The Lotus Shaped Temples

Dr Uday Dokras
Also featuring the Bahai Lotus creations

Vishnu rests on the serpent Ananta while Brahma sits on a lotus throne, the plant emitting from Vishnu's
navel.

The lotus plant is cited extensively within Puranic and Vedic literature, for example:

One who performs his duty without attachment, surrendering the results unto the Supreme Lord, is
unaffected by sinful action, as the lotus is untouched by water.

— Bhagavad Gita 5.10:

Dr Uday Dokras

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Lotus flower is frequently mentioned in the ancient Sanskrit Hindu scriptures, as padma (pink lotus),
kamala (red lotus), pundarika (white lotus) and utpala (blue lotus). The earliest reference can be found in
the Rg Veda.
Numerous gods and goddess in Hindu pantheon are depicted as sitting on the lotus or carrying it.

The ultimate aim of each human being is to be the lotus flower – perform the Dharma without being
attached to the world.
The lotus also represents the highest level of consciousness when in search for enlightenment and purity.
In the postures of hatha yoga, padmasana (the lotus position) is assumed by those determined to reach for
the ultimate highest level of consciousness which can be found in the lotus chakra at the top of the head.
Bramha is called “Padhma Janmana “ meaning the one who is born from the lotus .

A "closed" lotus, in Hinduism, as also in Budism, means infinite possibilities.

An open lotus means the Creation of the Universe, Simbol of spirit's elevation, light, meditation, pureness
and imortality. The "thousand petals" lotus is the spirituality in the most degree of perfection.
The Lotus has been considered a symbol of beauty, absolute purity, honesty, rebirth, self-regeneration,
enlightenment. It was considered a supreme plant by Egyptians for its fragrant transformative scent while
living its alternating existence below and above the water surface. Interestingly it also was used by them
as a medium to induce altered states of consciousness and make contact with other realms of existence.
Blue lotus was considered as a symbol of sun rising out of night.
In Hindu philosophy lotus is regarded to be the first born of creation and a magic womb for the universe
and gods. Associations of it have also been made to longevity,fertility,wealth and knowledge.
Its considered a symbol of freedom from desire, material attachment while invoking purity at level of
mind, speech and action by Buddhist tradition. The also connected: •The symbolism of victory of spirit
over that of intelligence, knowledge and wisdom with Blue lotus. •"White lotus" to symbolism of Bodhi
being awakened, ascent towards mental purity and spiritual perfection. It also implies a state of spiritual
maturity connect to pacification of one's nature. •"Pink lotus" is considered as Buddha's true lotus and the
supreme of all.
God's own favourite

In the form and personality of gods and goddesses of the world, the lotus symbol has a special and
important place. Invariably the beauty and greatness of the deities are described with reference to the
lotus. Their various limbs especially hands, feet, face and eyes are likened to it. Many of these gods also
hold in their hands, besides other things, the lotus too. Still others are depicted as being seated on a lotus.
eg. Lakshmi, Sarasvati, Brahma, Vishnu. Jainism too has a special place for the lotus and the Jain
Tirthankaras are depicted as seated on the flower.

Amongst the Hindu Trinity, it is the innumerable forms of Lord Vishnu that are frequently connected with
the lotus. Many are the lotus related names of Vishnu that can be selected out of the thousand names of
the Lord eg. Pundarikaksha, Padmanabha and a host of others. Brahma's birth place was the lotus and
hence he is referred to as Kamalaja, Kamalasana, Kamali, Kamalodhbava and so on. The lotus has a
special affinity with the Sun God or Surya. Sanskritists fondly describe the sun as a friend of the lotus
(Kamalabandhu), controller of lotus (Kamalanatha), darling of lotus (Kamalavallabha) and with many
other epithets. The flower blooms at sunrise and sets at sunset alluding to the fact that, all living beings in
the world become active with sunrise and retire for the day at sunset. The sun god is the only male deity
holding lotuses in both hands. He is also seated on a lotus. The connection between the sun god and the
lotus is also extensively dwelt upon in the literatures of various countries like Egypt, Tibet, China, Japan
and so on.

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Amongst the goddesses, Lakshmi has the closest connection with the lotus. She has lotus in her hands,
wears a garland of lotuses and all her limbs are comparable to a lotus. Dr Ananda Coomaraswamy has
divided Lakshmi idols into three categories - lotus-seated (Padmasthita), lotus-holding (Padmagraha) and
lotus-residing (Padmavasa). According to Vishnu Purana, at the time of her emergence, Lakshmi was
seated on a lotus and also held the flower in her hand. There are numerous iconographical, sculptural and
numismatic evidences and references that depict Lakshmi and Sarasvati in relationship with the lotus. In
the Sunga period sculptures, she is shown as seated or standing on a lotus. A miniature image of the
Kushana period shows her holding a lotus and a Sunga coin shows her standing on a lotus with a flower
in her hand. There is carved image of Sarasvati seated on a lotus on the Bharhut column.

Lotus in Buddhist tradition

Buddhism abounds with interesting references to the lotus. According to Buddhist beliefs, Buddha had
the sign of a lotus on his feet and at birth, wherever he placed his foot, lotuses bloomed. Most Buddha
images show him seated on a lotus in bloom. The lotus symbolizes his other worldliness, his great
compassion for creatures of the world, his immortality and enlightenment besides his impeccable purity
of mind and body.

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Buddhas seated on a lotus in bloom or on a lotus-seat have been found in chaityas, viharas, stupas and
caves in many countries. Not only Buddhas but Bodhisattvas too are lotus seated and holding a lotus. A
Bodhisattva is one who has the capacity and potential and the qualities needed to become a Buddha. One
such example is the Bodhisattva Avalokitesvara. He is the most worshipful and revered Bodhisattva and
very popular in China, Japan, Korea and other Eastern countries. He holds a lotus with a long stem in his
left hand and is generally seated on a lotus in full bloom. The lotus is also associated with various other
Buddhist gods and goddesses like Tara, Paramita and Kwan Yin. Besides religion, the lotus plays a
significant role in Buddhist philosophy too.

Buddhist mandalas (yantras) depict different Buddhas and Bodhisattvas inside a lotus or on its petals. The
most revered Buddhist mantra is 'Om Mani Padme Hum' - "Oh jewel within the lotus, we bow to you."
The Buddhist Mahayana treatise is titled Sadharma Pundarika Sutra meaning, "the lotus, a key to the
religion of truth. It is otherwise called Lotus Sutra. According to another sutra, the image of Universal
knowledge rests on a white lotus which, is also the heart symbolizing self-bliss and ultimate bliss. A chant
goes that when the white lotus descends on earth it changes everyone's life for the better. Buddhist ages,
with reference to the cosmos, are also initiated by the appearance of a lotus. Again, it is this flower that
augurs the birth of a Buddha. If there are no blossoms, no Buddha will appear. At the beginning of the
current era, the Bhadrakalpa, there were 1000 blossoms signifying the birth of 1000 Buddhas. Four
virtues are attributed to this flower - scent, purity, softness and loveliness. While these qualities can be
seen in other flowers too, Chinese botanists at one time believed that the lotus flowered and bore fruit at
the same time, thus symbolizing the ability to transcend the limitations of time. It was this belief that
elevated it to a privileged status amongst flowers. Not only in this life but also in the after life, the lotus
has a special place in Buddhist tradition.

Lotus and after-life

The Lotus sect of Chinese Buddhism believes that people are freed from the cycle of birth and death by
going to a celestial sphere called the Western heaven. This paradise contains seven treasure ponds. The
bed of these is covered with gold dust and the lotuses there are as big as carriage wheels.

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Buddhist temple courtyards often depict the Sacred Lake of Lotuses. The significance of this can be
gauged from the following related story: "Each soul has a lotus on this lake, which will open to receive
them after death and where they will wait until the time of its opening. The flowers thrive or droop
according to the piety of the individual on earth. For the devout, they open immediately when he dies,
admitting the soul at once to the divine presence." In China, the envelopes given to the family at a funeral
are impressed with the outline of a lotus.

Religion and philosophy apart, the lotus reigns supreme in the day to day lives of the Buddhists of China.
Pictures showing fat dancing babies holding lotus leaves or flowers are purchased in the hope that people
will give birth to several boys in succession. Since lotus leaves protect the goldfish under them, the lotus
also symbolizes continuous abundance. In Buddhist arithmetic, Padma denotes the highest figure. It is one
followed by 19 ciphers. Incidentally, in Indian arithmetic, it is one followed by 15 ciphers. Knowing this
background, one is not surprised when one spots the profusion of lotus motifs at Amaravati and other
Buddhist sites!

Lotus in Jain tradition

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Sittannavasal-Columns with lotus motif

The Jain Tirthankaras, Yaksas, Yaksinis, Yoginis, Vidyadevis are associated with the lotus in some
form or the other. Jain beliefs give special importance to special dreams, which they term as Mangala
Swapna. According to Jain texts, whenever a future Tirthankara is to take birth, the mother has an
auspicious dream. The Kalpa Sutra extensively describes 14 dreams that Tirthankara Mahavira's mother
saw. Out of them, four were connected with the lotus. They are - a pitcher filled with water and lotuses; a
big lake full of lotuses and water creatures; a garland of different flowers and a vision of the four-armed
goddess Sri. The latter was seen holding a lotus in her hand and surrounded by elephants performing
abhisheka (ritual of pouring sacred water) to her. Jains consider a full-blown lotus as an auspicious
symbol. As far as art and architecture are concerned, the lotus is extensively sculpted on stone. One such
is a famous white marble statue of Jain Sarasvati from Pali that shows her standing on a lotus.

It was not only in Hinduism, Buddhism or Jainism but also in other Indian religions like Sikhism and later
on even in Islam and Christianity that the lotus came to occupy a significant place. The Sikh gurus
glorified the lotus as an embodiment of strength, chastity and power along with the ability to remain
detached from swirls of impurities. The flower was therefore used as a motif at the dome of the Golden
Temple - the holiest of the Sikh shrines at Amritsar. Many churches of Kerala sport the lotus motif. In
Goa, four evangelists, on either side of Jesus, stand on full- blown lotuses on the pulpit in Bom Jesus
Church. In Islamic architecture too, the lotus firmly claimed its place, as can be seen from the fact that the
padmakosha or sheath of lotus petals is the most popular form in Mughal architecture. The famous
Charminar of Hyderabad has numerous representations of the lotus. The Islamic monuments at Bijapur
also show the same feature. But let us step across the borders of our country and enter into Egypt and hear
the tales they have to tell with regard to this flower.

