Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v1.c6.s24: Bh

Mānasāra Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Mānasāra-Śilpaśāstra; III. Mānasāra on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Mānasāra: Translation; V. Architecture of Mānasāra: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v1.c6.s24

Language: English

Bh

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BHAKTA—A devotee, a faithful worshipper, a class of sages. Description of their images (M. chap. LIX, named Bhakta): The devotees are divided into four classes, namely Sālokya, Sāmīpya, Sārūpya, and Sāyujya (lines 3-4). The Sālokyas are those who specialize in devotion, knowledge and renunciation (vairāgya) (5). The Sāmīpyas specialize in knowledge and renunciation (6). The Sārūpyas are distinguished as those who are devoted to the meditation of God (7). And the Sāyujyas are those who have acquired the true knowledge (of God) and are aware of the final beatitude (paramārtha) (8). The limbs of the Sālokya class of great men are measured in the largest type of the nava-tāla system (9). The Sāmīpyas are measured in the smallest type of the daśa-tāla system (10).

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The Sārūpyas are measured in the intermediate type of the daśa-tāla system (11). And the Sāyujyas are measured in the largest type of the daśa-tāla system (12).

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(For details of these measures see Tāla-māna).

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BHANGA—A pose in which an image is carved.

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There are four bhaṅgas or poses, namely, sama-banga, ābhaṅga, ati-bhaṅga (M. LVII. 98), and tri-bhaṅga (ibid. 125).

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" In this (Sama-bhaṅga) type the right and left of the figure are disposed symmetrically, the sūtra or plumb-line passing through the naval, from the crown of the head to a point midway between the heels. In other words, the figure whether seated or standing, is poised firmly on both legs without inclining in any way to right or left. Images of Buddha, Sūrya (sun) and Vishṇu are generally made to follow this scheme of rigid, vertical symmetry. The dispositions or attitudes of the limbs and organs on either side are made exactly similar, except that the mudrā or symbolical posing of the fingers is different. "

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" In such a (Ābhaṅga) figure the plumb-line or the centre-line, from the crown of the head to a point midway between the heels, passes slightly to the right of the naval. In other words, the upper half of the figure is made to incline slightly towards its right side, without inclining in any way towards either of the attendant deities. The Śaktis or attendant deities are two male and two female Tri-bhaṅgas placed on either side with their heads inclined inwards towards the principal figure. The figures on either side are exactly similar in poise, except that one is a reverse or reflex of the other. This is a necessary condition as otherwise one of the figures would lean away from the central figure, and spoil the balance and harmony of the whole group. "

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‘ A Tri-bhaṅga figure had its head and hips displaced about one aṁśa to the right or left of the centre line. "

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" This (Ati-bhaṅga) is really an emphasised form of the Tri-bhaṅga, the sweep of the Tri-bhaṅga curve being considerably enhanced. The upper portion of the body above the hips, or

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the limbs below, are thrown to right or left, backwards or forwards, like a tree caught in a storm. This type is usually seen in such representations as Śiva's dance of destruction, and fighting gods and demons, and is specially adapted to the portrayal of violent action, of the impetus of the Tāṇḍava dancing, etc."
(Translated by S. Ray, Modern Review, March, 1914, p. 1 f).

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BHADRA—(cf. Sarvato-bhadra and Mukha-bhadra)—A type of portico, a moulding, the general epithet of chariots, a type of building.

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(1) A moulding of the base (M. xiv. 345, see the lists of mouldings under Adhishṭhāna).

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A kind of portico :

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In connection with buildings of one to twelve storeys :

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Ekaṁ vā dvi-tri-daṇḍena nirgamaṁ bhadraṁ eva vā |
(M. xix. 56).

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Cf. Madhya-bhadra (M. xix. 177).

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Toraṇair nīḍa-bhadrādi-mūle chordhve cha bhūshitam |
(M. xx. 64).

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In connection with pavilions (maṇḍapas) :

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Chatur-dig-bhadra-vistāram eka-bhāgena nirgamam |
(M. xxxiv. 76).

