de la toponímia a la hidronímia
2. La hidronímia
The Agama Shastras say that the Temple structure is a mini cosmos. The Temple entrance should face east – the direction of the Rising Sun. The ideal Temple should have at least one entrance, an Ardh-Mandapa, a Mandapa or a large hall, a Garba-Griha and a Shikara directly above the Garbha-Griha. The design comprises:
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1. A Towering structure called the Rajagopuram (pyramid in pattern) on the Eastern side at the entrance to the Temple.
2. A Dwajasthamba (pillar) in line with the main shrine immediately after the Rajagopuram.
3. Near the Dwajasthamba is a lotus shaped pedestal for offerings, called the Balipeeta.
4. A large Mandapa or hall for assembly of devotees.
5. The passage through the Mandapa leads to the “Garba-Griha” (womb chamber) where the Main Deity is installed.
6. Ardha Mandapa adjacent to the main Mandapa and before the “Garba-Griha”.
7. The Main Deity faces East word inside and the Garba-Griha is located inside a structure or sanctuary called the “Vimana”.
8. The pyramidal or tapering roof over the Deity is called “Shikara” or “Gopuram” which is a dome.
9. There is a circumbulating passage or “Pradakshira Patha” around the Garba Griha and Mandapa.
The above design applies both to the “Shiva” and “Vaishnava” Temples with small variations.
Architecture is otherwise called “Shilpa” and the one who constructs the Temple is called a
“Sthapathi”. The “Sthapathi” is an expert in Temple architecture and idol creation. The procedure of worship in the Temple is known as “Agama Vidhi”.
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The Temple is not only a home of God but his representation in the structure of temple which resembles human form. The symbolism of the temple plan and elevation suggests that the garbhagrha represents the head and the gopuram the feet of the deity. Other parts of the building complex are identified with other parts of the body. For instance, the sukhanasi or ardhamantapa (the small enclosure in front of the garbhagrha) is the nose; the antarala (the passage next to the previous one, leading to passage next to the previous one, leading to the main mantapa called nrttamantapa) is the neck; the various mantapas are the body; the prkaras (surrounding walls) are the hands and so on. Vertically, the garbhagrha represents the neck, the sikhara (superstructure over the garbhagrha) the head, the kalasa (finial) the tuft of hair (sikha) and so on.
Another interesting symbolism is that when a devotee enters the temple, he is virtually entering into a mandala and therefore participating in a power-field. His progress through the pavilions to reach the sanctum is also symbolic. It represents the phases of progress in a man's journey towards divine.
In accordance with this scheme, the architectural and sculptural details vary from phase to phase ; gradually leading him to the experience, which awaits him as he stands in front of the deity in the in the sanctum. This is explained in the following way.
On reaching the main gateway, a worshipper first bends down and touches the threshold before crossing it. This marks the transition from the way of the world to the world of God. Entering the gateway, he is greeted by a host of secular figures on the outer walls; representing the outward and diverse concerns of man.
As he proceeds, the familiar mythological themes, carved on the inner walls attune his attitude. The immediate pavilion and vestibule near the sanctum are restrained in sculptural details and decorations; these simpler motifs and the prevailing semi darkness help the worshipper to put aside distractions and try focusing his attention on the sanctum. Finally the shrine, devoid of any ornamentation, and with its plainly adorned entrance, leads the devotee further to tranquility, to fulfillment and to the presence of God.
The garbhagriha is usually surrounded by a circumambulatory path, around which the devotee walks in a clockwise direction. In Hindu and Buddhist thought, this represents an encircling of the universe itself.
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Positions and orientations of the temples
The following plan indicates the position of gods and goddesses in an 81 celled temple-site. This plan relates to construction of a Vishnu temple.
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Atri Samhita prescribes that the central Brahma bagha must be divided into four equal parts and the main shrine facing east must be located on the North-western side thereof. The shrine must have five sanctums, to house five forms of Vishnu;
and the shrine should have three stories.
The seventh-eighth century Pallava temple Viz. Sri Vaikunta Perumal temple of Kanchipuram (which follows the Pancharatra Agama) is an excellent illustration of the fulfillment of these requirements.
Its architecture is unique, with three sanctums on the three floors one over the other and a concealed staircase leading to the upper floors. The three sanctums enshrine Vishnu in three postures - seated, reclining and standing. The Vimana is represented as a three dimensional Mandala. The central figure in the sanctum of the ground floor is Vasudeva facing west, i.e. the Earth; Sankarshana facing north, the realm of human life; Pradyumna facing east towards heaven;
and Aniruddha facing south, the realm of ancestors. The sculptural scheme matches the Pancharatra concept, representing the six `glorious excellences': omniscient knowledge (jnana), power (bala), sovereignty (aishwarya), action (virya), brilliance (tejas) and potency (sakthi). The sanctum of the third floor represents the realm of space-time, depicting Vasudeva as he appeared in the human form of Krishna (manusha Vasudeva). The temple per se signifies the `body of God.'
Coming back to the issue of placing the sanctum slightly to the North-West; this feature occurs in the temple of Sri Venkateshwara at Tirumala too. The enclosure immediately surrounding the sanctum called Mukkoti Pradkshina is rather skewed. The width of the enclosure is uneven; and the enclosure is open on only three sides.
The path in the south (on the right side of the deity) is seven feet wide and twenty feet long; while the path on the other side (towards the left of the deity) is seventeen feet wide and ninety-two and
V
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half feet long. This skewed position of the sanctum, slightly to the north west , within the Brahma bagha was perhaps to satisfy the requirements of the temple vastu norms.
The Shiva temples too have their own configuration. In a Siva temple, the Shivaliga would be placed at the Brahma sthana, the shrines are dedicated to Parvathi, Ganapati, Subramanya , Veerabhadra and Candesvara would placed in the surrounding cells of the temples Vastu Purusha Mandala; as
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illustrated in the following typical layout of the famous Shiva temple at Gangaikondacholapuram(mid 11th century).
Similarly in the Sri Kailasanathaswamy and Nithyakalyani Amman Temple, Karaikudi, Shiva shrine is at the Brahmastana, opposite to Shiva is lined Nandi, Bali pita and Dwajasthamba. The shrine of Nitya-kalyani Amman is located independently in the North. In the Mantapa adjoining the Sanctum are Ganapathi, Durga and Skanda. The Sapth Mathrikas, the seven female divinities, have their shrine in the Prakara behind the shrine.
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The Shakthi temples have their layout with shrines for other manifestations of the Mother Lakshmi, Saraswathi, Durga, Chamundi and related goddesses.
parvathi kalyana -Madurai temple
Sources:
A. Maps of Madurai and Sri Rangam By courtesy of Kultur in Indien B. Other pictures from Internet.
C. Devalaya Vastu By Prof. SKR Rao
D. Kaqshyapa Shilpa Sastram by Prof. G Gnanananda
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