temple architecture 9

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Temple Architecture Devalaya Vastu Part Nine(9 of 9)

10SEPSome norms adopted in the Shipla shastra

I. Determination of cardinal points (Dik nirnaya)

In Sanskrit, the root, ma, stands for that which gives existence to a thing, gives it a reality in

our world; and demonstrates the relation between things. The term matir, for mother is

derived from that root ma.There is a close relation in the Indian thought, between

measurement (maa_na)and creation.Measurement separates and differentiates the

elements of the world and provides them an identity or a recognizable standard form.

Perhaps the first act of measurement in our universe was the breaking of the barrier

between time and timelessness; and, it surely saved our existence from perpetual chaos.

Maananot merely measures the elements of space and time, but also governs the standard

of ones conduct in life.It is said that the ritual of measurement performed at the commencement of the temple

building or of a Vedic altar is a re-enactment of creation of the world. The importance

accorded to precise orientation and precise measurements in the construction of the temple

reveals the symbolism involved in the act. The Sanskrit term, vimana, referred to the temple

signifies a well-measured or well-proportioned structure. The standard texts on temple

architecture carry extensive discussions on the systems of proportional measurements and

the techniques employed for determining true cardinal points.


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The ancient text Shathapatha Brahmanarepeatedly refers to the termpracheemeaning the

correct East-West line. Ascertaining the exact cardinal points and drawing the East-West

line (prachee) was one of the primary concerns of the ancients. It was considered essential

to align any auspicious structure say, yupa, the sacrificial altar; a mantapa, the pavilion; or a

temple, along theprachee. The Sulaba Sutras of Bhodayana and Kathyayana too describe

methods to determine true cardinal points.The Yajnaaltar of the Vedic times, which was reconstructed each year around the time of

vernal equinox, carried a rich symbolism. The altar built of five layers, represented the five

seasons, five elements and five directions. The altar was surrounded by a wall of 360 bricks

representing 360 days of the year. The fired bricks symbolized the elements of fire, earth,

and water. The akasha provided space and air by breathing upon the bricks of the altar

and bringing them to life.

The Shilpa Shastra texts, such as Kashyapa Shilpa sutra; Vastu Vidya; Vishwakarma Vastu

Shastra; Shilpa Rathnam; Ishana Shiva Guru Doctrineand Manasaraetc too discuss

elaborately the instruments and the methods employed to determine true directions.

The instrument that the texts talk about in this regard is the Sanku Yantraor the gnomon.The gnomon is probably mankinds oldest astronomical device. The Sanku in its simplest

form is a piece of sharp edged, smooth surfaced pole made of wood or other material,

firmly erected perpendicular to a leveled ground rendered as smooth as a mirror, The

method uses the movement of the Sun and the shadows it casts . And, it is often described

as the Indian Circle Method.

The Sanku (gnomon) or its variations were used by all ancient civilizations for determining

the east-west direction and also for knowing time. The Indian astronomers also used it for

the determination of the solstices, the equinoxes and the geographical latitudes. For

instance, Brahmagupta described a conical gnomon, the staff (yasti) of which represented

the radius of the celestial sphere and was used for determination of the position of heavenlybodies, and also for terrestrial surveying. The Sawai Jai Singhs Observatories at Ujjain

includes a Sanku Yantra. (Please

check:http://www.engr.mun.ca/~asharan/JAI_SINGH/index.html)
http://www.engr.mun.ca/~asharan/JAI_SINGH/index.htmlhttp://www.engr.mun.ca/~asharan/JAI_SINGH/index.htmlhttp://www.engr.mun.ca/~asharan/JAI_SINGH/index.htmlhttp://www.engr.mun.ca/~asharan/JAI_SINGH/index.html


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For the limited purpose of our discussion, let us confine to the Sanku discussed in the texts

of Shilpa Shastras and its use for determining the cardinal points. Each text of the Shilpa

Shastra recommends its own set of specifications for the height and girth of the gnomon;

the material or the wood to be used for making the gnomon; the mode of embedding the

gnomon into the earth; the type of ropes and the pegs to be used; and the measurements to

be taken etc. Some of the salient recommendations of only four of Shilpa texts are briefly

tabulated under.

articulars

Kashyapa

Shilpa Vishvakarma Vastu Shastra Manasara

Ishana Shi

Guru

Height of

anku above

he groundevel- (In

nches)

