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The Sacred in Indian System of Architecture: A Case example of Mayamatam

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 6

The Sacred in Indian Dr. Vinay Mohan Das

Dr Vinay Mohan Das is currently a
faculty in Department of Architecture,
System of Architecture: Maulana Azad National Institute of
Technology, Bhopal. He has more than
A Case example of 20 years of professional and academic
experience with publications and
Mayamatam presentation in national and
international conferences. Along with
Dr. Yogesh Garg he has been awarded
with 20th Indian Institute of Architects
Award for 'Excellence in Architecture
2009: Commendation Award in
Research Category' for the research
Dr. Vinay Mohan Das titled: 'Visual Interpretation and
Analysis of Mayamatam: A Traditional
Architectural Treatise of India'.

Abstract
In ancient India, architecture was a well-developed profession.
This is evident primarily in the form of the surviving
resplendent built architecture and architectural treatises that
have been passed down as legacy. The aim of this paper is to
present the exploration on the theme 'sacred' in architectural
design and execution process followed in ancient India
(vâstushastra/ vastukala/ sthapatya/ vastuvidya); termed
subsequently as 'Indian System of Architecture'. The paper
focuses on architectural treatises of the Mayamatam. A key
feature is the embedded spirituality alongwith religious rituals
and scientific procedures. The line between the sacred and the
scientific gets blurred on many occasions, right from
conceptualizing a building to finally occupying it. The term
sacred is interpreted in a sense of being spiritual rather than
having religious connotations.

Keywords :
Indian Art and Architecture, Creation, Mandala / Diagram /
Matrix / Grid, Propitiate, Intonations

