GATEWAY COLLEGE OF ARCHITECTURE AND

DESIGN, SONIPAT 131001

DISSERTATION REPORT
November, 2020

SACRED GEOMETRY IN TEMPLE

ARCHITECTURE

SUBMITTED BY: GUIDED BY:

Sakshi Malik Prof. Vipin Gupta
Gcad/16/324
 `

GATEWAY COLLEGE OF ARCHITECTURE AND

DESIGN

DECLARATION

I, Sakshi Malik, Roll Number, GCAD/16/324 hereby declare that the dissertation titled
SACRED GEOMETRY IN TEMPLE ARCHITECTURE submitted by me, in partial
fulfilment of the requirement of the curriculum of Bachelor of Architecture as per the
university norms, to Gateway College of Architecture and Design is a record of my original
work with credits given for information collected from any other source.

Sakshi Malik

SACRED IN TEMPLE ARCHITECTURE I 1

 GATEWAY COLLEGE OF ARCHITECTURE AND
DESIGN

CERTIFICATE

`
This is to certify that the dissertation titled SACRED GEOMETRY IN TEMPLE
ARCHITECTURE submitted in partial fulfilment of the requirement of the curriculum of
Bachelor of Architecture is the work of Sakshi Malik, Roll Number GCAD/16/324, who
carried out research work under our supervision in Gateway College of Architecture and
Design, Sonipat, Haryana.

We recommend that the dissertation report be placed before the examiners for their
consideration.

(Prof. Vipin Gupta) (Prof. Tanushree Das)

Signature of the Guide Signature of the Coordinator

SACRED IN TEMPLE ARCHITECTURE I 2

 ABSTRACT

The impact of geometry can be observed in different eras of architecture from time to time
architecture have changed but the geometrical application remained same and there are
infinite number of geometries that were adopted in buildings before and there are geometries
that can be found in today’s architecture also in very profound manner and everyone uses
geometry while designing something in one way or another.

This dissertation focuses on the geometries that is used in the temples in one way or another
way and will help to understand the concept behind the geometries used, the meanings behind
them and how they are essential for the temple construction and how some geometries are
sacred and why they are considered as sacred.

SACRED IN TEMPLE ARCHITECTURE I 3

 Dedication

To My parents,

This dissertation is a dedication to all of these persons who have made this journey such an
enjoyable learning process. I want to dedicate this to my parents for supporting me in every
part of my study and helping me in learning so much. They gave me the confidence to ask
questions, to learn and to share knowledge.

SACRED IN TEMPLE ARCHITECTURE I 4

 Acknowledgments

I wish to first acknowledge and thank my guide, Prof. Vipin Gupta, for his continuous support,
valuable advice, and time throughout the process of research. In accomplishing this research,
I would like to thank my coordinator, Prof. Tanushree Das, for her suggestions and inputs.

I would like to express my utmost gratitude to my director Prof. Anil Kumar, who gave me the golden
opportunity to write a dissertation and to choose the selected topic. As well as my principal, Prof. Anurag
Roy, for his unwavering support and lessons.

I want to deeply and respectfully thank all the authorities, faculty, and people of the various
background that I covered as part of my case studies without whom my research would have
been impossible.

SACRED IN TEMPLE ARCHITECTURE I 5

Table of Content
ABSTRACT .....................................................................................................................................3

List of Figures and Tables................................................................................................................8

CHAPTER 1: INTRODUCTION ...................................................................................................12

1.1 Introduction ..............................................................................................................................12

1.2 The Intent of the Dissertation - Aim and Objective of the Research .......................................13

1.3 Definitions, Meaning, Abbreviations .......................................................................................13

1.4 The Central Claim ....................................................................................................................14

1.5 Research questions ..................................................................................................................14

1.6 The Scope and Limitations of the Research.............................................................................14

1.7 Methodology ...........................................................................................................................14

CHAPTER 2: LITERATURE REVIEW .......................................................................................16

2.1 Purpose of the Literature Review and selection criteria of the literature. ..........................17

2.2 COSMOLOGY AND ITS RELATION TO ARCHITECTTURE ...........................................18

2.2.1 Need of temple or religious place. ................................................................................... 18

2.2.2 Cosmology and Temple. ................................................................................................... 19
2.2.3 Image of man in temple. .................................................................................................. 19
2.2.4 Cosmic Volumes and patterns ......................................................................................... 20
2.3 GEOMETRY OF THE TEMPLE ..........................................................................................21

2.3.1 The Concept: - Vastupurashamandala ............................................................................. 22

