Symbolism of the temple ppt

The Concept of the Hindu Temple
 The concept of the Hindu temple is rooted in Vedic traditions. It incorporates all elements
of the cosmos and symbolically reconstructs the same. In it, the spiritual practice as one's
journey towards moksha is symbolically represented. Hindus can choose to be polytheistic,
pantheistic, monistic or atheistic. Temples were centres where ancient manuscripts were
used for learning. Temples served as banks, provided medical care, kitchens and did charity.
 Hindu temples were conceived as ideals of art and integral part of Hindu social and
spiritual life. The temple is meant to encourage reflection, facilitate purification of one's
mind, and trigger the process of inner realization within the devotee. The specific process is
left to the devotee's school of belief.
 The temples are not just sacred spaces, they are also secular spaces. They are meant to
be harmonious places. Water is always symbolically present at the consecration of temple or
the deity and they are often situated near water and gardens. Major Hindu temples are
recommended at sangams (confluence of rivers), river banks, step-wells, lakes and seashore.
They can also be inside caves and with carved stones, on hill tops affording peaceful views,
mountain slopes overlooking beautiful valleys, inside forests and hermitages, next to
gardens, or at the head of a town street. A kṣhétra has many temples, including one or more
major ones. These temples and its location attracts pilgrimage called tirtha (or tirthayatra).
 Hindu temples take two forms: a house or a palace. The house-themed temple is a simple
shelter which serves as a deity's home. Thus, In Bhakti school, temples are venues for puja.
In other schools of Hinduism, the person may simply perform japa, or meditation, or yoga,
or introspection.

The Temple as an Energy Receptor
 Ancient Hindus never built any temple just to please Gods. Temples were constructed
based on the Vedic Principles. Ideally, the structure of the temple is built after the idol
Garbha-griha or Moola-sthana has been placed in a high positive wave centric place. The
Magnetic Fields and their inter-connectedness with Poles were considered before moving
ahead for construction. The Core (Moola-sthana) of the Temple where the Idols are placed,
experience maximum source of Earth’s natural Magnetic Fields. Copper Plates were placed
beneath these Idols so that Magnetic Fields resonated in the surroundings.
 Far from being a place of prayer or worship, temples were created as powerful spaces
where an individual could imbibe the enshrined energies. Whenever a devotee circum-
ambulates clockwise, these magnetic fields emitted from the Core source, heals the person,
physically and mentally. Mantras recited during circumambulation add positive vibrations to
these fields; ringing of bells and the lamp further amplifies the positive energy fields making
it more powerful so that the devotees can fulfil the purpose of their birth.
 Gopuram is a pyramidal structure, which gives optimistic energy and vibration to the
devotees. It is constructed to great heights, for the reason that the old populace who cannot
come to temple can also pray to their deity just bearing in mind the Gopuram, while sitting
at their residence. The Stambha (Skambha) acts like an antenna and receives the cosmic
force from the space, and through a subversive channel, it is linked to the main idol in the
Garbha-griha. The cosmic force continuously flows through the Stambha to the statue and
energises it. The celestial power fetched through the field gives the idol effulgence and
metaphysical powers. The cosmic force is additionally maintained by noise waves and the
pyramid like tomb. Pyramid-like construction helps to intensify and protect the cosmic force.

The Temple generally represents the Microcosmos
 Temples have always played a central role in Indian society. Apart from being focal points
of education, art and culture, they also served as powerful energy centres. Ancient temples
were thus built not as places for prayer, but as a vortex of energy where, if people were
receptive and willing, they could transform themselves in a very deep way. Temples were
built as public charging sites, where people could charge themselves with an inner energy.
People visited temples daily before they started their day, so that they could go about their
lives with an enhanced sense of balance and depth.
 Most temples were consecrated to activate one or two particular chakras, the main
energy centres within the human system. A human being is a microcosmos, i.e. the laws
prevailing in the cosmos also operate in the minute space of the human being. A temple is a
miniature cosmos comprised of the five elements and a presiding deity. A temple is an
outgrowth of the deity which has its own independent intelligence and from which energy is
constantly radiating. Essentially, temples were designed to be spaces where the mind
spontaneously moves within and meditation happens effortlessly.
 The Temple- whether Hindu, Muslim, Christian or other- is a place of worship for most of
humanity. However, it is no longer what it was originally intended to be by those who
devised it- Vyasa, Thoth, Hermes, Mohammed or other. The temple was merely allegorically
meant to be a model of the ‘microcosm’ or of Sutratma- soul-string (since the human was
‘made in God’s image’) especially relating to the present Kali-yuga. The idea was akin to the
use of the globe to represent the earth- for the sake of lay-devotees, who could perhaps not
fathom the esoteric spiritual aspects. However, it was taken literally to be the ‘House of
God’, the misunderstanding perhaps abetted by the priestly class.

 The Temples—both ancient or modern, belonging to virtually all the religions, though
appearing to be vastly variegated, have all been designed upon an identical principle—the
constitution of present Sutratma- human soul-string (the stepped ‘Jacob’s Ladder’). Hence,
the deity worshipped, in all cases, is also identical—during Kali-yuga, it is the semi-pagan,
so-called ‘virgin mother goddess’, along with her secondary male consort.
 Mother goddess Kali/Durga’s plane, Ashta-dal-kanwal (Mahar lok) also forms the
Brahmandic equator, where the peripatetic Sun or heavenly fire which enlivens all
‘material’ creation below, goes into the Abyss, only to rise once again at dawn, and where
the Moon is half as well. This plane symbolizes liberation from Chaurasi at least for the
duration of Kali-yuga.
 Her (Atlantic) Kali-yuga Temple is Black, representing the 5 Tattwik Jada or ‘material’
nature of this creation. On the other hand, the deity of the (Lemurian) ‘spiritual’ White
Temple (Agartha) is that of the Trinity of 3 Gunas- attributes (Vishnu, Brahma & Shankar),
which is considered Chetan or conscious in relative terms. The avatars of Kaal Niranjan,
such as Rama and Krishna (taken incorrectly to be those of Vishnu) are even beyond these.
 The ‘Universal Temple’ is taken to be the home of the deity of the present Yuga- Age,
the devotee’s desired destination of his spiritual ascent. Rather than being a mere
congregational area (not to speak of crass commercial exploitation via karmakaand,
astrological and matrimonial services, tourism and such like), the Temple is really a ‘House
of Initiation’ containing various pagan emblems pertaining to the ‘heavenly kingdom of
Atlantis’ lost after the Dwapar yuga that is now sought to be regained in the Kali-yuga.
Universal Temple represents the human Sutratma

 The Temple deity itself pertains to astral Ashta-dal-kanwal- {8} petalled lotus, the
pristine Paradise, where Adam, in Ardha-nara- hermaphroditic form, was virginally created
before his separation into male-female or Adam-Eve, and to where he eventually returns
after a ‘Week of Brahma’ for his virginal perfection at the final ‘Day of the Judgment’.
 The deity- the most worshipped around the world- can be represented as: Feminine
(primary): Durga-Kali, Aditi, Ma, Tripurasundari, Kuan-Yin, Isis, Mary, Astarte, Gaia, Hathor
Masculine (secondary): Vedic Purusha, Vastu Purusha (Andha), Dyaus-Pitar (Zeus-Pater/
Jupiter), Hiranya-garbha, Shani, Ayyappan, Brahma-Prajapati, Vishwakarma, Mitra, Aadi-
Nath, Aadi-Buddha, Bacchus, Dyonisus, Hercules, Samson, Ahura-Mazda, Yaldabaoth, Lord,
El, Samael, Monad Dualistic: Adam-Eve, Savituha, Isis-Osiris, Mary-Joseph, Yahweh-Asherah
Mother-Son: Sophia-Demiurge, Isis-Horus, Mary-Christ Emanation (First-begotten) :
Shambhu (Swayambhuva Manu), Bhairon, Macroprosopus, Adam Kadmon, Logos, Christ,
Word, Mind, Nous, Lucifer, Satan, Horus, Astral light, Prana, Buraq, Bijlee- lightning bolt etc.
 The 2 pair of limbs (arms and legs) of the torso, considered the deity’s guardians—often
represented by the 4 minarets, are the dual ‘extensions’ of the upper and lower Sahasrara
chakras—{14} and {5} petalled [the triple structure of each limb (upper, middle and lower
one containing 5 fingers, the deity being at the centre of the palm), itself being akin to the
triplistic structure of the Temple (or of the Microcosmos)].
 The sacred number ‘7’ represents ‘cycles of manifestation’, as in Sapta-Rishis or the
7 ‘sacred planets’, or in Sapta-Parvatas- 7 mountains, Sapta-Sindhus- 7 oceans, as also,
variously, the 7-fold colours, scales of music, winds, trees, perambulations of the soul
around Agni (or rotations of Shishumara chakra along Dhruva-pole star), units of time, etc.
The Kali-yuga Temple Deity

 The sacred number ‘10’ is dual (2 x 5 good & evil). There are 10 Loka-palas- Regents of
Earth, 10 Directions, ‘10 kingdoms of Atlantis’, ‘10 lost tribes’, 10 are the Commandments,
10 cubits is a standard measure, and so on. ‘10’ may also represent the 6 Chakras + 4
Antah-karans. Although there are 14 Sunnas- voids, here, only 10 (2x5) of them are
predominant in the present Kali-yugi cosmos.
 The body of the deity itself variously reflects the triple aspects of the human body or
world (the ‘new Atlantis’) pertaining to the Sutratma- soul-string of the Kali-yugi human-
being, as well. The 7 upper Bhawans, 7 (or 9) Grahas- sacred planets, or 7 Chakras, 5/7
Koshas or 5/7 Tattwas are represented by as many Prakaras or Parikramas- walled
enclosures. The 9 gateways may represent the body orifices, 9 Kalashas- sacred pots, the
Shaktis; 28 pillars the constellations, 64 beams the Kalas- arts; 21,600 golden tiles the
Pranas- number of breaths during a day; 72,000 golden nails the Nadis- veins; the various
pillars numbered to represent the nos. of Vedas, Shastras, Puranas, and so on.
 Planes, Bhavans, Koshas, Chakras/Elements, Tattwas, degrees of Spiritual Initiation etc.
determine the principle by which plan & elevation of temple’s architecture can be laid out.
 Several temples are thus categorized collectively according to: 7 Chakras [Kashi, Kanchi,
Madurai, Maya (Gaya), Avantika (Ujjain), Dwarika and Ayodhya], 12 Rashis- zodiac sign
temples (Jyotir-lingas of Shiva) or as 5 Tattwas- elements (Pancha-bhoota lingas)
representing the Physical plane. At the Chidambaram (‘sky of consciousness’) temple, there
are several Sabhas- halls in the temple denoting the 5 Koshas (Annamayi to Anandamayi)-
coverings of the soul: i.e. Chit, Kanaka, Nritta, Raja and Deva sabhas.
The Kali-yuga Temple Deity

