समराङ्गणसूत्रधार (महाराज भोज - वास्तु, स्थापत्य एवं यंत्र शास्त्र)

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not achieve success but bring about troubles and difficulties. The following
śloka contains the qualifications necessary for constructing the machines.
पारम्पर्यं कौशलं सोपदेशं
शास्त्राभ्यासो वास्तुकर्मोद्यमो धीः ।
सामग्रीयं निर्मला यस्य सोऽरिंम
श्चित्राण्येवं वेत्ति यन्त्राणि कर्तुम् ॥
( Vol. I, P. 176 )
It is also not uncommon, in the case of highly useful machines, to keep
unrevealed the methods of constructing them.
(1925 A.D.) T. GANAPATI SASTRI.

INTRODUCTION
The Samarāṅgaṇa Sūtradhāra is an encylopaedic work on medieval Indian
architecture written by King Bhoja of Dhārā ( c. 1000-1055 A.D. ) of the Para-
māra dynasty. Bhoja was a great patron of learning and himself an author of
distinguished reputation being responsible for such eminent works as the Sṛṅgāra-
prakāśa and Sarasvatī-Kaṇṭhābharaṇa, in its versions of Kāvya and Grammar
both being work of great merit.
The Samarāṅgaṇa Sūtradhāra as now available in 83 chapters is a dimen-
sional work and all the available manuscripts show that the present text is un-
finished.
This is the second revised edition of this great work on Indian Śilpa Śāstra.
The first edition was published in 1924-1925 in two volumes as No. XXV ( pp.
1-290 ) and No. XXXII ( pp. 1-324 ) of the Gaekwad's Oriental Series, Baroda,
and was edited by the Sanskrit savant Mahāmahopādhyāya T. Gaṇapati Śāstry
of Trivandrum who took immense pains to wade through the three manuscripts
then available to him and present as best a text as was possible. According to
his entry in the Introduction to Volume One the following manuscript material
was then utilised :—
( 1 ) The manuscript marked क belonging to the Central Library, Baroda
which runs up to a certain portion in the 82nd adhyāya but is wanting in 19
folios, and which was copied, as mentioned in the colophon, in Saṁvat 1594.
( 2 ) The manuscript marked ख belonging to the same library which runs
up to a portion in the 55th adhyāya.
( 3 ) The manuscript marked ग obtained on loan from the Bhandar at
Pattan, which runs up to a portion of the 49th adhyāya but is wanting in 10
folios and which appears to be of the same age as the first.
Fortunately for this edition one more manuscript was made available to
me by the courtesy of Dr. B. J. Sandesara, present Director of the Oriental
Institute where the manuscript is deposited. Its details are as follows:—
The manuscript marked द belonging to the library of the Oriental Institute,
Baroda which runs upto verse 237th of chapter 83. Omitting the scribal errors,
I have taken only the material variant readings from this manuscript.
The symbols for the three manuscripts used by Sri Gaṇapathi Śāstry were
क, ख and ग and that for the new manuscript is द. All the variant readings of the
previous manuscripts and the new one have been noted in the footnotes on each
page of the printed texts aad the best reading has been incorporated in the print-

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ed texts. It is gratifying that the new material has effected improvement in the
texts at many places but still there remain textual obscurities which may be due
to the very technical nature of the material and the Śilpa terminology employed
in the work.
As observed by the previous editor, Sri Gaṇapathi Śāstry, the language of
the Samarāṅgaṇa Sūtradhāra is correct in grammatical Sanskrit against what is
usually found in the Śilpa works. This may be attributed to the great erudition
and love of Sanskrit of King Bhoja who was no doubt one of the greatest San-
skritists of medieval times and combined in him unique liberality and patronage
of scholars paralleled in the annals of ancient India only by Candragupta
Vikramāditya of the Gupta dynasty.
The name Samarāṅgaṇa Sūtradhāra is worthy of attention. The word
Sūtradhāra literally means ‘thread-bearer’, i.e. an architect who takes his
measurements by means of the plumbline. Here is a pun on the word ‘samara’
which means both a battlefield and a mortal human being (sa + mara) (destin-
ed to die). Thus the title as applicable to Bhoja would signify firstly that he
was the architect of the fortunes on the battlefield, i.e. who planned the
course of battle leading to victory, and secondly, who was the architect of
human dwellings, i.e. civil architecture on an extensive scale. The epithet in
its second denotation is a fact of King Bhoja's building activities who planned
cities, palaces, temples, educational institutions and hospitals, wharfs, lakes,
ponds, stepped wells, pavillions, resting places, roads, groves, etc., in a liberal
spirit. The contingent of buildings and establishments of Mahārājādhirāja
Bhoja requires to be fully explored and described in detail in a separate work
from the archaeological and art point of view in a comprehensive biography of
this distinguished monarch which is still a desideratum. The great educational
college called Bhoja Pāṭhaśālā at Dhārā was one of the most monumental build-
ings of Bhoja, unfortunately demolished by the Muslim invaders and turned into
a Mosque. From the surviving ruins, it is possible to form an estimate of its
original grandeur and dimensions of its site-plan and halls embellished with
numerous images and inscribed slabs bearing the texts of poetry and drama
in Sanskrit, Prakrit and Apabhraṁśa, and specimens of the prevailing script and
dialects. Such a marvellous conception of an educational institution marked by
the visual documentation of literature has seldom been known in the history of
any country. The architectural beauty of the pillars and the ceilings in this
unique building bespeaks volumes for the aesthetic taste of King Bhoja who was
a rare genius as an architect, a fact amply supported by the contents of the
Samarāṅgaṇa Sūtradhāra.
Another great monument due to the genius of King Bhoja was the Bhoja
Sāgara lake in which water was collected from the three enclosing slopes of

