File:Silpa Design.jpg

==           Agama Shastra  == 

Today the scientific knowledge is much more than the knowledge of yesterday, but far too less compared with that of tomorrow. So naturally, what used to be considered a miracle, yesterday can be rationally explained today! And what is still unexplained, or thought of as a miracle today, will be explained tomorrow, rationally!! 

Agama is compound word. It is Ā+ ga = (Aga); ga+ m = (gam); +m + a= (ma). Where ‘A’ means especially of motion near  towards in the Veda, of course , the prefix is separable from the verb ; a verb in the imperative is to be supplied ; with roots like {gam}  and `" to go "'  and `" to give "' etc., The word  ‘AA’ or Ā is most praiseworthy indeed and completely reddish that attracts all the Planets like Sun. This unfolds the principle of attraction, which is AkarSa ‘like attracts like’.” 

The universe governed by many different universal laws. These include Laws of Attraction Vibration Energy Cause and Effect Relativity Polarity Perpetual Transmutation Action Rhythm Magnetic Affinities Divine Order Divine Oneness Forgiveness Abundance Unconditional Love Compensation Gratitude Sacrifice Principle of Gender Correspondence Fellowship  and many more Laws. 

Agama is as an ‘impassable’ "a traditional doctrine, or system” which commands faith. It is an integrate word with many different universal laws related to Sthala, Jala,  Sila, Shilpa, Loha and Sankalpa focusing on Law of Attraction, Law of Vibration, Law of Energy,  Law of Cause and Effect, Law of Relativity, Law of Polarity, Law of Magnetic Affinities, Law of Rhythm, Law of Action etc. 

