With the passing of the ages Empires are created and
destroyed, new cultures appear and then again fade, like changing
seasons into the shadows of eternity. Vanishing into oblivion, all that
remains of those that were once great and powerful in this World are but
a handful of relics. Time, the destroyer of all things, vanquishes even
the most invincible empires leaving behind their remnants to be
marveled at by future civilizations. And marvel we do at the wonders of
the past, especially the architectural wonders.
Stonehenge
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Be it the pyramids of Egypt, the cathedrals of Rome, the Parthenon of
Athens, the Forbidden City in Beijing, or Stonehenge, our mind is at
once awed by the beauty and grandeur of ancient architecture.
Until recent years modern society has viewed much of the world's ancient
architecture and art as "simply decorative" or, in a general sense, as a
tribute to God; not that it might have any "practical" function in
helping us to understand the nature of the world we live in. However,
recent studies in the field of sacred architecture (Vastu Shastra) by
men like Keith Critchlow of the Royal College of Art in London have
uncovered hidden dimensions revealing a far-reaching connection between
architecture and the nature of existence. Critchlow, perhaps the
best-known advocate of the theory of sacred architecture, believes that
basic architectural principles on the physical level are integral with
structure on the metaphysical level.
Most sacred architects maintain that the ultimate reality exists beyond
the mundane plane of temporary forms. As such, that higher reality,
infinite in nature, can make itself known to the finite living entities,
in the world here below. It does so through revealed forms which, while
seemingly limited and temporary, provide a bridge between the finite
and the infinite. Some regard the ideal forms of sacred Vastu
architecture as metaphors while others prefer to see them as fixed,
eternal truths. In any case it is a fact that sacred architectural forms
(as presented in the Vastu Shastra) have the ability to uplift the
human consciousness from the mundane reality to the supernatural.
Throughout the world it's hard to find a place where sacred architecture
is as developed a science as is that found in India. India's ancient
Temples and palaces are certainly among the finest ever built. From the
Taj Mahal, the seventh wonder of the world, to the Pagodas of Tamil
Nadu, from the Himalayan hill shrines to the great Temple at Jagannatha
Puri, India is a veritable treasure-house of sacred architecture. In
fact there are more existing examples of sacred architecture in India
than in all other countries of the world combined.
Temple at Jagannatha Puri
The knowledge of sacred architecture in India has existed in the oral
tradition since before the Vedic Age, some five thousand years ago. From
the oral tradition it was later recorded in the Sanskrit mantras and
compiled under the title Vastu Shastra. According to Indian authorities the Vastu Shastra is possibly the oldest known architectural treatise in the world today. The word shastra means literature or more accurately "enlightened literature." The word vastu, meaning the manifest, comes from the word vustu, meaning the unmanifest. The philosophical purport of the words vustu and vastu form the basic concepts of India's sacred architecture and are among the first lessons taught to the students of Vastu Shastra. That which is manifest in this world, vastu, it is said, is originally existing on the plane of the transcendental or unmanifest, vustu.
To instruct students of the Vastu Shastra about the meanings of vustu and vastu,
the unmanifest and the manifest realities, the example is used of the
moon and its reflection in water. "The moon is present in the sky, but
when rising above a lake it becomes visible or manifest in the water. In
the same way the origin of all things exists first in the eternal
reality and then becomes manifest here below in the world of gross
sensual objects." This simple analogy demonstrates the nature of vustu, that which exists eternally, and vastu, that which is temporarily manifest.
Vastu Shastra thus perceives existence in terms of two
dimensions: first the infinite spiritual realm and second the finite
accommodating space for insentient material objects. This concept of a
superior plane of existence, where the original form of things exist
eternally, is the basis of India's sacred architecture. It is believed
by modern scholars that the science of the Vastu Shastra is traceable to at least the year 3000 B.C., if not before and that the science of Vastu Shastra is a living tradition which is in no danger of becoming extinct. The earliest known master of the Vastu Shastra was Maya Danava, recognized as the founder of the tradition of India's sacred architecture.
Of all types of structures in the field of sacred architecture, the
building of a Temple requires the utmost degree of knowledge and
training. Those building a house, a school or even an office building
take into consideration the basic knowledge of sacred architecture for
successful execution; but the Temple, being the very abode of Divinity,
requires the greatest skills and is the most painstaking in its
execution. In the development of a Temple project all phases of
construction from beginning to end are thought out and executed
according to the direction of the Vastu Shastra.
