Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c7.s6.7

c7.s6.7

VEDIKĀ—The object on the summit of this pillar is found on closer analysis to be a *Vedikā*, namely, a structure of upright posts and cross-bars, the number of rows of transverse bars varying as 1, 2, 3 or in one case even 5 (Marshal, 103,18). In some cases only upright posts without bars are shown. Its basic plan is two fold, viz. square, several times shown in isometric projection, open to the sky and at other times circular with a domed roof (Marshall 105. 52, 60, 106.73, and many other examples on plates 106, 107, 108, 109, 110). The circular cottage form (*Parnaśālā*) is clear in Marshall 103. 16, 104. 30. The *Harmikā* on the Stūpa was the abode of gods and the *Vedikā* on the Indus Valley Rudra-Siva pillar was the abode of Agni-Rudra as in the Yajñas. From the isometric or angular form it is clear that this *Vedikā* was exactly similar to the railed *Harmikā* of the Buddhist Stūpas. In some cases either a flame or smoke is shown rising from the open mouth of the *Vedikā*. It appears that originally this pillar was the ensign of God Rudra and later on with certain modifications it was adopted for Indra in the form of a Yūpa, the same as Indra-Yaṣṭi or Indradhvaja with changes due to the influence of the popular cult called *Indramaha*.