ; Transl., p. 158, para. 5.)
and Bahubali Kevali, the basa(11) 'He had these images of Bharata
;
and the side-doors of that
tlrtha
made
for
beauty
having
erected eighty virgin (? new) basadis, and repaired two hundred (that
were in ruins), he obtained glory, the general Bharata.' (No. 115 Roman
dis,
;
.
.
.
;
Text, p. 87
Transl., p.
;
'He
171.)
on the lower hill
repaired three bastis
the
Mangayi basti, repaired the Hagalaya
(and)
gate,
(a village to the south of Sravana Belgola)-basti, and made gifts for supply(No. 134; Roman Text, p. 100 ; Transl., p. 179.)
ing food in one.'
(12)
at the
'
'
;
north
(13)
tiful
built a small basti
And
in Kcllangere
he
(also)
made
five large bastis
and
five
beau-
ponds.'
The money obtained from
this
will
place
be used for repairing the
and other dwelling and the basadis, for the worship and decoof the god, and for gifts, of food to the people visiting the basadi
Archari's
ration
and
to the assembly of Rishis.'
(No. 1370
;
Roman
Text, p. 104, lines 6, 9
;
Transl., p. 182, paras. 5, n.)
Keep whatever you have obtained from
'
(14)
the
paddy lands and dry
the
together with the waste land, the firewood, leaves, decay of
basadi house and so forth, belonging to the endowments of Gommata dcva,
fields,
Kamatha
principal basadis.'
And
'
(15)
basadi,
and
which he had made ... a small tank
east
ParSva deva, Sri-vallabha deva of Bhandaraiya's
(No. 137^.; Transl., p. 183.)
for the basadi
'
of the basadi
.
.
.
(No. 144
;
Transl., p. 187, line
9 from bottom upwards.)
'He made
a grant of lands for the basadis of the Tri-kuta-basadi
which he had caused to be erected in Arakottara in the Enne-nad.'(16)
(Ep. Carnal., Vol. iv,
'He
(17)
setting
Chamarajnagara Taluq., no. 83 Transl., p. 10.)
caused a basadi to be erected in Muguli in Sige-nad, and
;
up therein the god Parsva, presented the basadi and land
for the
god
to their guru.'
In
is
temple
no. 129
;
'
'
should be noted, the meaning of basadi as a Jaina
(Ep. Carnal., Vol. v, Part I, Hasan Taluk,
unquestionable.
'
this instance, it
Transl., p. 36.)
Hoysala-Gavunda, son of ... in memory of
his mother's death,
erected a basadi, and in the presence of all the residents and farmers of
the town, divided certain land (specified) equally to the basadi and the
(18)
temple (basadigarh devalyakkam bhumi samana-vagi basadige
washing the feet of Ahobala-Pamdita.'
368
.
.
.
),
HINDU ARCHITECTURE
The
BASADI
made
here between the basadi and the temple
(dcvalaya)
should be noted.
(Ep. Carnal., Vol. iv, Kadur Taluq, no 69 Transl., p. 13,
para. 5 Roman Text, p. 45, last para., line 4 f.)
distinction
;
;
(19)
Dcva,
'Thus
celebrated,
made
the
established
on the
hill
had continued
line
Barmma-Deva, the Bhujabala-Gariga Permmadiwhich Dadiga and Madhava had formerly
of Mandali, and for which the kings of his Gahga
provide the offerings, and which they had after-
basadi,
to
wards caused to be
built of
wood, the chief of
all
the basadis hitherto
existing or in future to be established in the Edadore-seventy of the MandaliThousand, giving it the name of Pattada-basadi (the Crown-basadi), and
endowed
it
with certain lands (specified).
Taluq, no. 4; Transl.,
'
(Ep. Carnal., Vol. va,
Shimoga
p. 8, para. 4.)
The
,
enlarged a tank, formed paddy fields
great minister,
erected a temple, and established places for distribution of water and
food.
And the basadi he built shone with big tank of Tattckere surround'
(20)
.
.
.
it.'
ing
two basadis of Nellavatti and Tattikcre, on the death of
Jinadasa as a reward of perggade Nokkayya's boldness and liberality,
Ganga-Pcrmmadi-Deva granted the royal insignia of two horns, a canopy,
And
'
for those
chamaras, and big drums.'
And Ganga-permmadi-deva
'
customs of Tattikere.'
11, last two paras.,
p.
(21)
no. 228
;
Santi-Jina basadi.'
Transl., p.
'
(22) See both
patam Taluq,
volumes
12, paras. 2, 3.)
p.
mathadhipati of Bandanike was erected a mantapa in
'For the
front of the
granted for the basadi the shop-tax and
(Ep. Carnal., Vol. vn, Shimoga Taluq, no. 10 ; Tr ans
133
basti
nos.
of Ep.
;
'
Roman
and
144,
Carnal,
'
(Ep.
Vol. vn, Shikarpur Taluq,
Text, p. 232.)
basadi'
146,
Carnal.,
etc.;
referred
(in
Ep. Carnal., Vol.
Transl.,
to
above)
m, Seringa -
34 and also in other
and the sketches of bastis
Vol. n), and pp. 150,
151
p.
between pp. 50, 51 (Introduction, Ep. Carnat.,
(Translation), and compare the following from Fergusson
:
The principal group of the bastis of the Jains at present known at
There are there
least above the ghats, is that of Sravana Belgola.
'
on a shoulder of the other, called Chandragiri,
As might be expected from the
in number.
stand the bastis,
situation, they are all of the Dravidian style of architecture, and are consequently built in gradually receding storeys, each of which is ornamented
No instance occurs among them
with small simulated cells.
or
of the curvilinear sikra (sikhara)
spire, which is universal with the
wo
hills
the Indragiri,
fifteen
...
northern Jains, except in the instance of Ellora.'
369
AN ENCYCLOPAEDIA Of
BA(VA)SUNDHARA
The following wood-cut (photo no. 149) conveys, however, an idea
of the general external appearance, which is more ornamental than that
of northern Jain temples. The outer wall of those in the north is almost
1
always quite plain. The southern ones are as generally ornamented
with pilasters and crowned with a row of ornamental cells. Inside is a
court probably square and surrounded by cloisters, at the back of which
rises the vimana over the cell, which contains the principal image of the
Tirthankar. It always is surmounted by a small dome, as is universally
the case with every vimana in Dravidian architecture, instead of with the
mysterious amalaka ornament of northern sikras (sikharas).'
'
may be
a vain speculation, but it seems impossible to look at this
(no. 149), and not to be struck with its resemblance to the temples
of southern Babylonia. The same division into storeys with their cells
It
wood-cut
;
the backward position of the temple itself; the panelled or pilastered
basement, all these points of resemblance, it seems difficult to regard as
Ind. and East. Arch., pp. 269-270.)
purely accidental.'
(Fergusson
:
BA(VA)SUNDHARA The
BAHALA
(see
BAHULYA)
earth, a type of pent-roof.
(M., xviii, 177; see under LUPA.)
An
extension,
a projection,
a sugar-
cane-like moulding.
(1)
Dvara-tare chatush-pancha-shat-saptashta-vibhajite II
Ekam^a(m) siitra-pattih syat samam va bahalam bhavet
Ardharii va pada-hinarh va bahalam
(2 )
parikirtitam
Silaya cha mrida py-athava taruna
dridham
Tad
rachayed atha kudyam
ativa-
I
ihottara-vistaratah sadris"am
(Vastu-vidya, ed.
(2)
I
1 1
In connexion with a pillar
bahalam kathitam talipadi-yutam
Ganapati
Sastri, xiv,
i,
2
;
xv,
I
i.)
:
Ashtamsam yoga-vistaram tad-ardham bahalam bhavet
I
(M., xxxix, 59.)
(3)
Stambha-vyasa-samo(-mam)
lam) bhavet
va
tad-ardham
bahalam
(
Kavata-bahulam proktam dandardharh va ghanam bhavet
It is clear
from
v.
?
bahu
1 1
38 that ghana or thickness
is
II
(Kamikagama, LV, 35, 38.)
not to be confused with
bahala or bahula.
BAHIR-AftGA
The
outer court, the external side of a
building.
Athava bahir-ange tu
cheshta-dig-vishnor alayam
Anyesham sarva-linganam nagarat bahir-angatah
I
I
(M,
370
ix,
257,
402.)
BAHULYA
HINDU ARCHITECTURE
BAHIR-JANMA.N The
ANTARJANMAN)
outer plinth
(see
M., LXIX,
16,
17,
under
.
BAHIR-BHITTI
The
outer wall, an outside partition.
Antar-vapram bahir-bhittih sreshtham dirgam cha chulika(-am)
(M.,
Cf.
ANTARBHITTI.
BAHIR-MUKHA
I
361, etc.)
ix,
M., XL, 51, 52.)
(See
With
face towards the outside, projecting out-
ward.
In connexion with foundations
:
Griha-garbham antar-mukharh syad
ama-garbhaih bahir-mukham
gi
(M., xn, 216.)
BAHU-MANDAPA
A
MUKHA-MANDAPA)
(cj.
kind
of
group
pavilion.
Devalayeshu sarveshu sammukhe bahu-mandapam
I
(M., xxxiv,
The
pavilion in front of a temple
BAHU-LlftGA
A
is
generally called
33
Mukha-mandapa.
kind of phallus, phalli in group.
(M.,
LII,
75, 77, 72, etc.
see
;
under LINGA.)
BAHULA An
architectural member of the balance, the extended
of
the scales outside the holes through which the scales are
part
joined with the beam by strings.
Tad(jihvagra)-ardham bahulam kuryat tan-mule chhidra-samyutam
I
(M.,
BALA-PARYA&KA
(see
A
PARYANKA)
L,
184.)
small bedstead, a couch.
BAHYA-&ALA
Outer rooms, external portion of mansions
under ANTAH-SALA).
BAHYA-SALA
Outer
walls,
external
wall
(see
(see
under ANTAH-
SALA).
BAHULYA
(perhaps
for
BAHALYA,
superfluity, extension, hence projection.
(i) Stambha-samam bahulyam
bahulya
see
is
BAHALA)
Abundance
equal to the column.
(Brihat-Samhitd,
bahulyam Sakhayoh smritam
Vistara-pada-pratimam
of the two door-frames
is
equal to
nearly one-fourth
the
LIII,
30.)
projection
of the breadth
(of the door).
(Ibid., LVI, 13.)
371
AN ENCYCLOPAEDIA OF
B1MBA
to the
'
'
Kern
bahulya
translates
instance
first
(see
by
thickness,
suit at least
which does not
Vol. vi, pp. 285, 318.)
J.R.A.S., N. S.,
smritam
Vistara-pada-pratimam bahulyarh sakhayoh
( Matsya-Purana, Chap. CCLXX,
I
(2)
v. 20,
same
as
no. 2 above.)
Vistararddhena bahulyam sarvesham eya kirtitam
(Agni-Purana, Chap,
I
(3)
BIMBA An idol,
an image.
(M.,
Nirmmitam samti-nathasya bimbakam
made.'
(Honwad
inscrip. of Somesvara
BI(VI)RA-GALA
(also
i,
'
22
LI,
image of
;
civ,
v.
29.)
LXVIII, i, etc.)
Santi-natha
was
line 30, Ind. Ant., Vol. xix, p. 273.)
B!RAGAL or BIRAKAL,
see
VIRA-S"ASANA)-
and this honour
Monuments
memory
up
dies after having done some good
is next extended to any one who
work lastly, it implies a simple memorial monument, resembling
constructed by the relatives
perhaps the pagoda-shaped mathas,
and admirers of the departed a monumental stone erected in
of a hero at
in
set
first,
;
;
memory of
a warrior.
But her son Pilleya-Nayaka, (after her death) performing the further
(1)
and
cer monies, set up this biragal in the presence of the god HonnesVara,
Honnesvara
the
god
made a grant of land (specified) for the offerings to
and for carrying on the worship of the biragal washing the feet of Janneyaand his successors will carry on the worship
guru. That Janneyaguru
'
of that biragal
we most
Taluq, no. 62, last four lines;
line 4 f.)
His younger brother
(2)
'
(Ep, Carnal., Vol. vn, Shimoga
Text, p. 42 ; Transl., nos. 61-62, p. 24,
firmly believe.'
Roman
Channappa put up
this bira-kallu for him.'
Her junior uncle Chenna put up this biragal.' (Ep. Carnal., Vol. vn,
Shikarpur Taluq, nos. i, 2; Transl., p. 39.)
A grant of land (specified) was made for maintaining the worship
(3)
'
'
and ceremonies of
no.
117
;
Transl., p.
And
this biragal.'
(Ep.
Carnal.,
Vol.
vn, Honnati
Taluq,
178.)
many who opposed
him, he did his duty to his lord
and gained the world of gods. His brother-in-law with his son and daughter,
set up this vira-asana for him.'
(Ep. Carnal., Vol. vn, Shikarpur Taluq,
'
(4)
killing
no. 144; Transl., p. 107;
BUDDHA
'
A
being
Roman
who by
Text, p. 191.)
his
own
force has attained to possesneither man nor god. He is
He is
sion of the highest knowledge.
wonders
in accord with the laws of nature.
certain
able to perform
In an endless
series
of existences the Buddha prepares himself for his
372
HINDU ARCHITECTURE
state
During the whole of
of Buddhahood.
a Budhisattva
till
BODHIKA-(A)
in his last existence as a
time he
this
man he
is
called
attains to knowl-
edge (bodhi).'
W.
(Mahavamfa,
Geiger, pp. 292-293.)
BUDDHA-PADA The
sacred footprint of Buddha, found in many
places in Northern India, Indo-China, Siam and other places :
analogous to the Ratna-pada of Samantakuta of Ceylon ; but the
Buddhapada of Sukhodaya in Siam is more elaborate and artistic
on the centre of the footprints are engraved two wheels (chzkra),
each containing six circles wherein are marked 108 signs. These
signs are stated to represent the past, present, and future universe.
;
(See Plate LXVIII, p. 242,
Le Siam Ancien, i, by
P. N. Bose in
M. Fournereau, quoted by
his Indian Colony
of Siam, pp. 64-65.)
The
footprint of Buddha, otherwise called Sripada and Ratna-pada.
It is seen in many places in Northern India, Ceylon, Indo-China, and
Indian Archipelago. The one in Siam at Sukhodaya is described in
detail in a Pali inscription of A. D.
1427
(vide Plate LXVIII,
Fournereau,
i,
was carved after the pattern of the Sripada at Samantap. 242).
kuta in Ceylon, and bears the same measurement, but more artistic in
look and workmanship. On these footprints are marked two discs (chakra)
each containing six circles within which are marked 108 signs. Below
the footprints are represented 80 monks standing in a procession with
folded hands and inclined heads in the pose of worshipping.
It
BUDDHI-SAMKIRNA A pavilion
(Matey a-Purana,
BRIHATI
The
Brihati
fifty pillars.
Chap. CCLXX,
v. 9
;
under MANDAPA.)
see
part of the body between the breast and backbone.
das"a-tala measure
In connexion with the
Brihati
with
:
saptamsakam kaksha-tararh samayatam
stana-simantam sardha-dvir-ashta matrakam
I
I
(M., LXV, 162- 163.
BERA An idol
or image.
(M.,
'
Created the temple of
(vera) .'--(Ep. Carnal., Vol. iv,
p.
18, line
9
f.;
LI, 17,
25
;
LXVII, 3, etc.)
Chamarajesvara together with new images
Chamarajnagar Taluq, no. 86; Roman Text,
Transl., p. n.)
BODHIKA(-A)
(also
column (M., xv,
40, 44, etc.), the crowning
VODHIKA,
see
373
The capital of the
member of the capital
MANDI)
;
AN ENCYCLOPAEDIA OF
BODHI-GRIIIA
and under the table of
placed upon the abacus (phalaka)
in European
It may be identified with the carbel which
cornices.
and supporting
architecture is a block of stone projecting from a wall
this
the
is
beams of a roof or any weight.
(See Dravidian Arch.
Jouveau Dubreuil, ed. Aiyangar, p. 26.)
under STAMBHA.)
Suprabheddgama xxxi, 107, 57
cha phalaka tatika ghatam
Cj. Bodhikam mushti-bandham
(See
I
1
(M., XLVII,
See the photographic views of the Corinthian capitals from
East. Arch., p. 173, figs. 94, 95).
(Fergusson : Hist, of Ind. and
See Buddhist
Vol.
rv, p.
62
;
Cave Temples
Vol. XLI,
BODHI-GRIHA
figs,
(fig.
no. 21, Arch. Surv.,
i, 2, 3, 4, 5,
New
8,
etc.)
Jamalgiri
Imp.
Series,
6).
-A temple for the Bodhi-tree.
(W. Geiger, Mahavamfa,
p. 296.)
BODHI-MANDA A
raised terrace near a temple, the miraculous
throne under the Bodhi-tree at Gaya also called Vajrasana or dia-
mond
throne.
Bodhi-mande
Tenochchair
sarwato
sasi-kara-dhavalah
mandapena
kantah prasada esha smare-bala-jayinah karito loka-sastuh
'
By him this beautiful mansion of the Teacher of mankind, who overcame the power of (the god) Smara, dazzling white as the rays of the moon,
with an open pavilion on all sides has been caused to be made at the exalted
I
Bodhi-manda.'
'
Bodhi-manda
tree at
Bodh-Gaya,
Buddha and
the
is
name
of the miraculous throne under the Bodhi-
also called the vajrasana or
diamond throne, on which
when
attaining bodhi or perfect wisdom.
Professor Childers, in his Pali Dictionary, added that he inferred that
the term was also applied to the raised terrace built under the Bodhi-tree
his predecessors sat,
And
within the precincts of any Buddhist temple, in imitation, presumably,
of Buddha's throne. This, rather than the throne itself, seems to be its
meaning
no.
1
in the present inscription.'
Bodh Gaya
66,
PP- 358, 359. 357.
BETTA One
c.
inscrip. of
i,
(Sanskrit
Mahanaman,
and Old Kanarese
line
Ind. Ant.,
inscrip.
Vol. xv,
of the two classes of the southern Jain architecture,
as Basadi or Vasati.
Bettas are courtyards usually
known
is
on a
or rising ground, open to the sky and
hill
f.,
2.)
the other
Gomata
10
or GomatesVara.
374
containing images of
BRAHMA-PADA
HIMDV ARCHITECTURE
BAUDDHA
the Buddhist
Belonging to the Buddhists or Buddha,
images.
Mdnasdra (Chap.
LVI, named Buddha, 1-18) :
other images, the Buddhist images also are made of wood,
stone or iron (line 14). Their pedestals are made of the three kinds
Like
all
of abhasa (marble or glass), of earth and of gravel, etc. (lines 15-16).
They are also both stationary and movable (line 14). They are made
and placed on the throne (lines 3-4), and
are furnished with the peepul tree and the wonder-tree (Kalpavriksha).
They have two arms, two legs, and two eyes (that is, one face) (line 10).
They are measured in the large type of the das"a-tala system (line 17).
in the erect or sitting posture
are pure white in colour (line 5).
Their garment is yellow
face
ears
(line 12),
large (line 5),
long (line 6), eyes smiling at the
They
corner (line 6), chest gracefully broad, arms long (line 10), belly large
fleshy (line 8). They are furnished with
and round, and the body
shining top-knots (ushnishojj-vala-maulika) (line 10).
BRAHMA-KANTA A class
of
a type of storeyed buildings
pillars,
a class of gate-houses.
The square columns with
four minor pillars
:
brahma-kantam syat
(M., xv, 20.)
brahma-kantam
iritam
-(Ibid.,
Vedopapada-sarhyuktarh
Chatur-as"rarh
I
I
A
class
of the three-storeyed
(M., xxi, 39-40
buildings.
244.)
;
under
see
PRASADA.)
A
class
of the five-storeyed buildings.
xxm, 41-42
(M.,
;
under
see
PRASADA.)
A
class
of gate-houses.
BRAHMA-GARBHA
(M.,
The
xxxm, 558
;
under GOPURA.)
see
foundations of temples (of Brahma).
see
(M., xn, 142-152;
BRAHMA-DVARA
The door
in the
under GARBHA-NYASA.)
middle or central part of an
object.
Brahma-dvara-patakadyair angair yuktam vimanakam
I
(Kamikagama,
Brahma-dvaram
iti
proktarh vimananam sanatanam
(Ibid.,
Brahma-dvaram
tato
LV,
madye mandapam koshthake matam
(Ibid.,
BRAHMA-PADA The
central part,
L, 93.)
I
155.)
\
LV, 197.)
the plot at the centre of a
design.
(M., XL, 73
;
375
LII,
165, etc.
;
see
under PADA-VINY.&SA.)
AN ENCYCLOPAEDIA OF
BRAHMA-BHITTI
BRAHMA-BHITTI The
middle wall.
Athava brahma-bhittau va garbhadhanam vidhiyate
I
(Kamikagama, xxxv, 46.)
BRAHMA-MANDALA
The
central part of a village or town.
see under GRAMA.)
(M., ix. 128
;
BRAHMA-MANDIRA A
(1)
(2)
type of rectangular building.
Agni-Purdna (Chap, civ, w. 16-17 see under PRASADA).
Garuda-Purdna (Chap. XLVII, vv. 21-22, 26-27 see under PRASADA.)
;
;
BRAHMA-MASTAKA A kind
of joinery.
(M., xvn, 149
BRAHMA- VAHANA The
The measures and
;
under SANDHI-KARMAN.)
see
riding animal of
Brahma, the
description of the goose (M.. LX, 4-46
goose.
;
see
under
VAHANA.)
BRAHMA-STHANA
a public hall
is
The
built for the
central part of a village or town,
assemblage of the inhabitants.
(M.,
(1)
xii,
142
;
see
under GRAMA.)
Brahma-sthane sabhadini kalpayed vidhina budhah II
Brahma(-me) va madhyame bhage pitham parikalpayet
1
1
(Kamikagama, xxvni,
'
(2)
Senai
.
.
.
long as the
last as
meritorious
where
15,
18.)
assigned (one) patti of land in the neighbourhood, to
moon and the sun, for his own merit (and) for the
purpose of supplying to the Brahma-sthana in
during six months and firepans (agnishtha) during
and of constructing a water-lever in front of the mandapa.'
water
Aditya II, no. 14, lines 1-2, H. S.
1. 1.,
Vol.
in,
this village
six
months
(Inscrip.
of
pp. 21-22.)
We
the great assembly of Manimangalam .
.
being assembled
(3)
without a vacancy in the assembly, in the Brahma-sthana in our village.' (Inscrip. of Rajadhiraja, no. 28, line 7, H.S.I.I., Vol. in, p. 57.)
'
.
We the great assembly of Manimangalam
being assembled,
without a vacancy in the assembly, in the large mandapa (of) the Brahmasthana of our village.' (Inscrip. of Virarajendra I, no. 30, line 36, H. S. 1. 1.,
'
.
(4)
Vol.
.
.
HI, p. 70.)
BRAHMANGANA
The
central courtyard.
(See
BRAHMA MS A
(see
BRAHMA-STHANA)
village or town, where a public hall
37 6
is
Kamikagama, under ANGANA.)
The
central
generally built.
part
of a
HWDU
ARCHITECTURE
BHAftGA
BH
BHAKTA A
devotee, a faithful worshipper, a class of sages.
Description of their images (M., Chap. LIX, i-ioo
named Bhakta)
:
The
devotees are divided into four classes, namely Salokya, Samipya,
Sarupya, and Sayujya (lines 3-4). The Salokyas are those who
specialize in devotion,
The Samipyas
knowledge and renunciation (vairagya)
specialize in
knowledge and renunciatian
(line 5)
(line 6).
.
The
Sarupyas are distinguished as those who are devoted to the meditation of God (line 7). And the Sayujyas are those who have acquired
the
true knowledge (of
(paramartha)
God) and are aware of the
final beatitude
(line 8).
limbs of the Salokya class of great men are measured in the largest
of
the nava-tala system (line 9)
The Samipyas are measured in the
type
The Sarupyas are
smallest type of the dala-tala system
10).
(line
The
.
measured in the intermediate type of the das"a-tala system (line n).
And the Sayujyas are measured in the largest type of the daa-tala system
(For details of these measures, see TALA-MANA.)
(line 12).
BHAfrGA A
pose in which an image
is
carved.
There are four bhangas or poses, namely, sama-bhanga, abhahga,
bhariga (M., LVII, 98), and tri-bhanga (ibid., 125).
'
In
ati-
(sama-bhanga) type the right and
left of the figure are disposed
the
sutra
or
symmetrically,
plumb-line passing through the naval, from the
crown of the head to a point midway between the heels. In other words,
the figure whether seated or standing, is poised firmly on both legs without
this
inclining in any way to right or left. Images of Buddha, Surya (sun) and
Vishnu are generally made to follow this scheme of rigid, vertical symmetry.
The dispositions or attitudes
made exactly similar, except
fingers
'
the
is
of the limbs and organs on either side are
mudra or symbolical posing of the
that the
different.'
In such a (abhanga) figure the plumb-line or the centre line, from
crown of the head to a point midway between the heels, passes slightly
In other words, the upper hal f of the figure i
made to incline slightly towards its right side, without inclining in any
way towards either of the attendant deities. The Saktis or attendant deities
to the right of the naval.
are two male
and two female, in tri-bhangas, placed on
either side with
The figures on
their heads inclined inwards towards the principal figure.
either side are exactly similar in poise, except that one is a reverse or reflex
of the other.
This
is
a necessary condition as otherwise one of the figures
377
AN ENCYCLOPAEDIA OF
BHADRA
would lean away from the central figure, and spoil the balance and
harmony of the whole group.'
A tri-bhanga figure had its head and hips displaced about one arhSa
'
to the right or left of the centre line.'
'
This (ati-bhanga) is really an emphasized form of the tri-bhanga, the
sweep of the tri-bhanga curve being considerably enhanced. The upper
portion of the body above the hips, or the limbs below, are thrown to right
or left, backwards or forwards, like a tree caught in a storm. This type is
usually seen in such representations as Siva's dance of destruction, and
fighting gods and demons, and is specially adapted to the portrayal of
violent action, of the impetus of the Tandava dancing, etc.'
(Translated
by
S.
Ray, Modern Review, March, 1914,
BHADRA
(cf.
p.
I
f.)
A
SARVATO-BHADRA and MUKHA-BHADRA)
mould-
ing, a type of portico, the general epithet of chariots, a type of
building, site plan of one-hundred and ninety-six square plots (cf.
PADAVINYASA; M.
vii,
17-18.)
A
moulding of the base (M., xrv, 345
ADHISHTHANA).
(i)
A kind
of portico
see
;
the
lists
of mouldings under
:
In connexion with buildings of one to twelve storeys
Ekam va dvi-tri-dandena nirgamam bhadram eva va
:
I
(M., xix, 56.)
Cf.
MADHYA-BHADRA (M.,
Toranair
xrx, 177)
nida-bhadradi-mule
:
chordhve
cha
bhushitam
\
(M., xx, 64.)
In connexion with
pavilions (mandapas)
Chatur-dig-bhadra-vistaram eka-bhagena nirgamam
:
I
(M., xxxiv, 76.)
In connexion with mansions
(salas)
:
Salayah parito'lindarh prishthato bhadra-sarhyutam
I
(M., xxxv, 40.)
Dvi-chatur-bhaga-vistaram parsvayor bhadra-sarhyutam
Prishthe cha
dvyaika-bhagena bhadram kuryad vichakshanah
I
(Ibid.,
In connexion with chariots
Chatur-dikshu
322-323.)
:
chatur-bhadrarh
tu
I
bhadram
syat
I
Bhadra-madhye
syat
Yuktya bhadram sarvesharh nasika-yuktam eva va
I
I
(M., XLHI,
378
107-109.)
BHADRA-PlTHA
HINDU ARCHITECTURE
Bhadra
is
the general
Nivata-bhadra,
bhadra,
name
for chariot
(ratha)
:
Pavana-bhadra, Prabhanjana-bhadra, Nabhasvan-
etc.
(M,xLiii, 111-115.)
In connexion with dola (palanquin or
Purato prishthato
hammock)
:
madhye parva (darpa)nam bhadrasamyutam
(M.,
L, 165.)
chaika-dvyamsena nimnakam
Chatur-dikshu sa-bhadram va
(Ibid.,
Ayatah
(a)
tribhir
syat
bhagair bhadra-yukta-susobhanah
I
284.)
I
(Matsya-Purana, Chap. GCLXIX, v.
(3)
bhadrah karyyo vijanata
Mandapasya chaturthamSad
Mandapas
tasya karttavya bhadrais tribhir alankritah
(Garuda-Purana, Chap. XLVII,
A type
of quadrangular building
(6)
1
5.)
1
II
w.
35, 39.)
:
under PRASADA).
Garuda-Purana (Chap. XLVII, vv. 24-25 see under PRASADA).
Vi-bhadra va sa-bhadra va kartavya malika budhaih
(4) Agni-Purdna (Chap, civ, vv. 14-15
(5)
|
;
see
;
1
1
Sa-bhadra va vi-bhadra va khahlri syad yatheshtatah
xxxv,
(Kamikagama.,
Salananam prakartavyam eka-dvyam^a-vinirmitam
II
100,
106.)
I
Tad-tad-agre prakartavyam vare bhadrasya pachime
II
(JWrf.,XLv, 35.)
Chatur-dig-bhadra-samyuktam dvara-jalaka-Sobhitam
1
1
(Ibid.,
A class
of buildings
BHADRAKA
The
(Ibid.,
XLV, 41
general
name
see
;
for chariots.
(M., XLIH, 112-116
BHADRA-PATTA
A
BHADRA-PlTHA A type
;
see
under RATHA.)
of pedestal of the phallus or an image.
pedestal of an image.
State chair.
see
the lists of mouldings
under ADHISHTHANA.)
(M., Lin, 34
A
;
moulding of the base.
(M., xiv, 345
The
XLI, a6.)
under MALIKA.)
-(M.,
(Mahavagga, v.
nv,
10, 2.)
379
129,
173.)
;
see
under
PI-THA.)
BHADRA-MANDAPA
AN ENCYCLOPAEDIA OF
BHADRA-MANDAPA-A
Cf.
type of pavilion.
bhadram
ity-uktarh
Ma^apam
bahya(dhan y a)- n ikshepa-y
.
Ogya.
iqo
Vo1
BHADRA-SALA-A
type of hall, a front room, a
drawing-room
conneixon with the
eight-storeyed buildings
etra-fclardha-fela cha
bhadra-saladi-bhushitam
:
I
BHA DR ASA NA -A
A
kind of throne>
kind of
rectangular building
***<
(i)
-
the
pie)
.
line
u
f.,
W.
.to., Vol.
^f pp
.
^^
<
'
na!Wa
r
ln!lcn P-
Subhrabrabham idam
Bhavalya bhavanam karapitam bhutalc
(5)
of Chachcha, v.
,
/,.
^
t>
BHAVANA-KANTA-A
RH j
BHAGA-PASCHA-A
Vol X
.
cla ss
of the
,en,,oreyed building,.
(M" **"" 9-3
.
J
.
under
pavilion wift thirty-two
pillan,
(Matsya-Purana,
xni,
43
.
247, etc.
380
;
j
MANA.)'
-
)
<"'
HINDU ARCHITECTURE
BHARA
(see
BHITTI
BHARA and STAMBHA)
-Beams, cross-beams.
Probably same as hara or harika, a chain, an ornament (? bead, astragal,
baguette, see Gwilt. EncycL, fig. 873) below the neck of the column.
Stambha-samarh bahulyam bhara-tulanam upary-upary-asam
Bhavati tulopatulanam unaih padena padena II
(Bfihat-Samhitd.,
Dr. Kern translates
vi,
'
bhara
'
Vol.
S.,
285).
p.
BHARAKA A support,
a synonym of the column.
See Suprabheddgama (xxxi,
BHARA
121)
see
xv, 5;
(A/.,
(1)
30.)
LIII,
(J.R.A.S., N.
by cross-beams
I
under STAMBHA.)
under BHARA.
A
BHARA and HARA)
support, a beam.
In connexion with buildings of one to twelve storeys
Chatuh-Sala chatush-kutam chashta-bhara sa-panjaram
(see
:
I
(M.,xx, 72,
(2)
tu
Eka-dandantar-bhara
madhya-bhara
dvi-dandatah
Ghatur-danda-pramanena kritva maryyada-bhittikam
Mandale dvarake vatha dvara-salarh tu bharake II
Prasadarh madhya-bharayarh maryyadau
etc.)
I
II
harmyam eva cha
II
(Suprabhedagama, xxxi, 117, 121 ; for full
context sen vv. 115-122, under PRAKARA.)
BHITTI
(1)
A
wall, a partition, a support.
Bhittih stri
Bhittih
kudyam
I
kudye prabhede cha
I
(Amarakosha, 2, 2, 4.)
(2)
Purato'lindam ekaihsarh bhittim kuryat samantatah
(M., xxxv, 118
;
XL, 57
LVI, 16
;
;
Vistarardharh
walls
separate
Vol. vi, p. 318
(4)
all
;
see
;
etc.)
bhaved garbho bhittayo'nyah samantatah
The adytum measures half the extent (of the whole) and has
(3)
'
compare
;
xxxvin, 6
I
also xv, 231
I
around.'
(Brihat-Samhitd,
also Matsya-Purdna,
LVI,
Chap. CCLXIX,
12
w.
;
J.R.A.S.,
N.
its
S.,
8, 9, 12.)
Tri-hastantarh tu vistaro bhittlnam parikirtitah II
Mula-bhitter idarh manam iirdhve padardha-hlnakam
Anyo'nyam adhika vapi nyuna va bhittayah samah
1
I
1
(Kamikdgama, xxxv, 32, 33.)
381
AX ENCYCLOPAEDIA OF
BHITTI-GRIHA
Tri-bhagena bhaved garbham samantad bhittir ishyate
Dvy-adhikena bahir-bhittih sesharh pragvat prakirtitam II
Linge silanta(-te) cha krodhe bhitti(h) pancha-(rh)sa-varjitah
1
1
Kimchin nyunam alindam va Sesham kudyeshu yojayct
(Kamikagama,
The synonyms of
.
.
.
dvari
Bhitter
bhitti
82, 86, 87,)
L,
akhyeyam akhyatam ...
1
1
II
(Ibid., LV,
(5)
II
:
cha kuttimam
kudyarh
I
Navamsam garbha-geharh
tu bhitti-manam tu shodasa
Shodasarh bhitti-manam tu bhittim abhyantararh viduh
Tad-bahyaikam tu salilam tad-bahyaikam tu bhittikam
Bahya-bhittau chatur-dvaram athava dvaram ekatah
1
199-200.)
1
|
II
I
Anyat sarvarh samam proktam stupy-antam karayed budhah
Yad uktarh bhitti-vistaram bahyabhyantarayoh samam
Bahyc vabhyantare vapi tri-vidham bhitti-manakam
1
1
I
1
Pithasya tri-gunam
garbham
1
ta-(t)-tri-bhagaika-bhittikam
(Suprabheddgama, xxxi, 4, 6,
Prasada-vara-varyeshu silavatsu sugandhishu
Ushitva meru-kalpeshu krita-kanchana-bhittishu
(6)
II
7, 8,
1
2.)
I
1
1
(Ramayana, n, 88,
Atyuchchair
(7)
bhitti-bhagair divi
nan yenakari kotah
7, etc.)
divasa-pati-syandanarii va vigrih-
I
By whom the fort (in this place) was built, which perhaps may arrest
the chariot of the sun in the
sky by its (very) high walls.'
(An Abu inscrip.
of the reign of Bhimadeva II, v.
9, Ind. Ant., Vol. xi, pp. 221, 222.)
'
Suttalayada bhittiya madisi chawlsa-tfrttha-kararh madisidaru
(8)
'Sri Basavi Setti
...
had the wall
round the
cloisters
twenty-four Tirtha-karas made.'(/!>. Carnal., Vol. n, no. 78
p. 62 ; Transl., p. 151.)
Koneri, son of
(9)
secure foundation
the
no.
central
i
;
street
...
and walls
Roman
BHITTI-GRIHA A
and the
Roman Text
erected a nava-ranga of 10
ankanas, with
for
the
(vajra-bhitti-gode)
god Tirumala of
of Malalavadi.'
Transl., p. 83;
;
I
(Ep. Carnal.,
Vol. iv,
Hunsur Taluq,
Text, p. 134.)
wall-house,
a small
closet
inside
the wal
resembling a cupboard.
(M., XL, 63, etc.)
382
HINDU ARCHITECTURE
BHITTI-SOPANA A
BHtf-PARlKSHA
kind of surrounding steps
made through a
wall.
(See Kautiliya-Artha-sdstra
under SOPANA.)
BHINDA-SALA A
kind of detached building with a balcony in
front, pandi-sala with a verandah in front (see PANDI-SALA).
(M., xxxv, 98
BHO-KANTA A
see
;
under SALA.)
class of storeyed buildings.
A class of eight-storeyed buildings. (M.,
A class of the ten-storeyed buildings.
xxvi, 3-20; see under PRASADA.)
(M.,
xxvm, 6-8
;
see
under
PRASADA.)
BH0TA-KANTA A
class
of the five-storeyed buildings.
(M., xxni, 13-15
BHO-DHARA A
(1)
(2)
Agni-Purdna (Chap, civ, vv. 19-20 see under PRASADA).
Garuda-Purdna (Chap. XLVH, vv. 29-30 see under PRASADA).
;
;
class
of the eight-storeyed buildings.
(M., xxvi, 22-28
BHO-PARlKSHA
or building
is
All the
site
and
soil
;
see
under PRASADA.)
where a
village,
town
have elaborate descriptions on the subject.
are similar in the treatises examined below.
Vdstu-sdstras
The
is
Testing the
constructed.
and
principles
house
under PRASADA.)
see
type of oval building.
BHOPA-KANTA A
(i)
;
details
The
of the plot, where a village, town, fort, palace, temple or
to be built, is examined with regard to its shape, colour, odour,
soil
and touch (M., in, 16-32). The elevation of the ground as
well as the luxuriant growth of certain plants, trees and grasses on the
ground are also examined (M., iv, 4-38). If a plot of land is found to be
satisfactory on all or most of these examinations, it should be selected for
feature, taste
a
village,
selection,
town,
it
fort,
or house, as the case may be. But even after this
to test the ground by some other ways.
would be wise
A
square hole of one cubit deep should be dug on the selected site and
be filled up with water. After 24 hours the chief architect should mark
the condition of the water in the hole. If
all
the water be dried
up by
this
taken to be very bad. But if, on the other hand, there
remains some water in the hole, the selected plot of land would be fit for
time, the earth
is
any building (M., v. 20-30).
Another final test is that a similar hole
up with the earth taken out of
it.
is dug on
the plot and filled
If this earth be not quite enough to fill
383
AN ENCYCLOPAEDIA OF
BHO-PARIKSHA
hole, the
up the
ground
is
taken to be very bad, but
stated to be very
if this
earth overfills
for
any building.- (M, v. 34-37.)
good
last two tests that in the former case, the
the
of
very
general import
land is avoided, while in the latter, very loose or sandy land is said to
the hole, the soil
is
The
dry
be unfit for the construction of a building.
vv. 96, 97
LIII,
(2) Brihat-Samhita, Chap.
A.
S.
Bengal,
New
(ed.
Kern, Bibliotheca hd.
and 73).
bhumih
Series, nos. 51, 54, 59, 63, 68, 72
vipradmam prasasyate
Gandhas cha bhavati yasya ghrita-rudhirannadya-madyasamah
Kusa-yukta sara-bahula durvakasavrita kramena mahi
Sita-rakta-pita-krishna
|
I
I
Anuvarnam
vriddhi-kari madhura-kashayamla-katuka cha
and then compare the last line of the verse
II
w. 85-94
95
Tat tasya bhavati subhadam yasya cha yasmin mano ramate
In general the soil (ground) will be suitable to any one whose mind
See also
:
I
'
pleased with
Compare
(3)
is
it.'
quoted f om
also the eleven lines
:
Garga by the commentary of Brihat-Samhitd, which are again quoted
by Dr. Kern.
'
(4)
The Visvak
same
contains the
(i, 61, sqq.)
rules,
but in other
words.'
(5)
Raz
Part of the corresponding passage from Kasyapa
is
Ram
quoted by
(Arch, of Hind., p. 17.)
(J.R.A.S., N. S., Vol. vi, p. 295, note 2.)
Vdstu-Ratandvall (a compilation, ed. Jivanatha Jyotishi, 1883, PP- 8, 10)
:
(6)
(7)
On colour of ground, quotation from Vasishtha-sariihitd
Sveta-sasta dvijendranam rakta bhumir mahi-bhujam
ViSarh pita cha s"udranarii krishnanyesham vimisrita
:
From
the
Vdstu-pradlpa
I
||
:
Sukla-mritsna cha ya bhumir brahmani sa prakirtita
Kshatriya rakta-mritsna cha harid-vai^ya prakirtita II
I
Krishna bhumir bhavech chhudra chaturddha pariklrtita
On taste, from Mrada
II
:
(8)
Madhuram katukam
(9)
On
(10)
On
tiktam kashayam cha rashah kramat
smell, from the Griha-kdrikd
1
1
1
1
:
Ghritasrig-anna-madyanarh gandhas cha kramaso bhavet
declivity, from Bhrigu
:
Udag-adi plavam ishtam vipradinam pradakshincnaiva f
Viprah sarwatra vased anuvarnam atheshtam anyesham iti
I
Gangadhara, i, 22-23)
Sveta bramhana-bhumika cha ghritavad-gandha susvadinl
Ratka sonita-gandhini nripati-bhuh svade kashaye cha sa
(it) Silpa-dlpaka (ed.
\
:
384
I
II
HINDU ARCHITECTURE
BHOMI-(KA)
Svade'mla tila-taila-gandhir udita pita cha vaisya-mahi
Krishna matsya-sugandhini cha katuka sudreti bhu-lakshanam
I
Bhavishya-Purana (Chap,
(12)
Ishta-gandha-rasopeta
cxxx, vv. 42-44)
nimna bhumih
1
1
:
prasasyate
Sarkara-tusha-kesasthi-kshararigara-vivarjita
1
I
1
Megha-durhdubhi-nirghosha sarva-vija-prarohim
Sukla rakta tatha pita krishna kathita kshitih II
I
Dvija-rajanya-vaisyanarh sudranam cha yatha-kramat
follows the examination proper of the soil (vv. 44-45).
pit
I
A is dug
with
the
and
filled
sand
which
is
taken
out exactly
ground
up
in the same way as in the Mdnasdra. The quality of the soil varies from
best to worst as the sand is in excess, equal and less in filling up the pit.
Then
in the
BHtJMA
(see
A
TALA)
storey, a floor.
Eka-bhumaih dvi-bhumarh va kshudranam bhavanam nnnam
vm,
(Silpa-sdstra-sdra-samgraha,
I
29.)
BHOMI-(KA) (see TALA) Earth, ground, soil, a place, a region
a spot, a site, a situation, a storey, the floor of a house.
(1) In the Mdnasdra a chapter (xi) is named Bhumi-lamba which describes the dimensions of different storeys
Bhumi-lamba-vidhirh vakshye
Uktam
hi
:
sastre
sarhkshepatah kramat
bhumi-lambam syad ekanta-bhumikam
Etad dva-dasa-bhumy-antarh janmadi-stupikantarh syat
(M.,
(2)
I
I
I
xi, i, 5,
125, etc.)
Kshatriyadeh pancha-bhumir dvijanam raga-bhumikam
I
(Silpa-saslra-sdra-sarhgraha, vin, 30.)
(3) Vimano'strl deva-yane sapta-bhumau cha sadmani
(Nigantu
;
I
Ramdyarja under VIMANA.)
see
(4)
Sapta-bhaumashta-bhaumas cha sa dadarsa mahapurlm
(5)
Ekaiva cha bhumika tasya syad eka tasya cha bhumika
(Rdmayana, v. 2, 50
Sata-sringas
chatur-dvaro
see also vi, 33,
8.)
I
see Kasyapa, quoted by
Kern, J.R.A.S., N. S., Vol. vi, p. 320.)
bhumika-shodasochchhritah
(Brihat-Samhita, LVI, 23
(6)
;
I
;
I
(Matsya-Purdna., Chap. CCLXIX, v. 31
see also
(7)
Raja-kanyam
.
.
.
w.
sapta-bhumika-prasada-pranta-gatam
(Pafichatan'ra, ed.
(8)
A
pp. 12,
floor
1
(Bheragha
inscrip. of
385
I
Bombay,
Alhanadevi, v. 27, Ep.
6.)
;
37, 38, 39, 40, 42, 43, 44, etc.)
i,
Ind.,
p. 38.)
Vol.
n
AN ENCYCLOPAEDIA OF
BHCMI-LAMBA
BHUMI-LAMBA
The
height of a storey according to the Kdmibelow) and the Mdnasdra the term implies the dimen;
kagama (see
sions of storeys.
The
of breadth in the smallest type of one-storeyed buildings are 2, 4, 6, 8 and 10 cubits and the five series of length are 3, 5, 7, 9,
and 1 1 cubits. In the intermediate type the five series of breadth are 5,
(1)
five series
;
and the
7, 9, ii
and 13
cubits.
In the largest type the five series
and the five series of length are
cubits
of length 6, 8, 10, 12 and 14
of breadth are 6, 8, 10, 12 and
series
five
14 cubits
7, 9,
n,
13
and 15
cubits.
(M.,
All the twelve storeys are in this
xi,
6-12.)
way measured separately.
(M.,
13-125.)
xi,
to be the dimensions in the Jati class of buildings.
Three-fourths, half and one-fourth of these dimensions are prescribed,
for the Chhanda, Vikalpa and Abhasa classes respectively.
These are stated
Chatur-amsadi-samsthanam bhumi-lambam
(2)
iti
smritam
I
(Kdmikagama,
Then
teen
'
I.)
follow the dimensions of the storeys from one to twelve and
w. 2-34). The five proportions of the height of storeys, as
six-
(ibid.,
'
means, are given under the same five technical names as
Mdnasdra, viz., Santika, Pushta, Jayada, Adbhuta, and Sarva-
bhumi-lamba
the
in
L,
The Jati, Chhanda, Vikalpa and Abhasa classes
(vv. 24, 25-28).
of buildings are also distinguished (vv. 9-13).
kamika
Varahamihira
describes the height, etc. of the buildings of the
ministers
and others (Brihat-Samhitd, LIII, 4-26). But the
Brahmans, kings,
rule
about
the
height of the storey (bhumika) is also given (Brihatgeneral
(3)
Samhita, LVI, 29-30)
:
Bhumikangula-manena
mayasyashtottaram
Sardham
chaiva kathitarh
Prahuh
hasta-trayarh
sthapatayas chatra
matam ekam
satam
visvakarmana
I
vipaschitah
1
1
I
Kapota-pali-samyukta nyuna gachchhanti tulyatam
is of 108 digits according to Maya, but Visvakarman
it to be of three cubits and a half (i.e. 84 digits). As to this,
pronounces
II
'
A
storey's altitude
however, able architects have declared that (in reality) there is no discrepancy of opinion, for, if you add the height of the crown-work (kapotaDr. Kern.
pali) the smaller number will equal (the greater).'
BHO-MUKHA A
type of oval building.
(Garuda-Purdna, Chap. XLVII, vv. 29-30
see
386
;
under PRASADA.)
HINDU ARCHITECTURE
BHUSHANA A
BHOSHANA
of storeyed buildings, a
moulding, a type of
pavilion, articles of furniture, ornaments.
class
A type of oval building (Agni-Purdna., Chap, civ, vv. 19-20
PRASADA.)
class of the nine-storeyed buildings
(M., xxvn, 13-14
PRASADA.)
moulding of the column (M., xv, 93, etc.)
A
;
;
see
see
under
under
A
A
type
of pavilion
:
Devanarh cha maunartharh bhushanakhyam tu mandapam
(M,
Mdnasdra (Chap.
The
L,
named Bhushana
1-309)
I
xxxiv, 349.)
:
'
ordinary ornaments for the body are called anga-bhushana'
bahir-bhu1-44, 288-309) and the articles of house-furniture
'
(lines
shana, (44-288).
Ornaments are here divided broadly
four
into
classes,
namely,
Patra-kalpa, Chitra-kalpa, Ratna-kalpa and Misrita or Misra-kalpa
(lines 3-4). All these are suited to the deities. The emperor or Chakravartin can put on all these except the Patra-kalpa. The kings called
Adhiraja and Narenda can wear both Ratna-kalpa and Misrita. The
Misra-kalpa
is
prescribed for all other kings.
so called because it is made of leaves and creepers.
made of flowers, leaves, paintings, all precious stones
is
Patra-kalpa
Chitra-kalpa is
and other decorations.
jewels.
And
mixture of
the
all
The Ratna-kalpa
Misra-kalpa is made
others.
is
made
of flowers
and
of leaves, jewels and the
These four kinds are specially made for the
images of Gods and Kings only (line i).
The ordinary ornaments of the body include among others Padanupura (anklet), Kirita (diadem), Mallika (a jasmine-like ornament),
Kundala
(ear-ring),
Kankana
(bracelet for the wrist),
(little-bells)
Tatanka
,
Valaya
(bracelet),
Karna-bhushana
(large ear-ring),
Karna
Mekhala
(belt),
Kara
(chain),
Siro-vibhushana (head-gear), Kinkini
(ear-rings,
etc.),
(ear ornament),
Keyura (armlet),
Chuda-mani (crest-
(little tiara), Nakshatra-mala (necklace of 27 pearls).
Ardha-hara (half chain of 64 strings) Svarna-sutra (gold chain worn
round the breast), Ratna-malika (garland of jewels), Chira (a pearl
jewel), Bala-patta
,
necklace of four strings), Svarna-kanchuka (gold armour), Hiranya-
malika (gold chain), Lamba-hara (long suspended chain), etc. The
like crown, etc. are described elsewhere.
The articles of house furniture include among others Dlpa-danda
ornaments
(lamp-post), Vyajana (fan), Darpana (mirror), Manjusha. (basket,
wardrobe, almirah,etc.), Dola (swing, hammock, palanquin, etc.), Tula
387
AN EWCTCLOPAEDIA OF
BHOGA
and Tula-bhara (balance), Panjara
(cage),
and Nida
(nest), etc., for the
domestic animals (except cows, horses, elephants, described elsewhere)
and birds (lines 45-288). The articles of furniture like car, chariot,
throne, bedstead, etc., are described elsewhere.
BHOGA A
of the single-storeyed buildings.
class
BHOGA-MANDAPA
The
MANDAPA)
(cf.
(M., XXXH, 55, etc.
'
The
meritorious
(Sangha) by the
'
gift
see
;
appur-
under MANDAPA.)
a dining-hall.
of a refectory (bhojana-matha) for the community
(Chaitra) of the gates (or of the Gata
Yavana Chita
(Junnar inscrip. no.
country.)
an
refectory,
enance of the temple.
BHOJANA-MATHA A refectory,
under PRASADA.)
see
(M., xrx, 167;
Arch.
8,
Surv.,
New
Imp.
Series,
Vol.
iv,
P- 94-)
BHAUMA
(see
BHUMI)
A
storey, the floor
of a house.
Dvadasa-bhauma, daga-bhauma, shad-bhauma, sapta-bhauma
I
(Brihat-Samhita, LVI, 20, 21, 22, 24, 27.)
BHRAMA
The enclosing cloisters, a covered arcade,
of
place
religious retirement, a monastic establishment.
The temple itself, with its
The court is surrounded by
'
enclosing cloisters (bhrama)
an enclosed
measures
.
.
.
(bharhti-bhrama) in which, besides
cloisters
three small temples on the north, south and west sides each in line with
the centre of the principal mandapa, there are the orthodox number of
fifty-two small shrines
(cf.
Prakara and Parivaralaya) each crowned by a
sikhara or spire.'
The
inner fagade of the cloister or bharhti (Skr. bhrama) is interrupted
only by the three small temples mentioned above, by the large entrance
porch on the east, and by smaller entrances on the north and south near
'
the east end.
The
corridor (alinda)
is
about nine
feet
wide
all
round and
is
by four steps above the level of the court.'
'
The entrance porch on the east projects considerably and is flanked
'
inside by stairs, in line with the bharhti (bhrama) on each side
.
raised
.
(Ahmadabad
Arch.
Burgess,
Arch.
New
Surv.,
Imp.
Series,
Vol.
.
xxxm,
pp. 87, 88.)
BHRAMANA
(see
PRADAKSHINA)
A
surrounding
terrace,
an en-
closing verandah, a circular path.
Sikharasya tu turyyena
bhramanam
parikalpayet.
(Agni-Purana, Chap. XLII, v. 12, etc.)
388
1_
OUT LINE PLAN RHADRA
BHADRA
BHRAMA DANDA
PLAN
BRAHMA MASTAK9
BHRAMA.
Pant 3SS
HINDU ARCHITECTURE
BHRAMA-DANDA A
MAftGALA
kind of post for a large fan.
(M.,
BHRAMALINDA A
104
L,
see
;
under VYAJANA.)
surrounding balcony 01 terrace.
etc.
(M., xxxiv, 304, 497,
see
;
under ALINDA.)
M
MAKARA-KUNDALA A
crocodile-shaped ornament for the ear
of an image.
(M.,
MAKARA-TORANA
(see
An
TORANA)
LI,
53
;
under BHUSHANA.)
see
arch marked with makara
(an animal-like shark or crocodile).
Dvayor makarayor vakraih Saktarh madhyama-puritam
Nana-vidha-lata-yuktam etan makara-toranam
1
|
1
(Kamikagama,
For the
LV,
65.)
an arch, see Annual Report of Arch. Survey of India
Mdnasdra (Chaps. XLVI, XLVIII) and Suprabhedagama
details of such
(1903-04, p. 227
f.),
(xxix, 68-72) under TORANA.
MAKARA-BHtJSHANA An
ear-ornament.
(M.,
MAKARAPATRA An
L,
26
;
see
under BHUSHANA.)
ornament of an arch generally above the
column.
Tad-urdhve
makarapatra-sarhyutam
toranasyante
I
(M., xv, 133.)
MAKARALA An
architectural
member of a
hall.
(M., xxxv, 373
MAKARl-VAKTRA
ornament
for
The
face of a female shark,
;
under
see
employed
ALA.)
as
(M, xv,
MAKUTA A
MAN GALA A kind
throne.
A village
A
136.)
head-gear, a diadem, a crown.
(M., vn, 164'; xn, 120
A
an
an arch above a column.
(Af.,
of throne, a village, a
XLV, 4;
see
;
XLDC, 15
;
LIV 23, etc.)
type of pavilion.
under SI&HASANA.)
see under AGRAHARA^
(Kamikagama, xx, 3
type of pavillion (M., xxxiv, 481-448 see under MANDAPA.)
.
;
;
389
AN ENCYCLOPAEDIA OF
MANGALA-VITHI
M AftGALA-VlTHI
also called Raja-vlthi
A
broad road surrounding a village or town,
and Ratha-vithi.
Kamikagama, under RAJA-VITHI.)
(See
MAJJANALAYA A detached
building for bath or washing.
(M., XL, 103.)
A
bedstead, couch, bed, sofa, a chair, throne, a platform, a pulpit, a loft.
A synonym of the
bedstead (M.,
in,
n), of the entablature
(M., xvi,
18.)
Mancha-paryanka-palyankah
katvya-samah
I
Palyanko mancha-paryanka-vrishl-paryastikasu cha
(Amarakdsha,
In connexion with buildings of one to twelve storeys
Adhishthana-samarh manchardhe'rdhena vapra-yuk
Medini
Iti
I
2,
3,
I
138.)
:
I
(Af.,xxi, 14, etc.)
A
A
component part of the bedstead (M., XLIV,
platform
86).
:
two-tenths of it for the formaDaSa-bhagau dvau pratimanchau
tion of two platforms, opposite to each other.'
(Kaulillya-Ariha-sastra,
'
Chap, xxrv,
p. 53.)
MAftCHA-KANTA A
class
of the four-storeyed buildings.
(M., xxii, 47-57
see
;
under PRASADA.)
MA^CHA-BANDHA A class of bases
differ
from one another
in
height and
comprising four types which
in the addition or omission of
some mouldings.
(M., xiv, 127-149
see
;
the
lists
of mouldings
under ADHISHTHANA.)
MAftCHA-BHADRA One
of the three classes of pedestals, the
other two being Vedi-bhadra and Prati-bhadra. It has four types
differing from one another in height and in the addition or omission
of some mouldings.
(M., xiu, 93-127
;
see
the
lists
of
mouldings under UPAPITHA.)
MAftCHALl
-A
synonym of the bedstead.
(M., in, ii
39
;
see
under PARYANKA.)
MANJOSHA
Page 390
MATHA
HINDU ARCHITECTURE
'
(12)
Had
matha
a
the Govi-matha.'
Roman
Text, p.
built
(matha
(Ep. Carnat., Vol.
in,
for
kattiSi)
Siva-Basappa-Svami of
Mysore Taluq,
no. 24
;
Transl., p. 3
;
7.)
On my king (i.e., husband) going to Svarga, having caused to
be erected a matha in Kalale and attached it to the great palace, Kurah'
(13)
and Sambhupura are granted
atti
The
to Siva.'
Vol.
in,
peculiarities of this
an endowment for it,
matha should be noted.
as
an offering
as
(Ep.
Carnat.,
Nanjangud Taluq, no. 81 Transl., p. 103 Roman Text, p. 196.)
Having erected a matha (Sattra or alms-house) for the distribution
;
;
'
(14)
of food to those
guru
to take
up
who come
to the car-festival of the god.
his residence in the king's
.
.
,
caused his
matha
building which belongs to a house and is
accommodating the guests) to conduct the
(a detached residential
intended for receiving and
worship of Chandraiekhara
matha
or
in
a
installed
be
temple which, however, does not
(who might
occur in the present inscription) and to minister to the Jangamas, and give
shelter and food to mendicants and pilgrims, ... in order to meet all the
made a
expenses of the same
Hunsur Taluq,
no. 104
;
grant of Haranahalli.'
Transl., p. 93
;
Roman
'
meanings of the term
in the above passage should be noted.
The
different
(Ep. Carnat., Vol. iv,
Text, 15.)
matha
'
noted within brackets
'He had the stone-fort built, together with the matha, mantapa,
'
.
.
well
.
pond,
1
In the evening-matha (sandhya-matha) he set up the image of the god
and built the pond.'
(15)
'
He
caused the stone-fort to be
built,
evening-matha (sandhya-matha), pond,
(Ep. Carnat., Vol. v,
images of gods.'
and
well,
set
up the matha, mantapa,
pillar,
swing and
Basava
Part
i, Channarayapatna Taluq, nos.
196,198; Roman Text, pp. 450, 451, 454.)
mathe
(16) Sri-Sankaracharya-vinirmite lasat-simhasane dharmamaye
158, 160, 165; Transl., pp.
subhah
.
.
195,
.
He made
petition at the feet of Vidyaranya Sri-pada, representing
that in Sringapura, in (connexion with) the dharmapitha (or religious
throne) established by Sankaracharyya, there must be a matha and
'
(Ep. Carnat., Vol. vi, Sringeri Jagir, no. II
agrahara.'
line 12
f.
;
;
Roman
Text, p. 195,
Transl., p. 95, last para.)
mentioned in no. 1 3 and is called Sri-matha in nos. 25,
26 and 31.
matha, Mr. Rice gives a history and says that 'the
head of the Sringeri matha is styled the jagad-guru or the guru of the world
and is possessed of extensive authority and influence. He wears on ceremonial occasions a tiara like the Pope's, covered with pearls and precious
stones
and a handsome necklace of pearls, with an emerald centre
But no architectural details are given.
piece.' (Introd., p. 24, para. 2.)
This matha
is
Of
.
.
.
this
,
393
AM ENCYCLOPAEDIA OF
MANIKA
'This temple is a Brahma-chari-matha. (Ep. Carnal., Vol. vn,
Roman Text, p. 248,
Transl., p. 140, line 7
Shikarpur Taluq, no. 242
(17)
;
lines
;
20-21.)
matham etat karitam Sri-Narayana(18) Vinitesvara-matha-samavesarh
matha
the
this
of
deva-kula of Narayana, near the
built
devakulasya
'
of Vinitesvara.'
temple
Ep. Ind., Vol.
ix,
(MundesVari
of Udayasena,
inscrip.
lines
5,
6
;
pp. 219-290.)
MANIKA A water-jar,
A
a class of buildings.
of buildings which are oval in plan and sub -divided under the
class
following
names
(i)
:
Gaja,
nayaka,
dhara
(6)
Vrishabha,
(2)
Bhushana,
(7)
(3)
Harhsa,
Bhu-dhara,
Garutman,
Srijaya, and
(4)
(8)
Riksha-
(5)
Prithivl-
(9)
:
(2)
Agni-Purana (Chap, civ, v. n, 19-20 see under PRASADA).
Garuda-Purana (Chap. XLVII, vv, 29-30 see under PRASADA).
Cf.
Rock
(1)
;
;
inscriptions at
Mulbe
(no. iv, Ind. Ant.,
Vol. xxxv, pp. 79, 80).
MANI-GRAMA A
(Note on Tamil Inscriptrading corporation.
tion in Siam, E. Hultzsch, J. R. A. S., 1913, pp. 337-33Q.
1
)
MANI-DVARA A
kind of top door or window.
Uparishtat trayarhSarh tu chatvarardhariisam dvi-parsVayoh
Tesharh madhye tu yad dvararh mani-dvaram ihochyate
I
1 1
(Kamikagama, LV, 43.)
MANI-BANDHA An ornament for
the wrist, a string of pearls, the
collet.
Prakoshthe valayarh chaiva mani-bandha-kalapakam
I
(M., L, 16.)
Mani-bandha-katakam va mauktika-chudam eva cha
I
(M., LIV,
Prakoshtha-valayarh
chaiva valayair
(Ibid.,
MANI-BHADRA
MANI-BHITTI
(see
The
14.)
mani-bandhakaih
99, etc.)
A
pavilion with 64 columns.
(Suprabhedagama, xxx, 101, 103 ; see under MANDAPA.)
MANDAPA)
residence of the great serpent (Sesha-naga).
MANI-BHU-(MI) A floor inlaid with jewels.
MANI- MANDAPA A jewelled pavilion, the residence
of the great
serpent (Sesha-naga).
MANI-HARMYA An
mansion.
(See
upper storey, a crystal palace, a jewelled
Artha-tastra under GRIHA-VINYASA.)
394
MANIKA.
MANI DVARA
MAMI-DVARA.
394
MANDAPA
HINDU ARCHITECTURE
MANDAPA A
detached building, a pavilion, an open hall, an
a
corridor
arbour,
(M., xxxiv, 406, 409, 414, etc.), a tower, a temple,
the auditorium in a theatre (Bharata-Natya-sdstra, n, 7-8, 22 ;
see details
under NATYA-GRIHA(VESMA).
Atha mandapo'stri janasrayah
(Amarakosha, 2, 2, 9.)
the roofing is formed of large
walls
are
not
furnished
with
Mandapas
slabs of granite supported by monolithic pillars.
(D. A. lyengar, p. 20.)
The resting place where the gods are every year (occasionally) carried.
I
'
;
'
'
The most
which
is
celebrated part of the temple of Madura
(Ibid., p. 38.)
only a vast corridor.'
between
Difference
Mandapa and
is
the
Pudu mantapam
Sabha (M. xxxiv, 559-562)
the former having a pent-roof, and the latter pinnacled
(i.e.
:
spherical roof).
Mdnasdra (Chap, xxxiv, 1-578, named Mandapa)
Mandapa generally means a temple, bower, shed or hall.
term has been used in three technical senses in this chapter.
:
(i)
It implies in the first place
a house in the
But
village, etc., or built
the
on the
secondly, the detached buildings in a
compound which is generally divided into five courts (see PRAKARA) But in
the most general sense, it implies various sorts of rooms in a temple or residential buildings. The most part of this long chapter is devoted to a description of these rooms.
bank of a
sea, river,
tank or lake
;
.
Mandapas
are both temples
and
residential buildings
:
Taita(-ti)lanam dvi-jatlnam varnanam vasa-yogyakam
The general comparative measurement of the mandapas is discussed at
the beginning. This is followed by the measurement and other descripI
tions of
and
(v)
(ii)
the bhitti (wall),
the form of the
Seven mandapas
edifice (line 157).
(iii)
balcony (alinda),
mandapas
(iv)
are, as stated, built in front of the
They
prapa (alms-house),
(lines 3-4).
prasada or the main
are technically called Himaja, Nishadaja, Vijaya,
Malyaja, Pariyatra, Gandhamadana and Hema-kuta (lines 163-156).
Various parts of these, such as walls, roofs, floors, balconies, courtyards,
doors, windows,
"pillars,
etc.,
are described in detail
(lines
166-175).
Besides these seven, various other mandapas are also described in accordance with their architectural details and the various purposes for which
they are built.
Meruja mandapa is for the library-room (line 161), Vijaya for wedding
ceremonies (line 163), Padmaka for refectory or kitchen of gods (line 174),
Sicha for ordinary kitchen (line 175), Padma for collecting flowers (line
Bhadra
water reservoir, store-house,
corn
unhusking paddy
(line 197), Veda for
181),
for
etc.
(line
185), Siva for
assembly-hall (line
209),
Kula-dharana for keeping perfumes (line 262), Sukhanga for guest-house
(sattra,) (1 ne 272), Darva for elephant's stable, and Kausika for horses'
395
AN ENCYCLOPAEDIA OF
MANDAPA
on the bank of a sea, river, lake, etc.,
are for the pilgrimage of gods (line 281), Jayala and others for summer
residence (line 294). Some mandapas are made for banishment (see below),
some for bedrooms of queens and others. Dhanada (line 328), Bhushana
Saukhyaka and others
stable,
(lines 349, 366),
Kharvata
built
Drona
(lines 455, 472),
(lines
423-434), Sri-
are described under these terms.
Mangala (line 488), etc.,
plan, ornaments, etc., of mandapas are described in detail.
description of the forms of mandapas is given (lines 549-557). The mandapas
rupa
(line 480),
A
The
(rooms) of temples and of the houses of the Brahman as should have the
Jati shape ; the Chhanda shape is given to the mandapas of the Kshattriyas, the Vikalpa shape to those of the VaiSyas, and the Abhasa shape to
those of the Sudras. But according to some, these four classes are also
based on the form of the Bhadra (portico).
The mandapas of two
faces are called
dandaka, of three faces svastika,
the latter one having also the plough shape the mandapas of four faces
are known as chatur-mukha, of six faces maulika, and of five faces sarvato;
bhadra
A
(lines
554-556).
mandapas in a village or town is also given
558-572). Their principal members are stated to be the lupa (pent-
short description of the
(lines
roof), prastara (entablature),
and kuta (dome),
etc.
(roof), sabha (council hall),
are also built on the roadside and at
prachchhadana
Mandapas
other places.
All the mandapas mentioned above are separately described as they
belong to a temple or to the houses of the Brahman as, the Kshattriyas, the
VaiSyas, and the Sudras respectively
Cf. the following :
(cf.
lines
571-578).
The detached buildings or attached halls for various purposes
Some bhallata-mukhye cha kalpayet kosa-mandapam
:
I
Pushpa-dante sukarau cha Sastra-mandapa-sarhyutam
Varune vasure vapi vastu-nikshepa-mandapam
Nage vapi mrige vapi deva-bhushana-mandapam
I
I
I
A(a)ditau choditau vapi sayanartharh cha mandapam
Asthana-mandapam chaiva chatur-dikshu vidikshu cha
Snapanartharh mandapam snana-mandapam eva cha
Griha-kshate yame vapi vahana-sthana-mandapam
I
I
I
I
Maryadi-bhittikasyantam
mandapam pavanalayam
(M., xxxii, 68-76.)
Dakshine
nairriti
vapi bhojanartham tu
mandapam
I
Vayavyena dhanangamse pushpa-mandapa-(m) yojayet
Tat-tad-bahya-pradese tu kaya-Suddhyartha-mandapam
Vayavye nairrite vapi sutika-mandapam bhavet
I
I
I
(M., XL, 98, 102, 104, 105.)
396
!
HINDU ARCHITECTURE
The
height
MANpAPA
:
Mandaparh nava-talam kuryad ...
I
(M.,
ISanadi-chatush-karne matharh va
mandapam
tu va
xi,
(M.,
Mandapadi cha bhupanam vesma kuryat tu purvavat
rx, 138.)
I
(Ibid.,
In connexion with columns
Prasade
144.)
I
445.)
:
mandape vapi prakare gopure
tatha
|
(M., xv, 433.)
Cf.
(M., xxxvi, 34), v(b)alalokana-mandapa
Ayuda-mandapa
(ibid.,
line
48), vivaha-mandapa (line 49), vastrachchhadana-mandapa (line 50),
vidyabhyasartha-mandapa (line 53), tailabhyarigartha-mandapa (line 54),
asthana-mandapa (line 55), vilasartha-mandapa (line 56), dhanya-karshana-
mandapa
(line 69),
pushpa-mandapa
nityarchana-mandapa
74),
Some mandapas
(line 71),
mitya-yogya-mandapa
(line
etc.
(line 79),
are stated to be furnished with 100 or 1,000 columns
vatha
Sata-pada-yutam
sahsranghrika-mandapam
:
I
(M., xxxiv, 240.)
(2)
Bandha-sthanam bahih kuryat snana-mandapam eva cha
I
(Matsya-Purana, Chap. CCLVI, v.
va
Prasadasyottare vapi purve
mandapo bhavet II
Chaturbhis toranair yukto mandapa-(h) syach chatur-mukhah
(Ibid.,
'
It
The mandapa should be
(lit.
13,
II
15.)
north or east of the temple.
faces (facades) and be furnished with four arched
should have four
gateways
Chap. CCLXIV, vv.
35.)
built to the
arches).'
Athatah sarhpravakshyami mandapanarh tu lakshanam
Mandapa-pravaran vakshye prasadasyanurupatah II (i)
Vividha mandapah karya jyeshtha-madhya-kaniyasah
Namas tan pravakshyami srinudhvam rishi-sattamah II
I
I
Then
follow the
according to the
one having 64
(i)
dana,
number of columns they
(5)
(2)
(17)
Pusha-bhadra,
Kausalya,
(6)
(9) Srivatsa, (10)
(13) Yajna-bhadra,
(21)
are furnished with, the largest
and
pillars, the next 62, one following 60,
Pushpaka,
Jayabaha,
(22)
Vijaya,
Sirhha, (26) Syama-bhadra,
Suvrata,
(19)
(27)
397
so
on
(4)
:
Amritanan-
Gajabhadra,
(8)
(11) Vastu-kirti, (12) Srutirhjaya,
Manava,
Karni-kara,
(23)
and
(7)
(15) Suslishta, (16)
Nandana,
Harita,
(3)
Buddhi-samkirna,
(14) Visala,
Bhaga-pancha, (18)
Sugiiva,
(2)
names of twenty-seven mandapas. They are divided
(20)
(24)
Subhadra.
Satru-mardana,
Mana-bhadraka,
Satardhika,
(25)
AN ENCYCLOPAEDIA OF
MANDAPA
The
mandapas are given next
Tri-konarh vrittam ardhendum ashta-konarii dvir-ashtakam
Chatush-konam tu kartavyam samsthanam mandapasya tu II
plans of
:
I
(Matsya-Purana, Chap. CGLXX,
vv. i, 2, 3-6, 7-15, 1 6.)
(3)
Bhitter dvaigunyato vapi karttavya
mandapah
kvachit
I
(Garuda-Purana, Chap. XLVII, v. 37.)
Prasadasyagratah kuryan mandapam das"a-hastakam II
Kuryad dva-dasa-hastam va stambhaih shodasabhir yutam
Dhvajashtakais chatur-hastarh madhyc vedim cha karayet
(Ibid.,
(4)
Mandapam
Description of
carving hand
its
paintings
I
manoramam
II
(2)
:
na vidus tattvato janah
Kvachit sirhhah kvachid-dhamsah sarasas cha maha-prabhah
Kvachich chhikharhdinas tatra kritrima sumanoharah
Jalam kim nu sthalam
1
Chap. XLVIH, vv. 4-5.)
Ahuya visva-karmmanam karayamasa sadaram
cha suvistlrnarh vedikabhir
I
1
tatra
I
1 1
(6)
I
Tatha nagah kritrimas cha hayas chaiva tatha mrigah
Ke
satyah ke asatyas cha sarhskrita visva-karmana
Taithaiva chaivarh vidhina dvara-pada-bhutah kritah
II
(7)
II
(8)
I
Ratha rathi-yuta hy-asan kritrima hy-akritopamah
Sarvesham mohanarthaya tatha cha samsadah kritah (13),
Evambhutah kritas Lena mandapo divya-rupavan II (20)
I
I
etc.
(Skanda-Purdna, Mahesvara-khanda-prathama,
Chap, xxiv, vv. 2, 6, 7, 8, 13, 20 ; for
further description
Rathasyesana-dig-bhage salarh kritva susobhanam
Tan-madhye mandapam
(Ibid.,
(5)
kritva
vv. 36-67.)
see
I
vedim atra sunirmalam
II
Vaishnava-khanda-dvitiya, Chap, xxv,
Eka-dvi-tri-talopetam chatush-pancha-talam tu va
1
v. 26.)
1
Mandaparia tu vidhatavyam salanam agra-desake
II
(Kamikagama, xxxv, 96,
(6)
Mandapas implying
temple
the detatched buildings
g6<z.)
and forming part of a
(Suprabhedagama, xxxv, 94-104).
Measurement
as
compared with the temple
:
Prasada-lakshanarh proktam mandapanam vidhirh srinu
Prasadardharh mukhayamam vistaram samam uchyate
II
(94)
I
Tri-padarh va
mukhayamam
sardharh
398
mandapam
uchyate
II
MANDAPA
HINDU ARCHITECTURE
Classification
:
Devata-mandapam purvaih dvitiyam snapanarthakam
Vrishartham
pam
II
mandapam paschach chaturtham
I
nritta-manda-
(96)
Description of these four classes of
mandapas
Devata-pratima-rupa(-am) sthapitarh deva-mandapam
Kalasa-sthapanam yatra proktarh snapana-mandapam II
Vrishabha-sthapitam yatra vrishabha-mandapam tatha
:
I
Nrittam yatra kritarh
(97)
I
nritta-mandapam eva tu II (98)
Gopure'tha vayavye'pi vayavye vikritam tatha
Evarh chatur-vidheshv-anya-niandapaih chagrato bahih II (99)
tat tu
I
Their names
:
Tesharh namani vakshyami srinu vatsa samahitah
Nanda-vrittam sriya-vrittam virasanam cha vrittakam
I
Nandyavartam mani-bhadram
Their characteristic features
visalarh cheti kirttitam
(100)
II
I
:
chatush-padam shodasam sripratishthitam
Virhsati-stambha-samyuktarh virasanam iti smritam
Nanda-vrittam
II
I
jaya-bhadram iti kathyate
Shat-trimsad-gatra-sarhyuktarh nandyavartam iti smritam
Chatuh-shashti-samayuktarh stambhanam mani-bhadrakam
Dvatrirhsad-gatra-samyuktam
II
I
Stambhanam
tu satair yuktarh visalam
iti
samjnitam
Prasada-vat samakhyatam prastarantarii pramanatah
II
I
II
(104)
(Suprabhedagama, xxxv, 94-104.)
Then
follows
an account of these columns
(ibid.,
vv. 105-108
;
see
under
STAMBHA).
Kautiliya-Artha-Sdstra
(Chap, xxn, p. 46, footnote)
(7) Ardha-gavyuta(-ti)-tritiyan
ar-gramantara-rahitam
:
mandapam
(Rdyapasenl-sulra-vydkhydne, p.
(8)
Mandapani dura-sthala-simantarani
I
206.)
I
(Prasna-yydkamna-sutra-vyakhydne, p. 306.)
(9) See
the
Prasasti
first
of Baijnath
Ep.
(v. 29,
Ind.,
Vol.
i,
p. 106),
also the second Prasasti (v. 25, pp. 114, 117).
(10)
Somesvaraya tan-mandapam uttarena
of the temple of Somesvara.'
v. 40, Ep, Ind., Vol.
(11)
v.
19,
A
i,
pp.
'
to the north of the hall
(Chintra Prasasti of the reign of
hall for the supply of water (inscrip. of
Ep. Ind., Vol.
i,
Sarangadeva,
284, 276.)
pp. 328, 330).
399
Chandella Viravarmanl
AN ENCTCLOPAEDlA Of
MANDAPA
A
(12)
inscrip., vv. 12,
(Harsha stone
chapel
Ep.
44,
Ind.,
Vol.
n,
pp. 121, 124, 126, 128).
Narayanasyayatanarh
yana together with the hall.
.
.
(13)
the temple of Nara-
saha mandapena
.
(Khalari Stone inscrip. of Haribrahmadeva,
Ep. Ind., Vol. n, p. 231.)
v. 10,
the temple of Somanath.
SomesVara-mamdapa
(14)
Prasasti, v. 23, Ep, Ind., Vol. n, p.
pattana
442
;
a hall.
(the Kanarese form)
(15)
Vol.
v.
Ind.,
in,
8,
II,
Ep.
pp.
37,
40.)
Devaraya
Mantapa
.
.
.
sukhaclam
sivasya
(16) Sri-valladhipates
vijayiti
nama
kritva
bhadrahvayarh
Deva-
440.)
Plates
of
mandapam
II
virachyya Sambhor
Bhadrakhya-mandapam(mum)
cha
(Satymangalam
mandapam ...
akarod bhadrahvyam
(Sridhara's
see also v. 10, p.
nidravasana-
|
Chakre cha Nayaka-sivalayam asya parsve srl-jnana-murttir atisampadi-valla-puryyam
II
(Bilvanathesvara inscrip. of Virachampa,
vv. i, 2, 3, Ep. Ind., Vol. HI, pp. 70, 71.)
(17)
Dhama, Mamdira, Prasada and Bhavana
for temple or mandapa.
(Ganapesvaram
Ep. Ind., Vol. in, pp. 86-87).
(18)
Abhyavahara-mandapa
Sundarapandya,
'
(19)
v.
a
are used indiscriminately
of Ganpati, vv. 23-25,
inscrip.
dining
23, Ep. Ind., Vol. in, pp.
The immediate purpose
hall.
13,
'(Ranganath
inscrip.
of
16.)
of the Ranganatha inscription of Sundara-
pandya a description of his building operations at, and gifts to, the temple.
He built a shrine of Narasirhha (w. 2 and 10) and another of Vishnu's
is
both of which were covered with gold, and a
tower which contained an image of Narasirhha (v. 7). Further he covered
attendant Vishvaksena
gilt
(v. 8),
an achievement of
which he must have been specially proud, as he assumed, with reference
to it, the surname Hema-chchhadana-raja, i.e., the king who has covered
(the temple) with gold, and as he placed in the shrine a golden image of
Vishnu, which he called after his own surname (v. 3) He also covered the
the (original or central) shrine of the temple with gold
.
inner wall of the (central) shrine with gold (v. 22) and built, in front of it,
a dining-hall, which he equipped with golden vessels (v. 23) ...
... In
the god
the
(v. 20).
a golden ship
king
month of Chaitra he
For the
(v. 21).
celebrated the procession-festival of
of the gods sporting with Lakshmi, he built
last verse (v. 30) of the inscription states that the
festival
The
built three golden
domes over the image of Hema-chchhadana-raja
(v. 16) and over the hall which contained the
Hari, over that of Garuda
couch of Vishnu (v. 6).'
400
MANDAPA
HINDU ARCHITECTURE
'
The
following miscellaneous
(for articles of furniture)
gifts
natha are enumerated in the inscription
to
Ranga-
A
garland of emeralds (v. 4),
a crown of jewels (v. 5), a golden image of Sesha (v. 6), a golden arch
(v. 9), a pearl garland (v. n), a canopy of pearls (v. 12), different kinds of
:
(v. 13), a golden car (v. 14), a golden trough (v. 15), a
Garuda (v. 16), a golden under-garment (v. 17), a golden
of
golden image
aureola (v. 18), a golden pedestal (v. 19), ornaments of jewels (v. 24), a
golden armour (v. 25), golden vessels (v. 28), and a golden throne
golden
fruits
inscrip. of Sundarapandya, Ep. Ind., Vol. in, p.
(Ranganatha
(v. 29).'
(20) Krishnalayarh
mandapam
an abode of Krishna, an open
n.)
hall.
(Three inscrip. from Travancore, no. B, line 4
;
Ep. Ind., Vol. iv, p. 203.)
translated
(21) Asthana-sila-mandapa (not
by Hultzsch). (First Draksharama pillar inscrip., line 9, Ep. Ind., Vol. iv, pp. 329, 330.)
a temple
(v.
39)
Ghana-mantapa-vapra-saudha-ramyalayam
(alaya) adorned with a solid hall, a wall and a plastered mansion
(pp.
'
(22)
'
123, 114).
'
Sudha-liptam sila-mamtapam
43)
(v.
a plastered
of stone,
hall
(pp. 123, 114).
Vipulam
ramyarh
maha-mamtapam
'
(v.
44)
a
fine
large
hall,
123, 114).
(pp.
Ramyam maha-mamtapam
(v.
'a
47)
beautiful large hall'
(pp. 124,
5)-
Ghanam prasadarh nava-hema-kumbha-kalitam ramyarh maha-mamtahe presented a solid temple (prasada), adorned with nine
pam (v. 51)
'
golden pinnacles (kumbha), and a beautiful large hall, to the temple of
Hari (pp. 125, 115).- -(Mangalagiri pillar inscrip., Ep. Ind., Vol. vi, pp. 114,
'
II 5 ,
I24,_I25.)
(23)
Anandaika-niketanarh
jyotsnaughah khalu
bhuh
nayanayoh
s(s)asvan
manah-kairava-
visVakarmma-nipuna-vyapara-vaidaghdya-
|
marggah
Grishma-grasa-bhayatibhita-janata-sautlrya-durggalayo
II
kifttivijrimbhanasya jayina prottambhito mandapah
(Two Bhuvanesvara inscrip., no. i, of Svapnesvara, v. 29, Ep. Ind,, Vol. vi, p. 202.)
This inscription (Bhimavaram inscrip. of Kulottunga i) is en(24)
a pillar in the mandapa in front of the Narayanasvamin temple
on
graved
at Bhimavaram in the Cocanada division of the Godavari District.'
'
(Ep. Ind., Vol. vi, p. 219.)
(25)
Utsava-mamtapa
a festive
raya, v. 27, Ep. Ind., Vol. vi, pp.
hall.
(Kondavidu
inscrip. of
Krishna-
237, 231.)
contains
Sivamangalam of the North Arcot District
shrine,
a
rock-cut
of
consists
which
a Siva temple named Stambhesvara,
rock-cut
two
The
enclosure.
a
stone
and
of
two mandapas in front
it,
'
(26)
The
village of
401
MANDAPA
AN ENCYCLOPAEDIA
of the gate by which the shrine is entered bears the two subjoined
Besides, there are several Chola inscriptions on the walls of
inscriptions.
pillars
(Dr. Hultzsch. Ep. Ind., Vol. vi, p. 319.)
the enclosure.'
Madapo nava-gabha a nine-celled hall.
madapo a study. '(Kalre Cave
(27)
Patho
inscrip. no. 20, Ep.
Ind.,
Vol. VH, pp. 71, 72, 73.)
Srl-Kanchi-Jina-Vardhamana-nilayasyagre maha-mandapam samgitarttham achikarach cha silaya baddham samantat sthalam II
(28)
'
to be built, in front of the temple of the Jina-Vardhamana
for concerts and (caused to be)
Caused
at the prosperous Kanchi, a great hall
paved with stones the space all round.'
no. B, line 2, Ep. Ind., Vol. vn, p. 116.)
'
(29)
a
(Two Jaina
inscrip.
of Irugappa,
Two
buildings to be erected in the temple of Arulalanatha (are)
of one thousand pillars, a canopy of gems for (the image of)
mandapa
Mudivalanginan
Ep. Ind., Vol.
.
.
(Arulala-Perumal inscrip. of Prataparudra, line 8,
.
pp. 131, 132.)
vii,
(30) Sri-nara-simha-varma-nripatih
Sri-kovalure bhajan vasaiii visva-
jagan-nivasa-vapushah Sri-vamanasyakarot
Sailam sumbhita-sata-kumbha-vilasat-kumbham
I
maha-mandapam
prakaram para-malika-vilasitam muktamayim cha prapa(-bha)m
'
I
glorious prince Nara-simha-varman, residing in Srikovalura made
the god Vamana, in whose body the whole world abides, a great
The
for
of stone, resplendent with pitchers (kalasa or kumbha) of shining
a
surrounding wall, adorned with excellent buildings, and a canopy of
gold,
(Fourteen inscrip. at Tirukkovalur, no. K, of Rajendradeva, lines
pearls.'
mandapa
1-2, Ep. Ind., Vol. vn, pp.
145, 146.)
Dhara-giri-garbha-marakata-mamdape in an emerald pavilion
on the Dharagiri hill. (Dhara Prasasti of Arjunavarman, line 12, Ep. Ind.,
(31)
Vol.
vm,
pp. 103, 100.)
Tejahpala
(32)
iti
kshitimdu-sachivah
samjjvalabhih
sila-srenibhih
sphurad imdu-kumda-ruchiram Nemi-prabhor mamdiram
Uchchair mamdapam agrato Jina-(vara)-vasa-dvi-pamcha-satam
tatparsVeshu balanakam cha purato nishpadayamasivan II
I
The
minister Tejahpala, a moon on earth, erected the temple of the
shines by lines of stones as white as conch shells (and)
like
the
moon and jasmine flowers, a lofty hall (mandapa)
resplendent
'
Lord Nemi, which
is
in front (of
and a
Ep.
Ind.,
(33)
it),
seat
.
(balanaka)
Vol.
.
fifty-two shrines for the best of the Jinas
.
in the
vm, pp. 212,
front.'
(Mount Abu
on the
sides of
inscrip. no.
i,
218.)
Kamakshl-dharma-mandape
1 1
Pratyabdan dvija-bhukty-arttham bhagam ekam akalpayat
402
it
v. 61,
II
MANDAPA
HINDU ARCHITECTURE
'
Set apart one share for the yearly feeding of
makshi-dharma-mandapa.' (Madras Museum
21, 22, Ep. Ind., Vol. vm, pp. 311, 316.)
Brahmanas
Ka-
the
in
plates of Srlgiribhupala,
w.
'
the prime minister of king Maranjadaiyan,
Marangari
made this stone temple and ascended heaven (i.e., died) without conwho
secrating it.
Subsequently his brother Maran, Eyinan
.
.
(34)
.
.
.
.
attained to the dignity of prime minister, made the mukha-mandapa
(muga-maridapan) and consecrated (the shrine).' -(Two Anaimalai inscrip.,
no. ii, Ep. Ind., Vol. vm, pp. 320, 321.)
Mandapika
(35) Of-
(lit.,
a small pavilion)
SrI-Naddula-maha-sthane
:
Sri-Mahavlra-
Sri-Sarhderaka-gachchhe
masanuma-
devaya Sri-Naddula-talapada-sulka-mamdapikayam
sarh dhupa-ve(tai)lartham
I
Granted to the Jaina temple of Mahavlradeva in the Sanderak
gachchha, at the holy place (Mahasthana) of Naddula, a monthly (sum of
five drammas), (to be paid) from the custom-house in the grounds
(talapada'
svatala) of Naddula.'
For passages in which the term Mandapika occurs, compare,
Ep.
vol.i, pp, 114, 1-27 p. 173,
Ind.,
p. 175,
i,
19
mandapika)
p. 177,
;
i,
29 and
i,
p.
205,
inscrip., p. 158
'
,
1-6,
(Slyadoni-Satka-mandapika),
p. 179,
i,
Ind. Ant., vol. xiv. p. 10, col. 2
;
Journ. As. Soc. Beng., vols. LV, part
inscrip.,
30
f.,
The meaning
I,
7.
i,
p.
47
;
e. g.,
45
p. 262,
;
i,
3 (pattana-
(Sripathastha-mandapika)
iv, p. 48,
Sulka-mandapika occurs,
and 18.
and
e.
v.
g.,
;
in
;
Bhavnagar
Bhavnagar
11, 10, 15
of
Marathi mamdavl, a
custum-house.' Prof. Kielhorn.
(The Chahamanas of Naddula, no. A, Nadol
plates of Alhanadeva, lines 22-23, Ep. Ind., Vol. ix, pp. 66, 63, and note 8.)
(36)
.
.
.
mandapika
is
suggested by the
Vidadhe' sya mamdirc
mamdapam
Chakre'(a)kshaya-tritiyayam pratishtha
1 1
mamdape
dvijaih
II
(Chahamanas of Naddula, no. G., Sundha Hill inscrip. of
Chachigadeva, vv. 56, 57, Ep. Ind., Vol. ix, p. 79.)
kritina
devalayam karitam yugmarii
mamdapa-sobhitam cha purato-bhadrarh pratolya saha
(37) Deva-Sri-Sasi-bhushanasya
I
Kshetresasya tatha suralaya-vararh sphitam tadagam tatha bandharii
Kaudika-samjnakam bahu-jalam dirgharh tatha khanitam l|
(Ranker
inscrip. of
Bhanudeva,
v. 7,
Ep. Ind., Vol. DC, p. 127.)
(38)
Kamaniya-s"ila-stambha-kadambottambitamvaram
Visamkata-vitamkali-virajad rarhga-mamtapam
403
1
I
1
AN ENCYCLOPAEDIA OF
MANDAPA
'
a large rangamandapa raised on a collection of beautiful stone
and adorned with rows of spouts.' (Krishnapuram plates of Sada-
It is
pillars
w.
sivaraya,
55, 56, Ep. Ind., Vol. ix, pp. 336, 341.)
mamdapa karamyah Akshasamalapaniyah dama
pashana-itakayam ghatitah ...
(39) Pahini
karttavya
I
'
Pahini
and dama
(the
(?)
and
with stones
mandapa, aksha-sama
Chahamanas
of Marwar,
(The
constructed the
architect)
bricks.'
xni, Sanderava stone inscrip. of Kelhanadeva,
'
no.
f., Ep. Ind., Vol. xi, p. 48.)
of Marwar, no. xvn)
.
.
line 2
This inscription (the Chahamanas
on a pillar in the Sabha-mandapa of the temple of Mahavira.'
.
(40)
is
(?),
incised
(Ep. Ind., Vol. xi, p. 51.)
Abhinava-nishpanna-preksha-madhya-marhdape ...
(41)
Suvarnnamaya-kalasaropana-pratishtha krita
'
The ceremony of
I
I
placing a golden cupola on the newly
performances was carried out.'
made
hall, intended for dramatic
manas of Marwar,
no. xix, Jalar stone inscrip., lines
5, 6,
central
-(The Chaha-
Ep. Ind., Vol. xi,
P- 55-)
Tenochchair
(42)
bbodhi-mande sasi-kara-dhavalah sarwato manda-
pena kantah prasada esha smara-bala-jayinah karito loka-sastuh II
By him this beautiful mansion of the Teacher of mankind, who overcame the power of (the god) Smara, dazzling white as the rays of the moon
with an open pavilion on all sides, has been caused to be made at the exalted Bodhi-manda' (also called Vajrasana, the miraculous throne under
the Bodhi-tree at Bodh-Gaya, on which Buddha sat, when attaining Bodh'
or perfect wisdom.)
I. I., Vol. in, F. G.
C.
Canarese
inscrip.
Ind. Ant., Vol. xv,
(Bodh-Gaya
I.,
no.
inscrip.
of
Mahanaman,
no. 71, pp. 276, 278, 275
Bodh-Gaya
166,
;
inscrip. of
lines
10-11
Old'
Sanskrit arid
also
Mahanaman,
line
10
f.,
pp. 358, 359.)
'
There are several other inscriptions in the outer parts of the (Velur)
temple, viz., two on the pedestals of the two dvara-palakas in front of the
gopura, one on the left outer wall of the inner prakara, and five on the
(43)
floor of the
'
alarhkaramandapa.'
(H.S.I.I.,
Vol.
p. 127, first para.)
i,
We
the great assembly of Manimangalam,
being assembled,
without a vacancy in the assembly, in the large mandapa (of) the Brahma'
sthana in our village
(Inscrip. of Virarajendra I, no. 30, line 36,
H.S.I.I., Vol. m, p. 70.)
(44)
.
.
.
.
.
.
caused to be made the stone work of a
Brahmapriyan
of steps, with tiger's head at the bottom, for the abhisheka-mandapa
in the temple of Vanduvarapati Emberuman at Manimangalam
(Inscrip. of Rajaraja III, no. 39, H.S.I.I., Vol. m, p. 86.)
'
(45)
.
.
.
flight
'
.
.
.
karakhya-padma-karabhirama-nutana-omkaresvara-deva-sthanam
(46) Sri-kusala-mandapadi-yukta-rajaka-mala
I
404
MANDAPA
HINDU ARCHITECTURE
'
A
new Omkaresvara
temple, a lotus ornament to the earth ,
skilfully designed mantapas, etcetera, might be called a royal
beautiful
which with
lotus.'
its
Carnal., Vol.
(Ep.
'
This
i,
pp. 38,
f.,
61.)
the sacred marriage hall
(Kalyana-manclapa) built (on
(47)
the date specified) by Tirukkanam Ayya Mudeliyar's son Vedagiri Mudeliyar
for the god Sri-Subharaya Subhamiyar of Alasur.'
is
This inscription is at Halasur, on the basement of the Kalyana-mandapa
in the prakara of the Subrahmanya temple.'
(Ep. Carnal., Vol. ix, Bangalore Taluq, no. 14 ; Roman Text, p. 8 ; Transl., p. 7.)
'
'
(48)
This
the outer
is
mandapa ( ? Churru-mandapam) called Srithe name of (the king) Sri-Raj endra-Sola-
Rajendra-Sola-devar after
devar, caused to be erected by Jakkiyappai, daughter of Tirbhuvanaiyam
of Ittakirai, at the foot of Sulkal-malai, otherwise called Kanaka-parvvatam
(Ep. Carnal., Vol. x,
(the golden mountain) in the Kadambanakkai-nadu.'
Kolar Taluq, no. 115 Roman Text, p. 49 Transl., p. 44.)
Agrahara village, mantapas, mantapas for alms (bhiksha-man(49)
;
;
'
and
'
other religious provisions .
(Ibid., Vol. x, Mulbagal
Taluq, no. 2; Roman Text, p. 82; Transl., p. 71.)
'
Caused to be built in the temple of Jayambu-nayakar the danc(50)
tapa),
all
.
.
ing hall (nirutta, i.e., nritta-mandapam) , the vestibule (nadai-maligai),
the surrounding hall and the tower.'
(Ep. Carnal., Vol. x, Bowringpet
Taluq, no. 380;
(51)
Roman
Text,
p.
175
;
Transl., p.
146.)
Varadaraja-devara-mukha-mantapada-sannidhiyalu
ran emba kottalavanu.'
Rajagambhi-
'
In proximity to the mantapa facing the god Varadaraja having erected
the bastion named Rajagambhlra.'
(Ep. Carnal., Vol. x, Malur Taluq, no. i ;
Roman
Text, p. 186
;
Transl., p. 155.)
That Singa-Raja had the two lines of fortification, round this
city built, and holding the office of pattana-svami by order of the god
Nayinar, so that all the people could see, for the god's tirumana had mantapas made before and behind the temple (hindana-mundana-bhagada
mantapa), had a pond constructed called after Gopa Raja the Gopasamudra, had a palace built for Gopa Raja to the west of that pond, and
and that he might at sunrise
to the right of the god, Singa-Raja's palace
and at evening twilight bathe at both times, and have a room for domestic
sacrifice, from the threshold of which he might look to the spire of Varada
and at the eastern gopura which KundapaRaja's temple
in
had
front
of the mantapa facing the god (mukhabuilt
dannayaka
'
(52)
;
.
mantapa).'
'
(53)
front of
(Ibid.,
Setti
it.'
.
.
no.
Devan
4;
Roman
Text, p. 187; Transl., p. 156.)
built a beautiful stone
(Ep. Carnal., Vol. x,
Ghintamani
p. 258, para. 2.)
45
temple with a mantapa in
Taluq, no. 83; Transl.,
AN ENCYCLOPAEDIA OF
MANDAPA
That the king Praudha-Raya (on the date specified, A.D.) 1426
being in the dana-mantapa, in the presence of the god Virupaksha on the
bank of the Tungabhadra, for the purpose of making the great Kalpalata
'
(54)
.
.
gift.
.'
(Ep. Carnal.,. Vol. xn,
Tumkur Taluq,
no. 11
;
Transl., p. 5,
para. 2.)
Caused to be made the Honna-devi-mantapa.'
This expression is like those, as Vishnu-mandapa, where
detached shrine or temple. (Ibid., no. 26 ; Transl., p. 8.)
'
(55)
mandapa
is
a
His wife (with various praises) Kallarasiyamma, had the shrine
of the god Sidda-Mallikarjuna renewed, and having the whole (temple)
strengthened, had the two domes built, and the plastering done, had a
'
(56)
made
portico
.
.
to the front of the temple, erected a bhoga-mandapa.
hall for the god, made a grant of land to
and building a tower and a
provide for the offerings (specified).'
Text, p. 41, middle Transl., p. 23, line
;
(Ibid.,
Gubbi Taluq,
no.
29
;
Roman
6.)
'
Presented at the feet of the god Chandra-sekhara the processional
form of the god SankaresVara, a dipamale pillar, and a patala-mantapa.'
Transl., p. 57.)
Tiptur Taluq, no. 70
(Ep. Carnal., Vol. xu
(57)
;
;
At the time of the eclipse of the sun, in the presence of the god
(58)
Virupaksha on the bank of the Tungabhadra, in the mukti-mantapa to
the sacrificer Naganatha (descent, etc., stated), he granted the Timaduga
'
village.'
Text, p.
'
(59)
(Ep. Carnal.,
193,
Pavugada Taluq, no.
4, Transl.,
117
p.
;
f.)
In the antarala
mantapa, and a
(interior)
fine chandra-sale
most beautiful ranga-
they erected a
(upper storey) according to the direc-
tions given by the king Timmendra.'
(Ibid., Vol. xu, Pavugada
no. 46 ; Transl., p. 122, line 14 ; Roman Text, p. 203, v. 9.)
'
(60)
Roman
KailaSadres
svatulyarh
kalita-Suchi-gunarh srimati
Vanchl-bhu-pala-chuda-manir
mauleh
akrita
Taluq,
ri-uchindre
puro-mandape
chandra-
II
Ramavarma, the crowning gem of the Vanchi sovereigns, constructed
the front mandapa of the moon-crested (Siva) at Suchindram, equalling
Kailasa in splendour, and full of the purest qualities.'
(Inscrip. in the
'
Pagodas of Tirukurungudi, in Tinnevelly and of Suchindram,
core, Ind. Ant., Vol. n, p. 361
;
c. 2, v. 2, p.
362
;
c.
i,
in south
para.
Travan-
2.)
'In the centre, fronting the single doorway, is a shrine or mandapa
covering a slab, on which is carved in relief a sitting figure with the right
foot on an elephant, the left on a bullock.'
(Ind. Ant., Vol. vn, p.
19,
(61)
c.
I,
last four lines.)
(62) Rambha-patra-phala-prasuna-lalite
varna-pataka-ketana-lasat-prante
406
sat-toranachchhadane
maha-mandape
I
nana-
I
<
CU
I
MANDAPA
HINDU ARCHITECTURE
Kundanarii navakam vidhayya vidhivad-viprair vidhana-kshamaih
karmascharya-kararh samapayad idam Sri-Ranganatho guruh II
(Inscrip. from Nepal, no. 23, inscrip. of Queen Lalitatripura
Sundari, v. 3, Ind. Ant., Vol.
ix, p. 194.)
On
the east side of this great Stubi or Vimana stands the Veli(63)
" outer
or
hall," a plain rectangular building 160 feet long
mandapam
by 83 feet wide, with a flat roof supported by four rows of plain stone
'
.
.
.
pillars
Between the Veli-mandapam or outer court and the great Vimana,
there is a three-storeyed building joining them together, called Melemandapam, covering the transverse aisle between the north and south
'
This portico or transept
is approached.
in keeping with the grand scale and style of the
(Gangai-Kondapuram Saiva temple, Ind. Ant., Vol. ix, p. 118, c. i.)
entrances by which the shrine
is
designed and completed
Vimana.'
'
(64)
SrI-Brahma-Devara-mantapavanu
presented
Brahma Deva
the
mantapa.' (Ep. Carnat., Vol. n, no. 121; Roman Text, p. 88 ; Transl., p. 172.)
(65)
Tupada-Vengatapa made a stone mantapa and a well for the god
'
Prasanna-Vengataramana to the north-west of the precincts of the temple
of the god Pas"chima-Ranganatha.'
(Ep. Carnat., Vol. in, Seringapatam Taluq,
no. 9
;
Transl., p. 8
;
Roman
Text, p. 17.)
Also land for the god Hanumanta newly set up in the mantapa
(66)
in the middle of the village, to which the god Rama pays a visit at the
'
Ramanavami
It
(festival), i.e.,
(Ibid., no. 13
occasion.'
should be noticed
Rama
the idol of
is
brought there on that
Roman Text, p. 21.)
Transl., p. 9
that this mandapa does not belong,
;
;
an attached
a temple. Such
as
It is by itself
or detached building, to any temple.
named
are
after
the
whose idols are consecrated
or
gods
temples
mandapas
in them, such as
Vishnu-mandapa, Kali-mandapa, and so
forth.
had erected a mantapa, with
His awful wife Rangamma,
(67)
a large pond, and presented a palanquin set with jewels and all other
kinds of gifts, a bank having grown up and being unsightly, he bought the
ground and established there a matha, also endowing it so that 24 chief
Vaidika Vaishnava Brahmans of the Ramanuja sect might be fed in the
'
.
.
.
ranga-mantapa.' (Ep. Carnat., Vol. m, Seringapatam Taluq, no. 89
Roman Text, p. 57.)
pp. 26-27
r!-Timma-dandanayaka mahisi Sri-Ranga-nayakl-rachita
(68)
Transl.,
;
;
I
Sampat-kumara-mahisI puratah pratibhati ranga-mantapika II
Timma-dandanayaka's wife (Queen Consort) Ranga-nayak! erected
a ranga-mantapa in front of (the temple of) the goddess of
Sampat'
kumara.'
In
(Ibid.,
this sense
called nat
(i.e.,
no. 97
;
Roman
mandapa
nritya or
is
Text, p. 59
;
Transl., p. 28.)
most generally understood. This
ranga)-mandira, as stated above.
407
is
what
is
MANDAPA
Caused
'
(69)
.
.
AN ENCYCLOPAEDIA OF
to be erected the
ranga-mantapa of the god Kesava,
ranga-mantapa of the god Ranganatha to the souththe village.'
village and a sabha-mantapa for
also the
.
east of
...
that
(Ep. Carnal., Vol. HI,
Tirumakudlu-Narasipur Taluq, no. 58 Transl., p. 78.)
The accountant Lingana, son of
with devotion erected
(70)
(a mantapa of) 12 ankanas near the big asVattha tree, in proximity to
;
...
'
the Matsya-tirtha, on the bank of the
Arkapushkarini.'
Carnal.,
(Ep.
Vol. iv, Yedatore Taluq, no. 3 ; Transl., p. 52 ; Roman Text,
p. 84.)
'
The manager of his (Krishna-Deva-maharaya's) palace, . .
(71)
made
god Virabhadra
for the
of the ranga-mantapa.'
1
p.
14
Roman Text,
;
'
.
.
(Ep. Carnal.,
p. 188.)
Haridasa-Rauta, son of
(72)
.
,
a gandhagodi-mantapa, in front
...
Prasanna-Madhava of Bellur a festival
(dipa-maleya-kambha) and an altar for
set
up
'
(73)
the god.'
'
(Ep. Carnal., Vol. v, Part
Text, p. 106.)
Newly built the
mantapa ahkana)
Kes"ava.'
Roman
of
the god
(utsava) mantapa, a pillar for lights
offerings (bali-pitha). '(Ep. Carnal.,
;
(74)
in front
4; Transl.,
Nagamangala Taluq, no. 42 Transl., p. 124 Roman Text, p. 213.)
Caused a uyyale-mantapa to be erected for the spring festival of
Vol. iv,
Roman
no.
Nagamangala Taluq,
as
;
I,
Belur Taluq, no. 12; Transl., p. 46
Kalyana-mandapa
an offering
(Kattisi samarpisida
at the lotus-feet of the god
(Ep. Carnal., Vol. v, Parti, Belur Taluq, no. 21
;
;
KalyanaChenna-
Transl., p. 52
;
Text, p. 119.)
The
grant was made that a pond and mantapa may be constructed in front of the temple
upper storey for the spring water-festival
(vasanta-kaladalli abage-seve nadeve-bagge) for the god.'
(Ibid., no. 29
(75)
'
;
Roman
Text, p. 122, line 15 f.)
'
He
constructed
a pond for a raft and a
(76)
Vasanta-mantapa and
in order to provide for ten
days' raft festival in Phalguna, for the oblation
and feeding of Brahmans during the festival ... he made a
grant.'
(Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 78 ; Transl.,
64-65 ; Roman
Transl., p. 54;
;
p.
Text, p. 150.)
'
Built a brick
enclosure for the temple, erected a kalasa to
it,
in front, had the whole
plastered,'
(Ep. Carnal., Vol. v, Part I, Arsikere Taluq, no. 8 ; Transl., p. 115, line 6
(77)
and a wooden ranga-mantapa,
f.
;
Roman
Text, p. 263, line
.
.
.
9.)
'
Seated on the diamond throne in the
(78)
mantapa in front of the
BasavesVara temple in the square in the middle of the street of the sun
and moon in the Kanthiraya-pete of Banavara situated to the south o
Srisaila.'
'
(Ibid.,
(On
no.
94;
Transl.,
the date specified),
150, line 2
p.
f.)
Brahmanas of the immemorial
agrahara Brahma-samudra, agreeing among themselves, and going to
the prabhu-mantapa (pabu-mantapadalli) and
seating themselves, Damoja,
(79)
all
the
408
MANDAPA
HINDU ARCHITECTURE
son of the carpenter Madiyoja, having worshipped their feet and pre'
sented 5 pa, they granted to him a rent-free estate (specified).
(Ep.
Roman Text, p.
Transl., p. 12
Carnal., Vol. vi, Kadur Taluq, no. 57
;
'
(80)
Caused a bhoga-mantapa
to
;
be erected
in front of
the temple
of the god Janarddana.'
It should be noticed, that the bhoga-mantapas are generally built on
the side, and not in front, of the temple.
(Ep. Carnal., Vol. vi, Kadur
Taluq, no. 91
'
(81)
;
Transl., p. 16
;
Roman
Caused the Nandi-mantapa
Taluq, no. 76
;
Transl., p. 44
;
Text, p. 52.)
to be
Roman
erected.'
(Ibid.,
Text, p. in, line
Chikmagalur
7.)
(the temple of Sambhava-natha) is very plain and
unpretentious, whilst inside it consists of three apartments a mandapa
'
Outside,
(82)
it
or porch, the Sabha-mandapa, or assembly hall, and the nij(a) mandira
or shrine. The floors are laid with coloured marbles and the roof support-
ed on
'
pillars.'
The mandapa
on twelve
usual,
Surv.,
New
or hall
roofed by an octagonal
is
pillars.'
.
dome
supported, as
Architecture, Burgess, Arch.
(Ahmadabad
xxxm, pp. 87, 90.)
Mukha-mandapa, of SomesVara temple
Imp.
.
.
Series, Vol.
(83) See
Arch. Reports, 1913-14, Plate vn,
fig.
3,
at
Kolar.
(Mysore
p. 20.)
(Kandariya Mahadeo temple's) general plan is similar to
that of most of the larger mediaeval temples of Northern India (see its
'
(84)
Its
plan, Plate xcvn). It has the usual ardha-mandapa or portico, the mandapa or nave, the maha-mandapa or transept, the antarala or ante-chamber,
and the garbhagriha or sanctum, each of which has its separate pinnacled
roof rising in regular gradation from the low pyramid of the entrance to the
lofty spire of the sanctum.'
(Cunningham, Arch.
Surv. Reports, Vol. n, p. 419,
no. 3.)
'
pillars, each of 9' 9* high, supporting the
of the outer hall or the ardha-mandapa, which affords an area o f
16' 3* inside for loungers and devotees to rest it.'
(Ibid., Vol. xxm, p. 135.)
There are eighteen carved
dome
'
(85)
any open or enclosed building in connexion with
If used for any purpose, the distinctive name is prefixed.'
Mandapa
a temple.
Rea. (Chalukyan Architecture, Arch.
New
Imp. Series, Vol. xxi,
a
second hall of
temple.
(86) Madhya-mandapa
the nave.
a
hall
of
central
temple,
Maha-mandapa
Mandapa
Surv.,
the porch of a temple.
Arch. Surv. Reports.}
(Vincent Smith, Gloss,
to
p. 39.)
Cun-
ningham's
should be noticed that the architectural treatises, general literature,
and epigraphical records corroborate one another as regards the various
It
types of this class of buildings.
409
AN ENCYCLOPAEDIA OF
MANDAPIKA
MANDAPIK.A
A small
MANDAPA)
(see
pavilion, a
custom house.
SrI-Naddula-maha-sthane sri-Sarhderaka-gachchhe sri-Maha-virade-
(1)
vaya grl-Naddula-talapada-s'ulka-mamdapikayam masanumasariu
dhupa-tailartham
I
Mahaviradeva in the Sanderaka
(Granted to the Jaina temple of)
at
the
holy place (Mahasthana) of Naddula, a monthly (sum of
gachchha,
five drammas) (to be paid) from the custom house in the grounds (talapada'
svatala) of Naddula.'
For passages in which the term mandapika occurs, compare Ep. Ind. f
Vol. i, p. 114, line 27 p. 173, line 6 (Siyadoni-satka-mandapika)
p. 175,
'
;
;
p. 262, line 3 (pattanap. 179, line 45
lins 19
p. 177, lines 29 and 30
col.
2
Vol.
Ind.
xrv,
Ant.,
10,
;
(Sri-pathastha-mandapika)
p.
mandapika)
;
;
;
;
Journ. As. Soc. Beng., Vols. LV, Part
and
iv, p. 48,
v., Bhavnagar
i, p. 47
Sulka-mandapika occurs, e.g., in Bhavnagar inand 18. The meaning of mandapika is sugscrip., p. 158 f., lines 10, 15
the
Marathi
mamdavi, a custom house.' Prof. Kielhorn.
gested by
of
Chahamanas
Naddula, no. A, Nadol plates of Alhanadeva, lines 22-231
(The
Vol.
ix, pp. 66, 63, and note 8.)
Ep. Ind.,
;
inscrip., p. 205, line 7.
(2)
Cf.
Mandapika-dayat Sreshthi-nara-sirhha-go-vrisha-dhlradi-tyaih
I
(Shergadh stone inscrip., lines 1-2, Ind. Ant., Vol. XL, p. 176.)
(3)
Mandapika
the town.
(Ind. Ant.,
official
building of
second col., line 5 ; and Journ. Beng.
Siyadoni inscrip., lines 6, 19, 29, 30, 45,
Vol. xrv, p. 10,
As. Soc., Vol.
xxx, p. 332,
Ep. Ind., Vol.
i,
(4)
means some public or
evidently
p. 166,
last line
173
;
f.)
Sri-Timma-dandanayaka mahisi Sri-Ranga-nayaki rachita
Sampat-kumara-mahisi-puratah pratibhati ranga-mantapika
I
II
'
Timma-dandanayaka's wife (Queen Consort) Ranga-nayaki erected a
ranga-mantapa in front of (the temple of) the goddess of Sampat-kumara.'
Roman Text, p. 59 ;
(Ep. Carnal., Vol. m, Seringapatam Taluq, no. 97
;
Transl., p. 28.)
MANDI
(see
BODHIKA)
The crowning
part of the capital
of a
column, a market-place, a market.
(Suprabhedagama, xxx, 57, 107
MATTA-VARANA An elephant in rut,
(SALA)
A
see
under STAMBHA.)
a kind of entablature.
(M., xvi, 19, also
MADIRA-GRIHA
;
L,
279
;
see
under PRASTARA.)
drinking house, a tavern, an ale-
house.
Siva-vais'ravanasvi-s'rimadira-griharh cha
pura-madhye karayet
(Kautillya-Artha-iastra,
410
Chap, xxv,
p.
I
55-56.)
MADHOCHCHHISHTA
HINDU ARCHITECTURE
MADDALA
A
VALABHI)
(see
synonym of valabhi or a
sloping
roof.
(M., xvi, 51
MADHUCHCHHISHTA
Manasara (Chap.
LXVIII,
Wax,
under (BA)VALABHI.)
see
;
the casting of an image in wax.
named Madhuchchhishta)
1-56,
:
The chapter opens with an enumeration
of phalli and ascetics as
whose images are to be cast in wax (lines 2-19).
called sthapati and sthapaka, make the can for pre-
well as architects
The
architects,
wax therein, but the actual preparation is not explicitly
described. All kinds of images, temporary or permanent, stationary or
movable, have to be cast in wax. The process seems to be this (lines
paring the
some part of the image is covered with a thin copper-leaf,
20-44)
and the wax is laid on two or three angulas deep. Mulika(?) is
:
spread above the part covered with wax. The idol is heated after
has been besmeared with wax. If the master likes, the process of
smearing may be done with melted iron too. The half of the image,
it
not covered with earth, is washed in water.
If any of the minor limbs be
This process
several times.
lost
through
is
repeated
this process,
the image should be furnished with it again after having been heated.
But if the head or the middle of the body be damaged, the whole
image should be changed.
it should be recast.
The whole
process
has
If the master does not like the image,
be
to
performed through
many
ritualistic
ceremonies in different stages.
In other texts the process of casting an image in
ly described
'
is
much more
clear-
:
If images
and poured
wax
have to be
cast
(out of the
in
metal,
mould) and
all
wax must
be melted
defects removed with cloth.'
the
first
(Karandgama, n, 41.)
images be required to be made of earth, rods (of metal or wood)
must be (inserted in them) if of metal it must first be prepared well in
'
If the
;
wax.'
'
(Suprabheddgama, xxxrv, 21.)
If an
image is
to be
made
of metal,
it
must be
first
made of wax, and then
gold and other metals are purified and cast into (the
and
a
mould)
complete image is thus obtained by capable workmen.'
coated with earth
;
(Vishnu-samhitd, Patala xrv.)
