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LIFE IN ANCIENT INDIA
are cast on different places fit for different constituents of the building. Then the ground is dug and the foundation is laid and a well pressed and then a platform of brick masonry is added 116
Three kinds of buildings are mentioned : an underground cell (khāya), a palace (üstya), and a combination of the two (ubhaya) 117
The Rāyapeseniya mentions a number of architectural terms, which show the development of the science to a great extent in those days Mention is made of Suryabhadeva's Vimana which was surrounded on all sides by a rampart (pågära) and which was embellished with beautiful cornices (kavisīsaga). In every direction there were gates (dara) with cupola (thūbhiya) decorated with the figures of īhāmiga, bull (usabha), horse with a man's head (naraturaga), crocodile (magara), bird (vihaga), serpent (válaga), kinnara, 118 deer (ruru), sarabha, yak (camara), elephant (kunjara), creeper (vanalayā) and lotus creeper (paumalayā). They had capitals (veiya) decorated with the figure of the pair of the vidyādharas The doors had landings (nimma), 119 foundation or pedestal (parttlana), pillars (khambha), thresholds (eluya), bolts (indakila), door-posts (cedā), lintels (uttaranga), small door bolts (sūr), joints (sandhi), sockets (samuggaya), wooden cross bolt pin (aggalā), sockcts for wooden pin (aggalapástūra), hinges (āvattana pedhiya), and left wings (utlarapāsaga). There werc hcaly doors fitting closely (nirantarıyaghanakarālā); in their panels (bhitti), there were globular bosses (bhittiguliyā) and cushions (gomānastya) In the doois the figures of salabhan jikas 20 in various playful attitudes were carved Then the doors had pinnacles (kūda), elevation (usseho), the tops (ulloya), lattices (bhoma), pinions (pakkha), pinion supports (pakkabāhii), cross beams (vamsa), ribbings (vamsakavelluya), panels (patlıyā), thatches (ohādani) and thatches under the ribbings (uvarıpunchani).192
Then there were pegs (nāgadanta) on both sides of the gates, from which were hung hangers (sikkaga) and on which were suspended incense pots (dhūvaghadi).122
We learn about a Thcatic hall123 (pricchūgharainanılara) which was supported by many columns (anegakhambhasayasannivittha), and was furnished with huge altars (vedikā), arches (torana) and sālabhanjika figures, it was decorated with Thămiga etc., was fitted with a mechanism to show the moving figures of the pair of vidyādharas, had hundreds of
118 Bth Blă Pi 331-3, also cf Digha I, p 9, Milindopasha, pp 331, 343. 117 Brh Bhā 1 827 118 The Kinnara motif in decorative art is mentioned by the Sinhalese painters. Thc Kina naras are beings, human above and bird-like below, like a siren or harpy, with human arms and shoulders and the wings not large cnough for fight , A K Coomaraswamy Medioeval singhalese Art, Gloucesterhire, 1908, p Bif 119 Dvärānām bhumibhāgād ürdhuam niskrämantah pradesah, com 120 For a beautiful description of salabhanıkās read sū 101 The diadānasataka (VI, 53, 302) mentions sālabhañpkā, a festival celebrated in Srāvasti 121 Raya. Jū. 97f. 193 Ibid. sū. 100, p 164 193 Almost the same description is given of a royal house (bha una) in the Náya 1, P 22; alsu cl. the description of a litter (siya), ibid., p. 31. Also vide Minasära, ch. XLVII
