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xx
writers of the Art school. (Vide 13th 27th of area ( fat gay1 g1, ASESFalska iaf ). The arrasargs have their basements of five kinds, and so is the disposition of the ground plan. It is not bexagonal only as described in the Rar and the bulletin referred to above, but the ground plan here, too, as in the art style admits of five primary forms.
The elaboration of this subject is so multifarious, in the works of the a school of Architecture that they take into account not only the shapes of ground plans and elevations of structures but also their 93, basements, 1981a, mcasures of heights of their basements, 221, measurcs of doorways, ornamentations and other constructive specialities, the nature of farai and their tar, mouldings, ts etc., and thus the mere form of the ground plan of structures as shown in 198, etc., cannot be taken as the sole determinants of the essential features of these styles
aat in fata :
Differentiating features of the नागर, द्राविड and वेसर styles of Architecture are very clearly defined by $art of 5%, well-versed in feletfagi and compiler of f*T:04. (Vide 37:23 16, verses 10 to 80). Had P. K. Acharya, the compiler of Hindu ayri 19 consulted this treatise printed long before his Dictionary of Hindu Architecture, he would not have hesitated to fix the boundaries of apart in precise geographical terms. (Vide page 311 of his Dictionary--cf. “From all the literary and epigraphical instances given above, it appears certain that the expressions नागर, वेपर and द्रावि are primarily geographical, but the precise boundaries of ant like those of arts and get are not traceable").
Mere epigraphical quotations which tend to locate amo somewhere within the territory of modern Mysore are far from being reliable; as Dr. Acharya further adds-“But the Nāgara script, the apic of F&F&DIT and the aitats representing some way or other the Northern India from the हिमालय to विध्य and from गुजरात to मगध would jointly give a boundary to नागर which is prescribed by ज्ञानरत्नकोश, अपराजितपृच्छा etc. Here
FAT, a writer of the Southern School of Architecture is at one with the author of 51757817, a writer of Northern School of Architecture, who practically puts the term art as including the same geographical zone as is defined in शिल्परत्नम् .
As regards the constituent elements of these three styles, they are greatly elaborated in foot in accordance with the conception of these styles as laid down by writers of Southern School while the constituent fcatures of these three styles are detailed in 34Ufsaaggi, a work of the Northern School of Architecture as viewed by the writers of the 17 school, age in Epigraphical records:--
Page 313. Dictionary of Hindu Architecture by P. K. Acharya :
