ISSN 0975-4067

KIRAÛËVALÌJournal of Sanskrit Research Foundation

The New Trivandrum Sanskrit SeriesVol.V. Book.I & II

January-June2013

SANSKRIT RESEARCH FOUNDATIONT.C 39/37

THIRUVANANTHAPURAM-36

KIRAÛËVALÌJournal of Sanskrit Research Foundation

EditorDr.M. ManimohananSree Sankaracharya University of Sanskrit,Kaladydr.m.manimohanan@gmail.com

Executive EditorDr.C.S.SasikumarSree Sankaracharya University of Sanskrit,Kaladydrsasikumarcs@yahoo.co.in

Managing EditorDr.G.NarayananSree Sankaracharya University of Sanskrit,Kaladydr.g.narayanan@gmail.com

Editorial BoardDr.V.Sisupalapanikkar,Professor of Sanskrit(Rtd.) Uty. of KeralaDr.R.Vijayakumar, Professor of Vyakarana, S.S.U.S.KaladyDr.K.Muthulakshmi, Associate professor in Vedanta, S.S.U.S.KaladyDr.K.K.Sundaresan, Registrar, Kalamandalam

Editorial Advisory BoardDr.T.Devarajan, Professor of Sanskrit(Rtd), University of KeralaDr.P.Chithambaran, Rtd.Professor of Vedanta,S.S.U.S. KaladyDr.P.K.Dharmarajan, Professor of Sahitya, S.S.U.S. Kalady

Dr..S.Sobhana, Associate professor in Vedanta, S.S.U.S.Kalady

Dr.K.Sekharan, Professor of Sanskrit, University of Calicut

Associate EditorProf.R.Jinu

jichelnu@yahoo.co.in

Views expressed in the articles are those of the authors and notnecessarily those of the publishers

Contents

I¿a UpaniÀad and R¡m¡ya¸a Dr.V.Vasudevan- 7Bhadrakalikalam- a Reminiscence ofDhuli Chitra: A study Babu.K -15

Modern and Vedantic Viewson Mental Health Dr.H.Sylaja -38

Cultivation and related incomein the Artha¿¡stra Pushpadasan Kuniyil -44

R¡m¡ya¸a Plays ofBh¡sa Dr. N. Vijayamohanan Pillai - 49

The Creative Geniusin Sree Narayana Guru Dr.Asaletha.V -56

Eco Feminism Shamshad Begum.R - 62

Ajitamah¡tantra:Treatise on V¡stuvidya Soumya. K -70

Historical and Cultural Aspects Reflected InAshtamimahotsava Prabandha Krishnaveni -79

Influence of Buddhism in the Social HealthEnvironment of Kerala Soumya.c.s -84

¶É¤nùùºÉÉvÉÖi´ÉÊSÉxiÉÉvÉÉ®úÉ b÷É.ªÉ¨ÉÖxÉÉ.Eäò -90

{Éä¯ûxiÉÉxÉÆ xÉÉ®úɪÉhÉÊuùVÉ´É®úºªÉºÉÖMÉÖ±ÉÉlÉǨÉɱÉɪÉÉ& ´Éèʶɹ]õ¬¨É b÷É.BºÉÂ.Ê´ÉVɪÉEÖò¨ÉÉÊ® -96

EòɱÉ&-´ÉèªÉÉEò®úhɨÉiÉä ¦ÉÉMÉÇ´É®úɨÉ& .Eäò.Eäò -104näù¶ÉÒªÉÉänÂùOÉlÉxÉä ¶ÉRÂóEò®ú́ ÉänùÉxiɺªÉ |ɺÉÊHò& b÷Éì. ʺÉ. BxÉÂ. Ê´ÉVɪÉEÖò¨ÉÉ®úÒ -109

EÖòºÉÖ¨ÉÉ\VɱÉÒ®úÒiªÉÉ |ɱɪɺlÉÉ{ÉxɨÉ ¸ÉÒnùɺÉÂ. B.Ê¤É -113

Ajitamah¡tantra: Treatise onV¡stuvidya

Soumya. K

Sanskrit is rich in secular literature. Technical sciences inSanskrit are generally embedded in the six Ved¡ngas and theUpavedas. V¡stuvidya or Sthapatyaveda, the ancient Indianarchitecture is taken to be an Upaveda of Atharvaveda. This branchof ancient Indian science has got a rich literature including the¡gamas.

