Temple Architecture-Devalaya Vastu Part One ( 1 Of 9) Agama and Temple architecture (http://sreenivasaraos.com)
The Agama literature includes the Shilpa- Shastra, which covers architecture and iconography. The aspects of temple construction are dealt in Devalaya Vastu; and Prathima deals with the iconography. Sometimes, the term Shipa is also used to denote the art of sculpting; but here Shipa refers to the practice of the technique, while Shastra refers to its principles. The worship dealt with the Agama necessarily involves worship -worthy images. The rituals and sequences elaborated in the Agama texts are in the context of such worship- worthy image, which necessarily has to be contained in a shrine. The basic idea is that a temple must be built for the icon, and not an icon got ready for the temples, for a temple is only an outgrowth of the icon, an expanded image of the icon. And an icon is meaningful only in the context of a shrine that is worthy to house it. That is how the Agama literature makes its presence felt in the Shilpa-Sastra, Architecture. The icon and its form; the temple and its structure; and the rituals and their details, thus get interrelated.Further, the Indian temples should be viewed in the general framework of temple culture, which include not only religious and philosophical aspects but social, aesthetic and economic aspects also.Elaborate rules are laid out in the Agamas for Silpa , describing the quality requirements of the places where temples are to be built, the kind of images to be installed, the materials from which they are to be made, their dimensions, proportions, air circulation, lighting in the temple complex etc. The Manasara and Silpasara are some of the works dealing with these rules. The rituals followed in worship services each day at the temple also follow rules laid out in the Agamas. While describing the essential requirements for a place of pilgrimage,Shipa Shatras of the Agamas elaborate on the requirements of the temple site; building materials; dimensions, directions and orientations of the temple structures; the image and its specifications. The principal elements that are involved are Sthala (temple
site); Teertha (Temple tank) and Murthy(the idol). A temple could also be associated with a tree, called the Sthala Vriksham. The Gupta Age marked the advent of a vibrant period of building and sculpting activities. The texts of this period such as the Arthashastra of Kautilya and Matsya Purana included chapters on the architecture of the way of summary. By the end of the period, the art and craft flourished; and branched into different schools of architectural thought; but all based on common underlying principles. These principles are now part of Vastushastra, the science of architectural design and construction. . It is explained that the term Vastu is derived from Vasu meaning the Earth principle (prithvi). This planet is Vastu and whatever that is created is Vastu and all objects of earth are Vastu. During the medieval period, vast body of Sanskrit references, independent architectural manuals were written, without reservation, and scattered across the country. Apparently, some attempts were made to classify and evaluate their contents in a systematic way. Of the many such attempts that tried to bring about order and coherance in the various theories and principles of temple construction, the most well known compilations are Manasara and Mayamata. They are the standard texts on Vastu Shastra, and they codify the theoretical aspects of all types of constructions; but specifically of temple construction. These texts deal with the whole range of architectural science including topics such as soil testing techniques, orientation, measures and proportion, divination, astrology and ceremonies associated with the construction of buildings. Manasara is a comprehensive treaty on architecture and iconography. It represents the universality of Vastu tradition and includes the iconography of Jain and Buddhist images. The work is treated as a source book and consulted by all. The Mayamata too occupies an important position. It is a general treatise on Vastu shastra; and is a text of Southern India. It is regarded a part of Shaiva literature and might belong to the Chola period when temple architecture reached its peak. It is the best known work on Vastu. The work is coherent and well structured. It defines Vastu as the arrangement of space, anywhere, wherein immortals and mortals live. These subjects are intertwined with Astrology. The Vastu Texts believe that Vigraha (icon or image of the deity) is closely related to Graha (planets).The term Graha literally means that which attracts or receives; and Vigraha is that which transmits. It is believed that the idols receive power from the planets; and transmit the power so received. It not merely is a symbolism but also one that provides a logic for placement of various deities in their respective quarters and directions. The texts that are collectively called Vastu Shastra have their origin in the Sutras, Puranas and Agamas; besides the Tantric literature and the Brhat Samhita. The Vastu texts classify the temple into three basic structures: Nagara, Dravida and Vesara. They
employ, respectively, the square, octagon and the apse or circle in their plan. These three styles do not pertain strictly to three different regions but are three schools of temple architecture. The vesara, for instance, which prevailed mostly in western Deccan and south Karnataka, was a derivation from the apsidal chapels of the early Buddhist period which the Brahmanical faith adopted and vastly improved.
These three schools have given rise to about forty-five basic varieties of temples types. They too have their many variations ; and thus the styles of temple architecture in India are quite diverse and virtually unlimited . Among the many traditions inherited (parampara) in India, the tradition of Vishwakarma is unique. The mode of transmission of knowledge of this community is both oral and practical; and its theories construct a holistic universe of thought and understanding. The rigor and discipline required to create objects that defy time and persist beyond generations of artists, has imbued this tradition with tremendous sense of purpose, and zeal to maintain the purity and sensitivity of its traditions; and to carry it forward . This has enabled them to protect the purity of the art and skills without falling prey to the market and its dynamics. It is virtually impossible to state when the custom of building stylized temples took hold in our country. The Rig Veda is centered on home and worship at home.There is not much emphasis on temple worship. The term employed in Grihya sutras(Ashvalayana -1.12.1; and parashara -3.11.10) to denote a temple was Chaithya , which literally means, piling up ; as piling up of the fire alter ,agni_chiti from bricks (as in agni-chayana).This perhaps suggests that chaitya implied piling up bricks to form a shrine. This is consistent with the view that the earliest temples were relatively simple piled brick structures. The use of the term Chaithya to denote a place of worship appears to have been in vogue for quite a long period after the Vedic age . In Mahabharata, the Rishi Lomaharsha mentions to Yudhistira that the tirtha on the Archika hill is a place where there are chaithyas for the 33 gods (MBh 3.125).He also advises Pandavas to visit the
Chaithyas on the banks of the Narmada (MBh 3.121). Mahabharata often refers to Chaithyas as being close to Yupas (chaithyupa nikata bhumi); Yupa being the spot where a major yajna was performed. It is possible that small shrines were erected on the Yupa site to commemorate the Yajna. Ramayana too mentions that Meghanada, the son of Ravana, tried to perform a Yajna in a temple located in the Nikhumba grove. Zarathustra demands from Ahur Mazda ―Tell me,] can I uproot the idol from this assembly that set up by the angras and the karpanas?‖ At another time, the Emperor Xerxes, a follower of Zarathustra declares ―I destroyed this temple of daevas‖. The Buddhist and Jain texts mention of a certain chaithya of Devi Shasti, consort of Kumara, at Vishala. Jain texts, in particular, mention the chaithyas of Skanda in Savasthi; of Shulapani (Rudra) and of Yakshini Purnabhadra. Therefore by about six hundred BC, the chiathyas were quite common. They were perhaps small -sized constructions (usually of brick) surrounded by groves of ashvattha or audumbara trees. The Maurya period described in the Artha-shastra, had chaithyas for a number of Devis and Devas, such as Indra, kumara, Rudra, and Aparajita etc. A description of the chaitya of goddess kaumari suggests that it had multiple Avaranas, one enclosing the other and the outer Avarana having a circular arch. By the time of the Mauryas, the chaithyas appeared to have steadily gained importance, and become an integral aspect of city life. However, there is nothing to suggest that they were large structures like the classical Hindu temples that were to follow later. By about first century BC , the Buddhist places of congregation either as caves carved into rocks or as free standing structures , came to be known as Chaithya_grihas. These were patterned after the shrines of Vishnu, with the form of the fire altar being placed on the raised platform in the apse of the chaithya hall. The term chaithya later came to increasingly associated with the Buddhist stupas or places of worship. It was perhaps during the period of the Imperial Guptas that a Hindu temple came to be regularly addressed as Devalaya, the abode of Gods. The oldest of the surviving structural shrines date back to the third or even fourth century A.D .They are made of bricks. Some of the them might perhaps been temporary structures, erected on occasions of community-worship. The canonical concept of pavilion (mantapa) suggests that they might have been pavilions to accommodate those who gathered to participate in the worship ritual. It is only later that structures tended to be permanent bigger.
The earliest temples in north and central India which have survived the vagaries of time belong to the Gupta period, 320-650 A. D. ; such as the temples at Sanchi, Tigawa (near Jabalpur in Madhya Pradesh), Bhumara (in Madhya Pradesh), Nachna (Rajasthan) and Deogarh (near Jhansi, Uttar Pradesh).They consist of a square, dark sanctum with a small, pillared porch in front, both covered with flat roofs. The brick temple at Bhitargaon ; and the Vishnu temple at Deogarh, built entirely of stone , both , have a square sanctum, but instead of a flat roof there is a pyramidal superstructure (sikhara). The rock-cut temple and monastery tradition also continued in this period, notably in western India, where the excavations—especially at Ajanta acquire extreme richness and magnificence. The temple groups at Aihole and Pattadakal in North Karnataka date back to about 5th century, and seem to represent early attempts to experiment with several styles and to evolve an acceptable and a standard regional format.Here, temples of the northern and the southern styles are found next to each other. Besides, Badami, the capital of the Early Chalukyas, who ruled much of Karnataka in the 6th to 8th centuries, is known for its ancient cave temples carved out of the sandstone hills above it.
The school of architecture in South India seems to have evolved from the earliest Buddhist shrines which were both rock-cut and structural. The later rock-cut temples which belong to 5th or 6th century A.D. were mostly Brahmanical or Jain, patronized by three great ruling dynasties of the south, namely the Pallavas of Kanchi in the east, the Calukyas of Badami in the 8th century A.D, the Rastrakutas of Malkhed came to power and they made great contributions to the development of south Indian temple architecture. The Kailasanatha temple at Ellora belongs to this period. The next thousand years (from600 to 1600 A.D.) witnessed a phenomenal growth in temple architecture. The first in the series of Southern or Dravidian architecture was initiated by the Pallavas (600-900A.D.) The rock-cut temples at Mahabalipuram (of the ratha type) and the structural temples like the shore temple at Mahabalipuram and
the Kailasanatha and Vaikuntha Perumal temples in Kancheepuram (700-800 A.D.) are the best representations of the Pallava style. The Kailasanatha (dating a little later than the Shore Temple), with its stately superstructure and subsidiary shrines attached to the walls is a great contraction. Another splendid temple at Kanchipuram is the Vaikuntha Perumal (mid-8th century), which has an interesting arrangement of three sanctums, one above the other, encased within the body of the superstructure. The Talapurisvara temple at Panamalai is another excellent example. The Pallavas laid the foundations of the Dravidian school which blossomed during the Cholas, the Pandyas, the Vijayanagar kings and the Nayaks. Most important of a large number of unpretentious and beautiful shrines that dot the Tamil countryside are the Vijayalaya Colisvara temple at Narttamalai (mid-9th century), with its circular sanctum, spherical cupola, and massive, plain walls; the twin shrines called Agastyisvara and Colisvara, at Kilaiyur (late 9th century); and the splendid group of two temples (originally three) known as the Muvarkovil, at Kodumbalur (c. 875). The Vijayalaya Colisvara temple, with its first and second thala (base) of the vimanam square in shape, the third in circular (vasara) and the griva and Sikhira also in circular shape; is a forerunner of the magnificent temple at Gangaikondacholapuram built by Rajendra Chola. The vimana is a fine mixture of Nagara and Vesara styles. These simple beginnings led rapidly (in about a century) to grandeur and style. The temples, now built of stone, were huge, more complex and ornate with sculptures. Dravidian architecture reached its glory during the Chola period (900-1200 A.D.). Among the most magnificent of the Chola temples is the Brhadishvara temple at Tanjore with its 66 metre high vimana, the tallest of its kind. The later Pandyans who succeeded the Cholas improved on the Cholas by introducing elaborate ornamentation and huge sculptural images, many-pillared halls, new annexes to the shrine and towers (gopurams) on the gateways. The mighty temple complexes of Madurai and Srirangam set a pattern for the Vijayanagar builders (1350-1565 A.D.) who followed the Dravidian tradition. The Pampapati Virupaksha and Vitthala temples in
Hampi are standing examples of this period. The Nayaks of Madurai who succeeded the Vijayanagar kings (1600-1750 A.D.) made the Dravidian temple complex even more elaborate by making the gopurams very tall and ornate and adding pillared corridors within the temple long compound.
The Hoysalas (1100-1300A.D.) who ruled the Kannada country improved on the Chalukyan style by building extremely ornate, finely chiseled, intricately sculptured temples mounted on star shaped pedestals. The Hoysala temples are noted for the delicately carved sculptures in the walls, depressed ceilings, lathe-turned pillars in a variety of fanciful shapes ; and fully sculptured vimanas. The exterior is almost totally covered with sculpture, the walls decorated with several bands of ornamental motifs and a narrative relief.Among the more famous of these temples, which are classified under the Vesara style, arethe twin Hoysalesvara temple at Halebid, the Chenna Kesava temple at Belur (1117), the Amrtesvara temple at Amritpur (1196), and the Kesava (trikuta) temple at Somnathpur (1268),
In the north, the major developments in Hindu temple architecture were in Orissa (7501250 A.D.) and Central India (950-1050 A.D.) as also Rajasthan (10th and 11th Century A.D.) and Gujarat (11th-13th Century A.D.). The temples of Lingaraja (Bhubaneswar), Jagannatha (Puri) and Surya (Konarak) represent the Kalinga-nagara style. The greatest centre of this school is the ancient city of Bhubaneswar, which has almost 100 examples of the style, both great and small, ranging from the 7th to the 13th century. The most magnificent structure, however, is the great Lingaraja temple (11th century), an achievement of Kalinga architecture in full flower. The most famous of all Kalinga temples, however, is the colossal building at Konarak, built by the Chandellas, dedicated to Surya, the sun god. The temple and its accompanying hall are conceived in the form of a great chariot drawn by horses.
The Surya temple at Modhera (Gujarat) and other temple at Mt. Abu built by the Solankis have their own distinct features in Central Indian architecture. Bengal with its temples built in bricks and terracotta tiles and Kerala with its temples having unique roof structure suited to the heavy rainfall of the region developed their own special styles.
Hindu temples were built outside India too. The earliest of such temples are found in Java; for instance the Shiva temples at Dieng and Idong Songo built by the kings of Sailendra dynasty ( 6th-9th century). The group of temples of Lara Jonggrang at Paranbanam (9th to 10th century) is a magnificent example of Hindu temple architecture. Other major temples are: the temple complex at Panataran (Java) built by the kings of Majapahit dynasty (14century); the rock-cut temple facades at Tampaksiring of Bali (11th century); the Mother temple at Beshakh of Bali (14th century); the Chen La temples at Sambor Prei Kuk in Cambodia (7th – 6th century); the temples of Banteay Srei at Angkor (10th century) and the celebrated Angkor Vat temple complex (12th century) built by Surya Varman II.
Temple Architecture-Devalaya Vastu Part Two (2 Of 9) Temple and Township
Madurai The Indian temple is not a building; it is an image, a conception of divinity. While it is both natural and necessary for the image to be projected into a spatial arrangement and concretized by a structural movement, the image does not depend upon such activities for its continuance. The temple is an enclosure to the icon, and centers round the icon. A temple must be built for the icon, and not an icon got ready for the temples, for a temple is really an outgrowth of the icon, an image of the icon. One cannot think of a temple without an idol. The temple construction process involves several steps. The procedure is cryptically expressed as "Karshanadi Pratisthantam", meaning beginning with "Karshana" and ending with "Pratistha". The details of the steps involved vary from one school of Agama to another; but broadly these are the steps in temple construction: 1. Bhu pariksha: Examining and choosing location and soil for temple and town. The land should be fertile and soil suitable.
2. Sila pariksha: Examining and choosing material for image 3. Karshana: Corn or some other crop is grown in the place first and is fed to cows. Then the location is fit for town/temple construction. 4. Vastu puja: Ritual to propitiate vastu devata. 5. Salyodhara: Undesired things like bones are dug out and removed. 6. Adyestaka: Laying down the first stone 7. Nirmana: Then foundation is laid and land is purified by sprinkling water. A pit is dug, water mixed with navaratnas, navadhanyas, navakhanijas is then put in and pit is filled. Then the temple is constructed. 8. Murdhestaka sthapana: Placing the top stone over the prakara, gopura etc. This again involves creating cavities filled with gems minerals seeds etc. and then the pinnacles are placed. 9. Garbhanyasa: A pot made of five metals (pancaloha kalasa sthapana) is installed at the place of main deity. 10. Sthapana: Then the main deity is installed. 11. Pratistha: The main deity is then charged with life/god-ness. Let us now try to briefly go over some significant stages commonly involved in temple construction, in a summary form. Sthala (temple site) The temple construction project begins with the appointment of a team of experts headed by a qualified and an experienced Sthapati, the Acharya, the director for the temple construction project and the Shilpi (sculptor). They are the key figures in the construction of a temple. The first step is, of course, to look for a proper site. This involves examination of all aspects relating to the location, the extent, the quality of Soil, the water source, the environment and astrological suitability of the site. This elongated process goes by the name: Bhupariksha. The Temple construction, in the past, often began as the nucleus of a new village or a township which went by names such as grama, kheta, kharvata, durga, pura, nagara etc. Mansara explains that the proposed site for setting up a township should be determined by its smell, taste, shape and direction, sound and touch. The preferred sites for such townships should be along the banks of a river or near a tank or the seashore. Else, the water table had to be at about eight feet (height of a person standing with raised arms). If the site was located along the river bank, the township had to be on the convex side of the river-bend. For instance, the ancient city of Madurai was located along the Vaigai; the holy city of Varanasi is situated along the convex side of the river Ganga and presents a semi-lunar phase.
The temperatures had to be modest in summers and winters (sukha – samsparsa). The sites with inclination (slope) towards its Eastern or the Northern side, to receive sunlight, were preferred; or the site had to have equal elevation on all the sides‘. The sites located to the west of a hill were avoided. The Village boundaries should always be marked by rivers, hills, bulbous planes, caves, artificial bundings, or trees such as milky trees. Etc. The ground (Desha) is classified into three categories on the basis of sixteen criteria of physical features of the land (deshabhumi). The three broad categories are: the Barren land where warm winds blow is Jangala; the second is Anupa, beautiful countryside with moderate climate and water sources; and the third Sadharana is of the average quality consisting vast stretches of unused land areas. The best land is Anupa, which abounds in lotus and lilies (supadma) and which inclines towards east or north. As regards the colors of the soil, the colors could be white, yellow, red or black. A land which abounds in any one of these colors is preferable; a combination of colors, mixed colors are to be avoided. Sandy soils with assured supply of water are preferable. The soil should have pleasant odor as of flowers, of grains; of ghee, of cow urine etc. The soils with obnoxious odor as of excreta, dead bones, of corpse, of fermented liquor etc should be avoided. The taste of the soil too should be acceptable. The taste of sweet is said to be best. The others in order are astringent (kashaya), bitter and pungent. The soils tasting sour, salty should be avoided.As regards the sound tested by pounding the soil , the soils giving out sounds of musical instruments like drums (mridanga), neighing of horse, or like waves of the sea are considered best. The next in order is the soils that sound like birds,
animals like sheep , goats etc. And, the soils that sound like donkey, drainage, broken pot etc are to,be avoided. The soil should be pleasant to touch; warm in winter, cool in summer and one should generally evoke a happy feeling.The sites which were earlier graveyards or the land bloated like the belly of sick animal, broken up with dead roots, bones, ash, or rotten material should be avoided.There also other tests for determining the strength of the soil by digging test pits, filling them with water or driving pegs at various points are discussed in various texts.The site should have in their surroundings milky trees (four variety of trees having milky sap:nigrodha, oudumbara, ashvatta and madhuka), trees bearing fruit and flowers; and also plenty of anti- malarial Neem (nimba) trees. The site should be suitable for growing Tulasi, Kusha, Dharba, Vishnukrantha, Hibiscus and Dhruva grasses and flowers. The site should be large and should evoke pleasant feelings (manorama) and should generally be acceptable to all. Township Layout Vastu Shastra recommends five types of town -shapes: the Square (Chandura); Rectangle (Agatra); Circle (Vritta); Elliptical (kritta vritta); and circular (Gola). A diamond or a rhombus shape is not recommended. A bow shaped town is considered powerful. The square shape is considered secure and amenable to progress. The plan for the village or the township commences with placing the temple right at the centre and expanding the layout in layers and layers of streets, and entrances, in accordance with the appropriate Vastu Mandala. The entire township is laid out in the form of a square. If a square shape is not possible then the city could be laid out in a rectangular shape. The following are a few of the general recommended features of a city. 1. The city should appear as a big square or a rectangle comprising of so many small squares, separated by the roads that run north-south and east-west. 2. Fortifying walls should be built round the city. 3. The city would be divided into four parts by two broad royal roads (Raja marga) that run north-south and east-west. Their width would be about 10 to 12 meters. 4. To go round the city, on the interior side of the fortifying wall, a broad road would be built. 5. The dwelling places of the people of various castes and professions are identified. 6. The markets would be in North East and prisons would be in South West. 7. Places like the royal palaces should be in the East. 8. And in case of temple cities , say as in the case of Srirangam and Madurai, the principle temple would be at centre of the city, in the Brahma Sthana.. And, there would be fortifying walls built round it; and in which the temples of other deities are
accommodated.. And the place beyond that fortified wall would belong to the humans and other beings. The best example of such a formation is the ancient city of Madurai. Please check this site (Madurai, the architecture of a city by Julian S Smith) for the layout map of the old city Another example of a well laid out Temple Town is that of the Tirumala Tirupati .The holy deity of the temple has a history dating back to about two thousand. The temple structures around it, developed in stages, spread over several centuries. The temple is on top of a hill series, at about 3200 ft above sea level. But, the temple, per se, is located in a depression surrounded by raising hills on its three sides; leaving open an approach from the North-East. The temple is enclosed in a box-like formation, with bulging mounds of about fifteen feet, rising in all four directions. Some parts of these mounds now been leveled to make room for ―developments‖. The outer walls of the temple, enclosing an area of more than two acres, measure 414feet (E-W) and 263(N-S), in length. The temple complex is in a rectangular shape, with the depth (Aaya) being more than the breadth (Vyaya). .The streets (maadas) running around the outer walls of temple are of uneven length. The North-South streets running by the side of the outer walls measure 800 feet, in length. The west side street (behind the temple) measures 900 feet in length; while the East side street (in front of the temple) measures 750 feet, including the swami-pushkarani area.
