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Introduction:

It is the most popular and very widely talked of text among these. It has not only been resurrected from unintelligible barbarous Sanskrit but it has simply been immortalised by the pen of the celebrated scholar of the 惭腻苍补蝉腻谤补, Dr. P. K. Acharya, whose monumental series on this work鈥攖he edition, the summary, the translation, the Dictionary i.e. Encyclopaedia etc, have opened a new vista of vision in India鈥檚 past. Zealous work of an enthusiastic and partisan scholar must evoke either great applaud or bitter attack. Dr. Acharya has been recepient of both the awards. Dr. Acharya, the father of modern canonical architectural studies in India, in his great enthusiasm for the 惭腻苍补蝉腻谤补, has made certain pronouncements regarding its character, date and other allied matters that are now open to critisism and bitter attacks. For example the learned doctor鈥檚 conclusions that all the texts architectural like Mayamata, 痴颈艣惫补办补谤尘腻鈥檚 works, Agastya鈥檚 work and non-architectural like 惭补迟蝉测补-笔耻谤腻峁嘺, 叠峁沨补迟蝉补峁僪颈迟腻 and 膧garnas like 碍腻尘颈办补 etc. have all drawn from the 惭腻苍补蝉腻谤补 and therefore the 惭腻苍补蝉腻谤补 is the fountain head of all the architectural lore which has flown into the different channels as is seen in other available texts dealing with architecture proper or expatiating on it indirectly.

Thus the 惭腻苍补蝉腻谤补 is the only standard work on Architecture; secondly his taking this manual as an early text earlier than even 叠峁沨补迟蝉补峁僪颈迟腻 and the 惭补迟蝉测补辫耻谤腻峁嘺 and placing it in the Gupta period鈥攖hese are the two principal assertions made by the learned doctor which have been very much discussed in the contemporary writings by scholars like Bhattacharya and Mallaya. The present writer being primarily a student of the 艢腻蝉迟谤补 which is an unbroken culture of the past, does not want to enter into any lengthy controversy which is not very important from the standpoint of the study of the canons of architecture. Indian culture, being a very very old culture, is not at all affected if a text is some centuries earlier or later. After making a study of the sculptural portion of this renowned text, I have come to some conclusions of my own and the reader is referred to them鈥攎y 鈥�痴腻蝉迟耻艣腻蝉迟谤补 Vol. II鈥擧indu Canons of Iconography and Painting, Pt. I. p. 58. Here I have to say something on its architectural portion which have a direct bearing on the subject-matter of the volume.

Dr. Bhattacharya is very critical of Dr. Acharya鈥檚 assertion that the 惭腻苍补蝉腻谤补 is an early work and may be safely placed in Gupta period. His attack mainly centres round the description of many-storyed Gopuras (from one to sixteen or seventeen storeys)which belie the actual practice of the age in which it is said to have been written. Early Gopuras could never extend their superstructures to more than five or six storeys. These excessive storeyed structures are later medieval exuberance. A perusal of the text (Chap. XXXIII Gopu-ra惫颈诲丑腻苍补) however must moderate Dr. Bhattacharya. The text describes the details of Gopuras built in five or six storeys and it only suggests that the fifteen kinds of Gopuras or gatehouses may have one to sixteen or seventeen storeys. This is only a normative principle of architecture and has nothing to do with a positive practical application of the day. 痴腻蝉迟耻艣腻蝉迟谤补 or 艢颈濒辫补艣腻蝉迟谤补 is both a science and an art. It is normative scienc in the first place because it is a 艣膩stra. Accordingly if it suggests that particular structure can be built in such a varied and excessive super-structure, it does not mean that that may also be epitomizing the buildings of the day. This is the fundamental point which Dr. Bhattacharya has missed. I am, therefore, inclined to think that the 惭腻苍补蝉腻谤补 is not so late a work as may be placed in the later medieval period as Dr. Bhattacharya contends.

