Hindu Temple PART III

Hindu Temple PART III Dr, Uday Dokras 1 2 3 4 5 6 7  PART III Chapter I TEMPLE CONSTRUCTION Almost all of ancient India's areas have well-developed and high-quality temple architecture. It was affected by climatic, geographical, racial, historical, ethnic, and linguistic diversity, and has a distinctive architectural style. The ancient temple architecture in India may be divided into two categories: Northern Style temple architecture and Southern Style temple architecture. There is also a separate third kind that is a combination of the first two. At the same time, there are regional architectural styles such as Kerala, Bengal, Western, Eastern, and Himalayan. TO RECAPITULATE Parts of a TEMPLE 1. Garbhagriha:  It literally means ‘womb-house’ and is a cave like a sanctum.  In the earliest temples, it was a small cubical structure with a single entrance.  Later it grew into a larger complex.  The Garbhagriha is made to house the main icon (main deity) which is itself the focus of much ritual attention. 2. Mandapa:  It is the entrance to the temple.  It may be a portico or colonnaded (series of columns placed at regular intervals) hall that incorporates space for a large number of worshippers.  Dances and such other entertainments are practiced here.  Some temples have multiple mandapas in different sizes named as Ardhamandapa, Mandapa, and Mahamandapa. 3. Shikhara or Vimana:  They are mountain like the spire of a free-standing temple.  Shikhara is found in North Indian temples and Vimana is found in South Indian temples.  Shikhara has a curving shape while vimana has a pyramidal-like structure. 4. Amalaka:  It is a stone disc like structure at the top of the temple and they are common in North Indian temples. 5. Kalasha: 8   It is the topmost point of the temple and commonly seen in North Indian temples. 6. Antarala (vestibule):  Antarala is a transition area between the Garbhagriha and the temple’s main hall (mandapa). 7. Jagati:  It is a raised platform for sitting and praying and is common in North Indian temples. 8. Vahana:It is the mount or vehicle of the temple’s main deity along with a standard pillar or Dhvaj which is placed axially before the sanctum. Three key forms of temple architecture India is a land of rich and diverse art and culture. It is home to a number of architectural marvels, majority of which hold religious significance. Temples of India hold a very distinct place in the hearts of people. In layman’s terms, a temple can be defined as a place of worship. However, on a philosophical level, a Hindu temple represents much more. It is a manifestation of the entire cosmos that represents: earthly world (prithvi), the heavenly world (akasa), the astral world (svarga) and the world below (patala). Therefore, we find beautiful intricate carvings and paintings on the walls depicting not only major deities but also semi- divine deities, mythological creatures, flora, fauna and aquatic life. The temple architecture has evolved over the ages and the style changes along with the changing dynasties and region. While the architecture of Hindu temples varies from region to region, the major components of a temple remain constant:  Garbhagriha or the sanctum where the main idol of the deity is housed  Mandapa or the portico which leads to the garbhagriha, where the worshipers assemble  Shikhara that is the spire above the sanctum  Vaahan which is the mount or vehicle of the main deity of the temple Based on geographical location and architectural style, Hindu temples can be characterized under two broad categories—Nāgara, Drāvida. A third style of temple architecture – Vesara is also found. This is a hybrid style with adaptations from both Nāgara and Drāvida style. The distinction can be made by comparing the elevation of the temple, forms of the spire and the plan of the temple. Nāgara 9 Kandariya Mahadev Temple at Khajuraho, Madhya Pradesh is an example of Nāgara Style of temple architecture The plan of a Nāgara style of temple is four-sided. The garbhagriha is a perfect square whereas the whole temple plan could be oblong. The garbhagriha or sanctum sanctorum houses the image or idol of the main deity. The pathway leading to the garbhagriha is the mandapa where the worshipers accumulate to have darśana. In the early stage of temple construction, the roofs were flat (temple Number-17 at Sanchi, Madhya Pradesh). In the next stage of temple construction, the roof became pyramidal. This was the shikhara, a tall spire that tapered at the top. In the later stages, more additions were made to the temple complex. More mandapas were added and the garbhagriha was surrounded by a pradakshinapatha or a circumambulatory path. In some cases, gavaksa (windows) were added to allow cross ventilation for air and light. A Nāgara temple generally rests on a high platform- jagati over which is constructed a small platform called pitha. Rising above this is a smaller platform- adhisthana, which forms the base for the construction of superstructure of the temple. Among the other components of a Nāgara temple are – bhadra, sirsa, amalaka, bijapuraka, rathika. When it comes to decorating the temples, the Nāgara temples are intricately ornamented by carvings and sculptures. The entrance to the temple is highly decorated with images of gods and goddesses, floral and geometric designs. The bottom of the door frame depicts either dvarapalas or Ganga and Yamuna. On the walls and pillars of the temple, the sculptures and carvings depict devakanyas, apsaras, yaksas, yaksis, amalakas and floral garlands. Drāvida 10  Brihadeshwar Temple at Thanjavur, Tamil Nadu, is an example of Drāvidian Style of temple architecture The plan of a Drāvida temple, from the plinth to the finial, is hexagonal or octagonal. It is marked by terraces and are often multistoreyed. Drāvida temples are also frequently called Vimana (meaning ship or boat) and are marked by six major angas, namely: 1. Adhisthana: the base of the structure on which the superstructure of the temple stands 2. Pada: the walls which enclose the garbhagriha, with stambhas (pillars) in between 3. Prastara: the beam or the architrave that denotes the end of the garbhagriha walls and the beginning of the spire 4. Griva: the clerestory or rows of windows on the bottom of the spire and above the garbhagriha 5. Shikhara: the spire rising above the griva 6. Stupi: the finial in the shape of a stupa or kalasa that crowns the shikhara The temples of the South are adorned with beautiful and elaborate decorative elements. The carvings of the sculpture are the first thing that catches your eyes. The decoration on the prastara goes around the entire structure just like a hara (garland) would and contains miniature vimana like shrines. The sculptures depended upon the deity to which the temple was dedicated to. For example, if it was a temple dedicated to Siva, one might find figures of bull and bhutas, and if the temple was dedicated to Visnu, it could depict Garuda or eagle. There are variations in styles of vimanas (kuta vimana, sala vimana, panjara vimana) of the temple as well. Vesara 11 Lad Khan Temple at Aihole, Karnataka, is an example of Vesara Style of temple architecture While the Nāgara and Drāvida types of temples have distinctive features of their own, Vesara type adopted from both in variety of ways. Consequently, one might notice a temple with square body at various talas but shikhara and griva to be circular, octagonal or apsidal. Similarly, the body might be oblong but the shikhara and griva could be elliptical. The distinction in this style is in the plan on which the temple’s superstructure is created. It is circular, ellipsoidal or apsidal from the foundation to the pinnacle. More styles of architecture Apart from these major types of temples found in Northern, Southern and Central parts of India, there are numerous more styles of temples with their unique distinctive features. For instance, temples of Odisha have similar components as found in the above-mentioned types but with certain regional individualities. The lower part of the temple is garbhagriha upon which is the elevated roof or shikhara that is called rekha vernacularly. The mandapa in front of the garbhagriha is termed jagamohana. The temples of the hills have a unique tradition of their own. The buildings are built out of wood; also the roof is neither flat nor pyramidal but pitched. The temples, therefore, took the shape of pagodas at times.The forms maybe many but all these magnificent temples narrate a story of rich and diverse cultural heritage of India. During the Gupta period, temple architecture evolved, with the construction of a square sanctuary and a pillared porch. From the flat-roofed, monolithic temples of the beginning to the sculptured 'shikhara' of the later years, there was a steady evolution. Here we will discuss the development of Temple Architecture in India. Evolution of Temple Architecture The progression of temple architecture can be distinguished into five stages: First Stage During this stage, the temples evolved the following characteristics:  The temples had flat roofs and were square in design.  The portico was constructed with shallow pillars and was placed on a low platform. 12   The structure was built entirely on low platforms.  It is exemplified by Temple No. 17 in Sanchi, Madhya Pradesh. Temple No. 17 in Sanchi, Madhya Pradesh Second Stage  Most of the elements of the older temples were carried over into this period.  The platforms, on the other hand, were taller or upraised.  There have also been several two-story temples discovered.  A covered ambulatory path surrounding the sanctum sanctorum or garbhagriha was also added during this era.  This path was employed as a pradakshina route.  At Madhya Pradesh, for example, there is a Parvati temple in Nachna Kuthara. Parvati temple in Nachna Kuthara Third Stage  Instead of a flat roof, shikhara appeared at this point. They were, however, still extremely low and curved, almost square.  The Panchayatan temple-building style was introduced. 13   Along with the main deity's temple, the Panchayatan form of temple construction included four minor shrines. The main temple was square, but it had a rectangular shape because of an extended mandap in front of it.  The secondary shrines were situated on either side of the mandap, creating a crucified form in the ground layout.  Examples include the Dashavatar temple in Deogarh, Uttar Pradesh, and the Durga temple in Aihole, Karnataka. Dashavatar temple in Deogarh Fourth Stage  This stage's temples were nearly the same, with the exception that the main shrine became more rectangular.  Ter temple at Sholapur (Maharashtra) is an example. Maharashtra's Ter temple Fifth Stage  Circular temples with shallow rectangular projections were established at this time. The rest of the preceding phase's characteristics were maintained.  Maniyar Math in Rajgir is an example. 14 Maniyar Math in Rajgir Styles of temple Architecture Different temple architecture styles emerged in different parts of India under different religions such as Buddhism, Hinduism, and Jainism. 15 Building cranes tower over a new AYODHYA Hindu temple that was consecrated with Indian Prime Minister Narendra Modi in attendance on Monday. 16 17 What are the differences between ancient and modern Hindu temple architecture? Ancient Hindu temple architecture and modern Hindu temple architecture can differ in several aspects due to changes in architectural styles, materials, techniques, and cultural practices over time. Here are some general differences: 1. Architectural Styles: Ancient Hindu temple architecture showcases distinct regional styles such as Nagara, Dravidian, and Vesara, each with its unique characteristics in terms of layout, structure, and ornamentation. Modern Hindu temple architecture often incorporates contemporary architectural styles and techniques, reflecting a fusion of traditional and modern influences. 2. Construction Materials: Ancient temples were primarily constructed using local materials like stone, brick, and wood. Modern temples may still use these traditional materials but can also include modern construction materials such as steel, concrete, and glass. 3. Iconography and Sculptures: Ancient temples were adorned with intricate sculptures and carvings that depicted various deities, mythical stories, and religious symbolism. Modern temples may still incorporate traditional iconography but can also feature modern sculptural elements, statues, and artistic expressions. 4. Technology and Engineering: Modern temple construction benefits from advances in technology, engineering, and architectural design. This allows for more precise construction, efficient use of materials, and innovative structural elements. 18 Regarding the renovations of old temples under Prime Minister Narendra Modi's regime, specific details and updates can change over time. However, a few notable initiatives have been undertaken to modernize and enhance the visitor experience of certain temples. For example: 1. Kashi Vishwanath Temple, Varanasi: The Kashi Vishwanath Temple in Varanasi underwent extensive renovations under the "Kashi Vishwanath Corridor" project. The project aimed to provide improved accessibility, enhance facilities for pilgrims, and open up space around the temple complex. 