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) v2.c14.s36: Chapter XLIX: Crowns and Coronation (Abhisheka-lakshaṇa-vidhāna)
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) v2.c14.s36
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Chapter XLIX: Crowns and Coronation (Abhisheka-lakshaṇa-vidhāna)
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The chapter is divided into two parts: the first part describes the crowns of gods and kings, and the second deals with the ceremonies of the coronation of kings.
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The chapter opens very unusually with the description of the lavish presents to be made to the architects. These gifts consist, among other things, of girls, wealth, land, houses, and servants, both male and female.
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After this introduction there follows an enumeration of the various headdresses used by gods and kings, namely, *jaṭā*, *mauli*, *kirīṭa*, *karaṇḍa*, *śirastraka*, *kuṇḍala* (*kuntala*?), *keśa-bandha*, *dhammilla*, *alaka*, *chūḍā*, *makuṭa* and *paṭṭa* (turban).
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Of these the last-mentioned is subdivided into three kinds, called foliated, jewelled, and floral turbans (*patra-paṭṭa*, *ratna-paṭṭa*, and *pushpa-paṭṭa*).
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The *jaṭā* (matted hair) and the *mukuṭa* (lit. diadem) are said to suit Brahmā and Śiva. The *kirīṭa* and *mukuṭa* are suited to Nārāyaṇa (i.e., Vishṇu). Other minor gods wear the *karaṇḍa* and *mukuṭa*. The love-goddess, Rati (Manonmanī), wears a *jaṭā*, *mauli*, *maṇḍala* or *kuṇḍala*. Sarasvatī and Sāvitrī put on a *keśabandha* and a *kuṇḍala*. All the female deities may wear a *karaṇḍa* or *mukuṭa*.
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Among the kings, the *chakravartin* (*sārvabhauma*) and the *adhirāja* wear the *kirīṭa*. The *narendra* puts on a *karaṇḍa*, and the *pārshṇika* a *śirastraka*. But the *chakravartin* and other kings may wear a *karaṇḍa* or *mukuṭa*. The *patra-paṭṭa* is suited to the *paṭṭa-dhara*, the *ratna-paṭṭa* to the *pārshṇika*, the *pushpa-paṭṭa* to the *paṭṭabhāj*, and the *pushpa-mālya* (flower wreath) to the *prāhāraka* and the *astragrāha*.
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The *kuṇḍala* (or *kuntala*) and *mukuṭa* are prescribed for the queen of a *chakravartin*, the *keśabandha* for the queens of an *adhirāja* and a *narendra*, the *dhammilla* and *kumuda-kuntala* for the queens of a *pārshṇika*, a *paṭṭadhara*, a *maṇḍaleśa* or a *paṭṭabhāj*, and the *alaka* and *chūḍā* for the queens of a *prāhāraka* and a *astragrāha*.
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The height of a crown varies with the importance of the divine or royal bearers; it is set forth at considerable length. Next is described in detail the number of gold pieces and precious jewels in the crowns worn by the kings of various ranks and by their consorts. The forms of these crowns are then described.
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The second part of the chapter deals with the royal coronation (*abhisheka*). In the coronation ceremonies of the *chakravartin* and other kings, four stages are prescribed, which are called *prathama* (here called *prāpta*), *maṅgala*, *vīra*, and *vijaya*. In this matter, too, the architects take a leading part. The *sthapati*, the *sthāpaka*, and the Brahmin priest perform the *aṅkurārpaṇa* and all other ceremonies ending with the *adhivāsana*. Afterwards the king is anointed with various auspicious substances. This is the *abhisheka* proper. The king is then adorned with the royal robes, the sacred thread, and various ornaments, and led to the coronation hall (*abhisheka-mandapa*) which is furnished with the *madhya raṅga*, the royal thrones, the wish-yielding-tree (*kalpavṛiksha*), the ornamental arch (*toraṇa*), and other emblems of empire.¹ The king and the queen take their places side by side on their thrones, the queen being on the left side of the king. The crown is held by the leading priests (*purohita-purogāḥ*); but it is actually placed on the king's head by the *sthapati* and the two *sthāpakas* at an auspicious moment during the pronouncement of *svasti* and other auspicious sounds. After this the king is garlanded, anointed, and besprinkled with various substances of good augury. Then the king mounts an elephant and circumambulates the city amidst acclamations of felicity. On the occasion of the entry into the palace a curious ceremony takes place in order to determine the success awaiting the new king, as well as the future prosperity of the kingdom. Various auspicious and inauspicious things are arranged in a hall in the palace. The king is led there blind-folded and has to pick up anything he chooses. The thing thus picked up by the blind-folded king points to the prosperity of the people and victory of the king, or the opposite.
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¹ Cf. HULTZSCH, *South Indian Inscriptions*, Vol 1, p. 54, ll. 23—25, where in an Eastern Chalukya grant the maharatoraṇa is mentioned among the royal insignia. Professor HULTZSCH quotes SANDERSON’S *Canarese Dictionary*, where the word is explained as ‘an honorary wreath or string of flowers, etc., raised upon poles and carried in front of one, as an emblem of distinction.’
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‘If the rice-porridge or rice be touched [by him], there will be an increase of rice. If the heap of corn is touched by the [royal] hand, there will be plenty of food (*subhiksha*). If gold and other precious metals be touched, it indicates that the subjects will prosper. If the sword or other weapons be touched, it bespeaks the king's prowess. It would be unfortunate for the whole kingdom, if any inauspicious things be touched by the king.’
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The chapter closes with a recapitulation of the four forms of coronation, the directions as to the conduct of the ceremonial regal procession, and a reference to the authorities (*Vedas* and *Purāṇas*) under which the coronation ceremonies are prescribed.