6 ASOKA'S PROPAGANDA
employedbydififerent sectstoexplainthe specialtenetsoftheir
respective cults. When a great ruler
like T^soka exercised
supremepoliticalpoweroverthegreaterpart
ofIndia,thewealth
of thestatewas naturally devotedtomaking the
buildings
of
his
especial
sect
of
betterand
more expensive materials
than
thoseofothers,andconsequently
therecordofBuddhist
building
which survives to this dayis morecomplete
than thatofthe
rivalschoolsofreligiousthoughtwhichhad
tobecontentwith
lesscostlyandlesspermanent buildingmaterials.
Butatown
orvillageand the buildings therein, inhabited by Buddhists,
Jains,
or Brahmans,wereneveratanytime in Indian history
entirely differentiated by special' characteristics of style.
Buddhist art was at the same time and place also
Jain
art
and Hindu or Brahmanicalart. India has never knownany
style that can be called architectural but one—and that is
Indo-Aryan.
Asoka's religious propagandawas no violent disturbance
oftheestablishedcustoms and beliefsof his subjects: itwas
a policy of
peaceful
penetration in strict accordancewith
the
spiritof Aryan
philosophy, which proclaimed Truth to be a
temple open on all sides to devout worshippers, who might
choose
the approach most
accessible to them. Whatever
Buddhismmight
havebeenasaschoolofphilosophic
specula-
tion,IndianartofAsoka'stimeshows
thatasapopular
religion
itwasa synthesisofcontemporary
Hinduism, ascomplete
for
theagetowhich itbelonged as
medievalHinduism was
forits
own time. Butas religion has
always been
essentiallyapart
of Indian daily life, we must
begin an account
ofthe great
religiousarchitecture of India
bytrying to
reconstruct, out of
the meagrearchitectural records
of the third
century B.C.,
the
practicalplanningandbuildingofa
typicalIndian
village;
This
can bedone to someextent by
making useof
the clues
given
intheHinduSilpa-s^stras,andinthe
sculptured
representations