a brief exposure to the few contents of manuscript collection at Asa Saphu Kuthi
Manuscripts here we refer to the old hand written documents, which are the source of information from the past. Manuscripts can be found written on epics, techniques of the arts and crafts, philosophy, medicines and its applications, grammar, astrology, pilgrimage sites, history, administration etc.
Here, we deal only with manuscripts concerning architecture, which covers different aspects of Vastusastra. The Vastusastra is the science of building, also called Sipashâstra. Many manuscripts and texts references can be found depicting the Vaastushastra. Form Chhandogya Upanishad, Manasara Silpa Shâstra, Kautilya Arthasastra, Mayamata, Garudapan etc covers the subject matters on Temple, houses, land, garden, barrage and ponds etc. Silpakarma vidya, Manjushree Bhâsita-Vastu Vidya Sastra [1] etc are there as Buddhist books on architecture. The tradition of Vastusastra was considered to be developed from Harappan period but canonized only between 200 BC- 100 AD. But standard works on Vastusastra can only found from 4th century AD. In Nepal, the medieval period was when innumerable manuscripts related to the construction technology were written. These manuscripts are preserved in National archives, Asa Saphu Kuthi, Keshar Library and personal collections. The following architectural terminologies were found from these sources (Mishra1998). They talks on villages(grâma), towns, temples, palaces, durga(forts), mandap, pillars, prekshâ (theatre halls), visramasala(rest houses), satra (place where hermits and poor are offered food daily), âsrama, âramas(Buddhist vihars), kupa(well/spring), prapâ(Continous spring), pond, pranali(water source canal/drain), jaladhenu(Waterpot representing offered cow), setu(bridge), tilamaka(lakhamaka, Kulo, dhala), stupa (thupa chaitya), vihara, âgamaghara, smashan, tailyasâlâ(oil mill/oil store), tamrasâlâ, adhikaran(justice court), arogyasâlâ(Health clinic), madyasâlâ(tavern), roads(path, marga, rathya), courtyards(anagana, pura, nani), supasala(kitchen), danasala(charity house-or place), âpana(shop stalls), Vana(forest), sulka-sâla(tax counter), agni sâlâ(andi sala).
For this article a collection of manuscripts at Âshâ Saphu Kuthi[2] and some personal collections were explored. Altogether twenty three manuscripts on architecture were referred here.
Short background to early Nepalese Manuscripts
These manuscripts on architecture comprise the information on design recommendations, drawing illustrations, ritual mantras, proportions, procedures, building material, symbolism orientations, structural details and planning concepts, astrological results.
Here, some of the contents of the studied manuscripts are discussed, though it is not a complete study. The main objective of this presentation would be motivating people toward studying these manuscripts:
1. Ancient measurement system:
Two manuscripts were referred here depicting the ancient measurement system. These manuscripts start with the formal start up prayer.
The first paragraph of Dega chhen Danegu Vâstukalâ Vidhi writes,
om nama sarvajñâya .. visvakarmâya nama .. jagatamsristikartaram sthitisanharakarakam .. …………………………….
riksachastau tathayuka astauyukayavambhavambhavet .. yathastau tuvararoheastapravarangula …………….[4]
Paying homage to the Visvakarmâ[5], it states the measurement system used in this book.
8 riksâ(lit. a nit) = 1 yuka (a louse)
8 yuka = 1 yavam (a barley grain)
8 yavam = 1 angula (a finger)
12 angula = 1 Vitasti
24 angula = 1 hasta (hand) = 2 nal
4 hasta = 1 dhanurdanda
2000 dhanurdand = 1 kosh
2 kosh= 1 Gabhyuti
2 Gabhyuti = 1 Yojana
This system of measurement seems to be taken from âdityapurân. Also other many purâns states about the measurement system such as mâkandeyapurân, siddhântashekhara, but these purâns have different conventions though the words used are same[6]
om namah visvakarmane .. sarvadoshau vinirmuktam gunenacha balamkrita.. pranamya sarvalokesha vastulaksyanammuchyate .. ………….
gorajasaptayukancha yukamsaptahiyobhavet.. astayevaijesthanguli saptayevaimadhyamanguli .. pramana iti kathyate .. ............[8].