15

inches

12 to 24 inchesand48 inches

for Temples

Uttama-

24inchesMadhyama-18 inchesKanista-

12inches 12 inches

Girth of

anku at the

ottom 2 inches

Uttama -2

inchesMadhyama -

1inchKanista-1/3

inch 2 inches

ointed edge

t the top ofanku 1 yava Like a pin-head

A sharp

pointmademetal

Diameter ofhe circle

rawn around

Twicethe

height of 24 inches

Four times the

height of Sanku

Twice theheight

ofSanku


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he base of

anku

the sanku

pole from

theground

Ground onwhich

ankuIs

rected

Level

like a

stone Levellike water surface

Level- like water

surface

Smooth an

level asa

mirror

How to

mbed the

anku?

Fixed

firmly

Some portion to be buried

underground

Some portion to be

buried underground

Erected on

ground

Which wood

o be used formaking

anku

Sara

vriksha Kadira,Tinduka,Kshira vriksha

Kadira, Shami,

KshiraOr ivory SaradaOri

eason of the

ear for

akingmeasurements

Summer solstice, brighter halfof the month

Any auspicious day

barring Fullmoonand New-moon days

Summer

solstice, anauspicious

Before drawing the plans and designs for a temple, the orientation of the site has to be

established properly. The best way to go about it is to commence the exercise at a time

when the sun is in the northern part of the sky, and on a day when there are no sunspots

disfiguring its visible surface.

Before erecting the Sanku pole, it is essential that the ground is rendered absolutely clean,

smooth and flat. The Mayamata and Manasaradescribe what is called as water method to

ensure an even and a flat surfaced ground. The selected ground, in a square shape, is

leveled and enclosed by a frame of bricks; and is filled with water. Then, with the aid of a

measuring rod the height of water at different points are checked to ensure that the water

column is of same height throughout. After it is dried out the uneven surfaces, wrinkles and

blotches are corrected and evened out by suitably increasing/decreasing the level at

selected points.

The Vastu Vidya Shilpatext suggests an improvement over the above method. After the

leveling by water-method has been carried out, it recommends the use of a device

called avanathaconstructed out of three wodden strips of equal length (25 inches each).An

equilateral triangle constructed out of the three wodden strips is placed at different points on

the prepared ground. If the pendulum (plumb line) suspended from the apex of the triangle

stayserect at all test-points; it means that the pegs stand at equal height. If not, suitale

corrections have to be carried out, until it is required. Finally, after the ground has been

dried, cleaned and fine-leveled, it again is checked by the avanatha.


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The Sanku has to be erected in the mid region of the prepared ground. The ritual of erecting

the Sanku is called Sanku_sthapana. The sanku is made of either ivory or the

seasoned kadira(hard) wood which does not bend in the heat of the sun. Its surface should

be smooth, perfectly circular and without irregularities; and pointed at one end.

The total length of the sanku would normally be 18 inches; of which six inches would be

under the ground level. The effective height of sanku, above ground, would normally be 12

inches. The Manasara text however recommends 24 inches as the best (uttama) and 18

inches as next-best (madhyama) height of the Sanku. The girth of the Sanku at its bottomshould range between two inches to six inches. Its top-end should be pointed; but it should

not be too thin; else it might be difficult to mark its shadow on the ground, especially during

the evenings. The diameters at the top and bottom should be proportionate to their length.

The Sanku should be fixed firmly and it should stand perpendicular to the ground. With the

base of the Sanku as the centre, a circle should be described around the sanku, having a

radius equal to twice the height of the Sanku. It is argued that the radius of that circle should

not be too long; nor should it be too short. In either case of extreme, it would be difficult to

obtain correct readings, especially during the evenings. Most texts recommend that the

radius should be twice the height of the Sanku. [There is some confusion here. Some texts

say the diameter (vyasa)should be twice the height of the Sanku. While some other textssay that the radius (trigya) should be twice the height of the Sanku. But all texts say that the

radius should not be less than the height of the Sanku. I have, in the interest of uniformity,

adopted here the radius as equal to twice the height of the Sanku.]

