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Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v1.c8: Appendix II. A List of Historical Architects with Short Notes on Their Works

Mānasāra Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Mānasāra-Śilpaśāstra; III. Mānasāra on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Mānasāra: Translation; V. Architecture of Mānasāra: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v1.c8

Language
English

Appendix II. A List of Historical Architects with Short Notes on Their Works

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¹ This list does not include the mere Stone Masons or Engravers of Inscriptions, nor those architects who are mentioned in treatises less historical than the Epigraphical records.

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A

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ACHYUTA—An architect of A. D. 882-917.

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“ A man of Kāmboja descent, the son of Rāma, whose famous name is Achyuta, was here the overseer, he who is an image of Dhanvatri, an incarnation of the quintessence of learning, a friend of the virtuous, and a bee on the lotus of the heart of his master.”
“ As Dhanvatari”, adds Dr. Bühler, “ is the Indian Asklepios, the statement that Achyuta was his image, may mean that he was a Vaidya by caste, or that he was a doctor as well as architect.”

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(Pehoa Praśasti of the reign of Mahendrapāla v. 23, Ep. Ind. vol. I. p. 250, footnote 40).

v1.c8.7

According to Vitruvius (Book I, chap. I, Transl. by Gwilt, pp. 3, 4), the architect “ should be a good writer, a skilful draftsman, versed in geometry and optics, expert at figures, acquainted with history, informed on the principles of natural and moral philosophy, somewhat of a musician, not ignorant of the sciences both of law and physic, nor of the motions, laws and relations of each other of heavenly bodies. ” But these do not include medicine.

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ANAKOJA—Son of the brazier Mārāla, of A. D. 1395.

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Mindoja of Patana made, together with his brother Kaloja, a pillar (kambha) of bell metal (weight specified) for a lamp.

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(Ep. Carant. vol. v. part 1, Belur Taluq, no. 61, Transl. p. 61, Roman text, p. 135).

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Ā

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ĀSALA—An Architect (A.D. 1215, V. S. 1272) who constructed the step-well.

v1.c8.13

(Manglana stone Inscrip. line 13, Ind. Ant. vol. XLI. pp. 11; 86, line 9).

v1.c8.14

ĀHUKA—An architect who built the Śiva temple (A. D. 804). (The first Praśasti of Baijnath, v. 35, Ep. Ind. vol. I. p. 107).

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IDAMORAKA (INDRAMAYŪRA)-ĀCHĀRYA—Sthapati or architect the guru of the sculptor Naṭaka (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).

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IMDARĀKA—Sūtradhāra or the carpenter who assisted the chief architect Pāhiṇi, the builder of the Maṇḍapa, Akshasama, and Damā of the temple of Bhīmeśvara built with stones and bricks. (The Chahamanas of Marwar, no. XIII, Sāṇḍe-rāv stone Inscrip. of Kelhana-deva, line 2 f., Ep. Ind. vol. XI. p. 48).

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O

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OḌEYAPPA—An architect (A. D. 1386).

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“This pillar (dīpamāle kambha) was made by Āchāri Ponnapille's son Oḍeyappa.”

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(Ep. Carnat. vol. IX. Devanhalli Taluq, no. 40, Trasl. p. 78).

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K

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KALLAYYA—An architect, son of Kalloja of Bānūr, by whom “the work of the (bhoga-) maṇṭapa and the writing of this Śāsana were done.” A. D. 1521. (Ep. Carnat. vol. VI. Kadur Taluq, no. 91, Transl. p. 16).

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KAMAU—The architect (śilpī), son of Visadru, who built ‘the fifth octagonal pillar’ on the face of which the inscription is recorded. (Sharqi Arch of Jaunpur, Inscrip. no. XXVII, Arch. Surv. new Imp. series, vol. I. p. 51).

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KĀMA-DEVA—Of Śilāpaṭṭa vaṁśa (Silāwaṭ caste, masons), an architect, appointed by a Muhammadan ruler Jallāla as one of the three architects to build a gumaṭha, a garden, and a step-well in the town of Baṭihaḍim. (Batihagarh stone Inscrip. v. 12, Ep. Ind. vol. XII. p. 46).

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KĀLI-DĀSI—A sculptor (A. D. 1140).

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“ For Pratāpa-Hosaḷa-Narasimha-Deva's sculptor Kedāroja, the sculptor Kālidāsi, champion over the proud, a thunderbolt to the rock (giri), titled (i.e., very eminent) sculptor, made the makaratoraṇa (or carved head-piece for the lintel).”

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(Ep. Carnat. vol. v. part 1, Supplement, Belur Taluq, no. 239, Transl. p. 275).

