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搁腻箩补-惫别艣尘补:

The opening sentence of the fifteenth chapter鈥斺�樃槟迓岵共跃北贡鹋洸光��, says, 鈥渢hat the planning of the 搁腻箩补惫别艣尘补 was a component part of the planning of a town鈥�. Any town plan in ancient or medieval India must bestow sufficient attention to the 搁腻箩补惫别艣尘补鈥攖丑别 residential quarters of the kings and their kinsmen together with all the establishments of a king those days. This is what the 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 says at the very outset (cf. 15.1-8). It says that after the town has been planned on the famous site-plan of sixty-four squares; all the roads both highways, and the central ones together with the adjoining Mah膩rathy膩s, Uparathy膩s and their auxiliary ones, the streets, lanes and bye-lanes have also been planned out, the fortification in all its ramifications and component parts of the surrounding ditches, ramparts and walls and the 础峁�峁�腻濒补办补蝉 thereupon has also been completed; the raised platforms, the Catvaras are also architecturally built and finished, the temples and shrines鈥攖丑别 places of worship are allotted to the different deities allocated both in the interior of the town and in its exterior; then a piece of land selected at the western side of the centre, in orientation of the North, on the pada presided over by Mitra, a square, even and auspicious (i.e. conforming to the minutest details of the 艢腻蝉迟谤补) and bestower of fame, grandeur and victory, the palace of the king should be built鈥�.

Every building activity has got two main functions to be attended to, namely the engineering of the building鈥攕urveying the site, testing the soil and selecting one to be planned out, and the operating upon it in accordance with the plan set out in the sketches. Naturally, therefore, an important building work like that of a palace of a king has to be attended to, properly. The 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 therefore, has devoted two chapters to this important piece of architecture of the 搁腻箩补惫别艣尘补. The master architect first has to attend to its planning鈥攖丑别 laying out of the different parts of the palace on different sites. This it has done in Chapter 15.

The site on which the palace should be erected is already pointed out. The 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 makes a limited classification of Palaces only into three, namely, 闯测别峁ａ弓丑补, the superior type, Madhya, the intermediate type and 碍补苍颈峁ａ弓丑补 the inferior type, and they are to be located in the respective town types (cf. Ch. XV). In 惭腻苍补蝉腻谤补, palaces are divided into nine classes with regard to their size, according as they may belong to a king of any of the nine-classes鈥�Cakravartin, 惭补丑腻谤腻箩补, Mahendra etc. etc. Next, the site-plan, i. e. 笔补谤补尘补艣腻测颈办补 of 81 squares, to be employed in the planning of a palace and the classification of three types are indicated. The Samar膩峁単a峁嘺 bestows its attention upon its defence and good look鈥攖丑别 fortifications of the palace and its beautification. Though situated in the interior of the town, the 搁腻箩补-苍颈惫别艣补 must have a surrounding moat and a rampart to ward off the insecurity of the palace. This fortification also consisted of so many architectural designs as 础峁単补产丑谤补尘补, 狈颈谤测奴丑补 and strong towers and turrets, the crowning parts of the parapets鈥攖丑别 surrounding walls and they are so laid as to make the whole structure beautiful.

After fortification, the question of the planning of the gates and doors is attended to. As many as three classes of doors are prescribed. It may be remarked here that the Indian technique of placing the doors is intimately related to the traditional site-planning. Hence sometimes a confusion is created as to whether a particular door is to be put in a particular direction or otherwise, because the V膩studv膩ra and Bhavanadv膩ra are two different things. The text recommends the V膩studv膩ra in the north-side of 搁腻箩补-m膩rga while the Bhavanadv膩ra of the palace towards the East. Naturally, therefore, the frontal gate鈥攖丑别 main gate must be placed in the East. The main gate is technically called the Gopuradv膩ra and to be laid on the Pada presided over by 叠丑补濒濒腻峁璦. The magnificence of these Gopuras is our architectural heritage.

Another variety of doors to be placed in a palace may be termed as the cardinal doors being placed on the respective four cardinal points (厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 15. 11 (2nd line) to 13) i.e. Mahendra on Mahidhara; 笔耻峁�p补-诲补苍迟补 on Vaivasvata; 骋峁沨补办峁�a迟补 on 础谤测补尘腻 and so on. The text is emphatic for laying out Gopuras on all principal directions perhaps to add to the grandeur of the Palace, The third variety of doors is technically known as Pak峁�adv膩ras, the side doors, necessitated on odd hours when the main gates are colosed [closed?].