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In connection with halls (śālās) :

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Śālāyāḥ parito'lindaṁ prishṭhato bhadra-saṁyutam |
(M. xxxv. 40).
Dvi-chatur-bhāga-vistāraṁ pārśvayor bhadra-saṁyutam |
Prishṭhe cha dvyaika-bhāgena bhadraṁ kuryād vichakshaṇaḥ |
(Ibid. 322-323).

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In connection with chariots :

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Chatur-dikshu chatur-bhadraṁ syāt |
Bhadra-madhye tu bhadraṁ syāt...........|
Yuktyā bhadraṁ sarveshāṁ nāsikā-yuktaṁ eva vā |

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Bhadra is the general name for chariot (ratha) : Nivāta-bhadra, Pavana-bhadra, Prabhañjana-bhadra, Nabhasvān-bhadra, etc.

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In connection with dolā (palanquin or hammock) :

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Purato prishṭhato madhye parva (?darpa)ṇaṁ bhadra-saṁyutam।
(M. L. 165).
Chatur-dikshu sa-bhadraṁ vā chaika-dvyaṁśena nimnakam ।
(Ibid. 284).

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(2) Āyataḥ syāt tribhir bhāgair bhadra-yukta-suśobhanaḥ ।
(Matsya-Purāṇa, chap. 269, v. 5).

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(3) Maṇḍapasya chaturthāṁśād bhadraḥ kāryyo vijānatā ॥
Maṇḍapās tasya karttavyā bhadrais tribhir alaṅkritāḥ ॥
(Garuḍa-Purāṇa, chap. 47, v. 35, 39).

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A type of quadrangular building :

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(4) Agni-Purāṇa (chap. 104, v. 14-15, see under Prāsāda).

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(5) Garuḍa-Purāṇa (chap. 47, v. 24-25, see under Prāsāda).

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(6) Vi-bhadrā vā sa-bhadrā vā kartavyā mālikā budhaiḥ ॥
Sa-bhadrā vā vi-bhadrā vā khalūri syād yatheshṭataḥ ॥
(Kāmikāgama, XXXV. 100, 106).
Śālānanaṁ prakartavyam eka-dvyaṁśa-vinirmitam ।
Tad-tad-agre prakartavyaṁ vāre bhadrasya paśchime ॥
(Ibid. XLV. 35).
Chatur-dig-bhadra-saṁyuktaṁ dvāra-jālaka-śobhitam ॥
(Ibid. XLI. 26).

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A class of buildings (Ibid. XLV. 41, see under Mālikā).

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BHADRAKA—The general name for chariots.

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(M. XLIII. 112-116, see under Bhadra).

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BHADRA-PAṬṬA—A moulding of the base.

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(M. XIV. 345, see the lists of mouldings under Adhishṭhāna).

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BHADRA-PĪṬHA—A type of pedestal of the phallus or an image.

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(M. LIII. 34, see under Pīṭha).

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The pedestal of an image (M. LIV. 129, 173).

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BHADRA-MAṆḌAPA—A type of pavilion. Cf. Maṇḍapaṁ bhadram ity-uktaṁ bāhya(dhānya)-nikshepa-yogya-kam। (M. xxxiv. 190). See Bilvanātheśvara Inscrip. of Vīra-champa (verses, 1, 2, 3, Ep. Ind. vol. iii. pp. 70, 71 ; see under Maṇḍapa).

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BHADRA-ŚĀLĀ—A type of hall, a front room, a drawing room. In connection with the eight-storeyed buildings : Netra-śālārdha-śālā cha bhadra-śālādi-bhūshitam। (M. xxvi. 67, etc).

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BHADRĀSANA—A kind of throne, a chair of state, a great seat. (M. xlv. 14, etc).