The Shilpa texts such as Shilpa Dipika, Raja_vallabhaand Kunda _siddhirecommend a

unique method to ensure that the Sanku is standing

perpendicular to the ground. They suggest that in case the height of the Sanku is 12 inches,

a circle should be described with the base of Sanku as the centre and with a radius of 16

inches. This in effect forms a right angled triangle , with the radius as the base of the


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triangle (16 inches), the Sanku as its height (12 inches); and the string(rajju) connecting the

top of the Sanku to the point of intersection of the base of the triangle with the circle forming

the hypotenuse. If the sanku stands absolutely perpendicular then the string (hypotenuse)

should measure exactly 20 inches. This exercise was based on the theory of Brahmagupta

(6thcentury AD) otherwise known as the Pythagorean Theorem.

Now, having completed the preliminary work of leveling and smoothening the ground;erecting the sanku ; and drawing a circle , round its base, with a radius equal to twice its

height you proceed with the task of determining the cardinal points with the help of

gnomon. It is recommended that the first reading is taken at sunrise during a month when

the solar path is towards the north (uttarayana) during a bright fortnight when sunrise is

clear, when there are no spots in the solar disc and when the sun is in the asterism of the

appropriate fortnight.

As the sun rises in the morning, you keep observing the sankus shadow. When the shadow

of the top of the Sanku just falls on the circle, mark the point. By evening, when the shadow

of the sanku gets longer, you again mark the point where the shadow intersects the

circle.Connect the two points with a straight line. This line points directly East-West. This

East-West line is calledprachee. A line perpendicular to the E-W line is the north-south

direction.

In this method, as the sun rises in the east, the shadow points west. Then,

as the day advances, the shadow first swings to the north and then to the east, as the sun

travels to west.The problem with this method is that the shadows are shorter in the summer

than in the winter, because the earth is tilted toward the sun in summer and away from the

sun in the winter. Another issue is that the sun moves most rapidly at the equinoxes. And,

therefore the points marked on the circle indicate only approximately correct directions.


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An improvement over this method is the drawing of circles with these East and West points

as centres. The radius of the circles is the distance between those East and West points.

The intersection of these circles creates a fish shaped figure. A line drawn between the

points where the two circles intersect indicate the geographic North-South.


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***

In Uttarayana Punyakala or Makara Sankranti, Sun in his entourage, after touching the

southernmost tip of his path (23.5 degrees or Circle of Tropic of CapricornMakara

Sankranti Vritta), he reverses his movement from travelling in southern direction and from

that day onwards he starts travelling in the Northern direction for next six months, fromMakara up to Mithuna signs, till he reaches northernmost tip of his path (23.5 degrees or

Circle of Tropic of CancerKarkataka Sankranti Vritta). From that point, which termed as

Dakshinayana Punya Kala, again he starts travelling in Southern direction, again for another

six months, from Kataka up to Dhanu signs, till he reaches the circle of tropic of Capricorn.

Utarayana can also be explained as the progress of the Sun to the north of equatorThe

Summer solstice. Dakshinayana is the progress of Sun to the south of the equatorThe

winter half of the year.

In a period of six months as the sun moves from the Tropic of Capricorn to the Tropic of

Cancer his position shifts by 47 degrees. That is, the suns position shifts by about 8degrees in each month. Accordingly, the sun shadow on the ground too shifts gradually

during this period. Theoretically, the Indian circle method leads to the error up to 8 in the

time near spring and autumn equinox (March and September). If the East-West line

(prachee) has to be fixed accurately, the readings taken earlier need to be fine-tuned.

The Shiva Guru Doctrinesuggests the following method in this regard.

The shadow points of the Sanku intersecting the circle drawn around it should be marked

everyday both in the morning. Over a period of time these markings form a curvaceous line

or an arc. Further, when the shadow of the Sanku is within the circle, three points have to

be marked three circles should be drawn with these three points as the centre. The points of

intersections of these circles should be marked. Let us name these points as A-a; and B-b.When the lines joining A-a and B-b are joined and extended backwards they converge in

the point N, as shown in the following diagram. A line drawn at 90 degrees to the line

indicating North would be the East-West line.

***


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As the sun rises and sets at shifting points on the horizon, the vertical gnomon casts its

shadow in different directions on different days of the year, while the length of shadow also

varies from day to day through the year.

The shadow of the sun will on any given day of the year follow a curved path from west

towards east. From spring equinox to autumn equinox the path will curve towards south.From autumn equinox to spring equinox (yellow area above) the curving is northerly.

The amount by which the sun changes its declination during the day decreases as the sun

moves away from equinox, and on the days of solstice the change is zero.

