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Let us now pass on to Maya, the Founder Architect 膧肠腻谤测补 of the so called Dravidian 痴腻蝉迟耻惫颈诲测腻 or school of Architecture. He is one of the eighteen professors of Architecture as mentioned in the 惭补迟蝉测补辫耻谤腻峁嘺. His position in the tradition is second only to 痴颈艣惫补办补谤尘腻. The 惭腻苍补蝉腻谤补, the most representative text of Dravidian architecture recounts the origin of Maya from one of the faces of the four-faced 痴颈艣惫补办补谤尘腻, which in the context of the accounts of 痴颈艣惫补办补谤尘腻 representing both the cultures is perfectly in keeping with the traditions. That Maya school of Architecture was certainly different and distinct a tradition is proved by the earliest datable (550 A.D.) work on 痴腻蝉迟耻艣腻蝉迟谤补, the 叠峁沨补迟蝉补峁僪颈迟腻 of 痴补谤腻丑补尘颈丑颈谤补 where Maya and 痴颈艣惫补办补谤尘腻 are quoted as authors whose seemingly different statements have the same meaning. The many names of eighteen chief preceptors (腻肠腻谤测补蝉), seem to indicate an equal number of branches, or schools of Indian architecture prior to the sixth century A. D. and subsequently in 碍颈峁�k颈苍诲丑腻 碍腻峁囜笉补 of 搁腻尘腻测补峁嘺 (chap, 51) there is an interesting reference to Maya. It is told there how Maya acquired the knowledge of 艣颈濒辫补艣腻蝉迟谤补, the Science of architecture, treasure 鲍艣补苍补蝉 (au艣anasam dhanam) from 叠谤补丑尘腻. This shows that the treatises of Maya and 鲍艣补苍补蝉 i.e. 艢耻办谤补 were alike in character. And as both belong to Asuras they represented a school of their own. In the 惭腻苍补蝉腻谤补 痴颈艣惫补办补谤尘腻 is described as the son of 叠谤补丑尘腻 and husband of Indra鈥檚 daughter. This is really something very confounding and how to reconcile this description with the one in which 痴颈艣惫补办补谤尘腻 is regarded as the son of 笔谤补产丑腻蝉补 Vasu? It seems that 痴颈艣惫补办补谤尘腻 of M膩nasara also belonged to a very distant epoch in history. 叠谤补丑尘腻 was the foremost invader and settler in India and the 痴颈艣惫补办补谤尘腻, referred to in the 惭腻苍补蝉腻谤补 was the architect who helped his (叠谤补丑尘腻鈥檚) colonists propogating his lore and acquiring theirs as well. 痴颈艣惫补办补谤尘腻鈥檚 advent on earth to plan out habitation of men in the 厂补尘补谤腻峁単补峁嘺-厂奴迟谤补诲丑腻谤补 also supports the above genesis and this throws a flood of light on the amalgamation of the Aryan and non-Aryan elements of culture in such a distant past as we have already adduced it from the geneology of 痴颈艣惫补办补谤尘腻 with especial reference to Vasus.

In the 惭补丑腻产丑腻谤补迟补, 痴颈艣惫补办补谤尘腻 and Maya are mentioned, not as writers but as master-masons of the Gods and the 顿腻苍补惫补蝉 respectively. 痴颈艣惫补办补谤尘腻 is said to have been the 鈥渕aster of thousand arts, the V膩rdhak墨 (carpenter) of the gods and superior to all architects,鈥� He also constructed the chariots of the gods. Men earned their livelihood by practising the arts invented by him and offered worship to 痴颈艣惫补办补谤尘腻 (I.66.29-31). 痴颈艣惫补办补谤尘腻 constructed the 厂补产丑腻 of Vaivasvata (II.8.1) and a town, for the gods, besides a statue, a necklace and wheels of the chariots, for them. Maya calls himself the 痴颈艣惫补办补谤尘腻 of the 顿腻苍补惫补蝉. He constructed the magnificent assembly hall of the 笔腻峁囜笉补惫补蝉 from the materials collected by him from the kingdom of the 顿腻苍补惫补 king 痴峁涐梗补辫补谤惫腻, situated to the north of 碍补颈濒腻艣补 near the Vindu-lake and to the north-east of Indraprastha (11.1.5.). We have already said that Maya is known as Danava and to have learnt the science of architecture from 艢耻办谤补, the preceptor of 顿腻苍补惫补蝉, 痴颈艣惫补办补谤尘腻 and Maya represent the two schools of Indian architecture, known as 狈腻驳补谤补 and 顿谤腻惫颈岣峚. Dr. Bhattacharya has elucidated this subject very elaborately and the readers are referred to, to read that book for details, Want of space forbids me to go in those details not very essential from my standpoint. So far the central thesis round which we have been labouring in the foregoing pages is now not difficult to establish that in the rise of 痴腻蝉迟耻艣腻蝉迟谤补, as the science and art, two traditions have contributed to its evolution and growth. These are 痴颈艣惫补办补谤尘腻 and Maya traditions. Now the question is what are the distinctive points which differentiate these two traditions? This question need not be dwelt upon at length here as we shall get occasion to do that鈥攙ide Pt. V鈥攕tyles of Temple architecture. Here, in brief, it may be said that these two and others maybe taken to represent as many variations as lay within the fundamental purpose of the temple which has been chief creation of Hindu science of art and architecture.

Dr. Kramrisch supports this thesis:

鈥楾he merit of the works of the schools which made it seem worth while to record the names of their most eminent preceptors lay in the manifold and ever varying solutions of their central purpose. This was the setting up of the 笔谤腻蝉腻诲补 as 痴颈尘腻苍补, proportionate in its parts and directing the form and measure of all other buildings which accrued in the service of the 笔谤腻蝉腻诲补.鈥�

And I have already remarked that the 痴颈尘腻苍补s, characteristic of 膧蝉耻谤补 architecture were really the precursors of the 笔谤腻蝉腻诲补, the Nagara temples. The characteristic planning and laying out the super-structure, the 叠丑奴尘颈蝉 etc. and the ornamentative motifs like 膧尘补濒补办补 and 厂迟奴辫颈办腻 etc. are some of the broad features in respect of which these two traditions have laid down their rules for the guidance of the architects in their respective domains of the styles of temple-architecture along with its component structures like columns, roofing, superstructure and its crowning part.