KHWOPA ENGINEERING COLLEGE

DEPARTMENT OF ARCHITECTURE
LIBALI, BHAKTAPUR

A
PROJECT REPORT ON
GOLDEN TEMPLE

SUBJECT: AN INTRODUCTION TO ARCHITECTURE

GROUP MEMBERS: SUBMITTED TO:
SAMRIDDHI BAJRACHARYA (800138) AR. SUNAINA SHAKYA

AROHI SHRESTHA (800111)

MANASWI PIYA (800122)

RESHIKA SINGH MAHARJAN (800132)

SOPHIE MAHARJAN (800141)

ANISHA MAHARJAN (800106)

 Acknowledgment
We would like to express our sincere appreciation to the following individuals and organizations
for their invaluable support and contributions to the completion of this group report:

First and foremost, we extend our heartfelt gratitude to our supervisor, Sunaina Shakya ma'am,
for their guidance, mentorship, and unwavering support throughout the duration of this
project. Their expertise, encouragement, and constructive feedback were instrumental in
shaping the content, direction, and overall quality of this report.

We would also like to acknowledge the faculty members and instructors at Khwopa Engineering
College for their valuable insights, encouragement, and academic guidance. Their dedication to
excellence and commitment to fostering intellectual growth have been integral to our learning
and development as students.

Special thanks are due to our fellow group members for their dedication, collaboration, and
teamwork in researching, writing, and reviewing the content of this report. Their diverse
perspectives, skills, and contributions enriched the depth and breadth of our analysis and
findings.

We wish to express our appreciation to the staff and resources at the Khwopa Engineering
College library for providing access to research materials, databases, and academic support
services. Their assistance and resources were instrumental in conducting research and
gathering information for this report.

We are grateful to the participants of this study for their willingness to share their time,
insights, and experiences. Their contributions were essential in providing the data and
perspectives necessary for the completion of this report.

Furthermore, we extend our heartfelt thanks to our friends and family for their unwavering
support, encouragement, and understanding throughout the duration of this project. Their
support, encouragement, and belief in our abilities were a constant source of motivation and
inspiration.

In conclusion, we would like to express our sincere gratitude to all those mentioned above and
to anyone else who has contributed to the completion of this group report. Your support,
guidance, and encouragement have been invaluable, and we are deeply grateful for your
contributions to our academic journey.
 INTRODUCTION
Golden Temple is a very popular Buddhist
monastic shrine of Nepal which is located in
Lalitpur district of Nepal. While the Sanskrit
nomenclature of this shrine is Hiranyavarna
Mahavihar, locally it is known as Kwa Baha.
Among forei gn visitors it is popular by the
name of Golden Temple.

This monastic complex is based on an

ancient traditional Buddhist model: a
principal deity, a chaitya in the middle and a
tantric deity within a courtyard enclosed by
a two storied quadrangular structure.

The lower storey contains the images of

Vajrasattva, Namasangiti, Aryatara at
different sanctums whereas the upper
storey contains the image of Amoghapasa Lokeshwara, Amitabha, Tantric deity and living
quarter of Chakreswara, most senior Aju of the Bhikshu Sangha.

Besides that, the bahal is full of nicely carved stone, bronze, arts and sculptures such as the
image of avalokiteshvara, Manjushree, twelve Lokeshwaras around the Swayambhu Chaitya
and other art objects like ghanta, Vajra, monkeys with jackfruits, etc.

It is said to be well-known for its exquisite woodwork, tranquil courtyards, and magnificent
golden façade. It is a historical and culturally significant masterpiece of courtyard and newari
architecture. We are captivated by its visual beauty. The 12th century saw the discovery of this
temple. The temple prohibits the wearing of shoes and other leather goods. The site of Hiranya
Varna Mahavihar is where a rat chases a cat.
LOCATION
In North Patan, Golden Temple is situated near Durbar Square at a junction. It is situated in
Kkalkhu, on the route from Patan to Banglamukhi. The entrance to the temple can be
reached by walking straight from Patan Durbar Square's main road, turning right at
Mahapal, and continuing straight ahead. One entrance is on the side, while the other is in
the back. An additional route is from Nagbahal.
Hiranya Varna Mahavihar is built in the style of a Nepalese bahal . The temple itself is a
magnificent example of courtyard temple architecture. Two elephant statues guard the
doorway and the facade is covered by a host of gleaming. The courtyard is a rectangular, almost
square space. In the western corner there is an inconspicuous entrance, but the main entrance
is on the south-eastern side on the Kwalakhu Road.

