Ancient Indian Palace Architecture

Author(s): V S Agarwala
Publisher: Z_Mahavir_Jain_Vidyalay_Suvarna_Mahotsav_Granth_Part_1_012002.pdf and Mahavir_Jain_Vidyalay_Suvarna_
Catalog link: https://jainqq.org/explore/250013/1

Page #1

Ancient Indian Palace Architecture
V. S. AGRAWALA
TT is necessary to have a clear idea of the palace architecture in
ancient India together with its terminology so that the relevant portions of the Harsa-carita and the Kādambarī may be properly understood. The material is quite elaborate and consistent with the traditional terms relating to a royal palace. This material occurs at four places in the Harşa-carita, namely (i) description of the elephant Darpaśāta in which Bāņa has strongly grafted the terminology of a royal palace; (ii) description of the palace of Harsa when Bāņa himself was introduced to the king; (iii) description of Rajyasri's marriage inside the palace; and (iv) the illness of Prabhākaravardhana giving details of his apartments. The material in the Kadambari is spread throughout the book. We shall first deal with the evidence of Harsa-carita and then take up that of the Kadambari. The most expansive unit was known as the Skandhāvåra that contained the Räjakula and the Rajakula included the royal palace known as Dhavalagļha, the white house. Skandhāvāra was a term of the entire military encampment which included the area for the horse and elephant wings, camel corps, encampments of guest kings and miscellaneous establishments relating to the army. These various portions were assigned special places for them in the vast, extensive area outside the Rajakula. The Räjakula proper was entered through a principal entrance known as Rājadvāra. Inside the Rajakula was the palace containing the living

Page #2

ANCIENT INDIAN PALACE ARCHITECTURE : 243
apartments of the kings and queens, that was known as DhavalagȚha. An attempt is made here to interpret the relative position of the various component parts with the help of the evidence from Bāņabhatta and from other literary texts.
Skandhavara :
In chapter II of Harşa-carita (58-60) and chapter V (152-156) we find a description of Skandhāvāra, Rajakula and Dhavalagrha. Bāņa had his first meeting with Harsa in the temporary palace built for the king on the bank of the Ajirvati (modern Rāpti) in the village named Manitārā. The area necessary for the army encampment, Skandhävāra, was very extensive. The whole army was settled there. From the point of view of planning the Skandhāvāra was divided into two portions, firstly the army encampment outside and secondly the royal palace. The outer area of encampment had in the beginning extensive grounds for horses on the one side, and elephants on the other. The area for horses (mandurā) also provided for the stables of camels. After this there were camps of kings and other royal guests who came on State business. This area was known as Sivira. Thus this portion of the army encampment looked like a city with its own market and shops to which admission was free and unrestricted for the public. In the fifth chapter it is stated that Harsa, returning from his march, first passed through this Bazar (153). This was called Vipani-vartma and later on in Muslim times known as Urdu Bazar, i.e., the market place of the army hordes. The very extensive area in front of the red fort in old Delhi was once known as Urdu Bazar, which was but a translation of Vipani-vartma. This wide plot of ground accommodated the camps for kings and rulers and feudatories who came to meet the emperor. In this Skandhăvara area of Harsa there were ten kinds of encampments. These included kings from many countries, enemy kings and feudatory kings defeated in battles, embassies from many foreign lands, Mleccha races, principal representatives from amongst the people and also religious heads and teachers who specially came to see the king. There was additional open area all of which was known as Ajira (p. 25).
Rājakula :
At the end of the Skandhāvāra the Rajakula was situated in a well defended portion. It was also named Rājabhavana, Rajaprasáda or
1 Harsa-carita : A Cultural commentary, pp. 37-38.

