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·THE PUNJAB ORIENTAL SERIES NO. XVII. E-

·THE
Punjab Oriental Series
OR
A COLLECTION OF RARE & UNPUBLISHED
BOOKS RELATING TO ANCIENT
INDIA
EDITED BY
THE WELL-KNOWN & EMINENT SCHOLARS
OR
INDIA, EUROPE and AMERICA
No. 17.
LAHORE (INDIA)
THE PUNJAB SANSKRIT BOOK DEPOT
1928.

·SILPA-SASTRA Edited With Introduction, notes and English translation BY Prof: PHANINDRA NATH BOSE, M. A. Professor of History, Visvabtarati, Santiniketan, Author of Principles of Indian Silpasastra, Pratima-mana-laksanam, Indian Teachers of China, Indian Colony of Siam, Indian colony of Champa. etc, etc, etc, PUBLISHED BY MOTI LAL BANARSI DASS Proprietors The Punjab Sanskrit Book Depot Saidmitha LAHORE.

·MOTI LAL BANARSI DAS
Proprietors,
19 Punjab Sanskrit Book vppo
SAIDMITHA STREET
LAHORE.
PRINTED BY
DURGA DASS “PRABHAKAR"
Manager,
The Bombay Sanskrit Press,
SAIDMITHA STREET,
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·CONTENTS
Chapter
Page
1. INTRODUCTION
1
1
14
2. प्रथमोऽध्यायः
3. द्वितीयोऽध्यायः
4 तृतीयोऽध्यायः
5. चतुर्थोऽध्यायः
6. पंचमोऽध्यायः
21
....
25
....
29
7. Appendix
32
8. INDEX
35

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·INTRODUCTION The present work has a special merit of its own. This Śilpa- Šāstra with its Uriya commentary is still consulted by the Silpins of Orissa, where even now a large number of artists can be found. These artists possess numerous palm-leaf manuscripts, which deal mainly with the Silpa principles. They consult those manuscripts in building their houses, images and temples. It is very unfortunate that these manuscripts donot contain Sanskrit slokas in correct Sanskrit. In most of the cases, they have corrupted Sanskrit slokas though their Uriya commentary conveys the true meaning, Tney use the corrupted Sanskrit slokas and hand then down from father to the son. The descendants of the old artists can now be found in Puri, where there are 30 families, in Bhuvanes varu only two families and so in Yajpura in Orissa. As these artists use the texts constantly, they donot like to part with their manuscripts, which they regard as their treasure. It should, however, be mentioned that the name Silpa- Šāstrā applied to this book, is a misnomer. Instead of calling it Śilpaśāstra, it is better to call it Vāstū-Šāstra, be- Cruse the book does not deal with images, but with the building of houses. The name Silpaśāstra has been taken here in a general sense and used to denote the scionce of building also. It, therefore, falls in the same category with the works like Vāstū-vidyā, Manusyālayachandrika and other books. In the ordinary sense of the terni, ſilpaśāstra includes not only the science of sculpture, but also the sciences of architecture and painting. The present work falls, as we know from the contents of the book, under the science of architecture. Fortunately for us, we have in Sanskrit other works dealing with the science of architecture. One is Vūstu Vidyā edited by MM. T. Ganapati Sāstri from ·II Travancore. It deals with the examination of the earth sui. table for Vāstu land avd also with house-building. Another work edited by the same scholar is Munusyūl.ryachanılriki, dealing with the saine subject. The third work is Mayamatam, from the same editor, dealing with houses, palaces, villages and towns. It is considered as a very valuable work on the science of architecture. Sriparatnam-is another valuable book, edited by the well-known scholar MM. T. Ganapati Sastri. The completo book is not yet out, but it promises to be an important work on Indian art and architecture. It may be divided into two parts, the first one containing 46 chapters dealing with architectural subjects and the second one of 35 chapters treating mainly of Indian iconography. Unfortunately, at present only the tirst part is published containing only one chapter on paintiug, while the remaining chapters deal with varied topics such as the characteristics of an ācārya and of a Silpin, the laying out of villages, towns, houses, palaces, doors, steps, torunub, mandapa, natya-m'endupa and other allied subjects. Another such book is Brhat Samhita (cal, 1317 B. S.) by the sage Varahamihira. Though it deals mainly with astronomy, yet in chapter 53, it deals with Västre-vily and in chapter 56 with Prūsādu-luksuram. There are some books, which have only a few chapters devoted to this topic of vastu. One such book is-Yuktikalpr-taru, edited by Pandit Isvarchandra Sastri. Only one chapter of this book, namely, chapter 23, deals with Vüstu. Samrăngana-Sūtrarlhāra-is an interestiny book on Indian architecture, composed by the king Bhojadeva of Dhara. It has been recently edited by M M. T. Ganapati Sastri.? It tries to trace the origin of Silpasastra and repre- 1. Included in the Calcntta Oriental Series in 1917. 2. Included in the Gackwad's Oriental series in 1921.

·III sons. sents Viśvakarnan as speaking about these subjects to his The book covers a wide range from the laying out of villages, cities and forts to the making of several instruments (Pantrus), such as elephant machine, Vimānu machine, doorkeeper machine, soldier inaching and others. Visoukarmaprakasam-is an other interesting book on Indian architecture, and is ascribed to Viśvakarinan. It beging with the examination of the sil suitable for Vastu land. It also deals with Västu-vidya in general. Some of the Purānas also deal with the topic of Viistu. Of these mention should be made (1) of the Mutsya purānam, which has chapters 252- 257 dealing with Västro-vidya, (ii) of the Agnipurānam, chapter 104 on pruulia. luksunun, chapter 105 on grhadivasti and chapter 106 on Nugaradi Vāstu, (iii) of the Gurudapurānam, chapter 46 on Vastunirnaya, and chapter 47 on Prāsādulaksanam. (iv) and of the Bhavisya puranam. Vistuprakaranan-is a Ms. in the Møs. Department of the Visvabharati Library, bearing No. 1614. It is written on paper in Devanagri character. There are 29 leaves. The name of the copyist is not given, nor the date is noted. It deals with the topic of vāstu and mentions several experts in Vistu-vidyā such as Gautama, Gārgya and Viávakarinan. Our Indian tradition ascribes many Silpa works to many celebrated authors, who are known as Vastusāstropadesakas (or instructors in the science of Vastu) and who are eighteen in number, according to the Matsyapurānam. They are: (1) Bhrgu. (2) Atri, (2) Vasistha, (4) Viávakarman, (5) Maya, (6) Nāradi, 17) Nagnajita, (8) Višālāksa (9) Purandara a 1. Venkatesvara Press, Bombay, Samvat 1971.

·IV (10)Brahma, (11) Kumāra, (12) Nandita, (13) Saunaka (14) Garga, (15) Vasudeva, (16) Aniruddha, (17) Sukra and (18) Brhaspati.' We are not in a position to ascertain the works written by these traditional writers. We, however, get a list of twentyfive traditional works on Siipa in the Agnipurānam. They are: (1) Pañca-rātra (11) Jnana-Sagara-Vasistharatant (2) Sapta-rātra (12) Prahli da-tantra (3) Haya-Sirsa tantra (13) Gāryya-tantra (4) Trailokya-mohona-tantra(14) Gālava-tantra (5) Vaibhava-tantra (15) Svayambhuva-tantra (6) Pauskara-tantra (16) Kapila-tantra (7) Niradiya-tantra (17) Tarksa-tantraa (8) Sandilya-tantra (18) Nārāyaniya-tantra (9) Vaisvaka-tantra (19) A treya -tantra (10) Samaka-tantra (20) Nārasimha-tantra 1. भृगुरत्रि वसिष्ठश्च विश्वकर्मा मयस्तथा । नारदो नग्नजिञ्चय विशालाक्षः पुरन्दरः ॥ १॥ ब्रह्मा कुमारो नन्दीशः शौनको गर्ग एव च । वासुदेवोऽनिरुद्धश्च तथा शुक्र वृहस्पति ॥२॥ श्रष्ठादशैते विख्याता वास्तुशास्त्रोपदेशकाः । 2. प्रोक्तानि पंचरात्राणि सप्तरात्राणि वै मया ॥१॥ व्यस्तानि मुनिभिलोंके पंचविंशति संख्यया । हयशीर्ष तन्त्रमाद्यं तन्त्रं त्रैलोक्यमोहनम् ॥ २ ॥ वैभवं पौष्करं तन्त्र प्रह्लाद गार्यगालवम् । नारदीयंच संप्रश्न शांडिल्यं वैश्वकं तथा ॥ ३॥ सत्योक्तं शौनक तन्त्रं वाविष्टं शानसागरम् । स्वायंभुवं कापिलं च ताक्ष नारायणीयकम् ॥ ४ ॥ श्रात्रेयं मारसिंहाख्यमानन्दाख्यं तथारुणम् । बौधायनं तथापतु विश्वोक्तं तस्य सारतः ॥ ५॥ (Agnipuranam, ch. 39) ·V (24) Arsa- tantra-and (21) Ānanda-tantra (22, Aruna-tantra (23) Vaudhūyana-tantra (25) Tantra spoken to Viếra. It will be seen from the above list that some of the works are known after the names of their authors, who are known to us from the list of the Matayapurāram. Thus, from a comparison of the above two lists, we get the following names of Silpe works and those of their authors:- (i) Ātreya-tantra by Atri (ii) Jñana-Savara-Vašistha Tantra by Vasistha (iii) Nāra liya-tantra by Nīrada (iv) Saunaka-tantra hy Saunaka (v) Gārgya-tantra by Garga (vi) Tantra spoken by Viával-Karman). Unfortunately, these traditional works on Silpu are not in existence at the present day. They, however, served as the source of inspiration to many later Silpa writers, who mention some of these traditional writers. Thus, Manusyalayacantrilcā mentions some of the names of these instructors, such as, Viśvakarinan, and Kumara. Again, Varāhamihira in his Brhatsamhitā speaks of Garga as an ācāryrı about the science of architecture. Of other previous instructors, e mentions Maya (57, 8) Nagnajit and Vašiştha (ch. 58). An unpublished Ms. Vāstu-prakaranam3 calls Gautama, Garga and Viévakarman 'experts in Vastu-vidyā, (Vastu- Vidya-Visirāda) and holds that the work is only a coinpilation from the previous works. Indian tradition, therefore, ascribes several books on Silpa to different sages, who are now known to us more as 1. ch. I. S. 8. 2. ch. 56. 5. 31. 3. Now in Visvablarati Library, ·VI us. law-givers than as writers on Silpa. Let now proceed to gather togethcr the accounts of these traditional Silpa writers. Let us begin with Visvakarman, the most well-known figure in the whole of the Indian Silpa literature. I–Visvakarman As he himself was an expert Silpin, his name occurs frequently in the Pauranic literature. We must be careful in distinguishing Visvakarman, the writer of the Silpa texts from the Viśvakarman of popular myth. In the Brāhmanas, Višvakarnaan is the same as the creator Prajāpati. This idea of the Creator is perhaps responsible for making Viávakarman, the creator of material things. We have no doubt that there existed before the Gupta period a writer of Silpa texts, Viávakarman by name. His theory of Silpro might have been very popular. So we find numerous stories current about him in Indian literature. Even at the present day, Višvakarman is worshipped by Indian artisans on the occasion of Visvakarma Pujā. His image is described by Hemädri as follows: "Višvakarmā tu karta vyah sura-rūpadharah Samilamsapānir dvibhujas tejomūrti-dharo mahān."? According to the Matsya-purinam, Viśvakarman was the son of Prabhāsı. He was He was a Prujāpati (Patriarch), as well as a Silpin. As a silpin, he was expert in the construction of palaces, houses, gardens, images, ornaments, tanks and wells.3 The Agnipuranam calls Višvakarman the creator of thousand Silpas (crafts), with the help of which men earn their living.* The Garudapuranam also speaks of Višvakar- 1. Ved. myth. pp. 117-118. 2. Homadri-Vratakhanda, ch. 1. p. 101. 3. Matsyapuranam, ch. 5, s. 27-28. 4. कर्ता शिल्पसहस्राणां त्रिदशानां च वर्द्धकिः । मनुष्याश्चोपजीवन्ति शिल्पं वै भूषणादिकम् ॥ (Agnipuraham, ch. 18, s. 40-41) ·VII man as the famous Silpin of the gods. From the Mahalliratus, wo learn that Prabhāsa was the father of Višvakarman and his mother was the sister of Brhaspati As in the Agnipuranam here also he was called the creator of thousanil Silpas ,which were usd by men as the means of their livli. hood. Manasira holds that of the four architects created from the four faces of Brahmā, the creator of the universe, tho first was Viśvakarman.3 As the architect of the gods, Viávakaraman was engagod in buikling palaces for the divine beingy. In Bharata's Nityasästrum we find Brahma asking Viśvakaraman to build a theatre hall. In a short time, the divine architect was able to construct an auspicious house, suitable for the theatrical purposes. In the Rimāyan, we find Višvakarınan building the city of Lanki for the dwelling of the Rāksay Ho also constructed palaces for the sage Agastya, for Surya' and for Kuvera. It was ho who hail constructed the divine chariot (Puspooka-rutha) for the yod Brahınā.9 1. Garulapuranam, ch. 6. 5. 36. 2. MBH. Adiparvan, s. 2590-2593. 3. Dr. P. K. Acharya-A Summary of tho Manasara, p. 2. 4. ततस्तु विश्वकर्माणमाह ब्रह्मा प्रयत्नत: । कुरु लक्षणसम्पन्नं नाट्यवेश्म महामते ॥ ततोऽचिरेण कालेन विश्वकर्मा शुभं महत् । सर्वलक्षणसम्पन्नं कृत्वा नाट्यगृहं तु सः ॥ (Natyasastram, ch. 1. s. 45,46). 5. Uttarakandam, ch. 3, s. 26. 6. Kiskindhakandam, ch. 41, s. 33. 7. Ibid, ch. 42, 5. 44. 8. lbid ch. 43, s. 21, 9. Sundarakandain, ch 9. s. 11.

·VIII In the Skandapuranam (māhesvarakhande-kedārakhandam) Viśvakarman is described as building a meeting, place, at the request of Himalaya. Not only did he construct * charming meeting-place, but adorned it with many figures of horses, peacocks and deer. He also put there the beautiful images of various gods. In Srimad Bhagavatan we read that Višvakarmen also built & charming palace for óri Krsna.? Thus Višvakarman appears not as much as a writer of Silpa canons in the Pauranic and classical literature, but us an expert Silpin. As such, he is rightly called by Vistulvidyā "the god of Silpins.” A few Silpa books, however, has been ascribed to him. He is said to be the author of Visvakarmaprokūs, of which two editions have been published: one from Benares in lithoprint in 1941 Samvat, the other one from Bombay (Venkatesvara Press) in 1971 Samvat. At the end of the book, he is described as mahātmā, possessed of all good qualities and pro ficient in all the Sastrus. He is said to be the sutradhāra of all gods. He wrote this sāstra for good of the men of this world. Ram Raz had utilised a few detached chapters of a Silpa work called Visvacarmiya for his Essay.' Dr. Rajendra Lal Mitra also spoke of three Silpa Mss. ascribed to Višvakarman :- (i) Visvucarmiya Ms. from Tanjore, (ii) Visvakarmaprukäsa from the library of Rājā Rādha Kanta Deva, (iii) Aparājita-prichchā (narrated by Viśvakarman) from the library of Asiatic Society of Bengal." 1. Srimad Bhagavatam, X, ch. 59, s. 50-53. 2. Essay on Hindu Architecture, p. 3. 3. R L. Mitra - Indo-Aryans, Vol. 1, pp. 39-40.

