Clay Iconography

1. Technical Interpretation of
Sakaladhikara by Sage Agastya
A rare text on Clay Iconography
by
Dr. A.S. Nene
Professor of Civil Engineering (Retd),
V.N.I.T. Nagpur
prof.ashok.nene@gmail.com

2. • Iconography is one of the sixty-four arts of India.
• For centuries idols of gods and goddess are made
and worshiped.
• The materials for movable idols - rock, metal, wood,
lime, and ivory or gem stones.
• Immovable idols are made of stabilized / reinforced
clay mass.
• Process of preparation of huge idols of lord Ganesha
in Maharashtra or Durga (Kali) in West Bengal are well
known.
Iconography

3. Many ancient texts available on movable icons,
Sakaladhikara is probably only text on Clay
iconography.
Sakaladhikara means “A treatise on deities
with embodied form”.
The information available in the text is very
precise and relevant even in the present
period.

4. Introduction
Sage Agastya considered as father of Tamil grammar.
Only few texts authored by Sage Agastya are given
below.
Agastyamat / Ratna Parikshya) - Gemology
Agastya Nadi Jyotishya- Astrology
Agastya Samhita- Ayurveda and Botany.
Agastya Shilpa-Vastushastra
Chitra Agastya – Iconography (Idols of Vishnu only)

5. Sakaladhikar
The exact period of compilation is unknown.
Available palm-leaf manuscripts belong to
10th -12th century.
Contains an elaborate process to be adopted
for images made of clay and other soft
materials.

6. Significant features of the text
The text contains twenty-three chapters and
the subject matter can be grouped under five
heads.
1. Appropriate units of measurement
(Chapter 1).
2. Derived units and calculations (Chapter 2).
3. Description of idols of lord Shiva (chapter
3-18).
4. Materials for idol making (chapter 19-22).
5. Procedure of installation and worships
(chapter 23).

7. Five Stages of Idol Making
1-Shoola-lakshyanaam-Construction of Frame work
using selected wood. The equivalent human
Anatomical Term can be Bone skeleton.
Wooden Skeleton before and after mud plaster

8. The chapter 19 (DarusangrahaNa lakshyaNam) deals
with selection of certain trees, for preparation of
wooden skeleton for the idol. Names of ten trees are
mentioned for this purpose.
Trees suitable for Skeleton
चंदन -White sandalwood चंपक -Temple tree
खददर - Catechu tree शििंप -Black wood
मधुक -Butter tree पद्मक -Ebony tree
धन्वन -Walnut tree सप्तपर्ण -Alstonia tree
कटफल -Jack fruit tree साल -Sal tree

9. The text also describes following trees should
not be cut for this skeleton making.
1. Tree with only two or three branches;
2. Tree devoid of leaves or flowers or a dead
tree;
3. Trees which has shelter of birds
4. Tree grown near a temple or along the road
giving shade to travelers
5. Only male trees (strong in compression)
should be selected.

10. Text also mentions
1. An auspicious time on which the tree is to
be cut.
2. The width, thickness and height of various
parts of skeleton.
3. The information indicates the
environment protection awareness in
ancient India.

11. 2-Reinforcement of clay mass
Chapter 20 (Rajjubandhanam) deals with tying of coir
strings to the wooden skeleton.
The equivalent human anatomical term can be arteries.

12. As per the text there are 72000
arteries in a human body but
twenty-eight coir strings are used
to represent in the clay idol.
All these originate from the naval
point, ten moves upwards and
rest eighteen move downward.
The text mentions specific names
of these strings (arteries).
Distribution of arteries in
a human body

13. The details of coir strings are given below.
Strings are made of coconut shell husk.
The thickness of the strings varies from 2 to 5
yawas (1 yawa=2.5 mm).
The strings are made by twisting 2, 3, or 4 cords.
नररक
े लफलाच्चमण सारं जलमुपोष्च च ।
द्ववयव्प्रमार् ववस्तारं रज्जुमापादयेद्रुढम्॥४५६॥
रज्जुद्वयं तु संग्राह्य िूलं संरोपयेव्प्दलात ्।
पश्चाद्रज्जुभयां बंधयेद्द्षिर्ावततम्॥४५७॥

14. Application of glue
These strings are coated with a special type of glue for
proper bond with clay plaster. This glue is made out of
following materials.
श्रीवेष्टक - Resin of Teak tree -4 parts
क
ुं दरू - Resin of Sal tree-3 parts
गुड - Molasses -8 parts
सजणरस - Resin of cedar tree-3 parts
गुग्गुल - Red ochre-1 part

15. All these materials are finely powdered and
mixed with oil (or ghee) and bee wax. The
mixture is applied to wooden skeleton as well
as strings.
The most surprising part of the chapter is
knowledge of human anatomy to ancient
sages.