Page #3

244 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
Rajamandira; its entrance was known as Rājadvara, and the place was well guarded. There was no restriction against entry in the Skandhāvāra which was open to all the public but entry into the Rājakula was restricted and strictly controlled. The entrance of the Rajakula was guarded by the Vähya Pratihāras, i.e., chamberlains posted outside or in the palace. The first portion of the Rājadvāra on both sides of the entrance consisted of several rooms in one or more storeys known as Dvāra Prakoştha or Alinda. It is stated that at the time of Rajyasri's marriage goldsmiths were seated in the Alinda portion and working to make golden ornaments (142). The etymology of Alinda (Alim dadāti) may be traced to an earthen cup called Ali2 in which some drink or eatable was offered to the guests. The Alinda was named Bahirdvāra Prakostha in Gupta Sanskrit (Hindi Barautha). In Pāṇinian Sanskrit the Alinda portion of the house was known as Praghana or Praghāņa (see Rajakula, Plate 23, in Harşa-carita: A Cultural Commentary).
The system of Kaksa :
Inside the Räjakula there was a regular scheme of courts (kaksā). The palace of Harsa was planned in three courts. In the Kadambarī the palace of Tārāpida, father of Candrāpīda, was divided into seven courts which the prince had had to pass through in order to meet his father. In the Rāmāyaṇa the palace of Dasaratha is stated to have five courts. The palace of Rāma as crown prince (Yuvarājabhavana) had only three courts (Ayodhyā., 5.5). In the first court of Harsa's palace on the left side of the Rājadvāra was an extensive pavilion (Asthanamandapa) for the royal elephants (ibha-dhisnyāgāra) in which the king's own elephant Darpaśāta was kept. On the right side opposite to
2 The word Ali for an earthen cup is still current in the dialect of
western Uttar Pradesh. The word is also preserved in Sanskrit Aliñjara meaning a very large storage jar. (Alimajarayati Alimjarah = Mahakumbha. Amarakośa, 2.9.31.) These have been found in the excavations at Nalandā, Rājaghāta, Kāśipurā. The reason of such a big jar being named as Alinjara was that when these were made all the available clay was diverted for them and the smaller cups went
by default. 3 There is a sütra in Panini, that the Praghana denoted a portion of
the house (agāraikdese) (Ref. 3.3.79) which the Kāśikā equates with Bahyadvāra PrakosthaBāņa also has used Bahirdvāradeśa, i. e., a portion of the outer gate.

Page #4

ANCIENT INDIAN PALACE ARCHITECTURE : 245
it was the stable (mandura) for the king's own horses who were known as Bhūpälavallabhaturanga. Later on such horses for the king's own use began to be called merely as Vallabha. It should be noted that the arrangement for the horse and elephant wings and the army outside in the Skandhāvāra was a general one but inside the Rajakula in the first floor it was intended to accommodate the horses and the elephants for the king's own use. It is therefore that Bāņa often refers to the king riding on the royal elephants or horses entering the entrance and crossing the four courts mounting near the big staircase (Maha-sopāna) leading to the hall of public audience.
In the second court at the centre was located the Vāhyasthāna Mandapa, i.e., the hall of public audience also called Sabhā from ancient time or Sadas, also known as Ăsthāyikā or Sarvosara. In Moghul palace architecture this was known as Darbare-am. In front of it was the extensive first court also called Ajira. Upto this point the king had the privilege to mount his horse or elephant. In order to gain access into the audience hall the king had to dismount at the foot of the staircase. After mounting the steps the entry into the audience hall was obtained. We may understand in the light of the above why Harsa rode on the back of his she-elephant upto the foot of the stairway and dismounting there entered the Asthānamandapa and put his seat on the throne placed there. (Ityevam āsasāda āvāsam, mandiradvāri ca visarjitarājalokah, praviśya ca avatatāra, bāhyāsthānamandapasthāpitam āsanam acakrāma.) Candrāpida took the decision of his military conquest in the Asthānamandapa. In the Kadambarī it is described as Sabhāmaņdapa (Kādambarī, 111). In the Delhi fort there is an open court in front of the Darbare-am which may be identified as Ajira. At the time of Prabhākaravardhana's illness, his friendly kings and feudatories assembled in the Ajira to express their sympathies (154). When the king used to convene a Darbar or hold assembly or courts of justice it was always in the Darbare-am or Bahyāsthānamandapa. After the death of Rajyavardhana, Harşa took counsel with his Senāpati Simhanada and Marshal of the Elephants Skandagupta in the Bähyästhānamandapa. At that time there were many kings present in that hall. When Harsa had taken the decision to go on a military expedition for the conquest of the whole earth and had dictated the same to his minister for peace and war (mahasandhivigrāhaka) named
4
The Darbare-am has been called Sarvosara = Sanskrit Sarvopasara in the language of its time in the Pythivicandra-carita (1421).

