Shilparatna Part 2

This is a comprehensive summary of the provided Jain text, "Shilparatna Part 2" by Shreekumar K Sabhatsav Shastri, based on the scanned pages:

Overall Nature of the Text:

"Shilparatna Part 2" is the second volume of a larger work on Shilpa Shastra, the ancient Indian science of arts, crafts, and architecture. This specific part, consisting of 35 chapters, focuses heavily on iconography, architectural principles, and the detailed descriptions and measurements (talas and measurements) required for sculpting and consecrating images (bimba) and deities, particularly within the framework of Hindu traditions. While the title page mentions Jain Education International, the content itself is deeply rooted in Brahmanical and Hindu iconographical traditions, suggesting a broad scope of application or a specific edition targeted at a diverse audience. The text is in Sanskrit.

Key Sections and Themes:

The provided text includes several prefatory and introductory pages, followed by a detailed table of contents and the beginning chapters of the book.

Prefatory and Introductory Material:

• Gujarati Introduction (Page 1): This section indicates that the publication of "Shilparatna Part 2" was made possible by financial assistance ("Dravya Sahayak") from the proceeds of a "sūtra bolī" (a ritualistic chanting or recitation) held at the Ganga Ba Jain Paushadhshala. It highlights the inspiration from "Pravartini P. Pu. Nanda Shreeji M." and the guidance of "P. Pu. Adhyatmoyogi Acharya Maharaja Shree Kalaprabhsurishwarji M. Sa." It also credits Shah Babulal Sarumal Bedawala as the compiler and mentions the Shri Ashapuran Parshvanath Jain Gyan Bhandar. The publication date is indicated as Samvat 2065 (2009 CE).
• English Preface (Page 7): This is a crucial introductory piece by K. Sambasiva Sastri, the editor.
  • It states that Part 2 has 35 chapters and deals with iconography and allied matters, calling it highly useful for those interested in iconography and architecture.
  • It traces the lineage of the Shilpa Shastra from sages like Matanga and Bhrugu, mentioning scholars like Narayana and Ravi.
  • The Silparatna is presented as a compilation by Srikumara, commissioned by Devanarayana, an ancient ruler of Ambalappuzha (North Travancore).
  • Srikumara is identified as a Kerala Brahmin belonging to the Bhargava Gotra based on verses within the text.
  • The preface discusses the author's estimated period of living, placing him at the close of the 16th century AD, based on his patronage by Devanarayana, who may have hosted the 16th-century poet Narayana Bhatta. However, the editor notes that the identification of Devanarayana as a title rather than a specific individual requires further evidence.
  • The author's family deity's seat is identified as a Sanskritization of "Chiramelkkatu" in Malayala Desa, now located in Talapalli Taluk in Cochin State.
  • The editor expresses satisfaction in being able to edit Part 2 with more manuscript materials, fulfilling a promise made in the preface to Part 1.
  • Manuscript Basis: The edition is based on four manuscripts, described by their origin (Palace Library, Trivandrum), approximate age (three centuries, a century, two centuries), and completeness.
• Sanskrit Preface (Page 9): This section mirrors the English preface, reiterating the content of Part 2 (35 chapters covering iconography, etc.), the origins of Shilpa Shastra, Srikumara's role as a compiler for Devanarayana of Ambalappuzha, his Kerala Brahmin and Bhargava Gotra lineage, and the dating of the author to the late 16th century AD. It also discusses the difficulty in precisely dating Devanarayana and the geographical location mentioned in the verses.