·IX The Oriental Ms. Library, Madràs also has one Ms. named Visvakarmiyan Silpasāstran. As to the age when Viśvakarman flourished, it may be mentioned that Varūhamihira in his Brhutsumhità in the chapter on Prasāda-laksanam quotes the opinion of Viśvakarman : सार्द्ध हस्तत्रयं चैब कथित विश्वकर्मणा ॥ We know with certainty, according to Dr. H. Kern that the most flourishing period of the life of Varāhmihira falls in the first half of sixth century of the Christian Era. If Varāhamihira flourished in the sixth century A. D, Višvakarman must have flourished before the sixth century of the Christian Era. We, cannot, however, definitely settle the period when he flourished. II—Maya As Viévakarman was the architect of gods, so Maya was the architect of the asuras. In the Mahabharata, we find him building the assembly hall of the king Yudhistira. He takes pride in calling himself a Viśvakarman of the dūnavas and a great poet. He also built three cities for the dūnovas.: M4ya was also called a mahasuraand Viśvakarman and was respected by the daityas and dänavas. The Matsyapurānam calls Maya an instructor in Vāstusāstra. According to Mūnasara, Maya was one of the four architects created from the four faces of Brahma. In Brhatsamhita, Varāhamihira quotes the opinion of Maya about palaces 6 In the next chapter, he summarises the views of Maya regarding Vajra-lepa. 1. Brhats' mhita, ch. 56 s. 29. 2. MBH. Sabha Parvan, s. 5, B re fagasi tarai महाकविः॥ 3. MBH. VIII 33, 1406. 4. Dr. P. K. Acharya -A Summary of the Mansara, p. 2. 5. Brhatsamhita, ch. 56. 8. 9. ARITMATTA ATargiai शतम् ॥ 6 This eh. 57. s. 8. Taratata si fa su GTÁMA: 11 ·х These references to Maya and his opinion in Varahamihira's work, prove the existence of Maya's work on Silpa at the time of Varāhumihira (6th century A. D. ). At present some Silpa works are attributed to Maya. MM. T. Ganapti Šāstri has brought out an edition of Mayamatam, which is ascribed to Mayamuni. In Mayamutam, Muni Maya has been spoken of as wise and the originator of all Västu-laksana.? Maya collected all that had been uttered by Brahmā and other gods and sages. So he also based his work on the utterances of his predecessors.Mayamatam deals chiefly with the construction of different styles of houses. The following works are also ascribed to Maya :- (i) Mayamata-västu-ástra (Madras Oriental Ms. Library, No. 13034-13039). (ii) Maya-Vāstu (in Telegu character, Madras, 1916) (iii) Maya-Vástu -śāstra (Madras, 1917) (iv) Māya Silpaśāstra (in Tamil).3 III-NAGNAJIT Nagnajit is mentioned in the Mutsyapuranam as one of the eighteen instructors in the science of Vāstu. Varāhainihira quotes him as an older authority and calls his system Druvidat. We may, thorefore assume that Nagrajit belonged to Southern India. In older literature, we read of a king Nagnajit, who is ditferent from the Silpin Nagnajit. Nagnajit is also said to be the author of Citra laksanam, whose Tibetan version exists even at the present day, though the original Sanskrit version is lost to us. In 1913 Berthold 1. Mayamatam, ch. 1. s. 2. glagat: Fai mai anes- लक्षणम् ॥ 2. Ibid, ch. 1. s. 12. 3. Translated into English in Indian Antiquary, vol. V, 1876, pp. 230-7, 293-97.

·XI Laufer translated this book from Tibetan into German in the Document der Indischen K2708t Series. At the end of the first two chapters of Citra-laksanan, Nagnajit is mentioned as its author. A story as to the origin of citra-vidyā (the science of painting) is givon in this book. The story runs thus : Formerly, during the reign of a virtuous king named Bhayajit, there was peace and prosperity in his kingdom. Once a Brahmin came to him crying: "Oh king, there is cortainly sin in your kingdom, or why my young son would die untimely. Please got my son back from the other world". The king, accordingly, demanded the return of the Brahinin Bon from Yama, on whose refusal a fight began. Yama was defeated. Then came Brahmā, who told the king ! "Life and death follow karmi. Yana has nothing to do with them. Draw a picture of the Brahmin son and I shall give back life to him". The king did so. Brahmã put life to that picture and told the king: "As you have conquered the nugna-pretas (baked ghosts) you will be hence-forth known as Nagnajit. You could draw this picture of the Brahmin son only through my grace. This is the first picture in this world. You go the divine Silmin Višvakarınan, who would teach you every thing regarding citra-vidyā." Vasistha is a well-known sage, born of the Prana of Brahmā. IV.-VASISTHA Arundhati was his wife and the seven sages (suptārsi) were his sons. He is one of the eighteen instructors in the science of Vastu mentioned by Matsya purānam. The Agnipurānam calls hiin the author of a Silpa text, namely, Jñana-Sāgara-Vâsistha, Tuntra. Varāhamihira also quotes him as an authority in his book Brhat-Samhita in the chapter on Pratimā-laksanam? We can, therefore, place him before the sixth century to 1. B. Laufer-Das Citralaksana (1913). 2. Brhat samhita, ch. 58, s. 8.

·XII of the christian Era. Another famous law-giver, who appears algo as & writer V. ATRI of Silpa texts is --Atri, who is included in the group of Saptarsi sages. He was born of the eye of Brahmā. The Matsya purāņam calls him an instructor in Vāstu-sastrc., while the Agnipurānam ascribes to him a Silpa text, named Atreya-Tantra. Nārada though a divine sage (devarsi), was born of a VI. NARADA śudra mother and a Brahmin father. According to Münasara,' he is one of the sages from whom the Vāstu-Sastra has come down to us. Besides, being an instructor in the Vāstu-Sāstra, he is known as the author of Naradiya-Tantra, according to the Agnipuranam. Garga, the son of Brahmã and a well known sage, was the author of Gārga-Tantra according to VII. GARGA the Agni-puranam. Not only Matsyupurānam calls him an instructor in Vāstu-Sāstra, but Varāhamihira also quotes him as an authority on the construction of palaces. Garga, thereiore, should be placed before the sixth century A. D. The Matsyapurānam holds Kumara as a sage, competent VIII. KUMARA to instruct in the science of Vástu, A silpa work-Manusyālayacandrika" mentions Kumārāgama, which might be taken as a Silpa work written by the Hage Kumāra. Another work Silparatnams is ascribed to Sri Kumāra, who is evidently a quite different man flourishing in Kurala in the latter part of the 16th century. A. D. 1. See-P. K Acharya's A Summary of Mansara. 2. Edited by MM. T. Ganpati Sastri and published by the Travancore Government. 3. Edited by MM. T. Ganpati Sastri.

·XIII Saunaka, a sage, was responsible, according to the Agni- IX. SAUNAKA puranam, for a Silpa work called Sarnaka Tantra. He is another Vastusüstropadesaka, according to the Matsyapurānam. Visālūksā is a sage well-known in rījaniti literaturo. X. VISĀLĀKSA He is regarded as an authority on politics even by Kautilya, who quotes his opinion in his Arthasistra. He is also referred to by Somadeva, a Jain writer in his Yasastilakacampu as a writer of a Nītisüstra?. He is regarded by Matsya puranam an instructor in the science of Vastu. Sukra is known as the guru of the daityas, 28 such ha XI. ŚUKRA is competent to instruct in various branches of learring. He is liberally quoted by Somadova in his Nitivākyānrtum as an authority in Nitiscstru. The game author in his Yasastilakacampu regards him as a famous writer of Natisästra. In Sukraniti, which is ascribed to the sage Sukra, we find chapters dealing with the construction of houses, palaces and images, 3 He is also an instructor in the science of Vastu. Brhaspati, the guru of the gods, of the gods, in well-versed in all branches of science. Manasara calls him XII. BRHASPATI one of the sages from whoin Vüstu sāstru has come down to us. He is another instructor in the science of Vastu. The Agnipurānam mentions & work on Silpa, Prahlada- Tantra by name. As the name suggests XIII. PRAHLADA the writer of this text was Prahlada. In Citra-lalsanam, we bear of the School of Prahläda mentioned along with that of Višvakarman. 1. Kautilya's Arthasastra, p. 13. 2. Yasastilakacampu, p. 236. 3. Translated by B. K. Sarkar in Sacred Books of the Hindus Series.

·XIV The materials at our disposal are $0 meagre, that it is not possible for us to picture a comprehensive biography of each of the writers of Silpasastra. MODERN WRITERS ON SILPA In the present age, it was reserved for RĀM RĀZ, a Judge and magistrate of Bangalore, to draw the attention of Indologists to the unexplored field of Silpasastra. His Essay on the architecture of the Hindus marked 'an epoch not only in the history of science, but also in that of the Hindus themselves.' As a pioneer, Rām Ráz encountered tremendous difficulties by reason of the absence of literature on the subject, as well as the lack of sympathy and help from the Silpin. He procured portions of Manasura, Mayamata, Casyapa and Vayghansa and a few detached chapters of (1) Sucaladhicara, (2) Viswacarmiya,(3) Sunutcumara, (4) Saraswatyan, (5) Pancharātram. In his Essay, he gave a detailed account of Manasara along with the first three works. He was followed by Dr. RAJENDRA LAL MITRA, who in his Antiquities of Orissa dealt with the whole subject of architecture, He spoke of four Mss. not utilised by Rära Rāz. They are:- (1) Munasara in the library of Asiatic Society of Bengal (2) Visvakarmiya from Tanjore, (3) Visvakurmaprakasa in the library of Rāja Radhākānta Deva, (4) A parājita-prichchha in the library of Asiatic Society of Bengal." In 1908 Dr. A. COOMARASWAMY in his Media eval Sinhalese Art treated of the history of art in Ceylon with 1. Published in 1834 for Oriental Translation Fund of Great Britain and Ireland. 2. Indo-Aryans, Vol I, pp. 39-40.

·XV special reference to Indian art. He gathered togethor references to Visvakarman in the Sinhalese chronicle Maha Vamsa and other Ceylonese literature.' In chapter IV, he spoke of a Sinhalese work Rupāvaliya, which is a part of the artistic cannon of Sinhalese painters. The book is ascribed to Indian origin and is mainly relied on by Kandyan painters of the best sort. Iu chapter V, he described another Sinhalese work on art named Mayamatayu, which is said to have been translated from Sanskrit in A. D. 1837. Lastly, in chapter VIII, he gave a translation of another work on art, Sāriputra, which deals with the dimensions of images in general and of Buddha in particular. In 1913 BERTHOLD LAUFER translated Catra-laksanam from Tibetan into German. He published the Tibetan text along with the German translation of the game. The work is attribute i to Nagnajit, from whose name, Laufer infers that the book is of Jaina origin, though included in the Buddhist Encyclopaedia. In 1914 T. A. GOPINATHA RAO, the Superintendent of Archaeology, Travancore State, brought out his Element of Hindu Iconography, in which he used Rupa-mandana and eight other works on Saivagarna giving minute descriptions of Vaisnava and Saiva images. Then followed Mr. O. C. GANGULY with his South Indian Bronzes, which gives a historical survey of South Indian Sculpture with iconographical notes based on original In this Volume Mr. Volume Mr. Ganguly used three original Sanskrit manuscripts dealing with the sourco8. 1. Mediaeval Sinhalese Art, pp. 78-79. 2. Madras, 1914. 3. Published by the Indian Society of Oriental Art, Calcutta, 1915.

·XVI sculptor's canons, namely, Kasyapiya, Agastiya and Brāhmiya. lu 1918 Dr. PRASANNA KUMAR ACHARYA brought out A Summary of the Manasira : A Treatise on arch itecture and Cognate object.? We have in this book a summary of the Mānas āra, which he proposed to edit critically on the basis of the available manuscripts, specially that of India office. "The object of this summary of Mānasāra", says Dr. Acharya, "is nothing more than to introduce the various topics in brief, ...... It might at the same time throw & little light, for the first time, upon one of the most useful and hitherto unknown branches of scientific studies". The Manasūra deals not only with Vāstu, but also with the laying out of nagara, fort, Vimāna, Gopura, mandapa, royal palacs, thrones, ornaments and images of various gods and goddesses. Dr. ABANINDRA NATH TAGORE, who stands out pre-eminently as the leader of the Indian art-revival, wrote several books on Indian art. Of these we may jaention his Sudanga and Anatomy of the Hindu Art, which are published by the Indian Society of Oriental Art of Calcutta. In 1921, Andre Karples translated into French Art et Anatomie Hindous? Karples also translated Dr. Tagore's book L' Alpana. Mr. A. K. MAITRA of the Varendra Research Society contributod several articles on Silpa in the Rupam, in which appeared his article, on Aims and methods of Painting in ancient India. From Rajshahi, Pandit Girish chandra Vedanta-tirtha published a valuable book in Bengali called Pracína Silpaparichaya,* in which he collected all the available 1. Leiden, 1918. 2. Paris, 1912. 3. Rupam, Jan-June 1923. 4. Calcutta, 1923. B.S.

·XVII materials on various Silpas, such as painting, imagr-making and various kinds of ornaments. Last, though not the least, comes the well-known scho- Jar of Travancore, MM. T. GANAPATI SASTRI, who has rendered yeoren service to the cause of Sanskrit literature in general and Silpas īstra in particular. He has edited Vástu vidyā (in 1913), Munushyalaya chan lrika (in 1917), Mayanatum (in 1919) and Silpuritnum. (in 1922). Meaning of Silpa, Vastu and Kala So long we are using the words Silpa and Västu rather loosely. There is also a general tendency of confusing these two terins. Another term, which is generally used as synonymous, is Icalīī. It is necessary to note the difference of these terms: Silpa, Vāstu and Kala. Mr. A. K. Maitra holds that Silpasūstra is included in Vastuvidya. He remarks: “The Silpasāstram was virtually a competent part of the Vastusāstram, the science of architecture". Dr. P. K. Acharya in his article on the Training of architects in ancient Indiaalso expressed the same view. It seems to us that Silpasustra is a general term. It includes all fine arts, while Võstusüstraincludes only the science of architecture. In Vistuvidya are enumerated the qualifications of Silpins, in which category the writer includes an architect (Sthapati), a carpenter (Autra-grāhi), a sculptor (taksaka) and a moulder (mrtkarmajna). In the Brahmavaivartapurānain (Brahmakhunda, ch. 10), we find that the song of Viśvakarman are called Silpakārinah. They are nine in number, namely mālākāra (a garland-maker), Karmakāra (a blacksmith), Sankhaltāra (a conch-maker), Kubindaka (a weaver), Kumbhakāra (a potter) Kumsakāra (a maker of bell-metal), 1. Rupam, p. 19. 1923. 2. Rupam, Oct, 1922, 3. Vastuvidya, eh. 1.

