A railing of Hindu temples

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RailingsofHindu temples
Incidental Art
Dr Uday Dokras
A Railing is a barrier consisting of a rail and supports.
Guard rail, a structure blocking an area from access
 Handrail, a structure designed to provide support on or near a staircase
 Grab bar, a structure to provide support elsewhere, for instance in a bathroom
or kitchen
Railing at Khajuraho
Photograph of the ancient railing around the
Mahabodhi Temple, Bodh Gaya, from the
Archaeological Survey of India Collections,
taken by Henry Baily Wade Garrick in 1880-81.
The Mahabodi Temple complex is one of the
holy sites related to the life of Buddha as it is
the place where he attained Enlightenment.
The original shrine is believed to have been
raised by Emperor Ashoka in the 3rd century
BC and the present temple dates from the 7th
Century, late Gupta period. The temple was
built in front of the Bodhi Tree, under which
the Buddha obtained enlightenment,
surrounded by a quadrangular stone railing.
The older sandstone posts date about 150 BC
of the Shunga period and have carved panels
and medallions with animals and lotus design
as well as yakshis, amorous couples, winged
horses and centaurs. The railing was extended
several times and the posts from the late
Gupta period (7th Century) of coarse granite
are characterised by an elaborate foliate
ornament and miniature figures and stupas.
Repairs and restoration of the temple were

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undertaken by J.D. Beglar, an appointment
authorised by Sir Ashley Eden, Lieutenant-
Governor of Bengal, in 1880. Cunningham
states, "Mr Garrick next visited Buddha Gaya
for the purpose of seeing the work in progress,
and of photographing the sculptures and
inscriptions which had been exhumed, as well
as various scenes on the pillars of the old
Buddhist railing."
One of the most prominent features of the heritage of Swaminarayan is temple
architecture. The images in the temples built by Swaminarayan are the evidence of the
priority of Krishna. All of the temples constructed during his life show some form
of Krishna, and all temples since have such worshipable murtis. In the temples of the
dioceses of Ahmedabad and Vadtal, they are predominantly a central altar or a shrine.
Human forms are predominant but for a known exception of a Hanuman
temple at Sarangpur, where Hanuman is the central figure. The temples have
accommodations for sadhus built next to them. Stones were quarried in far places and
carried to the temple sites.
WALKWAYS
Swaminarayan temples, like other Hindu temples, have walkways around the central
shrine to allow worshipers to circumambulate the shrine. These are often decorated with
designs and inlaid marble.
RAILING
The main shrine area is divided by railings. One side of the railing is reserved for
women, as Swaminarayan propagated that men and women should be separated
in temples to allow full concentration on god. Men do a specified number
of prostrations (as decided by themselves). In front of the men's section, there is
a small section reserved for ascetics and special guests. There is great variety in
form and nature of the central images, in front of which are gold- or silver-plated
doors that open during darshan.
Kalyaneshwar Shiv Mandir: one of the proud monuments of Nagpur.A temple
without railings
Famous temples have used Crowd Control Post System – the next generation of crowd
control and pedestrian guidance as a cost effective handrails to divide areas from one

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specific to anothrr. where large crowds are often gathered railings were used to
separate the elite from the common masses. Private temples had no need for railings as
they were belonging to a single family. Here is a study of one such private mandir in
Nagpur,India
The 226 years old Kalyaneshwar Shiv Mandir at Telangkhedi,Nagpur was constructed by
Raje Raghuji Bhosale in 1785. It contains the idol of Lord Shiva, which is the routine
tradition followed from the times of Raghuji Maharaj.
During Shravan month, the king’s family lived in the temple which is east facing. The
temple was initially managed by the Bhonsle Devasthan Trust. In 1925 all the properties
of Bhonsle went under the possession of the Courts of Wards but the temple continued
to be in the possession of Bhonsles.

