AMathematical Temple 4:6:9 Ratio etc

Dr Uday Dokras, MBA CALSTATE,USA, Phd Stockholm,SWEDEN

There are around two million temples in India, and each year the number gets increased
substantially. As of end 2020. Varanasi, the city of temples in India, is aptly named since it is
home to over 2,000 temples. Varanasi, the home of thousands and hundreds of pilgrimage in and
around India, is the oldest city in India as well. After an extraordinary confluence of religion and
art, these temples have become a shining example of the cultural heritage and diversity of India.
Historic dynasties were responsible for the creation of these and such temples have a large
sizeand are beautiful.

In India, for hundreds of years, the only form of tourism that existed was purely religious and
devotional. Even to this day, millions of devotees flock to these incredible famous temples every
year in a quest for moksha and inner peace.

Indian temple architecture has been a subject that is widely studied and documented whereas
analysis of the geometry of temples is still in its initial stages. Mathematics and
architecture however have been related, since, as with other arts, architects use mathematics for
several reasons. Apart from the mathematics needed when engineering buildings, architects
use geometry: to define the spatial form of a building; to create forms considered harmonious,
and thus to lay out buildings and their surroundings according to mathematical, aesthetic and
sometimes religious principles; to decorate buildings with mathematical objects such
as tessellations; and to meet environmental goals, such as to minimise wind speeds around the
bases of tall buildings.
In ancient Egypt, ancient Greece, India, and the Islamic world, buildings including pyramids,
temples, mosques, palaces and mausoleums were laid out with specific proportions for religious
reasons. In Islamic architecture, geometric shapes and geometric tiling patterns are used to
decorate buildings, both inside and outside. Some Hindu temples have a fractal-like structure
where parts resemble the whole, conveying a message about the infinite in Hindu cosmology.
In Renaissance architecture, symmetry and proportion were deliberately emphasized by
architects such as Leon Battista Alberti, Sebastiano Serlio and Andrea Palladio, influenced
by Vitruvius's De architectura from ancient Rome and the arithmetic of the Pythagoreans from
ancient Greece. At the end of the nineteenth century, Vladimir Shukhov in Russia and Antoni
Gaudí in Barcelona pioneered the use of hyperboloid structures; in the Sagrada Família, Gaudí

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also incorporated hyperbolic paraboloids, tessellations, catenary arches, catenoids, helicoids,
and ruled surfaces. In the twentieth century, styles such as modern
architecture and Deconstructivism explored different geometries to achieve desired
effects. Minimal surfaces have been exploited in tent-like roof coverings as at Denver
International Airport, while Richard Buckminster Fuller pioneered the use of the strong thin-
shell structures known as geodesic domes.
Vaastu Shastra, the ancient Indian canons of architecture and town planning, employs
symmetrical drawings called mandalas. Complex calculations are used to arrive at the
dimensions of a building and its components. The designs are intended to integrate architecture
with nature, the relative functions of various parts of the structure, and ancient beliefs utilizing
geometric patterns (yantra), symmetry and directional alignments. However, early builders may
have come upon mathematical proportions by accident. The mathematician Georges Ifrah notes
that simple "tricks" with string and stakes can be used to lay out geometric shapes, such as
ellipses and right angles.

Plan of Meenakshi Amman Temple, Madurai, from 7th century onwards. The four gateways (numbered I-IV)
are tall gopurams.right>>>Gopuram of the Hindu Virupaksha Temple has a fractal-like structure where the
parts resemble the whole.

The mathematics of fractals has been used to show that the reason why existing buildings have
universal appeal and are visually satisfying is because they provide the viewer with a sense of
scale at different viewing distances. For example, in the tall gopuram gatehouses
of Hindu temples such as the Virupaksha Temple at Hampi built in the seventh century, and
others such as the Kandariya Mahadev Temple at Khajuraho, the parts and the whole have the
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same character, with fractal dimension in the range 1.7 to 1.8. The cluster of smaller towers
(shikhara, lit. 'mountain') about the tallest, central, tower which represents the holy Mount
Kailash, abode of Lord Shiva, depicts the endless repetition of universes in Hindu cosmology.
The religious studies scholar William J. Jackson observed of the pattern of towers grouped
among smaller towers, themselves grouped among still smaller towers, that:
The ideal form gracefully artificed suggests the infinite rising levels of existence and
consciousness, expanding sizes rising toward transcendence above, and at the same time housing
the sacred deep within.
The Meenakshi Amman Temple is a large complex with multiple shrines, with the streets
of Madurai laid out concentrically around it according to the shastras. The four gateways are tall
towers (gopurams) with fractal-like repetitive structure as at Hampi. The enclosures around each
shrine are rectangular and surrounded by high stone walls.

The 4:6:9 ratio has a calendrical, astronomical and cosmological significance, as in Angkor
Wat. Archaeologists believe that the 4: 6: 9 ratio and tuning units have a calendar, ... The same
is true of the ancient structures of Angkor Wat in Cambodia. The gates are adorned with Kala’s
head carved on top of each and Makaras projecting from each side. This Kala-Makara motif is
commonly found on the gates of Javanese temples.

The positioning of the 72 ‘occupied’ Stupas in three circles of 32, 24 and 16 might give us an
indication as to what specific aspects of the cosmos these bell-shaped structures point. The
circular platforms on which the Stupas are situated seem to concern themselves with the stars.

