Śilpa Prakāśa : medieval Orissan sanskrit text on temple architecture

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Wl@:IQCfil~I: " -" SILPA PRAK.ASA Medieval Orissan Sanskrit Text on Temple Architecture by

RAMACANDRA MAHAPATRA KAULA BHATIARAKA

JNTRODUGnON AND nANSLATION

BY

ALICE BONER AND SADASIVA RATH

SARMA

REVISED ANO EDITED

BY BETIINA BAUMER RAJENDRA PRASAD DAS SADANANDA DAS

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INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS NEW DELHI AND MOTILAL BANARSIDASS PUBLISHERS PVT. LTD. DELHI

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Second ReYixd Edition: New ~lhi, 2005 Fint Edition: Leiden, 1966

C Alice Boner Institute, Varanui

All rifhts rcsa ~- No pan of this publication may be reproduced in any fonn, or by any me211s, wichou1wriucn pennluion of the PublisheD.

Published by INDIRA GANDHI NATIONAL CENTRE FOR llfE ARTS Central Vista Meas,janpach, New Delhi - 110 001 in auociation with

MOTILAL BANAASIDASS PUBUSHERS PVT. LTD. Bungalow Road,Jawahar Napr, ~l h i - 110 007

ISBN : 81 -20S-~2"5 Price : Rs. 1795

Typcoe1by Alice Boner ln1li1u1e, Varanasi S.1/ 159, Assi Ghai, Varanasi-221005 Printed In India a1 Shrijainendra Preas A-45, Naralna lndustrial Area Phase - 1 New ~lhi- 110 028

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PREFACE TO THE SECOND EDmON

Alice Boner's pioneering translation of the Silpa Pl'akMa, a unique text in the field of.SilpaUstras, has remained almost unknown in India, since it was published in Leiden and was not easily accessible to scholars in India. Besides, the book has been out of print since almost 20 years. lbereforc a revised edition became a necessity especially in the light of an increasing interest in the ancient teXIS on architecture and sculpture, Vistu and SilpaUstra. A complete revision of the text and translation could be undertaken on the basis of only one illustrated manuscript which was in the possession of the Alice Boner Institute Varanasi and which was therefore made the basis for the new edition. Since the other two MSS which Alice Boner used were no longer available, the varianis given from MS 2 in the Printed Text (Pr) are noted as variant readings. The Printed Text had been heavily edited by Pandiis who were more concerned with correct Sanskrit than with the technicalities of architecture, and therefore it could not .be used. The editorial principle followed now was not to change the peculiar style of a Silpdistra by making it conform to l'ilµnian grammar. Only the most necessary corrections were done in the text As it has been stated by editors again and again, the language of these texlS is grammatically defective, but by this the meaning is not affected (e.g. the Silpa PrakMa invariably uses the form erani bheddni, among other faulty forms). As the text iiself, and Alice Boner in her introduction, makes sufficiently clear, the author, Rlmacandra Mahipitra Kaula Bha!llnlka. was not a Sanskrit Pandit, but was himself in architect. This is reflected in the character of the text. Along with a revision of the Sanskrit text, coming closer to.the original as given in the MS, the translation was also completely revised. In spite of many mistakes in the earlier edition, Alice Boner's intuition regarding the correct meaning, supported by Pandit SadMiva Rath Sanna 's traditional knowledge, is surprising. In many cases her doublS could be clarified on a careful new reading of the MS. Thus, in spite of a revised vefsion of text and translation, the basic understanding of the meaning remains, esj>ecially with regard to identifying the temple types described with extant temples of Orissa, the most ouistanding example being the· Virihi temple at Caurasi, belonging to the KAmagarbha type called Vimlnamllini.

vi

PREFACE TO l1fE SECOND EDmON

The last forty years have seen much new research and publications on the temple architecture and sculprure of Orissa (see Bibliography). In this light the dating of both, the text and the Viribi temple at Caurasi could be established with greater precision. Bodi on historif the Padmagarbha The Avaral)a Devatiis of Siva Meditation on Sadyojata Meditation on Tatpuru~a Meditation on Sn1c&l)\ha Rudra Meditation on Ghora Meditation on Mrtyuiljaya Meditation on Viriipak~ RAhiipiiga of the Padmagarbha Tala-garbhikii Niche Division The P~vadevatiis of Siva Heramba(G&l)e~a)

Dyana Ambikii Dyana Kiirttikeya Dyana Ordhva-garbhika String course (bandhani) on the wall of the Padmagarbha

152 163 180 184 187 192

199 203 209

219 229 239 243 255

262 266

269 281

297 303

304

306 307 311

312 314 330 338

350 356 356 357 360

361 364

365 370 379

DETAILED CONTENl'S OF THI! TEXT

47 flokas

Anartha Rihi VimlnamAlini

392 398 409

Plillcakarma

41g 42S

Ko.,aka Vimiina of the Ko.,aka Anurihli Anartha Kima-bandha(love images) Klimakalii Yanira Meditation on Mahliklmakaldvarf Meditation on Siva Klimakaldvara Rlihi Spire of the Riihi Piriva devatiis Place of Junction (milanasthala) Roof-part The Type of Kharpara (roof) Another type of Roof Types of lions Yantra for the lions Different types of Kala§as Yilpa Kumbha Another type of Garbhalca (Gauri temple type) Praise of the Temple Doorway to the inner shrine Measurement of images Sculptural Ornamentation Merit of Building a Temple Placing of the Pedestal Different Types of Pedestals K&l)ipi!Jia Padmapi!Jia Different Classes of Images Suti Image Ceremonies after Establishing the Image Praise of the Silpa Slisiras The Author

449 466

494

498 508 530 533

542 547 549 595 611

623 649 663

677 686 689 695 699 708

715 720 724

731 740

752 754 758 165 780

788 792 802

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SECOND PRAKASA

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In Sikta temples the love-scenes (kllmabandha), difficult of approach, should be placed. These are the main differences approved by the Sistras. 253 Without amorous figures (lcama-lcala) the Slilcta-temple would be fruitless. These are the two different varieties of design (kalpana): 254 Padma1arbba (Siva temple) and Kima1arbba (Saktl temple) (Plate L and L VIII) Padmagarbha and Klimagarbha are the two varieties distinguished by the wall-part. You first hear about the various pans of the Kamala- (Padma)-garbha, 255 wh·a t are the differences occurring in the work of the pallcakarma and other pans. Hear my son, I am describing you the comP.osition of the wall-pan (bhitti-bhaga). 256 first only the parts and divisions of the Padmagarbha: Whatever the height of the temple in the order of numbers, 1 257 that number the expen Silpin should divide by three, that third pan is called the wall-pan. 258 The height of the wall is again divided into three, and the first (lowest) fs well known as the place for the best pallcalcarma . 259 These parts are made according to the rules mentioned before. After the /chura and the /cumbha there is a band (pa!fi}, after the band a most beautifuf lca(liklJ.(angular projection). 260 Above this is the ·area of the jangha, which is part of the wall work. The lower part of the Padmagarbha is done according to the tradition of the Saudhikiigama. 261 Pallcakarma or the Padma1arbba (Plate Lid, e and Fig. 15) Hear the parts and works of this particular type of pallcaliga (pallca-/carma). The place of the pallcalcarma is · divided in three parts. 262

1

Nus:nber most likely refers to units of meuurement. called mll/a.sUtra or

hh4&"· sMtro, see note to Jloli.11 246 .

SILPA PRAKASA

256

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SiLPA PRAKASA

112

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