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mountains and stored into a reservoir by building an embankment on the fourth
side. The fame of this wonderful lake resounded in popular memory throughout
the medieval times and has been preserved upto our own times in the Hindi
saying: Tāla to Bhopāla tāla aur sab talaiyā (ताल तो भोपाल ताल और सब तलैया). (i. e.
amongst lakes the foremost is the one called Bhopal Tal or the lake built by
King Bhoja, round which was planned the city of Bhopal, the others are mere
ponds of water).
The art of building embankments for artificial lakes has reached its
perfection in medieval India and its greatest example was that planned and
erected by Bhoja, that was perhaps equalled later on by the Rājasamudra lake
of King Rājasamudra of Chittor.
Of the other monuments raised by Bhoja and now in ruins or lost in
oblivion, it is tempting to speak in detail from the point of view of architecture
but that should await an exhaustive scientific survey by trained archaeologists
who should correlate the actual monuments with the detail furnished in the texts
of the Samarāṅgaṇa Sūtradhāra. The civil and religious architecture envisaged
in the present text was no figment of imagination but rooted in the solid facts
of the state policy pursued by King Bhoja for bestowing on his people as many
different kinds of architectural monuments as possible, both in the civil and
religious fields. It appears that his soul had some point of affinity with the
traditional architect of ancient times namely Viśvakarmā and he felt specially
delighted when some civil building with all the perfection of art known in his
time was brought into existence.
I wish to endorse fully the remarks of the previous editor about the
beautiful style of Sanskrit found in the Samarāṅgaṇa Sūtradhāra which it is a
pleasure to go through and relish its classical flavour : “Generally the language
of extant Śilpa works is ungrammatical, but the present work is free from
grammatical solecisms and written most in a sweet and beautiful style. The
work will prove to be of immense benefit to students of Indian architecture as
well as to those who wish to follow it in practice”.
Chapter 31 entitled ‘Yantra Vidhāna’ deals with a number of mechanical
contrivances, some of which at least seem to have been a fact of life, others
perhaps imaginary like the flying plane. This topic is unique to the Samarāṅgaṇa
Sūtradhāra and nothing similar to this is found in any other Śilpa text.
Dr. V. Raghavan has written a special exposition of its contents to which we
shall refer in our commentary on this work to be published as volume two.
I feel grateful to Dr. B. J. Sandesara for entrusting to me the editorship
of this second revised edition of the Samarāṅgaṇa Sūtradhāra which had long
become out of print. I now hope that this new edition together with its

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commentary in a subsequent volume will be found useful by students of Indian
art and architecture. For the sake of convenience the two separate volumes of
the first edition have now been brought together with continuous pagination
which will facilitate consultation and reference to the text. It may also be observ-
ed that after the publication of the Samarāṅgaṇa Sūtradhāra in its first edition of
1924-25 several new important texts of Indian Śilpa Sāstra have come to light
amongst which the Aparājita Pṛcchā (G. O. S. Vol. 115) is the most important.
Although there are many elements common to these two big Śilpa works, the
Samarāṅagaṇa Sūtradhāra represents the architectural facts of the Malava school
and the Aparājita Pṛcchā those of the Saurashtra school of Western India, of
which the two respective patrons were King Bhoja and Siddhārāja Jaisingh. An
exhaustive comparison of their contents and topics and a comparative study of
terminologies would be found quite revealing of the growth of Indian architec-
tural tradition in two contiguous regions and during about the same period, the
Aparājita Pṛcchā being of course a later compilation than the Samarāṅgaṇa
Sūtradhāra and more diffused in its contents and style.
V. S. AGRAWALA
2 December, 1965

SYNOPSIS OF CONTENTS
The detailed contents of the Samarāṅgaṇa Sūtradhāra are shown in the
Sanskrit analysis prepared by the previous editor, T. Gaṇapati Śāstrī. Here is
a small synopsis of contents showing the principal subjects in English. Now I
will speak chapter-wise.
Ch. 1, entitled Mahāsamāgamana is introductory, stating that this Vāstu-
śāstra follows the tradition of Viśvakarmā, who was commanded by Brahmā to
place the various settlements and buildings, make the earth free from fear and
worthy of habitation.
Ch. 2, a dialogue between Viśvakarmā and his four sons, Jaya, Vijaya,
Siddhārtha and Aparājita, who were commissioned by the father to build all
kinds of Vāstu monuments in the four direction.
Ch. 3, Praśna relates to questions of Jaya about the extent, nature and
geography of the earth and heavenly constellations.
Ch. 4, Mahadādisarga deals with the creation of Mahat (the Universal),
Ahaṁkāra (the Individed Ego) and the five Tanmātras by Brahmā, who was
born on the lotus, springing from the navel of Viṣṇu.
Ch. 5, Bhuvanakośa deals with the length, breadth and circumference of
the earth as well as of the seven continents and oceans.
Ch. 6, Sahadevādhikāra depicts the age when gods and men lived together
in a state of nature and obtained all their wants from the Kalpa-vṛkṣa or Wish-
fulfilling Tree.
Ch. 7, Varṇāśramavibhāga deals with the four classes of society and the
four stages of life.
Ch. 8, Bhūmiparīkṣā deals with the examination of the earth and the
varieties of its clay prior to building.
Ch. 9, Hastalakṣaṇa gives the measurement of a hasta or cubit, which was
equal to twenty four aṅgulas or eighteen inches.
Ch. 10, Puraniveśa deals with town planning of three sizes, big, intermediate
and small, each having its contingent of moat, city wall, gateways, towers, roads
and buildings.
Ch. 11, Vāstutrayavibhāga,, deals with the three kinds of the site plan,
divided into sixty four, eighty-one and hundred padas or squares like those on the
graph, each serving as the station of a deity.

