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Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c74.s6: I. Objects

Vāstu-śāstra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c74.s6

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English

I. Objects

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**A—Weapons and Implements.**—The weapons and the implements that are generally mentioned in the manuals of Iconography in relation to the description of the images of gods are tabulated as hereunder indicating also their association with the particular gods or goddesses :—

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(i) Weapons

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| S. No. | Weapons | Gods & Goddesses |
| 1. | Cakra (Sudarśana) | Viṣṇu |
| 2. | Gadā (Kaumodakī) | „ |
| 3. | Śārṅga—the bow | „ |
| 4. | Triśūla (or Śula) | Śiva |
| 5. | Pināka | „ |
| 6. | Khaṭvāṅga | „ |
| 7. | Agni | „ |
| 8. | Paraśu | „ |
| 9. | Aṅkuśa | Gaṇeśa |
| 10. | Pāśa | „ |
| 11. | Śakti | Subrahmaṇya |
| 12. | Vajra | „ (also Indra) |
| 13. | Ṭaṅka | „ |
| 14. | Musala | Balarāma |
| 15. | Hala | „ |
| 16. | Śara (arrow) | Kārtikeya, the war lord (cf. S. S. 77. 27-28). |
| 17. | Khaḍga (Sword) | „ |
| 18. | Musṛṇṭhi | „ |
| 19. | Mudgara (club) | „ |
| 20. | Kheṭa (Shield) | „ |
| 21. | Dhanuṣ (bow) | „ |
| 22. | Patākā (Flag staff) | „ |
| 23. | Parigha | Durgā |
| 24. | Pattiśa (spear) | „ |
| 25. | Carma (skin shield) | „ |

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Aparājita-pracchā, among the manuals of Northern texts, has a unique credit of describing as many as thirty weapons—vide Sūtra 235 (Pr. L. pp. 43-43). The number 36 (sattrimśati) of the weapons (Āyudhas) is perhaps traditional like No. 16 of the ornaments (ṣodaśa- Ābhūṣaṇas). These Āyudhas of the Aparājita are tabulated as hereunder :

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| 1. | Triśūla | 13. | Daṇḍa | 25. | Śīrṣaka |
| 2. | kṣhurikā | 14. | Śamkha | 26. | Sarpa |
| 3. | Khaḍga | 15. | Cakra | 27. | Śṛṅga |
| 4. | Kheṭaka | 16. | Gadā | 28. | Hala |
| 5. | Khaṭvāṅga | 17. | Vajra | 29. | Kuntaka |
| 6. | Dhanuṣ | 18. | Śakti | 30. | Pustaka |
| 7. | Bāṇa | 19. | Mudgara | 31. | Akṣamālā |
| 8. | Pāśa | 20. | Bhṛśuṇḍī | 32. | Kamaṇḍalu |
| 9. | Aṅkuśa | 21. | Musala | 33. | Sruk |
| 10. | Ghaṇṭā | 22. | Paraśu | 34. | Padma |
| 11. | Rīṣṭi | 23. | Karṭikā | 35. | Patra and |
| 12. | Darpaṇa | 24. | Kapāla | 36. | Yoga-mudrā. |

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*N. B.*—A glance at these will show some of these so called āyudhas (Nos. 12, 24, 25, 27, 30 to 36) are really symbolic objects placed in the hands and they may be called improvised weapons.

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Śilparatna, another text of repute belonging to the Southern group of Śilpa manuals has also described certain weapons (Chap. 16. pp. 54-66; Pr. L. p. 45) like dhanuṣ, śara, ṭaṅka, mṛga, cakra, śamkha, damaru, kamaṇḍalu, padma and nāla—some of which, as remarked, are only improvised weapons.

