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=== संज्ञाः || Nomenclatures of the Temple ===

=== संज्ञाः || Nomenclatures of the Temple ===

The two most common names for a temple in Indic texts on architecture are 'Vimana' and 'Prasada'. In Sanatana Dharma,the temple is also equaled to the cosmic, primordial  Purusha. According to the Vayu Purana (IV.30-31), the Purusha holds the measuring rod and considers himself as comprising of various constituents. 'Vimana' is a building constructed on sound proportions. The measuring of an object implies the creation of an object by according it a definite shape and existence. Just like the primeval Purusha is made up of different parts, the temple is also composed of various parts. The Purusha is perceived as the primary form of the Brahman and it is because of this reason that he bears the measuring rod. He is the architect of the universe and is therefore given the appellation of 'Vishvakarman'. The manifested world around us is constituted of all things which can be seen, have a concrete shape and can be measured. The term 'Vimana' has been frequently used to denote a temple. The constituents of the Vimana are measured and in fact the universe itself, which is the manifestation of the Supreme God is a Vimana and a macrocosm. The temple with its proportionate parts is also a Vimana created by man and represents the microcosm. Proportionate measurement (pramana) is crucial in the construction of the temple (Vimana) and to the image (pratima) installed inside it. The Vimana thus formed through the integration of numerous measured components is the very abode and body of the Supreme God. One thing which needs to be noted here that the term 'Vimana' stands for the principal shrine which has the Garbhagriha or the sanctum. The rest of the structures like mandapas or subsidiary shrines within the enclosure of the temple are subordinate to the main temple. The mandapas in the Kalinga Style of Architecture prevalent in the state of Odisha (known as Pidha Deul or Jagamohana), though complimentary to the main temple (known as Rekha Deula) are almost independent structures. They differ from the main temple not only in terms of size but also with respect to stylistic and architectural features. Though these buildings are secondary in relation to the main temple, they are nevertheless built in proportion to it. Thus the 'Vimana' is a word which designates a temple construction in conformity to tradition or the Shastras. All the measurements of the temple proper and its accessory buildings are in relation to the image or Shiva Linga enshrined within the Garbhagriha. The Vimanas are thus subject to various proportions. Texts like the Matsya and Garuda Puranas as well as the Hayashrishapancharatra have given this a very detailed treatment. The term 'Vimana' used for the main temple finds a synonym in the term 'Prasada'.  The term 'Prasada' implies settling down (pra sad). It is a seat created from that which has settled down and taken a definite shape to become the residence of God. The term settling down indicates the settling down of the bricks or the building material which are imbued with the presence of the Supreme Principle.

The two most common names for a temple in Indic texts on architecture are 'Vimana' and 'Prasada'. In Sanatana Dharma,the temple is also equaled to the cosmic, primordial  Purusha. According to the Vayu Purana (IV.30-31), the Purusha holds the measuring rod and considers himself as comprising of various constituents. 'Vimana' is a building constructed on sound proportions. The measuring of an object implies the creation of an object by according to it a definite shape and existence. Just like the primeval Purusha is made up of different parts, the temple is also composed of various parts. The Purusha is perceived as the primary form of the Brahman and it is because of this reason that he bears the measuring rod. He is the architect of the universe and is therefore given the appellation of 'Vishvakarman'. The manifested world around us is constituted of all things which can be seen, have a concrete shape and can be measured. The term 'Vimana' has been frequently used to denote a temple. The constituents of the Vimana are measured and in fact the universe itself, which is the manifestation of the Supreme God is a Vimana and a macrocosm. The temple with its proportionate parts is also a Vimana created by man and represents the microcosm. Proportionate measurement (pramana) is crucial in the construction of the temple (Vimana) and to the image (pratima) installed inside it. The Vimana thus formed through the integration of numerous measured components is the very abode and body of the Supreme God. One thing which needs to be noted here that the term 'Vimana' stands for the principal shrine which has the Garbhagriha or the sanctum. The rest of the structures like mandapas or subsidiary shrines within the enclosure of the temple are subordinate to the main temple. The mandapas in the Kalinga Style of Architecture prevalent in the state of Odisha (known as Pidha Deul or Jagamohana), though complimentary to the main temple (known as Rekha Deula) are almost independent structures. They differ from the main temple not only in terms of size but also with respect to stylistic and architectural features. Though these buildings are secondary in relation to the main temple, they are nevertheless built in proportion to it. Thus the 'Vimana' is a word which designates a temple construction in conformity to tradition or the Shastras. All the measurements of the temple proper and its accessory buildings are in relation to the image or Shiva Linga enshrined within the Garbhagriha. The Vimanas are thus subject to various proportions. Texts like the Matsya and Garuda Puranas as well as the Hayashrishapancharatra have given this a very detailed treatment. The term 'Vimana' used for the main temple finds a synonym in the term 'Prasada'.  The term 'Prasada' implies settling down (pra sad). It is a seat created from that which has settled down and taken a definite shape to become the residence of God. The term settling down indicates the settling down of the bricks or the building material which are imbued with the presence of the Supreme Principle.

