Pillars of Hindu temples- Complete Compendium (original) (raw)
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Secrets of a Hindu Temple Part 5 of the Hindu temple Architecture series of papers
Indo Nordic Author's Collective, 2020
Agama Shastra And Temple Worship -Every facet of a traditional Agamic temple is rich in mystical significanc The Hindu temples are complex institutions. They represent the culmination of social and religious aspirations of a society. Temple is the focal point in the life of a community and often represents its pride, identity and unity. It is also the index of the community’s well-being. It draws into its fold people from its various segments and denominations; and binds them together. In smaller communities the temple apart from being a source of spiritual or religious comfort, also serves as centre for education and recreation.
ELEMENTS OF INDIAN TEMPLES Part 7
Indo Nordic Authors’ Collective
ELEMENTS OF INDIAN TEMPLES Part 7 Amalaka } Paper 7 • Kalasha } Paper 7 • Antarala } Paper 7 • Vahana } Paper 7 • Jagati: Covered in Paper 7 a
ELEMENTS OF INDIAN TEMPLES Part 7 of the
Plan: The earliest architecture in India is that of cottage type. It is a circular, bottle or dome shaped. Mud and Bamboo sticks were used for construction. In the course of evolution number of plans were incorporated in the temple architecture, such as circular plan, square, rectangular, elliptical, upsidal, stellar, etc. A text like Manasara mentions 32 types of square plans 1. Plan is essential for any structural temple. Plans of the temples depend upon the number of components that existed within the temple. The simplest plan of the temple consists of a garbhagriha and sabhamandapa or porch. This simple plan does not imply that the structure belonged to the earliest period. The temples constructed in the later period also have simple plans. Construction of a temple depends upon the financial position of the builder. When an antarala is added in-between garbhagriha and mandapa, then the plan of the temple hecomes little larger. When a pradakshinapatha (circumambulatory path) is added to garbhagriha and antarala, the plan of the temple becomes wider. Then it is called as Sandhara' temple. In the course of time, number of components of the, temple increased like mandapas, shrines for subsidiary deities; priikaras, etc, and the plan of the temple became large and wider. Mandala: With the arrival of Agamas in Hindu religion, the details of architecture became more sophisticated in the temple and reflected the fundamental symbolism of Mandalas. The Yoga Tattva Upanishad speaks about the symbolism in terms of the five fundamental elements that constitute the material basis of the entire cosmos. Earth elements are represented by' a 'Square', Water with a 'semicircle', fire by a 'Triangle', air by a 'six-angled figure' and ether (sky) by a circle. The point without dimension dot (bindu) is the focus of all energy. The icon in the sanctum occupies the central position and the temple represents the other necessary forms. The architectural details of a sophisticated temple reflect this fundamental symbolism. The above five forms are represented in a Mandala known as Vishva-Karma Mandala,' which is regarded as fundamental to all temple architecture 3. The four sides of the Mandala symbolize the four main directions and the corners of the square represents four mid-directions and each of the eight quarters is presided over by a deity. The inner circle symbolizes the 'Creator' (Brahma), which is symbolic of activity, guarded by the eight directions. The Mandala is symbolic of the entire universe. The 'allmaker' (Creator) is also the progenitor. The whole mass of scripture, consisting of manuals of architecture, sculpture and painting collectively are known as Agama. Early temples were reputed to be built by this All-maker. In early days, this vertical emphasis was laid on only one tier (prathama tala). Later, number of tiers (talas) were added to this superstructure. It was believed that the entire area, which the vimana or sikhara overlooked was rendered holy and the area covered by this sikhara, would be prosperous. Superstructures of temples of Kalinga type are simple Journal of the Indo Nordic Author's Collective with series of receding courses forming stepped pyramids. Another type of superstructure that is of storyed type contains several talas (storeys).) Texts like Vishnu Tilaka, Manasara, Mukutaganta, Silparatna, layamata and Isana Shivaguru Paddhati and Bhave Prakasana give broad account of sikhara features such as Nagara, Dravida and Vesara. In addition to these Nagara, Dravida and Vesara type sikharas, Vishnu Mn Ira and Markhandcya Samhita grouped the temples into nine and added six more types such as Sarvadesika, Kalinga, Varata, Mandira, Bhavana and .yoga. But Silvaprasna and liana Shivaguru Paddhati referred only three classifications, Nagar. Dravida and Vesara Nagara: Actually means squarish, cruciform in plan and its sikhara has a vertical emphasis. Vesara: Circularly emphasized horizontal aspect shape, like domical or octagonal or in the shape of vaulted roof. Another feature is storeyed towers and tall gopuras. It is a combination of Dravida and Nagara style of Sikhara features. Dravida-Polygonal or octagnal (six or eight sided): It is circular in plan or apsidal. General conception is that Nagara type of temples prevails in the land between the Himalayas and Vindhya ranges. Vesara type of temples exists inbetween Vindhya ranges and Krishna river and Dravida type of temples prevails inbetween River Krishna and Kanyakumari'7. The term sikhara meaning 'Mountain peak' may indicate that it signified 'Meru' meaning mountain or Kai lasa , , so tall and sacred place of Shiva. The North Indian vimana or Sikhara is crowned by a large circular (Wheel shaped) capstone block known as 'amalaka' (ribbed disc resembling an amalaka fruit, Emblic Myrobalan), while its South Indian counterpart ends in a cupola (Srnga) or Wagon roof (khakra).
