GEOMETRICAL DESIGN PHILOSOPHY OF ANCIENT INDIAN TEMPLE AND ITS CONSTRUCTION METHOD

National Conference on Ancient Indian Science, Technology, Engineering and Mathematics (AISTEM-2021)
March – 19-20, 2021
Presented by:
Prof. Samirsinh P Parmar
Asst. Prof. Dept. of Civil Engg.
Dharmasinh Desai University, Nadiad, Gujarat
Guided by:
Prof. Debi Prasad Mishra
Director, NITTTR, Kolkata, West Bengal

Content of the presentation:
 Hindu temples
 Steps of construction
 Elements, components, design
 Architectural style
 Design Philosophy
 Fractal architecture
 Human body representation
 Art and culture
 Concluding remarks
 References
AISTEM-2021, SPP - Ancient Indian Temples Geometry 2

1. Hindu temples:
 Hindu temples are known by many different names, varying on region and
language, including Alayam,Mandir, Mandira, Ambalam, Gudi, Kavu, Koil,
Kovil, Déul, Raul, Devasthana, Degul, Deva Mandiraya, and Devalaya.
 A Hindu temple is a symbolic house, the seat and dwelling of Hindu gods.

2. STEPS IN TEMPLE CONSTRUCTION
1. Bhu pariksha: Examining and choosing location and soil for temple and town. The land should
be fertile and soil suitable.
2. Sila pariksha: Examining and choosing material for image
3. Karshana: Corn or some other crop is grown in the place first and is fed to cows. Then the
location is fit for town/temple construction.
4. Vastu puja: Ritual to propitiate Vaastu devata.
5. Salyodhara: Undesired things like bones are dug out.
6. Adyestaka: Laying down the first stone
7. Nirmana: Then foundation is laid and land is purified by sprinkling water. A pit is dug, water mixed
with navaratnas, navadhanyas, navakhanijas is then put in and pit is filled. Then the temple is
constructed.
8. Murdhestaka sthapana: Placing the top stone over the prakara, gopura etc. This again involves
creating cavities filled with gems minerals seeds etc. and then the pinnacles are placed.
9. Garbhanyasa: A pot made of five metals (pancaloha kalasa sthapana) is installed at the place of
main deity.
10.Sthapana: Then the main deity is installed.
11.Pratistha: The main deity is then charged with life/god-ness.

3. ELEMENTS OF HINDU TEMPLE
1. “Sikhara” refers to the spire or the tower. It is shaped as pyramidical and tapering
representing the mythological
2. “Meru” or the highest mountain peak.
3. “Garbhagriha” refers to the womb chamber which is the innermost chamber of any
temple where the deity resides. It is mainly square in layout and is entered
through eastern side.
4. “Pradakshina Patha” refers to the ambulatory passageway for circumambulation
and comprises of enclosed corridor outside the garbhagriha. The devotees walk
around the deity in clockwise direction, paying their respect to the deity.
5. “Mandapa”, is the pillared hall in front of the garbhagriha, used as assembling point
by devotees for chant; rituals meditate or observe the priests perform the rituals.

6. Sometimes, “Natamandira” is also provided in some temples which mean the hall for
dancing. In some early temple structures, the mandapa was isolated and separate
structure from the sanctuary.
7. “Antarala”, refers to the intermediate chamber which joins the main sanctuary and the
pillared hall of the temple premises.
8. “Ardhamandapa” refers to the front porch in the main entrance of the temple which
leads to the main temple Some other essential structural elements found in the Hindu
temples are Mainly found in the south Indian temples.
9. “ Gopurams” are the monumental and ornate entrance to the temple premises.
10. “ Pitha” or the plinths of the main temple.
11. The gateways typical to north Indian temples are,”Toranas”.
3. ELEMENTS OF HINDU TEMPLE

Temple Component Parts:
In Cross Section x-y In Plan

Design of temple:
A Hindu temple is a symmetry-driven structure, with
many variations, on a square grid of padas,
depicting perfect geometric shapes such as circles
and squares.
A temple, "replicates again and again the Hindu beliefs in the parts
mirroring, and at the same time being, the universal whole" like an
"organism of repeating cells".
The pilgrim is welcomed through mathematically structured spaces, a
network of art, pillars with 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 (desire), the
pursuit of dharma (virtues, ethical life) and the pursuit of moksha
(release, self-knowledge).