I. Annamayi Kosha
II. Pranamayi Kosha
III. Manomayi Kosha
Its Equator is Ashta-dal-kanwal; also the Equator of Pancha-koshiya Brahmand- Koshas I to V.
V. Anandamayi Kosha
VI. Paar-Brahm Kosha
VII. Sach-Khand Kosha
THE 7 COSMIC KOSHAS OR SAPTA-DWIPAS
(Showing Ashta-dal-kanwal)

Bhu Loka
Bhuvah Loka
Suvah Loka
Mahar Loka
Meru/Atlantis
‘Valley of the Shadow of death’ (Brain)
Fig. Across:
Nut forming the four
Pillars of Heaven

Vedanta
3 Gunas
(Chetan-
Conscious)
5 Tattwas
(Jada-
Inert)
Vedas
Milky
Way
Over-world
Under-world
MahaDevas
Devas-Asuras
Devayan Path
Pitrayan Path
Brahma-randhra Northern
Hemisphere
Of Brahmand
Southern
Hemisphere
Of Brahmand
Ashta-dal-
Kanwal-
Equator
of Brahmand
Vishnu
(Sato-Guna)
Brahma
(Rajo-Guna)
Shankar
(Tamo-Guna)
Kartikeya, Indra
(Swarga Loka)
Ganesha, Vrittra
(Naraka Loka)
Yama
(Pitri Loka
Rising Sun
Half-Moon
(Ardha-Chandra)
“Valley of the
Shadow of death”
DEPICTION OF THE
MOON-SUN DEITY
“SAVITUHA”
“SAVITUHA”:
SA: Moon
HA: Sun
Day
Sky
Night
Sky
Dhruva-
pole star

THE DEITIES
OF LOWER
TRIPLE WORLDS

 The feminine deity representing the Kali-yuga deity, both surrounds the Temple, and is
located at the centre, around and atop it, as well. In it, the pilgrim-seeker-devotee journeys
through the labyrinthine path leading to the deity at the centre, and thereafter returns by
the same path. Thus, a visit to the Temple can be conceived of as ‘simulation’ (as are the
stories of the various Epics—whether of East [such as ‘Ramayana’ & ‘Mahabharata’] or West
[such as ‘Iliad’ & ‘Odyssey’]—couched in allegorical terms, retold as Kathas- narrations to
lay-public) of the soul’s progressive journey to the inner Astral Temple.
 The black stone deity of the ‘Black Temple’ of the Kali-yuga, located in the sanctum, and
contained within the so-called ‘7th chakra’ or false Sahasrara, is essentially ‘semi-pagan’, the
Black Temple (of 5 Tattwas) itself being the ‘pagan’ or ‘material’ abyss of the ‘Sun after it
has set’, representing the dark, Southern hemisphere of Brahmand. Puja- worship of the
deity involves complex rite of Aarati using (outer) symbols, including those of (inner) Sound
and Light, also known as Naam or Word (Vak), the Divine Creative Power of the Cosmos.
 The worship of black deity, constituting Tamo-guna- inertia, worldwide—that too mostly
in stone—has led to the prevalence of materialism and ‘Black Arts’ such as Astrology and
Black Magic. The humankind of Kali-yuga is likewise Black in character, and remains in the
cruel bondage of Kaal (of which it has little cognizance!) and of Kali-yuga. The terrorism and
more of today are the remnants of the karma imbibed during the Atlantean days.
 The ‘White Temple’ comprises Trinity of Tridevas: Vishnu/Israel [Satoguna], Brahma/
Michael [Rajoguna]—Shankar/Gabriel [Tamoguna]. The ‘Black Temple’, its mirror reflection,
is considered its ‘spiritual twin’ or ‘clone’. However, the White Temple can be accessed only
through Brahma-gyana with the grace of a competent Guru.
The Black & White Temples

THE (LOWER ASTRAL) WHITE & BLACK TEMPLES
Pillars:
L M R
‘White Temple’- Q-III of Astral:
____________ Shesha-naag,
{10}, Su)Meru
(+) Vishnu (Sato)
(#) Brahma (Rajo) {10}
(-) Shankar (Tamo)
‘Black Temple’- Q-IV of Astral:
_______________ Ashta-dal-kanwal {8}, Dhruva- North Pole Star, Brahmandic Equator
(Mrityu-kanwal, Central (Ku)Meru (‘that collapsed’)
(-) Jannat {6}, 3/8th Moon
(#) Pitri Loka, Ehraf, false Sahasrara {5} or {1000}
(+) (Naraka Loka, Dozakh or Antah-karan {4}, Setting Sun
____________ Physical Q-I:
(+) Sun (stationery)
(#) Ajna chakra {2}
(-) Moon (stationery)
____________ Lalana or Talu chakra
Physical Q-II to IV:
3 other ‘Trinities’ Lower 5 chakras of the Physical
____________ Shesha-naag, South Pole Star

Black Temple trinity
White Temple trinity

 Prana-pratishtha refers to the rite or ceremony by which a murti (image) of a god is
consecrated in a Hindu temple. It means infusing life into an idol and bringing to it the
numinous presence of divinity. However, it is only a sage who can truly “charge” a space.
 The ritual typically involves a Pooja, chanting of Sanskrit mantras as the deity is moved
from outside into the centre place, inviting the deity as resident guest of the temple,
bathing and cleansing the deity whose feet may be washed just like a revered guest arriving
after a long journey, dressing and seating in a place of comfort, placing the image's face
towards east (marking sunrise), followed by Nyasa with hymns (act of touching different
parts of the murti signifying the presence of various gods as sensory organs – Indra as
hand, Brahma as heart, Surya as eyes, and so on), spraying of scented water and flowers,
with the "chakshu unmilan", opening of the divine eye) ceremony marking the high point of
the ritual.
 Once this is done, the image is then considered as consecrated, the idol becomes deity.
The murti may be retired at sunset just like a guest retiring to bed, and then woken up at
sunrise with pleasantries, bathing, offering of fresh clothes, food, incense sticks and articles
of prayer, and interaction with the devotees, followed by Arati in the morning and evening.
The ceremony marks the recognition of the image of god to denote the divine presence- a
reminder of its transcendence and to be beheld in one's inner thoughts during darshan in
the temple.
 The esoteric Hindu Tantric texts such as Tantra-tattva recommend elaborate Prana-
pratistha rituals to infuse life into a murti. Some Tantra texts state that anyone who
considers an icon of Vishnu as nothing but "an ordinary object" made of iron "goes to hell".
The Prana-pratishtha ceremony

1. REMOVING FOOTWEAR BEFORE ENTERING TEMPLE: Temples contain pure vibrations of
magnetic and electric fields with positive energy. The floor at the centre of the temple were good
conductors of these positive vibrations allowing them to pass through our feet to the body. Hence
it is necessary to walk bare footed. 2. RINGING THE TEMPLE BELL WHILE ENTERING THE TEMPLE –
HEARING SENSE ACTIVATED: These bells produce a sound it creates a unity in the Left and Right
parts of our brains. The duration of echo is good enough to activate all the seven healing centres
in our body. 3. BLOWING THE CONCH – HEARING SENSE ACTIVATED: The sound of the conch is
believed to the purest form of sound. 4. LIGHTING CAMPHOR IN FRONT OF IDOL – SIGHT SENSE
ACTIVATED: The inner core of the temple is usually dark where the idol is placed. You usually close
your eyes to pray and when you open your eyes you should see the camphor which was lit to do
the Aarti in front of the idol. 5. OFFERING FLOWERS TO GOD AT THE TEMPLE – SMELL SENSE
ACTIVATED: Only specific flowers are used for offering to God like rose petals, jasmine, marigold
based on different factors, amongst them fragrance is most important. The fragrance of the
flower, camphor and instance sticks all together have the strong essence to keep your smell sense
active and pleasant giving calmness to the mind. 6. DOING PRADAKSHINA AROUND THE
GARBHAGRIHA: The idol inside the chamber absorbs all the energy from the bell sound, camphor
heat and vibrates the positive energy within the chamber for certain duration of time. When you
do the circumambulation at this point of time, you tend to absorb all these positive vibrations
once your five senses are activated. 7. APPLYING TILAK/KUMKUM GIVEN BY THE TEMPLE PRIEST:
The Tilak is believed to prevent the loss of “energy”, the red ‘kumkum’ between the eyebrows is
said to retain energy in the human body and control the various levels of concentration. While
applying kumkum the points on the mid-brow region and Ajna-chakra are automatically pressed.
8. OFFERING COCONUT AND BANANA TO GOD: Coconut and Banana are the only two fruits
considered to be “Sacred fruits”.
Temple Karmakanda or Rites & Rituals

