TEMPLE ARCHITECTURE
The craftsmen associated with ancient Temple building were the Designing Architect (Stapathi), the Surveyor (Sutragrahin), the Sculptor (Takshaka) and the Builder (Vardhaki). These craftsmen were managed by the Sthapaka or the Sthanika (Manager), who was an expert in Temple Craft, and a head priest. Most of the Early Temples of India were built in wood.
The Architect coordinated the activities of the others, and was in general charge of the whole building process. The surveyor was second in command, and the special area of work was associated with proportions. Both vertical and horizontal (Mana and Unmana).
The sculptor worked with stones, sculpting images and decorations.
The builder built the Temple with the stones provided by the sculpture. The term Vardhaki meant the increaser.
The Ancient Text Sri Prasna states that the Sanctum Sanctorum is the Divine Body and the Image or idol, the Soul.
Inside the Sanctum Sanctorum there are no pillars and windows. This probably was to shut of light and air to protect the idol, which in the early days were made of wood. The dark interior also added an aura of mystery. The empty low platform in the Sanctum Sanctorum is known as the Vedi. This place usually has the mystic diagram called the Mandala. There is the place to light the sacrificial fire known as the Kunda. The idol is called Bimbha. Usually the Sanctum Sanctorum is built in stone. Constructions in brick are also seen.
The ancient Text Vishnu Tilaka reveal that the Sanctum Sanctorum built in stone is the best. The next in order are the brick, wood and mud.
The Sanctum Sanctorum is known as the Garba Griha or the Abode of the Womb. In North India it is known as the Deul or Deva Kula
When the Temple is constructed the Garbha Griha is built first. There is a significant ceremony known as the Garbha Dhana or Garbha Nyasa. This is said to impregnate the area with the divine Cosmic Force. The ritual involves burying a copper pot filled with nine precious stones, many different types of metals, herbs, minerals and soils. This symbolizes Creation and Prosperity. Any Temple that lacks the womb is known as the Siddhanta Shekara
After the ritual is performed a stone slab (Adhara Sila) is placed over the spot. The copper pot beneath symbolizes the Womb, and the Deity placed on the stone is the Soul. And the Sanctum Sanctorum built around, becomes the Body.
Primeval Texts like the Tantra Samuchchaya, Shilpa Ratna and the Isana Shiva Guru gives an elaborate account of this sacrament.
A flat roof of stone slabs covers the Sanctum Sanctorum. Sometimes wooden beams and planks are also used. This is known as the Adhisthana and is the base for the Tower (Vimana or Gopuram) that is above the Sanctum Sanctorum.
The Bali Peetham is near the Sanctum Sanctorum. This low altar is in the form of a lotus in bloom. In antediluvian Temples it was a block of stone. Later styles featured the Bali Peetham with a base, wall surface and the blossomed lotus.
The places were Temples are built has been classified into five types by the primordial Text, the Archana Navanita.
The first category is the Svayrn Vyakta, where the Divine Aspect is a self-manifested idol or form. The form is either a Linga, Image etc.
The second kind is when the icon has been consecrated and installed by The Gods (Daivika).
The third genus, are Temples sanctified by the Sages and Saints and known as Arsha.
The fourth genre is the Temples that are glorified in the Puranas and is known as the Pouranikas
The last is the Manusha, or Man made Temples.
The early Temples were all flat roofed. The Temples built by the Gupta Dynasty in North India during the fifth century are all flat roofed.
By the eight-century the Towers (Gopuram Or the Vimana) became a Paradigm in design. The Towers were emblematically said to represent the mythical mountain Sumeru or Meru. The Gopuram of the Lingaraja Temple in Bhuvaneshwar is 125 feet tall. The Jagannath Temple in Puri is over 200 feet high and can be seen from a distance of over 6 miles.
The Gopuram at Madurai Meenakshi Temple in Madurai is famous for the 152 feet Motta Gopuram, which has the famous 5 musical pillars that produce the different sounds of musical instruments and percussions.
The Gopuram at Rameshwaram are 126 and 175 feet tall.
The South Indian Gopurams are broader and shorter than their North Indian counterparts. The polygon shaped structure stands on a square or rectangular base, and has a cupola shaped (Srriga) roof.
In the North they are known as Vimana, and is crowned by a large circular capstone block known as Amalaka. They are built on a pedestal called Pitha. The wall is called Bara; the main body is Gandi, and the roof the Mastaka. The Mastaka has a ribbed Amalaka having a skull (Khapuri). On the top are the weapons of the residing Deity, and could be the Trident, Discus etc.
