Indian Architecture (Buddhist and Hindu Periods) c40.13

c40.13

The secular or civic architecture of Nepal is of the same general character as the religious, except that it is constructed almost entirely of wood, supplemented by brick masonry with occasional accessories of metal added for adornment While most of the buildings are planned on the principle of a square interior open court around which are disposed the main compartments looking inwards, it is on the facade abutting on the public thoroughfare, or bazaar, that the chief architectural effect is concentrated. This facade is often a most elaborate conception, the artistic treatment of the frontages in a continuous arrangement along the streets being the architectural key-note of the towns as a whole. It was usually the practice to design these facades in three stories, the lowest or ground floor being let off as a shop recessed within the building, with "crutch" pillars to support the superstructure Above this ground story in most instances the first floor was composed of brick in which were interposed windows of a highly ornate and often intricate pattern Over this the uppermost story consisting of a substantial wooden construction was projected on brackets and struts, all most decoratively carved, often painted in variegated colours and the openings filled with wooden screens. The roof of red curved tiles with metal gutters and cornerings overhung the whole by means of a prominent cornice, shading the upper story and keeping out rain. Such a composition in itself forms a highly picturesque production, but when it is realized that each feature is carved, embossed, overlaid and wrought with the most ingenious and fanciful patterns including tinkling metal bells and hanging lamps, some idea of the general effect may be imagined. For instance the wooden and painted struts protruding from the dark background of the heavy eaves were most fantastically carved and coloured in the form of figures in spirited action and holding symbols, an effective method of breaking up the deep shadow of this portion of the conception It was, however, on the wooden windows of the intermediate story that the artisans lavished their infallible artistic skill, the variety and inventiveness shown in these being limitless The system employed was derived from a very ancient and traditional type already referred to in which the upper and lower supports were horizontal lintels extending beyond the square window frame placed between Both lintels, especially the upper, were freely carved and decorated, while the lower, or sill, was ornamented with metal. But it was on the actual opening, in lieu of glass, that the woodworker exercised his ingenuity by filling this space with complex geometrical lattices of jointed wood, corresponding to the *pinjra* of the Punjab and the *mashrabiya* of the Arabs. (Plate CXLV) The Newars were remarkably adept in the manipulation of their materials, both metal, [Figure: NALANDA MONASTERY-CITY. CONJECTURAL RESTORATION FROM EXCAVATED REMAINS OF THE 5TH STUPA. c. 6TH CENT. A.D DETAIL OF PILASTER PART PLAN SCALE OF FEET 10 5 10 20 30 40 N PERCY BROWN]