Understanding the basic principles of Hindu iconography & iconometry (Part 1)

Shri Rama from the Vaikuntanathar Temple at Srivaikuntam, TN.

In order to fully be able to appreciate our ancient art & architecture, one must have a rudimentary knowledge of the various terminologies & methodologies employed by ancient Hindu artisans & builders. We'll dwell on that in this post.

Before we proceed any further, I'd like you to have a look at the below post on the ancient Hindu system of measurement. A lot of terminologies from there will be used here too. Get yourself acquainted with the different units of Hindu measurement that can be read HERE.

The ancient Temple builders i.e. the Sthapatis, have consulted various Shastras in order to execute all their wondrous workmanship. The Shastras are many, yet there is much commonality than differences in them. This vast ocean of knowledge revealed by the Devas to the ancient Rishis has resulted in the various different styles of Temple building, image making, rock sculpturing etc

Some of the important Shastras consulted by the Sthapatis: 

1) Vishnudharmotthara purana 

2) Agni Purana 

3) Matsya Purana 

4) Brihat Samhita 

Above texts contain a vast ocean of info on Temple building. Ancient Temples of Northern Bharat were built according to this tradition.

Apart from the above Puranic sources, Sthapathis also consulted the works of : 

1) Mandana's Vastushastra 

2) Bhuvanadeva's Aparajitaprccha 

3) Samarangana Sutradhara by Paramara Bhoja of Dhar. 

Their detailed & exhaustive works formed the basis of Northern iconography.

While in the Dakshina Bharat Sthapathis consulted the Agamas. The Agamas are many, but the ones chiefly dealing with iconography & Temple building are : 

1) Kamikagama 

2) Vaikhanasagama 

3) Ansumadbhedagama 

4) Karnagama 

5) Suprabhedhagama

Other important texts of Southern tradition are : 

1) Manasara Shilpashastra 

2) Mayamata 

3) Sakalaadhikara of Agastya muni 

4) Abhilashitartha Chintamani, also popularly known as Manasollasa, authored by Chalukyan king Someshwara.

Now that we are familiar with some of the traditional sources of iconometry, we'll proceed to the important part. Classification of different types of Murthis. The Agamas classify Murthis/Vigrahas into 3 types 

1) Chala & Ahcala 

2) Purna & Apurna 

3) Saminta & Asamnita

Chala murthis are portable & small.They are usually made out of metal or wood. Their purpose is to be carried on a chariots around the temple on festive occasions Achala murthis not portable. They are heavy & made out of stone. They are permanent fixtures in the Garbhagriha.

Chala murthis are again classified into 4 types. 

1) Kautuka bera (meant for puja) 

2) Utsava bera (Carried around in Chariot) 

3) Bali bera (meant for puja) 

4) Snapana bera (meant for performing panchamrita abhisheka) 

Below is an example of Utsava bera murthi of Subramanya from Tirchendur, TN.

Utsava murthi of Subramanya at Tiruchendur, TN.

Achala murthis (immovable) are classified into 2 types. 

1) Stahanaka i.e. Standing posture 

2) Aasaniya i.e. in a reclining posture. ( Usually Maha Vishnu) 

Below is an example of Aasaniya posture.

Reclining Vishnu

Purna & Apurna murthis. As the name suggests Purna murthis are the ones carved fully with all face, hands, torso, limbs, legs. Below is an example of Purna murthi of Lakshamana & Sugreeva.

Lakshmana & Sugreeva

Apurna forms are not full. Usually sculptured only up to the bust level. Below is an example of Apurna murthi of Sadashiva from Gharapuri (Elephanta caves)

Sadashiva

And finally the 3rd classification. Shanta & Ashanta. Shanta murhis are the ones at portray calmness, serenity & bliss. While Ashanta murthis depict anger & aggressive posture. Below is an example of Ashanta murthi of Kalasamhara, a fiery form of Shiva who manifests to save his bhakta Markendeya from Yama. 