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See also references under Ballaṇṇa.

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KĀLAKOJA—Son of the brazier Mārāla-Mindoja of Pataṇa, made together with his brother Anakoja a pillar (kambha) of bell metal (weight specified) for a lamp (A. D. 1395). (Ep. Carnat. vol. v. part 1, Belur Taluq, no. 61, Transl. p. 59, Roman text, p. 135).

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KEÑCHA-MALLIVAṆṆA—The sculptor of the image no. 32, Belur temple (A. D. 1120). (Ep. Carnat. vol. v. part 1, Belur Taluq, no. 47, Roman text, p. 125, Transl. p. 55).

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KETĀNA—A sculptor (see under Ballaṇṇa).

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KEDĀROJA—A sculptor (see under Ballaṇṇa).

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KEDĀROJA—A sculptor of Hoysala Narasimha-Deva (A. D. 1140). (Ep. Carnat. vol. v. part 1, Supplement, Belur Taluq, no. 239, Transl. p. 275).

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KUMĀRAM-ĀCHĀRI—The sculptor of the image no. 12, Belur temple (A. D. 1120).

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G

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GANGĀCHĀRI—An architect (A. D. 966).

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“The work of this temple was done by Gaṅgāchāri.”

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(Ep. Carnat. vol. IX. Magadi Taluq, no. 75, Roman text, p. 74, Transl. p. 60).

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GAṆṬEMADANA-BASAVANA—An architect (A. D. 1539).

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“Those who did the work (Devāmbudhi tank) : Gaṇṭemadana-Basavana made the pillars, Komāraiya the ornamental work, the stone-Veḍḍa Chenne-Royi built the stones of the embankment.”

v1.c8.41

(Ep. Carnat. vol. XII. Tumkur Taluq, no. 24, Transl. p 8, para 2).

v1.c8.42

(ŚRĪ)GUNDAN—An architect, who built the temple of the (present) god Virūpāksha, originally of Lokeśvara, as mentioned in the inscription for Loka-mahādevī, the Queen-consort of the Western Chalukya king Vikramāditya, the second.

v1.c8.43

He is called ‘Sūtradhārī’ (one who supports the cause is the sūtradhāra or carpenter, and the sūtradhārī is the guru or priest of the carpenter). He is again called the Tribhuvanāchārya and also the Sarva-siddhi-Āchārya.

v1.c8.44

(Sanskrit and Old Canares Inscrip. no. 99, also nos. 100, 101, and 115, Ind. Ant. vol. X. pp. 164, 163, 165, 166, 170-171)..

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CH

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CHAṆḌI-ŚIVA—The architect of the Harsha temple, “the famed son of Virabhadra, omniscient, like Viśvakarman, in the art (or science) of building houses (Vāstuvidyā)....He built this delightful house of Śaṁkara with its chapels (maṇḍapa), the beautiful porch (toraṇa) which contains all the gods, like a portion of heaven made by the Creator himself.”

v1.c8.47

“In his account of the ruins of this temple, Mr. Dean speaks of a doorway relieved by an architrave of the most elaborate sculpture, divided into twelve compartments, in each of which a group from the Hindu Pantheon occupies a place.”

v1.c8.48

(Harsha stone Inscrip. v. 43, 44. Ep. Ind. vol. II. pp. 123, 124, 128, note 72).

v1.c8.49

CHĀVANA—A son of Dāsoja, sculptor of the images, nos. 6, 11, 27, Belur temple (A. D. 1120). (Ep. Carnat. vol. v. part 1, Belur Taluq, nos. 35, 39, 45, Roman text, pp. 124, 125, Transl. p. 55).

v1.c8.50

CHIKA-HAMPA—The sculptor of the image no. 3, Belur temple (A. D. 1120). (Ep. Carnat. vol. v. part 1, Belur Taluq, no. 33, Roman text, p. 123, Transl. p. 55).

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(ŚRĪ)-CHEṄGAMMA—A sculptor who “made this image” (pratimā). (Sanskrit and Old Canarese Inscrip. no. CIX, Ind. Ant., vol. X. p. 168, c. 1).

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CHOLAJANA—The sculptor of the image no. 17, Belur temple (A. D. 1120). (Ep. Carnat. vol. v. part 1, Belur Taluq, no. 42, Roman text, p. 124, Transl. p. 55).

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CHOUGA—A sculptor (see under Ballaṇṇa).

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CHAUDEVA—A sculptor (see under Mallitamma).

