वास्तु मण्डन (मण्डन सूत्रधार - गृह, राजप्रासाद, दुर्ग एवं नगर-वास्तु सटीक)

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.

INTRODUCTION xvii
Consideration of omen was considered to be another important aspect for
construction activities. These are known as śakunalakṣaṇam and with their help one
could determine the auspiciousness of the place.
Direction is another important part for designing any type of building plan.
For this reason, the author took the help of the pole star and the gnomon to
determine proper direction. On a sunny day with the help of a gnomon one used
to find out east-west direction, and at night with the help of pole star one used to
find north-south direction. The author mentioned of specific timing for the purpose
of deciding on the direction. When the sun is in tulā or meṣa and in between citrā
and svāti nakṣatra then it is the right time to determine the direction.
To find out śalya in a land, the author took help of astronomical chart. A
chart having 28 chambers with 28 nakṣatras, is divided between solar and lunar
system. Knowing the position of the sun, moon and the stars, one could determine
the presence of śalya in a land and rectify.
The second chapter deals with a specific formula known as āyādi ṣaḍvarga. The
Āyādi is a cluster of six elements – āya, vyaya, rṁśa, ṛkṣa, yoni, vāra-tithi.
The conformity to the perimeter of structure has been nicely covered in this
formula. There are six basic components of a building comprising adhisthāna (base),
pada or stambha (column), prastara (entablature), karṇa (ear, wings) śikhara (roof) and
stupa (dome).
The āya represents the group of eight elements beginning with dhvaja, dhuma,
siṁha, śva, vṛṣa, khara, kuñjara and dhāṁkṣa. According to Stella Kramrisch these are
eight Vāstupuruṣas placed in the eight direction of a plot of the land. However this
āya formula is slightly different from that of Vāstumaṇḍana.
Vyaya represents the group of three parts, i.e., yakṣa, piśāca and rākṣasa. Yakṣa is
less than āya, Piśāca is equal to āya and rākṣasa is more than āya. Again vyaya is
divided into eight varieties. These are śānta, paura, pradyota, śrīnanda, Manohara, śrīvatsa,
vibhava, cintātmaka.
Aṁśa are also of three types – Indra, Yama and Nṛpa.
Ṛkṣa, (tārā) are distributed in three groups of nine elements each–suragaṇa,
rākṣasagaṇa and manuṣyagaṇa. These twenty-seven tārās are known commonly.
Whether the orientation of a building is correct or not and whether the
measurements as laid down with regard to the different structures are correct and
auspicious conforming to the orientation, are all tested by this formula.
Yoni constitutes the length and breadth of a structure, particularly that of a
house. A proper and auspicious Yoni is therefore required to be chosen for the
structure.

xviii Vāstumaṇḍana
Stella Kramrisch in her book The Hindu Temple writes, ‘The yoni formula is but
one of the six formulae, of the āyādi-ṣaḍvarga, in which the remainder determines
the gain or loss which will accrue to the builder, and the nakṣatra (Ṛkṣa), the lunar
day (tithi ) and the solar day (vāra), on which it is good to build that particular
building. These formulae belong to astrology in general. These are applied to the
building as if it is a living entity whose destiny is to be determined. However it is
only the cumulative bad effect that makes any perimeter inauspicious even if the
Yoni formula is satisfied. (V.K.R. Menon, “Six Canons Of Indian Architecture”,
Bulletin of the Sri Rama Varma Research Institute, 1934, pp. 66-67 ). The formulae
are not canons. The yoni and the other five formulae are considered when no other
definite injunction is given where the temple of a specified divinity has to face, etc
(part VII). The power of the specific divinity and its appropriate orientation outweigh
the āyadi ṣaḍvarga.’ (Footnote, p. 34 ).
Though this is the opinion of Stella Kramrisch, yet almost all Vāstu texts discuss
āyādi ṣaḍvarga in details. The author of Vāstumaṇḍana was not only an ardent
proponent of this formula but also added on some more to it. These are candra,
rāśimaitrī, grahamaitrī, pañcatattva, vargaprīti, vimśopā, etc.
After astronomy and astrology the author expressed concern with the
surrounding environment of a house also. Plants and trees have significant relation
with Vāstu. Almost all Vāstu texts refer to different types of trees and their respective
utility in a habitation. The author of Vāstumaṇḍana is no exception. He carefully
chose the plants telling where to plant those. In the first chapter, he has enumerated
forty-five types of trees and plants, which were to be planted or not to be planted
near one's house, their suitability or unsuitability for a new construction. In addition
to this, the author suggested the determination of the shading time of a tree and
creeper recommending astute discards of those, which provide shades more than
three hours.
The fourth chapter recommends wood as the material for construction. At
first one must appraise the type and nature of the wood, circumvent specific places
from where one not to collect wood, selection of the places from where one should
derive woods or so. Condition of the wood must also be taken care of. Author
mentioned fifty-eight types of trees which are regarded auspicious for human
dwelling and forty types of trees which are most apposite – suitable for temples
but malicious for human dwellings.
Not only the types of trees are important, but their joinery is also equally
important too. Here in this book the author categorically mentioned the principles
of joinery, which established his peerless expertise in the craft of wooden structure.
Two similar parts of a tree should neither be joined together, nor the new and old
parts of a tree be joined. Pillars and Brahmasthānas will be free from any joint. Again
in the eighth chapter, while giving description of types of beds, he mentioned
twenty types of trees, which are best, suited for beds, seats and vehicles.

