Temple Layout
South elevation plan of Kailash temple is Plate LXXX11 from the book “Cave temples of India” by Ferguson, James and James Burgess (Thanks to Dr.JB Ratti)
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.
The drawing of the court yard of the Shiva temple at Thiruvālangādu, by the famous artist Silpi.
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.
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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.
The 9th-century Temple at Borobudur , Central Java, Indonesia is built upon six square platforms topped by three circular platforms , resembling the Sri Yantra. Even the ancient temple of Sri Vishwanatha of Kashi that was later destroyed by Aurangzeb , during 1669 CE, was in form a square , with the sanctum at the heart of it.
Plan of the Ancient Temple of Vishveshvur, by James Prinsep
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 Buddhist temple at Neak Pean at Angkor, Cambodia was also designed by aligning squares around the central square.
The following is the layout of a Jain temple.
This is the layout of the Aksharadhama temple at New Delhi
Ankor Wat Layout
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, Tulsi ( Basil) plants 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 Vastu-purusha 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 (8×8) the whole square would be divided by the two axes that go North-south and East-west.
In the case of Parama Saayika Mandala (9×9) , 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 , South-East , 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 thebrahmasthana (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), the vimana (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 a little 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 thebrahmasthana, as drawn on the grounda ritual is performed calledgarbhadhana, 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 thevastu-purusha-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 theenergy 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.
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Temple Layout and its symbolism
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 circumnutating 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 Indian temple-concepts were the earliest to relate the human figure as the basis of a system of proportion. It was later, centuries after, that Leonardo da Vinci and Le Corbusier demonstrated it as a Modular system of measurement.]
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 Ardha-mantapa (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 Nrtta-mantapa) 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 Shikara (superstructure over the Garbhagrha) the head, the Kalasha (finial) the tuft of hair (Shikha) 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 fulfilment 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.
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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, Ilayathakudi ( near 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 Saptha Mathrikas, the seven female divinities, have their shrine in the Prakara behind the shrine.
Please also see the Floor plan of Ilayathakudi Temple), based on a drawing by Sri V. Thennappan, Devakottai,
Please also see the layout of the temple at Tiruvannamalai
The Shakthi temples have their layout with shrines for other manifestations of the Mother Lakshmi , Saraswathi , Durgi , Chamundi and related goddesses.
Sources:
A. Maps of Madurai and Sri Rangam
By courtesy of Kultur in Indien
B.Other pictures from Internet.
C. Devalaya Vastu By Prof. SKR Rao
D.Kashyapa Shilpa Sastram by Prof.G Gnanananda
sreenivasarao's blogs 
merchant cash advance
April 24, 2013 at 4:49 pm
I visited several blogs however the audio feature for audio songs existing
at this site is truly marvelous.
sreenivasaraos
July 24, 2013 at 4:44 am
Dear Merchant Cash Advance, Thanks. Please read the articles too. Regards
http://picowiki.com/
July 24, 2013 at 4:36 am
Its like you read my mind! You seem to know so much about
this, like you wrote the book in it or something. I
think that you can do with some pics to drive the message
home a little bit, but other than that, this is great
blog. A great read. I will certainly be back.
sreenivasaraos
July 24, 2013 at 4:41 am
Thank you Picowski for the visit and for the appreciation.
I thought the post carries adequate pictures to support the narration.
In any case , please do read the other articles too. Regards
lahari
June 21, 2014 at 2:42 am
Sir…plss put this into a pdf format
sreenivasaraos
June 21, 2014 at 3:27 am
Dear Lahiri, Thanks for the visit.
I do not know how to do that.Sorry.
And, how would that help to better the article; and its readability.
Regards
sreenivasaraos
March 17, 2015 at 3:32 pm
i met a sthapati .. it must have been years back. he said the units in the temple for measurements are not the same across. and in one place in the temple the unit is given . much like the defenition of meter or any other unit…is it so?
i thought that the navagraha are represented in the structural construction .. as also representing the direction.
i am surprised to find the ancient vedic deities who have disappeared from the human psyche like diti, aryaman etc
sanakaracharys codified the sanatana dharma into shanmathas. was there no such reclassifiaction doen on the shilpa shastra…seems to br very archaic…..
shankara charya establshed the dhana chahkra they say in thirumala . what is ths concept . does it come under the defying process which i hope you will cover or is it sanctifying the brahmasthana. is it part of gharbadhana?
why should construction start from nw ‘i thought isana moola was the best palce to start the construction?
i am not able to find the logic of placement of th evarous postions in and around the brahamasthana….any logic you can decode….
the richness of symbolism is mind blowing.
the laypout from the gopura to the dwajasthamba and the garbagraha compared to the human body in the picture shown is very very absorbing and by iteslf rich with symbolisms…
can you look at the symbolism and the meanings behind this….
it was very absorbing
DSampath
sreenivasaraos
March 17, 2015 at 3:34 pm
dear Shri Sampath,
thank you for the comments and for giving a thought to the post.i shall try to briefly answer your points. I am not sure i have satisfactory explanations for all those points. let me try.