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Now some remarks need be made about these weapons and their presentation in art:

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**Trisula.**—It is a weapon par excellence of Śiva. Its sculpturing or iconography presupposes the same material, of which the image bearing it, is made. The Śilparatna is emphatic enough to impress that

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“यद् द्रव्येण कृतं बिम्बं तेनैवायुधमाचरेत्”

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According to A.P. it has four principal parts, the daṇḍa, the two pakṣas and the śakti, in the middle. The pakṣas, the blades are enjoined to be sharp enough to terrify and śakti-part should be overlaid with ‘kaṇṭakas’ and it should a bit higher than the two blades. As regards the daṇḍa, its staff, the proportions of its length and thickness (or width) is ten to one respectively.

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Dr. Bannerjea holds that triśūla or śūla and paraśu in some instances go together in their early representations—the coin devices (cf. Pl. I, Figs. 16, 19, 21 and Pl. VIII. Fig. 10—D.H.I.). There are however some coin devices which illustrate independent position (cf. Pl. I, Fig. 15; Pl. VIII Figs. 16-18 and Pl. X. Fig. 4—D.H.I.).

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**Ksurika**—Kṣurikā as described in the text is nothing more than what we possess and use it in the household. It is said to be of seven types—Kaumārī, Lakṣmī, Śamkhinī, Tundukā, Pāpinī, Subhagā and Lākṣā. Their proportions vary from six to twelve aṅgulas. Its muṣṭi should be of four aṅgulas in length and in its upper part it should be well beaten and its bottom to be in the shape of barley and of course it is to be studded with a wedge. The text warns the sculptor to avoid its ill proportions otherwise misfortunes are the outcome.

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**Khadga**—Means a sword and various names are used to denote swords particular to different deities, the sword of Vāsudeva-Viṣṇu is Nandaka, while the one placed in the hand of the consort of Pradyumna is Nistrimśa. Its sculptural varieties and the proportions, there of, as given in the A. P. are 50 aṅgulas, the superior variety; 48 the middle or medium and 46 the inferrior one. The sword having its edge like corn barley is called ‘Yavaka’. Regarding its shape instruction is : पालिकोध्र्वे यवं कुर्यात्ताडकाधस्तु ग्राहकम् ।

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**Khetaka**—Bṛhatsamhitā (ch. 57, v. 40) alludes this weapon in the description of the consort of Śāmba, the son of Vāsudeva-Kṛṣṇa. The S.S. allots it to Kārtikeya (ch. 77). It is a shield either round or oblong in shape; it is primarily a weapon of defence and used to be made of wood, metal or skin. On account of its being made of hide it is very often named carma in iconographical texts.

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It is also a kind of sword and the A.P. describes it, in the proportions of Khaḍga; only its diameter is to be bigger by two aṅgulas than that of the Khaḍga. Like Khaḍga it can also take three varieties, the superior, etc.

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**Khatvāṅga**—Rao describes (E.H.I.) it as ‘a curious sort of club, made up of bone of the forearm or the leg, to end of which a human skull is attached through its forearm’. Dr. Bannerjea comments (D.H.I.p. 302): ‘This description shows how hideous the weapon was, though in some of its late medieval representations, this character is somewhat subdued by the replacement of the osseous shaft by a well-carved and ornamented wooden handle; this weapon is peculiar to the awe-inspiring forms of the Devī and her Consort Śiva, such as Cāmuṇḍā and Bhairava.” This latter refinement is also indicated in corrupt lines of the A.P. describing this weapon—‘हेमदण्डविभूषितः’

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**Dhanuṣ and Bāṇa**—*i.e.* bow and arrow, both these go together. Special names are given to the bows held by different gods; the bow of Śiva is pināka and that of Viṣṇu is called Śārṅga. ‘The bow held by Pradyumna (Manmatha, Kāmadeva—the same as Māra in Buddhist mythology) is floral (he is also called Puṣpadhanvā) and having arrows five in number (Pañca-sara). Manmatha, the God of love, is, sometimes (especially in the medieaval period), endowed with a sugar-cane bow’.—Bannerjea.