MAIN ENTRANCE:
The main gate of the temple is made of stone and flanked by
a pair of stone lions, one male and one female. The stone
lions are considered to be guarding deity of the temple. The
gate is adorned with a stone torana and several other
sculptures, including a multilingual inscription. The door has a
relief of Bhairavas eyes on it which also has a purpose of
guarding the gate. The main gate of the temple open around
6 am and closes at 7 pm after the completion of daily prayer
rituals. Immediately after passing the door and looking up,
one sees a Kalachakra mandala on the ceiling of the entry
gate (blessings for good health).

PASSWAY:
Stepping further inside one enters an open corridor, a
passway courtyard. It consists of entrance counter along
with a disused tute-dhara (drinking fountain) also known as
“jahru” built into the wall on the left. It was primarily used
for the purpose of washing hands before entering the
temple.

At the end there is another richly adorned gate, which gives

access to the courtyard. Apart from the abundance of
Buddhism related sculptures, some Hindu sculptures can be
seen here. Incarnations of Vishnu and Shiva, for instance,
appear as roof struts that support the roof above the gate.
Having passed this second arch, one enters a small vestibule
with sculptures of Mahakala and Ganesh on the wall. Images of Mahakala and Ganesha,
protectors of the other gods of the Kathmandu Valley, guarding the entrance of a vihara is a
regular occurrence in Nepal. There is a bell tower on top of this gate.
MAIN COURTYARD:
The doorway of the courtyard in the East, is guarded by two elephant statues and the façade is
covered by the host of gleaming Buddhist
figures facing toward the main temple. To the
left of courtyard is a statue of Green Tara and
in the right corner is a statue of Bodhisattva.
In the center of the courtyard there is an
enshrined chaitya, identified with
Swayambhu. The Swayambhu temple is
placed along the axis of the entrance. The
four corners of the courtyard have statues of
four Lokeshvaras (incarnation of
Avalokiteshvara) and four monkeys which hold on jackfruits as an offering. A stairway on the
right of courtyard’s entrance leads to an upper floor chapel (monastery) dedicated to a white
eight armed Avalokiteshvara, lined with Tibetan style frescoes including a wheel of life.

EXIT:
The exit door of the golden temple is situated in left of main
courtyard which leads to a chowk of Illanani and further to
Nagbahal. The golden temple follows a heritage tour route
from Nagbahal to Patan Durbar Square.

The exit gate is specifically used for a

purpose of accessing a sacred well, built
behind the temple in Illanani . The well
water is considered to be purified
therefore it is solely used by the
caretaker for kitchen, cleanliness and
temple related chores.
 HISTORY
Long ago, Kathmandu valley was a supernatural lake. After
Manjushree cut the Chobar hill & water flowed out of the
valley, some small ponds still remained and one of them
was a pond where Ratna chaitya is located.

The Shakya dynasty migrated from Kapilvastu, after Kranti

king attacked the Kapilvastu and settled around the pond.
During the rule of king Bhasker Dev, a priest named
“Chakreshor Aaju” used to visit Guheshori by the Bagmati
river. One morning in winter, he lost his way and reached
“Pingala Bihar”. After this incident, he started visiting the
place daily, before going to “Guheshori”. Due to his
unwavering devotion, the divine Buddha of Pingala Bihar
appeared in the priest’s dream. And inform him about the
Buddha statue within the Bihar and instructed him to build
a proper Bihar for it. So “Aaju” shot assistance from the
king and brought the majestic Shakyamuni Buddha statue
to Yala with a royal ceremony. They built a grand temple to house the statue along with the
Ratna Chaitya. 4-5 Swayambhu were automatically generated, when Manjushree cut the
mountain in half. So, there it wasn’t made by anyone but was automatically generated. There
still is a pond inside the middle temple known as Swayambhu Ratna Chaitya.

 Every day a certain ritual starts from 4 am to 7 pm.

