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

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.

4 वास्तुमण्डनम्
शुक्रे नन्दा बुधे भद्रा जया भौमे तथा तिथिः।
शनौ रिक्ता गुरौ पूर्णास्तिथयः सर्व¹²सिद्धिदाः ।।६।।
एकादशी गुरौ षष्ठी भौमे शुक्र ¹³त्रयोदशी।
सिद्धयेर्केष्ट ¹⁴नन्देकाश्चन्द्रे नवदशद्विकाः ।।७।।
¹⁵सिद्धिदार्के शनौ रिक्ता¹⁶भद्रा चन्द्रे बुधेऽपि च।
इत्याह मान¹⁷सोल्लासे ग्रन्थे सोममहीपतिः ।।८।। (मानसोल्लासः)
मुशलः ¹⁸सतमी ¹⁹भानौ संर्वतः प्रतिपद्बुधे।
कर्कस्त्रयोद²⁰शाङ्के स्या²¹द्द्वार ²²तिथ्य स्त्रयं त्यजेत् ।।९।।
मघाविशाखार्द्रामूलं ²³कृत्तिका रोहिणीकरः।
अ²⁴शुभेऽर्कादिवारेषु यमघण्टः प्रजायते ।।१०।।
विशाखादिचतुष्केषु चत्वारोऽर्कादिषु क्रमात्।
उत्पातमृत्युकाणाख्या सिद्धियोगाः शुभोऽन्तिमः ।।११।।
हस्तो मृगोऽश्विनी²⁵मेत्रं पुष्यं ²⁶पौष्णं च रोहिणी।
स्याद्योगेऽमृतसिद्धाख्यः सूर्यादौ सर्वसिद्धिदः ।।१२।।
१२. कामदा-in A
१३. क्रयो-in A
१४. ना

Ch. I – Miśrakādhyāyaḥ 5
6. If Nandā is in Śukra, Bhadrā in Budha, Jayā in Bhauma (Mars, Maṅgala),
Riktā in Śani and Pūrṇā in Guru (Bṛhaspati) then the lunar days
bring success in all spheres.
7. If Ekādaśī, falls in Guru (Jupiter) Ṣaṣṭhī in Bhauma (Mars), Trayodaśī
in Śukra, Aṣṭamī in Arka (Sun) Eka (Pratipada) in Nandā, Navamī,
Daśamī, Dvitīyā in Candra (Moon) - these bring success.
8. There will be fulfillment of desire if Riktā yoga falls in Ravi (Sun)
and Śani (Saturn) and Bhadrā fall in Candra and Budha (Mercury).
King Soma has said this in the book named Mānasollāsa.
9. If Saptamī falls in the Sun then there will be Muśala Yoga, and
Saṁvarta Yoga will occur if Pratipada falls in Mercury. If Karka
(Cancer) falls in the 13th position then the three solar and
lunar days are to be discarded.
10. Maghā, Viśākhā, Ārdrā, Mūlā, Rohiṇī produce Yamaghaṇṭa yoga on
an inauspicious Sunday and other days.
11. If the four stars Viśākhā etc fall serially in the Sun and others
then there will be Utpāta, Mṛtyu, Kāṇa, Siddhiyoga² and the last one
is auspicious.
12. If Hastā, Mṛga, Aśvinī, Maitra, Puṣyā, Pauṣṇa, and Rohiṇī stars enter
into the Sun, the result will be Amṛta and Siddha, it brings success
in all spheres.
2. Siddhiyoga- If Nandā falls on Friday, Bhadrā on Wednesday, Pūrṇā on Thursday, Riktā on
Saturday and Jayā on Tuesday — then it is known as Siddhiyoga.