Agamas are embodiment of all these universal laws and particularly emphasizing on Energy Principles of Nature, Cardinal directions and the circular energy forces of water, Shape and Slopes of Place, Pavilion, Sculptural art and Structural science related to the construction and on the Temple Architecture. Agamas also deal with the philosophy and spiritual knowledge behind the worship of the Deity, Yoga and Mental discipline required for this worship, and the specifics of worship offered to the deity. <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">A magnetosphere is the region around an astronomical object, like a planet in which charged particles controlled by that object's magnetic field. Near the surface of the object, the magnetic field lines resemble those of a magnetic dipole. In this region, the phenomenon is influences by the magnetic field of that object. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The Agama literature includes the Shilpa- Shastra, which covers architecture and iconography. The aspects of temple construction are dealt in Devalaya Vastu; and Prathima deals with the iconography. Sometimes, the term Shilpa is also used to denote the art of sculpting; but here Shilpa refers to the practice of the technique, while Shastra refers to its principles. The measures of Temple Iconography are in two categories. <span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">There are various standards for the relative proportions of image, Gopura, prakara etc. and also the relative proportions of various parts of the Vigraha. The units for measuring Vigraha are Tala, angula and yava. Tala is a multiple of angula and angula is a multiple of yava. More than the specific size of each unit, the multiplicity and relative sizes are important. The proportions of Head-Trunk-Arms-Legs of images are specified. The finer specifications like nose, nail, ears and their shapes are also mentioned. Generally the standard is to use dasatala (ten talas) for the height of image of male deity, navatala (nine talas) for His consort and astatala (eight talas) for a devotee. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The normal height of a man is taken as six feet; and the sanctum would be in the shape of a square of its inner length and width, of six feet. The width of the sanctum walls would be two feet. The outer measurement of the sanctum would be 10 feet on each side. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  Shilpa Shastra   prescribes among other things, the proportions of a sculptured figure, composition, principles, meaning, as well as rules of architecture.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The word ‘Shilpi’ means a sculptor and ‘Shilpini’ is a female sculptor used in a general sense for three-dimensional artistic creations of <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  a   ‘Shilpa’. The   Sanskrit   word   Shilpa means ‘the art of sculpture. In the most general sense it refers to any work of aesthetics of oration, ornament, work of art, paintings, carpentry and metallurgy   expressing the spiritual and holiness in art. Nevertheless,   more particularly refers to the manifestation of an inner vision of the final work within the internal space of the shilpi (sculptor)   or   Shilpini, female artist,   which guides his/her, creation of the ‘Prathima’, the iconographic sculpture that provides a conduit for the physical manifestation of the deity. ‘Prathima’ literally means ‘measured form’, with its etymology deriving from ‘prati’ (copy, replica) and ‘ma’ meaning ‘measure’. The process by which the shilpi creates the physical object from the image within is defined by the   Vastu-sutro-Upanishad   as   ‘Shilpa pratimaha jayante’ , which basically translates as “from the inner-vision, the measured form is born”. The measures by which to create the Prathima are known as the Prathima Lakshana, and are outlined by the Shilpi-Rishis in the Shilpa Shastra.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">A temple serves as the abode of a primary deity (known as the ‘Pradhan Devata’) and provides a place for his or her devotees to make offerings and worship them. The deity is represented in a figurative sculptural form and is located within the ‘Garbhagriha’, literally meaning "womb chamber" and otherwise known as the sanctum sanctorum, or inner sanctuary. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  The iconographic text,   Śilpaśāstra,   mentions that the materials such as stone, bronze, ivory,   panchalōha   and clay are used for the making of images. The most important and popular material is stone due to its durability. It has numerous fundamental features like classification of images, textual principles of making images, mode of casting, materials used in making images, the accessories and the characters of Gods and Goddesses. Icons stand as a representative of divine powers and became the main reason for the getting prominence of religion. Moreover, God and Goddess have two forms: one is the concrete / finite form and the other is the abstract and infinite form. Temple comprises two types of deities; sub-deities and main deity, which differs according to the belief in temple.  Mūrthi   (idol) is called as the main deity of the temple. Gradually sub-deities will appear on the basis of the religious faiths of the temple. Temple comprises two types of deities; sub-deities and main deity, which differs according to the belief in temple.  Mūrthi   (idol) is called as the main deity of the temple. Gradually sub-deities will appear on the basis of the religious faiths of the temple.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The rules of Viswakarma Vastushastra render beauty, structural stability and quality of spaces by virtue of light, sound and volume management. They also evoke in the devotee an attuning of his person to its structure and ambience. The structural harmony, the rhythm and a fine sense of proportion is the hall mark of <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  temple architecture. The aim of a proportional system, meaning not merely symmetry, is to manifest a sense of coherence and harmony among the elements of the temple and it’s whole. The proportional harmonization of design, therefore, is of utmost importance in the construction of a temple. It is believed that the power and purity of the structure radiates from its exact proportions and measures as specified in the Agama Shastra.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The standard text <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  Mayamata of Mayasura   mentions “Only if the temple is constructed correctly according to a mathematical system can it be expected to function in harmony with the universe. Only if the measurement of the temple is in every way perfect, there will be perfection in the universe as well.”   As regards the volumes, every part of the temple is rigorously controlled by a precise proportional system of interrelated measurements, maintaining the fundamental unity of the architecture and sculpture.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The very temple structure and Idols are energy vibrating at frequencies that raise one’s own frequency. <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">  <span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The proportions of the head-trunk-arms-legs of images; and also their finer specifications like nose, nail, ears and their shapes are specified in the texts. Generally: it is dasatala (ten talas) for the height of image of male deity, navatala (nine talas) for his consort and astatala (eight talas) for bhakta. These are not absolute measurements; but are meant as guidelines to maintain proper proportions. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Further, the Vastu believes that every unit of time vibration produces a corresponding unit of space measure; and derives that the time is equal to space. This rhythm of time and space vibrations is quantified in terms of eight and as multiples of eight. According to the Vastu, at the subtle level the human form is a structure of eight spatial units apart from elements  like the hair, kneecap and toe nails, each of which measures one-quarter of the basic measure of the body and, when added on to the body's eight units, increases the height of the total form to nine units. Traditionally, these nine units are applied in making sculptures of gods. <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Similarly, the lengths, the breadths the heights of various elements of the temple too are related to each other by certain ratios. These lend esthetic appeal and stability to the temple structure. For instance, it is said, by restricting the height of the tower, Shikhara, to twice its width at the base, the weight of the tower is contained within itself. Further, as the size of the <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  pada   (bay, distance between two pillars) increases, the cross section of pillars also increases in size and width of beam has to be exactly same as that of the pillar.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">  The size of the structure will also determine the various kinds of building materials to be used at different stages of the construction. They also help to control the proportions of the dimensions of the temple. These norms carry shades of religious intentions too; the set of six formulae or Ayadivarga viz., the Aaya, Vyaya, Yoni, Tithi, Vaara and Nakshatra are applied by the Acharya to derive the proper orientation and dimensions of the structure. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The Vastu Purusha Mandala of the temple projects the temple in two main sections: the ground plan and the vertical alignment. The square, the rectangle, the octagon and the pentagon patterns drawn in the Mandala relate to the horizontal section or the ground plan.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The subdivisions of the ground plan detail the <span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">  Brahmasthana  (the main shrine and smaller shrines) and the Mantapas (pavilions). The vertical alignment consist the pyramid; the circle and the curve are meant for designing the Gopura (entrance ways), the Vimana (the structure above the main shrine) and the Prakara   the walls).

