HINDU TEMPLE AND THE STRUCTURE OF
HUMAN BODY: COMPARIS ON
DR UDAY DOKRAS, PHD , SWEDEN
SRISHTI DOKRAS, ARCHITECT
“The vastu-purusha-mandala represents the manifest form of the Cosmic Being; upon which the
temple is built and in whom the temple rests. The temple is situated in Him, comes from Him, and
is a manifestation of Him. The vastu-purusha-mandala is both the body of the Cosmic Being and a
bodily device by which those who have the requisite knowledge attain the best results in temple
building.” (Stella Kramrisch,; The Hindu Temple,Vol. I)
1Indo Nordic Author’s Collective, STOCKHOLM
A Temple’s Garba-griham (main sanctum) is equated with human head; antarala (vestibule) is
equated with human neck; ardha – mandapam (half-hall) is compared with human chest; maha –
mandapam (main hall) is equated with the stomach; flag-post is viewed along with human male
organ;and gopuram or temple gateway tower is viewed along with human feet.
“Everything is governed by one law. A human being is a microcosmos, i.e. the laws prevailing in
the
cosmos
also
operate
in
the
minutest
space
of
the
human
being.”
The Agama shastras are based in the belief that the divinity can be approached in two ways. It
can be viewed as nishkala, formless – absolute; or as sakala having specific aspects.
Nishkala is all-pervasive and is neither explicit nor is it visible. It is analogues, as the Agama
texts explain, to the oil in the sesame-seed, fire in the fuel, butter in milk, and scent in flower. It
is in human as antaryamin, the inner guide. It has no form and is not apprehended by sense
organs, which includes mind.
Sakala, on the other hand, is explicit energy like the fire that has emerged out of the fuel, oil
extracted out of the seed, butter that floated to the surface after churning milk or like the
fragrance that spreads and delights all. That energy can manifest itself in different forms and
humans can approach those forms through appropriate means. The Agamas recognize that means
as the archa, the worship methods unique to each form of energy-manifestation or divinity.
The idea of multiple forms of divinity was in the Vedas. Rig Veda at many places talks in terms
of saguna, the supreme divinity with attributes. The aspects of the thirty-three divinities were
later condensed to three viz. Agni, the aspect of fire, energy and life on earth; Vayu, the aspect of
space, movement and air in the mid-region; and Surya the universal energy and life that sustains
and governs all existence, in the heavenly region, the space. This provided the basis for the
evolution of the classic Indian trinity, the Brahma, Shiva and Vishnu.
The concept of polytheism gave tremendous impetus to all branches of Indian arts, literature and
iconography. The polytheism is, in fact, the lifeblood of iconography; for it is only through a
2Indo Nordic Author’s Collective, STOCKHOLM
divinity with aspects one can represent and worship ones ideal with love, adoration and
earnestness. Making an image involves an understanding of its attributes, virtues, powers,
characteristics, symbols and its disposition. An image is the visual and concrete form of
idealism; the idioms of beauty grace and power nurtured and honed by generations after
generations. It is a representation of a community’s collective aspirations.
Since the very purpose of the temple structure is the image residing in it; and the temple is
regarded the virtual expansion of the image, let us talk for a while about temple iconography.
The word icon is derived from Greek eikon; and it stands for a sign or that which resembles the
god it represents. In the Indian tradition what is worshipped is Bimba, the reflection or Prathima,
the image of god, but not the god itself. Bimba means reflection, like the reflection of moon in a
tranquil pool. That reflection is not the moon but an image (prathima) of the moon. In other
words, what is worshipped in a temple is an idea, a conception or the mental image of god,
translated to a form in stone or metal or wood; but, it is not the god itself.
The structural harmony, the rhythm and a fine sense of proportion is the hall mark of Indian
temple architecture. It not merely resolves the contradictions but also expresses harmony by
encompassing all contradictions, transforming into pure and uncompromised details of structure.
The aim of a proportional system, meaning not merely symmetry, is to manifest a sense of
coherence and harmony among the elements of the temple and it’s whole.
The proportional harmonization of design, therefore, is of utmost importance in the construction
of a temple. It is believed that the power and purity of the structure radiates from its exact
proportions and measures as specified in the texts. It is also believed that a meticulously well
constructed temple radiates peace and joy; and ensures the welfare of the world and its people.
Without harmony, symmetry and proportion there can be no principles in the design of any
temple. This is analogues to the precise relation between the features and organs of a well
proportioned, good-looking person.The ancient texts, therefore, insist on a high degree of
precision in their measurements.
The standard text mentions “Only if the temple is constructed correctly according to a
mathematical system can it be expected to function in harmony with the universe. Only if the
measurement of the temple is in every way perfect, there will be perfection in the universe as
well.”
3Indo Nordic Author’s Collective, STOCKHOLM
The Hindu temple is a feast of a variety of visual aspects, and wherever one engages one of
them, entering a doorway, circumambulating or approaching the inner sanctuary or worshipping
there– one is accessing an aspect of the whole.
The rules of Vastu-shastra render beauty, structural stability and quality of spaces by virtue of
light, sound and volume management. They also evoke in the devotee an attuning of his person
to its structure and ambience.
Hindu Temples take their cue from the structure of Human body. The vast Hindu canonical
literature on Agamic texts, Devalaya Vastu (Temple Vastu astrology) and sacred geography
describe the temple as a cosmic man, the ‘Purusha’ (cosmic man). Before we proceed further, let
us briefly discuss the concept of the Vastu Purusha Mandala.
The faith that Earth is a living organism, throbbing with life and energy; is fundamental to the
Vastu Shastra. That living energy is symbolized as a person; he is the Vastu Purusha. The site for
the proposed construction is his field; Vastu Purusha Mandala. In fact the Vastu Purusha
Mandala, the site plan, is his body; and it is treated as such.
