Mandira (मन्दिर) refers to “temples”, as discussed in chapter 6 of the
Viṣṇutilakasaṃhitā: a Pāñcarātra text comprising 3500 Sanskrit verses
covering the typically “agamic” subjects which are being narrated by Brahmā
to a number of sages.—Description of the chapter [mandira-nirmāṇa]: This
chapter treats first of the considerations that must be satisfied while
building a temple [mandira] (1-341), then of the rules for furnishing the
finished building with icons and other finishing touches (342-479). In
undertaking to construct a temple [mandira], the first thing to do is to
select a properly qualified Ācārya-director (3-10). [...] There are various
typologies of temples, according to materials used, according to numbers of
storeys, etc. (176-205). [...] As for other items in the Mandira [temple
compound]—Garuḍa, the balipīṭha, the dhvajastambha, the kitchen, the
storerooms, the treasury, wardrobes, etc. these are each briefly mentioned
(480-493).
2 Kashyapa Shilpa-shastra
This page relates ‘Temple Architecture (Prasada or Vimana)’ of the study on
the Kashyapa Shilpa-shastra (in English) with special reference to the
characteristics of Prakara (temple-components), Mandapa (pavilions) and
Gopura (gate-house). The Silpa-Sastras refers to the ancient Indian science
of arts and crafts, such as sculpture, architecture and iconography. This
study demonstrates the correlatation between ancient Indian monuments (such
as temples and sculptures) and the variety of Sanskrit scriptures dealing
with their construction.
3. Temple Architecture (Prāsāda or Vimānā)
A temple is a link between man and God, between the materialistic world and
the spiritual world, between the actual and the ideal. The word devālaya
which is frequently used to denote a temple actually means “the house of
God”. Devaprāsāda is another word to denote a temple.
Temple architecture in India is symbolic of the spiritual outlook of its
people. It is the principal, visible and material record of the invisible
and spiritual evolution of our civilisation. The temples that stand today
are a testimony of our rich architectural heritage.
The various terms that denote a temple are Prāsāda, Vimāna, Devagṛha,
Devāgāra, Devāyatana, Devālaya, Devakula, Mandiram, Bhavana, Sthāna and
Veśma. Of these the first two are the most commonly used terms. Prāsāda,
means a palatial place of gods that are serene wherein the minds of men
experience delight (Śilparatna, XVI. 1):
devādīnāṃ narāṇāṃ ca yeṣu ramyatayā ciram |
manāṃsi ca prasīdanti prāsādāstena kīrtitāḥ ||
In other words, the prāsādas by their beauty, please (prasīdanti) the minds
of gods and men.
Vimāna is another synonym for a temple which is often used to denote the
upper structure of the garbhagṛha in the temple and generally it has
remained as one of the most accepted names to designate a temple as a
whole. Mayamata (XIX. 10-2)[1] mentions the term vimāna while enlisting the
various synonyms to denote a temple.
Prāsāda Styles
Indian Temple Architecture is classified into three broad divisions of
styles namely, Nāgara, Drāviḍa and Vesara. Standard norms of judgement of a
particular branch of art or literature, science or philosophy are evolved
only after a good deal of progress in that branch. Similarly, different
styles of architecture could have only evolved after a good deal of
progress in the architecture itself.
Indian architecture in its initial stages of development did not bother
about classification of styles like Drāviḍa etc. The Śulbasūtras and the
manifold injunctions in the various Sūtra literature, regarding vāstu, the
layouts, proportionate measurements and materials, etc. formed the guiding
manual for the Sthapatis and the Sthāpakas of those times. As time advanced
and the architecture took an independent course, separate treatises in this
field were written by the great Ācāryas. Brahmā, the Creator of the
Universe is said to be the first Ācārya. This knowledge was passed on to
Viśvakarmā, the divine architect. The Vāstu-vidyā gave rise to two distinct
styles viz., Drāviḍa and Nāgara. The former belonging to the school of Maya
flourished in the south of the Vindhyās and the latter rising from the
school of Viśvakarmā had its foot-hold in the northern India.
There has been a lot of discussion on the import of these styles of Indian
architecture. According to Dr. P.K. Acharya, “From all the literary and
epigraphical instances given (above), it appears that certain
expressions–Nāgara, Vesara and Drāviḍa are primarily geographical. But the
precise boundaries of the Nāgara like those of Drāviḍa and Vesara, is not
traceable.”