Kalasamharamurthi

Now that we are familiar with the classification of images, next we'll see the measurement system employed by the Sthapathis to sculpt these murthis. Assuming by now well you are acquainted with the terminologies used below.

The measurement system employed by ancient Sthapathis is called the Uttama-dasha Tala measure. Unlike other bigger measurement units like Danda & rajju (which are used for town planning), Tala is a smaller unit used exclusively for the making of Murthis & Vigrahas.

The Tala is the basic unit of measurement here. 1 Tala is the equivalent of one palm length. It is that palm length that is measured from the tip of the thumb to the tip of the Ring finger. Tala is also called Vitasti.

So 12 Angulas make 1 Vitasti or 1 Tala. In the process of making a murthi, the murthi is divided into 124, 120, 116 equal parts. Each of these divisions is called a Deha-labda-angula or Dehangula.

Accounting for different finger length & breadth sizes, there are 27 possible Angula types mentioned in the Shastras.

In order to have a comprehensive understanding of Uttamadashatala measure,its important to know each of the 27 types of Angulas & the specific names given to them So we'll see what they are now 

1) A distance of 1 Angula is called Murthi, Indu, Vishvambara, Moksha & Ukta.

2) A distance of 2 Angulas is called Kalaa, Golaka, Ashvini, Yugma, Brahmana, Vihaga, Akshi & Paksha. 

3) A distance of 3 Angulas is called Rina, Agni, Rudraksha, Guna, Sula, Raama, Varga & Madhya.

4) A distance of 4 Angulas is called Veda, Prathistha, Jaati, Varna, Karana, Yuga, Turya & Turiya. 

5) A distance of 5 Angulas is caled Viskaya, Indriya, Bhutha, Ishu, Supratishtha & Prithvi.

6) A distance of 6 Angulas is called Karma, Anga, Rasa, Samaya, Gayathri, Kritthika, Kumara & Kaushika. 

7) A distance of 7 Angulas is called Paataala, Dhatus, Lokha, Ushnik, Rohini, Dvipa, Anga & Ambhonidi.

8) A distance of 8 Angulas is called Lokhapala, Naga, Uraga, Vasu, Anushtup & Gana. 

9) A distance of 9 Angulas is called Brihati, Hriha, Randhra, Nanda & Sutra. 

10) A distance of 10 Angulas is called Dik, Praaturbhaavaa & Naadi.

11) A distance of 11 Angulas is called Rudras & Trishthubh. 

12) A distance of 12 Angulas is called Vitasti, Taala, Yama, Arka, Raasi & Jagathi. 

13) A distance of 13 Angulas is called Atijagathi. 

14) A distance of 14 Angulas is called Manu & Sakvari

15) A distance of 15 Angulas is called Ati-Sakvari & Tithi. 

16) A distance of 16 Angulas is called Kriya & Indu kalaa. 

17) A distance of 17 Angulas is called Atyashi. 

18) A distance of 18 Angulas is called Smriti & Dhritri

19) A distance of 19 Angulas is called Ati-Dhriti. 

20) A distance of 20 Angulas is called Kriti.

21) A distance of 21 Angulas is called Prakriti. 

22) A distance of 22 Angulas is called Akriti. 

23) A distance of 23 Angulas is called Vikriti.

24) A distance of 24 Angulas is called Samskriti. 

25) A distance of 25 Angulas is called Atikrti. 

26) A distance of 26 Angulas is called Utkriti. 

27) A distance of 27 Angulas is called Nakshatra

Now that we have a brief understanding of the many units of measure, we'll see where & how the Sthapathis employ these units while sculpting murthis. Before that we need to understand the 6 different types of measures at are needed to sculpt any murthi.

The measurement prescribed in the Agamas are of 6 types. 

1) Maana, which is the length of the body 

2) Pramaana, is breadth 

3) Unmaana, is the thickness 

4) Parimaana, is the girth 

5) Upamaana, is the interspaces between body parts 

6) Lambamaana, is the total height

Once the Sthapati has the 6 measurements sorted, he can then go ahead with the sculpting of the murthi. The Shastras again prescribe different proportions to different images of Devas, Devis, Yakshas, Grahas etc. The unit of measurement for all these is the Tala.

