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.s19: Chapter LVI: The Buddhist Images (Bauddha-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.s19
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Chapter LVI: The Buddhist Images (Bauddha-lakshaṇa-vidhāna)
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The account of these images, too, is very meagre. Evidently the author had in mind solely the effigies of Buddha, not of other Buddhist deities. This is clear from his description. These figures, he says, which may be either erect or in the sitting posture, are placed on a throne (*siṁhāsana*), and are distinguished by the *aśvattha* (holy fig) tree as well as by the *kalpa-vṛiksha* (mythic wonder-tree). The latter, as we have seen, is represented in connexion with other divine beings as well, but the *aśvattha* or *ficus religiosa* is characteristic of Buddha, as the Bodhi-tree, under which he attained enlightenment (*bodhi*), belongs to that species. Another peculiar mark of Buddha, which has been duly noted by the author, is the *ushṇīsha* or protuberance of the skull (*ushṇīshojjvala-maulika*).¹ For the rest, the appearance of Buddha is purely human. He has a full face, a long nose, smiling eyes and elongated ears. His body is fleshy, his chest broad, his belly round, and his arms long. He wears a yellow garment (*pītāmbara-dhara*), and his complexion is white. Like other idols, the Buddha images are made of wood, stone, or iron (*loha*). They are measured according to the largest type of the *daśa-tāla* system.
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¹ The *urṇā*, or mark between the brows, which is another distinguishing feature of Buddha, is not noticed in the course of this description.
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IMAGES OF SAGES (*Muni-lakshaṇa-vidhāna*)
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The seven well-known patriarchs or sages (*ṛishi* or *muni*) are taken to illustrate the three varieties of the *tāla* measurement. They are Agastya, Kāśyapa, Bhṛigu, Vaśishṭha, Bhārgava, Viśvāmitra, and Bharadvāja.
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Agastya is bright blue (*śyāma*) in colour; Kāśyapa, yellow (*pīta*); Bhṛigu, dark or black (*kṛishṇa*); Vaśishṭha, red (*rakta*); Bhārgava, brownish (*piṅgala*); Viśvāmitra, red (*rakta*); and Bharadvāja, yellow (*haridra*, *lit.* turmeric-coloured). They are represented in a purely human shape, being two-armed and two-eyed; they wear yellow garments and the sacred thread (*yajña-sūtra*), and are distinguished by the matted hair of the ascetics (*jaṭājūṭa*). In their two hands they hold a staff (*daṇḍa*) and a book (*pustaka*). Of Agastya, who is mentioned first among the seven sages, it is stated particularly that he is corpulent (*bṛihatkukshi*) and hump-backed (*kubjākāra*).
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Of these seven sages, Agastya is measured in the seven-*tāla*, Kāśyapa and Bhṛigu in the eight-*tāla*, and the rest in the nine-*tāla*. The details of these three *tāla* measurements are given subsequently.
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In the *sapta*- or seven-*tāla* measurement, the whole length of the image is seven times the height of the face, which is generally twelve *aṅgulas* (9 inches) in the Indian system. This length is divided into 12 × 7 = 84 equal parts, of which the proportional distribution among the different limbs is explained at great length.
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In the *ashṭa-* or eight-*tāla* system, the whole length is similarly divided into 96 equal parts, and in the nine-*tāla* into 108 equal parts.
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Images of Yakshas, Vidyādharas, etc. (*Yaksha-vidyādhara-vidhāna*)
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The present chapter deals briefly with four classes of semi-divine beings, namely, *Yakshas*, *Vidyādharas*, *Gandharvas*, and *Kinnaras*. They are said to have two arms and two eyes, in other words, they assume a purely human appearance. They are adorned with the crown known by the name of *karaṇḍa*. The colour of the *Yakshas* is stated to be dark blue (*śyāma*) and yellow (*pīta*), that of the *Vidyādharas* dark red (*śyāma-rakta*) and yellow. The images, both of the *Yakshas* and the *Vidyādharas*, are measured according to the *nava-tāla* system. The *Yakshas* are distinguished from the *Rākshasas*, the latter being evil spirits, while the former are regarded as supernatural beings of a benevolent and inoffensive disposition. The *Yakshas* act as attendants (*anuchara*) and chowry-bearers of the gods. The *Vidyādharas* are a kind of fairies possessed of magical powers. Here, apparently, they are described as *Atlantes*. The *Gandharvas* are celestial choirs, and celebrated as musicians.
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The description of the *Kinnaras* is contained in a *Mālinī* stanza at the end of the chapter: 'The legs are like those of an animal, the upper part of the body is like that of a man, the face is like that of Garuḍa (the bird of Vishṇu), and the arms are provided with wings. He is adorned with a diadem and a red lotus, has the beautiful hue of a flower, and holds a lute (*vīṇā*). These are the characteristic features of the *Kinnara*. ¹
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¹ It may be noticed that the body of the *Kinnara* is a combination of the bodies of a man, an animal, and a bird.