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">These proportions control every aspect of a temple's design, from its width and height to the size of its doorways and moldings. There are a number of prescribed methods. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The height of the proposed image is divided equally into 120 <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  mana-angulas   and providing for another four additional angulas distributed at different body-parts for corrections/ extensions at joints etc.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Agama classification of Stones: <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p align="center" class="MsoNormal" style="margin-bottom:0.0001pt;text-align:center;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">'Pimbampum silaya karyam peetam sthree silayabavet ''<span style="font-size: 10.0pt;font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial"> deveenam cha shri yadhinam nirmanam sthree silanara' ''<span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">There are three types of Stones .1.Male Stones (Purusha Shilaah), 2.Female Stones (Stri Shilaah) and 3, Neutral Stones (Napumsaka Shilaah). Black Granite <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  stones   are widely used for   making idols   or Murtis or Prathima. When hit with a rod if it produces a good spark and sound, then it is male stone. It produces a sound but not a spark then it is a female stone. If it produces neither, it is   Neutral stone   or 'Napumsaka Shila' and can be used as a platform

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The Shila selected for the Sculpting the Devata Moorth is shall be flawless, without cracks, even hairline cracks, or some discoloration etc. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  The Stone shall be completely solid, and a homogeneous...The shilpi or Stapati knows the type of Stone and its defects by examination with his eyes and by striking the stone with his chisel mildly and hearing the sound that it made. For the pillars and other things like steps, roof slabs, etc the Neutral stones are used

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Male deities are made from male stones and their bases are from female type stones. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  For Female deities all parts are made from female type stones.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The outside of Hindu temples are typically decorated with highly elaborate bas-relief carvings and sculptures that depict a conglomeration of scenes and images taken from everyday life, the myths of Hindu scriptures, significant political events and even portraits of royal and secular patrons. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">"Sikhara" or <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  Vimanam or   Vimana

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  Vimana   is a monumental tower with a golden roof. Its inner temple or   Vimana   houses the main deity, Lord Sri Venkateswara. The deity stands directly beneath a gilt dome called the Ananda Nilaya Divya Vimana. This exquisitely wrought deity, called the   Mulaberam , is believed to be self-manifested, and no human being is known to have installed it in the shrine.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Bangaru Vakili <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">In Telugu Language <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  Bangaru Vakili means Golden Entrance is to   the inner sanctum sanctorum   from the Tirumamani Mandapam. There are two tall copper images of the dwarapalakas Jaya and Vijaya on either side of the door. The thick wooden door is covered with gilt plates depicting the dasavataram of Sri Maha Vishnu. The doorway is directly in line with the Padi Kavali and the Vendi Vakili (Meaning Silver Corridor in Telugu). It admits pilgrims to the Snapana Mandapam. Suprabhatam is sung in front of this door.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The normal height of a man is taken as six feet; and the sanctum would be in the shape of a square of its inner length and width, of six feet. The width of the sanctum walls would be two feet. The outer measurement of the sanctum would be 10 feet on each side. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Garbha Graham <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  Garbhagruha   or   sanctum sanctorum   is where the idol of Lord Sri Venkateswara is placed. The idol stands majestically in the Garbha Graham, directly beneath a gilt-dome called the "Ananda Nilaya Divya Vimana".

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The size of temple is determined. For this, size of the image of main deity is to be known, since the size of <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">  a   temple is always a fixed multiple of the size of image of main deity. Then wood/metal/stone is selected for the image. The icon has three parts, main icon (Vigraha), pedestal (Peetham) and platform (adhishthana or upa Peetham). The tests to determine quality of stone are prescribed by the Agamas. There are three kinds of stone, male female and neuter. When hit with an iron rod if the stone produces good   sound   and spark, it is male and should be used for the main icon. If it produces sound but not spark it is female and should be used for pedestal. If it produces neither, it is neuter and should be used for platform. The stones are also classified according to their “age”-: child (baala), youthful (taruna) and the old (vriddha).