Dasha Tala measurement

Trimurthis; Brahma, Vishnu & Shiva are required to be sculptured according to the Uttama dasha Tala measure. Here the image is divided into 124 dehangulas (124 equal parts). Below is an illustration of Vishnu depicted according to the Uttamadashatala measure.

Vishnu 

Madhyama Dash Tala measure, where the image is divided into 120 dehangulas is prescribed for Sridevi, Bhudevi, Uma, Saraswathi, Durga, Saptamatrikas & other female deities. Below is a Saptamatrika panel sculpted using the Madhyama dasha tala measure.

Saptamatrika Panel from Keladi Rameshwara Temple

The Adhama Dasha Tala measure, where the image is divided into 116 dehangulas is prescribed for the 8 Dikpalakas, 12 Adityas, 11 Rudras, 8 Vasus, 2 Ashvini devatas, 7 Rishis, Garuda, Subramanya, Kshetrapalakas. Below is a murthi of Agastya sculpted using Adhama Dasha tala measure.

Agastya from Darasuram Temple

The Nava-arddha tala measure, where the image is divided into 114 dehangulas is prescribed for Yakshas including Kubera & Navagrahas. Uttama nava Tala, where the image is divided into 108 dehangulas is prescribed from Rakshasas & Asuras. Below is an example of this measure from one of the pillars at Madurai Meenakshi Temple. It is of Ravana lifting Kailasa mountain.

Ravana lifting Kailasa

Ashta-tala (96 angulas) for Manushyas

Sapta-tala (84 angulas) for Vetalas

Shata-tala (72 angulas) for Pretas.

Pancha-tala (60 angulas) for Kubjas, Vigneshwara & hunchbacks.

Chatus-tala (48 angulas) for Vamana, dwarfs & children.

Tri-tala (36 Angulas) for Bhutas & Kinnaras

Eka-tala (12 Angulas) for Kabandhas.

Now that we are familiar with the terminologies & the many units of measure, in the next post we'll see what exact information is contained within Shastras on the how exactly the images of various Devatas must be depicted by the Sthapathis.

The Intricacies Of A Doorway Of A Nagara Style Temple

Nagara Temple Doorway

The doorway of a classical Nagara style temple is probably the highest expression of art achieved in Bharat. Each and every element of the doorway including the threshold is intricately decorated. The doorway is comprised of numerous elements. Lets have a look at each element.

Lalatabimba

This part of the doorway is called the Lalatabimba. A miniature form of the deity present inside the Garbagriha is depicted here.

Uttaranga

On top of the Lalatabimba is an element what is known as Uttaranga. It is where usually Brahma, Vishnu, Maheshwara & sometimes even Skanda along with their respective devis are depicted.

Dwara Shaka

Then comes Dwara Shakas. These are offsets surrounding the doorjamb . They are usually 1,3,5 or 7 in number. There are various types of Shakas depending on what is depicted. If it depicts lions, its called Simha shaka. Likewise there are Gandharva, Mituna & Patra(floral) shaka.

Dwarapala

Then we have the Dwarapalas guarding the Garbagriha on either side of the doorway. It could be Jaya - Vijaya, Ganga-Yamuna depending on the principal deity inside the Garbagriha.

Mandaraka

This element is called the Mandaraka. The name comes from the Mandara mountain which was used during the Samudra manthan to obtain Amrutha. Sometimes the event is depicted here.

Udumbara

Below the Mandaraka is the Udumbara, which is the lowest element among all. It is the threshold. It is unfortunately not visible in the original photo as it is buried beneath the mud. This is an equivalent example from the Suryanarayana temple at Osian.

Mithuna Shaka

An excellent example of Mithuna Shaka from Ashapuri Temple. Nagara architecture reached its peak crescendo in Madhya Pradesh area. The development of architecture came to an abrupt end following the invasions. Sadly we'll never know to what newer heights it would have reached.