The 惭腻苍补蝉腻谤补 sculpture really represents an early phase of art. I have made a comparative estimation of the four renowned texts on sculpture belonging so the southern school of Architecture in the second volume of these studies and it is worth reproducing here:

鈥楳ayamata, 惭腻苍补蝉腻谤补, A峁兣泆madbheda and 艢颈濒辫补ratna, all these four texts of the 顿谤腻惫颈岣峚 痴腻蝉迟耻-惫颈诲测腻 epitomise the four stages of development of the art. In its infancy the art was symbolic, the worship, for which the service of the art was employed, too was symbolic. Naturally therefore the worship of the phallic emblem and the manufacturing of the 濒颈峁単补 and its pedestals were the initial stage of development. This is what Mayamata portrays. Now apart from the 濒颈峁単补-p奴j膩 and li峁単-icons, the worship of other deities, particularly the Triad, 叠谤补丑尘腻, 痴颈峁ａ箛耻 and 惭补丑别艣补 and the icons of this famous Trinity, along with their vehicles 贬补峁僺补, 骋补谤耻岣峚, and 痴峁涐梗补产丑补, were in vogue. This was the second stage of development, as is manifest in the pages of the 惭腻苍补蝉腻谤补. The third stage was a bit fanatic and its adherance only to a particular god, viz. 艢颈惫补 became an established canon, both in art and religion. This is what we understand by the perusal of Agastya鈥檚 or 碍腻艣测补辫补鈥櫯� works. This anti-thesis brought a synthesis as a natural course, as is evident from 艢ilp膩ratna, a work of broad catholicity and tolerance, depicting the Universal reverence not to one-class but to all the classes of deities and their icons鈥�.

Moreover the treatment of the Buddhist images and Jain images too may be taken the early phase of Buddhist iconography. There is no reference to 痴补箩谤补测腻苍补 deities鈥攁 rich development of the later medieval period鈥攏or to miscellaneous Jain-顿别惫补迟腻蝉 in the 惭腻苍补蝉腻谤补 treatment of Baudha and Jain 濒补办峁�a峁嘺蝉.

This is one point which may help us in rehabilitating the early character of the text. Another point helpful in the reconsideration of its proper historical place is its implied association with 鈥�惭腻苍补鈥� which name stands in the 峁欢惫别诲补 for Agastya and Agastya has been referred to as a very early 膧肠丑补谤测补 of 艢颈濒辫补艣腻蝉迟谤补 and the 惭腻苍补蝉腻谤补 text refers to a good many artists or treatises of art going after the name of 惭腻苍补鈥攚ith the prefix of 惭腻苍补, 惭腻苍补-Bodha, 惭腻苍补-Vid etc. It, therefore, may be surmised that the present work is in the line of the very early 艣膩stra as associated with Agastya and his desciples. 惭腻苍补蝉腻谤补 may be regarded as one such desciple. In the context of Southern culture鈥攃olonisation or Aryanisation, expansion of Aryan Supremacy or the like Agastya鈥檚 contributions are well known and as the treatise is the most representative manual on the South Indian architecture, its indebtedness to Agastya鈥檚 work may be taken for granted. Another more important point to which the attention of the scholars may be drawn is the detailed treatment of 痴颈尘腻苍补-architecture and its accessory Gopura-architecture with complete absence of 笔谤腻蝉腻诲补 architecture and its accessory Jagati and Pratoll墨 [笔谤补迟辞濒墨?] architecture, a characteristic of North Indian texts like the 笔耻谤腻峁嘺蝉, the Matsya and Agni, 叠峁沨补迟蝉补峁僪颈迟腻 and the 艢颈濒辫补 texts like the Samar膩峁単a峁嘺 and the 础辫补谤腻箩颈迟补.

