Elements of Hindu Iconography v1.c8.163

v1.c8.163

*Padmāsana* should always be circular or oval, but never rectangular. In the absence of authoritative information as to its length and breadth, it is left to the sculptor to choose them so as to suit his purpose. *Bhadrapīṭha* is another seat, the height whereof is also divided into sixteen parts, of which one forms the thickness of the *upāna* or the basal layer, four of the *jagatī* or the next higher layer, three of the *kumuda*, one of the *paṭṭika*, three of the *kaṇṭha*, one of the second *paṭṭika*, two of the broader *mahāpaṭṭika* and one of the *ghṛtavāri* the topmost layer (see Pl. VI, fig. 6). *Bhadrapīṭha* may be either circular or rectangular. A description of the wooden seat known as *kūrmāsana* is given in the Tamil work called *Śaivasamaya-neri*. The timber used for making this seat is the *iluppai*, *karuṅgāli* (ebony) or *bilva* (bael). The *kūrmāsana* must have the oval shape proper for a mirror (Pl. IV, fig. 7) The height of it has to be four *aṅgulas*, its breadth twelve, and it should be provided with the face and feet of a tortoise, these latter being one *muṣṭi* or seven *aṅgulas* in girth (see Pl. VI, figs. 3 and 4).* In the description of Chāmuṇḍā a *prēta* or a human carcass is mentioned as a seat for her. *Prētāsana* is the posture in which the *yōgi* lies flat on his back, with his arms outstretched; evidently this attitude is meant for the perfect relaxation of all the muscles of the body to secure complete ease in breathing, and in it one is certainly apt to appear as though he were dead. It may be surmised that this *yōgic āsana* has been materialised into the above curious carcass-seat. The *siṃhāsana* is a four legged seat, circular or rectangular in shape and one *hasta* or cubit in height. The four legs of this seat are made up of four small lions.