Documentos de Académico
Documentos de Profesional
Documentos de Cultura
REVEIW OF LITERATURE
References for research and study of
Traditional Indian Architecture
Contents
REVIEW OF LITERATURE ............................................................................................................... 5
2.0. PREAMBLE 5
The word 'Vastu' and Vstu are derived from the root `vas ol meaning to
1
. Chambers Dictionary,
2
. Shipley T. Joseph, Dictionary of Word Origins, 1945., p.23. Anarchist = one who believes in no ruler or rules.
Nihilists = one who believes in no basic principles,
3
. Mayamata, & L.. Joshi, L. Ed. Marathi Vishvakosha, (1987}
4. Datta Amaresh, Encyclopaedia of Literature, 1987, p.4509
2.1.1.2. The Definition
Architecture is the articulation of space so as to produce in the
participator, a definite space experience in relation to previous and anticipated
space experience."5 In all cultures of the world, architectural form is an
expression of philosophical interaction of the forces of mass and space. This in
turn, reflects the relationship between man and nature and man and the
universe. The clarity and vigour with which the mass and space are resolved set
the level of excellence of architectural work at any period of a cultural
development.
2.1.1.3. Scope
All such environments, as well as, all human artefacts, are designed in
the sense that they embody human decisions and choices and specific ways of
doing things. In making these choices, certain values, norms, criteria, and
assumptions are called upon. These are often embodied in ideal schemata.
Environments, in some way, reflect and encode these schemata and the order
they typify. In all traditions the ordering schemata are frequently based on the
sacred, since the religion and ritual are centre of the traditions 8. If built
environments are humanised environments, liveable places, then by definition,
sacred or sanctified.
9
. Encyclopedia Britanica.
10
. Eng. trans. Ten Books on Architecture, 1955
11. Bruno Zevi quoted in Introduction to Architecture, p.22
technological aspects of the society 12. In the Western world, imitating or
duplicating physical images from the past was established as Architecture.
Indian traditions also believe every form is an image of an original form. 13
Architecture and planning, no matter what they include and where they are
applied, are prescriptive in nature, and unlike art, has to relate traditions to
technology. making its analysis more difficult. Architectural design is a
synthesis of many faculties of contradictory nature, and hence does not rest on
any solid foundation for its ultimate product.
2.1.2.2. Techniques
The techniques of architecture are normally the methods by which the
buildings are formed, from particular materials. These methods are influenced
not only by availability and character of the material but also by the total
technological development of the society. Architecture depends on the on an
organised labour force and upon existence of the tools and skills necessary to
secure, manufacture, transport and work durable materials. The techniques are
evolved and conditioned by two forces viz. economic and expressive. The first
tries to maximize the stability and durability in building with a minimum of
material and workforce, and the other desires to produce meaningful forms.
2.1.2.3. Expression
Expression in architecture is the communication of quality and
meaning. The functions and techniques of building are interpreted and
transformed by expression in to art, as sounds are made in to music and words
in to literature.14 The nature of expression varies with the character of culture
in different places and in different times, forming distinct modes or language of
expression called styles. Style communicates the outlook of a culture and the
concepts of its architects. The principal forces in the creation of a style are
tradition, the experience of earlier architecture; influence of contemporary
expression outside the immediate cultural environment; and innovation. These
forces operate to produce an evolution with in every style and ultimately
12
. Umberto Eco, Sign, Symbol & Architecture, 1979, pp.12-13
13
. Rigveda., VI-47/18, cf. Alice Boner, Vstusutra Upanishat, 1982, p. 40 .
#ie~ #ie~ izfr#ie~ Hkofr A V~fYikiz;ksxs.k iztu;fUr #ikf.k
14
. Encyclopaedia Britannica.
generate new styles that tend to supplant their predecessors. The components of
expression, which communicate the particular values of style, are content and
form. Since contents can be communicated only through form, the two are
organically united.
Vstuvidy has two principal theories which have lead to series of rules.
ONE: The energy contained in the object is induced by the tectonic of the
object and is responsible for its behaviour. When the energy contained in an
object matches with the purpose, the performance is optimum.
15
. Knowledge of body (physical or material and mortal objects) is lower knowledge and that of the soul (immortal or
spiritual) is higher knowledge.
If you improve surface qualities of the object, results are better. If we roll on
different surface the results will again change. It will roll longer on a smoother
surface and sloping in the same direction. If we take four balls, each of steal,
wood, glass & rubber, and bounce & roll them again. One of them will respond
better because the material is most suited for the purpose of bouncing. Take two
balls, of identical size of solid rubber with a steal core. In one case the core is in
centre & in other it is off centre. One rolls uniformly and the other does not. The
combination of size, shape, material, surface, and placement of its parts is called
tectonic. The above two objects are behaving differently because of the difference
in the energy, induced by the their tectonic.