 Aarati: adoration through movement of the Sun in apparent path.
 Bell & Conch: main inner sounds of the Subtle plane.
 Bhajans (devotional singing)/Mantra recitation: inner Music of the Spheres.
 Ishta-murti (stone/bronze idol of deity): Gurudeva at 3rd eye.
 Thali (copper platter): the firmament or sky.
 Splitting the 3-eyed Coconut: head with 3rd eye, containing nectar inside.
 Kalash (Ghat, copper pot) filled with water: Torso with Prana inside.
 Mango leaves (4 in nos.) on the Kalash: 4-fold Antah-karana (Manas, Buddhi, Chitta, Ahankara).
 Achamana (spoon for pouring water, shaped like the human body- spine+brain): pouring nectar.
 Abir/Gulal/Roli: red rising sun, feminine blood, fertility.
 Batasha: full moon.
 Akshat (Kheel, puffed rice) or whole Rice grains: stars.
 Supari (areca nut) with currency coin & Paan: sexual fertility symbols of love & marriage.
 Paan (betel leaf) eaten with 5-fold fragrant items: 5-elemented body: Brahm-randhra at top to anal cavity.
 Chandan, Dhoop & Agarbattis: sweet inner fragrances.
 Mala (garland) of flowers: 12-fold zodiacal rashis ensconsed in the body.
 Karpuram (camphor): lighting-up the 3rd eye.
 Deepam (lamp) with 5-wicks: lamp in the Brahma-randhra.
 Rumal (hand-kerchief): offering of clothing.
 Money: offering to deity.
 Naivedya: offerings of food items to the deity.
 Eatables, 5 types (milk, curd, ghee, honey & sugar): offering to deity.
 Seasonal Fruits: abundance, associated with goddesses of fertility, plenty, and harvest.
 Dry-fruits, 5 types (almonds, cashews, walnuts, kishmish & pista): offering to deity.
 Pancha-gavya (fermented mixture of cow-dung/honey, cow-urine/sugar, milk, curd, ghee): Prasad.
 Kalava (red/ochre thread on wrist): bondage to Sun deity.
 Parikrama (7 circumambulations): movement of the planets around the Sun.
Temple Pooja Symbolisms

THE TEMPLE-
LAYOUT PLAN
& ELEVATION

 The Shilpins of the temple know the essence of Vedas and Agamas. The structural rules
described in ancient Sanskrit treatises on architecture (Brhat Samhita, Vastu Shastras). The
temple form and its iconography is a natural expansion of Vedic ideology related to
recursion, change and equivalence.
 The architecture of Hindu temples is also symbolic. The whole mirroring and repeating
fractal-like design structure fuses the daily life and it surroundings with the divine concepts,
through a structure that is open yet raised on a terrace, transitioning from the secular
towards the sacred, inviting the visitor inwards towards the Brahma paada and temple's
central core, as well as lifting him upwards into a symbolic space marked by its spire.
 Above the vastu-purusha-mandala is a superstructure with a dome called Shikhara or
Vimana, that stretches towards the sky. The cupola or dome is designed as a pyramid,
conical or other mountain-like shape, inspired by cosmic mountain of Meru or Himalayan
Kailasha, using principle of concentric circles and squares.
 The temple has structural walls, which were patterned usually within square-shaped grid
spaces. The layout was open on all sides, except for the core space which had just one
opening for darshan. The temple space is laid out in a series of courts (mandapas). At the
centre of the temple, typically below and sometimes above or next to the deity, is mere
hollow space with no decoration, symbolically representing Purusha, the Supreme Principle.
The grid network of art, pillars with ornate carvings and statues that display and celebrate
the four important and necessary principles of human life – the pursuit of artha (prosperity,
wealth), the pursuit of kama of (pleasure, sex), the pursuit of dharma (virtues, ethical life)
and the pursuit of moksha (release, self-knowledge).
The Temple Layout

 The Temple complex, aligned to the cardinal directions (standing at the South entrance
and visually lining up the top of the Gateway with the top of Kailash upon the central
Shikhara, one locates the Pole Star), and is ideally located at earth’s magnetic equator. Sun
Temples are mostly equinoctial—aligned in such a way that on the day of the vernal
equinox, the great doors of the porch and the eastern doors of the inner temple are opened
at sunrise; and as the sun rises, its rays pass thru the outer doors, then thru the inner doors,
and penetrates straight thru the Central Nave, it illuminates the High Altar.
 The layout of the Temple-mount (representing the present human Sutratma) is based on
principles of sacred geometry (with prescribed dimensions) of Vastu-shastra Mandala- a
diagram with an outer square (especially if Vedic) or rectangle (other shapes also exist)
along the cardinal directions, enclosing other squares, triangles, circles or dots. Andha, the
Vastu Purusha, a titan was overcome by the gods collectively, who then appropriated
various parts of his body. In both plan and elevation, the Temple models the body of deity
itself.
 In plan, the deity is supine: Antara mandala- inner square, where gods are located, face;
Namaskara mandala- where chanting is done, neck; Antara-haara- inner areas of
Pradakshina- circumambulations, Yaga- Vedic rituals area etc., hands; Madhya-haara-
where lamps are lit etc., belly; Maryaada- outer wall- knees & ankles; and Gopura- feet. In
elevation, the deity is standing: the pyramid atop represents its head, the base its feet,
structure in-between comprising the walls and roof is its body. Alternately, Garbha-griha-
inner sanctum, becomes neck; Shikhara- superstructure over it, head; the Shikha- tuft of
hair; Kalasha- sacred pot or finial, 8-petalled lotus shaped, the unmanifest womb.
The Temple Layout

A C
B D
E A. Vimana with Garbha-
griha
B. Antar-haara
C. Madhya-haara
D. Bahya-haara
E. Maryada
0
TEMPLE LAYOUT

TEMPLE
LAYOUT
IN PLAN
&
ELEVATION

Temple Layout represents the
Humanized Body of Deity

ELEVATION & VIMANA OF TEMPLE SANCTUM

THE TEMPLE-
ARCHITECTURAL
ELEMENTS

 Nagara style: Shikhara tower is built on upraised platform and has a sloping curve as they
rise and is topped by an Amalaka (a large fluted disk) and also a Kalasha (a small spherical
pot). Subsidiary structures also have Vimanas. River goddesses- Ganga and Yamuna guard
the temple. Divisions based on type of Shikharas: 1. Latina or Rekha-Prasada: It is the
simplest and commonest form. It has square base and walls are sloping and curved inwards
to a point on the top. Later on, many smaller towers appeared, thus a mountain-type spire
was created 2. Phamsana: It is broader and shorter than Latina. Its roofs contain various
slabs that rise to a single point over the centre of the building. The roofs don’t curve but
follow a slope on a straight incline 3. Valabhi: Temples under this category composed of a
rectangular building with a roof that rises into the vaulted chamber. Temples of this style
can be found in Sindhu-Ganga valleys, Malwa & Deccan, Central & Western India etc.
 Dravida style: Vimana tower is stepped pyramid that rises up rather linearly (rather than
curved). Subsidiary structures do not have Vimanas. Enclosed with a walled courtyard with a
Gopuram- at times more ornate than the temple itself. Fierce Dwarapalas or door keepers
guard the temple There is the presence of a water tank. These are basically of five different
shapes: 1. Kuta or Chaturasra: square 2. Shala or Ayatasra: rectangular 3. Gaja-prishta or
Vrittayata (elephant backed): elliptic 4. Vritta: circular 5. Ashtasra: octagonal. Examples of
these are: Tirunelvelli, Mukteswara, Mahabalipuram, Manndagapattu, Mahendravadi,
Tiruchirapally, Tanjore, etc.
 Vesara style: Hybridized style, containing elements of both Nagara & Dravida. They
flourished at the time of later Chalukyas (7th cent. CE) in the Deccan. Aihole and Pattadakkal,
Belur, Halebid and Somanathpuram, Vijayanagara, Ellora etc. are some of the examples.
The Temple Styles

Garbha-griha (main sanctum sanctorum) the part in which the idol of the main deity is installed facing
East is equated with human head. Typically there is also an area around the Garbha-griha and one
outside, where devotees can make Pradakshina.
Shikhara or Vimana literally means “mountain peak”, refer to the rising tower over the sanctum
sanctorum where the presiding deity is enshrined is the most prominent and visible part of a Hindu
temples.
Antar-mandala or Antar-ala (vestibule or ante-chamber, passage leading to the main Mandapa) is the
neck. It is located directly in front of the sanctum sanctorum. The main priest does poojas here too.
Inner Prakara (inner wall), where subsidiary shrines, dikpalakas, Saptamatrukas, etc. are is the face.
Ardha–mandapa (half-hall, small enclosure in front of the Garbha-griha) is compared with human chest.
Maha–mandapa (main hall) for assembly of devotees is equated with the stomach.
Antar-haara the room for offering sacrifices, where Bali-peetha is installed forms the waist of the God.
Bali-peetha is a lotus-shaped place where slaughtered animals are to be offered to the deity. Now-a-
days, devotees offer rice and certain dishes to God on this sacrificial pedestal. It is placed between
Dhwaja-sthamba and Nandi. The turtle in the north replaced the Bali-peetha of the south
Madhya-haara in the middle of the temple is the Agni-mandala. Lamps are lit around its wall.
Bahya-haara contains Dhwaja-sthambha (flag-post) situated in line with the main shrine, which is
viewed along with human male organ.
Pancha Prakaras (concentric enclosures) represent 5 Koshas /Elements, Maryada (outer wall) the hands.
Gopura (pyramidal gateway tower) is viewed along with human feet. It is the elaborate tower of south
Indian temples located on the East side. It marks entering inner temple, leaving the outer world behind.
Kund or Sarovar is the tank, reservoir or step-well outside surrounding the temple. Used for bathing &
cleansing. It represents the ocean of unmanifest matter of creation surrounding the manifest world.
Vertically, the Garbha-griha represents the neck; Shikhara (pyramidal or tapering superstructure over
the Garbha-griha), the head, especially the brain; Kalasha (finial), the tuft of hair (Shikha).
Typical Temple Architectural Elements

Dhwaja-stambha
Kalasha
Deepa-stambha
Bali-peetha
Garbha-griha
Vimana Gopuram
Bali-peetha is a lotus-shaped place where slaughtered animals are to be
offered to the deity. Now-a-days, devotees offer rice and certain dishes
to God on this sacrificial pedestal. It is placed between Dwaja-sthamba
and Nandi. The turtle in the north replaced the Bali-peetha of the south.