Vishvanatha temple, Khajuraho. Under the patronage of the Chandelas of Jejakabhukti, Nagara architecture reached its very peak. Especially the gateway elements leading up to the Garbagriha. Just have a look at each element. So intricate, aesthetic, classy & so graceful.

Have written another post on "Structural elements of a Pallava monolithic rock cut Ratha type Temple" that can be read HERE

REFERENCE

Encyclopedia of Hindu Temple Architecture by MA Dhaky

Structural elements of a Pallava monolithic rock cut Ratha type Temple

Valayankuttai Ratha

This partially completed monolithic Pallava rock cut temple from Mahabalipuram presents a very good visual representation of how ancient Sthapatis (Architects) went about carving out material from a monolithic rock. Valayankuttai Ratha was being built during the reign of Pallava emperor Parameshvaravarman I who reigned during the years 670-695 CE.

Arjuna Ratha

If the Sthapatis had managed to complete the Valayankuttai Ratha, it would have looked similar to the Arjuna Ratha above. The Arjuna Ratha is from the Pancha Ratha Temple complex, an UNESCO world heritage monument. The Upapeetha(base) & Adisthana(plinth) remained incomplete in the Valayankuttai Ratha.

Upapeetha (Base)

This is also a good opportunity to understand the different elements that make up a Ratha type temple. It basically comprises of 6 major parts or Angas as it is called in the Shilpashastra. Lets have a look with the above example. Bottom most part is the Upapeetha, the sub base.

Adisthana (Plinth)

On top of the Upapeetha, we have the Adisthana. Usually these two elements are referred to as a single element. The rest of the Temple structure rests on this element. Sometimes the the Adisthana is intricately carved with a variety of ornate carvings. Usually Simhas (lions) & Ashvas (horses). The Adisthana itself is further divided in a series of sub parts Kandhara, mahapatti, jagati, kumuda, kampa, kapota, pratimuka, vaajana etc. But we'll have a look at only the basic 6 elements for now.

Paada (Wall)

This part is the Paada (walls). The paada also contain a number of Sthambas (pillars). The recess where carvings are made is called the Koshtha. In the case of the Arjuna Ratha there are 5 carvings On either side is a Pratihara (Guard). In centre we have Skanda seated on elephant.

Prasthara (Entablature)

Then comes the Prasthara or what in english we call as entablature. It is basically a horizontal beam which seperates the Paada(wall) from the upper structure. Prasthara too has a number of elements like Kapota, Uttira, Vyalavari etc. All these elements are intricately decorated.

Haara (Parapet)

This element is the Haara, the Parapet. The Ratha/Vimana type Temple can have a number of storeys. The Arjuna ratha is an example of a simple two storeyed Temple (Dvi-Tala). A ratha type Temple can have as high as 16 storeys. Each one of them is called jaati Vimana.

Griva (neck)

Shikhara (Spire)

Finally we have the Shikhara which is the spire. On top of it we usually have a Sthupi or Kalasha(which is not visible here). These are few elements of a Vimana type temple.

Dharmaraja Ratha

Dharmaraja ratha is the tallest among Pancharatha temples. It is a tri-tala (3 storeyed) Vimana type Temple. Each one of the storeys are functional. Despite its grand look, it is actually an unfinished temple. We can only imagine how much more grander finished one would have been.

REFERENCE

Encyclopedia of Hindu Temple Architecture by MA Dhaky

The need to revive ancient Hindu architectural methods.

A post that makes out a case for the urgent need to revive Hindu architectural methods. On why this subject should become part of academic curriculum.

3D render of the new Parliament building

Recently when the 3D renders for the new Parliament building was made public, it was mostly met with widespread criticism. Criticized for failing to incorporate elements of architecture which represent splendour of our Hindu civilization.

