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The 惭补迟蝉测补辫耻谤腻峁嘺 has carried a long discussion on architecture which has been summarized on the previous discourse under different heads. Through the discussion the point which captivates the mind the most is that architecture is a kind of art where a bare land and all the things needed for construction like wood, brick etc. are transformed altogether into a fully developed house or building. From laying the foundation to planting trees in the garden, from the proper measurement of the wall to the specific measurement for each 尘补峁囜笉补辫补 or garbha, everywhere the touch of an artist could be seen. The minutest variation in the specified measurements could have changed the actual scenario of the whole process. Therefore, architecture found in the 惭补迟蝉测补辫耻谤腻峁嘺 can be regarded as one form of art. But, as it has elaborated about the decorations to be done in the pillars and doors and also to the different idols of god, the necessity for separate discussion on both the art and architecture is felt.

Pillars (stambha) and Doors:

The 惭补迟蝉测补辫耻谤腻峁嘺 has given a clear description of the measurements and decorations of pillars of houses.

The 厂耻辫谤补产丑别诲腻驳补尘补 divided it into five types, viz.,

1. 艣墨办补谤补,
2. 肠补苍诲谤补办腻苍迟补,
3. saumukhya,
4. 辫谤颈测补诲补谤艣补苍补 and
5. 艣耻产丑补峁卥补墨.^[1]

It is said in this 笔耻谤腻峁嘺 that lotuses, creepers, leaves, earthen pots, mirror etc. should be engraved beautifully on the stambhas.^[2] The pillar should be divided into nine parts and on the lowest part the carving is to be made on these pillars. Above it 驳丑补峁璦 (pot) should be carved in one part, and on another part lotus should be made. Next to that pot on the above beautiful carving should be made. The upper most part of the pillars should be left in a clean and polished square. ^[3]

The main door of a house should be painted with the ornamental works containing pitchers, lotus-creepers etc. The other doors of the house should not be decorated more than the main entrance door.^[4] 痴腻蝉迟耻 drawn with nails, weapons, leather, ashes, burnt wood, bones of horns, skull, etc. are regarded as inauspicious. According to 惭补迟蝉测补辫耻谤腻峁嘺 it brings grief and calamities.

Installation of the images of deities:

According to the 惭补迟蝉测补辫耻谤腻峁嘺, karmayoga consists in the installation of the images of deities and their worship. The installation of images of deities with proper worship is equal to 测补箩帽补.^[5] This worship includes art of singing, dancing, recitation of mantras, sculpture, painting, architecture and a number of other arts and practices, which together make the complete form of 诲别惫补迟腻谤肠补苍补.^[6] The 惭补迟蝉测补辫耻谤腻峁嘺 has given elaborate description of making of the images of deities. Regarding the image of 痴颈峁ａ箛耻 it is prescribed that His head should be in the form of an umbrella and his neck, like a conch. He should have high nose, large thighs and arms.^[7] The idol of Lord 痴颈峁ａ箛耻 may be eight armed, four armed or two armed. Eight-armed lord 痴颈峁ａ箛耻 holds a sword, an arrow, a club and lotus in the right hands and a bow, a shield, a conch and a quoit in the left hands. The image of lord 痴颈峁ａ箛耻 with four hands holds a club and a lotus in the right hands and a conch and a quoit in the left hands.^[8] The image of K峁涐梗na incarnation of Lord 痴颈峁ａ箛耻 is made with a club in the left hand and a conch or quoit in the right. The image of earth should be painted between his legs and the saluting Garuda is to be place on the right side. Devi 尝补办峁�m墨 with auspicious face and lotus in Her hand is to be placed on the left side of 碍峁涐梗峁嘺.^[9]