His height extends from the South West corner (pitrah) to the North East corner (Agni).The
Vastu Purusha Mandala also depicts the origin of the effects on the human body. All symbolisms
flow from these visualizations.
4Indo Nordic Author’s Collective, STOCKHOLM
Purusha means ‘person’ literally and refers to Universal Man. Purusha is the body of god
incarnated in the ground of existence, divided within the myriad forms. He is also that
fragmented body simultaneously sacrificed for the restoration of unity.
Vastu Purusha is associated with the Earth and its movable and immovable basic elements of
nature, such as the earth, water, fire, air and space; just as a human being does. The Vastu
purusha mandala is in some ways a development of the four pointed or cornered earth mandala
having astronomical reference points Further, the Vastu Purusha Mandala is also the cosmos in
miniature; and the texts believe “what obtains in a microcosm, obtains in macrocosm too (yatha
pinde thatha brahmande).”
5Indo Nordic Author’s Collective, STOCKHOLM
The science of Vastu is believed as part of the Indian architecture. Vastu Shastra developed
during the period of 6000 BC and 3000 BC and the ancient Indian text Mayamatam represents
Vastu Purusha as the presiding deity for all land structure meant for temples or houses.
Vastu Purusha Mandala is the metaphysical plan of a temple incorporating course of the
heavenly bodies and supernatural forces. This Mandala square is divided into (8×8 =64) 64
metaphysical grids / modules or pada for temples. (For dwelling places 9×9=81 metaphysical
grids / modules or pada).
The Vastu Purusha is visualized as lying with his face and stomach touching the ground; to
suggest as if he is carrying the weight of the structure. His head is at North East (ishanya) and his
6Indo Nordic Author’s Collective, STOCKHOLM
legs are at the South West corner (nairutya).
The South West corner (nairutya) where the Vastu Purusha has his legs corresponds to the
Muladhara chakra and denotes the earth principle.
Just as the legs support the weight of the body, the base (adhistana) for the muladhara should be
stable and strong. Accordingly, the South West portion of the building is the load bearing area;
and should be strong enough to support heavy weights. Just as the feet are warm, the South West
cell represents warmth and heat; even according to the atmospheric cycles the South West region
receives comparatively more heat.
Svadhistana chakra is in the lower stomach region near the kidneys. It is related to water
principle (apa).On the Vastu Purusha Mandala; it is to the South and to the West .Therefore the
wet areas like bathroom etc are recommended in the south or in the west portions of the building.
It is for sewerage (utsarjana).
Manipura Chakra is at the navel; and relates to energy or fire or tejas. While in the womb of the
mother, the fetus is fed with the essence of food and energy through the umbilical chord
7Indo Nordic Author’s Collective, STOCKHOLM
connected with its navel. The Vastu Purusha Mandala shows Brahma at the navel of the Vastu
Purusha. Further, the lotus is the base (Adhistana) of Brahma.Thus navel connects Brahman with
Jiva or panda or life. It is left open and unoccupied. The central portion of the building is to be
kept open. It is believed that Vastu Purusha breaths through this open area.
Anahata chakra is near the heart. It is related to vayu air regulated by lungs. The lung region of
the Vastu Purusha should be airy. Vishuddaha chakra is near the throat from where the sounds
come out and reverberate in space. This region represents Space (Akasha).The word OM is
8Indo Nordic Author’s Collective, STOCKHOLM
uttered through throat. The echo of that sound vibrates in the hallow of the bone-box of the head
and in the space in brain. The head of Vastu Purusha is in the North East corner (Ishanya). The
ajna chakra is between the eyebrows. .This direction is related to open spaces (akasha).
Atmospherically, North East is cooler; and so should be ones head. The puja room Devagraha is
recommended in the North east portion of the house.
The limbs of Vastu Purusha, other than the above are also related to the construction of the
building. Liver (yakrt) is towards South East. The cooking area is recommended in South East,
because it is related to Agni. The rays of sun reach here first and cleanse the atmosphere.
The North West, vayuvya, is presided over by air vayu. The Organs like spleen, rectum of the
Vastu Purusha fall in this portion. The store room is recommended here; perhaps because the
spleen in the body does the work of storing and restoring blood.
Directions in Hindu tradition are called as Disa, or Dik. There are four primary directions and a
total of 10 directions: East, South-East (Agneya), West, North-West (Vayavya), North, NorthEast (Isanya), South, South-West (Nauritya), Zenith (Urdhva), Nadir (Adho). There are
‘Guardians of the Directions’ (Dikpala or Dasa-dikpala) who rule the specific directions of
space.
1. North east Direction ruled by Ishanya Shiva (Load of Water) influences balanced thinking
2. East Direction ruled by Indra (Load of Solar) – influences long life
9Indo Nordic Author’s Collective, STOCKHOLM
3. South east Direction ruled by Agneya or Agni (Load of Fire) (Energy Generating) influences
comfort, peace, prosperity and progeny.
4. South Direction ruled by Yama (Lord of Death or Lord of Death / Damage) yields nothing but
mourning, depression and pain. If this direction used properly safeguards from envy of others
and cast of all evils.
5.West Direction ruled by Varuna (Load of Water / Lord of Rain) (Neptune) influences
reputation, fame, prosperity and success.
6. South west Direction ruled by Nairitya – Deity Lord (Demon) Nairitya influences Protection,
strength and stability
7. North west Direction ruled by Vayu or Vayavya (Load of Wind) influences peace
8. North (Kuber) – Deity Lord Kuber or Lord of Wealth (Finance) and keeper of riches
influences good strength, better business sufficient in flow of money, education, industrial
growth etc.