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In 1983, after the division of the Bhonsle property, the Telangkhedi temple came under
the possession of Kamlaraje Jaisinghrao Bhonsle. It again went to the ‘Courts of Wards’
in 1984 amid a legal battle. The temple was bought by Ashutosh Shewalkar in 1995 and
since then it is in the possession of the Shewalkar family. Now the temple is their private
property.
The Kalyaneshwar Shiv Mandir is listed as Grade I structure in the list of heritage
buildings and conservation areas published by the state government in 2003. Its status
is reported to be fair. It has ‘garbha gruha’, ‘antralaya’ and ‘mandap’ in stone masonry.
The temple has a domed roof over the ‘garbha gruha’. The structure has been renovated three
times until now. Before being taken over by Shewalkars, the artistic work on the shikhar had
disappeared due to the thick layer of whitewash. Shewalkar removed the layer and restored the
art. Post independence, many sadhus took refuge in the temple.
Devotees of Shiva renovated it and organized a big ‘yagya’ which was performed by Kanchi
Kamkothi Peeth Shankaracharya. There are 97 pillars made out of grey stones. The temple is
made of black stones. Its ‘shikhar’ is in a bad shape and small shrubs and trees have come up on
it. The temple has idols of Parvati in the form of Laxmi, Ganga and Durga. Idols of Annapurna
Mata, Nag and Ganapati are also installed here.

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Everyday around 100-150 devotees visit the temple. About a lakh come
for darshan on Mahashivratri. Many devotees from the city and outside visit the temple during
in the month of Shravan month. Many religious programmes like bhajans, kirtans, path,
mahaprasad and ‘abhishek’ too are held during the auspicious month. Eight years ago,
Shewalkar repaired the temple floor. Old tiles were replaced with marble. Every year, the temple
is white-washed to keep the structure in good condition.
Khajuraho temple design
A noteworthy feature of Khajuraho temple design is the granite and the sand stone blocks that
seem to focus on an upward motion and the resultant heightened curvature increased by an
array of distinct upright protuberances.The collection of open verandas with suspended attics
running parallel to the ground invites sunlight into the heart of the temples casting
enigmatically brilliant silhouettes of subjects and structures sticking around. The concept and
designs have touched a high degree of architectural excellenceinviting tourists from all over the
world.
Temple without a railing - Mundeshvari temple: History in every stone
Mundeshvari temple in Bihar is considered by many to be the oldest functional temple in
India.‘Mundeshvari temple is considered the oldest functional temple in the country’ — I
have come across this clichéd-sounding line multiple times. And it set me thinking. How
old is it then? Is it older than Benaras and its many temples? So I decide to visit
Mundeshvari temple in Bhabua, 100 km from Benaras, to find some answers.

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Mundeshvari temple in Bihar
Saba Dewan’s in Tawaifnama, writes: “Some recent scholars are of the opinion that the
goddess installed in the Mundeshvari temple might well have been a deity worshipped
originally by the aboriginal population, described in the Vedic and post-Vedic texts as
asura and daitya. In the long-drawn-out struggles between the forces of invading
Brahmanism and the indigenous population of the Kaimur area, the goddess seems to
have been usurped and made part of the Hindu pantheon”.
The archaeological remains around Mundeshvari temple, Bihar
One has to pass through a huge gate bearing the name of the temple. At the foot of the
hill atop which the temple stands (the temple’s height is reportedly 182.8 metres.)
Temple design- Fiona Buckee in her paper, ‘The curious case of the octagonal temple: An
architectural analysis and revised history of the temples of Mundesvari Hill,’ 2020,
describes the temple :
“It is a sandstone Shiva temple built to an octagonal plan, with four doorways opening out
in the cardinal directions and large central niches flanked by smaller side niches on each of
the interceding walls. It lacks a spire”. She adds that it is “unusually broad, stretching 14m
across from door to opposite door, which, combined with its truncated roof and heavy
base mouldings, gives it a low-lying, heavy-set appearance”.

