(i) The Architect (Sthapati)

Much has been written on the Indian Architect both in the critical contemporary literature and the Śāstric compendiums, but the account which we get in the Samarāṅgaṇa (vide Chapters 44 & 45 Sthapati-Lakṣaṇa and Aṣṭāṅga-lakṣaṇa) is unique in the respect that it is not only more detailed but is more systematic and scientific from the modern point of view. We know that in India the science of architecture by the time of the Samarāṅgaṇasūtradhāra had reached its fullest development. Some of the noblest and largest Prāsādas were set up about the tenth Century A. D. Naturally, therefore, in a building construction like the large Prāsādas where hundred thousands of men, masons, labourers, artisans, and artists were working in complete cooperation and uniformity of purpose with devotion and dedicated life, the water-tight divisions of the builders, the traditional fourfold division of the artists into Sthapati, Sūtragrāhin, Vardhaki and Takṣaka had lost its importance. According to the Samarāṅgaṇasūtradhāra there were only two broad classifications of these servants of God and humanity at large—-the Sthapati, the master-architect and the Sthāpaka, the architect-priest, he Guru, the Achārya. This latter personality had importance only in the planning and setting up of religious structures namely the Prāsādas, the temples; otherwise the master architect, the Sthapati was the sole authority in any building activity—civil or royal.

We know that it is the architect who makes what the Architecture is (Sthāpatya—sthapateḥ karma sthāpasvam). All the śāstric rules, all the materials, rich and varied, are useless, unless the architect so combines them, so moulds and shapes them—in one word—so reorientates them that quite a new thing emerges, a new creation springs up. Like a poet, the weaver of dreams, he weaves the poetry of buildings, like a musician he produces the rhythm of the structure, and like a creator, he creates a new creation. It was the genius or the superb artistic craftmanship which has been responsible in producing monumental buildings like Kailash at Ellora. Mr. Percy Brown (Indian Architecture page 90) speaking of Kailash at Ellora pays a glowing tribute to the master-mason whose dream had taken a concrete manifestation. The specimens of architectural achievements in monuments, our great heritage and pride, are equally aglow with the glowing tribute Mr. P. Brown has paid to Kailash.

The architect (the Sthapati) and architecture (Sthāpatya), from the point of view of pure art, are an integrated whole. The Samarāṅgaṇasūtradhāra in the very opening lines of the Chapter 44th—Sthāpati-lakṣaṇa—Qualifications that go to make a Sthapati—says, “I am now going to describe the Sthāpatya as handed down to us from generation to generation, by the knowing of which the values and defects of the architects are known”. The Sthāpatya is fourfold—the traditional lore (Śāstra), the practical experience (Karma), intuitive insight (Prajñā) and the righteous conduct and character, (Śīla) (ibid 2). These four elements comprised of the science of architecture are to be taken from the standpoint of an architect. These are really the qualities, the qualifications constituting the fundamental equipment which goes to make a Sthapati, an architect.

A Sthapati is not only adept in the Śāstra, i. e. the science of architecture, the traditional lore as handed down from generation to generation and expounded by the ancient Achāryas like Viśvakarmā, Maya, Garga, Agastya, Kāśyapa, Mānasāra, etc. etc.; he should also have the practical knowledge of the Śāstra. He should be an adept builder—a skilled artcraftsman. Again only the knowledge of the practical experience and the artistic perfection thereof will not do, if he lacks the personal insight, the genius of an architect (cf. the example of Kailash at Ellora). This is very important, because at times the Śāstric canons and the practical experience are all of no avail and it is his personal intuition, the immediate perception which comes to his rescue. Apart from these three qualifications, an architect must be a man of character above reproach both in the precepts and in example. Only such an equipped person can be a real Sthapati.

This is the general exposition of the equipment of a Sthapati. Let us go on with the text (vide Chapter 44) and take these one by one in detail (see V. L. also).

1. The knowledge of the Science—Vāstu Śāstra.

It is the first qualification which an architect must possess to start with. This Vāstu-śāstra, it may be pointed out, consists of the knowledge of the canons of the site-planning and its layout, the planning of the buildings, the laying out of gardens, parks, town-planning and regional planning and all that constitutes the traditional subject-matter of architecture (as already expounded). All this comes under Śilpa. Apart from Śilpa, his intellectual equipment. should be broadened with the knowledge of carpentery, engineering, machine-making (Yantra-karma-vidhi) etc. Not only this, he should be a skilled mathematician, an astronomer and astrologer and proficient in the knowledge of the Śiras, the conditions of different places (in order to avoid the Marma-vedha or any Vedha so meticulously enjoined by the Śāstra). The mental make-up needs not only the balance of mind and body, a subjective attitude in the architect, but this balancing should be mirrored in his art too. This is what is meant by the knowledge of the Chandas—the rhythm spoken of, by the text in combination with the knowledge of astronomy, astrology and mathematics (chapter 44—verses 3 and 4).