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The ship reliefs on the East depict a ship underneath celestial objects, commemorating a voyage
to Africa. This shows the Indonesians crossed the ocean without a compass, depending solely on
the stars for navigation. In 2003–2004, a wooden replica of the Borobudur ship was made and
sailed the Cinnamon Route from Jakarta to Accra in Ghana to demonstrate the trans-Indian Ocean
trading links of medieval Indonesians and Africans.

In the book edited by John M Mack, Bruce R Vogeli, Mathematics And Its Teaching In The
Asia-pacific Region there are numerous articles pointing to the teaching of mathematics in
Schools in the Asia Pacific Region that generally includes East Asia, South Asia, Southeast Asia,
and Oceania.This tradition is an ancient one and mathematics formed an common and integral
part of social thought and everyday interactions. Though this book provides the global
mathematics education community with information on the recent and current status of the
teaching of mathematics in a group of island nations in the Asia-Pacific region. Sri Lanka,
Indonesia, Japan, the Philippines, Australia, Papua New Guinea, New Zealand, and twelve
nations in the South Pacific Ocean.It is the third volume in a series conceived by Dr Bruce
Vogeli of Columbia University Teachers College and published by WSP, aimed at producing
contemporary accounts of mathematics teaching in a world-wide group of nations. Previous
volumes have covered Central and South American nations and a selection of Muslim nations
respectively, it is clear that historical traditions facilitate this phenomenon.

HINDU MANDALAS BUDDHIST MANDALAS- Borobudur below

Prambhanam Temple in Indonesia

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Prambanan or Rara Jonggrang ( PICS ABOVE) an 8th-century Hindu temple compound
in Special Region of Yogyakarta, Indonesia, dedicated to the Trimūrti, the expression of God as
the Creator (Brahma), the Preserver (Vishnu) and the Destroyer (Shiva) is designed as a
Mandala( HINDU). The temple compound is located approximately 17 kilometres (11 mi)
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northeast of the city of Yogyakarta on the boundary between Central Java and Yogyakarta
provinces.

The temple compound, a UNESCO World Heritage Site, is the largest Hindu temple site in
Indonesia and the second-largest in Southeast Asia after Angkor Wat.[1] It is characterized by its
tall and pointed architecture, typical of Hindu architecture, and by the towering 47-metre-high
(154 ft) central building inside a large complex of individual temples. Prambanan temple
compounds originally consists of 240 temple structures; which represents the grandeur of ancient
Java's Hindu art and architecture.

History & Geography:

The period in which the Javanese constructed Prambanan and neighboring temples is shrouded in
legend and mystery. Strong cultural and religious influence arrived in what is now present-day
Indonesia from the Indian subcontinent, beginning around the 1st century CE. This influence
grew rapidly from c. 400 CE onwards. Hindu and Buddhist merchants and traders, settled in the
region, intermarried with the local population, and facilitated long-distance trade relations
between the indigenous Javanese, ancient India, and the rest of Southeast Asia. Over the
centuries, the Javanese blended the culture and religions of ancient India with their own.

Some historians contend that Prambanan's construction began under the orders of King Rakai
Pikatan (r. 830-860 CE?) at some point between c. 840-850 CE. Rakai Pikatan oversaw the
construction and design of the main temple complex, while other structures were built soon
thereafter by later kings, including Rakai Kayuwangi (r. 850-898 CE), Balitung (r. 899-911
CE), Daksa (r. 910-919 CE), and Tulodong (r. 919-924 CE). At some point, locals diverted a
nearby river to flow past the temple complex as well. Rakai Pikatan and his successors belonged
to the Hindu Sanjaya dynasty, which was the rival of the Buddhist Sailendra dynasty for power
in the “Medang” or Mataram kingdom in central Java.

It is worth noting that the Sailendra dynasty oversaw the construction of the Buddhist temple
of Borobudur. As Borobudur is located only 19 km (12 miles) from Prambanan, some scholars
interpret Prambanan's genesis as a direct artistic, political, and religious response to that of
Borobudur and in turn the competitive Sailendra dynasty. It is even said that Rakai Pikatan's
wife, Princess Pramodhawardhani (fl. 820-860 CE), was the daughter of King Samaratungga (r.
812-833 CE) who may have overseen Borobudur's construction. (Despite all this, other Javanese
historians see the “Sailendra” and “Sanjaya” dynasties as one and the same family, interpreting
the religious patronage of Buddhism or Hinduism as the result of a ruler's personal belief.)

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Prambanan Complex Model-Gunawan Kartapranata (CC BY-SA)

According to ancient Khmer sources, King Jayavarman II (r. 802-835 CE), the founder of
the Khmer Empire (802-1431 CE), spent much of his life in Java, and was appointed by
Samaratungga as the governor of Indrapura, which later became the capital city of Champa
around c. 875 CE. It is said that Jayavarman visited both Borobidur as well as Prambanan, which
inspired him to build the city of Angkor Wat on a grand scale. This is quite possible as the
Sailendra and Sanjaya dynasties exerted much political and cultural influence through their
thalassocracies in what is present-day Java, Sumatra, Malaya, and southern Cambodia in the 8th,
9th, and 10th centuries CE.