In the Classic Temple Texts there is no mention of the Amalaka.
However the inviolability of these Towers was not in the awesome size. The austerity of the structure was intensified with the sculptures of Divine and Celestial Beings. The structure of the Tower could be round or square. And could be six or eight sided. The form could be uniform from base to top, or could be a combination of several storeys, each different in form and could be as many as 16.
It stands directly above the flat roof of the Sanctum Sanctorum. Sometimes the Tower encompasses the circumambulatory passage around the Temple.
The circumambulatory passage around the Sanctum Sanctorum is known as Pradakshina or Bhrama.
The rectangular porch in front on the Sanctum Sanctorum is the Mukha Mandapa or the Mukha Shala. This is the area where devotees stand and watch the worship inside the Sanctum Sanctorum. When the number of devotees increased the hall larger in size became the new addition in Temple Architecture and was called the Nava Ranga or the Maha Mandapa.
The Temple enclosures are known as Prakara. The innermost area is known as the Antar Mandala, Antar Nihara or Antar Bhara.
The region known as Madhyama Hara or the Maryada Bhittika signifies the limits of the consecrated ground.
The Maha Maryada or the Mahamaryadi Bhitti is the outer most enclosure containing the Doorway and the Tower.
The Sri Rangam Temple in Trichy has a total of 7 Prakaras, encompassing the whole Town.
Every enclosure has a doorway. And is known as the Maha Dwara. It is immense in size to allow the Temple elephants and the Rathas (Chariots) to pass through.
Since the 10th century it has been customary to have a Tower above the Doorway.
The Ancient Text Kautiliya mentioned the form of a Turret above the gate.
The front portion of the Gateway Tower is shaped in the form of the head of the Alligator or Iguana (Godha Mukha)
The Gateway Tower of the Avani Kandarpeswara in Kilaiyur near Trichy is colossal and grandiose. The Chola and the Pandiyan Kings between the 15th and 17th centuries built them.
The sculptures on the Tower have Worldly and Erotic themes.
Other Imposing Towers can be seen at Madurai, Tirunelveli, Chidambaram, Kumbhakonam and Tiruvanaikkaval.
The Maha Dwaraka, Gopurams and Prakaras are not seen in Northern India. The Khajura is even devoid of the enclosing walls.
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Not connected with the worship activity of the Temple is the Ranga Mandapa or the Pavilion built for cultural activities, treasury and store house (Sri Bhandar), kitchen (Paka Sala), dining hall (The Ramanuja Kuta in Vaisnavite Temples in the South and Bhoga Mandapa in North India, and the Shiva Kuta in Shivaite Temples), Kalayana Mandapam or marriage hall, Vahana Mandapa where the Temple Chariots are kept and the Temple Tank or the Kalayani as it is known in North India and Teppakulam in South India.
In addition the main Deity, the Temple also has Shrines for other Deities.
The Primordial Texts for Sculpture is the Tala Mana, Gana Mana for Temple Architecture and has 6 aspects.
- Adhisthana for the base
- Pada or Stambha for columns
- Entablature or Prastara
- Wings (Karna)
- Roof (Shikara)
- Dome or the Cupola (Stupi)
Tala Mana has the Angula as the unit. The Gana Mana has Kishku. There are vertical (Tunga Ganya) and horizontal (Vistara Ganya) measurements
In the stylized Temples there are ornamental arches (Chitra Torana). These arches have designs of crocodiles emanating pearls and garland of flowers from their mouth.
There is the Patra Torana, which is fashioned like lotus leaves, and Makara Torana. (Arch with Makaras)
The Makara Torana is regarded suitable for Brahmins, Kshatriya and Temples, while the Chitra Torana is for the Vaisayas and Patra Torana for Sudras.
The Temple door also is made as per the Texts. The doors of the Temple are always two paneled and are described as the mother and daughter. The Brihat Samhita an early Text advocate that a Temple built on 64 squares should have the door located in the middle of the front wall, and in the same direction as the idol.
According to Agni Purana, an ancient Text says that the doors must always be located in the four directions and never in the corners.
Another Text, the Suprabheda claims that the door of the eastern side of the gateway must be in Plaksha wood. The door in the south, in Udumbara wood, and the door in the north should be in Nyagrodha wood.
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