INTRODUCTION xix
CHAPTERS ON FORT AND PALACE ARCHITECTURE
Fort occupies a major and very important place in this text. In the middle of
15ᵗʰ century, warfare was regular phenomenon in the western region and a strong
secured fort with a palace was inevitable. Rāṇā Kumbhā (1433-68) built numerous
forts in his domain the prime one of which was the Kumbhalgarh. From two
references, we infer that Maṇḍana Sūtradhāra was the chief architect of Kumbhalgarh.
These are: –
a) Saṅgītarāja by Rāṇā Kumbhā, which is edited by Premlata Sharma. In the
introduction she writes ‘Kumbhalgarh the famous fort of which has the
distinction that in all the wars against the enemies of Mewar it remained
unconquered (except for once). Its architect was Sūtradhāra Maṇḍana. It is
a marvellous feat of military Engineering.’
b) In ‘Some famous Sculptures and Architects of Mewar (15ᵗʰ century A.D.),’
I.H.Q.1957, Vol. xxxiii Sri R.C. Agarwal writes, ‘that whereas contemporary
artists like Jaitā and Maṇḍana had attained perfection in the sphere of
carrying out stone sculptures and constructing monumental structures like
the Kirtistambha at Chittor and the fort at Kumbhalgarh.’
Maṇḍana Sūtradhāra in his book Vāstumaṇḍana gave detailed description of
fort and its inside, the palace and its elaborate planning. He described Kumbhalgarh
fort as built by him. In the beginning he advises that one must built a strong fort
even if he has to demolish the existing structure. Interestingly the fort Kumbhalgarh
was built on the location of another old fort. In the Encyclopaedia of India
(Rajasthan), pp. 107-8, it is written that Kumbhalgarh was built by Maharana
Kumbha in 1448 on a rock plateau and in a site of an earlier ancient fortress. The
rampart of the fort is very strong and can be compared with the Great Wall of
China. Inside the fort there is a palace, which is self-contained and complete in all
respects. The text provides detailed planning of the palace and fort. Original
blueprints of the two could be located and in that aspect this book has great
documentary importance. Four corners of the fort were specially prescribed for
the artisans, wine sellers, hunters etc but those corners were not recommended
suitable for others. Brahmins were allocated to reside in the East, Kṣatriyas in the
South and Vaiśyas in the North. Water reservoirs were all in the West. The Sun god
was placed in the North-East corner, Gaṇādhipa in the South-East, Sahasrākṣa in the
South-West, and Janārdana in the North-West. Gods were either facing the East or
the west. City inside the fort was complete being adorned with palace, garden,
ramparts, main entrance (huge) gates, water reservoirs, gardens, tower of fame, etc.
Next the book provides an insufficient description of machineries, which were
used to protect the fort. Though the description is not very lucid yet it makes the
readers apprised with the name of machineries that were developed in those days.

