Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c15.s2.t1.3

c15.s2.t1.3

The epigraphs also refer to a number of architectural terms, e. g. mahā-chetiya, mahāthūpa (Great Stūpa), mahāvihāra, vihāra, chetiyaghara, chātusāla maṇḍapa (nave with cells), padhānasāla (hall of meditation), bodhi-rukkha-pāsāda (=bodhigharaprāsāda, temple of the bodhi tree), selamamtava, ovaraka (cell), alimdā (=alinda, entrance hall), taḍāka (pond), khaniya (cistern), khambha, selakhambha, selathambha, paṭa (slab), sapatasamthara (floor covered with slabs), unisa (coping-stone, but here also the frieze running along the top of the sculptured facing of a Stūpa), and dvāra (gateway). The superintendent of works, Navakammika, appointed by the royal ladies, took charge of the execution of these monuments of piety (Navakamma) and under his direction were employed stone-sculptors (selavaḍhaki) and architects (āvesani, Skt. āveśanin).¹