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Life in Ancient India as Depicted in the Jain Canons, with Commentaries: An Administrative, Economic, Social and Geographical Survey c13.s8: (8) Architecture

Life in Ancient India as Depicted in the Jain Canons, with Commentaries: An Administrative, Economic, Social and Geographical Survey c13.s8

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English

(8) Architecture

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The art of house building (vetthuvijjā) was an important art in ancient India. There were vatthupālhagas or men qualified for testing sites for house building.¹¹⁴ Vaddhai or an architect is counted as one of the fourteen 'jewels'.¹¹⁵ In building a new house in the city it is said that, firstly, the land is examined, then it is levelled, then rings (undiyāo)

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¹¹⁴ Bth Bhā 4 4915.

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¹¹⁵ Āa cū II, p 161.

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are cast on different places fit for different constituents of the building. Then the ground is dug and the foundation is laid and a well pressed and then a platform of brick masonry is added.¹¹⁶

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¹¹⁶ Bṛh Bhā Pī 331-3, also cf Digha I, p 9, Milindapañha, pp 331, 345.

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Three kinds of buildings are mentioned: an underground cell (khāya), a palace (ūsiya), and a combination of the two (ubhaya)¹¹⁷

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¹¹⁷ Bṛh Bhā 1 827

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The Rāyapesenīya mentions a number of architectural terms, which show the development of the science to a great extent in those days Mention is made of Sūryābhadeva's Vimāna which was surrounded on all sides by a rampart (pāgāra) and which was embellished with beautiful cornices (kavisīsaga). In every direction there were gates (dāra) with cupola (thūbhiya) decorated with the figures of īhāmiga, bull (usabha), horse with a man's head (naraturaga), crocodile (magara), bird (vihaga), serpent (vālaga), kinnara,¹¹⁸ deer (ruru), sarabha, yak (camara), elephant (kuñjara), creeper (vanalayā) and lotus creeper (paumalayā). They had capitals (veiyā) decorated with the figure of the pair of the vidyādharas The doors had landings (nimma),¹¹⁹ foundation or pedestal (patthāna), pillars (khambha), thresholds (eluyā), bolts (indakīla), door-posts (cedā), lintels (uttaraṅga), small door bolts (sūi), joints (sandhi), sockets (samuggaya), wooden cross bolt pin (aggalā), sockets for wooden pin (aggalapāsāya), hinges (āvattanapedhiyā), and left wings (uttarāpāsaga). There were heavy doors fitting closely (nirantarīyaghanakavādā); in their panels (bhitti), there were globular bosses (bhittiguliyā) and cushions (gomānasayā) In the doors the figures of sālabhañjikas¹²⁰ in various playful attitudes were carved Then the doors had pinnacles (kūda), elevation (usseha), the tops (ulloya), lattices (bhoma), pinions (pakkha), pinion supports (pakkabāhā), cross beams (vamsa), ribbings (vamsakavelluya), panels (patthyā), thatches (ohāḍanī) and thatches under the ribbings (uvaripuñchanī).¹²¹

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¹¹⁸ The Kinnara motif in decorative art is mentioned by the Sinhalese painters. The Kinnaras are beings, human above and bird-like below, like a siren or harpy, with human arms and shoulders and the wings not large enough for flight, A K Coomaraswamy Med.oeval Singhalese Art, Gloucestershire, 1908, p 81f

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¹¹⁹ Dvārānām bhūmibhāgād ūrdhvam maśkrāmantah pradesah, com

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¹²⁰ For a beautiful description of sālabhañjkas read sū 101 The Avadānasataka (VI, 53, p 302) mentions sālabhañjikā, a festival celebrated in Srāvastī

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¹²¹ Rāya. sū. 97f.

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Then there were pegs (nāgadanta) on both sides of the gates, from which were hung hangers (sikkaga) and on which were suspended incense pots (dhūvaghadi).¹²²

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¹²² Ibid. sū. 100, p 164

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We learn about a Theatic hall¹²³ (paṭhāgharamanḍava) which was supported by many columns (anegakhambhasayasannivittha), and was furnished with huge altars (vedikā), arches (torana) and sālabhañjikā figures, it was decorated with īhāmiga etc., was fitted with a mechanism to show the moving figures of the pair of vidyādharas, had hundreds of figures decorating it (rūvagasahassakaḷiyam), had many domes (thūbhyā), was decorated with flags and bells, was well-plastered (ulloya) and bore the palm impression inside and outside, its gates had sandal pitchers and arches; there were flowers, garlands, perfumes and incense, and the ceiling (ulloya) was decorated with lotus creepers. In the centre of the Theatre hall there was a stage (akkhāḍaga) which had a jewelled seat (maṇipedhiya) in the centre. On that there was a throne having discs (cakkala), lions (sīha), feet (pāya), tops (pāyasīsaga), the body (gatta) and the joint (sandhi).¹²⁴

