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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) v6.c40.s16: Chapter L: The Ornaments of the Body and Articles of Furniture (Bhūshaṇa-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) v6.c40.s16

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Chapter L: The Ornaments of the Body and Articles of Furniture (Bhūshaṇa-lakshaṇa-vidhāna)

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THE ORNAMENTS OF THE BODY AND ARTICLES OF FURNITURE

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In the first verse it is announced that the chapter is devoted to a description of the ornaments of gods and kings. In reality, only the first part of the chapter deals with ornaments proper, and the remaining portion deal with certain miscellaneous articles of furniture, such as lamp-posts, fans, mirrors, swings, and so forth.

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The first part is called 'ornaments of the body' (*aṅga-bhūshaṇa*), and the second, external ornaments (*bahir-bhūshaṇa*).

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Ornaments proper are here divided into four classes, namely, *patra-kalpa*, *chitra-kalpa*, *ratna-kalpa*, and *miśrita*. All these are suited to the deities. The emperor or universal monarch (*chakravartin*, *sārvabhauma*) can put on all these ornaments excepting the *patra-kalpa*. The *adhirāja* and *narendra* can wear both the *ratna-kalpa* and the *miśrita*. The *miśra-kalpa* is prescribed for all other kings.

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The *patra-kalpa* ornaments are so called, because they show foliated decoration. The *chitra-kalpa* kind consists of floral and foliated designs, precious stones, and images (*nāṭaka*). The *ratna-kalpa* variety is made of flowers and jewels. The *miśra-kalpa* decoration consists of leaves and jewels, and, in short, a mixture of all others. These four kinds, it should be observed, are specially made for the images of gods and kings only.

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The following is a list of the personal ornaments mentioned in the course of the chapter : *Kirīṭa*—a diadem, a crown. *Śiro-vibhūshaṇa*—a head ornament. *Chūḍāmaṇi*—a crest-jewel *Kuṇḍala*—an ear-ring. *Tāṭaṅka* (or *tāḍaṅka*)—a kind of ear ornament. *Makara-bhūshaṇa*—an ear-pendant decorated with crocodile pattern (*makarāṅkita-kuṇḍala*). *Kaṅkaṇa*—a bracelet. *Keyūra*, *kaṭaka*—an armlet worn on the upper-arm. *Valaya*—an armlet worn round the upper-arm (*bāhumūle*) or on the forearm (*prakoṣṭha*). *Pūrīma*—for the upper-arm. *Maṇi-bandha-kalāpa*¹—a jewelled ornament worn on the forearm. *Kiṅkiṇī-valaya*—a bracelet (or anklet) fitted with little bells. *Aṅgulīyaka*—a finger-ring. *Ratnāṅgulīyaka*—a jewelled finger-ring. .Hāra ² / Ardha-hāra—a string of pearls worn round the neck.

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¹ Cf. *muktā-kalāpa* (*Kumāra-sambhava*, I, 43).

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² According to *Bṛihat-saṁhitā*, LXXXII, 32, a chain of 108 strings is styled a *hāra* and a chain of 64 strings an *ardhahāra*. Kern's *Verspr. Geschr.*, Vol. II, p. 101.

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*Mālā*—a garland or necklace hanging down from both shoulders. *Vana-mālā*—a garland of wild flowers. *Nakshatra-mālā*¹—a necklace of 27 pearls. *Dāman*—a garland or string worn round the shoulders. .Stana-sūtra / Suvarṇa-sūtra—a cord or chain worn round the breasts. *Pura-sūtra*—a cord or chain worn round the chest. *Udara-bandha*—a girdle worn round the waist. *Kaṭi-sūtra*—a cord or chain round the loins. *Mekhalā*—a girdle, a belt. *Suvarṇa-kañchuka*—a golden cuirass (or bodice). *Nūpura*—an anklet. *Valaya*—a bracelet. *Pāda-jāla-bhūshaṇa*—a net-like ornament worn on the feet.²

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¹ A *nakshatra-mālā* (*lit.* a star-cluster) consists of 27 pearls in accordance with the number of *nakshatras* or lunar mansions. Cf. *Bṛihat-saṁhitā*, LXXXII. 34.

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² A few more terms of uncertain meaning are mentioned, namely : *viseshika* (=*tilaka*?), *bālapaṭṭa*, *chūlika*, *keśakuṭaka* and *mallika*.

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The following articles, which are reckoned to belong to the 'external' ornaments (*bahirbhūshaṇa*), are described in great detail : (1) the *dīpadaṇḍa* (lamp-post); (2) the *vyajana* (fan); (3) the *darpaṇa* (mirror); (4) the *mañjūshā* (basket, chest, box); (5) the *dolā* (swing or palanquin); (6) the *tulā* (balance) and (7) the *pañjara* (cage), *nīḍa* (nest) for domestic animals and birds.

