Manasara (English translation)
by Prasanna Kumar Acharya | 1933 | 201,051 words
This page describes “the ground plans (padavinyasa-lakshana)” which is Chapter 7 of the Manasara (English translation): an encyclopedic work dealing with the science of Indian architecture and sculptures. The Manasara was originaly written in Sanskrit (in roughly 10,000 verses) and dates to the 5th century A.D. or earlier.
Chapter 7 - The Ground Plans (padavinyāsa-lakṣaṇa)
1. Now will be described the ground plans [viz., padavinyāsa-lakṣaṇa] (lit. marking of plots on the ground) in order.
2. The first is a site of one plot[1] and is named Sakala.
3. The second is a site of four plots and is named Paiśāca (or Pecaka).[2]
4. The third is a site of nine plots and is known by the name of Piṭha [pīṭha?].
5. The fourth is a site of sixteen plots and is known as Mahāpīṭha.
6. The fifth is a site of twenty-five plots and is known as Upapīṭha.
7. The sixth is a site of thirty-six plots and is called Ugrapīṭha.
8. The seventh is a site of forty-nine plots and is called Sthaṇḍila.
9. The eighth is a site of sixty-four plots and is called Caṇḍita.
10. The ninth is a site of eighty-one plots and is called Paramaśāyika.
11. The tenth is a site of one hundred plots and is known by the name of Asana.
12-13. The eleventh is likewise said to be a site of one hundred and twenty-one plots and its name is Sthānīya.
13-14. And then the twelfth (named) Deśya is likewise a site of one hundred and forty-four plots.
15-16. The thirteenth is likewise said to be a site of one hundred and sixty-nine plots and its name is known as Ubhayacaṇḍita.
17-18. The fourteenth is likewise said to be a site of one hundred and ninety-six plots and its name is Bhadra.
18-20. Similarly the fifteenth, is a site of two hundred and twenty-five plots and its name is stated to be Mahāsana.
20-21. Then, similarly, the sixteenth should be a site of two hundred and fifty-six plots (and its name is) Padmagarbha.
22-28. Similarly the seventeenth is a site of two hundred and eighty-nine plots and its name is stated to be Triyuta[3].
23-24. Similarly the eighteenth should be a site of three hundred and twenty-four plotas (and is named) Karṇāṣṭaka.
25-26. Similarly the nineteenth is a site of three hundred and sixty nine plots (and its name is) Gaṇita.
26-27. Then, similarly, the twentieth is said to be a site of four hundred plots (and) it is named Sūryaviśālaka.
28-29. Similarly the twenty-first should be a site of four hundred and forty-one plots and is called Susaṃhita.
30-31. So also the twenty-second is a site of four hundred and eighty-four plots (and its name is) Supratikānta.
31-32. In case of the twenty-third, the site should be of five hundred and twenty-nine plots (and) its name is Viśālaka.
33-34. In case of the twenty-fourth, the site should be of five hundred and seventy-six plots and is known as Vipragarbha.
35-36. In case of the twenty-fifth, the site should be of six hundred and twenty-five plots and should be known by the name of Viveśa.
87-38. In case of the twenty-sixth, the site should be of six hundred and seventy-six plots and is known as Vipulabhoga.
39-40. In case of the twenty-seventh, the site should be of seven hundred and twenty-nine plots and is called Viprakānta.
41-42. In case of the twenty-eighth, the site should be seven hundred and eighty-four plots and is known, as Viśālākṣa.
43-44. In case of the twenty-ninth, the site should be of eight hundred and forty-one plots and is called Viprabhakti.
45-46, In case of the thirtieth, the site should be of nine hundred plots and is called Viveśa-sāra.
46-48. In case of the thirty-first, the site should be of nine hundred and sixty-one plots and is called Īśvarakānta.
48-50. In case of the thirty-second the site should he of one thousand and twenty-four plots and is called Candrakānta.[4] Thus it has been laid down by the ancients.
51-53. The Sakala (plan) of a single plot should be bounded by four cords; of these the eastern cord is assigned to Āditya (the Sun), the southern one to Yama (God of death), the western one to Varuṇa (or Jaleśa, the God of water) and the northern one to Candra (or Kṣapāhara, the remover of darkness, i.e., the Moon).
54-56. The Sakala (plan) is recommended (for buildings) for the workṣip of gods and preceptors, for sacrifices with fire, for the seat (i.e., sitting room) and daily dinner (i.e., dining room,) of sages, and for the usual ancestral worship (e.g., śrāddha, etc.).
57-59. The Pecaka (plan) of four plots should be bounded by eight cords: in this plan Īśa (Śiva) is assigned be the north-east, Agni (fire-god) is the deity of the south-east, Pavana (wind-god) is assigned to the south-west, and Gagana (sky-god) to the north-west.
60. This[5] plan (is recommended for buildings) for domestic (? public) worship and public bath.
[In the Pīṭha plan of nine plots the four deities (stated above) are assigned to the four main quarters (i.e., Āditya to the east, Yama to the south, Varuṇa to the west and Soma to the north) and first Īśa or Śiva to the north-east, Agni to the south-east, Gagana to the southwest and Pavana to the north-west around Pṛthivī (i.e., the earth goddess is assigned to the central plot).]
61-68. In the Mahāpīṭha (i.e., fourth) plan (of sixteen plots) the four central plots are assigned to Brahmā; beyond these along the boundary lines beginning from north-east are assigned in order Āpavatsa[6], Āryaka, Sāvitra. Vivasvat, Indra, Mitraka, Rudra and Bhūdhara; beyond these along the surrounding lines are assigned, as before (i.e., beginning from north-east), Īśa, Jayanta, Āditya, Bhṛśa, Kṛśānu (i.e., Agni), Vitatha, Yama, Bhṛṅgarāja, Pitṛ, Sugrīva, Varuṇa, Śoṣa, Māruta, Mukhya, Soma and Aditi.
