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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.s55: Chapter LXVIII: The First Casting of the Image (Madhūchchhishṭa-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.s55

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Chapter LXVIII: The First Casting of the Image (Madhūchchhishṭa-vidhāna)

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The chapter opens with an enumeration of the names of phalli and ascetics (*muni*), as well as of architects,³ but the subject proper is the casting of an image in wax (*madhūchchhishṭa*). The *sthapati* and the *sthāpaka* prepare the wax, but the manner of its preparation is not expressly described. All kinds of images, temporary or permanent, stationary or movable, are moulded in wax. The process appears to be this. Some part of the image is covered with a thin copper-leaf (*tāmra-patra*) and the wax is laid on two or three *aṅgulas* deep. *Mulikā* (?) is spread above the part covered with wax. The idol is heated after it has been besmeared. If the master likes, the smearing may be done with melted iron too. One half of the image, which is not covered with earth, is washed in water. The process is repeated several times. If any of the minor limbs be lost through this process, the image should be furnished with it again after having been heated. But if the head or the middle of the body (*madhya-kāya*) be damaged, the whole image should be changed. If the master does not approve of the image, it should be recast. The whole process in its different stages has to be attended by many ritualistic ceremonies.

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³ The six kinds of phalli (*jyotir-liṅga*) enumerated here are : *śaiva*, *pāśupata*, *kālamukha*, *mahāvrata*, *vāmana* and *bhairava*. Cf. above, where the fifth class is called *vāma*. The names of the *munis* are Agastya, Kāśyapa, Bhṛigu, Gautama, Bhārgava, Gālava (? Gārga), etc.. cf. above. The expert authorities on architecture are the following: Viśvakarman, Viśveśa, Viśvasāra, Prabodhaka, Vṛita, Maya, Tvashtar, Manu, Nala, Mānavin, Mānakalpa, Mānasāra, Prashṭar, Mānabodha, Viśvabodha, Naya, Ādisāra, Viśāla, Viśvakāśyapa, Vāstubodha, Mahātantra, Vāstuvidyāpati, Parāśarīyaka, Kālayūpa, Chaitya, Chitraka, Āvarya, Sādhakasāra-saṁhitā, Bhānu, Indra, Lokajña, and Saura.

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In other texts the process of casting an image is much more clearly described :

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" If images have to be cast in metal, the wax must first be melted and poured (out of the mould) and all defects removed with cloth."¹

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¹ *Kāraṇāgama*, II V. 41.

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" If the images be required to be made of earth, rods (of metal or wood) must be (inserted in them), if of metal, they must first be prepared well in wax. "²

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² *Suprabhedāgama*, XXXIV. 21.

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" If an image is to be made of metal, it must first be made of wax, and then coated with earth; gold and other metals are purified and cast into (the mould) and a complete image is thus obtained by capable workmen."³

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³ *Vishṇu-saṁhitā*, *paṭala*, 14.

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" In regard to bronze images," says Mr. Rao, ⁴ " it is believed by some that India could not have known the *cire perdue* method of making metal images earlier than about the 10th century, A.D., and that India must have therefore borrowed it from Europe. That the art of casting metals in wax moulds is much earlier in India can be shewn in more ways than one." In support of his assertion, Mr. Rao cites the three above mentioned quotations.

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⁴ *Elements of Hindu Iconography*

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