All About Hindu Temples

By Swami Harshananda

Ever since I saw an illustrated book about how Norte Dame cathedral was built, i realized I didn't know enough about what different parts of a Hindu temple are called. This short book fits the bill.

The book starts with an interesting observation that in spite of the vastness of the country, it is remarkable how building temples has progressed more or less on a set pattern. The reason the author thinks is because of the philosophy behind a temple, it's meaning and significance.

Although they look more or less the same, they do have variations. They can be broadly categorized into two big groups - a) nāgara style, in the north, with their tall curvilinear towers b) drāvida style, with it's stepped pyramids, tier upon tier. There is a third style called vesara, a hybrid between these two, found occasionally in Karnataka.

Nāgara style have a square base, and drāvida have octagonal bases. Vesara has an apse base like a byzantine church.

At its peak, Buddhism encouraged chaitya halls where there was no explicit physical separation between the devotee and the god. They also used rock carving style where chaitya halls were carved out of mountain sides.

Mahabalipuram, Ajanta and Ellora are first part deviations and part continuations from this Buddhist style. They were entirely rock carved, but done in Hindu style.

The temple architectural science, vāstuvinyasa, calls temples by different names - vimāna (the actual pyramid/tower), or prāsāda. Temples are also sometimes referred to as tīrtha, a place that helps us as a means of crossing the ocean of samsara.

The conception of temple is as follows. On x-axis, the garbhagriha represents the head, and the gopuram the feet of the deity. Other parts of the building complex are identified with other body parts. So for instance, mukhamandapam is the nose, antarāla is the neck, various mandapas the body, the prākāras/outer walls are the hands.

Similarly, on a y-axis, garbhagriha represents the neck, sikhara the head, and kalasa the tuft of hair.

The devotee has to start from the outside (deity's feet) pass through circuitous routes and successive stages to come to the center.

The book has a fascinating short chapter on what rituals are involved in the construction of a temple.

The book spends a few pages going thru different essential parts of a temple, starting with garbhagriha/sanctum sanctorum and goes outwards.

The image of the deity is stationed at the geometric center, the whole place is dark except for the light that comes through the front opening.

The book doesn't talk about this - but this is a sharp right turn from the Buddhist chaitya halls which were tall and open. The Hindu temple started separating the image of deity from the public. Churches continued to build on this large open spaces, and wanted ample light inside and so went the stained glass route and completely different engineering challenges and building materials. Hinduism became a more individual religion while Christianity became a congregational religion.

Back to the book - as the garbhagriha became a more private space, temples expanded on the mandapas. They became the big halls for congregational religious acts like singing, dancing, recitation of mythological texts, discourses etc.

The dhvajastambha or flag post in front of the mandapa is another common feature. The insignia (lānchana) is made of copper of brass. The figure on the lānchana is invariably that of the vāhana of the deity. For instance, in Siva temples, it is Nandi. In Vishnu temples, it is Garuda. In Devi temples, it is lion. Temples also have balipītha near the dhvajastambha. The author believes the yūpastambha and balipītha of the vedic age have metamorphosed into the modern dhvajastambha and balipītha.

The temple is surrounded by high walls or prākāra with a high tower gopuram adorning the gateway. Inside the prākāra, there are minor temples of parivāradevatās. So for a Siva temple, the parivāra includes Ganapathi, Pārvatī, Subrahmanya etc. For Vishnu temple, it includes Lakshmi, Hanumān, and Garuda.

Apart from this, temples can also include yāgaśālā, pākaśālā, pushkarini, dīpastambha etc.

Dravidian temple architecture reached its glory days during the Chola period, with the tallest vimānās. They reached another peak during the Madurai Nayak period with vast prākāras.

The images of the deity can be achala (immovable) or chala (movable). The former bare made of stone, and the latter of bronze or panchaloha (five metals). Sometimes, a third category - chalāchala (both movable and immovable). The same image is worshipped in garbhagriha and is also taken out on the ratha/chariot. Lord Jagannātha at Pūrī is a chalāchala.

Images can be three postures. a) sthānaka - standing b) āsana - sitting c) śayana - lying down. Only Vishnu are to be seen in śayana posture.

Images are postured in mudrās - abhayamudrā (offering protection), varadamudrā (granting boons). They also have weapons like damaru, triśūla, pāśa, ankuśa, bāna, khadga, chakra, śankha, gadā, Padma etc.

The measurements of images also have elaborate guidelines. The most common measure is a 'tāla', a measure of length from tip of middle finger to the wrist, which is also equal to the length of the face. The height of the image is nine times the length of the face.

The images are tied down to the yantra of the garbhagriha by ashtabandha. Eight different materials like conch, white-stone, lac, perfume etc are mixed with butter and put on the yantra.

When the temple is inaugurated, the image is connected by gold wire to the main homakunda in the exterior yāgaśālā at the corner of the prākāra. This opens the internal passages and the image receives life, also called prānaprathishta. The main kalasa from the yāgaśālā is then brought and the image is bathed with the water. This is called kumbhābhisekha.

The images are offered nityapuja (daily worship), naimiththika pūja (occasional special worship like vaikuntha ekādaśī, sivaratri etc), rathotsava, brahmotsava etc.

The devotees themselves are expected to observe a certain code of conduct. Taking bath, a fresh pair of clothes are a must. A bath in pushkarini is recommended. The devotee must observe silence and withdraw the mind into thoughts of God.

They should circumambulate 3,5, or 7 times around the main shrine. They bow down to the deity from a place outside the dhvajastambha, making sure the feet don't point in the direction of parivāradevatās.

The author concludes with the central place a temple has in hindu society for centuries. He implores people to continue to revitalize temples so it can play even greater roles in the future. He even deems this as a sacred duty.

While most of it is familiar to me, I have learnt quite a bit of new material about temples.