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The Blue Lotus of Egypt

RA

Just as in India, in Egypt too the lotus is vested with several philosophical and esoteric meanings but with
a significant difference. It is the blue lotus that has been famous here since days of yore. To the Ancient

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Egyptians, the blue lotus was the most perfect type of flower. The blue lotus (Nymphaea Cerulea) belongs
to the Water-Lily family. However, it is distinctly different from the blue lily. The blue lotus is also
known as Egyptian lotus, blue water lily and sacred lily of the Nile. Fossils of this plant, that belong to the
Jurassic period i.e. about 160 million years ago have been discovered. Further evidences show the prolific
growth of this plant before the Ice Age

The blue lotus is a floating aquatic plant with colourful and aromatic flowers. The leaves are waxy,
leathery and dark green with a reddish-purple colour underneath. The genus includes both night bloomers
and day bloomers. A rather bizarre characteristic of certain species of this plant is that they fold their
petals and sink beneath the water's surface during the night and resurface the next day to bloom again.
The plant has an uncanny ability to survive even after long droughts and even its seeds remain viable for
many years. It is due to these characteristics that ancient cultures like Asia consider the lotus as a symbol
of immortality.

Nile delta

The blue lotus is associated with various gods. Ra, the creator-god is believed to have first appeared as a
beautiful child floating on a great blue lotus. The blue lotus thus symbolized the origin of life.
Interestingly, the ancient Egyptians believed that the Nile valley area was the birthplace of human
civilization and there is a remarkable similarity between the shape of the flower and the Nile and its
tributaries.

Horus, the sun god is often depicted sitting on a lotus in the manner of Brahma. The lotus is also the
flower of resurrection, used in funeral rites. The Book of the Dead contains spells for transforming
oneself into a lotus and thus fulfilling the promise of resurrection. The lotus is depicted on tombs as can
be seen from the spread of the flower on the tomb of Tutankhamen. Till date, the Egyptians design their
chalices and wine glasses as the lotus. There are also drawings of people smelling the lotus flower. It was
believed that its smell induced a state of utopia. In short, the blue Egyptian lotus was all pervasive in
Egyptian art and culture. Recently scientists at the University of Manchester, England, delved into the
properties of the blue lotus and came up with some startling facts.

Amazing medicinal properties of the Lotus

The blue lotus contains nuciferine, a hypnotic compound that relaxes muscle tissues. It is also considered
effective in treating migraines, Alzheimer's, heart conditions, sexual disorders and so on. The ancient
Egyptians have made tonics from the blue lotus as a cure for liver malfunctions.

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Seed Pod
In India, the medicinal properties of the lotus and its many parts have been extensively described in all
ancient texts like the works of Charaka, Sushruta and others. Bhavaprakasa, a text says, "The lotus is cool
and enhances complexion. It has a sweet juice, it is anti-phlegmatic, anti-bilious and it relieves dryness of
throat, burning sensation, blood impurity, poisonous sores and itching. The white lotus is cool, sweet and
anti-phlegmatic." Thus there are many ayurvedic drugs that are prepared from this flower. The lotus'
medicinal properties are indisputable and its worth gets enhanced by the fact that it is a delectable food
item too.

Lotus eaters
The lotus root can be used in the preparation of a number of dishes. The raw root can be roasted, cooked
as a vegetable, fried as pakodas, pickled or even made into gruel. The roots are rich in protein,
carbohydrates and potash. Lotus seeds can be dried, powdered and eaten. The seeds of the blue lotus can
be powdered into flour and used for making bread.

Lotus with reference to yoga and ayurveda

Talking about health, according to yoga, ayurveda and other ancient Indian lore that deal with the body,
there are seven chakras or nerve centers in the human body. Each of them is symbolized by the lotus.
Thus:

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 Chakra- Symbol
1. Muladhara or root chakra
2. Lotus with four red petals
3. Svadishtana or sacral chakra
4. Lotus with six vermillon petals
5. Manipura or solar plexus
6. Lotus with ten blue petals
7. Anahata or heart chakra
8. Lotus with twelve petals
9. Vishuddha or throat chakrar
10. Lotus with sixteen petals
11. Ajna or third eye
12. Lotus with two white petals
13. Sahasrara or crown
14. Lotus with 1000 petals representing the infinite

Amongst the wide range of yoga poses, it is Padmasana or the lotus pose that is best known. In this, the
legs are crossed in such a way that the feet are placed on the thighs, the hands rest on the knees and one
sits with a straight spine. The benefits of the lotus pose have been documented as follows: It enables one
to remain motionless for extended lengths of time
Prevents restlessness and muscular tensions
Provides an optimal condition for the free flow of cerebrospinal fluid that nurtures the nerve endings and
the brain
The Gheranda Samhita, a classical yoga text describes the lotus pose as the destroyer of all diseases.

Water lily, (family Nymphaeaceae), any of 58 species in 6 genera of freshwater plants native to the
temperate and tropical parts of the world. Most species of water lilies have rounded, variously notched,
waxy-coated leaves on long stalks that contain many air spaces and float in quiet freshwater habitats. The
stalks arise from thick, fleshy, creeping underwater stems that are buried in the mud. The showy, fragrant,
solitary flowers are borne at or above the water surface on long stalks that are attached to the underground
stems. Each cuplike flower has a spiral arrangement of its numerous petals.

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Water lilies (Nymphaea)Horticultural Photography, Corvallis, Oregon
The flowers of most species have many stamens (male reproductive structures). Some flowers open only
in the morning or in the evening to attract insect pollinators. The fruit is usually nutlike or berrylike.
Some fruits ripen underwater until they rupture or decay, and the seeds then float away or sink. Some
water lilies also have submerged leaves. All members of the family are perennial except for the genus
Euryale, an annual or short-lived perennial found only in Asia.

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 

The genus Nymphaea makes up the water lilies proper, or water nymphs, with 46 species. The common
North American white water lily, or pond lily, is Nymphaea odorata. The European white water lily is N.
alba. Both species have reddish leaves when young and large fragrant flowers. The leaf blades of N. alba
have a deep, narrow notch. Other species of Nymphaea have pink, yellow, red, or blue flowers; many
kinds are of hybrid origin. The lotus of ancient Egyptian art was usually the blue lotus (N. caerulea). The
Egyptian lotus, N. lotus, has toothed leaves and long stalks that rise above the water’s surface to support
white flowers that bloom at night and stay open until midday.
The genus Nuphar, with about 10 species distributed throughout the Northern Hemisphere, includes the
common yellow water lily, cow lily, or spatterdock (Nuphar advena) of eastern North America. The
yellow water lily has submerged leaves that are thin and translucent and leathery floating leaves.

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Leaf undersurface of Santa Cruz water lily (Victoria cruziana
The largest water lilies are those of the tropical South American genus Victoria, comprising two species
of giant water lilies. The leaf margins of both the Amazon, or royal, water lily (V. amazonica, formerly V.
regia) and the Santa Cruz water lily (V. cruziana) have upturned edges, giving each thickly veined leaf
the appearance of a large, shallow pan 60 to 180 cm (about 2 to 6 feet) across and accounting for its
common name, water platter. The fragrant flowers of Victoria have 50 or more petals and are 18 to 46 cm
(about 7 to 18 inches) wide. They open white toward evening and shade to pink or reddish two days later
before they wither, to be replaced by a large berrylike fruit.

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

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 
Water lilies provide food for fish and wildlife but sometimes cause drainage problems because of their
rapid growth. Many varieties have been developed for ornamental use in garden pools and conservatories.
Two aquatic families related to the water lilies are the water shields and the fanworts, making up the
family Cabombaceae. Nymphaeaceae

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In the classical written and oral literature of many Asian cultures the lotus is present in figurative form,
representing elegance, beauty, perfection, purity and grace, being often used in poems and songs as
an allegory for ideal feminine attributes. In Sanskrit the word lotus (पद्म padma) has many synonyms:
since the lotus thrives on water, ja (denoting birth) is added to words for water to derive synonyms for
lotus, like rajiv, ambuja (ambu (water) + ja (born of)), neerja (neera (water) + ja (born
of)), pankaj, pankaja, kamal, kamala, kunala, aravind, arvind, nalin, nalini and saroja and names derived
from the lotus, like padmavati (possessing lotuses) or padmini (full of lotuses). These names and derived
versions are often used to name girls, and to a lesser extent boys, throughout South and Southeast Asia.
The lotus flower is the state flower of several Indian states, including Karnataka, Haryana, and Andhra
Pradesh. The lotus flower is the election symbol of the Bharatiya Janata Party, one of the two major
political parties in India.

The lotus, Nelumbo nucifera, is an aquatic plant that plays a central role in the art of Indian religions such
as Hinduism, Buddhism, and Jainism.
In Asian art a lotus throne is a stylized lotus flower used as the seat or base for a figure. It is the normal
pedestal for divine figures in Buddhist art and Hindu art, and often seen in Jain art. Originating in Indian
art, it followed Indian religions to East Asia
Hindus revere it with the divinities Vishnu and Lakshmi often portrayed on a pink lotus in iconography;
historically, many deities, namely Brahma, Saraswati, Lakshmi, Kubera, usually sit on a stylized  lotus
throne. In the representation of Vishnu as Padmanabha (Lotus navel), a lotus issues from his
navel Brahma on it. The goddess Saraswati is portrayed on a pale pink lotus. The lotus is the symbol of
what is divine or immortal in humanity, and also symbolizes divine perfection. The lotus is the attribute
of sun and fire gods. It symbolizes the realization of inner potential, and in Tantric and Yogic traditions, it
symbolizes the potential of an individual to harness the flow of energy moving through the chakras (often

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depicted as wheel-like lotuses) flowering as the thousand-petaled lotus of enlightenment at the top of the
skull.
Vishnu is often described as the "Lotus-Eyed One" (Pundarikaksha).[4] The lotus's unfolding petals
suggest the expansion of the soul. The growth of its pure beauty from the mud of its origin holds a benign
spiritual promise. In Hindu iconography, other deities, like Ganga and Ganesha, are often depicted with
lotus flowers as their seats.
The lotus plant is cited extensively within Puranic and Vedic literature, for example:
One who performs his duty without attachment, surrendering the results unto the Supreme Lord, is
unaffected by sinful action, as the lotus is untouched by water.

— Bhagavad Gita 5.10:

LOTUS shaped temples of India

Jambudweep is a Digambara Jain Temple in Hastinapur, Uttar Pradesh built under the blessings of
Gyanmati Mataji in 1972. Jambudweep in Hastinapur is a depiction of Jambudvipa and Kailash Parvat
Rachna & Shree Ashtapad Teerth are depictions of  Ashtapad.