Ëgamas are the texts dealing with ¿iva and ¿akti worship. Theycontain various subjects such as architecture and sculpture.

The twenty-eight ¿aiv¡gamas are the chief authority of the ¿aivaSiddh¡nta system. Their names and extent are mentioned indifferent works though there is no unanimity among the namesmentioned. They are believed to have emanated from the five facesof ¿iva. They are: K¡mika, Yogaja, Cintya, K¡ra¸a, Ajita. D¢pta,S£kÀma, Sahasra, Am¿umat, Suprabheda, Vijay¡, Nih¿v¡sa,Sv¡yambhuva, ¡gneya, V¢rabhadra. Raurava, M¡ku¶a, Vimal¡,Candrajµ¡na, Mukhabimba, Prodgita, Lalita, Siddha, San¡tana,Sarvokta, P¡rame¿vara, Kira¸a and V¡tula.

In these ¿aiv¡gamas Ajit¡gama is the fifth one. When one tracesthe transformation of the name Ajitamah¡tantra from Ajit¡gamahe will reach in the slogan “the great Tantra of be

Kira¸¡val¢ 71

unconquered”.(Introduction, Bhatt and Filliozat 19)Ajitamah¡tantra provides a good and wide account of ¿aiva

system of worship. A close reading of the treatise provides thearchitecture and the system of worship of the ¿aiva temples,prevalent in this country. The text is of high importance becauseof its authenticity, consistency and readability.

Content of Ajitamah¡tantraThe text of Ajitamah¡tantra used for the present study

comprises five volumes. The first volume contains eighteenchapters offering a systematic account of the installation of Lingaworship from the carving of the Linga and the construction of thetemple to the great ceremony of installation of the deity.

The second volume gives details about daily worship thefestival and number of occasional rituals, information on thesubstances preparatory rituals etc. The third volume talks abouticonography, additional chapters of architecture, and rituals ofinstallation of subsidiary deities. The fourth volume of the text isdedicated to subsidiary rituals, occasional festivals and rites ofatonement of false and failures. This last portion will introducesome later practices and features of religion, which may not belongto the original period of redaction and some other subject whichare not touched in the previous parts. The fifth volume containsthe illustrations referred to in foot-notes of the translation.

Ajitamah¡tantra, a complete treatise on temple architecture, isa monumental work among other ¡gama works. The present workis a comprehensive study of the Pr¡s¡dalakÀa¸avidhi discussedin Ajitamah¡tantra. In this the twelfth chapter is a description ofPr¡s¡dalakÀa¸avidhi. It declares the parts and different style ofPr¡s¡da with examples.

72 Kira¸¡val¢

The construction of Pr¡s¡da needs, first of all, a proper area.Therefore the selection of site involves high importance in bothresidential and temple architecture. In the V¡stu¿¡stra treatises,the suitable and unsuitable place for the erection of temple hasbeen discussed. The sixth chapter of Ajitamah¡tantra deals withthe description of sites (näù¶ÉÊxÉnæù¶É:). After giving a detailed accountof various steps like the rite of ploughing (Eò¹ÉÇhÉÊ´ÉÊvÉ:), the processof worshiping the site spirit (´ÉɺiÉÖ{ÉÚVÉÉÊ´ÉÊvÉ:), the process of installingthe gnomon (¶ÉRóÂEÖòºlÉÉ{ÉxÉÊ´ÉÊvÉ:), the process of placing the first bricks(+täù¹]õEòÉÊ´ÉÊvÉ:) and the rules concerning the temple base (={É{ÉÒ ö̀öÊ´ÉÊvÉ:),the process of charecterising the temple (|ÉɺÉÉnù±ÉIÉhÉÊ´ÉÊvÉ:) has beendiscussed in the twelfth Pa¶ala.Measurements used in the construction of Pr¡s¡da and icons

The characteristic trait of Pr¡s¡da is determined on the basisof the difference in measurements. For the making up of templesthe ¡c¡ryas adopt the measurements from the nature itself. InAjitamah¡tantra the ¡c¡rya describes the Hastapram¡¸a at first.The ¡c¡rya declares that the basic unit of Pr¡s¡da is Hastapram¡¸a.The increasing order from the minute structure of themeasurements and the use of the measurement has been describedhere in detail.

