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xxvii
वेसर
The authors of the Bulletin of the Madras Government Museum, New Series, General Section, Vol. III, part 1, have triect to build up a theory that the day is nothing more than the att style, from a few verses from मानसार and शिलारत्नम्. The conception of the नागर, वेखर and द्राविड styles of Architecture is mainly based on these verses as outlined by Dravidian writers who have not viewed the question of styles on broader principles of comparative method. The at school of Architecture, has been, on the other hand, more helpful in elucidating the points of difference between these styles and though the subject has been viewed about six centuries later (if Araar be taken to have been written in the 6th century A. D.), wherein new substyles as it were, are likely to have come into being, the results are based on a comparision of more details of structural constituent parts. These are, 133-t (arrangement of the ground plan), 15 (oasement), GT417 (measures of doorways), fat (spire), tar profile of a spire ), TT (ornameutation), 6026 (moulding), Ft (perspective view), bathos, nomenclature, etc. etc. It may be emphasized that there may have been a few' succinct and scrappy indication;" about the Dravidian style and its allied substyles, in these results due to the int conception of them, but all the same, the differentiating points are so many and so irresistibly scanned that they cannot but be accepted as more reliable as will be seen from URTETIT, area , 379faalag, etc, which follow.
समरालणसुत्रधार----- The terin वेसर was current in मयमत and Hitert but it is doubtful whether the style had any objective existence at all at the time when these works were compiled. Leaving this question aside, one has to face a definite fact that at least in the eleventh century A. D., the term A had only an academic significance; it had lost its currency in the constructive actuality of the art. Its disappearance can only be iaterpreted in two possible ways, either by its absorption by the two major styles at and aias or its emergence in a new garb with new names as distinct substyles. The समराङ्गणसूत्रधार, a voluminous work on वास्तुशास्त्र by king Bhoja of Dharanagari who flourished in the eleventh century, has taken no notice of the term ahl, so much so that the term has not even once been used in that extensive work ; it had become quite obsolete as it were, in the days of its composition,
The subject of styles, it pursued further, so far as #raamate is concerned, resoives itself into the following styles or substyles, as one would like to terin them. The three styles नागर, द्राविड and देसर of मयमत्त and art have given rise to as many as eight divisions for the grees, as under: (1) am, (2) gifs, (3) aula (4) Na (5) sfaa, (or goa), (6) #7*IT, (7) विमान, and (8) मिश्रक. It may be added that the subsidiaries under नागर, द्राविड and was are ignored here. They are fè 41753=1, 13812r, faarayage76, artas94975, 7 ar, etc., under at alas! and arte features as in 3प्रासाद under भूमिज, etc.