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A.P. (after describing the bow) classifies the arrow as of three-fold variety (cf. Pr. L. p. 44).

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कुम्भके कुम्भयेद् वाणं पूरकेण तु पुरयेत् ।
रेचके रेचयेद् बाणं त्रिविधं शरलक्षणम् ।।

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**Pāśa and Aṅkuśa**—The former is a noose or lasso used in binding one’s enemies. It is sometimes shown in the form of a snake (nāgapāśa). Rao observes: ‘It is represented in sculptures as consisting of two or even three ropes made into a single or double loop. The latter, *i.e.* aṁkuśa, an elephant goad, is a weapon consisting of a sharp metal hook attached to a wooden handle’. This description as given by Rao is corroborated by A.P.—‘मकरद्वित्रिकं वापि पाशो ग्रन्थिसमाकुलम्’ ।

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**Ghaṇṭā Riṣṭi, Darpaṇa and Daṇḍa**—The first weapon will go after the bell, riṣṭikā is four-bladed, darpaṇa looking glass, is a mirror, and daṇḍa, the staff, takes the proportions of a sword—A.P.

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**Śaṅkha Cakra and Gadā**—The Śaṅkha is described as dakṣiṇāvarta, Cakra cārayuta, gadā after the dimensions of the sword—A.P. According to Śilparatna (P. L. p. 45), śaṁkha and cakra are of equal proportions, *i.e.* of 12 aṅgulas in vistāra. A detailed notice, however, will reveal that these are very important weapons associated with the most popular gods of Hindu pantheon (as already pointed out).

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**Śaṅkha**—is an ordinary conchshell specially associated to Viṣṇu images. It is known by the name of Pāñcajanya (said to have been made out of a bone of the demon Pañcajana, killed by the god). In Bhagvadgītā (Canto I) is given a vivid description of the various śaṅkhas used by the principal warriors assembled in the battle-field of Kurukṣetra, and one that was blown by Hṛṣīkeśa—Vāsudeva-Kṛṣṇa—was this pāñcajanya as recounted by Sañjaya. In ancient India, these conch-shells were used to be blown, on the battle-field, to inspire the soldiers and strike the terror into the hearts of enemies. Rao’s observations on its sculptural varieties are worth mentioning: ‘The conch represented in sculptures is either a plain conch, held in the hand with all the five fingers by its open end (pl. I. Fig. 1) or an ornamented one, having its head or spiral top covered with a decorative metal cap, surmounted by the head of a mythical lion, and having a cloth tied round it so that portions of it may hang on either side (Pl. 1 fig. 2). There are also tassels or pearls hanging on the sides. Curiously enough a śaṅkha of this description is shown, so as to be held between the first two fingers which is indeed a difficult task to perform. In a few instances, attached to the lower end of the śaṅkha, there is a thick jwelled ribbon, which is made to serve as a handle (Pl. 1. fig. 3). Sometimes this ornamental variety of śaṅkha is shown with ‘jvālās’ or flames of fire on the top and on the sides’.

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**Cakra**—is also characteristically Vaiṣṇava weapon. It is also carried by Durgā. It ‘is a wheel, the one par excellence held by Viṣṇu, being Sudarśana and the Pañcarātra texts like Ahirbudhnya Samhitā elaborately describe the latter. In art it is represented in two ways either as a cart wheel…or an ornamental disc; sometimes in the form of a full-blown lotus, petals serving at the spokes’.

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**Gadā**—or the Indian club or mace is usually represented as thicker than the daṇḍa or the ordinary cudgel. Dr. Bannerjea remarks: ‘In the very early representations of this weapon found in some Indian coins and seals, no distinction is probably made between these two weapons’. The mace held in the hands of Viṣṇu is known as Kaumodakī (cf. *Siśupālavadha* canto. III).