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BHAVANA—An abode, a residence, a dwelling, a site, a building, a mansion. A kind of rectangular building :
(1) Agni-Purāṇa (chap. 104, v. 16-17, see under Prāsāda).
(2) Garuḍa-Purāṇa (chap. 47. v. 21-22, 26-27 see under Prāsāda).
(3) Maṇḍapaṁ nava-talaṁ kuryād bhavanam anya-raṅgaṁ vādhi-maṇḍapākāram। (M. xi. 144).
(4) Tenedaṁ Parameśvarsya bhavanaṁ dharmmātmanā kāri-tam . . . . . kaṇvāśrame। “He, the pious minded, had his dwelling (temple) of the supreme Lord made,...........in the hermitage of Kaṇva.” (Kanaswa Inscrip. of Śivagana, line 11 f., Ind. Ant. vol. xix. pp. 58, 61).
(5) Śubhrābrābhaṁ idaṁ Bhavasya bhavanaṁ kārāpitaṁ bhū-tale। “This temple of Bhava (Śiva), resembling the white cloud (or mountain, snowy Himālayas) was caused to be built on the earth.” (Dhanop Inscrip. of Chachcha, v. 2, Ind. Ant. vol. xl. p. 175).

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BHAVANA-KĀNTA—A class of the ten-storeyed buildings.

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BHĀGA-PAÑCHA—A pavilion with thirty-two pillars. (Matsya-Purāṇa, chap. 270, v. 12, see Maṇḍapa).

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BHĀGA-MĀNA—(cf. Gaṇya-māna)—Proportional measurement. (M. xiii. 43, xviii. 84, xxxiii. 216, 247, etc., see Māna).

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BHĀRA—(see Bhārā and Stambha)—Beams, cross-beams. Probably same as hārā or hārikā, a chain, an ornament (? bead, astragal, baguette, see Gwilt. Encycl. fig. 873) below the neck of the column.

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Stambha-samaṁ bāhulyaṁ bhāra-tulānām upary-upary-āsām |
Bhavati tulopatulānām ūnaṁ pādena pādena ||

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(Bṛihat-saṁhitā, liii. 30). Dr. Kern translates ‘bhāra’ by cross-beams (J. R. A. S., N. S., vol. vi. p. 285).

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BHĀRAKA—A support, a synonym of the column. (M. xv. 5, see under Stambha). See Suprabhedāgama (xxxi. 121) under Bhārā.

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BHĀRĀ—(see Bhāra and Hārā)—A support, a beam.
(1) In connection with buildings of one to twelve storeys :

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Chatuḥ-śālā chatush-kūṭaṁ chāshṭa-bhārā sa-pañjaram |

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(M. xx. 72, etc).
(2) Eka-daṇḍāntar-bhārā tu madhya-bhārā dvi-daṇḍataḥ |

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Chatur-daṇḍa-pramāṇena kṛitvā maryyāda-bhittikam ||
Maṇḍale dvārake vātha dvāra-śālāṁ tu bhārake |
Prāsādaṁ madhya-bhārāyāṁ maryyādau harmyam eva cha ||

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(Suprabhedāgama, xxxi. 117, 121; for full context see v. 115-122, under Prākāra).

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BHITTI—A wall, a partition, a support.
(1) Bhittiḥ strī kuḍyam |

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Bhittiḥ kuḍye prabhede cha |

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(2) Purato'lindam ekāṁśaṁ bhittiṁ kuryāt samantataḥ |

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(M. xxxv. 118, compare also xv. 231, xxxviii. 6, xl. 57, lvi. 16, etc).

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(3) Vistārārdhaṁ bhaved garbho bhittayo'nyaḥ samantataḥ | “ The adytum measures half the extent (of the whole) and has its separate walls all around.”

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(Bṛihat-saṁhitā, lvi. 12, J. R. A. S., N. S., vol. vi., p. 318 ; see also Matsya-Purāṇa, chap. 269, v. 8, 9, 12).

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(4) Tri-hastāntaṁ tu vistāro bhittīnāṁ parikīrtitaḥ || Mūla-bhitter idaṁ mānam ūrdhve pādārdha-hīnakam | Anyo'nyam adhikā vāpi nyūnā vā bhittayaḥ samāḥ ||

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(Kāmikāgama, xxxv. 32, 33).

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Tri-bhāgena bhaved garbhaṁ samantād bhittir ishyate || Dvy-adhikena bahir-bhittiḥ śeshaṁ prāgvat prakīrtitam || Liṅge śilānta(-te) cha krodhe bhitti(ḥ) pañchā-(ṁ)śa-varjitaḥ | Kiṁchin nyūnam alindaṁ vā śeshaṁ kuḍyeshu yojayet ||

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(Ibid. l. 82, 86, 87).