½þºiÉäxÉ ºÉÆʨÉiÉ: |ÉÉäCiÉ: |ÉɺÉÉnù: ºªÉÉVVÉxÉÉnÇùxÉ**(Bhatt and Filliozat129, verse1)

According to the details given in this Pa¶ala, temples can bemeasured only in cubits. The size of the cubits is defined as: thelight of the Sun enters through hole of a net or the particle ofdust which one can see only in atomic forms, eight of these liesare called dust’, eight of these ‘point of a hair’ , eight of thesenit’, eight of these ‘louse’, should be a ‘barely seed’(P 127).

Kira¸¡val¢ 73

iɺ¨ÉÉrùºiÉ|ɨÉÉhÉÉä%ªÉ¨ÉÖSªÉiÉä%jÉ ¨ÉªÉÉ {ÉÖ®úÉ*VÉɱÉÉÊnùÊ´É´É®úÉʴɹ]äõ ºÉÊiÉ vɨÉÉȶÉÖiÉäVÉʺÉ**+hÉÖ°ü{ÉähÉ iÉjÉè´É où¶ªÉiÉä ªÉpùVÉÉä xÉ®èú:*iÉnùhÉÖxÉÉǨÉiÉ: |ÉÉäCiÉÉä ®úVÉÉ xÉɨÉ: iÉnù¹]õEò¨É **iÉnù¹]õEÆ iÉÖ ´ÉɱÉÉOÉÆ ±ÉÒIÉÉJªÉÆ iÉÖ iÉnù¹]õEò¨É *iÉnù¹]õEò¨É iÉÖ ªÉÚEòÉJªÉÆ ªÉ´ÉÉä ªÉÚEòɹ]õEòÉä ¦É´ÉäiÉ ** (verses 2-4)

A digit called M¡n¡´gula is made by a grouping of eight barelyseeds. The digits given in this text are said to be made up of eightor seven barely seeds. Three sorts of M¡n¡´gula have beenmentioned in the current chapter. One can see that in the duecourse the size of the cubit is explained with reference toM¡n¡´gula.

+RÂóMÉÖ±ÉÆ ´Éɹ]õʦɺiÉèºiÉÖ iÉx¨ÉÉxÉÉRÂóMÉֱɨÉÖSªÉiÉä *ºÉ{iÉʦÉ: ¹ÉÎbÂ÷¦É®ú{ªÉÖHÆò ªÉ´Éè®újÉÉäCiɨÉRÂóMÉֱɨÉ **B´ÉÆ ÊjÉÊ´ÉvɨÉÖÊqù¹]Æõ ¨ÉÉxÉÉRÂóMÉֱɨÉiÉ: {É®ú¨ÉÂ*+xÉäxÉ ½þºiɨÉÉxÉÆ SÉ Gò¨ÉähÉ {ÉÊ®ú{É`ö¬iÉä** (verses 5-6)

The details of different sizes of cubits are also given in thefollowing verses. A unit which has been made of 24 of thisM¡n¡´gula s is called KiÀku-hasta. Another unit made of 25 digitsis called Pr¡j¡patya. When it is with 26, then one has another unitcalled DhanurmuÀ¶i. A unit of 27 M¡n¡´gula s can be termed asDhanurgraha. KiÀku measurement is used for the construction ofpalanquin, throne etc. Pr¡j¡patya measurement is used for theconstruction of temples and pavilions. For the construction ofpalace, towns, tank and ponds DhanurmuÀ¶i cubit is used.Construction of rivers and roads needs Dhanurgraha cubits.