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Ch. 12, Nāḍyādisirādivikalpa describes the artery and veins of the Vāstup-
uruṣa.
Ch. 13, Marmavedha describes the marma or vulnerable organs of the
Vāstupuruṣa.
Ch. 14, Puruṣāṅgadevatānighaṇṭvādiniṛṇaya describes the planning of the
various limbs of the Vāstupuruṣa in the different squares of the site plan.
Ch. 15, Rājaniveśa describes the planning of the royal palace in the heart
of the capital ( Puramadhya ).
Ch. 16, Vanapraveśa describes the fetching of timber from the forest as the
principal building material including selection of trees and their falling.
Ch. 17 Indradhvajanirūpaṇa describes the ceremonial creation of Indra-
dhvaja or Indra's banner in the form of a mighty tree to which worship was
offered by the king and the people.
Ch. 18, Nagarādisaṁjñā describes the various kinds of towns and their
synonyms.
Ch. 19, Catuḥśālavidhāna describes the building of the Catuḥśāla an open
quadrangle with rooms on all four sides; similarly of dviśāla and triśāla,
pañcaśāla Ṣaṭśāla with numerous varieties of each.
Ch. 20, Nimnoccādiphala describes the fruit of the depressions and
eminences of the site.
Ch. 21, Dvāsaptatitriśālalakṣṇam describes seventy two kinds of triśāla
buildings.
Ch. 22, Dviśālagṛhalakṣṇam describes the dviśāla houses.
Ch. 23, Ekaśālalakṣaṇaphalādi describes the variety of ekśāla houses.
Ch. 24, Dvārapīṭhabhittimānādikam gives the measurements of door and
walls.
Ch. 25, Samastagṛhāṇām Saṁkhyākathanam gives the number of all kinds
of houses like pañcaśāla, triśāla, catuḥśāla, ekaśāla.
Ch. 26, Āyādinirṇaya describes the determining of Āya or auspicious
moments and astrological calculations for building houses.
Ch. 27, Sabhāṣṭakam deals with the eight kinds of Sabhā or the halls of
public audience built for the king together with their Alinda or porch and
Prāgrīva or portico.
Ch. 28, Gṛha-drvaya-pramāṇa gives the measurement of doors including
the threshold lintel and jambs with their several divisions, pillars with their
decorations and the several elements of the eaves.

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Ch. 29, Śayanāsanalakṣaṇa describes the making of bed steads, seats,
chairs etc. which should be beautified with gold, silver and ivory or bell metal.
Ch. 30, Rājagṛha describes the buildings of king's house.
Ch. 31, Yantravidhāna deals with the various kinds mechanical con-
trivances.
Ch. 32, Gajaśālā describes the stables for elephants.
Ch. 33, Aśvaśālā deals with the stables for horses.
Ch. 34, Aprayojya-projya gives a list of what should be shown and what
should not be shown in private and public buildings of all kinds, giving a list of
hundred of inauspicious and auspicious figurines and symbols.
Ch. 35, Śilānyāsavidhi describes the laying of the foundation stone.
Ch. 36, Balidāna-vidhi describes the offering of Bali-worship to the
different deities.
Ch. 37, Kīlaka-sūtrapāta describes the lay-out of a house in its different
parts with the help of a measuring string tied to a peg and then inserting different
pegs in the ground to indicate the measured portions.
Ch. 38, Vāstusaṁsthāna-mātṛkā describes the allocation of the different
portions of the site plan of the town for the residence of the various officials,
professionals and castes.
Ch. 39, Dvāra-guṇa-doṣa describes the good points and faults of the door-
ways.
Ch. 40, Pīṭhamāna describes the measurements of the Pīṭhas or the plat-
forms or seats for the different gods and the kings and men by which the size of
the building was proportionately determined.
Ch. 41, Cayavidhi describes the buildings of walls by means of a regular
brick-laying.
Ch. 42, Śāntikarma-vidhi relates to the performance of Śānti by the chief
architect.
Ch. 43, Dvārabhaṅga-phala describes the evils flowing from the falling
of the doorways.
Ch. 44, Sthapatilakṣaṇa describes the qualities of an architect.
Ch. 45, Aṣṭāṅgalakṣaṇa describes the eight limbs of town planning and
the architecture of a city.
Ch. 46, Toraṇabhaṅgādiśānti describes the śāntikarma in case there is a
collapse of the city gate.

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Ch. 47. Vedilakṣaṇa describes the measurements of different kinds of
Vedis or religious platforms.
Ch. 48, Gṛha-doṣa-nirūpaṇa describes the faults in the making of a house.
Ch. 49, Rucakādiprāsādalakṣaṇam describes the building of temples and
palaces beginning with a Rucaka for gods and royalty.
Ch. 50. Prāsādaśubhāśubhalakṣṇa describes the auspicious and inauspi-
cious features of the Prāsāda that is temple or palace.
Ch. 51. Āyatananiveśa deseribes the siting and orientation, a contingent of
other buildings in relation to the royal palace e.g. the quarters of the ministers,
generals or chiefs of the army, Chamberlain, priest, king's mother, king's sister,
maternal uncle, prince, etc.
Ch. 52. Prāsādajātir gives the details of Vairāja Prāsāda and its eight kinds
of Śikharas.
Ch 53. Jaghanyavāstudvāra gives the measurements of the entrance of a
small prāsāda, including the various divisions (śākhās) of its jambs, also including
the height of the elevation of the intermediate and best prāsādas.
Ch. 54. Prāsādadvāramānādi describes the measurement of the entrance
of a prāsāda including those of the threshold, jambs with their divisions, lintel,
the jamb portion with figures, seat, entablature, exterior niches for images, decora-
tive motifs of the doorway, kapotālī moulding, continunig round the cornice
decoration lotus leaf, girdle, jaṅghā etc.
Ch. 55. Mervādiṣoḍaśaprāsādādi-description of the sixteen Meru and other
Prāsādas together with their Jagatī entrance doorways.
Ch. 56. Rucakādicatuḥṣaṣṭiprāsādaka describes the sixtyfour kinds of
Rucaka and other prāsādas, including twentyfive Lalita, nine Miśraka, twentyfive
kinds of Sāndhāra prāsādas.
Ch. 57 Mervādivimiśikā describes the forty kinds of Meru and other
Prāsādas including another 40 kinds of prāsādas named śrīdhara, ten kinds of
Miśraka Prāsādas beginning with Nandana etc.
Ch. 58. Prāsādastavana describes the worships in the temples of Śiva, Viṣṇu,
Brahmā, Sūrya, Caṇḍikā, Vināyaka, Lakṣmī and other gods.
Ch. 59 Vimānādichatuḥṣaṣṭiprāsādalakṣaṇa describes the Vimāna and other
sixtyfour kinds of prāsādas.
Ch. 60. Śrīkūṭādiṣaṭtriṁśatprāsādalakṣaṇa describes the śrīkūṭa and other
thirtysix kinds of prāsādas.
Ch. 61 Pīṭhapañcakalakṣaṇa describes the features of the five kinds of
Pīṭhas or seats.