1. as regards the measurements, i am posting about the measures and other norms generally followed in the last part (part seven).
let me mention that, there are various measures mentioned in the texts. there is no standardization across the board. but, each school follows its traditional norms.
for instance, the old Sanskrit texts mention these measures:
anu or paramanu the particle was the smallest measure.
8 anus= one ratha renu (grain of dust);
8 ratha renu = one valagrasa (insect);
8 valagrasa =one grain of yava;
4 yavas = one angula;
12 angulas = one vitasta (span)
2 vitasta = hastha (cubit) = 25 angulas
27 angulas= dhanurbhagha (handle of a bow).
the southern texts, particularly a Tamil text called silpam ( perhaps a translation of an ancient text) mentions the following tables:
the standard measures are hasta (cubit) and danda (equal to four hasthas or four cubits).
one hastha = one cubit= 45 cms; four hasthas = one danda= 96 angulas; one hastha =24 angulas = 45 cms. thus one angula = 1.875 cms.
but, for very fine and intricate carvings, the measurements are incredibly minute. look at this table:
eight anus (particles) = one nulu (breadth of a fine cotton 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.
i southern norms, i understand, are still in use.
2. as regards the codification of the norms and rules, as i mentioned in part one, there was proliferation of texts and mayamata and manasara represent attempts to bring some sort of an order into the system. there cannot of course be one standard text for all India and for all purposes. each school of architecture dravida, vesara, nagara and kalinga nagara has its own tradition, style and norms. there is some standardization within a school of architecture; as each school tries to hold on to its tradition. it is analogous to the gharana system in Hindustani music. but, fusion and synthesis of systems do take place as one tries to explore various avenues for expression. the walls do melt away , rather slowly.
3. some believe, Sri Shankara installed a dhanakarshana chakra in the shrine of tirumala. there is no evidence of any sort in support of that belief. that chakra had nothing to do with garbadana or sanctification. the tirumala idol predates Sri Shankara by about 1100-1200 years; that chakra, if there was any, could not have anything to do with garbhadana, a ritual connected with the building activity.
4. temple construction is thickly involved with astrology. it is a jungle. i deliberately side stepped those aspects. instead, i tried to focus on the theories, symbolism and illustration to explain the concepts.
there is also very elaborate lists of omens – good and bad. the Shilpis do take these seriously. i have tried not to step into those areas.
5. Vedic deities have practically faded out of our daily practices . and , temple vastu is no exception. please see the gods that faded away. please read the series on rig veda.
6. as regards the placement of deities around the sanctum, i thought i explained it. each persuasion such as, vaishnava- vykhanasa and pancharatra; the shaiva; and shaktha has its own scheme of things and order. the subsidiary shrines and the vimana motifs depend on the doctrine of those persuasions and practices of those schools. i have given the illustrations of sri vaikunta perumal temple (panchratra); tirumala temple (vaikhanasa), shiva and shaktha temples too.
7. as regards , the symbolism of comparing temple with human form , i thought i explained it, while talking about vastu purusha. the faith that the universal energy, the human and his creations are all one ; and that many is really the manifestation of one, is fundamental to vastu purusha mandala and to sri chakra. both represent the same principle. ultimately, one has to realize his identity with the supreme.
Brahmasthana and the Bindu both represent the origin and absorption of existence.
the same theme came up while talking about Sri muthuswami dikshitar, sri yantra and sri vidya.
the temple like the chakra is the physical manifestation of the divinity; and one has to learn to wade through the sea of symbolism.
8. commencing from NW, i am not sure.i have to check up with someone who knows. sorry about that.
thank you for the comments.