2.3.2 Layout of temple .............................................................................................................. 24
2.3.3 Geometry of Plan and Elevation ...................................................................................... 24
2.4 Review of referred documents .................................................................................................26

CHAPTER 3: METHODS AND METHDOLOGY ......................................................................29

3.1 Method(s) opted for Data/ case Selection and its Justification ................................................29

3.2 Method(s) opted for Data Collection and its Justification .......................................................29

3.3 Method(s) opted for Data Analysis and its Justification ..........................................................29

3.4 Advantages and Limitations of the method(s) adopted............................................................30

SACRED IN TEMPLE ARCHITECTURE I 6

CHAPTER 4: CASE STUDIES ......................................................................................................33

4.1 INTRODUCTION ...................................................................................................................33

4.2 Tanjavur Brihadeeshwarar temple ...........................................................................................33

4.2.1 Working rules ................................................................................................................... 34

4.2.2 Measuring the golden section portion from middle of Nandhi mandabam to middle of
karpagraham [BDGI].................................................................................................................. 34
4.3 Kandariya Mahadev temple, Khajuraho ..................................................................................38

4.3.1 Meaning that asscociated with geometry. ...................................................................... 38

4.3.2 Fractal dimension and box counting method .................................................................. 38
4.3.3 Analysis of Kandariya Mahadev temple. .......................................................................... 39
4.3.4 Elevation........................................................................................................................... 41
4.4 Dilwara Temples, Mount Abu .................................................................................................42

4.4.1 Gnomonic Expansion ....................................................................................................... 42

4.4.2 Plan of Abu Dilwara.......................................................................................................... 43
CHAPTER 5 : ANALYSIS AND DISCUSSIONS ........................................................................47

5.1 Comparative analysis ...............................................................................................................47

5.2 Analysis of the meanings of different geometry. .....................................................................49

5.3Strength and limitation of the collected data .............................................................................49

Strengths:- ......................................................................................................................................49

Limitations:-...................................................................................................................................49

CHAPTER 6: OBSERVATIONS ..................................................................................................51

6.1 Summary ............................................................................................................................51

6.2 Recapitulation of Research Questions & its Significance........................................................51

6.3 The future Research possibilities .............................................................................................52

BIBLIOGRAPHY ............................................................................................................................53

SACRED IN TEMPLE ARCHITECTURE I 7

List of Figures and Tables

Fig.1 Platonic Solids (Source: Sacred geometry in architecture by Robert Lawlor) ........... 21
Fig.2 Vastupurushamandala (www.exoticindia.com) .......................................................... 22
Fig.3 (Source www.gosai.com) ........................................................................................... 23
Fig.4 Different type of Vastupurushamandala (Source-Building science of Indian temple
Architecture – Shweta Vardia) ............................................................................................. 23
Fig. 5 Fields of forces in the square, radiation of forces from 9 grids square and radiation of
forces from 81 grids square (Source-Building science of Indian temple Architecture – Shweta
Vardia).................................................................................................................................. 24
Fig.6 Different plan of temples gradually ............................................................................ 25
Developing into more complex form. .................................................................................. 25
(source: Role of fractal geometry in Indian Hindu temple architecture............................... 25
By Dhrubajyoti Sardar, S.Y.Kulkarni) ................................................................................. 25
Fig.7 Silhouette of kendariya mahadev temple (source: Role of fractal geometry in Indian
Hindu temple architecture. By Dhrubajyoti Sardar, S.Y.Kulkarni) ..................................... 26
Fig.8 The interdependent formation process of Jangha and Sikhara (source: Role of fractal
geometry in Indian Hindu temple architecture.By Dhrubajyoti Sardar, S.Y.Kulkarni) ...... 26
Figure 9. Plan of the Brihadeeshwarar temple. ................................................................... 33
Figure 10. Golden section of BDGI. ................................................................................... 34
Figure 11. Golden section with diagonal lines of BDGI ..................................................... 35
Figure 12. Golden section of EFHC. ................................................................................... 36
Figure 13. Golden section of ACHJ. ................................................................................... 36
Figure 14. Golden section of AEFJ. .................................................................................... 37
Figure 15. Golden section of The Brihadeeshwarar Temple. ............................................. 37
Fig. 16. Top: development of a fractal figure from a single circle by the iteration having some
definite rule. Bottom: development of different fractal figure from the same circle but by the
iteration having different rule............................................................................................... 38
Fig. 17. Box counting operation of a fractal figure. Extreme left—fractal figure; (a) grid size
24; (b) grid size 12; (c) grid size 6; and (d) grid size 3 ........................................................ 38
At the same time through laying down the diagram of mandala in the foundation of the
temple, cosmic energies have been grasped below the structure. The middle of mandala is