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The synonyms of bhitti : . . . . . dvāri kuḍyaṁ cha kuṭṭimam || Bhitter ākhyeyam ākhyātam . . . . . ||

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(Ibid. lv. 199-200).

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(5) Navāṁśaṁ garbha-gehaṁ tu bhitti-mānaṁ tu shoḍaśa || Shoḍaśaṁ bhitti-mānaṁ tu bhittim abhyantaraṁ viduḥ | Tad-bāhyaikaṁ tu salilaṁ tad-bāhyaikaṁ tu bhittikam || Bāhya-bhittau chatur-dvāram athavā dvāram ekataḥ | Anyat sarvaṁ samaṁ proktaṁ stūpy-antaṁ kārayed budhaḥ || Yad uktaṁ bhitti-vistāraṁ bāhyābhyantarayoḥ samam | Bāhye vābhyantare vāpi tri-vidhaṁ bhitti-mānakam || Pīṭhasya tri-guṇaṁ garbhaṁ ta-(t)-tri-bhāgaika-bhittikam ||

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(Suprabhedāgama, xxxi. 4, 6, 7, 8, 12).

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(6) Prāsāda-vara-varyeshu śilāvatsu sugandhishu | Ushitvā meru-kalpeshu kṛita-kāñchana-bhittishu ||

v1.c6.s24.72

(Rāmāyaṇa, ii. 88, 7, etc).

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(7) Atyuchchair bhitti-bhāgair divi divasa-pati-syandanaṁ vā vigṛihṇan yenākāri koṭaḥ—"By whom the fort (in this place) was built, which perhaps may arrest the chariot of the sun in the sky by its (very) high walls." (An Ābu Inscrip. of the reign of Bhīmadeva II, v. 9. Ind. Ant. vol. XI. pp. 221, 222).

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(8) Suttālayada bhittiya māḍisi chavvīsa-tīrttha-karaṁ māḍisidaru। "Śrī Basavi Seṭṭi . . . . . had the wall round the cloisters and the twenty-four Tīrtha-karas made." (Ep. Carnat. vol. II. no. 78, Roman text, p. 62, Transl. p. 151).

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(9) "Koneri, son of.......erected a nava-raṅga of 10 aṅkaṇas, with secure foundation and walls (vajra-bhitti-goḍe) for the god Tirumala of the central street of Malalavāḍi." (Ep. Carnat. vol. IV. Hunsur Taluq, no. I, Transl. p. 83, Roman text, p. 134).

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BHITTI-GṚIHA—A wall-house, a small closet inside the wall resembling a cupboard. (M. XL. 63, etc).

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BHITTI-SOPĀNA—A kind of surrounding steps made through a wall. (See Kauṭilīya-Arthaśāstra under Sopāna).

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BHINNA ŚĀLĀ—A kind of detached building with a balcony in front. (M. xxxv. 98, see under Śālā).

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BHŪ-KĀNTA—A class of storeyed buildings. A class of eight-storeyed buildings (M. xxvi. 3-20, see under Prāsāda). A class of the ten-storeyed buildings (M. xxviii. 6-8, see under Prāsāda).

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BHŪTA-KĀNTA—A class of the five-storeyed buildings.

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BHŪ-DHARA—A type of oval building.

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(2) Garuḍa-Purāṇa (chap. 47. v. 29-30, see under Prāsāda).

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BHŪPA-KĀNTA—A class of the eight-storeyed buildings. (M. xxvi. 22-28, see under Prāsāda).

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BHŪ-PARĪKSHĀ—Testing the site and soil where a village, town or building is constructed.

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All the Vāstu-śāstras have elaborate descriptions on the subject. The principles and details are similar in the treatises examined below.

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(1) The soil of the plot, where a village, town, fort, palace, temple or house is to be built, is examined with regard to its shape, colour, odour, feature, taste and touch (M. iii. 16-32). The elevation of the ground as well as the luxuriant growth of certain plants, trees and grasses on the ground are also examined (M. iv. 4-38). If a plot of land is found to be satisfactory on all or most of these examinations, it should be selected for a village, town, fort, or house, as the case may be. But even after this selection, it would be wise to test the ground by some other ways.