7 goraja = 1 yuka
7 yuka = 1 yo
8 yo = 1 anguli (if thumb finger is used)
7 yo = 1 anguli (if middle finger is used)
The directions and there attributes are the basis of the recommendation suggested in these manuscripts. In one of the manuscript it was found that all eight directions are linked with a set of animals such as east elephant, west lion, north garuda, south Brikha etc. which are again linked with eight mother goddesses (Astamatrika). This family of animals and goddess are named as Asta Varga. A long text named Asta Barga is written in prachalit Nepal script, which writes as follow.
guru ve namah .. bhojdewo.. rajaya âjñakasya chhen daneyâta .. asta varagasa svayawo .. dhwoja kothasa niswonasa sampati phar..dhoom kothasa niswonasa rogi juyiwo.. bhuturi dayeke .. ………[9]
This text explains the attributes of the directions with reference to the characteristic to animals linked with it. Such as the shelter (Ni Swonegu =lit. to establish) at east, north and south is most preferred because the animals respectively garuda, elephant and lion are taken as good sign rather than donkey, dog, serpent, mongoose and cat (?). And it has also recommended some optional functional for the rest of the directions unfavorable for shelter. It recommends kitchen, store room and grain store for SE, NE, SW respectively.
In the manuscripts named 'Griha Pratistha' there was a collection of patterns for normal housing of everyday people for the use of plots. They are again idealized according to a system of esoteric meanings of directions. Key is a simple symbolism: Eastern direction is favorable, of course, since this is the direction from where the sun rises in the morning. Accordingly, the west direction along which a person will have his back during his morning worship towards east is considered unfavorable. They have named each pattern as the type of housing. Each pattern has own attributes, some are worse and some are good. One Hundred and sixteen number of housing pattern are mentioned there[10]. No texts were found about the design of individual dwelling.
In general observation, it shows that the east part should not be blocked if it is not a courtyard house. The house with blocked east side are named as preta mukha nam, chula nam, danda nam, watakhya nam, and other many (names not mentioned) are stated as unfavorable. Several types of courtyard housing are mentioned in that manuscript, which are named as chukka nâm, vihâr nâm, devâlaya daksya nâm, nairityâkshya nâm with slight some variations. All these courtyard types are mentioned as very favorable housing. From these points, here we can have some hypothesis.
- The compact settlements in Kathmandu and Lalitpur are the result of the group housing concept (clusters of houses made at once) according to these recommendations. In contrary to this the houses of hilly rural settlements are all detached and no row or cluster house group can be found, which suggest that the architects of city core intentionally built it as mentioned in texts books.
- We can find the expansion of settlement in city core of Kathmandu and Lalitpur were ensued by extending the courtyards as per stated recommendations in these manuscripts. That's why we can find a number of courtyards in city in contrary to the other rural newâr villages like Siddhipur, Khokanâ etc.
- In Siddhipur, the origin of the settlement was started with courtyard housing, but later they left the idea to expand the settlement in that manner. A hypothesis could be made such that some scholars were involved initially. But later no body opened these mannuals.
- More than ten manuscripts were on same subject matter about the housing pattern which reflects the popularity of the book those days.
Vâstu and vâstu Nâg in Nepalese Manuscripts
There is a picture on a manuscript "Griha Pratistha" which was a figure of Nag inside a square covering whole area. Actually, that is an assumption to say that a Nag is sitting covering the whole site, most likely as the Vâstupurusha in Vâstupurusha Mandala. In Nepalese context, there is the tradition of worshiping Nag before commencement of the construction work. The text says that when one is placing a building on site, no wound may happen on the body of Nag. Injuring the Nag is to call for bad results. This symbolic representation might be the response for underground water table. But they belong to one of the astrological examination process as some of the words on this figure are related to the astrological terms.
(experts from the unnamed manuscript no. 22.)
"Let's talk something about Balshuki (Basuki, in some texts Shesha Nag is mentioned) Nag. If the Nag is injured at his body, the owner will have to come under hillocks (it may be symbolizing Landslide) and so on.
