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Vastushastra Review of Literature - 01 PDF
Vastushastra Review of Literature - 01 PDF
VAASTUSHASTRA
REVEIW OF LITERATURE - 1
Contents
REVIEW OF LITERATURE ............................................................................................................... 1
2.0. PREAMBLE 1
The word 'Vastu' and Vāstu 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
product design, which includes from settlements and buildings to machines and
icons, with a central theme of wellness and prosperity of its users..
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 traditions8. If built
environments are humanised environments, liveable places, then by definition,
sacred or sanctified.
8
. Amos Rapoport, Cultural Origis of architecture, 1978, p.8,
9
. Encyclopedia Britanica.
10
. Eng. trans. Ten Books on Architecture, 1955
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
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.
Vāstuvidyā 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.
fields of different potential energies. When the use pattern follows the related
potential energy field, the performance is optimum.
proportions are prescribed to the Gods, because the body with those proportions
contains the superior or divine energy, strength & power. We pray specific God
for specific purpose. We have different details for different Gods, because their
energy differs.
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 vāstu as object and building, depends on its tectonic.
depending on the form of the mother and father (human or animal, etc.). For
vāstu, the mother is the environment- land, soil, climate, landscape, vegetation,
etc., and the father is the intent, purpose and functions other than biological.
The assumption of space molecule is a square (stable form developed from circle
as concept) with its sides abating four cardinal directions. To facilitate creation
development and protection, it generates certain properties within. There
properties can be understood better with help of a mandala of 9 grids (3 x 3).
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 vāstu 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.
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
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 shāla 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.
19
. Smgns., 23_1-20; . Viskp., 32_101-108; Rajvl., 6_1-7
Aparājit Prichhā 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. Vāstu texts being studied and explored
mostly by the scholars of Sanskrit, the technical aspects of built form were
attended at low key. Aparājit Prichhā 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.
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.
image for each type of building. These images are functional and symbolic and
help to identify not only purpose of the building but also the society. 21
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.
they deal vāstuvidyā and astrology in the same way. The classification used
here is as follows.
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 vāstuvidyā with
astrology. Literature on these topics is discussed in the paper Vāstushāstra
Review of Literature-02.
The myths and legends of all ancient religions used symbols for their
metaphysical esoteric conceptions, represented visually and simultaneously by
23
o`{kk;qosZnk/;k;%A okfVdkfnjksi.kfopkj
24
. Brihatsamhita: tyfÓjkfopkj( tyizkfIrfopkj
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 Vāstumadala is such a diagram,
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
Vāstupurusha and network of these lines create the vāstupada. 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 vāstu texts is reviewed in Vāstushāstra Review of Literature -04.
25
Boner Alice- Vāstusutropanishat, p.8
(Continued in part 2 to 6)
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