Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c8.15

c8.15

This joyous spirit is reflected in another hymn devoted to *Śālā* and *Vāstoshpati* (AV. 3. 12) where besides referring to the joys of a happy family mention is also made of some architectural features, viz. its being thatched and having a big lay-out (*Bṛihat-chhanda*) both in loftiness and plan. It is also said that the big cross-beam (*Vaṃśa*, same as *Prāchīna-vaṃśa*) was supported on smaller wooden posts called *Sthūṇā* (*Sthūṇamabhiroha Vaṃśa*, AV. 3. 12. 6.). The Śatapatha refers to the house planned in two parts, the first one called *Pūrvardha* was the same as *sadas* or the male apartment. It was here that the main upright pillar called *Varshishṭha Sthūṇārāja* was erected (ŚB. 3. 5. 1. 1). As to orientation it is stated that the Gods preferred it to be east-west (*Prāchīna vaṃśa*) and for human dwellings it was north-south (*Udīchīnavamśa*, ŚB. 3. 6. 1. 23).