69-70. In the Upapīṭhaka (i.e., fifth) plan (of twenty-five plots) the aforesaid twenty-five deities are assigned to one plot (each) in the same order beginning with north-east.[7]
71-75. Of all these aforesaid (thirty-two) plans two are described (with full details): the plan (named Caṇḍita) of frog-shape and which is (called) Paramaśāyika; the even one (of these two plans) is called Niṣkala and the odd one Sakala.[8] These two plans always (by being multiplied, supply the details of all other plans) for all kinds of building. (Therefore) the characteristic features of the deities assigned to the plots of these plans are (specially) described (below).[9]
76-79. In the (Caṇḍita) plan of sixty-four plots named (here) Maṇḍūka (frog-shaped) thirty-(two) lines[10] are drawn by twenty-eight joints (or divisions), the four corners (are) partitioned by six more lines each, (thus) connecting thirty joints and the four pegs at (each) corner are connected with twelve joints of six-lined partitions, and the central plot is connected by lines with eight joints.
80-82. (In the Parama-śāyika plan of eighty-once plots) there (should be) four lines at (each of the) four sides, thus making sixteen lines; there should be another twenty lines drawn from south to the extremity of north, and from cast to the extremity of west, and four lines at the four corners.
83-88. Beyond those (deities, namely, Brahmā to the four central plots, and Āryaka, Vivasvat, Mitra and Bhūdhara to three plots each from the east)[11], then, (are assigned) to the four comers the beginning from the north-east in the circumambulating way Āpavatsa, and Āpavatsa, each to a half-plot, and are also placed Savitra and Sāvitra each to a half-plot assigned to those deities (i.e., to the southeast); and in the nest intermediate quarter (i.e., south-west) Indra and Indrarāja each to a half-plot, and Rudra and Rudrajaya are (each) the resident of a half-plot (in the north-west). Thus are stated (to be assigned) eight deities (in the comer plots of the third round).
88-91. Then beyond these deities he (the architect) should begin (with the corner plots of the fourth round) assigning Īśāna and Parjanya (to the north-east), Agni and Pūṣan to the south-east, Pitṛ and Dauvārika to the plot is the south-west corner, and both Vāyu and Nāga are each the master of half a plot in the northwest corner.
92. (Now) be should start assigning (the following deities) to the two sides, each, of the four corners beyond the four (corners stated above).
93-96. Jayanta (should be assigned) to the north (side-plot of the north-east corner), then Antarikṣa to the one plot in the east (side); Vitatha to the one plot in the east (side of the south-east corner) and Mṛga to the one plot to the south (side); Sugrīva to the one plot in the south (side of the south-west comer) and Godhā[12] (Asura) to the one plot in the west (side); Mukhya as well to the one plot in the west (side of the north-west corner) and Udita to the one plot in the north (side).
97-99. In the eastern side Dinaka[13] (Āditya) is assigned to the two (combined) plots (of the third and fourth rounds) (immediately) to the north of the middle line (running from west to east through the whole plan), two (combined) plots to the north of this (are reserved) for Mahendra, similarly two (combined) plots to the south of the same for Satya, and to the south of the latter two (combined) plots for Bhṛśa.
100-102. In the southern side Yama is assigned to the two (combined) plots (immediately) to the east of the middle line (running from north to south through the whole plan), to the two (combined) plots to the east of this is placed Rākṣasa, and similarly to the two (combined) plots to the west of the same is placed Gandharva, and the two (combined) plots to the same direction (i.e., west) of the latter are (reserved) for Mṛśa.
103-105. In the western side Varuṇa is assigned to the two (combined) plots (immediately) to the south of the (same) middle line (as runs west to east through the whole plan) and two (combined) plots (to the south, of this) are (reserved) for Puṣpadanta; similarly to the north (of the middle line) are assigned (respectively) the Lord of Śoṣa and of Roga to two (combined) plots each.
106. In order the wise (architect should fill in) the four sides knowing (i.e., assigning) those two (combined) plots for each of the deities (of the northern side).[14]
107-110. Carakī (demoness) is assigned to (no specified plot but to) the outside of the north-east corner (of the whole plan), (similarly) the rule (i.e., the place of assignment) for Vidārī is the outside of the south-east corner, and Pūtanā should be assigned to the outside of the south-west corner, and similarly Pāparākahasī is placed to the outside of the north-west corner. Thus is described the Caṇḍita plan.
110-111. Now the Paramaśāyika plan is described: making (therein) eighty-one plots Brahman is assigned to the nine central plots.
112-115. Similarly (i.e., outside this) sis plots to the east (of Brahman) are known to belong to Aryaman[15], six plots to the south are stated to belong to Vivasvat, six plots again to the west are known be belong to Mitra and six plots to the north to Bhūdhara: (thus are assigned) the four (deities).
116-1117. (Then) is described (below) the assignment of the four plots at each of all (four) corners (of the second round) between the lour intermediate regions, beginning with the north-east, of the four directions.
118-119. Then Apava (i.e., Apavatsa) is likewise assigned to the two plots to the east of Bhūdhara, and similarly two plots to the north of Āryaka are reserved for Āpavatsya.
120-121. Savitra is assigned to the two plots to the east of the extreme limit of the six plots (of Mitra), and Sāvitra is assigned to the two eastern plots of Vivasvat.
