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Xxxi
An interesting record from Holal is the label cut on the capital of a finely carved pillar of the para temple... Speaking of the sculptor who made it, the record says that he, Bammoja, the pupil of Padoja of Soge, was a fer al i. e. the architect of the gods in the afo age, the master of the 64 arts and sciences, the clever builder of the 64 varieties of mansions and the architect who had invented ( discovered ?) the four types of buildings viz. नागर, कलिग, द्राविड and वेसर. Bamnmoja flourished in about the 9th century A.D" It has also been stated above that these #fox and might be two branches of the at being geographically placed on the two sides of it, the three together forming fanfèy or three forts.
In one of the epigraphical quotations ( no. 15 ) far is mentioned alongside afas and 19t and thus 97 (lit. originated in the land or the style of the land where the document was written) is apparently the same as dui, The epigraphical quotation given above must be placed in dates later than the time of Bammoja.
Page 306 (under 919). Ibid— "Within the village of Kuppatur stood the temple of atala built by fal planned in perfect accordance with many rules of Architecture and freely decorated with द्राविड, भूमिज and नागर. (rhey are evidently the three styles of Architecture called the द्राविड, वेसर and नागर in the मानसार and elsewhere)." The learned Doctor has not perceived that 77 had replaced dat at that time.
Page 311 — “From the literary and epigraphical records, it appears certain that the expressions नागर, वेखर and द्राविड are primarily geographical and the precise boundaries of sifas and a are not traceable." It cannot but be added that the precise boundaries of anat are traceable not only from the books of writers of the Southern school, but also of those of the Northern school.
It might safely be inferred from the above that Bammoja knew the four styles नागर, विड, वेसर and कलिंग and the epigraphical record (No. 15) plainly indicates that the dat came to be called 483 in about the ninth century A. D. roughly.
The भूमिज of समराङ्गणसूत्रधार and अपराजितपृच्छा have the अष्टाध and वृत्त 98037, and thus aat, it can be safely concluded, is evidently nothing clse than भूमिज,
Conclusion
Beyond a bare meagre outline wherein the characteristics of FUIT. slas and ant styles are delineated, there is hardly any literature regarding art and its structures etc. so far accessible to me; possibly it may be secured in Telugu language. In the absence of any materials, one cannot be in a position to say whether the art style absorbed aac,