The 'injury' implies, first, the intervention in taking out the earth from the land. A safe point for intervention is identified by Sutrapatan Bidhi, so that Naga would not get injured. In Sutrapatan Bidhi a Mandala of 81 square is set out on the land by a thread. This process is mostly applicable for religious buildings monuments. Among those 81 squares no 31 (ref. fig) is chosen. According to the Buddhist text, this square belongs to Sarva Shoka Tamonirhghata Bodhisatva[11]. The name literally means the bodhisattva who makes the people away from all the misery.
Vaastu Shâstra was a secular science. But different religious adopted it. Hence we could find separate Vaastu for Hindus and Buddhists and others. In Buddhist version, the building is constructed on an 81 squared Mandala representing the Vajradhatu Mandala[12]. The different Bodhisattvas reside in each square. All the Bodhisattvas posses own qualities and characteristics. Bodhisattvas are philosophically created which implies a complete set of perfections needed for enlightenment. Similarly, in Hindu version, they have allotted deities in each square. In both cults, the site is treated as living thing assuming the existence of Nag or Purusha. Worshipping the site as a deity symbolizes importance of site.
3. Belief: Each Element in a Building Represents a Deity
There is a ritual ceremony after finishing the whole construction work in which a text called "sthirobhava vâkya"[13] is recited. This recitation is done wishing the stability and durability of building. Hence each element is represented as a deity. For example:
The base stone foundation Ox (vehicle of Mahadev)
Post (Tham) Mahadev
Capital (Meth) Parvati
Beams (Nina) Eight Vairavas
Joist (Dhalin) Eight mother goddesses (Asta Matrika)
Shutters Shiva Shakti
Tradition lock opener (Kwoyan) Ganesh
Temporary lock (Khawo) Karma Lekha
Trikhajhya Buddha Dharma Sangha
Panchajhya Panchatathagata
Tikijhya Bidhi Harihar
Thaima Vajrasatva
Musi (Main rafter of roof) 64 Vajrayogini
Roof Umbrella to the house (Chhatra) etc.
Similarly space are also connected with something like
Suguru Pwala (cave?) symbol of Astanik Yoga
Chheri (ground floor) Patala (Hell) (unfavourable for living)
Matan ( first floor) Martya Mandala ( earth)
Chotah ( second floor) Svarga ( heaven)
Agam ( Puja room) Mochhayapur ( practice place for enlightenment) etc.
Similarly, interior elements are also treated as something
Broom Brahmayani
Hasa Maheshwori
Mother stone for grinding Kaumari
Daughter Stone for grinding Vaishnavi etc.
We can say that it is symbolization, treating every element as a deity. We can conclude that these all are taught religiously so that one would feel psychologically secured that one is living with all the god and goddesses. And another reason may be one could never have dared to hamper any structural or functional element of the building. In Mediation some deity is visualized as such that the subconscious mind would receive all that merits of that deity. What it may mean is that such environment is deliberately created so that one is meditating deities every moment.
Astrological recommendation in Manuscripts
Astrology says that each and every thing in the cosmos and their activities are interrelated and affect each other. Hence the position of stars and planets are always affecting the activities on earth. Astrology was so urbane those days that they are found using it everywhere. In Vedic system, Vâstu shâstra was kept under the Jyotish shâstra. A lot of guidelines for judgment are found in these manuscripts.
People go to astrologists to check the favorability of the site and the building. The first thing done before construction is Kurma Pariksa, which comprises of three processes.[14]
- To match the owner with the site: both the owner and the site bear the Rashi (constellation). These Rashis should be matched.
- Foresee by contact: some of the astrologists have such esoteric powers, gained through practices, through which they can tell the favorability just by touching the owner and the soil form the land.
- Solving problems: In case of unfavorable condition, the astrologist examines the problem whether it is possible to solve or not.
- There are more other astrological processes such as matching Vastu Chakra, Matching Rahu Mukha etc.
Proportioning and elevation development :
The stunning silhouettes of the traditional architecture were not made in one night. The elegant proportions make us always feel that those are mine. It’s interesting, how the architects were able to maintain the traditional proportions for centuries in history. They were very sophisticated mathematicians. They used geometry in each design element so that it looks intact and harmonious and easy to interpret the philosophy and easy to document. All those proportions of the traditional architecture are documented in the thyâsaphu. There are four manuscripts in the list which depicts something about geometry and proportioning viz Dega chhen Danegu RN 528, Vastu Kala Vidhi, Dega ya naksa DPN 2867, unnamed manuscripts no. 22.
