Temple Architecture Devalaya Vastu Part Five (5 Of 7)

Sreenivasarao S / Blog / 5 yrs ago / 5

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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 its 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 mentionsOnly 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 angulas 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.)

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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 translated 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 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 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 Acharyas and Shilpis 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; vasanta-mantapa, 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 bali-pitha 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 its 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 flatroof (kapota) of the sanctum is overlaid by a single square stone slab known in the texts as Brahmaranhra-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.

***** Let us briefly go over the features of each of these aspects in the next post.

CONTINUED in the next part->