This 痴颈尘腻苍补 architecture in the opinion of the present writer is the precursor of 笔谤腻蝉腻诲补-architecture, a detailed exposition of this thesis is to follow ahead鈥攙ide Pt. V. Temple Architecture鈥攐n the authority of the 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 itself cf. the following statement:

vim膩namatha vak峁�y膩ma岣� pr膩s膩da峁� 艣ambhuballabham |
svargap膩t膩lamarty膩n膩峁� ay膩峁嚹乵api bh奴峁�a峁嘺m ||
sarve峁Ｄ佱箖 g峁沨av膩st奴n膩峁� pr膩s膩d膩n膩峁� ca sarvata岣� |
pr膩s膩do m奴labh奴to'ya峁� tath膩 ca parikarma峁嚹乵 ||

If the 惭腻苍补蝉腻谤补 were a late work like 艢颈濒辫补ratna it must have not Completely ignored the 笔谤腻蝉腻诲补s which have found a glorious treatment in the 笔耻谤腻峁嘺蝉 and other North Indian texts on Architecture. Its expatiation on the 痴颈尘腻苍补s and Harmyas alone are to be taken not only a South Indian character, but it also hints at a very flourishing architecture of the by gone ages, the Asura architecture, references to which abound in practically all the early literature, both Vedic and Epic, Hence to damn the learned doctor for placing it in Gupta period is uncalled for. To me the 惭腻苍补蝉腻谤补 represents a very early art-tradition which may go back as early as pre-Christian. Its compilation or standarization might belong to golden Guptas or flourishing Cholas and Pandyas (for its eulogy to 痴补颈峁ａ箛补惫颈蝉尘). This is only a broad indication of its character and antiquity and the present writer does not want to enter into any lengthy controversy about it. Others may take this study and finalise it which is not difficult of solution.

New let us take another assertion of Dr. Acharya that the 惭腻苍补蝉腻谤补 is the only standard work and other 艢颈濒辫补s have simply drawn from it. This is really very bold assertion and as I have remarked that it makes the learned doctor very partisan. Very important subjectmatters of architecture are completely absent in the 惭腻苍补蝉腻谤补. The 惭腻苍补蝉腻谤补 represents an aristocratic architecture. Its detailed delineations on Indian royalties and royal palaces supports this contention. Its Buildings (cf. 98 types from one to 12 storeys) are realiy gorgeous mansions. They, at the most, can be taken as Southern 痴颈尘腻苍补s. 痴颈尘腻苍补s and Harmyas have been long associated with palaces of kings. 痴腻濒尘墨办颈 has a glowing descriptions of these in the context of the capital cities of India like 础测辞诲丑测腻 or 尝补峁卥腻. Naturally therefore as already contended, there is a complete absence cf 笔谤腻蝉腻诲补 architecture. Even the 艢腻濒补蝉 of the 惭腻苍补蝉腻谤补 are palaces for all practical purposes. 艢腻濒腻蝉, as our tradition depicts, are residential houses for the common mass of humanity or the middle class people. This subject would be discussed in detail ahead鈥擵ide Pt. III House architecture. Thus the civil architecture or the popular architecture with especial reference to buildings is not to be found in this text. The 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 and the A. P. have got a credit to rehabilitate the civil architecture of India and a detailed discussion of this topic will follow (ibid.)

Secondly 惭腻苍补蝉腻谤补鈥檚 treatment of 艢颈濒辫补-艣膩stra or 痴腻蝉迟耻艣腻蝉迟谤补 is delimited to architecture and sculpture alone. Its sculptural topics also are very limited鈥攖he different classes of images in relation of 痴补颈峁ａ箛补惫补, 艢补颈惫补, 骋腻峁嘺辫补迟测补, Saura, 艢腻办迟补 etc. etc. are not to be found here as we see in the texts like 碍腻艣测补辫补-艣ilpa or Agastyas鈥檚 Sakal膩dhik膩ra. According to writer鈥檚 thesis, the principal subject-matters of Indian 痴腻蝉迟耻艣腻蝉迟谤补 are: Town-planning, Secular architecture (艢腻濒补蝉 and R膩jaharmyas), Religious architecture (Temple archi-tecture), Sculpture (Iconography) and Painting. 惭腻苍补蝉腻谤补 deals with only three out of these five (popular architecture and pictorial canons are absent).