Prambanan's abandonment mirrors that of nearby Borobudur. As the center of political power
shifted from central to eastern Java under the reign of King Mpu Sindok (fl. 928 CE), Prambanan
became less important politically and culturally to the ancient Javanese. The Sanjaya dynasty had
successfully usurped power from the Sailendra dynasty, leaving the island of Java under their
near complete suzerainty. Volcanic eruptions from Mount Merapi in the 10th century CE and
countless earthquakes may have impacted Prambanan's appeal as a place of worship and
pilgrimage as well among the Hindu faithful.

In What is the relationship of Mathematics and Art and why we should care? Hokky Situngkir
reveals that there have been a wide range of any human activities concerning the term of “Art
and Mathematics”. Regarding directly to the historical root, there are a great deal of discussions
on art and mathematics and their connections. The paper elaborates the connection between the
two discourses of art and mathematics and how they influence each other.Batik from Indonesia

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for instance, also mirrors mathematical modellings and repetitive structures found in Prambanan
and Borobudur temple construction.

pattern of self-similarity in Prambanan Temple

(https://www.researchgate.net/publication/28764583_What_is_the_Relatedness_of_Mathematics_and_Art_and_why
_we_should_care/figures?lo=1)

1. The complex is laid out in the form of a mandala, and features the towering, broad spires that
are typical of Hindu temple architecture, and represent Meru, the holy mountain where the gods
live.

2. Originally there were 240 temples in the complex but many of them have deteriorated or been
looted leaving just scattered stones.

3. The Prambanan temple complex consists of three zones; first the outer zone, second the middle
zone that contains hundreds of small temples, and third the holiest inner zone that contains eight
main temples and likewise, eight small shrines.

4. The three main inner shrines are dedicated to Brahma the Creator, Vishnu the Keeper and
Shiva the Destroyer.

5. The three towers cut a striking figure in any conditions, but are perhaps most breathtaking when
lit up at night.

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 Borobudur, Central Java, Indonesia

This spectacular 8th century Buddhist Monument is a shrine for the Lord Buddha and is built as a massive
stupa. The foundation is a square, approximately 118 meters on each side and has nine platforms, 504
Buddha statues and over 2,500 relief panels.

The basic unit of measurement used in Borobudur’s construction was the tala, which is thought to be the
length of a human face from hairline to chin. A survey conducted in the 1970’s revealed multiple ratios of
4:6:9, indicating that the architect had used fractal and self-similar geometry in the design.

Researchers believe the recurring ratio and the use of the tala measurement have Buddhist cosmological
and astronomical significance.

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Northwest view of Borobudur, image via Wikipedia

The archaeological excavation into Borobudur during reconstruction suggests that adherents of
Hinduism or a pre-Indic faith had already begun to erect a large structure on Borobudur's hill
before the site was appropriated by Buddhists. The foundations are unlike any Hindu or Buddhist
shrine structures, and therefore, the initial structure is considered more indigenous Javanese than
Hindu or Buddhist.

Design

Borobudur is built as a single large stupa and, when viewed from above, takes the form of a
giant tantric Buddhist mandala, simultaneously representing the Buddhist cosmology and the
nature of mind. The original foundation is a square, approximately 118 metres (387 ft) on each
side. It has nine platforms, of which the lower six are square and the upper three are circular. The
upper platform contains seventy-two small stupas surrounding one large central stupa. Each
stupa is bell-shaped and pierced by numerous decorative openings. Statues of the Buddha sit
inside the pierced enclosures.

The design of Borobudur took the form of a step pyramid. Previously,

the prehistoric Austronesian megalithic culture in Indonesia had constructed several earth
mounds and stone step pyramid structures called punden berundak as discovered in
Pangguyangan site near Cisolok and in Cipari near Kuningan. The construction of stone
pyramids is based on native beliefs that mountains and high places are the abode of ancestral
spirits or hyangs. The punden berundak step pyramid is the basic design in Borobudur, believed
to be the continuation of older megalithic tradition incorporated with Mahayana Buddhist ideas
and symbolism.

The monument's three divisions symbolize the three "realms" of Buddhist cosmology,
namely Kamadhatu (the world of desires), Rupadhatu (the world of forms), and
finally Arupadhatu (the formless world). Ordinary sentient beings live out their lives on the
lowest level, the realm of desire. Those who have burnt out all desire for continued existence
leave the world of desire and live in the world on the level of form alone: they see forms but are
not drawn to them. Finally, full Buddhas go beyond even form and experience reality at its
purest, most fundamental level, the formless ocean of nirvana. The liberation from the cycle
of Saṃsāra where the enlightened soul had no longer attached to worldly form corresponds to the
concept of Śūnyatā, the complete voidness or the nonexistence of the self. Kāmadhātu is
represented by the base, Rupadhatu by the five square platforms (the body), and Arupadhatu by
the three circular platforms and the large topmost stupa. The architectural features between the
three stages have metaphorical differences. For instance, square and detailed decorations in
the Rupadhatu disappear into plain circular platforms in the Arupadhatu to represent how the
world of forms—where men are still attached with forms and names—changes into the world of
the formless.

Congregational worship in Borobudur is performed in a walking pilgrimage. Pilgrims are guided

by the system of staircases and corridors ascending to the top platform. Each platform represents

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one stage of enlightenment. The path that guides pilgrims was designed to symbolize Buddhist
cosmology.