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CHH

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CHHICHCHHA—An architect who built the temple of Pramathanātha, is called the Vijñāna-viśva-karttṛi-dharmadhāra-Sūtradhāra (A. D. 1116). (Khajuraho Inscrip. no. IV, v. 60, Ep. Ind. vol. I. p. 146).

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J

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JAKANĀCHĀRYA—The architect of the temple at Halibid. Cf. “Jakanāchārya is the reputed architect of this magnificent building (Kait Iśvara temple), but he is also credited with having built all the temples, similar in style, throughout the district . . . . . A man of the same name is said to have built the temples at Madurā. Jakanāchārya was a prince who, having accidently killed a Brāhmaṇ, employed twenty years of life, with the hope of washing away this great sin, in rebuilding temples between Kāśī and Rāmeśvara (Cape Comorin)—so says tradition."

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JAṄGAMAYA—An architect (A. D. 1538). "Chennema-Nāyaka-aya had the Yelayūr gate built with proper pillars by the hand of Muta-Nāyaka's disciple Jaṅgamaya."

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(Ep. Carnat. vol. XII. Kumgal Taluq, no. 20, Transl. p. 35).

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JĀHAḌA—The mason (Śilāvaṭa) who worked and shaped the stones for the step-well built by the architect Āsala (A.D. 1215).

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(Manglan stone Inscrip. lines 13-14, Ind. Ant. vol. XLI. pp. 88, 86, lines 9-10).

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ṬH

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ṬHOḌHUKA—The son of Sammana, was one of the architects who fashioned the very lofty temple of Śiva with the chisel, as well as the Maṇḍapa (A.D. 804).

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(The first Praśasti of Baijnath, v. 36, 37, Ep. Ind. vol. I. pp. 107, 111).

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Ṇ

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ṆAṬAKA—(Nartaka)—An architect and sculptor, who made the cobra (nāga) on the slab on which the inscription is incised; the pupil of Āchārya (Sthapati) Idamoraka (Indramayūra).

v1.c8.68

(Banawasi Prakrit Inscrip. line 2 f., Ind. Ant. vol. XIV. p. 334, notes 20, 23).

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ṆAṆṆAKA—A son of Kṛishṇa, most qualified architect of the temple of Śiva (Mālava era 795, A. D. 738). (Inscription from the Mahadeva temple, v. 29, 30, 161, Ind. Ant. vol. xiii. pp. 165, 163).

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T

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TUṚAVĀŚĀRI-KALIYUGA-MEYYAN—An architect (A.D. 1331). “Another grant, by the same man, of lands (specified) to Tuṛavā-śāri Kaliyuga-meyyan, who built the temple.” (Ep. Carnat. vol. ix. Hoskote Taluq, no. 96, Transl. p. 99).

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TH

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THĀLŪ—An architect of the temple, an account of which is given in the Behal inscription of Singhana (A.D. 1222-3). (Ep. Ind. vol. iii. pp. 111, 113).

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D

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DĀSOJA--Of Balligrāma, sculptor of the images nos. 5, 7, 9 of the Belur temple (A.D. 1120). (Ep. Carnat, vol. v. part 1, Belur Taluq, nos. 24, 36, 37, Roman text, p. 124, Transl. p. 55).

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DEMOJA—An architect who “made the frame of the eastern door” of the structure referred to in the inscription (A.D. 1240). (Ep. Carnat. vol, v. part 1, Supplement, Belur Taluq, no. 241, Transl. p. 275).

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DEVANĀGA—“Crest jewel of sculptors, built the temple of Śiva.” (Ratnapura Inscrip. of Prithvīdeva, v. 29, Ep. Ind. vol. i. pp. 49, 52).

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DEVĀDITYA—"The son of Āhlādana who (became) the firm (? professional, permanent, 'sthira') architect of the Vaidyeśa, is famous among the first rank of masons."

v1.c8.79

DEVOJA—A sculptor (see under Ballaṇṇa).

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NAÑJAYA—A sculptor (see nnder Mallitamma).

v1.c8.81

NARA-ŚOBHA—An architect (7th or 8 century A.D.).

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Jambu-dvīpāntare kaśchit vāstu-prāsāda-tadgataḥ ।
Nara-śobha-samo vidvān na bhūto na bhavishyati ॥

v1.c8.83

"There has not been, and there shall not be, in Jambu-dvīpa (India) any wise man, proficient in (the art of building) houses and temples, equal to Nara-śobha." (Sanskrit & Old Canarese Inscrip. no. LXI, Ind. Ant. vol. IX. p. 74).