The temple is facing east. Swami Pushkarani is located to the northeast of the temple. A waterfall is in the northern direction and the water from it is used for the holy bath of the main deity every day. The Kitchen is in Southeast, while the temple store houses are in the North-West and North side. The temple faces east and has only one entrance, about 11 feet wide. There are three enclosures or Pradakshina-pathas, for circumambulating the temple.The main entrance leads into Sampangi Pradkshina , of about 120 feet in depth. There are are a number of pavilions within this enclosure; such as Prtathima mantapa, Ranga mantapa, Tirumalaraya mantapa and others. The Dwajasthamba is in front of the Tirumalaraya mantapa.Presently this enclosure is closed to pilgrims. The Second enclosure is the VimanaPradakshina, measuring about250 feet(E-W) and 160feet(N-S).This enclosure contains shrines to house Varadaraja, and narasimha .The Kalyana mantapa(80x36) and kitchen are also here. The third enclosure is the Mukkoti Pradkshina, which encloses the sanctum. Presently, it is rather difficult to identify it as an enclosure. The width of the enclosure is uneven; and the enclosure is open on only three sides. The path in the south (on the right side of the deity) is seven feet wide and twenty feet long; while the path on the other side(towards the left of the deity) is seventeen feet wide and ninety-two and half feet long. This skewed position of the sanctum within the Brahma bagha was perhaps to satisfy the requirements of the temple vastu norms. In the case of Sri Rangam an entire township was placed within the well laid out rectangular temple complex. The prakaras or walls that fortify the temple may vary in size and number according to the dimensions of the temple. Larger temples, like the one in Sri Rangam, are sometimes surrounded by up to seven concentric walls , said to represent the seven layers of matter-earth, water, fire, air, either, mind and intelligence-that cover the original consciousness of the living entities in the material world.
Sri Rangam Jaipur was another city which was laid out according to Vastu Shastra, with the Palace and temple at the centre; and roads with East-west and North South orientation.Roads running in Eastern axis ensure purification by sun rays; and the roads running North South ensure circulation of air and cooler atmosphere. To start with the Vastu mandala of the entire village needs to be drawn and the location of the temples to gods, Vishnu and others must be fixed. Here, the layout of town, its size, breadth of different levels of streets, locations and sizes of facilities like water tanks are determined based on the size of town.Then the location of temple (Brahma sthana) in the town is decided. Temple is usually in the center of village. The entire arrangement is called grama vinyasa. The thumb rule is , the area demarcated for the temple at the centre should at least be 1/9th of the total area of the proposed township.
Vastu Purusha Mandala for the township There are, different types of Vastu Purusha Mandalas depending upon their applications such as residential buildings, palaces, auditoriums, temples etc. About 32 types of Vastu Purusha mandalas are enumerated, the simplest among them is with one square. But the most common ones are those with 64 squares (padas), 81 padas and 256 padas. They are called Manduka,parama-saayika and triyuta, respectively. As for Manduka Mandala (8x8), the whole square would be divided by the two axes that go North-south and East-west. In the case of Parama Saayika Mandala (9x9), the entire squire would be unevenly divided.
Among these, the different texts such as Marichi, Maya-mata and Vastu-Vidya have their slight variations. To summarize their position on the question of locating the Vishnu temple within the town; a shrine may be constructed in the centre of the township or on the western side; but always facing the town. When it is in the centre, the site – plan should provide for locating the shrine at the North-western direction within the Brahma bagha.The Vishnu icon may be in any posture: standing, sitting or recumbent. Vishnu may be single or accompanied by the two Devis. The sanctum may house only the Dhruva and Kautuka Bheru (immobile) idols. It is best if the temple complex has nine, six or five forms of Vishnu installed, if one can afford; else, a single icon of Vishnu would suffice. Orientation of the temples in existing towns As regards constructing temples and their orientation in already existing village or towns three principles are generally followed:First, the temple should face the rising Sun in the east. Second, the temple should face the centre of the town or village. Third, the deity in a peaceful (shanta) aspect should be located in, and facing towards the place where
people live, and wrathful (urga) aspect should be situated outside and facing away from where people live. Incertain exceptional cases a temple may face south, provided it faces a natural formation say a hill or a waterbody . The temples and images to be turned away include Narasimha and Rudra. Siva should be turned away except when situated in the east or west. The proper place for Siva temples is in forests and mountains according to one text. The direction of a temple is according to this triple orientation - towards the Sun, towards the centre, towards man. The majority of the preserved temples do face the east, but it is not necessary that they physically must. The other directions can be described as being east. To the tantrics who have some obscure symbolism about Sunrise in the east, south, west and north relative to ones spiritual evolution; any direction may represent east. Most temples face east, west is next best, even south is permissible but they definitely should not face the north. Where it is impossible, for some reason, for the temple to face the town, this is remedied by painting an exact likeness of the sacred image in the Garbhagrha upon the wall of the temple facing the desired way towards the village.
Temple Architectur Devalaya Vastu Part Three ( 3 Of 9) Vastu Purusha Mandala
Before we proceed further, let us briefly discuss the concept of the Vastu Purusha Mandala. The faith that Earth is a living organism, throbbing with life and energy; is fundamental to the Vastu Shastra. That living energy is symbolized as a person; he is the Vastu Purusha. The site for the proposed construction is his field; Vastu Purusha Mandala. In fact the Vastu Purusha Mandala, the site plan, is his body; and it is treated as such. His height extends from the South West corner (pitrah) to the North East corner (Agni).The Vastu Purusha Mandala also depicts the origin of the effects on the human body. All symbolisms flow from these visualizations. Purusha means 'person' literally and refers to Universal Man. Purusha is the body of god incarnated in the ground of existence, divided within the myriad forms. He is also that fragmented body simultaneously sacrificed for the restoration of unity.
Vastu Purusha is associated with the Earth and its movable and immovable basic elements of nature, such as the earth, water, fire, air and space; just as a human being does. The Vastu purusha mandala is in some ways a development of the four pointed or cornered earth mandala having astronomical reference points. Further, the Vastu Purusha Mandala is also the cosmos in miniature; and the texts believe ―what obtains in a microcosm, obtains in macrocosm too (yatha pinde thatha brahmande).‖ Similarly, it believes that,"Everything is governed by one law. A human being is a microcosmos, i.e. the laws prevailing in the cosmos also operate in the minutest space of the human being." In the end, the nature, the man and his creations are all one. ―The vastu-purusha-mandala represents the manifest form of the Cosmic Being; upon which the temple is built and in whom the temple rests. The temple is situated in Him, comes from Him, and is a manifestation of Him. The vastu-purusha-mandala is both the body of the Cosmic Being and a bodily device by which those who have the requisite knowledge attain the best results in temple building.‖ (Stella Kramrisch,; The Hindu Temple, Vol. I) The Vastu Purusha is visualized as lying with his face and stomach touching the ground; to suggest as if he is carrying the weight of the structure. His head is at North East (ishanya) and his legs are at the South West corner (nairutya). The
South
West corner (nairutya) where the Vastu Purusha has his legs corresponds to the Muladhara chakra and denotes the earth principle. Just as the legs support the weight of the body, the base (adhistana) for the muladhara should be stable and strong. Accordingly, the South West portion of the building is the load bearing area; and should be strong enough to support heavy
weights. Just as the feet are warm, the South West cell represents warmth and heat; even according to the atmospheric cycles the South West region receives comparatively more heat. Svadhistana chakra is in the lower stomach region near the kidneys. It is related to water principle (apa).On the Vastu Purusha Mandala; it is to the South and to the West .Therefore the wet areas like bathroom etc are recommended in the south or in the west portions of the building. It is for sewerage (utsarjana). Manipura Chakra is at the navel; and relates to energy or fire or tejas. While in the womb of the mother, the fetus is fed with the essence of food and energy through the umbilical chord connected with its navel. The Vastu Purusha Mandala shows Brahma at the navel of the Vastu Purusha. Further, the lotus is the base (Adhistana) of Brahma.Thus navel connects Brahman with Jiva or panda or life. It is left open and unoccupied. The central portion of the building is to be kept open. It is believed that Vastu Purusha breaths through this open area. Anahata chakra is near the heart. It is related to vayu air regulated by lungs. The lung region of the Vastu Purusha should be airy. Vishuddaha chakra is near the throat from where the sounds come out and reverberate in space. This region represents Space (Akasha).The word OM is uttered through throat. The echo of that sound vibrates in the hallow of the bone-box of the head and in the space in brain. The head of Vastu Purusha is in the North East corner (Ishanya). The ajna chakra is between the eyebrows. .This direction is related to open spaces (akasha). Atmospherically, North East is cooler; and so should be ones head. The puja room Devagraha is recommended in the North east portion of the house. The limbs of Vastu Purusha, other than the above are also related to the construction of the building. Liver (yakrt) is towards South East. The cooking area is recommended in South East, because it is related to Agni. The rays of sun reach here first and cleanse the atmosphere.
The North West, vayuvya, is presided over by air vayu. The Organs like spleen, rectum of the Vastu Purusha fall in this portion. The store room is recommended here; perhaps because the spleen in the body does the work of storing and restoring blood. Vastu and directions These areas are also related to various planets and their position.The vastu purusha mandala, like the horoscope is another way of illustrating the intersection where the sky and earth meet at the horizon, at the equinox points; and the zenith and nadir The Vastu Purusha lies with his back up, . perhaps to suggest that he carries the burden on his back. Pillars are not recommended on sensitive parts of Vastu Purusha; they are the inlets and outlets. The general guidelines are, the South West should be heavier and North East where gods dwell should not be so .The base should be heavy and the apex be lighter; just as in the case of a hill or a tree. The sensitive organs like brain, eyes, ears tounge are in the head; and the head should be lighter and secure. The head of the Vastu Purusha is in the North East and it should be kept free of pillars. Activities like worship, study are recommended in and towards east and adjoining directions.-North east and South East. Sun is at the centre of the solar system; the earth and others rotate around it. The Vastu follows the same principle. The middle house , the dining hall and work space represent the sun aspect. After sun set the South West and North West are warmer; bedrooms and store house are recommended here.
It is said that, although water is everywhere that which cleanses the body is water; and that which purifies mind is Thirtha. A brick and stone construct is house. A vastu is temple. ―The Hindu temple typically involves a multiple set of ideas. Perhaps Hindu traditional architecture has more symbolic meanings than other cultures. It is highly articulated. The temple is oriented to face east, the auspicious direction where the sun rises to dispel darkness. The temple design includes the archetypal image of a Cosmic Person spread out yogi-like, symmetrically filling the gridded space of the floor plan, his navel in the center, and it includes the archetype of the cosmic mountain, between earth and heaven, of fertility, planets, city of the gods, deities, etc.). One encounters these simultaneous archetypal themes and meanings conveyed (and hidden) in the semi-abstract forms in many Hindu temples. There are rules of shape and proportion in the authoritative texts of Hindu tradition (shastras and agamas) which give birth to a variety of complex temple designs. The Brihat Samhita text (4th century CE) says the temple should reflect cormic order. To understand the uses of recursive geometrical forms involving self-similarity on different scales (fractals) in the Hindu temple complex we will need to explore some of these deep images and their uses "The form of the temple, all that it is and signifies, stands upon the diagram of the vastupurusha.It is a 'forecast' of the temple and is drawn on the levelled ground; it is the fundament from which the building arises. Whatever its actual surroundings... the place where the temple is built is occupied by the vastupurusha in his diagram, the Vastupurusha mandala.... It is the place for the meeting and marriage of heaven and earth, where the whole world is present in terms of measure, and is accessible to man."(25) The cosmic person became the universe, and to recreate this origin is to construct a cosmos which offers a return to the transcendent oneness. The vastupurusha mandala is a microcosm with some fractal qualities. As shown in the illustration, there are self-similar squares within squares within squares. The geometric configuration "of central squares with others surrounding it is taken to be a microscopic image of the universe with its concentrically organized structure." Thus the grid at the spatial base and temporal beginning of the temple represents the universe, with its heavenly bodies. It is also more-- it simultaneously symbolizes the pantheon of Vedic gods-- "each square [is] a seat of particular deity." The gods altogether make up the composite body of the Purusha. If the temple symbolises the body of god on the macrocosmic plane, it equally symbolises the body of man on the microcosmic palne. The names of the various parts of the temple are the very names used to denote the various parts of human body! Look at the following technical names: paduka, pada, carana, anghri, jangha, uru, gala, griva, kantha, sira. Sirsa, karna, nasika, sikha. Pada (foot) is the column, jangha (shank) is
parts of the superstructure over the base. Gala ot griva (neck) is the part between moulding which ressmbles the neck. Nasika (nose) is any noseshaped architectural part and so on. The garbhagrha represents the head and the image, the antrayamin (the indwelling Lord). This symbology tries to impress upon us the need to seek the Lord within our heart and not outisde. The temple also represents the subtle body with the seven psychic centres or cakras. The garbhagrha represents the anahata cakra (the fourth psychic centre in the region of the heart) and the topmost part of the kalasa point to the sahasrara (seventh and the last centre situated at the top of the head). The first three centres (muladhara, svadhisthana and mainpura situated respectively near the anus, sex-organ and navel0 are below the ground level. The fifth and the sixth (visuddha and ajna cakaras, situated at the root of the throat and in between the eyebrows) are on the sikhara area.‖ (Stella Kramrisch, The Hindu Temple, Vol. I)
The expressions Mandala, Chakra and Yantra are synonymous. Mandala is explained as that which gathers the essential detail (mandam laati).The Chakra and Yantra too
perform similar functions. Like Chakra, the Mandala too denotes visualization, an act of bringing together all significant details; those details might pertain to the world or the body or the structure of the building or whatever. It also brings together the outer and the inner faculties or energies. Though all the three mean the same, they have somehow seemed to have acquired distinct forms. For instance, Chakra suggests a circular form, while the Mandala might be a figure of any shape, but commonly a square. While both Chakra and Mandala are lenier representations, Yantra is a three-dimensional projection. In the Vastu Purusha Mandala too, the ground plan and the vertical plan are cast in two dimensions and in three dimensional representations of the structure. Whether you call it Chakra or Mandala or Yantra; it represents a sphere of influence and brings together and energizes all its components. In a way of speaking the Vastu Purusha and the Chakreshwari of the Sri Chakra represent the same principles. They embody and preside over all the aspects of their domain, which is universal. They not merely resolve the internal and external contradictions, but also usher in complete harmony of existence. Just as the Sri Chakra is the unfolding of the Bindu at its centre, the temple is the outpouring or the expansion of the deity residing in Brahmasthana at the centre. Both
the forms employ the imagery of an all – enveloping space and time continuum issuing out of the womb. In the case of Sri Chakra the Bibdu is dimension-less and is the imperceptible source of energy. The idol, the Vigraha, in the Garbagriha at the Brahmasthana represents the manifestation of that imperceptible energy or the principle; and it radiates that energy. [There is an theory that suggests that the board of chess was inspired by the 64 celled Vastu Purusha Mandala. It states ―The form of the chess-board corresponds to the ‗classical‘ type of Vastu-mandala, the diagram which also constitutes the basic lay-out of a temple or a city. It has been pointed out that this diagram symbolizes existence as a ‗field of action‘ of the divine powers. The combat which takes place in the game of chess thus represents, in its most universal meaning, the combat of thedevas with the asuras, of the ‗gods‘ with the ‗titans‘, or of the ‗angels‘ with the ‗demons‘, all other meanings of the game deriving from this one.‖
Temple Architecture- Devalaya Vastu -Part Four (4 Of 9) Temple Layout
The drawing of the court yard of the Shiva temple at Thiruvālangādu, by the famous artist Silpi. The Shilpa text Shiva-prakasha in its chapter titled vastu-bhumi-bedha,
describes sixteen (Shodasha) types of temple layouts: the Square (Chandura); Rectangle (Agatra);Trapezium ( with uneven sides – like a cart – shakata); Circle (Vritta); Elliptical (kritta vritta); triangular (dwaja); diamond or rhombus (vajra) ; Arrow (shara);umbrella (chatra) ; fish (meena);back of a tortoise (kurma);conch (shanka); crescent (ardha-chandra); pot (kumbha);sword (khadga); and lotus (kamala). These layouts have specific applications; and are not to be used generally. For instance: the back of a tortoise (kurma), pot (kumbha), conch (shanka) and lotus (kamala) are recommended only for Vishnu and Shiva temples. Similarly the Square (Chandura), Rectangle (Agatra), fish (meena), diamond or rhombus (vajra) and sword (khadga) are recommended for Devi temples. The rest of the lay outs are for other (lesser) deities. But all texts generally agree that the square or the rectangular shape of layout are the best and most auspicious. Varaha-samhita calls such layouts as Siddha-bhumi, the best of all. In case the layout is rectangular ,the North South dimension should be greater than East-west dimension. It is also said , it would be better if the elevation on the west or the South is slightly higher. For the limited purpose of this discussion let us stick to the square or rectangular layout, ignoring the rest. Else, I fear, it might get too complicated. Having determined the suitability of the land for constructing a temple, and having drawn up the Vastu Mandala of the town and identified the temple location ; the next stage is to draw up a construction plan .This specifies the location, the size and the orientation of the various temples to come up in the proposed complex. This again involves preparation of another Vastu Mandala. Pada Vinyasa The land considered suitable for the purpose of constructing the temple (vastu bhumi) and placed at the center (Brahma Sthana) of the Vastu mandala of the township must be in the shape of a rectangle or a square. The ratio between the breadth and the length of the area may be 4:8; 4:7; 4:6; or 4:5. (The square would be 4:4). Shapes of sites to be avoided are: circular (vritta), triangular (trikona), rod shaped (dandakriti), bow shaped (dhanur akara) and other irregular shapes. And, in case it becomes necessary to construct a temple on a land of such ―un approved‖ shape, the area meant for the temple should be demarcated and rendered a square or a rectangle in shape. Incidentally, the Buddhist and Jain temples too follow the same principles. Even the Sri Harmandir Sahib, the Golden Temple at Amritsar is structured in a square shape; with the Sanctum placed in the Brahma sthana. The following is the layout of a Jain temple. In case of a rectangular site, it must have north – south orientation. The depth of the site (Aaya-profit) should be more than its breadth (vyaya-loss). That is the reason we find our temple walls (prakara) on north-south shorter than the walls on east-west.
The slope of the land surrounding the temple in the east and the north direction should be in the northeast corner. Fountains or lotus ponds of the temple should be in the northeast direction. In the open space surrounding the temple, Basil plant with raised bed should be in the east; the Jasmine, white Champak, Star Coral plants etc. should be in the northwest corner or the east. Four approach roads are much recommended. The preliminaries for construction of a shrine include preparations of a plan, Vastu Purusha Mandala, a Yantra, with unit cells (pada) of 64, 81 or 256 in number. The entire process is rich in symbolism. The square shape of the Mandala is symbolic of earth, signifying the four directions which bind and define it; and the Vastu is the extent of existence in its ordered site; Purusha being the source of existence. The ground plan, again, is symbolic and is the representation of cosmos in miniature. The Vastu Purusha represents terrestrial world with constant movements. The grid made up of squares and equilateral triangles is imbued with religious significance; with each cell belonging to a deity. The position of the deity is in accordance to the importance assigned to him .The central portion of the square (Brahma Sthana) is occupied by the presiding deity of the temple ; while the outer cells house deities of lower order. Another important aspect of the design of the ground plan is that it is intended to lead from the temporal world to the eternal. The principal shrine should face the rising sun and so should have its entrance to the east. Movement towards the sanctuary, along the east-west axis and through a series of increasingly sacred spaces is of great importance and is reflected in the architecture. This process of drawing the Mandala , known as Pada-vinyasa or Vastu mandala Vinyasa is essential not only for construction of the main temple but also for deciding upon the location, the orientation and the size of the sanctum; and for placement of retinue-divinities.
