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Shape and geometrical study of fractal cosmology through Orissan Temple

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Article · January 2013

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Partha Sarathi Mishra

National Institute of Technology Rourkela
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 Shape and geometrical study of fractal cosmology through Orissan Temple architecture
Abstract
Taking into account many Orissan temple forms are based on fractal forms and geometrical appearance.
The idea of fractals characterises substances that display various classification of scaling. A portion of such a
substance, on existence enlarged, displays an arrival and belongings that are very alike to the entire. When each
part is geometrically alike to the entire, such a form is known as self-similar. Self-similar forms overspill in trees,
mountains, nature, clouds and lightning, river deltas and coastlines - all display self-similarity. It has been
projected that fractal geometry delivers a nearer mathematical ideal of numerous forms in nature than is likely
with traditional geometry. Though the presence of the appearance of self-similarity in the natural creation has
been experiential and known for a time. As it is known fact that all temple forms are derived from the nature, this
paper aims to find out the fractal geometry hidden in the Orissan temple form of architecture.
1.1 Introduction
The architecture of Orissan Hindu temples is considered by certain typical elements. The most established
is a kind of jaggedness of each edges and surfaces. This sharpness results from splitting or breaking of forms into
sub-forms. This typical temple architecture is massive and needs an appreciative nature not only of Hindu
philosophy but also the nature of rituals, religious practices and temple worship in Hinduism. This is to be neither
comprehensive nor exhaustive in explaining these concepts. And only describe, in a simplified manner, some of
these concepts and how they affect the form of temple architecture geometrically.
1.2 Basic geometrical forms as Symbolism
To show these proposals representatively in graphical form, elementary geometrical facts such as point,
circle, triangle, square etc. were allocated different symbolic meaning. These are Orissan holy art to signify the
basic dynamisms of the cosmos. These representative geometrical facts were then connected with each other and
try to solve the cosmic issues featuring development or ending. (Chand, S. July-2005)
In Indian holy art, the 'point' (Bindu) is measured as the basis of all formation. It signifies concentrated energy,
the elemental centre. From this centre create the various lines, angles and circles concluding in different shapes. A
point can be measured as a circle with no radius. It can also be consider as a triangle with no area, a point where
there would-be three vertices meet, all shapes are possibly present in the point.
The circle (Brutta) signifies the principle that has no starting, no ending and which is perfectly regular. It
specifies the source of energies from the one centre. The Circle is considered as all Universes, according to
Vastusutra Upanishad.