In some of the texts on the Vāstuśāstra the temple is described on the
basis of the shapes of the buildings. Accordingly, Nāgara styled temples
are quadrangular in shape or āmalaka shaped; the Vesara circular in shape
and the Drāviḍa octagonal or pyramid shaped.
(a) Nāgara Style: The Śikhara in this type of temples has a sloping curve
as it rises and is topped by an āmalaka shaped disk and a kalaśa. The
śikharas are usually built on raised platforms called jagatis. There are
many sub-varieties in this style depending on the shape. Later Nāgara
temples featured multiple śikharas. The garbhagṛha is located directly
under the tallest tower. All the north Indian temples are of this style.
The Kandariya Mahadeva temple at Khajuraho is said to be one of the best
examples of this style of architecture.
(b) Drāviḍa Style: Unlike the Nāgara temple, the Drāviḍa style temples
are enclosed within prākāras. The outer prākāra is endowed with an entrance
gateway or the gopura. The shape of the main temple is known as Vimāna.
This Vimāna is like a stepped pyramid with various storeys rising up
geometrically. Only the superstructure over the grabhagṛha had the vimāna
structure. Multiple śikharas rising together as a cluster was not popular
in Drāviḍa style. All the south Indian temples built under the rule of the
Pallavas, Pandyas, Cholas and the early Chalukyas, are of this style.
(c) Vesara Style: The temples of the Deccan region, which incorporated
both the styles of Nāgara and Drāviḍa are categorised under the Vesara
style or mixed style. This hybrid style became popular after the mid 7th
Cent. A.D during the reign of later Chalukya rulers, Rashtrakutas, Hoysalas
and the Vijayanagara kings. Durga temple in Aihole is a classic example of
this style.
vimānaṃ bhavanaṃ harmyaṃ saudhaṃ dhāma niketanam |
prāsādaṃ sadanaṃ sadma gehamāvāsakaṃ gṛham ||
ālayaṃ nilayaṃ vāsamāspadaṃ vastu vāstukam |
kṣetramāyatanaṃ veśma mandiraṃ dhiṣṇyakaṃ padam ||
layaṃ kṣayamagāraṃ ca tathodavasitaṃ punaḥ |
sthanamityevamuktāśca paryāyākhyā hi paṇḍitaiḥ || Encyclopaedia of Hindu
Architecture, by P. K. Acharya Oriental book centre, Delhi, 2004
4 Temple architecture is often compared to the human body,
symbolizing a deep connection between the physical and spiritual realms.
Ancient texts describe the human body as a temple, where the soul resides
as its deity. Each part of the temple mirrors a corresponding part of the
body, emphasizing the sacred nature of both.
Entrance Tower (Gopuram): The towering entrance symbolizes the feet,
representing the foundation and the initial step toward the divine journey.
Just as the feet support the body, the entrance invites devotees into the
sacred space.
Flagstaff (Dhvaja-Stambha): This vertical structure signifies the
genital organ, reflecting the creative energy and the potential for
spiritual growth and transformation.
Assembly Hall (Ranga-Maṇḍapa): The spacious hall represents the belly,
symbolizing sustenance and communal gathering, where devotees come together
for rituals and celebrations.
Porch (Antarāla or Śukanāsī): This transition area connects the outer and
inner sanctums, symbolizing the heart, the center of emotions and devotion,
bridging the material and spiritual worlds.
Sanctum (Garbhagriha): The innermost chamber of the temple represents the
head, housing the deity and symbolizing the intellect and spiritual focus.
Seat of the Deity (Peetha): The exact location of the deity aligns with the
center of the eyebrows, the point associated with the third eye or
spiritual insight, indicating the ultimate goal of enlightenment. This
metaphor reflects how temples are not just architectural structures but
embodiments of the divine human form, guiding devotees toward
self-realization and spiritual awakening.
5 The Hindu temple, as we know it today, is not 5,000 years old.
In the earliest times, people did not worship their deities in enclosed
sanctuaries or with sculpted images. Instead, the divine was experienced
directly in nature—trees, animals, rivers, mountains, and rocks all served
as sacred forms. It was only around 2,000 years ago that we began to see
the first sculptures of Hindu gods in Mathura. Interestingly, images of
Shiva, Vishnu, and the Goddess also appear on Kushan coins from the same
period, though scholars debate whether these are truly Hindu deities or
representations shaped by Zoroastrian and Greek influences.