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The archaeological remains around Mundeshvari temple, Bihar
Archaeological remains are scattered all around the temple. A large number of loose
sculptures and architectural members scattered around the temple are perhaps part of the
shikara and mandapas of the temple which collapsed long ago’.
TEMPLE PARTS
Term Explanation
Illustrative Hindu text
mention / design rules
Image

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Term Explanation
Illustrative Hindu text
mention / design rules
Image
Kumpan/
kathada
Railing- Thatdelineatedthe
compoundas well asinnerareas
fromother
Adhisthana
stylobate, plinth, base typically with
mouldings on the side, on which a
temple building or pillar stands.also
called-Athavaksham, Pista, Pitha
Manasara XIV, Kamikaga
ma 35, Suprabhedagama
31
Amalaka
a crowning ornament on the top of shikara,
shape of an Indian amalok fruit that looks
like a cogged wheel. The amalaka supports
the kalasha.
Mayamata silpasastra
Antarala/
Sukhanasi
lit. interior space of any building; in
temples, it is the intermediate space
(vestibule, antechamber) between the
sanctum and space where pilgrims gather
Manasara XV,
XXIII; Kamikagama XXXV
Ardhamandapa
half hall at each entrance, usually the
reception area that connects to the
mandapa
Manasara XIV, Kamikagama 35
, Suprabhedagama 31
Ayatana
assembly hall, grounds inside a temple or
monastery compound
Agni Purana XLIII, Matsya
Purana CCLXX, Chandogya
Upanishad 6.8.2

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Term Explanation
Illustrative Hindu text
mention / design rules
Image
Bhadra
a projection often aligned to one of the
cardinal directions; typically of central part
of walls; decoration or a projected porch for
pilgrims; also may be a tower storey
projection
Manasara XXX-XXXIV
Gana
a mythical dwarf or goblin usually with a
protruded belly and with humorous
expression
Garbhagriha or
Garbha-geha,
Sibika, Garbha,
Mula-sthana
The womb-house, adytum, sanctum
sanctorum; it is the loci of the temple and
the darshana, the spiritual space that
Hindus circumambulate clockwise about.
This is where the main murti image is
placed. Usually the space is very plain,
with no distractions from the murti, which is
rich in symbolism. A large temple may
have many shrines, each with a
garbhagriya.
Brihat Samhita LXI
Gavaksha/
Gavaksa, kudu
one of the arch motifs; it is horseshoe-
shaped, found with windows or for
decorating spires, pillars and other
elements
Gopuram//
Dvara attalaka
a gateway at entrance or one that connects
two sacred spaces of the temple; becomes
very large in South Indian temples, which
may have several; it has roots in ancient
Indian monasteries and the Vedic
word gomatipur;
Agni Purana XLII, Manasara XI,
XXXIII verses 1–601, LVIII

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Term Explanation
Illustrative Hindu text
mention / design rules
Image
Hara neck ornament such as necklace
Jala/Jali
a trellis, stone grille, net, first seen in 6th-
century temples
Jagati/
Pithika, Jagati-
pitha, Kati,
Vasudha
any moulded base or pedestal for the
temple or a statue that extends out, part of
platform that forms a terrace to stand on or
circumambulate around on, while reading
the reliefs and friezes
Samarangana-
sutradhara LXVIII, Agni
Purana XLII, Suprabhedagama
31.19
Kalasha
the pinnacle element of a temple, a vase
finial, cupola or pitcher
Agni
Purana CIV, Kamikagama 55
Kunda/
Pushkarani,
Sara, Sagar,
Tadaga,
Udapana, Var,
Vapi
temple tank, stepwell, pool, usually with
steps, public utility for taking a dip; often
connected to a nearby river or mountain
stream
Garuda
Purana XLVI, Mahanirvana
tantra XIII
Lata
liana, creeper-style plant, vine, one type of
scroll work; also found on sikhara