Dr. Acharya鈥檚 attempts to compare 98 types of 惭腻苍补蝉腻谤补 mansions with the temples as described in the 础驳苍颈辫耻谤腻峁嘺, the 骋补谤耻岣峚-笔耻谤腻峁嘺, the Matsya-笔耻谤腻峁嘺, the Bhavi峁�ya-笔耻谤腻峁嘺, the 叠峁沨补迟蝉补峁僪颈迟腻, the 碍腻尘颈办腻驳补尘补 and the 厂耻辫谤补产丑别诲腻驳补尘补 (cf. Hindu architecture India and abroad Chap. V. pp. 186-208) and his coming to the conclusion:

鈥淚t seems to me impossible to resists the following conclusion. There appears to have been a relation of indebtedness between the 惭腻苍补蝉腻谤补 and the other works both architectural and non-architectural (i.e. the above mentioned works鈥攚riter)鈥濃�攂oth are open to objection and Dr. Bhattacharya (vide his book 鈥楢 study of 痴腻蝉迟耻-惫颈诲测腻 or Canons of Indian architecture鈥�) has ably shown it and has proved that these buildings as described in the above texts do not at all tally with those depicted in the 惭腻苍补蝉腻谤补 (cf. Ch. XII pp. 148-191). The 惭腻苍补蝉腻谤补 really, as I have already remarked, represents a remarkably quite a new tradition Its unique character is the standardization of the Measurements and is therefore very faithful to this side of architectural technique 惭腻苍补蝉腻谤补 may be a 峁涐梗i or a treatise by the name, but surely its essence is 鈥槻涯宀圆光�� the measurement. Moreover, its leaning to aristocratic architecture gives us to surmize that the compilor [compiler?] must be a royal architect and therefore his leaning to the Temporal authority rather tha峁� to the Spiritual one is more pronounced. This is only a brief indication. There are so many other equally important topics of popular interest which too have not found a place in the treatment of the text and so to regard it as the fountain head of all architectural lore is simply prepostrous. A critical and comparative look at the contents of these representative texts itself will convince the reader of the soundness of this judgement鈥�.

Now taking leave of the controversy let us now concentrate on its contents in a very brief notice (the detailed treatment may be seen in Dr. Acharya鈥檚 works).

There are seventy chapters in 惭腻苍补蝉腻谤补 of with first fifty deal with architecture and the last twenty with sculpture.

Preliminaries.

The first chapter entitled 厂补峁単谤补丑补 deals in the first place with the origin of 痴腻蝉迟耻艣腻蝉迟谤补 (from 艢颈惫补, 叠谤补丑尘腻 and 痴颈峁ａ箛耻, through Indra, 叠峁沨补蝉辫补迟颈, 狈腻谤补诲补 and all others sages, to the seer 惭腻苍补蝉腻谤补 who systematized it) and secondly with the scope (the 厂补峁単谤补丑补) of the science鈥攙ide 痴腻蝉迟耻lak峁�a峁嘺.

The second chapter 鈥�惭腻苍辞辫补办补谤补峁嘺-惫颈诲丑腻苍补鈥� takes up the system of Measurement, a detailed notice of which is taken in the next chapter and also vide 痴腻蝉迟耻lak峁�a峁嘺. Incidently the first part of this chapter traces a genealogy of the artists. 鈥淔rom the four faces of 叠谤补丑尘腻, the Creator of the Universe, originated, in order, the heavenly 痴颈艣惫补办补谤尘补苍, Maya, 罢惫补峁ａ弓峁� and Manu. Their four sons are called respectively Sthapati, 厂奴迟谤补驳谤腻丑颈苍, Vardhaki and 罢补办峁�a办补. These four evidently represent the progenitors of the four classes of terristrial artists. The Sthapati is highest in rank; he is the master-builder. The 厂奴迟谤补驳谤腻丑颈苍 is the guru of Vardhaki and 罢补办峁�a办补; while the Vardhaki is instructor of the 罢补办峁�a办补鈥�. As regards their qualifications and other equipments, enough has been said in one of the last chapters.

