Temple Architecture Devalaya

Vastu Part Five (5 Of 7)

Sreenivasarao S / Blog / 6 yrs ago /
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Some essential aspects of Temple Structure

The structural harmony, the rhythm and a fine sense of proportion is the hall mark of Indian
temple architecture. It not merely resolves the contradictions but also expresses harmony by
encompassing all contradictions, transforming into pure and uncompromised details of
structure. The aim of a proportional system, meaning not merely symmetry, is to manifest a
sense of coherence and harmony among the elements of the temple and its whole. The
proportional harmonization of design, therefore, is of utmost importance in the construction of
a temple. It is believed that the power and purity of the structure radiates from its exact
proportions and measures as specified in the texts. It is also believed that a meticulously well
constructed temple radiates peace and joy; and ensures the welfare of the world and its
people.

Without harmony, symmetry and proportion there can be no principles in the design of any
temple. This is anologus to the precise relation between the features and organs of a well
proportioned, good-looking person.
The ancient texts, therefore, insist on a high degree of precision in their measurements.The
standard textMayamata mentionsOnly 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 Hindu temple is a feast of a variety of visual aspects, and wherever one engages one of
them, entering a doorway, circumambulating or approaching the inner sanctuary or
worshipping there-- one is accessing an aspect of the whole.
The rules of Vastushastra 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.
The lighting of spaces inside a temple is orchestrated such that the mukha mantapa (i.e.
entrance porch) is semi-open with maximum light. If the directions and measurements are
followed correctly the sun rays should fall into the mantapa for at least six hours (from 9.00am
to 3.00pm, if the sun rise is at 6.00am). The Sabha Mantapa (for worshippers) has moderate
light with few openings. Garbhagirha with a single opening in front of deity allows light only
on deity; and, is illumined by natural oil lamps, placed on either side of the deity. The net effect
of this arrangement is that it projects the images against the dark wall. Further, the
surroundings of the Garbhagriha are modest in sculptural details. These help the worshippers
to keep away the distractions and to focus their attention on the deity.
Echoes are avoided by a clever manipulation of open spaces, elevations and designs in the
structured areas. Absolute quiet is ensured in the Sanctum vicinity. The Shilpis, in some cases
(Meenkshi temple, Madurai; Sundareshwara temple Tirchendur; and the Vijaya Vittala temple of
Hampi- Vijayanagar) displayed remarkable ingenuity in sculpting musical pillars, which
when struck at precise parts, produce the seven swaras (octaves).
As regards the volumes, every part of the temple is rigorously controlled by a precise
proportional system of interrelated measurements, maintaining the fundamental unity of the
architecture and sculpture.
The ancient shilpis used a great degree of precision in their measurements. Much of this
system is followed by the present shilpis too. An interesting feature of these systems is the
standard unit of measurement; the smallest unit mentioned is the anu or the particle, which is
hardly perceptible. The anu measure was employed for extremely delicate or intricate or the
most vital aspects of a sculpture; for instance, the eyes and facial features of the image of
presiding deity; or in the amaziningly delicate and minute carvings of the Hoyasla images.

The norms and measures specified in the Southern texts, it is said, are still in use. These
measures are in two categories; one for delicate and intricate work and the other for normal
structures.
Look at the table of measurements for minute and delicate carvings.
Eight anus (particles) = one nulu (breadth of a fine cotton or silk fiber),
Eight nulu = one hair (breadth of horse hair),
Eight hairs = one grain of sand,
Eight grains of sand = one mustard seed,
Eight mustard-seeds = one bamboo seed,
Eight bamboo-seeds = one angula.
The angula (1.875 cms) and the hasta (cubit, 45 cms) are the units that are normally used for
deriving the dimensions, proportions, the height and other details of a sculpture. The Danda
(four cubits) used for measuring less-delicate or lengthier structure is equivalent to 180 cms.

One Hastha = one cubit= 45 cms;

Four Hasthas = one Danda= 96 angulas = 180 cms.
One Hastha =24 angulas = 45 cms.
Thus one angula = 1.875 cms.
The old Sanskrit texts too mention a set of measurements. According to them Anu or
paramanu, the particle, was the smallest measure.

