Part 7.7 - Catuḥśālā-vidhāna (Houses comprising with four main buildings)

[Full title: Details regarding Houses (śālāvidhāna) (7) Catuḥśālā-vidhāna (Houses comprising with four main buildings)]

The width of the four main building houses should be measured from nine or ten cubits up to sixty-five or sixty-six cubits by the successive increments of two cubits. Therefore, twenty-nine types of width are possible for the construction of four main buildings houses. Among them first fourteen types should be used to make uncovered central court.

There are five kinds of catuḥśālā have been found in the text Mayamata. They are—

1. Sarvatabhadra;
2. Vardhamāna;
3. Svastika;
4. Nandyāvarta;
5. Rucaka;

1. Sarvatabhadra type of house:

The word sarvatobhadra essentially refers to a four-faced construction in vāstuvidyā. The term can be broken down as follows: 

“Sarvato bhadrāni mukhāni yasya iti sarvatobhadra”, 

Which means one who has auspicious faces (aspects) from all sides is called Sarvatobhadra. Bṛhatsaṃhitā provides a definition for a Sarvatobhadra house. 

It is stated that: 

dvārairyutaścaturbhibahu-śikharo bhabati sarvotabhadraḥ | (Bṛhatsaṃhitā 56.27)

[“The sarvatobhadra has four doors, many domes, many beautiful dormer-windows and five storeys, its breadth being twenty 26 cubits.”]^[1]

Therefore four-faced constructions are generally known as sarvatabhadra. P. K. Acharya explains the word in his dictionary as: “A type of building, pavilion, hall, entablature, window, phallus; a joinery, a four-fold image one on each side of a four-faced column; a village, a town, having a surrounding road and entrances on four sides; a house furnished with surrounding terraces.”^[2]

Maya classifies sarvatobhadra house into five categories. They are-

a) First sarvatobhadra house.
b) Second sarvatobhadra house.
c) Third sarvatobhadra house.
d) Fourth sarvatobhadra house.
e) Fifth sarvatobhadra house.

a) First sarvatobhadra house:

The width of this house should be divided into eight parts. The central two parts are is to be used to make a courtyard (madhyamāṅganaṃ). There is a passage around the courtyard which should be measured by half part. This passage creates a link between the four main buildings. Hence the shape of the house would be square. Maya prescribes that there are four outward rooms (sabhāsthānaṃ) that should be built at the four corners of the house and a gallery should be built in each side of these outward rooms. The master’s chamber room should be constructed at east or west side of the main building. So that it can provide enough air and light inside the room. In the walls of the master’s room there should be of a kulyābhadvāra that join the rooms with the rooms of master’s wives. The word kulyābhadvāra is quite ambiguous. 

B. Dagens refered to the texts Kāmikāgama where it is suggested that:

kabhitterdakṣiṇe bhāge svāmyāvāsaḥ praśasyate ||
uttare raṅgamityuktaṃ gṛhiṇyā gṛhaṃ bhabet |
kabhittyāśrayato dvāradvayaṃ kulyābhamiṣyate ||

(Kāmikāgama I. 35. 47-48)

[“To the south [or to the right] of the partition wall is the room of the master of the house; to the north [or to the left] is the gynaecium: thus it is called the lodging of the mistress of the house. The double door (?) pierced in the partition wall is called “vaulted door”. Dvāradvaya (double door) makes problem: it can be a double-leaf door or, more probably, two single-leaf doors placed on both sides of the partition wall.”^[3]

The outside walls of the master chamber are to be decorated with bahirjālakuḍya (latticed window) and the interior face of the walls should be oriented by pillars. The latticed window is a type of window which makes the building more beautiful and also circulates air and light into the building properly.

The doors of the building should be constructed by two different kinds of shutters, one is jālaka (latticed shutter) on the exterior side and other is kabāta (plain shutter) on the interior side. There are eight gabbles in this house and the ridge beams of the house should be oriented across to right angles. The four corners of this square shaped house, built by four associated buildings, are mentioned by Maya as Bhadra (face). In each bhadra a ardhasabhāmukha should be created. 

B. Dagens explains ardhasabhāmukha by–

“These forepart are similar to the outward corners rooms, but their backside is applied against the wall of the main building, hence they look like engaged structures of which the front half part only is visible.”^[4]  

The projecting room (sabhākakṣa) is to be assembled inside of the corner (antabhadra). A pediment should be made with ‘andhakoti’ and lean-to (daṇḍikāvāra) in all around. In this building the roof should be bordered by nivrapattikā. 