122-123. In the southern side (of the second round) Indra is assigned similarly to the two plots to the west of the six plots (of Vivasvat), likewise Indrajaya is assigned to the two plots to the south of (the six plots of) Mitra.
124-125. In the western side (of the second round) the Rudra deity is assigned to the two plots to the north of the sis plots (of Mitra), similarly in the northern side Rudrajaya is assigned to the two plots to the west of the six plots (of Bhūdhara).
126. Thus are assigned deities to the inner regions and to the outer are (to be) the demons.
127. Bhānu (i.e., Āditya) should be (assigned) to the (middle) east plot and Agni to the south-east plot.
128. The wielder of the wheel (of life, i.e., Yama) should be assigned to the (middle) south plot and Pitṛ to the one plot in the south-west.
129. The water-god (i,e., Varuṇa) should be assigned to the one (middle) plot in the west and Marut to the one plot in the north-west.
130. Candra (i.e., Soma) should be assigned to the one (middle) plot in the north, and one plot of Īśa (should be) in its own quarter (i.e., north-west).
131. And one plot to the south of Īśa is (reserved) for Parjanya.
132. The one plot to the south of Parjanya is (reserved) for Jayanta.
133. The one plot to the south of Jayanta is (reserved) for Mahendra,
134. The one plot to the south of Āditya is (reseryed) for Satya.
135. The one plot to the south of Satya is (reserved) for Bhṛśa.
136. The one plot to the north of the south-east corner is reserved for Antarikṣa,
137. The one plot to the west of the south-east cotner should be (reserved) for Pūṣan.
138. The one plot to the west of Pūṣaka (i.e, Pūṣan) should be (reserved) for Vitatha.
139. The one plot to the west of Vitatha is (reserved) for Gṛhakṣata.
140. The one plot to the west of the god of religion (i.e., Yama) should be (reserved) for Gandharva.
141. The one plot to the west of Gandharva should be (reserved) for Bhṛṅgarāja.
142. The one plot to the west of Bhṛṅgarāja is recommended for Mṛśa,
143. The one plot to the north of Gagana is (reserved) for Dauvārika.
144. The one plot to the north of Dauvārika is (reserved) for Sugrīya.
145. The one plot to the north of Sugrīva is (reserved) for Puṣpadanta.
146. The one plot to the north of Varuṇa is recommended for Asura.
147. And the one plot to the north of Asura is (reserved) for Śoṣa.
148. The one plot to the north of Śoṣa is (reserved) for Roga.
149. The one plot to the east of Pavana is recommended for Nāga.
150. The one plot to the east of Nāga is known to be for Mukhya.
151. The one plot to the east of Mukhya is stated to be for Bhallāṭa.
152. The one plot to the east of the god Soma is recommended for Mṛga.
153. The one plot to the east of Mṛga is recommended for Aditi.
154. Between Aditi and Īśāna should be one plot for Udita.
[see notes regarding the thirty-two plans]
155-162. One should meditate upon the grandfather (i.e., the creator Brahmā) as seated on a lotus throne and as being of golden complexion, possessing four 'hands, four facets, eight eyes, wearing white clothes, twisted hair, a diadem, a sacred thread and an outer garment, adorned with earrings, possessing eight ears and four necks, holding a water-pot and a rosary in the two left hands, and the foreparts or hind parts of two right hands imparting protection, and the remaining being in boon-giving attitude, decorated with all ornaments, bearing sacred (tilaka) marks on the cheek, assigned to the central plot (or plots) of all plans, and assuming these characteristic features for the purpose of creation.
163-167. The god Āryaman is meditated upon being, as usual, in. the cow-like (dhenu) pose, possessing red complexion, four hands, one face, two eyes, wearing a bee-hive-shaped diadem, red clothes and outer garment, decorated with all ornaments, with two other (i.e. right) hands holding lotuses, and foreparts of two left hands imparting protection, the whole being in the boon-giving attitude.
168-169. The god Vivasvat is meditated upon as possessing white complexion, four hands, holding a snare and a goad with the two other (i.e. right) hands: the remaining features are stated to be like those of Āryaman.
170. Mitra should be of dark blue complexion: the rest (of his features) should be considered similar to those of the aforesaid (deities).
171-172. Bhūdhara (upholder of the earth) should be meditated upon as placed above (i.e. considered superior to) the presiding deity of architecture, possessing golden complexion, holding a lotus and a snare with the two other (i.e. right) hands: the remaining features being as those of the aforesaid (deities).
173-176. Apavatsa is stated to be of two hands, two eyes, adorned with bee-hive-shaped diadem, possessing white complexion and an extra (third) eye, wearing fine clothes of gold colour; decorated with all ornaments and (with hands) in boon-giving attitude and holding a snare.
176-177. And Āpavatsya is meditated upon as possessing blood (red) complexion: the rest (of his features) are stated to be like those of the aforesaid (deities).
177-178. Savitra should be likewise of blood (red) complexion; his two hands are held upwards, and the rest (of his features) should be as those of the aforesaid (deities).
179-182. Sāvitra should be meditated upon as possessing dark blue complexion and wearing red clothes and outer garment; Indra’s complexion is rad and Indrarāja’s golden; each of these is decorated with all ornaments and adorned with good features and eyes: the rest (of their features) is directed to be like those of the aforesaid (deities).
188-185. (Bach of) the two Rudras (i.e. Rudra and Rudrajaya) possesses red complexion, two bands, three eyes, holds a trident, is in the boon-giving attitude, wears skin-clothes and outer garment, is adorned with twisted hair and diadem, and decorated with all ornaments.
