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Devalaya (Samskrit : देवालयः) means 'the temple' as the abode of the deities has been the central axis around which the activities of [[Sanatana Dharma (सनातनधर्मः)|Sanatana Dharma]] revolved till the recent centuries. The genius of [[Bharatavarsha (भरतवर्षम्)|Bharatavarsha]] is reflected with greater power nowhere else than in its philosophy, literature, sculpture and the perfect blending of these into the grand scheme of [[Dharmik Lifestyle (धार्मिकजीवनविधानम्)|Dharmika Jivana vidhana]]. Nowhere except in the architecture of India has it been so divinely captured, with such unbroken continuity, displaying the ageless spirit of Bharat's Culture reflected in the Temple heritage of India.

Devalayam (Samskrit : देवालयः) means 'the temple' as the abode of the deities has been the central axis around which the activities of [[Sanatana Dharma (सनातनधर्मः)|Sanatana Dharma]] revolved till the recent centuries. The genius of [[Bharatavarsha (भरतवर्षम्)|Bharatavarsha]] is reflected with greater power nowhere else than in its philosophy, literature, sculpture and the perfect blending of these into the grand scheme of [[Dharmik Lifestyle (धार्मिकजीवनविधानम्)|Dharmika Jivana vidhana]]. Nowhere except in the architecture of India has it been so divinely captured, with such unbroken continuity, displaying the ageless spirit of Bharat's Culture reflected in the Temple heritage of India.  

People of Bharatavarsha did not look at life in compartments ; nor did they recognize the domains of art, religion, philosophy, moral values and mystic experience as separate. Our forefathers viewed existence as a whole; matter, life, mind and spirit, each included the other, weaving with each other into a harmonious pattern for a holistic life. Our outlook on life was based on an all-pervasive Dharma with four fundamental values of purusharthas (Dharma, Artha, Kama and Mokhsa). Both the literary and sculptural arts of India have the fulfillment of one or the other of these purusharthas as their goal to secure the integration of the human personality. In this comprehensive scheme nothing is omitted, even a papa (पापम्) is viewed as an obstacle to be overcome in one's grand journey towards the goal.<ref name=":0">Munshi, K. M. and Goswami, A. (1956) ''Bharat's Temple Sculpture.'' Publisher: Lalit Kala Acadami in cooperation with the Government of India and several State Governments</ref>

People of Bharatavarsha did not look at life in compartments ; nor did they recognize the domains of art, religion, philosophy, moral values and mystic experience as separate. Our forefathers viewed existence as a whole; matter, life, mind and spirit, each included the other, weaving with each other into a harmonious pattern for a holistic life. Our outlook on life was based on an all-pervasive Dharma with four fundamental values of purusharthas (Dharma, Artha, Kama and Mokhsa). Both the literary and sculptural arts of India have the fulfillment of one or the other of these purusharthas as their goal to secure the integration of the human personality. In this comprehensive scheme nothing is omitted, even a papa (पापम्) is viewed as an obstacle to be overcome in one's grand journey towards the goal.<ref name=":0">Munshi, K. M. and Goswami, A. (1956) ''Bharat's Temple Sculpture.'' Publisher: Lalit Kala Acadami in cooperation with the Government of India and several State Governments</ref>

== References ==

== References ==