9. Center ruled by Lord Brahma (Creator of Universe)
The ‘Aham Brahmasmi’ (“I am Brahman. I am part of the Universe.”) is the great sayings
(Mahavakya) mentioned in Brihadaranyaka Upanishad 1.4.10. of Yajur Veda. The meaning is
that ‘Whatever is in the Universe, is present in me’ (and ‘whatever is in me, is part of the
Universe’). Indian temples represents the macrocosm of the universe and the structure of the
human body represents the microcosm. Veda also says “Yatha Pinde tatha Brahmande”. It means
what is going on within human being is the same as what is going on in universe. According to
the Tamil Saint Tirumular “our body is a temple”. Here I would like to quote Stella Kramrisch:
“The vastu-purusha-mandala represents the manifest form of the Cosmic Being; upon which the
temple is built and in whom the temple rests. The temple is situated in Him, comes from Him,
and is a manifestation of Him. The vastu-purusha-mandala is both the body of the Cosmic Being
and a bodily device by which those who have the requisite knowledge attain the best results in
temple building.” (Stella Kramrisch,; The Hindu Temple, Vol. I)
The concept of chakra features in tantric and yogic traditions of Hinduism. In Yoga, Kundalini
Shakti means the ‘coiled power.’ It is compared to a serpent that lies coiled while resting or
sleeping.
Chakras are vital energy points (Kundalini energy) in the human anatomy, i.e. breath channels,
or nadis, and the winds (vayus), that are centres of life force (prana), or vital energy. They
10Indo Nordic Author’s Collective, STOCKHOLM
include: 1. Muladhara, 2. Swadhisthana, 3. Manipura or manipuraka, 4. Anahata, Anahata-puri,
or padma-sundara, 5. Vishuddha or Vishuddhi, 6. Ajna and 7. Sahasrara.
1. Muladhara or root chakra located at the base of the spine in the coccygeal region (governs
senses). According to Vastu Mandala South-West (Nauritya) – Deity Lord (Demon) Nauritya
influences protection, strength and stability.
11Indo Nordic Author’s Collective, STOCKHOLM
2. Swadhisthana or Adhishthana at the lower stomach region or the sacrum of the human. Vastu
direction West (Varuna) – Lord Varuna (Neptune) Lord of Water or Rain. Formation of temple
tank or water bodies in South or West will influence reputation, fame, prosperity and success.
3. Manipura or Manipuraka at the digestive glands (governs digestion through pancreas and
adrenal glands) of the human. Digestion involves energy of fire. Female bears navel, womb and
umbilical chord. According to Vastu Mandala Lord Brahma or Lord of Creation seated on lotus
flower base (Adishtana) rules this point. Cosmic Brahma bridges the cosmic human navel or life.
If this point in temple should be left open, the vital energy flows and the wholeness resides with
blessings and protection.
4. Anahata, Anahata-puri, or Padma-sundara located at chest (governs lungs, immune system –
thymus of human being). As per Vastu Mandala Lord Vayu or Lord of Wind rules this point.
This grid relates to air and regulation of air. If this grid is allowed to flow air and the peace and
comfort resides.
5. Vishuddha or Vishuddhi located at the throat i.e., thyroid glands (governs sound, speech
communication and sence of security of human being). Mantras chanted by cosmic humanbeing
bridges with cosmic Ishanya. Comic Ishanya is represented in OM, a Pranava Mantra form.
According to Vastu Mandala Lord Shiva in Ishanya form rules this grid and represents the space
or Akasha. Mantras chanted here will reverberate in space. If left free from obstacles and less
occupation or weight, there will be balanced power.
6. Ajna or third eye located at pineal glands or between the eye brows; the two side nadis ‘Ida’
(yoga) and ‘Pingala’ are terminating and merge with the central channel ‘Sushumna’ (governs
higher and lower selves and trusting inner guidance of human being). As per Vastu Mandala this
direction is also related to open spaces (‘Akasha’) and to the North East corner (Ishanya). The
sanctum (Garbagriha or womb chamber) is recommended at this grid, the seat of the divinity.
7. Sahasrara or pure consciousness chakra located at the crown of the head – symbolized by a
lotus with one thousand multi-coloured petals. According to Vastu Mandala Anja is the sanctum.
The vimanam and shikara forms the space element and the currents of life ascends through the
‘Brahma-randra shila’ or stone slab placed at ‘griva’ (neck)of the vimana. The finial of the
shikara of the vimanam is the grid at which unseen sahasrara located.
12Indo Nordic Author’s Collective, STOCKHOLM
13Indo Nordic Author’s Collective, STOCKHOLM
14Indo Nordic Author’s Collective, STOCKHOLM
Source: Hindu Temple vol 1. by Stella Kramrisch
The picture shown here is reproduced from Hindu Temple vol 1. by Stella Kramrisch demonstate
that how the temple structure can be compared with the human body. It is apt to quote the
Sanskrit sloga from “Viswakarmyam Vastu Shastra”:
“Garba Gruha Sirahapoktam antaraalam Galamthatha Ardha Mandapam Hridayasthanam
Kuchisthanam Mandapomahan Medhrasthaneshu Dwajasthambam Praakaram Janjuangeecha
Gopuram Paadayosketha Paadasya Angula Pokthaha Gopuram Sthupasthatha Yevam
Devaalayam angamuchyathe”
Meaning: Garba-griham (main sanctum) is equated with human head; antarala (vestibule) is
equated with human neck; ardha – mandapam (half-hall) is compared with human chest; maha –
mandapam (main hall) is equated with the stomach; flag-post is viewed along with human male
organ;and gopuram or temple gateway tower is viewed along with human feet.
Symbolism of the temple
A Temple is a huge symbolism; it involves a multiple sets of ideas and imagery.See opp. Page:
The temple is seen as a link between man and god; and between the actual and the ideal. As such
it has got to be symbolic. A temple usually called Devalaya, the abode of God, is also referred to
as Prasada meaning a palace with very pleasing aspects. Vimana is another term that denotes
temple in general and the Sanctum and its dome, in particular. Thirtha, a place of pilgrimage is
it’s another name.
