The Silpa Prakasa of Odisha, authored by Ramacandra Bhattaraka Kaulacara in the ninth or tenth centuries AD, is another Sanskrit treatise on Temple Architecture.
Silpa Prakasa describes the geometric principles in every aspect of the temple and symbolism such as 16 emotions of human beings carved as 16 types of female figures. These styles were perfected in Hindu temples prevalent in eastern states of India. Other ancient texts found expand these architectural principles, suggesting that different parts of India developed, invented and added
their own interpretations. For example, in Saurastra tradition of temple building found in western states of India, the feminine form, expressions and emotions are depicted in 32 types of Nataka-stri
compared to 16 types described in Silpa Prakasa.Silpa Prakasa provides brief introduction to 12 types of Hindu temples.Other texts, such as Pancaratra Prasada Prasadhana compiled by Daniel Smith and Silpa Ratnakara compiled by Narmada
Sankara provide a more extensive list of Hindu temple types.Ancient Sanskrit manuals for temple construction discovered in Rajasthan, in northwestern region of India, include Sutradhara Mandana's Prasadamandana (literally, manual for planning and building a temple).
Manasara, a text of South Indian origin, estimated to be in circulation
by the 7th century AD, is a guidebook on South Indian temple design and
construction.Isanasivagurudeva
paddhati is another Sanskrit text from the 9th century describing the art of temple building in India in south and central India.In north India, Brihat-samhita by Varāhamihira is the widely cited ancient Sanskrit manual from 6th century describing the design and construction of
Nagara style of Hindu temples.
A Hindu temple design follows a
geometrical design called vastu-purusha mandala. The name is a composite Sanskrit word with three of the most important components of the plan.Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.
Vastupurushamandala is a yantra.
The design lays out a Hindu temple in a symmetrical, self-repeating
structure derived from central beliefs,myths, cardinality and mathematical principles.
The four cardinal directions help create the axis of a Hindu temple, around which is formed a perfect square in the space.Available. The circle of mandala circumscribes the square. The square is considered divine for its perfection and as
a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop,rainbow). Each supports the other.
The square is divided into perfect 64 (or in some cases 81) sub-squares called padas.Each pada is conceptually assigned to a symbolic element,sometimes in the form of a deity. The central square(s) of the 64 or 81 grid is dedicated to the Brahman (not to be confused with Brahmin), and are called
Brahma padas.The 49 grid design is called Sthandila and
of great importance in creative
expressions of Hindu temples in South India, particularly in ‘‘Prakaras’’.The symmetric Vastu-purusa-mandala grids are sometimes combined to form a temple superstructure with two or more attachedsquares.The temples face sunrise, and the entrance for the devotee is typically this east side. The mandala pada facing sunrise is dedicated to Surya deity (Sun).
The Surya pada is flanked by the padas of Satya (Truth) deity on one side and Indra(king of gods) deity on other. The east and north faces of most temples feature a mix of gods and demi-gods; while west and
south feature demons and demi-gods related to the underworld.
This vastu purusha mandala plan and symbolism is systematically seen in ancient Hindu temples on Indian subcontinent as well as
those in southeast Asia, with regional creativity and variations.
Beneath the mandala’s central square(s) is the space for the formless shapeless all pervasive all connecting Universal Spirit,the highest reality, the purusha.This
space is sometimes referred to as garbha-griya (literally womb house) – a small,perfect square, windowless, enclosed space without ornamentation that
represents universal essence.
In or near this space is typically a murti (idol). This is the main deity idol, and this varies with each temple. Often it is this idol that gives
the temple a local name, such as Visnu temple, Krishna temple, Rama temple,Narayana temple, Siva temple, Lakshmi temple, Ganesha temple, Durga temple,Hanuman temple, Surya temple, and others.
It is this garbha-griya which devotees seek for ‘‘darsana’’ (literally, a sight of knowledge,or vision).
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