Page #5

246: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
Avanti, he having dismissed the assembly of kings left the Bähyāsthānamandapa to go for his mid-day toilet. (Iti krtaniscayaś ca muktästhāno visarjitarājalokaḥ snānāram bhākānkşi sabhām atyäksit. 194.)
In the Räjakula there were two Asthānamandapas of audience chamber. One was the Bähyāsthānamandapa or Darbare-am described above which was placed in the second court of the Rajakula. The other was inside the Rajakula in the Dhavalagrha portion usually at the end of the series of courts wihch was known as Bhuktāsthānamandapa corresponding to the Darbare-khas of Moghul times. The distinction between the outer and the inner Asthānamaņdapas is very clear both in the Harşa-carita and the Kadambarī. In the Bhuktāsthānamandapa the king used to take rest and enter into discourse or consultation with his selected friends, ministers and inmates of the harem.
This he did after taking his meals when he wished to retire and hence the name Bhuktāsthānamandapa was justified. This was also known as Pradoşāsthānamandapa, i.e., the place when the king gave audience in the evening. It is stated that Harsa on the day of his taking the decision about his military conquest did not stop for any length of time in the Pradoşāsthānamandapa but left it quite soon to go to his retiring room. (Pradosāsthāne näticiram tasthau. 195.) There used to be a court (Ajira) in front of the Bhuktāsthānamandapa with a pavilion in it. We can, therefore, understand the statement that Bāna at the time of his first meeting with Harsa after crossing the three courts saw him in the Bhuktāsthānamaņdapa when the king was seated under a pavilion in the court of the hall of private audience. (Dauvärikena upadiśyamanavartmå samatikramya trini kaksäntaräņi caturthe bhuktāsthānamandapasya purastad ajire sthitam. 69.) In the Kādambari the Cândāla girl carrying the parrot in the cage saw the king in the Bähyästhanamandapa. The elaborate description given by Bāņa relates to the hall of public audience. After the king had accepted the parrot Vaisampāyana from the Cāndala girl he dismissed the assembly of kings and returned to the inner portion of the palace to fulfil his midday routine and for bath and food, etc. (Visarjitarājalokaḥ kṣitipatih åsthānamandapād uttasthau. Kādambari, 13.) After the king had finished his toilet and usual routine he retired to the Bhuktāsthānamandapa, hall of private audience, where in company of his friends, ministers and queens he listened to the story as recited by the parrot Vaišampāyana.
The portions included in the first and the second courts of the Rajakula was known as Bāhya or the outer one, and hence the chamber

Page #6

ANCIENT INDIAN PALACE ARCHITECTURE : 247
lains and attendants moving in this portion were known as Bahyapratihära. Beyond this was the palace proper and the chamberlains and attendants specially appointed to that portion were known as Antarapratihåra or Abhyantaraparijana.
Bāņa had given an elaborate description of the Dhavalagịha or the palace situated in the third court. Round the Dhavalagsha there used to be a contingent or other as follows:
1. Gșhodyāna (The palace garden): It was also known as Bhavanodyana. It contains a number of flowers and flowery plants and trees and green houses or groves covered with creepers. Sited in it were the lotus ponds and the Kļīļāparvata, named in the Kādambarī as Daru-Parvata, which was an artificially improvised hill intended to serve for the pastime of the king and queens.
2. Gșha-Dirghikā : In the palace garden and other portions of the palace there was a flowing canal of water known as Gsha-Dirghika which derives its name from its length. In its intermediate stages small fountains and water ponds (Krīdāvāpi) were improvised for lotuses and Hamsas, who were the inmates of the palace, enjoyed themselves. It was also a feature of the palace architecture in Iran in the time of Khusaru Parvez. In his palace such a long canal had been brought from Kohe Bihistuna to supply water to the Kasare Siri which was the name of his palace.5
Vyāyāma-bhūmi : the place for the king's gymnasium. It is stated that king sudraka after dismissing his court went to his Vyāyāna-bhūmi or gymnasium, where he took a course of routine
5 I am indebted for this information to my friend Maulavi Mohd.
Asraf, Supdt. of Archaeology in Delhi. This was known as Nahare Bihista, heavenly canal. That such a canal of water existed also in Moghul palaces inside the red fort in Delhi is well known. This feature of palace architecture continued during mediaeval times also. Vidyāpati in his Kirtilatā has mentioned Krīdā-saila, Dhārāgrha, Pramadavana, Puspavaţikā and also Kștrima-nadi, i. e., an architectural canal of flowing water, which was another name of Bhavana-Dirghika. The reference in Vidyāpati's Kirtilatā preceded the Moghul palaces by a couple of centuries. This feature of the architecture in royal palaces existed not only in India but also outside. In the palace named Hampton Court of Tudor Henry VIII this was known as Long Water which seems to be so close to the Indian Dirghikā.

