Indian Architecture (Buddhist and Hindu Periods) c41.66

c41.66

Turning to the massive stone blocks forming the plinths on which most of the main buildings were erected, these are appropriately moulded, dressed, and jointed in a highly finished manner. The same good workmanship is observable in all the stone remains of this period, amply proving that in the preparation and handling of stone construction the Sinhalese mason had little to learn. Specially noticeable in this connection are the tanks for drinking purposes and also for ablutions found in the vicinity of most monasteries, which, owing to the fact that they are below ground level have escaped destruction. Some of these are elaborately planned and laid out in cruciform and other geometrical patterns, while all are executed with a precision and technical ability which is admirable. It was however in the stairway approaches to the principal monastic buildings that the stone-mason showed the most originality and ingenuity, as these entrances breaking into the side of the plinths amply testify. Instances of somewhat similar flights of steps may be seen occasionally introduced in designs in India, as for example at Ajanta of a relatively early date, and later, in the fourteenth century in the Alankara Mandapa at Darasuram, Tanjore (Plate LXVI, Fig 2), but the Sinhalese developed this feature into its most striking form. The component parts of these stairways are four in number: (1) the steps (2) the balustrade on each side (3) the guardstone and (4) the moonstone fronting the whole. Except for an occasional pattern carved on the "rise," the steps themselves were kept severely plain, but the balustrades alongside are heavily voluted in such a manner that they are referred to as *ethondaval* or elephant trunk, although there is something more than a suggestion of the known *makara* or river gryphon of the Ganges in their flowing forms. As a finish to the balustrade are the guardstones or stele-shaped panels containing a bas-relief of the conventional door-attendant corresponding to the *dwarpalas* at the Indian temple entrance. But perhaps the most interesting portion of the whole conception is the moonstone or *chand* a large semi-circular stone forming the threshold to the steps. These are carved in a series of concentric borders with a beauty of pattern and mysticism of symbols that present an appropriate introduction to the building they confront