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.c41.s12.40

v6.c41.s12.40

There appears to be no doubt about the fundamental influence of Hindu culture on the art and architecture of these Central Asian colonies. Sir Aurel Stein is equally emphatic on this point also. ‘The most thorough proof of the dominating influence which Indian art exercised on the industries represented in this ancient settlement, was supplied by,’ in addition to purely architectural and sculptural objects, ‘the ornamental wood-carving of the chair.⁷ . . . The height of the legs is 23 inches and the width of the chair 26 inches. . . . The great interest of this ancient piece of furniture lies in its ornamental carving, which shows the closest resemblance to decorative motives familiar from Gandhara reliefs. Referring for all details of the carving to the description given in the list, I may point out,’ he continues, ‘that the four-petalled flower of a shape closely approaching the large purple clematis, which forms its most frequent feature, is well known in Gandhara sculptures. We find it then,’ he concludes by referring to their essential features, ‘either complete and enclosed in squares forming ornamental bands, or else halved and placed within triangular spaces just as seen on the panels and legs of the chair.’⁸ The zigzag arrangement of these halved flowers has also its exact parallel there. ‘The eight-petalled lotus,’ he emphatically asserts, ‘is unmistakably Indian, while the central ornament of the front panel, with its conventionalized fruit (? pomegranate) and leaves, recalls decorative elements on certain Indo-Corinthian capitals.’⁹