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.s18: Chapter LIII: The Altar (Pīṭha-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.s18
- Language
- English
Chapter LIII: The Altar (Pīṭha-lakshaṇa-vidhāna)
v6.c40.s18.2
It has been pointed out in the previous chapter that the *pīṭha*² forms the *yoni* or the lower part of the phallus. The *pīṭha* must match the phallus, of which it forms the lower member. There must, consequently, be as many kinds of *pīṭhas* as there are of the phalli. But the mouldings of the *pīṭha* are described under four classes, technically called, *bhadra-pīṭha*, *śrībhadra*, *śrīviśāla*, and *upapīṭha*. The principal parts of the *pīṭha* are the *nāla* (*lit.* canal), the *jala-dhārā* (*lit.* drain), the *ghṛita-vāri*, the *nimna*, and the *paṭṭikā*. These appear to have been intended to represent the various parts of which an ordinary *yoni* (female organ) is formed. The name of the principal mouldings are the following *prathama* or *janman*, *padma*, *kshepaṇa*, *kandhara*, *kampa*, *ūrdhva-padma*, *vājana*, *ghṛita-vāri*, and *vṛitta-kumbha*.
v6.c40.s18.3
² The term '*pīṭha*' means a stool, seat, chair, throne, pedestal, an altar. The well-known fifty-one *pīṭha-sthānas* are the sacred spots where the parts of the body of Satī (Pārvatī), the consort of Śiva, fell after she had been cut to pieces by the discus of Vishṇu. As the *liṅga* or phallus symbolically represents Śiva, so the *pīṭha* does his consort Pārvatī.
v6.c40.s18.4
A minute description and measurement of all these and other mouldings of *pīṭhas* of various kinds are given in detail. With regard to their shape, the *pīṭhas*, like the phalli (and, in fact, all other architectural and sculptural objects), are divided into three types, *nāgara*, *drāviḍa*, and *vesara*. The *pīṭhas* of the *nāgara* class are said to be square, those of the *drāviḍa* type are octagonal, and the *vesara* ones are round (*vṛitta*).
v6.c40.s18.5
The Female Deities (*Śakti-lakshaṇa-vidhāna*)
v6.c40.s18.6
The following female deities are specially described: Sarasvatī, the goddess of learning; Sāvitrī; Lakshmī, the goddess of wealth or fortune; Mahī, the Earth-goddess; Manonmanī, the goddess of love; Durgā; and the Seven Mothers (*Sapta-mātṛi*) collectively so called. Of these, Lakshmī is distinguished into Mahā (great) Lakshmī, and Sāmānyā (ordinary) Lakshmī, the latter being installed in all the family chapels. The Seven Mothers consist of Vārāhī, Kaumārī, Chāmuṇḍī, Bhairavī, Māhendrī, Vaishṇavī, and Brahmāṇī. These seven goddesses are measured in the *nava-tāla* system, and all other female deities in the *daśa-tāla* system. The details of these measurements are discussed in two separate chapters, wherein the comparative measurements of the several parts of the various limbs of the body are given. It may be pointed out here that, according to the *daśa-tāla* system, the whole length of the body is ten times the face, while in the *nava-tāla*, it is nine times, and hence in the *ashṭa-tāla* it should be eight times the face, and so forth.
v6.c40.s18.7
The characteristic attributes and poses, and the ornaments, decorations, etc., of each of these female deities are described in detail.
v6.c40.s18.8
The goddess Sarasvatī is represented as seated on a lotus-seat. Her complexion is white like crystal. She is four-armed; in her two right hands she holds a *saṁdarśa*¹ and a rosary (*aksha-mālā*), and in her two left hands a book (*pustaka*) and a water-pot (*kuṇḍikā*). There exists, however, also a two-handed variety of the Sarasvatī image. Her ornaments, which are described in detail, include ear-pendants of the type called *grāha-kuṇḍala* (*makara-kuṇḍala*).
v6.c40.s18.9
¹ Should we read it *ādarśa* (mirror) ? The regular attribute of Sarasvatī, however, is the lute (*vīṇā*).
v6.c40.s18.10
Sāvitrī, who is seated on a lotus-seat to the left of Brahmā, may be pink (white red, *śveta-rakta*) or dark blue (*śyāma*). She has two arms and two eyes, in other words she assumes a purely human shape. She holds a blue lotus flower (*utpala*) in her right hand, while her left hand is stretched out in the pose of granting a boon (*vara*). Sāvitrī, too, is adorned with various ornaments.