'
In regard to bronze images says Mr. Rao
it is
believed by some
that India could not have known the Cire perdue method of making metal
'
'
images earlier than about the tenth century A.D. and that India must
have, therefore, borrowed it from Europe. That the art of casting metals
411
AN ENCYCLOPAEDIA OF
MADHYA-KANTA
wax moulds
in
is
much
earlier in India
can be shewn in more ways than
one.' In support of his assertion, Mr. Rao gives the three above-mentioned
quotations.- (Elements of Hindu Iconography.)
MADHYA-KANTA A
of the twelve-storeyed buildings once
prevailing in the central country (see details under PRASADA)
class
.
Madhyamalaya-vistare-trayas-trimad-vibhajite
I
Tri-bhagam kuta-vistararh madhya-bhadraika-bhagikam
Maha-lala navamsarh syat esham purvavad acharet
Madhya-kantam iti proktam
I
I
I
(M., xxx,
MADHYA-KOSHTHA
The middle compartment,
1
1-14.)
the central hall.
(M., xxxm, 305,
MADHYA-NASI
The middle
NAS!)
(see
etc.)
vestibule.
(M., xv, 119, 124, etc.)
MADHYA-BHADRA
(see
The middle
BHADRA)
central porch or hall.
(M., xv,
no
;
xix, 177
MADHYA-BHUVAftGA A moulding of the
tabernacle,
xxxm,
;
MADHYA-RAftGA
(see
380, etc.)
door.
(A/.,
MUKHTA-PRAPANGA)
the enclosed courtyard, the quadrangle
on four sides and open at the top.
the
The
central theatre,
surrounded
Manasdra (Chap. XLVII, 1-36 named Madhya-ranga,)
xxxix, 72.)
by buildings
refers in this con-
nection to the open quadrangle, stone column and grain-column (muktaprapanga, Sila-stambha and dhanya-stambha). The Madhya-ranga is
provided with dwarf
pillars,
entablatures,
platforms,
The meaning
of the term
is
clear
from the quotations given below
daises,
The upper
tabernacles, vestibules, pent-roofs, top-rooms, etc.
adorned with figures of leographs and crocodiles.
is
portion
from the contents of this chapter and
also
:
Madhya-rangam tad-uddi$ya chordhve'lankara(m)
Evam
pedestals,
tu chordhvalankaram
vakshyate
madhya-range tu vinyaset
(M., xvi, 155, 169
;
I
I
see also lines
156-168.)
In connexion with mandapas or pavilions.
(M., xxxrv, 128,210,234,324,456,610.)
Grihe va madhya-range va
kuryat)
pars' ve
va chaiSa-konake (ankurarpanam
I
(M., xxxvii, 13.)
The
central part of the coronation hall.
4 I2
(Af.,xnx, 183.)
MANDIRA
HINDU ARCHITECTURE
MADHYA-&ALA
The middle
(cf. SALA)
kind
of council hall.
chamber, a
a special
hall,
interior
Kshudra-salashtadha proktam koshtha-sala-chatushtayam
Madhya-sala-tri-bhagena bhadra-sala cha madhyame
I
I
(M., xxvi, 12-13;
MANDARA A
storeys
and
type of building which
is
see
M.
a lso
xx, 56,
t
etc.)
30 cubits wide, has ten
turrets.
Trimsad-dhastayamo dasa-bhaumo mandarah Sikhara-yuktah
(Compare this with Kasyapa quoted by the commentary and given
(1)
I
below)
:
Mandarah
sikharair yuktah shad-asrir
dasa-bhumikah
I
Trimsad-dhastarhs cha vistlrnah prasado'yam dvitiyakah
II
(Brihat-samhitd, LVI, 21, J. R. A. S.>
N.
(2)
(3)
(4)
(5)
(6)
S.,
Vol.
vi, p.
319.)
(Chap, cxxx, v. 28; see under PRASADA).
Matsya-Purana (Chap. CCLXIX, vv. 28, 32, 47, 53; see under PRASADA).
Agni-Purdna (Chap, civ, w. 14, 15 see under PRASADA).
Bhavishya-Purdna
;
Garuda-Purdna (Chap. XLVII, vv. 21-22, 24-25 see under PRASADA).
A building with four salas (compartments) and eight kutas (towers
;
or domes)
:
Mand(h)ara-nama
ity-uktas chatuh-salashta-kutakam
II
(Suprabhedagama, xxxi, 43.)
MANDIRA A
(1)
A
type
type of building, a hall, a room, a temple, a shrine.
of rectangular
vv. 21-22, 26-27
(2)
(3)
:
sec
building
Chap.
(Garuda-Purdna,
XLVII,
under PRASADA).
Three kinds of mandira
(Vdstu-vidyd, ed.
Sastri, vn, 15-18)
Ganapati
Shodasa-mandira-chakra (Vdstu-tattva, 1853, p.
if., see
:
under GRIHA-
VINYASA).
(4)
Paritah pranavakara-prakara-valayamchitam
I
Kamanlya-sala-stambha-kadambottambitarhvaram
Visamkata-vitam kali-virajad-ramga-mamtapam
1
1
I
Vidhaya vipulottumga-gopurarh deva-mamdiram II
Visalam ratha-vithirh cha syamdanam marhdaropamam
I
Tatra pratishthitarya-sri-Taraka-brahma-rupine II
Built a temple (at Krishnapura) which was encircled by a wall of the
shape of the pranava and a broad and lofty tower. It has a large rangamandapa raised on a collection of beautiful stone pillars and adorned with
rows of spouts. He built a car like the Mandara mountain and also broad
'
413
AN ENCYCLOPAEDIA of
MASi-(sl)Ti
roads round the temple and for the propitiation of the god Vishnu, set up
there (i.e. in the temple).'
(Krishnapuram plates of Sadasivardya, vv. 55, 56.
57, Ep. Ind., Vol. rx, pp. 336, 341.)
(5) Tenedarh karitam tungam dhurjjater mandira-griham
He caused to be made this lofty dwelling of Dhurjjati (Siva).' -(Inscrip,
at the Ganesa temple, Mamallapuram, v. 10, H. S. I. /., Vol. i, no. 18, pp. 4, 5,
I
'
ibid.
no. 18, inscrip. at the
Dharmaraja mandapa, Mamallapuram,
'
Kosa-varddhana-girer
(6)
tasya
anupurwam so'yam
v. 10, p. 6.)
unmishita-dhih suga-
I
Vyastam arani-karaika-garimnyo mandirarh sma vidadhati yathartham II
'
To
mount Kosa-vardhana, this man of open intellect
manner suitable to the purpose a temple of that Sugata
the east of
established in a
(Buddha), the dignity of whom alone sufficed to defeat hosts of Maras.'
(Buddhist Sanskrit inscript., from Kota, v. 17 Ind. Ant., Vol. xiv, pp. 46, 48.)
;
(7)
Tenedarh marhdirarh Kama-vidvishah
Karitam muktaye bhaktya kirttayecha kritatmanam
.
.
.
I
II
Kings of Chedi, no. A, Tewar stone inscrip.
line 17, Ind. Ant., Vol. XVHI, p. an.)
Karnadeva,
Gaya
(Inscrip. of the
of
(8)
'
Jainarh mandiram indira-kula-griharh sad-bhaktito' chikarat
of pure faith, he made this Jaina temple a home for Lakshmi.'
I
Out
(Ep. Carnal., Vol.
MASI(-SI)TI
'
u,
no. 65
;
A mosque,
Rangai-Nayakayya,
Roman
a
Text, p. 60; Transl., p. 149.)
Muhammadan
in order to
endow
(kalla-masltiya-deva-sthanakke), which Babu
inner street of Sindaghatta,
and Habiba's house.'
Transl., p. in, Roman
MASORAKA A
made a
grant for
place of worship.
the stone masiti
Setti
it
(mosque)
had erected
in
the
of the village of Sivapura
(Ep. Carnal., Vol. iv, Krishnarajapet Taluq, no. 72
;
Text, p. 183.)
thin piece of timber or stone that
covers an opening and supports a weight above it. It implies the
It is sometimes used in the sense of
cornice of the entablature.
lintel, i.e.,
adhishthana or base.
(i)
Adhishthana-vidhirh vakshye sastre sarhkshipyate'dhuna
Harmya-tunga-vasat proktam tasya masurakonnatam
I
I
(M., xiv,
Tasman masurena
shanani
sahaiva
i, 8.)
sarvam kritam vimaneshu cha bhu-
I
(Ibid.,
414
409-410.)
r
\
MASURAKA
MASURAKA.
VUPA STAMBHA.
SECTION.
r
MUKULA.
*
^
K
-
/--.
MAHA-NAsl
ARCHITECTURE
Evaih chatuh-shashti-masurakani sastrokta-manena vibhajitani
I
393-394-)
(Ibid.,
Ahatya(m) ashtadha harmyaih ganya-manam ihochyate
Utsedhe chashta-bhage tu ekamsena masurakam
I
I
...
Dvi-bhagam changhri-tungam.
(M., xix, 20-22
(2)
;
I
also XLVII, 5
see
;
xxxiv, 266,
Tad-varddhitopapitham va tad-varddhita-masurakam
Padayama-samottunga-masuraka-yutam tu va
etc.)
I
I
(Kdmikagama,xxxv, 115.)
Masura
implies the cornice of the entablature.
(Ibid.,
LIV,
47
under PRASTARA.)
see
;
Masura, a synonym, as stated, but apparently a component part, of
adhishthana or base
Masurakam adhishthanarh vastvadhararh dharatalam
:
I
Talaih kuttimady-angam
adhishthanasya kirtitam
II
LV,
(Ibid.,
MAHA-KANTA A
class
of eight-storeyed buildings.
(M., xxvi, 35-39
MAHA-GOPURA
202.)
The gate-house of
the
;
fifth
see
under PRASADA.)
court or at the
extreme boundary of a compound.
(M., xxxm, 10
;
see
under GOPURA and PRAKARA.^
MAHA-GRAMA A large village.
(M., x,
MAHA-TAULI A
79
;
see
details
synonym of prachchhadana or
under GRAMA.)
roof, the top-
floor.
(M., xvi, 57.)
MAHA-DVARA
The great door,
the chief or outer gate of a village,
town or house.
(A/., ix, 290,
Maha-dvaram
(M.,
(see
;
NASI)
A
ix,
tat
under DVARA.)
see
tu sarvesham langalakara-sannibham
Kapata-dvaya-samyuktarh dvaranam
MAHA-NASl
315
I
prithak prithak
360-361
;
see also
I
xxxi,
79.)
large vestibule.
(Nasika-sikharanvitam) tad-ardham stupikottunge tan-maha nasikaSraye
I
(M., xv, 91.)
Dvi-lalate maha-nasi ekadasa-sikhanvitam
I
(M., xxxm, 202,
etc.)
AN ENCYCLOPAEDIA OF
MAHA-PADMA
MAHA-PADMA A type
of round building.
Agni-Purdna (Chap, civ, vv. 17-18; see under PRASADA).
Garuda-Pxrdna (Chap. XLVII, vv. 21, 23, 28-29; see under PRASADA).
(1)
(2)
MAHA-PATTA A
moulding of the base, a laige
(M., xiv, 301
MAHA-PlTHA The
phallus
A
;
pedestal, a site plan,
see
fillet.
the
lists of mouldings
under ADHISHTANA.)
the lower part of the
:
site
squares.
plan in which the whole area is divided
(M., vu, 5, 61 ; see under PADA-VINYASA.)
Maha-pltha-padc rathya dikshu dikshu trayam
Cf.
into
tathii
(M.,
The
pedestal of an image
sixteen equal
I
429,
ix,
Padma-pitharh maha-pl{ham tri-murtinarh cha yojayet
(M.,
MAHA-MANDAPA
(see
etc.)
:
under
MANDAPA)
The
I
86,
LI,
etc.)
hall
great
of
entrance to the main shrine of temples.
(Chalukyan Architecture, Arch.
Imp.
See
under
MANDAPA
Mangalagiri pillar
Surv.,
Series, Vol. xxi,
New
p. 39.)
:
(vv. 44, 47, 51,
inscrip.
Ep. Ind., Vol.
vi,
pp. 114,
115, 123, 124, 125).
Two Jain
v.
inscrip. of
Irugappa. (no. B, line 2, ibid., Vol. vn, p. 116).
Inscrip. from Nepal (no. 23, inscrip. of Queen Lalita-Tripu; a Sundari,
3, Ind. Ant. Vol. rx, p. 94).
This building
the large court.
'
(maha-mandapa) stands
...
it
originally
in the east central portion of
stood detached from the central
vimana.'
The plan is a rectangle with the greater length from north to
The four sides are open in the centre, and on each fagade, a portion
'
south.
of the
returned along the several elevations from the four corners. The
divided into three bays by two square piers,
with a responding pilaster on the return wall at each side.'
wall
is
east front has the entrance
'
for
'
The west side or back is similarly divided, but the
a portion of their length.'
The north and
south entrances are simple
the sides, undivided by piers.'
416
piers are
octagonal
openings, with pilasters on
HINDU ARCHITECTURE
MANI-BHADRA
Two
yalis on the back responding pilasters are abutted against and
covered
by the east wall of the modern ardha-mandapam. The
partly
forated window in the east wall of the
ardha-mandapam opens in to the
'
(Pallava Architecture, Arch. Surv., New. Imp. Series,
i, 2, 3, 4, 8 and 10 ; see also Plate L.)
maha-mandapam.'
Vol. xxxiv, p. 36, paras,
'
The maha-mandapa was
roofed also by overlapping courses of stones
rounded off by successive small por:
the square corners were gradually
formed an octagon, over which the circular roof proper
(Cunningham, Arch. Surv. Reports, Vol. vm, p. 171, para. 2.)
tions,
till it
MAHA-MARYADA
The
boundary of a compound,
gopura or dvara-gopura.
enclosure (prakara) at the extreme
the gate-house thereof is called maha-
fifth
(Suprabhedagama, xxxi,
MAHA-VAJANA A
large
see
;
118, 125; see
the
lists
of mouldings under PRASTARA.)
kind of phallus.
(M.,
MAHA-VRITTA A
MAHA-SALA A large
Cf. of the sixteen parts
(M., xxvi, 10,
MAHASANA A
LII,
2
;
under LINGA.)
see
kind of joinery.
(M., xvn, 102
broad.
under PRAKARA.)
a moulding of the entablature.
fillet,
(M., xvi, 69
MAHA-VRITA A
rested.'
site
;
under SANDHI-KARMAN.)
see
hall.
width of a building the maha-sala
is
seven parts
etc.).
which the
plan in
whole area
divided
is
into 225 equal squares.
(
MAHAMBUJA A
large
M.,
;
see
the
lists
MAGADHA(-KANTA) A
class
prevailing in the country of
Magadha.
Evarii
anu-sala
see
under PADA-VINYASA.)
of mouldings under UPAPITHA.)
of twelve-storeyed buildings once
syat
I
karna-kuta-sabhadrakam
(M., xxx, 33-34;
(see
;
madhye bhadra-salaika-bhagikam
magadha-kantam
MANI-BHADRA
18-20
cyma, a moulding of the pedestal.
(A/., xni, 91
Tad evam
vii,
see also
MANI-BHADRA)
A
I
31-32 under VAMSA-KANTA.)
pavilion with sixty-four
columns.
i
(Suprabhedagama, xxxi, 103
417
;
set
under MANDAPA.)
AN ENCYCLOPAEDIA OF
MATRAftGULA
under ANGULA) A measure equal to the
middle
of the
finger in the right hand of the architect
MATRAftGULA
middle
digit
(see
or priest, employed in measuring the sacrificial objects like the kusathe ladle, etc.
grass or seat, the spout of a ladle, and
(Suprabheddgama, xxx, 4-5, 7-8
MANA A house well
ment of height or
measured
(A.-V., ix, 3
;
;
see
under ANGULA.)
The measure-
HI, 12).
length.
measurement is divided into six kinds Mana (Ayama,
Ayata, Dirgha), Pramana, Parimana (Vistara, Tara, Striti Vistriti, VisLamba-mana
trita, Vyasa, Visarita, Vipula, Tata, Vishkambha, Visala),
Unmana
(Bahala, Ghana, Miti, Uchchhraya, Tunga,
(Sutra, Unmita),
Nishkriti, Nirgama,
Unnata, Udaya, Utsedha, Uchcha, Nishkrama,
and
Vivara,
(Nivra,
Antara).
Upamana
Nirgati, Udgama),
(i)
The
linear
The measurement from
which
is
breadth
ference
the foot to the top of the head is called Mana
Pramana is the measurement of
in fact nothing but height.
(vistrita).
Parimana
is
Lamba-mana
the measurement of width
is
or circum-
the measurement along the
plumb
drawn perpendicularly through different parts of the
body, Mana, or the measurement of height being determined by the surUnmana is the measurement of thickness (nimna) or
face of the body.
diameter. And Upamana is the measurement of interspace (antara),
such as the distance between the two feet of an image this measurement is
(paritah).
lines or the lines
;
apparently taken from one plumb line to another
:
Manam chapi pramanam cha parimanam lamba-manakam
Unmanam upamanam cha manam padmam samiritam
Padangushthi-sasimantaih siro'ntarh manam chapi prakathyate
I
I
Pramanam
Tat-sutral
vistritam proktarh paritah
parimanakam
I
I
lamba-manarh syan nimnam unmanam uchyate
Avantaropamanam syad bimbodayadi-sarvasah
Manam evam tu shad-bhedam manenangani manayet
I
I
I
(M., LV, 3-9.)
The primary measurement (adi-mana)
ment and
is
is
but the comparative measure-
divided into the following nine kinds
:
The height of an image is determined by comparing it widi (i) the
breadth (tara) of the main temple (harmya), (ii) the height of the sanctuary or central hall (garbha-griha), (iii) the length of the door (dvaramana), (iv) the measurement of the basement (adhishthana), (v) cubit,
(vi)
tala
(a span),
(vii)
angula
(finger's breadth),
418
(viii)
the height of
HINDU ARCHITECTURE
the worshipper,
principal idol
and
(ix)
MANA
the height of the riding animal (vahana) of the
:
Adimana-vidhirh samyak(-g) lakshanam cha ihochyate
Harmya-tara-vasan manam garbha-geha-vasodayam
Dvara-mana-vasat tungam adhishthana-vasodayam
I
I
I
manam
Hasta-mana-vasan
tala-mana-vasodayam
Angulenapi chottungam yajamana-vosodayam
Mula-bera-vasan manam uttamadi traya rh trayam
I
I
I
(M., LV, 10-15.)
Each of
these nine measures
Tasmad
is
again divided into nine kinds
ekarh tu pratyekarii
nava-manam ihochyate
:
I
(Ibid., 22.)
Under
occasions
The
(i),
no
;
(ii),
specific
the proportions naturally vary on various
(iv),
(iii),
rules
are,
therefore, prescribed.
of (v) cubit or hasta and (vii) angula will be found under
Angula and the details of (vi) tala are given under TALA-
details
the term
'
'
'
MANA.'
Of
the division under
(viii)
the details of the height of an image as
compared with the height of the worshipper are given here.
of the image may be equal to the full height of the worshipper,
up
to his hair-limit (on the forehead), or, as
line,
The
height
may
extend
sometimes stated, to the eye-
nose-tip, chin, arm-limit (to the shoulder), breast, heart, navel,
sex organ
and
:
Kanyasad uttamantam syad yajamanodayam param
Kesantam nasikagrantarh hanvantam bahu-simakam
Stanantam hridayantam cha navyantam medhra-slmakam
Navadha kanyasantam syat sthavaram jangamodayam
I
I
I
I
(Idid.,
And
of the division under
30-33-)
the height of the riding animal (vahana)
as compared with the height of the principal idol (mula-bera) admits of
similar nine kinds as under (viii) (see details under UTSAVA and KAUTUKA).
(ix)
(v) and angula (vii) are the real units, employed equally in measuring both architectural and sculptural objects.
The rest are exclusively sculptural and comparative measures. The
Hasta
been prescribed for architectural objects. The
Ganya-mana or the comparative heights of the component
similar measures
architectural
'
have
also
'
members of a
'
structure corresponds to the sculptural
Tala-mana or the
of
a
the
limbs
of
statue
comparative heights
(see details under
component
'
GANYA-MANA and TALA-MANA).
Five proportions of the height, as compared with the breadth of an
architectural object, are given under five technical terms, namely, Santika,
419
AN ENCYCLOPAEDIA
MANA-BHADRA
and Adbhuta
Paushtika, Jayada, Sarva-kamika or Dhanada,
(see
OP'
details
under UTSEDHA).
The
Ghana-mana
'
measurement by the exterior and the
Aghana-mana or the measurement by the interior are exclusively architectural (see details under these terms).
'
or the
'
'
Like the sculptural terms Mana, Pramana, Parimana, Lamba-mana,
there are architectural terms also to express
Unmana and Upamana,
length, breadth
vistriti,
vistrita,
and width,
e.g.
dirgha (for dairghya), tara, vistara, visala,
Mana as stated above is the tech-
etc.
vishkambha,
name for sculptural height but to express the same idea the general
terms for height, such as unnati, unnata, utsedha, etc., are also used.
Mana is also used in its general sense of measurement, area, etc. Pramana
and Parimana are also used in their general senses of length, breadth,
nical
;
(Further details will be found under these terms.)
etc.
width,
Atah-pararh pravakshyami manonmanam viseshatah
After this I shall speak about the Mana and Unmana measurements
(2)
'
I
in particular.'
followed by an account of various measures.
tala measurements employed in statues.)
This
(Note the different
is
(Matsya-Purana, Chap. CCLVHI, v. 16.)
(3)
Manarh tad-vistaram proktam unmanam naham eva cha
I
(Suprabhedagama, xxxiv, 35.)
(4)
Parimanonmana-manam dharyarh raja-vimudritam
Guna-sadhana-samdaksha bhavamtu nikhila janah II
I
Benoy Kumar Sarkar's translation of Parimana by standard
for lands,'
Unmana by unit of measurement for
measurement
of
Mana by unit of measurement for grains is untenable.
liquids,' and
'
'
Prof.
'
'
'
'
'
'
'
'
(Sukranitisara, ed.
Oppert,
i,
310.)
MANA-BHADRA A
pavilion with twenty-six pillars.
see under
(Matsya-Purana, Chap. CCLXX, v. 12
MAN^APA.)
;
MANA-MANDIRA
Cf.
The
(see
The
MANDIRA)
observatory.
observatories at Benares, Delhi, Ujjain, Mathura,
(See Ind. Ant., Vol.
MANA VA
Relating to
twenty-eight
pillars.
Manu
or
human
to
under ANGULA)
f inch), the unit of length.
(see
420
xxxv,
p. 234.)
being, a pavilion with
(Matsya-Purana, Chap. CCLXX, v. 12
MANANGULA
and Jaipur.
;
see
under MANDAPA.)
The standard measure
(equal
HINDU ARCHITECTURE
The
smallest
measure
visible in the sunshine
8
atoms= I
is
MALIKA(-KA)
the
atom or paramanu,
through a lattice
i.e.,
the particle of dust
(Brihat-samhitd, LVIII,
i).
car-dust.
8 car-dusts=
i
hair's end.
8 hair's
ends= i
8 nits=
i
nit.
louse.
8 lice= i barley corn.
8 barley corns= i manangula.
This standard angula measure
is
stated to be used in measuring the archi-
tectural objects like the villages, lands,
and
buildings, etc.
(Suprabhedagama, xxx, 2-3, 6-7
MANUSHA
under ANQULA.)
see
human
being, a kind of phallus.
(Kamikagama, L, 35, 38 ; see under LI&GA.)
Relating to the
MARGA A road, a street,
;
a way, a path, a lane, a passage, a canal,
a course.
Ghandalanarh pravesaya nirgamaya malasya cha
Jalasya nirgamartharh tu kshudra-margah pras"arhsitah
I
1
1
(Kamikagama, xxxvin,
MALIKA(-KA)
(1)
A
class
8.)
of buildings, a type of pavilion.
Kudyasyanta-prades'e tu yuktya chavrita-malikam
Malikopari vapra(rh) syad adhishthanarh samodayam
I
I
(M., xxxi, 60, 64.)
A
type of pavilion (mandapa)
Evam tu malikakaram ^esharh prag-uktavan nayet
:
(M., xxxiv, 315
Mandape
;
see for
I
description 297-314.)
chordhva-kutarh syan malikakriti(rh) vinyaset
I
(M.jXxxrv, 291.)
(2)
Kechid vai malikakara kechid vai gopurakritih
1 1
(Suprabhedagama, xxx, 123 see for full
context 115-122, under PRAKARA.)
:
Tad-bahye'bhyantare vapi malika-mandaparh hi va
II
(Ibid.,
(3)
Ta
(Sala)
eva malikah prokta malavat kriyate yatah
Pancha-das'a-karantarh
tu kuryad
xxxi, 128.)
1 1
avrita-mandapam
Mandapena vina vapi tena manena plthika
Vibhadra va sabhadra va karatavya malika budhaih
1 1
I
1
1
(Kamikagama, xxxv, 6, 99, 100.)
4 2I
AN ENCYCLOPAEDIA OF
MALIKA(-KA)
Kdmikdgama (Chap.
Classification
named Malika-lakshana)
XLI,
:
:
Chaturdha malika
Definitions (vv. 2-5)
Sala
sabha-mundaja-saudhaje
II
(r)
:
Salayam api Salanga nishkrantanana-Sobhita
Sa s"ala malika jfieya sastre' smin Kamikagame
Sabhavad vihita bahye prasadavad alankrita
I
II
I
Uha-pratyuha-sarhyukta ya sabha sa cha malika
Yatheshta-disi samyukta bhoga-bhumi-samanvita
1
Prasada-vyasa-dirghochcha prokta prasada-malika
Mandapasyokta-vistarayama-tunga-vibhushinl
1
I
1
1
I
Sarvatra mundakaratvat kathita munda-malika
1
1
Further classifications (vv. 6-7)
and Upa(also Apa)samchita.
(i) Samchita, Asamchita,
Vesara.
and
(ii) Nagara, Dravida,
:
(iii)
(iv)
(v)
Chhanda, and Vikalpa.
Suddha, MiSra, and Samkirna.
Vija, Mula, and Ankura (this class
Jati,
(Excepting the last one,
all
is
not specified).
the other classes occur in the Mdnasdra also
;
under Vimana-lakshana.)
see
The
Still
details of these classes are given (vv. 8-22).
further classifications are given under the following names
Sindhuka (w. 23-28), Sarhpurna (vv. 29-30), Meru-kuta (v. 31),
Kshema (vv. 32-34), Siva (w. 35-38), Harmya (vv. 39-40),
:
Saumya
Vijaya
(v.
(v.
ViSala
40),
50),
Bhadra
(w. 53-54). Kona
(vv-
(v.
41),
(v.
51),
55-5 8 )
Pushkara (vv. 61-63), Adbhuta
Danda
Sarva-kalyana
Rangamukha
(vv. 42-49)
(v.
52),
Geya (w. 58-59), Sara
(v.
6ia),
Samkirna
Alpa
(v. 60),
(v. 62),
and
(v. 64).
Aneka-bhumi-yukta tu malakara tu malika
II
(Ibid.,
Malika-yukta-sa(? sa)lam chet kona-stambhe dvitiyake
Prathamavarane vapi dvitiyavarane nyaset
L,
89.)
I
II
(Ibid.,
xxxi, 96.)
(4) Sailam s"u(m)bhita-ata-kumbha-vilasat-kumbham maha-mandapam
prakaram paramalika-vilasita(m) mukta-maylm cha prapa
(-bha)m.
Made for the god Vamana a great mandapa of stone, resplendent with
'
pitchers
cellent
(domes) of shining gold, surrounding wall, adorned with exbuildings, and a canopy of pearls.'
(Fourteen incrip. at Tiruk-
kovalur, no.
K, of Rajendradeva,
lines
422
i-a, Ep. Ind., Vol. vn, pp. 145, 146.)
MUKHA
HINDU ARCHITECTURE
MALIKA-MANDAPA A
pavilion of the
Malika
class
of build-
ings.
(Suprabheddgama, xxxr, 128
MALYAJA A
class
class
;
building
under MANDAPA.)
see
of buildings, a type of pavilion.
made of any two
under MANDAPA.)
see
(M., xxxiv, 316;
MI&RA A
under MALIKA.)
of buildings, a type of pavilion.
(M. y xxxiv, 153
MALYAHUTA A
see
;
materials out of wood, brick,
stone, iron, etc.
Eka-dravyam tu suddarh syad dvi-dravyarh misra-harmyakam
I
(M., xvin, 138, etc.)
misraih
Dravya-dvaya-yutarh
bahubhir yutam
sarhklrnarh
(Kdmikdgama,
MI&RITA A
I
XLV,
22.)
kind of ornament prescribed for idols and kings.
(M.,
MUKULA A
L,
1-3
under BHUSHANA.)
see
;
bud-like crowning ornament of a pillar.
(M., xv, 32 ; see lists of mouldings under
ADHISHTHANA, UPAPJTHA and PRASTARA.)
MUKULI A
type of round building.
(Garuda-Purana, Chap. XLII,
29
MUKTA-PRAPANGA
see
;
w. 21, 23, 28
under PRASADA.)
MADHYA-RANGA) The open courtyard connected with a tank (' mukta meaning open, and prapanga the body part or bank of a tank). It is built inside the
(see
'
'
'
court.
(M., XLVII, 2
It is stated to
iron especially
be made of wood, stone, brick,
etc.,
and
and
see also XLVIII,
68.)
:
Mukta-prapangam
api daru-sileshtakadyaih
Ratnair aneka-bahu-loha-viseshakaih
I
I
(M., XLVII, 31-32
MUKHA
f.)
also of jewels
The
face, frontispiece, the front side
;
of a building, the
facade.
Svakiyanguli-manena
mukham
syad dva-dasangulam
I
Mukha-manena karttavya sarvayava-kalpana II
The face (of one's statue in length) should be 12 angulas (=9 inches),
being measured with one's own finger. The whole body should be made
'
symmetrical to the
face.'
(Matsya-Purana, Chap. CCLVUI, v.
19.)
AN ENCYCLOPAEDIA OF
MUKHA-BHADRA
The
front side of a
building
and
Kamikdgama
(see
Brihat-samhitd
under DVARA).
MUKHA-BHADRA
A
portico, a porch, the front
middle
the
front
room corresponding to
the
niche,
tabernacle,
modern drawing-room or reception hall, staircase room.
(see
BHADRA)
Sarvesharh mukha-bhadrarh syal lakshanarii vakshyate'dhuna
(M., xviu, 275
;
I
also 276
see
Sarvesham mukha-bhadranam parsve sopana-samyutam
(A/.,
f.)
I
xxx, 93.)
Parito'linda-bhagena varanam (=door) mukha-bhadrakam
I
(M., xxxiv, 251.)
'
The temple
(at
itself faces
Amarnath)
the hall of the shrine
antarala
the west but the
or
mandapa
has also doors to the north and south.
Each of the three doors has a porch (mukha-bhadra), approached by four
or five steps, and supported by four nearly square pillars, two of them
attached to the wall.'
c.
i,
(The temple of Amarnath,
Vol.
Ind. Ant.,
m,
p. 317,
last para.)
kritina devalayarh karitam yugmam
cha
purato-bhadram pratolya saha
mamdapa-sobbitam
Deva-Sri-s'ai-bhushanasya
I
Kshetresasya tatha suralaya-vararh sphitam tadagarh tatha bandham Kaudika-samjnakam bahu-jalam dirgham tatha khanitam
I
(Ranker
inscrip.
Ep.
MUKHA-MANDAPA
The
of Bhanudeva, v.
Ind.,
pavilion in front of a temple.
(M., xix, 198-199, etc.; see under MANDAPA.)
Garbha-sutra-sama-bhagad agrato mukha-mandapam
(Matsya-Purana, Chap. CCLXIX, v. 6 ; see
v. ii
also Garuda-Ptrana, Chap. XLVII, v.
Prasada-garbha-manam va kurwlta-mukha-mandapam II
1
1
;
Sikharasya chaturthena agrato
mukha-mandapam
Made
shrine).'
also
10.)
II
(Agni-Purana, Chap. XLII, vv.
'
7,
Vol. ix, p. 127.)
7,
12.)
mukha-mandapa (muga-mandaman) and consecrated (the
(Two Anaimalai inscrip. no. II, Ep. Ind., Vol. vm, pp. 320-321).
the
MUKHA-VARANA
The
entrance door.
(M., xxxv, 395
MUKHYA-HARMYA
The main
;
see
DVARA.)
building, the chief temple.
(M., xra, 14.)
424
HINDU ARCHITECTURE
MUNDA-MALIKA A
MUSHTI-BANDHA
of buildings, the top room.
class
(Kdmikagama, XLI, 5
MUNDA-HARMYA
The
;
under MALIKA.)
see
top room.
(See Kautillya-Arllia-sastra
MUNDAKA-DVARA A kind
under CHULIHARMYA. )
of upper door.
under DVARA.)
(See Kautillya-Artha-sdstra
MUDRIKA A
small seal, a stamped coin, an impression, a mould-
ing of the column.
(Suprabhedagama, xxxi, 108, 105-177,
109
MUDDHA-VEDI
frequently added
The
to
so-called Buddhist
see
under STAMBHA.)
railings in relief are
balustrade, railing.
it,
(Mahavamsa, 35,
MUNI An
tee,
;
An
account
2, ed.
W.
Geiger, p. 297.)
of the
images of the seven
Agastya is measured
patriarchs
and
to
seven
the
tala, Kasyapa
Bhrigu according to the
according
eight tala, and Vashishtha, Bhargava, Visvamitra and Bharadvaja
according to the nine tala. (Details of these measures will be found
under TALA-MANA.)
is
ascetic.
given in detail in the Manasara.
(M., LVII, 2-6.)
The
characteristic features of the patriarchs are also described.
(Ibid.,
7-17.)
MUSHTI-BANDHA A
moulding of the entablature and of the
column, a kind of roof, the topmost part of a building, a part of
the rampart and of the arch.
The
moulding from the top (downwards) of the entablature (Kdmikagama, LIV, i, see under PRASTARA).
A member of the column (M., xv, 185, see under STAMBHA).
third
A kind of roof (M., xvi, 51 see under VALABHI).
A (crowning) part of a building (M., xvin, 202).
A part of the rampart
;
:
VajrakritiS cha
vaprangam chhatrakaram athapi va
I
Uttararh vajanarh chaiva mushti-bandharh tridhanvitam
I
(M., xxxi, 66-67.)
A part of an
arch (M., XLVI, 65
;
see
425
under TORANA.)
AM ENCYCLOPAEDIA OF
MURTI
MORTI An image,
a statue, an idol.
An
image, a statue (A/., LI, 26, etc.).
Amgulais cha tatha murti chatur-a&ti-sammitaih
(1)
(2)
I
(Bhavishya-Purana, Chap, cxxxn, v. 7.)
De&nurupa-bhushana-veshalankara-murtibhih karya
(3)
I
(Brihat-samhitd, LVHI, 29.)
Silakharena janita satya-sandhyasya bhautiki
Murtih kirtimayi chasya krita tenaiva sasvati II
I
(4)
'By the stone-chisel a material body of Satyasandha was executed,
and by the same an eternal body of his fame was produced.'
The two inscriptions
king Gunabhara
'
.
.
mountain and placed in it
Cave inscrip., no. 33, v. 4, H.
Uttara-bhagada
H. S. I. I., Vol. i.) record that a
constructed a temple of Siva on the top of the
a lihga and a statue of himself.'
(nos. 33, 34,
.
(Trisirapalli
S. 1. 1., Vol.
i,
pp. 29, 30.)
Kaisaleyalli
pancha-vimsati-llla-murtigalarh pratishtheyam
Set up on the colonnade to the north twenty-five pleasing (lila a
[Ep. Carnal., Vol. iv,
particular attitude, like dhyana-murti) statues.'
Chamarajnagar Taluq, no. 86 ; Roman Text, p. 18, lines 15, 10 (bera), 13
(5)
I
'
(vigraba)
;
Transl., p.
11.]
the expressions bera, vigraha, and murti occur they
are to be distinguished bera or bimba is an idol of a god, vigraha (or image)
In
this inscription,
;
:
expresses almost the same idea,
men, and so also does pratimd.
mini implies the statue of both gods and
MORTI-KANTA A type of storeyed
A class of five-storeyed
MOLA-DANDA
The
building.
buildings (M., XXIH, 19-24
;
see
under PRASADA.)
regulating column of a building, the founda-
tion pillar.
The main column
MDLA-BERA The
(M., xv, 236;
see also L, 104, etc.,
under STAMBHA).
chief deity in a shrine, the principal idol of a
temple.
(M., LV, 34; LXI, 21
MULA-STAMBHA
The foundation
pillar,
j
LIV, 3, etc.)
the regulating column
of a building.
(M., xv, 234,
etc.
;
see
under STAMBHA.)
MULA-STHANA The foundation, the base, a temple in the centre
of a village or town.
One perpetual lamp was given to Mahadeva, the lord of the Sri'
Mula-sthana at Tirukkalukkunram.'
H. S. I. /., Vol. HI, p. 148.)
line 34,
426
(Inscrip.
at
Tirukkalukkunram,
MERU
HINDU ARCHITECTURE
MDLA-HARMYA
The
chief of the buildings forming a group,
main temple.
the principal shrine, the
(M., xin, 19; xxxix, 135,
MRIGA-VANA
etc.)
Deer-forest, a place of sport or recreation of kings.
Tavan-matram eka-dvararh khata-guptarh svadu-phala-gulmaguchcham
akantaki-drumam uttana-toyasayarh danta-mrigachatush-padam bhagnanakha-damshtra-vyala-margayuka-hasti-hastini-kalabha-mriga-vanam viha-
rartham rajnah karayet
pratyante chanyan mriga-vanam bhumivasena va
Sarva-tithi-mrigam
nivesayet
I
I
Chap, xxm,
(Kautiliya-Artha-saslra,
p. 49.)
MRINALAKA A
lotus stalk or fibre, a moulding of the entablature,
base, or pedestal, etc., shaped like the lotus stalk or fibre.
A
moulding of the lintel (M., xix, 145, etc.).
fourth moulding from the top (downwards) of an entablature.
The
A moulding of the entablature (M., xvi, 63
under PRASTARA.)
MEGHA-KANTA A
A
class
of
;
under PRASTARA.)
the list of mouldings
see
i ;
(Kamikdgama, LIV,
see
type of storeyed building.
buildings
ten-storeyed
xxvin,
(M.,
16-17;
see
under
PRASADA.)
MERU A class of buildings mostly storeyed.
A
type of buildings which are hexagonal (in plan), have twelve
four entrances, and are 32 cubits wide.
storeys, variegated windows and
see J. R. A. S.
(Brihat-samhitd, LVI, 20
N. S., Vol. vi, p. 318.)
(1)
;
Pancha-chatvarimsan-meru-lakshanadhyayah
of
cription of forty-five kinds
authorities
following
Meru
buildings
;
the chapter on the desthey are described by the
:
(2) Prdsdda-mandana-Vdstu-s'dstra
Ms. Egg. 3146, 2253,
(3)
(4)
(5)
(6)
fol.
26
of Sutradhara
Mandana (Chap,
vi,
b).
Matsya-Purdna (Chap. CCLXDC, w. 28, 31, 53, see under PRASADA).
see under PRASADA.)
Bhavishya-Purdna (Chap, cxxx, v. 27
see
vv.
under PRASADA.)
14-15
Agni-Purdna (Chap, civ,
Garud.a-Pu.rdna also describes the same kind of Meru temple as the
;
;
Agni-Purdna
:
Sata-sringa-samayukto meruh prasada-uttamah
Mandapas tasya karttavya bhadrais tribhir alankritah
I
(Chap.
XLVII, v.
427
24,
cf.
also v. 39
;
see
II
under PRASADA.)
MERU
AN ENCYCLOPAEDIA OF
A
(7)
building with eight Salas (compartments) and eight kutas (towers
or domes)
:
Merur nama
iti
khyatas tv-ashta-salashta-kutakam(-h)
II
(Suprabhedagama, xxxi, 43.)
Meru
'
(8)
denotes a particular kind of temple (hexagonal with twelve
and four entrances, Brihat-samhitd, LVI,
of
Yasahkarnadeva, v. 13, Ep. Ind., Vol. n,
20.)'
(jabbalpur copperplate
note
42.)
pp. 4, 6,
variegated
stories,
(9) See
Ind.,
windows,
Bheraghat
Vol. n, pp.
n,
inscrip.
of
Queen Alhana
the
9,
(v.
Ep*
15).
10) Kanaka-si-(s"i)glapita-gagana-khelat-khecharl-chakra-khedah
(
Kim aparam
iha
yasya
kas(s)yam
Of him whose fame
is
like
I
dughdhabdhi-vichl-valaya-
bahalakirtteh kirttanarh karnna-meruh
'
Devi
II
the circle of waves of the milky ocean, need
say more than that here at Kas"! there is a temple (erected by him),
Karna-meru (so lofty), that the wind of the flags which wave from its
golden spires lessens the fatigue of the damsels of heaven, when playing in
we
the sky.'
(Khairha plates of Yasahkarnadeva, v.
13, Ep. Ind., Vol.
m, pp. 211,
212, 216.)
primarily the name of the fabulous golden mountain
(hemadri), the centre of Jambu dvipa on which the gods dwell (suralaya),
'
(n)
Meru
is
it is figuratively
applied in geographical names to any hill covered
with splendid temples and palaces.'
'
Another figurative meaning of Meru, derived from the notion that
and
mount Meru is the home of the gods, a large temple with
and wonderful vaults (Brihat-samhitd, LVI, 20).'
six towers,
twelve
stories
'
According to Prabandha-chintd-mani (p. 134, see also p. 175 f.)
King Karna of Gujarat constructed a building of this kind, called Karna-
meruh Prasadah,
'
in Anhilvad.'
Similarly the Prabhdvaka-charitra (xn, 402)
mentions
a
Siva
temple
called Siddha-meru.'
'
As regards the name Ajaya-meru,
Prithvi-rdja-vijqya,
v.
its
100, suggests), the
meaning
is
no doubt
Meru made by
(as the
Ajaya-raja.'
Thus we have in Rajputana Jesala-meru (this form is still used by
Pandits and Yatis, and occurs regularly in the colophons of the palm-leaf
manuscripts in the inscriptions and the Jaina books), the Meru made by
Jesala,' which primarily denotes the hill-fort, rising with its temples and
palace abov the town of Jesalmer or Jesalmir in Marvad, Komalmer,
the meru built by Kumbhala or Kumbhaproperly Kumbhala-meru,
is
the
which
well-known
hill-fort in Mevad.
karna,'
(In the Rajputana
'
'
'
Gazetteer,
Vol. in, p. 52, the fort
is
called
428
Komalgarh, while Col. Tod
HINDU ARCHITECTURE
MAULI
The name Kumbhala-mcru
occurs in the Jaina Pattaof
the
valis (see the description
Kharatara, no. 56, Sripuj-Jina-samudra,
Ind. Ant., Vol. xi, p. 249), and Balmer or Barmer, properly Bahada-meru,
the Meru made by Bahada, a hill-fort in Mallani (Rdjputana Gazetteer,
gives
Komalmer)
Vol.
ii,
.
p. 271).
The form Bahada-meru
is
used by the Jainas
(see
the
description of the Kharatara, no. 58, Sripuj-Jina-samudra, Ind. Ant., Vol.
In Kathiavad, there is Jhanjmer, (Bombay Gazetteer, Vol.
xi, p. 249).
vin, p. 459) properly Jhanjha-meru, the Meru made by Jhaiijha, and in
another Ajmir-garh, properly Ajaya-meruthe Meru made by Ajaya.' -(Origin of the town
the Central Provinces there
gadha, the fort, i.e.,
of Ajmer and of its name, Dr.
is
Biihler, Ind. Ant.,
Vol. xxvi, p. 164, last para.,
notes 11-15.)
There are other temples in honour of the holy mount Girnar
in the south wing being Sameta Sikhara and the other Su-meru
or a personified mount Meru.'
(Ahmadabad Jaina temples, Arch. Surv., New
Vol.
xxxm,
Series,
85.)
p.
Imp.
Mandiram had the surname Jaya-meru-Sri-Karana-mangalam
(13)
1 1 and
15 f.), which seems to be derived from Jaya-meru, one of the
(lines
surnames of the Bana king Vikramaditya.' (Inscrip. of Rajaraja I, no. 50,
'
(12)
.
.
.
'
H.S.I.I., Vol. HI, p.
103, para. 2.)
MERU-KANTA A type of storeyed building.
A
(1)
class
PRASADA)
(2)
A
of three-storeyed
buildings
xxi,
(M.,
41-49,
see
under
.
type of building (Kamikdgama, LXV, 31
MERUJA A
;
under MALIKA).
see
type of building, a class of pavilions.
(M., xxxiv, 160
;
see
under MANDAPA.)
MESHA-YUDDHA A kind of joinery.
(M., XVH, 93, 112-113;
MAULI A
see
under SANDHI-KARMAN.)
head-gear, a crown.
Mdnasdra (Chap. XLIX, 1-232, named Mauli-lakshana)
Various crowns and head-dresses are described
:
:
Jata,
Mauli,
KeSa-bandha,
Sirastraka,
Karanda,
Kundala(Kuntala),
Dhammilla, Alaka, Chuda, Makuta, and Patta (lines 13-15).
Of these, the Pattas are sub-divided into three kinds, namely, PatraKuntala, Kesa-bandha,
patta, Ratna-patta, and Pushpa-patta (line 16).
various
are
Alaka
and
Chuda
fancy modes of hairDhammila,
apparently
Kirita,
dressing.
suit
Jata (clotted hair) and Makuta
Brahma and
Vishnu in
his
Siva (Rudra)
different
forms,
;
17-18).
429
diadem)
are
stated to
and Makuta are prescribed for
as,
Narayana and others (lines
Kirita
such
(lit.
AN ENCYCLOPAEDIA OF
MAULIKA
The love god(line 19).
Sarasvati
Mandala
or
Kundala.
wears
Mauli,
Jata,
(Manonmani)
and Savitri put on Kes"a-bandha and Kundala. All the female deities
may wear Karanda or Makuta. The kings Chakra-vartin (Sarva-bhauma)
Other petty gods wear Karanda and Makuta
dess Rati
Kirita, Narendra puts on Karanda, Parshnika uses
and other kings may, as stated, wear
or
the
Chakra-vartin
Sirastraka,
Karanda or Makuta.
Patra-patta is stated to be suitable for the king
and Adhiraja wear
Patta-dhara,
Ratna-patta for Parshnika, Pushpa-patta
for
Patta-bhaj,
and Pushpa-malya (flower wreath) for Astra-graha (lines 20-28).
Kundala (Kudmala) and Makuta are prescribed for the queen of Chakravartin, Kcsa-bandha for the queens of Adhiraja and Narendra, Dhammilla
and Kumuda for the queens of Parshnika, Patta-dhara, MandaleSa and
Patta-bhaj, and Alaka and Chuda for the queens of Astra-graha (lines
29-33)-
The
height, etc., of a
crown
of the face of the wearer.
is
determined in comparison with the width
Different proportions are suggested in different
cases (lines 34-63).
number of gold pieces and precious jewels
of
the
in the crowns
kings of various ranks and of their consorts (lines
Next
is
described in detail the
64-88, 89-92).
Forms of
these crowns are then described
:
Jata, Makuta, Kesa-bandha and Dhavala
be shaped
Dhammilla) are
(?
stated
three ancestors
or the length of
three men) Kirlta like venu-karna (bamboo-ear), Karanda like the
to
like
tri-purusha
(lit.
beak of a peacock, Sirastra
Dhammilla
like
budbuda
(water
bubble),
and
like vallika (creeper) (lines 93-95).
Then
follows the description of the plan and the various parts of these
crowns, as well as of their measurement (lines 96-168).
MAULIKA A
type of pavilion, a class of halls, a type of build-
ing.
A
A
type of pavilion with six faces (M., xxxiv, 554; see under MANDAPA.)
class of halls (M., xxxv, 3, 10 see under SALA.)
;
MAULI-BANDHA A
head-gear.
(M., XLIX, 109
MAULI-MUNDA
The
;
see
under BHUSHANA.)
top part of a branch of the ornamental
tree (kalpavriksha) .
Sakha-mulasya parve tu mauli-mundam cha yojayet
I
(M., XLVIII, 66.)
430
HINDU ARCHITECTURE
YAKSHA A
RAKTA-PATTA
Kubera or
the attendants of
of demi-gods,
class
the
god of wealth, who guard his treasures they are also the chowrybearers of other gods.
They are stated to be measured according
;
to the nine tala
two
arms and
;
they assume a purely human appearance, possess
two eyes, dark blue and yellow complexion, and
benevolent disposition.
(M.,
YAJNA-KANTA A
2-5
LVIII,
TALA-MANA.)
type of five-storeyed building.
(M., XXIH, 34-41
YAJNA-BHADRA A
of building,
type
a
pillars.
(Matsya-Purana, Chap. CCLXX, v.
YANTRAKA An
see
;
architectural
;
under PRASADA.)
see
with
pavilion
n
see
;
member of the
to move a couch
four
under MANDAPA.)
bedstead, a band,
a machinery or wheel at the legs
easily.
Padagre chantaralarh syat kuryat tiryak cha yantrakam
I
(M., XLIV, 13.)
YAMA-SORYA A
northern
type of building, a house with a western and
hall.
(Brihat-samhita,
39.)
LIII,
YAMA-KANTA A
A
class
type of storeyed building.
of five-storeyed and eleven-storeyed buildings.
(M., XXIH, 25-29, xxrx,
YAGA-MANDAPA A
16-18
;
see
sacrificial pavilion.
(M., xxxiv, 37
YAGA-SALA A
under PRASADA.)
xxxn, 65,
;
etc.)
sacrificial hall.
(M., xxxii, 55,
etc.)
YANA A
sisting
conveyance, a car, one of the four kinds of Vastu conof Adika, Syandana, Sibika, and Ratha.
(M.,
YOPA-STAMBHA The
sacrificial pillar (see
in, 3,
9-10.)
under STAMBHA).
R
RAKTA-KAMPA A
moulding of the base, a
(M., xiv, 287
RAKTA-PATTA
(cf.
;
see
the
list
RATNA-PATTA)
fillet.
of mouldings under ADHISIITHANA.)
A
moulding of the base, a
band.
(M
.,
xiv, 289
;
see
the
list
431
of mouldings under ADHISHTHANA.)
RAKTA-BANt)HA
AJf
RAKTA-BANDHA A
class
ENCYCLOPAEDIA OF
of bases.
(M., xiv, 281-296
;
see
the
under ADHISHTHANA
RAKTA-VAPRA A
;
of mouldings
list
see also
xv, 223.)
moulding of the base, the cavetto.
(M., xiv, 284
;
see
the
of mouldings under ADHISHTHANA.)
list
RANGA A pavilion,
a theatre, an amphitheatre, a stage, an arena,
an assembly-hall, a court, a courtyard.
(1)
A
pavilion within another pavilion is called Ranga
Mandape mandapam yat tu rangam ity-abhidhlyate
:
II
(Kamikdgama,
(2)
Courtyard
Tasya madhye cha range tu mauktikena prapanvitam
L,
94.)
:
I
(M., xxxiv, 218.)
Mukha-sala visala cha chatur-bhagarh tathayatam
Purato'lindam ekarhsam bhittim kuryat samantatah
Mulagre dvi-dvi-bhagena vasa-rangarh cha karayet
I
I
(M., xxxv, 117-119
(3)
;
see also
xxm, 50
;
I
xxxvm,
Uttare rangam ity-uktarh tad-grihinya griharh bhavet
Eka-sala prasasta syat strinarh rangopajivinam
44, etc.)
II
1 1
Pradhana-sala yatraiva ranga-sthanarh vidhlyate
II
Ranga-bhitti-samayuktarh dhama-sopana-sarhyutam
1
1
(Kamikagama, xxxv, 47, 60, 62, 64.)
RAftGA-PlTHA
The
stage proper.
(Bharata's Ndlya-sastra,
See details
11,
66, 771, 102.)
under NATYA-GRIHA.
RAftGA-BHtJMI
The
stage,
the
playhouse
(see
details
under
NATYA-GRIHA).
RAftGA-MANDAPA A
pavilion,
an assembly-hall,
a council
chamber, the stage proper (Bharata's Ndtya-sdstra, n, 68, 96), the
whole playhouse including auditorium also (ibid., n, 91). Music
hall
as defined
in
the Bhavaprakasana (x, 518), implying singing,
instruments, dancing and acting jointly or
playing upon musical
separately. See details
Cf.
Nat
(nritta)
front of a temple,
under NATYA-GRIHA (VESMA).
mandira implying the detached mandapa or hall in
where the visitors assemble and indulge in religious
music.
(i)
face)
An assembly-hall (Hampe inscrip.
.
432
of Krishnaraya, lines 24, 32, north
RATNA-KANTA
HINDU ARCHITECTURE
'
In the Zeitschrift der Deutschen Morgenlandischen (Bd.
Dr. Bloch makes some remarks respecting a cave in
s.
LVIII,
Ramgarh
455)
hill
in
Sarguja, which from its arrangement and inscriptions appears to have
been evidently intended for dramatic performances.'
'
The so-called queen's cave and that of Ganes"a cave in Udayagiri are
further undoubted examples, to the reliefs of which Jacobi has directed my
they represent the doings of these ladies and gentlemen (actresses
The cave-theatre discovered by
actors) in a highly realistic way.
attention
and
:
Bloch has, however, a special interest
pattern.'
Prof. Luders
to
refers
Kalidasa
(i)
:
it
arranged after the Greek
is
(Kumdra-sambhava,
dari-griha
Sila-vesman (Megha-duta, i, 25).
(Indian Caves as Pleasure-resorts, Ind. Ant., Vol. xxxiv,
10,
14)
para,
;
i,
(2)
p. 199, para. 3
;
p. 200,
i.)
Irangada happaligeyuman imaha-sopana pantiyumarh rachisidam
Sri-Gommata-devara suttalu rarigama-happaligeym bigiyisidan
had this
(2)
'
rahgada happalige (? painted hall or hall of assembly) and the flight of
grand stairs laid out had the rangama happalige set up around Srl;
Gommata
Deva.'
(Ep. Carnal., Vol. n, no. 115
;
Roman
Text, p. 87
;
Transl.,
171.)
p.
(3)
Karite vira-Ballala-pattana-svaminamuna
I
Nagena ParsVa-devagre nritya-rangasma-kuttime
I
By Naga, the Vlra-Ballala, pattana-svami, were built the dancing hall
and terrace of Parsva Deva.'
'
Nritya-rangamumarh madisida
tha
Parsva
Deva
stone
(Ep. Carnat., Vol. n, no. 130;
para,
and in front of the basadi of Kamaand a dancing hall
were made.
'
'
pillars
Roman
Text, p. 99, lines 1-4; Transl., p. 178,
i.)
RANGA-MUKHA A class of buildings,
the forepart of a theatre or
stage.
(Kamikagama, XLV, 52
RANGA-SINSHA The
wood
see
under MALIKA.)
forepart of the stage, the platform
(Bharata's Ndtya-sdstra n, 71).
(-VESMA)
;
made of
under NATYA-GRIHA
See details
.
RATNA-KALPA A
kind
of ornament prescribed for idols and
kings.
(M.,
RATNA-KANTA A
class
L,
3
;
see
under BHUSHANA.)
of six-storeyed buildings.
(Af.,
433
xxiv, 19
;
see
under PRASADA.)
AN ENCYCLOPAEDIA OF
RATNA-GRIHA
RATNA-GRIHA The
jewel-house,
adytum of a Buddhist
the
temple, a stupa or tope.
mama chapararddhat
Ratna-grihecha
dipako jvalatu
bhikshavo bhumjatarh ratna-grihe cha dipaka iti II
'
From the interest of the dinaras given by him
I
.
.
.
and with the other half
burn in the jewel-house
the same number of five Bhikshus be fed and a lamp burn
.
.
panchaiva
a lamp
let
...
.
let
in the jewel-
house.'
'
It
seems to denote the stupa
itself,
as the
abode of the three ratnas or
jewels or precious stones, viz. (i) Buddha, (2) Dharma, the law or truth,
and (3) Sarhgha, the community or congregation.'
'
This rendering of the term by the whole stupa seems unsuitable to
a lamp was provided to light up the ratna-griha which must
the contest
imply a room or a particular part thereof, and not the whole stupa.'
'
:
'
(Sanchi stone inscrip. of Ghandragupta
no. 5, pp. 32, 33-34, note 5
on
II, lines
9-10, C.
Vol. m, F. G.
I. I,,
I.,
p. 33.)
RATNA-PATTA A
A
moulding, a jewelled band, a jewelled turban.
moulding of the pedestal (M., xm, 84 see the list of mouldings,
;
under UpAPixHA.)
A head-gear (M., XLIX, 16; see under BHUSHANA).
RATNA-PAD A Otherwise called Sripada, the footprint
on Adam's Peak
in Ceylon.
RATNA-PUSHPA A
For
diamond
details see
flower,
(Deopara
BUDDHA-PAD A.
an ornament.
inscrip. of Vijayasena, v.
Vol.
RATNA-BANDHA
A
RAKTA-BANDHA)
(see
(M., xiv, 281-296
RATNA-MANDAPA A
of Buddha,
class
;
r,
n, Ep. Ind.,
pp 308, 313.)
of bases.
the list of mouldings
under ADHISHTHANA.)
see
kind of pavilion.
see MANDAPA.)
(M., xxxii, 48
of the three library buildings in the
;
RATNA-RANJAKA
One
University of Nalanda
(see
under DHARMAGANJA)
RA.TNA-SAGARA One
University of Nalanda
RATNI
(cf.
R;a1nir
ARATNI)
of the three
.
library
buildings
under DHARMAGANJA).
measure of 21 angulas or about 16
in
the
(see
A
angula-parvarh
sarhkhyaya
tv-eka-virhs'atih
(Brahmanda-Pufdna, Part
434
I,
inches.
I
and anushamgapadaChap, vn, v. 98,)
RATHA
HINDU ARCHITECTURE
A
measure equal to the cubit with closed or clenched
dgama, xxx, 24).
RATNODADHI One
fist
(Suprabhed-
library buildings in the Uniwas nine-storey high and stocked the sacred
Prajna-pdramita-sutra, and the Tantric works such as
scriptures,
Samajaguhya, etc. (See under DHARMAGANJA)
versity of Nalanda.
of the three
It
.
RATHA A
chariot, a carriage, a car, a vehicle, a tank, a war
the
chariot,
body, a limb, a shrine.
(1) Mdnasdra (Chap. XLIII, 1-107, named Ratha)
Rathas are constructed for ceremonial and ordinary drives of
:
idols,
Brahmans and
and other purposes
kings
(lines
;
i,
as well as for fighting, mock-fighting
131-133).
Wheels and other parts of Rathas, their shapes, measurement, and ornaments and mouldings are described (lines 2-3 f.). Other architectural
details are also given (lines 3-11).
With regard to shape, Rathas are divided into seven classes, namely,
Nabhasvan-bhadraka, Prabhanjana-bhadraka, Nivata-bhadraka, Pavanabhadraka, Prishada-bhadraka, Indraka-bhadraka, and Anila-bhadraka
(lines
third
112-115). The first of these is square, the second hexagonal; the
should have two bhadras or porticoes (? storeys) and the fourth
and the sixth should have ten porticoes, and the
one should have twelve porticoes (lines 117-120). But according to
some, the seven shapes proper are respectively semi-circular, circular,
three porticoes, the fifth
last
elliptical,
rectangular, octagonal, hexagonal,
and oval
(lines
121-123).
Rathas are further divided into four types, namely, Nagara, Dravida
Andhra, and Vesara. The square Rathas are called Nagara, the octagonal
ones Dravida, the hexagonal ones Andhra, and the round ones Vesara
(lines 124-125).
In accordance with various purposes, Rathas are furnished with different kinds of wheels and other parts. Thus a war chariot or tank has three
wheels, the chariot for mock-fighting has four wheels, one for ordinary
is furnished with five wheels, one for
special festival may have six,
nine
or
ten
wheels (lines 131-37).
seven, eight,
festival
The number
as the
Rathas
of vedis or platforms, storeys, etc., of these Rathas as well
the Bauddhas and of the Jinakas are described (lines
of'
138-171,3-111).
(2) Svarnaih sughatitam sadhu-ratha-trayam alarhkritam
I
Dukula-ratna-maladyair bahu-mulyair dridham mahat
II
(Skanda-Purana, Vaishnava-khanda-dvitlya,
Chap, xxv,
435
v. 8.)
AN ENCYCLOPAEDIA OF
RATHAKA
,
shrines
.eight small
to south on each side
stand in a row from north
(known as Ratha)
On
(,)
elevation
the east
the
eastern entrance, six on
.
.
c
left.'
completely detached.
on the back of the chamber
a square shrine, with carved panels
uncarved), each
A small platform is in front, with yali piers (block
the extreme
The Ratha, on
is
of the temple
having
.
its
capital
The basemen,
complete.'
As these shrines are very similar
known by
name
the
of Rathas,
(PaTavalrchitecture,^.^,,
4, 5 ,
6
:
note 96
free stone eourse
and square
a square granite plinth,
is
which carry the
ters are brackets
.
stands
left,
;
set
to the monoliths at
the
term
New Imp.
is
Series,
Mamallapura^
here used advised y
para, 3
Vol. xxxxv, p.
,
,
Plate xxv.)
a shrine, a temple.
type of building,
tu nirgamah
Ashtamarhsena garbhasya rathakanam
RATHAKA A
I
rathakams tatra kalpayet
Paridher-guna-bhagena
rathakanam tu nirgamah
Tat-tritiyena va kuryad
rathaka-tritaye sada II
Vama-trayarh sthapaniyam
XLH,
(Agni-Purana, Chap.
I
w.
13-14-)
samantatah
Nernih padona-vistirna prasadasya
madhye rathakams tatra karayet
I
Paridhes trayarhsako
(Ibid.,
RATHA-KUMBHA-A
Chap,
civ, v. 7.)
of the column.
pitcher-like part
see under STAMBHA.)
(M., xv, 68
;
RATHA-VlTHI-The
vehicles, the
broad road
highway, the main
fit
for driving chariot
street.
(See
RAHASYAVASA-MANDAPA-A
secret,
and other
Kamikagama, under RAJA-VITHI.)
reside in
pavilion where kings
a bed-room, a private chamber.
(M., XL, 147
RATA-GRIHA The
;
capital city
under RAJA-HARMYA.)
the
king's residence,
seat of Government,
the king usually resides, the
(see
where
under MAI^PAPA.)
royal palace.
(See details
RAJA-DHANI
see
under
NAGARA)-The
the metropolis.
436
HINDU ARCHITECTURE
Definition
RAJA-HARMYA
:
Vidya-sthanam tu tadvat syat bahu-sena-saraanvitam
Raja-veSma-samayukta raja-dhaniti kathyate II
I
(Kamikagama, xx, 14.)
'
With myriads of people,
practices of virtue, agreeable occupations,
streams of the (nine) sentiments,
pleasure-gardens,
separated lovers,
splendid tanks, full lotus beds, gilded boats for spring-festivals, ghatikaCf.
sthanas (religious centres), the supports of dharmma and mines of
enjoyment, moats which were as if the sea being overcome had returned here
on account of the
women
fair
as
collection of gems, groups of the lotus-faces of beautiful
moon (grama-nagara-kheda-kharwana-madamba-
the
drona-mukha-pura-pattana-raja-dhanl), on whatever side one looked, in
did the Kuntala-des"a shine.'
(Ep. Carnal., Vol.
these nine forms
vn,
Shikarpur Taluq, no. 197
Text, p. 214, line 27 f.)
RAJA-PATHA The
;
Transl., p. 124, para,
broad
street,
last
i,
seven lines
;
Roman
the big road, the
highway.
Dhanumshi
daga-vistlrnah sriman raja-pathah kritah
Nri-vaji-ratha-naganam asarhbadhas tu samcharah
1
I
1
Dhanumshi chapi chatvari s'akha-rathyas' cha tair mita
Trika rathyoparathyah syur dvikas"
chapy-uparathyakah II
Jahgha-pathas chatush-padas tri-padam cha grihantaram
Dhriti-margas turddhva-shashtham krama^ah padikah smritah
I
I
II
i, and annushamga-pada,
Chap, vn, vv. 113, 114, 115.)
(Brahmanda-Purana, Part
RAJA-VITHI
The
public road, the broad street, a road which runs
round a village or town,
also called Mangala-vithi
Raja-vlthlti vikhyata
gramader bahir-avrita
Saiva mangala-vithiti ratha-vlthiti kathita
and Rathavithi.
I
II
(Kamikagama, xxi,
RAJA-HARMYA
The palace of a
2.)
king.
Manasara (Chap. XL, 1-160,
named Raja-griha) :
Palaces are divided into nine classes with
regard to their size
as they belong to the nine classes of
kings,
and
namely, Sarvabhupa (or
Sarva-bhauma, otherwise called Chakra-vartin) (lines 32, 1-9),
Maha-raja (lines 10-15), Narendra (lines 16-19), Parshnika (lines
19-22), Patta-dhara (lines 23-25), Mandalega
(lines 26-28), Patta-bhaj
Praharaka (lines 32-36), and
Astragraha (line 37).
Each palace admits of three sizes,
namely, the largest, the intermediate
and the smallest, both as regards the measurement of
dimensions
(lines 29-31),
(lines
437
AN ENCYCLOPAEDIA OF
RAJA-HARMYA
and the number of walls, storeys, rooms, ditches, gardens,
of breadth are given to each palace.
etc (lines 38-69). Thus three kinds
with the breadth.
The length and height are determined in comparison
to the breadth to being
The former (length) may vary from being equal
number of storeys,
the
times of it. Height is determined mostly by
4 I0
36)
15
ai
rules for
under TALA
should possess, has
which have been discussed in another place
and BHUMI-LAMBA).
The number
of storeys a palace
(set
moat,
been discussed in the same place. The enclosure, surroundmg
in the present chapter,
of each palace are briefly described
etc
inner and outer I
is to give an account of
of the
main
also
chapter
object
to
palaces
royal
belonging
ings
The Brahma-pitha
(lines
or royal chapel
central part (lines 156-159)remaining parts called Indra,
71-1", 112-153).
is
Bramasthana or
i n the best of the
installed in the
The main P alace is built
Varuna, Yama, Pushpadanta,
etc.
Round
such as the houses for the
the palace proper are arranged all other houses,
for private council hall, drawing-room, dressingqueen and the princesses,
for attendbathroom, dining hall, kitchen, bed-chambers, quarters
room,
and inner gardens, etc. (cf. Shodasa-mandira-chakra
charm and luxuries of which are so wel
Beyond the royal harem, the
residences of the crown
known, are placed the official quarters, including
ministers, and others.
prince, family priest,
e.g.,
other offices are suitably accommodated
and
council
.
ants, places for tanks
The
:
royal
to be built at the fourth
the palace of peace and war office are directed
Pleasure gardens,
of the palace (line 148)
compound in the southern side
laid out.
Compare
flower gardens, groves, tanks, etc., are gracefully
.
following
:
Yamye cha soma-dig
nairnte
vapi vayavye vatha
I
cha vayave
Asthana-mandaparh kuryat pushkarinyarh
arama-des"akam
Nagasya vamake yamye kuryad
cha
tatah
mukhya-bhallatake'pi
I
I
kuryat
tatah
nana-nrittanganani cha
kuryan
Nrittagararh
I
Pushpodyanam
I
(M., XL, 117-121.)
Tritiye vithis tasyarhse
I
rahasyavasa-mandapam
^
cha
Ise va vitathe chaiva ranga-mandapam eva
I
(ibid.,
Stables, cow-sheds, etc.,
built near the
main gate
I5*J
where domestic animals are kept, are generally
:
eva cha
Dvauvarika-pade chaiva mayuralayam
eva cha
Dvarasya dakshine parsVe vyagrakalayam
I
I
(Ibid.,
438
i44-'45-)
RUCHIRA
HINDU ARCHITECTURE
ParsVake mesha-Sala cha satyake vanaralayam
Somad
I
Is"ana-paryantaiii vaji-Salam prakalpayet
I
Yamyadi-pavakantaih syad gaja-Salam prakalpayet
Tasmat tu nairrityantam kukkutalayam eva cha
I
I
Vayu-konadi-mukyantarh mriganarii harinalayam
The
I
(Ibid.,
128-132.)
elevated platforms to see the mock-fight from are also placed near
148-150). The iron-pike (Sula-kampa) for capital punishin
a prominent place near the gate (line 135). But the jail
placed
is
built
in a rather out-of-the-way place, such as the iBhrisa, or
(karagara)
the
door
ment
(lines
is
the Antariksha part.
All these are given
ment being
by way of illustrations, the most part of the arrangeand the choice
left, as stated here, to the discretion of the artists,
of the king (line 155).
The
royal court, persons forming the king's suite or
council, anything related to the king, the royal palace.
In a chapter (XLI), named Rajanga, of the Mdnasdra are described the
RAjAftGA
and some
nine classes of kings, their courts, kingdoms, royalties
special
characteristics.
'
Had
a palace (Rajanga) built for Goparaja to the west of that pond.'
Malur Taluq, no. 4 ; Roman Text, p. 187 ; Transl., p. 156.)
(Ep. Carnat., Vol. x,
RUCHAKA A
(1)
'
type of building, a class of columns.
Prak-paSchimavalindav-anta-gatau tad-avadhi-sthitau s*eshau
Ruchake dvararh na s"ubhadam uttarato'nyani Sastani II
The
Ruchaka has a western and eastern terrace runand between their extremities two others. A northern
evil, doors on any other side are auspicious.'
(Brihat-
(building called)
ning to the end,
door in
it
brings
samhitd, LHI, 35, J. R. A. S.,
N.
Sama-chaturas'ro ruchakah
S.,
Vol. vi, p. 286.)
a column with four rectangular sides
(called) ruchaka (ibid., v. 28).
A kind of quadrangular building
(2)
I
Agni-Purdna
(Chap,
crv,
is
:
w.
14-15
'
has
Charuka,'
see
under
PRASADA).
(3)
under PRASADA).
kind of pedestal or platform at the bottom of a
Garuda-Purdna (Chap. XLVII, vv. 24-25;
RUCHIRA A
column, a portico.
Garbha-mana-pramanena prasadarh
Vibhajya navadha garbhaih madhye
see
sVinuta dvijah
Padashtakam tu ruchirarh parsVatah parikalpayet
Manena
I
syal lihga-pithika
tena vistaro bhittinarh tu vidhiyate
II
I
1 1
(Matsya-Purana, Chap. CCLXIX, vv. 15-16.)
439
AN ENCYCLOPAEDIA
RUDRA-KANTA
OF
RUDRA-KANTA A
type of building, a class of columns.
The sixteen-sided or circular pillars (Af., xv, 21 see under STAMBHA).
A class of four-storeyed buildings (M., xxn, 34-43 see under PRASADA).
;
;
RUDRA-BANDHA A
kind of band, an ornament.
(M.,
LI,
69
;
under BHUSHANA.)
see
RUPOTTARA A
Cf.
type of entablature (see PRASTARA).
Athochcharh pada-vistararh rupottaram ihoditam
I
(Kamikdgama, LIV,
RAURAVA A
A
class
type
of storeyed
main
building.
of nine-storeyed buildings (Af., xxvn, 10
LAKSHMI-SK(-ST)AMBHA
(see
6, etc.)
see
;
under PRASADA).
A
type of column
believed to be the abode of the
STAMBHA)
:
of a house, which is
guardian angel of the house.
LAMBANA A pendant, a moulding of the front portico, same as
alambana or plinth (M., xrx, 28).
the
pillar
(M., xvm, 285
see
;
Sikharalambanantam cha vedi-tara-samanvitam
Lambanordhve dalarh badhya
MUKHA-BHADRA.)
I
(M., xrx, 27.)
....
I
(Ibid., 39.)
Utsedhe cha tri-bhagaikam tasyadho chagra-lambanam
I
(Ibid., 170.)
Tr(i)yarharh chagra-vistararh lambanarh pancha-bhagikam
I
(Ibid., 172.)
See also
etc.
M., xx, 25,
A pendant
(Af., L, 15, etc.).
LAMBA-PATRA An
ornament shaped
like
a
leaf.
(M.,
LAMBA-MANA
The measurement along
the
LI,
see
;
plumb
(Af., LV,
LAMBA-HARA A
73
3-6
;
see
BHUSHANA.)
lines.
under MANA.)
kind of long necklace, a pendant.
(Af.,
LALATA(-MANDAPA)
Same
as
L,
301
;
munda-harmya,
see
BHUSHANA.)
and
chuli-
harmya, a tower, a top-room.
(Af.,
Same
as
xxxiv, 400, 406, 409, 414, 429, 454, 505, 568.)
VAKTRA and NETRA
(Af.,
44
xxxv, 257-260).
HINDU ARCHITECTURE
LAftGALA The
For
its
LlNGA
plough.
architectural details see Mdnasdra (Chap, v, 55-77).
LANGALAKARA
Anything shaped
like the
plough, a pavilion with
three faces, a type of hall.
under MANDAPA ;
xxxv, 67 ;see under SALA.)
(M.,xxxrv, 553
A
LAftGALA-BHITTI
kind of round
see
;
cornei
wall,
shaped
like
the plough.
Karne
langala-bhittih syad bhramaravrita-bahyake
I
(M., xxxiv, 333.)
Prapagraika-dvi-bhagarh va karne larigala-bhittikam
I
(Ibid.,
225.)
LlNGA A distinguishing mark, a badge, a symbol, an emblem?
the genital organ, the image of a god, an idol, the emblematical
phallus of Siva.
(i)
Mdnasdra (Chap. LIT, 1-376, named Lihga)
Various classifications of phalli have been given
:
are classified
firstly into six heads
(line 2 f.).
They
(i) Saiva,
Pasupata, Kala-mukha,
Mahavrata, Varna and Bhairava secondly, into four (2) Sama-karna,
Vardhamana, Sivanka and Svastika thirdly, into four with regard to
:
:
;
;
height (3) Jati, Chhanda, Vikalpa and Abhasa fourthly, into three
types with regard to breadth or width (4) Nagara, Dravida and Vesara
fifthly, into five
(5)
Svayambhu or Udbhuta, Daivika,
(line 99)
:
;
:
:
;
Manusha, Ganava and Arsha sixthly, into two (6) Athmartha (for
one's personal worship) and Parartha (for others, for public worship)
(7) Eka (single) linga, and Bahu-linga (phalli in
again into two
:
;
,
;
:
group)
;
then into
many
kinds
:
such as
(8)
Vajra, Svarna,
etc.,
with
which they are made
and lastly into two
as
Kshanika
contrasted
with the (10)
(for temporary worship)
(9)
All these kinds of phalli are described
Sthira or permanent linga.
at great length. Various alternative measures are prescribed for each
of them (lines 13-376). In some cases as many as 36 alternative
heights have been suggested. But in most cases their number is 9.
regard to materials of
;
:
The 9
alternative heights of a phallus are determined in some cases
to different parts of the body of the worshipper
The
height of the phallus may reach the worshipper's
(yajamana).
by a comparison
sex-organ, navel, heart, breast, arm-joint, chin, nose, eye, or be equal
to his full height. Another comparative
regard to the Garbha-griha or adytum.
are
also
given
in
some
cases.
441
measurement
is given with
Various absolute measures
The set of the nine alternatives
AM ENCYCLOPAEDIA OF
LlftGA
prescribed for height may begin with one cubit and end with four
cubits and a half, the increment being by half a cubit.
The breadth
or width of the phallus is in like manner discussed at great length.
(2)
Athatah sarhpravakshyami linga-lakshanam uttamam
Susnigdharh cha suvarnarh cha lingam kuryad vichakshanafr
Prasadasya pramanena linga-manarh vidhiyate
Linga-manena va vidyat prasadam Subha-lakshanam II
I
II
I
(Matsya-Purana, Chap. CCLXIII, v, 1-2.)
samanyam uddishtam prasadasyeha lakshanam
Tathanyarh tu pravakshyami prasadam linga-manatah
Etat
I
(Ibid.,
II
Chap., CCLXIX, v.
7.)
Evarh ratna-mayam kuryat sphatikam parthivam tatha
Subharh daru-mayam chapi yad va manasi rochate II
I
(Ibid.,
(3)
In the Brihat-samhitd
have condensed the
details
v. 25.)
Chap. CCLXHI,
(LVIII, 53-55) where Varahamihira seems to
from the Matsya-Purana, are given especially
the architectural characteristics
:
Lingasya vritta-paridhirh dairghyenasutrya tat tridha vibhajet
Mule tach chaturasYarh madhye tv-ashta^ri vrittam atah
Chatura^ram avani-khate madhyarh karyarh tu pindika^v-abhre
DriSyochchhrayena sama samantatah pindika sVabhrat II
(For the construction of an emblem of Siva) set out in the length the
I
1
1
I
'
(measure of the) circumference of the round part and divide the whole
phallus into three portions, of which the part at the bottom must be quadrangular, that in the midst octangular,
shapes are prescribed in the Mdnasard).
and the
rest
(The same
round.
Sink the quadrangular portion
into a pit in the earth and put the middle member into the cavity of the
pedestal.
The
pedestal
extent equal
is
visible
upwards
to its height.'
over an
J.R.A.S., N. S., Vol. vi, p. 329, notes i, 2.)
(4)
to
its
in all directions
cavity,
LVIII,
(Brihat-sarhhitd,
Sarvesham eva linganam lakshanam Srinu sampratam II
Madhya-sutrarh samasadya brahma-rudrantika budhah
ShodaSangula-lirigasya shad-bhagair bhajito yatha
1
54,
I
1
Tad vaiyamana-sutrabhyarh manam antaram uchyate
Yavashtam
53,
I
karyyarh Seshanam yava-hanitah II
tridha
kritva tv-ardham ekam parityajet
Adho-bhagam
Ashtadha tad-dvayarh kritva urddha-bhaga-trayarh tyajet
Urddhvarh cha panchamad bhagad bhramya-rekham pralambayet
uttare
I
1
Bhagam ekam
parityajya sarhgamam karayet tayoh
Etarh sadharanarh proktarh linganam lakshanam maya
1
I
II
II
(Agni-Purana, Chap. Lm, vv. 8-13.)
442
NOTE:
Her* each unit
ol
the height
aAOANA.
PENT ROOF.
ia
one-eighth
of Sikhara.
ANANTA.
VIHAYA3.
ANTARIKMA
PROPORTIONS OF LUPA.
:
LUPA.
LAKSHMI STAMBHA
VEDIKA.
1
i
SECTION.
-
ELEVATION.
VEDI,
Page
HINDU ARCHITECTURE
LU(-TJ)PA
Svayambhuvaih vana-lingarh daivikarh charshakam tu iti
Bha-(Ga)navam manusham lihgam shat prakaram praklrtitam
(5)
I
(Kamikagama,
Details of these Lingas (see
II
L,
35.)
36-43) are the same as given in the
ibid.,
Mdnasara.
The
pitha (pedestal) of the Linga (phallus)
described.
is
(Ibid.,
44-52.)
Twelve Jyotir-lingas
(1) Somanatha (at Verawal, Junagadh State, Guzrat).
(2) TrimbakesVara (at source of the Godavari, Nasik).
:
(3)
MummalesVara
(at
Onkar, Mandhata,
(6)
Mahakalesvara (at Ujjain).
Kedarnatha (at Kedar, Garhwal
VisVanath (at Benares)
(7)
Vaidyanatha
(8)
Ramesvara
(9)
Mallikarjuna
(4)
(5)
Nimar, G.
P.).
District).
.
Vaijnatha
(10)
district
(in
Santal Pargana, district Birbhum, Bihar)
or
(at Parli,
(at
Hyderabad
Ramnad
,
State, Deccan).
Madras).
Garnool District, Madras).
District,
(at Sri^aila,
Naganatha (near Dwaraka, Guzrat, or
at
Oundh, Hyderabad,
Deccan).
(n) Ghrishnesvara (Purna-jyotish, near Ellora Caves, Hyderabad,
Deccan).
(12) Bhlma-s'ankara (30 miles from Poona).
N.B. These do not include three other famous lingas, namely
(A) PaSupatinatha (at
Amarnatha
:
Katmundu, Nepal).
Kasmir).
(C) Kailasanatha (on the Manas-sarovara, in the Himalayas).
(B)
(in
LlftGA(-MUDRA)-STAMBHA A
pillar
marked with the linga
or emblem of Siva (see under STAMBHA).
LU(-O)PA A sloping and projecting member of the entablature,
etc., representing a continued pen t- roof it is made below the cupola,
and its ends are placed as it were suspended from the architrave
and reaching the stalk of the lotus below. Slope or breadth (M.,
;
xxx, 135.)
(See
(1)
Ram
Raz, Ess. Arch, of Hind.,
Atha samkshipya vakshyamo lupanam lakshanam vayam
Uttarasyanurupena tasaih taram udiritam
p. 52.)
I
I
(Vdstu-vidya, ed.
(2)
Ganapati
Luparoha-kriya-yuktam anyat purvokta-vartmana
Athava-sarva-Salayaih luparohanam eva va
1
Sastri, x, i,
f.)
I
1
(Kamikagama, xxxv, 69.)
443
LOGA
(3)
AN ENCYCLOPAEDIA OF
In connexion with the entablature
Lupakararh tu
tat
:
kuryad dalasyakritir eva va
I
(M., xvi, 139
;
see
also 20, 195.)
An account is given in
great detail (M., xvra, 168-278, xxx ; 132, etc.).
roof
or
the ceiling) prescribed for temples are techni(inner
lupas
called
ambara, vyaya, jyotis, gagana, vihayas, ananta, antariksha,
cally
and pushkala and those for residential buildings are called mahl, jya,
The
;
kaSyapi, kshoni, urvi, gotra, vasum-dhara,
and vasudha.
(M., xvra, 177-184.)
LOGA
Probably same as thuna
(posts, pillar), clod, pole,
memorial
pillar erected after the earth is piled up from about the grave
further details under THUNA and &ANKU).
LOSHTA
(see
A
KALAS"A)
object resembling partly the
lump of
earth, a clod,
(see
an architectural
finial.
The Vdstu-vidfyd (ed. Sastri) has a chapter (xvi) named Mrit-loshtalakshana (description of the lump of earth). In it loshta is directed to be
built on the stupi (top, dome, vv. 27, 37).
At the top of a building the
kalasa (water-jar, finial)
chapter of the work
last
krura-loshtani
(v.
and
36),
LOHA
(see
is
:
It is variously named in this
generally built.
loshtani (vv. 28-30, 32), nivra-loshtani (v. 34),
kona-loshtani,
svarnadi-loshta (v. 39).
(v.
35),
under ABHASA)
puta-loshtani,
urdhva-loshtani
Iron used both as an architectural and
sculptural material.
One
of the metals of which idols are
(1)
made
:
Mrinmayarh yadi kuryach chech chhulam tatra prakalpayet
Lohajam tv-aviseshena madhuchchhishtena nirmitam
1
I
1
(Suprabheddgama, xxxrv, ai.)
(2)
Evam
dvi-tryangularii vapi lohajaih
pratimodayam
I
(M., xn,
Lohajair mrit-sudha chaiva
Uttamam
...
chottamam
(M.,
VAKTRA
,
A
The
face,
face (M., LVH, 20, etc.).
See the
lists
of mouldings under
ADHISHTHANA and UPAP!THA.
444
I
LI, 6, 19.)
under ABHASA.
a moulding.
moulding of the column (M., xv, 212-219).
The
19.)
I
lohajaih bimbarh pithabhasam tu
See further illustrations
1
HINDU ARCHITECTURE
VAKRA
VAJRA-BANDHA
Bent, winding, curved, curled, a type of octagonal build-
ing.
(Garuda-Purana, Chap. XLVII, vv. 21, 23, 31-32
see
;
under PRASADA.)
Adamantine, forked, zigzag, a diamond, the thunderbolt
of Indra, a type of column, a paste, plaster or cement, a type of
VAJRA
building.
A
A
eight rectangular sides (Brihut-samhitd, Lin, 28).
Kalkah krito dvitiyo'yam vajrakhyah
paste, plaster or cement
(Brihat-samhitd, LVII, 6, J. R. A. S., N. S., Vol. vi, p. 322.)
A
type of octangular building
column with
:
I
Agni-Purdna (Chap,
(2) Garuda-Purdna
(Chap,
:
civ,
(1)
w.
20-21,
vv.
xxxvn,
under PRASADA).
21, 23,31-32; see under
see
PRASADA).
VAJRA-KANTA A
A
class
type of storeyed building.
of eleven-storeyed
(M.,
buildings
xxxrv,
19-25
see
;
under
PRASADA).
VAJRA-KU'MBHA A
moulding of the base and the pedestal,
generally placed between a cyma and petal, it is so called, as it
resembles an elongated pitcher.
A
moulding of the base (M., xiv, 253 see the list of mouldings under
ADHISHTHANA).
A moulding of the pedestal (M., xm, 74 see the list of mouldings under
UPAPITHA).
VAJRATARA A paste, plaster, cement.
;
;
Vajrataro
nama
kalko'nyah
I
(Brihat-samhita, LVH, 7, J.R.A.S.,
VAJRADHATU-MANDALA
The
top
N.
floor
S.,
of
Vol.
vi, p.
322.)
five-storeyed
Nepalese temples.
(For details
see
DHARMADHATU-MANDALA. )
VAJRA-PATTA A
moulding, a diamond band, a
A
moulding of the base (M., xrv, 258
ADHISHTHANA)
;
see
the
list
fillet.
of mouldings under
.
VAJRA-PADA A diamond pillar, a type of
A pillar of the bedstead (M., XLIV, 61).
VAJRA-BANDHA A diamond band, a
A class of bases (M., xiv, 259-271 see
;
ADHISHTHANA).
445
small pillar.
type of base.
the
list
of mouldings under
AN ENCYCLOPAEDIA OF
VAJRA-LEPA
VAJRA-LEPA A
paste, plaster, cement.
Kalko'yam vajra-lepakshah
I
(Brihat-samhita, LVII, 3
VAJRA-LIftGA
(see
A
LINGA)
;
see
kind of phallus.
(M.,
VAJRA-SAMGHATA A
Maya-kathito yogo'yarii
paste,
vijfieyo
J.R.A.S., N. S., vi, p. 321.)
plaster,
LI,
;
see
;
see
under LINOA.)
cement.
vajra-samghatah
(Brihat-samhitS, LVII, 8
330
I
J.R.A.S., N. S., Vol. vi, p. 322.)
VAJRA-SVASTIKA A type of building.
A kind of octangular building (Agni-Purdna,
Chap,
civ, vv.
20-21
see
;
under PRASADA).
VAJRASANA
(see
BODHI-MANDA)
A
diamond throne, the miraGaya, on which Buddha and
culous throne under the Bodhi-tree at
his predecessors sat
when
attaining perfect wisdom.
Bodhimanda is the name of the miraculous throne under the Bodhitree at Bodh Gaya, also called the Vajrasana or diamond-throne, on
which Buddha and his predeccessors sat, when attaining bodhi or perfect
'
(1)
wisdom.'
(2)
Ant.,
(Ind.
Vol. xv, p.
257, c.
1-2.)
Tenaitad atra kritam atma-manovad uchchair vajrasanasya bhava-
nam
He
bhuvanottamasya
I
here for the diamond throne, the best thing in the
world, this habitation, lofty like his own mind.'
(Ghosrawa Buddhist
Ind.
Vol.
lines
Ant.,
xvn,
14-15,
inscrip.,
pp. 310, 311, 308, note 5.)
'
erected
VADH0-NATAKA A
theatre for females, a gallery, a balcony.
Vadhu-nataka-sarhghais cha samyuktarh sarvatah purim
I
Commentary
:
vadhunam
nataka-sala
I
(Ramdyana,
VANA-DURGA
(cf.
NAGARA)
A
i, 5, 12.)
forest-fort.
.(See details
under DUROA.)
VAPRA A
rampart, a wall, a moulding of the base (plinth) }
cavetto, an architectural member at the upper part of a building,
(parapet), a summit, a bank, a mound, a ditch, the foundation of
a building, the gate of a town.
(i)
Chatur-dandavakrishtam parikhayah shad-dandochchhritam avaruddham tad-dvi-guna-vishkambham khatad vaprarh karayet
I
Vaprasyopari prakaram
....
I
(Kautillya-Artha-iastra,
446
Chap, xxiv, pp. 51,
52.)
VAPRA-BANDHA
HINDU ARCHITECTURE
(2)
The surrounding wall of a village
Gramasya parito bahye rakshartham vapra-sarhyutam
:
Bahye vaprarh suvrittakam
Evam grama (rh)-prasaraih
...
I
I
(M., vm,
cha bahir vapra-sarhyutam
ii, 37.)
I
Paritah parikha bahye vapra-yuktam tu karayet
(M., ix, 61, 107
In connexion with towers :
I
Etat pattanam akhyatam vaprayata-samanvitam
see
;
also
147.)
I
Sarvesham api durganarh vapraii cha parikhair vritam
I
(M., x, 66, 106.)
A
moulding of the base (M., xrv, 20, 24, etc.; see the list of mouldings
under ADHISHTHANA)
In connexion with buildings of one to twelve storeys (parapet)
Adhishthana-samarh mancharh manchordhve'rdhena vaprayuk
.
:
I
(M., xxi, 14,
Malikopari vaprarh syad adhishthanam samodayam
etc.)
I
(M., xxxi, 64.)
(3)
(4)
Wall (Dabhoi inscrip. v. in, Ep. Ind., Vol. i, p. 31).
Rampart (Badnagar Prasasti of the reign of Kumarapala,
Ep. Ind., Vol.
(5)
i,
v.
23
pp. 300, 303).
Yasyotturhga-turarhga-tarhdava-bhavah prarhsutkarah sainikah svahsimasu marud-ganabhaya-maha-vapra-prakaro'bhavat
I
(Sridhara's Devapattana Prasasti, v. 13,
Ep. Ind., Vol.
ii,
p. 441.)
Ramesvaraya ghana-marhtapa-vapra-saudha-ramyalayarh samatanot
samata rasajnah
He erected a temple (alaya), adorned with a solid hall (mantapa),
a wall and a plastered mansion (saudha) to Ramesvara.' (Mangalagiri
(6)
I
'
v.
pillar inscrip.,
122, 124, 112,
(7)
(8)
39
;
see also
w.
29, 38, 48, Ep. Ind., Vol. vi,
pp. 123, lai,
113,114,115.)
Vapra-gopura-yutair nava-harmyaih I
(Kondavidu
He, the emperor
inscrip. of
Krishnaraya, v. 26,
Vol.
Ep. Ind.,
vi, pp. 237, 231.)
of the south, caused to be made of stone for
Vijaya-Narayana (temple), latticed window, secure door-frame (kavata),
door-lintel, kitchen, ramparts (udagra-vapra), pavilion, and a pond named
the
Vasudeva-tlrtha.'
Transl., p. 61
;
Roman
(Ep.
Carnal., Vol. v, Part I, Belur
Taluq, no. 72
;
Text, p. 142, line 8.)
VAPRA-BANDHA A
A
class
type of base.
of bases (M., xrv, 250, 259
ADHISHTHANA).
447
;
see
the
list
of mouldings under
AN ENCYCLOPAEDIA OF
VAHYA
VAHYA
Lit.
which can be
that
carried, a
couch used by
women
(R.-V., vii, 55, 8, A.-V., 5, 3 women sitting on it, A.-V., 20, 3 weary
bride mounting it, A.-V. xiv, 2, 30), canopied reclining arm-chair
with poles or handles for carriers, bearing all forms, a bed on which
bride mounts and
the
lies
with her groom in the marriage ritual
(A.-V., xiv, 2, 20).
VI(VAI)RATA A
type of storeyed building, a class of twelvestoreyed buildings once prevailing in the country of Virata (Jai-
pur).
Chatur-adhika-tri-dasa-bhagaih harmya-visalake
Ashtamsena maha-sala parsve sala Sivarhsakam
I
I
tad-ardham chantaralakam
Anusala tri-bhagarh syad ekarhsam antaralakam
Dvi(dvya)marh panjara-sala cha parsve bha(ha)rah sivarh-sakam
saKuta-nava(-nam cha) dvi-bhagarh syat sarvam yuktyam
Dvyamsam
panjara-sala
I
I
I
bhadrakam
Maha-sala yugarhsena madhyam atra (bhadram) prakarayet
Tale tale vimane tu sala-panjara-shodasam
Kshudra-sala dvi-hara cha tan-madhye chashtakam bhavet
Ghatur-dikshu maha-sala chatush-kutam tale tale
Evarh vairata-kantaih syach chhesharh bhagaih tu puravat
I
I
I
I
I
(M., xxx, 17-27.)
VARDHAKI
^An architect, the designer, the painter.
(See details under STHAPATI.)
VARDHANI(I) A type of building.
A class of round buildings (Agni-Purdna, Chap,
PRASADA)
civ, vv.
17-18
;
see
under
.
VARDHAMANA A class of buildings,
a type of storeyed mansion,
a kind of phallus, a joinery, an entablature.
A class of salas or mansions (M., xxxv, 4 see also 303, under SALA).
A kind of phallus (M., LII, 4 see under LINGA).
A kind ofjoinery (M., xvn, 84, see under SANDHI-KARMAN).
(i)
;
;
An
(a)
"
under PRASTARA).
Dvaralindo'nta-gatah pradakshino' nyah s"ubhas tatas chanyah
Tad-vach cha vardhamane dvaram tu na dakshinam karyam
entablature
I
1
1
The Vardhamana has a terrace before the (chief) entrance, extending
end then, when you proceed in a direction from left to right, another
to the
;
and thereon
again, another in the aforesaid direction.
southern door should be made in it.' (Brihat-samhita, LIU, 33, J.R.A.S.,
beautiful terrace
No
(see
N. S., Vol. vi, pp. 285-286.)
448
HINDU ARCHITECTURE
VA(BA)LABHI(-I)
Vedasyarh vardhamanakam
(3)
Vardhamana house
the
has
(sala)
four laces.
(Kamikdgama, xxxv, 88.)
entablature
(Kamikdgama, LIV,
An
The
7).
frame of a thatch, the topmost
part of a house, a class of storeyed buildings, a type of entablature,
a class of rectangular buildings, a top-room, a turret, a balcony, an
awning, a tent, any temporary erection on the flat roof of a house.
VA(BA)LABHI(-I)
(1)
roof, the
Tri-chandra-sala bhaved valabhl
I
The roof must have three dormer-windows.'
Dr. Kern adds the following
'
:
valabhl vatayana vatayana in general means " any place
"
whither one goes to take an airing ;" sometimes " a window
is intended
'
by
Comm.
it,
tion
;
other times the
it
" roof" of an Indian house. In the
flat
here used by Utpala, and frequently elsewhere
is
sarit-sdgara (95,
18)
:
sva-grihottunga-vatayana-gatah
mya-vatayanarudhah,
;
(103,
;
(Brihat-samhita, LVI, 25, LVH, 4,
etc.'
latter accepta-
Kathd-
e.g.
162)
har-
:
J.R.A.S., N.
S.,
Vol. vi, pp. 319, 322, note.)
(2)
A
53
35, 50,
A
(3)
class
type
;
of five-storeyed buildings (Matsya-Purdna, Chap. CCLXIX,
see
of rectangular
building
(6)
:
under PRASADA).
21-22, 26-27 see under PRASADA).
valabhishu
cha sarvada
Prasadagravimaneshu
(Ramayana, n, 88, 5, see further context under PRASADA.)
cciv, vv. 16-17
Agni-Purdna (Chap,
(4) Garud.a-Pu.rana (Chap. XLVII,
(5)
'>
sce
w.
>
I
Naga-lokam
.
sata-samkulam
.
aneka-vidha-prasada-harmya-valabhl-niruhya-
.
I
(Mahabharata,
(7)
A
w.
under PRASADA).
A
synonym of the entablature (M.,
moulding of the entablature
xvi, 19
;
see
I,
133.)
3,
under PRASTARA).
the
list of mouldings
under PRASTARA).
In connexion with four-storeyed buildings
Nanadhishthana-padais cha valabhibhis cha bahu-bidhaih
(M., xvi, 79
;
see
:
I
XXH, 94.)
(M.,
(8) Kailasa-turiga-sikahra-pratimani
bhini sa-vedikani
chanyany-abhanti dirggha-vala-
I
Gandharvva-sabda-mukharani nivishta chitra-karmmani lolakadalivanasobhltani
'
1
1
And
them,
Kailasn
other long buildings on the roofs of the houses, with arbours in
are beautiful, being like the lofty summits of (the
;
being vocal with songs
(like
449
those of the
mountain)
having
Gandharvas
;
AN ENCYCLOPAEDIA OF
VALAYA
(and) being adorned with
pictured representations arranged (in them)
(Mandasor stone inscrip. of Kumaragupta,
groves of waving plantain trees.'
lines 6-7, C. I. /., Vol. HI, F. G. I., no. 18, pp. 81, 85.)
;
...
(9)
punyfibhivriddhy-artharh vad(-l)abhirh kara(ya)yitva
ananta-svami-padam pratishthapya ...
Having caused (a temple having) a flat roof
'
of increasing the religious merit of
feet of (the god) Anantasvamin.'
.
.
...
I
to
be made, for the sake
the
installed
having
(and)
.
Vadabhi (also called valabhi, see above) is explained as meaning
wooden frame of a roof; a flat roof, house-top, top-room, turret,
any temporary erection on the top of a palace an
top-floor, balcony
awning, a tent but it seems to refer to a building here, and to denote
'
the
:
;
;
a flat-roofed temple.' (Gadhwa stone
F. G. I., no. 66, p. 268, note 9.)
'
(10)
Whose arms
of the three worlds.'
no. 179, line 2
;
line
inscrip.,
2,
C.
/.
/.,
Vol.
in,
jewelled pillars supporting the roof (valabhi)
(Ep. Carnal., Vol. v, Part I, Channarayapatna Taluq,
like
Roman
Text, p. 462, Transl., p. 202.)
VALAYA An
(1)
A
ornament, a type of building, a moulding.
bracelet (M., XLIX, 138; L, 33, etc.
see BHUSHANA
Deopara
;
inscrip. of Vijayasen, v. n, Ep.
class of round buildings
A
Ind., Vol.
i,
;
pp. 303, 313.)
:
Agni-Purdna (Chap, civ, vv. 12-18, see under PRASADA.)
see under PRASADA).
(3) Garuda-Purdna (Chap. XLVII, vv. 21, 23, 28, 29
(4) The sixth moulding from the top of an entablature (Kdmikdgama,
(2)
;
LIV, 9; see
VALLI
(cf.
under PRASTARA).
A
VAT AYANA)
type of window.
(M., xxxiii, 483
VASATI
A
;
see
under VATAYANA.)
a trading settlement, a quarter
of a town (Mdrkandeya-Purdna, Chap. XLIX, 49-50), a residence, a
shrine, a Jain monastery or temple containing the image of a
(see
BASADI)
mart,
Tirthankara.
Rock inscrip. at Vallimalai, no. A,
Ep. Ind., Vol. iv, p. 141, note 7, and
(Jaina
v. 2,
refer to
VASUDHA
The
Mr.
Kittel's Dictionary, p. 1383.)
earth, a kind of pent-roof.
(M., xvm, 178
;
see
under LUPA.)
VASTRA-NIP(Y)A A
jar-shaped ornament of the column.
Kumbha-madhye rakta(ratna)-bandham vastra-nip(y)arii cha vinyaset
I
(M., xv, 223.)
45
HINDU ARCHITECTURE
VAMSA
Bearing, carrying, supporting, a way, a
a
road, a vehicle,
conveyance, a river, a channel.
Given the village with ... its hills and water-courses (vahala).
(1)
(Plate of Deva Varmadeva, line 8 f., Ind., Ant.,
VA(VA)-HA-(KA, LA)
'
Vol. xvi, pp. 206, 207, note 33.),
Vahaka
'
(2)
933
;
Elliot,
ss.
a water-channel in the Gwalior
Hultzsch in J. D.
Morg
Suppl. Glossary, Vol. n, p. 225)
Sarhvat
watercourse,
Pseaant Life
Bihar
Grierson,
;
of
inscrip.
Ges., Vol. XL, p. 37 (vaha, a
954).'
V(b)allala-devakasya vahah
Water-channel constructed by Ballaladeva.'
(3)
'
I
(Lala-Pahad Rock inscrip. of Narasimhadcva, line 6
Ind. Ant., Vol. xvm, pp. 212, 213, note
2.)
VAHANA
Conveying, carrying, supporting
(see under STAMBHA)
a
a
a
boat,
raft,
flowing,
conveyance, part of a column.
Stambharh vibhajya navadha vahanam bhago ghato'sya bhago'nyah
(Brihat-samhita,
VAM&A
'
A
bamboo, a
LIII,
a
I
29, J. R. A. S., N. S., Vol. vi, p. 285.)
a reed-pipe, a cross-beam, a
oint, the backbone, a term for the rafters and laths fastened to the
beams of a house (as generally made of split bamboos), or laths running across a roof.'
(i)
shaft,
flute,
Bhojanarh nanuvamsarh syach chhayanam cha tathaiva cha
Anuvamsa-griha-dvaram naiva karyam subhartliibliih II
Dvija-gehasya variisarh tu purvagram parikalpayet
1
1
kshatriyanarii
paschimagram visam bhavet
Sudranarh uttarasyarh syad esha vamsagrako vidhih n
Yamyagrarh
I
tu
I
(Kamikdgama, xxxv, 147, 149, 150.)
Prag-varhsayor anya-varhsais cha nalikera-daladibhih
|
Achchhaditah prapa nama prastaram chatra mandapah
Vamsadir asriasa-sahita sikhara-stupikanvitah
II
I
Nasika-mukha-pattanisa
saleti parikirtita
JayantI vamsaka jneya tula-vad
II
(Ibid., L,
anumargakam
1
88, 90.)
1
(Ibid.,
Dandika-vara-samyuktam shan-netra-sama-varhsakam
Varhsopari gatah salas chatasro' shtanananvitah
see
LIV,
15.)
XLII,
19.)
I
II
(Ibid.,
The backbone
(M., vn, 264;
In connexion with the entablature
(2)
.
also LXV, 158; LXVII, 82).
:
Yatha-balarh yatha-bhararh tatha varhsadi(rh) yojayet
I
(M., xvi, 198.)
451
AX ENCYCLOPAEDIA OF
VAMSA-KANTA
In connexion with the pillar
:
Kutya-varhsa-prati(r)-vamsam tungarh yat tu
samam bhavet
Tungasyadhika-hinam chcd dvi-pahktirii nityam avahet
I
I
(M., XVII, I2O-I2I.)
In connexion with the pavilion (mandapa)
Adhishthanam vina kuryaj janmadi-prastarantakam
:
Athava pada-vams'am cha samyuktam
tat
1
prapangakam
I
(M., xxxiv, 14-15.)
VamSa-mulagrayoh
sarve karkarikrita-netrakam
I
(Ibid., 399.)
In connexion with the hall
(Sala)
:
VamSa-mulagrayor vasarh varhsa-muUiika-vasakam
I
(M. xxxv,
Harmya-tara-vasad dvar^m vamsadhishthana-paduko
128.)
I
(M., LXIV,
VAM&A-KANTA A
5.)
of twelve-storeyed buildings once prethe
vailing in Varhsa-(ka),
capital of Kausambi.
class
Tad eva haram(-ra) tan-madhye chaika-bhagena saushtikam
Vamsa-kantam
iti
proktam sesham purvavad acharet
(M., xxx, 31-32,
VAJANA A
see also
I
II
28-30, under KERALA-KANTA.)
square or rectangular moulding resembling a
fillet, i.e.
a small band which
placed between mouldings and as the uppermost member of a cornice. (For its synonyms, see M., xvi, 46-47.)
is
Crdhva-vajanam ekariisam amSarh
tat pattika
bhavet
I
(Vdstu-vidyd, ed. Sastri, ix, 24.)
The moulding
LIV,
i
;
see
at the top
and bottom of the entablature (Kdmikdgama,
under PRASTARA).
A
crowning moulding of a column (Suprabheddgama, xxxi, 108 see
under STAMBHA).
A moulding of the pedestal (M., xm, 46, 51 see the list of mouldings
under UpApiTHA).
A crowning moulding of the base (M., xiv, 9 see the list of mouldings
under ADHISHTHANA).
A moulding of dola (swing, hammock).
Vajane cha dvi-valayam syad ayasena balabalam
;
;
;
I
(M.,
VAJI-&ALA A
L,
106.)
horse stable.
(M., XL, 362
452
;
see
under SALA.)
HINDU ARCHITECTURE
VATA A road,
Cf.
VATAYANA
a fence, an enclosure, courtyard.
Vata-bhumi (Kamikagama,
Corrupted
to
Bada,
'
(I/id.
VATAKA A
xxi, 3).
enclosure of a town or village, fence, wall, hedge.'
Ant., Vol. iv, p. 211, footnote
hamlet.
Tamara-cheru-gramo nama
Chikhali-vatakena
'
samam
I
...
ekikritya
I
The
let.'
Vol.
village named Tamara-cheru combined with
(The Madras Museum Plates of Vajrahasta III,
ix,
under KAMPANA.)
the Chikhali
ham-
43-44, Ep. Ind.
lines
pp. 94-95.)
VATIKA A
small house, a garden house, a pleasure pavilion, an
orchard.
Vame
bhage dakshine va nripanam tredha karya vatika kridanar,
tham
'
At the
I
or right side a three-fold pavilion should be built for the
the
of
kings.'
sport
(Silpa-sastra-fara-samgraha, ix, 29.)
Uttare saralais talaih subha syat pushpa-vatlka
left
I
(Matsya-Purdna, Chap. CCLXX, v. 29.)
Bhaktya vidhapitarh chabhyam amralohita-mamdiram (ma)tri-ha
(rmye)na (sarhyu)ktarh vapya vatikayapi hi
Out of devotion he caused to be erected a temple of red colour and
surrounded it with shrine of some mata ( ? three shrines), a step-well and
an orchard.' (Dhanop inscrip. of Ghachcha, v. 6, Ind. Ant., Vol. XL,
I
'
PP-
!75.
J
VATA A
74-)
type of building, a house with an eastern and southern
hall.
(Brihat-samhitd,
VATA-KSHETRA
(see
VATAYANA)
Kutumba-bhumi-manam
A
LIII,
39
;
under PRASADA.)
see
place for airing, a roof.
tu vata-kshetra-vivarjitam
I
(Kamikagama, xxi,
VANA-LIftGA
A
(Kamikagama,
VATAYANA A
3.)
kid nof phallus.
window, a porch, a
L,
35, 36
;
see
under LINOA.)
portico,
(i) Description of windows (M., xxxin, 568-597)
Windows are constructed in all kinds of buildings (ibid., 569-572).
The latticed windows are also prescribed
:
:
Naranarh jalakam sarvarh devanam api yogyakam
I
(572).
The measures, etc., are left to the discretion of the architects
The general plan of windows is also given (574-581).
453
(573).
AN ENCYCLOPAEDIA OF
VAPI(-PI)-(KA)
Their shapes are represented by the following designs
naga-bandha
:
valll
band),
(creeper), gavaksha (cow's eye), kunjaraksha (elephant's or deer's eye), svastika (cross figure), sarvato-bhaclra (a figure
with four faadcs), nandyavarta (a figure with openings on the sides),
(snake's
and pushpa-bandha (flower-band) (ibid., 582-584).
Their architectural details are given (ibid., 585-600).
(2) Udag-fisrayarh cha varunyarh vatayana-samanvitam
I
(Garuda-Purdna, Chap. XLVI, v. 16.)
(3)
PrakaSartham alpam urdhvarh vatayanarh karayet
cha anyatra
Pratiloma-dvara-vatayana-badhayam
I
rathyabhyah
(Kautiliya-Artha-iastra,
VAPI(-PI)-(KA)
(1)
A
A
tank (Dewal Prasasti of Lalla the Chhinda,
A
flight
of
stairs,
while
v. 20,
p. 167.)
Ep. Ind., Vol.
kupa denotes an ordinary
Commentary on the Amarakosha,
well.'
Chap. LXV,
tank, a well, a reservoir of water.
pp. 79, 83).
'
well with a
(2)
i,
raja-marga-
I
(Mahesvara's
p. 46, note 2; p. 41, line 58.)
Ep.
Vol.
Ind.,
vn,
Dakshina-diabhage karapita vapi tatha prapeyarh cha
In the southern part there has been made an irrigation well and also
a watering-trough.' (Grant of Bhimadeva n, V. S. 1266, line 26-27, Ind. Ant,
(3)
I
'
Vol. xvni, pp. 113, 115.)
Vapl-putakc bhumi-hala-vaha
In the hollow ground below an irrigation well.' (Grant of Bhimadeva
Simba-samvat 93, line 7, Ind. Ant., Vol. xvni, p. no.)
(4)
I
'
'
(5)
II,
During the reign of Ganapati, the son of the prince Gopala, the
Vamana built a public tank (vapika).' (Sarwaya stone inscrip.
of Ganapati of Nalapura, vv.
23-28, Ind. Ant., Vol. XXH, p. 82.)
thakkura
Dharmmarthe svayam eva vapi karapita
For charitable purpose the step-well was caused to be constructed a
own cost.' (Manglan stone inscrip., line 6, Ind. Ant., Vol. XLI, p. 87.)
(6)
'
his
VAMA A kind
I
of phallus.
(M., LH, 3
VARA A day of the week, a door, a gate,
;
see
under LINGA.)
a formula of architectural
measurement, a verandah.
(M., xxxiv, 170, 394, 529, 538,
A
covering, an enclosure, a door, a gate.
Kdmikdgama, xxx
Alindasya samantat tu bhagenaikena varakam
ParsVayor ubhayoS chaiva chagra-lalanusaratah ||
(77)
V~ARA-(KA, NA)
:
I
454
see
under SHAD-VARGA.)
details
HINDU ARCHITECTURE
Kamikdgama, xxxv
VASA-RANGA
:
Etat sapta-talarh proktarh rajnam avasa-yogyakam
samantat tu bhagcnaikena varakam
Sala-bhiige tu alinde va prithu-vararhsake api
1
(84)
1
Tad-adhastat
1
(85)
1
I
Vinyasas tv-ishta akhyato mandapa ukta-bhumike
(93)
Vinirgamasya chayamo tad-vriddhya tasya vistarah
Dvi-gunanto vidheyah syad evam syan madhya-varanam
Madhye-varana-yuktam va tad-vihinarh tu va dvijah
Evambhutasya vasasya samantat syat khalurika II (103)
1
1
I
(102)
|
I
Ibid.,
XLV
:
Bahu-varga-yutarh vapi dandika-vara-sobhitam
(16)
Parito varam ekamsam sala-vyaso dvi-bhagatah II
^23)
Bahir-vara-samayuktam vyasa-parsva-dvayor api II (26)
Samsllshta-vara-samyuktarh shatsu chardha-sabha-mukham
(28)
Purvokta-sindukam (building) vara-vriksha-sthala-samanvitam
1
1
1
(30
Agre cha parsvayos chaiva kuryad ekamsa-varakam
Tad-bahir varam ekamsam tad-bahye tu vrisha-sthalam
1
1
1
1
(38)
1
I
Tad-bahis cha chatur-dikshu dvyamsarhsam vara-nishkramah
1
1
(43)
See also vv. 44, 45, 46, 55, 56, etc.
Ibid,, XLII
:
Utkrishte tu
ankanam dvyamsam margas
Antar-varam athaikena
See
M.,
ix,
5*1, 526, 529
VASA
I
dvi-bhagatah
(23)
xxxiv, 119, 190, 200, 394, 408, 514
xxxv, 100, 120, 123, 238, 243, 265 xxxix, 128, etc.
300, 519
;
tu parito'msatah
(-KUTI,
;
II
s"ala-vyaso
xxxin, 383
;
;
SALA, SABHA)
assembly-hall (Amarakosha, ivi,
2, 3,
Residence,
synonym
of
an
604), hall terrace.
(M., xxxv, 43-46, 82-84, 127-128, 138, 142, 155-156
221, 227, 241, 250, 282, 286, 288, 383.,
VASANIKA A
dwelling for use in spring, a house for the spring
festival.
Tatha vanik-Mahallakena satka vasanika pradatta
the satka (?) hamlet ( ? house) was given.'
'
by the Mahallaka
'
Pas"chimatah thakkura-kumdanakasya vasanika maryada
to the west
the boundary is the dwelling of the Brahman Kundana.'
(Shergadh
stone inscrip., lines 12, 13, 14; see also 9, 10,
VASA-RA&GA
n,
Ind. Ant., Vol. XL, p. 176.)
The open or closed quadrangular
of
a residential building.
enclosure, the courtyard
Purato'lindam ekamsam bhittirh kuryat samantatah
(see
RANGA)
I
Mulagre dvi-dvi-bhagena vasa-rangarh cha kalpayet
I
(M, xxxv,
455
118-119.)
AN ENCYCLOPAEDIA OF
VASTU
VASTU
Architecture in
the
broadest sense implying the earth
conveyance (yana), and bedstead
(dhara), building (harmya),
(paryanka) (M., in, 2-3). The building or harmya includes prasada,
or
mandapa, sabha, sala, prapa, and (a)ranga. The conveyance
or
yana includes adika, syandana, sibika, and ratha. The bedstead
paryanka includes panjara, manchali, mancha, kakashta, phalakasana and bala-paryanka (ibid., 7-12). The term denotes also
a dwelling house, a
villages, towns, forts, commercial cities, etc.,
group of houses (cf. PASTY A), a site (R. V., iv, 37, i, 2, A. V. n,
is
12, i, etc.).
Sculpture is the handmaid of architecture and
secondarily implied by the term Vastu.
(2) Nagaradika-vastum cha vakshye rajyadi-vriddhaye
I
cvi, v.
Chap,
(Agni-Purana,
(3)
i.)
-
Prasadarama-durga-devalaya-mathadi-vastu-mana lakshana nirupa-
nam
I
(Garuda-Purana, Chap. XLVI, colophon.)
Cf.
Avasa-vasa-vesmadau pure grame vanik-pathe
Prasadarama-durgeshu devalaya-matheshu cha
Samgraka-siromani by Sarayu Prasad
Vasishtha without further reference :
(4)
II
I
(Ibid.,
Chap. XLVI, vv. 2-3.)
(xx,
i)
from one
quotes
Vastu-jnanam pravakshyami yad uktam brahmana pura
I
Grama-sadma-puradmam nirmanam vakshyate' dhuna
Griham kshetram aramas setu-bandhas tatakam adharo va vastuh
1
(5)
1
Houses, fields, gardens, buildings of any kind (see SETU), lakes and tanks
are each called Vastu.
(Kautillya-Artha-iastra, Chap. LXV, p. 166.)