15Indo Nordic Author’s Collective, STOCKHOLM
16Indo Nordic Author’s Collective, STOCKHOLM
17Indo Nordic Author’s Collective, STOCKHOLM
The symbolisms of the temple are conceived in several layers. One; the temple complex, at large,
is compared to the human body in which the god resides. And, the other is the symbolisms
associated with Vimana the temple per se, which also is looked upon as the body of the deity.
And the other is its comparison to Sri Chakra.
Let’s start with the temple complex being looked upon as a representation of Sri Chakra.
At the centre of the temple is the image of divinity and its purity that generations after
generations have revered and venerated. That image residing at the heart of the temple is its life;
and is its reason. One can think of an icon without a temple; but it is impossible to think of a
temple without an icon of the divinity. The very purpose of a temple is its icon. And, therefore is
the most important structure of the temple is the Garbagriha where the icon resides.
18Indo Nordic Author’s Collective, STOCKHOLM
In fact, the entire temple is conceived as the manifestation or the outgrowth of the icon. And,
very often, the ground-plan of a temple is a mandala. Just as the Sri Chakra is the unfolding of
the Bindu at its centre, the temple is the outpouring or the expansion of the deity residing in
Brahmasthana at the centre.
The temple as also the Sri Chakra employs the imagery of an all – enveloping space and time
continuum issuing out of the womb. In the case of Sri Chakra the Bindu is the dimension-less
and therefore imperceptible source of energy. The idol, the Vigraha, in the Garbagriha represents
the manifestation of that imperceptible energy or principle; and it radiates that energy.
19Indo Nordic Author’s Collective, STOCKHOLM
The devotee- both at the temple and in Sri Chakra- moves from the gross to the subtle. In the
temple, the devotee proceeds from the outer structures towards the deity in the inner sanctum,
which compares to the Bindu in the Chakra. The Sri Chakra upasaka too proceeds from the outer
Avarana (enclosure) pass through circuitous routes and successive stages to reach the Bindu at
the centre of the Chakr, representing the sole creative principle. Similarly the devotee who enters
the temple through the gateway below the Gopura (feet of the Lord) passes through several gates,
courtyards and prakaras, and submits himself to the Lord residing in the serenity of garbhagrha,
the very hearts of the temple, the very representation of One cosmic Principle.
20Indo Nordic Author’s Collective, STOCKHOLM
Temple Gopuram as Cosmos & spiritual light house
In early days, Temples served as the major landmarks of the land. A place was recognized either
using the palaces or temples. As the palaces were prone for being ruined due to assault, temples
served as the chief landmark for the passengers travelling on foot orcarriages from afar. It was a
beacon- a light house to guide the visitors.
21Indo Nordic Author’s Collective, STOCKHOLM
ELEMENTS OF HINDU TEMPLE TEMPLE ARCHITECTURE
It was the later half of the 7th century that the Hindu temple structures of India began to acquire
a definite form with consolidation of design structures all over India.
Elements of Hindu temple:
1.
Ardhamandapa’ meaning the front porch or the main entrance of the temple leading to the
mandapa. It unites the main sanctuaryand the pillared hall of the temple. ‘Antarala’
meaning the vestibule or the intermediate chamber.
2. ‘Garbhagriha’ meaning the womb chamber. The shape and the size of the tower vary from
region to region. It is the pyramidal or tapering portion of the temple which represents the
mythological ‘Meru’ or the highest mountain peak. 1. ‘Sikhara’ meaning the tower or the
spire. The devotees walk around the deity in clockwise direction as a worship ritual and
symbol of respect to the temple god or goddess. There is an enclosed corridor carried
around the outside of garbhagriha called the Pradakshina patha’ meaning the ambulatory
passageway for circumambulation
Garbhagriha (cella or inner chamber). the lower portion inside the Vimana is called
Shikhara and upper as the Vimana is called as the Sikhara . The visitors are not allowed
inside the The chamber is mostly square in plan and is entered by a doorway on its eastern
side. It is nucleus and the innermost chamber of the temple where the image or idol of the
deity is placed.
3. ‘Gopurams’ meaning the monumental and ornate tower at the entrance of the temple
complex, specially found in south India
4.
‘Mandapa’, is the pillared hall in front of the garbhagriha, for the assembly of the
devotees. In some of the earlier temples the mandapa was an isolated and separate
structure from the sanctuary known as ‘Natamandira’ meaning temple hall of dancing,
where in olden days ritual of music and dance was performed. It is used by the devotees to
sit, pray, chant, meditate and watch the priests performing the rituals.
5. The Amalaka the fluted disc like stone placed at the apex of the sikhara.
6.
‘Toranas’, the typical gateway of the temple mostly found in north Indian temple
7.
‘Pitha’ , the plinth or the platform of the temple
22Indo Nordic Author’s Collective, STOCKHOLM
In order to make easy the roaming folk to recognize the locations easily, the Gopuram’s
of the temples had to be built elevated. That tiled way for the elevated Gopuram’s. By way
of seeing the Gopuram’s form expanse, passengers planned the approximate distance of
their target from their location. Gopuram’s were built extremely high to serve as
landmarks as well as for traveler distance’s.
Additionally, temples served as the main protection for travelers. When people travel between
places, they stay at the temple building to take rest. Before they commence the new part of their
journey, they would respect God and begin.