The 惭补迟蝉测补辫耻谤腻峁嘺 has dealt with the image of the 础谤诲丑补苍腻谤墨艣惫补谤补, which is an image of combined body of Lord 艢颈惫补 and 笔腻谤惫补迟墨 that brings prosperity. The 艢颈惫补n膩r膩ya峁嘺 is another combined form of Lord 艢颈惫补 and 痴颈峁ａ箛耻 in which 狈腻谤腻测补峁嘺 is made in the left part and the 艢颈惫补 is made in the right part. The 惭补迟蝉测补辫耻谤腻峁嘺 also gives the idea of making the images of various forms of 狈腻谤腻测补峁嘺, viz., 痴补谤腻丑补, 狈峁泂颈峁僪补, 痴腻尘补苍补, Matsya and 碍奴谤尘补^[10] and of 叠谤补丑尘腻, 碍腻谤迟颈办补, 骋补苍别艣补, 艢奴谤测补, 顿丑补谤尘补谤腻箩补 and various other gods and goddesses.^[11]

Measurements:

The 惭补迟蝉测补辫耻谤腻峁嘺 has said that the height of deva, 诲腻苍补惫补 and kinnara should be of 9 迟腻濒补蝉.^[12] One 迟腻濒补 means the stretch between the thumb and middle finger.^[13] The materials used for making images are gold, silver, copper, gems, iron, brass, compound of copper and bell metal, sandalwood etc.^[14] A household image should not be bigger than one cubit and a temple image in a royal place should be of 16 cubits.^[15]

The 惭补迟蝉测补辫耻谤腻峁嘺 has also described the measurements of various limbs of the images of gods and goddesses. Further, this 笔耻谤腻峁嘺 furnishes with the meanings of different measurements used in this context. The unit here is a 迟谤补蝉补谤别峁嘘 (triad). The measure of a 迟谤补蝉补谤别峁嘘 is that of a speck of dust seen in the ray of the Sun.^[16]

This measurement follows thus:

8 迟谤补蝉补谤别峁嘘= 1 产腻迟腻驳谤补
8 产腻迟腻驳谤补s=1 likhya
8 likhyas=1 yuka
8 yukas=1 yaba
8 yabas =1 finger

Now, according to the 惭补迟蝉测补辫耻谤腻峁嘺,

- The head of the deity is of fourteen (14) fingers in length and the forehead is to be made of 4 fingers in breadth.
- The face of an image should be divided into nine (9) parts.
- The neck is to be made of four fingers in length.
- The middle of the neck is to be twenty four (24) fingers and its height should be eight (8) fingers.
- The space between the chest and neck should be of one (1) 迟腻濒补.
- The mouth should be made of two (2) fingers and the thickness of the lips should be made in one (1) fingers.
- The lips upper and lower should be sympatric and half the finger.
- The cheek is to be made of two (2) fingers.
- The corner of the mouth should be fiery in ship.
- The eyes are to be made of two (2) fingers in length and breadth is to be one (1) finger.
- Eyebrows are to be made of half a finger in breadth and it should be like the curvature of a bow.
- The space between the eyebrows is to be two (2) fingers.
- The pupils should be one fifth of the eye and it should be in reddish colour.
- The nose should be straight and even.
- The nostrils should be made of half a finger in circumference.
- The bridge and lower part of the nose should be of one (1) finger.
- The ears should be of six (6) fingers in length.
  [In addition, it should be banned like the eyebrows and the flanks of it should be two (2) fingers.]
- The navel is to be made of one (1) finger.
- The thighs are to be made of two (2) fingers.
- The middle of the thigh should be twenty eight (28) fingers and above of that it should be thirty one (31) fingers.
- Knees and feet are to be made of four (4) fingers each.
- Length of feet should be fourteen (14) fingers and length of toes should be three (3) fingers.
- Ankles are to be made of two (2) fingers; in the front, it should be sixteen (16) fingers, and in the middle, it should be fourteen (14) fingers.
- The shoulders should be made of six (6) fingers.
- The length of the arms should be sixteen (16) fingers.

