(iii) Proportionate measurements (Māna, Aṅgula, Hasta)

The third fundamental canon of Hindu architecture is Māna, the proportionate measurements. Vimāna is measured out Creation.

Mūrtis are what when they are correctly and proportionately measured out—

“pramāṇe sthāpitā devāḥ pūjārhāśca bhavanti te”.

Thus adherance to the measurements is imperative in all creative activities whether it is architecture or sculpture. Unless a building is proportionately and perfectly measured out, it can not give an auspicious result.

Mayamata says:

“mānaṃ dhānnastu sampūrṇa jagatsampūrṇatā bhavet”

If the measurement of the Temple is in every way perfect, there will be perfection in the universe as well. The Samarāṅgaṇasūtradhāra has also to contribute its own to this thesis.

According to it any creative activity—architectural or sculptural—must be ‘Meya’ ‘complete in measures’—

“yacca yena bhaved dravyaṃ meyaṃ tadapi kathyathe” [?]

Our iconographic traditions are so strict that howsoever a beautiful image is carved out, but if it lacks the correct proportions of measurements, it is deemed defective and unworthy of possession.

That is why it has been proclaimed by Ācāryas of the Science,—

“śāstramānena yo ramyo sa ramyo nānya eva hi”

Strict adherence to Measure or Māna has a fundamental metaphysical implication.

Prof. Kramresch rightly echoes that implication in her Hindu Temple p. 43 (cf. also footnotes):

“Measure implies limits and limits mean end and death. It is by man’s own mortal frame that this knowledge of the universe is confirmed. The square, form of finality, is at the same time that of the pairs of opposites, manifestation is only through the pairs contraries. The square throne of divinity rests on the following pairs of contraries: Order and its negation (dharma and adharma); knowledge and ignorance (jñāna and ajñāna), dispassion and its opposite (vairāgya and avairāgya), and sovereignly and its negation (aiśvarya and anaiśvarya). The positive values support the throne, as its legs, in the corners, in the intermediate directions. Their negations are situated at the shafts, in the cardinal directions (cf. Isana. Pt III. ch XIII. 25) and in their balance lies the perfection of the square. Its proportion embodies, and thus resolves, the finality of limitation into a symbol of perfection. Proportion and balance are the form of the subtle (sūkṣnaa) nature of the square, their residue is the order which belongs to the city of the Dharmarāja, who is Death and a son of the Sun. (Similarly, the finality of architectural form houses, the life of man and is a seat of living God.) The other son is Manu, the prototype of man who gives its law to each cycle of existene [existence?].”.

It may be recalled that the adherences to Māna is as old as architecture. Brahmāṇḍa-Puraṇā (Chap. VII) gives a very apt origin of Māna, of which Aṅgula or Hasta is the standard of measurement (to be fully kept alive in the Vāstu or Śilpa texts—vide their expatiations on Measure under the caption ‘Hastakakṣaṇa’). It Is stated in the Purāṇa that people at first used to live in caves, mountains, rivers, etc. They began to build houses in order to protect themselves from cold and heat (śītoṣṇa-vāraṇāta). Then they built kheṭas (towns), puras (houses), grāmas (villages) and nagaras (cities). And to measure their length, breadth, and the intermediate distance between two settlements (sanniveśa) the people instinctively (yathā-jñāna), employed their own fingers. Thence forward the aṅgulas are used as standards of measurement.

The ancient sacred literature like Brāhmaṇas and Sūtras also corroborate this antiquity of the aṅgula or hasta measure as the standard of measurement. Thus Prādeśa frequently occurs in the Brāhmaṇas (Ait. VIII. 5; Śatapatha, III, 5, 4, 5 etc.) as a measure of length, a span. Śūlba sūtra [Śulbasūtra?] of Baudhyana does use a technical unit of Aratni, but explains it in terms of aṅgulas: Aratni is equal to 24 aṅgulas. We shall see more on aṅgula later, let us first introduce this subject in regard to its more important elements.

The word Māna has a twofold connotation. It is general designation of Measurement as such; but more technically it is height as measurement from the foot to the top of the head (whether it is a building or an image) which is in fact nothing but height.