In 1885, a hidden structure under the base was accidentally discovered. The "hidden footing"
contains reliefs, 160 of which are narratives describing the real Kāmadhātu. The remaining
reliefs are panels with short inscriptions that apparently provide instructions for the sculptors,
illustrating the scenes to be carved. The real base is hidden by an encasement base, the purpose
of which remains a mystery. It was first thought that the real base had to be covered to prevent a
disastrous subsidence of the monument into the hill. There is another theory that the encasement
base was added because the original hidden footing was incorrectly designed, according to Vastu
Shastra, the Indian ancient book about architecture and town planning. Regardless of why it was
commissioned, the encasement base was built with detailed and meticulous design and with
aesthetic and religious consideration.

Little is known about Gunadharma, the architect of the complex. His name is recounted from
Javanese folk tales rather than from written inscriptions.

As mentioned above the basic unit of measurement used during construction was the tala,
defined as the length of a human face from the forehead's hairline to the tip of the chin or the
distance from the tip of the thumb to the tip of the middle finger when both fingers are stretched
at their maximum distance. The unit is thus relative from one individual to the next, but the
monument has exact measurements. A survey conducted in 1977 revealed frequent findings of a
ratio of 4:6:9 around the monument. The architect had used the formula to lay out the precise
dimensions of the fractal and self-similar geometry in Borobudur's design. This ratio is also
found in the designs of Pawon and Mendut, nearby Buddhist temples. Archeologists have
conjectured that the 4:6:9 ratio and the tala have calendrical, astronomical and cosmological
significance, as is the case with the temple of Angkor Wat in Cambodia.

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Building structure

The main structure can be divided into three components: base, body, and top The base is 123 m
× 123 m (404 ft × 404 ft) in size with 4 metres (13 ft) walls. The body is composed of five square
platforms, each of diminishing height. The first terrace is set back 7 metres (23 ft) from the edge
of the base. Each subsequent terrace is set back 2 metres (6.6 ft), leaving a narrow corridor at
each stage. The top consists of three circular platforms, with each stage supporting a row of
perforated stupas, arranged in concentric circles. There is one main dome at the center, the top of
which is the highest point of the monument, 35 metres (115 ft) above ground level. Stairways at
the center of each of the four sides give access to the top, with a number of arched gates
overlooked by 32 lion statues. The gates are adorned with Kala's head carved on top of each
and Makaras projecting from each side. This Kala-Makara motif is commonly found on the gates
of Javanese temples. The main entrance is on the eastern side, the location of the first narrative
reliefs. Stairways on the slopes of the hill also link the monument to the low-lying plain.
Approximately 55,000 cubic metres (72,000 cu yd) of andesite stones were taken from
neighbouring stone quarries to build the monument. The stone was cut to size, transported to the
site and laid without mortar. Knobs, indentations and dovetails were used to form joints between
stones. The roof of stupas, niches and arched gateways were constructed
in corbelling method. Reliefs were created in situ after the building had been completed.

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The monument is equipped with a good drainage system to cater to the area's
high stormwater run-off. To prevent flooding, 100 spouts are installed at each corner, each with a
unique carved gargoyle in the shape of a giant or makara.

Borobudur differs markedly from the general design of other structures built for this purpose.
Instead of being built on a flat surface, Borobudur is built on a natural hill. However,
construction technique is similar to other temples in Java. Without the inner spaces seen in other
temples, and with a general design similar to the shape of pyramid, Borobudur was first thought
more likely to have served as a stupa, instead of a temple. A stupa is intended as a shrine for the
Buddha. Sometimes stupas were built only as devotional symbols of Buddhism. A temple, on the
other hand, is used as a house of worship. The meticulous complexity of the monument's design
suggests that Borobudur is in fact a temple.

Angkor Wat, Siem Reap, Cambodia

It has long been theorized that the architect of Cambodia’s magnificent 12th century temple
complex based its design on themes of calendrical, historical and astrological significance.But in
the 1990’s a professor from the University of Michigan discovered that some of Angkor Wat’s
sections are extremely precise: the northern and southern outer corridors measure 202.14 meters
long and the eastern and western measure 114.22 and 114.24, respectively. Using these
measurements, the professor was able to work out the standard measurement used in the
construction of Angkor Wat (a cubit) and decode numerous sacred and historical details.

She also discovered that the architect had cleverly repeated numbers throughout the building, for
example, each half of a split bridge connecting Angkor Wat to the outside world measures 216
cubits and is decorated with 216 columns.

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In mathematics, two quantities are in the golden ratio if their ratio is the same as the ratio of
their sum to the larger of the two quantities. Expressed algebraically, for
quantities a and b with a > b > 0.

The golden ratio is also called the golden mean or golden section (Latin: sectio aurea). Other
names include extreme and mean ratio, medial section, divine proportion (Latin: proportio
divina), divine section (Latin: sectio divina), golden proportion, golden cut, and golden number. .
Velmurugan and Kalaivanan Raja studied the existence of the Golden Rule in in
Brihadeeshwarar temple, Tanjavur, Tamil Nadu, India, built in 1010 AD. It is listed on the
UNESCO’s world heritage site of the Chola temples in southern India.