·XVIII as the Sutradhāra (a carpenter), citrakāra (a painter), and Suarnakāra (a goldsmith). Here we find Silpa used in a general sense to include various arts and crafts. The earliest mention we get of the term Silpa is in the Kausituki Brālmanal where silpa is taken as equivalent to "art" and is said to be of three kinds, nrtya (dance), gita (song) and Vüdita (instrumental music). In the Mahābharuta, we find mention of a thousand silpas, of which Viśvakarman was the creator and which were used by men means of their livilihood. In the classical literature silpa has been used in a general sense to include all kinds of art. The term Kulā has been used in the Rig Veda to denote a fractional part.3 Gradually it came to mean branches of art. Both the terms Silpa, and Kalā were used by our older writers in a loose sense, so it is very difficult to draw a line of demarcation between the two, as in the Rāmāyanu: नानाशिल्पकलाशश्च भवरपिपरन्तप । Here Silpa may be taken as to mean "arts" and k'ala "Sciences". In the Pāli literature, the word Silpoo (Sippu) was rather used to mean the sciences. In Jataka stories, we hear of Sabbasippanis to inean all the sciences, which according to Fick,6 iucluse not only the three Vedas, but also the eighteen branches of science. In Lalita vistara, we find mention of Kurma-kalist and sixty-four Kāma-kalās.8 In Kalpa-Sutra, we yet seventy- 1. XXIX, 5. 2. Adiparwan, s. 2500-2503. 3 VIII, 47, 17. 4. Vol. I. pp. 301-5. 5, I, 463, II, 53, III 219. 6. Social Organisation etc, p. 202. 7. 9 p. 179. 8. p. 417 ·XIX two kalūs.In Jaina Sutras, we read that Samudrajāla studied seventy-two kal is (art.s). They are also refered to by Vātayāyana in his Kamasutruand by many later writers. It is difficult to settle the number of Kalis. Though the later writers fixed the number at sixty-four, there is no uniformity of opinion among eariier writers. Both Vātsyāyana and Srimad Bhāgavuta put the number at sixty-four, the Jain books take seventy-two, Lalitavistra sixty-four, while Yasodhara iu his commentary of the Kama Sutra carries the number to 512. Thus we find that almost every subject unler the sun has been grouped under the term kulā. Our Indian writer rather used both the terms Silpa and Kali loosely. In the Vedic literature, Silpa is said to be of three kinds: nrtyu (dance), gita (song) and Vädita (instrumental music). Even these three branches of knowledge are enumerated in Vātsyayana’s Kāmasutra under the head Kalās; gitun singing), vādyam (instrumental music), and nrtyan (dancing). In the inecriptions, the engraver is also known as the Silpin. Thus we find that the Dhāra Prasasti of Arjunavarman was engraved by the Silpin (artist) Ramadeva, the son of the excellent sculptor (rupakāru) Sihāka. Again, the Sāranath inscription of Kumara Devi was engraved by the Silpin Vámana. Bharata tries to set the controversy at rest when he says: वात्स्यायनोक्कनृत्यगोतवाद्यादिश्चतुषष्ठिः बाह्यक्रियाः तथा प्रालिं- गनचुम्बनादि श्चतुषष्ठिः अभ्यन्तरक्रियाः कलाः । श्रादिना स्वर्णका. रादिकारुकर्म ग्रहः। एतत् सर्व शिल्पं कथ्यते । इति तट्टीकायां भरतः। 1. p. 74. 2. Uttaradhyayana, Jaina Satras, S. B. E. vol. 45, p. 108. 3. p. 42. 95. 1. Epigraphia Indica, VIII, p. 98 5. Ibid IX, p. 326, ·XX According to Bharata, therefore, not only the sixty. four external actions such as nrtya (dancing), gita (singing), vādya (instrumental music) and others, which are spoken of by Våtsyāyana, but also the sixty-four internal actions, such As embracing and kissing-are known by the namo Kalā. All this as well as the work of goldsmith and others, are known as Silpa. Thus, we may conclude that Silpa is a general term, under which are included! Kalis. At different times, the Kalās have been differently enumerated by different authors and they have come to include all sorts of five. Silpou may be said to mean all fine arts and crafts. There was a tendency in ancient India not to encourage the culture of such fine arts as dancing and singing. In the Institutes of Manu, we read that practicing the arts of dancing and singing was regarded as an offence, Manu also lays down that an actor or singer should be avoided.' Manu even goes so far as to hold that dancers and singers should be banished from the town. These seem These seem to point to the fact that tho arts of dancing and singing were not greatly encouraged at least in the days of Manu. Are the fine arts, then, derived from the non-Aryan group ? It is difficult to answer this question definitely. We know that the term k'alā, has been derived from the Dravidian root Kal, to learn. Perhaps the Kalās were borrowed from the Dravidians, for that reason, those people, who specialised in the fine arts and crafts were not highly regarded in the society. They were banished from the town or were looked upon as offenders. 1. S. B. E., Vol. 25 (X1, 66, p. 443). 2. Ibid, III, 155. 3. Ibid, 225 In the Vinaya also Buddhist monks are prohibi. ted from taking part in songs and dances ·AAI In Pāli literature, we donot find any systematic work about the construction of buildings. In Bhiksu Pratimokva, we get references to the building of cottages. Alabira bhiksus built some cottages for their own use. They had begged the materials from the householders, who became quite disgusted with their demands. So, Lord Buddha made the following rule: If a Bhiksu wants to build a cottage for his own use aftor begging for inaterials from others, that cottage must be built according to the rule, namely, 12 Vitasti(Sugati- Vitasti) in length and 7 Vitasti in breadth. Other bhiksus must be brought in to select the Vastu, which should have so much space all around that a cart drawn by the bullocks might pass rouur it. If a bhiksu breaks this rule, he would be sent away froin the order. Thus, according to the lord Buddha, the cottage for the monks would be 12 Vitasti in length and 7 Vitasti in breadth. Now, what is this Vitasti ? Buddhaghosa says that it is equal to the three Vitastis of the present generation. The monks of Ceylon take the foot print of Lord Buddha on Adam's peak as a Vitastı. It is 4 hands in length. According to Buddhaghosa the length of the cottage would be 18 cubits and breadth 104 cubits. But according to the Sinhalese monks, it would be 44 hands long and 28 hands broad. In Buddhist books we hear of three kinds of cottages: (1) उल्लित्ता (उलिप्ता, whose inside has been covered with mud or chunam, (2) piha (wafaat) whose outside has been covered with mud (3) उल्लित्तावजित्ता (उदितावनिता) whose both sides have beon covered with mud. A bigger house, a vihara may be constructed by a bhilesu, if there is a donor and if it is meant for the bhiksu himself. Its Vāstu Its Vāstu inust be specified by other ·XXII monks and there must be sufficient space all round for a bullock-cart to pass. Such a Viliāra is called Al From Cullavagga (6. 1. 1-2) we know of the origin of Vihāra. At first the monks used to live under trees and in mountain caves. Seeing this a śresthin of Rājagrha expressed his desire to Lord Buddha of building Viharas for the use of monks. Hearing the proposal, Buddha sanctioned five kinds of abodes for inonks, namely: (1) विहार (2) ICUT (3) प्रासाद (4) हर्म्य (6) Jul 1 It seems that once there existed a vast many of literature on Silpaśāstra in India. It may be that this branch of learning remained confined to a section of artists, who made silpa their profession. In the beginning, these silpins used to get a sound training not only in their silpas, but also received gene. ral education. According to the Vūstuvilyā, the architect must be expert in all sāstras, must not be crippled, must be kind, and virtuous, know mathematics, Purānas, the art of painting, the geography of all countries and Vāstu-vidyā (ch, 1, s. 12-15). As the Silpins were men of education and culture, it was not difficuit for them to understand the Silpa texts. Gradually, however, they began to neglect general education, to which they gave a very unimportant place in their lives. The natural result of this lack of education was that they could but little understand the Sanskrit Silpa texte. They had, however, one advantage. As the profession had become hereditary, they could get the benefit of practical training from their fathers. So the use of the texts began to be dispensed with and the texts began to be regarded as ·XXIII sacred and often worshipped as such by the silping. When these sacred texts began to be worn out and the necessity arose of copying them, the texts began to change at the hands of the illiterate copyists. In many cases those texts became so corrupted that it is next to impossible to restore the original version. Many manuscripts can still b3 found with the artists in Orissa, but they are so scrapuious about those manuscripts that they do not allow any curious oye to watch over them. They often keep them in wooden chests, where the worms play havoc and destory the mss. 80 carefully kept. Thus many mes, have perished and those which escape the destruction from fire and worms, are now in a corrupted form. In many cases, it requires herculean patience to restore the original forin. THE PRESENT TEXT: All the texts of Silmačāstra published so far belong mainly to Southern India. The present work belongs to Orissa and as such is one of the Silpaśāstras of Northern India. It is based on the following materials:- (1) Ms. A.--.is called Silpu sudu jaya. it begans anus : श्री गणसार नमः। अथ सिल्प लिक्षते । ब्रह्मक्षेत्री वस शुद्र शुक्लारक्तापिताय । कृष्णवर्ण च क्रमेणा अतैव वास्तुलक्षण ॥ It ends thus: इति शिल्पिसदाजये संपूर्ण । श्रीशुभमस्तु श्रीश्रीशुभमस्तु । श्रीश्रीसर्वशुभमस्तु । ए शिल्पिपुथि वन्तलि गार करूणि माहाराणा पुत्र atnenia HERTTUITI This Ms. belongs to Nilkantha Maharānā, son of Karuņi Māhārāṇā of the village of Bantali (in Orissa ). The owner of the Ms. is still living and is a silpin by profession. We are using the copy prepared from his ms, by my friend Sj. Nirmal Kumar Bose. The name of the author does not appear in the body of the iext, but it is almost similar to the ·XXIV text of Bhuri Maharana, It has, however, some passages which are not found in the text of Bāuri Mahārāṇā. (2) Ms. B-is called Bhuva napravesa. It begins thus-श्री गणेशाए प्रणम्य अविधनमृत्यु इति श्रीन उमिसारण्ये भुवनप्रवेसे विश्वकर्मामुनिसंवादे। The Ms. ends abruptly at folio 215 with वेक पछ हेव ४ चारि अगु लेखा ८ आठ अागु श्रला आग हे। It belongs to a śilpin Śrī Bābāji Mahārāṇa, son of Govinda Mahārānā ef lāthurisāhī, Puri. The original ms. is with him and we are using the copy prepared by my friend Sj. N. K. Bose. This ms. among other topics deals with Vastu and other allied subjects as in A and C. (8) C-is the printed Silpa-sistarca in Uriya character published by the Cattack Printing Company Ltd. 1923. this tex; as our basis, as it offers the best version available. We have collated A and B with this printod text. WRITER OF THE WORK This Silpa Astra is said to be written by Bauri Mahārāna, an inhabitant of Orissa, of whom we know very little. But, is he the real writer of this work? It is very doubtful whether he is the real author of the Sanskrit slokas of this book. In the Uriya commentary, which we have omitted from our odition, we have his name mentioned thus:- द्वितीय अध्या समापत । वाउरी महाराणा कृत ॥ This Bāuri Mahārāṇā composed the Silpaluksana in ver- We use ses. He says: शिल्पलक्षण पदकेते । कहिलि पहा मुँहि गीते ॥ सुजने मो दोष न धर । वाउरी महाराणा छार ॥ Towards the end of the fourth chapter of the Uriya commentary, ho calls himself Visvakarman:- कहे वाडरी विश्वकर्मा । सखा मो पुरुष उत्तमा ॥ सुजने मो दोष न धर । तुम्भ चरणे मु किंकर ।। जन्मरु मूरूख अढइ । केवल प्राधे यदुसांइ ॥

·Viévakarman is a general name applied to the artists in Orissa. This Băuri Mahārāņā was a Vaistava, bocause at the end of the first chapter he says: कृष्ण चरणे चित्त देह । वाउरी महाराणा कहि ॥ The ms. B. mentions विश्वकर्मामुनिसंवाद in the opening line. Again, in A we have a corrupted sloka which reads thus:- नागस्थान स्थानद्वारे विश्वकर्मा च भाषित । दोषगुण समासाद्य कथितं वास्तुविस्तरम् ॥ According to this sloka, the work is ascribed to Visvakarman. Are we then to suppose that Viśvakarman is the real author of this work and Bāuri Mahārārā only the writer of the Uriya commentary? It is not possible to establish the authorship of the work to Viśvakarman, but we may take Băuri Mahārāņā as the writer of the Uriya commentary. He might have collocted the Sanskrit slokas from some older silpaśāstra and added his own commentary. His titles Mahirāṇā and Viśvakarman imply that he was a silpin (even the present artists of Puri bear the same titles). As a silpin he could easily get hold of the Sanskrit texts and make a collection like this. There are many passages in the present work, which are similar to those occuring in other silpa texts. Thus in the present work we have:--- वैशाख धनरत्नानि ज्येष्ठे मृत्युं विनिर्दिशेत् । आषाढे धनलाभश्च पशुवृद्धिमवाप्नुयात् ॥ In Matsyapuranam, we have: वैशाखे धेनुरत्नानि ज्यैष्ठे मृत्युं तथैव च । अपाढे भृत्यरत्नानि पशुवर्गमवाप्नुयात्।। It finds a place also in Višvakarmaprakāsa : वैशाखे धनरत्नानि ज्येष्ठे मृत्युस्तथैव च । S. 322