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">If a stone when tapped gives out a faint sound or the sound is as that of mud, or of half burnt brick; such stones are classified as <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  baala  - the child; to mean raw or immature. The baala stones are not fit for making idols or for bearing loads.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">If a stone when struck produces the sound resembling the ring of a bell and if such sound resonates for quite a while, such a stone is classified as <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  taruna <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">  youthful. Such stone should have a cold touch and a soft feel. If the stones emanate fragrance it is much better. The   taruna  - the youthful - stones are fit for carving images and for crucial areas of temple.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">An old, the vriddha, stone does not give out any sound and has a dry appearance or has .It gives the touch and feel of a frog or a fish. It might have many holes or might be in a state of decay. Such old and spent stones are not fit for making images or for load bearing areas. <span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Stones are also classified according to their “gender”. Those stones which give bronze sound at the hammer   weight are called “male’. Those which give brass sound are called “female’. And, those that do not produce any sound are called genderless (neuter). <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">A hollow stone may be taken as pregnant and hence should be discarded. When smeared with a paste, overnight, it changes its color. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  Shilpa Ratna   <span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">describes dozens of such pates. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  <span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Some stones are said to carry poisonous effects. These stones too should be tested by application a paste; and should not be used. <span style="font-size: 10.0pt;font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">It is suggested that male stones are used for carving male deities; female stones are used for carving female deities; and the neuter stones are used for other constructions. Further it is said, the male stones could also be used for construction of <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  Sikhara   (tower) and stone walls; the female stone could be used for structures above foundations; and the neuter stones could be used for foundations.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Male stones are big, round or polygonal, are of a singular shape and uniform color; they are weighty and give out sparks when hammered. When dug out, its apex will be towards north. If the apex is inclined towards north or west facing, the rock is considered inauspicious. Highly compact rocks like dolerites, bronzites, proxenites and peridoties as well as lamprophyres are regarded male rocks. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">A female rock is of medium weight, square or octagonal, thick at root and thin near the apex, cold to touch, soft to feel and on being struck gives out sonorous notes like that of a <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">  mridanga   (drum).

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">A neuter gender stone is one that doesn’t give any sound on being struck and narrow towards its bottom and triangular on its upper side ; and such stones may be used only for the foundation. <span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial; mso-bidi-font-weight:bold">The Agama literature includes the Shilpa- Shastra, which covers architecture and iconography. The aspects of temple construction are dealt in Devalaya Vastu; and Prathima deals with the iconography. Sometimes, the term Shilpa is also used to denote the art of sculpting; but here Shilpa refers to the practice of the technique, while Shastra refers to its principles. The measures of Temple Iconography are in two categories. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial; mso-bidi-font-weight:bold">One for delicate and intricate work and the other is for normal structures.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">A standard unit of a mana-angula is reckoned according to the following table: <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">According to these <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial; mso-bidi-font-weight:bold"> texts <span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">  Anu or Paramanu, the particle, was the smallest measure.

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">8 anus = one ratha renu (grain of dust); <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">8 ratha renu = one valagrasa (hair end); <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">8 valagrasa =One grain of yava; <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">4 yavas = one angula; <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">12 angulas = one vitasta or Tala (span) <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">2 Vitasta or Tala = Hasta (cubit) = 24 angulas <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">26 angulas= Dhanurbhagha (handle of a bow). 4 Hastas = One Danda; 8 Danda = One Rajju (rope) 1000 Rajju = One Yojana <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Look at the table of measurements for minute and delicate carvings. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Eight anus (particles) = one nulu (breadth of a fine cotton or silk fiber), <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Eight nulu = one hair (breadth of horse hair), <span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Eight hairs = one grain of sand, <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Eight grains of sand = one mustard seed, <span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Eight mustard-seeds = one bamboo seed, <span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Eight bamboo-seeds = one angula. <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The angula (1.875 cms) and the Hasta (cubit, 45 cms) are the units that are normally used for deriving the dimensions, proportions, the height and other details of a sculpture. The Danda (four cubits) used for measuring less-delicate or lengthier structure is equivalent to 180 cms. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">One Hasta = one cubit= 45 cms; <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Four Hasthas = one Danda= 96 angulas = 180 cms. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">One Hasta =24 angulas = 45 cms. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal;text-align:center;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Thus one angula = 1.875 cms. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">Atharva Veda <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">  ix, 3; HI, 12 details on MANA, the measurement of height or length and are…..

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">The linear measurement is divided into six kinds Mana (Ayama, Ayata, Dirgha), Pramana, Parimana (Vistara, Tara, Striti Vistriti, Vistrita, Vyasa, Visarita, Vipula, Tata, Vishkambha, Visala), Lamba-mana (Sutra, Unmita), Unmana (Bahala, Ghana, Miti, Uchchhraya, Tunga, Unnata, Udaya, Utsedha, Uchcha, Nishkrama, Nishkriti, Nirgama,Nirgati, Udgama), and Upamana (Nivra, Vivara, Antara).