2. Somnath Temple, Gujarat: The Somnath Temple, one of the twelve Jyotirlinga temples dedicated to Lord Shiva, also underwent renovations to improve infrastructure, visitor amenities, and enhance the overall pilgrimage experience. These renovation projects typically focus on creating better infrastructure, providing modern amenities, ensuring proper crowd management, and preserving the architectural heritage of the temples. They aim to strike a balance between modernization and preserving the cultural and spiritual significance of these ancient places of worship. It's important to note that temple renovations are often undertaken with the intention of preserving and promoting cultural heritage, improving facilities for devotees, and enhancing tourism. The specific details and scope of each renovation project can vary, and it is advisable to refer to updated and official sources for the most accurate and comprehensive information about specific temple renovations. Old Small Temples May 6, 2002: Visiting Lakhamandal, Yamunotri, Uttarkashi We went to Rishikesh and rented a Taxi for a few days to take us to Gangotri and back from there. Our first stop was Lakhamandal. Swami Ji in Delhi had told us that there are 100,000 Shiva lings found in the ground here. He also told us to visit a special Shiva linga. Normally a Shiva Linga is black and it absorbs light and does not reflect it. This particular one showed ones image. Lakhanadal with Shiva Linga 2001/ Shiva linga at Lakhamandal We saw the Siva Linga and an ancient Shiva temple that showed Shiva sits with Parvati with no clothes, just as the Indus Valley seal depicts the ascetic Shiva in the nude. 19 Yogi Seal Harappa Mohan Jodaro -Indus Valley/Shiva_Pashupati Indius Valley seal/Shiva Parvati At Lakhamandal Temple You live in your house and God lives in his. In Hinduism the idol is the manifestation of Lord and is the Lord. The idol is treated as a person and the temple is his residence. Idols can be represented by lawyers acting on his behalf in court. The idol is then treated as a minor, due to this understanding, ands that's what happened at the Ayodhya janmbhumi.Ancient temples differs from modern in following ways : Use of materials: In the older times, stone were the only material used. On the other hand, the modern temples have a plethora of options like marble, bricks to choose depending on the various criteria that determine as to which material to use. Why are temples different from homes? Temples are places where people with any mindset try to channelize it into one single focus. With various other tools like the temple structure, gopuram, yanthras and chakraa helps the people visiting temple to get more positive energy. If there are people who go to pray for self benefits there are also folks who go there for just praying for the global benefits . This helps to create a more positive vibration around the temple. Like minded thoughts always helps to spread more positive energy. These effects to get from home are tougher as we have to do all the above positive spreads single handedly. Hindu temples and regular houses serve distinct purposes and have different architectural and functional characteristics: Hindu Temple: 20  1. Religious Significance: Hindu temples are places of worship dedicated to specific deities or gods. They are constructed with the primary purpose of facilitating rituals, prayers, and offerings to the deities. 2. Architectural Design: Temples often feature intricate and ornate architecture, reflecting the artistic and cultural heritage of the region. They may have elaborately carved pillars, domes,spires (shikharas), and symbolic sculptures. 3. Sacred Space: Temples are considered sacred spaces where devotees come to connect with the divine. There are designated areas for prayer, meditation, and darshan (sacred viewing) of the deity. 4. Rituals and Ceremonies: Temples are venues for various religious rituals, ceremonies, and festivals. Priests perform these rituals according to established traditions and practices. 5. Community Gathering: Temples often serve as community centers where devotees come together for religious and cultural events. They provide a sense of community and social interaction. 6. Idol or Deity: Temples house idols or images of deities, and these idols are worshipped as manifestations of the divine. Regular House: 1. Residential Purpose: Regular houses are primarily constructed for human habitation. They provide shelter, living space, and privacy for families and individuals. 2. Functional Design: Houses are designed to accommodate the needs of daily life, with areas for sleeping, cooking, dining, and living. The architectural style varies based on cultural and regional preferences. 3. Private Space: Houses offer private spaces for families to live, relax, and engage in everyday activities. They are not intended for public worship or rituals. 4. Lifestyle and Comfort: Houses are designed to promote comfort, convenience, and functionality for the occupants. Interior design and furnishings cater to personal preferences and comfort. 5. Secular Nature: Houses are secular spaces where people engage in their daily routines, work, and family life. While religious practices may be carried out within homes, houses are not designated places of worship for the broader community. In summary, the main difference lies in their purpose and function. Hindu temples are sacred places of worship and ritual, while regular houses are residential spaces for everyday living. What is the difference between a temple and a matha in Hinduism? In Hinduism, a temple is intended primarily for the worship of Murtis (holy icons) of deities. A matha is a monastery. Its primary purpose is to be a residence for sanyasis (Hindu monks), and to meet all of their needs. Often spiritual classes are also taught at mathas, far more often than at temples. Put simply: a temple is a Gods’ house. A matha is a monks’ house. Often they are immediately adjoining each other, like here (temple on left, matha on right): 21 The difference between Buddist temples and Hindu temples architecture? Actually many people claim Buddhist Temples are converted into Hindu Temples. But it is Reverse! The Sangam Period of Hindu Worship is much before Alexander invasion, or even Birth of Buddha. The Cholas built Temples and later Buddhist converted those Hindu Temples, literature, even God Vishnu as Buddha! Emperor Asoka is a pioneer in calling a Part of Hinduism as Bhudhism! Even Literature like Thirukkural also got converted into Bhudhist or Jainist literature. The concepts of Budha is actually a Plagiarism of Upanishads! Buddha just pulled some few concepts here and there from Hinduism and made a new religion called Buddhism! Like Budha made a new Religion from Brahminical scriptures, Asoka converted all Chola Temples as Buddhist Temples. The Thirupathi was a Chola Temple (you can see Tamil inscriptions in the wall saying about Chola Kings) but they are not successful in converting the Thanjavur Temple into Bhudhist Temple, because it is a Shiva Temple! The Ananta Sayanam pose of Vishnu is converted as Sleeping Budha and even Angorvat Temples also Bhudhist converted into Budha shrine. The secret is nothing but Shiva lingam cannot be converted, but Vishnu can be easily converted into Bhudha. The Appearance of Indra made Kanishka confuse with Budha and the Beautiful Appearance of Vishnu made the Buddhist monks and Jainist call Vishnu as Budha or Mahavira! The Shiva appearance does not help them, but God Vishnu is completely exploited by the Bhudhist as Budha and Vishnu Temples are started becoming Budha Temples at one stage of Indian History! At one stage whole Thrirupathi, Kanchipuram was converted into Bhudist center during the end of Pallava period. The Mahabalipuram is a proof that Hinduism was there before Bhudism entered South India! The Cholas and Pandyas made Trade with Romans and nowhere in History, you can see a Budha Temple or Budha inscriptions before Asoka entered South India. The God Vishnu might have been converted as Jesus Christ, if we allow Sonia Gandhi to rule, like Asoka the Vatican will claim Vishnu as Christ! The Hindu dharma has Five stages, Grahastham, Vanaprastham, and Sanyasam. But Budha wiped Grahastham and abstained Sex and he said we can become Sanyasi. This made Hindus stop Procreating. This made Vatsyana write Kamasutra which is a Part of Hinduism to bring back Indians on Track to Hinduism, The Thiruvallur Wrote Kamathu Pal is the Proof that Thirukkural is a Hindu literature. There is no place for the Kama in Bhudhism. But HIndus got Kamakshi Amman Temple in Kanchipuram and KAmakaya Temple in Assam! At one stage Adi Sankara was forced to prove the world that Budha copied everything from Hinduism. And he successfully restored Hinduism in South India, and Temples like Thirupathi but Places like Afganistan is gone forever! He wrote Baja Govindam, and all the Temples of Tamilnadu is bought back to original Glory, which was completely changed! 22 Kanishka made a Huge new Budha Temple (it might be a wonder of Wold) but later Muslim invaders destroyed all Buddhist Shrines. But South India regained back it’s Hinduism so people are not ready to convert. But Buddhism is a weak religion before Muslim invaders and the Kings instead of protecting the new religion called Buddhism they converted to Islam. A convert will keep on converting his religion in the period of time, but a Stauch Believer of Hinduism will not convert to any religion at any Persuasion or Situation or even at any time in History! The Psychology a person is ready to convert from Hinduism to Buddhism will be always ready to convert to some other religion one day! So later the next day he will convert from Buddhism to Islam. That is why the Kanishka Kingdom got no trace of Buddhism in Afganistan and North West India today, but Raja Raja Chola Kingdom still got Hinduism in Tamilnadu, even Today, and Tomorrow also! Buddhism finished off Hinduism in Present Afganistan and Pakistan and it is the reason for new Religion like Islam and Sikhism to Emerge in North West India! No Big attachment to God for those people in Medival times, in other religions apart from Hinduism and Hindu gods! Some people who went out of Hinduism later became Atheist and Communists in Modern times! The Islam cannot change a small inch of Hindu Temples in South India like they wiped the so Called Buddhist Temples in North Indian places like Bihar! Tamilnadu alone is the only state which cannot be converted by any External forces! But most of Brahmins of North India and Punjab left the religion and adapted new religions. Those who became Bhudhist cannot maintain it for a long time in India, because the attachment towards Religion is very weak in other religions apart from Hinduism. The Tamilnadu Temples were symbols of Hinduism and Bhudhist converted them into Viharas and Pagodas (not Pakodas) and that is why this concept or Question is asked. There is no such thing called Bhudhist Temple and only Hindu Temples were called as Buddhist Temple for a Temporary period in Indian History! Thirupathi is Restored by Tamil kings like Somnath is Restored by Patel. The same way so many Temple which was destroyed is later converted into other religions is yet to be restored. Ram Temple, Krishna Temple, and Varanasi Temples also good examples! The Temple is not a finding of Bhudist. It is a finding of Hindu Tamil Kings. The Bhudhist do not even have any holdings in South India. But like Christianity, they converted Hindu practices and places of worship. Islam will not change a Temple or Hindu Practice. It will Destroy. But Buddhism is more like Christianity. They will convert Vishnu into Budha Easily! Christianity also does the same today what Buddhism did yesterday! They will convert Krishna into Christ, and this is a bigger threat than Islam to Hinduism actually! 