Ancient Indian Palace Architecture

Here's a comprehensive summary of the provided Jain text, "Ancient Indian Palace Architecture" by V. S. Agarwala:

This text, drawing heavily from the literary works of Banabhatta (specifically the Harsha-charita and Kadambari), delves into the intricate architecture and terminology of ancient Indian royal palaces. The author's aim is to provide a clear understanding of these concepts for proper interpretation of the source texts.

The analysis begins by defining the Skandhavara as the entire military encampment, a vast area encompassing various army wings (horses, elephants, camels), camps for guest kings and dignitaries (Sivira), and associated establishments. Within this Skandhavara, admission to the public was unrestricted. A key component of the Skandhavara was the Vipani-vartma or Urdu Bazar, a market place accessible to the public, serving the needs of the army and visitors.

At the heart of the Skandhavara was the Rajakula, the royal palace precinct, which was a well-defended and strictly controlled area, unlike the open Skandhavara. The entrance to the Rajakula was the Rajadvara, guarded by chamberlains (Vahya Pratihāras). The initial part of the Rajadvara, on either side of the entrance, consisted of rooms known as Dvara Prakoshtha or Alinda, which could be multi-storied and served various functions, such as housing craftsmen like goldsmiths. The term "Alinda" is etymologically linked to an earthen cup and is also known as "Bahyadvāra Prakoshtha" or "Barautha" in Gupta Sanskrit.

Inside the Rajakula, a structured system of Kaksa (courts or courtyards) was employed. The palace of King Harsha had three courts, while Tarapida's palace in the Kadambari had seven, and Dasharatha's palace in the Ramayana had five.

The first court of Harsha's palace housed an Asthanamandapa (hall of audience) for royal elephants (ibha-dhisnyagara) on one side and stables (mandura) for the king's horses on the other. This arrangement was a more exclusive version of the broader army encampment outside the Rajakula.

The second court prominently featured the Vahyāsthāna Mandapa (hall of public audience), also called Sabha or Sadas, analogous to the Mughal "Diwan-i-Aam" or "Diwan-i-Aam." The extensive courtyard in front of this hall was known as the Ajira. Kings would ride their elephants or horses up to the foot of the staircase leading to the Asthanamandapa, where they would dismount to enter the audience hall. This hall was the venue for darbars, assemblies, and courts of justice.

Beyond the Vahyāsthāna Mandapa was the Dhavalagriha (the white house), the palace proper, forming the residential quarters for the king and his household. The Dhavalagriha was typically multi-storied. The entrance to the Dhavalagriha was the Grihavagrahani, a threshold with strict checking by chamberlains. This inner palace was known as the Suddhanta.

Within the Dhavalagriha, there were further subdivisions. The Bhuktāsthānamandapa (hall of private audience), corresponding to the Mughal "Diwan-i-Khas" or "Diwan-i-Khas," was located at the end of the series of courts. Here, the king would retreat after meals to converse with his select companions, ministers, and harem inmates. It was also known as Pradoshasthanamandapa (evening audience hall). A court (Ajira) with a pavilion often lay in front of the Bhuktāsthānamandapa.

The text also details other significant areas within or adjacent to the Dhavalagriha:

• Grihodhyana (palace garden): containing flower plants, greenhouses, groves, lotus ponds, and the Kridaparvata (artificial hill for amusement).
• Griha-Dirghika: a long water canal, similar to the Mughal "Nahar-e-bihisht."
• Vyayama-bhumi: a gymnasium for the king's physical exercises.
• Snana-griha or Dhara-griha: bathing areas, including fountains and swimming pools.
• Deva-griha: a religious shrine within the palace.
• Toyakarmanta: a place for drinking water storage.
• Mahanasa: the royal kitchen.
• Aharamandapa: the dining hall.
• Sangitabhavana (music hall), Ayudhaśala (armory), Banayogyavasa (archery practice ground), and Adhikaranamandapa (court of justice) were also present in different parts of the palace.

The upper storey of the Dhavalagriha had specific sections:

• Pragrivaka: the central front portion.
• Saudha and Vasabhavana (or Vasagsha): the side portions. The Vasabhavana served as the sleeping chamber (Sayanagraha) and often featured wall paintings, thus being called Chitrasalika. The Saudha was exclusively for queens, sometimes with an open roof for enjoying moonlight.
• Chandrasalika: the back portion on the upper storey, a roofed pavilion for enjoying moonlight.
• Prasadakukshis: long verandahs connecting the Pragrivaka and Chandrasalika, equipped with ventilators or latticed windows, used for music and dance performances.

The text then draws comparative literary parallels with the Ramayana (Dasharatha's and Rama's palaces), the descriptions of Ravana's palace, and works by Ashvaghosha, Padmasundari, and Hemachandra. It highlights similarities in planning and features across different periods and cultures, suggesting a continuity of architectural needs and traditions. The author notes that even Mughal palaces and the Tudor Hampton Court palace share striking resemblances, not due to direct copying but due to fulfilling common royal requirements.

The essay concludes by observing that the planning of the modern Rashtrapati Bhavan in New Delhi echoes many of these ancient architectural elements, demonstrating the enduring legacy of Indian palace architecture. The core idea is that the fundamental requirements of royal life led to consistent planning principles across various historical periods and even different cultural influences.