The fortified and well defended palace with its gates and Gopuras together with Pak峁�adv膩ras and Bhramas, the enclosing cloisters has emerged in its full glory facing towards the East. Its varieties however, though enumerated to be as many as four, have not been explained. Perhaps these names were so common that the author did not deem it necessary to point out their relative distinctions.

They are as follows:鈥�

1. 艢谤墨惫峁沰峁�a,
2. 笔峁泃丑颈惫墨箩补测补,
3. Sarvatobhadra,
4. 惭耻办迟补办辞峁嘺.

These palaces should have a good number of 艣腻濒腻蝉鈥�courts scattered all round to serve the purpose of the kingdom and house-hold establishments. The attached chart (appended in the end) will show at a glance the list of the following vast establishment of a princely palace in those glorious days located in the different Padas presided over by the different Pada-诲别惫补迟腻蝉.

Names of establishments,

1. Residence鈥攖丑别 骋峁沨补,
2. Seat of Justice鈥�顿丑补谤尘腻诲丑颈办补谤补峁嘺,
3. Store House鈥�碍辞峁ａ弓丑腻驳腻谤补,
4. Pavilions of birds and animals,
5. Kitchen鈥�惭补丑腻苍补蝉补,
6. The pavilion of the public audience, i.e. 膧蝉迟丑腻苍补-尘补峁囜笉补辫补 or 厂补产丑腻箩补苍腻艣谤补测补,
7. Dinning hall鈥擝hojanasth膩na,
8. 痴腻诲测补-艣腻濒腻 (Hall of the Instrumental Music),
9. The Bards,
10. The Arsenal鈥�颁补谤尘腻测耻诲丑补蝉,
11. The fashioning of the golden and silver ornaments,
12. The secret store-house鈥攖丑别 Gupti,
13. Dance & drama鈥�笔谤别办峁Ｄ� & 厂补峁単墨迟补,
14. The sheds for the chariots & the elephants,
15. The 痴腻辫墨,
16. The Interior chamber 础苍迟补岣�-辫耻谤补鈥攖丑别 Harem well fortified,
    [Note鈥擨迟蝉 Gopura, the main gate should face towards the North and the palaces of the queens should face towards the West,]
17. Pleasure and swinging and play 辫补惫颈濒颈辞苍蝉鈥�碍谤墨岣嵞�-dola-腻濒补测补蝉,
18. Chambers of the Princesses鈥�碍耻尘腻谤墨-bhavanas,
19. The alternative chambers of the queens,
    [N.B.鈥擳he secondary inner chamber however, is to be located on Indra,]
20. The lying-in-chamber鈥�础谤颈峁ａ弓腻驳峁沨补,
21. The 础艣辞办补 Orchard,
22. The Batha鈥�厂苍腻苍补-驳峁沨补,
23. The shower 顿丑腻谤腻驳峁沨补,
24. The Creeper 辫补惫颈濒颈辞苍蝉鈥�尝补迟腻-驳峁沨补蝉,
25. Wooden hills鈥擠膩rugiri鈥攖丑别 痴腻辫墨s and the well-laid flower 濒颈苍别蝉鈥�笔耻峁�p补-惫墨迟丑墨蝉, and the flower 辫补惫颈濒颈辞苍蝉鈥�笔耻峁�p补-惫别艣尘补, together with the machine 谤辞辞尘鈥�Yantra-办补谤尘腻苍迟补,
26. Water sheds (both for drinking and other uses)鈥�笔腻苍补驳峁沨补,
27. Another store house,
28. The factory of armaments鈥�膧测耻诲丑补-Mandira,
29. The third variety of the store-house,
30. The chamber for the wooden mortar (鲍濒奴办丑补濒补) and flourmill (艢颈濒腻测补苍迟谤补),
31. Timber 飞辞谤办鈥�D膩ru办补谤尘腻苍迟补,
32. The gymnasium and the theatre and the picture palace鈥�痴测腻测腻尘补-狈腻峁瓂补-Citra-驳峁沨补s,
33. Medical stores,
34. Stables for elephants,
35. Cow-sheds and the milk reservoir鈥�碍峁Ｄ玶补-驳峁沨补,
36. The priest,
37. Coronation pavilion and the one for alms, study and 艢腻苍迟颈办补 also,
38. The places where G膩mara and Chatra are kept together with the Council House,
39. The stable for the horses鈥�惭补苍诲耻谤腻,
40. The living chambers of the princes鈥�The 搁腻箩补putra-惫别艣尘补,
41. The Study chambers of the princes鈥�痴颈诲测腻诲丑颈驳补尘补-艣腻濒腻,
42. The queen mother,
43. Pavilions for palanquine and the bed chamber and the drawing 谤辞辞尘鈥�艢颈产颈办腻-艢补测测腻-膧蝉补苍补-驳峁沨补,
44. Pleasure ponds and lotus lakes,
45. Palaces of uncle and maternal uncle,
46. Palaces of the S膩rnantas,
47. Devakula, the royal Chapel,
48. The Astronomer鈥檚 place and also that of an Astrologer,
49. The Residence of the Commander-in-Chief,
50. The Assembly Hall鈥攖丑别 厂补产丑腻,