By about 1,800 years ago, around 200 AD, Mathura sandstone
sculptures clearly show Hindu deities in recognisable forms. Here we see
Shivalingas, sometimes with faces carved on them (Mukhalingas), as well as
images of Vishnu, Krishna, and Balarama. These were not yet housed inside
temples as we know them. Instead, they were placed in sacred groves, often
near rivers, and worshipped in open spaces, much like earlier natural
shrines. The next step was to enclose these images within structures. At
Bhitargaon in Uttar Pradesh, dating to around 500 AD, we find a brick
temple where images were placed inside a sanctum. At Nachna in Madhya
Pradesh, a Shiva temple was built that attempted to replicate the ecosystem
of the Himalayas—its roof shaped like a mountain, and river goddesses Ganga
and Yamuna carved at the doorway. At Deogarh near Jhansi, we find one of
the earliest Vishnu temples made entirely of stone. The temple features
iconic images of Vishnu reclining on the serpent Ananta, and Vishnu riding
Garuda with four arms, panels from the life of Rama and Krishna. These are
the beginnings of classical temple architecture.
This phase was followed by the era of monumental rock-cut temples
after 600 AD. Here, the art became truly gigantic. The caves of Ellora and
Elephanta, the temples of Pattadakal in Karnataka, and the rock-cut
carvings of the Shore Temple at Mamallapuram near Chennai all showcase
grand depictions of Shiva and Vishnu. These were not just places of worship
but also declarations of royal power, carved directly into mountains and
cliffs, as if to demonstrate that kings could shape the very earth. By the
8th century, we see even more ambitious projects. At Ellora, the
Kailasanath Temple was carved out of a single rock to resemble a mountain
palace for Shiva. This period also gave rise to freestanding temples, built
stone by stone rather than carved from rock. These appear in Hampi and
Pattadakal in Karnataka, as well as in Kanchipuram, home to the famous
Kailasanath Temple. The freestanding temple marks the shift from
experimental forms to enduring architectural styles. By the 10th century,
temple architecture exploded in complexity: curvilinear ‘nagara’ styles of
the north, and pyramidal ‘vimana’ style of the south. Temples were built on
Tantric mandalas, functioning not only as houses of gods but as centres of
ritual power. Within them, priests performed Tantric rites to attract
wealth, protection, and fortune. These early temples were very different
from the devotional shrines most of us are familiar with today. They were
closer to ritual laboratories, where geometry, art, and mantra combined to
create zones of cosmic energy.
Later, with the rise of the Bhakti movement, temples changed once
again. The focus moved from secret Tantric rituals to public participation.
People were encouraged to sing, dance, and actively worship. This is when
great Vaishnava temples such as Jagannath in Puri and Srirangam in Tamil
Nadu became popular. Here, the temple became the people’s house of God.
Contrary to popular belief, many temples were built in India in the
centuries immediately after the attack on the Somnath temple by Mahmud of
Ghazni in the 11th century. The famous Khajuraho temple complex, for
example, was built in the 11th century. It was later abandoned when the
trade route shifted. The Lingaraj temple complex of Bhubaneswar was also
built around this time. Mansingh, Akbar’s Rajput general, built the
Govindraj temple at Vrindavan in the 16th century. It was later vandalised
by Aurangzeb in the 17th century. When Muslim warlords did attack temples,
people often shifted to small portable images of deities housed in private
homes or relocated to safe haveli-style residences in Rajasthan. In Bengal,
during the 17th century, new terracotta temples dedicated to Krishna
appeared, reflecting both local artistic traditions and devotional needs. A
fresh wave of temple construction came with the decline of the Mughal
Empire and the rise of the Marathas. Leaders such as the Bhosales and the
Holkars built Hindu temples, especially dedicated to Rama, in places like
Nashik, Gwalior and Kashi. Thus, the Hindu temple has not remained static
for millennia. It has constantly evolved and survived all kinds of
challenges and shifts in philosophies.