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Ch. 62. Drāviḍaprāsādalakṣaṇa describes the of features the Drāviḍa
Prāsādas containing one to twelve storeys (bhūmis).
Ch. 63. Mervādiviṁśikānāgaraprāsāda describes the features of Meru and
twenty other kinds of Nāgara temples.
Ch. 64 Digbhadrādiprāsādalakṣaṇa describes the features of Digbhadra
and twelve other kinds of temples.
Ch. 65. Bhūmijaprāsādalakṣaṇa describes the features of the Bhūmija
temples.
Ch. 66, Maṇḍapalakṣaṇa describes two main kinds of the Maṇḍapas or
pavilions including Bhadra and other eight kinds of Maṇḍapas and other details
of the construction of pavilions.
Ch. 67, Saptaviṁśatimaṇḍapalakṣaṇa describes the characteristics of the
twentyseven kinds of pavilions (maṇḍapas) beginning with Miśraka etc.
Ch. 68, Jagatyaṅgasamudāyādhikāra describes the features or forms of the
various parts of Jagatī or bastions.
Ch. 69, Jagatilakṣaṇa describes the features of the thirtynine kinds of
Jagati with their details.
Ch. 70, Liṅgapīṭhapratimālakṣaṇa describes the measurement, materials etc.
of the liṅgas, seats (pīṭha) and images (Pratimā).
Ch. 71, Citroddeśa presents the description of paintings etc.
Ch. 72, Bhūmibandha describes the preparation of the background for
painting.
Ch. 73, Lepyakarmādika describes the technique of clay-modelling and
stucco work.
Ch. 74, Aṇḍakapramāṇa describes the two main kinds of (Aṇḍaka) turrets
and spires viz. Mukhāṇḍaka and Vṛttāṇḍaka, also including others, i.e.
Alasāṇḍaka, etc.
Ch. 75, Mānotpatti describes the measures (māna) and the measurements
of the divine images and the rules of the employment of paintings.
Ch. 76, Pratimālakṣaṇa describes the characteristic features for the
making of images, its material and various limbs with their measurements.
Ch. 77, Devādirūpapraharaṇasaṁyogalakṣaṇa describes the images of
Brahmā, Śiva, Kārttikeya, Balabhadra, Viṣṇu, Lokapālas, Lakṣmī etc.
Ch. 78, Doṣaguṇanirūpaṇa describes the defects and excellences of the
divine images.
Ch. 79, Ṛjvāgatādisthānalakṣaṇa describes various poses (sthāna) of the
images.

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Ch. 80, Vaiṣṇavādisthānakalakṣaṇa describes the poses and movements for
Vaiṣṇava images.
Ch. 81, Pañcapuruṣastrīlakṣaṇa describes the characteristics of five kinds
of puruṣas as Haṁsa, Śaśa, Rucaka, Bhadra and Mālavya.
Ch. 82. Rasadṛṣṭilakṣaṇa describes the eleven kinds of Rasas or sentiments
detailed in the books of painting.
Ch. 83. Patākādicatuḥṣaṣṭihastalakṣaṇa describes the Patākā and other
sixtyfour kinds of hand movements including Tripatākā, kartarimukha, śuka-
tuṇḍa etc.

