This list does not include the mere Stone Masons or Engravers of Inscriptions, or those architects who are mentioned in treatises like the Purāṇas, Epics, Kāvyas, etc., which are less historical than the Epigraphical records.

A

ACHYUTA—An architect of A.D. 882-917.

‘A man of Kāmboja descent, the son of Rāma, whose famous name is Achyuta, was here the overseer, he who is an image of Dhanvatri, an incarnation of the quintessence of learning, a friend of the virtuous, and a bee on the lotus of the heart of his master.’

‘As Dhanvatari,’ adds Dr. Bühler, ‘is the Indian Asklepios, the statement that Achyuta was his image, may mean that he was a Vaidya by caste, or that he was a doctor as well as architect.’

(Pehoa Praśasti of the reign of Mahendrapala, V. 23, Ep., Ind., Vol. I, p. 250, footnote 40.)

According to Vitruvius (Book I, chap, I, Transl, by Gwilt, pp. 3, 4) the architect ‘should be a good writer, a skilful draughtsman, versed in geometry and optics, expert at figures, acquainted with history, informed on the principles of natural and moral philosophy, somewhat of a musician, not ignorant of the sciences both of law and physic, nor of the motions, laws and relations of each other of heavenly bodies.’ But these do not include medicine.

ANAKOJA—Son of the brazier Mārāla, of A.D. 1395.

Mindoja of Patana made, together with his brother Kaloja, a pillar, (kambha) of bell-metal (weight specified) for a lamp.

(Ep. Carnat., Vol. V, part I, Belur Taluq, no. 61, Transl, p. 61, Roman text, p. 135.)

Ā

ĀSALA—An architect (A.D. 1215, V. S. 1272) who constructed the step-well.

(Manglana Stone Inscrip., line 13, Ind. Ant., Vol. XLI, pp. 11; 86, line 9.)

ĀHUKA—An architect who built the Śiva temple (A. D. 804).

(The first Praśasti of Baijnath, v. 35, Ep. Ind., Vol. I, p. 107.)

I

IDAMORAKA (INDRAMAYŪRA)- ĀCHĀRYA—Sthapati or architect, the guru of the sculptor Ṇaṭaka (Naraka) who made the image of the cobra on the slab on which the inscription is incised.

(Banawasi Prakrit Inscrip., line 2f., Ind. Ant., Vol. xiv, p. 334, notes 20, 23.)

IMDARĀKA—Sūtradhāra or the carpenter who assisted the chief architect Pahini, the builder of the Maṇḍapa, Akshasama, and Dama of the temple of Bhlmesvara built with stones and bricks.

(The Chahamanas of Marwar, no. XII, Sanderav Stone Inscrip. of Kelhanadeva, line 2 f., Ep. Ind., Vol. xi, p. 48.)

O

OḌEYAPPA—An architect (A.D. 1386).

‘This pillar (dīpamāle kambha) was made by Āchāri Ponna-pille’s son Oḍeyappa.’

(Ep. Carnat., Vol. IX, Devanhalli Taluq, no. 40, Transl., p. 78.)

K

KALLAYYA—An architect, son of Kalloja of Bānūr, by whom ‘the work of the (bhoga-)maṇṭapa and the writing of this Śāsana were done.’ (A.D. 1521.)

(Ep. Carnat., Vol. VI, Kadur Taluq, no. 91, Transl., p. 16.)

KAMAU—The architect (śilpi), son of Visadru, who built ‘the fifth octagonal pillar’ on the face of which the inscription is recorded.

(Sharqi Arch. of Jaunpur, Inscrip., no. XXVII Arch. Surv., New Imp. Series, Vol. I, p. 51.)

KĀMA-DEVA—Of Śilāpaṭṭa-vaṁśa (Śilawaṭ caste, masons), an architect, appointed by a Muhammadan ruler Jallāla as one of the three architects to build a gomaṭha, a garden, and a step-well in the town of Baṭihaḍim.

(Batihagarh Stone Inscrip., v. 12, Ep. Ind., Vol. XII, p. 46.)

KĀLI-DĀSI—A sculptor (A.D. 1140).

‘For Prātapa-Hosala-Narasimha-Deva’s sculptor Kedāroja, the sculptor Kālidāsi, champion over the proud, a thunderbolt to the rock (giri), titled (i.e., very eminent) sculptor, made the makaratoraṇa (or carved head-piece for the lintel).’

(Ep. Carnat., Vol. V, part I, Supplement, Belur Taluq, no. 239, Transl., p.275.)

See also reference under BALLAṆṆA.

KĀLAKOJA—Son of the brazier Mārāla-Mindoja of Pataṇa, made together with his brother Anakoja a pillar (kambha) of bell-metal (weight specified) for a lamp (A.D. 1395).