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The lamp-posts (*dīpa-daṇḍa*)³ are of two kinds, the stationary, placed in front of the house, and the movable. The former are made of wood, iron, or stone, the latter of wood or iron. They may be square, octagonal, or circular in shape. The *vedikā* (platform) or the pedestal at the bottom of these is generally shaped like a lotus. Lamp-posts generally taper from the bottom upwards. Various other parts and also the mouldings of lamp-posts are described in detail. Their measurements are also given.

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³ In literature we find the evidently synonymous expression *dīpavṛiksha* (*lit.* lamp-tree). Mahabh. XII, 7204; XIV, 1737. Ram. (ed. Gorresio), II, 5, 18; *Buddhacharita* (ed. Cowell), V, 44. Monumental lamp pillars of stone, now-a-days designated by the name of *dīpdan*, are found especially in the South of India. Cf. Fergusson, *History of Indian and Eastern Architecture*, revised edition, Vol. I, pp. 347 sq., and II, 81.

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The fan-post (*vyajana-daṇḍa*), as well as the fan itself, is described in a like manner. These posts are made of timber or iron, but the fans appear to be made of leather.

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Nine alternative measurements are prescribed for the mirror, namely, from 5 (or 6) *aṅgulas* up to 21 (or 22) *aṅgulas*. The mirror should be quite circular (*suvṛitta*), with the edge a little raised. The surface must be perfectly bright, the rim being decorated with linear ornaments (*rekhā*) and the reverse with the figures of Lakskmī and others. An account of the various parts is given in detail.

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Three kinds of *mañjūshā* are described in detail. They are made of either timber or iron, and are square, rectangular, or circular in shape. They generally consist of one, two or three compartments or chambers (*koshṭha*). The *parṇa-mañjūshā* looks like a box or trunk. The *taila* (oil) *mañjūshā* is apparently a receptacle for oil. It does not differ from the other, except in its greater height. The third kind is called *vastra-mañjūshā* and is easily identified with a wardrobe or linen-chest. Its breadth is said to vary from one to three cubits, the height and length being proportionate to the breadth.

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The word *dolā* means both a swing and a palanquin; but as the description opens with the statement that the height of the post or pillar (*pāda*) varies from three to eight cubits, there can be little doubt that the passage refers to a swing. We may assume that the *phalaka*, which is repeatedly mentioned in this connexion, must be the swing-board. The swing is said to be used by both gods and men.

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The balance¹ consists of the horizontal balancing rod or beam, the strings by which the scale pans are suspended, and the scale pans themselves. The two pans are made of iron, the rod of timber or iron, and the *jihvā* (*lit.* tongue) and the *toraṇa* (*lit.* arch) are always made of iron. The various parts of he balance are described minutely, together with their measurements.

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¹ From the description given in the text it may be conjectured that the royal balance in question was meant to be used by kings in performing the ceremony of having themselves weighed against gold and precious stones which were afterwards distributed among the Brahmans. This ceremony, known as *tulā-purusha-dāna*, was performed on certain special occasions, such as the coronation, or on the day of a solar or lunar eclipse, or on New Year's day. Cf. A. H. Longhurst, *The Tulā-purusha-dāna Monument at Hampi. Annual Report, Archæological Survey of India for 1912-13*, pp. 142 sq., Plate LXXXIV.

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A large portion of the chapter is devoted to a description of cages (*pañjara*). A number of birds and other animals are enumerated, and the size of the cage in which they are kept is given, the measurements admitting in each instance of nine different varieties. The following is a complete list :

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| | Size of cage | Increment |
| *Mṛiga-nābhi-biḍāla* (musk cat) .. | 1—2 *hastas* | 3 *aṅgulas*. |
| *Śuka* (parrot) .. .. | 9—23 *aṅgulas*¹ | 2 ,, |
| *Chātaka* (rains-cuckoo or *cuculus melanoleucus*) .. .. | 7—23 ,, | 2 ,, |
| *Chakora* (partridge or *perdix rufa*) | 7—23 ,, | 2 ,, |
| *Marāla* (a crow-pheasant, a goose or duck) .. .. | 7—23 ,, | 2 ,, |
| *Pārāvata* (turtledove) .. | 7—23 ,, | 2 ,, |
| *Nīlakaṇṭha* (roller) .. | 25—73 ,, | 6 ,, |
| *Kuñjarīya* (ground-man) .. | 5—21 ,, | 2 ,, |
| *Khañjarīṭa* (wag-tail) .. | 7—23 ,, | 2 ,, |
| *Kukkuṭa* (cock) .. .. | 15—31 ,, | 2 ,, |
| *Kulāla* (*phasianus gallus*) .. | 15—31 ,, | 2 ,, |
| *Nakula* (mongoose, *viverra ichneumon*) .. .. | 11—27 ,, | 2 ,, |
| *Tittiri* (francolin partridge) .. | 7—23 ,, | 2 ,, |
| *Godhā(ra)* (alligator) .. | 9—25 ,, | 2 ,, |
| *Vyāghra* (tiger) .. .. | 1½—3½ *hastas* | 6 ,, |

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¹ Evidently there is a mistake here in the figures, which would yield only eight varieties of size. Another mistake seems to be in the size of cages, which in many cases is absurdly small.