On this śāstric equipment of an architect the text is very explicit. It says (ibid 6-8) if an architect is ignorant of the śāstras and, not having done any labour in their acquisition, adopts the profession of an architect, and is proud of his false knowledge, he must be done to death by the king himself. Such a self-conceited fellow is Rāja-hiṃ-saka He is bound to bring death in this world if allowed to practice his false knowledge. In India, an architectural action, regarded as a religious action, a ritual, like a Vedic sacrifice, pre-supposes cent per cent perfection. Any imperfection was beset with evil consequences so much elaborated in these texts.

2. Practical Experience.

An architect, howsoever well-versed in the traditional science, if he is not a master builder, unskilled in the work, must become nervous in actual operations. Like a timid man on the battle-field he must faint at the time of action. Conversely, an architect skilled in action but ignorant of the Śāstra is also not a happy type. He is like a helpless blind fellow to be helped by others in his movements (walking and building). Such a helpless fellow must always be an apprentice to others and can never assume the role of a master-builder. He is compelled to rely on others. Hence adeptness, in action is one of the essential constituents in making up an architect (ibid 8-10). What is the Karma? The text gives the first priority to site-planning, then come the measurements, proportions in all respects—māna, unmāna, etc. After this follows the soil-examination with practical prescribed tests to ascertain whether a site is fit for an architectural undertaking. All this is related to the ground-plan. There is masonry, there are the component parts of building, their mouldings and roofings, etc. They require an expert hand in their delineation with profusion of architectural devices like 14 Lumālekhās, four-fold Gaṇḍikā-chedas and the seven-fold Vṛtta-chedas together with the correct joinery in the wooden beams and other wooden material used in the house-construction (ibid 10-12). Besides this practical experience, the mastery of another eight-fold skill beginning with Ālekhya (painting), Lepyajāta (clay-moulding etc.), Dāru-karma (timber-work), Gaya, the masonry and the art of sculpture and metallurgy are also enjoined by the text (idid 20-21).

3. The personal insight, Prajñā.

Again whatever degree of mastery and perfection an architect has attained both in the science and art, he is not yet a perfect architect, if he lacks the personal insight, the immediate intuition, readiness of judgment in contingencies, he is like an ichorless (nirmada) elephant who has lost his worth (ibid 13 & 14). Therefore, personal insight equipped with immediate intuition and the ability to proceed with the work even in dire contingencies is like an anchor in the fathomless ocean of the science of architecture. “This ocean of the science of architecture is very vast, difficult to fathom, devoid of light and pervaded with darkness allround, and having many regions still unexplored, can be crossed only when a wise man has an intuitive knowledge as his vessel. Only a wise captain can steer the ship of architecture (ibid 15).” This Prajñā equipment is really a great distinction of a true Sthapati (cf. the builder of the Kailash at Ellora who himself was struck with wonder saying, ‘Oh! How was it that I built it’—Dr. R. G. Bhandarker—Indian Antiquary Vol; XII page 228).

4. The Character.

Over and above all these qualifications, the cream of the qualifications is the character above reproach which an architect must possess (ibid 16-18). The sacred task of architecture can be entrusted only to an architect of high moral character. In its absence he is susceptible to anger, envy, jealousy and greed, attachment and confusion which are great hurdles in the evolution of a true and auspicious art, the only aim of the science of architecture (Samarāṅgaṇasūtradhāra 44). Therefore, the Samarāṅgaṇasūtradhāra is very vocal on this essential qualification of a Sthapati and says, “an architect must strive at all cost to maintain his character and conduct. It is only then that the actions bear fruit and they in their turn become the harbingers of goodness on earch” (ibid).

This is the Samarāṅgaṇa’s treatment of the Sthapati. The treatment of Sthapati, Śilpin, Acharya, Sūtradhāra, etc. by other works may be purviewed in the Vāstulakṣaṇa Other details regarding the traditional origin of the architect-guilds, etc. may not be repeated here and they can be seen in works like Dr. Acharya’s Encylopaedia of Hindu Architecture,

Incidently a few words may be added on the fall of architects and architecture which coathed in legendary accounts of the Purūṇas neverthelss betoken an implied truth that the sacred lore must not be possessed of and cultivated by those who have committed a blasphemy cither social or religious.

Sthapati is Viśvakarmā and is described as a disciple (anuśiṣya) of the Sthāpaka, while the other three Sūtragrāhin, Vardhaki and Takṣaka also arc said to be disciples of themselves in turn. In the Brahmavaivarta-purāṇa (I-X. 20-23) is told the descent and fall of the Hindu architect and the craftsmen, from their celestial origin (see for details H.T. p. 9).