1. The document discusses natural geotextiles and soil stabilization techniques depicted in ancient Indian iconography texts. 2. It describes the five stage process for making clay idols which involved constructing a wooden frame, applying glue and fibers, plastering with a mixture of clay and natural additives, shaping the figure, and painting it. 3. The techniques indicate that ancient Indian sculptors had knowledge of using coir fibers and cotton for soil reinforcement as well as stabilizing soils with natural materials like plant extracts and resins.

1. Natural Geotextiles
As Depicted in
Ancient Indian Iconography
By Dr. A.S.Nene

2. Sakaladhikara
by Sage Agastya.
Shilpa-samhita on Iconography

3. Sakaladhikara
means
“A treatise on deities with embodied
form”
Sage Agastya received from Lord
Shiva deals with Saivite images

4. Shilpa, in its widest sense covers all
arts and crafts requiring dexterity of
hand. It covers all branches of
Engineering and Architecture
Shilpa samhita means
Compilation of information
about “Shilpa

5. Iconography
Idols or images are made of
metal, stone, wood or Clay
Metal, stone or wooden
images are made by molding
chiseling or by carving.

6. An elaborate process has to be
adopted for images made of clay,
mortar stucco and other soft materials
in order to make them strong and
durable

7. Five Stages of Idol Making
1.Construction of Frame work using
selected wood (Shool-lakshyanaam)
Human Anatomical Term:
Bonny skeleton

8. 2. Application of glue
Human Anatomical
Terms Fat and marrow

9. Application of glue
A special glue, made out of
eight natural adhesive
materials (Astabandhana),
ghee and oil, is applied to
the wooden inner frame

10. 3.Binding with Strings
(Rajjubandhanam)
28 String arrangements
Human Anatomical Term
38 Arteries and nerves

11. •Strings are made of coconut shell
husk.
•The coir fibers are threaded into
strong cords. The thickness of these
cords is specified as two” yava”
(2-4 mm).
•The strings are made by twisting two
cords.

12. rJjub<Xanm! Binding with Strings

13. 4. Plastering with Mud
(Mrutsamskar)
Human Anatomical Terms
Flesh and skin

14. Plastering with Clay Mass
Constituents
• Clay collected from lakes or
Riverbeds
• Finely powered lac
• Decoctions prepared from
barks of four milky trees
and two non-milky trees.
• Fine sand

15. •Decoctions of three
myrobalns namely Amalaka,
Bibhitaka and Haritaka.
•Flours of Barley, wheat and
black gram
•Resins of Srivestaka, Sarja
and Kunderukska and
Guggulu in powdered form
•Cotton Fibers

16. Consistency of Mud plaster
This constancy is determined by
rolling the clay mass on the palms.
When the lines of palm are clearly
impressed on the clay mass the
constancy is proper.
The water content for this consistency (Palm line
limit) corresponds to a liquidity index between
15 to 20.%

17. Finishing of shape
•Fixing of fine white cloth
•Coating with fine lime
•Polishing

18. 5. Painting with colors
(Varnasamskar)
Human Anatomical Terms
Skin Pigmentation

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

20. References:
1. Sakaladhikara by sage Agastya (1973) TSM
Series 141,. Thajavur Maharaja Serfoji
Saraswati Library (TMSSML), Thajavur
(Tamilnadu state)
2. Banerjee J.N. ”Methodology on Hindu
Iconography”
3. Chitraagastya Ms No 4009 Oriental
manuscript library, Trivedraum( Kerala
state)

22. For any suggestions
Contact
Dr.A.S.Nene
M4 Laxmi Nagar,
Nagpur (India) 440022
Email: nene_ashok@yahoo.com