186-190. One should meditate upon the image of Īśa (Śiva) as being seated on a bull accompanied by his consort, putting on tiger-skin clothes, possessing whitish complexion, adorned with all ornaments, carrying a tabor is the right hand and a doe in the left, the upper right hand being in the attitude of imparting protection and the (upper) left hand in that of bestowing a boon.
190-195. (One should meditate upon) Śacīpati[16] (rather Āditya) as possessing red complexion, two hands, three eyes, a chariot and an elephant as conveyance, carrying a gift and a goad, adorned with all ornaments, and wearing blue clothes, the sacred thread and an outer garment.
194-197. (One should meditate upon) the god Agni as possessing a fire-like complexion, a ram for vehicle, two arms, three eyes, hair resembling flame, holding a large and a small sacrificial ladle in his two hands, accompanied by his consort goddess Svāhā, and decorated with all ornaments: the rest (of his features) should be like those of the aforesaid (deities).
198-201. One should meditate upon Yama (god of death) as seated on a buffalo, possessing three eyes and hair resembling flame, holding a trident in his right hand and a snare in his lower left hand, having a grey (lit. smoky) complexion and red clothes on, accompanied by his consort goddess Yamyā, and adorned with all ornaments as stated above.
202-205. One should meditate upon Nirṛti[17] as seated on a man, possessing two hands, two eyes, holding a club in his right hand and bestowing a boon with, his left hand, possessing a dark blue complexion. accompanied by a goddess[18] of Indra, wearing red clothes, and adorned with a bee-hive-shaped diadem: the rest (of his features) should be as (stated) before.
206-209. One should meditate upon Varuṇa as seated on a crocodile (makara), accompanied by (his consort) Bharaṇī (i e. Varuṇānī), possessing two hands, two eyes, putting on earrings and a diadem, holding a snare and a goad, white in complexion, wearing red clothes, the sacred thread, an outer garment, and adorned with various (other) ornaments.
210-212. One should meditate upon (the wind) god Vāyu as seated on a deer, accompanied by (his consort) Mārutī, possessing two hands, three eyes, holding a snare and conferring a boon; the rest (of his features) should be like those of the aforesaid (deities).
212-216. The image of Śaśin (i.e. Soma) is described hero: one should meditate upon the Soma-image as possessing two hands, two eyes, holding two lotuses, seated on a horse, accompanied by (his consort) Candrikā, having a white complexion, wearing a white garment, the sacred thread and a diadem, and adorned with all meats as stated to fit.
217-220. One should meditate upon Parjanya as having a red complexion, Jayanta a dark blue complexion, and Mahendra a yellow complexion, and (each) possessing two hands and two eyes, wearing earrings, a diadem, adorned with all ornaments, holding a snare and a lotus (in two hands), and putting on red clothes and an outer garment.
220-224. (One should meditate upon) Satya as having a white complexion, Bhṛṅgeśa as having a grey (smoky) complexion, and Antarikṣa as having a blue complexion, (each) possessing two hands and two eyes, (all) being is the boon-giving attitude, holding respectively a goad, a snare, and a trident, adorned with all ornaments, and the rest (of their features) being as before.
225-228. (One should meditate upon) Pūṣan as having a red complexion, Vitatha a yellow complexion, and Gṛhakṣata a black complexion, (each) wearing red and yellow[19] clothes, the three carrying a club, a pike, and a spear (respectively), (their two hands) holding two snares, wearing earrings and a diadem; tho rest (of their features) is directed to be as before.
229-230. (One should meditate upon) Gandharva as having a red complexion; the complexion of Bhṛṅga is like the colour of a collyrium, and that of Mṛśa is grey (smoky), and the rest (of their features) should be as stated before.
231-233. (One should meditate upon) Dauvārika as having a dark blue complexion, Sugrīva a red complexion, similarly, Puṣpadanta as being black (in complexion), (all) holding (in their two hands) a club and a snare; the rest (of their features, including) the garment and two[20] diadems, is directed to be as before.
234-236. (One should meditate upon) Asura as having a black complexion; Śoṣa’s complexion is grey (smoky); Roga (lit. disease) has a lean form, red eyes and a pale complexion and holds a pike and a skull; the rest (of their features) should be as stated before.
237-238. Nāga has a serpent’s head, his two hands are yellow in complesion: (he should be meditated upon) as holding a mace and a pike and adorned with all ornaments.
239-241. (One should meditate upon) Mukhya as having an elephant’s lace and two hands, wearing a diadem, as putting on a red-coloured garment adorned with dark blue borders, and with two hands as holding a snare and a goad, and decorated with all ornaments.
242. (One should meditate upon) Bhallāṭa as having a ram’s face, and the rest (of his features) should be as before.
243-247. One should meditate upon Mṛga, whose face is like that of a deer, as having a deer’s complexion, wearing a diadem and holding a pike and a shield; Aditi as having a blue complexion and holding a sword and a skull and adorned with a diadem and (other) ornaments; Udita as having a rad complexion and the lion’s face, and holding a club: the rest (of their features) should be as stated before. Thus are described those who are assigned to the plots other than those for the immortals (deities).
248-252. Carakī should be of a white complexion, Vidārī of a red complesion, Pūtanā of a dark blue complexion, and Pāparākṣasī of a blue complexion; thus are stated to be the four classes (of demoness): (their two hands) should hold a pike and a skull; they put on red clothes, they possess large fangs, their two eyes are terrible-looking, (they are furnished) with dishevelled red hair (on their bead); (they are respectively assigned) to the outside of the north-east and other corners (of the plan).
253. The presiding Spirit of the site is assigned to the plots (already) allocated to Brahmā and other deities.
254. This is known to be the Spirit of the site; his middle body is aasigned to the plot (or plots) of Brahmā.
255. (His) head should be assigned to the plot of Ārya (i.e. Āryaman): he is known to lie by the north-east direction with his face turned downwards [see notes (255) below].