Regards
sreenivasaraos
March 17, 2015 at 3:38 pm
but i am wondering .. you should compile all this in a book form..this is rare ,brilliant well chronicled and wonderfully articualted material.. well researched too.
frankly i have not come across a blogger with such deep comittment and researching rigour like you.believe me the insight that iam deriving out of your writing is not just informative but spirtual.. you are indeed a rare relic of the ancient wisdom….
iam now trying to unveil secrets of the symbolism of
mandalas. may be i will get a dream
may god give you all that is great ,good and beneficial…
only very fortunate souls have access to this vidya..
if you were born a thousand years earlier you would have been hailed as a great rishi….
i feel like crying whaen i find that there are very few who want to unearth the pearls of wisdom from the seers of the distant past who talked in language of symbols and patterns. my work in groiup therapy is largely based on language of the patterns and symbols….
please do take your own time in answering..
DSampath
sreenivasaraos
March 17, 2015 at 3:36 pm
Dear Shri Sampath,
thank you for your generosity.
i am just a clueless old guy who spends his time at the PC (and ,that is not his PC too. !!).
whatever i am writing, say about rig veda, sri sankara, vedanta, sri chakra, the buddha and buddhism, history, sri muthuswami dikshitar , greek drama , charecters in mahabharata and other subjects; is both a means and an end.
It is a means, in the sense i am discovering a few things; and also is an expression to many things i came across and learnt. in a way i am a warehouse of useless bits of information. yes, i am a relic.
Sulekha and others, offers a pretext to align the facts, concepts and interpretations cogently in a readable form. else, i lacked either the need or the discipline to write regularly. for that reason i am not overly worried about hits or votes.but , am thankful for the opportunity.
but, at times the comments (apart from thumb ups and goody words without explain why) do help you to think; and a few times they nudge you to write on a subject with which you are just familiar but not very well. for instance, i might not perhaps have written on temple architecture but for your comment on another blog. that surely did help.
i am thinking of writing on the Buddha, again; and this time about zen and meditation etc. trying to give a form to a few things i picked up, before it is rather too late.
as you may have noticed, i am not good at creative fiction; and a noted blogger on sulekha described me as “the guy who writes about dead persons who do not contradict.”well, that might be partly true; because even the dead have their own ways of creating contradictions and history, inconveniently, is full of them.
as regards writing a book, i am not sure i am up to that. it again will have no readers. after i posted a set of eight articles on sri muthuswami dikshitar, his music and sri vidya; many suggested i should bring it out in a book form. strangely, within in a couple of days i found the entire series posted on the page of a mahila sangham, in service of the ambal. therefore, the publicity and dissemination aspects appear to be taking care of themselves. who needs an author ..!?
what you said about symbolism in ancient texts is very true . they are very rich and very fascinating. some of those texts are like a pattern of labyrinth. for instance, anu gita , a text of fourth century b.c, interpolated into Mahabharata is a rather obscure text. i hardly find any discussing it. but, it is very rich in symbolism and is nontraditional too. try reading it. you can start with anu gita , before you launch into the book. but is , narration is tedious and many times the meaning is not clear.
the other text is astavakra gita , and it is readable
thanks for pampering.
have pleasant dreams.
Regards
H.Manjunath.Pai
July 6, 2015 at 2:44 pm
Now,my visiting the old temple may become meaningful.Great Knowledge. Many youngsters don’t know the meaning. Make it useful/interesting to next gen.by giving it some amount of publicity.
sreenivasaraos
July 6, 2015 at 3:02 pm
Yes
Please do also read the responses and comments
Thanks
kannan
March 19, 2018 at 7:16 pm
Dear Sreenivasa Sir,
I am from Canada and I came across your site during my research for building a new temple. We are planning to build a Shivan Temple and I am more focused on size between each mandapam. Is there a particular site or book that we can follow?
Thank you
Kannan
sreenivasaraos
March 20, 2018 at 6:47 am
Dear Shri Kannan, Thank you for the visit. It is good to learn that you are attempting to erect a temple in Canada.
The articles I have posted on temple design and architecture are based mainly in the ancient texts. These do bring out the principles, practices and norms of temple architecture. And, they, indeed, are educative and useful in understanding the theories of temple design and its purpose.
But, what you are looking for, I presume, is the application of those principles. It would, therefore, perhaps, be more useful if you could go by the experience of those, similar to you, who constructed temples, particularly, in western countries.
While doing so ,you could adopt a project approach which , inter alia, includes clearly defining your objective; the overall dimensions; the specific details of the individual components; layout ;designs of each component ; locations , directions etc.
Another factor is that unlike in South India, the temples in the West tend to be ‘Temple Complexes’, accommodating various deities under a single roof. Therefore, it has to device its own design.
Further, the type, location and size of the Mantapas, are related to the overall size and design of the temple.
Please also see the Categories of the Floor plans of Hindu temples
**
There are of course many Temple-projects in the West. Most of those are drawn up very systematically. And, the one that quickly comes to my mind is the design of a Hindu Temple in Auckland, NZ.. Please do take time and read this closely.