(Ibid., Belur Taluq, no. 61, Transl., p. 59, Roman text, p. 135.)

KEÑCHA-MALLIVAṆṆA—The sculptor of the image no. 32, Belur temple (A.D. 1120).

(Ibid., Belur Taluq, no. 47, Roman text, p. i25,Transl.,p.55.)

KETĀNA—A sculptor (see under BALLAṆṆA).

KEDAROJA—A sculptor (see under BALLAṆṆA).

KEDĀROJA—A sculptor of Hoysala Narasimha Deva (A.D. 1140).

(Ibid., Supplement, Belur Taluq, no. 239, Transl., p. 275.)

KUMĀRAM-ĀCHĀRI—The sculptor of the image no. 12, Belur temple (A.D. 1120).

(Ibid., Belur Taluq, no. 40, Roman text, p. 124, Transl., p. 55.)

G

GAṄGĀCHARI—An architect (A.D. 966).

‘The work of this temple was done by Gaṅgāchari.’

(Ibid., Vol. IX, Magadi Taluq, no. 75, Roman text, p. 74, Transl., p. 60.)

GANṬEMADANA-BASAVANA—An architect (A.D. 1539).

‘Those who did the work (Devāmbudhi tank) : Gaṇṭemadana-Basavana made the pillars, Komāraiya the ornamental work, the stone-Veḍḍa Chenne-Royi built the stones of the embankment.’

(Ibid., Vol. XII, Tumkur Taluq, no. 24, Transl., p. 8, para. 2.)

(ŚRĪ)GUNDAN—An architect, who built the temple of the (present) god Virūpāksha, originally of Lokeśvara, as mentioned in the inscription for Loka-māhadevī, the Queen-consort of the Western Chalukya king Vikramāditya, the second.

He is called ‘Sūtradhāri’ (one who supports the cause is the sūtradhāra or carpenter, and the sūtradhārri is the guru or priest of the carpenter). He is again called the Tribhuvanāchārya and also the Sarva-siddhi-Āchārya. He is stated to be the ‘creator of many cities and houses; perfect and refined in conversation; houses, palaces, vehicles, seats, couches, his jewelled crown and crest-jewel.’

(Sanskrit and Old Canarese Inscrip., no. 99, also nos. 100, 101, and 115, Int. Ant., Vol. X, pp. 164, 163, 165, 166, 170-171.)

CH

CHANṆḌI- ŚIVA—The architect of the Harsha temple, ‘the famed son of Vīrabhadra, omniscient, like Viśvakarman, in the art (or science) of building houses (Vāstuvidyā) . . . He built this delightful house of Śaṁkara with its chapels (maṇḍapa), the beautiful porch (toraṇa) which contains all the gods, like a portion of heaven made by the Creator himself.’

‘In his account of the ruins of this temple, Mr. Dean speaks of a doorway relieved by an architrave of the most elaborate sculpture, divided into twelve compartments, in each of which a group from the Hindu Pantheon occupies a place.’

(Harsha Stone Inscrip., VV. 43, 44. Ep. Ind., Vol. II, pp. 123, 124, 128, note 72.)

Chahadadevapala son’s grandson—Architect of the Qutb Minar.

(An historical memoir on Qutb, by J. A. Page, p. 43, Inscription no. 28.)

CHĀVANA—A son of Dasoja, sculptor of the images, nos. 6, 11, 27, Belur temple (A.D. 1120).

(Ep. Carnat., Vol. V, part I, Belur Taluq, nos. 35, 39, 45, Roman text, pp. 124, 125, Transl., p. 55.)

CHIKA-HAMPA—The sculptor of the image no. 3, Belur temple (A.D. 1120).

(Ibid., no. 33, Roman text, p. 123, Transl., p. 55.)

(SRĪ)-CHEṄGAMMA—A sculptor who ‘made this image’ (pratimā).

(Sanskrit and Old Canarese Inscrip., no. CIX, Ind. Ant., Vol. X, p. 168, C.I.)

CHOLAJANA—The sculptor of the image no. 17, Belur temple (A.D. 1120).

(Ep. Carnat., Vol. V, part I, Belur Taluq, no. 42, Roman text, p. 124, Transl., p. 55.)

CHOUGA—A sculptor (see under BALLAṆṆA).

CHAUDEVA—A sculptor (see under MALLITAMMA).

CHH

CHHICHCHHA—An architect who built the temple of Pramathanātha, is called the Vijñāna-viśva-karttṛi-dharmadhāra-Sutradhāra (A.D. i 116).