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Term Explanation
Illustrative Hindu text
mention / design rules
Image
Makara
a mythical fusion sea creature with fish-
crocodile like face, trunk or snout, legs
sometimes with lion claws and a tail;
vahana of Varuna
Suprabhedagama 31.68-72
Mandapa
pillared hall or pavilion, with pillars usually
carved; a mandapa is typically square,
rectangle, octagonal or circular; it may
have walls with perforated stone windows,
it may just be open on some or all sides.
Large temples may have many
interconnected mandapas. It is a gathering
place, a place for pilgrims to rest (choultry),
a part of the circumambulation space, or to
wait during prayersor Sanskara (rite of
passage) rituals. A mandapa may have a
tower (shikhara) of its own, but it is lower
than that above the sanctum.
Manasara XXXII-
XXXIV, Kamikagama 50, Brihat
samhita, Vishnu Purana 6.124-
136
Mulaprasada main shrine in a temple complex
Nisha
niche on temple walls or in pillars for
sculptures or stele
Nyasa
the art of arranging images and friezes to
create a narrative or composition, in some
texts it refers to relative placement of
images within a panel to summarize a
Hindu legend or fable; also a form a ritual.
Vastusutra Upanishad VI
Prakara
wall that separates an inner zone of temple
ground from an outer zone; typically
concentric, defensive and fortified, a
feature added after the wars and plunders
starting in the 14th-century

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Term Explanation
Illustrative Hindu text
mention / design rules
Image
Prastara/
Chaiva,
gopanam,
kapotam,
mancham
entablature, horizontal superstructure of
bands and moldings above column
capitals, sometimes functions as a parapet
of a storey
Manasara XVI; Kamikagama LI
V
Ratha
a facet or vertical offset projection on the
plan of the sanctum and shikhara above, or
other structure. It is generally carried up
from the bottom of the temple to the
superstructure. A ratha, meaning cart, is
also the temple chariot used for processing
the murti at festivals, and a "ratha temple"
is one designed to resemble a cart, with
wheels on the sides, and often horses. The
most famous example is the Sun Temple,
Konarak.
Sala
Round barrel-roofed, wagon-roofed
pavilion; rooted in the thatched roofed stall
for people or cattle tradition, then other
materials of construction; any mansion or
griha; a pilgrim services building with
mandapas or pillared veranda or both
inside the temple complex, Hindu texts
describe multi-storey Sala; in south, sala
are structures used as a decorative motif,
or an actual roof, as at the top of
gopurams; rooted in ancient thatched roof
styles.
Manasara XXXV verses 1-404

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Term Explanation
Illustrative Hindu text
mention / design rules
Image
Sikhara/Vimana
In North India, the tower above the
sanctum (entire spire above mulaprasada);
in South India, that top part of tower that is
above the vimana
Brihat Samhita LVI
Stambha
A pillar; it can be a load bearing element or
an independent standing element
with diya (lamps) and Hindu icons below,
around and / or on top; the designs vary
significantly by region, in Kerala Hindu
temples they are at the entrance; on festive
occasions the wick lamps are loaded with
oil and lit up.
Manasara XV, Kasyapa silpa
sastra IX
Sukanasa
an external ornamented feature over the
entrance to the garbhagriha or inner shrine.
It sits on the face of the sikhara tower (in
South India, the vimana) as a sort
of antefix. Can refer to the antarala below
as well.
Agni Purana XLII
Tala
tier or storey of a shikhara, vimana or
gopuram
Torana
any arch or canopy motif, ornament or
architectural member in temples and
buildings; it also refers to an arched
gateway
Garuda
Purana XLVII, Manasara XLVI
verses 1-77
Urushringa
subsidiary turret-like shikharas on the side
of the main shikhara; the primary turret is
called shringa
Brihat Samhita LVI, Agni
Purana CIV