8 anus = one ratha renu (grain of dust);

8 ratha renu = one valagrasa (hair end);
8 valagrasa =One grain of yava;
4 yavas = one angula;
12 angulas = one vitasta or Tala (span)
2 Vitasta or Tala = Hastha (cubit) = 24 angulas
26 angulas= Dhanurbhagha (handle of a bow).
4 hatas = One Danda;
8 Dandas = One Rajju (rope)
1000 Rajju = One Yojana

The proportions of the head-trunk-arms-legs of images; and also their finer specifications like
nose, nail, ears and their shapes are specified in the texts. Generally: it is dasatala (ten talas)
for the height of image of male deity, navatala (nine talas) for his consort and astatala (eight
talas) for bhakta. These are not absolute measurements; but are meant as guidelines to
maintain proper proportions.(We shall discuss more about these aspects in the part dealing
with Temple Iconography.)

Further, the Vastu believes that every unit of time vibration produces a corresponding unit of
space measure; and derives that the time is equal to space. This rhythm of time and space
vibrations is quantified in terms of eight and as multiples of eight. According to the Vastu, at
the subtle level the human form is a structure of eight spatial units apart from elements like
the hair, kneecap and toe nails, each of which measures one-quarter of the basic measure of
the body and, when added on to the body's eight units, increases the height of the total form
to nine units. Traditionally, these nine units are applied in making sculptures of gods.
Similarly, the lengths, the breadths the heights of various elements of the temple too are
related to each other by certain ratios. These lend esthetic appeal and stability to the temple
structure. For instance, it is said, by restricting the height of the tower, Shikhara, to twice its
width at the base, the weight of the tower is contained within itself. Further, as the size of
the pada (bay, distance between two pillars) increases, the cross section of pillars also
increases in size and width of beam has to be exactly same as that of the pillar.
The size of the structure will also determine the various kinds of building materials to be used
at different stages of the construction. They also help to control the proportions of the
dimensions of the temple. These norms carry shades of religious intentions too; the set of six
formulae or Ayadivarga viz., the Aaya, Vyaya, Yoni, Tithi, Vaara and Nakshatra are applied by
the Acharya to derive the proper orientation and dimensions of the structure. (More of
Ayadivarga in the final part.)

***

The Vastu Purusha Mandala of the temple projects the temple in two main sections: the
ground plan and the vertical alignment. The square, the rectangle, the octagon and the
pentagon patterns drawn in the Mandala relate to the horizontal section or the ground plan.
The subdivisions of the ground plan detail theBrahmasthana
(the main shrine and smaller
shrines) and the Mantapas (pavilions). The vertical alignment consisting the pyramid, the
circle and the curve are meant for designing the Gopura (entrance ways), the Vimana
(the
structure above the main shrine) and the prakara

(the walls).

How these designs of certain measurements and proportions are translated into three
dimensional constructions, is really interesting.

Hindu temple construction is strictly based on a complex system of measurements and

proportions. These proportions control every aspect of a temple's design, from its width and
height to the size of its doorways and moldings. There are a number of prescribed methods.
Let us look at just two of them.
A. This relates to the construction of the Garbhagriha (sanctum) and the Vimana or Prasada on
top of it.

In this method, the square of 4 (16) and the square of 8(64) are considered auspicious. All the
main horizontal as well as vertical proportions are with reference to either of these numbers
(mulasutra).The area of the Vimana (the prasada or the tower above the sanctum) is divided
into 16 squares (maha-pitha) or 64 squares (manduka), as the case may be; in which case the
width would be 4 or 8 units.
If the width of the Vimana is 4, then the width of the sanctum would be 2 units; the height of
the Vimana would also be 4; and the base of the Vimana would be a cube. The Sikhara on top
this cube would be twice its height (that is, 4x2).The cube and the Sikhara would together rise
to a height of 12 units. This proportion builds a relationship between the vertical and
horizontal extents of the other parts of the temple.
In case the width of the sanctum is 8 units, The total height of the sanctum with Sikhara would
be three times the width of the sanctum(8x3), of which the height of the Sikhara would be 2/3
the total height.
B. In this method, the size of the sanctum and the Dwajasthamba is determined by the height
of the image of main deity in the sanctum. The size of a temple is always a fixed multiple of the
height of image of main deity.
The normal height of a man is taken as six feet; and the sanctum would be in the shape of a
square of its inner length and width, of six feet. The width of the sanctum walls would be two
feet. The outer measurement of the sanctum would be 10 feet on each side.