SÉiÉÖ®ú˴ɶÉèºiÉÖ iÉè: |ÉÉäCiÉ: ÊEò¹EÖò½þºiÉ: ºÉÖÊxÉζSÉiÉ: *|ÉÉVÉÉ{ÉiªÉ <ÊiÉ |ÉÉäCiÉ: {É\SÉ˴ɶÉÉRÂóMÉÖ±ÉèºiÉiÉ: **¹ÉbÂ÷Ê´ÉƶÉèºiÉÖ vÉxÉÖ̈ ÉÖÇι]õ: ºÉ{iÉ˴ɶÉèvÉÇxÉÖOÉǽþ:*

74 Kira¸¡val¢

ʶÉÊ£ÉEòɺÉxÉÉÊnùEÆò ºÉ´ÉÈ ÊEò¹EÖò¨ÉÉxÉäxÉ EòÉ®úªÉäiÉÂ** (verse 7-8)All the tools and equipments related to rituals and religious

practices should be made with M¡tr¡´gula. Different types ofM¡tr¡´gula can be seen in this Pa¶ala.

ªÉÉMÉÉä{ÉEò®úhÉÆ ºÉ´ÉǨÉä´É ¨ÉÉjÉÉRÂóMÉÖ±ÉäxÉ iÉÖ *¨ÉÉjÉÉRÂóMÉÖ±ÉÆ SÉ Ê´ÉÊ´ÉvÉÆ iɺªÉ ±ÉIÉhɨÉÖSªÉiÉä**+ÉSÉɪÉÇnùÊIÉhÉä ½þºiÉä ¨ÉvªÉ¨ÉÉRÂóMÉÖʱɨÉvªÉiÉ:*ªÉi{É´ÉÇ iɺªÉ nèùPªÉæhÉ Ê´ÉºiÉÉ®äúhÉÉÊ{É ºÉÆʨÉiɨÉÂ**(verses 11,12)

This charecterisation is given as: the size in length or in breadthof the finger joint which is in the middle of the middle finger inthe right hand of the ¡c¡rya.

When one divides the height of an icon with the unit of T¡las(a T¡la contains twelve A´gulas), the digit will be ‘digit obtainedfrom the body’ (näù½þ±É£vÉÉRÂóMÉֱɨÉÂ).(P 129). These digits are beingused in the construction of icons.

|ÉÊiɨÉɪÉÉ: ºÉ¨ÉÖiºÉävÉä iÉɱÉMÉhªÉäxÉ ¦ÉÉÊVÉiÉä*ªÉnùRÂóMÉÖ±ÉÆ ¦É´ÉäkÉkÉÖ näù½þ±É£vÉÉRÂóMÉÖ±ÉÆ ¦É´ÉäiÉ **|ÉÊiɨÉɪÉɺiÉÖ ÊxɨÉÉÇhÉä Ê´ÉÊxɪÉÉäMɺiÉÖ où¶ªÉiÉä* (verse 13-14)

T¡la is the standard measurement used in iconography. A T¡lalength is equal to twelve A´gulas. A´gula, a finger, a fingerbreadth, is a measure of about three-fourths of an inch; one ofsome equal parts, into which an architectural or sculptural objectis divided for proportional measurement.Ajitamah¡tantra talks about three kinds of temples: inferior,medium and superior.

|ÉɺÉÉnùκjÉÊ´ÉvÉ: |ÉÉäHò: EòxªÉºÉÉä ¨ÉvªÉ¨ÉºiÉlÉÉ *=kɨɶSÉÉÊ{É iÉnÂù¦Éänù <nùÉxÉÓ ´ÉIªÉiÉä ¨ÉªÉÉ **

(tr: Three types of temples are referred to. They are inferior,medium and superior).

Kira¸¡val¢ 75

The text further describes the different temples which go by thenumber 28.