Design of temples:
At the center of the temple, typically below and
sometimes above or next to the deity, is mere hollow
space with no decoration, symbolically representing
Purusa, the Supreme Principle, the sacred
Universal, one without form, which is present
everywhere, connects everything, and is the
essence of everyone.
A Hindu temple is meant to encourage reflection,
facilitate purification of one's mind, and trigger the
process of inner realization within the devotee.

The site
The appropriate site for a Mandir, suggest ancient Sanskrit texts, is near water and gardens,
where lotus and flowers bloom, where swans, ducks and other birds are heard, where animals
rest without fear of injury or harm.
These harmonious places were recommended in these texts with the explanation that such are
the places where gods play, and thus the best site for Hindu temples.

The site
While major Hindu mandirs are recommended at Sangam's (confluence of rivers), river
banks, lakes and seashore, the Brhat Samhita and Puranas suggest temples may also be
built where a natural source of water is not present.
Here too, they recommend that a pond be built preferably in front or to the left of the temple
with water gardens. If water is neither present naturally nor by design, water is symbolically
present at the consecration of temple or the deity.
Temples may also be built, suggests Visnudharmottara in Part III of Chapter 93,inside
caves and 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.
In practice most temples are built as part of a village or town.

The plan
 The design, especially the floor plan, of a Hindu temple follows a
geometrical design called Vaastu-purusha-mandala.
 Vaastu means the dwelling structure
 Purusha is universal essence at the core of Hindu tradition, while
 Mandala means circle,
Vastupurushamandala is a yantra.

4. TEMPLE COMPLEX:
Srirangam temple city

5. ARCHITECTURAL STYLE:
Feature Nagara architecture Dravidian architecture
Main temple spire (tower) Sikhara above sanctum
Vimana that may be multistorey (talas), the top
of which is called the sikhara
Mandapa spire (tower) Yes No
Curvature of the spire
Curvilinear centred over the sanctum, also straight-edged
pyramidal
Straight-edged pyramidal, sometimes curvilinear
centred over the sanctum[note 2]
Sanctum Single or multi-storey Typically, single (Vimana may be multi-storey)
Plan
Mandapa, sanctum and tower plans are
predominantly Chaturasra (square);
uncommon: Ashtasra, Vritta, Ayatasra, Ayata Ashtasra, Ayata
Vritta, Hasti Prishta, Dwayasra Vrita
same, plus Prana Vikara
Gopuram Not a prominent feature
Characteristic, but not essential; after 10th
century often higher than the vimana. May be
several, on all sides of the compound, serving
as landmarks for pilgrims
Other features
sacred pools, fewer pillared mandapas in temple grounds
(separate dharmashala), prakara walls rare (e.g., Odisha after
14th century), single or multiple entrances into temple
sacred pools, many pillared mandapas in temple
grounds (used for rites of passage
ceremonies,temple rituals), prakara walls
became common after 14th century, single or
multiple entrances into temple
Major sub-styles Latina, Phamsana, Sekhari, Valabhi
Tamil (upper and lower Dravidadesa), Karnata,
Andhra
Geography northern, western and central of the Indian subcontinent
southern parts of the Indian subcontinent,
southeast Asia
Chronology of surviving stone-
masonry monuments
Late Kushana era, early Gupta: rudimentary archaic; 6th-10th
century: zenith
Late Gupta era: rudimentary; 6th-10th century:
zenith

6. Regional Architectural Styles:
Badami Chalukya architecture:
Gadag architecture:
Kalinga architecture:
Khmer architecture:
Māru-Gurjara architecture

7. THE GEOMETRY OF HINDU TEMPLE

8. FRACTLE GEOMETRY OF TEMPLES:
The total temple form results from a complex interweaving and combination
of these different three-dimensional shapes in an integrated whole.
Some major procedures to generate complex shapes and patterns, which
can be identified are:
1. Fractalization
2. Self-similar iteration in a decreasing scale
3. Repetition, superimposition and juxtaposition

Typical Elevation and Plan of Shikhara
Elevations and plans of:
(a) Shikhara of Adinatha temple (900 AD);
(b) Shikhara of Parsvanatha temple (950 AD); and
(c) Shikhara of Kandariya Mahadev temple (1050
AD).

Small to Large temple : Fractals
Fig. Plan of shikhara. Development of the multi-pratiti shikhara of Kandariya Mahadev temple from uni-pratiti by the
process of iteration.
Fig. Development of multi-pratiti shikhara as the multi square-prisms from a single square-prism by repeating the
smaller scaled self-similar prism outwards.