With this introduction to the subject-matter, the origin and scope of architecture and the grades of the architect, the next six chapters are devoted to the preliminary matters like the selection of site, testing of soil, planning, designing, dialling, finding out cardinal points, and astronomical and astrological calculations. Accordingly in the former part of the third chapter 痴腻蝉迟耻 (dwelling or habitation, construction or any creation) is defined鈥攙ide Vastu-尝补办峁�a峁嘺; and in the latter one so also in 4th and 5th chapters it deals with examination of soils (叠丑奴辫补谤墨办峁Ｄ�) and selection of site (叠丑奴尘颈-sa峁単raha), the topics fully discussed else where. The sixth chapter鈥�艢补峁卥耻-蝉迟丑腻辫补苍补-惫颈诲丑腻苍补鈥攄eals with dialling and finding out the cardinal point by means of a gnomon. 艢anku蝉迟丑腻辫补苍补 is an ancient device to find out the orientation of the buildings and as regards the principles of dialling, each of the 12 months is divided into 3 parts 10 days each and the increase and decrease of shadow are calculated for these several parts of the different months.

The object of the seventh chapter 鈥�笔补诲补-惫颈苍测腻蝉补鈥� is to lay down rules for the site-plans. When a site is selected for laying out a village, town or building (residential or devotional) there on the ground it is devided into differents numbers of squares鈥攖he padas. The 惭腻苍补蝉腻谤补 recognises thirty two kinds of such siteplans and they are distinguished by as many different designations, according to the number of squares into which the whole area is partitioned out. The whole scheme has been arranged in such a manner that in each case the number of partitions represent the square of the serial number. The details are to follow in the subsequent chapter. The last of the preliminary chapters, the eighth 鈥�Balikarma-vidh膩aa鈥�, is an ancient practise of offering bali to the deities of the site. Different kinds of offerings are described to various deities.

Town-planning:

Now follows architecture proper. Ninth and tenth chapters are devoted to the canons of village-planning, town-planning and the planning of forts.

According to the 惭腻苍补蝉腻谤补, there is not much difference between a village, a town, and a fort All are fortified places intended for the residence of people. A town is the extension of a village. A fort is in many cases nothing more than a fortified town, with this difference, that fort is principally meant for purposes of defense, while a village or a town is mainly intended for habitation. The details are not to be repeated here. They are to be used in the following part鈥擳own-Planning. The only remark in connection with the folk-planning (闯腻迟颈-var峁嚹乨hiv膩sa in the terminology of the 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补) is the partiality of this text for 叠谤腻丑尘补峁嘺蝉 and the architects. The best quarters are generally reserved for them. Such partiality, in the opinion of Dr, Acharya to the artists is not met elsewhere in Sanskrit literature.

Buildings in general: The storeyed mansions.

The XI chapter on 鈥樀�丑奴尘颈lamba-惫颈诲丑腻苍补鈥� literally meaning the height of the story, really deals with the measurement of length, breadth, and height of buildings of one to twelve storys. The various shapes of buildings, their classifications along with their respective dimensions have been dwelt at greater length. The next chapter is on the foundation in great details and incidently in the end it expatiates, on the bricks and the ceremonies connected with Prathame峁ａ弓ik膩, the laying of the foundation stone etc.

The next five chapters are on Pedestals, the 鲍辫补辫墨峁环补, pillar, the Stambha, Entablature, the Prastara and Joinery the Sandhikarma, respectively and their details may not be followed here. The XVIII chapter 鈥槼站背灸宀圆�-惫颈诲丑腻苍补鈥� is devoted the general description of buildings. The contents of the chapter are divided into the following headings: the classification of the 痴颈尘腻苍补s of one to twelve storys; the three styles of architecture; the characteristic features of the st奴pika or pinnacle, the 蝉迟奴辫颈-办墨濒补 or pinnacle staff, the l奴p膩 or looping roof, and the mukhabhadra or front portico, and the ceremonies of fixing the pinnacle staff. The XIX deals with 鈥楨ka-bh奴mi-vidhana鈥攐ne storeyed buildings and the following ones XX-XXX are exclusively devoted to buildings of two to twelve storys, a critical notice of which will follow in the subsequent parts鈥擧ouse-architecture and Temple-architecture.

Buildings in Particular.