(Khajuraho Inscrip., no. iv, v. 60, Ep. Ind., Vol. I, p. 146.)

JAKANĀCHĀRYA—The architect of the temple at Halibid and Somanathpura.

Cf. ‘Jakanāchārya is the reputed architect of this magnificent building (Kait Iśvara temple), but he is also credited with having built all the temples, similar in style, throughout the district ... A man of the same name is said to have built the temples at Madurā. Jakanāchārya was a prince who, having accidentally killed a Brāhman, employed twenty years of life, with the hope of washing away this great sin, in rebuilding temples between Kāśi and Rāmeśvara (Cape Comorin) so says tradition.’

(Ind. Ant., Vol. I, p. 44, c. 2, para. 2.)

JAṄGAMAYA—An architect (A.D. 1538).

‘Chennema-Nāyaka-aya had the Yelayūr gate built with proper pillars by the hand of Muta-Nāyaka’s disciple Jaṅgamaya.’

(Ep. Carnat., Vol. XII, Kumgal Taluq, no. 20, Transl., p. 35.)

JĀHAḌA—The mason (Śilavaṭa) who worked and shaped the stones for the step-well built by the architect Āsala (A.D. 1215).

(Manglana Stone Inscrip., lines 13-14, Ind. Ant., Vol. XLI, pp. 88, 86, lines 9-10.)

ṬH

ṬHOḌHUKA—The son of Sammana, was one of the architects who fashioned the very lofty temple of Śiva with the chisel, as well as the Maṇḍapa (A.D. 804).

(The first Praśasti of Baijnath, VV. 36, 37, Ep. Ind., Vol. I, pp. 107, in.)

Ṇ

ṆAṬAKA (NARTAKA) —An architect and sculptor, who made the cobra (nāga) on the slab on which the inscription is incised, a pupil of Āchārya (Sthapati) Idamoraka (Indramayūra).

(Banawasi Prakrit Inscrip., line 2 f., Ind. Ant., Vol. XIV, p. 334, notes 20, 23.)

ṆAṆṆAKA—A son of Kṛishṇa, most qualified architect of the temple of Śiva (Malava era 795, A.D. 738).

(Inscription from the Mahadeva temple, VV. 29, 30, 161, Ind. Ant., Vol. XIII, pp. 165, 163.)

T

TUṚAVAŚARI-KALIYUGA-MEYYAN—An architect (A.D. 1331).

‘Another grant, by the same man, of lands (specified) to Tuṛavaśari-Kaliyuga-meyyan, who built the temple.’

(Ep. Carnat., Vol. IX, Hoskote Taluq, no. 96, Transl., p. 99.)

TH

THĀLŪ—An architect of the temple, an account of which is given in the Behal inscription of Singhana (A.D. 1222-23).

(Ep. Ind., Vol. III, pp. 111, 113.)

D

DĀSOJA—Of Balligrāma, sculptor of the images nos. 5, 7, 9 of the Belur temple (A.D. 1120).

(Ep. Carnat., Vol. V, part i, Belur Taluq, nos. 24, 36, 37, Roman text, p. 124, Transl., p. 55.)

DIVĀKARA—The master architect of the famous Vishṇu temple, Angar Vat, constructed by King Parama Vishṇuloka of Camboj.

DEMOJA—An architect who ‘made the frame of the eastern door’ of the structure referred to in the inscription (A.D. 1240).

(Ibid., Supplement, Belur Taluq, no. 241, Transl., p. 275.)

DEVANĀGA—‘Crest-jewel of sculptors, built the temple of Śiva.’

(Ratnapura Inscrip. of Prithvldeva, v. 29, Ep. Ind., Vol. I, pp. 49, 52.)

DEVĀDITYA—’The son of Āhlādana (who became) the firm (? professional, permanent, sthira] architect of the Vaidyeśa, is famous among the first rank of masons.’

(Inscrip. from Dabhoi, vv. in, 112, Ep. Ind., Vol. I, pp. 31, 24.)

DEVOJA—A sculptor (see under BALLAṆṆA).

DHARMA-VANANA—Architect of the Qutb Minar.

(An historical memoir on Qutb, by J. A. Page, p. 43, Inscription no. 29.)

N

NAÑJAYA—A sculptor (see under MALLITAMMA).

NANA-SALHA—Architect of the Qutb Minar.

(An historical memoir on Qutb, by J. A. Page, p. 43, Inscription no. 28.)

NARA-ŚOBHA—An architect (of A.D. seventh or eighth century).

Jambu-dvīpāntare kaśchit vāstu-prāsāda-tadgataḥ |
Nara-śobha-samo vidvān na bhūto na bhavishyati ||

‘There has not been, and there shall not be, in Jambu-dvīpa (India) any wise man, proficient in (the art of) building houses and temples, equal to Nara-śobha.’