Thus the 惭补迟蝉测补辫耻谤腻峁嘺 has given the measurements of the images of the deities. The limbs of goddesses should be made slender and shorter.

The images of 搁腻尘补肠补苍诲谤补, 痴补谤腻丑补, Bali, 狈补谤补蝉颈峁僪补 should be of ten (10) 迟腻濒补蝉. The image of V膩ma峁嘺 should be of seven (7) 迟腻濒补蝉.^[17] In this 笔耻谤腻峁嘺 the specification of the different limbs of the image of 艢颈惫补 is also given. The thighs of the images should be large and beautifully round. The arms and the shoulders should be of the colour of polished gold. In addition, the arms should be like the trunk of an elephant. The hands should be long so that it can touch the knees. He should have straight and matted hair and the forehead is to be marked with the crescent of the moon. He should have a crown and the face is to be like a youth of sixteen years of age. Eyes of 艢颈惫补 should be big and extensive. The image should be represented wearing the skin of tiger. The image is to be decorated with garlands necklaces, armlets, earrings and most importantly serpents. The sword should be in the left hand of the image and axe in the right hand.^[18] Trident 艣补办迟颈 and a staff should be placed on the right side of the image while in the left side a skull, snake and a staff with a skull at the top (办丑补迟惫腻峁単补) should be placed. The image of 艢颈惫补 in dancing posture should be made with ten arms wearing the skin of elephant. His image with sixteen (16) hands represents the symbol of the destruction of 罢谤颈辫耻谤腻. Image of 艢颈惫补 with four hands is known as 箩帽腻苍补 and with eight hands, is known as 驰辞驳别艣惫补谤补. Then Bhairava image of 艢颈惫补 should have aquiline nose, sharp teeth and dreadful appearance.^[19] 惭补迟蝉测补辫耻谤腻峁嘺 instructs not to install the images of Bhairava, 痴补谤腻丑补, and 狈补谤补蝉颈峁僪补 in dwelling houses.^[20]

The 惭补迟蝉测补辫耻谤腻峁嘺 warns that one should be more careful in making the limbs of an image. It should not be made lesser or greater number of limbs than usual.^[21] The 惭补迟蝉测补辫耻谤腻峁嘺 thus clarifies that different defective limbs of an image brings different problems for both the carpenter and the owner of the image.^[22]

Pedestals (辫墨峁环颈办腻):

The 惭补迟蝉测补辫耻谤腻峁嘺 gives details of making pedestals where the idol of Gods and Goddesses are placed. The 辫墨峁环颈办腻 or the pedestal is divided into sixteen parts. The first part remains under ground. This is known as 产丑奴尘颈-辫谤补惫颈峁ａ弓补. The earth is taken in four parts and these four parts are known as 箩补驳补迟墨. The next part is named 惫峁泃迟补 and it should be covered with coating. The next one of 惫峁泃迟补 is 辫补峁璦濒补. Above it, the three parts are for the neck. Another three parts are known as 办补峁囜弓丑补-辫补峁�峁�补, the next two parts are named urdha辫补峁�峁�补 and the last two parts are 辫补峁�峁�颈办腻.^[23] According to V.S.Agrawala, these terms are used in the period of Gupta dynasty. Since then these became more elaborate and the names were also changed.^[24]

The 惭补迟蝉测补辫耻谤腻峁嘺 describes ten (10) kinds of pedestals, viz.,

1. 蝉迟丑补苍岣峣濒腻,
2. 惫腻辫墨,
3. 测补办峁Ｄ�,
4. 惫别诲墨,
5. 尘补峁囜笉补濒补,
6. 辫奴谤峁嘺肠补苍诲谤腻,
7. 惫补箩谤颈办腻,
8. 辫补诲尘腻,
9. 补谤诲丑补艣补艣颈
10. and 迟谤颈办辞峁嚹�.