ÊjÉEò®úÉzɴɽþºiÉÉxiÉÆ ….......|ÉÉäCiɶSÉɹ]õÉ˴ɶÉÊiɺÉÆJªÉªÉÉ **(verse 16-20)

Inner chamberAfter discussing the size of Pr¡s¡da the text provides knowledge

about the making of inner chamber (MɦÉÇMÉÞ½þ¨ÉÂ) and the placing ofthe sanctum.

iÉkÉÊuùºiÉÉ®ú̈ ÉÉxÉäxÉ MɦÉÇMÉä½Æþ..........MɦÉÈ Ê¦ÉÊkɺiÉÖ ¶Éä¹ÉEèò: *(verses 21, 26)

One should make the sanctum only with reference to themeasures of the extent. When the extent of the temple is dividedin to sixteen parts by five cords, stretched five towards the eastand five towards the north, the sanctum is four squares in themiddle and the remaining area is told to be for the walls. Whentwenty five squares are done with in which six cords stretchedtowards the east and six towards the north, the sanctum is nineparts in the middle. When forty nine square are made with eightcords stretched towards the east and eight cords towards the norththe sanctum is seven half squares around nine squares in the middle.The walls are made with the remaining area.

In the cases where Linga has already been installed, then thesanctum should be constructed with reference to the size of Linga.The breadth of the pedestal is prescribed as three times the breadthof Linga. The sanctum should be three times the pedestal, thewall equal to it. Another possibility is that the sanctum can beconstructed four times bigger than the pedestal. Then the walls ofthe temple all around should have the same size of the half of thesanctum.

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ªÉÊnù {ÉÚ´ÉÈ ÎºlÉiÉÆ Ê±ÉRÂóMÉÆ iÉx¨ÉÉxÉÉnÂùMɦÉǨÉÖSªÉiÉä **ÊjÉMÉÖhÉÆ Ê±ÉRÂóMÉiÉÉ®úºªÉ {ÉÒ`ööiÉÉ®Æú Ê´ÉvÉÒªÉiÉä*{ÉÒ`ööÊjÉMÉÖÊhÉiÉÆ MɦÉÈ Ê¦ÉÊkÉ: {ÉÒ ö̀öºÉ¨ÉÉ ¦É´ÉäiÉ **+lÉ´ÉÉ vÉɨÉMɦÉÈ iÉÖ ¦É´Éäi{ÉÒ`ööSÉiÉÖMÉÖÇhɨÉ *MɦÉÉÇvÉǨÉÉxÉiÉÉä ʦÉÊkɦÉÇ´ÉärùɨxÉ: ºÉ¨ÉxiÉiÉ:** (verses 25-27)

PavilionConstruction of the pavilion or the ¨Éh]õ{É is described next.

+OÉiÉÉä ¨Éh]õ{ÉÆ..........¨Éh]õ{ÉʴɺiÉ®ú¨É ** (verses 28-31)

Pavilion should be of same size of the temple and is constructedin front of the Sanctum. There will be nine kinds of pavilion andamong these varieties, one can be built in accordance with oncechoice. An antechamber should be built of four, three, two or oneDa¸·a between the temple and the pavilion (Da¸·a here refers tothe pillar’s breadth). The temple and pavilion should be of thesame breadth. An alternative is that the breadth of the pavilioncan be that of the temple reduced by one fourth or one fifth.

The text also gives prominence to the beauty concept, as partof the construction. It prescribes a projection of one and half aDa¸·a or one Da¸·a, to be done either on the side or at the backof the temple. Then the height of the temple (ʴɨÉÉxÉÉäiºÉävÉÆ) is discussed.In the case of inferior temples one should make a height of twotimes the breadth; for the ten medium temples, a height of twelveparts when the breadth has been divided by seven is prescribed. Aheight of eleven parts when the breadth has been divided by sevenhas been prescribed for the ten superior temples.

+vɨÉÉxÉÉÆ Ê´É¨ÉÉxÉÉxÉɨɹ]õÉxÉÉÆ..........uùÉ®úÉäiºÉävɨÉlÉÉäSªÉiÉä *(P 134)

Kira¸¡val¢ 77

The height of the door also in discussed in this chapter. It isprescribed as the distance from the Prati to the limit of thearchitecture.

The text then also prescribes the height of the door, theAdhiÀ¶¡na (wall-base), the P¡da, (wall), the Prastara (entablature),the Gr¢va (neck), the ¿ikhara (crest) and the St£pi (finial). Thedetails about the different levels of temples are also given in thischapter.