First of all it is necessary to select a suitable place where the Temple
should be built. The suitable choices are mentioned in the Vastu Sastra: "The best location to build a Temple is at a tirtha (holy place)." A tirtha is a ford or crossing place from this world to the above-a point of marriage between transcendence and the mundane. A tirtha
provides a crossing place for the upward journey of the soul and a
place for the downward crossing-for the crossing of higher entities who
sometimes descend to this world for the good of mankind.
If construction of the Temple at a tirtha is not possible then another appropriate location should be found. The vastu shastra
then says, "The Temple of Godhead should be situated in a beautiful
place where rivers flow, on the banks of a lake or by the seashore; on
hill tops, mountain slopes, or in a hidden valley. The site of the
Temple may be selected in a forest, a grove, or in a beautiful garden.
Temples should also be built in villages, towns and cities or on an
island, surrounded by water."
Next a construction plan is required and here begins the highly
technical aspect of sacred architecture to bring about the descent or
manifestation of the unmanifest and unseen. The architect or Sthapati
begins by drafting a square. The square is literally the fundamental
form of sacred architecture in India. It is considered the essential and
perfect form. It presupposes the circle and results from it. Expanding
energy shapes the circle from the centre; it is established in the shape
of the square. The circle and curve belong to life in its growth and
movement. The square is the mark of order, the finality to the expanding
life, life's form and the perfection beyond life and death. From the
square all requisite forms can be derived: the triangle, hexagon,
octagon, circle etc. The architect calls this square the vastu-purusha-mandala—vastu the manifest, purusha the Cosmic Being, and mandala, in this case, the polygon.
When completed the vastu-purusha-mandala will represent 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 a
mystical diagram. It 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.
The conception of the "Cosmic Being" as a person has held a prominent
place in Indian theistic thought since time immemorial. Ancient Sanskrit
literature illustrate the personal features of the Cosmic Being.
"The planetary systems in space from the highest down to the lowest
represent the head, neck, chest, thighs, legs and feet, respectively, of
the Great Universal Being. His arms are the Divine entities headed by
Indra, the ten directional sides are His ears, and physical sound is His
sense of hearing. His mouth is blazing fire. The sphere of outer space
constitutes His eye sockets and the eyeball is the sun as the power of
seeing. The rivers are His veins, the trees are the hair of His body and
the omnipotent air is His breath. The passing ages are His movements."
[1]
The perception of the Cosmic Being is considered to be the preliminary
stage of self-realization and thereby a qualified form of pantheism
which gradually leads one to understand the personal feature of the
transcendent Godhead. The concept of spirituality in the system of
sacred architecture in India is something that goes beyond the mere
static relations between inert objects and space as found in other
architectural traditions. The relationship of objects with one another
and space in India's sacred architecture extends to include higher
entities said to be in charge of various aspects of universal affairs,
all of whom carry out their work in accordance with the will of God.
In order to establish the vastu-purusha-mandala on the
construction site, it is first drafted on planning sheets and later
drawn upon the earth at the actual building site. The knowledge of its
meaning and execution is the first discipline which the architect must
master and it requires in-depth understanding of astrology. The drawing
of the mandala upon the earth at the commencement of construction is a sacred rite in itself. The rites and execution of the vastu-purusha-mandala,
for which a priest will also be summoned later on, are not accessory
nor are they a mere accompaniment to the Temple. They sustain the Temple
in their own sphere of effectiveness to the same extent that the actual
foundation supports its weight.
Based on astrological calculations the border of the vastu-purusha-mandala is subdivided into thirty-two smaller squares called nakshatras. These nakshatras
correspond to the constellations or lunar mansions through which the
moon passes in its monthly course. The number thirty-two geometrically
results from a repeated division of the border of the single square. It
denotes four times the eight positions in space: north, east, south,
west, and their intermediate points. The closed polygon of thirty-two
squares is now symbolical of the recurrent cycles of time as calculated
by the movements of the moon. Each of the nakshatras is ruled over by a Divine entity, called a deva, which extends its influence to the mandala. Outside the mandala
lie the four directions, symbolic of the meeting of heaven and earth
and which also represent the ecliptic of the sun-east to west and its
rotation to the northern and southern hemispheres.