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A square hole of one cubit deep should be dug on the selected site and be filled up with water. After 24 hours the chief architect should mark the condition of the water in the hole. If all the water be dried up by this time, the earth is taken to be very bad. But if, on the other hand, there remains some water in the hole, the selected plot of land would be fit for any building. (M. v. 20-30).

v1.c6.s24.88

Another final test is this that a similar hole is dug on the plot and filled up with the earth taken out of it. If this earth be not quite enough to fill up the hole, the ground is taken to be very bad, but if this earth overfills the hole, the soil is stated to be very good for any building. (M. v. 34-37).

v1.c6.s24.89

The general import of the last two tests seems to be this that in the former case, the very dry land is avoided, while in the latter, very loose or sandy land is said to be unfit for the construction of a building.

v1.c6.s24.90

(2) Bṛihat-saṁhitā, chap. LIII. (ed. Kern, Bibliotheca Ind. A. S. Bengal, new series, nos. 51, 54, 59, 63, 68, 72 and 73) :

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Sita-rakta-pīta-kṛishṇā viprādīnāṁ praśasyate bhūmiḥ ।
Gandhaś cha bhavati yasyā ghṛita-rudhirānnādya-madya-samaḥ ॥ 96
Kuśa-yuktā sara-bahulā dūrvākāśāvṛitā krameṇa mahī ।
Anuvarṇaṁ vṛiddhi-karī madhura-kashāyāmla-kaṭukā cha ॥ 97

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See also v. 85-94 and then compare the last line of 95 :

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Tat tasya bhavati śubhadaṁ yasya cha yasmin mano ramate ।

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“In general the soil (ground) will be suitable to any one whose mind is pleased with it.”

v1.c6.s24.95

Compare also the eleven lines quoted from :

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(3) Garga by the commentary of Bṛihat-saṁhitā, which are again quoted by Dr. Kern.

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(4) “The Viśvak (1,61, sqq.) contains the same rules, but in other words.”

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(5) Part of the corresponding passage from Kāśyapa is quoted by Rām Rāz (Arch. of Hind. p. 17).

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(J. R. A. S., N. S., vol. VI. p. 295, note 2).

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Vāstu-Ratnāvali (a compilation, ed. Jivanatha Jyotishi, 1883 pp. 8, 10) :

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(6) On colour of ground, quotation from Vasishṭha-saṁhitā :

v1.c6.s24.102

Śvetā-śastā dvijendrāṇāṁ raktā bhūmir mahī-bhujām ।
Viśāṁ pītā cha śūdrāṇāṁ kṛishṇānyeshāṁ vimiśritā ॥

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(7) From the Vāstu-pradīpa :

v1.c6.s24.104

Śukla-mṛitsnā cha yā bhūmir brāhmaṇī sā prakīrtitā ।
Kshatriyā rakta-mṛitsnā cha harid-vaiśyā prakīrtitā ॥
Kṛishṇā bhūmir bhavech chhūdrā chaturddhā parikīrtitā ॥

v1.c6.s24.105

(8) On taste, from Nārada :

v1.c6.s24.106

Madhuraṁ kaṭukaṁ tiktaṁ kashāyaṁ cha rashāḥ kramāt ॥

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(9) On smell, from the Gṛiha-kārikā :

v1.c6.s24.108

Ghṛitāsṛig-anna-madyānāṁ gandhaś cha kramaśo bhavet ॥

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(10) On declivity, from Bhṛigu :

v1.c6.s24.110

Udag-ādi plavam ishṭaṁ viprādīnāṁ pradakshiṇenaiva ।
Vipraḥ sarvvatra vased anuvarṇaṁ atheshṭam anyeshāṁ iti ॥

v1.c6.s24.111

(12) Śilpa-dīpaka (ed. Gaṅgādhara, I. 22-23) :

v1.c6.s24.112

Śvetā brāmhaṇa-bhūmikā cha ghṛitavad-gandhā susvādinī ।
Ratkā śonita-gandhinī nṛipati-bhūḥ svāde kashāye cha sā ॥
Svādeʼmlā tila-taila-gandhīr uditā pītā cha vaiśya-mahī ।
Kṛishṇā matsya-sugandhinī cha kaṭukā śudreti bhū-lakshaṇam ॥

