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It can thus be assigned a chronological bracket which goes It was decided to select this book since it is a well structured
from the early 9th century to the late 12th century [15]. book, complete with exhaustive explanatory footnotes. An
The Mayamatam published by the Indira Gandhi National added advantage was that it had both the Sanskrit text and
Center for the Arts is in two volumes with a total of 36 English translation on adjacent pages (Sanskrit on the left
chapters and an appendix. Volume I has 22 chapters and page and English on the right one) so that the words and
the remaining are in volume II. It is a large text comprising their exact meanings could be easily identified.
of 3336 verses in all. The chapters can be classified under
areas of town planning, residential architecture, religious METHODOLOGY AND SCOPE:
architecture, religious rituals, iconography, interior design, The process followed for the exploration of architecture as
renovation work, vehicle design. The chapters of architecture described in Mayamatam is given in Table 2 below.
and planning are from 1 to 30 having 2626 verses. However,
the parameters listed above appear in more than one area in The exercise of tabulation has been very helpful in a more
the volumes. For example, rituals are described in chapter in-depth understanding of the text as every technical term
4; Taking possession of site, chapter 8; Offerings, chapter 9; has become clear. Doing this on a computer also helps
Village planning, chapter 12; The foundation deposit, chapter in finding the same word and its different interpretations
18; Making of roof and completion of works, chapter 24; depending on its context in the lok. General words have
Gateways, chapter 27; Features of houses for the 4 classes, not been translated and put into appropriate cells in many
chapter 28; First entry into house. cases by me.
Table 2: Methodology
Step 1 Studying a chapter; Reading the Sanskrit text and its English translation.
Step 2 Tabulating the word to word meaning of the Sanskrit text and English translation.
In this process, adding notes wherever an alternative interpretation is possible, or some additional
Step 3
translation is to be done.
Based on the understanding, cross referencing and library survey (ASI publications, books by vari-
ous authors), making first draft of the sketches on a square grid sheet along-with comments. The
Step 4
interpretation is at two types, one is sequential and other is an integration that is a figure made from
information present in different places in the text.
Step 5 Making final sketches on a square grid sheet along-with comments and cross-references.
Step 6 Preparing CAD drawings and Three dimensional CAD models of each sketch.
Presentation of data and findings in the form of sheets, models, tables, images, slides etc., depend-
Step 7
ing on the purpose of the presentation.
Table 3: Tabulation and notes for Vedibhadra Socle
Elevation Section
Fig. 2: CAD drawing showing section and elevation of vedibhadra socle Thus, in this way, the descriptions are taken up for graphic
transcription and visual interpretation. Though the
Mayamatam has many areas like planning, interior design,
vehicle design material specifications, technical information
etc., the scope of this study is limited only to architecture
and the visual analysis limited to geometric and proportional
analysis.
The drawings thus prepared can be used to demonstrate the
buildability and visual appeal of the Sanskrit verses.
Fig. 3: View of vedibhadra socle
The above was an example of a drawing being made by
referring a sequence of verses. The following is an example
phrase in the lok offers an alternative interpretation. The of a drawing of an architectural example being made by
details of the verse and the alternative interpretation are combination of sequential interpretation and integration of
shown in Table 4. information appearing at various places in the text.
Steps 4 and 5:
Making of single storey temple Kesara:
The final sketch of socle vedibhadra drawn on a square
grid sheet is shown in Figure 1. The various profiles of Description: (verse 19.33-34) The Kesara comprises a forepart
mouldings are designed after a study of photographs and in the middle of its faade. There are aediculae at the level
drawings of monuments, Archaeological Survey of India of the roof, some at the corners and others and others in the
publications and personal interpretation and inputs. middle; there is a false dormer-window above the forepart.
The attic and roof are circular or square; (the width and the
Steps 6 and 7:
projection of) the median forepart are respectively three and
After the sketch, the drawing of the same socle is made two fifths, three and two sixths or three and two sevenths
on computer using CAD software. The names of the sub (the width of the building).
parts, that is, mouldings are added and the proportional
dimensions are also added as shown in Figure 2. A Temple Kesara has been designed with the following cross
perspective view of the same is shown in Figure 3. references within the Mayamatam as given in table 5.
Elevation Proportions
Similarly the elevation was designed with certain Width to
Height ratios. The names of these for temples and houses
are given in Table 7 and Figure 15.
Elevation Sub-Divisions
S. No. Name W: H
1. Shantika 1: 1
2. Paushtika 1: 1
3. Jayada 1: 1
4. Dhanada 1: 1
5. Adbhuta 1: 2
Fig. 16: Vertical proportions of two storied Temple in arvakarmika (1:2) Table 7b: Names of height* to width proportions for
mode Temples (general):
S. No. Name W: H
1. Shantika 7: 10
2. Paushtika 6: 9
3. Jayada 5: 8
4. Adbhuta 4: 7
5. Sarvakarmika 3: 6
S. No. Name W: H
1. Shantika 7: 10
2. Paushtika 1: 1
3. Jayada 1: 1
Fig. 17: Ratios of Pillar Height, bottom diameter and top diameter
4. Adbhuta 1: 2
*The height is defined in two ways: including sthupi and excluding sthupi
(v.11.20)
Numbers
Apart from the proportions, the numbers of various
building elements was also considered important in the
design of buildings. For humans, odd numbers were
prescribed whereas for Gods the numbers could be both
even and odd. The texts prescribe a number of dimensions,
proportions etc. For example, the number of foreparts or
porches (bhadra) in a pavilion could be from one to four
(Refer Figure 18).
CONCLUSION
Ancient Indian architecture has well defined series of
Fig. 18: Numbers of foreparts in a pavilion proportions for plan, elevation and building elements.
Proportions are prescribed for micro, meso and macro
levels which are time tested and are still appreciated in this
Building elements age.
The building elements like pillars could be designed with This is mainly due to the nature of the Mayamatam text
a number of interdependent dimensions and proportions. itself and of its subject which allows the specialist to give
The bottom diameter of a pillar could be 1/10 to 1/8 an interpretation, whether it be personal or guided by the
of its height; the top diameter equaled 11/12 to 5/6 of fashions of the time and place. The phenomenon is only
bottom diameter (Refer Figure 17). Thus, the proportional possible because inspite of their doctrinaire character this
relation of the pillar with other building components was treatise and others of the same group, leave to architects
the right to originality in the exercise of their art; in other
maintained and in this way the entire building was a set of
words, the tradition is a guide more than it is a restraint
inter-related dimensions. [16].
REFERENCES
ACKNOWLEDGEMENTS