While many may say it is unfair to criticize a design just based on 3D renders, there is a reason why this criticism holds good in this case. It is the same reason why we haven't been able to construct many noteworthy public building since 1947 reflective of our ancient & classical culture(rare exceptions exist though). The reason being the complete abandonment a huge vast ocean of literature on Hindu architecture.

Coming back to the new Parliament building, its design & why it lacks traditional aesthetics. The problem is far more fundamental. The Central Vista & Lutyens was designed & constructed to serve the British Crown.

Map of the original Central Vista

The fundamental flaw isn't with the new Parliament building, rather the flaw is in the design of Lutyens itself (which is basically a mini township).The new parliament building is just a continuation of this flaw which we have failed to remedy till now.

There is a huge misconception that Hindu architecture is just limited to Temples. Nothing could be farther from the truth. The Vaastu & Shilpa Shastras dwell into literally every single element of design & construction, from smallest of villages to the biggest of metropolises.

Layout plan of a Capital city according to Manasara

The above is a map of the a Rajadhani (Capital City) described in the Manasara Shilpa-shastra. The Manasara is the standard codified treatise on Hindu architecture. It deals with literally every element of design & construction.

Shloka describing 8 different classes of towns/cities.

The Manasara classifies towns/cities into 8 different classes. 

1)Rajadhani 

2)Nagara 

3)Pura 

4)Nagari 

5)Kheta 

6)Kharvata 

7)Kubjaka 

8)Pattana 

Each of the above 8 classes of towns/cities(Nagara-Vidhana) are based on not only their size, but what kind of kings rule from the respective towns/cities. That again brings us to different classifications of Kings & their palaces (Raja-griha Vidhana).

Just like 8 classes of cities, there are 8 classes of kings mentioned in the Manasara. The highest of them being the Chakravarthin class of kings. Other kings are 

1) Chakravarthin 

2) Maharaja 

3) Narendra 

4) Parshinkha 

5) Pattadhara 

6) Mandalesha 

7) Pattabhaj 

8) Praharaka

CLICK HERE to read the post on traditional town planning described in the Shilpa Shastra for additional info on classification of Village types.

Each class of King rule from the corresponding class of cities mentioned above. The Charavarthin rules from the Rajadhani & so on. The Manasara lays down specific rules on how the Palaces of each of these kings needs to be constructed.

Location of the Palace within the City.

The Palace (the power center) described for the Chakravartin in the Manasara is huge & incorporates many architectural elements. As one can see the palace itself doesn't exist in isolation. It is rather part & continuation of the elaborate plan of the Rajadhani (capital).

The point here being a building (the parliament or the secretariat or a Palace) just cannot exist in isolation. The buildings are a mere extension & expression of the larger plan. So there is no point pinning the blame on just one building when there is a fundamental problem.

This issue can be sorted only when town planners & architects are also trained in traditional architectural methods, which has sadly been restricted to just Temples. The literature in the Manasara Shilpa-shastra is vast & needs to become part of mainstream academics.

I'll just list out some of the elements of design & construction that the Manasara shilpashastra dwells into. 

1) Manoprakarana vidhana.(System of measurement) Click to read 

2) Bhu pariksha & Bhumi samgraha (Examination of soil & selection of construction site)

3) Shanku-stapana-vidhana (Sun dial for establishing cardinal points) 

4) Pada vinyasa(Groundplan) 

5) Gramalakshana vidhana(characteristics of villages) 

6) Nagara Vidhana (characteristics of towns & cities) 

7) Bhumilamba vidhana (Dimensions of buildings)

8) Garbhanyasa vidhana ( The foundation) 

9) Upapeetha vidhana (design of Pedestal) 

10) Adhisthana vidhana(design of the Base) 

11) Stambha lakshana vidhana(classification of pillars) 

12) Prastara Vidhana(design of the entablature) 

13) Sandhikarma vidhana(wood joinery)

14) Vimana vidhana (classification of buildings based on storeys) 

The Manasara describes buildings in detail based on the number of storeys. From single to 12 storey buildings. Within each of these storeys, the buildings are further divided into different types.

