Manasara (English translation)

by Prasanna Kumar Acharya | 1933 | 201,051 words

This page describes “the chiselling of the eye (nayanonmilana)” which is Chapter 70 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 70 - The chiselling of the eye (nayanonmīlana)

1-2. The chiselling of the eye [viz., netramokṣaṇa or nayanonmīlana] of the (idols of the) gods, goddesses, and devotees, and the purification (cleansing) of the phalli (of Śiva) will now be described in order of the subjects.

3-4. The chief architect (sthapati) is said to be the creator (prakṛti) and the sculptor (sthāpaka) the life (of the images); therefore, they should work together in consutation [consultation?] with (lit., in company of) each other from the very beginning of the operation.

5-6. If anything be made in a reverse manner all things in connection with the objects for construction would be spoilt, and the master would certainly die.

7. As regards the chiselling, it is meant for giving sight to the eye (lit., removing darkness from the eye).

8-9. When the sun rises the rays spread all over, so also the case with the eye of an individual as regards its rising and setting.

10-11. The internal and external light (i.e., sighṭ) as well as wealth would be lost, there is no doubt about it, if the eyes are not (properly) chiselled, (another) inevitable result would be the disease of the eye.

12. Therefore, the details of the chiselling of the eye will be stated now.

13-14. Both the chief architect (sthapati) and the sculptor (sthāpaka) should perform the aforesaid ceremony of sowing the seed (aṅkurārpaṇa) before the installation (of the image) in an edifice (temple) or in a pavilion.

15. Thereafter, in an auspicious moment, the eye (of the image) should be chiselled (as directed below).

16-17. The wise (architect) should build a pavilion for the holy sacrifice in connection with the chiselling of the eye, in front of the main temple (edifice) or on its right or left side.

18-20. It (the pavilion) should be a nine, seven, or five cubits square in shape, and be furnished with sixteen or twelve pillars, optionally with a pinnacle and with a shed-yard,

21. There should be four doors on the four directions, and also it should be furnished with four arches.

22. An altar (vedi) should be constructed as said before inside that pavilion.

28. In front of that (altar) a pit should be dug for the consecrated fire, and it should be besmeared with holy cow-dung.

24-25. It (the pavilion) should be decorated with ceremonial banners and flags, and various decorative cloths; the pillars also should be decorated, and the plantain trees with banana (fruit-) should ornamently be placed (therein).

26. It should be decorated with garlands of plantains all round and at the top.

27. It should be also decorated with flower-garlands, jewels, and all other ornaments.

28. Thereafter the wise artists should chisel the eye (as stated below).

29-30. The sthaṇḍila plot (of forty-nine squares) or the pīṭha plot of nine squares should be made towards the west, the south or the south-west of the altar (which is situated in the centre of the pavilion).

31 Upon that (plot) should be placed the idol (whose eyes are to be chiselled, being) adorned with bunches of grass (kūrca), etc.

32. Before doing that (the installation of the idol) a circular mark should be made round the sthaṇḍila plot with only a garland (of flowers).

33. Upon that (plot) towards the south-west should be placed a vessel filled with gold.

34. It (the vessel) should be covered with fine cloths, and be decorated with bunches of grass at the base.

35. The wise (architect) should (similarly) mark a circle on the altar (also) with the śāli (grain) powder.

36. Thereon should be marked a plot (upapīṭha) of twenty-five squares or the pīṭha plot (of nine squares).

37-38. They (those plots) should be covered with the kuśa grass, and thereafter should be marked with lines of powdered rice-grain only, and covered with various flowers and fried rice for decoration.

39. Thereon should be (placed) nine or twenty-five pitchers (in the same number of squares).

40-41. They (those pitchers) should be washed according to rules and be covered with strings, and being filled up with pure water should be placed on the altar.

42. The main pitcher should be placed in the centre and the others around it in order.

43-44. They (those pitchers) should be covered with all cloths, and be furnished with bunches, leaves, and ceremonial fruits, and should be adorned with flower garlands.

45. Like the aforesaid (pitchers) the eight auspicious things (aṣṭamaṅgala) should be placed on the upper altar.

46-48. Thereafter the wise architects should wash their-feet and perform the ceremonial washing of the mouth, etc., according to rules; and then gathering together all (auspicious) things and amidst the pronouncement of ‘good day’ (puṇyāha) they should sprinkle the images, etc.

49-50. Brahmā and other gods should, in order, be worshipped again with their separate incantations beginning with the syllable Om and ending at the syllable namaḥ.

61-62. The wise (architect) should offer the holy incense and the lamp and worshipping with fragrance (sandal paste) and flowers meditate on the Lord of the Universe (as if revealed) in the middle pitcher.

53-54. Clarified butter, molasses, corn, curdled milk, milk-rice, etc., should be optionally offered (to the deity), and also the holy incense, the lamp, and the betel should be offered.

55. The dhenu (cow) and the other mudrā signs should be shown (to the deity) amidst singing, dancing, and sounds of music.

56. Then in order the wise chief architect (sthapati) should perform the sacrifice with the consecrated fire in front of that (pitcher).

57. The samid plant, the clarified butter, the holy boiled rice (caru), and the fried rice: each of these should be sacrificed to the fire one-hundred and eight times.

68-59. Twenty-five rounds should be made with pure water while uttering the mystic syllables known as the hṛllekha (written on the heart) and ending at the syllables svāhā.