विषयानुक्रमणी ।
१. महासमागमाध्यायः प्रथमः
विषयः पृष्ठम्
मङ्गलाचरणम् ... १
शुभानामुपादानस्य, अशुभानामनुपादानस्य चावश्यकता ... ,,
देशपुरादीनां श्रेयःसाधनत्वकथनम् ... ,,
शास्त्रारम्भसमर्थनम् ... ,,
ग्रन्थोपक़्रमोपक्षेपः ... ,,
पुरा ब्रह्मसन्निधौ पृथूपद्रुताया भूमेरभयप्रार्थनम् ... ,,
भूमिमनु प्रस्थितस्य पृथोस्तत्राविर्भावः ... २
आविर्भूतस्य तस्य ब्रह्माणं प्रति स्वोद्यमविज्ञापनम् ... ,,
श्रुतवृत्तान्तस्य ब्रह्मणः प्रतिवचनम् ... ,,
पृथ्वभिप्रेतस्य स्थानादिविविनिवेशनस्य विधानाय विश्वकर्माणं प्रति ब्रह्मणो नियोगः ... ,,
समाहितयोः पृथुभूम्योर्विसर्जनम् ... ३
भूम्या सह पृथौ, ब्रह्मणि च स्वं स्वं स्थानमुपाश्रिते विश्वकर्मणो
हिमाचलमभिगमनम् ... ,,
२. विश्वकर्मणः पुत्रसंवादाध्यायो द्वितीयः
अथ ब्रह्मनियोगानुष्ठानाय हिमालयं गतस्य विश्वकर्मणः स्वपुत्रस्मरणम् ... ,,
स्मरणमात्रोपनतानां तेषां जयादीनां चतुर्णां मानसानां पितुः पादाभिवन्दनम् ... ,,
तेभ्यो ब्रह्मनियोगनिवेदनं, स्वसाह्यार्थे तत्तत्स्थानादिविनिवेशनाय तेषां विश्वकर्मणा
नियोजनं च ... ४
३. प्रश्नाध्यायस्तृतीयः
अथ जयस्य शास्त्रप्रमेयभूतान् वास्वाश्रयानन्यांश्च विविधान् अर्थानधिकृत्य प्रश्नः ... ५
४. महदादिसर्गाध्यायश्चतुर्थः
जयेन जिज्ञासितानामर्थानां यथासम्भवमनुक्रमेण विश्वकर्मणोपदेशः ... १०
तत्र प्रथमं महाप्रलयावस्थावर्णनम् ... ,,
प्रलयावसाने ब्रह्मण आविर्भावः, सृष्ट्युपक्रमश्च ... ,,
महदहङ्कारादीनां सृष्टिः ... ,,
महदादिभ्यः पञ्चमहाभूतानां स्वस्वगुणयुक्तानामाविर्भावः ... ११
भौतिकसर्गे ब्रह्मणोऽशः सृष्टाः सुरासुरादयः ... ,,
कारणजलाद् भूम्युदधिमहीधरनिम्नगादीनामुत्पत्तिप्रकारः ... १२

२
विषयः पृष्ठम्
भूमेरधो रौरवादिनरकाणां सृष्टिः ... १२
जरायुजादीनां चतुर्णां भूतानां सृष्टिः ... ,,
तत्र जरायुजानां विभागः ... ,,
ग्राम्यारण्यभेदेन पुनर्द्विधा भिन्नानां तेषां विवरणम् ... ,,
अण्डजस्वेदजोद्भिजानां विभागादिकम् ... १३
५. भुवनकोशाध्यायः पञ्चमः
भूपरिमितिः ... १३
सप्तसु द्वीपेषु जम्बूद्वीपवर्णनम् ... १४
शाकद्वीपवर्णनम् ... १८
कुशक्रौञ्चशाल्मलिगोमेदपुष्करद्वीपानां वर्णनम् ... १९
लोकालोकाचलस्थितिपरिमाणादिकम् ... २०
सूर्यादीनां स्थितिर्गतिश्च ... ,,
६. सहदेवाधिकाराध्यायः षष्ठः
कृतयुगे मनुष्याणामुत्कृष्टा स्थितिः ... २२
कालान्तरे क्रमशतस्तस्या अपकर्षे हेतुः ... २३
च्युतप्रभावानां तेषां तादात्विकी वृत्तिः ... ,,
क्रमेण रागलोभादीनामुत्पत्त्या तेषां मिथुनीभावेनावस्थानम् ... २४
तात्कालिकी लोकस्थितिः ... ,,
हिमानिलादिवारणायर्थे तेषां गृहापेक्षा, गृहनिर्माणाय तैरुपात्तः प्रथमोपायश्च ... २५
७. वर्णाश्रमप्रविभागाध्यायः सप्तमः
अथैवं दुःखाभिभूतानां लोकानामनुग्रहायादिराज्यस्य पृथोरभिषेकः ... २५
पृथुं प्रति नराणां दुःखापनोदनप्रार्थनम् ... २६
पृथुना कृतो वर्णविभागस्तद्धर्माश्च ... ,,
आश्रमविभागस्तद्धर्माश्च ... ,,
शिष्यधर्माः स्त्रीधर्माश्च ... २७
सर्वेषां वृत्त्यर्थं खेटग्रामादिकल्पनम् ... ,,
८. भूपरीक्षाध्यायोऽष्टमः
भूमेः सामान्यतो जाङ्गलादिभेदेन त्रैविध्यं, तल्लक्षणं च ... २८
त्रिविधाया अपि भूमेः पुनर्वालिशस्वामिन्यादिभेदेन षोडशधा विभागस्तल्लक्षणं च ... ,,
जनपदादिनिवेशनोचिता भूमयः ... ३०
दुर्गनिवेशनोचिता भूमयः ... ३१
पुरनिवेशने प्रशस्ता भूमयः ... ,,

३
विषयः पृष्ठम्
सर्ववर्णोचिता भूमिः ... ३१
तत्तद्वर्णोचिता भूमयः ... ३२
अपरा सर्वसाधारणी भूमिः ... ,,
पुरादिनिवेशनेषु वर्ज्यानां भुवां लक्षणम् ... ,,
कृत्यमानायां भुवि काष्ठादिदर्शने फलम् ... ३३
अन्यानि भूपरीक्षणानि ... ,,
९. हस्तलक्षणाध्यायो नवमः
हस्तलक्षणम् ... ३४
हस्तदण्डनिर्माणप्रकारः ... ३५
तद्देवतानां स्थानवेधे फलम् ... ३६
तासां स्थानविशेषेषु कराकारणे फलम् ... ,,
प्रासादादीनां त्रयाणां हस्तविशेषाणां लक्षणम् ... ३७
पुरादीनां माने तेषां विनियोगप्रकारः ... ,,
मात्राकलादिकानां सामान्यमानानां लक्षणम् ... ३८
एकादीनि सङ्ख्यास्थानानि ... ,,
निमेषादीनि कालमानानि ... ,,
१०. पुरनिवेशनाध्यायो दशमः
उत्तमाधममध्यमपुराणां मानम् ... ३९
सर्वपुराणां सामान्यविधिः ... ,,
उत्तमादिपुरेषु क्वचित् क्वचित् हीनभेदविशेषः ... ,,
तेषु महारथ्या विविधत्वम् ... ४०
वप्रविधानम् ... ,
परिखाविधानम् ... ४१
वप्रोर्ध्वभागगतप्राकारविधानम् ... ,,
कपिशीर्षकस्य पाण्डवादिपञ्च प्रकाराः ... ,,
अट्टालकादिविधानम् ... ,,
चरिकाविधिः ... ४२
पुरद्वारप्रमाणादिकम् ... ,,
प्रतोत्यादिकल्पनम् ... ,,
जलभ्रमविधानम् ... ४३
छिन्नकर्णादीनि गर्हितानि पुराणि, तद्विधानफलं च ... ,,
पुरनिवेशदिषु शान्तिकादिविधेरावश्यकता, तद्विधौ नियोज्याः स्थपत्यादयश्च ... ४५
खेटग्रामादीनां प्रमाणादिकम् ... ,,