Shilpa Shastras caution that the points marked out on the ground based on the shadows

cast by the sanku do not therefore indicate the true cardinal points. The readings need to be

suitably corrected depending on the movement of the sun.

The texts suggest that theEast- West line should be established with adjustments- byreduction- of the following numbers of digits for each ten day period of each month. There,

again, is no uniformity in this regard. The corrections suggested by each text are different.

Please see the following table for the month -wise corrections suggested by two major texts.

o. Rashi ChandramanMonth

Calendar

month

Corrections

Reduction suggested (in inches)

Mayamatha Manasara

A B` C A B

kanya Bhadrapada Jul-Aug 01 02 02 00 01

Rishabha Vaishaka Apr-May 01 02 02 01 01

Mesha Chaitra Mar-Apr 01 00 00 02 01

Kumbha Magha Jan- Feb 05 04 04 06 05

Makara Pushya Dec-Jan 07 06 06 08 07

Mithuna Jesta May-Jun 03 04 04 02 03

Kataka Ashadha Jun-Jul 03 02 02 04 03

Simha Shravana Jul-Aug 01 00 00 02 01

Tula Ashviyuja Sep-Oct 03 04 04 02 03

Vrishika Karthika Oct-Nov 05 09 06 04 05

Dhanus Margashira Nov-Dec 07 08 08 06 07


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Meena Phalguna Feb-Mar 03 01 01 04 03

The first three columns of corrections are as per Mayamata;and the last three columns of

corrections are as perMansara.

A stands for first 10 days of the month; B stands for days from 11 to 20;And C stands for

days from 21 to 30 of the month

After carrying out the corrections, you plot the readings and draw the lines and arcs. The

final drawing will look as under.

The East-West line is named Brahma Sutra; The North-South line is named Yama Sutra;

and, the Diagonal lines are named Karna Rekhas. The entire exercise is called Dik

parchhedaor Prachee sadhana, which is achieving the true cardinal points.
http://ssubbanna.files.wordpress.com/2012/09/vastu_mandal_reference_lines1.jpghttp://ssubbanna.files.wordpress.com/2012/09/vastu_mandal_reference_lines1.jpg


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Guided by the stars

The practice of determining the directions, based on the position of stars is rather ancient.

TheKathyayaneeya sulba sutramentions that the true East can be determined with

reference to the position of the pairs of stars: Chiita and Swathi;Shravana and Prathi

shravana;Krutthika and Prathi krutthika; and Pushya and Punarvasu , when they are 86

inches above the horizon. The text however does not detail the method to be employed.There is no description, either, of Prathi Shravana and Prathi Krutthika stars.

The Shilpa textsKathyayaneeya sulba sutra, Raja Vallabhaand Shilpa deepika- mention

that the line connecting the polar star (dhruva) and the two stars of the Ursa Major (Saptha

Rishi mandala) , when extended would point to North.

***

A few points need to be mentioned by way of clarification.

The exercises described were undertaken to find the geographic North Pole which is the

pole about which the Earth seems to spin. They were not talking about the Magnetic NorthPole.

The Magnetic North Pole is currently wandering at a few kilometers per year through the far

north of Canada, while the Geographic North Pole is in the Arctic..

The methods which we discussed so far were being followed by the Shiplis until about the

17thcentury .Thereafter, with the introduction of magnetic compasses, the ancient methods

were given up. Now everyone goes by the compass to ascertain the directions. Yet, many

feel that determining the geographic north, as the ancient did, is a superior method.

Incidentally, the diagram, based on the Sanku method, for positioning the yupa, thesacrificial altar, looked as shown below.


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****

II. Four Types of Architects

The ancients mention four types of architectsthe Sthapati, Sutragrahin, Vardhaki and

Takshaka.

The Sthapati is the chief architect or master builderempowered to plan, design and direct

the construction from the beginning to the end. He is well-qualified in Shastras and theVedas. He is pictured as a cultured, decent man free from vices. He has the ability to direct

his team.

The Sutragrahin is the supervisor and is said to be normally the Sthapatis son or disciple.

He is also well-qualified in the Vedas and Sastras. He is an expert draftsman or Rekhagna,

who directs the rest of the work force. His job is to see that all building parts are aligned

correctly. He should be able to give instructions to the other craftsmen.

The Vardhaki is the painter and has made a special study of it. He is also well-versed in the

Vedas. Vardhaki joins together the building elements shaped by Taksaka.