xx Vāstumaṇḍana
It is the only Vāstuśāstra so far, which deals with weapons, a few other books such as
Samarāṅgaṇasūtradhāra or Aparājitapṛchhā mentions merely the names only. Here
the author describes eighty-four machineries, out of which nine each are the air
and water machineries. There are six varieties of firearms and sixty varieties of war
machineries. In this book we get different descriptions of war and fire machineries.
Here he enumerates names and measurement of eight types of rods/shafts used in
the warfare. Next one is probably the description of a bow, which is not very legible.
This bow is named as Markaṭī, which was to be made very firm with the help of
leather strips and iron.
After this we find a description of Gophanā, which in succinct version is still
used to drive away birds in the paddy fields. It appears that this simple device was
used to throw stones at the enemy from far distance. In one word it seems to be
stone or dart thrower.
Subsequently we have noticed the illustration of another machinery known
as Markaṭi. Probably it was made of iron nets, looking like a cage or drum and was
used to carry stones and arrows. It has few rotating discs, which has made it highly
resilient and facilitated easy hassle free movements of that machine. This drum like
thing has two supporting rods, a few holes and in the center a place for light etc.
We find also the measurement of the cage and the discs. There will be two wings
for easy movement. Author gave elaborate description of this item and it seemed
that it was an inevitable device in the warfare. This machine is named as Dhinkulī or
Gauriyantra.
In the seventy-second chapter of Aparājitapṛchhā similar names could be found
out.
This is the uniqueness of this book that tried to describe the local war
machineries. We find fairly a vivid description of firearms, used in the warfare during
that period. Small cannons, which were easily moved and carried, were well known
to people. There is detailed description and measurement of a cannon, the silhouette
of which resembled a Dhatura flower. It was made of brass or bell metal with a
pointer to help aiming cardinally the target. The measurement of the weapon is
three to six times of a Dhatura flower. It may be noted that the size of a Dhatura
flower available in Rajasthan is rather large approximately of 8-10 inches in length.
Along with the cannons we find references of cannon balls and the ingredients
with which the balls were manufactured.
Eighth chapter of this book describes six types of king's palaces. These are
Śrīdhara, Śrīnivāsa, Lakṣmīvilāsa, Pṛthvījaya, Pratāpavardhana, and Kṣiṇaibhūṣaṇa
compared to Aparājitapṛchhā mentioning twenty types of king's palaces. While
describing these palaces the author mentions of six chhandas or characteristics. These
are Māḍa, Mauḍa, Śuddha, Śekhara, Tuṅgāra and Simhakarṇa. Previously he mentioned

INTRODUCTION xxi
of another chhandas for the aerial view of a construction. These are Meru, Khaṇḍameru,
Patākā, Sūci, Neṣṭa and Uddiṣṭta. Mostly palaces are of Māḍa type and they come
under Meru chhanda. Another peculiarity of these palaces is that most of the palaces
are either three and half or five and half or seven and half storied and the ground
plan of these palaces are either 8 x 8, 9 x 9 or 10 x 10 square as required.
Śrīdhara type of palace is five storied with sixteen pillars in the centre. The
projected part of the palace is two and half storied. While there are four pillars in
one part, there are four pillars each for all the four doors with lattice. Platforms
were fitted with glittering silver seats adorned with Mattavāraṇa (A.P. Ch. 87, Ś16-
17). Aparājitapṛcchā mentions of three chadyas adorned with platforms and bells,
which are the decoration of this palace.
The palace Pratāpavardhana has four doors in four directions. There the projected
part will be one third of the breadth of the palace and the front portico constitutes
another part. No other information on this type of palace are found in the book
whereas Aparājitapṛcchā describes the land to be twenty-five hands in measurement
with four pillars in the center, twelve more pillars on the alindas, totaling thirty-two
pillars in outside and inside. Māḍa type of construction is described to have two
stories and above going up to three and half stories.
The palace Lakṣmīvilāsa is found to be similar to Pratāpavardhana to certain
extent. Vāstumaṇḍana adds that out of ten pillars in the mukhabhadra, six will be
inside and four will be on the outside. Māḍa type of construction is done two
stories and above on bhadra and for a house it will be upto five and a half storey.
This type of palace is best suited for a king. Compared to this, Aparājitapṛcchā writes,
the Bhadra for Pratāpavardhana palace is divided into three parts breadth wise and
one of the part is regarded as mukhabhadra, which is adorned with ten pillars is
known as Lakṣmīvilāsa palace. Here the Māḍa is done above two storey can go unto
five and half storey.
For Śrīnivāvsa palace similar description was noticed in both the books. This
palace is having thirty-six pillars on twenty-five parts of the land. Wall will be equal
to one-tenth part of the construction in length and four doors are also erected.
Bhadra is divided into nine parts with three mukhabhadras in one part. This palace
will be three and half storied with hundred and four pillars. Māḍa type of
construction is done above three or five storeys.
Kṣīṇabhūṣaṇa type of palace is constructed on a square land measuring eight
by eight squares and the foundation is on the seventh segment. Partition wall will
be within half of the squares. There will be four doors and twenty-five small pillars.
bhadra is divided into three parts and three Pratibhadras will be raised on one part of
bhadra. The number of pillars in a bhadra may be four or five but total number of
pillars may vary from eighty to two hundred. Māḍa is constructed above three stories
in a bhadra and in a house it will be above sixth stories.

