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The Temple As A Human Form

The Vastu Shastras describe the temple as a human form, structurally conceived in human proportions based on an 8x8 cubical grid. The human form on a subtle level is also conceived of as having eight segments. Without the ankles, knees, neck and top of head, this is the subtle proportion of the human. Human proportions in the material world are conceived of as nine segments (top of head, neck, knees, feet included) this will be discussed later. The temple form can be eight or nine segments. Generally speaking eight segments or modules are chosen because eight is the proportion or grid of Unmanifest Vastu or Brahmam.

The entire process of Absolute Space developing itself into an 8x8 cubicle structure is fascinating and profound. It is elucidated in a detailed way in Fabric of the Universe (Dr. Jessie Mercay, Dakshina Publishing, Chennai).

Dr. V. Ganapati Sthapati explains:

"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. Sthapati continues, "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."

Structures or forms arising through the orderly unfolding of Vastu becoming Vaastu are truly temples or sacred structures. Mamuni Mayan noted that when this orderly process occurs, there is a resemblance between structures. Thus a Mayonic home or temple, built using the same principles followed by Vastu itself in the natural and orderly process called Vastureva Vaastu, and the human body are significantly similar as follows:

As shown above and below, the human form like the form of a Vaastu house is made of 9 parts. These nine parts or sections form the basic structure as it emerges from 8x8 and becomes 9x9. This is the archetypical form of the human in its perfect proportion. This orderly measure can be easily confirmed by taking the measure of any persons thumb from the center of the first joint to the tip of the thumb and using that as a “body inch” or body angula and then setting it against the sections (as broken down below) of the individual body and these proportions will be found. This standard of measure and proportion is known throughout the world. For example, in Chinese Medicine, this ancient measure is used to find acupuncture points on any given individual and is known as “body inch.” The same principle applies to locating marma points (same as acupuncture points) or energy points in Ayruvedic Medicine (one of the traditional medicines of India). In fact this measure is so precise that traditional point location methods describe each point location by the number of body inches from various body land marks such as “x” number of fingers from the collarbone or from the elbow etc. This same proportion is known among artists throughout the world.

“There are a certain number of parts, with which the limbs of the temple structure are composed, just like the human form being composed of limbs such as foot, leg, thigh, torso, hand, neck, head and the hair lock. This is the orderly fashion in which Vastu becomes Vaastu in human form; for that matter all forms are born of the transformation of 8x8 to 9x9.” Dr. V. Ganapati Sthapati

 Hairlock ~ Shika  Head ~ Shikara  Nose ~ Naasi  Neck ~ Khanda  Roof ~ Prastara  Wall / Hands ~ Pada  Thigh & Leg ~ Janu  Base ~ Adhistana  Foot- Basement/

Upapeeta

The face equals one unit.

The chest and torso to the top of the pubic bone equals three units (shoulders/ collarbone to breast one unit; breast to navel one unit; navel to pubis one unit).

The pubis to the kneecap is two units (pubis to center of the thigh one unit; center of thigh to knee cap one unit). The bottom of the kneecap to the ankles is two units (knee to center of calf one unit; center of calf to ankle one unit).

The feet, knees, neck, and forehead to the top of the head are equal to one unit. (1/4 unit each)

This is the same orderly measure used to create Vaastu homes and other Vaastu structures. Temple architects also use this orderly progression to design temples that are also living forms.

In temple architecture the 9x9 progression may be used as the basic grid but most often, the pre-manifest 8x8 form is used as a temple is functioning as the unmanifest form called Vastu and the people who go there are functioning as the manifest form called Vaastu. The temple, as a living form of God, Brahmam, the quantum field is as alive as the human who enjoys its beauty. The temple also appreciates the human who partakes of the temple and appreciates it. A temple within which humans gather is the full expression of Vastureva Vaastu: the 8x8 temple and the 9x9 human coexisting in one Space. The human temple inside the built space called temple is a potent, vibrant fulfillment of Brahmam’s desire to savor its own self out of the love it has for its own beauty.

Traditional Regional Temple Forms Throughout India

Building materials

Very early temples were carved out of stone in hillsides or into stone hillocks. Many of the most ancient temples were built of burnt brick and mortar. Up to about 700 CE temples were mostly of the cut rock type. Sandstone was used in many temple constructions, but the extremely hard and beautiful granite of Tamil Nadu and South India proved to

beauty especially for the decorated monolithic pillars. The Nayak style (1600 - 1750 CE) is noted for the addition of large prakarams (circumambulatory paths) and pillared halls.

These names for temple architectural styles are only more recently given. They imply credit to the ruling dynasty. The fact is, it is the Sthapati and Shilpi who deserve the credit. These styles are derived from basic structural and design formulas that were developed by the architect. The development of these various styles in architecture 1000 years ago is the same as in modern times. The creative impulse of the architect burst forth and manifested what we now call dynasty styles. Today we have distinctive styles of architecture such as the works of I.M. Pei and Frank Lloyd Wright. In that same way there were architects who had a significant influence on the stylistic development of temples through the ages.

The failure to give the ancient architects credit for building styles in India occurred in the late 1800’s and early 1900’s when foreign scholars attempted to understand temple architecture without speaking to traditional architects. In an attempt to find more efficient methods of stone cutting, Dr. V. Ganapati Sthapati did an extensive search for new methods. In the end his findings were simple: the ancient hand hewn hammer and chisel was the most effective and efficient means for cutting the intricate and artful temple stones.

In addition, he attempted to speed up the quarrying process by experimenting with dynamite; he found that it was fruitless because the blasted stone lost its vibrancy and tone. In the end, the ancient methods used for millennium were proven to be the very best methods for working with stone.