Taksaka is the craftsman who cuts and shapes the building elements. The Takshaka is also

the master carpenter who is responsible for all the intricate wood work including doors,

windows, pillars etc.

These four classes are considered the representations of Viswakarma, Maya, Manu and

Twasta, the sons of Brahma, the creator.


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Acharya is the learned preceptor who gives the yajamana (one who sponsors the temple

project) the necessary advice and guidance in selecting the proper site, the sthapati and

other silpins. The sthapati, yajamana and the ahcarya form the trinity

of vastusthapana (construction); they are compared to Brahma, Vishnu and Rudra .

****

III .Building Materials used in temple architectureThe building materials that are prominently used in temple construction are the stone, the

bricks and the wood (apart from earth which we discussed separately in the earlier part of

this series). The Shilpa texts describe in detail the nature of these materials and the criteria

for their selection, for various purposes. Let us take a quick look at these three materials.

A.Stones

The stones are the major ingredients in temple construction. One cannot think of a temple

constructed without using stones. It is therefore natural that the Shilpa texts discuss the

stones quite elaborately.

The following, in brief, is the summarized observations and recommendations of someshilpa texts.

The stones collected from open source such as mountain or hill are stronger and more

durable as compared to those dug out of earth. Similarly, the stones or boulders dug out

from the coastal areas are considered weak, as they could be eroded by the chemicals and

the salt content of the sea. They are not considered fit to bear heavy loads. The reason for

preferring the stones from hills or mountains could be that they are well seasoned by

constant exposure to the vagaries of weather; and are unaffected by salts and other

chemicals.

Stone should be free from lines, patches, blotches, blots and cracks or other faults. The

white lines or patches in a black or other coloured stone are acceptable. But, black lines or

black patches in white or other coloured stones are not acceptable at all. The explanation

given is, the white lines, the patches of quartz, strengthen the rock structure; while black

lines of baser materials weaken the stones. The traces of chlorite or olivine cause green or

black patches and weaken the stones; therefore, such stones are not recommended for

temple construction. The Vishnu Darmottara Puranatalks in great detail about the faults in

the rocks and the methods to test the rocks.

Stones such as marble, steatite, khondalite, sandstone, basalt etc are not fit for carving a

diety. They are not recommended in load bearing areas, either. They could be used in otherareas, if needed.

Colour

As regards their colour, the stones are of four basic colours: white, red, yellow and black.

Some of them could be tainted with traces of other colours. Stones of white colour are

regarded the best for temple construction. The next in the order of preference are the red,


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yellow and black coloured stones. . It is preferable to use uniformly the stones of the same

colour.

The Kashyapa Shilpa mentions seven categories of white stones: white as milk, as the

conch, as jasmine, as moon, as pearl, as alum and as thekundapushpa(a variety of

jasmine).The white stones with traces of blue or slight brown or bee-like black lines areconsidered good for temple construction.

The red coloured stones are of five types: Red as red hibiscus flower (japa kusuma),

as kinsuka(bright red), as the indragopa insect, asparijathaflower, as the blood of a rabbit,

and as pomegranate flower.

The yellow colour of the stones is of two types: yellow as the Banduka flower, and as

koranti flower.

The black of the stones comes in ten colours: black as the pupil of the eye, as mascara,

blue lotus, as bee, as the neck of peacock, as kapila cow, as urd gram etc.

Age

The stones are also classified according to their age-: child (baala), youthful (taruna) and

the old (vriddha).

If a stone when tapped gives out a faint sound or the sound is as that of mud, or of half

burnt brick; such stones are classified as baala- the child; to mean raw or immature. The

baala stones are not fit for making idols or for bearing loads.

If a stone when struck produces the sound resembling the ring of a bell and if such sound

resonates for quite a while, such a stone is classified astarunayouthful. Such stone should

have a cold touch and a soft feel. If the stones emanate fragrance it is much better.

The taruna- the youthfulstones are fit for carving images and for crucial areas of temple.An old, the vriddha, stone does not give out any sound and has a dry appearance.It gives

the touch and feel of a frog or a fish. It might have many holes or might be in a state of

decay. Such old and spent stones are not fit for making images or for load bearing areas.

Gender

Stones are also classified according to their gender. Those stones which give bronze

sound at the hammer weight are called male. Those which give brass sound are called

female. And, those that do not produce any sound are called genderless (neuter).