SACRED IN TEMPLE ARCHITECTURE I 8

the supply of all energies which can be radiated outwards to the physical world.
The square form of mandala drastically implies to preserve the power equilibrium. .......... 39
Fig. 18. Evolution of the plan of Kandariya Mahadev temple from the vastu purusha mandala
through the above stages which is lead by the radiation of cosmic energy. (a) Plan of Parvati
temple, Nachna from simple square mandala; (b) plan of Vishnu temple, Deogarh from the
first iteration of mandala; (c) plan of Surya temple, Modhera from the second iteration of
mandala; and (d) plan of Kandarya Mahadev temple, Khajuraho from the third iteration of
mandala. ............................................................................................................................... 39
Fig. 19. (a) Top: 9-Squares mandala. Bottom: sides of a 9-squares mandala are bumped up 1
pada along the cardinal directions. (b) Left: plan of Kandariya Mahadev temple. Right up:
outer corner of ‘Fig. 8a-bottom’, i.e., 1 pada and development of a element having golden
proportion with a quarter of the pada. Right bottom: outer corner of ‘Fig. 8a-bottom’ filled
by the newly born element from a pada in its three sides and overlapped with the self similar
but opposite pattern to get final fractal patterned plan of the temple................................... 40
Fig. 20. Geometric operation of mandalas and that of some symbolic geometry for the
development of the plan of Kandariya Mahadev temple. .................................................... 40
Fig. 21. (a) Repetitions of towers and their elements in the shikhara; and (b) whole form of
shikhara is repeated in a part within another part (marked by red color). Repetitions of tower
above the mandapas (marked by green color) create angle for upward eye movement to the
summit of main shikhara. ..................................................................................................... 41
Fig. 22. Peaks of all self similar towers follow the rule golden sequence. .......................... 41
Fig 23.The gnomonic expansion or increase depicted in various geometric figures, and by
unity dots in the form of square, rectangle, triangle. ........................................................... 42
Fig 24 .The floor plan of the typical Hindu temple is a simple, con- centric gnomonic
expansion of an initial square. As the mandala reflects the celestial order, each square
contains the name of a deity. ................................................................................................ 43
Fig 25. Plan of the Dilwara Temples ................................................................................... 43
Fig 26. Ceiling of Dilwara Temple ...................................................................................... 44
Fig 27. Ceiling of Dilwara Temple. ..................................................................................... 45

SACRED IN TEMPLE ARCHITECTURE I 9

Table 1. (Source: author) ..................................................................................................... 17
Table 2. (Source: author) ..................................................................................................... 49

SACRED IN TEMPLE ARCHITECTURE I 10

 CHAPTER 1
INTRODUCTION

SACRED IN TEMPLE ARCHITECTURE I 11

CHAPTER 1: INTRODUCTION
1.1 Introduction
Sacred geometry can be understood as a global view of pattern recognition, a complicated
system of hallowed attribution and signification that could subsume spiritual and cultural
values to the essential systems and relationships of such complexes as space, time and form.
According to this discipline, the primary styles of life are perceived as sacred: for through
thinking of and communing with them one is thereby thinking of the patterning relationships
of the Great Design. By analyzing the character of those styles, forms and relationships and
their connections, perception can be won into the mysteries – the laws and lore of the
Universe.
Sacred geometry is the muse of the design, structure, fabrication and production of sacred
systems consisting of temples, mosques, megaliths, monuments and churches; sacred area
consisting of altars; locations of congregation consisting of sacred groves, village veggies
and holy wells and the introduction of non secular art, iconography and divine
proportionality. Sacred geometry, art, iconography and structure want now no longer be
monolithic and enduring, however can be brief and yielding, consisting of visualization and
non-everlasting sand-portray and medication wheels
In sacred geometry, symbolic and sacred meanings are ascribed to positive geometric shapes
and positive geometric proportions. The primary notion is that geometry and mathematical
ratios, harmonics and percentage also are observed in music, mild and cosmology. This value
system is visible as vast even in prehistory, a cultural everyday of the human condition.
Geometric ratios, and geometric figures have been regularly hired withinside the layout of
Indian architecture and Indian spiritual groups regularly built temples and fortifications on
layout plans of mandala and yantra. The Sanskrit time period mandala more or less interprets
to "magic circle" or "sacred circle". Mandala, historical and modern, regularly provide lovely
examples of radial symmetry and include factors of Sacred Geometry.
Such forms are believed to behave as activation templates of consciousness. Modern
psychologists are reading mandalas from a extensive discipline of world cultures and eras
and suggest growing our personal mandalas as automobiles of soul work. It is assumed that
once we draw mandalas from the centre outward, we're stimulated to manner our non-public
troubles and every day demanding situations which result in our gaining accelerated
readability and electricity in our lives. Similarly we may be knowledgeable actually with the
aid of using watching at such designs.
Western Classical architecture, including that of Greece and Rome, in addition to the Eastern
architecture of Hinduism and Buddhism taken into consideration the circle, the square, and
the triangle to be the maximum ideal of constructing forms. These geometric forms are at
once expressed in architecture, however mainly in spiritual structures.
However, a distinction in perception - the western emphasis at the outer edge or
circumference of every shape instead of the eastern cognizance at the center - led, in part, to
the introduction of constructing kinds in East and West that vary in how non secular homes
look, in how they're experienced, and in how they're used.