Jambudweep depicts the model Jain cosmology has been designed here under the supervision of Shri
Gyanmati Mataji was in 1985. Unique circular structures of Jain Geography ‘Jambudweep’ has been
constructed with white & coloured marble stones in the diameter of 250 feet (76 m) with 101 feet (31 m)
tallMount Sumeru Parvat is built by light pink marble situated in the center of Jambudweep Rachna.

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 The official name of the tirtha is the Digambar Jain Institute of Cosmographic Research (Digambar Jain
Trilok Shodh Sansthan) and its main attraction is the building constructed as a model of Jambudvipa.

The premises has various Jain temples which includes Sumeru Parvat, Lotus Temple, Teen Murti Mandir,
Meditation Temple, Badi Murti, Teen Lok Rachna and many other tourist attractions. The main temples
in the Jambudweep complex includes:

1. Teen Lok Rachna is modeled after trilok in Jain cosmology, the temple has a series of floor
representing seven Adho Loka — the realms of the hellish beings, then Madhya Loka – the realms of
the humans, animals and plants, then seven Urdhva Loka – the realms of the gods or heavens and
Siddhashila at the top. 
2. Sahastrakut Jinalya is notable for a panel depicting Jain monk in worship room praying to tirthankara. 
3. Lotus temple a small temple in the courtyard of Jambudweep. It is a Jain House of Worship and also a
prominent attraction in Hastinapur. It was completed in 1989.
4. Mt. Meru, surrounded by water, is the tallest structure in Jambudweep complex.
5. Tera-dvipa is modeled after group of thirteen islands of the middle section of the universe in Jain
cosmology. The structure features fived Mt. Meru, three islands where human and Jinas are born, the
Jambudweep is situated in innermost circle and eight islands depicts nandishvar dweepa. 

Monument ID:N-KA-D255: Chandramouleshwar temple is one of the very oldest temple. 900-year-old
temple from the Badami Chalukyan era. This temple is not much famous because of its location, but its
art and architecture very unique and attractive. In recent days localities are encroaching temple area,
hence it needs to be conserved and restored. In the photo it is an artistic cuttings of flower design on the
side of frame of the door entrance carved in Chalukya style on the outer side of temple . Photographed in
the evening, captured from the front.

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Jambudweep is a Digambara Jain temple in Hastinapur, Uttar Pradesh built under the blessings
of Gyanmati Mataji in 1972.[1] Jambudweep in Hastinapur is a depiction of Jambudvipa and Kailash
Parvat Rachna & Shree Ashtapad Teerth are depictions of Ashtapad.
Jambudweep was founded by Gyanmati Mataji in 1972 and the model of Jambudvipa was completed in
1985. For the tirtha, Nalini Balbir reported
The main attraction of this vast campus is the Jambudvipa. By its height, this original construction
dominates all other buildings. It is meant both for education of the believers, since it shows them the Jaina
representation of the universe, and for their entertainment. One can climb to the top by an inner staircase,
or go boating around the Lavanasamudra![3]

— Nalini Balbir

Jambudweep depicts the model Jain cosmology has been designed here under the supervision of Shri
Gyanmati Mataji was in 1985. Unique circular structures of Jain Geography 'Jambudweep' has been
constructed with white & coloured marble stones in the diameter of 250 feet (76 m) with 101 feet (31 m)
tall Mount Sumeru Parvat is built by light pink marble situated in the center of Jambudweep Rachna.
The official name of the tirtha is the Digambar Jain Institute of Cosmographic Research (Digambar Jain
Trilok Shodh Sansthan) and its main attraction is the building constructed as a model of Jambudvipa.
In the story about Jambudweep, Gyanmati Mataji had a vision in 1965 while meditating. In the vision,
she saw the entire structure of universe. Discovering later that what she had seen perfectly matched the
cosmographical details described in Jain scriptures, she decided to create a pilgrimage site with the aim of
creating a model of Jambudvipa. "Jambudweep Trilok Sodh Sansthan" has been established at
Jambudweep, Hastinapur to raise awareness regarding the Jain Cosmology and Jain

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Philosophy. Jambudweep developed a website http://www.jambudweep.org in 2007 to spread the Jain
philosophy online, with more than 2000 books uploaded.

Lotus Temple

The premises has various Jain temples which includes Sumeru Parvat, Lotus Temple, Teen Murti Mandir,
Meditation Temple, Badi Murti, Teen Lok Rachna and many other tourist attractions. The main temples
in the Jambudweep complex includes:

1. Teen Lok Rachna is modeled after trilok in Jain cosmology, the temple has a series of floor
representing seven Adho Loka — the realms of the hellish beings, then Madhya Loka – the
realms of the humans, animals and plants, then seven Urdhva Loka – the realms of the gods or
heavens and Siddhashila at the top. The temple features a light and sound show similar to ones
in Akshardham and ISKCON Temple, Delhi
2. Sahastrakut Jinalya is notable for a panel depicting Jain monk in worship room praying
to tirthankara. The panel was discovered buried where Sahastrakut Jinalya constructed.
3. Lotus temple a small temple in the courtyard of Jambudweep. It is a Jain House of Worship and
also a prominent attraction in Hastinapur. It was completed in 1989.
4. Mt. Meru, surrounded by water, is the tallest structure in Jambudweep complex. [13]
5. Tera-dvipa is modeled after group of thirteen islands of the middle section of the universe in Jain
cosmology. The structure features fived Mt. Meru, three islands where human and Jinas are born,
the Jambudweep is situated in innermost circle and eight islands depicts nandishvar dweepa. The
eight islands of nandishvar dweepa are connected to ashtanika, the eight day festival.

Nikora Ashram
Located in the state of Gujarat along the holy Narmada River, the Nikora ashram in India is like an eighth
wonder of the world. The temple is nestled amid a thick, tropical landscape that houses a striking murti of
Dhyanyogi as well as a meditation hall that holds thousands of meditators. Built under the divine vision
of Shri Anandi Ma, the ashram temple was precisely constructed as a Sri Yantra, a representation of the
divine mother.

A Sri Yantra is known to be a supreme instrument in the path of spiritual advancement. It is formed by
nine interlocking triangles that surround and radiate out from one central point that is known as the bindu.
The bindu is said to be the junction point between the physical universe and its unmanifest source.

20
21
 LOTUS HOUSE OF BAHAI

"Hindu texts describe that water represents the procreative aspect of the Absolute, and the
cosmic lotus, the generative."

22
All Baháʼí Houses of Worship, including the Lotus Temple, shown above) share certain architectural
elements, some of which are specified by Baháʼí scripture. ʻAbdu'l-Bahá, the son of the founder of the
religion, stipulated that an essential architectural character of a House of Worship is a nine-sided circular
shape. While all current Baháʼí Houses of Worship have a dome, this is not regarded as an essential part
of their architecture. Baháʼí scripture also states that no pictures, statues or images be displayed within the
House of Worship and no pulpits or altars be incorporated as an architectural feature (readers may stand
behind simple portable lecture stands).

Model of the temple at the information centre

Inspired by the lotus flower, the design for the House of Worship in New Delhi is composed of 27 free-
standing marble-clad "petals" arranged in clusters of three to form nine sides. The nine doors of the Lotus
Temple open onto a central hall 34.3 meters tall that can seat 1,300 people  and hold up to 2,500 in all.
The surface of the House of Worship is made of white marble from Penteli mountain in Greece, the same
marble used in the construction of many ancient monuments (including the Parthenon) and other Baháʼí
buildings. Along with its nine surrounding ponds and gardens, the Lotus Temple property comprises 26
acres (105,000 m²; 10.5 ha).
Lotus temple is situated near Okhla NSIC and Kalkaji Mandir metro station is just 500 meters away.
The temple is located in the village of Bahapur in New Delhi, National Capital Territory of Delhi. The
architect was an Iranian, Fariborz Sahba who now lives in La Jolla, California, after living some years
in Canada. He was approached in 1976 to design the Lotus Temple and later oversaw its construction.
The structural design was undertaken by the UK firm Flint and Neill over the course of 18 months, and
the construction was done by ECC Construction Group of Larsen & Toubro Limitedat a cost of $10
million. The major part of the funds needed to buy this land was donated by Ardishír Rustampúr
of Hyderabad, Sindh (Pakistan), whose will dictated that his entire life savings would go to this purpose.
A portion of the construction budget was saved and used to build a greenhouse to study indigenous plants
and flowers that would be appropriate for use on the site.
Of the temple's total electricity use of 500 kilowatts (kW), 120 kW is provided by solar power generated
by solar panels on the building. This saves the temple 1,20,000 (1.2 lakh) rupees per month. It is the first
temple in Delhi to use solar power.

Trilok Chandra Majupuria of Tribhuvan University, Kathmandu, explains in Religious and Useful Plants
of Nepal and India (1989, M. Gupta, Lashkar, India): "The Taittiriya Brahmana describes how Prajapati,
desiring to evolve the universe, which was then fluid, saw a lotus-leaf, pushkara parna, coming out of
water. It is described that when divine life-substance was about to put forth the universe, the cosmic
waters grew a thousand-petalled lotus flower of pure gold, radiant like the sun. This was considered to be
a doorway, or an opening of the mouth of the womb of the universe. Hindu texts describe that water
represents the procreative aspect of the Absolute, and the cosmic lotus, the generative. Thus, lotus is the

23
first product of the creative principle." The role of Lord Brahma was to re-create the universe after the
great flood on this planet. In order to create the universe, He used the different parts of the lotus plant.

Goddess Lakshmi, patron of wealth and good fortune, sits on a fully bloomed pink lotus as Her divine
seat and holds a lotus in Her right hand. It is also mentioned in the Mahabharata that Lakshmi emerged
from a lotus flower which grew from the forehead of Lord Vishnu, and a garland of 108 lotus seeds is
today used for the worship of Lakshmi.
The Goddess of Power, Durga, was created by Lord Siva to fight demons and was adorned with a garland
of lotus flowers by Varuna.

Goddess of Wisdom, Saraswati is associated with the white Lotus. Virtually every God and Goddess of
Hinduism; Brahma, Vishnu, Siva, Lakshmi, Saraswati, Parvati, Durga, Agni, Ganesha, Rama and Surya;
are typically shown sitting on the lotus flower, often holding a lotus flower in their hand. The lotus which
serves thus as the seat of the Deity, signifying their divinity and purity, is
called padmasana or kamalasana.

"Visualize within yourself a lotus, centered right within your heart."