6 Tirumular in *Tirumandiram *celebrates the human body even
when he states that the nature of the human body is transitory. Tirumular
speaks of Body as a bag (Kaayapai) which contains many ingredients. The
body contains within it another bag that is a Maya bag. When the air or
jiva leaves the body like a thief the Maya bag becomes like dust.
The analogy of air leaving the body bag to a thief secretly entering the
house and leaving swiftly without the knowledge anybody is startling down
to earth. It is utilizing common day happenings to drive home some great
truth, in this context it is teaching the devotee the truth that air or
jiva may leave the body anytime. Thus Tirumular like any other enlightened
being disown body in favor of the spirit. (Verse 2122, Tantra 8) (332). The
verse quoted above conveys an idea that is communicated by another Siddha
song, "Kaayamae Idhu Poiyada/ Verum Kaatradaitha Paiyada" (The human body
is just an illusion and it is just an air-filled bag, empty and useless),
which is often cited by religious leaders to teach their followers to
disown their body in favour the spirit stating that the body is transitory.
Tirumular after attaining the supreme realization that the body is the
temple of God began to think in this line "Kaayamae Idhu Meiyada/ Adhil
Kannum Karuthum Vaiyada" (The body exists in reality, so take the utmost
care to maintain it carefully).
Tirumular in Tirumandiram presents Human heart as the abode of God. He
states that human beings are unaware of this fact because of the power of
Maya or Pasam (attachment). He stresses on absolute concentration as the
prerequisite to reaching God. Concentration is possible only when the five
senses are controlled and turned inward. Thus Tirumular in Tirumandiram
advocates interior journey as a means to realize one’s real Self or supreme
realization. The ideas stated above are communicated by Verse 140 in
Tantra 1 of *Tirumandiram*:
*Surely then the senses five under your control come,*
*Surely then the senses five back to their native*
*Homes retreat,*
*Surely then the senses five turn inward*
*When the soul meets the Lord. *(22)
Tirumular in Verse 190, Tantra 1 of *Tirumandiram *states that Lord Siva is
the Lord of this human body and adds that the body is an empty vessel
without God. God fills the vessel with his spirit and hence he comes to
know as "Vengada Nadan" (Lord of the Body). God himself is the player
inside the human vessel and when the play of life gets over departs leaving
the human body which henceforth is called a corpse. God is also called
“Kuuthan” (Player). The word ‘Kuuthadi’
in Tamil Tradition meant “Player”. Thus God is seen as the one who plays
the dual role – the Playwright and the Player. The implication of this
verse may that Human Body without the indwelling spirit is nothing.
7 Hence, TEMPLE AND HUMAN BODY HAVE SIMILAR ASRCHITECTURE AND
WORSJIP OF GOD FOR SELF REALISATION IS ACHIEVED THROUGH THE BHAKTHI IN THE
TEMPLE; SO AS WE KEEP OUR BODY CLEAN, KEEP TEMPLE SO CLEAN’ ‘ AS MAJORITY
MISUSE THEIR BODIES, SO INSULT THE TEMPLES TOO.
K RAJARAM IRS 18526
On Mon, 18 May 2026 at 06:05, Markendeya Yeddanapudi <
[email protected]> wrote:
> Sir,
> Please respond
> YM Sarma
>
>
>
> --Absolutely! Let’s imagine this as a rich, philosophical, and emotional
> conversation set in a timeless Tamil Nadu temple courtyard. Each character
> brings a unique voice: spiritual devotion, theological reasoning, and
> political ambition. I’ll make it engaging, with a mix of depth, warmth, and
> subtle tension.
> ------------------------------
> *Title: “The Courtyard of the Eternal”*
>
> *Characters:*
>
> -
>
> *You* – Observer, concerned about ecological and spiritual
> deterioration.
> -
>
> *Alwar Saint* – Poet-saint, devotee of Vishnu, expresses emotional
> devotion (bhakti).
> -
>
> *Nayanar Saint* – Shaiva devotee, fiery, grounded in action and
> devotion.
> -
>
> *Adi Shankara* – Philosopher, Advaita Vedanta, emphasizes unity of
> Self and Brahman.
> -
>
> *Ramanujacharya* – Philosopher, Vishishtadvaita, emphasizes devotion
> as path to liberation.
> -
>
> *Politician* – Modern, pragmatic, wants to ban Sanatana Dharma for
> political gain.