In this big list, it is difficult to draw a line of demarcation between domestic establishments and those related to administration. In those times, the palaces for all practical purposes served as seats of government.

It may be remarked here that such a vast establishment of a palace is no where to be found in any extant 艢颈濒辫补 work. The author Bhoja, being a king, it was but natural that he should present a grand picture of palace-architecture. In the 惭腻苍补蝉腻谤补, the list of Palace-establishment does not go beyond 42 (H. A. L A. p 124) while here it is about 50. It may be remarked here that the Palace Architecture, like the Temple Architecture has got an unbroken tradition behind it.

Dr V. S. Agarwala, (vide his 贬补谤峁�a肠补谤颈迟补-贰办补-厂腻峁僺办峁泃颈办补 Adhyayana, Appendix 1) maintains that the planning of the Royal palaces has had a code of stereotyped canons, meticulously adhered to, right from the age of the Epics (vide the palaces of King 顿补艣补谤补迟丑补 and Prince 搁腻尘补 as described in 痴腻濒尘墨办颈鈥檚 搁腻尘腻测补峁嘺) down to the palaces of Moghal Emperors like Akabar arid Shahjahan (see Fort at Delhi). It is in relation to B膩峁嘺bha峁�峁璦鈥檚 descriptions of the royal palace of Emperor 贬补谤峁�a that the learned Doctor has propounded a learned thesis with a full-fledged background of the palace-architecture in ancient India kept in tact in early and later medieval periods of Indian History.

A special notice of the Royal palace is its distribution in several courts. These courts ranged from three to seven. 贬补谤峁�a鈥檚 palace had three. 碍腻诲补尘产补谤墨鈥檚 罢腻谤腻辫墨岣峚 had seven courts (办补办峁�y腻蝉) in his palace, while 顿补艣补谤补迟丑补 five and 搁腻尘补 only three.

Now the question is: how many courts can we adduce from the Samar膩峁単a峁嘺鈥檚 treatment of the Royal palace鈥敻槟迓岵�-Nive艣a (cf. the Ch. 15). The 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补, does not distribute the vast Royal establishment into courts as 惭腻苍补蝉腻谤补 does into 础苍迟补岣�-艣腻濒腻 and Vahi艣-艣补濒补. It allocates the different places of the big royal paraphernalia鈥攖丑别 residential palaces, pleasure-gardens and ponds etc., as well as the administrative set-ups to the different plots (and they were as many as eighty one, cf. the 笔补谤补尘补艣腻测颈办补 plan) presided over by the different deities. Now as there is no explicit mention of the courts in the treatment of Samar膩峁単a峁嘺鈥檚 palace architecture, the whole thing remains only a conjectural analysis. As per the diagramtic representation appended in the end as many as five principal courts鈥攖wo in the exterior and two in the interior parts together with the central one reserved for the inauspicious and unhappy establishments (厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 15. 47-8) on the Pada of 叠谤补丑尘腻, are a certainty. Again, what arc courts? The different 艣腻濒腻-spans may be taken to be courts and the 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 does make a hint at this (cf. 15 18 i.e., 鈥樑毮乴膩-parikramopetam鈥� which may be interpreted as with courts all-round.

After this plan of the palace in its minutest of requirements, we are better fitted to go to the next chapter on the subject in which the varieties of palaces have been dealt with. It may be pointed out here that Palace Architecture and Temple Architecture, for all practical purposes, are the same except that in a temple so many pavilions and so much of fortifications are not needed; otherwise the broad outlines are identical.