A hollow stone may be taken as pregnant and hence should be discarded. When smearedwith a paste, overnight, it changes its colour.Shilpa Ratna describes dozens of such

pates. Some stones are said to carry poisonous effects. These stones too should be tested

by application a paste; and should not be used.

It is suggested that male stones are used for carving male deities; female stones are used

for carving female deities; and the neuter stones are used for other constructions. Further it

is said, the male stones could also be used for construction of sikhara(tower) and stone


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walls; the female stone could be used for structures above foundations; and the neuter

stones could be used for foundations.

Male stones are big, round or polygonal, are of a singular shape and uniform colour; they

are weighty and give out sparks when hammered. When dug out, its apex will be towards

north. If the apex is inclined towards north or west facing, the rock is considered

inauspicious. Highly compact rocks like dolerites, bronzites, proxenites and peridoties aswell as lamprophyres are regarded male rocks.

A female rock is of medium weight , square or octagonal, thick at root and thin near the

apex, cold to touch, soft to feel and on being struck gives out sonorous notes like that of

a mridanga(drum).

A neuter gender stone is one that doesnt give any sound on being struck and narrow

towards its bottom and triangular on its upper side ; and such stones may be used only for

the foundation.

Coming back to the issue of acoustics in the stones, the Shilpis displayed a remarkableskill and ingenuity in crafting musical pillars, which when struck at right points produce

sonorous octaves. One can see such pillars in the Vijaya Vittala temple at Hampi;

Meenakshi temple at Madurai; and at Sundarehwara temple at Trichendur. There might be

such musical in other temples too. Usually such pillars are of granite and charnockites;

and of different girths and volumes to produce the right octaves.

B.Bricks (Ishtaka)

Bricks have been in use for thousands of years in construction of yupa the sacrificial altars

andChaithyas the early temples of the Vedic ages. Shathapatha Brahmana as also Shilpa

Rathnadescribes the methods for moulding and burning the bricks. The Sulba

sutrasand Manasara detail the dimensions of the bricks of various sizes in relation to the

sacrificial altars constructed for various purposes. The remnants of the Indus valley

civilization too amply demonstrate the extensive use of bricks in construction of buildings

and other structures.


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During the later ages, the bricks were used in the temple structures mainly for erecting

Gopuras the temple towers and Vimanas the domes over the sanctum.

As per the descriptions given in Manasarathe bricks were made in various sizes; the size of

the bricks varying from 7 inches to 26 or even to 31 inches in length. The length of the

bricks were 1 , 1 , 1 or 2 times the width .The height of the brick was its width orequal to the width. Thus, bricks of different sizes, shapes, and types were made. The

composition, shape and baking of a brick depended upon the use to which it was put.

Interestingly, the bricks with straight and linier edges were called male bricks; while those

with a broad front side and a narrower back side or those of curved shape were called

female bricks. The bricks in concave shape were called neuter bricks. The male bricks

could be used in the construction of theprasada, the sanctum. The female bricks were used

for the sanctum of female deities. The neuter bricks were generally not used in temple

construction; but were used for lining the walls of the well.

According to Shukla Yajurveda Samhita, bricks were made from thoroughly mixed and

pulverized earth and other ingredients. The earth was strengthened by mixing goat hair, finesand, iron flake or filings and powdered stone. Earth was also mixed with raal oil, etc. and

thoroughly beaten and blended in order to increase the strength of the material by

enhancing the cohesion of the earth particles. Triphala concoction is said to render the

earth, white ants (termite) and microbe proof.

Brick lying was done with the aid of moulds; and, the bricks were burnt in enclosed kilns.

The works like Shilpa Ratnaand Vastuvidyaexplain that the brick moulds were baked for

24 hours in a fire of firewood.

Bricks black in colour or half baked or broken or defective otherwise were rejected. The

bricks should be well burnt and be of uniform colour.

According to Shulba Sutra, bricks measuring 22.8X11.4X5.7 cms were used in construction

of walls. The Bodhayana Sulaba sutraspecifies the arrangement of bricks, while

constructing a wall. The brick should be directed in a dextral and laevo order. The brick

ends should not be piled one over the other. The joints of the brick in each third row of brick

may fall over the brick of the first row; this is the Malla Lilastyle of fixing the brick, based

on the arrangement of the joints of the brick.