Let us look at the following example of an 81 cell parama-saayika layout. The site-plan is to be regarded as the body of the Vastupurusha whose height extends from Pitrah (in the bottom left corner) to Agni (top right corner). The Vastu purusha mandala is in some ways a development of the four pointed or cornered earth mandala having astronomical reference points. The mandala of 81 squares has 32 squares around the border representing the four cardinal points and the lunar constellations. It is the representation of all cyclical time; lunar and solar. Brahma is the God at the centre. The Manduka Mandala (8x8) the whole square would be divided by the two axes that go Northsouth and East-west. In the case of Parama Saayika Mandala (9x9) , the entire square would be unevenly divided. The center of the mandala consisting nine cells is dedicated to Brahma, the first of beings and the engineer of universal order. The Three cells to its east are for Aryaman, three cells to its west are
for Mitra and three cells to its north are for Prihvidhara. In this site plan 32 spirits reside in the outer ring. There are 8 spirits in four corners. There are four spirits surrounding Brahma. Thus there are in all 45 spirits (including Brahma).Dikpalas or guardian deities of different quarters, who assist in the affairs of universal management, are an important part of the Vastu. Indra, Agni, Yama, Niritti, Varuna;, Vayu , Kubera and Isana; reside in the East , SouthEast , South, South-West, West, North-West, North and North-East respectively. All except Kubera are principal Vedic deities. This provides a method that determines the requirements of architecture in relation to its directions. Establishing Vastu Mandala on the site The vastu-purusha-mandala , forming a sort of map or diagram of astrological influences that constitute the order of the universe, is now complete. When placed on the building site the vastu-purusha-mandala determines the positions and orientations of the temples and the time for commencing the construction. Only by the combination of the vastu-purusha-mandala and the astrological calculations can this factor be ascertained. From the diagram of the vastu-purusha-mandala the architect next proceeds to develop the vertical and horizontal dimensions of the temple. The square, the rectangle, the octagon and the pentagon are fundamental patterns in the horizontal or ground plan. In the vertical alignment the pyramid, the circle and the curve are more prominent. The subdivisions of the ground plan include the brahmasthana (the main shrine and smaller chapels) and the mantapa (balconies, assembly halls and auditoriums). The vertical plan consists of drawings for the gopura (entrance ways), thevimana (the structure above the main shrine or chapel) and the prakara (the walls). The construction of the temple follows in three dimensional forms, in exactly the patterns laid out by the mandala. The relationship between the underlying symbolic order and the actual physical appearance of the temple can best be understood by viewing it from above (top elevation). In order to establish the vastu-purusha-mandala on the
construction site, it is first drafted on planning sheets and later drawn upon the earth at the actual building site. The ground for civil construction is demarcated by dividing the site into 81 cells, by drawing 10 lines from East to West and 10 lines from North to South in which Vastu Mandala deities are installed. In addition the deities of the Sarvathobhadra-mandala are also established after performing Vastu Homa. The drawing of the mandala upon the earth at the commencement of construction is a sacred rite in itself. The cells sustain the temple in their own sphere of effectiveness, in the manner that the actual foundation supports its weight. Garbhadhana Shilanyasa is the ceremony for laying foundation stone. It is the laying of the first stone (square in shape) or a brick signifying the start of construction. It is laid in the north-western corner of the building plan, drawn on the ground. After this, the construction of the foundation is taken up. The foundation is built and the ground filled up, up to the plinth level, except in the middle portion of the garbhagraha area, which is filled up three-fourths. The sanctum is technically known as Garba-Griha. This part of the temple is usually constructed first. The ceremony related to it is known as Garba-dana or Garba-nasya; and, it involves letting in to the earth a ceremonial copper pot, containing nine types of precious stones, several metals, minerals, herbs and soils symbolizing creation and prosperity. The following is alittle more detail about it. The Brahmasthana , the principal location in a temple where the Garbagraha will eventually come up, is the nucleus of the Vastu Purusha Yantra. At the brahmasthana, as drawn on the grounda ritual is performed called garbhadhana, inviting the soul of the temple (Vastu Purusha) to enter within the buildings confines. In this ritual, a golden box is imbedded in the earth. The interior of the box is divided into smaller units exactly resembling the vastupurusha-mandala. All the units of the gold box are first partially filled with earth. In the thirty-two units representing the nakshatras (lunar mansions), the units of Brahma and the twelve sons of Aditi, the priest places an appropriate mantra in written form to invoke the presence of the corresponding divinity .An Image of Ananta , the hooded serpent , is also placed in the box. Ananta, meaning eternal or timeless, also represents the energy that supports the universe. The box also contains nine precious stones - diamonds, emeralds, rubies, pearls, yellow sapphire, and blue sapphire, red coral, cats-eye and jade – to appease the nine planets.
A stone slab (adhara-shila) is thereafter placed over the spot the copper pot is buried.And, over this slab will rise the foundation for installing the Mula-bhera. The copper pot signifies the womb; and icon the life arising out of it. The sanctum constructed around it is the body. That pot represents the roots of the ―temple-tree‖; and the icon its sap. The four walls around the icon represent the branches spreading around. The structure of the Vimana rises above it in a series of tiers. The roof resting over the walls is called Kapotha, meaning where the doves rest. The imagery suggested is that of a tree with birds perched on its branches. The sanctum is thus a model of a growing tree. Another set of symbolism is that the foundation of the temple represents the Earth (prithvi); the walls of the sanctum the water (apaha); and the tower over it the fire (tejas). The final tier of the Vimana is air (vayu) and above it is the form-less space (akasha).The sanctum is thus a constellation of five elements that are basic building blocks of all existence. Once the garbhadhana and agni-hotra ceremonies are complete the actual construction of the temple commences according to the plan. When the foundation is finished the vertical structure is raised. The external features of the temple are brought to life through finely sculpted figures and paintings. The art and sculpture frequently portray the forms of divine entities and the different stages of consciousness in the gradual evolution of life throughout the universe. It is believed that the Vastu Purusha sleeps during Bhadrapada, Ashviyuja and Karhika months facing east. During Margashira, Pushya and Magha months he sleeps facing south; In phalguna, Chaitra and Vaishaka, he sleeps facing west. And, in Jeysta Ashada and Shravana, he sleeps facing north. The doors facing towards those directions are fixed in the respective months. Temple Layout and its symbolism
Sri Venkateshwara temple , Cleveland The Agama Shastras say that the Temple structure is a mini cosmos. The Temple entrance should face east – the direction of the Rising Sun. The ideal Temple should have at least one entrance, an Ardh-Mandapa, a Mandapa or a large hall, a Garba-Griha and a Shikara directly above the Garbha-Griha. The design comprises:
1. A Towering structure called the Rajagopuram (pyramid in pattern) on the Eastern side at the entrance to the Temple. 2. A Dwajasthamba (pillar) in line with the main shrine immediately after the Rajagopuram. 3. Near the Dwajasthamba is a lotus shaped pedestal for offerings, called the Balipeeta. 4. A large Mandapa or hall for assembly of devotees. 5. The passage through the Mandapa leads to the ―Garba-Griha‖ (womb chamber) where the Main Deity is installed. 6. Ardha Mandapa adjacent to the main Mandapa and before the ―Garba-Griha‖.
7. The Main Deity faces East word inside and the Garba-Griha is located inside a structure or sanctuary called the ―Vimana‖. 8. The pyramidal or tapering roof over the Deity is called ―Shikara‖ or ―Gopuram‖ which is a dome. 9. There is a circumbulating passage or ―Pradakshira Patha‖ around the Garba Griha and Mandapa. The above design applies both to the ―Shiva‖ and ―Vaishnava‖ Temples with small variations. Architecture is otherwise called ―Shilpa‖ and the one who constructs the Temple is called a ―Sthapathi‖. The ―Sthapathi‖ is an expert in Temple architecture and idol creation. The procedure of worship in the Temple is known as ―Agama Vidhi‖. The Temple is not only a home of God but his representation in the structure of temple which resembles human form. The symbolism of the temple plan and elevation suggests that the garbhagrha represents the head and the gopuram the feet of the deity. Other parts of the building complex are identified with other parts of the body. For instance, the sukhanasi or ardhamantapa (the small enclosure in front of the garbhagrha) is the nose; the antarala (the passage next to the previous one, leading to passage next to the previous one, leading to the main mantapa called nrttamantapa) is the neck; the various mantapas are the body; the prkaras (surrounding walls) are the hands and so on. Vertically, the garbhagrha represents the neck, the sikhara (superstructure over the garbhagrha) the head, the kalasa (finial) the tuft of hair (sikha) and so on.
Another interesting symbolism is that when a devotee enters the temple, he is virtually entering into a mandala and therefore participating in a power-field. His progress through the pavilions to reach the sanctum is also symbolic. It represents the phases of progress in a man's journey towards divine. In accordance with this scheme, the architectural and sculptural details vary from phase to phase ; gradually leading him to the experience, which awaits him as he stands in front of the deity in the in the sanctum. This is explained in the following way. On reaching the main gateway, a worshipper first bends down and touches the threshold before crossing it. This marks the transition from the way of the world to the world of God. Entering the gateway, he is greeted by a host of secular figures on the outer walls; representing the outward and diverse concerns of man. As he proceeds, the familiar mythological themes, carved on the inner walls attune his attitude. The immediate pavilion and vestibule near the sanctum are restrained in sculptural details and decorations; these simpler motifs and the prevailing semi darkness help the worshipper to put aside distractions and try focusing his attention on the sanctum. Finally the shrine, devoid of any ornamentation, and with its plainly adorned entrance, leads the devotee further to tranquility, to fulfillment and to the presence of God. The garbhagriha is usually surrounded by a circumambulatory path, around which the devotee walks in a clockwise direction. In Hindu and Buddhist thought, this represents an encircling of the universe itself. Positions and orientations of the temples The following plan indicates the position of gods and goddesses in an 81 celled temple-site. This plan relates to construction of a Vishnu temple. Atri Samhita prescribes that the central Brahma bagha must be divided into four equal parts and the main shrine facing east must be located on the North-western side thereof. The shrine must have five sanctums, to house five forms of Vishnu; and the shrine should have three stories.
The seventh-eighth century Pallava temple Viz. Sri Vaikunta Perumal temple of Kanchipuram (which follows the Pancharatra Agama) is an excellent illustration of the fulfillment of these requirements. Its architecture is unique, with three sanctums on the three floors one over the other and a concealed staircase leading to the upper floors. The three sanctums enshrine Vishnu in three postures - seated, reclining and standing. The Vimana is represented as a three dimensional Mandala. The central figure in the sanctum of the ground floor is Vasudeva facing west, i.e. the Earth; Sankarshana facing north, the realm of human life; Pradyumna facing east towards heaven; and Aniruddha facing south, the realm of ancestors. The sculptural scheme matches the Pancharatra concept, representing the six `glorious excellences': omniscient knowledge (jnana), power (bala), sovereignty (aishwarya), action (virya), brilliance (tejas) and potency (sakthi). The sanctum of the third floor represents the realm of space-time, depicting Vasudeva as he appeared in the human form of Krishna (manusha Vasudeva). The temple per se signifies the `body of God.'
Coming back to the issue of placing the sanctum slightly to the North-West; this feature occurs in the temple of Sri Venkateshwara at Tirumala too. The enclosure immediately surrounding the sanctum called Mukkoti Pradkshina is rather skewed. The width of the enclosure is uneven; and the enclosure is open on only three sides. The path in the south (on the right side of the deity) is seven feet wide and twenty feet long; while the path on the other side (towards the left of the deity) is seventeen feet
wide and ninety-two and half feet long. This skewed position of the sanctum, slightly to the north west , within the Brahma bagha was perhaps to satisfy the requirements of the temple vastu norms.
The Shiva temples too have their own configuration. In a Siva temple, the Shivaliga would be placed at the Brahma sthana, the shrines are dedicated to Parvathi, Ganapati, Subramanya , Veerabhadra and Candesvara would placed in the surrounding cells of the temples Vastu Purusha Mandala; as illustrated in the following typical layout of the famous Shiva temple at Gangaikondacholapuram(mid 11th century). Similarly in the Sri Kailasanathaswamy and Nithyakalyani Amman Temple, Karaikudi, Shiva shrine is at the Brahmastana, opposite to Shiva is lined Nandi, Bali pita and Dwajasthamba. The shrine of Nitya_kalyani Amman is located independently in the North. In the Mantapa adjoining the Sanctum are Ganapathi, Durga and Skanda. The Sapth Mathrikas, the seven female divinities, have their shrine in the Prakara behind the shrine. The Shakthi temples have their layout with shrines for other manifestations of the Mother Lakshmi , Saraswathi , Durgi , Chamundi and related goddesses.
parvathi kalyana -Madurai temple
Temple Architecture Devalaya Vastu Part Five (5 Of 9) Some essential aspects of Temple Structure
The structural harmony, the rhythm and a fine sense of proportion is the hall mark of Indian temple architecture. It not merely resolves the contradictions but also expresses harmony by encompassing all contradictions, transforming into pure and uncompromised details of structure. The aim of a proportional system, meaning not merely symmetry, is to manifest a sense of coherence and harmony among the elements of the temple and it‘s whole. The proportional harmonization of design, therefore, is of utmost importance in the construction of a temple. It is believed that the power and purity of the structure radiates from its exact proportions and measures as specified in the texts. It is also believed that a meticulously well constructed temple radiates peace and joy; and ensures the welfare of the world and its people.Without harmony, symmetry and proportion there can be no principles in the design of any temple. This is anologus to the precise relation between the features and organs of a well proportioned, good-looking person. The ancient texts, therefore, insist on a high degree of precision in their measurements. The standard text Mayamata mentions―Only if the temple is constructed correctly according to a mathematical system can it be expected to function in harmony with the universe. Only if the measurement of the temple is in every way perfect, there will be perfection in the universe as well." The Hindu temple is a feast of a variety of visual aspects, and wherever one engages one of them, entering a doorway, circumambulating or approaching the inner sanctuary or worshipping there-- one is accessing an aspect of the whole. The rules of
Vastushastra render beauty, structural stability and quality of spaces by virtue of light, sound and volume management. They also evoke in the devotee an attuning of his person to its structure and ambience. The lighting of spaces inside a temple is orchestrated such that the mukha mantapa (i.e. entrance porch) is semi-open with maximum light. If the directions and measurements are followed correctly the sun rays should fall into the mantapa for at least six hours (from 9.00am to 3.00pm, if the sun rise is at 6.00am). The Sabha Mantapa (for worshippers) has moderate light with few openings. Garbhagirha with a single opening in front of deity allows light only on deity; and, is illumined by natural oil lamps, placed on either side of the deity. The net effect of this arrangement is that it projects the images against the dark wall. Further, the surroundings of the Garbhagriha are modest in sculptural details. These help the worshippers to keep away the distractions and to focus their attention on the deity. Echoes are avoided by a clever manipulation of open spaces, elevations and designs in the structured areas. Absolute quiet is ensured in the Sanctum vicinity. The Shilpis, in some cases (Meenkshi temple, Madurai; Sundareshwara temple Tirchendur; and the Vijaya Vittala temple of Hampi- Vijayanagar) displayed remarkable ingenuity in sculpting ―musical‖ pillars, which when struck at precise parts, produce the seven swaras (octaves).As regards the volumes, every part of the temple is rigorously controlled by a precise proportional system of interrelated measurements, maintaining the fundamental unity of the architecture and sculpture. The ancient shilpis used a great degree of precision in their measurements. Much of this system is followed by the present shilpis too. An interesting feature of these systems is the standard unit of measurement; the smallest unit mentioned is the anu or the particle, which is hardly perceptible. The anu measure was employed for extremely delicate or intricate or the most vital aspects of a sculpture; for instance, the eyes and facial features of the image of presiding deity; or in the amaziningly delicate and minute carvings of the Hoyasla images.The norms and measures specified in the Southern texts, it is said, are still in use. These measures are in two categories; one for delicate and intricate work and the other for normal structures. Look at the table of measurements for minute and delicate carvings. Eight anus (particles) = one nulu (breadth of a fine cotton or silk fiber), Eight nulu = one hair (breadth of horse hair), Eight hairs = one grain of sand, Eight grains of sand = one mustard seed, Eight mustard-seeds = one bamboo seed, Eight bamboo-seeds = one angula.
The angula (1.875 cms) and the hasta (cubit, 45 cms) are the units that are normally used for deriving the dimensions, proportions, the height and other details of a sculpture. The Danda (four cubits) used for measuring less-delicate or lengthier structure is equivalent to 180 cms. One Hastha = one cubit= 45 cms; Four Hasthas = one Danda= 96 angulas = 180 cms. One Hastha =24 angulas = 45 cms. Thus one angula = 1.875 cms. The old Sanskrit texts too mention a set of measurements. According to them Anu or paramanu, the particle, was the smallest measure. 8 anus = one ratha renu (grain of dust); 8 ratha renu = one valagrasa (hair end); 8 valagrasa =One grain of yava; 4 yavas = one angula; 12 angulas = one vitasta or Tala (span) 2 Vitasta or Tala = Hastha (cubit) = 24 angula 26 angulas= Dhanurbhagha (handle of a bow). 4 hatas = One Danda; 8 Dandas = One Rajju (rope) 1000 Rajju = One Yojana The proportions of the head-trunk-arms-legs of images; and also their finer specifications like nose, nail, ears and their shapes are specified in the texts. Generally: it is dasatala (ten talas) for the height of image of male deity, navatala (nine talas) for his consort and astatala (eight talas) for bhakta. These are not absolute measurements; but are meant as guidelines to maintain proper proportions.(We shall discuss more about these aspects in the part dealing with Temple Iconography.) Further, the Vastu believes that every unit of time vibration produces a corresponding unit of space measure; and derives that the time is equal to space. This rhythm of time and space vibrations is quantified in terms of eight and as multiples of eight. According to the Vastu, at the subtle level the human form is a structure of eight spatial units apart from elements like the hair, kneecap and toe nails, each of which measures one-quarter of the basic measure of the body and, when added on to the body's eight units, increases the height of the total form to nine units. Traditionally, these nine units are applied in making sculptures of gods.
Similarly, the lengths, the breadths the heights of various elements of the temple too are
related to each other by certain ratios. These lend esthetic appeal and stability to the
temple structure. For instance, it is said, by restricting the height of the tower, Shikhara, to twice its width at the base, the weight of the tower is contained within itself. Further, as the size of the pada (bay, distance between two pillars) increases, the cross section of pillars also increases in size and width of beam has to be exactly same as that of the pillar. The size of the structure will also determine the various kinds of building materials to be used at different stages of the construction. They also help to control the proportions of the dimensions of the temple. These norms carry shades of religious intentions too; the set of six formulae or Ayadivarga viz., the Aaya, Vyaya, Yoni, Tithi, Vaara and Nakshatra are applied by the Acharya to derive the proper orientation and dimensions of the structure. (More of Ayadivarga in the final part.) The Vastu Purusha Mandala of the temple projects the temple in two main sections: the ground plan and the vertical alignment. The square, the rectangle, the octagon and the pentagon patterns drawn in the Mandala relate to the horizontal section or the ground plan. The subdivisions of the ground plan detail the Brahmasthana (the main shrine and smaller shrines) and the Mantapas (pavilions). The vertical alignment consisting the pyramid, the circle and the curve are meant for designing the Gopura (entrance ways), the Vimana (the structure above the main shrine) and the prakara (the walls). How these designs of certain measurements and proportions are tra6nslated into three dimensional constructions, is really interesting. Hindu temple construction is strictly based on a complex system of measurements and proportions. These proportions control every aspect of a temple's design, from its width and height to the size of its doorways and moldings. There are a number of prescribed methods. Let us look at just two of them. A. This relates to the construction of the Garbhagriha (sanctum) and the Vimana or Prasada on top of it. In this method, the square of 4 (16) and the square of 8(64) are considered auspicious. All the main horizontal as well as vertical proportions are with reference to either of these numbers (mulasutra).The area of the Vimana (the prasada or the tower above the sanctum) is divided into 16 squares (maha-pitha) or 64 squares (manduka), as the case may be; in which case the width would be 4 or 8 units. If the width of the Vimana is 4, then the width of the sanctum would be 2 units; the height of the Vimana would also be 4; and the base of the Vimana would be a cube. The Sikhara on top this cube would be twice its height (that is, 4x2).The cube and the Sikhara would together rise to a height of 12 units. This proportion builds a relationship between the vertical and horizontal extents of the other parts of the temple. In case the width of the sanctum is 8 units, The total height of the sanctum with Sikhara would be three times the width of the sanctum(8x3), of which the height of the Sikhara would be 2/3 the total height. B. In this method, the size of the sanctum and the Dwajasthamba is determined by the
height of the image of main deity in the sanctum. The size of a temple is always a fixed multiple of the height of image of main deity. The normal height of a man is taken as six feet; and the sanctum would be in the shape of a square of its inner length and width, of six feet. The width of the sanctum walls would be two feet. The outer measurement of the sanctum would be 10 feet on each side. A mantapa, in front of the sanctum, would have certain special features. The inner length and breadth of a mantapa should be twice that of the sanctum. For instance, in this case, the outer side of the sanctum is ten feet; and therefore the inner side of the Mantapa should be 20 feet, in width. This is achieved by extending the face (door) side of the sanctum on either side to form the inner dimension (20‘) of the Mantapa. If the directions and measurements are correctly followed the sun rays should fall into the mantapa for six hours (from 9.00am to 3.00pm, if the sun rise is at 6.00am). For a sanctum of this size, the idol, in standing position, should be six feet tall. If the idol is less than six feet tall, its pedestal should be raised to obtain the required height. The idol should be installed exactly at the mid-point of the chosen direction (usually facing east). The Dwaja –sthamba should be perpendicular and placed directly opposite to the idol. A line drawn at an angle of 22 ½ degrees from the mid-point between the brows of the idol should cut the top of the Dwajasthamba. The height of the Dwajasthamba thus is related to the to the height of the image. Some scholars say, this perhaps is relates to the axis of the earth which makes an angle of 22 ½ degrees with the sun. Sometimes, a hole is made in the roof of the mantapa, at the point where the imaginary line drawn from the idol emerges out of the roof of the mantapa, on its way to reach the top of the Dwajasthamba. Thus, it is ensured that the mid point between the brows of the idol, the hole in the roof and the top of Dwaja sthamba are all aligned along one straight line. The line when extended further from the top of the Dwaja sthamba should touch the Kalasha on top of the Gopura. Thus, the distance and the height of the Gopuram get related to the height of the idol and the Dwajasthamba.
The actual construction process of a temple can be divided into three steps. The first is the planning of the temple by architect, second is the carving of different parts and the third is assembling the parts. In the first stage, the architect prepares a list of all the parts that go into the details of the temple; like the figures, pillars, beams, and brackets etc. These parts are usually composed of several elements. For example, a pillar is made of at least five parts, while the dome is made of several units. This is one of the reasons, it is said, why the temples do not normally collapse in case of earthquakes or cyclones; as its parts are not joined rigidly (say by materials like cement) but can vibrate within the surrounding structured space. In the second stage, the teams of assistants of the Shilpi carve the parts and segments according to the temple Acharya‘s and Shilpi‘s drawings, designs, specifications and guidelines. The parts thus got ready are transported to the site. And, at times the transportation to the site, itself, becomes a huge task. For instance, it is said that a four km long ramp was constructed to transport and place in position the dome of the Brihadishwara temple in Tanjore. The stability of the temple structure is attributed to its principles of unity, harmony, balance and distribution of weight. It is said, if one member of this family breaks, the unity, peace and stability of the family is sure to crumble. . Hence, no member moves from its place, and holds the structure together even in the face of destruction all around. These aspects are ensured during the third stage.