(6)
The heavenly
architect
Visvakarman, the mythical originator of
Vastu, is stated to be the father of nine artisans goldsmith (svarna-kara),
blacksmith (karma-kara), brazier or utensil-maker (karhsya-kara) maker
of shell ornaments (s"ankha-kara), carpenter (sutra-dhara) potter (kumbha,
,
kara), weaver (kuvindaka), painter (chitra-kara) , and
or garland-maker (mala-kara).
(Brahmavaivarta-Purana,
Chap,
(7)
w.
x,
On
Manasara
It
florist,
gardener
Brahma-khanda,
19-21.)
the different branches of architecture, Vitruvius agrees with the
(i)
:
might be pointed out that Vitruvius deals with similar objects,
same manner as in the Manasara. He describes the subject
in the
in three
chapters
'
Of those things
:
on which architecture depends.'
45 6
VASTU
HINDU ARCHITECTURE
'
'
On
on
Of
Of
the
the different branches of architecture.'
the choice of healthy situations.'
of these topics Vitruvius says that
'
first
and arrangement
consistency and economy.'
fitness
;
it
also
Architecture depends
depends on proportion,
uniformity,
'
the adjustment of size of the several parts to their several
uses and requires due regard to the general proportions of the fabric
it
Dimension regulates the general scale of the
arises out of dimensions.
Fitness
is
;
work, so that the parts
may
all tell
and be
effective.'
is that agreeable harmony between the several
parts of a
which
is the result of a just and regular agreement of them with
building,
each other the height to the width, this to the length, and each of these
to the whole.
Uniformity is the parity of the parts to one another each
'
Proportion
;
;
corresponding to
its
opposite, as in the
human
The arms,
figure.
hands, fingers are similar to and symmetrical with one
should the respective parts of a building correspond.'
'
Arrangement
is
the disposition in their just
feet,
another
and proper
;
so
places of all
the parts of the building and the pleasing effect of the same, keeping in
view its appropriate character. It is divisible into three heads, which conthese by the Greeks, are named ideals
sidered together, constitute design
:
:
they are called ichnography, arthography, and scinography. The first
is the
representation on a plane of the site plan of the work, drawn
by rule and compasses. The second is the elevation of the front, slightly
shadowed, and shewing the forms of the intended building. The last
exhibits the front and a receding side properly shadowed, the lines being
drawn
'
to their proper vanishing points.'
(Book I, Chap, n.)
Architecture consists of three branches, namely, building,
dialling
Building is divided into two parts (in the Mdnasara
into six classes as we have seen above).
are
divided
The first
buildings
of
the
walls
of
a
and
its
the
city
regulates
general plan
public buildings
and
mechanics.
;
the other relates to private buildings. Public buildings are for three pur'
defence, religion and the security of the public
(compare M. ,
poses
:
(Ibid., Book
xxxi, 1-2, under PRAKARA).
On the choice of healthy situation, that
the examination of
i
hose
soil,
Chap,
on the
directions of Vitruvius are
Mdnasara (see BHUPARIKSHA), and
climates would necessarily require.
of the
different
I,
is,
in.)
selection of site
not
so
differ
elaborate
so
far
as
and
as
two
The choice of a healthy situation is of the first importance it should
be on high ground, neither subject to fogs nor rains its aspects should
be neither violently hot nor intensely cold, but temperate in both respects.
The neighbourhood of marshy place must be avoided.' (Ibid.. Book I,
'
:
:
Chap,
iv.)
457
AN ENCYCLOPAEDIA OF
VASTU-KARMAN
VASTU-KARMAN
actual
forts,
tanks,
roads,
canals,
The building-work
VASTU-VIDYA)
(cf.
work of constructing temples,
The building-work (vastu-karman)
gates, drains, moats,
pana
vijja
sewers,
dresses,
distinguished from the science of
is
:
ghara-vatthu-arama-vatthadinam guna-dosa-sallakVathu-kammanti akata-vatthumhi geha-patittha
Vatthu-vijja
khana
the
palaces, houses, villages, towns,
bridges,
thrones, couches, bedsteads, conveyances, ornaments and
images of gods and sages.
building (vastu-vidya)
;
I
I
(Digha-nikdya,
Cf. Sukra-niti (rv, 3,
pp. 9, 12.)
i,
115, 116, 169).
See the Preface to this Encyclopaedia.
VASTU-KIRTI A
type
of pavilion, a pavilion with forty-four
pillars.
(Matsya-Purana, Chap. CCLXX, v. 10
;
see
MANDAPA.)
VASTU-VIDYA
The science dealing with
(see VASTU-KARMAN)
of
all
kinds
of
of
construction
architectural
and sculptural
the rules
of
architecture.
science
the
objects,
a science,
According to Buddhaghosha's definition, Vastu-vidya is
the object of which is to ascertain whether a site selected for a building is
'
(Dialogues of Buddha, Part
lucky or not.'
I,
p. 18.)
'
the science
According to Sukrdchdrya, Vdstu-vidya or Silpa-Sastra is
which deals with the rules for the construction of palaces, images, parks,
and other good works.' (Sukra-niti, iv,
Harsha stone inscrip. (v. 43, Ep. Ind., Vol.
houses, canals
See the
VAHANA
3,
115,
116).
n, pp. 123, 128.)
Carrying, conveying, a vehicle, a conveyance, an animal
for riding or draught.
The
LX,
riding animals of gods (M., LX,
2-46
LXII,
2-73
GARUDA, VRISHABHA, and SIMHA.
;
LXI,
2-151
;
VAHINI-MUKHA A fort,
i), their
;
Formidable,
a
;
fortified city.
(M., x, 40
VIKATA
LXIII,
images are described (M.,
see
under HAMSA,
2-46
hall, -a
(Harsha stone
;
see
under NAGARA and DUROA.)
courtyard.
inscrip., vv. 12, 33, Ep. Ind., Vol. n,
pp. 121, 126, notes 64, 123, 128.)
VIKALPA A
of buildings, a kind of door, pent-roofs, a type
of chamber, a kind of phallus.
class
458
HINDU ARCHITECTURE
A
VITASTI
xix, 1-5 xxx, 175-177
xxxrv,
under
ABHASA).
549-552
A type of door (M., xxxix, 28-35 see under ABHASA).
Rows of pent-roofs (M. xvm, 206-220).
A kind of phallus (M., LII, 49 see under ABHASA).
Karne sala sabha madhye chhandarh syach chhandam eva tat
class
,
of buildings (M., xi, 104-107
;
;
;
see
;
;
I
Tat-tad-madhyarhsake koshthe yasya syat tad vikalpakam
(Kamikagama, XLV, 20;
A
class
of top-chambers
VIGRAHA An
idol,
LV, 130,
(Ibid.,
an image, a
see also
1
1
XLV, 7
13
L,
;
;
123-127).
a shape.
figure, a form,
(M., LIV, 180,
etc.)
'
set
Dakshina-bhagada-kisaleyalli puratana-vigrahagala pratishtheyam
south
the
to
the
ancient
colonnade
the
on
Vol.
(Ep.
Carnal.,
images.'
up
Roman
Chamarajnagar Taluq, no. 86;
iv,
Text, p. 18, line 13
;
Transl.,
n.)
p.
VIJAYA A
class
of storeyed buildings, a type of pavilion, a
hall,
a kind of throne.
A class of two-storeyed buildings (M., xx, 93, 10-15 see under PRASADA).
A class of pavilions (M., xxxrv, 153 see under MANDAPA).
A pavilion with forty-six pillars (Matsya-Purana, Chap. CCLXX, v. 10;
;
;
under MANDAPA.)
type of throne (M., XLV, 6
class of octagonal buildings
see
A
A
;
see
under SIMHASANA).
:
Agni-Purdna (Chap, civ, vv. 20-21 see under PRASADA).
(2) Garuda-Purdna (Chap. XLVII, w. 21, 23, 31-32 see under PRASADA)
type of building (Kamikagama, XLV, 50, see under MALIKA).
(1)
;
;
A
VITAftKA
(see
shape.
Vitanka
is
'
A
KAPOTA-PALIKA)
exactly the English
"
dovecot, a moulding of that
"
in its different acceptations
denotes more generally also gable-edge, battlement.' Kern.
(J.R.A.S..
N. S., Vol. vi, pp. 321, 320, note 2.)
fillet
:
it
See further references
VITASTI
(see
between the
(1)
under KAPOTA and KAPOTA-PALIKA.
under ANGULA)
tips
A
measure, the span, the distance
of the fully-stretched thumb and the little finger.
Kanishthaya
vitastis tu
dva-dasangula uchyate
I
(Brahmdnda-Purana, Part
I,
2nd anushamga-
pada, Chap, vn,
(2)
Three
kinds
of
span
(Suprabheddgama,
ANGULA).
459
xxx, 20-23
;
see
v. 98.)
under
ENCYCLOPAEDIA 01
AJV
VITANA-(KA)
VITANA-(KA) A cushion, a canopy.
A canopy of pearls (Ranganath inscrip. of Sundarapandya,
hid.,
Vol. in, pp.
12,
v. 12,
Ep.
15).
Torana-vitana a canopy (in the shape) of an arch.' (Cochin
Cf.
of
Bhaskara Ravivarman, lines 10-11, Ep. Ind., Vol. in, pp. 68, 69.)
plates
'
VIDATHA A
house, a holding, an asylum, a smaller or secular
assembly, a rich or royal establishment like palaces, audience hall
for
women, Sabha being
foi
(R.-V.,
iv,
VIDYADHARA A
7,
x,
men's assembly.
85, 26, 27
4, cf.
v,
63, 2,
i,
13,
it,
vn, 66,
4, xvn,
i,
A.-V., vn,
,
R.-V.,
10,
4
i,
27,
,
vin, 39,
Sam.
38, 4, Maitra.
12,
i,
17,
x,
in, 38, 5, 6,
12,
7
,
A.-V.,
15.)
of demi-gods, a kind of fairy.
Their images are measured according to the ninc-tala (see details under
TALA-MANA). (M., LVIII, 6, other details
7-14.)
class
:
VIDHANA An entablature.
(M., xvi, 20, 43, 203
VINIYOGA-MANDAPA A
under PRASTARA.)
see
refectory, a type of pavilion built in
the third, fourth or fifth court of the
refections or meals are prepared.
compound of
(A/.,
VIPULAftKA A
;
xxxn, 8
;
a temple, where
see
under MANDAPA.)
type of storeyed building, a class of six-storeyed
buildings.
(M., xxiv, 19
VIPULAKRITIKA A
;
see
under PRASADA.)
type of storeyed building, a class of
six-
storeyed buildings.
(M., xxiv, 52
VIPULA-BHOGA A
site
;
see
plan of 676 square plots.
(M., vn, 37-38;
VIPRA-KANTA A
site
under PRASADA.)
see
PADA-VINYASA.)
plan in which the whole area
is
divided
into 729 equal squares.
(A/.,
VIPRA-GARBHA A
into
site
VIH,
39-40
;
see
under PADA-VINYASA.)
plan in which the whole area
is
divided
576 equal squares.
(A/.,
VIPRA-BHAKTI A
site
vn, 33-34
;
see
under PADA-VINYASA.)
plan in which the whole area
is
divided
into 841 equal squares.
(M.,
vii,
460
43-44
;
see
under PADA-VINYASA.)
VIMANA
HINDU ARCHITECTURE
VIMANA
Etymologically an object measured (from root ma)
or prepared or made in various ways ; hence a well-measured conveyance, a balloon, a heavenly car, a temple, building in general, the
palace of an emperor, a tower surmounting the sanctuary (garbha-
which
griha)
'
A
is
made
in the centre of the temple.
sometimes serving as seat or throne,
car or chariot (of the gods)
sometimes self-moving and carrying
occupants through the skies other
descriptions make the Vimana more like a house or palace and one kind
that of Ravana was called Pushpakais said to be seven storeys high
its
;
;
(vimana)
;
any car or
vehicle
;
a horse
;
palace of an
a palace, the
emperor or supreme monarch.'
(Pet.
Rajato-vimanarh sapta-chakrarh ratham
Mdnasdra (Chap, xvm, 1-422), named Vimana
Cf.
Diet.)
I
(i)
:
Vimanas are buildings of one to twelve storeys and are used as
residences of gods and men, i.e., the term implies both temples
and residential buildings
:
Taitilanarh dvi-jatinarh varnanarh vasa-yogyakam
Eka-bhumi-vimanadi ravi-bhumy avasanakam
I
I
(Ibid., 2,
3 .)
'
That the term vimana implies not temples alone but buildings in
vimana-vesman,' vimana-sadman,'
general, is clear from the expression
deva-vimana
(god's buildings), etc., which are frequently mentioned
'
'
'
'
'
M.,
(e.g.,
xii,
214).
Further, the general features of all kinds of buildings are described in
the chapter (xvm) which is named Vimana :
The general comparative measures of different storeys are given
(ibid.,
The
(lines
12-91).
three styles, namely,
Nagara, Dravida, and Vesara are described
92-113).
These
styles
are distinguished generally by the shapes of the stupis
(domes), which are next described
(lines
114-171).
A
special account of the lupas (pent-roofs) which are apparently very
characteristic features of all buildings is given (lines 171-278).
Mukha-bhadras (front porticoes or tabernacles) are also characteristic
features of all buildings, large or small, and they are described in detail
(279
f.)
Spires (stupi-kilas) are also described (lines 144-171, 354-417)...
Vimanasya tu sarvesham prajapatyena manayet
I
(M., u, 55
461
;
see
also
m, 5-6
;
xiv, 426, etc.)
AN ENCYCLOPAEDIA OF
VIMANA
mandapadlni vastuke
Gramadiiiam cha sarvesharh manayen mana-sutrakam
Vimane
tri-grihe vapi
I
(M.,
Purusharh
deva-vimanasya
I
purushcshtakam
sthapayet
I
(M.,
A
tower
01-102.)
1
vi,
xii,
2 14.)
:
Tad-urdhve cha vimanarh cha vcdika-vedikrintakam
I
(M., xxii, 57.)
Mandape dve vimanam syad
ekarh va dvi-talam tu va
I
(M., XXXIV, 221.)
Kechid vadanti devanam manushanarii vimanakc
(2)
I
Vistare sapta-shat-pancha-chatus-tryrhse'dhikarh tribhih
(Mayama'a, Chap, xx,
:
16
(3) Rdmayana, I, 5,
1
Sarva-ratna-samakirnarh vimana-griha-sobhitam
1
v.
8.)
I
Commentary Vimana-griharh sapta bhumi-griham
building), and quotes the following from Nighantu
:
(a seven-storeyed
:
Vimano'stri
deva-yane
conveyance)
(god's
sapta-bhumau cha
sadmani (seven-storeyed building).
See also the following
:
88, 5
Prasadagra-vimaneshu valabhishu cha sarvada
(See further context under PRASADA).
II,
:
16
II, 2,
32, 4
in,
14
39, 21
12,
;
;
;
n, 15, 48
;
30
iv, 50,
v, 12, 25
vi,
n, 33, 3
v,
2,
v, 13,
;
67, 82
;
;
;
vi, 75,
i
53
;
23
;
Mahdbhdrata,
(5)
Nana-prakareshu vimaneshu
Commentary quotes Medini
185, 23
11,
57, 18
v, 4, 27
v, 53, 19
(4)
i,
;
;
vi, 75,
;
;
;
u, 59, 12
v, 6,
v, 54, 23
i
40
;
;
v,
;
I
n, 88, 5
10,
34
vi, 24, 10
;
;
;
;
v,
vi,
VH, 101, 14.
:
I
sapta-bhumi-grihe'pi chet
See the following Kashas also
(N.
121)
:
Vimanarh vyoma-yane
I
(6)
Hema-chandra
(7) Haldjudh-a
(8)
Amarakosha
(i,
:
(Abhidhdna-chintdmani, 89, 190; 3, 417).
83, etc.).
(I,
i,
i,
4, 3, 36, Pet. Diet.).
The
essential parts
(9)
Shad-varga-sahitarh yat tu garbha-griha-samanvitam
Andharandhari-harokta-khanda-harmya viseshitam
:
1
I
1
Kuta-salanvitam yat tu panjarais cha samanvitam
Tilaka-kshudra-nasi-yukta-toranais cha samanvitam
I
I
Brahma-dvara-patakadyair angair yuktam vimanakam
II
(Kdmikagama,
462
L,
91-93.)
HINDU ARCHITECTURE
A type
VIMANA
of quadrangular building
:
(Chap, civ, vv. 14-15; see under PRASADA).
Garuda-Purdna
(u)
(Chap. XLVII, vv. 24-25; see under PRASADA).
There
is
one
other
(12)
peculiarity common to both Jain and Hindu
(10) Agni-Purdna,
'
architecture in the north of India that requires notice.
It is the form of
the towers or spires called sikras or vimanas which invariably surmount
the cell in which the images are placed.'
Fergusson.
(Hist, of Ind. and
East. Architecture,
A
(13)
45
i>
p. 221.)
car of the gods (Asoka's
Rock
Edicts, no. iv, Ep. Ind., Vol. n, pp.
467)-
A
(14)
vv. 3, 8,
(15)
shrine
and dome (Ranganatha
10, 22, 30,
A
Ep. Ind., Vol.
of
inscrip.
Sundarapandya.
in.
pp. 11-17).
shrine (Yenamadala inscrip. of Ganapamba,
v.
17,
Ep. Ind.,
Vol. in, pp. 99, 102).
'
Having perceived that the central shrine of the god of the
which formerly consisted of layers of bricks,
Tiruvidaikali (temple)
had become old and cracked, the lord of Miladu
pulled down
the temple, rebuilt the central shrine and the mandapa of granite, placed
on the shrine fine solid pitchers (dome) of gold, built a surrounding
wall and a mandapa, in front, and gave a canopy of pearls.'
(Fourteen
(16)
.
.
.
.
.
.
K, lines 5-7, Ep. Ind., Vol. vn, pp. 145, 146, 147.)
Prasada-malabhir
alamkritarh
dhararh vidaryyaiva samutthitam
(17)
Vimana-mala-sadrisani yattra grihani purnnendu-karamalani II
inscrip. at Tirukkovalur, no.
I
Here, cleaving asunder the earth, there rise up houses which are
decorated with successions of storeys, which are like rows of aerial chariots
'
(and) which are as pure as the rays of the full moon.'
(Mandasor stone
inscrip. of Kumaragupta, line 7, C. I. I., Vol. in, F. G. I., no. 18, pp. 81, 85.)
'
a copy of a stone inscription which existed before the
.
sacred vimana (i.e. the central shrine) had been pulled down.' -(Inscrip,
of Vanavidyadhara, no. 47, line i,H.S. 1. 1., Vol. m, p. 100.)
(18)
.
'
(19)
.
V'marasa-nayakkan caused to be built vimanas with all the
characteristics for the god and goddesses at Ponnuclukki.'
necessary
Tumkur Taluq, no. 19; Transl., p. 6,
The Vimana (of the temple of Paramesvara
(Ep. Carnal., Vol. xn,
'
(20)
has the so-called gaja-prishthakriti shape
(i.e.,
like the
para. 2.)
at Gudimallam)
back of an elephant,
but a close study of
104, Ind. Ant., Vol. XL)
the plan and sections, given in the accompanying plate (referred to above) ,
warrant the conclusion that the architect had distinctly in view the shape
see
plate
of the
a
c-b,
liiiga
facing page
(phallus of Siva)
;
;
and hence the vimana might
better be styled
lirigakriti -vimana.'
'
the
The
gajaprishthakriti-vimana
Dharmesvara temple
at
is
found only
Manimangalam,
463
in Saiva temples, e.g.
the Saiva temples at Suman-
AN ENCYCLOPAEDIA OP
VIMANA-CHCHHANDAKA
Bhara-dvajasrama near Arcot, Tiruppulivanam
(Five Bana inscrip.
(near Madras), vada Tirumullaivayil, etc.'
line
note
Ind.
Vol.
6,
Ant.,
XL, p. 104,
Gudimallam,
2.)
Pennagaram,
galam,
Konnur
at
(21) Nirmisi prakara-svarna-kalasa-yukta-gopura-vimana-sahitam
I
Created the Chamarajesvara temple together with its precincts, gopura
adorned with golden kalaSas, and tower.' (Ep. Carnal., Vol. iv, Chama'
Roman Text, p. 18, lines 8-g f.; Transl., p. 1.)
The tower of a shrine." Rca. (Chalukyan Architecture,
rajnagar Taluq, no. 86
Vimana
'
(22)
New. Imp.
Arch. Surv.,
1
;
Series, Vol. xxi, p. 40.)
VIMANA-CHCHHANDAKA A class of buildings.
A
type of building which
latticed
p.
windows
is
(1)
Brihat-samhitd
319
under PRASADA).
Matya-Purdna (Chap. CGLXIX, vv.
(2)
;
seven storeys and
has
21 cubits wide,
:
N.
(Chap. LVI, 22, J.R.A.S.,
Vol.
S.,
vi
;
see
28, 32, 33, 47, 53
;
under
see
PRASADA).
(3)
Bhaviskya-Purdna (Chap, cxxx,
VIVAHA-MANDAPA
(see
v.
29
A
MANDAPA)
see
;
under PRASADA).
pavilion erected
for the
wedding ceremonies.
Mahesvara-khandaprathama, Chap, xxiv, vv. 1-67.)
(Shanda-Purana,
VIVRITA A
type of storeyed building, a class of the nine-storeyed
buildings.
(M., XXVH, 20-22
VIVE&A A
A
VIS
site
;
see
under PRASADA.)
plan of 625 square plots.
(M.,
vii,
35-36
;
see
PADA-VINYASA.)
fixed abode.
(R.-V., x, 91, 2.)
Breadth, an architect, a type of building, a class
of pavilions, a type of hall, a site plan of 529 square plots.
Compare Mdnasdra (Chapter vn, 31-32 xv, 14; LXVIII, 13; see
VlSALA-(KA)
;
A
PADA-VINYASA.)
type of rectangular building
(1)
(2)
:
civ, vv.
Agni-Purdna (Chap,
Garuda-Purdna (Chap.
16-17;
XLVII,
vv.
under PRASADA).
21-22, 26-27; see under
see
PRASADA).
A
pavilion
MANDAPA)
A
A
see
with 100 columns
(Suprabheddgama, xxxi, 104
;
see
under
.
class of buildings
see under MALIKA).
(Kdmikdgama, XLV, 41
(Matsya-Purdna, Chap. CCLXX,
;
hall with thirty-eight pillars
under MANDAPA).
464
v.
u
:
HINDU ARCHITECTURE
VlSALAKSHA A
site
VISHKAMBHA
plan of 784 square
plots.
(M., vn, 41-42,
VI$VA-KANTA A type of storeyed
A class of five-storeyed buildings (M.,
under PADA-VINYASA.)
see
building.
xxxm, 16-18;
see
under PRA-
SADA).
A class of nine-storeyed buildings (M.,
VI&VA-VIDYALAYA A university,
xxvu, 27-33;
see
under PRASADA).
a place of learning of universal subjects in Arts and Sciences, comprising various college buildings,
prayer
halls, residences, etc.
The famous
were at Taxila, Valabhi, Vikramas'ila, OdanSomapuri, Vikramapuri, and Nalanda. Compare
universities
Jagaddala,
tapuri,
big colleges at
Bodh-Gaya, Sanchi, Barhut,
KausambI, Sarnath,
Sravasti,
Mathura, Nasika, Amaravati, Nagarjunikunda, Jagayyapeta, Kanchipura,
and Madura. For structural details, see NALANDA.
Writer's articles on Universities during Hindu Period (University Studies,
Kannipattana
Allahabad, 1936, the Twentieth Century, July, 1935, the Science and Culture,
December, 1935, Modern Review, August, 1935.)
VI&VE&A-SARA A
site
plan in which the whole area
divided
is
into 900 equal squares.
(M., vn, 45-46,
VISHANA-(KA)
The
see
under PADA-VINYASA.)
horn, the tusk, the wing of a building.
Vishanaka-samayukto nandanah sa udahritah
That (prasada) is called nandana which is furnished with a vishanaka
I
'
(wing).'
(Matsya-Purana, Chap. CGLXIX, v. 33.)
VISHKAMBHA
The diameter of a
the length or width of
an object, a post, a pillar, the prop or beam, the bolt or bar of a
door.
(1)
'
Harmya-padasya vishkambham samarh manjusha-vistritih
The
sion.'
circle,
length of the vault
(M.,
xii,
is
I
equal to the width at the foot of the
man-
29.)
(2)
Dvarasyardhena vishkambhah
(3)
SashtamSo vishkambho dvarasya dvi-guna uchhrayah
see J. R. A. S., N. S., Vol. vi,
(Ibid., v. 25
Tehsam ayama-vishkambhah sannivesarhtarani cha
'
half of the door gives the width
(Brihat-sarhhitd,
;
'.
LHI, 24.)
I
p. 284, note 3.)
I
Kritrimanarh cha durganarh vishkambhayamam eva cha
Yojanad arddha-vishkambham ashta-bhagadhikayatam
(Brahmanda-Purana, Part
i,
and anusharaga-
pada, Chap, vn,
465
I
1 1
w.
94, 106.)
AN ENCYCLOPAEDIA OF
VISHNU-KANTA
Chatur-dandavakrishtam parikhayah shad-dandochchhritam avaruddharh tad-dvi-guna-vishkambharh khatad vaprarh karayet
Vaprasyopari prakararh vishkambha-dvi-gunotsedham
dvi-hasta-vishkambham
Antareshu
parsve
chaturgunayamam
(4)
I
I
anuprakararh ashta-hastayatarh deva-patharh karayet
(Kautiliya-Artha-sastra,
I
Chap, xxiv,
paras. 3, 5,10, pp. 51-52.)
VISHNU-KANTA A
of storeyed buildings, a type of column,
a type of gate-house, a kind of phallus, a jewel.
class
A
class of four-story ed buildings
A
jewel (M., XH, 90,
An
(M., xxii, 3-12
;
see
under PRASADA).
etc.).
octagonal column with
eight
minor
pillars
(M., xv, 20, 245,
see
under
STAMBHA).
A gate-house with sixteen
A kind of phallus (M., LII,
VISHNU-GARBHA
tion prescribed for
towers (M., xxxni, 557
154
;
see
;
under GOPURA).
see
under LINGA).
under GARBHA-NYASA)
the Vishnu temples.
(See
A kind of founda(M.,xn, 141.)
VISTARA
VIHARA
Breadth, length
under MANA).
(see
Originally monasteries for Buddhist monks and nuns ;
later at the time of Nalanda University, the residential quarters for
the professors (compare Sangarama), a dwelling, a habitation for
gods and for monks, a temple, a convent (W. Geiger, Mahdvams'a,
a group of apartments for a community of monks, a
p. 297)
Sangarama or monastery in Ceylon and Nepal used to designate not
only a cell but also any monastic establishment (Fergusson,
;
'
A Buddhist monastery, a
Arch., 1910, i, p. 170).
a
With
the
and
Buddhists
convent,
temple.
Jains was a hall where
the monks met and walked about ; afterwards these halls came to
and East.
Ind.
'
be used as temples and sometimes became the centres of monastic
establishments.'
(1)
Prag-GangesVara-sannidhau
.
.
amalam Sri-Lokanathaspadam
.
chakre-darumayarh
viharam
|
Made
a spotless vihara''of wood, an abode for the Lord of the World,
in the vicinity of the GangesVara (temple).'
(Arigom Sarada inscrip., v.
'
a,
Ep.
(2)
Ind.,
Vol.
ix, p.
302.)
Viharo nava-khanda-mandala-mahl-harah krito'yarh taya tarinya
vasudharaya nanu vapur vibhranyalarhkritah
I
466
HINDU ARCHITECTURE
Yam
VIHARA
drishtva pratichitra-s'ilpa-rachana-chaturyya-simas'rayarh girvanaih
sudrisarh cha vismayam agad visvakarmapi sah n
This vihara, an ornament to the earth, the round of which consists
of nine segments, was made by her, and decorated as it were by Vasudhara
'
and even the Creator himself was taken with
wonder when he saw it accomplished with the highest skill in the applying
of wonderful arts and looking handsome (with the images of) gods.'
herself in the shape of Tarini,
(Sarnath inscrip. of Kumaradevi, v. 21, Ep.
Ind.,
Vol.
rx,
pp. 325, 327.)
work the term vihara is applied only to monasThroughout
(3)
abodes
of
monks
or hermits.
It was not, however, used in that
teries, the
restricted sense only, in former times, though it has been so by all modern
Hiouen Thsang, for instance, calls the great tower at Buddhwriters.
Gaya a vihara, and describes similar towers at Nalanda, 200 and 300 feet
The Mahawanso also applies the term indiscriminately
high, as viharas.
to temples of a certain class, and to residences.
My impression is that all
in
storeys were called viharas (?), whether used for the
buildings designed
abode of priests or to enshrine relics or images. The name was used to
distinguish them from stupas or towers, which were relic shrines, or erected
as memorials of places or events, and never were residences or simulated
'
this
to be such, or contained images,
At present this is only a theory.'
(This
is
a
false impression
;
it is
till
the last gasp of the style, as at Kholvi
not substantiated by literary or archaeo-
logical evidences.)
'
these (viharas or monasteries) resemble very closely
corresponding institutions among Christians. In the earlier ages they
accompanied, but were detached from the chaityas or churches. In later
Like the chaityas,
times they were furnished with chapels and altars in which the service
could be performed independently of the chaitya halls, which may or may
not be found in their proximity.' Fergusson.
(Hist, of Ind. and East. Arch.,
pp. 130, note
i,
51.)
For the photographic views and architectural details of the existing
viharas, see Fergusson
Diagram explanatory of the arrangement of a Buddhsit vihara of four
:
storeys in height (p. 134,
fig.
67, 66).
Ajunta-Vihdras (p. 154-155, fig. 83, 84, 85).
Plan of the great Vihara at Bagh (p. 160, fig. 87).
Plan of Dehrwarra at Ellora (p. 163, fig. 88).
Plan of Monastery at Jamalgiri (p. 171, fig. 92).
Plan of Monastery at Takht-i-Bahi (p. 171, fig. 93).
PU\n of Ionic Monastery at Sha Dehri
467
(p. 176, fig. 96).
AN ENCYCLOPAEDIA OF
VIHRITA
Buddhist Gave Temples (Arch.
(4) See
Surv.,
New Imp.
Series, Vol. iv,
Plate xxvn).
architectural ornament, a moulding, a
VIHRITA An
the upper part of a column.
(M., xv, 78
VINA A
flute,
;
see
the
list
moulding of
of mouldings under STAMBHA.)
a lute, a carving on the chariot.
163, etc.)
(A/., XLIII,
VITHI(-I)
A road,
a way, a street, a market place, a
a shop,
stall,
a terrace.
vidhiyate
Madhya-rathyavrita vithi samam
tri-dandakam
Mukhya vithi dvi-paksha syad griha-tararh
evarh
I
Evam
bahya-vithi syad antar-vithir ihochyate
hinarh tu margakam
Paksha-yukta tu vithi syat paksha
vistritir bhavet
vfthinarh
va
I
I
Tri-chatush-pancha-dandarh
va
Shat-saptashta-dandarh va nanda-panktisa-bhanurh
Evarh tu svastika-vithi langalakaravad bhavet
I
I
I
I
Antar-vithi chaika-paksha bahya-vlthi dvi-pakshaka
Paritas tu maha-vithir vither esha dvi-pakshayuk
I
I
Vithinarh parsvayor dese vithikadyair alankritam
I
2
(M.,
ix,
345. 347. 352, 426, 43i
Pada-dandarh
463 5I9-)
I
pada-pada-vivardhitam
vithi-manam
eka-das"a-dandantam
ihagame II
Syad
Marga-manarh tu tavat syan na dvararh vithikagrake
samarabhya
I
(Kamikagama, xxv,
VlTHIKA A
see
101, 104, 191, 196, 199, 200, 338, 396, 477, 5 9 \'
also 99, 136, 184-187, 197, 201, 203, 206, 324, 339,
4,
5.)
a narrow
street,
see Brihat-samhita
below.)
a road,
gallery, a picture gallery,
a lane.
(i)
Salato yas tritiyarhSas tena karya tu vithika
(Kiranakhya-Tantra
(a) Sala-tri-bhaga-tulya
;
I
cha kartavya vithika bahih
(Visvaka
;
I
see Brihat-samhita,
below.)
vithika bahir-bhavanat
(3) Sala-tri-bhaga-tulya kartavya
Outside the dwelling one should make a gallery, being in width a
N. S., Vol. vi,
of the hall.'
third
(Brihat-samhita, mi, 20, J.R.A.S.,
I
1
part
note 2.)
p. 283,
tu chatu-rathyagrad avrita vithika tatah
Asmat
(4)
de^e vavrita vithika bhavet I
Tat-paisacha-pade
468
I
HINDU ARCHITECTURE
VlRA-^ASANA
AntaS-chatush-padam madhye vlthikagram chatur-disi
Vithlnam parsvayor dee vithikadyair alarikritam
I
I
(M.,
VlRA-KANTHA
ix,
337, 434, 478, 529
A warrior's
VIRA-GALA)
(see
;
see
also 323, 334-336.)
neck, a part of the
column, a monument.
(Suprabhedagama, xxxi, 59
VlRA-KARNA A warrior's ear,
;
see
under STAMBHA.)
a part of the column, a
monument.
(M., xv, 49, 81, 142.)
VlRA-KANDA An
upper part of the column.
Tri-bhago maulikotsedhah vlra-kandad upary-adhah
Vlra-kandavadhi kshepya tad-urdhve nakra-pattika
1
II
1
(Kamikdgama, LV, 62, in.)
VlRA-GALA
A
BIRA-GALA)
(see
warrior's neck, a
monument, a
memorial.
A
A
monumental stone
(Ind. Ant.,
Vol. ix, p. 96,
c. 2,
line 10).
memory of a fallen warrior (Chalukyan Architecture,
Imp. Series, Vol. xxi, p. 40).
stone erected in
Arch. Surv.,
New.
VlRA-PATTA The
front plate, the diadem, of heroes forming part
of a crown.
(These pearls) were strung on two strings (vadam) on both sides
of the front plate (vlra-patta), literally the diadem of heroes, " this ornament
forms part of a crown," Vol. n, p. 242, note i.)' (Inscrip. of Rajendra
Chola, no. 8, para. 25, H. S. L /., Vol. n, p. 90.)
'
(1)
Given
the image of Ardha-narisvara) one front plate (virainclusive of sixteen nerunji (a kind of thistle), flowers
patta), weighing,
made of gold, four karanju and three manjadi, and worth three kasu.'
'
(2)
'
On
(it)
to
were strung one hundred and eleven
pearls, viz., old pearls,
round pearls, roundish pearls, polished pearls, small pearls, ambumudut
crude pearls, Sappatti and sakkattu.' (Inscrip. of Rajraja, no. 39, para. 9,
H.S.I.I., Vol. n, p.
'
(3)
One
1
66.)
front plate (vira-patta), laid (round the
head of the image
of Kshetrapala and consisting of) seven manjadi of gold.'
(Inscrip. of
Rajendra Chola, no. 43, para. 5, H. S. 1. 1., Vol. n, p. 1 73.)
One diadem (vlra-patta), made for the lord of the Sri-Raja(4)
'
'
rajeSvara temple
Vol. n, p. 242.)
VlRA-SASANA
.
.
.
(see
(Inscrip. of Rajraja, no.
59, para. 22,
BIRA-GALA and VIRA-GALA)
a memorial.
469
A
H.
S. I. I.
monument,
VIRASANA
AJf
VlRASANA A
A
A
ENCYCLOPAEDIA OF
throne, a type of pavilion.
kind of coronation throne (M., XLV, 41 see under SIMHASANA).
(Suprabheddgama, xxxi, 102
pavilion with twenty columns
;
;
see
under MANDAPA).
A circular object, a kind of mound
VRITA(-TTA)
column, a type
of building, a class of pavilions.
Dva-trims'ata tu
vritta
madhye pralinako
(Bfihat-samhitd,
LIII,
iti
28
vrittah
;
I
under STAMBHA.)
see
A
type of building which is circular in shape, has one storey and one
According to Kern's interpretation it is dark in the interior
cupola.
(anjanarupa, Varaha-mihira
(1) Brihat-samhitd
note
i, see
;
sandhyakara, Kasyapa)
(Chap. LVI, 28, J. R. A.
w.
29, 49, 53
Bhavishya-Purdna (Chap, cxxx, v. 30,
type of pavilion (mandapa) :
(3)
A
(Chap, xxx,
under JAYA-BHADRA)
Suprabheddgama
(4)
bhadra
;
N.
Vol. vi, p. 320,
S.,
under PRASADA.)
Matsya-Purdna (Chap. CCLXIX,
(2)
S.,
:
see
100,
see
102
;
see
under PRASADA.)
under PRASADA.)
where
is
it
called Jaya-
.
'
Within this and rising from a ledging of cut stone 4 feet
and
high
3 broad, stand the walls of the temple, a perfect circle about
20 feet high and 2 thick, with a handsome cornice of brick encircling
Cf.
(5)
the top. The whole appears to have been coated with five pilaster
small parts of which still adhere.
I examined closely but could not
discover the smallest appearance of its ever having had a roof.'
Lieut.
Fagan. (An Account of the Ruins of Topary, Ceylon Govt. Gazette, Aug., i
1820, Ind. Ant., Vol. xxxvm, p. no, c. i, para i, line 24.)
.
VRIDDHA A
finial,
a
spire, the top-part
of a building.
(M., xvii, 126
VRISHA-(BHA)
The
bull, the riding
;
see
under SIKHA.)
animal of a god, a type of
building.
The
see
riding animal of Siva, description of his
image
(M., LXU,
2-7)
under VAHANA.)
A
type of building which has one storey, one turret (sringa),
everywhere and twelve cubits wide
is
round
Vol.
vi, p.
see
under
:
(1) Brihat-samhitd
319
;
(2)
see
(Chap. LVI, 26, J. R. A.
under PRASADA).
S.,
N.
S.,
Matsya-Purdna (Chap. CCLXIX, vv. 30, 36, 44, 45, 53
PRASADA).
47
;
HWDU
(3)
ARCHITECTURE
(2)
v.
Bhamshya-Purana (Chap, cxxx,
A type of oval
(1}
VEDI-(KA)
see
33;
under PRASADA).
building
Agni-Purdna (Chap, civ, vv. 19-20 see under PRASADA.)
Garuda-Purdna (Chap. XLVII, vv. 29-30
see under PRASADA.)
:
;
;
VRISHABHALAYA A
building near
detached
temple where the bull (nandin)
is
the
Vrishabhasyopari-bhage
of a
installed.
Prakara-dvara-sarvesharh kalpayed vrishabhalayam
tu
gate
I
kalpayed bali-plthakam
I
(M., xxxii, 98-99.)
VRISHA-MANDAPA A
pavilion where the nandin or bull
in-
is
stalled.
Suprdbheddgama (xxxi, 96, 98
mandapam
Vrishasya
;
under MANDAPA) and compare
chatur-dvara-samayutam
see
tatra
(Ibid.,
VETRA
The
:
I
xxxi, 133.
cane, a stick, an architectural ornament, a moulding.
A moulding of the diadem (makuta) (M.,
A moulding of the bedstead (M., XLIV, 41.)
An ornament
XLIX, 99-100).
of the throne (M., XLV, 162, 188
;
see also
M., vn, 241.)
Originally a hall for reading the Vedas in, an altar,
a stand, a basis, a pedestal, a bench, a kind of covered verandah or
balcony in a courtyard, a moulding, bands or string-courses carved
VEDI-(KA)
'
with rail-pattern.'
The platform of a
stage (Bharata's Ndlya-sdstra
n, 102, see details under
terrace with balustrade
NATYA-GRIHA(VISMA), terrace, altar, rail,
(Dipavarhfa H, p. 181-183, Oldenburg).
Pdshdnavedi
and
Sildvedi
Compare
(Mahdvarhsa, 36, 52, 103), Muddhavedi
and Pdda-vedi
(ibid.,
35,
(W. Geiger, Mahdvamfa, pp. 296-297.)
2.)
Salantam vedikordhve tu yuddhartharh kalpayet sudhih
(i)
(M.,
A
moulding of the column
I
ix,
36).)
:
Griva-turigarh tridha bhajyarh ekamse vedikonnatam
I
(M., xv, 105.)
'
The quadrangular
spot in the
courtyard
That portion of a building which
(Apte).
is
of a temple or palace
covered by the walls (M.,
xrx, 25).
Crdhve padodaye bandham bhagam ekamsa-vedikam
I
(M., xix, 99.)
The
portion above the neck-part of a building (M., xxu, 50, 54, 57,
etc.).
471
AX ENCYCLOPAEDIA OF
VEDI-(KA)
The
altar or dais (M., LXX, 29, 35, etc.).
Kuryat sarvam vedikam bhadra-yuktam
I
(M., XK,
Tri-chuli
mahi-bhritam
(2)
vaisya-Sudranam pancha-sapta
Brahmananam tathaiva syur ekadaSa tu vedikah II
1
80.)
I
It
should be noticed that
'
vedika
'
and
'
chuli
'
refer to the
(Kdmikagama, xxxv, 60.)
object.
The basement
:
Prasada-bhushanam vakshye Sruyatam dvija-sattamah
Syat pada-prastaram griva varge mule tu vedika
1
I
1
LV,
(Ibid,
(3)
same
Vedikeyam tu samanya kuttimanam
prakirtita
chotsedhe
chatur-vims'ati
Pratikramasya
bhajite
i.)
I
II
Vedika-prastara-samam shad-ams'ikritya bhagas"ah
Ekarhs'am prati-pa^tam syad am^abhyam antarlbhavet
I
(
Vastu-vidya,
ed.
Sastri,
II
ix,
Kanchanair bahubhih stambhair vedikabhiS cha Sobhitah
(5)
(Nalinim)
(Rdmayana,
.
.
.
23.)
19,
(4)
|
vi, 3, 18, etc.)
maha-mani-sila-patta-baddha-paryanta-vedikam
|
(Mahabhdrata, n, 3, 32, etc.)
(6)
Athatah sampravakshyami
pratishtha-vidhim
uttamam
|
Kunda-mandapa-vedlnam pramanarh cha yatha-kramam
Prasadasyottare vapi purve va mandapo bhavet
Hastan shoda^a kurvita da^a dva-dasa va punah
1
1
I
Madhye-vedikaya yuktah parikshiptah samantatah
Pancha-saptapi chaturah karan kurvita vedikam
From
1
1
1
I
(Matsya-Purana, Chap. CCLXIV, vv. i, 13, 14 ;
see also Chap. CCLXIX, vv. 13, 18.)
measures given here to the vedi or vedika, it
and
some
imply
platform other than the pedestal or throne of
the position
appears to
1
the idol.
(7)
Tad-urdhvarh tu bhaved vedi sakantha manasarakam
Urddhvarh cha vedika-manat kalasam parikalpayet II
||
(Agni-Purana, Chap. XLII, vv.
(8)
Mandaparh cha
su-vistirnam
Tan-madhye mandapam
vedikabhir
manoramam
1
17,
18.)
1
kritva vedirh tatra su-nirmalam
1
1
(Skanda-Purana, Mahe^vara-khanda-prathama,
Chap, xxiv, v. 2, Vaishnava-khandadvitiya,
(9) See specimens of
Jaina sculptures from Mathura
Vol. n, p. 319, last para.).
472
Chap, xxv,
(Plate ni,
v. 26.)
Ep.
Ind.,
HINDU ARCHITECTURE
VEDI-(KA)
(10) Hathi cha puvado hathinam cha uparima hethima cha veyika
the elephants and, before the elephants, the rail-mouldings above and
below.'
(Karle inscrip. nos. 3, 17, 18, Ep. Ind., Vol. vn, pp. 51, 63-64.)
'
dirggha-valabhirh sa-vedikam
other long buildings on the roofs of the houses, with arbours in
them, are beautiful.' (Mandasor stone inscrip. of Kumaragupta, lines 6-7>
C. 1. 1., Vol. in, F. G. I., no. 18, pp. 81, 85.)
(
'
1 1
Chanyany abhanti
)
I
And
Esha
(12)
kulachalaih
bhati
parivrita
praleya-sarhsarggibhir vvedi
meru-sileva kanchana-mayi devasya visrama-bhuh
'
I
Subhraih pranta-vikasi-pankaja-dalair ity-akalayya svayarii raupyam padmam achikarat paSupateh pujartham aty-ujjvalam II
Thinking that this throne on which the deity rests, golden-like mouns
meru, was surrounded by the imperishable (seven) primeval mountains
covered by snow, (the king) himself caused an exceedingly resplendent
silver lotus with brilliant wide opened petals to be made for the worship of
Palupati.'
'
(The poet tries to prove that the lotus resembles the shrine of PasuAs the latter is of gold, so the centre also of the lotus is golden, and
pati.
as the temple is surrounded by snowy mountains, so the petals of the lotus
made
of
Vol.
rx,
are
Ant.y
'
(13)
Gloss, to
silver).'
(Inscrip.
from Nepal, no.
15,
of Yaya-deva,
Vedi (bedi) Hall for reading the Vedas
General Cunningham's Arch. Surv. Reports.)
(14) See
v. 25, Ind.
pp. 179, 182).
Cunningham,
Arch. Surv. Reports (Vol.
in.'
(Vincent-Smit^
xvu, Plate xxxi, Buddhist
railings).
Veyika, which, as well as Vedika and vetika in other Buddhist
inscriptions, stands for Sanskrit vedika, does not mean altar, dais, etc.,
'
(15)
but hands or string-courses carved with rail-pattern compare Mahdvamsa,
Dr. Burgess.
228,'
(Karle inscrip. no. 3, Arch. Surv., New Imp. Series,
Vol. iv, p. 90, note 3
see also nos. 15, 16
Kshatrapa inscrip. no. 3.)
These
?
have
(16)
(rails,
recently been discovered to be one of
vedi)
:
:
;
'
the most important features of Buddhist architecture.
Generally they are
foui.d surrounding topes, but they are also represented as enclosing sacred
tree?,
an
I
temples and
East.
pillars,
and other
objects.'
Fergusson.
(Hist,
of Ind.
Arch., p. 50.)
See the photographic views
Rails in Fergusson
and
architectural details of the following
:
Buddh Gaya
Rail (p. 86, figs. 25, 26).
Rail at Bharhut (p. 88, fig. 27).
Rail at Sanchi (p. 92-93, figs. 29, 30, 31).
Rail in Gautamiputra Cave (p. 94, fig. 32).
473
AN ENCYCLOPAEDIA OF
VEDIKA-VATAPANA
VEDIKA-VATAPANA A
balustrade.
(S.
B. E. } xx, p. 104, 4, 3
W.
A
VEDI-KANTA-(KA)
162, 4,
p.
;
4
;
Geiger, Mahdvariiia, p. 297.)
type of storeyed
a
building,
class
of
four-storeyed buildings.
(M., xxii, 58-59
VEDI-BANDHA The
;
see
under PRASADA.)
pedestal, the base, the basement.
Prasadau nirgatau karyau kapotau garbha-manatah
|
Drdhvam
bhitty-uchchhrayat tasya manjarirh tu prakalpayet
ManjaryaS chardha-bhagena Suka-nasarh prakalpayet
1
1
I
Ordhvarh tathardha-bhagena vedi-bandho bhaved iha
II
(Visvak 6, 767,
S., N. S.,
Vol. vi, pp. 421, 320, note 2.)
J. R. A.
These
are identical
lines
the
in
Matsya-Purdna
(Chap. CCLXIX, vv.
H-I3-)
VEDI-BHADRA One
of the three classes of pedestals, the other
two being Prati-bhadra and Mancha-bhadra. It has four types
differing from one another in the addition or omission of some
mouldings and in height.
(A/., XHI,
VE&ANA An
27-53
>
entrance, a gate,
see
^e
list
of mouldings under UPAP!THA.)
a gateway, a band, an architec-
tural moulding.
Eka-dvi-tri-dandarh va chantaralasya vesanarh syat
Harmya-vasad upa-vesanarh yuktam
I
I
(M., xrx, 191, 187.)
A
band
Cf.
in connexion with joinery (M., xvn,
Crdhva-kuta-vesanam
139).
I
(M., xx, 72.)
.
.
.
bhitti-vistaram eva cha
I
Sesham tad-gar bha-geharh tu madhya-bhage
vesanam
tu
(M., xxxin, 333-334
In connexion with chariots
:
Kukshasya veSanam
I
see
;
also 488.)
I
(Af.jXLin, 14)
In connexion with the phallus
:
Liriga-tunga-viSesham syad vesanarh tan nayet budhah
|
(M.,
VE&MAN A
'
house as the place where one
(R.-V., x, 107, 10
;
146, 3
;
A.-V., v, 17, 13
474
;
ix, 6,
is
30
settled.
;
ui,
313.)
'
Ait. Bra. vin, 24, 6.)
VYAGHRA-NlDA
HINDU ARCHITECTURE
VESARA A
style of architecture, once prevailing in the ancient
Vesara or Telugu country, India between the Vindhyas and the
Krishna corresponding to Tamil India (S. K. Aiyangar, J.I.S.O.A.,
'
'
Vol. n, no.
i, p.
23-27.)
under NAGARA.)
(See details
VAIJAYANTIKA A
type of building, a class of single-storeyed
buildings.
(M., xix, 166
VAIRAJA A
follows
:
class
Meru,
(i)
Sarvato-bhadra,
and
(2)
square in plan and named as
(3) Vimana, (4) Bhadra,
(5)
of buildings,
Mandara,
Ruchaka, (7) Nandika,
(2)
Nandi-varddhana
(8)
Srivatsa.
(9)
(1)
(6)
under PRASADA.)
see
;
Agni-Purana (Chap, civ, w. n, 14-15; we under PRASADA).
Garuda-Purdna (Chap. XLVII, vv. 21-22, 24-25; see under PRASADA)
VAI&YA-GARBHA
(see
A
GARBHA-NYASA)
kind
of
foundation
prescribed for the buildings of the Vaisyas.
(M., xn, 162;
VYAJANA A
fan,
an account of
its
(M.,
architectural details.
name of a
46, 97-110
L,
VYAYA One of the six Varga-formulas,
the
under GARBHA-NYASA.)
see
1
'
)
see
year.
under SHAD-VARGA.)
Srimach-chhali-sakabdake cha galite nagabhra-banerhdubhis chabde
sad-vyaya-namni-chaitra-sita-shashthyam saumya-vare vrishe
'
in the excellent year named Yyaya
And
.
.
Ep. Ind., Vol. vui, pp.
Sali-vahana-saka-varsha
v. 6, line 7,
131, 134, 124.)
(1508) neya vyaya-sarhvatsarada)
In the Salivahana saka year which corresponded to the Vyaya sarh-
vatsara
'
(2)
lent
I
.
(Karkala inscrip. of Bhairava n,
'
BHUSHANA.)
an architectural measure,
(See details
i
;
.
.
I
'(Ibid., line 9.)
the year of glorious era called Salisaka, having the excelof Vyaya and to be expressed in words by the elephants, the
.
When
name
'
and the moon, had expired
The month Chaitra of the Vyaya samvatsara, which was the year
of the Sri-Salivahana Saka 1508.'
(Sasana of the Jaina Temple at Karkala,
sky, the arrows,
.
.
.
'
Ind. Ant., Vol. v, p. 43, c. i, lines,
23, 32.)
VYAGHRA-NlDA
The cage
for a
domesticated
tiger,
included in
the articles of furniture.
(M.,
L, 55,
475
251-269
;
see
under BHUSHAIJA.)
AX ENCYCLOPAEDIA OF
VYALA-TORANA
VYALA-TORANA
(see
An
TORANA)
arch marked with the leo-
graph.
Tatah samabhyunnata-purvva-kayas tenadhirudhah sa naradhipena
torana-vyala(ka)-vaddha
Samutpatann uttama-sattva-vegah khe
I
bhase
1
1
(Jatakamdla, Sarabha-jataka, xxv, 22; v. 19, ed. Kern, p. 165.)
&AKTI
female
Power, energy, capacity, strength, female
the
divinity,
deities in general.
Mdnasdra (Chap. LIV, 1-195), named Sakti
:
Sarasvati or goddess of learning, Lakshmi or goddess of wealth and
fortune, Mahi or the earth goddess, Manonmani (Manah-unmadini)
Sapta-matri or the seven goddesses collectively
so called, and Durga are the different phases of Sakti (lines 2-4).
Of these, LakSmi is distinguished into Maha or the great Lakshmi and
or goddess of love,
or the ordinary Lakshmi, the latter being installed in all family
chapels (lines 63-64). The seven goddesses consist of Varahi, Kaumari,
Samanya
Chamundl,
Mahendri,
Bhairavi,
and
Vaishnavl,
Brahman!
(lines
126-127).
These seven goddesses are measured in the nine-tala system (line 128)
all other female deities are measured in the ten-tala system (lines 34-38).
;
TALA-MANA.
Details of these measures will be found under
The
sculptural details include the measures of the limbs, and the poses ,
features of each of these female deities are des-
and the ornaments and
cribed in detail (lines 4-128, 132-195).
Cf.
Matri-ganah kartavyah sva-nama-devanurupakrita-chihnah
(Brihat-samhita,
S AKTI-DHVAJA
A
Lvm,
56.)
moulding of the column.
(M. xv, 77
&AfrKU A
I
;
see lists
of mouldings under STAMBHA.)
a peg, a post, a pole, a measuring rod, the
gnomon by means of which the cardinal points are ascertained for
the orientation of buildings (see details under DVARA)
stake,
.
See
THUNA
:
The memorial
up at the four corners of Smasana (grave
and cemetery) (Sat. Bra., xm, 8, 4, i iv, 2, 5, 15 Kdt. SrAuta
Sutra, xxi, 3, 31) upon which Yama makes seats for the departed
pillar set
;
(R-V., x, 18, 3
;
A.-V., xvni, 3, 52).
476
;
HINDU ARCHITECTURE
Mdnasdra (Chap,
(1)
1-120,
vi,
named Sanku)
:
down on
the principles of dialling and for ascertaining the
The gnomon is made of some
cardinal points by means of a gnomon.
It may be 24, 18, or 12 afigulas
particular wood (lines 10-12, 106-108).
in length and the width at the base should be respectively 6, 5, and 4
Rules are laid
It tapers from bottom towards the top (line 14).
13-22).
The rules are described (lines 23-88) but they are more explicit in the
quotations given below. As regards the principles of dialling, each of the
angulas
(lines
;
divided into groups of ten days each, and the increase
and decrease of shadow (or days, as stated by Vitruvius, see below) are
twelve months
is
calculated in these several parts of the different months.
Pegs (khata-s'anku) are stated to be posted in the foundations (lines
118).
no-
(Chap, in, w. 1-51, 2, 3, 4)
the
of the dial and description of its parts (vv. 1-6)
measure of amplitude (v. 7), of the gnomon, hypotenuse and shadow,
(2) Surya-siddhdnta
:
Construction
;
any two being given
to find
out the third
8)
(v.
;
precession of the
to find,
the equinoctial shadow (w. 12-13)
equinoxes (vv. 9-12)
from the equinoctial shadow the latitude and co-latitude (w. 13-14)
the sun's declination being known, to find from a given shadow at
;
;
;
his
noon,
14-17)
;
to find,
the latitude,
zenith-distance,
and
sine
its
and
cosine
(vv.
latitude being given to find the equinoctial shadow (v. 17) ;
from the latitude and the sun's zenith, distance at noon,
and his true and mean longitude (w. 17-30) latitude
and declination being given, to find the noon-shadow and hypotenuse
from the sun's declination and the equinoctial shadow to
(w. 21-22)
to find from the equinfind the measure of the amplitude (vv. 22-23)
octial shadow and the measure of amplitude at any given time the base
to find the hypotenuse of the shadow when
of the shadow (vv. 23-25)
his declination,
;
;
;
;
the sun
and
the
the sun's declination
(vv. 25-27)
to find the sine and the measure of
upon the prime-vertical
is
latitude
;
being given,
to find the sine of the altitude and zenithamplitude (w. 27-28)
distance of the sun, when upon the south-east and south-west vertical
;
circles
(vv.
(w. 33-34)
given,
28-33)
;
shadow and hypotenuse
and the hour-angle being
and zenith-distance, and the
to find ^the corresponding
;
the sun's ascensional difference
to find the sines of his
altitude
to find, by a concorresponding shadow and hypotenuse (vv. 34-36)
from
the
shadow
of
the
trary process,
given time, the sun's altitude
;
and zenith-distance and the hour-angle (w. 37-39)
the
sun's
amplitude
longitude (w. 40-41)
to
the latitude
and
known to find his declination and true
draw the path described by the extremity of
being
;
;
477
AN ENCYCLOPAEDIA OF
to find arcs of the right and oblique ascension
;
several
the
the sun's
signs of the ecliptic (w. 42-45)
corresponding to
time
to
find
the
the
of
the
and
known,
being
point
longitude
ecliptic
the sun's longitude and the
which is upon the horizon (vv. 46-48)
shadow
the
(vv.
41-42)
;
;
hour-angle being known
upon the meridian
(v.
to
49)
;
point of the ecliptic which is
and the determination of time by means
find
the
of these data (w. 50-51).'
On the surface of a stone levelled with water or on the levelled floor
'
chunam work,
number of
and
mark the
gnomon
digits.
shadow
the
the
before
where
and
after
two points
noon meets
(of
gnomon)
these two points are called the east and
the circumference of the circle
Then draw a line through the timi (fish)
the west points (respectively)
the
east
and
west points and it will be the north and
formed between
(said)
of the
describe a circle with a radius of a certain
of 12 digits as
Place the vertical
its
centre
;
.
south line or the meridian
(To draw a
given points,
line.'
perpendicular to and bisecting the line joining two
usual to describe two arcs from the two given points as
line
it is
common
the
radius, intersecting each other in two points
the
is
the
line
In
this
through
intersecting points
required.
construction the space contained by the intersecting arcs is called Timi ',
centres with a
;
line passing
'
a
fish,
on account of its form).
And
thus, draw a line through the timi formed between the north
and the south points of the meridian line this line would be the east and
'
;
west
'
line.'
In the same manner, determine the intermediate
directions through
the timis formed between the points of the determined directions (east,
south, etc.).'
rules for
(3) The Siddhdnta-Siromani (Chap, vn, w. 36-39) refers to the
'
the
on
directions
means
of
a
resolving
questions
by
gnomon. But it
'
we are discussing here.
section
Chap, n,
4) lays down a few
of the gnomon of 12 digits as well as the
does not apparently deal with the cardinal points
(4)
The
Llldvatl (xi i-io, part
2,
shadow
height of the lamp by which the shadow is caused in this case instead of by
the sun. But it has no specific reference to the cardinal points.
(5) See Ram Raz (Ess. Arch, of Hind., pp. 19-20).
(6) Rev. Kearns gives some extracts from Myen (Maya)
(Ind. Ant.,
rules for ascertaining the
Vol. v, p. 231)
:
Rule I
Stand with the sun to your right, join your hands horizontally
erect the index-finger from the middle.
If the
reject the thumbs
shadow of the erect finger extends to the outer edge of the finger next
'
478
HINDU ARCHITECTURE
to the index-finger of the left
adjacent
past sunrise,
When
and
hand
it
denotes 48 minutes
so on.'
the sun has passed the meridian, the position must be altered
accordingly.
Rule IITake a straw eleven
place it on the ground, bend
one part to serve as a gnomon, the gnomon being erected
it, raising
The height of the
the
sun, east or west of the meridian.
against
the
end
of
the
bent
is found
by raising
portion no higher
gnomon
'
fingers in length,
suffices exactly to throw its shadow to the extreme point of the
recumbent portion of the remainder of the straw. The gnomon
Ascertain how many fingers it
so found gives the time of day.
than
contains
(7)
the
;
The
sum
is
the time in Indian hours.'
details given
above
may
be compared for further knowledge
of the subject with those quoted below from Vitruvius
Thus are expressed the number and names of the winds and the
To find and lay down their situation we
points whence they blow.
:
'
proceed as follows
Let a marble slab be fixed level in the centre of the space enclosed
by the walls, or let the ground be smoothed or levelled, so that the
:
'
In the centre of this plane, for the purpose
not be necessary.
of marking the shadow correctly, a brazen gnomon must be erected.
slab
may
The Greeks call this gnomon skiatheras.'
The shadow cast by the gnomon is
to be marked about the fifth
and
the
hour
extreme
anti-meridional
point of the shadow accurately
From the central point of the space whereon the
determined.
'
gnomon
the
the
as a
stands,
shadow
centre,
just observed,
meridian,
the
cast
till
which has been described.
of the
a
circle.
shadow which
watch the
moment when
the circumference
with a distance
describe
its
equal to the length of
After the sun has passed
the gnomon continues to
extremity again touches the circle
the two points, thus obtained in
describe two arcs intersecting each
From
circle,
other and through their intersection and the centre of the circle first
described draw a line to its extremity ; this line will indicate the
north and south points.
One-sixteenth part of the circumference of the whole circle
'
is
to
be
set
out to the right and left of the north and south points and drawing lines
from the points thus obtained to the centre of the circle, we have oneeighth part of the circumference for the region of the north, and another
Divide the remainders of the
eighth part for the region of the south.
circumference on each side into three equal parts
479
and the
divisions or
AN ENCYCLOPAEDIA OF
then let the directions
regions of the eight winds will be then obtained
of the streets and lanes be determined by the tendency of the lines which
;
separate the different regions of the winds.
Inasmuch as the brevity with which the foregoing
.
.
.'
'
may
prevent their being clearly understood, I
rules are laid
have thought
it
down
right to
add
.
The first shows
undertsanding thereof two figures.
the precise regions whence the different winds blow, the second, the method
of disposing the streets in such a manner as to dissipate the violence of the
for the clearer
.
.
'
winds and render them innoxious.
Let A be the centre of a perfectly level
and plane tablet whereon
a gnomon is erected. The ante-meridional shadow of the gnomon being
marked at B, from A, as a centre with the distance AB, describe a comThen replacing the gnomon correctly, watch its increasing
plete circle.
shadow, which after the sun has passed his meridian, will gradually lengthen till it become exactly equal to the shadow made in the forenoon, then
again touching the circle at the point C, from the points B and C, as centres,
From the point D, through the
describe two arcs cutting each other in D.
centre of the circle, draw the line EF, which will give the north and south
'
Divide the whole circle into sixteen parts. From the point E,
points.
at which the southern end of the meridian line touches the circle, set off
G and
H to
the right and left a distance, equal to one of the said sixin the same manner on the north side, placing one foot
and
teenth parts,
of the compasses on the point F, mark on each side the points / and K,
and with lines drawn through the centre of the circle, join the points GK
will be given to the south wind and
and HI, so that the space from G to
that from / to K to the north wind.
The remaining spaces
its region
on the right and left are each to be divided into three equal parts the extreme points of the dividing lines on the east sides, to be designated by the
those on the west by the letters NO
letters L and
from
to
and
from L to JV draw lines crossing each other and thus the whole circumat
H
;
;
M
:
:
M
:
ference will be divided into eight equal spaces for the winds. The figure
thus described will be furnished with a letter at each angle of the
Book I, Chap. vi).
a
It is clearly by
divine and surprising arrangement, that the equinocare
of
different lengths in Athens, Alexandria,
Rome,
gnomons
octagon
'
tial
'.
(Vitruvius,
Placenza and in other parts of the earth.
Hence the
construction of dials
which they are to be erected for from
the size of the equinoctial shadow, are formed analemmata, by means of
which the shadows of gnomons are adjusted to the situation of the place
and the lines which mark the hours. By an analemma is meant a rule
varies according to the places in
:
deduced from the sun's course and founded on observation of the increase
480
HINDU ARCHITECTURE
solstice, by means of which, with mechanical
the
use
of
and
compasses, we arrive at an accurate knowledge
operations
of the shadow from the winter
of the true shape of the world.'
'
From
the doctrines of the
(Book
Chap,
ix,
iv.)
philosophers above mentioned, are ex-
tracted the principles of dialling and the explanation of the increase and
decrease of the days (shadows in the Mdnasara) in the different months.
The sun at the times of the equinoxes, that is, when he is in Aries of Libra,
casts a shadow in the latitude of Rome equal to eight-ninths of the length
of the gnomon. At Athens the length of the shadows is three-fourths of
Rhodes five-sevenths at Tarentum nine-elevenths
and thus at all other places the shadows of the
at Alexandria three-fifths
at
the
equinoxes naturally differ. Hence in whatever place a
gnomon
dial is to be erected, we must first obtain the equinoctial shadow.
If, as
at Rome, the shadow be eight-ninths of the gnomon, let a line be drawn
on a plane surface, in the centre whereof is raised a perpendicular thereto
this is called the gnomon, and from the line on the plane in the direction of
the gnomon let nine equal parts be measured. Let the end of the ninth
part A, be considered as a centre, and extending the compasses from that
that of the
gnomon
;
at
;
;
;
;
centre to the extremity
is called the meridian.
B
of the said
line, let
a circle be described.
This
Then
of those nine parts between the plane and
the point of the gnomon, let eight be allotted to the line on the plane,
whose extremity is marked C. This will be the equinoctial shadow of
From the point C through the centre A, let a line be drawn,
the gnomon.
and
ray of the sun at the equinoxes. Extend the compasses from the centre to the line on the plane, and mark on the left
it
will represent a
an equidistant point E, and on the right another, lettered 7, and join
them by a line through the centre which will divide the circle into two
This line by the mathematicians is called the horizon.
semi-circles.
A fifteenth part of the whole circumference is to be then taken, and
placing the point of the compasses in that point of the circumference F,
where the equinoctial ray is cut, mark with it to the right and left the
From these, through the centre, draw lines to the plane
points G and H.
where the letters T and R are placed, thus one ray of the sun is obtained
for the winter and the other for the summer.
Opposite the point E, will
be found the point /, in which a line drawn through the centre, cuts the
to C, F,
G
to L,
H
and opposite to G and
the points K and L, and opposite
and A, will be the point N. Diameters are then to be drawn from
and from
The lower one will determine the summer and
to K.
circumference
;
H
the upper the winter portion.
the middle at the points
m
These diameters are to be equally divided
M and
0, and the points being thus marked,
481
AN ENCYCLOPAEDIA OF
SANKHA
A a line must be drawn to the circumference,
are
Q,
placed. This line will be perpendicular
to the equinoctial ray and is called in mathematical language the Axon.
From the last obtained points as centres (M and 0) extending the com-
through them and the centre
where the
letters
P and
passes to the extremity of the diameter, two semi-circles are to be described,
one of which will be for summer, the other for winter. In respect of those
points where the two parallels cut that line which is called the horizon
;
on the right hand
placed the letter S, and on the left the letter V, and at
the extremity of the semi-circle, lettered G, a line parallel to the Axon is
drawn to the extremity on the left, lettered H. This parallel line is called
Lacotomus.
is
Finally, let the point of the compasses be placed in that
this line is cut by the equinoctial ray, and letter the point
point where
X, and let the other point be extended to that where the summer ray cuts
the circumference, and be lettered H. Then with a distance equal to that
from the summer interval on the equinoctial point, as a centre, describe
the circle of the months, which is called Manacus.
Thus will the
analemma
'
In
all
will
the
be completed
'
.
.
.
and diagrams the
figures
say, the equinoctial as well as the solstitial
into twelve equal parts.'
(Book
(10)
Mayamala
(n)
Silparatna of
of
1-28).
(vi,
(12) Katyapa-silpa
Chap, vm.)
Brahmagupta (xrx, 1-20).
Varahamihira (n, 10-13; xrv, i-n, 14-22.)
(8) Brahma-siddhdnta-sphuta
(9) Pancha-sidhdntikd of
ix,
be the same, that is to
days, will always be divided
effect will
Srlkumara
(i,
(xi,
1-22).
60-70).
(13)
Vdstu-vidyd (m, 7-10).
(14)
Manushydlaya-chandrikd (n, 1-4).
SANKHA A type of round building.
w.
(1)
Agni-Purdna (Chap, civ,
(2)
Garuda-Purdna, (Chap. XLVH,
&ANKHA-KUNDALA An
17-18;
w.
see
21, 23,
under PRASADA).
28-29 see under PRASADA).
;
ornament, an ear-ring of conch-shell.
(M., LVI, 167, 170;
&A1SJKHA-PATRA
An ornament
of leaf pattern,
see
BHUSHANA.)
made of conch-
shell.
(M., LIV, 170;
&ATARDHIKA A pavilion with eighteen
see
BHUSHANA/
pillars.
(Matsya-Purdna, Chap. CCLXX, v. 13
see
482
;
under MANDAPA.)
HINDU ARCHITECTURE
&ATA&GA A
g ASTRAwar-chariot, an
car, a carriage, a
MANDAPA
arm-chair,
a
sofa.
(Ranganath
See Chullavagga (vi, 2,
There seems
go.
arm-chair
(see
to
4
;
of Sundara-pandya, v. 14,
Ep. Ind., Vol. in, pp. 12, 15.)
inscrip.
also vi, 20, 2
;
vra,
3)
i,
which reads Sattan-
be another expression, Apasayam, to mean a sofa or
Buddhaghosa's note on
SATRU-MARDANA A
ibid.,
vi,
2, 4).
pavilion with thirty-four pillars.
(Matsya-Purana, Chap. CCLXX, v.
n
;
see
under
MANDAPA.)
SAMBHU-KANTA A
class
of eleven-storeyed buildings.
(M., xxix, 2-8
;
see
under PRASADA.)
&AYANA
Lying down, a bed, a couch, the recumbent posture,
the roof of a house, a building material, a class of buildings in which
the width (at the bottom) is the unit of measurement, the temples
in which the idol is in the recumbent posture.
Proshtha, and Vahya, the Rig-Veda (vn, 55, 8)
"
occupying their commodious
talpas," the new
"
"
and
other
the
fashionable
women
of the housebride on
vahya
single
"
"
within the family home (harmya).'
hold on the
proshthas
bedstead (M.,m, 10, n, 12 ; XLIV, 74, and colophon).
Compare Asandi, Talpa,
refers to
'
married
woman
A
The recumbent
A synonym of
posture (M., LXH, 15; Lxra, 47, etc.).
the roof of a house (M., xvi, 56, 58
;
see
PRACHCHHA-
DANA).
The wood used
A
in constructing a bedstead (M., XLIV, 74).
xrx,
(M.,
7-11, See under APA-SAMCHITA.)
temple
&AYANA-MANDAPA A
bed-chamber, sleeping apartments.
(M., xxxn, 72, etc.)
SARKARA
hard
Sugar, a small stone, a pebble, a gravel, sand, any
particle.
A
material of which idols are
Cf.
made
(M.,
LI, 6, etc.; see
Musalena tu sampidya Sarkaradi-samanvitam
under AflHasA).
I
(Suprabhedagama, xxxi,
SARMA A
house
1
10.)
(R.-V., vn, 82, i).
SASTRA-VMANDAPA An
arsenal,
a detached building for the
storage of arms.
(M., xxxn, 69,
483
etc.)
SAKHA
AN ENCYCLOPAEDIA OF
SAKHA A
branch, an arm, part of work,
a
the
wing,
frame, the door-post, the jamb.
(1) Sakha-dvaye'pi karyam sardharh
tat syad udumbarayoh
Sakha
tadvad udumbarah
Uchchhrayat pada-vistirna
door-
II
I
Vistara-pada-pratimam bahulyarh sakhayoh smritam
Tri-paficha-sapta-navabhih
s"akhabhis
tat
prasasyate
Adhah-sakha-chatur-bhage pratiharau nivesayet
(Brihat-samhita,
(2)
The
third
and fourth
lines
of the
II
I
II
LIII,
24
;
LVI, 13, 14.)
quoted above
(see Chap. CCLXX, vv. 20 21).
tadvad udumbare II
Brihat-samhita
are identical with those in the Matsya-Purdna
(3)
Uchchhrayat pada-vistirna
s"akhas
Vistararddhena bahulayam sarvesham eva kirtitam
Tri-paficha-sapta-navabhih sakhabhir dvaram ishtadam
I
Adhah-Sakha-chaturthamse pratiharau nivesayet
Mithunaih pada-varnabhih Sakha-Sesharh vibhushayct
II
I
II
(Agni-Purana, Chap, civ, vv. 28-30.)
(4)
A
wing (Dabhoi
SANTIKA
(see
inscrip. v. in,
UTSEDHA)
A
Ep.
Ind.,
Vol.
i,
p. 31).
measure, the height which
is
equal
to the breadth.
(See
M., xxxv, 22-28, and cf. Kdmikdgama,
L. 24-28, under
ADBHUTA.)
SALA
Primarily a thatch of straw (chdla) for shelter of men or
their cattle and stores, then the homestead inclusive of such stalls and
sheds (A. V. in, 12, i ; v, 31, 5 ; vi, 106, 3 ; vm, 6, 10 ; ix, 3, i ;
xiv, i, 63 ; Tail. Bra. i, 2, 3, i ; Sat. Bra. in, i, i, 6) ; then houses
generally as in Salapati or householder (A.-V., ix, 3, 12) ; finally a
It
section or a single room of a house as in patnl-sala, agni-sala.
came quite early to be used of flourishing and wealthy residences as
in prachlsa-Sala (Sat. Bra. x, 3, 3, i ; 6, i, i ; Chhand. Upanishd, v, n,
i
Mund. Upanishad i, i, 3) and in the Silpa-Sastra notably in the
;
Mdnasdra it is used for a storeyed mansion, a hall, a room, an apartment, a house, a stable, a stall. The three terms, s"ala, mandapa,
and griha, are sometimes indiscriminately used to imply houses
Gosala (cow-shed) (M., xxxn, 87), patha-sala (college
or school) ; vaji-sala, gaja-sala, and mesha-Sala (M., XL, 127-128,
etc.) generally indicate a separate house for domestic animals ; while
paka-sala (kitchen), etc., may imply a hall or room inside a small
building also. But there is a clear distinction between mandapa
and s"ala. 'Trees are stated (Matsya-Purdna, vn, 83-120) to have
in general.
Sala
supplied to the primitive man the model of his future house.
is stated
derived
from
to
been
Sakha
have
(vv, 117-120)
(house)
484
HINDU ARCHITECTURE
because
branches were
ai
ranged lengthwise,
breadthwise, crosswise, up and down, and thatch them to make the
(branch),
first
originally
house.'
are detached
Mandapas
single-storeyed pavilions (M., xxxiv)
and
Salas are storeyed mansions furnished with pavilions (M., xxxv).
(1) Mdnasdra (Chap, xxxv, 1-404), named Sala
:
In
'
used mostly in the sense of a house. Salas
chapter
imply both temples and residential buildings for the Brahmans, the Kshatriyas, the Vaisyas and the Sudras (lines 1-2).
'
this
sala
is
Their characteristic features as single buildings
:
Salayah parito'lindarh prishthato bhadra-sarhyutam
Purato mandapopetam ...
(41)
I
(40)
I
Ekaneka-talantarh syat chuli-harmyadi-manditam
(47)
Like villages, Salas are divded into six classes, namely, dandaka, svastika
I
maulika, chatur-mukha, sarvato-bhadra, and vardhamana (lines 3-4).
Some of these with a certain number of halls are stated to be temples while
others varying in the number of rooms are meant for the residences of different castes (lines 32-37).
distinction is made with regard to the number
of storeys they should be furnished with (lines 78, 359-373, etc.).
A
The maximum number
storeys of
(2)
of storeys a sala has is twelve as usual.
these Salas are described in detail (lines 5-401).
all
All the
Kdmikagama (Chap, xxxv, 1-1930)
Salas are meant to be the dwellings of the Brahmans and others
:
(vv. 1-2)
:
Eka-dvi-tri-chatuh-sapta-dasa-sala prakirtitah
Tad-urdhvarh tri-tri-vridhya tu yavad ishtarh pragrihyatam
I
Ta
Then
(vv.
eva malikah prokta mala-vat kriyate yatah
follow the measurement
(vv.
3-12),
and the ayadi-shadvarga
13-20).
The
component parts of the Sala
Adhishthanam cha padam cha prastararh karnam eva cha
different
:
Sikhararh stupika chaiva salarigam
The measurement
is
1 1
II
iti
kathyate
of the base, pillar, entablature, tower,
II
(21)
finial,
and dome
given next (w. 22-32).
The
wall
is
also described
(w.
32, 33)
:
Tri-hastantam tu vistaro bhittinarh parikirtitah
Mula-bhitter idarh manam urdhve padardha-hmakam
1 1
Anyonyam adhika
The groups of
vapi nyuna va bhittayah
Salas are described (vv. 34-36).
485
samah
I
II
|
SALA
AX ENCYCLOPAEDIA OF
The verandahs
Asam agre
(alinda) are also described (vv. 36-38)
tu alindah syuh pradhane va viseshatah
:
I
Eka-dvi-tri-chatush-pancha-shat-saptalinda-sarhyuta(-a)h
Prishthe parsVe tathaiva syuh ishta-des"e athava punah
1
1
I
The courtyard (prankana or prangana) is described (see vv. 39-42).
The adytum, the open quadrangle, and the upper storey, etc., are also
described (vv. 45-57). This section is closed with the statement that the
description of s"alas given above is but general characteristics (v. 58).
This is followed by a brief reference to the uses of salas :
Taitilanam dvi-jatlnarh pashandasraminam api
Hasty-asva-ratha-yodhanarh yaga-homadi-karmasu
Devanam bhu-patinam cha nritta-gitadi-karmasu
I
Then
number
as
as sixteen (vv.
many
Evam
The
and other
follow the architectural
II
(58)
details of the storeys
59-86)
eva prakarena kuryad ashodas"a-kshmakam
and towns,
tu sarvato-bhadrarh dvitiyam
classified
1
(86)
1
(w. 87-88)
vardhamanakam
(for
Mandapas and
are given next (w. 89-96).
s"alas
Salas are distinguished
from each other
:
bers of salas, such as the plthika, bhadra, khalurika (vv.
gopura
(v.
(v.
I24a), chuli-harmya
i32a), varhSa
The
stone-pillars
(w.
and
salas or buildings (v.
(v.
pinda
149),
147,
125),
(v.
ankana
(v.
103,
161)
:
m naravase
na karayet
drawing-room (asthana-mandapa,
(v.
I
179), etc.
v.
90 (definition)
VamSadir
191), kitchen
(w.
II
(i57a)
(158)
:
ariisa-rahita ^ikhara-stupikanvita(h)
saleti pariklrtita
I
Nasika-mukha-pattam^a
Dhana-dhanyarh cha vayavye karmma-salam tato bahih
The treasury and granary should be built at the north-west, outside
II
I
(3)
'
the situation
:
Sarvada bhinna-salasu sandhi-karma na karayet
Devata-sthapanam pindam Salasu na vidhiyatell
Ibid., L,
parigha
158), etc.
stone-walls are stated not to be built in residential
Sila-stambharii iila-kudya
176-178), bedroom
mem-
117-118),
131),
The drains (jala-dvara), etc., are next described.
The chapter closes with an account of the rules regarding
of halls like the
api-
II
Mandaparh tu vidhatavyam ^alanam agra-desake II (g6a)
remaining portion of the chapter deals with some constituent
The
II
Ruchakam) pancham-(am) vidyach chhalanam
(abhi)dhanakam
Details of these
:
I
Tritiyam svastikarh proktarh nandyavartam chaturthakam
Charukarh
which
:
like the villages
s"alas are,
Adyam
I
that should be the
office.'
(Matsya-Purdna, Chap. CCLVI, v. 35.)
486
SAL A
HINDU ARCHITECTURE
(4)
svarna-mayim kuru II
susobhanam
Tan-madhye mandapam kritva vedirh tatra sunirmalam II
alarh
Sarhpadaya padma-nidhe(h)
Rathasyes"ana-dig-bhage salarh kritva
I
(Skanda-Purdna, Vaishanava-khanda, n, Chap, xxv,
vv. 3, 26.)
(5)
Manavanarh griha prokta vasavas te kakub-gatah
Sarhsthana-bhedena te jneyah panchadha syuh pramanatah
I
Svayoni-vyasa-gatayo dig-vidikshu cha sarhsthitah
Bhinna-sala cha sa prokta manujanarh subha-pradah
Dig-vidikshv-eka-yonistha paryastena tathaiva cha
II
I
II
I
chatur-saleti
Jneya
silpa-sastra-nidarsibhih n
(
(6)
Vastu-vidya, ed.
Purva-dakshinarh bhagarh mahanasarh
cha
Sastri, vni,
hasti-salarii
1-3.)
koshthagararh
I
Paschimottararh
bhagam
yana-ratha-sala
I
(Kautiliya-Artha-satra,
Chap, xxv,
(7) Sala-tri-bhaga-tulya kartavya vithika bahir bhavanat
'
dwelling one should
Outside the
third of the hall.'
(8)
(Brihat-samhita, Lin, 20, see
Vyakhyana-Sala
hall of study.
28, Ep. Ind., Vol. n, pp.
v.
make a
(9) Teneyarh karita
s"ala
13,
gallery,
J.R.A.S. N.
p. 55.)
I
being in width a
S.,
Vol. vi, p. 283.)
(Bheraghat inscrip. of Alhanadevi,
16.)
monorama
rivisala
I
Dhatreva svechchhaya srishtih sthapitadisura-trayah
Sala Manovativaisha Brahma-yukta virajate
Atra vidyarthinah santi nana-janapadodbhavah II
II
I
'
He
made here, magnificent in its splendour and handmade by the Creator after his own will, in which he
got this school
some, as
it were,
the
three principal gods.
placed
This school shines forth
mythical town on mount Meru) joined by Brahman
(a
;
like
Manovati
here there are
scholars born in various lands.'
'
To judge by
ment
of some
Ep. Ind., Vol.
(10)
rv,
Go-sala
the description of
importance.'
it,
the sala must have been an establish-
pp. 60, 61, 63, 58, note
cow-shed
no.
A, vv.
16,
17,
from Travancore, no. B,
line
(Salotgi pillar inscrip.
5.)
(three inscrip.
3, Ep. Ind., Vol. iv, p. 203).
(11) Natya-sala
the
Durga temple.
a hall for religious music (dancing) built in front of
(Dirghasi inscrip. of Vanapati, line 15, Ep. Ind., Vol. iv,
pp. 316, 318.)
(12) Bhakta-sala
an almshouse or place
(Assam Plates of Vallabhadeva,
v. 13,
Ep.
487
Ind.,
for the distribution of food.
Vol. v, pp. 184, 183, 187.)
AM ENCYCLOPAEDIA OF
SALA
(13) Chakre-sri-Aparajitesa-bhavane
tathasyam rathah
sala
pratimas triloka-kamalalaiiikara-ratnochchayah
Kailasa-
I
For the temple of Aparajitesa he provided a hall with a car richly
decked with precious stones.' (The Chahamanas of Naddula, no. C,
Sundha hill inscrip. of Chachigadeva, v. 52, Ep. Ind., Vol. ix, pp. 78, 74.)
'
(
arama-tadaga-udapana-
Chatu(h)-salavasadha-pratisraya-pradena
karcna
14)
I
'
Who
tanks,
has given the shelter of quadrangular rest-houses and
(Nasik Cave inscrip. no. 10, line 2
and gardens.'
f.,
made
wells,
Ep. Ind., Vol.
vm,
PP- 78, 79-)
Caused
'
(15)
fort
on the summit japa-sale, satra, and a
Vol.
x, Bagepalli Taluq, no. 68 ; Transl.,
(Ep. Carnal.,
to be built in stone
with bastion.'
p. 240.)
'In the antarala (or interior) they erected a most beautiful rangamantapa, and a fine chandra-sale (or upper storey) according to the directions given by the King Timendra.'
(Ep. Carnal., Vol. xu, Pavugada Taluq,
(16)
no. 46
Transl., p. 46, line 14
;
'By him
(17)
this
f.
college
(established), rich, spacious
;
Roman
(sala)
and
Text, p. 203, v. 9.)
has been caused to be constructed
beautiful
.
.
.
of the intelligence is resplendent with Brahmanas.
born in various districts.
For their subsistence
(cf.
-(Salotgi inscrip., Ind. Ant., Vol.
no. 9 above).
and this college full
Here there are scholars
is
i,
(hereby)
provided.'
p. 210, c. 2. para,
i.)
(18) Saleyarh vividha-pravasi-manuja-prajyopakara-kshama rathya chatvara-ramya-koshta-vilasad-vatayana slakshna-bhuh
I
Nana-desa-samagatan pathi parisrantan asangrahino nityam bhojana-vasa-dana-vidhina
kamanugan
(Inscrip.
II
toshayet
from Nepal, no. 23,
Lalita-tri-pura-Sundarl, v.
Ind. Ant., Vol. ix, p. 194.)
inscrip. of
4,
Second
Queen
Series,
The building, represented in the plate as adjoining the temple,
a dharma-sala, or house of rest, where pilgrims of good caste receive
'
(19)
is
board and lodging
gratis for
a fixed period.'
(Ind. Ant.,
Vol. xvi, p.
n,
c.
2
line if.)
Erected a stone hall for gifts (dana-sala) in Jinanathapura (a
suburb of Sravana-Belgola) .''(Ep. Carnal., Vol. n, inscrip. on Chandragiri,
no. 40 Transl., p. 122, line 20, Roman Text, p. 10, line 4 from bottom upwards.)
His mother
and his sister
erected a paddi.
.
(21)
'
(20)
;
'
.
sala in his
Roman
(22)
memory.'
Text, p. 34,
.
last three lines;
Madida padasale (pada
verandah.
(Ep. Carnal., Vol. in,
Transl., p. 6).
.
(Ep. Carnal., Vol. n, no. 51
;
.
Transl., p. 120, last para.
;
Introduction, p. 51. para. 3.)
or pada-sala)
Mr. Rice translates it by
no.
Mysore Taluq,
59 ; Roman Text, p. 13 ;
HINDU ARCHITECTURE
He was
'
(23)
pleased to set with precious
(Ep. Carnal., Vol. in,
(salai).'
Text, p. 147, line
i
Kandalur
Tirumakudlu-Narasipur Taluq, no. 35
Transl. p. 74, line
;
stones the
i
;
hall
Roman
f.)
(24) Endowed it (basadia or Jaina temple) with Arhanahalli (a village
or town), together with a fine tank, a street with a hall for gifts (dana(Ep. Carnal., Vol. iv,
sala) in the middle, two oil-mills and two gardens.
Krishnarajapet Taluq, no. 3; Transl., p. 99
;
Roman
Text, p. 159,
last
three
lines.)
(25) Out of love for (the god) Chennigaraya, erected the yaga-sale.
(Ep. Carnal., Vol. v, Part I, Belur Taluq, no. 13 ; Transl., p. 147 ; Roman
Text, p. 107.)
'
Sri
(26)
-
Gopala
-
svamiyavara
-
nava-rariga
-
patta-sale
prakara-vanu
kattisi.'
For the god Gopala
sala,
and the enclosure
...
he erected the nava-rariga, the patta-
wall.
'
this
prakara-patta-sale-samasta-dharmma
nava-rariga,
enclosure wall and patta-sala and all other work of merits were carried
.'
out by
(Ep. Carnal., Vol. v, Part i, Channarayapatna Taluq,
Nava-rariga
...
no. 185
Roman Text, p. 467 Transl., p.
The virupaksha-sala was erected
;
;
'
(27)
The
205.)
to the temple.'
on the floor of the mantapa in front of the Virabhadra
inscription
Sala apparently means here a mandapa or detached building
temple.
(Ep. Carnal., Vol. vi,
(pavilion) where the god Virupaksha is installed.'
'
is
no. 4 ; Transl., p. 76 ; Roman Text, p. 166.)
the
thousand of Gautamagrama were given three salas (halls
(28)
or public rooms) to continue as long as moon and stars.'
Sale or sala in the sense of a hall or house has been used in this inscrip-
Koppa Taluq,
'
tion
To
more than twenty-five
SALA-GRIHA A
A
(2)
Roman
vm, Shikarpur Taluq,
Text, pp. 97-98).
dwelling house, a type of building.
type of rectangular building
(1)
(Ep. Carnal., Vol.
times.
no. 45 (bis), Transl., pp. 49, 50;
:
Agni-Purdna (Chap, civ, vv. 16-17; see under PRASADA).
Garuda-Purdna (Chap. LXVII, vv. 21-22, 26-27; see under
PRASADA).
SALANGA The
limbs of the sala (hall or house), the essential parts
of a house comprising the basement, pillar, entablature, tower, dome,
and
finial.
Adhisthanaih cha padarh cha prastararh karnam eva cha
Sikharam stupika chaiva salamgam iti kathyate II
I
(Kamikdgama, xxv, ai.)
489
AN ENCYCLOPAEDIA OF
SALA-BHANJIKA
SALA-BHAftjIKA
A
wooden middled image.
(Bharata-Natya-sastra, n, 79.)
SALA-MALIKA A
class
of buildings, a type of hall.
(Kdmikdgama, xxxv, 6
&ASANA An
architectural
member, a
plate,
see
;
under MALIKA.)
a part of an enclosing
wall.
Tad (mukha-bhadra)-agre vatha
nam
parsve cha kuryat sopana-bhusha
I
I
Tasya (mandapasya) madhye cha range tu mauktikena prapanvitam
sasanadinarii toranarh kalpa-vrikshakam
Tan-madhye
I
I
(M., xxxiv, 217-219.)
&ASTRA (see TANTRA)
&IKHARA The top, an
Science
(of Architecture).
apex, a spire, a cupola, the lower part of
the finial, a spherical roof rising like an inverted cup (Latin cupa)
over a circular, square or multangular building, a small tower or
Above the dome
and slkhamani.
turret.
(1)
Vol.
(2)
(3)
towers
Small
vi, p.
(stupi) are built in
or
order sikhara, sikha, Sikhanta,
turrets (Brihat-samhitd,
LVI,
21, jf.R.A.S.,
N.
S.,
319).
M., xvm, 276, xrx, 51,
Padoktam sarva-manam tu
See
etc.
sikharo'pi vidhiyate
1 1
Dhruva-vidhana-rltya va sikharam parikalpayet
II
(Kamikagama, xxxv, 29, 30).
The synonyms
:
Sikharam sirah murdha cha sikha maulis cha mundakam
Slrsham kam iti vijneyam Siro-vargasya panditah II
(Ibid., L,
(4)
Vanarendra-griham
ropamaih
.
.
.
I
206.)
Sukla-prasada-sikharaih kailasa-sikha-
I
(Rdmdyana,
iv, 33,
15
;
see also
vi, 41, 88,
(5)
Spire
26, 31
iv,
;
under PRASADA.)
:
Devuniki sikharamu gattimchi sikhara-mamtapa-gopuralu
I
(Kondaviduinscrip. of Krishnaraya, v. 27,
Ep. Ind.y Vol. vi, pp. 237, 232.)
(6)
Mula-sikhare
cha
kanaka-maya-dhvaja-darhdasya
'
pratishthayam kritayam
on the
hoisting of the flag
original spire.'
Jalor stone inscrip. of Samarasimhadeva, line 4
flag-staff
dhvajaropana-
on the golden
(The Chahamanas of Marwar, no. xix,
also of the
490
f.,
Ep. Ind., Vol.
xi, p. 55.)
HINDU ARCHITECTURE
SlKHARA
Idu-rajatadri hema-sikhara-pratipattiyan-Isamye pettudu Harahasa-
(7)
Umadhinatha-
kalpa-taru kemdalirindesev-agra-bhagadol-pudidud
Svayambhu-siva-
sita-gatra-sapirhga-sutumga-jutadondo-davenipa
'
gehada pomgalasarh sa-mamgalam II
The golden spire, with its auspicious ornament of
yarhbhu-Siva
is
such that
may
it
be said that
this
house of Sva-
this
the silver mountain
is
which has obtained, by the gift of Is"a, the possession of a golden summit
of desire on the (white pile of) Hara's laughter (namely, the
it is a tree
mountain Kailasa), crowned by a summit radiant with young red spouts,
;
combined the unique substance of the white body and the
tawny towering matted hair of the Lord of Uma.' -(Inscrip. from Yewur,
in
it
there
is
B. of A. D. 1017, v. 98, Ep. Ind., Vol. XH, pp. 282,289.)
(8)
'
Prasadam urddhva-Sikhara-sthira-hema-kumbham
(Into) the
temple (which by
'
upon lofty spires.
Vol. xm, pp. 152, 154.)
inscrip. v, 15, line
(Bhuvaneswar
.
.
.
broad
'
(9)
spire.'
I
the stately display of) firm golden capitals
(a
Vistlrrma-tunga-sikharam
Manoharaih-s"ikharaih with
having)
temple
n,
Ep. Ind.,
and
lofty
(its) charming spires.
(Mandasor stone inscrip. of Kumaragupta, lines 17,
C. /. /., Vol. m, F. G. I., no. 18, pp. 83, 86, 87).
'For
(10)
finial
gopura,
this
Manmatha
(sikhara) covered with gold, a
and illuminations
a temple,
god Prasanna-Virupaksha,
.
.
Roman Text, p. 82
The same word
.'
.
(Ep. Carnal., Vol. x,
Mulbagal Taluq, no. 2
in a similar sentence
is
translated
enclosure, tower (sikhara),
Roman
and
alms,
Text, p. 87
;
;
'
by
tower
'
in the
:
(u) 'For the god Prasanna-Somesvara having
for
wall,
tank, decoration,
Transl., p. 71.)
;
following inscriptions
mantapas
enclosing
20,
Manmatha
all
tank, the
other religious
restored the temple,
villages, the
endowed
(Ibid.,
provisions.'
no.
18
;
Transl., p. 75.)
'
the spire of Varadaraja's
Varadaraja-devara sikhara (sikhara)
Transl., p. 156.
(Ibid., Malur Taluq, no. 4 ; Roman Text, p. 187
temple.'
(12)
;
And erecting a stone pillar, according to the rules set up the spire
(13)
or tower (sikhara).'
(Ibid., Vol. xii, Pavugada Taluq, no. 46 ; Transl., p. 122,
'
line 16
Roman
;
Text, p. 203, v. 10.)
'
(14) Garbha-griha-sthita-mantapa-s'ikharam
the
ruined
tower
over
no. 64 ;
the shrine (of the god Arkanatha).'
(Ibid., Vol. in, Malavalli Taluq,
line
Roman Text, p. 127,
3 ; Transl., p. 63.)
(Chalakyan
(15)
Sik(h)ara applied to the summit of a tower.' Rea.
'
architecture, Arch. Surv.,
New Imp. Series, Vol. xxi, p.
491
39.)
AN ENCYCLOPAEDIA OF
SlKHA
'
(16)
The
twelve steps,
on which this temple stands is approached by
more lead to the sanctum, over which rises a tall dome
platform
and
six
or truncated sikri (sikhara).'
P-
Arch. Surv. Reports, Vol.
(Cunningham,
xxm,
'350
'
(17)
Sikhara
to
loc. cit.,
(sikar, sikri)
Cunningham's
Steeple of temple'.
-(Vincent Smith, Gloss.,
Arch. Surv. Reports.)
(18) In the temples of Champa three distinct types of sikhara are noticed.
type consists of a series of four storeys, diminishing as they
The common
a curvilinear stone slab being as the crowning moulding. Another
the upper is ridge-shaped looking like an
type comprises two storeys
with
vault
arched
ogival ends at two sides with a slightly
elongated
rise,
;
concave curve at the top. The third type consists of a curvilinear pyramidal dome springing directly from the walls of the sanctuary, and surmounted by a massive circular member of corrugated form resembling
'
'
Amalaka of Indian
(For details
Annam by
Chap,
sec
temples.
Inventaire Descriptif
des
Monuments Chams D.
summarized by R. C. Mazumdar, Champa,
Parmentier, as
L.
i,
x, pp. 236, 237.)
&IKHA The
lower part of the
pinnacle or small turret-like
finial,
termination.
Sikha
is
the upper part,
and
sikhara, the lower
:
Sikharordhva-sikhottungarh stupi-traya-samam eva cha
Prastaradi-sikhantam syad ganya-manam pravakshyate
I
(M., xxxm,
SlKH ANT A The
finial
(Latin
finis),
141,
I
144,
etc.)
the top or finishing portion of
a pinnacle.
(M.,
&IKHA-MANI The
Cf.
Ind.,
Vol.
Siro-ratna
i,
crest-jewel.
(Deopara
end of the
finial,
119,
etc.)
the apex.
(A/.,
XLIX, 85, LXVH, 31, etc.)
inscrip.
of Vijayasena, v. 14, Ep.
pp. 308, 313.)
A
&IBIK.A
crest-jewel, the top
xi,
synonym of yana or conveyance, a
a palanquin.
litter,
(M., m,
SlBIKA-GARBHA A
Sibika-gabbho
ti
square
9,
etc.)
hall.
chaturassa-gabbho.
-(Buddhaghosha,
Chullavagga,
vi, 3> 3-)
The
interpretation of Oldenberg and Rhys Davids as
quart-measure
Commentator
as quoted
not
the
is
by
Buddhaghosha
supported
shaped
'
'
above.
49 2
HINDU ARCHITECTURE
$ILA-PATTA-VAM$A
SlBIKA-VE$MA A
type of rectangular building.
(1) Agni-Purana (Chap, civ, vv. 16-17, see udder PRASADA).
(2) Garuda Parana (Chap. XLVII, vv. 21-22, 26-27, see under PRASADA).
&IBIRA A camp, a royal residence, a fortified city.
(M., x, 40,
Sama(sama)ntanaih samriddhanam yat
Gaja-vaji-samayuktam sena-sthanarh tad eva hi
etc.)
smritam
sthanarii sibirarh
(Kamikagama, xx,
&IRAS
The head,
the
finial,
A
;
LVII, 54, etc.)
head-gear, a helmet.
(M., XLIX,
SlRALAMBA A
11.)
the top, the summit, the pinnacle.
(M., xv, 231, etc.
SlRASTRAKA(-STRANA)
|
II
13, etc.
;
see
BHUSHANA.)
crowning ornament of a column.
(M., xv, 101
;
see
STAMBIIA.)
\
SlLA-KARMA
Masonry, the art of building in stone, the stone-work
Sugana-raje-Dhanabhutana
upamno
'
(s'ila-karmantas'-chotpannah)
During the reign of the Sungas
masonry
line 3
f.,
by Dhanabhuti.'
finished
Ind. Ant., Vol. xiv, pp.
&ILADHIVASANA
138,
toranam silakammamto cha
karitarh
I
gateway was erected and the
(this)
(Sunga
139
;
no.
inscrip.
r,
of the Bharhut Stupa,
Vol. xxi, pp. 227.)
Preparation of stones for building, the worship
of stones for building.
Siladhivasana(h)-karmma yathavidhi sampadya tasminn-eva Sake
....
bhadra-krishna-navamyarh sukle ^ila-prave5am vidhaya
'
The worship
of the stones for the building.'
Dr. Biihler and Bhag-
vanlal Indraji.
This interpretation of Siladhivasana does not seem to be appropriate.
The term may refer to some processes or ceremonies similar to those in
connexion with Sila-sarhgraha or collecting and selecting stones for buildings.
(Inscrip. from Nepal, no. 23
Inscrip. of Queen Lalita-tri-pura-sundari,
;
line 14, Ind. Ant., Vol. ix, pp. 193, 194, c. a.)
SlLA-PATTA-VAMSA
masons and found
'
in the
Now known
as Silawat
caste,
who
are
Rai Bahadur
neighbourhood of Damoh.'
Hiralal.
(Ep. Ind., Vol. XH, p. 44, note
S()ila-patta-s'ubhe
variise
sutradhara vichakshanah
Bhojukah Kamadevas" cha karmanistha Hala sudhlh
II
(Batihagarh stone inscrip., v. 12,
493
i.)
I
ibid., p.
46.)
AN ENCYCLOPAEDIA OF
$ILA-PRAVE$A
&ILA-PRAVE&A
Laying the corner-stone or foundation.
yathavidhi sampadya tasminn eva Sake
the corner stone was laid.'
Dr. Biihler
Sila-praveSam vidhaya
and Bhagvanlal Indraji. (Inscrip. from Nepal, no. 23, inscrip. of Queen
Siladhivasana(h)-karmma
'
.
.
.
,
Lalita-tri-pura-sundarl, line 14, Ind. Ant., Vol. ix, pp. 193, 194,
SlLA-MARDDAKA (SILE-MUDDAS) A
c. 2.)
guild of stone masons,
the stone-cutters.
'
Sile
the Canarese form of the Sanskrit
is
ila,
a
stone,
and Mudda
is
a jaihgam or Lingayat name. Sile-mudda must be the name of some particular guild of stone-masons.'
Dr. Fleet.
(Sanskrit and Old Canarese
inscrip., no.
1
14, line i, Ind. Ant., Vol. x, pp. 170, 117,
SlLAVEDl The
stone
terrace
note 58.)
on which sacred
trees
usually
stand.
Cf.
Mahavams'a, 36, 103,
&ILA-VE&MA
Cf.
i.
Stone-houses, cave-houses.
Megha-duta,
i,
25 (quoted by Prof. Liiders, Ind. Ant,, Vol. xxxiv,
P- I99-)
&ILA-STAMBHA The
stone
column,
a
kind
of column,
the
monolith.
Shat-saptashtangulam vapi sila-stambha(m)-vis'alakam
Vrittam va chatur-as"ram va ashtaSram shodasasrakam
I
I
Pada-tunge'shta-bhage tu tri(trya)msenordhvam alahkritam
Bodhikam mushti-bandhaih cha phalaka tatika ghatam
Sarvalankara-samyuktam mule padmasananvitam
I
I
I
Chatur-dikshu chatur-bhadram kechid bhadram tu karayet
Kuttimam chopapitham va sopapitha-masurakam
Athava chihna-vedih syat prapalankaram uchyate
I
I
I
(Af.,LVH, 15-22.)
&ILPA-&ASTRA
The
science of architecture
and other cognate
arts.
See details
under VASTU, VASTU-VIDYA and VASTU-KARMAN.
Encyclopaedia and the Preface of Indian
See also the Preface of this
Architecture
by the
writer.
SlLPI-LAKSHANA The
description
fications, rank, caste, etc. (see
of the
under STHAPATI).
494
artists
:
their
quali-
HINDU ARCHITECTURE
A
SlLPI-SALA
SUKA-NASA(-SIKA)
school or workshop of architecture.
(M., LXVIII, 50.)
SlVA
A
class
of buildings.
(Kamikdgama, XLV, 35-38
SlVA-KANTA
five
minor
;
under MALIKA.)
see
-The pentagonal or five-sided pillar furnished with
pillars.
(M., xv, 22, 245
SlVA-MANDAPA The
;
see
under STAMBHA.)
Siva temple, a type of pavilion.
(M., xxxiv, 196.)
SlSHTA-MANDAPA A
type of pavilion.
Kamikdgama, under ARDHA-MANDAPA.)
(See
SlRSHA The
top end of a building, almost same as sikhanta.
Slrsham cha Sikha-grivarh vrittarh syad vaijayantikam
I
(M.,
xrx,
181,
etc.)
The parrot's nose, an object having an
the
part of the finial looking like the parrot's nose.
acquiline nose,
The lower half part of a tower.
SUKA-NASA(-SIKA)
(1)
Chaturdha sikhararh bhajya ardha-baga-dvayasya tu
Suka-nasarh prakurvita tritiye vedika mata
1
I
1
(Matsya-Purana, Chap. CCLXIX, v. i8 v
(2) Sikharartharh (?-dharh)
hi sutrani chatvari vinipatayet
I
sutrarh tiryyag-bhutarh nipatayet
Sikharasyardha-bhagastharh sirhham tatra tu karayet
Suka-naso(-sa)rddhatah
I
I
Suka-nasarh sthirikritya madhya-sandhau nidhapayet II
Apare cha tatha parSve tadvat sutrarh nidhapayet
Tad-urddhvam tu bhaved vedi sakantha manasarakam
I
1
1
(Agni-Purdna, Chap. XLII, vv. 15-17.)
Chaturdha Sikhararh kritva 5uka-nasa dvi-bhagika
(Ibid.,
(3)
II
civ, v.
Chap,
Prasadau nirgatau karyau kapotau garbha-manatah
10.)
I
Ordhvam
bhitty-uchchhrayat tasya mafijarirh tu prakalpayet
Manjaryas chardha-bhagena suka-nasarh prakalpayet
Crdhvarh tathardha-bhagena vedi-bandho bhaved iha
II
I
1
1
(VisVak, 6, 767, quoted by Kern, J. R. A. S.,
N. S., Vol. vi, p. 321, note 2 of p. 320.)
The above
lines are identical in the
11-13).
495
Matsya-Purdna (Chap. CCLXIX,
w.
AM ENCYCLOPAEDIA OF
SUKAftGHRI
(4)
samarh chet tu torananghrivad ayatam
Sakandharam tad-urdhve tu suka-nasya vibhushitam
Vrittfxkararh
mukhe mukhe
Garbha-dvi-tri-kara-vyasa-suka-nasa
Na kartavya vimaneshu nasikordhve na nasika
I
II
I
II
(Kdmikagama, LV, 120, 157.)
SUKAftGHRI
A
type of pillar.
Crddhva-kshetra-sama jangha jangharddha-dvi-gunarh bhavet
Garbha-vistara-vistlrnah Sukanghris" cha vidhlyate ||
Tat-tri-bhagena karttavyah pancha-bhagcna va punah
I
I
Nirgamarh tu SukarighreS cha uchchhrayah Sikhararddhagah
It
(Garuda-Purdna, Chap. XLVII, vv. 3-4; see also vv. 13, 17.)
&UDDHA A house built
(generally) of one material, namely,
wood,
brick, or stone, etc.
Drumcneshtakaya vapi driSadadyair athapi va
I
Etena sahitarh geham Suddham ity-abhidhlyate
II
(Kdmikagama, XLV, 21.)
See also Mdnasdra, etc.
SUMBHAMKARI
under PRASADA.
The
fifth
or composite type of the five Indian
orders.
(Suprabheddgama, xxxi, 65, 67
&CTLA
A
;
see
under STAMBHA.)
pike, a dart, a lance, the trident of Siva, the finial.
A dart (M., vn, 223, 236 LIV, 142).
A synonym of Sikha or finiai (M., xvri, 126).
A pike as a component part of the cage for the
;
SOLA-KAMPA
(see
SULA)
A
(M.,
tiger.
L, 262.)
pike.
Paritah Sula-kamparii syad dvararh tad dakshinottaram
I
(M., XL, 136.)
SRlftKHALA A
chain.
In connexion with the bedstead
:
Chaturbhih sYinkhala-yuktam andolam chaikatopari
I
(M., XLIV. 70).
The
top, the turret, elevation, height, the spire, a horn.
(M., LXH, 25,
Sringenaikena bhavet
etc.)
furnished with one spire.
(Brihat-samhita, LVI, 23, 26, J. R. A. S.,
N.
496
S.,
Vol.
vi, p.
319.)
HINDU ARCHITECTURE
SRI-KARA
SRIftGARA-MANDAPA A
bed-chamber, the pavilion or
is
made
to retire at night.
of
a
the
where
temple
deity
Devanam cha vilasartham sringarakhyarh tu mandapam
room
I
(M., xxxiv, 388,
etc.)
MAS ANA (J^CHAITYA)- Funeral and memorial structures, tombs
of various shapes, round and dome-shaped (parimandala, Sat. Bra.,
xni, 8, i), hemispherical bowl-shaped (chamu) resembling a vault,
enclosed by an indefinite number of enclosing stones (ibid., xin, 8,
2, 2) or bricks (A.-V.,yiViu, 4, 55), square or quadrilateral (Sat. Bra.,
xm, 8, i, i), as also pyramidal
The
Compare Buddhist stupas.
Satapatha Brahmana
in later temples
as
main
three
and referred
to
in
and
Sikharas.
types described in the
R.-V.,
and
A.-V., Vastu
Grihan or
(reliquary of bones, etc.) or tumulous, round or square
house with many chambers probably dedicated to some religious or
erected over or beside the grave in memory
philanthropic use and
;
'
deceased or built underground as rock-cut caves ; and
Prajnanam or a memorial monument or pillar four of which were
set up in four corners of the grave out of which Buddhist memorial
of the
might
pillars
Sarkar,
have
grown up
'.
further
(For
compare
details,
ibid.')
&YAMA-BHADRA A
type of pavilion with fourteen
(Matsya-Purana, Chap. GCLXX, v. 14
SRANTA An
architectural
;
pillars.
see
MANDAPA.)
ornament, a shed.
In connexion with single-storeyed buildings
Evarh proktam harmyake madhya-bhadram
:
Sala-koshtharh dig-vidike kuta-yukta
Hara-sVanta-nasika-panjaradhyam
I
I
I
(M., xix, 192-194.)
&RI-KANTHA
Anything possessing a beautiful neck, a
class
of
20-21,
see
buildings.
A
type of octagonal buildings (Agni-Purana, Chap, civ,
w.
under PRASADA).
&RI-KARA An
order, a class of columns, a type of storeyed buildings, a sect of people, a sub-caste of the Kayasthas, originally those
who used to write the legal documents (Karana), hence the clerical
community,
(i)
One
clerks.
of the five orders
(Suprabheddgama,
STAMBHA).
497
xxxi,
65,
66;
see
under
AN ENCYCLOPAEDIA OF
SRI-KANTA
A
(2)
of
class
xix,
(M.,
buildings
single-storeyed
see
170,
under
PRASADA).
(3)
A
ponent parts
PRASADA).
(4)
A
of two-storeyed buildings
class
under SALAI^GA),
(see
;
etc.
the measurement of the
(M., xx,
93,
2-9;
see
comunder
sect of people (M., ix, 152, 226, etc.).
A
type of storeyed building, a class of bases comprising four types which differ from one another in the addition or
omission of some mouldings and also in height.
&R.I-K.ANTA
(M., xiv, 371-387
A
class of three-storeyed buildings
A
class
(M., xxi. 2-11
of seven-storeyed buildings (M., xxv, 24;
A
&RI-JAYA
(Chap, civ, vv.
19-20,
(Chap. XLVII, vv.
Garuda-Purdna
&RI-PADA A
;
the list of mouldings
under ADHISHTHANA.)
see
see
see
under PRASADA).
under PRASADA).
type of oval building.
(1) Agni-Purdna,
(2)
;
class
see
under PRASADA).
under PRASADA).
see
29-30,
of buildings.
SrI-padarii cha tatah Srinu
Koshthakastv-iha chatvaras" chatush-koneshu chaiva hi
.
.
.
I
.
Chatur-nasi-samayuktam anu-nasl-das"ashtakam
Evaih lakshana-sariiyuktam
Srl-padarh
II
I
tv-iti
kirtitam
1
1
(Suprabheddgama, xxxi, 50, 51).
SRI-PAD A
The
footprint of
otherwise called Ratnapada.
&RI-BANDHA A
Buddha on Adam's Peak
For
details, see
in Ceylop,
BUDDHA-PADA.
of bases comprising four types which differ
from one another in the addition or omission of some mouldings.
class
109-122; see the list of
mouldings under ADHISHJHANA.)
(M., xrv,
SRI-BANDHA-KUTTIMA The
flat
part of the Sri-bandha type
of bases.
(A/.,
&RI-BHADRA A kind of throne, a type
A class of thrones (M., XLV, 13, etc.).
A
xuv,
43.)
of pedestal.
kind of pitha or the pedestal of the phallus (M.,
LIII,
36, etc.)
SRI-BHOGA A type of storeyed
buildings, a class of bases comprising two types which differ from each other in the addition or omission of some mouldings.
(M., xiv, 260-280,
see
the
list
of
mouldings under ADHISHTHANA.)
498
HINDU ARCHITECTURE
A
class
SRENITA-DVARA
of seven-storeyed buildings (M., xxv, 25
SRl-MUKHA A
&RI-VATSA
under PRASADA).
14,
etc., see
under SIMHASANA.)
(M., xxxiv, 478,
etc.; see
under MANDAPA.)
(M., XLV,
SRI-RUPA A
see
;
beautiful face, a kind of throne.
type of pavilion.
A
of buildings, a type of pavilion, a special
of
the
mark on the breast
image of Vishnu.
A pavilion with 48 pillars (Matsya-Purdna, Chap. CCLXX, v. 9 see under
class
;
MANDAPA).
A
type of quadrangular buildings
(1) Agni-Purdna,
:
(Chap, crv, vv.
14-15
see
;
under PRASADA).
see under PRASADA).
(2) Garuda-Purdna (Chap. XLVH, vv. 24-25
represented in
particular mark on the breast of Vishnu or Krishna
;
A
'
by a symbol resembling a cruciform
xvm, 375, etc.)
pictures
LV, 92
;
SRI-VI&ALA
flower.'
(M., XLIX,
150
;
A
type of gate-houses, a class of storeyed buildings,
a kind of throne, a type of pedestals.
A class of gopuras or gate-houses (M., xxxin, 555).
A class of single-storeyed buildings, (M., xix, 168 see under PRASADA).
A kind of throne (M., XLV, 13; see SIMHASANA).
A type of the pitha or pedestal of the phallus (M., LIU, 39).
;
&RI-VRIKSHA
(see
KALPA-VRIKSHA)
An
ornamental tree em-
ployed as a carving.
Seshaih mangalya-vihagaih sYi-vriksha-svastikair ghataih
Mithunaih
'
patra-vallibhih
pramathais chopasobhayet
|
II
Let the remaining part (of the door) be ornamented with sculptured
birds of
crosses (svastika), jars, cupolas,
foliage
J. R. A. S., N. S., Vol. vi, p. 318.)
goblins.'
good augury sri-vriksha-figures,
(leaves and creepers), tendrils and
&RUTIMJAYA A pavilion
with forty-eight
(Brihat-samhitS, LVI, 15,
pillars.
(Matsya-Purana, Chap. CCLXX, v. 10,
see
under MANDAPA.)
&RENITA-DVARA A
kind of door, doors or gates in a row.
Madhye dvaram tu kuryad madhya-sutrat tu vamake
I
Kuryaj jala-dvararh tu srenita-dvaram kalpayet
I
(M., xxxvin, 39-40.)
499
AN ENCYCLOPAEDIA OF
$RENI(-NI)-BANDHA
RENI(-NI)-BANDHA A
which
differ
of bases
class
from one another in height and
four types
in the addition or omis-
comprising
sion of some mouldings.
149-175; see the list of
mouldings under ADHISHTHANA.)
(A/., xiv,
&RONI
(-NI)
The buttocks (of an image), the hip or loins, a waistworn round the loins figuratively used for building
band, a string
also, compare KATI.
;
SVETA-MANDA The
white part of the eye of an image.
(A/.,
LXV, 68.
SH
sixth storey, the six-storeyed buildings.
SHAT-TALA The
Their general features (M., xxrv, 27-46).
Thirteen types (ibid., 2-26 see under PRASADA.)
;
SHODASA-TALA
(see
The
GOPURA)
sixteenth storey, the sixteen-
storeyed gate-houses.