6 वास्तुमण्डनम्
२७याम्यं चित्रोत्तराषाढा धनिष्ठोत्तरफाल्गुनी ।
ज्येष्ठा पौष्णं च सूर्यादे२८स्त्यजेत्सर्वत्र जन्मभम् ।।१३।।
अश्विनी मृगशीर्षं च सार्प्यं हस्तोऽथ मित्रभम् ।
ऊषाढा शतभसूर्यादानन्दः स्यात् २९ततःपरे ।।१४।।
आनन्दः कालधूम्रो च ब्रह्मासौम्यो३०ऽथवा यमः ।
३१ध्वजः श्री३२वत्सवज्राख्यौ मुद्गरश्छत्रमित्रकौ ।।१५।।
मानसः पद्मकौ ३३लम्बः उत्पातमृत्युकाणकाः ।
सिद्धिः ३४शुभोऽमृतोज्ञेयोमुशलोऽथ गदो गजः ।।१६।।
रक्षश्वरः स्थिरो वर्द्धमानयोगक्रमेण हि।
अष्टाविंशतिभौरुक्ताः कुर्युुर्नामसमं फलम् ।।१७।।
३५त्रिद्व्येकेन्दुपक्षाग्नि युगेषु षट्शरायुगाः ।
क्रमान्मेषादिराशिनां ३६मध्यपादाः प्रकीर्त्तिताः ।।१८।।
३७ससांशं शंकोच्छायायोना३८ मध्यार्कै षड्भिरन्विताः ।
तैर्भजेतद्दिनं३९त्रिघ्नं लब्धा४०पद्यदूनोदयात् ।।१९।।
२७. यामि-in A
२८. सूर्यास्तजेशर्वत्र-in A
२९. तस्मात्परे कालदंडादि-marginal note in E
३०. च वा-in A, B
३१. ध्वजं-in E
३२. वशवज्राक्षौ-in A
३३. लम्भ-in A
३४. मूलां मृतौ ज्ञेयौ मुशलौ यं गदा जगे-in A
३५. त्रिध्येक-in A
क्रिध्यकं खोन्दु-in B
त्रि-३ द्वे-२ क-१ खे-० इंदु-१ पक्षा-२ ग्रि-३ युगे-४ षु-५ षट्-६ शरा-५ युगा-४-in D-E We
find numerals along with wordings
३६. रंध्य-in A
३७. शस-in A
३८. मध्यमा-in D,E
३९. त्रेघ्नं-in A
४०. धढ्य-in D, E

Ch. I – Miśrakādhyāyaḥ 7
13. If Yāmya (Bharaṇī), Citrā, Uttarāṣāḍhā, Dhaniṣṭhā, Uttaraphālgunī,
Jyeṣṭhā, Pauṣṇa (Apabharaṇī, Revatī) fall in the Sun, then one's
Janmabha (Zodiac sign) should be discarded.
14. Aśvinī, Mṛgaśirā, Sārpya (Āśleṣā), Hastā, are Mitrabha (congenial
stars), Uttarāṣāḍhā, Śatabhiṣā will be counted from Sūrya and after
that the auspicious conjunction will start.
15-17. Ānanda, Kāla, Dhūmra, Brahmā, Saumya, Yama, Dhvaja, Śrīvatsa, Vajra,
Mudgara, Chatra, Mitra, Mānasa, Padmaka, Lamba, Utpāta, Mṛtyu,
Kāṇa, Siddhi, Śubha, Amṛta, Muśala, Gada, Gaja, Rakṣas, Cara, Sthira,
Vardhamāna, are serially the Yogas, — which are known as 28 stars
and their results are equal to their names.
18. 3, 2, 1, 0, 1, 2, 3, 4, 5, 6, 5, 4 — are serially the middle part of
the Meṣa and other Zodiac signs.
19 If one seventh part of the shadow of the gnomon, less than the
median (aṅka), is added by six and the total then be divided by
three, this would result in day time from the time of sunrise.
(Note: Verses 18 and 19 indicate the measurement of day and
night. Comp Rājavallabha maṇḍana ch 12 v7)