 In this temple, there are two bafachas (pujari).
They can’t eat salt, meat or wash their cloths.
 These bafachas fast on rice in the morning & dahi
chiura in the evening.
 According to the bihar, there is a myth which says,
mouse follows the cat rather than cat following
the mouse in this bihar.
 The mouse is highly worshipped here.
 There are 5000 members in this bihar. The members take turn to serve the bihar.
 The main god that is worshipped in this bihar is “Shakya Muni Buddha”.
 The younger bafacha is considered as high priest whereas the elder bafacha is his helper.
 There is also a lady that takes care of the bafacha.
 She is known as “Nikule Keti”. She also has to follow list of rules, she has to change cloths
four times per day.
o 1st change is done before going to take holy water.
o 2nd change is done before cooking.
 o 3rd change is done before washing the dishes.
o 4th change is done before going out of the bihar.
 It is said that “33 koti devi devatas” are in this temple. Including Buddha as well as other
hindu devatas such as Pashupati, Bijeshori Mahadev e.t.c.
 Hindu gods are believed to come to visit buddha in this temple.
 There are 7 types of Buddha in this temple.
 This temple is mixture of Buddhism & Hinduism.
 This temple is really famous among the tourists.
 The members are only Shakya &
Bajracharya.
 Every morning there exists a Nritya Puja in
temple & at the night time there exists a
Arati puja before closing the door of
temple.
 The main festival of this place is Dipankar
puja which is celebrated once in 5 years.
SOCIAL ASPECTS:
 Community Gatherings: The temple serves as a focal point for religious gatherings,
festivals, and community events, fostering social cohesion among devotees and
residents of the surrounding area.
 Cultural Exchange: Visitors from diverse backgrounds come to the temple, leading to
cultural exchanges and interactions between different groups, enriching the social fabric
of the community.
 Spiritual Center: As a place of worship, the temple provides spiritual guidance and
support to individuals, contributing to their overall well-being and sense of belonging
within the community.
 Economic Impact: The influx of tourists and pilgrims to the temple area supports local
businesses and artisans, creating employment opportunities and boosting the local
economy.

CULTURAL ASPECTS:
 Historical Significance: The Golden Temple, also known as Hiranya Varna Mahavihar,
holds immense historical and religious significance in Hindu and Buddhist traditions.
 Religious Practices: The temple serves as a place of worship for both Hindus and
Buddhists, attracting devotees from various parts of the world.
 Artistic Heritage: The temple houses exquisite sculptures, paintings, and artifacts
depicting scenes from Hindu mythology and Buddhist teachings.
 Cultural Festivals: Various festivals and rituals are celebrated at the Golden Temple,
including Navratri, Diwali, Buddha Jayanti, and other religious and cultural events.

RELIGIOUS ASPECTS:
 Sacred Site: The temple is revered as a sacred site by Buddhists, attracting pilgrims and
devotees from around the world.
 Symbolism of Gold: The golden exterior symbolizes the spiritual wealth and
enlightenment sought by Buddhists.
 Religious Practices: The temple serves as a place for Buddhist rituals, prayers,
meditation, and teachings.
 Monastic Community: It houses a monastic community, providing a place for monks to
study, practice, and uphold Buddhist teachings.

ARCHITECTURE
Main Temple
The main temple is a building with three roofing
structure. The layout follows the traditional
design of a stupa with a square base and a
pinnacle at the top. It is built with a blend of
traditional Nepalese pagoda style and Tibetan
Buddhist style. Every element of the temple
holds symbolic significance. The four cardinal
directions represent cosmic balance while the
golden color of the façade symbolizes purity and
enlightenment. The façade is covered with gilt
sculptures and engraved brick pattern. The lower façade of the temple shows the life of the
Buddha starting from birth. A little higher up there
is a series of small reliefs of the Five Buddhas, with
the outer two doubled. Above these seven reliefs,
there is another row of the Five Buddhas, flanked
by reliefs of Tara on both ends. The lowest two
roofs are supported by roof struts depicting multi
armed Buddha figures. The top of the second roof
consists of nine gilt chaityas. The top roof supports
13 such chaityas where the center chaitya carries
three umbrellas. The main Shakyamuni Buddha
shrine inside the temple is a large sliver image
covered entirely with drapes and ornaments except the face. It is guarded by two metal images
of Lokeshwari seated on lions which in turn are standing on elephants.
The temple’s intricate details and sacred aura make it a captivating destination for those
seeking not only architectural beauty but also spiritual solace or comfort. Designated as a
UNESCO World Heritage Site, the Golden Temple is recognized for its cultural and historical
significance. It stands as Nepal's rich Buddhist heritage and serves as a focal point for
preserving and promoting the country's cultural identity. Its architectural legacy inspires artists,
architects, and scholars worldwide.
Middle Temple
Swayambhu Stupa or Ratna Chaitya is
believed to be older than the golden
temple itself.