(Sanskrit and Old Canarese Inscrip., no. LXI, Ind. Ant., Vol. IX, p. 74.)

NAṀDIKA—An architect.

Cf. ‘Veyikā (Naṁ)dikena katarh the rail (the gift of ... Koṭi) was made by Naṁdika.

(Karle Cave Inscrip., no. 18, Ep. Ind., Vol. VII, p. 64.)

NĀGĪ-DEVA—A sculptor.

Cf. ‘This Śāsana of King Harihar was engraved by his orders by the carpenter Śāsanāchārya Nāgīdeva, the sculptor.’

(Ep. Carnat., Vol. VIII, part i, Tlrthahalli Taluq, no. 201, Transl., p. 208, last para.)

NĀGOJA—of Gadugu, the sculptor of the image no. 37 of the Belur temple (A.D. 1120).

(Ibid., Vol. V, part I, Belur Taluq, no. 51, Roman text, p. 125, Transl., p. 55.)

NĀYAKA—The high-minded son of Āsika, who is at the head of the masons, came from Suśarman’s town, was one of the architects who ‘fashioned the very lofty temple of Śiva, with the chisel, as well as the Maṇḍapa’ (A.D. 804).

(The first Praśasti of Baijnath, VV. 36, 37 Ep, Ind., Vol. I, pp. 107, 111.)

P

PAṬUMAN—Carpenter (Sūtradhāra), son of Vīsaihva, probably the builder of the gate where ‘on a stone near the first niche on the south side’ the inscription is found.

(Sharqi Arch, of Jaunpur, Inscrip. no. XIII, Arch. Surv., New Imp. Series, Vol. I, p. 39.)

PADARI-MALLOJA—The sculptor of the image no. 21 of the Belur temple (A.D. 1120).

(Ep. Carnat., Vol. V, part I, Belur Taluq, no. 43, Roman text, p. 125, Transl., p. 55.)

PADU- MAṆṆA—A sculptor (see under MALLITAMMA).

PADUMAYA—A sculptor (see under MALLITAMMA).

PADUMAVI—An architect (Sūtradhāra), son of Sai-Sutradhāra, who constructed the door, ‘of the right jamb ‘on which the inscription is written (A.D. 1407).

(Sharqi Arch, of Jaunpur, Inscrip., no. XV, Arch. Surv., New Imp. Series, Vol. I, p. 40.)

PĀKA—An architect.

‘Hail! The house of the temple of (the god) Srī-Vijayesvara. Pāka (was) the fashioner of the ornamentation (alaṁkāra-nirmrnāṇa-kāra) of these two pillars of Mātibhodamma.’

(Sanskrit and Old Canarese Inscrip., no. CXII, Ind. Ant., Vol. X, p. 170, C. I.)

PĀHIṆI—Son of the Sūtradhāra Mahaḍūa and his wife Jasadevī, the architect who constructed the Maṇḍapa, Akshāsāma, and Ḍamā of the temple of Bhīmeśvara with stones and bricks.

He was assisted by the Sūtradhāra Mahidarā and Iṁdarakā.

(The Chahamanas of Marwar, no. XIII, Sānḍerav Stone Inscrip. of Kelhanadeva, line 2, Ep. Ind., Vol. XI, p. 48.)

PĪTHE—‘The architect who knows the rules of Viśvakarmaii (the architect of the gods, also means one who knows how to execute every kind of work), planned, designed and executed all the buildings, the temple of Śiva together with that cloister (maṭha) with wonderful floors (bhūmika), the hall of study (vyākhyāna-śālā), and laid out that long line of gardens in two rows (adjoining) Śambhu’s temple’ (A.D. 1155-56).

(Bheraghat Inscrip. of Alhanadevi, VV. 36, 27, 18, Ep. Ind., Vol. II, pp. 13, 17, 9.)

PAISSAṆANARA-BĪRA—The sculptor of the image no. 16, of the Belur temple (A.D. 1120).

(Ep. Carnat., Vol. V, part I, Belur Taluq, no. 41, Roman text, p. 124, Transl., p. 35.)

B

BAMAYA—A sculptor (see under MALLITAMMA).

BALUGA—A sculptor (see under MALLITAMMA).

BALEYA—A sculptor (see under MALLITAMMA).