Evam eva prakarena kuryad ashodasa-kshmakam
I
(Kamikagama, xxxv, 86.)
SHAD-VARGA A
'
group of
six
six,
formulas,
with which the
a structure should conform,' six proportions, six main
perimeter of
a building comprising adhishthana (base),
component parts of
(entablature), karna (ear, wings)
pada or stambha (column), prastara
sikhara (roof), and stupi (dome).
the Ayadi-Shad-varga represents a set
According to the Manasdra
measurement must conform
of six formulas with which any particular
the
of
Mention
Shad-varga is found also in the
before it can be accepted.
in each case, however, are
formulas
The
and the Agamas.
(i)
Bimba-mana
not the same and
differ in these several
works
The formulas according to the Manasdra
the remainder
of
-
(/
6
*
Vyaya
,.
9
-^
1x8
Riksha
...
,,
;
,
-jy
6x3
.
Yom
,,
below).
X 8
I
is
Aya
(see
:
:
5 CO
for length).
(6 for
breadth).
HINDU ARCHITECTURE
Vara
is
SHAD-VARGA
*
the remainder of
(c
for circumference, thickness or
height)
Tithi
exg
~
Arhsa 1
0x4~
.
Etesham grama-rupanam ayadi-lakshanam tatha
Nandayama-samuhe va chayate vatha vistare
Parinahe pade vapi ayadi-suddhirh cha karayet
Kechit tv-ayatane chaivam ayarh cha tad-dine (nakshatre) bhavet
Parinahe tithir varam vyaya-yoni(s) cha vistare
I
I
I
I
I
Vasubhir gunitam bhanur(-nuna) hanyayamam ashta-sishtakam
Ashtabhir vardhite nksharh(-shena) hritva sesham ksham ishyate
Navabhir vardhayet panktih(-tya) hritva sesharh vyayarh bhavet
Guna-nagam cha yoni(h) syad vriddhi-hanya-yatha-kramam
|
I
I
I
Nava-vriddhya rishim(-shina) hritva tach-chhesham varam eva cha
Navabhir gunite trimsat-(a) kshapech chhesham tithir bhavet
j
I
(M.,
The
formulas include
six
'
amsa
ings, while in the Apasamchita
'
'
63-73.)
Samchita and Asarhchita build-
in the
'
tithi
rx,
is
included
:
Vakshye'ham jati-harmyanam ayadi-lakshanam kramat
I
Purvoktanarh vimananam vistaradi-vasadibhih
Aya-vyayam cha yonim cha nakshatrarh varam arhsakam
Tithir vatha shaql etani tathayadi-vido viduh
I
I
I
Samchitasamchitanam cha amsair ayadibhir yutam
Apasarhchita-harmyanam tithy -antani shad grahlshyate
I
I
(M., xxx, 169-174.
(It
should be noticed, that the divisor in each case
works under observation)
The names of
Vara,
etc.
the
same
in all the
the different classes of formulas, such as Aya, Vyaya,
represent well-known groups of objects that always follow a
all
represents the group of twelve beginning with
represents the group of ten beginning with sikhara.
certain serial order.
Siddhi.
is
.
Vyaya
Aya
Riksha represents the well-known group of twenty-seven planets. Yoni
represents the group of eight animals, namely, Dhvaja, Dhuma, Sirhha,
Suna, Vrisha, Gardhava, Dantin, and Kaka. Vara represents the group
of seven days of the week. Tithi represents the group of thirty lunar days
comprising fourteen of the dark half, fourteen of the light half, new moon
1
Also Rasi, Gana,
Nayana (M.,
501
ix, 88,
89, 90-93).
AN EMCTCLOPAED1A OF
SHAp-VARGA
day and the
moon
full
ginning with Taskara
day.
And
Arhsa represents the group of nine be-
:
Siddhadi-dva-dasayah syach chhikharadi vyayam dasa
Dhvajadim ashta yoni(h) syat taskaradi navarhsakam
Prathamadi-tithir ity-evarh choktavad ganayet sudhih
I
I
I
(M., xxx, 188-190.)
Dhvaja-dhuma-sirhha-Sunaka-vrisha-gardabhas cha
Danti cha kakas cha vasu-yoni(h) yatha-kramena
I
I
(M.,
357-358.)
LII,
Tach-chhesharh
chapi nakshatrarh ganayed asvini-kramat
Sesharh tad varam ity-uktam arka-varadi-vara-yuk
(M., xxx, 183, 185; see context below.)
should be noticed that the measurement of length is tested by the
I
I
It
formulas under
Aya and Riksha,
of breadth under
Vyaya and Yoni, and
of circumference or height under Vara and Tithi.
It will be noted that the formula in each case consists of the product
of the measurement to be considered and a certain other number divided
which corresponds to the number constituting the group or
under which it is placed.
In each case, therefore, by resolving the formula, the remainder that may
be left can be referred to that particular number in the series represents
by that class, and if this happens to be one that under the conditions prevailing would be considered auspicious then the particular measurement
would be acceptable, if not it would have to be rejected. For example,
by a
figure
series
in a
if
particular
remainder
Yoni
left is
instance
two,
it
^? coming
will point to the
under
the
class
Dhuma.
second Yoni
stated to be inauspicious, then the particular
is
the
Yoni,
If this
measurement of
breadth cannot be approved. If again in the formula -^? the remainder
happens to be 4, it will indicate the 4th day (Wednesday) of the
week, and if it be stated to be auspicious, the circumference (c) selected
satisfies
The
'
the
test.
auspicious and inauspicious remainders
there is no remainder left in the formula of
:
When
'
'
Aya
increases
it
religious merits, and when there is no remainder left in the formula of
"
"
Vyaya it is auspicious. There is no defect if the Aya be equal to
'
;
"
Vyaya
"
'
:
Ayam
sarva-hararh punyarh vyayarh sarva-hararh
subham
I
Ayadhikyam vyayam
sarva-sarhpat-kararh sada
Yat-phalam subha-yuktam chcd aya-hinam tu dushanam
Pujyam vyayam samam evarii tatra dosho na vidyate
hinarii
I
I
I
(M., LXIV, 69-72.)
502
HINDU ARCHITECTURE
Ayam
SHAD-VARGA
sarva-haram purnam
? punyam)
(
vyayam sarva-gatena
hlnam
sarva-sampat-kararh tatha
Ayadhikyam vyayam
Aya-hinaih vyayadhikyam sarva-dosha-karam bhavet
hi
I
I
I
(M,
ix,
Subhadam purna-nakshatram asubham karna-rikshakam
75-77.)
I
Yugmayugmadya-turyarh shad-ashta-nanda-subharksha-yuk
Dvitlya-paryayasyardhe gananais cha subhavaham
I
I
Sita-guru-sasi-budha-varam
evarh
subham bhavet
I
(M.,
78-81.)
ix,
Dhvaja-sirhha-vrisha-hasti syat tesharh subha yonayah
Janma-dvayam chatuh-shashtibhir ashta-nanda-subha-ksham
I
Nama-janmadi-nandam cha gananais
tu vidhlyatc
I
I
(Kartri-rasyadi-nasyaih cha sena-dvitiyantakam
Tritiye mana-j(y)akshadau purva-vad gananais tu va l)
Tasmat tritiya-paryantam rikshaih sarva-subhavaham
I
I
Guru-sukra-budhas chandra-mukhya-varam prasasyate
Taskaro dhana-shandas cha preshtanyan subharhsakam
I
I
Varjyarh shashtashtamarh rasim anyat sarvarh subham bhavet
Gajah sarva-subharh proktam manushasura(m) varjayet
I
I
(M., LXIV, 73-82.)
subham
Gaja-yonirh vina kuryat sirhhasananyatha
I
Ayadhikyam vyayam hinam sarva-sarhpach-chhubhavaham
Aya-hlnam vyayadhikyam sarva-sampad vinasanam
I
I
(M., LV, 81-83.)
Dhuma-yonis cha kakas cha gardhavan suno varjayet
Anya-yoni-subham sarve subhayan iha vojayet
I
I
(M., LV, 81, 84-85.)
subham prasastam
uditam
asubham
puranaih
Anyeshu yonir
Dhvaja-simha-hasti-vrisha-yoni(h)
I
|
(M.,
There are other
LII,
359-360.)
where Aya, etc. are considered with
and with regard to length in the other
rules as well, e.g.
regard to height in the Jati
classes of buildings.
class,
Again Aya, etc. are considered with regard to breadth
Jati-dvarodaye sarve chayadi-sarhgraharh bhavet
Chhandadinarh tu sarvesharh tare chayadi-sarhgraham
Vriddhi-hanyadi-sarvesharh prasadasyoktavad bhavet
:
I
I
I
(M., xxxix, 39-41.)
Vistare chatur-ange va shat-subhayadi karayet
I
(M,
503
LV, 72.)
AN ENCYCLOPAEDIA OF
SHAD-VARGA
The
formulas also vary on different occasions
:
chashta-hanis" cha
yonayah
Tri-chatuh-pancha-shat-vridhya
dvadasa
budhah
tu
kshapayet
Shat-saptashtaka-vriddhya
I
|
Sesham ayam iti proktam saptashta-nava-vardhanat
DaSabhih kshapayech chhesham evarh vyayam udiritam
I
Ashta-nanda-daSe vriddhya sapta-vimSe kshayo bhavet
Sesham dinam iti proktam vriddhashta-nandanadhika
I
I
I
Saptaika-chandrage sesharh varam evam udiritam
Tri-chatush-paiicha-vriddhya tu kshapayet tu navarhsakam
|
I
(M., LV, 73-80.)
Etat tad eva
samyuktam harmyanam mana-kalpanam
f
Shat-saptashtaka-vriddhih syad dva-daSantam kshayaih nyayet
Sesham tad ayam ity-uktam sarhchitadi-yatha-kramam
Saptashta-nava-vriddhya tu haret panktya vyayam bhavet
I
I
I
Eka-dvi-traya-vriddhya tu kshapayet tv-ashta cha yonikam
Shat-saptashta-vriddhya tu sapta-vimsa-kshayo bhavet
I
I
Tach-chhesham chapi nakshatram ganayed asvini-kramat
I
saptabhih kshapayet tatah
I
tu
Shashta-nanda-vriddhya
Sesham tad varam ity-uktam arka-varadi-vara-yuk
Tribhir vedas tu vriddhih syan nanda-hani-navarh^akam
I
I
Tithi-randhroshna-vriddhih syat trirh^ata tu kshayo bhavet
(M., xxx,
I
177-187.
Daighye lihgasyayadi-shad-varga-suddhirh kuryat sarvathoktavat
Manalinge chanya-svayambhuvadi-manarh cha yuktarh thatayadlni sarvarh na kuryat
I
I
Bandhashta-nanda-vasu-nanda-yugena vriddhya
Ghashtarka-pankti-turagair munibhir nanda-hanyat
Yonayas cha vriddhir vyayam cha tu varam amsam
I
Lingaikena kuryat tu parartha-lihge
I
I
I
(M.,
Application of the rules
'
They are applied
LII,
349-354-)
:
in
measuring both the architectural and the
sculptural objects.'
These rules are considered in connexion with the measurement of
villages and towns (M., ix, 67-74), f tne twelve-storeyed buildings (xxx,
164-174), and of the phallus
Cf, also
(LII.
350-356).
:
Ayadi-shad-varga-(h) surair (=suranam) vimane
Chayadhikarh kshina-vyayam subham syat
54
I
I
SHAD-VARGA
HINDU ARCHITECTURE
Gramadi-kartri-nripatika-kriyanam
Sarvam subhaih tat kurute tu vidvan
|
I
(M., xxx, 192-195.)
The necessity of these Shad-varga formulas seems due to the fact that
in most instances where the measurement of any object is concerned,
the Agamas, the Bimbamdna, the Mdnasara and the other works on archiThus for the length that an
tecture quote more dimensions than one.
of
a
is
to
be
instead
of, they
object
giving
single figure would quote, say,
nine different measures. The Mdnasara in fact invariably gives nine different lengths, nine different breadths, and five heights concerning a building
Out of these different and varying measures which is to be
or image.
selected
would be determined by the application of the
formulas.
six
Any of the different measures prescribed is open to be accepted only when
it satisfies the tests of the Shad-varga.
By a verification of the measurements with the respective formula it would eliminate the risk of dimensions
being selected that would be disproportionate among themselves and
improper. This might have been the purpose that the authorities had
in contemplation in prescribing the rules of the Ayadi Shad-varga in all
the architectural treatises. The testing of measurements by the Shad-
varga thus formed one of the most important points to be followed in
architecture and sculpture, and we find a reference to it in these ancient
works so
any
many
times
and almost without exception wherever there are
specifications prescribed.
(2)
Bimbamdna
(British
Museum, MS.
w.
no. 558, 5292,
Manaih
tu yoni-nakshatra-sarhyuktam
Ayamashta-gunite cha dva-dasamse'ti Seshata
10,
I
Nandamse
tu gunite'pi dharmamse'ti vyayarh bhavet
Yonir gunibhir gunitau(-ta) chashtams'e 'pi tathaiva cha
Rikshakam ashta-gunitam cha
sapta-viriisati-s'eshatah
1
1 1
I
1
Varakarh nava-gunitam cha saptarhse tu hritarh bhavet
Amsakam
(3)
11-13)
1 1
matam
chabdhi-gunite'pi nava-bhaga-hritam
Kdmikdgama (xxxvi, 13-20, 169-172)
Ayadi-sarhpad-artham tu vistare chayatau tatha
Utsedhe chaiva hastanam samyak sampurnatam nayet
Vistarat kevalam vatha vayamad unnates tatha
I
II
:
I
II
(13)
I
Vistarayama-samsargad ayadyarh parigrihyatam II (14)
Ashta-tri-tri-ashtabhir hritvashta-manvarka-bhair bhajet
Ayo vyayas cha yonis cha nakshatram seshato bhavet II (15)
I
Trimsad apnuta paryantam tithir vanarh tu saptabhih
'Athavanya-prakarena chayadyarh parigrihyatam
I
505
I
AM ENCYCLOPAEDIA OF
SHAD-VARGA
Dvayor bhyarh dvayardhasya vistaram
nahakam
II
nahariitu
dvayardham
(16)
Ashta-nandagni-vasubhir ganayen nanda-nanda-naha
I
Arka-dig-vasu-bhah-sapta-navabhis cha kramad bhajet II (17)
Ayadhyam purva-vat proktam ayadhikarh subha-pradam
Yajamanasya yanmarkshe nanukulam yatha bhavet II (18)
I
Tatha parikshya kartavyarh nama nakshatrakarh tu va.
Parlkshya bahudha kuryad ubhayam va parikshayet II (19)
Sarvanukulyaih sarvatra vastu yasman na labhyate
I
I
Tasmad gunadhikam grahyam
alpa-dosharh yatha bhavet
Eka-tri-pancha-saptamse dhvaja-sirhha-vrisha-dvipah
Purvad yasu subha hy-ete ayadyas tv-anulobhatah
1
(169)
1
Dvi-chatuli-shad-vasu-sthanam dhGma-sva-khara-vayasah
Agneyadi vidikshv-ete varjaniya
bubhukshubhih
1
I
(170)
1
and
See also
Kdmikagama., Chap. L
Evam adau
(20)
II
|
so on.
:
parikshyaiva prasadam parikalpayet
I
Etesham api sarvesham ayadi-vidhir uchyate II (57)
Various rules are again given
Vistaram dvi-gunarh kritva vasubhir bhajite sati
Sishtam yonir iha prokta tad-abhave tu saudhakah II (58)
Udaye vasubhih-sapta-vimsadbhir bham ihoditam
:
I
I
Paridhau nanda-gunite sapta-bhur dvaram uchyate
(59)
kritva triihsadbhir bhajitva
Tithi-udayam vasubhir bhaktva suryayas(-yais) tu seshatah II (60)
Sakalam tri-gunam
1
1
I
Punar apy udayaih nanda-vasubhir vyayah uchyate
Padadhikam tu yat sishtam tat sarvarh sakalarii bhavet
I
(61)
II
Purva-vad gunitam kritva bhagam(0 bharam samam kritva
Tenaiva vibhajed yal-labhad adhikarh bhavet II (62)
Yugma-hastaih svarodbhutaih sikhibhir yonir uchyate
Athavanya-prakarena ayadi-vidhir uchyate
II
I
I
(63)
Nage sutragni-randhra-bhuvana-dasa-vasvabdhi-sishtas tu
Tat syad ayo na yonir varam vasu-hatarh udubhir ( ) bhaktva
Sishtam tu riksham hatva bhaktvatha sutrair bhuvanam
Atha phalam sishtam amsam vasughnam trimsad bhaktam II
I
'.
II (
64 )
I
Tithih syad graha-dina-tithi-yogadayo yoni-bhedah
Athavanya-prakarena chayadln parikalpayet
1
1
(65)
I
(66)
Naga-nanda-guna-naga-nanda-drik-bhanu-nadl-vasu-bham munir
va
I
Ayam
anyatra yoni-rikshakam varam amsaka-guna-kshayakramat
(67)
506
II
SHAD-VARGA
HINDU ARCHITECTURE
Application of the rules
Idarh linge cha sakale dvare stambhadike
:
Idam ayadikam chardha-mandape
matam
I
II
s"ishta-mandape
Parivaralaye tunga-harmye anyasmin
prakalpayet
(68)
I
Evarh parikshya bahudha prasadarh parikalpayet
II
(69)
Kdmikdgama, LV, 28-30
Manarfi labdhodayarh yat syat bhaktva matrayor viseshatah
:
(28)
Parihrityanguli-chchhedyam ayadyarh parikalpayet
cha
vasu-nanda
chaiva
chatushtayair hi
Ashta-nandagnibhis
1
1
hi
II
Gunatvara-vidhi-murti-riksha-sapta-navarhsakair
Hrityam ayam vyayaih chaiva yonis taras tu varakah
I
(29)
I
Arhsaka chavasishtas tu kalpamyas tu desikaih
(30)
a
of
six
21
to
building)
Ibid., xxxv,
component parts
(refers
Adhishthanarh cha padarh cha prastararh karnam eva cha
1
I
1
:
I
Sikhararh stupika chaiva salangam iti kathyate II
(21)
These are called Shad-varga cf. XLV, v. 8 (under Purhlinga), v. I5
:
(under Dravida),
(4)
v. 10
(under Strilinga), and
v. 11
)
(under Napurhsaka).
Laghu-silpa-jyotih-sara (ed. Sivarama, i. 3-5) :
Ayo rasis cha nakshatrarh vyayas tararhsakas tatha
I
Graha-maitri rasi-maitrl nadi-vedha-ganendavah n
Adhipatyarh vara-lagne tithy-utpattis tathaiva cha
Adhipatyam varga-vairarh tathaiva yoni-vairakam
Riksha-vairarh sthitir naso lakshanany-eka-virhsatih
1
I
1
I
Kathitani muni-sreshthaih silpa-bi(vi)dbhir grihadishu
II
Manuskjalaya-chandrika (Chap, in, 33.) :
The same formulas are described in various ways. See Six Canons
of Indian Architecture, by V. K. R. Menon, referred to elsewhere
(5)
in this article.
These Shad-varga formulas are rules which are not easily grasped in
the abstract form.
They, however, need not be neglected if we are
While quoting a few extracts
incapable of interpreting them correctly.
on
from a Tamil version of the Myen ('. Mayamata) Rev.
Kearns, Missionary; Tanjorc, lost his temper and priestly patience
this subject
F.
J.
and has recorded the following
'
Strange as all this
as matters
para.).
I fear
:
to us
appears
of great importance.'
Europeans, natives regard these things
(Ind.
Ant., Vol. v, p.
c.
i,
last
whether the learned missionary understood the importance of
We may, however, compare in the absence of the
the matters correctly.
Tamil
296,
text his translation (ibid., p. 295-296)
507
:
AM ENCYCLOPAEDIA OF
SHAD-VARGA
Ascertain the length of the house, square it, multiply the sum by 8,
and divide the product by 12, the remainder is the Adayam or profit (Aya).
take the square number and multiply it by 9, divide the prodnct
'
Again,
by 10, the_remainder
is
the Selavu or loss
square number and multiply
(i.e.,
Vyaya).
Again, take the
and divide
the product by 100,
Again, take the square
it
by 27,
the age or durability of the house.
number, multiply it by 8, and divide the product by 27, the remainder is
the star
Riksha). Again, multiply the square number by 3, and
the remainder
is
(i.e.
divide the product by 8, the remainder is the Yoni.
Multiply the square
number by 9, and divide the product by 7, the remainder is the day (i.e.
and divide the product by 4,
Vara). Multiply the square number by 9,
the
caste.
is
the
the remainder
square numDer by 4, and divide
Multiply
the product by 9, the remainder is the Arhsam.
Multiply the square number by 9, and divide the product by 30, the remainder is the iithi.'
11 tms tails witiiin 15, it belongs to the crescent moon, but if above
Again, multiply tne square number by 4,
15 to the decrescent moon.
'
Multithe product by 12, the remainder is Uie constellation.
the
remainder
and
divide
the
number
product by 5,
by 8,
ply the square
are the Yoms
Garuda (Punai ;),
The
b'utra.
the
following
gives
ol
Musi
these
;
Ani,
(Punai s) (cat), Eli (rat),
bimha, Moy, JPambu, Eli,
and divide
:
and Musi
are bad.
The
following are the Arhsams
Arsam,
Thanium, Rasium, Kahbam, Varuttham, Rokam,
and bubam. The following are the butras Balan, Kumaran, Rajan,
(hare)
:
b'oram, Puttni, batthi,
:
Kilavan, Marnan.'
The
following examples are given to illustrate the foregoing
Given the length of the house 1 1 cubits, and the width 5 cubits, to
find the age, that is to say, how many years such a house will stand.
By the
:
rule
being 85,
n 5 55, and 55 27 1485, 1485 100 14, the remainder
which remainder indicated the number of years the house will
stand.'
'
Given the length of a house 15
the caste for
whom
236, remainder
i.
it is
cubits,
suitable, 15
The remainder
7
i
and the width
7 cubits, to find
105, 105
9 945, and 945 4
indicates the first caste, i.e. Brah-
mans.'
'
Given the length of the house 17
whom
cubits,
and the width
7, to
ascertain
4
1071, and 1071
9
remainder
The
remainder
denotes
the
third
or
caste.'
267,
3.
Vaisya
3
The next example exhibits the entire series. Given the length of the
the caste for
it is
suitable, 17
7
119, 119
'
house 9 cubits, width 3 cubits, to find the (Adayam) and Selavu, etc., etc.
By the rule 9 3 -27, 27 8 216, and 2i& 12 18, 12 (Adayam)
27 -9 243, and 243 10 24, remainder 3, which is the Selavu or loss,
508
SHAD-VARGA
HINDU ARCHITECTURE
and
so
on according
The Yon!
to the rule.
is
Garuda, the star Revati,
week Thursday,
the part of the lunar month the third day, the day of the
the constellation Pisces, and the caste Vaisya.'
Mr. V. K. R. Menon, M.SC. (London), intended to give a more rational
and scientific explanation of these formulas in a pamphlet Six Canons of
Indian Architecture.' But his endeavour has more or less failed owing to
'
Architectural Significance
can hardly
assumptions. The
be explained by a reference to Astrological importance an unknown
matter cannot be understood by referring to an equally unknown thing.
too
'
'
many
:
'
Some
formulae,'
'
'
and he
manner with reference to Astrology.'
When
Mr. Menon,
that in the symbolic language of
'
'
'
continues
realize,'
says
'
architectural significance
be explained in a simple
we
Mr. Menon,
have a very great
to
show
that
all of them can
hopes
'
at least of these
the Silpa-sastras the newly-erected edifice represents not only a human
being, but also a bridegroom, joined in holy wedlock to the plot of
earth on which it is erected, we can sympathize with the strict injunctions
to avoid the fifth (of
life,
death) at
(youth) whenever possible.
with a
human
all costs,
and
to choose the
second
This picturesque identification of the structure
rise to the last five formulae of the
being must have given
'
'
however, that they (the application of these formulae) occasionally prove troublesome when planning
small houses and villas but they do put a stop to the addition of dispro-
Ayada Shad-varga
(pp. 5-6). It
is
true,
;
portionately large verandahs to puny structure.' But he gives up curioussatisfaction of conformly this architectural ground when he says that the
'
ing to the religion of one's motherland, should amply recompensate for
'
He further imagines that these forsuch minor restrictions
(p. 7).
mulae have something to do with the orientation of buildings (which
subject has been treated under SANKU in the Mdnasara] and emphatically
is a
if my deductions are correct
this formula (on Yoni)
says that
to
orient
purely architectural device compelling the sthapati (architect)
'
He
doubtful assumption with
an inaccurate reference when he says that All the temples, palaces, cities,
faced the four
villages and important roads of ancient India exactly
comments
thus
He
and
the
of
E.,
S.,
W.).'
(N.,
compass
points
his structures properly.'
his
illustrates
'
primary
This is as
:
should be, for it places the Indian ideal in tune with the ideals
of every other ancient nations.' His reference to examples of other counThe Egyptian pyramids faced exactly north.
tries are more accurate
The Theban obelisks faced the rising sun.' The Palace of Sennacherib,
the Tabernacle of the Jews, the temple of Solomon, the church at Bethlehem, the Holy Sepulchre of Christ at Jerusalem all these satisfy the first
'
it
'
:
:
'
formula (on Yoni) of Ayadi Shad-varga (p. 9).
face other than these four cardinal points also.
59
The Indian monuments
AN ENCYCLOPAEDIA OF
SHODASA-PRATIMA
SHODAA-PRATIMA
The
sixteen
a
images,
group of sixteen
deities.
Cf.
Purato'sya
'
shodaSanam vara-ganikanam dvi-bhumikagrihani alitwo rows of double-storeyed
in front of the temple he erected
dvayena
houses for sixteen female attendants.'
(Chcbrolu inscrip. of Jaya,
v. 46, Ep. Ind., Vol. vi,
pp. 40, 93.) (See under Raja-harmya.)
SHOpA&A(-S)RA A
type of building which has sixteen-angular
shape, one storey and one cupola.
(1)
see
Brihat-samhita (LVI, 28, J. R. A. S., N. S., Vol. vi. p. 320, note
r
;
under PRASADA).
w.
(2)
Matsya-Purdna (Chap. CCLXIX,
(3)
Bhavishya-Purdna (Chap, cxxx,
SAKALA A
site
plan,
an
idol, a
v.
29, 53
;
see
25;
under PRASADA).
under PRASADA).
see
group of images of four
deities
including Isvara.
(1)
A
(2)
An image
(3)
Suprabheddgama
site
plan (M., vn,
2, 51,
73
;
xu, 64
;
see
PADA-VINYASA)
.
or idol (M., LXIV, 48).
(xxxiv,
named
Sakala-lakshana-vidhi,
Athatah sampravakshyami sakalanam tu lakshanam
Sarvavayava-drisyatvat pratima
tv-iti
chochyate
IsVaradi-chatur murttih pathyate sakalam
SAKALIKARANA
tv-iti
The ceremony of making a
things (with which a deity
i,
2)
:
I
1 1
n
joint offering of
worshipped), which generally consist
kinds
of
of eight
grains such as sesamum, barley, rice, etc., sandal
clarified
butter, sugar and honey, etc.
paste,
all
is
SATI-MANDAPA A kind of pavilion where perhaps certain ceremonies used to be performed in connexion with the obsolete practice
of burning alive a devoted wife with her dead husband, the temple
of the goddess Sati who was the wife of Siva and a daughter of
Daksha.
Arbhakanam mukhalokaih mandapam sati-mandapam
I
(M., xxxiv, 41.)
SATVA-KANTA A
class
of eight-storeyed buildings.
(M., XLVI, 43-45
510
;
see
under PRASADA.)
HINDU ARCHITECTURE
SATRA(-TTRA)
CHHATRA,
(cf.
modern dharma-sala, a
CHHATRI)
An
alms-house, the
rest-house, a residence.
Alms-house (Dewal Prasasti of Lalla the Chhinda,
(1)
Vol.
SATRA(-TTRA)
i,
(2)
v. 20,
Ep. Ind.,
pp. 79, 83).
Hall of charity (stone
12, Ep. Ind., Vol.
inscrip.. at
Vaghli in Kandesh, no. C,
n, p. 226, 227).
Sridhara's Devapattana PraSasti
(3) See
lines 4.
(verse
Ep. Ind., Vol. n,
10,
p. 440).
(4)
Rest-house (Nilgund inscrip. of Taila
II, line 30,
Ep. Ind., Vol. rv,
pp. 207, 208).
(5) Chitrais satralyair
yyasya prithivyam prathitha-yaSasah
I
1 1
Bubhukshu-bhikshu-samghata-prabhuta-priti-hetubhih
(Two pillar inscrip. at Amaravati, no. A, of Keta, II,
v. 40, Ep. Ind., Vol. vi, p.
(6)
A
feeding establishment
152.)
:
Deva-bhogartham cha deva-kulebhyah khanda-sphutitadi-nimittaih
gandha-dhupa-pushpa-dipa-naivedady-upacharartharh tapovanasattrottarasanga-danady-artham cha ...
(Cambay plates of Govinda IV, line 48,
I
Ep. Ind., Vol.
(7)
Bilvapadrake
vii,
pp. 40-45.)
yatha-prapta-brah-
parikalpita-sattra-bhoktrlnarh
manadi-jananam triihatah pratyaham upabhogaya ... 'In order to
feed daily thirty Brahmanas or other men who happen to arrive (and)
who
use the rest-house established at Bilvapadraka.'
Tivaradeva,
26-27, &P- ^->
charitable
(8)
dining-hall of a temple
(Baloda
plates
of
Vol. vn, pp. 105, 107.)
lines
A
:
'
for
the
Sri-sarvva-lokasraya-jina-bhavana-khyata-satrarttham
purpose of the renowned dining-hall of the holy and famous Jain
temple called Sarvalokasraya-Jina-bhavana.'
of
(9)
Amma
line
II,
(Kaluchumbarru Grant
60, Ep. Ind., Vol. vn, pp. 188, 191, 179.)
Khanda-shputa-vava-krityopili-prapujadi-sattra-siddhyartham
For the cost of repairs of breaks and cracks, offerings, worship,
I
'
etc..
II,
(10)
and of an aim-house.'
line
54,
Ep. Ind., Vol.
ix,
(Maliyapundi Grant
of
Ammaraja
pp. 54, 56.)
Draksharame pavane punya-bhaja punya-kshetre Plthapuryyarh
cha yena
Bhoktum pritya pratyaham bramhananam akalpamttamk alpitam
sattra-yugmam II
At holy-Draksharama and at the sacred place of Pithapuri, this
charitable one joyfully founded two sattras for Bramhanas, in
I
'
5"
SATTANGA
AN ENCYCLOPAEDIA OF
order
that
enjoy their meals (there) till the
(Eastern Chalukya Grants, no. 39, a Grant of
they might daily
end of the Kalpa.'
Vira-Choda, v. 33, H.
no. 1 6 below.)
S. I. I.,
Vol.
i,
pp. 56, 61
'The hiranya-garbha, brahmanda, and
(11)
prescribed in the Sdstras
from road
made.'
to road,
had he made,
had he
see
also
quotation
the other great
all
wells, ponds, tanks,
gifts
with satras
and temples of the gods he had
established
(Ep. Carnal., Vol. xu,
;
Kunigal
Taluq,
no.
37;
Transl.,
p.
38,
para. 3.)
'
Having allotted to the avasara-satra of the god sYi-hari-haradeva
two shares of the village
(12)
'
.
'
.
.
Satra oblation, charity,
"
"
avasara-satra
hall
;
But
'
rest-house
'
as
asylum
seems to
mean
opposed
to
or alms-house, charitable
dining
an occasional satra.' Dr. Fleet.
both
and
resting
dining-hall
would
perhaps give better meaning.
and Old Canarese
(Sanskrit
Vol. iv, p. 329,
c.
i,
inscrip. no. vr, Ind. Ant.,
line 3
and
f.,
(13) Sa prasadam achikarad divishadaih Kedara-devasya
tasyottara-manasasya khananam sattram tatha chakshaye
footnote.)
cha
khya-
I
'
He
called
caused to be built a temple of the inhabitants of heaven
... and of the god Kedara he likewise had the famous
;
Uttara-manasa (tank) dug, and
(established) a hall of charity,
to last for ever.'
(Gaya inscrip. of Yakshapala, v. 12, Ind. Ant.,
Vol. xvi, pp. 65,
66.)
(14) 'A grant of land for a satra for feeding twelve Brahmans in
front
of the matha on the bank of the
Tungabhadra.' (Ep. Carnal., Vol.
vi,
Koppa Taluq,
(15)
He
no. 32; Transl.,
p. 81
at
halting
Marasinga's
sarwajna-gatta and other tanks
students
in
Roman
Text, p. 176-177.)
Behur, constructed there the Biruda-
the
;
and to provide a satra for food for the
matha of the god Mallikarjuna there
made a
;
.
grant of land.' (Ep.
p. 43 ; Roman Text, p.
Carnat., Vol.
vn, Shikarpur
.
.
Taluq.no. 19; Transl.,
98.)
Draksharame pavane punya-bhaja punya-kshetre
Plthapuryyarh
cha yena
kalpitam sattra-yugam (cf. no. 10 above).
At the pure Draksharama and at
Pithapuri, a place of sanctity,
he established two sattras.' (Chellur Grant of
(16)
.
.
.
'
Vira-Choladeva,
lines 97-98, Ind. Ant., Vol.
SATTAftGA
arm
XK, pp. 432,
(same as SATANGA)
An
436.)
arm-chair, sofa, sofa with
to it.)
(Mahavagga,
v.
10, a.)
I
HINDU ARCHITECTURE
SANDHI
SATRA-MANDAPA A type of pavilion, the
alms-house of a temple.
Vapi-nirgamane yena purvatah satra-mandapam
(Garuda-Purana,
SATRAVASA-MATHA A
\
Chap. XLVI,
v.
14.)
monastery, a free rest-house.
Chatushkone tapasvinam
satravasa-matham bhavet
r
\
(M., xxxii, 89.)
SADANA A temple, a seat, a sacrificial hall, a house, a mansion,
a palace, the abode of the god of death (Yama).
(1)
(2)
(3)
A
temple (Dabhoi inscrip. v. in, Ep. Ind., Vol. i, p. 31).
Sura-sadana (Dewal Prasasti of Lalla, v. 20, Ep. Ind. t Vol.
I,
p. 79).
Sadanam atula-nathasyoddhritam yena jirnnam
By whom the (old) temple of Atula-natha was repaired.'
(An Abu inscrip. of the reign of Bhimadeva II, v.
\
'
Ind. Ant.,
(4)
Sarasvatam knda-ketanam etad atra vidadhe
10,
Vol. xi, pp. 221, 222.)
\
Sarasvatam sadanam akshayam etad astu
(Sanskrit Grants and
\
inscrip. no. i, vv. 33, 34,
Ind. Ant., Vol. xi, pp. 103, 106.)
SADAS A
seat
probably raised for sadasya or councillors at a
sacrifice.
(Sat. Bra., x, 4,
SADASIVA A
class
of four-storeyed buildings.
(M., xxii, 25-33
SADMAN A
2, 9.)
temple, a seat, an altar,
an
;
see
under PRASADA.)
abode, a dwelling, a
house.
Ghakre nava-nivida-vis'ale sadmani Sulapaneh
'
built a
new
solid large
temple of Sula-pani.'
Sambhoh sadamani stambha-malarh
of pillars in the temple of
Bhimadeva
II.
SANDHI A
w.
10,
Sambhu.'
.
.
.
'
vyatatana
(An Abu
inscrip.
erected a
row
of the reign of
12, Ind. Ant., Vol. xi, pp. 221, 222.)
a connexion, a combination, a junction.
Eka-salanu-sandhi cha dvi-sala chaika-sandhikam
joint,
\
Tri-Sala cha dvi-sandhih syach chatuh-sandhis
chatur-mukham
Shat-sandhih sapta-sala cha bahu-sandhi(r) dasalayam
\
^
(M., xxxv, 73-74.)
53
SANDHI-KARMAN
AN ENCYCLOPAEDIA OF
SANDHI-KARMAN
for the internal
and
The
joinery, the framing or joining of wood
external finishings of houses ; thus the covering
lining of rough walls, the covering of rough timbers, the manufacture of doors, shutters, sashes, stairs, and the like, are classed under
and
the head of joinery.
(See Gwilt, Encycl. of Arch., p.
Mdnasara (Chap, xvn, 2-225),
The
definition
named Sandhi-karman
1214.)
:
:
Harmyanam daru-sarhyogam sandhi-karma (m)udiritam
I
(2).
Various kinds of joinery are described under the following names
Malla made with two pieces of wood, Brahma-raja with three or
:
four
pieces,
Venu-parvan with
five
Puga-parvan with
pieces,
six
pieces, Deva with seven pieces, Parvan with eight pieces, and Danda
with more than eight pieces of wood and other materials (line 18 f.).
Forms of the joinery are described under the titles Nandyavarta
and Svastika (lines 59-60), etc., see details (lines 18-58, 61-225).
SANDHI-BANDHA A bond
of union, a material that makes two
bodies stick together, cement, mortar.
Sarhsthapyapi na tasya tushtir abhavad, yavad Bhavani-griharh
mala-sandhi-bandha-ghatitarh ghanta-ninadojjvalam
'
Not
with the erection (of
satisfied
this
suslishta-
I
image only, the pious man)
caused to be built a shrine of Bhavani, which was joined with a very
adhesive and bright cement, resplendent with the sounds of bells.
t
(Benares inscrip. of Pantha, v. 5, Ep. Ind., Vol. ix, pp. 61-62.)
SAPTA-TALA
(see
TALA)
The
seventh
storey,
buildings.
Etat sapta-talarh proktam rajnam avasa-jogyaklam
seven-storeyed
I
(Kamikagama, xxxv, 84.)
The seven-storeyed buildings are described in a separate chapter in the
Mdnasara.
Description of the seventh storey
classes (ibid., 3-31), see
(M., xxv,
2-23, 32-39), the eight
under PRASADA.
TALA-MANA) A system of measurement in
accordance with which the whole body is seven times the face
SAPTA-TALA
(see
inclusive of head.
(Sukranlti,
Chap,
Vidyasagara, p.
5H
sect,
iv,
359
;
iv,
see details
ed.
Jivananda
under TALA.)
HINDU ARCHITECTURE
SAPTA-BHCMI-(KA)
(see
SABHA
SAPTA-TALA)
The seventh
storey, seven-
storeyed buildings.
Raja-kanyam
.
.
sapta-bhurhika-prasada-pranta-gatam
.
(PaKchatantra, ed.
SAPTA-SALA A seven-fold
I
Bombay,
i,
p.
38.)
wall.
Madhya-sutrarh tu vame tu harmya-dvaraih prakalpayet
Tad-bahih parito-dese sapta-salam prakalpayet
Naravasartha-rathya cha prakara-dvaya-manditam
I
I
I
(M., xxxi, 81-83.)
SABHA A
type of building, an edifice, a public hall, an assembly
room, a council chamber, a society room in a private dwelling house.
Taitt. Bra., i, i, 10, 3 ;
(A.-V., xrx, 55, 6 ; Taitt. Sam., in, 4, 8, 6
,
Chhdnd-Upanishad,
vin,
were their
and
pillars
14).
The
Vedic times
There must have been suitable
the transaction of judicial, commercial
special
features in
fire-altars.
structural arrangements for
and political business, and for the reception of
'
'
well-born
courtly
and
and
for
the
of
kings,
wealthy persons
performance
gambling,
merriment, social intercourse, debates and contests (Vedic India,
Vol. n, p. 426-427).
(1)
A
class
of buildings
:
Prasada-mandapam chaiva sabha-sala-praparh tatha
(A) rangam iti chaitani harmyam uktarh puratanaih
I
|
(M., m, 7-8.)
Sikhare chavrite'pare sabha-mandapa-gopure
I
(M., xviii, 200.)
A
public
hall
:
Mandapaih sabham vapi grama-yogyarh
yatha-disi
Nagare cha yathakaram dvi-gunatyarthakayatam
I
I
(M., xxxiv, 562-563.)
Bhudhare chasure vapi sabha-sthanarh prakalpayet
I
(M., vin, 34.)
(2)
A
chamber
Tato vichintya manasa loka-nathah Prajapatih
Chodayamasa tvarh krishnah sabha vai kriyatam iti
Yadi tvarh kartukamo'si priyarh ^ilpa-vatarh vara
council
:
I
Dharmma-rajasya daiteya yadnsim iha manyase
Yam
1
I
II
manavah prekshyadhisthitah
tadris"Im kuru vai sabham
kritarh nanukurvanti
Manushya-loke sakale
1
II
515
I
AN ENCYCLOPAEDIA OF
SABHA
Yatra divyan abhiprayan pasyema hi kritams tvaya
Asuran manusharhs chaiva sabham tarn kuru vai Maya II
tada
Pratigrihya tu tad vakyarh samprahrishto Mayas
Subham sabham II
Vima'na-pratimam chakre Pandavasya
The penultimate verse is explained by the commentator Nilakantha
Asuran manushan ity upalakshanarh deva-garhdharvadinam apy
cha chaturdasa-bhuvanamabhiprayan lepa-chitre lekhya-chitre
I
I
:
tarastha-tat-taj-jatlya-svabhavika-nana-vidha-lila-pradar^anena
manovrittih pasyema yad-darsanena brahmamdamtara-vartisarvarii
See
also
arthah
vastu-jatam drishta-prayarh bhavatity
vv. 9-13-)
(Mahdbhdrata, Sabha-parvan, Chap, i,
I
the description of the Indra-sabha
Chap, vu), YamaKubera-sabha (Chap, x),
(ibid.,
sabha (Chap, vm), Varuna-sabha (Chap, ix),
and Brahma-sabha (Chap. xi).
Sabha
divya hema-mayair uchchaih prasadair upasobhita
.
.
|
.
(Ibid., u, 10, 3.)
(3)
II
Chatur-bhaga-dvi-bhagena prishthavasa-sabham nayet
II
Agra kuta-dvayor madhye ^alah prishtha-sabha-yatha
Prishthavasa-sabha tad-vad anyat sarvam adhas-tale II
(Kamikagama, xxxv, 73, 74, 76.)
Definition
:
Mula-kuta -samayukta vana-kuta -samanvita
Kachchha (=ke^a)-griha-samakukta
1 1
sabheti parikirtita
xxxv,
(Ibid.,
Brahma-sthane sabhadini kalpayed vidhina budhah
(4)
perity,
4, 95.)
II
(Ibid.,
'
II
xxvm,
15.)
Martanda-varma, the king of Kerala, desirous of extensive prosfame and long life, built the sabha of Sambhu (Siva) a
Suchindram.'
Sthane mani-Suchlndre samakuruta sabham Kerala-kshma-patindrah
of Tirukurungudi, in Tinnevelly, and of Suchindram
in the
I
Pagodas
South Travancore, Ind.
(Inscrip.
in
'
(5)
The
;
v.
i,
p. 362,
para
i.)
word (Sabha) denotes also (i.e. other than a regular assembly
a hall or a house.' Dr. Bhandarkar. (Ind. Ant., Vol. xn,
'
'
or meeting)
Ant., Vol. n, p. 361, c. 2
line
p. 145, c. 2,
9
'
f.)
Sri-ramga-kanchana-sabha yatha-puram abhasayat
The regilded (central shrine of the temple at) Srirangam and the
I
(6)
'
Plates of Virupaksha,
golden hall (at Chidambaram).' (Ariyur
para 4, line 6).
Ind. Ant., Vol. xxxvni, pp. 14, 12
;
lines 21-22,
SARVATO-BKADRA
HINDU ARCHITECTURE
SABHA-MALIKA A
class
of buildings.
(Kamikagama, XLV
SAMA
(see
SAMUDGA)
A
under MALIKA.)
see
;
type of rectangular building.
(Agni-Purdna, Chap, xiv, vv.
1617;
see
under PRASADA.)
A pose, in this type the right and
(see BHANGA)
of the figure are disposed symmetrically, the figure seated or
standing being poised firmly on both legs without inclining to right
SAMA-BHAftGA
left
or
left.
SAMITI
Assembly houses
see
;
SABHA
which
in
senses
it is
used in
Atharva-veda (xv, 9, 2, 3).
SAMUDGA A type of round buildings.
Cf. Vrittah
Samudga-nama
(1) Brihat-sarhhitd
see
I
(Chap. LVI, 23, J. R. A.
N.
S.,
S.,
Vol. vi, p. 319;
under PRASADA).
(2)
Matsya-Purdna (Chap. CCLXIX, vv. 38, 53
(3)
Bhavishya-Purdna (Chap, cxxx,
w.
;
30, 24
under PRASADA).
see under PRASADA)
see
;
.
SAMUDRA A type of building.
w.
(1)
Matsya-Purdna (Chap. CCLXIX,
(2)
Bhavishya-Purdna (Chap, cxxx, v. 24; see
SARORUHA A
A
38,
under PRASADA).
under PRASADA).
see
type of building, a moulding.
moulding of the pedestal (M., xxra,
See
53;
PADMA and compare
the
lists
76, etc.).
of mouldings
under
UPAPITHA
and ADHISHTHANA.
A
class
of six-storeyed buildings (M., xxiv, 47
SARVA-KALYANA A
class
;
*ee
of buildings.
(Kamikagama, XLV, 42-49
SARVA-KAMIKA
which
is i
(see
under PRASADA).
UTSEDHA)
Also called
'
;
see
under MALIKA.)
dhanada', a height
f of the breadth.
(See
M., xxxv, 22-26, and cf. Kdmikdgama,
L, 2428, under ADBHUTA.)
SARVATO-BHADRA A
type of building, pavilion, hall, entaba
lature, window, phallus ;
joinery, a four-fold image one on each
side of a four-faced column ; a village, a town, having a surrounding
road and entrances on four sides ; a house furnished with uninter-
rupted and surrounding terraces on every
517
side.
AM ENCYCLOPAEDIA OF
SARVATO-BHADRA
Apratishiddhalindarh samantato vastu sarvato-bhadram
Nripa-vibudha-samuhanam karyarh dvarais chaturbhir api
I
(1)
'
An
with
edifice
on every side is termed
such a one is fit for kings
terraces
uninterrupted
(i.e., goodly on every side)
and gods, and ought to have four entrances.
Sarvato-bhadra
;
(Bfihat-sathhita, LIU, 31, J. R. A. S.,
'
Sarvato-bhadra
many
g trances,
windows and
spires
five
name
the
is
or
storeys,
Matsya-Purdna
S.,
Vol.
vi, p.
285.)
(sikhara)
,
many
beautiful
dormer
26 cubits broad."
is
(Ibid., LVI, 27,
(2)
N.
of a kind of building which has four
turrets
and
II
w.
(Chap. CCLXIX,
J. R. A.
S.,
N.
S.,
Vol. vi, p. 320.)
29, 34, 35, 48, 53
;
see
under
PRASADA).
(Chap, cxxx,
of
type
quadrangular building
(3) Bhavishya-Purdna
A
v.
34
;
under PRASADA)
see
.
:
Agni-Purdna (Chap, civ, w. 14-15; see under PRASADA).
(5) Garuda-Purdna (Chap. XLVH, w. 24-25; see under PRASADA).
(4)
Sarvato-bhadram ashtasyam
(6)
eight faces.
An
(7)
the Sarvato-bhadra house
(s"ala)
has
(Kamikdgama, xxxv, 88.)
entablature
(ibid.,
uv,
8).
A class of villages (M., ix, 2, 126 f.).
A type of prastara or entablature (M., xvi, 185).
A kind of joinery (M., xvn, 53).
A class of mandapa or pavilions (M., xxxiv, 555).
A type of sala or mansion (M., xxxv, 4).
A class of windows (M., xxxni, 583).
A kind of phallus (M., LH, 114).
'
Sarvato-bhadra-devaiaya
according to Varahamihira (Brihatsarhhitd, LVI, 27) it means a temple with four doors and many spires, i.e.,
such a one which looks equally pleasing from all sides.' Ep. Ind., Vol. i,
(8)
382, note 50.)
p.
(9)
Sarvato-bhadra-chatur-mukha ratna-traya-rupa-tri-bhuvana-tilakaJina-chaityalaya vanu
'
I
The Tribhuvana Jina
chaityalaya temple
(which is) auspicious
has four faces (and) is the embodiment of the three jewels
(Karkala inscrip. of Bhairava II, line 17, Ep. Ind., Vol. vm,
(of the Jainas).'
on every
.
.
.
side,
PP- 132, I35-)
(10)
Nayana-mano-harah Sarwato-bhadrah
I
Apparently the name of a hall in the first storey of the cave temple.
(The Pallava inscrip. of the seven Pagodas, no. 13, Ep. Ind., Vol. x, p. 7.)
'
518
HWDU
SAMCHARA
ARCHITECTURE
'literally an image lovely on all sides>
a
term
a "four-fold image," one being carved
technical
for
apparently
on each side of a four-faced column.' (Jaina Inscrip. from Mathura, no. 11,
Ep. Ind., Vol. i, p. 382, footnotes 50, 51.)
(u) Sarvato-bhadra-pratima
is
SAHAYA-DURGA A
kind effort.
(See details
SAHASRA-LlftGA
under DURGA.)
A
thousand-phalli, a group of phalli of Siva.
Set up on the colonnade to the west a row of lingas forming the
thousand lingas.' (Ep. Carnal., Vol. iv, Chamrajnagar Taluq, no. 86 Transl.,
'
;
p.
11,
line
Roman
9;
Text, p.
18, line
14.)
SAMKlRNA A type of building, houses built with a certain number
of materials, a joinery.
Buildings made of more than two materials
under VIMANA and PRASADA).
A
A
class
of buildings (Kamikagama, XLV, 62
;
(M.,
see
xvm,
139, etc.. see
under MALIKA).
kind of joinery (M., xvn, 140, 146).
SAMGAVINl A
SAMGRAHA A
cattle-shed,
an open shed
for milking cows.
combination of mouldings at the bottom of a
column.
Ekarhsam padukam kuryat pancha-bhagarh tu samgraham
(M., xv, 179,
For
its
synonyms
SAMGRAHANA A
see
I
etc.)
M., xvi, 51-52.
fortress to
defend a group of ten
Dasa-graml-samgrahena samgrahanarh sthapayet
(Kautiliya-Ariha-sastra,
villages.
I
Chap, xxn,
p. 46.)
SAMGHARAMA
(see VIHARA)
Originally the assembly place of
or Buddhist monks, later in the time of the Nalanda
University, a college comprising lecture halls, students' hostel and
chapel, while the vihdra or original monastery implied the residential
the Sarigha
quarters of the
the monastery.
monks or
professors, residences of
monks or
hermits,
(Vide Taxila plate of Patika, line 3, Ep. Ind., Vol. iv, pp. 55, 56.
SANtCHARA An
entrance, a door, a gate, an outlet, a military
post, a tower or circuit on the top of the surrounding wall of a village
or town.
(M., x, 109,
519
etc.)
AN ENCYCLOPAEDIA OF
SAMCHITA
SAMCHITA A
class of buildings in which the breadth is the
unit of measurement, the temples in which the idol is in the
sitting
posture.
(M., xrx, 7-11
;
xxx, 103-174
;
see
under APASA&CHITA.)
Pratyekarh tri-vidhath proktarh samchitaih chapy-asamchitam
Upa-sarhchitam ity-evam
....
I
I
(Kamikagama, XLV, 6-7.)
SAMPCRNA A class of buildings.
(Kdmikdgama, XLV, 29-30
SAMVIDDHA A fortified
city.
(M., x, 41
'
Cf. Visiting
the gramas,
under MALIKA.)
see
;
nagaras,
khetas,
the
pattanas, dronamukhas and sarhbahanas
see
;
under NAGARA.)
kharvatas,
madambas,
cities of the elephants
at the cardinal
points.'
(Ep. Carnal., Vol. va, Shikarpur Taluq, no.
Transl., p. 86, last para., line 14.)
SAMSAD An
Cf.
18
1
;
assembly hall (built within a wedding pavilion).
Ratha-rathi-yuta hy asan kritrima hy akritopamah
Sarvesharh mohanarthaya tatha cha samsadah kritah
I
II
(Skanda-Purana, Mahesvara-khanda-prathma, Chap, xxiv, v. 13.)
SAMSTHANA
and other
(1)
The arrangement,
laying-out,
plans of buildings
objects.
Tri-konam vrittam ardhendum ashta-konarh dvir-ashtakam
I
Chatush-konam tu kartavyarh samsthanam mandapasya tu
The plan
of a
should
mandapa
octagonal, sixteen-angular, half moon-shaped,
and
circular.
w.
(Matsya-Purana, Chap. CCLXX,
(2)
Tri-konam
padmam
II
be made triangular, quadrangular,
15-16.)
arddhendurh chatush-konam dvir-ashtakaml
Yatra tatra vidhatavyam samsthanam mandapasya tu
II
(Garuda-Purana, Chap. XLVII, vv. 32-33.)
SARA A class
of buildings.
(Kamikagama, XLV, 60
SALA(-LA)
(i)
A
wall,
see
;
a rampart, an apartment, a house,
Udyanamra-vanopetaih mahatlrii sala-mekhalam
Commentary
:
under MALIKA.)
I
salah prakarah (enclosure wall) sala-vanarh va
,
(Rdmayana,
520
i,
I
5-12.)
HINDU ARCHITECTURE
(2)
SIDDHARTHA
Antare sesha-bhagaihs tu hitva madhye tu salakam
Sala-gopurayos tungastv-adhikas chapi mulatah II
Agrato'lindakopetam attalam salakantare
II
II
(Kdmikagama, xxxv, USA, 124, 126.;
(3)
Salantam vedikordhve tu yuddhartharh kalpayet sudhih
I
(M,
See also
364.
ix,
M., xxxi, 36, 37 (pancha-sala), 39 (Jati-sala), 40, 41, 44, 48,
52, etc.
Sala(-a)-janma-samam chaiva dhamna-janma-samam tu va
Salangadhikarh hinam chech chorair artharh vinaSyate
I
I
(M., LXIX, 42, 45.)
Kanakojvala-sala-rasmi-jalaih parikhambhu
Through the mass of the rays which issue from
(4)
'
which are
reflected in the water of
its
.
.
.
its
prati-bhimbitaih
golden walls and
I
(Vijaya(Vijayanagara's) moat.'
I. I., Vol. i, no. 153,
pp. 162,
nagara inscrip. of Devaraja II, lines 7-8, H. S.
164.)
(5)
Antararh sadma-salam
'
the inner wall of the shrine.'
inscrip. of Sundara-pandya, v. 22, Ep. Ind., Vol.
in,
pp.
13,
(Ranganatha
16.)
like a wall of
(Two
Sphatika-sala-nibharh babandha
crystal.'
inscrip. of Tammusiddhi, no. A, Tiruvalahgadu inscrip., v. 16, Ep. Ind.
'
(6)
Vol.
vii,
(7)
pp. 124, 125.)
Durllamgha-dushkara-vibheda-visala-sala-durggadha-dustara-brihat-
parikha-parita
(The city of Kafichi) whose large rampart was insurmountable and
I
'
hard to be breached (and) which was surrounded by a great moat,
unfathomable and hard to be crossed.' (Gadval Plates of Vikramaditya I,
v. 6, line 21,
(7)
Ep. Ind., Vol. x, pp. 103, 105.)
Sriman
esho'rkka-kirttir nnripa iva vilasat sala-sopanakadyaih
That honourable one like a king of
walls and stairs.'
(Ep. Carnal., Vol. H, no.
'
I
sun-like glory (erected) splendid
105
;
Roman
Text, p. 97, line 14;
Transl., p. 164, para. 6.)
SIDDHA A
A
class
type of storeyed building, a class of divine beings.
of two-storeyed buildings (M., xx, 94, 16-18; see under
PRASADA).
Semi-divine beings, their images are described (M., LV, 88
SIDDHARTHA A
type of building furnished with two
).
halls.
Siddhartham apara-yamye yama-suryam paschimottare Sale
hall is termed Siddhartha.'
I
'
A house with only a western and southern
(Brifiat-samhita,
mi, 39, J. R. A.
521
S.,
N.
S.,
Vol.
vi, p. 286.'
AX ENCYCLOPAEDIA OF
SINDHUKA
SINDHUKA A class of buildings.
(Kdmikagama, XLV, 23-28
SI (Si) LA-
j
see
under MALIKA.)
VATA A stone
mason.
Sudradhara-Asalena bamdhita tatha silavata-jahadena ghatita
The step-well was constructed by the architect Asala and
stones were) worked and shaped by the mason Jahada.
(Manglan
'
I
(the
stone
inscrip., lines 13-14, Ind. Ant., Vol. XLI, p. 88.)
SIMHA A type of pavilion,
(lion)
a class of oval buildings, a riding animal
of gods.
A
or pavilion with sixteen
mandapa
v.
CCLXX,
Sirhha
13
;
the
is
in
dudecagonal
wide
cubits
pillars
Chap.
(Matsya-Purdna,
under MANDAPA).
see
name
of a
kind of
plan, covered
by
building which
one-storeyed
lions
(?
and
simhakranta)
is
eight
:
Brihat-samhitd (Chap. XLV, 28, J. R. A. S., N. S., Vol. vi, p. 329).
(2) See quotation of the commentary from Kasyapa, which is more
(1)
explicit.
Sirhhah sirhhaih samakrantah konair dva-dasabhir yutah
Vishkambhad ashta-hastah syad eka tasya cha bhumika
I
(3) Matsya-Purdna
PRASADA).
(4)
(Chap.
CCLXIX, vv. 29, 36, 40, 49, 53
Bhavislya-Purdna (Chap, cxxx, v. 35
A kind of oval building
see
under PRASADA).
see
under PRASADA).
under
:
Garuda-Purdna (Chap. XLVH,
(5)
;
;
It
see
v.
29-30
The lion, a riding animal of gods.
Devanam vahanam sirhham (M., Lxm,
;
(6)
his
image
(ibid.,
SIMHASANA
(i)
i),
the sculptural description of
2-46).
A
throne or seat, marked with a lion.
Sirhha-mudrita-manoharasanam
(cf.
ASANA)
I
Kesari-lafichhitarh tv-atha
manoharasanam
I
(M., XLV, 204, 206.)
Mdnasdra (Chap. XLV, 1-112, named Simhasana)
The lion seat or throne is made for the use of deities and kings
(line i). These thrones are first divided into four classes (lines
:
the
Prathama
the
(first)
throne
Mangala throne
stated to be
is
for
the
fit
for the first
4-8)
corona-
Mangala-coronation, the Vira
Vira -coronation, and the Vijaya throne for the
Vijaya-coronation. It should be noted that these four thrones are
used for the four stages of coronation of the same king. (
M., XLFX,
tion,
throne
1 66,
for
the
etc.)
522
SIMHASANA
HINDU ARCHITECTURE
Concerning deities, the Nityarchana throne is used for daily worship,
the Nityotsava-throne, and
Visesha-throne on some special occasions
the Viseshotsava-throne are used for ordinary and special festivals respec;
tively (lines 9-11).
But the thrones
into ten kinds
for
(see
both
below)
deities
An
.
and
kings, for all purposes, are divided
account of the general plan as well as of
measurement of the various parts of them is given in detail (lines 17They are technically called Padmasana, Padma-kesara, Padma213).
bhadra, SrI-bhadra, Sri-visala, Sri-mukha, Bhadrasana, Padma-bandha,
and Pada-bandha (lines 12-16).
the
Of
the ten
the
kinds,
Siva or Vishnu
(121)
;
Ghakravartin or emperor)
Padmasana, is used as the throne for
Padma-bhadra for the king Adhiraja (i.e.,
first,
the
(line 143)
the Sri-bhadra
;
is fit
for the kings
Adhiraja and Narendra for all purposes (line 153) the Sri-visala is fit for
the kings Parshnika and Narendra (171)
the Sri-bandha is for the kings
Parshnika and Patta-dhara (line 174)
the SrI-mukha for the king
Mandalesa (line 177)
the Bhadrasana for the king Patta-bhaj (line
the Padma-bandha for the king Praharaka (line 182)
and the
179)
Pada-bandha throne is fit for the king Astra-graha (line 190).
;
;
;
;
;
;
The
however, not attached to the throne of Astra-graha
all other petty kings of the Vaisya and the Sudra
Thrones
of
(line 191).
castes are stated to be furnished with pedestals instead, and are made fourcornered square (lines 192-193). But thrones of all other kings are
lion-legs are,
marked with
lions
are stated to be
and furnished with
made
six legs (line
facing the east (pranmukha)
These thrones
196).
197).
(line
Of
the thrones of deities, the Nirikshana(eyes, windows)
four
the
sides (line 198).
is
made on
Various kinds of thrones are thus described but the most beautiful one
according to one's choice should be used
:
Evarii cha
vividham proktam yan manoramya(m) manayet
(200)
This is the mighty lion-throne (Simhasana) on which sat the
(2)
glorious powerful king, in whose arm is strength, the Lord Emperor
Kalinga Nissahka Kankeswara.'
I
'
'
Sirhhasanaya on the lion i, 2, 3, 4, 5, 6, 7, 8 (pillars). Lion throne,
In this case there was actually a large lion
royal throne, throne ...
whose fine proportions remind one of the Assyrian bulls
the support, or one of the supports of the royal seat.
runs round the building.'
Rhys Davids.
(Inscrip. at the
and which formed
A
Audience Hall of Parakrama
Bahu, Pulastipur, Ceylon,
p. 247, c. 2, para.
523
freize of lions
Ind. Ant.,
4
;
Vol.
u
p. 249, c. 2.)
,
AN ENCYCLOPAEDIA OF
SUKA(-KHA)-NASIKA
The other shrine contains a fine large figure of Buddha, seated
on a simhasana or throne with recumbent lions at the
base, and elephants
and other carved accessories at the sides.' (Monumental
Antiquities,
N.-W. Provinces and Oudh, Arch. Sum., New
Imp. Series, Vol. n, Agra
'
(3)
Division, p. 95, no. 23, line 6.)
under various names in Buddhist
(4) Seats are referred to
Asandi
(large
couches,
Chullavagga,
vi,
couches covered with canopy (Chullavagga,
Asandaka (rectangular
14,
i
;
14-1
vi,
v.
Mahavagga,
;
literature
:
10, 3)
;
Mahavagga, v. 10-3)
;
chairs), sattango (arm-chair, sofa)
;
bhaddapitham
(cushioned chair), same on a pedestal (etakasame
with many legs
padaka-pltham),
(Amalaka-vantika-pitham), canebottomed chair (kochhom), leaning board (phalakam).
(state-chair),
pithika
SUKA(-KHA)-NASIKA A
small
room
in front of the idol in a
temple.
The
'
great minister Kampanna for the repair of the roof stones in
the Sukanasike (a small room in front of the
idol) of the god Chennakesava set up four pillars with capitals and repaired them.' (Ep.
Carnal.,
Vol. v, Part i, Belur Taluq, no. 52 ; Transl.,
Roman
p. 55, note
(1)
i;
Text,
p. 126.)
'
It (MallesVara temple at
and consists
Hulikal) faces north
of a garbha-griha, an open sukhanasi, a
The
navarariga, and a porch.
garbha-griha, sukhanasi, and porch are all of the same dimensions,
being
about 4^ feet square, while the navaranga measures 16 feet
feet.'
(2)
by 14
The Sukhanasi doorway has on its lintel a figure of ...
The garbha-griha and sukhanasi have likewise ceilings of the same
'
but that of the porch
is
the largest
and the
best of
kind,
all.'
(Mysore Arch. Report, 1915-16, p. 4, para. 10 ; see also
p. 5, para. 12 ; p. 7, para. 13
p. 15, pa ra.
19.)
'
(3)
The
pilasters
outer walls of the
garbha-griha and sukhanasi have besides
and
turrets
SUKSHETRA An
'
.
.
.
(Ibid., p.
edifice,
21, para. 27).
a type of building.
Prak-salaya viyuktam Sukshetram vriddhidam vastu
without an eastern hall is named Sukshetra
I
An
edifice
prosperity.'
'
(Brihat-sarhhitd, LIII,
SUKHAfrGA A
A
37
;
see
J. R. A.
S.,
N.
S.,
Vol.
and
brings
vi, p. 286.)
type of pavilion, a rest-house.
kind of pavilion used as a rest-house
Sukhangakhyam
iti
:
proktarh satra-yogyam tu
(M., xxxiv, 272
524
;
mandapam
see
|
under MANDAPA.)
HINDU ARCHITECTURE
SUKHALAYA A
A
class
PRASADA)
of
v.
pavilion
buildings
three-storeyed
(M.,
22-30
xxi,
under
see
;
object having a beautiful neck, a type of pavilion.
with twenty-four pillars
under MANDAPA)
see
13;
pleasure-house, a type of storeyed buildings.
.
SUGRlVA An
A
SUBHOSHANA
SUCHIYA
CGLXX,
Chap.
(Matsya-Purdna,
.
Cross-bar in a Buddhist
rail.
(Mahasudassana-sutta,
9
I, 5,
compare
;
Chullavagga, vi, 3, 3.)
SUDHA
Stucco, one of the building materials, also used for plaster,
whitewash.
mortar,
(1) See
Vol.
Ratnapura
inscrip.
,
1114 of Jajalladeva,
A.D.,
v.
16,
Ep. Ind.,
pp. 35-38.
i,
(2) See
Dewal
Prasasti of Lalla the
28, Ep. Ind., Vol.
v.
Chhinda,
i,
pp. 80, 84.
(3)
See
Mdnasdra under ABHASA.
SUNDARA A
A
beautiful object, a type of storeyed buildings.
class of six-storeyed buildings.
SUPRATI(-I)KANTA A
type
(M., xxrv, 15
of
;
under PRASADA. X
see
building,
kind
a
of
site-
plan.
A kind of prakara
or enclosure buildings
(M., xxxi, 24
;
see
PARIVARA
and PRAKARA.)
A
class
of nine-storeyed buildings
(M.,
23-36
xxvii,
;
under
see
PRASADA).
A
plan in which the whole area is divided into 484 equal
(M., vn, 30-31 see under PADA-VINYASA.)
squares.
site
;
SUBHADRA A
ful front
type of pavilion, buildings furnished with a beauti-
porch.
A pavilion with
twelve pillars
(Matsya-Purdna, Chap. CGLXX, v. 14
;
see
under MANDAPA.)
SUBHOSHANA A
well decorated house for the use of a married
a ceremony
couple, a type of pavilion where
wife's perceiving the first signs of conception.
is
performed on a
Subhushanakhyam vipranarh yogyarh purhsavanarthakam
(M., xxxiv, 354
525
;
see
I
under MANDAPA.)
AX ENCYCLOPAEDIA OF
SUMAflGALl
SUMAftGALl -A
An ornament
kind of ornament.
images of female
for the
deities.
(M., LIV, 49,
95
;
see
under BHUSHANA.)
SURATA A
A
type of pavilion.
pavilion with sixty-pillars.
CCLXX,
(Matsya-Purdna, Chap.
v.
7
;
see.
under MANDAPA.)
SUSLISHTA A type of pavilion.
A pavilion with thirty-six pillars.
sex
v.
(Matsya-Purdna, Chap. CCLXX,
n
;
under MANDAPA.)
SUSHIRA A
hole, a hollow,
an aperture, a
cavity.
tasya chochyate
(1) Prag-grivah-pancha-bhagena nishkasa(a)s
II
tad-vat
sushirarh
tri-bhagatah
prakarasya
Karayet
I
(Matsya-Purdna, Chap. CCLXIX, v. 24.)
(2)
Sushirarh bhaga-vistirnam bhittayed bhag-vistarat
|
(Agni-Purana,
(3)
Dvara-vat pitha-madhye tu sesham sushirakam bhavet
(Garuda-Purana, Chap.
M., LVX, 83, LXVII,
(4) See
SUSAMHITA A
into
Chap,
site
civ, v. 3.)
I
XLVII, v. 16.)
15, etc.
area
plan in which the whole
is
divided
400 equal squares.
(M., vn, 28-29, also xxxi. 18,
etc.; see
under PADA-VINYASA.)
enclosure, a cloister, a covered arcade
an enclosed
forming part of a monastic or collegiate establishment,
a
place of religious retirement, Jain monastery.
Introduction, p. 37, last
nos. 59, 75, 76, 78, 85
Cf. Ep. Carnal., Vol. 11,
Roman text, p. 57, line 27, pp. 62, 70 Transl., pp. 147,
para., line 3
St}(-SU)-(T)ALAYA
An
;
;
;
151, 156
(1)
(2)
:
Sri-Ganga-Rajem Suttale karaviyale (no. 75, Roman text, p. 62).
Roman text,
Sri-Gahga-Raja Suttaiayavam madisidam (no. 76,
p. 62).
(3)
Suttalayada
bhittiya
madisi
'
and the twenty-four Tirthankaras made
had the wall round
'
the cloisters
(no. 78, line i).
Gommata
devara Suttalayadolu (no. 86, line i).
madisigommata-devargge suttalayamam eyde
(5) Gafigavadiya
around
cloisters
the
had
he
dam' for Gommatadeva of Gangavadi
Transl
made.'
90 ; Roman text, p. 72, line 9 from bottom upwards
(4)
;
(No.
p. 158, para. 5
;
see also
no. 59
;
Roman text,
526
p. 57, line 27.)
,
JHfc
SOUTH
INDIA!*
EAST INDIAN.
SIMPLE CENTRALINDI*N /
SIKHARA
STUPI KIUX
STUPI
SRI
VATSA
STUPI
foot 526
HINDU ARCHITECTURE
SETU
'
Inside (the bastis or Jaina temples) is a court probably square
cloisters (see photo no. 149 of Jaina basti at Sravana
Belgola, Fergusson p. 270), at the back of which rises the vimana over the
(6)
and surrounded by
cell,
Ind.
which contains the principal image of the Tirthaiikara.'
and East. Arch., p. 269, last para., photo no. 149, p. 270.)
SCTRA-GRAHIN
(see
under
The
STHAPATI)
-(Fergusson,
an
draftsman,
architect.
SUTRA-DHARA
(see
A
under STHAPATI)
carpenter, an archi-
tect.
SUTRA-DHARIN
manager, an
(see
under STHAPATI)
The
the
thread-holder,
architect.
SUTRA-PATTI
(see
PATTA and PATTIKA)
A
part of a door.
Dvara-tare chatush-pancha-shat-saptashta vibhajite II
Ekamsarh sutra-pattih syat samam va bahalam bhavet
(Vastu-vidya, ed.
SURYA-VISALAKA A
site
Ganapati
plan of 400 square
(M.,
vii,
II
Sastri, xiv,
i,
a.)
plots.
26-27,
see
PADA-VINYASA.)
SETU A
bridge in general, a barrier, a boundary, a limit, a landmark, a bridge of earth, a cause-way, narrow pass or mountain-road,
a mound, a bank, a dam.
'
the fastening of the
Karna-kllaya-sambandho'nugriham setuh
roof of a house to the transverse beam by means of iron bolts is called
setu.'
(Kautiliya-Artha-iastra, Chap. LXV, p. 166, para, i.)
(1)
(2)
Matha vedadinam dvija-pura-viharah
prati-disam virajante satryany
api cha paritas setu-nivabhah II
(Two BhuvanesVara inscrip. no. A, of Svapnesvara,
Ep. Ind., Vol.
(3)
Sa
khalu
v. 30,
vi, p. 202.)
Bhagirathi-patha-pravarttamana-nana-vidha-nauvata-
sampadita-setu-vandha-nihita-saila-s'ikhara-Srenl-vibhramat
the illustrious camp of victory at Srl-Mudgagiri, where the
I
'
From
wall of boats of various kinds probridge, which is produced by the
ceeding on the path of the Bhagirathi, surpasses the beauty of a chain
of mountain tops.'
Dr. Hultzsch seems to think that
the broad line of boats floating on
the river resembled the famous bridge of Rama.'
'
'
Dr. Rajendralal Mitra, however, concludes from this passage, that
Narayanapala had made a bridge of boats across the Ganges.'
(Bhagalpur Plates of Narayanapala, lines 24-25, Ind. Ant.,
Vol. xv, pp. 306, 308-9, and note 29.)
527
AN ENCYCLOPAEDIA OF
SENA-MUKHA
SENA-MUKHA A division
of an army, a
mound
in front of the
city, a prosperous royal city (see under NAGARA).
Nana-janais cha sampurnam bhupa-harmyena samyutam
Bahu-raksha-samopetam etat sena-mukharh bhavet
gate of a
(1)
I
I
(M., x, 70-71.)
(2)
Raja-veSma-samayuktam sarva-jati-samanvitam
I
Guhya-pradesa-sarhyuktaih sena-mukham ihochyate
II
(Kamikagama, xx,
SE(-Sl)LA-Rt)PAKA
'
Cf.
A
The rock
(Kuda
sculpture or statues, gift of his (Sivama's) wife Vijaya.'
no.
6, line 7, Arch. Surv., new Imp. Series, Vol. iv, p. 85.)
Inscrip.
SAINYA-DURGA A fort
SO PAN A Stairs, steps, a
(i)
12.)
statue, a rock-sculpture.
(see details
stair -case,
under DURGA).
a ladder,
Mdnasara, Chap, xxx
Flights of steps are constructed for ascending up and descend:
ing from temples, residential buildings, pavilions, enclosure (prakara) ,
gate-houses,
villages,
hilly
and towns
Their situation
tracts
(parvata-dea) ,
ponds,
wells,
step-wells,
(lines 85-89).
:
They are stated to be constructed on the front,
of a residential building or temple
back and
sides
:
Sarvesham mukha-bhadranam parsve sopana-samyutam
Parsvayor dvara-dese tu mukha-sopanam eva va
(94)
(93)
I
I
Guhyanta-dvara-dese tu vame sopana-samyutam
(97)
I
Pramukhe mukha-sopanam kuryach chhilpa-vit-tamah
Prapange pramukhe bhadre sopanam purva-parsvayoh
(102)
I
Parsvayoh prishtha-dee tu tat-purve paksha-parsvayoh
Yatra dee tu sopanam tatra dosho na vidyate
(101)
I
I
(105)
(100)
I
vame sopana-samyutam
pramukhe sopanam eva cha
Alinda-yuktam tad-dvare
Vinalinda-pradeSe tu
Their situation in other places
Gopuranam
(113)
I
(114)
I
:
tu tat-parsve
Adri-deSe samarohya yatra
sopanam lakshananvitam
tatraiva
karayet
I
( 1 1
7)
(118)
I
Vapl-kiipa-tatake va paritah sopana-samyutam (119)
Chatur-dikshu chatush-kone chantarale'thava punah (120)
I
I
Evam
Their plan
eva yatha-dese bhadra-sopanam eva va
I
(121)
:
Trayo-vimsach chhatantarh syad devanam iti kathyate (141)
Pattadri-marga-paryantam tiryak chordhvordhva-choktavat (142)
I
I
528
SOPANA
HINDU ARCHITECTURE
Manushanam
tu
sopanam pattika-yugma-samyutam
(143)
I
Sopana-parsvayor dese hasti-hasta-vibhushitam
(155)
Hasta-mula-visale
tu choktangulirii na manayet
(156)
I
I
Mulena
tat
kramat
I
(mule chagra) -tri-bhagaikarh hastagrantam kshayam
(157)
Hasti-hasta-vad akaram raga-yuktam
manoharam
(150)
I
Tri-chatush-pancha-vaktram va mulena sirhhananair yutam (159)
(160)
Agradho-dharapattarh syat pattika chokta-manakam
(161)
Adhara(agradhara)m palikakaram pattika vedikakritih
I
I
I
Adri-sopana-parsve tu na kuryat parsVayo'righrikam
Adri-Sopana-dese tu dirgha-manaih yatheshtakam
I
(163)
I
1
(
36)
(162)
Sarvalankara-samyuktam sopanam lakshananvitam
Measures of the other flights of steps are given in detail (lines 125I
iS^S 6 )-
I3 2 .
The two kinds of steps (and the materials of which they are constructed)
Achalam cha chalam chaiva dvidha sopanam iritam
(90)
Silabhis cheshtakair vapi darubhih sachalam matam
(91)
:
I
I
Sarvais chaivachalam proktam kshudra-sopana-samyutam
(92)
account given above is that of the stationary steps, that of the movI
The
able
?
(
is
moving) steps
Achalam
also given
:
(124)
proktam chalam sthapyam yathesh^akam
Tri-chatush-pancha-shan-matram chalam sopana-padake
(144)
(145)
Tad-ghanam cha visale tu samam va padam adhikam
Ardhadhikam tu padona-dvi-gunam tri-gunam tatah
(146)
cheti
I
I
I
I
chitra
Danda-dvaya-samayuktam
(H7)
(
?
chhidra)-yuktam tu pattika
Eka-dvi-try-angularii vapi pattika-ghanam eva cha
Dvi-tri-veda-sarangulyam shat-saptangulam eva va
Ashta-nanda-dasangulyam pattika-vistritam bhavet
|
(148)
I
I
(
149)
(150)
I
Evam tu chala-sopanam achalam tat pravakshyate
(151)
Vishkambha-chatur-asram attalakam utsedha-samavakshepa-sopanaih karayet
I
(2)
I
Ishtakavabandha-par^varh vamatah pradakshina-sopanam gudhabhitti-sopanam itaratah
i
Chap, xxiv, pp. 52,
Sopanam cha yatha-yuktya hasti-hastam tathaiva cha II
(Kaufiltya-Artha-hstra,
(3)
(SuprabhedSgama, xxxi,
Ibid,
LV
Tale
114.)
:
tale tu
sopanam arohartham prakalpayet
Compare Sankha-sopana
(v.
53.)
(v.
170),
174), pradakshina-sopana (v. 176).
529
hasti-sopana
1 1
(167)
and
laja-sopana
AX ENCYCLOPAEDIA OF
SOPANA
The
general plan
:
Sopanam parsvayor agre tan-mulasya prayojayet
Tan-mulam syad adhishthanam pada-prastara-varga-yuk
I
AsVa-padopari sthitvarohanam dakshinahghrina
II
Idrig-lakshana-sarhyuktam sopanaih sampadaspadam U
(4)
Mahdbhdrata, i, 185, 20
Prasadaih sukritochchhrayaih
77)
(178)
:
...
I
Sukharohana-sopanaih mahasana-parichchhadaih
(5)
( 1
I
Fh'ghts of steps (Vanapalli Plates of
Anna-vema,
1
1
v. 10,
Ep.
Ind.,
Vol.
pp. 61, 59.)
ui,
(6)
Meru-mamdara-kailas'an arurukshur mahamatih
Sopana-panktim
srl-saile
I
vyatanod vema-bhu-patih
1
1
Desirous of ascending Meru, Mandara and Kailasa, i.e. to gain heaven
through charity) the high-minded king Vema constructed a flight of steps
'
at
Sri-saila.'
(Nadupuru Grant of Anna-vema,
v.
6,
Ep.
Vol.
Ind.,
m,
pp. 288, 291.)
The sopana
the flight
a kind of religious architecture peculiar to India, cf. eg.,
of steps in Chandra-sekhara peak, Sita-kunda, Chittagong, Benis
gal.
a
.
Patala-gariga-tate srl-saile
sopana vlthim subham
beautiful flight of steps in the bank of the Patala-gariga at the fort of the
SrI-saila hill.'
(Tottaramudi Plates of Kataya-vema, v. 8, Ep. Ind., Vol. iv,
'
.
(7)
.
p. 322.)
prabhavati pathi prapta-patala-gange
pramatha-padavim arurukshus chakara
(8) Srl-sailagrat
Sopanani
'
I
1
1
flight of steps from Patalagahga to the summit of the
to climb up to the abode of Siva.' ^(Inscrip. of the Reddis
Constructed the
Sri-saila as if
of Kondavidu, no. A, v. 6, Ep.
Ind.,
'
(9)
Brahmapryan
.
.
.
Vol. xi, pp. 320, 314.)
made the stone
caused to be
work of a
flight of steps, with tiger's head at the bottom for the abhisheka-mandapa
.'
in the temple of Vanduvarapati-Emberuman at Manimangalam
.
(Inscrip. of Rajaraja III, no. 39,
H.
S. I. I.,
Vol.
.
m,
p. 86.)
(10) Sri-Vagmati-jalavatara-sopanararna-ghanta-dharmma-sala-pratish-
tha-karmma samapayan
I
Sopanalir iyarh vidagdha-rachana-suslishta-chitropala ramyS vayu-
sutadhivasa-vihita-proddama-vighnavalih
I
snana-
Sampadyanhika-sakta-loka-vihita-svechchhavakasa-sthala
dhyana-hita sudha-dhavalita-pranta chirarh rajatarh
(Inscrip.
from Nepal, no.
1
1
23, Inscrip. of
Lalita-tri-pura-sundari, v.
i,
Queen
Second
Series, Ind. Ant., Vol, ix. p. 194.)
53
HINDU ARCHITECTURE
SAUDHA
(n) oriman esho'rkka-kirttir nnripa iva vilasat sala-sopanakadyaih
That honourable one, like a king of sun-like glory (erected) splendid
walls and stairs.'
Roman text, p. 79, line 14;
(Ep. Carnal., Vol. n, no. 105
t
'
;
Transl., p.
164, para. 6.)
stairs laid out.'
p.
'had the
Maha-sopana-panktiyumam rachisidam
(12)
(Ep. Carnal.,
Vol. n, no. 115
;
Roman
of grand
flight
text, p.
87
;
Transl.,
171.)
For the new Jina temple in the place of his government, in order
life might be to Permmanadi, caused steps to be cut to the
deep
tank of Balora-katta, had the embankment built, provided a sluice,
'
(13)
that long
and
.
Roman
(14)
(Ep. Carnal., Vol. in,
.'
.
Mandya Taluq,
no. 78
Transl., p. 47
;
;
text, pp. 101-102.)
The
Chullavagga (vv. 11, 6
vi, 3, 3)
;
and the Mahdsudassana-sutta
have referred to stairs of three kinds, namely, brick stairs, stone
(i, 59)
All these are furnished with balustrades (alamstairs, and wooden stairs.
bana-bahu).
(suchiyo)
let
Each of these had posts or banisters (thamba), cross-bars
and a head-line (unhisam) running along
into these banisters,
the top of the banisters.
(Compare Rhys Davids' Buddhist Suttas, p. 262,
and the writer's Indian Architecture, p. 13.)
SOMA-SUTRA A
drain, a channel for conveying holy water from
a Phallus of Siva or any other deity of a shrine.
'
the shrine, an ornamental feature of these
(Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi,
The drainage channel from
temples.'
P- 39-)
See also
SETU A
Champa by Mazumdar,
bridge, a
m,
2,
4;
Ait. Bra., HI,
i
Brihad-Upanished,
;
2,
i
;
vi,
i,
dam,
4>
35;
9
p. 237.
a
causeway (R.- V. ix, 41, 2 Taitt. Sam.,
vn 5 8 5
Kath Sam., xxvii,
5 3> 3
;
5
'>
Taitt. Bra., u,
iv,
4,
4, 2,
6
;
Sat.
4; Chhand-Upa., vm,
SAUKHYAKA A pleasure-house,
Bra.,
4,
i,
xm,
2,
10,
2).
a type of pavilion.
(M., xxxiv, 279
SAUDHA A
-
;
see
under MANDAPA.)
stuccoed or whitewashed house, a large
house, a great mansion, a palatial building, a palace.
(1)
plastered,
Kailasa-saila-vilasinas
bhumau
samuttumgga-s'ikharasya
saudhasyasthana-
I
(Teki Plates of Rajaraja-chodaganga, line 82,
Ep. Ind., Vol. vi, p. 342.)
(2)
Kshetre prabhase sukritadhivase svakarita-brahma-puri-griheshu
I
Prakshalya padau pradadau sa saudham Nanaka-namne kavi-panditaya II
SAUDHA-MALIKA
AJV
ENCYCLOPAEDIA OF
'
(He) in the sacred Prabhasa, the habitation of good actions, gave to
Nanaka, the Poet and Pandit, having washed his feet, a palace among the
mansions of the Brahma-purl founded by himself.'
Inscrip., no.
u,
SAUDHA-MALIKA
an
-(Sanskrit Grants
and
v. 8, Ind. Ant., Vol. xi, pp. 106, 107.)
SAUMUKHYA
A
PRASADA-MALIKA)
(see
Malika
edifice of the
of buildings,
class
class.
An
object having a beautiful face, a type of column,
one of the five Indian orders.
see
(Suprabhedagama, xxxi, 65, 67;
under STAMBHA.)
SAUMYA A class of buildings.
(Kamikagama, XLV, 40
SAUMYA-KANTA A
see
under MALIKA.)
tpye of gate-house.
(A/.,
XXXHI, 563
under GOPURA.)
see
;
A type of storeyed buildings.
SAURA-KANTA
A
;
class of nine-storeyed buildings.
(M., xxvn, 5-9
SAUSHTHIKA An
see
;
under PRASADA.)
object or moulding added for
architectural
the sake of elegance or beauty.
Tad-eva s"ala-parsve chaikam dvyaikena shausthika-harah
I
(M., xxvm,
Tad-eva-sala-prante
tu
(M., xxix, 26
SKAND-(H)A-KANTA A
The hexagonal
or six-sided
(M., xv, 246, 23-245).
A type of gate-house
parsve chaikena saushthikam
;
see for
context, 24-33
'>
see
1
6.)
I
under AKRA-KANTA.)
type of column, a type of gate-house.
pillars with six upa-padas or minor pillars
(M., xxxra
;
see
under GOPURA).
SKANDHA-TARA A
A
class
type of building extending like the shoulders.
of single-storeyed buildings
(M., xix, 172 see under PRASADA).
;
SKANDHAVARA A division of an army, a camp, a royal residence,
a capital
city,
a fortified town.
(M., x, 42,
Cf.
Sri-Venu-grama-skaihdhavare sukhena
bhavan
f. ;
see
under NAGARA.)
samrajya-lakshmlm
anu-
I
While he is enjoying the good fortune of universal sovereignty at the
famous camp of Venu-grama.' (Bhoj Grant of Kartavirya, iv, lines 96-97,
'
Ind. Ant., Vol. xix, pp. 247, 248.)
532
HINDU ARCHITECTURE
STAMBHA
STAMBHA
Fixedness, a support, a stem, a trunk, a post, a pillar,
a column, banisters (Mahdsuddassana-sutta, i, 59, see Buddhistsultas by Rhys Davids, p. 262,
compare Chullavagga, VL, 3, 3.)
For references to Vedic
107 below.
pillars, vide
The column
is generally four times the base (M., xin,
2-3, see under
and
be
or
the
is
stated
to
twice
three
times the base
ADHISTHANA),
pedestal
under
and
the
entablature
is
directed to be
ADHISHTHANA)
(see Mayamata,
| of, equal to, or greater by J, f f or twice of, the base (M., xvi, 2-4, see
under PRASTARA).
,
,
(i)
Mdnasdra (Chap, xv, 1-448),
named Stambha
Columns are
charana,
called jangha,
(s)tali,
:
stambha, angrika,
sthanu, thuna, pada, skambha, arani, bharaka, and dharana (lines
The height or length of a column is measured from above
4-6).
the base to below the Uttara, or above the pedestal from Janman
The height of a column is, in other words,
to the Uttara (lines 7-9).
'
measured from the plinth (of the former) up to the lowest part of
the entablature, that is, from the base to the capital inclusive.' The
length of a column is twice, ii or ij times of its base (lines 8-10)
or the heights of the column begin with z\ cubits and end at 8 cubits,
;
the increment being
ing to
KaSyapa
by 6 angulas or J cubit
(see Ram
Raz,
its
1
1-12).
But accord-
may be 3 times that of the base or 6 or 8 times that of
The diameter of a pillar may be th, th, ^th, or ^th
if
it be made of wood or stone, |rd, Jth, or
th, of the
height,
of the pillar
the pedestal.
of
(lines
Ess. Arch, of Hind., p. 29), the height
height, if
words,
it
;
be a
width of the
matras
from three
is
and
to ten times the
according to
pilaster,
(parts),
In other
pilaster joined to a wall (kudya-stambha).
the column
twice,
thrice,
the Mdnasdra,
diameter.
The
is 3,
or 6
4,
5,
or four times of these should be
the diameter of the pillar (M., xv. 14-15). The height of a pillar
being divided into 12, n, 10, 9, or 8 parts, one of these parts is the
diameter of the pillar, and at the top it is diminished by one-fourth
(lines
1
6- 1 8).
A quadranan
octangular one
gular (four-sided) pillar
is known as
circular
one
a
sixteen-sided
or
is called Vishnu-kanta
Rudra-kanta a pentagonal one is called Siva-kanta and a hexagonal column is called Skanda-kanta. These columns are stated to
be uniform from bottom to top but the bases of these may be
Columns admit almost of
is
all
called
shapes (lines 20-23).
Brahma-kanta
;
;
;
;
;
quadrangular
(lines 24-25).
533
*N ENCYCLOPAEDIA OF
STAMBHA
ornaments the five kinds of
With reference to dimensions and
Rudra-kanta, Siva-kanta, and
columns-Brahma-kanta, Vishnu-kanta,
Padma-kanta (line
Skanda-kanta-are called Chitra-karna (line 31),
Palika-stambha (line 73), and Kumbha-
Chitra-skambha (line 40),
Koshtha-stambha (line 84)
stambha (lines 73> 204). The sixth one,
be two-sided, and hence it is same
in the latter division, is stated to
It should be noticed that the former
or
oq),
as
Kudya-stambha
set of five names
pilaster.
refer to the shapes of
the latter set of five names
based
is
on
columns, i.e. shafts, wlul(
the shapes of the capitals.
and shaft are mcluded.
But in the detailed account both the capital
Columns when in rows, must be in a straight
line.
or five diameters
inter-columniation may be two, three, four,
inner
the
extremity of the
from
in three ways, first
it is measured
the centre of
from
base of one pillar to that of another, secondly
from the outer extremities of the pillars
;
The
'
two
pillars,
including the
and
two
thirdly
There are no fixed inter-columniations in
'
bases.'
Ess. Hind. Arch., pp. 32, 39-)
Indian Architecture. '-(Ram Raz,
Dhvaja-stambha
Cf.
(M
.,
LXIX, 24
,
Dhanya-stambha and Sila-stambha
The shapes and mouldings of the last one (ibid., 16-18)
(M., XLVII, i).
Vrttarh va chatur-aSrarh va ashtas'ra-shodas'atrakam
alahkritam
Pada-tuhge'shta-bhage tu trirhs'enordhvam
:
I
I
tatika ghatam
Bodhikarh mushti-bandham cha phalaka
of the shaft.
These are apparently the five component parts
The entablature, base, and pedestal are separately described
I
:
Kuttimam chopapitham va sopapitha-masurakam (ibid., 21).
ADHISHTHANA and PRASTARA.
See further details under UPAPITHA,
For the component parts of a column,
(2)
Kdmikagama, xxxv
see
further details below.
:
Nava-hasta-pramanantah stambhotsedhah-prakirtitah
Chatur-arhs-am samarabhya shad-daamam yatha-vidhi
II
Bhagat kritvaika-bhagena nyunarh syad agra-vistarah
1
na karayet
Sila-stambharh Sila-kudyam naravase
Jbid.,
LV, 203 (the synonyms)
II
(
1
(24)
1
I
(26)
61)
:
cha jangha cha charananghrikam
Sthanu(h) sthunaS cha padaS
abhidhaSthambho hasto lipyam kamparh (skambham) padanam
I
nakam
(3)
II
Suprabheddgama, xxxi
:
The coloumn compared with
its
Padayamam adhishthanam
Padardharh prastararh
base and entablature
:
dvi-gunarh sarva-sammatam
I
samam
proktarh karnam prastaravat
534
II
(28)
STAMBHA
HINDU ARCHITECTURE
The
shapes of the five orders, the
fifth
being composite of two
Jati-bhedam samakhyatam padanam adhunochyate
:
(53)
1
1
Chatur-asram athashtasrarh shodaSasram tu vrittakam
Kumbha-yuktas tatha kechit kechit kumbha-vihinakah
I
The
five
names and
Sri-kararh
1
characteristic features of the five orders
chandra-kantarh
cha
saumukhyam
(54)
1
:
priya-dars"anam
1
1
(65)
Subhamkari cha namani kartavyani
vis"eshatah
I
Sri-kararh vritta-padanam shodas"asre tu kantakam
Saumukhyam hi tathashtasre turyagre priya-darsanam
Ghatur-asrashta-misre cha pada karya subharhkarl
This last one is the Indian Composite order.
The common features and mouldings of the five orders
Pada nama iti prokto tesharh lakshanam uchyate
1
(66)
1
1
I
(67)
1
:
1
1
(55)
Vistarasya chatur-vimsat(d)-bhagaikam pada-vistaram
Tad-eva dandam akhyatam padalamkara-karmani
1
I
(56)
1
Mula-padasya vistarat saptaikamsena margatah
Dvi-dandarh mandir utsedharh danda-padarh tu vistaram II (57)
Ashtamsam kantham utsedham dvi-dandam kumbha-vistaram
I
I
Utsedham
padona phalaka bhavet
(58)
Tri-dandam vistaram proktarh tad-ardham nirgatarh smritam
Vira-kantharh tu dandena vistaram tat-samam bhavet
(59)
Tad-urdhve potikayamarh tat-tri-padarh tad-uchchhritam
Tri-dandam adhamayamarh chatur-dandam tu madhyamam
Uttamarh pancha-dandam tu potikayamam uchyate
tu tri-padarh hi
1
1
I
1 1
I
1
(60)
1
I
Chitra-patra-tararhgais' cha bhushayitva tu
potikam
(61)
I
Kumbha-padam idam proktarh kumbha-nimnarh prachakshmahe
Padarh potikaya yuktam ^esham karma na karayet II (62)
Kumbha-hmas tv-ime prokta lata-kumbharh tad uchchyate
Kumbhakararh tu tan-mule tad-urdhvam padmam eva tu II
I
I
(63)
Phalakordhve latarh kuryat tach-chhesharh kumbha-pada-vat
Padantare tu kartavyani asaktas chet tu varjayet
(64)
Sarvesham eva padanam tat-padarh nirgamam bhavet II (65)
1
(Of all orders, the projection
of the main prasada
The columns
pas (pavilions) are distinguished
is
I
1
J).
(edifice)
and of the subordinate manda-
:
Prasada-stambha-manasya etat stambham vi­ate
Padadhikam athadhyardharh padona-dvi-gunam bhavet II
Stambhayamashta-bhagaikam stambhasyaiva tu vistaram
I
Vrittam va chatur-aSrarh va chatur-ashtaSra-mi^rakam
Shoda5ara-yutam vapi Silpaih sarvaih su^obhitam
I
535
1 1
(105)
I
(
106)
STAMBHA
ENCYCLOPAEDIA OF
AJi
Stambhach cha bodhikadhikya bodher apy uttaradhika II
Uttarad vajanadhikya tasyordhve mudrikam nyaset
Mudrikach cha tuladhikya jayanti tu taloparill (108)
107)
(
I
ishtakabhis tu tasyordhve kalakan kshipetll
( ;og)
The above passage refers to only a part of the order. The pedestal,
described elsewhere.
(See Suprabteddgama
base, and entablature are
Chhadayed
>
under P!THA and UPAPITHA, ADHISTHANA and PRASTARA.)
The mouldings of the part between the entablature and
the capital
Mandi
and the
(v. 57),
kantha
(v.
shafts, are, as
Kantha, (v. 58),
and Potika (v.
are otherwise
called Bodhika,
Mudrika, Tula, Jayanti, and Tala
(4) Kauliliya-Artha-fastra
(v.
58), Phalaka
(v.
56),
58), Vira-
(v.
60).
59),
The same
Danda
described above, called
Kumbha
base, that is,
(v.
Uttara
(v.
107),
Vajana,
108).
(chap, xxrv, p. 53)
:
parikshepash shad-ayama dvi-guno nikhatah chulikayas"
in fixing a pillar, 6 parts are to form its height on the
chatur-bhagah
twice
as
much
floor,
(12 parts) to be entered into the ground, and one-
Stambhasya
'
fourth for
(5)
its capital.'
R&mayana (18, vi, 3, etc.)
Kanchanair bahubhih stambhair vedikabhis' cha sobhitah
:
Mahdbhdrata (xrv, 2523,
(6)
etc.)
:
Stambhan kanaka-chitrarhS cha toranani
Matsya-Purdna (Chap. CCLV,
(7)
I
v.
1-6)
vrihanti cha
I
:
Athatah sarhpravakshami stambha-mana-vinirnayam
Kritva sva-bhavanochchhrayam sada sapta-gunarh budhaih
As"ity-aihah prithutve syad agre nava-gune sati
RuchakaS chatur-a^rah syat tu ashtaSro vajra uchyatell (2)
I
1
1
I
Dvi-vajrah shodasa^tras tu dva-trirha5rah pralinakah
Madhya-prades"e yah stambho vritto vritta iti smritah
Etc pancha-maha-stambhah pra^astah sarva-vastushu
I
II
(3)
I
Padma-valll-lata-kumbha-patra-darpana-ropitah
II
(4)
Stambhasya navamam^ena padma-kumbhastararh
Stambha-tulya tula prokta hina chopatula tatah n
Tri-bhageneha sarvatra chatur-bhagena va punah
tu
I
(5)
I
Hinam hinarh chaturtharhSat tatha sarvasu bhumishu
(6)
These verses are almost identical in the Brihat-samhitd (LHI, 2^30)
see below
1
1
;
:
(8)
it
2)
Brihat-samhitd (urn, 27-30, J. R. A. S.,
N.
S., vol. vi, p.
285, notes
:
Uchchhrayat sapta-gunad asTti-bhagah prithutvam etesham
Nava-gunite asTtyarhsah Stambhasya da^arh^a-hino'gre II (27)
I
53 6
STAMBHA
HINDU ARCHITECTURE
The
'
eightieth part of nine times the altitude (of the storey) gives the
width of a column at the bottom this diminished by one-tenth is the width
;
of the column at the top.' Kern.
Sama-chatur'asro ruchako vajro'shtasYir dvi-vajrako dvi-gunah
Dva-trirhsasras tu
madhye
prallnako vritta
vrittah
iti
II
I
(28)
A
column with four sides equally rectangular (lit. of four equal corners)
one with such eight sides is called Vajra
is called Ruchaka (= beautiful)
one with such sixteen sides is called Dvi-Vajra one with such thirty-two
and a round
sides at the middle (i.e., by the shaft) is called Pralinaka
one is called Vritta.
Stambharh vibhajya navadha vahanarh bhago ghato'sya bhago'
:
;
:
;
nyah
I
Padmam
tathottaroshtharh kuryad bhagena bhagenall (29)
Commentary quotes Kirana-Tantra ( ? Kiranagama]
Vibhajya navadha stambham kuryad udvahanam ghatam
:
Cf.
1
'
I
Kamalam chottaroshtharh tu bhage bhage prakalpayet
When you divide the whole column into nine parts, one part would
1
be the pedestal (?) the second, the base (?). The capital(?) and also
the upper h'p(?) must be made so as to form one part, each of them.'
(Sts
;
below.)
'
All this exceedingly vague.'
Kern.
Stambha-samam bahulyam bhara-tulanam upary upary asam
Bhavati
tulopatulanam unam padena padena
1
1
I
(30)
column is that of the architraves the
Equal
thickness of the superior cross-beams and upper rafters is lessened by oneKern.
quarter, again and again.'
The eight component parts of the column (order) mentioned in the
Matsya-Purdna, Brihat-samhitd, and Kirana-tantra are (i) vahana, (2)
to the thickness of the
'
ghata,
tula,
padma,
(3)
and
;
(4) uttaroshtha,
(5)
bahulya, (6) bhara
(?
hara), (7)
(8) upatula.
Dr. Kern's conjectural rendering of these terms does not seem tenable.
Nothing can, however, be stated with certainty about their identification
.
a very striking similarity between the number (eight) of the
of
which the Indian and the Greco-Roman orders are composed.
mouldings,
But there
is
below).
(See
(9)
Samgraha-siromani by Sarayu
verses from Vardha-mihira
same three
Prasada (xx,
(B. s. LIU,
132-134), cites the
28-30) as quoted above
The subservient parts of an order, called mouldings, and
(10)
to all the orders, are eight in number.
They are
'
common
The ovolo, echinus, or quarter round (Fig. 867). It is formed
a
by
quadrant, or sometimes more of a circle, but in Grecian
(i)
537
AN ENCYCLOPAEDIA OF
STAMBHA
obtained by portions of an ellipse or some
latter observation is applicable to all
mouldings of Greek examples, and we shall not repeat it in enumerIt is commonly found under the abacus of
ating the rest of them.
ovolo
is also almost always placed between the corona
The
capitals.
examples
section
its
other conic
is
This
section.
form gives it the appearance of seeming fitted to support another member. It should be used
only in situations above the level of the eye.
and
dentils in the Corinthian cornice
its
;
The
talon, ogee, or reversed cyma (Fig. 868) seems also, like
the ovolo, a moulding fit for the support of another.
(ii)
The cyma, cyma
(iii)
trived for
recta, or
a covering and
cymatium
to shelter other
(Fig. 869)
members.
seems well con-
The cyma
recta
only used properly for crowning members, though in Palladio's
Doric, and in other examples, it is found occasionally in the bed
mouldings under the corona.
is
The
(iv)
torus (Fig. 870), like the astragal
presently to be
a rope, and seems intended
tioned,
shaped
to
then the parts
which it is applied while,
like
is
to
men-
bind and streng-
;
(v)
The
scotia or
trochilos (Fig. 871),
which always accompany the
tori,
is
placed between the
usually below the eye
;
fillets
its
use
being to separate the tori, and to contrast and strengthen the effect
of other mouldings as well as to impart variety to the profile of the
base.
(vi)
The
cavetto,
crowning moulding
like the
By workmen
never used.
(vii)
mouth or hollow
is
chiefly used as a
In bases and capitals
a casement.
called
frequently
cyma
it is
(Fig. 872)
recta.
it is
The
astragal (Fig. 873) is nothing more than a small torus, and,
seems applied for the purpose of binding and strengthening.
like
it,
The
astragal
The
is
also
known by
the
names of bead and baguette.
or annulet (Fig. 874) is used at all heights and
iviii)
in all situations.
Its chief office is the separation of curved mouldings from one another.
fillet, listel
of Arch., art., 2532 ; see also Gloss.
Grecian Arch., plates xxxiv, xxxiv, bis.)
(Gwilt, Encycl.
(Attention of the reader should also be drawn to another striking affinity
in both cases they
between the Indian and the Greco-Roman orders
:
are principally five in number : see details below.)
Whatever be the reasons of these affinities, chance or influence, some
of the eight mouldings of an Indian order may be identified with an
amount of
Roman
certainty with the corresponding mouldings of the Grecoorder. Padma means lotus and it is same as cyma. Uttaroshtha,
literally
lower
lip,
and
cavetto,
mouth
538
or hollow, are apparently the same.
STAMBHA
HINDU ARCHITECTURE
(in the Mdnasdra) meaning a chain, and the. latter
Ghata might correspond
the
torus, bead or astragal.
expression implies
Bhara
read as hara
is
to conge, Vahana to abacus,
uttara) to fillet or listel.
Vol. n, pp. 164, 167).
Thambhani
(Pillar Edicts
(12)
vajana and
(also called
with Garuda bird on the top (Badal Pillar
Pillar
(n)
and Tula and Upatula
inscrip., v.
27,
Ind.,
Ep.
of ASoka, no. vn, Ep.
Ind.,
Vol. n,
270).
p.
Stambhatvam
(13)
a
Saila into
pillar.'
pp. 61, 64.)
(14) Pillar
Ep.
(Deogadh
Vol.
Ind.,
'
Sri-Sailam evanayat
Converted the SriPlates
of
v.
Anna-vema,
10, Ep. Ind., Vol. m,
(Vanapalli
.
rv,
p.
.
.
Pillar inscrip. of
Bhojadeva of Kanauj,
lines 6, 9,
310).
(15) Tri-Sula-mudrarhkah svakiyayatana-dvare maha-saila-stambhah
The pillar is (now) called the Lakshmi Kambha, or the pillar of (the
I
'
(goddess) Lakshmi.
'
The upper
inscription).
It
is
part of the pillar
is
ocatgonal (and this part contains the
inscription, the pillar is square.
Immediately below the
stamped with the mark of the tri-ula or
trident,
which
is
the
weapon
of Siva, was set up in the middle of the three shrines by a sculptor named
Subhadeva.' -(Pattadakal inscrip. of Kirtivarman II, line 1 8, Ep. Ind., Vol.
in,
pp.
i, 3, 5, 7.)
A
four-faced pillar made of stone (A. D. 1250) now " lying in the
temple of Venugopala in the Kistna District." (Yenamadal inscrip. of
Ganapamba, Ep. Ind., Vol. in, pp. 94, 96.)
(16)
'
(17)
1050)
is
This inscription (Sravana-Belgola Epitaph of Mallisena, Saka>
faces of pillar on a hill at Sravana-Belgola in Mysore.'
on four
(Ep. Ind., Vol. in, p. 184.)
(18) Sila-stambha
stone pillar,
(?) solid.
(Sravana-Belgola Epitaph of Mallisena, v. 9,
Ep.Ind., Vol. m, pp. 190, 186.)
(19)
Used
in the sense of
danda
(a
measure)
:
TriihSat-stambha-prarnana-pushpa-vatika.
I
inscrip. of Silhara Vijayaditya,
line 22, Ep. Ind., Vol. m, p. 213.)
(Bamani
At the eastern entrance of this temple (named Kunti-Madhava
Pithapuram, in the Godavari District) in front of the shrine itself,
'
(20)
at
stands
(still)
(21)
or the
lihga,
The
a quadrangular stone pillar.'
(Salotgi) pillar is inscribed on
(Ep. Ind., Vol. rv, p. 32.)
all its four faces
on the front
above the writing, are some sculptures, towards the top a
and below it a cow and a calf and something else which has been
'
first face,
defaced.'
(Ep. Ind., Vol. iv, p. 57.)
539
:
AN ENCYCLOPAEDIA OF
STAMBHA
(22) Sila-thabe
cha usapapite
:
he caused a stone
pillar to
be erect-
ed.'
(The Asoka Edicts of Paderna, line 3, Ep. Ind., Vol. v, p. 4.)
The Vishnu temple of Kurmesvara at Srikurman near Ghicalcole
(23)
in the Ganjam District contains many inscribed pillars of hard black stone
'
which have successfully withstood the influence of the climate.' -(Ep.
Ind.
Vol. v, p. 31.)
(24)
Chakre
Punye
.
.
.
Vijaya-stambham ambhodhi-tlre
sahyadri-sVirhge
1
1
tri-bhuvana-vijaya-stambham
II
(Four inscrip. of Kulottunga-Chola, no. A
vv. i, 2, Ep. Ind., Vol. v, p. 104).'
This inscription (Sravana-Belgola Epitaph of Marasimha II)
was engraved on the four faces of the base of a pillar, which is known as
the Kuge-Brahma-deva-Kambha, at the entrance to the area, occupied by
the temples on the Ghandragiri hill at Sravana-Belgola.
'
(25)
'
(Ep. Ind., Vol. v, p. 151.)
Mana-stambha (Sravana-Belgola Epitaph of Marasimha
(26)
II,
line
109).
(Ep. Ind., Vol. v, pp. 1 78, 171, note 5.)
honour
",
is
"
Mana-stambha", which means literally "a column of
explained by Mr. Rice (Inscrip. at Sravana-Belgola, Introduc-
The word
"
the elegant tall pillars, with
tion, p. 19, note 2) as denoting technically
"
a small pinnacled mantapa at the top, erected in front of the Jain temples
and he
refers us to
Eastern Architecture,
a discussion regarding _them in Fergusson's Indian and
Dr. Fleet (see below).
p. 276.'
Mana-sthambha
(27)
Jaina pillar (Krishna Sastri refers also to Epnote
5).
171,
Manastambhas, which are generally graceful, high and imposing,
Ind., Vol. v, p.
'
The
have to be distinguished from other Jaina
nor bearing any mandapas on their tops.
pillars neither so tall as the
These
latter are called
former
Brahma-
deva-pillars (cf. Brahma-kanta, in the Manasdra] and appear to be usually
The Tyagada-Brahma-deva pillar
set up in front of colossal statues.
(figured
on plate facing
33 of the Introduction to Mr. Rice's Sravanaup opposite to the collosal statue on the Dodda-
p.
is set
Belgola inscriptions)
betta hill at Sravana-Belgola
into the bastis
;
the
Kuge Brahma-deva
on the Chikkapetta
hill
entrance
of the same village, indicates perpillar at the
haps the existence of the unfurnished colossus on that hill (ibid., p. 29,
note i), and the colossi at Karkala and Venur have similar pillars in
front of them, bearing an image of Brahma-deva on their tops (Govern-
ment Epigraphist's Annual Report
for 1900-1901, paragraphs 6 and 7).'
of
a
similar
pillar at Venur is given in Ind. Ant., Vol. v,
lithograph
(Karkala inscrip. of Bhairava II, Ep. Ind., Vol. vi i,
plate facing p. 39.'
'
A
p. 123,
note
2.)
54
HINDU ARCHITECTURE
Trai-lokya-nagararambha-mula-stambhaya sambhave
(28)
'
STAMBMA
He
is
I
for the erection of the city of the three
the foundation-pillar
worlds.'
(Inscrip. at Ablur, no. E, line i, Ep. Ind., Vol. v, pp. 245, 252.)
It (Srikurmam inscrip. of Nara-hari-tlrtha) is inscribed on the
(29)
east and north faces of one of the black granite pillars, which support the
hall enclosing the temple.' -(H. Krishna Sastri, Ep. Ind., Vol. vi, p. 260.)
lion pillar (no. i).
(30) Siha-thabo
Sihadhayana-thambho (no. 7).
Sasariro thabo pillar containing relics (Senart).
(Karle Cave
Vol.
nos.
also
8, n, Ep. Ind.,
i, 7, 9,
vir, pp. 49, 53, 54, 55, 56.)
inscrip.
tilakita-stambhah
(31) Chanchat-kirtti-patakaya
pratishthapitah
I
All erected the famous pillar adorned
Yasyagre Garuda
the Garuda at the top.'
with a waving banner of fame
no.
of
Tammusiddhi,
A, Tiruvalabgadu inscrip., v. i2>
(Two inscrip.
'
.
.
.
.
.
.
Ep. Ind., Vol. VH, pp. 123, 125.)
The
'
(32)
engraved on
(Sravana-Belgola inscription of
inscription
three faces of a quadrangular pillar behind the
Trugapa) is
image of the
Kushmandinl YakshI which is set up in the Brahma-deva-mandapa
Gummata temple on the Vindhyagiri at Sravana-Belgola.'
in front
of the
(Dr. Luders, Ep. Ind., Vol.
viii, p. 15.)
Mr. Rice, the inscription (Talagunda pillar inscripAccording
(33)
tion of Kakusthavarman) is engraved on a pillar of very hard grey granite,
which stands in front of the ruined Prabhavesvara temple at Talagunda,
in the Shikarpur Taluk of the Shimoga District of the Mysore State.
The
pedestal of the pillar is 5 feet. 4 inches high and i foot 4 inches at the top,
a little more at the base. The shaft is ocatgonal, 6 feet 4 inches high
('judging by the length of the lines, the shaft must really be slightly
higher"). Each face being 7 inches wide, but tapering slightly towards
to
the top.'
(Prof. Kielhorn, Ep. Ind., Vol.
(34)
in front
(35)
nos.
vm,
p. 24.)
i-vm are engraved on ocatognal
pillars
Alupa inscriptions
and in the courtyard of the Sambhukallu temple
at Udiyavara.'
(Ep. Ind., Vol. ix, p. i-jf.)
Stambho'yam nagarasya
'
this
is
the city pillar.'
(Ranker
inscrip. of
Bhanudeva,
v. 6,
Ep. Ind., Vol. rx, p. 126.)
In 1848 Captain J. D.
(in. J. R. A. S., Bengal, Vol.
thus
near
to the western edge of the
i, p. 305 ff) proceeds
similar lake stands the wand or pillar (in the town of Pithari in the Bhopal
Agency of Central India) now called Bheem Sen. It is composed of a
(36)
Cunningham
'
xvn, part
:
single block about 30 feet, in height
in section, for a height of 8 feet, and
and 2|
it
541
thick.
The
shaft
then becomes circular.'
is
square
AN ENCYCLOPAEDIA OF
STAMBHA
General Sir A. Cunningham (in his Archaeological Survey of
Inside the town on the top of the
Vol.
x, p. 70), noticed thus
India,
The shaft is
is a tall monolith with a bell-shaped capital.
there
slope,
and
feet
inches
2
feet
inches
9
3
high
square
circular, rising from a base 8
In 1880
'
:
and from their (of the letters of the inscription on the pillar)
would assign the monument to somewhere about A.D. 600.
shapes
Close by this pillar there is a small temple with Vishnu sitting on Garuda
.
.
I
over the door-way.'
The main
object of the inscription
of which a vivid description
is
to record the erection of the pillar
is
given.
(Pathari Pillar inscrip. of Parabala, vv. 24-29,
Ep. Ind., Vol. ix, pp. 254, 248, 249, 250.)
In front of the temple is an inscribed quadrangular pillar of black
relief within a countersunk square at the top of each of
granite bearing in
its four faces, the figure of a squatting Jaina ascetic with his arms folded
'
(37)
over his lap crosswise.'
thousand-pillared temple in the middle of the village of Anmakonda was built by Prola's son Rudra in or about A. D. 1162-1163
'
The
(Ind. Int., vol. xi, p.
9
f.).'
(
Anmakonda
inscrip. of Prola, Ep. Ind.
Vol. ix, pp. 257, 256, note 8.)
,
verse (quoted below) invokes the blessings of Vinayaka
are told, was placed on the column to ensure prosperity
(Ganapati)
a
at the top by
quadruple image of Ganapati, facing the cardinal direc'
(38)
The
first
who, we
tions.'
Siddhim karotu sarwattra stambha-dhama-Vinayakah
I
(Ghatiyala inscrip. of Kakkuka, no. n, v. i,
Ep. Ind., Vol. ix, pp. 280, 278-279.)
Kamaniya-sila-stambha-kadambottamvltamvaram
ViSarhkatavitamkali-virajad rarhga-marhtapam
It (the temple) has a large Ranga-mandapa raised on a collection of
beautiful stone pillars and adorned with rows of spouts.'
(Krishnapuram
1 1
(39)
1
1
'
Plates of Sada&varaya, v. 55-56, Ep. Ind., Vol. ix, pp.
The two (Nalamba
336, 341.)
from Dharamapuri of the ninth
century A. D.) are engraved on the four faces of a pillar, which was removed in 1904 from Dharmapuri in the Salem District to the Madras
Museum.'