=== देवालयस्य उत्पतिः || Origins of the Temple ===

=== देवालयस्य उत्पतिः || Origins of the Temple ===

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.  

The drawing of the square Vastupurushamandala before the commencement of the temple architectural activity was essential. It was mandatory for an architect to be fully aware about the symbolism and actual drawing of the Vastupurushamandala. All traditional texts on Indian Architecture elaborate upon the Vastupurushamandala. The 11th century CE was a period when some of the loftiest Hindu Temples like the Brihadishvara Temple at Thanjavur, Kandariya Mahadeva Temple at Khajuraho as well as the Sun Temple at Modhera were constructed. By this time, the drawing of the Vastupurushamandala on the site where the temple was to be built had become a rule. Whether it was the stretching of the chord to make the square or drawing the lines of the diagram, each step in the procedure was a ritual with its concomitant sacredness. These rites support the building in a similar manner as the actual physical foundation of the temple would support it.

The drawing of the square Vastupurushamandala before the commencement of the temple architectural activity was essential. It was mandatory for an architect to be fully aware about the symbolism and actual drawing of the Vastupurushamandala. All traditional texts on Indian Architecture elaborate upon the Vastupurushamandala. The 11th century CE was a period when some of the loftiest Hindu Temples like the Brihadishvara Temple at Thanjavur, Kandariya Mahadeva Temple at Khajuraho as well as the Sun Temple at Modhera were constructed. By this time, the drawing of the Vastupurushamandala on the site where the temple was to be built had become a rule. Whether it was the stretching of the chord to make the square or drawing the lines of the diagram, each step in the procedure was a ritual with its concomitant sacredness. These rites support the building in a similar manner as the actual physical foundation of the temple would support it.

==== अन्तराल:|| Antarala ====

==== अन्तराल:|| Antarala ====

The Antarala is a passage between the mukhamandapa and garbhagriha. The older temples generally are devoid of the antarala.  

The Antarala is a passage between the mukhamandapa and garbhagriha. The older temples generally are devoid of the antarala.  

==== मण्डपः || Mandapas ====

==== मण्डपः || Mandapas ====

==== प्राकार: || The Prakara Wall ====

==== प्राकार: || The Prakara Wall ====

Temples usually have a high wall enclosing its precincts. This wall is known has 'prakara' and it almost resembles a fortification wall. Sometimes a temple, depending upon its area and significance may have more than one prakara wall.The prakara wall is intercepted by gateways or gopurams (in the case of South Indian Temples) in the cardinal directions and in most cases there will be one gateway which would serve as the principal one. In the ancient times, shrines would be generally surrounded by a stone or wooden railing. In South Indian Shaiva temples,  the prakara wall would be embellished will images of Nandi.  

Temples usually have a high wall enclosing its precincts. This wall is known has 'prakara' and it almost resembles a fortification wall. Sometimes a temple, depending upon its area and significance may have more than one prakara wall.The prakara wall is intercepted by gateways or gopurams (in the case of South Indian Temples) in the cardinal directions and in most cases there will be one gateway which would serve as the principal one. In the ancient times, shrines would be generally surrounded by a stone or wooden railing. In South Indian Shaiva temples,  the prakara wall would be embellished will images of Nandi.  

==== पुष्करिणी  || Pushkarini ====

==== पुष्करिणी  || Pushkarini ====

== References ==

== References ==