23 The Angorvat in Cambodia. The first Vishnu Temple to get converted, but later Historians accepted it a Hindu Temple built by Same Cholas, for Vishnu! The Cousin brothers of Raja Raja built this Vishu Temple in parallel to the Shiva Temple built in Thanjavur, during the same period! The Changing of Vishnu into Budha in South India is the reason for asking this question. There is nothing called Buddhist Temple. All Temples anywhere in the world is a Hindu Temple only! Interesting Trivia as Usual: Indian History rewritten Nicely like Asoka as Non-Violent, Cholas as Invaders (they invaded other countries to Protect the Traders of South and South East Asia from Pirates of the Bay of Bengal and the Indian Ocean), Tipu Sultan as Freedom fighter so on Generously, by our Liberal and left brothers! Also, the communist Historians and Missionaries painted India as a land of Buddha, not as a Land of Vishnu. And they changed all Good thing related to Hinduism as Non-Hindu. British and Communist Historians even tried to convert the Great Upanishads as Non-Hindu Secular Scriptures! But Thirukkural alone got successfully converted as a Secular book, but the root source of Thirukkural and Thirvachagam called Upanishads still remains as Hindu scriptures till now in spite of Valiant efforts of western Historians! Vishnu cannot be Removed is the lesson we learn from History! Adharma will win for some time, but Dharma will be restored once again, the Essence of Baghwad Gita! 24 This is a Hindu God statue, which combines both Shiva and Vishnu in one! Buddha Said Sunyam, but Adi Sankara Said God is One! Aham Brahmasmi! How are Hindu temples different than both churches and mosques? Churches, Mosques and Synagogues are places for the faithful to congregate, offer communal worship and listen to sermons. They are totally dependent on their congregations. Hindu temples are residences of the gods embodied in the icons. The daily routine of services to the gods continue from the day of its consecration, morning to night without stop, as long as the temple exists. Irrespective of the attendance by devotees. Worship is individual being an “audience” with the deity. On special occasions communal chanting (bhajan) is arranged. Temple festivals are periodically celebrated and the free feeding of the attendees takes place. Necessary condition for building a Hindu temple depends on which type of temple you want to build. A Mandir is basically a prayer hall and can be built anywhere - even a previously used building like a church or hall or house can be renovated and converted into a Mandir. The conditions and regulations for building a Mandir are very flexible and there is plenty of room for innovation and modification. (The Mandir is based on Purāṇas) 25 An Ālaya is a temple proper and is based on the Agamas. It needs to be built on virgin land - usually outside of a town or city and preferably on a hilltop or near a water source - a river or a lake. The conditions and stages of preparation of the soil and the dimensions of the building and orientation and timings of the various stages of construction and the rituals to accompany each and every stage are complex and are strictly regulated in every detail by the Agamas. The simple diagnostic metric to determine whether a Hindu temple is an Alaya or a Mandir check for the Flagstaff (Dhvaja-stambha)- if there is one it is an Alaya if none - it is a Mandir. If it has one of these then it must conduct an annual Brahmotsava or Temple Festival for 10 days every year and numerous other very costly festivals during the annual cycle. A Mandir has no such compulsions - and can celebrate whichever festivals the committee desires in whatever manner. Because of the seriousness and expense of constructing and maintain an Alaya the Agama gives us a dire warning:– hantyārtha hī nā kartāraṃ mantrahīnaṃ tu ṛtvijam | śrīyaṃ lakṣanā hīnā tu na pratiṣṭhā samo ripuḥ || Lack of opulence destroys the patrons, lack of knowledge of the proper mantras destroys the priests, lack of the proper paraphernalia destroys the prosperity of a temple, there is no enemy like an installation. (Narada Samhita 28:19) 26 How are Hindu temples structured and what do they represent? Hindu Temple Structure & Representation How are Hindu temples structured and what do they represent? Hindu temples are sacred places of worship in the Hindu religion. They are designed and structured in a specific way, but it's important to note that there can be variations in temple architecture and practices across different regions and traditions within Hinduism. I'll provide you with a general overview. Structure: 1. Gopuram/Raja Gopuram: Hindu temples typically have an entrance gate called the Gopuram or Raja Gopuram. It is a towering structure with intricate carvings and sculptures, often depicting deities and mythological scenes. 2. Mandapa: After passing through the Gopuram, you usually enter a pillared hall called the Mandapa. It serves as a gathering space for devotees and may have smaller shrines dedicated to various deities. 3. Garbhagriha/Sanctum Sanctorum: At the heart of the temple is the Garbhagriha, also known as the Sanctum Sanctorum. It houses the main deity of the temple, usually a murti (idol) of a particular Hindu deity. The Garbhagriha is considered the most sacred part of the temple. 4. Pradakshina Path: Surrounding the Garbhagriha, there is often a circumambulation path called the Pradakshina Path. Devotees walk around this path in a clockwise direction as an act of reverence and devotion. 5. Vimana/Shikhara: The main tower above the Garbhagriha is known as the Vimana or Shikhara. It is often intricately carved and represents the cosmic mountain or the abode of the deity. 6. Mandapas and Auxiliary Structures: Hindu temples may have additional structures like smaller mandapas, halls for ceremonies, courtyards, and other auxiliary buildings within the temple complex. Symbolism and Representation: 1. Cosmic Structure: Hindu temples are designed to represent the macrocosm and the microcosm. The temple structure symbolizes the universe, with the Garbhagriha representing the cosmic center and the deities residing within it. 2. Deity Representation: The main purpose of a temple is to house and honor a specific deity. The murti of the deity is considered a physical manifestation of the divine and serves as the focal point of devotion and worship. 3. Ritual and Devotion: Temples provide a space for religious rituals, ceremonies, and communal worship. Devotees visit temples to offer prayers, make offerings, seek blessings, and engage in spiritual activities. 4. Sacred Energy: Temples are believed to be infused with divine energy, known as the shakti or prana of the deity. This energy is thought to purify and uplift those who visit the temple. 5. Spiritual Journey: The temple architecture often incorporates a progression of spaces, symbolizing the journey of the devotee from the external world towards the inner sanctum. This journey represents the seeker's spiritual progression and their quest for divine realization. 27 It's important to remember that Hindu temple architecture and symbolism can vary across different regions and sects within Hinduism. The above description provides a general understanding, but there can be significant variations in specific temple designs and practices based on local traditions and customs. How is the ISKCON temple different from other temples in India? What are its characteristics? 1. Generally speaking the ISKCON Temples are Huge and Magnificent and are built in Large & sprawling areas with Granite stones, Marble flooring and Modern amenities. 2. ISKCON is a Very Powerful organization and it has been around for a very long time since the Year 1966, and it has many Intelligent Students and Powerful people who command respect in the society. 3. The ISKCON is an International Organization set up by “Srila Prabhupada” to Propagate Krishna consciousness worldwide. 4. The Lighting effects and Acoustics are also exemplary in ISKCON temples wherever I have visited. 5. They distribute Free Prasadam to everybody who go to visit an ISKCON temple as a devotee. 6. There are ISKCON Book stalls available with Fat Books full of information and Colour pictures yet priced affordably which is a rarity these days. 7. ISKCON temples also give “Akshara Dasoha” or Free Food for school children everyday and they promote Education by giving nutrition to the needy students. 8. ISKCON Temples also conduct Chanting sessions of “Hare Rama and Hare Krishna” and also several Discourses, Bhajans and Prayers en masse on a Daily basis. 9. ISKCON Temples are more Broad minded and they Welcome people from All Religions, Castes, from Different Nations and Ethnicities without Discrimination of any kind. 10. ISKCON Temples have been set up across the Major Lord Krishna Pilgrimage centers in India like Mathura, Puri, Tirupati, etc and also in Cities like Mumbai, Delhi, Jaipur, Bengaluru, Hyderabad, Pune, Kanpur etc. Courtesy : ISKCON Temples In India | Waytoindia.com 11. Overall there are 550 plus ISKCON Temples worldwide. What are the similarities of a Hindu temple? Some of the structural similarities 1. A garva griha where the idol or the essence of a diety is supposed to be 2. A place to light diyas or candles 3. An amrit kalas and a lotus at the top of temple architecture These three are must to signify a hindu temple. According to traditions there are many similarities 1. Holy lamps 2. Holy vermilion and ash 28 3. Holy water 4. Prasadam in some form 5. The word om in most cases 6. The face of the diety directly facing the entrance of garva griha 7. The flowers, sandalwood, incense stick or myrrh 8. The lotus symbol in most cases 9. The havan platform for yagna in most cases 10. A water body near it in case of big temples for ritualistic bath 29 II The construction of temple is a complex and creative process with a blend of mathematics, logic, geography, geology, science, ecology, art, sculpting, music, light & sound, social sciences and astrology. One of the most important surviving records about the construction of the temple is in the palm leaf manuscript which explains the details of the building operation of 13th century Surya Temple at Konark, Orissa. This record shows the list of workmen, their salaries, and rules of conduct, and provides an account over several years of various building operations. The temple construction can be broadly divided into three phases; Logistics, Pre construction and Construction. Aspects in Temple Construction There are many aspects involved in constructing a temple. Acarya, director for the temple construction and shilpi (sculptor) play major role in the construction of a temple. The temple's acarya is expected to know silpa sastra although not in as much detail as a shilpi. Temple construction begins with search of a proper site. Soil and location are examined by acarya and shilpi. This is called Bhupariksha. This is followed by nagara/grama nirmana. Here, the layout of town, its size, breadth of different levels of streets, locations and sizes of facilities like water tanks are determined based on the size of town. There are different names for different sizes of towns, like grama, kheta, kharvata, durga, nagara. Then the location of temple (brahma sthana) in the town is decided. Temple is usually in the center of village so that every villager has access to it. The entire arrangement is called grama vinyasa. Then the size of temple is determined. For this, size of the image of main deity is to be known, since the size of a temple is always a fixed multiple of the size of image of main deity. Then wood/metal/stone is selected for the image. The icon has three parts, main icon (vigraha), pedestal (peetha) and platform (adhisthana or upa peetha). The tests to determine quality of stone are prescribed by the Agamas. There are three kinds of stone, male female and neuter. When hit with an iron rod if the stone produces good sound and spark, it is male and should be used for the main icon. If it produces sound but not spark it is female and should be used for pedestal. If it produces neither, it is neuter and should be used for platform. There are various standards for the relative proportions of image, gopura, prakara etc. and also the relative proportions of various parts of the vigraha. The units for measuring vigraha are tala, angula and yava. Tala is a multiple of angula and angula is a multiple of yava. More than the specific size of each unit, the multiplicity and relative sizes are important. The proportions of Head-Trunk-Arms-Legs of images are specified. The finer specifications like nose, nail, ears and their shapes are also mentioned. Generally the standard is to use dasatala (ten talas) for the height of image of male deity, navatala (nine talas) for His consort and astatala (eight talas) for bhakta. Duties of temple administration are also specified in the Agamas - organizing festivals, encourage art forms and conduct shows to encourage artists, create accommodation for pilgrims from other towns, run hospitals, regularly conducting religious discourses etc. Town planning, engineering, architecture, fine arts, civics, and many other subjects are dealt in the agamas, which relate to the various interests of people and involve them at different capacities and also direct their work towards a higher goal. 30 Steps in Temple Construction The procedure for building a temple is extensively discussed, and it could be expressed in short as "Karshanadi Pratisthantam", meaning beginning with "Karshana" and ending with "Pratistha". The details of steps involved vary from one Agama to another, but broadly these are the steps in temple construction: 1. Bhu pariksha: Examining and choosing location and soil for temple and town. The land should be fertile and soil suitable. 2. Sila pariksha: Examining and choosing material for image 3. Karshana: Corn or some other crop is grown in the place first and is fed to cows. Then the location is fit for town/temple construction. 4. Vastu puja: Ritual to propitiate vastu devata. 5. Salyodhara: Undesired things like bones are dug out. 6. Adyestaka: Laying down the first stone 7. Nirmana: Then foundation is laid and land is purified by sprinkling water. A pit is dug, water mixed with navaratnas, navadhanyas, navakhanijas is then put in and pit is filled. Then the temple is constructed. 8. Murdhestaka sthapana: Placing the top stone over the prakara, gopura etc. This again involves creating cavities filled with gems minerals seeds etc. and then the pinnacles are placed. 9. Garbhanyasa: A pot made of five metals (pancaloha kalasa sthapana) is installed at the place of main deity. 10. Sthapana: Then the main deity is installed. 