________________
JAINA ART IN SOUTH INDIA
No. III]
vidian architecture, instead of with the amalaka ornament of the Northern sikharas."1
66
or
These stambhas or detached pillars are quite different from the dipa-stambhas or lamp-posts of Hindu temples, and in the opinion of Fergusson, are the lineal descendants" of the Buddhist ones. which bore either emblems or statues-generally the former figures of animals. "Pillars are found of all ages in India," he says, from Asoka pillars down to the Jainas. They might be compared to the Egyptian obelisks-but when we look at the vast difference between their designs, it becomes evident that vast ages must have elapsed before the plain straight-lined forms of the obelisks could have been changed into the complicated and airy forms of the Jaina stambhas ".2 Mr. Walhouse remarks, "The whole capital and canopy (of Jaina pillars) are a wonder of light, elegant, lightly decorated stone work; and nothing can surpass the stately grace of these beautiful pillars, whose proportions and adaptations to surrounding scenery are always perfect, and whose richness of decoration never offends."3
53
Apart from these pieces of individual statuary or architectural work, the Jainas distinguished themselves by their decorative sculpture, and attained a considerable degree of excellence in the perfection of their pillared chambers which were their favourite. form of architecture. These took various shapes and gave full play to a variety of designs, differing according to the locality, the nature of the climate or the substance available out of which to execute their artistic ideals. Dr. Coomaraswamy finds fault with Fergusson for his "sectarian classification which he says quite misleading; ""for, just as in the case of sculpture there are no Buddhist, Jaina, or Brahmanical styles of architecture, but only Buddhist, Jaina and Brahmanical buildings in the Indian style of the period." Without entangling ourselves in this controversial question, we might accept the geographical classification of Dr. Coomaraswamy as an adequate" (though not "the only ")
is
61
1. Fergusson, op. cit., p. 75.
2. Ibid, pp. 81-83.
4.
59
3. Walhouse, Ind, Ant. V. p. 39, Coomaraswamy, History of Indian and Indonesian Art, pp. 106-7.