THE ROUTLEDGE HANDBOOK OF HINDU TEMPLES
Routledge Handbook of Hindu Temples
This handbook is a comprehensive study of the archaeology, social history and the cultural landscape of the Hindu temple. Perhaps the most recognizable of the material forms of Hinduism, temples are lived, dynamic spaces. They are significant sites for the creation of cultural heritage, both in the past and in the present. Drawing on historiographical surveys and in-depth case studies, the volume centres the material form of the Hindu temple as an entry point to study its many adaptations and transformations from the early centuries ce to the 20th century. It highlights the vibrancy and dynamism of the shrine in different locales and studies the active participation of the community for its establishment, maintenance and survival. The illustrated handbook takes a unique approach by focusing on the social base of the temple rather than its aesthetics or chronological linear development. It fills a significant gap in the study of Hinduism and will be an indispensable resource for scholars of archaeology, Hinduism, Indian history, religious studies, museum studies, South Asian history and Southeast Asian history.
INAC, 2024
Third and final part of 3 Books about the Construction of Hindu Mandir PART III
Journal Paper The Rubric of Hindu Temple Architecture v.F
THE RUBRIC OF HINDU TEMPLE ARCHITECTURAL STYLES: A Study of the Evolutional Diversity in Typological Idioms, 2023
Local traditions govern temple architectural typologies; often, structural styles and building methods were progressively blended depending on congregation of experts and promotion of construction activity. While the texts enumerate many nuances in temple architectural styles, only about twenty-odd types dominate the landscape. Early natural caves and frescoed caverns, inspired by Buddhist prayer halls, evolved to rock-cut caves, which progressively incorporated iconographic objects and sculptures. The form evolved from simple, functional structures to imposing, magnificent buildings, which indicate progression of elaboration of and opulence in rituals― it reflects complexities in symbolism too. Local materials and influences determined regional preferences for designs, which evidence mutual inductance and overlapping of styles. This paper documents the diverse and numerous Hindu temple architecture styles based on not only the designs and traditions that are more recurrently featured in ancient texts, but also the exemplars and archetypes that are most commonly observed in ancient temple structures.
Structural Elements of a Hindu or Jain temples
Shilpani, works of art of man, imitate the divine forms, by employing their rhythms, they metrically reconstitute, and interpret the limitless knowledge, of the sacred hymns, from the limits of being human.-Aitareya Brahmana, Rig Veda, 6.5.27 Aayiram Kaal Mandapam-A carrier of the cultural heritage that encapsulates Madurai, this part of the Sri Meenakshi Temple,Madurai,India houses a thousand pillars built out of a single rock edifice. Together with this, it also houses several brass structures, paintings, idols of various deities from the times of the Pandyas, which make it an important cultural hotspot.
Temples in India: Origin and Developmental Stages
This volume is a study of the beginning and evolution of temple architecture in India which covers sculptures and carvings as well. With over a hundred plates of temples and carvings on them including cave facades and pillar depictions it deals with temples constructed by the different ancient and medieval dynasties in Indian history particularly the early western Calukyan and later western Calukyans Pallava Pandya, Cola Hoyasala and Nayaka with illustrations that include maps plans of caves and even viharas and caityas it undertakes a study of the temples found in different states of India. The research discusses the variations in plans and elevations to examine development of temple architecture over time and new experiment actions in the building of temples by use of various materials. Reconstructing art and architectural styles from the remnants of the ruined temples in many places it explains terms and concepts in temple building and architecture and cites examples of various temple style and traditions including the best and earliest ones. The focus is on the Dravida and Nagara temple styles and a third hybrid form of sikhara that developed in the Deccan. Many Jaina temples are also covered.