SACRED IN TEMPLE ARCHITECTURE I 12

Whether the product of an eastern or a western culture, the round mandala or sacred diagram
is a acquainted and pervasive picture at some point of the records of art. India, Tibet, Islam
and medieval Europe have all produced them in abundance, and maximum tribal cultures
hire them as well, both withinside the shape of artwork or homes or dances. Such diagrams
are frequently primarily based totally at the department of the circle into 4 quarters, and all
of the components and factors worried are interrelated right into a unified design. They are
most usually in a few manner cosmological; this is, they constitute in image what's notion
to be the vital shape of the universe: for example, the 4 spatial directions, the 4 factors, the
4 seasons, every so often the twelve symptoms and symptoms of the zodiac, numerous
divinities and frequently guy himself. But what's maximum continuously placing
approximately this shape of diagram is that it expresses the belief of cosmos this is of fact
conceived as an organized, unified whole.
1.2 The Intent of the Dissertation - Aim and Objective of the Research
• To study the incorporation of sacred geometry in architectural buildings and learning
the facts about the geometry that were used in architectural buildings.
• To provide a document that will provide information about the relation of architecture
and sacred geometry and will help people to understand the point of this topic, To
Create a source of information for people that are related to the topic directly or
indirectly and also for the people that are not familiar with the terms and meaning of
this topic.
• Since geometry have a major impact on architecture from ancient times to the modern
times this topic will focus on the particular aspect of the geometry and will help to
understand different meanings that is associate to the sacred geometric patterns.
1.3 Definitions, Meaning, Abbreviations
• Geometry: - 'Geometry' means 'measure of the earth'. Geometry (from the Ancient
Greek: geo- "earth", -metron "measurement") is a branch of mathematics concerned
with questions of shape, size, relative position of figures, and the properties of space.
This is the simple definition of geometry and geometry helped people to establish
order in many ways. Geometry is the study of spatial order through the measure and
relationships of forms. Geometry and arithmetic, together with astronomy, the
science of temporal order through the observation of cyclic movement, constituted
the major intellectual disciplines of classical education.

• Architecture: - The Art of Conceptualizing, Designing, Planning, Construction &

Managing a building is stated as architecture in legal terms but it does not limit itself
to just this. There are many more strings that have been attached to it which does state
it as the mother of all arts.

SACRED IN TEMPLE ARCHITECTURE I 13

 • Sacred: - The word sacred descends from the Latin sacer, referring to that which is
'consecrated, dedicated' or 'purified' to the gods or anything in their power. Sacred is
a quality that describes something that is dedicated or set apart for the service or
worship of a deity considered worthy of spiritual respect or devotion or
inspires awe or reverence among believers.

• Sacred Geometry: - Sacred geometry is basically symbolic and sacred meanings to

geometric shapes and proportions it is a complex system of symbols and geometric
shapes that basically forms a sacred pattern. This pattern of symbols and shapes were
used very vastly in ancient times in art and architecture in various cultures.

• Mandala: - It is a circular figure that represents the universal planets in different

cultures.

1.4 The Central Claim

Geometry has been part of architecture since it was started years ago and different
geometric patterns were used in different kind of buildings and same is with sacred geometry
so the central claim of this dissertation is: -Sacred geometry had importance in the ancient
architecture for a reason and were used in different styles and techniques.
1.5 Research questions
• In what ways the sacred geometry incorporated in temples.
• Is sacred geometry used for particular buildings or if it can be used in any kind of
buildings.
• Is sacred geometry had impact on people in intangible manner.
1.6 The Scope and Limitations of the Research
The study of sacred geometry in architecture will be limited to the buildings geometry
and mainly religious buildings.
• Indian temple geometry.