The third stage is the assembling of the readied parts i.e. the actual construction of temple. The various elements and parts of temples are interlocked to hold in position. All the parts have mortise and tenon joint for ensuring strength; and a hole or slot is cut into each piece of readied part, for a projecting part tenon of the adjacent part to be inserted into the next. These mortise and tenons not only hold the parts their positions securely but also allow space for the stones to expand in heat or even to vibrate modestly. The third stage and the second stage have to be well coordinated in order to take care of precise alignments and possible corrections. Though this stage, inevitably, means the slowing down of the construction pace, it is said, the Sthaphti or Sthalapahi, the one who supervises the actual construction process on site, takes extra care to ensure precise positioning and alignment of each part and segment; and to meticulously follow the overall proportion, stability and visual appeal, as specified and envisaged in the Vastu mandala and the construction plans. The size and the nature of the structure will determine the various kinds of building materials to be employed at different stages of its construction. Generally the use of iron, considered the crudest of metals, is strictly avoided within the temple structure, as iron tends to get rusty and endangers the stability and the life of the structure. The stone which has a far longer life and is less corrosive, is the major building material employed in temple construction. (There are elaborate methods for testing and grading the stones; and more about that in the final part) The main structure and the dome are invariably constructed of tested stone. The Building materials like stone, brick, mortar, wood, etc., are selected for the main body of the temple, whereas elements like gold and silver are be used for final ornamentation. Marble is not used in Southern structures. Materials like simulated marble, plastic and asbestos, strictly, are not acceptable building materials. Only organic materials are used in temple architecture. The traditional Indian temples of stone, it is said, are designed to last for 800 years unlike RCC structures which are guaranteed for 80 years. Incidentally, the Ayadi aspects are worked out to ensure longevity of the temple.
Essential aspects of a Typical Temple A typical South Indian temple has a certain fairly well defined features and a generally accepted layout. The most important structure of a temple is the garbhagriha or sanctum sanctorum which houses the idol of the presiding deity. The Garbagriha is followed by four types of mantapas or pavilions. Mantapa means any roofed, open or enclosed pavilion (hall) resting on pillars, standing independently or connected to the sanctum of the temple.
The first of the mantapas is the antarala (sometimes called sukanas or sukanasi or ardhamantapa), a narrow pavilion connecting the gharbhagriha and the navaranga. It usually will have niches in the north and south walls, occupied by a deity, with attendant divinities in secondary niches flanking the central niche. In a few temples the antarala serves as the navaranga too. The next mantapa is nrttamantapa or navaranga, is a big hall used for congregational services like singing, dancing, recitation of mythological texts, religious discourses and so on. The navaranga will usually be on a raised platform and will have nine anganas (openings) and sixteen pillars. This is followed by Sanapana mantapa, a hall used for ceremonial purposes. This leads to mukha mantapa the opening pavilion. The Dwajasthamba (flag post) in front of either the garbhagrha or antarala or the mantapa is another common feature. It represents the flag post of the ‗King of kings‘. The lanchana (insignia) made of copper or brass fixed like a flag to the top of the post varies according to the deity in the temple and his/her nature. The Balipitha (pedestal of sacrificial offerings) with a lotus or the footprints of the deity is fixed near the Dwajasthamba, but nearer to the deity. Red-colored offerings like rice mixed with vermillion powder, are kept on this at appropriate stages of rituals for feeding theparivara_devatas and panchabhuthas or the elements. A Dipastambha (lamp post) is situated either in front of the Balipitha or outside the main gate. The top of this post has a bud shaped chamber to receive the lamp. The whole temple is surrounded by a high wall (prakara) with one main and three subsidiary gates, opening in the cardinal directions. A gopura (high tower,) adorns these gateways. These were of course later developments; and in due course became characteristic features of South Indian temple architecture. It is said, the Agama texts provide for as many as 32 prakaras, the concentric – enclosing walls. But, they recommend five to seven as advisable, in case more than one enclosure is needed. In many cases, the main area of the temple, plus the halls, tanks, and gardens are surrounded by a single wall (prakara) or enclosure. But many major temples do have a series of enclosures. As mentioned earlier the Sri Rangam temple has seven enclosing walls, enveloping the whole township.
The Agama texts prescribe that each enclosure must have door-ways in all four directions. But, very few temples followed this rule, perhaps with the exception of the great temple at Tiruvannamalai. In most cases, the doorways lead from one courtyard to the next, finally leading to the sanctum. And, it became customary, since 10th century, to erect towers (gopuras) over such gateways, though a gopura was not an essential feature of the temple per se. It is needless to mention that the prakara contributes to the security and beauty of the temple With the growth and development of the temples , their structures and details became increasingly complicated .The structural arrangements of the major temples became more elaborate. The prakara in its many layers provides for a number of minor temples or shrines for the deities, connected with the presiding deity of the temple. Apart from these, the temple precincts include a yagasala, (a hall for occasional yajna or yagas), kalyana-mantapa, marriage or a general purpose hall; asthana-mantapa, where the processional deity holds court; Vahana mantapa , to store the various ―vehicles‖ used to mount the processional deity during festivals and processions; alankara-mantapa, where the processional deity is dressed before being taken on procession; vasantamantapa, a hall in the middle of the temple tank used for festivals; and utsava mantapa, hall used on festive occasions. Temples will also usually have a treasury, a kitchen (paka-sala), a store room (ugrana), and a dining hall. A well or a puskarini (tank), flower garden and Ratha (the temple chariot) and its shed are the other essentials associated the temple.
The garbha-griha is encircled by the first prakara, called antara-mandala. This is a passageway, often narrow, permitting the devotees to circumambulate the sanctum in a customary act of devotion. The flight of stairs that connects the first prakara with the sanctum sanctorum is called the sopana. In front of the sopana is the main mantapa. Around the main mantapa and antara-mandala is the second prakara (antahara). This forms a broad verandah with doorways on all four sides. The antahara leads out into an enclosure containing the main bali-pitha. The next enclosure is called madhyahara. Beyond this and just outside the main balipitha is the flagstaff (dhvaja-stambha). The fourth enclosure is called bhayahara. The fifth prakara (enclosure) is the maryada (limit), or last wall.
Symbolism of the temple The Hindu temple involves a multiple set of ideas and symbolisms. The temple is seen as a link between man and god; and between the actual and the ideal. As such it has got to be symbolic. A temple usually called Devalaya, the abode of God, is also referred to as Prasada meaning a palace with very pleasing aspects. Vimana is another term that denotes temple in general and the Sanctum and its dome, in particular. Thirtha, a place of pilgrimage is it‘s another name. The symbolism extends to its conception as the physical form of god. The garbhagriha represents the head and the gopura the feet of the deity. Other parts of the structure are identified with other parts of the body. For instance, the sukanasi or ardhamantapa (the small enclosure in front of the garbhagrha) is the nose; the antarala is the neck; the various mantapas are the body; the prkaras are
the hands and so on. Vertically, the garbhagrha represents the neck, the sikhara (superstructure over the garbhagrha) the head, the kalasha (finial) the tuft of hair (sikha) and so on.
The names assigned to various parts of the temple seem to go along with this symbolism. For instance, Pada (foot) is the column; jangha (trunk) is parts of the superstructure over the base; Gala or griva (neck) is the part between moulding which resembles the neck; Nasika (nose) is any nose shaped architectural part and so on. The garbhagrha represents the heart and the image the antrayamin (the indwelling Lord). These symbolisms suggest seeking the divinity within our heart. The temple also represents the subtle body with the seven psychic centres or chakras. In the structure of the temple, the Brahma randra is represented in the structure erected on top of the sanctum. The flat-roof (kapota) of the sanctum is overlaid by a single square stone slab known in the texts as Brahma-ranhra-sila (the stone denoting the upper
passage of life). The sanctum is viewed as the head; and right on top of the head is the passage through which the currents of life ascend to the tower through this stone slab. Interestingly, the Kalasha placed on top of the Vimana is not imbedded into the structure by any packing it with mortar or cement. It is, in fact, placed in position by a hollow rod that juts out of the centre of the tower and runs through the vase, the Kalasha. It is through this tube that the lanchana ‗tokens‘ (cereals and precious stones) are introduced. One of the explanations is the hallow tube represents the central channel of energy the Shushumna that connects to the Sahasra, the seat of consciousness, through the Brahma randra. Very often, the ground-plan of a temple is a mandala. , the expressions Mandala, Chakra and Yantra are synonymous. Mandala is explained as that which gathers the essential detail (mandam laati).The Chakra and Yantra too perform similar functions. Like Chakra, the Mandala too denotes visualization, an act of bringing together all significant details; those details might pertain to the world or the body or the structure of the building or whatever. It also brings together the outer and the inner faculties or energies. Though all the three mean the same, they somehow seemed to have acquired distinct forms. For instance, Chakra suggests a circular form, while the Mandala might be a figure of any shape, but commonly a square. While both Chakra and Mandala are linier representations, Yantra is a three-dimensional projection. In the Vastu Purusha Mandala too, the ground plan and the vertical plan are cast in two dimensions and in three dimensional representations of the structure. Whether you call it Chakra or Mandala or Yantra; it represents a sphere of influence and brings together and energizes all its components. In a way of speaking the Vastu Purusha and the Chakreshwari of the Sri Chakra represent the same principles. They embody and preside over all the aspects of their domain. They not merely resolve the internal and external contradictions, but also usher in complete harmony of existence. Just as the Sri Chakra is the unfolding of the Bindu at its centre, the temple is the outpouring or the expansion of the deity residing in Brahmasthana at the centre. Both the forms employ the imagery of an all – enveloping space and time continuum issuing out of the womb. In the case of Sri Chakra the Bibdu is the dimension-less and therefore imperceptible source of energy. The idol, the Vigraha, in the Garbagriha represents the manifestation of that imperceptible energy or principle; and it radiates that energy. A Upasaka moves in the manadala, from the outer details, passes through circuitous routes and successive enclosures to reach the inner centre, the Bindu, representing the
One creative Principle. Similarly in the temple too , the devotee who enters the gateway under the Gopura passes through several gates, courtyards and passages, leaving behind the grand externals, and progresses towards the serenity of garbhagrha, the very hearts of the temple and purpose of the temple, housing the representation of One cosmic Principle.
Temple Architecture – Devalaya Vastu – Part Five (Second Half Of 5 Of 9) Some essential aspects of Temple Structure
Let us briefly go over the broad features of some of the essential aspects of the temple.
Sanctum The most important part of a temple, its very heart as it were, is the garbhagrha or the sanctum sanctorum, the cave-like cube-shaped "womb room," located within the Brahmasthana of the Vastu Purusha Mandala, directly above the gold box, placed earlier in the earth during the garbhadhanaceremony. Here on the altar, the deity in the Dhruva Bheru (immovable) form is installed. According to the nature and placement of the Duruva Bheru, the presiding deity, the entrance will be determined either to North or to East of Garbagriha. The placement of other deities will also be determined accordingly. Garbhagriha usually is a cube with a low roof and with no doors or windows except for the front opening. The image of the deity is stationed in the geometrical centre, facing the midpoint of the chosen direction.. The whole place completely dark, except for the light that comes through the front opening. The name garbhagriha perhaps has reference to the devotee finding his way to this secret inner place and being reborn from it, emerging later, transformed, by grace.
The sixth century text, Vishnu dharmottama purna, indicates certain specifications of the sanctum. It says the idol should preferably face east; and the placement of the other deities in the temple should be in relation to the main idol. "It is commendable to place the central door of the temple in one of the cardinal points.The height of the door should be made double its width, o king. [One should make] theimage together with the pedestal on 1/8 lower than the height of the door. The image[should be] two parts [of the whole] and the pedestal a third part. It is commendable tomake the width of the door equal to 1/4 of [the width of] the shrine "The height of the door should be [that of] the deities increased by 1/8. One should makethe height of the door double [its] width". To illustrate, if the total height of the idol is 6‘.0‖; the pedestal would then be 2‘.0‖ high and the image would be 4‘.0‖ high. The height of the sanctum door would be 6‘.9‖; and its width, would be 3.‘4 ½ ―. The width of the sanctum would be (four times the width of the door) 13‘.6‖. The sanctum would be in the shape of a square. As regards the thickness of the sanctum walls (bhitti), the text seems to suggests that the walls should be 1/8 the width of the sanctum. Applying this norm to our illustration , the walls of the sanctum would be about three feet thick. (It is a bit confusing, here. I am not sure, if the portion relating to the sanctum walls sounds reasonable.) Next, the text seems to suggest that the width of the sanctum should be 8/15 of the length of the enclosure surrounding it. If we apply this to our illustration, it seems to suggest that the passage around the sanctum would be about 3 ½ feet in width. (I am not certain.) The sculpture and carvings at the doors and the vicinity of the Garbagriha are modest and not so exuberant as to distract the attention of the devotee. Absolute quiet is ensured in the vicinity of the sanctum. Further, the only light entering into that part of the temple falls on the deity. The oil lamps that illumine the deity enhance the ambiance of serenity and peace. Garbagriha is the very purpose of the temple. Its enclosures are supplementary in nature. Some texts therefore argue that that the temple, per se, comprises only the sanctum and the tower on the top of it; and these two are the only essential parts of a shrine. A Temple is a huge symbolism; it is the image of divinity and purity that generations after generations have revered and nurtured. That image is centered on the icon residing in the temple. One can think of an icon without a temple; but it is impossible to think of a temple without an icon of the divinity. The very purpose of a temple is its
icon. Garbagriha is where that icon resides; and therefore is the most important structure of the temple. Infact, the entire temple is conceived as the manifestation or the outgrowth of the icon. Just as the Sri Chakra is the unfolding of the Bindu at its centre, the temple is the outpouring or the expansion of the deity residing in Brahmasthana at the centre. Both the forms employ the imagery of an all – enveloping space and time continuum issuing out of the womb. In the case of Sri Chakra the Bindu is the dimension-less and therefore imperceptible source of energy. The idol, the Vigraha, in the Garbagriha represents the manifestation of that imperceptible energy or principle; and it radiates that energy. The devotee moves from the gross to the subtle; from the outer structures towards the inner sanctum, which is analogues to the Bindu in the Chakra. The Sri Chakra upasaka proceeds from the outer Avarana (enclosure) pass through circuitous routes and successive stages to reach the Bindu at the centre of the Chakra. Similarly the devotee who enters the temple through the gateway below the Gopura (feet of the Lord) passes through several gates, courtyards and prakaras, and submits himself to the Lord residing in the garbhagrha, the very hearts of the temple. One of the symbolisms is that the human body is a temple in which the antaryamin resides. The analogy is extended to explain the various parts of the body as being representations of the aspects of a temple. In this process, the forehead is said to represent the sanctum; and the top of the head, the tower. The space between the eyebrows, the ajna chakra, is the seat of the divinity.. The finial of the tower is the unseen the sahasrara located above the head. Accordingly, the sanctum is viewed as the head; and Right on top of that head is the passage through which the currents of life ascend to the tower through that stone slab Brahma_randra_shila. Around the four corners of this slab are placed the images of the vehicles or emblems that characterize the icon inside the sanctum. Another interesting aspect is that the temple concept is a curious mixture of Vedic, Tantric and Agama principles. The Tantra regards the human body as a Mandala; and it is mobile (chara or jangama) Mandala. The Agama shastras regard a temple too as Mandala; and here it is an immobile (achara or sthavara) Mandala. The analogy of the temple with the human body finds closer relationships. The other symbolisms associated with the Sanctum and the tower above it are, that sanctum is the water (aapa) principle and the tower over it is Fire (tejas); the finial of the tower (Vimana) stands for air (vayu) and above the Vimana is the formless space (akasha). The sanctum is thus a constellation of the five elements that are basic to the
universe. And fire being the active element that fuses the others, the tower becomes an important limb in the structure of a temple. Some texts say that the shrine extends up to Balipeeta, the ‗dispensing seat‘ and no further. In some temples, a pradaksinapatha (a circumambulatory passage) is provided just round the garbhagrha, to enable the devotees to go round the deity. The vesara temples do not have this passage. The walls of the sanctum raise above a series of moldings, constituting the socle (adhisthana), a base that sticks out from under the bottom wall. The adistana should be strong and massive, as it carries the entire weight of the Garbha griha, the mantapa and the path for circumblation pradakshina; and also of the weight of the super structures, such as the Vimana and its details. The adhisthana consists of several mouldings (from bottom up); Upana or upatala (the base), Padma (a layer of lotus motif), Jagathi (straight and mnodestly decorated), Kumuda (round and ribbed), Kanta (neck) and Kapolapalika (double layer of lotus petals) In the Hoysala or the Vesara architecture, particularly from the late 10th century onward, this arrangement of the superstructure is loaded with decoration.
While on the subject, the sanctum of the most celebrated temple in India that of Sri Venkateshwara in Tirumala is a square of twelve feet and nine inches. The sanctum is considered so holy that it is addressed as Koil Alwar meaning the divinity in the form of temple. The three sides of the sanctum (other than the one with the opening to view the deity) are enclosed by another set of wall/s. The total thickness of the walls surrounding the sanctum is about seven feet and two inches. Perhaps this is the most secure sanctum wall one can find. The pleasing Ananda Nilaya Vimana stands on these sets of walls. It is surmised that the outer wall might have been erected sometime around 1260AD. Vimana The term Vimana has acquired various interpretations. Sometimes the term Vimana stands for the temple. Often, Vimana means the tower shikara, raised to its final height above the sanctum . But, some say that the term Vimana should, strictly, refer to the rotund structure above the series of elevations (tala) which stand on kapota (the flat roof over the sanctum). In other words, the term vimana, it is said, should refer to the structure between the final Tala and the stupi, the end. The Vimana rests or is surrounded by the Kanta (neck). Another interpretation is that Sikhara meaning mountain peak, refers to the rising tower of a temple constructed as per the architecture of North India; and is it‘s most prominent and visible feature. While the Northerntexts identify the Sikhara as Prasada; the Southern texts call them Vimana. The
Vimana is pyramid like; and Prasada is curvilinear in its outline. We may for the present go with the last mentioned interpretation. Among the several styles of Sikharas that obtain in temple architecture, the three most common ones are: the Dravida prevalent in south India; the Nagara the most common style; and the third born from the synthesis of the other two called the Vesara, seen mostly in Hoysala and later Chalukya temples of Karnataka. The Dravida style is highly ornate; the Nagara style is simpler and consists of a curvilinear dome. In the Vesara style, the dome is highly ornate and emerges from the Sukanasi or from the richly carved outer walls of the temple. In every style of Sikhara/Vimanam, the structure culminates with a Kalasha at its peak. The early vimanas, in south, were circular until they ended in a point of the finial (stupi). The vimanam of Kadambar koil. In some cases , the flat-roof (kapota) of the sanctum on which the tower rest and rises is overlaid by a single square stone slab known in the text as ―the stone denoting the upper passage of life‖ (brahma-ranhra-sila). In certain structures, slab after slab is placed in a diminishing order with the final slab crowned by a perforated stone ring (amalaka) giving the structure a pyramid shape. During the later times, the body of the Vimana tended to be more complex and multi layered rising up in several stages (tala). Each stage of the sikhara contained within itself several layers of mouldings depicting traditional motifs. The layers in a Tala are called Varga; and the sadvarga (six modules) is regarded the classic version. The southern texts describe the temples as sadvarga Devalaya. The sadvargas of a Vimana are Adistana, Pada, Prastara, Kanta, Sikhara and stupi. The vertical expansion of the sadvarga developed into Vimanas of Dvitala (in two stages) and tritala (in three stages) structures.
The most celebrated Dvitala Vimana is the Ananda Nilaya Vimana atop the sanctum of the Sri Venkateshwara shrine on the hills of Tirumala. It is not clear when it was constructed and who caused it to be constructed. The earliest reference to the Ananda Nilaya Vimana was in the inscription of Virasinga Deva Yadava who ruled the Tondamandala region, around 1250 AD. It is said; he performed Tula-bhara and donated gold, equitant of his weight, for covering the Vimana. The Vimana was renovated in the year 1417 by the Kings of Chandragiri. The most famous patron, in the later years, was, of course, Krishnadeva Raya of Vijayanagar Empire, who, in the year 1517, donated 30,000 pieces of gold for covering the Ananda Nilaya Vimana with gold polish. Before we go further we may talk a little more about Vimana. The Vimana in the South Indian temple history had an interesting career. For instance, the most magnificent Vimana of the Rajarajeshwara temple at Tanjavur (1009 AD) rises to an imposing height of 58 meters. Another temple of the same period at Gangaikondachola-puram (1025 AD) rises to a height of 48 meters. Thereafter, in the subsequent periods, the Vimanas tended to grow shorter. But the Gopuras, the towers that stand over the gate-ways (dwara-gopura) became increasingly ornate, complicated and huge. The sanctity of Vimanas was not in any manner affected by its diminished size. While the sculptures on the
outer Gopuras could house secular and even erotic themes, the Vimana had to be austere and carry only the prescribed divinities associated with the mula-bhera in the sanctum. The Vimana is verily the representation or the outer visible form of the murthi that resides within it; and is revered as such. It represents the glory (vaibhava) of the deity the antaryamin who resides within it. The Gopura on the other hand does not usually command an equal status. While the temple complex is designed as a Mandala with the sanctum at its heart (Brahma –sthana); the sanctum along with the Vimana atop is itself regarded a Mandala. The image is located in the mid-point of the sanctum which is designed as a square; that is, where its diagonals intersect each other. This point is elevated, in a three dimensional projection, and rendered as the sthupi or the central point of the Vimana. The Kalasha is installed at this point. In order to appreciate the Mandala configuration of the Vimana, one could take its topelevation; that is, take an aerial view from directly above the Vimana. The entire structure of the Vimana resting on a square base, projecting into the air in successive diminishing tiers and concluding into a needle (bindu) is a Mandala resembling the Chakra. The sanctum with its Vimana, thus, represents the worshipful (archa) form of the divinity. The different deities associated with the mula-bhera are aligned along the four sides of the Vimana (Mandala), according to their importance, starting with the grosser ones on the outer periphery of the Vimana (outermost layer of the Mandala).The sthupi , the central point , the needle of the Vimana being the bindu of its Mandala configuration. Ananda Nilaya Vimana is of Vesara architecture; and the Vimana is in Dvitala, meaning that structure above the Kapotha slab has risen in two stages; and on the top of the second tala is the Vimana, per se, in a round shape. Its total height from its base to the top of the Kalasha is 32‘08‖ .Both the Talas are square in shape. The lower Tala depicts, in its four sides, the icons of the Vaikhanasa School: Purusha, Sathya, Achtuta and Aniruddha. The upper tala depicts about fifty-nine images including those of Hanuman, Garuda and several Rishis. The most famous Sri Vimana Venkateshwara is on the North face of the upper Tala. The Kanta (neck), at the end of each Tala , is circular in shape. The rotund Vimana, atop the second Tala and enclosed by the circular Kanta (neck) is adorned with lotus motif. In the later stages of South Indian architecture , the Vimanas grew more complex and muti-sided. The six-sided and eight-sided Vimans became quite common. It is said there are a few temples with their Vimana having as many as sixteen sides. The temple in Madurai is reputed to have as many as 65 sides!. The basic shape of the Vimana is pyramid like. The imagery associated with its shape is that of an inverted tree with its branches spreading downwards. This has reference to the ancient imagery of the universe.