ISSUE 3, MONSOON 2011 S P A N D R E L

 7 The Sacred in Indian System of Architecture: A Case example of Mayamatam
Introduction
As per Alice Boner (1889–1981) in Indian tradition, the
arts and craft (shilpa and vâstu) encompasses a wide
variety of branches like painting, sculpture, architecture,
engineering, mechanics, metal casting, to pottery,
weaving, leather work, weaving, perfumery etc. and also
applicable in dance, music, poetry, drama, medicine etc.1
The Sanskrit words which is all these are in the context of
the relation of art and sacred, Bettina Bäumer stated :2
…the texts describing the principles and practice of form,
namely the so called Shilpa-and Vâstushâstras, are no
longer of merely historical and scholarly interest, they
also concern our daily lives; it may be the way we deal
with the environment, the space in which we live and the
objects of use and beauty, not to mention the sacred
[italics mine] which has been mostly governed by the
rules of tradition.
The arts and craft in Indian tradition (shilpa) has its roots
in the Vedas. It is the making of temples, houses, palaces,
images, gardens, wells. It is also science, crafts and arts
all of which are deemed as complementary. The
underlying tenet is that in all these something is created;
a 'form is fashioned'. It could be divine art (deva shilpa)
where the entire universe including the sun and earth
are created with the quality of rhythm (chhanda) and on
the other level the human shilpa which manifests in the
basic forms of art with reciprocity of both these types of
arts.3
Ananda Kentish Coomaraswamy (1877-1947), a pioneer
in the field of traditional philosophy of Indian art wrote
that in the Indian context every artistic creation is a
suggestion and symbol of the universe; expression of
divine; an act of god in which the man is just the medium
for the Divine; it is similar to the creation of the universe
by the Divine. He further stated:4
“It is the same with architecture. Here too, the design of
buildings, towns etc. suggest and symbolize the
Universe; the site of a temple or town was laid out in
relation to astrological observations; every stone had its
place in the cosmic design, and the very faults of
execution represented the imperfections and
shortcomings of the craftsman himself.”
In his opinion, this holistic approach to design resulted in
a wonderful, beautiful and dignified architecture, and
such conceptions were reflected in the dignity and
serenity of life itself. Under such conditions, the
craftsman was not an individual expressing individual
whims, but a part of the Universe giving expression to
the ideals of its own eternal beauty and unchanging law.
The technical treatises were considered as the
S PAN D R E L ISSUE 3, MONSOON 2011
documentation of these eternal laws by the sages to
whom these were revealed by the Divine.
Stella Kramrisch (1896-1993) stated in her encyclopedic
book on Hindu temples that the science of architecture
has one source. Architecture originated from Lord Shiva.
The knowledge of architecture (vastuvidya) is auxiliary
to the Vedas and is part of the primordial Knowledge.5
Thus it can be summarized that as per ancient Indian
philosophy, it is the Divine who created the universe in all
its manifestations and any creation be it art or
architecture; the artist is doing a similar task, that is,
'creating', 'fashioning a form' or 'manifesting the
unmanifest'. Therefore he has to be very aware and
sensitive of the responsibility bestowed upon him by
virtue of the act he is performing and hence treat his
profession, tools, process and the product as sacred
because his profession and tools are his means of
livelihood and his products will influence the life of
others.
Sacred in Art and Architecture Treatises
The ancient Indian architecture and art can be classified
as; a) sacred both in process and product and b) sacred in
process and secular in product. The former was for the
purpose of worship and other religious activities like
processions, study of scriptures, annual festivals etc.
This type of architecture is what is classified as temple
architecture. In such types of architecture everything
within its precincts was sacred; be it the sculptures,
pond, trees, meals etc. People go there for a certain
purpose and followed the rituals of worship for the main
deity of that particular temple.
The secular product is the architecture of palaces,
houses, pavilions, wells and water bodies and the
planning of villages, towns and forts. The purpose of
secular architecture was for a non-religious purpose like
habitation nevertheless it had some sacred element in it.
The process followed for product manufacturing, be it an
idol or building was never devoid of actions with sacred
connotations.
For the product to be perfect it should be started on an
auspicious time. This is highlighted in the text Vâstusûtra
Upanishad which specifies appropriate times for
sculpting. The tools used for making sculptures were also
considered sacred. An example of the sacredness of the
tools of carving is that first consecration of the chisels is
performed. The sacredness of the profession is
articulated by the fact that this text recommends the
reciting of a mantra to overcome weakness while
working with the chisels before starting sculpting. It also
specifies that by meditating, the excellence of form to be
sculpted becomes clear.6
 The Sacred in Indian System of Architecture: A Case example of Mayamatam
The artist knows that the best results would be achieved
if his mind is confident and clear and his tools are perfect.
In sculpting even the discarded pieces of stone are cast
away with a mantra of dismissal. These descriptions
show the respect given by the artist to his tools,
materials and profession; all of which are sacred to him.
The artist imbibes these directives thoroughly and then
creates sacred art which is then worshiped by all. This is
one example of process and product wherein there is
deep sense of spiritual commitment in the process and
an emanation of divine blessing in the product. The line
between spirituality and religion is blurred.7
The importance of meditation has also been highlighted
by Coomaraswamy, who quotes from Shukracharya's
Shukranitisâra in which meditation was prescribed for
visualizing the form of the image and that the success of
the artist is in proportion to his meditation.8
In Shilparatnakosha part I it is stated that shilpa is the
visual testimony of all darshanas. In the world many
types of art (shilpa) are known, which have been
conceived by the creator; amongst these the knowledge
of architecture is the best, so say the sthapakas. As per