The pillar measures 5' 4^" by i' 4" on the east face, 5' 6" by i' 4"
on the west and 5' 5^" by i' 3* on the north and south faces. It is surmounted by a pinnacle from which proceed in the eight directions eight
petals, which open downwards and are slightly raised at the edges where
The pillar was built into the
they meet the margins of the pillar
'
(40)
inscriptions
'
.
floor of a
pura.'
.
.
mandapa, in front of the Mallikarjuna temple at old
(H. Krishna Sastri, Ep. Ind., Vol. x, p. 54.)
542
Dharma-
STAMBHA
HINDU ARCHITECTURE
the pillar was
Matri-pada-sri-nimitte stambhakah pradattah
in
of
mother.'
Chahamanas
of Marwar,
(The
memory
(their)
presented
no. xvn, Sanderav stone inscrip. of Kelhanadeva, line i, Ep. Ind., Vol. xi,
'
(41)
P- 52.)
Tenanena Sri-ganapati-deva-maha-rajena sakala-dviparhta-ripadesamtara-pattaneshu gatagatarh kurvvanebhyah samya-kritebhya evam
abhayasasanarh dattam
Ganapati-devah kirtyai sthapitavarhs chhasana-stambham
(42)
I
1
1
By this glorious Maharaja Ganapati-deva the following edict (assuring) safety has been granted to traders by sea starting for and arriving from
all continents,
islands, foreign countries, and cities
Ganapatideva set up for the sake of glory (this) edict-pillar.'
'
.
.
.
(Motupalli pillar inscrip. of Ganapati-deva,
lines 135-140, v. 28,
Ep. Ind., Vol. xn,
pp.
(43)
195, 196,
197.)
Agrya-dhama-sreyaso veda-vidyavalllkandah svah sravantyah
tam
kirl-
I
tala-brahma-lokah
1
karnnavatiti
yena
Vra(bra)hma-stambho
pratyashthapi kshma-
1
He
'
set up the pillar of piety, called Karnavati, the foremost abode of
the
root of the creeping plant, knowledge of the Vedas, the diadem
bliss,
of the stream of heaven, the world of Brahman on the surface of the earth.'
(Khairha plates of Yasahkarnadeva, v. 14, Ep. Ind., Vol. xn, pp. 212, 216.)
Kirti-stambham (pillar of victory) nikhaya tri-bhuvana-bhavana-
(44)
stuyamanapadanah
I
(Conjeeveram plates of Krishnadeva-Raya,
Saka 1444, v. 9, Ep. Ind., Vol. xni,
p. 127.)
(45)
Sthapayitva dharani-dharamayan sannikhatas tato'yam saila-stam-
bhah su-charur giri-vara-ikharagropamah kirtti-kartta
There was then planted in the ground this most beautiful pillar of stone,
which resembles the tip of the summit of the best of mountains, (and)
which confers fame (upon him).'
1
(Kahaum
lines
no.
(46)
Dhvaja-stambha,
1
stone pillar inscrip. of Skandagupta,
11-12, C. /. /., Vol. ni, F. G. I.,
15,
pp. 67, 68.)
also called simply
'
'
dhvaja
:
Matri-(ta)pittroh punya-pyayanartham esha bhagavatah punnya-
janarddanasya Janarddanasya dhvaja-stambho'bhyuchchhritah
This flag-staff of the divine (god) Janardana, the troubler of the demons, has been erected, for the purpose of increasing the religious merit
1
1
'
of (their) parents.'
'
Vishnu-pada girau bhagavato vishnor dhvajoh sthapithah
This lofty standard of the divine Vishnu was set up on the
Vishnupada.'
(Eran
stone
pillar
inscrip.
543
of
Budhagupta,
I
hill
(called)
lines
8-9
;
STAMBHA
AM ENCYCLOPAEDIA Of
Mcharauli posthumous iron pillar inscrip. of Chandra,
F. G. I., nos. 19, 32, p. 89 and note 1,90; 141, 142.)
The
/. /.,
Vol.
m,
lower part of the pillar (at Eran) is now broken
the remnant of it is about 3' 1 1" high and i' 6" in diameter.
hollow part is octagonal
and the inscription (Eran posthumous
'
(47)
away and
The
line 6, C.
original
lost
;
;
stone pillar inscription of Goparaja, no. 20) is at the top of this octagonal
.
part, on three of the eight faces, each of which is about 7" broad
.
Above
this the pillar
is
Above
sixteen-sided.
it is
this,
again octagonal
(and the faces here have sculpture of men and women, who are probably
intended for the Goparaja of the inscription and his wife and friends the
;
;
compartment immediately above the centre of the inscription represents
a man and a woman, sitting, who must be Goparaja and his wife). Above
this,
the pillar
.
.
is
Above
.
again sixteen-sided. Above this, it is once more octagonal
over in sixteen flutes or ribs, into a
this the pillar curves
round top'.
As noted by Cunnigham, there are several other Sati-pillars (in commemoration of a Sati), but of much later date than at Eran.' -(C. /. /.,
Vol. m, no. 20, pp. 91, 92, note 2.)
'
(48)
The
boundary-pillar
Siva-dasena vala-yashti uchchhritah
:
(this)
boundary-pillar has
been set up by Sivadasa.' (Bhumara stone pillar inscrip. of the
Maharajas Hastin and Sarvanatha, lines 6-7, C. I. I., Vol. in,
F. G.
The
'
(49)
I.,
no. 24, pp.
in,
1
12.)
posthumous iron
inscription (Meharauli
pillar inscription
of Chandra, no. 32) is on the west side of a tapering iron column, sixteen
inches in diameter at the base and twelve at the top, and twenty-three feet
near the well known Kutb Minar in the ancient
eight inches high, standing
fort of
Ray
Pithara.'
(C.
I.
/.,
Vol.
nayito'ttra
I.,
avani-bhuja
(50) Tenakalpanta-kalavadhir
sthambhah
F. G.
m,
no. 32, p. 140.)
Sri-Yasodharmmanayarh,
sthambhabhirama-sthira-bhuja-parighenochchhritirh
1
1
.
one of the two Rana-stambhas or columns of victory in war at
Mandasor. Their architectural characteristics are given by Dr. Fleet
Of the first one he says The base of it is rectangular, about
This
is
:
'
From this base there rises a
about 8J" broad, where it starts
The total length of which (the shaft) was
from the base
The next
thus about 39' 3" or 34' 10* above the base
is
this column, the lower part of the capital,
of
part
.
3' 4" square by 4' 5" high
sixteen-sided shaft, each of which
.
.
.
.
is
.
.
.
.
...
a fluted
bell,
about
2'
6" high
and
3' 2* in diameter, almost identical
a small pillar from an old
design with the corresponding part of
Gupta temple at Sanchi, drawn by General Cunningham (in the
in
544
STAMBHA
HINDU ARCHITECTURE
Vol. x,
Arch. Sum. Ind.,
plate xxn, no. i
to the top of the lion-capital,
length of this column, up
or forty feet above the
The
buried.
.
.
).
is
The
total
about 44'
5",
stood with the entire base
if it
ground,
.
square lion-capital must have surmounted by a statue
or statues, of the same kind as that which stands on the
of the column at Eran.'
(See above and Arch. Surv. Ind.,
summit
Vol. x.
and plate xxvi.)
base (of the other column about 20 yards north) is rectangular,
about 3' 3" square by 3' n" high. Differing from the first column, the
base is followed by a concave circular part, about i' o" high
From this there rises a sixteen-sided shaft, each face of which is about 8"
p. 8 1
The
'
.
capital,
,
This column also tapers
it starts from the base
the fluted bell part of the
from bottom to top
about 3' o" high and 3' 3" in diameter (is) similar in design to the
broad, where
slightly
.
.
.
.
.
.
.
same part of the capital of the other pillar
one circular and eight rectangular socket-holes, just
.
.
.
the
top
has
as in the top of the lion-
capital of the first column.'
The two inscribed columns were evidently intended as a pair,
the full view of the second cannot be taken.
(From the distance
'
though
between
them, from the difference in the detailed measures, and from the analogous
Eran column, as shewing the way in which they must have
been finished off at the top, they can hardly have been connected by a
beam, after the fashion of a torana or arched gateway and there are no
instance of the
;
which they can have belonged). They are evidently
any
of
two
actual
instance
Rana-stambhas or <; columns of victory in war,"
an
traces of
temple to
V
Kauthem
grant of Vikramaditya
(Ind. Ant., Vol. xvi, p. 18)
of
as
been
set
having
speaks
up by the Rashttrakuta king
Karkara or Kakka III, and as having then been cut asunder in battle by
the western Chalukya king Taila II.'
(C. I. I., Vol. m, F. G. I., no. 33,
such as the
.
.
.
line 7, pp.
'
(51)
147,
The
143
f.)
inscription
(Pahladpur stone
pillar inscription,
F.
G.
I.,
on a sandstone monolith column about 3 feet in diameter,
with a rough base of 9
polished and rounded for a length of 27 feet
the total length being 36 feet
in or about 1853 removed
feet,
to Benares and set up in the grounds of the Sanskrit College there.'
no. 57)
is
;
.
.
.
(C. /. /., Vol. m, F. G. I., no. 57, p. 249 f.)
Kritau
Varikena
(52)
pundarlke yupo'yaih pratishthapitas
On the ceremony of the Pundarika sacrifice (having been performed),
this sacrificial post has been caused to be set
up by the Varika.'
.
.
.
i
'
The
architectural characteristics of this (sacrificial) column are given
Dr.
Fleet
The pillar (Bijayagadh stone pillar inscrip. of Vishnuby
vardhana of A.D. 372) stands on a rubble masonry platform (which is
'
:
545
AN ENCYCLOPAEDIA OF
STAMBHA
much more
plainly of
recent construction than the pillar itself), which is
The height of the pillar
9' 2" square at the top.
13' 6" high and
above the plinth is 26' 3". The base is square,
each face measuring i' 6". Above this, the pillar
about
to the height of 3' 8".
is
octagonal, for a length
The extreme top is however
from
which
it, indicates that it was
spike,
projects
side
of the pillar, towards
originally surmounted by a capital on the south
the top of the square base there is engraved a Srlyogi Vra(Bra)hmaof 22'
7",
broken
;
and it then
and a metal
tapers off to a point.
sagara (the holy ascetic, Brahma-sagara).'
This may be compared with the Brahma-kanta column of the Mdnasdra,
(Bijayagadh stone pillar inscrip. of Vishnu,
vardhana, line 3, C. /. /., Vol. u, F. G. I.,
no. 59, pp. 253, 252.)
Sphara kupara-tiravali-nihita-jaya-stambha-vinyasta-klrttih
Who has deposited his fame in pillars of victory, which he erected
in an uninterrupted line on the shore of the great ocean.'
(Vijayanagara inscrip. of Devar ja n, v. 5,
(53)
I
'
H.S.I. I., Vol.
i,
no. 153, pp. 163, 165.)
(54) Sakra-pratapas tri-bhuvana-vijaya-stambham ambhodhi-tire
1 1
sahyadri-sringe tri-bhuvana-vijaya-stambham ambhodhi-
Punye
pare
I
(Tiruvallam inscrip. of Rajaraja, v. i, 2,
H.S.I.I., Vol. i, no. 155, p. 1 68.)
(55)
'
Trailokya-nagararambha-mula-stambhaya Sambhave
II
Adored be
worlds.'
Siva, the original foundation-pillar of the city of the three
(Ep. Carnal., Vol. i, no. n, pp. 35, 57, first para.)
(56) Hire-chavutiya-RamesVara-devara-gudiya-kallu-kelasa madisi dipabuilt of
male-kambada
had the temple of RamesVara in Hire-Chavuti
stone and erected a dipa-male pillar.'
(Ep. Carnal., Vol. vm, Part
'
Taluq, no. 238
;
Roman
text, p.
77
;
i,
Sorab
Transl., p. 37.)
When Sivappa-Nayaka was protecting the kingdom in righteous(57)
ness (on a date specified), through the agency of
Siddha-Basappayya
'
of the treasury, this dhvaja-stambha (or flag-staff) was
set up.'
(Ep. Carnal., Vol. vm, Part i, Sagar
Taluq, no. 38 ; Transl., p. 97.)
'
In order that they both might acquire merit (the couple), in(58)
formed the guru that they would erect a mana-stambha in front of the
NemisVara chaityalaya which their grandfather, Yojana Sreshthi, had
built.
had a
.
.
.
On
a propitious day they carried out their promise and
made. Meanwhile, to Devarasa were born
pillar of bell-metal
twin daughters, Padmarasi and Devarasi, and taking that as an
auspicious
omen, they had the bell-metal pillar, which had been made, set up in front
of the chaityalaya. And upon the pillar
they fixed a golden kalasa of the
same height as that of the twins, Padmarasi and Devarasi.
54 6
STAMBHA
HINDU ARCHITECTURE
'
To
In dimension like a mast of the
mana-stambha
of dharma and in the midst of the group (of temples) the mana-
describe the
great ship
:
stambha (towered up) as if gathering the constellations in the sky like
flowers with which to worship the feet of the four Jaina images.'
In front of NemisVara Jina's temple, a mana-stambha of polished
bell-metal, with a golden kalasa, on the instruction of Abhinava-Samanmads
tabhadra-Nagappa-Sreshthi's son, Ambvana-Sreshthi caused to be
manaa rod for the umbrella of dharmma. Thus did they have the
'
stambha made.'
(Ep. Carnal., Vol. vni, Part
Roman text, p. 192 f.
i,
Sagar Taluq, no. 55
;
Transl.,
p.
;
102, last
two paras.)
When
Mahamandalesvara Saluvendra-maharaja, without
(59)
with beautiful lofty
any enemies, was ruling the kindgom in peace
of
with
mana-stambhas
of bell-metal
with
chaityalayas,
mandapas,
groups
with pleasure-groves for the town, with many images of metal and stone.
'
the
:
no. 163
(Ibid.,
Roman
;
text, p. 234, line
27
;
Transl., p. 124.)
'
(60)
Glorious with a mana-stambha, a lotus pond and a moat.'
(Ep. Carnal., Vol. vni, Part i, Tirthahalli Taluq,
no. 166; Transl., p. 196, second para.).
(61)
60;
Dlpa-maleya-kambha
Roman
text, p.
194,
-(Ibid., Sagar Taluq, no.
bottom upwards, and p. 103;
lamp-stand-pillar.
third line from the
Transl., p. 103, second para.)
'
Bommanna-setti's son Machirusa-setti had
this dipamale
pillar
made.'
(dipa-maleya-kambhakke)
This inscription is at the base of Garuda-kambha in front of the
GopalaKrishna temple in the fort.' (Ep. Carnal., Vol. ix, Bangalore Taluq, no. 16,
(62)
'
Transl., p. 7
'
(63)
;
Roman
Heggunda
text, p. 9.)
Baira-Dasa's
gangenatha, on the rock in
(Kambha). (Ibid.,
pillar.'
son
for the god
SivaMachas"ale set up this dipamale
Nelamangala Taluq, no. 37; Roman
Mara-Dasa,
front of the
Vol.
ix,
text p. 59; Transl., p. 49.)
'
(64)
Chika-Ankiya-Nayaka, from
love
to
the
god Tirumalenatha,
'
up in front of it this dipamale pillar (Kambha).
Devanhalli Taluq, no. 40 ; Roman text, p. 97 ; Transl., p. 79.)
set
'
(65)
Chandalir-Deva-ravutta had
this
Vol. DC,
pillar made for the
Hoskote taluq, no. 131
dipamale
god of Varadaraja of Vogatta.' (Ibid., Vol.
Roman text, p. 128; Transl., p. 104.)
'
(Ibid.,
ix,
;
Who
(Sri-Rajendradeva), having conquered the Irattapadi seven
set up a pillar of victory
(jaya-stambha) at
Vol.
Roman text, p. 35 j
Carnal.,
x, Kolar Taluq, no. 107
(Ep.
Kollapuram.'
(66)
and a half lakh (country),
;
Transl., p. 35.)
547
Had
'
(67)
ENCYCLOPAEDIA OF
^JV
STAMBHA
this
mana-stambha made.'
(Ibid.,
Mulbagal Taluq, no. 59;
Transl., p. 91.)
for the Sarvaprishtha and Aptoryama
Vol. x, Bagehalli Taluq, no. 17 ; Transl., p. 233.)
(sacrifices). '--(Ibid.,
'
up the yupa-stambha
Set
(68)
Those who did the work (Devambudhi tank)
the
Gantemadana Basavana made the pillars (kambha), Komaraiya
of the
stones
the
built
ornamental work, and the stone-vedda Chenne-Boyi
:
'
(69)
embankment.'
(Ep.
Vol.
Carnal.,
para. 2.)
Tumkur
xn,
taluq, no. 24
Transl., p. 8,
;
,
foundation pillar of the palace.
no. 13 Roman text,
(Ibid., Gubbi Taluq,
'
Harmya-mula-stambhanum
(70)
;
p. 36,
'
pillar
Linga-mudre-stambha
(71)
second line
of
the
first
portion; Transl., p. 19, para.
marked with the linga."
prose
3.)
Vol. xn, Tiptur Taluq, no. 108 ;
Roman text, p. 102 ; Transl., p. 64.)
(Ibid.,
We
'
(72)
erected this
have had the
village built,
Garuda-Kambha, and had
up (the god) Sanjivaraya,
tank and well constructed.'
set
this
Sira Taluq, no. 92 ;
Transl., p. 101, line 2 f.)
(Ibid.,
carved
supported by four very elaborately
into octagons at a little above
columns, nearly square at the base, changing
circular under square abaci.
one-third their height. The capitals are
in the
These again are surmounted by square dwarf columns terminating
works.'
usual bracket capitals of the older Hindu
Ind. Ant.,
(The temple of Amarnath,
The
<
(73)
roof of this hall
is
Vol. ni, p. 317,
Malakaraya
(74)
'
This
pillar
is
Mugu
(palitasya
c. 2,
para,
i,
middle.)
de)yadharmah stambhahjl
the benefaction of the gardener Mugupalita.'
Vol. VH, Kuda inscrip.,
(Ind. Ant.,
no. 9, pp. 256-257.)
dated
Samvat
from Nepal, no. I,
(75) 'This inscription (Inscriptions
to the left of the
of
broken
the
the lower part
pillar placed
386) is incised on
about five miles to the north-e
of
door of the temple
of
The
Katmandu.
Changu-Narayana,
pillar
about 20
feet
high
is
without the capital.
i
octagonal, higher up
square, half of the upper part
crowned
was
it
becomes sixteen-cornered and finally round. Originally
surmounted by a Garuda, about 4 feet high,
a
Its
lower half
is
is
i
by
lotus-capital
kneeling on one knee. The workmanship
the flowing locks, which occur frequently
and
Indraji and
the sculptures of the Gupta period.' Pandit Bhagwanlal
like
a winged
the
G
is
man
very good,
<
figure shews
Vol. DC, p. 163,
c. i,
para. 2.)
of the village there is a mode
south-west
the
outside
gate
(76) 'Just
a stone dhvaja-stambha standing i
shrine of the god Hanumanta, with
Dr
Biihler.
(ltd. Ant.,
548
HINDU ARCHITECTURE
front of
it.
STAMBHA
Into the pedestal of this
dhvaja-stambha there has been built
stone.'
Dr. Fleet.
(Sanskrit and Old Ganarese
a virgal on monumental
inscrip., no.
'
LXIX, Ind. Ant., Vol. ix, p.
There stands a monolith
96.)
which the inscription referred
of
red
sandstone.
engraved) apparently
The pillar is called
Lakshmi-Kambha or the "pillar of the goddess Lakshmi," and is
worshipped
as a god.'
(77)
below
to
'
pillar (on
is
The upper
of the pillar
part of the pillar is octagonal. Below the octagonal part
a square four-sided division.'
is
no.
(Ibid.,
cxi, Ind. Ant., Vol. x, pp. 168, 169.)
(In villages of eastern Bengal there is a custom to call one of the
pillars
in the house of each
family, the Lakshmi pillar and to worship it as a god.)
'
The central tower or compartment of each face is ornamented
simply by sixteen-sided pilasters at the angles
the pilasters are
octagonal, whilst the outer compartments or towers at the four corners
of the temple have plain
square pillars and pilasters.' (Gangai-Kondapuram Saiva Temple, Ind. Ant., Vol. ix, p. 117, c. 2.)
(78)
...
(79)
Bhagvato Budhasa puva-dare ayakakarh 5 sava niyute apano
deyadhamma savatana hata-sukhaya patithapitati (no. i, line 5-6).
Bhagavato Budhasa maha-chetiya (puva) dare aya(ka)-kharhbhe
pamcha 5 savamyute apano deyadhammam (no. H, line 6.)
Bhagavato Budhasa maha-chetiya puva-dare
ayaka-khambhe
save
apano
niyute
patithavitati
1
deyadhamma
sava-satanam hita-sukhaya
1
'Erected near the eastern gate of divine
Buddha, five (5) Ayaka-pillars
which were dedicated for the good and the welfare of all
living beings.
I am unable to say at
present what is meant by the epithet ayaka or
"
"
It is possible to connect it either with
ayaka.
venerable
or
aryaka
with ayas " iron, metal." But I think it more
that
the
word
has
likely
some technical meaning. Dr. Biihler.
"
"
I would suggest
or " frontal "
lofty
they were pillars about 16 feet
'
'
;
high, erected on the east front of the stupa, exactly as
represented on
the Amaravati slabs bearing
representations of stupas.'
Dr. Burgess.
(Inscrip.
from Jaggayyapetta,
Ind. Ant.,
nos.
n,
i,
Vol. xi, pp. 258, note
5
:
(80) Prathama-vihita-kirtti-praudha-yajna-kriyasu pratikritim iva
yarii
mamdape yupa-rupam
nav-
I
Iha Kanakhala-Sambhoh sadmani stambha-malam
amala-kashanapashanasya sa vyatatana
He erected in the mandapa of this temple of Kanakhala-Sambhu
1
'
m,
259.)
a row of
pillars
made of pure
1
black stone and shaped like sacrificial
posts,
549
A* ENCYCLOPAEDIA OF
STAMBHA
for the high
a modern imitation, as it were (of those which were used)
famed sacrifices of yore.'
Bhimadeva n, v. 12,
inscrip. of the reign of
c. 2.)
2
c.
;
Ind. Ant., Vol. xi, p. 221,
p. 222,
(An Abu
Thabha, thabha, thambha, thambha (pillar,
sthambhah) gift of some person or persons. (Bharaut
(81)
26, 35, 37, 64, 66, 67, 69, 70, 71, 75
P-
227
pillars,
stambha or
inscrip., nos. 22, 25,
81, 88, 90, 94, 96, 97, Ind. Ant., Vol. xxi,
f.)
In one of the inscriptions (the one entitled I, A. of Bhagavanlal
and Biihler), the interpretation of which, it is true, is very doubtful, it would
if so, the
seem that reference is made to an army, to war and victory and
have been both a dharma-stambha and a jaya-stambha, a
pillar would
monument of devotion and a trophy of victory.' (The inscrip. P. on the
"
(82)
;
Mathura
'
(83)
Vol.
lion-capital, Ind. Ant.,
xxxvn,
last sentence.)
p. 245, para. 3,
Caused basadis and mana-stambhas
to
be erected in numerous
places.
Mana-stambha is the name given to the elegant tall pillars with
the Jaina temples.'small pinnacled mantapa at the top erected in front of
'
a
Ind. and East. Arch., pp. 270,
photographs nos. 149, 155, Fergusson,
Vol. n, inscrip. on
276, and his description quoted below).- (Ep.Carnat.,
line
no.
121,
5; Roman text,
Transl.,
Sravana
p.
38;
Belgola,
Chandragiri,
(See
p. 7, line
(84)
16
;
Introduction, p. 19, note 2.)
'The sub-base
photo nos. 149, 155)
the base itself is square, changing into an octagon
approaching a circle and above a wide-
(of these
mana-stambhas,
square and spreading
and thence into a polygonal figure
most elaborate design.
spreading capital of
but
it is not so in reality.
top-heavy,
is
;
appear
ought to have something to carry.
;
To many
If
you
this
may
at first
erect a pillar at
Those we erect are coped from
all, it
pillars
meant to support architraves and are absurd solicisms when merely supnot accustomed to them and our eye
porting statues we have, however,
better proportioned to the work to be done is
is offended if
;
anything
at the breadth of the base and the strength of the
proposed but looking
here exhibited would be found disproportionately
than
shaft, anything less
;
small.'
the tower or square part of these (mana)-stambhas we find that
from Irish
curious interlaced basket-pattern, which is so familiar to us
it
is equally
the Irish crosses
manuscripts or the ornaments on
into
Danube
the
of
the
traced
be
and
can
valley
up
common in Armenia
'
On
.
central
Europe
nor have we, so
,
but
.
we do not know,
can rely for its
which
we
know, any indication on
how it got
far as I
.
to the west coast of India
introduction.'
55
STAMBHA
HINDU ARCHITECTURE
(Under the circumstances,
is it
not easy and reasonable to give the credit
of the invention to the Indian architects
?).
(Fergusson, Ind. and East. Arch., pp. 276, 277.)
sma
(85) Sila-stambham
sthapayati
erected.'
(Ep. Carnal., Vol. n, no. 46
upwards
;
;
'
a
caused
Roman
stone
be
to
pillar
text, p. 22, line 5,
from bottom
Transl., p. 127, line 6.)
Tasya Jayastambha-nibhaih silaya stambharh vyavasthapayati
a stone pillar (for her) as if a pillar of victory, did Laksma Lakshmih
shmi erect.' (Ibid., no. 49, last verse Roman text, p. 28 Transl., p. 128.)
(86)
'
;
;
Kambakke yakshanam
(87) Srl-Gommata-Jina-padagrada chhagada
For the pillar of gifts in front of Sri-Gommata Jinapa, he
madisidam
had a Yaksha made.' (Ep. Carnal., Vol. n, no. no Roman text, p. 86;
'
;
Transl., p.
'
170.)
Bachappa, son of Kirtti of Aruhanahalli,
(88)
elder brother
Tammarappa,
on the death of
in conjunction with that deva's
chakka, had his form engraved on a pillar (kambha) and
(Ep. Carnal., Vol. in, Malavalji Taluq, no. 13 ; Transl., p 56
;
p.
1 1
queen Bayiset
it
up.'
Roman
text,
6.)
The
'
(89)
.
his
.
a
.
royal karanika Devarasa set
Dipa-stambha.'
Carnal.,
(Ep.
up
Vol.
in the
iv,
name
of his father
Chamarajnagar Taluq,
no. 156, Transl., p. 20.)
Made
'
(90)
shmi-kanta.'
p.
a grant of a Dipa-mala pillar
-(Ep. Carnal., Vol.
Roman text,
(91) 'He made
70
p.
;
iv,
(kambha)
Heggadadevankote
for the
Taluq, no. 21
god Lak;
Transl.,
117.)
a brass ornament for the Dhvaja-stambha (flagstaff)
and the goddess Sarasvati of Kannam-
of the goddess Mahalakshml
(Ep. Carnal., Vol. iv, Krishnarajapet Taluq, no. 235 Transl., p. 103.)
badi.'
The
great minister caused to be erected a dipti-stambha for the
of lights (Krittika-dlpotsavake dipti-stambha) and a
the
for
swinging cradle festival of the god Chenna-Kes'ava of Velaswing
(Ep. Carnal., Vol. v, Part i, Belur Taluq, no. 14 ; Transl., p. 47,
pura.'
'
(92)
Krittika
Roman
festival
text, p.
107.)
all the world was praising him as the founder of the
of king Ballala and the cause of his prosperity the
increase
and
greatness
dandisa Lakshma, together with his wife, mounted up on the splendid stone
'
(93)
While thus
covered with the poetical Vira-s"asana, proclaiming
pillar (Sila-stambha)
And on the pillar they became united ( ? ) with
his devotion to his master.
Lakshmi and with Garuda.'
no. 112
;
'
(Ep.
Transl., p. 74, last para.;
Carnal.,
Roman
He
Vol.
v,
Part
i,
Belur Taluq,
text, pp. 173, 174.)
erected temples, raised pillars for lights (Dipa-male), granted
(94)
lands to Brahmans till they were satisfied, constructed five forts and large
551
AN ENCYCLOPAEDIA OF
STAMBHA
tanks.'
para,
(Ep. Carnal., Vol. v, Part
i
Roman
;
'
and
Dlpa-mala-kambha
patna Taluq, nos. 155, 165
The unshaken
'
(96)
Tarikere Taluq, no. 12
'
Taking that
(97)
Lakshma
the king
;
Transl., p. 159,
text, p. 365.)
'
(95)
Ariskere Taluq, no. 109
i,
;
'
Basava-pillar.'
(Ibid.,
Channaraya-
Transl., pp. 195, 198.)
(Tolagada kambha). '(Ep.
pillar
Carnal.,
Vol.
vi,
Transl., p. 105.)
;
to
mind and
desirous of performing a work of merit,
abode of Jina, as if erected by Indra
built of stone that
to endure in permanence, and afterwards set up a stone pillar (Sila-stambha) at the great gateway of the temple, on which was inscribed a Sasana
containing all his names and titles, to continue as long as sun, moon and
stars.'
(Ep.
Vol.
Carnal.,
para. 3, last sentence
;
Shikarpur Taluq, no. 136; Transl., p. 103,
text, p. 184, line 10, from bottom upwards.)
vii,
Roman
Several persons (named) set up this vira-stambha in his name.'
(98)
(Ep. Carnal., Vol. xi, Challakere Taluq, no. 42 ; Transl., p. 102 ; Roman text,
'
P-
176.)
'
The
(on the date
specified) erected a Ganda-bherunda pillar (stambha) in front of the (temple
of the) god Jagad-eka-mallesvara.' (Ibid., no. 151 Transl., p. 109, para. 2 ;
(99)
maha-mandales'vara
Chamunda-Rayarasa
;
Roman text, p. 193, last para.)
The most striking object standing in the village is perhaps the
(100)
Bherundesvara pillar, now called the Garuda-kambha. It is a lofty and
It was
elegant monolith, with a figure of the Ganda Bherunda at the top.
'
erected, according to the inscription on its base (quoted above, Shikarpur
Taluq, no. 151) by Chamunda-Raya in 1047, and probably fixed the
length of the Bherunda pole used in measuring length (refers to inscrip.
no. 120 of the Shikarpur Taluq).
'
Its
dimensions are as follows
:
The
shaft, to the
top of the cornice of the
30 feet 6 inches high the Bherundesvara at top, about 4 feet high,
the bottom of the pillar is i foot 6 inches square to 8 feet from the ground,
above that it is circular, of the same diameter, with decorative bands.
The Bherundda is a double-headed eagle with human body.'
capital,
(Ep. Carnal., Vol. H, Introduct., p. 47, note
i.)
The dimensions
of the Talagunda pillar, on which the inscrip.
(looa)
The
no. 176 of the Shikarpur Taluq is incised, are given by Mr. Rice
the
of
pillar, which is of a very hard dark grey granite, is standing in front
'
:
ruined Pranavesvara temple. Its pedestal is 5 feet 4 inches high and i foot
4 inches square at the top, a little more at the base. The shaft is octagonal,
6 feet 4 inches high, each face being 7 inches wide, but tapering slightly
towards the top.
high.'
The
finial is a
pear-shaped ornament,
(Ep. Carnal., Vol. vn, Introduct., p. 47, para. 2.)
552
i
foot
1 1
inches
STAMBHA
HINDU ARCHITECTURE
(
'
101) Maha-rathisa Goti-putrasa Agni-mitranakasa siha-thabho danam
the Maha-rathi Agni-mitragift of a lion-pillar (Simha-stambha) by
The
(Karle inscrip. no.
naka, the son of Goti.'
2, Arch. Surv.,
New
Imp.
Series,
Vol. iv, p. 90.)
'
(102)
On
the east side, steps lead
Kirtti-stambha or Torana arch.
fine
feet
4
pillars,
broad at the plinth, and
to a platform on which stands a
consists of two highly carved
rising to a height of 13 feet 10 inches
up
It
including a broad cruciform capital, whose inner arms support the ornamental torana or cusped arch, over this capital a prolongation of the shaft
supports a sur-capital, 3 feet above the first, over which again lies the
two
carved.
This
supports the
a
projecting cornice with its decorative guttae, surmounted by plinth and on
this stands the pediment in which Siva or Bhairava is the central figure.'
architrave
in
fasciae
richly
.
.
.
Architecture, Burgess, Arch. Suru., New
Imp. Series, Vol. xxxm, p. 94, Plate LXXXII.)
(Ahmadabad
He
up Rama
in the Kondarama temple.
Subsequently
the
serpent sacrifice here, a stone pillar, about 9 feet
Janmejaya performed
being pointed
high, with the top fashioned like a trident or spear
out as the Yupa-stambha or sacrificial post used by him.' (Mysore Arch.
'
(103)
set
.
1915-16, p. 21, Plate x, Fig.
Report,
i,
on page
.
22.)
(104) See Buddhist cave temples (Arch. Surv., I\ew
iv, Plates xvm, nos. 1-2
xxn, nos. 1-3 XXDC, no. 3).
;
.
Series, Vol.
Imp.
;
New
See Sharqi Architecture of Jaunpur (Arch. Surv.,
Imp. Series, Vol. xi,
and
Plates xxxix, Figs, i, 2, 3, 4 XL, Fig. 2 ;
read the inscrip. no. xxvn,
;
under SILPIN and STHAPATI).
p. 51,
Moghul Architecture of Fatehpur-Sikri (Smith, Arch.
Series, Vol. xvm, Part i, Plates LIII to LXXI).
See Ram Raz, Essay on Arch, of Hind., Plates iv to xvm.
Cf.
Surv.,
See Lion-pillar (Mysore Arch. Report, 1915-16, Plate vn, Fig.
See
3
Elephant
xin, Fig.
pillars,
Brahma-deva-pillar
(ibid.,
i,
New Imp.
p. 14).
1914-15, Plates ix, Fig.
pp. 18, 26).
See pillars of Mukha-mantapa with a stone umbrella in front.
;
i,
1913-14, Plate v, Fig.
(105) See
i,
Cunningham,
p.
Arch. Surv. Reports, Vol.
i,
Plate
and Lauriya Lion pillars), p. 58 xxix (Kahaon and Bhitari
XLVI (capital of ASoka Elephant pillar), p. 274.
;
Ibid.,
Ibid.,
Hindu
(Ibid.,
14.)
Vol. in, Plate xxxiv (Gaya granite pillars).
Vol. iv, Plate v, the so-called Kutb-Minar, which
xxn (Bakhra
pillars), p.
is
92
;
in reality a
structure.
Cf. its details
'
Total length of outer enclosure
law of geometrical proportion
is
is
228
feet
.
thus seen to govern the entire
553
.
The
Hindu
.
AN ENCYCLOPAEDIA OF
STABHAM
Kutb structure from the size and the disposition of the inclosures which
bound it down to the spacing of the ornamental bands that adorn its gates,
;
every important feature is subject to the great law. But where is the law
that governs the Muhammadan structures ?
They (the Muhammadans)
"
"
finished like jewellers
designed like giants, and their Hindu workmen
but from the giant killed by jack, right through the whole genus, giants
;
have hitherto been noted only for supreme stupidity, combined with immense strength. '(Cunningham's Arch. Sun. Reports. Vol. iv, pp. 56-67.)
Ibid., Vol. v, Plates XXVH (Mallot temple pillar)
XLV, XLVI (Indo-Per;
Ibid.,
XLVII to L (Indo-Corinthian pillars).
Vol. vi, Plate xx (Visala-deva temple pillar).
Ibid.,
Vol.
sian pillars)
;
vii,
Plates xvui (Sati pillar
from Simga
;
the details of
its
ix (section of interior of garbha-griha shewing a pillar in
mouldings)
x
elevation) ;
(elevation of a pillar of the Maha-mandapa)
Ibid., Vol. vin, Plates xi, xii (brick pillar, Balrampur).
;
.
Vol. ix, Plates xiv, xxiv, xxix.
Vol.
x, Plates xiv (Besnagar Crocodile and Fan-palm pillars, p. 42)
Ibid.,
xxi (pillar of Swami-Gosura) xxii, Figs, i, 2 (Sanchi pillars), 3 (Eran
Ibid.,
;
;
5 (Udayagiri pillars) xxvn (Eran pillar)
pillar of Narasinha temple)
Vol. xiv, Pates xxix, xxx (Sati pillars).
pillar), 4,
;
xxx (Eran
Ibid..
;
xxvm
(Toran-pillar)
;
.
Vol. xvi, Plates xxx, xxxi (Bhagalpur pillar).
Ibid., Vol. xix, Plate x (Baijnath pillar).
Ibid., Vol. xx, p. 149, Plate xxxiv (Thieves pillars).
Ibid, Vol. xxii, Plate vn (Section of Asoka pillar, Rampurwa).
Ibid.,
Vol. xxm, Plate xxii (pillar of victory or Jaya-stambha).
These pillars are common to all the styles of Indian architecture.
(106)
With the Buddhists they were employed to bear inscriptions on their shafts,
Ibid.,
'
with emblems or animals on their capitals. With the Jains they were
with the
generally Deepadans (Dipa-stambhas) or lamp-bearing pillars
;
Vaishnavas they as generally bore statues of Garuda or Hanuman (Garudawith the Saivas they were flagstaff's (Dhvaja-stambhas)
stambhas)
;
;
but whatever their destination they were always the most original,
(Fergusson,
frequently the most elegant productions of Indian art.'
and
Hist,
of Ind. and East. Arch., p. 50.)
'
If
would
any one wished
illustrate its rise
to select
one feature of Indian architecture which
progress, as well as its perfection and weakness,
objects more suited for this purpose than these stam-
and
there are probably no
bhas or free-standing pillars. They are found of all ages, from the simple
and monolithic lats which Asoka set up to bear inscriptions or emblems, some
250 years B.C. down to the seventeenth or perhaps even eighteenth century
of our era.
During these 2,000 years they were erected
554
first
by the Buddhists
STAMBHA
HINDU ARCHITECTURE
then by the Jains, and occasionally by the other sects in
and notwithstanding their inherent frailty, some fifty it
are
by
known
As"oka,
be
to
may
it
all
parts of India
may
;
be a hundred
After the first and most simple, erected
standing.
that no two are alike though all bear
asserted
safely
still
be
strongly the impress of the age in which they were erected, and all are
thoroughly original and Indian in design.' (Fergusson, Hist, of Ind. and
East. Ach., p. 277, para.2.)
The
following references will give a glimpse of the pillars of the
pre-Buddhistic periods (especially of the early Vedic period), when, it
should be noticed, they were employed both as free-pillars (compare the
(107)
yupas) and as forming the essential members of a building.
The column or pillar in Indian architecture is indeed very ancient.
The word Sthuna which is a synonym of pillar in the Manasara is used
'
same sense. The word
Stambha is not perhaps so old but Skamba * is used in the Rig-Veda
in the same sense.'
(Macdonall and Keith, Vedic Index, n, pp. 488, 483.)
The word upa-mit,' not used in the Manasara, occurs in the Rig-Veda 5
and the Atharva-Veda 6 in the sense of pillar.
According to Professors Macdonall and Keith, in the Rig-Veda the word
'Upa-mit' is used in the sense of an upright pillar. In the Atharva-Veda, the
word, coupled with Parimit and Pratimit, denotes the beams supporting the
7
Upamit. Parimit denotes the beams connecting the Upamit horizontally.
Concerning the proportions of columns, the second sort of column
in the Hindu architecture (as depicted in the Manasara} may be compared
with the Tuscan, the third with the Doric, the fourth with the Ionic, and the
later literature 2 in the
and the
in the Rig-Veda 1
3
'
'
with the Corinthian or composite pillar.'
(Ram Raz, ibid., p. 38.)
following details of the Indian and Greco-Roman orders may be
compared here for a clear knowledge of the subject.
fifth
The
Ram Raz describes the Indian Orders on the authority of the Kdsyapa
and the Manasara and partly from the models found in the temples and
And the details of the five Grecoporticoes of a pure Hindu style.'
Roman orders are quoted below from Vitruvius, Palladio and others as
given by Gwilt.
'
1
2
R.-V.
A.-V.
i,
59, i; v. 45, 2
in, 12,
62, 7; vni,
;
Sata-patha-Brdhmana, xiv,
main
Sthuna-raja
3
4
5
8
7
i.
ix.
59
3.
i
;
iv.
i,
5,
i
;
5,
7
3,
pillar, HI,
Kathaka-Samhita, xxxi,
R.-V. i. 34 2; iv, 13,
R.-V.
A.-V.
17,
14; x,
18,
13 (of the grave).
6 (of the vamsa, beam, being placed on the
I,
and
;
i,
3,
n
i,
;
22, etc.
5,
i,
often Sutras.
etc.
i.
i.
Cf. Zimmer, Altindishches Leben,
Vedic Index, i, p. 93.
153.
555
i.
pillar)
;
xiv.
I,
63
AN ENCYCLOPAEDIA OF
STAMBHA
The second
'
sort of
column
is
seven diameters in height it is placed in
the base is two diameters high
;
most examples upon a base and pedestal
;
;
belongs to the species called Kumbha-bandha. The pedestal is equal
in height to three-fourths of the base and is of the kind called Vedi-bhadra.
it
The column
also
is
placed
.
.
.
only on
equal to half the height of the pillar, and
Mancha-bhadra. The capital given to the
which
first
is
a
pedestal
one of the
which
is
sorts called
design of this pillar
is
taken
from a model found at Tiruvottiyur, near Madras it is the same which
Mdnasdra and others call Taranga-Bodhika (?), and is one diameter high
and projects equal to its height. Speaking of this sort of capital, Mdnasdra
" it should be decorated with
Tarahgas (projecting moulding employed
says
in capitals, terminating by a number of undulating lines) and other appropriate ornaments the height of the capital being divided into twelve parts,
let the form of Tarangas occupy three of them, let the Bodhika (capital)
which should resemble the cobra de capello, occupy six, and adorned with
flowers and the like, and let one part above this be given to
one to the cyma, and one to the listel. The projecting part of the Bodhika
should be fashioned like the stalk of a plantain flower. At the upper
;
;
,
...
extremity are the Tarangas of equal height or something more. The lower
part of the head of the Bodhika is one-third on the upper in breadth, and a
third of the former being divided into five parts, one of them is given to the
and the
cavetto, one to the fillet, two to the cyma and one to the listel
;
whole should be decorated with foliages, rows of gems, and the like." In
"
let the capital (Bodhika) be made to
another place the same author says
consist of one, two, three, four, five, six faces, according to the situation
which
in
it is placed ".'
other form of capital given to the column is taken from a mandapa
It is to be met with in many other ancient buildings and
at Mayalapur.
'
The
what the
Tamil surub-bodhika,
roll capital.
I cannot find
a
in
the
it, except
Mdnasdra, which
passage
"
ornaments
on
the
sides
of
The
the
says
projecting
capital are made
an
in
form
of
inverted
or
of
a
wheel
the
either
apex
(chakra) or circle. It is
in
and
but
one diameter
height
projects
three-quarters of the diameter ".'
is
artists call in
any particular description of
:
(Ram Raz,
pp. 31-32.)
compared with the Tuscan order, the details whereof are given
below from Vitruvius and Vignola as quoted by Gwilt.
I.
Tuscan order
This
is
:
'
Vitruvius (Book rv, Chap, vn) in this order forms the columns six
diameter high, and makes their diminution one-quarter of the diameter.
He
gives to the base
and
capital each
one module in height.
No
pedestal
given by him. Over the capital he places the architrave of timber in
two thicknesses connected together by dovetailed dowels. He, however,
is
55 6
STAMBHA
HINDU ARCHITECTURE
leaves the height unsettled, merely saying that their height should be such
may be suitable to the grandeur of the work where they are used. He
as
no
places over the architrave cantilevers or mutuli
projecting one-fourth of the height of the column, including the base and
He fixes no measure for the cornice, neither does he give any
capital.
directs
frieze,
but
directions respecting the inter-columniations of this order. The instructions
are not so specific as those which he lays down for other orders, and there
have been various interpretations of the text, which unfortunately cannot
in any of the suppositions be tested on ancient remains.'
(Gwilt., Encycl.,
art. 2556.)
In the following table of the parts of the Tuscan order (Gwilt., Encyd..
art. 2555) the whole height according to the measuring unit of Vignola
is 1 6 modules and 3 parts
:
Mouldings whereof the parts are composed
of
mouldings
Heights
in parts of
a module
Projections
from the
axis
of
column
in
parts of a
module
ENTABLATURE
Quarter round
Cymatium
and
parts.
.
.
4
Astragal
.
.
r
Fillet
.
.
}
Conge, or cavetto
Corona
A. Cornice,
16
parts.
Drip
.
23*
i
.
.
5
22$
.
.
i
21*
Sinking from corona,
or hollow
Fillet
27*
.
.
.
.
Bed moulding ogee
B. Frieze,
|
\
4
13*
14
9*
14 parts.
Fillet
C.
Fillet,
Architrave,
12
or
r Conge
Fascia
listel
or
cavetto
^
.
.
2
.
2
small
.
8
I Fascia
parts.
The
height of the drip under the corona is taken on that
that of the hollow in the height of the fillet.
9i
9*
member, and
COLUMN
D. Capital,
12 parts.
p
Abacus
.
.
-^
I
Fillet
.
.
Conge, or cavetto
Band
557
.
.
i
14*
i
13*
2
13*
AN ENCYCLOPAEDIA OF
STAMBHA
of
Heights
mouldings
Projections
from the
of
COLUMN
D. Capital,
12 parts
(concld.).
HINDU ARCHITECTURE
STAMBHA
divided into twenty-four parts, three are given to the collarino with its
fillet, three to the ovolo, three to the lower collarino, five to the lower torus
cymatia, and ten below to the strings of pearls (muktadama) The
projection of the capital is one diameter, or about an eighth part beyond
that of the lowest part of the base, the fillet projects the full, and the torus
three-quarters of their respective heights.'
with
'
its
The
.
height of the entablature
is
one-fourth of that of the column.
be divided into twenty-one parts
It
eight are given to the architrave,
Of the eight parts
seven to the cornice, and six to the vyalam (frieze}.
of the architrave, one is to be given to the cavetto, three to the tema or
is
to
benda
(uttara)
fascia (vajana).
with
its
Of the
:
two to the cymarecta and to the upper
seven parts of cornice, one occupies the fillet, and
listels,
and of the six parts of the cornice (or
the remainder the ovolo (prastara)
three
to
be
to
the
cavetto (or fillet, vyajana), two to
frieze, vyala)
given
the prati -vajana (cavetto), and one to the fillet. The projection of the
;
vajana
(fillet)
of the architrave
is
equal to that of the capital, that of the
twice as much, and that of the cornice equal to its own
prastara (ovolo)
After
making a similar division of the entablature, our author
height.
(Mdnasara) lays down the following rule respecting the projection of the
is
members. The height of the architrave being divided into four, five, six,
seven or eight parts, one should be given to its projection beyond the pillars.
The kapota (corona) projects equal to its height, or to three-fourths of it,
and the vajana (fillet) one-fourth. The alinga (fillet) recedes about one
diameter, and the antarita (fillet) projects equal to its own height, and the
same may be said of the prati.' -(Ram Raz, Ess. Arch. Hind., pp. 32, 33.)
This third sort of Ram Raz's column is apparently without a pedestal,
Its base too does not exactly correspond with any of the bases mentioned
None of
in the Mdnasara (Chap. xiv).
the Mdnasara''s eight entablatures
consists of twenty-one parts like the one prescribed above for the
column
under description.
Ram
38) identifies this column with the doric order, the details
whereof are given below from the texts of both Virtuvius, and Vignola,
as
Raz
(p.
quoted by Gwilt.
II. Doric order
:
Vitruvius (Book rv, Chap, in) describes the Doric order more clearly than
In order to set out its proportions, he tells us, though not giving
others.
a direct rule, that its pedestal is composed of three parts, the cymatium or
'
cornice, the die
and the base
:
and
that the base
and the cymatium are
composed of many mouldings, whose individual proportions, however, he
but
does not give. He assigns no particular base to the Doric order
a
diameter in height the Attic base, whose
nevertheless, places under half
:
559
AN ENCYCLOPAEDIA OF
STAMBHA
members are the plinth, small fillet, scotia, and the upper torus with its
superior and inferior fillets, together with the apophyge of the column.
He
gives to the projection of the base a fifth part of the diameter of the
The height of the shaft he makes of six diameters, and its dimi-
column.
nution a sixth part of the diameter. The capital's height he makes equal
to half a diameter, and divides it into three parts, one for the abacus and
its cymatium, another for the echinus and its fillet, the third for the
hypotrachelium. To the architrave he assigns the height of one half diameof the column and to the frieze fifty parts of the module (semi-
ter
diameter
divided into thirty parts), including the fascia, forming the
His cornice consists of thirty parts of the module
capital of the triglyphs.
its projection forty.
The whole height which he gives to the order
here
the
measurement
adopted) seventeen modules and twenty parts.'
(in
and
is
(Gwilt, Encycl., art. 2566.)
In the following table
all
the details of the Doric order are given (Gwilt,
Encycl., art. 2566).
Members composing
the orders
of
Heights
mouldings
in parts of
a module
Projections
from the
axis
of
column
in
parts of a
module
ENTABLATURE
Fillet
of corona
i
34
Cavetto
3
3i
Fillet
*
26
Cyma
A. Cornice,
18
parts.
reversa
30
Corona
28
Drip
27*
Fillet
25
Gutta under the corona
24!
Dentil
15
Fillet
Cyma
13
reversa
Capital of triglyph
B. Frieze,
1
8 parts.
.
Archi-
12*
2
II
Triglyph
18
Metope
18
Capital of guttae
trave, 10
Guttae
parts.
Fascia
ioi
IO
2
Listel
C.
.
2
I
If
II
IO
560
III
II
10
STAMBHA
HINDU ARCHITECTURE
of
Heights
mouldings
in parts of
a module
Projections
from the
axis
of
column
in
parts of a
module
COLUMN
Listel
Cyma
*
Band
a*
I
4
Echinus or quarter round
D. Capital,
Three annulets
Neck of capital
12 parts.
(~
Astragal
.
Ovolo
4
IO
i
12
Fillet
.
-^
I
I
10
Conge
Shaft of the column, 14 modules.
.
f Apophyge or cong6
.
Fillet
E. Base,
15*
reversa
2
12
i
14
12
Astragal
parts.
14*
Torus
4
6
Plinth
17
17
PEDESTAL
C
Listel
..
..
..
.
.
Echinus
.
Fillet
..
..
..
Corona
.
.
.
.
.
.
.
.
.
.
.
.
23
.
i
22f
|
2lf
F. Cornice,
6 parts.
j
\_
Cyma
.
reversa
21
z\
.
\\
Die of the pedestal, 4 modules,
f Conge"
G. Base, to
i
parts.
.
.
.
Fillet
..
Astragal
Inverted
.
The
i
i
.
cyma
L First plinth
fourth sort of column
17
18
\
Second plinth
'
.
is
.
.
.
.
2
.
.
.
.
z\
.
.
.
.
4
nine diameters high.
19
21
The
of those called Prati-bhadra (see under ADHISHTHANA) and
It is without a pedestal.
in
,
i8f
is
base is one
one diameter
height.
'
The
base
to the plinth,
with
to be divided into eighteen equal parts, two to be given
one to its fillet, three to the cyma recta, three to the cavetto
is
three to the torus, three to the upper cavetto, two to the
(pada-bandha), and one to the cimbra (? cymbia). The
its listel,
plat-band
561
AN ENCYCLOPAEDIA OF
STAMBHA
projection of the plinth is one-third of the height of the whole base, the
torus and the plat -band project equal to their respective heights.'
The upper ornaments
entablature) of this column occupy two
diameters, and the capital takes three-quarters of the diameter, which is
to be divided into ten parts : two to be given to the abacus, which projects
'
(?
half a diameter, one to the strings of pearls, one to the fillet, four to the
cymatia, and one to the circular cymbia. The ornaments under the
capital are to be divided into sixteen parts of which give two to the cavetto
or collarino, one and a half to the cyma, four to the torus, which projects
perpendicular to the plinth or three-quarters part of its height, one and a
half to the lower cyma, three to the lower collarino, two to the astragal,
:
which projects equal to its own height, and two to the third cyma and its
fillet, below which a space equal to three diameters is taken up by strings
of pearls, but which are omitted in some columns of a similar description.'
-(Ram Raz,
p. 34.)
The sources of the details given above are not specified.
of the entablature, capital and shaft is also not quite clear.
Ram
Raz
(p. 38) identifies this
whereof are given below
III.
Ionic order
The account
column with the Ionic order, the
from Vitruvius and Gwilt
for comparison,
details
:
:
Vitruvius's description of this order (Book in,
Chap, m)
is
not clear.
to his commentator Daniel Barbara (Gwilt, Encycl., art. 2577)
the height of the pedestal is made nearly a third part (including its base
and cymatium) of the height of the column. To the base of the column
he assigns half a diameter, and to the shaft itself nearly eight diameters,
its surface being cut into twenty-four flutes separated by fillets from each
According
'
His method of describing the volute is not thoroughly understood
perhaps, of little importance to trouble ourselves to decipher his direc-
other.
it is,
:
tions, seeing that the
mode
principles, as well understood
'
of forming
now
it is
derived from mathematical
as in the days of the author.'
The
architrave he leaves without any fixed dimensions, merely saying
must be larger or smaller according to the height of the columns.
He prescribes, however, that the architrave, frieze, and cornice should
together be somewhat less than a sixth part of the height of the column,
with its base and capital. The total height he makes for the order, according to our measures, is twenty-five modules and nearly nine parts.'
that
'
it
Of the
Ionic order there are many extant examples, both Grecian and
and
Roman,
except the debased later examples of the latter there is not
between them that exists between the Grecian and
difference
that wide
Roman
Doric.'
562
HINDU ARCHITECTURE
STAMBHA
Gwilt (Encyd., art. 2574) gives in the following table the heights and
projections of the parts of the order
:
Members composing
the orders
Heights of
mouldings
in parts of
a module
ENTABLATURE
Fillet
of
Cyma
cyma
recta
Fillet
reversa
Cyma
Corona
A. Cornice,
34
Fillet
of the drip
Ovolo
parts.
Astragal
Fillet
Dentel
fillet
Dentals
Fillet
Cyma
B.
.
f
C.
Archi-
Listel
Cyma
trave, 22
^
parts.
reversa
Freize
.
reversa
First fascia
Second fascia
Third fascia
f Capital on the side
on the
^ Capital
(_
D.
.
.
.
.
coussinet,
or
cushion
COLUMN
Fillet
Cyma
reversa
Listel
E.
Gaptal,
17 parts.
j
]
Channel of the volute
Ovolo
..
Astragal
.
.
fBead
Fillet
1
(^
.
.
.
.
Conge", or cavetto
f Above
Shaft of the)
1 6 mod.
6
column.
[Below
..
5 63
.
parts,
.
AN ENCYCLOPAEDIA OF
STAMBHA
Heights of
mouldings
in parts of
a module
COLUMN
Apophyge
Fillet
Torus
Fillet
F.
Scotia
Base,
Fillet
parts.
Two
beads
Fillet
Scotia
Fillet
I Plinth
G. Cornice,
i
if parts.
H. Base,
10 parts
STAMBHA
HINDU ARCHITECTURE
to its height,
"
and the middlemost square
The
is
ornamented with the
petals
"
may be equal
Kasyapa,
Its breadth
to the higher, lower, or the middle diameter of the column.
or
or
four
five
diameters."
A
to
its
be
height,
capital, the height
may
equal
of which is from one to two diameters, and the breadth twice its height,
and that which in height is half the diameter, and in
is of the superior sort
of a lotus.
altitude of the capital," says
;
breadth from one to three diameters, is of the inferior sort.'
In colonnades of porticoes, the inter-columniations are found to be
'
from one diameter and a half to two diameters.' (Ram Raz, pp. 34-35.)
In this order the description of the entablature is not given. Ram
Raz
38)
(p.
'
identifies this
with the
Corinthian or
Composite
pillar,'
the details of both of which are given below for comparison from Vitruvius
and Palladio as quoted by Gwilt.
IV. Corinthian order
:
Vitruvius (Book rv, Chap, i) is scanty in the information he gives on
the Corinthian order, and what he says respecting it relates more to the
He
origin of the capital and the like than to the proportion of the detail.
'
makes the capital only one diameter high, and then forms upon the plan a
diagonal two diameters long by means whereof the four faces are equal
according to the length of the arc, whose curve will be the ninth part in
length and its height the seventh part of the capital. He forms the order
with a pedestal, with base and cornice (as Daniel Barbara would have it).
The whole height given to it in our measures is about 27 modules and 2
parts.'
(Gwilt., Encyd., art. 2587.)
In the following table Gwilt (Encyd. art. 2583) gives, on the authority
of Vignola, measurements of the mouldings of the Corinthian order
,
:
Members composing
the order
of Projections
Heights
from axis
mouldings
in parts of
of column
a module
in parts of
a module
ENTABLATURE
Fillet
of cornice
Cyma
recta
Fillet
Cyma
A. Cornice,
38 parts.
53
5
53
48
reversa
Corona
Cyma
I
46
45l
reversa
Modillion
Fillet
(remainder
of
modillion
band)
Ovolo
. .
. .
. .
28*
28
STAMBHA
AN ENCYCLOPAEDIA OF
ENTABLATURE
Bead
Fillet
A. Cornice,
38 parts.
Dentils
Fillet
Hollow or conge
Frieze, i mod. 7$ parts high
B.
Fillet
reversa
Cyma
Bead
C.
Archi-
trave,
27
parts.
First fascia
Cyma
reversa
Second fascia
Bead
Third fascia
COLUMN
fEchinus
Fillet
D. Capital,
Lower member of abacus
42 parts
Inverted echinus of the bell
(Fig. 890).
Large volutes
Upper small
Large leaves
Lower
leaves
leaves
STAMBHA
HINDU ARCHITECTURE
Heights of
mouldings
in parts of
Projections
from axis
of column
in parts of
a module
a module
COLUMN
E. Base, 14^
f Torus
3
22
Fillet
i
Scotia
i\
20|
20
Fillet
i
j
i
Two
T?"M
beads
j.
Fillet
parts.
20|
22
i
i
Scotia
Fillet
23
Torus
4
6
Plinth
25
25
PEDESTAL
f
Fillet
Cyma
reversa
33i
Corona
F.
Cornice, J Throat
Bead
14J parts.
f
parts
<
G. Base, 14J
parts.
26*
..
..
Frieze
.
.
.
.
..
|
25!
.
5
25
ij
265
.
Bead
..
..
..
Fillet
.
.
.
.
.
.
.
.
.
.
Die
.
.
.
.
Fillet
..
..
.
.
( Cong6
r Bead
32
it
Fillet
Cong6
Die,
3
.
..
Inverted
cyma
Fillet
..
.
..
reversa
..
.
f
.
i|
25
.
87^
25
..
i|
25
.
.
.
..
.
.
..
Torus
.
.
.
.
.
Plinth
.
.
.
.
.
.
.
|
ij
26|
3
i
32^
32!
3
6
Composite order (compound of Corinthian and Ionic)
Vitruvius has not given any instructions on this order. Gwilt (Encycl.,
To the pedestal's height
art. 2596) gives Palladio's details of this order.
this master assigns 3 diameters and three-eighths of the column adding
to it a lower plinth of the height of half a diameter.
He makes the base
of the column half a diameter in height and assigns to the shaft eight diameters and a little more than one-fourth, and cuts it into twenty-four
The height of this capital is one diameter and a sixth
flutes.
The architrave, frieze and cornice he makes a little less than a fifth part
of the height of the column. The whole height of his profile in our
measures is thirteen modules and twelve parts.'
V.
:
'
.
567
.
.
STAMBHA
AN ENCYCLOPAEDIA OF
In the following table Gwilt (Encycl., art.
2592) gives, on the authority
of Vignola, measurements of the
mouldings of the Composite order
:
Members composing
the order
:
Heights
of
mouldings
ENTABLATURE
of cornice
Fillet
Cyma
recta
Fillet
Cyma
reversa
Bead
Corona
A. Cornice,
36 parts.
..
under the corona
Cyma
Fillet
Cyma
Fillet
reversa
of the dentils
.
.
Dentils
Fillet
Ovolo
Bead
{
I
..
Fillet
B.
Frieze,
Gong6
..
j
27 parts.
Upright face
L
Apophyge
f Fillet
Cavetto
C.
Archi-
trave,
27
parts.
Ovolo
Bead
First fascia
Cyma
reversa
Second
fascia
COLUMN
Echinus and
fillet
Lower member of abacus
D.
Volute
..
Capital,
48 parts.
Band of upper
Upper leaves
Band of lower
Lower leaves
leaves.
.
leaves
.
.
568
STAMBHA
HINDU ARCHITECTURE
of
Heights
mouldings
COLUMN
Astragal
.
Fillet
Conge
Column,
mod.
1
6
1
2
r above
Shaft
.-{
1
Ibelow
parts.
.
.
6 mod. 12 parts.
.
Apophyge
Fillet
Conge
Fillet
Torus
Fillet
Scotia
Base of
E.
column,
1
8
parts.
Fillet
Bead
Fillet
Scotia
Fillet
Torus
Plinth
PEDESTAL
Fillet
Cyma
reversa
Corona
F.
Cornice,
14 parts.
Cyma
recta
Fillet
Cavetto
Frieze
Bead
Fillet
Conge"
Die, 94 parts
Die
Apophyge
Fillet
Bead
Inverted
G.
Base, 12
parts.
cyma
reversa
Fillet
Torus
Plinth
56 9
AN ENCYCLOPAEDIA OF
STAMBHA
and
do not merely
appear in the five species of columns into which they have been sub-divided,
but are distributed throughout the edifices to which they are applied, the
column itself being the regulator of the whole composition. It is on this
account that the name of orders has been applied to the differently formed
and ornamented supports, as columns, which have received the names 01
Doric, Ionic, Corinthian, Tuscan, and Composite orders, whereof the
three first are of Grecian origin, and the two last, it is supposed, of Italian
or Roman origin. Each of these, by the nature of its proportions and the
character resulting from them, produces a leading quality, to which its
dimensions, form and ornaments correspond. But neither of the order is
1
The
orders
and
their several characters
qualities
so limited as to be confined within the expression of any single quality.
Thus the strength indicated in the Doric order is capable of being modified
into many shades and degrees of that quality.'
(Gwilt., Encyl., art. 2538.)
(Further accounts of the origin of orders will be found under NAGARA.)
There are other columns,' says Ram Raz (p. 38), in the Indian
'
'
one diameter lower than the Tuscan, but from one
The first sort is a
two diameters higher than the Composite.'
column six diameters high it is rarely made but upon a high base and
The entablature is more than half the altitude of the column,
pedestal.
and the inter-columniation generally four diameters. The pedestal is of
the Prati-bandha kind (see under UPAP!THA, and there it is called Pratibhadra) and its height is equal to that of the base which is one-third of
that of the column itself, or two diameters. The base is called Manchabandha (see under ADHISHTHANA) and is divisible into thirty parts. The
capital is equal in height to upper diameter of the shaft, and its projection
is equal to its height.
The form of the capital is called Pushpa-bandha.'
The height of the capital,' says Manasdra, may be either equal to the
architecture, not only
'
to
;
:
'
'
breadth of the
shaft, or
one-half or three-quarters of it, according as
may
it
appear proportionate to the size of the column. Let the breadth of
either one, one and a quarter, half, or three-quarters of the diameter.'
it
be
The
entablature placed on this column does not differ from that placed on other
On this subject Manasdra observes
pillars, except perhaps in the height.
The whole height of the entablature may be either threegenerally
'
:
quarters, one, one and a quarter, one and a half, one and three-quarters,
or twice that of the base. The height of the entablature may be a half,
one-fourth, or three-quarters of that of the shaft, or the height of the pillar,
being divided into eight parts, six, five, three or two may be given to that
of the entablature. The height of the entablature is measured from the
architrave
to the corona.'
(Ram Raz, p. 30.)
sixth sort of pillar is eleven diameters high.
The design
illustrate this is selected from among the pillars found at
'
up
The
made
Conj^veram
57
:
to
it
STAMBHA
HINDU ARCHITECTURE
represents a square pillar of the
plinth, a
composed of a
is
The same
one diameter high.
an example
as
cyma
same
height, exclusive of the base,
recta and torus, with their fillets,
pillar,
also of the seventh sort,
which
and is
including the base, may be taken
to be twelve diameters
which ought
in height.'
When
('
'
the
pillar,
upper fillet of the base, it
from the plinth below it,
'
At the
'
is measured in
says Kasyapa,
height
is called Nigata-stambha, but when it is
is
from the
measured
termed Nichata-stambha.')
foot of the shaft a space equal in height to the hypotenuse of the
lower diameter
is
made quadrangular, around which
are sculptured images
of the deities, and the like, in bas-relief. In about half a diameter above
this, is made the ornament called Naga-bandha (a serpent-shape mouldThe remainder of the shaft, about three diameters and a half, is
ing).
made to consist of eight sides, including the strings of pearls, which occupy
three-quarters of a diameter, and appear to be suspended from the fillet
of the upper ornament called Padma-bandha (a lotus-shape moulding),
which takes up half a diameter. Next above this is the kalas"a or waterpot, above three-quarters of a diameter, and above this are made, with the
same height given to them, three other mouldings, Harika, Asya, and
Tatika, which last projects a fourth part of the diameter. Above this
again is the lower collarino, in height about a quarter of a diameter, then
the ornament called Kumbha (pitcher) which is half a diameter high and
next the upper collarino, a little less than the lower
projects as much
;
one next the moulding called Phalaka (abacus) which is one diameter
high and projects equal to its height next the third collarino, about threefourths of a diameter and last of all the capital of the kind called Pushpa;
;
;
bandha.'
(Ram
Raz, pp. 35-36.)
'
This pillar may, according to the definition of its form, be called Vishnukanta and appears in most of the ornaments, though not in their proportions, to agree with the description given in the Mdnasdra of that which
he calls Palika-stambha. He says the height of the collarino should be
one diameter of the column that of the Phalaka (abacus) one, threequarters, or, two or three diameters, and its projection one-fourth of its
height. The height of the Kumbha (pitcher) below the collarino may be
half, one and a half, or two diameters and its breadth equal to the upper
'
;
The
height of the Tatikasya is half or three-quarters
of the diameters. Let the lower cyma be equal to its height and let its
breadth be one and a quarter diameter. Below that comes the Harika of
half that height. The height and breadth of the Tatika are equally one
or lower collarino.
Below that let a KalaSa (pitcher) be made about two diameters
iu breadth and let the upper part of it be shaped in the form of a durdhuradiameter.
571
AN ENCYCLOPAEDIA OF
STAMBHA
flower,
and
in such a
manner
as
may appear
graceful.
Below
this,
about
three-quarters of the diameters should be decorated with strings of pearls.'
Raz
Concerning the dimensions of his seventh sort of column,
Ram
gives accounts of a few more specimens which are quoted below
The pillars at Tiruvannamalai are estimated to be about 30
'
:
feet high,
with proportionate thickness, diminished at the top by a twelfth part of the
lower diameter. There are three kinds of them. The first is placed on a
high pedestal and base the whole shaft is divided into ten compartments,
each being equal in height to the hypotenuse of the diameter of the pillar
and on all the four sides of these compartments are sculptured, in relief,
;
;
four small pillars or pilasters supporting an entablature. The second
pillar differs from the first in having two, instead of four, small ornamental
on each side of the ten compartments, into which the
shaft is divided, with an ornamented niche in the middle, which in the
third specimen is flanked by two small panjaras or ornamented cages on
both sides of it. The second sort of pillar is placed on a base without a
(Ram Raz, p. 37.)
pedestal, and the third on a pedestal without a base.'
pilasters in relief,
The difference in the Indian orders, consists chiefly in the proportion
between the thickness and the height of pillars, while that of the Grecian
and the Roman orders, not only on the dimensions of columns, but also
on the form of the other parts belonging to them.'
'
'
The Egyptian columns appear
to have no fixed proportion in regard
In
some
of the specimen of the ruins of upper
height.
Egypt, the height of the columns consists of from four to six times the lower
diameter, which last proportion coincides with that of the first sort of the
Indian pillar.'
to thickness
and
The orders of India, and of Greece and Rome, are remarkable for
beautiful effect of their proportions, a circumstance to which little regard
has been paid by the Egyptians. Both the Indian and Grecian columns
'
are diminished gradually in their diameter from the base to the summit of
the shaft, a practice which has never been observed in the Egyptian on
;
the contrary, a diametrically opposite rule has been observed in their
shafts, which are made narrower at the bottom than at the top, and placed
upon a square or round plinth. The proportion in which the diminution
at the top of the columns of the two former is made, seems to have been
regulated by the same principle, though not by the same rule. The general
rule adopted by the Hindu architects in this respect is that the thickness
at the bottom, being divided into as many parts as there are diameters
whole height of the column, one of these parts is invariably
diminished at the top but in the Grecian and Roman architecture, the
diameter of the upper part of the shaft, in a column of 15 feet in height,
in the
;
572
STAMBHA
HINDU ARCHITECTURE
is
made
one-sixth
than
less
its
thickness at the base
and
;
in a
column of
one-eighth. The higher the columns are, the less
because
the
they diminish,
apparent diminution of the diameter in columns
of the same proportion, is always greater according to their height, and thi s
50
feet,
the diminution
is
principle supposed to have been discovered with greater scientific skill 5
and is adduced as one of the proofs of the highly refined taste of the Greeks
;
but we observe that precepts derived from the same principle have been
taught and practised in India from time immemorial.'
The plan of the Grecian columns is always round but the plan of the
Hindu columns admits of every shape, and is frequently found in the quad'
;
rangular and octangular form, and richly adorned with sculptured ornaments.
The form of the Egyptian pillars too, is circular, and their shafts
are often fluted like the Corinthian, but the fluting of the Indian columns
resembles neither the one nor the other. The decorations of the Egyptian
columns often consist in representations " of the bundle of reeds " tied up
with a cord on the top, having a square stone placed over it
in some
;
specimens are also found bindings or fillets in various parts of the shaft,
and in the interval between them, reeds and hieroglyphics are represented.
But there is nothing like these ornaments in the Indian orders, except in
the columns found in the excavated temple of Elephanta, and some other
places, and which differ materially from those employed in other situations
in Hindustan.'
'
There are no
fixed, as
we saw
before, inter-columniations in the
Hindu
are found in the Grecian, but the spaces allowed between
in
different Hindu buildings, are found nearly to coincide
and
pillar
pillar
with the Grecian mode of inter-columniations, though in too many instances,
architecture,
as
they differ widely from
it,
and the same may perhaps be
said of the
Egyp-
tian colonnades.'
'
The
capital of the Grecian columns invariably marks the distinction
those of the Indian are varied at pleasure, though
of the several orders
;
not without regard to the diameter and length of the shaft and the forms
of the plainest of them, though they have in reality nothing in common
;
with the Grecian order, are found at a distant view, to bear some resemblance to the Doric and Ionic capitals but those of a more elaborate kind
;
are sometimes so overloaded with a sort of filligree ornaments, as to destroy
the effect of the beautiful proportions of the whole. The Egyptian capitals,
on the other hand, are formed into elegant vase shapes, decorated with the
stalks, leaves, and blossoms of the lotus, and occasionally with palm leaves,
which latter ornaments are supposed to have given the first idea of the
Corinthian capitals. And in some specimens, the Egyptian capital is
composed of the representation of the head of the goddess Isis.'
573
AN ENCYCLOPAEDIA OF
STUPA
In view of the classification and number (5) of the orders, their principal
of similarity pointed out above,
composing mouldings (8), and other details
Ram Raz truly (p. 38), between the columns of India
the
'
'
affinity,'
says
and of Rome and Greece is so striking, that one would be apt
1
to something more than mere chance.'
STUPA Name
of
edifices,
which serve
to ascribe
it
as receptacle for a relic or
or bell-shaped, and rest
They are hemispherical
three concentric storeys which form ambulatories
of
base
a
upon
round the tope ; they sustain a cubical erection, the so-called tee
from which rises the spire (chhatra) which crowns the whole. The
in
relic-chamber (dhatugarbha, whence the name Dagoba,' used
as
monument.
'
whole edifice) is in the interior below the tee. Sometimes
a sort of roof or temple was built over the tope (Mahdvamsa, 31,
is often used as a
synonym (W. Geiger,
29). Chaitya (sanctuary)
Ceylon
for the
Mahdvamsa, p. 295). A heap, a mound, a funeral pile, a tope,
a Buddhist monument, known as chaitya in Nepal and as dagoba
in Ceylon.
The Buddhist dome-shaped tower built over relics, or as a memoThe earliest stupas were tombs.' (Vincent Smith, Gloss, to Cunnin'
(i)
rial.
gham's Arch.
Surv. Reports.)
Considerable interest is attached to the recent discovery (in Japan) beneath
the corner stones of the Double-Bridge (main entrance to the Imperial Palace)
Most of the skeletons were found upright about twelve
of eight human skeletons.
work
feet below the bed of the Palace moat which is at present undergoing repair
of
the
necessitated by
1923.'
earthquake
'
are the remains
The theory of some Japanese scientists is that the skeletons
"
" human
for
pillars
of persons who, several centuries past, offered themselves as
Castle.
The
Edo
in
used
corner-stones
the
of
immortalization
constructing
the
" is an old one in
" human
Japan. In a past age it was
tradition of the
pillars
the corner-stones of
alive
buried
beneath
were
human
that
if
believed
beings
accord permanent strength and solidity to the
would
the
structures,
gods
great
would become
foundations, and in addition, those who thus sacrificed themselves,
"
" human
were
pillars
immortal. It was considered that those chosen as
1
'
They were buried alive in a standing position.'
greatly honoured.
'
" human
recorded in
instance of the
traditional
The first
pillars
'
Japan
dates
The Yodo
to the reign of Emperor Nintoku, more than a thousand years ago.
river at Osaka, where the Emperor had his palace, used to overflow each year,
and causing much damage. Every dike built by the best
back
drowning many people
withstand the floods. One night, it is said, the Emperor
engineers was unable to
dreamed that the gods had advised him if he would use human bodies as pillars for
the construction of the embankments, there would be no more flood trouble. The
caused human beings to be buried alive
story has it that the Emperor immediately
beneath the foundation stone of the dike, and since then the embankment has
withstood
all floods.'
(Associated Press of America Dispatch,
574
Tokio, July u, 1925.)
HINDU ARCHITECTURE
'
(2)
These, again, may be divided into two classes,
first, the true Stupas or towers erected to
some event or mark some sacred spot dear to the followers
Stupas or
Topes
according to their destination
commemorate
STOPA
;
of the religion of Buddha secondly, Dagobas or monuments
containing
relics of Buddha, or of some Buddhist saint.
If it were possible these two
;
ought always to be kept separate, but no external signs have yet been
covered by which they can be distinguished from one another, and till
is
they must be considered, architecturally at
so,
disthis
least, as one."
In Nepal, according to Hodgson, and,
'
I believe, in Tibet, the monuments, which are called stupas in India, are there called Chaityas. Etymologically, this is no doubt the correct designation, as chaitya-like stupa,
means primarily a heap or tumulus.' (Fergusson, Hist, of Ind. and
East. Arch., p. 50, note 2.)
For the photographic views and the architectural
stupas, see
Fergusson
The
The
details of the following
:
great Tope at Sanchi (p. 63, Figs. 10, 1 1, 12).
cut in the rock on a Dagoba at Ajanta (p. 64, Fig. 13).
Tope at Sarnath (p. 66, Fig. 14).
Temple at Buddh-Gaya (p. 70, Fig. 16).
The great Tope at Amravati (p. 72, Fig. 17).
Gandhara Topes (description, pp. 72-76).
Jelalabad Topes
(p. 78, Figs. 18, 19).
Manikyala Tope
'
(pp. 80-82, Figs. 21, 22, 20, 23).
A diversity of opinion exists as to the propriety or
otherwise of callas
the
monuments
of
such
Takkal
Bala
and it
high stupa
ing
Tope
must be said that this monument is a striking illustration of the inaccuracy
of much that has been written on the subject. The following is one of the
(3)
'
'
;
instances
many
.
.
where a conclusion has been somewhat hastily arrived
"
now used is
'
the term
.
Thup
.
.
.
it is,
therefore,
at
:
much
be regretted that we should have adopted the word
Tope," which
preserves neither the spelling nor the pronunciation of the true name.'
'
to
(B.A.S.J., Vol.
ni,
p.
313.)
(4)
Again, Mr. Fergusson, writing on this subject, complains bitterly
of the Bhilsa, and the Sarnath, and the Sanchi " Topes." To make the
confusion worse he laments
Tope is also the common Anglo-Indian
word for a clump of trees." Very true, but that hardly justifies the follow'
'
'
'
ing
'
'
tope
In neither sense
the
word ever used by
with something very different, that
is,
natives,
who
with cannon or
associate
artillery.
do use the word freely in designating such monuments
now endeavour to show. While they called all lower mounds in this
That the
I will
is
'
natives
neighbourhood
dehiri, the peasantry
575
denied the existence of a
Thupi,
AN ENCYCLOPAEDIA OF
STOPA-GRIHA
Thupa, Thuva, or even the common dih and in my inquiries being
compelled to paraphrase the word for their comprehension, after trying
buland-tila and other expression in vain, I accidentally mentioned the
much abused tope,' and was much surprised to find that they understood my meaning instantly, and helped me to a minute description of the
monument and its surroundings. They did not call it thupa nor thupi,
but simply
Now, it would appear
top.'
tope or, more correctly,
"
mere
no
is
from the above that the word
adoption of ours," and that it
;
'
'
'
'
'
used by the natives of India (unless we allow the breadth of the Indus
distinction), moreover, by the commonest of those natives
is
make a fine
far and wide.'
to
(Cunningham, Arch. Surv. Reports, Vol. xix, pp. 134, 135.)
(5) Takshasilae ayam thuvo pratithavito sava-budhana puyea
This stupa was erected at Takhasila (Takshasila) in honour of all the
Buddhas.' (Taxila Vase inscrip. Ep. Ind., Vol. vni, p. 297.)
I
'
(6)
Thuva cha sarhgharama cha
I
(Inscrip.
STUPA-GRIHA
rows of pillars
on the Mathura Lion Capital, no. A, n>
line 14, Ep. Ind., Vol. K, p. 141.)
House of the
(as in
tope, a sort of
Thuparama Dagoba in
dome, supported by
Anurudhapur, Cey-
lon).
(W. Geiger, Afahavamfa,
p. 295.)
A dome, a cupola, a spherical roof rising like an inverted
a circular, square or multangular building, a pinnacle, a
over
cup
SYOPI
steeple-tower.
(1)
(2)
xvra, 4, 413 xxn, 10, etc.
kuryat
stupy-achchhadanakani cha
Kona-paravatam
M.,
xi, 13
;
xv, 91
;
;
II
Su-muhurte su-nakshatre stupy-achchhadanakarh nyaset
(Vdstu-vidya,
(3)
Kanthoktam sarva-manam
ed.
Ganapati-Sastri,
1
1
xvi, 27, 37.)
tu stupy-utsedhah prakirtitah
1 1
(Kdmikagama, xxxv, 30.)
(4) Ravi-varma-maha-raja alias the Lord Kula-sekhara-deva was pleased
to bathe up to the pinnacle (stupi-paryyanta) the Vanakaiyilaya-Tirumalai (name of the central shrine) in the temple of the Lord of Tiruvlrattanam, the Lord of Tiruvadigai, and to fix the stones which were bulging out
(? stupi-kila).'
(Tiruvadi inscrip. of Ravivarman, line 3
f.,
Ep. Ind., Vol.
vm,
P- 9-)
This inscription (V. S. I. /., Vol. n, no. 90) records the gifts, by
A ninth
the priest Isana Siva Pandita, of eight gilt copper-pots.
Pavana-Pidaran.
The
was
gilt copper-pots
presented by
pot
were all intended to be used as pinnacles (Stupikkudam, para. 2).
'
(5)
...
.
576
.
.
HINDU ARCHITECTURE
STHA
Nine of them were presented, of which one is said to have been for the
temple of the Lord (para. 9) and another for the temple of the Lord SriRajarajesvara Mudaiyar (para. n). The other seven appear to have been
intended as pinnacles for the shrines of the regents of the eight quarters.
The regents are eight in number, viz., Indra, Agni, Yama, Nirriti, Varuna,
The shrine of Indra, who is the
Vayu, Soma, and Isana.
.
.
.
regent of the East, seems to have been in the second gopura for which five
pinnacles had apparently been provided by the king himself.'
(V. S. I. I.,
Vol. n, no. 90, paras,
i, 2, p.
413
f.)
The Gangai-konda-puram temple
'
(6)
.
.
.
consists of
a
nine-
(steeple-tower) or vimana over the shrine or sanctuary,
square at the base, and about 165 feet high.' (Ind. Ant., Vol. ix,
storeyed stubi
99
feet
p. 117, c. 2, para, i.)
(7) See Chalukyan Architecture, Arch. Surv., New Imp. Series, Vol. xxi,
Plates LXXXII, Figs. 1,2; LXXXIV, Figs, i, 2 xci.
;
See
Cunnigham,
Arch. Surv. Reports, Vol. in, Plates XLVI, Fig.
m
STOPI-KlLA
(see
STUPA and STUPI)
The
4 (Birdaban
xxvn
Vol. xi, Plate
Stupa), XLVII, Fig. 3 (Nongarh Stupa)
section of Mediaeval Stupa) ; Vol. xvm, Plates v, vi
Vol. xix, Plate
(Mahadeopur pinnacle).
;
(plan
and
(Nirvana-Stupa)
spire, the nail
;
above the
dome.
(M., xvm, 144.)
The
Cf.
to be placed
'
Lord Sri-Rajarajadeva gave one copper waterpot (kuta),
on the copper pinnacle stupittari according to Winslow, a
;
synonym of Sikhara, or the upper pinnacle of a temple of the sacred shrine
(Sri-Vimana) of the Lord of the Sri-Raj arajesvara (temple), weighing
three thousand and eighty-three pala.'
(Inscrip. of Rajaraja, no. i, line 18,
H.S.I.I.,
Vol. n, p. 9.)
STRl-LlNGA A
class
of buildings, a feminine type of architectural
object.
and other
See definition
Cf. Sarvatra
Sarva
details
under PR'VSADA.
bhoga-bhumy-ahgam alinda-parisobhitam
I
?
shad)-varga-samayuktarh manah-priti-samanvitam II
Chaturnam anta (m)-lomasam (lokanam) yogyarh stri-lingam
(
ishyate
1
1
(Kdmikagama, XLV, 10, xxxv, 21 ; see
under SALANOA and SHAJ?-VAROA.)
STHA A
fixed
abode
as in
Goshtha and Pratishtha
terms).
577
(see
under these
AN ENCYCLOPAEDIA OF
STHANDILA
STHANDILA A
site
plan in which
the
whole
area
is
divided
into forty-nine equal squares.
(M., vn,
39
8, vin,
LXX, 30
STHAPATI
pratishthd,
(i)
Lit.
German
129, etc.,
ix,
;
see
;
cf.
PADA-VINYASA.)
chief (pati) of fixed abode (stha as in goshtha,
the master builder.
stadt), the chief architect,
ranks and qualifications
Manasdra (Chap, n, named Silpi-lakshana or
of architects)
From
:
are stated to have originated the
Visva-karman, Maya, Tvashtri and
Brahman
the four faces of
four heavenly architects, namely,
Manu. And their sons are called respectively Sthapati, Sutragrahin,
the
Vardhaki and Takshaka. These latter four evidently represent
four classes of terrestrial artists
:
Purvanane visvakarma jayate dakshine
Uttarasya
mukhe
tvashta paschime tu
mayah
manuh smritah
I
I
VisVakarmakhya-namno'sya putrah sthapatir uchyate
Mayasya tanayah sutragrahiti parikirtitah
Tvashtur devarsheh putrah varddhakir iti prakathyate
Manoh putras takshakah syat sthapatyadi-chatushtayam
I
I
I
(M.,
Cf.
One Manu is stated to be the architect who
tatrasil loka-vis"ruta
1
ii,
I
1- 1 2, 17-20.)
built the city of Ayodhya
Ayodhya-nama-nagari
Manuna manavendrena ya purl nirmita svayam
I
(Ramayana,
Their ranks
:
I
i,
5, 6.)
:
SthapatyadiS chatur varnah silpibhih parikirtitah
I
(M., n, 29.)
The
rank the director general and the consulting architect
The Sutragrahin is the guide (guru) of Vardhaki and
21).
Vardhaki is the instructor of Takshaka (line
22), while the
Sthapati
(M., n, line
Takshaka
is
in
(line
The Sthapati must be
23)
must know the Vedas (line
of a supreme
well versed
26).
He
in
all
sciences
must have
all
(line
the
24).
He
qualifications
director (acharya) (line 31).
sthapanayarhah veda-vich chhastra-paragah
tasmat sthapatir uchyate
Sthapanadhipatir yasmat
sarve sutragrahyadayah sada
SthapateS chajnaya
Kurvanti astra-drishtena vastu-vastu prayatnatah
I
Cf. Sthapatih
I
I
I
Acharya-lakshanair yuktah sthapatir ity-abhidhiyate
iti smritah
Sthapatis tu sva-turyebhyas tribhyo gurur
(M., n,
I
I
26-29, 3'. a i.)
HINDU ARCHITECTURE
Sthapatih sarva-sastrajnah
(M., n, line 24.)
STHAPATI
the
chief
architect
knows
all
sciences.
See also
M., xxxvii, 14, 15, 16, 17, 58, 73-74, 83, 85.
These passages refer to the Sthapati as the master of the
opening
ceremonies of a dwelling house.
The Sutragrahin also should have the general knowledge of all the
sciences and the Vedas. But he must be an expert in
measuring accurately
and must make a
25, 34)
special study in
drawing (M., n, 32, 34, 22,
25, 33, 23,
:
Srutajnah sutragrahl cha rekhajnah Sastra-vit-tamah
Sutra-grahiti
sutra-dhrit
I
(32)
(24)
I
Sutra-grahi gurur dvyabhyam turyebhyo'dya iti smritah
(22)
too, should have the general knowledge of the Vedas
and practical sciences. But the object of his special study is
painting.
He must also be able to design (vicharajna) architectural and sculptural
Like the Sutragrahin, the Vardhaki too
objects from his own ideas.
should have an idea of accurate measurement.
I
The Vardhaki,
Vardhakir mana-karmjnah
(25)
Vicharajnah srutajnas cha chitra-karmajno vardhakih II (33)
Takshakasya gurur nama vardhakir iti prakirtitah II (23)
The Takshaka must be expert in his own work, i.e., carpentry.
should be obedient to his superiors and aspire to rise in the rank.
Cf. Takshanat takshakah smritah II (25).
Takshakah karma-vidyuS cha bala-bandhudaya-parah
Cf.
I
I
(2)
Sthapatih sthapanarhah syat sarva-sastra-vis'aradah
Na
He
(34)
II
hlnango'tiriktango dharmikas tu dayaparah
Amatsaryo'nasuyaS cha tantrikastv-abhijatavan II
Ganitajnah puranajnah anandatma py-alubdhakah
Chitrajnah sarva-desajfiah satya-vadl jitendriyah
Arogi chapramadi cha sapta-vyasana-varjitah
Sunama dridha-vandhus cha vastu-vidyabdhi-paragah
I
1
I
1
I
1
1
(Vdstu-vidya, ed.
Ganapati Sastri, i, 12-15.)
Sthapati or master builder must be able to design (lit. placing,
He must be proficient in all sciences (Sastras, see below).
sthapana).
He must not be deformed by lacking in or possessing too many limbs. He
'
The
must be pious and compassionate. He must not be malicious or
spiteful.
He must be trained in music (tantra=a stringed musical instrument, see Vitruvius below). He must be of noble descent. He must be
a mathematician and historian. He must be
happy in mind and free
from greed. He must be proficient in painting. He must know all
countries, i.e., he must be a geographist.
He must be truthful, and
self-control.
He
must
not
have
possess
any disease, and must be
579
AX ENCYCLOPAEDIA OF
STHAPATI
above committing errors. He must be free from the seven vices (hunting,
gambling, day-dreaming, blackmailing, addiction to women, etc., see Manusamhita, vn, 47-48). He must have a good name and be faithful to friends.
He must be deep in (lit. cross) the ocean of the science of architecture.'
Compare these qualifications of the master builder with those of the
Greco-Roman architects quoted below from Vitruvius.
The classification of the architects and the account of their qualifications are almost identical to those given in the
Mdnasdra
:
Sthapates tasya Sishyo va sutra-grahl suto'thava
Sthapaty-ajnanusari cha sarva-karma-visaradah II
I
Sutra-danda-pramanajno manonmana-pramanavit
Takshitanarh takshakenapy upary-upari yuktitah II
Vriddhikrit vardhakih proktah sutragrahy-anugah sada
I
(Vastu-vidyd,
Takshanat sthula-sukshmanam takshakah
II
ibid.,
16-18.)
i,
sa tu kirtitah
Mrit-karmajno gum Saktah sarva-karma-sva-tantrakah
Guru-bhaktah sada hrishtah sthapaty-ady-anugah sada
II
I
II
(ibid.,
i,
18-19.)
(3) Susila(s") chaturo daksha-sastrajna-lobha-varjita(-tah)
Kshamavan asya (syad) dvijas chaiva sutradhara(h) sa uchyate II
One who is of good behaviour, clever, skilful, learned, free from lust
I
'
(excessive desire of gain), can forgive
class, is called Sutra-dhara.'
(rivals),
and belongs
to the twice-
born
(&' Ipa-dipaka, ed.
(4)
'
Garhgadhara, i,
3.)
Vastu-vidhanajfio laghu-hasto jita-s"ramah
Dirgha-darsi cha ^uras cha sthapatih parikirtitah II
One who is conversant with the architectural design (vidhana, the act
of arranging, disposing,
etc.), skilful (lit. swift at hand), industrious (or
foresees (everything), and is a champion (in archidescribed as a sthapati.'
(Matsya-Purana, P. Diet.).
patient labourer), and
tectural matters),
(5)
is
Mahdbhdrata (xn, 3243-3244)
Sat-kritas cha prayatnena acharyyartvik-purohitah
:
I
Maheshvasah sthapatayah samvatsara-chikitsakah II
Prajna medhavino danta dakshah s"ura bahu-srutah
Kulinah sattva-sampanna yuktah sarweshu karmmasu
I
II
Sthapads, meaning apparently architects, are stated here to be very
learned, meritorious, patient, dexterous, champion, of large experience,
of high birth, full of resources, and capable of application to all works.
Ibid., xra,
5073-5074
Brahmana-sthapatibh yam cha nirmmitarh yan nivesanara
Tad avaset sada prajfio bhavarthi manujesVara
:
I
580
II
HINDU ARCHITECTURE
Here, a house built by a
mended.
STHAPATI
Brahmana and a
Sthapati is specially recomSthapati implies an architect but his caste is not clear from this
passage.
Mahdbhdrata, xiv, 2520-2524
:
Tato yayau bhimasenah prajnah sthapatibhih saha
Brahmanan agratah kritva kusalan yajna-karmmani
Tarn sa sala-chayam srimat sarhpratoll-sughattitam
I
II
I
Mapayamasa kauravyo yajna-vatam yatha-vidhi
Prasada-sata-sarhbadharh mani-pravara-kuttimam
II
I
Karayamasa vidhivad-dhema-ratna-vibhushitam
Stambhan kanaka-chitrams cha toranani vrihanti cha
Yajnayatana-deseshu datva suddharh cha kanchanam
Antah-puranam rajnarh cha nana-des"a-samlyusham
Karayamasa dharmmatma tatra tatra yathavidhi II
1
1
I
II
I
apparently the architect who built the palace with
columns, arches, etc., and also the well-designed high gate-
Here, too, Sthapati
jewelled floor,
is
houses.
Ibid., v.
255
:
Tato'atibhito rupat tu sakra aste vicharayan
I
Athajagama parasurh skandhenadaya varddhakih II
Vardhaki is called here Takshan (see verses 256-266) not in the sense
of carpenter but to imply an executioner.
(6) Varttika of Katyayana on Panini, 2 (Pet. Diet]
:
Sutra-graha=yah
Sutra-graha=yah
This subtle distinction
(7)
sutrarh grihnati na tu dharayati
sutrarh grihnati dharayati cha
I
I
is
not quite clear.
Chaurapafichas'ika (ed. Bohlen, 7-3)
Surata-tandava-sutra-dhari
:
I
(8)
Rdmdyana,
(n,
80, 2, etc.)
:
Karmantikah sthapatayah purusha yantra-kovidah
Tatha vardhakayas chaiva margino vriksha-takshakah
I
(9)
II
Sakala-guna-ganalamkrita-kritottamangaru
Parama-Brahmani^
chala-svarupar upadesa-p(r)arakaramaru Manu-Maya-Mandabyc-
VisVakarmma-nirmmitam
stotakacheru
appa
Hem-migadeya
mane
enisida
I
Of the VisVamitra-gotra, supreme Lord of Lahka-dvipa-pura, possessed
of property and vehicles, versed in all Sastras, sought after to construct
ornamental buildings and upper storeys, adorned with all good
qualities
his head sprinkled with sandal water from Siva, in the
form
'
unchanging
Parama Brahma, distinguished in giving advice, of the
Hemmigade
house created by Manu, Maya, Mandabya, and Visvakarma, was Stoof
(Ep. Carnal., Vol. v, Part i, Channarayapatna Taluq,
text, p. 530, line 23 ; Transl., p. 237, para. 2.)
takachari."
Roman
no. 265
;
AN ENCYCLOPAEDIA OF
STHAPATI
(10) This Prasasti
was written by Skandasadhu, the son of Sri-kantha
a descendant of a family of architects (sthapati-kula)
.
(Sholingur Inscrip. of Parantaka I, line 21Ep. Ind., Vol. iv, pp. 224, 225.)
(11) Sthapati-Kalisuta-Simgali-kargi
jana
Navagrama-dranga vra(? lu)-dha-
I
The
Sthapati (architect of the tank was) Simgali Kargi, the son of Kali,
from the Navagrama-dranga (compare Raja TarangPandit
a
(? vulha)
p. 291, watch-station near mounini, Translation by Dr. Stein, Vol. n,
'
tain passes).'
Konow
Stein
(Dr.
inscrip. of
Museum
(Peshawar
Vanhadaka,
line 6,
Ep. Ind.,,
Vol. x, p. 80, note 3
(12) Visadru-sutah
Kamau
p. 81.)
;
'
Visadru's son, Kamau, the archiSilpi
tect (of the fifth octagonal pillar, middle row, of the north-west cloister).
This simple record of the architect or head mason Kamau is the most
valuable inscription of the Lai Darwaza, as it is another proof of the truth
of Fergusson's remark that the cause of the admixture of Hindu and Muhammadan styles in the Jaunpur was the employment of Hindu masons.'
(Dr. A. Fiihrer, Sharqi Arch, of
inscrip.
xxvn, Arch.
Suro.,
Jaunpur
Imp.
New
Series, Vol.
i,
p. 51.)
palhanena silpina
Utkirnna-varnna-ghatana vaidagdhi-visvakarmana
(The document) is engraved by the artist Palhana, son of Rajapala
who is a master of the art and craft.'
(13) Rajapalasya putrena
I
1 1
'
(Pachar Plate
of
Paramardideva, line 22,
Ep. Ind., Vol. x, pp. 49, 45.)
(14) Tvashtri, a recognized architect,
both Sutradhara and Sthapati
Tad-vad
nagaram vane'smin
Vatakhyam
kritavan Vasishthah
Tvashtuh
prasadat
I
tadagaih prasada-veSmaih su-ghanam su-
Prakara-vapropavanais
tuthgaih
connected with (the ancestor of)
:
II
Bhanor griham daiva-vafiad vibhagnam Vasishtha-pauraih sukritam
yad asit
Aslch cha Nagat sthapates tu Durggah II
Durggarkkato Deuka Suttra-dharah II
Asyapi sunuh Sivapala nama II
I
Yenotkrite'yam suSubha
pra^astih
II
inscrip. of Purnapala, A. D. 1042,
21, 27, 34, Ep. Ind., Vol. ix, pp. 12,
(Vasantgadh
w.
13.
582
14.
1
5-)
HINDU ARCHITECTURE
STHAPATI
Viranatmajah
Tvashta Sri-viranacharyo vyalikhat tamra-sasanam
(15) Sadas'ivainaharaya-s'as'anad
I
II
(Krishnapuram Plates of Sada&varaya,
v. 107, Ep. Ind., Vol. DC, p. 339.)
stone
(16) Sila-Silpi
Garhgadhara,
v. 39,
mason
from Dabhoi
(18) Cf. inscrip.
Vardhaki
inscrip. of the
(Vilapaka Grant of Venkata
(17) Silpin
engraver
Vol. rv, pp. 277, 272).
(19)
(Govindapur stone
poet
Ep. Ind.. Vol. n, pp. 383, 342).
I, v.
(verse 112, Ep. Ind., Vol.
carpenter, sculptor (Senart)
62, Ep. Ind.,
i,
p. 31.)
:
Vadhakina samina venuvasaput(e)na gharasa mugha kata
I
(Karle Cave inscrip. no. 6, Ep. Ind.,
Vol. vn, p. 53.)
(20)
w.
Sutradhara
(Bheraghat inscrip. of Alhanadevi,
architect, artizan
36, 37, Ep. Ind., Vol. n, pp. 13, 17).
(21)
Mason
(22)
Cf. the first Prasasti of Baijnath
(inscrip.
from Dabhoi,
v. 112, Ep. Ind.,
Vol.
i,
p. 31).
(verse 36, Ep. Ind., Vol.
pp. 107,
i,
in).
(23) Sutra-dhrit
artizan
(Kudarkot
inscrip., v.
17, Ep.
Vol.
Ind.,
i,
pp. 182-183).
(24) Sutradhara
sculptor
(Verawal image
inscrip., line
5,
Ep.
Ind.,
Vol. ra, 303, 304).
(25) Si(si)la-patta-s"ubhe varhs'e sutra-dhara
vichakshanah
I
Bhojukah KamadevaS cha karmmanishtha Hala sudhih
II
(Born) in the auspicious family of Silpapatta, the conspicuous architects
(were) Bhojuka, Kamadeva, and the wise Hala, (who) were perfect in their
'
work.'
'
A Muhammadan
architects to build a
in the
ruler Jallala Khoja, son of Is"aka,
Gomath(a)
(?
appointed these
cow-shelter), a garden,
and
step-well
town of Batithadim.'
(Bhatihagarh stone inscrip., v. 12, Ep. Ind.,
Vol. xn, pp. 46, 47, 44.)
who is set upon the pure peak of the Mahendra
of
master
mountain,
things movable and immovable, the sole archi(guru)
tect (sutra-dhara) for the creation of all the world (sakala-bhuvana-nir'
(26)
Gokarna-svami
manaika-sutra-dharasya) .'
(Ep. Carnat., Vol. rx, Bangalore Taluq, no.
140
583
;
Roman
text, p. 33, Transl.,p. 26.)
AN ENCYCLOPAEDIA OF
STHAPATI
Krishna-suto-gunadhya
(27)
cha suttra-dharo'tra Nannakah
I
Etat kanvasramam jnatva sarvva-papa-hararh subham
Kritarh hi mandirarh sambhoh dharmma-klrtti-vivarddhanam
I
Here, Sutra-dhara
is
who
the architect
(Inscription
w.
II
temple of Siva.
the
built
from the Mahadeva temple,
29, 30, Ind. Ant., Vol.
xm,
p.
165.)
the architect (employed on the
(28)
repair of the temple of Dakshinaditya) was Haridasa.
(Gaya inscrip. of Vikrama Samvat 1429, line
Sutradharo'sya Haridasanama
'
Vol. xx, pp. 315, 313.)
9, Ind. Ant.,
'
(29) Cf.
When
the house
is
Brahmans and the
finished
friends of the
family are feasted. The mistri (master-builder) attends the dinner and
receives from the owner complimentary gifts, such as shawls, turban,
clothes and money, as his merits and the generosity of his employer
dictate.'
(Ind. Ant.,
'
The
royal draughtsman (raya
brother
Suroja engraved it.'
younger
(30)
Vol. xxiv, p. 303,
or
(31) Svasti
2, last para.)
sutra-dhari)
raja
(Ep. Carnal., Vol. v,
no. 123
c.
Part
i,
Gopoja's
Arsikere Taluq,
Transl., p. 168, line 2.)
;
samadhigata-pancha-maha-sabda
svaradhipati-mahanayaka-vibudha-vara-dayakan animitta Malla-vijaya-Sutra-dhari
svamidrohi
biruda, etc.
.
.
'
the
Be
.
.
.
.
well (with various epithets, including), Ma'la-vijaya-sutradhari,
dandanayaka Lachimayya's son, of the ministry for peace and war,
it
Hodimaiya and
others (named) enlarging the town
Rajimaiya. the
master of the town, desiring to make a feast granted certain land (speci;
fied).'
(Ibid.,
no. 194,
Roman
Text, p. 433
;
Transl., p. 187.)
'
Born in the family of VisVakarma, the architect of the three
the son of Basavachariya, who was the son of Vodeto be the jagad-guru engraved it.'
considered
yappaya
(32)
worlds, VisVanatha
(Ibid,
Vol.
v,
Part
i,
Channarayapatna Taluq,
no. 187
'
(33)
To Damoja,
;
Transl., p. 207.)
son of the carpenter Madiyoja granted
a
rent-free
estate.'
(Ibid,
Vol.
vi,
Kadur Taluq,
no. 57
;
Transl., p. 12.)
'Hail! There is no excommunication (balligavarte=bahishMr. Venkat Rango Katti) of the skilful people (binna-nigala, those
(34)
kara,
HINDU ARCHITECTURE
who
STHAPATI
with painting or architecture, Sanderson's Canarese
of
the
world who have attained the favour (of the god), having
Dictionary)
given the patta, (a patent, royal grant or order), called mume-perjerepu
(and) the name of Tribhuvanacharya to Srl-Gunda, whose (observance
of the) established rules of conduct was unimpeded, the Sutra-dhari, who
axe conversant
made
the temple of the queen of Vikramaditya (II, of the Western Chalu(and there is) immunity (parihara)
kyas), the favourite of the world
to the others who united themselves with the guilty man (doshika).'
;
(Sa/iskrit
and Old Ganarese
inscrip.
no. 99
j
lines 1-7, Ind. Ant., Vol. x,
p. 164,
notes 6-10.)
'
Hail
(35)
!
Let
it
be known that these are the the names (not given)
of the Acharya who averted the excommunication (villiga-varte=bahish''
those who are conversant with
kara) of the skilful people (better perhaps
painting or architecture ") of this district, after that they had given the
mume-perjerepu to the Sutra-dhari who made this temple of LokesVara
exists under the name of god Virupaksha, Ante p. 163, c. i, paras.
(still
of Lokamahadevi (the queen) of Vikramaditya, the worshipful one,
3, i, 2)
who
'
three times conquered Kanchi.'
Sri-Sarvasiddhiacharya, the asylum of all virtuous qualities,
the Pitamaha (Brahma, i.e., the Creator), the maker of many cities and
Hail
houses
!
he whose conversation
;
and
seats
is
entirely perfect
and
refined,
he who has
diadem and
for a jewelled
and
creast-jewel the houses and palaces and vehicles
couches (that he has constructed), the (most eminent) sutra-
dharl, of the southern country.'
Svasti-Sri-sarva-siddhi-achari sakala-gunas'raya-aneka-pura vastu-Pita-
mahan
sakala-nishkala-sukshmatibhashitau vastu-prasada-yanasana-
sayana-mani-makuta-ratnachudamani-te (m) kana-diSeya-sutra-dhari.
(Sanskrit and Old Canarese inscrip.
no. 100, Ante p. 165.)
Hail
(36)
ditya
.
.
!
.
The
grant that was given of Sri-Vijayaditya and Vikramathe grant that was given to the temple of (the architect
Avanta-guna (was) a stone seat (pare) and a bracelet (?) to the temple
of (the god) Sri-LokapalesVara, after having given the office (sthana, see
below) of the holy Anjanacharya to the holy Devacharya (datti Anjanacharya bhagavantargge kottu Sri-Lopapalesvarakam pare balli).'
'
Sthana may mean the
office of the priest of the temple, or the locality,
allotment
of
i.e.,
land, belonging to the holder of that office.'
Cf. Manasdra, u, 25-26, above.
(The first meaning suits the context
better.)
(Ibid.,
585
no. 101, pp. 165, 166,
and note
18.)
AM ENCYCLOPAEDIA OF
STRAP ATI
Hail
'
(37)
!
siddhi-Acharyas,
(s"ila-mudda, the
Chattara-Revadi-Ovajja (Ojha, tee below) of the Sarva"
who was acquainted with the secrets of Sri-ilemuddas
name of some particular guild of stone masons), made
the southern country.'
'
(Old Canarese)
'
preceptor
Ovajja
(exactly the
perhaps the (modern) Canarese
is
same meaning
(Ibid.,
ojja,
a
priest,
as acharya etymologically indicates)
.
no. 114, pp. 170-171, 172, notes 57, 58.)
1
In addition to recording
the re-admission into caste of the
artisans of the locality, this inscription (no. 100) gives several titles of
the builder of the temple. Among them is that of Sarva-siddhi-Acharya.
.
.
.
The
Sarva-siddhi-Acharyas are mentioned again in no. cxrv below, and
seem to have been some celebrated guild of architects or builders.'
(Dr. Fleet, Ind. Ant., Vol. x, p. 164,
c. a,
para. 2.)
of Gunda as the builder of the temple,
next (no. 100) seems to be intended
to record the re -admission into caste of the artisans of the locality, who had
In addition to recording the
'
name
this inscription (no. 99), as also the
been outcasted for some act which
tion hinges entirely upon the
(in nos. 99 and 100).'
who
meaning
not stated.
to
The purport
of this por-
be given to the word balligavarte
not quite certain whether he should agree with Mr. Katti
says that it sounds to him like the Dravidian equivalent of the Sans-
Dr. Fleet
krit
is
is
'
bahishkara.'
(Ibid.,
pp.
163-164,
last para.)
Sutra-grahl, "the holder of the thread" was the
" the
master-carpenter or master-mason," the
sthapati,
'The Sutra-dhari or
assistant of the
(Dr. Fleet, Ind. Ant., Vol. x, p. 163, note 3.)
architect.'
be noted that Chari, Achariya, Acharya (with different
Ojha, and Sutra-dhari are the surnames or titles of the Sthapati
(38) It should
prefixes),
(master-builder)
(The
titles
who is
also called
in another form
Acharya in the Mdnasdra.
(See above.)
Acharya or Acharyya are the surnames
and the distinguished
of the Jain teachers, of the famous philosopher Sankara,
astronomer Bhaskara.)
Here
such
in these inscriptions
titles,
100, line 7)
we have
seen that the architects have
namely, Achari (no. 99, line
;
many
4, no. 100, line 8); Achariya (no.
Sarva-siddhi-Achari (no. 100, line 8)
;
Sarva-siddhi-Acharjiya
Tri-bhuvanachari (no. 99, line 5); Anjanacharya
(-yya) (no. 114, line 2 f);
line
5); Devacharya (no. 101, line 6); Ovajja (=Ojha, no. 114,
(no. 101,
line 4);
Sile-mudda (?"=s"ila-marddaka or modaka, no. 114,
very same architects are again given the
3
;
no. 100, lines 4, 12).
586
titles
of Sutra-dhari
line i).
The
(no. 99, line
HINDU ARCHITECTURE
The
STHAPATI
Chari and Achari, are frequently met with as the surnames
of stone masons or engravers of Copper-plates or other Sasanas in the Epititles,
Rice and also in the South Indian Inscriptions
and Venkkayya compare the following
The naga (i.e., the cobra on the slab on which the inscription is
(39)
has
been made by Nataka (Nartaka), the pupil of the Achariya
incised)
Idomora (Indramayura) of the town of Sarhjayanti.'
(i.e., Acharya)
Acharya probably means master (-mason), i.e., sthapati.'
graphia Carnatica of Mr.
edited by Prof. Hultzsch
:
;
'
(Banawasi Prakrit
inscrip., line 2
f.,
Ind. Ant. t
Vol. xrv, p. 334, notes, ao, 23.)
Badhuvallabha-Mallasya vachanenaiva Sasanam tvashta Nandi-
(40)
varmacharyya-danasyasya likhamy-aham
By order of Badhuvallabha-Malla I, the carpenter Nandi-varmacharya
I
'
inscribe the charter of this grant.'
(Bana Grant of Saka 261,
Ind. Ant., Vol.
lines
50-51,
xv, pp. 176, 177.)
The carpenter Virana, son of Muddanacharya, was the engraver
of the Sasana, for which he received one share in the village.'
'
(41)
(Ep. Carnat., Vol. in, Seringapatam Taluq,
no. ii ; Transl., p. 9, line 3.)
'
(410)
It
was engraved by the carpenter Varadapacharya.'
(Ibid.,
The Sasana was engraved by
'
(42)
no. 15
;
Transl., p. n.)
Srigiri, the son of the carpenter
Varadapacharya.'
(Ibid.,
And it is engraved by the
'
(43)
no. 15
;
Transl., p. 32.)
carpenter Viranacharya, son of Malla.'
(Ibid. Mandya Taluq, no. 55
;
Transl., p. 45, last para.)
For the carpenter Mallana, son of Viranacharya, who engraved
the grant, one share was given.' (A.D. 1474.)
'
(44)
(Ep. Carnat., Vol. HI, Malavalli
Taluq, no. 121 ; Transl., p. 68.)
'
It
(45)
was engraved by Mallanacharya, son of Viranacharya.'
(A. D.
1513.)
(Ibid.,
Nanjangud Taluq,
no. 16; Transl., p. 97.)
Kontachari, son of Konguni-acharya, blacksmith of Bai ... of
with the ruler of the nad, went to Svarga
Baguli, fighting in the war along
'
(46)
(died).'
(Ibid.,
Vol.
iv,
Taluq, no. 20
587
Chamarajnagar
;
Transl., p. 3.)
AN ENCYCLOPAEDIA OF
STHAPATI
'
(47)
son
Engraved by the carpenter Viranacharya,
of
Mallana.'
(Ep. Carnal., Vol. iv, Transl., p. 41, no. 30.)
And
(48)
Virana.'
it
was
engraved by the
Viranacharya, son of
carpenter
1545.)
(A.D.
(Ibid.,
Nagamaiigala Taluq,
no. 58
'
(480)
And
this
Pransl., p. 128.)
;
copper sasana was engraved by the carpenter Malla-
nacharya, son of Viranacharya.' (A.D. 1515.)
Vol. v,
(Ibid.,
Husan Taluq,
no. 16
Transl., p. 5, para. 2.);
Engraved by the
(49)
(A.D.
carpenter
son
Viranacharya,
of
Virana.'
1561.)
(Ibid.,
(50)
no. 7
Transl., p. 6.)
;
'Engraved by Appanacharya, son of Viranacharya."
no. 94
(Ibid.,
'
(51)
Mallanacharya, son of Viranacharya, enjoys one
engraver.'
(52)
Belur Taluq, no. 79
son
of Mallanatha.'
Engraved by Viranacharya,
Part
(Ibid.,
no. 197
'
(53)
(A. D.
1524.)
Transl., p. 29.)
share as the
(A. D. 1512.)
(Ibid.,
'
;
By Mallana's
;
son, the carpenter Viranacharya,
;
Transl., p. 65.)
(A.D.
1539.)
Belur
i,
Taluq,
Transl., p.
was
108.)
written.
it
'
(A.D. 1535.)
Ariskere Taluq, no. 126,
(Ibid.,
text, last line; Transl.,
'
(54)
(A.D.
Written
by
the
Senabova
;
Transl., p. 199.)'
son
Kalajachariya's
IsVara.'
1279.)
(Ibid.,
'
(56)
The
(A.D. 1513.)
carpenter
Viranacharya,
Vol. vi, Mudgere Taluq
no. 72 ; Transl., p. 72.)
son of Mallana,
engraved
it.'
Engraved by Viranacharya, son of Ganapaya." (A.D. 1587.)
(Ibid., Vol. vii, Shimoga Taluq,
no. 83
'
(57)
it.'
Channaraypattana Taluq
no. 167
(55)
p. 169.)
Mallana's son carpenter Viranacharya wrote (or engraved)
(Ibid.,
'
Roman
;
Transl., p. 33.)
Engraved by Viranacharya, son of Mallanatha.'
(A.D. 1527.)
no. 85 ; Transl., p. 33.)
"
"
architect
(Ibid.,
(58)
Acharya, distinctly mentioned as an
:
Acharya-dakshine haste madhyamariguli-madhyame
Parvarh matrangulam jneyarh
(5)
.
.
.
II
(4)
I
Gramadhva-kshetra-ganyeshu manangula-vidhanatah
Acharya-dakskahgulibhir mite vyasa-mithadhikaih (?)
I
II
(7)
(Suprabhedagama, xxx, 4, 5,
588
7.)
HINDU ARCHITECTURE
Cf. Acharya-lakshnair
yuktam
sthapatir ity abhidhiyate
athatah kamalabhavanarh
Vastu-jnanam
(59)
STHAPATI
mayedam
kriyate'dhuna
I
muni-paramparayatam
vidagdha-samvatsara-prltyai
1
1
(Bfihat-samkita, LHI,
'
The knowledge
man
through an unbroken
this
(science of architecture) for the pleasure
series
of seers (sages).
(educated, experienced, hence professional)
i.)
come down from Brah-
of the science of architecture has
I
(i.e.,
am now
dealing with
benefit) of the learned
astrologers
(sthapatis, profes-
sional architects).'
Samvatsara
astrologer
(see
Sir
M. W.
Kern
Diet. p. 1102).
pada as "to gratify clever astrologers" but
tion as to why the astrologers in particular are to
the last
translates
he attempts no explanabe gratified on "a work
on the art of building" (Kern's translation of Vastu-jnana) which in fact
forms no part of astrology proper. It is apparent that in Varahamihira's
time the astrologers were intimately connected with the work of profes,
architects (sthapati), as also the astronomers like
others Sankaraacharya is, however, a philosopher.
sional
and
Bhaskaracharya
;
Concerning the qulifications of architects it will be noticed that the
sciences (sdstras) mentioned in the Mdnasdra and other records examined
above are not enumerated. But by "Sastra" is generally meant (cf. M. W.