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NAṀDIKA—An architect. Cf. Veyikā (Naṁdikena kataṁ—the rail (the gift of......Koṭi) was made by Naṁdika. (Karle Cave Inscrip. no. 18, Ep. Ind. vol. VII. p. 64).

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NĀGĪ-DEVA—A sculptor. Cf. "This Śāsana of King Harihar was engraved by his orders by the carpenter Śāsanāchārya Nāgīdeva, the sculptor." (Ep. Carnat. vol. VIII. part 1, Tīrthahalli Taluq, no. 201, Transl. p. 208, last para).

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NĀGOJA—Of Gadugu, the sculptor of the image no. 37 of the Belur temple (A.D. 1120).

v1.c8.87

NĀYAKA—"The high minded son of Āsika, who is at the head of the masons, came from Suśarman's town, was one of the architects who "fashioned the very lofty temple of Śiva with the chisel, as well as the Maṇḍapa" (A. D. 804). (The first Praśasti of Baijnath, v. 36, 37, Ep. Ind. vol. I. pp. 107, 111).

v1.c8.88

PAṬUMĀN—Carpenter (Sūtradhāra), son of Vīsaihva, probably the builder of the gate where "on a stone near the first niche on the south side" the inscription is found. (Sharqi Arch. of Jaunpur, Inscrip. no. XIII, Arch. Surv. new Imp. series, vol. I. p. 39).

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PADARI-MALLOJA—The sculptor of the image no. 21 of the Belur temple (A.D. 1120). (Ep. Carnat. vol. v. part 1, Belur Taluq, no. 43, Roman text, p. 125, Transl. p. 55).

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PADU-MAṆṆA—A sculptor (see under Mallitamma).

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PADUMAYA—A sculptor (see under Mallitamma).

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PADUMAVI—An architect (Sūtra-dhāra), son of Sai-Sūtradhāra, who constructed the door, "of the right jamb" of which the inscription is written (A.D. 1407). (Sharqi Arch. of Jaunpur, Inscrip. no. xv, Arch. Surv. new Imp. series, vol. I. p. 40).

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PĀKA—An architect. "Hail! The house of the temple of (the god) Śrī-Vijayeśvara. Pāka (was) the fashioner of the ornamentation (alaṁkāra-nirmmāṇa-kāra) of these two pillars of Mātibhodamma." (Sanskrit & Old Canarese Inscrip. no. CXII, Ind. Ant. vol. x. p. 170, c. 1).

v1.c8.94

PĀHIṆI—Son of the Sūtradhāra Mahaḍūa and his wife Jasadevī, the architect who constructed the Maṇḍapa, Akshāsāma, and Ḍamā of the temple of Bhīmeśvara with stones and bricks.

v1.c8.95

He was assisted by the Sūtradhāra Mahidarā and Imdarāka. (The Chahamanas of Marwaṛ, no. XIII, Sāṇḍerav stone Inscrip. of Kelhaṇadeva, line 2, Ep. Ind. vol. XI. p. 48).

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PĪTHE—"The architect who knows the rules of Viśvakarman (the architect of the gods, also means one who knows how to execute every kind of work), planned, designed and executed all the buildings, the temple of Śiva together with that cloister (maṭha) with wonderful floors (bhūmika), the hall of study (vyākhyāna-śālā), and laid out that long line of gardens in two rows (adjoining) Śambhu's temple," (A.D. 1155-6). (Bhera-ghat Inscrip. of Alhanadevi, v. 36, 27, 18, Ep. Ind. vol. II. pp. 13, 17, 9).

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PAISSAṆANARA-BĪRA—The sculptor of the image no. 16, of the Belur temple (A.D. 1120). (Ep. Carnat, vol. V. part 1, Belur Taluq, no. 41, Roman text, p. 124, Transl. p. 35).

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B

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BAMAYA—A sculptor (see under Mallitamma).

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BALUGA—A sculptor (see under Mallitamma).

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BALEYA—A sculptor (see under Mallitamma).

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BALLAṆṆA—The inscription (Belur Taluq, no. 98, Roman text, p. 165, Transl. p. 71) informs us that a shrine of the goddess Nimbajā was set up in the temple in 1261. The sculptors who executed the marvellous statues and figures on the outer walls of this temple especially on the western side, have not given their names, except here and there, the following are the only ones (Ep. Carnat. vol. V. part 1, Introduction, p. XXXVIII):—Ballaṇṇa, Bochana, Chauga, Devoja, Harisha of Oḍeyagiri, Harisha of Tanagundur, Kālidāsi, Kedāroja, Ketāna, Mābalaki, Māchaṇṇa, Maṇibālaki, Masa, son of Kanimojā, and Revoja.

v1.c8.103

BIKKAHAPPĀ—The sculptor of the image no. 36, of the Belur temple (A. D. 1120).