The triangle (Tribhuja) is the elementary linear character of enclosure. Since space cannot be framed by less
than three lines, the triangle is considered as the first symbolic form to arise from the confusionof previous
formation. The descending pointing triangle is signifies of the female principle, while the rising pointing triangle
indicates the male principle. The combination of these two triangles indicates the idea mixture of polarities: the
male and the female; matter and spirit; the static and the kinetic in a perfect state of harmony.
A square (Chaturbhuja) represents the noticeable world, the stable linear form representing the earth. It is the
important arrangement of the most of the pure holy structures, meaning the terrestrial world that must be exceeded.
From these basic forms of Orissan temple structures, many different geometrical diagrams signifying the
various symmetries and energies of the cosmos are constructed. These diagrams are used as thoughtful instruments
to wake in one these energies. The drawings are variously named Mandalas, Yantras, and Chakras.'Mandala' is a
Sanskrit term sense polygon. In ritual drawings Mandalas mean 'Whole-ness'. Previously the chosen forms are
circles and squares. Traditionally, the circular
mandalas are characteristic of the cosmos in its
whole and the square symbolise of the earth and of
the man-made world. 'Yantra' is also an intellectual
geometrical design intended as an instrument for
meditation. The Sanskrit word 'Yantra' originates
from the origin 'Yam' – sense to sustain, hold or bind.
Yantra is a tool, a store-house of energy. Though
mandala is cosmic, Yantra tells to an exact feature of
cosmic power and may be the representation of a
Figure 1 Vastupurasha mandalas of 8 x 8 (64) & 9 x 9 specific goddess, an exact yantra surrounding in it in
(81) squares Source Trivedi, K, (1989) a manageable form of the unmanageable image of a
deity. Every yantra is a sacred inclusion, a dwelling
or a container of a selected deity. It is an alternative for an anthropomorphic copy of a divinity and is an intellectual
conversion of the qualities and powers of the deity.
1.3 Temple plan cosmology
According to Vastu-Shastaritual, the ground-plan of every Hindu temple must generate to a mandala
named the 'Vastu-purusha-Mandala'(Fig-1). Uncountablereputation is devoted to the founding of the Vastu-
purusha-Mandala, since it functions as a geometrical illustration of the necessary construction of the universe, a
symbol of the ordered cosmos. The Vastu-purusha-Mandala is not a precise copy of the temple, but a 'forecast', a
pattern of the potential within which an extensive range of options are presented. The mandala is an ideogram
while the temple is a physical appearance of the ideas it symbolizes. (MdRian I, 2007)
Conferring to the agreements of Vastu-Shasta, all
architectural structures should follow the square and the square grid,
as the square symbolizes the manifest world. However, as the
cosmos is signified by the circle representatively, the procedure of
making an architectural model of the cosmos involves the
representation of a circle in a square grid in two dimensional
structures and of an ellipsoid in a cubical network in three
dimensional constructions. A procedure of discretization of all coiled
methods is required by this need to signify them in a square grid,
which results in the typical jaggedness of the temple plan. (Trivedi,
K, 1989)(Fig-2)
Permitting to Vastu-Shasta manuscripts, a sequence of 32
kinds of Vastu-mandalas is supposed to be, continuing from a plan
of one square to one (1x1) to one with 1024 (32x32) square portions,
i.e. having a side length of 32 units. The two most usually used
Figure 2 Circle in successively finer square grids Vastu-purusha Mandalas are those having 64 (8x8) and 81 (9x9)
and the resulting jaggedness Source Trivedi, K, (1989) squares (Fig-1). The growing numbers of subdivisions are required
to signify the gradually increasing complexity and details of an
evolving cosmos (Fig-2). The simple, smaller temples based on the smaller mandalas signify the early stages of
evolution, while the largest temple contains all the component parts and complexity of a fully evolved cosmos.
1.4 Fractal elements in Orissan Hindu Temple
In portraying a developing cosmos of rising difficulty,
which is self-copying, self-formatting, self-look alike and self-
motivated, several geometrical creation processes are followed in
the architecture of Orissan Hindu temples(Deheja, V. 1979). The
development associated evolution cannot be spoken just by
scaling; there is also a development in the complex structure of
the developing shapes. The processes used are recursive and
formative, visually complicated forms.Plain earlier forms through
conjunctive presentation of making rules that are alike to the rules
for producing fractals. Many other directions may be followed to
create different portions of the temple.The whole temple form
results from a difficult connecting and grouping of these separate Figure 3 Transition from Square to Circle form