Sri Vaikuntha Perumal temple at Kanchipuram i (mid-8th century) has a unique and an interesting arrangement of three sanctums, one above the other, encased within the body of the superstructure. Some of the best examples of the Vimans come from the massive temples erected by the Chola kings.The Brhadisvara or Rajarajesvara, temple, built at the Chola capital of Thanjavur is a fine example of the grandeur and majesty of the temples of this period. The temple construction begun around 1003 and was completed about seven years later. The main walls are raised in two stories, above which the superstructure rises to a height of 190 feet. It has 16 stories, each of which consists of a wall with a parapet of shrines carved in relatively low relief.
The crowning glory of the Brihadeeswara temple is the staggering cupola of the Vimana comprising two huge, sculpted, granite blocks weighing 40 tonnes each. The engineering skills and the expertise that made the mounting of these huge stones atop a structure that is nearly 200 feet high must have been way ahead of their times. Legend says that the stone was brought from Sarapallam (scaffold-hollow), four miles north-east of the city, using a specially designed ramp. Vertically the vimana is organized by pilasters that break up the facade of the base, creating spaces for niches and windows in between. However, the temple departs from
southern Indian convention in one significant way: the vimana is taller than the gopura (gateways) of the temple's walls. Normally the gopuras are taller than the vimana. The Vimana rises to a height of abut 216 feet, a tower of fourteen storeys. The basement of the structure which supports the tower is 96 feet square. The gilded Kalasa over it is 12.5 feet high. It is believed the sikhara and thestupi does not throw on the ground. The dome rests on a single block of granite, 25.5 feet square. The architects and engineers attribute the stability of the massive temple to its pyramidal structure. They say it is more robust than its counterparts from north India with their complex curvilinear profiles. Another fine example of the Chola temple architecture is the temple in Gangaikondacholapuram, which succeeded Tanjore as the capital of the Chola Empire. The Vimanam of this temple, in contrast to the rigid pyramidal structure of the Brihadeeswara temple, rises up in a concave manner with fluid lines. (For more information, please visit http://www.thanjavur.com/bragathe.htm) The tallest Sikhara of a Hindu temple, it is said, is under construction at Mayapur in west Bengal. The temple when completed (say by 2010) will be 35 stories tall and almost as high as the great pyramid in Giza.
Kalasha The crowning glory of the Vimana is its Kalasha, the vase. Some say it is reminiscent of the life giving Amrita-kalasha that emerged out of the milky ocean when it was churned. Kalash symbolizes blessings and well_being. In the development of the Indian temple this feature appears to have arrived rather late. The early kalashas were perhaps made of stone blocks, round or ribbed. They might have been in the nature of cap-stones that structurally held the tall and tapering
vimana, as in the North Indian temples. The copper and brass vases seem to have been the later innovations; and the agama books favor use of copper vases. Kalasha has several members, such as ―the foot-hold‖ (padagrahi) which is its foothold, the egg (anda) or the belly, the neck (griva), the lotus-band (padma-pashika), the rim (karnika) and the bud (bija-pura). The shape of this unit could resemble the bell, the flower bud, the lump, coconut, alter or pot. all these shapes symbolize the potential and the possibilities of life. Interestingly, the Kalasa placed on top of the Vimana, it is said, is not imbedded into the structure by packing it with mortar or cement. It is, in fact, placed in position by a hollow rod that juts out of the centre of the tower and runs through the vase, the Kalasha. It is through this tube that the lanchana ‗tokens‘ (cereals and precious stones) are introduced. One of the explanations is the hallow tube represents the central channel of energy the Shushumna that connects to the Sahasra, the seat of consciousness, through the Brahma randra. This is completes the anology of the temple to the purusha ot to the human form. I have heard of inserting a ―golden person ―inside the Kalasha; but have not come across much discussion about it. It appears, the Kalasha, the pot, has an important hidden component, the golden person (suvarna purusha) who is regarded the personification of the temple-spirit. The belly of the Kalasha contains a tiny cot made of silver, copper or sandal; over which is laid a soft feather mattress. A tiny golden icon holding a lotus flower and a triple flag rests on that cot. Four tiny pots made of gold, silver or copper containing consecrated water are placed on the four sides of the cot. There is also a tiny pot of ghee near the cot. This entire procedure of introducing the ―golden-person ―into the Kalasha is known as hrudaya-varnaka-vidhi. Another kalasha is deposited under the sanctum. And, like the one on top of the Vimana, this Kalasha also contain tokens of growth and prosperity, viz., cereals with subtle seeds (such as millet) and nine types of precious stones. The womb, the icon and the sthupi the finial run along the same axis. There are a few other symbolisms associated with the Kalasha. The structure of the Kalasha resembles an inverted tree; and is almost a replica of the ―womb‖ buried under the sanctum. Both are described as roots. The one at the bottom urges upward growth; while the one atop is the root of the inverted tree. Mantapas The Garbagriha is followed by four types of mantapas or pavilions. Mantapa means any roofed, open or enclosed pavilion (hall) resting on pillars, standing independently or connected to the sanctum of the temple.
The first of the mantapas is the antarala (sometimes called sukanas or sukanasi or ardhamantapa), a narrow pavilion connecting the gharbhagriha and the navaranga. It usually will have niches in the north and south walls, occupied by a deity, with attendant divinities in secondary niches flanking the central niche. In a few temples the antarala serves as the navaranga too. The next mantapa is nrttamantapa or navaranga, is a big hall used for congregational services like singing, dancing, recitation of mythological texts, religious discourses and so on. The navaranga will usually be on a raised platform and will have nine anganas (openings) and sixteen pillars. This is followed by Sanapana mantapa, a hall used for ceremonial purposes. This leads to mukha mantapa the opening pavilion. Bali pitha Bali_pitha is an indispensable associate of the sanctum. It is an altar or the dispensing seat of the deity. It is a small but stylized stone seat that is installed directly in front of the icon and very near the sanctum. It is the seat on which offerings to deity are placed. The chief (pradhana) Bali_pitha will be directly in front of the icon and often near the Dwajasthamba. It is usually made of hard granite and will be highly stylized, ornate, and majestic, with several limbs such as the base, cornices, wall-surface with door-lets or niches. Most texts suggest that the size of the altar should be 1/8, 1/7 or 1/5 of the dimension of the sanctum. Depending on their sizes and shapes, the altars are classified into several types such as Sri-bandha, Sri-bhadra, and Sarvato-bhadra and so on. The Pradhana Bali-pitha will often be covered metal sheets .The more affluent temples as the one at Tirumala, give the Pradana Bali-pitha a metal covering with gold polish. It is on this Bali_pitha that the food offerings, in the form of vermilion colored rice, and rice mixed with pepper are offered to the attendant divinities and the guardian goblins. These offerings are placed only after the main food offering to the presiding deity, in the sanctum, is completed.
While the main (pradhana), Bali_pitha will be directly in front of the icon; there will be several such other altars, located in the prakara, positioned in eight directions, around the sanctum. Their positions are determined in accordance with the prescriptions of the canonical texts that the temple follows. Some suggest that the yupastambha (Sacrificial post) and the balipitha (sacrificial pedestal) of the Vedic age have metamorphosed into the dhvajastambha and the balipitha of the present day. A dipastambha (lamp post) is situated either in front of the balipitha. The top of this post has a bud shaped chamber to receive the lamp Flag staff The dhvajastambha (flag post) in front of either the garbhagrha or antarala or the mantapa is another common feature of the temples. It should be perpendicular and directly opposite to the idol. It will be located very close to the Bali pitha; and the Bali pitha will be between the sanctum and the Dwajasthamba. It represents the flag post of the ‗King of kings‘. The lanchana (insignia) made of copper or brass fixed like a flag to the top of the post varies according to the deity in the temple. The figure on the lanchana is invariably that of the vahana (carrier vehicle) of the deity. For instance, in Siva temples it contains Nandi. In Devi temples it is the lion that finds its place. In Vishnu temples the Garuda gets that honour. The practice of erecting tall columns of fifty to eighty feet in height appears to be of recent origin. In the early stages, these flag posts were perhaps meant to indicate the position of the sanctum. Even today, the temples in North India fly long flowing banners and flags from the tower atop the sanctum. The old texts favored wooden or bamboo poles, with oddnumber of joints, up to twenty-five. And, the flag-staff was not intended to be a permanent structure. The ceremony of flying the temple flag marked the
inauguration of a major Uthsava at the temple. The flag also served as signal to indicate to the people of the town and the visitors that a Uthsava is on. The old customs required that no major domestic auspicious functions be held in the village while the temple flag is hoisted. This was perhaps to suggest that the celebrations at the temple took precedence over those at homes; and that everyone in the village should participate in the temple celebrations. In course of time the permanently fixed flag-staff became a common feature in temple architecture. The older temples had flagstaffs made of stone. That gave place to the practice of erecting a stone pillar or wooden pole covered with copper, brass, or even silver plates gilded and installed on a raised stone platform, often square in shape,located in front of the sanctum. The top portion of this tall mast will have three horizontal perches (symbolizing righteousness, reputation and prosperity, or the three divinities Brahma the Creator, Vishnu the Preserver and Siva the destroyer), pointing towards the sanctum. The pedestal or the seat of the flag-staff as well as the mast with perches became highly stylized in South India during the days of the Chola and Pallaya rulers, for the flag-staff was uniquely a royal insignia. Gopura In the case of major temples, the entire temple area is surrounded by a series of conectric protective walls, the prakaras. The lofty towers erected over the entrance gateways of these walls are the Gopuras. These rectangular, pyramidal towers, often fifty metres high dominate the city skyline. And, adorned with intricate and brightly painted sculptures of gods, demons, humans, and animals, have become the hallmark of southern architecture; though, strictly, they are not the essential aspect of a temple layout or its structure. The Gopura emphasizes the importance of the temple within the city.
The Gopura is a unique feature of the Dravidian architecture. It had its origin and development in South; and the other schools of architecture do not have equivalent features. The advent of Gopura in Dravidian architecture was rather late. The practice of erecting a Gopura at the entrance gateway to the temple seems to have come into being during the mid-12th century. And, with the decline of the mighty Cholas and with the increasing threat from invading armies, the temple cities (prominently Madurai and Sri Rangam) found it expedient to erect a series of protective walls to safeguard and defend their temples, palaces and cities. The Gopuras constructed on the gateways leading from one enclosure to the next, initially, served as watch and denseive towers. What started as a defensive structure rapidly developed into a prominent and an architectural extravenza with great visual appeal. The Gopuras grew in size from the mid-12th century and came to be greatly emphasized, until the colossal ones rose to dominate the temple complex, surpassing the main sanctum.Some of them are extremely large and elaborately decorated with sculpture,; and quite dominating the architectural ensemble. Among the finest examples are the Sundara Pandya Gopura (13th century) of the Jambukesvara temple at Tiruchchirappalli and the Gopuras of the great Siva temple at Chidambaram, built largely in the 12th–13th century. The Gopuras of the Meenakshi temple at Madurai are of course the most magnificent array of temple towers.There are twelve impressive Gopuras soaring over the three tier Prakara walls. The outer four towers dominating the city landscape are truly huge in size and magnificence.
The nine -storied towers came up between 13-16th centuries during the reign of Madurai Nayaks. The edifice of the Gopuras measure 174 ft. from north to south, and 107 ft. in depth.The gateway is 21 ft. 9 in. wide; and the gatepost is 6o ft high, made of blocks of granite, carved with the most exquisite scroll patterns of elaborate foliage. The heights of the Gopuras range from 161 feet to 170 feet. The Gopuras appear to have influenced revision in the temple design and layout. Such was the emphasis placed on the eminence of Gopuras that as time went by; the Southern temples came to be designed as a series of courtyards, as if to justify the Gopuras. The spaces around the shrine became hierarchical; the further the space was from the main shrine, the lesser was its eminence. The outermost ring had buildings of a more utilitarian or a secular nature - shops, dormitories, sheds, workshops etc., thus transforming the temple from a purely place of worship to the hub of a vibrant living city. A particularly interesting example of this is the Sri Ranganatha temple at Sri Rangam, which has seven enclosure walls and as many as twenty-one Gopuras, halls, other temples and township constructed over several centuries. The seventh, the outer most, enclosure is 3072 feet in length and 2521 feet in breadth; enclosing an area of about six hundred acres.
The grand Meenakshi temple in Madurai is another great illustration of this development which was initiated by the Pandya kings. It was during this period that
the building of a temple became the nucleus of a town-planning exercise, which we discussed in the earlier parts of this article. Though the evolution of the Dravidian temple architecture stalled briefly after the demise of the Pandyan Empire, the architectural expression scaled new heights during the reign of the Vijayanagara kings (15th and 16th centuries). Although the later temples were not huge in size, they often were of very fine workmanship. For instance, the Subrahmanya temple of the 17th century, built in the Brhadisvara temple complex at Thanjavur, indicates the vitality of architectural traditions even at that late date. The Raja_Gopuram of Sri Rangam temple, completed during the year 1987, is perhaps the tallest in South India. The Gopura with 13 stories is 243 feet high; and with twelve Kalashas adorning its peak. In the meantime a 249 feet tall gopura, said to be the tallest gopura in Asia, has come up in the Shiva temple at Murudeshwar in the coastal district Uttara Kannada, in Karnataka. The twenty-one story high gopura measures 249 feet high and is taller than the 243 Raja Gopura at Sri Rangam and 239 feet tall gopura of Brihadeshwara.The gopura is fitted with elevator services and the temple plans to have museums and art galleries on all the 21 floors of the gopura.A Gopura is generally constructed with a massive stone base and a superstructure of brick and pilaster. It is rectangular in plan and topped by a barrel-vault roof crowned with a row of finials. It differs from the Vimanam in that it need not necessarily be square-based. Above that rectangular base a pyramidal structurecovered with brightly colored plethora of sculpture is raised to a great height. A Gopura has to be towering and massive. In the ancient times, the cities all over
South India could be discerned from afar by the distinctive shape of their Gopuras dominating the skyline. When viewed from top, the Gopura too resembles a Mandala; With the Goblins, Yalis, mythical animals and other beings located in the outer enclosure, as if supporting the weight of the mandala.The humans and the divine beings are in the inner enclosures. The peak of the Gopura, the Kalasha is at the centre of the Mandala Symbolically, the Gopura and the entrance to the temple represent the feet of the deity. A devotes bows at the at the entrance, the feet of the Lord, as he steps into the temple and proceeds towards the sanctum, leaving behind the world of contradictions. In the Sri Rangam temple the seven concentric prakara walls are said to represent the seven layers of matter-earth, water, fire, air, either, mind and intelligence-that envelop the consciousness of the living entities in the material world. The gopuras, or gateways through the prakaras, are symbolic of being liberated from the bondage of matter as one enters the temple and proceeds toward the central shrine.
Temple Architecture – Devalaya Vastu – Part Five (6 Of 9) Symbolism of the temple A Temple is a huge symbolism; it involves a multiple sets of ideas and imagery. The temple is seen as a link between man and god; and between the actual and the ideal. As such it has got to be symbolic. A temple usually called Devalaya, the abode of God, is also referred to as Prasada meaning a palace with very pleasing aspects. Vimana is another term that denotes temple in general and the Sanctum and its dome, in particular. Thirtha, a place of pilgrimage is it‘s another name. The symbolisms of the temple are conceived in several layers. One; the temple complex, at large, is compared to the human body in which the god resides. And, the other is the symbolisms associated with Vimana the temple per se, which also is looked upon as the body of the deity. And the other is its comparison to Sri Chakra. Let‘s start with the temple complex being looked upon as a representation of Sri Chakra. At the centre of the temple is the image of divinity and its purity that generations after generations have revered and venerated. That image residing at the heart of the temple is its life; and is its reason. One can think of an icon without a temple; but it is impossible to think of a temple without an icon of the divinity. The very purpose of a temple is its icon. And, therefore is the most important structure of the temple is the Garbagriha where the icon resides. In fact, the entire temple is conceived as the manifestation or the outgrowth of the icon. And, very often, the ground-plan of a temple is a mandala. Just as the Sri Chakra is the unfolding of the Bindu at its centre, the temple is the outpouring or the expansion of the deity residing in Brahmasthana at the centre. The temple as also the Sri Chakra employs the imagery of an all – enveloping space and time continuum issuing out of the womb. In the case of Sri Chakra the Bindu is the dimension-less and therefore imperceptible source of energy. The idol, the Vigraha, in the Garbagriha represents the manifestation of that imperceptible energy or principle; and it radiates that energy. The devotee- both at the temple and in Sri Chakra- moves from the gross to the subtle. In the temple, the devotee proceeds from the outer structures towards the deity in the inner sanctum, which compares to the Bindu in the Chakra. The Sri Chakra upasaka too proceeds from the outer Avarana (enclosure) pass through circuitous routes and
successive stages to reach the Bindu at the centre of the Chakr, representing the sole creative principle. Similarly the devotee who enters the temple through the gateway below the Gopura (feet of the Lord) passes through several gates, courtyards and prakaras, and submits himself to the Lord residing in the serenity of garbhagrha, the very hearts of the temple, the very representation of One cosmic Principle. The other symbolism is that the human body is a temple in which the antaryamin resides. The analogy is extended to explain the various parts of the body as being representations of the aspects of a temple. In this process, the forehead is said to represent the sanctum; and the top of the head, the tower. The space between the eyebrows, the ajna chakra, is the seat of the divinity. The finial of the tower is the unseen the sahasrara located above the head.
Accordingly, the sanctum is viewed as the head; and Right on top of that head is the passage through which the currents of life ascend to the tower through that stone slab Brahma-randra_shila. Around the four corners of this slab are placed the images of the vehicles or emblems that characterize the icon inside the sanctum. Another interesting aspect is that the temple concept is a curious mixture of Vedic, Tantric and Agama principles. The Tantra regards the human body as a Mandala; and it is mobile (chara or jangama) Mandala. The Agama shastras regard a temple too as
Mandala; and here it is an immobile (achala or sthavara) Mandala. The analogy of the temple with the human body finds closer relationships. The symbolism extends to the conception of Vimana or the central part of the temple as the physical form of god. For instance, the sukanasi or ardhamantapa (the small enclosure in front of the garbhagrha) is the nose; the antarala is the neck; the various mantapas are the body; the prakaras are the hands and so on. Vertically, the garbhagrha represents the neck, the shikhara (superstructure over the garbhagrha) the head, the kalasha (finial) the tuft of hair (shikha) and so on.
The names assigned to various parts of the Vimana seem to go along with this symbolism. For instance, Pada (foot) is the column; jangha (trunk) is parts of the superstructure over the base; Gala or griva (neck) is the part between moulding which resembles the neck; Nasika (nose) is any nose shaped architectural part and so on. The garbhagrha represents the heart and the image the antrayamin (the indwelling Lord). These symbolisms also suggest seeking the divinity within our heart. The temple is also seen as a representation of the subtle body with the seven psychic centres or chakras. In the structure of the temple, the Brahma randra is represented in the structure erected on top of the sanctum. The flat-roof (kapota) of the sanctum is overlaid by a single square stone slab known in the texts as Brahma-ranhra-sila (the stone
denoting the upper passage of life). The sanctum is viewed as the head; and right on top of the head is the passage through which the currents of life ascend to the tower through this stone slab.
Interestingly, the Kalasha placed on top of the Vimana is not imbedded into the structure by any packing it with mortar or cement. It is, in fact, placed in position by a hollow rod that juts out of the centre of the tower and runs through the vase, the Kalasha. It is through this tube that the lanchana ‗tokens‘ (cereals and precious stones) are introduced. One of the explanations is the hallow tube represents the central channel of energy the Shushumna that connects to the Sahasra, the seat of consciousness, through the Brahma randra. The other symbolisms associated with the Sanctum and the tower above it are, that sanctum is the water (aapa) principle and the tower over it is Fire (tejas); the finial of the tower (Vimana) stands for air (vayu) and above the Vimana is the formless space (akasha). The sanctum is thus a constellation of the five elements that are basic to the universe. And fire being the active element that fuses the others, the tower becomes an important limb in the structure of a temple.
Iconography Before we deal with iconography per se in the next segment, let‘s briefly go-over some its general aspects.The Agama shastras are based in the belief that the divinity can be approached in two ways. It can be viewed as nishkala, formless – absolute; or as sakala having specific aspects. Nishkala is all-pervasive and is neither explicit nor is it visible. It is analogues, as the Agama texts explain, to the oil in the sesame-seed, fire in the fuel, butter in milk, and scent in flower. It is in human as antaryamin, the inner guide. It has no form and is not apprehended by sense organs, which includes mind. Sakala, on the other hand, is explicit energy like the fire that has emerged out of the fuel, oil extracted out of the seed, butter that floated to the surface after churning milk or like the fragrance that spreads and delights all. That energy can manifest itself in different forms and humans can approach those forms through appropriate means. The Agamas recognize that means as the archa, the worship methods unique to each form of energy-manifestation or divinity. The Vedas do not discuss about venerating the icons; though the icons (prathima or prathika) were known to be in use. Their preoccupation was more with the nature, abstract divinities and not with their physical representations. The Vedas did however employ a number of symbols, such as the wheel, umbrella, spear, noose, foot-prints, lotus, goad and vehicles etc. These symbols, in the later ages, became a part of the vocabulary of the iconography. The idea of multiple forms of divinity was in the Vedas .They spoke about thirty-three divinities classified into those of the earth, heaven and intermediate regions. Those comprised twelve adityas, aspects of energy and life; eleven rudras, aspects ferocious nature; eight vasus, the directional forces; in addition to the earth and the space. The aspects of the thirtythree divinities were later condensed to three viz. Agni, the aspect of fire, energy and life on earth; Vayu, the aspect of space, movement and air in the mid-region; and Surya the universal energy and life that sustains and governs all existence, in the heavenly region, the space. This provided the basis for the evolution of the classic Indian trinity, the Brahma, Shiva and Vishnu.