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(13) Bhavishya-Purāṇa (chap. 130, v. 42-44) :

v1.c6.s24.114

Ishṭa-gandha-rasopetā nimnā bhūmiḥ praśasyate ।
Śarkarā-tūsha-keśāsthi-kshārāṅgāra-vivarjitā ॥
Megha-dumdubhi-nirghoshā sarva-vīja-prarohiṇī ।
Śuklā raktā tathā pītā kṛishṇā kathitā kshitiḥ ॥
Dvija-rājanya-vaiśyānāṁ śūdrāṇāṁ cha yathā-kramāt ।

v1.c6.s24.115

Then follows the examination proper of the soil (v. 44-45). A pit is dug in the ground and filled up with the sand which is taken out, exactly in the same way as in the Mānasāra. The quality of the soil varies from best to worst as the sand is in excess, equal and less in filling up the pit.

v1.c6.s24.116

BHŪMA—(see Tala)—A storey, a floor.

v1.c6.s24.117

Eka-bhūmaṁ dvi-bhūmaṁ vā kshudrāṇāṁ bhavanaṁ nṛīṇām।
(*Śilpa-śāstra-sāra-saṁgraha*, VIII. 29).

v1.c6.s24.118

BHŪMI-(KA)—(see Tala)—Earth, ground, soil, a place, a region, a spot, a site, a situation, a storey, a floor of a house.

v1.c6.s24.119

(1) In the Mānasāra a chapter (xi) is named Bhūmi-lamba which describes the dimensions of different storeys :

v1.c6.s24.120

Bhūmi-lamba-vidhiṁ vakshye śāstre saṁkshepataḥ kramāt ।
Uktaṁ hi bhūmi-lambaṁ syād ekānta-bhūmikam ।
Etad dvā-daśa-bhumy-antaṁ janmādi-stūpikāntaṁ syāt ।

v1.c6.s24.121

(2) Kshatriyādeḥ pañcha-bhūmir dvijānāṁ rāga-bhūmikam ।

v1.c6.s24.122

(3) Vimāno'strī deva-yāne sapta-bhūmau cha sadmani ।

v1.c6.s24.123

(4) Sapta-bhaumāshta-bhaumaś cha sa dadarśa mahāpurīm ।

v1.c6.s24.124

(5) Ekaiva cha bhūmikā tasya syād ekā tasya cha bhūmikā ।

v1.c6.s24.125

(6) Śata-śṛiṅgaś chatur-dvāro bhūmikā-shoḍaśochchhritaḥ ।

v1.c6.s24.126

(7) Rāja-kanyāṁ . . . . sapta-bhūmika-prāsāda-prānta-gatām ।

v1.c6.s24.127

(8) A floor (Bheraghat Inscrip. of Alhanadevi, v. 27, Ep. Ind. vol. ii. p. 12, 16).

v1.c6.s24.128

BHŪMI-LAMBA—The height of a storey; according to the Kāmikāgama (see below) and the Mānasāra the term implies the dimensions of storeys.

v1.c6.s24.129

(1) The five series of breadth in the smallest type of one-storeyed buildings are 2, 4, 6, 8 and 10 cubits; and the five series of length are 3, 5, 7, 9 and 11 cubits. In the intermediate type the five series of breadth are 5, 7, 9, 11 and 13 cubits and the five series of length 6, 8, 10, 12 and 14 cubits. In the largest type the five series of breadth are 6, 8, 10, 12 and 14 cubits and the five series of length are 7, 9, 11, 13 and 15 cubits.

v1.c6.s24.130

All the twelve storeys are in this way measured separately. (M. XI. 13-125).

v1.c6.s24.131

These are stated to be the dismensions in the Jāti class of buildings.

v1.c6.s24.132

Three-fourths, half and one-fourth of these dismensions are prescribed for the Chhanda, Vikalpa and Ābhāsa classes respectively.

