World Heritage Monuments and Related Edifices in India, Volume 1 ʻAlī Jāvīd, Tabassum Javeed, Algora Publishing, 2008 p.42 [Архівовано 15 травня 2022 у Wayback Machine.]
Southern India: A Guide to Monuments Sites & Museums, by George Michell, Roli Books Private Limited, 1 mai 2013 p.72 [Архівовано 15 травня 2022 у Wayback Machine.]
"the claim of Bhutapala, the merchant (sethi) from Vejayanti, that he completed this stone mansion, the finest in all of India (jambudipamhi utamam selaghara parinithapitam), is intriguing. He makes this claim in an inscription at the left end of the veranda. It is possible that he refers to the many-storeyed mansion in relief on the walls of the veranda when he speaks of the finest selaghara in all of Jambudvipa; on the other hand, the word ghara has clearly been used by the carpenter Sami to indicate the chaitya as a whole. If Bhutapala's claim relates to the chaitya itself, it is probable that he arrived on the scene at the critical period when the chaitya was in its finishing stages, and helped to complete it with numerous small donations" Miller, Barbara Stoler. The Powers of Art: Patronage in Indian Culture(англ.). Oxford University Press. с. 41—42. Архів оригіналу за 23 вересня 2021. Процитовано 17 червня 2022.
World Heritage Monuments and Related Edifices in India, Volume 1 ʻAlī Jāvīd, Tabassum Javeed, Algora Publishing, 2008 p.42 [Архівовано 15 травня 2022 у Wayback Machine.]
Southern India: A Guide to Monuments Sites & Museums, by George Michell, Roli Books Private Limited, 1 mai 2013 p.72 [Архівовано 15 травня 2022 у Wayback Machine.]
"the claim of Bhutapala, the merchant (sethi) from Vejayanti, that he completed this stone mansion, the finest in all of India (jambudipamhi utamam selaghara parinithapitam), is intriguing. He makes this claim in an inscription at the left end of the veranda. It is possible that he refers to the many-storeyed mansion in relief on the walls of the veranda when he speaks of the finest selaghara in all of Jambudvipa; on the other hand, the word ghara has clearly been used by the carpenter Sami to indicate the chaitya as a whole. If Bhutapala's claim relates to the chaitya itself, it is probable that he arrived on the scene at the critical period when the chaitya was in its finishing stages, and helped to complete it with numerous small donations" Miller, Barbara Stoler. The Powers of Art: Patronage in Indian Culture(англ.). Oxford University Press. с. 41—42. Архів оригіналу за 23 вересня 2021. Процитовано 17 червня 2022.
