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A CULTURAL STUDY OF THE NISITHA CURNI
long and narrow ones as dihiya and circular as pukkharani.) Vatsyāyana also informs us that the proper house of a Nāgaraka must have wells ( kūpa ) and tanks or lakes (vapi or dirghika ) attached to it.2 Guñjāliya was same as pukkharant but it was circular in shape. There were also small and large pools ( mahā-pramā ņa-sara ) and sometimes many ponds were dug together in a line which was styled as sarapamti.* Waterplaces were known as prapa where water was distributed to the travellers during the summer season. It is evident that architects of this time were aware of constructing all these architectural structures and a regular system of architecture was evolved according to which the constructions were duly made. Sculpture
Images of gods and human beings carved in wood, ivory and stones and cast in clay and plaster reveal the art of sculpture as a well developed one.5 A proper standard was expected from the sculptor. Images were classified according to the expression imparted to them by the sculptor or according to the material used in making the same. In the NC. images have been classified in three groups : (i) images of birds and beasts (tiriya paờima ), (ii) images of human beings (manuya-padima ) and (iii) images of gods and goddesses ( devi-padima ).6 Small clay models of elephants, buffaloes, cows etc.? have been mentioned in the NC. Bana also mentions the group of sculptors making such trivial things as models of fish, tortoise, crocodiles, coconut, plantain and areca-nut trees on the occasion of Rājyasri's marriage. 1. Chandra, K. R., op. cit., p. 541. 2. Y anul afami ar ariaKāmasútra, p. 225; Chakaldar, op.
cit., p. 151. 3. NC. 3, p. 346. 4. NC. 3, p. 346. 5. For sculpture in ancient India sce-Gaogoly, D.C., "Iodian Sculpture",
Cultural Heritage of India, Vol. III, pp. 536-54. 6. NC. 2, p. 30. 7. NO. 1, p. 61. 8. Harsacarita, p. 143.
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