1.7 Methodology
• Selection of topic.
• Background study of topic.
• Aim and objectives of the study.
• Literature study to generate rational approach towards the topic.
• Case studies and data collection.
• Data analysis through case studies and discussion.
• Conclusion.

SACRED IN TEMPLE ARCHITECTURE I 14

 CHAPTER 2
LITERATURE REVIEW

SACRED IN TEMPLE ARCHITECTURE I 15

CHAPTER 2: LITERATURE REVIEW

Literature survey reckoner

S.N Literature Name of Publisher Data / URL Pages Discusses Likely to Browsed
o. Category Literature; accessed on (Date) of (Topic of help / Read
(eg.: Author(s) / intere discussion) argument in thorough
Book/Resear Editor(s) st chapter No. ly / Not
ch Paper/ (page Read yet
unpublished no.
document/ xxx-
Newspaper page
clipping/ no.yyy
Youtube )
Snapshot
etc)
HIGLIGHT
AREAS OF
INTEREST
&
RELEVAN
CE
1. Research Shapes patterns https://www 11 Shapes Read
paper and meaning in .researchgate pages and thorough
Indian temple .net/publication patterns ly
geometry- /328960511_Shapes used in
By Tanisha _Patterns_and Indian
dutta, _Meanings_in temples
V.S.Adane _Indian_Temple
_Architecture
2. Research Sacred http://www. 14 Applicatio Read
paper geometry Krishisanskriti pages n of thorough
mathematical .org/Publication geometry ly
and geometric .html in ancient
applications in Indian
the ancient architectu
architecture of re
India.
By Aryaman
Agarwal
3. Research Role of fractal https://www.ijert. 6 Reasons Read
paper geometry in org/research/role-of-fractal- pages behind use thorough
Indian Hindu geometry-in-indian-hindu- of fractal ly
temple temple-architecture- geometry
architecture. IJERTV4IS050709.pdf in Hindu
By Dhrubajyoti temple
Sardar, architectu
S.Y.Kulkarni re.

4. Research Symbolism in https://www 9 Meaning Read

paper Hindu temple .ijsr.net/archive pages behind the thorough
architecture and /v3i12/U1VCMTQzMjI= use of ly
fractal .pdf geometric
geometry- patterns in
‘Thought Hindu
behind form’ temple
By Tanisha architectu
Dutta, re
V.S.Adane

5. Book Sacred geomtry By Robert lawlor 67-70 Gnomonic Read

expansion thorough
and the ly
creation of
spirals
6. Book Building science By Shweta vardia 104 Read
of Indian temple
architecture

SACRED IN TEMPLE ARCHITECTURE I 16

 7. Book Sacred By Sudhir v. Patel 36-56 Not read
geometry in yet
chess and design
of hindu temple
8. Article Sacred space By Ashish Nangia 5 Not read
pages yet
9. Book A STUDY ON SUJATAVANIGUNASAGA Not read
HINDU RAN yet
TEMPLE
PLANNING,
CONSTRUCTI
ON AND THE
V AASTU

10. Book Measurement PROFESSOR MICHAEL Not read

and Proportion W. MEISTER yet
in Hindu
Temple
Architecture

11. Book the Hayaśīrṣa by Elisabeth Eva Raddock 5-10 Read

Pañcarātra 23-30
61

12. Book Temple Purushottama Bilimoria Not read

Architecture A properly
Brief Overview
and Its
Symbolism

Table 1. (Source: author)

2.1 Purpose of the Literature Review and selection criteria of the literature.

The topic Sacred geometry in Architecture have a vast scope and requires deep study for
the proper understanding and since the time frame given to us is very limited and the topics
that we have to cover cannot be traced in the given period of time so the selection process
have to be very critical and deliberate which only focuses on the aim of the topic.
The collection of the data was mainly by the literature review and available research
documents on the internet having its own importance because literature review will further
help:

SACRED IN TEMPLE ARCHITECTURE I 17

 • To explore the vital aspects of sacred geometry in Architecture in which Indian
temple geometry is our scope of study and to understand the role of sacred geometry
in Indian temples.
• To understand and ensure the results for the research questions can be analyzed
carefully and a judgment could be made for the document by the thorough literature
study on existing structures that lie within the limit.
• As research paper’s uniqueness and originality is very important to generate
reader’s interest and curiosity, thus a review of existing literature would push the
research a step further encompassing which is still not discovered or documented.
• Considering the time boundaries and limited available resources it is best to
discover existing literature for a better understanding and ensuring the best
conclusions.
• Literature reviews would also help to generate a better understanding of research
ethics and spirituality.
The document selection has to be done very efficiently to keep the authenticity of the
collected data and for a better conclusion and analyzing of the research. So to maintain the
authenticity of research paper the document selection was done from varying disciplines of
authors from professional practitioners to research students.