16. Chapter 21(Mrutsamskar) deals with soil
selection and conditioning. The equivalent
Human Anatomical Terms can be Flesh on the
skeleton.
The text mentions two compositions for mud,
one probably for small idols and other for big
idols.
3-Plastering with Mud

17. First method
The procedure is as below,
• The Clay collected from lakes or river beds or step
well.
• Decoctions, prepared from barks of four milky trees
and two non-milky trees, are added to the soil and
lumps are allowed to dry in shade.
• Decoction of three fruits (namely Amalaka,
Bibhitaka and Haritaka) is added gradually.
•

18. हस्तरेखांककत वपण्डं मतत्पुण्डस्य च
संज्ञकम्।४६४
Fig.3.-consistency of mud plaster
The clay is rolled with hands again and again
till the lines of palm are embossed on the clay
ball.

19. Second method
• Crush Sand and gravel together.
• Mix Flours of Barley, wheat and black gram
(proportion 10:8:7)
• Add Decoction of three fruits (namely
आवला.बेहडा, दहरडा )
• Add Fibers of coir, bee wax ,Finely powered
lac

20. 4-cloth covering
The equivalent human anatomical term can be the
skin of human body.
1. The wooden skeleton is then plastered with
clay mass and given a proper shape of deity.
2. The idol is wrapped with fine white cloth
and a lime wash is applied.

21. 5-Painting with colors (Varnasamskar)
The equivalent Human Anatomical Terms can be Skin
Pigmentation
1. Chapter 22 gives details of basic colors and the
processes of preparation of these colors.
2. The information is similar to that available in many
other texts such as Chitrasurya etc. Chapter 23
(Akshimokshyanam-opening of eyes) deals with
painting of eyes which is the most important part
of iconography.
3. Elaborate rituals are prescribed for concretion and
installation (मुती रततष्ठा )

22. Interpretations
The text contains very useful information related
to modern subjects of Geotechnical Engineering
such as soil stabilization and geo-textiles.
Modern engineers use inorganic materials such as
cement, fly-ash or lime for soil stabilization.
Synthetic fibers or cloth is used for soil/ ground
reinforcement.

23. Conclusions
1. There was environment protection awareness in
ancient time.
2. Coir fibers & cotton cloth was used for soil
reinforcement in ancient India.
3. Soil stabilization with natural additives was well
known to ancient Indian sculptors.
4. The correct soil consistency for mud plastering
is specified in simple terms.
5. Iconography was based on sound knowledge of
human anatomy.

24. References
1. Brihat Samhita of Varahamihir (2000), chp 57,
Ed by Sudhakar Dwivedi, Published by
Sampurnanand Sanskrit University , Banaras.
2. Chitraagastya, by sage Agastya Ms. No 4009
Oriental manuscript library, Trivedraum( Kerala
state).
3. Chitra lakshyanam by Nagnajita, Hindi
translation of Sanskrit text ed by Jugunu, S.
(2016), , published by Chaukhamba Sanskrit
Series, Banaras.
4. ’Development of Hindu Iconography” (1941)
by. Banerjee, T.N., published by the University
of Calcutta

25. 5. Kashyapa Shilpam, Kulkarni, R.P. (1987),
Marathi translation of Sanskrit text, published
by Maharashtra Rajya Granth Nirmiti Mandal,
Mumbai.
6. Sakaladhikara by sage Agastya (1996) TSM
Series 92,. Thajavur Maharaja Serfoji Saraswati
Library (TMSSML), Thajavur (Tamilnadu state)
7. Sakaladhikara by sage Agastya, Hindi
translation, Jugunu, S. and Sharma B. (2014),
published by Parimal publications, Delhi.
8. Hayasirsa Pancharatra-