xxii Vāstumaṇḍana
Aparājitapṛchhā differs to certain extent on this type of palace. The wall is one-
eighth part of the construction and there will be four doors. Bhadra will have twenty-
five small pillars and thirty-six large pillars. There will be three pratibhadras in a bhadra
and six pillars in each pratibhadra. Altogether there will be seventy-two pillars and
sixty-four small pillars. Māḍa type of construction will be above three stories and
may go upto six stories.
The last one known as pṛithvījaya, is mentioned in Vāstumaṇḍana where the
land is divided into ten by ten squares and walls are erected proportionately. The
center of the palace is adorned with hundred pillars and the construction goes up
to seven and half stories. There will be fifty-two pillars in a three and half storey
construction. We find general measurement of the palaces also. The area of a palace
can start from twenty-five hands and can go upto hundred and eight hands. Palaces
are decorated with various ornamental materials.
Sūtradhāra Maṇḍana deals with this topic elaborately. From his description it
is clear that expertise on the architectural design and the construction were very
much available at that period. With the help of a chhanda named as prastara, an
architect could design varieties of houses. Prastara or permutation is regarded as an
important mathematical model by which a graphic representation of different
arrangement of a building could be done.
D. N. Shukla in his Vāstuśāstra writes--, 'Thus this (prastara) is all mathematical
gymnastic. Its practical value is only to avoid wrong orientation and misplacement
of any of the component parts in the building of śālā in order to provide the
maximum comfort and the fullest of space together with conformity to the mystic
ideas of the doctrine of orientation.' (p. 320)
Here Prastara means a combination of guru and laghu in accordance with certain
rules. In Vāstu, guru implies wall and laghu insinuate alinda. With various combinations
of guru and laghu one can design thousand varieties of houses.
Vivid illustration of different types of dwelling houses has been found in
different chapters of Vāstumaṇḍana. Sometimes it is a description of the abode of a
king or landlord, whereas sometimes it is for common man.
Chhanda is the seminal aspect of a building, which is applicable to an ordinary
house as well as to a king's palace. It is a rudimentary characteristic of Nāgarī style
of architecture and discussed elaborately in Aparājitapṛchhā as well as
Samarāṅgaṇasūtradhāra. Chhanda of Vāstu meant 'disposition of a structure,' says
Mr. Mankad in the introduction of Aparājitapṛchhā.
These rhythmic patterns are of six types, which again have sixteen varieties.
These patterns have been planned mainly for designing common people's residence.
These are tṛṇa, paṭṭa, vāji, khaṇḍa, parṇa or pūrṇa and pāṇḍu. These are the names of
the type of houses which indicate the material by which these houses are to be

INTRODUCTION xxiii
constructed. For example: - Tṛṇa type of houses have thatched roof, vāji is made of
stone, pāṇḍu is storied mansion and so on.
Here the author gives another pragmatic suggestion for six types of chhandas
starting with meru. These are meru, khaṇḍameru, sūci, patākā, uddiṣṭa and naṣṭa. Uddiṣṭa
and naṣṭa are not independent chhandas.
With the laghu and guru placement, a meru structure will look like a Meru
mountain. The central part rising considerably above the ground will have side
sloping step by step all around till it reaches the ground surface. It is mentioned
that in meru, khaṇḍameru and sūci the construction will start with guru that means
wall and at the end there will be laghu, i.e., alinda, and the lines will be drawn before
hand. In meru and khaṇḍameru the section will increase downwards.
In patākā or khaṇḍaprastāra, guru will follow laghu and at the end there will be
one laghu. Here the multitude of laghu numerals has been shown in the different
manner. Ground plan of a house is regarded as the quintessence of the structure.
Vāstumaṇḍana states that the ground plan can start from one square and can go up
to thousand squares. According to the shape of a land, ground plan may be of
thirty-two types. The best and commonly known ground plans are with sixty-four
square or eighty-one squares. These are known as chandita and paramaśāyika. There
is a Vāstupuruṣa in every site and a chart is drawn accordingly which is known as
'Vāstupuruṣamaṇḍala.' Here forty-five deities reside also on different parts of
Vāstupuruṣa. Again we find positions of gods in sixty-four, eighty-one and hundred
square plans.
Marmavāstu is another type of ground plan, which according to the author
should be kept in mind during any type of construction. Marma, the orthogonal is
very important in site plan with 'Vāstupuruṣamaṇḍala.' Marma indicates the particular
places, where there will be no structure. It not only states that a percentage of the
plot should remain unused but also insinuates the location of the open places in
the general plan. Moreover, Vāstumarma is co-extensive with the prāsāda and these
marmas affect the position of pillars in a construction.
[Ninety-third chapter of Agnipurāṇa describes twelve marmas in a Vāstu. This
orientation of structure is the practical application of the general principle of
Vāstupadavinyāsa].
With the given description in Vāstumaṇḍana one can easily draw a chart of
Marmavāstu and can get a legible and perspicacious picture where construction
should be done or not to be done.
In the fourth chapter he gave general height of houses. It can be of three
types. The half of the width is to be multiplied by four, three and two, and one will
get the prescribed height of a house. Calculation can be started from the floor of