The 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 itself compares a palace to the scat of gods鈥攖丑别 temple in the following beautiful verse:

iti kathitadig膩dibhedayogai岣� surabhavan膩ni bhavanti yasya r膩j帽a岣� |
aviratamuditoditaprat膩pa岣� svabhujajit膩峁� sa 肠颈谤补峁� pra艣膩sti p峁泃hv墨m || 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 Ch. 51.

鈥淭his 搁腻箩补惫别艣尘补, akin to the abode of the gods, if built in accordance with the injunction of the 艢腻蝉迟谤补 by the king, he becomes Competent to sway his suzerainty on the whole earth whose girdle is the seven oceans, after he has overcome his enemies by dint of his prowess鈥�.

We are familiar with 础尘补谤补办辞艣补鈥檚 diction鈥斺�減r膩s膩do devabh奴bhuj膩m鈥濃�斺�渢his statement echoes the structural correspondence between temple and palace and reflects character common to both. The splendour and grandeur of each makes it a thing of beauty and of marvel. Upon places of highest eminence rises the 笔谤腻蝉腻诲补 (temple or palace) in monumental calm and dignity. The subtleties of its measurements, the relative proportions of its parts and graciousness of its ornaments are of most delicate description. It is the supreme expression of the noblest efforts and the best skill of artists. It exhibits the care by which the great builders obtain fine harmonies and please the minds of men. In the world of men, King is looked upon as the central figure and in ancient India, was supposed to represent in his person the various divine elements. By virtue of such a position, he commands dignitaries and attendants and receives from his people, willing tributes. With the aid of accumulated wealth and the best skill available in the land, is constructed his palace- Round the hall of the King are constructed accessory structures to meet the demand of royalty鈥濃�擬allaya.

The palaces as treated in the 30th Chapter of the text are examples of an ornamental style, probably the 尝腻峁璦 style, the most Characteristic features of this style being exuberance of ornamentation and decorative motifs as well as the abundant application of pillars. On styles I shall dwell at length in Part V鈥攖丑别 Temple Architecture. For the present, it suffices here to say that out of the fifteen types of palaces as described in the 30th Chapter entitled 搁腻箩补g峁沨a, (tabulated ahead) the first ten varieties are residential houses, while the last five are pleasure palaces (the former are called 狈颈惫腻蝉补-产丑补惫补苍腻苍颈 and the latter, the 痴颈濒腻蝉补-产丑补惫补苍腻苍颈 (vide 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 30th 120-21).

It may be noted that the 搁腻箩补惫别艣尘补 of the 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 unlike that of 惭腻苍补蝉腻谤补 does not admit of any classification in kind but degree only. The standard of measurement varies with its three varieties of the superior, intermediate and inferior quality. The first one of the one hundred eight hastas, the second of ninety hastas and the inferior one of seventy hastas, are deemed as fit鈥攁 lower measurement than this is prohibited.

The appended chart will show at a glance the typical architectural elements of these fifteen royal palaces as treated in the second chapter on Royal houses in the text (cf. XXX).

A little more on the ornamental architecture of these palaces is worth saying here. In the end of this chapter the author, while dwelling at length upon the architectural characteristics of the ornamental super-structure of these palaces, has referred to seven kinds of Lum膩s (or L奴p膩s鈥攃f. 惭腻苍补蝉腻谤补 and other Southern texts) Lum膩 is a decorative flower-like motif forming an essential composition of the 痴颈迟腻苍补 the canopy.

Ramraz defines L奴p膩 as:

鈥淎 sloping and projecting member of the entablature etc., representing a continued pent roof. It is made below the cupola and its ends are placed as it were suspended from the architraves and reaching the stalk of the lotus below鈥�.

These Lum膩s, according to the 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补, are seven in number鈥�

1. 罢耻尘产颈苍墨,
2. 尝补尘产颈苍墨,
3. 贬别濒腻,
4. 艢腻苍迟补,
5. 惭补苍辞谤补尘腻,
6. 碍辞濒腻 and
7. 膧诲丑尘腻迟腻;

In 础辫补谤腻箩颈迟补辫峁沜肠丑腻 however, their number is nine鈥攁dd to the first five (which are common to both) of the Samar膩峁単a峁嘺鈥�

1. 骋腻苍诲丑腻谤墨,
2. 贬补蝉迟颈箩颈丑惫腻,
3. N膩g膩峁単膩 and
4. 叠丑谤补尘补谤腻惫补濒墨 (the last being one of the names of 25 痴颈迟腻苍补s in the 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补).

