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Devalayam (Samskrit : देवालयम्) which came to mean 'the temple' has been the central axis on which Sanatana Dharma revolved till the recent centuries. The genius of 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 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 Indian 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 revolved till the recent centuries. The genius of 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 Indian 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 sin is viewed as an obstacle to be overcome in one's grand journey towards the goal.<ref>Munshi, K. M. and Goswami, A. (1956) ''Indian 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 sin 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) ''Indian Temple Sculpture.'' Publisher: Lalit Kala Acadami in cooperation with the Government of India and several State Governments</ref>

Of all the civilizations in the world, one which has taken the sacred architecture to its heights is India. This does not mean that India has not given a thought to civil or military architecture. The civil and the military architecture in India, is an extension or modification of the sacred. The basic idea behind creating any building, any man-made structure, is the same.  

Of all the civilizations in the world, one which has taken the sacred architecture to its heights is India. This does not mean that India has not given a thought to civil or military architecture. The civil and the military architecture in India, is an extension or modification of the sacred. The basic idea behind creating any building, any man-made structure, is the same.  

== Concept of Temple ==

== देवालयः ॥ Temple ==

Somewhere in the remote past the religious outlook, rituals and the sacred Yajnas of the vedic period were gradually supplemented by icon worship. The abstract symbolism of the Yajna, was generally replaced by the Puja of icons.  

Somewhere in the remote past the religious outlook, rituals and the sacred Yajnas of the vedic period were gradually supplemented by worship through images. The abstract symbolism of the Yajna, was generally replaced by the Puja of images and the concept is called Vigraharadhana (विग्रहाराधना).<ref name=":0" /> <blockquote>चिन्मयस्याद्वितीयस्य निष्कलस्याशरीरिणः । उपासकानां कार्यार्थे ब्रह्मणो रूपकल्पना ॥ (Devatapratishtatattva of Raghunandana p. 50)<ref name=":1" /></blockquote>Image worshippers also believe that god is pure consciousness (chit), one without a second (adv) who is not in parts, without a physical body and that the various images in which he is thought as in-dwelling are so imagined for the benefit of the worshippers.

 

 

A temple integrates the community and is the binding force that promotes unity in the society. Thus temples, the place where the images of the deities are consecrated are either small structures, simple or elaborate with ornate designs or are architectural masterpieces which withstood the test of time. The establishment of images in temples is again of two kinds viz., 

== Temple as a Sacred Site ==

== Temple as a Sacred Site ==