Representatively, the Temple Gopuram or the access to the temple represents the feet of the
divinity. A devotee bows at the feet of the Lord at the entry as he steps into the temple and
proceed towards the chamber, leaving behind the world of contradiction. A Gopura is usually
constructed with an enormous stone base and a superstructure of brick and support. It is
rectangular in sketch and topped by a barrel-vault roof crowned with a row of finials. When
viewed from apex, the Gopura too resembles a mandala; with sculptures and carvings of Yalis
and mythological animals to be found in the outer enclosed space. Humans and divine beings are
in the central enclosures. The crest of the Gopura, the Kalasha, is at the centre of the Mandala.T
hese sculptures follow a selection of themes resulting from the Hindu mythology, mainly those
associated with the presiding idol of the temple where the gopuram is positioned. Gopuras come
into view to have inclined revision in the temple plan and outline. The spaces just about the
shrine became hierarchical; the further the space was from the central shrine, the lesser was its
distinction. The farthest ring had buildings of a more practical or a secular nature – shops,
dormitories, sheds, workshops etc., thus transforming the temple from a merely place of worship
to the center of a vibrant alive city.
23Indo Nordic Author’s Collective, STOCKHOLM
A mandala (emphasis on first syllable; Sanskrit मण्डल, maṇḍala – literally "circle") is a
geometric configuration of symbols. In various spiritual traditions, mandalas may be employed
for focusing attention of practitioners and adepts, as a spiritual guidance tool, for establishing
a sacred
space and
as
an
aid
to meditation and trance induction.
In
the Eastern
religions of Hinduism, Buddhism, Jainism and Shintoism it is used as a map representing deities,
or specially in the case of Shintoism, paradises, kami or actual shrines.
In New Age, the mandala is a diagram, chart or geometric pattern that represents
the cosmos metaphysically or symbolically; a time-microcosm of the universe, but it originally
meant to represent wholeness and a model for the organizational structure of life itself, a cosmic
24Indo Nordic Author’s Collective, STOCKHOLM
diagram that shows the relation to the infinite and the world that extends beyond and within
minds and bodies.
MANDALA:
Religious meaning
In Hinduism, a basic mandala, also called a yantra, takes the form of a square with four gates
containing a circle with a center point. Each gate is in the general shape of a T. Mandalas often
have radial balance.
A yantra is similar to a mandala, usually smaller and using a more limited colour palette. It may
be a two- or three-dimensional geometric composition used in sadhanas, puja or meditative
rituals, and may incorporate a mantra into its design. It is considered to represent the abode of
the deity. Each yantra is unique and calls the deity into the presence of the practitioner through
the elaborate symbolic geometric designs. According to one scholar, "Yantras function as
revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human
experience"
Many situate yantras as central focus points for Hindu tantric practice. Yantras are not
representations, but are lived, experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists in
the Tantras between the outer world (the macrocosm) and man's inner world (the microcosm),
25Indo Nordic Author’s Collective, STOCKHOLM
every symbol in a yantra is ambivalently resonant in inner–outer synthesis, and is associated
with the subtle body and aspects of human consciousness. [6]
The term 'mandala' appears in the Rigveda as the name of the sections of the work, and Vedic
rituals use mandalas such as the Navagraha mandala to this day.
The science behind these constructions is that, the temple architecture gives cosmic force to the
main idol in the Garbha Griha. Firstly, the Juathaskambam acts like an antenna and receives the
26Indo Nordic Author’s Collective, STOCKHOLM
cosmic force from the space and through a subversive channel it is linked to the main idol in the
Garbha-graha. The cosmic force continuously flows through the Jathuskambam to the statue and
energies it. Secondly, the celestial power fetched through the field gives the idol effulgence and
metaphysical powers. The cosmic-force is additionally maintained by noise waves (Vedic chants
– Read about the Significance of Chanting) and the pyramid like tomb. The pyramid like
construction helps to intensify and protect the cosmic force. These are the reasons for anybody
to feel a positive energy, goodness, serenity or divinity when we approach the interior sanctum.
The copper plate has the propensity to suck part the Ether when that penetrates from the copper
and the Herbal resulting in powerful atomic force that penetrates through the skin to heal the
human, and that’s why the copper plate is put on the temple tower.
he idol is washed with various materials (milk, sandal paste, oil) to preserve the idols. The idol is
adorned with flowers and ornaments for mental and visual boost. But the diverse postures of the
idol (sitting/standing, number of hands, weapons they hold) do have meaning in emitting the
cosmic force.
Thus the temples serve up as the scientific room to receive the shower of cosmic force or God’s
blessing.
From my understanding Temple Gopurams are an important part of any Hindu temples and there
are specific reasons for their existence. They are:
1) Temple Gopurams are built to receive the positive energy from the universe. Cosmic rays will
be received by the Gopuram and it will be passed to the statue in the temple.
2) Gopuram will also receive the energy from thunder/lightning and pass it to the ground. So it
acted as a layer of protection for the temple and the nearby areas.
3) Temple Gopuram were built largely to depict the culture and art of ancient people
4) It also used to act as a landmark in olden days to find out the cities, way to different places.
27Indo Nordic Author’s Collective, STOCKHOLM
5) In olden days , kings built temples in order to give job to the people of the country and along
with that future generations will come to know the architectural talents that ancient people had.
6) The small carvings and statues in temple gopuram depict the story of the god and also will
show life lessons.