·XXVI
भाषाढे भृत्यरत्नानि पशुवर्जमवाप्नुयात् ।।
Again, compare the following of our text:
व्यासेन गुणितं दैर्ध्यमष्टाभि भजितं पुनः ।
Matsyapuranam has :
व्यासेन गुणितं दैर्यअष्टाभि वै हृते तथा ।
Again, our text has :
पूर्वप्लवो वृद्धिकरो धनदश्चोत्तरमवः ।
दक्षिणो मृत्युदश्चैव धनहा पश्चिममः।
Yuktikalpataru has:
पूर्वमवो वृद्धिकरो धनदश्रोत्तरमकः ।
दविणे मृत्युदो वास्तु धनहा पश्चिममवः ॥
Another instance from our text is:
अश्विनी रोहिणी मूला यत्तात्रयमेव च ।
स्वाती हस्तानुराधासु स्थम्भारम्भः प्रशस्यते ॥
Matsyapurānam has:
अश्विनी रोहिणी मूलोत्तरात्रयमैन्दवम् ।
स्वाती हस्तानुराधा च गृहारम्भे प्रशस्यते ॥
Our text has:
कृत्तिकाद्यास्तु पूर्वादौ सप्तसप्तोदिताः क्रमात् ।
यदिशं यस्य नक्षत्रं तत्र तस्य शुभं गृहम् ।।
ſrinivāsadipikā reads:
कृत्तिकाद्यास्तु पूर्वादी सप्तसप्तोदिताः क्रमात् ।
यदिश्यां यस्य नषत्रं तत्र तस्प शुभंगृहम् ॥
Again, our text gives :
भाज्यगन्धा ब्रमभूमी रक्षगन्धा च पत्रिया।
The Vastuvidya reads :
भाज्यगन्धा च सा भूमि बक्षिणानां प्रशस्यते।

·XXVII. * * *रनगन्धा च या भूमिः क्षत्रियाणां प्रशस्यते । Lastly, our text has : आदित्यद्वयरोहिणी मृगशिरा ज्येष्ठा धनिष्ठोत्तरा । पोष्णी विष्णु मघानुराधगुरुभिः शुद्धः सुतारान्वितैः ।। सौम्यानां दिवसेऽथ पापरहिते योगतिरिक्त तिथौ । विष्ठित्यकदिने वदन्ति मुनयो वेश्मादिकार्य शुभम् ।। Wo find its parallel in Yuktikalpataru: आदित्यद्वयरोहिणी मृगशिरा ज्येष्ठाधनिष्ठोत्तराः । रेवत्याथ मघानुराधहरिभिः शुद्धैः स्वभावादिभिः । सौम्यानां दिवसेऽथ पापरहिते योगविरिक्त तिथौ । विष्ठित्यकदिने वदन्ति मुनयो वैश्मादिकार्यं शुभम् ।। A comparison of the above passages and others as noted elsewhere, would show that the ideas contained in this book regarding the choice of the vāstū land, enumeration of different kinds of houses and the building of the houses, were not quite novel to the compiler of this Uriya ſilpaśāstra. He drew his inspiration from the same source as other compilers of other Silpaśāstras did, because all of them have declared unhesitatingly that they compiled their books from those of the previous ācāryas. The whole silpa literature seemed to be floating through ages, which saw the construction of magnificient temples and palaces. That maag of literature at times came to be partially confined into various texts by various writers. This we find not only in the texts of Maya, Visvakarman and others, but also in other non-technical works as Puranas (Matsya, Garuda, Agni and Bhavisya Puranas). Sometimes they found a place also in astronomical works like Brhatsamhita and Srinivasadipikā (in Uriya characters). is probable that the compiler of our Silpaśāstra took his materials from the same floating mass of Śilpa literature.

·XXVIII We are unable to say anything about the antiquity of the present work. As we donot know who the real writer of the work was, it is useless to speculate about his age. But this much is certain that the tradition, from which he had gathered his materials, is as old as the Matsyapurānam, which has approximately been fixed in the Gupta Period. It is interesting to note that that old tradition is still living in the heart of Orissa. In 1923-24, when I paid a visit to Mayurbhanja, I came across the living tradition of SilpaśAstra there. I happened to meet there a man named Badia Pathar, whose profession was to carry a silpa book and instruct the interested people in the matter of building their houses. He would go about for months in the neighbouring villages and tell the people of the tradition which had been handed down to him by his fathers. I found with him a printed Silpasāsra (in Uriya character) published from Cuttack. It is the same book that we are editing with the help of two mss. He told me that his Silpapothis had been eaten away :by the worms, so he had to recourse to the printei text. This is the living tradition, which I happened to come across in Mayurbhanja (Orissa ). There are many silpins still in Puri, Yajpura, and Bhuvaneśvara, who are even now handing down that old old tradition. Summary of the work : Our book begins with an invocation to the god Ganeſa. The writer professes to compile this work for the benefit of the whole world. In the first chapter, the theory of Vástu, which is divided into four kinds, namely, the Brahmin, Ksatriya, Vaisya and Sudra lands. The compiler then says how to examine the Västū land, whether the land is auspicious or not by making a hole and placing a light in it. There are 16 kind of Vástū land, namely:- ·XXIX (2) धुम्र (1) आयतं (5) चक्र (9) दण्डं (13) व्यजनं (2) चतुरस्रं (6) विषमवाहुः (10) प्रणवं (14) कूर्मकं (3) छत्रं (7) त्रिकोण (11) मूर्ति (15) धनुराकार (4) भद्रासनं (8) शकटाकृतिः(12) गृहंदं (16) सूर्यकं । Then the effect of these lands on the householder ara enumerated. He then goes on to specify the time for the beginning of a house and effect each month will produce. The result of building a house on a particular tithi, day or naksatra is also mentioned. In the second chapter, eight kinds of Grha-bandha as well as their respective effects are enumerated: (1) ध्वज (5) वृष (6) खर (3) सिंह (7) गज (4) श्वा (8) ध्यांक्ष। The Vāstu-nāga with its eight parts is then described. Then follows an enumeration as to which part of the Naga is auspicious or not. The third chapter deals with the laying of sutra for the construction of the house. The fourth chapter deals with the foundation of the auspicious column and the trees to be planted in the compound of the house. The last chapter is about the ceremony of entering the house when it is completed. Here the printed text does not give the Sanskrit slokas, but only the Uriya commentary. The Sanskrit slokas are found in ms. A only in a corrupted form. So, we have only given the Uriya verses with their English translation. Our thanks are due to Mr. N. K. Bose, M. A. for hig valuable help, to Pandit Kapileswar misra for his kind sug. gestion and to Moti Lal Banarsi Das for including this work in their Punjab Oriental Series. Adikutir Santiniketan PHANINDRA NATH BOSE 30th March 1927

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·शिल्पशास्त्रम्॥

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·शिल्पशास्त्रम्। प्रथमोऽध्यायः। [ वास्तुलक्षणम् । ] हेरम्वमम्किापुत्रं विनेश देवपूजितम् । नत्वाखिलहितार्थाय शिल्पशास्त्रं करोम्यहम् ॥१॥ वास्तुलक्षणमाख्यामि यस्य लक्षणमुत्तमम् । देवासुरमनुष्याणां शुभे कर्माण कारयेत् ॥२॥ सर्वदोषविनिर्मुक्तं सर्वाभिर्वाञ्छितं शुभम् । प्रणम्य सर्वदेवांश्च वास्तुलक्षणमुच्यते ॥ ३॥ स्निग्धा स्थिरा सुरभिगुल्मलता सुगन्धा । शस्ता प्रदक्षिणजला च निवासभूमिः। (1) A and B omit s. 1, 2, 3, 4. A begins with श्रीगणेशाए नमः । अथ सिल्प लिक्षते। Then follows 8. 5. B B among other topics deals with the subject matter of this Text. From leaf 34 B begins : वास्तुलक्षण । अथतर प्रवक्षामि। गृहकार्यादि संशयः । (2) cf: स्निग्धा धीररवा प्रदक्षिणजलोपेताशु जोगमा ॥ (Manushyālayachandrikā, ch. I. 17.) स्निग्धा.........बीजोद्मा ॥ (as in the above) Silparatna,3.1. (s. 1) Bowing down to Heramba, the son of Ambica, Vighnesa, respected by gods. I write this Silpaśāstra for the good of the whole world. (8.2) I shall narrate the theory of Vāstu, whose good signs are made in the auspicious works of devas, aguras and men. (8. 3) Saluting all the gods, the theory of Vastu, which is free from all defects, wished for by all and auspicious, is spoken of.

·( 2 ) नेष्ठा विपर्ययगुणा कचकर्करास्थि । वल्मीककश्मकविभीतकसंकुला च ॥ ४ ॥ ब्राह्मणा क्षत्रिया वैश्या शूद्रा भूमिश्चतुर्विधा । शुक्ला रक्ता तथा पीता कृष्णा वर्णैरिति क्रमात् ॥ ५ ॥ आज्यगन्धा ब्रह्मभूमी रक्तगन्धा च क्षत्रिया। क्षारगन्धा भवेत् वैश्या शूद्रा च पुरीषगन्धजा ॥६॥ (1) A reads : ब्रह्म क्षेत्री वस शूद्रं शुक्लारक्तापिताय । कृष्णवर्ण च क्रमेणा अतैव वास्तुलक्षण ।। B gives a different corrupt reading : सेतवर्ण ब्राह्मणं चैव रक्तवर्ण च त्रिस्तथा। पितवर्ण भवेस्य शुद्रादि कृष्णवर्णिका ॥ (2) A घृतगन्धो, C अजा (3) A भवेत् ब्रह्म (3A) C रजो (4) A अपि वाहुज (5) A भवे (8) A विष्ठामुगन्धिना (84) The Vāstu land should be pleasing, firm, full of sweet smelling bushes and creepers, sweet-scented, broad, havi water on all sides. If it has contrary virtues, if it is full o hair, gravel, sand and thorn, it is not auspicious. (8.5) Lands are of four kinds, the Brahmin, Ksatriya Vaisya and Sudra, which are white, red, yellow and blacl in colour respectively. (s. 6) The Brahmin land smells ghee, Koatriya land blood Vaisya land ksāra and the Sudra land night soil.

·( 3 ) कषाया ब्राह्मणा भूमिरम्ला च क्षत्रिया तथा । वैश्या ख्याता तथा रिका मधुरा शूद्रजातिजा ॥७॥ तिलानां वपने तत्र ज्ञातन्या भूमिजातयः । त्रिरात्रेणांकुरो यत्र ब्रह्मांतिः प्रकीर्तिता ॥ ८ ॥ क्षत्रिया पंचमी रात्रै वैश्या स्यात् सप्तभिस्तथा । नवरात्रैश्च शूद्राया अंकुरो जायते ध्रुवम् ॥६॥ (1) A अम्विला (2) A तिक वैस समाक्षाता मधुर शूद्रमेवच। cf: Visvakarmaprakasam: 1, 24-26. श्वेतरक्ता तथा पीता कृष्णावर्णानुपूर्वतः ॥ १४ ॥ सुगन्या ब्राह्मणी भूमी रक्तगन्धानुक्षत्रिणी। मधुगन्धा भवेद्वैश्या मधगन्धा च शुद्रिणी ॥ १५ ॥ मधुरा वाह्मणी भूमी कषाय क्षत्रियामना । अम्ला वैश्या भवेद्भमिस्तिक्ताशूदा प्रकीर्तिता ॥ १६ ॥ (3) A reads : स्वादेन लभते यत्र गन्ध तत्र विनीदिशेत । Its commentary, however, refers to the sowing of tila : भूमिरे तिल पुणिम सावित्रीमंत्रे । एहा समभूमि करिव ॥ (4) A त्रिरात्रं च भवेत् (5) A पत्रं (6) A ब्रह्मोखर (7) A क्षत्रिय (8) A पंचरात्राणि (9) A omits स्यात्। (10) A reads : नवमो शूद्रविख्यातो एवं भूमि परीक्षिताः । cf: Viśvakarmaprakāśam: 1,64-06. हलाकृष्टे तथोद्देशे सर्ववीजानि वापयेत् ॥ ६४ ॥ त्रिपंचसप्तरात्रेण न प्ररोहन्ति तान्यपि । उत्तवीजा त्रिरात्रेण सांकुरा शोभना मही ॥ ६५ ॥ मध्यमा पंचरात्रेण सप्तरात्रेणनिन्दिता। तिलान्वावापयेत्तत्र यवांश्चापि च सर्षपान् ॥ ६६ ॥ (8.7) The Brahmin land tastes acrid, the Ksatriya land sour, the Vaisya land bitter and the Sudra land sweet. (s. X) By sowing tila on the land, one may know the class to which the land belongs. The land, in which the sprout comes out in three nights, is kuown as the Brahmin class. (s. 9) (The sprout comes out) in five nights in the Ksatriya land, in seven nights in the Vaisya land and in nine nights in Sudra land.

·(4) स्वजात्या सुखमाप्नोति बामणस्य चतुर्भूमि । क्षत्रियाणां त्रिभुमिः स्याद्वैश्यस्तु द्वयभूमिगः । शूद्राणामेकभूमिश्च चतुर्जाति विधीयते ॥१०॥ ब्रह्मजाति यदा भूमिं लोभादिच्छन्ति क्षत्रियाः । सर्वे ते निधनं यान्ति शैला वजाहता इव ॥ ११ ॥ [ नक्षत्रशुद्ध्या गृहनिर्णयम् ] कृत्तिकाद्यास्तु पूर्वादौ सप्तसप्तोदिताः क्रमात् । यदिशं यस्य नक्षत्रं तत्र तस्य शुभं गृहम् ॥ १२ ॥ (1) B omits this sloka. A. स्वजाति (2) A Bध्मस्य (3) A चतुरभूमौ (4) A क्षत्रियाय (5) A भूमि च (6) A 'वर्ग। (7) A reads : जेष्ठश्चैव यदा भूमि वर्णहीन त्रयोनर । सोऽपि वास्तुविनाशस्तु गृहं जम्वुक रोदिते ।। B.प्राध्मणस (8) B क्षत्रिय प्रिमीछती (9) B स ततो नीधनो (10) B यमागती व्रज सिरि (11) omitted in A and B. cf: Srinivasdīpikā (p. 164): कृत्तिकाद्यस्तु पूर्वादौ सप्तसप्तोदिता क्रमात् । यद्दिश्यां यस्य नक्षत्रं तत्र तस्य शुभं गृहम् ॥ (s. 10) One would get happiness by living on his own class of land. The Brahmin may live on all the four classes of lands, the Ksatriya on three classes of lands, the Vaisya on two and the Sudra ou one-- these are the rules for the four classes. (s. 11) When the Ksatriyar wish for the Brahmin land through greed, they are killed like hills struck by thunder. (8. 12) Placing seven (Bksa) respectively beside Krttika and others from the Eastern side onwards, the direction to which the naksatra will be, the house will be auspicious on that direction.