this treatise, according to architectural theory the
temple is most important.9
The Aitreya Brahmana regards the arts as the imitation
of divine arts. The creative process is one and the same in
the creation of the universe which is attributed to divine
personages on the one hand and the composing of a
song by poets, carving of sculptures by artists, making a
chariot by carpenters etc. on the other. Such suggestions
are also made in the Rig-Veda.
In the anthology of architectural treatises on vâstu
numerous texts are available. These can be broadly
divided into two streams, the Nâgara or North Indian
School and Dravida or South Indian the School of
architecture. The Samarângana Sutradhâra,
Vishwakarmaprakâsha, Aparâjitapracchâ are a few text
of the former and the Mânasara, Mayamatam,
Manushyâlayachandrikâ a few text of the latter.
A general structure is noticeable in all these treatises.11
These start with the invoking the Creator. Subsequently
there are topics on site possession and selection,
measurement systems, architectural team, settlement
types, building types, construction and technical details,
building elements and materials, mystic calculations,
intonations, rituals and ceremonies. Contrary to popular
belief, these treatises have more information on
architecture and its related topics than mysticism and
rituals. The mystic information is embedded in the
process of design and construction in such a manner that
it becomes difficult to separate the scientific from the
religious.
8
The allusion of scared can be perceived in various
chapters of Mayamatam. Many verses allude to the
Divine by means of performing rituals, making sacred
diagrams, reciting intonations to appease the
supernatural so that the resident of the dwelling is not
harmed by these forces and also prospers in his life. In
these activities the architect was referred as the 'sage' on
many occasions as he not only is making the physical
entity but also creating an energy sheath (pinda) of the
house. This energy sheath is created by means of rituals,
diagrams and intonations. The idea being the physical
structure takes care of the physical forces like wind, rain,
sun; the metaphysical forces are taken care by the energy
sheath. The next section deals with the chapter-wise
analysis of Mayamatam on the theme of 'sacred'.
References to the Sacred in Mayamatam
The Mayamatam referred for this purpose is the edition
published by Indira Gandhi National Centre of Arts and
authored by Dr. Bruno Dagens.12 This edition has Sanskrit
text and English translation on adjacent pages which is
helpful in a better understanding of text and
identification of technical terms. The chapters from one
to thirty deal with architecture and planning; the
remaining six chapters are on vehicles, furniture,
iconography etc. For the study the contents of these
thirty chapters are analyzed. This information pertaining
to this theme is in chapter numbers 1, 4, 7, 8, 9, 12, 18,
23, 25, 27, 29, and 30.
Source of Knowledge13
The source of the knowledge of architecture is alluded to
Brahma; the Creator in the holy trinity of Hindu
pantheon. This on its own makes the profession and
practice of architecture sacred as it has been handed
down by the Immortals. In the last verse of chapter 1, it is
stated:
All this has been ordained by the lords of the sages, the
immortals, of whom the first is Pitâmaha. All this has
been comprehensively set forth by Maya: that is, the
characteristics of perfect dwellings according to whether
they are intended for the pure spirited denizens of the
heavens or for men. (Figure 1).
CREATOR
MAYA
TO ALL STHAPATI
Fig. 1 : The Source of Knowledge (as per Mayamatam)
ISSUE 3, MONSOON 2011 S P A N D R E L
 9 The Sacred in Indian System of Architecture: A Case example of Mayamatam
14
Taking Possession of Site
The identification of site for habitation and subsequent
custody of the site by the architect is an important
activity. It comprised of two steps, first is the physical
possession of the site and second is the clearing of sites
of its supernatural residents. The site should be both
physically and metaphysically vacant for the prosperity
of its new occupant. The point to be noted here is that
the clearing of the site metaphysically is in the form of a
prayer and a request to the spirits. This demonstrates the
non-violent character of the ritual and the respect given
to nature.
Once he has chosen a piece of land endowed with the
prescribed qualities of shape, color, sound etc., the
learned architect should make an offering to the gods
accompanied by exclamations such as 'Svasti' and cries
of good omen such as 'Jaya'. Next he pronounces this
verse: "That spirits, Gods and Demons depart! That they
leave this place and go elsewhere for I take possession”.
Thus possession is taken of the site.
The soil testing is a technical exercise however this is also
turned into a sacred event by means of offering prayers
and fasting and performing it on an auspicious day. For
this, in the favorable half of the day at a moment
determined by an inspired man, hulled rice and white
flowers are to be offered and, if possible brahmins
should pronounce propitious words. In the center of the
site a small square oriented to the cardinal points is
demarcated and dug out to the depth of one cubit.
(Figure 2)
Diagrams or Matrices or Grids (mandalas)
These symbolize the sacred as well as the mundane in
architecture at many levels and scales. When marked on
the site on 1:1 scale, it has dual purpose; as a means of
appeasing the natural forces as well as a grid for
construction. On a smaller scale it is used for rituals like
foundation deposit, completion of works, first entry to
house, and construction of consecration pavilion.
There are 32 diagrams, starting from one square to
32x32 squares for different purposes like yajna, houses,
palaces, temples and settlements. These diagrams had
different divinities inhabiting in different squares.
Depending on the power of the divinities and the size of
the matrix, these occupied half a square to sixteen
squares. The uses of the mandalas are given below.
Delineation of Vastupurusha and Identifying Exclusion Zones
It was also thought that each dwelling had a Spirit
(vastupurusha) who was delineated by the mandala. It
was this spirit who was responsible for good and for bad
fortune. Therefore, it is written that the wise must avoid
tormenting his limbs with the 'limbs' of the house for, if
not, sorrows innumerable will fall upon the limbs of the
owner of the house. Therefore the sage must always
spare the body of the Spirit in the course of
construction.15 (Figure 3).
North