Maya says that—

parito daṇḍikāvāraṃ śikhare nivrapattikā | (Mayamata 26.79)

The entablature of the building should be decorated with false dormer windows and stereobate (antaraprastara). The beam, rafters, doors etc arrange in same order. It is stated that all empty places should be measured as a pavilion. This type of building constructed with one or more storeyed and it is suitable foe gods, brāhmins and kings.

Maya says that:

devadvija nṛpāṇaṃ ca vāsayogyaṃ sanātanaṃ | (Mayamata 26.82)

It is mentioned that this sarvatobhadra building has eight gabbles. Among them last gabbles should be arranged at right part of the building. An attick (grīvā) should be executed above the each gabble. All ridge beams should be placed at the same level, so that the height of all four buildings would be the same. Maya states that loggias (kūta) should be constructed above the forepart of the building. Kūta or loggias is a small room or gallery which is opened from one or more sides. This loggia is accessible from inside as well as on the outside with gabble.

Maya said that–

bhadrordhvamukhakūṭaṃ syādantardvāraṃ vahimukhaṃ |
etattu sarvatobhadraṃ rājñāmāvāsayogyakaṃ || (Mayamata 26.85)

Thus, the first type of sarvotabhadra building should be built and it is suitable for king.

2. Vardhamāṇa type of house:

The word vardhamāna derived from the root vṛdh with the suffix śānac. It means to growing or to increasing. In this context the word vardhamāna encompasses with the various field of vāstuvidyā. It refers to a type of building, a type of entablature, joinery etc. 

According to the P. K Acharya dictionary the word vardhamāna indicates—

“A class of building, a type of hall, a kind of phallus, an entablature, a joinery.”^[5]

Here Bṛhatsaṃhitā mentions a definition of vardhamāna houses.

It is stated that—

dvārālindo’ntagataḥ pradakṣiṇo’nyaḥ śubhastataścānyaḥ |
tadvacca vardhamāne dvārantu na dakṣikāryaṃ || (Bṛhatsaṃhitā 53.33)

[“The front verandah of the main building should extend from the left hall to the right hall. Another verandah is made thence from left to right and still another beautiful one from there in the same manner. A building with such verandahs is known as vardhamāna, which should not have an entrance in the south.”]^[6]

Maya classifies this house into seven categories. They are-

a) First vardhamāṇa house;
b) Second vardhamāṇa house;
c) Third vardhamāṇa house;
d) Fourth vardhamāṇa house;
e) Fifth vardhamāṇa house;
f) Sixth vardhamāṇa house;
g) Seven vardhamāṇa house.

Here we provide the detailed description of the first vardhamāna house.

a) First vardhamāṇa house:

The total width of first vardhamāṇa house is divided into six parts. Among them two parts should be used for main buildings and two parts for central courtyard. A wall, all around of the outside of the buildings is to be erected. The eastside building is considered as the principal one which should have a passage in the front eastern part. The main building of this construction is to be decorated with median partition and vaulted door.

In the west, the main building should be constructed with two gables. The building in the east (compared to the building in the west) is somewhat lower and longer and it should be constructed with elongated front entrance (dirghānanāvitā). In the middle section of the main building, there is a porch with two parts, each extending out in one direction. In this building, small pillars are constructed in such a way that it looks beautiful. At the corner, a staircase with a spiral shape (śaṅkhāvarta), narrowing from bottom to top, is constructed with two parts.

This type of vardhamāṇa house should be adorned with nāsikātoraṇa (dormer windows), toraṇa (arcatures), stambha (pillars), jālka (latticed windows) etc. Its decoration should also include elements similar to those of a temple, even they are not described here but were mentioned earlier (in the text Mayamata, chap.19-22). This building can have one, two, or three storeys. 

If it is constructed for a king, there should be no door in the north direction.

ekadvitalopetaṃ nodagdvāraṃ mahībhṛtaṃ | (Mayamata 26.109)

[“This house has one, two, or three storeys; if it is intended for kings, its door is not to be in the north”]^[7]

The reason for not having a door in the north direction is that the north direction is associated with the deity of wealth, Kubera. It is believed that having an entryway in this direction could lead to an outflow of wealth and prosperity, which is undesirable for a ruler's palace. The north is traditionally considered a direction of stability and protection. Having a solid, uninterrupted wall in the north direction enhances the strength and security of the building, providing a sense of safety and stability to the king.

3. First Nandyāvarta house:

The present text mentions four types of caturḥśālā-bhavanas Nandyāvarta is one of them. It appears that in various contexts, the word Nandyāvarta is used as an umbrella term that includes pavilions, villages, ground plans, joinery, windows, phalluses, and entablatures. Therefore, the term is quite versatile and may have different interpretations depending on the context in which it is used. According to the P.K. Acharya^[8] Nandyāvartya also denotes a class of six-storeyed building.