Rig Veda at many places talks in terms of saguna, the supreme divinity with attributes. The Vedanta ideals of the absolute, attribute- less and limit-less universal consciousness evolved as refinements of those Vedic concepts. The Upanishads are the pinnacles of idealism that oversee all horizons. But, in practice common people worshipped variety of gods in variety of ways for variety of reasons. They are relevant in the context of each ones idea of needs and aspirations; fears and hopes; safety and prosperity; and, the pleasures and pains. The polytheism gave tremendous impetus to all branches of Indian arts, literature and iconography. The polytheism is, in fact, the lifeblood of iconography; for it is only through a divinity with aspects one can represent and worship ones ideal in love, adoration and earnestness. It is a condensed word-picture .Making an image involves an understanding of its attributes, virtues, powers, characteristics, symbols and its disposition. An image is the visual and concrete form of idealism; the idioms of beauty grace and power nurtured and honed by generations after generations. It is a representation of a community‘s collective aspirations. Iconographic representations of gods and goddesses are the idioms aiming to give expression to their attributes, powers, virtues and disposition. Multiplicity of heads denotes presence of their concurrent abilities; and multiplicity of hands denotes their versatile abilities. For instance, three heads of a divinity indicates trio guna (guna-triad: sattva, Rajas and tamas) or shakthi traya [iccha (will), jnana(consciousness) and kriya (action) shakthis or powers].Four heads represent compreneshion or enveloping four Vedas; or overseeing four directions. Five heads stand for five principles or elements (pancha-bhuthas) or five divine attributes or five stages of the evolutionary process [shristi (creation), Shthithi (expansion), samhara (withdrawal), Triodhana (concealing) and anugraha (preserving till the commencement of the next cycle of evolution)]
Not all divine representations are made through icons. Shiva is represented usually by a conic linga or an un-carved rock; Vishnu and Narasimha are worshipped at homes as Saligrama (a special types of smooth dark stones found on bed of the Gandaki river); Ganapathi is best worshipped in the roots of the arka plant, and he is also represented by red stones (sona shila) or turmeric cones or pieces (haridra churna). The Devi in Kamakhya temple is worshipped in a natural fissure of a rock. Yet all these divinities have specified well defined iconographic forms.
Temple Architecture Devalaya Vastu Part Six (6 Of 9) Temple Iconography Since the very purpose of the temple structure is the image residing in it; and the temple is regarded the virtual expansion of the image, let
us talk for a while about temple iconography. Iconography, in general terms, is the study and interpretation of images in art. But, in the context of this discussion it could be restricted to the study of icons meant for worship and the images used in temple architecture. The temple iconography is more concerned with the concept, interpretation and validity of the icon in terms of the themes detailed in the scriptures or the mythological texts; and with the prescriptions of the shilpa shastra. There is not much discussion on the styles of architecture or the art forms, per se. [A short explanation about the term iconography. We are using it for want of a better term in English. The word icon is derived from Greek eikon; and it stands for a sign or that which resembles the god it represents. In the Indian tradition what is worshipped is Bimba, the reflection or Prathima, the image of god, but not the god itself. Bimba means reflection, like the reflection of moon in a tranquil pool. That reflection is not the moon but an image (prathima) of the moon. In other words, what is worshipped in a temple is an idea, a conception or the mental image of god, translated to a form in stone or metal or wood; but, it is not the god itself. The Indian term for Iconography is therefore Prathima –lakshana, the study of images.] Besides the agamas, there are several texts that detail the processes involved in practicing the art; and specify the rules governing iconography and iconometry. The Brihat Samhita of Varahamihira (6th century AD) is an ancient text that provides descriptions of certain images. It refers to one Nagnajit, as the author of a contemporary work on Silpasastra – but not much is known about him or his work. Shukranithisara is another treatise which discusses aspects such as the proportions and the measurements recommended for the images of various classes and attributes. The subject he dealt with has since developed into Iconometry. Someshwara‘s (a 1th century western Chalukya king) Abhilashitartha Chintamini contains interesting iconographical details of many important deities. And, Hemadri (13th century AD) who hailed from Dakshina Kannada region authored Caturvarga_chintamini, which deals with temple architecture and construction. He is credited with introducing a method of construction that did not use lime. In addition, there are the major and authoritative texts that deal comprehensively with all aspects of Devalaya Vastu. These include Kashyapa shilpa samhitha, Mayamata, Manasara, Shilparathna, Kumaratantra, Lakshana_samuchayya, Rupamanada; and the Tantrasara of Ananda Tirtha (Sri Madhwacharya) , which contains sections dealing with the study of images (iconography and iconometry). Among the puranas, the Agnipurana details the Prathima_lakshanam (the characteristics of images), Prathimavidhi (the mode of making images), and Devagraha nirmana (the construction of places of worship). Similarly, the Matsya Purana (dated around second century AD) has eighteen comprehensive chapters on architecture and sculpture. This purana mentions as many as eighteen ancient architects (vastu_shatropadeshkaha):
Brighu, Atri, Vashista, Vishwakarma, Brahma, Maya, Narada, Nagnajit, Visalaksa, Purandara, Kumara, Nanditha, Shaunaka, Garga, Vasudeva, Aniruddha, Shuka and Brihaspathi. Many of these names appear to come from mythology; but quite a few of them could be historical. Sadly, the works of most of these savants are now lost. The Mathsya purana says that the best aspect of karma yoga is the building temples and installing deities; and therefore devotes several chapters to the subject of temple construction and image making. The Vishnu purana (dated about 3rd century AD) too contains several chapters on the subjects of architecture and sculpture. Further, it includes the Vishnu_dharmotthara_purana (perhaps an insertion into the Vishnupurana at a later period), which is a masterly treatise on temple architecture, iconography and painting. This work which is in the form of a conversation between the sage Markandeya and the King Vajra is spread over 42 chapters. In part three of the text there is virtually a catalouge of the various deities with descriptions of their features, stance and gestures (mudras) apart from their disposition and attributes. In addition to the Sanskrit texts, the Tamil works – Mandalapurusha‘s Chintamini Nigandu and Sendanar‘s Divakara nigandu, are well known and widely accepted. Besides, there is an ancient work by an unknown author, Silpam (perhaps a translation of an ancient Sanskrit text), which is popular among the shilpis. A special mention needs to be made about iconography ‗s (prathima lakshana) relation with Natyasastra. The Shilpa and Chitra (painting) are closely related to Natyasastra (ca. second century BCE). The rules of the iconography (prathima lakshana), in particular, appear to have been derived from the Natyasastra. The Indian sculptures are often the frozen versions or representations of the gestures and poses of dance (caaris and karanas) described in Natyasastra. The Shilpa (just as the Natya) is based on a system of medians (sutras), measures (maanas), postures of symmetry (bhangas) and asymmetry (abhanga, dvibhanga and tribhanga); and on the sthanas (positions of standing, sitting, and reclining). The concept of perfect symmetry is present in Shilpa as in Nrittya; and that is indicated by the term Sama. The Natya and Shilpa sastras developed a remarkable approach to the structure of the human body; and delineated the relation between its central point (navel), verticals and horizontals. It then coordinated them, first with the positions and movements of the principal joints of neck, pelvis, knees and ankles; and then with the emotive states, the expressions. Based on these principles, Natyasastra enumerated many standing and sitting positions. These, demonstrate the principles of stasis, balance, repose and perfect symmetry; And, they are
of fundamental importance in Indian arts, say, dance, drama, painting or sculpture. The demonstrations of those principles of alignment could be seen in the sama-bhanga of Vishnu, Shiva, abhanga of Kodanda-Rama and tribhanga of Nataraja; and in the vibrant movements of dance captured in the motifs carved on the walls of the Indian temples depicting gandharvas, kinnaras, vidyadharas and other gods and demigods. If the saala bhanjikas (bracket figures) recreate the caaris(primary movements) , the flying figures recreate the karanas (larger movements). The representations of about one hundred and eight of the karanas described in the Natyasastra find expression on the walls of temples spread across the country. It is as if the rich and overpowering passages of
Natyasastra are translated in to stone and published on temple walls. For
purpose of creating an image , initially, a square grid is divided into sixteen equal squares . These squares are
the
grouped into six segments : Brahma -bhaga ( the central four squares) ; Deva -kesha or Deva shiro-alankara -bhaga ( two squares on top of Brahma-bhaga for depicting the crown or elaborate hair arrangement) ;Vahana-bhaga or peeta-bhaga ( space for pedestal - two bottom squares , below the Brahma-bhaga); Bhaktha -bhaga ( two bottom sqares on either side of Peeta -bhaga for locating images of the worshipping devotees); Devi-bhaga ( two squares each on either side of Brahma-bhaga for the accompanying female deities) ; and Gandharva-bhagha (two squares in the top on either side of Shirobhaga for depicting the gGandarvas). The image of the main deity along with that of the consorts and subsidiary figures are located within the square grid. The central part of the main deity is accomodated in the Brahma-bhaga; its head or crown or hair-do is figured in the Deva-shiro-bhaga, while the f eet of the deity, the pedastal and the mount (vahana) are in the lower vahanabhaga. The verticle and horizontal axis of the square as also its diagonal axis of the square pass through what is known as the Brahma-bindu right at the centre of the Brahma-bhaga. It is at the Brahma-bindu the navel (nabhi) of the deity would be located. All other image parts are co-related to the Brahma-bindu.
Dhyana shlokas
One of the main resources for a practicing shilpi is the collection of Dhyana shlokas. Before a shilpi starts on a project to sculpt an image, he needs to be clear in his mind on its form, its aspects, its countenance, the details of its physiognomy, its facial and bodily expressions; its posture, details of the number of arms, heads and eyes; and details of its ornaments, ayudhas (objects it holds in its hands) etc. For this purpose, the Shilpis generally refer to a wonderful collection of most amazingly articulate verses called Dhyana Shlokas, the verses in contemplation. These verses culled from various texts of Shipa Shastra, the Agamas and the Puranas; and also from Buddhist and Jain texts, describe, precisely, the postures (dynamic or static, seated or standing), the Bhangas (flexions - slight, triple, or extreme bends), Mudras (hand gestures), the attitudes, the nature, the consorts and other vital details of each aspect that provides the deity with power and grace. it is said that there are about 32 aspects or forms of Ganapathi, 16 of Skanda, 5 of Brahma, 64 of yoginis, and innumerable forms of Vishnu, Shiva and Devi . Each one of those forms has a Dhyana shloka illustrating its aspects and attributes. Dhyana shlokas are more than prayers or hymns; they are the word-pictures or verbal images of a three-dimensional image. They help the Shilpi to visualize the deity and to come up with a line drawing of the image. It is said that there are more than 2,000 such Dhyana shlokas. How this collection came to be built up over the centuries is truly amazing. These verses have their origin in Sanskrit texts; and the scholars who could read those texts knew next to nothing about sculpture. The Shilpis who actually carved the images had no knowledge of Sanskrit and could not therefore read the texts or interpret the shlokas. This dichotomy was bridged by the generations of Shilpis who maintained their own set of personal notes, explanations and norms; as also references to shlokas; and passed them on to their succeeding generations and to their disciples. Thus, among the many traditions (parampara) inherited in India, the tradition of Vishwakarma is unique. The mode of transmission of knowledge of this community is both oral and practical. The rigor and discipline required to create objects that defy time and persist beyond generations of artists, has imbued this tradition with tremendous sense of purpose, and zeal to maintain purity and sensitivity of its traditions; and to carry it forward. This has enabled them to protect and carry forward the knowledge, the art and skills without falling prey to the market and its dynamics. With the emergence of the various academies of sculpture and organized efforts to collate and publish the old texts with detailed explanations, there is now a greater awareness among the shilpis of the present day. Yet, the neglect of Sanskrit and inability to read the texts in Sanskrit is still an impediment that badly needs to be got over. Please look at the summary of a few Dhyana shlokas.
The image of Lord Narayana must be made with eight, four or two arms. His head should be in the form of an umbrella, his neck should be like counch, his ears like sukthi, he should have high nose, strong thighs and arms. His breast must bear the Srivatsa mark and be adorned with theKaustubha gem. He should be made as dark as the Atasi (Linum usitatissimum), clad in yellow robes, having a serene and gracious countenance. He should be wearing a diadem and ear-rings. Of the eight hands the four on the right side must have the sword(nandaka), mace(kaumodaki), arrow and abhaya _hastha, mudra of assurance and protection (the fingers raised and the palm facing the devotees), and the four on the left side, the bow(saranga), buckler, discus (sudarshana) and conch (panchjanya).
n case the image is to have only four arms, the two hands on the right side will display the abhaya mudra or lotus; and discus respectively. And, in his hands in the left, he holds the conch and mace. And, in case he is made with only two arms, then the right hand bestows peace and hope (shanthi-kara-dakshina hastha) and the left holds the conch. This is how the image of the Lord Vishnu is to be made for prosperity. When Vishnu is two armed and carries discus and mace, he is known as Loka-paala-Vishnu. Yogasana_ murthi (yoga Narayana) is Vishnu seated in yogic posture on a white lotus, with half-closed eyes. His complexion is mellow –bright like that of conch, milk or
jasmine. He has four hands with lower two hands resting on his lap on yogic posture (yoga mudra). ; And the upper two hands holding conch and discus. He is dressed in white or mild red clothes. He wears modest but pleasant ornaments. He wears an ornate head dress or a coiled mop of hair. [Yogesvara is sometimes shown with four faces and twelve hands.] Surya, the Sun-God should be represented with elevated nose, forehead, shanks, thighs, cheeks and breast; he should be dressed in robes covering the body from breast to foot. His body is covered with armor. He holds two lotuses in both of his hands, he wears an elaborate crown. His face is beautified with ear-rings. He has a long pearl necklace and a girdle round the waist. His face is as lustrous as the interior of the lotus, lit up with a pleasant smile; and has a halo of bright luster of gems (or, a halo that is made very resplendent by gems on the crown). His chariot drawn by seven horses has one wheel and one charioteer .Such an image of the Sun will be beneficial to the maker (and to the worshipper). The dhyana shloka preceding the middle episode of Devi Mahatmya gives the iconographic details of the Devi. The Goddess is described as having eighteen arms, bearing string of beads, battle axe, mace, arrow, thunderbolt, lotus, bow, water-pot, cudgel, lance, sword, shield, conch, bell, wine-cup, trident, noose and the discuss sudarsana. She has a complexion of coral and is seated on a lotus The Mahakali is "Wielding in her hand the sword, discuss, mace, arrow, bow, iron club, trident, sling, human head, and conch, she has three eyes and ornaments decked on all her limbs. She shines like a blue stone and has ten faces and ten feet. That Mahakali I worship, whom the lotus born Brahma lauded in order to slay Madhu and Kaitaba when
Hari was asleep‖ Pancha bhera The images in the Hindu temples can be classified into three broad groups: Shaiva, Shakta and Vaishnava, representing the three cults of Shiva, Shakti and Vishnu, respectively. The images in the temple could be achala or dhruva bheru (immovable) or chala (moveble).The dhruva bheru is the immovable image of the presiding deity of the temple and resides in the sanctum; and it is usually made of stone. The chala bheru, usually made of pancha loha (alloy of five metals), are meant for other forms of worship and ceremonial services.A major temple, apart from the Dhruva bheru, would usually have four or five representations of the principal deity (pancha bheru).They are: Kouthuka (placed in the sanctum near the main idol and connected to it by a metal string or silk thread. It usually is a mini replica of the main idol and to which the other modes of worship, including those of tantric nature, are rendered).The next is the snapana (to which ceremonial bath is offered). The third is the shayana (to which the services of putting the Lord to sleep are offered).The fourth is the Uthsava (for being taken out of the temple premises on ceremonial processions) and the fifth is the Bali (to which the food offerings are made).All the chala bherus (moveble images) are regarded the representations of the principle deity. [One of the few cases (that I am aware of) where the principal deity is taken out of the sanctum for procession, is that of Lord Jagannath of Puri. Such images are regarded chala_achala (both movable and immovable)]
According to Vyuha siddantha of the Agamas, the dhruva bheru is para, the transcendent one (Vishnu). The kouthuka is bhoga (worship idol) representing purusha (personification of the Supreme), Dharma and Vasudeva. The snapana is ugra (fearsome aspect) represented by Pradyumna or Achutha. The uthsava bheru is vaibhava (the resplendent) representing Jnana (knowledge), truth (sathya) and Sankarshana. And, the Bali bheru is antaryamin (one who resides within) representing Vairagya (spirit of renunciation) and Aniruddha. Let us, for instance, take the case of the idols in the shrine on the hills of Tirumala. The practices at the Tirumala temple are slightly at variance with the standard procedures, perhaps because the temple predates most of the other temples in South India and that it has a tradition of its own. The dhruva bheru at the Tirumala shrine is of course the magnificent and most adorable image of the Lord made of hard-black-stone; and has a recorded history of about two thousand years. He is addressed as Sri Venkatesgwara, Sri Srinivasa and by host of other names. (Let‘s talk more about the dhruva bheru, towards the end of this post). t is said that around the year 966AD, the Pallava Queen, Devi Samavai, donated an almost (but not exact) replica of the dhruva bheru, made of silver. In terms of the Agama texts, this image is called kouthuka bheru; but in the Tirumala shrine it is called Bhoga Srinivasa., In Tirumala , the kauthuka serves as snapana bheru too (that is, the one to which ceremonial bath service is rendered). This image has come to be known as Bhoga srinivasa; perhaps because the other services such as the daily ceremonial bath and ekantha seva that are due to the dhruva _bheru are rendered to it. There is a six cornered Vaishnava chakra (mandala) placed at the foot of the kauthuka, representing the six virtues of knowledge (jnana), abundance (Aishvarya), power (shakthi), strength (bala), resplendence (tejas) andvalor or virility (veeerya). The kauthuka is placed right in front of the Lord‘s foot stool (paada pitha) and is linked to the dhruva_bheru through a string with strands of gold, silver and silk. It is ever linked to the dhruva bheru and is never brought out of the antarala (bangaru vakili). For that reason it is also addressed as sambhandha-sutra-kauthuka-murthy. The Uthsava_bheru at Tirumala shrine is named Malayappan, the earliest reference to which is found in an inscription dated 1369 AD.This idol might have entered into the temple regimen with the rise of the Pancharathra School of worship. Malayappan is a very skillfully crafted, beautiful image, made of panchloha, standing three feet tall on a pedestal of fourteen inches. It does not greatly resemble the dhruva_bheru. Yet, it has a very pleasing disposition and is modestly ornamented. His consorts Sridevi and
Bhudevi (of about twenty-nine inches height) are on his either side. All services, processions and celebrations conducted outside the sanctum are rendered to Malayappan. The Bali bheru in Tirumala shrine is addressed as Koluvu srinivasa. After the rendering the ceremonial food service to the dhruva_bheru, offerings are made to the bali_bheru who accepts it on behalf of the basic elements in nature , the host of spirits guarding the temple and other minor deities. A unique feature of the bali_bheru in Tirumala shrine is that it presides over the formal court summoned at the commencement of the day, where the day‘s almanac is read out, and where the accounts of the previous day‘s collections at the Srivari hundi are submitted. The traditional distribution of the daily remuneration, in the form of food grains and provisions, to the temple priests and attendant staff takes place in the presence of koluvu_srinivasa. It is not clear how this practice came into being at Tirumala. The other beru in the Tirumala temple is the Ugra Srinivasa, which apart from the dhruva bheru is perhaps the oldest idol in Tirumala shrine. But, it has a rather sad history. The earliest reference to this idol is in an inscription dated 10th century. Ugra Srinivasa was used as the Uthsava murthy till about 14th century, when a fire broke out in the temple; and thereafter it was replaced by Malayappan. The Ugra Srinivasa no longer serves as the uthsava bheru and it is never bought out of the temple after sunrise; except on a single occasion in a year (utthana dwadasi in karthika) that too well before the sunrise. It is feared that if the sunrays touch the idol, it would spark fire in the temple premises. Iconography The Dhruva bheru, iconically, is classified according to its posture; which depicts its attributes, its dispensation or attitude or Bhava. The Shipa Shastras mention four basic postures of the idols. They are the sthanaka (standing), Aasana (seated), shayana (reclining) and yanaka (relating to deities like Hanuman or Garuda who serve as the ride for other deities). Each of these postures has its sub classifications. A. Sthanaka The Sthanaka posture ( standing posture) of the
image will be in accordance with its nature (sattvic, rajas or tamasic) and its attitude of benevolence or otherwise. That expression of benevolence, grace or the other attitude depicted on the face of the image is enhanced by the manner and style of its stance. The standing postures are named Bhanga, which involves appropriate stance, position and bent of the neck (greeva), shoulder (bhuja), waist (kati), knees(janu) and feet (paada). The basic styles of the standing postures are five in number. They are, briefly: Samabhanga is standing erect, with the head, neck and torsos in a line, radiating peace, fulfillment and benediction, as in the case of Sri Venkateshwara, Chenna keshava or Jina. Abhanga is a stance with only a slight bent of head or waist, or with a hand on the waist as in the case of Dakshinamurthy, Velayuda or Vatu the boy Subrahmanya. Dvibhanga is a posture with a bend at the waist, while the parts from waist to the head and from waist to feet are otherwise in samabhangha, as in the case of Sri Rama holding a bow, Shiva or bracket images of damsels. Tribhanga is when the body is in three distinct delicate and graceful bends - at the neck, the shoulder and the waist, as in the case of female deities, Krishna dancing on Kalinga serpent and Ganapathi in dancing poses. This is essentially a classic dance pose and, athi bhanga is the one with several twists in the body and arms. This bhanga brings out anger and ferociousness as in the case of Durga slaying the demon; and Ugra Nrusimha slaying and tearing apart the demon; or to bring out wonder and amazement
(adbhuta) as in the case of Trvikrama; or fearsome or grotesque attitudes as in the case
of sculptures of kailasanath temple, Kanchipuram.The idols in the standing posture, sthanaka, are also classified according to their nature: dhirodaatha, the sattvic type; dhira lalitha (rajasa) and Ddhiroddatha (tamasa). B. Shayana Shayana is the idol of the deity in reclining or sleeping position. Only Vishnu and the Buddha images are represented in this position. Apart from this, the baser elements such as the demons are shown lying under the feet of Nataraja or the Devi. Sri Ranganatha or Anantha shayana is the most celebrated form of Vishnu in reclining posture.