The bricks having a smooth surface are not to be set one above the other, but are to be

fixed in straight line and the wall should be of an equal thickness all over. The corners of the

walls should be on the ratio of 5: 3: 4 and at right angle to each other. According to

the Sumrangana Sutradhara,the square of the diagonal of the wall should be equal to thesum total of the square of the width of the wall.

It is said that the altar constructed for major sacrifices, bricks of about 200 types were used,

depending upon the size and shape of the altar.


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C.Wood

Wood has limited use in traditional temple structure of medieval times. Its application is

mainly for carving doors, erecting Dwajasthamba the flag posts and for other utilities such

as platforms, stands etc. But, in rare cases (as in Sri Jagannath temple at Puri or at Sri

Marikamba temple in Sirsi) the principal idol dhruva bherais made of wood. The most

extensive use of the wood is of course in the construction of the Ratha the temple chariot. In

rare cases as in Puri a new chariot is created each year.

Shatapatha Brahmanaa Vedic text of about 1500 BC or earlier makes repeated references

to wood and its applications. During its time the temples and the images were mostly made

of wood (kasta shilpa). The text mentions a certain Takshaka as a highly skilled artist who

carved wood. It names a number of trees the wood from which was used for various

purposes. For instance Shaala (teak) and Kadira a type of hard wood was used for carving

images, pillars, gnomon (sanku) and other durables. Certain other trees are also mentioned

as being suitable for pillaras, posts etc: Khadi, Shaal, Stambak, Shinshipa, Aajkarni,Kshirani, Dhanvan, Pishit, Dhanwalan, Pindi, Simpa, Rahjadan, and Tinduka.

Trees such as Nibaka (Neem), Panasa (jackfruit), Asana, Sirish, Kaal, Timish, Likuch,

Panas, Saptaparni, wood are said to be best for roofing work.

Coconut, Kramuk, Bamboo, Kitki,Oudumbara(silk cotton etc. wood is suited for hut

constructions, ribs and rafters etc.

However use of certain trees considered holy or godlike was not recommended in temple

construction. The trees such as Ashwattha (Peepal), Vata, Nagrodha (banyan), Chandana

(sandalwood), Kadamba, Badari, Shami, Bilva, Parijatha, kinsuka, and Bakula, were some

such sacred and godlike trees.

Chandana, Kadira, Saptaparni, Satwak, etc. were used for engraving and carving artwork.

The southern text Shilpa Rathnamstates that the wood from the following is not suited for

temple construction.;


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Trees from a place of public resort, trees from a village or from the precincts of a temple,

trees that have been burnt, trees in which are birds nests, trees growing on anthills, trees in

which are honeycombs, trees fruiting out of season, trees supporting creepers, trees in

which maggots dwell, trees growing close to tanks or wells, trees planted in the earth but

reared by constant watering, trees broken by elephants, trees blown down by the wind,

trees in burning-grounds, in forsaken places, or in places which had been paraclieris,withered trees, trees in which snakes live, trees in places where there are hobgoblins,

devils, or corpses, trees that have fallen down of themselves,these are all bad trees and

to be avoided.

Age

The lifetime of a tree was regarded as 103 years. The trees under the age of 16

were Baalachild trees; and those above 50 years of age were Vriddha- trees in their old

age. The trees between the age of 16 and 50 years were regarded most suitable for

construction of temple and homes.

Tall trees of uniform girth without knot and holes, in their youth, grown on dense hillyregions are most suited for construction of pillars. The trees that are white under the bark

are in the best category; followed by those having red, yellow and dark interiors; in that

order. The juicy or milky trees are preferable.

Gender

The trees that are round from the root to its apex, give a gentle fragrance, are deep rooted,

are solid and temperate may be taken as masculine trees, yielding male wood.

The feminine trees have slender roots and are thick at apical part, but a much thicker

middle part with no fragrance or odor in the wood.

The wood should be straight and without any knot, crevice or cavity. The structure built by

joining such male and female wood last for centuries

Neuter Trees

Slender and long in the middle of the trunk and having a thick head, is a genderless tree.

While the male trees serve for pillars; female trees for wall-plates, beams, and capitals; the

hermaphrodite trees serve for cross-joists, joists, and rafters.

Agastya Samhitahas described the wood that is to be used in a chariot, boat or an aircraft.

A youthful and healthy tree should be cut and its bark removed, thereafter, it should be cut

in squares after which are to be transported to the workshop where these pieces should be

stored upon spread out sand in an orderly manner for 3 to 8 months for seasoning. The root

and apex sides must be marked because in pillars the root side is to be kept down and apex

part up.