·( 6 ) वास्तोर्मध्ये तु विवरं कृत्वा वाहुप्रमाणतः । दीपं तत्र स्थापयित्वा चिन्तयेत् च फलादिकम् ॥१३॥ श्रीदा दीपशिखा धूम्रा वृद्धिः प्राचीगता भवेत् । आगेये वेश्मदाहः स्याद्याम्ये मृत्यु न संशयः ।। १४ ।। नैऋते च भवेदुःखं वारुण्ये धननाशनम् । वायव्ये व्याधिपीड़ा स्यादुत्तरस्यां च सम्पदः। ऐशान्ये सुखवृद्धिः स्यादित्याशाभागनिर्णयः॥१५॥ (1) Omitted in A and B. (2) 9. 14-15 omitted in A and B. cf: Mayamata, 4. 106.10-11 वास्तुमध्ये ततस्तस्मिन् खानयेद् वसुधातलम् ॥ १० ॥ अरनिमात्रगम्भीरं चतुरश्रसमन्वितम् । दिग्भागस्थमसम्भ्रान्तमसंक्षिप्तसमुच्छ्रयम् ॥ १२ ॥ cf : Visvakarmaprakasa, 1. 63 : ज्वालयेद्भपरीक्षार्थसंपूर्णसर्वदिङ्मुखम् ॥ ६३ ॥ दीप्तापूर्वादि गृह्णीयाद्वर्णानामनुपूर्वशः । cf: Matsyapurānam 253, 14: ज्वालये परीक्षार्थ तत् पूर्ण सर्वदिङ्मुखम् ॥ २४ ॥ दीप्तौ पूर्वादि गृह्णीयाद्वर्णानामनुपूर्वशः । (8.13) Making a hole, one cubit in leugth, in the Vastu land and placing a lamp there, one should think of the results. (s. 14—8. 15) If the flame is smoke-coloured, it gives fortune, if it goes to the east, it predicts increase, if to the southeast the burning of the house, if to the south certain death, if to the south-west sorrow, if to the west disease, if to tha north wealth, if to the north-east increase of happiness.

·(8) A यत्र, ( 6 ) [ षोड़शवास्तुभूमि: ] आयतं चतुरस्रं च छत्रं भद्रासनं तथा । चक्रं विषमवाहुँः स्यात्रिकोणं शकठाकृतिम् ॥१६॥ दण्डं च प्रेणवं मूर्ति गृहद व्यजनं तथा । कूर्मकं धनराकार सूर्यकं चेति षोडशः ॥१७॥ (1) A श्रायतन, B प्राप्तए (2) A चतुश्रेष्ठः B कृत (4) B विष्णुवाई of: Visvakarmaprakāsa. 1, 27-30 चतुरस्रां द्विपाकारां सिंहोक्षाश्वेभरुपिणीम् । वृत्त च भद्रपीठं च विशूल लिंगसन्निभम् ॥ २७ ।। प्रासादध्वजकुम्भादि देवानामपि दुर्लभाम् । त्रिकोणां शकटाकारां शूर्पव्यजनसनिभाम् ॥ २८ ॥ मुरजाकारसदृशां सर्पमण्डुकरूपणीम् । खराजागरसङ्काशाम्वकां चिपिढरूपिणीम् ॥ २६ ॥ मुद्रा तथोलूककाकसर्पनिमां तथा। शूकरोष्ट्राजसदृशां धनुः परशुरूपिणीम् ॥ ३० ॥ cf: Yuktikalpataru. 23. 208-9: त्रिकोणो वर्तलो दी? यवमध्यो वृहन्मुखः ॥ तथा डमरुरूपश्च सर्पाकार स्तथैवच । छिन्नो भिन्नो मध्यनिनो व्यजनाभश्चतुष्पथः ॥ (5) A प्रणवस्थान, B प्रलम्व। After this A has सुरिक्त वृहामुख व्यजन कूर्मपृष्टः धनु सूर्यचक्र । B reads प्रलम्ब मृछन्द हयपिढ कमपृष्ट धनर्यय । (s. 16-17). Theso are the sixteen (kinds of Vāstu land): Ayataor oblong, caturasra or squaro, shatra or the shape of an umbrella, bhadrāsana or oblong, cakra or disc-shaped, Visamavahu or long and narrow with two unequal wings, trikona or triangular, Sakatākrti or cart shaped, Danda or staff like, Pranava or quadrangular, murti,grhada, vyajana or like a palmleaf fan, kurmaka or circular, bow-shaped and Suryaka.

·( 7 ) [ भूमिशुभाशुभफलम् ] आयते सिध्यते सर्व चतुरस्र धनागमः। छत्रे प्रीतिविवृद्धिश्च भद्रासने कृतार्थिनः ॥१८॥ 'चक्रे दारिद्यरोगो च शोको विषमवाहुके । राजभीति स्त्रिकोणे स्यात् शंकटे च धनक्षयम् ॥ १६ ॥ चौरा नश्यन्ति दण्डेन प्रणवे नेत्रनाशनम् । सुमूत्तौ म्रियते भार्या गृहदे सुखनाशनम् ॥ २० ॥ ध्यजने वित्तनाशश्व धनलाभश्चकच्छपे । चौपे चौरभयं विद्याद् भास्करे च दरिद्रता ॥ २१ ॥ (1) A पायतने (2) B सर्वसिद्धि च (3) A क्षत्रपुष्टिविवर्थनं, B कृतिपुष्टविवर्धनं (4) A कृतार्थश्च । (5) ° मेवोक्तम्, B omits रोगो। (6) B वसवाड़ तपाहनं (7) A नृप B° भय । (8) B शकटाधि (9) A नश्यति चिखो दण्ड, B पशुहोत्रि तयादण्डं । (10) A क्षयलोचन, B प्रलम्बे चेष्ठनाशनं (11) A सुरिक्ते प्रियते (12) B व्याने (13) A विनाशं च, B विद्यानाशं च । (14) A कूर्मे च धनपिड़ते, B कृमेन धनपिडनं । (15) A चापे धनभयं जातं सूर्ये अन्नक्षयं भवेत् । B शुर्य धनक्षयादित धनु चौर भवे मृत्यु । (s. 18-21). The Ayata ensures success, the square brings money, the chatra increases love, the bhadrâsana fulfills all desires, the cakra causes poverty and disease, the Vismabābuka beroavement, the triangular brings fear from the king, the Sakata loss of werlth. The Danda causes the destruction of thieves, the Pranava of eyes, the Sumurti of the wife, the grhada of happiness, the fan of wealth, the tortoise-shaped brings money. The arrow brings fear of thief and suryaka brings poverty.

·१० . ( 8 ) वैशाखे धनरत्नानि ज्येष्ठे मृत्यु विनिर्दिशेत् । आषाढे धनलाभश्च पशुद्धिमवाप्नुयात् ।। २२॥ श्रावणे भूमिलाभः स्याद्धानि र्भाद्रपदे तथा । पत्नीनाशश्वाश्विने च वहुभायाश्च कार्तिके ।। २३ ॥ मार्गशीर्षे धनप्राप्तिः पौषे चौरभयं तथा। Jशुभं च भयं विद्यादग्निं माघे विनिर्दिशत् । फाल्गुने कांचनं पुत्रं चैत्रे च शोकवान् भवेत् ॥ २४ ॥ (1) B has this sloka in leaf 48. Both A ond B begin with the month of Caitra and not Vaišākha. (2) B येष्टेन पशुचौर्या च । (8) A धनपशुवृद्धि B पशुनाशन cf: Matsyapurānam, 253, 2-5: चैत्रे व्याधिमवाप्नोति यो गृहं कारयेन्नरः । वैशाखे धेनुरत्नानि ज्यैष्ठे मृत्यु तथैव च ॥२॥ आषाढे भृत्यरत्नानि पशुवर्गमवाप्नुयात् । श्रावणे भृत्यलाभंतु हानि भाद्रपदे तथा ॥ ३ ॥ पत्नीनाशोऽश्विने विन्द्यात् कार्तिके धनधान्यकम् । मार्गशीर्षे तथा भक्तं पौषे तस्करतो भयम् ॥ ४ ॥ लाभं च वहुशो विन्द्यदग्निं माघे विनिर्दिशेत् । फाल्गुने कांचनं पुत्रानिति कालवलं स्मृतम् ॥५॥ cf: Yuktikalpataru, p. 32: वैशाख श्रावणाषाढ मार्गफाल्गुन-कार्तिकाः। सुप्रशस्ता गृहारंभे पत्नीपुत्र-समृडावदाः ॥ २१२ ॥ (4) A HATHTT, omits स्यात्, B वहुहानी च (5) B वहुरोगीनी (6) B जन नस्यन्ति (7) A धान्यानि; B कार्तिके धनलाभक धन:, B (9) ढस्करं भवेत् (10) A मोघ अग्निभयं कुर्यात्, B माघे वहुसोकं च । (8) A वहुधन चैव ·. ( 9 ) (11) A. भवेत्, B वहुपुत्रकं (12) A. शोकमवाप्नोति, B व्याधि प्रष्ठन्ति । cf: Visvakarmaprakasa, 2. 17-20 : अथ समयशुद्धिः ॥ चैत्रे व्याधिमवाप्नोति यो नवं कारयेद्गृहम् ।। वैशाखे धनरत्नानि ज्येष्ठे मृत्युस्तथैव च ॥१७॥ आपाढे भृत्यरत्नानि पशुवर्जमवाप्नुयात् । श्रावणे मित्रलाभं तु हानि भाद्रपदे तथा ॥१८॥ युद्धं चैवाश्विने मासि कार्तिके धनधान्यकम् । धनवृद्धिर्मार्गशीर्षे पोषे तस्करतोभयम् ॥१६॥ माघे त्वग्निभयं विन्द्यालक्ष्मीवृद्धिश्च फाल्गुने । गृहसंस्थापनं सूर्य मेषस्थे शुभदं भवेत् ॥२०॥ cf: Vastu--Prakarnain (Ms. in the Visvabharati Library) 1. 4-6:- चैत्रमासे गृहारम्भे शोकरोगभयं तथा । वैशाखे शुभदं विद्याज्ज्येष्ठायां मरणं धनं ॥४॥ श्राषाढे गोकुल हंति श्रावणे भृत्यवर्धनम् । भाद्रपदे प्रजारोग्यायुधं चाश्चिने एव च ॥५॥ कार्तिके धनलाभं स्याद् मार्गशीर्षे महद्भयम् । पौषे चाग्निभयाविधा माघे च वहुदं सुतः (१) ॥६॥ फाल्गुने रत्नहानि स्यात् मासानांच शुभाशुभम् । (.. 22-24). (If a house is begun) in the month of Vaisakha, wealth and jewels are to be gained, in Jaistha death, in asādha gain of wealth and increase of cattle, in srāvana gain of land, in bhādra loss, in āsvina loss of wife, in kārtika many wives, in mārgaśırşa getting of wealth, in Pousa the fear of thief, in māgha inauspiciousness, fear and fire, in Phalgun gold and in Caitra sorrow.

·( 10 ) जन्मराशेः शुभं सूर्यस्त्रिषष्ठदशलाभगः । द्विपंच नवमोऽपीष्ठ स्त्रयोदशदिनात् परम् ॥२५॥ [ तिथिशुद्धिः ] गृहं कृत्वा प्रतिपदि दुःख प्रामोति नित्यशः। अर्थक्षयं तथा षष्ट्यां पंचम्यां चित्तचांचल्यः ॥ २६ ॥ चौरभीति दशम्यां तु चकादश्यां नृपात् भयम् । पत्नीनाशस्तु पौर्णमास्यां स्थानीशः कुहौ तथा ॥२७॥ (A) यत्रराशिस्थितं सूर्यः त्रिषष्ठदशलाभकं एकादश । B omits the sloka. (2) A विनात् । A has some slokas on रविशुद्धिः, वारशुद्धिः and वारफलम् । (3) B omits sloka 26. A. प्रतिपद गृहकार्य च (4) A षष्टि पंचमोकाठन तथा। (5) B omits this sloka. A° भय (6) A एकादशी द्वादशि- नृपामयात् । (7) A नाशं च (8) A पतिनाशो कुहुस्तथा । (s. 25). If the sun is on the janmarriisi (birthday star of the householder), it is not auspicious to begin the house. Counting from there, there would be gain on the third, sixth and tenth day, as well as on the second, fifth. ninth and thirteenth day. (8. 26). Building a house on Pratipada day one always gets sorrow, on Susthi day loss of money and on Pancami day restlessness of mind. (s. 27). On dasami, there would be the fear of thief, on ekādasi the fear of the king, on purnimă the loss of wife, on the new moon day the loss of place.

·( 11 ) रिकायां सर्वकार्यानि नाशमायान्ति सर्वदा । द्वितीया सप्तमी चैव तृतीयाष्ट त्रयोदशी ॥ पंचसु स्थम्भकर्माणि स्थिरलग्ने शुभे क्षणे ॥२८॥ [ वारफलं ] वह्न भयं भवति भानुदिनेऽर्थनाशः । सौरदिने क्षितिसुतस्य च वज्रपातः ॥ २६ ॥ प्रासादसद्भपुरपुष्करिणीक्रियासु । धर्मार्थवांछितफलानि शुभग्रहाणाम् ।। ३० ।। [ नक्षत्रफलं ] आदित्यद्वयरोहिणीमृगशिराज्यष्ठा धनिष्टोत्तरा । पोष्णी विष्णु मघानुराधंगुरुभिः शुद्धैः सुतारान्वितैः॥३१॥ (1) A oinits this line, Boinits slokas 27-35. (2) A पंचेते धनरत्नानि स्थम्भ शुभेक्षणे । (3) A वदेयं (4) A रपि (5) A"घातः। (6) A ग्रहानि (7) A °शिरा (8) A पोष्य (10) A शुद्ध (11) A सुपुत्रान्विजते। (७. 28). On the vilsti tithis (i.e., चतुर्थी, नवमी and चतुर्दशी) all works always tend to destruction. On these five-vitīyā, saptamí, tritiyo, astāmi and truyolusi at auspicious moment the column should be placed. (s. 29). On sunday, there is the fear of fire, on monday the loss of inoney and on Tuesday the falling of thunder, (8. 30). In the work of palace, house, city and tanks, the auspicious planets (produce) results desired by dharma and artha. (8. 31). These are the pure and auspicious stars-aditya. dvaya, Rohini, Mrgasiri, Jyestha, Dhanistottara, Pansni, Visnu and Maghā. 0 (9) A मृगा ·( 12 ) सौम्यानां दिवसेऽथ पापरहिते योगोऽतिरिक्त तिथौ । विष्ठित्यकदिने वदन्ति मुनयो वेश्मादिकार्य शुभम् ॥ ३२॥ (अन्यच्च) अश्विनी रोहिणी मूला झुत्तरात्रयमेवच । स्वाती हस्तानुराधासु स्थम्भारम्भः प्रशस्यते ॥३३॥ धनुर्मीनद्वयोमध्ये यावत्तिष्ठति चन्द्रमाः । न छिन्द्यात्तृणकाष्ठदीन्न गच्छेदक्षिणां दिशम् ॥३४॥ (1) A अपाप (2) A कार्य (3) A शुभा । cf: Yuktikalpatarm p. 32. 8. 217. श्रादित्यद्वयरोहिणी मृगशिरो ज्येष्ठाधनिष्टोत्तराः । रेवत्याथ मघानुराधहरिभिः शुद्धः स्वभावादिभिः । सौम्यानां दिवसेऽथ पापरहिते योगेविरिक्त तिथौ । विष्टित्यक्तदिने वदन्ति मुनयो वेश्मादिकार्य शुभम् ॥ २१७ ॥ cf : Matsyapuranam : 253, 6. :- अश्विनी रोहिणी मूलोत्तरा त्रयमैन्दवम् । स्वाती हस्तोऽनुराधा च गृहारम्भे प्रशस्यते ॥ ६ ॥ (4) A omits slokas 33-36. . (s. 32). Sages say that the building of houses is auspicious on the days of moon, on sinless yoga, an extra tithi and on days which are not connected with Visti. (s. 33), (Otherwise) it is advisible to begin the column with the following stars : Asvini, Rohini, Mula, Uttara, Svati, Hastā and Anurādhā. (s. 34). When the moon rests between Dhanus and Mina, no one should cut grass, wood and other things and vo one should go to the south.