description of multi-storeyed buildings in the Shilpa shastra

15) Prakara vidhana(courts) 

16) Gopura Vidhana(gate house) 

17) Mandapa vidhana(Pavilions) 

18) Griha mana sthana vinyasa(Location & measurement of houses) 

19) Dvara-sthana(Location of doors) 

20) Dvara-mana-vidhana(measurement of doors)

21) Raja-griha Vidhana( Palaces) 

22) Rajanga-lakshana Vidhana(Royal courts) 

23) Ratha-lakshana Vidhana( Cars & chariots) 

24) Sayana vidhana(Couches) 

25) Simhasana lakshana vidhana(Thrones) 

26) Torana Vidhana(Arches) 

27) Madhyaranga Vidhana(Theatre)

Apart from building & construction, the Manasara also gives details on sculptures. The Manasara Shilpashastra is the most comprehensive text on Hindu architecture. Infact it covers architecture more comprehensively than Vitruvius' De architectura(Roman architecture)

Different pillar styles described in the Shilpa shastra

Especially when it comes to the area of Pillar design, the Manasara has no rival. The sheer variety of columns described in here is mindblowing. 

The greco-roman architecture pioneered by Marcus Vitruvius under the patronage of Roman emperor Augustus became standard for the western world for centuries. The Manasara was codified during the classical age of the Guptas & remained the standard till the invasions. While the west has successfully incorporated Vitruvius' architectural principles into modern times(as reflected by their town planning & building construction), we in Bharat have forgotten an equally great school of Architecture.

For anything to develop & evolve into something beautiful, it has to put into practice. Traditional architecture of Bharat took a massive hit after invasions. Not just the Temples, but the basic fundamentals of our town & city planning. Some may argue "You are talking about Kings & monarchy. These are not applicable for the modern times we live in etc" So did Vitruvius. His patron was a Roman emperor. Yet western architecture has evolved into what it is today due to continued use.

Now that the threat of invasions is over, this present era should become the era of reclamation. Reclamation of not just Temples but everything that came to a standstill during the medieval age of invasions. Art, Architecture, Literature, Science, Astronomy, Mathematics etc

Other Hindu architectural & sculptural treatises apart from the Manasara Shilpashastra that deserve mention 

1) Mayamata Shilpa-Shastra 

2) Anshumadbheda of Rishi kashyapa 

3) Vishvakarma Shilpa 

4) Sanatkumara Vaastu Shastra 

5) Shilpa shastra of Mandhana 

6) Shilpa Samgraha

Apart from the above texts The Puranas like the Agni & Matsya Purana go into details on architecture. So does the Brihatsamhita of Varahamihira. The Agama shastras too dwell into detail on the subject of design,construction & sculpture.

The literature is simply too vast to simply be put across in a post. It requires years of study & practice to even comprehend such lofty & highly aesthetic literature.

References:

Indian Architecture according to Manasara-Shilpashastra by PK Acharya.

The ancient Hindu system of measurement (मानोपकरणविधानम्)

The Shilpa shastras give much insight into how dimensions such as length, width, height etc were measured. It is using this system that the smallest of murthis to the biggest of buildings were planned & constructed in ancient Bharat.

Before defining the different units of measurement, the Shilpa shastra makes a brief reference to the prerequisites of those who must be well versed in this subject in order to carry out the task of planning & construction. i.e the Architects.

The Architects are classified into 4 different categories. They are: 

1) Sthapati 

2) Sutragrahin 

3) Vardhaki 

4) Takshaka 

Each one of the above have a specific role in the process of planning & construction.

स्थपतिः सर्वशास्त्रज्ञः सूत्रपाहीति सूत्रधृत् 

वर्धकी(किर्) मानकर्मज्ञः तक्षणात्तक्षकः स्मृतः 

Shastras say Sthapati must be well versed in all Shastras, Sutragrahin holds the Sutra(measuring rope), Vardhaki is well versed in measuring & Takshaka is well versed in carpentry.