Hindu scriptures say that the Atman dwells in the lotus within the heart. Visualize within yourself
a lotus, centered right within your heart. Try to mentally feel and see the heart as a lotus flower
right within you. Within the center of the lotus, see a small light. Hindu scriptures state that the
Atman within the heart looks like a brilliant light about the size of your thumb, just a small light.
This light is an emanation of your radiant being. It is dwelling right within. The Self God is deeper
than that. The lotus is within the heart, and the Self God dwells deep within that lotus of light .

1. Growth, purity, birth – some of the terms that one correctly hears when learning about the
dharmic symbolic importance of the lotus.
 Lotus Flower is one of the most popular symbols in Hindu religion. It is believed that Lord
Brahma emerged from the navel of Lord Vishnu sitting on a lotus. Goddess Saraswati, the
Hindu Goddess of learning, is shown sitting on a lotus. Lotus flower is a symbol of eternity,
plenty and good fortune and Goddess Lakshmi, the Hindu goddess of wealth, is usually
depicted with a lotus flower. The symbolism of Lotus flower is mentioned in the 5th chapter of
the Bhagavad Gita by Lord Krishna:
 One who does all work as an offering to the Lord, abandoning attachment to the results, is as
untouched by sin (or Karmic reaction) as a lotus leaf is untouched by water. (5.10). Thus Lotus
is a symbol of purity and enlightenment amid ignorance (the smutty swamps in which it
grows).
 Lotus in spite of being in water never gets wet. It is not bothered about its surrounding but it
blooms and performs its job and vanishes. The ultimate aim of living beings is to perform its
karma without bothering about the external factors.
2. In Hinduism, Lotus represents the concept of primordial birth from the cosmic waters of creation. Lord
Brahma emerging from the navel of Lord Vishnu symbolically represents that life begins in water.
 Lord Vishnu represents that force which is responsible for all living and non-living. It also
symbolically suggests that all living and non living are connected to the ultimate source
through an invisible thread but we unfortunately don’t realize it.

The Sahasra Chakra is the top most chakra (lotus with a thousand petals) in the chakra system .According
to yoga when it opens (blooms) its petals one is said to be enlightened.
This enlightened State is known as Bramham A state of PURE CONSCIOUSNESS.
Hence it is said Bramhan is born out of lotus. Thats the reason lotus flower holds such importance in

24
(hinduism).And birth to a layperson happens only though female genitalia.so they reffer to it as such.

Nizhal Thangal, Attoor, Kanyakumari Temple SYMBOL

1000 Petal Temple Nizhal Thangal, Attoor, Kanyakumari Temple

.5 Kms from Thiruvattaru, 15 Kms from Thuckalay, 6 Kms from Marthandam, 6 Kms from
Kulasekharam, 28 Kms from Nagercoil, 20 Kms from Colachel, 49 Kms from Kanyakumari and 50 Kms
from Thiruvananthapuram is the Nizhal Thangal, Attoor  temple - one among the few renowned Worship
centers of Ayyavazhi in the western Kanyakumari.
 It is also the second Thangal built in the Thamarai Thangal series only after the Nizhal Thangal of Nelli-
Ninra Vilai, and the first ever Temple built with the Sahasrara architecture.
The Pathis and Nizhal Thangals, are centers of worship and religious learning for the followers of
Ayyavazhi which are established in different parts of India. They served as centres for propagation of the
beliefs and practices of Ayyavazhi. There are more than 8000 worship centers throughout  India, mostly
in Tamil Nadu and Kerala. Nizhal Thangal, Attoor, Kanyakumari is a pathi and larger temple.The
Pathis are given religious importance than the Nizhal Thangals and are considered as primary worship
centers. Since Ayyavazhi is not an organised religion, Swamithoppepathi serves, religiously but not
officially, as the headquarters of all.
Ayyavazhi  "Path of the Master") is a henotheistic belief[  that originated in South India  It is cited as an
independent monistic  religion  by several newspapers,  government reports,  journals  and academic
researchers.  In Indian censuses, however, the majority of its followers declare themselves as Hindus.
Thus, Ayyavazhi is also considered a Hindu denomination.  Officially (legally), it exists within Hinduism
as a Hindu denomination.
Ayyavazhi is centered on the life and preachings of Ayya Vaikundar; its ideas and philosophy are based
on the holy texts Akilathirattu Ammanai and Arul Nool. Accordingly, Vaikundar was the
Purna avatar of Narayana.

25
Lord Ayya Vaikundar (c.1833–c.1851; Tamil: அய்யா வைகுண்டர்), known to his followers as tenth
avatar or incarnation of Lord Vishnu, also called as Sriman Narayana Vaikundaswamy or Narayana
Pandaram, was a 19th-century social reformer and iconoclast who worked for the upliftment of
downtrodden people in the Kingdom of Travancore. He is central to the Hindu denomination
of Ayyavazhi, as per holy scripture.
Ayyavazhi shares many ideas with Hinduism in its beliefs and practice, but differs considerably in its
concepts of good and evil and dharma. Ayyavazhi is classified as a dharmic belief because of its central
focus on dharma.
Ayyavazhi first came to public attention in the 19th century as a Hindu sect. Vaikundar's activities and the
growing number of followers caused a reformation and revolution in 19th-
century Travancorean and Tamil society. surprising the feudal social system of South India. It also
triggered a number of reform movements including those of Narayana Guru and Ramalinga Swamigal.
Though Ayyavazhi followers are spread across India, they are primarily present in South India  especially
concentrated in Tamil Nadu and Kerala. The number of practitioners is estimated to be between
8,000,000 and 10,000,000  although the exact number is unknown, since Ayyavazhis are reported as
Hindus during censuses

The Design: The 100 petal symbol is the Sahasrara or Sahastrar (Sanskrit: सहस्रार, IAST: Sahasrāra,

English: "thousand-petaled") or crown chakra is generally considered the seventh primary chakra,
according to most tantric yoga traditions.

Architectural -Appearance
The Sahasrara or Sahastrar is described as a lotus flower with 1,000 petals of different colors. These
petals are arranged in 20 layers, each layer with approximately 50 petals. The pericarp is golden and
within it a circular moon region is inscribed with a luminous triangle, which can be either upward- or
downward-pointing.
Often referred to as a thousand-petaled lotus, it is said to be the most subtle chakra in the system, relating
to pure consciousness, and it is from this chakra that all the other chakras emanate. When a yogi is able to
raise his/her kundalini (energy of consciousness) up to this point, the state of Nirvikalpa Samādhi is
experienced. Sahasrara or Sahastrar is related to the crown of the head. It is typically associated with
the fontanelle and the intersection of the coronal and sagittal sutures of the skull. Various sources will
relate it to the pineal gland, hypothalamus or the pituitary gland although these are often given instead as
locations of Ajña Chakra. The crown wheel is important within the Anuttarayoga Tantra tradition
of Buddhist Vajrayana. It is triangular, with 32 petals or channels that point downwards, and within it
resides the white drop or white bodhicitta. Through meditation, the yogi attempts to unite this drop with
the red bodhicitta in the navel, and to experience the union of emptiness and bliss. It is very important in
the Tantric practice of Phowa, or consciousness transference. At the time of death, a yogi can direct his
consciousness up the central channel and out of this wheel in order to be reborn in a Pure Land, where he
can carry on his tantric practices, or transfer that consciousness into another body or a corpse, in order to
extend life.
In the West, it has been noted by many (such as Charles Ponce in his book Kabbalah.) that Sahasrara
expresses a similar archetypal idea to that of Kether, in the Kabbalistic Tree of Life, which rests at the
head of the tree, and represents pure consciousness and union with God.

26
27
History
Though this Thangal was built in 1988, the new structure with Sahasrara architecture was built recently.
The foundation stone for the new structure was laid in 2005 by Bala Prajapathi Adikalar and was
inaugurated by him on 23 April 2007.

Architecture
This is one of the Nizhal Thangals in Kanyakumari district (west) built in 'Lotus architecture'(Sahasrara).
It's top-roof is covered by 1008 lotus petals. The Thangal was constructed facing the geographic east and
daily Panividais are conducted here twice (5.00 am and 5.00 pm) and Ucchi-Panividais are conducted on
every Sundays at 12.00 noon. The newly built structure was inaugurated on 23rd April 2007 by Bala
Prajapathi Adikalar, the present Pattathu Ayya of Swamithoppu Pathi.

28
Festivals
Thiru Edu-Vasippu is the main festival conducted here. The festival includes a celebration for 10 days
starting from the second Friday of the Tamil month of Chithirai (April/May) every year.
The 15141 verses of holy text Akilathirattu Ammanai is ceremonially recited during the 10 festival days.
Religious conferences are also held every year. Ayya Vaikunda Avatharam is the second most popular
festival which is held usually on the 18th of the Tamil month of Masi. Special Panividais are conducted
and Annual celebration of the Akila-Ara Patasalai (spiritual schools) are held along with the Masi
Celebration. Other festivals including Thirukarthigai, Diwali etc. are also celebrated with high fervor.

The Pathis and Nizhal Thangals, are centers of worship and religious learning for the followers of
Ayyavazhi which are established in different parts of India. They served as centres for propagation of the
beliefs and practices of Ayyavazhi. There are more than 8000 worship centers throughout  India, mostly
in Tamil Nadu and Kerala. The Pathis are given religious importance than the Nizhal Thangals and are
considered as primary worship centers. Since Ayyavazhi is not an organised
religion, Swamithoppepathi serves, religiously but not officially, as the headquarters of all.
Generally two facts are required to accredit a site as Pathi, They are
1. The site(place) should be historically associated with the incarnational activities of Vaikundar.
2. The site should be mentioned in Akilam by referring it using the term 'Pathi' .

Nizhal Thangal (Tamil: நிழல் தாங்கல்; also called Inai Thangals) are secondary worship places of
the Ayyavazhi, often smaller in size compared to Pathis, built per the instructions of Akilattirattu
Ammanai. Cleanliness is strictly enforced.

29
Though the common people, mainly in early times call them as Narayanaswami koil or Narayanaswami
pathi, the Ayyavazhi scriptures consider these centers distinct from The Pathis. They call these worship
centers, which were not associated with the religious activities of Vaikundar as 'Inai Thangals'.
Unlike Pathis this Thangals were of small size. Inside the Nizhal Thangals, no murti or idol is used.
The Palliyarai of Thangals generally seems similar to Pathis. But inside, in most of the Thangals instead
of raised pedestal, chairs were placed as asanas in which the saffron or silk cloths are wrapped-around. A
garland made of rudraksha (string of rudraksha beads) is placed around the neck of the asana. Mirrors
were placed behind. In front of these there will be two standing oil lamps(kuthu vilakku)made of brass,
each placed on the either side of the asana.
In some of the Thangals there will be inner corridors as pathis to circumambulate the Palliyarai. A hall is
attached to this palliyarai for the worshippers. In some of the Thangals there are flag
masts, Vahanas and temple cars etc.