·( 13 ) विश्वेदेवे चाग्निभयं श्रावणायां भयं भवेत् । धनिष्टायां भवेद्रोगो वरुणे मरणं ध्रुवम् । अजपादे नृपभयं जातं शरणपंचके ॥ ३५ ॥ जन्मचन्द्रः श्रियं कुर्याद्वर्जयेत् पंचकर्मसु । यात्रा युद्ध गृहारम्भे भैषज्ये पशुसंग्रहे ॥३६ ।। जन्मतारे भवेत् क्लेशः सम्पदि सुखसम्पदः । विपदि कार्यनाशः स्यात् क्षेमेण क्षेमलाभकः ॥ ३७॥ प्रत्यरौ परमं रोगं साधके सर्वसाधकः । निधने धनहानिश्च मैत्रे परममंगलम् ॥३८॥ सप्ताद्यचन्द्रे ध्रुवमर्थलाभः। षष्ठे तृतीये धनभोगमायुः । सर्वार्थसिद्धिं दशमे वदन्ति । एकादशे सर्वसुखानि चैव ।। ३६ ।। (s. 35) In the month of asāda, there is the fear of fire, in Sravana fear, in Dhanistha disease, in Varuna certain death, in Ajapada fear of king,—these are the Saranapancaka. (8. 36). The birthday moon (ordinarilly) does good, but it should be avoided in the following five cases—in going elsewhere, in war, in beginning a house, in medicine and in collection of animals. (. 37-38). The birthday star brings suffering, with sampada there would be happiness and wealth, with vipada loss of work, with ksama attainment of good, with pratyari fatal disea.se, with sādhaka fulfillment of all, with nidhana loss of wealth, with maitra great good. (s. 39). With the seventh birthday moon, there would be certain gain of money, with the sixth and third wealth, enjoyment and long life, with the tenth attainment of all ends, with the eleventh attaininent of all kinds of happiness.

·( 14 ) द्वितीयोऽध्यायः। [ गृहबन्धः ] व्यासेन गुणितं दैर्ध्यमष्टाभि र्भाजितं पुनः । शेष ध्वजादिकं ज्ञेयं पूर्वादिभवनाष्टके ।। १ वजो धूम्रश्च सिंहचे श्वा धृष खर एव च । गजो ध्वांतस्तथैतानि गृहबन्ध स उच्यते ॥ २ ॥ (5) A श्वान (1) A reads: विस्ताराणि हस्तं च प्रतिराशि दृसं च कारयेत् । अष्टाभि हरते भाग शेषबन्ध स उच्यते ॥ B hus a corrupt reading. cf : Matsyapuranam, 257, 15-16. व्यासेन गुणिते दैर्ये अष्टाभि वै हृते तथा ॥ १५ ॥ यच्छेषमायतं विन्द्यादष्टभेदं वदामि वः । ध्वजो धूमश्च सिंहश्च वृषभः खर एव च ॥ १६ ॥ हस्ती ध्वांक्षश्च पूर्वाद्याः कशेषाभवन्त्यमी । (2) A ध्वजे (3) A धूम च (4) A सिंहायु (6) A स्तथा (7) A ध्यासायते चैव B reads : श्री । ध्वज । धूम्र । सिंह । श्वन् । वृष । खर गज। ध्वज।८।एअष्टवन्ध । of: Yuktikalpatarau, p. 45: ध्वजोधूमस्तथा सिंहः श्वावृपो गर्दभो गजः । काक इत्येष गदितो वास्तुस्थानस्य निर्णयः। cf: Vāstuvidyā, 8, 21-22: ध्वजः सिंहो वृषो हस्ती महादिग्देवताः ह्यमूः ॥ २१ ॥ विदिनाथास्तु धूमः श्वा खरो ध्वाक्ष इति स्मृताः। ci: मनुष्यालयचन्द्रिका, p. 16, 8. 16 : ध्वजधूमसिंहकुक्कुरवृषखरगजवायसाः क्रमेण स्युः । (8 1). If the length is multiplied by breadth and again divided by eight, the remainder is known respectively as Dhvaja and others in eight kinds of houses. (s. 2). These are called Gịhabandhas: Flag, dhumra, lion, .

·( 16 ) ध्वजे विभूति मरणं च धुने सिंहे जयः श्वा च करोत्यनर्थम् । भोगो वृषे हानिकरः खरे च पुष्टि गंजे काकपदे च दुःखम् ॥ ३॥ वजे देवगृहं कुर्याद॑धूने च होमशालकम् । सिंह च श्रीगृहं कुर्यात् शुनि कुणिशालकम् ॥ ४॥ ci : Visvakarmaprakas, 2, 49-50: विस्तारण हतं दैर्ध्य विभजेदष्टभिस्ततः ॥ ४६॥ यच्छेषं संभवेदायो ध्वजाद्यास्ते स्थुरष्टधा । ध्वजो धूम्रो हरिः श्वागौः खरेभीवायसोष्टमः ॥ ५० ॥ (1) Both A and B omit this sloka. cf: Yuktikalpataru, p. 45, s. 310: धजे विभूति विपदश्च धूमे सिंहे विभोगः शुनि सर्वनाशः । वृषे सुखं गर्दभतो विनाशः । गजे धनं काकपदे मृत्युः ॥ ३१० ॥ cf: Visvakarmaprakasa, 2, 53: ध्वजः सिंहे तौ च गजातेगविशुभप्रदाः । वृषो नपूजितोह्यत्र ध्वजः सर्वत्रपूजितः ॥ ५३ ॥ (2) A ध्वजेन (3) A कुर्या (4) A धृमेन, B धूभ्रेण (5) Cशालकः, B शालिका (6) B सिंघन (7) A श्रीवरं, B शिरिघरं (8) B कुर्या, the remaining por. tion of sloka is omitted in B. . dog. buffallo, ass, elephant and crow. (s. 3). The dhvaja house brings wealth, the dhumra house death, the simha house victory, the sva house destruc. tion, thy visz house enjoyment, the khara house loss, the gaja hause nourishinent, the kāka house sorrow. (s. 4-5) With dhwaja a temple should be built, with dhumra the sacrificial house, with Simha Srigrha (an audience ·( 16 ) वृषे अन्तःपुरं कुर्यात् खरे पशुन्नियोजयत् । गजे भण्डारकं चैव वां च शस्त्रशालकम् ॥५॥ अष्टाभि गुणितं पिण्डमृतभागेन हारयेत् । शेषम॒क्षं विजानीयादाविन्यादि क्रमेण च ॥ ६ ॥ (1) A °पुर (2) A योजयेत् (3) A भण्डारकश्चैव (4) A धुम्रेन (5) C. शालकः। (6) Bहरते (7) A भोगेन (8) B असं (9) A °गुणिते वुधः, B तत्र ऋक्ष वेणी दृस्यते। cf: Matsyapuranam : 257, 20 : तवेमाष्टगुणं कृत्वा करराशि विचक्षणः । सप्तविंशाहते भागे ऋक्षं विद्याद्विचक्षणः ॥ २० ॥ cf : Garudapuranam, 46, 27 : अष्टाभि गुणितं पिण्डं षष्टिमिः भार्गहारितम् । यच्छेषन्तद् भवेजीवं मरणं भूतहारितम् ॥ २७ ॥ cf: Srinivasadipikā, 7, p. व्यासेन गुणिते दैये वसुभि विहृते ततः ।। तच्छेषमायतं विद्यात पूर्वादिभवनाष्टके ।। 166: hall), with Śva the place for crushing rice, with Vrsk the inner appartment, with khara a stable, with gaja a store and with dhāmkļa an armoury. (s. 6) The area (pinda) of the house, multiplied by 8 (the number of Bandha) should be divided by Rksa (or 27–the num ber of the stars), the remainder Rksa star (being the star o the house) should be known respectively as Asvini ang others.

·( 17 ) वसुभि गुणित पिण्डं षष्टिभागेन हारयेत् । शेषमंशं विजानीयादायुगैहस्य कोविदः॥७॥ पृथिवीजलतेजांसि वायुराकाश एव च । पंचभूतायते तत्र भग्नं दाहादि जायते ॥ ८॥ अहं चतुर्गणं कुर्यात्रवभागेन हारयेत् । शेषमंशं विजानीयात्तं लब्धं राशिमादिशेत् ॥६॥ श्रादौ चौरभयं भोगी द्वितीये वित्तनाशकम् । वह्नौ वेदे भवेदाता नृपतिः पंचमे तथा ॥१०॥ (1) B omits this sloka. A fois (2) A अष्ठामिः (3) A गुणितं वुधः (4) A omits this sloka. B श्राप (5) C पंचस्य, B text is corrupt after this. (6) A रिख्या (7) A ° नवभि भांग B कृत्वा' (8) A शेषतां (9) A लब्धि (10) A. 10 is omitted in A, B. has a corrupt Text. (8. 7). If the area is multiplied by 8 and divided by 60, the learned should know that the remainder is the āyus (duration) of the house. (8. 8). If the remainders are the five elements-(1) earth, (2) water, (3) heat, (4) air and (5) sky, (the result of the duration of the house) would be destruction, burning etc. (8. 9). If the Rksa (the star of the house) is multiplied by 4 and divided by 9, the remainder should be known 48 Rasi (s. 10 s. 11). If the remainder is one, there would be fear of thief, if two, enjoyment, if three, loss of wealth, if four ·( 18 ) षष्ठे भयमवाप्नोति सप्तमे च नपुंसकः। वसौ दरिद्रतामेति नवमे विष्णुमन्दिरम् ।।११।। अष्ठाभि भजिताहक्षायच्छेषं स व्ययो भवेत् । ध्ययाधिक्यं न कर्तव्यं गृहमायाधिकं शुभम् ॥ १२॥ [ नागप्रमाणम् ] प्रक्षेण गुणितं पिण्डं अष्टभागेन हारयेत् । अष्टौ नागाननन्तादीन् भागशेष प्रकल्पयेत् ॥ १३ ॥ (1) s. 11-12 omitted in A and B. cf: Matsyapurānam, 257, 21: अष्टभि र्भाजिते ऋक्षे यः शेषः स व्ययो मतः । व्ययाधिक्यं न कुर्वीत यतो दोषकरं भवेत् ॥ cf: Garudapurānam, 40, 25-26 : पुन गुणितमष्टाभि क्षभागंतु भाजयेत् यच्छेषं तद्भवेदृक्ष भाग हत्वा व्ययं भवेत् ॥ २५ ॥ ऋतं चतुर्गुणं कृत्वा नवभिर्भागहारितम् । शेषमंशं विजानीयाद्देवलस्य मतं यथा ॥ २६ ॥ cf: Srinivasadipikā, p. 167: वसुशिष्ट तथायातं नक्षत्रं भवति व्ययः । व्ययाधिकं न कर्तव्यं गृहमायाधिकं शुभम् ॥ (2) A and B omits s. 13. donor, if five king, if six there would be fear, if seven eunuch, if eight poverty, if nine temple of Visuu. (8. 12). That is called Vyaya what remains by dividing the Rksa (star of the house) by eight. A house should not be made such as having excess of vyaya, if it has excess of aya, it is auspicious. (s. 13). Pinda multiplied by Rksa. (star of the house) should be divided by eight. The remainder indicates the eight (vāstu) nāgas, Ananta (Vasuki, Taksaka) and others.

·( 19 ) वालाग्रकलिकादर्भयूकसूत्रपदाः क्रमात् । चतुर्गुणानि कृत्यैतान्यंगूलीः कथयन्ति हि ॥१४॥ यथा पृथ्वी तथा वास्तु यथा वास्तु तथा मही। स्थाने स्थाने प्रकल्पन्ते विपाके नाग अन्तकः ॥१५॥ [ वास्तुनागविचारः ] भादौ तु शिरः पूर्वे मार्गादौ दक्षिणे शिरः । फाल्गुनादौ शिरः प्रत्यक् ज्येष्ठादावुत्तरे शिरः ॥१६॥ (1) B omits s. 14-15. A वसीकाद्यमि. 8. 14 has no connection with the previous or following alokas. (2) A° पादानि च (3) A 'स्मिन्यंगुल (4) A जनयति (5) A परिकृपे (6) A विपाक (7) A नागनन्तक (8) B omits s. 16-18. A पूर्व शिर भाद्रवार्द्ध (9) A मार्गे दक्षिणमस्तके (10) A फाल्गुणे वारण से (11) A जेष्ठे उसरमूर्द्धणि ef: Srinivasdipiki, p. 165 : पूर्वादिक्षु शिरः कृत्वा नागः शेते त्रिभिस्त्रिभिः । भाद्राद्यौ वामपावन तस्य कोड़े शुभं गृहम् ॥ (s. 14). Angulis are said to be four times respectively of the point of hair, kalikā, darva, yuka and sutra pada. (s. 15) What is earth is Vastu, what is Vastu is earth. The Naga Antaka should be imagined at places. (s. 16). In the Bhādra and following months, the head of the (Vastu) nāga rests on the East, in the marga sirsa and following months on the South, in the Phalguna and following months on the West and on Jyestha and following ou the North.

·( 20 ) शिरसा पृष्टपुच्छाम्योमशुभं च भवेद् गृहम् । शयनं वामपार्श्वन तस्य कोड़े शुभं भवेत् ॥१७॥ शिरा प्रदेशापुच्छान्त नागदीर्घ च स्थापयेत् । भष्टभागै हृतं तस्य लब्धं तालं विदुव॒धाः ॥१८॥ अष्टभागहतो भूमिः प्रथमं शिरः उच्यते । द्वितीये हृदयं चैव तृतीये जठरं तथा ॥ १६ ॥ चतुर्थ नाभिकं विन्द्यादपंचमं गुह्यमेव च । षष्ठं स्याजानुदेशं च सप्तमं जघनं तथा ॥२०॥ (2) A शयने (1) A पुच्छाभ्याः शशृरोतदिगम्तए (3) A गृहम् । (4) 8. 18 is omitted in A and B. - (5) B omits 8. 19-22. A gives a different reading:- तालमेको कण्ठशिरः द्विताल कण्ठकस्तम्भा । त्रिमितालहृदयेश्चैव चतुर्तालोदरं भवेत् ॥ पंचताल नाभिश्चैव षष्ठताल गुहकस्तथा । सप्तताल जघनश्चैव अष्ठतालश्च पुच्छये ॥ (s 17). A house on its head, back and tail is inauspicious, but it is auspicious on its left sido and on its lap. (s. 18). The length of the house should be the length of the (Vastu) nāga from its head to tail. The length divided by eight is known to the learned as tāla. (8. 19-20). The (Vastu) land being divided into eight parts, the first is called head, the second heart, the third belley, the fourth navel, the fifth scrottum, the sixth thigh and the seventh hip.