60. The final (concluding) offering should be made to the idol (bimba) by uttering the gāyatri hymn (a very sacred verse repeated by every Brahman at his devotions).

61. After the conclusion of the sacrificial ceremonies with the consecrated fire, the idol should be taken up (for the chiselling of its eyes).

62-63. The Brahmans should be caused to pronounce the syllable puṇyāha (good day), and then the purification of gems should be performed, and it (the idol) should be worshipped with perfumes (sandal paste) and flowers.

64. The chief architect (sthapati) should sprinkle the idol (with water) amidst all auspicious sounds.

65. Then the holy incense and the lamp should be offered to the idol by pronouncing the gāyatrī hymn.

66. It should be worshipped with perfumes and flowers, and then the cow-figure by the hands (dhenumudrā) should be shown to it.

67-68. (Then) he should conceal the limbs with new clothes (like a photographer), and mark (lit., write) the eyes of the idol: with undivided mind every part (of the eye) should be skilfully drawn (lit., touched) with the right hand (according to the rules of the śāstra).

69-71. The lines of the right eye should be drawn and the black ball (iris) and the sight ball (pupil) should be marked (lit., meditated on), and the sun hymn should be invoked (in order to bring in light to the eyes); thereafter the moon hymn should be uttered for (illuminating) the left eye.

72. The (third) eye should be marked on the forehead, and the fire hymn (agnibīja) should be pronounced (in order to kindle it).

73. Then they (the eyes) should be anointed with water and clarified butter with a gold brush.

74. Then they should be covered with pieces of cloth and gold.

75. Milk-pudding, jewels, and a heap of corn should be again, shown (to the idol).

76. The chief architect (sthapati) should be clad in bridal garments (best clothes), and wear (five) ornaments on the five limbs.

77. His body should be besmeared with the white (sandal) ointment, and he should wear new clothes and an upper scarf.

78. He should also put on the sacred thread made of gold, white flower, and be pure and holy.

79-82. Keeping the main pitcher on the right of himself (lit., his own image) towards the south and all other pitchers (to his left) towards the north and carried by the followers, and being accompanied by umbrellas and chowries, he should circumambulate the temple amidst the pronouncement of the Vedic hymns and all other auspicious pronouncement.

83-84. Then getting back to the idol, it should be anointed with, water (from the main pitcher) and its minor limbs, etc., should be anointed (lit., worshipped) with water from the other pitchers.

85. Thus (finishing with them) the pitchers should be thrown away after taking the strings (with which they were tied) from them.

86. It (the idol) should be furnished with various cloths and be adorned with various flowers.

87. It should be anointed with perfumed sandal and be adorned with all ornaments.

88. Then the holy incense and lamp should be offered to it amidst music, songs, and other pronouncement.

89-90. The ligatures (conjunct consonants) should be written on the body (of the architect) from the head to the heart (lit., life), and the (five) groups of letters (consonants) should be written from the foot up to the upper limit (i.e., the heart).

91-92. All the thirty-eight artistic signs (kalā) should be marked on the thirty-eight limbs, namely, the legs, the hands (arms), the face, and the other limbs and organs.

93-95. Then being absorbed in meditation he (the architect) should worship (the idol) by uttering the principal incantation (mantra) with perfumes and flowers, and offer the holy incense and lamp again, and afterwards, betel, dishes, and ocher things should be offered.

96. The Brāhmans (in the meantime) should sprinkle unhusked rice, and pronounce benediction (svasti).

97. The chief architect should show (to the idol) the mudrā signs (with his hands as the concluding ceremony) amidst music and songs.

98. Thus is described the chiselling of the eye. After this should be (performed) the circumambulation of the village (by the idol).

99. With regard to the cleansing and purifying of the phallus (of Siva) lines should be similarly marked as aforesaid.

100. When the image (idol) is made of metallic substances[1], gems should be inserted in it.

101-102. After the carving of the Phallus and idols with stones (also), the gems should be engraved just before installation (as stated below).

103-108. Nine chambers should be made on the pedestal (pīṭha), the ruby should be engraved in the centre, the diamond in the east; the coral in the south-eastern chamber, the sapphire in the south; the cat’s eye in the south-west, and the emerald in the west; the topaz in the north-west, and the pearl in the north; and the sapphire, according to rules, should be engraved by the wise man on the north-eastern chamber.

109. Both the chief architect (sthapati) and the sculptor (sthāpaka) should insert (the gems) in the idol and the phallus (of Śiva).

110. Thus is described the engraving of the gems; the rest should be as is usually said.

111 Like a lamp it (the eye) should be the chief (shining) thing in the lotus like heart (of the artists).

112-114. The rules of chiselling of all sorts of of eyes of the lotus-born Brahmā, Hari (Viṣṇu), Hara (Śiva), and all other gods are stated in detail in this Mānasāra as prescribed by the ancients.

115-118. This great science (of architecture) was at first revealed by Brahmā, Indra, and all other gods: it is from their statements that this Mānasāra (the essence of measurement) has been compiled as a guide book (for the architects) for the benefit of the people.

Thus in the Mānasāra, the science of architecture, the seventieth chapter, entitled: “The description of the chiselling of the eye (of images).”

The Mānasāra is complete.

Footnotes and references:

[1]:

See Chapter L[?]I., 1-4.

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