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BĪRANAVA—The sculptor of the image no. 22, of the Belur temple (A. D. 1120).

v1.c8.105

(Ep. Carnat. vol. v. part 1, Belur Taluq, no. 44, Roman text, p. 125, Transl. p. 55).

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BOCHANA—A sculptor (see under Ballaṇṇa).

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BH

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BHŪTA-PĀLA—An architect.

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*Cf*: This "rock-mansion (selaghara), the most excellent one in Jambu-dvīpa, has been completed by the seṭṭhi Bhūtapāla from Vaijayanti."
(Karle Cave Inscrip. no. 1, Ep. Ind. vol. VII. pp. 48, 49).

v1.c8.110

BHOJŪKA—Of Silāpaṭṭa-vaṁśa (Silawaṭ caste, who are masons and found in the neighbourhood of Damoh), a Sūtradhāra (carpenter) appointed by a Muhammadan ruler Jallāla as one of three architects to build a Gomatha, a garden, and a step-well in the town of Baṭihaḍim.

v1.c8.111

(Batihagarh stone Inscrip. v. 12, Ep. Ind. vol. XII. p. 46).

v1.c8.112

M

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MAṆI-BALAKI—A sculptor (see under Ballaṇṇa).

v1.c8.114

MADANA—"A scion of (the race of) Viśvakarman (? of the Brāhmaṇa caste, vipra), the builder of the wall of (glorious) Vaidyeśa, of the extensive temple, of the gates, of the wings, of the foundations."

v1.c8.115

MANA—An architect, son of Vījala and grandson of Vīśāla; he is stated to have built, being assisted by his followers, the famous temple of Śiva together with many palatial buildings having prominent towers (A. D. 1428-29). Aneka-prāsādaiḥ parivṛitamati prāṁśu-kalaśaṁ girīśa-prāsādaṁ vyarachayad anūnair anucharaiḥ | Manākhyo vikhyātaḥ sakala-guṇavān Vījala-sutaḥ sutaḥ śilpī jāto guṇa-gaṇa-yuto Vīśala iti || Vījalasya sutaḥ śilpī Manākhyaḥ sūtra-dhārakaḥ | (Chitragadh Inscrip. of Mokala of Mewad, second part, *v.* 2, 3, Ep. Ind. vol. II. p. 421).

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MANYUKA—An architect who built the Śiva temple (A. D. 804). (The first Praśasti of Baijnath, *v.* 35, Ep. Ind. vol. I. p. 107).

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MAYINA—The sculptor of the image no. 31, of the Belur temple (A. D. 1120). (Ep. Carnat. vol. V. part I, Belur Taluq, no. 46, Roman text, p. 125, Transl. p. 55).

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MALAYA—A sculptor (see under Mallitamma).

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MALI—A sculptor (see under Mallitamma).

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MALLI-TAMMA—An architect (A. D. 1196).

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“A newly discovered inscription on a rock at Śrāvaṇa-Belgola, mentions a sculptor named Bidigoja, with the honorary prefix Śrīmart, somewhere about A. D. 900 (Mysore Archaeological Report, 1908-09, p. 15, para 60); and two other records at the same place, of the date unspecified, mention Chandrāditya and Nāga-varma as having carved Jinas, animals, and other figures for the Jains” (ibid. Report, 1912-13, p. 32).

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“The earliest records of the Hoysala sculptors seem to be those on the Amṛiteśvara temple at Amṛitāpura, built in A. D. 1196. The 15 signatures comprise Mallitamma or Malitama, and Mali, each four times; and Padumaṇṇa, Baluga, Majaya, Subujaga, Padumaya, and Muhaṇa, each once. The last named signs in Nāgarī character, an indication that he came from the north.”

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“Report for 1913-1914, Plate II, contains illustrations of the work of seven sculptors: Masanitamma, Nañjaya, Chau-deya, Baleya, Lohita, Yalamasaya, and Bamaya, all from Somnāthpur.”
(V. A. Smith, Architecture and sculpture in Mysore, Ind. Ant. vol. XLIV. p. 94, paras 3, 4; p. 95, para 1).

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MALLIYAṆA—The sculptor of the image, no. 10, Belur temple (A. D. 1120).

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(Ep. Carnat. vol. v. part 1, Belur Taluq, no. 38, Roman text, p. 124, Transl. p. 55).

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MALLOJA—An architect who built the central shrine (*garbha-gṛiha*) of the temple described in the inscription (A. D. 1167).