४
विषयः पृष्ठम्
उत्तमादिषु राष्ट्रेषु ग्रामसंख्या ... ४६
पुरेषु सुवर्णकारादीनां निवेशनस्थानम् ... ,,
प्रपादीनां निवेशनस्थानम् ... ४७
बलाध्यक्षादीनां निवेशनस्थानम् ... ,,
लक्ष्मौवैश्रवणयोर्निवेशनस्थानादिकम् ... ,,
नगररक्षकदेवतानां वाह्याभ्यन्तरभूमिषु स्थापनप्रकारादिकम् ... ४८
११. वास्तुत्रयविभागाध्याय एकादशः
एकाशीतिपदवास्तौ देवतानां निवेशः पदभोगश्च ... ५०
शतपदवास्तौ तासां पदभोगः ... ५२
चतुष्षष्टिपदवास्तौ तासां पदभोगः ... ५३
सिरानयनप्रकारः ... ,,
१२. नाड्यादिसिरादिविकल्पाध्यायो द्वादशः
षोडशपदवास्तौ देवतानां पदभोगः ... ५४
सहस्रपदवास्तौ तासां पदभोगः ... ५५
चतुष्षष्टिपदवृत्तवास्तुविधानम् ... ,,
शतपदवृत्तवास्तुविधानम् ... ,,
त्र्यश्रादिवास्तुषु वृत्तवास्तुगतपदविभागातिदेशः ... ५६
वास्तुपुरुषाकृतौ मुखाद्यवयवकल्पनवचनम् ... ,,
वास्तुशरीरगतानां नाडीवंशादीनां परिगणनम् ... ,,
तत्र नाडीस्वरूपप्रदर्शनं, तत्प्रमाणं च ... ,,
वंशानुवंशमहावंशानां मर्मोपसमर्मणोः सन्ध्यनुसन्ध्योश्च स्वरूपप्रदर्शनं प्रमाणं च ... ,,
तत्तद्गृहद्रव्यैर्ग्रहादंशादीनां पीडने फलम् ... ५७
१३. मर्मवेधाध्यायस्त्रयोदशः
नगरादिषु मध्ये एकाशीतिपदेन शतपदेन च विभजनीयं वास्तु ... ५७
चतुष्षष्टिपदेन विभजनीयं वास्तु ... ५८
एकाशीतिपदादिषु वास्तुषु मर्मादीनां स्थानानि ... ,,
द्वारमित्यादिभिर्मर्मवेधे फलम् ... ,,
द्वारमध्यादिषु द्रव्यान्तरैर्विद्धेषु, तेष्वनुवंशादिनिहितेषु च फलम् ... ५९
वेधेऽपि केषाञ्चित् क्वचिद् दोषाभावकथनम् ... ,,
१४. पुरुषाङ्गदेवतानिविष्टादिनिर्णयाध्यायश्चतुर्दशः
पुमाकृतेर्वास्तोरेङ्गदेवताविभागः ... ५९
वास्तुपुरुषस्य शिरःस्थानम् ... ६०

५
विषयः पृष्ठम्
शतपदषोडशपदवास्त्वोः प्रकृतिः ... ६०
वास्तुदेवानां निघण्टुः ... ६१
वास्त्ववयवविहिता वर्णाः ... ६२
१५. राजनिवेशाध्यायः पञ्चदशः
पुरे राजवेश्मनिवेशनस्थानम् ... ६२
दुर्गेषु तन्निवेशनस्थानम् ... ६३
उत्तमादीनां राजवेश्मनां प्रमाणम् ... ”
तेषां ज्येष्ठादिषु पुरेषु विनियोगः ... ”
राजवेश्मसन्निवेशसम्बद्धा विशेषाः ... ”
तत्र द्वारादिनिवेशनस्थानम् ... ”
नृपवासप्रासादनिवेशनस्थानम् ... ६४
नृपवसतियोग्याः प्रासादविशेषाः ... ”
धर्माधिकरणकोष्ठागारमहानसादीनां स्थानानि ... ”
रथादीनां स्थानानि ... ”
अन्तःपुरक्रीडागृहकुमारीभवनादीनां स्थानानि ... ”
अशोकवनिकास्थानम् ... ६५
स्नानगृहधारागृहलतागृहदारुशैलवापीपुष्पवीथ्यादीनां स्थानानि ... ”
आयुधागारभाण्डागारयोः स्थानानि ... ”
उलूखलशिलायन्त्रदारुकर्मान्तभवनादीनां स्थानानि ... ”
पुरोधसः, अभिषेचनस्य, दान्त्याद्यवस्थानिक्रमेण, छत्रचामरयोश्च स्थानानि ... ”
मन्त्रगृहस्थानम् ... ”
अक्षशालास्थानम् ... ”
राजकुमाराणां राजमातुश्च गृहस्थानम् ... ६६
कुमारविद्याशिक्षाशालानां स्थानम् ... ”
शिविकाश्वाद्यवस्थानस्थानानि ... ”
दृप्तद्विपानां विषाणिनां च स्थानानि ... ”
सलिलाशयानां स्थानम् ... ”
राजबन्धूनां पितृव्यमातुलादीनां स्थानम् ... ”
सामन्तानां गृहस्थानम् ... ”
देवकुलस्थानम् ... ”
ज्योतिर्विदां सेनापतेश्च गृहस्थानम् ... ”
शक्रकर्मान्तस्थानम् ... ”
ब्रह्मस्थानविनियोगः ... ”
विषाणिनां स्थानान्तरप्रदर्शनादि ... ”