256-259. His left hand is stretched out by the corner line in the north-east; his left foot is stretched out by the corner line in the south-west; his right hand is stretched out by the corner line in the south-east; and his right foot is stretched out by the corner line in the north-west.
260-261. His right side is stated to be (assigned to) the plot of Vivasvat, and his left side should be assigned to the plot of Bhūdhara.
262. (One should know that) his penis is stated to be (assigned) to the plot of Mitra.
263-265. His two ears, (several) vital arteries (nāḍi) and veins (śirā), six backbones and one heart are stated (to be assigned to the other plots) [see notes (263-265) below]; one spinal cord should extend from west to south but the chief one extends from east to north. Thus the Spirit of the site (lies) hump-backed, crooked and lean.
266-269. This (primary) object of architecture[21] should be carefully kept in view in connection with buildings of gods and men[22]. Root as it is of (all) good and evil (in architectural matters). none of its parts should be rendered defective [see notes (266-269) below]. If through ignorance (of the architects) any of its (several) parts be rendered defective the master himself becomes (absolutely) ruined. Therefore, the wise architects should on no account do more or less than (lit. accept or reject) what is laid down (in this connection).
270-271. Those (ancients) recognised (the custom) of offering sacrifices (on the occasion of undertaking an architectural operation) to Brahman (i.e., the Spirit of the site) and all the other deities, (therefore) devotional offerings should be made to all the deities assigned to their respective plots (of the ground-plan)[23].
Thus in the Mānasāra, the science of architecture, the seventh chapter, entitled: “The description of ground-plans.”
Notes (255): The spirit of the site:
The other treatises obviously based on Mānasāra have improved the reading:
pūrvottaradiṅmūrdhā puruṣo'yamavāṅmukho'sya śirasi śikhī |
(Bṛhat-saṃhitā, LII, 51 ed. Dvivedi.)
..................................śete tvadhomukhaḥ |
vastutribhāgamadhye tu vaṃśāḥ ṣaṭ prāgudaṅmukhāḥ ||(Mayamata, VII, 53.)
A curious explanation is given in the Śilparatna as to why the Spirit of the site should lie with face turned downwards; it is stated that this Spirit lay on the feat of Īśa (Śiva), the master of north-east quarter:
yadṛśediṅmukhaṃ[?] śaṃbhoḥ pādayoḥ patito'muraḥ |
śukreṇa devairuṣitastaṃthaivābhūd vibhorvarāt || 28 ||
tathaivādhomukho'dyāpi vāsturīśānadikciraḥ || 28½ ||(Śilparatna, VII, 28.)
sirāḥ karṇagatā yāḥ syustā nāḍyaḥ parikīrtitāḥ || 25 ||
(Samarāṅgaṇa-sūtradhāra, XII, 25.)
The same authority refers to the s(Ś) and Vaṃśa elaborately:—
sirāvaṃśānuvaṃśāśca sandhayaḥ sānusandhayaḥ || 24 ||
marmāṇyatha mahāvaṃśā lakṣyā vāstuśarīragāḥ |
jñātvā sirāḥ sānusirāśca nāḍīrvaṃśānuvaṃśānapi vāstudehe |
yatnena marmāṇi phalāni caiṣāṃ vedhaṃ tyajedyastamupaiti nāpat || 38 ||(Ibid. XII, 24—25, 38.).
teṣāṃ sthānāni marmāṇi sirā vaṃśāśca teṣu tu || 6 ||
mukhe hṛdi ca nābhau ca mūrdhni ca stanayostathā |
marmāṇi vāstupuṃso'sya ṣaṇmahānti pracakṣate || 7 ||
caturṣvapi vibhāgeṣu sirā yāḥ syuścaturdiśam |
marmāṇi tāni coktāni dvāramadhyāni yāni ca || 10 ||(Ibid. XIII, 6—7, 10.)
According to the Bṛhat-saṃhitā as explained by its commentator, Utpala, both Vaṃśa (backbone) and śirā (artery or vein) would be identical with the several east-west and north-south lines by which the ground-plans are divided into several plots assigned to the aforesaid forty-five deities:
rogādvāyuṃ pitṛto hutāśanaṃ śoṣasūtraṃ api vitathāt |
mukhyādbhṛśaṃ jayantācca bhṛṅgaṃ aditeśca sugrīvam || 61 ||
tatsampātā nava ye tānyatimarmāṇi sampradiṣṭāni |
yaśca padasyāṣṭāṃśastatproktaṃ marmaparimāṇam || 62 ||
padahastasaṃkhyayā sammitāni vaṃśo'ṅgulāni vistīrṇaḥ |
vaṃśavyāso'dhyardhaḥ śirāpramāṇaṃ vinirdiṣṭam || 63 ||
rogādvāyumityādikaṃ sūtraṣaṭkaṃ vaṃśaśabdenācyate |
śirāśabdena pūrvāparāyatā dakṣiṇottarāyatāśca daśa daśa rekhā jñeyāḥ || 63 ||(Bṛhatsaṃhitā, LII, 61—63.)
The Agni-purāṇa specifies these lines:—
prāgāsyā daśadhā nāḍyāstāsāṃ nāmāni ca bruve |
śāntā yaśovatī kāntā viśālā prāṇavāhinī || 2||
satī vasumatī nandā subhadrā'tha manoramā |
uttarā dvādaśānyāśca ekāśītyaṅghrikārikā || 3 ||
hariṇī suprabhā lakṣmīrvibhṛtirvimalā priyā |
jayā jvālā viśokā ca smṛtāstāḥ sūtrapātataḥ || 4 ||(Agnipurāṇa, chap. 105, 2—4.)
