Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c9.18

c9.18

The account makes special mention of 80 big gateways (Mahā-dvāra) and 60 small gateways (Chulla-dvāra) in the city-wall of the palace which were all operated by mechanical devices, a special pin or peg pressed for closing and another for opening them. In the long corridor of the palace were on both sides one hundred niches for lamps made in the wall and they were also closed and opened by mechanical shutters (Yanta-yuttā). A big palace like this was naturally provided with hundreds of rooms (Eka-śata śayanā-gabbhā). The word Garbha was the same as Śālā, and denoted a room in the palace. In each room was laid a great couch, (Mahā-śayanam) with a white parasol (Seta chhatta), with a throne placed near the couch. Female statues made of plaster (Mātu-gāma potthaka-rūpaka) were made beautiful (Uttamarūpa-dharā) true to life that without touching them no one could know that they were not real living women (hathena anamasitvā na manussa-rūpakaṃ ti na sakkā ñātum). Moreover in the principal hall of the Mahā-Ummaga palace (Mahā Ummagasya gabbhe) expert painters (Kusala-chitakārā) made many kinds of paintings (nānappakāra chitā-kammam karimsu).