Indian Architecture (Buddhist and Hindu Periods) c41.65
Indian Architecture (Buddhist and Hindu Periods) c41.65
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c41.65
If, however, the general architectural appearance of these early monastic buildings is denied us, on the other hand there are vast quantities of dressed stone elements in their composition which have survived and serve to give an excellent idea of the manner in which some of the essential features of these structures were treated. Chief among these, owing to their substance and position, were the stylobates of which there are innumerable examples among the ruins of Anuradhapura, together with their stepped approaches, which were made singularly ornamental. Nor should the ablution tanks (*pokana*) or bathing places be omitted in a survey of the style, as these were usually of distinctive design. But of the utmost significance in a development of the building art which is emphatically peristylar in character, are the capitals of the pillars, in other words, the "order" of the Sinhalese style of architecture. As these capitals are so original and expressive they may be described first. The shafts of the columns were invariably monolithic, without bases, generally square or octagonal in section and carved out of gneiss. Socketed into the upper surface was the *puhul*, or capital, of a design which has no counterpart outside Ceylon. The central portion of this feature is a double flexured vase-shaped element hexagonal in section and usually left plain. Contrasting with the simplicity of this unadorned member is the richly carved and substantial abacus which it supports, and the deep necking below with ornamental mouldings between. (Plate CXXVII). There is no mistaking this "order", as it is expressive of the style, and although in some instances it varies in detail, the principle of its design in this early period is as indicated above In a later phase of the art occasionally a more exuberant type was devised in the form of lotus pillars, as in the Nissanka Malla Mandapaya, but this was a development of the twelfth century, when the style was becoming more florid. (Plate CXXVIII).