This temple represents an outstanding creative achievement in the architectural idea of the pure
form of the Dravida temples. Golden ratio has great influence in architecture, mathematics and
art. he researchers analyzed existence of the Golden ratio in structural design of Tanjavur

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Brihadeeshwarar temple prakaram. They used the Phi Grid and Phi Spiral software to measure
the golden ratio and verified their result.They concluded that this temple is one of mysterious
gift of our ancient people which exposed architect, spirituality, tradition and science. An ancient
Tamil architecture had more knowledge about the Golden ratio and they used to determine
pleasing dimensional relationships between the length and width of Karpagragam, Nandhi
pavilion and entire courtyard, so that Karpagragam (main place god statue) and Nandhi pavilion
situated in inner courtyard of Brihadeeshwarar temple be acting on the major role to bring the
Golden ratio for the entire courtyard.

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From this study,it was felt that one of the secret of beauty of the Brihadeeshwarar temple is
Golden proportion influenced its plan of designs and constructions.
 Thanjavur periya kovil built by Raja Raja cholan and his sister kundavai, both argent
devote of Lord shiva. It was constructed by the King at the height of the Chola reign to
signify his power and strength. Here are a few facts not known about this Chola temple
of Thanjavur: The main attraction here is the huge tower above the sanctum which is
about 216 feet(66 meter). The tower stands tall and one can see this fabulous structure
even as one enters Tanjore.

MYSTERY OF THE TEMPLE:

The whole construction procedure of theTanjore big temple is that of a great mystery to the
archeologists. The great legends who made research on the Tanjore big temple couldn't find out

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what is the actual fact behind the construction of the Tanjore big temple. Some of the
edible mysteries of the Tanjore big temple are

• Underground passages in Tanjore big temple

• Huge cap stone at the top of Tanjore big temple
• Painting in Tanjore big temple
• Granite stones used for the temple construction

UNDERGROUND PASSAGES:

The Tanjore big temple contains more than 100 underground passages to various places. The
underground passages also contain some secret passage that leads to various places like
thePalace of Raja Raja chola and also to other important places. The underground passages
lead to the other temples and also to the other places in and around Tanjore. Most of the
underground passages were sealed and if the people choose the wrong passage then there are
possibilities that the path may also lead to the dangers. This can also be a trap for the kingdom

safety of Raja Raja Chola.

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 HUGE CAP STONE (See PIC ABOVE)
The biggest mystery of all the other mystery in Tanjore big temple is the huge cap stone in
the top of the Tanjore big temple. The weight of the cap stone at the top of Tanjore big
templeweighs 80 tons. The main exclamation about the cap stone is that how come the builders
of Tanjore big temple were able to place the cap stone at the top of the Gopuram in Tanjore
big temple. There were no cranes or any high end equipments used in those days to do these
works. The only thing that can help is the elephants. The huge cap of Tanjore big temple is
constructed in such a way that the shadow of the Tanjore big temple Gopuram will not fall on
the ground. It will just fall on itself. This particular planning and type of construction is not an
easy task to go with.

PAINTING:

Painting in Tanjore Big temple

There are lots of high quality paintings in the Tanjore big temple that explain many things about
the kingdom of Raja Raja Chola and also the greatness of the Raja Raja Chola. Some paintings
also explain about the Raja Raja Chola's favorite God Shiva. There were also some stories
present in the painting present in Tanjore big temple. In the secret passage from Tanjore big
temple there were great paintings present that explain about many great things. The most
admiring part of thepainting in Tanjore big temple is the painting of Raja Raja Chola offering his
respect to his Guru. The colors chosen for the painting are great such that the paintings are still
good and healthy to see.

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GRANITE STONES USED FOR CONSTRUCTION:

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Granite stones are one of the strongest stones in the world. With the strength of the granite
stone the stone is also equally heavy enough that it cannot be carried from one place to other
place in the easy way. The stones that are used in Tanjore big temple were brought from a place
that is 50 miles away from the Tanjore big temple. Without elephants the work might not be
possible for the transportation of the rocks from that place. It is said that more than 1000
elephants were used for the construction of the Tanjore big temple. The ancestors of Chola
kingdom were good enough to build temples with the granite stones.

a) The original name of the deity was Rajarajeshwar. It was the Marathas who gave it the name
Brihadeeshwara or the Great Ishwara.

b) The main temple is entirely built of granite. More than 130,000 tons of granite is said to have
been used to build it.

c) A long associated myth with this temple temple is that the shadow of the main structure does
not fall on the ground. However, this has been proven wrong by scientists.

d) The statue of Nandhi at the entrance of the temple is carved out of a single stone.

e) The main Vimanam, which is at about 200 feet is often called Dakshin Meru or Southern
Meru.

f) The inspiration to build the temple came to Raja Raja Cholan during his visit to Sri Lanka and
is a result of a dream he had.

g) The temple has a portrait of Raja Raja Cholan paying obeisance to Lord Natarajar. This is
undoubtedly, the first ever instance of a royal portrait.

h) Inscriptions in the temple point towards Kunjara Mallan Raja Raja Perunthachan as the chief
architect of the temple. His successors survive to this day and practice the art of Vastu or Vastu
Shastra.

i) Depictions of nartakis or dancers showing eighty one of hundred and eight karanas
(synchronised movements of hands and feet) in Bharata Natyam are carved here. These karanas
are a part of karanas mentioned in the Natya Shastra of Bharata Muni or Sage Bharata. There is
also evidence that the temple was a platform for talented dancers to showcase their talent. These
depictions are first of their kind.

j) The inscriptions also mention the different kinds of jewels used in the period. Each of these
jewels are mentioned in detail. A total of twenty three different types of pearls, eleven varieties
of diamonds and rubies are mentioned in these inscriptions.