11. Pratistha: The main deity is then charged with life/god-ness. Before the temple is opened for daily worship, there are some preparatory rituals to be done, like:  Anujna: the priest takes permission from devotees and lord Ganesha to begin rituals  Mrit samgrahana: Collecting mud  Ankurarpana: Sowing seeds in pots of mud collected and waiting till they germinate  Rakshabandhana: The priest binds a holy thread on his hand to take up the assignment.  Punyahavacana: Purifying ritual for the place and invoking good omens  Grama santi: Worship for the good of village and to remove subtle undesired elements  Pravesa bali: Propitiation of various gods at different places in the temple, rakshoghna puja (to destroy asuric elements) and of specific gods like Kshetra palaka (devata ruling the town)  Vastu Santi: Pacifying puja for vastu (this happens twice and this is the second time)  Yagasala: Building the stage for homas, along with vedika.  Kalasasthapana: Installing kalasam  Samskara: Purifying the yaga sala  Kalasa puja, yagarambha: Woshipping the kalasa as god and propitiating deities through fire  Nayanonmeelana, Pratimadhivasa: Opening eyes of the god-image, installing it and giving it life. Then specific worship is done to deity, as prescribed. For instance in the case of Siva, this is followed by astabandhana and kumbhabhisheka. 31 Temple Design From the proportions of the inner sanctum to the motifs carved into the pillars, the traditional temple takes its first form on the master sthapati's drawing board. The architect initially determines the fundamental unit of measurement using a formula called ayadhi. This formula, which comes from Jyotisha, or Vedic astrology, uses the nakshatra (birth star) of the founder, the nakshatra of the village in which the temple is being erected matching the first syllable of the name of the village with the seed sounds mystically associated with each nakshatra and the nakshatra of the main Deity of the temple. This measurement, called danda, is the dimension of the inside of the sanctum and the distance between the pillars. The whole space of the temple is defined in multiples and fractions of this basic unit. The Shastras are strict about the use of metals, such as iron in the temple structure because iron is mystically the crudest, most impure of metals. The presence of iron, sthapatis explain, could attract lower, impure forces. Only gold, silver, and copper are used in the structure, so that only the most sublime forces are invoked during the pujas. At especially significant stages in the temple construction (such as ground-breaking and placement of the sanctum door frame), pieces of gold, silver and copper, as well as precious gems, are ceremoniously embedded in small interstices between the stones, adding to the temple's inner-world magnetism. These elements are said to glow in the inner worlds and, like holy ash, are prominently visible to the Gods and Devas. The ground plan is described as a symbolic, miniature representation of the cosmos. It is based on a strict grid made up of squares and equilateral triangles which are imbued with deep religious significance. To the priest-architect the square was an absolute and mystical form. The grid, usually of 64 or 81 squares, is in fact a mandala, a model of the cosmos, with each square belonging to a deity. The position of the squares is in accordance with the importance attached to each of the deities, with the square in the center representing the temple deity; the outer squares cover the gods of lower rank. Agamas say that the temple architecture is similar to a man sitting - and the idol in garbagriha is exactly the heart-plexus, gopuram as the crown etc. The construction of the temple follows in three dimensional form exactly the pattern laid out by the mandala. The relationship between the underlying symbolic order and the actual physical appearance of the temple can best be understood by seeing it from above which was of course impossible for humans until quite recently. Another important aspect of the design of the ground plan is that it is intended to lead from the temporal world to the eternal. The principal shrine should face the rising sun and so should have its entrance to the east. Movement towards the sanctuary, along the east-west axis and through a series of increasingly sacred spaces is of great importance and is reflected in the architecture. A typical temple consists of the following major elements 1. an entrance, often with a porch 2. one or more attached or detached mandapas or halls 3. the inner sanctum called the garbagriha, literally 'womb chamber' 4. the tower build directly above the garbagriha. Significance of the number eight in temple design 32 Vastu Shastra describes the inner sanctum and main tower as a human form, structurally conceived in human proportions based on the mystical number eight. According to Dr. V. Ganapati Sthapati, Senior Architect at the Vastu Government College of Architecture, the vibration of the space-consciousness, which is called time, is the creative element, since it is this vibratory force that causes the energetic space to turn into spatial forms. Therefore, time is said to be the primordial element for the creation of the entire universe and all its material forms. When these vibrations occur rhythmically, the resultant product will be an orderly spatial form. This rhythm of the time unit is traditionally called talam or layam. Since every unit of time vibration produces a corresponding unit of space measure, vastu science derives that time is equal to space. This rhythm of time and space vibrations is quantified as eight and multiples of eight, the fundamental and universal unit of measure in the vastu silpa tradition. This theory carries over to the fundamental adi talam (eight beats) of classical Indian music and dance. Applying this in the creation of a human form, it is found that a human form is also composed of rhythmic spatial units. According to the Vastu Shastras, at the subtle level the human form is a structure of eight spatial units devoid of the minor parts like the hair, neck, kneecap and feet, each of which measures one-quarter of the basic measure of the body and, when added on to the body's eight units, increases the height of the total form to nine units. Traditionally these nine units are applied in making sculptures of Gods. Since the subtle space within our body is part of universal space, it is logical to say that the talam of our inner space should be the same as that of the universe. But in reality, it is very rare to find this consonance between an individual's and the universal rhythm. When this consonance occurs, the person is in harmony with the Universal Being and enjoys spiritual strength, peace and bliss. Therefore, when designing a building according to vastu, the architect aims at creating a space that will elevate the vibration of the individual to resonate with the vibration of the built space, which in turn is in tune with universal space. Vastu architecture transmutes the individual rhythm of the indweller to the rhythm of the Universal Being. The Vastu-Purusha-Mandala The goal of a temple's design is to bring about the descent or manifestation of the unmanifest and unseen. The architect or sthapati begins by drafting a square. The square is considered to be a fundamental form. It presupposes the circle and results from it. Expanding energy shapes the circle from the center; it is established in the shape of the square. The circle and curve belong to life in its growth and movement. The square is the mark of order, the finality to the expanding life, life's form and the perfection beyond life and death. From the square all requisite forms can be derived: the triangle, hexagon, octagon, circle etc. The architect calls this square the vastu-purusha-mandala-vastu, the manifest, purusha, the Cosmic Being, and mandala. The vastu-purusha-mandala represents the manifest form of the Cosmic Being; upon which the temple is built and in whom the temple rests. The temple is situated in Him, comes from Him, and is a manifestation of Him. The vastu-purusha-mandala is both the body of the Cosmic Being and a bodily device by which those who have the requisite knowledge attain the best results in temple building. In order to establish the vastu-purusha-mandala on a construction site, it is first drafted on planning sheets and later drawn upon the earth at the actual building site. The drawing of the 33 mandala upon the earth at the commencement of construction is a sacred rite. The rites and execution of the vastu-purusha-mandala sustain the temple in a manner similar to how the physical foundation supports the weight of the building.Based on astrological calculations the border of the vastu-purusha-mandala is subdivided into thirty-two smaller squares called nakshatras. The number thirty-two geometrically results from a repeated division of the border of the single square. It denotes four times the eight positions in space: north, east, south, west, and their intermediate points. The closed polygon of thirty-two squares symbolizes the recurrent cycles of time as calculated by the movements of the moon. Each of the nakshatras is ruled over by a Deva, which extends its influence to the mandala. Outside the mandala lie the four directions, symbolic of the meeting of heaven and earth and also represent the ecliptic of the sun-east to west and its rotation to the northern and southern hemispheres. The center of the mandala is called the station of Brahma, the creator of the universe. Surrounding Brahma are the places of twelve other entities known as the sons of Aditi, who assist in the affairs of universal management. The remaining empty squares represent akasha or pure space. The vastu-purusha-mandala forms a diagram of astrological influences that constitute the order of the universe and the destinies of human lives. When placed on the building site, along with astrological calculations, can the auspicious time to begin temple construction be determined. The ground breaking ceremony 34 From the diagram of the vastu-purusha-mandala the architect proceeds to develop the vertical and horizontal dimensions of the temple. The plotting graphs of the temple are divided into two main sections-the ground plan and the vertical alignment. The square, the rectangle, the octagon and the pentagon are fundamental patterns in the horizontal or ground plan. In the vertical alignment the pyramid, the circle and the curve are most prominent. The subdivisions of the ground plan include the brahmasthana (the main shrine and smaller chapels) and the mandapam (balconies, assembly halls and auditoriums). The vertical plan consists of drawings for the gopuram, entrance ways, the vimana, the structure above the main shrine, and the prakara, walls. The brahmasthana is the principal location in a temple and is where the seat of the presiding Diety will be placed. At the base of the foundation of the brahmasthana, located at the station of Brahma on the vastu-purusha-mandala, a ritual called the garbhadhana is performed called. The ritual invites the soul of the temple to enter within the buildings confines. During this ritual, a golden box is placed in the earth as part of the ground-breaking ceremony. The interior of the box is divided into smaller units exactly resembling the vastu-purusha- mandala. All the units of the gold box are first partially filled with dirt. In the thirty-two units representing the nakshatras, the units of Brahma, and the twelve sons of Aditi, the priest places an appropriate mantra in written form to invoke the presence of the corresponding Devata. The sanskrit mantras chanted by the priest are as important as the actual mandala. The mantra infuses the mandala with spiritual powers. The mantras are the subtle form of the mandala and therefore the two are inseparable. In the unit of Brahma, Ananta, a golden serpent with many raised hoods is placed. It is then surrounded with nine precious jewels or navaratna. Ananta represents the energy of God in which the universe rests in space. The nine jewels invoke the astrological influence of the nine planets and are composed of a diamond, emerald, ruby, pearl, yellow sapphire, blue sapphire, red coral, cats-eye and jade. A gold lid with the seven continents of the earth engraved on it is placed on top of the box following which the agni-hotra, or sanctification ceremony. During the agni-hotra the priest offers clarified butter, the symbol of religious principles, into the fire, which represents the mouth of the Cosmic Being. Along with the offering of clarified butter five types of grains- rice, wheat, barley, rye and dhal, are also offered with the chanting of mantras. http://www.hindupedia.com/en/Temple_Construction by samiksha — on 23/11/2018.Leave a Commenton The process of Temple Construction Below is an overview of the process. 2.1.1 Logistics Logistics mainly deals with team selection, budgeting, material sourcing and finding effective ways of transportation. 