A mantapa, in front of the sanctum, would have certain special features. The inner length and
breadth of a mantapa should be twice that of the sanctum. For instance, in this case, the outer
side of the sanctum is ten feet; and therefore the inner side of the Mantapa should be 20 feet,
in width. This is achieved by extending the face (door) side of the sanctum on either side to
form the inner dimension (20) of the Mantapa.
If the directions and measurements are correctly followed the sun rays should fall into the
mantapa for six hours (from 9.00am to 3.00pm, if the sun rise is at 6.00am).
For a sanctum of this size, the idol, in standing position, should be six feet tall. If the idol is
less than six feet tall, its pedestal should be raised to obtain the required height. The idol
should be installed exactly at the mid-point of the chosen direction (usually facing east).
The Dwaja sthamba should be perpendicular and placed directly opposite to the idol.
A line drawn at an angle of 22 degrees from the mid-point between the brows of the idol
should cut the top of the Dwajasthamba. The height of the Dwajasthamba thus is related to the
to the height of the image. Some scholars say, this perhaps is relates to the axis of the earth
which makes an angle of 22 degrees with the sun.
Sometimes, a hole is made in the roof of the mantapa, at the point where the imaginary line
drawn from the idol emerges out of the roof of the mantapa, on its way to reach the top of the
Dwajasthamba. Thus, it is ensured that the mid point between the brows of the idol, the hole in
the roof and the top of Dwaja sthamba are all aligned along one straight line.
The line when extended further from the top of the Dwaja sthamba should touch the Kalasha
on top of the Gopura.
Thus, the distance and the height of the Gopuram get related to the height of the idol and the
Dwajasthamba.

****
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The actual construction process of a temple can be divided into three steps. The first is the
planning of the temple by architect, second is the carving of different parts and the third is
assembling the parts.
In the first stage, the architect prepares a list of all the parts that go into the details of the
temple; like the figures, pillars, beams, and brackets etc. These parts are usually composed of
several elements. For example, a pillar is made of at least five parts, while the dome is made of
several units. This is one of the reasons, it is said, why the temples do not normally collapse in
case of earthquakes or cyclones; as its parts are not joined rigidly (say by materials like
cement) but can vibrate within the surrounding structured space.
In the second stage, the teams of assistants of the Shilpi carve the parts and segments
according to the temple Acharyas and Shilpis drawings, designs, specifications and
guidelines. The parts thus got ready are transported to the site. And, at times the
transportation to the site, itself, becomes a huge task. For instance, it is said that a four km
long ramp was constructed to transport and place in position the dome of the Brihadishwara
temple in Tanjore.
The stability of the temple structure is attributed to its principles of unity, harmony, balance
and distribution of weight. It is said, if one member of this family breaks, the unity, peace and
stability of the family is sure to crumble. . Hence, no member moves from its place, and holds
the structure together even in the face of destruction all around. These aspects are ensured
during the third stage.
The third stage is the assembling of the readied parts i.e. the actual construction of temple.
The various elements and parts of temples are interlocked to hold in position. All the parts

