Mediaeval Sinhalese Art c18.s1: Sāriputra. Part II., translation

Mediaeval Sinhalese Art c18.s1

Language: English

Sāriputra. Part II., translation

1. “Let that Lord Buddha, having cheeks of a golden hue, lips of light red, captivating eyes, brows that are lovely as a bow, shining like the moon, who eclipsed the lotus, who is beauteous as the faces of the daughters of Māra, guard thee.

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2. “Hearken, we shall now describe the dimensions of images of Buddha in the three postures of sitting, standing and reclining.

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3. “Images of Buddha are made from gold, copper, clay, stone, wood, burnt clay, and lime.*

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4. “. . . The size of the (image-) house should be in proportion to the size of the image, and vice-versa. . . .

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8. “We shall now describe the various heights of images. Those that are less than two cubits (E. 62 inches) are called very small (*alpa*) images:

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9. “Images above two cubits and up to five cubits are small (*adhama*): images above five cubits and up to eight cubits are called middling (*madhyama*):

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10. “Images above eight cubits, and up to twelve are called large (*uttama*): images above twelve cubits (E. 31 feet) are great (*maha*).

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11. “. . . No images of gold or other metal should be cast hollow within.

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12. “The making of hollow images will ere long result in the loss of wife and wealth, and lead to quarrels and famine,

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13. “and to delay in the performance of work, and dread of enemies to royalty. The joints of images of wood and stone, must be placed exactly where the joints are, and not otherwise. If images are made thus it will result in length of days.

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14. “If this rule be deviated from it will result in the loss of wealth and life. If the measurements be out by half an *angala*, or (even) a barleycorn, it will result in loss of wealth, and death. Therefore the measurements must be neither more nor less.

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15. “The height of an image must be calculated by a division of it into a scale† of inches . . .”

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† *Patti lella if of wood, ‘kadavasa kole’ (for kadadasi kolaya) if of paper.*

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16—21. “These verses treat of the relation between height and breadth of the image, whether lucky or not, in accordance with Shaḍvargaya.

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22. “One hundred and twenty-four *angal* scale of an image is called the *uttamadasatale*. [cf. Grünwedel, ‘Buddhist Art in India,’ 1901, p. 167, note by A. G.]

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23. “Two *kala* and half an *angala* is called a *bhāga*; thirteen and a half *angal* is called a mukha. From the top of the head* to the sole of the foot is nine mukha and half of a bhāga.

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∗ *Cf. Sukracarya: “There are the following kinds of images, arranged in order of durability: (1) Images made of sand; (2) Images made of flour or meal; (3) Drawings; (4) Plasterings; (5) Earthen images; (6) Wooden images; (7) Stone images; (8) Metal images.”*

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24. “According to this scale the length of the face is three bhāga. The uṣṇīṣa† is equal to eight yava. The length of the part just above the brow, covered by hair is three aṅgala.

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† Protuberance upon the skull, one of the thirty-two chief physical perfections or ‘lakṣaṇas.’

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25. “From the centre of the forehead to the centre of the space between the eyes, and from the end of the nostril to the jaw is one bhāga.‡ The piece of flesh projecting beyond the chin is half an aṅgala.

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‡ The face is divided into three equal parts.

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26. “From the base of the throat to the top of the neck is 3½ inches, and from thence to [the end of the breast and thence to] the end of the navel, and from thence to the end of the penis is one tāla in each case.

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27. “The length of the thigh is two tāla; the foot and the knee are two bhāga; these are the principal measurements.

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28. “The length of the [upper] arm is 27 aṅgala; the length from the elbow to the wrist is 21 aṅgala. The length of the hand [from the wrist to the end of the fingers] is 13½ aṅgala . . . , the same as that of the face.

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30. “The back of the head, from the crown to the nape of the neck, is one face and three aṅgala [42½ aṅgala]; the space from one ear to the other [measured over the crown] is 10 kolaka [20 aṅgala] and twice this sum is the circumference [viz., 40 aṅgala, the same as stated below, but without including the thickness of the hair].

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32. “The diameter [of each tuft of hair] is eight barleycorns, and the height six; the area within which the hair is found is three faces and one veda [i.e., 44½ aṅgala round]; there are 360 tufts of hair.