2.2 COSMOLOGY AND ITS RELATION TO ARCHITECTTURE

The shape of the universe and cosmic structure has been outlined in myths. The
invisible elements of the universe are perceived as layers and directions, as factors and
celestial bodies, and within the form of residence as cosmic model.
Throughout time, the universe is perceived as having a structure of heaven above and the hell
below and in middle a room lies with humankind. The universe has always seen as the mirror
image of the middle world as a cosmic center.
Eastern Mediterranean and west and North African myths see universe as composition of
four elements: water, fire, air and earth. In these myths the relationship of elements and four
cardinal direction is described in order to organize the universe: north with earth, south with
air, west with water, and east with fire. The association between elements and directions
varies slightly with different cultures.
2.2.1 Need of temple or religious place.
Mārkaṇḍeya said: In Kṛta-yuga the temple was not made on this earth, O king, people could see

the gods before their eyes. 1

In Tretā and Dvāpara yugas, though the people saw gods before their very eyes, they made images

-Pratimās and worshipped them according to the ceremony. 2

In Tretā-yuga the images of gods were installed in houses. Then in Dvāpara the sages made

SACRED IN TEMPLE ARCHITECTURE I 18

images in the forests. 3

O king, the siddhas always worshipped them. The sages were happy to install images (in the

temple). 4

In this Kali-yuga all people do this activity of installing images. In Kṛta-yuga, jñāna (knowledge

was) supreme and in Tretā Tapaḥ - penance was supreme. 5

In Dvāpara similarly the same (Tapaḥ) should be known as supreme, but in Kali-yuga the cities

are full of temples. 6 (Viṣṇudharmottara Purāṇa adhyāya 3.93.1-624) (Raddock)

The Viṣṇudharmottara Purāṇa passage quoted above, and many other quotes from different
books and treatises give us idea why we need temples and why there was not that much
need of temple before. It tells us that in earlier yugas people did not need temples because
they had access to god easily but in the this degraded time of kali yuga a space is needed
for connection between man and god and in the above quote it is also stated that in previous
yugas people were able to see god with their eyes and had contact with them but in this
degraded time of kali yuga image of the god is needed so that people can feel connected.
The ultimate goal of the Hinduism is moksha liberation from samsara and rebirth for which
man practice this religion and temple helps in this motive of the person and temples all
around the world have successfully served social, economic and political end as well with
religious.
2.2.2 Cosmology and Temple.
As it is mentioned in the historical Hindu scriptures, the temple is the place of the cosmos
and the cosmic order is perceived as imperative to the human body, thoughts and spirit; with
the individual a microcosm (Hardy, 2007).
The Hindu temple shape gives the vast statistics about the science and cosmology of
the length wherein they have been constructed. It is a symbolism of the outer and
the internal cosmos wherein outer cosmos is expressed in phrases of numerous astronomical
connections among the temple shape and the motions of the sun, the moon, and the
planets, while the internal cosmos is represented in phrases of the awareness on the womb of
the temple and diverse stages of the superstructure correspond to
the stages of awareness (Kak, 2002).
2.2.3 Image of man in temple.
Through the imaginative and prescient of Man as Cosmos, the Anthropocosm, sacred
geometry turns into a cosmogram depicting the drama of this divine birth. And in the course
of all temple-constructing epochs the sacred architecture primarily based totally in
this geometry has been a book revealing this everlasting drama. In India the
Vastupunrshamandala, the tradition of temple design based on Cosmic Man, remains alive.
We additionally discover that the architectural version for the notable Gothic
cathedrals changed into the widespread Christ-Man at the cross of creation. “The Hindu
architectural sutra says, 'The whole universe is situated within the Temple by means of
proportion”. (Sacred geometry by Robert lawlor )