 The main Temple (e.g. of Chidambaram, Solomon, or a church/cathedral, or even Taj
Mahal) is a sanctuary, which is called Prasada- a palace-like beautiful, but gloomy structure
or Vimana- a well proportioned structure, located at the far end of the complex. It is square
shaped (representing 4 quarters or cardinal directions of Physical human-being, or ‘Earth’) at
the base. It is in the pyramidical shaped mountain (Meru), topped by a Shikhara- domed
cupola (‘Heaven’), thus ‘squaring the circle’ (the crossed circle denoting their ‘union’), with a
pinnacle or crown atop it or a conical steeple ending in a point (Shunya- void, singularity) i.e.
the unmanifest ‘Big Bang’ deity of the dark void.
 The Shikhara may be shaped as a stepped pyramid, mastaba or ziggurat (with its height
being the radius of the circle equal to the perimeter of their base), built wherever natural
mountains did not exist, or as the ‘Tabernacle’ housing the Ark (Holy barque, ship of
salvation ‘that sank during deluge’) or as ‘Lightning in the Meeting Tent’. The temple-mount
arises from ‘Waters’, parted by the solitary, narrow passage leading to it (e.g., the Haji Ali
mosque, Mumbai from ocean, with a solitary access-way raised above sea-level).
 Two Pillars or Pylons, tapered in shape, are placed at inner Gateway to its Garbha-griha-
sanctum sanctorum. These are twin guardian (or welcoming) deities of idol, representing
the dual heaven--hell: Dwara-palas- guardian deities, seated or standing (often holding a
spear with a flag atop it). They represent the legs of the astral deity, Kaal Niranjan. These
dual Pillars are now represented in humans as twin hemispheres of the brain or as Pineal &
Pituitary glands, with Thalamus in-between. The subsidiary or Vahana- transport
conveyance of deity, in the form of say, the Nandi bull or Shiva-linga is located facing
Mukha-mandapa- an ante-chamber.
The Main Temple

 The sacred sanctum or adytum (‘holy of holies’) itself is cube shaped (as in Ka’ba), the 6
faces of which represent the astral {6} fold chakra, its base with 4 faces being the {4} chakra.
It may contain the box-shaped ‘Ark of the Covenant,’ stood upon an Altar, the Coffin or Ark
[the ‘Ark’ is speculated to function as a celestial ‘electrical capacitor’ that releases the pranic
thunder-bolt, solar power-source of Earth] of the sleeping or dead deity (Pharaoh, Jamshed
or Yama, the sun after setting, hoping to be resurrected during Sat Yuga- golden age), at {5}
or {1000} petalled Pitri Lok, the twin cherubs or lions being the symbol of duality.
 Beyond labyrinth of the lower triple worlds is the real heaven itself—the sanctum of the
deity, Garbha-griha- the home of the foetus, located within the Antar-aalaya- the inner
foyer. At the summit of the Mount of the astral rising/setting (depending on its path- Deva-
yana- upwards or Pitri-yana- downwards) Sun is the Ashta-dal-kanwal chakra, {8} petalled.
 The central ‘womb’-deity is same as Ouroboros or river ‘Oceanus’ or the ‘Atlantic ocean’
that girdles the triple manifest material creation (Bhu, Bhuvah and Suvah) and is placed in a
curtained cave-like, dark cubicle (Mahar). The spiritual journey, thus, is tantamount to
resurrection back into the very astral womb that gave us the physical birth. The idol of the
chief deity, Ardha-nari, Kali or Durga is covered in veil, and lies within the inner recesses of
the chamber. During festivals, it is taken out in procession in a barque along the watery
passage leading into the Temple in order to be consummated by its consort, thereby
symbolizing its rebirth or resurrection.
 The inner sanctuary is surrounded by space for circumambulations and by lateral chapels
for the subsidiary gods, small praying rooms, storage rooms for the divine paraphernalia
used in the sacred rites etc.
The Sanctum Santorum

 The various Haaras (meaning necklaces) or courts in the temple around the central
shrine contain the various auxiliary shrines, where circumambulations are carried out.
 Antara-haara- the inner court, located towards the West, is comprised of the sacred
‘Garden of Eden’ (now, of ‘happy dead’). It is Suvah lok that contains ‘parted waters’ of
moon--sun above [this parting is due to Indra piercing the belly of Vrittra (‘chaos’) monster
with his thunderbolt, cutting it in twain, thereby releasing the primordial flood Waters]
and below: {6} & {4} chakras of heaven--hell, which combine together to create a new
infant (or Earth).
 Madhya-haara- the middle court or Bhuvah lok has stands containing the lamps
lighting the temple. The lamps are made of brass or iron and fixed at equal distance.
 The garden in Bhu lok or Bahya-haara- outer court, open (to sunlight), is divided into 4
squares and is watered by channels (coming from the ‘4 Rivers of Paradise’), forming a
Cross, along which run the roads of access. A stepped sacred central fountain leading from
the Gateway, at the {4} petalled Antah-karan chakra in the outer court, is the secret
source of the ‘Water of Life’ from which the 4 rivers, watering the garden, spring forth.
 Apart from these, the temple precincts include Yagashala (a hall for Yajna), Kalyana-
mandapa, marriage/general purpose hall, Asthana-mandapa, where processional deity
holds court, Vahana-mandapa, to store the various ‘vehicles’ used to mount processional
deity during festivals/processions, Alankara-mandapa, where processional deity is dressed
for being taken on procession, Vasanta-mandapa, a hall in the middle of temple tank used
for festivals and Utsava mandapa, hall used on festive occasions.
The Inner, Middle & Outer Courts

 The sacred city (hiding treasure guarded by serpents) is designed like an underground
labyrinth or maze, with multiple Walls and Gates, or with a ‘moat’ to protect the ‘castle’ of
its deity from the unworthy, unwise and profane, remaining accessible only to the initiate.
 The god or king was buried in a catacomb or mortuary temple in an underground vault
(representing the heavenly underworld) beneath Pyramid Temple, along with treasures and
items for day to day needs required during their heavenly sojourn, along with a false grave
at the sanctum itself (as in the Taj Mahal) representing his guardian-double or ‘Ka’.
 Maryada- the surrounding walls may be Tri-mekhla, triple (or 5-fold), oriented along the
4 cardinal directions, which enclose each of the Prakaras- sections of the Temple, represent
the triple manifestations of Mahar Lok or the triplistic shells of the ‘Egg of Brahma-
Prajapati’ containing the manifest triple worlds (Bhu Lok, Bhuvah Lok & Suvah Lok).
 The outermost wall has two Gopurams- elaborate Gateway towers with a pair of Talas-
Pillars or Spires, with Toranas- decorative hangings—one in the East, with guardians
(guarding the Sun’s path to the Gates or to prevent ‘Adam from re-entering’), where the
Sun enters in the morning, and the other, in the West, where it exits in the evening to go on
its journey to the underworld.
 The central Pillar connecting Heaven and Earth, or the secret ‘10th Street’, Sushumna
nadi or Skambha is represented by the Dhwaja-sthambha- flag-post just inside the Temple
entrance. A pair of Dhwajas- flags (with insignia of the deity) or palm or banana trees
adorn the ‘pass me not’ Gates.
The Surrounding Walls

 Dwarapalas are the formidable looking ‘gate-keepers’ and guards in service of the presiding
deity of the temple. They are the servants and the protectors of their masters. They are
typically envisioned as huge and robust warriors. The pairs of Dwarapalas are most usually
placed at the entrance to the temple and also at the door way to sanctum (Garbha-griha).
The general features of all Dwarapalas are: they are well built, muscular, broad shouldered,
very tall and sporting fearsome moustaches. Each is endowed with four arms. They are
elaborately adorned with Kirita (headgear), Bhuja–kirti (shoulder ornaments), karna-
kundala (hanging earrings). They always carry weapons and are always depicted as standing
guard. Their appearances and stance herald the nature and disposition of the main deity.
 Dwarapalas in a Vishnu temple are rather placid looking; modestly dressed and
ornamented. Dwarapalas of Vishnu are: (i) Chanda and Prachanda (ii) Dhatru and Vidhatru
(iii) Jaya and Vijaya and (iv) Bhadra and Subhadra, each pair to guard a cardinal direction. In a
Shiva temple take after Virabhadra, the ferocious aspect of Shiva. Dwarapalas of Shiva are:
(i) Nandi and Mahakala (ii) Herambha and Bhringi (iii) Durmukha and Pandura and (iv) Sita
and Asita. Dwarapalas of the female deities who represent the grosser elements of nature are
fearsome looking females, modelled after the ferocious aspect of their Mother deity.
 While the Dwarapalas guard the doors of their deities, the Kshetrapala, on the other hand,
guards the entire temple–complex. In hierarchy they are placed higher than Dwarapalas. They
are the protectors of a settlement, a village, a field or a temple. They are identified with
Bhairava, the terrible aspect of Shiva, as also with ferocious Veerabhadra, the son of Shiva.
Shiva created Kshetrapala to organize the army of Kali when she went to fight demon Daruka.
The Dwarapalas and Kshetrapalas

THE TEMPLE-
ARCHITECTURAL
SYMBOLISM

 The design and construction of the temples was fairly intricate, they were built according
to a complex calculation involving physical and metaphysical elements. The various sections
of the temple, the shape and the size of the idol, the mudra held by the idol and the mantra
used for the consecration of the temple, were all determined by the fundamental para-
meters of the design. The ideal temple had at least one entrance, an Ardha-mandapa, a
Mandapa or a large hall, a Garbha-griha and a Shikhara directly above the Garbha-griha.
The Temple Architecture