Lum膩s or L奴p膩s are indissolubly connected with 痴颈迟腻苍补 (Canopy) owing to their forming an essential component. It is to the Lum膩s that the 痴颈迟腻苍补s owe their charm and grace. The very name 痴颈迟腻苍补 is suggestive of the fact that the vault of the 痴颈迟腻苍补 assumes forms of flowers of various kinds. According to observation of P. A. Mankad (vide introduction to 础辫补谤腻箩颈迟补辫峁沜肠丑腻鈥攑p. CXXXV) Domes and vaults (the characteristics of the Moghul Architecture in the later medieval period) did exist in India in multifarious forms long before the advent of the Mohamedan rulers. 鈥淗ow far the Indian constructive and decorative characteristics were contributory to the development of the Saracenic domes etc,, of the Moghul period and whether the Indian influence came to be exhorted in the formation of the substratum and super-structure of these forms will remain a moot question till whole literature on the Indian type of 痴颈迟腻苍补 is available鈥�

Now without entering into the further details of the architecture of these Palaces (reserved for part V), it is necessary to introduce the main elements of this class of Palace architecture. It is a composite architecture in which house-architecture and temple architecture together with Hall architecture (vide 鈥槼Р共�丑腻鈥�, the Council Hall) have all played their part. The most predominant of a 艢膩l膩-house, as we shall presently see, is the abundant application of the corridors (Alindas) and porticos (叠丑补诲谤腻蝉) together with the Central halls鈥攖丑别 艣腻濒腻蝉. This characteristic has been fully preserved here. The tabulation (appended) of these palaces with their main characteristics of Alindas and 叠丑补诲谤腻蝉 may be compared. We have indicated the unbroken tradition of the courts in a palace.

These Alindas, numbering as many as four in practically all the types of the palaces treated by the S.S, presuppose an open courtyard (vide Commentary on 叠峁沨补迟蝉补峁僪颈迟腻:鈥�

鈥�alinda艣abdena 艣腻濒腻bhittervahye y膩 gamanik膩 j膩lak膩v峁泃膩峁単a峁嘺sammukh膩.........鈥� | [?]

By the word 鈥�Alinda鈥� is understood the lattice-covered path beyond the wall of a hall and facing (or in front of) the courtyard. This architectural planning of the houses like Sarvatobhadra, 狈补苍诲测腻惫补谤迟补, 痴补谤诲丑补尘腻苍补, Svastika and Rucaka, the 艣腻濒腻 houses, as described in the ancient sources like 碍腻尘颈办腻驳补尘补, 础驳苍颈辫耻谤腻峁嘺 (vide Enc. H. Arch, p. 47-8) corroborate this essential constituent of Alinda. The 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 too follows this ancient tradition in its treatment of the Palace architecture (Ch 30). Again the chief characteristic of the Hall architecture鈥攖丑别 abundant employment of Pillars is fully assimilated here (vide Tabulation in the appendix). The super-structure of storeys with manifold mouldings and so many other decorative elements, the chief characteristic of temple architecture, is fully displayed here in the sublime architecture of the palace. It is a controversial point whether temples owe their super-structure to the lofty palaces or vice-versa. Scholars like Bhattacharya (vide C. I, A.) maintain the former position. In my opinion, however, the case is otherwise. I have throughout maintained that it is the religious architecture that originated and developed first on the sacred soil of India. Hence it is beyond comprehension to admit that the Temple architecture instead of becoming the model, should be a copy. In very ancient times, the residential quarters of a king were for all practical purposes, the citadel. The court, the treasury, the soldiers鈥� barracks, the council house, and the ministers鈥� houses were grouped round the royal castle and formed a part and parcel of it. Later on, though many a new establishment was added to it, it did not undergo any substantial modification (vide 厂补尘补谤腻峁単补峁嘺蝉奴迟谤补诲丑腻谤补 Ch. 15). Hence my contention is: Later development of palace architecture resembling a lofty super-structure with storeys, pinnacles and other ornamental mouldings and decorative elements of a 笔谤腻蝉腻诲补 were copied from it.

Stone architecture, originally a taboo for residential houses of men鈥攖丑别 Secular architecture, also gradually was relaxed. The kings must have taken the first advantage from this relaxation and made their houses in imitation of the Mandira, the stone structure