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Railing and balustrade: The difference between the two is that railing is a fence or
barrier consisting of one or more horizontal rails and vertical supports
while balustrade is (architecture) a row of balusters topped by a rail, serving as an open
parapet, as along the edge of a balcony, terrace, bridge, staircase, or the eaves of a
building. A row of balusters topped by a rail, serving as an open parapet, as along the
edge of a balcony, terrace, bridge, staircase, or the eaves of a building. Railinh is a fence
or barrier consisting of one or more horizontal rails and vertical support.Hand railing is
in place to provide guidance on stairs or in corridors. Guard railing is in place to prevent
accidental falls from an elevated area.
Dravida and Nagara architecture
Of the different styles of temple architecture in India, the Nagara architecture of northern India
and the Dravidian architecture of southern India are most common.[64]
Other styles are also
found. For example, the rainy climate and the materials of construction availablein Bengal,
Kerala, Java and Bali Indonesia have influenced the evolutions of styles and structures in these
regions. At other sites such as Ellora and Pattadakal, adjacent temples may have features
drawing from different traditions, as well as features in a common style local to that region and
period. In modern era literature, many styles have been named after the royal dynasties in
whose territories they were built.[
Feature Nagara architecture
Vesara
architecture
Dravidian architecture
Main temple
spire (tower)
Sikhara above sanctum
Vimana that may be
multistorey(talas),the top of
which is called the sikhara
Mandapa
Yes No

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spire (tower)
Curvature of
the spire
Curvilinear centred over the sanctum,also straight-
edged pyramidal
Straight-edged pyramidal,
sometimes curvilinear centred
over the sanctum[note 2]
Sanctum Single or multi-storey
Typically single (Vimana may
be multi-storey)
Plan
Mandapa, sanctum and tower plans are
predominantlyChaturasra (square);
uncommon:Ashtasra,Vritta, Ayatasra, Ayata
Ashtasra, Ayata Vritta, Hasti Prishta, Dwayasra
Vrita
same,plus Prana Vikara
Gopuram Not a prominentfeature
Characteristic,butnot
essential;after 10th century
often higher than the vimana.
May be several, on all sides of
the compound,serving as
landmarks for pilgrims
Other
features
sacred pools,fewer pillared mandapas in temple
grounds (separate dharmashala),prakara walls
rare (e.g. Odisha after 14th century), single or
multiple entrances into temple
sacred pools,manypillared
mandapas in temple grounds
(used for rites of passage
ceremonies, choultry,temple
rituals),prakara walls became
common after 14th century,
single or multiple entrances
into temple
Major sub-
styles
Latina,Phamsana,Sekhari,Valabhi
Tamil (upper and lower
Dravidadesa),Karnata,
Andhra, Kerala
Geography
northern,western and central of the Indian
subcontinent
southern parts ofthe Indian
subcontinent, southeastAsia
Chronology
of surviving
stone-
masonry
monuments
Late Kushana era,early Gupta: rudimentary
archaic;6th-10th century: zenith
Late Gupta era: rudimentary;
6th-10th century: zenith

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Railing in a Thiland temple
A History of Balusters and Balustrades
Balusters are those vertical, vase-like posts or legs on railings that can be made of wood, iron,
stone, or other materials. The balustrade consists of several balusters spaced evenly and
connected to form a decorative railingsupported by baluster posts. In other words, a baluster is
a single post, balusters are several of those posts, and a balustrade is all of those posts joined
together as a unit. A balustrade is a name for that railing on a balcony, porch or terrace. It
can be indoors or outdoors.