·( 21 ) दारापत्यप्रणाशो भवति च खनने मस्तके नागरांजस्य । श्रीसम्पत्तिः प्रभुत्वं यदि हृदि जठरे सर्वभोगैरुपेतः ॥२१॥ नॉभिगात्रे रतिशयभयदो गुह्यदेशे चे रोगो। जान्यो दीर्घप्रवासी क्षयमपि जघने पुच्छदेशे च मृत्युः॥२२॥ [ इति नागपरिमाणसमाप्तिः ] तृतीयोऽध्यायः । [ सूत्रलक्षणम् ] ध्वजवस्त्रपताकादि दर्शन धनसंभवः । पूर्णकुम्भे भवेत् वित्तं प्राप्नोति कनकादिकम् ॥ १॥ (2) A (3) A हृदय (1) A नागराज्ज्ञिा, C नागरांकः । प्रभुका (4) A त्वरातेरतिशशुभदोनाभौक्षीणं (7) A खलु (8) 8. 1-4 omitted in A and B. (5) A भोगं (6) A जानु (s. 21-22). If (at the time of building the house) the head (of the Vāstu någa) is dug, there would be loss of the life of wife and children, but if the heart, attainment of wealth and property and mastery, if the belley, all kinds of enjoyment, if the navel, great fear, if scrottum disease, if thigh long absence from house, if hip decay, if tail death, (s. 1). In laying the thread for the foundatiou of tho house, at the sight of flag, cloth and other things, there is possibility of gaining wealth and at the sight of a full pitcher of wealth, gold and other things.

·:- - ( 22 ) शत्रुतयं वाद्यघोषे वेदघोष भवेच्छुभम् । ज्योतिः शास्त्रकथायां तु वर्द्धते गृहिणो धनम् ॥२॥ हीनांगो भिक्षुकश्चैव वन्ध्या रोगार्तिखंजको । दृश्यते चेद्गृहारम्भे कर्तुश्च मरणं ध्रुवम् ॥३॥ सूत्रस्य छेदनात् क्षिप्रं दुःखं स्यान्मरणान्तकम् । अतो विधिविधानेन शान्तिहोमं तु कारयेत् ॥४॥ (1) cf: Matsyapurānam, 256, 21:- सूत्रछेदे भवेन्मृत्यु ाधिः कीले त्वधोमुखे । अंगारेषु तथोन्माद कपालेषु च सम्भ्रमम् ॥ २१॥ cf : Srinivasadipika, p. 169:- सूत्रच्छेदे भवेन्मृत्युः कीले च वाङ्मुख महान् रोगः । गृहनाथस्थपतिनां स्मृतिलोपे मृत्युरावेशः cl: Brhat Samhiti,53, 110 :- सूत्रच्छेदे मृत्युः कीले चावाङ्मुखे महान् रोगः । गृहनाथस्थातीनां स्मृतिलोपे मृत्युरादेश्यः ॥२२० ॥ (s. 2). At the sound of drum, there would be destruction of enemy, at the chanting of the Vedas, there would be good and at the reading of the jyotisāstrā, the wealth of the householder increases. (s. 3! If at the time of beginning the house, a crippled, a beggar, a barren woman, a diseased person and a lame man are seen, the owner's death is certain. (8. 4). If the thread tears, there would be sorrow amoun. ting to death, therefore, santi-homo should be performed according to the proper rules.

·( 23 ) सूत्रे विस्तीर्यमाने तु रोदनं श्रूयते येदि । नामिमाने स्थित शल्य मुण्डमालां विनिर्दिशत् ।। ५ सूत्रे विस्तीर्यमाने तु गजशब्दो यदा भवेत् । गंजस्यास्थि विजानीयाद्वास्तुभूमौ न संशयः ॥६॥ सूत्रे विस्तीर्यमाने तु हयशब्दो यदा भवेत् । तत्राश्वास्थि विजानीयाद्धनहानि भवेधुवम् ॥७॥ सूत्रे विस्तीर्यमाने तु धेः शब्दायते यदि । गवास्थीन्यत्र जानीयान्मृत्यु वास्तुपते भवेत् ॥८॥ A (1) B शुत्र, सुत्र (2) A विस्तार्यमानस्तु, B विस्तारमानेन (3) A रोदिते, B मानवशब्द (4) A श्वासते, B शुभे (5) A अथवा (6) °मात्र, B वयएतए भूमि सा। मरण तत्र निसंसयः । (7) A स्थिते (8) A सुत (9) A विस्तार्यमानस्तु . (10) A ध्वनिमुदामृत (11) A गज अस्थि (12) B omits 8. 7. A. ध्वनिमुदाहृतं (13) A हय अस्थि, विजानिया सन्त तिष्ठति नान्यथा। (14) A गवाय (15) A रोदन्ते (16) A गोरुअस्थि (17) A विजानीया (18) A मृत्ये वास्तु यथार्थजा। (8. 5-7). If at the time of laying the thread, the ery is heard, the salya-a garland of heads is pointed out at the navel, or if the elephant's sound is heard, elephant's bone should bo known to exist in Vāstu land without doubt, or if the horse's neigh is heard, horse's bone should be known to exist and there would certainly be loss of wealth. (s. 8-9). If at the time of laying the sutra, cow's lowing is hearil, cow's bone should be known to exist there and the ·( 24 ) सूत्रे विस्तीर्यमाने तु कक्कुरो यदि रुद्यते। अचिरेणैव कालेन शुना निहत एव सः॥६॥ गर्दभो शब्द्यते यत्र तद्नेहं परिवजयेत् । काको दृष्ट्वा मुखं रौति ध्रुवं मृत्यु विनिर्दिशेत् ॥१०॥ सूत्रे विस्तीर्यमाने तु पनगो यदि दृश्यते । भचिरेणैव कालेन सर्पण निहतो ध्रुवम् ॥११॥ (1) A and B omits this sloka cf : Matsyapuranam, 256, 19-20. प्रसार्यमाणे सूत्रे तु श्वा गोमायु विलंघते । तत् तु शल्यं विजानीयात् खरशब्देऽतिभैरवे ॥१६॥ यदीशाने तु दिगभागे मधुरं रौति वायसः । धनं तत्र विजानीयाद्भागे वा स्वाम्यधिष्ठित ॥ २० ॥ (2) B omits s. 9-10. A reads: गर्धवो यस्य स्यात् परिवर्जयेते रोदन्ते । पुत्रकालस्तु ध्रव मृत्यु विनिर्दिशेत् ।। (3) A पनंगो (4) A स्वामी न हत पनग। cf: Brhat Samhitā : 53, 108: सूत्रे प्रसार्यमाणे गर्दभरावोऽस्थिशल्यभाचष्टे । श्वशृगाललंघिते वा सुत्रे शल्यं विनिर्देश्यम् ॥ २०८ ।। B adds : सूत्रे प्रसार्यमाने शंखशब्दं श्रूयते यदि । देवभूमि भवेत् सा ताम्मानवो वर्जयेत् सदा ॥ सूत्रे विस्तृर्यमाने तु शिलाघातो भवेत् यदि । वर्जयेत् तादृशं भूमि जननाशः भवेत् सदा ।। death of the lord of Vāstu would follow, or if the dog barks, he would soon be killed by the dog. (s 10). Where an ass brays, that house should be vacated. If a crow caws seeing the face, it signifies certain death. (s. 11). If at the time of laying the sutra a serpent is seen, he would certainly be soon killed by a serpent.

·( 25 ) चतुर्थोऽध्यायः। ॥ [ मंगलारोपनविधि: ]] भस्मास्थि काष्ठमंगारं तुषं वालं कपालकम् । रक्तपुत्तिकदन्तं च मृद्भाण्डास्थीनि यत्र वै । तत्रावासो न कर्तव्यः कृते कीर्तिधनक्षयम् ॥१॥ इष्टकायामर्थलाभैः पाषाणे सर्वसम्पदः । सर्पादौ निधनं कर्तरंगारे च कुलक्षयम् ॥२॥ [ गृहवृद्धिः ] पूर्वप्लवो वृद्धिको धनदश्चोत्तरप्लवः । दक्षिणो मृत्युदश्चैव धनहा पश्चिमलवः ॥३॥ (1) B omits 8. 1-3. A. °दुस्थतु केशकपोलदण्डरक । (2) A. gives a corrupt reading : सर्व यदि वाथ शिलता च लोष्ठे धर्मकुल । मलिनीकलाज नाना तस्मिन् वदन्ति मुनयो धर्मकीर्तिनाशम् ।। (3) S. 2. does not occur in A. 8. 3. comes after many slokas. (4) A करोवृद्धि (5) B उत्तरे धनहा (6) A पश्चिमे धननाशाय दक्षिणे मृत्युरेवच ॥ cf : Yuktikalpatru, s. 304 b, 305 a. पूर्वप्लवो वृद्धिकरो धनश्चोत्सरलवः ॥ ३०४ ॥ दक्षिण मृत्युदो वास्तु धनहा पश्चिमलवः । (8. 1-2). If (from the hole of the auspicious column) ash, bone. wood, burnt wood, husk, blood, tooth, earthenpot, corne out, one should not live in such a place. If one lives there, he would lose his dharma and glory. If brick comes out there would be gain of wealth, if stone, all kinds of property, if serpent and others, the death of the householder, if burnt wood, loss of family. (s. 8). Extension of the house on the East signifies in. crease, on the north giving of money, on the South death and on the West losing of wealth. T प्र .

·( 26 ) पूर्वेऽश्वथं वर्जयित्वा तितडी दक्षिणे तथा । पश्चिमांश वढं तद्वदुत्तरे न ह्यदुम्बरम् ॥ ४॥ ऐशान्ये रक्तपुष्पं च भाग्नेये क्षीरपादपम् । नैऋते कण्टकं चैव वायव्ये शाल्मली तथा ॥५॥ (1) In A these slokas occur towards the end. A's version is a little different: वर्जयेत् वा पूर्व अश्वथं दक्षिण पलाशस्तथा । न्यग्रोध पश्चिमे भागे उत्तरस्तु भद्रम्वर ॥ B has a corrupt text beginning with अमलान् परिवर्जयेत्। (2) A इशाने B इशान्ये (3) A अग्निया, B अग्निए (4) A कण्टकी, B कण्टिको (5) A शिमुली। cf: मनुष्यालयचन्द्रिका, 1, 22. पूर्वस्यां वकुलो वटश्च शुभदोऽवाच्यां तथोदुम्बर- श्चिचा चाम्बुपतौ तु पिप्पलतरुः सप्तच्छदोऽपि स्मृतः। कौवेर्या दिशि नागसंक्षिततरुः लक्षश्च संशोभनाः प्राच्यादौ तु विशेषतः पनसपूगौ केरचूतौ क्रमात् ।। cf: शिल्परन्तम् , 3. 21-22 : अश्वत्थः पूर्वतो धन्यो दक्षिणे चाप्युदुम्वरः । न्यग्रोधः पश्चिमे लक्षोऽपयुत्तरेति परे जगुः ॥ २१ ॥ पूर्वाधुदुम्बराश्वत्थाप्लक्षन्यग्रोधकास्तु वा । सर्वत्र केसराश्चूताः पुन्नागा नागडाडिमाः ॥ २२॥ (8. 4). The Asvatha troe should be avoided on the East, the tamarind on the South, the banian on the West and fig tree on the north. (s. 5) The red Aower trees should be avoided on the north-east, the Ksira trees (fig trees) on the south-oast and the thorny trees on the south-west and the silk cotton tree on the west.

·( 27 ) [ शुभवृक्षाः ] यत्रतत्र स्थिता वृक्षा विल्वदाडिम्बकेशराः । पनसो नारिकेलं च शुभं कुर्वन्ति नित्यशः ॥ ६॥ प्रागादिस्थे सलिले सुतहानिः शिखिमय रिपुभयं च । स्त्रीकलहः स्त्रीदौष्ट्यं नःष्टं वित्तामृज वृद्धिः ॥७॥ cf: Vāstuvidyā, 2, 33-6 : वर्णक्रमेणाथ विद्याद वृक्षान् शास्त्रविशारदः अश्वत्थः पूर्वतो धन्यो दक्षिण च उदुम्बरः ॥ ३३ ॥ न्यग्रोधः पाश्चमे श्रेष्ठः लक्षोऽन्युसरतः शुभः । न्यग्रोधः पूर्वतो वो दक्षिणे लक्ष एव च ॥३४॥ अश्वत्थः पश्चिमे भागे उत्तरे चाप्युदुम्बरः । अश्वत्थोऽग्निभयं कुर्यात् लक्षः कुर्यात् प्रमादकम् ॥ ३५॥ न्यग्रोधः शस्त्रसम्पतिं कुक्षिरोगमुटम्बरः । काटकातुषांगारपाषाणस्थ सरीसृपान् । ३६ ॥ cl: Garudapuranam, 46, 36: अश्वत्थप्लक्षन्यग्रोधः पूर्वादौ स्यादुडुम्वरः गृहस्य शोभनः प्रोक्त ईशाने चैव शाल्मलिः ॥ (1) A and Bomit 8.6-7. cf: Matsya purāņain, 225, 20-24: भवनस्य वटः पूर्व दिग्भागे सर्वकामिकः । उदुम्बरस्तथा याभ्ये वारुरयां पिपलः शुभः ॥ २० ॥ लक्षश्चोत्तरतो धन्यो विपरीतास्त्वसिद्धये । करटकी क्षीरवृक्षश्च असनः सफलो द्रुमः ॥ २१ ॥ (s. 6). Where there are Bilva, pomegranete, kesara, jack. fruit, cocoanut trees, they always do good. (s. 7.) If there is water on the East, there would be the loss of son, fear of fire (on the south-east) fear of enemy (on the South), quarrel with wife (on the West), naughty wife (on the sout-west) and no increase of wealth (on the west).