What astounds historians is that there was not a single granite quarry in about 100 km radius of
the temple. This means that transporting these stones would have been a herculean task. But Raja

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Raja Cholan insisted on the use of these stones. All of these features make this Chola temple of
Tanjore, a magnum opus of the Chola reign.

Existence of the golden ratio in Tanjavur Brihadeeshwarar Temple

C. Velmurugan, R. Kalaivanan
Department of Mathematics, Vivekananda College, Madurai-635 234, Tamil Nadu, India.;
(Open Journal of Mathematical Sciences-Vol. 4 (2020), Issue 1, pp. 211 – 219
Abstract
In this study, we discussed the existence of golden ratio in Brihadeeshwarar temple, Tanjavur,
Tamil Nadu, India, built in 1010 AD. It is listed on the UNESCO’s world heritage site of the
Chola temples in southern India. This temple represents an outstanding creative achievement in
the architectural idea of the pure form of the Dravida temples. Golden ratio has great influence in
architecture, mathematics and art. We analyzed existence of the Golden ratio in structural design
of Tanjavur Brihadeeshwarar temple prakaram. We used the Phi Grid and Phi Spiral software to
measure the golden ratio and verified our result.
The Golden ratio, mathematics and aesthetics are intricately associated between each other. The
Golden ratio is an irrational number that is approximately equal to 1.618, which is represented by
the Greek symbol known as phi (ϕϕ). This ratio is considered as the human optical sense and not
limited to aesthetic beauty but also found its existence in natural world through the body
proportions of living beings, the growth patterns of many plants, insects and also in the model of
enigmatic universe. The properties of Golden section can be instituted in the pattern of
mathematical series and geometrical patterns. Because of its unique and mystifying properties,
many researchers and mathematicians have studied the Golden ratio. Akhtaruzzaman and Shafie
discussed the geometrical substantiation of ϕϕ, the Golden ratio and the Baroque of nature,
architecture, design and engineering. Golden ratio is key to the secret of beauty Saraf et
alThapa et al., studied the relation of Golden ratio, mathematics and aesthetics. Craciunet et al.,
analyzed the generalized Golden ratio as a fixed point of an operator defined by an arbitrary
mean satisfying certain conditions. Iosa et al., discussed Phi in physiology, psychology and
biomechanics: The golden ratio between myth and science. Sen and Agarwal investigated
Golden ratio in science, as random sequence source. Proportions in architecture are discussed by
Singh. Fett studied an in-depth investigation of the Divine ratio. Recently, many authors
discussed golden ratio.
.

Keeping this in mind, in present work we investigated existence of the Golden ratio in structural
design of Tanjavur Brihadeeshwarar temple prakaram. We used the Phi Grid and Phi Spiral
software to measure the golden ratio.

Golden ratio analysis: Tanjavur Brihadeeshwarar temple

The Brihadeeshwarar temple is a Hindu temple dedicated to god Shiva located in Tanjavur. This
temple plan and improvement make practical and effective use of the axial and symmetrical
geometry rules. The temple wall consists of an entrance with a double row of pillars. The
perimeter wall forms a rectangular monastery which could be divided into 22 squares. The centre
of the first square contains the Nandhi pavilion and second contains the god Shiva statue. In this
temple main tower (Gopuram) height is 60m. The tower of the main gateways is 30 m high. In

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this space there are five main sections: the sanctum with the towering superstructure (srivimana),
the Nandhi pavilion in front (Nandi-mandapam) and in between these the main community hall
(mukhamandapam), the great gathering hall (mahamandapam) and the pavilion that connects the
great hall with the sanctum (ardhamandapam).
2.1.Working rules
The following rules are helpful to measure the Golden ratio in the Brihadeeshwarar temple
courtyards

1. Let the inner courtyards as rectangular [AEFJ] area.

2. Divide the rectangle in two part by dividing line[CH] in middle of the rectangle.
3. Draw line BI and DG in rectangle[AEFJ] passing through middle of karpagraham [L] and
middle of Nandhi pavilion [M].
4. Now we get three equal portions are:
o (a) Middle of the Nandhi pavilion to Middle of the karpagraham [BDGI].
o (b) Entrance of the temple to Middle of the temple [EFHC].
o (c) Middle of temple to Back end of temple [ACHJ].

“We concluded that this temple is one of mysterious gift of our ancient people which exposed
architect, spirituality, tradition and science. An ancient Tamil architecture had more knowledge
about the Golden ratio and they used to determine pleasing dimensional relationships between
the length and width of Karpagragam, Nandhi pavilion and entire courtyard, so that
Karpagragam (main place god statue) and Nandhi pavilion situated in inner courtyard of
Brihadeeshwarar temple be acting on the major role to bring the Golden ratio for the entire
courtyard. From this study, felt that one of the secret of beauty of the Brihadeeshwarar temple is
Golden proportion influenced its plan of designs and constructions.”

Hokky Situngkir showed that Borobudur was Built Algorithmically. Elaboration from the
proposal of Atmadi (1988) on the ratio 4:6:9 employed in Borobudur architecture, could
hypothetically prove via a computational experiment using algorithmic rule that the temple is
built from the beginning – and in advance, see it’s relation with the form of stupa as the element
of building.

