सूत्रधारमण्डनकृतम् वास्तुमण्डनम् VĀSTUMANDANAM SŪTRADHĀRA MANDANA INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS

इस पृष्ठ पर कोई देवनागरी या अन्य लिखित पाठ (Text) उपलब्ध नहीं है; यह केवल एक स्थापत्य/शिल्प रूपांकन (Architectural carving / fretwork motif) का चित्र पृष्ठ है।

7-5

इस पृष्ठ पर कोई पाठ (टेक्स्ट) उपलब्ध नहीं है, यह एक कोरा (रिक्त) पृष्ठ है।

सूत्रधारमण्डनकृतम् वास्तुमण्डनम् VĀSTUMAṆḌANAM OF SŪTRADHĀRA MAṆḌANA

कलामूलशास्त्र-ग्रन्थमाला KALĀMŪLAŚĀSTRA SERIES इ.गा.रा.क.के.क.मू.शा.-६७ I.G.N.C.A. K.M.S.-67

सूत्रधारमण्डनकृतम् वास्तुमण्डनम् VĀSTUMAṆḌANAM OF SŪTRADHĀRA MAṆḌANA Critically Edited Text with Critical Notes, Translation, Appendices and Plates by DR. ANASUYA BHOWMICK INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS, NEW DELHI and MOTILAL BANARSIDASS PUBLISHERS PVT. LTD., DELHI

First Edition : Delhi, 2017 © Indira Gandhi National Centre for the Arts All rights reserved. No part of this publication may be reproduced in any form, or by any means, without written permisssion of Publishers. Managing Editor : Dr. Sudhir Lall Published by INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS Central Vista Mess, Janpath, New Delhi-110001 in association with MOTILAL BANARSIDASS PUBLISHERS PVT. LTD. Bungalow Road, Jawahar Nagar, Delhi - 110007 ISBN : 978-81-208-4019-5 Price : Rs. 1350/- Typeset by Amar Printing Press 8/25, Vijay Nagar, Delhi-110009 e-mail : amarprintingpress@gmail.com Printed in India by Thomson Press (India) Ltd. 18.35, Delhi Mathura Road, Faridabad (Haryana)

CONTENTS Foreword (by Member Secretary) vii Introduction ix Acknowledgements xxx Scheme of Transliteration xxxi Abbreviations xxxii TEXT AND TRANSLATION 1–219 Chapter I Miśrakādhyāyaḥ 1–59 Chapter II Āyādhikāraḥ 60–79 Chapter III Durgādilakṣaṇam 80–99 Chapter IV Gṛhādiniveśaḥ 100–129 Chapter V Gṛhavinyāsaḥ lakṣaṇasamuccayaḥ 130–137 Chapter VI Śālādi gṛhalakṣaṇam 138–165 Chapter VII Dūṣaṇabhūṣaṇāni 166–187 Chapter VIII Prakīrṇakādhyāyaḥ 188–213 APPENDICES 215–222 I– Names of the Plants mentioned in Vāstumaṇḍana 215–219 II– Names of the Planets mentioned in Vāstumaṇḍana 220 III– Effect of Moon in Each Zodiac Sign 221 IV– Stars Mentioned in Vāstumaṇḍana 222 CHARTS 223–227 – Śalyoddhāraḥ 223 – Marmavāstuḥ 224 – Plan of an ordinary House 225 – Plan of King's Palace (along with list of pāda) 226–227

vi Vāstumaṇḍana PLATES 229–232 – Prākāraka Ch. 3, (VM) 229 – A Panoramic view of Kumbhalgarh Fort 230 – Kumbhalgarh Fort and Wall 231 – Ambarāgāra Ch. 5, Verse 4, (VM) 232 SELECT BIBLIOGRAPHY 233–238 INDEX GLOSSARY 239–256