Ayyavazhi  Symbols representing 1000 lotuses

Ayyavazhi: The Sociological and Mystical Teachings, Benjamin Grove,

2013https://sites.psu.edu/themaskswewear/2013/10/03/ayyavazhi-the-sociological-and-mystical-
teachings/
Do you ever feel that you are acting as a bystander to all of the terrors happening around you? Do you
wish to take the initiative to prevent such atrocities from damaging the lives of others as well as yourself?
This may seem like a daunting task, but it is available with a reminder

  with t he right type of

30
Perhaps you do not have to directly make a significant change, but you can still others to help reestablish
social justice throughout the world. Hopefully, then, you will have the means to reveal the true divine
knowledge that has been veiled by the injustice of modern human relations and governmental policies.
But let’s not get carried away here.
Kali, Goddess of Change and Time
If this is your goal, then the teachings of Ayyavazhi will certainly lead you in the right direction. A South
Indian dharmic belief system achieving official recognition in the nineteenth century as a Hindu Sect,
Ayyavazhi breaks its teachings down into two main categories. These are the mystical teachings and the
social teachings. The mystical teachings are primarily concerned with the individual finding the means to
reveal divine knowledge into his life. However, the Ayyavazhi practitioner must be aware of the nefarious
intents of the evil of Kali, who tries to disturb the connection between the soul and the universe, giving
the individual a false sense of identity that is often just feeding into the ego.With this, members of the sect
may develop a sense of hubris that will make them feel that they are more powerful or successful than the
people around them, when they are actually just making it more difficult for themselves to gain genuine
respect and admiration from their peers. The second aspect of Ayyavazhi teachings is sociological. This
facet is concerned with ensuring that the people on earth are treated equally and fairly. Naturally,
Ayyavazhi holds a general distaste for the caste system, a long-running tradition throughout India that
was based on social stratification, dividing labor and wealth to the Indian citizens based on hereditary
background and social class.

In regards to ethics, Ayyavazhi places most of its value in a concept known as Neetham. The idea behind
Neetham is that the citizens, authority, and rulers all live in complete harmony and thus allow nature to be
their ultimate protector. At a young age, practitioners always act in support of God, so they can then make
this a habit for the rest of their lives. The Ayyavazhi people strive to live in union, so if an outside threat
ever comes, they will always have strength in numbers.

I think it would actually be really difficult for many of us to bring the teachings of Ayyavazhi into their
lives. As I was looking into the evil of Kali, it too accurately described how we view individuality.  They
constantly feed us this idea that our lives are predominantly “personal,” and have forgotten what it truly
means to be in union. Ayyavazhi emphasizes the importance of “oneness,” which means oneness with the
world.  It is one of those belief systems that can truly improve how you feel about your own life while
also giving you the tools to improve the lives of others, having both mystical and sociological facets,
because it can help you control reality as well as your imagination.

Borobudur as a LOTUS
31
The architecture of Borobudur itself suggests a lotus depiction, in which Buddha postures in
Borobudur symbolize the Lotus Sutra, mostly found in many Mahayana Buddhism (a school of Buddhism
widely spread in the east Asia region) texts. Three circular platforms on the top are also thought to
represent a lotus petals. The Borobudur monument combines the symbolic forms of the stupa (a Buddhist
commemorative mound usually containing holy relics), the temple mountain (based on Mount Meru of
Hindu mythology), and the mandala (a mystic Buddhist symbol of the universe, combining the square as
earth and the circle as heaven). Many believe the aerial view of Borobudur takes the shape of a  lotus, the
Buddhist symbol. Researchers believe Borobudur symbolically depicts the path of a Buddhist from
samsara to nirvana. Also known as the gigantic stone textbook of Buddhism, Borobudur illustrates the life
of Buddha and his teachings. It has ten floors; the first through the sixth floors are square and the seventh
through tenth floors are round. Each floor replicates the Buddhist’s universe divided into three levels:
Kamadhatu (desire), Ruphadatu (forms), and Arupadhatu (formlessness).

32
  I
nterlocking honeycomb inspired at Borobudur Temple in the form of geometric and construction of
stone composition.

Aerial photography depicts real images and reality requirements of the real images on scientific encoding,
presenting objects clearly, accurately, without any manipulations. Accurate consideration and exact flying
direction coordinate will capture objects of miles away in minutes for time is too precious too loose in the
air. Aerial photography has flexibility. It can move on the physical reality, abstract reality, as well as
reality which deliver messages to public. By means of aerial photography Borobudur temple can be seen
as a whole to complete the familiar horizontal perspective. Borobudur temple has plenty of geometrical
forms on its whole parts, i.e. diagonal lines, curves, upright lines, triangles, horizontal, cones, cubes,
squares, and circles. These geometrical forms symbolize Buddhist cultural and spiritual messages. This
research attempts to explicate the connections of symbols and messages on the Borobudur, its nature
landscape and cultural landscape using vertical approaches as recorded in aerial photography. The
explication applies semiotics theory of Roland Barthes, completed with photography theories. This
explication aims to enrich the former readings fulfilled from horizontal view, in order to reveal more
signs and messages carried by the physical shape of the temple.

____________________________________________________________________

Cultural Messages of the Borobudur Temple’s Symbols Seen from Aerial Photography Media, Ade Dani Setiawan,
Journal of Visual Art and Design 4(2):162-181, November 2013

33
Relief at Borobudur Temple, Indonesia. Depicts women carrying lotus offerings

The Lotus, Nelumbo nucifera, is an aquatic plant that plays a central role in the art of Indian
religions such as Hinduism, Buddhism, and Jainism.
In Asian art a lotus throne is a stylized lotus flower used as the seat or base for a figure. It is the normal
pedestal for divine figures in Buddhist art and Hindu art, and often seen in Jain art. Originating in Indian
art, it followed Indian religions to East Asia in particular. In the Aṅguttara Nikāya, the Buddha compares
himself to a lotus (in Pali, paduma), saying that the lotus flower raises from the muddy water unstained,
as he raises from this world, free from the defilements taught in the specific sutta.
In Buddhist symbolism, the lotus represents purity of the body, speech and mind, as if floating above the
murky waters of material attachment and physical desire. According to legend, Gautama Buddha's first
steps made lotus flowers appear everywhere he stepped. In Tibet, Padmasambhava, the Lotus-Born, is
considered the Second Buddha, having brought Buddhism to that country by conquering or converting
local deities; he is normally depicted holding a flower. Lotus thrones are the normal pedestal for most
important figures in Buddhist art.
The Symbol of the Lotus in Buddhism: Origins and Developments, Barbara O'Brien,2018

The lotus has been a symbol of purity since before the time of the Buddha, and it blooms profusely in
Buddhist art and literature. Its roots are in muddy water, but the lotus flower rises above the mud to
bloom clean and fragrant.

In Buddhist art, a fully blooming lotus flower signifies enlightenment, while a closed bud represents a
time before enlightenment. Sometimes a flower is partly open, with its center hidden, indicating that
enlightenment is beyond ordinary sight.
The mud nourishing the roots represents our messy human lives. It is in the midst of our human
experiences and our suffering that we seek to break free and bloom. But while the flower rises above the
mud, the roots and stem remain in the mud, where we live our lives. A Zen verse says, "May we exist in
muddy water with purity, like a lotus."
Rising above the mud to bloom requires great faith in oneself, in the practice, and in the Buddha's
teaching. So, along with purity and enlightenment, a lotus also represents faith.
The Lotus in the Pali Canon

34
The historical Buddha used the lotus symbolism in his sermons. For example, in the Dona Sutta (Pali
Tipitika, Anguttara Nikaya 4.36), the Buddha was asked if he was a god. He replied,
"Just like a red, blue, or white lotus—born in the water, grown in the water, rising up above the water—
stands unsmeared by the water, in the same way I—born in the world, grown in the world, having
overcome the world—live unsmeared by the world. Remember me, brahman, as 'awakened.'" [Thanissaro
Bhikkhu translation]

In another section of the Tipitaka, the Theragatha ("verses of the elder monks"), there is a poem attributed
to the disciple Udayin:

As the flower of a lotus,

Arisen in water, blossoms,
Pure-scented and pleasing the mind,
Yet is not drenched by the water,
In the same way, born in the world,
The Buddha abides in the world;
And like the lotus by water,
He does not get drenched by the world. [Andrew Olendzki translation]

Other Uses of the Lotus as a Symbol

The lotus flower is one of the Eight Auspicious Symbols of Buddhism.
According to legend, before the Buddha was born, his mother, Queen Maya, dreamed of a white bull
elephant carrying a white lotus in its trunk.
Buddhas and bodhisattvas are often portrayed as either seated or standing on a lotus pedestal. Amitabha
Buddha is nearly always sitting or standing on a lotus, and he often holds a lotus as well.
The Lotus Sutra is one of the most highly regarded Mahayana sutras.
The well-known mantra Om Mani Padme Hum roughly translates into "the jewel in the heart of the
lotus."

In meditation, the lotus position requires folding one's legs so that the right foot is resting on the left
thigh, and vice versa. According to a classic text attributed to Japanese Soto Zen Master Keizan Jokin
(1268–1325), "The Transmission of the Light (Denkoroku)," the Buddha once gave a silent sermon in
which he held up a gold lotus. The disciple Mahakasyapa smiled. The Buddha approved Mahakasyapa's
realization of enlightenment, saying, "I have the treasury of the eye of truth, the ineffable mind of
Nirvana. These I entrust to Kasyapa."

Significance of Color

In Buddhist iconography, the color of a lotus conveys a particular meaning.

 A blue lotus usually represents the perfection of wisdom. It is associated with the

bodhisattva Manjusri. In some schools, the blue lotus is never in full bloom, and its center cannot
be seen. Dogen wrote of blue lotuses in the Kuge (Flowers of Space) fascicle of Shobogenzo.

"For example, the time and place of the opening and blooming of the blue lotus are in the midst of fire
and at the time of flames. These sparks and flames are the place and time of the blue lotus opening and
blooming. All sparks and flames are within the place and time of the place and time of the blue lotus
opening and blooming. Know that in a single spark are hundreds of thousands of blue lotuses, blooming

35
in the sky, blooming on the earth, blooming in the past, blooming in the present. Experiencing the actual
time and place of this fire is the experience of the blue lotus. Do not drift by this time and place of the
blue lotus flower.

A gold lotus represents the realized enlightenment of all Buddhas.