2.1.1.1 Team selection 35 The first and foremost step of a temple construction is to select the team which comprises of people from various guilds. The Sthapati who is the chief architect was selected by Karta himself. The Sthapati should have complete knowledge of the Silpa Shastras, the traditional sciences, mathematics and Puranas, paintings, music and yoga. He should be fit to direct the construction to all the other members engaged in the construction work. As a person he should be kind, joyous, and free from hatred and jealousy, truthful, with control over the senses, focused in mind, and also free from greed, carelessness and disease. Rest of the team comprising of the stone craftsmen, black smiths and other workmen for leveling and cleaning are selected by the Sthapati. Sutragrahani, the Engineer who is usually the son or disciple of the Sthapati. His role is to perform all the work assigned by the Sthapati and also he should have knowledge of layout and proportionate measurements (vertical and horizontal) by chord and rod. There are two types of stone craftsmen who work for the temple, one who is a carver and the other is the modeler. The carvers are called Takshaka. One set of Takshaka work at a quarry site. They cut the stones and send it for carving to the other set of Takshaka. The modelers are called Bardhakin, the mason or carpenter who fits and places together what the Takshaka has carved and by adding to the finished work. Apart from stone craftsmen there are people like black smiths who does iron casting, other workmen who does leveling and cleaning of ground, erecting the scaffolding, transporting the stones, managing camp and accounts. All these members are selected by Sthapati and minister together.Fig-11 is illustrative of the phases of temple construction and the role of the craftsmen. 2.1.1.2 Budgeting The budget is estimated by the Sthapati according to the scale of the temple. Generally it is the Karta or the king who bore all the expenses to acquire religious merit. Sometimes if the construction work require huge amount of money then a message is spread everywhere for donations. Traders usually donate for such work. 2.1.1.3 Material sourcing and quarrying Material sourcing is done by Sthapati. Usually the Sthapati has knowledge about all the nearby quarries from which stones can be easily transported to the construction site. Stone was considered as the most sacred building material. As per the Shastras, the temple made in brick is hundred times more worthy than wood and the temple constructed in stone is ten thousand times more worthy than in brick. Stone selected for the construction should be of even color, hard and perfect, pleasing to touch. The quality and type of stone is very important according the place where they are applied in the construction. Hard and even stones are used for the plinth, columns, beams and 36 slabs. Supple stones are used for the construction of sculptures, idols, carvings etc. The preferred stones for the construction were then quarried. These quarries were mostly located in the nearby areas only in some cases the specific stones were transported from far of distances. Stones were quarried using wooden wedges that are driven into the rocks and then wetted to cause expansion. This in turn causes the rocks to crack and are thus cut by subsequent application of pressure and dressed. Silpa Shastras classify stones according to six varieties. (Vastusutra Upanishad:The essence of form in sacred art, 2000)  Hiranyarekhika: Stone with golden curve line. It is of bad quality not to be used for image making or temple construction.  Samavarna: When the entire stone is of one colour.It is considered to be of best quality  Tamra: Very hard stone of copper red color should not be considered. When the stone is not severed from the rock it can only be used on walls for carving mythological scenes but not for main sculptures  Dhatuputita: When the stone has metal like sores of smoky color it is worst for image making.  Vajralabadha: When between the layers of the stone soft mineral lines of yellow color shine; they are always considered to be inferior. The principal stones that have been utilized temple building in Odisha are Sandstone, Laterite, Khandolite, and Chlorite. The different technical terms, in the local tongue, of the different varieties of the above stones are given below with the names of temples where they are used. [1] Sandstone:  Bagda Kanda: A coarse grained white or yellow sandstone. There are mainly two varieties available; Naraj Bagda and Mota Bagda. The former is harder and more fine grained than the later and has been used in Lingaraj, Bramheswar and Yameswar temples of Bhubaneswar. The latter has been used in the temples of Siddheswar and Nayakeswara.  Raja rania Kanda: Fine grained yellowish sandstone with following sub classes.  Lal Raja-rania,HaladiaRaja-rania,Dhala misa Raja-rania,Kaya Raja-rania. First two varieties have been used in the temples of Mukteswar, Gauri and Rajarani. Last two varieties being harder and strong have been used in lintels and architraves of several temples like Bramheswar, Mukteswar, and Rajarani etc.  Khadia Kanda:is a white sandstone resembling chalk. This variety has been found in the temples of Ananta vasudeva,Parvati and Parsurameswar etc.It is divided into following classes; Sapha Khadia Kanda,Phul Khadia Kanda,Balia Khadia  Rang Dalima: It is reddish white sandstone which is very hard for dressing. This variety is noticed at Lingaraj and Vaitala temple. It is divided into following classes;Sapha Rang Dalima,Matia Rang Dalima,Rangdalima misrita Khadia kanda Apart from Sandstone other stones that are used are Laterite or Mankada Pathara, soap stone or Khadipathara, slightly harder greenish chlorite or Kochila Pathara and harder pinkish Khandolite or Sahana Pathara or Baula Pathara and the hardest of all black granite 37 or Muguni Pathara. While Laterite has been chiefly used for boundary walls other stones are used for image making. Khandolite is used for temple construction as well. 2.1.1.4 Transportation In the past stones were transported to the temple sites mostly by water ways. Mukhya Sthapati used to work out waterways through which stones should be transported. Boats covered with planks were used for the transport of stones on rivers and canals. See Figure-12 for the probable water ways to transport stones from various hills to the temple sites of Puri, Konark and Bhubaneswar.[2] Kalasagadi and Sangi were employed to transport heavy stones on land. Poles with hanging ropes carried on shoulders are called Sangi and thick plank on rollers drawn by the elephants is called Kalasagadi (Refer Figure-13). It is suggested by K.C.Panigrahi in his book “Archaeological remains of Bhubaneswar “that in case of temples like Lingaraj where the quarry site is very near to the temple site inclined planes were made from the quarry to drag the heavy stones. 2.1.2 Pre construction Pre construction majorly deals with site selection and orientation of the temple. The Sthapati along with the Brahman place the temple with respect to the universe of which it is a part. 2.1.2.1 Site Selection The initial step of construction of the temple is the selection of land/site. According to treaties “The Gods always play where groves, rivers, mountains and springs are near and in towns with pleasure gardens.”Thus most of the ancient surviving temples were built on the mountain peaks, lush valleys, grooves, near the water body etc where the environment was considered to be suitable for the adobe of Gods. The essential necessity is the existence of water, which can be present naturally or at least as a symbolic representation. The reason of constructing a temple near the river not only has religious significance but also has functional aspect to it. In one hand it becomes easy to transport the stones via water route and in the other hand it helps in sufficing the water requirement of the members who stay encamped in the construction site. Even after completion of the temple water bodies can be used for supplying water for daily rites of deity and to the pilgrims. While examining this principle against the nine sample temples it is found that out of the nine temples Singhanath temple is situated on an island in the river Mahanadi and Durga temple of Baideswar is situated on the banks of Mahandi.Varahi temple is situated near to the banks of Prachi river and it also has several other water bodies around it. Other six temples are situated around Bindusagar. This proves the functional understanding of the Sthapatis because of which they managed to create magnificent temples in the days when there was no advanced transportation system. (Refer Figure-14) 38 2.1.2.2 Soil test Shastras classify soils in four categories; Brahmin, Kshatriya, Vaishya and Sudra and this classification is based on the color, scent and taste of the soil. Brahmin soil is white in color; it smells as clarified butter and is astringent to taste. Kshatriya soil is blood red in color, smells like blood and is bitter to the taste Vaishya soil is yellow in color, smells like alkaline earth and is sour to the taste. Sudra soil is black in color, smells like faeces and has taste like wine. Brahmin and Kshatriya soils are preferred over Vaishya soil and construction on Sudra soil was prohibited. If the Sthapati could not determine the caste from color, smell or taste then a simple test used to be done. Sesame seeds should be sown on the ground; if sprouts appear after 3, 4, 5 or 6 nights then the soil is Brahmin, Kshatriya, and Vaishya & Sudra respectively. If the seeds appear after 7 nights it belongs to caste of ‘Pisachas’ and one should not build on such soil.[3] It is understood from the above description that the soil assigned to Brahmins is sandy in character, Kshatriyas and Vaishyas are ferruginous and rocky where the former being more rocky are good for construction, soil assigned to the Sudra is the worst of all being black cotton soil. Soil filled with bones and ashes has been forbidden to be selected as a suitable site for a temple. The reason is soil made up of these things never attain solidity and homogeneity necessary for the base of a structure. Apart from this several other tests used to be conducted to determine whether the site is suitable for temple construction or not. All these tests were done to determine  Soil bearing capacity  Water retaining capacity  Consolidation  Oxygen content in the atmosphere and soil  Indication of previous habitation 2.1.2.3 Sanku Sthapana and Naga Bandhana The process of establishing the orientation of a temple binds it to the earth, the sun and their relationship at the moment of origination. The method by which orientation was undertaken was based on the ‘Indian circle method’ and was based on the use of an instrument known as ‘Sanku yantra’ or the ‘gnomon’, which is an ancient device for determining the east-west direction as well as for knowing time (Hardy, 1995) After determining the building site, it should be cleansed and purified. For marking it out with the thread, a peg (Sanku) should be fixed in the centre of the ground. In the middle of the ground a point is hollowed out to the depth of twelve Angulas and the peg made of wood or a piece of Bamboo is put into that hole. Below are the steps followed by the Sthapatis to determine the East –West axis.  Step 1: A gnomon is made by putting a specified object in the ground and by drawing a circle around it. 39   Steps 2 and 3: The place where the shadow cuts the circle, in the morning and in the evening, is marked and a line is drawn between those two points. From these points two circles are made.  Step 4: On the place where these two new circles cut each other a new line is drawn. This line represents the North – South axes.  Step 5: From the places where the North – South axes cuts the first circle two new circles are drawn.  Step 6: A line, connecting the cutting points of the two new circles, is drawn. This line represents the East – West axes. Because of the irregularity of the sun’s motion in the ecliptic, various rules have been laid down for the purpose of rectifying its variations. Time plays an important role here. In one explanation for instance: “The place where the shadow of the gnomon projects, on two successive days at the same hour, being marked, the difference between those two days, is taken as the variation of the shadow for sixty ghaticas or twenty-four hours. The interval between the times at which the western and eastern points were marked on the preceding day is multiplied by the difference of the shadow measured for one day, and the product being divided by sixty Ghaticas, the result will give the difference of the shadow for the given time; it will then be only necessary to remove the eastern or western point so far towards the south or north, according as the difference of the shadow on the second day may be in either of those directions, or as the sun is in the southern or northern solstice. (K.J.Oijevaar) (See Figure 15) Once the cardinal directions were established the process called Naga Bandhana started. It is an intricate and ancient method in Silpa Shastra, by which the temple’s direction and the auspicious moment for beginning the sacred construction is determined. This ancient science guides the architect to understand natural forces and build stable massive structures in Odisha. According to the Silpa Shastras, it is imagined that a great serpent (Naga) lies encircling every building site. Its body is divided into 8 equal positions. The serpent moves round and round in a clockwise direction .Its head lies at the eastern point of the compass in the middle of the month of the Ashwina. It takes a year to come round to the same point. The orientation of temple was decided according to the Naga’s position and position of doors was fixed accordingly. Door on the eastern side is generally considered as auspicious as the sun rises from the east and a door on the eastern side would help the first rays of sun to touch the feet of the deity. Vastu puja and other ceremonies should not be done in Sravana and Bhadra as these are rainy seasons. Building operation should be done in the light half of the month and especially in the months in which days are longer than nights. (See Figure 16)[4] When the orientations of the sample temples were examined it was found that Konark, Rajarani, Lingaraj and Singhanath face east ,Vaitala faces south and rest four temples face west. But surprisingly except Konark none of the other temples oriented towards true E-W axis(Refer Figure 17). And the possible reason of deviation from true cardinal directions could be the connection between the Nakshatra of the Karta and the Naga’s position on the auspicious day of construction determined the orientation of the temple to acknowledge the supremacy of the Karta. Another possible reason could be the sun azimuth. In Bhubaneswar, the sun apparent azimuth at sunrise is roughly estimated at lying between 62º (at the summer 40 solstice) and 118º (at the winter solstice). This means that in June, the sun rises 28º north of true east, while in December, it rises 28º south of it. It is only around the equinoxes, in September and March, that the sun rises due east. This might have resulted in deviation in determining the true cardinal directions. Other reasons that came out during this examination were the location of water bodies, hills, settlement and religious affiliation could have influenced the orientation of the temples. 