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36. “The breadth of the chest is 40½ aṅgala . . . [?]

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37. “The space between the breasts is 19 aṅgala . . . [?]

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40. “The edge of the hair in front by the forehead is curved, in the shape of a bow or like an arch. The height of the eyebrow is an aṅgala, and the breadth two barleycorns . . .

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42. “The length of the eye from the unguent-spot§ to the other end is three aṅgala; and its breadth six barleycorns. The two lids are two barleycorns.

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§ Karavīra, the small aperture at the beginning of the eye where unguents are placed, hence called aṇḍun-vala in Sinhalese.

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43. “The eye is divided into three parts, one black and two white. In the black part the disc is of the size of a louse. [Part I. gives greater detail.]

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44. “The space between the eyes is one kala; the height of the nose at the top is one aṅgala, and the skin of the eyelid half a mātra.

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45. “The length of the nostril is one aṅgala and a kala, the height of the nostril is one aṅgala, and the breadth of the hole is six barleycorns.

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47. “The mouth is between the two cheeks [lit. parts which display or smile]. . . . The upper lip has three curves.

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48. “The width is 1½ kala [three aṅgala]; the breadth of the [lower] lip is one aṅgala. . . .

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50. “The face will be beautiful if the aforesaid parts are [thus] completed. The breadth of the ear is two aṅgala, the [total] length five kolaka; the length of the part above the pendant is four aṅgala; the pendant is three kolaka [six aṅgala].

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51. “The width of the pendant part is half an aṅgala, the pendants on either side the same.

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∗ The translation reads ‘forehead,’ but evidently ‘head’ is intended. Nine mukha and half a bhāga are 123¾ aṅgala, practically the 124 aṅgala of v. 22.

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Standing images of Buddha

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The space between the pendant of the ear and the neck is 1½ *angal*. The height of the outside of the ear is 1½ *angal*.
54. “The length from the base of the neck to the nipple, thence to the other nipple, and thence to the base of the neck is 13½ *angal*.*
55. “From the base of the neck to the armpit is one *tala*, and the part over is one *kolaka*. The breadth of the palm is six *angal*, and its length seven *angal*, the thickness of the palm one *kolaka*, the breadth of the thumb 1½ *angal*.
56. “The length of the middle finger is six *angal* and four barleycorns; the fourth finger is 5½ *angal*; the forefinger is less by one barleycorn. [Verses 57-63 give further minute details of the measurements of the fingers and finger nails.]
64. “The length of the foot is 13½ *angal*, and from the ankle bone to the heel is one *bhaga* [two *angal*]. [Verses 65-71 give detailed measurements of the toes.]
72. “The breadth of the back between the two armpits is two *mukha*. . . .
73. “. . . the space between the two thighs at their beginning is one *angala*, between the two knees one *kolaka* [two *angal*] and the space between the two [great] toes one *kala* [two *angal*] and a barleycorn.
74. “The *maddhya sutra* [medial plumb line] drawn from the crown of the head must touch the tip of the nose, the centre of the chest, the navel, the private part, the inner side of the knees, and the inner sides of the feet.
75. “The *parsva sutra* [side plumb line] drawn from the crown of the head must touch the side of the forehead, the centre of the cheek, the side of the arm, the centre of the thigh, the centre of the knee, as well as the centre of the ankle joint.
76. “The girth must be three times the breadth of the several parts. . .
77. “The end of the hand [raised in] blessing must be in a line with the end of the chin, the cheek and the nose, at a distance of eight barleycorns from the end of the mouth and the nipple of the breast. [This is incomprehensible.]
78. “The *kata sutra* [loin plumb line] must be drawn from the side of the little finger [of the raised hand] to fall over the middle of the hip, the middle of the thigh, and outside the knee.
86. “The *kaksha sutra* [armpit plumb line] must be drawn from the side of the armpit, by the side of the hip, the calf and its termination, and by the fifth toe of the leg.
87. “The *bahu sutra* [shoulder plumb line] must be drawn by the centre of the side of the [left] arm by the end of it and outside the palm.
88. “A *maddhya sutra* [medial plumb line] must be drawn [behind] from the centre of the crown of the head, the centre of the rising part of the back, the centre of the [small of the] back, and between the heels.†
90. “If the plumb line is drawn amiss, the image maker will be afflicted with illness . . . if correctly it will lead to the success of royalty and the protection of the maker. The section specially referring to standing images of Buddha ends here.