rth
No
1 CUBIT

West East

Fig. 2 : Soil Examination Pit

After prayers are offered according to the ritual and the

South
pit consecrated with water of all jewels mixed with
sandal and hulled rice, the wise man should fill it will Fig. 3 : The Spirit of the Building (Vâstupurush)
water at nightfall. Then, after purifying himself and on the mandûka diagram (As per Mayamatam)
concentrating his mind, he lies down on the ground
beside the pit facing east and he begins his fast by
The same concept is employed in settlement planning.
pronouncing this verse: "Earth, at this site, proper in
Diagrams such as pechaka (with four square) or âsana
riches and in harvest! Be fecund salutations to thee! Be
(with a hundred squares) or those between them should
propitious!" The quality of soil is determined by the
be used; there are six places where there should be no
amount of residual water in the pit at the daybreak.

S PAN D R E L ISSUE 3, MONSOON 2011

 The Sacred in Indian System of Architecture: A Case example of Mayamatam 10
temples or buildings of the kind: the heart of the spirit of The diagrams are also used for zoning within the
the site and its bones, the stakes, the lines of the settlement. In the diagram comprising eighty-one
diagram, the intersections and the diagonals and squares and in that with sixty-four, the brahmâ zone is in
parallels. the center and the daiva, mânusòa and paiúâca zones
must be determined, one after the other. The dwelling of
Planning Settlements (Villages and Towns) and
Brahmins should be in the daiva and mânusa zones and
Buildings
those of the craftsman in the paiúâca zone. (Figure 5)
The architect use mandûka (sixty-four squares) or
paramaúâyin (eighty-one squares) diagrams at the time
of the founding of villages and other settlements.17 NORTH
NORTH
Amongst the diagrams the mandûka is the one, which is PAISHACHA
PAISHACHA
prescribed to be used for all constructions. In a different MANUSHA
verse it is given that to draw the plan the architect may MANUSHA
DAIVA
DAIVA
use any diagram, from the sakala (with one square) to
the âsana (with one hundred). For town planning BRAHMA BRAHMA
diagrams such as pechaka (with four square) or âsana
(with a hundred squares) or those between them should
be used. (Figure 4)

MANDUKA MANDALA
(64 SQUARES) PARMASHAYIN MANDALA
NORTH (81 SQUARES)
Fig. 5 : Settlement Zoning based on the Mandûka and
Paramaúâyin Matrix Configuration

19
Making Foundation Deposit Casket
A flawless copper casket must be put which is either as
per the upapîtha diagram (twenty-five compartments)
or pîtha diagram (nine compartments). If the container is
as per the upapîtha diagram, then twenty-five gods are
honored and if it is based on the pîtha diagram then nine
gods are honored. (Figure 6).