BALLAṆṆA—The inscription (Belur Taluq, no. 98, Roman text, p. 165, Transl., p. 71) informs us that a shrine of the goddess Nimbajā was set up in the temple in 1261. The sculptors who executed the marvellous statues and figures on the outer walls of this temple especially on the western side, have not given their names, except here and there, the following are the only ones: Ballaṇṇa, Bochana, Chauga, Devoja, Harisha of Oḍeyagiri, Harisha of Tanagundur, Kālidāsi, Kedāroja, Ketāna, Mābalaki, Māchaṇṇa, Maṇibālaki, Masa, son of Kanimoja, and Revoja.

(Ep. Carnat., Vol. B, part I, Introduction, p. XXXVIII.)

BIKKAHAPPĀ—The sculptor of the image no. 36, of the Belur temple (A.D. 1120).

(Ibid., Belur Taluq, no. 50, Roman text, p. 125, Transl., p. 55.)

BlRANAVA—The sculptor of the image no. 22, of the Belur temple (A.D. 1120).

(Ibid., no. 44, Roman text, p. 125, Transl., p. 55.)

BOGHANA—A sculptor (see under BALLAṆṆA).

BH

BHŪTA-PĀLA—An architect.

Cf. This ‘rock-mansion (selaghara), the most excellent one in Jambudvīpa, has been completed by the seṭṭhi Bhūtapala from Vaijayanti.’

(Karle Cave Inscrip., no. 1, Ep. Ind., Vol. VII, pp. 48, 49.)

BHOJŪKA—Of Śilāpaṭṭa-vaṁśa (Śilawaṭ caste, who are masons and found in the neighbourhood of Damoh), a Sutradhāra (carpenter) appointed by a Muhammad an ruler Jallāla as one of the three architects to build a Gomaṭha, a garden, and a step-well in the town of Baṭihaḍim.

(Batihagarh Stone Inscrip., V. 12, Ep. Ind., Vol. XII, p. 46.)

M

MAṆI-BALAKI—A sculptor (see under BALLAṆṆA).

MADANA—‘A scion of (the race of) Viśvakarman (? of the Brāhmaṇa  caste, vipra), the builder of the wall of (glorious) Vaidyeśa, of the extensive temple, of the gates, of the wings, of the foundations.’

(Inscrip. from Dabhoi, VV. 111, 112, Ep. Ind., Vol. I, pp. 31, 24.)

MANA—An architect, son of Vījala and grandson of Viśāla; he is stated to have built, being assisted by his followers, the famous temple of Śiva together with many palatial buildings having prominent towers (A.D. 1428-29).

Aneka-prāsādaiḥ parivṛitamati pramśu-kalaśaṁ giriśa-prāsādaṁ vyarachayad anūnair anucharaiḥ |
Manākhyo vikhyātaḥ sakala-guṇavan Vījala-sutaḥ sutaḥ śilpi jāto guṇa-gaṇa-yuto Viśala iti ||
Vijalasya sutaḥ śilpī Manakhyaḥ sutra-dhārakaḥ |

(Chitragadh Inscrip. of Mokala of Mewad, second part, VV. 2, 3, Ep. Ind., Vol. II, p. 421.)

MANYUKA—An architect who built the Śiva temple (A.D. 804).

(The first Praśasti of Baijnath, v. 35, Ep. Ind., Vol. I, p. 107.)

MAYINA—The sculptor of the image no. 31, of the Belur temple (A.D. 1120).

(Ep. Carnat., Vol. V, part I, Belur Taluq, no. 46, Roman text, p. 125, Transl., p. 55.)

MALAYĀ—A sculptor (see under MALLITAMMA) .

MALI—A sculptor (see under MALLITAMMA).

MALLI-TAMMA—An architect (A.D. 1196).

‘A newly discovered inscription on a rock at Śrāvaṇa-Belgola, mentions a sculptor named Bidigoja, with the honorary prefix Śrīmart, somewhere about A.D. 900 (Mysore Archaeological Report, 1908-9, p. 15, para. 60); and two other records at the same place, of the date unspecified, mention Chāndraditya and Nāga-varma as having carved Jinas, animals, and other figures for the Jains ‘(Ibid., Report, 1912-3, p. 32).

‘The earliest records of the Hoysala sculptors seem to be those on the Amṛiteśvara temple at Amṛitāpura, built in A.D. 1196. The 15 signatures comprise Mallitamma or Malitama, and Mali, each four times; and Padumaṇṇa, Baluga, Majaya, Subujaga, Padumaya and Muhaṇa, each once. The last named signs in Nāgāri character, an indication that he came from the north.’

‘Report for 1913-1914, Plate II, contains illustrations of the work of seven sculptors: Masanitamma, Nañjaya, Chau-deya, Baleya, Lohita, Yalamasaya, and Bamaya, all from Somnāthpur.’

(V. A. Smith, Architecture and Sculpture in Mysore, Ind. Ant., Vol. XLIV, p. 94, paras. 3, 4; p. 95, para, I.)