v6.c40.s18.11
Lakshmī, the goddess of good fortune, looks benign (*prasanna-vadanā*); her complexion is pure gold. She has four arms. Her upper right hand is raised in the attitude of granting security (*abhaya*), and in her other right hand she holds either a red lotus flower (*padma*) or a rosary. The attributes held in her left hands are a tabor or hand-drum (*ḍiṇḍima*) and a blue or red lotus flower. As befits the goddess of luck, she is bedecked with gorgeous ornaments and jewels.
v6.c40.s18.12
In contradistinction with the Great Lakshmī (Mahā-Lakshmī) thus described, the ordinary Lakshmī is said to have only two hands in each of which she holds a red lotus flower (*rakta-padma*). Her distinguishing feature is that she is placed between two elephants with uplifted trunks. A brief account is given about representations of Lakshmī as the spouse of Vishṇu.
v6.c40.s18.13
The Earth-goddess (Mahī-śakti), who is placed on the other side of Vishṇu, is said to be two-armed and two-eyed. In her right hand she holds a blue lotus (*utpala*); with her left hand she indicates the granting of a gift. She has a dark blue (*śyāma*) complexion and wears *makara* ear-rings.
v6.c40.s18.14
Durgā, also called Gaurī and Pārvatī, the consort of Śiva, is two-armed. She holds a blue lotus in her right hand and her left hand is in the pose of granting a gift (*vara*). She is distinguished by all the marks of female beauty and is profusely adorned with ornaments. She has a dark blue (*śyāma*) complexion and wears yellow garments. She is placed to the left of Śiva, or of his symbol, the *liṅga*.
v6.c40.s18.15
Manonmanī(?), the goddess of love, is four-armed and three-eyed. Strange to say, her hair-dress is said to be the matted hair (*jaṭā*) of an ascetic. Two of her hands are in the attitude of assuming protection (*abhaya*) and of granting a boon (*vara*). In each of the two other hands she holds a lotus flower. Her complexion is pink (red white, *śveta-rakta*) or dark blue (*śyāma*). It appears that this *Śakti* also is reckoned as belonging to the retinue of Śiva, in whose temple she is worshipped.
v6.c40.s18.16
Finally, the Seven Mothers are described. In general these *Śaktis* have the same emblems and distinguishing features as their male counterparts. Brahmāṇī and Rudrāṇī, for instance, who are the *Śaktīs* of Brahmā and Rudra (or Śiva) respectively wear the matted hair of the ascetics. Brahmāṇī has four faces and four hands, in two of which she holds a rosary (*aksha-mālā*) and a water-pot (*kuṇḍikā*). Rudrāṇī has a white complexion, her attributes are the antelope (*hariṇa*) and the noose (*pāśa*). Vaishṇavī and Vārāhī, who are both *Śaktis* of Vishṇu, are distinguished by a dark blue (*śyāma*) complexion and hold the discus (*chakra*) and conch-shell (*śaṅkha*) which are the well-known emblems of Vishṇu. Vārāhī has a boar's head.
v6.c40.s18.17
The chapter closes with a very brief reference to the plumb-lines which are more fully treated in a separate chapter.
v6.c40.s18.18
THE JAIN IMAGES (*Jaina-lakshaṇa-vidhāna*)
v6.c40.s18.19
The opening lines describe in detail the various kinds of measurements used in Indian sculpture.
v6.c40.s18.20
The linear measurement is divided into six kinds, *māna*, *pramāṇa*, *parimāṇa*, *lamba-māna*, *unmāna*, and *upamāna*.
v6.c40.s18.21
The measurement from the foot to the top of the head is called *māna*, which is in fact nothing but height. *Pramāṇa* is the measurement of breadth (*vistāra*); *parimāṇa* is the measurement of girth or circumference (*paritaḥ*); *lamba-māna* is the measurement along the plumb-line or the line drawn perpendicularly through the different parts of the body, the *māna* or the measurement of the height being determined by the surface of the body; *unmāna* is the measurement of thickness (*nimna*) or diameter; and *upamāna* is the measurement of interspace (*antara*), such as that between the two feet of an image; this measurement is evidently taken from one plumb-line to another.
