WHO IS STHAPATHI

                   WHO IS  STHAPATHI

The architect of the Temple was not only a master of the 'ocean of the science of architecture'. He had to be balanced in body and mind, and be well versed in the traditional science (shastra) in its various branches and as much in the knowledge of rhythms (chandasa), mathematics and astronomy as in the conditions of different places, etc.. The various arts and sciences had to be known for one and the same purpose, so that he could apply them in his work which was to be an image and reconstitution of the universe.

For immediate intuition, a readiness (pratyutpanna) of judgement (prajna) in contingencies, and the ability to fuse them into the requirements of the whole, are the distinctions of a true sthapati. It is then, that the builder himself, once his work is completed, is struck with wonder and exclaims: "Oh, how was it that I built it." The architect, sthapati, is the foremost of the craftsmen (shilpin), of whom there are four classes, (1) Sthapati, (designing architect) (2) Sutragrain (surveyor), (3) Taksaka (sculptor) and (4) Vardhakin (builder, plasterer, painter).

These craftsmen carry out the instructions of the sthapaka, the architect-priest, who has the qualification of an Acharya.

The sthapati should be fit to direct the construction and should be well-versed in all Shastras, the traditional sciences, perfect in body, righteous, kind, free from malice and jealousy, a Tantrik and well-born; he should know mathematics and the Puranas, the ancient compendia of myths, etc., painting, and all the countries; he should be joyous, truth speaking, with senses under control, concentrated in mind, free from greed, carelessness, disease and the seven vices, famous, having firm friends and having crossed the ocean of the science of Vastu.

The craftsmen, his patron and the public for whom he make the work of art all are magically one. Every craftsmen is related to lord VishwaKarma who is a lord of all creative work, who is a spiritual ancestor of every craftsmen. This is illustrated by a copper plate inscription recordingly exclamation of the sculptor of the Kailashnath temple. When the stupendous work was completed the sculptor exclaimed in wonder : ‘ Oh, how did I make it ?the form of the question clearly indicates that art is not rooted in the Ego but exists in the phase of consciousness. This phase of consciousness is called Mahat (The Great). Art originates in this Mahat stage only where there is no Ego.

When the building of the Temple is completed, the sthapati prays that the people be 'healthy, wealthy, happy, well known and famous for a long time and that the victorious king protects the whole earth, full of cattle and plants.