The project designers seemed to have gone about methodically. You may see their project report .
There are, of course, many more of such projects. You may please look around for the one that would serve you as a model. And, you may even come up with your own design, which could guide others.
Please also see the design of the Hindu Temple of Wisconsin; and its ground plan.
**
You may also read the research paper which analyzes, and interprets the architecture of the Temple at Eads, Tennesseee, USA
There are similar research papers which discuss the temple architecture and design, in general terms, taking broader perspective. For instance; try the following
Construction of a house for Viṣhṇu
The South Indian Hindu temple building design system A paper which, among other things , talks about dimensional analysis.
Agamas and Indian temples: graphical translation and analysis.
Building Science of Indian Temple Architecture
**
I am not sure if such tour de France type of response really helps you.
I trust It would, at least , serve you as a starting point. Further, you may consult an experienced Stapathi.
In any case, please keep in touch; and, let me know how well you are faring
Good Luck and God Bless you
Cheers
kannan
March 21, 2018 at 7:00 pm
Hi Sir,
Thank you very much for your input with details analysis. Yes, absolutely you are correct, this is the reason that we are getting opinion and comments from various sources. Since our size is limited and we don’t plan to change our “Lingam” . We want to have shivan timple with proper size and Agamas. I will surely send you the information once we finalized our floor plan. Currently, we are talking to one of the isabathy from south India. I would like to know whether you suggest any name to give an opinion about our floor plan or provide a plan based on our Lingam size and land size.
Thank you again,
kannan
sreenivasaraos
March 20, 2018 at 5:39 am
Dear Shri Kannan, Thank you for the visit. It is good to learn that you are attempting to erect a temple in Canada.
The articles I have posted on temple design and architecture are based mainly in the ancient texts. These do bring out the principles, practices and norms of temple architecture. And, they, indeed, are educative and useful in understanding the theories of temple design and its purpose.
But, what you are looking for, I presume, is the application of those principles. It would, therefore, perhaps, be more useful if you could go by the experience of those, similar to you, who constructed temples, particularly, in western countries.
While doing so ,you could adopt a project approach which , inter alia, includes clearly defining your objective; the overall dimensions; the specific details of the individual components; layout ;designs of each component ; locations , directions etc.
Another factor is that unlike in South India, the temples in the West tend to be ‘Temple Complexes’, accommodating various deities under a single roof. Therefore, it has to device its own design.
Further, the type, location and size of the Mantapas, are related to the overall size and design of the temple.
Please also see the Categories of the Floor plans of Hindu temples
**
There are of course many Temple-projects in the West. Most of those are drawn up very systematically. And, the one that quickly comes to my mind is the design of a Hindu Temple in Auckland, NZ.. Please do take time and read this closely.
The project designers seemed to have gone about methodically. You may see their project report .
There are, of course, many more of such projects. You may please look around for the one that would serve you as a model. And, you may even come up with your own design, which could guide others.
Please also see the design of the Hindu Temple of Wisconsin; and its ground plan.
**
You may also read the research paper which analyzes, and interprets the architecture of the Temple at Eads, Tennessee, USA
There are similar research papers which discuss the temple architecture and design, in general terms, taking broader perspective. For instance; try the following
Construction of a house for Viṣhṇu
The South Indian Hindu temple building design system A paper which, among other things , talks about dimensional analysis.
Agamas and Indian temples: graphical translation and analysis.
Building Science of Indian Temple Architecture
**
I am not sure if such tour de France type of response really helps you.
I trust It would, at least , serve you as a starting point. Further, you may consult an experienced Stapathi.
In any case, please keep in touch; and, let me know how well you are faring
Good Luck and God Bless you
Cheers
RAJI REDDY
April 28, 2019 at 12:31 pm
Thank you very much.
Very Useful information about temple vasthu.We want Temple Gates Position , How many gates ?
We are requesting for u Our Temple dite Este facing ,one Gate East onether gate South ?????
sreenivasaraos
April 29, 2019 at 1:16 am
Dear Raji Reddy
Please let me know whether you are referring to the Doors (Dvara) of the inner temple ; or to the gates to the outer enclosure
Regards
R Srihari
November 14, 2022 at 8:43 pm
Sir
kranthi
March 14, 2023 at 8:39 am
Dear sreenivasarao,
Great work on indian ancient work. thanks
sreenivasaraos
March 14, 2023 at 10:58 am
Dear Kranthi
Thank you for the visit ; and, for the appreciation
Regards