 A pink lotus represents the Buddha and the history and succession of Buddhas.
 In esoteric Buddhism, a purple lotus is rare and mystical and might convey many things,
depending on the number of flowers clustered together.
 A red lotus is associated with Avalokiteshvara, the bodhisattva of compassion. It also is
associated with the heart and with our original, pure nature.
 The white lotus signifies a mental state purified of all poisons.

Conscious or not, if you consider the location of the Borobudur temple turned out to be in place
"unusual". It is located on a hill surrounded by two pairs of twin mountains, that Sindoro-Sumbing and
Merbabu-Merapi. In fact, other temples built on flat land just ordinary. Actually, in 1931, an artist and
expert on Buddhist architecture named W.O.J. Nieuwnkamp had proposed a theory that Kedu Mainland
(which is the site of Borobudur in Java legend) is an ancient lake. According to him, Borobudur was built
based on the symbol of a lotus flower floating on the surface of the lake. But the hypothesis is still a
debate scientists at that time.

The lotus is one of Buddhism’s most recognizable symbols of enlightenment and is important in many
Buddhist traditions.

According to legend, everywhere the baby Buddha stepped, a lotus flower bloomed. The famed Lotus
Sutra is one of the most important texts of Mahayana Buddhism and is the foundation of the Pure Land
schools. Because the lotus grows in muddy water, it symbolizes the purity of enlightened mind arising
amidst the suffering of samsara. It also represents nonattachment, as it is rooted in mud (attachment and
desire) but its flowers blossom on long stalks unsullied by the mud below. The famous Tibetan
mantra OM MANI PADME HUM, meaning “OM the Jewel in the Lotus HUM,” invokes Chenrezig
(Avalokiteshvara), the bodhisattva of compassion. In this case, the lotus represents wisdom and the jewel
symbolizes skillful means.Different-colored lotuses have different meanings. The white lotus represents
mental purity and spiritual perfection. The red lotus is the symbol of love and compassion. The blue lotus
represents wisdom and intelligence and is always pictured partially opened. A gold lotus represents the
achievement of complete enlightenment.

In some Buddhist schools, the flower’s stage of growth represents different stages on the path to
enlightenment. A closed bud symbolizes the time before enlightenment, while a fully bloomed lotus
represents full enlightenment. Sometimes a flower is partly open, with its center hidden, indicating that
enlightenment is beyond ordinary sight.Lotus in Buddhism-[Allan, Baillie] and [Suzanne, Ostro] 

36
Throughout early history, in Asia and much of the ancient Near East, the lotus was associated with the
sacred. The ancient Persians viewed the open lotus flower as a symbol of the sun, the giver of life, and the
Phoenicians depicted it being borne to heaven on wings, surrounded by the moon and stars. In China the
lotus was esteemed, not only for religious reasons, but for medicinal use and as food. The profusion of
gorgeous lotuses in the many lakes and waterways of China have been the source of inspiration of
Chinese poets for centuries. Robert Graves, in The White Goddess, recounts a Greek myth of the half god,
half mortal hero Hercules, who borrows a lotus-shaped golden cup of the sun.

In the myths and legends of ancient Egypt, the lotus is a recurring theme. The king of the Egyptian gods,
Osiris, judge of the dead, wore a crown of lotus blossoms, and Isis, his queen, was represented by the
budding lotus. Another myth depicts the god Horus being reborn each day from a blossoming lotus. The
Egyptians also thought that stalks of the lotus plant supported the heavens, emulating this by carving
lotuses on the columns that supported the roofs of their temples.

The lotus has been especially revered in India. One Hindu creation legend is an interesting parallel to the
Egyptian story. A golden lotus arises from the primal water, and as it opens Brahma, Vishnu, and Shiva
emerge from the flower’s center. According to Hindu belief, the core of the lotus is the center of great
vitality and power. An early Indian literary work, the Rig Veda, tells of the ancient Indian mother goddess
“Lotus Goddess Lakshmi,” alluding to her as “the mother of created beings.” Another name for Lakshmi
is Padma, or “lotus”, and she is called the “lotus-born,” “lotus-eyed,” and “lotus-colored” and is often
depicted standing above or seated upon a lotus.

37
 Flowers on Borobudur
relief

The Buddha, in his enlightenment state, is often portrayed seated upon an open lotus flower, and in all the
forms of Buddhism the lotus is symbolic of the highest spiritual attainment. In Asian art works, buddhas
and bodhisattvas are frequently shown seated on lotus flowers. Kwan Yin, the Chinese bodhisattva of
mercy, is represented carrying a lotus in her arms. There is a legend about the revered teacher, Padma
Sambhava, also known as Guru Rinpoche, who introduced Buddhism to Tibet in 762 AD. His name
which means “Preacher of the Lotus” originated from the Sanskrit word “Padma,” or lotus. Long ago in
India, Padma meditated with his wife, a beautiful princess named Mandarava. The king became so furious
when he learned that Padma had converted his daughter to the Buddhist faith that he had Padma seized
and burned alive. But, when the king’s soldiers returned to collect the charred remains of his body, they
discovered that Padma Sambhava was still very much alive and meditating on a magnificent lotus above a
lake. From that time forth, this very spot has been known as Tso (“lake”), Pema (“lotus”).

During the last eight years of his life, Shakyamuni Buddha preached the sutra Saddharma-Pundarika
which is Sanskrit for “The Lotus of the Wonderful Law.” At that time the Buddha sat with his legs
crossed in what is now known as the lotus position, and while meditating in this position, he entered into
a state where his mind and body never moved. Then, he announced to his disciples that he had “not yet
revealed the truth” and predicted that the lotus teaching would be propagated in the distant future when
the world is defiled by the poisons of stupidity, greed, and anger and all other teachings have lost their
capacity to save mankind. We do not know what language the Lotus Sutra was originally preached, but it
was translated into Chinese from Sanskrit by the Central Asian scholar-monk Kumarajiva (344-413 AD)
and later translated into Japanese and English. Today, the chanting of “Nam Myoho Renge Kyo” from
the Lotus Sutra as taught by the priest Nichiren is practiced worldwide. Renge literally translates
as lotus but the mystic meaning is hidden within the teaching. The text of the Lotus Sutra refers to
thousands of lotus blossoms, and it is said that the roots of goodness are planted deeply to save living
beings, a Mahayana Buddhist vow.

The Dalai Lama, leader of Tibetan Buddhists, is known as the “Lord of the White Lotus” because the
color white is made up of all other colors and is the symbol of spiritual perfection. Many mandalas used
in meditation are stylized lotus flowers representing the wheel of birth, death, and rebirth. Shambhala, the

38
pure land depicted in Tibetan Buddhism, is portrayed in the shape of a lotus flower with eight petals,
representing the eightfold path of the Buddhist. The Tibetan Buddhist teaching of the sacredness of reality
considers five styles of energy also called five Buddha families. One is the padma lotus family which has
both enlightened and negative associations. The padma is symbolized by a beautiful delicate lotus which
emerges from the mud. It emits energy in the form of passion, its color is red, and the negative aspect is
described as clinging and grasping, the deluded side of passion. But, when the passion energy is freed of
fixation, it turns into discriminating awareness and has the wisdom of experience. The positive
enlightened state of the heat of padma passion is the warmth of genuine compassion.

What is this almost magical plant that has inspired so much reverence and so many legends over the
centuries? What is the reason for its great symbolic power? The botanical family of the lotus
is Nymphaeacea, the water-lily family, which is made up of nine genera and about fifty or sixty species.
These are aquatic plants which grow from rhizomes buried in mud at the bottom of lakes and ponds;
when the temperature is warm enough they send up petioles or stalks to the water’s surface. From these
grow large jade green leaves which repel drops of water on the surface, then flowers rise up which often
span ten to twelve inches, and leaves and flowers can tower higher than the average person. The flowers
open at dawn and close again at sunset.

__________________________________________________________________________

Allan Baillie was the photographer for The Art of Practice. This essay is adapted from his work in
progress, "The Lotus: A Spiritual Journey with Poetry," written in collaboration with
https://tricycle.org/magazine/the-lotus/

Also see Ward, W. E. (1952). The Lotus Symbol: Its Meaning in Buddhist Art and Philosophy. The Journal of
Aesthetics and Art Criticism, 11(2), 135–146. https://doi.org/10.2307/426039

The name “lotus” causes a certain confusion, since it is used for plants within the family which are not
true lotuses. The “lotus” of ancient Egypt was actually a water lily, Nymphaea caerulea, the blue lotus.
There is still another blue lotus in India (N. stellata) which is probably the same lotus that the Greeks
used as an ornamental element in their architecture. “Lotus” is also a name used commonly for the trefoil,
which is grown in many parts of the world. In the United States, we are most familiar with the pond
lily, Nuphar, which grows throughout North America. But it is the genus Nelumbo that contains the
sacred lotus of Asia.

The American lotus Nelumbo is the Nelumbo lutea which grows in the eastern United States from

Minnesota to Florida and westward to eastern Texas. It has bluish green leaves that span one to two feet
across and deep yellow flowers that grow to about a foot in diameter. It grows to a height of two and a

39
half feet. Its seed pods are yellow when they are young, later turning to green. The Indians used the
rhizomes of the Nelumbo lutea for food, cooking them like potatoes and boiling the seeds when they were
green for eating.

Nelumbo nucifera—the well known “sacred lotus” or “Hindu lotus”—grows in tropical Asia. It is this
lotus that is shown holding the seated Buddha. Its leaves are three feet across and range from a deep
yellow green to a true green. When it is grown, a few of its leaves lie flat on the surface of the water, like
a water lily, and the rest stand anywhere from a foot to five feet above the water. The leaves are coated
with a waxy substance that makes them completely water repellent.

The flowers of Nelumbo nucifera are larger than the American Nelumbo lutea, greater than a foot across.
They have a wonderful full fragrance, are usually white, rose, red, or various combinations of these
colors, and they can grow over six feet high.

The seed pod is one of the lotus’s most distinctive parts. It is a large, flat topped receptacle, resembling as
one writer pointed out, a small watering can! When the pods dry out, they are long lasting and are often
used in flower arrangements, or, with their empty seed containers, as a purely decorative element,
sometimes gilded. Almost all of the plant is used for food: the stalk is sometimes served cold in salads;
the root is cooked in many different ways; and the seeds can be either cooked or eaten fresh like nuts. The
leaves are used as wraps for steaming food. In Japan, even the flower, which is bitter, is used in tempura.

All lotuses bloom in the daytime, usually for three days, although several last a few days longer. They
open early in the morning and close towards the end of afternoon, closing earlier on the first day,
interestingly enough. With most Nelumbo, on the fourth day of bloom the flowers fall off, leaving the
seed pod standing. The pods stand until they dry out enough to become brittle, then break off and flower
on the water until they rot, at which point the seeds fall, sink, and germinate in the mud at the bottom.

