Shloka 21

Prāsāda-Lakṣaṇa: Temple Proportions, Śikhara Ratios, Liṅga–Pīṭha Measures, and Auspicious Ground-Plans

Devanagari script

प्रासादानां च वक्ष्यामि मानं योनिं च मानतः / वैराजः पुष्पकाख्यश्च कैलासो मालिकाह्वयः

Transliteration

prāsādānāṃ ca vakṣyāmi mānaṃ yoniṃ ca mānataḥ / vairājaḥ puṣpakākhyaśca kailāso mālikāhvayaḥ

Translation

Ngayon ay ilalarawan ko ang mga sukat ng mga prāsāda at ang kanilang mga pangunahing anyo ng plano sa lupa (mga uri ng yoni) ayon sa wastong proporsyon. Ang mga ito’y tinatawag na Vairāja, Puṣpaka, Kailāsa, at Mālikā.

Word by Word

• प्रासादानाम्: of palaces/temples
• प्रासादानाम्: Sambandha (Genitive relation/सम्बन्ध)
• Type: Noun
• Root: प्रासाद (प्रातिपदिक)
• Form: पुंलिङ्ग, षष्ठी (6th/सम्बन्ध), बहुवचन

• च: and
• च: Samuccaya (Conjunction/समुच्चय)
• Type: Indeclinable
• Root: च (अव्यय)
• Form: अव्यय; समुच्चय-निपात (conjunction)

• वक्ष्यामि: I shall describe
• वक्ष्यामि: Kriya (Predicate/क्रिया)
• Type: Verb
• Root: वच् (धातु)
• Form: लृट् (simple future), उत्तमपुरुष (1st), एकवचन; परस्मैपदम्

• मानम्: measure
• मानम्: Karma (Object/कर्म)
• Type: Noun
• Root: मान (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया (2nd/कर्म), एकवचन

• योनिम्: type/origin (yoni)
• योनिम्: Karma (Object/कर्म)
• Type: Noun
• Root: योनि (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, द्वितीया (2nd/कर्म), एकवचन

• च: and
• च: Samuccaya (Conjunction/समुच्चय)
• Type: Indeclinable
• Root: च (अव्यय)
• Form: अव्यय; समुच्चय-निपात (conjunction)

• मानतः: according to measure
• मानतः: Hetu/Pramana (Basis/measure-wise)
• Type: Indeclinable
• Root: मानतः (अव्यय; मान-तस्)
• Form: अव्यय; तसिल्-प्रत्ययान्त (ablatival adverb)

• वैराजः: Vairāja (name)
• वैराजः: Karta (Subject/कर्ता)
• Type: Noun
• Root: वैराज (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा (1st), एकवचन

• पुष्पकाख्यः: Puṣpaka-named (one)
• पुष्पकाख्यः: Karta (Subject/कर्ता)
• Type: Noun
• Root: पुष्पक (प्रातिपदिक) + आख्य (आ-ख्या धातु/आख्य-प्रातिपदिक ‘named’; कृदन्त/विशेषण)
• Form: पुंलिङ्ग, प्रथमा (1st), एकवचन; तत्पुरुषः — ‘पुष्पक-आख्यः’ (named Puṣpaka)

• च: and
• च: Samuccaya (Conjunction/समुच्चय)
• Type: Indeclinable
• Root: च (अव्यय)
• Form: अव्यय; समुच्चय-निपात (conjunction)

• कैलासः: Kailāsa (name)
• कैलासः: Karta (Subject/कर्ता)
• Type: Noun
• Root: कैलास (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा (1st), एकवचन

• मालिकाह्वयः: Mālikā-called (one)
• मालिकाह्वयः: Karta (Subject/कर्ता)
• Type: Noun
• Root: मालिका (प्रातिपदिक) + आह्वय (आ-ह्वे धातु/आह्वय-प्रातिपदिक ‘called’)
• Form: पुंलिङ्ग, प्रथमा (1st), एकवचन; तत्पुरुषः — ‘मालिका-आह्वयः’ (called Mālikā)

Speaker

Lord Viṣṇu (in dialogue with Garuḍa/Vinatā-putra)

Philosophical Teaching

Concept: Systematic knowledge (māna and yoni) organizes sacred architecture into intelligible classes.

Vedantic Theme: Nāma–rūpa ordering: names and forms as structured manifestations within a sacred cosmology.

Application: Document and classify design variants before construction; choose an archetype (Vairāja/Puṣpaka/Kailāsa/Mālikā) appropriate to site, patronage, and ritual needs.

Verse Rasa

Primary Rasa: adbhuta

Secondary Rasa: shanta

Geographic Context

Type: śilpa-śāstra discourse setting

Cross References

Related Themes: Garuda Purana 1.47.22-23 (five yoni-forms and shapes); Garuda Purana 1.47.19-20 (measurement rules)

Characters & Entities

• Vairāja
• Puṣpaka
• Kailāsa
• Mālikā

FAQs

What is the importance of prāsāda-māna (temple measurements) in the Garuḍa Purāṇa?

This verse frames temple design as a dhārmic science: prāsādas are classified by precise proportions and plan-types (yoni), implying that correct measurement is essential to a properly consecrated sacred space.

How does this verse explain the path of the soul?

It does not directly address the soul’s post-death journey; instead, it shifts to dharma through sacred architecture—how orderly, proportionate temple spaces are defined and categorized.

Practical application of this wisdom today?

Use it as a reminder that religious practice values disciplined structure: whether building a shrine/temple or organizing worship, follow authentic guidelines and proportional harmony rather than improvisation.