MANDALA AND HINDU TEMPLE ARCHITECTURE
Although there have been various arguments by authors of Indian temple architecture like Stella
Kramrisch and Michael W. Meister about the applicability of the Vastu Purusha Mandala as a
governing device for temple architecture, it is safe to say that for formulating the layout of the
temple, the Vastu Purusha Mandala has been an imperative tool. Though the 8 x 8 grid or the
Manduka Vastu Mandala has been used in various temples of Indian architecture, it is to be
noted that regional differences have played a major influence on the workability of the mandala
design throughout India. Customarily, mandalas were spaces for the symbolic consciousness of
universal theories which help in the awakening of the individual psyche. The mandalas can be
thought of as diagrams that function as a cue to reach a contemplational state which is the
primary aim of the tradition. The form of the temples that are based on the regulating lines of the
mandala were meant to create spaces that bring about a “physical and spatial” communion
between God and man. 1
The Vastu Purusha Mandala contains a minimum of nine sections signifying the directions north,
south, east, west, northeast, northwest, southeast, southwest and the centre represented as square
grids. In the Vastu Purusha Mandala, the Purusha’s head is located in the northeast direction and
this is considered utmost sacred. In the southwest are his feet and his knees and elbows in the
northwest and southeast. Kept open and clear in the centre part of the diagram are his main
organs and his torso. Starting from a single undivided square of 1 x 1 there are grid patterns
ranging up to 32 x 32 thus making it 1024 sections. Architecturally, the adaptation of the Vastu
Purusha Mandala has been seen in the design of houses, palaces, temples and even cities.
Integrating it into the design brings a certain amount of order in the design. Here, the squares are
assumed as cubes of architectural spaces.
28Indo Nordic Author’s Collective, STOCKHOLM
The five elements of earth, water, fire, air and space correspond with specific sections of the
Vastu Purusha Mandala. The south-west direction is associated with the element of
earth(Bhumi); south-east with the elements of fire (Agni); north-east with the element of water
(Jala); north-west with the element of air (Vayu) and the centre space with the element of space
(Akasha). 2
Indian temples are microcosm of Cosmos, acting as a connecting bridge between physical world
and divine world through their proportional arrangement. Mandapa, which were entrance
porches in the beginning became an integral part of the temple plan in providing additional
functions and in form providing an ex- pression of cosmos especially in elevation. Ashapuri
temples analyzed here, corresponds to Nagara temple proportions varying in proportionas they
belong to two different styles of nagara Architec- ture. From the study of Adam Hardy it is said
that they possessed temples of different styles in Nagara other than these two. The site of
Ashapuri seems to be a place for the development of the Ngara school of archigtecture.
ANGKOR WAT
Angkor Wat was built by the king of the Khmer Empire first as a Hindu, then a Buddhist temple
complex. It is known as one of the largest monuments ever built. Hence, this great Buddhist
29Indo Nordic Author’s Collective, STOCKHOLM
temple provides clear, physical evidence that Hinduism and Buddhism were brought to the
region by the Indians, and adopted by early Southeast Asian empires like the Khmer Empire.
The pagodas of Angkor Wat are also a physical depiction of the Hindu concept of Mandala. In
addition, the gates of the temple also resemble the gates of the symbol of Mandala. This concept
is Hindu in nature and is believed to have been brought to pre-modern Southeast Asia from
India. It is probable that these ideas were then "borrowed" by the Khmer Empire, and depicted
through its great temple.
Angkor Wat also has a Gopura. A Gopura is a monumental tower often built at the entrance of
temples - a distinctive feature of South Indian architecture. The presence of this structure at
Angkor Wat indicates that there was Indian influence in the architecture of the Khmer Empire.
In addition, the temple has many bas-reliefs depicting stories from the Indian epics,
the Mahabharata and Ramayana. This shows that these stories were clearly influential in early
Southeast Asia as they repeatedly adorn the walls of Angkor Wat, which was seen as a sacred
and important place. This demonstrates just how strong Indian influence was in the Khmer
30Indo Nordic Author’s Collective, STOCKHOLM
Empire.
Furthermore, even though hundreds of years have passed, Angkor Wat is still a national symbol
and major source of pride of Cambodia today. The fact that Indianisation of the Khmer Empire
from the 7th to 14th century has continued to shape the heritage and identity of modern
Cambodia indicates the lasting impact Indianisation had on the region.
Mandala in Meenakshi temple Madurai with biggest GOPURAMs in the world
Temple Structure
The entire structure, when viewed from above, represents a mandala. A mandala is a
structure built according to the laws of symmetry and loci. There are various shrines built
within the temple complex.
The temple occupies a huge area in the heart of Madurai as it spreads over 14 acres. The
temple is enclosed with huge walls, which were built in response to the invasions. Apart
from the two main shrines, which are dedicated to Sundareswarar and Meenakshi, the temple
has shrines dedicated to various other deities like Ganesha and Murugan. The temple also
houses goddesses Lakshmi, Rukmini, and Saraswati.
The temple also has a consecrated pond named ‘Porthamarai Kulam.’ The term ‘Potramarai
Kulam’ is a literal translation of ‘pond with a golden lotus.’ The structure of a golden lotus
is placed at the center of the pond. It is said that Lord Shiva blessed this pond and declared
that no marine life would grow in it. In the Tamil folklore, the pond is believed to be an
evaluator for reviewing the worth of any new literature.
31Indo Nordic Author’s Collective, STOCKHOLM
Image Credit:
The temple has four main towering gateways (gopurams) that look identical to each other.
Apart from the four ‘gopurams,’ the temple also houses many other ‘gopurams’ that serve as
gateways to a number of shrines. The temple has a total of 14 towering gateways. Each one
of them is a multi-storey structure and displays thousands of mythological stories and
several other sculptures. The major ‘gopurams’ of the temple are listed below:
Kadaka Gopuram – This towering gateway leads to the main shrine that houses
Goddess Meenakshi. The gateway was rebuilt by Tumpichi Nayakkar during the
mid-16th century. The ‘gopuram’ has five storeys.
Sundareswarar Shrine Gopuram – This is the oldest ‘gopuram’ of the temple and
was built by Kulasekara Pandya. The ‘gopuram’ serves as a gateway to the
Sundareswarar (Lord Shiva) shrine.
Chitra Gopuram – Built by Maravarman Sundara Pandyan II, the gopuram depicts
the religious and secular essence of Hinduism.