Page #7

248 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
exercises. That the king observed such a routine is also mentioned in the Arthaśästra of Kautilya. We learn from Pāṇini's Aṣṭādhyāyi that the senior wrestlers who gave wrestling training to the king were known as Rajayudhvā (3.295).
Snäna-gṛha or Dhara-gṛha: The yantradhārāgṛha and snanabhumi, i.e., the fountain and the swimming pool, formed a contingent part of the Vyāyāma-bhūmi. Kṣemendra has named it Nimajjanamanḍapa in his Lokaprakasa and the Prthivicandra-carita calls it Majanaharam (Sanskrit Majjanagṛha), 14th century.
Deva-gṛha: Inside the Dhavalagṛha there used to be a religious shrine with an image of the deity worshipped by the king and other inmates of the palace. It was known as Devagṛha, which Kṣemendra names as Devârcanamaṇḍapa in Lokaprakasa.
Toyakarmanta: The place for storage of drinking water, which was placed in charge of an officer named Toyakarmantika, or the Superintendent of water-works.
Mahanasa: the royal kitchen.
Aharamandapa: The dining hall or the pavilion where the king took his meals.
In addition to the above we also find in the Kadambari a reference to Sangitabhavana or the Music Hall (91), Ayudhaśālā or the armoury (87), Banayogyāvāsa or the ground for the practice of archery (90), and Adhikaranamandapa or the court of justice (88) which were located in the different portions of the palace. Hemacandra (12th century) speaks of a Srama-gṛha inside the palace in which the king gave himself exercise in wrestling and archery, which corresponds to the Vyāyama-bhumi and Banayogyäväsa of the Kadambari.
Besides the component parts of the palace the main portion was the Dhavala-gṛha also named Suddhanta in which the king and his female inmates resided.
Dhavala-gṛha: The Dhavalagṛha was the palace proper forming the residential quarter. In Hindi it is called Dhaurahara, literally, the White House. The entrance to the Dhavala-gṛha, according to Bāṇa, was known as Grṛhavagrahani, in which Grha signified Dhavala-gṛha and Avagrahani the Dehali or threshold, i. e., the point where strict checking was made by the chamberlains posted for the purpose. The doorkeepers appointed here here were much more experienced and trustworthy. In the Rāmāyaṇa this portion of the palace is named

Page #8

ANCIENT INDIAN PALACE ARCHITECTURE : 249
Pravivikta-kakşa (Ayodhyä., 16.47), i.e., the secluded court, where Rāma along with Sitā was given accommodation as prince-regent and where only trustworthy persons were allowed to enter. The chamberlain in charge of this portion has been mentioned in the Rāmāyaṇa to be an aged person holding a staff in his hand (Vetra-pāņi) and placed as superintendent over the inmates of the harem (Stryadhyaksa). This is confirmed by the description of Bāņa.
The Dhavalagrha or the palace proper was architecturally formed, planned in two or more storeys. The king and the queen usually lived in the upper stories. Just after entering the Dhavalagsha one found two staircases on right and left leading to the upper floor. Bāņa has stated that king Prabhākaravardhana at the time of his illness was occupying the upper floor of the palace. It is also said that the chamberlains angrily forbade the noise or the sound produced by treading on the staircase. Harsa went to see his father several times in the upper storey (Kşanamätraṁ ca sthitvå piträ punarähārārtham adiśyamūnaḥ dhavalagshād avatatāra. 159) and then came down. There used to be an extensive court in the middle of the Dhavalag?ha and round it were series of rooms or the śäläs because of which that portion was named Catuḥśāla. The Catuḥśāla was known in Gupta Sanskrit as Samjavana. Bana has used the word Samjavana which formed part of the palace of Prabhākaravardhana (155). Prabhākaravardhana himself was in the upper storey of the palace but servants were assembled on the ground floor in the Catuḥśāla and sorrowing for the king's illness. It appears that the rooms of the Catuhśāla portion were used for the king's guest and for storage of clothes (Vastrāgāra) and other objects.
In the middle portion of the Catuhśāla there used to be a pavilion supported on pillars known as Subithi which was enclosed by triple screens (Triguna Tiraskāranī. 155). This was separated from the rooms of the Catuhśāla by a pathway alround open to the sky. The Subithi portion was entered into by side entrances (Pakşadvära). In the Ajanta painting we may see the kings and queens seated in the Subithi portion enclosed by the triple screens and furnished with sideentrances which helps us to understand this portion of Dhavalagsha (Chief of Aundha, Ajanta, Plate 67.77). The middle portion of the Subithi was like a platform known as Vitardikä which was a covered pavilion (178) (see Dhavalagịha, Plate 27, in Harşacarita : A Cultural Commentary).
Upper Storey of the DhavalagȚha : In the upper storey of the DhavalagȚha on the front side the central portion was called Pragrivaka