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**Vajra and Sakti**—Vajra as defined in the A.P.—‘शूलद्वयदीर्घमेकविंशति शूलतः’ is not quite clear. As regards Śakti, it is said to be having a blade in the shape of half-moon and it is 12 aṅgulas in measure. Vajra, a thunderbolt, is particularly associated to Indra (and also Śiva). ‘It is made up of two similar limbs, each having three claws resembling the claws of birds, and both its parts are connected together by the handle in the middle’—Rao. Dr. Bannerjea observes: ‘Vajra seems to have been represented in early art in two different ways: one is club-like appearance, narrow in the middle and wider at both ends (cf…in the upper right hand of Śiva on a coin of Huvishka) and the other is a double-faced weapon ending in projecting prongs at its both ends (… a vajra of this variety, shown behind its personified form on whose head the right hand of Zeus—Indra is placed)’.

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**Sakti**—is a spear, the special weapon of Skanda—Kārtikeya—and Durgā. ‘It consists of a metallic piece, either quadrangular or elliptical in shape, with a socket into which a long wooden handle is fixed’—Rao.

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**Mudgara and Bhrsundi**—The A.P. defines a mudgara as capable of holding in hand in its uppermost part and its measure is 16 aṅgulas; bhṛśuṇḍī, on the other hand is two hastas in length and in equal measure....,

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As per the S.Ś.'s description of Kārtikeya, both these weapons are particularly favourite to this god of war.

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**Musala and Parau**—The former is defined as 20 aṅgulas in measure of length and 4 aṅgulas in breadth; the latter resembles the half-moon. Musala is the wooden pestle, 'an ordinary cylindrical rod of wood capable of being used as an offensive weapon; it is usually associated with Saṅkarṣaṇa—Balarāma. Paraśu is the battle axe'. Rao says 'The earliar specimens of this are light and graceful. The paraśu of the archaic type consists of a steel blade which is fitted in a turned, light, wooden hand'e. The handle is sometimes fixed in a ring which is attached to the blade of the axe. Sometimes, however, the blade is fixed in a hole bored in the handle. The latter form consists of a heavy club, closely resembling the gadā, into which the head of paraśu is fitted.'

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**Kartikā, Kapāla and Śīrṣaka.**—Kartikā and Kṣurikā take equal proportions; Kapāla is the head bone while Sīrṣaka as a weapon is nothing but the the head (the killed and separated one?) of the enemy.

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**Sarpa, Sṛṅga, Hala and Kuntaka.**—Among these Hala is of particular mention. 'This is the ordinary Indian plough, probably extemporised as a weapon of war'—Rao. It is called also sīra, lāṅgala etc. and is particularly associated with Saṅkaraṣaṇa—Baldeva. Sarpa is definied in the text as 'three-hooded snake.' Śṛṅga is the horn of the cows etc. and Kuntaka, the spear, is of five hastas in length.

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Now the last seven (of the ṣaṭtriṁśatirāyudhas) the **pustaka** (said to be sculptured in yugmatāla), **akṣasūaraka** (the rosary for japa) **Kamandalu**, (pādonah?), **Sruk** (of 36 aṅgulas), **padma** (resembling the flower lotus), **patra** (unfettered and tremulous—mukta and lola) and lastly the **yoga-mudrā** (padmasārdha-yugma-hastā) are really not weapons, but symbolic objcets like implements and other objects held in the hands of the deities, a consideration of which is to follow as the second item under this hleading.

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But before we close this item a word on **Agni** and **Ṭaṅka**—the two weapons among the 25 weapons tabulated above remains to be said: 'Agni shown as a ball of fire is placed in one of the hands of Śiva-Naṭarāja; it may also be depicted as a torch serving the purpose of an incendiary weapon. The earliest representation of agni as the sacrificial fire (a pot with flames issuing out of it) is found in the scene of the miracle of sacrifice (performed by Buddha for the conversion of Kāśyapa), carved in the eastern gateway of Sanchi (in medieval Indian art, it is shown in the illustration of the marriage of Śiva-Pārvatī, the Kalyāṇasundaramūrti of Śiva). Ṭaṅka—a stone-mason's chisel, is really an implement, but could also be used as offensive weapons in early times.