“The self-similarity of Indonesian Borobudur Temple is observed through the dimensionality of

stupa that is hypothetically closely related to whole architectural body. Fractal dimension is
calculated by using the cube counting method and found that the dimension is 2.325, which is
laid between the two-dimensional plane and three dimensional space. The applied fractal
geometry and self-similarity of the building is emerged as the building process implement the
metric rules, since there is no universal metric standard known in ancient traditional Javanese
culture thus the architecture is not based on final master plan. The paper also proposes how the
hypothetical algorithmic architecture might be applied computationally in order to see some
experimental generations of similar building. The paper ends with some conjectures for further
challenge and insights related to fractal geometry in Javanese traditional cultural heritages. The

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traditional Javanese metric system (tala) can vary from person to person. While Borobudur must
be built by incorporating lots of workers, the architect must apply a rule in order to build such
mega-structures did not turn into a fiasco. “

In Some architectural design principles of temples in Java: A study through the buildings
projection on the reliefs of Borobudur Temple, Parmono Atmadi (Author)1988 presented the
mathematically oriented specifications not only in the structure itself but also the reliefs dotting
the walls in the 4:6:9 principle

Angkor Wat's simple 4:5 and 6:7 rectangles are multiples

of 216 metres. The side lengths directly map to precessional years (top) or seconds of the Earth's rotation (bottom). One
could say that the island is one hour wide and its perimeter is 216 minutes.

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Application of the Sri yantra to the temple plan and elevation for understanding the relationship
between the philosophy underlying Hindu temple architecture and its practical applications is the
aim of a paper. The existing theories and concepts, like the mandala, Sri yantra and diagonal grid
need to be reevaluated for their effective use in temple design. The published Sri yantra drawings
need to be modified to be made fit for direct application on temple plans and elevations. The
study establishes relationship between Sri yantra and temple plan and elevation. The ancient
diagram yantra usually because of its complex nature has been limited to its role as a device for
meditation. The Lakshamana temple, dedicated to the Vaikuntha form of Vishnu, having four
subsidiary shrines located at the four corners. Lakshamana has the essential elements of a
Khajuraho temple’s plan- front hall (mukhamandapa), closed hall (gudhamandapa), vestibule in
front of the sanctum door (antrala) and sanctum (garbhagriha). These elements are all aligned on
a single axis. The east facing temple has the overall dimensions of 85’ x 44’. The height of the
temple is 80’. Building material is sandstone that was brought from the neighbouring quarries, of
varying shades of pink, buff or pale yellow. It was built by Chandela Ruler Yashovarman (930-
950 A.D). Unlike other temples in Khajuraho, its sanctum is Pancha-ratha on plan. Its shikhara is
clustered with minor shikharas. The wall portion is studded with balconied windows with ornate
balustrades. PROPORTIONS IN ARCHITECTURE Ar. Minakshi Rajput Singh,Associate
Professor Amity School of Architecture and Planning, Amity University Chhattisgarh, Raipur,
India International Journal of Research -GRANTHAALAYAH

Huge faces of goddesses and finely sculpted figurines of yoginis greet visitors at the entrance.

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 Sri Yantra Maha Meru
Temple, Amarkantak, by Chitra Ramaswamy is another example having an interface of
interlocking triangles, snake hoods and more. It is a vast palette of blue, green and
brown – in that order. The clear and azure blue sky appears punctuated by greens in
enchanting hues as they spike heavenwards from atop the mountain ranges they inhabit.
A tier below the emerald vegetation, it is all a monochrome in brown, a stupendous
structure rising out of a basin-like valley.

The Maha Meru Sri Yantra Temple is encircled by forest on two sides, the ancient and
sacred Batte Krishna Kund, a pond on its western side, and a water reservoir to its north.
The temple is constructed in the middle of the Maikal, Satpuda and Vindhyachal range
of mountains, 3500 ft. above sea level in Amarkantak, Madhya Pradesh. Amarkantak
enjoys the distinction of being the source of three rivers – the Juhila, the Sonbhadra and
the Narmada. The borderline dividing north and south India also passes through this
spot.

The entrance to the sprawling temple precincts is through an impressive, sculpturally

rich towering gate, the four sides of which are crowned with the faces of goddesses
Saraswati, Kali, Bhuvaneshwari and Lakshmi.The lower segments of these sides are
embellished with finely sculpted figurines of the 64 yoginis associated with the Tantrik
cult, 16 on each side. In addition, Ganesh and Kartik are also featured on one of the
sides.
Elevated platform

The temple is constructed on an elevated square platform measuring 90,000 sq.ft. and is
structured in the form of a mandal of uniform length, breadth and height, each

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measuring 52 feet. The temple, we are told, has been built on the tenets of temple
architecture as laid down by sage Agasthya.

The design, layout and plan of the temple adhere to ancient traditional knowledge and
methods and are aligned with astrological aspects. The construction is in sync with
stellar and planetary movements as per tantrik calendar. In keeping with this style of
architecture, the Padambandh or foundation of the temple gives solid protection to the
edifice. The next stage, the Sarpbandh, features a pair of sculpted sarps or serpents with
tails entwined in each other.

The serpents rise from the base of the outer walls of the temple and run through its
perimeter in a circumambulatory mode till they appear with their hoods raised, at the
entrance to the temple.Above the Devbandh, where one would normally see the tower or
shikhar, is the Maha Meru Sri Yantra. Images of Goddess Maha Tripura Sundari with
her consorts are sculpted on all its four sides.
Three-dimensional projection

The Maha Meru temple is the three-dimensional projection of the two-dimensional Sri
Yantra or Sri Chakra which forms the core of Sri Vidya worship in Hinduism.

