Indian Architecture (Buddhist and Hindu Periods) c42.35

c42.35

The principal architectural features of this palace-fortress are to be found in the elaboration of the outer wall, and in the elevation aspect of the royal residence in the centre of the composition The outer wall, a square of 1¼ mile side, is built of red brick 26 feet high, battlemented above, and fortified with 48 bastions each surmounted by a graceful wooden pagoda. Five bridges span the moat and there are twelve gates, the whole forming an attractive picture mirrored in the waters which surround it. Right in the heart of these encircling walls the palace stands, a large group of singlestoried wooden buildings occupying a platform, more than a thousand feet at its greatest length and over 6 feet high, and presenting a spacious cluster of roofs, gables and parapets, with spire-like pagodas indicating the more important halls. Highest and most prominent of these pagodas is one in seven diminishing tiers, a slim and graceful structure some 256 feet in height, well-proportioned and profusely decorated with carving, gilding and colour. This pagoda marks not only the central and principal hall of the palace in which is situated the Lion Throne, but is also traditionally regarded as the axis of the universe around which all systems revolved. In addition to these pagodas, from each pointed roof and every angular gable rise small ornamental spires enriching the skylines of all parts in a manner typical of the style. The interiors of this palace are designed and decorated on the same general lines as the exterior, the walls and ceilings being covered with intricate wood carving, emphasized with gilding and striking schemes in colour. Appertaining more to a fine handicraft than to serious architecture, with portions sometimes trivial and added only for showiness of effect, in the entire range of structures forming this palace there are few outstanding features, nor is there any definite attempt at a unified whole. It is a composition of picturesque, colourful, grouping, an expression of that pulsatile quality that permeates every aspect of Burmese life. To the scenes of imperial pageantry staged from time to time by the Burmese Court, the palace at Mandalay provided an ideal background, but it can hardly be regarded as an example of the building art in its realistic and substantial form.