Ancient Indian Palace Architecture

Author(s): V S Agarwala
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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 Kadambari 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 Harsa-carita, namely (i) description of the elephant Darpasata in which Bana has strongly grafted the terminology of a royal palace; (ii) description of the palace of Harsa when Bana himself was introduced to the king; (iii) description of Rajyasri's marriage inside the palace; and (iv) the illness of Prabhakaravardhana 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 Skandhavara that contained the Rajakula and the Rajakula included the royal palace known as Dhavalaglha, the white house. Skandhavara 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 Rajakula proper was entered through a principal entrance known as Rajadvara. Inside the Rajakula was the palace containing the living

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ANCIENT INDIAN PALACE ARCHITECTURE : 243 apartments of the kings and queens, that was known as DhavalagTha. An attempt is made here to interpret the relative position of the various component parts with the help of the evidence from Banabhatta and from other literary texts. Skandhavara : In chapter II of Harsa-carita (58-60) and chapter V (152-156) we find a description of Skandhavara, Rajakula and Dhavalagrha. Bana had his first meeting with Harsa in the temporary palace built for the king on the bank of the Ajirvati (modern Rapti) in the village named Manitara. The area necessary for the army encampment, Skandhavara, was very extensive. The whole army was settled there. From the point of view of planning the Skandhavara 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 (mandura) 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 Skandhavara 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). Rajakula : At the end of the Skandhavara the Rajakula was situated in a well defended portion. It was also named Rajabhavana, Rajaprasada or 1 Harsa-carita : A Cultural commentary, pp. 37-38.

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244 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Rajamandira; its entrance was known as Rajadvara, and the place was well guarded. There was no restriction against entry in the Skandhavara which was open to all the public but entry into the Rajakula was restricted and strictly controlled. The entrance of the Rajakula was guarded by the Vahya Pratiharas, i.e., chamberlains posted outside or in the palace. The first portion of the Rajadvara on both sides of the entrance consisted of several rooms in one or more storeys known as Dvara Prakostha 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 dadati) may be traced to an earthen cup called Ali2 in which some drink or eatable was offered to the guests. The Alinda was named Bahirdvara Prakostha in Gupta Sanskrit (Hindi Barautha). In Paninian Sanskrit the Alinda portion of the house was known as Praghana or Praghana (see Rajakula, Plate 23, in Harsa-carita: A Cultural Commentary). The system of Kaksa : Inside the Rajakula there was a regular scheme of courts (kaksa). The palace of Harsa was planned in three courts. In the Kadambari the palace of Tarapida, father of Candrapida, was divided into seven courts which the prince had had to pass through in order to meet his father. In the Ramayana the palace of Dasaratha is stated to have five courts. The palace of Rama as crown prince (Yuvarajabhavana) had only three courts (Ayodhya., 5.5). In the first court of Harsa's palace on the left side of the Rajadvara was an extensive pavilion (Asthanamandapa) for the royal elephants (ibha-dhisnyagara) in which the king's own elephant Darpasata 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 Alinjara meaning a very large storage jar. (Alimajarayati Alimjarah = Mahakumbha. Amarakosa, 2.9.31.) These have been found in the excavations at Nalanda, Rajaghata, Kasipura. 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 sutra in Panini, that the Praghana denoted a portion of the house (agaraikdese) (Ref. 3.3.79) which the Kasika equates with Bahyadvara PrakosthaBana also has used Bahirdvaradesa, i. e., a portion of the outer gate.

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ANCIENT INDIAN PALACE ARCHITECTURE : 245 it was the stable (mandura) for the king's own horses who were known as Bhupalavallabhaturanga. 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 Skandhavara 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 Bana 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-sopana) leading to the hall of public audience. In the second court at the centre was located the Vahyasthana Mandapa, i.e., the hall of public audience also called Sabha from ancient time or Sadas, also known as Asthayika 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 Asthanamandapa and put his seat on the throne placed there. (Ityevam asasada avasam, mandiradvari ca visarjitarajalokah, pravisya ca avatatara, bahyasthanamandapasthapitam asanam acakrama.) Candrapida took the decision of his military conquest in the Asthanamandapa. In the Kadambari it is described as Sabhamandapa (Kadambari, 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 Prabhakaravardhana'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 Bahyasthanamandapa. After the death of Rajyavardhana, Harsa took counsel with his Senapati Simhanada and Marshal of the Elephants Skandagupta in the Bahyasthanamandapa. 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 (mahasandhivigrahaka) named 4 The Darbare-am has been called Sarvosara = Sanskrit Sarvopasara in the language of its time in the Pythivicandra-carita (1421).