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(Ep. Carnat. vol. VII. Shimoga Taluq, no. 55, Transl. p. 21, line 3).

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MASA—A sculptor (see under Ballaṇṇa).

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MASADA—The sculptor of the image no. 33, of the Belur temple (A. D. 1120).

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(Ep. Carnat. vol. v. part 1, Belur Taluq, no. 48, Roman text, p. 125, Transl. p. 55).

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MASANI-TAMMA—A sculptor (see under Mallitamma).

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MAHĪ-DHARA—An architect, son of the chief of artisans (Sūtra-dhāra).

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(Bheraghat Inscrip. of Alhanadevi, v. 37, Ep. Ind. vol. II. pp. 13, 17).

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MAHID(H)ARĀ—An architect (Sūtra-dhāra), who assisted Pāhiṇi, the chief architect of the Maṇḍapa, Akshasāma, and Damā of the temple of Bhīmeśvara which was constructed with stones and bricks.

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(The Chahamanas of Marwar, no. XIII, Sāṇḍerav stone Inscrip. of Kelhanadeva, line 2, Ep. Ind. vol. XI. p. 48).

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MĀCHAṆṆA—A sculptor (see under Ballaṇṇa).

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MĀCHOJA—A sculptor and architect (A. D. 1142).

v1.c8.138

“The sculptor Māchoja, the Āchārya of Kalukuṇi-nāḍ, the Viśvakaraman of the Kali-yuga, built it” (Jinālaya).
(Ep. Carnat. vol. IV. Nāgamaṅgala Taluq, no. 95, Transl. p. 138, Roman text, p. 239).

v1.c8.139

MĀBALAKI—A sculptor (see under Ballaṇṇa).

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MĀMARIYAÑCHI-TAMMA—A son of the goldsmith Bandiyoja; “he repaired and roofed a bira-gal, which was made by Alibanu-Āchāri (A. D. 1242).”

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(Ep. Carnat. vol. III. Maṇḍya Taluq, no. 85, Transl. p. 48).

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MUDDOJA—A son of Tipaji, a stone mason, “who built these (described in the inscription) temples (A. D. 1408).”

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(Ep. Carnat. vol. X. Garibidnur Taluq, no. 59, Transl. p. 226, last para).

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MULAṆA—A sculptor (see under Mallitamma).

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MODHAKIN—(also called Podhakin)—An architect, son of Vara (of the 7th or 8th century).

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(Further Pabhosa Inscrip. no. 1, Ep. Ind. vol. II. pp. 480-481).

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Y

v1.c8.148

YAYYA—(otherwise called Jajja)—An architect.

v1.c8.149

(Further Pabhosa Inscrip. no. l, Ep. Ind. vol. II. pp. 480-481).

v1.c8.150

YALAMASAYA—A sculptor (see under Mallitamma).

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R

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RĀGHAVA—An artizan (sculptor), son of artizan (sculptor) Vīmjhadeva, who carved the Verawal image (Valabhi Saṁvat, 927).

v1.c8.153

(Verawal Image Inscrip. line 5, Ep. Ind. vol. III. pp. 303, 304).

v1.c8.154

RĀMA-DEVA—Śilpin (artist), son of Rūpa-kāra (sculptor), the engraver of the famous Dhar Praśasti (panegyric) of Arjuna-varman. (Dhara Praśasti of Arjuna-varman, v. 76, Ep. Ind. vol. VIII. pp. 117, 98).

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REVOJA—A sculptor (see under Ballaṇṇa).

v1.c8.156

L

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LAKSHMĪ-DHARA—An architect (A. D. 1104). (Nagpur stone Inscrip. v. 56, Ep. Ind. vol. II. pp. 188, 194).

v1.c8.158

LASE—The sculptor of the image no. 35, of the Belur temple (A. D. 1120). (Ep. Carnat. vol. V. part 1, Belur Taluq, no. 49, Roman text, p. 125, Transl. p. 55).

v1.c8.159

LOHITA—A sculptor (see under Mallitamma).

v1.c8.160

V

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VĀMA-DEVA—“Famous for having built the temple of the Sun called Mūla-sthāna.” (Inscrip. from Dabhoi, v. 111, 112, Ep. Ind. vol. I. pp. 31, 29).

v1.c8.162

VIRAṆĀCHĀRYA—A carpenter (see under Sthapati) (A. D. 1558). “This copper Śāsana was composed by Sabhāpati Svayambhu, and engraved by Viraṇa’s son, the carpenter Viraṇāchārya.” (Ep. Carnat. vol. IX. Channapatna Taluq, no. 186, Transl. p. 170, last para).