2.1.2.4 Scale Model Once the orientation is established a scaled model is made by the Sthapati for Karta’s approval. 2.1.2.5 Ground Layout The Silpa text describes sixteen (Shodasha) types of temple layouts: the Square (Chaturasra); Rectangle (Ayata);Trapezium(with uneven sides – like a cart – shakata); Circle (Vritta); Elliptical (kritta vritta); triangular(Dwaja);diamond or rhombus (Vajra) ; Arrow Shara);umbrella (Chatra) ; fish (Meena);back of a tortoise(Kurma);conch(Shankha);crescent(Ardha-chandra); pot (Kumbha);sword (Khadga); and lotus (Kamala) These layouts have specific applications; and are not to be used generally. For instance: the back of a tortoise (Kurma), pot (Kumbha), conch (Shankha) and lotus (Kamala) are recommended only for Vishnu and Shiva temples. Similarly the Square (Chandura), Rectangle (Agatra), fish (Meena), diamond or rhombus (Vajra) and sword (Khadga) are recommended for Devi temples. The rest of the layouts are for other (lesser) deities. But all texts generally agree that the square or the rectangular shapes of layout are the best and most auspicious. In case the layout is rectangular, the North South dimension should be greater than East-west dimension. It is also said, it would be better if the elevation on the west or the South is slightly higher. The preliminaries for construction of a shrine include preparations of a plan, Vastu Purusha Mandala, a Yantra, with unit cells (Pada) of 64, 81 or 256 in number. As the temple is a link between the physical world of man and divine world of God, to connect them the plan of cosmos were graphically copied in the foundation of the temples called as the Vastu Purusha Mandala.The Vastu Purusha Mandala is derived from three separate words each having a specific meaning where Vastu refers to physical environment, Purusha refers to energy, power or cosmic being, and Mandala is the diagram or chart (Md Rian I, 2007). The basic form of the Vastu Purusha Mandala is the square and square is the important and ideal geometric form in Hindu philosophy, which represents the earth. All the necessary forms like the triangle, hexagon octagon and circle, etc can be derived from the square. The four sides of the square represent the four cardinal directions. The square also symbolizes the order, the completeness of endless life and the perfectness of life and death (Michell, 1988). The Mandala is actually a square subdivided into smaller squares in the form of a grid with 41 each square unit clearly marking the areas of respective gods. The most commonly used Mandala is the square divided into 64 and 81 squares. Mostly the square of the Mandala on its outer periphery are divided into 32 smaller squares, in accordance to the astrological calculation called Nakshatra, representing the constellations or the position of planets through which moon passes in its monthly path. The closed polygon of thirty-two squares is symbolical to the recurrent cycles of time as calculated by the movements of the moon (See Figure-18) The four directions lie outside the Mandala which represents the meeting of the earth and the universe as well as the movement of the sun from east to west and its rotation to the northern and southern hemispheres. The central portion of the Mandala is the place for the Brahma, the creator, and the rest squares are the position of other Gods as per their relevance. The ground plan is symbolic and is the representation of cosmos in miniature. When placed on the building site the Vastu Purusha Mandala determines the positions and orientations of the temples and the time for commencing the construction.Figure-18 illustrates Vastupurusha Mandala in temple Parsurameswar From the diagram of the Vastu Purusha Mandala the Sthapati next proceeds to develop the vertical and horizontal dimensions of the temple.  A block of stone 8 digits in length, breadth& height should be taken.  A lotus should be carved on it with 8 petals. A hole should be dug at the heart or stomach of the Vastu Naga and the stone should be placed there pointing towards the 8 cardinal points of the compass.  Of the projected height of the temple 1/3rd should be dug (in depth) in a slant towards the middle of the ground. Inside the excavation of the ground at the level of the plinth(Garbhapitha),the beautiful ground plan should be made.(Refer Figure-20)[5] After this stone cutting, carving, assembling starts to construct the temple as per the approved model. 2.1.3 Construction 2.1.3.1 Stone cutting and Carving Quarried stones are cut into pieces of suitable size. Figure-21 shows preferred size of stone. Sometimes carving is done after assembling the stone and sometimes it is done before hand considering the size and nature of the sculpture. The first step of carving is to determine the height of the main shrine. The primary measure for images is known as the Padimanam or erect postural measure. This measurement refers to the height of the image taken from the foot to the top of the head. It does not include the head dress, crown or pedestal. The erect postural measure has to be first determined and from this height, the seated height has to be determined. 42 The principle measure is determined as the rhythmic related measure to any one of the following:  The size of the lingam consecrated in the sanctum  The inner width of the sanctum  The width of the principle doorway of the sanctum  The height of the pillar  The height of the patron  The outer length of the sanctum There are three broad classifications of images: Sculpture in the round, in bold relief and representation on a plain surface. Based on the personality of the image, it may be further classified into three types;  Satvikam-calm,tranquil,ethereal,luminous,  Rajasam-energetic,heroic,mobile,  Tamasam-aggressive, violent and disruptive. For every sculpture there is a clear rhythmic grammar set out by the Shastras. This is the use of Talam or rhythmic proportions. It is this factor which makes it possible for the sculptor to create both minute and gigantic masterpieces with equal ease. There are 10 Talas in all. Each has several sub-divisions to accommodate the proportional hierarchy between man, woman, God, animal etc. (Refer Figure-22) There are six kinds of measurements including the main height of the image, its breadth, thickness and circumference or outer dimension. There is further the measurement of spaces in between the sections of the body, for example the spaces between two feet. All calculations are made using the plumb line. Traditionally the instrument used to draw these plumb lines is called “Pralamba-phalaka” The central plumb line is called the Bramhasutram.In relation to this, the shift of the various parts of the body are noted. To facilitate composition of an image, it is essential to have a grid of both horizontal and vertical axes. Thus apart from the central line in front, there is a central line running at the rear and the either side of the image. There is another line which passes through the centre of the body starting from the midpoint of the head. These five lines of measurement are called Panchasutram. (Refer Figure-23) Figure-24 illustrates composition diagram for some of the images. 2.1.3.2 Assembling Stones are then assembled together by intricate interlocking system. At times stones are carved and then assembled or first assembled and then carved according to the instruction of Sthapati. Assembling is done by Chara or scaffolding. Figure-25 shows different types of scaffolding used in the construction of Sun temple, Konark. (New lights on the Sun temple of Konark) 43 2.1.3.3 Tools and equipments The basic tools, hammer and different types of chisels are used for cutting and carving of the stones. The tools are made locally and sharpened regularly in the work yard by the blacksmiths. Many other instruments were also used for construction. [1] The names of the stone in the local tongue are taken from 44 45 REFERENCES 1. Development of Rock-cut Architecture- https://sg.inflibnet.ac.in/bitstream/10603/75375/10/10_chapter%202.pdf 2. By Rock-cut temples in India – the history of the construction-Svetlana Bukreeva& Editorial staff of portal “Underground expert” https://undergroundexpert.info/en/underground-space-use/implemented-projects/india- stepwells/ 46 Distinction between the Marble and sandstone surfaces inside the temple. BELOW also 47 Sandstone Roof of the Ramdaspeth jain temple 48  CHAPTER II Building under construction: the Armakantak Mandir The temple has been under construction since 2002,. Several more buildings are planned as part of the complex, It could be another 20 years before the entire project is completed. 49  Huge piles of stone lying around. They are partly carved with representations of apsaras, dancers and other figures. It looks like the principal form of each is roughed in at a workshop, so that the final touches can be done once the figure has been placed on the building. On the tallest tower, which stands separate from the main temple, the graceful finished carvings are surrounded by scaffolding, But the scaffolding itself is beautiful to look at, constructed of wavy logs that remind you they came from actual living trees, and bound by coarse rope. 50 51 The main temple is enormous, and so is the crane that’s lifting pieces into place. Plenty of hand tools are being used to construct the Jain temple, just like the past. 52 Machine tools are also very much in play. It’s hard to see, but they’re using a circular saw.The workmen cut and chisel stone, using both hand tools and machine-driven circular saws, brings to mind the building of Europe’s old cathedrals, or other great monuments – the pyramids, even. Except for the modern equipment and so the need for fewer laborers, the process is much the same: slowly, painstakingly building an enormous structure that takes decades to complete, and that is built for no practical purpose, but for ritual and the expression of a community’s values. 53 A corner of the tower, with scaffolding. The Jain temples are meticulously architected and ornately decorated the temple is. It’s an interesting choice, considering how important austerity is in the Jain religion. The value of austerity manifests in a number of ways – for example, extreme fasting, abandonment of clothing (not for female ascetics, though), and generally renouncing all attachments by the workers who have to follow all Jain principles of diet and living while working on the site. ( Amarkantak,Madhya Pradesh, India) https://rambulatory.com/2019/02/20/building-under- construction-jain-temple-at-armakantak/ The Architecture and Construction of a MODERN concrete Jain temple 54 Shri 1008 Shantinath Digambar Jain Mandir is located in Indapur, District Pune in Maharashtra. This is the new south pattern temple. The main attraction of this temple is 27 feet tall granite idol of Shri 1008 Munisuvrata Bhagwan. The temple is golden in colour. So it is now called as Golden Temple. J It is built in South Indian pattern with 31 feet height. It is quadrangular shaped and painted in golden yellow colour. It is made up of RCC by artists from Mahabalipuram. In the shikhar idol of Shree 1008 Mahaveer bhagwan made from Brass is placed. Shikhar is the model from shikhar of MelSitamur in Tamil Nadu. Vedi 55 It is the main part where Jain Idols are kept in a temple. Vedi is having upper arch like Parikar with carvings of Jain gods on it and lower rectangular base called as Cutney. It is totally made up of superwhitewhite marble. It is made by Tilak Marbles from Kishangarh in Rajasthan. It is carved with the lions and elephants. There are also the Yaksha and Yakshini of Shri 1008 Shantinath Bhagwan on the both sides of the vedi. There are Ashtamangal and Astapratiharya carved on cutney. The 16 Dreams of Teerthankar's mother are also created on it. It indicates the birth events of the teerthankara. The carvings are painted in various colors so that it has got a different look. Also there are 3 more vedi's present in the temple :  Manibhadra Kshetrapal Maharaj : He is known as Yaksha : The Protector.  