FOREWORD The Kalāmūlaśāstra series of Indira Gandhi National Centre for the Arts (IGNCA) is aimed at bringing to light the primary textual source material hitherto unknown, unpublished or inaccessible both in original language as also in translation. Under the aegis of this ongoing and long term research programme, the publication of the fundamental texts of Indian arts is undertaken along with annotations and translations. The critical edition of each text is prepared on the basis of several manuscripts, those being collated, transcribed, etc. along with the commentary of the source material, if any. So far in this series, along with other works on different aspects of Indian arts, three seminal works on Indian architecture have been brought to light, namely, Mayamatam (edited and translated by Bruno Dagens), Śilparatnakośa of Śthāpaka Nirañjana Mahāpātra (edited and translated by Bettina Baumer and Rajendra Prasad Dash) and Śilpa Prakāśa of Rāmacandra Mahāpātra Kaula Bhaṭṭāraka (edited and translated by Bettina Baumer, Rajendra Prasad Das and Sadanana Das). The present volume titled the Vāstumaṇḍana of Sūtradhāra Maṇḍana is another value addition and it is a matter of immense pleasure for us at IGNCA to publish this significant work on medieval Indian architecture from western India under the Kalāmūlaśāstra series. Sūtradhāra Maṇḍana is believed to be the chief architect of Mahārāṇa of Kumbhalgarh and his fundamental writings were used as manuals by the practicing architects. Thus the Vāstumaṇḍana is a critical landmark in the development of Indian architecture. Dr. (Smt.) Anasuya Bhowmick is a noted modern scholar and is an authority in the field of Indian architecture. She has painstakingly prepared the critical edition by surveying all the available manuscript material and has given a suitable English translation to it. She has also given various indices, charts and illustrations to make the concepts embedded in the text more intelligible to readers. The edition paves the way for a better comprehension of Indian architecture. This publication is another example of Dr. (Smt.) Anasuya Bhowmick's scholarly contribution to the field of Indian architecture in particular and to Indian Arts in general. Dr. Sudhir Lall of the Kalākośa division is the managing editor of this volume, who contributed tirelessly, in bringing the output submitted by Dr. (Smt.) Bhowmick to the stage of publication.

viii Vāstumaṇḍana We fervently hope that the academic fraternity will welcome this significant contribution by IGNCA and will benefit from it. The IGNCA looks forward to receiving feedback from the readers of this publication. We would appreciate your suggestions or comments for incorporation in the future editions of Vāstumaṇḍana. Dr. Sachchidanand Joshi October, 2016 Member-Secretary, IGNCA

INTRODUCTION

In The Indian Encyclopedia, architecture has been depicted as the rudimentary art of India and almost all other forms of art have emerged as accessories to it. We find similar tune in the article written by K.R. Pisharoti, who writes, ‘Architecture is one of the most important forms in which the Indian culture has found expression from ancient times.’ The New Encyclopedia Britannica explicates architecture along with some other arts, the practice of architecture embraces both aesthetic and utilitarian aspects. In this context Pisharoti says, ‘Architecture is primarily utilitarian, both in conception and in practice, and at the same time it is expected to satisfy aesthetic sense. A structure which has any pretence to architectural quality must satisfy both these aspects of utility and of beauty.’ Architecture has a sprawling history in our country. We find references of various architectural forms specially altars of multifarious shapes and sizes for sacrifices in the Vedic literature. Some of the major Purāṇas like Matsya, Agni, Garuḍa and others, expatiate and explain various aspects of architecture. In the later period we find a number of texts from different regions of India, which deal extensively with different forms of architecture; religious as well as secular. To name a few they are Mānasāra, Mayamata, Viśvakarmā Vāstuśāstra, Samarāṅgaṇasūtradhāra, Aparājitapṛcchā and so on. The Vāstumaṇḍana, a treatise on architecture of medieval age, shows close acquaintance with the vāstu works from Gujarat. Basically it is a compilation from other vāstu texts, in some places it shows its inherent exclusivity.

MANUSCRIPTS OF THE VĀSTUMAṆḌANA

To prepare the critical text of the Vāstumaṇḍana, five manuscripts have been consulted. These are collected from different parts of India.

Manusript A

The mother one (A) was collected from BORI. Pune. Its record no. is 123. It is written in Devanāgarī script, and complete with 35 folios, each consisting of 12/ 13 lines. The size of this manuscript is 9. 5/9 inches x 41/8 in. The material is country made paper. The date is saṁvat 1675 i.e., 1618 A.D. The manuscript has some peculiarities. The scribe writes ष्, and घ् in stead of थ and ष instead of ख; such as मुष instead of मुख in Ch. 1 verse no 48, 51 and in

x Vāstumaṇḍana many other places. In many places, we find श instead of स such as नाशिका (नासिका), माश (मास) and sometimes स्मशान instead of श्मशान (20.a.ll). The scribe used पृष्ठमात्रा instead of the normal one, such as he writes सुलग्ने च सुभे दिने in the first chapter. Again in the same chapter we find दित्रोन्तशषाटाधनिष्ठो। In the 10ᵗʰ folio we find वोर instead of वौर. He has the tendency of interchanging the syllables, e.g., चम्पक instead of पञ्चक (f20bl.2) प्रवि instead of विप्र, (2ⁿᵈ Ch. v 57), स्यते instead of तस्ये (f23bl.6) and so on. In case of रेफ् he writes रेफ् and रफला together. For example दुर्गं for दुर्गे or दुर्गन्धा for दुर्गन्धा (Śl. 74, 2ⁿᵈ Ch.). Some times he writes छ like (31a, 11, b13, 33b, 4.67, etc.). In the colphon and [L12