3D forms in a combined entire. of Garbhagriha Source Trivedi, K, (1989)
Some major procedures to generate complex shapes
and patterns, which can be identified, are:
1. Fractalization
2. Self-similar repetition in a reducing scale
3. Repetition, superimposition and juxtaposition (Trivedi, K,
1989).
1.4.1 Fractalization
Numerous other methods of fractalization to realize great
visual stability to express the impression of multiplying and
development are originate in current Orissan Temple. The
plan shapes of ‘vimana’ are changed from internal square
shape to changed circular shape in the time change (Fig-3).
Figure 4 Increasing amount of Self similar projections in
numerous types of base plans Source Trivedi, K, (1989)
Splitting or breaking up a motifs and restating it vertically, horizontally or radially around the unique theme. Such
designs are usually originate in ceiling part of the
temple.
1.4.2 Self-similar repetition in a reducing scale
A recursive process connecting self-similar
repetition in a progressively shrinking scale is often
used to produce the shapes of different elements of
the shrine.In its simplest shape, it could be dvi-Ratha,
having only two propagations: bhadra also called
ratha, (central offset) and kanaka or kona (corner). In
the tri-anga temple, an additional member called
prati-ratha (companion of ratha) is inserted between
the bhadra and karna. In the chaturanga plan, a
nandika (half the size of pratiratha) is added between
the bhadra and the pratiratha. In a panchanga plan,
an additional nandika or its half- the konika is
inserted between the karna and the pratiratha.
(Kundu,A. 2009) (Fig-4 and Fig-5) Figure 5 Orissan Temple showing Self similar repetition in a
An often seen subject on the external walls of reducing Scale Deheja, V. (1979)
temples is produced by fractal process on a triangle in
three-dimension, and the subsequent shape is further overlaid with another ornamental design(Karmisch, S.1946).
The most complex and visually pleasing samples of self-similar repetition in 3D are originated in the shikhara
element of the shrine.
1.4.3 Repetition, superimposition and juxtaposition
The replication of equal forms, either in
the vertical, in the horizontal, or
vertically as well as horizontally, is
another frequently used procedure to add
visual complexity to the temple form
(Fig-6). The directions of replication and
decrease act jointly, Stella Kramrisch
describes the significance of these
Figure 6 Different Shikharas increasingly of repetition, superimpose processes in her book. Dissimilar motifs
to each other Source Trivedi, K, (1989), are overlaid in 3D upon each other;
motifs are inscribed within dissimilar
kinds of motifs and numerous other types of ideas and motifs are reduced and contrasted collected into one
complex new object. Together, all these operations create the total temple form crawling with complex detail,
vibrant, dynamic and self-similar like the cosmos it is supposed to signify. (Trivedi, K, 1989)
1.5 Conclusions
The typical shape and geometry of Orissan temple architecture can be explained by temple forms, fractals
geometry behind the temple elements, symbolism of basic geometrical forms and the cosmology behind the temple
form and its elements.The typical plan of a Hindu temple is an illustration of sacred geometry where the temple is
representation of the mandala. The mandala is the sacred form consisting of the intersection of the circle and the
square. In the Orissan Hindu architecture, temples were based on the geometry of the Vastu-Purusha-Mandala. For
the future research, Fractal elements are present in the temple forms and are directly or indirectly related to the
Vastu-Purusha-Mandala. Because of the astronomical movements and planetary positions many analysis can be
approach for the development of architecture and other field of architecture as well.
1.6 References
1. Chand, D. S. (July-2005). “Orissan Temple Architecture”. Orissa Review, 49-51.
2. Deheja, V. (1979). “Early Stone Temples of Orissa”. New Delhi: Vikash Publishing House Pvt. Ltd.
3. Karmisch, S. (1946). “The Hindu Temple”. New Delhi.
4. KunduAnish, (July, 2009), “Orissan Temple Architecture: Symbols of cultural heritage”, Architecture –
Time Space & People, pp-32-44.
5. MdRian I, Jin-Ho Park, HyungUkAhn (2007). “Fractal geometry as the synthesis of Hindu cosmology in
Kandariya Mahadev temple, Khajuraho”. Building and Environment. PP 4093-4107.
6. Trivedi, Kirti. (1989), “Hindu temples: models of fractal universe”, The Visual computers, pp-243-258.
 Author Details
He is working as Asst. Prof. in GITAM School of Architecture, GITAM University;
previously he has done his Master in Architecture in IIT, Roorkee and B. Arch, in
ABIT-PMCA, Cuttack. He has done his master’s thesis in “Shape and Geometry of
Orissan Temple Architecture”. He has a keen interest to exploring the lost architectural
elements in terms of design and planning issues and their hidden geometrical aspects.

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