have mortise and tenon joint for ensuring strength; and a hole or slot is cut into each piece of
readied part, for a projecting part tenon of the adjacent part to be inserted into the next. These
mortise and tenons not only hold the parts their positions securely but also allow space for
the stones to expand in heat or even to vibrate modestly.
The third stage and the second stage have to be well coordinated in order to take care of
precise alignments and possible
corrections
. Though this stage, inevitably, means the slowing down of the construction pace, it is said,
the Sthaphti or Sthalapahi, the one who supervises the actual construction process on site,
takes extra care to ensure precise positioning and alignment of each part and segment; and to
meticulously follow the overall proportion, stability and visual appeal, as specified and
envisaged in the Vastu mandala and the construction plans.
The size and the nature of the structure will determine the various kinds of building materials
to be employed at different stages of its construction. Generally the use of iron, considered
the crudest of metals, is strictly avoided within the temple structure, as iron tends to get rusty
and endangers the stability and the life of the structure. The stone which has a far longer life
and is less corrosive, is the major building material employed in temple construction. (There
are elaborate methods for testing and grading the stones; and more about that in the final part)
The main structure and the dome are invariably constructed of tested stone.
The Building materials like stone, brick, mortar, wood, etc., are selected for the main body of
the temple, whereas elements like gold and silver are be used for final ornamentation. Marble
is not used in Southern structures. Materials like simulated marble, plastic and asbestos,
strictly, are not acceptable building materials. Only organic materials are used in temple
architecture. The traditional Indian temples of stone, it is said, are designed to last for 800
years unlike RCC structures which are guaranteed for 80 years. Incidentally, the Ayadi aspects
are worked out to ensure longevity of the temple.
.
Essential aspects of a Typical Temple
A typical South Indian temple has a certain fairly well defined features and a generally
accepted layout. The most important structure of a temple is the garbhagriha or sanctum
sanctorum which houses the idol of the presiding deity.
The Garbagriha is followed by four types of mantapas or pavilions. Mantapa means any
roofed, open or enclosed pavilion (hall) resting on pillars, standing independently or
connected to the sanctum of the temple.
The first of the mantapas is the antarala (sometimes called sukanas or sukanasi or
ardhamantapa), a narrow pavilion connecting the gharbhagriha and the navaranga. It usually
will have niches in the north and south walls, occupied by a deity, with attendant divinities in
secondary niches flanking the central niche. In a few temples the antarala serves as the
navaranga too.

The next mantapa is nrttamantapa or navaranga, is a big hall used for congregational services
like singing, dancing, recitation of mythological texts, religious discourses and so on. The
navaranga will usually be on a raised platform and will have nine anganas (openings) and
sixteen pillars.
This is followed by Sanapana mantapa, a hall used for ceremonial purposes. This leads to
mukha mantapa the opening pavilion.
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The Dwajasthamba (flag post) in front of either the garbhagrha or antarala or the mantapa is
another common feature. It represents the flag post of the King of kings. The
lanchana (insignia) made of copper or brass fixed like a flag to the top of the post varies
according to the deity in the temple and his/her nature.

The Balipitha (pedestal of sacrificial offerings) with a lotus or the

footprints of the deity is fixed near the Dwajasthamba, but nearer to
the deity. Red-colored offerings like rice mixed with vermillion powder,
are kept on this at appropriate stages of rituals for feeding
the parivara_devatas and panchabhuthas or the elements.
A Dipastambha (lamp post) is situated either in front of the Balipitha or
outside the main gate. The top of this post has a bud shaped chamber
to receive the lamp.
The whole temple is surrounded by a high wall (prakara) with one main
and three subsidiary gates, opening in the cardinal directions. A
gopura (high tower,) adorns these gateways.
These were of course later developments; and in due course became
characteristic features of South Indian temple architecture. It is said,
the Agama texts provide for as many as 32 prakaras, the concentric
enclosing walls. But, they recommend five to seven as advisable, in
case more than one enclosure is needed. In many cases, the main
area of the temple, plus the halls, tanks, and gardens are surrounded
by a single wall (prakara) or enclosure. But many major temples do have a series of
enclosures. As mentioned earlier the Sri Rangam temple has seven enclosing walls,
enveloping the whole township.
The Agama texts prescribe that each enclosure must have door-ways in all four directions.
But, very few temples followed this rule, perhaps with the exception of the great temple at
Tiruvannamalai. In most cases, the doorways lead from one courtyard to the next, finally
leading to the sanctum. And, it became customary, since 10 th century, to erect towers
(gopuras) over such gateways, though a gopura was not an essential feature of the temple per
se. It is needless to mention that the prakara contributes to the security and beauty of the
temple

With the growth and development of the temples , their structures and details became
increasingly complicated .The structural arrangements of the major temples became more
elaborate. The prakara in its many layers provides for a number of minor temples or shrines
for the deities, connected with the presiding deity of the temple. Apart from these, the temple
precincts include a yagasala, (a hall for occasional yajna or yagas), kalyana-mantapa, marriage
or a general purpose hall; asthana-mantapa, where the processional deity holds court; Vahana
mantapa , to store the various vehicles used to mount the processional deity during festivals
and processions; alankara-mantapa, where the processional deity is dressed before being
taken on procession; vasanta-mantapa, a hall in the middle of the temple tank used for
festivals; and utsava mantapa, hall used on festive occasions. Temples will also usually have a
treasury, a kitchen (paka-sala), a store room (ugrana), and a dining hall. A well or a puskarini
(tank), flower garden and Ratha (the temple chariot) and its shed are the other essentials
associated the temple.