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¹²³ Almost the same description is given of a royal house (bhavana) in the Nāya 1, p 22; also cf. the description of a litter (siyā), ibid., p. 31. Also vide Mānasāra, ch. XLVII

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¹²⁴ Rāya 41 f. For the description of Sudhammā Hall and other buildings see Rāya, 120-131

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The stair-cases are mentioned which were well-equipped with landings (nemma), plinth (avalambana), balustrade (avalambanalāha), etc.¹²⁵ Then the Nāyādhammakahā describes the sleeping chamber (rāgagharaya)¹²⁶ of queen Dhāriṇī as having an outer court yard (chokattha, com. lānyātundaka), polished and well-set pillars endowed with statues (sālabhañjya), bird-perches (uḍaṅka),¹²⁷ latticed windows (jāla), circular stairs (addha-canda), brackets (nijjūha), apertures (kaṇayāli, com. sūracchasaḥ), and a room on the roof called candasālika, it was coloured with the dye of clear mineral rock (dārucela), the outside was white-washed (dūmiya) with stone and therefore it had a smooth surface (ghaṭṭamaṭṭha) and the inside was decorated with pictures (cittakammi), its floor (koṭṭimatala) was richly studded with various gems and jewels and the ceiling had a canopy of painted cloth (ulloyacitta) with lotus flowers (pamalaya) and flowering creepers laden with beautiful flowers, the door-ways were beautifully decorated with auspicious golden jars, with lotus flowers inserted in the mouth and these were worshipped with sandal, the door was decorated with pratardaka (an ornament) and hung with necklaces of pearls and jewels. Fragrant incense burnt in the room and the furniture consisted of rich upholstered beds, cushions and pillows, etc.¹²⁸

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¹²⁵ Ibid sū 30, cf three kinds of stairs, viz., brick stairs, stone stairs, and wooden stairs, Cullavagga, V 11 6

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¹²⁶ Also compare the description of dwelling place (rāsaghara) in the Kalpa sūtra, 3 32.

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¹²⁷ Vitanka is also mentioned in the Rāmāyaṇa, II 80 20

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¹²⁸ 1, p. 3 f, also cf Brh Bhā Pi 582 ff

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There were lofty mansions (pāsāya arādimsaya) for rich and well-to-do people. Seven storeyed¹²⁹ mansions touching the sky and embellished with flags, banners, umbrellas and garlands are referred to.¹³⁰ Then we have reference to a post (khandha), pillar (thambha) raised platform (mañca), scaffold (mālā) and flat roof (hammiyatala).¹³¹ The city of Rāyagiha was known for buildings made of stone and bricks (kāṇilla).¹³² The mirror-house (āyamsagīha) of Bharata was well-known.¹³³ Sīyahara or the cool-house was a marvellous house of a Cakravartin which remained unaffected by rains, cold and heat¹³⁴ Then we had underground construction (bhūmihara),¹³⁵ back door (avadāra),¹³⁶ big tunnels (suranga)¹³⁷ and lac-houses (jauhara)¹³⁸

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¹²⁹ Uttarā Ti 13, p 189

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¹³⁰ Nāyā 1, 22

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¹³¹ Ācā II 1 7 260

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¹³² Brh Bhā 3 4768

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¹³³ Uttarā Ti 18, p 232 a

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¹³⁴ Āsī cū 10, p 559.

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¹³⁵ Uttarā. Tī, 13, p 185 a

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¹³⁶ Nāyā 8, p 111.

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¹³⁷ Āia cū II, p 165

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¹³⁸ Uttarā Tī 13, p 188 For the construction of lac-house, see Mahābhārata, I 156

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The Svayamvara halls have been already mentioned, they rested on hundred columns and were embellished with sportive sālābhañjikā¹³⁹ statues We had attanasālā (hall for gymnastic exercises), majjanaghara (bathing house),¹⁴⁰ and nhānamandapa (bath room) containing windows, ornamented with pearls, its floor studded with various jewels and precious stones and equipped with a bathing stool (nhānapītha)¹⁴¹ We also come across uvatthānasālā¹⁴² (attendance hall) posahasālā¹⁴³ (fasting hall), kūdāgārasālā¹⁴⁴ (pinnacled hall) and square tanks¹⁴⁵ (pokkharinī)

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¹³⁹ See supra, p 158

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¹⁴⁰ Hot-air baths are described in the Cullavagga v 14.

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¹⁴¹ Kalpa 4 61 f

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¹⁴² Ibid 4-58, also see Paramatthadīpanī, the com on the Udāna, p 102

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¹⁴³ Nāyā 1 p 19

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¹⁴⁴ Rāya 94 p 150

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¹⁴⁵ Nāyā 13, p 142 f

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