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246: SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME Avanti, he having dismissed the assembly of kings left the Bahyasthanamandapa to go for his mid-day toilet. (Iti krtaniscayas ca muktasthano visarjitarajalokah snanaram bhakanksi sabham atyaksit. 194.) In the Rajakula there were two Asthanamandapas of audience chamber. One was the Bahyasthanamandapa 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 Bhuktasthanamandapa corresponding to the Darbare-khas of Moghul times. The distinction between the outer and the inner Asthanamandapas is very clear both in the Harsa-carita and the Kadambari. In the Bhuktasthanamandapa 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 Bhuktasthanamandapa was justified. This was also known as Pradosasthanamandapa, 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 Pradosasthanamandapa but left it quite soon to go to his retiring room. (Pradosasthane naticiram tasthau. 195.) There used to be a court (Ajira) in front of the Bhuktasthanamandapa with a pavilion in it. We can, therefore, understand the statement that Bana at the time of his first meeting with Harsa after crossing the three courts saw him in the Bhuktasthanamandapa when the king was seated under a pavilion in the court of the hall of private audience. (Dauvarikena upadisyamanavartma samatikramya trini kaksantarani caturthe bhuktasthanamandapasya purastad ajire sthitam. 69.) In the Kadambari the Candala girl carrying the parrot in the cage saw the king in the Bahyasthanamandapa. The elaborate description given by Bana relates to the hall of public audience. After the king had accepted the parrot Vaisampayana from the Candala 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. (Visarjitarajalokah ksitipatih asthanamandapad uttasthau. Kadambari, 13.) After the king had finished his toilet and usual routine he retired to the Bhuktasthanamandapa, hall of private audience, where in company of his friends, ministers and queens he listened to the story as recited by the parrot Vaisampayana. The portions included in the first and the second courts of the Rajakula was known as Bahya or the outer one, and hence the chamber

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ANCIENT INDIAN PALACE ARCHITECTURE : 247 lains and attendants moving in this portion were known as Bahyapratihara. Beyond this was the palace proper and the chamberlains and attendants specially appointed to that portion were known as Antarapratihara or Abhyantaraparijana. Bana had given an elaborate description of the Dhavalagiha or the palace situated in the third court. Round the Dhavalagsha there used to be a contingent or other as follows: 1. Gshodyana (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 Klilaparvata, named in the Kadambari as Daru-Parvata, which was an artificially improvised hill intended to serve for the pastime of the king and queens. 2. Gsha-Dirghika : 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 (Kridavapi) 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 Vyayama-bhumi : the place for the king's gymnasium. It is stated that king sudraka after dismissing his court went to his Vyayana-bhumi 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. Vidyapati in his Kirtilata has mentioned Krida-saila, Dharagrha, Pramadavana, Puspavatika and also Kstrima-nadi, i. e., an architectural canal of flowing water, which was another name of Bhavana-Dirghika. The reference in Vidyapati's Kirtilata 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 Dirghika.

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248 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME exercises. That the king observed such a routine is also mentioned in the Arthasastra of Kautilya. We learn from Panini's Astadhyayi that the senior wrestlers who gave wrestling training to the king were known as Rajayudhva (3.295). Snana-grha or Dhara-grha: The yantradharagrha and snanabhumi, i.e., the fountain and the swimming pool, formed a contingent part of the Vyayama-bhumi. Ksemendra has named it Nimajjanamandapa in his Lokaprakasa and the Prthivicandra-carita calls it Majanaharam (Sanskrit Majjanagrha), 14th century. Deva-grha: Inside the Dhavalagrha 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 Devagrha, which Ksemendra names as Devarcanamandapa 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), Ayudhasala or the armoury (87), Banayogyavasa 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-grha inside the palace in which the king gave himself exercise in wrestling and archery, which corresponds to the Vyayama-bhumi and Banayogyavasa of the Kadambari. Besides the component parts of the palace the main portion was the Dhavala-grha also named Suddhanta in which the king and his female inmates resided. Dhavala-grha: The Dhavalagrha was the palace proper forming the residential quarter. In Hindi it is called Dhaurahara, literally, the White House. The entrance to the Dhavala-grha, according to Bana, was known as Grrhavagrahani, in which Grha signified Dhavala-grha 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 Ramayana this portion of the palace is named