Bṛhatsaṃhitā records a definition of Nandyāvarta building. It is stated that:

nandyāvartaalindaiḥ śālā-kuḍyāt pradakṣiṇātargataḥ |
dvāraṃ paścimaṃ asmin vihāya śeshaṃ kāryāṇi || (Bṛhatsaṃhitā 53.32)

[“Nandyāvarta is the name of a building with terraces that extend from the wall of the room to the extremity in a direction from east to south (alias from left to right). It must have doors on every side, except the west.”]^[9]

Matsyapurāṇa also states that—

paścimadvārahinaṃ tu nandyāvartta pracakṣate || (Matsyapurāṇa 256.2)

[“Nandyāvarta is called, if the building designs without western door.”]^[10]

‘Nandī āvartto yatra iti nandhyāvarta’. (Vācaspatyaṃ. Vol. 5. P. 529 ). Here the word nandī refers to the vehicle of lord Śiva.

Kāmikāgama and many other texts of vāstuśāstra also recorded this word. Hence, Maya presents here the arrangement and decoration of the first nandyāvarta house.

The total width of the house should be divided into six parts. Among them, the median two parts can be used to make the courtyard. Thereafter, the main building of the construction takes up two parts. The main building should be constructed with an exterior gallery and walls that are appropriate to the nandyāvarta shape. When the building is built for kings, there should not be any door intended to the north side. Otherwise, in general there should be four doors i.e., one door on each side. These doors should have latticed shutters, both in inside and outside. The main building of the construction comprises an interior partition wall attached with a vaulted door. There is a caṅkamaṇa^[11] at the front facade of the construction. The facade of main building has a half-aediculashaped (ardhakūtākṛti) forepart. The roof of this nandyāvarta building is to be designed as a pent-roof supported by consoles. The other features of this building follow the arrangement of the palace architecture.

Maya states that this house is suitable for all four castes. When it is made for vaiśya and śūdra, the main facade is to be built in the east side. This building can be built with a maximum of three storeys. All other features of nandyāvarta house, i.e. the pillars, base, etc., follow the structure as of sarvatobhadra house.

The present text Mayamata records five kinds of nandyāvarta house. All these buildings have some special features. Each type holds its uniqueness according to its special features in the construction of roof, walls, doors, gabbles, veranda etc.

4. Svastika house:

In Hindu culture, svastika is an auspicious sign made by four lines or arms that cross each other to a particular dimention. In architecture, if four or more buildings, joined with each other, make similar shape, it is known as a svastika house. The same nomenclature i.e., Svastika is also applicable for windows, pavilions, or joinery if they make the same shape. 

The text Bṛhatsaṃhitā states that:

aparo’ntagto’lindaḥ prāgantagatau tadutthitau cānyau |
tadavadhivivṛtaścānyaḥ prāgdvāraṃ svastike’śubhapadaṃ || (Bṛhatsaṃhitā 53.34)

[“In the svastika mansion, the western verandah should extend from the left hall to the right one; the other two verandahs (southern and northern) originating from the above should touch the end in the east, and a fourth one (the eastern) is held between them. Such a mansion with an eastern entrance is favorable."]^[12]

The Agnipurāṇa also mentions the term Svastika in the chapter of prāsādalakṣaṇa.

vajraṃ cakraṃ tathā cānyad svastikaṃ vajrasvastikaṃ ||
citraṃ svastikakhaṅgaṃ ca gadā sṛīkaṇṭha eva ca |
vijayo nāmataścaite triviṣṭapasamudbhūvā || (Agnipurāṇa 104.20-21)

[“Vajra, cakra, svastika, vajrasvastika, citra, avstika-khaḍga, gadā, śrikaṇṭha and vijaya are the names of those which belong to triviṣṭapa.”]^[13]

Maya refers to the following features of the Svastika house:

The total width of the building should be divided into six parts. Among them, two parts are used to construct the central courtyard, and two parts should be used for the main building. There is a vaulted door in the main building. The back and front sides of the building will be decorated with elongated outward construction. The side facade of the building should be associated with some kind of square shaped construction. This square shaped construction is mentioned as karkariśāla, which is again attached with pediments or mukhapattikā. 