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">In practice, an angula is taken as 1/12 of a Tala. A Tala in Dasatala is one-tenth (1 / 10) of the image height or the length from tip of the middle finger to the wrist of Shilpi’s or the Yajamana’ palm. The subdivisions of a Tala follow the above table. <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">The measurement from the foot to the top of the head is called Mana which is in fact nothing but height. Pramana is the measurement of breadth (Vistrita). Parimana is the measurement of width or circumference (paritah). Lamba-mana is the measurement along the plumb lines or the lines drawn perpendicularly through different parts of the body, Mana, or the measurement of height being determined by the surface of the body. Unmana is the measurement of thickness (nimna) or diameter. And Upamana is the measurement of inters pace (antara), such as the distance between the two feet of an image.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">The primary measurement (adi-mana) is but the comparative measurement and is divided into the following nine kinds:

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The normal height of a man is taken as six feet; and the sanctum would be in the shape of a square of its inner length and width, of six feet. The width of the sanctum walls would be two feet. The outer measurement of the sanctum would be 10 feet on each side. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">The height of an image is determined by comparing it widi (i) the breadth (Tara) of the main temple (harmya), (ii) the height of the sanctuary or central hall (garbha-griha), (iii) the length of the door (dvaramana), (iv) the measurement of the basement (adhishthana), (v) cubit, (vi) Tala (a span), (vii) angula (finger's breadth), (viii) the height of the worshipper, and (ix) the height of the riding animal (Vahana) of the principal idol :

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">Under (i), (ii), (iii), (iv), the proportions naturally vary on various occasions; no specific rules are, therefore, prescribed.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">The details of (v) cubit or Hasta and (vii) angula will be found under the term ' Angula ' and the details of (vi) Tala are given under ' TALAMANA.'

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">Of the division under (viii) the details of the height of an image as compared with the height of the worshipper are given here. The height of the image may be equal to the full height of the worshipper, may extend up to his hair-limit (on the forehead), or, as sometimes stated, to the eye line, nose-tip, chin, arm-limit (to the shoulder), breast, heart, navel, and sex organ.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">And of the division under (ix) the height of the riding animal (Vahana) as compared with the height of the principal idol (mula bera) admits of similar nine kinds as under (viii) (see details under UTSAVA and KAUTUKA).

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">Hasta (v) and angula (vii) are the real units, employed equally in measuring both architectural and sculptural objects.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">The rest are exclusively sculptural and comparative measures. The similar measures have also been prescribed for architectural objects. The architectural ' Ganya-mana ' or the comparative heights of the component members of a structure corresponds to the sculptural ' Tala-mana ' or the comparative heights of the component limbs of a statue

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">Five proportions of the height, as compared with the breadth of an architectural object, are given under five technical terms; namely, Santika, Paushtika, Jayada, Sarva-kamika or Dhanada, and Adbhuta (see details under UTSEDHA).

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">The ' Ghana-mana ' or the measurement by the exterior and the ' Aghana-mana ' or the measurement by the interior is exclusively architectural.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial"> Mana is also used in its general sense of measurement, area, etc. Pramana and Parimana are also used in their general senses of length, breadth, width, etc, The breadth of a finger end should be divided into three parts of which two parts are for the nail .If you add back one-fourth of the nail’s width to the width of the finger end you get the length of the nail on that figure. The length of the last digit on a finger is equal to twice the breadth of its nail. The thickness of the palm is related to the thickness of the thumb at its root (In the example, thickness of the thumb at its root is 2a, 4y). The inside length of  Hastha  the palm is said to be 7a. The palm in turn is related to the proportions of the  dimensions of the  forearm and which in turn is related  in a similar manner to the arm, and to the shoulder, torso  and so on. Each body part of the image has to be proportionate within it and also be in proportion and in harmony with other body parts. All are constituents of one single rationalized, well proportioned, harmonious unity.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">There are various standards for the relative proportions of image, Gopura, prakara etc. and also the relative proportions of various parts of the Vigraha. The units for measuring Vigraha are Tala, angula and yava. Tala is a multiple of angula and angula is a multiple of yava. More than the specific size of each unit, the multiplicity and relative sizes are important. The proportions of Head-Trunk-Arms-Legs of images are specified. The finer specifications like nose, nail, ears and their shapes are also mentioned. Generally the standard is to use dasatala (ten talas) for the height of image of male deity, navatala (nine talas) for His consort and astatala (eight talas) for a devotee. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">Let us look at just two of them…… <span style="font-size:10.0pt;font-family: "MSReferenceSansSerif","sans-serif";mso-fareast-font-family:"TimesNewRoman"; mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-fareast-font-family: "TimesNewRoman";mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">This relates to the construction of the Garbhagriha (sanctum) and the Vimana or Prasada on top of it. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial; mso-bidi-font-weight:bold">In this method, the square of 4 (16) and the square of 8(64) are considered auspicious. All the main horizontal as well as vertical proportions are with reference to either of these numbers ( <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">mulasutra <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial; mso-bidi-font-weight:bold">).The area of the Vimana (the Prasada or the tower above the sanctum) is divided into 16 squares (maha-pitha) or 64 squares (manduka), as the case may be; in which case the width would be 4 or 8 units. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial; mso-bidi-font-weight:bold">If the width of the Vimana is 4, then the width of the sanctum would be 2 units; the height of the Vimana would also be 4; and the base of the Vimana would be a cube. The Shikhara on top this cube would be twice its height (that is, 4x2).The cube and the Shikhara would together rise to a height of 12 units. This proportion builds a relationship between the vertical and horizontal extents of the other parts of the temple. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial; mso-bidi-font-weight:bold">In case the width of the sanctum is 8 units, The total height of the sanctum with Shikhara would be three times the width of the sanctum(8x3), of which the height of the Shikhara would be 2/3 the total height. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial">