Researchers have found that one of the most striking attributes of the lotus is a remarkable ability to
adjust its temperature. As the sun sets and the air cools, the lotus produces enough energy to raise its
temperature. And when the sun rises, the lotus’s heat subsides. A single lotus flower can produce one watt
of energy and forty plants generate the equivalent energy of one light bulb! The energy that was attributed
to the lotus in early Vedic Hinduism actually exists. It is clear that the manner in which the lotus grows is
the main reason for the reverence in which it is held. It begins in the mud, where its rhizome is buried;
then the petiole makes its way up through murky water toward the surface; once it has reached the air,
high above the water in clear light, an unsullied blossom opens among the leaves that themselves are
untouched by the water. What better image for the journey of the soul, born in ignorance and mired in the
material world, seeking enlightenment on its passage though life; what better display of tranquillity than
the great green leaves lying quietly on the water with the splendid blossom glowing in the air above
them?

Poems

The moon’s the same old moon,

The flowers exactly as they were,
Yet I’ve become the thingness
of all the things I see!
Bunan (1602-1676)

Whoever in this world overcomes his selfish cravings,

his sorrows fall away from him,

40
like drops of water from a lotus flower.
From the Dhammapada. Early Buddhist teachings.
When you contemplate the waters
at day break, you can hear
the lotus blossom.
Kyokusai (1816-1874)

He drifts on blue water

under a clear moon,
picking white lilies on South Lake.
Every lotus blossom speaks of love
until his heart will break.
Li Po (701-762)

I cook the lotus soup,

Slice fine the lotus roots
I await my husband’s return
to relieve the hunger.
If he should covet
pairs of chopsticks elsewhere
Just so he forgets not
The key in his heart.

1. The Hindu goddess Lakshmi holding and standing on a lotus, Raja Ravi Varma; modern///

2. The boy Buddha rising up from a lotus. Crimson and gilded wood, Trần-Hồ dynasty, Vietnam,
14th-15th century///
3. From left-to-right, Mani, Zoroaster, Shakyamuni, and Jesus depicted seated atop lotus flowers.

Nieuwenkamp's propositionIn 1931, a Dutch artist and scholar of Hindu and Buddhist
architecture, W.O.J. Nieuwenkamp, developed a theory that Kedu Plain was once a lake and Borobudur

41
initially represented a lotus flower floating on the lake. Lotus flowers are found in almost every Buddhist
work of art, often serving as a throne for buddhas and base for stupas. The architecture of Borobudur
itself suggests a lotus depiction, in which Buddha postures in Borobudur symbolize the Lotus Sutra,
mostly found in many Mahayana Buddhism (a school of Buddhism widely spread in the east Asia region)
texts. Three circular platforms on the top are also thought to represent a lotus petals.

Nieuwenkamp has suggested that the landscape near Borobudur included lakes, and that the temples were
arranged around these lakes in form of flowers and mathematical patterns considered to be auspicious,
and that the temples were connected by paved brick roads lined by walls. These lakes and roads were later
filled with metres of volcanic ash from the multiple eruptions of Mount Merapi, which lies very closely to
the east of the area.
Nieuwenkamp's theory, however, was contested by many archaeologists, such as Dumarçay and
Soekmono, arguing the natural environment surrounding the monument was dry land. This theory is
controversial, but recent geological evidence supports Nieuwenkamp proposal.

Purnomo (Director of Taman Wisata Candi (TWC) Brorobudur Prambanan Ratu Boko (Persero) which
has been mentioned in point 2) also gives his opinion on the alleged Borobudur was built in the middle of
this ancient lake. According to him around the temple there is a well salty. But the salty wells are not
located in all regions, only at certain points only. He also mentioned that the question of the Van
Bammelen attract the attention of foreign scientists so as to make them arrive and undertake specific
research to uncover the truth of the ancient lake that is still a mystery. Usually they stay for one to two
weeks there.

One way to uncover the mystery is by researching rivers located in the neighborhood of the temple,
including the Progo and Elo and the people living around the temple.
Curiously, like many other ancient structures around the globe, pyramids, for example, there are no
known records of construction or the intended purpose of Borobudur. Forgotten and rediscovered.

It is commonly acknowledged that Borobudur was constructed between 750 and 850 by the Shailendra
dynasty’s rulers. The name is traced back to the Sanskrit Vihara Buddha Ur, which translates as “the
Buddhist temple on the mountain,” although its exact meaning is disputed.

The ninth-century world-heritage Buddhist monument of Borobudur (Java, Indonesia) stands above the
floor of a dried-out palaeolake, but it remains uncertain as to whether it was ever constructed on a lake
shore. Here we reveal through new chronological and palaeoenvironmental data on the extant sediment
record of the area that Borobudur intentionally stood by an existing lake. For the first time, evidence of
this conjunction validates quite literally the debated cosmological interpretation of the edifice as an
aquatic lotus symbol upon which Buddha is seated. The fluctuating life history of the lake spanned at
least 20 000 years.

The generally accepted belief regarding the 9th century world-heritage Buddhist temple of Borobudur
(Java, Indonesia) is that it stands above the floor of a dried-out palaeolake but was never constructed on a
lake shore. Here we reveal through new chronological and palaeoenvironmental data on the extant
sediment record of the area that Borobudur intentionally stood by an existing lake. Evidence of this
conjunction validates the debated cosmological interpretation of the edifice as an aquatic lotus symbol
upon which Buddha is seated. The fluctuating life history of the lake spanned at least 20,000 years.
Borobudur temple stood by a lake: chronostratigraphic evidence and historical implications.

42
The temple was eventually ‘forgotten’ as evidence points to the fact that Borobudur was abandoned
after the fourteenth century with the decline of the Buddhist and Hindu kingdoms in Java and the
conversion of the islanders to Islam. After its abandonment, the massive pyramid temple remained
hidden for centuries under layers of volcanic ash and jungle growth, like many other pyramids across
the planet. However, scholars have still not agreed upon the exact cause of its abandonment.One
theory suggests religion had something to do with its abandonment. Theories argue that the temple
was abandoned because much of the population was converted to Islam during the 15th century.
Another hypothesis suggests the abandonment was due to a famine caused by a volcanic eruption (in
the year 1006), which forced the inhabitants to abandon their lands and the monument.

Borobudur was rediscovered in 1814 by Thomas Stamford Raffles, the British governor of Java.
When Raffles had heard about the ancient monument’s possible existence, he sent Dutch engineer
H.C. Cornellius to investigate the area.Cornellius and his men spotted the ancient pyramid temple.
Cornellius and his 200 men cut trees, burned vegetation, and dug to clear the monument for the next
two months. Due to the dangers of collapse, they could not explore the galleries. Cornellius would
eventually report his findings to Raffles, including several drawings. Raffles is credited with focusing
the world’s attention on the monument.It wasn’t until 1835 that the temple was completely excavated.
In his book entitled "The Geology of Indonesia", a scientist named Van Bemmelen also mentioned
that pyroclastics of Merapi, which erupted on a large scale in 1006 has covered the lake Borobudur
thus making the lake dried up and disappeared in history.

43
 Versak
pic

However researchers were unable to discover any pollen or spore samples that were characteristic of any
vegetation known to grow in an aquatic environment. The area surrounding Borobudur appears to have
been surrounded by agricultural land and palm trees at the time of the monument’s construction, as is still
the case today. Dumarçay together with Professor Thanikaimoni had taken soil samples in 1974 and again
in 1977 from trial trenches that had been dug into the hill, as well as from the plain immediately to the
south. These samples were later analysed by Professor Thanikaimoni, who examined their pollen and
spore content in order to identify the type of vegetation that had grown in the area around the time of
Borobudur’s construction.

Again to refute that in 2000s, geologists, on the other hand, support Nieuwenkamp's view, pointing
out clay sediments found near the site. A study of stratigraphy, sediment and pollen samples conducted in
2000 supports the existence of a paleolake environment near Borobudur,  which tends to confirm
Nieuwenkamp's theory.
The lake area fluctuated with time and the study also proves that Borobudur was near the lake shore c.
13th and 14th centuries. River flows and volcanic activities shape the surrounding landscape, including
the lake. One of the most active volcanoes in Indonesia, Mount Merapi's has been very active since
the Pleistocene. _______________________________________________________________________________________________________
1. Urubshurow, V. (1988). Transformation of Religious Symbol in Indian Buddhism: Reflections on Method
from a Reading of Mus’s Barabuḍur. Numen, 35(2), 260–279. https://doi.org/10.2307/3269974

44
Architectural Details: The  Bahá’í Temple of South America-A worship space
draws together cast glass and translucent marble.
Eric Baldwin

The 10th Annual A+Awards is still accepting entries! New this season, firms can gain recognition for
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When harnessed to maximum effect, light can give shape to form and space. Inspired by light as a
material in itself, Hariri Pontarini Architects‘ A+Award-winning Bahá’í Temple of South America was
borne from an exploration of cast glass and translucent Portuguese marble. Comprising nine
monumental glass veils, the worship space is designed to express an inclusive faith.

Embodying a community’s aspirations, the temple is set within the foothills of the Andes bordering the
metropolis of Santiago, Chile. 14 years in the making, the project represents the last of eight continental
temples commissioned by the Bahá’í Community. The open and accessible space has become a major
destination in South America since its opening in 2016, now welcoming up to 36,000 visitors each
weekend.

45
Conceptually, the project encapsulates the interplay of contradictions: stillness and movement,
simplicity and complexity, intimacy and monumentality; a solid structure capable of dissolving in light.
Surrounded by reflecting pools and a landscape of native grasses, the Bahá’í Temple is a domed,
luminous structure that echoes the rolling topography of the Andes.

Built to last 400 years, the temple was designed to draw humanity closer to the Divine, to that quest for
personal and collective perfection, betterment, refinement and a longing for togetherness and unity.
Stone, glass, wood and steel become spiritual, and in turn, the measurable becomes immeasurable.

An investigation into material qualities that embody light culminated in the development of two cladding
materials: translucent marble from the Portuguese Estremoz quarries for the interior layer, and cast glass
panels for the exterior.

Designing a structure as complex and varied as nature required the most advanced computer technology.
Led by Siamak Hariri, the team at Hariri Pontarini Architects innovated its own system for rendering the
sculptural building, using machine-to-machine fabrication to create highly irregular, organic shapes in
glass.

The
exterior layer of cast-glass panels was developed in collaboration with the Canadian glass artist Jeff
Goodman. Around 20 percent of the exterior cladding is curved, with the curved glass pieces made by
slumping flat glass over shotcrete-covered polystyrene forms in a kiln.