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(ŚRĪ) VĪRAṆĀCHĀRYA(2)—The architect (tvashtā), who engraved the copper plate. (Kṛishṇapuram Plates of Sadāśivarāya, v. 107, Ep. Ind. vol. IX. p. 339, see more details of this architect under Sthapati).

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VIŚVAKARMMĀCHĀYYA—An artist and painter (A. D. 776).

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“By the abode of all arts, skilled in painting pictures (sarvva-kalādhāra-bhūta-chitra-kalābhijñena), was this Śāsana written.”
(Ep. Carnat vol. iv. Nāgamaṅgala Taluq, no. 86, Transl. p. 136, last para, Roman text, p. 235, last two lines).

v1.c8.166

VIŚVAKARMMĀCHĀRYA (2)—A painter (A. D. 749).

v1.c8.167

“Skilled in all arts including painting” (sarvva-kalāntarpāti-chitra-kalābhijñena) wrote the Śāsana.
(Ep. Carnat. vol. vi. Mudgere Taluq, no. 36, last para, Transl. p. 67, Roman text, p. 153).

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VIŚVA-NĀTHA—An architect (A. D. 1530).

v1.c8.169

“Born in the family of Viśvakarma, the architect of the three worlds, Viśvanātha, the son of Basavāchāriya, who was the son of Vodeyappayya, considered to be the Jagad-guru, engraved it.”
(Ep. Carnat. vol. v. part 1, Channarayapatna Taluq, no. 187, Transl. p. 207).

v1.c8.170

Ś

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ŚĀMU—“This must be the name of some writer on architecture.”

v1.c8.172

Śāmu-dṛishṭim anusṛitya nirmitā—“constructed (the lofty temple of Śiva, by two architects, Nāyaka and Thoḍhuka) in accordance with the opinion of Śāmu.” (A. D. 804).
(The first praśasti of Baijnath, v. 37, Ep. Ind. vol. i. pp. 111, 107, foot note 72).

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ŚIVA-PĀLA—A mason, one of whose ancestor is a Sūtra-dhāra (carpenter, named Deuka) but another of the same family is Sthapati (architect, named Nāga).

v1.c8.174

(From this it would appear that both Sūtra-dhāra and Sthapati belong to the same caste and that these are professional titles and not caste-names).
Cf. Āsīch cha Nāga-sthapatcs tu Durggāḥ |
Durgḡārkkato Deuka-sūtra-dhāraḥ |

v1.c8.175

Asyāpi sūnuḥ Śiva-pāla·nāmā ।
Yenotkṛiteyaṁ suśubhā praśastiḥ ।

v1.c8.176

(Vasantgadh Inscrip. of Purnapala, v. 34, Ep. Ind. vol. ix. p. 15).

v1.c8.177

SUBHA-DEVA—(A. D. 754)—Of Śāṇḍilya-gotra, sculptor or architect (rūpakāra), “son’s son of the sculptor Śiva-vardhamāna, son of the sculptor Śiva; or rather (bhūyaḥ) the Āchārya Jñāna-śiva, who is the disciple of the disciple’s disciple at the feet of him, the venerable and worshipful Payo-bhakshin, who had the appellation of Śiva-śāsana, (and) who has come here (Paṭṭadakal, a village in the Bījāpur district, Bombay Presidency) from the Mṛigathaṇikā-hāra-vishaya on the north bank of the (river) Gaṅgā—there has been set up in the (?) gateway (dvāra) 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. (Paṭṭadakal Inscrip. of Kirtivarman II, lines 15, 16, 17, Ep. Ind. vol. iii. pp. 1, 3, 5, 7).

v1.c8.178

(RĀṆAKA) ŚŪLA-PĀṆI—The crest-jewel of the guild of Vārendra artists (vārendraka-śilpi-goshṭhī-chūḍā-maṇi), the son of Bṛihaspati, grandson of Manadāsa, and great-grandson of Dharma (end of the 11th century). (Deopara Inscrip. of Vijayasen, v. 36, Ep. Ind. vol. i. pp. 311, 315).

v1.c8.179

S

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SATYA-DEVA—A son of Pitāmaha, a merchant by birth, who was the Kārāpaka (persons appointed to look after the construction of the temple, Kielhorn, Ind. Ant. vol. xix. pp. 62, note 53), selected by the goshṭhi to see this work (the erection of the temple of the goddess Kshemāryā). (Vasantagadh Inscrip. of Varmalata, v. 9, 8, Ep. Ind. vol. ix. pp. 192, 189).

