Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

Author(s): Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith

Page 31

Architectural Data in the Jaina Canons
on the top, while the ceiling (ulloya) was adorned with the spaces on either side of the doors were filled with lotus creepers. In the central part of the hall was a stage rows of sandalwood pitchers, festoons of pearls, (akkhädaga) with a throne (simhāsaņa). Around the throne, necklaces, gavākṣa motif and small tinklers, and incensein different quarters, were placed chairs for courtiers, pots (dhūvaghada) suspended from hooked ivory nails queens, members of the three Assembly Halls - inner (nāgadamta or gajadamta) socketed into the 'walls. assembly (abhimtaraparisā), middle assembly The torana of the gateways was decorated with (majjhimaparisā) and outer assembly (bahiraparisā), pendants of red lotus (pauma-hatthaga); graceful figures seven commanders-in-chief and personal body-guards. of usual Sālabhañjikā; ivory nails with usual festoons;
The doors (dāra) of the palace consisted of pairs of horses (hayasaṁghāda), elephants (gaya), landing (ạimma), pedestal (paitthāņa), pillars (Khambha), kimnara (a mongrel with the body of a human being floor (kottimatala), threshold (eluya), bolt (imdakila), and the head of a horse), kimpurisa (a mongrel with doorjambs (pedhyā), lintel (uttararga), doorplanks (sui), the body of a horse and the head of a human being), joints (samdhi), sockets (samuggayā), wooden traverse tritons (mahoraga), heavenly musicians (g bar behind door-leaves (aggala), sockets for doorpins and pairs of bulls (usabhasamghāda), arranged in a row (aggalapāsāya) and hinges (avattanapedhyā). The closely having their faces in one direction (parkti), placed face fitted heavy doors were provided with shutting stile to face (vihi) or displayed embracing each other (uttarapāsaga) and had on their leaves 256 bosses (mihuna); varieties of rhizomes pertaining to nägalayā, (bhittiguliyā) placed on bed-steads (gomaņasiyātattiya). asogalaya, campagalaya, cūyalayā, vaņalaya, The doors were embellished with figures of fabulous väsartiyalayā, aimuttayalayā, kurdalayā and sāmalayā; animals (vālarūvaga) and graceful figures of motifs of sovatthiya, cardanakalasa, spouted water vessel Sālabhanjikās in playful attitudes. "The Sālabhañjikäs (bhimgāra) and mirror (ayarsa); large circular dishes were standing in various graceful poses and were well- (nābhithāla) full of rice, circular tubs (päia) full of water supported (on couchant figures) and beautifully and green fruits, caskets full of unguents (supaittha ornamented, wearing garments of various colours, bhamda), nāgadartas with hanging vāyakaragas (fragrant garlands of various designs and double coiled head- pots) covered with cloths of variegated colours, and dress, having slim waist, round prominent breasts, eyes boxes full of jewels (rayanakaraga): faces of horse, with red corners and black curly hair, standing under elephant, nara, kimnara, kimpurisa, mahoraga, Asoka trees and holding their distended boughs, stealing gandhavva, and bull; baskets full of flowers (puppha), the heart of gods as it were with their rolling glances, garlands (malla), fragrant powders (cunna), scents and teasing as it were with the play of their eyes." (V.S. (gamdha), garments (vattha), ornaments (ābharaṇa), Agrawala, Indian Art, Varanasi, 1965, p. 224). In the mustard seeds (siddhattha) and brooms (lomahattha); description of doors the Rāyapaseniya gives some more things like throne (simhasana), umbrella (chatta) and architectural terms such as elevation (usseha), lattices flywhisk (câmara); and ten kinds of cosmetic caskets (jālapamjara), large posts (vaṁsaga), traverse beams full of oil (tella), leaf (patta), bark (coyaga), tagara (padivasaga), upright smaller posts fixed in the ground (tabernaemountana coronaria), cardamom (elā), yellow (bhomā), side walls (pakkha), bamboos for side walls orpiment (hariyāla), sulphate of mercury (himgulaya), (pakkhaväha), cross-beams (vamsa), ribbings red arsenic (maņosilā) and collyrium (amjana). (varsakavelluya), panels (pattiya), screen walls The palace was provided with gardens (vana), (ohādaņi), thatched layers above the ribbings lawns (bhūmibhāga), ponds (vāvī), tanks (sara) and (uvaripumchani), ceiling (chayaņa) and peaks (kūda). wells (bila). The gardens consisted of asoga, sattavanna,
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