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ANCIENT INDIAN PALACE ARCHITECTURE : 249 Pravivikta-kaksa (Ayodhya., 16.47), i.e., the secluded court, where Rama along with Sita 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 Ramayana to be an aged person holding a staff in his hand (Vetra-pani) and placed as superintendent over the inmates of the harem (Stryadhyaksa). This is confirmed by the description of Bana. 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. Bana has stated that king Prabhakaravardhana 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 (Ksanamatram ca sthitva pitra punaraharartham adisyamunah dhavalagshad avatatara. 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 salas because of which that portion was named Catuhsala. The Catuhsala was known in Gupta Sanskrit as Samjavana. Bana has used the word Samjavana which formed part of the palace of Prabhakaravardhana (155). Prabhakaravardhana himself was in the upper storey of the palace but servants were assembled on the ground floor in the Catuhsala and sorrowing for the king's illness. It appears that the rooms of the Catuhsala portion were used for the king's guest and for storage of clothes (Vastragara) and other objects. In the middle portion of the Catuhsala there used to be a pavilion supported on pillars known as Subithi which was enclosed by triple screens (Triguna Tiraskarani. 155). This was separated from the rooms of the Catuhsala by a pathway alround open to the sky. The Subithi portion was entered into by side entrances (Paksadvara). 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 Vitardika which was a covered pavilion (178) (see Dhavalagiha, Plate 27, in Harsacarita : A Cultural Commentary). Upper Storey of the DhavalagTha : In the upper storey of the DhavalagTha on the front side the central portion was called Pragrivaka

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250 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME and the two side portions were called Saudha and Vasabhavana or Vasagsha. In the Vasagsha was located the sayanagTha or the sleeping chamber. There were wall paintings in the Vasabhavana (127). . Hence this particular room as known was Citrasalika (Hindi : Citrasari). Queen Yasovati used to sleep in Vasabhavana. Harsa also occupied for his nightly rest the Vasabhavana. The Saudha portion was exclusively occupied by the queens. It had an open roof on which queen Yasovati used to enjoy moonlight by putting off her upper garment (127). The central portion was called Pragrivaka because it occupied the griva or neck portion of the palace. In the Arthasastra also in the mention of Pragrivaka in the palace of the princess (Kumarisala) (Arthasastra, 2.31), it is stated that the female guests that had come during the illness of Prabhakaravardhana were accommodated in the Pragrivaka portion which was enclosed by screens on all sides (155). . The Pragrivaka was also known as Mukhasala; corresponding to it the back portion on the upper storey was known as Candrasalika which was a roofed pavilion supported on pillars in which the king and queens enjoyed the moonlight. Queen Yasovati in her stage of pregnancy used to sit in the Candrasalika and enjoyed herself looking at the Salabhanjika figures. The two long verandahs on right and left connecting the Candrasalika and the Pragrivaka were known as Prasadakuksi furnished with ventilators or latticed windows (Vatayana). In them the king enjoyed music and dance (Antahpura-samgita) 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 Bana may be understood with the help of literary references preceding or following the works of Bana. The Ramayana of Valmiki describes the palace of Dasaratha and of Rama as prince. The palace of Dasaratha has five courts. Rama entered three of them riding in his chariot and then entered the last two on foot (Ayodhya., 17.20). King Dasaratha also occupied the upper storey of his palace like king Prabhakaravardhana. When Rama went to see his father he went up to the upper floor (Prasadam aruroha. Ayodhya., 3.32.32). Similarly Vasistha coming to king Dasaratha ascended to the upper floor (Prasadam adhiruhya. Ayodhya., 5.22). Rama was prince-regent. His palace was separate from that of king Dasaratha but from the point of architecture the two resembled

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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 (Ayodhya., 5.5). In this connection the evidence of Bana is valuable. When prince Candrapida returned from the college where he received his education, a separate palace was provided for him called Yuvaraja-bhavana or Kumara-bhavana. Similarly for a princess a separate palace named Kumari-antahpura was provided. In the palace of Candrapida there were two portions : Sri-mandapa and Sayaniya-glha. Sri-mandapa was the outer portion and Sayaniyg-grha the inner portion of the palace (Kadambari, 96). In the Kumari-antahpura of Kadambari 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 Candrapida (Kadambari, 96). The Sayaniya-glha 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 Rama and Sita in the third court, which was a secluded portion (pravivikta kaksa). 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 (Ayodhya., 16.1). There is a marked resemblance between the palace of Rama and Harsa. The palace of Harsa (Kumara-bhavana) was separate from that of Prabhakaravardhana as was the palace of Rama 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 Prabhakaravardhana. 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

