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) v6.c40.s2.42

v6.c40.s2.42

Concerning the existence of the temples at Harappa, Sir John Marshall does not seem to have any doubt. Summarizing the account of Sahni, Marshall declares that ‘the temples stand on elevated ground and are distinguished by the relative smallness of their chambers and the exceptional thickness of their walls—which suggest that they were several storeys in height. To a temple, also, doubtless belongs the spacious courtyard with chapels or other apartments on its four sides.’ But he is doubtful ‘whether the worship performed in these temples was iconic or aniconic. The only objects found in association with them and intended apparently for cult-worship are of two kinds, viz. “ring-stones” and “chessman.” He, however, assures that ‘the fact that no anthropomorphic images have yet been unearthed in these temples must not be interpreted as a proof that the worship of such images was unknown.’ In proof of this he mentions that ‘on a tablet of blue faience, which has just come to light, is depicted a figure seated crosslegged (like Buddha on a throne) with a kneeling worshipper to right and left and behind the worshipper a snake (*nāga*), while at the back is a legend in the pictographic script of the period. Now it is possible that this seated figure is nothing more than a royal personage, but the presence of the kneeling devotees, and particularly of the *nāgas*, certainly suggests that the central figure was intended to represent a deity rather than a king.’¹