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Temple Architecture — Devalaya Vastu — Part Nine (9 of 9)
1, Determination of cardinal points (Dik nirnaya)
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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.
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Maana not merely measures the elements of space and time, but also governs the standard of ones
conduct in life.
Itis said that the ritual 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 East-West 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 Observatories at Ujjain includes a Sanku Yantra. (Please check:
http://www.engr.mun.ca/~asharar/JAl_SINGH/index. htm]
(http://www.engr.mun.ca/~asharan/JAI_SINGH/index.html) )
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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 | Vishvakarma Vastu Shastra. | Manasara Ishana Shiva
Shilpa Guru
Height of 15 inches | 12 to 24 inchesand48 inches | Uttama- 12 inches
Sanku above for Temples 24inchesMadhyama-
the ground 18 inchesKanista-
level- (In 12inches
inches
Girth of sanku | 2 inches Uttama -2 2 inches
at the bottom inchesMadhyama
-LinchKanista-1/3
inch
Pointed edge | 1 yava Like a pin-head Asharp
at the top of pointmade of
sanku metal
Diameter of | Twice the | 24 inches Four times the Twice the
the circle height of height of Sanku height ofSanku
drawn around | the sanku
the base of pole from
Sanku the ground
Ground on Level -like | Level -like water surface Level-like water | Smooth and
which Sankuls | a stone surface level asa
erected mirror
How to embed
the Sanku?
‘ixed
firmly
Some portion to be buried
underground
hipsisreeivasaraos.comagisevalaye-vash-temple-architecie!
Some portion to be
buried underground
Erected on the
ground
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Which wood | Sara Kadira,Tinduka Kshira vriksha | Kadira, Shami, SaradaOrivory
tobe used for | vriksha KshiraOr ivory
making Sanku
Season of the Summer solstice, brighter half | Any auspicious day | Summer
year for taking of the month barring Full-moon_ | solstice, any
measurements and New-moon auspiciousday
days
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 throughout. 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 avanatha constructed 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.
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‘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
(6thcentury 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.
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‘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 called prachee. A line
perpendicular to the E-W line is the north-south direction.
Aye xe 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
oo 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.
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An improvement over this method is the drawing of circles with these East and West points as centres.
‘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
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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.
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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.
Rashi | ChandramanMonth | Calendar Corrections
month | Reduction suggested (in inches)
a [|B |{c {a |B [c
o1 kanya _| Bhadrapada Jul-Aug | 01 | 02 |02 |o0 |o1 | 02
02 Rishabha | Vaishaka Apr-May | 01 | 02 | 02 |o1 |o1 | 02
03 Mesha _ | Chaitra Mar-Apr | 01 | 00 |00 [02 |o1 | 00
04 Kumbha | Magha Jan-Feb [05 |04 |04 [06 | 05 | 04
05 Makara _| Pushya DecJan | 07 [06 |06 | 08 |07 | 06
06 Mithuna | Jesta May-Jun | 03 [04 | 04 | 02 |03 | 04
07 Kataka__| Ashadha JunJul [03 [02 | 02 |o4 | 03 | 02
08 Simha__| Shravana Jul-Aug [01 |00 [00 |o2 |o1 | 00
09 Tala Ashviyuja Sep-Oct | 03 [04 | 04 | 02 |03 | 04
10 Vrishika_| Karthika Oct-Nov | 05 [09 | 06 | 04 |05 | 06
u Dhanus_ | Margashira Nov-Dec | 07 | 08 | 08 [06 | 07 | 08
12 Meena __| Phalguna Feb-Mar | 03 |o1 [or |o4 [03 [02
The first three columns of corrections are as per Mayamata;and the last three columns of corrections are as per
Mansara,
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.
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‘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.
nw, NE
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(https://ssubbanna files. wordpres:
-om/2012/09/vastu_mandal reference lines].
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
hepsreerivaarao. coma sevalaye-vast-empe-areitectxel
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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 deepika- mention 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 determining 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.
IL. Four Types of Architects
The ancients mention four types of architects — the Sthapati, Sutragrahin, Vardhaki and Takshaka.
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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 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.
ULB:
ing M;
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 carth. 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 coloured stone are acceptable. But, black lines or black patches in white or
other coloured 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
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of chlorite or olivine cause green or black patches and weaken the stones; therefore, such stones are not
recommended for temple construction. The Vishnu 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.
Colour
As regards their colour, the stones are of four basic colours: white, red, yellow and black. Some of them
could be tainted with traces of other colours. Stones of white colour are regarded the best for temple
construction. The next in the order of preference are the red, yellow and black coloured stones. . It is
preferable to use uniformly the stones of the same colour.
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 coloured 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 colour of the stones is of two types: yellow as the Banduka flower, and as koranti flower.
‘The black of the stones comes in ten colours: 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.
“Apert
The stones are also classified according to their “age’-: child (baala), youthful (taruna) and the old
(riddha).