The manuscript RN 528 have many drawings regarding the proportioning of three tiered temple(fig ), Swoyambhu chaitya, Shikhara Temple and brick courses for plinth. The proportioning system of the tiered temple is so well made with geometrical logic that if one observes these drawings diligently, the formula behind it could be deciphered. And after one gets formula, he can work out the same principle for another temple design. Overlapping and stacking of key triangles derives all the necessary points such as eaves position, pinnacle portion, and height of wall and so on. The technique is really and enlightening one and succeeds to formulate the aesthetics for easy implementation.
The manuscripts also give the proportion of brick courses for articulated cornices and other embellishments. It has also given the multiplying factors so that one can maintain the proportions whatever the size it has.
Another page depicts the complete proportioning system of chaity and shikhara temple giving measurement as well as the symbolic name of the elements.
Conclusions
These are just the overview of the contents in the manuscripts on Nepalese architecture. Hundreds of other manuscripts are still stored in different archives like National archive, National library, Bir Pustakâlaya. Many are privately owned. There are still many different subjects such as favorability of types of vegetation, the appropriate use of the wood for specific part, the esoteric hymn(Mantra), the favorability of the type landscape, legends, about the filtration system of the traditional stone water conduits and many others that has not yet been included in this article. These were not included because some of them were not much clear and complete. But if the rest of the manuscripts are also approached, many more information can be discovered. These information must be analyzed to find out the idea behind the pattern of traditional settlements. One has to find out if there are any relevant aspects so that it could be implemented in current practice also.
List of Manuscripts from the catalogue of Asa Saphu Guthi :
Griha pratishtha
Griha pratistha
chong Devaya Raqksana
Chhen Danegu Bidhi
Chhen yagu Disha Laksyana
Chhen ya Deva Gana
Chhe ya laksyan
Chen ya lakshyana(2)
chhen ya laksyan saphulicha
Dega danegu Bidhi
dega dayake Bidhi
Dega ya naksa
deva ya laksyan]Shanti thir vakya
Vastu laksyan
chhen ya lachhin
Vastu shanti
Vastu jag padhdati
dega chhen danegu () vastu kala vidhi)
dega dayeke vidhi
From personal collection:
Unnamed Manuscripts – 4 nos
Bibliography:
- Mishra, Tara nanda, 1998, Conservation of ancient architectural elements in Nepal, Journal of Nepalese Studies ,Vol 3 No 1, Royal Nepal Academy, Kathmandu, Nepal.
- Thapa, Shree Hari, 2002, Hidden treasure: the Manuscripts of Vaastu shâstra, Vaastu, vol 4, Association of Students of Architecture, IOE.
- Shakya, Hem Raj, N.S. 1091, Sthirobhava Vâkya, Bajracharya Surya man.
- Bajracharya Dr. Naresh Man, N.S. 1110, Vastu Puja Sutrapatan Vidhi, Manandhar G.M.
- Rajvamshi, Sankar man, Vastu lakshan, VAIDIK UDBODHAN
- Pandeya, Pt. Phanindra P., SANSKRIT NEPALI BRIHAT SABDAKOSH, Mahendra Sanskrit University,Dang,Nepal, 2057 B.S.
Linked footnotes
[1] Srilankan manuscript of Buddhist architecture 5th – 7th century AD
[2] Aâsâ Archive, Raktakâli, Kathmandu), the Aâsa Archive has and exceptional collection of ancient books and palm-leaf manuscripts. More than 6,000 loose- leaf hand written volumes and over 1000 palm-leaf documents are preserved here. These rare collections lend and insight into the literary tradition of medieval Kathmandu. The oldest manuscript found there dates back to AD 1464.
[3] the paper type used for most of the Thyâsaphu s (folded leaf books) made up of layers of traditional Nepalese Lokta paper resulting in thick and strong, which then painted with yellow pigment. This yellow pigment is prepared out of a mineral called Haritâl which is a very strong poison and acts as a protective layer against fungal and insects attack. Finally the dried paper is rubbed with conch shell to get even and shinning surface.