INTRODUCTION xi Here also we find a few peculiarities of the scribe. He has a tendency of writing same consonants one after another. Such as मानसोल्लास् (lbsl8) or भर्भु instead of भर्तुः (ld3sl3) or ललं instead of तलं (28b.5) and many more. He writes ‘राम’ on each ‘B’ folio and after folio 28ᵗʰ it seems the handwriting has been changed. Here, in the post-colophon entry the scribe writes सुतेन देवसिंहेण प्रार्थितः श्रैनन्दनः / Then he indexed the ślokas with numbers in each chapter and at the end he gives his own short details संवत् 1897 माधवदिगरौश्री उदयपुरत्राधान्या श्रीपुराणा श्रीजगत्सिंह विजयराज्ये भट्टभाइ रामसुतोभट्टनीलकंठोहम लेखि श्रीरामोजयति / It seems the scribe is a devotee of Rāma. In the descriptive catalogue, it is written that extent in ślokas are 900 but actually we find lesser numbers. Manuscript C The third Manuscript (C) is collected form the Oriental Institute, M.S. University of Baroda. Its accession no. is 5317. This is a complete manuscript with 49 folia, but 8 folia are missing in between. These are 1, 2, 7, 10, 28, 29, 32,43 folio. The lines per folio are inconsistent. There are 8, 9, 10 or 11 lines in different folia. Script is nāgarī and the date is saṁvat 1811, i.e., 1754 A.D. The name of the scribe is not mentioned in the post colophon. Only the date of copying is given as follows:- सम्बत् १८११ मितिमाघवदि २ मंगलवारसरायां लिपिकृतम् // Manuscripts D and E The fourth (D) and fifth (E) were collected from Saraswati Bhawan, Benaras (Record No. 33876 and 4330). Manuscripts D is incomplete in 18 folios, and the numbers of lines vary from 15 to 19. The script is Nāgarī and the date is not mentioned – size is 12.8 x 6.3 inches. Manuscript E is complete in 25 folios. Numbers of lines are different in different folios varying from 11 to 13 lines. Script is Nāgarī and the size is 13.2 x 4 inches. In this manuscript, we find some marginal notes and a few graphs. It seems that the scribe was proficient in jyotiṣa, so wherever he felt, he did some graph or calculation and made a few comments on the border. In the beginning he writes :- ग्राम नाम अधिष्ठाता कर नक्षत्रमध्यदैकर लिखव/ शुक्रेचन्द्रे जलाधारौ देवता वसते गुरौ// रवौ चतुष्पदस्थानम् मेडिका निश्चयावधः/ भौमेऽग्निधकं चैव शनौ राहौ क्षयंकरः //१//

xii Vāstumaṇḍana Date is 1890 saṁvat, 1755 śaka, i.e., 1833 A.D. In the post-colophon it is written: ग्रंथसंख्या ८८०/ सम्वत् १८९० शके १७५५ फाल्गुनशुक्ल ३ वृहस्पतौ / श्रीरामो He also writes श्रीराम on each folio. For nasal consonants – ङ्, ञ्, ण्, न, म all the scribes write. This is in short the description of five manuscripts used in editing the Vāstumaṇḍana. MAṆḌANA SŪTRADHĀRA AND HIS DATE In the 15ᵗʰ century, a brief but glorious period existed for the late medieval style of western Indian Architecture. The prevailing environment provided Maṇḍana Sūtradhāra with the opportunity of evincing his flair, potency, conceptual acuity and functional brilliance on architecture as well as on sculpture. Maṇḍana, who was endowed with scholastic erudition, enjoyed the royal patronage of Rāṇā Kumbhā of Chitor in whose court flourished several men of literary prowess. This royal architect wrote and compiled a number of treatises on architecture and iconography. Being an author of that period, he had an exposure to the previous authoritative Vāstuśāstras and the Purāṇas from which he elicited his inspiration. Maṇḍana's father Kṣetra was also an architect. In the concluding śloka of Vāstumaṇḍana, he writes – सुतेन दैवसिंहेन प्रार्थितः क्षेत्रमण्डनः स्थपतिः सृजति स्मेदं मण्डनो वास्तुमण्डनम् There has been lot of confusion regarding his origin. According to one tradition Maṇḍana hails from Gujarat and was invited by Mahārāṇā Kumbha in his court to compose treatise on Vāstuśāstras. According to other tradition and a few colophons of Maṇḍana's works – Kṣetra and his son Maṇḍana belonged to proper Mewar but their forefather hailed from Gujarat. Whatever the origin may be, Maṇḍana's work evidently show close acquaintance with the vāstu works from Gujarat. In this book, i.e., the Vāstumaṇḍana he followed the technology of Aparājitapṛchhā and Samarāṅgaṇasūtradhāra to a great extent. In his works Rūpamaṇḍana and Rājavallabhamaṇḍana Maṇḍana specifically mentions that, he is the eldest son of the eminent architect Kṣetra.

