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Sources of Architectural Canons
261 The prominent exponant of the Nāgara school of Vastu ( architecture ) and Silpa ( sculpture ) is Viśvakarmā. VIŠVAKARMĀ.
The majority of the Vastu and Silpa-Sastras, either of the Nagara or Drāvida School; are revealed to Viśvakarmā by Lord Śiva 107 or Brahma 108 or Visnu 109
Viśvakarma's antiquity is referred to in the Rgveda. 110 And as per our earlier tradition of Vedas and Brāhmaṇas, Viśvakarma really represents the working aspect of the Supreme principle, as Brahmā does the thinking aspect. Creator Brahma could evolve only a manasi:sșști. To give it shape and lay it properly, in one word, to plan it beautifully, was the work of an architect-ācārya and Viśvakarma was there to fulfil the mission. Viśvarkaramā is like Brahmā, four-faced. From the four faces were born Viśvakarmā, Maya, Tvast; and Manu, the progenitors of the four families of the architects namely Sthapatis (masterbuilders ) Sūtragrāhins, ( draftsmen), Vardhakis ( designers ) and Takşakes (Carpentars ) respectively.111 This is the ontology of the science in the context of its origin and premordial preceptors.
the same way a lack of learned tradition also has brought a decay in the art of exposition of such an important branch of learning and research. The readings of many of available mss. are corrupt and unnitelligible and therefore it cannot be a reliable guide to the stundents of Indian architecture and sculpture for an adequate understanding of the subject matter. However, some attempts have been made to prepare a critical and reliable editions of certain works with the help of available manuscripts. 107. V. P. 1-3-4; Ag. P. XCIX; the treatises of Maya, Kaśyapa, Mānasāra etc. 108. V. P. XIII. 108; Br. Sam. and lśānaśivagurudevapaddhati. 109. M. P. 110. Rg. V. X. 72. 111. Mānasāra ll, w. 5-20.
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