MANDUKA MANDALA
(64 SQUARES)

NORTH

PARMASHAYIN MANDALA
(81 SQUARES)
Figure 6: View of Foundation Deposit Casket
Fig. 4 : Mandûka and Paramaúâyin as per the Pîtha Mandala (nine compartments)
Matrix Configuration

ISSUE 3, MONSOON 2011 S P A N D R E L

 11 The Sacred in Indian System of Architecture: A Case example of Mayamatam

Consecration Ceremony and First Entry to House

For the consecration ceremony of temples a pavilion for NORTH

is erected in the north of the building and in the middle of

the pavilion for the preparatory rites a one pole (four
cubits) wide manduka diagram (sixty-four squares)
should be drawn on a propitious layer of unhusked rice or
20
pure uncooked rice for propitiating the vâstu deities.
In addition to the above, as per the upapitha diagram
twenty-five identical covered pitchers, filled with
perfumed water and surrounded by the jewels etc. are
also set out for the ritual. Similar diagrams are also made
for the ritual of fist entry to house.21
22
Temple Enclosures and Attendants' Shrines ISHAKANTA MANDALA
(961 SQUARES)
The whole temple complex may have a maximum of five Fig. 8 : Division of Temple Enclosures for Odd Grids
enclosures. Starting from the center these are
antarmandala, antarhâra, madhyahâra, maryâda or The size of the main temple and the number of
maryâdi and mahâmaryâda or mahâmaryâdi. These attendants also govern which type of diagram should be
enclosures are configured on grids having both even and used. When the sanctum is small, there are eight
odd number of squares. attendants and a single enclosure the diagram followed
For a diagram of even numbers, the main temple is is pîtha (nine squares). If there are twelve attendants,
drawn up with four squares. The first enclosure is as per the diagram is upaîpitha (twenty-five squares). For
the mahâpitha (sixteen squares); the second enclosure installing sixteen attendants, the diagram is ugrapîtha,
is the mandûka (sixty-four squares) diagram. The median (thirty-six squares) and for thirty-two attendants
enclosure is the bhadramahâsana (196 squares); the sthandila (forty-nine squares) diagram is employed.
fourth enclosure is the supratîkanta (484 squares) and Palace Enclosures
23

the fifth is the indrakânta (1024 squares). (Figure 7)

The palaces are also constructed as per the mandala
matrices. These have enclosures similar to the temples.
The first enclosure is according to the sakla diagram
NORTH
(Single Square). The second enclosure is based on the
upapîtha diagram (twenty-five squares). The third
enclosure is based on the sthandila diagram (forty-nine
square). The fourth enclosure is based on the
paramaúâyin diagram (eighty-one square). The fifth
enclosure is based on the sthânîya diagram (hundred
and twenty-one square). (Figure 9)

NORTH

INDRAKANTA MANDALA
(1024 SQUARES)

Fig. 7 : Division of Temple Enclosures for Even Grids

For those temples which are based in the odd numbered

diagrams, the main temple occupies only one square,
the diagram for the first enclosure is the pîtha
(9 squares), the second is the sthandila diagram (forty-
nine squares). The median enclosure is the
ubhayacandita (169 squares); the fourth enclosure is the STHANIYA MANDALA
(121 SQUARES)
sushamhita diagram (441 squares) and the fifth is the
Îshakânta (961squares). (Figure 8) Fig. 9 : Division of Palace Enclosures for Odd Grids

S PAN D R E L ISSUE 3, MONSOON 2011

 The Sacred in Indian System of Architecture: A Case example of Mayamatam
24
Pavilions and Halls
The sacrificial pavilion is constructed according to
paramaúâyika diagram with eighty-one square the
central altar occupies the nine squares of Brahma. On
the altar eight types of fire-pits are placed. (Figure 10).
12
position on the mandala and had a different offering for
appeasement. The time (muhurta) selected for these
rituals and the intonations (mantra) recited were vital for
the strength of the results. The importance of offerings
can be judged by the fact that a complete chapter of the
Mayamatam is devoted to it.
26
Individual and Common Offerings

NORTH
It is prescribed that offering should be made to each god
of the diagram in his own place; individual and common
offerings are made starting with that to Brahmâ. it is
prescribed that each deity be invoked by name with a
formula beginning 'Om' and ending 'Namas' and after
place for eight altars
that water is to be offered, next the common offering
should be made and then again the that one appropriate
to each god. Finally water is offered again. This is the
procedure at the time of the founding of villages and
other settlements. The gods being appeased thus one
after the other, according to the ritual; should be
PAVILION PLAN AS PER dismissed (visarjayet) with a formula in order that the
PARMASHAYIN MANDALA
(81 SQUARES)
layout of the construction may be set up.