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As far as possible, only one type of wood may be used for one particular construction. The

use of more than tree types of wood in a construction is not recommended.

It is said the ISI standard A-883-1957 regarding a wooden items is based on the

specification s mentioned in the ancient Indian Texts

*****

Precautions in the selection of the building materials:

No used building material should be used.

Stolen and renovated material should never be purchased.

Materials confiscated by the King should not be used.

The wood culled from the trees cut down in a cremation ground; temple, ashram or shrine

should not be utilized.

***

IV.Ayaadi Shadvarga

Ayadi _shadvarga is a matrix of architecture and astrological calculations. According

to Samarangana SutradharaAyaadi-shadvarga is a set of six criteria: Aaya, Vyaya, Amsha,

Nakshatra, Yoni and Vara-tithi, which are applied to certain dimensions of the building and

its astrological associations. The purpose of the exercise is to ascertain the longevity of thehouse as also the suitability to its owner. These norms are applied to temples too.

The term Aaya could be taken to mean increase or plus or profit; Vyayadecrease or

minus or loss; Nakshatra,- star of the day; Yonisource or the orientation of the building;

Vara- day of the week; and Tithithe day in lunar calendar for construction of building and

performing invocation of Vastu Purusha..

The area of the structure is divided by certain factors assigned to each element of the

Aayadi Shadvarga; and the suitability or longevity of the building is ascertained from the

reminder so obtained.

For instance, if the plinth area of the house is divided by 8; and the remainder is either 1 or3

or 5, then these are called Garuda garbha, Simha garbhaand Rishabha garbha, which are

auspicious. Hence the plinth area of the building should be manipulated or altered to arrive

at an auspicious reminder.

The rule is also applied to ascertain the longevity of the building. According to this method

the total area should be divided by 100 and if the reminder is more than 45, it is good and if

it is more than 60 it is very good. For instance, if the length of the house 11 meters, and the


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width 5 meters, then its area is 11 X 5 = 55 sq.mts. Multiply the area by 27 (Nakshatra

factor) , 55 X 27 = 1485. Divide the product 1485 by 100. The remainder is 85,-which

indicates the projected longevity of the house. Since the reminder is more than 60, .it is a

very healthy result.

There is another method for arriving at the Aayadi value. The result is categorized in toeight types of Aayas. According to this method, the area (length X breadth) is multiplied by

9; and divided by 8. The reminders 1 to 8 are interpreted as good or bad, as indicated in the

following table.

Aaya

Symbolizing Reminder Interpretation

Dhwajaya

Money 01

Good. Brings wealth

Dhumraya

Smoke 02 Not good. ill heath of the head of

the family and spouse.

Simhaya

Lion 03 Very Good. Victory over enemies;health ,wealth and prosperity.

Shwnaya

Dog 04

Bad. Ill health and bad omens.

Vrishabhaya

Bull 05

Good. wealth and fortune.

Kharaya

Donkey 06Very bad. Head of family will

turn a vagabond; premature death

in family.

Gajaya

Elephant 07Good. Life of head of family and

members brightens; improvent inheath and wealth.

Kakaya.

Crow 08 Very bad. Sorrow to family; and

no peace.

ManasarasaysWhen there is more merit than demerit, there is no defect in it; but if the demerit is more

than the merit, it would be all defective.


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References:

Vastu Darsha by Dr. G Gnanananda.

Orienting From the Centre by Michael S. Schneider

www.geomancy.org//summer/orienting/index.html

Cosmogony and the Elements by John McKim Malville

http://www.ignca.nic.in/ps_05005.htm

Vastu Interiors

http://www.gkindia.com/vastu/vastubuilding1.htm
http://www.geomancy.org/e-zine/2000/summer/orienting/index.htmlhttp://www.geomancy.org/e-zine/2000/summer/orienting/index.htmlhttp://www.ignca.nic.in/ps_05005.htmhttp://www.ignca.nic.in/ps_05005.htmhttp://www.gkindia.com/vastu/vastubuilding1.htmhttp://www.gkindia.com/vastu/vastubuilding1.htmhttp://www.gkindia.com/vastu/vastubuilding1.htmhttp://www.ignca.nic.in/ps_05005.htmhttp://www.geomancy.org/e-zine/2000/summer/orienting/index.html

temple architecture 9

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