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=== Introduction ===

=== Introduction ===

Almost every civilization throughout the course of human history developed a religious system centering around some kind of super natural or divine power. Belief in such a concept of a divine power in  Indic culture can be traced back to the pre-historic times. Neolithic cultures in India have produced evidence of highly stylized images of mother goddesses who embody fecundity. Due to the paucity of more convincing evidence, we cannot say with exactitude about the religious conditions prevailing during the time of the Sarasvati-Sindhu Civilization (c. 3500 BCE-1900 BCE). However it is certain that this civilization did possess a religious system and structures like the Great Bath at Mohen-jo-daro may have served as some kinds of religious buildings. We do not have a concrete proof about the existence of temples during this civilization though some scholars are inclined to consider an apsidal structure unearthed at the site of Banavali in Haryana as a temple. The origins of Sanatana Dharma are embedded in the Vaidika Dharma. The Vaidika Culture represented by the vast corpus of literature consisting of the Veda Samhitas, Brahmanas, Aranyakas and Upanishads had a very highly developed religious organization. The Yajna Samstha was the nucleus of Vaidika Dharma and it is through the myriad Yajnas, Richas and Samans that our Vaidika ancestors expressed their devotion to the Vaidika Devatas. The Yajnas were performed in specially designated areas known as Yajna or Yaga Shalas and it would be in the  Yajna Shalas that the Chiti or altar would be constructed. Almost all scholars on temple architecture converge on the point that the Hindu Temple evolved from the Vaidika Chiti as a response to the growing impact of the Bhakti traditions. In addition, it is highly doubtful whether temples existed during the Vaidika period.       

Almost every civilization throughout the course of human history developed a religious system centering around some kind of super natural or divine power. Belief in such a concept of a divine power in  Indic culture can be traced back to the pre-historic times. Neolithic cultures in India have produced evidence of highly stylized images of mother goddesses who embody fecundity. Due to the paucity of more convincing evidence, we cannot say with exactitude about the religious conditions prevailing during the time of the Sarasvati-Sindhu Civilization (c. 3500 BCE-1900 BCE). However it is certain that this civilization did possess a religious system and structures like the Great Bath at Mohen-jo-daro may have served as some kinds of religious buildings. We do not have a concrete proof about the existence of temples during this civilization though some scholars are inclined to consider an apsidal structure unearthed at the site of Banavali in Haryana as a temple. The origins of Sanatana Dharma are embedded in the Vaidika Dharma. The Vaidika Culture represented by the vast corpus of literature consisting of the Veda [[Samhita (संहिता)|Samhitas]], Brahmanas, Aranyakas and Upanishads had a very highly developed religious organization. The Yajna Samstha was the nucleus of Vaidika Dharma and it is through the myriad Yajnas, Richas and Samans that our Vaidika ancestors expressed their devotion to the Vaidika Devatas. The Yajnas were performed in specially designated areas known as Yajna or Yaga Shalas and it would be in the  Yajna Shalas that the Chiti or altar would be constructed. Almost all scholars on temple architecture converge on the point that the Hindu Temple evolved from the Vaidika Chiti as a response to the growing impact of the Bhakti traditions. In addition, it is highly doubtful whether temples existed during the Vaidika period.       

Temples (देवालयाः) are one of the most redeeming and prominent hallmarks of Sanatana Dharma and its most representative feature. The land of Bharata is perceived as the land of temples with every region manifesting its own unique traditions of temple architecture and culture. Temples, as a general practice are constructed in the close vicinity of tirthas (तीर्थानि) which mean fords or crossing places on rivers or sea shores. The word 'tirtha' is derived from the Sanskrit root (धातु ) Tr (तृ ) which means a ford or crossing at a water source. At a spiritual level a tirtha is understood as a means to help us cross the ocean of existence (भवाब्धि ).       

Temples (देवालयाः) are one of the most redeeming and prominent hallmarks of Sanatana Dharma and its most representative feature. The land of Bharata is perceived as the land of temples with every region manifesting its own unique traditions of temple architecture and culture. Temples, as a general practice are constructed in the close vicinity of tirthas (तीर्थानि) which mean fords or crossing places on rivers or sea shores. The word 'tirtha' is derived from the Sanskrit root (धातु ) Tr (तृ ) which means a ford or crossing at a water source. At a spiritual level a tirtha is understood as a means to help us cross the ocean of existence (भवाब्धि ).       