MALLIYAṆA—The sculptor of the image no. 10, Belur temple (A.D. 1120).

(Ep. Carnat., Vol. V, part I, Belur Taluq, no. 38, Roman text, p. 124, Transl., p. 55.)

MALLOJA—An architect who built the central shrine (garbha-gṛiha) of the temple described in the inscription (A.D. 1167).

(Ibid., Vol. VII, Shimoga Taluq, no. 55, Transl., p. 21, line 3.)

MASA—A sculptor (see under BALLAṆṆA).

MASADA—The sculptor of the image no. 33, of the Belur temple (A.D. 1120).

(Ibid., Vol. V, part I, Belur Taluq, no. 48, Roman text, p. 125, Transl., p. 55.)

MASANI-TAMMA—A sculptor (see under MALLITAMMA).

MAHĪ-DHARA—An architect, son of the chief of artisans (Sūtradhāra).

(Bheraghat Inscrip. of Alhanadevi, V. 37, Ep. Ind., Vol. II, pp. 13, 17.)

MAHID(H)ARĀ—An architect (Sūtradhāra), who assisted Pāhiṇi, the chief architect of the Maṇḍapa, Akshasāma, and Ḍamā of the temple of Bhīmeśvara which was constructed with stones and bricks.

(The Chahamanas of Marwar, no. XIII, Sāṇḍerav Stone Inscrip. of Kelhanadeva, line 2, Ep. Ind., Vol. XI, p. 48.)

MĀCHAṆṆA—A sculptor (see under BALLAṆṆA).

MĀCHOJA—A sculptor and architect (A.D. 1142).

‘The sculptor Māchoja, the Āchārya of Kalukuṇi-nāḍ, the Viśvakarman of the Kali-yuga, built it ‘(Jinālaya).

(Ep. Carnat., Vol. IV, Nagamaiigala Taluq, no. 95, Transl., p. 138, Roman text, p. 239.)

MĀBALAKI—A sculptor (see under BALLAṆṆA).

MĀMARIYAÑCHI-TAMMA—A son of the goldsmith Bandiyoja; ‘he repaired and roofed a bīra-gal, which was made by Alibhanu-Āchāri (A.D. 1242).’

(Ibid., Vol. III, Mandya Taluq, no. 85, Transl., p. 48.)

MUDDOJA—A son of Tipaji, a stone mason, ‘who built these (described in the inscription) temples (A.D. 1408).’

(Ibid., Vol. X, Garibidnur Taluq, no. 59, Transl., p. 226, last para.)

MULAṆA—A sculptor (see under MALLITAMMA).

MODHAKIN (also called Podhakin) An architect, son of Vara (of the seventh or eighth century).

(Further Pabhosa Inscrip. no. I, Ep. Ind., Vol. II, pp. 480-481.)

Y

YAYYA— (otherwise called Jajja) An architect.

(Further Pabhosa Inscrip. no. I, Ep. Ind., Vol. II, pp. 480-481.)

YALAMASAYA—A sculptor (see under MALLITAMMA).

R

RĀGHAVA—An artizan (sculptor), son of artizan (sculptor) Vlṁ-jhadeva, who carved the Verawal image (Valabhi Saṁhvat, 927).

(Verawal Image Inscrip., line 5, Ep. Ind., Vol. III, pp. 303, 304.)

RĀMA-DEVA—Śilpin (artist), son of Rūpa-kāra (sculptor), the engraver of the famous Dhar praśasti (panegyric) of Arjuna-varman.

(Dhara Praśasti of Arjuna-varman, V. 76 Ep. Ind., Vol. VII, pp. 117, 98.)

REVADI-OVAJJA—Of the Sarvasiddhi Āchāryas, versed in the secrets of Kanarese stone masons, probably the builder of the Papanatha temple.

(Inscription on Papanath Temple.)

REVOJA—A sculptor (see under BALLAṆṆA).

L

LAKSHMĪ-DHARA—An architect ( A.D. 1104).

(Nagpur Stone Inscrip., B. 56, Ep. Ind. s Vol. II, pp. 1 88, 194.)

LASE—The sculptor of the image no. 35, of the Belur temple (A.D. 1120).

(Ep. Carnat., Vol. V, part I, Belur Taluq, no. 49, Roman text, p. 125, Transl., p. 55.)

LOHITA—A sculptor (see under MALLITAMMA).

V

VĀMA-DEVA—’Famous for having built the temple of the Sun called Mulā-sthana.’

(Inscrip. from Dabhoi, VV. 111, 112, Ep. Ind., Vol. I, pp. 31, 29.)