v1.c8.181

SĀDEVA—An architect.

v1.c8.182

SĀMI(ṆA)—otherwise called Śyāmila, Svāmin—Vaḍhaki, (i.e., Vardhaki), carpenter or sculptor (Senart). Sāminā . . . . Vaḍhakinā . . . . . gharasa mugha kata—the opening (or door) was made by Sāmi, the Vardhakin. (Karle Cave Inscrip. no. 6, Ep. Ind. vol. VII. p. 53).

v1.c8.183

SĀMILA—also called Śyamila—A carpenter. “Son of Veṇuvāsa, a carpenter, a native of Dheṇukākaṭa, made the doorway.” (Karle Inscrip. no. 6, Arch. Surv. new. Imp. series, vol. IV. p. 90).

v1.c8.184

SĀMPULA—“The intelligent artisan,” engraver of the Ratnapura inscription of Pṛithvīdeva, the “crest-jewel of sculptors,” built the temple of Śiva (A. D. 1189). (Ratnapura Inscrip. of Prithvideva, v. 28, 29, Ep. Ind. vol. I. pp, 49,52).

v1.c8.185

SIGGOJA—The sculptor, who made the sculpture mentioned in the inscription, no. 525. (Ep. Carnat. vol. VIII. part 1, Sorab Taluq, no. 525, Roman text, p. 168, Transl. p. 86).

v1.c8.186

SIṄGAṆAHEBĀRUVA—The architect, who built “the stone gate-way of Śānti-grāma, ornamented with the tiger-face.” (A. D. 1573). (Ep. Carnat. vol. v. part 1, Hassan Taluq, no. 117, Transl. p. 34).

v1.c8.187

SIṄGĀYA-BHAṬṬA—Rudraya’s son, hydraulic engineer (jala-sūtrada), master of ten sciences (dasa-vidyā-chakravarttī), made (in A. D. 1388), at the order of Governor Bukka-Rāya, a channel of ten miles from Kallūḍi to the Siravera tank. An interesting account of his accomplishments is given :

v1.c8.188

Jala-sūtra-svara-śāstre rasa-vaidye satya-bhāshāyām ।
Rudraya-siṅgari bhavataḥ sadṛiśaḥ ko vā mahī-tale śūraḥ ॥

v1.c8.189

“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) Siṅgari, what learned man is there in the world equal to you?”

v1.c8.190

(Ep. Carnat. vol. x. Goribidnur Taluq, no. 6, Transl. p. 212, Roman text, p. 259, Preface, p. 2).

v1.c8.191

SIṄGĀLI-KARGI—The son of Kali, a paṇḍita from the Nava-grāma-draṅga (watch station near mountain passes, cf: Translation, Rāja-Taraṅgiṇī, v. II. p. 291), the sthapati (architect of the tank specified). (Shawar Museum Inscrip. of Vanhadaka, line 6, Ep. Ind. vol. x. p. 80).

v1.c8.192

SUBUJAGA—A sculptor (see under Mallitamma).

v1.c8.193

SKANDA-SĀDHU—The son of Śrī-kaṇṭha, a descendant of a family of architects (sthapati-kula). (Sholinghur Inscrip. of Parantaka I, line 21, Ep. Ind. vol. IV. pp. 224, 225)

v1.c8.194

H

v1.c8.195

HARIDĀSA—An architect (sūtra-dhāra), employed to repair the temple of Dakshiṇāditya (A. D. 1373). (Gaya Inscrip. of Vikrama saṁvat 1429, line 9, Ind. Ant. vol. xx. pp. 315, 313).

v1.c8.196

HARISHA—(of Tāna Guṇḍur)—A sculptor (see under Ballaṇṇa).

v1.c8.197

HARISHA (2)—(of Oḍeyagiri)—A sculptor (see under Ballaṇṇa).

v1.c8.198

HAROJA—A sculptor (A. D. 1243).

v1.c8.199

“Haroja, son of Honnāchāryya, son of Boṭakāchāryya, the equal of Manu, Maya, and Viśvakarmma, beloved by all the people and farmers, set up an image of the sun.”

v1.c8.200

(Ep. Carnat. vol. IV. Nagamangala Taluq, no. 55, Transl. p. 127, Roman text, p. 219).

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HALĀ—Of Śilāpaṭṭa vaṁśa (Silawaṭ caste, masons), an architect, appointed by a Muhammadan ruler Jallāla· as one of the three architects to build a Gomaṭha, a garden, and a step-well in the town of Baṭihaḍim. (Batihagarh stone Inscrip. v. 12, Ep. Ind. vol. XII. p. 46).

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