[4] ॐ नमः सर्वज्ञाय ।। विश्वकर्मायनमः ।। जगतांसृष्टिकत्र्तार स्थितिसंहारकारकं ।। वरदाभयपीतांगीपुस्तकाक्षचतुर्भुजा ।। १ ।। गृहादिसर्व वस्तूनिलक्षणानि पवक्ष्यते ।। शुभाशुभंचविज्ञेयालोकानाहितकाम्यया ।।२।। यथाशोभातथाकृत्वासौचैवत्तललक्षण ।। शिल्पिकेनतथाकृत्वागृहादिसर्ववस्तुना ।।३।। लक्षणस्थास्थितोलक्ष्मीयतोलक्ष्मीततोजयः ।। तस्मात्सर्वपयत्नेनसंवहागृहलक्षण ः ।।४।। तुसरेणुसमाख्यातातद्मंजलउच्यते ।। तुसरेणुश्वयोह्यष्टौपारागःसोविधीयते ।।५।। व्यलागाणितथाष्टौतुरिक्षातुपरिकीत्र्तिताः ।। रिक्षाचाष्टौतथायुकाअष्टौयूकायवंभवंभवेत् ।।६।। यथाष्टौतुवरारोहेअष्टपवरंगुलं ।। द्वादशांगुलमानानिवितस्तिनालउच्यते ।।७।। नालद्वयेनभवेहस्तं चतुर्बिंशतिरंगुलं ।। चतुर्हस्तेनधनुर्दरो ।। नारिकायुगएवच ।।८।। धनुसहसेद्वेपूर्णः कोशस्तुसविधीयते ।। कोशद्वयेनगव्यूतिं गव्यूतिंद्वययोजन ।।९।। अनेनपरिमानेन योजनान्यंशस्विनः।।.................
[5] the first teacher of Shilpashastra; Sandhapuran explains him as the son of prajapati named Tvasta, artist of the devas; in Buddhist tradition Visvakarma referred to Manjushree
[6] for e.g. siddhântashekhara states 1 hasta = 26 angula where are the mentioned manuscript and âdityapurân states 1 hasta = 24 angula.Pt. Phanindra P. Pandeya, SANSKRIT NEPALI BRIHAT SABDAKOSH, Mahendra Sanskrit University, 2057 B.S. has given the detail of the measurement system in different Sanskrit traditions in its appendices.
[7]collection of Dr. S.R.Tiwari
[8] ॐ नमः विश्वकर्मणे ।। सर्वदोषैर्बिनिम्र्मुक्तं गुणेनचवलंकृतं पणंम्यसव्र्वलोकेशवास्तुलक्षणमुच्यते १ आयतनंचतुरश्रव २ वृहतः ३ भदासनंतथा ४ चक्र ५ विषमवाहुस्यात् ६ त्रिकोनसप्ततायुति ८ ।। ..............
गोरजसप्तयुकाञ्च युकांसप्तहियोभवेत् । अष्टयेवैज्यष्ठंगुली सप्तयेवैमध्यमांगुली ।। पमान इति कथ्यते ।। ।।
[9] १ गुरुबेनम ।। भोजदेओ ।। राजाया आज्ञाकास्य छेँदनेयात ।। अस्त वरगसः स्वयाव ।। ध्वज कोथास निस्वनसा सम्पति फर ।।१।। धूम कोथा स निस्वनसा रोगी जुयिओ ।। भुतुरि दयेके ।।२।। सिंघ कोथास निस्वनसाः रछिमि बिधि जुयिओ ।। जसबिधि शत्रुनासजुयू ।।३।। स्वान कोथास निस्वनसा शत्रु भय मृत्यु भयः थूकूदयके मार ।।४।। बृख कोथास निस्वनासा नासंपति फरः पंचोरा दयकेभिन ।।५।। खर कोथास निस्वनसा ..........................
[10] Shakya Hem Raj, Sthirobhava Vakya, N.S. 1091, has given one hundreds and forty-one patterns are mentioned.
[11] Vajracharya Dr. Naresh Man, Vastu Puja Sutrapatan Vidhi, N.S. 1110, Manandhar G.M.
[12] ibid . Vajracharya
[13] ibid. Shakya
[14] interview with Dr. Vajracharya N.M.