The chapter also provides information about temples namesand ornamentation. According to the text there are three variationsof temple by the names N¡gara, Dr¡vi·a and Vesara.

|ÉɺÉÉnùκjÉÊ´ÉvÉ: |ÉÉäCiɺjÉèÊ´ÉvªÉ¨ÉÊ{É EòlªÉiÉä *(verse 60)xÉÉMÉ®Æú pùÉÊ´ÉbÆ÷ SÉè´É ´ÉäºÉ®Æú SÉäÊiÉ xÉɨÉiÉ:** The N¡gara temples, which are said to be common in the

Pallava and Co½a period, are a square from the ground level to thefinial. The octagonal from the neck to upwards is the characteristicfeature of the Dr¡vi·a temples. The Vesara temples are generallyround from the neck upwards.

¦ÉÉè¨ÉÉÊnùºiÉÚÊ{É{ɪÉÇxiÉÆ xÉÉMÉ®Æú SÉiÉÖ®ú¸ÉEò¨É *Eòh`ööÉi|ɦÉÞÊiÉ SÉɹ]õɸÉÆ pùÉÊ´ÉbÆ÷ {ÉÊ®úEòÒÌkÉiÉiÉÂ**Eòh`ööÉi|ɦÉÞÊiÉ ´ÉÞkÉÆ ªÉuäùºÉ®Æú vÉÉ¨É EòlªÉiÉä *(verses 66-68)

Further varieties such as Saubhadra, Svastibandhana,Sarvatomukha, S¡rvak¡rmika are also mentioned in this chapter.

ºÉ¦ÉpÆù ºÉʴɶÉɱÉÆ ºªÉÉiEòhÉÇEÚò]õºÉ¨ÉÎx´ÉiɨÉ **+¹]õɸɴÉäÊnùEòɪÉÖCiɨɹ]õ{É\VÉ®úºÉƪÉÖiɨÉ *ºÉÉè¦ÉpÆù ¦ÉÉäMÉnÆù |ÉÉäCiÉÆ vÉÉ¨É ºÉ´ÉǺÉÖ®úÉäÊSÉiɨÉ **SÉiÉÖ®ú¸ÉɪÉiÉÆ SÉè´É ºiÉÚÊ{ÉjɪɺɨÉÎx´ÉiɨÉ *{É\VÉ®úÉÊnùʴɽþÒxÉÆ ªÉiº´ÉκiɤÉxvÉxɨÉÖSªÉiÉä**+ɪÉiÉɸÉÆ Ê´ÉxÉÉ |ÉÉäHÆò ±ÉIÉhÉäxÉ ºÉ¨ÉÎx´ÉiɨÉ (verse 68-71)

78 Kira¸¡val¢

Thus the twelfth Pa¶ala of Ajitamah¡tantra dealsexclusively with the temple architecture.In this way, the text is highly valuable and resourceful as far asancient Indian architectural system is concerned. Further studieson these subjects need to be based on the possibilities of carryingout effective dialogues with similar modern branches of learning.Notes

1 Scholars have referred to 28 ¡gamas, but there are variations in thetitles.

2 Three kinds of A´gulas are described in V¡stu¿¡stra. They areM¡n¡´gula, M¡tr¡´gula and Dehalabdh¡´gula.

M¡n¡´gula: - This is the basic unit taken. It is the prescribed numberof Yava grains (8 Yavas).

M¡tr¡´gula: - This is the measurement taken by the middle finger ofthe master who makes an image or building.

Dehalabdh¡´gula: - This is the measurement equal to one of theequal parts into which the whole height of a statue is divided forsculptural measurement.

3 There is no reference to the existence of individual antechamber inthe early instances of Pallava and Cola temples. The pavilion isgenerally much larger and longer than the temples though the

C¡lukya instances have antechambers.

Works CitedBhatt, N.R, and Jean Filliozat, eds. Ajitamah¡tantram = Thegreat tantra of Ajita Vol. I, Vol. I,. Trans. Pierre-SylvainFilliozat. New Delhi; Delhi: Indira Gandhi National Centre forthe Arts/ ; Motilal Banarsidass, 2005. Print.