v1.c6.s24.133

(2) Chatur-aṁśādi-saṁsthānaṁ bhūmi-lambam iti smṛitam| (Kāmikāgama, L. 1).

v1.c6.s24.134

Then follow the dismensions of the storeys from one to twelve and sixteen (ibid. v. 2-34). The five proportions of the height of storeys, as ‘bhūmi-lamba’ means, are given under the same five technical names as in the Mānasāra, viz., Śāntika, Poushṭa, Jayada, Adbhuta, and Sarva-kāmika (v. 24, 25-28). The Jāti, Chhanda, Vikalpa and Ābhāsa classes of buildings are also distinguished (v. 9-13).

v1.c6.s24.135

(3) Varāhamihira describes the height, etc., of the buildings of the Brāhmiṇs, kings, ministers and others (Bṛihat-saṁhitā, LIII. 4-26). But the general rule about the height of the storey (bhūmikā) is also given (Bṛihat-saṁhitā, LVI. 29-30) :

v1.c6.s24.136

Bhūmikāṅgula-mānena mayasyāshṭottaraṁ śatam|
Sārdhaṁ hasta-trayaṁ chaiva kathitaṁ viśvakarmaṇā||
Prāhuḥ sthapatayaś chātra matam ekaṁ vipaśchitaḥ|
Kapota-pālī-saṁyuktā nyūnā gachchhanti tulyatām||

v1.c6.s24.137

“A storey's altitude is of 108 digits according to Maya, but Viśvakarman pronounces it to be of three cubits and a half (i.e. 84 digits). As to this, however, able architects have declared that (in reality) there is no discrepancy of opinion, for, if you add the height of the crown-work (kapota-pālī) the smaller number will equal (the greater).” *Dr. Kern*.

v1.c6.s24.138

BHŪ-MUKHA—A type of oval building. (Garuḍa-Purāṇa, chap. 47, v. 29-30, see under Prāsāda).

v1.c6.s24.139

BHŪSHAṆA—A class of storeyed buildings, a type of pavilion, a moulding, articles of furniture, ornaments.

v1.c6.s24.140

A type of oval building (Agni-Purāṇa, chap. 104, v. 19-20, see under Prāsāda).

v1.c6.s24.141

A class of the nine-storeyed buildings (M. xxvii. 13-14, see under Prāsāda).

v1.c6.s24.142

A moulding of the column (M. xv. 93, etc).

v1.c6.s24.143

A type of pavilion :

v1.c6.s24.144

Devānāṁ cha maunārthaṁ bhūshaṇākhyaṁ tu maṇḍapam |
(M. xxxiv. 349).

v1.c6.s24.145

Mānasāra (chap. l. named Bhūshaṇa, 1-309) :

v1.c6.s24.146

The ordinary ornaments for the body are called ‘aṅga-bhūshaṇa’ (lines 1-44, 288-309) and the articles of house-furniture ‘bahir-bhūshaṇa’ (44-288).

v1.c6.s24.147

Ornaments are here divided broadly into four classes, namely, Patra-kalpa, Chitra-kalpa, Ratna-kalpa and Miśrita or Miśra-kalpa (3-4). All these are suited to the deities. The emperor or Chakravartin can put on all these except the Patra-kalpa. The kings called Adhirāja and Narenda can wear both Ratna-kalpa and Miśrita. The Miśra-kalpa is prescribed for all other kings

v1.c6.s24.148

Patra-kalpa is so called because it is made of leaves and creepers. Chitra-kalpa is made of flowers, leaves, paintings, all precious stones and other decorations. The Ratna-kalpa is made of flowers and jewels. And the Miśra-kalpa is made of leaves, jewels and the mixture of all others. These four kinds are specially made for the images of Gods and Kings only (1).