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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 Ramayana 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 (Prasada). These three words correspond to Rajakula, Dhavalagrha and Vasabhavana which were placed one inside the other. Ravana's Mahasala had a staircase. In the extensive palace (Mahanivesana) or Rajakula of Ravana there were several component parts, e. g., Latagrha, Citrasalagrha, Kridagrha, Daruparvataka, Kamagrha, Capasala (armoury), Candrasala (moonlight house), Nisagrha (night chamber), Puspagrha, Several of these features correspond to those in the palace described by Bana. The Candrasala is common to both. The Citrasala 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 Citrasalika. 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 Prasadakuksi or the two galleries connecting the Pragrivaka in front and the Candrasalika 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 (Vighatitakapataprakatavatayanesu mahdprasadakuksisu. Kadambari, 58). These galleries were utilised for dance and musical performances. In the Padataditakam the large houses of the courtesans are stated to be divided into spacious courts well separated from each other (Asambaddhakaksavibhagani. 1.12). They were well sprinkled with water (Sikta) and cleansed off their dust with air blown through hollow 6 prasAdasaMstho bhagavattamantaH praviSTamazrISamanugrahAya / atastvarAvAnahamabhyupeto gRhasya kakSAmahato'bhyasUyan // (5.8)

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ANCIENT INDIAN PALACE ARCHITECTURE : 253 tubes (Susiraphutkrta). There are many other technical details mentioned about their construction, e.g., Vapra (raised foundations), Nemi (deep foundation), sala (ramparts), Harmya (upper storey), sikhara (spires), Kapota palika (a special moulding with a row of pigeons like motif), Simhakarna (two corners of the Gavaksa raised aloft like the two ears of a lion), Gopanasi (the projecting top above the Gavaksa resembling a long nose of a bull), Valabhi (a small pavilion on the top storey), Attalika (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), Vitanka (a plat. form on the ground floor), Prasada (a palace), etc. Bana also refers in his description of Sthanvisvara to Prasada, Pratoli and Sikhara (142). As in the palace of Prabhakaravardhana there is mention of Vitardi (platform in the Catuhsala of the ground floor), Samjavana (Catuhsala), Vithi in the Padataaitakam. In the description of Vasantasena's house as given in the MTcchakatika we find reference to eight courts (Prakostha) which has same meaning as Kaksa). These traditions of house-building continued with minor changes even during the mediaeval period. We read of these features in the Dvyasraya Kavya of Hemacandra (12th century) and Kirtilata of Vidyapati (14th century) and in the Varnaratnakara of Jyotesyara Thakkura and Psthivicandra-carita (1421) and also find them continued in the Moghul palace of Delhi and Agra. In the Kumarapala-carita, Asthanamandapa is called Sabha or Mandapika. There is mention also of the Grhodyana adjacent to the Dhavalagrha, as shown in the illustration of the Rajakula. The Gehodyana is referred to as Bhavanodyana or Mandirodyana in the Bshatkatha-Sloka-Samgraha of Budhasvamin and was known as Najara-bag, in Muslim times. Hemacandra has given a detailed account of Bhavanodyana located inside the royal palace (Dvyasraya 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 Bana in great detail in the Kadambari also forms part of the palace garden, and continued as Savana Bhado in Mughal times. There are many points of similarity