Vastu-purusha-mandala
The centre of the mandala is called the station of Brahma, the
first of beings and the engineer of universal order. Surrounding Brahma
are the places of twelve other entities known as the sons of Aditi, who
assist in the affairs of universal management. The remaining empty
squares represent the akasha or pure space. The vastu-purusha-mandala
is now complete, forming a sort of map or diagram of astrological
influences that constitute the order of the universe and the destinies
of human lives. When placed on the building site the vastu-purusha-mandala determines the time for beginning construction. Only by the combination of the vastu-purusha-mandala and astrological calculations can this factor be ascertained.
The Temple itself should always face east as that is considered the most
auspicious direction -- the place of origin of the sun. From the
east appears the rising sun, the destroyer of darkness. The sun is the
giver of life. It brings joy and happiness and is the watchful eye of
the "Cosmic Being." The vastu shastra states that a building with
improper proportions and wrong orientation will create an environment
which is conducive to disturbances like disease, death and destruction,
and may be inhabited by subtle entities with envious and deceitful
natures.
The construction of a Temple is something like the birth of a human
being - who according to the time and place of his birth will come under
certain astrological influences throughout life. The time of
construction, the place and position of a structure are all important
factors for the future of the building. Therefore, according to the vastu shastra,
all structures should be erected according to auspicious astrological
calculations to assure successful execution, longevity, and lasting
prosperity.
From the diagram of the vastu-purusha-mandala the architect next
proceeds to develop the vertical and horizontal dimensions of the
Temple. Here to a wide range of factors must be taken into
consideration. To guide the sacred architect of today a long and rich
tradition of already existing Temples and sacred buildings in India
serves as a great inspiration to his work. The architect's creative
intelligence will be an all-important ingredient in the final design,
while the mandala and the vastu shastra will continue to be the tools of his execution.
The size of the structure will determine the various kinds of building
materials to be used at different stages of the construction. Building
materials like stone, marble, brick, plaster, wood, etc., are selected
for the main body of the Temple, whereas elements like gold and silver
will be used for final ornamentation. Only organic materials are used in
sacred architecture. Manmade materials like simulated marble, plastic
and asbestos are not acceptable building materials. The reason being
that inorganic materials are not considered adequate conductors of
cosmic energies.
The plotting graphs of the Temple are divided into two main sections-the
ground plan and the vertical alignment. The square, the rectangle, the
octagon and the pentagon are fundamental patterns in the horizontal or
ground plan. In the vertical alignment the pyramid, the circle and the
curve are most prominent. The subdivisions of the ground plan include
the brahmasthana (the main shrine and smaller chapels) and the mandapam (balconies, assembly halls and auditoriums). The vertical plan consists of drawings for the gopuram (entrance ways), the vimana (the structure above the main shrine or chapel) and the prakara (the walls).
The brahmasthana is said to be the principal location in a Temple
since it is here that the seat of Godhead will eventually be placed. At
the base of the foundation of the brahmasthana, located at the station of Brahma on the vastu-purusha-mandala, a ritual is performed called garbhadhana, the ritual which invites the soul of the Temple to enter within the buildings' confines. In this ritual a Brahmin,
priest, places a golden box in the earth during the ground-breaking
ceremonies. The interior of the box is divided into smaller units
exactly resembling the vastu-purusha-mandala. All the units of the gold box are first partially filled with dirt. In the thirty-two units representing the nakshatras (lunar mansions), the units of Brahma and the twelve sons of Aditi, the priest places an appropriate mantra in written form to invoke the presence of the corresponding divinity.
The Sanskrit mantras chanted by the priest are in no way less important than the mandala itself. The mandala having set up an archetypal diagram of universal order, the mantra infuses the mandala with spiritual powers. The mantras chanted by the priest are distinct from ordinary mundane sounds. Mantras,
composed of "atomic" monosyllabic sounds derived from the Sanskrit
alphabet, are said to be non-different from the very substance which
they invoke. The mantras are the subtle form of the mandala
and are inseparable from it. As the architect must have undergone
extensive training in the field of sacred architecture and astrology to
construct the mandala, similarly the Brahmin who chants the mantras must also have requisite knowledge of the science of sacred sound vibrations.
In the unit of Brahma a golden serpent with many raised hoods is placed.
The serpent form is then surrounded with nine precious jewels or
navaratna. Ananta represents the energy which supports the very
existence of the universe. The universe rests in space and that space is
the energy of Godhead appearing as Ananta. The nine jewels - diamonds,
emeralds, rubies, pearls, yellow sapphire, blue sapphire, red coral,
cats-eye and jade - invoke the astrological influence of the nine
planets.
