The document explores the influence of the Ying Yang pattern in Asian architecture, particularly focusing on Hindu temple designs, while comparing Indian and Western architectural principles. It emphasizes the hidden proportions and fractal geometries within the designs of iconic structures, such as the Nataraja icon and temple gopurams, illustrating a cyclical understanding of the universe through art and architecture. The text highlights the significance of traditional measurement systems like Talamana in creating temple iconography and the visual complexity embedded in these structures.

1. By Jaikumar Ranganathan,Designer,India

2. Kohei Sugiura
Kohe Sugiura –japanese
Graphic designer studied
the Ying Yang pattern
and its derivatives
His major focus is to
revitalise the Asian
Knowledge and spread
it across the world

3. To my Surprise, I could discover the Ying Yang Pattern and
different derivatives in the pillars of ThiruvanaiKovil.
First it starts with a bindi ( Dot) and it transforms into two,
Three, four , five , six and Seven etc
Ying Yang Symbolises the male and female energy which runs
this Universe.

7. Comparison between Indian and western Knowledge Base

8. Architects across the world patronise the Proportion
system of Leonardo's Vitruvian Man, but the world
patronised Natraj Icon is popular mainly because of
the hidden Proportion system.
Lord Natraj is inscribed with in the circle of flame
and within two triangles. The hidden Proportion
System is ‘Tala Mana’ system which is studied by
many Scholars in India and abroad from the sthapati’s
of Swami Malai

10. Fractal Theory which exist in nature can also be seen in
Temple gopurams and vimanas

11. Temple Vimanam designed based on the principles of fractal
Theory

16. The Hindus believe that the universe features a
cyclic nature of creations and destructions and
since the Hindu temple represents the universe,
it had to embody the cyclical notion. For that
reason a pattern of growth is added. This pattern
grows from unity to multiplicity, simultaneously
tending back to unity through a process of
dissolution and fusion

23. Vasthu Purushamandala

24. Indian Temple Architecture in terms of space
Planning and structure are designed based on
Human form.
This basic formula is rediscovered by Scholars
and researchers of Indian temple Architecture.

25. Talamana (Sanskrit: tāla māna) is a traditional
system of Indian iconometry based on the
Shilpa Shastras, which uses certain
measurements and proportions in creating
temple icons and images.
Talamana

27. Vertical Proportions of 4 main types of Indian Images
Type of Image 7 Tala 8 Tala 9 Tala 10 Tala
Face 12 12 12 13
Neck 3 4 4 5
Neck to the Horizontal Line
Connecting the nipples
9 10 12 13
From these to navel ( belly;
Udara)
9 10 12 13
Navel to Genitals ( Lower belly;
Vasti)
9 10 12 13
Thigh 18 21 24 26
Knee 3 4 4 5
leg 18 21 24 26
foot 3 4 4 5
Total Height 84 96 108 120

29. The iconography of
Hindu god and goddess
Have hidden meaning
Example: Eka dantha for
Lord Ganapati which means
Powerful supreme being
Ears of Gajanana-To and fro
Movement of ears, signifies
the winnowing the obstacles
of devotees and indicates
Of wisdom

30. “Whether it is temple Architecture, or sculpture
or bas relief or Iconography of Hindu God
and Goddess there is a hidden Knowledge or
Wisdom.”

33. The Lingam drawn on the soffit of the ceiling creates
Illusion to the observer. If the observer movers in any
Direction , it seems the Lingam is facing the observer.
Like how we patronise M.C.Esher’s illusion, similarly
We should patronise our tradition paintings with
Illusion.

37. Visual Complexity in Gopuram:
demonstrates fractal geometry where
Whole to part and part to whole have self similarity.
Eastern gopuram Of Thiruvanaikovil
Miniature Gopuram
Repetition of Elements creates
Self similarity

38. The Vimana of Kailashanadhar temple at
Kanchipuram demonstrates fractal geometry
by repetition of sala and Kuta architectural
Elements of Pallava Architecture in each storey
The vimana is in pyramidal form with
diminishing four storey

39. Application of Mandala Layout over the plan of Kailashanadhar temple at Kanchi

40. Ref: South Asian Geometry and the Durga Temple, Aihole
PHILIP E. HARDING

41. ‘Repetition of
Miniature shrine
Creates visual
Complexity’
‘The miniature shrines
depict scenes from
Shiva Puranam’
‘ Visual Complexity through Visual Narrative’

43. Visual Complexity through Visual Narrative
Pillars of Self –Similarity but
Different in Details/ embellishment
Horse Pillar Hall - SriRangam

46. We appreciate the Greek and Roman order but at the same time we need to
Appreciate our Dravidian Orders

47. Identifying the Main subjects of the panel
with Umbrella – emphasis `( Panel at Mahabalipuram )

48. The Diagonal lines convey the dynamism in the Bas relief
For every action there is a opposite reaction
`( Panel at Mahabalipuram )

49. `( Panel at Kailasanadhar temple at Kachipuram)
Vertical lines conveys Power and Horizontal lines convey calmness

50. Bibliography:
a) The Hindu temple II by Stella Kramrisch
b) Elements of Hindu Iconography
c) ALAYAM-The Hindu Temple
An Epitome of Hindu culture
a) The Hindu & Buddhist Architecture by Percy Brown

51. Thank you
by
Jaikumar Ranganathan
Designer, India