The Development of Hindu Iconography c13.37

Language: English

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Elaborate details are laid down in early and late texts about the selection of proper kind of stone for the making of images. The earlier ones, however, have special preference for wood as we have already shown from such texts as *Bhaviṣyapurāṇa*, *Bṛhatsaṃhitā* and the *Matsyapurāṇa*. The *Viṣṇudharmottara* lays down elaborate rules not only for the selection of wood, but also for that of stone to be used in making durable images of gods. The whole of the nineteenth chapter, entitled *Śilāparīkṣā*, of the third book of the *Viṣṇudharmottara* deals with this topic and the details mentioned there closely follow those enjoined in connection with *Dāruparīkṣā*. In the first few verses it is laid down that the *sthapati* will go to a hill and select a particular kind of stone for image. White, red, yellow and black stones are used for the Brāhmaṇ, Kṣatriya, Vaiśya and Śūdra devotees, respectively. Stone that is suitable for such images should be one-coloured, smooth, imbedded in earth, without any grains of sand in its layers, good to look at, washed by spring water or merged in water, shaded by trees and hailing from sacred *tīrthas*, of good length, breadth and thickness (*āyāmapariṇāhāḍhyam*).

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Stones, that are not so, are those which are burnt by sun-rays, which are used for other works, which contain alkaline water, which are very rough, which are marked with minute spots or patches of different shape and size (*Tilaiḥ sambhūṣitā yā tu vicitrairvindumiśritā*) and so on (on this authority the spotted red sandstone of Mathura will be unsuited for image-making). Then mention is made of various modes of testing the selected stone,—the test consisting of different kinds of *śilālepas*, a few recipes of which are given; the application of this test to the stone and the reactions which will follow will show whether the stone is worth collecting for images or not. After being fully satisfied on all these points, the artist will take the selected stone according to rules to the temple for being fashioned into the divine image. The last part of the eighteenth *vilāsa* of Gopala Bhatta’s *Haribhaktivilāsa*, entitled *Śilāgrahaṇam*, is devoted to the consideration of the same subject.

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He quotes extensively from the section of the *Hayaśīrṣa Pañcarātra*, which elaborately deals with the rituals connected with entrance into the forest, selection of flawless one-coloured stone, worshipping the god Viṣṇu, offering of *bali* to the guardians of the quarters, worshipping the selected stone with sandal paste, flowers and *naivedya* and propitiating the various Yātudhānas, Guhyakas and Siddhas who may reside in the stone or in its vicinity and asking their permission to use the stone for the image of Viṣṇu and entreating them to go to reside in another place with these words—‘*Viṣṇuvimbārthamasmākam yatraiṣā Keśavājñayā | Viṣṇvartham yadbhavet kāryam yuṣmākamapi tad bhavet || Anena balidānena prītā bhavatha sarvathā | Kṣemeṇa gacchatānyatra muktā sthānamidam punaḥ*’. The Pañcarātra text also refers to the significance of the various dreams which the selectors of the stone might dream while sleeping at night near it. Then early in the morning of the next day, after the performance of the daily rites and paying respects to the stone and the stone-cutting implements, the sculptor with the *ṭaṅka* (stone-mason’s chisel) in hand (*śilpī ṭaṅkahastaḥ*) should commence his work. The stone for the image should measure a little more than the image to be fashioned out of it. After cutting it out and raising it up, it should be brought near the temple, and the wise (donor) should have the work begun by expert artists (*Tataḥ pravartayet karma vidvān vijñaistu śilpibhiḥ*).

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In the section under *Śilālakṣaṇam*, the *Hayaśīrṣa* refers to various kinds of stones that are to be avoided.¹ A list of different kinds of stone fit for being fashioned into the images of Vāsudeva Viṣṇu is now given. Those stones which are procured from sacred places, which are found merged in rivers, on shady hills or under ground, not burnt by sun-rays, which are of one pleasing colour like pale brown, red, yellow or black (*pāṇḍurā cāruṇā pītā kṛṣṇā śastā ca varṇinām*) are recommended. Then details are given about different types of stones such as *yuvā* (youthful), *madhyā* (of middle age), *bālā* (very young) and *vṛddhā* (old), of which the first two only are to be used for images (these refer to the geological age of particular varieties) ; stones of masculine, feminine and neuter gender are to be distinguished with the help of their characteristic signs such as their ring and their glaze. The main image should be made of masculine stone, the pedestal of feminine, while the *piṇḍikā* (lowermost base) of the neuter (*Pumliṅgaiḥ pratimā kāryā strīliṅgaiḥ pādapīṭhikā | Piṇḍikārtham tu sā grāhyā dṛṣṭvā yā ṣaṇḍalakṣaṇā*). This injunction would mean that the above three were made of separate stones; but in most cases, the actual practice was different, the three being made out of one single block of stone. If the stones at the time of being cut and dressed show circular patches inside them, they are to be avoided as far as possible;

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stones with different kinds of patches (many are enumerated) bring forth various kinds of misfortunes, if they are worked upon. The *Hayaśīrṣa* then goes on to describe the characteristic signs of the *piṇḍikā* and *pīṭha* of the image proper. Elaborate details are given and as many as ten different kinds of the former, such as *sthaṇḍilā*, *yakṣī*, *vedī*, *maṇḍalā*, *pūrṇacandrā*, *vajrā*, *padmā*, *ardhaśaśī* and *trikoṇā* (the name of the tenth is not given), are enumerated. As regards the height of the image and its pedestal, it is expressly laid down here that the shrine door should be divided into eight equal units; the image proper should measure two of these units, while the *piṇḍikā* should measure one part of the height of the image divided into three equal parts.¹ The *Matsyapurāṇa* distinctly says that all this work connected with the fashioning of the image in all its minute details should be done in a covered secluded place by the image-maker in a pious and well-controlled manner, and while engaged in his work he should always meditate on the god whose image is being fashioned by him.² Detailed instructions are incorporated in most of the texts dealing with Brahmanical iconography about the actual proportions to be followed in the carving of the entire image and its various sections and sub-sections;

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a reference to the details about the canons of iconometry in Chapter VIII of this book where some of these iconometric texts are discussed will testify to the thoroughness and accuracy of the ideal which was set before the ancient and mediæval iconographers of India.