v1.c6.s24.149

The ordinary ornaments of the body include among others Pāda-nūpura (anklet), Kirīṭa (diadem), Mallikā (a jasmine-like ornament), Kuṇḍala (ear-ring), Valaya (bracelet), Mekhalā (belt), Hāra (chain), Kaṅkaṇa (bracelet for the wrist), Śiro-vibhūshaṇa (head-gear), Kiṅkinī (little-bells), Karṇa-bhūshaṇa (ear-rings, etc.), Keyūra (armlet), Tāṭaṅka (large ear-ring), Karṇa (ear-ornament), Chūḍā-maṇi (crest-jewel), Bāla-paṭṭa (little-tiara), Nakshatra-mālā (neck-lace of 27 pearls), Ardha-hāra (half-chain of 64 strings), Suvarṇa-sūtra (gold chain, worn round the breast), Ratna-mālikā (garland of jewels), Chira (a pearl-necklace of four strings), Svarṇa-kañchuka (gold-armour), Hiraṇya-mālikā (gold-chain), Lambahāra (long suspended chain), etc., etc. The ornaments like crown, etc are described elsewhere.

v1.c6.s24.150

The articles of house-furniture include among others Dīpa-daṇḍa (lamp-post), Vyajana (fan), Darpaṇa (mirror), Mañjūshā (basket, wardrobe, almirah, etc), Dolā (swing, hammock, palanquin, etc), Tulā and Tulā-bhāra (balance), Pañjara (cage), and Nīḍa (nest), etc., for the domestic animals (except cows, horses, elephants, described elsewhere) and birds (45-288). The articles of furniture like car, chariot, throne, bedstead, etc., are described elsewhere.

v1.c6.s24.151

BHOGA—A class of the single-storeyed buildings. (M. XIX. 167, see under Prāsāda).

v1.c6.s24.152

BHOGA-MAṆḌAPA—(cf. Maṇḍapa)—The refectory, an appurtenance of the temple. (M. XXXII. 55, etc., see under Maṇḍapa).

v1.c6.s24.153

BHOJANA-MAṬHA—A refectory, a dining-hall.

v1.c6.s24.154

“The meritorious gift of a refectory (bhojana-maṭha) for the community (Saṅgha) by the Yavana Chiṭa (Chaitra) of the gates (or of the Gatā country).”

v1.c6.s24.155

(Junnar Inscrip. no. 8, Arch. Surv. new Imp. series, vol. IV. p. 94).

v1.c6.s24.156

BHAUMA—(see Bhūmi)—A storey, the floor of a house. Dvādaśa-bhauma, daśa-bhauma, shaḍ-bhauma, sapta-bhauma । (Bṛihat-saṁhitā, LVI. 20, 21, 22, 24, 27).

v1.c6.s24.157

BHRAMA—The enclosing cloisters, a covered arcade, an enclosed place of religious retirement, a monastic establishment.

v1.c6.s24.158

“The temple itself, with its enclosing cloisters (bhrama) measures . . . . . The court is surrounded by cloisters (bhamti-bhrama) in which, besides three small temples on the north, south and west sides each in line with the centre of the principal maṇḍapa, there are the orthodox number of fifty-two small shrines

v1.c6.s24.159

(cf. Prākāra and Parivārālaya) each crowned by a śikhara or spire."
"The inner façade of the cloister or bhaṁti (Skr. bhrama) is interrupted only by the three small temples mentioned above, by the large entrance porch on the east, and by smaller entrances on the north and south near the east end. The corridor (alinda) is about nine feet wide all round and is raised by four steps above the level of the court."
"The entrance porch on the east projects considerably and is flanked inside by stairs, in line with the bhaṁti (bhrama) on each side . . . . . "

Linked texts (13)

Suprabhedāgama — Sanskrit
Bṛhatsaṃhitā — Varāhamihira, Sanskrit
Vālmīkirāmāyaṇa — Vālmīki, Sanskrit
Agnipurāṇa — Vyāsa, Sanskrit
Kāmikāgama — Sanskrit
Garuḍapurāṇa — Vyāsa, Sanskrit
Matsyapurāṇa — Vyāsa, Sanskrit
Kāśyapasaṃhitā (Vṛddhajīvakīyatantra) — Mārīca Kaśyapa & Vātsya, Sanskrit
Bhaviṣyapurāṇa — Vyāsa, Sanskrit
Epigraphia Carnatica
Vāstuśāstra (Giridhara) — Giridhara, Sanskrit
Vāsturatnāvalī — Jīva 1821, Sanskrit
Dhanop Inscription of Chachcha — Sanskrit