VlRAṆĀCHĀRYA (1)— A carpenter (see under STHAPATI) (A.D. 1558).’

‘This copper Śāsana was composed by Sabhāpati Svayambhu, and engraved by Viraṇa’s son, the carpenter Viraṇāchārya.’

(Ep. Carnat., Vol. IX, Channapatna Taluq, no. 186, Transl., p. 170, last para.)

(ŚRĪ)VĪRAṆĀCHĀRYA (2)— The architect (tvashṭā), who engraved the copper plate.

(Kṛishnapuram Plates of Sadāśivarāya, v. 107, Ep. Ind., Vol. ix, p. 339, see more details of this architect under Sthapati.)

VIŚVAKARMMĀCHĀRYA (1)—An artist and painter (A.D. 776). ‘By the abode of all arts, skilled in painting pictures (sarvva-kalādhāra-bhūta-chitra-kalābhijnena), was this Śāsana written?’

(Ep. Carnat., Vol. IV, Nagamangala Taluq, no. 86, Transl., p. 136, last para., Roman text, p. 235, last two lines.)

VIŚVAKARMMĀCHĀRYA (2)—A painter (A.D. 749).

‘Skilled in all arts including painting (sarwa-kalāntarpāti-chitra- kalābhijnena) wrote the Śāsana.’

(Ibid., Vol. VI, Mudgere Taluq, no. 36, last para., Transl., p. 67, Roman text, p. 153.)

VlŚVA-NĀTHA—An architect (A.D. 1530).

‘Born in the family of Viśvakarma, the architect of the three worlds, Viśvanatha, the son of Basāvachāriya, who was the son of Voḍeyappayya. considered to be the Jagad-guru, engraved it.’

(Ibid., Vol. V, part I, Channarayapatna Taluq, no. 187, Transl., p. 207.)

Ś

ŚĀMU—‘This must be the name of some writer on architecture.’

Śāmu-dṛishṭim anusṛitya nirmitā ‘constructed (the lofty temple of Śiva, by two architects, Nāyaka and Ṭhoḍhuka) in accordance with the opinion of Śāmu ‘(A.D. 804).

(The first praśasti of Baijnath, V. 37, Ep. Ind., Vol. I, pp. 111, 107, footnote 72.)

ŚIVA-PĀLA—A mason, one of whose ancestor is a Sūtradhāra (carpenter, named Deuka) but another of the same family is Sthapati (architect, named Nāga).

(From this it would appear that both Sūtradhāra and Sthapati belong to the same caste and that these are professional titles and not caste – names)

Cf. Āsīchcha Nāga-sthapates tu Durggaḥ |
Durggārkkato Deuka-sūtra-dhāraḥ |
Asyāpi sūnuhŚiva-pāla-nāmā |
Yenotkṛiteyarṁ suśubhā praśastiḥ |

(Vasantgadh Inscrip. of Purnapala, V. 34, Ep. Ind., Vol. IX, p. 15.)

ŚUBHA-DEVA (A.D. 754) —Of Śāṇḍilya-gotra, sculptor or architect (rūpākara), ‘son’s son of the sculptor Śiva-vardhamāna, son of the sculptor Śiva; or rather (bhūyah) the Āchārya Jnāna- śiva, who is the disciple of the disciple’s disciple at the feet of him, the venerable and worshipful Payo-bhakshin, who had the appellation of Śivaśāsana, (and) who has come here (Paṭṭadakal, a village in the Bijāpur district, Bombay Presidency) from the Mṛigathaṇikā-hāra-vishaya on the north bank of the (river) Gangā there has been set up in the (?) gateway (dvāra) of his own particular (? style of) shrine, this great stone pillar, which bears the mark of the seal of the trident,’ and is octagonal at the upper part and square immediately below.

(Paṭṭadakal Inscrip. of Kirtivarman II, lines 15, 16, 17, Ep. Ind., Vol. III, pp. I, 3, 5, 7.)

(RĀṆAKA) ŚŪLĀ-PAṆI—The crest-jewel of the guild of Vārendra artists (Vārendraka-śilpi-goshṭhī-chūḍa-maṇi), the son of Bṛihaspati, grandson of Manadāsa, and great-grandson of Dharma (end of the eleventh century).

(Deopara Inscrip. of Vijayasen, V. 36, Ep. Ind., Vol. I, pp. 311, 315.)

S

SATYA-DEVA—A son of Pitāmaha, a merchant by birth, who was the Kārāpaka (persons appointed to look after the construction of the temple, Kielhorn, Ind. Ant., Vol. xix, p. 62, note 53), selected by the goshṭhi to see this work (the erection of the temple of the goddess Kshemāryā).

