Devta Murtiprakaranam Tatha Rupmandanam

The book "Devata Murtiprakaranam tatha Rupmandanam" by Upendramohan Sankhyatirtha, published by Metropolitan Printing and Publishing House Limited in 1All is a significant work on Indian iconography and iconometry. It critically edits and presents for the first time two key texts by Sūtradhāra Maṇḍana, a renowned architect and sculptor of the 15th century.

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1. Introduction and Context:

• Author and Patronage: Sūtradhāra Maṇḍana and his father, Śrikṣetra, were patronized by Mahārāņa Kumbha of Mewar. Maṇḍana was a prolific writer on architecture and sculpture.
• Significance of Indian Iconography: The preface highlights the deep connection between Indian architecture, sculpture, philosophy, and religion. Iconic representations of deities are not merely artistic but carry profound symbolic meanings, illustrating philosophical concepts.
• Scope of the Work: The book presents "Devatāmūrti-prakaraṇam" (a section on the images of deities) and "Rūpamandanam" (a kindred subject) by Maṇḍana. "Devatāmūrti-prakaraṇam" is published here for the first time, along with the editor's commentary.
• Sources and Influences: The introduction extensively discusses the various sources and authorities used by Maṇḍana. He seems to have drawn heavily from South Indian texts like "Śilparatnam" and "Mayamatam." He also utilized Northern Indian texts such as the "Viṣṇudharmottaram," "Matsya Purāṇa," "Agni Purāṇa," and "Bṛhatsaṁhitā." The influence of Jainism is also noted, with the inclusion of Jaina deities and iconographic principles.
• Challenges in Editing: The editor acknowledges the difficulties in preparing critical editions of Śilpa texts due to their technical and obscure language, lack of extensive commentaries, and the often corrupt or mutilated state of manuscripts. He emphasizes the importance of preserving artistic traditions and the dedication of hereditary craftsmen.

2. Sūtradhāra Maṇḍana and His Works:

• Sūtradhāra Maṇḍana: His title implies he was an architect, skilled in using the plumb-line. He was a prolific writer whose works often had titles ending in "Mandana," suggesting a connection to decoration or artistry.
• List of Works: The text mentions several of his works, including:
  • Devatāmūrti-prakaraṇa
  • Vāstuśāstra
  • Prasādamaṇḍana
  • Vāstu-sāra
  • Rājavallabha Vāstuśāstra
  • Vāstu-mañjarī
  • Rūpamandana
  • Apa-tattva
  • Vāstumaṇḍana
• Popularity and Spread: Maṇḍana's works were widely popular, with copies found in libraries across India, indicating their significant influence on artists and craftsmen.

3. The Canons of Indian Art and Its Sources:

• Vāstuśāstra and Śilpaśāstra: The text delves into the foundational texts and traditions of Indian art, architecture (Vāstuśāstra), and sculpture (Śilpaśāstra).
• Key Puranic Sources: The "Agni Purāṇa," "Matsya Purāṇa," and "Viṣṇudharmottaram" are identified as crucial Paurāṇic sources for Vāstu and Śilpa studies.
• Other Influences: The text also mentions the "Bṛhatsaṁhitā" of Varāhamihira, which covers diverse subjects including architecture and sculpture, as well as the "Mānasāra," considered the most complete extant architectural treatise. The role of "Agamas" (especially South Indian Śaivāgamas) and "Tantras" is also discussed.
• Vedic Connections: The "Śulva Sūtras," related to sacrificial altars and geometry, are noted for their connection to early architectural principles.
• Jaina and Buddhist Contributions: The text acknowledges the contributions of Jain and Buddhist traditions to the development of plastic and graphic arts.

4. The Present Edition and Editorial Principles:

• Editorial Approach: The editor explains the challenges of critically editing Śilpa texts and outlines the principles followed: minimal correction, avoiding omissions, harmonizing apparent contradictions, and considering epigraphic data alongside textual analysis.
• Interpretation Methods: Two key methods for interpreting obscure passages are recommended: comparing kindred or parallel texts and tracing back to source books.

5. Contents of Devatāmūrti-prakaraṇam (DMP):

The book is organized into eight chapters (Āhikāras), detailing the iconographic canons for various deities:

• Chapter I: Śilā-parīkṣā (Stone Examination) & General Principles: Covers the examination and selection of stones, timber, etc., auspicious times, image proportions (tāla), auspicious and inauspicious signs of images, omens, and ritualistic considerations for installation.
• Chapter II: Pratima-tāla-nirṇaya (Image Proportions): Focuses on the precise measurements and proportions of images based on the "tāla" system, describing variations for different heights and limbs.
• Chapter III: Pratima-pada-sthāna (Deity Positions): Deals with the placement of deities in architectural plans, including the grid system (devatā-pada-sthāna and devatā-dṛṣṭi-sthāna) and the directions deities should face in temples.
• Chapter IV: Brahmā, Sūrya, Nava-grahas, and Daśa-dik-pālas: Details the iconography of Brahma and his various forms, the twelve forms of Surya, the nine planets (Navagrahas), and the ten guardians of the directions (Daśa-dik-pālas).
• Chapter V: Viṣṇu and His Forms: This is a lengthy chapter dedicated to Viṣṇu, covering his suitability for different castes, conditions for accepting or rejecting mutilated images, the twenty-four forms of Viṣṇu (Caturviṁśati-mūrtayaḥ) with their attributes, and the examination and selection of Śālagrāma stones. It also describes various forms of Viṣṇu like Vāmana, Rāma, Ananta, Nṛsiṁha, etc.
• Chapter VI: Śiva and His Forms, and Lingas: This chapter focuses on Śiva, describing his various manifestations like Sadyojāta, Vāmadeva, Aghora, etc. A significant portion is dedicated to the various types of Śiva Lingas, their materials (metal, stone, wood), proportions, classifications (Nāgara, Drāviḍa, Veśara), and associated rituals and auspicious signs.
• Chapter VII: Jaina Tirthankaras and Attendants: This chapter is unique in its inclusion of Jaina iconography, describing the twenty-four Tirthankaras, their associated colors, banners (dhvajas), birth asterisms, and importantly, their attendant Yakṣas and Yakṣiṇīs.
• Chapter VIII: Female Deities (Devī-mūrti-lakṣaṇāni): The final chapter details the iconography of various female deities, including Gauri and her twelve forms, Gaṇeśa (though primarily a male deity, his forms are described here), Kārtikeya, the unknown goddess Pañcalīlā, the Navadurga, and others like Lakṣmī, Kātyāyanī, and Candi. It also touches upon dance postures and gestures in art.

6. Conclusion:

• Compilation Nature: The DMP is acknowledged as a compilation, with Maṇḍana freely modifying earlier texts.
• Eclectic Approach: The work exhibits a remarkable spirit of synthesis, incorporating elements from different religious traditions, including Jaina deities, and forming composite deities like Kṛṣṇa-Śaṅkara.
• Artistic and Cultural Significance: The book serves as a valuable resource for understanding the principles and practices of Indian art, sculpture, and religious iconography, providing detailed guidelines for the creation of divine images.

In essence, "Devatāmūrti-prakaraṇam" and "Rūpamandanam," as presented in this edition, offer a comprehensive and scholarly exploration of Indian iconographical and iconometric traditions, providing invaluable insights into the artistic and religious heritage of India.