Padmavati Devi : She is called as Yakshini.  Saraswati Devi : She is the god of Knowledge. She has a Jinvani, a Jain book in her hand. She is situated on Lotus behind the Peacock. Jain idols  Shri 1008 Shantinath Bhagwan. It is made in superwhite Marble  Shri 1008 Vasupujya Bhagwan. It ismade in Red stone.  Shri 1008 Parshwanath Bhagwan. It is made superwhite Marble stone.  Shri 1008 Mahaveer Bhagwan. It is made in Brass and Copper metal  Shri 1008 Munisuvratnath Bhagwan. It is made in Granite Stone. Manastambha It is present in front of the temple. It is 31 feet high made in Albetta marble from Makrana in Rajasthan. It is the symbol of Humbleness in Jain philosophy. It kills the Ahankaar of the devotees as soon as they see the Manastambha they become humble. 56  CHAPTER III Nagpur’s Sumpinath Jain Derasar, Ramdaspeth, Nagpur 57 Marble Flooring of new extension 58 59 60 61 62 63 64 65 66  stairs to reach flag 67 68 69  CHAPTER IX Shri Wardhaman Nagar Swetambar Jain Sangh Sambhawnath Jain Mandir 3 arches of 3 darwaza 4 mukhi mandir. Main door or Mukhya darwaza ( 1 of 3) 70 Mukhya dwar 1 of 10 71 72  Chowki Chowki Rangmandap is inside pratisthan in 11 may 2005 sanction 73  Lovely ceiling Pradakshana 74 Pradakshana 75 Garbagriha . Below pic one can see Smaller mandirs around main mandirs. 76 Tigda or 3 gadh. Birthday of Bhagwan is celebrated there. Snatra puja ABOVE 77  bell is rung on leaving temple to signify happiness to have seen the God. (BELOW PIC)Apsaras entice othergods who may be jelous of the temple deity 78 79 80 Vimana 81  kala Mang al kalash on top 82 Musicians on murals as deco elements 83 3 disciples and 2 sasandevi 1 sasandev. Gautamswami……3 mangalmurti 84  labdhisuri Nakodaji Gandhar RIGHT ABOVE The Garbagriha as seen from the rangmandap portion/ se also Trigada for doing snatrapuja 85 Bhandar to gift money 86 Chandarva painting Dary 87 88  The 2 doors of the 4 sided temple BIBLIOGRAPHY  Prasanna Kumar Acharya (2010), An encyclopaedia of Hindu architecture, Oxford University Press (Republished by Motilal Banarsidass), ISBN 978-81-7536-534-6  Prasanna Kumar Acharya (1997). A Dictionary of Hindu Architecture: Treating of Sanskrit Architectural Terms with Illustrative Quotations . Oxford University Press (Reprinted in 1997 by Motilal Banarsidass). ISBN 978-81-7536-113-3.  Prasanna Kumar Acharya (1996). Hindu Architecture in India and Abroad . Laurier. ISBN 978-81-215-0732-5.  Vinayak Bharne; Krupali Krusche (2014), Rediscovering the Hindu Temple: The Sacred Architecture and Urbanism of India, Cambridge Scholars Publishing, ISBN 978-1-4438-6734- 4  Alice Boner (1990). Principles of Composition in Hindu Sculpture: Cave Temple Period . Motilal Banarsidass. ISBN 978-81-208-0705-1.  Alice Boner; Sadāśiva Rath Śarmā (2005), Silpa Prakasa, Brill Academic (Reprinted by Motilal Banarsidass), ISBN 978-8120820524  A.K. Coomaraswamy; Michael W. Meister (1995). Essays in Architectural Theory. Indira Gandhi National Centre for the Arts. ISBN 978-0-19-563805-9.  Dehejia, V. (1997). Indian Art. Phaidon: London. ISBN 0-7148-3496-3.  Adam Hardy (1995), Indian Temple Architecture: Form and Transformation, Abhinav Publications, ISBN 978-81-7017-312-0  Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.  Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings . Indira Gandhi National Centre for the Arts. ISBN 978-93-81406-41-0.  Hardy, Adam (2007). The Temple Architecture of India, Wiley: Chichester. ISBN 978-0- 470-02827-8 89  Hegewald, Julia A. B. (2011). "The International Jaina Style? Māru-Gurjara Temples Under the Solaṅkīs, throughout India and in the Diaspora" . Ars Orientalis. 45. doi:10.3998/ars.13441566.0045.005. ISSN 2328-1286.  Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art, ISBN 0300062176  Knut A. Jacobsen; Helene Basu; Angelika Malinar; et al. (2009). Brill's Encyclopedia of Hinduism: Sacred texts, ritual traditions, arts, concepts . Brill Academic. ISBN 978-90-04- 17893-9.  Monica Juneja (2001). Architecture in Medieval India: Forms, Contexts, Histories . Orient Blackswan. ISBN 978-8178242286.  Stella Kramrisch (1976), The Hindu Temple Volume 1, Motilal Banarsidass (Reprinted 1946 Princeton University Press), ISBN 978-81-208-0223-0  Stella Kramrisch (1979). The Hindu Temple Volume 2. Motilal Banarsidass (Reprinted 1946 Princeton University Press). ISBN 978-81-208-0224-7.  Michael W. Meister; Madhusudan Dhaky (1986). Encyclopaedia of Indian temple architecture. American Institute of Indian Studies. ISBN 978-0-8122-7992-4.  George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms , University of Chicago Press, ISBN 978-0-226-53230-1  George Michell (2000), Hindu Art and Architecture, Thames & Hudson, ISBN 978-0-500- 20337-8  Michell, George (1990), The Penguin Guide to the Monuments of India, Volume 1: Buddhist, Jain, Hindu, 1990, Penguin Books, ISBN 0140081445  George Michell (1995), Architecture and Art of Southern India, Cambridge University Press, ISBN 978-0-521-44110-0  T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-208-0878-2.  Rajan, K.V. Soundara (1998). Rock-Cut Temple Styles. Somaiya Publications: Mumbai. ISBN 81-7039-218-7  Ajay J. Sinha (2000). Imagining Architects: Creativity in the Religious Monuments of India . University of Delaware Press. ISBN 978-0-87413-684-5.  Stella Snead; Wendy Doniger; George Michell (1989). Animals in Four Worlds: Sculptures from India. University of Chicago Press. ISBN 978-0-226-76726-0.  D Srinivasan (1997). Many Heads, Arms, and Eyes: Origin, Meaning, and Form of Multiplicity in Indian Art. BRILL Academic. ISBN 978-90-04-10758-8.  Burton Stein (1978). South Indian Temples. Vikas. ISBN 978-0706904499.  Burton Stein (1989). The New Cambridge History of India: Vijayanagara. Cambridge University Press. ISBN 978-0-521-26693-2.  Burton Stein; David Arnold (2010). A History of India. John Wiley & Sons. ISBN 978-1- 4443-2351-1.  Kapila Vatsyayan (1997). The Square and the Circle of the Indian Arts . Abhinav Publications. ISBN 978-81-7017-362-5. Sabha, Vedic altar, Indian temples and Buddhist Mandala: Drawings 5 WORLD RECORDS of DR Uday Dokras as World #1 90 Highest number of Literary ventures in Hindu Temple Architecture and Vastu ///Highest number of Literary ventures in the world 2000 books and research Papers, Seen here with Ms. Mansse Bhandari, COO FUN and FOOD Village Nagpur, Delhi and Uzbekisthan ENDORSEMENTS / certifications AND endorsements #1 from WORLD AGENCIES as highest writings in the world in following categories 91 AGENCY TITLE Largest Number of Religious Research papers written by an individual-world-record https://www.worldwideworldrecords.com/post/largest-number-of- religious-research-papers-written-by-an-individual-world-record-by- uday-dokras MOST ARTICLES ON DHAMMA https://www.uniqueworldrecords.com/records/posts/most-articles- on-dhamma Maximum number of books written on Hindu Temples by an Individual https://www.worldwideworldrecords.com/post/maximum-number-of- books-written-on-hindu-temples-by-an-individual-world-record-by-dr-uday- dokras#:~:text=The%20World%20Record%20For%20Maximum,The %20Worldwide%20Book%20Of%20Records. Highest number of articles and books written on Hindu Buddhist Temples of Indonesia( Including Borobudur and Prambanan) Highest number of Research Papers/ Books (Literary endeavours) published by an Individual- UNIQUE Book of world records Maximum sociocultural research papers uploaded by an individual on a single website INDIA BOOK of RECORDS [email protected] Bahujan Hitai Sangh award for writing highest number of books and Research on BOROBUDUR https://www.academia.edu/110112500/ Bahujan_Hitai_Sangh_Fetes_dr_Uday_for_highest_number_of_Boo ks_and_Research_papers_written_on_BOROBUDUR The Jain Foundation presented the Jaina Achiever Trophy to Dr Uday Dokras for his prolific writings on historiography of Jainism and Jain religious structures and contributing erudite articles to numerous Jain Journals such as Nagabharana: Recent Trends in Jainism Studies and SWASTIKA: Epigraphy, Numismatics, Religion and Philosophy https://www.academia.edu/110112203/ Jain Foundation Jaina_award_to_Dr_Uday_Dokras 92  Economic Times (20 July 2022) mentions acknowledgment of Dr. Uday’s contribution to design of New Parliament House of India vis-a-vis Dwarpals or door guardians. https://www.academia.edu/109139672/ Design_components_of_the_new_Parliament_complex_of_INDIA_i nspired_by_the_author_Dr_Uday_Dokras_work 1. https://www.worldwideworldrecords.com/post/largest-number-of- religious-research-papers-written-by-an-individual-world-record- by-uday-dokras 2. Maximum n0. of books written on Hindu Temples by an Individual- https://www.worldwideworldrecords.com/post/maximum-number-of- books-written-on-hindu-temples-by-an-individual-world-record-by-dr- uday-dokras#:~:text=The%20World%20Record%20For%20Maximum,The %20Worldwide%20Book%20Of%20Records. 3. https://www.uniqueworldrecords.com/records/posts/most-articles- on-dhamma 4. Highest number of articles and books written on Hindu Buddhist Temples of Indonesia( Including Borobudur and Prambanan 5. Highest number of Research Papers/ Books (Literary endeavours) published by an Individual………….FREE UNIQUEBook of world records 6. Maximum sociocultural research papers uploaded by an individual on a single website INDIA BOOK of RECORDS [email protected] 7. https://www.academia.edu/109139672/ Design_components_of_the_new_Parliament_complex_of_INDIA_ inspired_by_the_author_Dr_Uday_Dokras_work 8. https://www.academia.edu/110112203/ Jaina_award_to_Dr_Uday_Dokras 93 94 DIRECTOR (Technical)- https://smkfoundation.com/our-team/ 95  The HITAVADA Nagpur City-Line 2023-11-22| page 3 ehitavada.com Jain Foundation Trophy for Dr Uday Dokras The Jain Foundation presented the Jaina Achiever Trophy to Dr Uday Dokras originally from Dhantoli Nagpur currently living in Gurugram. The trophy was handed over to him by Mr. Nilesh Shah, Managing Partner of BOMBAY EMPORIUM, Nagpur and his brother Vasant Shah on his visit to Nagpur. Dr Uday Dokras who has frequently graced the news headlines for his prolific writings on historiography and religious structures has contributed erudite articles to numerous Jain Journals such as Nagabharana: Recent Trends in Jainism Studies and SWASTIKA: Epigraphy, Numismatics, Religion and Philosophy When the work on the new Parliament complex was progressing, the government had invited bids for ‘dvarpalas’ or guardian statues to be installed at the entrance of Parliament. The culture ministry’s high-power committee that finalized the building considered the Dwarpal concept of Jain Temples on which Dr Uday Dokras is a knowledgeable person. According to the Economic Times “ Historiographer and Indologist Dr. Uday Dokras has pointed out in his research that dvarapalas are an important part of temple architecture, and are specific to the temple deity. Many of them find mention in various scriptures as revered protectors of the sanctum sanctorum and are a part of the assessment for dwarpals in the new Parliament house pictured herein. Powered by e-documents 96 97 98 99 100 101 ABOUT THE AUTHOR DR UDAY DOKRAS About the Author The author has worked for 30 years in the human resources arena in India and abroad. He was Group Vice -President of MZI Group in New Delhi and has anchored Human Relations in Go Air and Hotel Holiday Inn;was General Manager-Health Human Resources at the Lata Mangeshkar Hospital amd Medical college. Is currently Consultant to Gorewada International Zoo,Nagpur and visiting Faculty at the Central Institute of Business Management and Research, Nagpur. In Sweden he anchored HR in Stadbolaget RENIA, SSSB and advisor to a multimillionaire. He has studied in Nagpur, India where he obtained degrees of Bachelor of Science, Bachelor of Arts (Managerial Economics) and Bachelor of Laws. He has done his Graduate Studies in labour laws from Canada at the Queen's University, Kingston; a MBA from USA, and Doctorate from Stockholm University, Sweden. Apart from that he has done a Management Training Program in Singapore. A scholar of the Swedish Institute, he has been an Edvard Cassel Fund and Wineroth Fund Awardee.A scholar for the Swedish Institute for 5 years. In 1984 he was involved with the Comparative Labour Law Project of the University of California, Los Angeles, U.S.A. He was also visiting lecturer there. In 1985 he was invited by the President of Seychelles to do a study of the efficacy of the labour laws of Seychelles. 