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The garbha-griha is encircled by the first prakara, called antara-mandala. This is a

passageway, often narrow, permitting the devotees to circumambulate the sanctum in a
customary act of devotion. The flight of stairs that connects the first prakara with the sanctum
sanctorum is called the sopana. In front of the sopana is the main mantapa.
Around the main mantapa and antara-mandala is the second prakara (antahara). This forms a
broad verandah with doorways on all four sides. The antahara leads out into an enclosure
containing the main bali-pitha.
The next enclosure is called madhyahara. Beyond this and just outside the main bali-pitha is
the flagstaff (dhvaja-stambha).

The fourth enclosure is called bhayahara. The fifth prakara (enclosure) is the maryada (limit),
or last wall.

******
Symbolism of the temple

The Hindu temple involves a multiple set of ideas and symbolisms.

The temple is seen as a link between man and god; and between the actual and the ideal. As
such it has got to be symbolic. A temple usually called Devalaya, the abode of God, is also
referred to as Prasada meaning a palace with very pleasing aspects. Vimana is another term
that denotes temple in general and the Sanctum and its dome, in particular. Thirtha, a place of
pilgrimage is its another name.
The symbolism extends to its conception as the physical form of god. The garbhagriha
represents the head and the gopura the feet of the deity. Other parts of the structure are
identified with other parts of the body. For instance, the sukanasi or ardhamantapa (the small
enclosure in front of the garbhagrha) is the nose; the antarala is the neck; the various
mantapas are the body; the prkaras are the hands and so on. Vertically, the garbhagrha
represents the neck, the sikhara (superstructure over the garbhagrha) the head, the kalasha
(finial) the tuft of hair (sikha) and so on.

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The names assigned to various parts of the temple seem to go along with this symbolism. For
instance, Pada (foot) is the column; jangha (trunk) is parts of the superstructure 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 garbhagrha represents the heart and the
image the antrayamin (the indwelling Lord). These symbolisms suggest seeking the divinity
within our heart.
The temple also represents the subtle body with the seven psychic centres or chakras. In the
structure of the temple, the Brahma randra 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-ranhra-sila(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.
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 Shushumna that
connects to the Sahasra, the seat of consciousness, through the Brahma randra.
Very often, the ground-plan of a temple is a mandala. , the expressions Mandala, Chakra and
Yantra are synonymous. Mandala is explained as that which gathers the essential detail
(mandam laati).The Chakra and Yantra too perform similar functions. Like Chakra, the Mandala

too denotes visualization, an act of bringing together all significant details; those details might
pertain to the world or the body or the structure of the building or whatever. It also brings
together the outer and the inner faculties or energies.
Though all the three mean the same, they somehow seemed to have acquired distinct forms.
For instance, Chakra suggests a circular form, while the Mandala might be a figure of any
shape, but commonly a square. While both Chakra and Mandala are linier representations,
Yantra is a three-dimensional projection.
In the Vastu Purusha Mandala too, the ground plan and the vertical plan are cast in two
dimensions and in three dimensional representations of the structure.
Whether you call it Chakra or Mandala or Yantra; it represents a sphere of influence and brings
together and energizes all its components.
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In a way of speaking the Vastu Purusha and the Chakreshwari of the Sri Chakra represent the
same principles. They embody and preside over all the aspects of their domain. They not
merely resolve the internal and external contradictions, but also usher in complete harmony of
existence.
Just as the Sri Chakra is the unfolding of the Bindu at its centre, the temple is the outpouring
or the expansion of the deity residing in Brahmasthana at the centre.
Both the forms employ the imagery of an all enveloping space and time continuum issuing
out of the womb. In the case of Sri Chakra the Bibdu is the dimension-less and therefore
imperceptible source of energy. The idol, the Vigraha, in the Garbagriha represents the
manifestation of that imperceptible energy or principle; and it radiates that energy.
A Upasaka moves in the manadala, from the outer details, passes through circuitous routes
and successive enclosures to reach the inner centre, the Bindu, representing the One creative
Principle. Similarly in the temple too , the devotee who enters the gateway under the Gopura
passes through several gates, courtyards and passages, leaving behind the grand externals,
and progresses towards the serenity of garbhagrha, the very hearts of the temple and
purpose of the temple, housing the representation of One cosmic Principle.