Maya states that—

pakṣake karkarīśālā mukhapattikayāvitā | (Mayamataṃ 26.179)

At the back side of the building, where the elongated construction is placed, there should not be any pediments. It contains a lean-to (daṇḍikāvāra), six gables, and foreparts. If any svastika house is eastfaced, it is suitable for vaiśya and śūdra. According to vāstuśāstras, different directions possess different energies and elements; hence the position of a house or building can influence various aspects of life, including the occupation or social class of its inhabitants. When a house faces east, it's believed that this type of building auspicious for people of the vaiśyas and śūdras. The reasons can be attributed to several factors:

Solar Energy: 

The east direction is associated with the rising sun, which symbolizes new beginnings, growth, and prosperity. It is believed that by facing east, the inhabitants of the house achieve positive solar energy, which is helpful to productivity and prosperity, especially for those who are engaged in agricultural or business activities.

In Hindu culture, the east direction holds immense significance. It is associated with deities like Sūrya (the sun god) and Indra (the king of gods). These deities are representing positive power, develop and abundance of good wishes. Therefore, a facing east house is considered blessed and auspicious for the inhabitants, especially those engaged in occupations related to commerce, trade, and agriculture. It's important to note that these beliefs and practices are deeply rooted in cultural and religious traditions.

Other type of Svastika house:

The width of this house should be divided into twelve, fourteen, or eighteen parts. It also includes a central court, exterior verandah, big courtyard, and a big gallery. The main building of the construction takes up two parts. The other elements of the building, such as doors, pillars, walls, and forepart, should be arranged as required. The shape of the roof can be designed as a śālākāra (wagon-roof), sabhākāra (hipped roof), or harmyāṅga (flat roof). The other features of this building should be built as mentioned earlier.

5. Rucaka house:^[14]

Rucaka represents the final variant among the four main building houses (catuḥśāla-bhavana). Vāstuśāstra offers various definitions and descriptions of the rucaka building.

One such definition is referenced in the Bṛhatsaṃhitā text—

prākpaścaimāvalindāvantagatau tadavadhi stitau śeṣau |
rucake dvāraṃ na śubhadamuttarato’nyāni śastāni || (Bṛhatsaṃhitā, 53.35)

[“In the Rucaka type of building, there are two verandahs touching the ends, in the east and west; and touching these two internally, there are two more. In this a northern entrance is not auspicious; while in the other quarters they are good.”]^[15]

Maya defines Rucaka building–

nirviṣṭāḥ koṭisaṃyuktāḥ karṇe sopānasaṃyutā |
rucakākhyā vicitrāṅgā nodvārāḥ prakīrtitāḥ || (Mayamata 26.186)

A house becomes a rucaka when its ridge beams do not cross each other; through they meet each other in the corner rafters (nirviṣṭha). Stairways are found at the corners, and they are joined with decorative elements are included in the design. It's noted that there is no door on the north side. In the context of roofing the term viṣṭa also find in twenty seventh and twenty ninth chapter of Mayamata. B. Dagens refers that–“the manuscripts as well as Trivandrum and Tanjore editions give various readings (niṣpaṣṭaṭāḥ, niṣpaṭāḥ, niṣpakṣāḥ, niṣpaṭṭāḥ) which seem to be meaningless in the context. On the other hand, we find chapter (v.58) saviṣṭa in relation with roofing as here. We suppose that viṣṭa is a sanskritization of Tam. Viṭṭa (‘cross beam’, according to Tam. Lex.).”^[16] As the north side is regarded as the place of Yama (the deity of death) making of door in northern side is prohibited. Maya says that this rucaka building is suitable for heterodox, Brahmins, and all other classes, including gods. May be the all inclusive and adaptable feature of the design of Rucaka house makes it suitable for all classes and castes.

Footnotes and references:

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[1]:

V. Subrahmanya Sastri, Bṛhatsaṃhitā, p. 499

[2]:

P.K. Acharya, A dictionary of Hindu Architecture, series.1. p.624

[3]:

B.Dagens, Mayamta, vol.2. p. 523

[4]:

B.Dagens, Mayamata, vol. 2 p. 537

[5]:

P.K. Acharya, A Dictionary of Hindu Architecture, series.1. p. 536.

[6]:

V. Subrahmanya Sastri, Bṛhatsaṃhitā, p.431.

[7]:

B. Dagens, Mayamata, vol. 2. P.543

[8]:

P.K. Acharya, A Dictionary of Hindu Architecture, series.1. p. 294

[9]:

P.K. Acharya, A Dictionary of Hindu Architecture, series.1. p. 295

[10]:

Translated by the reasearcher.

[11]:

See above, p. 189

[12]:

V. Subrahmanya Sastri, Bṛhatsaṃhitā, p. 431

[13]:

The Agnipurāṇa, Motilal Banarsidass, part-1, p. 315

[14]:

See figure, 12

[15]:

V. Subrahmanya Sastri, Bṛhatsaṃhitā, p. 431

[16]:

B. Dagens, Mayamata, vol. 2. P-559 (see foot note 103).