<p class="MsoListParagraph" style="margin:0in0in0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">In this method, the size of the sanctum and the Dwajasthamba is determined by the height of the image of main deity in the sanctum. The size of a temple is always a fixed multiple of the height of image of main deity.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;border:1ptnonewindowtext;padding:0in;">The normal height of a man is taken as six feet; and the sanctum would be in the shape of a square of its inner length and width, of six feet. The width of the sanctum walls would be two feet. The outer measurement of the sanctum would be 10 feet on each side.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:Arial"> <span style="font-family:'MSReferenceSansSerif',sans-serif;font-size:10pt;text-indent:0.5in;">Lions engraved on stones wherever there is worship of Shakti, either on the Gopura or at the entrance of the sanctum sanctorum or both. Even in Tirumala, you find <span class="apple-converted-space" style="font-family:'MSReferenceSansSerif',sans-serif;font-size:10pt;text-indent:0.5in;">  <span style="font-family:'MSReferenceSansSerif',sans-serif;font-size:10pt;text-indent:0.5in;">so many lions carved on the Gopura and somewhere near the entrance also, which is very rare in temples of Vishnu.

<p style="margin:0in0in0.0001pt;text-align:justify;text-indent:0.5in;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"">Texts such as Harita Dharmasutras, Asvalayana Grhya Sutra and Yama smriti suggest women could begin Vedic studies after the Upanayana rite of passage. Girls who decided to become a student underwent the Upanayana rite of passage, at the age of 8, and thereafter called Brahmavadini. They wore a thread or upper garment over their left shoulder. Those girls who chose not to go to a Gurukul were called Sadyovadhu (literally, one who marries straight). However, the Sadyovadhu too underwent a step during the wedding rituals, where she would complete Upanayana, and thereafter wear her upper garment (Saree) over her left shoulder. This interim symbolic Upanayana rite of passage for a girl, prior to her wedding, is described in multiple texts such as the Gobhila Gryha Sutra verse 2.1.19 and various Dharmasutras. So only we see the sacred tread on this idol. ===<span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">The Idol of deity Balaji is about 8 feet (2.4 m) from the toes to the top of the crown. === <p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">As per Shilpa Shastra this height of 8 feet is the standard measure of a female form of deity. This a female form of deity.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:"TimesNewRoman"; mso-bidi-font-weight:bold">Coming back to the issue of acoustics in the stones, the Shilpis   displayed a remarkable skill and ingenuity in crafting “musical “pillars, which when struck at right points produce sonorous octaves. <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman""> Since every unit of time vibration produces a corresponding unit of space measure, Vastu science derives that time is equal to space. This rhythm of time and space vibrations is quantified as eight and multiples of eight, the fundamental and universal unit of measure in the Vastu shilpa tradition. This theory carries over to the fundamental adi talam (eight beats) of classical Indian music and dance. Applying this in the creation of a human form, it is found that a human form is also composed of rhythmic spatial units. According to the Vastu Shastras, at the subtle level the human form is a structure of eight spatial units devoid of the minor parts like the hair, neck, kneecap and feet, each of which measures one-quarter of the basic measure of the body and, when added on to the body's eight units, increases the height of the total form to nine units. Traditionally these nine units are applied in making sculptures of Gods.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">Male deities are made from male stones and their bases are from female type stones. For Female deities all parts are made from female type stones. The Stone shall be completely SOLID, and homogeneous. Images should confirm to the prescribed types when they are to be contemplated in the spirit of worship.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">A perfectly' built figure, faultless in its details, is one of the rarest things in the world ; and in spite of general resemblances of features and form, between man and man, it is impossible to take any particular figure as a standard or ideal for all. Features, like hands, feet, e3'es or ears, are given to all men in pairs, and, roughly speaking, these are structurally the same in one man as in another. But, our intimate acquaintance with the human race, and our habit of pa3'ing close attention to the details of a man's features, make us so actual}' conscious of minute differences of physiognomy that the choice of the test helically' ideal figure becomes a matter of serious difficulty for the artist.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">The whole figure of a Male Deity is divided into 9 equal parts, which are called Talas and Female deity is of 8 Talas.