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CHAPTER VII.

THE FINE ARTS: ARCHITECTURE

ANCIENT TREATISES, THEIR CONTENTS; HINDU ORDERS;-MUSIC: SOME OF ITS FEATURES DESCRIBED; THE VÍNA; ANCIENT AUTHORS;-PAINTING;-SCULPTURE.-MEDICINE: SKILL OF THE ANCIENTS IN CHEMISTRY, PHARMACY, AND SURGERY.-THE PROGRESS OF THE MODERN HINDUS IN MEDICAL SCIENCE.

THE illustrations of this little volume may best serve to introduce a few brief notices on Hindu architecture. The group of sacred buildings at Trivalore, and the splendid temple at Ellora, given in two of the plates which present them to the reader, may well assure us that the originators of such stupendous monuments must have attained to eminence in the fine arts. The ancient Hindus were not only acquainted with the practice of building, but possessed scientific works on the subject, some of which are still extant. Treatises on Architecture, Sculpture, &c., are called the Silpa Shastra, a name literally meaning, The science of manual art. These treatises, according to some enumerations, amounted to thirty, and as given by others, to sixty-four. The works themselves, if so many ever existed, are lost, and nothing remains but fragments, still known, however, as the authorized guides of the artist. Like every other subject in the economy of the Hindus, architecture is blended with religion, and includes various directions relating to the observances requisite, not only in the construction of sacred edifices, but in the laying out and building of villages, towns, &c. The architectural treatises still extant are in many respects of a deeply interesting character, because they not merely illustrate the

art itself, but give us an insight into the character of the ancient Hindus.

Though little space can be devoted to this subject, I cannot withhold some notice of the contents of one of the works alluded to. It is given in an able essay on the architecture of the Hindus, by Rám Ráz, a native of Southern India, who prepared the document for the Royal Asiatic Society.

Speaking of the most perfect original treatise, he says, "In order that a more accurate idea may be formed of the subjects contained in this work, a particular description is given of the contents of each adhyaya (chapter) as taken from the preface." The first chapter treats of the measures used in architecture, sculpture, carpentry, &c. ; the second describes the qualifications of a Silpa (artist), and gives a brief account of the five different classes of artists, said to have descended from Visva Karma (Architect of the Gods), and to have followed respectively the occupations of sculptors, joiners, braziers, jewellers and blacksmiths. The third, fourth, and fifth chapters explain the nature and qualities of the soil on which buildings should be erected—such as temples, palaces, and private dwelling-houses for the several classes of people. The sixth contains rules and directions for the construction of a gnomon, for the purpose of determining the several points of the compass. The seventh treats of the parts into which the ground-plan of the cities, towns, temples, palaces, and houses, should be divided. The eighth chapter gives a minute description of sacrifices and other devotional rites, to be performed on various occasions in the building of temples, houses, &c. The ninth chapter treats of villages and towns, and prescribes rules for the formation of streets, and the allotment of fit places for the erection of temples, and for the residence of the different classes of the people. The tenth contains a description of the different sorts of cities; the eleventh treats of the dimensions of the several sorts of edifices; the twelfth of the Garbhavinyása, or laying the foundation-stone in the centre of the

intended building; the thirteenth, of Upapithas, or pedestals; the fourteenth, of Adhistána or basement; the fifteenth, of the several species of pillars, with their respective dimensions; the sixteenth, of Prastáras, or entablatures; the seventeenth, of the junction of the several parts of timber-work, with reference to their points; the eighteenth, the Vimánas, temples, or palaces in general: ten successive chapters, from the nineteenth to the twenty-eighth, contain descriptions of temples surmounted by pyramidal domes, consisting of from one to twelve stories, with their respective dimensions. The twentyninth chapter treats of Prácáras, or outer courts of temples; the thirtieth, of the attendant deities, and the parts respectively assigned to each within the walls of the temple; the thirty-first, of Gópuras, or pyramidal buildings or turrets raised over the gateways leading into the temples; the thirtysecond, of Mantapas or porticos, or resting-places for the deity; the thirty-third, of Sálas, or halls; the thirty-fourth, of cities; the thirty-fifth, of private dwelling-houses; the thirty-sixth and thirty-seventh, of gates and doorways, with their dimensions; the thirty-eighth and thirty-ninth, of the palaces and their appendages; the fortieth, of princes with their titles ; the forty-first, of the building of cars and other vehicles of the gods; the forty-second, of couches, cushions, and the like; the forty-third, of the thrones for the gods, and for princes; the forty-fourth, of ornamental arches; the forty-fifth, of the Calpatára, or the all-productive tree, which is supposed to be planted in Indra's heaven, and to supply all the wants of those who have the happiness to take shelter under it. The forty-sixth chapter treats of Abhishécas, or ablutionary rites, by which images are sanctified; the forty-seventh, of jewels and ornaments worn by the gods and mortals; the fortyeighth, of statues of Brahma and other deities; the fortyninth, of the Linga, the emblem of Siva; the fiftieth, of seats and forms raised for the reception of images; the fifty-first, of the form of Sakti, the goddess of nature; the fifty-second and fifty-third, of the images worshipped by the Bauddhas and

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Jainas; the fifty-fourth describes the statues of the Yakshas, and Vidyadharas, and the Choristers; the fifty-fifth, those of the saints or holy men; the fifty-sixth and fifty-seventh, those of the Devas or gods, with their respective vehicles; and the fifty-eighth concludes with rules for chiselling the eyes of the statue, and the ceremonies to be performed on the occasion."

These works are supposed to have been written in the south of India, and at a period subsequent to the Buddhistic schism, to which it is apparent reference is made.

It will be seen that a vast amount of extraneous matter is contained in these architectural treatises, that does not properly belong to the science. There are some curious intimations relating to the character and qualifications of architects, builders, and artificers. Their importance in the construction of buildings is indicated in the following words :"Woe to them who dwell in a house not built according to the proportions of symmetry! In building an edifice, therefore, let all its parts, from the basement to the roof, be duly considered."

Much specific direction is contained in the treatises on the choice of ground—its nature, its form, the quality of the, water, its vegetation, &c. The manner of preparing it for the erection of a temple is singular. It is to be ploughedthe plough is prescribed, as to the material, the form, the size; and even the oxen that drag it are to be selected with due reference to their age, shape of horns, &c. The maimed, the weak, the meagre, toothless, or lame, must be rejected. Those with a white spot on their legs and foreheads, with eyes resembling the petals of the lotus, are to be preferred. They are to be decorated with fillets, and the like, and their horns and hoofs with gold and silver rings. The architect, clad in fresh vestments, and adorned with chaplets of flowers, having ascertained the auspicious moment for the duty, is to draw the first furrow with due religious ceremonies. The ground is sown with Sesamum seeds, pulse, and kidney

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