A gold lid with the seven continents of the earth engraved on it is
placed on top of the box. When this is done the priest then performs the
ritual sacrifice or sanctification ceremony called agni-hotra, the fire sacrifice. During the agni-hotra
the priest offers clarified butter, the symbol of religious principles,
into the fire, which represents the mouth of the Cosmic Being. Along
with the offering of clarified butter five types of grains-rice, wheat,
barley, rye and dhal, all produced of the earth - are also offered in
the fire. This too is performed with the chanting of mantras.
Once the garbhadhana and agni-hotra ceremonies are
complete the actual construction of the Temple takes place according to
the previous preparations. When the foundation is finished the vertical
structure is raised and the body of the Cosmic Being becomes visible to
the naked eye. The external features of the Temple are brought to life
through finely sculpted figures and paintings. The art and sculpture
frequently portray the forms of Divine entities and the different stages
of consciousness in the gradual evolution of life throughout the
Universe. This is no less exacting a science than that of the architect
or of the Brahmin priest. It is often the work of the master
artisan, through painting and sculpture, that most enables one to
perceive the actual sacredness of the Temple.
The prakaras or walls that fortify the Temple may vary in size
and number according to the dimensions of the Temple. Larger Temples,
like the one in Sri Rangam, are sometimes surrounded by up to seven
concentric walls which represent the seven layers of matter-earth,
water, fire, air, either, mind and intelligence-that cover the original
consciousness of the living entities in the material world. The gopurams, or gateways through the prakaras, are symbolic of being liberated from the bondage of matter as one enters the Temple and proceeds toward the central shrine.
Sri Rangam Temple
The vimana or tower, also called the shikara, is raised to its final height above the sanctum as the last stones are put into place. Resembling a great mountain, the vimana is crowned with a golden spire called kailash, the heavenly abode. At the sides of the vimana are fixed the fierce faces of Yali, the protector of the Temple.
Yali at Arunachaleswarar Temple
In its iconography and image the yali has a catlike graceful body, but
the head of a lion with tusks of an elephant and tail of a serpent.
Sometimes they have been shown standing on the back of a makara, another
mythical creature. Some images look like three-dimensional
representation of yalis. Images or icons have been found on the entrance
walls of the Temples, and the graceful mythical lion is believed to
protect and guard the Temples and ways leading to the Temple. They
usually have the stylized body of a lion and the head of some other
beast, most often an elephant. Other common examples are: the
lion-headed (simha-vyala), horse (ashva-vyala), human (nir-vyala) and
the dog-headed (shvana-vyala) ones. Yali is found as stone carvings in
numerous Temples in South India.
Narasimha at the Shiva
Arunagirinathar Temple, Tiruvannamalai
Saiva texts hold that the unpacified Narasimha Avatar of Vishnu was
controlled and assimilated by Shiva in the form of the Yaliappar (Tamil)
The Temple is now ready for the ceremony known as pratistasthana, the installation of the deity. The scared altar in the brahmasthana, central shrine, is located directly above the gold box, placed in the earth during the garbhadhana ceremony. Here on the sacred altar representing the heart of the Cosmic Being, the deity of Godhead called the archa-vigraha, the manifest form of total divinity is installed. The mandala, the mantra,
and above all the sincerity and faith of the participants combine
together to invoke the appearance of Godhead. The universe is the
manifestation of the Divine form of Godhead in the world of mundane
existence. The body of the Temple is the representation of that cosmic
form, whereas the archa-vigraha is the manifestation of the
transcendental form of Godhead descending from beyond the mundane. The
ceremony for installing the deity is performed with great pomp and upon
its completion the Temple is complete.
There are altogether forty-five basic varieties of Temples mentioned in the vastu shastra.
These too have their many variations and thus the styles of sacred
Temple architecture in India are as unlimited and diverse as the very
nature of the infinite being they represent.
From the drawing table to the finished product of a gorgeous Temple,
sacred architecture in India is a science and a work of art. Moreover it
is an attempt to raise the human consciousness to the stage of
self-realization where one ultimately sees Godhead everywhere, in all
things, and at all times.
[1] Keith Critchlow, Order in Space
[Above adapted from Swami B.G. Narasingha narrative]
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