 The Hindu temple concept is a curious mixture of Vedic, Tantric and Agama principles.
There are rules of shape and proportion in the authoritative texts which give birth to a
variety of complex temple designs. The Tantra regards the human body as a Mandala- it is
a Chara or Jangama (mobile) Mandala. The Agama shastras regard a temple too as
Mandala; and here it is an Achala or Sthavara (immobile) Mandala.
 The Temple reflects cosmic order. To understand the uses of recursive geometrical forms
involving self-similarity on different scales (fractals) in the Hindu temple complex we will
need to explore some of these deep images and their uses. Hindu traditional architecture
has more symbolic and articulated meanings than other cultures.
 The temple is oriented to face east, the auspicious direction where the sun rises to dispel
darkness. The temple design includes the archetypal image of a Cosmic Person spread out
yogi-like, symmetrically filling the gridded space of the floor plan (his navel in the centre,
and it includes the archetype of the cosmic mountain, between earth and heaven, of
fertility, planets, city of the gods, deities, etc.). One encounters these simultaneous
archetypal themes and meanings conveyed (and hidden) in the semi-abstract forms in many
Hindu temples.
 The symbolism is that when a devotee enters the temple, he is virtually entering into a
Mandala and therefore participating in a power-field. His progress through the pavilions to
reach the sanctum is also symbolic. It represents the phases of progress in a man’s journey
towards divine. In accordance with this scheme, the architectural and sculptural details vary
from phase to phase; gradually leading him to the experience, which awaits him as he
stands in front of the deity in the in the sanctum.
The Architectural Symbolism

 The temple is seen as a link between man and god; and between the actual and the ideal.
The Temple structure is a mini cosmos. A temple called Devalaya, the abode of God, or
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. Tirtha, a place of pilgrimage
is its other name. Human body is the temple for the indwelling Spirit of God (Antaryamin).
Various parts of the temple structure correspond to various parts of the human body. The
temple is the physical body (sthoola sharira) which houses the presence of Divine. So the
actual building of the temple is a symbol of presence of the Divine in the world.
 The analogy explains the various parts of the Temple as being representations of the
various aspects of the Body. The forehead is said to represent the sanctum- the space
between the eyebrows, the Ajna chakra, is the seat of the divinity. The top of the head is
the tower- the finial of the tower is the unseen the Sahasrara located above the head.
Accordingly, the sanctum is viewed as the head; and right on top of that head is the passage
through which the currents of life ascend to the tower through that stone slab Brahma-
randhra Shila. Around the four corners of this slab are placed the images of the vehicles or
emblems that characterize the icon inside the sanctum.
 The Temple represents the Nara-Narayani deh- physical and subtle bodies, with the 7
chakras. In the structure of the temple, the Brahma-randhra is represented in the structure
erected on top of the sanctum. The flat-roof (Kapota) of the sanctum is overlaid by a single
square stone slab known in the texts as Brahma-randhra-shila (the stone denoting the
upper passage of life). The sanctum is viewed as the head; and right on top of the head is
the passage through which the currents of life ascend to the tower through this stone slab.

 The names assigned to various parts of the Vimana describe this symbolism. For instance,
Pada (foot) is the column; Jangha (trunk) is parts of the super-structure over the base; Gala
or Griva (neck) is the part between moulding which resembles the neck; Nasika (nose) is any
nose shaped architectural part and so on. The Garbha-griha represents the heart and the
image the Antarayamin. These also suggest seeking the divinity within our heart.
 Interestingly, the Kalasha placed on top of the Vimana is not imbedded into the structure
by any packing it with mortar or cement. It is, in fact, placed in position by a hollow rod that
juts out of the centre of the tower and runs through the vase, the Kalasha. It is through this
tube that the Lanchana ‘tokens’ (cereals and precious stones) are introduced. One of the
explanations is the hallow tube represents the central channel of energy the Sushumna that
connects to the Sahasrara, the seat of consciousness, through the Brahma-randhra.
 Symbolisms also associated with the Sanctum and the Tower above it are, that sanctum is
the Water (Aapa) principle and tower over it is Fire (Tejas); the finial of the tower (Vimana)
stands for Air (Vayu) and above the Vimana is the formless Space (Akasha). The sanctum is
thus a constellation of the 5 elements basic to the universe. Fire, being the active element
that fuses the others, the tower becomes an important limb in the structure of a temple.
 A Hindu temple (Devalaya) has not only religious purpose but also spiritual, cultural,
educational and social objectives. It provides a place for devotees to focus and develop their
spiritual insight. A Hindu temple in essence can be recognized in triple forms: The first is
oneself with God within. The second one is a dedicated room (with altar and deities) in a
home. The third one is the Hindu temple in which devotees participate collectively that
reflects the pluralistic nature of Vedic Hinduism or Santana Dharma.

 The triple Shikhara construction has a special significance. It represents Trikuti- the triple
Sacred Mountains- (Ku)Meru-Sumeru-Kailash or the Astral Q-IV Trinity of Swarga lok-Pitri
lok-Naraka lok (Father-Son-Holy Spirit). It may represent the 3 manifest lower quarters of
the Causal/Astral/Physical Adams (of 6 chakras). It may represent the original Causal/
Astral/Physical Adams, themselves comprising the dualistic creation of Maha-kaal and Kaal.
It may also represent the ‘belt’ stars of the Orion constellation.
The Triple Shikhara Architecture

 The spaces in the shrine were hierarchical– the further the space was from the central
shrine, the lesser was its distinction. The farthest ring had buildings of a more secular nature
– shops, dormitories, sheds, workshops etc. The Temple may have a layout in 3 sections,
each representing a level of macrocosmic awareness during the spiritual journey (across
Bhu, Bhuvah & Suvah Lokas), culminating in the 4th aspect, the Ishta- deity (Mahar Loka).
 In plan view, the representation is: Stage 1: Outer Court- represents Bhu Lok— the 4
quartered Physical world (lighted by the sun) open to lay-worshippers. Stage 2: Inner Court
(with an opening for skylight at the top)- Bhuvah Lok— Antariskha– inner night sky open to
high officials of the court. Stage 3: Main Temple Court- containing Temple Sanctum proper,
where only the king and priests are permitted. It may also contain the heavenly guardians of
the deity, representing Suvah Lok. Stage 4: The Main Deity itself—the virgin mother of
Atlantis, half Moon or Sun at horizon, the Turiya– fourth aspect, Mahar Lok—is both centre-
point as well as encloser of the temple (a circle, along with its centre-point—sign of Egyptian
Sun god, Ra).
 In elevation, the main temple, raised upon 7 steps, repeats the cosmic architecture: Stage
1: The triple aspects of the Physical world ({10}+{6}+{4}, {16}+{12}, {2}) i.e. Bhu+Bhuvah
Lokas or of Earth i.e. Bhu+Bhuvah+Suvah Lokas represented by the triple foundation—
square or circular in shape, containing labyrinthine sub-terrainian passages leading to the
Deity’s Treasure-house—a representation of Sahasrara—the {1000} petalled lotus on Earth.
 The complex is surrounded by outer temple wall or a pond or ‘sea’, river Ghat- reservoir,
circular moat or ‘Oceanus’ surrounding triple worlds, with a narrow temple passage across.
It is for carrying out ablutions (i.e. putting off ‘earthly shoes’) before proceeding to temple.
The Temple Layout symbolizes Spiritual Progression

 Stage 2: Resting upon it, a square base may stand for the astral {4} petalled chakra, which
is topped by a (6 faced) cubical space symbolizing the {6} petalled chakra in Suvah loka.
Stage 3: The Guardian Deity of {5} or {1000} petalled lotus at the middle of Suvah loka.
Stage 4: The Main Deity of {8} petalled chakra i.e. Mahar loka, the cosmic womb, rests
within this dark, smoke-filled space, dimly lighted by flickering lamps.
 The ‘Black Temple’ steeple itself (in elevation) becomes an inverted or pagan Cross—the
mirror image of the upright Cross, atop it (the ‘White Temple’). Together, they form the
‘double Cross’! Again the apex of the Temple Mount relates to ultimate, unmanifest deity.
 A Shiva (Shambhu) temple is the body of the deity in its Virat-swaroop, built in the image
of human body. It has 5 concentric Prakaras- walkways cum courtyards, with walled
enclosures to resemble the Pancha-koshas- 5 sheaths of the soul. The innermost, 5th Prakara
within sanctum walls is under the Golden Roof accessible only to the priests.
 5 halls adorn the Chidambaram (Chit- Consciousness + Ambar- sky or Ether) temple:
1. Chit Sabha (image of Ratna-sabhapati- gem-form Lord, the golden roofed sanctum,
guarded by Nandi bull), 2. Kanaka Sabha (contains diamond-like Sphatika-lingam- white
lingam made of foam of Amrita- nectar derived from the moon during the churning, that
exceeded the luster of moon, sun, fire, lightning & stars, for daily rituals), 3. Nritya Sabha
(chariot-shaped denoting the dance of Mahadeva-Kali), 4. Raja Sabha (1000 pillared, for
Sahasrara chakra) & 5. Deva Sabha (containing 5-fold deities and 9 Lingas worshipped by
the Nava-grahas).
The Temple Layout symbolizes Spiritual Progression

 The temple design follows a perfect square grid principle with geometrical design
called vastu-purusha-mandala. This mandala is a yantra. The four cardinal directions help
create the axis of a Hindu temple, around which is formed a perfect square. The circle of the
mandala circumscribes the square. The square is considered divine; circle is considered
earthly, human and observed in everyday.
 The central square(s) of the 64 or 81 mathematically structured grids is dedicated to
the deity and are called Brahma paadas. 49 grid design is of great importance in creative
expressions of Hindu temples in South India, particularly in “Prakaras.” Alternatively,
rectangle shaped in 2:3 proportion. Further, a number of structures and shrines are in 1:1,
1:2, 1:3, 2:5, 3:5 and 4:5 harmonic ratios.
 At the mandala’s central square(s) is the space for the formless shapeless all pervasive all
connecting Universal Spirit, the purusha. This space is referred to as garbha-griha (literally
womb house). It is this garbha-griha which devotees seek for “darshan” (literally, a sight of
knowledge, or vision). It is the deity of the idol- such as Vishnu, Krishna, Rama, Shiva, Durga,
Ganesha, Hanuman, Surya etc. that gives the temple its name.
 The central space is surrounded by an ambulatory for the devotee to ritually circum-
ambulate the Purusha (pradakshina), the universal essence. Often this space is visually
decorated with carvings, paintings or images to inspire the devotee. The pillared halls are
called mandapas. The main temple is often surrounded by smaller temples and shrines.
South Indian temples have a large gopuram, a monumental tower, usually ornate, at the
entrance of the temple, topped by the kalasha. They function as gateways. Walls are
decorated with mural paintings or rock sculptures which are emphasised on Dwarapalakas.
The Mandala Symbolism