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254 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME between the descriptions of Bana 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 (Jati-guccha), the pomegranate, the young Bakula, and the mango sappling at the door of the house (Balasahakara) (164-165). In the Kirtilata of Vidyapati 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), Puspavatika (flower-garden), Kstrimanadi (long canal), Dirghika, Kridasaila (artificial hillock), Dharaglha (water fountain), Yantra-vyajana (mechanical fan), srngarasanketa, Kamagrha (dalliance house), Madhavimandapa (grove of Hiptage creeper), Khatvahindola (swing with a bed stretch), Kusuma-sayya (flower bed), Catuhsamapallava (a small pond of the Catuh sama perfume), Citrasala (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 Vidyapati, e. g., Khas-darbar (Bhuktasthanamandapa), Dar sadar (Rajadvara), Nimaj-gah (Deva-grha), Khvabgah (Aharamandapa), Shoramagah (Sukha-mandira : a term still applied to a portion of the Amira palace, same as Ranga Mahala of a Moghul palace). In the Psthivicandra-carita also (18th century) several component parts of the palace have been mentioned, e. g., ventilators (Anekagavaksa), platforms (Vedika), thrones (Caukis), painted hall (Citrasali), latticed works (Jali), three stupikas on the top (Trikalasam), palace with a Torana (ToranadhavalagTha), under-ground cellar (Bhumi-gpha), store-house (Bhandagara), granary (Kosthagara), armshouse (Sastragara), fortress (Gadha), hostel (Matha), temple (Mandira) basement (Padavan), throne room (Patasala) basement, the staff above the spire (Dandakalasa), the fluted stone on the top (Amalasara), flag (Ancali), bunting (Bandanavara), five-coloured banner (Pancavarnapataka), hall of public audience (Sarvopasara), hall of special audience (Mantrosara), Bathroom (Manjanahara = Manjana-gTha), seven courts (Sapta dvarantara), city gate (Pratoli), forecourt (Rajangana), horsemarket (Ghodahadi), court (Rangamandapa), main pavilion (Sabhamandapa) -PTthivicandra-carita, pp. 131-32. In this list there are several terms mentioned by Bana. Gavaksa, Vedika, Citrasali, Torana-dhavalagsha, Sabhamandapa and Pratoli were the older terms. Manjanagsha, Sarvosara, Mantrosara and Rayangana were new terms but with older meaning which had become current in Bana's time.

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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 Bana in the Harsacarita 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 Bana'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 Bana'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 Bana in a more clear and consistent manner. Bana's palace Mughal palaces Hampton Court (7th cent.) in old Delhi palace (16-17) 1 The Skandhavara 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-marga. The Moat and the The ditch & high wall Moat & bridge. Rampart (Parikha) of the red fort. (Prakara). 3 Entrance to the Sadar-darvaja, the main The Great Gate palace (Rajadvara). 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.

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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. Bahyadvara prako- accommodated. stha). Base Court. 5 First court (Pra- Open Court. thama Kak sa) where the royal elephant and royal stables were kept. 6 The Hall of public Dewane-am and the Great Hall and audience (Bahya- open space in front of it. Hall-Court. sthanaman dapa) with the grand staircase (Mahasopana) 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 (Asthana-Mandapa). 8 King's throne in the The royal throne in the Asthana-Mandapa. Dewane-am. Clock Court. 9 Inner court (Abhyantarakaksa). 10 Dhavala-grha (inner palace). Inner palace. . Principal Floor. and its 11 Gehodyana (Palace Nazar bagh Garden), Pond pond. (Krida-vapi) and Lotus pond (Kamalavana). Privy Garden, Pond Garden, (Vinery, Orangery etc.) 12 Royal canal (Grha- Nahar-e-bahiste. dirghika). Long canal, "Long water".

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Bana's palace (7th cent.) 13 Bath (Sndna-grha), Fountain (Yantradhara), Bath tub (Snana-droni), Kitchen (Mahanasa), Dining Hall (Aharamandapa). 14 Temple (Devagrha). 15 Catuhsala. 16 Corridors (Bithi). 17 Hall of private audience (Bhuktasthanamandapa). 18 Pragrivaka, Gavaksa 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-grha, Vasagrha (Citra-salika), Saudha, Hathi-data 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 gitagrha). 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 Tilakamanjari (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

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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 (Prasadakuksis). Presence Chambers. 24 Chamberlain's Khwajasar. court (Pratiharagsha). Lord Chamberlain's Court, where he and his officials had their lodgings. This list indicates that the architecture of the palace described by Bana 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 Bana has to be given greater relief. It is expected that a study of the palaces built in the time of Uttaravarti Gurjara and Pratihara kings, Pala, Paramara, Calukya, Yadava, Kakati, Ganga, Vijayanagaravamsi kings and also of the later Mughal emperors will fill the picture of Bana 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 (Skandhavara), Secretariat (Adhikaranamandapa), Main Gate (Rajadvara), Fore Court (Bahyakaksa), Grand stair-case (Prasadasopana), Darbar Hall (Bahyasthana

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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).