SACRED IN TEMPLE ARCHITECTURE I 19

The human body contains in its proportions all of the necessary geometric and
geodesic measures and functions. The traditional Egyptian linear unit that could be a time-
space equal measure (1/1000th of the distance that the planet rotates at the equator in
one second of time), the foot, the fathom, the traditional Egyptian reminiscent
of the meter, of these measures are equal with the dimensions or movements of the earth.
This array of regularly occurring proportions in the frame of Ideal Man turns into the basis,
in many civilizations, of a canon which governs the meter for chant and poetry, the moves of
dance, and the proportions of crafts, artwork and architecture.
Man and Cross as the premise for the cathedral plan. In the philosophy of temple structure the
temple is to constitute the picture of Paradigmatic Man, the ideal archetype who emanates
all of nature out of himself.
2.2.4 Cosmic Volumes and patterns
There are five type of volumes that are notion to be the most critical due to the
fact they're the only volumes that have all edges and all interior angles equal. These volumes
are tetrahedron, octahedron, cube, dodecahedron and the icosahedron, and these volumes are
expressed by the volume of triangle, square and the pentagon, 3, 4, 5. These 5 solids are given
the name 'Platonic' due to the fact it is assumed that Plato has these forms in thoughts with
inside the Timaeus, the dialogue in which he outlines a cosmology through the metaphor of
planar and solid geometry. In the Timaeus he outlines that the 4 fundamental factors of the
universe are earth, air, fire and water, and that these factors are each related to one of
the solid figures. According to traditions the dice is associated with earth, the octahedron
with air, the tetrahedron with fire and the icosahedron with water. Plato also mention about
the fifth composition which is dodecahedron is related to the 5th element, aether (prana).
Gordon Plummer notes in his book The Mathematics of the Cosmic Mind,
the Hindu subculture associates the icosahedron with the Purusha. Purusha is the image of
Brahma, the ideal writer himself, and as such this image is the map or plan of the universe.
The Purusha has similarities to the Cosmic Man.The icosahedron is the
apparent preference for this primary form, on the grounds that all of
the different volumes get up clearly out of it.

SACRED IN TEMPLE ARCHITECTURE I 20

 Fig.1 Platonic Solids (Source: Sacred geometry in architecture by Robert Lawlor)

2.3 GEOMETRY OF THE TEMPLE

Temple in Hinduism is not just building but the ideology behind the designing and
construction of Hindu temple is to link mankind with gods. Hindu temple is a space where
we feel more close to god then any place. Hindu temple is considered a space of
enlightenment where a person can feel divine and also the presence of god which will help
man to discover divine knowledge.
To connect the divine universe of god and physical world of man, the cosmos plan is layed
out in the foundation of the temples and the cosmos plan is known as Vastupurashamandala.
Architecture of the temple religious or any kind based on the geometry of
Vastupurashamandala.

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2.3.1 The Concept: - Vastupurashamandala
The Philosophy in Hindu faith turned into one of the first to relate the system of proportions
to the human figure later on this system of proportion is demonstrated by Le Corbusier and
Leonardo Da Vinci. In Hindu religion the shape of the purasha (human) body was made
to match the abstract concept of the square, because the ideal geometric shape.

Fig.2 Vastupurushamandala (www.exoticindia.com)

The Vastupurashamandala is derived from different words having different and specific
meaning where vastu means physical world and environment, purusha means energy,
cosmic being or power and mandala means diagram.
Square is the basic form of Vastupurashamandala ruand it is the most important and ideal
geometric form in Hindu philosophy and represents the earth. Any other form like triangle,
octagon and circle etc. are derived from Square only. The four different sides of the square
represents four different directions. The square also represents the order, the completeness
of infinite life and the perfectness of death and life. According to Hindu beliefs, man’s way
of life is additionally ruled by the quantity four as in four classes(varnas), four section of life,
four great eras, four head of Brahma(the creator God), the four Vedas, etc.
Circle also means the universe and considered as ideal and perfect shape, as there is no ending
and beginning of the circle which is timelessness and infinity and very divine feature. The

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mandala is basically a square divided into smaller squares in form of the grid and each square
in the grid represents respective gods. The most commonly used grid is of 64 and 81 squares.
The four sides of the mandala that four different direction that is outside the mandala
represents the meeting of the universe and earth and also describes the movement of the sun
from east to west and also tells us about the rotation of the sun in both hemispheres that is
northern and southern. The center of the mandala is the place for brahma the creator of the
world and the other squares are the position of other gods as per their relevance.

Fig.3 (Source www.gosai.com)

Each square in the grid is known as pada and they follow the geometric progressions of odd
and even numbers and on the basis of their geometric progression each mandala is known
differently. The mandala having 1,4,9,16,25 and 36 numbers in the grid is known as
pechaka mandala, pitah mandala etc.

Fig.4 Different type of Vastupurushamandala (Source-Building science of Indian temple

Architecture – Shweta Vardia)

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2.3.2 Layout of temple
First the layout of the vastupurushamandala is sketched on the paper and after that it is
outlined on the earth at the place where temple is going to be build, after this the layout of
the mandala is placed on the foundation of the temple to seize all the energies that is cosmic
underneath the temple foundation. The centre of the mandala emits and generates the energy
and square shape of the mandala is basically maintain the equilibrium as each side of the
square applies the force towards the centre and similarly centre of the mandala applies the
force and energy on the sides hence maintaining equilibrium as the number of squares
increase in the grid the more energy they emit and because of this the centre of the mandala
is the place for main diety.