Fig. 10. Fractalization in a three-dimensional motif, achieved by splitting/breaking of the main form in all directions
Fig. 11. Plans of Garbha-grihas of various types: 1. Trianga; 2. Panchanga; 3. Saptanga; 4. Navanga,
showing the growing complexity with increase in size
Fig. 12. Growing complexity of components on both the interior and exterior wall of the various types of garbha-
grihas. On the inner wall the plans are with the components called: (1) Bhadra (2), Subhadra (3), and (
4)Pratibhadra (4), while on the exterior walls with (1)Arya, (2) Hastangula, (3) Bhagava, and (4)Samadala.

Plan of Mandapa
Fig. 13. Plans of 8 types of Mandapas
as described in Shilpa texts:
1. Vardharnan; 2. Swastika; 3. Garuda;
4. Suranandan; 5. Sarvatobhadra;
6. Kailash; 7. Indranila; 8. Ratnasambhava

Fig. Plans of Kundas (water reservoirs) of various types:
1. Bhadra; 2. Subhadra; 3. Nanda; and 4. Paridh
Plans of Hawan Kundas

Nilkanth Mahadeva, Sunak, Gujarat
Fig. Half-plan of the Samvarna of
Nilakantha Mahadeva temple in
Sunak, Gujarat (eleventh century
A.D.)

The Satrunjay Mahatirth, Palitana, Gujarat
Fig. Shikhara and Samvarna of Jain
Temple at Shatrunjaya, Palitana

9. HUMAN BODY AND TEMPLE GEOMETRY :

10. VINYASASUTRA (LAYOUT &
ORIENTATION OF TEMPLE COMPLEXES)
Typical Temple Plan (a)Shrine alone (b)Shrine with porch (c)Shrine
with Antarala and porch (d)Sarvatobhadra shrine with four entrances
(Source: Hardy, Adam. The Temple Architecture of India)
Typical Temple plan of temple : temple of Tanjavur

11. The Construction Technology of Ancient Hindu Temples
Figure : Marble piller carved by modern
tools/ machineries
Ancient tools to carve stones

The Kailasa temple in Ellora, Maharashtra
The temple was built
out of a single rock,
164 feet deep, 109
feet wide, and 98 feet
high, making it ONE
of the BIGGEST
MONOLITHIC
structures on the
planet, carved out of a
single rock.

Hoysaleswara Temple, Karnataka
Lathe turned pillars in
mantapa of Amruteshvara
Temple at Amruthapura

The Musical Pillars Of The Vijaya Vittala Temple In Hampi
The main pillars are designed in the manner of
musical instruments. Every main pillar is wrapped by
7 minor pillars and these minor pillars emit different
musical notes. Every note coming out of these pillars
vary in their sound quality and also change as per the
percussion string or wind instrument being played.

12. Art and Cultural representation in
Temples:

Ceiling of Dilwara Jain Temple, Mount Abu,
Rajasthan, India.
Fig. 26. Sculptured ceiling
panel from Jain Temple, Abu,
depicting a rnandala
symbolizing the evolving
cosmos, consisting of many
self-similar worlds expanding
outwards from the centre
32
AISTEM-2021, SPP - Ancient Indian Temples Geometry

Ceiling of Dilwara Jain Temple, Mount Abu,
Rajasthan, India

Figure 19.1 The base with mouldings in the north Indian temple (Source: Hardy, 2007)
Figure 19.2 The base with mouldings in the south Indian temple (Source: Hardy, 2007)
Brahadeeshwar temple Vimanah base
corner detail Tanjore india
34

Temple base : Expanding downwards
Expanding base increases stability
of the structure
35
http://www.voyage361.com/2013/01/Chennakeshava-temple-Belur.html
Chennakeshava Temple

Concluding Remarks:
• The temple architecture portrays the advancement of ancient Indian building sciences.
• This paper discussed the styles, design and geometry, philosophies, construction
technology, self-similarity of human body with temple elements geometry of the Indian
temples.
• The volume of work and area covered by temples were dependent on various factors
like location, budget and type of building stones available for temple construction.
• Depending on the time scale and geographical locations the temple geometry changes
in terms of materials and design over a period of time.
• The use of fractal architecture is dominant for almost all styles of architecture for all
parts of temples and even today it is in practice.

