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.s9: Chapter XLVII: The Central Theatre

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.s9

Language: English

Chapter XLVII: The Central Theatre

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1-2. The measurement and the characteristic features of the open shed (court) yard (*mukta-prapāṅga*) fit for the residence and seats¹ of the gods and the kings will be described now.

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¹ Compare chapter XLVI, 30.

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3-4. That (courtyard) should be made within the central theatre, the breadth whereof should be divided into thirty-four parts; and the breadth of the shed (*prapā*) proper is desired to be one part less on each side.

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5-6. Of the four parts of the height of that (shed proper) the height of the plinth (or platform, *masūraka*) should be one part; twice that (i.e., two parts) should be the height of the pillar (*pāda*), and one-half of that (i.e., one part) the height of the entablature.

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7-11. As an alternative the (whole) height should be divided into eight parts in particular; of these the (height of the) platform (*vedi*) should be one part and a half, the height of the pillar five parts, and the height of the entablature one part and a half; or the height being divided into six parts, the height of the platform (*vedi*) should be one part, and the height of the pillar four parts, and the height of the entablature (*mañcha*) one part: it should be adorned with all ornaments.

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12. Four half-pillars (*ardhānghri*) may be, otherwise, erected with one-third (of the total height as their length).

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13-15. The width of all pillars should be three, four, or five *aṅgulas*: thus is stated to be the (diameter of the) wooden pillars; (but) the stone pillars are specially recommended, of which the width should be six, seven, or eight *aṅgulas*.

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16. They (the pillars) should be circular, square, octagonal, or sixteen-sided.

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17-19. Of the eight parts of the height of the pillar the upper three parts should be ornamented with the capital (*bodhikā*), fist-band (*mushṭi-bandha*), abacus (*phalakā*), tenia (*tāṭikā*), and pitcher (*ghaṭa*); it should be adorned with all ornaments; and the lotus-pedestal (*padmāsana*) should be attached at the bottom.

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20. There should be made four porticos (*bhadra*) on the four sides, but according to some (authority) there may be only one portico.

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21-22. There may be (at the bottom of the pillar) a base, or a pedestal, or the plinth (*masūraka*) together with a pedestal; or there should be only a signified platform (*chihna-vedi*).

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22-23. The ornaments of the shed (*prapā*) are described (below): it should be ornamented with crowning fillets (*uttara*), lower fillets (*vājana*), fist-bands (*mushṭi-bandha*), and pentroofs (*lupā*), etc.

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24. There should be eight or sixteen small vestibules (*kshudra-nāsi*) on all sides.

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25. Its (shed's) top portion should be decorated with the images of leographs (*vyāla*) and crocodiles (*makara*), etc.

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26-29. Therewithin (i.e., inside the theatre) the thrones, etc., should be arranged (in tiers) in the middle of the yard (lit., hall, *sabhā*, for *prapā*), that is, comprising all kinds of seats assigned for ordinary special, and occasional uses to the Chakravartin and the other classes of kings, as well as to the gods to be seated together with their consorts, as also for the accommodation of ordinary people (*jana*).

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¹ See chapter XLII, 2-5.

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30-33. The thrones, the crocodile arches, the ornamental trees (*kalpa-vṛiksha*) and the open shed (*mukta-prapāṅga*) should be constructed of wood, stone, and brick, and other materials; it should be made (strong and) all the more beautiful with gems, with some special kind of metal (iron) profusely employed on many parts, and also by partitioning the walls (*sāla*).

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34-37. If the measurement of the pillar, the base, and the upper mouldings (*uttara*) prescribed for the open shed (*mukta-prapāṅga*) be less or greater, the king and the kingdom will be ruined.

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Thus in the *Mānasāra*, the science of architecture, the forty-seventh chapter, entitled: The description of the central theatre.

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THE ORNAMENTAL TREE

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1-2. The features and measurement of the length, etc., of the ornamental (*kalpa*, lit., all productive) trees¹ fit (for the thrones, etc.) of the gods and the *Chakravartin* and other kings will be described now².

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¹ A mythical tree supposed to yield whatever is wanted of it.

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² See lines 68—70 where the places of the employment of the ornamental trees are mentioned.

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3-4. The height of such a tree constructed in the upper part of a throne should be equal to, or greater than the height of the pillar of the arch by one-fourth or one-half.

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5. It should be constructed over the arch erected from the middle of the length of a throne.

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6-8. The width at the bottom of the ornamental (*kalpa*) tree is said to be six, seven, or eight *aṅgulas*, the measurement being taken in the finger of the deity or the king (for whose throne it is made); (than at the bottom) the width at the top of the tree should one or a half an *aṅgula* less.

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9. Thus is described the trunk (*pāda*, foot) of the tree, which should be adorned with leaves and creepers, etc.

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10. In other words, that (the tree) should be carved in a straight posture with its width decreasing from the bottom towards the top.

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11–12. The foot (trunk) of the tree should be coiled with serpents with five hoods spreading at the top: they (the serpents) should be made with all their hoods quite expanded and the tongues trembling and the eyes glittering.