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Seated images of Buddha

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91. “I shall now describe *yogasana* [meditative] images. The tip of the nose, the thumb and the heel must be visible to the eye [of the image].
92. “The image must exemplify a person with an unfettered, quiescent, and absolutely pure mind, pre-eminent from head to foot.
93. “From the place where the feet touch the throne, to the top of the hair on the head, [Figure: DIAGRAM OF LAMBA TATUWA OR FRAME FROM WHICH PLUMB LINES ARE SUSPENDED. BAHU SUTRA KAKSHA SUTRA KARNA SUTRA MUKHA SUTRA MADDHYA SUTRA MADDHYA SUTRA CHAKSU OR MUKHA S. KARNA SUTRA KAKSHA SUTRA BAHU SUTRA Level of frame (lamba tatuwa) from which plumb lines are suspended. SCALE OF 'FACES' AND INCHES.]

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∗ This appears to contradict v. 37, but is evidently correct. † Verses 84, 85, and 89 speak of two or three other plumb lines, but less clearly defined and not named.

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Fig. 95. Seated figure of Buddha, drawn to a scale of five ‘faces,’ and showing the principal plumb lines used in making images [D. S. M.].

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*Seated* *images of* *Buddha*

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the length is 62 *angal*.* The expert imager must make the figure in the due proportion.
94. “The left foot is beneath, the right foot must be placed over it, the hands must be placed likewise. The image will then be pleasing.
95. “The length from the feet to the hands is one face, and from thence to the private part and navel one *bhāga*.
96. “From the base of the throat to the navel is 27 *angal* [i.e., two faces]. From the base to the top of the neck is one *bhāga* less one inch.†
97. “From the collar bone to the throat joint is half an *angala*. The face is 13½ *angal*. The height of the crown of the head is three *angal*, the top 1½ *angal* [cf. v. 24].
98. “The three‡ sedent positions are as aforesaid, and the skilful craftsmen must make them accordingly. [Verses 99-104 give details of position and dimensions of hands, knees and feet].
105. “The space between the two knees, the height from the ankle to the end of the hair of the head, as also from [each] knee to the [opposite] shoulder are the same.§ [Verses 106-111 give measurements of the body, and arms, and indicate their relation.]
112. “A line must be drawn from the middle of the forehead, the middle of the tip of the nose, over the middle of the chest, and over the middle of the navel, the middle of the private part, between the two joints of the thumbs, and the middle of the ankles of the feet;
113. “This is the *maddhya sūtra* [medial plumb line] which must be drawn at a distance of twelve inches from the crown of the head.‖ 114-115. “From the plumb line to the centre of the forehead is three inches, to the tip of the nose one inch, to the bridge of the nose three inches, to the chin three inches, and to the end of the neck seven inches: to the base of the neck seven inches and three barley-corns, to the chest three inches, to the middle of the belly one inch, and the line must touch the private part.
116. “This plumb line should be drawn as described above. [Another] line must be drawn by the end of the mouth, the end of the nipple of the breast, the end of the wrist joint, and the side of the instep [?]. This is called the *mukha sūtra* [mouth plumb line].
117. “ [Another] line must be drawn by the armpit, the side of the hip, the side of the calf and by the elbow. This is called the *kaksha sūtra* [armpit plumb line].
118. “The expert imager should mark what is said above, and draw the lines accordingly. Sideways from the centre of the crown, the side of the ear, the side of the arm and the elbow, this line must be drawn over the three seated images.**
119. “The height of the seat should be either one third or one quarter or one fifth of the height of the seated image. The description of seated images ends here.

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∗ *More roughly in practice, for small images, and as in the figure, five faces, not including the hair.* † *i.e., half an angala less than the measure given in v.