There are rules for tectonic in other areas. For playing cricket, hockey,
Tennis, golf, & such games, balls used are different. The material, size, weight,
etc., are well defined for these, and any deviation is not accepted. Any change in
its surface is punishable, and the damaged ball is not used. We accept in cricket,
that as the ball gets older, it spins better. We understand that when the tectonic
(surface) of this object changes, the energy changes & hence behaviour changes.
Behaviour of vstu as object and building, depends on its tectonic.
Four corners represent manifested states of matter (solid, liquid, gas and
fire or energy, and the centre is un-manifested state (space or ether). The
creation is from un-manifested to manifested; from conceptual to physical; from
dream to reality, from intent to execution, and therefore the force of movement
is from centre to the four corners. A square with sides parallel to cardinal
directions, gets maximum length along the direction of force, and therefore most
stable and auspicious. Northeast corner is the head and the axis from northeast
to Southwest is the spine, also called Jeevansutra or thread of life. This is the
bone structure of vstu as a building. The lines from east to west and north to
south are the veins for circulation of essential fluid (blood), and bones of the
cage called panjara. It is divided in forty-five energy cells. The grouping of
energy cells makes northeast intellectual & stable, and so on. Locating activities
in accordance with the energy is key to design. This will be discussed in detail in
the chapter of grid and placement.
2.1.3.2. Techniques (Vstuvidy)
Vstuvidy believes that the structure of the form is pre-decided
(mythical), and accepting or imitating the same is auspicious. Based on
geomancy, vstu-texts propose a set of grids called `mandala'. Building and
Shilpa (image of god) are both creation and both are expected to protect the
human being and hence contain some sort of energy. The tntrik process (of
tracing a geometrical plan) makes the building a vstu and an image a deity.
The vstuvidy texts along with the tantra texts give specific bad effects of not
following the configuration and the procedure. Vstushstra, therefore, is
combination of geophysics, geomancy, tantra and astronomy/ astrology. The
diagram or the grid that vstuvidy depends on, is thus a yantra / diagram,
where the lines and the squares have a particular meaning.
16
. Chambers Concise Dictionary , Allied publishers, New Delhi, 1985-93
17
. Johi L.S. Marathi-Shabdakosk, (Hkq&jey)
18
. Dr. Ching Yu Chang, in Japanese Space Conception, P. I, The Japan Architect, April, 1984. p.65
2.1.3.3. Expression (Vstuvidy)
Vstu mandala has been compared (personified) with the bone structure
of human beings. The human skeletons anywhere on the face of the earth follow
exactly the same logical order but, no two human beings are identical. Human
bodies differ in height, built, proportion, colour, etc., in accordance with the
regions of earth, i.e. the mother (includes global location, climate, topography,
soil, etc.) and are expressed as races, clans or communities. All living beings
from reptiles, animals, birds, to human beings, have direct link of head and
spine, and all raise their heads high during decisive moments including fights.
Raising head is indication of dignity, power and strength. Raising head creates
low pressure around the brain and it works efficiently. Theory of evolution
illustrates that the human race has its spine vertical and head at the highest
point in relation to body, and he does not need to lower it while eating. Though
all species have same bone structure (within) yet no two bodies are identical
externally. The difference is made by the skin and the fillers between skin and
bones. Some of them are gift of genes and others earned by food and exercise.
All the buildings having same or similar function, thus are supposed to
have the same organisational structure or tectonic but not necessarily same
expression. The difference may be on account of intent, purpose, or the climate.
Most of the texts refer to shla or wing of the building, and one to ten wing
houses are defined. Some texts give sixteen variations in character of the
building on account of locating veranda on one to four (all) sides, but in different
directions19. Only eight of them are said to be auspicious.
Aparjit Prichh elaborates more on the built form and its expression. It
mentions around 1,400,000 variations of building with changes in external
features, but having same tectonic. Vstu texts being studied and explored
mostly by the scholars of Sanskrit, the technical aspects of built form were
attended at low key. Aparjit Prichh was edited by Er. Mankad and has given
justification to this aspect. Minor texts generally deal with techniques of
construction, in timber and stone, as information on built form.
19
. Smgns., 23_1-20; . Viskp., 32_101-108; Rajvl., 6_1-7
2.1.4. The Architectural Design
This portion is deleted from the section as it is elaborated in other paper
titled Architectural Design- (units 1 to 7) available on "Academia"
The space or geological context accounts for all the information about
elements in the process, on account of the location of a building. This includes
plot size, shape, topography, geography, vegetation, climate, solar radiation,
wind and rain conditions (direction, intensity and duration) etc. at micro and
macro level.