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The word comes from the French word balustre; from the Italian
word balaustro and balaustra, wild pomegranate flower; from Latin balaustium from
Greek balaustion; from its shape.
Balusters and balustrades first appeared between the 13th and 7th centuries BC and can be
found in ancient bas-reliefs, sculptural murals depicting Assyrian palaces.
Ancient China
The architecture of early and dynastic China is significant for its structural purposes: Paint was
applied to prevent the wood from decaying; roofs featured prominent overhangs to protect the
building from rain, and terraces were built to support the rest of the building.
The terraces of these Chinese buildings featured balustrades, and by the 10th century, both
marble and wooden balustrades could be found in private gardens. The tops, or heads, of
balusters from this period, were quite detailed, depicting motifs of dragons or flying phoenixes
flying amid clouds. Others featured pomegranates and lotus flowers, which could also be found
in the gardens.
Huge Balustrade at Angkor

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The Railing less CHAM Temples of Vietnam and the base of female
BREASTS
Po Klong Garai Temple is a Hindu Cham religious complex located in the Cham principality of
Panduranga, in what is now Phan Rang in southern Vietnam. It was built in honor of the
legendary king Po Klaung Garai, who ruled Panduranga from 1151 to 1205, by the historic
King Jaya Sinhavarman III, One of the most original motifs of the Thap Mam period was the
sculpting in stone of a row of female breasts around the base of a pedestal. The motif first
emerged in the 10th century (the Trà Kiệu Pedestal at one point had such a row of breasts) and
became characteristic of the Thap Mam Style. It appears to have no counterpart in the art of
other Southeast Asian countries. Some scholars have identified this theme with figure of Uroja
("breasts"), the mythical ancestor of an 11th-century dynasty at Mỹ Sơn, and claim a connection
between this Uroja and the goddess venerated at Po Nagar.

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According to legend, Po Klong Garai (Cham language : Dragon king of J'rai people) started life
as a lowly cowherd, but became king of Champa by destiny, ruling wisely and for the good of
the people. When the Khmer of Cambodia invaded his kingdom, he challenged them to settle
the matter peacefully in a tower-building contest. Po Klong Garai prevailed in the contest,
thereby obliging the invaders to return home. After his death, Po Klong Garai became a god and
protector of the people on earth; it is said that the tower he built in his contest with the Khmer is
the tower that today is known by his name.
HISTORY
The Cham King Jaya Simhavarman III (Viet: Chê Mân) is credited with constructing the tower in
honor of Po Klaung Garai toward the end of the 13th century. However, the presence of
several steles from an earlier period suggests that Jaya Simhavarman may merely have restored
and added to structures that were already in place.
An inscription, dated 1050, at Po Klong Garai commemorated the military victory of two Cham
princes (presumably representing the northern dynasty of Indrapura headquartered near Mỹ
Sơn) over the people of Panduranga in southern Champa. According to the inscription, the
victorious princes celebrated by erecting two lingas and a victory column.
The temple of Po Klaung Garai belongs to what is known as the Thap Mam Style of Cham art
and architecture. It consists of three brick towers: a main tower with three stories, a smaller gate
tower, and an elongated tower with a saddle-like roof. The group of buildings is well preserved,
and "is distinguished by the purity of its outlines and the austerity of its decor." Over the front
door of the main tower is a sculpture of the god Siva that is regarded as one of the
masterpieces of the Thap Mam Style. The remaining images are less impressive, revealing an art
in terminal decline, due to its stiffness and arid workmanship. The tower with the saddle-like
roof is said to be dedicated to the God of Flame, Thang Chuh Yang Pui. After the 10th century,
Cham art went into gradual decline. Both architecture, as exemplified by the temples of Po
Nagar and Po Klong Garai, and sculpture became more stereotyped and less original. Only the
sculptures of mythical animals, such as the makara or the garuda, could rival their counterparts
of the earlier styles.
The Thap Mam Style of the 11th through the 14th centuries is named for an archaeological site
in Bình Định Province, formerly Vijaya. The sculpture of this style is characterized by "a return to
hieratic formalism and the simplification of shape, leading to a certain loss of vitality." The
sculptors seem to have been concerned more with the detail of ornamentation than with the
grace and motion of the figures themselves. Indeed, the style has been characterized as
"baroque", in reference to the proliferation of ornamental details that distinguishes it from its
more "classical" predecessors.
The primary religious image in the temple is a mukhalinga of the 16th or 17th century. A
mukhalinga is a linga with a human face. In general, the linga is the emblem of
the Hindu god Siva, but the Cham say that this one is a statue of King Po Klaung Garai. The
temple is still the site of Cham religious festivals.