xxiv Vāstumaṇḍana
the house. These three types of houses can again be divided into nine (three each)
by dint of permutation combination. Here we find illustration of multi-storied
houses meant for different class of people.
Minimum diameter of a house will be eight hands and it can go up to ten and
half hands similarly. For common people there will be one or two storied house
Eleventh storey is the highest number, which are designed for a king with top and
bottom floor construction.
Each upper floor will be one twelfth part less than the lower one.
Lime powder, limestone, gravel and brick powder were deployed for plastering.
About the shape, the author mentioned that the land could be square or
rectangular, hexagonal or octagonal, round or oval. Thus one could have wide
options for selecting a land.
The book also describes a type of house, known as śālā house. These types of
houses are mentioned in the Purāṇas as well as in some other Vāstu texts such as
Mānasāra, Mayamata, Aparājitapṛchhā, etc. This text discusses the śālā houses very
systematically catering to the need of everybody starting from common man to the
king. One to four śālā houses are meant for common people of four varṇas, and
five to ten śālā houses are meant for king or people of similar category. Here the
author quotes sometimes from Mayamata and Aparājitapṛchhā mentioning that the
width of a śālā house could start from four hands and can go upto twenty to
twenty-four hands. The length will be one and half times of the breadth for a king's
house, but may be more for a religious establishment.
Prescribed measurement and location of the corridor are also mentioned.
Here we find the use of guru and laghu for the design of different types of śālā
houses.
At first a religious establishment known as paṭhaśālā has been described. It is
adorned with latticed window, altar, porticos, specific type of gates, etc. This may
be a double storied building furnished with granary, treasury, kitchen, etc.
While constructing a house, the author places special emphasis upon the
foundation details, walls and pegs. Himself being an architect, he has attached
importance to each and every minute intricacy of a construction and judicious
placing of the components.
In the sixth and eighth chapters we notice elaborate discussion of houses
with different number of śālā. The śālā houses may be of ten varieties, but five to
ten śālā houses are of different types combining the result of one to four śālā
houses.
According to the various position of Prastarachhanda each śālā house has many
sub varieties. For example:- Ekaśālā houses primarily have only sixteen varieties each

INTRODUCTION xxv
of which have again sub varieties and so on. Likewise we get several thousand forms
of ekaśālā houses.
Dviśālā houses start with fifty varieties, each of these has two thousand forms
and again each of two thousand has eight forms and so on.
Triśālā and catuśśālā houses have several thousand forms.
Viśvakarmā writes ‘by this way the number of total varieties of houses is one
crore fifteen lakhs four thousand and eight.’
First four types of śālā houses are formed by means of prastara, i.e. the
arrangement of guru laghu saṁsthāna, but the remaining six types of śālā houses, i.e.
pañcaśālā to daśaśālā are from the combination of first four types of houses.
Through this method the author provides six combinations of Pancaśālā.

