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) v4.c30.s14: Chapter LXIX: The Penalties for Defective Construction

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) v4.c30.s14

Language: English

Chapter LXIX: The Penalties for Defective Construction

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1-2. The evil consequences to the king, the kingdom, and the master, if there happen to be anything larger or smaller with regard to any part of the buildings, etc., will be stated here.

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3-10. There should not be any defect in the breadth, the height, the plinth, the lintel, the pillar, the entablature, the platform, the neck, the (sperical) roof, the dome, the nose, the windows, etc, and the door, with regard to the portico, the stalk and such other parts, the sanctum (adytum), the floors, all the stairs and staircases, the wall, the gatehouses, the pavilions, the corridors, the balconies, the roof, the shed-yards, the sides, and the tops, and with regard to the foundation and the neighbouring area: nowhere should there be any defect.

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11. The (vigilant) eye of the architect should avoid the possibility of any defect in those members.

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12-13. If the breadth (of a member) be less (than what it should be) it would bring poverty upon the master; if it be enormously greater, the wife of the master will die, there is no doubt about that.

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14-15. If the main height be less, it is known to cause disease of the master; if it be greater in measurement, the enemy would increase, there is no doubt about that.

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16-17. If the plinth be, internally or externally, higher or lower (than what it ought to be), the race of the master will be inevitably exterminated.

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18-19. The son of the master will die if the steps to the region of the plinth, or the projection, or the extension in height be lower or higher.

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20. If the height of the base be less, the result would be the loss of position (lit., place) and wealth.

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21-22. If the steps towards the assemblage of all the members like the rampart be lower or higher, the master would suffer from consumption of the higher limbs and the (sex) organ.

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23. If the height of the pillar be lower or higher, the family and the race of the master will be exterminated.

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24-25. If the height of the entablature be lower the master would die then and there; if it be of greater dimension (lit., measurement the master would be destroyed.

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26. If the platform be by far the smaller, the master would lose his eye-sight (lit., become short-sighted).

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27. If its ear (the wing of a building) be greater or less the food of the master will be destroyed.

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28. If the component members of the roof be greater or less, the master would suffer from a boil (tumour) on the head.

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29. If the dome be greater or less, the people would suffer from poverty.

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30. If the nose part be greater or less, the master would suffer from some disease.

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31. If the attics including the windows, etc., be less or greater the beauty would be largely destroyed.

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32-33. If the measurement of the door or the portico be less or greater, the master would suffer from leprosy (lit., a severe illness), and the King and the country would be destroyed.

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34. If the stalk (?) be greater or less, the master would suffer from abdominal diseases.

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35. If the lattice (screened window) be less or greater there would be the loss of beauty and wealth.

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36. If the adytum proper (of a temple) be greater or less, the village would be destroyed.

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37-40. The part beginning from the plinth of an edifice up to the region of the lattice over the wall should be in particular very accurately measured; if through ignorance either the upper or lower portion of the lattice or the surrounding portion comprising (practically) the whole structure be made lower or higher all prosperity would be lost.

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41-43. The temples of the attendant deities, etc., should be situated at the end of the courts; they may be built either along the plinth of the (boundary) wall, or along the plinth of the (main) structure; if the reverse be made, the prosperity of the people would be lost.

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44. If the staircases be less or greater, the master would be certainly crippled.

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45. If the component members of the wall be greater or less, thieves would destroy (steal) the wealth.

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46. If the component members of the gatehouses be greater or less, all things would be destroyed: there is no doubt about it.

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47-48. If those (component members) of the pavilions, etc., the halls, and the mansions be less or greater, all prosperity would be lost, and the King and the country would be destroyed.

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49-50. The family (wife), sons, and grandsons of the master would die if the dimensions of the corridors, the verandahs (or the balconies) be less or more (than what they should be).

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51-52. If the measurement of any component members of the upper storeys be less or more, the result for the people would be the scarcity of rain or overfall, by which the master himself may be destroyed.

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53. The people would suffer from poverty (famine) if the shed-yards be greater or less (in measurement).

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54. Good people would be destroyed if the measurement of the pentroofs be greater or less.

