Indian Architecture (Buddhist and Hindu Periods) c41.55

c41.55

Of these monumental dagabas raised during the early period, that known as the Ruwanwaeli at Anuradhapura is a characteristic example. It was built in the second century B.C, by king Duthagamini, a devout Buddhist who was also responsible for the Mirisavetiya, another but smaller dagaba about a mile distant and equally typical of the style With a diameter of over 250 feet, this immense tumulus stands in the centre of two spacious square platforms, one above the other, their sides facing the cardinal points, with a pillared portico in the middle of the eastern side marking the entrance. Mounting the outer terrace through this columned approach, the pilgrim was confronted by a stepway leading to the inner terrace, the sides of which were supported by a frieze of innumerable elephants facing outwards. Occupying the middle of this terrace were the three orthodox concentric basal platforms, above which rose the great dome, or *garba* semi-spherical in shape. Interrupting these three platforms, facing the points of the compass, were four structures imposed on its circular outline which give some of the character to the Ceylon dabaga. These are "offsets" or projecting shrines known as *wahalkadas*, a special feature attached to the Sinhalese type. Somewhat similar offsets supporting *aryaka* or "worshipful columns" project from the Amaravati stupa of Southern India, but the wahalkadas displayed no such row of free-standing pillars, they were small chapel-like additions enshrining cells or diminutive relic chambers reached by a short flight of steps from the lowest circular platform. That both however had the same ascription is clear, yet the Sinhalese example being the earlier it is not improbable that the Indian development was derived from that source. (Plate CXXVII). But while the latter was merely one of the many elaborate embellishments of the Amaravati type of stupa, the wahalkada was the only ornate feature, except the finial at the summit, which adorned the otherwise relatively severe scheme of the Sinhalese dagaba. On the wahalkada therefore the Sinhalese sculptors lavished their skill, decorating its surface with mouldings and carved borders of elephants' heads at close intervals. In front of the offset was a pedestal for a statue, and at the side an elegant *et hondaval*, or "elephant's trunk" stairway for mounting the platform There is something almost "precious" in the shape and rich treatment of this notable accessory to the dagaba design.