 A Temple involves a huge symbolism; it involves a multiple sets of ideas and imagery. 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
in Vastu-shastra 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.
 Astral continents of Polaris (of 1st Root Race Q-I), Hyperborea (2nd R.R. Q-II), Lemuria (3rd
R.R. Q-III) & Atlantis (4th R.R. Q-IV) are said to have been ‘lost’ during Sat-yuga, Treta-yuga,
Dwapar-yuga & Kali-yuga respectively. The earthly Temple is modeled after Atlantis (Garden
of Eden) built by the skilled Vishwakarma, Demiurge, Samael, Jehovah, Thor, Imhotep,
Hiram Abiff of the Free-masons, Goths or Nagas. The Universal Temple carries the fearful
memory of the fabled continent of Atlantis. It drowned under the sea amidst cataclysmic
floods and volcanic eruptions around 11,600 BCE, signalling the end of the Pleistocene Ice
Age and of Cro-Magnoid Atlantean race of man, and the beginning of the Neolithic.
 The many doored/pillared ‘Dwarika’ (Dwaravati), capital of Krishna or ‘Hastinapura’, sank
in the Atlantic flood. The peak of the middle of the triple mountains (Krakatoa) collapsed
during volcanic eruption, becoming a crater. These cities really refer to the ‘lost’ Astral Pitri
Loka- region of the manes, false {1000} petalled Sahasrara lotus or the ‘7th chakra’ of Yogis,
where the human spirit resided during the Dwapara Yuga, before its ultimate ‘fall’ (of the
separated Adam-Eve from the ‘Garden of Eden’) to the Physical during the Kali-yuga (when
the spirit moved to the ‘6th’ chakra below). It is surmised that this construct went from India
(specifically, the Dravidian South) to the Far East (Indonesia), thence to Egypt, and finally to
Europe (Plato) and elsewhere.
The Temple recalls lost continent of Atlantis

Sun Rising in
the
Orient or
Volcano
Destroying
Central
Trikuti
Mountain
THE LOST CITY OF ATLANTIS
Mt.Meru, Mt.Atlas, Garden of Eden,
Shambhala, Jerusalem, Shangri-la, Jewel in
the Lotus, Rose (Rosicrucians), Shiva netra,
false Sahasrara, ‘7th Chakra’, Pitri lok
crater

SYMBOLS OF ATLANTIS
& THE DEITY

8. Idol: Sahasrara chakra
7. Peetha of Idol
6. Napumsaka-shila: {2} chakra
5. Yoga-naala: {16} chakra
4. Koorma: 5 Pranas
3. Padma: {12} chakra
2. Nidhi-Kumbha: {10} chakra
1. Aadhara Shila: {4} chakra &
Dhanya-Peetha: {6} chakra
SHIVA-SHAKTI LINGA-YONI REPRESENTS
THE ATLANTEAN TEMPLE

VARIOUS REPRESENTATIONS OF
THE LOST ATLANTEAN TEMPLE
So called ‘Shiva netra’
in the middle of the
brow
False Sahasrara
Chakra
Mount Meru

 Vastu Shastra is deployed not just in designing the temple, but also the home or even the
office since these are considered to be temples of residence and work. Vastu Shastra
developed during the period of 6000 BCE and 3000 BCE. The science of Vastu is believed as
part of the Indian architecture.
 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. 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 of Agamic texts, Devalaya Vastu (Temple Vastu astrology) and sacred
geography describe the temple as a cosmic man, the “Purusha” (cosmic man). 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.
The Vastu Shastra Symbolism

 The name of Vastu-Purusha mandala is derived from the three vital components of the
design namely Vastu meaning Vaas or a place of dwelling; Purusha, meaning the Universal
principle; and Mandala meaning circle. Vastu-Purusha mandala is a mystical diagram
referred in Sanskrit as a Yantra.
 Purusha 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. 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).”
 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.
 Vastu Purusha is associated with the Earth and its movable/immovable basic elements of
nature, such as the earth, water, fire, air and space; just as a human being does. He 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 legs are at
the South West corner (nairutya). The South West corner where the Vastu-Purusha has his
legs corresponds to the Muladhara chakra and denotes the earth principle.

 The symmetrical and self-repeating model of a Hindu temple demonstrated in the design
is derived from the primary convictions, traditions, myths, and mathematical standards.
The axis of the Mandir is created with the aid of the four fundamentally significant
directions and thus, a perfect square is created around the axis within the available space.
This square which is circumscribed by the Mandala circle and divided into perfect square
grids is held sacred. On the other hand, the circle is regarded as human and worldly that can
be perceived or noticed in daily life such as the Sun, Moon, rainbow, horizon or water drops.
Both the square and the circle support each other.
 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 64 (8×8 =64)
metaphysical grids / modules or paada for temples. [For dwelling places 81 (9×9=81)
paada].
 Each square within the main square referred as ‘Paada’ symbolises a specific element
that can be in the form of a deity, an Apsara or a spirit. The primary or the innermost
square/s of the 64 grid model called Brahma Paadas is dedicated to Brahman. The Garbha-
griha or centre of the house situated in the Brahma Paadas houses the main deity. The outer
concentric layer to Brahma Paadas is the Devika Paadas signifying facets of Devas or Gods
which is again surrounded by the next layer, the Manusha Paadas, with the ambulatory.
 The devotees circumambulate clockwise to perform Parikrama in the Manusha Paadas
with Devika Paadas in the inner side and the Paishachika Paadas, symbolising facets of
Asuras and evils, on the outer side forming the last concentric square.

 The three outer Paadas in larger temples generally adorn inspirational paintings, carvings
and images with the wall reliefs and images of different temples depicting legends from
different Hindu Epics and Vedic stories. Illustrations of artha, kama, dharma and moksha can
be found in the embellished carvings and images adorning the walls, ceiling and pillars of
the temples.
 Pillared outdoor halls or pavilions called Mandapa meant for public rituals with the ones
in the east serving as waiting room for devotees adorns the large temples. The Mandir’s
spire, usually a tapering conical or pyramidal superstructure with a dome designed adhering
principles of concentric squares and circles and referred in North India as Shikha and Vimana
in South India is symmetrically aligned exactly above the Brahma Paada or the central core
of the Mandir. It represents the higher diety, Shankar in a seated posture connected to
Durga via the Brahma-randhra shila.
 Each plan of different Paadas has individual significance, for instance in one paada plan,
the paada is regarded as the seat for a devotee or hermit to perform yoga, meditation or
offer Vedic fire; a four Paadas plan, also a meditative design represents a core at the centre;
and a nine Paadas layout that generally forms model of smallest temples has a divine
surrounded centre.
 Compounds of many larger temples house smaller temples and shrines also follow
fundamental aspects of grids, symmetry and mathematical perfection. Repetition and
mirroring of fractal-like design structure forms a significant principle of Hindu temple
designs. The manuals comprising of Hindu temple layouts elucidates plans with squares in
the count of 1, 4, 9, 16, 25 and thus, reaching up to 1024.

 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. The Temple employs the imagery of
an all–enveloping space and time continuum issuing out of the womb.
 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
Garbha-griha represents the manifestation of that imperceptible energy or principle; and it
radiates that energy.
 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 Chakra, 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 Garbha-griha, the very hearts of the temple,
the very representation of One cosmic Principle.
The Sri Chakra Symbolism
The ‘Sri Chakra Yantra’ (of the Shaktas) too represents the Physical
world likewise. Bhupura- Earth city is guarded by the 8 Dikpalas-
Lords of the Directions, and comprises 9 Khands (as its 9 triangles,
also representing the 9 ‘doors’ of the body), with the deity, Maya or
Lalita Tripura Sundari at its centre (as Bindu- dot at the 3rd Eye,
signifying cosmic union of Shakti-Shiva as Kameshwari-Kameshwara).

SOUTH EAST
ASIAN
HINDU &
BUDDHIST
TEMPLES

 The Kalachakra tantra is the most advanced practice of Buddhist Vajrayana tradition- a
complex system of teachings originating in India and incorporated into Tibetan Buddhist
tradition. Kalachakra mandala is an eye-catching thangka painting, appreciated for the
symbolic elements that compose it and the visual representation of important teachings of
traditional Tibetan Buddhism. The creation of the Kalachakra mandala is used as a visual
textbook for Buddhist practitioners.
 A series of rituals called “Kalachakra empowerment initiation” is based on the concepts
of time (kala) and cycles (chakra) and, before approaching these rituals, the disciple should
have acquired knowledge of the 3 principal aspects of the Mahayana doctrine: Samsara,
Bodhichitta and emptiness.
 The 6 central deities of Great Bliss: Kala-chakra—Vishva-mata, Askshobhya—Prajna-
paramita, Vajra-sattva—Vajra-dhatvishvari are located in black ‘Kalagni’ disc, surrounded by
the 8 Shaktis of {8} petalled lotus. These important deities are depicted in Yab-Yum: the
divine Tantric union that symbolize the cyclic nature of time. This is why the Kalachakra
Mandala is also called the “time wheel”.
 Kalachakra Mandala is also represented the Sanskrit seed syllables of the Kalachakra
system known as “the mighty ten stacked syllables”. Each syllable that composes the mantra
has a different colour and they are represented all interconnected on top of a lotus flower
and surrounded by a ring of fire. Meditation on the mandala and recitation of the
Kalachakra mantra brings peace of mind and benefits for all sentient beings. The powerful
mantra is spelled: Om Ham Ksha Ma La Va Ra Ya Sva Ha.
The Kalachakra Mandala