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²⁶ The discrepancy appears to be explained by v. 97.* ‡ *1. Yogāsana, meditative, with hands laid flat on one another on the lap.

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² The right falling to the ground over the thigh.

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³ The right hand raised and held palm forward, the left hanging flat by the side or holding garment.* § *This is a very important check, useful even in the case of quite small images or drawings.* ‖ *So that the line may clear by one inch the tip of the nose, as indicated in the next verse; it will be seen that the plumb line serves as an axis of reference from which by measurement the position of various parts of the body is known.* ** *Cf. v. 98, also referring incidentally to the three varieties of seated image.*

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120. "I give below a description of recumbent images. The recumbent image should be *Sariputra* made exactly in the attitude of a devotee.
121. "The image must be made without contracting the vital joints, [allowing them to be pressed on the throne], then only will it lead to all prosperity.
122. "Otherwise it will end in the destruction of the place as well as of wealth. The length of the [image-] house should be divided into sixteen parts.
123. "Two of these should be vacant at either end, and the remainder occupied by the reclining image. The breadth of the house should be divided into seven parts, three and a half of which should be occupied by the couch of the reclining image.
124. "The breadth of the recumbent image must be one *Brahma pada*, and half of a *preta pada*. . . . The couch must be within the *Brahma sutra* precincts of the house.*
125. "When the reclining image is two *angal* within the limits of the *Brahma sutra* it will lead to all increase of prosperity; if it is made to extend beyond the *Brahma sutra* it will destroy wealth and life.
126. "The *maddhya sutra* must be drawn from behind the ear, the side of the pendent of the ear, the navel and the centre of the private part, and the knees and between the feet.†
127. "The *parsva sutra* [must be drawn] from the [upper] side of the crown, by the side of the neck, below the elbow and the wrist, and over the middle finger and the ankle.
128. "The *mukha sutra* must be drawn from the middle of the crown, the middle of the forehead, the middle of the nose, the side of the breast and the side of the lower hip.
129. "The *vamsa sutra* [abdominal line] . . . [not clear].
131. "The space between the two nipples of the breasts is 11 *matra* [11 *angal*, cf. with the 13½ *angal* of v. 54, where the body is upright and not contracted]. . . .
133. ". . . The *netra sutra* [eye line] must be drawn from the side of the arm on which the head rests.
134. "The line must be drawn from the thumb by the side of the cheek, the neck and the pendent of the ear. The [under] armpit must be in a line with [i.e., immediately beneath] the beginning of the shoulder of the other arm.
136. "The height of the pillow is the same as that of the face. The full rounded face when complete with all its features is beautiful.
137. "The measurements of the standing, seated and reclining images of Buddha should be as above, moreover, the images should be illustrative of the perfections of Buddha.
138. "If the image is perfect it will lead to the increase of merit and prosperity, otherwise it will lead to the destruction of all wealth and length of days.
139. "The image of the Asura Rāhu‡ should be drawn in accordance with the position he occupied at the estimable feet [of the recumbent Buddha], covered with every ornament, holding flowers and garlands in his hands, bending in three places, and in every respect perfect. “The end of the measurement of images as heard by Sāriputra.” [Figure:] Part II. of Sāriputra ends here.

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∗ *This refers to a division of the site of a house or temple into four areas by means of lines called Brahma sutra, Deva sutra, etc., dividing the whole into 64 squares. The four central squares compose the Brahma pada; the 12 surrounding squares the Deva pada; the 20 next surrounding squares the Manushya pada; the 28 outer squares the Preta pada. Diagonals are drawn from corner to corner. A house should not be built upon the Brahma or Preta areas. We are here told that the image in a temple should be within the Brahma area. Similar particulars are given in the Brihad Samhita, II., 6, vv. 55-58. The terms Brahma pada, etc., are also used in this verse as units of measurement: padaya=a foot; also a quarter, part, etc.* † *The line—not here a plumb line, of course—is asymmetrical as regards the head, because the head is raised on a pillow out of the straight line of the body, and so with the other lines.* ‡ *The figure of Rahu is not generally found in association with reclining images in Ceylon.*

Linked texts (1)

Bṛhatsaṃhitā — Varāhamihira, Sanskrit