Vishnu is represented in three forms of Shayana. In the Yoga shayana posture, Vishnu, with two arms and without his ayudhas, is depicted in yoga nidra, Yogic sleep, contemplating the unfolding of the universe. Vishnu is reclining on the coils of Anantha the serpent who symbolizes time; and Brahma the divinity responsible for creation is seated on the lotus emerging from Vishnu‘s navel. The Yoga shayana images are installed in temples located in forest region or in forts on top of hills. Yoga shayana Vishnu symbolizes his creation, shrusti, aspect. Bhoga shayana Vishnu is similar but is adorned with four arms, auspicious signs of srivatsa, kausthuba on his chest; and with his usual set of ayudhas. Vishnu‘s gaze is fixed on his consorts serving at his feet. He has a very pleasing disposition. The temples of Vishnu in Bhoga shayana form are located in the midst of a populous city or town. Bhoga shayana Vishnu symbolizes his well-being, sthiti, his preservation aspect. (Line drawing by Shilpi Shri Thippajappa)
The veera shayana form of Vishnu is adorned with four to eight arms. He is holding his weapons. He is represented as if he is just about to wage a battle. He is surrounded by the rishis, the gandarvas and his entourage including Garuda, his ride. Brahma is as usual seated atop the lotus from Vishnu‘s navel. The demons Madhu and Kaitaba are shown at his feet. Veera shayana Vishnu symbolizes his absorption, samhara, aspect. There is also an unusual form of Vishnu in shayana posture. The Abhicharika shayana does not have the serpent bed or the Brahma. Vishnu is reclining on the floor; he looks emaciated too. Such an inauspicious form of Vishnu is employed in Tantric worship; and it should not be located where people especially where women and children dwell. C. Aasana Aasana class is when the deity is in sitting posture. There are several modes and styles of sitting; and among them about eleven or twelve postures of sitting are usually depicted in temple architecture. These are again classified into sattvic, rajasa and tamasa. The images depicting the deity in a peaceful, happy and benevolent disposition; radiating peace and joy; and blessing the devotees are the most common forms of sattvic class of idols in sitting posture. The deity, in such cases, is sitting in padmasana (lotus position) or yogasana (yogic posture, as in the case of Yoga Nrusimha or Ayyappa). Dakshinamurthy, the Buddha and Mahaveera being the other well known examples. Sukhasana is sitting with one leg bent at the knee and across; and the other leg down and almost touching the ground. The deity is in
a relaxed position looking happy, peaceful and joyous. Images of Padmapani , Vishnu, Shiva or Devi in Sukhasana are the most common examples. The images of the deity sitting with its one foot down, almost touching the ground, radiating majesty and authority are the rajasa type of idols in Aasana posture ; Vishnu , Rajarajeshwari , Chandikeshwara( a form of Rudra ) are the common examples. In some cases, the deity rests his foot on an asura (demon) lying on the ground, as if displaying authority and power. The images of goddess Durga, Chamundi, Mahisha mardini and such other forms of the Devi, sitting or mounted on a beast, with her one foot almost touching the ground are the tamasic class of idols in Aasana posture. D. Nruthya bhanga: The deity is depicted in a classic dancing posture. The images of Krishna dancing on the Kalinga, Nataraja, nruthya Ganapathi and Sarawathi are some of the well known examples of this genre. E.Yana In the Yana, the postures of Hanuman, Garuda and Bhuvaraha are depicted.
Ayudha Ayudha generally translates to weapons; but, in shilpa sastra, the term indicates whatever objects the idol holds in his or her hands. The Ayudhas delineate the nature, character and functions associated with the idol. In a way of speaking, they are the symbols of a symbolism. For instance, Saraswathi holds in her hands a book symbolizing the Vedas and learning; a Kamandala (a water jug) symbolizing smruthi, vedanga and shastras; a rosary symbolizing the cyclical nature of time; and the musical instrument veena symbolizing music and her benevolent nature. All these objects are not weapons in the conventional sense, but the shilpa employs those as symbols to expand and depict and interpret the nature of the idol and its meaning. Each of these Ayudhas signifies a certain aspect or it stands for a concept. For instance, the mirror signifies a clear mind and awareness; the flag signifies victory or celebration; the Ankusha (goad) signifies exercising control over senses and baser instincts, Damaru in the hands of shiva signifies creation and origin of sound and learning; and, the scepter signifies authority and rule of law. The Dhyana slokas associated with each deity specify the Ayudhas to be held in its right or left or upper or lower arms. The Ayudhas held by auspicious deities are in even number. Apart from the weapons a variety of objects are employed as Ayudhas. These include
instruments of various professions (pen, chisel, hammer, plow, sickle etc.), musical instruments (flute, veena, drums, pipes, trumpets etc.), plants and trees (ashvatta, bilva, seedlings of paddy, grass etc) and miscellaneous objects (mirror, bell, book, flag, lamp, vase, umbrella etc.) Mudra: Mudra means sign or a seal. It is a symbolic gesture or position usually of hands and fingers. They are commonly used in tantric worship, yoga, dance and music. The Shilpa shastra has however its own use for the mudras ; and it has developed its own set of mudras .There are in general two types of mudras, those with onehand and those with two-hand. The one handed mudras (asanyuktha or kevala) number about 28; while the two hand mudras (sanyuktha) are about 23.The mudras give an expression and eloquence to the attributes of the image and to its message. All these symbols and mudras form the pool of Indian art language. They are commonly employed by the Hindu, Buddhist and Jaina traditions. According to Tantrasara Vishnu has 19 mudras (shankha, chakra, Gadha, padma etc.), which mean attributes; Shiva has 10 mudras (yoni. Trishula, linga tc.); Ganesha has 7(ankusha, dantha, modaka etc.); Saraswathi has
7(maala, pusthaka, veena, etc.); and Agni has 7 (flames, horns etc,) and so on. The Tantrika also include Jata, Tilaka, Bhasma, Chandana etc. Mudras are again classified into those that convey a message (sankethica), which are mostly single hand mudras. The next are the vastu rupa mudras which suggest as if the
diety is holding in his or her hands some object. And, the third is ayudha grahana , where the diety actually holds an ayudha. Among the Sankethica mudras, the better known are the Abhya mudra with right palm fingers pointing upward assuring protection; Varada mudra with the fingers pointing down ward in act of giving; Vyakhna mudra as if teaching or explaining as in images of Dakshinamurty and the Buddha; and ala_padma with raised palm conveying happy welcome as in the images of dwarapalakas, the guards at the sanctum. The common examples of Vastu rupa mudra are those of Saraswathi or Dakshinamurthy with hands in such a position as if the deity is playing on the veena. The other examples are those of Rishba_rudha Shiva as if Shiva is reclining against his ride the bull; of Sri Rama as if he is holding the bow; and of Shiva as if he is holding the damaru, a sort of drum (damaru hastha). Vrishbharuda shiva - as if reclining against Nandi The Ayudha mudras are those where the deity
actually holds an object such as pasha (rope),ankusha (goad or hook) as in the case of Ganapathi; Danda , a staff in the hands of Skanda(danda hastha) In Hindu Iconography, Paada mudras the position of the lower limbs and the feet are as important as the hand gestures (hastha mudras).It is the paada mudra that suggest movement or animation or stillness of the image. The samarangana Sutradhara lists six paada mudras: Vaishnavam (one leg straight and another slightly curved- adidaivatha form of Vishnu); Sampadanam (standing erect with legs joined and body weight distributed evenly); Alidanam (Standing like an archer, with right leg drawn forward); Prathyalidanam (opposite of Alidanam- left foot in front); Ardhasam or Mandalam (one leg is thrown out and the other remains stable – as in Nataraja or Vishakadeva); and there are the legs folded in sitting postures as in Udarabhandam (as in Ganesha) and in paada-patta or Yoga –patta (as in Yoga Nrusimha ) Krita, makuta and Jatamakuta
The headgear is a distinctive feature of the Indian icons. The kiritas or the makuta (crown) or the jatamakuta (coiled mop of hair atop the head) emphasise the nature (sattva, rajas or tamas) and the nobility of the image. The Hoysala School of sculpture in particular adorns its images with elaborate and highly ornate crowns, rich in design. Usually, highly ornate kirita, makuta adorns images of Vishnu and his aspects. A simpler crown of the Karanda class is meant for lesser deities. The female deities such as Saraswathi and Savithri have kesha_bandha or Kuntala type of crowns. The divinities such as Rathi and others are given crowns of Jataa, mauli, makuta and kuntala type. Jataa_makuta, coiled hair mopped on top of head is for the images of Shiva, Brahma, the Buddha and the sages. Nataraja‘s hair is flying in the wind as he swirls in his tandava dance. His hair is prasarith jata, the flying hair. Agni has a special hairdo called agni_kesha with his hair spreading out like tongues of fire. Alankara ornamentation: The shilpis took
great delight in adorning the image with rich and finely carved ornaments. While the o ther segments of the carving are regulated by the prescriptions of the Sahastras and the tradition, the Alankara element offers the artists abundant scope to exercise their imagination and to display their ingenuity. Therefore, the amazing varieties, the patterns and the desingns of ornaments that one comes across in the Indian sculpture are virtually limitless. The major deities, both male and female, are adorned with rich ornaments; the minor deties and humans are provided modest ornaments. Often, the ornaments serve as the costume of the image. The term used for ornamentation is Alankara which encompasses forms of beauty and visual appeal in all forms of Indian art including poetry and music. Alankara is not merely bejeweling but it also implies enhancing the grace and beauty of the image and to enchant and please the eyes of the beholder. Alankara also conveys the nobility, the grandeur and the lovely nature of the adorable image. The Hoysala sculptures in particular are rich in ornamentation. Specific names are given to the ornaments that adorn various body- parts of image. The ornaments below or around the neck are Kanti (like a collar), Skandamaala (necklaces) andmanihara (strings of precious stones or beads). In the abdomen region, are the Yajnopavitha (sacred thread), Kati bandha or kati sutra (waist belt). Katakas are bangles made of gold or precious stones. The feet are adorned with paada jalaka (ornament made of strings), nupura (the bells) and rings that decorate the toes.
The iconography of Sri Venkateshwara in the Tirumala temple needs to be discussed separately. There are no known descriptions or specifications of the iconography of the Sri Venkateshwara idol in any texts of the Shilpa shastra. Till about the Vijayanagar period there were no temples of Sri Venkateshwara, out side T irumala, Tirupathi and Mangapura regions. The idol does not also fall within the interpretations of any of the known schools of architecture such as Pallava, Chalukya, and Chola etc. That might be because the image of Sri Venkateshwara predates all such schools. The sanctum at Tirumala is eka murthy griha a sanctum housing a single deity; Sri Vekateshwara is standing alone, not accompanied by his consorts. The icon is made of hard- black - polished stone (often described as saligrama shila) .Though the precise measurements of the image of the deity cannot be ascertained, it is said, it stands more than six feet in height, with the Kirita , the crown, measuring about twenty inches high; and the idol is mounted on a pedestal of about eighteen inches. The pedestal with lotus motif is almost at the ground level. The total height of idol is estimated to be a little more than eight feet (A person of normal height with arms raised just falls short of reaching the top of the idol‘s crown) .
The idol, crafted with great skill, is wonderfully well proportioned and is very pleasing to look at. It has four arms though its two upper hands are always kept covered (for whatever reason). Of the other two hands, the right hand is in Varada mudra, in a posture of benediction, blessing the devotees. The left hand is almost near the left knee in Katyavalambita mudrawith the thumb almost parallel to the waist, as if to assure that the mire of the samsara , the mundane existence , is only knee deep for those who submit to him and seek salvation. The face of the idol has exquisite features. The forehead is prominent and wide with no visible signs or insignia. The expression on its face is beatific and adorable; the eyes are wide open, looking straight ahead with a calm delight (Sama dristi); the eye brows are arched; the cheeks are full; the nose tends to appear a bit flat; the full lips are just about to break into a smile; and the chin is strong. The crown adorning the head of the image measures about 20 inches to 2 feet. Its shape is not that of a traditional crown; but resembles a heap of twisted –coiled hair (ushnisha jatadhara) and with a few strands of curly hair resting on the back of his shoulders. The chest (surmised to be about 40 inches) is adorned with armaments (haara) in three strings and another necklace. The sacred thread is coming down and across from the top of its left shoulder and is extending below the waist band (udara bhandha). It is said there are insignia of Lakshmi installed on his right chest area; and for that reason he is also addressed as Sri_nivasa. The girth at the waist is estimated to be about 27 inches. (There has never been a formal measurement of the idol. These measurements are merely suggestive.)
The arms are adorned with ornaments. The flowing robes are tied into ornate bunches at the waist. The feet are decorated with finely crafted rings and bracelets. The idol radiates a sense of great beauty, peace, fulfillment and joy. It beams with a certain calm and majesty. It is aptly described as divya_mangala_vigraha, the all auspicious representation of the Supreme Being.
Temple Architecture Devalaya Vastu Part Seven (7 Of 7) Some norms adopted in the Shipla shastra I. Determination of cardinal points (Dik nirnaya)
In Sanskrit, the root, ma, stands for that which gives existence to a thing, gives it a reality in our world; and demonstrates the relation between things. The term matir, for mother is derived from that root ma.There is a close relation in the Indian thought, between measurement (maa_na) and creation.Measurement separates and differentiates the elements of the world and provides them an identity or a recognizable standard form. Perhaps the first act of measurement in our universe was the breaking of the barrier between time and timelessness; and, it surely saved our existence from perpetual chaos. Maana not merely measures the elements of space and time, but also governs the standard of ones conduct in life. It is said that theritual of measurement performed at the commencement of the temple building or of a Vedic altar is a re-enactment of creation of the world. The importance accorded to precise orientation and precise measurements in the construction of the temple reveals the symbolism involved in the act. The Sanskrit term, vimana, referred to the temple signifies a ‗well-measured‘ or ―well-proportioned‖ structure. The standard texts on temple architecture carry extensive discussions on the systems of proportional measurements and the techniques employed for determining true cardinal points. The ancient text Shathapatha Brahmana repeatedly refers to the term prachee meaning the correct East-West line. Ascertaining the exact cardinal points and drawing the EastWest line (prachee) was one of the primary concerns of the ancients. It was considered essential to align any auspicious structure say, yupa, the sacrificial altar; a mantapa, the pavilion; or a temple, along the prachee. The Sulaba Sutras of Bhodayana and Kathyayana too describe methods to determine true cardinal points. The Yajna altar of the Vedic times, which was reconstructed each year around the time of vernal equinox, carried a rich symbolism. The altar built of five layers, represented the five seasons, five elements and five directions. The altar was surrounded by a wall of 360 bricks representing 360 days of the year. The fired bricks symbolized the elements of fire, earth, and water. The akasha provided space and air by breathing upon the bricks of the altar and bringing them to life. The Shilpa Shastra texts, such as Kashyapa Shilpa sutra; Vastu Vidya; Vishwakarma Vastu Shastra; Shilpa Rathnam; Ishana Shiva Guru Doctrine and Manasara etc too discuss elaborately the instruments and the methods employed to determine true directions. The instrument that the texts talk about in this regard is the Sanku Yantra or the gnomon. The gnomon is probably mankind's oldest astronomical device. The Sanku in its simplest form is a piece of sharp edged, smooth surfaced pole made of wood or other material, firmly erected perpendicular to a leveled ground rendered ―as smooth as
a mirror", The method uses the movement of the Sun and the shadows it casts . And, it is often described as the Indian Circle Method. The Sanku (gnomon) or its variations were used by all ancient civilizations for determining the east-west direction and also for knowing time. The Indian astronomers also used it for the determination of the solstices, the equinoxes and the geographical latitudes. For instance, Brahmagupta described a conical gnomon, the staff (yasti) of which represented the radius of the celestial sphere and was used for determination of the position of heavenly bodies, and also for terrestrial surveying. The Sawai Jai Singh‘s Observatoriesat Ujjain includes a Sanku Yantra. (Please check; http://www.engr.mun.ca/~asharan/JAI_SINGH/index.html )
For the limited purpose of our discussion, let us confine to the Sanku discussed in the texts of Shilpa Shastras and its use for determining the cardinal points. Each text of the Shilpa Shastra recommends its own set of specifications for the height and girth of the gnomon; the material or the wood to be used for making the gnomon; the mode of embedding the gnomon into the earth; the type of ropes and the pegs to be used; and
the measurements to be taken etc. Some of the salient recommendations of only four of Shilpa texts are briefly tabulated under. Particulars
Kashyapa Shilpa Height of Sanku above the ground inches level- (In inches) Girth of sanku at 2 inches the bottom Pointed edge at the 1 yava top of sanku
Vishvakarma Manasara Vastu Shastra 15 12 to 24 inches Uttama-24inches and Madhyama-18 48 inches for inches Temples Kanista- 12inches Uttama -2 inches Madhyama -1inch Kanista-1/3 inch Like a pin-head
Ishana Shiva Guru 12 inches
2 inches
A sharp point made of metal Four times the Twice the height of Sanku height of Sanku
Diameter of the Twice the 24 inches circle drawn height of the around the base of sanku pole Sanku from the ground Ground on which Level –like a Level –like water Level- like water Smooth and Sanku stone surface surface level as Is erected a mirror How to embed the Fixed firmly Some portion to Some portion to be Erected on Sanku? be buried buried the ground underground underground Which wood to be Sara vriksha Kadira, Kadira, Shami, Sarada used for making Tinduka, Kshira Or Sanku Kshira vriksha Or ivory ivory Season of the year Summer solstice, Any auspicious day Summer for taking brighter half of barring Full –moon solstice, any measurements the month and New-moon auspicious days day
Before drawing the plans and designs for a temple, the orientation of the site has to be established properly. The best way to go about it is to commence the exercise at a time when the sun is in the northern part of the sky, and on a day when there are no sunspots disfiguring its visible surface. Before erecting the Sanku pole, it is essential that the ground is rendered absolutely clean, smooth and flat. The Mayamata and Manasara describe what is called as ―water
method‖ to ensure an even and a flat surfaced ground. The selected ground, in a square shape, is leveled and enclosed by a frame of bricks; and is filled with water. Then, with the aid of a measuring rod the height of water at different points are checked to ensure that the water column is of same height through out. After it is dried out the uneven surfaces, wrinkles and blotches are corrected and evened out by suitably increasing/decreasing the level at selected points. The Vastu Vidya Shilpa text suggests an improvement over the above method. After the leveling by water-method has been carried out, it recommends the use of a device called avanathaconstructed out of three wodden strips of equal length (25 inches each).An equilateral triangle constructed out of the three wodden strips is placed at different points on the prepared ground. If the pendulum (plumb line) suspended from the apex of the triangle stayserect at all test-points; it means that the pegs stand at equal height. If not, suitale corrections have to be carried out, until it is required. Finally, after the ground has been dried, cleaned and fine-leveled, it again is checked by the avanatha. The Sanku has to be erected in the mid region of the prepared ground. The ritual of erecting the Sanku is called Sanku_sthapana. The sanku is made of either ivory or the seasoned kadira (hard) wood which does not bend in the heat of the sun. Its surface should be smooth, perfectly circular and without irregularities; and pointed at one end. The total length of the sanku would normally be 18 inches; of which six inches would be under the ground level. The effective height of sanku, above ground, would normally be 12 inches. The Manasara text however recommends 24 inches as the best (uttama) and 18 inches as next-best (madhyama) height of the Sanku. The girth of the Sanku at its bottom should range between two inches to six inches. Its top-end should be pointed; but it should not be too thin; else it might be difficult to mark its shadow on the ground, especially during the evenings. The diameters at the top and bottom should be proportionate to their length. The Sanku should be fixed firmly and it should stand perpendicular to the ground. With the base of the Sanku as the centre, a circle should be described around the sanku, having a radius equal to twice the height of the Sanku. It is argued that the radius of that circle should not be too long; nor should it be too short. In either case of extreme, it would be difficult to obtain correct readings, especially during the evenings. Most texts recommend that the radius should be twice the height of the Sanku. [There is some confusion here. Some texts say the diameter (vyasa)should be twice the height of the Sanku. While some other texts say that the radius (trigya) should be twice the height of
the Sanku. But all texts say that the radius should not be less than the height of the Sanku. I have, in the interest of uniformity, adopted here the radius as equal to twice the height of the Sanku.] The Shilpa texts such as Shilpa Dipika, Raja_vallabha and Kunda _siddhi recommend a unique method to ensure that the Sanku is standing perpendicular to the ground. They suggest that in case the height of the Sanku is 12 inches, a circle should be described with the base of Sanku as the centre and with a radius of 16 inches. This in effect forms a right angled triangle , with the radius as the base of the triangle (16 inches), the Sanku as its height (12 inches); and the string(rajju) connecting the top of the Sanku to the point of intersection of the base of the triangle with the circle forming the hypotenuse. If the sanku stands absolutely perpendicular then the string (hypotenuse) should measure exactly 20 inches. This exercise was based on the theory of Brahmagupta (6th century AD) otherwise known as the Pythagorean Theorem. Now, having completed the preliminary work -- of leveling and smoothening the ground; erecting the sanku ; and drawing a circle , round its base, with a radius equal to twice its height — you proceed with the task of determining the cardinal points with the help of gnomon. It is recommended that the first reading is taken at sunrise during a month when the solar path is towards the north (uttarayana) during a bright fortnight when sunrise is clear, when there are no spots in the solar disc and when the sun is in the asterism of the appropriate fortnight.
As the sun rises in the morning, you keep observing the sanku‘s shadow. When the shadow of the top of the Sanku just falls on the circle, mark the point. By evening, when the shadow of the sanku gets longer, you again mark the point where the shadow intersects the circle.Connect the two points with a straight line. This line points directly East-West. This East-West line is calledprachee. A line perpendicular to the E-W line is the north-south direction.