厂迟丑补苍岣峣濒腻 is square in shape and without any girdle or circular boundary. 痴腻辫墨 is with two girdles, 测补办峁Ｄ� has three girdles. 痴别诲墨 is rectangular in size. 笔奴谤峁嘺肠补苍诲谤腻 is with various colours and is with two girdles. 痴补箩谤颈办腻 has three girdles and six corners. The shape of 辫补诲尘腻 is shorter below and is with sixteen corners. 础谤诲丑补肠补苍诲谤腻 is like the bow in shape. 罢谤颈办辞峁嚹� is triangular like the upper part of a trident. It should be one-half of the 濒颈峁単补, its water channel should project by onethird part and its breadth also should be the same.^[25] If the image of god is made of stone then the pedestal should also be made of stone. Moreover, if the God is made of earth then the pedestal is to be made of earth. Same in case of wooden god or god made of mixed materials.

Conclusion:

All the architectural references of the 惭补迟蝉测补辫耻谤腻峁嘺 make it clear that people of that period had attained a considerable degree of development in the field of architecture. It can also be said that they have proper knowledge of construction of temples, houses and other monuments. In the present day also we need such kind of knowledge about architecture and sculpture which not only help us for proper utilization but also for the progress of the modern science of architecture. Going through this study it is noticed that the ancient ideas of the architecture are always for the healthy life. They were very concerned about the advantage and disadvantage of planned construction which may prosper or spoil the life and the decision of construction was made on the basis of it. Modern architecture, it seems, looks only at the beauty of construction and ignore the idea of healthy life. If we go through the ideas of architecture of the ancient times found in the epics and 笔耻谤腻峁嘺s as well as in other 痴腻蝉迟耻艣膩stras we will surely make a combination of healthy and beautiful life by taking the right architectural decision.

Footnotes and references:

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[1]:

Cf., Prasanna Kumar Acharya, Architecture of 惭腻苍补蝉腻谤补, Manasara Series, Preface, p. XXVIII

[2]:

惭补迟蝉测补辫耻谤腻峁嘺, 255.4

[3]:

Ibid.,255.4

[4]:

m奴ladv膩r膩ttath膩nyattu n膩dhika峁� 艣辞产丑补苍补峁� bhavet// kumbha艣r墨par峁噄vall墨bhi rm奴ladv膩rantu 艣obhayet/ Ibid., 255.18-19

[5]:

Ibid., 258.3

[6]:

Cf., Vasudeva S. Agrawalla, 惭补迟蝉测补辫耻谤腻峁嘺 -A Study, pp. 353-354

[7]:

惭补迟蝉测补辫耻谤腻峁嘺, 258.5

[8]:

Ibid.,258.7-9

[9]:

Ibid., 258.10-12

[10]:

Ibid., 258.28-39

[11]:

Ibid., 258.40-68

[12]:

Ibid. 258.16

[13]:

Prasanna Kumar Acharya, An Encyclopaedia of Hindu Architecture, Manasara Series Volume VII, p. 195

[14]:

惭补迟蝉测补辫耻谤腻峁嘺, 258.20-21

[15]:

Ibid., 258.22-23

[16]:

Ibid., 258.17-18

[17]:

Ibid.,259.1-2

[18]:

办丑别迟补办补峁� v膩mahaste tu 艣a峁卥ha帽caiva tu dak峁�ine// Ibid., 259.8

[19]:

Ibid., 259.12-13

[20]:

Ibid.,259.14-15

[21]:

n膩dhik膩峁単膩 na h墨n膩峁単膩 kartavy膩 诲别惫补迟腻岣� kvacit/ Ibid., 259.15

[22]:

Cf., Ibid., 259.16-21

[23]:

Ibid., 262.2-3

[24]:

Cf., Vasudeva S.Agrawala, 惭补迟蝉测补辫耻谤腻峁嘺 -A Study., p. 363

[25]:

惭补迟蝉测补辫耻谤腻峁嘺, 262.4-12