Temples enable us to connect to the divine and are thus channels which help us transcend our mundane material world and attain Moksha. Temples are known by different names: Devalaya, Devayatana, Mandira, Prasada,Vimana,  Devagriha etc. They are essentially a structure where the presence and potency of the divine are felt. In other words, temples are the very abodes of God or Ishvara or Bhagavan. The term prasada is synonymous with a palace. The Devata installed in the temple is accorded the status of a king and the prasada is his palace. The late Swami Harshananda ji of the Ramakrishna Mission remarks that the high walls surrounding the temple complex are similar to the ramparts of a fort and the tall gopurams are an emulation of the great gateways of the capital cities (Harshananda, 2007: 12)<ref>Swami Harshananda (2007), All About Hindu Temples, Chennai: Sri Ramakrishna Math </ref>. Many temples in India, specially Southern India have 'Dhvaja Stambhas' in their courtyards. These Dhvaja Stambhas represent the insignia of the deity enshrined in the temple.  The Ishanashivagurudevapaddhati, an early medieval Shaiva text (c. 1000 CE) testifies that the  temple is a concrete form of Lord Shiva and should be contemplated on and worshipped and the temples made up of the presence of Lord Shiva and Shakti.  The site of a temple is invariably a Tirtha irrespective of its location. . According to the Vishnudharmottara Purana images should be installed  in forts, auspicious cities, markets , in villages of cowherds where there are no markets , in gardens , on river banks , mountain tops, valleys and particularly in caves. The construction of temples is concomitant to the installation of the images at the different localities just mentioned. The presence of water is essential at the site where a temple is built.

Temples enable us to connect to the divine and are thus channels which help us transcend our mundane material world and attain Moksha. Temples are known by different names: Devalaya, Devayatana, Mandira, Prasada,Vimana,  Devagriha etc. They are essentially a structure where the presence and potency of the divine are felt. In other words, temples are the very abodes of God or Ishvara or Bhagavan. The term prasada is synonymous with a palace. The Devata installed in the temple is accorded the status of a king and the prasada is his palace. The late Swami Harshananda ji of the Ramakrishna Mission remarks that the high walls surrounding the temple complex are similar to the ramparts of a fort and the tall gopurams are an emulation of the great gateways of the capital cities<ref>Swami Harshananda (2007), All About Hindu Temples, Chennai: Sri Ramakrishna Math </ref>. Many temples in India, specially Southern India have 'Dhvaja Stambhas' in their courtyards. These Dhvaja Stambhas represent the insignia of the deity enshrined in the temple.  The Ishanashivagurudevapaddhati, an early medieval Shaiva text (c. 1000 CE) testifies that the  temple is a concrete form of Lord Shiva and should be contemplated on and worshipped and the temples made up of the presence of Lord Shiva and Shakti.  The site of a temple is invariably a Tirtha irrespective of its location. . According to the Vishnudharmottara Purana images should be installed  in forts, auspicious cities, markets , in villages of cowherds where there are no markets , in gardens , on river banks , mountain tops, valleys and particularly in caves. The construction of temples is concomitant to the installation of the images at the different localities just mentioned. The presence of water is essential at the site where a temple is built.

=== Nomenclatures of the Temple ===

=== Nomenclatures of the Temple ===

The Hindu Temple is built on the principle of Vastupurusamandala. The concept of Vastupurushamandala directs the ground plan of the temple and the site where the temple is planned to be built. The Vastupurushamandala is drawn on the ground before the commencement of the construction of the temple. The Vastupurushamandala is square in shape and serves as a documentation of an architectural ritual. The accurate drawing of the Vastupurushamandala is not only the opening step in the building of the Hindu Temple but also the first stage in the science of architecture or Sthapatya Shastra. The Vastupurushamandala is essentially a square and this  square is called the Vastupurusamandala. The square is further divided into sixty four compartments and diagonals are draw.  Vastu is to be understood as the site in which vastu or the physical existence dwells and therefore it is called vastu.  

The Hindu Temple is built on the principle of Vastupurusamandala. The concept of Vastupurushamandala directs the ground plan of the temple and the site where the temple is planned to be built. The Vastupurushamandala is drawn on the ground before the commencement of the construction of the temple. The Vastupurushamandala is square in shape and serves as a documentation of an architectural ritual. The accurate drawing of the Vastupurushamandala is not only the opening step in the building of the Hindu Temple but also the first stage in the science of architecture or Sthapatya Shastra. The Vastupurushamandala is essentially a square and this  square is called the Vastupurusamandala. The square is further divided into sixty four compartments and diagonals are draw.  Vastu is to be understood as the site in which vastu or the physical existence dwells and therefore it is called vastu.  