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55-56. If the crowning portion (of a structure) be internally or externally greater or less, spread of learning would be stopped, and the friends would be destroyed, there is no doubt about that.

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57-58. If the component members of the wall be greater or less in breadth or height all misfortune would come over to the twice born and all other castes.

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59. If the lower part (lit., hip) of the foundation be greater or less, the structure and wealth would be lost.

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60-62. If the walls of all description (dimensions) be supported by pillars at the base, in that case the greater or less dimensions of them will be free from any defect (i.e., be harmless), but such divergency will cause all defects if the walls be without any pillar at the base (as support).

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63-65. If, therefore, in whatever building, those structures, (i.e., the walls) be made of more or less (dimensions) and be not supported by pillars, the destruction of the sons and grandsons (of the master) would be the result; but if they be as aforesaid and be furnished with pillars as support (lit., part) it will be always auspicious.

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66-68. When, therefore, any discretion is to be exercised in matter of increment and decrement (of the prescribed measure), they must be in accordance with the aforesaid directions (*śāstra*), because, otherwise, if the increment or decrement be less or more at random the master will be destroyed; therefore, the learned artists should exercise the option as directed above.

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69. These are the defects (consequences) stated by the ancients with regard to greater or less (inadequate) measurement of any component part (of a building).

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70-73. The good or evil results following from the construction of the edifices, the pavilions, the courts and the connected structures, and the component members, also of the gatehouses and all other buildings would affect all men, deities, and even the kings.

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Thus in the *Mānasāra*, the science of architecture, the sixty-ninth chapter, entitled: 'The description of the defects in the component members.

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THE CHISELLING OF THE EYE

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1-2. The chiselling of the eye of the (idols of the) gods, goddesses, and devotees, and the purification (cleansing) of the phalli (of Śiva) will now be described in order of the subjects.

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3-4. The chief architect (*sthapati*) is said to be the creator (*prakṛiti*) and the sculptor (*sthāpaka*) the life (of the images); therefore, they should work together in consutation with (lit., in company of) each other from the very beginning of the operation.

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5-6. If anything be made in a reverse manner all things in connection with the objects for construction would be spoilt, and the master would certainly die.

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7. As regards the chiselling, it is meant for giving sight to the eye (lit., removing darkness from the eye).

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8-9. When the sun rises the rays spread all over, so also the case with the eye of an individual as regards its rising and setting.

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10-11. The internal and external light (i.e., sight) as well as wealth would be lost, there is no doubt about it, if the eyes are not (properly) chiselled, (another) inevitable result would be the disease of the eye.

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12. Therefore, the details of the chiselling of the eye will be stated now.

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13-14. Both the chief architect (*sthapati*) and the sculptor (*sthāpaka*) should perform the aforesaid ceremony of sowing the seed (*aṅkurārpaṇa*) before the installation (of the image) in an edifice (temple) or in a pavilion.

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15. Thereafter, in an auspicious moment, the eye (of the image) should be chiselled (as directed below).

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16-17. The wise (architect) should build a pavilion for the holy sacrifice in connection with the chiselling of the eye, in front of the main temple (edifice) or on its right or left side.

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18-20. It (the pavilion) should be a nine, seven, or five cubits square in shape, and be furnished with sixteen or twelve pillars, optionally with a pinnacle and with a shed-yard.

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21. There should be four doors on the four directions, and also it should be furnished with four arches.

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22. An altar (*vedi*) should be constructed as said before inside that pavilion.

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23. In front of that (altar) a pit should be dug for the consecrated fire, and it should be besmeared with holy cow-dung.

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24-25. It (the pavilion) should be decorated with ceremonial banners and flags, and various decorative cloths; the pillars also should be decorated, and the plantain trees with banana (fruits) should ornamently be placed (therein).

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26. It should be decorated with garlands of plantains all round and at the top.

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27. It should be also decorated with flower-garlands, jewels, and all other ornaments.

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28. Thereafter the wise artists should chisel the eye (as stated below).