Fig. 10 : Sacrificial Pavilion as per The suitable time begins at dawn when the architect,
the Paramashayin Mandala having fasted, purified his mind and understood all
things, must apportion amongst the gods the common
Position of Doors25 and particular offerings according to the rules given
above.
In the paramaúâyika diagram (eighty-one squares), out
27
of the thirty-two squares situated on the periphery of Selecting Trees
the diagram, those of Mahendra, Râkshasa, Puspadanta Since the texts are of a time when forests were located
and Bhallâta are auspicious for placing a door. nearby, for materials selection it is recommended to go
( Figure 11). into a forest, under a favorable constellation and during a
NORTH
BHALLATA bright fortnight. To begin with, the chosen trees are to be
propitiated, as also the forest deities, with the aid of
perfumes, flowers and fumigations and with offerings of
meat, boiled rice with sesame, rice with water and fish
MAHENDRA and with food of all kinds.
The architect, purified and wise, is to spend the night on
PUSHPADANTA a spread of darbha to the east of the tree having first
placed his axe beside him to the right. Then in the
morning, after drinking pure water and facing to the
west, the architect, clad in white and with axe in hand,
RAKSHASA pronounces the formula: "Let Spirits, Divinities and
PARMASHAYIN MANDALA Demons disperse! On you O trees let Soma bestow
(81 SQUARES) power! May it be propitious for you O sons of Earth!
Divinities and Demons I shall accomplish this act and you
Fig. 11 : Prescribed Location of Doors must change your dwelling place." The architect, having
in a Paramashayin Mandala
done this and having paid homage to the tree then cuts
the tree for timber.
Time, Offerings and Intonations
28
Material Usage
The Gods play an important role in the success of any
construction project. They have to be propitiated at The materials used in construction are to be placed as
various junctures for the prosperity of the resident and per its original natural orientation so as to be in harmony
the permanence of the structure. Each god has his own with nature. This was done by keeping the top of the tree

