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) v7.c47.4010
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) v7.c47.4010
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v7.c47.4010
The line drawn from the crown of the head (śikhā-maṇi) passes by the middle of the front, root and paṭṭa (band) of the diadem (mauli), middle of the forehead, eyebrows, nose, chin, neck, chest (hṛidaya), navel, sex organ, root of the thighs, half way between the knees, nalakas (ankles), heels, soles (feet) and two largest toes (lines 32-40). The perpendicular and horizontal distances between the different parts of the body are described in detail (lines 41-78, 99-139). The variations of these measurements are considered with regard to postures (lines 1-96), namely, erect (sthānaka), sitting (āsana) and recumbent (śayana), and poses (lines 98-140), called ābhaṅga, sama-bhaṅga, ati-bhaṅga and tri-bhaṅga (*see* under BHAṄGA).