? Wait, what is between ज्येष्ठोandडनस्तस्य? Let's zoom into maximum resolution: - पु -त्रो - (space) -ज्ये -ष्ठो - Next glyph: It is anओ? Or is it ऽfollowed by something? Wait! Look at the glyph immediately afterष्ठो: It is ओ! Wait, no: it has a 3-like left side, a vertical bar, and a matra on top? No, it looks like ओorअ! Wait, look at ओinपुत्रो: त्र+ो. Look at independent ओ: ओ. Wait, look at ऽinक्षेत्राख्योऽयुत: it has no vertical bar. The glyph after ज्येष्ठो: Wait! Look at ज्येष्ठो: ज्ये(jye) ष्ठो(ṣṭho) Then:ऽ? Wait, is it ज्येष्ठोऽ? Wait, look at: ज्येष्ठोhasो. Then there is a character that looks like अorओ? Wait, no, it's ऽ`? Wait, look at

xiv Vāstumaṇḍana HIS WORKS 'At least 8 works of Maṇḍana are well reputed. These are by name Prāsāda Maṇḍana, Vāstumaṇḍana, Vāsturājavallabha, Vāstuśāstra, Vāstusāra, Rūpamaṇḍana, Rūpāvatāra and Devatāmūrtiprakaraṇa. The exact date of none of these works is so far known, but a relative chronological position of a few can be ascertained by a comparative appraisal. The Vāsturājavallabha for instance, seems a recast and an abridged one, of the Vāstumaṇḍana; the Vāstusāra is just a summary of either Vāsturājavallabha or the Vāstumaṇḍana' writes M.A. Dhaky in his article, The Vāstuśāstras of Western India. Maṇḍana Sūtradhāra was a connoisseur in architecture as well as in sculpture. He was said to have had been entrusted with the assignment of designing and building the fort of Kumbhalgarh. In Vāstumaṇḍana, we find references of similar forts. In the unique library of Kavindracarya (17ᵗʰ century AD.) some manuscripts on architecture were stored. Among them we find

1. Rājavallabhamaṇḍana (2146)
2. Vāstumaṇḍana (2849)
3. Prāsādamaṇḍana (2150)
4. Rūpamaṇḍana (2151), etc. (GOS No XVII, 1921). The Rājavallabhamaṇḍana and some other texts of Maṇḍana Sūtradhāra fetched tremendous popularity within two centuries. Copies of his work reached Benaras the unanimously revered nerve centre of Indian culture. From Benaras, Maṇḍana's works probably promulgated to other places. His works are now available in Kashmir as well as in Madras, in Baroda and in West Bengal. He must have been looked upon as an authority on this subject in his period. It is evident that his handbooks on architecture and sculpture earned unstinted popularity with artists and craftsmen of the time. Out of his works many have been published and are available, but these books are not critically edited. From his writings it seems that the author is well-versed in a variety of subjects, e.g., principles of architecture, town planning, location of different buildings, tanks etc. environmental science, soil technology, astrology, rituals connected with the starting of the construction, etc. He was not only endowed with unprecedented expertise over the science of architecture and allied branches of learning but also had unplumbed poetic talent. However, his Sanskrit was rather abstruse and esoteric. It appears that sometimes he has jumbled up local terms with Sanskrit language. Since many words are not found in any lexicon of the time hence it is very difficult to execute translation. Words like Sandhipāla, Priyamukha, Viṁśopa, Puradvīpa, Kuḍyadvāra, Gavāṅgāyadi kaṇapāli (p. 47). Jādyakumbha (p. 87), Dhiṅkuli (Ch. 3) are not traceable in the lexicons.