·(28 )
भार्याहानौ प्रजाहानौ भवतां क्रमशस्तदा ।
न छिन्द्याद् यदि तानन्यनन्तरे स्थापयेच्छुभान् ॥ २२ ॥
पुन्नागाशोकवकुलशमीतिलकचम्पकान् ।
दाडिमी-पिप्पलीद्राक्षास्तथा कुसुममण्डपान् ॥२३॥
जम्वीर-पूग-पनस-द्रुम-केतकीभि-
र्जाती-सरोज-शतपत्रिक-मल्लिकाभिः ।
यन्नारिकेल-कदलीदलपाठालाभि-
युक्त तदत्र भवनं श्रियमातनोति ॥ २४ ॥

·( 29 ) पंचमोऽध्यायः [ गृहप्रवेशविधिः ] Unfortunately for us, the Sanskrit slokas of the fifth chapter are too corrupted to be restored. B omits the whole chapter and C does not contain the Sanskrit slokas, but only the Uriya commentary. A contains the Sanskrit alokas, in a corrupted from. It is a mystery how C lost the original Sanskrit slokas and preserve only the Uriya commentary. A has the following corrupted slokas : मेषसिंहं हयानान्तु पूर्वे शालः प्रशस्यते । प्राडबुम् मुखं पश्चिमद्वारा प्रविश्यन्ते धनापते ॥१॥ वृषकन्यामृगानां च सप्तद्वाराणि मन्दिरे । प्राड्मुख उत्तरद्वारा दक्षिणभिमुख ॥ २ ॥ तुलामिथुनकुम्भानां शुभ पश्चिमन्दिरे । पूर्वाभिमुख पूर्वद्वारे सन्ति धनानि च ॥३॥ भलिकर्कटमीनानामुत्तरं मन्दिरं मतम् । श्रीकामदक्षिणद्वारा प्रविश्यन्ति भरानन ॥४॥ It also contains a significant sloka, which ascribes the origin of the work of Višvakarmau: नागस्थान स्थानद्वारे विश्वकर्मा च भाषित। दोषगुण समासाद्य कथितं वास्तुविस्तरम् ।। C has the following in Uriya on गृहप्रवेशविधिः:- ब्राह्मणे सन्तुष्ट कराइ । वन्धु कुटुम्बे स्नेह वहि ॥५१॥ मंगल उत्सव कराइ । गृहे प्रवेश हेव यांइ ॥५२॥ श्रीमत भागवत थिव । सेठारे पठन होइव ॥ ५३ ॥ जगनाथकुं सुमरिव । मणोहिं किछि कराइव ।। ५४॥

·( 30 ) एरूपे ये नर करइ । केवेहें लक्ष्मी न छड़ाइ ॥ ५५ ॥ विपत्तिमान पलाइवे । सुदर्शन रक्षा करिवे ॥ ५६ ।। नीलाद्रिपति पादे ध्यान । निरते रहु मोर मन ॥ ५७।। शिल्पलक्षण पदकेते । कहिलि एहा मुहिं गीते ।। ५८ ॥ सुजने मो दोष न धर । वाजी महारणा छार ।। ५६ ॥ The above would thus be translated into Enylish: The ceremony of entering the new house would b; hell after satisfying thu Brahmins and getting the affection of friends and relatives and performing the auspic'ous festival. In the house there would be Śriinadbhā ravat, which would be read on the occasion. One should remember the god Jaganatha (of Puri) and promise some present to the god. One, who observes the ceremony in this way, is never for-aken by the goddess Lakşmi. All sorts of dangers flee away from him and the Sudarśana cakra would protect hin. I pray mind would always remain attached to the feet of the Lord of Niladri. I have thus spoken of silpalaksana in verses. hope that the good people wool not look for ny defects, bocause Bauri Mahāranā is a very humble man. Again, Silpi-luksuna is thus described in Uriya: शिल्पिलक्षणकु येवे विचारित्र । विसिक्रमा मेरुकु कहुँ अछन्ति ।। that my I हे मेरु शुन । तिरि पुंस भाचारवन्त होइन। शुचिवन्त होइन । घेनि थेव। पुरुष वछा धरि थेव ।। एमन्त होइ शुम पूजा कराइव । बामणवरण, विसिक्रमा वरण ॥

·( 31 )
नवग्रहवरण । एतेक वरण करिव ।
एतेक वरण कले अश्वमेधधर्म होइ ।।
हीन भाचार्यकु न डाकिव ।
हीन शिल्पि विन्धानिकि न डाकिव, विफलनिन्दा होइ ।
से कीर्ति नपुंसक कीर्ति होइ ।।
It may be translated thus :
Now, the Silpi-laksana should be discussed. Visvakar man
thus speaks to Meru: 0, Meru, listen. The Yajamāna should
be pure in habits. The auspicious work should be done along
with his wife and children. Thus the pujā should be done
by invoking Brahmana, Visvakarman, Navagraha. Thus one
would get the result of Asvamedha. Never call a bad ācārya
or a bad silpin, then your farne would be useless like an
eunuch.

·( 32 ) Appendix I. भूभिपरीक्षा, 1. 8. 6. cf: Västü Vidyā, 2, 27-30 : श्राज्यागन्धा च सा भूमि बाह्मणानां प्रशस्यते । पूर्वप्लवा च रक्ता च कुशदभैरलड्कृता ॥२७॥ रक्तगन्धा च या भूमिः क्षत्रियाणां प्रशस्यते । दक्षिणप्लवनोपेता कुशदभैरलकृता ॥ २८॥ अनगन्धा च या भूमिः सा वैश्यानां प्रशस्यते । पश्चिमप्लवनोपेता दूर्वाभिश्च समन्विता ॥ २६ ॥ सुरागन्धा च या भूमिः शुद्राणां समुदाहृता । इन्द्रोन्नतं पुत्रनाशं वह्नयुनतमथार्थदम् ॥ ३० ॥ of: Mayamatam, 3.5, 10. श्वेता रक्ता च पीता च कृष्णा कापोतसन्निभा। तिका च कटुका चैव कषायलवणाम्लका ॥ ५॥ सा शुभा सर्ववर्णानां सर्वसम्पत्करी धरा। दध्याज्यामधुरागन्धा च तैलासृग्गन्धिका च या ॥६॥ cf. Agnipurānam, 92, शुक्लाज्यगन्धा रक्का च रक्तगस्था सुगन्धिनी। पीता कृष्णा सुरागन्धा विप्रादीनां मही क्रमात् ॥ ७॥ cf: Matsyapuranam, 253, 11 13 a : पूर्व भूमि परीक्षेत पश्चाद्वास्तु प्रकल्पयेत् । श्वेता रक्ता तथा पीता कृष्णा चैवानुपुर्वशः ।। २१ ॥ विप्रादेः शस्यते भूमिरतः कार्य परीक्षणम् । विप्राणां मधुरास्वादा कटुका क्षत्रियस्य तु ॥ २२ ॥ तिक्ता कषाया च तथा वैश्यशूद्रेषु शस्यते ॥ २३॥ क cf: मनुष्यालयचन्द्रिका, 2. 29 : श्वेता पाटलपीतमेचकरुच श्चाज्यासुगन्नासवा- मोदाः स्वादुकषायतिक्तटुकस्वादान्विताश्च स्मृताः ।। 7:

·: ( 38 ) et: Silparatna, 3. 24: श्वेता... •स्मृता॥ (Same as in the manushyalayachandrika). cf. Brhatsamhita, 53,96: सितरक्तपीतकृष्णा विप्रादीनां प्रशस्यते भूमिः । गन्धश्च भवति यस्या घृतरुधिरामाद्यमद्यसमः ।। कुशयुक्ता शखहुला दुर्वाकाशावृता क्रमेण मही। अनुवर्ण वृद्धिकरी मधुरकषायाम्लकटुका च ।। ct: वास्तुप्रकरणम् (Ms. in the Visvabharati Library): श्वेतवर्ण द्विजातीनां क्षत्रियाणां च लोहितं ।। ६०॥ पीतवर्ण तु वैश्यानां शुद्राणां कृष्णवर्णकं । मधुरं सर्ववर्णानां ब्राह्मणानां विशेषतः ॥ ६१ ।। क्षत्रियानां कषायं तु वैश्यानामाम्लमिष्यति । शूद्राणां कटुतिनं च लक्षण (?) परिवर्जयेत् ॥ ६३ ।। ef : हयशीर्षपंचरात्रम् (पंचमः पटलः) दधिक्षीराज्यगन्धा च मदिरासवगन्धिनी। सुगन्धिव्रीहिगन्धा च शुभद्रव्य जला च या ।। ६७ ॥ cf: हयशीर्षपंचरात्रम् (षष्ठः पटलः) श्वेतारुणापीतकृष्णाविप्रादीनां प्रशस्यते । श्राद्यासृग्गन्धा मद्यानां तुल्यगन्धातु या भवेत् ।।२२३॥ मधुरा च कषाया च अम्ला च कटुका च या ॥ २२४ क।। भूपरीक्षा, 1, 8: et: Matsyapuramann, 253, 17-18: फालकृष्ठेऽथवा देशे सर्ववीजानि वापयेत् ।। १७ ॥ त्रिपंचसप्तरात्रे च यत्रारोहन्ति तान्यपि । जेष्ठोत्तमा कणिष्ठा भूवर्जनीयतरा सदा ॥ १८ ॥ cf: Mayamatam, 4, 4: कृष्ठा गोमयमिश्राणि सर्ववीजानि वापिपेयत् । दृष्ट्वा तानि विरुटानि फलपक्कगतानि च ।। ४ ।।

·( 34 )
Appendix II
DESCRIPTION OF VĀSTU-PRAKARŅAM Ms.
The Ms. Västū prakarnam belongs to the Visvabhārati
library (No. 1614). It is written on paper in Devanagri
character. There are 29 leaves. The condition of the Ms. is
good. Neither the name of the copyist is given nor the date.
There are eight lines to a page.
It begins thus:
॥श्रीगणेशाय नमः ॥ अथ वास्तु प्रकरणं ।
ब्रह्मशक्रयमश्चै न भगवां गिरसस्तथा ।।
गौतमश्चैव गार्ग्यश्चमनुष्याश्चभृतस्तथा ॥१॥
विश्वकर्मादिभिश्चैव वास्तुविद्याधिशारदैः ।
सर्वेषां यत्कतं शास्त्रंसारमुधृत्य यत्ननः ॥ २॥
The Ms. ends abruptly at leaf 29. The Vastuprakarnam
section ends at leaf 28 with the words:
॥ इत्यमंगलानि भवतु ॥ ॥ श्री ॥ ७ ॥

·WORD-INDEX . श्रजपाद 1,35 अश्विनी I, 33 अायत I, 16, 17 श्रादित्यद्वय I, 31 ऐशान्य 1, 15 क्षत्रिय I,7 क्षीरपादप 4,5 गृहबन्ध 2,2 चाप I, 21 जन्मवन्द्र I, 36 दण्ड I, 17 अनुराध 1,33 अंगुलि 2, 14 अतिरिक्त तिथि I, 32 श्राय 2, II आषाढ 1, 22 आश्विन I, 23 उत्तरा 1,33 ऋक्ष 2,9 कुहु I, 27 कूर्मक I, 17 1,5 1,9 गज 2,2 गृहह 1,17 चक्र I, 16 चतुरस्त्रं 1, 16 चैत्र 1, 24 छत्र I, 16 धूम्र 2, 2 नाग 2, 15 पौष I, 24 प्रत्यर 1, 38 भद्रासन 1, 17 माघ 1,24 ज्येष्ठ 1, 22 धनुराकार ध्वांक्ष 2,2 पिण्ड 2,7 प्रणव I, I7 ब्राह्मण I,5 भानुदिन 1, 29 मृगशिरा I, 31 रोहिणी 1, 33 वरुण 1,35 वास्तुलक्षण I,2 वारुण्य I, 15 व्यास 2,1 विषमवाडु I, 16 शिल्पशास्त्र I, I श्वा 2,2 . जन्मतारा 1,37 धनु I, 34 ध्वज 2,2 नारिकेल 4,6 पौणी I, 31 फाल्गुन 1,24 भाद्रपाद 1, 23 मार्गशीर्ष 1, 24 मूर्ति I, 17 रक्तपुष्प 4,5 2, 15 वायव्य 1, 15 1,9 व्यजन I, I7 शाल्मली 4,5 श्रावण I, 23 सूर्यक I, 17 सिंह 2,2 मूला 1, 33 राशि 2,9 वास्तु 1, 13 1,3 वैश्य 1,7 व्यय 2, 12 शरणपंचक I, 35 शूद्रा I,5 साधक I, 38 सौरदिन I, 29 हस्ता I, 33 सूत्र 3,6 स्वाती I, 33 ·47 THE PUNJAB SANSKRIT BOOK DEPOT. Said Mitha, LAHORE. PUNJAB ORIENTAL SERIES. 1. Dr. Thomas BARHASPATYA ARTHA SHASTRA text, Eng. translation intro. etc. Rs. 2-8-0 2. Dr. Caland-JAIMINIYA GRIHYA SUTRA, text, extracts from comm. Eng. Trans. & intro. 6-0-0 3. M. M, Pt. Sivadatta-ARYA VIDYA SUDHAKARA or a history of skt. literature in sanskrit 8-0-0 4. Drs. Jolly & Schmidt-KAUTILYA ARTHA SHAS- TRA, text, notes, Nayacandrika comi. English intro. of pages in 2 Vols. 10-0-0 5. Kanjilal & Zadu-NILAMATAPURANA-Ancient history of Kashmir older than Kulhana's Pajataran gani 5-0-0 6. Bhagavad Datta-ATHARWAN JYOTISH, text, 0-8-0 7. Dr. B. C. Law-DATHAWAMSA–Pali test, with English trans, notes, intro. 4-0-0 8. Dr. B. Dass--JAIN JATAKS--English translation 4-8-0 9. V. Venkataram-DAMAKA PRAHASNAM text and English translation 0-6-0 10. Dr. Caland--KANVIYA SHATPATHA BRAHMA. NA, text and Eng. intro. of 120 pages 10-0-0 11. Dr, B. & Law-ANCIENT TRIBES OF INDIA with 5 illustrations 3-8-0 12. Phanindra Nath Bose--PRINCIPLES OF INDIAN Shilpa Shastra 3-8-0 13 --ANCIENT INDIAN COLO. NY OF SIAM with 6 plates. 3-8-0 14. Prof. G. N. Mallik-THE PHILOSOPHY OF VAIS- NAVA RELIGION-With special reference to the Krishnite and Gaurangite Cults 8-0-0 15. V. Venkatram-KALYANSAUGANDHIKA (Shortly) 16. Dr. R.C. Majumdar-ANCIENT INDIAN COLONIES in the far east Vol. I CHAMPA with 21 plates. & 1 map. 15 0-0 17. Ph. Bose SILPA SASTRA, TEXT & ENGLISH TRANS. 2-8-0 18. Dr. B. C. Law-Cariyapita ka-Pali text 19. Kannoo Mal-Ishwara Gita, Eng. trans. 20. Banerji Sastri-Asura India 21. Dr. B. Dass-Ardha Magadhi Reader 22. Viswabandhu-Atharwa Pratishakhya 23. B. Dass-Muqbal's Hir 24. S. K. De-History of Skt. Poetics 2 Vols. 25. Majumdar-Outline of Ancient Ind. History. 26. Tantrik Order illustrated 27. Nariman-Sanskrit Buddhism 2nd. ed. 1-0-0 1-8-0 5.0-0 3-0-0 3-0-0 1-0-0 16-0-0 7-8-0 10-0-0 10-0-0)

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