Page #9

250 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
and the two side portions were called Saudha and Väsabhavana or Väsagsha. In the Vasagsha was located the sayanagȚha or the sleeping chamber. There were wall paintings in the Vásabhavana (127). . Hence this particular room as known was Citraśālikā (Hindi : Citrasări). Queen Yasovati used to sleep in Vasabhavana. Harsa also occupied for his nightly rest the Vásabhavana. The Saudha portion was exclusively occupied by the queens. It had an open roof on which queen Yaśovati used to enjoy moonlight by putting off her upper garment (127). The central portion was called Pragrīvaka because it occupied the grīvā or neck portion of the palace. In the Arthaśāstra also in the mention of Pragrīvaka in the palace of the princess (Kumarisāla) (Arthasastra, 2.31), it is stated that the female guests that had come during the illness of Prabhākaravardhana were accommodated in the Pragrīvaka portion which was enclosed by screens on all sides (155). . The Pragrīvaka was also known as Mukhaśāla; corresponding to it the back portion on the upper storey was known as Candraśālika which was a roofed pavilion supported on pillars in which the king and queens enjoyed the moonlight. Queen Yaśovati in her stage of pregnancy used to sit in the Candraśālikā and enjoyed herself looking at the Sālabhañjikā figures.
The two long verandahs on right and left connecting the Candraśālika and the Pragrivaka were known as Prāsādakukşi furnished with ventilators or latticed windows (Vatayana). In them the king enjoyed music and dance (Antahpura-samgīta) together with his select friends and guests, and inmates of the palace (Kadambari, 58, Plate 28).
Comparative literary differences :
The above picture of a royal palace given by Bāna may be understood with the help of literary references preceding or following the works of Bāņa. The Rāmāyaṇa of Vālmīki describes the palace of Daśaratha and of Rāma as prince. The palace of Dasaratha has five courts. Rāma entered three of them riding in his chariot and then entered the last two on foot (Ayodhyā., 17.20). King Dasaratha also occupied the upper storey of his palace like king Prabhākaravardhana. When Rāma went to see his father he went up to the upper floor (Prāsādam āruroha. Ayodhyā., 3.32.32). Similarly Vasiştha coming to king Daśaratha ascended to the upper floor (Prāsādam adhiruhya. Ayodhyā., 5.22).
Rāma was prince-regent. His palace was separate from that of king Dasaratha but from the point of architecture the two resembled

Page #10

ANCIENT INDIAN PALACE ARCHITECTURE : 251
each other very much. Rama's palace consisted of three courts. In Rama's palace Vasistha rode on his chariot upto the third court (Ayodhyā., 5.5).
In this connection the evidence of Bāna is valuable. When prince Candrāpida returned from the college where he received his education, a separate palace was provided for him called Yuvaraja-bhavana or Kumāra-bhavana. Similarly for a princess a separate palace named Kumārī-antahpura was provided. In the palace of Candrāpīda there were two portions : Śrī-maņdapa and Sayanīya-gļha. Sri-mandapa was the outer portion and Sayanīyg-grha the inner portion of the palace (Kādambari, 96). In the Kumārī-antahpura of Kādambari also there was a Sri-mandapa portion (Kadambari, 186).
We find that in the Tudor palace named Hampton Court there was a palace for the prince-regent in the same portion but separate from. the main royal palace. This had three portions named Presence Chamber, Drawing Room and Bed Room. Of these the Presence Chamber corresponded to Sri-mandapa of the Indian palaces where the prince received his guests. There was a well furnished seat which was occupied by prince Candrāpīda (Kadambari, 96). The Sayanīya-gļha was the Bed-room in these palaces. In the palace of Rama in the first court there was accommodation for the royal horses and elephants. There were rooms for Rāma and Sità in the third court, which was a secluded portion (pravivikta kakşa). In between the first and the third court there was most probably the drawing room of the audience chamber which was usually situated in the second court. It is stated that in the third court old chamberlains holding staff in their hands were appointed. They were known as Stryadhyaksa and devoted young men were appointed as guards holding weapons in their hands (Ayodhyā., 16.1). There is a marked resemblance between the palace of Rāma and Harsa. The palace of Harsa (Kumāra-bhavana) was separate from that of Prabhākaravardhana as was the palace of Rāma from that of Dasaratha. When Harsa returned from his hunting expedition he first came to the entrance of Rajakula where the chamberlain bowed to him; and from that point he entered the Dhavalagrha and going upstairs he saw his ailing father, king Prabhākaravardhana. Then he came down from the upper floor of the Dhavalagriha and went to his own palace with an attendant. In the evening time he came again to see his father and mounted up the staircase. He remained there the whole night and again came down the next morning, and although the groom was ready with the horse he preferred to walk on foot to his palace