1. One catuśśālā house + one ekaśālā house.
2. One triśālā house + one dviśālā house.
3. One triśālā house + two ekaśālā house.
4. Two Dviśālā house +one ekaśālā house.
5. Three ekaśālā house + one dviśālā house.
6. Five ekaśālā houses.
   Likewise we found mentioning of nine combinations of śaṣṭaśālā, eleven
   combinations of saptaśālā, fifteen combinations of aṣṭaśālā, eighteen combinations
   of navaśālā and twenty-three combinations of daśaśālā. [These combinations are
   clearly explained by Sri Mankad in the introduction of Aparājitapṛcchā.]
   This book provided various names of ekaśālā houses. At first these are sixteen
   in number, each of these having more varieties.
   Next is the description of dviśālā houses. While describing these varieties, author
   tells us about another variety of śālā house, that is yugmaśālā or twin halled house.
   In a square land, nine chambers of equal size are to be erected. Leaving the central
   chamber, there will be four twin chambers on four sides. These are known as hastinī,
   mahiṣī, gāvī and chhāgalī, and serially they will face towards North, East, South and
   West. These are also known as dvihaṁsa, dvikokila, dvisārasa, and dvicakravaka.
   There may be thirty-two types of yugmaśālā according to the author.
   There are fifty-two types of dviśālās mentioned in this book. This rhythmical
   disposition varies according to the position of porticos and ventilation. dviśālās are
   six in number to start with and the first four numbers have eleven varieties each
   and the rest two have four varieties each. All the dviśālās have their own name and

xxvi Vāstumaṇḍana
some of them have prescribed place of alindas, such as roga type of dviśālā has
alindas on the Eastern and Western direction. Again it is stated that dviśālā facing
East or North are always auspicious.
Next are the triśālā houses. According to the location of doors it may have
seventy-two varieties. Four gurus will dominate the form of Prastaras in this variety.
Seventeenth form will have two laghus on all four sides and eighteenth form of
triśālā will be adorned with ṣaḍdāruka in the centre.
Absence of śālā on the North or East of a triśālā house brings in prosperity,
longevity etc to the residents. At the same time a triśālā house without a śālā on the
South or West, is regarded inauspicious.
Author did not give elaborate description of catuśśālā houses, thinking that by
studying previous śālā houses, it would not be difficult to find the varieties of
catuśśālā houses. He only indicated that there would be eight gurus in this form and
varieties may go up to two hundred fifty six in number.
DIFFERENT COMPONENTS OF A HOUSE AND OTHERS
Kaṁvikā – Kaṁvi originally means kuśa, probably it was the first measuring
methodology by which one used to measure. The book used kaṁvikā as measuring
scale. The code of discipline in measurement is a very important aspect for any
type of architecture. Without accurate measurement a construction will be faulty.
The first chapter of Vāstumaṇḍana, discusses elaborately the measurement
aspect. Similar descriptions are also available in Samarāṅgaṇasūtradhāra (Ch.11), and
in Aparājitapṛcchā (Ch. 41).
Aṅgula is regarded as the standard measurement, which is three fourth of an
inch. Aṅgulas are of three variety – uttama, madhyama and kaniṣṭha. These formed the
first three units of hasta measurement. In general the scale will be of twenty-four
aṅgulas in length, one and half aṅgula in breadth or circumference. Scale is to be
made of special type of wood, such as madhuka, khadira, añjana, candana, dhātuka or
of bamboo.
This rod will be divided into eight parvas – three aṅgulas each, and this will be
decorated with flower pigments marks. Nine gods starting from Rudra, Anila,
Viśvakarmā, Vahni, Brahmā, Yama, Ambupa, Dhanada, Viṣṇu will occupy one parva
each. Again these parvas may have sub divisions.
Superior yardstick will be used to measure village, city, krośa, land, etc. Middle
type is to be used to measure palace, idol, phallus, temple, reservoir, well and water
tank, etc.
Smallest type of measuring scale is used to measure yantras, weapons, seats,
umbrella, bed, chariots and others.