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(ii) Implements & other Symbols

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| 1. | Sruk | Brahmā | Sacrificial implements in the shape of ladles, the usual emblems of Brahmā. |
| 2. | Sruba | " | |
| 3. | Kamaṇḍalu | " | A special characteristic of Brahmā though Śiva, Pārvatī and other deities too are associated with it. |
| 4. | Pustaka | " | Also of Sarasvatī, the presiding goddess of learning. |
| 5. | Akṣamālā or Akṣasūtra | " | A rosary of beads either Rudrākṣa or Kamalākṣa. It is also made of corals crystals, rubies and gems, etc. |
| | | | Also of Sarasvatī and Śiva. |
| 6. | Kapāla | Śiva | (i) It is a smybol of Śiva (cf. Kapālabhṛt, one of his names). |
| | | | (ii) It is a cup made out of a human skull, to drink out of which is one of the various rites of a Tāntrika Sādhanā. |
| 7. | Daṇḍa | Yama | A Staff—the Sceptre of Yama. A symbol of authority and punishment. |
| 8. | Darpaṇa | Devī | |
| 9. | Padma | Lakṣmī | |
| 10. | Śrīphala | " | |
| 11. | Amṛtaghaṭa | " | |
| 12. | Modaka | Gaṇeśa. | |

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N. B. The other objects in hands, as hinted by Rao, are animals and birds but they are seldom placed on the hands of the images of deities; rare instances being of a goat or a ram, a deer and a cock. The first three are associated with an extraordinary Śiva figure and the last one with Skanda, Kārtikeya.

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B. Musical instrument (as improvised weapons)

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| 1. | Vīṇā or Vallakī | Sarasvatī |
| 2. | Veṇu | Kṛṣṇa |
| 3. | Damarū | Śiva |
| 4. | Śaṅkha (Pāñcajanya) | Viṣṇu |
| 5. | Ghaṇṭā | Durgā & Kārtikeya |
| 6. | Mṛdaṅga | — — |
| 7. | Karatāla | — — |

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Some comments on these musical instruments are necessary to complete their picture in artistic representations:

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**Vina.**—Dakṣiṇā-mūrti of Siva is also shown with a Vīṇā in the left hand, the right one being made to play upon it. Dr. Bannerjea writes (D. H. I. p. 303): Vīṇā, in the Śuṅga art of Central India, is shown as a stringed instrument like the Greek harp or lyre; the harp-like Vīṇā appears for the first time in a Bharhut railing pillar, it being placed in the hand of a devatā, probably the prototype of Sarsvartī, the goddess of fine arts and learning.....Another mode of depicting it is the long stringed instrument, somewhat similar to modern 'esrāja' shown in the hands the medieval and modern figures of Sarsvatī and Vīṇādharadakṣiṇā-mūrti of Siva.

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**Venu or Murali.**—is the bamboo flute and usually placed in the hands of some youthful figures of Kṛṣṇa of a comparatively late period, Muralī of Kṛṣṇa was one of the most popular lyrical themes in medieval poertry; the celebrated Hindi poet Sūradāsa has simply immortalised it in signs 'Muralī-mādhurī',

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**Damaru.**—It is a small kettle drum played by the hand and is intimately associated with Śiva, being his characteristic emblem.

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**Sankha.**—described as a weapon of war (cf. 36 Āyudhas) is really a musical instrument. **Ghaṇṭā** is a common bell usually placed in one of the hands of multi-armed image of Pārvatī. In the S. S it is also associated with Kārtikeya.

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**Mrdanga.**—a big drum wide in the middle and narrow at the ends, is sometime shown as being played by the divine attendants. **Karatāls** are a pair of metal cymbals struk against each other with hands to keep time with music. They are usually associated with the accessories.

Cites (16)