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13–17. The nine kinds of (measure for the) hoods should be six, seven, eight, nine, ten, eleven, twelve, thirteen, and fourteen *aṅgulas* (in breadth): the width at the middle should be equal to that, the width at the top a little less, and at the bottom one-half of that; and the tip of the tail should be one *aṅgula*.

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18. It should be made tapering from bottom to top, but it may be discreetly made of all other shapes.

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19. Its face in look (lit., emotion) may be optionally like that of the leograph, and the rest should be made at one’s discretion.

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20–22. The branches of the tree above that (the trunk) should be carved in nine rows; the nine varieties should consist of eleven to twenty-three branches (the increment being by two and) consisting of three kinds in the smallest, and the other (i.e., the intermediate and the largest) types.

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23. These should be constructed for the *Narendra*, the *Adhirāja*, and the *Sārvabhauma* (classes of kings).

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24–25. The nine varieties in case of the gods should begin from nine branches and end at twenty-five branches, the increment being by two.

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26–28. In case of the kings, the nine kinds of length of the branches, consisting of three in each of the smallest and the other types, are said to begin from eleven *aṅgulas* and end at twenty-nine *aṅgulas*, the increment being by two *aṅgulas*.

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29–31. In case of the gods, the nine kinds of length of the branches, consisting of the smallest (and the intermediate) upto the largest types, should begin from thirteen *aṅgulas*, and end at thirty-one *aṅgulas*, the increment being by two *aṅgulas*.

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32–34. In case of the kings, the (corresponding) width of the branches, consisting as before of the smallest and the other types, should be three, four, five, six, seven, eight, nine, ten, and eleven *aṅgulas* in order.

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35-37. In case of the gods, the nine kinds of the width of the branches are said to begin from five *aṅgulas* and end at thirteen *aṅgulas*, the increment being by one *aṅgula*.

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38. The projection (*bahala*) of those branches should be equal to or a half (of their width).

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39. The root of all branches should be attached to the top of the trunk.

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40-42. The width at the bottom of the tree should be equal to, or greater by two *aṅgulas* and a half, one-and-three-fourths, or twice the width at the bottom of the branches which should be symmetrically attached to those parts (i.e., at the top of the trunk).

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43. The branches should be furnished at their root with creepers and leaves growing from the bottom (of the tree).

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44. The great creepers (*mahāvallī*) should be at the top (*chūlana*) and the broken creepers, etc., on the two sides.

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45. The surrounding branches spreading from the top should form a disc (i.e., look like the disc).

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46. The front creeper should be adorned all over up to the foremost crest (end) with leaves and flowers.

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47. The interspaces of one or many branches should be furnished with flowers.

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48-50. The branches should be furnished with leaves, creepers growing from the root, the root of the creepers, the two creepers, and many creepers, leaves, flowers, and fruits; they may also be without fruits.

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51. They should be also furnished with new creepers and leaves, etc., and with the buds of the divine flowers.

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52-53. All the creepers should be made greenish in colour; but the forepart of all (the creepers) should be adorned with red colour.

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54. The characteristic mark of all the leaves is that they should be adorned with gold colour.

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55. The tip of the leaves and all the small (new) creepers should be greenish in colour.

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56. All the recesses (*niretana*, for *niketana*, a house) of the branch should be inhabited by bees.

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57. It (the *kalpa* tree) should be furnished with various leaves, flowers, and creepers.

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58. Like garlands of jewels various birds should be carved playing thereon.

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59. There should be carved various monkeys and many goddesses in a playing mood.

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60. There should also be carved the *Siddhas*, *Vidyādharas*, and other demi-gods on all the branches and at their interspaces.

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61. All these may be carved in the interior and exterior, and all over the all (trees).

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62. Leaves, etc., should be gracefully carved all over the trees from the bottom to the top.

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63. The small joints (*parvan*) should be all over it (the tree), and the offshoots (*nirgama*) of leaves and creepers should grow therefrom.

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64. The boss (*mauli-muṇḍa*) should be attached to the joint at the root of a branch.

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65. It (the tree) should be furnished with leaves, flowers, and shoots with drooping heads, etc.

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66. The bee-like figures should be represented all over the leaves and creepers.

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67. The rest should be discreetly made: such should be the ornamental (*kalpa*) tree.

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68-70. The ornamental (*kalpa*) trees should be carved in front of and beyond the courtyards, the open sheds, in the middle of the pavilions, and for the thrones marked with the crocodile-shaped arches.

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71. The Lord of the disc (i.e., the god Vishṇu) moves about and resides thereon (on the trees) with pleasure.

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72-75. His (Vishṇu's) lotus-like feet are worshipped by the great kings, their sons of full moon-like face, the royal court ladies (queens), the beautiful courtesans of the capital city, the learned men, as well as the chief of the sons of the bards (*vandin*)¹.

Linked texts (1)

Mānasāra — Sanskrit