DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.2371#0183
CONCLUSION. 161
ance of the buildings. By the aid, however, of the Mahavallipur
Eaths, and the clumsy attempt to copy a Buddhist vihara in the cave
at Undavilli, we are now enabled to understand to a very great
extent, not only the appearance but the construction of all the
varied forms of Buddhist architectural art. The Baths belong,
unfortunately, to a late age, it must be confessed, but still before it
had entirely passed away.
Another almost equally important result for the general history
of Indian Architecture, is obtained from a knowledge of the forms
of the Eaths at Mahavallipur and of the caves at Undavilli. It may
now be said with confidence that we know for certain the origin of
the Dravidian style of architecture, and the date when it was first
introduced in the South, and we can also explain whence its most
characteristic features were derived, and why they were adopted.
All these points were little known before, and still less understood.
It may be said, with some truth perhaps, that there is very little
that is new in all this; but a good deal of it was known only very
hazily. The great advantage obtained from these investigations into
the Eastern caves is, that we may now feel confident that we know
exactly how and when Buddhist architecture was first introduced,
and with the assistance of the Western caves can follow its progress
step by step till its decline and extinction in the seventh or eighth
century, after an existence of nearly 1,000 years. It is something
too, to be able to say that we know when and how the Dravidian
style arose, though we have not and never had any difficulty in tracing
its history from the seventh or eighth century till the present day. It
is true we have not yet been able to discover the origin of the
curvilinear Sikhara or spire of Indo-Aryan style of the north of
India, with its accompanying peculiarities. When, however, so
much has been done, we may feel confident that before long, that
last remaining obscurity that still clouds the history of Indian Archi-
tecture may, too, eventually disappear.
Y132.
ance of the buildings. By the aid, however, of the Mahavallipur
Eaths, and the clumsy attempt to copy a Buddhist vihara in the cave
at Undavilli, we are now enabled to understand to a very great
extent, not only the appearance but the construction of all the
varied forms of Buddhist architectural art. The Baths belong,
unfortunately, to a late age, it must be confessed, but still before it
had entirely passed away.
Another almost equally important result for the general history
of Indian Architecture, is obtained from a knowledge of the forms
of the Eaths at Mahavallipur and of the caves at Undavilli. It may
now be said with confidence that we know for certain the origin of
the Dravidian style of architecture, and the date when it was first
introduced in the South, and we can also explain whence its most
characteristic features were derived, and why they were adopted.
All these points were little known before, and still less understood.
It may be said, with some truth perhaps, that there is very little
that is new in all this; but a good deal of it was known only very
hazily. The great advantage obtained from these investigations into
the Eastern caves is, that we may now feel confident that we know
exactly how and when Buddhist architecture was first introduced,
and with the assistance of the Western caves can follow its progress
step by step till its decline and extinction in the seventh or eighth
century, after an existence of nearly 1,000 years. It is something
too, to be able to say that we know when and how the Dravidian
style arose, though we have not and never had any difficulty in tracing
its history from the seventh or eighth century till the present day. It
is true we have not yet been able to discover the origin of the
curvilinear Sikhara or spire of Indo-Aryan style of the north of
India, with its accompanying peculiarities. When, however, so
much has been done, we may feel confident that before long, that
last remaining obscurity that still clouds the history of Indian Archi-
tecture may, too, eventually disappear.
Y132.