v6.c40.s18.22
The primary measurement (*ādi-māna*) refers to comparative measurement and is divided into nine kinds. The height of an image is determined firstly, by comparing it with the breadth (*tāra*) of the whole temple (*harmya*); secondly, with the height of the cella or sanctum (*garbha-gṛiha*); thirdly, with the height of the door (*dvāra-māna*); fourthly, with the measurement of the base (*adhishṭhāna*); fifthly, by expressing it in cubit (*hasta*); sixthly, in the *tāla* system;
v6.c40.s18.23
seventhly, in *aṅgulas*; eighthly, by comparing it with the height of the worshipper; and ninthly, with the height of the riding-animal (*vāhana*) or with the height of the principal idol (*mūla-bera*).
v6.c40.s18.24
Absolute measurement in cubits (*hasta*), etc. is given in the case of many architectural and sculptural objects.
v6.c40.s18.25
The *aṅgula* (*lit.* finger) measurement has reference to both comparative and absolute measurements. Three kinds of *aṅgulas* are expressly distinguished, and a fourth *aṅgula* is added later.
v6.c40.s18.26
(*a*) The *berāṅgula* is the measurement taken by the *aṅgula* or finger of the main idol.
v6.c40.s18.27
(*b*) The *mānāṅgula* refers to the ordinary absolute measurement in *aṅgulas*, one *aṅgula* being equal to eight *yavas* (barley grains) or three-quarters of an English inch.
v6.c40.s18.28
(*c*) The *mātrāṅgula* is the measurement determined by the length of the digit and the width of the middle finger in the right hand of the master (*kartṛi*).
v6.c40.s18.29
(*d*) Another kind of *aṅgula* measurement is determined by dividing the whole length of the body of an image into a number of equal parts, each of which is called a *deha-labdhāṅgula* or simply *dehāṅgula*. In the last sense, *aṅgula* is used to mean simply a part. Thus both *aṅgula* and part (*aṁśa*, *mātrā*) are indiscriminately used throughout the work. If the length, etc., of a building or image is divided into a number of equal parts for some special purpose, each of them is called *aṅgula*, *aṁśa*, or *mātrā* indiscriminately. This lack of discrimination has been very confusing in many places, rendering it extremely hard to distinguish an absolute measurement from a comparative one.
v6.c40.s18.30
The height of the image is determined by comparing it with the height of the worshipper (*yajamāna*). It may be of nine kinds, according as it extends from the foot of the worshipper to his sex-organ, navel, heart, breast, arms, chin, tip of the nose, hair limit (on the forehead), or to his full height. The *tālamāna* admits of many varieties; the ten-*tāla* measurements vary from one *tāla* to ten *tāla*; each of these is again divided into three types, the *uttama* or the largest, the *madhyama* or the intermediate, and the *adhama* or the smallest. Thus an image is of the *daśa-tāla* measurement when its whole length, is equal to ten times the face. In the largest type of the *daśa-tāla* system, the whole length is divided into 124 equal parts, which are proportionately distributed over the different limbs of the body; in the intermediate type, the whole length is divided into 120 equal parts and in the smallest type, into 116 equal parts. In the *nava-tāla* system, the whole length would be nine times the face; in the *ashṭa-tāla*, eight times; and so forth. Several of these *tāla* measures are described in detail in the subsequent chapters.
v6.c40.s18.31
The varieties of the alternative measurements in each case are simplified by the application of the rules of *āyādi-shaḍ-varga*.
v6.c40.s18.32
The main object of the chapter, namely, the description of the Jain deities, is thus submerged in a lengthy discussion of the various measurements used both in architecture and sculpture.
v6.c40.s18.33
Like all other idols, the images of Jain deities, too, may be stationary or movable; they may be in the erect or in the sitting posture. They have a purely human shape, and wear neither robes nor ornaments. On the chest the *śrīvatsa* symbol is marked in gold. They are placed on a throne decorated with the *makara-toraṇa*, and the ornamental tree (*kalpa-vṛiksha*), and are attended by Nārada and other sages, by Yakshas, Vidyādharas, Siddhas, Nāgendras, and Lokapālas, etc. All these attendants, it should be observed, are also known as Hindu deities.
v6.c40.s18.34
The twenty-four *Tīrthaṅkaras*, or Jain saints, are referred to but not specified.¹
v6.c40.s18.35
¹ Cf. James Burgass, *Digambara Jaina Iconography*, *Indian Antiquary*, Vol. XXXII, pp. 459 sqq., for the full list of the Jain Saints; *see* also the writer's *Encyclopaedia of Indian Architecture*.