These two sets of ten. names each, with an additional set are read slightly differently in the Viśvakarma-prakāśa from which Sudhākara Dvivedi has quoted in his edition of the Bṛhatsaṃhitā (part II, page 674) without reference to chapter and verse
śāntā yaśovatī kāntā viśālā prāṇavāhinī |
satī vasumatī nandā subhadrā su?thā tatha. ||
pūrvāparā gatā hyetā udagyāmyāśritāḥ śṛṇu |
hiraṇyā suvratā lakṣmīrvibhūtirvima?nā priyā ||
jayā kālā viśokā ca ta?thandrā daśamo smṛtā |
dhanyā dharā viśālā ca sthirā rūpā gadā niśā ||
vibhavā prabhavā cānyāḥ saumyayāmyāśritāḥ śirāḥ |
Notes (263-265): Assignment of the limbs of the Spirit:
That this Spirit of the site is a further device, by whose limbs the several plots of a ground-plan once assigned to a list of forty-five, rather forty-nine, deities are referred to is clear from the following:—
devatānāṃ padairitthaṃ saṃvibhaktaiḥ pṛthagvidhaiḥ |
sthapatiḥ prayataḥ kuryādvāstumitthaṃ pumākṛtim ||
uktāni vāstupuruṣasya yathāvaditthamaṅgāni vāstupadadaivatanāmabhedāḥ |
vārṇāśca vāstvavayaveṣviha ṣoḍaśaiva brūmo'tha daivatavaśena pure niveśam ||(Samarāṅgaṇa-sūtradhāra, XIV, 1, 35.)
uttāne nairṛtāśāvinihitacaraṇe yādadīśāttaśīrṣa |
jāte tāvannipeduḥ sthiramiha viṣudhāstasya dehe kṣaṇena ||
tā devatā vāstuśarīrasaṃsthāḥ santā?rpatāstviṣṭaphalapradāḥ syuḥ |(Manuṣyālava-candrikā, II, 28, 32.)
The assignment of the limbs of the Spirit of the site over the plots of all the forty-five deities is specified more elaborately in the Samarāṅgaṇa-sūtradhāra (XII, 22—24, XIII, 8—9, XIV, 2—32), Mayamata (VII, 50—54), Śilpa-ratna (VII, 28—38), and the Manuṣyālaya-candrika (II, 29—31).
Notes (266-269): Defects in the several limbs or plots:
How this defect may occur has presented difficulties to several authorities on the subject.
The Bṛhatsaṃhitā has attempted an unscientific and mythological explanation. According to it the plots assigned to Brahmā and other superior deities should not be polluted by throwing remains of food and other refuse on them: this explanation, if it architecturally imply anything at all, would mean that certain plots of the ground-plan should be reserved as sacred places:—
sukhamicchan brahmāṇaṃ yatnādrakṣedgṛhī gṛhāntaḥstham |
ucchiṣṭādyupaghātādgṛhapatirupatapyate tasmin || 64 ||gṛh[o/ī?] gṛhapatiḥ sukhamicchan sukhamabhitnaṣan gṛhāntaḥsthaṃ gṛhamadhyagataṃ brahmāṇaṃ pitāmahaṃ yatnātsarvaprayatnena rakṣetpālayet | yatastasya brahmaṇa ucchiṣṭādyupadhātāt | ucchiṣṭamaśuci | [ā?]digrahaṇādamedhyādyupaskaraṇaṃ bhāṇṭaḥ | eteṣāṃ tatra sthāpanādupadhāto[?] bhavati tasmāttasmin gṛhapatirveśmasvāmo upatapyate upatāpaṃ prā???ti || 64 ||
(Bṛhatsaṃḥitā, LII, 64.)
Samarāṅgaṇa-sūtradhāra has attempted a little more scientific explanation. According to him it appears that no attempt should be made to utilise the points of intersection of the several lines by which a ground-plan is divided into several plots:
vaṃśāṣṭakasya yaḥ sandhiḥ sa sandhiriti kīrtitaḥ || 30 ||
ye punaḥ syustadaṅgānāṃ proktāste cānusandhayaḥ |
vālāgratulyaṃ sandhīnāṃ pramāṇaṃ paricakṣate || 31 ||
tadardhamanusandhīnāṃ pramāṇaṃ samudīritam |
yatnenaitāni santyajya vāstuvidyāviśāradaḥ || 32 ||
dra vyāṇi prayato nityaṃ sthapatirviniveśayet |
mahāvaṃśasya nākrāntiṃ kuryāddravyeṇa kenacit || 33 ||
itareṣu punardravyaṃ madhyavaṃśeṣu santyajet |(Samarāṅgaṇa-sūtradhāra, XII, 30—34.)
The explanation submitted by the Maymata carries an architectural importance. According to it the limbs of this Spirit (Vāstupuruṣa) i.e. the plots assigned to them, should not be trespassed by certain, parts of a building; this would apparently mean that certain parts of a building should not be built upon some plots of the ground-plan:—
[[niṣkatna ṭāṃśāḥ sirā jñeyā]] ityeṣa puruṣaḥ smṛtaḥ || 54 ||
gṛhe gṛhe manuṣyāṇāṃ śubhāśubhakaraḥ smṛtaḥ |
tasyāṅgāni gṛhāṅgaiśca vidvān naivopapīḍayet || 55 ||
vyādhayastu yathāsaṅkhyaṃ bharturaṅge tu saṃśritāḥ |
tasmāt parihared vidvān puruṣāṅgaṃ tu sarvathā || 56 ||(Mayamata, VII, 54—56.)