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.
Ifa 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 faruna 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.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).
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A hollow stone may be taken as pregnant and hence should be discarded. When smeared with a paste,
overnight, it changes its colour. Sitilpa 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 colour; 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,
Bricks (Ishtaka)
Bricks have been in use for thousands of years in construction of yupa the sacrificial altars and
Chaithyas the early temples of the Vedic ages. Shathapatha Brahmana as also Shilpa Rathna describes
the methods for moulding 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.
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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%, 1%, 1% or
2 times the width .The height of the brick was ¥% 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 colour or half baked or broken or defective otherwise were rejected. The bricks should
be well burnt and be of uniform colour.
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 sacri
upon the size and shape of the altar.
ices, bricks of about 200 types were used, depending
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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 Bala - 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
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‘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 to Samarangana
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 plus or profit; Vyaya - decrease or minus 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
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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 remainder 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
11X 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 o1 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. II] 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.
(For more on Ayadi calculations; please check
Ayadi
makH,
DmyZHLAhUOyGMKHejZAmoQ6AEILDAD)
(https://books.google.com/books?
http://www. boloji, com/index.cfm?md=Content&sd=Articlesé&-ArticlelD=666
iw a index.cfm?md=Content&sd=Articles cleID=
hipsisreeivasaraos.comagisvalaye-vash-templearchitece!
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design.com/seminar/14a.php (ht
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.”
References:
Vastu Darsha by Dr. G Gnanananda.
Orienting From the Centre by Michael S. Schneider
www.geomancy org/..../summer/orienting/index.html (ht
zine/2000/summer/orienting/index.html)
‘Cosmogony and the Elements... by John McKim Malville
iwww.geomanc
hi ignca.nic.in/ps_05005,htm v.ignca.nic.in/ps_05005,htm)
Vastu Interiors
http://www. gkindia,com/vastu/vastubuilding].htm (http://www.gkindia.com/vastu/vastubuilding] htm)
Comments
Posted by sreenivasaraos on September 10, 2012 in Temple Architecture
‘Tags: Devalaya; Vastu; Temple Architecture:, Dik nimaya
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Temple Architecture-Devalaya Vastu — Part Three ( 3 Of 9)
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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 (pitral) 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).”
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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. 1)
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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.
ei ened
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.
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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
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.
[There is a belief that the vastu purusha is awake during eight months of the year and is asleep in the
other four months (eight months of wakefulness: mesha, vrishabha, kataka, simha, tula, vrichika,
makara and kumbha; and the four months of sleep : dhanur, mina, mithuna and kanya).
Some others say that the vaastu purusha sleeps in vaastu chakra on the left side and rotates
clockwise during twelve months with his head towards:
Jan: west-south-west; Feb: west; Mar : west-north-west ;Apr : north-north-west; May : north ; June :
north-north-east ; July : east-north-east ; Aug : east ; Sept : east-south-east ; Oct : south-south-east; Nov :
south ; and Dec: south-south-west.
While taking up construction of a structure, digging in the sector where Vastu-purusha’s head lies is
not recommended. The schedule for erecting the doors is also based on this concept.
For instance:
If Leo is ascending, set up the south door; if Taurus set up the west door; if Kubera set up the north
door;
If the moon is passing the meridian, set up the east door.
When Leo is ascending is the proper time for placing a door in a temple of Vishnu. When Taurus is
ascending is the proper time for placing a door in a temple of Mahadeva. When Kubera is ascending is
the proper time for setting a door in Ganesa’s temple. When the moon is passing the meridian, a door
may be set up for any one.
I think, this concept of purusha sleeping may have only astrological significance; and therefore varies
from person to person and from site to site. They cannot be generally applied. Even otherwise, now,
hardly anyone goes by this schedule, as it is impractical.
Perhaps the four months of non-activity as recommended, might have something to do with the onset
of monsoon , winter and such seasonal constraints.
Vastu and directions
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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.
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7
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.
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“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.
.
ssubbanna, ordpress.com/2012/09/devala
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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 or 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. 1)
Sahasra chakra is regarded the seat of consciousness. An aperture on top of the head, called brahma
randra, leads to it.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-shila (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.
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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.
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IThere 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 the devas 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.” (Please check:
(httpy//www.cultdeadcow.com/archives/2006/11/the symbolism of che.php3
(http://www. cultdeadcow.com/archives/2006/11/the_symbolism_of_che.php3) |
References;
The Hindu Temple,
by Stella
Kramrisch,.
Devalaya Vastu by
Prof.SKR Rao
Vastu -, Astrology and Architecture: A collection of essays by various authors
Pictures are from internet.
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Posted by sreenivasaraos on September 8, 2012 in Temple Architecture
‘Tags: Devalaya, Devalaya; Vastu; Temple Architecture; Mandala, Temple Architecture, Vastu, Vastu
purusha
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