In this method, as the sun rises in the east, the shadow points west. Then, as the day advances, the shadow first swings to the north and then to the east,as the sun travels to west.The problem with this method is that the shadows are shorter in the summer than in the winter, because the earth is tilted toward the sun in summer and away from the sun in the winter. Another issue is that the sun moves most rapidly at the equinoxes. And, therefore the points marked on the circle indicate only approximately correct directions.
An improvement over this method is the drawing of circles with these East and West points as centers. The radius of the circles is the distance between those East and West points. The intersection of these circles creates a fish shaped figure. A line drawn between the points where the two circles intersect indicate the geographic North-South.
In Uttarayana Punyakala or Makara Sankranti, Sun in his entourage, after touching the southernmost tip of his path (23.5 degrees or Circle of Tropic of Capricorn – Makara Sankranti Vritta), he reverses his movement from travelling in southern direction and from that day onwards he starts travelling in the Northern direction for next six months, from Makara up to Mithuna signs, till he reaches northernmost tip of his path (23.5 degrees or Circle of Tropic of Cancer – Karkataka Sankranti Vritta). From that
point, which termed as Dakshinayana Punya Kala, again he starts travelling in Southern direction, again for another six months, from Kataka up to Dhanu signs, till he reaches the circle of tropic of Capricorn. Utarayana can also be explained as the progress of the Sun to the north of equator – The Summer solstice. Dakshinayana is the progress of Sun to the south of the equator – The winter half of the year. In a period of six months as the sun moves from the Tropic of Capricorn to the Tropic of Cancer his position shifts by 47 degrees. That is, the sun‘s position shifts by about 8 degrees in each month. Accordingly, the sun shadow on the ground too shifts gradually during this period. Theoretically, the Indian circle method leads to the error up to 8' in the time near spring and autumn equinox (March and September). If the East-West line (prachee) has to be fixed accurately, the readings taken earlier need to be fine-tuned. The Shiva Guru Doctrine suggests the following method in this regard. The shadow points of the Sanku intersecting the circle drawn around it should be marked everyday both in the morning. Over a period of time these markings form a curvaceous line or an arc. Further, when the shadow of the Sanku is within the circle, three points have to be marked three circles should be drawn with these three points as the centre. The points of intersections of these circles should be marked. Let us name these points as A-a; and B-b. When the lines joining A-a and B-b are joined and extended backwards they converge in the point N, as shown in the following diagram. A line drawn at 90 degrees to the line indicating North would be the East-West line. As the sun rises and sets at shifting points on the horizon, the vertical gnomon casts its shadow in different directions on different days of the year, while the length of shadow also varies from day to day through the year. The shadow of the sun will on any given day of the year follow a curved path from west towards east. From spring equinox to autumn equinox the path will curve towards south. From autumn equinox to spring equinox (yellow area above) the curving is northerly. The amount by which the sun changes its declination during the day decreases as the sun moves away from equinox, and on the days of solstice the change is zero. Shilpa Shastras caution that the points marked out on the ground based on the shadows
cast by the sanku do not therefore indicate the true cardinal points. The readings need to be suitably corrected depending on the movement of the sun. The texts suggest that the East- West line should be established with adjustments- by reduction- of the following numbers of digits for each ten day period of each month. There, again, is no uniformity in this regard. The corrections suggested by each text are different. Please see the following table for the month -wise corrections suggested by two major texts.
Sr. Rashi No.
Chandraman Calendar Corrections Month month Reduction suggested (in inches) Mayamatha Manasara
A 01 kanya Bhadrapada Jul-Aug 01 02 Rishabha Vaishaka Apr-May 01 03 Mesha Chaitra Mar-Apr 01 04 Kumbha Magha Jan- Feb 05 05 Makara Pushya Dec-Jan 07 06 Mithuna Jesta May-Jun 03 07 Kataka Ashadha Jun-Jul 03 08 Simha Shravana Jul-Aug 01 09 Tula Ashviyuja Sep-Oct 03 10 Vrishika Karthika Oct-Nov 05 11 Dhanus Margashira Nov-Dec 07 12 Meena Phalguna Feb-Mar 03
B` 02 02 00 04 06 04 02 00 04 09 08 01
C 02 02 00 04 06 04 02 00 04 06 08 01
A 00 01 02 06 08 02 04 02 02 04 06 04
B 01 01 01 05 07 03 03 01 03 05 07 03
C 02 02 00 04 06 04 02 00 04 06 08 02
A stands for first 10 days of the month; B stands for days from 11 to 20; And C stands for days from 21 to 30 of the month After carrying out the corrections, you plot the readings and draw the lines and arcs. The final drawing will look as under.
The East-West line is named Brahma Sutra; The North-South line is named Yama Sutra; and, the Diagonal lines are named Karna Rekhas. The entire exercise is called Dik parchheda or Prachee sadhana, which is achieving the true cardinal points. Guided by the stars The practice of determining the directions, based on the position of stars is rather ancient. TheKathyayaneeya sulba sutra mentions that the true East can be determined with reference to the position of the pairs of stars: Chiita and Swathi;Shravana and Prathi shravana;Krutthika and Prathi krutthika; and Pushya and Punarvasu , when they are 86 inches above the horizon. The text however does not detail the method to be employed. There is no description, either, of Prathi Shravana and Prathi Krutthika stars. The Shilpa texts –Kathyayaneeya sulba sutra, Raja Vallabha and Shilpa deepikamention that the line connecting the polar star (dhruva) and the two stars of the Ursa Major (Saptha Rishi mandala) , when extended would point to North.
A few points need to be mentioned by way of clarification. The exercises described were undertaken to find the geographic North Pole which is the pole about which the Earth seems to spin. They were not talking about the Magnetic North Pole. The Magnetic North Pole is currently wandering at a few kilometers per year through the far north of Canada, while the Geographic North Pole is in the Arctic.. The methods which we discussed so far were being followed by the Shiplis until about the 17thcentury .Thereafter, with the introduction of magnetic compasses, the ancient methods were given up. Now everyone goes by the compass to ascertain the directions. Yet, many feel that determing the geographic north, as the ancient did, is a superior method. Incidentally, the diagram, based on the Sanku method, for positioning the yupa, the sacrificial altar, looked as shown below. II.
Four
Types
of
Architects
The ancients mention four types of architects - the Sthapati, Sutragrahin, Vardhaki and Takshaka.
The Sthapati is the chief architect or master builderempowered to plan, design and direct the construction from the beginning to the end. He is well-qualified in Shastras and the Vedas. He is pictured as a cultured, decent man free from vices. He has the ability to direct his team. The Sutragrahin is the supervisor and is said to be normally the Sthapati's son or disciple. He is also well-qualified in the Vedas and Sastras. He is an expert draftsman or Rekhagna, who directs the rest of the work force. His job is to see that all building parts are aligned correctly. He should be able to give instructions to the other craftsmen. The Vardhaki is the painter and has made a special study of it. He is also well-versed in the Vedas. Vardhaki joins together the building elements shaped by Taksaka.
Taksaka is the craftsman who cuts and shapes the building elements. The Takshaka is also the master carpenter who is responsible for all the intricate wood work including doors, windows, pillars etc. These four classes are considered the representations of Viswakarma, Maya, Manu and Twasta, the sons of Brahma, the creator. Acharya: Acharya is the learned preceptor who gives the yajamana (one who sponsors the temple project) the necessary advice and guidance in selecting the proper site, the sthapati and other silpins. The sthapati, yajamana and the ahcarya form the trinity of vastusthapana (construction); they are compared to Brahma, Vishnu and Rudra III .Building Materials used in temple architecture The building materials that are prominently used in temple construction are the stone, the bricks and the wood (apart from earth which we discussed separately in the earlier part of this series). The Shilpa texts describe in detail the nature of these materials and the criteria for their selection, for various purposes. Let us take a quick look at these three materials. A.Stones The stones are the major ingredients in temple construction. One cannot think of a temple constructed without using stones. It is therefore natural that the Shilpa texts discuss the stones quite elaborately. The following, in brief, is the summarized observations and recommendations of some shilpa texts. The stones collected from open source such as mountain or hill are stronger and more durable as compared to those dug out of earth. Similarly, the stones or boulders dug out from the coastal areas are considered weak, as they could be eroded by the chemicals and the salt content of the sea. They are not considered fit to bear heavy loads. The reason for preferring the stones from hills or mountains could be that they are well seasoned by constant exposure to the vagaries of weather; and are unaffected by salts and other chemicals. Stone should be free from lines, patches, blotches, blots and cracks or other faults. The white lines or patches in a black or other colored stone are acceptable. But, black lines or black patches in white or other colored stones are not acceptable at all. The explanation
given is, the white lines, the patches of quartz, strengthen the rock structure; while black lines of baser materials weaken the stones. The traces of chlorite or olivine cause green or black patches and weaken the stones; therefore, such stones are not recommended for temple construction. TheVishnu Darmottara Purana talks in great detail about the faults in the rocks and the methods to test the rocks. Stones such as marble, steatite, khondalite, sandstone, basalt etc are not fit for carving a diety. They are not recommended in load bearing areas, either. They could be used in other areas, if needed. Color As regards their color, the stones are of four basic colors: white, red, yellow and black. Some of them could be tainted with traces of other colors. Stones of white color are regarded the best for temple construction. The next in the order of preference are the red, yellow and black colored stones. . It is preferable to use uniformly the stones of the same color. The Kashyapa Shilpa mentions seven categories of white stones: white as milk, as the conch, as jasmine, as moon, as pearl, as alum and as the kundapushpa (a variety of jasmine).The white stones with traces of blue or slight brown or bee-like black lines are considered good for temple construction. The red colored stones are of five types: Red as red hibiscus flower (japa kusuma), as kinsuka(bright red), as the indragopa insect, as parijatha flower, as the blood of a rabbit, and as pomegranate flower.The yellow color of the stones is of two types: yellow as the Banduka flower, and as koranti flower. The black of the stones comes in ten colors: black as the pupil of the eye, as mascara, blue lotus, as bee, as the neck of peacock, as kapila cow, as urd gram etc. ―Age‖ The stones are also classified according to their ―age‖-: child (baala), youthful (taruna) and the old (vriddha). If a stone when tapped gives out a faint sound or the sound is as that of mud, or of half burnt brick; such stones are classified as baala- the child; to mean raw or immature. The baala stones are not fit for making idols or for bearing loads. If a stone when struck produces the sound resembling the ring of a bell and if such sound resonates for quite a while, such a stone is classified as taruna youthful. Such stone should have a cold touch and a soft feel. If the stones emanate fragrance it is much
better. The taruna- the youthful - stones are fit for carving images and for crucial areas of temple. An old, the vriddha, stone does not give out any sound and has a dry appearance or has .It gives the touch and feel of a frog or a fish. It might have many holes or might be in a state of decay. Such old and spent stones are not fit for making images or for load bearing areas. ―Gender‖ Stones are also classified according to their ―gender‖. Those stones which give bronze sound at the hammer weight are called ―male‘. Those which give brass sound are called ―female‘. And, those that do not produce any sound are called genderless (neuter). A hollow stone may be taken as pregnant and hence should be discarded. When smeared with a paste, overnight, it changes its color. Shilpa Ratna describes dozens of such pates. Some stones are said to carry poisonous effects. These stones too should be tested by application a paste; and should not be used. It is suggested that male stones are used for carving male deities; female stones are used for carving female deities; and the neuter stones are used for other constructions. Further it is said, the male stones could also be used for construction of sikhara (tower) and stone walls; the female stone could be used for structures above foundations; and the neuter stones could be used for foundations. Male stones are big, round or polygonal, are of a singular shape and uniform color; they are weighty and give out sparks when hammered. When dug out, its apex will be towards north. If the apex is inclined towards north or west facing, the rock is considered inauspicious. Highly compact rocks like dolerites, bronzites, proxenites and peridoties as well as lamprophyres are regarded male rocks. A female rock is of medium weight , square or octagonal, thick at root and thin near the apex, cold to touch, soft to feel and on being struck gives out sonorous notes like that of a mridanga(drum). A neuter gender stone is one that doesn‘t give any sound on being struck and narrow towards its bottom and triangular on its upper side ; and such stones may be used only for the foundation. Coming back to the issue of acoustics in the stones, the Shilpis displayed a remarkable skill and ingenuity in crafting ―musical ―pillars, which when struck at right points produce sonorous octaves. One can see such pillars in the Vijaya Vittala temple at
Hampi; Meenakshi temple at Madurai; and at Sundarehwara temple at Trichendur. There might be such ―musical‖ in other temples too. Usually such pillars are of granite and charnockites; and of different girths and volumes to produce the right octaves.
B.Bricks (Ishtaka) Bricks have been in use for thousands of years in construction of yupa the sacrificial altars andChaithyas the early temples of the Vedic ages. Shathapatha Brahmana as also Shilpa Rathnadescribes the methods for molding and burning the bricks. The Sulba sutras and Manasara detail the dimensions of the bricks of various sizes in relation to the sacrificial altars constructed for various purposes. The remnants of the Indus valley civilization too amply demonstrate the extensive use of bricks in construction of buildings and other structures. During the later ages, the bricks were used in the temple structures mainly for erecting Gopuras the temple towers and Vimanas the domes over the sanctum. As per the descriptions given in Manasara the bricks were made in various sizes; the size of the bricks varying from 7 inches to 26 or even to 31 inches in length. The length of
the bricks were 1 ¼, 1 ½, 1 ¾ or 2 times the width .The height of the brick was ½ its width or equal to the width. Thus, bricks of different sizes, shapes, and types were made. The composition, shape and baking of a brick depended upon the use to which it was put. Interestingly, the bricks with straight and linier edges were called male bricks; while those with a broad front side and a narrower back side or those of curved shape were called female bricks. The bricks in concave shape were called neuter bricks. The male bricks could be used in the construction of the prasada, the sanctum. The female bricks were used for the sanctum of female deities. The neuter bricks were generally not used in temple construction; but were used for lining the walls of the well. According to Shukla Yajurveda Samhita, bricks were made from thoroughly mixed and pulverized earth and other ingredients. The earth was strengthened by mixing goat hair, fine sand, iron flake or filings and powdered stone. Earth was also mixed with ‗raal oil‘, etc. and thoroughly beaten and blended in order to increase the strength of the material by enhancing the cohesion of the earth particles. Triphala concoction is said to render the earth, white ants (termite) and microbe proof. Brick lying was done with the aid of moulds; and, the bricks were burnt in enclosed kilns. The works like Shilpa Ratna and Vastuvidya explain that the brick moulds were baked for 24 hours in a fire of firewood. Bricks black in color or half baked or broken or defective otherwise were rejected. The bricks should be well burnt and be of uniform color. According to Shulba Sutra, bricks measuring 22.8X11.4X5.7 cms were used in construction of walls. The Bodhayana Sulaba sutra specifies the arrangement of bricks, while constructing a wall. The brick should be directed in a dextral and laevo order. The brick ends should not be piled one over the other. The joints of the brick in each third row of brick may fall over the brick of the first row; this is the ‗Malla Lila’ style of fixing the brick, based on the arrangement of the joints of the brick. The bricks having a smooth surface are not to be set one above the other, but are to be fixed in straight line and the wall should be of an equal thickness all over. The corners of the walls should be on the ratio of 5: 3: 4 and at right angle to each other. According to the Sumrangana Sutradhara, the square of the diagonal of the wall should be equal to the sum total of the square of the width of the wall. It is said that the altar constructed for major sacrifices, bricks of about 200 types were used, depending upon the size and shape of the altar.
C.Wood Wood has limited use in traditional temple structure of medieval times. Its application is mainly for carving doors, erecting Dwajasthamba the flag posts and for other utilities such as platforms, stands etc. But, in rare cases (as in Sri Jagannath temple at Puri or at Sri Marikamba temple in Sirsi) the principal idol dhruva bhera is made of wood. The most extensive use of the wood is of course in the construction of the Ratha the temple chariot. In rare cases as in Puri a new chariot is created each year. Shatapatha Brahmana a Vedic text of about 1500 BC or earlier makes repeated references to wood and its applications. During its time the temples and the images were mostly made of wood (kasta shilpa). The text mentions a certain Takshaka as a highly skilled artist who carved wood. It names a number of trees the wood from which was used for various purposes. For instance Shaala (teak) and Kadira a type of hard wood was used for carving images, pillars, gnomon (sanku) and other durables. Certain other trees are also mentioned as being suitable for pillaras, posts etc: Khadi, Shaal, Stambak, Shinshipa, Aajkarni, Kshirani, Dhanvan, Pishit, Dhanwalan, Pindi, Simpa, Rahjadan, and Tinduka. Trees such as Nibaka (Neem), Panasa (jackfruit), Asana, Sirish, Kaal, Timish, Likuch, Panas, Saptaparni, wood are said to be best for roofing work. Coconut, Kramuk, Bamboo, Kitki, Oudumbara (silk cotton etc. wood is suited for hut constructions, ribs and rafters etc. However use of certain trees considered holy or godlike was not recommended in temple construction. The trees such as Ashwattha (Peepal), Vata, Nagrodha (banyan),
Chandana (sandalwood), Kadamba, Badari, Shami, Bilva, Parijatha, kinsuka, and Bakula, were some such sacred and godlike trees. Chandana, Kadira, Saptaparni, Satwak, etc. were used for engraving and carving artwork. The southern text Shilpa Rathnam states that the wood from the following is not suited for temple construction.; Trees from a place of public resort, trees from a village or from the precincts of a temple, trees that have been burnt, trees in which are birds' nests, trees growing on anthills, trees in which are honeycombs, trees fruiting out of season, trees supporting creepers, trees in which maggots dwell, trees growing close to tanks or wells, trees planted in the earth but reared by constant watering, trees broken by elephants, trees blown down by the wind, trees in burning-grounds, in forsaken places, or in places which had been paraclieris, withered trees, trees in which snakes live, trees in places where there are hobgoblins, devils, or corpses, trees that have fallen down of themselves, - these are all bad trees and to be avoided. Age The lifetime of a tree was regarded as 103 years. The trees under the age of 16 were Baala – child trees; and those above 50 years of age were Vriddha- trees in their old age. The trees between the age of 16 and 50 years were regarded most suitable for construction of temple and homes. Tall trees of uniform girth without knot and holes, in their youth, grown on dense hilly regions are most suited for construction of pillars. The trees that are white under the bark are in the best category; followed by those having red, yellow and dark interiors; in that order. The juicy or milky trees are preferable. Gender The trees that are round from the root to its apex, give a gentle fragrance, are deep rooted, are solid and temperate may be taken as masculine trees, yielding male wood. The feminine trees have slender roots and are thick at apical part, but a much thicker middle part with no fragrance or odor in the wood. The wood should be straight and without any knot, crevice or cavity. The structure built by joining such male and female wood last for centuries Neuter Trees
Slender and long in the middle of the trunk and having a thick head, is a genderless tree. While the male trees serve for pillars; female trees for wall-plates, beams, and capitals; the hermaphrodite trees serve for cross-joists, joists, and rafters. Agastya Samhita has described the wood that is to be used in a chariot, boat or an aircraft. A youthful and healthy tree should be cut and its bark removed, thereafter, it should be cut in squares after which are to be transported to the workshop where these pieces should be stored upon spread out sand in an orderly manner for 3 to 8 months for seasoning. The root and apex sides must be marked because in pillars the root side is to be kept down and apex part up. As far as possible, only one type of wood may be used for one particular construction. The use of more than tree types of wood in a construction is not recommended. It is said the ISI standard A-883-1957 regarding a wooden items is based on the specification s mentioned in the ancient Indian Texts Precautions in the selection of the building materials: No used building material should be used. Stolen and renovated material should never be purchased. Materials confiscated by the King should not be used. The wood culled from the trees cut down in a cremation ground; temple, ashram or shrine should not be utilized. IV.Ayaadi Shadvarga Ayadi _shadvarga is a matrix of architecture and astrological calculations. According toSamarangana Sutradhara Ayaadi-shadvarga is a set of six criteria: Aaya, Vyaya, Amsha, Nakshatra, Yoni and Vara-tithi, which are applied to certain dimensions of the building and its astrological associations. The purpose of the exercise is to ascertain the longevity of the house as also the suitability to its owner. These norms are applied to temples too. The term Aaya could be taken to mean increase or profit; Vyaya - decrease or loss; Nakshatra,- star of the day; Yoni - source or the orientation of the building; Vara- day of the week; and Tithi - the day in lunar calendar for construction of building and performing invocation of Vastu Purusha. The area of the structure is divided by certain factors assigned to each element of the Aayadi Shadvarga; and the suitability or longevity of the building is ascertained from the reminder so obtained. For instance, if the plinth area of the house is divided by 8; and the reminder is either 1 or3 or 5, then these are called Garuda garbha, Simha garbha and Rishabha garbha, which are auspicious. Hence the plinth area of the building should be manipulated or altered to arrive at an auspicious reminder. The rule is also applied to ascertain the longevity of the building. According to this method the total area should be divided by 100 and if the reminder is more than 45, it is
good and if it is more than 60 it is very good. For instance,If the length of the house 11 meters, and the width 5 meters, then its area is 11 X 5 = 55 sq.mts. Multiply the area by 27 (Nakshatra factor) , 55 X 27 = 1485. Divide the product 1485 by 100. The remainder is 85,-which indicates the projected longevity of the house. Since the reminder is more than 60, .it is a very healthy result. There is another method for arriving at the Aayadi value. The result is categorized in to eight types of Aayas. According to this method, the area (length X breadth) is multiplied by 9; and divided by 8. The reminders 1 to 8 are interpreted as good or bad, as indicated in the following table.
Aaya Symbolizing Reminder Interpretation Dhwajaya Money 01 Good. Brings wealth Dhumraya Smoke 02 Not good. ill heath of the head of the family and spouse. Simhaya Lion 03 Very Good. Victory over enemies; health ,wealth and prosperity. Shwnaya Dog 04 Bad. Ill health and bad omens. Vrishabhaya Bull 05 Good. wealth and fortune. Kharaya Donkey 06 Very bad. Head of family will turn a vagabond; premature death in family. Gajaya Elephant 07 Good. Life of head of family and members brightens; improvent in heath and wealth. Kakaya. Crow 08 Very bad. Sorrow to family; and no peace. Manasara says ―When there is more merit than demerit, there is no defect in it; but if the demerit is more than the merit, it would be all defective.‖