The evil consequences of the defects in the several limbs or plots are more elaborately specified in all these treatises than in the Mānasāra:—
dakṣiṇabhujena hīne vāstunare'rthakṣayo'ṅganādādoṣāḥ |
vāme'rthadhānyahāniḥ śirasi guṇairhīyate sarvaiḥ || 65 ||
strīdoṣāḥ sutamaraṇaṃ preṣyatvaṃ cāpi caraṇavaikalye |
avikalapuruṣe vasatāṃ mānārthayutāni saukhyāni || 66 ||(Bṛhat-saṃhitā, LII, 65-66,)
mahāvaṃśasamākrāntau bhavet svāmivadho dhruvam || 34 ||
varṣeṇa tapanād bhītiṃ vaṃśānāṃ pīḍanād viduḥ |
upamarmāṇi rogāya marmāṇi kulahānaye || 35 ||
udvegāyārthanāśāya sirāśca syuḥ prapīḍitāḥ |
kaliḥ syāt sandhividdheṣu pīḍiteṣvanusandhiṣu || 36 ||
tasmādetāni sarvāṇi pīḍitānyupalakṣayet |(Samarāṅgaṇa-sūtradhāra, XII, 34—36)
Footnotes and references:
[1]:
These plots may be square, rectangular, round, oval or sixteen-sided as stated in the Purāṇas; in the Mānasāra also quadrangular, hexagonal, octagonal and round shapes of architectural and sculptural objects are admitted in reference to the styles, although the buildings are stated to bear masculine, feminine and neuter aspects which are also, referred to in the Āgamas (see the writer’s Indian Architecture, pages 113-118, 176, 24, 49, 111, 118, and his Dictionary of Hindu Architecture under Prāsāda and Nāgara). A triangular plan seems to be referred to in line 23 (see note thereunder).
[2]:
It is called Pecaka in the Mayamata (VII, 1, 23) which appears to be a summary of the Mānasāra.
[3]:
This would look like a triangular plan, which is not mentioned elsewhere (see notes under line 2).
[4]:
Many of these thirty-two names of plans would indicate certain figures, while others seem to be mere technical names (see plates under chapter VII).
[5]:
This plan obviously refers to the third plan called Pīṭha; some lines describing this plan as also referring to the uses for which the Pecaka plan, is recommended are missing from the text. The details of the Pīṭha plan are translated within, square brackets from the contents of the B. D. texts and the Mayamata which is a summary of the Mānasāra (see note under text, line 59).
[6]:
Each of these twenty-four deities, comprising eight in the interior block around the Brahmā plots and sixteen in the exterior block, is apparently intended to be assigned to half-a-plot (see plate, under chapter VII, figure 4).
In the śilpa-ratna (chapter VI, 27—29) Brahmā is placed on the central point and is not assigned to any plot; eight deities are assigned to the four central plots, similarly eight deities are assigned to the four plots in the four corners, and remaining eight plots are assigned to the remaining eight deities. In the Mayamata (chapter VII, 25—27) the allocation of the deities is not specified: it is simply stated (VII, 25) that twenty-five deities ate assigned to the sixteen plots. The Samarāṅgana-sūtradhāra, (chapter XII, 3—14) has obviously confused the whole plan: it appears that Brahmā is assigned to four plots; Aryaman, Vivaśvat, Mitra and Bhūdhara to half-a-plot each; eight other deities beginning with Savitra and ending with Āpavatsa are also given a half-plot) each; another eight deities are given one plot each; yet another set of eight deities beginning with Parjanya and ending with Aditi are given a half-plot each: this would already make twenty-nine deities and twenty-two plots, although there can be only sixteen plots (and twenty-five deities); again the outside deities from Jayanta to Caraka are given a half-plot each
[7]:
That the same deities are assigned to one plot each is clearer from the following:—
tatpārśvayordvayorekabhāgenaike na vardhanāt |
upapīṭhaṃ bhavedatra devatāstāḥ pade sthitāḥ || 28 ||(Mayamata, VII, 28.)
ugra (upa) poṭhaṃ bhaved[?] yatra pañcaviṃśatpadānvitam |
tatraitā devatāḥ pūjyāḥ pṛthagekapadasthitāḥ || 30 ||(Śilparatna, VI, 30.)
[8]:
These epithets of tlhae Caṇḍita and the Parama-śāyika plans seem to be used as general terms in order to ascertain the subsequent odd and even number of plans in the way elucidated in the following note: it should be noted that the technical name of the first (odd number) plot is Sakala, (line 2), but the next even number is called Pecaka, not Niṣkala.
[9]:
The reasons in consideration of which the full details of the eighth and particularly the ninth plans are given seem to be that the details of the subsequent twenty-three plans may be found out by multiplying the details of these even (i.e., 8th) and odd (i.e., 9th) plots (see the concluding portion of note under line 154).
[10]:
As a matter of fact there would be thirty-two lines not thirty.