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-fareast-font-family:"TimesNewRoman";mso-bidi-font-family:"TimesNewRoman"; mso-bidi-font-weight:bold">The heights or vertical lengths of the various parts of a figure made according to this Tala arc—middle of forehead to chin 1 Tala, collar-bone to chest 1 Tala, chest to navel 1 Tala, navel to hips 1 Tala, hips to knees 2 talas, knees to insteps 2 talas, forehead to crown of the head 1 amsa, neck 1 amsa, knee-caps 1 amsa, feet 1 amsa. The widths or horizontal measures are as follows, — Head 1 Tala, neck 2^/'2 amsas shoulder to shoulder 3 talas, chest 6 amsas, waist 5 amsas, hips 2 talas, knees 2 amsas, ankles 1 amsa, feet 5 amsas. The hands and their parts are as follows. — Lengths : shoulders to elbows 2 talas, elbows to wrists 6 amsas, palms 1 Tala ; widths near armpits 2 amsas, elbows IV2 amsas, wrists 1 amsa.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The face of the figure is divided into three equal portions, — middle of forehead to middle of pupils, pupils to tip of the Nose, tip of the nose to chin.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman""> From the crown of the head to the lower fringe of hair 3 angula is in width; Forehead 4 angulas, Nose - from tip of nose to chin 4 angulas, and neck 4 Reticules in height; eye-brows 4 angulas long and half an angula in width, eyes 3 angulas in length and two in width; pupils one- third the size of the eyes; Bars 4^ angulas in height and 3 in width. Thus, the height of the ears is made equal to the length of the Eye brows. Palms 7 angulas long, the middle finger 6 angulas, and the thumb 3^ angulas, extending to the first phalauA: of the index finger. The thumb has two joints or sections only-, while the other fingers have three equal. The ring finger is smaller than the middle finger by half a section and the little finger smaller than the ring finger by one section, while the index finger is one section short of the middle. The feet should be 14 angulas long, the big toe 2 angulas, the first toe 2^^ or 2 angulas, the middle toe 1^2 angula the third toe l^ angula and the little toe l^/^ angula.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The Forehead is described as having the form of a bow. The space between the eye-brows and the fringe of hair in front shows the arched crescent form of a slightly drawn bow. The Eyebrows are described as being "like the leaves of a Neem tree or like a bow." Both these forms have found favor with our artists, the first being used chiefly for figures of men and the latter for female figures.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The various emotions, of pleasure or fear or anger, Sick, are to be shown by raising, lowering, contracting or otherwise rounding the eye-brow like a leaf disturbed I)}- the wind or a bow under different degrees of tension.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The eyes of women are by their very nature restless. The forms and expressions of eyes have peculiar to different types The Eyes have been described as "fish-shaped." The eyes have been compared among other things to the common wagtail, a small bird with a lively dancing gait; the eyes of the deer; the water-lily ; the lotus leaf and the little safari/ fish. Of these the first two are used chiefly in painted figures of women, while the other three are to be seen in the stone or metal images of gods as well as goddesses choosing three such restless animals as the deer, the khanjana and the safari for their similes.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The Ears arc directed to be made "like the letter “?". Some resemblance can no doubt be traced between the ear and the letter “?” to indicate the structure of the ears. The sole reason for this seems to be that the ears are so much obscured by ornaments and decorations in the images of goddesses and elaborate head-gear by roughly indicating the general character of the eyes.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The nose has the shape of the sesame flower and the nostrils are like the seed of the long bean. Noses shaped like the sesame flowers to be seen chiefly in the images of goddesses and in paintings of women. In this form, the nose extends in one simple line from between the eyebrows downwards, while the nostrils are slightly inflated and convexes like a flower petal. Parrot-noses are found chiefly in the images of gods and in male figures. In this type the nose, starting from between the eyebrows rapidly gains in height and extends in one sweeping curve towards the tip, which is pointed, while the nostrils are drawn up towards the corners of the eyes. Parrot-noses are invariably associated with heroes and great men, while, amongst female figures, they are to be seen only in the images of Shakti.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">Lips being smooth and moist, and red in color, lips have been appropriately compared to the Bimba fruit. The Bandhuh flower is admirably adapted to express the formation of the lower and upper lips.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The Chin has the form of the mango-stone. It is readily' seen that in comparison with the eyebrows, the nostrils, the eyes or the lips, the chin is more or less inert  being scarcest affected the various changes of emotion which are so vividly reflected in the other features. It has therefore been purposely compared to the inert stone of a fruit, while the others have had living objects like flowers, leaves, fish, etc., for similes. The ear is also a comparatively inert portion of our face, and there is therefore a certain fitness in comparing it to the letter“?”