Accordingly the line or measurement is divided in the following six kinds:

1. Māna (also called Ayāma, Āyata, Dīrgha);

2. Pramāṇa; 3 Parimāṇa (also called Vistāra, Tāra, Striti, Vistriti, Vistrita, Vyāsa, Visārita, Tata, Viṣkamba, Viśāla);

4. Lambamāna (Sūtra, Unmita);

5. Unmāna (Bahala, Ghana, Miti, Ucchrāya, Tuṅga, Unnata, Udaya, Utsedha, Ucca, Niṣkrama, Niṣkṛti, Nirgama, Nirgati, Udgama) and

6. Upamāna (Nīvra, Vivara, Antara).

We have already seen the meaning of Māna under Māna. Pramāṇa is the measurement of breadth (Vistrita). Parimāṇa is the measurement of width or circumference (paritaḥ). Lambamāna is the measurement along the plumb lines or the lines drawn perpendicularly through different parts of the body, Māna, or the measurement of height being determined by the surface of the body. Unmāna is the measurement of thickness (nimna) or diameter. And Upamāna is the measurement of interspace (antara), such as the distance between the two feet of an image; this measurement is apparently taken from one plumb line to another. These terms are more sculptural than architectural.

There is yet another system called Ādimāna primary measurement, which is but the comparative measurement and chiefly useful in sculpture and iconography. It is also divided and subdivided in nine kinds—vide Encyclopedia of Hindu architecture p. 418-19. Similarly as aṅgula was the chief measure in Architecture, so Tāla in Sculpture. The details of the Tālamāna may not be reproduced here (cf. my Vāstuśāstra Vol. II). Like Tālamāna in sculpture, it is called Gaṇyamāna in architecture which is the comparative height of the component members of an architectural structure.

Five proportions of the height, as compared with the breadth of an architectural object, are given under technical terms, namely, Śāntika, Pauṣṭika, Jayada, Sārva-kāmika or Dhanada, and Adbhuta’. These terms are very interesting from the stand-point of their implied aesthecity or durability of the buildiṇg.

Dr. Acharya says:

“The technical names of the proportions of the height are significant. The first one is called ‘śāntika’ or peaceful. In this proportion the height is equal to the breadth (M., XXXV line 22); and this is aesthetically a graceful proportion. The second one is called ‘pauṣṭika’ which might be rendered as strong, eminent, rich, complete, or perfect. In this proprotion the height is 1¼ of the breadth (ibid., line 22); and this would give the building good stability. The third one is called ‘jayada’ or joy-giving. In this proporation the heigh is 1½ of the breadth (ibid, line 22), and this gives a pleasant appearance to the building. The fourth one has two names, ‘sarva-kāmika’, or good in every way, and ‘dhanada’ or wealth-giving In this proportion the height is 1¾ of the breadth (ibid., line 23) and according to the literal meaning of the term ‘sārvakāmika’ this would make the building strong as well as beautiful. The fifth or last one is called ‘adbhuta’ or marvellous. In this proportion the height is twice the breadth (ibid,, Jine 22); and this would give a wonderful loftiness and gorgeous look to the building.”

With this general introduction let us treat this subject in more details from the evidences of the principal texts like the Mānasāra and the Samarāṅgaṇasūtradhara. Let us first begin with that culled from the Mānasāra.

Aṅgula.—

Aṅgula, the standard of measurement, is a measure of about three-fourths of an inch as the hasta may be taken for easy computation at exactly 18 inches which gives ¾ inch as the value of the aṅgula. Three kinds of aṅgulas are: Uttama, the longest, Madhyama, the intermediate and Kaniṣṭha, the smallest, and the Suprabhedāgama has an interesting list of synonyms of number of aṅgulas and the following tabulation from Acharyas Encyclopaedia may be purviewed:

One aṅgula is called bindu, mokṣa.
Two aṅgulas are called kalā (elsewhere it is the name of one aṅgula), kolaka, padma, akṣi, aśvinī.
Three aṅgulas are called rudrākṣi, agni, guṇa, śūla (and) Vidyā.
Four aṅgulas are called yoga (and) bhāga, Veda, and turīya.
Five aṅgulas are called rudrānana, indriya, bhūta, and vāṇa.
Six aṅgulas are called karman, aṅga, ayana, and rasa.
Seven aṅgulas are called pātāla, muni, dhātu and abdhi.
Eight aṅgulas are called vasu, lokeśa, and mūrti.
Nine aṅgulas are called dvāra, sūtra, graha, and śakti.
Ten aṅgulas are called dik, nāḍī, āyudha, and prādurbhāva.
Twenty aṅgulas are called trishu [tṛṣu?] (and) vishku [viṣku?].
Thirty aṅgulas are called gati.
Forty aṅgulas are called trijagat (?)
Fifty aṅgulas are called śakvarī.
Sixty aṅgulas are called atiśakvarī.
Seventy aṅgulas are called yaṣṭī.
Eighty aṅgulas are called atyaṣṭi [atyaṣṭī?].
Ninety aṅgulas are called dhṛti
Hundred aṅgulas are called atidhṛti.