INTRODUCTION xv Sometimes the descriptions are not vivid, and legible, some verses in between the lines are missing also. This book appears to be a compilation from other Vāstuśāstra books especially from Aparājitapṛcchā and Samarāṅgaṇasūtradhāra, but it has its own ingenuity in some chapters. Specially in the third chapter the portrayal of different types of yantras, is unique, though the picture is not legible in some places. The topic is not available in other recognized Vāstusastras. Again, in the description of gavākṣa, siṁhāsana, śivikā, he leaves marks of his originality. Descriptions of śāla houses are extremely analytical, elaborate and praiseworthy from which one can learn about his stupendous expertise over this technical aspect of architecture. CONTENTS Vāstumaṇḍana is a treatise on architecture of 15ᵗʰ century A.D. epitomizing secular architecture of that period. This book primarily reflects the architectural pattern and its technology prevalent in Rajasthan, by which the date and time can be easily ascertained. The author was the chief architect of the ruler Rāṇā Kumbhā, whose history is known from other literary sources. The very name Vāstumaṇḍana suggests either a treatise written by Śrī Maṇḍana or a sheer ornamentation of Vāstu. If this book is compared with other Vāstu texts like Aparājitapṛcchā, Samarāṅgaṇasūtradhāra, Mayamata and Mānasāra, it is found to be different from all of these. At first glance, this book seems to be a compilation from other Vāstu texts specially Aparājitapṛcchā and Samarāṅgaṇasūtradhāra. But deeper readings reveal its uniqueness and speciality. The book mentions few other Vāstu texts, Purāṇas and names of few authors of similar texts. These are Mānasollāsa, Sārasāgara, Mātsyapurāṇa, and Maya, Bhoja, Viśvakarmā, Varāha, etc. Unlike other Vāstu texts, this book contains only about 880 ślokas, divided into 8 chapters. Among these chapters, the first one Miśrakādhyāya embraces highest number of ślokas (207) and the fifth chapter Gṛhavinyāsa adhyāya is having only 32 ślokas. This book may be referred best as a guidebook or a handbook for an architect. The book must have been very popular in its period as manuscripts of it are found almost all over India. Rājavallabhamaṇḍana another treatise of the same author seemed to be very popular also, as large number of manuscripts of it could also be located. Few similar verses in both the books could be noticed, but Vāstumaṇḍana deals with each topic more elaborately. For example, in Rājavallabhamaṇḍana twenty- three ślokas describe one particular topic āyādi ṣaḍvarga, whereas in Vāstumaṇḍana eighty-five ślokas are written to describe the same topic. Although Rājavallabhamaṇḍana contains more chapters (14), yet the number of ślokas is found to be more in Vāstumaṇḍana.

xvi Vāstumaṇḍana Uniqueness of this book lies in a particular field; that is, on the fort architecture. This is probably the only book where the description of a fort, the remains of which still exist near Udaipur, could be located. This book gives original blueprint of the planning of that particular fort. It is traced from other references that Maṇḍana himself, during the rule of Rāṇā Kumbhā, built this fort. The remains of the boundary wall of the fort, even today, look like that of the great China wall. Vāstumaṇḍana provides the detailed description of the fort as well as those of palace and its inside. BASIC TOPICS Topics of the book can be divided into four main groups;

1. Astrology, astronomy, and ecology.
2. Fort and palace architecture.
3. Building architecture – śālā houses, etc.
4. Different components of the house. CHAPTERS ON ASTROLOGY, ASTRONOMY & ECOLOGY Vāstumaṇḍana clearly indicates ardent passion of Rāṇā Kumbhā towards astronomy and astrology. In his time, astrologers were hired to execute activities and works within the ambit of the entire kingdom. Astronomy was closely related to astrology and Rāṇā Kumbhā being the astronomer himself, observed intently the movements of the planets based on which important decisions were taken. Every step of construction activities, from the onset to the conclusion was governed by the decisive and instrumental influence of astronomy and astrology. The very first chapter starts with the description of good and evil yogas, position of the stars, solar and lunar zodiacs, etc. All these were incisively scrutinized at the outset of any new construction. In all sorts of construction the book categorically mentions of the lagna, tithi, vāra, auspicious for the owner as well as that of the influence of lunar zodiacs. With the help of astrology or owner's zodiac sign, the author tried to determine the direction of one's house plan. According to him a person having zodiac signs of pisces, scorpio or leo shall have his house facing toward East and so on (Ch 1. Śl 41–42). In this connection the book The Royal Palaces of India, may be referred which says the plan of Jaipur was based on a maṇḍala with the royal residence in the middle. Its rectangular grid plan is tilted at an angle of 12 degree East to North to coincide with Leo, the astrological sign of Kacchwaha dynasty. Thus it is distinctly evident that Vidyādhara Bhaṭṭācārya, the planner of Jaipur city kept in mind the verdict of Maṇḍana Sūtradhāra and acted accordingly.