• It seems that, the art work in stone on every part of temples was intended to maintain and
transfer the information purpose.
• The fractal geometry of shikhara provides it an ambient look in complete balance of mass and
symmetry.
• The zigzag vertical offsets in increasing number with each side recess, creates vertical
rhythm.
• The horizontal abutments spreading towards ground and its horizontal carvings increases
stability of temple structure.
• The geometry of temple architecture was prepared in such a manner that they can sustain
moderate earthquakes.
• The temples are not only just structures, but it simulates the human body symbolically and the
seven chakras of kundalini shakti to be awakened step by step from feet to head respectively.
Concluding Remarks:

References:
[1] Acharya V.A, “Indian Temple Architecture: Form and Spaces” Research Paper, Department of Architectural and Planning,
I.I.T. Roorkee, Roorkee, India, 1991. Paper no 2819
[2] Arnold Christopher, “Building Configuration Pelham Books Ltd. F154. and Seismic Design” Mac Graw Hill Inc. 1981.
[3] Acharya P.K., “An Encyclopedia of Hindu Architecture” London. Q.U.P., 1946
[4] Barker L M. 1969. Pears Cyclopedia. London.
[5] Dagens, B., Mayamata: An Indian treatise on Housing architecture and iconography, New Delhi, Sitaram Bhartia
Institute of Scientific Research, 1986.
[6] Fletcher, Sir. Banister. 1992. The History of Architecture. New Delhi: CBS Publishers and distributors.
[7] Grover S., The Architecture of India: Buddhist and Hindu. Ghaziabad: Vikas Publishing House Pvt. Ltd., 1988.
[8] Iasef Md Rian et al., (2007) Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev temple,
Khajuraho, pp. 1-15.
[9] Kak S. “Space and cosmology in Hindu temples”. Vaastu Kaushal: International Symposium on Science and Technology in
Ancient Indian Monuments. New Delhi. November 16-17.
[10] Kumar N. The Hindu temple—where man becomes God. The cultured traveler, 2005; vol. 7; December.
[11] Madhusudan A. Dhaky (1977). The Indian Temple Forms in Karṇāṭa Inscriptions and Architecture. Abhinav
Publications. pp. 7–13. ISBN 978-81-7017-065-5.
[12] Meister, Michael W.” Geometry and measure in Indian Temple plans: Rectangular Plans.” Artibus Asiae, Vol. 44, No.
4(1983), pp.266-296

References:
[13] Prabhakar Shankar, “The Vastu Vidya of Vishvakarma”, Studies in Indian architecture, Asia Publishing House, Mumbai, 1979.
[14] Michell, G. 1988. The Hindu temple: An Introduction to its Meaning and Forms. Chicago and London: The University of Chicago
Press.
[15] Rinku Parashar et al. (2014), Fractal, architecture and sustainability, Recent Research in Science and Technology 2014, 6(1):
93-96, ISSN: 2076-5061
[16] Shweta Vardia & Paulo B Lourenco (2013)” Building science of Indian temple architecture”. In the proceedings: The
International conference on Rehabilitation and Restoration of Structures (ICI), IIT Madras, Chennai India. 12-16 February
2013. Pp.167-178.
[17] S.P Gupta and S. Vijayakumar. 2010. Temples in India: Origin and Developmental Stages. D.K. Print wood(P) Ltd., New Delhi.
[18] Samirsinh. P. Parmar & Debi Prasad Mishra/ D.P.Mishra, (2020), Fractal Geometry in water conservation structures:
Stepwells and Tanks in India, IJHS, Vol.55.2. June, 2020. DOI: 10.16943/ijhs/2020/v55i2/154675
[19] Srishti Dokras (2009), Hindu temple architecture of Bharat- Some Musings, pp.1-30.
[20] Tanisha Dutta & V.S. Adane, (2018), Shapes, patterns and Meanings in Indian temple architecture, AJCEA, Vol.6., No.5. pp. 206-
215.
[21] Trivedi, K. (1989). Hindu temples: models of a fractal universe. The Visual Computer, 5(4), 243-258.
[22] Vasudha A Gokhale. Architectural Heritage and Seismic design with reference to Indian Temple Arc hitecture. In Proceedings:
13th World conference on Earthquake Engineering, Vancouver, B.C., Canada August 1-6, 2004.
[23] Nicoletta Sala (2003) Fractal Geometry and Self-Similarity in Architecture: An Overview Across The Centuries, ISAMA, pp.
235-244.
[24] Dhrubajyoti Sarkar & S.Kulkarni (2015). Role of fractal geometry in Indian Hindu temple architecture, IJERT, ISSN: 2278-
0181, Vol.4. Issue 05, pp.532-537.

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GEOMETRICAL DESIGN PHILOSOPHY OF ANCIENT INDIAN TEMPLE AND ITS CONSTRUCTION METHOD

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