>
> ------------------------------
>
> *[Scene: The courtyard of an ancient temple in Tamil Nadu. The monsoon has
> just ended, and the air is rich with the scent of wet earth and flowers.]*
>
> *You:* (looking around) The air here still speaks, even with the noise of
> modern life. But I feel it slipping… the connection, the Divine
> conversation.
>
> *Alwar Saint:* (smiling) Ah, my child, the Lord sings in every raindrop,
> in every leaf. When you lose your ear for the music, you forget your own
> soul. Bhakti is listening—listening to God in the wind, in the temple, in
> your own heart.
>
> *Nayanar Saint:* (leaning forward, intense) And yet, devotion must act!
> Temples are not just for songs—they are for dharma, for justice, for
> protecting life. To destroy the earth is to destroy the temple itself.
>
> *Politician:* (interrupting, impatient) With all respect, saints, we live
> in a modern democracy. Traditions like Sanatana Dharma are outdated. People
> must move forward. Religion divides, it is politically inconvenient.
> Perhaps it is time to ban it.
>
> *You:* (shocked) Ban it? These are not just beliefs—they are the very
> roots of culture, music, architecture, ethics, and even the ecology of this
> land!
>
> *Adi Shankara:* (calmly) My friend, understand first. Dharma is not
> merely ritual; it is the recognition of the Self in all things. The outer
> forms—temples, ceremonies—are signs pointing inward. Destroy the form, but
> the truth persists. Still, the world suffers when forms are abused or
> forgotten.
>
> *Ramanujacharya:* (gently, but firmly) And yet, forms matter. Bhakti is
> relational. God in a temple, God in a song, God in the devotee—this
> communion shapes the soul. You cannot “ban” a living devotion. You may
> suppress the body, but the heart will sing.
>
> *Alwar Saint:* (pointing to the trees) Even today, the air, the forests,
> the rivers—they remember the songs of the ancients. You cannot legislate
> against nature.
>
> *Nayanar Saint:* The very act of destroying dharma is violence. It
> poisons the mind and the land. Tamil Nadu’s mountains, rivers, and temples
> are witnesses. To harm them is to harm oneself.
>
> *Politician:* (defensive) But religion has been misused! Politics uses
> it. People suffer in the name of God.
>
> *You:* Misuse does not erase the essence. Look at the temples—they teach
> compassion, devotion, respect for nature. That is the real power of
> Sanatana Dharma. Without it, the air itself becomes a “Depression Berg.”
>
> *Adi Shankara:* Wisdom lies in seeing unity. Brahman is the substratum.
> Politicians come and go. They may disrupt rituals, but the cosmic order
> endures.
>
> *Ramanujacharya:* And devotion ensures the cosmic order is felt and
> lived. Teach, guide, preserve—not ban. That is dharma.
>
> *Alwar Saint:* (singing softly) Even one heartfelt song can awaken the
> world.
>
> *Nayanar Saint:* And even one act of devotion can heal a poisoned river.
>
> *Politician:* (hesitates, looking around) Perhaps… perhaps I have been
> too hasty. But what of modernity? Progress?
>
> *You:* True progress is not destruction. It is listening—learning from
> the past, honoring it, and weaving it into the present. The temples, the
> music, the forests—they are lessons in how to live.
>
> *Adi Shankara:* (nodding) Then let wisdom and devotion guide you. Not
> fear, not power.
>
> *Ramanujacharya:* Let dharma breathe. Let the songs continue.
>
> *Politician:* (softly, almost to himself) Maybe… banning cannot touch
> what truly lives in the heart.
>
> *[The saints smile as a cool monsoon breeze rustles the leaves. Somewhere,
> a temple bell rings. The conversation fades into the sound of rainwater
> trickling into the temple tank.]*
> ------------------------------
>
> This conversation blends philosophy, devotion, and ecological
> consciousness while letting the “politician” represent modern threats. Each
> saint conveys their perspective: emotional (Alwar), action-oriented
> (Nayanar), philosophical (Shankara), devotional-ethical (Ramanuja).
>
> If you like, I can also *rewrite it as a dramatic, stage-ready script*,
> giving each character more distinct voice and poetic dialogue that could
> almost be performed as a play or recitation in a temple hall.
>
> Do you want me to do that next?
> *Mar*
>
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