"
Diet. loc. cit.)
any instrument of teaching, any manual or compendium of
rules, any religious book or scientific treatise, any sacred book or composiIt is sometimes known as Vidya,
tion of divine or temporal authority."
meaning knowledge, science, learning, scholarship or philosophy. It also
means practical arts, such as agriculture, commerce, medicine, architecture,
sculpture, painting
(cf.
Silpa-sastra, Vastu-Sastra, etc.).
Sastra or Vidya
has fourteen divisions, viz., the four Vedas, the six Vedangas, the Puranas,
or with the four
the Mlmamsa, the Nyaya, and the Dharma or law
;
Upa-Vedas, 18 divisions others reckon 33 and even 64 sciences, generally
known as Kalas or arts (see under Kala).
" versed in all sastras " need not be taken in too
But the
;
expression
literal
a sense.
What
architects are expected to
know can be
inferred
from
the details given occasionally in many places in the Mdnasdra and other
works. The chapters on the selection of site and the minute examination
of soil (see Bhu-pariksha) will indicate an intimate knowledge of practical
which is essentially necessary for architectural purposes. The
on
gnoman (see Sanku) and site plan (see Pada-vinyasa) demand
chapters
geology,
The frequent references to the
proficiency in mathematics (see also Jala).
minute examination of trees and wood show a fair amount of knowledge
in timber
work (Botany).
The examination
of
589
and bricks for
and mixtures of
stones
building purposes, the preparation of different colours
AN ENCYCLOPAEDIA OF
STHAPATI
different materials for painting, and the testing of jewels, etc., for decorative
with chemistry and other allied sciences.
point to an acquaintance
purposes,
wood (see Sandhikarman) will indicate
chapter on the joining of
a knowledge of everything architectural, however insignificant it may
The
The chapter on ornaments (see Bhushana) and
appear to a layman.
mouldings (cf. Stambha) will show a high sense of aesthetics. A knowlof the locality where a house is to be
edge of the climate and weather
built
is
essential
calculation
and
is
to
their
The
work.
also frequently referred to.
Brihat-sarhhitd,
LIII,
astrological
(Cf.
and astronomical
Manasdra, n, 40, quoted above,
i.)
All these branches of knowledge are necessary for architects.
Three
out of the four architects forming a guild must be qualified generally in all
of these. But each of the four must be expert in his own special subject.
Takshaka must be an
carpenter and joiner. Vardhaki must be
expert
must be an expert in drawexpert in designing and painting. Sutragrahin
to all these qualificain
addition
The chief architect, Sthapati, should,
ing.
have an intuitive foresight so as to be able to calculate and decide
tions,
division of labour is necessary for successeverything quickly. This wise
From this it
architecture or sculpture.
in
a big design
fully carrying out
a
once
well
organized
may be inferred that the architects of ancient India were
It should be noticed that from the epigraphical records quoted
guild.
above Dr. Fleet has come to the same conclusion.
the qualification of
very interesting to note that Vitruvius describes
Manasdra
in
the
(and the other
architects in exactly the same way as given
In both the treatises this topic is discussed at the
records quoted above).
same place, the second chapter, which is
beginning and in fact in the
in the Manasdra, and an introduction in
preceded by a table of contents
It
is
Vitruvius.
'An architect,' says Vitruvius (Book I, chap, i), 'should be ingenious,
and adept in the acquisition of knowledge. Deficient in either of these
cannot be a perfect master. He should be a good writer, a
qualities, he
skilful draughtsman, versed in geometry and optics, expert at figures,
the principles of natural and moral
acquainted with history, informed on
a musician, not ignorant of the sciences of both
philosophy, somewhat of
of
the
nor
of
law and physic,
motions, laws, and relations to each other,
the heavenly bodies.'
he is to commit to writing
'By means of the first-named acquirement,
Drawing
his observations and experience, in order to assist his memory.
affords
employed in representing the forms of his designs. Geometry
and
line
the
of
circle,
the
use
it
he
owes
to
right
much aid to the architect:
on
of
plane surbuildings
the level and the
whereby his delineations
is
square,
faces are greatly facilitated.
The
science of optics enables
59
him
to introduce
HINDU ARCHITECTURE
STHAPATYA
with judgment the requisite
quantity of
Arithmetic estimates the
and
cost,
light,
aids in the
according to the aspect.
measurement of the works
;
this assisted
by the laws of geometry, determines those obstruse questions
wherein the different proportions of some
parts to others are involved.
Unless acquainted with history, he will be unable to account for
the use of
many ornaments which he may have occasion to introduce.
Many
other matters of history have a connexion with
and
.
.
.
architecture,
prove
the necessity of its professors
being well versed in it.'
Moral philosophy will teach the architect to be above
meanness in his
dealings, and to avoid arrogance ; and will make him
'
faithful to his
Greeks
employer.
.
.
just, compliant and
That branch of
philosophy which the
.
call the doctrine
of physics is
necessary to him in the solution of
various problems as for instance, in the conduct of water.
Music
assists him in the use of harmonic and
mathematical proportion. It is
moreover, absolutely necessary in adjusting the force of the
balistae]
Skill in physic enables him to
catapultae and scorpions.
ascertain
the salubrity of different tracts of
country, and to determine the variation
of climates.
Law should be an object of his study,
especially those
parts of it which relate to party-walls, to the free course and
discharge of the
eaves' waters, the regulations of
cesspools and sewage, and those relating
;
.
.
.
window
to
.
.
.
.
.
lights.
.
.
.
'
him
in the points of the
heavens, the laws of the
soltices, and courses of the stars
all of
which should be well understood, in the construction
and proportions of
Astronomy
instructs
the
celestial bodies,
equinoxes,
;
clocks.'
It
important to notice that Vitruvius denies the
necessity of an archiall the sciences and arts
being completely trained in
as suggested
in the Mdnasdra
is
tect's
'
'
:
On
this account Pythius, one of the
ancient architects of the noble
temple of Minerva at Priene, says in his
commentaries, that an architect
should have that perfect
knowledge of each art and science, which is not even
acquired by the professors of any one in particular, who have
every oppor
tumty of improving themselves in it. This,
however, cannot be necessary
for how can it be
expected that an architect should equal Aristarchus as a
should
he not (?) be ignorant of
grammarian, yet
'
Book
I,
The
chap,
i,
translated
G^mm^ -(Vitruvius
by Gwilt.)
social position of architects
is
not quite clear from the
literary or
But from the functions
assigned
appear that the first three, namely
epigraphical records examined above.
to each of the four
architects, it would
and Vardhaki, belong to the
higher classes. Further
and rewards given on each occasion
equally to the
and the Sthapati, which are so
Sthapati Sutragrahin
from the
Guru
liberal presents
(preceptor)
frequently mentioned,
591
AN EXCTCLOPAEDIA OF
STHANA
seems probable that the Sthapati had an enviable position. This latter
point might account for his excommunication mentioned in the epigraphical
records quoted above.
it
STHANA
The
place of standing or staying, any place, spot, locality,
the abode, dwelling house, room, shrine, a monastic establishment.
'
(1)
in charge of
We, Kausika-Nagama-Bhattana, a Siva-Brahmana,
the shrine (sthana) of the temple of Tiruvallam-udaiyar at Tiruvallam.'
(Inscrip. of Rajendra, no. 55, line 4, H. S. I. I.,
Vol. in, p. 113.)
(2)
(i,
"List of shrines to which allotments were
12),
Ganapati
Brahmam,
(i,
16),
IsVari
(i,
13),
made
Vaishnavl
Virabhadra-deva
:
(r, 14),
Indrani
(i, 15).,
Chamundesvari of the chief shrine (mula-sthana)'
at
(Inscrip.
no. 66, H. S.
Kolar,
I.
I.,
Vol. in,
pp. 136-137.)
STHANAKA A
of buildings in which the height
of measurement, the temples in which the idols are placed
class
the unit
is
in the erect
posture.
see
(M., xrx, 7-11,
under APASAMCHITA
XLVI, 30, XLVH,
STHANlYA A
area
is
city,
a
a
fortress,
site
also
cf.
which the whole
in
plan
;
LVIII, II, etc.)
I,
divided into 121 equal squares.
A fortified city (Af., x, 41).
A fortress to defend 800 villages
Ashta-sata-gramya madhye
(M., vn, 13
;
also rx, 365, 368, 478.)
cf.
:
sthaniyam, chatus-sata-gramya
drona-
mukham,dvi-sata-gramya kharvatikarh, daa-graml-sarhgrahena saihgranarh sthapayet
I
(Kautiliya-Artha-sdstra,
Chap, xxn,
p. 64, para. 4.)
Jana-pada-madhye samudaya-sthanarh sthaniyam niveSayet
(Ibid,
STHANU A
Chap, xxiv,
51,
p.
I
para. 2.)
synonym of Stambha or column.
under STAMBHA.)
One who installs, actual worker, perhaps the principal
assistant to the chief architect (sthapati), not the master who is
(M., xv,
5, see
STHAPAKA
called Karta.
(M. xxxvn, in particular,
cf.
lines 7
and
34,
70-71.)
STHAPATYA A
house relating to architects
architectural or sculptural workshop.
Analanila-kone va sthapatyalayam eva cha
or
architecture,
I
(M., xxxii, 78,
592
cf.
also
66.)
HINDU ARCHITECTURE
SYANDANA
STHAPANA-MANDAPA A
installed after
it is
room or
pavilion where the
washed and dressed, the sanctuary.
Prasadabhimukhe sapta-mandapam kalpayet kramat
idol
is
I
Adau cha snapanartham cha dvitlyam adhyayana-mandapam
I
Visesham snapanartham cha mandapaih cha tritlyakam
Chaturtharii pratimagaram pafichamarii sthapana-mandapam
I
(M., xxxiv.
I
45-48.)
STHAVARA-BERA A stationary idol.
(M.,
STHIRA-VASTU A
permanent
Sthira-vastu-kukshi-des'e tu chara-vastu tathapi cha
.
.
.
garbha-svabhram prakalpayet
The
civic
and
17,
etc.)
I
I
(M., xn,
STHDNA
LI,
building.
sacrificial posts
170-171,
also 43.)
see
used as memorial
pillars,
symbolising royal and divine power to which offenders and sacrificial
'
maintained by the Fathers ', upon which
victims were tied,
'
Yama makes
seats for the departed.'
or
3, 52), made of copper, bronze
synonym of Stambha or column.
SNAPANA-MANDAPA A
(R.V. x, 18, 3
A. V.
;
R.V. v, 62,
iron (ayas,
xvm,
7,
8),
a
under STAMBHA.)
class of pavilions used for bathing, a
(M., xv, 5
see
;
washing room.
(M., xxxiv, 43-48, etc.; Suprabheddgama
see under
xxxi, 96, 97
MANDAPA.)
;
SNANA-DRONI
Bathroom
for a deity.
(Champa, by Mazumdar,
SN &NA-MANDAP A A
p. 237.)
pavilion for bath, a bathroom.
(M., xxxii, 74, etc.
SNAPANA-MANDAPA A
see
;
MANDAPA.)
washing room, a pavilion where
idols
are washed.
Snapanartha-mandapam chapi snana-mandapam eva cha
(M., xxxii, 74
SPHORJAKA A
class
;
I
xxxiv, 46, 47,
cf.
etc.)
of twelve-storeyed buildings once prevail-
ing in the country of Sphurjaka
(?).
Panchalam dravidaih chaiva madhya-kantam kalihgakam
Viratam keralam chaiva vaihsakarii magadham tatha
I
I
Janakam
sphurjakaih chaiva dasa-kantam praklrtitam
(M., xxx, 5-7 see under PRASADA.)
I
;
SYANDANA A
synonym of yana or conveyance, a
(M.,
593
in,
chariot.
9,
10
;
xix,
145.)
AH ENCYCLOPAEDIA OF
SVAYAMBHO
cha
syandanaih
Cf. Visala-ratha-vlthirh
Built a car like the Mandara mountain
'
mandaropamam
and
broad roads (round
also
(Krishnapuram Plates of Sadasivaraya,
the temple).'
1
PP- 33 6 34 -)
I
Ep. Ind., Vol. ix,
v. 57,
>
SVAYAMBHO
Self-revealed, a kind of phallus.
M., LII, 227
(Kamikagama, L, 35
;
SVAMIKARA
Svadhyayaka, reader of sacred
under LINGA.)
see
;
literature.
(M., XL, 124.)
SVARGA-KANTA A class
of eight -storeyed buildings.
(M., xxvi, 28-33
SVARNA-LlftGA A
kind of phallus, a phallus
under PRASADA.)
see
;
made
of gold.
(M.,
SVA-VRIKSHA A
type of round temple.
vv. 17-18
(Agni-Purana, Chap, civ,
;
see
LII,
333,
etc.)
under PRASADA.)
Omkdra symbol, the fire
auspicious mark, the
for Buddha and Siddha, the crossing
cross, the sun symbol, a symbol
a
of the arms, the meeting of four roads, a type of village, joinery,
of
a
class
halls, a type
a window, a type of pavilion, a kind of phallus,
SVASTIKA An
of building, a
A
class
sitting posture.
of two-storeyed
(M.,
buildings
xx,
94,
34-41;
under
see
PRASADA).
A
class
of villages (M.,
120
146 XLIX, 152 ; LIV,
kind ofjoinery (M.,
;
ix, 3, 330; see
LVIII. 12).
GRAMA compare
;
M., xn, 76, 77,
;
xvn 60).
A
A kind of window (M., xxxm, 583
A pavilion with three faces
;
see
under VATAYANA).
:
Dvi-vaktrarh dandakarh proktarh tri-vaktrarh svastikarh tatha
I
(M., xxxiv, 552.)
of mansions or halls (M., xxxv, 3, 80).
of phallus
(M., LII, 4, 120).
lindah pranta-gatau tad-utthitau chanyau
(2) Aparo'nta-gato'
Tad-avadhi-vivritas chanyah prag-dvararh svastike subhadam
The Svastika (building) is auspicious if it have the entrance on the
at the ends
east side, and one continual terrace along the west side,
whereof begin two other terraces going from west to east, while between
the extremities of the latter lies a fourth terrrace.'
A class
A kind
I
1
1
'
Commentary quotes Garga:
Paschimo'ntagato'lindah prag-antau dvau
svastikarh s"ubham
Anyas tan-madhye vidhritah prag dvararh
tad-utthitau
I
1
1
(Bfihal-samhitd, Lin, 34, J. R. A. S.,
N.
S.
Vol. vi, p. 286, note i.)
594
HINDU ARCHITECTURE
A
SVASTlKA
kind of octagonal building
:
w.
(3) Agni-Purdna (chap. civ.
Garuda-Purdna
(4)
(chap.
20, 21
XLVII,
vv.
:
see
21,
under PRASADA).
23,
31-33; see
under
PRASADA).
Kamikdgama (xxxv, 89) refers to a mansion (sala)
Dakshine chottare chaiva shan-netram svastikam matam
(5)
:
I
Parsvayoh purataS chaiva chatur-netra-samayutamll
An
entablature
(ibid.,
LIV, 7).
XLII
(named Svastika-vidhi) divides buildings into four classes
namely, Jati, Chhanda, ^Vikalpa, and Abhasa (vv. 3-4), which are
Ibid.,
described in detail (w. 5-30).
(6) See the figure L
(specimens of Jaina sculpture from Mathura, Ep
Vol.
Ind.,
n, p. 311).
'
.
The
capacity of the well, well accounts for the time taken in its
construction.
There are four entrances leading into the
well, and they are
so constructed as to give it the
of
the
svastika
shape
symbol Lj^. (This
should be compared with the village named
From each of the
Svastika.)
entrances, a flight of steps leads to the interior of the well.'
(Ep. Ind.
Vol. xi, p. 155, para, a, note i.)
'
In the inscriptions from the cave
(8)
temples of Western India,
Bombay, 1881, are given a quantity of clearly Buddhist
Pali Ins(7)
Square
criptions from Kuda, Karle, Sailawadi, Junnar, etc. Many of these contain
Svastikas at the beginning and end. Kuda no.
27 has at the end 3J but at
;
the end of 29
which occurs again at the
beginning and end of Karle
inscriptions, and beginning and end of Junnar 30, at the
beginning of
Junnar 5, 20, 28, 32 and 34, and at the end of Junnar 32 while
occurs
is
Lpj
;
at the beginning of
The form
pj
end of Karle
is
Kuda 30 and
j^J
of Junnar 6 and 27, and the end of
33.
found at the end of the Sailawadi
at the
inscription, and
]-C
2.
Thus cave temple disproves the theory that the Chris-
tian Svastikas point to the left or
westwards, whereas the Indian
including Buddhist and Jain Svastikas, point to the right or eastwards.'
(Ind.
'
The
Svastika
Ant., Vol. xv, p. 96.)
by the Jains Sathis, who give it the first place
among the eight chief auspicious marks of their faith. It would be well to
repeat here, in view of what follows, the Jain version of this symbol as given
by Pandit Bhagwanlal Indraji (the Hathigumpha inscriptions, Udayagiri
Caves, p. 7), who was told by a learned Yati that the Jains believe it
to be the figure of Siddha.
They believe that, according to a man's karma,
he is subject to one of the following four conditions in the next life he either
becomes a god or deva, or goes to hell (naraka), or is born
again as a man,
or is born as a lower animal. But a Siddha in his next life attains to nirvana
and is, therefore, beyond the pale of these four conditions. The Svastika
(9)
is
called
595
AX ENCYCLOPAEDIA OF
SVASTIKA
The
represents such a Siddha in the following way.
centre from which the four paths branch out
is
point or bindu in the
jiva or life, and the four
paths symbolise the four conditions of life. But as a Siddha is free from all
these, the end of each line is turned to show that the four states are closed
for him.'
'The Buddhist doctrines mostly resemble those of the Jains, it is just
possible that the former might have held the Svastika in the same light as
the latter. In the Nasik inscription, no. 10, of Ushavadata, the symbol is
"
Siddham a juxtaposition which corplaced immediately after the word
'
We find the Svastika either at
roborates the above Jain interpretation.
the beginning or end or at both ends of an inscription and it might mean
Mr. Y.
Svasti or Siddham.'
S.
Vavikar.'
(Ind. Ant., Vol. xxvn, p. 196.)
usual Indian symbols are of frequent occurrence, e.g., the
Svastika in various forms on most of the Plates and specimens of the familiar
'
(10)
The
circular Sun-symbols.'
Mr. Fawcett quotes 32 sun and fire symbols of Plate I of Mr. Murray
Ansley's papers on Asiatic Symbolism (Ind. Ant. Vol xv, p. 66) and says
the whole of these may be taken to be developments in various
that
'
directions of the cross,
and for Indian investigations of the
Svastika.'
(Ibid., Vol. xxx, pp. 413-414.)
(the ancient mystic emblem of the Bon Religion
view was invented to represent the Sun as the creator
(n) 'This emblem
Tungdrung t-pj ) in my
of East, South, West, and North,
the
little
mark
at the
end of each
line in-
dicating the inclination of the sun to proceed from one point to the other.'
Rev. A. W. Heyde of Ghum tells me that Yungdrung as a monogram
'
is
said to be
composed of the two
syllables,
[J
su
and rfr
ti,
suti
=
Svasti.'
Mr. A. H. Francke.
(Ladakhi pre-Buddhist marriage Ritual
Ind. Ant., Vol. xxx, p. 132, paras, i,
4.)
iv
Plate
(12)
(facing p. 400), Fig. 2 ( f, pjJ ) contains two reversed
forms of the Svastika (yungdrung).'
'
Mr. Francke
above quotation
of
Svastika
in
orm
Ladakh,' and repeats that
refers to the
'
for
'
it is
an explanation of
the
emblem
of the
thi s
Bon
Religion.'
(Notes on Rock-Carvings from lower Ladakh
'
(13)
Ind. Ant., Vol. xxxi, p. 400, para.
3.)
M. Burnouf holds
(Svastika p|-J, fj-j )
preserve the sacred
is
that this mysterious and much debated symbo
intended to denote the invention of the fire-drill, and
remembrance of the discovery of fire by
rotating a peg
wood. It represents according to him, the two pieces of wood laid
crosswise, one upon another, before the sacrificial altar, in order to produce
in dry
596
HINDU ARCHITECTURE
SVASTIKA
down by
arms, and at the
point where the two pieces are joined there was a small hole in which a
wooden peg or lance (pramantha, whence the myth of Prometheus the
the holy
fire.
The ends
of the cross were fixed
,
fire-bearer) was rotated by a cord of cow-hair and hemp till the sacred
spark was produced. The invention of the fire-drill would mark an
epoch in human history. Mr. Tylor, in his Early History of Mankind,
has largely shown its use at some period in every quarter of the globe,
and it is conceivable that its invention would be commemorated by a
holy symbol. After this Mr. Walhouse has shewn that both forms existed
"
Its first appearance (in
in all countries of Europe, Asia and Africa.
on that in the British
as
is on the pottery of archaic
Greece,
Europe)
Museum ascribed to between the years 700 and 500 B.C." About India,
" a
character nearly resembling the runic G, occurs in a
he says that
and reversed
a rock-inscription at Salsette"
He has also shewn that it is both
(J. R. A. S., Vol. xx, p. 250, etc.).
" In our own
a Buddhist, Jaina, and Christian emblem.
day," says he,
" it has become a favourite ornamental
we may be sure with no
device,"
Pali
inscription,
observe
it
in
and archaeologist returning from India may
covering ceilings, cornices, fenders, and other ironworks.'
of
thought
pj-J,
symbolism,
(Ind. Ant.,
Vol. vn, p.
177, c. 2, para. 2
f.)
(14) 'In describing coin no. 3 of this series (Numismatic Chronicle, N. S.,
Vol. xx, pp. 18-48, p. 62) I pointed out that the place of the more definite
place of the Sun, in
its
rayed wheel form, was taken up by the emblematic
cross of the Svastika.'
Under the advanced interpretation of the design and purpose of Svastika,
'
the figure, as reprefrom an Indian point of view, now put forward
senting one of the received attributes of the Sun, was used conventionally,
E. Thomas.
to typify the solar orb itself.'
.
.
.
Ant., Vol. ix, p. 65, c. i,
para. 2 ; p. 66, c. i, para. 2.)
(Ind.
(15) 'I
come now
to
show that the
figure called the Svastika symbolizes
the idea of circumambulation, derived from the apparent movement of the
left to right round the earth. The idea is this, that if a person faces
sun from
the east at sun-rising and follows its movement southward and westward
he will turn with his right hand fixed towards an object supposed to be placed
like the earth in relation to the sun, in the centre of a circle.
'
The argument,
amounts
that as the figure or the
Svastika is found scattered through countries reaching from Japan to
/
England, so also the custom of turning sunways, or with the sun, is equally
widespread and secondly, that as the Svastika is a sign of good luck, signitherefore,
to this
:
;
so also the practice of turning with the sun is considered
a lucky or fortunate proceeding and turning in the contrary way, especially
fied
by its etymology,
597
AN ENCYCLOPAEDIA OF
SVASTIKA
people, is dreaded as entailing a curse
custom and the symbol, therefore, we argue are co-related.'
among northern
(Ind. Ant.,
para. 5
;
.
.
.
Rev.
;
the
S. Deal.
Vol. ix, p. 67, c. 2,
p. 68, c. 2, para. 2.)
(16) Mr. Sewel after quoting a number of theories on the origin of the
symbol, namely, of General Cunningham (Edinburg Review, January,
1870), Rev. Haslam (The Cross and the Serpent, 1849), Mr. Brinton (Myths
of the New World), Dr. J. G. Muller (Geschichte der Amerikanischen
Urreligionen, p. 497),
'
p. 186),
says
Sun-standard.'
and of Mr. Baldwin
for
myself, I
New York,
1879,
boldly range myself under Mr. Thomas's
Ant., Vol.
(Ind.
(Ancient America,
x,
p.
202,
c.
i,
line 6.)
Mr. Murray-Ansley seems to agree with the theory that the Svastika
has originally been an emblem of the sun. He correctly adds that in
India Hindus belonging to certain sects are in the habit of tracing one or
more figures of the Svastika on the outer walls of their houses.' He also
mentions its use in connexion with the marriage presents in India and
(17)
'
'
(18)
Vol. xv, p. 93, c. i, para, i ; c. 2, para. 2.)
svastika or fylfot is one of the most ancient symbols
(Ind. Ant.,
Spain.
The
Much
mankind
heard of it nowadays, and in one country much is seen of it,
presumed to be especially connected with the mysterious con1
called
Aryan and with the Christian Faith as a national possession
ception
"
and discrimination. " Rise of a benign power " or " lucky time is the
has.
where
is
it is
,
meaning attached to it in Germany where it is supposed to have a German
origin and an anti-Semitic signification.'
Wherever the sign came from, it did not come from Germany. It is
not a natural symbol of the Aryan race, which is not a race but a myth or
It was not invented by European peoples.
Fifteen
scientific abstraction.
centuries before India knew anything of Europe the sign was used by the
people of the Indus valley, as is shewn by the great excavations on sites
along that river, and those peoples were not Aryans or Europeans or IndoEuropeans, nor in any sense the direct anscestors of the Germans. Europe,
it seems, knew nothing of the
sign until a thousand years later than the date
of the specimens found in large numbers in that part of India. When early
Christians used it, as they often did, they were using something borrowed
from older religions or civilizations. A good claim can be made out
'
Hitler has, however, explained the significance of Svastika which
included in the new German flag Red with a white disc in the centre
bearing the black Svastika as follows
" The red
expressed the social though underlying the movement (of the
National socialists) ; white, the National thought ; and the Svastika signified
the mission allotted to us the Struggle for the Victory of the Aryan Mankind
and at the same time the triumph of the ideal of the Creative Work which is in
itself and always will be anti-semitic."
(Mein Kampf, 1939, pp. 409 note, 411.)
is
:
598
HINDU ARCHITECTURE
SVASTIKA
Egypt as its inventor, where the symbol for created life was a cross with
a circle on top or resting on the left arm, and that combined with the symbol
for Divinity in the hieroglyphics (something like a small
flag) might easily
for
have developed into the svastika we know. From Egypt it could have
spread over the Mediterranean world and the Near East, for there was much
trade and travel in early days. SGHLIEMANN found both forms of it, the right
and
handed, in the ruins of Troy, and it has been discovered also on
Chaldaean bricks, in Egyptian temples, on vases of Cyprus, Hittite carvings,
left
Etruscan pottery, in India's cave temples, on Roman altars and British
runic monuments, in Tibet, China, Korea, Mexico, Peru, and in the prehistoric burial ground of North America. Germany's sole right to it is far
from
'
established.'
The
name
origin of its
is less
noun ending) Svasti
of any auspicious act, and " it is
asti (is)
ka (a
out the ages.
"Life
writer on symbolism
is
disputed. Sanskrit has the credit su (well)
(it is well) India has said at the beginning
"
well
is the
meaning of the sign through,
beneficent." It indicates we quote from a woman
" That the maze of life
may bewilder, but a path of
// is well is the name of the path, and the key of life
runs through it
rival
eternal is in the strange labyrinth for those whom God leadeth."
interpretation finds in the word another Sanskrit element, the swa (self)
ofswarajand similar words, relating the svastika to the good that comes
from one's own efforts, but that view has found little acceptance. In
general man has seen in the sign an assurance that somewhere in this fluid
difficult chaotic life there is stability and benevolence, and he reads it as
life
:
A
an assurance that he should struggle on in hope.'
For this reason some have sought its origin not in the
'
religious
symbolism
In the sky only the Pole Star
of Egypt, but in the pattern of the heavens.
So the fixed, the reliable,
All else moves round it.
is stable and constant.
the dhruva of the old Indian astronomers, became an assurance that there was
the seat of a power kindly to man. Anyhow we must believe that India
has given the larger part of the associations that have always gone with the
Svastika, though it might come as a shock to some good Germans to be told
that they are in the same line of thought as Hindus and Buddhists who begin
"
svasti
and welcome a guest with
an important piece of work with
" " be it well ".'
"
svastu
'
'
(Statesman,
October
14,
1934.)
The extensive literature dealing with this most ancient and popular
symbol in its all aspects (viz. etymology, antiquit/, various countries and
peoples who employed it, and the four main theories of its significance) as
summarized by the writer may be quoted (from the Indian Review, Decem754-761) below
ber, 1940, pp.
The term
'
Svastika
'
'
'
(good, auspicious),
is
asti
('
:
etymologically composed of three parts
as
'
to be,
599
'
'
ti
affix for third
'
su
'
person singular
AN ENCYCLOPAEDIA OF
SVASTIKA
'
'
form verbal or abstract noun,
'
asti
rati ', love or love goddess, etc., thus
like
may be
going
gati
'
and
the
suffix
ka
or
to
sthiti
', stay
settlement)
(to imply
equivalent
possession of, as in Bala (=hair) ka (possessing) which means a boy having
This derivation of the term from Sanskrit is corroborhis hair grown.
or the suffix
added
ti
to verbal root to
'
'
'
'
;
'
monogram Yungdrung which
ated by the
two
syllables, su
Bon
(
j-J
and
)
ti
Tungdrung.
religion
( j-jJ )
Mr.
and
is
as
quoted above
the mystic
H. Francke
A.
'
is
emblem
(Ind.
Ant.
composed or
(
Lpj
)
xxx,
of the
132)
took this symbol to represent the sun as the Creator of East, South, West,
and North, the little mark at the end of each line indicating the inclination of the sun to proceed from one point to the other. Thus the Sanskrit
'
'
svastika should imply any object possessing, indicating, or ending at an
auspicious omen. This etymological meaning of the classic emblem has
retained
its
sense everywhere probably excluding Germany of
But there are various theories to explain its design and
original
Kilter's day.
purpose.
above M.
Mr. Tylor, Mr. Walhouse,
Ind. Ant., Vol. VH, p. 177) the svastika symbol ( LPj |^-J ) is intended to
denote the invention of the fire-drill, and preserve the sacred rememAccording
to
some
(see
Burnouf,
'
brance of the discovery of fire (at the neolithic age) by rotating peg in
dry wood. The symbol represents the two pieces of wood laid crosswise
one upon another, before the sacrificial altar, in order to produce the holy
,
The ends of the cross were fixed down by arms, and at the point
where the two pieces are joined there was a small hole in which a wooden
peg or lance was rotated by a chord of cow-hair and hemp till the sacred
spark was produced.'
The myth of Promotheus appears to have originated from Pramantha
or lance. The invention of fire-drill marks an epoch in human history,
Till then there was hardly much difference between men and beasts.
For
in the palaeolithic or old stone age, men could use for defence and offence
only the implements of wood, bone or stone, rude in form and entirely
fire.
devoid of skilled workmanship. In the new stone age, however, higher
type of implements came into use. Men then developed the intelligence
and
to
skill
and
to grind
make more
polish the rude instruments of earlier age in order
of them. The neolithic men were not, like
effective use
and the potter's art.
and
could
meat
fish.
make with hand
They
They
which
was
later
turned
on
honoured
wheel.
their dead
pottery
They
parents and relations by elaborate tombs frequently built of massive stones.
This sort of ancestral worship was the beginning of the belief and faith
in a. Creator or the God, who is the ultimate father of all beings.
Thus
their Palaeolithic fore-fathers, ignorant of the use of fire
could
then
cook
600
SVASTIKA
HINDU ARCHITECTURE
if
the svastika
and use of
fire
antiquity so far
symbol be ascribed to the period when the production
became known to humanity it would^claim a very great
For the discoveries at Mahenjoas India is concerned.
3000 B. c. Indians not only knew the
but
use of all metals including gold
culturally made an all-round progress,
and this Mahenjo-Daro period must be at least 2000 years later than the
Daro show unmistakably that
new
stone age
when
the
at
production and use of
fire
became known
to
them.
however, should be noted that the fire-origin of svastika will miliBecause however useful fire may be, its
tate against its root meaning.
or
main function is to burn
destroy whatever comes in contact with it.
It,
it would be an emblem of destruction like cross with which Christ
But etymologically svastika must mean
was crucified or murdered.
'
an
or
the good settlement
auspicious emblem as its later use will
Thus
'
clearly
show.
According to another school of thought as represented by Rev. S. Beal
Vol. rx, p. 67 ff.), Mr. Sewel (Ind. Ant., Vol. x, p. 202) and
(Ind. Ant.,
Mr.
Murray-Ansley
(Ind.
Ant., Vol. xv, p.
93
ff.)
the
svastika
figure
'
symbolizes the idea of circumambulation, derived from the apparent
movement of the sun from left to right round the earth.' The idea appears
a person faces the east at sun-rising and follows its movewill turn with his
right hand fixed
to
be
like
the
earth
in
relation to the
towards an object supposed
placed
to
be
this that if
ment southward and westward, he
sun, in the centre of a circle.
This theory
is
corroborated by the world-wide use of the svastika symbol,
so also the custom of turning sunways or with the sun, which is equally
widespread. The further support to the sun theory is lent by the argu'
ment that the svastika is a sign of good luck, signified by its
so also the practice of turning with the sun
and turning in the contrary
nate
is
etymology,
considered a lucky or fortu-
way is dreaded as entailing a
the symbol are co-related.
The exponents of
the cross-symbol theory of the svastika figure like Mr. Fawcett (Ind. Ant.,
Vol. xxx, pp. 413-414) hold that the 32 sun and fire symbols (gathered
proceeding
curse.'
Thus the custom and
Ant., Vol. xv, p. 66)
'
may be taken
be developments in various direction of the cross.' This school of
thought fail, however, to explain the appearance of svastika beyond a
thousand years before the birth of Christ in connexion with whom the
deadly weapon, cross, assumed a symbolic significance.
together
by Murray-Ansley
(Ind.
to
adumbraded by General A. Cunningham
(Edinburg Review, January, 1870), Rev. Halsam (the Cross and the Serpent,
1849), Mr. Brinton (Myths of the New World), Dr. J. G. Muhler (Geschichtt
Numerous other
theories
60 1
AN ENCYCLOPAEDIA OF
SVASTIKA
der Amerikanischen
497), Mr. Baldwin (Ancient America,
many others associate the svastika figure
Umligionen,
p.
New
York, 1879, p. 186), and
with the fire, sun, or cross symbol and do not advocate
an
entirely
separate origin.
The
fourth group of theories as elaborated by Mr. H. K. Deb (J. A. S. B.,
associate the svastika symbol with the
ff.) and others
Vol. xvn, p. 229
Om This syllable in Sanskrit consists of three letters
m which are variously connected with the gods of Crea'
mystic syllable
a ', u and
'
'
'
'.
'
',
and Destruction, as well as with the three Vedas, the
Rig, Saman, and Yajus. But the sound o of the mystic syllable is represented by a single letter which in the Brahmi script looks exactly like
f the svastika figure (
and the nasal sound, m is
one arm ( ^,
)
Lj^ )
tion,
Preservation,
'
represented in
^ below
(
),
which
2Brahmi
on
later
'
'
'
'
by a small circle or dot with two ear-like projections
is shown by the dot only, with or without a crescent
O
'
in grammar is stated to be a long vowel and it
held that in pronouncing the mystic syllable the o '-sound is lengthened
by repetition and that the repetition is indicated in writing by two o's
like a conjointed letter by placing them crosswise.
And the nasal sound
line
(
o-
).
'
is
'
m
in order to have a pause after a vowel sound, is
', which is necessary
'
indicated by a dot-like mark at the ends of the Brahmi o '-symbol. Such
dot-ending svastika figure is seen in numerous instances in Cunningham's
in Rapson's Coins of Andhras, and D'Alviella's MigraIn fact, this dot mark
of Symbols (p. 71), and in other places.
from
a slight projection
the ends makes the svastika figure more
Coins of India
tion
or
and
ornamental.
If this identification of svastika with the
ment of the former out of the
further clarified.
First,
latter,
'
Om
'
syllable, or the develop-
be accepted, three points would be
the auspicious character of the
'
Om
svastika
pronouncing anything is followed down to this day by Svasti
'
Svasti
immediately after
luck) and it is also the practice to add
'
in
'
in order
probably to
figure
'
will get support because the
syllable like the svastika figure
at the commencement of something auspicious.
The prefacing of
is
'
used
Om
'
'
(good
'
Om
'
or emphasize the meaning of the mystic
the formation of the svastika figure from the joining
clarify
syllable. Secondly, if
of two Brahmi o's in a crosswise manner be accepted a very great antiquity can safely be attached to this classic symbol, because the title Brah'
mi
'
implies
alphabet
its
may
origin from Brahma or the Creator Himself and the Brahmi
be associated with the writings discovered at Mahenjo-Daro
Despite various other theories the indegenous
dating from 3000 B. c.
of
the
Brahmi
can
hardly be questioned although the history of its
origin
Thus, thirdly, the Indian origin of the
origin has yet to be written.
602
HINDU ARCHITECTURE
svastika
is
further vouchsafed
questionably Sanskrit
SVASTIKA
by the etymology of the term, which
is
un-
and Indian.
Before examining the very widely spread use of the svastika figure in
life and culture, it is desirable to notice briefly its antiquity and
in
use
other countries, without, however, committing oneself about its
Indian
migration from India, or its independent growth in other countries all
over the world. Thomas Wilson in his book Suastika (Report of the
Smithsonian Institution, 1894) has largely referred to the various objects
'
of different countries whereupon the svastika mark has been found.
The
earliest undoubted reference of the svastika ', as held by Mr. H. K. Deb,
'
is
said to be in connection with the Third city
identified with ancient Troy.'
It is
common
on the
also in the
site
of Hissarlik,
Fourth and Fifth
and is principally found there on spindle whorls,
from
fourteenth or thirteenth century B. c.
It is,
dating approximately
fact
that
this
was
a
svastika
not
found
remarkable
in
the
First
however,
in
a
of
forms
in
cities
but
and Second
the Third or the
emerged
variety
burnt city. This fact clearly indicates that the svastika was foreign to Troy
and that it was imported and introduced there about the middle of the
second millenium B. c. Its importation from Vedic India is indicated by
cities
on the same
Professor
by G. H.
site,
Winckler's discoveries at Boghaz Kuei.
W. Johns
It
has been established
(Ancient Assyria, 1912, p. 54) that
kings with Indo-Aryan
the region of Mitanni.
about 1400
B. c.
names and worshipping vedic gods were ruling
The names Sutarna, Dushratta, etc., have a
'
Indo-Aryan appearance. It is instructive to compare the name
Gilukhipa, borne by a daughter of Sutarna I, who was also queen of Amer-
distinctly
nophis III of Egypt (c. 1400 B. c.) with the name Gurukshepa (Pargiter,
Dynasties of the Kali Age, p. 9) borne by the third successor of Brihadbala
who had fallen in the Bharata War.' Ample evidence has been
secured which goes to show that there was intimate inter-communication
at that period among the different peoples inhabiting Asia Minor, Egypt
and the Aegean Island, so that the Vedic religion obtaining in Mittani
had many opportunities for circulation abroad. Earlier still, Mittani
of Kosala
had been the centre of an extensive empire, and the migration of the
svastika symbol to Troy in those days is intelligible enough (J. R. A. S.
t
Vol. XVH, p. 242).
appears on the archaic pottery ascribed to between the years 700 and 500 B. c. In the Thomas Wilson's list the Fig. 140
shows the Grecian geometric vase of Smyrna, Fig. 153 shows the geometric
In Greece the svastika
Grecian vase of Thesa., Fig. 155 shows another Grecian vase (oinochoe),
and Fig. 130 shows the Naukratis vase of Greece. In the same list Fig. 186
shows the Cervetri-Italian cinerary Urn, and Fig. 171 shows the detail of
603
AM ENCYCLOPAEDIA OF
SVASTIKA
Rhodian
vase.
The
Figs.
59 and 63 of the same
list
show the spindle whorl
of Troy.
The
svastikas
cross type
(
3-J
)
composed of four small squares (g) and the archaic
are found on old Greek coins and as an ornamental device
on early Greek pottery in Samos, Cyprus, and Hissarlik. It is also to be
found on early Latin, Etruscan, and Sicilian ornaments, coins, and pottery,
as well as in Asia Minor and North Africa, especially where there had
been Phoenician colonies. It is hardly to be found on Egyptian, Babylonian or Assyrian remains.
In the Museums of Sweden and Denmark there are several hundred
gold bracteates which appear to have been worn as amulets or medals,
frequently bear the svastika
In the
mark drawn both ways.
Roman Catacombs the svastika occurs
Roman mosaic work in England,
tian symbol in
not frequently, as a Chris-
France, Spain and Algeria.
weapons of Roman-British
It is abundant on pottery, ornaments, and
and Anglo-Saxon times, and of corresponding periods in Scotland, Germany, Switzerland, and Denmark. A sepulchre was found in Norfolk and
another preserved at Cambridge, bear the svastika in continuous lines.
A whole row of svastika surrounds the pulpit of St. Ambrose at Milan
it is seen also on wall paintings at Pompeii, on ancient Athenian and Corinthian vases and in the large Mosaic in the royal garden at Athens. It is
also found in Hungary, China and Japan where it is frequently used as a
Clothes used in Spain
potters' marks (Ind. Ant., Vols. vn and xiv).
;
were bordered with the svastika only for ornamentait in Bishop's Island near Konigswalde
tion.
on the right bank of the Oder, near Guiben. It is seen also on a celtic
Urn found at Shropham in Norfolk and now in the British Museum. The
for covering the trays,
Professor
Max
Miiller found
form of it (%) known as the double sun snake of Scandinavia has
been found on pottery in the Island of Cyprus, specimen of which is in
the Museum of St. Germain in France. Svastika has also been found on
tomb with a Latin inscription, discovered in 1879 at Rome.
most rare and common in Norway, Denmark, and Sweden. A stock
a Christian
It
is
bearing the date 1809 in the Norwegian Museum in Stockholm is covered
with svastikas of the double sun snake type (^).
Professor Max Miiller concludes that the svastika has been found in
In his Early
nearly every country of Europe (Ind. Ant., Vol. xv, p. 94).
Mr.
use
of the
Tylor has shown the extensive
History of Mankind,
svastika
above.
symbol at some period in every quarter of globe as exemplified
And Mr. Walhouse (Ind. Ant., Vol. vn, p. 177) has identified
both the right-handed and left-handed
Europe, and Africa.
604
forms in
all
countries of Asia,
140
O
CO
130
Grecian vase
140
NAUKRATIS
Wilson,
The
Svastika, Fig. 130.
153
Grecian geometric vase of Smyrna Wilson, The Svastika, Fig. 140.
Grecian geometric vase of Thesa Wilson. The Svastika, Fig. 153.
155
Grecian vase
171
Rhodian vase
186
Ccrvetri-Italian Cinerary urn
OINOGHOE
Wilson,
The
Wilson,
The
Svasiika, Fig. 155.
Svastika, Fig. 171.
Wilson,
The
Svastika, Fig. 186.
Vage 604
Fig- 63
The
spindle whorl of
Troy with ogee Svastika
Wilson,
The
Svastika, Fig. 63.
59
Fig- 59
Biconical spindle whorl of
Troy
Wilson,
The
Svastika, Fig. 59
20
Indian coin, Eran, Fig. 20, Plate XI, in Cunningham's " Coins of
Fig. 20
Ancient India ", containing snake pattern of Svastika.
Indian coin, Ujjain, Fig. 7, Plate X, in Cunningham's " Coins o
Fig. 7
Ancient India
''.
(Reproduced through the courtesy of Smithsonian Institution.)
I'age
COS
HINDU ARCHITECTURE
In the land of
'
Omkara
its
SVASTIKA
origin the svastika symbol
,
whether identified with the
'
or not, has been popular, both as an auspicious emblem as well
as an ornamental device, with the followers of Brahmanism, Jainism and
Buddhism. As referred to above, all pronouncement in Sanskrit com'
mences with
Om
'
'
and
Svasti '. Several epigraphical records open with
the svastika symbol.
Coins also bear this symbol. For instance in Cunningham's Coins of Ancient India, Fig. 20 of plate xi shows a unique specimen
of eran coin, and Fig. 7 of plate x represents another interesting specimen
'
of svastika with the Brahmi o and
actually depicted.
'
The
among
svastika
is
called
by
'
'
m
the Jains 'Sathis'.
They
give
it
the
first
place
the eight chief auspicious marks of their faith.
Bhagwanlal Indraji
testifies on the autho-
Caves, p. 7)
to be the figure of Siddha,
(Hathigumpha Inscriptions, Udayagiri
the Jains believe
rity of Yatis that
'
it
who
is
beyond the four conditions of life, viz. to become, after death according
to one's action in life, a god or to go to hell or to be born again as a man
The Siddha
or a lower animal.'
represented by the svastika in this
is
The
way.
point (bindu) in the centre from which the four paths branch
out is Jiva or life, and the four paths symbolise the four conditions of life.
But as a Siddha is free from all these, the end of each life is turned to show
for him (Dictionary of Hindu Architecture,
of
PP- 734~35)Jain sculptures from Mathura (Ep. Ind.,
Specimens
Vol. n, p. 311) contain this symbol.
The Buddhists appear to hold the svastika in the same light as the Jains.
that the four states are closed
In the Nasik
Inscription
(no.
of Ushavadata, the symbol
10)
is
placed
'
Siddham ', a juxtaposition which corroimmediately
borates the Jain interpretation.
The svastika appears at the beginning
or end or at both ends of an inscription and it might mean the Brahmanical
Svasti
or Jain
Siddham '. The Buddhist square Pali Inscriptions
the
after
'
'
word
'
from Kuda, Karle, Sailawadi, Junar, etc., among the Inscriptions from
the Cave Temples of Western India contain svastika at the beginning and
end ( rH
Ind Ant -> Vo1 xv > P- 96).
ffi fi,
S
-
In modern times
buildings, covering
it
is
-
a favourite ornamental device.
ceilings, cornices, fenders
and other
It is
found in
iron, silver, gold
'
and wooden works. It is used not only as an auspices mark and a symbol
for Buddha and Siddha, but also as a sign for the crossing of the arms and
as the meeting of the four roads.'
It has been translated into a sitting
the
it
has
In
been
Silpa-fastra
elaborately worked out in the townposture.
in
and
village schemes,
designing screens, lattice, joinery work,
planning,
windows, pavilions, halls, and storeyed mansions, in digging wells, and
carving the phallus or the
ture,
p.
732
ff.).
The
emblem
of Siva (Dictionary
of Hindu Architec-
Manasdra-Vdstu-sastra contain elaborate details of
605
AN ENCYCLOPAEDIA OP
SVASTIKA
svastika plan, of villages (Chap, ix, 3,
330; xn, 75-76, '146; XLIX,
of
work
joinery
(Chap. XVH, 60), of windows
152; LIV, 120; LVIU, 12),
(Chap. XXXIH, 583), of Pavilions (Chap, xxxiv, 552) and of Halls
and Storeyed Mansions (Chap, xxv, 3, 80). These references are further
For instance the Brihat-sarhhitd
elaborated in the general literature.
a
contains
technical
description of a svastika house
(Chap. LHI, 34 ff.)
:
"
The
auspicious if it have the entrance
terrace along the west side, at the
on the east
end whereof
begin two other terraces going from west to east, wliile between the extre"
mities of the latter lies a fourth terrace
(Chap. LIII, 34 and J. R. A. S.,
side,
svastika (house)
is
and one continual
Vol. vi, p. 286).
The
octagonal buildings of the svastika plan are described in the AgniPurdna (Chap, civ, vv 20-21), and the Garuda-Purana (Chap. XLVII, w.
21, 23, 31-33).
the
Kdmikdgama (xxxv,
89 ff.) the distinguishing
features of the svastika house are the six eyes (netra) in right and left, and
the four eyes on the two sides and in front. Further details have been
elaborated in the Mdnasdra-Vdstu-sdslra where (Chap, xxxiv, 552) the
characteristic features are stated to be the plough-shape and the three
faces. This design has been followed in a structure erected at Allahabad
near the Bharadwaj Ashrama of which several photographic views, measured
drawings and a graphic description are included in the writer's Hindu
to
According
Architecture in India
not at the
forms.
and Abroad.
The plough-shaped
three-face design will
sight disclose the usual svastika plan, which has various
standard authorities on architecture have developed the plan
first
The
of the svastika house in three different forms as described in the Mdnasdra,
the Brihat-sarhhitd, and Agni-Purdna, and Garuda-Purana. The structure
referred to above
all
is
in conformity with the Manasara's rules
and
satisfies
the essential requirements.
Thus there
pp. 951-952)
is
some truth
when he
and comparatively
in the conclusion of
says that since
insignificant
'
we
objects,
Thomas Wilson
find the svastika used
those in
common
(ibid.,
on small
use such as
household goods and
implements, tools,
utensils, objects
ornaments, etc., and infrequently on statues, altars and the
like, the holy or sacred character of the svastika should be given up, and
it should still with these exceptions be considered as a charm, amulet,
vases, pots, juds,
of the
toilet,
token of good luck or good fortune, or as an ornament or decoration.'
Whichever theory of its origin be accepted -Om, Sun, Fire, or Cross
the etymology of the term, svastika, justifies its Indian or Sanskrit,
And
according to its derivative meaning its auspicious significance cannot be denied as long as the Sanskrit civilization and Hindu
origin.
606
HARITA
HINDU ARCHITECTURE
culture will survive in this world.
In India
symbol has taken
this classic
corporal body and the Hindus have been building their roads, towns,
Thus
villages, images, various articles, and houses according to this plan.
in India, the place of its origin, it is not merely an auspicious figure but it
has been developed into a more tangible sculptural and architectural
a
object.
(Indian Review,
SVASTIKA-KHADGA A
(Agni-Purdna,
SVASTI-KANTA
A
class
Chap,
civ, vv, 20, 21
;
see
under PRASADA.)
of six-storeyed buildings.
(M.,
SVASTI-BANDHA A
December, 1940, pp. 754-761.)
type of octagonal buildings.
class
xxiv,
53
see
;
under PRASADA.)
of single-storeyed buildings.
(M., xix,
169
;
see
under PRASADA.)
SVARASANA The
lintel, the top of a door.
The Svarasana of the gateway was made.'
'
(This inscription
is
on the top of the door of the Bhimesvara temple.)
(Ep. Carnal., Vol. x, Goribidnur Taluq, no. 2,
Roman
text, p. 260, Transl., p.
212
f.,
H
HATTA A market,
a market-place, a fair.
Saumya-dvararh saumya-pade karya hattas tu vistarah
(1)
(Agni-Purdna,
Chap,
II
cvi,
v.
3.)
maha-janas cha sthapitah here the market-place
and the shopkeeper (lit. big folk) were established.
Vichittra-vithl-sarhpurnnarii hattarh kritva grihani cha having constructed a market-place full of variegated (various) streets and houses
Attra hattah
(2)
(shops).
(Ghatiyala Inscrip. of Kakkuka, no. i , v. 6 ;
no. n, v. 3 ; Ep. Ind., Vol. ix, p. 280.)
Nisranikshepa-hattam ekarh narapatina dattam
A bazar building or ware-house for storing goods to be exported
was granted by the king.' (The Chahamanas of Marwar, no. xxm, Jalor
(3)
I
'
stone Inscrip. of Samantasirhhadeva, lines 22, 23, Ep. Ind., Vol. xi, p. 62.)
HARIKA-KARNA A kind
of leg for the bedstead.
(M., XLIV, 60.)
HARITA A
pavilion with twenty two-pillars.
(Matsya-Purana, Chap. CGLXX, v.
HARITA A
moulding,
an
architectural
ornament
MANDAPA).
A
moulding of the column (M., xv, 160, cf.
ornament of the pedestal (M., xxi, 31).
An
607
L. 106).
(see
13.)
under
HARMIKA
AN ENCYCLOPAEDIA Of
HARMIKA
The
kiosk,
the
altar-like
on the
structure that rises
decorate the
stupa. The Nepalese stupas
Harmikd with painted human eyes, thus suggesting a human figure,
in the posture of meditation hidden in the stupa
the crossed legs
summit of the cupola of a
'
:
head
body up
It was crowned by one or more umbrellas of stone
a receptacle of relics. " The resemblance of the Harmikd
to the shoulders in the hemisphere, the
in the base, the
in the Harmikd.
and served
as
to a sacrificial altar
perhaps not unintentional, because the Holy
one (Buddha), instead of sacrificing other beings, sacrifices himself
to the world."
Railing on the top of stupa, Tee, Burmese Hti ; the
lower part is called Gala (neck) and the whole ch.uda.mani. The
is
umbrellas grouped over it are chhatravali and the shaft on which they
are supported is Yashti.
(Foucher, L'Art Greco -Buddhique. tome i,
Vol.
i, p. 70, note 2.)
p. 97
Fergusson,
;
HARMYA
An
an upper room, a turret,
an apartment, buildings in general, a palace. A rich man's house.
(Amarakosha, see under PRASADA) including stables, etc. (R.V. i, 166,
4. ;
vii, 56,
(1)
(cf.
RAJA-HARMYA)
16
ix, 71,
One
;
4
;
edifice,
x, 43, 3).
of the four divisions of the architectural objects
:
Dhara harmyadi-yanam cha paryankadi-chatur-vidham
I
(M.,
Buildings in general including prasada (big buildings),
lion),
sabha
(hall), s"ala
iii,
mandapa
(pavi-
(mansion), prapa (alms-house), (a)ranga (theatre,
play-house with quadrangular court-yards) (ibid., 7-8).
Purva-hastena samyuktam harmyam jatir iti smritam
I
(M., XDC,
A palace
3.)
3.)
:
Bhupatlnam cha harmyanam lakshanaih vakshyate'dhuna
I
(M., XL,
Harmya-janma-samarabhya sala-janma-pradesakam
etc.)
i,
I
(M., LXIX, 37.1
Kudya-stambhe griha-stambhe harmya-garbham vinikshipet
(M.,
Prasada-harmya-valabhi-linga-pratimasu kudya-kupeshu
In the temple, mansion, roof, phallus, idol, wall and well.'
Vol. vi,
(Brihat-tamhita, J. R. A. S., N. S.,
(3)
132.)
I
(2)
'
xii,
I
Harmyam prasada-manditam
(Vayu-Purana, part
608
p. 332.)
the edifice furnished with a temple.
i,
Chap, xxxix,
v. 57.)
HARMYA
HINDU ARCHITECTURE
(edifice)
nama prakirtitam that is
furnished with a large tower or dome
harmyath
Prabhuta-sikharopetam
(4)
named harmya
which
is
(sikhara).
(Kamikagama,
A class
of buildings
see
L,
89.)
under MALIKA).
(Ibid., xxxv, 39, 40
Ramayana (u, 91, 32 iv, 33, 5)
Harmya-prasada-samyukta-toranani
Mahatlm guham
harmya-prasada-sarhbadham
(5)
;
:
;
I
.
See also n, 51, 21
;
.
.
n, 91, 32
;
in,
55, 7
33, 5
iv,
;
;
I
v, 15, 3, 19
;
vi,
75,
26, etc.
Mahabhdrata (Cock)
(6)
I-
J
3j
:
Naga-lokam.
33;
.
aneka-vidha-prasada-harmya-valabhi-
.
niryuha-sata-sarhkulam
III. 207, 7
See also
i,
3,
Harmya-prakara-sobhanam
;
33
;
Vikramoraasl
(7)
I
xv, 16,
i
;
(Cock),
1
v,
.
nagarirn
.
I
18, 19, etc.
38
p.
.
Manihamma-alam (mani-harmya-
:
talam.)
(8) Mrichchliakatika (ibid.}, pp. 47, 158
Jirnarh
(9)
:
harmyam harmyasthah
;
RaghuvamSa,
vi, 47, etc.
striyah
I
:
Harmyagra-sarhrudha-trinamkureshu
ripu-mandireshu
ed.
i.
Kern,
(vi,
80,
p.
(10) Jdtakamdla
20)
Vidyud-iva ghana-sikhararh harmya-talam avabhasanti vyatish.
.
.
|
:
thata
(n)
I
Kathd-sarit-sdgara (Cock), 14, 19:
Harmyagra-samsthah
paura-naryah
(12) Vapra-gopuramayair-nava-harmaih
'By erecting new buildings adorned with a wall and a gate-tower.'
.
.
.
I
I
(Mangalagiri Pillar Inscrip.,
v. 29, Ep. Ind., Vol. Vi,
pp. 121, 131.)
'the top of the royal palace,
(13) Navina-ratnojjvala-harmya-srirhgam
first act.'
(Dhar Prasasti of Arjunavarman, v. 8, Ep. Ind.,
Vol. VIH, pp. 103, 99.)
the scene of the
(14)
Madana-dahana-harmyam karayamasa
tuhgam
sa
guna-gana-
nidhana-srlrhdrarajabhidhanah
Then that store of all virtues, the illustrious Indraraja, ordered to be
built this lofty temple of the destroyer of Cupid (Siva.).'
(An Incrip. of
I
'
Govinda
(15)
in, v.
17
;
Ind. Ant., Vol. VIH, pp. 41, 42.)
Gommata-pura-bhushanam idu
I
Gommatam ayat ene samasta-parikara-sahitam
Sammadadim Hulla chamu
I
Parh madisidarh Jinottamalayaman idam
609
II
I
AN ENCYCLOPAEDIA OF
HARMYA-KANTA
Parisutrarh nritya-geharh pravipula-vilasat-paksha-desastha-saila-
vividha-suvidha-patrollasad bhavaharmmyam beras atula-chatur-vvirhsa-
sthira-Jainavasa-yugmarh
rupotkara-raja-dvara
tlrtthesa-gehana
I
Paripurnnarh punya-punja-pratimam esudud lyandadirh Hulla-
nindam
Abstract
'
:
I
He
also built
an abode
And
in this chief Tirtha of Belgula.
like
Gommata, was an ornament
(or temple) for the Tlrthankaras
built a large Jina temple, which,
he
to
Together with
Gommatapura.
its
hall, a Jina house of stone on either side, a palace with
cloisters,
royal gates adorned with all manner of carving, and an abode for the 24
Tlrthankaras.'
a dancing
(Ep.
Vol.
Carnal.,
p. 104, lines
HARMYA-KANTA A class
11,
21-28
;
no. I37A.,
building, a dining
of seven-storeyed buildings.
top-room
built
at
see
;
under PRASADA.)
the topmost part of a
hall.
Hammiya-gabbho
Compare
text,
Transl., p. 182, line i6f.)
(M., xxv, 29
HARMYA-GARBHA A
Roman
ti
kutagara-gabbho mudanuchchhadana-gabbha va.
(Buddha-ghosha, Chullavagya,
the translation by Oldenberg and Rhys Davids.
HARMYA-TALA
The
flat
vi,
3,
3.)
roof of a house.
Chandramsu-harmya-tala-chandana-tala-vrinta-haropabhoga-rahite
hima-dagdha-padme
Which (on account of the cold) is destitute of the enjoyment of the beams
of the moon, and (sitting in the open air on) the flat roofs of houses and,
sandalwood perfumes, and palm-leaf-fans, and necklaces.'
I
'
(Mandasor stone
C.
HASTA
(see
ANGULA)
A
Vol.
/. /.,
cubit,
Inscrip. of Kumaragupta, lines 17-18,
m, F. G. I., no. 18, pp. 83, 87.)
a measure generally equal to
24
angulas or 18 inches.
(1) Chatyari-virhsatis
chaiva hastah syad angulanarh tu
I
(Brahmdtida-Purana, part I, second anusharhgapada, Chap, vii, v. 99.)
Vastu-sarani (ed. Matri Prasada Pande, Benares) quotes the followwithout
giving reference Visvakarmokta-hasta-pramanam
ing
Anamikantarh hastah syad urdhva-vahau savarhsakah
(2)
:
I
Kanishthika-madhyama-pramanenaiva karayet
Svami-hasta-pramanena jyeshtha-patni-karena cha
Jyesh^ha-putra-karenapi karma-kara-karena cha II
1
6lO
1
I
HINDU ARCHITECTURE
HASTI-PRISHTHA
'According to this passage, the cubit is the measure of distance from the
end of the forearm (? elbow) to the tip of the ring-finger, the little finger or
the middle finger and this cubit may be determined in accordance with
the measure of the arm of the master of the house, his eldest wife, his eldest
;
son, or of the architect
who
is
employed
to build the house.'
Dvadasa-hasta-pramana-griha-nivesanam
(3)
I
(Barmani Inscrip. of Vijayaditya,
Ep.
lines
Vol.
Ind.,
22-23,
in, p.
213.)
'
the
(4)
ParamesVarlya-hasta
(5)
Ayamato hasta-satam samagram vistaratah shashtir athapi chash-
royal yards,'
(Second Inscrip. of Villabhattasvamin temple
at Gwalior, line 4, Ep. Ind., Vol. I, p. 159 ;
see
tau
also p.
155.)
II
Utsedhato'nyat purushani sapta
hasta-sata-dvayasya
(Built an embankment) a hundred cubits in all in length, and sixty and
of two
eight in breadth, and seven men's height in elevation
.
.
.
1
1
'
...
hundred cubits
.'
(Junagadh Rock
20-21.
C.
Inscrip.
1. 1.,
Vol.
of Skandgupta, lines
F. G. I., no. 14,
in.,
pp. 61, 64.)
HASTI-NAKHA The
elephant's nail, a turret.
(Kautillya-Arlha-sastra, see
HASTI-PARIGHA
(see
(Kaulillya-Aitha-sdstra, see
(cf.
A
GAJA)
GRIHA-VINYASA.)
A beam to shut the
PARIGHA)
elephants.
HASTI-PRISHTHA
under
class
door against
under GRIHA-VINYASA.)
of single-storeyed build-
ings, a part of a building.
(M., xix, 171, see under PRASADA.)
L.
a
92, see under VIMANA).
part of building (Kdmikdgama,
The present structure (of the temple of Paramesvara, where from
the five Van inscriptions at Gudimallam are copied) is not after the common
model of the period to which it belongs: the Vimana has the so-called gajabut a close study of the plan and sections
prishthakriti shape
warrant the conclusion that the architect had distinctly in view the linga.'
A
'
.
:
.
.
found only in Saiva temples, e.g., the
Dharmcsvara temple at Manimangalam, the Saiva temples at Sumahgalam,
Pennagaram, Bharadvajasrama near Arcot, Tiruppulivanam, Konnur
'
The
gaja-prishthakriti-vimana
near Madras,
Vada
is
Tirumullaivayil, etc. etc.'
(Ind Ant.,
See
(Ibid.,
the plan and
sections of the
Vol. XL, p.
104, note
2.)
Paramesvara temple at Gudimallam
plate between pp. 104, 105).
the Pallava
Antiquities (Vol. n, pp. 19-20, plate HI,
and
at
Tiruttani
the
Virattanesvara
at Tiruttani
temple
plate i,
See the Pallava
temple
Sahadeva Ratha
;
at Mahabali-puram).
AN ENCYCLOPAEDIA OF
HASTI-HASTA
See Fergusson, Hist, of Ind. and East. Arch-, Vol. i., p. 127 (Fig. 51,
elevation of Chezrala Chaity temple), p. 336 (Fig. 192, plan of Sahadeva's
Ratha), p. 337 (Fig. 193, view of the same Ratha).
HASTI-HASTA The
trunk of an elephant, employed as an archi-
member
generally of the stair-cases.
Dvara-mukha-sopanam hasti-hastena bhushitam
tectural
I
(M.,
Sopana-parsvayor
des"e
hasti-hasta-vibhushitam
(M., xxx, 155,
HAMSA A type of building
which
is
cf.
211.)
also XVHI, 209.)
like the
shaped
XIX,
I
swan, a
class
of oval buildings.
(1)
Brihat-sarhhitd
(Chap. LVI, 26, J. R, A.
S.,
N.
Vol. v, p. 319,
S.,
see
under PRASADA).
(2)
Matsya-Purdna (Chap. CGLXIX, vv. 30, 51,
see
(3) Bhavisfya-Purdna (Chap, cxxx, vv. 33, see
A
class
of oval buildings
under PRASADA).
under PRASADA).
:
Agni-Purdna (Chap, civ, vv. 19-20, see under PRASADA).
(5) Gafuda-Purdna (Chap. XLVII, w. 29-30, see under PRASADA).
(6) The vehicle (riding animal) of Brahma.
(4)
(M., LX,
i,
4; the sculptural description
of its image, ibid., 5-46.)
A
chain, a chain of 108 strings of pearls worn
round the neck (Brihat-sarhhitd, LXXXII, 32), an
HARA
HARA
architectural
HARIKA(-A)
neck of the column, bead, astragal
(see
ornament
the
or baguette
Gwilt, Encycl., Fig. 873).
A
moulding (bead) of the column
Tat-(padma)-tungardham tu harikam
(i)
below
employed
:
I
(M., xv, 58.)
Hara-sranta-panjaradhyarii
.
.
.
(vimanam)l
(M., xix, 194,
Adhisthanaih cha
see also
padam cha
prastararh cha tri-vargikam
Sala-kutam cha hararh cha yuktya tatraiva yojayet
xx, 56, 112.)
I
I
(M., xxii, 73-74.)
Kutanam eka-bhagena
seshaih
haram sapanjaram
I
(Ibid., 86.)
Hararh sapanjaram
I
(M., xxi, 58.)
Ghatush-kone chatush-kutarh koshthe haradir ashtadha
Anu-sala tri-bhaga va harantara(m)-dvi-bhagikam
I
I
(M., xxvi,
6l2
ii, 23.)
HASTI NAKHA
HASTI HASTA
Page 612
HO MA
HINDU ARCHITECTURE
In connexion with the gopura or gatehouse
:
Harasya madhya-dese tu anu-sala-vis'alakam
I
Tat-parsVa-dva(ya)yo(r) hararh nasika-panjaranvitam
I
(M., xxxin, 449-450.)
Ekarhsam karna-kutam cha hara-taraika-bhagikam
I
(M., xxxin, 416
Kute cha bhadrayor madhye
A
harariis'aih
;
see also
tu
madhyamena
431.)
I
(M., xxxv, 343.)
chain
:
Haropagrlva-keyura-katakais cha supuritam
I
(Af., L,
(2)
Alindandharikandhara-hara bhagena kalpitah II
Bahir andharikandhara-hara(-a) bhagena vistritah II
Hara-pramanarh bahye tu rachanartham prakalpayet
Bhitty-antastharh
pramanam syad
14.)
I
bhitti-bahye tv-abahyatah
1 1
Andharandhari-harokto (=hara-yukto) khanda-harmya-vise-shitam
(vimanam) II
(Kamikagama,
(3)
i,
Pearl-strings
(Deopara Inscrip. of Vijayasena,
L, 74, 76, 77, 93.)
u,
v.
Ep. Ind., Vol.
pp. 308, 313).
HIKKA- SUTRA The
line
over the
along the larynx,
glottis or
upper part of the windpipe. (See under TALAMANA.)
HIMA-K.ANTA (cf. HIMAVAT) A class of seven-storeyed buildings.
HIMAJA A
under PRASADA.)
see
(M., xxv, 31,
class of pavilions.
(Af.,
HIMAVAT A
class
see
under MANDAPA.)
of buildings, with sixteen panjaras (compart-
ments), eight salas (halls),
Himavan
xxxiv, 152,
and eight kutas
(towers).
iti
vikhyato yukta-shodaSa-panjarah
Ashta-Salashta-kutas tu prasado lakshananvitah
I
II
(Suprabhedagama, xxxi, 44.)
HIRANYA-NABHA A
type of edifice.
Uttara-s"ala-hinam Hiranya-nabham tri-^alakarh dhanyam
fice
with three
halls,
nabha, and insures
wanting
as
it
does a northern hall,
is
-(
styled
An
Hiranya-
luck.'
(Brihat-samhita, LHI, 37, J. R. A. S.,
HEMA-K.OTA A
edi-
N.
S.,
Vol. vi, p. 286.)
class
of pavilions.
(M., xxxiv, 155, see under MANDAPA.)
a
offering,
crowning moulding of the cages for domesticated animals.
HOMA
An
...
Mriga-nabhi-vidalasya panjarasya
prastarantarh va mastakantam-s'ikhantakam
Homat
I
I
(A/.,
613
xxxiv,
i-j.)
APPENDIX
I
A SKETCH OF SANSKRIT TREATISES ON ARCHITECTURE
AGNI-PORANA See under PURANAS.
ANKA-SASTRA On architecture.
(Oppert's List of Sanskrit MSS. in Private Libraries
of South India, Vol. i, no. 2499, P- 228.)
APARAJITA-PRICHCHHA
Hemadri
Bhuvana-deva,
by
'quoted
by
in the Parisesha-khanda, 2, 660-662, 819.'
(Aufrecht, Catalogus Catalogorum, part H, p.
4.)
attributed to Visvakarman, in possession of Marti Sankara Bhatta, Surat.
APARAJITA-VASTU-SASTRA
(Catalogue of Sanskrit
MSS.
contained in Private
Libraries in
Gujarat, Kathiavad, Kachchh
Sindh, and Khandesh, 1872, p. 276, no. i.)
ABHILASHITARTHA-CHINTAMANI
by Malla Somesvara, on
architecture.
(Taylor's Catalogue Raisonet,
ARTHA-SASTRA (KAUTILIYA)
ed.
R.
Shama
I.
Sastri,
478.)
B.A.,
Mysore, 1919.
Chapters
:
22.
Janapada-niveSa.
23.
Bhumichchhidra-vidhana.
24.
Durga-vidhana.
25.
Durga-nives'a.
65.
Vastuka, Griha-vastuka.
66.
Vastu-vikraya
Sima-vivada
;
;
Maryada-sthapana
Badha-badhika.
67.
1
Vastuke
vivite kshetra-patha-hirhsa.
CJompare, Vartta
M.A., B.L., PH.D.
;
The Ancient Hindu Economic by Narendra Nath Law
(Ind Ant., vol. XLVII, p. 256).
6I5
AN ENCYCLOPAEDIA OF
A XI$UMAT-( KASYAP I YA)
On
AKlSUMAT-(KASYAPlYA)
architecture
and
sculpture.
(Taylor's Catalogue Raisonee,
AMSUMAD-BHEDAGAMA
AMSlJMANA-KALPA On
See
reference
to
architecture.
1
28
Maha-agamas
architecture and cognate
,
is
(There
ibid.,
the following
arts
Athfumad-bheddgama (patala or chapter)
28.
Uttama-daSa-tala-vidhi.
I.
314.)
under AGAMAS.
(Aufrecht,
AGAMAS Of the
I.
part
I,
p.
i.)
have special
:
:
another Arhsumad-bheda by Kasyapa, account of which
is
given elsewhere.)
II.
Rdmikdgama (patala or chapters):
11.
Bhu-pariksha-vidhi.
12.
Praves"a-bali-vidhi.
13.
Bhu-parigraha-vidhi.
Bhu-karshana-vidhi.
1
4.
15.
6.
Manopakarana-vidhi.
1
7.
1
8.
Pada-vinyasa.
Sutra-nirmana.
19.
Vastu-deva-bali.
20.
Gramadi-lakshana.
2
Vistarayama-lakskana.
1
.
22.
1
Ayadi-lakshana.
i.
Kamikagama.
2.
Yogajagama.
Chintyagama.
Karanagama.
3.
4.
1
6.
Rauravagama.
1
7
Makut again a
1
8.
.
19.
5.
6.
Ajitagama.
20.
Diptagama.
21
7.
8.
Sukshmagama.
22.
Sahasragama.
23.
9.
10.
11.
12.
14.
1
Sanku-sthapana-vidhi.
1
5.
.
Amsumanagama.
Suprabhedagama.
Vijayagama.
Niivasagama.
Anilagama.
Viragama.
l
(See
24.
25.
26.
27.
28.
.
Vimalagama.
Chandra-jnanagama.
Bimbagama.
Prodgitagama.
Lalitagama.
Siddhagama, also called Vaikhanasagama.
Santvanagama.
Sarvoktagama.
Parme^varagama.
Kiranagama.
Vatulagama.
Sukshmagama, British Museum, 14033, aa, 26.)
616
AGAMAS
HINDU ARCHITECTURE
25.
Dandika-vidhi (dealing with doors and gateways).
Vlthi-dvaradi-mana.
26.
Gramadi-devata-sthapana.
24.
28.
Gramadi-vinyasa.
29.
Brahma-deva-padati.
30.
Gramadi-ariga-sthana-nirmana.
1
3
Garbha-nyasa.
.
Bala-sthapana-vidhi.
32.
33.
Grama-griha-vinyasa.
34.
Vastu-santi-vidhi.
35.
Sala-lakshana-vidhi.
36.
Visesha-lakskana-vidhi.
37.
Dvi-ala-lakskana-vidhi.
38.
Chatuh-sala-lakshana-vidhi.
40.
Varta (?dha) mana-Sala-lakshana.
4
Nandyavar ta-vidhi
1
.
.
42.
Svastika-vidhi.
43.
Paksha-saladi-vidhi.
44.
(H)asti-^ala-vidhi.
Malika-lakshana vidhi.
45.
47.
Langala-malika-vidhi.
Maulika-malika-vidhi.
48.
Padma-malika-vidhi.
46.
50.
Nagaradi-vibheda.
Bhumi-lakba-vidhi.
51.
Adyesktaka-vidhana-vidhi.
52.
53.
Upapitha-vidhi.
Pada-mana-vidhi.
54.
Prastara-vidhi.
55.
Prasada-bhushana-vidhi.
56.
Kantha-lakshana-vidhi.
57.
Sikhara-lakshana-vidhi.
58.
StQpika-lakshana-vidhi.
59.
60.
Naladi-sthapana-vidhi.
61
Murdhni-sthapana-vidhi.
49.
.
Eka-bhumyadi-vidhi.
62.
Lihga-lakshana-vidhi.
63.
Ahkurarpana-vidhi.
64.
65.
Linga-pratishtha-vidhi.
Pratima-lakshana-vidhi.
67.
Devata-sthapana-vidhi.
6l 7
AN ENCYCLOPAEDIA OF
AGAMAS
68.
Pratima-pratishtha-vidhi.
69.
Vimana-sthapana-vidhi.
70.
Mandapa-sthapana-vidhi.
71.
Prakara-lakskana-vidhi.
72.
Parivara-sthapana-vidhi.
should be noticed that out of 75 chapters of the Kdmikdgama, more
than 60 deal with architecture and sculpture. This Agama is in fact another
It
under a different name.
Vastu-Sdstra
III.
Kdrandgama
Part
I
:
(patala or chapters)
3.
Vastu-vinyasa.
4.
Adyeshtaka-vidhi.
Adhishthana-vidhi.
5.
6.
:
7.
Garbha-nyasa-vidhi.
Prasada-lakshana-vidhi.
8.
Prakara-lakshana-vidhi.
9.
Linga-lakshana.
10.
Murdhmshtaka-lakshana.
11.
Pratima-lakshana.
1
2.
Strl-mana-da^a-tala-lakshana.
1
3.
Kanishtha-da6a-tala-lakshana.
14.
1
6.
Nava-talottama-lakshana.
Bali-karma-vidhi.
19.
Mrit-samgrahana-vidhi.
20.
Ankurarpana-vidhi.
Mahabhisheka-vidhi
41
.
.
56.
Vastu-homa-vidhi.
59.
60.
Lihga-sthapana-vidhi.
61.
Bali-pitha-pratishtha-vidhi.
Parivara-sthapana-vidhi.
62.
Ratna-linga-sthapana-vidhi.
66.
Parivara-bali.
70.
88.
Bhakta-sthapana-vidhi.
138.
Part
Vimana-sthapana-vidhi.
Mrit-sariigrahana
II,
chapters
(cf.
19).
:
4.
Kila-pariksha.
5.
Gopura-lakskana.
6.
Mandapa-lakshana.
7.
Pitha-lakshana.
8.
Sakti-lakskana.
.
618
HINDU ARCHITECTURE
Grama-s'anti-vidhi.
g.
10.
Vastu-Santi-vidhi.
11.
Mrit-sarhgrahana.
12.
Ankurarpana.
13.
Bimba-s'uddhi.
14.
Kautuka-bandhana.
15.
Nayanonmllana.
18.
Bimba-s'uddhi
19.
Sayanaropana.
21
Siva-linga-sthapa na
.
II.
13).
.
Vaikhdnasagama (patala or chapters)
Pratima-lakshana.
22.
:
Uttama-das'a-tala.
43.
V.
(cf.
Matha-prattshtha.
98.
IV.
AGASTYA-SAKALADHIKARA
22.
or
chapters )
Karanadhikara-lakshana, deals with
Suprabheddgama
gears),
(patala
Asana
Sirhhasana
:
(chair, seats),
(thrones),
Ushnisha (crowns, head-
Paryanka (bedsteads, couches,
Ranga
(court-yards,
theatres),
etc.)
Stambha
(columns, pillars), etc.
Gramadi-lakshana-vidhi.
23.
26.
Tarunalaya-vidhi.
27.
Prasada-vastu-vidhi.
28.
Adyeshtaka-vidhi.
29.
Garbha-nyasa-vidhi.
30.
Anguli-lakshana-vidhi.
Prasada-lakshana-vidhi.
31
.
32.
Murdhnlshtaka-vidhi.
33.
34.
Linga-lakshana.
Sakala-lakshana-vidhi.
35.
Ankurarpana-vidhi.
36.
Lihga-pratishtha-vidhi.
37.
Sakala(image, idol)-pratishtha.
38.
39.
Sakti-pratishtha-vidhi.
Parivara-vidhi.
40.
Vrishabha-sthapana-vidhi.
AGASTYA-SAKALADHIKARA
(manuscript)-
(Aufrecht, part
Chapters
:
1.
Mana-sarhgraha.
2.
Uttama-daSa-tala.
3.
Madhyama-dasa-tala.
I, p.
683,
see
Taylor,
i,
72.)
AM ENCYCLOPAEDIA OF
AGARA-VINODA
4.
Adhama-dasa-tala.
5.
Pratima-lakshana.
6.
Vrishabha-vahana-lakshana.
7.
Natesvara-vidhi.
8.
Shodas'a-pratima-lakshana.
9.
Daru-sarhgraha.
10.
Mrit-sariiskara.
1 1
Varna-samskara.
.
There are three other MSS.
in the
Government MSS. Library, Madras,
See Catalogue, Vol. XXH, nos. 13046, 13047, 13058.
attributed to Agastya.
Nos. 13046, 13047 are incomplete and deal with astrological matters bearing upon architecture. No. 13058 is a portion of a large manuscript (see
under SILPA-SAMGRAHA) which is an anonymous compilation. The follow-
ing chapters of it are ascribed to Agastya
1.
2.
3.
4.
:
Mana-samgraha-visesha.
Uttama-dasa-tala.
Madhyama-das"a-tala.
Somaskanda-lakshana.
5.
Chandra-Sekhara-lakshana.
6.
Vrisha-vahana-lakshana.
not quite clear whether the following 7-14 (which are not numbered
as such in the compilation) should be attributed to Agastya
It is
:
7.
Tripurantaka-lakshana.
8.
Kalyana-sundara-lakshana.
Ardha-narisvara-lakshana.
9.
10.
1 1
.
12.
Pasupata-lakshana.
Bhikshatana-lakshana.
13.
Chandesanugraha-lakshana.
Dakshina-murti-lakshana.
14.
Kala-dahana-lakshana.
15-18.
19.
Apparently missing.
Pratima-lakshana.
The following found in another portion
numbered
as
shown on the
20.
(3)
21.
(9)
right parallel
of the compilation are indifferently
column
:
Upapitha-vidhana.
Sula-mana-vidhana.
22. (10) Rajju-bandha-samskara-vidhi.
23.
24.
(u) Varna-samskara.
(21) Akshi-mokshana.
AGARA-VINODA On
the construction of houses.
(Aufrecht.
ibid.,
part
i,
p.
a.)
KASYAPlYA
HINDU ARCHITECTURE
AYA-TATTVA
by Mandana Sutradhara.
(See Vastu-sastra,
AYADI-LAKSHANA On
architectural
by Rajavallabha Manddana.)
and sculptural measure-
ment.
(Aufrccht, part
ARAMADI-PRATISHTHA-PADDHATI On
gardens,
i,
62.)
the construction of
etc.
(Aufrecht, part
i,
p. 53.)
K
KAMIK.AGAMA
See
under AGAMAS.
KARANAGAMA
See
under AGAMAS.
K.A&YAPIYA
arts.
(Govt.
p. 8755,
MSS.
f.,
(Manuscript), deals with architecture and cognate
Library, Madras, Catalogue of MSS., Vol. xxn,
MSS.
nos.
See also
13032, 13033.
in Private Libraries
Oppcrt's List of Sanskrit
of South India, Vol. n, p. 395, no. 6336.)
'
This work has attained universal authority amongst all the sculptors
of South India up to the present time, and the young pupils are even now
taught to learn by heart the verses given in this book regarding the rules
of constructions and measurements of images.' 1 Kasyapa is said to have
learnt this science from Siva (patala i, verses 1-5).
The
contents are divided into eighty-three patalas which are classified in
into the following headings :
an overlapping manner
1
Karshana.
.
2.
Prasada-vastu.
3.
Vastu-homa.
4.
Prathameshtaka-vidhi.
6.
Upapitha-vidhana.
Adhishthana-vidhi.
7.
Nala-lakshana.
8.
Stambha-lakshana.
5.
9.
Phalaka-lakshana.
10.
Vedika-lakshana.
1 1
Jalaka-lakshana.
.
12.
Ta(o)rana-lakshana.
13.
Vritta-sphutita-lakshana.
14.
Stambha-torana-vidhi.
1
South Indian Bronzes,
621
by Gangooli.
AN ENCYCLOPAEDIA OF
KASYAPIYA
15.
Kumbha-tala-lakshana.
16.
Vritta-sphutita-lakshana,
17.
Dvara-lakshana.
1
8.
Prastara-lakshana.
20.
Gala-vidhana.
2
Sikhara-lakshana.
.
22.
Nasika-lakshana.
23.
Manopakarana.
24.
Mana-sutradi-lakshana.
25.
Nagaradi-vidhi.
26.
Garbha-nyasa-vidhi.
Eka-tala-vidhana.
27.
28-40.
13.
Kampa-dvara-lakshana.
19.
1
cf.
41.
Dvi-trayodaa-tala-vidhana.
Shodasa-bhumi-vidhana.
42.
Murdhanishtaka-vidhana.
43.
Prakara-lakshana.
44.
Manta(-da)pa-lakshana.
45.
Gopura-lakshana.
46.
Sapta-matrika-lakshana.
47.
Vinayaka-lakshana.
48.
Parivara-vidhi.
49.
Linga-lakshanoddhara.
50.
Uttama-dasa-tala-purusha-mana.
51
.
Madhyama-dasa-tala-purusha-mana.
52.
Uttama-nava-tala.
53.
54.
Madhyama-nava-tala.
Adhama-nava-tala.
55.
Ashta-tala.
56.
Sapta-tala.
57.
Pitha-lakshanoddhara.
58.
Sakala-sthapana-vidhi.
59-60.
61
.
Sukhasana.
Chandra-sekhara-murti-laksha na.
62.
Vrisha-vahana-murti-lakshana.
63.
Nritta-miirti-lakshana.
64.
Gangadhara-murti-lakshana.
65.
Tri-pura-murti-lakshana.
66.
67.
Kalyana-sundara-lakshana.
Ardha-nariSvara-lakshana.
68.
Gajaha-murti-lakshana.
622
KSHETRA-NIRMANA-VIDHI
HINDU ARCHITECTURE
69.
70.
Pasupati-murti-lakshana.
Kankala-murti-lakshana.
72.
Hary-ardha-hara-lakshana.
Bhikshatana-murti-lakshana.
73.
Chandesanugraha.
74.
Dakshina-murti-lakshana.
75.
Kalaha-murti-lakshana.
71
.
77.
Lingodbhava-lakshana.
Vriksha-sarhgrahana.
78.
Sula-lakshana.
76.
79.
80.
81
.
Sula-pani-lakshana.
Rajiju-bandha-lakshana.
Mrit-samskara-lakshana.
82.
Kalka-sarhskara-lakshana.
83.
Varna-sarhskara-lakshana.
84.
Varna-lepana-medhya-lakshana.
Gramadi-lakshana.
85.
86.
Grama-lakshana.
KUPADI-JALA-STHANA-LAKSHANA On
the
construction
of
wells, etc.
(In possession of the
Maharaja of Travancore Oppert's
MSS. in Private Libraries of
;
List of Sanskrit
South India, Vol.
KAUTUKA-LAKSHANA On
i,
p. 467.)
architecture.
(Oppert's List of Sanskrit MSS., ibid.,
Vol. ii, p. 258.)
KRIYA-SAMGRAHA-PANJIKA A
catalogue of rituals by KulaIt contains among other things instructions for the selecdatta.
tion of site for the construction of a Nihara and also rules for building
a dwelling house.
(
KSHIRARNAVA
The Sanskrit and Buddhist Literature of Nepal, by
Rajendra Lai Mitra, 1882, p. 105.)
Attributed
to
Visvakarman,
on
architecture'
etc.
(Aufrecht,
KSHETRA-NIRMANA-VIDHI On
ibid.,
part II, pp. 26, 138.)
the preparation
of ground
with a view to construction of buildings thereupon.
(In possession of the Raja of Cochin
List
of Sanskrit MSS.
in
of South India, Vol.
623
;
Private
I,
Oppert's
Libraries
p.
354.)
AN ENCTCLOPAED1A OF
GARUDA-PURANA
G
GARUDA-PURANA
GARGYA-SAMHITA
See
under PURANAS.
(MSS. R. 15. 96, in Trinity College, Cam108
contains
leaves, in oblong folio; Indian paper;
bridge
Devanagari character copied in 1814). It deals with the follow;
it
;
ing architectural subjects
Dvara-nirdesa
I
(fol.
513, chap. 3).
Dvara-pramana-vidhi
Garglyayam
(fol.
:
|
(fol.
vastu-vidyayarh
57^).
chatuh-sala-dvi-tri-salaika-sala-vidhi
I
5 8a).
Vastu-vidyayarh
etc.
chatur-bhaga-tri-bhaga-prati-bhaga,
Dvara-stambhochchraya-vidhi.
I
dvitlyo'dhyayah
I
I
(fol.
(fol.
Griha-pravesam
673).
676).
dvara-pramana nirdesam
I
.
Gob).
(fol.
Vastu-vldyayam prathamo'dyayah
6oa)
(fol.
I
(fol.
68a).
68i).
(fol.
GRIHA-NIROPANA-SAICIKSHEPA A summary-work on
house-
building.
(Aufrecht,
GRIHA-NIRMANA-VIDHI On
temples, and other
part
ibid.,
rules for the erection
p.
i,
157.)
of houses,
edifices.
(Wilson's Mackenzie Collection, p. 304.)
GRIHA-PlTHIKA On
the
construction of houses.
(Oppert's List of
MSS.
Sanskrit
Libraries of South India, Vol.
in
i,
Private
p. 545.)
GRIHA-VASTU-PRADlPA
(Lucknow, 1901) Contains 87 pages
deals mostly with astronomical and ritualistic matters in connection with the building of houses.
GRIHARAMBHA
by
Sripati.
(Cf. Vdslu-sd'ani.)
GOPURA-VIMANADI-LAKSHANA On
gate-houses
and
tem-
ples, etc.
(Oppert's List of Sanskrit MSS.,
ibid.,
Vol.
11,
p. 259, no. 4009.)
GRAMA-NIRNAYA
by Narayana.
(Cf.
624
M
Vdstu-sarani.)
HINDU ARCHITECTURE
JNANA-RATNA-KOSHA
GH
GHATTOTSARGA-SUCHANIKA On
the erection of steps
on
the bank of a river.
(Aufrecht,
part in, p. 37.)
ibid.,
GH
CHAKRA-SASTRA On
architecture
and cognate
(Oppert's List of Sanskrit MSS.,
CHITRA-KARMA-SILPA-SASTRA On
CHITRA-PATA On
Vol. n, p. 200.)
ibid.,
painting.
(Aufrecht,
ibid.,
part
(Oppert's List of Sanskrit MSS.,
ibid.,
Vol.
187.)
i,
p.
i,
p. 440.)
painting.
CHITRA-LAKSHANA
tural
arts.
(ed.
Laufer)
Treats largely with the sculp-
measurement of images and painting
;
translated into
from Tibetan, the original Sanskrit version
CHITRA-SUTRA On
is
German
apparently missing.
painting (mentioned in Kattani-mata, 22).
(Aufrecht,
ibid.,
part
i,
p.
187.)
J
JAYA-MADHAVA-MANASOLLASA
simhadeva
On
Attributed
(Aufrecht,
JALARGALA
latticed
one
to
Jaya-
architecture.
Attributed
to
Varahamihira
ibid.,
On
part
i,
p. aoi.)
and
door-bars
windows.
ibid., Vol. n,
no. 3146, p. 217.)
(Oppert's List of Sanskrit MSS.,
JALARGALA- YANTRA On
the
architectural
instruments
and
machines.
ibid., Vol. n,
no. 3147, p. 217.)
(Oppert's List of Sanskrit MSS.,
JNANA-RATNA-KOSHA
Attributed to Visvakarman
On
archi-
tecture.
(Aufrecht, part
i,
p. 210, in possession of Acha-
ratalal
Vaidya, Ahmedabad, Catalogue of
Sanskrit
MSS.
ries
of Gujarat,
625
contained in the Private Libraetc.
1872, p. 276.)
AN ENCYCLOPAEDIA OF
TACHCHU-SASTRA
T
TACHCHU-SASTRA Same
as
Manushyalaya-chandrika
(see
below).
TARA-LAKSHANA On
sculpture (image of the goddess Tara).
(Aufrecht, part
i,
229.)
p.
D
DASA-TALA-NYAGRODHA-PARIMANDALA-BUDDHA-PRATIMA-LAKSHANA On the ten-tala measure of Buddha images,
exists in
Tibetan translation
;
the original Sanskrit version
is
appa-
rently missing.
DASA-PRAKARA
On
Vasishtha
to
Attributed
architectural
defects.
by Matri-prasada-Pande, Benares, 1909.)
(See Vastu-sarani,
DIK-SADHANA
Attributed to Bhaskara
On
architecture.
(See Vdsiu-sarani.)
Attributed
DIRGHA-VISTARA-PRAKARA
to
On
Narada
architectural measurement.
(See Vastu-sarani.')
DEVATA-SILPA On
with the images
sculpture, dealing specially
of deities.
(A
in
catalogue of Sanskrit works
Bhandaram
Library of
the Sarasvati
the
His Highness
Maharaja of Mysore,
classified
class XDC, no. 535.)
DEVALAYA-LAKSHANA On
the construction of temples.
Sanskrit MSS.
(Oppert's List of
Libraries of South India, Vol.
DVARA-LAKSHANA-PATALA On
the
construction
(Ibid.,
in
i,
Private
p. 470.)
of doors.
no. 6003, p. 470.)
DH
DHRUVADI-SHODASA-GEHANI
Attributed to Ganapati
On
the architectural arrangement of buildings.
(See
636
Vastu-sarani.)
HINDU ARCHITECTURE
PlTHA-LAKSHA^A
N
NARADA-PURANA
NARADA-SAMHITA
(i)
See
under PURANAS.
deals with the
following subjects
:
Sura-pratishtha (20 verses).
Vastu-vidhana
(a)
(62 verses, describing briefly
Bhupariksha, Dvarathana, Sariku-sthapana, Pada-nyasa, and
Griha-nyasa).
(3) Vastu-lakshana
describes ceremonies of
Griha-pravesa.
NAVA-$ASTRA-< On
.
chiefly
respecting the materials
and navigation.'
But the
directions are,
however, given
ship-building
Some
astrological.
and dimensions of
vessels.
(Taylor's Catalogue Raisante, Vol. ni,
p. 6.)
In Taylor's
Catalogue Raisonee, there
Of which
them
a
e
is lost.
Itis
mentioned another Manuscript
ontheart of constructing forts,
houses, fanes,
settling
village
navigation
erated as taught in 36
works, the
P-
;
is
and variety of other similar
names of which are given.'
things
(Ibid.,
35-)
enum-
Vol. m,
P
PAKSHI-MANUSHYALAYA-LAKSHANA-On
ol
human
the
construction
dwellings and aviaries.
(Oppert's List of Sanskrit MSS.,
ibid.,
Vol.
i,
p.
471
PA*rCHA-RATRA-(PRA)DlPIKA-(also
)
called
Mantra-dipika)Padma-tantra of the Narada-PanchaTelugu commentary by Peddanacharya. It deals
professes to form a part of the
ratra.
It has a
t
with images and consists of the
following
1.
Sila-samgraha-lakshana.
2.
Daru-sarhgrahana.
3.
Pratima-lakshana.
4.
...
5.
five
chapters
:
nama-tritiyo'dhyaya.
Pratima-samgrahe jaladhivasana-ashtamo'dhyaya.
(See Egg.
MSS., 3150, 2579, n, Mackenzie
PWDA-PRAKARA-Attributed
to
Gopiraja-On
Collection.)
architectural
subjects.
PITHA-LAKSHANA On pedestals.
(Oppert's List of Sanskrit MSS.,
627
(See Vastu-sdrani.)
ibid.,
Vol.
i,
p. 473.)
AN ENCYCLOPAEDIA OF
PURANAS
PURANAS
(Bombay
editions)
Of
the 18 or 19 Maha-puranas, 1
the following have special reference to Architecture and Sculpture
I.
Agni-Purdna
:
Chapters :
Prasada-lakshana-kathana.
42.
43.
Prasada-devata-sthapana.
44.
45.
Vasudevadi-pratima-lakshana-vidhi.
Pindika-lakskana.
46.
Salagramadi-murti-lakshana-kathana.
49.
Matsyadi-daSavatara-kathana.
50.
Devi-pratima-lakshana-kathana.
51.
Suryadi-pratima-lakshana.
52.
Devi-pratima-lakshana
53.
Linga-lakshana.
54.
Linga-manadi-kathana.
Pindika-lakshana-kathana
(cf.
45).
Vasudeva-pratishtha-vidhi
(cf.
44).
55.
60.
62.
Lakshmi-pratishtha-vidhi.
Prasada-lakshana (cf. 42).
Grihadi-vastu-kathana.
104.
105.
1 06.
II.
50).
(cf.
Nagaradi-vastu.
Garuda-Purdna :
Chapters
Salagrama-murti-lakshana.
45.
Prasada-arama-durga-devalaya-mathadi-vastu-mana-lak46.
:
shana-nirupana.
III.
47.
Prasada-linga-mandapadi-subhasubha-lakshana-nirupana.
48.
Devanam
Ndrada-Purdna
Part
chapter
I,
pratishtha-vidhi.
:
:
Devatayana-vapi-kupa-tadagadi-nirmana.
13.
IV. Brahmdnda-Purdna :
Chapter
7.
:
Grihddi-nirmdna.
10.
Brahma-vaivarta.
2.
Brahma.
Padma.
11.
Linga.
3.
Vishnu.
12.
4.
Si
iva.
13.
Varaha.
Skanda
5.
6.
Bhagavata.
14.
Vamana.
Narada.
Markandeya.
15.
Agni.
Bhavishya.
17.
18.
!i.
7.
8.
9.
1
19.
Kurma.
628
6.
(also called
Matsya.
Garuda.
Brahmanda.
Vayu.
Kumara).
:
HINDU ARCHITECTURE
V. Bhavishya-Purdna
Chapters
PURANAS
:
:
12.
Madhya-parvani, Pratidevata-pratima-lakshana-varnana.
Brahma-parvani, Prasada-lakshana-varnana.
Murti-sthana, deals with the materials, etc., of which
131.
images are made.
Pratima-mana, deals with the measurement of images.
132.
130.
VI. Matsya-Purdna
:
Chapters
Deals with the introduction of eighteen ancient architects
252.
Bhrigu, Atri, Vasistha, Visvakarma, Maya, Narada, Nagnajit,
Brahma, Kumara, Nandlsa, Saunaka,
Visalaksha, Purandara,
:
Garga, Vasudeva, Aniruddha, Sukra, and Brihaspati.
Stambha-mana-vinirnaya.
255.
Darvaharana.
257.
258.
262.
Nava-tala-mana.
263.
269.
Lihga-lakshana.
Prasada-varnana.
270.
Mandapa-lakshana.
Plthika-lakshana.
VII. Linga-Purdna :
Part II, chapter
48.
:
Yaga-kunda-vinyasa-kathana-purvakarh sarvasarh devatanarh
sthapana-vidhi-nirupanam, Prasadarchani-nirupanam.
VIII. Vayu-Purdna :
Part I, Chapter
:
39.
Saila-sthita-vividha-devalaya-kirtana.
IX. Skanda-Purdna
Chapters
:
:
Himalayena sva-sutaya vivaGargacharya-purohitarh puraskritya Visvakarma-dvara
Naradad
Visvakarmapurva-mandapa-nirmanadi-varnanam,
24.
Mahesvara-khande-prathame
hartharh
chaturyena
sarva-deva-pratikriti-chitrasarvesham
srutva
devanarh ^anka-praptih.
vinyasarh
krita-vivaha-mandaparh
Mahesvara-khande dvitiye svayarh Visvakarma-dvara-nirmapite
Mahinagare sthapana-varnana.
25. Vaishnava-khande dvitiye
Narada-likhita-sahitya-sambhavasarhgraha-patrarh srutva Indradumnajnaya Padmanidhina svarna-
sala-nirmanam, Naradajnaya Visvakarmana syandana-traya-nirmanarh, tasya rathasya Narada-karena sthapanarh, tat-prasarhgena
ratha-sthapana-prakara-vidhi-varnanam.
629
AX ENCYCLOPAEDIA OF
PRATIMA-DRAVYADI
VACHANA
PRATIMA-DRAVYADI- VACHANA On
idols are
the materials of which
made.
(Oppert's List of Sanskrit MSS.,
ibid.,
Vol.
p. 490.)
i,
PRATIMA-MANA-LAKSHANA On
in Tibetan Translation
exists
traced
its
;
the tala-measures of images,
Sylvian Levi reports that he has
original Sanskrit version in the Palace Library of Tibet.
PRATISHTHA-TATTVA
Also
On
MAYA-SAMGRAHA
called
architecture.
(Aufrecht,
PRATISHTHA-TANTRA On
architecture
in
ibid.,
a
m,
part
p.
74.)
form
dialogue
between Siva and Parvatl.
(Aufrecht,
PRASADA-KALPA On
ibid.,
part in, p.
74.)
the construction of buildings.
(Oppert's List of Sanskrit MSS.,
PRASADA-KIRTANA On
ibid.,
Vol. n, p. 522.
architecture.
(Author not known
Malegamva,
;
in possession of
Catalogue of
Gopal Rao,
MSS. in
Sanskrit
Private Libraries of Gujarat, etc., 1872, p. 276.)
PRASADA-DlPIKA On
architecture, quoted in Madana-Parijata
(Aufrecht,
PRASADA-MANDANA-VASTU-SASTRA
dhara Mandana (Egg. MSS. 3147, 2253).
but is largely mixed with Bhasha forms.
eight chapters
1.
ibid.,
part
Attributed
p. 364.)
i,
Sutra-
to
written in Sanskrit,
It
is
It
contains the following
:
MisYa-kalasa.
2.
Jagati-drishSi-dosho ayatanadhikara.
3.
Bhitti-pltha-mandovara-garbha-grihaudumbara-pramana.
4.
Pramana-drishti-pada-sthana-sikhara-kalasa-lakshana.
5.
Rajyadi-prasadadhikara.
6.
Kesaryadi-prasada-jati-lakshana,
van rhsan-meru-lakshanadhy aya
7.
8.
pancha-kshetra-pancha-chat-
.
Mandapa-balanaka-sambaranadhikara.
Sutra-dhara-
Jirnoddhara-bhinna-dosha-sthavara-pratishtha,
puja, Jina-pratishtha, Vastu-purusha-vinyasa.
PRASADA-LAKSHANA
Attributed to Varahamihira
On
arcl
lecture.
(Oppert's List of Sanskrit MSS.,
630
ibid.,
Vol.
11,
p. 208.)
HINDU ARCHITECTURE
BRAHMANDA-PURANA
PRASADA-LAKSHANA On
buildings.
(Oppert's List of Sanskrit MSS.,
PRASADALAftKARA-LAKSHANA On
ibid.,
Vol.
the decoration
i,
p. 473.)
(articles
of furniture) of buildings.
(In possession of the
Maharaja of Travancore
List of Sanskrit
MSS.,
ibid.,
;
Oppert's
Vol. n, p. 473.)
B
BIMBAMANA
lines to a
page
;
Museum,
British
(MSS.
n, 558, 5292,
foil.
has a
nos.
i.
foil.
559, 5291,
27, 9 lines to
a page
;
33, 7
written in
commentary) This is a
treatise on religious sculpture, stated to be extracted from a Gautamlya
Iti Gautamiye
ascribed to Sariputra. The last colophon runs thus
Bimba-manam
The
commentator
samaptam.
Sari-putra-srute
explains
this Bimbamana-vidhi as the Sarvajna-pratima-pramana-vidhi.
Simhalese
character,
Sirhhalese
:
BRIHAT-SAMHITA Of
On
Varahamihira
architectural
and
sculptural matters.
Chapters
:
53.
Vastu-vidya.
56.
Prasada-lakshana.
57.
Vajra-lepa.
58.
Pratima-lakshana.
79.
Sayyasana-lakshana.
BUDDHA-PRATIMA-LAKSHANA On
the tala measure of Bud-
dha-images ; exists in Tibetan Translation
version is apparently missing.
BUDDHA-LAKSHANA
;
the original
Sanskrit
'
the more
dealing with
orthodox peculiarities of the characteristics of the body.' (M. G.
Coede, G. E. F. E. 1915), King Phra Nangklao thought of it as
'
'
a work of merit to shorten the fingers of the statue of Sakyamuni
in
Siamese,
'
A paper
(temple) Sudas at Bangkok (capital of Siam).
about the attitudes of Buddha images in the Siamese monasteries
in
Wat
was written bythe Somtej Phra Paramanujit, the son of the King
Phra Buddha Yot Fa (died in A.D. 1854).'
BRAHMANDA-PURANA
See
under PURANAS.
631
AN ENCYCLOPAEDIA OF
BHAVISHYA-PURANA
BH
BHAVISHYA-PURANA
See
under PURANAS.
M
MATHA-PRATISHTHA-TATTVA
Contains
thd-tattva,
Attributed to
Raghunandana
quotations from the Devi-purdna and the Deva-pratishboth of which deal with architectural and sculptura
matters.
MATSYA-PURANA See under PURANAS.
MANUSHYALAYA-CHANDRIKA (Also
called
TACHGHU-SASTRA)
concerning private dwelling houses
deals with measurement, etc.,
It
as distinguished from religious temples, and military forts, etc.
contains 65 stanzas and a Malayalam translation. There is a
manuscript also bearing the same
title.
(Oppert's List of Sanskrit MSS.,
MANUSHYALAYA-LAKSHANA On
the
ibid,
Vol.
i,
building
p. 475.)
human
of
dwellings.
(In possession of
the
Maharaja of
Travancore
Oppert's List of Sanskrit A1SS., ibid, Vol.
MANJU-SRI-MULA-KALPA A
Tantra work
Sanskrit Series), translated in Tibetan, deals with
matters.
MANTRA-DlPIKA
(see
i,
;
p. 475.)
(cf.
Trivandrum
some
architectural
PANCHA-RATRA-PRADIPIKA)
On
archi-
tecture.
MAYAMATA An oft quoted and well-known authority on architecture.
There are several
treatises attributed to
Maya
:
Mayamata, edited by Ganapati Sastri, 1919, from three fragmenand
one incomplete (with a Tamil translation) manuscripts it contary
tains 34 chapters, and four more chapters are missing (see below)
There arc some other manuscripts bearing the same title (Egg. 3150,
2575) one of them (in the Oriental Manuscripts Library, Madras), written
in modern Telugu, on rough paper, contains five chapters with a short
I.
;
.
;
commentary by Gannamacharya.
II.
Mayamata-Silpa-Sastra-vidhana (Egg.
Gannamacharya's Telugu commentary
3150, 2575, 3151, 2630, with
as noted above).
III.
Maya-Silpa-satika (another manuscript).
Maya-&ilpa, a few extracts from this have been translated into
English by Rev. J. E. Kearns (see Indian Ant., Vol. v, pp. 230, 293).
There is also another English translation of Mayamata in the Mackenzie
IV.
Collection (Translation, class x, Sanskrit, 2-6).
632
MAYAMATA
HINDU ARCHITECTURE
V.
Mqya-vastu
text,
pp. 33, published by
Madras, 1916.
VI. Mqya-vdstu-Jdstram
Rama Svami
Sastralu
&
Sons,
text,
pp.
40,
published
by K. Lakshman
Mudali, Madras, 1917.
VII. A Sinhalese version of Maydmataya manuscripts is referred to by
A. K. Goomarswamy (Mediaeval Simhalese Art., pp. 124-128). It also
'
learned and skilful
deals with a few architectural objects and is meant for
architects.'
Oriental Manuscripts Library, Madras,
Mqyamata-vastu-fdstra
nos.
Vol.
13035
xxn,
13034 (with a Tamil commentary),
Catalogue,
VIII.
a Telugu
(with a Telugu commentary), 13036, 13037, 13038, 13039 (with
commentary)
.
Of
these manuscripts no. 13034 is the largest, containing 390 pages of
The subjects and the method of
X
13!" 8" paper of 22 lines to a page.
It is divided
to
those
of the Mdnasdra.
similar
description are strikingly
into the following 36 chapters
1.
Sarhgrahadhyaya.
2.
Vastu-prakara.
3.
Bhu-pariksha.
4.
Bhu-parigraha.
5.
6.
7.
8.
9.
10.
1 1
.
:
Manopakarana.
Dik-parichchhedana.
Pada-devata-vinyasa.
Deva-bali-karma-vidhana (incomeplete).
Grama-garbha-vinyasa (incomplete).
Nagara-vinyasa.
Bhu-lamb(h)a-vidhana.
12.
Garbha-nyasa-vidhana.
13.
Upapitha-vidhana.
Adhisthana-vidhana.
14.
1
5
1
6.
.
17.
8.
Pada-pramana-dravya-parigraha.
Prastara-karana.
'
Sandhi-karma-vidhana.
19.
Skhara-karana-bhavana-samapti-vidhana.
Eka-bhumi-vidhana.
20.
Dvi-bhumi-vidhana.
21.
22.
Tri-bhumi-vidhana.
Bahu-bhumi-vidhana.
23.
Prakara-parivara (elsewhere, Sandhi-karma-vidhana).
24.
Gopura-vidhana.
Sabha(mandapa)-vidhana.
1
25.
26.
Sala-vidhana.
633
AN ENCYCLOPAEDIA OF
MAYAMATA
27.
Griha-manadhikara (elsewhere Chatur-griha-vidhana,i
28.
Griha-pravesa.
29.
30.
Raja-vesma-vidhana.
Dvara-vidhana.
31.
Yanadhikara.
32.
Yana-sayanadhikara.
33.
34.
Linga-lakshana.
PItha-lakshana (incomplete).
35.
Anukarma-vidhana.
36.
Pratima-lakshana.
Compare
the above
No.
No.
No.
No.
list,
no.
I,
which contains the
first
.
34 out of 36 chapters given in
the variations are noted within brackets.
13035 contains in 74 pages the chapters 1-32.
13036
is
same
as no. 13035.
13037 contains only two incomplete chapters in six pages.
13038 contains in 94 pages the following twelve chapters
:
1.
Pratima-vidhana.
2.
Aya-lakshana.
3.
4.
Linga-lakshana.
Dasa-tala-vidhana.
5.
Kunchita-vidhana.
6.
Nava-tala-vidhana.
7.
Hasta-karma-vidhana.
8.
9.
Upapitha-vidhana.
Eka-bhumi-vidhana.
10. Dvi-tala-vidhana.
1 1
.
12.
Its
Tri-t ala-vi dhana.
Gopura-vidhana.
runs
colophon
Silpa-sastre
.
.
thus
'
iti
Gannacharya-virachitayarh Mayamate
.
No. 1 3039 contains in 36 pages the first four chapters of no. 1 3038.
There
Tamil a treatise on Silpa-Saslra, said to have been originally
is in
composed in Sanskrit by Myen (i.e., Maya) who, according to mythology,
was a son of Brahma and architect of the gods. The original work appears
to have been disseminated far and wide, and to have suffered by omissions
The work under consideration seems to have been
as well as by additions.
formed from selections of existing editions of the original work under the
'
superintendence and guidance of persons having a practical knowledge
of Silpa-sastra or at least of persons professing to have such knowledge.
(Ind. Ant.,
Vol.
M.
6 34
t
ii,
v., p.
230, c.
i,
para,
i
;
see also
11-12, 17-20, under STHAPATJ.)
MAYAMATA
HINDU ARCHITECTURE
In regard to Maya the following note is of great interest
'That the Maya culture of Central America was derived from Asia is
demonstrated by Mr. J. Leslie Mitchell in his book The Conquest of the
Maya. In reviewing the publication Mr. H. J. Massingham writes that the
:
evidence for a succession of cultural waves from Asia
" the
impartial reader
one." It appears that
ment of Maya
is
so
overwhelming that
must wonder why the issue was ever a controversial
was India which contributed most to the develop-
it
Among
culture.
the
Maya
sculptures are to be found
representations of Hanuman, of Ganes"a, and of Indra and the pictorial
"
All this suggests," says Mr.
and ritualistic reminiscences of Buddhism.
"
Massingham, that the ancient mariners reached the American coast from
The Hindu culture could
A. D. 700 onwards not once but many times."
Central
America
unless the Hindus had been
not have been transported to
a great sea-faring people.'
Exploration of the sites of a
of Dr. Gann,
populous
site
Mayas, and
who
in the forests of Yucatan.
his progress
Morning Post
lost civilization is the fascinating
pursuit
has discovered a hitherto
is
recorded in a
unknown monolith and
He
is
a once-
exploring for traces of the
of articles published in the
series
:
of Coba,' he writes, through
information found in a recent translation of the ancient Maya manuscript
book of Chilan Balam of Chumayel. This describes the migration of the
'
'
I discovered the ruins of the great city
Itzas
from Chichenitza
to
Coba, which
is
about
fifty
miles to the east of
Cbichenitza.
'
The books
of Chilan
Balam
are the old traditions of the Mayas, which
survived the Spanish conquest of Yucatan. They record the migrations
of Maya clans, and were reduced to writing in the sixteenth century.
was informed by a wandering Maya Indian that in the Mexican
territory of Quintana Roo he had come across a great slab of stones lying
"Ubalob uxben uincoob,"
buried in the bush upon which were inscribed
ancient
He
said he had found it
or things belonging to the
people.
not many miles north of the British Honduras frontier.
I
:
As guide I took the Indian who had told me of the stone. He, like
most of his race, had nothing to say to strangers, and he said it most efficiently.
I had no difficulty in obtaining my permit to visit the shores of Chetumal
Bay, where the Maya monolith was reported to be.
'
'
So we set out on our journey up the Bay, which runs almost due north
about thirty miles into the south of the Yucatan Peninsula. This is
It is
surely one of the most desolate stretches of water in the world.
shallow, yellow, forbidding. On the east separating it from the Caribbean
Sea, is an unexplored, uninhabited peninsula, covered with virgin bush.
'
for
635
MAYAMATA
AJf
ENCYCLOPAEDIA OF
On
the west, between the Bay and the great Bacalar Lagoon, the land is
equally desolate, being traversed at rare intervals only by a few Indian
Chicle bleeders, who roam in search of the sapodilla trees, from which
they get the latex that forms the raw material of chewing gum.
About thirteen miles from Payo Obispo I lighted on my great find
We came to a spot on the west coast of the bay where an Indian had cut down
'
make a
the bush to
The
My
small maize plantation.
us to land here, and then led us to the stone
Indian guide directed
we were
seeking.
importance of the discovery was not apparent at first. It
a
was
block of greyish schist, twelve feet long, eighteen inches wide, and
It had at one time stood upright, but now lay flat
twelve inches thick.
'
full
and embedded
in the ground.
Upon one edge faint traces of sculpture
but
the
visible,
greater part of the exposed surfaces had been worn
quite smooth by the tropical downpours of an unknown number of rainy
seasons.
This has been the fate of many Maya inscriptions.
were
'
I
I
then brushed the
saw the Maya
October,
A. D. 333!
was almost
soil
from the
Date
Initial Series
as clear
stone,
and
there
9. 8. o. o. o.
The
and
sculpture preserved by
plain as on the day when
glorious surprise
Aban
3 Chen, or 26
its burial in the earth,
it was cut in the stone,
5
nearly sixteen centuries ago.
'
Amid
Yucatan only four such Initial Series dates
have been found, and the date carved on the monolith which lay before me
was more than three hundred years earlier than that appearing on the oldest
of the stelae previously found. Now, one of the most baffling mysteries
connected with the Mayas is their abandonment of their old empire and
foundation of the new one for, at a certain period in their history, they left
their cities, built with an enormous expenditure of labour, and migrated
from the fertile lands in which they stood to found new settlements in what
all
the
Maya
ruins in
;
were, apparently, uninhabited regions.
'
Earthquakes, pestilence, and foreign invasion have been suggested as
The cities the Mayas left bear no traces
possible causes of this migration.
of violence having been wrought by man or the forces of Nature, and the
buildings of their new settlements were obviously erected by a people with
unimpaired vigour.
It is therefore
established themselves in
important to
Yucatan
and
fix
the date
when they
discovery may, in fact,
cause a complete reversion of the ideas generally held as to their first immigration into this peninsula and their foundation of what is known as the
first
New
;
this
It may, indeed, affect our views of the whole history of
and most advanced aboriginal civilization of America, which
Empire.
the earliest
was in many respects the highest
civilization of ancient, if not of
636
any time.
MAYAMATA
HINDU ARCHITECTURE
The
carving on this stela begins with the initial glyph and in column
below this come the glyphs meaning
9 Bactuns (periods of 400 years, each of 360 days)
'
.
O
8 Katuns (periods of twenty years),
Tuns (years).
o Unials (Maya months of twenty days).
o Kins (days).
beginning of the
thus records the lapse of 3,760 years from the
Maya chronology. The Mayas did not count any
It
period of time until it was completed, that is to say, their sign for the
day of a month was o. So if written in our style these glyphs would
first
read
;
It is
i.
i.
3761.
generally assumed that the date from which the Mayas reckoned
is mythological rather than historical.
But for the present
their chronology
purposes consideration of such a question is immaterial. The point is that
all the dates on such monoliths are reckoned from the same day, and there-
according to Spinden's correlation of their system with ours, this date
corresponds to our 26 October, A.D. 333.
fore,
'
This would, apparently, place the beginning of the Maya chronology
The British Museum Guide to the Maudsley collection of
in 3381.
Sculptures gives this Maya date 9. 8. o. o. o. 5 Ahan, 3 Chen as
A.D. 64. But it mentions that Professor Morley has worked out another
correlation which places this and all other Maya dates some 270 years later.