Hasta.—

Hasta, the bigger standard is constituted by the aṅgulas. Hence avoiding the details of Aṅgula as are stated in the Mānasāra, let us concentrate on the evidence of the Samarāṅgaṇasūtradhāra

Proportionate measurements being the very essence of the architectural planning, the author of the Samarāṅgaṇasūtradhāra devotes a separate chapter to this. The unit of the measurement in architecture is Hasta. It is defined as the instrument of all Vāstus, the only basis of all the actions (pertaining of course to the constructions, etc.);the only medium through which all the proportions of measurements can be ascertained. It is of three kinds—superior, ordinary and inferior.

The units of absolute measurements being:—

8 Reṇus = 1 Bālāgra
8 Bālāgras = 1 Likṣā
8 Likṣās = 1 Yūkā
8 Yūkās = 1 Yava-madhya
8 Yavamadhyas = 1 Aṅgula called Prāśaya
7 Yavamadhyas = 1 Aṅgula [?] called Sādhāraṇa
6 Yavamadhyas = 1 Aṅgula [?] called Mātrāśaya
24 Aṅgulas = 1 Hasta i.e. the modern foot.

This Hasta consists of 8 parts (Parvas), the middle half should be indicated and the remaining portion to be divided into divisions of Aṅgulas. All the Aṅgulas should be indicated by lines, only three of which are to be decorated with flowers and others left undecorated.

After this, certain trees of which this rod should be made are enumerated together with the trees unfit to be employed in its construction. The Parva-rekhās (the lines) of this yard-stick are said to have the presiding deities beginning from the centre, the place of Brahmā,

Directions are given with regard to the use of these different kinds of yard-sticks:—

The superior yard stick called Prāśaya is to be employed in the measurement of Prāsāda, temples, Veśma, the large buildings, drenches, moats, gates, Rathyā, Sabhā, etc. The middle type called Sādhāraṇa is employed in measuring Talocchrāyas, Mūlapādas, subterranean water reservoirs, Dolās, rock-cut temples and Suraṅgas etc., while the inferior one called Mātrāśaya is fit to measure the weapons, the rod of the bow, conveyances, cots and couches, wells, vāpīs elephants, horses, araghaṭṭekṣu-yantras, chatra, dhvaja etc. etc.

Other units of measurements are now described:—

1 Aṅgula = 1 Mātrā
2 Aṅgula = 1 Kalā
3 Aṅgula = 1 Parva
4 Aṅgula = 1 Muṣṭi
5 Aṅgula = 1 Tala
67 AṅgulaAṅgula = 1 Hasta= 1 Diṣṭi
89 Aṅgula = 1 Tūṇi= 1 Prādeśa
10 Aṅgula = 1 Śayatāla
11 Aṅgula = 1 Gokarṇa
12 Aṅgulas make one Vitasti
14 Aṅgulas make one Pāda
21 Aṅgulas make one Ratni
24 Aṅgulas make one Aratni
42 Aṅgulas make one Kiṣku
84 Aṅgulas make one Vyāma or Puruṣa
96 Aṅgulas make one Cāpa or Nāḍīyuga
106 Aṅgulas make one Daṇḍa
30 Dhanusas make one Nalva1000 Dhanusas make one Krośa2000 Dhanusas make one Gavyūti4 Gavyūtis make one Yojana

Another interesting item of the description (of Arithmetic) is the 20 numbers.

1. One — 1
2. Ten — 10
3. Hundred — 100
4. Thousand — 1000
5. Ayuta — 10000
6. Nivuta — 100000
7. Prayuta — 1000000
8. Arbuda — 10000000
9. Nyarbuda — 100000000
10. Bṛnda — 1000000000
11. Kharva — 10000000000
12. Nikharva — 100000000000
13. Śaṅkha — 1000000000000
14. Padma — 10000000000000
15. Amburāśi — 100000000000000
16. Madhya — 1000000000000000
17. Antya — 10000000000000000
18. Para — 100000000000000000
19. Apara — 1000000000000000000
20. Parārdha — 10000000000000000000

In the end are given the details of ten units—the time numbers (Kāla-saṅkhyā):—

1 Eye-twinkling = 1 Nimeṣa
15 Nimeṣas = Kāṣṭhā
30 Kāṣṭhās = Kalā
30 Kalās = Muhūrta
30 Muhūrtas = Day and night
15 Ahorātras i.e. days and nights = Pakṣa
2 Pakṣas = One month
2 Māsas = One Ṛtu
3 Ṛtus = One Ayana
2 Ayanas = One year