INTRODUCTION xxvii
Before starting any construction, one has to be very careful not to deviate
from prescribed measurement to ensure entire fabrication devoid of defects.
Water reservoirs – Water body plays an extremely pivotal role in habitation.
At initial stage civilizations started by the river banks only. In the later period people
started finding out other sources of water by digging well, tank, ponds, jheels, etc. It
was regarded very auspicious to dig a water reservoir and deemed as part of the
essential duty of a king or landlord of that locality.
In this book, we find Śrīkṛṣṇa advising Yudhiṣṭhira regarding the beneficial
impact of digging water reservoirs. Here we find description of different types of
water reservoirs with various numbers of projections. Dimensions and shapes of
different types of kuṇḍas and wells are also provided.
Garden – As is said earlier, the author of this book was much concerned on
the ecological balance and as an architect he took extreme and overall solicitude
on this noteworthy and momentous issue while designing a city or township. Even
in palaces and forts, he felt the necessity of gardens everywhere.
In the third chapter, author advised creating a pleasure garden/park either
inside or outside of a city. For a house, the garden will be either on right or on left
side. Prescribed measurements are also provided. These gardens will be bedecked
with varied and specific trees and creepers, playgrounds, water reservoirs, bathing
places with showers, etc.
Doors – Any construction entails proper placing of the entrance door. Here
in this book, while describing different arrangements of a house, the author writes
thirty ślokas (46-76) in the fourth chapter. Here he writes about different types and
parts of the door, their measurements, and types of doors whether they are
auspicious or inauspicious, etc.
According to him there may be three types of doors in a house as per the
height. Particular measurement is given for each and every component of a door
and there is definite instruction as to which part is to be bejeweled or not.
There is a fixed position of the door for different types of houses, stables etc.
If it is done otherwise there will be disorder in the construction.
In addition to door, we find description of the location of side doors, a door
adorned with latticed window as well as revolving door.
In this book, author has enumerated the measurement of a main gate, which
may be of three types and will be well decorated. There are different doorways of
pratolī (main entrance gate), which are known as utsaṅga, pūrṇavāhu, hīnavāhu, and
pratikāya. These are mentioned in Samarāṅgaṇasūtradhāra as well as in Aparājitapṛcchā.
Among these four types of doors the first two types are regarded auspicious.

xxviii Vāstumaṇḍana
Doors should not be bent, projected outside, too low or too high or curved
inwardly.
Proper material is to be used for a door so that it becomes strong, elegant and
fixed properly.
Door primarily protects the owner from external peril, and keeping this in
mind a builder will erect the door in prescribed location making it as strong as
possible.
Gavākṣa – For a house, temple, palace and so on, proper ventilation is the
fundamental requirement. Being the Vāstu text of the Rajasthan belt, gavākṣas known
as windows, are speciality of Rajasthan and Gujarat architecture. Due to the hot
and dry climatic condition, this type of window is different from those in other
parts of India. Latticed window gives proper ventilation and at the same time
functions as a buffer protecting one from heat, dust and cold. They may be of five
types according to the different types of lumvika and we find mention of another
five types according to the number of chhādyas.
Alinda – Alinda plays an instrumental role in designing of a house. Here the
design of a house is created with the help of a device known as prastara, which is a
combination of guru and laghu, i.e., wall and alinda. Placing alindas in the proper
place and right direction is very crucial for a palace or a house. For a normal house
there must be at least two, three or four alindas. According to this book, wall and
alindas are to be juxtaposed side by side, and the author is very much particular
about proper placing of the alinda. Here he writes that one can design myriad
number of houses by placing those two items in different pattern.
In the glossary-index of Mayamatam, alinda is described as aisle, gallery, portico,
and verandah, etc.
Robert Chitham in the book, The Classical Orders of Architecture, writes, ‘portico
is the columned logjam in front of the entrance to a temple or other building,
frequently surmounted by a pediment.’
Transport – In the eighth chapter we find scanty description of palanquin,
and its measurement, which seems to be very small in size.
Other household materials – In the eighth chapter of this book we find
description and measurement of umbrella or pedestal for worshipping as well as
for bed-stead. All of these are described precisely.
The author is specific about the measurement of the bed. According to him,
bed is to be made according to one’s own height and special woods are to be used.
Quality of woods should not be mingled with one another.

INTRODUCTION xxix
This book seems to be a handbook of an architect who was a sūtradhara by
himself. We find this book to be of unprecedented popularity in the mediaeval
period as manuscripts of this text have been found in many parts of India. In this
book architects can derive an original blueprint of a fort, which was constructed
during that time, and the remains of the fort are still existing in the 21st century
even after withstanding the seasonal vagaries of tropical climate and the passage of
time. Along with the systematic planning of śālā houses and their varieties, the vivid
illustration of various types of war machineries have also been mentioned over
here. Analyzing the contents of the book it can be averred that this stupendous
composition, formulated by a stalwart of magnificent erudition, will be immensely
beneficial for researchers in future.