ISSUE 3, MONSOON 2011 S P A N D R E L

 13 The Sacred in Indian System of Architecture: A Case example of Mayamatam
as the top of the timber post. For horizontal members
the top of the tree was oriented towards the north and
east when used as timber beams. Suitable stones should
be embedded in the earth with an eastward or
northward orientation and these are also placed in the
building in the same orientation with the top as top and
bottom as bottom. It could mean that these materials
are gifts of gods and therefore sacred. Hence even if
these were removed from their original places for
making a building, care was taken to keep them in the
same orientation as these originally were.
The Foundation Deposit
For a fruitful future of settlements, the construction
work should start with the placing of the foundation
during an appropriate time and at the right location of
the matrix. The requisite materials are placed in a casket
and the casket is entombed in a pit. During this ritual
offerings are also made to Gods. It was thought that if
there is a foundation deposit then success is ensured
but, if not, failure is inevitable.29
The architect must install the deposit according to the
rules and facing east or north after pronouncing the
following formula: “Glory to the formulae and to the
deities which are their letters! Glory to the Lord of all
Jewels! Homage to supreme Prajâpati giver of all truth!
Homage to Úrî! Homage to Sarasvatî! Homage to
Vaivasvata! Homage to Vajrapâni! Homage to the
eternally youthful Destroyer of all obstacles! Glory and
Homage to Vahni!”30
In villages, agrahâra, towns and other settlements, the
offering to the akhiladevatâ is to be made on the square
of Brahmâ, at the major and intermediate directions and
in the sixty-four squares (of the diagram) as well as in the
god's temple and in the perfect shrine of Sarasvatî.31
32
Consecration Ceremony
A day before the consecration ceremony of a temple, all
preparations like offerings to the vâstu gods and water
vases are to be arranged. After drinking pure water and
undergoing a fast, with his mind at peace, the architect
settles down for the night on a white cloth to the north of
the vases.
In the morning, during an auspicious lunar month and
fortnight, under a favorable conjunction, the architect
must meditate upon the Earth in its totality. She who
supports the Lords of the cardinal points and of the
continents and who, along with the Ocean and the Lords
of the mountains rests upon Ananta; then, in a whisper,
he invokes the Lord of the World who is responsible for
creation, existence and death. Then the final bricks and
the axis are washed with water from the vases, and the
architect propitiates the gods with flowers, perfumes
S PAN D R E L ISSUE 3, MONSOON 2011
and incense and with the lighting of the lamps and then
completes the Temple.
After this, the donor, as well as the master and the
architect must perform the rite of consecration by water.
At the end of the consecration ceremony for temples,
the architect prays for the longevity of the structure and
for a life of good health, happiness, glory, eternal place of
rites that are auspicious and similar blessings. These
words being pronounced the architect's work is
accomplished.
This is how a building is happily finished, such as will
increase the fortunes of the owner, his family, his people
and his cows. If these rules are broken, if an unfinished
building is entered if the tutelary deities are deprived of
their offering, nothing is gained but misfortune.
33
First Entry into a House
The entry into a house is made only when it is finished;
there should be no hurry to enter an unfinished house;
tardiness in entering a finished house means that none
but the hosts of deities and sprits will establish
themselves there. Therefore, the work having been
brought to completion, the house is to be entered in an
auspicious way at the precisely suitable moment of an
auspicious time and in harmony with the horoscope.
The architect begins the preparatory ceremony in the
evening, to the north-east of the house, in a pavilion (like
in the final ceremony for temples). On the eve of the
chosen day, preparations like recitations of the Veda etc.
are done. The house should be cleaned and the floor
should be sprinkled with sandalwood water.
During the first entry into a house the architect recites
the following fumigation formula "It bestows grain and
wealth in abundance! Ah! It puts to fight spirits, demons
and Râkshasa! It burns against snakes, flies mosquitoes,
mice, spiders and ants." Then the builder's implements
are arranged on strewn grains contiguous to the vases in
the west and offerings are made to them and formula for
tools recited: "Sustaining, happy, rich, renowned,
glorious, full of marvels and great exploits, eternal place
of rites that are not inauspicious, that Earth may live
every in the ways of dharma." "That this house be
protected from collapse, from assaults by rain, from
falling beneath the blows of elephants, from attacks by
wind, from the flaring up to fire, from theft and the thief!
That it may be propitious for me!"