 The Kaal-chakra- ‘Wheel of Time’ mandala or Temple represents , in a 5-floored 3-D form,
the human body-temple comprising the Trikayas- triple bodies: Rupa-kaya- body, Nirmana-
kaya- speech & Sambhoga- or Vajra-kaya- mind. Beyond it, is the formless Dharma-kaya.
 There are 4 different colours of the main inner elements (red, yellow/orange, white and
black) in the Kalachakra mandala. The mandala must be oriented with the black side facing
down. The outer ring is called wisdom circle or protective ring. It is decorated with golden
flames and the combination of these colours create a rainbow that symbolize the 5 aspects
of the primordial wisdom and the 5 Dhyani Buddhas. After the space ring there are 4 inner
rings representing the four main elements: air, fire, water, and earth.
 The Kalachakra mandala is like a huge palace, with 5 distinct floor levels:
1. At the ground level is the Body mandala and it has 4 huge entrance ways in the main
directions.
2. Within the Body mandala, on a platform, comes the Speech Mandala, which looks very
similar to the Body Mandala.
3. At the centre of the Speech mandala, on a platform comes the Mind mandala, which
looks again very similar to the Body mandala. The Mind mandala has two more floor levels,
the Exalted Wisdom mandala and the Great Bliss mandala.
4. The Exalted Wisdom mandala is raised above the floor of the Mind mandalas.
5. On a slightly raised platform is the central Great Bliss mandala, with a large green lotus on
which the main Deity Kalachakra with his consort Vishva-mata resides, surrounded by the 8
Shaktis. The top of the roof of the Great Bliss mandala is at a height of 200 armspans.
The Symbolism of Kalachakra Mandala

Kālachakra Deity with
consort Visva-mata
The Kālachakra tradition revolves
around the concept of time (kāla)
and cycles (chakra): from the
cycles of the planets, to the cycles
of human breathing, it teaches the
practice of working with the most
subtle energies within one's body
on the path to enlightenment.

THE TEMPLE-
RELIGIOUS
SYMBOLISM

Mt. Meru
Pyramid
symbolizes
the Brain
Diagramof "Plan of Assembly"
(Ard al-Hashr)on the Day of
Judgment, from manuscript of
Futuhat al-Makkiyyaby Sufi
mystic and philosopher Ibn
Arabi, ca. 1238.
Triple Worlded Taj Mahal

THE CORRESPONDENCE BETWEEN HINDU & JUDAIC TEMPLES

WASHINGTON D.C.-
ITS MASONIC
SYMBOLISM

 The church as a building speaks to the devout of Christ's "mystical body," with its
fellowship and cross-bearing on earth, its passage through death to the joy of Paradise, and
heaven, waiting beyond, with its communion and peace through the Cross. The church is
made up of several parts, divided, in many churches, by pillars and arches. Christian
churches at an early day came to be built in the form of a cross. This was not only the most
ornamental form of structure; it was much more: it made the very fabric of the church the
symbol of our faith in Christ crucified.
 The church is divided into two main portions -- the body of the church and the chancel.
The body, representing those on Earth, is divided again into two parts -- the nave and
transepts. The chancel represents those who have passed into Paradise.
 Bells: In the tower are the bells, and what the spire with its uplifted Cross says to us in
silent eloquence these say in sound and music. In the middle ages, bells were sometimes
dedicated to saints. They were christened with all the usual ceremonies and with much
pomp; the bell was sprinkled at the font, anointed with oil, and robed in a chrisom. The bells
are to call men to prayer or to ring out the praises of God.
 Nave: This extends from the door to the choir. It is the place where the congregation is
gathered. There is the central part called the nave, and the two side parts, called the aisles.
The pictures of the saints of Old and New Testament, of the angels who worship Christ, and
of the men blessed by Him when on earth, shine in the windows. The four main walls of the
church, represent the four Evangelists, and the pillars, "which, as the chief supports of the
fabric, are said to represent the Apostles, prophets, and martyrs.”
The Symbolism of the Church

Plan of Old St Peter's Basilica, showing atrium (courtyard), narthex
(vestibule), central nave with double aisles, a bema for the clergy
extending into a transept, and an exedra or semi-circular apse.
ARCHI-
TECTURAL
PLAN
OF
THE
CHURCH

1
2
4 3
5
Crucifix-
the Symbolism
• The Cross is in fact a pre-Christian Symbol. The Latin Cross is an opened-
up cube, which is but Shiva-linga or Stone of Kaaba, while the Greek Cross
is that of the neophytes, ‘Chrest’.
• The Latin Cross is an unequal cross is cross with one arm lengthened so
that the body of the man crucified thereupon may be represented.
• Crucifix is the cross including a corpus emphasizing Christ's suffering and
sacrifice. It symbolizes God’s great sacrifice, an offer of salvation to all of
humanity and the promise of resurrection and victory over death.
• ‘Carrying the Cross to Jerusalem’ symbolizes The taking over of the
Sanchit- Storehouse karma of others by the Master and negating the same in
the Mansarovar- fountainhead of the ‘Water of Life’.
• As a representation of the Trinity, the sections 3,4 & 5 represent the ‘Three
Persons of the Trinity’; section 2 is the erstwhile ‘Eastern Star’ or Ashta-dal-
kanwal, the ‘Turiya’ (fourth) and the longer, lower section signifies the
Physical plane.
The Cross 1 2 3 4 5
Symbolism 1: Guda chakra Ajna chakra Left
arm
Right
arm
Hriday
chakra
Symbolism 2: Lower 5
chakras of
manifestation
Crown-
Sahasraar
(lower)
OVERSOUL
Left
eye
Right
eye
3rd Eye
(Bridge of
nose)
SOUL
Symbolism 3:
(Southern
Cross)
Physical
plane
Ashta-dal-
kanwal {8}
Hell
{4}
Heaven
{6}
Inter-
mediate
(7th chakra)
Symbolism 4:
(True, Northern
Cross)
Ashta-dal-
kanwal {8}
Shakti {12} Shankar Vishnu Brahma

 Transepts: These are the part of the church which gives to the building the cruciform
shape. Crossing the nave before the entrance to the chancel, running the one to the north,
the other to the south, they complete the outline of the cross. Upon the arms of such a cross
our Saviour hung as He died for us. The transepts bring us the thought of sacrifice. It was by
offering Himself in sacrifice that Christ redeemed us, and it is by offering ourselves to Him in
sacrifice, by self-denial for His cause, we make the response.
 Chancel: The body of the church is regarded as representing the "Church militant," that
part of the Church which is here on earth and still in conflict. The chancel represents that
part of the Church which is made up of those who have passed through death to the state
beyond. In the chancel itself we have two parts -- the choir and the sanctuary.
 Choir: It is that part appropriated to those who lead the worship. It is cut off by the
screen, or chancel arch, from the nave, and is elevated above it by several steps. It
represents that part of the holy Catholic Church which is known as the "Church expectant" --
those who have passed through death into the rest and waiting of Paradise.
 Sanctuary: The part which is the centre of attention is always the sanctuary -- the place
of the Altar. It is the most elevated part, and here the dignity and beauty of the decorations
centre. It represents heaven, into whose blessedness the Church shall enter as the "Church
triumphant" at the second coming of our Lord. The solemn service of the Holy Eucharist, is
celebrated at the Altar, and this part of the chancel is the symbol of heaven. The Altar in the
sanctuary of the church, with its "perpetual memory" of Christ's "precious death and
sacrifice," stands for peace between God and us.
The Symbolism of the Church

 The mosque, or as it is known in Arabic, masjid, meaning “place of prostration,” is the
centre of worship for people of the Islamic faith. While every mosque has its distinctive
features depending on geographical location or the time period in which it was constructed,
the few universal characteristics of mosques provide an informative perspective to some key
Islamic values.
 Mihrab is a small niche that indicates the direction of Mecca, to which all Muslim prayer
is directed. Minaret is the tower from which the call to prayer is made. Qubba is the dome,
or domes, which are often present in Mosques. The dome is thought to represent heaven,
and assists in circulation of air as well as amplification. Sahn is the courtyard that attaches
to the main prayer hall in many mosques. The prayer hall itself has little furniture, in order
to fit more people, and is sparsely decorated, as to not offend Allah. Mosques also contain
washing stations, so that visitors may cleanse themselves before prayer.
 While every mosque is designed in a distinct way with different presentations of these
features, most mosques adhere to three main models: the hypostyle mosque, the four-iwan
mosque, and the centrally planned mosque. The hypostyle mosque is the oldest mosque
style, inspired by the Prophet Muhammad’s own house in Medina. This style of mosque
consists of a large interior courtyard surrounded by a column-supported rectangular hall.
The four-iwan mosque developed later than the hypostyle mosque, in the early 11th
century. This style also features a central courtyard, yet its four walls are iwans, or open
vaulted porches. The third style, the centrally planned mosque has a large central dome,
with thin minarets on the building’s corners.
The Symbolism of the Mosque

ARCHITECTURAL
ELEMENTS OF THE
MOSQUE

 The stupa is derived from a pre-Buddhist burial mounds, which were the burial places
of royalty. These are hemispherical masses of earth raised on a base and faced with brick
or stone. The structure is surrounded by a processional path, the whole being enclosed by a
stone railing and topped by a balcony. Though in its development the stupa often
became elaborate and complex, in its purest form the plan consisted of a circle within a
square. As Gautama Buddha approached the end of his earthly life, he requested that his
remains be placed in a stupa. The earliest Buddhist stupas were built to house relics of
Gautama Buddha. Rather than being merely a place to remember the dead, a stupa should
be seen as a symbol of the enlightened mind.
 Within it, every stupa contains a life tree and holy relics. The mummified remains of the
Dalai Lamas were placed within stupas that rest inside the Potala, in Lhasa, Tibet. Also,
inside the stupa copies of Buddhist scriptures, prayers or mantras, statues of Buddha, or
clay tablets (tsha-tsha), with various symbols on them can be found. Early Buddhists
appropriated the royal symbol of stupa and also used the umbrella as a symbol for Buddha.
 The Jain stupa was a type of stupa erected by the Jains for devotional purposes. A Jain
stupa dated to the 1st cent. BCE--1st cent. CE was excavated at Mathura in the 19th cent., in
the Kankali Tila mound. Jain legends state that the earliest Jain stupa was built in the 8th
cent. BCE, before the time of the Jina Parshvanatha. It is a possible that the Jains adopted
stupa worships from the Buddhists. However the Jain stupa has a peculiar cylindrical three-
tier structure, which is quite reminiscent of the Samavasarana, by which it was apparently
ultimately replaced as an object of worship. The name for stupa as used in Jain inscriptions
is the standard word "thupe".
The Symbolism of the Buddhist/Jain Stupa