Page #11

252 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
(160). This indicates that the palace of Harga was located outside the entrance of the Rajabhavana or royal palace proper. In the Rāmāyaṇa there is a detailed description of the palace of Ravana (Sundarakanda, ch. 6-7). The whole area which is described as Alaya, contained the palace (bhavana) of Ravana architecturally planned in several portions (Prāsāda). These three words correspond to Rajakula, Dhavalagṛha and Vasabhavana which were placed one inside the other. Ravana's Mahāśala had a staircase. In the extensive palace (Mahaniveśana) or Rajakula of Ravana there were several component parts, e. g., Latagṛha, Citrasälägṛha, Kriḍāgṛha, Dāruparvataka, Kamagṛha, Capaśālā (armoury), Candraśälä (moonlight house), Niśägṛha (night chamber), Puspagṛha, Several of these features correspond to those in the palace described by Bana. The Candraśālā is common to both. The Citraśālā of the Ramayana was the same as the Vasabhavana of Harsa, where there was the Bed-Chamber with paintings on the walls and which was therefore justifiably known as Citraśälikā.
Asvaghosa (1st century A.D.) describes the house of Nanda as Vimana comparing it to Devavimana. That house was divided into spacious courts. Once Buddha arrived at the entrance of Nanda's house, on his begging round. At that time Nanda was seated with his wife Sundari on the upper floor of his house. As soon as Nanda learnt about it he got down and passing through the wide courts ran to meet the Buddha. But the courts were so spacious that it took him a long time to pass through them and therefore he felt agitated as to why they were so expansive. Asvaghosa has also mentioned that in the upper storey of his palace there were Gavaksa ventilators (4.28). This seems to be evidently a reference to the Präsädakuksi or the two galleries connecting the Pragrivaka in front and the Candraśälikä at the back. These galleries were provided with carved latticed works as clearly mentioned by Bana. They were closed with shutters which could be opened to give a clear view of the outside (Vighatitakapäṭaprakaṭavātāyanesu mahdprâsâdakukṣiṣu. Kadambari, 58). These galleries were utilised for dance and musical performances.
In the Padataḍitakam the large houses of the courtesans are stated to be divided into spacious courts well separated from each other (Asambaddhakakṣāvibhāgāni. 1.12). They were well sprinkled with water (Sikta) and cleansed off their dust with air blown through hollow
6 प्रसादसंस्थो भगवत्तमन्तः प्रविष्टमश्रीषमनुग्रहाय ।
अतस्त्वरावानहमभ्युपेतो गृहस्य कक्षामहतोऽभ्यसूयन् ॥ (५.८)

Page #12

ANCIENT INDIAN PALACE ARCHITECTURE : 253
tubes (Sușiraphūtkrta). There are many other technical details mentioned about their construction, e.g., Vapra (raised foundations), Nemi (deep foundation), sala (ramparts), Harmya (upper storey), śikhara (spires), Kapota palikā (a special moulding with a row of pigeons like motif), Simhakarņa (two corners of the Gavākša raised aloft like the two ears of a lion), Gopānasi (the projecting top above the Gaväksa resembling a long nose of a bull), Valabhi (a small pavilion on the top storey), Attālikā (towers of the gateway), Avalokana (a room on the upper storey for looking outside), Pratoli (rooms for connecting the towers of the gateway) (Hindi: pola), Vitaňka (a plat. form on the ground floor), Prāsāda (a palace), etc. Bāņa also refers in his description of Sthāņvīśvara to Prāsāda, Pratoli and Sikhara (142). As in the palace of Prabhākaravardhana there is mention of Vitardi (platform in the Catuḥsäla of the ground floor), Samjavana (Catuhsāla), Vithi in the Pädatāạitakam.
In the description of Vasantasena's house as given in the MȚcchakațika we find reference to eight courts (Prakoștha) which has same meaning as Kakşa).
These traditions of house-building continued with minor changes even during the mediaeval period. We read of these features in the Dvyāśraya Kavya of Hemacandra (12th century) and Kirtilata of Vidyāpati (14th century) and in the Varnaratnākara of Jyoteśyara Thakkura and Pșthivicandra-carita (1421) and also find them continued in the Moghul palace of Delhi and Agra. In the Kumarapala-carita, Asthanamandapa is called Sabhā or Mandapikā. There is mention also of the Grhodyāna adjacent to the Dhavalagrha, as shown in the illustration of the Rajakula. The Gệhodyāna is referred to as Bhavanodyana or Mandirodyāna in the Bșhatkathā-Sloka-Samgraha of Budhasvāmin and was known as Najara-bag, in Muslim times. Hemacandra has given a detailed account of Bhavanodyāna located inside the royal palace (Dvyāśraya Kavya, 3/145/87). The Bhavanodyana occupied an extensive area between the Asthanamandapa of the second court and the Dhavalagrha proper of the third court. In this palace garden there were many kinds of trees, creepers, flowers of which a full list is given by Hemacandra. There was also a lotus pond and a Kridaparvata, an artificial hillock for royal pastime, with many other contingent buildings and bowers and also an elaborate water fountain. The summer house (Hima-gsha) described by Bāņa in great detail in the Kadambari also forms part of the palace garden, and continued as Sāvana Bhādo in Mughal times. There are many points of similarity

