Chapter 68 - The casting of idols in wax (madhūcchiṣṭa-kriyā)

1. The casting of idols in wax (madhūcchiṣṭa-kriyā) will now be described fully.

2-3. Śaiva, Pāśupata, Kālamukha, Mahāvrata, Yāma, and Bhairava: these are the six respective Jyotis (light) phalli (of Śiva) as laid down in the Tantra (scripture).

4-5. Agastya, Kāśyapa, Bhṛgu, Gautama, Bhārgava, Gālava and others^[1] are said to be the sages (whose idols are made) by this treatment (of casting in wax, karṣaṇa) for worship (construction).

6. All those six (groups of phalli and idols) should be made according to rules of their scriptures with a view to acquiring prosperity.

7-8, If the (directly) reverse of what is laid down in those sciences be followed, it would always cause danger and difficulties, but if what is not laid down in those sciences be adopted (for improvement) there would be no defect in that.

9-21. Viśvakarmā, Viśveśa, Viśvasāra, Prabodhaka, Vṛta, Maya, Tvaṣṭṛ, Manu, Nala, Mānavin, and Mānakalpa, very celebrated (i.e., eminent) Mānasāra, Praṣṭar, Mānabodha, Viśvabodha, Naya, Ādisāra, Viśāla, and Viśva-Kāśyapa, Vāstubodha, Māhātantra, Vāstuvidyāpati, Parāśarīyaka, the great sage Kālayūpa, and those named as Caitya, Citraka, Āvarya, together with Sādhakasāra, Bhānu, Indra, Lokajña, and Saura who are the best artists: they are stated to be sages and are thirty-two in number; they are thus known by their surnames; these artists are competent for all kinds of artistic work.

20-22. In the bright or dark fortnight of all months, on an auspicious moment of auspicious lagna (meeting), nakṣatra (planets), and yoga (conjunction), both the chief architect (sthapati) and the chief assistant (sthāpaka) should make the pit (for casting the image) with the usual incantations (mantra).

23. Then the artist (sculptor) should besmear wax (over the idol) according to rules of the science (as stated below).

24-25. The sculptor (vardhaki) at the command of the chief architect (sthapati) should think over (lit., meditate on) the correct image, and purify with the five powders (pañcavarṇa)^[2] the idol to be cast in wax.

26-27. This (process) is recommended for the transitary idol, stationary or movable; therefore it should be made with all care and attention so that there may not remain any defect (or flaw).

28. The eyes (of the idol) should be furnished with crystal, and covered with the spider’s net.

29-30. The hands (arms) of all idols should be covered with a copper-leaf, or that (copper-leaf) should be fixed at the root of the wing of those which have wings.

31-32. All the nails and the two feet also should be fixed with a copper-leal and optionally the crown of the head and particularly the ornaments should be fixed with a peg.

33-34. The crystal and gems when inserted (to eyes, etc.) should be covered over with a leather bag discreetly besmeared with the powders of all the trees, namely, the mango, etc.^[3]

35-36. In order to make them strong the idols should be furnished with wooden nails, even if they (i.e., the idols) be made of materials liable to be melted, there will be no defect in that.

37. Adorned with all ornaments the idol should be taken round the village.

38. This should be shown to the worshippers who would want to worship it.

39. Therefore, for the sake of the selection of the god, the idol may be taken from village to village.

40. Afterwards (i.e., if the idol be approved of) it should be taken into the studio of the artists.

41. The best artist should measure it along the length, height, and width.

42-43. (After correct measurement) it (the idol) should be be smeared with wax up to some two or three aṅgulas; upon that (coating) it should be (again) besmeared with earth, and then it should be dried up by the exports.

44. That idol (lit., ball) should be dried up and besmeared with a new coating of was again.

46. If the master so wishes, it may be covered with metals (iron); that is preferred.

46. The half, besmeared with earth, should be left out, and the rest should be washed with water by sprinkling^[4].

47. The whole body of the idol should be purified, and besmeared with white sandal and perfumes (after completion).

48-49. It should (then) be placed upon a seat (throne) and be adorned with flower garlands; and it should be (again) taken round the village (for approval) amidst all auspicious sounds.

50. (After the approval of the villagers and artists) it should be taken into the studio of the artist and the processes mentioned before should be repeated.

61-52. If (in the process) its minor limbs be broken, they should be made again, but if the head or the middle body be damaged, it (the whole idol) should be made anew.

53. If the master or the sculptor himself be not quite satisfied it should be changed and made again.

64-56. Nothing should be accepted which would leave behind a hesitating mind (not quite satisfied), because it would cause the loss of place and wealth, and the merits acquired through many births will at once be destroyed; the wise (artist) should, therefore, cast the idol free of all defects with all care and attention.

Thus in the Mānasāra, the science of architecture, the sixty-eighth chapter, entitled: “The description (of rules) of casting of images in wax.”

Footnotes and references:

[1]:

A slightly different list of seven sages is given in chapter LVII.2-3, p. 567.

[2]:

Powders made of dried or fried bones of the mango and other trees.

[3]:

See line 25 and the note thereunder.

[4]:

According to the Supribhedāgama (XXXIV, 2) “if the image be required to be made of earth, rods (of metal or wood) must be (inserted in them), if of metal, they must first be prepared well in wax.”

According to the Karaṇāgama (II. V. 41) “If images have to be cast in metal, the wax must first be melted and poured (out of the mould) and all defects removed with cloth”.

According to the Viṣṇu-saṃhitā (XIV) “if an image is to be made of metal, it must first be made of wax, and then coated with earth; gold and other metals are purified and cast; into (the mould), and a complete image is thus obtained by capable workmen”. (For further details, see the Writer’s Indian Architecture, page 87.) It will be noticed that the rules enunciated in the present text have been generally followed throughout the later works.