102  Author of a book on a Swedish human resource law, his brief life sketch is part of the English study text book of 7 th Class Students in Sweden -“Studying English. SPOTLIGHT 7”- and 8th Class students in Iceland - “SPOTLIGHT 8- Lausnir.” RESEARCH PAPERS-320 + in Researchgate and academia.edu & scribd-Followers(readers) 2 million consolidated as on 26 th June,2023. Authors-DR Uday DOKRAS Dr. Uday Dokras B.Sc., B.A. (Managerial Economics), LL.B., Nagpur University, India Certificat'e en Droit, Queen’s University. Ontario, Canada, Ph.D. Stockholm University, Sweden, Vastu,Temple Construction and Management and Efficacy Consultant, India/Bangkor------------------------------------------------------------------------ Reviews of the Book PROJECT HUMAN RESOURCE MANAGEMENT The authors highlight the benefits of paying attention to human resources and offer success and failure factors guideline for a variety of potential practitioners and students in global project marketplace. Ms.Ylva Arnold, Head HR- Norstedts Publishers, Stockholm SWEDEN 103 From the Newspaper Times of India March 24, 2018 104 105 Iceland & Sweden- both countries use the English Text SPOTLIGHT-one of the lessons in which is about Dr Uday Dokras Prof. S.Deshpande,President of the Indian Institute of Architects, New Delhi INDIA releasing the book of Dr Dokras HINDU TEMPLES on the web in CARONA times( May 2020) 106 107 Some of the 2300 Research Papers and 522 BOOKS written by DR UDAY DOKRAS Published by The Indo Nodic Author’s Collective Sweden and Finland Dr. Uday Dokras 108  Tamil People as Traders and Voyagers The Cambodian Trilogy I.HINDU CAMBODIA II.HYDROLOGY of ANGKOR ANGKOR is known as a Hydraulic city- full or canals and river and waterways. It is this water system they say that brought the downfall of this intrinsic kingdom. But is that TRUE? III.ENTER…… THE KINGDOM THAT VANISHED- Angkor 109 Building Materials of the Hindu Temple Indo Nordic Author's collective, 2021 In depth study of how Building Materials of the Hindu Temple was used in India,Indonesia and Cambodia and India The Art & Architecture of THE GOLDEN TEMPLE COMPLEX, AMRITSAR Mathematics in Temple Designs Jain ART Book on Jain Art and Iconography 110  Jain Temples- Part I -Complete Compendium-Book I A to Z of the architecture, Design,Cosmology,Philosophy of Jain temples in Jain Temples II DEVELOPMENT OF THE ARCHITECTURE OF JAIN TEMPLES AND THE ACTUAL PHOTOGRAPHS(ORIGINAL) OF 3JAIN TEMPLES of Nagpur DWARKA- CELESTIAL MYSTERIES of the Lost CITY of KRISHNA TIRUPATI TEMPLE Book part I 111 TIRUPATI TemplePart II Vahanas- the vehicles of Hindu Gods Vahanas- the vehicles of Hindu Gods. Animals in Hinduism. demi Gods SATYANARAYAN PUJA-The Complete Compendium Satyanarayan Puja or 9 Graha Puja( a puja of 9 planets) has been performed by most Hindus not only now but for 1,000’s of years. MAHALAXMI Puja Hindu Goddess MAHALAXMI Puja 112 ARCHITECTURE OF PALESTINE Palestine my Love Palestine my Love is about the culture arts and crafts of palestine so we recognize it as a entity that is fighting for recognition of not only its legitimacy but also its cultural heritage QUINTET (5) BOOKS ON MANDALA Unravelling the MAZE of the MANDALA BOOK I First part of a two book treatise on MANDALAS. This introductory phase introduces mandalas Maze of MANDALA BOOK II Advanced Mandala routine for those who want to know more about MANDALAS 113 Mandala BOOK III on Nakshatra BOOK IV MANDALA & ARCHITECTURE The Use of Mandalas in Building Temples and Modern Buildings Book V on Mandala of the Oriental Kingdoms Islamic Architectureal Arts of of Imam Ali's 2 Shrines 114 Hindu Gods in Scandinavia Did the Hindu Gods originate or live in Scandinavia once? Find out Book on Divinity and Architecture What is divinity? How has man tried to harness architecture to create magic in space Virat Hridaya Padma-sthalam CHIDAMBARAM Temple -Celestial Mysteries This book is about a mysterious and revered tempe built by the Chola Kings of South India 2000 years ago T2- Temple Tech. A Book How are Hindu temples built and the technology that follows this craft. From A to Z Complete Guide. 115 Rendezvous with Sri RAM Portfolio of Temple Art by Srishti Dokras, Architect Special section on Hindu Foods by Karan Dokras, Product Guru Best Foot Forward The story of Footwear through the ages up to COVID times Hindu Temple Panorama-Celestial Mysteries A to Z of Temples. A total Panoramic View of design and architecture of Hindu temples in 350 page... DUOLOGY (2) on JAINISM Ativir ATIVIR means Very Brave and is the name given to Lord Mahavir the 24 th Saint(TIRTHANKAR) Contains rare translations of the Dialogue of the Mahavir with his disciples called GHANDHARVAVAD 116  Vardhaman-वर्धमान IThis book is about Jainism- written by a non- THE TRILOGY(3) on DEVRAJA The God kIngs of Khemer Book I DEVRAJ- The God Kings of Indo China-Cambodia. This is the first Book of a Trilogy that traces the growth of Hinduism in South East Asia. BOOK I I DEVRAJA- The Great Civilizations of South East Asia -HINDU Era How Hinduism reached Cambodia and how the Hindu Kings called Devraj Built these magnificent structures Devraja BOOK II I Devraja and Raj Dharma God King and Kingly Religion The HINDU Era of Great Civilizations of Khemer Book 2 of a Trilogy that traces the advent of Hinduism on South East Asian and Indo-Chinese 117 Vayu- Man's taming of the winds Man's conquest of nature spans a million years. How was wind tamed by him. Here is the full story... more VIMANA Ancient Conquests of Wind Ancient flying machines of Gods and Men(?) Were they true. Did they really exist. 7000 years ago? LIGHT HOUSES In words and pictures BOOK Architecture of the Lighthouse of Alexandria-BOOK Indo Swedish Author's Collective, 2020 The lighthouse was built on an island off the coast of Alexandria called Pharos. Its name, legend 118 Cosmology of lotus Indo Nordic Author's Collective, 2020 The Lotus is the king of the flower world but few know it as a part of creation. Find out the Cosmology. Celestial Mysteries of the Borobudur Temple Borobudur remains a mystery even today. The largest Buddhist Stupa in the world has many unanswered... Win with this new DIET Hindu tempel of India , Cambodia and Indonesia Hindu Temples dot India, Cambodia and Indonesia DISRUPTION-Book 119 Book Architecture Creativity Creativity and Architecture are linked and go hand in hand. This Book is a culmination of 16 publications that have been put together as a book Project HR Management Indo Swedish Author's Collective PROJECT HUMAN RESOURCE MANAGEMENT/'Dr UDAY DOKRAS The project sphere has not been valued appropriately Human Resource Engineering in Theme Parks. by Dr. Uday Dokras and Mansse Bhandari As theme parks evolve into facilitating for greater thrill seeking audience,the role of human res... more Health Human Resource Management Management of Health care workers in hospitals and the human resource practices to be followed in hospitals. 120 WIN DIET Lose fat-Diet and Exercise Book ONLY BODY SHAPING GUIDE YOU NEED The Act on Co-determination at Work – an Efficacy study Thesis of the Author for the degree of Doctor of Law Stockholm University, SWEDEN 1990 The special meaning of Prambanan Temple BOOK Durga Tantric goddess Development of the Garbagriha The 4 sided Hindu Mandir( temple ) plan Vahanas the vehicles of Hindu Gods 121  Book on Rajmandala TEMPLE MOUNTAIN o1 or ???? Borobudur as a Tantric Yantra Mandalification BOOK All you wanted to know about the structure of Buddhist Cosmology featured in the Borobudur- but were afraid to ask 122  Will you walk with me to Borobudur Bayon...Temple Mountain of Jayagiri Dr. Uday Vasant Dokras, gets WORLD RECORD of writing and uploading Highest number of Books and Research papers on Hindu Temples, Vastu etc VISHNU as a DESIGN COMPONENT of Angkor Design Your Destiny. Astrological Readings of Dr Uday Dokras The Orthogonal plan of Angkor Thom 123  Spiritual Technologies at Borobudur BOOK Tantricity of the PRAMBANAN GROUP of Temples BOOK Borobudur- Waiting for the Maitreya Selected Essays on some Celestial Mysteries of the Borobudur.. Book Borobodur BOOK 124  Celestial Mysteries of the Borobodur Temple Scientific Borobudur Transition between the pre and post Jayavarman II period Jayavarman II BOOK The Monarch of the Khmer Empire JAYAVARMAN II Book The Mystery of the Tantric Dwarpals or Door Guardians in the ELLORA Hindu Temple Architecture 125 Architecture and Creativity BOOK The Book of SriYantra MANDALA and ARCHITECTURE Maze of MANDALA PART II DISRUPTION Book Hill Temples BOOK 126  Borobudur---The Tantric Mystique of the Big Boro/ BOOK “Direction of the Wind “ - “Movement of the Water” Voyage of the Tantra to South East Asia The secrets of the Moolasthanam Consecration of Hindu & Other Temples The Mysterious Continent of Nusuntara Book Angkorean Tantricism Revealed Angkorean Tantricism Revealed COLLECTION of ESSAYS 127 DWARKA & Dvaravati -------Mysterious lost cities of the Hindu World of Lord KRISHNA Rama as DEVRAJA Rama as DEVRAJA in India (Bharat) and Angkor Krishna's Astonishment BOOK Krishna's Astonishment BOOK The Complete Compendium of Rock Cut Temple Architecture of Hindu Manndirs. 128  Building Materials of the Hindu Temple THE COSMOLOGY OF ANGKOR The Enigma of KRISHNA in the KINGDOM of FUNAN (Dvaravati) The Enigma of KRISHNA in the KINGDOM of FUNAN (Dvaravati) Lingapura or KOH KER The complete Story-- BOOK Erotic Sentiment in Indian Temple Sculptures Dr Uday Dokras MANDALA and Territorial Continuity in SE ASIA 129  Mandala of the Tantra Selected Essays on some Celestial Mysteries Grand iteration in Tantrism of Borobudur BOOK Grand iteration in Tantrism of Borobudur BOOK SACRED LANDSCAPE - BOROBUDUR & the COMPLEXITIES of its CONSTRUCTION SACRED LANDSCAPE - BOROBUDUR & the COMPLEXITIES of its CONSTRUCTION Detailed PROJECT 130  Complexities of the Construction work of Angkor Wat The Complex Layout and Construction Plan of ANGKOR TEMPLE )==SHORT BOOKLET(100 pages ) The Complex Layout and Construction Plan of ANGKOR TEMPLE DWARKA----- CELESTIAL MYSTERIES of the Lost Continent of KRISHNA DWARKA----- CELESTIAL MYSTERIES of the Lost Continent of KRISHNA MARCO POLOS OF ANCIENT MARITIME TRADE MARCO POLOS OF ANCIENT MARITIME TRADE The amazing Tamilians as traders and voyagers 131  Neither here nor there- but where (NUSUNTARA) The concept Nusantara is derived from two Sanskrit words: nusa meaning ‘island’ and antara meaning space ATLANTIS The lost Continent -BOOK ATLANTIS The lost Continent -BOOK THUGEE Book Before everything else, let me stress that there are 4 theories about the existence of the Thugee Prambanan Temple BOOK 132  Book V on Mandala of the Oriental Kingdom The curtain walls in Khmer Architecture Also featuring The 5 gates of Angkor Thom The curtain walls in Khmer Architecture Also featuring The 5 gates of Angkor MANDALA of BOROBUDUR Borobudur as "Bhumisambharabhudura" \book Borobudur as "Bhumisambharabhudura" \book collection of Essays 133 Shiva Bhairava worship in India and Indonesia. Featuring the Tantric Ganesh The Hidden cities of Angkor book Mandala 6 Book The destiny of Borobudur BOOK Book V on Mandala of the Oriental Kingdoms The destiny of Borobudur BOOK 134 Destiny of Borobudur(How a Hindu Shiva Temple ended up becoming the Worlds biggest monument to 2 religions Triptych Mandirs(Temples) of Angkor-BOOK A triptych is an artwork made up of three pieces or panels. Often used to impart narrative. THE TEMPLE OF Mahishasuramardini in JAVA - BOOK THE TEMPLE OF Mahishasuramardini in JAVA - BOOK The Mystic SHIKHARA ---A BOOK The Mystic SHIKHARA ---A BOOK Enter Mysterious Borobudur (REPRINT) BOOK Enter Mysterious Borobudur (REPRINT) BOOK 135  One Against Many- the Tantric Temples of Indonesia One Against Many- the Tantric Temples of Indonesia Fully explained right from how tantrcism reached Indonesia of those days.. SELECTED ESSAYS on Hindu Temples SELECTED ESSAYS on Hindu Temples The Troglodyte Architecture of ancient India part II book The Troglodyte Architecture of ancient India part II book Divinity and Royalty in the Khmer Lands Indo Nordic Authors' Collective, 2022 Divinity and Royalty in the Khmer Lands Was Angkor connected to the power of the Kings to use as a sword in their people 136  The Technology of Hindu Mandirs (temples) Indo Nordic Authors Collective, 2022 600 + pages of all info needed to understand the tech of the Hindu mandirs The Empire that Practiced HYDROLOGY book Angkor-The Empire that Practiced HYDROLOGY book Collection of the author's essays Hydrology of Angkor (BOOK) HYDROLOGY of the Hindu Mandir BOOK INAC, 2022 HYDROLOGY of the Hindu Mandir Water and the Holy Places of Hinduism 137  SACRED INDIA Collection of Essays (BOOK) SACRED INDIA Collection of Essays (BOOK) PART I-The Hindu Land of Bharat Varsh (INDIA) The Mandala of the Sunyata In Search of the Mandala of emptyness If Mandalas are circular then why are they bare and emply. In Search of the Square Mandala In Search of the Square Mandala If Mandalas are circular then is there a SQUARE?... The world OF sanskrit book 138  Khmer cities' Town Planning How were the Khmer cities planned? BOOK Chapter I-Town Planning in Khmer Times- Multiplicity of Hindu Temple Meaning BOOK Indo Nordic Authors' Collective, 2020 Multiplicity of Hindu Temple Meaning Is the Hindu mandir A Mandala A stepped Pyramid A temple Mountain. Angkor as a SPIRITUAL LIGHTHOUSE Angkor as a SPIRITUAL LIGHTHOUSE that attracted the Hindu Masses of the Khmer Kings. The Pillars and Mandapa of the Hindu Mandir The Pillars and Mandapa of the Hindu Mandir BOOK 139  Sanskrit The SINDBAD Dr Dokras( LEFT) with Dr Harish Rathi leading medical practitioner of Nagpur,India https://economictimes.indiatimes.com/news/india/govt-invites-ideas-from-artists-on-guardian- statues-for-new-parliament/articleshow/92995941.cms? utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst 140 141 142 143