Acknowledgements
First of all, let me acknowledge my gratitude to Prof. Devavrata Sen Sarma,
who motivated me to edit the Vāstumaṇḍana text. Dr. Kapila Vatsyayana, the
founder Member-Secretary of IGNCA and eminent art-historian and Pt. Satkari
Mukhopadhyaya, former Coordinator of Kalākośa division of IGNCA were very
kind and affectionate to bestow me with the responsibility of editing and translating
the above text for IGNCA. I would also like to place on record my sincere thanks
to Dr. Sudhir Lall of IGNCA, the managing editor of the volume. The team of
scholars of Kalākośa comprising Dr. N.D. Sharma and Dr. Sushma Jatoo also deserve
to be thanked for their kind support. My best wishes are for Dr. Arvind Sharma,
the young scholar of Kalākośa, who saw through the proofs and charts, etc.
(Late) Prof. Manabendu Banerjee, the supervisor and philosopher from my
doctoral stage was always there to guide and help me, wherever necessary.
Sri Priyadarsan Sen Sarma and Dr. A.K. Bag helped me and tried their best
to clarify ideas on all war weapons and mathematical calculations described in the
first chapter, which appeared corrupted.
Prof. Dilip Kanjilal and (late) Dr. Kripamoyi Kanjilal extended their co-
operation to me in all aspects, and without their able guidance it would have not
been possible for me to complete editing this book. Ms. Shampa Kanjilal took
pains to type the text, translation; contents and verse index of this book, in spite
of her ill health and her other personal difficulties.
Sri Anjan Banik prepared kindly the charts, typed ancillary parts of the
book with great care.
Lastly, I acknowledge heartily the support of my family, especially my
husband, Mr. Susanta Kumar Bhowmik and his active involvement without which,
this book would not have taken its present shape.
—Dr. Anasuya Bhowmick

Scheme of Transliteration

Abbreviations

A.P. : Aparājitapṛchhā
M.M. : Mayamatam
S.S. : Samarāṅgaṇa Sūtradhāra
B.S. : Bṛhatsaṁhitā

वास्तुमण्डनम्
VĀSTUMAṆḌANAM
(Text and Translation)

श्रीगणेशाय नमः ।
वास्तुमण्डनम्
प्रथमोऽध्यायः
[मिश्रकाध्यायः]
स्रष्टारं जगतामीशमनेकाश्चर्यरूपिणम्।
पालकं १सर्वसत्त्वानां वन्दे शक्तिमयं शिवम् ।।१।।
वास्तुवे२दोदधेः कश्चित्सारमादाय मण्डनः।
बालानामवबोधाय तनुते वास्तुमण्डनम् ।।२।।
शस्ते मासे सिते पक्षे ३अतीते चोत्तरायणे।
चन्द्रताराबले ४भर्तुः सुलग्ने च ५शुभे दिने ।।३।।
पुरःप्रासादगेहानां वाप्याः कूप६तडागयोः।
आराममठ७वास्तूनां प्रारम्भः सद्भिरिष्यते ।।४।।
नन्दाभद्राजयारिक्ता८पूर्णाः ९प्रतिपदादिकाः।
षष्ठ्या१०द्येकादशी११सर्वास्तिथयः पञ्चधा मता ।।५।।
१. सर्वा-in A
२. देदेधो-in A
३. आतीक्षे-in A अतीत इत्यनेन श्रावणमार्गयो र्ग्रहणमपि शब्दात् चकारेणोत्तरायणस्याचैत्रस्य त्यागः सूचितः ।
Marginal note in Ms. A.
४. कर्तु-in D, E
५. सुभे-in A
६. तटाक-in B
७. वास्तुनां-in A, B
८. पूर्वर्णा-in D, E
९. प्रदि-in B
१०. द्यो-in A
११. पूर्वा-in A

Salute to Lord Gaṇeśa.
Vāstumaṇḍanam
Chapter I
[Miśrakādhyāyaḥ]

1. I praise Lord Śiva the Almighty, who is the creator, lord of the
   world with different manifestations. He is the mentor of the whole
   creation.
2. For the comprehension of the young folks, Maṇḍana has collected
   some important materials from the ocean of science on building
   architecture, and written the Vāstumaṇḍana.
   3-4. In an auspicious month, day and time in the bright half of the
   lunar month, and after the Uttarāyaṇa¹ is over, when the moon
   and the stars are in favourable positions for the master, then
   one should start building a town, palace, house, well, tank, pond,
   pleasure garden, monastery.
   Starting from Pratipadā -Nandā, Bhadrā, Jayā, Riktā, Pūrṇā, and
   from
3. Ṣaṣṭhī to Ekādaśī, all tithis (lunar days) are of five types.
4. Notes: -Uttarāyaṇa- Northern progress of the Sun
   Nandā- Pratipada, Ṣaṣṭhī, Ekādaśī, .
   Bhadrā- 2nd, 7th and 12th Lunar days.
   Jayā -3 rd, 8th and 13th Lunar days.
   Riktā -4th, 9th, 14th Lunar days.
   Pūrṇā - 5th, 10th, full moon and Amāvasyā.