६
विषयः पृष्ठम्
१६. वनप्रवेशाध्यायः षोडशः
द्रव्यानयनार्थं वनप्रस्थानाय विहितो नक्षत्राद्यादिः ... ६७
द्रव्यच्छेदनभेदनवनप्रवेशनकार्यारम्भाणां राशयः ... "
वृक्षपरीक्षणम् ... "
श्मशानाद्युद्भूतानां, बालानां वृद्धानां च वृक्षाणां वर्जनीयत्वकथनम् ... "
सारद्रुमाणां वयः ... "
तत्र गृहकर्मार्हं वृक्षवयः ... "
अतदर्हे वयसि स्थितानां वृक्षाणां लक्षणम् ... "
तदर्हे वयसि स्थितेष्वपि तेषु वक्रवृक्षादीनां त्यजनीयत्वकथनम् ... "
कुटुम्बिनामर्हा वृक्षाः ... ६८
गृहकर्मण्युपादेयानामन्येषामपि वृक्षाणां सामान्यलक्षणम् ... "
गृहार्थे गर्हिता वृक्षाः ... "
वृक्षप्रमाणविज्ञानम् ... "
वृक्षनक्षत्रविज्ञानम् ... "
वृक्षच्छेदनशान्तिप्रयोजकं स्वस्तिवाचनबलिदानादि ... ६९
वृक्षच्छेदनविधिः ... "
छिद्यमानानां वृक्षाणां स्रवादिनापि तद्धेयोपादेयतानिर्णयप्रकारः ... "
वृक्षपातादिना तज्ज्ञानम् ... "
छेदारम्भे खरोष्ट्रादीनां दर्शने फलम् ... ७०
छेदादुरुधिरस्रवत्क्षिप्तेषु च वृक्षेषु फलम् ... "
छित्त्वा पातितानां वृक्षाणां भागषट्छेदने विधिः ... "
गोश्वादिगर्मितानां तेषां लक्षणम् ... "
मण्डलगतेन तत्तद्वर्णविशेषेण गर्भस्थिततज्जन्त्वादीनां विज्ञानम् ... "
जन्त्वादिगर्मितानां वृक्षाणामुपयोजने फलम् ... "
वनान्तराच्छित्त्वानीतानां तेषां परिग्रहप्रकारः ... ७१
१७. इन्द्रध्वजनिरूपणाध्यायः सप्तदशः
इन्द्रध्वजोत्थापनसम्बद्धा कथा ... ७१
इन्द्रध्वजस्यावश्यकता, तद्विधानप्रकारोपक्रमश्च ... ७२
इन्द्रध्वजस्योत्तमाधममध्यमानि मानानि ... ७३
तस्य मूलाग्रभागयोर्मानम् ... "
कुम्भस्य मानम् ... "
भ्रमपीठमूलपादादीनां मानम् ... "
इन्द्रगृहनिर्माणविधिः ... "

विषयः पृष्ठम्
मत्स्य, शक्रमातुः, कुमारीणां, कन्यकोष्ठ्यादीनां च मानम् ... ७३
ल्कटकस्य सूच्याश्च मानादिकम् ... ७४
मृगालीकल्पनादिकम् ... ,,
ध्वजयष्ट्यन्त्राणां चोच्छ्रेपणसमयः ... ,,
तेषां जलाधिवासनप्रकारः ... ,,
स्वस्थाने तेषां निवेशनक्रमः ... ७५
इन्द्रप्रतिमाप्रतिष्ठा ... ,,
ध्वजप्रतिष्ठापनविधिः ... ७६
कुटन्यादियोजनम् ... ७८
ध्वजपट्टविधानम् ... ,,
शान्तिहोमविधिः ... ८०
यथावद्धुतस्याग्नेर्वर्णादिना शुभाशुभपरीक्षणम् ... ,,
होमद्रव्याणामाज्यसमिच्छुकुशपुष्पपात्रादीनां दृष्टत्वे फलम् ... ८१
बलिदानप्रकारः ... ,,
शीलवृत्तविद्यावयोरत्नभूतानां ब्राह्मणानां सन्तर्पणम् ... ,,
तैः स्वस्तिवाचनम् ... ,,
प्रतिष्ठाङ्गभूतोऽभिषेकः ... ८२
ध्वजदण्डसमुच्छ्रयविधिः ... ,,
सपरिकरे ध्वजदण्डे यथावदविलम्बितं स्वस्थानस्थिते फलम् ... ८३
समुच्छ्रितस्य शक्रध्वजस्य प्राच्यादिदिगाश्रयणे फलम् ... ,,
भ्रमं भित्त्वा भूमौ प्रतिष्ठमाने तस्मिन् फलम् ... ८४
तस्य स्थानान्तरभ्रंशादिषु फलम् ... ,,
रज्जुच्छेदे फलम् ... ,,
इन्द्रध्वजस्य भङ्गे फलम् ... ,,
छत्रादीनामिन्द्रध्वजस्य वा पाते फलम् ... ,,
माल्यविभूषणादीनां च्युतौ फलम् ... ,,
शक्रवेश्मादीनां विशरणे फलम् ... ८५
मृगालील्कटादीनां भङ्गे फलम् ... ,,
ध्वजे निर्घातादीनां पाते फलम् ... ,,
शक्रोपरि मक्षिकाभिर्मधुच्छत्रकरणे फलम् ... ,,
शक्रपार्श्वे मक्षिकादीनां अरणे फलं ... ,,
शक्रमूर्धनि श्येनादीनां सङ्गे फलम् ... ,,
केतौ वायसादीनां सङ्गे फलम् ... ,,
चित्रपटे सुराद्याकाराणां यथानिवेशने फलम् ... ,,

