Changes

* Triguna

* Triguna

* Valabhi

* Valabhi

* Rajaraja and many more.  These are considered to be the names of different kinds of Nagara (North Indian) temples. The same text also prescribes the details of the images of deities which are to be installed in a specific temple. E.g. In the Mekhala type of a temple, images of Brahma, Vishnu and Maheshvara or Ekanmasha between Krishna and Balarama or Trilochana between Ganesha and  Skanda should be consecrated. Similarly in the same type of a temple an image or Janardana or Tavshta can also be established between the images of the sun and the moon. When the mandapas are equipped with shikharas the structures are known as Vimanas. Further, the text clearly lays down which deities are not be installed in a particular type of a temple as their installation may lead to misfortune and decline. A temple devoid of mandapas is denoted as a Devakula. The term 'Devakula' is a very ancient one and appears frequently in early inscriptions. The text also includes detailed instructions pertaining to the procurement of raw materials like wood and stone as well as the associated rituals. In addition matters like production of bricks and making of the Vajralepa have also been dealt in detail by this text. The Vishnudharmottara Purana vividly also notes the kind of land on which a temple should be built as well as the land where one must not undertake temple building activities. We also come across the temple construction process involving many rituals. The text mentions the Shilanyasa ritual which was preceded by the installation of the kumbha in the soil of the site. The Shilanyasa ritual involved the placement of baked bricks in the four directions.<ref>Shah, Priyabala (1990) ''Shri Vishnudharmottara''. Ahmedabad: The New Order Book Co </ref>  

* Rajaraja and many more.  These are considered to be the names of different kinds of Nagara (North Indian) temples. The same text also prescribes the details of the images of deities which are to be installed in a specific temple. E.g. In the Mekhala type of a temple, images of Brahma, Vishnu and Maheshvara or Ekanmasha between Krishna and Balarama or Trilochana between Ganesha and  Skanda should be consecrated. Similarly in the same type of a temple an image or Janardana or Tavshta can also be established between the images of the sun and the moon. When the mandapas are equipped with shikharas the structures are known as Vimanas. Further, the text clearly lays down which deities are not be installed in a particular type of a temple as their installation may lead to misfortune and decline. A temple devoid of mandapas is denoted as a Devakula. The term 'Devakula' is a very ancient one and appears frequently in early inscriptions. The text also includes detailed instructions pertaining to the procurement of raw materials like wood and stone as well as the associated rituals. In addition matters like production of bricks and making of the Vajralepa have also been dealt in detail by this text. The Vishnudharmottara Purana vividly also notes the kind of land on which a temple should be built as well as the land where one must not undertake temple building activities. We also come across the temple construction process involving many rituals. The text mentions the Shilanyasa ritual which was preceded by the installation of the kumbha in the soil of the site. The Shilanyasa ritual involved the placement of baked bricks in the four directions.<ref>Shah, Priyabala (1990) ''Shri Vishnudharmottara''. Ahmedabad: The New Order Book Co </ref>  

== मत्स्यपुराणम् || Matsya Purana ==

== मत्स्यपुराणम् || Matsya Purana ==

== समरान्गणसूत्रधार: ||  Samaranganasutradhara ==

== समरान्गणसूत्रधार: ||  Samaranganasutradhara ==

This text is dated to the 11^th century CE and has been authored by Raja Bhojadeva of the Parmara Dynasty.  The Samaranganasutradhara uses the following names which are analoguous to a temple-  Deva-dhishnya  (seat), Surasthana (establishment), Chaitya (a sacred monument which is piled up like the Vedic Agni)  , Archa-griha (house of the consecrated image) , Devata Ayatana (residence) as well as  Vibudha –agara (house of God). The text narrates the details of the five Prasadas created by Brahma for the gods- Vairaja (Brahma), Kailasa (Shiva), Puhspaka (Kubera), Manika (Varuna) and Trivishtapa (Indra).  Temples were designed on the lines of these prasadas using stones and baked bricks. The Vairaja was square, Kailasa was circular, Pushpaka was square , Manika was also circular and Trvishtapa was octagonal . These five main prasadas are divided into many sub-types.  Prasadas were also considered as Jyeshtha, Madhyama and Kanishtha or Adhama.  The auspicious and inauspicious characteristics of temples have also been enumerated. The names of a great variety of Prasadas have also been listed in this viz. Prasadas like Meru (the principal prasada, Prasada-raja), Kailasa (Hara-priya), Sarvatobhadra, Vimancchanda, Nandana, Svastika, Muktakona, Shrivatsa, Hamsa, Rucaka, Vardhamana, Garuda, Gaja, Mrgaraja, Padma and Valabhi. Various kinds of prasadas have been described for different gods  like Brahma, Shiva, Vishnu, Surya, Devi, Vinayaka , Lakshmi and other deities . The various structural components and dimensions of the prasadas or vimanas have also been explained in the text. The text also furnishes details about the features of Nagara, Dravida and Bhumija Prasadas- three of the main categories of Hindu Temple Architecture.  Details pertaining to the structural components like the base and storeys of the temples as well as characteristics of the other components of these temples like the jagati (the platform on which a temple, specially a Nagara temple is built. <ref>‘Jugnu’ Srikrishna and Sharma Bhanwar Lal (2011)  Samaranganasutradhara, (Volumes I and II). Varanasi: Chowkhamba Sasnkrit Series Office.</ref>  

This text is dated to the 11^th century CE and has been authored by Raja Bhojadeva of the Parmara Dynasty.  The Samaranganasutradhara uses the following names which are analoguous to a temple-  Deva-dhishnya  (seat), Surasthana (establishment), Chaitya (a sacred monument which is piled up like the Vedic Agni)  , Archa-griha (house of the consecrated image) , Devata Ayatana (residence) as well as  Vibudha –agara (house of God). The text narrates the details of the five Prasadas created by Brahma for the gods- Vairaja (Brahma), Kailasa (Shiva), Puhspaka (Kubera), Manika (Varuna) and Trivishtapa (Indra).  Temples were designed on the lines of these prasadas using stones and baked bricks. The Vairaja was square, Kailasa was circular, Pushpaka was square , Manika was also circular and Trvishtapa was octagonal . These five main prasadas are divided into many sub-types.  Prasadas were also considered as Jyeshtha, Madhyama and Kanishtha or Adhama.  The auspicious and inauspicious characteristics of temples have also been enumerated. The names of a great variety of Prasadas have also been listed in this viz. Prasadas like '''Meru (the principal prasada, Prasada-raja), Kailasa (Hara-priya), Sarvatobhadra, Vimancchanda, Nandana, Svastika, Muktakona, Shrivatsa, Hamsa, Rucaka, Vardhamana, Garuda, Gaja, Mrgaraja, Padma and Valabhi.''' Various kinds of prasadas have been described for different gods  like Brahma, Shiva, Vishnu, Surya, Devi, Vinayaka , Lakshmi and other deities . The various structural components and dimensions of the prasadas or vimanas have also been explained in the text. The text also furnishes details about the features of Nagara, Dravida and Bhumija Prasadas- three of the main categories of Hindu Temple Architecture.  Details pertaining to the structural components like the base and storeys of the temples as well as characteristics of the other components of these temples like the jagati (the platform on which a temple, specially a Nagara temple is built. <ref>‘Jugnu’ Srikrishna and Sharma Bhanwar Lal (2011)  Samaranganasutradhara, (Volumes I and II). Varanasi: Chowkhamba Sasnkrit Series Office.</ref>  

== मयमतम् ||  Mayamatam  ==

== मयमतम् ||  Mayamatam  ==