Nadukkattu Gopuram – Also called as the ‘Idaikattu Gopuram,’ this gateway leads
to the Ganesha shrine. The gateway is placed right in between the two main shrines.
32Indo Nordic Author’s Collective, STOCKHOLM
Mottai Gopuram – This ‘gopuram’ has fewer stucco images when compared to the
other gateways. Interestingly, ‘Mottai gopuram’ had no roof for nearly three
centuries.
Nayaka Gopuram – This ‘gopuram’ was built by Visvappa Nayakkar around 1530.
The ‘gopuram’ is astonishingly similar to another gateway called ‘Palahai
Gopuram.’
The temple also has numerous pillared halls called ‘Mandapams.’ These halls were built by
various kings and emperors and they serve as resting places for pilgrims and devotees. Some
of the most important ‘mandapams’ are given below:
Ayirakkal Mandapam – It literally translates to ‘hall with thousand pillars.’ The
hall, which was built by Ariyanatha Mudaliar, is a true spectacle as it is supported by
985 pillars. Each and every pillar is sculpted magnificently and has images of Yali, a
mythological creature.
Kilikoondu Mandapam – This ‘mandapam’ was originally built to house hundreds
of parrots. The parrots that were kept there in cages were trained to say ‘Meenakshi’.
The hall, which is next to the Meenakshi shrine, has sculptures of characters from
Mahabharata.
Ashta Shakthi Mandapam – This hall houses the sculptures of eight goddesses.
Built by two queens, the hall is placed in between the main ‘gopuram’ and the
gateway that leads to the Meenakshi shrine.
Nayaka Mandapam – ‘Nayaka Mandapam’ was built by Chinnappa Nayakkar. The
hall is supported by 100 pillars and houses a Nataraja statue.
33Indo Nordic Author’s Collective, STOCKHOLM
34Indo Nordic Author’s Collective, STOCKHOLM
35Indo Nordic Author’s Collective, STOCKHOLM
ANGKOR WAT
Angkor Wat was built by the king of the Khmer Empire first as a Hindu, then a Buddhist temple
complex. It is known as one of the largest monuments ever built. Hence, this great Buddhist
temple provides clear, physical evidence that Hinduism and Buddhism were brought to the
region by the Indians, and adopted by early Southeast Asian empires like the Khmer Empire.
The pagodas of Angkor Wat are also a physical depiction of the Hindu concept of Mandala. In
addition, the gates of the temple also resemble the gates of the symbol of Mandala. This concept
is Hindu in nature and is believed to have been brought to pre-modern Southeast Asia from
India. It is probable that these ideas were then "borrowed" by the Khmer Empire, and depicted
through its great temple.
Angkor Wat also has a Gopura. A Gopura is a monumental tower often built at the entrance of
temples - a distinctive feature of South Indian architecture. The presence of this structure at
Angkor Wat indicates that there was Indian influence in the architecture of the Khmer Empire.
In addition, the temple has many bas-reliefs depicting stories from the Indian epics,
the Mahabharata and Ramayana. This shows that these stories were clearly influential in early
36Indo Nordic Author’s Collective, STOCKHOLM
Southeast Asia as they repeatedly adorn the walls of Angkor Wat, which was seen as a sacred
and important place. This demonstrates just how strong Indian influence was in the Khmer
Empire.
Furthermore, even though hundreds of years have passed, Angkor Wat is still a national symbol
and major source of pride of Cambodia today. The fact that Indianisation of the Khmer Empire
from the 7th to 14th century has continued to shape the heritage and identity of modern
Cambodia indicates the lasting impact Indianisation had on the region.
Note how the architectural layout of the temple greatly resembles the symbol of
Mandala.For example, you can spot the building's centre point, as well as
the four gates on the outermost wall.
Rough Layout of Angkor Wat
37Indo Nordic Author’s Collective, STOCKHOLM
38Indo Nordic Author’s Collective, STOCKHOLM
The Third Tier GOPURAM
39Indo Nordic Author’s Collective, STOCKHOLM
40Indo Nordic Author’s Collective, STOCKHOLM
41Indo Nordic Author’s Collective, STOCKHOLM
42Indo Nordic Author’s Collective, STOCKHOLM
43Indo Nordic Author’s Collective, STOCKHOLM
“The Vastu Purusha Mandala represents the manifest form of the Cosmic Being; upon which
the temple is built and in whom the temple rests. The temple is situated in Him, comes from
Him, and is a manifestation of Him. The Vastu Purusha Mandala is both the body of the
Cosmic Being and a bodily device by which those who have the requisite knowledge attain
the best results in temple building.” – Stella Kramrisch ; The Hindu Temple, Vol. I
Vastu Purush Mandala has been in existence for thousands of years, will continue till
eternity. It is the fundamental principle which continues to create and run the whole universe
- both at the macro and the micro level If we can decode it's secret and follow its eternal
principles for construction, we can ensure a life full of health, wealth, peace and prosperity.
The Vastu Purush Mandala is a cosmic geometrical wonder used to design temples
amongst other structures. When we observe the energy fields that develop at different stages
of a building – starting from the stage of a vacant plot - to the digging of land - to the laying
of the foundation - to the completion of the building - and finally to the point when it is
inhabited by the people – we unravel the secrets of the Vastu Purusha Mandala.
Image of the Universe: The Vastu Mandala is the omnipresent, omnipotent soul of every
building. It is based on the principle that Man and Universe are analogous in their structure
and spirit. Vastu Purush Mandala is thus a Yantra or an image of the Universe .Hindus
believe that the body is the image of the entire Universe( See figure below). Vastu Purusha
Mandala is a combination of 45 Devtas and Asuras present in a geometrical figure. The
Devtas represent our consciousness and the Asuras our ignorance and fear. The war between
consciousness and ignorance goes on each moment within all of us. It is not just a Puranic
story, it’s the reality we live in each moment.