In the hierarchy of architects; the Sthapati holds the highest of positions. He is the master builder. He is the guide of the other 3. The Sutragrahin is required to be an expert in architectural drawing, the Vardhaki in the area of painting & Takshaka with wood work.

मुनीनां नयनोद्वीक्ष्य(च्य) तत्परमाणुरुदाहृतम् 

ताभिरष्टाभिर्गुणितं रथधूलिरिति स्मृतम् 

Shastra defines the smallest unit of measurement as a Paramanu (an atom). It is that unit which is perceptible to eyes of the Rishis. 8 Paramanu make what is called a Ratha-dhuli(molecule).

रथधूल्यष्टमिलितं वालाग्र मिति स्मृतम् 

वालागैरष्टधायुक्तं लिक्षा परिकीर्तितम् 

8 such Ratha-dhuli combined together form a वालाग्र/Valagra (hair end) 8 hair-ends joined together form what is known as a लिक्षा/Liksha (a nit) Nits are eggs of lice (insect).

लिचे(क्षाभि)श्चाष्टभिरायुक्तं यूकं तमि(दि)ति कथ्यते 

यूकैरष्टाभिः(भिश्च) प्रोक्तं यवमेवं विधीयते 

8 Likshas (nits) combined together form a यूक/Yuka (one lice insect) 8 Yukas combined together give us a यव/Yava (barleycorn) Barleycorn is ​1/3rd of an inch (around 8.47 mm).

यवैरष्टसमायुक्तमङ्गलं तत्प्रकीर्तितम् 

8 Yavas (barleycorn) combined together give us an Angula (finger breadth). The Angula is the most important usable unit of measurement . It has been used & mentioned in the Rig Veda. Angula forms the basis for other bigger units.

मानमात्रं त्रिधा प्रोक्तं यववृद्धिविशेषतः 

षट्सप्ताष्टयवैरेतत्कनिष्ठो(ष्ठ)मध्यमोत्तमम् 

To account for different finger breadths, the Angula has been further classified into 3 different types. The small (6 yavas), the intermediate (7 yavas) & the large (8 yavas).

12 Angulas together are called one वितस्ति/Vitasti. Vitasti is the distance between the tips of the stretched out thumb & ring finger.

2 Vitasti make a किष्कु/Kishku (small cubit) An Angula added to one Kishku is called प्राजापत्य/Prajapatya(cubit) (A cubit is the distance between tip of the middle finger to elbow) 25 Angulas together give us 1 Prajapatya Hasta.

षड्विंशत्यङ्गुलो हस्तो धनुर्मुष्टिरिति स्मृतम् 

A cubit of 26 Angulas is called a धनुर्मुष्टि/Dhanur-mushti (bowlength) 

             सप्तविंशतिकाङ्गुल्यं हस्तमुक्तं धनुर्ग्रहम[हः] 

A cubit of 27 Angulas is called a धनुर्ग्रह/ Dhanur-graha.

चतुर्हस्तं धनुर्दण्डं दण्डाष्टं रज्जुमेव च 

4 Dhanur mushtis make a दण्डा/Danda (churning stick seen in the picture below) 8 such Dandas make what is known as a रज्जु/Rajju (measuring rope).

Each of the above units of measurement has a specific utility. The Kishku measurement is recommended for the making of conveyances like chariots. It is also made use for the making of furniture. Prajapatya measurement is used for planning & construction of mansions.

Dhanurgraha measurement is used in the planning of villages, towns, cities. There are bigger units of measurements like Gavyuti & Yojanas which are used for measuring geographical distances. The scope of this post is limited to measurements used in Architecture.

To summarize how we arrived from the smallest unit of absolute measure (Paramanu) to Rajju (measuring rope) It is using this system of measurement that all of the most intricate murthis to the biggest of Temples/Palaces/Cities of ancient Bharat were planned & constructed.

Reference:

Indian Architecture according to Manasara-Shilpashastra by PK Acharya.