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) v6.c40.s12.t3: Chapters III, IV, V: The Classification of Vāstu (Vāstu-prakaraṇa), Examination of Soil (Bhū-parīkshā)—Selection of Site (Bhūmi-saṁgraha)
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) v6.c40.s12.t3
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Chapters III, IV, V: The Classification of Vāstu (Vāstu-prakaraṇa), Examination of Soil (Bhū-parīkshā)—Selection of Site (Bhūmi-saṁgraha)
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The Classification of Vāstu (*Vāstu-prakaraṇa*)
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The first part of the third chapter defines *vāstu* (dwelling or habitation) and divides it into four classes. The place where men and gods reside is called *vāstu*. This includes the ground (*dharā*), the building (*harmya*), the conveyance (*yāna*), and the couch (*paryanka*). Of these, the ground is the principal one, for nothing can be built without the ground as a support. The building (*harmya*) includes *prāsāda*, *maṇḍapa*, *sabhā*, *śālā*, *prapā* and *raṅga*. The conveyance (*yāna*) includes *syandana*, *śibikā* and *ratha*. The couch (*paryaṅka*) includes *pañjara*, *mañchalī*, *mañcha*, *kākāshṭa*, *phalakāsana* and *bāla-paryaṅka*.
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The second part of the third chapter, as well as the fourth and fifth chapters, deal with the same subject, namely, the site on which a village, town, fort, palace, temple, or house, is to be built. The soil is examined with regard to its contour, colour, odour, features (*rūpa*), taste, and touch. The level of the ground, as well as the characteristic vegetation of the site, are also minutely examined.
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If a plot of land is found to be satisfactory on all or most of these points, 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 in some other ways. A square hole of one cubit deep should be dug on the selected site and be filled with water. After twenty-four 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 must 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 purposes.
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Another final test is this : a similar hole is dug on the plot and filled up with the earth taken out of it. If this earth fills up the hole exactly, the land is fair ; if this earth be not quite enough to fill up the hole the ground must be very bad, but if this earth overfills the hole, the soil must be very good for any building purposes. The import of both tests seems to be that in the former case porous soil is avoided, while in the latter case loose soil is said to be unfit for the construction of a building.
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After this final selection the ground should be ploughed over. The concluding part of the fifth chapter gives a minute description of the oxen and the plough to be used in ploughing the selected site.
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The Gnomon (*Śaṅku-sthāpana-vidhāna*)
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The object of this chapter is to lay down rules on the principles of dialling and for ascertaining the cardinal points by means of a gnomon.
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The gnomon is made of the wood of certain trees. It may be 24, 18, or 12 *aṅgulas* in length, and the width at the base should be respectively 6, 5, and 4 *aṅgulas*. It tapers from the bottom towards the top.
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For the purpose of ascertaining the cardinal points, a gnomon of 12, 18, or 24 *aṅgulas* is erected from the centre of a watered place (*salila-sthala*) and a circle is described with the bottom of the gnomon as its centre and with a radius twice its length. Two points are marked where the shadow (of the gnomon) after and before noon meets the circumference of the circle. The line joining these two points is the east-west line. From each of these east and west points a circle is drawn with their distance as radius. The two intersecting points, which are called the head and tail of the fish (*timi*), are the north and the south points. The intermediate regions are found in the same way, through the fish formed between the points of the determined quarters.
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As regards the principles of dialling, each of the twelve months is divided into three parts of ten days each and the increase and decrease of shadow (*avachchhāya*)¹ are calculated for these several parts of the different months.
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¹ *Cf.* Vitruvius, Book IX, Chap. VIII, ‘. . . the principles of dialling and the increase and decrease of the *days* in the different months ’ (translated by Gwilt).
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Why the subject of the present chapter is important for architecture is evident from the rules regarding the orientation of buildings. Here it is said that a building should preferably face the east or the northeast, but that it should never be made to face the south-east, as this is considered inauspicious.
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The chapter closes with a passing reference to the *khāta-śaṅku*, which appears to denote wooden stakes posted in different parts of the foundations made for constructing buildings thereon.
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THE SITE-PLAN (*Pada-vinyāsa*)
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When a site is selected for constructing a village, town, or building thereon the ground is divided into different numbers of squares. Thirty-two kinds of such schemes are distinguished by as many different designations, according to the number of squares into which the whole area is partitioned out. The whole scheme has been arranged in such a manner that in each case the number of partitions represent the square of the serial number. The eighth plot, for instance, which is called *chandita*, comprises a division into sixty-four squares, while by the ninth plot, which bears the technical name of *paramaśāyika*, the ground is divided into eighty-one squares.
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Each of these squares is assigned to its presiding deity. Some deities, however, are lords of more than one square. The lord of the central square is always Brahmā. Charagī, Vidārikā, Pūtanā, and Rākshasī are the presiding deities of the four corners. A detailed description of all the squares of the eighth and the ninth plans is given in the text. Then the forty-four deities, who are enumerated in connexion with the *paramaśāyika* scheme, are described in the form of as many *dhyānas*. The portion is of some iconographical interest.
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Finally, the presiding deity of the site (*vāstu-purusha*), who is described as hump-backed and of crooked shape, is said to occupy the habitated area (*vāstu*) in such a manner that his limbs cover the several squares or groups of squares, which, as set forth in the former part of the chapter, are assigned to and named after various deities. As he is supposed to lie down with his face turned downwards, his head being in the central square on the east side (assigned to Sūrya), his right and left hands must be in the partitions of Agni (S.E.) and Iśāna (N. E.) respectively, and his right and left feet on those of Nairṛita (S. W.)
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and Vāyu (N. W.) respectively. The middle part of his body occupies the central portion of the plot, which, as we saw, is assigned to Brahmā.
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The Offerings (*Balikarma-vidhāna*)
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Different kinds of offerings (*bali*) are described for the various deities enumerated in the preceding chapter, who are supposed to preside over the different partitions of the *paramaśāyika* or *maṇḍūka* (site, plan). These offerings consist of milk in its various forms, butter, rice and sesame, parched grain (*lāja*), honey and sweetmeat (*modaka*, offered to Sugrīva), incense and lamps, flowers and fruits. Blood is offered to Asura, dried meat to Mṛiga, dried fish to Roga (disease)- and sea-fish to Bhṛiṅgarāja. The four demonesses, namely, Rākshasīs Pūtanā, Vidārī, and Charagī, also receive their share, the first-mentioned evil spirit in the shape of meat of goats mixed with blood.
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In the bringing of these offerings the master-builder (Sthapati) takes a leading part.