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The Neck is supposed to exhibit the form of a conch, the spiral turns at the top of a conch being often well simulated by the folds of the neck. Besides, as the throat is the seat of the voice the analogy of the conch is well suited to express the function, as well as the form of the neck.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The Trunk, from just below the neck to the abdomen, is directed to be formed like the head of the cow. This is certainly an excellent way of suggesting the strength of the chest and tail comparative slimness of the waist as well as the loose and folded character of the skin folding near the abdomen. The middle of the body has also been compared to the damaru and the lion's body; while the rigid Strength of a heroic chest has been well described b}^ comparison with a fastened door, but none of these can approach the first of these similes, in the beautiful completeness with which it conveys an idea of the form as well as the character of the trunk.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The resemblance of our shoulders to the head of the elephant is undeniable. The human shoulder and arms on the lines of the head and trunk of an elephant have the functional resemblance between the two is also pretty evident. Comparisons with snakes or creepers, given by our poets, serve merely to express the pliant, clinging or clasping character of the hands as well as that constant seeking of a support which characterizes the creeper and the snake. But the elephant's trunk suggests all these as well as the form and the various characteristic movements of the hands.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman""> The Forearms from the elbows to the base of the palms, arc to be modeled like the trunk of a young plantain tree. This emphasizes the supple symmetry as well as the firmness of the arms.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The comparisons of the fingers with beans or pea-pods give more useful indication of the formation of the fingers than the champak flower-buds.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">The human thigh, in male as well as in female figures, has long been fashioned after the trunk of the plantain tree by our artists. The trunk of the young elephant is also, occasionally, a favorite model— especially for images of goddesses. The upper portion of the body above the hips or the limbs below are thrown to right or left, back- wards or forwards, like a tree caught in a storm. This type is usually seen in such representations as Siva's dance of destruction and fighting gods and demons.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">As every proportion, measurement of height, length, width, and other iconographic element was so strictly fixed; one might conclude that the Indian artist was so confined by these rules that there was no scope left for individual interpretation and imagination. In other words: did the artist still have any artistic freedom? Even from just the works illustrated in this book it can be seen that the sculptors allowed themselves considerable freedom, within the restraints of the rules—rather as with the basic notion of raga in classical Indian music. A raga has a well-defined structure: a tonal scale wherein the choice of given ascending and descending notes, the rhythm and the tempo are laid down and determine the raga’s individual character. But within those parameters the musician is free to improvise, so that each performance of the same raga is always a different interpretation.

<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify;text-indent:.5in;line-height:normal"><span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-bidi-font-family:"TimesNewRoman"">The Lord of Tirumala is not a mere sectarian God, though the outward form is undoubtedly that of Lord Vishnu but it is of Goddess Bala Tripura Sundari Devi.

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10.0pt; font-family:"MSReferenceSansSerif","sans-serif";mso-bidi-font-family:"TimesNewRoman"">This is the real secret of the Lord of seven hills!

<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;text-indent:0.5in;line-height:normal;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;"><span style="font-size:10pt;font-family:'MSReferenceSansSerif',sans-serif;background-image:initial;background-attachment:initial;background-size:initial;background-origin:initial;background-clip:initial;background-position:initial;background-repeat:initial;">Read Kingdom of Shiva and refresh your knowledge on Agama Shastra, Silpa Shastra and Vastu Shastra...as well… Understand the significance of worshipping the Kanya or Virgin, who is the form of Shri Bala Tripurasundari Devi …….Sivkishen, Author, Kingdom of Shiva <span style="font-size:10.0pt;font-family:"MSReferenceSansSerif","sans-serif"; mso-bidi-font-family:"TimesNewRoman"">

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