The temple with its complicated architectural pattern that requires perfect mathematical
calculations and accurately proportioned dimensions, is perhaps the first of its kind to be
built anywhere in the world. It is formed by nine interlocking isosceles triangles of
varying dimensions that surround and radiate from a focal or central point that is
referred to as the bindu.

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The triangles are so interfaced as to form forty three smaller triangles in a maze that
symbolises the cosmos with its multitude of creations. The triangles themselves are
inscribed by two rows of lotus petals, eight and sixteen, respectively, and an earth
square, symbolic of a temple with four doors.

Each of the levels of the Sri Chakra, also known as the nava chakra for its nine levels, is
associated with a yogini, a mudra and a specific form of the principal deity Tripura
Sundari who is worshipped by followers of the Sri Chakra.

The sanctum sanctorum has a 62-inch-tall idol of the Divine Mother made of ashtadhatu,
an alloy of eight metals.

In keeping with the principles of Vaastu Shastra, Kaal Nritya or ‘the dance of time’ is
portrayed on the external walls of the temple. On the four edges on top are four paws of
a powerful lion, symbolising actions performed. Stuck in its paws are spherical balls,
below which are depicted the poisonous serpents, symbolic of individuals trapped in the
cycle of birth and death.

While construction of the main temple is complete, work is still in progress as several
smaller shrines are slated to be added over a period of time. To conclude:

“ The interesting thing about mathematical concepts is that we can trace their development
or discoveries throughout history. Most cultures of the ancient world had some form of
mathematics, and these basic skills developed into what we now call modern mathematics.
The divine ratio is similar in that it was used in many different sections of history. The
divine ratio, sometimes called the golden ratio or golden section, has been found in very
diverse areas. The mathematical concepts of the golden ration have been found throughout
nature, in architecture, music as well as in art. Phi is an astonishing number because it has
inspired thinkers in many disciplines, more-so than any other number has in the history of
mathematics. This paper investigates how the golden ratio has influenced civilizations

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 throughout history and has intrigued mathematicians and others by its prevalence.” Phi could
be the world's most astonishing number. It can be found in nature, throughout history, in art,
music, and architecture. Many conflicting theories exist about the origins of phi (φ);
however we cannot deny the principles that accompany it. Whether it is the mathematical
relationships that seem to form around the number or the sheer aesthetics of the proportion,
we must be aware that φ is all around us and rightly called the Divine Ratio .( An In-depth
Investigation of the Divine Ratio Birch Fett Follow this and additional works at: Fett, Birch (2006) "An In-
depth Investigation of the Divine Ratio," The Mathematics Enthusiast: Vol. 3 : No. 2 , Article 4. Available at:
https://scholarworks.umt.edu/tme/vol3/iss2/4 https://scholarworks.umt.edu/tme)

Fibonacci Sequence (FS) and Golden Ratio(GR) are all part of the esoteric art was also used to
design Apple logo, Mac OS Lion logo, iPhone 4 and recently logo iCloud.

Designing logo using FS and GR is a skillful art. Let us take Golden Ratio which is related
closely to Fibonacci Sequence (a series of numbers formed by adding up two numbers before it.
Starting with 0 and 1, the sequence goes 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, and so forth). And Golden
Ratio is what a perfect symmetry of relationship comes to represent between two proportions
which makes it aesthetically relevant.

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What exactly is Golden Ratio? Say there is a large rectangle (called golden rectangle) consisting
of a square (with sides equal in length to the shortest length of the rectangle) and also a smaller
rectangle. The side lengths of the rectangle are said to be in Golden Ratio, that is, if you remove
this square from the rectangle there will be another, smaller rectangle and it goes on infinitely
like Fibonacci numbers (which work in reverse).

Now adding a square equal to the length of the longest side of the rectangle will approach closer
to a Golden Rectangle and the Golden Ratio.

Golden Ratio is evident from arts and design when human civilization had just begun about 6000
years ago. Ancient Egyptians had mastered this art in building pyramids some 3,000 years ago
when human art and design had turned into an accomplished art. Today we can see such
dexterity in such complexity be it contemporary art or design. In ancient Greek architecture the
width of a building and its height were built in Golden Ratio for its stunning aesthetic
dimensional look that was made to look imposing in its grandeur. Even the portico size and the
position of the columns supporting the structure were examples of GR.

Experts say Leonardo da Vinci, like many artists throughout the ages, made use of the Golden
Ratio to create pleasing compositions and one of which was the “Last Supper of Jesus and the
Twelve Apostles” as the position of Jesus is perfectly plotted by arranging golden rectangles
across the canvas while the figures (13 people said to be present at the supper) are arranged in
the lower two thirds (the larger of the two parts of the Golden Ratio).

Why talk of art and design created by human hand when the best example of Golden Ratio is
Nature itself? If one cares to look around Nature has done this beautifully in its myriad creations
be it flora and fauna or the human body itself. Imagine human body having a heart as big as the
head. Would that be an example of golden ratio? Absolutely not. See how beautifully each
flower, honeycomb, fruit comes to blossom. Their shapes come in all sizes exhibiting the same
golden ratio principle which leaves one stunned at the marvel of God’s creation. No wonder
Nature has proved itself to be the biggest artist of all.

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