*****
Let us briefly go over the features of each of these aspects in the next post.

CONTINUED in the next part->

Sources:
A. Maps of Madurai and Sri Rangam
By courtesy of Kultur in Indien
B.Other pictures from Internet.
C.Devalaya Vastu by Prof. SKR Rao
D. Vastu Astrology and Architecture
E.Stella Kramrisch, The Hindu Temple,
http://www.sanathanadharma.com/temple/essential.htm
http://www.orientalarchitecture.com/

Next:
Iconography
Norms and Measurements

Previous post:
Agama and Temple architecture
Temple and Township
Vastu Purusha Mandala
Temple layout

CreativeSymbolism TempleDevalaya Vastu

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All Comments
Sreenivasarao S / / 6 yrs ago

dear shobna,
thank you for the comments.
as i mentioned, there are several methods; i referred to just two of them.
even the idol in shayana position will be placed on a pedestal, to gain the required height.
the values i mentioned are not absolute numbers but proportions. the exact directions and
orientation of the idols are also important.
no. the pictures are of somnathpur eleventh century hoysala temple; with vesara type of
towers and elaborate and intricate carvings.
please take your time

thank you

regards
Comment

Sreenivasarao S / / 6 yrs ago

dear shri sampath,

thank you for the comments.

1. as i mentioned in part one, each school of architecture dravida, vesara, nagara and
kalinga nagara has its own tradition, style and norms. there is some standardization within
a school of architecture; and each school tries to hold on to its tradition. but,
architecture like any other endeavor is a dynamic process. there is always an aspiration
and a desire to seek new avenues of expression and to cross new frontiers. but, as in the
other classical forms of art, say music, the temple art too has its own paradigm; and the
improvisations are within that framework.

2. there are different styles; and as you said there are different periods. that is
dynamics of the growth process. but the fundamentals are the same, in any style or in any
period. the basic principles of harmony, proportion, pleasing visual appeal, artistic
excellence and above all stability and longevity of the structure are the primary concerns,
at all times and in all forms. the visual appeal varies from region to region, in accordance
with its concept of beauty. the nagara has curvilinear towers gracefully rising into sky; the
dravida architecture looks for magnificence, imposing size and for dominance. in the vesara
style and the dilwara temples of rajasthan, extremely delicate and intricate sculpture and
carving that puts a jewel smith to shame, takes precedence over the grandure of
architecture .who can sanely say , that one is superior to the other.

3.you take any art or even a craft like fashion designing which has got to adhere to
certain proportions ; and there is no escape from that .yet , there is infinite scope for
improvisation and play of imagination, at all times. you can also treat the basic principles

of each architectural school as its grammar, which preserves the purity of the structure
and expression of its art. this is true of the grammar of a language too; once you are
inspired by an idea, you can choose from virtually an infinite array of forms to give
expression to your thought - most of it within the accepted framework.

.
4. i have been referring to the principles and concepts of the dravida architecture; as it is
virtually not possible to discuss all the four schools, parallelly, in a blog.

5. as regards assembling the pillars and brackets, you will recognize that these are the
fundamental and load bearing elements in any structure; and hold other parts together. as
in the case of any other building, these are best left undisturbed. the alterations if any
could be in the peripherals.

6. the basic principles of vastu and architecture are similar either for a vishnu or shiva or
shakthi temple. i explained this by giving illustrations of the sri vaikunta perumal temple,
the chidambaram temple and briefly referred to shakthi temple. kindly refer to the earlier
post. the differences are there, surely; but they relate to the details of the motifs, the
emblems the insignia, the vahanas, the placement and orientations of the subsidiary
deities. the ambience of the temple too changes in accordance with nature of the presiding
deity. you may perhaps appreciate that if you compare the atmosphere within a south
vaishnava temple with that of, say, kamaroopa temple in gauhathi or to the temple at kali
ghat.

i also mentioned that even among the vaishana temples, the vaikhanasa school (say
tirumala) has its own preferences and an order of its subsidiary deities, the placement and
orientation of their shrines; and details on vimana. this arrangement differs from that of
pancharatra temple (say vaikunta perumal)

thank you for asking. kindly let me know, in case..

please keep talking.

regards