८
विषयः पृष्ठम्
एतेषां कुट्टनपातच्छेदशेषादिषु फलम् ... ८६
चित्रपटस्य पातादिषु फलम् ... ,,
ध्वजोच्छ्रयविधौ नरादीनां चेष्टादिभिर्निमित्तावलोकनम् ... ,,
तदानीं वृष्टिपाते फलम् ... ८७
उत्सवान्तिमदिवसकृत्यम् ... ,,
इन्द्रस्थानभूतस्य क्षेत्रस्य मानादिकम् ... ,,
क्षेत्रप्रमाणेन ध्वजायामादिकल्पनम् ... ,,
प्रतिवत्सरं केतुप्रमाणस्य वर्धनम् ... ८८
यन्त्रपादकुमारिकादीनां निवेशनस्थानानि ... ,,
१८. नगरादिसंज्ञाध्यायोऽष्टादशः
नगरपर्यायाः ... ८८
नृपाध्युषितस्य नगरस्य संज्ञा ... ८९
शाखानगरखर्वटनिगमग्रामसंज्ञितानां स्वरूपकथनम् ... ,,
पत्तनपुटभेदनपल्लीजनपदराष्ट्रशब्दितानां तत्कथनम् ... ,,
गृहपर्यायाः ... ,,
हर्म्यस्य स्वरूपनिर्देशः ... ,,
सोपानस्य स्वरूपनिर्देशः ... ,,
अधिरोहणस्य स्वरूपनिर्देशः ... ,,
निःश्रेण्याः स्वरूपनिर्देशः ... ,,
काष्ठविटङ्कस्य स्वरूपनिर्देशः ... ,,
सौधस्य स्वरूपनिर्देशः ... ,,
अभिगुप्याख्यस्य स्वरूपनिर्देशः ... ,,
वातायनस्य स्वरूपनिर्देशः ... ९०
अवलोकनस्य स्वरूपनिर्देशः ... ,,
उलोकस्य स्वरूपनिर्देशः ... ,,
हर्म्यप्राकारस्य स्वरूपनिर्देशः ... ,,
वितर्दिकायाः स्वरूपनिर्देशः ... ,,
ईहामृगस्य स्वरूपनिर्देशः ... ,,
निर्यूहस्य स्वरूपनिर्देशः ... ,,
वलीकस्य स्वरूपनिर्देशः ... ,,
चतुश्शालत्रिशालद्विशालैकशालानां स्वरूपनिर्देशः ... ,,
शालायाः स्वरूपनिर्देशः ... ,,
वापीसंज्ञस्य स्वरूपनिर्देशः ... ,,
गर्भगृहस्य स्वरूपनिर्देशः ... ,,

विषयः पृष्ठम्
उपस्थानाभिधस्य स्वरूपनिर्देशः ... ९०
प्रासादस्य स्वरूपनिर्देशः ... ,,
वलभ्याः स्वरूपनिर्देशः ... ,,
अलिन्दस्य स्वरूपनिर्देशः ... ,,
वलभायाः स्वरूपनिर्देशः ... ,,
अपवरकस्य स्वरूपनिर्देशः ... ,,
शुद्धान्तस्य स्वरूपनिर्देशः ... ,,
प्रतोत्याः स्वरूपनिर्देशः ... ,,
कक्षायाः स्वरूपनिर्देशः ... ,,
कोष्ठकस्य स्वरूपनिर्देशः ... ९१
भित्तेः स्वरूपनिर्देशः ... ,,
महानसस्य स्वरूपनिर्देशः ... ,,
द्वारकोष्ठकस्य स्वरूपनिर्देशः ... ,,
प्रवेशनस्य स्वरूपनिर्देशः ... ,,
उदकभ्रमस्य स्वरूपनिर्देशः ... ,,
भवनाजिरावनाजिराश्रम्राजिराणां स्वरूपनिर्देशः ... ,,
देहल्याः स्वरूपनिर्देशः ... ,,
द्वारपक्षस्य स्वरूपनिर्देशः ... ,,
अर्गलार्गलसूच्योः स्वरूपनिर्देशः ... ,,
परिघफलिहगवाक्षाणां स्वरूपनिर्देशः ... ,,
तोरणस्य तद्विशेषाणां च स्वरूपनिर्देशः ... ,,
सिंहकर्णस्य स्वरूपनिर्देशः ... ९२
संयमनाख्यस्य स्वरूपनिर्देशः ... ,,
मरालपालीप्रणालीप्रद्वाराणां स्वरूपनिर्देशः ... ,,
प्राकारस्य स्वरूपनिर्देशः ... ,,
आस्थलकाख्यस्य स्वरूपनिर्देशः ... ,,
अमेध्यभूमेः स्वरूपनिर्देशः ... ,,
अवस्करस्य स्वरूपनिर्देशः ... ,,
परिसरस्य स्वरूपनिर्देशः ... ,,
अट्टाभिधस्य स्वरूपनिर्देशः ... ,,
अट्टालकस्य स्वरूपनिर्देशः ... ,,
अट्टाल्याः स्वरूपनिर्देशः ... ,,
अट्टालिकायाः स्वरूपनिर्देशः ... ,,
काष्ठप्रणाल्याः स्वरूपनिर्देशः ... ,,