The stupa represents the body
of a Buddha (an enlightened
individual, not necessarily
Gautama Buddha) and should
call to mind the Buddha’s
presence in physical form.
The monument became a
pivotal place, an axis around
which believers moved like the
planets travelling through
the universe. It is also likened
to human spinal cord.
The base represents his throne,
the four steps symbolize his legs
crossed in the lotus position;
the dome signifies his torso;
the square stands for his eyes
and the spire is his crown.
The central pillar in the midst
of the stupa corresponds with
the world tree, which in
Indian mythology united
heaven and earth.
THE STUPA

 The stupa consists of a focal earthen mound, bearing relics and an axial pillar in its recess.
The enclosed upper extremity of this central shaft ends in capping finials which extend
upwards and outwards beyond the confines of the dome. The horizontal boundary of the
structure is marked by a railing (Vedika) constructed such that it creates a circumabulatory
path (pradakshina path) around the dome.
 Fundamentally, the stupa is a funerary mound erected over the remains of the Buddha.
Its antecedents can be traced to primitive burial cists, which evolved in the Buddhist and
Jain traditions into places of veneration. In its earliest meanings, the Stupa represented the
Buddha and his Parinirvana (“complete extinction”) and deeper symbolism synonymous
with concurrent traditions.
 The Vedika- railing, the threshold of the stupa encloses the precincts. In its construction,
it is based on a net of pillars and beams. It opens out in 4 diametrically placed gateways
(Toranas), positioned in relation to the four quarters of the universe, which, in some
instances, are monumental and elaborately ornate. Symbolically, the Vedika executes a
delineation of sacred space; it is the frontier that distinguishes and opposes the two worlds-
the sacred and the profane, and at the same time the place where those worlds communi-
cate, where passage from the profane to the sacred world becomes possible. In this
consecration of sacred, ordered space, there is an emulation of primal creation.
 The Vedika enclosure marks off a path (Pradakshina Path) for the ritual of circumambu-
lation. It and was performed by entering the precinct through the east gate and walking
clockwise. The directional emphasis related the devotee to the passage of the sun, the
transcendent centre of the universe, cosmic intelligence whose light is intellectual wisdom.

 At the centre of the stupa complex is the solid hemispherical dome described as garbha,
container or alternatively as anda. It bears within itself the seed (bija)-relic. Symbolically,
this links the dome to the cosmic womb i.e. the Vedic hiranyagarbha (golden womb) which
emerges from the primordial waters of chaos.
 The axial pillar represents the world axis. This pole is symbolic of the link between the
human and the divine worlds. It indicates a pathway of spiritual ascent, an upward move-
ment away from the confines of the physical world, to the limitless realm.
 The summit of the dome is capped by harmika- a smaller railing which encloses the
projecting end of central axis. The theme of containment is replicated, creating a second
sacred precinct. The harmika also evokes solar resonances, the unmoving sun atop the
world axis, evoking the Buddha and his enlightenment. The axis is capped by a series of
chattras- parasols honourific elements that protect relics below in the heart of the mound.
 The chattra is a link to another theme closely linked to the Buddha – that of kingship.
The imperial parasol indicates the rank and status accorded to a monarch. The temporal
charkravartin who through the turning of the wheel, subjugates the four quarters and
maintains a paradisical state through the rule of dharma or righteousness. His capital is the
centre of the world, and his grave dome the hub of the earth.
 Along with the gateways the sculptures symbolize a transformative potency- an entry
into an ordered realm, in the presence of the Buddha’s relics, into the complex that is the
essence of transcendental reality, nirvana.

ud+yh eafnj&efLtnksa esa tk;] ln vQ++lksl gS]
d+qnjrh efLtn dk lkfd+u] nq[k mBkus ds fy;sA
& lar rqylh lkfgc
sB ikCu Gr mih bwhir nwhI ] bwhir tolY so Brim BulwhI ]
gur prswdI ijnI AMqir pwieAw so AMqir bwhir suhylw jIa ]
& xq# vtZu nso th] vkfn xzaFk] i`å 102
God that made the world and all things therein, seeing that he is
Lord of heaven and earth, dwelleth not in temples made with hands.
- The Holy Bible, Acts 17:24

 The present human body models the Kali-yuga Sutratma- soul-string. It comprises 6
chakras in the Physical plane- from Guda- excretory upto Ajna- eyes. It has 9 apertures, the
secret 10th (3rd Eye) being locked. Above the eyes is the Brain/Forehead forming the last
quarter of the Astral plane (‘Suvah’), from where one is born/where one goes post-death-
the ‘Linga Srishti’.
 There is a Trinity here of Pitri Loka (also, false Sahasrara. Shiva-linga or so-called ‘7th
chakra of the yogis’) represented as the temple, where the maithun of Kaal-Maya takes
place, resulting in the birth of srishti- Physical creation (or ‘Earth’). It is flanked by Swarga or
hill above and Naraka or valley below (the brain, with its left & right hemispheres). The
Trinity is also represented as an eagle or bird. It is topped by the Dhruva- pole star at Ashta-
dal-kanwal, where the unmanifest deity is Durga-Kali or Mary or Isis or ‘Lord’.
 Likewise, the Universal Temple- whether that of the Hindus or others such as Christians,
Buddhists, Jains, Parsis, Muslims or others models the same basic Sutratma of the present
Human Body. This provides us with the clue that all places of worship of humankind are
constituted along the same principles, and therefore, there is little difference between the
Deities worshipped by them all. It also reveals that the temple represents the present
Region of the soul’s bondage.
 In order to achieve liberation, worship of a higher deity- that of the Macrocosm is
essential. The Sants tell us that in Sat Yuga, Viveka was the chief trait, Ashtanga yoga
belonged to Treta, while in Dwapar, Vyasa developed Temple and idol worship- as a result of
which all became Bahirmukhi- extroverted. However, in Kali-yuga, the ONLY means is-
connection with Naam, Shabda, Kalma or Holy Word- the inner divine Light & Sound of God.
Human body-Microcosm-Temple model one-another

The ‘Golden Temple’
at represents the
Divine mansion of
Paar-Brahm, with its
golden crown- the mid-
day ‘Sun of Spirituality’
at Sat Lok, arising in
the middle of Amritsar
or Maansarovar- the
Fountainhead of the
‘Water of Life’.
The architecture of the various houses of worship merely
models the Human body- Hari-mandir- the true Temple
of the Lord. The Sufis describe it as having 9 Portals with a
10th leading to Noor Mahal- Lord’s radiant Mansion, with
12 minarets (2 hands, 2 forearms, 2 upper Arms, 2 feet, 2 legs,
2 thighs), 52 turrets (32 teeth, 20 nails) & 2 windows (eyes).
THE LORD RESIDES WITHIN
THE HUMAN BODY-TEMPLE

THE TRUE DEITY IS ‘ANURAG SAGAR’ & THE TRUE MACROSCOSMIC TEMPLE CONTAINS 7 PRAKARAS OR KOSHAS

Sach-Khand Kosha
Annamayi Kosha
Pranamayi Kosha
Manomayi Kosha
Vigyanamayi Kosha
Paar -Brahm Kosha
Anandamayi Kosha

1
0 6 7
5
4
3
2
0. Unmanifest Supreme deity: Hari-Rai, the Ocean of Love
1. Sach-Khand kosha: Anami to Satnaam
2. Paar-Brahm kosha: Sohang to Mansarovar
3. Brahmand (Anandamayi) kosha: AUM to Oankaar
4. And (Vigyanamayi kosha): Nabh to Shakti
5. And (Manomayi) kosha: Vaikunth to Antah-karan
6. Pind (Pranamayi) kosha: Ajna to Hridaya
7. Pind (Annamayi) kosha: Nabhi to Guda
Alternatively, the design can be based on the 5+3=8 planes.
Garbha
Griha
We
Are
here
CONCEPTUAL DESIGN OF
‘HARI-MANDIR’,
THE SANT-MAT TEMPLE
OF THE HUMAN BODY
CONTAINING 7 PRAKARAS
Destination

 At the end of the journey to the Black inner temple, one can hope to acquire a
Moksha- spiritual liberation, which is at best, a temporary respite from birth-rebirth cycle
and acquire the associated Riddhi-Siddhis- worldly and supernatural Shaktis- powers that
the deity dispenses (ironically, considered an obstacle to higher spirituality itself!). The
very recursive nature of the architecture of the temple reminds one of the holographic
nature of the Cosmos, where everything is but an illusory ‘copy of copies’—or Maya!
 Ironically, the human-being, after the ‘fall from Eden, due to evil’, specifically after
becoming ‘5-elemented’, is said to have been perfected in ‘God’s image’, i.e. now capable
of contacting and reuniting with God and is worshipped even by the gods, its own
creators (as the Qur’an relates). The ‘fall’ is triggered as an aftermath of a cataclysmic
‘flood’. Earth is now created as a lesser, but ‘new Paradise’—the very reflection of the old
one, a Temple modeled after the ‘Garden of Eden’ itself.
 But presently, the human-kind only knows the ‘Lord/Lady of Eden’, its own jail-
warden, and mistakenly takes her/him to be ‘God’, and hence only longs for her/him,
and for his Paradise—now the ‘Abode of the Dead’—wherein lies the phony Pranic ‘Tree
of Life’ (watered by ‘Water of Life’ and producing ‘Fruit of Life’), from which it was
deprived due to the ‘fall’. This was once his home—which it realizes anyway, if not while
living, then surely in death—but only to be deprived of it once again (due to rebirth)!
 Our temples generally pertain to the Microcosm, which is but the present-day prison
of the soul. In order to be liberated, one needs to worship in the true temple of the
human-body, and connect with the entire Macrocosm with the grace of a perfect Master.
Spiritual Liberation- the Goal

Symbolism of the temple ppt

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Symbolism of the temple ppt