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The Triad (*Trimūrti-lakshaṇa-vidhāna*)

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The Indian Triad, to which the title of the chapter refers, consists of the three great gods, Brahmā, Vishṇu, and Siva. The chapter may be divided into two parts. The first part deals with the materials (*dravya*) of which the idols of all other deities, as well as of these three, are made. The second part describes the external features of the Triad.

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The materials for making idols are nine, namely, gold, silver, copper (*tāmra*), stone, wood, *sudhā* (stucco, also mortar and plaster), *śarkarā* (*lit.* gravel or grit), *ābhāsa* (glass) and earth (terra-cotta). All the materials enumerated are well known except *ābhāsa*, of which a special description is given.

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*Ābhāsa* is subdivided into three kinds, called *chitra*, *ardha-chitra*, and *ābhāsa* proper. If it is perfectly transparent or visible (*sarvāṅga-dṛiśyamāna*, *lit.* which can be completely seen through), it is called *chitra*; if only half transparent or visible, it is known as *ardha-chitra*; and in case it is partially (*lit.* one-fourth) transparent or visible, it is called *ābhāsa* proper.

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The second part begins with an account of the different classes of images. An idol may be stationary (*sthāvara*) or movable (*jaṅgama*), erect, sitting, or recumbent. The movable images are used especially on the occasion of festivals. The three or four poses (*bhaṅga*), called *ābhaṅga*, *samabhaṅga*, and *tribhaṅga*, are discussed more fully at the end of Chapter LXVII.

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The remaining portion of the chapter is devoted to a minute description of the images of Brahmā, Vishṇu, and Śiva, the three gods constituting the *Trimūrti*.

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Brahmā should have four arms and four faces. He should wear a diadem and the matted hair of an ascetic (*jaṭā-mukuṭa-maṇḍita*). Two of his hands should be in the gift-bestowing (*varada*) and refuge-granting (*abhaya*) attitudes. The four attributes held in his hands are the water-pot (*kuṇḍika*), the rosary (*aksha-mālā*), and the large and small sacrificial ladles (*sruk-sruva*). The various ornaments, with which his body is to be adorned, are described in great detail. As to his clothes, he is said to wear a strip of bark (*chīra*) and an upper garment (*uttarīya*). His whole body should be of golden colour. Brahmā is accompanied by his two *śaktis* (female energies), the goddesses Sarasvatī and Sāvitrī standing to his right and left respectively.

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Vishṇu is also four-armed (*chatur-bhuja*), but has one head. His headgear is the diadem called *kirīṭa*. He wears a yellow garment, while the colour of his body is dark blue (*śyāma*). His chest is adorned with the symbol called *śrīvatsa*. Two of his hands are in the gift-bestowing and refuge-granting attitudes. His attributes are the lotus flower, the mace (*gadā*), the discus (*chakra*), and the conch-shell called *pāñchajanya*. Among the numerous ornaments which bedeck his limbs, special mention is made of the graceful garland of wild flowers (*vana-mālā*) which hangs down by both his legs. At the back of his head there is an ornamental nimbus (*śiraś-chakra*, *lit.* a head-disc). Vishṇu is likewise attended by two goddesses (*Śakti*), apparently Lakshmī and Bhū-devī (the Earth-goddess).

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Śiva, the third member of the Triad, is four-armed and is, more-over, distinguished by a third eye, which is placed in the middle of his forehead. Like Brahmā, he wears the matted hair of the ascetic. The figure of Gaṅgā (the river personified), as well as the crescent, are inserted in his headdress, the latter on the left side. On the left side of his neck there is the mark of the deadly poison *kālakūṭa*. His dress consists of a tiger skin reaching down to the knees, and a waist-cloth. His complexion is said to be red.¹ Two of his hands are in the attitude of granting a boon (*vara*) and of conferring security (*abhaya*). In the remaining two hands he holds an antelope (*hariṇa*) and a tabor or hand-drum.² Śiva is accompanied by the goddess Pārvatī, who keeps standing or seated on his left side.

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¹ Elsewhere the complexion of Śiva is stated to be white.

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² The name of the second attribute, which occurs also in the iconographic portion of Chapter VII, appears to be *ḍhakkā*. But this word usually indicates a large kettle-drum, whereas the tabor, which is one of Śiva's emblems, is called *ḍamaru*.

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Images of the three members of the Triad are said to be measured in the largest type of the *daśa-tāla* measurement and those of their consorts in the middle type. The particulars of these two types of measurement are not discussed here, but reserved for an elaborate treatment in two separate chapters.

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The pedestals are also dealt with in a separate chapter. Here it is very briefly stated that the pedestals of the Triad should be of the *padma-pīṭha* or the *mahā-pīṭha* kind, and be furnished with a *prapā* (canal), a *toraṇa* (ornamental arch), and *kalpa-vṛiksha* (ornamental tree).

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The chapter closes with a statement that the particulars not men-tioned here with regard to the making of these idols, should be supplied according to the rules of the *Śāstras*.

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