DECODING THE DEVTAS & ASURAS The 45 Energy Fields PADAVINAYASA
ModularGrid After Shilanyas and construction of foundation walls, this is the first energy
field to develop in the plot.
BRAHMA DEVTASvsASURAS THE ETERNAL WAR- Energy Fields Next to Brahma
ARYAMA The Power of Connections VIVASWAN The Power of Revolution or Change
44Indo Nordic Author’s Collective, STOCKHOLM
MITRA The Power of Inspiration & Action BHUDHAR The Power of Manifestation DEVA
VITHI
The 8 Energy Fields in the Diagonal Directions NORTH EAST Apaha Apahavatsa
SOUTH WEST Indra Indrajaya SOUTH EAST Savita Savitur NORTH WEST Rudra
Rajyakshma MANUSHYA VITHI
1. NORTH EAST APAHA Igenerates the energies responsible for healing APAHAVATSA
Carries the healing powers to the occupants ww.anantvastu.com
2. SOUTH EAST SAVITA Energies that help to initiate any process or action SAVITUR
Energies that give capibilities to continue those actions and overcome all challenges
3. . SOUTH WEST INDRA Energies that establish stability and enhance growth
INDRAJAYA The tools and the channels through which one can achieve growth
4. .NORTH WEST RUDRA Energies responsible for support and ensure flow of activities
and life RAJYAKSHMA Energies which uphold the support and stabilise the mind . The
32 Energy Fields of the Outer Periphery PAISHACHA VITHI . These are also the 32
Possible Entrance Locations . The 32 Energy Fields of the Outer Periphery ADITI Mother
of the Devtas, this energy field provides security and helps one connect with
himself/herself) DITI Mother of the Asuras, this energy field gives the powers of a wider
vision and to see the actual truth of life.SHIKHI Symbolic of a pointed flame, this field
gives the power of ideas and the ability to project one’s thoughts to the world
PARJANYA The giver of rains, this field has the powers to bless the occupants with
fertility and fulfilment of all their wishes NORTH EAST
5. SOUTH EAST BHRISHA The power of friction needed to initiate any action , thinking or
activity AAKASH The energy that provides the space for manifestation ANILA The
energy of air or vayu, it helps to uplift the fire or push further the actions initiated
45Indo Nordic Author’s Collective, STOCKHOLM
PUSHAN The energy of nourishment, it blocks the path of enemies The 32 Energy Fields
of the Outer Periphery.
6. SOUTH WEST BHRINGRAJ The energy which extracts nutrients from the food and
removes the waste MRIGHA The energy that drives curiosity and imparts skills PITRA
The energy of the ancestors which provides all means of safety and happiness required for
existence DAUWARIK The safe keeper, represents lord Nandi-the trusted vehicle of lord
Shiva. The energy of being genius and highly knowledgeable The 32 Energy Fields of the
Outer Peripher
7. NORTH WEST SHOSHA The power of detoxification from negative emotions
PAPYAKSHMA The energy which gives addiction, diseases and the feeling of guilt
ROGA The energy which provides support in the hour of need NAGA The energy which
gives emotional enjoyments and cravings The 32 Energy Fields of the Outer Periphery
8. NORTH MUKHYA The chief architect or lord Vishwakarma, this energy field defines the
main purpose of the building & also helps in their manifestation BHALLAT The energy
field which grants colossal abundance, it magnifies the efforts and their results SOMA
The energy field of Kubera - the lord of all wealth and money. It ensures a smooth flow of
money and opportunities BHUJAG The the lord of hidden treasures, this energy field is
the preserver of medicines. It safeguards the health of the occupants The 32 Energy Fields
of the Outer Periphery
9. EAST JAYANT The energy which gives the sense of being victorious, it refreshes the
mind and body MAHENDRA The energy which grants the power of administration and
connectivity SURYA The core controller, this energy fields imparts health , fame and
farsightedness SATYA The energy which establishes goodwill, status, authenticity and
credibility The 32 Energy Fields of the Outer Periphery
10. SOUTH VITATHA The energy field of falsehood, pretension and the unreal
GRUHAKSHAT The power which binds the mind and defines its limits YAMA The
46Indo Nordic Author’s Collective, STOCKHOLM
power of expansion, this energy field binds the world in laws GANDHARVA The energy
of preservation of health & vitality. This energy also governs all kinds of arts and music
The 32 Energy Fields of the Outer Periphery
11. WEST SUGREEV The power which grants the ability to receive all knowledge
PUSHPADANT The power which grants blessings and fulfills all desires VARUN The
lord of the seas, this energy field observes and runs the whole world. It is the granter of
immortality ASURA The the energy field that releases the mind from temptations and
gives depth in spirituality The 32 Energy Fields of the Outer Periphery.
REFERENCES
1. Bindu and Mandala: Manifestations of Sacred Architecture,Conference: ICABE-2016
Kuala Lumpur Malaysia. Paper presented by Jaffer Adam,Deepika Varadarajan.
2. THE MANDALA AS A COSMIC MODEL USED TO SYSTEMATICALLY
STRUCTURE THE TIBETAN BUDDHIST LANDSCAPE,Ping Xu,Journal of
Architectural and Planning Research,Vol. 27, No. 3 (Autumn, 2010), pp. 181203,Published by: Locke Science Publishing Co.
3. On the Idea of the Mandala as a Governing Device in Indian Architectural
Tradition,Sonit Bafna,Journal of the Society of Architectural Historians,Vol. 59, No. 1
(Mar., 2000), pp. 26-49,Published by: University of California Press on behalf of
the Society of Architectural Historians,https://www.jstor.org/stable/991561
47Indo Nordic Author’s Collective, STOCKHOLM
48Indo Nordic Author’s Collective, STOCKHOLM