The temple is situated at the centre of

main courtyard.In the centre of the
courtyard there is an enshrined chaitya,
identified with Swayambhu. It is believed
to be older than the golden temple itself.
It has four doors, each with a torana, but
only the door opposite the main shrine
can be readily accessed. Swayambhu deity is the symbol of clear light indicating the Aadi
Buddha. It is a self-arisen chaitya which as Swayambhu stupa in Kathmandu hillock.

It is square shaped pagoda style temple having sloping roofs in all four sides.

Pinnacle consists of a gajur with seven step parasol umbrella & four snakes at the corners and
patah running along the middle of all four sides.

There are small statues of half woman half bird which are called Harsaraj, and metal statues of
Shardul at four corners.The side of the chaitya that is turned towards the main shrine is
adorned with several other metal and stone sculptures. A wooden corridor is constructed all
around this temple where attendants & priests can sit I do worshipping activities. The four
corners of the temple are protected by metal leogryphs. The gilt roof has umbrellas in different
layers and carries images of snakes.

On the north side there is traditional stone tap which

is guarded by two lions and the snakes kept at either
side. During some special occasions, the entire stupa
and other deities kept inside get a complete bath of
milk as well as holy water. This outlet is used to drain
those water.

FIG: SUPERNATURAL POND

FIG: PLAN OF GOLDEN TEMPLE
 CONSTRUCTION MATERIALS
The Golden Temple, is primarily constructed using metals like copper, bronze, and gold. These
metals are intricately used in the temple's architecture, including statues, decorative elements,
and roofing. Copper and bronze are often used for the structural framework and ornamental
features, while gold is prominently used for gilding and embellishing the temple's facade and
interior. The combination of these metals adds to the temple's grandeur and cultural
significance.

Marble: Marbles are often utilized for decorative purposes, such as inlays, carvings, and
flooring. Marble is commonly used in temples for its ability to be intricately carved and
polished, showcasing intricate patterns and designs that contribute to the temple's overall
aesthetic appeal. Additionally, marbles may be used for pillars, and other architectural
elements to enhance the temple's beauty.

Wood: Wood, sourced locally, played a crucial role in the construction of the Golden Temple,
reflecting traditional Nepalese craftsmanship. Skilled artisans carved intricate designs on
wooden panels, pillars, and doorways, adding to the temple's beauty. Wooden beams and
frames have provided essential structural support, especially in areas with intricate
architectural designs.

Bricks: Bricks formed the foundation and walls of the Golden Temple, providing stability and
strength to the structure. They were readily available in the Kathmandu Valley, where Patan is
located, making them a practical choice for construction. The intricate brick patterns make the
temple unique.

Gold: Gold or gilt structures adorn the exterior and interior of the Golden Temple, symbolizing
devotion and reverence. Gold holds deep religious significance in Nepalese culture,
representing purity and enlightenment. Skilled artisans meticulously applied gold leaf to
architectural elements, enhancing the temple's ellegance.
 CONCLUSION
In conclusion, the Golden Temple stands as a timeless symbol of Buddhist spirituality, heritage,
and cultural richness. Its golden facade not only represents material opulence but also
embodies the spiritual wealth and enlightenment sought by devotees. As one of the oldest
Buddhist monasteries in Nepal, it holds profound historical significance and serves as a sacred
site for pilgrims and seekers of truth. Through its religious practices, monastic community, and
artistic expressions, the temple continues to uphold Buddhist teachings and traditions, fostering
a sense of reverence and inspiration among visitors. In essence, the Golden Temple of Patan
stands as a beacon of faith, wisdom, and cultural heritage, perpetuating the timeless legacy of
Buddhism for generations to come.
 REFERENCE
1. https://www.slideshare.net/ssuser83a4ad/a-report-on-architectural-conservation-of-
dyalko-vagawan-the-golden-temple-of-patan-and-nag-baha-hiti
2. Hiranya Varna Mahavihar book