The glass casting was completed by Goodman and CGD Glass, while the fabrication was done by EDM.
The team used borosilicate glass for the site’s extreme temperature variations. Standing next to the
temple, visitors can appreciate the complex subtlety of the exterior cladding manufactured from this
melted glass, which recalls the configuration of snowflake crystals.

46
eanwhile, translucent marble panels form the interior walls of the temple. Flat pieces were water-jet cut
from slabs to the exact shape defined by the computer model. Each wing of the nine-sided Temple
contains over 870 unique pieces of marble.

47
The final fabrication of the steel superstructure — manufactured by Gartner Steel and Glass — was
made possible only through advanced fabrication techniques. The multitude of parts was assembled in
Germany into manageable sections, and then shipped and assembled on site in Chile.

The Temple is designed to withstand extreme earthquakes and wind. The super-structures of the wings
are comprised of hundreds of unique, individually engineered slim-profile steel members and nodal
connections. Each of the wings rest on concrete rings and columns on elastomeric seismic isolators, so
that in the event of an earthquake, the concrete pads slide horizontally to absorb the shock.

Openness and transparency are fundamental to both the structure and its site. The Bahá’í House of
Worship can be accessed by nine entrances located at regular intervals around the domed structure,
while curving paths lead visitors on walking meditations through the sloped landscape.

The building combines advanced engineering solutions, cutting-edge material innovation, and
computerized fabrication methods to create a space that is at once monumental and intimate. The
structure works with the idea of light being captured, embodied and catalyzed within the material
structure of the temple.

As a result, the Bahá’í Temple is alive with light. https://architizer.com/blog/practice/details/bahai-

temple/

The Lotus Temple / Baha'i Temple, Delhi

One of the outstanding structures of the 20 th century is the Bahai Temple in Delhi, popularly known as the
Lotus Temple. Indeed, it has been referred to as the modern day Taj Mahal, a comparison which would
seem improbable but one which is justified in reality. The Baha’i Mother Temple at Kalkaji in New Delhi
is a place for assembly, contemplation & prayer. The Baha’i faith is said to embody in itself the nine
major faiths of the world and in order to symbolise this, each component of the temple is repeated nine
times. The temple manifests itself as a half open lotus flower, afloat, surrounded by its leaves. Designed
by architect Fariburz Sahba, the structure is a complex form, one which would have been very
challenging to conceive, solve and ultimately construct. Yet, today it stands testament to the ingenuity of
all the people involved that it is one of the modern marvels of construction.

48
The temple complex consists of the main House of Worship, the ancilliary block which houses the
reception centre, the library and the administrative building. Set in the middle of a large sprawling lawn,
the temple rises up on its large basement cum plinth to a lotus shaped superstructure which houses the
assembly area. All around the structure are walkways with beautiful carved balustrades, bridges and stairs
which surround the nine pools representing the leaves of the lotus.

The lotus as seen from the outside, has three sets of leaves or petals, all of which are made out of thin
concrete shells. The outer-most set of nine petals, called the entrance leaves, open outwards and form the
nine entrances all around the outer annular hall. The next set of nine petals, called the outer leaves, point
inwards. The entrance and the outer leaves together cover the outer hall. The third set of nine petals,
called the inner leaves, appear to be partly closed. Only the tips open out, somewhat like a partly open
bud. This portion, which rises above the rest, forms the main structure housing the central hall. Since the
lotus is open at the top, a glass and steel roof at the level of the radial beams provides protection from the
rain and facilitates entry of natural light into the auditorium.

The finishing is in the form of exposed concrete on the interiors and white marble cladding on the outer
surface of the shells as well as the inner surface of the arches. For the walls, columns, and soffits of slabs
in the basement, the grey concrete surface shows an exquisite pattern of joints of planks and the grains of
wood. Above the basement, the inner surfaces of of white concrete of all the shells have a uniform bush
hammered surface with architectural patterns.

49
Fariburz Shahba’s own words – ‘It was an Indian Baha’i friend in a small city who for the first time
spoke to me about the lotus flower as an idea for the temple. Next, in the Ajanta & Ellora caves the
impression of the lotus flowers on the surface walls depicting the ‘throne of flowers’ drew my attention to
this flower. In South India, another Baha’i gentleman showed so much enthusiasm that he took great
pains to locate a pond covered with this beautiful flower, and brimming over with excitement, took me to
view the magnificent blooms. His earnest description and explanations of whatever he knew about the
lotus impressed upon me the deep rooted significance of this flower in India. Later, I studied the art,
culture and religions of India from books I had collected. The deep respect for the lotus that
spontaneously evoked from Indian hearts everywhere, the excitement in the eyes and their loving
attachement to this sacred flower kept me from considering other ideas for the design. May attention was
now focussed upon this concept. However, the critical question had yet to be answered as to how a flower
could be translated into a building. However symbolic and sensational it may be, such a design could also
be regarded as trite and formalistic and consequently vulgar and bereft of any architectural value.

The lotus represents the manifestation of God and is also the symbol of purity and tenderness. Its
significance is deeply rooted in the minds and hearts of Indians. In the epic poem of the Mahabharata, the

50
Creator, Brahma, is described as having sprung from the lotus that grew out of Lord Vishnu’s navel when
that deity lay absorbed in meditation. There is a deep and universal reverence for the lotus which is
regarded as a scared flower, being associated with worship throughout many centuries. In Buddhist
folklore the Bodhisattva Avalokiteswara is represented as born from a lotus and is usually depicted as
standing or sitting in a lotus pedestal and holding a lotus bloom in his hand.

The temple superstructure is so designed as to function as a skylight. The interior dome is spherical and
patterned after the innermost portion of the lotus flower. Light enters the hall in the same way as it passes
through the inner folds of the lotus petals. The interior dome therefore is like a bud consisting of 36 petals
and light filters through these inner folds and is diffused throughout the hall. The central bud is ringed by
three sets of nine petals as they appear in a natural flower – the just-opening petals, the semi-open petals
and the completely open petals. The just-opening or inner petals constitute the external dome; the semi-
open or outer function as high skylight; the completely open or entrance petals form a canopy over each
of the nine entrances’.

Regarding the use of water, the nine pools around the building form the principal landscaping. At the
same time, they represent the green leaves of the lotus plant, thus completing the picture of a lotus afloat
on water. Moreover, the pools with fountains in them help to cool the air that passes over them into the
hall. The superstructure, the podium and the pools are designed as an integrated whole and the parts
cannot be separated’.

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 AD Classics: Sydney Opera House / Jørn Utzon

OPERA HOUSE- SYDNEY, AUSTRALIA/Architects : Jørn Utzon-Year : 1973

Text description provided by the architects. There are few buildings as famous as

the Sydney Opera House in Sydney, Australia. Arguably considered the eighth wonder of the
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world, the opera house has a long history behind its design. The story behind this magnificent
structure began in 1956 when the New South Wales Government called an open competition for
the design of two performance halls, for opera and for symphony concerts, that would
put Sydney on the map.

The Danish architect Jørn Utzon was unknown for his work at the time, yet his entry for the
competition which consisted of a few simple sketches intrigued the famous Eero Saarinen who
was part of the jury. The drawings submitted for this scheme are simple to the point of being
diagrammatic," observed the jury. "Nevertheless, we are convinced that they present a concept of
an opera house that is capable of becoming one of the great buildings of the world."

Conc
ert Hall
Construction of the Sydney Opera House began in March 1959 after the demolition of the
existing Fort Macquarie Tram Depot. The project was built in three phases: the foundation and
building of the podium overlooking the Sydney Harbor, the construction of the outer shells, and
the construction of the interior.

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 Opera Theater
The construction of the podium began when Utzon was not yet done with the design of the opera
house, and was overseen by the renowned engineering firm Ove Arup & Partners. Due to the fact
that construction began abruptly without certain structural problems still unresolved, certain
aspects of the podium had to be modified and rebuilt after its completion in 1963 in order to hold
the weight of the massive concrete structures it was supporting.

Between 1957-1963 in the midst of the construction of the podium, Utzon and Arup worked on
developing a shell system that would make the original spherical scheme structurally possible.
Twelve iterations later, they came up with a solution that consisted of a ribbed system of precast
concrete shells created from sections of a sphere. 

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This system permitted each rib to be built up of a number of standard segments cast in a common
mold at the site. Utzon wanted the shells to be portrayed like large while sails in contrast to the
deep blue waters of the ocean it stood upon. In order to achieve this aesthetic the shells are
covered with 1,056,066 ceramic tiles made in Sweden from clay and crushed stone. Along with
the placement of the tiles, it took eleven years to complete the iconic roof structure.

On February 28, 1966 after a long battle with the New South Wales Government because of
the rising construction costs as the concrete shells were progressing towards their completion,
Utzon resigned from the project. Despite a 3000-signature protest for Utzon's reinstatement the
government appointed three Australian architects, Peter Hall, DS Littlmore, and Lionel Todd, to
complete the project. After the 2,194th precast shell segment was installed in 1967 the second
stage of the project was finished.

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At the third and final stage of the project under the supervision of the newly appointed architects
Utzon's original design was signifcantly changed. At the request of the Australian Broadcasting
Commission the proposed main hall that was originally designed as a multipurpose
opera/concert became a space solely for concerts, thus titled the Concert Hall which is able to
accomodate 2,800 people. 

The minor hall, originally intended for stage productions, was changed to house operas and
ballets and was called the Opera Theatre. Grand external staircases lead into the two these two
main auditoriums marking an entrance that visitors are unlikely to forget. Due to the switch of
the main halls, however, the Opera Theatre is now too small to stage large opera and ballet
productions. Three smaller theatres, a library, and a cinema were also added to the original
design along with three restaurants, six bars, and sixty dressing rooms. The building has a total
of 1000 rooms with access through a concourse that encircles the entire building and links the
five performance spaces.

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The design for the large exterior glass walls was also left in the hands of the appointed architects.
They are supported by vertical steel mullions which extend all the way up the mouth of the
shells. Bronze glazing bars run from these mullions to help support the 2000 panes of glass,
which was designed by Ove Arup & Partners, and consists of two layers of glass joined by an
interlayer of plastic in order to strengthen the windows and provide better sound insulation.The
building was completed and opened by Queen Elizabeth II in October of 1973. With an original
estimate of 7 million dollars the budget was vastly exceeded with a final cost of 102 million
dollars. In 1989 the government was informed the opera house would need repairs that would
cost approximately 86 million dollars due to fallen tiles and deterioration of the structural ribs.

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