Maya
Beneath this date on the stela was a great sheet of hieroglyphics, which
were perfectly clearly defined, but they are in our present state of knowledge
I have no doubt though that if we could read them we
indecipherable.
should find that they recorded events which had occurred during the
preceding Katun or period of twenty Maya years, as such stelae were put
up by the Mayas to commemorate the ends of each of those periods.
'
The monolith had been erected just in front of a great terraced pyramid
which stood between two others. All these pyramids were faced, in the
usual Maya style, with blocks of cut limestone. The central one had
three terraces and was 32 feet high.
Its flat top, upon which there no
doubt stood a wooden temple, long since perished, was 135 feet long and
'
64
'
feet across.
Further investigation showed that these pyramids were at one end of
a great enclosure, which was surrounded by a massive stone wall. This
wall is from 12 to 15 feet thick at the base, and in the places where it has
remained intact, it is 12 feet high but for the most part the growth of luxur;
thrown the stones down and the ruins are only 3 or 4
feet above ground. The wall is a mile and a half long and forms a semi -circle
with the two ends running down to the shore.
ious vegetation has
637
MAYAMATA
AN ENCYCLOPAEDIA OF
think there can hardly be any doubt that this was intended as a fortiand therefore a particular interest is attached to it. For, judging
all
their
Their
by
sculptures, the ancient Mayas knew nothing of war.
no
records of battles or triumphs, such as those of Greece,
sculptors have left
'
I
fication,
Egypt, or Babylon.
and that
either
One assumed
that
all
the
until quite late in their history they
among
Maya
clans dwelt in amity
had no experiene of fighting,
themselves or with alien races.
Yet here we have what is obviously a defensive work, and it seems significant that the only two walls of this kind which have hitherto been dis'
covered are also in Yucatan, one being at Tuluum, on the east coast, and
the other at Chicken Itza, in the northern interior. Against whom were
these defences erected
centuries before the
?
Judging by the date on the
Mayas came
stela,
they were built
on the north.
in contact with the Tolecs,
been assumed that Yucatan was uninhabited when the Mayas first
took possession of it, and they were not in the habit of building such walls
It has
in the earlier cities to the south.
'
in
Why
this
innovation
?
The
space enclosed by this wall had evidently been densely populated
bygone times. For in the places where the Indians have cleared the
undergrowth away, one could see that the ground is literally covered with
potsherds, flint and obsidian chips, clay beads, spindle whorls, small human
and animal heads, and other surviving evidences of human habitation A great concourse of people must have lived there for many genera'
tions.
The
more or less, incidental. During this
Northern
Yucatan, where Professor Morley,
my primary objective
of the Carnegie Institute, and I propose to test the truth of some wonderful
Indian legends. The Indians have told me of a vast subterranean cavern
some twenty miles long, and of the ruins of a great city which no white man
'
discovery of these ruins was,
season
is
has seen.
'
Along the
east coast of Yucatan live the Santa
the direct descendants of the ancient
Cruz Indians, presumably
Mayas who erected
magnificent temples
and palaces, most of which now lie buried in the tropical forests. Some
have been discovered, but there is no doubt that a great number of them
yet remain to be discovered.
Indians have never been subdued, and for five centuries
they have successfully resisted all the efforts, first of the Spaniards and later
of the Mexicans to conquer their country. These Indians so far as is known
'
The Santa Cruz
lead the lives of their ancestors of a thousand years ago. They worship the
same gods and perform the ancient religious ceremonies. But we know little
about them, because their villages are buried in the dense
and they permit no stangers
to intrude.
638
forests of the hills
MAYAMATA
HINDU ARCHITECTURE
'
The danger
of penetrating into this Santa Cruz country arises from the
from the bush without inquiry
fact that the suspicious Indians may fire
whether the strangers are friends or foes.'
About the
vast cave of Loltun,
which
is
possibly the largest cavern in the
entered by great well-like holes in the earth
through which one descends by ladders from ledge to ledge arriving in
immense rocky chambers whose floors are covered with stalagmites and cave
world he adds that
'
this
cave
is
and from whose lofty roofs depend vast stalactities. Two of these
holes are a mile apart, and the intervening space has never been traversed
by a European. From the great chambers unexplored passages branch
earth,
On the floors of the chambers, buried in the cave
innumerable
earth,
potsherds have already been found, also human and
animal bones, flint and stone weapons and implements, and many other
It is possible that the deeper layers of
relics of the ancient inhabitants.
earth and the remote galleries and passages may contain relics of the preMaya inhabitants of Yucatan, of whom nothing whatever is known at present.
It is said by the Indians that subterranean passages from this cavern
reach to the ruined city of Chicken Itza 20 miles away. There is a tradition
out in every direction.
'
handed down amongst the modern Indians that during one of the innumerable internecine wars amongst the Maya which followed the breaking up
of the central authority, after the Conquest of Mayapan, the inhabitants of
a neighbouring village were driven to take refuge in this cave by a band of
their enemies, who pursued them even into this last refuge, and that of neither
pursued nor pursuers was any trace ever again seen.
Some believe that in the dark all fell over a precipice into some vast
chasm in the limestone, others that all lost their way in the intricate maze
of endless galleries, and others again that all were suffocated by poisonous
Whatever their fate, the possibility of coming suddenly at any
gases.
'
turn upon groups of rag clad skeletons shrouded in the impalpable dust
of ages does not detract from the eerie feeling induced by traversing these
almost palpable. One's feet make no noise
on the soft cave earth, and one is almost afraid to raise one's voice, which
reverberates round the Great Stone chambers and is thrown back in a
vast catacombs,
where
silence
is
thousand mocking echoes from the rocky walls.
lighted chamber many crude drawings have been
Upon
left
the walls of the
by the former inha-
and in one case is inscribed a late Maya date A.D. 1379.'
Whatever Dr. Gann's conclusions may be his actual discoveries are of
stupendous interest. The causeway that he has found is of supreme importance. He regards it as having been built for the purposes of human sacrifice.
bitants,
'
I disagree.
My
reason for disagreeing
is
Cambodia, which were designed purely
639
that there are similar causeways in
for
ceremonial purposes.
MAYAMATA
'
AM ENCYCLOPAEDIA OF
The whole Maya remains
with the civilization as
it
show the closest possible relation
Java and South-East Asia to what has
as discovered
existed in
been found in Yucatan. There is nothing to my mind that suggests that the
form of civilization is indigenous, and I should be inclined to hold that the
temples at Java were the proto-types of what has been found in Yucatan.
Unquestionably in the early days perishable wood structures were built,
but when stone supplanted wood, you find pyramids being built precisely
on the same lines that they were being built in South-East Asia. They were,
'
so far as the staircases
were concerned, a copy of what the Babylonians were
building 2,000 years before the era of Christ. It is necessary to remember
that as Indian civilization spread eastwards the type of pyramids established by them became fashionable and was built in stone.
While the great causeway was of outstanding interest, it had to be
that it could be paralleled with the remains of Indian
Further there was no question but that Maya carvings
civilization.
Indian
elephants and Indians with typical head-dresses.
represented
'
remembered
Indian navigators, it was known, had combed out the islands in the
Pacific, such as Easter Island and many others, and it was unthinkable
'
that they should not have discovered a continent that stretched from pole
to pole.
'
the archaeologist the issue now raised was of supreme importance.
fifty years ago the orthodox held that the Maya civilization was of
To
Until
Indian origin. The dating derived from the hieroglyphs was so vague as
to give little help, and interpretation varies by as much as three or six
centuries.
'
What supremely interests
is that we find a
'
continues,
Under
America.
the archaeologists,' Professor Elliot Smith
civilization starting full-blown in Central
Asiatic influence,
it
rose to great heights, but
had already
collapsed before the advent of the Spaniards who may have given it the
To know the real secret of Maya culture affects our whole
coup de grace.
interpretation of civilization.
'
Can
different communities, such as the Indian, the Chinese
American, build up a civilization independent of each other, or is
for a certain civilization to be spread about the world in the
it
and the
possible
same way
that a steam engine can be distributed ?
'
the great problem of ethnology today, and the issue now centres
problem as to how civilization started in Central America. There is
This
in the
is
means anything it
have shown it could have
a large gap between Asia and America, but
if diffusion
means that that gap must have been bridged
as I
been.
640
HINDU ARCHITECTURE
'
The Maya
MANAVA-VASTU-LAKSHANA
civilization rose
and
fell.
soon as the energy of the
It fell so
driving force that inspired it declined. This is our view, and we do not
believe in an indigenous culture that rose through its own impetus, and that
fell as a result of foreign invasion.'
No
gists
has
one now questions Dr. Gann's facts, but many competent archaeolodispute the conclusions at which he arrived. An archaeological issue
now been
American
fairly raised.
civilization, or
was
Did the Maya
it
civilization arise
the result of peaceful
from native
penetration by the
Asiatic ?
Professor Grafton Elliot Smith, of University College, London, discussing the subject with a Morning Post representative disagreed absolutely
with the views put forward by the American school, and supported by Dr.
Gann.
At University
'
we are absolutely convinced that the
from India. We regard it as certain
was
derived
directly
Maya
that between the Fourth and the Twelfth Century there was a penetration
from the South-East of Asia. The question of dating is admittedly difficult,
but from the facts we have in our possession I should be inclined to think
that Dr. Gann's dates may err by as much as three centuries.'
'
College,'
he
said,
civilization
(Central News, quoted from Morning Post, by Statesman,
March 21,
MAHA-NIRVANA-TANTRA
April 9, 17, 15, 1926.)
Deals with both architectural and
sculptural matters, such as temples, idols, phallus, ponds, and tanks,
as well as with the directions concerning broken limbs of images,
especially the materials of which buildings and idols should be made
the Vastu god, and so on (Chapter xm, verses 22-286, see also chapters
xrv and vi)
.
MAHABHARATA
Gild. Bibl. 93)
I.
7.
8.
9.
10.
1 1.
Maya
(First
Bombay
edition
Sabha-parvan, chapters
;
and Calcutta edition
:
built a council hall (sabha) for the
Pandavas.
Indra-sabha-varnana.
Yama-sabha-varnana.
Varuna-sabha-varnana.
Kubera-sabha-varnana.
Brahma-sabha-varnana.
MANA-KATHANA On
the system of measurement.
(Oppert's List of Sanskrit
MANAVA-VASTU-LAKSHANA On
MSS
,
Vol. n, p. 473.)
architecture.
(Oppert's List of Sanskrit MSS.,
64.1
ibid.,
ibid.,
Vol.
i,
p. 476.)
AN ENCYCLOPAEDIA OF
MANASA
MANASA
(Same
as
See below.
MANASARA).
(Oppert's List of Sanskrit Mbt>.,
MANASARA
(edited
and translated
The
time by the writer)
ibid.,
Vol. n, p. 518.)
the first
English
standard treatise and a complete text on
into
for
and sculpture. It comprises 70 chapters in more than
10,000 lines. There are eleven manuscripts of it. See the details
given under the Preface of its first edition by the writer and compare
architecture
the writer's Summary of Mdnasdra, Leiden, 1917, in
according Mdnasdra-Silpa-Sdstra, 1927,
and
in
Hindu
Indian Architecture
the
Architecture in India
and Abroad.
MANASOLLASA
Vol. HI,
p.
two chapters,
1
.
2
.
(R. L. Mitra's Notices of Sanskrit Manuscripts,
Attributed to the Chalukya king Somesvara. In
182)
it deals with the
following subjects
Shodasa-prakara-griha-lakshana.
3.
Raja-griha-lakshana.
4.
Vastu-deva-puja-vidhi.
5.
Griha-praves'a-kathana.
6.
Griha-varnana.
7.
Griha-chitra-varna-lakshana.
8.
9.
10.
1 1
.
12.
13.
14.
15.
Vajra-lepa-lakshana.
Lekhani-lakshana.
Tambula-bhoga-kathana.
Vilepanopabhoga-kathana.
Vastropabhoga-kathana.
Malyopabhoga-kathana.
Bhushabhoga-kathana.
Asana-bhoga-kathana.
1 6.
Putradi-bhoga-kathana.
1
7.
1
8.
Anna-bhoga-kathana.
Panlya-bhoga-kathana.
Abhyanga-bhoga-kathana.
Yana-bhoga-kathana.
Chhatra-bhoga-kathana.
Sayya-bhoga-kathana.
Dhupa-bhoga-kathana.
19.
20.
2
1
.
22.
23.
:
Mandirarambha-muhurta-kathana.
24.
Stri-bhoga-kathana.
This work should not be confounded with that
Taylor's Catalogue Raisorde (Vol.
i,
p. i)
and
its
of the
name
in
commentary, Manasollasa-
vrittanta-prakas'a (in Weber's Berlin Catalogue, p. 179.)
642
same
HINDU ARCHITECTURE
RASI-PRAKARA
MANASOLLASA-VRITTANTA-PRAKASA On
Gaekwad Sanskrit
architecture
(cf.
Series).
(In possession of Vimana-Acharya, Benares,
Weber's
MURTTI-DHYANA On
Berlin Catalogue, p.
179.)
sculpture.
(Aufrecht,
MORTTI-LAKSHANA On
ibid.,
Part
i,
p.
464.)
idol-making.
(Ibid p. 464.)
another manuscript bearing the same
There
have been taken from the Garuda-samhita.
title
is
MOLA-STAMBHA-NIRNAYA On
main
which
is
stated
to
architectural description of the
pillar of a house.
(Ibid.,
p. 464,
Oppert's List of Sanskrit MSS.,
Vol. H, p. 202.)
ibid.,
R
RATNA-DIPIKA
On
(Attributed to Chandesvara)
(Aufrecht,
ibid.,
architecture.
Part n, pp. 36, 114.)
RATNA-MALA
of Sripati Deals with astrological matters in connexion with the construction of houses and idols of deities under the
following chapters :
1
7
Vastu-prakarana (28 verses)
.
1
8.
20.
Griha-praves'a
(
1 1
verses)
.
.
Deva-pratishtha (13 verses).
RAJA-GRIHA-NIRMANA On
the building of royal palaces.
(Burnell's Classified Index to the Sanskrit MSS.
the
in
Palace Library of Tanjore, 1880.)
RAJA-VALLABHA-TIKA A commentary
on Rajavallabha-Man
dana.
MSS.
(Catalogue of Sanskrit
ries
RAMAYANA
(First
ed.
of Gujarat,
in Private Libra-
etc.,
1872, p. 276.)
Calcutta edition, ed. Schlegel Gild. Bibl. 84,
Devotes large
85, 2nd Bombay edition)
Bibl.
Gorrens, Gild,
portions of the following chapters on architecture
Adikanda, 5th Sarga, the description of the city of Ayodhya.
Lankakanda, 3rd Sarga, the description of the fort of Lanka.
(There are also numerous casual references to architectural and sculptural matters in the Epics, the Puranas and the Agamas.)
:
RASI-PRAK.ARA
mat! en concerning
(Attributed
to
Garga)
Deals with astrological
architecture.
(See Vdstu-Sdrani.)
643
AN ENCYCLOPAEDIA OF
ROPA-MANDANA
ROPA-MANDANA
to
(Attributed
Mandana
Sutradhara)
On
architecture.
Rajavallabha Mandana.)
(Cf.
LAKSHANA-SAMUCHCHAYA On
the features
quoted by Hemadri in Danakhanda
dipaka, and Parasurama-prakasa.
deities,
On
images of
Muhurta-
823), in
(p.
(Aufrecht,
LAGHU-SlLPA-JYOTISHA
in
part
ibid.,
i,
p. 535.)
architecture.
(British
Museum
Catalogue, 20, E. 32.)
Sivarama, with a Gujarati
This pamphlet deals mostly with astrological matters
LAGHU-SlLPA-JYOTIH-SARA By
commentary
The
concerning architecture.
verses
contents are indicated in the following
:
Aya-rasis cha nakshatram vyayas taramsakas tatha
Graha-maitri rasi-maitri nativedha-ganendavah
I
II
Adhipatyam vara-lagne tithy-utpattis tathaiva cha
Adhipatyam varga-vairam tathaiva yoni-vairakam
Riksha-vairam
sthitir
nao
(3)
I
II
(4)
lakshanany eka-virh^atih
I
Kathitani muni-sVeshthaih Silpa-vidvadbhir grihadishu
LlftGA-PURANA
See
II
(5)
under PURANAS.
V
VALI-PITHA-LAKSHANA On
architecture.
(Oppert's List of Sanskrit
VAYU-PURANA
See
MSS.,
ibid.,
Vol.
i,
p. 473.)
ibid.,
p. 538.)
under PURANAS.
VASTU-CHAKRA On
architecture.
(Oppert's List of Sanskrit MSS.,
VASTU-TATTVA
(By Ganapati Sishya, Lahore, 1853) Consists of
four chapters and deals largely with astrological matters concerning
architecture.
VASTU-NIRNAYA On
classes of vastu
(see
architecture, dealing
specially
with the
under VASTTJ).
(Aufrecht,
644
ibid.,
part
i,
p. 568.)
HINDU ARCHITECTURE
VASTU-RATNAVALI
VASTU-PURUSHA-LAKSHANA On
architecture.
MSS.
(Taylor's Catalogue Raisonee of Oriental
the Library
of
the late College
St. George,
VASTU-PRAKASA
(Attributed to
(Aufrecht,
ibid.,
i.,
i,
p.
313.)
On architecture.
Visvakarman)
Part
Vol.
in
of Fort
p. 568, in possession of
Balabhari
Sapre, Benares, Catalogue of Sanskrit MSS. in
N. W. P., 1885, Part x, no. 2, p. 56.)
VASTU-PRADIPA
By Vasudeva, on
VASTU-SARANI)
(cf.
archi-
tecture.
(In possession of Umasarhkara-Sastri, Azamgarh,
Catalogue of Sanskrit
MSS.
in
N. W.
1885, Part x, no.
I,
P.,
p. 56.)
VASTU-PRAVANDHA
1904)
It deals largely
architecture,
karmd-prakdsa,
(By Lala Rajakisora Varma, Lucknow,
with astrological matters in connexion with
and contains
from the
extracts
Muhurta-chintdmani,
Brihat-sarhhitd,
Samgraka-siromani,
Visva-
Vdstu-vidyd-
prakdsa, Vdstu-pradipa, and Jyotis-sdra-muhurta-chakra-dlpikd.
VASTU-MA^IJARI
to
(Attributed
Mandana
Sutradhara)
On
architecture.
(Cf.
VASTU -MANDANA
(Attributed to
Rajavallabha-Mandana.)
Mandana Sutradhara)
On
architecture.
(Cf.
Rajavallabha-Mandana.)
VASTU-YOGA-TATTVA-( Attributed
to Raghunandana)
Treats
and
contains
extracts
from
the
deity,
Matsya-Pardna, Devi-Purdna, Rudra-ydmala, and Vasishtha-sarhhitd.
largely of offerings to Vastu
VASTU-RATNA-PRAD IPA On
architecture.
(Cf. Vdslu-sarani.}
VASTU-RATNAVALI
Benares, 1883)
(Compiled by Pandit Jivanath Jyotishi,
This compilation contains extracts from the Bhavi-
slya-Purdna, jyotih-sdgara, Griha-kdrikd, Vdstu-pradipa, Bhuja-bala-bhlma,
Vasishtha-samhitd,
Sri-bhoja-rdja,
Rdja-vallabha,
Vdstu-ratna-pradipa-
Siddhdnta-siromani, of
Bhaskaracharya, Mandana-sutra-dhdra, Brihatsamhitd of Varahamihira, and Ratna-mdld.
(Burnell's Classified Index
to the
Sanskrit
MAS.
Palace Library of Tanjore, p.
645
in the
154.)
AM ENCYCLOPAEDIA OF
VASTU-RAJA-VALLABHA
(Attributed to Mandana Sutradhara,
called Silpa-sdstra)
On
Vdstu-sdstra, otherwise
VASTU-RAJA-VALLABHA
probably same
as
architecture.
(Catalogue of Sanskrit
VASTU-LAKSHANA On
MSS.
in
N.W.P.,
p. 56.)
architecture.
(Oppert's List of Sanskrit MSS.,
VASTU-VICHARA
ibid.,
ibid.,
Vol.
A
(Attributed to Visvakarman)
i,
p. 480.)
treatise
on
architecture, apparently old.
(In possession of Gaurinath Sastri, Benares,
Catalogue of Sanskrit
ibid.,
VASTU-VIDYA
MSS.
in
N.W.P., 1885,
p. 56, Aufrecht, part
i,
p. 568.)
Oppert's List of Sanskrit MSS.,
also a text
ibid., part i, p. 578
ibid., Vol. i, p.
Deals with materials, etc. for
edited by T. Ganapati Sastri, 1913)
house building in the following sixteen chapters
manuscript,
Aufrecht,
480
(a
see
;
;
:
1.
Sadhana-kathana.
2.
Vasudha-lakshana.
3.
Vastu-devata-kathana.
4.
Vastu-purusha-kathana.
5.
Vedi-sarhsthana.
6.
Vastu-marma-sarhsthana.
7.
Kala-niyama.
8.
Sala-vidhana.
9.
Pada-mana-kathana.
10.
Lupa-lakshana.
1 1
1
2.
Lupa-karana.
Dhuli-nirodhana
1
3.
Dvara-viny asa
.
.
.
14.
Kavata-dvara-vinyasa.
15.
Bhavana-parigraha.
1
6.
Mril-loshta-lakshana.
VASTU-VIDHI
(Attributed to Visvakarman)
(Aufrecht,
VASTU-&ASTRA
(see
under SANAT-KUMARA)
On
ibid.,
On
architecture.
part
architecture.
(Oppert's List of Sanskrit MSS., tbid,Vo\.
VASTU-SASTRA
(also called Silpa-sdstra)
p. 568.)
i,
i,
p. 580.)
Attributed to Rajavalla-
bha Mandana and Bhupati-vallabha (noticed in Egg. 3142, 1291)
one of these manuscripts is published in Sarhvat 1947, at Anahila:
646
VASTU-SASTRA-SAMARAN-
HINDU ARCHITECTURE
GANA-SUTRADHARA
in Patana, by Narayana Bharati and Yasavanta Bharati
It has
a Gujarati commentary and some illustrative diagrams.
(Noticed in
the Catalogue of printed books and manuscripts in Sanskrit belonging
to the Oriental Library of the Asiatic Society, Bengal, p. 173).
pura
has four more copies Egg. 3143, 3144, 3145, 3146, p. 1136.
This is a work on architectural disposition of houses, palaces, temples,
etc., and the rite to be performed at their inauguration, by Mandana, an
It
architect in the
arts
and
built
Mewara from
It
employ of king Kumbhakarna of Medapati (and the husband
According to Tod, the king Kumbha, who had a taste for
many temples and strongholds, ruled over the country of
'
of Marabai).
A. D.
1419 to 1469.'
(Bhandarka,'s Report, 1882-83, p. 37-)
contains the following fourteen chapters
1
Misraka-lakshana.
:
.
2.
Vastu-lakshana.
3.
Ayadi-lakshana.
Prakara-yantra-vapi-kupa-tadaga-lakshana.
Raja-griha-nivesadi-lakshana (verse 28 of this chapter mentions the Malsya-Purana as an authority).
4.
5.
6.
Eka-sala-dvi-sala-griha-lakshana.
7.
Dvi-sala-tri-sala-chatuh-sala-griha-lakshana.
8.
Sayana-simhasana-chhatra-gavaksha-sabhashtaka-vcdika-
chatushtaya-dlpa-lakshana.
9.
10.
Raja-grihadi-lakshana.
(Mapita) kshetradbhuta-lakshana.
11.
Dina-suddhi-griha-nivesa-griha-pravesa-vivaha-muhurtalakshana.
1
2.
Gochara-dina-ratri-mana-svarodaya-koja-chakra-matrika-
lakshana.
13.
Jyotisha-lakshana.
14.
Sakuna-lakshana.
Six other works are ascribed to
I.
II.
Vastu-mandana.
Prasada-mandana.
VI.
Aya-tattva.
VI.
:
Rupa-mandana.
III.
V.
Mandana
Vastu-manjarl.
Vastu-sara.
VASTU-SASTRA-SAMARAfrGANA-SUTRADHARA
to
Bhojadeva)
(Attributed
-On architecture.
(Aufrecht,
647
ibid.,
part
i,
p.
568.
AN ENCYCLOPAEDIA OF
VASTU-SlROMANI
VASTU-SlROMANI On
architecture.
(Aufrecht,
another manuscript of the same
Syamasaha Sankara.
There
is
title,
part
ibid.,
attributed to
i,
p.
568.)
Maharaja
VASTU-SAMUCHCHAYA On architecture.
(Aufrecht,
VASTU-SAMKHYA On architecture, "an
part
ibid.,
i,
p. 568.)
of Todara-
extract
nanda, very rare, complete and incorrect."
(Catalogue of Sanskrit
VASTU-SAMGRAHA
MSS.
in JV.
(Attributed to
W.
P., 1885, part ix, p. 56.)
On
Visvakarman)
archi-
tecture.
(Aufrecht,
part
ibid.,
i,
p. 568.)
VASTU-SAMGRAHAMU Contains 100 pages, written in Tclugu
character, and deals largely with astrological matters concerning
architecture.
(Mackenzie Collection, by Wilson, p. 171.)
VASTU-SARVASVA On
VASTU-SARA
rati
commentary
architecture,
(Attributed to Sutradhara Mandana) With a Guja(Ahmedabad, 1878), it deals largely with astrolo-
There
is
also another
manus-
title.
(Aufrecht,
ibid.,
VASTU-SARANI
is
16
pages.
(By Nanjunda Dikshita, published by V. Ramasvami Sastralu and Sons, Madras, 1916.
gical matters concerning architecture.
cript of same
comprises
part
i,
p.
569.)
(by Matri Prasada Pande, Benares, 1909) This
a manual of astrological details in connexion with the construction
of a house, compiled from the following
I.
Grama-nirnay a, of Naray ana
III.
Rasi-prakara, of Garga.
DaSa-prakara, of Vasishtha.
IV.
Dik-sadhana, of Bhaskara.
II.
V.
VI.
VII.
VIII.
IX.
X.
treatises
.
Sthala-Subhaiubha-kathana, of Narayana.
Vastu-pradipa.
Rahu-mukha, by Rama.
VisVakarma.
Pinda-prakara, by Gopiraja.
Narada.
648
:
HINDU ARCHITECTURE
XI.
VI$VAKARMA-MATA
Dhruvadi-shodasa-gehani, by Ganapati.
XII.
Griharambha, by
Srlpati.
XIII.
Vastu-ratna-pradipa.
XIV.
Dikshu-vriksharopana, by Ganapati.
VASTU-SARA-SARVASVA-SAMGRAHA
a Ganarese commentary)
A
VIMANA-LAKSHANA On
(Bangalore, 1884, with
compilation on
architecture.
architecture.
(In possession of Archaka Yogananda Bhatta
of Melkota ; Oppert's List of Sanskrit
MSS.,
VI SVAKARMA-MATA
Quoted by Hemadri
Vol.
ibid.,
n,
p.
266.)
in Parisesha-khanda
(2,817,825,827,828).
(Aufrecht,
There
is
ibid.,
part n, p. 138.)
another treatise ascribed to Visvakarman (Rajendralala Mitra,
MSS., Calcutta, 1871, Vol. n, no. 731, p. 142), fol. 63,
Notices of Sanskrit
English paper 9f"X7", copied 1872.
None of the manuscripts examined by Mr. Burnell
'
is
perfect or even
tolerably correct.'
a treatise on the manual arts attributed to Vivakarma, the divine
it is written
in the Tantric
architect, but apparently a compilation
It is
;
having Siva for its narrator. The manuscript has been copied for
Dr. Mitra from old codex in the Halakanada character in the Library of the
Raja of Tanjore. The contents are classified under the following seventeen
style,
chapters
1
:
.
Visvakarmotpattih, karma-visesha-bhedena vyavahrita-takshaka
varddhakyadi-sabda-vyutpatti.
2.
yajnlya-kashthena-
3.
Takshakasya garbhadhanadi-sarhskara-kathanarh, garbhotpatti-
Satyadi-yuga-jata-narochchata-pramanam,
prastarena va deva-pratima nirmane manadi.
kathanadi.
4.
Siva-lingadi-pratishthartharh sabha-nirmanadi.
5.
Graha-pratima-nirmana-pramanam,
linga-pltha-nirmana-
pramanadi.
6.
Ratha-nirmana-vidhi-kathanam.
7.
Ratha-pratishtha-vidhi.
8.
Brahmi-MaheSvaryadlnam sva-rupadi-varnadi.
9.
Yajnopavita-lakshana.
10.
Suvarna-rajata-maunjyadi-nirmita-yajnopavlta-kathanam, digmeru-dakshina-sthita-hema-^iladeva-sthapana-prakaradi,
bhedena
kathanadi.
649
AN ENCYCLOPAEDIA OF
VlSVAKARMA-JNANA
1 1
Lakshmi-Brahml-Mahesvaryadi-devindradi-dik-pala-grahadimurti-nirmana-prakara.
.
12-13.
14.
Mukuta-kirita-jata-mukutadi-nirmana-prakaradi.
Sthavarasthavara-simhasana-nirmana-prakaradi,
shena kirita-lalata-pattikadi-nirmana-prakara, Devataya
punar visemandirasya
jirnoddhara-prakara.
1
5
.
16.
1
7
.
Linga-murti-mandira-dvaradi-kathana.
Pratima-murti-mandira-dvaradi-kathana.
Vighnesa-murti-mandiradi-nirmanadi-vidhi.
VlSVAKARMA-JNANA
by Krishna Sankara Sastri, the
This pamphlet treats largely of ritualistic
real author is not known)
as
the
such
sacrifices, etc., to Visvakarman.
matters,
(edited
VlSVAKARMA-PURANA
The title here adopted is that given to
the volume on the fly-leaf. No colophon of any kind is met with
on the manuscript. It is very incorrect and illegible. It has a Telugu
commentary equally unintelligible. It deals with architectural
matters.
(Egg.
VlSVAKARMA-PRAKASA
(Egg.
MSS., 3153, 2614 ; Oppert's List of
Sanskrit MSS., ibid., Vol. i, p.
480.)
MSS.,
p.
1120)
also
called
a course of directions in thirteen chapters, on
of
the building
houses, the making of roads, tanks, etc. and the rites
observed on such occasions, purporting to be founded on the revelaVdstu-sdstra
It gives
tion of Visvakarman,
ratha, Parasara,
The
still
further traced back successively to Brihad-
ambhu.
and
following editions of it are published
I.
This
II.
This
is
This
is
:
published in the Srlvenkatesvara Press, Bombay,
Khemraja Sri Krishnadasa, in Samvat 1952, Saka 1817.
is
published without
any commentary
at
by
Benares, in
1888.
III.
a
translation
of
Palaramavilasa
Mukula Saktidhara Sarma, Lucknow,
The
into
Bhasha,
1896.
topics treated of in the thirteen chapters are the following
1.
Mangalacharana.
2.
Vastu-purushotpatti-varnana-purvakam-pQjanadika.
3.
Bhumi-lakshanam phalarh cha.
5.
Griha-praveSa-samaye Sakuna-phala.
Khanana-vidhi.
6.
Svapna-vidhi.
4.
650
:
by
VlSVAKARMlYA-SlLPASASTRA
HINDU ARCHITECTURE
7.
Bhumi-phala.
8.
Griharambhe samaya-sudhi.
9.
10.
11.
2.
Dhvajadyaya-phalani.
Aya-vyayamsadinam phalani.
Griha-madhye devadlnam sthapana-nirnaya.
13.
Dhruvadi-griha-bheda
Dvara-manani.
14.
Stambha-pramanani.
15.
Grihanam
1
1
6.
17.
1
8.
19.
.
sala-nirnaya.
Griharambha-kala-nirnaya.
Griharambhe lagna-kundalishtha-graha-phalani.
Sayya-mandira-bhuvana-sudharadi-grihanam lakshanani.
Paduka-upanaha-manchadlnam mana-lakshana.
20.
Sanku-sila-nyasa-nirnaya.
21.
22.
Vastu-deha-lakshanam pujanarfa bali-danam cha.
Sila-nyasa (cf. 20 above).
23.
Prasada-vidhana.
24.
Silpa-nyasa.
25.
Prasada-nirnaya.
Plthika-lakshana.
26.
27.
Mandapa-lakshana.
28.
Dvara-lakshana.
29.
30.
Vapi-kupa-tadagodyana-kriya.
Daru-chhedana-vidhi.
31.
Griha-pravesa nirnaya.
32
Griha-pravesa-kala-suddhi
Sayyasana-dolikadmam lakshana.
.
33.
.
34.
Pravesa-kalasa-chakradi-vastu-^anti.
35.
Durga-nirnaya.
36.
Salya-jnanam salyoddhara.
Nagara-sarhbandhi-raja-grihadlnam nirnaya.
37.
VlSVAKARMA-SAMPRADAYA On
architecture,
dealing
spe-
account of the race of architects descended
cially with a mythological
from Visvakarman.
(Egg. MSS. iv, 3 i 5I
2680.)
,
VlSVAKARMlYA-SlLPA-SASTRA On
architecture
and cognate
arts.
Manuscripts Library, Madras, Catalogue, Vol. xxii, no. 13057,
on 100 pages of palm-leaf n" X i\"
written
copied by one
p. 8775,
Nitla Surappa on Saturday, the 5th day of the bright fortnight of the ASvija
(Oriental
;
month
in the year Jaya).
AN ENCYCLOPAEDIA OF
VlSVA-VIDYABHARANA
The author acknowledges
his
debt to Brahma, Indra, Maya, Bhargava,
Angirasa, Dhruva, Gautama, Gargeya,
also cites
Manu, Vyasa and
Bhrigu.
He
from Agastya.
The colophon
runs thus
VisVakarma-sastre VisVakarma-mate,
VlSVA-VIDYABHARANA
etc.
This
(Attributed to Basavacharya)
is
a treatise on the duties of artisans, especially members of carpenter
(Rathakara) caste. Its scope is limited to the religious duties of the
who
claims VisVakarma, Visvarupa, and Tvashtri, as
It consists largely of quotations from the
his divine guardians.
Puranas, the Epics, the Sutras, and other works. Of other author-
Rathakara,
ities
may be mentioned
Rudradatta's commentary on the Apastamba
the Shad-guru Bhashya on the Asvalayana-Samanukramamanika, the Vidyaranya, and the Sarasvatl-vilasa with the commenSutra,
tary of Vijnanesvara.
(Egg. MSS., v, 3151, 2680
;
Aufrecht,
ibid,
VEDANTA-SARA
part n, p. 138.)
contains 79
by Garlapata Lakshanacharya
pages, has a Telugu commentary, and treats of the size of images,
the proper time for commencing to build, and similar subjects.
VAIKHANASA - On
It
(Egg. MSS., n, 3151, 2680.)
architecture.
(Aufrecht,
VAIKHANASAGAMA
See
by Hari Prasada
(Aufrecht,
On
i,
p. 610.)
On
architecture.
ibid.,
part
i,
p. 644.)
ibid.,
part
i,
p. 647.)
architecture.
(Aufrecht,
SlLPA-GRANTHA
part
under Agamas.
SASTRA-JALADHI-RATNA
SlLPA-KALA-DlPAKA
ibid.,
by Bhuvanadeva Acharya (Egg. MSS., 3152,
A
modern Deva-nagari)
short history of the
at
the
It
is
stated
that
God at the request
given
beginning.
of Aparajita reveals the theory of constructive art, from the creation
1603
b,
work
is
written in
of mundane egg to the erection of a town gate, and the measurements
of banners, water pots, and bells in sanctuaries.
It is almost identical to (i) Aparajita-prichchha by Bhava ( ? Bhuvana)
deva, mentioned in Dr. Bhandarkar's Report (1883-1884, p. 276), and to
(2) Aparajita-vastu-sastra ascribed to Visvakarman, mentioned in Dr.
Biihler's Catalogue of Gujarat
MSS.
(iv. p.
652
276).
HINDU ARCHITECTURE
SILPA-&ASTRA
SlLPA-DlPAKA by Gangadhara
(B.
H.
Catalogue,
15,
On
architecture, printed by Mahadeo
B,
6)
second edition in 1908, with diagrams of instruments
1
SlLPA-NIGHANTU
by Aghore
Sastri
(Classified Catalogue
On
14,
Ramchandra
and houses,
;
etc.
architecture.
of Sanskrit Works
Bhandara Library of Mysore,
&ILPA-RATNA
G. 14,
in
the
Sarasvati
class xix, no. 533.)
Srikumara (Trivandrum Sanskrit Series,
no. LXXV) under instructions from king Devanarayana of Ambalapuzha in Travancore) Deals with several architectural matters and
painting in 46 chapters, compiled from Mdnasdra and other treatises
details in the writer's Hindu Architecture in India and Abroad,
(see
by
pp. 176-177).
&ILPA-LEKHA On
architecture, according to
Raya-mukuta quot-
ed by Sarvadhara.
(Aufrecht,
ibid.,
part
i,
647.)
SILPA-SASTRA (Egg. MSS., 3148, 3012), ascribed to both Kasyapa
and Agastya Contains 276 foil, of which 1-72 marked at the top
251-276, Silpa-Sastram Kasyapeyam,' and
Silpa Sastra'
This is
! 51-250
Silpa-Sastram Agastyam.
apparently a comof
and
Kasyapa
bination of two separate works,
Agastya.
;
73-W
'
'
'
One copy was
at
MasuHpatam
transcribed (for C. P. Brown) from a Telugu
manuscript
It consists of extracts from various works on
in 1832.
idols, shrines, etc.
as stated in the following chapters
1.
Amsumana-bhede kasyape
2.
Umaskanda-sahita-lakshana-patala.
parivara-lakshana-patala.
3.
Chandra-sekhara-murti-patala.
4.
Dakshina-murti-lakshana.
5.
Kala-murti.
6.
Lingodbhava-lakshana.
7.
Nritta-murti.
8.
Gangadhara-murti.
9.
Tri-purantaka-murti.
10.
1 1
.
Kalyana-murti.
Ardha-narisvara-murti.
12.
Gaja-bhara-murti.
13.
Pasupata-murti.
Bhakta-lakshana.
14.
15.
1
6.
:
Bhu-mana-patala.
Gramadi-lakshana.
653
AN ENCYCLOPAEDIA OF
SlLPA-SASTRA
Foil.
Ity-agastye-sakaladhikare
151.
manasa-grahya-viseshanarii
pra-
thamo'dhyaya.
181.
Iti
pancha-vimlati-rupa-bheda.
Ity-amsumana-bhede kasyape tala-bheda-patala.
251.
266.
Kasyapa uttama-dasatala-patala.
274. J(G)aurI-lakshana-patala, adhama-dasa-tala-pramana.
This chapter is incomplete the work terminates abruptly at the end of
:
the
1
4th verse.
In the Oriental Manuscripts Library, Madras, there are more than a
dozen manuscripts bearing the title of Silpa-sastra
(Catalogue, Vol. xxn,
'
13047, 13048-13056, 13057). Of these two (nos. 13046.
to Agastya, and one (no. 13057) to Visvakarman.
are
attributed
13047)
The rest of them are apparently compilations, as they are not ascribed
nos. 13046,
any author and contain frequent quotations from authorities
yapa, Mayamata, Visvakarman, and Agastya.
to
like
Kas-
'
another manuscript bearing a slightly different title,
Silpa
attributed to Visvakarman. The details of this will be found under
There
'
is
Visvakarman.
'
There are four other manuscripts bearing the title of Silpa-gastra
but containing no information regarding their authors.
They are
mentioned in the descriptive Catalogue of the Mackenzie Collection by
H. H. Wilson (nos. 4-7)
No. 4 deals with the construction of temples and images.
No. 5 deals with the construction of ornamental gateways.
No. 6 deals with the construction of images.
No. 7 deals with the construction of images and ornamental work
in gold and silver.
'
:
There
'
It
yet another manuscript bearing the title
Silpa-Sastra.'
It deals with the structure of Saiva
is attributed to Kasyapa.
temples.
(See the Catalogue Raisonee of Oriental Manuscripts in the Library of the late
College
is
of Fort
St.
George
by Taylor, Vol.
Another work bears a
(See the
A
of Sanskrit Works
'
Silpa-sastra-bhushalaya.'
in the Sarasvati
Bhanddra Library
xrx, no. 533.)
class
'
Silpa-sdstra
no. 1585, p. 314.)
slightly different title,
Classified Catalogue
of Mysore,
i,
by Myen (Maya)
is
also extant.
(See Ind. Ant., Vol. v,
pp. 230-293.)
Another
mentioned.
South India,
'
'
Silpa-Sastra containing no information regarding its author is
(See the List of Sanskrit Manuscripts in Private Libraries of
by Oppert, Vol.
n, no.
4187, p. 267.)
654
HINDU ARCHITECTURE
SUKRA-NlTI
SILPA-SASTRA-SARA-SAMGRAHA
(Compiled by a son of one
Consists of extracts from
Sivanarayana)
china) works on architecture,
and was
unspecified ancient (pracompiled in the Saka era
1820.
The
verses describing the Bhu-lakshana (examination of soil) are same
as those given in the Silpa-dlpuka by Gangadhara with a Gujarati translation
by Kalyanadasa.
SlLPA-SARVASVA-SAMGRAHA A
compilation on architecture.
(Aufrecht,
SlLPA-SAMGRAHA
ibid.,
part
i,
p. 647.)
manuscript covering 429 pages of
It deals with the construction
25 lines to a page of paper 13^* X 8")
It
is
and
a
of temples
images.
compilation from various sources
Visvakarman,
Mdnasdra,
Mayamata,
Agastya, Kdsyapa,
notably
Paulastya, Ndrada,
(a
Bhrigu,
large
Sdrasvata, Diptisdra,
Visvasdra,
Chitrasdra,
Kapinjala-sarhhitd,
Brahma-ydmala,
Chandrajndna,
Manohalya, Kaumudi, Ndrdyana and others.
&ILPA-SARA (An incomplete manuscript in the Oriental Manus-
Chitrajndnd,
xxn, no. 13059, p. 877),
containing no information regarding its author (Comprises 76 pages
and deals with the descriptive features (dhyana) of gods and goddesses, apparently intended to guide the artist in making images.
Madras,
cripts Library,
Vol.
Catalogue,
SlLPARTHA-SASTRA On
architecture.
(Oppert's List of Sanskrit
of South India,
(Egg. MSS. 3149,
written on the fly-leaf in
SlLPI-SASTRA
is
title
'
Vaustoo'
(Vdstu-sdstra]
architecture, with a
This manuscript
Nagara-khanda
added
ibid,
MSS.
Vol.
in Private Libraries
i,
covers
25786)
Telugu
underneath.
and
It
no. 248, p. 26.)
71 pages
Marathi,
is
;
the
with
a treatise on
Telugu commentary.
is
of
preceded in the same volume by two sections of the
the
Skanda-Purana, viz.
Visvakarmopakhyana, and
Visvakarma-varhsanuvarnana.
SUKRA-NlTI
ture,
(ed.
and sculpture
lowing matters
1
.
2.
Jrvananda Vidyasagara)
(in
chapter
iv, sections 4, 6)
:
Deva-mandiradi-nirmana-vyavastha.
3.
Pratima-nirmana-vyavastha.
Murtinarh vahana-vyavastha.
4.
Ganapati-murti-vyavastha.
655
Deals with architec-
and
refers to the fol-
AN ENCYCLOPAEDIA OF
SULVA-SDTRAS
SatI (Sakti)-murti-vyavastha.
Bala-murti-vyavastha.
5.
6.
nirmana-vyavastha,
Sapta-taladi-murti-bhavasya
Paisachi-murti-vyavastha.
7.
8.
Bhagna-pratima-sthapana-vyavastha
Utsava-vyapara-vyavastha.
9.
10.
Section 6
.
:
11.
Durga-nirmana (construction efforts, etc.).
There are frequent casual references to both architecture and sculpture
in other portions of the treatise also.
Refers to very
&ULVA-SOTRAS
The
important architectural matters.
rules for the size of the various Vedis, the shape and the varia-
Brahmanas long before they
which the Sulva-sutras are
of
the manner in which the
but portions. But the explanations
manifold measurements and transformation had to be managed are
tions of the Agni, etc. are given in the
are embodied in the Kalpa-sutras of
not clear in the Brahmanas.
Sulva-sutra
Kalpa-sutras,
name
given to those portions or supplements of the
of
the measurement and construction of the
which treat
the
is
different vedis or altars, the
word
'
sutra
'
referring to the cords which
were employed for those measurements. But in the Sutras themselves
A Sulva
the word rajju is used to express a chord and not the sutra.'
'
'
'
Adhyaya or Prasna or
Sulva-parisishta belongs to all Kalpa-sutras.
treatises
the
dealing with the measurement, etc., of the Vedis,
Among
most
the two
important are the Sulva-sutras of Baudhayana and of
Apastamba.
Two
smaller treatises, a
Manava
Sulva-sutra
and a Maitra-
yaniya Sulva-sutra bear the stamp of later times, compared with the works
of Baudhayana and Apastamba, which are entitled to the first place by a
clearer
and more extensive treatment of the
topics in
question.
The
of the white Yajur-veda possesses a Sulva-paris'ishta, ascribed
to Katyayana, and Dr. Thibaut rightly thinks that there is not a sufficient
reason for doubting that it was really composed by the author of the Kalpa-
literature
sutra.
The
Sulva-sutras begin with general rules for measuring.
In the next
fix the right places for the sacred
how
to
describe
fires, and how
place they
to measure out the Vedis of the different sacrifices, the Samiki-vedi, the
'
The remainder of the Sutras contains the deso on.
construction
of the Agni, the large altar built
of
the
tailed description
of bricks, which was required at the great Soma sacrifices.'
Paitriki-vedi,
and
construction of altars, wherefrom seems to have developed the Chaitwas probably the beginning of ecclesiastical
yas, Dagobas, Temples, etc.,
The
656
HINDU ARCHITECTURE
ULVA-St)TRAS
The
architectural details of these altars are in-
architecture in India.
teresting.
'
The
be constructed in different shapes, the earliest enumeration of which is found in the Taittirlya-sarhhitd (v. 4-11).
Following
and Apastambha furnish us with full
this enumeration Baudhayana
particulars about the shape of all these different chitis and the bricks
altar could
which were employed
for
their construction.'
of these altars1
was constructed out of five layers of bricks,
Everyone
which reached together to the height of the knee for some cases 10 or 15
layers and a correspondingly increased height of the altar were prescribed.
Every layer in its turn was to consist of two hundred bricks, so that the
whole Agni (altar) contained a thousand the first, third and fifth layers
were divided into two hundred parts in exactly the same manner
a different division was adopted for the second and the fourth, so that one
brick was never lying upon another brick of the same size and form.'
'
;
;
;
The first altar covered an area of 7| purushas, that means, yi square,
the side of which was equal to a purusha, i.e., the height of a man with
On each subsequent occasion, the area was increased by
uplifted arms.
'
one square purusha. Thus at the second construction of the altar one
square purusha was added to the 7! constituting the first chiti, and at the
third construction two square purushas were added, and so on.'
But the shape of the whole, the relative proportions of the single parts,
had to remain unchanged. The area of every chiti whatever its shape might
be, falcon, wheel, tortoise, etc., had to be equal to 7^ square purushas.
Thus squares had to be found which would equal to two or more given
Chatur-asra-syena-chit so called because it resembles the form of a falcon
bricks out of which it is composed are all of a square shape.
in the form of a heron (cf. Burnell, Cat. 29, of a Carrion
Kahka-chit
(2)
is the same as Syena-chit except the two additional feet.
Kite),
1
(i)
and because the
(3)
Alaja-chit
the
is
same
as (2) except the additional wings.
an
equilateral acute angular triangle ; and the Ubhayatah
two such triangles joined with their bases.
of
Prauga-chit is
is
in the form of a wheel, (a) a massive wheel
(5) Ratha-chakra-chit
(4)
Prauga-chit
is
made up
without spokes, and
(6) Drona-chit
a wheel with sixteen spokes.
like a vessel or tube, square or circular.
(b)
is
Parichayya-chit has a circular outline and is equal to the Ratha-chakraof bricks which are to be placed in six concentric
chit, differing in the arrangement
(7)
circles.
(8)
(9)
Samuhya-chit is circular in shape and made of loose earth and bricks.
Kurma-chit resembles a tortoise and is of an angular or circular shape.
(Cf. J. A, S.
B. 1875, part
657
'
I,
Sulva Sutras
'
by G. Thibaut.)
AN ENCYCLOPAEDIA OF
SHAD-VIDIK-SAMDHANA
of two given squares, oblongs were turned
squares, or equal to the difference
into squares and squares into oblongs.
Triangles were constructed equal
circle had to be constructed, the
to given squares or oblongs and so on.
A
area of which might equal as closely as possible that of a given square.
Diagrams of these altars are given in the Pandit (New Series, June, 1876,
Old
June, 1874, no. 97, Vols. ix and x,
G.
Thibaut, PH.D., j. A. S. B., part
by
May, 1876.
in India and Abroad (Plates
writer's
Hindu
Architecture
in
the
i, 1875) and
no.
Vols.
i,
i
and
1882
iv,
;
Series,
See also Sulva Sutra
xx, a, b).
SH
SHAD-VIDIK-SAlylDHANA
On
architecture,
chiefly
deals with
the finding out of the cardinal points which are necessary for the orientation of buildings.
(Oppert's List of Sanskrit MSS.,
SAKALADHIKARA
ibid.,
On
(Attributed to Agastya)
Vol. n, p. 200.)
sculpture, deals
with image -ma king.
(Aufrecht,
ibid.,
part
SANAT-KUMARA-VASTU-SASTRA
commentary.
The
p.
683
;
Taylor, Vol.
Contains
i,
p. 72.)
a brief
Telugu
colophon runs thus iti Sanatkumara-vastusamaptah. It deals with a few architectural
last
sarvadhikaras
sastre
i,
:
topics in eight chapters.
(See details in the writer's Hindu Architecture
in India
(Egg. MSS., m. 3151, 2680
MSS. in Private
and Abroad,
p. 172.)
see also
the List of Sanskri
;
Libraries of South India, by
Oppert, Vol.
i,
no. 8239, p. 580.)
In the Oriental Manuscripts Library, Madras, there are nine
incomplete
manuscripts of this work (see Vol. xxn, no. 13060-13068, p. 8780 f.).
They deal with the following subjects :
1
.
Griha-sarbsthapana.
2.
Nakshatra-graha-yoga-vidhi.
3.
Graha-lagna-vidhi.
Taru-tantra-vidhi.
4.
5.
6.
7.
8.
Bhu-pariksha-vidhi.
Nakshatra-tithi-vara-suddhi.
Nakshatra-lagna-phala-dvara-bandha-s"ubha-sthana-nirnaya.
Griha-praveSa.
658
HINDU ARCHITECTURE
HASTA-PRAMANA
Sanat-kumara acknowledges his debt to Brahman, Sakra, Yama, Bhargava, Arigirasa, Maya, Gautama, Garga, Manu, Vyasa, Bhrigu, VisVakarmau, and others (see no. 13060, p. 8781).
The same list is a little differently given in no. 13064,; where Sakra
is
replaced by Chandra, and Maya is omitted. But in nos. 13062 and 13068
is not replaced by Chandra
although Maya is omitted.
Sakra
SARVA-VIHARIYA-YANTRA
tectural instruments,
(Aufrecht,
SAMGRAHA-SlROMANI
it is
On
by Narayana Dikshita
archi-
and machines.
by Saryu Prasad
ibid.,
part
As the
i,
title
p.
702.)
implies
a compilation on architecture and sculpture largely from Vasishtha,
Narada, Varaha, Vastu-pradlpa, Visvakarman, Mandavya, Mayasastra, Samarangana-Sutradhara, Sarngadhara and others.
SARASVAT IYA-SILPA-SASTRA On
architecture.
(Aufrecht,
ibid.,
part
i,
p. 714.)
SUPRABHEDAGAMA See under AGAMAS.
SKANDA-PURANA See under PURANAS.
STHALA-SUBHASUBHA-KATHANA
tecture.
It deals
by
Narayana
with auspicious and inauspicious
On
archi-
sites for building.
(Cf.
Vastu-sarani.)
H
HASTA-PRAMANA
Attributed to Visvakarman
On architectural
measures.
(Cf.
659
Vdstu-sarayi.)
APPENDIX
A
II
LIST OF HISTORICAL ARCHITECTS
WITH SHORT NOTES ON
THEIR WORKS
*
\CHYUTA-An
'
A man
architect of A.D. 882-917.
of Kamboja descent, the son of Rama, whose famous
he who
name
an image of Dhanvatri, an
incarnation of the quintessence of learning, a friend of the virtuous, and a
bee on the lotus of the heart of his master.'
is the Indian
As Dhanvatari,' adds Dr. Buhler,
Asklepios, the
statement that Achyuta was his image, may mean that he was a Vaidya
by caste, or that he was a doctor as well as architect.'
is
Achyuta, was here the
overseer,
is
'
'
(Pehoa Prasasti of the reign of Mahendrapala,
v. 23, Ep., Ind., Vol.
i,
p. 250, footnote 40.)
According to Vitruvius (Book i, chap, i, TransL, by Gwilt, pp. 3, 4) the
should be a good writer, a skilful draughtsman, versed in geowith history, informed on
and
optics, expert at figures, acquainted
metry
architect
'
the principles of natural and moral philosophy, somewhat of a musician,
not ignorant of the sciences both of law and physic, nor of the motions,
laws and relations of each other of heavenly bodies.' But these do not
include medicine.
ANAKOJA
Son of the brazier Marala, of
A.D.
1395.
Mindoja of Patana made, together with his brother Kaloja, a pillar,
(kambha) of bell-metal (weight specified) for a lamp.
(Ep. Carnal., Vol. v, part i, Belur Taluq,
no. 61, TransL, p. 61, Roman text, p. 135.)
ASALA An
architect (A.D. 1215,
V.
S.
1272)
who
constructed the
step-well.
(Manglana Stone
Inscrip., line 13, Ind. Ant.,
Vol. xu, pp.
1 1
;
86, line 9.)
1 This list does not include the mere Stone Masons or
Engravers of Inscriptions,
nor those architects who are mentioned in treatises like the Puranas, Epics,
than the Epigraphical records.
Kavyas, etc., which are less historical
66l
AHUKA
AM ENCYCLOPAEDIA OF
AHUKA An
architect
who
built the Siva
(The
first
temple
(A.
D. 804).
PraSasti of Baijnath, v. 35,
Ep. Ind., Vol.
p. 107.)
i,
I
IDAMORAKA (INDRAMAYt}RA)-ACHARYA
Sthapati or architect, the guru of the sculptor Nataka (Nartaka) who made the image
of the cobra on the slab on which the inscription is incised.
(Banawasi Prakrit Inscrip., line 2
f.,
Ind. Ant.,
Vol. xiv, p. 334, notes 20, 23.)
IMDARAKA
Sutradhara or the carpenter who assisted the chief
architect Pahini, the builder of the Mandapa, Akshasama, and Dama
of the temple of Bhlmesvara built with stones and bricks.
(The Chahamanas of Marwar, no. xin, Sanderav Stone Inscrip.
of Kelhanadeva, line 2 f., Ep. Ind., Vol. xi, p. 48.)
o
ODEYAPPA An
'
architect (A.D. 1386).
This pillar (dipamale kambha) was
made by Achari
Ponna-pille's
son Odeyappa.'
Carnal.,
(Ep.
Vol.
ix,
Devanhalli
Taluq,
no. 40, Transl., p. 78.)
K
KALLAYYA An
of Kalloja of Banur, by whom
the
work of the (bhoga-)mantapa and the writing of this Sasana were
done.'
(A.D.
'
architect, son
1521.)
(Ep. Carnal., Vol. vi, Kadur Taluq,
no. 91, Transl., p. 16.)
KAMAU
The
architect
'
octagonal pillar
on the
(s~ilpi),
son of Visadru,
face of
who
built
which the inscription
is
'
the
fifth
recorded.
(Sharqi Arch, of Jaunpur, Inscrip., no. xxvn
Arch. Surv.,
Imp. Series, Vol. i, p. 51.)
New
KAMA-DEVA Of
(Silawat caste, masons), an
a
Muhammadan
ruler Jallala as one of the
architect, appointed by
three architects to build a gomatha, a garden, and a step-well in the
town of Batihadim.
Silapatta-varhsa
(Batihagarh Stone Inscrip., v. 12,
Ep. Ind., Vol. xii, p. 46.)
662
HINDU ARCHITECTURE
KALI-DASI
'
GANTEMADANA-BASAVANA
A
sculptor (A.D. 1140).
For Pratapa-Hosala-Narasimha-Deva's sculptor Kedaroja, the sculptor
champion over the proud, a thunderbolt to the rock (giri), titled
very eminent) sculptor, made the makaratorana (or carved head-
Kalidasi,
(i.e.,
piece for the
lintel).'
(Ep. Carnat., Vol. v, part i, Supplement,
Belur Taluq, no. 239, Transl., p.275.)
See also reference
under BALLANNA.
KALAKOJA
Son of the brazier Marala-Mindoja of Patana, made
together with his brother Anakoja a pillar (kambha) of bell-metal
(weight specified) for a lamp (A.D. 1395).
(Ibid.,
Belur Taluq, no. 61, Transl., p. 59,
Roman
KENCHA-MALLIVANNA
The
sculptor
text, p.
135.)
of the image no. 32,
Belur temple (A.D. 1120).
Belur Taluq, no.
(Ib id.,
47,
Roman
text,
p. i25,Transl.,p.55.)
KETANA A sculptor (see under BALLANNA.)
KEDAROJA A sculptor (see under BALLANNA).
KEDAROJA A sculptor of Hoysala Narasimha
(Ibid.,
Deva
(A.D. 1140).
Supplement, Belur Taluq, no. 239,
Transl., p. 275.)
KUMARAM-ACHARI
The
sculptor of the
image no.
12,
Belur
temple (A.D. 1120).
(Ibid.,
Belur Taluq, no. 40,
Roman
text,
p. 124, Transl., p. 55.)
G
GANGACHARI An architect
'
The work of
this
(A.D. 966).
temple was done by Gangachari.'
(Ibid.,
Vol. ix,
Magadi Taluq,
no. 75,
Roman
text, p. 74, Transl., p. 60.)
GANTEMADANA-BASAVANA An
architect
(A.D.
1539).
Those who did the work (Devambudhi tank)
Gantemadana-Basavana made the pillars, Komaraiya the ornamental work, the stone-Vedda
Chenne-Royi built the stones of the embankment.'
'
:
(Ibid.,
Vol.
xii,
Tumkur Taluq,
no. 24,
Transl., p. 8, para. 2.)
663
AN ENCYCLOPAEDIA OF
(SRI)GUNDAN
(SRl)GUNDAN An
who
temple of the (present) god Virupaksha, originally of Lokesvara, as mentioned in the
inscription for Loka-mahadevi, the Queen-consort of the Western
architect,
built the
Chalukya king Vikramaditya, the second.
He is called Sutradhari (one who supports
'
'
the cause
the sutradhara
is
or carpenter, and the sutradhari is the guru or priest of the carpenter).
He is again called the Tribhuvanacharya and also the Sarva-siddhi-
Acharya.
He
and
'
stated to be the
is
creator of
conversation
refined in
many
houses,
perfect
couches, his jewelled crown and crest-jewel.
;
cities
palaces,
and houses
vehicles,
;
seats,
'
(Sanskrit i.nd Old Canarese Inscrip., no. 99, also
nos. 100, 101, and 115, Int. Ant., Vol. x,
pp. 164, 163, 165, 166, 170-171.)
CH
CHANDI-&IVA The
architect of the
'
Harsha temple,
the famed
Visvakarman, in the art (or
son of Virabhadra, omniscient, like
He built this delightscience) of building houses (Vastuvidya)
ful house of Sarhkara with its chapels (mandapa), the beautiful porch
.
.
.
(torana) which contains all the gods, like a portion of heaven
by the Creator himself.'
made
temple, Mr. Dean speaks of a doormost
elaborate sculpture, divided into
way relieved by an architrave of the
twelve compartments, in each of which a group from the Hindu Pantheon
'
In his account of the ruins of
this
occupies a place.'
Inscrip., w. 43, 44. Ep. Ind.,
Vol. n, pp. 123, 124, 128, note 72.)
(Harsha Stone
Chahadadevapala
son's
Architect of the
grandson
(An
historical
Qutb Minar.
memoir on Qutb, by
J.
A. Page,
p. 43, Inscription no. 28.)
CHAVANA A
son of Dasoja, sculptor of the images, nos.
6, 11, 27,
Belur temple (A.D. 1120).
(Ep. Carnal., Vol. v, part
39, 45,
CHIKA-HAMPA The
Roman
sculptor of the
i,
Belur Taluq, nos. 35,
text, pp. 124, 125, Transl., p. 55.)
image no.
3,
Belur temple
(A.D. 1120).
(Ibid.,
no. 33,
664
Roman text,
p. 123, Transl., p. 55.)
HINDU ARCHITECTURE
(SRl)-CHEftGAMMA A
JAHADA
sculptor
who
'
made
this
'
image
(pra-
tima).
(Sanskrit
and Old Canarese
Inscrip., no. cix,
Ind. Ant., Vol. x, p. 168, c.
i.)
CHOLAJANA
The
sculptor of the
image no.
17,
Belur
temple
(A.D. 1120).
(Ep. Carnal., Vol. v, part i, Belur Taluq,
no. 42, Roman text, p. 124, Transl., p. 55.)
CHOUGA A sculptor (see under BALLANNA).
CHAUDEVA A sculptor (see under M ALLITAMMA)
CHH
CHHICHCHHA An architect who built the temple
.
natha,
(A.D.
i
is
called the
of Pramatha-
Vijnana-visva-karttri-dharmadhara-Sutradhara
116).
(Khajuraho
Inscrip., no. iv, v. 60,
Ep. Ind., Vol.
JAKANACHARYA
The
p.
146.)
architect of the temple at Halibid
and
i,
Somanathpura.
'
Cf.
Jakanacharya
is
the reputed architect of this magnificent building
is also credited with having built all the
(Kait Isvara temple), but he
similar in style, throughout the district
name is said to have built the temples at
temples,
... A
man
of the
Madura. Jakanacharya
same
was a prince who, having accidentally killed a Brahman, employed twenty
years of life, with the hope of washing away this great sin, in rebuilding
temples between KaSi and Ramesvara (Cape Comorin) so says tradition.'
(Ind. Ant.,
JAftGAMAYA An
architect (A.D.
Vol.
i,
p. 44, c. 2, para. 2.)
1538).
Chennema-Nayaka-aya had the Yelayur gate built with proper pillars
by the hand of Muta-Nayaka's disciple Jaiigamaya.'
(Ep. Carnal., Vol. xn, Kumgal Taluq,
'
no. 20, Transl., p. 35.)
(Silavata) who worked and shaped the stones
for the step- well built by the architect Asala (A.D. 1215).
(Manglana Stone Inscrip., lines I3~i4> Ind. Ant.,
JAHADA
The mason
Vol.
665
XLI,
pp. 88, 86,
lines 9-10.)
AN ENCYCLOPAEDIA OF
THODHUKA
TH
THODHUKA
The son of Sammana, was one of the architects
fashioned the very lofty temple of Siva with the chisel, as well as
who
the Mandapa
(A.D. 804).
(The
first
PraSasti of Baijnath, vv. 36, 37,
Ep. Ind., Vol.
i,
pp.
in.)
107,
N
NATAKA (NARTAKA) An
architect
and
sculptor,
cobra (naga) on the slab on which the inscription
Acharya (Sthapati) Idamoraka (Indramayura).
is
who made
the
incised, a pupil of
(Banawasi Prakrit Inscrip.,
line 2
f.,
Ind. Ant.,
Vol. xiv, p. 334, notes 20, 23.)
NANNAKA A
son of Krishna, most qualified architect of the temSiva
of
(Malava era 795, A.D. 738).
ple
(Inscription from the Mahadeva temple, w. 29,
30, 161, Ind. Ant., Vol. xin, pp. 165, 163.)
T
TURAVASARI-KALIYUGA-MEYYAN An architect
Another grant, by the same man, of lands
Kaliyuga-meyyan, who built the temple.'
'
(A.D. 1331).
(specified) to Turavasari-
(Ep. Carnat., Vol. DC, Hoskote Taluq,
no. 96, Transl., p. 99.)
TH
THALU An
architect of the temple,
an account of which
is
given
in the Behal inscription of Singhana (A.D. 1222-23).
(Ep. Ind., Vol.
m, pp. in,
113.)
D
DASOJA Of Balligrama,
sculptor of the images nos. 5, 7, 9 of the
Belur temple (A.D. 1120).
(Ep. Carnal., Vol. v, part
36, 37,
DIVAKARA
Angar
Vat,
The master
Roman
i,
text, p.
Belur Taluq, nos. 24,
124, Transl., p.
55.)
of the famous Vishnu temple,
constructed by King Parama Vishnuloka of Camboj.
DEMOJA An architect
architect
'
who made
the frame of the eastern door
of the structure referred to in the inscription
(Ibid.,
(A.D.
'
1240).
Supplement, Belur Taluq, no. 241, Transl., p. 275.)
666
HINDU ARCHITECTURE
DEVANAGA
'
NAGOJA
Crest-jewel of sculptors, built the temple of Siva.'
(Ratnapura Inscrip. of Prithvldeva, v. 29,
Ep. Ind., Vol.
DEVADITYA
'
i,
pp.
49, 52.)
The
son of Ahladana (who became) the firm (? professional, permanent, sthira] architect of the Vaidyesa, is famous
among the first rank of masons.'
(Inscrip.
from Dabhoi, vv. in, 112, Ep.
Vol.
DEVOJA A
sculptor
(see
DHARMA-VANANA
i,
Ind.,
pp. 31, 24.)
under BALLANNA).
Architect of the
(An
historical
Qutb Minar.
memoir on Qutb, by J. A. Page,
p. 43, Inscription no. 29.)
N
NANJAY A A
sculptor
NANA-SALHA
(see
under MALUTAMMA).
Architect of the
(An
Qutb Minar.
historical
memoir on Qutb, byj. A. Page,
p. 43, Inscription no. 28.)
NARA-&OBHA An
architect (of A.D. seventh or eighth century).
Jambu-dvlpantare kaschit vastu-prasada-tadgatah
Nara-sobha-samo vidvan na bhuto na bhavishyati
I
1 1
4
There has not been, and there shall not be, in Jambu-dvipa (India)
any wise man, proficient in (the art of) building houses and temples,
equal to Nara-sbbha.'
(San s krit and Old Canarese Inscrip., no. LXI,
Ind. Ant.,
NAMDIKA An
Vol. ix, p. 74.)
architect.
...
the rail (the gift of
'Veyika (Narh)dikena katarfa
was made by Narhdika.
Cf.
(Karle Cave Inscrip., no. 18, Ep.
Ind.,
Koti)
Vol. vu, p. 64.)
NAGI-DEVA A sculptor.
This Sasana of King Harihar was engraved by his orders by the
carpenter Sasanacharya Nagldeva, the sculptor.'
'
Cf.
(Ep.
Carnal.,
Vol.
vm, part
i,
Tlrthahalli
Taluq, no. 201, Transl., p. 208, last para.)
NAGOJA
of Gadugu, the sculptor of the image no. 37 of the Belur
temple (A.D. 1120).
(Ibid.,
Vol. v, part
Roman
667
i,
Belur Taluq, no. 51,
text, p. 125, Transl., p. 55.)
NAYAKA
AN ENCYCLOPAEDIA OF
NAYAKA
The high-minded son of Asika, who is at the head of
the masons, came from Susarman's town, was one of the architects
who ' fashioned the very lofty temple of Siva, with the chisel, as
well as the
Mandapa
'
(A.D. 804).
(The
Prasasti of Baijnath,
first
Ep, Ind., Vol.
i,
w.
36, 37
pp. 107, in.)
PATU MAN
Carpenter (Sutradhara), son of Visaihva, probably
on a stone near the first niche on the
the builder of the gate where
'
'
south side
the inscription
is
found.
(Sharqi Arch, of Jaunpur, Inscrip. no.
Surv.,
PADARI-MALLOJA The
New
sculptor of the
Series, Vol.
Imp.
xm,
i,
Arch,
p.
39.)
image no. 21 of the Belur
temple (A.D. 1120).
(Ep. Carnal., Vol. v, part i, Belur Taluq,
no. 43, Roman text, p. 125, Transl., p. 55.)
PADU- MANNA A
PADUMAYA A
PADUMAVI An
sculptor
sculptor
(see
(see
under MALLITAMMA).
under MALLITAMMA).
(Sutradhara), son of Sai-Sutradhara,
of the right jamb
on which the inscrip-
architect
who
constructed the door,
tion is written (A.D. 1407).
'
'
(Sharqi Arch, of Jaunpur, Inscrip., no. xv,
Arch. Surv.,
Imp. Series, Vol. i, p. 40.)
New
PAKA An
'
Hail
(was)
!
architect.
The house
the
fashioner
of the temple of (the god) SrI-Vijayesvara.
of the
ornamentation
Paka
(alarhkara-nirmrnana-kara)
of these two pillars of Matibhodamma.'
(Sanskrit
and Old Canarese
Ind.
PAHINI
Son of the Sutradhara Mahadua and
Inscrip., no. cxii,
x,
p.
170,
c.
i.)
his wife Jasadevi,
Mandapa, Akshasama, and Dama
temple of Bhimesvara with stones and bricks.
the architect
of the
Ant.,
Vol.
He was
who
assisted
constructed the
by the Sutradhara Mahidara and Irhdaraka.
(The Chahamanas of Marwar, no. xin, Sanderav
Stone Inscrip.
2,
668
of Kelhanadeva,
Ep. Ind., Vol.
line
xi, p. 48.)
BOCHANA
HINDU ARCHITECTURE
PlTHE
'The
architect
who knows
the rules of Visvakarmaii (the
means one who knows how to execute
every kind of work), planned, designed and executed all the build-
architect of the gods, also
temple of Siva together with that cloister (matha) with
wonderful floors (bhumika), the hall of study (vyakhyana-sala),
and laid out that long line of gardens in two rows (adjoining) Samings, the
bhu's temple' (A.D. 1155-56).
(Bheraghat Inscrip. of Alhanadevi, vv. 36, 27,
1
PAISSANANARA-BIRA The
8,
Ep. Jnd., Vol.
ii,
pp. 13, 17,
sculptor of the image no.
16,
9.)
of the
Belur temple (A.D. 1120).
(Ep. Carnal., Vol. v, part I, Belur Taluq,
no. 41, Roman text, p. 124, Transl., p. 35.)
B
BAMAYA A sculptor
BALUGA A sculptor
BALEYA A sculptor
BALLANNA
The
vellous statues
and
(see
(see
(see
under MALLITAMMA).
under MALLITAMMA).
under MALLITAMMA).
(Belur Taluq, no. 98, Roman text,
informs us that a shrine of the goddess Nimbaja
p. 165, Transl., p. 71)
was set up in the temple in 1261. The sculptors who executed the marinscription
figures
on the outer walls of this temple
have not given
especially
names, except here and
ones
are
the
the
Ballanna, Bochana, Chauga,
only
there,
following
Harisha
of Tanagundur, Ka.lida.si,
of
Harisha
Odeyagiri,
Devoja,
on the western
side,
their
:
Kedaroja, Ketana, Mabalaki, Machanna, Manibalaki, Masa, son
of Kanimoja, and Revoja.
(Ep. Carnal., Vol. v, part
BIKKAHAPPA The
sculptor of the
i,
Introduction, p. xxxvm.)
36, of the Belur
image no.
temple (A.D. 1120).
(Ibid.,
Belur Taluq, no. 50,
Roman
text, p. 125,
Transl., p. 55.)
BlRANAVA The
sculptor of the
image no.
22, of the Belur
temple
(A.D. 1120).
(Ibid.,
no. 44,
Roman
text,
p.
125,
Transl., p. 55.)
BOGHANA A
sculptor
(see
under BALLANNA).
669
AN ENCYCLOPAEDIA OF
BHDTA-PALA
BH
BHOTA-PALA An
Cf.
'
This
architect.
rock-mansion (selaghara), the most excellent one in Jambu-
dvipa, has been completed by the setthi Bhutapala from Vaijayanti.'
(Karle Cave Inscrip., no. i, Ep. Ind.,
Vol. VH, pp. 48, 49.)
BHOJUKA Of
(ilawat caste, who are masons
of
Damoh), a Sutradhara (carpenneighbourhood
ter) appointed by a Muhammad an ruler Jallala as one of the three
architects to build a Gomatha, a garden, and a step-well in the
and found
Silapatta-vamsa
in the
town of Batihadim.
(Batihagarh Stone Inscrip.,
v. 12,
Vol.
Ep.
Ind.,
xii, p. 46.)
M
MANI-BALAKI A
sculptor (see under BALLANNA).
scion of (the race of) Visvakarman (? of the Brahmana caste, vipra), the builder of the wall of (glorious) Vaidyesa,
of the extensive temple, of the gates, of the wings, of the founda-
MADANA
'
A
tions.'
(Inscrip.
from Dabhoi,
w. in,
Vol.
MANA
112, Ep. Ind.,
i,
pp. 31, 24.)
An architect, son of Vijala and grandson of VisaJa he is
have built, being assisted by his followers, the famous temple
;
stated to
of Siva together with many palatial buildings having prominent
towers (A.D. 1428-29).
Aneka-prasadaih parivritamati prams'u-kalasam
girisa-prasadaih
anunair
anucharaih
vyarachayad
I
Manakhyo vikhyatah sakala-gunavan
guna-gana-yuto Visala
Vijalasya sutah
silpi
iti
Vijala-sutah sutah
Manakhyah sutra-dharakah
part,
^An architect
who
w.
2, 3,
Mewad, second
Ep. Ind., Vol. n, p. 421.)
built the Siva temple (A.D. 804).
(The
first
PraSasti of Baijnath, v. 35, Ep. Ind.,
Vol.
MAYINA
The
jato
I
(Chitragadh Inscrip. of Mokala of
MANYUKA
silpi
II
i,
p. 107.)
sculptor of the image no. 31, of the Belur temple
(A.D. 1120).
(Ep. Carnal., Vol. v, part
Roman
670
r,
Belur Taluq, no. 46,
text, p. 125, Transl., p. 55.)
MAHl-DHARA
HINDU ARCHITECTURE
MALAYA A sculptor (see under MALLITAMMA)
MALI A sculptor (see under MALLITAMMA).
MALLI-TAMMA An architect (A.D. 1196).
'
A newly discovered
inscription
on a rock
.
at Sravana-Belgola, mentions
a sculptor named Bidigoja, with the honorary prefix Srimart, somewhere
about A.D. 900 (Mysore Archaeological Report, 1908-9, p. 15, para.
and two other records at the same place, of the date unspecified,
60)
mention Chandraditya and Naga-varma as having carved Jinas, animals,
;
and other
figures for the Jains
'
(ibid.,
Report, 1912-3, p. 32).
Hoysala sculptors seem to be those on the
at
Amritesvara temple
Amritapura, built in A.D. 1196. The 15 signatures
comprise Mallitamma or Malitama, and Mali, each four times and
Padumanna, Baluga, Majaya, Subujaga, Padumaya and Muhana, each
once. The last named signs in Nagari character, an indication that he
'
The
earliest records of the
;
came from
'
Report
seven
the north.'
for 1913-1914, Plate n,
sculptors
:
contains illustrations of the
work of
Masanitamma, Nanjaya, Chau-deya, Baleya, Lohita,
all from
Somnathpur.'
Yalamasaya, and Bamaya,
(V. A. Smith, Architecture and Sculpture in Mysore, Ind.
Ant., Vol. XLIV, p. 94, paras. 3, 4 ; p. 95, para, i.)
MALLIYANA
The
sculptor of the
10, Belur
image no.
temple
(A.D. 1120).
(Ep. Carnal., Vol. v, part
Roman
text,
p.
i,
Belur Taluq, no. 38,
124,
Transl.,
p. 55.)
MALLOJA An
architect who built the central shrine (garbhathe
temple described in the inscription (A.D. 1167).
griha) of
(Ibid., Vol. vn, Shimoga Taluq, no. 55,
Transl., p. 21, line 3.)
MASA A sculptor (see under BALL ANNA).
MASADA The sculptor of the image no.
33, of the Belur temple
(A.D. 1120).
(Ibid.,
Vol. v, part
Roman
text, p.
i,
Belur Taluq, no. 48,
125, Transl., p. 55.)
MASANI-TAMMA A sculptor (see under MALLITAMMA).
MAHl-DHARA An architect, son of the chief of artisans
(Sutra-
dhara).
(Bheraghat Inscrip. of Alhanadevi, v. 37,
Ep. Ind., Vol. n, pp. 13, 17.)
671
AN ENCYCLOPAEDIA OF
MAHID(H)ARA
MAHID(H)ARA An
who
architect (Sutradhara),
assisted Pahini,
Mandapa, Akshasama, and Dama of the
temple of Bhimesvara which was constructed with stones and bricks.
the chief architect of the
(The Chahamanas of Marwar, no. xm,
Sanderav Stone Inscrip. of Kelhanadeva,
line 2, Ep. Ind., Vol. xi, p. 48.)
MACHANNA A sculptor (see under BALLANNA).
MACHOJA A sculptor and architect (A.D. 1142).
'
The
man
Machoja, the Acharya of Kalukuni-nad, the
sculptor
Visvakar-
'
of the Kali-yuga, built
it
(
Jinalaya)
.
(Ep. Carnal., Vol. iv, Nagamaiigala Taluq,
no. 95, Transl., p. 138, Roman text, p. 239.)
MABALAKI A
sculptor (see under
BALLANNA).
MAMARIYAKCHI-TAMMA A
'
son of the goldsmith Bandiyoja ;
and roofed a bira-gal, which was made by Alibhanu-
he repaired
Achari (A.D. 1242).'
(Ibid.,
Vol.
in,
Mandya
Taluq,
no. 85, Transl., p. 48.)
MUDDOJA A
son of Tipaji, a stone mason,
(described in the inscription)
temples (A.D.
(Ibid.,
'
who
built
these
1408).'
Vol. x, Garibidnur Taluq, no. 59,
Transl., p. 226, last para.)
MULANA A
MODHAKIN
sculptor (see under
(also called
MALLITAMMA).
Podhakin)
An
architect, son
of Vara
(of the seventh or eighth century).
(Further Pabhosa Inscrip. no. i, Ep. Ind.,
Vol. ii, pp. 480-481.)
YAYYA
An
(otherwise called Jajja)
(Further
architect.
Pabhosa
Inscrip.
Vol.
YALAMASAYA A
sculptor
(see
no.
ii,
under MALLITAMMA).
672
i,
pp.
Ep. Ind.,
480-481.)
VIRANACHARYA
HINDU ARCHITECTURE
R
RAGHAVA An
jhadeva, who
artizan (sculptor), son of artizan (sculptor)
Vlrh-
carved the Verawal image (Valabhi Sarhvat, 927).
(Verawal Image Inscrip., line 5, Ep. Ind.,
Vol. in, pp. 303, 304.)
RAMA-DEVA
engraver
of
Silpin (artist), son of Rupa-kara (sculptor), the
the famous Dhar prasasti
(panegyric) of Arjuna-
varman.
(Dhara PraSasti of Arjuna-varman,
v.
76
Ep. Ind., Vol. vm, pp. 117, 98.)
REVADI-OVAJJA Of
secrets
of Kanarese
the Sarvasiddhi Acharyas, versed in the
masons, probably the builder of the
stone
Papanatha temple.
(Inscription
REVOJA A
sculptor
(see
LAKSHMI-DHARA An
on Papanath Temple.)
under BALLANNA).
A.D. 1104).
(Nagpur Stone Inscrip.,
architect
(
v. 56,
Vol. n, pp.
LASE The
image no.
sculptor of the
35,
1
Ep. Ind. s
88, 194.)
of the Belur temple
(A.D. 1120).
(Ep. Carnal., Vol. v, part
Roman
LOHITA A
sculptor
VAMA-DEVA
'
(see
Famous
text, p.
i,
Belur Taluq, no. 49,
125, Transl., p. 55.)
under MALLITAMMA).
for
having built the temple of the Sun
called Mula-sthana.'
(Inscrip.
from Dabhoi, vv. in, 112, Ep.
Vol.
VlRANACHARYA(i) A
carpenter
(see
i,
Ind.,
pp. 31, 29.)
under STHAPATI)
(A.D.
1558).'
This copper Sasana was composed by Sabhapati Svayambhu, and
the carpenter Viranacharya.'
engraved by Virana's son,
'
(Ep.
Carnal.,
Vol.
ix,
Channapatna Taluq,
no. 186, Transl., p. 170, last para.)
6 73
(SRI)
VIRANACHARYA
AN ENCYCLOPAEDIA OF
(SRI) VIRANACHARYA(2)
the copper plate.
The architect
(tvashta),
who engraved
(Krishnapuram Plates of Sadasivaraya, v. 107,
Ep. Ind., Vol. ix, p. 339, see more details of
this architect under Sthapati.)
VlSVAKARMMACHARYA(i) An
'
By
the abode of
all arts, skilled
and painter
artist
(A.D. 776).
in painting pictures (sarvva-kaladhara-
bhuta-chitra-kalabhijnena), was this Sasana written?'
(Ep. Carnal., Vol. iv,
Nagamangala Taluq,
Transl., p. 136, last para.,
p. 235, last
VlSVAKARMMACHARYA(a) A
'
in
Skilled
all
arts
including
kalabhijnena) wrote the Sasana.'
text,
lines.)
(sarwa-kalantarpati-chitra-
Vol. vi,
Mudgere Taluq,
para., Transl., p. 67,
VlSVA-NATHA An
two
painter (A.D. 749).
painting
(Ibid.,
no. 86,
Roman
no. 36,
Roman text,
last
p. 153.)
architect (A.D. 1530).
Born in the family of Visvakarma, the architect of the three worlds,
VisVanatha, the son of Basavachariya, who was the son of Vodeyappayya.
considered to be the Jagad-guru, engraved it.'
'
(Ibid.,
Vol. v, part
i,
Channarayapatna
Taluq, no. 187, Transl., p. 207.)
s
SAMU
'
This must be the
name of some
writer
on
architecture.'
constructed (the lofty temple of
Samu-drishtim anusritya nirmita
Siva, by two architects, Nayaka and Thodhuka) in accordance with the
'
opinion of
Samu
'
(A.D. 804).
first
(The
Vol.
Ind.,
SlVA-PALA
of Baijnath, v. 37, Ep.
pp. in, 107, footnote 72.)
prasasti
i,
A
mason, one of whose ancestor is a Sutradhara
(carpenter, named Deuka) but another of the same family is Sthapati
(architect,
named Naga).
(From this it would appear that both Sutradhara and Sthapati belong
to the same caste and that these are professional titles and not caste namesJ
Cf.
Asichcha Naga-sthapates tu Durggah
Durggarkkato Deuka-sutra-dharah
Asyapi sunuh Siva-pala-nama
Yenotkriteyarh susubha prasastih
I
I
I
I
(Vasantgadh Inscrip. of Purnapala,
Ep. Ind., Vol.
674
v. 34,
ix, p.
15.)
HINDU ARCHITECTURE
&UBHA-DEVA
'
(rupakara),
sculptor Siva
SAMI(NA)
Of Sandilya-gotra, sculptor or architect
son of the sculptor Siva-vardhamana, son of the
or rather (bhuyah) the Acharya Jnana-siva, who is
(A.D. 754)
son's
;
the disciple of the disciple's disciple at the feet of him, the venerable
and worshipful Payo-bhakshin, who had the appellation of ivasasana, (and) who has come here (Pattadakal, a village in the Bijapur
district, Bombay Presidency) from the Mrigathanika-hara-vishaya
on the north bank of the
(river)
there has been set
Ganga
up
in
gateway (dvara) of his own particular (? style of) shrine, this
great stone pillar, which bears the mark of the seal of the trident,'
and is octagonal at the upper part and square immediately below.
the
(?)
(Pattadakal Inscrip. of Kirtivarman II, lines 15,
16, 17, Ep. Ind., Vol. m, pp. i, 3, 5, 7.)
(KANAKA) SULA-PANI The
crest-jewel of the guild
of Varendra
(Varendraka-silpi-goshthi-chuda-mani), the son of Brihaspati,
grandson of Manadasa, and great-grandson of Dharma (end of the
artists
eleventh century).
(Deopara Inscrip. of Vijayasen,
Ep.Ind., Vol.
v. 36,
pp. 311, 315.)
i,
SATYA-DEVA A
son of Pitamaha, a merchant by birth, who was
the Karapaka (persons appointed to look after the construction of
the temple, Kielhorn, Ind. Ant., Vol. xix, p. 62, note 53), selected
by the goshthi to see this work (the erection of the temple of the
goddess Kshemarya).
(Vasantagadh Inscrip. of Varmalata, vv.
Ep. Ind., Vol.
SADEVA An
ix,
from Dabhoi, vv. in, 112, Ep.
Vol.
called
Syamila,
or
sculptor (Senart).
Vardhaki), carpenter
otherwise
i,
Ind.,
pp. 31, 24.)
Svamin-Vadhaki,
(i.e.,
Vadhakina
gharasa mugha kata the openthe
Vardhakin.
made
was
by Sami,
door)
(Karle Cave Inscrip. no. 6, Ep. Lid.,
Samina
ing (or
pp. 192, 189.)
architect.
(Inscrip.
SAMI(NA)
9, 8,
.
.
.
.
.
.
Vol. VH, p. 53.)
675
AN ENCYCLOPAEDIA OF
SAMILA
SAMILA
'
also called
A
Syamila
carpenter.
Son of Venuvasa, a carpenter, a native of Dhenukaka^a, made the
doorway.'
(Karle Cave Inscrip. no. 6, Arch. Surv.,
New Imp. Series, Vol. iv, p. go.)
SAMPULA
inscription of
c
The
intelligent artisan,' engraver of the Ratnapura
'
crest -jewel of sculptors,' built the
Prithvldeva, the
temple of Siva (A.D. 1189).
(Ratnapura Inscrip. of Prithvideva, vv. 28,
Ep.
29,
SIGGOJA The
sculptor,
who made
Ind.,
Vol.
i,
pp.
49,
52.)
the sculpture mentioned in
the inscription no. 525.
(Ep. Carnal., Vol. VTII, part i, Sorab Taluq,
no. 525, Roman text, p. 168, Transl., p. 86.)
SlftGANAHEBARUVA The
way of
anti-grama,
architect,
ornamented
who
with
built
the
'
the stone gate-
tiger- face'
(A.D.
1573).
(Ibid.,
Vol. v, part I, Hassan Taluq,
no. 117, Transl., p. 34.)
SlftGAYA-BHATTA
Rudraya's son, hydraulic engineer (jalasciences (dasa-vidya-chakravartti), made
ten
master
of
sutrada),
(in A.D. 1388), at the order of the Governor Bukka-Raya, a channel
of ten miles from Kalludi to the Siravera tank. An interesting
account of his accomplishments
is
given
:
Jala-sutra-svara-sastre rasa-vaidye satya-bhashayam
Rudraya-singari bhavatah sadrisah ko va mahi-tale surah
I
II
In the science of hydraulics, in divination or telling omens from sounds,
in medical treatment with mercury ( ? perhaps alchemy), in speaking the
truth,
Rudraya's (son) Singari, what learned man is there in the world
'
equal to you
?
'
(Ibid.,
Vol. x, Goribidnur Taluq, no. 6, Transl.,
p. 212,
Roman
text, p. 259, Preface, p.
2.)
The son of
Kali, a pandita from the Navamountain passes, cf. Translation,
near
grama-dranga (watch-station
Raja-Tarangini, v. n, p. 291), the sthapati (architect of the tank
SlftGALI-KARGI
specified).
(Shawar Museum
Inscrip. of
6,
676
Vanhadaka,
line
Ep. Ind., Vol. x, p. 80.)
HALA
HINDU ARCHITECTURE
SUBUJAGA A sculptor (see under MALLITAMMA).
SKANDA-SADHU The son of Sri-kantha, a descendant
family of architects (sthapati-kula)
of a
.
(Sholinghur Inscrip. of Parantaka I, line 21,
Ep. Ind., Vol. iv, pp. 224, 225.)
H
HAR1DASA An
architect
(Sutradhara), employed to repair the
temple of Dakshinaditya (A.D. 1373).
Inscrip. of Vikrama Samvat 1429,
line 9, Ind. Ant., Vol. xx, pp. 315,
313.
(Gaya
HARLSHA(i)
(of
Tana
Gundur)
A
sculptor
(see
under
BALLANNA).
HARISHA (2) (of Odeyagiri) A
HAROJA A sculptor (A.D. 1243).
sculptor
(see
under BALLANNA).
Haroja, son of Honnacharyya, son of Botakacharyya, the equal of Manu,
Maya, and Visvakarmma, beloved by all the people and farmers, set up an
'
image of the
sun.'
(Ep. Carnat., Vol. iv,
Transl., p.
Nagamangala Taluq,
127,
Roman
no. 55,
text, p.
219.)
HALA Of
Silapatta-varhsa (Silawat caste, masons), an architect,
appointed by a Muhammadan ruler Jallala as one of the three
architects to build a Gomatha, a garden, and a step-well in the town
of Batihadim.
(Batihagarh Stone Inscrip., v. 12,
Ep. Ind.. Vol. XH, p. 46.)
677
BIBLIOGRAPHY
[References (o the quotations are given in full in all cases. No full list of works and authors
Certain series and a few authors more frequently referred
is, therefore, appended.
to are mentioned below. The order is that of the English alphabet, as the names in
the following
Abbreviated
are
list
titles
all
English.]
Authors and other particulars
as referred to
By R. C. Mazumdar.
By Sir Aurel Stein.
II)
Anura- By Smitters.
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Ancient Khotan (Vols.
Architectural
I,
Remains
:
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dhapur.
Arch. Surv.,
New
Imp.
Series
Archaeological Survey,
New
Imperial Series.
Asiatic Researches (Vols. I
XIV).
en
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taal-land
volkenBijdragen
Kunde
van
Indie (1918), of
Nederlandsche
M.
Finot, Kern,
Vogel.
B. E. F. (Vols. I
By M. Auroussean.
XIV)
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India,
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on the Buddhist Cave Temples and
Archaeological
New
their
by Jas Burgess,
Inscriptions,'
LL.D., F.R.G.S.
Buddhist India
By Rhys Davids.
Buddhist Records
Translated by
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Champa (Vol. I.)
C.I.I.
I, II,
III)
By
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E. Aymonier.
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'
of
the
Inscription
Kings,' by Dr. Fleet.
tionum Indicarum, Vol.
Gupta
Early
(Corpus Inscrip'
Inscriptions
I,
of Asoka,' by General Sir A. Cunningham, has not been referred to, neither
M.
Senart's
inscriptions
the Indian
his
French
editions
in
Antiquary,
volumes.
ference to these
from
Dr.
Epigraphia
679
of the
Indica
as
well
;
the
as in
The only
inscriptions
edition
Biihler's
same
volumes of
different
is
in
re-
given
the
difference
in
AN ENCYCLOPAEDIA OF
BIBLIOGRAPHY
Abbreviated
Authors and other particulars
as referred to
titles
reading, if any, among the editors
has been noted by their names Cun-
ningham, Senart,
.
.
.
.
Corpus
Arch.
Architecture,
Imp. Series (followed by volume, page, etc.).
Cock
.
Fleet's
Inscriptions.'
of India, New ImVol.
xxi,
Chalukyan
perial Series,
Architecture,' by Alexr. Rea, M.R.A.S.
Eene Oud-indische stad Volgens het Epos, by
Archaeological
Survey
'
New
Surv.,
Indicarum,
Inscriptionum
Gupta
Chalukyan
Biihlcr.)
'
F.G.I.
C.I.I.,
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Dr. J. K. de Cock, Groningen, 1899.
Arch.
Cunningham,
Surv.
Re-
Archaeological Survey of India Reports, by
General Sir Alexander Cunningham.
der
By Krom.
ports.
De
Periode
Sutrantraasche
Javansche Geschiedenis (1922).
Ep. Carnal.
.
.
.
.
Epigraphia Carnatica,
Ep. Ind.
.
.
.
.
Epigraphia Indica.
1
The most
arbitrary abbreviations of the
names of the Taluqs, approximately
100 in the 12 volumes, have not been followed,
from
first
because
it
seems impossible,
Channarayapattana (in the
indifferently spelt
Channarayaat the top of each page), from Mj., Manjarabad, etc. (see
to read,
at least for
1
by Lewis Rice.
his abbreviation, Cn.,
me,
Introduction, and the table of contents, but
'
patna
in the
title
'
Introduction, Vol. v, part I, p. i) ; secondly, 100 such abbreviations will be too
These names have, therefore, been
tedious for any patient reader to remember.
written hundreds of times in
full.
Again there are as many as 12 kinds of paging sometimes in each part of
Contents after one folio of the
each volume. Compare, for instance, Vol. in,
and one of a plate
fly-leaf, one of the names of the Taluqs,
'
'
:
Preface (page number is not given).
is not given).
(2) List of illustrations (page number
(3) Introduction
(1)
.
(4)
List of
.
.
.
.
1-36
.
the Inscriptions classified in chronological
order
in Roman characters
(5) Text of the Inscriptions
..
..
(6) Translations of the Inscriptions
Text of the Inscriptions
(7) In Kannada characters
..
i-ix
..
1-218
..1-117
:
(8) in
(9)
in
.
.
Grantha and Tamil characters
Arabic and Persian characters
Addenda
et
Corrigenda
(10)
(u) Alphabetical list of towns and villages
criptions were found
.
.
(12) Index to Introduction
.
.
..
680
.
.
.
.
.
.
.
.
where the
.
.
..
.
1-381
.
.
1-32
.
.
1-4
1-2
ins.
.
..
1-4
i-u
HL\DU ARCHITECTURE
Abbreviated
titles
BIBLIOGRAPHY
Authors and other particulars
as referred to
Etudes Iraniennes, torn II
Fa-hien's Travels
F.G.I.
.
.
.
.
By Darmesteter.
By Legge.
.
.
.
Dr. Fleet's Gupta
.
and East.
Fergusson, Hist, oflnd.
History of Indian
Arch.
by James
Inscriptions.
and Eastern
Fergusson,
Architecture*
D.C.L.,
F.R.S.,
M.R.A.S., 1891.
Gloss. Grecian Arch.
.
A
.
Glossary
Roman,
G\vilt,
Encyd.
Terms
used
Grecian^
in
and Gothic Architecture,
Anonymous, London, 1838.
An Encyclopaedia of Architecture, by Joseph
fol-
(generally
of
Italian
lowed by the cardinal number
of articles and occasionally by
Gvvilt, F.S.A., F.R.A.S., 1867.
page).
H.S.I.I.
.
.
.
South Indian Incriptions,
By Lassen.
.
History of Ancient Java (Vols. I, II)
Hist, of Arch., Fletcher
..
A
History
of
by Dr. Hultzsch.
Architecture,
by
Fletcher,
1908.
This
is
not a solitary instance
kinds of paging exclusive of the
has ten kinds of paging.
;
compare also Vol. v, part I, which bears nine
names of Taluqs, and a plate Vol. vn
fly-leaf,
;
There is yet another difficulty, perhaps the most irritating one, of consulting
referring to this extensive work comprising approximately 12,000 pages.
Many
of the readers for whose service this encyclopaedia is made are not expected to be
and
It is for this reason, and also for
familiar with the various South Indian scripts.
the
trouble
of
that
I have referred to the Roman
readers
confusing pagings,
sparing
text only.
But neither the
Roman
text nor the translation,
even of the largest inscrip-
o pages of 40 lines to a page (cf. Vol. v, part I, pp. 362,
has
been
numbered
by verses, lines, or paragraphs. Consequently,
364, 530, etc.),
no one convenient method could be followed in referring to a particular passage
tions covering sometimes
i
Roman text and in the corresponding translation. I might have counted
from the beginning of the inscription the lines in both the places (which I have
actually done in referring to the smaller inscriptions), but that would not save
trouble to readers, as they would themselves be required to count, say, 400 lines
twice, once in the text and secondly in the translation. In such cases my references
to a particular passage has been given thus
ChanEp. Carnal., Vol. v, part I,
in the
:
line
.
.
.
Roman
or Translation, p.
(of that particular page, and not from the beginning of the inscription)
naraga-pattana
Taluq
no.
.
.
.
,
text
.
.
.
>
,
sometimes from the bottom upwards, stated distinctly in so many words (e.g. line
2 from bottom upwards, instead of saying line 43, i.e. from the top downwards)
occasionally it appeared more convenient to say p. 43, para. 7, line 9, instead of
;
counting
all
the lines from the top or
bottom of the page.
68l
XV ENCYCLOPAEDIA OF
BIBLIOGRAPHY
Abbreviated tides as referred
Authors and
to
History of Art in Persia
Perrot
particulars
and Chipicz.
By
By Phayre.
By Demetrius Boulger.
By W. A. R. Wood.
History of Burma
History of China
History of Siam (1933)
The Indian Antiquary. 1
Ind. Ant.
Indische Alterthumskunde
Chams de
Annam
L'
P.
By
By
by volume,
(followed
By M. H. Parmentier.
(Vols. I, II).
Indian Colony of Siam
India and Java (Vol. I)
J.A.S.B.
Lasscn.
By
monuments
InventaireDescriptif des
page,
oilier
N. Bose.
B. R. Chatterjee.
Bengal Asiatic Society's Jon rnal.
etc.).
Java and Her Neighbours
By A.
Javaansche Greschiedenis
of Kern, Brandes, Krom, Hindoe.
Bom.
J.A.S.
Br.
volume, page,
added
(followed
etc.,
to indicate
jf.A.O.S. (followed
and N.
new
by
by
S.
S. Walcott.
Bombay
Asiatic
Branch,
Society's
Journal.
series).
part, page,
The- Journal of the American
etc.).
Oriental
Society.
1
In the earlier volumes of this series, pages are divided, not invariably howinto
two columns, which are abbreviated thus : Ind. Ant., Vol. v (preceded
ever,
by the name of the article or the inscription), p. 320, C. i or 2 (=column isi or
2nd), para, i or 2 (where there is more than one), line, say, 7 (of the para., when it
followed by any, or simply lines to be counted from the top ; in cases where it
appeared more convenient, it is stated thus line 7 from bottom upwards). In
is
:
the earlier volumes the footnotes are not marked by the numerical figures,
and so forth ; they are indicated by some inconvenient signs, e.g. *, j, J,
was not possible
to refer to these notes
by any particular
inscriptions published in this series have been given three
places of reference, namely, one in the table of contents,
heading of the inscription in the body of the volume, and a
the pages wherein
(1)
(Ind.
name.
Some
i, 2,
of the
different titles in three
a
one as the
one on the top of
different
third
example, the following
'Two Prasastis of Nanaka, a court poet of Visaladeva of Gujarata
Ant., Vol. xi, contents, at the end of the volume).
it is
described.
Compare,
for
3
etc. It
:
'
Sanskrit Grants and Inscriptions of Gujrat Kings, nos. in and iv, Pra'
of Nanaka, a court poet of King Visaladeva of Gujrat (in the heading
of the article, p. 98).
'
(2)
sastis
(3)
107).
and Inscriptions (on the top of pages 99, 101, 103, 105,
have generally referred to the last-named title, i.e. the one occurring
Sanskrit Grants
I
on the top of the pages.
682
HLVDU ARCHITECTURE
Abbreviated
titles
N.
J.R.A.S.,
volume, page,
M
as referred
S.
BIBLIOGRAPHY
Authors and other particulars
by
(followed
The Journal of
Royal Asiatic Society of
the
Great Britain and Ireland,
etc.).
South Indian
K.S.I.I.
Inscriptions,
New
Series.
by Rao Sahib
H. Krishnashastri.
Inventaire
Lajonquiere
Tome
Dewriptif,
II.
Le Royaume
Actual
Tonic
I,
par Etienne Aymonier.
Le Cambodge
L'Art de Gandhara (Vols.
Le Siam Ancient (Part I)
.
I)
.
M.
By M. L. Delaporte.
By M. Foucher.
By Fournereau.
The Mdnasdra, edited and
K.
P.
Acharya,
translated by
PH.D.,
M.A.,
I.E.S.,
D.LIT.
Marco Polo
(Vols.
I,
By Yule.
II)
Mission to the Court of Ava.
Monumental
and
Antiquities
Archaeological
North-Western
Inscriptions,
Provinces, Arch.
Series
Imp.
volume, page,
Muhammadan
Bharoch,
Sun.,
perial Series, Vol.
New
mental
by
in the
(followed
etc.,
of
Burgess,
xn,
and
Antiquities
New Im-
The MonuInscriptions
of India, New ImVol.
xxm
(Western India,
perial Series,
The Muhammadaii
Vol. vi), on
Archaeological
Arch.
New
Survey
'
Imp. Series (followed by volume, page, etc.).
Surv.,
'
North-Western Provinces and
Oudh,' by A. Fiihrer, PH.D.
etc.).
Architecture
of India,
Survey
Architecture
Dholka,
abad
in
of
Bharoch,
Cambay,
Champanir, and MahmudBurgess.
Gujrat,' by Jas
C.I.E., LL.D., F.R.S.E.
Arch.
Mysore
Surv.
Narasimhachar
Report,
(followed
Annual Report of
the
Mysore Archaeological
Department, by R. Narasimhachar.
by
year, page, etc.).
M. W.
A
Diet.
Sanskrit-English
Dictionary,
Monier Williams,
M.A., 1872.
Notes Chinoise L' Inde
By M.
Nouveaux
Translated by Abel Remusat.
Melanges Asiatiques
by
Sir
S. Levi.
(Vol. II).
Pallava Architecture, Rea,
Sum.,
New
Arch.
Series
Imp.
lowed by volume, page,
(fol-
etc.).
Archaeological
perial
Survey of India,
Series,
Architecture,'
by
xxiv,
Alexander
F.S.A. (Scot.), M.R.A.S.
68 3
New Im'
Vol.
Pallava
Rea,
BIBLIOGRAPHY
Abbreviated
'itles
ENCYCLOPAEDIA OF
HINDU ARCHITECTURE
Aj\
Authors and
as referred to
Ram
Ess. Arch, (of)
Hind.
on Archaeological Tour
with Bunar Field Force.
Report
rerum Alexandri Magni
Serindia (Vols.
I, II,
III)
Sharqi Arch, of Jaunpur, Fiihrcr,
Arch.
particulars
Sanskrit-Worterbuch,
Raz,
Scritores
oilier
von Bohtlingk and
Rudolf Roth, 1855.
Pet. Diet.
New
Surv,
(followed
by
Imp.
volume,
Series
page,
Essay on the Architecture of the Hindus, by
Ram Raz, London, 1834.
By Sir Aurel Stein (Ind. Ant. 1901.)
By C. Miiller.
By Sir Aurel Stein.
Archaeological
Survey of India,
New Im-
'
The Sharqi
perial Series, Vol. xi,
Architecture of Jaunpur,' by A.
Fuhrer, PH.D., with drawings and
architectural descriptions by Ed. W.
etc.).
Smith.
Source of Oxus
Vedic
Index,
Keith.
By Wood.
Macdonell
and
Vedic Index of names and subjects, by
Arthur Anthony Macdonell, M.A.,
PH.D., and Arthur Berriedale Keith,
M.A., D.C.L., 1912.
Ville
de Khotan
V.S.I.I.
By Rcmuset.
South Indian Inscriptions,
by Rai Bahadur
V. Venkayya.
Vitruvius (followed by book and
chapter)
.
The
ten books of Vitruvius, translated
from Latin, by Joseph Gwilt,
1880.
Zend Avesta
Translated by James Da^mesteta.
684
F.S.A.,
INDIAN ARCHITECTURE ACCORDING TO
,
MANASARA-SILPA-SASTRA
AND
A DICTIONARY OF HINDU ARCHITECTURE
Published
OPINIONS AND REVIEWS
EXTRACTS
Of auxiliary sciences architecture
Professor A. B. Keith, D.C.L., D.LITT.
has at last received expert treatment from Professor Prasanna Kumar Acharya
in his Dictionary of Hindu Architecture and Indian Architecture based on a new text
and rendering of the Mdnasdra, for which the period of A.D. 500-700 is suggested.
Striking similarities between the prescriptions of the Manasara and Vitruvius
are unquestionably established.
(History of Sanskrit Literature, 1928, Preface, p. xx.)
Let me congratulate you on the results of your monumental researches by which you have contributed so much valuable data to the
study of this great subject. All students of Indian Architecture are deeply
I have read enough to appreciate
indebted to you
your very
E. B- Havell, Esq.
-"
....
thorough treatment of the subject."
Dr. Abanindra Nath Tagore, D.LITT.,
C.I.E.
There are people who assume
the role of critics of Art without having previously read a single treatise on Art.
Moreover, they consider themselves to be authorities on the subject of Art although
may not have acquired the least practical skill in it.
There are enough of such people who talk a good deal on matters connected
with Indian Art. They have continued to disseminate both within as well as
they
outside India, a thoroughly inaccurate account of our Indian Art being influenced
by their own individual notions.
There are others who are keenly anxious to acquire a true knowledge of Art
and pursue their subject with a heart full of enthusiasm, by making a study of
paintings, images, treatises on Art and the history of the land. Our young friend
The two
Professor Prasanna Kumar Acharya belongs to the latter category.
big volumes which he has published after infinite pains are in the nature of an
encyclopaedia embracing all the existing treatises on Indian Art. He has herein
presented before us all the information that so long lay hidden and scattered
all
over the world.
IA
AN ENCYCLOPAEDIA OF
There
is
a proverb
'
What
is
not contained in the Mahabhdrata
is
not to be
These two books may, on that analogy, be appropriately
called the MaMbkdrata of the literature on Indian Art, for, in them we find all
that there is to know about Indian Art.
I may safely assert that these two volumes are just those that are fit to give a
correct account of Indian Art to the world at large.
Moreover, this much is
found anywhere.'
no two books of such magnitude and such merit as these, namely,
and Dictionary of Hindu Architecture have ever been published either
in India or elsewhere on the subject of Indian Art, after such intensive study
and infinite pains. As they are written in English it can be expected that a true
knowledge of our Indian Art will now be conveyed to the four corners of the
certain that
Indian Architecture
world.
Before one can acquire a thorough knowledge of Indian Art it is essential to
make an acquaintance with the ancient books on the subject. Hitherto it has
been extremely
to be found in
be able to read all the connected literature that is
whether in India or outside. Everyone of us does not
difficult to
libraries
the language in which the treatises are written.
Moreover, most of the
In the circumstances, a volume
in distant lands.
original texts are preserved
of this nature, written in English and containing as perfect a compendium as is
know
treatises on Art, came to be
possible, of all the existing
feel
us but for foreign artists as well. It really makes
me
a necessity, not only for
proud that this stupend-
ous task has been accomplished by our young friend, the author.
I cannot adequately express the extent to which I shall be able to
make
use
of these two books and the profit which my pupils will derive from them. It
is on all these grounds that I feel thankful to the author and wish an extensive
circulation of his books.
We are expecting a few more such comprehensive volumes from the author
on the subject of Indian Art written in the same beautiful style and including
sketches of temples and other buildings, etc. in various parts.
May the Godof Art be his guide in this great venture.
dr.ss
(Translated from Pravasi, April, 1928,
by B. N. Lahiri, Esq.,
Mahamahopadhyaya Pandit Ganganatha Jha,
These two
M.A., i.p.)
M.A., D.LITT., LL.D., Vice-
books are the
fruit of Dr.
Chaneellor. Allahabad University
several
and
over
the
labour
learned
Doctor
deserves
extending
years
Acharya's
what
and
is
on
more
having completed
seeing through the
congratulations
The ideal that he set
Press, this monument of his industry and scholarship.
before himself is neatly expressed by the sentence appearing as a motto on the
What the learned world demand of us in India is to be quite
opening page
certain of our data, to place the monumental record before them exactly as it
'
now
exists,
and to interpret it faithfully and literally.' The Doctor has acted up
There are many of us who have collected and presented before
to this ideal.
the scholars important data, but very few of us have succeeded in retaining the
balance of mind needed for interpreting the data
faithfully and literally ';
'
and Dr. Acharya appears
to
have been one of these few.
2A
HINDU ARCHITECTURE
The Dictionary is a book which is so well done that it appears to be no
exaggeration to say that for many decades, it cannot be improved upon, unless,
of course, the South reveals to us more hidden treasures. If there is anything
to object to,
'
it is
the
title
would be a
clopaedia
of the book, which docs
The term
fitter title.
less
'
than justice to
'
'
Dictionary
is
it
;
Ency-
associated in our
minds with word-meanings while Dr. Acharya's work is very much more than
Each term is followed by its meanings, mostly technical,
word-meaning.
an exhaustive account of the subject, and references to standard works of a wide
;
range of
Thus, it will be seen, the work deserves a better title than
fact, Dr. Acharya himself suggested to the London Univer-
literature.
'
In
Dictionary.'
the compiling of
An Encyclopaedia of Hindu Architecture,' and it appears
have been a mere freak of fortune that when the University decided to entrust
the learned Doctor with the work of compiling, they chose the term Dictionary
'
sity
to
'
'
;
they appear to have been led to do this by the nature of the usual run of work
done by modern scholars who in many cases have the unhappy knack of shirk-
ing work
;
but in being led away by this prejudice, the University were unfair
who has, by this work, more than justified the title that he had
to their alumnus,
himself suggested.
The Dictionary is based mainly upon the second work mentioned above. I
have had occasion to deal with the Manasara myself on one or two occasions,
and I know how hopelessly corrupt the available manuscripts of the work are
and on more than one occasion, I have had to give up the task as hopeless. As
;
Dr. Acharya remarks, it is a text which is written in five different scripts, possesses
eleven badly preserved manuscripts, has undergone five recensions, and comprises
more than 10,000 lines of a language rightly remarked by Dr. Biihler as the
'most barbarous Sanskrit.' To the 'barbarism' of the Sanskrit of Manasara,
can bear personal testimony.
I
was asked
to
make
remember
that when, about fifteen years ago,
sense out of a few extracts from the work, I had to give up
I
I
Dr. Acharya deserves to be congratulated, therefore, for
having succeeded not only in making some sort of sense out of the barbarous
'
but evolving out of it a readable text and thereby undertaking and
Sanskrit,
completing a work that deserves to be accepted as a standard treatise on Ancient
the task in disgust.
'
Indian Architecture and to be placed on the shelves of every decent library in
the country.
general reader will be specially thankful for the second smaller volume
which supplies full information on the main principles of Hindu Architecture.
It is complete in itself, and should be useful to all such students as may not have
The
the time or the inclination to take
up the more voluminous
Dictionary.
a matter of special gratification to us of the Allahabad University that
we have at the head of our Sanskrit Department a scholar capable of doing work
which, as a monument of industry and patience, compares favourably with
It
is
the best of that class of scholarly work which has hitherto been regarded as
'
German.'
(Indian Review,
3A
March, 1928.)
AN ENCYCLOPAEDIA OF
W. Thomas,
Professor F.
PH.D." The
C.I.E.. M.A.,
immense labour which
a literature so obscure and difficult
you have undergone and your devotion to
I admire your courage and perseverance and
will receive their due recognition.
where you could not expect much assisyour independence in working in a field
tance from others (except in so far as the materials exist in published books).
You are now certainly better acquainted with the subject of Indian architecture
in the
literary side
than any other scholar, and no doubt you will often be
I hope that the Dictionary will become
consulted as an authority on the subject.
a recognized work of reference as it deserves to do."
Sir
la Fosse, c.i E.. M.A., D.LITT.,
Claude de
once D.
P.
I.
and the
first
Viee-Chancellor of reconstructed Allahabad University." The patience, the
labour and the scholarship which you have devoted to these studies through so
many years of your life are at length rewarded by the publication of works of
permanent value
to scholars
and
archaeologists."
Archaeology Dictionary of Hindu Architecture, is really a monumental work, the value of which can hardly be exaggerated. I have no doubt
"
K. N. Dikshit, Esq., M.A.
Your recent publication, the
that indologists
Deputy Director General
of
over the world will acknowledge their indebtedness to you for
hands such a comprehensive study of the elements of Hindu
all
in their
placing
architecture."
Acta Orientalia,' Oslo, Norway. Professor Dr Sten Konow, Editor,
Many thanks for kindly sending me your two volumes. You are opening
up a new branch of research, and the world of scholars will be thankful to you."
'
"
"
We have received your two
0- C. Gangoly, Esq. Editor, Rupam.'
I
and
hasten
to congratulate you on your remarkable and
books for review
scholarly treatises which will remove one of the crying needs of the study of
'
Indian Art."
Kumar
Dr. Prasanna
Acharya,
who
is
Professor of Sanskrit at Allahabad
University, has followed up his publication of the Sanskrit text and English
translation of the Mdnasdra by these two works on the same subject and students
;
of Indian architecture should be grateful to him for accomplishing with such
thoroughness a task which has been long overdue, and which must have entailed
a tremendous amount of patient and often uninteresting work, in a number of
The Dictionary of Hindu Architecture contains all the archi-
different languages.
tectural terms used in the Mdnasdra
and
in the
known
Vdstu-sdstras, published
inscriptions, and other archaeological records, with full references and- explanations and Indian Architecture is, for the most part, an introduction to the text of
the Manasara.
The Mdnasdra
architecture,
and
is
universally recognized as the standard Hindu treatise on
the most complete and probably the oldest one extant, though
is
4A
HINDU ARCHITECTURE
no doubt
it had
many predecessors. This being so, it is rather surprising that no
serious attempt has hitherto been made by modern scholars to edit and elucidate it. It has never before been translated into English, and most writers on
Indian architecture disregard it or scarcely mention it.
examined a portion of it in his excellent
Ram Raz
Hindus
but
Eighty years ago indeed
Essay on
the
Architecture
has never hitherto received
;
of
comprehensive treatment.
Scholars were no doubt shy of its technical terms or discouraged by its
barbarous
Sanskrit, while it must be admitted that the Hindu tradition of pre-
the
it
'
'
senting
aesthetic principles as religious
precepts and of
matter in astrological formulas and mystic ritual
embedding
scientific
puzzling and disturbing
to the non-Hindu.
Nevertheless, the work deserves far more serious study than
it has hitherto received, and not only from antiquaries, for Indian craftsmen
of today
still
is
use the formulas of fifteen hundred years ago and the precepts of the
still the everpresent guides of the architect and the
sculptor.
Silpa-saslras are
For the Manasara is, apart from its astrology, a practical craftman's handbook,
none the less so because its directions are regarded as ritual rules and its classifications seem often arbitrary and fantastic.
In it, as always in India, art is a
practical affair, a means to a definite end, never unrelated to life and worship.