The fourth group of information deals with the techniques i.e. the
building materials and methods of construction. This set of information checks
for feasibility of ideas developed by the other groups, and makes it a reality.
20
. J. Snyder, Introduction to Architecture, (1979) pp.
21
. The temples in India has a typical character to be differentiated from other buildings, mosques and churches.
However, within the broader image of temple, the minor variations indicate whether the temple belongs to Northern
, Southern or Eastern part of India.
2.1.5.1. The constituents of Vstuvidy Data
The texts of vstuvidy generally cover five types of objects, viz. temples,
residential buildings, shilpa or sculptures, village/ town planning and furniture
and items of daily use. We are concerned here with information pertaining to
residential buildings, where ever it occurs. These contents were classified under
six heads by the author as given below, for his Ph.D. thesis. Earlier, similar
reclassification has been done by P. K. Acharya and D. N. Shukla.22
22
. cf. D.N.Shukla, Vastushastra Vol. I, 1995, p. 96 ; P.K.Acharya, Indian architecture Vol. II p.98.
2.1.5.2. Preliminaries
The texts on vstuvidy normally start with Manglcharana or
salutation to Ganesha, Sarasvati and Shiva. This is followed by the source of the
texts either as Brahma or Shiva; Vishvakarm, Maya, (and other sages) for the
original texts or as the sages and their works for the compilations. Some texts
include the information about the author and the place or patronage availed.
The system of measurement and the designations, qualifications, duties and
responsibilities of the technicians involved in the profession is also included in
the texts either in the beginning or at the end. The measurement system
mentioned in the text is based on human body, and the terms like Angul, wisti,
hasta, danda, are the units of measurements. Some texts also include time of
fructification of results; penalties to the technicians (Mnsra) and others
include the quantum and mode of the remuneration. Aparjita lists the defects
in the building and construction.
The time has its origin in astronomy and hence the mathematics and
astrology both are expressions of time. Rotation of earth around itself sets a
scale for a day and around the Sun for a year. The position of the sky around
earth has been envisaged in 360 degrees (approximately one degree per day
rotation of earth). The days called tithis, are neither of the same duration nor
start at a fixed time of the day. The position of the Sun, the Moon and other
planets with respect to the earth make certain time period auspicious, neutral
or inauspicious. The Indian almanac or panchang is intended for tabulation of
productive and unproductive spans of time, and not for counting of days as in
case of western calendar. The term used is "Muhurta" and it may differ for
different purposes. The muhurta for war is destructive and will not suit for any
constructive work. The science of astrology is used to find auspicious time for all
the ritualistic procedures in India. This is the only link of vstuvidy with
astrology. Literature on these topics is discussed in the paper Vstushstra
Review of Literature-02.
2.1.5.3. Land And Plot
The characteristic of land, viz. shape, size, topography, geology (soil
condition), hydrology (water table), and fertility (vegetation) etc. are considered
for suitability of land or a building. The land has been classified for settlements
and buildings, forts, water bodies etc.. Plants are the sources of oxygen and
medicine and their presence in the immediate environment has been duly
recognized.23 Plants which grow naturally in large number, are indicators of
water table, underground water source and nature of soil.24 This is reviewed in
Vstushstra Review of Literature -03.
The myths and legends of all ancient religions used symbols for their
metaphysical esoteric conceptions, represented visually and simultaneously by
objects like the Omphalos or cosmic egg, the Stone of the Kaaba, the World
pillar, the Shiivalingam, or by abstract signs and line-diagrams. Figures of
divinities, came latter for explicating the recondite meaning of symbols, where
these were no longer obvious and accessible.25 Vstumadala is such a diagram,
23
o`{kk;qosZnk/;k;%A okfVdkfnjksi.kfopkj
24
. Brihatsamhita: tyfjkfopkj( tyizkfIrfopkj
25
Boner Alice- Vstusutropanishat, p.8
which illustrates general principles of form creation, graphically. In physical
sense, it is wither skeleton or cage. Brahman is the centre, from where
enumerates the world of manifestation. The centre is the support. It represents
the full but undifferentiated whole of the universe. It is the womb where in
single being are formed by separating lines. The lines are the veins of
Vstupurusha and network of these lines create the vstupada. The points of
intersection of the veins and the centre are called marmas or sensitive points.
As a doctor is has the correct knowledge of the veins and the vulnerable parts of
the human body, the architect is supposed to know the mandala. The related
literature from vstu texts is reviewed in Vstushstra Review of Literature -04.
(Continued in part 2 to 6)
******