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29-30. The *sthaṇḍila* plot (of forty-nine squares) or the *pīṭha* plot of nine squares should be made towards the west, the south or the south-west of the altar (which is situated in the centre of the pavilion).

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31 Upon that (plot) should be placed the idol (whose eyes are to be chiselled, being) adorned with bunches of grass (*kūrcha*), etc.

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32. Before doing that (the installation of the idol) a circular mark should be made round the *sthaṇḍila* plot with only a garland (of flowers).

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33. Upon that (plot) towards the south-west should be placed a vessel filled with gold.

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34. It (the vessel) should be covered with fine cloths, and be decorated with bunches of grass at the base.

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35. The wise (architect) should (similarly) mark a circle on the altar (also) with the *śāli* (grain) powder.

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36. Thereon should be marked a plot (*upapīṭha*) of twenty-five squares or the *pīṭha* plot (of nine squares).

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37-38. They (those plots) should be covered with the *kuśa* grass, and thereafter should be marked with lines of powdered rice-grain only, and covered with various flowers and fried rice for decoration.

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39. Thereon should be (placed) nine or twenty-five pitchers (in the same number of squares)

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40-41. They (those pitchers) should be washed according to rules and be covered with strings, and being filled up with pure water should be placed on the altar.

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42. The main pitcher should be placed in the centre and the others around it in order.

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43-44. They (those pitchers) should be covered with all cloths, and be furnished with bunches, leaves, and ceremonial fruits, and should be adorned with flower garlands.

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45. Like the aforesaid (pitchers) the eight auspicious things (*ashṭa-maṅga'a*) should be placed on the upper altar.

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46-48. Thereafter the wise architects should wash their feet and perform the ceremonial washing of the mouth, etc., according to rules ; and then gathering together all (auspicious) things and amidst the pronouncement of ‘good day’ (*puṇyāha*) they should sprinkle the images, etc.

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49-50. Brahmā and other gods should, in order, be worshipped again with their separate incantations beginning with the syllable *Om* and ending at the syllable *namaḥ*.

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51–52. The wise (architect) should offer the holy incense and the lamp and worshipping with fragrance (sandal paste) and flowers meditate on the Lord of the Universe (as if revealed) in the middle pitcher.

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53–54. Clarified butter, molasses, corn, curdled milk, milk-rice, etc., should be optionally offered (to the deity), and also the holy incense, the lamp, and the betel should be offered.

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55. The *dhenu* (cow) and the other *mudrā* signs should be shown (to the deity) amidst singing, dancing, and sounds of music.

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56. Then in order the wise chief architect (*sthapati*) should perform the sacrifice with the consecrated fire in front of that (pitcher).

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57. The *samid* plant, the clarified butter, the holy boiled rice (*charu*), and the fried rice: each of these should be sacrificed to the fire one-hundred and eight times.

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58–59. Twenty-five rounds should be made with pure water while uttering the mystic syllables known as the *hrillekha* (written on the heart) and ending at the syllables *svāhā*.

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60. The final (concluding) offering should be made to the idol (*bimba*) by uttering the *gāyatrī* hymn (a very sacred verse repeated by every Brahman at his devotions).

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61. After the conclusion of the sacrificial ceremonies with the consecrated fire, the idol should be taken up (for the chiselling of its eyes).

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62–63. The Brahmans should be caused to pronounce the syllable *puṇyāha* (good day), and then the purification of gems should be performed, and it (the idol) should be worshipped with perfumes (sandal paste) and flowers.

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64. The chief architect (*sthapati*) should sprinkle the idol (with water) amidst all auspicious sounds.

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65. Then the holy incense and the lamp should be offered to the idol by pronouncing the *gāyatrī* hymn.

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66. It should be worshipped with perfumes and flowers, and then the cow-figure by the hands (*dhenumudrā*) should be shown to it.

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67-68. (Then) he should conceal the limbs with new clothes (like a photographer), and mark (lit., write) the eyes of the idol: with undivided mind every part (of the eye) should be skilfully drawn (lit., touched) with the right hand (according to the rules of the *śāstra*).