Bhu or earth considered the original vastu it underlies all existence. Prithvi as one of the Pancha Mahabhutas and as the goddess Bhu Devi provides her surface to construct the temple. According to Stella Kramrisch, it i.e. Bhumi is “the ground for architectural ritual.” (Kramrisch , 21). Bhumi is the place where the mortals and immortals dwell. Four kinds of spaces have been designated by the ancient Sthapatyashastrakaras as Vastu:  

Bhu or earth considered the original vastu it underlies all existence. Prithvi as one of the Pancha Mahabhutas and as the goddess Bhu Devi provides her surface to construct the temple. According to Stella Kramrisch, it i.e. Bhumi is “the ground for architectural ritual.”<ref name=":0">Kramrisch Stella (1946), The Hindu Temple, Volume I, Calcutta; University of Calcutta</ref>. Bhumi is the place where the mortals and immortals dwell. Four kinds of spaces have been designated by the ancient Sthapatyashastrakaras as Vastu:  

1. Bhumi: The Ground (भूमि )

1. Bhumi: The Ground (भूमि )

4. Shayana: Couch (शयन )   

4. Shayana: Couch (शयन )   

Bhu or the earth is the fundamental Vastu as it is the first of the Pancha Mahabhutas and support of all animate and inanimate objects. Those which emanate from the earth like the Prasadas are the Vastu which are abodes or planned sites. They are also termed as Vastu as they are things which have a concrete existence and established on Vastu (a real existing thing). Vaastu is fundamentally the planned site of a structure. In most cases, the Vaastu is square in shape and its complete name is the Vaastupurushamandala. This term is composed of three words- Vaastu, Purusha and Mandala.  Vaastu, as Stella Kramrisch puts it, "is the extent of Existence in its ordered state and is beheld in the likeness of the Purusha." (Kramrisch, 21). The image of the Purusha or Cosmic Man is the same and equivalent to the planned site. Purusha is the Cosmic Man- the point of origin for the entire creation. The Purusha is the instrumental cause (Nimitta Kaarana) of all existence and so is the Purusha the material cause of all existence and all the constituents of creation are made from his substance. The plan of the building or temple resembles the Cosmic Man who is none other than the Supreme One (Uttama Purusha). Mandala denotes any closed polygon. The form of the Vastupurushamandala is square. The Vastupurushamandala underlies all planned Hindu architectural structures. The site plan, ground plan as well as the horizontal and vertical sections of a Hindu structure are monitored by the Vastupurushamandala. The site plan of the temple is prepared in accordance with the Vastupurushamandala.  

Bhu or the earth is the fundamental Vastu as it is the first of the Pancha Mahabhutas and support of all animate and inanimate objects. Those which emanate from the earth like the Prasadas are the Vastu which are abodes or planned sites. They are also termed as Vastu as they are things which have a concrete existence and established on Vastu (a real existing thing). Vaastu is fundamentally the planned site of a structure. In most cases, the Vaastu is square in shape and its complete name is the Vaastupurushamandala. This term is composed of three words- Vaastu, Purusha and Mandala.  Vaastu, as Stella Kramrisch puts it, "is the extent of Existence in its ordered state and is beheld in the likeness of the Purusha."<ref name=":0" /> . The image of the Purusha or Cosmic Man is the same and equivalent to the planned site. Purusha is the Cosmic Man- the point of origin for the entire creation. The Purusha is the instrumental cause (Nimitta Kaarana) of all existence and so is the Purusha the material cause of all existence and all the constituents of creation are made from his substance. The plan of the building or temple resembles the Cosmic Man who is none other than the Supreme One (Uttama Purusha). Mandala denotes any closed polygon. The form of the Vastupurushamandala is square. The Vastupurushamandala underlies all planned Hindu architectural structures. The site plan, ground plan as well as the horizontal and vertical sections of a Hindu structure are monitored by the Vastupurushamandala. The site plan of the temple is prepared in accordance with the Vastupurushamandala.  

As per the injunctions given in the Mayamatam the shape of the Vastu meant for Devatas and Brahmanas should be square. The square is the basic form of Indian architecture and implies a certain sense of ordering and limiting. The circle represents the movement of life. Square and circular shapes are both contained in the Vaidika Fire Altar and Agni which are inseparable.  

As per the injunctions given in the Mayamatam the shape of the Vastu meant for Devatas and Brahmanas should be square. The square is the basic form of Indian architecture and implies a certain sense of ordering and limiting. The circle represents the movement of life. Square and circular shapes are both contained in the Vaidika Fire Altar and Agni which are inseparable.