(Vasantagadh Inscrip. of Varmalata, VV. 9, 8, Ep. Ind., Vol. IX, pp. 192, 189.)

SĀDEVA—An architect.

(Inscrip. from Dabhoi, VV. in, 112, Ep. Ind., Vol. I, pp. 31, 24.)

SĀMI(ṆA)—otherwise called Śyāmila, Svāmin-Vaḍhaki, (i.e., Vardhaki), carpenter or sculptor (Senart).

Sāminā … Vaḍhakinā … gharasa mugha kata—the opening (or door) was made by Sāmi, the Vardhakin.

(Karle Cave Inscrip. no. 6, Ep. Ind.,Vol. VII, p. 53.)

SĀMILA—also called Śyamila A carpenter.

‘Son of Veṇuvāsa, a carpenter, a native of Dheṇukākaṭa, made the doorway.’

(Karle Cave Inscrip. no. 6, Arch. Surv.,New Imp. Series, Vol. IV, p. go.)

SĀMPULA—‘The intelligent artisan,’ engraver of the Ratnapura inscription of Pṛithvīdeva, the ‘crest -jewel of sculptors,’ built the temple of Śiva (A.D. 1189).

(Ratnapura Inscrip. of Pṛithvīdeva, VV. 28, 29, Ep. Ind., Vol. I, pp. 49, 52.)

SIGGOJA—The sculptor, who made the sculpture mentioned in the inscription no. 525.

(Ep. Carnat., Vol. VIII, part I, Sorab Taluq, no. 525, Roman text, p. 168, Transl., p. 86.)

SIṄGAṆAHEBĀRUVA—The architect, who bufilt ‘the stone gateway of Śānti-grāma, ornamented with the tiger- face’ (A.D. 1573).

(Ibid., Vol. V, part I, Hassan Taluq, no. 117, Transl., p. 34.)

SIṄGAYA-BHAṬṬA—Rudraya’s son, hydraulic engineer (jalasūtrada), master of ten sciences (dasa-vidyā-chakravarttī), made (in A.D. 1388), at the order of the Governor Bukka-Rāya, a channel of ten miles from Kallūḍi to the Siravera tank. An interesting account of his accomplishments is given:

Jala-sūtra-svara-śāstre rasa-vaidye satya-bhāshāyām |
Rudraya-siṅgari bhavataḥ sadṛiśaḥ ko vā mahī-tale śūraḥ ||

‘In the science of hydraulics, in divination or telling omens from sounds, in medical treatment with mercury (? perhaps alchemy), in speaking the truth,—Rudraya’s (son) Siṅgari, what learned man is there in the world equal to you? ‘

(Ibid., Vol. X, Goribidnur Taluq, no. 6, Transl., p. 212, Roman text, p. 259, Preface, p. 2.)

SIṄGĀLI-KARGI—The son of Kali, a pandita from the Nāvagrama-draṅga (watch-station near mountain passes, cf. Translation, Rāja-Taraṅgini, v. II, p. 291), the sthapati (architect of the tank specified).

(Shawar Museum Inscrip. of Vanhadaka, line 6, Ep. Ind., Vol. X, p. 80.)

SUBUJAGA—A sculptor (see under MALLITAMMA).

SKANDA-SĀDHU—The son of Śri-kaṇṭha, a descendant of a family of architects (sthapati-kula) .

(Sholinghur Inscrip. of Parantaka I, line 21, Ep. Ind., Vol. IV, pp. 224, 225.)

H

HARIDĀSA—An architect (Sūtradhāra), employed to repair the temple of Dakshiṇāditya (A.D. 1373).

(Gaya Inscrip. of Vikrama Samvat 1429, line 9, Ind. Ant., Vol. XX, pp. 315, 313.

HARISHA (1) — (of Tana Guṇḍur) A sculptor (see under BALLAṆṆA).

HARISHA (2) — (of Oḍeyagiri) A sculptor (see under BALLAṆṆA).

HAROJA—A sculptor (A.D. 1243).

‘Haroja, son of Honnāchāryya, son of Boṭakāchāryya, the equal of Manu, Maya, and Viśvakarmma, beloved by all the people and farmers, set up an image of the sun.’

(Ep. Carnat., Vol. IV, Nagamangala Taluq, no. 55, Transl., p. 127, Roman text, p. 219.)

HALĀ—Of Śilapaṭṭa-vaṁhśa (Silawaṭ caste, masons), an architect, appointed by a Muhammadan ruler Jallāla as one of the three architects to build a Gomaṭha, a garden, and a step-well in the town of Baṭihaḍim.

(Batihagarh Stone Inscrip., v. 12, Ep. Ind.. Vol. XH, p. 46.)