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69-71. The lines of the right eye should be drawn and the black ball (iris) and the sight ball (pupil) should be marked (lit., meditated on), and the sun hymn should be invoked (in order to bring in light to the eyes); thereafter the moon hymn should be uttered for (illuminating) the left eye.

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72. The (third) eye should be marked on the forehead, and the fire hymn (*agni-bīja*) should be pronounced (in order to kindle it).

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73. Then they (the eyes) should be anointed with water and clarified butter with a gold brush.

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74. Then they should be covered with pieces of cloth and gold.

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75. Milk-pudding, jewels, and a heap of corn should be again shown (to the idol).

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76. The chief architect (*sthapati*) should be clad in bridal garments (best clothes), and wear (five) ornaments on the five limbs.

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77. His body should be besmeared with the white (sandal) ointment, and he should wear new clothes and an upper scarf.

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78. He should also put on the sacred thread made of gold, white flower, and be pure and holy.

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79-82. Keeping the main pitcher on the right of himself (lit., his own image) towards the south and all other pitchers (to his left) towards the north and carried by the followers, and being accompanied by umbrellas and chowries, he should circumambulate the temple amidst the pronouncement of the Vedic hymns and all other auspicious pronouncement.

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83-84. Then getting back to the idol, it should be anointed with water (from the main pitcher) and its minor limb, etc., should be anointed (lit., worshipped) with water from the other pitchers.

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85. Thus (finishing with them) the pitchers should be thrown away after taking the strings (with which they were tied) from them.

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86. It (the idol) should be furnished with various cloths and be adorned with various flowers.

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87. It should be anointed with perfumed sandal and be adorned with all ornaments.

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88. Then the holy incense and lamp should be offered to it amidst music, songs, and other pronouncement.

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89-90. The ligatures (conjunct consonants) should be written on the body (of the architect) from the head to the heart (lit., life), and the (five) groups of letters (consonants) should be written from the foot up to the upper limit (i.e., the heart).

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91-92. All the thirty-eight artistic signs (*kalā*) should be marked on the thirty-eight limbs, namely, the legs, the hands (arms), the face, and the other limbs and organs.

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93-95. Then being absorbed in meditation he (the architect) should worship (the idol) by uttering the principal incantation (*mantra*) with perfumes and flowers, and offer the holy incense and lamp again, and afterwards, betel, dishes, and other things should be offered.

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96. The Brāhmans (in the meantime) should sprinkle unhusked rice. and pronounce benediction (*svasti*).

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97. The chief architect should show (to the idol) the *mudrā* signs (with his hands as the concluding ceremony) amidst music and songs.

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98. Thus is described the chiselling of the eye. After this should be (performed) the circumambulation of the village (by the idol).

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99. With regard to the cleansing and purifying of the phallus (of Śiva) lines should be similarly marked as aforesaid.

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100. When the image (idol) is made of metallic substances¹, gems should be inserted in it.

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¹ See Chapter LI., 1–4.

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101-102. After the carving of the Phallus and idols with stones (also), the gems should be engraved just before installation (as stated below).

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103-108. Nine chambers should be made on the pedestal (*pīṭha*), the ruby should be engraved in the centre, the diamond in the east; the coral in the south-eastern chamber, the sapphire in the south; the cat's eye in the south-west, and the emerald in the west; the topaz in the north-west, and the pearl in the north; and the sapphire, according to rules, should be engraved by the wise man on the north-eastern chamber.

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109. Both the chief architect (*sthapati*) and the sculptor (*sthāpaka*) should insert (the gems) in the idol and the phallus (of Śiva).

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110. Thus is described the engraving of the gems; the rest should be as is usually said.

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112-114. The rules of chiselling of all sorts of of eyes of the lotus-born Brahmā, Hari (Vishṇu), Hara (Śiva), and all other gods are stated in detail in this *Mānasāra* as prescribed by the ancients.

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115-118. This great science (of architecture) was at first revealed by Brahmā, Indra, and all other gods: it is from their statements that this *Mānasāra* (the essence of measurement) has been compiled as a guide book (for the architects) for the benefit of the people.

Linked texts (1)

Mānasāra — Sanskrit