Page #13

254 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
between the descriptions of Bāņa and Hemacandra. In these a study of the horticultural material in ancient Indian literary texts is a vastly interesting subject. It is stated that queen Yasovati held in high affection the jasmine creeper (Jāti-guccha), the pomegranate, the young Bakula, and the mango sappling at the door of the house (Balasahakāra) (164-165).
In the Kirtilatā of Vidyāpati the description of the palace includes several motifs of ancient tradition, namely Kancana-kalasa (golden vase on the top of the spire), Pramadavana (female garden), Puspavātika (flower-garden), Kștrimanadi (long canal), Dirghikā, Kridasaila (artificial hillock), Dhärägļha (water fountain), Yantra-vyajana (mechanical fan), śrngārasanketa, Kamagrha (dalliance house), Madhavimandapa (grove of Hiptage creeper), Khațvāhindola (swing with a bed stretch), Kusuma-sayyā (flower bed), Catuḥsamapallava (a small pond of the Catuh sama perfume), Citraśālā (a room with paintings). Side by side with this Indian tradition several new terms of Muslim palace architecture had been current which have also been mentioned by Vidyāpati, e. g., Khas-darbar (Bhuktāsthānamandapa), Dar sadar (Rajadvāra), Nimaj-gah (Deva-grha), Khvabgah (Ahāramandapa), Shoramagah (Sukha-mandira : a term still applied to a portion of the Amira palace, same as Ranga Mahala of a Moghul palace).
In the Pșthivicandra-carita also (18th century) several component parts of the palace have been mentioned, e. g., ventilators (Anekagavākşa), platforms (Vedikā), thrones (Caukis), painted hall (Citraśāli), latticed works (Jāli), three stūpikas on the top (Trikalasam), palace with a Torana (ToranadhavalagȚha), under-ground cellar (Bhumi-gpha), store-house (Bhāndāgāra), granary (Koșthāgāra), armshouse (Sastrāgāra), fortress (Gadha), hostel (Matha), temple (Mandira) basement (Padavan), throne room (Pațaśālā) basement, the staff above the spire (Dandakalasa), the fluted stone on the top (Āmalasāra), flag (Añcali), bunting (Bandanavāra), five-coloured banner (Pañcavarnapatākā), hall of public audience (Sarvopasara), hall of special audience (Mantrosara), Bathroom (Manjanahara = Mañjana-gȚha), seven courts (Sapta dvārāntara), city gate (Pratoli), forecourt (Rājāngana), horsemarket (Ghodahādi), court (Rangamandapa), main pavilion (Sabhamaņdapa) -PȚthivicandra-carita, pp. 131-32. In this list there are several terms mentioned by Baņa. Gavākşa, Vedikā, Citraśāli, Torana-dhavalagsha, Sabhāmandapa and Pratoli were the older terms. Mañjanagsha, Sarvosara, Mantrosara and Rayangana were new terms but with older meaning which had become current in Bāna's time.

Page #14

ANCIENT INDIAN PALACE ARCHITECTURE : 255
It is necessary to have a clear picture of the mediaeval literary description and surviving monuments in order to understand the description of palace architecture given by Bāņa in the Harşacarita and the Kadambari. The need for different component parts of palaces remain more or less the same leading to an identical planning to the component parts of the royal palaces, and this is the reason why there was so much similarity between the ancient Hindu palaces and the mediaeval Mughal palaces.
If we look carefully to the palaces of Akbar, Jehangir and Shahjahan, the Mughal forts of Delhi and Agra, we may discover the meaning of Bāna's description in several respects. The apparent reason is that the Mughals had inherited the older building traditions which they adopted in their palaces and at the same time introduced several features of their own. We may tabulate these common features between the palaces of Bāņa's time, the Mughal palaces and also the Tudor palace, named Hampton Court. It is not at all our intention to suggest that any one of them knew or copied the other, but the striking resemblance proves that the basis of their architectural planning was to cater to common needs. This comparative chart does render one service essential to our purpose, namely that it brings us to understand the evidence of Bāņa in a more clear and consistent manner.
Bāna's palace Mughal palaces
Hampton Court (7th cent.)
in old Delhi
palace (16-17) 1 The Skandhavára The extensive open
encampment in ground in front of the front of the Rajakula Red fort known as Urdu or palace, and the bazar.? market place in its Vipani-märga. The Moat and the The ditch & high wall Moat & bridge. Rampart (Parikhā) of the red fort.
(Präkāra). 3 Entrance to the Sadar-darvaja, the main The Great Gate
palace (Rajadvāra). entrance to the palace House.
7 Urdu was the word of a Turkish language meaning army. Later
on denoting an army encampment. Hindi Vardi (literary uniform) and English Horde are derived from it.

