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) v4.c30.s2.99

v4.c30.s2.99

¹ The *Nāgara* style is distinguished by its quadrangular form, the *Vesara* by its round form, and the *Drāviḍa* by its octagonal or hexagonal form (vide chapters LIII. 76, 100, 46-47; XXVI. 75; XVIII 90—102). According to the *Vishṇu-dharmottara* (part III, chapter 41), which is a supplement to the *Vishṇu-purāṇa*, paintings are divided into four classes, namely, the *Satya*, *Vainika*, *Nāgara*, and *Miśra*. The square form of the *Nāgara* style has been recognized here also. This point seems to have been missed both by Stella Kramrisch in her ‘A treatise on Indian Painting and Image-making’ (second edition, 1928, pages 8, 51) and by A. K. Coomaraswamy in his article ‘*Nāgara* Painting’ (“*Rupam*” no. 37, January, 1929). For references to the *Āgamas* and other works see the writer’s *Dictionary*, pp. 299f.