[11]:
These are to be gathered from lines 61—64 and 111—115, but therein the order and the number of plots assigned to each of these are different; the Mayamata (VII, 40, 43—44), which is a summary of the Mānasāra, supplies both the required order anḍ number of plots for this frog-shaped Caṇḍita plan:—
brahmā madhyesthitaḥ śambhustanmukhasthāścatuḥsurāḥ |
āryo vivasvān mitraśca bhūdharaścai vakīrtitāḥ || 40 ||
catuḥṣaṣṭipademadhyebrahmaṇaśca catuṣpadam || 43 ||
āryakādicaturdevāḥ prāgāditritribhāginaḥ |
But the following authorities, which too appear to have been based on the Mānasāra, while retaining the order differ in the number of plots assigned to these deities:—
brahmā madhyacatuṣpadapraṇihito diśvāryakādyāḥ sthitā-
stadvāhye'tha catasra ekapadage dve dve sthite pārśvayoḥ || 36 ||(Silparatra, chapter VI, 36).
asmin padāni catvāri bhunaktyantaḥ pitāmahaḥ |
aryamādyāḥ surāścātra dve dve madhyagatāḥ pade || 22 ||(Samarāṅgaṇa-sūtradhāra, chapter XI, 22).
aṣṭāṣṭakapadaṃ atha vā kṛtvā rekhāśca koṇagāstiryak |
brahmā catuṣpado'sminnardhapadā brahmakoṇasthāḥ || 55 ||
aṣṭau ca bahiṣkoṇeṣvardhapadāstadubhayasthitāḥ sārdhāḥ |
uktebhyo ye śeṣāste dvipadā viṃśatiste hi || 56 ||(Briḥat-saṃhitā, ed. Dvivedi, part II, chapter 52, 55—56; Tranl. Kern, J. R. A. S. 1873, p. 289).
[12]:
It means an alligator and as such it may imply Asura (demon) who is missing is this list, but is included in the other lists as well as in the treatises referred to in the note under lines 83—88.
[13]:
Obviously for Dinakara, maker of day, a synonym of the sun, named, Āditya in the other lists and the treatises quoted in the notes under lines 83—88.
[14]:
That is, Soma is assigned to the two (combined) plots (immediately) to the west of the (same) middle line as runs from north to south (through the whole plan) and two combined plots to the west of this are reserved for Bhallāṭa, similarly to the east of the middle line are assigned respectively Bḥriṅga-rāja and Aditi to two combined, plots each (see the Mānasāra, lines 141, 151—153, 216, 221, 242, 244, the Mayamata, VII, 45, the Śilparatna, VI, 38—39, and the Samarāṅgaṇa-sūtradhāra, XI, 28).
It should be noted, however, that the plots assigned to these deities by these authorities are different from those specified hero. Further, it should be noted that according to the authorities referred to above Mṛga is assigned in place of Bhṛṅgarāja as given here, and also Udita in place of Jayanta, Jayanta in place of Antariksa, Antarikṣa in place of Vitatha, Vitatha in place of Mṛga, Mṛśa in place of Sugrīva, Sugrīva in place of Godhā, Roga is place of Mukhya, Asura in place of Śoṣa, Śoṣa in place of Roga, and Bhṛṅgarāja is place of Mṛśa. As regards other deities there is a correspondence. The cause of disagreement is not known: it is all the more inexplicable why the Mānasāra should not follow its own order in all the three places where these forty-five deities are referred to in this chapter. The other authorities, as they are based on the Mānasāra, seem to have improved their texts, particularly leaving out the details and obscure portions of the Mānasāra.
[15]:
Otherwise called Ārya (lines 119, 167) and Āryaka (line 62).
[16]:
This epithet usually implies Indra who is already described (see lines 180-182), moreover between Īśa and Agni comes Āditya (see lines 127—130 and the plate); obviously, therefore, it refers to Āditya and not to Indra (see further explanation under note of the text).
[17]:
This is obviously a synonym of Gagana and Pitṛ (see lines 59, 143; 67, 90, 128).
[18]:
This should implo [imply/implore?] some one other than Indrāṇī who is the chief wife of Indra: it is not usual for a goddess to accompany formally a god other than her husband.
[19]:
The expression may imply a red garment for Pūṣan and a yellow garment both for Vitatha and Gṛhakṣata, or a yellow garment with red borders for all the three.
[20]:
That is, Mukuṭa and Karaṇḍa as in other instances (see lines 164, 173, 205, 207, 210, 228, etc.).
[21]:
Figuratively this would, first, refer to the Spirit of the ground-plan (i.e. Vāstu-puruṣa), secondly to the forty-five deities who, as the occupants of the several plots into which, a ground-plan is divided, are identical with the limbs of the Spirit, but ultimately and architecturally, to the ground plan itself.
[22]:
These imply all kinds of temples and residential buildings, as well as all kinds of villages, towns, and forts, etc.; compare the following:—
gṛhanagaragrāmeṣu ca sarvatraivaṃ pratiṣṭhitā devāḥ |
teṣu ca yathānurūpaṃ varṇā viprādayo vāsyāḥ || 67 ||evama[naṃ?]naiva prakāreṇa gṛhe veśmani nagare pure grāme ca eteṣvapi sarvatra sarvasmin d[e?]śe devāḥ surāḥ [pra?]tiṣṭhatāḥ parika[lpi?]tāḥ | etaduktaṃ bhavati | yathā gṛhe vāstunarasya parikalpanā kṛtā tathaiva nagare grāme ca kāryā | tatrāryā | tatrāpi ca yāni marmāṇi tāni prāgvaccintanīyāni | te[y?]u nagaragrāmeṣu viprādeyā v[r?]āhyaṇā[dy?]ā varṇā brāhmaṇakṣatriyavaiśyaśūdrā yathāk[r?]amaṃ vāsyā vivāsanīyāḥ | yatra digbhāge yasyocitaṃ tatra vāsayedityarthaḥ || 67 ||
(Bṛhatsaṃhitā, LII, 67.)
[23]:
This refers to a time-honoured custom which is still observed. This is the subject-matter of the next chapter. It should be noted that, as a rule, the subject-matter of a chapter is introduced in the concluding lines of the immediately preceding chapter, a practice which is also followed by Vitruvius in his treatise on architecture.