Table of Contents (Pages 13-20):

This is a very extensive list of chapters, indicating the comprehensive nature of Part 2. Key themes covered include:

• Image Creation and Materials: Methods of creating images (Bimba), selection of stones, different types of lingas (gem, metal, clay, sand), and their respective materials.
• Iconographic Measurements and Proportions (Tala Systems): Detailed chapters on the Uttama Dasatala, Madhya Dasatala, Adhama Dasatala, Uttama Navatala, Madhya Navatala, Adhama Navatala, Ashta Tala, Sapta Tala, Shat Tala, Pancha Tala, and Chatur Tala systems. These chapters describe the precise measurements and proportions of divine figures.
• Specific Deities and Iconography:
  • Lingam: Extensive descriptions of various lingas, linga pedestals (Pitha), linga variations, and their proportions.
  • Shiva: Descriptions of various forms of Shiva, including Sukhasana, Somascand, Chandrashekhara, Vrisharudha, Gangadhara, Tripurantaka, Kalyana Murti, Ardhanarishvara, and Gaja Murti.
  • Vishnu: Sections on Vaishnava Prakarana, including various forms like Varaaha, Narasimha, Harihara, Bhikshatana, Dakshinamurti (with different meditative aspects), Kalarimurti, Kartavirya, and the importance of Panchayudha (five weapons).
  • Shakti: Extensive coverage of various forms of the Goddess (Shakta Prakarana), including Mula Durga, Indrani, Swyamvara, Prana Shakti, Ashvarudha, Vajraprastarini, Nitya Vinna, Shri Sukta, Tripura, Bhumi, Shatalini, Gayatri, Sauri, Annapurna, and Saptamatrikas (seven mother goddesses).
  • Other Deities: Sections on Indradi Devata Dhyana Prakarana, covering deities like Indra, Agni, Brahma, Hanuman, Garuda, and various planetary deities.
  • Buddha and Jain Imagery: While the majority focus is on Hindu deities, the catalog mentions "Jaina Education International," and the vastness of the Shilpa Shastra tradition means it could encompass other traditions. However, the explicit chapter titles provided do not directly indicate Jain deities.
• Architectural Elements: Sections on Prasada (temples) and their different types, temple foundations (Peethadi), consecration rituals (Pratishtha Vidhi), and repair of old structures (Jirnoddhara).
• Residential Architecture: Chapters on the layout and construction of human dwellings (Manushyalaya Lakshanam), including different types of houses based on size, materials, and auspiciousness.
• Tools and Techniques: Discussions on various tools, materials, and techniques used in sculpture and construction, including stone carving, metal casting, and paint application.
• Crafts and Accessories: Chapters on crowns (Kirita), armlets (Kataka), earrings (Kundala), necklaces (Praveyaharam), sacred threads (Yajñopavīta), belts (Katisutra), armlets (Keyura), bracelets (Mudrakah), hand gestures (Varadaadi Hasta Bheda), vehicles (Vahana Lakshanam), and weapons (Shastra Lakshanam).
• Specific Rituals and Details: Sections on Mṛd-lepana (clay plastering), Shula Sthapana (placement of spears/tridents), Rajjubandha (rope binding), and the measurement of wells (Kupa Prashna Vidhi).

Early Chapters (Illustrative Content):

• Chapter 1: Bimbadi Sadhanavidhi (Method of Creating Images): This chapter discusses the preliminary rituals before commencing image creation, including auspicious timings, purification, inviting Brahmins, and offering prayers. It details the various materials used for making images (bimba) like stone, metal, wood, and clay, and the specific qualities required for each. It also touches upon omens and auspicious signs to observe during the process.
• Chapter 2: Lingalakshanam (Characteristics of Lingas): This chapter begins the detailed description of various forms of lingas, which are aniconic representations of Shiva. It lists 18 specific types of lingas and discusses their proportions and classifications based on material and form. It also introduces the concepts of nishkala (formless), sakala (with form), and mishra (mixed) images and their subdivisions (achala, chala). The text emphasizes specific measurement systems like Tala in determining the dimensions of these icons.

Overall Significance:

"Shilparatna Part 2" is a foundational text for anyone involved in the study or practice of traditional Indian sculpture, architecture, and iconography. It provides a systematic and detailed guide to the creation of divine images, reflecting a deep understanding of artistic principles, religious symbolism, and material science. The editor's preface highlights its importance as a compilation of vast Shilpa literature.