Conclusion
Thus it can be concluded that the profession of
architecture in the past was considered as a profession
that is sacred in origin. It can also be stated that its
process included homage to the Divine. In the design
 The Sacred in Indian System of Architecture: A Case example of Mayamatam
stage to achieve clarity of thought and vision it was
advised to meditate to get best results. During the
construction phase it the sacred was invoked at crucial
junctures of the project so as to achieve perfection.
Finally the handing over or consecration ceremony of the
building was performed the presence of the Gods and
their blessings sought by propitiating them. The entire
journey from the conception to handing over the
building for occupation is full of varying experiences for
the architect and the client.
The idea of considering the land, materials etc. as sacred
reflects the Hindu philosophy treating nature as the
God's creation and thus worthy of respect. Therefore
man should use natural resources as a humble receiver
of gifts from the Gods instead of like a conqueror
exploiting nature. Another inference could be that when
the Immortals are involved in the design scenario, the
mortals become serious in their acts and work with a
more honest spirit and treat their adobe with respect.
They have a sense of responsibility towards the God's
gifts (nature), society and self. The degradation comes
when these acts become mere formalities and
ceremonies and are carried out in letter and not in spirit.
In the context of products like temples, houses, palaces,
pavilions, villages, towns etc. the process is a mix of
technical, religious, astrological procedures which were
carried out so as to make the product in harmony with
the environment and universe. The product is a universe
in miniature; complete within itself and in harmony with
all sub-systems of the universe. The site becomes a
miniature cosmos; a universe with the client at its center.
The site is the upholder of the built form. Various rituals,
geometrical matrices (mandalas), astrological deadlines,
chanting of verses, etc. are incorporated at appropriate
junctures so as to make the site demarcation and the
building design and construction flawless. All these were
followed in the belief that this building, erected through
the labor of the architect, skilled workmen and
enlightened client would provide its occupants a fruitful
life of material-emotional-spiritual fulfillment.
The final product was sacred and eternal. Subsequently
while inhabiting in these structures, activities like
cleaning, washing, making religious symbols on walls
and floors, removing footwear outside, performing
prayers etc. were carried out on a regular basis. In Hindu
families following this living tradition such rites are even
carried out today in their homes. Such activities not only
kept pests and diseases away but also gave mental peace
and spiritual bliss.
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References
1. Boner, A., Sarma, S. R., & Bäumer, B. 1982/2000. Vastusutra
Upnishad: The Essence of Form in Sacred Art. Motilal
Banarasidass Publishers Pvt. Ltd. New Delhi. p 2.
2. Ibid, p ix.
3. Misra, R. N. 1988/2001. Shilpa. In Bäumer, B. (ed.)
Kalatatvakosha: A Lexicon of Fundamental Concepts of the Indian
Arts Vol. I. Indira Gandhi National Centre for the Arts & Motilal
Banarasidass Publishers Pvt. Ltd. New Delhi. shilpa pp 193-221
4. Coomaraswamy, A. K. 1908/1985. Fundamentals of Indian Art,
vol. 1. The Historical Research Documentation Programme Jaipur.
p 11
5. Kramrisch, S. 1946/1996. The Hindu temple vol. 2. Motilal
Banarasidass, Delhi 7. p 424
6. -- Vastusutra Upanishad. pp 67-73
7. Ibid
8. -- Fundamentals of Indian Art, vol. 1. pp 1-19
9. Bäumer, B. & Das, R. P. 1994. Silparatnakosa. Indira Gandhi
National Centre for the Arts & Motilal Banarasidass Publishers
Pvt. Ltd. New Delhi. p33
10. – Kalatatvakosha
11. Chakrabarti, V. 1999. Indian Architectural Theory: Contemporary
Uses of Vastu Vidya. Oxford University Press. New Delhi. pp 1-18
12. Dagens, B. 1994/2000. Mayamatam (Vols. I & II). Indira Gandhi
National Centre for the Arts & Motilal Banarasidass Publishers
Pvt. Ltd. New Delhi.
13. Ibid. Summary. pp 3-6
14. Ibid. Taking Possession of the Site. pp 17-22
15. Ibid. Diagrams. pp 37-50
16. Ibid. Villages Planning. pp 57-88
17. Ibid. Offerings. pp 51-56
18. Ibid. Towns. pp 89-112
19. Ibid. The Foundation Deposit. pp 121-150
20. Ibid. Making of the Roof and Completion of the Building Work. pp
251-306
21. Ibid. First Entry into a House. pp 611-622
22. Ibid. Enclosures and Attendants' Shrines. pp 387-420
23. Ibid. Royal Palaces. pp 623-680
24. Ibid. Pavilions and Halls. pp 451-514
25. Ibid. Doors. pp 681-714
26. Ibid. Offerings pp. 51-56
27. Ibid. Dimensions of Pillars and Choice of Materials. pp 179-212
28. Ibid
29. Ibid. Villages Planning. pp 57-88
30. Ibid. The Foundation Deposit. pp 121-150
31. Ibid. First Entry into a House. pp 611-622
32. Ibid. Making of the Roof and Completion of the Building Work. pp
251-306
33. Ibid. First Entry into a House. pp 611-622
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