Manasara means the essence of measurement '; and what would now be considered the practical part of the work consists of explicit directions regarding
town-planning and the selection of sites, and more especially of minute statements
of the mathematical proportions of every kind of building and image. This is
not the place to examine the principles on which these proportions are worked
The Essay of Ram Raz
out, nor are they always easy to follow without plans.
was illustrated, and it would have been a great help if Dr. Acharya could have
rounded off his work with the addition of a series of well-executed plates. These
would have been of especial value in examining what is perhaps the most
interesting chapter of Indian Architecture, that in which the treatise of Vitruvius
and the Manasara are compared. All that need be said here is that the two
works, with all their essential differences, have so many striking affinities (in
their classification, for instance, of the orders and mouldings) that we can hardly
doubt that the standard Indian treatise was somehow or other influenced by
the Roman architect who lived five hundred years or more earlier.
Exactly
how is another question, the solution of which would establish some important
'
conclusions in architectural history.
(The Times' Literary Supplement,
May
31, 1928.)
These two volumes are a valuable addition
to the few English books dealing
understood principles of Indian architecture and achitectural
terms as practised and used by the salats who built the fine old shrines whose
with the
little
ruins remain to display their
skill in
construction
and
taste in details.
Professor
Acharya is to be congratulated upon the result of his labours in the very great
amount of careful and painstaking search and the digging out of so much useful
material from the vast amount of Indian literature he has consulted. The
printers, however, have not turned out the books so well as the subject matter
5A
AN ENCYCLOPAEDIA OF
deserves.
been
The numerous and
better in smaller type
paper
is
;
lengthy quotations in the Dictionary would have
and that of the Manasdra
is
by no means clean.
The
poor.
not be averse to a few suggestions in the event of a second
As ancient Hindu architecture, in its modes of conedition being produced.
and
details, is more or iess strange compared with
a
struction, designs,
The author may
anything
would-be student has been familiar with, it would be a very great help if the Dicillustrated with small vignette insertions, showing, for instance
tionary were well
the different types of pillars, mouldings, etc.
"
"
The Manasdra, or essence of measurement probably written between A. D.
which is one of the Silpa-saatras dealing with architecture does not
<joo and 700,
confine itself wholly to that art, buc, like the others, busies itself with
other
many
the planning of towns, villages, and forts, the orientation of
things, such as
of kings and their ceremonial rites, the manufacture
classification
the
buildings,
of couches, cars and chariots, ornaments, jewels, etc.
'
The title would have been better Hindu Architecture,
as
now
Muhammadan.
used, includes
Measurements are
'
since
iaid
down
'
Indian
'
for every
detail both in architecture and sculpture so it is not to be wondered at that we
find such sameness, stiffness and oft-repeated conventional forms in the old
in mediaeval work.
The advance
temples which are still standing, especially
work
and
later
influenced
into
it
much
that is not
of Islam gradually
brought
Hindu. Of civil buildings very few now remain, and it is on the ancient temples,
with a few tanks and wells, that the student has to depend for his
practical
The
Hindu architecture.
essence of measurement
acquaintance with
exactitude
where
is brought out in all its scrupulous
every measurement in a
building must be regulated upon one measure that of the side of the shrine
'
and nothing
is left
to the salat to express his
own
'
individuality.
And
the measure
of the side of the shrine depended upon the length of the blocks that could be
obtained from the quarry, for the shaft of every pillar was always a single stone
from the top of the base to the neck of the capital it was never built, as a rule,
:
of more than one stone.
Professor Acharya does not confine himself to a description and summary
of the contents of the Manasdra, but gives us references to architecture in the
ancient epics, the Purdnas and other works and a resume of the contents of many
He also ventures upon a long discussion about the similarity
other Silpa-sastras.
between the Manasdra and Vitruvius, which he appears to think had some con-
nexion the one with the other.
The
index, which
is
practically a glossary,
is
good and
full.
H. C.
(J.
Dr. Acharya in
ing,
this
though somewhat
R. A.
S.,
October, 1928.)
book
(Indian Architecture) gives us a compact and interesttechnical, treatise upon Indian Architecture in the litera-
The standard work upon
the subject is the Afdnasdra, and a desthe
so
to speak, of Dr. Acharya's book.
forms
kernel,
cription of that work
ture of India.
6A
HINDU ARCHITECTURE
The author
begins with a general survey of the references to architecture in
with Vedic and Buddhist works, then with the Puranas,
literature, dealing first
Agamas, and other works. In his second section he summarizes the Manasdra
and gives shorter accounts in turn of the following works the Mayamata, the
Amsumad-Rheda of Kasyapa, the Visvakdrmiyasilpa, the Agastya, the Samgraha, and
:
Section III deals with the Position of the Manasdra in Literaothers.
Here, types of buildings are discussed, measurements, the five orders
one or two
ture.
and the thre e
styles.
In Section IV, Dr. Acharya discusses the possible relationship between the
Manasdra and the well-known treatise of Vitruvius. He deals at length with the
similarities not only in contents and treatment, but also in style, between the two
'
to attribute
works, and declines
a particularly interesting chapter.
all
these affinities to
mere chance.'
This
is
Section V, Age of the Manasdra, deals with various indications by which the
date of the Manasdra may be approximately fixed, and decides that it must have
been written somewhere between A.D. 500 and 700. An appendix treats of
certain features characteristic of the language of Manasdra.
The book
A
has an excellent index.
'
(A Dictionary of Hindu Architecture) which treats of Sanskrit
architectural terms, with illustrative quotations from Silpa-sdstras, general literawill appeal probably to a comparatively small
ture and archaeological records
work
like this
'
of students, but to them its value will be very great. Hitherto, there have
been no dictionaries, even in Sanskrit, which have fully treated architectural
terms, so that the present work, which has entailed enormous labour the author
circle
tells
us that he has gone
breaks entirely
for his purposes, the term,
50,000 pages of archaeological material
Dr. Acharya's work has been the greater since,
must include everthing built or consarchitecture
through
new ground.
'
'
tructed, from a royal palace to a sewer, or a garden to a bird's nest.
The work is based primarily on the Manasdra, but its sources include all the
and those portions of the Agamas and
In addition, all the inscriptions
which
deal
with
architecture.
Puranas, etc.,
as
collections
in
such
Epigraphia Indica, the Indian Antiquary, and Epipublished
etc.
have
been
taken into account.
graphia Carnatica,
architectural treatises of the Vastu-sdstras,
Dr. Acharya has arranged his dictionary according to the Sanskrit alphabet.
He gives, in English, a concise explanation of each term, followed by quotations
its various
sufficiently long to make clear the exact connotation of that term in
uses.
precise references given to passages in such works as the Indian
they have a bearing on the subject, but long and adequate quota-
Not only are
Antiquary, when
tions are given.
The work
is
the entry Stambha, for
There are two appendices, the first of which
tremendously detailed
:
example, occupying sixty pages.
the second, a list of archigives a sketch of Sanskrit treatises on Architecture, and
tects.
Finally there is an index arranged according to the English meanings
of the Sanskrit terms.
(Asiatica,
7
A
June-July, 1929.)
AN ENCYCLOPAEDIA OF
A number of Sanskrit works have recently been published, and it had now
become necessary to explain the expressions and terms to Europeans who have
of late taken an interest in Hindu architecture. A number of European works
have appeared but none has existed so far which elucidates these difficult terms.
The work (A Dictionary of Hindu Architecture) is conscientiously carried out, as is
shown by the fact that the author is not satisfied with merely giving the English
terms, but quotes from the Sanskrit contexts in which the words occur.
As regards the second work
Indian Architecture according
to the
Mdnasdra-Silpa-
an Introduction to his edition of the
sdstra
But in studying
Sanskrit test and English translation which are in preparation.
his subject he found the material increased considerably, and he has now produced a volume in crown 410 size of 268 pages. It is most gratifying that Indian
the author intended to issue
it
as
by European professors, and Mr.
one of them. The work is well divided ; it gives a general
survey of architecture from the most ancient times onward it provides a summary
of the various treatises on architecture, and finally subjects the Mdnasdra to exa-
scholars adopt the great care generally exhibited
P.
K. Acharya
is
;
mination.
Full references are also provided,
and the index
alone, beginning
a most painstaking performance.
Both volumes will be welcomed by the increasing number of workers
on page 215,
is
in
and
lovers of Indian art.
(Asiatic Review, April, 1928.)
The
indigenous Indian literature on architecture has not received much
Ram Raz has published an Essay on the Architecture of the Hindus
I am afraid, is very difficult of access, and some works
which
(London, 1834),
attention so far.
were edited by Ganapati
we knew
Sastri in
Trivandrum Sanskrit
Series.
Besides that,
at,
the portions dealing with architecture in the Purdnas.
Now Prof. Acharya has been working on the subject for several years and
nd
has paid special attention to the principal work, the Mdnasara. In 1918, he
he
graduated at Leyden with a thesis on this work whereafter he published in the
Allahabad University Journal, a paper on its relation to Vitruvius. Now there
comes a comprehensive treatise together with a Dictionary of the architectural
terms and a survey of the literature, and an edition and translation of the Mdnapromised for a near future.
These works are to be greatly welcomed, making as they do,
research a new province of Indian literature.
sara are
The author
prove that the Mdnasdra in many respects
of architecture as we know it from Vitruvius.
tries to
classical science
is
accessible for
similar to the
Though
his de-
monstration cannot yet be said to be definitive, yet he has succeeded to show so
many coincidences that a connexion can hardly be doubted any longer. How
this connexion has come about, the author has not tried to show, and perhaps,
too, he has not thought it necessary.
For, it is well known long since that classical architecture
ment
in
and
fine arts
North-West India.
have exercised a lasting influence on the developIn that corner, Greeks and their half-breeds had
HINDU ARCHITECTURE
settled for centuries,
century
there
name* viz. the
Peshawar.
'
and
it seems that in an Indian
inscription of the second
mentioned an architect (Navakarmika) with a Greek
even
is
dasa Agisala
'
of the
relic casket
of the Kaniska Stupa near
On
the whole, it is only the edition that will enable us to form an opinion
about these many questions raised by the author. But even now we are very
much indebted to him, and particularly his Dictionary will be very welcome. It
gives not only a copious list of technical terms of architecture more especially
those to be found in the Mdnasara, but also circumstantial references to the literature as well as a survey of the indigenous Indian literature relative to the matter,
is for the greatest part only available in MSS.
which
Yet with pioneer work completeness must not be
being given to us
we
shall accept
(Deutche Literatunzeitung, 1928 14 Heft
German by
Dr.
Ludwig
insisted
upon, and what
is
with sincere gratitude.
660
Extracts translated from the original
Alsdorf, PH.D.)
" These two
volumes, the latter (Dictionary)
be
indispensable to every student
especially, are monumental works, and will
of Indian architecture and realia. Only those who work along these lines will
realize the great labour involved in the preparation of such books, especially when
Dr. A.
K
Coomaraswamy.
they are almost the first of their kind the serious study of the Indian Silpa-sdstra
has been too long delayed, and a warm welcome may be extended to the Pro;
fessor's
undertaking.
.
.
.
The
following notes, however, are meant to be a further contribution to the
an acknowledgment of the value of what the Professor has already
and
subject
accomplished, rather than further criticism."
("Journal
of
the
American Oriental
Society, vol.
48, no. 3, pp. 250
fol.
This dictionary owes its name to the University of London. A glossary
of the architectural terms used in the Mdnasara, the standard work on Hindu
architecture, was prepared for the author's private use when he found it indispensable after struggling for two and a half years to edit for the first time and
translate into English a text which is written in five different scripts, possesses
eleven badly preserved manuscripts, has undergone five recensions and comprises more than 10,000 lines of a language rightly remarked by Dr. Biihler as
'
most barbarous Sanskrit.'
In this connexion there arose an occasion
author to express to the University the opinion that an Encyclopaedia
Architectural expressions appear
of Hindu architecture was badly needed.
throughout the whole field of general Sanskrit literature and the epigraphical
records, as well as in the extensive special branch of literature known as Vdstuthe
for the
more familiarly called Silpa-idstras. Existing dictionaries, in Sanskrit,
English, or any other language, do not elucidate architectural expressions ; and
the texts of the Vdstu-sdstras have been waiting for hundreds of years to be un-
Saslras,
earthed from manuscripts which are quite inaccessible without the guidance of a
9A
AN ENCYCLOPAEDIA OF
in bringing to light many
special dictionary that would also be instrumental
new things hitherto left unexplained in inscriptions and general literature.
University selected the author as the person most immediately concerned
entrusted
him with the task suggesting that he should ' make a full dictionary
and
of all achitectural terms used in the Manasara with explanations in English, and
The
quotations from cognate literature where available for the purpose.'
Thus the terms included in this dictionary are primarily those found in the ManaBut all the new architectural terms of any importance discovered in all the
sara.
illustrative
known
architectural
epigraph! cal documents, and general literature
form even a faint idea of the herculean labour in-
treatises,
have also been added.
To
volved in bringing out this colossal work a perusal of the preface is necessary.
This the first volume published embraces 882 pages, one more volume Indian
Architecture according to
Manasara
Silpa-sastras
has been published and two other
This dictionary is a veritPress.
volumes to complete the dictionary are in the
able Encyclopaedia of Hindu architecture.
some 3,000 terms,
and covers a vast number
of topics. Under each term is brought together useful information in the form
of a short article, illustrated, with quotations from Silpa-Mlstras, general literature
and archaeological records. It is a pioneer work. It is hoped that it may be
instrumental in explaining many things hitherto left obscure in inscriptions and
in one
general literature. Two appendices enhance the utility of the work
is
a
sketch
of
the
on
the
literature
while
the
other
contains
appendix
given
subject,
relating to architecture, sculpture
It
and cognate
deals with
arts,
:
histories of ancient
works.
Indian architects, together with a short description of their
is to be
congra-
Great has been the labour of the erudite author and he
on its successful issue, so also the publishers for the volume as regards its
printing and general get-up is all that can be desired.
It (Indian Architecture) is a handbook of Indian architecture,
sculpture and
arts.
The
Dr.
Prasanna
Kumar
author,
cognate
Acharya, I.E.S., is an Indian
Sanskrit scholar who has been trained in Europe in scientific methods of criticism
and who has given the substance of a number of printed works and manuscripts,
belonging to libraries in India and Europe which have been visited by him.
The book gives an account of the architecture of the Vedic, the Buddhist and the
tulated
classical periods
of India up to the
Muhammadan
age.
An
interesting feature
drawn between the Indian standard work Manasara and the
standard
work of the Roman architect, Vitruvius. Striking similariEuropean
ties are shown to exist between Greco-Roman and Indian architecture.
is
the comparison
(Indian Engineering,
January 21 and 28, 1928.)
While Hindu Painting and Decorative art
Dr. Kalidas Nag, M.A., D.LITT.
were hovering between hope and despair as to the chance of gaining occidental recognition (the only recognition that carried weight !) Hindu architecture
attracted the notice of all experts by its undeniable grandeur and originality.
Ever since the publication of the Essay on
published in
London
Ram
the Architecture of the Hindus
Raz,
by
was
a
there
(1834),
steady increase in the appreciation of
IOA
HINDU ARCHITECTURE
Hindu style and of the stone epics of India. The monumental studies of
Rajendralal Mitra on Orissan architecture, followed by the work of Manomohan
Ganguli, have demonstrated that the interest in the subject was growing. The
enormous documentation of Cunningham, Burgess, and others of the Archaeological
survey challenged the attention of artists and archaeologists all over the world.
the
But the indigenous tradition of India with regard to the science and art of Architecture did not receive the serious examination long overdue, before Dr.
Acharya
came forward to devote years of his academic studies to the elucidation of the
problems of the Hindu Silpa-sastras. Accidentally coming across a copy of Mdnahe plunged deeper and deeper into the intricacies of Hindu constructional
the more baffling were the problems of the texts preserved in the most
science
sara
'
:
barbarous Sanskrit,' the more intense became his zeal which ultimately led to
the development of this splendid Dictionary the first of its kind of Hindu archiThanks to the comprehensiveness of Hindu masters of the science,
tecture.
Architecture in the work has been treated in
cally everything that
its broadcast
sense, implying practifrom buildings religious and secular to town-
is
constructed,
planning, laying out of gardens, making of roads, bridges, tanks, drains, moats,
Thus the Dictionary of Dr. Acharya
etc., as well as the furniture and conveyances.
in
a
volume
a
first
time
rich vocabulary hitherto unknown
handy
gives us for the
or only vaguely known. Dr. Acharya has earned the permanent gratitude
of all Indologists by collating and collecting not only manuscripts (largely unpublished) but also the epigraphic data scattered in the bewildering documents
of Indian inscriptions which have given a sureness of touch and a precision of
connotation that are admirable. Dr. Acharya has spared no pains to put the
meaning of the terms as much beyond doubt as possible, for he has placed the
terms invariably in their organic context by quoting in extenso from the generally
Thus the Dictionary will not only react in a wholesome way on
inaccessible texts.
our accepted notions of Hindu art and archaeology but also on the future
compilation of a comparative lexicon of the Hindu technical terms our future
Paribhashendu-sekhara.
As a pioneer work, it will hold its place high amongst the recent publications
of Indology. As a pioneer work again the author, let us hope, will take constant
note of friendly suggestions with a view to enhance the scientific value of this
lexicon.
While comparisons with European treatises on Architecture (e.g. Vitruvius) are interesting it is more useful to make each term shine indubitably out
of a comprehensive juxtaposition of pertinent texts found, published or noticed
anywhere in India, with a special eye on local peculiarities and their correlation
with regional
style.
Rich materials are
of the Trivandrum Sanskrit Series
into Tibetan)
and
in the
Gaekwad
lying idle in the latest publications
or Tantra, translated
Manjuhl-miila-kalpa
(e.g.
Sanskrit Series (e.g. Samarangana-Sulradhara and
still
So Laufer's Monograph on Chitralakshana seems not to have
been utilized. But the more serious omission is perceptible in another field which
has furnished some of the noblest specimen of Indian architecture. I mean
the field of Greater India where we meet even today Borobudur proclaiming
Mdnasolldsa, etc.).
IIA
AM ENCYCLOPAEDIA OF
the
titantic
architechtonic
of the
genius
Sailendra
sovereign
of
Srivijaya
(Sumatra, Java) and Angkor Vat, the soaring Vimana of Vishnu constructed by
King Parannavishnuloka of Camboj and designed by the master Architect Divakara.
Let us hope that in his next edition Dr. Acharya will enrich his lexicon by
incorporating the data imbedded in the epigraphic and monumental documents
of Greater India.
Two
appendices containing enumerations of the important Sanskrit treatises
architects, enhance the value of the book.
May
on Architecture and of historical
we
request the learned lexicographer to add a special appendix of the techniand names scattered in the various living vernaculars of India where
cal terms
we find, as in Orissa (cf. Nirmal Bose Konarak), native architects still constructing
ace ording to their vernacular Vdstu-idstras or even conserving a rich tradition in
bhasd vocabulary (oral or textual).
:
This volume (Indian Architecture) incorporates the general problems, historical
as well as textual, that form the introduction to Dr. Acharya's Dictionary.
In the
first 30 pages the author gives a tantalising survey of the popularity of Architecture
evinced by the Vedic, the Buddhist and the classical literature.
We hope that
make the treatment more exhaustive. The next hundred pages
are devoted to a very useful summari/.ing of the contents of the outstanding Silpatdstras, e.g. Mdnasdra, Mayamata, and such manuals ascribed to Visvakarma,
the author will
Agastya, Kasyapa, Mandana and others. The comparison instituted between
Mdnasdra and Vitruvius may or may not lead to a discovery of the order of that
of a Romaka Siddhdnta and Hora-fdstra, yet the similarities are striking. But
the most
important sections are the author's discussions, relating to the three
styles or orders of architecture
Nagara, Vesara and Dravida representing the
three geographical divisions of India.
We recommend the books of Dr.
Acharya to all Indologists and expect eagerly the publication of the two supplementary volumes now in Press.
(The Modern Review, February,
1928.)
(London Correspondent)
The two books
recently written under
instructions
from the Government of
India on Hindu architecture and
published by the Oxford University Press,
to
be
valuable
not
to
the
student
of architecture, but also to the student
ought
only
of peoples of the world, for architecture expresses almost more than
anything else
the ideals and ideas a people hold at any given time.
For the scholar these two
books should be invaluable, as they help to elucidate in architectural terms details
of the distant past, that have hitherto been clothed in mystery. The texts of the
author states in his preface, been waiting for hundreds of
be unearthed from manuscripts, which are quite inaccessible without the
guidance of a special dictionary. This is the task to which the author set himself,
Vdstu-idstra have, as the
years to
and those who are competent to express an opinion agree that he has amply
his mission and has brought to light many new
things hitherto
unexplained in inscriptions and general literature.
fulfilled
ISA
HINDU ARCHITECTURE
The second book
is
a handbook of Indian architecture and deals with the
Vedic, Buddhist and classical periods up to the
Muhammadan
times.
Today there is in Great Britain an ever-increasing number of people to whom
such books appeal, probably because of the work of the India Society and kindred
who have
stimulated thought in this direction by persistent effort.
It is,
that
the
books
will
find
a
considerable
therefore, likely
present
reading public
here as well as in the East.
bodies
(The
Dr. Beni Prasad,
PH
M.A.,
Dr. P. K.
D., D.SC.
Leader,
February 24, 1928.)
Acharya attempts
to offer
Hindu
the results of his twelve years' study of
architecture in four volumes,
two of which have just been published while the other two may soon be expected to
see the light.
They ar e based on Mdnasdra, the standard authority, on a number
of minor works and a host of chapters or references, legal, religious, and general
literature, as well as
monument
i
The
nscriptions.
Dictionary, in particular,
a pioneer work,
and systematic arrangement. In words
in
the
no
one
but
those
who have taken part in similar labours,
preface,
quoted
can at all realize the amount of tedious toil, I might almost say drudgery, involved
in doing everything single-handed, collecting the quotations and verifying references
and meanings, making indices and lists of words, sorting and sifting an everincreasing store of materials, revising old work, arranging and re-arranging new,
correcting and re-correcting, writing and re-writing, and interlineating copy, till
reams upon reams of paper have been filled, putting the eyesight, patience and
temper to a severe trial.' The series is addressed to scholars and advanced
is
a
of diligent
research
'
students but
all
interested in the scientific study of
fine arts in general will find
The Hindu
Silpa-idstra or
it
Hindu
culture or in that of
instructive.
Vdstu-sdstra
is
a comprehensive but by no means
kinds of buildings, town-planning, gardens,
unsystematic study.
and
and market-places, ports
harbours, roads, bridges, gateways, etc., wells,
tanks, trenches, drains, sewers, moats, walls, embankments, dams, railings, etc.,
It deals
furniture like bedsteads,
with
all
couches,
tables,
chairs, baskets, cages, nests, mills,
and ornaments such as chains, crowns,
The
dominant
topic, however, is architecture
headgear and foot- and arm-wear.
and
the plan and erection of religious, residential
military edifices and their
The science which like the
auxiliary members and component mouldings.
Dharma-sdstra, Artha-sdstra and Kdma-sastra, professes to derive its first origins from
Brahma himself, developed in the course of centuries and reached its culmination
conveyances, lamps,
etc.,
and even
dresses
about the sixth century A.D. in the great
the
name
of
its
treatise called
Mdnasdra probably after
author.
in the domain of Hindu history it is difficult to determine
far the theoretical descriptions in literature correspond with the practical
close comparison of architectural precepts with the details of
realities of life.
Here as elsewhere
how
A
ISA
AN ENCYCLOPAEDIA OF
archaeological finds and the narratives of foreign visitors like Yuan Chaung
(seventh century A.D.) suggests that the former, while not literally true to facts
are largely based on practice.
It is interesting to infer that in ancient India in
spite of all the other worldlincss of philosophers
maintained
afford
a high
standard of
and
living.
spiritualists, those
who
Thus from a passage
could
in the
Buddhist work Chullavaggti, VI, 4, 10, we learn that houses comprised
dwellingrooms, retiring-rooms, store-rooms, service-halls, halls with fire-places, closets and
cloisters, halls for exercise,
bath-rooms and
sheds,
wells
and ponds, sheds
halls attached to
them.
for
and open-roofed
wells
Of
hot-air baths the
following
Davids on the basis of the Vinaya
description was given by the late T.W. Rhys
Texts III, 105-110, 297.
They were built on an elevated basement faced with
brick or stone with stone stairs leading up to it, and a railing round the verandah.
'
The
roof and walls were of wood, covered
first
with skins and then with plaster,
the lower part only of the wall being faced with bricks.
There was an antechamber and a hot-room and a pool to bathe in. Seats were arranged round a
middle of the hot-room and to induce perspiration hot water was
the
leathers.' Again, as we learn from the Dlgha Nikdya, there were
from
poured
air
bathing tanks, with flights of steps leading to the water, faced entirely
open
with stone and ornamented with flowers and carvings. It is needless here to
fire-place in the
enter into the details of domestic furniture but
it is
interesting to note, inter alia
benches were made
long enough to accommodate three persons, that couches
were covered with canopies, and that there were several types of Asandis, such as
sofas, armed chairs and cushioned chairs.
that
The plan
for
its
of a village, outlined in the ninth chapter of Manasdra, is theoretical
do not tally with any of the realistic descriptions by Greek, Chinese
details
or Arab
visitors.
None
the
less, it is
instructive.
A
village,
we
are told, should
be surrounded by a wall or stone pierced by four main gates which should be
connected by roads. The villages should thus be divided say into four
principal
A highway should also run round the village and public buildings be
blocks.
located on it. The whole inhabited area should be well-supplied by
ponds and
tanks. Caste which influenced all life and thought in ancient India did not leave
town-planning untouched. It is proposed that the best quarters should be reserved
for the
Brahmans and
that the
Chandalas should
live outside the limits
of the
village.
In the interests of sanitation and decency it is laid down that the
temples of
and places for cremation should be situated outside the walls.
Everywhere drains should follow the slope. The tenth chapter of Manasdra
fearful deities
sicetches,
plans for towns on similar
lines,
making
special
mention of parks,
common
shops, exchanges, temples, guest-houses, colleges, etc. and giving elaborate
direction for their construction.
It is impossible even
barely to touch the fringe
of the vast subject in the course of a short review. Those interested in this
highly
important aspect of ancient Indian culture will do well to consult Dr. Acharya's
detailed, well-documented and scholarly productions.
(The
I
4A
Leader,
December
4, 1927.)
HINDU ARCHITECTURE
Notable publications by the United Provinces Government
All students of Indian Art in England, and a good many in India, should be
excellent books.
They contain the
grateful to the U. P. Government for these
of the labour of an Indian Educational Service officer, who has spent about 12
are stupendous.
years on these works which, to say the least,
of
the
Hindus by Ram Raz published
Except for an essay on the Architecture
fruits
in
1
834, no attempt
till
now was made
to present the
Ancient Indian Architecture
and methodic way. To Professor Acharya, therefore, goes the
credit of exploring this field of knowledge like a pioneer worker, and of bringing
to light a branch of ancient Indian culture which contains interesting, even rather
in
a
scientific, clear,
fascinating, materials.
A
Silpa-sastra or Vdstu-sastra,
much wider than
and
residential,
Secondly,
places
;
it
which
military,
and
conveyed by
'
the English term.
It
denotes
their auxiliary
implies town-planning
making
Wise Term
is
roads, bridges, gates
;
;
the term
all sorts
'
architecture,'
of buildings,
is
religious,
members and component mouldings.
laying out gardens
;
constructing marketdigging wells, tanks, trenches, drains, sewers,
;
building enclosure-walls, embankments, dams, railings, ghats, flights
of steps for hills, ladders, etc. Thirdly, it denotes articles of house-furniture,
such as bedsteads, couches, tables, chairs, thrones, fans, wardrobes, clocks, baskets,
conveyances, cages, nests, mills, etc. Architecture also implies sculpture and deals
moats
with the making of phalli, idols of deities, statues of sages, images of animals and
It includes the making of garments and ornaments, etc.'
birds.
Professor Acharya has divided his Indian Architecture into five parts which give us a
very clear idea of the subject, its authorities and all that is generally required for a
quick apprehension of the subject.
General Survey
In Part I Professor Acharya gives a general survey of the whole range of ancient
that the authors of the Vedic literature were not
Indian literature and bears out
walled
of
cities,
stone-houses, carved stones, and brick edifices.'
stone-forts,
ignorant
The relics of Mahenjo-daro and Harappa unearthed by the Archaeological De'
partment under the able guidance of Sir John Marshall give the same evidence
of a time much earlier than the earliest Veda. The Buddhist and Jain literature
is replete with reference to buildings, furniture and sculpture of a very high ordci,
The
classical Sanskrit literature bears the
testimony of a very well-developed
have an elaborate description of Silpa
and some of the Agamas whose main objects is to inculcate the mystical worship
art in all these respects
;
several Puranas
'
of Siva and Sakti
'
devote considerable attention to architecture.
The Manasdra
In Part II he gives a very detailed summary of the Manasdra which is his main
study as also brief accounts of several other works of well-known authorities
but which lie buried still in manuscript form. The Manasdra contains seventy
'
the first eight are introductory, the next forty-two deal with
chapters,
tectural matter, and the last twenty are devoted to sculpture.'
I5A
archi-
AN ENCYCLOPAEDIA OF
Here we have what claims
art as
its
subject.
effort of the kind,
and
to
have taken the whole manifestation of architectural
moment, perhaps the most ambitious
and the author has spared no pains to make his work as complete
It
is
up
to the present
as illustrative as possible.
Part III described the position of Mdnasdra in Hindu literature and gives
certain interesting facts.
The styles are fully described and discussed. We are
told that, according to Mdnasdra there are three of
them, Nagara, Vasara and
Dravida, and that they apply both
and
to architecture
sculpture.
Comparison
Part IV compares Mdnasdra with the well-known treatise of Vitruvius on architecture which belongs to the first century before Christ.
Professor Acharya
methods of criticism in Europe and in this part of the
The comparison is thoughtreasoned
and
The
balanced.
conclusions
are
cautious
and well-supported.
ful,
The author has clearly shown that there are undeniable similarities between
the two standard works and that their affinities do not seem to be accidental.'
He has wisely left the question of the debt of one author to the other or of both to
has been trained in
work we
scientific
find a considerable scope for this training.
'
some common
it
In the present resources of our knowledge
source, quite open.
impossible to arrive at a more definite conclusion.
In Part
he collaborates in a scholarly way both the internal and external
is
V
evidence for arriving at correct age of Mdnasdra. Here we have ample evidence
of Professor Acharya's unrivalled grasp of the subject, his critical acumen and of his
indefatigable industry and enthusiasm in having ransacked the whole of the
ancient Indian literature covering thousands of pages in print and in manuscript.
'
The evidence submitted above would warrant the extent of the period of the
Mdnasdra from A.D. 500 to 700
by no means an unwarranted conclusion.
'
Defective
It is regrettable that
Language
the language in which this important
work has been
'
'
barbarous Sanskrit
very defective and faulty and has been termed
authorities like Dr. Biihler and Dr. Sir
Krishna Bhandarkar. It is all the
found
is
by
more creditable
Ram
have taken pains and construed the text
Acharya
In
the
the
learned
author has given us some idea of the
correctly.
appendix
defective language by collecting together the irregularities.
Professor Acharya's Dictionary of Hindu Architecture is a monumental work, the
It deals with three thousand words relating to architecture and
first of its kind.
and
cognate arts. Under each term is brought together all the necessary
sculpture
in
informations
the form of a short article illustrated with copious quotations
from the ancient printed books as well manuscripts, the general literature and
the archaeological records. And this has been done with a thoroughness and
accuracy which are the author's own. Full quotations for bringing out each and
every shade of the meaning of a word are given, in effect the Dictionary becomes
more of an Encyclopaedia rather than a. Dictionary. The learned author
for Professor
to
has laid the scholars and the general public under the deep debt of obligation
by removing a long-felt want.
(The
l6A
Pioneer,
February
13, 1928.)
HINDU ARCHITECTURE
(London correspondent)
Dr. Prasanna
Allahabad,
is
Kumar
now
Acharya, I.E.S., Professor of Sanskrit in the University of
recognized as one of the leading Indian authorities on his special
He has recently
subject, particularly in its relation to ancient architecture.
written, under instructions from the Government of the United Provinces, two
books that should be of considerable value to students, namely
A
Dictionary
of Hindu Architecture and Indian Architecture according to Manasara Silpa-sastra both
published by the Oxford University Press. The U. P. Government have borne
the expenses of both publications, which will be regarded by scholars as a contribution of
This
the
permanent importance
in the elucidation of the subjects discussed.
not the place in which to give a lengthy review of these two volumes
of which runs to 861 pages. This book is a monument of erudition and
is
first
A man who
patient industry.
immersed
in his subjects.
can produce works of
order must be wholly
this
Existing dictionaries, in Sanskrit,
English, or any
other language, do not elucidate the architectural terms of a long distant past,
and without such a survey as Dr. Acharya has undertaken there could be no
proper appreciation of the ancient genius. The texts of the Yds tu-s astro, have, as
the author stated in his preface, been waiting for hundreds of years to be unearthed
from manuscripts which are quite inaccessible without the guidance of a special
This is the task to which the author has addressed himself, and those
dictionary.
who are competent to express an opinion will agree that he has brought to light
new things hitherto left unexplained in inscriptions and
The other work which is somewhat less voluminous, is
general literature.
a Handbook of Indian
Architecture, Sculpture and cognate Arts. It gives an account of the architecture
of the Vedic, the Buddhist, and the classical periods of India up to the Muhammaage. Such a work should be of great interest to those in this country, as well
as in the East whose attention has been drawn to these subjects by the publication
dan
of the India Society and kindred bodies. There is quite a large constituency
nowadays to which works of this character, dealing with the ancient arts of India,
afford a real attraction. An interesting feature of Dr. Acharya's present
is the comparison which he draws between the Indian standard work,
Manasara, and the European standard work of the Roman architect, Vitruvius.
The book might have made a more popular appeal if the text had been interspersed
with a few illustrative re-constructions in plans or drawings, of the architectural
study
features described.
This, however,
Rather
was not the purpose of the author.
to provide a fount of information from which future seekers may gain
knowledge of an art which can never entirely lose its place in human records.
it
was
What
the learned world
matters, and
demands from India
is
certainty of data
in
these
has been
undoubtedly supplied by Dr. Acharya's researches.
In these volumes, and in others that arc still in the press, he has illumined a
comparatively unknown branch of Sanskrit study, and the fruit of his long and
arduous labours will assuredly be of abiding value to scholars everywhere.
this
The
Madras,
February 23,
1928
;
Tribune, Lahore, February, 28, 1928
;
(The Hindu,
The
Hindustan Review, April, 1928.)
AX ENCYCLOPAEDIA OF
Extract from the Annual Bibliography of Indian Archaeology, 1928,
p.
61.
150.
*[Dr. Prasanna Kumar ACHARYA: A Dictionary of Hindu Architecture.
Oxford University Press: 1927.] See An. Bill. I.A., 1927, no. 124.
Reviewed Rupam, nos. 3536, July-Oct. 1928, pp. 39 44, by Akhay
... a valuable
Kumar MAITRA. FRAS, 1928, pp. 943f., by H. C.
The printers, however,
careful and painstaking search
addition
:
:
.
.
.
.
.
.
have not turned out the books so well as the subject matter deserves."
The
"The work
Asiatic Review, 1928, p. 349:
..."
& L., vol. II, pp. g6f., by
Ind. Art.
monument of
research
patient
which
is conscientiously carried out
a
E. B. HAVELL
"...
:
be of invaluable help for the
will
student."
Dtsche Lit.
Arbeiten
tg.,
draft'
.
und was uns gegeben
entegennehmen."
.
:
.
"
RAA,
1928, pp.
Asiatica, vol. I,
Pioneer,
by Jean BUHOT
ouvrage teis digne
il n'est
edition
ulterieure ne
douteux
temps
pas
qu'une
5&f.,
mame
en
d'eloges
1'amdilore."
:
The
"Bei Pionier659661, by Sten KONOW
auf Vollstindigkeit nicht Anspruch machen,
wird, werden wir mit aufrichtiger Dankbarkeit
1928, columns
man
:
.
.
.
pp. 225f.
Allahabad, i3th Febr.
Cp.
1928.
below
COOMARASWAMY,
no. 162.
151.
to
*[ Dr. P.K. ACHARYA,
Mdnasdra-Silpa-sdstra.
I.E.S.,
Indian Architecture according
M.A., D. LITT.:
Oxford University Press
:
1927.]
See An. Bibl.
I.
A.,
1927, no. 125.
Reviewed
:
Rupam,
Kumar MAITRA.
nos.
The
35 36, July-Oct. 1928, pp. 33 44, by Akhay
reviewer offers some criticisms while acknowledging
the great merits of the work.
a valuable addition .
.
FRAS,
.
1928, pp.
943945, by H.
G.
''
.
:
.
.
."
The Asiatic Review, 1928, p. 349: "It is most gratifying that Indian scholars
adopt the great care generally exhibited by European professors, and Mr.
P. K. ACHARYA is one of them."
Ind. Art.
and
L.,
N.
S., vol. II, pp. g6f.,
by E. B. HAVELL
:
.
.
.
a safe
foundation for future historians of Indian architecture."
RAA,
1928, p. 57, by Jean
BUHOT
:
cieux."
ISA
"...
ouvrage
tres
conscien-
INDEX
ASSEMBLY HALL (ayatana), 59
432
manclapa),
ABODE
(vis),
59 (avasatha), 63
321; (bhavana), 380;
(ayatana),
(pratishtha),
464
ADYTUM
;
;
(stha), 577.
;
145
(garbha),
[garbha-gc
;
(-rl)ha], 146.
ALMS HOUSE (satra),
ALTAR (chaitya), 176
511.
;
(bali-pitha),
366
;
(vedi), 471.
AMPHITHEATRE (prckshagara), 364.
ANTE-CHAMBER (anusala), 38.
ANTE-CHAMBER OF A SHRINE (aiitafitamandapa), 40.
ANTE-CHAMBER WITH ONE OR MORE
CLOSED SIDES
APARTMENT
APARTMENT
THE
ROOF
(attalaka),
12.
APEX (sikhara), 490.
ARBOUR (mandapa),
ARCH
,
(turiga),
(tvashtri),
215.
223
(vardhaki),
;
ARCHITECTURE (vastu), 456.
ARCHITECTURAL MEMBER (makarala), 389.
ARCHITECTURAL OFFICE (avesana), 64.
ARCHITRAVE (pada), 303
(padaiiga),
;
ATTIC ROOM (kQta-sala), 129; (chuliharmya), 175.
AUDIENCE HALL (asthana-mandapa), 67,
AUDITORIUM
(prcksha-griha),
3().j.
(-mandapa), 395.
;
AUSPICIOUS
CEREMONY
(grilia-mahgala)
,
151.
AVIARY (kapota-palika),
100.
B
BACK DOOR (plaksha-dvara), 365.
BAGNETTE (hara), 612.
BALANCE (tula), 216.
BALCONY [alinda(ka)], 46
(andhara),
;
(nishkasa), 284
446,
(vadhu-nataka),
;
449
[va(ba)labhij,
(bhrama-
;
linda), 389.
BALUSTRADE (alambana), 62 (alambana(vedikabahu), 62 (pada-vcdi), 304
;
;
;
BAND
(anghrika-vari), 12 (bandha), 366;
(rakta-patta), 431.
(yantraka), 431 ;
;
BANNER (jayanti), 184.
BAR ATTACHED TO THE THRONE
(kokil-
argala), 131.
BASE (OF A COLUMN) (aksha), i
(alambana), 62
(uraga-bandha),
90
95
(kampa-ban(kaksha-bandha)
102; (kalasa-bandha), no;
dha),
(kukshi-bandha) 120 (kuttima), 121
(kumbhaka),
(kumuda-bandha), 126
127
(kumbha-bandha), 127
(kumbhalankara),
127
(charu-bandha),
173
(janman), 183
(patta-bandha)
291
(padma-kesara) 297
(padmabandha),
298
304
(paduka),
(pindl), 306
(pada-bandha), 304
313
(prati(pushpa-pushkala),
krama), 317
(prati-mukha), 319
;
;
(kumarl-pura),
ARM-CHAIR
67.
vatapana), 474.
448.
34ARENA
(samiti), 517.
ROOM (asthana-mandapa),
ASTRAGAL, (hara), 612.
ATTIC (karna-kuta), 105.
53
(chitra-torana) 174; (jana-chapa216 ; (patra183; (torana),
(makara-torana), 389 ;
torana), 294 ;
(vyala-torana), 476.
ARCHITECT
(rariga-
;
395.
kriti),
ARCHED ROOF
ASSF.MBLY
46.
(ardha-sala),
(uvaraka), 92.
ON
ASSEMBLY HOUSE
;
(samsad), 520.
;
(satahga),
483
;
,
125.
(sattariga),
;
;
;
,
;
;
ARMLET
(keyiira), 130.
;
ARMPIT OF AN IMAGE (kaksha),
ARRANGEMENT (samsthana),
95.
520.
ARSENAL (sastra-mandapa), 483.
ARTISTS (silpi-lakshana), 494.
ASCETIC (arsha), 62
(muni), 425.
;
ASSEMBLY
(pratisraya),
320.
;
;
;
;
,
,
;
;
;
;
;
;
;
;
;
INDEX
BRACELET, (kataka), 95 (pushpaka), 313.
BRACELET LIKE ARCHITECTURAL ORNAMENT, (katakakara), 96.
BRACKET (nasika), 280 (pranala), 316.
BRAHMAN- VILLAGE (agrahara), 2.
BRAIDED HAIR (kalapaka), 112.
;
(mancha-bandha) 390 (mula-sthana),
(ratna(rakta-bandha), 432
426
(vajra-bandha), 445
bandha), 434
(srl-bandha),
447
(vapra-bandha),
498
(sVi-bandha-kuttima),
498
;
;
;
;
;
;
;
;
;
(sreni-bandha), 500.
BASEBORN (ugra-jati), 69.
BASEMENT (adhisthana), 15
52 ;
183
(adhara),
;
(janman),
150 ;
(janma-nirgama), 183.
(griha-pindi),
;
MOULDINGS (maha-patta),
(rakta-kampa) , 431.
BASIN (karoti), 103.
BASE
BASKET (karanda),
103
416
(majjanalaya), 390
593.
(hara), 612.
;
(tula),
;
(tula-
;
611.
BED [talpa(ka)], 194.
BED-CHAMBER (sayana-mandapa),
4.83
;
(sringara-mandapa), 497.
;
(rahasya-
vasa-mandapa), 436.
BED-ROOM OF
DEITIES (kamya),
BED-STEAD (asana), 64
(kumbha-pada), 127
115.
(kakashta), 115 ;
[khattaka(-tta)],
136 ; (khatva), 136 ; (nishadya), 284 ;
(pallarika), 303 ; (phalakasana), 365 ;
(bala-paryanka), 371 ; (mancha), 390 ;
(manchali), 390.
;
120
(kesara), 130
;
;
(proshtha),
(khadga), 136
;
365.
SCREEN (andhara), 53.
BLUE LOTUS (pushkara), 312.
(griha-raja), 156 ; [gopurakara (-kriti)],
162 ;
161 ; (geya),
167 ;
(ghata),
170; (chatur-mukha),
(chatur-asra),
170; (chakra), 170; (chakra-kanta) ,
170 ; (chandita), 170 ; (charuka), 173;
175 ;
[chauchala (-vadi)],
(chhanda), 181 ; [jagata, (-ti)],
(janaka) 183; (jajna-kanta), 183 ;
(chulli),
80
;
182
;
1
187; (jati-harmya), 188; (jyotish193 ;
(tapash-kauta),
kanta),
191 ;
(jati),
(tri(tri-vishtapa), 223
(tauli), 222
[danda (mana)], 223 ;
bhumi), 223
(dasa-kanta), 225
(dandita), 224
(nandana), 255
(dharana), 246
(nandika), 257
(nandyavarta), 256
257
(paksha(nandi-vardhana),
288
(panjara-sala),
ghana), 287
292
(padma), 296
(pandi-sala),
(panchala), 303
(parvata), 303 ;
(prithivi-dhara),
(pundarika), 310 ;
(pushpaka), 313
310 ;' (puri), 312
325
(prabhava),
323 ;
(prapa),
(prasada-malika),
327
(pralinaka),
(bhadra),
364 (brahma-kanta), 375
(bhu(bhavana-kanta), 380
378
383
(bhu-dhara),
kanta),
383
(bhupa-kanta), 383 ; (bhoga), 388
;
;
;
;
;
;
;
j
;
;
;
BOAT
BOLT
131
(vahana),
451.
(indra-kila) ,
;
(ghatana),
BOLT FOR
67
(kokilargala),
170.
FASTENING
;
;
;
DOOR
(argala),
;
;
;
;
44-
BORDER OF A CLOTH (nipya),
BOUNDARY (antima), 42.
BOUNDARY MARK (kadanga),
Box (manjusha), 391.
;
;
;
BLIND
131
[kailas(s)a],
;
(kshema),
143 ;
(gada),
141 ;
(gaja),
136 ;
(garutman), 145 ; (guva-vriksha), 149 ;
(guha-raja), 149; (griha), 150; (griha150 ;
(griha-chulll),
150 ;
kanta),
(kona), 131
;
BEEHIVE LIKE ORNAMENT (karanda), 103.
BELLY OF A WHEEL (kukshi), 119.
BENCH
(prapatha), 323.
BUILDING (isvara-kanta), 69
(upasatha(kamya), 115; (kunjara),
gara), 89
;
BED-ROOM (kama-koshta), 115
(kucha-bandhana),
;
216
danda), 216 ; (parigha), 300 (bhara),
(hasti-parigha),
381
(bhara), 381
;
466.
BUDDHIST IMAGES (bauddha), 375.
BUDDHIST RAILING (muddha-vedi), 425.
BUDDHIST TEMPLE [gandha-kuti (-1)], 143.
droni),
BEAD
BEAM (gopana), 157
ORNAMENT
BROAD PATH
(snana-
;
BREAST
484.
(vistara),
BRICK (ishtaka), 68.
BRIDGE (setu), 527, 531.
;
302.
sha),
BATHROOM
(sakha),
I2O.
(parna-manju-
;
BRANCH
BREADTH
286.
;
;
;
;
;
98.
;
;
;
INDEX
(mancha-kanta), 390 ; (manika), 394 ;
(malika), 421 ; (meru), 427 ; (meruja),
431 ;
(rariga(yama-sutra),
429
43 6
(rathaka),
433 ;
mukha),
(rudra-kanta) 440;
(ruchaka), 439
446 ;
(vajra), 445 ; (vajra-svastika),
WORK
BUILDING
BUTTOCKS
(vastu-karman), 458.
500.
(sroni),
;
;
(vardhamana) 448 (vardhani) 44.8
449
(valabhi),
448
(virata),
453
(vasa(vata),
(valaya), 450
458;
(vikalpa),
455
nika),
460;
(vipulanka),
458
(vijaya),
(vivrita), 464;
_
.
46
,
(vipulakritika),
(visala),
(vimana-chchhandaka), 464
465
(vishnu(visva-kanta),
464
(vrisha), 470
(vrita),
kanta), 466
471
(vedi(vrishabhalaya),
470
kanta), 474 (vairaja), 475 (vaijayan(sambhu(sankha), 482
tika), 475
490
(sala-malika),
kanta), 483
(siva), 495
493
(libika-vesma),
498
(sri-kantha), 497 ; (sn-bhoga),
498
(sri-jaya), 498
(srl-kanta),
499
498
(Irl-vatsa)
(sri-pada),
(shodaSasra), 510
(shat-tala), 500 ;
(sabha-malika),
510
(satya-kanta),
517 (sarvato-bhadra), 517 (sarvakalyana), 517; (sama), 517; (saroruha),
517; (samudra), 517; (samudga),
(sampurna),
(saihchita),52o
517;
(siddha), 521;
520; (sara), 520;
(siddhartha), 521 ; (sindhuka), 522 ;
(suprati-kanta), 525
(sundara), 525
525
(saura-kanta),
(subhushana),
;
;
5
;
5
.
;
;
;
;
;
;
;
;
;
;
;
;
;
;
;
;
;
;
;
;
CAGE (vyaghra-nida), 475.
CALYX [kulikahghri(ka)], 128.
GAMP (kataka), 95 (skandhavara), 532.
CANAL (nala), 278
(nalika),
279
;
;
;
(marga), 421.
CANAL-HOUSE (nala-geha), 279.
CANE-BOTTOM CHAIR (kochchha),
CANOPY
(torana), 216
(vitana), 460.
CAPITAL (kataka), 95
;
131.
(prabha), 325
;
(kumbha), 126
;
;
175 ;
(pushpa-bodhaka),
[bodhik(a)], 373 ; (raja-dhani),
(chulika),
313;
436.
CAPITAL CITY
180
(cherika),
(nagara),
;
247.
CARPENTER
(takshaka),
192
;
(sutra-
;
;
;
;
;
;
;
;
(saudha- malika), 532 ; (saumya),
(skandha-tara), 532 ; (sthanaka),
(sthira-vastu), 593 ; (sphurjaka),
(svarga-kanta), 594 ; (svastika),
(svastika-khadga), 607 ; (svastikanta), 607 ; (svasti-bandha), 607 ;
532
532
592
593
594
610 ;
(hasti-prish(harmya-kanta),
(hamsa), 612; (hema;
(himavat), 613.
tha), 611 ;
kuta), 613
BUILDING FOR PRESERVING WATER
purita-mandapa),
BUILDING
FOR
(ghatikalaya),
(jala-
185.
THE
WATER
CLOCK
168.
BUILDING MATERIAL (ishtaka,
dhara), 527.
CARVING ON THE DOOR (ghata),
CASKET (manjQsha), 391.
CATTLE-SHED (samgavinl), 519.
CAVE-HOUSE (kandara-griha), 98 ;
167.
(dari-
griha), 225.
CAVETTO
320
(prati-vajana),
;
(rakta-
vapra), 432.
CAVITY (nimna), 282
(sushira), 526.
CAVITY OF A WHEEL (kukshi) 119.
;
,
ClELING
(tauli),
222.
CELL (agara), 51.
CEMENT (kalaka) ,112;
446
(vajra-lepa),
bandha), 514.
;
CENTRAL COURT-YARD
(vajra-sarhghata) ,
446 ;
(sandhi-
(brahmangana),
CENTRAL HALL [garbha-ge
(-ri)ha],
146
;
(madhya-koshtha), 412.
CENTRAL LINE OF A FOUNDATION (garbhasutra), 148.
etc.),
68
;
(kolaka), 132.
BUILDING WIDTH AS MEASUREMENT (apasamchita), 42.
BUILDING WITH HEIGHT AS STANDARD
OF MEASURE (asamchita), 50.
PART (brahma-pada),
(brahmams'a), 376.
CENTRAL
375
;
CENTRAL PART OF A TOWN (brahmasthana),
376.
CENTRAL PART OF A VILLAGE (brahmamandala),
376.
INDEX
CENTRAL THEATRE (madhya-ranga) 41 2.
CHAIN (srinkhala), 496
(hara), 612.
CHAIN-ORNAMENT (eka-hara), 94.
CHAIR (mancha), 390.
CHAIR RAISED ON A PEDESTAL (ctaka,
;
padaka-pitha),
94.
58.
CHAMBER
CHANNEL
(evarhkanta)
(koshtha),
133.
(jala-sutra),
186
(tilamaka),
;
CHAPEL
CHARIOT
(deva-kula), 229.
(nabhas(anila-bhadraka), 38
van), 257 ; (nivata-bhadraka), 284
(pushpa-ratha) , 313 ;
(pavana), 303
(prabhanjana) 325 ; (bhadraka), 379
(ratha), 435 ; (syandana), 593.
;
LOTUS-SHAPED BASE
94.
124.
COLUMN WITH ONE MINOR PILLAR
(evaiii-
94.
COLUMN WITH TWO OR THREE MINOR
PILLARS
(evamkanta),
94.
COLUMNS OF A PAVILION (gatra), 149.
COMFORTABLE
COMPARTMENT
(kamakoshta),
214.
,
COLUMN OF THE WALL (kudya-stambha),
kanta),
CHAIR WITH MANY LEGS (amalaka-vantikapitha),
COLUMN HAVING A
115.
COMMITTEE [goshthi-(ka)], 162.
COMPARATIVE HEIGHT (ganya-mana),
141.
;
;
;
CHEEK
(kapola),
CHIEF-ARCHITECT
101.
(sthapati),
CHISELLING THE EYE
578.
(nayanonmilana),
CIRCLE (nirvyuha), 284.
CIRCULAR COURT IN THE INNER COM-
POUND (antar-mandala), 40.
CIRCULAR FILLET (kampa-vritta),
CIRCULAR PATH (bhramana), 388.
CIRCUMFERENCE (nemi), 287.
102.
CONVEYANCE
CORNER LEAF
431.
(karna-patra), 106.
(yana),
;
(strl-
GLASS OF PEOPLE (karnikara), 108.
CLASS OF TWO-STOREYED BUILDINGS (ad14.
CLOSED VERANDAH (andhara), 53.
CLOSED WALL (koshtha-s'ala), 133.
CLUB HOUSE [oroshthi(-ka)], 162.
COFFER WITH A PILLOW (kosa), 132.
COGWHEEL MEMBER OF THE DOME (amalasara),
43.
COLLEGE (raatha), 391.
COLLET (mani-bandha), 394.
COLONIAL SETTLEMENT (nivesana), 284.
COLUMN (chitra-skambha), 174; (jaiigha),
;
;
(jayanti),
184
(pota),
315 ;
(dvi-vajraka),
;
(netra-
;
CORNICE (kuti), 120.
CORONATION HALL (abhisheka-mandapa),
[alinda(ka)], 46
;
(mandapa),
395-
'inga), 577-
bhuta),
104
(karna),
286.
43-
[khaluraka f-rika), 138 ; (sarhviddha), 520 ; (sthaniya)], 592.
CLASS OF BUILDING (abhasa), 54
kuta),
CORRIDOR
CITY
182
DIMENSIONS (ayadi-karman), 60.
CONSIDERATION OF FORMULAS FOR RIGHT
PROPORTIONS (ayadi-bhushana), 60.
CORNER TOWER
258.
244
CONSIDERATION OF FORMULAS FOR CORRECT
(lakshmi-stham-
COTTAGE (kuti), 120.
COUCH (anvanta), 42;
136;
(paryanka), 303
(mancha), 390
(khatva),
(kakashtu), 115;
194;
(ka)],
(bala-paryanka), 371;
(vahya), 448.
[talpa
;
;
COUNCIL CHAMBER (sabha), 515.
COUNCIL HALL [ba(va) lanaka], 366
;
(madhya-sala), 413.
COURSE (marga), 421.
COURT
45
(ardha-mandapa),
;
(prari-
gana), 343.
COURT [ahka(ga)na], 3.
COURTYARD [anka (ga) na],
286
;
(vasa-ranga), 455
COURTYARDS
WITH
3 ; (nihara),
(vikata), 458.
;
IMAGES
JAIN
OF
GOMATA (betta), 374.
COVER (anghrika-vari), 12.
COVERED ARCADE (bhrama), 388.
COVERLET (upavasana) 88.
,
bha), 440
ya),
532
(sthanu),
;
(saumukh532
(skanda-kanta),
(vajra),
;
592.
445
;
;
GOWSTALL
161
;
(gotra),
(go-matha),
157
161.
;
(goshtha),
INDEX
GRAB
(karkata),
104; (kuli(I)ra], 128.
CREEPER-LIKE ORNAMENT (karnika), 108.
DIADEM
CRENELLE
DIAMOND BAND (vajra-patta), 445.
DIAMOND THRONE (vajrasana), 446.
DIM LIGHT (avachchhaya), 48.
DINNING HALL (abhyavahara-mandapa),
(indra-kosa), 68.
CREST-JEWEL (likha-mani), 492.
CROCODILE (kirhbara), 117 (graha),
;
CROCODILE-SHAPED ORNAMENT
167.
(makara-
(kubjaka),
125.
CROSS-BAR (suchiya), 525.
CROSS-BEAMS (bhara), 381.
CROWN
291
117;
(kirita),
(ushnlsha),
(kadaiiga),
DOME
(patta-bandha).
(kalaSa),
gnha),
(karnika)
08.
CROWNING FILLET (uddhrita), 75.
CROWNING PART OF THE HINDU SIKHARA
(amalasila), 43.
98
108
(parikha),
;
(gala-kit ta),
;
179.
DOOR
(abhasa), 54 ; (udumbara), 74 ;
(kapata), 98; (kavata), 114; (grihamukha), 156 ; (chhanda), 181 ; (jati),
187 ; (dvara), 235 ; (srenita-dvara)
499
(sutra-patti), 527.
,
;
DOOR-FRAME
CUPOLA
DOOR-LINTEL (dvara-lakha), 243.
DOOR-MOULDING
(chatur-varga),
13
108
(kalasa),
;
;
126.
(kumbha),
CUSHIONS (asanda, asandi), 66
kaspu),
(abja), 42
pana),
DADO
;
410.
(ambuja), 44
;
(kshe-
98
;
(gala),
148.
(dvara-
171
;
(madhya-bhuvanga), 412.
DOOR-POST (durya), 229.
DORMER WINDOWS
DOUBLE-STOREYED
(chandra-sala),
PAVILION
172.
(adhiman-
15.
DOVE-COT (kona-paravata), 132.
DOVE-RIDGE (kona-paravata), 132.
DRAFTSMAN (sutra-grahin), 527.
DRAIN (jala-dvara), 185
(danta-nala),
225
(mriga-vana), 427.
DEFECTS OF THE LIMBS (anga-diishana),
;
(pranala),
316
DEFENSIVE WALL (dehi), 233.
531-
DRAWING-ROOM (alankara-rnandapa) 46
;
-
(purushaiijali),
DESIGNER (vardhaki), 448.
DETACHED PAVILION OF A TEMPLE WHERE
THE IDOLS ARE DRESSESD (alarikara-man377.
;
(bhadra-sala),
DRINKING-HOUSE (madira-griha), 410.
DRIP (nimna), 282.
DRIP-MOULDING (kshepana), 135.
DRUM OF THE EAR OF AN IMAGE (karotl),
103.
DWARF
312.
dapa), 46.
;
380.
DEITY-CHAMBER (garbha), 145.
DEMI-GODS (gandharva), 144
(yaksha),
DEPTH (nimna), 282.
DEPTH OF FOUNDATIONS
(soma-sutra),
;
[khaluraka (-rika)], 138
4.
DEVOTEE (bhakta),
;
;
167.
DEER FOREST
43 1
135
(kshepana),
243.
sakha),
dapa),
135.
(kandhara),
(griva),
(kas"u,
;
115.
CUSTOM HOUSE (mandapika),
CYMA
;
;
CRYSTAL PALACE (mani-harmya), 394.
CUBIT (hasta), 610.
(anda),
298.
148
576
(stupl), 576.
CONSTRUCTION
(chaitya-
(stupa-griha),
DOME-LIKE
90.
CROWNING OF THE ENTABLATURE
1
117;
43
(bhojana matha), 388 ; (harmyagarbha), 610.
Disc OF VISHNU (chakra), 170.
DITCH
429.
(mauli),
;
CROWNET
(kirita),
;
kundala), 389.
CROOKED
90;
(ushnlsha),
(vira-patta), 469.
PILLAR (upapada), 76.
DWELLING
(avasatha), 63 ; (a^rama), 64 ;
229 ; (bha(asana), 64 ; (durya),
vana), 380.
DWELLING-HOUSE (avasa), 63 ; (sthanal.
592.
INDEX
E
F
EAR OF THE ELEPHANT (kari-karna)
EAR OF AN IMAGE (karna), 104.
EAR-ORNAMENT (karna-puraka),
107
(karna-bandha),
,
103.
107
;
(makara-bhu-
;
shana), 389.
EAR-RING (graha-kundala), 167
EDGE
;
(parSva-
305.
purita),
(arhlru), 50.
EDIFICE (sukshetra), 524
(stupa), 574 ;
(harmya), 608 ; (hiranya-nabha), 613.
;
A
OF
PARTS
EIGHT
BUILDING
(ashta-
50.
varga),
EIGHTH STOREY
(ashta-tala),
49.
EIGHT-STOREYED BUILDING (deva-kanta),
(maha-kanta), 415, etc.
229
ELEVEN-STOREYED BUILDING (arka-kanta),
(ekadaSa-tala),
44 ; (isa-kanta), 69 ;
;
94, etc.
ELEVENTH STOREY (ekadasa-tala),
ENCLOSED SETTLEMENT (ayatana),
94.
59.
;
,
(avrita), 63 ;
(chhanda-prakara), 181; (jati-prakara),
187 ; (prakara), 337 ; (vara), 454 ;
;
;
(kuttima), 121; (kumbhalankara), 127 ;
(khandottara), 136 ; (gopana), 157
(patra-bandha), 294; (prachchhadana),
;
(prastirya),
328
(prastara),
315
337; (matta-varana), 410; (rupottara),
(vidhana),
440 (vardhamana), 448
;
;
FAST CONVEYANCE (adika),
389.
52.
FEMALE APARTMENT (antah-pura), 40
(garbhagara),
;
144.
FERRY [ghat (-ta)], 169.
FESTIVE HALL (utsava-mandapa),
73.
FIGURE HEAD (unhisa),
FILLET (antarita), 39
70.
(aliiiga), 63 ;
(upana), 89 ; (kampa),
(kampana), 102 ; (kshepana),
289 ; (rakta-kampa),
(patta),
(vajana), 452.
;
02
;
135
431
;
;
;
FINGER (aiigula), 4.
FINGER-BREADTH (ahgula),
FINIAL (kalasa),
108
4.
(salanga),
;
489
;
(sikhanta), 492.
FIVE-STOREYED BUILDING (kalyana), 114;
(pancha-bhumi), 288
(yajna-kanta),
;
431, etc.
;
;
460.
;
(prave^a), 337
(samchara), 519.
(dvara), 235
(velaria),
474
;
;
;
(garbhavata), 148.
EXTENSION (bahala), 370.
EXTERIOR (griha-mukha), 156.
EXTERNAL SIDE OF A BUILDING (bahiranga), 370.
(aksha), i.
LINES (akshi-rekha), 2.
FLAG (jayanti), 184.
FLAG STAFF (danda), 223.
FLIGHT OF STEPS (achala-sopana),
ENTRANCE DOOR (mukha-varana), 424.
EXCAVATION
147
(garbha-bhajana),
EYE
EYE
FAN (vyajana), 475.
FAN POST (bhrama-danda),
1
138.
ENTRANCE
FACIA (asya), 67.
FAIR (hatta), 607.
FAIRY (vidyadhara), 460.
FAMILY (parivara), 301.
FAMILY HOME (griha), 150.
[khaluraka(-rika)],
ENCLOSURE WALL (pancha-sala), 288.
ENLIGHTENED ONE (Buddha), 373.
ENTABLATURE (alaksha), 46 (kuti), 120
(mukha),
FACE (vaktra), 444.
FACE OF A BUILDING (griha-mukha), 156.
FACE OF A SHARK (makarf- vaktra), 389.
(uttara), 70
526.
ENCLOSURE-BUILDING
;
FIFTH ENCLOSURE (maha-maryada), 417.
FIFTH STOREY (paficha-tala), 288.
ENCLOSURE (ayatana) 59
(sutalaya),
FACADE (griha-mukha), 156
(kati),
96
;
(ghatta),
12
;
168.
FLIGHT OF STEPS FOR A HILL (adn-sopana),
14.
FLOOR
(kuttima),
FLOOR
INLAID WITH JEWELS (mani-bhu),
121
;
(bhauma), 388.
394-
FLOWER-BUD (manjarl),
FLUTE (karuna-vlna), 103
(vina),
468.
391.
;
(varhsa), 451
;
INDEX
FOOT
u
(arighri)
(charana),
;
G
172.
FOOT-PATH (jaiigha-patha), 183
(pak-
;
shaka), 287.
FOOT-PRINTS (sri-pada), 498.
FOOT-PRINTS OF BUDDHA (buddha-pada),
373-
FOREST
115.
(kantara),
GALLERY
[alinda(ka)],
46
(deva-kula),
;
229.
GARDEN (pushpa-vatika) 313.
GARDEN HOUSE (arama), 61.
GARRET (chuli-harmya), 175.
GATE (dvara), 235 (vara), 454.
,
;
FOREST FORT (vana-durga) 446.
FORMULA OF HEIGHT (utsedha),
GATE-CHAMBER
,
FORT
131
(kota),
;
73, etc*
;
132
(kolaka),
(dvara-koshtha), 243.
GATE-HOUSE (indra-kaata), 67
57
243
r
137 ; (khaluraka (-rika)],
138 ; (giri-durga), 149 ; (durga), 226
245
(parikha(dhanva-durga),
(vahinl-mukha), 458 ;
durga), 300
(sahaya-durga), 519 ; (sainya-durga),
GATEWAY
528.
GABLE WINDOW
(kharvata),
;
;
;
FORTIFIED CITY (kharvata), 137
;
(durga),
226.
(gopura),
;
243
(dvara-sobha),
(dvara-harmya), 244
(brahmakanta), 375
(maha-gopura), 415
(srl-visaia), 499
(shodasa-tala), 500
(saumya-kanta), 532.
(dvaraka),
J
;
;
;
;
;
;
216;
(tor.-ina),
(netra),
(pratoli), 321.
286.
GIRDLE (kati-sutra), 97.
GLASS (chitra), 173
(chitrabhasa),
GOD'S RESIDENCE (devalaya), 231.
;
FORTIFIED
TOWN
(khetaka),
FORTRESS (drona-mukha), 234
139.
(sarhgra-
;
hana), 519; (sthanlya), 592.^
FOUNDATION
(adhi),
53 ;
(garbha),
(garbha-nyasa), 147 ; (garbha148 ; (griha-garbha), 150 ;
vinytsa),
(deva-garbha), 229
(jalanta), 186
(bandha), 366 ; (mula-sthana), 426
(Silapravesa),
(vaiSya-garbha), 475 ;
494-
145
;
;
;
;
FOUNDATION
A
OF
VILLAGE
(grama-
garbha), 166.
FOUNDATION PILLAR (mula-danda), 426
;
FOUNDATION-PIT (garbha-bhajana), 147
FOUNDATIONS
148
OF
;
133
(phcla),
TEMPLES
;
365.
;
(tandula-mandapa),
;
121.
GROUND FLOOR [eka-tala(-bhuml)], 92.
GROUP PAVILION (bahu-mandapa), 371.
GUTTER ( jala-dvara) 185
GYMNASIUM (kumarl-pura),
,
,
513.
FURNITURE (upadhana), 76
305, etc.
;
281.
(nail),
279.
125.
170.
FREE QUARTERS [chhat (-t)ra (-!)], 180.
FRIEZE OF THE ENTABLATURE (gala), 148.
FRONT DOOR (kulambha-dvara), 128.
FRONT ROOM (bhadra-sala), 380.
FULL RELIEF (chitra), 173.
nida),
193.
H
(chatur-mukha),
(sadasiva),
115.
(koshthaka),
;
(brahma-
FOUR-STOREYED BUILDING (indra-kanta)
67
133
GREAT DOOR (maha-dvara), 415.
GREAT ELEPHANT (airavata), 95.
GREAT HALL (maha-mandapa), 416.
GREEN ROOM (nepathya-griha), 287.
GROUND FOR HOUSES (kutumba-bhumi),
garbha), 375.
FOUR-FACED
kaspu),
GUILD HALL (nigama-sabha),
(mula-stambha), 426.
(garbhavata),
GOLDEN SEAT (kasa,
GRANARY (koshtha),
174.
;
(paravata-
HABITATION [geha. (-ka)], 156.
HALF CHAIN OF 64 STRINGS (ardha-hara),
46.
HALF PAVILION (ardha-mandapa),
45.
HALF-RELIEF (chitrardha), 175.
HALL
120
;
(griha), 150 ; [geha
(chatur-mukha),
170;
(danda-kanta), 224 ; (dandaka), 224 ;
(kuti),
(-ka)],
156;
(vikata),
315;
459; (sabha), 515.
(prakoshtha),
(vijaya),'
458;
INDEX
HALL BEHIND THE MAIN HALL
(anu-Sala),
',
HYDRAULIC ENGINEER
da)],
38.
[jala-sutra (-sutra-
186.
HALL OF AUDIENCE (upasthana-bhumi),
89-
HALL-MANSION (kolhi-veSmika),
HAMLET
HAMMOCK
132.
IDOL
(vigraha), 459 ;
(sthavara-bera), 593.
453.
(vataka),
(andola), 53
HANGING BALANCE
;
(dola), 192, 233.
(chitra), 173 ; (chitrabhasa), 174
(bimba), 372 ; (bera), 373 ; (miirti),
426
(shodaSa-pratima), 510.
(kuntala),
;
(chitra130
125 ; (kesa-bandha),
kalpa), 174; fmakuta), 389; (maulibandha), 430.
IMAGE FOR PROCESSIONS (utsava-vigraha),
73-
HEIGHT (kautukodaya),
134; (jayada),
184; (tunga), 215; (dhanada), 244;
(paushtika), 315 (sarva-kamika) 517.
;
IMAGE WITH THE RIGHT HALF REPRESENTING SlVA AND THE LEFT HALF OF HIS
CONSORT DURGA (ardha-narisvara), 45.
,
(bhumi-lamba),
INDIAN ORDERS
386.
(Sirastraka),
HERMITAGE
sthana),
INNER WALL (antah-sala), 41
493.
(asrama),
64
bhitti),
(ghatika-
;
496.
;
(antar-
40.
INSTITUTION (RELIGIOUS CENTRE) (ghatika-
168.
HIGH RELIEF (chitra),
HIGH WAY (raja-patha),
sthana),
173.
437.
HOSPITAL (jvara-devalaya), 191.
HOUSE (avastha), 48 ;
(agara),
51
INTERNAL ENCLOSURE
A TEMPLE (antah
INTERNAL PORTIONS OF A MANSION (antahsala), 41.
INTERNAL RAMPART (antar-vapra), 40.
IRIS OF
THE EYE (krishna-mandala),
;
;
ISO-
IRON
;
(pastya), 303
(dhaman), 246
(s"ala),
484
(sala(sarma), 483
griha), 489
(luddha), 496.
HOUSE WITH FOUR HALLS (chatuh-sala),
;
IN
hara), 41.
(alaya), 63 ; (kacha),
(ayatana), 59
(kshudra-sala), 135; (griha),
115;
156
[geha-(ka)],
[dam(a)],
150 ;
;
168.
INTERIOR CORRIDOR (antaralaka), 38.
INTERIOR WINDOWS (kuhara), 128.
INTERIOR OF A WHEEL (kukshi), 119.
INTERMEDIATE SPACE [antarala (ka)J, 38.
HILL-FORT (giri-durga), 149.
HlP OF AN IMAGE (kati), 96.
HIP-PART OF A BUILDING (kati), 96.
HOLLOW MOULDING (aghana), 2.
HOLY FIG TREE (asVattha-vriksha), 49.
HORSE STABLE (vaji-Sala), 452.
225
(sumbharhkarl),
INNER PARTITION (antah-sala), 41.
INNER PLINTH (antar-janman), 40.
INNER ROOM (uvaraka), 92.
HEADLINE RUNNING ALONG THE TOP OF
THE BANISTERS (unhlsa), 70.
HEAD ORNAMENT (chulika), 175.
HELMET
;
;
;
HEIGHT OF A STOREY
;
IMAGE
493.
;
510
IDOL, POSES OF (ati-bhanga), 13, etc.
216.
(tula-bhara),
HEAD (kuta), 128 (siras),
HEAD GEAR (karanda), 103
(sakala),
(loha), 444.
;
;
;
;
JAIN-SAINT
171.
HOUSE-ENTERING
prave^a),
HUB
CEREMONEY
367.
;
OF THE WHEEL (kukshi), 119.
(kota),
(basadi),
JAMB (dvara-sakha), 243 (s"akha), 484.
JAR (ghata), 167.
JEWELLED MANSION (mani-harmya), 394.
JEWELLED PAVILION (mani-mandapa), 39^.
150.
HUMP-BACKED (kubjaka),
HUT
(eriha-
215.
(tlrthankara),
JAIN TEMPLE
125.
131.
8
INDEX
JOINERY
(karkata),
128
(tri-karna),
;
104
222
j"kuli(!)ra],
;
(danta-kila),
;
LIMIT (antima), 42.
LINE OF THE EYES (akshi-sutra),
2.
(brahma-mastaka), 376 (mahavritta), 417
(tnesha-yuddha), 429
(vardhamana), 448 (sandhi-karman),
514 (samkirna), 519 ; (svastika), 594.
JOINERY RESEMBLING THE SHAPE OF A
BISECTED HEART (ardha-prana), 45.
LINES (karya-satra), 116.
JOINT (phana), 365
LITTER (dola), 192.
LOCALITY
[gfiha
(-mana-sthana)-vin-
225
;
;
;
;
LINTEL
;
;
(saadhi), 513.
K
KIOSK
MANE
LION'S
KNOB (kabandhaaa),
151
288.
130
(kesara),
LIQUOR SHOPS
;
LOCK OF HAIR
LOFTY HOUSE
(harmika), 608.
(svarasaaa),
;
607.
yasa],
KITCHEN (pachanalaya),
414
(masuraka),
;
(apana),
54.
591.
(sthana),
(kiintala), 125.
(attalika),
12.
LOOKING-GLASS (darpana), 225.
LOTUS (abja), 42
(kamala), 102.
101.
;
LADDER
(chala-sopana),
LOTUS FILAME:-: :v, (li^ara), 130.
LOTUS STALK (nala), 278.
LOWER PART OF AN ARCHITECTURAL
173.
LAIR (nlda), 286.
LAMP-PILLAR (dipa-dana), 226.
LAVTP-POST (dlpa-danda), 226
(rnanju;
danda),
bhara),
LOWER
391.
LAMP-POST MOULDING IN THE SHAPE OF
A WATER-POT (anghrika-vari), 12.
LANDING [ghat (-ta)], 169.
LANE
OBJECT (kanya), 98.
LOWER PART OF A CHARIOT
(antar-vlthl) ,
40
;
PILLARS [kshudra-nasa(i)], 135.
LYING-IN-CHAMBER (garbhagara)
183.
;
harhbuja), 417
(maha-vajana), 417.
LARGE FILLET (maha-patta) 416 (maha;
;
vajana), 417.
LARGE HALL (maha-sala), 417.
LARGE VESTIBULE (maha-uasi),
LARGE VILLAGE (maha-grama),
LATCH (kokilargala), 131.
415.
144.
M
MAIN
MAIN
MAIN
MAIN
MAIN
BUILDING (mukhya-harmya), 424.
COLUMN (griha-stambba),
PILLAR
128.
436.
TEMPLE (rnula-hannya), 427.
MANSION (jati-sala), 187.
MANSION WITH ONE ROW OF BUILDING
(eka-Sala),
94.
(chitra),
173.
(chitrabhasa),
174.
MARK ON THE FOREHEAD
MARKET (nigama), 281
MARKET PLACE (apana),
;
vinyasa), 166.
FOUNDATIONS
156.
[kulikanghri(ka)],
STREET (ratha-vlthi),
MARBLE
415.
LATTICED WINDOW (jala-gavaksha), 190.
LAYING-OUT OF THE VILLAGE (grama(garbha-
nyasa), 147.
LEAF (dala), 225.
LEAF OF A DOOR (kavata), 114.
LEO OF AN IMAGE (jarighii), 182.
LIBRARY (dharma-ganja) 2^.5.
LIGHT SHADOW (apachchhaya),
;
(mandi),
(sila-patta-vamSa), 493.
MASONRY
;
53
(vasati), 450.
MASONS
42
(tilaka), 214.
(hatta), 607.
410.
MART
,
(avachchhaya), 48.
,
(jangha-patha),
LARGE COUGH (asanda, asandi), 66.
LARGE CYMA (maha-patta), 416 (ma-
LAYING THE
(aksha-
i.
MAT
MAT
MAT
(sila-karma),
(ka^a, kaspu),
493.
115.
OF SPLIT BAMBOO (kata), 95.
OF SPLIT CANE (kata), 95.
INDEX
MEASURE
44;
117;
[danda
226
(daSa-tala),
(dvi-tala), 244
(dhanur-graha), 245
(dhanur-mushti), 245
(dhanus), 245
(ratni),
434 ;
(vitasti),
459
(vyaya), 475
(santika), 484.
(aratni),
(gokarna), 156
(-mana)], 223
(kishku)
(jati),
;
187
;
;
;
;
;
;
;
;
;
;
MEASUREMENT
(ghana),
169
(aghana-mana),
(ghana-mana),
;
3
;
169
;
MEASUREMENT OF THICKNESS (unmana),
76.
MEASUREMENT OF HEIGHT OR LENGTH
(mana), 418.
MEASUREMENT OF THE INTERSPACE (upamana), 88.
(vira-
;
469.
(kirti-stamha), 119.
;
(asana),
(karna), 104 j
;
(kumbha),
126;
(kona-loshta),
(kshdurabja),
[kshudra-nasa(-i)], 135
(gaja),
(gavakshakara), 149 ; (gopana),
(chitra-patta), 174 ; [jagata (-ti)],
;
;
216;
223
224
246
184;
195
(tri-patta),
222;
;
;
141
;
157
182
;
;
193;
(tala),
(tatika),
;
132
135
;
(tula),
(tri-vargaka),
(dandaka),
224 ;
(dandika),
;
(dala)
225
(dhara-kumbha)
;
(nataka), 272
(natika),
273
281 ;
(nidra),
282
[nib(-v)ida],
(nirgala), 283 ; (pahka), 288 ; (patra),
293 ;
(patra-patta), 293 ;
[ pa tra;
;
,
;
valh-(ka)], 294
;
[padma-(ka)], 296
;
(purna-kamba),
314; (potra), 315;
317; (pratima), 317;
317
(prati-bandha),
319
;
vaktra),
BOLTS [parigha(-gha)], 300.
;
319
(prati),
;
(prati-patta) ,
319
(prati-rupa),
( prat i_
321
;
(
pra t-
.
/
u
(phala-patta),
[Bali(-i)ka(-a)], 366; tbali-pit'ha-(ka)]
MEZZANINE ROOM (koshtha), 133.
MIDDLE-DOOR (brahma-dvara) 375.
MIDDLE MEMBER (galariga), 148.
MIDDLE PART OF A WHEEL (kukshi),
365
(phalaka),
;
i
366
(bhadra), 378
(bhadra-patta),
379 (bhOshana), 387 (mahambuja),
417; (mudrika), 425; (mushti-bandha), 425
(mrinalaka), 427 ; (ratnaP a a ), 434 (lambana), 440 (vaktra),
444
(vajra-patta),
445
(valaya),
450 ; (vitaiika), 459
(vihrita), 468;
(vetra), 471 ;
(ve^ana), 474
(Saktidhvaja),
476
(saroruha),
517
(samgraha), 519
(saushthika), 532
(harita), 607 ; (homa), 613.
MOULDING OF THE BASE (antara), 38 ;
(antarita), 39
(argala), 44.
;
;
;
119.
;
;
MIDDLE RELIEF (ardha-chitra), 45.
MIDDLE TABERNACLE (madhya-bhadra),
;
;
;
412.
;
;
MIDDLE VESTIBULE (madhya-nasi)
MIDDLE WALL (brahma-bhitti),
MILITARY-POST
(attalaka),
;
412.
,
;
376.
12.
,
;
367
(vihara),
matha), 513.
;
466
;
;
OF
THE
ENTABLATURE
(antarita), 39 (kshudra-gopana), 134.
MOULDING OF THE PEDESTAL (antara), 38
(antarita), 39 ; (kumbhalankara), 127.'
MOULDING OF THE THRONE (kokila),
;
;
MONASTIC ESTABLISHMENT (sthana), 592.
MONK'S CELL (pari-vena), 302.
;
284
(vira-karna)
;
;
MOULDING
(basadi),
(satravasa-
MONTH (kanya), 98 (tula),
MONUMENT
(dharma-rajika),
;
;
MINARET (karna-harmya) 107.
MINOR DEITIES (avarana), 63.
MONASTERY (ayatana), 59
(nishidhi),
130 ;
(kshepana), 135
(kesara),
[pratika(-I)],
469
(vfra-gala),
MEMORIAL PILLAR
METAL
(karika), 103
(karkata),
104;
;
(tarahga), 193
MEASUREMENT OF BREADTH (pramana),
sasana),
64
[jayanti(-I)],
(lamba-mana), 440.
MEMORIAL
MOULDING (achchhadana), 52
131.
216.
(vira-kantha),
245
;
469
;
MOUNTAIN PASS [ghat (-ta)], 169.
MOVABLE IDOL [jangama-(bera)], 182.
MOVABLE LAMP-POST (chala-danda), 173.
MOVABLE STAIRCASE (chala-sopana), 173.
MOVABLE STRUCTURE (chara-vastu), 173.
Music HALL [natta
(natya)-s"alaj, 278
469.
MONUMENTAL FACE (kirti-vaktra),
MOSQUE (masi(-si)ti), 414.
MOUNTAIN PASS [(ghat-(ta)], 169.
1
18.
;
[nritta(-tya)-mandapa], 286.
10
INDEX
N
434
(rudra-bandha), 440
;
(lamba-
;
patra), 440 ; (valaya), 450
[vastranip(y)a], 450 ; (sarikha-kundala), 482 ,
(sarikha-patra), 482 ; (siralamba), 493 ;
;
NAIL
[indra-klla(-ka)], 67
;
(klla),
119.
NATURAL FORT (deva-durga), 229.
NECK (kantha), 97
(kandhara), 98
;
(gala),
148
;
(galanga), 148
;
(harita),
(grlva),
NECKLACE (graiveyaka), 167.
NECK-ORNAMENT (grlva-bhushana), 167.
NEPALESE CHAITYAS (koshthakara), 133.
NERIUM ODORUM FLOWER (karavlra), 103.
NEST (nida), 286.
NICHE (kumbha-panjara), 127 (gokhla),
>
(goshtha-panjara),
NINE GEMS (nava-ratna),
vriksha),
112
;
OUTER ROOMS
OUTER WALL
162.
259.
OVAL
(nasa), 279.
;
OVOLO
50.
;
MEASUREMENT (adbhuta), 14.
OF THE NINE MATERIALS FOR SCULPTURE (abhasa), 54.
ONE OF THE SIX FORMULAS FOR ASCERTAINING THE RIGHT PROPORTION (arilSa), 50.
ONE OF THE SIX FORMULAS FOR THE
PALM (tala), 193.
PANEL OF A DOOR (kapata),
OPENING FOR SHOOTING THROUGH
PARAPET (indra-kosa), 68.
ORCHARD (vatika), 453.
ORDER AND ORNAMENTS
46
PARADE [khaluraka (-rika)], 138.
PARAPET [danda(-manaj), 223 (para;
ta), 298.
PARAPET STAFF [jayantika(-ka)], 184.
PARLOUR [khaluraka (-rika)J, 138.
PART OF A TOWER [suka-nasa(-sika)], 495.
PART OF COLUMN (upatula), 76.
PART OF THE BODY BETWEEN THE BREAST
AND BACKBONE (brihati), 373.
PART OF THE EYE (sveta-manda), 500.
PART OF THE PILLAR (koshthaka), 133.
64.
IN A
(ardha-hara),
(karavira), 103 ; (kari-karna), 103 ;
(karna-patra), 106 ; (kumbhalankara),
;
127;
[kulikahghri(ka)], 128; (kona;
167 ; (chitra(graha),
188 ;
kalpa),
174;
[jala-(ka, ka)],
[tat(-d) aiika], 195
(darpana), 225 ;
(nakshatra-mala), 247 ;
(pa.da-ja.la),
304 ; (parsva-puli), 305 ; [palika(-i)],
PARTITION (bhitti), 381.
PARTITION WALL (antar-bhitti), 40.
loshta), 132
PATH-MAKER (tlrthankara), 215.
PAVED WITH SMALL PIECES OF STONB
;
305
389
98; (kavatal,
114.
RIGHT PROPORTIONS (aya), 58.
OPEN HALL (mandapa), 395.
(avrita-mandapa),
(uttaroshtha), 71.
;
ONE
PAVILION
;
PAINTING (chitra), 173.
PAINTER (vardhaki), 448.
PALACE (prasada), 343 (raja-harmya),
(saudha), 531.
437
PALANQUIN (sibika), 492.
OIL-POT (taila-manjushika), 216.
ONE OF THE FIVE PROPORTIONS OF THE
OPEN
(bahir-bhitti), 371.
BUILDING (gaja), 141
(dvyasra244 (bhu-mukha), 386.
vritta),
OBSERVATORY (mana-mandira), 420.
OCTANGULAR BUILDING [ashtas"(s)ra],
OFFERING (homa), 613.
371.
(bahir-bhitti),
NOSE
;
;
(bahya-Sala), 371.
OUTSIDE PARTITION
157
526
499.
(sri-vriksha) ,
NINE-STOREYED BUILDING (nava-tala), 258.
(goji),
(sumarigali),
ORNAMENTED HAIR (dhammilla), 245.
OUTER COURT (bahir-aiiga), 370.
OUTER PLINTH (bahir-janman), 371.
;
5^
;
607.
ORNAMENT AT THE BASE (kataka), 95.
ORNAMENTAL BAND (chitra-patta), 174.
ORNAMENTAL TREE (kalpa-druma, kalpa-
167.
1
497
(sri-kara),
;
(karkari-krita), 104.
(bhushana), 387 ; (makarapatra),
;
(misrita), 423 ; (mukula), 423
(ratna-kalpa), 433 ;
(ratna-pushpa),
;
PAVEMENT
;
ma), 121.
II
(uttanapatta),
71
;
(kutji-
INDEX
PAVILION WITH TWENTY PILLARS (karni-
PAVILION (abbasa), 54
(karna-kuta),
115;
(kamakshi(kanta),
105;
11 5
(kuladharina-mandapa),
134;
(kausika),
dharana), '128;
(gandha-madana),
(k.uisalya), 134
144; (jaya-bhadra), 184; (jayala),
(dandita),
184; (dandaka), 224;
(devata225
(darbha),
224
(dhanada), 244
mandapa), 229
(nandi-mandapa),
(nandana), 255
2 55
(nirvasa258
(nava-rariga),
;
kara), 1 08.
(kuta),
PEAK
>
PEARL-STRING (mani-bandha), 394.
PEDESTAL (upapltha),
76; [khattaka
170;
(ghrita-vari),
136;
(-tta)j
;
172
(padma-pitha),
(chatuh-sila),
(prati-bhadra),
297
(pindika), 306
(mancha(bhadra-pltha), 379
317
(maha-pitha), 416
bhadra), 390
(ruchira), 439 ; (vedi-bandha), 474
(vedi-bhadra), 474 (^rl-bhadra), 498.
;
;
;
;
mandapa), 283"; [nisha-daja(-dha)],
(pari296
284
[padma(-ka)],
;
;
;
:
;
;
313
(pushpaka),
305
(pratima313
(pushpa-bhadra),
mandapa), 319; (pragata), 343;
(bhadra373
(buddhi-sariklrna),
mandapa), 380 (bhaga-pancha), 380 ;
(maiigala), 389
(bhushana), 387
(man394, 417 ;
(mani-bhadra),
(mana-bhadra), 420
dapa), 395
421 ;
(malika),
(manava), 420
(malyaja),
(malika-mandapa), 423
(mukha423
(malyahuta),
423
429
(meruja),
mandapa), 424
(yajna-bhadra),
430
(maulika),
(ranga),
431 (yaga-mandapa), 431
434
(ratna-maandapa),
432
(viniyoga-man458
(vastu-kirti),
[vrita
(vlrasana), 470
dapa), 460
(-tta)j, 470 ; (vrisha mandapa), 471 ;
(satardhika), 482; (satru-raardana),
483 (sishta-mandapa), 495 (syama499;
bhadra), 497; (srutiiii-jaya),
(satl-mandapa), 510;
(srirupa), 499
(sirhha), 522
(satra-mandapa), 513
525;
(sugrlva),
(sukhanga), 524;
(surata), 526
525
(subhadra),
(snapana-mandapa),
(suslishta), 526
593
(snana-mandapa),
593
(sthapana(snapana-mandapa), 593
(svastika),
594
mandapa), 593
612
607
(himaja),
(harita),
yatra),
;
;
;
>
;
;
;
;
128.
PEDESTAL MOULDING
;
PEG (torana), 216.
PENDENT (avalambana), 48
;
;
;
;
;
;
;
(ambara), 43 ; (karavlra),
103; (kshonl), 136; (gagana), 141
;
(jya), 191
;
(jyotih), 191
(pushkala),
;
370
[ba(va)sundhara],
312 ;
(vikalpa), 458.
(vasudha), 450
PETAL (kshepana), 135 ; (dala), 225.
;
;
PHALLI
38
(aneka-linga),
(sahasra-
;
;
;
;
Hnga), 519.
PHALLUS
52
fa(r)dra-pushakriti],
(arsha), 62 ; (udbhuta), 75 ; (urdhva"
;
;
dharana), 92; (kala-mukha), 116,
(ganava), 149 (chhanda), 181 (jati):
(naha187
[daivika(-linga)], 233
(panchayatana), 288
linga), 281
;
;
;
;
;
;
;
;
;
;
;
298
(parartha-liriga),
(pasupata),
;
;
;
305
421
;
;
(bahu-iinga), 371
;
;
;
;
;
;
;
;
(hema-kuta), 613.
PAVILION FOR DRESSING OF IDOLS (deva-
bhushana-mandapa), 230.
100.
PIKE (sula), 496
(sula-kampa), 496.
PILASTER (arighri),
(antima), 42
124 ;
(koshtha(kudya-stambha),
stambha), 133.
;
n
PILLAR (aghana), 2
(uchchhraya), 69
PAVILION FOR MARRIAGE CEREMONY (viva-
ha-mandapa), 464
;
;
;
;
(ayika-pada), 61
;
(kumbha-stambha^
127; (koshtha-stambha), 133; [ganda^
;
fgaruda sk(-t)ambha], 145 ; (charana), 172
(chitra-karna), 174 ; (jangha), 182
bheranda (-stambha)], 143
.
PAVILION WITH FIFTY PILLARS (jayavaha),
'>
184.
FIFTY-EIGHT
(amrita-nandana),
;
PICTURE GALLERY (chitragara), 174.
PIGEON (kapota), 98.
PIGEON-HOUSE
[kapota-palika(-pali)],
;
;
594
(svayainbhii),
594-
;
;
(manusha),
;
(vikalpa), 458;
(svarna-lihga),
454;
(vama),
;
WITH
(lamba-
PENTROOF
;
;
;
hara), 440.
;
PAVILION
(a;iisuka), 50.
;
;
[danda(-mana)], 223; (dandaka), 224!
(dhanya!
(dharma-stambha), 245
(dharana), 246;
stambha), 246;
PILLARS
;
43.
12
INDEX
POSE (tri-bhanga), 222
297
(pada), 303
(brahma305
(palika-stambha),
(yupa-stambha), 431 ;
kanta), 375
(Siva-kanta), 495
(salaiiga), 489
(stambha), 533.
(sukanghri), 496
(padma-kanta),
;
;
(sama-bhariga)
;
POST
;
;
POSTURE
;
(jaya-stambha),
POT
>
184.
PILLOW (upadhana),
;
119;
(klla-bhajana),
vsiilaka),
(kila-
126
;
(padmasana),
298.
(Sakti),
476.
PROJECTING (bahir-mukha), 371.
PROJECTION (kshepana), 135
(nirgama),
119.
;
PIPE (tilamaka), 214.
PITCHER
119; (vishkambha), 465;
PRIVATE ENTRANCE (kampa-dvara), 102.
PRIVATE ROOM (garbhagiira), 144.
PRIVATE SCHOOL (kula), 127.
PIN [indra-kila(-ka)], 67; (kila), 119.
108 (sikha), 492.
[kala$(s)a],
PIN-POINT
;
(ghata), 167.
POWER
76.
PINNACLE
(bhanga), 377
;
517.
(stambha), 533.
;
PILLAR OF VICTORY (uchchhraya), 69
(kila),
,
282
108
[kalas(s)a],
tghata), 167.
;
PLANT (karavfra), 103.
PLANTED FOREST (upavana),
PLASTER (kalaka), 112
(kumbha),
PLASTERING (upalcpana), 88
[nimnfi(-ka)], 282
(bahulya), 371.
;
(bahala),
370;
PROPORTIONAL MEASUREMENTS
mana), 380.
88.
(bhaga-
PULPIT
(mancha), 390.
PUBLIC ROAD (raja-vltlii), 437.
(vajratara), 445-
;
;
(kudya)'
;
Q
123.
PLATE (prati-mukha), 319.
PLATFORM (chara), 173 (prasada), 343;
QUADRANGULAR BUILDING
;
[ba(va)lanaka], 366.
PLATFORM OVER A WELL
[jagata
QUARTER
(-tl)],
R
PLAYHOUSE
[natya-griha(-mandapa,-
RAISED PLATFORM (avasana), 49.
RAISED TERRACE
233
[dehari(-li)],
(bodhimanda), 374.
RAMPART (vapra), 446 [sala(-la)], 520.
vesma,-sala)], 273.
GARDEN
PLEASURE
(udyana),
75
(arama),
(upavana), 88.
;
61
;
;
PLEASURE-HOUSE (kiida-ketana), 134
(saukhyaka), 531.
(sukhalaya), 525
PLINTH (adhara), 52
(kumbha), 126
;
;
;
;
(kshudra-gopana), 134
;
'.RECEPTACLE
;
(janman), 183;
215.
(langala),
RECESS IN A WALL (gokhla), 156.
RECTANGULAR BUILDING (uttambha), 70
(brahma-mandira), 376.
441.
RECTANGULAR MOULDING
PLOUGH-LIKE (langalakara), 441.
PLUMB
LINES
(prishtha-sutra),
314
;
;
;
233-
PORTICO (nishkasa), 284
(netra), 286
286
(purato-bhadra),
(netra-bhadra),
(mukha-bhadra), 424 (ruchira),
311
(vatayana), 453.
439
;
;
;
;
70
REFECTORY (bhoga-tnandapa), 388.
RELIGIOUS CENTRE (ghatika-sthana),
;
168.
RELIGIOUS ESTABLISHMENT (a^rama), 64
POOL (udapana), 74
(tadaga), 192.
PORCH (ardha-mandapa), 45 (dehara),
;
(uttara),
;
(upana), 89.
(pralamba), 325.
PLUMB LINE BY THE HIPS (kati-sutra), 97.
POISON (kala-kuta), 116.
;
391.
(manjusha),
RECEPTION-HALL [khaluraka (-rika)], 138
RECEPTION-ROOM (upasthana), 89.
PLINTH OF A RAILING (alambana), 62.
PLOT OF THE SITE plan (pada), 294.
PLOUGH
,
(antariksha), 39.
182.
(turiga),
(chatush-kona)
171.
;
(patta-sala), 292.
REFUGE-OFFERING POSE OF THE HAND OF
AN IMAGE (abhaya), 43.
RESERVOIR OF WATER Cjala-sthala), 185.
127
RESIDENCE (avasa), 63
(kula),
sala,
[vasa(-kuti,
450
(vasati),
ra )]. 5"sabha)], 455; L satra (;
;
;
INDEX
SCHOOL OF ARCHITECTURE
RESIDENTIAL QUARTERS FOR THE ANCIENT
PROFESSORS AND THEIR PUPIL (acharyakula),
495-
SCIENCE
51.
REST-HOUSE (avasatha), 48
(avasatha),
(dharma245
(dharma-sala)
63
Lsatra(-ttra)], 511.
laya), 245
RIDING ANIMAL OF THE GOD ISA (aira"
;
,
95.
RIM (arhsaru), 50.
RIVER va(va)-ha-fka,la),
ROAD
(jangha-patha), 183
278
300
(nabhi-vithi),
(parirathya),
;
;
;
390; (marga), 421
;
SCULPTURAL MEASUREMENT
451.
ONLY (eka-paksha),
;
ONE
SEAT
93.
307
[garbha52 ;
147 ; (tauli), 222 ;
(prachchhadana), 315;
(uvaraka), 92
51
(agara),
(griha), 150
135 ;
(kshudra-sala),
Lsuka(-kha)-nasika], 524.
;
ROPE (anghrika-vari), 12.
ROUND BUILDING (ushnishi), 90
nayaka), 92 ;
226 ;
dubhi),
(mukuli), 423.
;
;
(sadas), 513
;
88
(upavedi),
;
136
;
[pitha(-thika)],
(sadana), 513.
;
SECOND COURT (anya ranga), 42.
SECOND FLOOR (tri-tala), 222.
SECTARIAN MARK
112.
(kalapaka),
SECTIONAL TOWER (khanda-harmya), 136.
SET OF FOUR ARCHITECTURAL MEMBERS
171.
,
SETTEE (asanda, asandi), 66.
SEVEN-FOLD WALL (sapta-sala), 515.
SEVEN-STOREYED BUILDING (asramagara),
64, etc.
;
(riksha-
[kalas(s)a], 108 ; (dun(maha-padrna), 416 ;
SEVENTH
STOREY
514
(sapta-tala),
;
[sapta-bhumi-(ka)], 515.
SHADOWLESS SPOT (avachchhaya),
48.
SHARK [kimbara(-ri)], 117 (graha), 167.
SHED (kota), 131
(prag-vamsa), 343
;
ROUND CORNER WALL
(laiigala-bhitti),
441.
ROUND
ROYAL
ROYAL
ROYAL
ROYAL
;
64
(-tta)],
(chatur-varga-kantaka)
(anu-griha), 37.
ROOM
(asana),
[khattaka
(prasada-tala), 364 ; [va(ba)labhi(-I)].
449; (vata-kshetra),453; (harmya-tala),
610.
ROOF OF A HOUSE
(karuna-vina),
103 ; (chhanna-vira), 181.
SEA-SIDE TOWN (dronaka), 234.
(-ika)],
(dharana), 246
;
195-
(achchhadana),
manjusha
(ashta-tala),
;
SCULPTURAL ORNAMENT
ROAD-SIDE HUTS (apana), 54.
ROD OF A BALANCE (tula-danda), 216.
ROOF
etc.
70
(uttama-dasa-tala),
(uttama-nava-tala), 70 ; (tiila-mana),
50,
ROAD HAVING THE FOOT-PATH ON
SIDE
68.
SCRIPTURES (agama), 51.
(charya), 173;
(naracha), 278 ;
294 ;
(patha),
(mahgala-vithi),
(vata), 453.
115;
(kantara),
490.
SCREEN WORK (alaksha), 46.
SCREEN WORK IN ARCHES (indra-kosa),
;
vata),
(sastra),
SCIENCE OF ARCHITECTURE (vastu-vidya),
458 ; (silpa-sastra), 494.
;
;
(silpi-sala),
,
;
;
(sranta), 497.
TEMPLE
SHOOT [manjari(i)],
SHOP (apana), 53
(sva-vriksha) , 594.
CITY (sena-mukha)
,
528.
COURT (rajanga), 439.
PALACE (raja-griha), 436.
RESIDENCE
391.
;
SHRINE
(nishadya), 284.
117; (tlrtha), 215;
(basadi), 367.
[deva-kula(ika)], 229
SIDE-DOOR (kampa-dvara), 102.
SIDE-HALL (netra-sala), 286
(paksha(klrtana),
;
(sibira), 493.
;
s
SACRIFICIAL HALL
SACRIFICIAL
POST
^ala), 287.
(yaga-Sala),
(drupada),
SIDE-NICHE (karna-kuta), 105.
431.
234
SIDE-OBJECT (karna),
SANCTUARY (vimana), 461.
SCHOOL FOR HIGHER STUDIES (kumaripura), 125.
104.
;
(sthuna), 593.
SIDE-TOWER (karna-harmya), 107
kuta),
;
148.
SIDE-WALL (netra-bhitti), 286.
SIKH TEMPLE (guru-dvara), 149.
(gala-
INDEX
SMALLER PEDESTAL (upa-vedi), 88.
SOFA [talpa(-ka)], 194 (mancha), 390.
SINGLE PHALLUS (eka-linga) 94.
BUILDING
[eka-tala
SlNGLE-STOREYED
,
;
SOIL [bhumi-(ka)], 385.
(-bhumi)j, 92.
SITE FOR THE HOUSES (kutumba-bhumi),
SOLE
(tala),
SOLID
121.
;
SPORTS GROUND
;
105
(karnashtaka),
170;
(chandita),
172 ;" (tadbhadra),
223
(desya), 233
;
SPROUT
(ganita), 143 ;
(chandra -kanta),
;
193
;
;
,
(vipula460
(vipra-kanta),
460
(visal(vivesa), 464
bhoga), 460
465
(visvesa-sara)
aksha),
465
526
(susaiiihita),
510
(sakala),
(sthandila), 578.
(surya-visalaka), 527
;
;
;
;
;
,
;
;
;
;
SITTING
POSTURE
64.
(asana),
SIX-FORMULAS
(ayadi-shad-varga),
(shad-varga), 500.
61
;
(ikshu-kanta)>
SIX-STOREYED BUILDING
(kamala), 102
(upakanta), 76
67
etc.
(kantara), 115; (ratna-kanta), 433,
SIXTY-FOUR ARTS
SKY (ambara),
(kala),
STAIRCASE ROOM (mukha-bhadra), 424.
STAIRS (sopana), 528.
STAKE (kila), 119;
STATUE
(pratima),
in.
43.
AND PROJECTING MEMBER OF
ENTABLATURE REPRESENTING A
CONTINUED PENT-ROOF (ananta), 37.
THE
SLUM QUARTER (basadi), 367.
SMALL BEAM (kshudra-gopana),
135.
SMALL CYMA (kshudrabja)
SMALL DOOR (upadvara), 76.
SMALL HALL (kshudra-sa!a), 135.
SMALL LOTUS (kshudrabja), 135.
134.
,
SMALL NOSE
nasa(-I)],
(alpa-nasika), 48
135.
;
[kshudra-
323.
;
522.
[si(-si)la-vata],
STONE TERRACE (pashana-vedi),
305.
STORE-HOUSE
STORE-ROOM
mandapa),
(koshthagara), 133.
(kosa92 ;
(uvaraka),
133 ;
(koshtha)
132;
(tandula-mandapa), 193 ; (mdhana),
281.
STOREY
SLOPING
[se(-si)la-
;
STONE-BULWARKS (pashya), 305.
STONE COLUMN (s"ila-stambha), 494.
STONE MASON (sila-marddaka), 494
SKY-LIGHTS [chandra-sala(-lika)], 172.
SLIGHTLY BENT POSE (abhahga), 54.
SLOPING ROOF (maddala), 411.
(sanku), 476.
318
rupaka], 528.
STEPS (pradakshina-sopana),
;
;
;
492.
,
284,
;
391.
(sibika-garbha),
SQUARE PLANK (pralamba-phalaka) 327.
STABLE FOR ELEPHANTS (darbha), 225.
STADIUM (kumari-pura), 125.
STAGE (natya-mandapa), 278.
STAGE PROPER (ranga-pitha), 432.
(padma(pada-vinyasa), 295
garbha), 297; [parama-sadhi(-yi)ka],
;
298; (pechaka), 315; (paisacha), 315
416
(bhadra), 378 ; (maha-pitha),
(vipra-garbha)
(vipra-bhakti), 460
etc.;
(stupi-klla), 577.
;
(kumari-pura), 125.
[manjari(I)],
SQ.UARE HALL
(tri-yuta),
;
(nishkala),
;
169.
SPIRE (vriddha), 470
(isvara kanta),
SITE-PLAN (asana), 64
(upa-pitha),
69
(ugra-pitha),
69
7688 ; (ubhaya-chandita), 90 ;
;
193.
(ghana),
(tala),
193
385
(bhuma),
;
;
Lbhumi-(ka)], 385.
STOREYED BUILDING (murti-kanta), 426 ;
429;
(megha-kanta), 427; (meru-kanta),
;
440
;
(raurava),
(yama-kanta), 431
445.
(vajra-kanta),
STOREYED MANSION (danda-kanta), 224.
STREET (jangha-patha), 183 (vithika;,
;
468.
STRING OF PEARLS
NECK (ardha-hara),
STUCCO (sudha), 525.
STUDIO
SMALL PILLAR (arighri), n.
SMALL SEAL (mudrika), 425.
(avesana),
46.
64.
STYLE OF ARCHITECTURE (dravida)
(vesara), 475(nagara), 260
88.
SUB-TEMPLE (upabhavana),
;
SMALL VESTIBULE (alpa-nasika), 48.
SMALLER BUILDINGS (dandita), 224.
SUGAR
15
THE
WORN ROUND
(sarkara), 483.
;
233
;
INDEX
SUOARCANE-LIKE MOULDING (bahala), 370.
SUMMIT (kuta), 128.
SUN-EAGLE (garuda), 144.
THE HEIGHT
OF ANIMAL IN PROPORTION
TO THE IDOL OF WHOM THE FORMER IS
THE VEHICLE (utsava), 71.
THEATRE (nataka), 272
(rariga), 432.
THICKNESS (ghana), 169.
THIRD STOREY (tri-tah), 222
'tri-
SUPERNATURAL BEINGS (naga), 259.
SUPERVISORS OF THE CONSTRUCTION OF
A TEMPLE (karapaka), 116.
SUPPORT (bharaka), 381.
SURROUNDING STEPS (bhitti-sopana), 383.
SURROUNDING WALL (koshthaka), 133.
SWING (andola), 53
(dola), 192 and
;
;
bhurni),
THIRTY-EIGHT
2 :*3
;
441
(svastika), 594.
;
MARKS
(ashta-
THREE-EAR-PATTERN (tri-karna), 222.
THREE-FOLD BAND (tri-patta), 222.
THREE-FOLD WALL
[tri-bhitti-(ika)], 223.
THREE-FOURTH OF AN INCH
(arigula), 4.
THREE-STOREYED BUILDING (kamalariea)
(nirgala), 283.
(liriga),
MYSTIC
trimsat-kala), 50.
;
SYMBOL
223.
102.
TANK
(tadaga), 192 ; (pushkarinl), 312
[vapi(-pi)-(ka)], 454.
TAVERN
54
(apana),
THRESHOLD (kulambha-dvara), 128.
THRESHOLD OF A DOOR
[deharl(-li)j, 233.
THRESHOLD OF A HOUSE (udumbara)
;
(madira-griha),
;
410.
74-
TEMPLE
(ayatana), 59 ; (alaya), 63 ;
(asana), 64
(klrtana), 117 ; (ghatikasthana), 168 ; (devayatana),
230
(deva-niketa-mandala), 230 ; [dehari
THREAD-HOLDER
(sutra-dharin), 527.
(kantha), 97.
;
THROAT
THRONE
;
233 ;
'(bodhi-griha),
374
(mandapa), 395 ; (mandira), 413
(Siva-mandapa), 495
(sadana), 513 ;
(sadman), 513.
TEMPLE OF THE GOD OF FEVER (jvara(-li)L
;
136
;
;
(siriihasana),
devalaya), 191.
TOMB
50.
TEMPLE WITH THE IDOL
IN
BENT POSTURE (apasarhchita), 42.
TENIA (tatika),
TEN-STOREYED
173.
134.
;
(dasa-
bhumi), 226.
[alinda (ka)], 46 ; (dehara) ;
(pradakshina), 322 ; [vithi(-i)],
468, (silavedi), 494.
(pinda),
TESTING THE SOIL
THE GOOSE
(smasana), 497.
128.
TOPMOST
ROOM
5
TESTICLE
;
HEAD
(ushnisha), 90.
TERRACE
2 33
(kesa-kutaka), 130.
TOP-DOOR (mani-dvara),
394.
TOP-END (sfrsha), 495.
TOP-FLOOR (maha-tauli),
415.
TOP-KNOT (kesa-kutaka),
130.
TOP-KNOT ON
THE BUDDHA'S
BUILDING
225
66.
(ushnisha).
195.
(dasa-tala),
522, etc.
(nisaddhi), 284
(kuta),
134.
(antarikshakanta), 39 ; (abja-kanta), 43 ; (mandara), 413, etc.
TENTH-STOREY
[khattaka(-tta),]
TOOTH-LIKE JOINERY
(danta-kila), 225.
TOP OF ORNAMENTAL TREE
(maulimunda), 430.
TOP OF A BUILDING
QO
THE RECUM-
TEMPORARY BUILDING (chara-vastu),
TEMPORARY IDOL (kshanika-bera),
TEMPORARY TEMPLE (kshanikalaya),
64;
THRONE-LIKE SEAT (asanda,
asandi),
TIARA (kirita), 117.
TIP OF THE HAIR
TEMPLE OF THE JAINS [jina-(ka)], 190.
TEMPLE WITH IDOL IN THE ERECT POSTURE
(asaihchita) ,
(asana),
(padma-bhadra), 298.
(p'adabandhaka), 304 ; (bhadrasana), 380
(vijaya),
459 ; (srl-mukha),
4 qn
;
gara),
;
(kuta-
TOP-ROOM
[chandra-sala(-lika)],
172
(munda-malika),
425';
(mundaharmya),425; [IaIata(-mandapa)J, 440.
;
306.
(bhu-parlksha),
(upatalpa), 76
129.
383.
(brahma-vahana), 376.
Top WINDOW
16
(mani-dvara), 394.
INDEX
TOPE
UPPER
UPPER
UPPER
UPPER
UPPER
UPPER
(dharma-rajika), 245.
TORTOISE (pashana-kurma), 305.
TORUS (ghata),
TOWER
167.
12
(attalaka),
(karna-
;
(karna-harmya), 107;
175
108
(chuhka),
;
|kalas"(s)a],
[talpa(ka)J,
175
(chuli-harmya),
(mandapa),
(nirvyuha), 284
194 ;
105;
kuta),
;
GARMENT (upavasana),
LIP
71.
(uttaroshtha),
PART OF A BUILDING (kapoi'a), 101
PIECE OF A DOOR (nasa), 279.
ROOM
.
92.
(urdhva-sala),
12 ; (upa(attalaka),
[talpa (ka)], 194 ; (mani-
STOREY
talpa), 76
5
88.
;
harmya), 394.
;
UPPER WALL
395-
101.
[k(h)a-bhitti],
WITH OPEN VERANDAHS (khanda-
TOWER
harmya), 136.
TOWN
(kubjaka), 125
281
184; (nigama),
291, etc.
TOWNSHIP
(jayanta-pura
[pattana^na),,
,
;
;
VAULT (tunga), 215 (manjusha), 391.
VAULT OF THE FOUNDATION-PIT (chhela),
;
310.
(pur),
181.
2
TRADERS' ASSEMBLY (nigama-sabha),
TRADING CORPORATION (mani-grama),
VEHICLE (vahana), 458.
VERANDAH
TRAP
12.
(anghrika-vari),
TREASURY
108
TRELLIO WINDOW
TRIAD
>
(dharana),
;
VILLAGE (karmuka), 116
(kadanga), 98
2 4b.
;
(dehi),
TRUNK OF AN ELEPHANT
(svastika),
(hasti-hasta),
VILLAGE
612.
TURBAN
TURRET
I07
162.
132
(kutika), 121
;
;
594, etc.
DESCRIBED
(grama-lakshana),
VILLAGE-ROAD
(grama-marga),
VIRGIN (kanya), 98.
[goshthi-(ka)],
(pushpa-patta), 313.
(karr
;
(anghri),
n
;
;
BUILDING
(kant^
116;
[kerala(kanta)l,
5
(madhya-kanta)
5
3
dva-daia-tala),2
5
(vamsa412 ; (magadha-kanta), 41?
,
kanta), 452, etc.
SIDES
(dvi-paksha),
TWO-STOREYED BUILDING
244.
42
(antika),
;
UNDER-GROUND
UNIVERSITY
(gabhara), 144.
(visva-vidyalaya), 465.
(urdhva-sala), 92.
UPPER HALL
UPPER DOOR (mundaka-dvara),
WALL
(kuttima), 121 ; (kudya), 123 ;
(koshtha), 133 ; (bhitti), 381 ; (sasana),
490.
WALL HAVING FOOT-PATH ON ONE SIDE
ONLY (eka-paksha), 93.
WALL-HOUSE (bhitti-griha),
WARDROBE
382.
(manjusha), 391.
WATERCOURSE (tilamaka), 214.
WATER-DOOR (jala-dvara), 185.
WATER-FORT (jala-durga), 185.
WATER-FOUNDATION (jala-garbha),
(dvi-tala), 244.
SHRINE
166.
w
194
[talpa(ka)],
449!
|va(ba)labhi(-i)l,
DM.
(hasti-nakha),
;
;
TWELVE-STOREYED
Two
;
166.
TRUSTEES
283
496
;
45
(nasa), 279.
(grama), 162; (chatur-mukha), 170;
(jayanta-pura), 184 ; (dandaka), 224 ;
(pattana), 292 ; [padma-(ka)], 296 ;
233.
223.
(tri-murti),
;
(kharvata),
137 ;
[khaluraka (-rika], 138; (khetaka), 139;
(kolaka),
19-
(jali),
(vara), 454.
;
(ardha-mandapa),
[kshudra-nasa(i-)], 135
281.
(karnikara),
TRENCH
i3 2
(kosa-mandapa),
(nidhana),
TREE
(nishkasa), 284
VESTIBULE
394-
425.
WATER-LILY (kumuda),
WATER-POT
(kundika), 125; (ghrita-vari),
170.
WATER-JAR (manika),
17
185.
126.
394.
INDEX
WATER WHEELS FOR WELLS
(kuchakra)
129.
WATERING STATION (apana),
WAVES (taranga), 193.
WAX
(svastika), 594.
54.
WINDOW-CHAM EKS (kutagara),
WIDTH (parimana), 300.
i3
(madhuchchhishta), 411.
WEDDING PAVILION (kalyana-mandapa),
(kila),
119.
(udapana),
(purta),
WOOD-CUTTER
74
;
(kupa),
129
;
314.
WINDOW
(kunjaraksha), 120; (kuhara),
128; (gavaksha), 148; [chandra-sala
(-lika)],
172;
[jala-(ka, ka)], 188 ;
129.
\ViNG OK A BUILDING
[vishana-(ka)], 465.
\VOMB (garbha),
114.
WEDGE
WELL
(naga-bandha), 260 ; (pafijara), 288 ;
(pushpa-bandha), 313; (valli), 450;
145.
(takshaka),
WOODEN IMAGE (sala
WORKER (sthapaka),
WORKSHOP
192.
bhanjika), 490.
592.
(sthapatya), 591.
WRIST ORNAMENT
(mani-bandha) 394.
,
18
I
PLEASE
CARDS OR
SLIPS
UNIVERSITY
NA
1501
A5
1946
DO NOT REMOVE
FROM
THIS
OF TORONTO
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LIBRARY
Acharya, Prasanna Kumar
An encyclopaedia of
Hindu architecture