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Top: Originallayout of the Bharhut stupa. Bottom:
East Gatewayand Railings,RedSandstone,
BharhutStupa, 125–75BCE. Indian
Museum,Kolkata
Bharhut is a village located in the Satna district of Madhya
Pradesh, central India. It is known for its famous relics from
a Buddhist stupa. The Bharhut sculptures represent some of
the earliest examples of Indian and Buddhist art, later than
the monumental art of Ashoka (circa 260 BCE), and slightly
later than the early Shunga-period reliefs on railings
at SanchiStupaNo.2 (starting circa115 BCE). Though more
provincial in quality than the sculpture at Sanchi, Amaravati
Stupa and some other sites, a large amount of sculpture has
survived, generally in good condition. Recent authors date
the reliefs of the railings of Bharhut circa 125–100 BCE, and
clearly after Sanchi Stupa No.2, compared to which Bharhut
has a much more developed
iconography. The torana gateway was made slightly later
than the railings, and is dated to 100–75 BCE. Historian Ajit
Kumar gives a later date to Bharhut, the 1st century CE,
basedon stylistic comparisons with datable works of art from
the Art of Mathura, particularly sculptures inscribed in the
name of ruler Sodasa. Manyof the Bharhut remains are now
located in the Indian Museum in Kolkata.
What makes Bharhut panels unique is that each panel is
explicitly labelled in Brahmi characters mentioning what the
panel depicts. The major donor for the Bharhut stupa was
King Dhanabhuti.

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Structure & Architecture of BHARHUT
The central stupa was surrounded by a stone railing and four Torana gates, in an arrangement
similar to that of Sanchi. A large part of the railing has been recovered, but only one of the four
torana gates remains.
The Bharhut stupa, depicted on one of the friezes. Freer Gallery of Art
The Bharhut stupa may have been first built by the Maurya king Ashoka in the 3rd century BCE,
but many works of art, particularly the gateway and railings, were apparently added during
the Shunga period, with many reliefs from the 2nd century BCE, or later Alternatively, the
sculptures made have been added during the reign of the Sughanas, a northern Buddhist
kingdom.[4]
An epigraph on a pillar of the gateway of the stupa mentions its erection "during the rule of
the Sugas by Vatsiputra Dhanabhuti".[11][4]
The expression used is "Suganam Raje", may mean
"during the rule of the Shungas", although not without ambiguity as it could also be "during the
rule of the Sughanas", a northern Buddhist kingdom. There is no other instance of the name
"Shunga" in the epigraphical recordof India. The inscription reads:
The Dhanabhuti inscription
1. Suganam raje raño Gāgīputasa Visadevasa
2. pautena, Gotiputasa Āgarajusa putena
3. Vāchhīputena Dhanabhūtina kāritam toranām
4. silākammamto cha upamno.

22. 22
During the reign of the Sugas (Sughanas, or Shungas) the gateway was caused to be made and
the stone-work presented by Dhanabhūti, the son of Vāchhī, son of Agaraju, the son of a Goti
and grandson of king Visadeva, the son of Gāgī.
— Gateway pillar inscription of Dhanabhūti.
If the attribution is to be taken as "Shungas", since King Dhanabhuti was making a major
dedication to a Buddhist monument, and on the contrary the Shungas are known to have
been Hindu monarchs, it seems that Dhanabhuti himself was not a member of the Shunga
dynasty. Neither is he known from Shunga regnal lists. His mention of "in the reign of the
Shungas" also suggests that he was not himself a Shunga ruler, only that he may have been a
tributary of the Shungas, or a ruler in a neighbouring territory, such as Kosala or Panchala.
.