Page #15

256 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
Bana's palace Mughal palaces
Hampton Court (7th cent.)
in old Delhi
palace (16-17) 4 Contingent of rooms Rows of rooms inside Barracks and
and towers of the the Sadar-darvaja Porter's Lodge, in gateway (Alinda, or where now shops are the Entrance. Bahyadvāra prako- accommodated. ştha).
Base Court.
5 First court (Pra- Open Court.
thama Kak şa) where the royal elephant and royal stables were kept.
6 The Hall of public Dewane-am and the Great Hall and
audience (Bāhya- open space in front of it. Hall-Court. sthånaman dapa) with the grand staircase (Mahāsopāna) and the fore
court (Ajira). 7 The staircase lead- The staircase in front Grand staircase.
ing from the Fore- of the Dewane-am. King's staircase. court into the (Ajira) Audience Hall (Asthāna-Mandapa).
8 King's throne in the The royal throne in the
Asthāna-Mandapa. Dewane-am.
Clock Court.
9 Inner court
(Abhyantarakakşa). 10 Dhavala-grha (inner
palace).
Inner palace.
.
Principal Floor.
and
its
11 Gệhodyāna (Palace Nazar bagh
Garden), Pond pond. (Krīdā-vāpi) and Lotus pond (Kamalavana).
Privy Garden, Pond Garden, (Vinery, Orangery etc.)
12 Royal canal (Grha- Nahar-e-bahiste.
dirghika).
Long canal, "Long water".

Page #16

Bāṇa's palace (7th cent.)
13 Bath (Sndna-grha), Fountain (Yantradhāra), Bath tub (Snana-droni), Kitchen (Mahānasa), Dining Hall (Ahāramandapa).
14 Temple (Devagrha).
15 Catuḥsala.
16 Corridors (Bithi).
17 Hall of private audience (Bhuktasthanamaṇḍapa).
18 Pragrivaka, Gaväkṣa front room with latticed work.
19 Mirror House (Darpana-Bhavana).
ANCIENT INDIAN PALACE ARCHITECTURE : 257
Hampton Court palace (16-17) Bathing Closet, King's Kitchen, Banqueting Hall, Private Dining Room.
20 Sayana-gṛha, Vasagrha (Citra-salika), Saudha, Hathi-dáta and Muktasaila (white stone). The Particular Room made of ivory and marble or agate (Muktasaila); sometimes it was made of carved ivory and inset with diamonds and therefore called Vajramandira.
(Sam
21 Music-hall
gitagṛha).
G.J.V. 17

Mughal palaces in old Delhi
Hammam, Houze and Phavvare.
Masjid or Namaj-gah.
Khurramgah. Darbare-khas.
Musemmam (Suhag-mandir).
Burja
Sisa-mahala. The Adarsa bhavana is also mentioned in Tilakamañjarī (11th century).
Personal Chambers for kings and queens. Khvabgah with paintings on wall and roof.

Royal Chapel.
Cellars on the ground floor.
Galleries.
AudienceChamber.
Gallery.
Queen's Great watching Chamber.
King's Drawing Room, Queen's Drawing Room, King's Bed Room, Queen's Bed Room

Page #17

258 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
Mughal palaces
in old Delhi
Hampton Court palace (16-17)
Bana's palace
(7th cent.) 22 Moon-light pavilion
(Candra-sala).
23 Palace galleries
(Prāsādakukşis).
Presence Chambers.
24 Chamberlain's Khwajasar.
court (Pratihāragsha).
Lord Chamberlain's Court, where he and his officials had their lodgings.
This list indicates that the architecture of the palace described by Bāņa had come from earlier times and continued even after him. Actually many other items of palace life and routine in the Indian palaces of the 7th century were borrowed from earlier time, e.g., attendants, chamberlains, amusements, performances etc. This was the outcome of the natural historical process. The picture painted by Bāņa has to be given greater relief. It is expected that a study of the palaces built in the time of Uttaravarti Gurjara and Pratihāra kings, Pāla, Paramāra, Cālukya, Yādava, Kākati, Ganga, Vijayanagaravamsi kings and also of the later Mughal emperors will fill the picture of Bāna which will throw light on the details and evolution of Indian palace architecture.
The Hampton Court Palace was built by Cardinal Woolsey in 1514 and made over to the Emperor Henry VIII in 1529 and the latter completed it in 1540. It represents the architecture of the early 16th century. It was restored after a century and a half in 1680 in the time of William the Third and Queen Anne. In the 17th century also in the time of Shahjahan the old palaces were retouched with marble structures. We find several points of similarity between the palaces in Delhi and Hampton Court. There did not exist any historical connection between these three classes of palaces but the common needs of royal life brought about an internal identity in their planning.
The Rashtrapati Bhavana at New Delhi has the following planning :
Central Vista upto India Gate (Skandhāvāra), Secretariat (Adhikaranamandapa), Main Gate (Rājadvāra), Fore Court (Bahyakakşa), Grand stair-case (Prāsādasopāna), Darbar Hall (Bähyåsthāna

Page #18
ANCIENT INDIAN PALACE ARCHITECTURE : 259 mandapa), Military Secretary's Wing (Pratiharabhavana), Audience Room (Bhuktasthanamandapa), Banqueting Room (Aharamandapa), Ball Room (Prasadakuksi for Antahpura-sangita), Mughal Garden (Grhodyana), Flowers area (Kamalavana), Pond (Kridavapi), Fountain and Long Canal (Dirghika).