The XXXI chapter deals with the courts 笔谤腻办腻谤补-惫颈诲丑腻苍补. Five-fold 辫谤腻办腻谤补蝉 are announced in connection with bali (offerings), 辫补谤颈惫腻谤补 (attendant deities), 艣辞产丑腻 (beauty) and 谤补办峁Ｄ� (defense). Dr. Acharya however remarks (H. A. I. A. p. 166);

鈥淏ut the main object of the chapter is evidently to describe the various courts into which the whole compound is divided. The description of five such courts is given The first or innermost court is called 补苍迟补谤尘补峁囜笉补濒补. The second is known as antar丑腻谤腻, and the third as madhya-丑腻谤腻. The fourth court is technically named as 笔谤腻办腻谤补. The fifth and last one is known as Mah膩mary膩d膩 or the extreme boundary. As the title of the chapter indicates, the greater part of it describes only the fourth court. Here it may be briefly observed that this pr膩k膩ra is also divided into the j膩ti, chanda, vikalpa, 腻产丑腻蝉补 and 办腻尘测补 classes. Under each class a number of buildings (艣腻濒腻) is exhaustively described鈥�.

This observation of the learned doctor supports my contention that these 98 types of buildings arc really gorgeous structural palaces rather than temples proper. Palaces of old had many 辫谤腻办腻谤补蝉 or courts. It was a stereotyped canon of Palace-architecture in India. These courts had edifices of imposing grandeur which comprise both attached and detached buildings along with compartments, halls and chambers etc. etc. Further more this chapter itself concludes with the shrines of attendant deities (辫补谤颈惫腻谤补-惫颈诲丑腻苍补) and the gate-houses, the gopuras are treated in detail in the next two chapters and thus this fact also is a step forward in my previous thesis. In a palace-planning, the place of a royal chapel was also reserved and the gopuras were not only an architectural beauty but also the entrance-door to the royal deity. As already remarked chapters XXXII and XXXIII are devoted to Pariv膩ra and Gopura, the details of the latter being reserved for its proper place鈥攙ide Temple-architecture. Similarly the next two chapters 惭补峁囜笉补辫补-惫颈诲丑腻苍补 and 艢膩l膩-惫颈诲丑腻苍补 XXXIV-XXXV will also be noticed in their proper places 艢腻濒腻蝉 in the 惭腻苍补蝉腻谤补, as already brought out, are storeyed mansions.

House-architecture.

Some four chapters (XXXVLIX) are a brief exposition of residential houses, their dimensions and lay-outs along with the component parts etc. Accordingly the 骋峁沨补-尘腻苍补-蝉迟丑腻苍补-viny膩sa, the XXXVI gives us the arrangement and situation of the different apartments of the house.

鈥楾丑别 Brahma-蝉迟丑腻苍补, or the central square, is stated to be unfit for a residential building. The temple of the family god is generally built in this part. Round this are constructed the dwelling-houses for the master of the family, his wife and children and servants, sheds for cows, horses, poultry, etc. the kitchen and dining hall, etc., rooms for guests, for reading or study, for the daily sacrifices of the upper caste people, for amusements and music, for the dancing girls, and for all other domestic purposes. The arrangement of these different structures is, however, slightly different according to the caste and social position of the family. But the general plan of the dwelling-houses for a family is the same in all cases鈥�.

The next chapter 鈥槼裔箾h补prave艣a-惫颈诲丑腻苍补鈥�, the XXXVII is ceremonial in character and is a usual practice differing only in minor details in different manuals. The subsequent two chapters, the XXXVIII-IX are devoted to doors Dv膩ra蝉迟丑腻苍补 and Dv膩ram膩na-惫颈诲丑腻苍补. Here the principal topics relate to the arrangement, location, measurement, and ornamentation of the doors to be used in all kinds of buildings. Windows are also described. Incidently drains underneath the house are also described. In the end are given the materials (timber) with which the doors are to be constructed. As regards the measurements, the common rule is that the height of a door should be twice its breadth. But various alternative measurements are also given. Then follow the door-parts and in the end arc given their ornamentations.

Palace Architecture.

It is expounded in some ten chapters both in principal topics of layouts and accessory articles of furniture etc In 鈥�搁腻箩补驳峁沨补-惫颈诲丑腻苍补鈥� the Royal Palaces, (XL) palaces are divided into nine classes with regard to their size, according as they belong to a king of nine classes enumerated in the next chapter. It may be pointed out here that the 惭腻苍补蝉腻谤补鈥檚 palace-plans are the most standard and a comparative study of the planning of the palace and its allied architecture of the main buildings and the accessories is reserved for the body of the thesis vide Pt. IV. Palace architecture. The next two chapters Raj膩峁単a-lak峁�a峁嘺 and 叠丑奴辫腻濒补-lak峁�a峁嘺 deal with the royal courts, the classification of kings, the qualities which are required in a good ruler and so forth, the matters not very important from archicetural point of view.

The subsequent chapters on house-hold (especially in the royal houses) furniture are taken up. 鈥楻athalak峁�a峁嘺-惫颈诲丑腻苍补鈥�, the XVIII is on cars and chariots. Cars and chariots are constructed for the ceremonial and ordinary use of gods, 叠谤腻丑尘补峁嘺蝉 and kings, as well as for war and other purposes. The wheels and other parts of cars, their shapes, their measurements, their ornamentations and mouldings are described in order. 鈥�艢补测补苍补-惫颈诲丑腻苍补鈥� the couches (XLIV) treats both b膩la辫补谤测补峁卥补蝉 and the 辫补谤测补峁卥补蝉 proper. Special mention may be made of the swings suspended from four chains in the couches. In the end 膧蝉补苍补蝉 (seats) are also introduced, a special variety, the 鈥楾hrones鈥� 鈥�厂颈峁僪腻蝉补苍补-lak峁�a峁嘺-惫颈诲丑腻苍补,鈥� is the subject matter of the following chapter (XLV), a detailed notice of which is to be taken in 鈥楶alace architecture鈥�.

The next chapter 鈥�罢辞谤补峁嘺-惫颈诲丑腻苍补鈥� on arches is complementary to thrones. Arches are taken as ornament of the thrones of gods and kings which are supported on dwarf pillars. The XLVII chapter is on Theatre 鈥�惭补诲丑测补-谤补峁単补-惫颈诲丑腻苍补鈥� not a very standard prescription on the subject as we find in 痴颈艣惫补办补谤尘腻鈥檚 痴腻蝉迟耻艣腻蝉迟谤补. Now the XLVIII chapter 鈥�碍补濒辫补-痴峁沰峁�a-惫颈诲丑腻苍补鈥� on 鈥楾丑别 Ornamental Trees鈥� is a decorative device in the context of palace-architecture; literally it means a mythical tree granting all wishes or in other words, an all-producing tree. The tree is beautifully decorated with creepers, leaves and flowers of various colours and forms. Jewels and garlands of pearls are inserted in suitable places. The figures of dieties, Siddhas, 痴颈诲测腻诲丑补谤补蝉, monkeys etc., are placed in the intervals between the branches.

The next 鈥�础产丑颈峁�e办补-lak峁�a峁嘺-惫颈诲丑腻苍补鈥� on Crowns and Coronation is divided into two parts: the first part describes the crowns of gods and kings, and the second deals with the ceremonies of the coronation of kings. The chapter is of sculptural interest and a notice of the various head dresses used by gods and kings namely 闯补峁���, Mauli, 碍颈谤墨峁璦, 碍补谤补峁囜笉补, Muku峁璱 etc. (as many as nine such varieties), has already been taken in my book鈥敵漳宀醭俪芘浤宀醭侔��� Vol. II鈥擧indu Canons of Iconography and Painting鈥攁nd therefore they may be passed over here. As regards the royal coronation it may not be reproduced here as being of lion-architectural interest. Now the last chapter (L) of the architectural portion of this text is on the ornaments of the body and art峁僱es of furniture, the former forming a topic of my Iconography-book鈥攙ide 痴腻蝉迟耻艣腻蝉迟谤补 Vol. II, the latter is reserved for the body of the thesis ahead鈥攙ide House-architecture. A notice of sculptural portion is already taken鈥攙ide Vol. II,

Thus the whole treatise is a masterpiece of systemic presentation of an advanced 痴腻蝉迟耻-work and Dr. Acharya鈥檚 claim for it as a standard work on architecture in the widest sense of the term, perfectly complete and methodical in all respects, is certainly right.