Fig. 5 Fields of forces in the square, radiation of forces from 9 grids square and radiation of forces
from 81 grids square (Source-Building science of Indian temple Architecture – Shweta Vardia)

2.3.3 Geometry of Plan and Elevation

Plan:-
Basically plan of the temple is that the illustration of different vastupurushamandala and
derived from it pure mathematics of a temple plan starts with a line and so step by
step evolves into square and circle then on making more complicated patterns and these
complex patterns are the results of the self-similarity which means the prevalence of
the geometry within the plan. The plan of the temple follows the rule of fractal
geometry because it grows from one part to different in gradual form and in self-similar
patterns.

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It may be aforementioned that practicing fractal geometry is not any different than the
implication of the sensation and sense of completeness since the thought behind
the fractals is part to whole and whole to part and also the fractal theory conjointly like the
Hindu philosophy that's one amongst all and all is one (concept of atma).

Fig.6 Different plan of temples gradually

Developing into more complex form.

(source: Role of fractal geometry in Indian Hindu temple architecture.

By Dhrubajyoti Sardar, S.Y.Kulkarni)

Elevation:-
Fractal geometry have great impact on the elevation of the temple as well and not the plans
we can see the self-similar patterns in the elevation of different temples basically elevation
treatments of the temple vary according to the region and by viewing different temples self-
similar patterns can be easily noticed in the temple elevation.

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 Fig.7 Silhouette of kendariya mahadev temple (source: Role of fractal geometry in Indian
Hindu temple architecture. By Dhrubajyoti Sardar, S.Y.Kulkarni)

Fig.8 The interdependent formation process of Jangha and Sikhara (source: Role of fractal
geometry in Indian Hindu temple architecture.By Dhrubajyoti Sardar, S.Y.Kulkarni

2.4 Review of referred documents

Shapes, patterns and meanings in Indian temple architecture. By Tanisha Dutta,
V.S.Adane
In this paper writer talks about how shapes and patterns used in Indian temples have
significance and meanings attach to them and attempts to link the symbolism and fractals in
the context of Hindu temple architecture. Later he also writes about the usage of fractal
geometry in Hindu temple and how the complexity of fractal geometry needed to convey
the deepest meanings in the Hindu temple. This paper later helps to understand the
geometry used in old ancient buildings helps for the new possibilities for contemporary
architecture and writer also mention about the technologies and software used to evaluate
geometric patterns in the temple and by giving examples of temples like laxman and
Kandariya Mahadev Temple writer clarifies the concept of the relation between geometry
and symbolism.
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Sacred geometry mathematical and geometric applications in the ancient architecture
of India. By Aryaman Agarwal
The focus of this paper is to understand the applications of geometry in ancient Indian
architecture, the writer talks about the geometric pattern in Islamic architecture and
meanings of the geometric patterns used in Islamic architecture and later he supports his
explanations with examples like Taj Mahal, Humayun’s Tomb and red fort how their
elevations and plans have geometric patterns with meanings related to it.
Further he also mentions the geometric patterns in Hindu temples and explains the type of
geometrical patterns that is used in Hindu temple in elevations and plans of the building
and also mention the fractal geometric patterns and proving that there is an important role
of mathematics and geometry not only in the India’s ancient architectural characteristic
look, but also expressing significant symbolic aspects.
Role of fractal geometry in Indian Hindu temple architecture.By Dhrubajyoti Sardar,
S.Y.Kulkarni
In this paper writer focus on the usage of fractal geometric patterns use in Indian Hindu
temple in various forms of it that is the use of fractal geometric patterns in the evolution of
the plan of the temple and how the elevation of the temple includes different patterns which
comes under fractal geometry. Later he talks about the reasons behind the use of fractal
geometry in Hindu temple architecture and explains that concept of the fractal geometry is
somewhat similar to the Hindu philosophy of cosmos.

Symbolism in Hindu temple architecture and fractal geometry- ‘Thought behind

form’
By Tanisha Dutta, V.S.Adane
This paper focuses on the analysis of temple architecture, fractal geometry, symbolism and
human perception of architectural expression and temples concept relation to cosmology.
• Explains about the beliefs of Hindus and how their beliefs have impact on their
architectural philosophy as well in many ways.
• Explains that Hindu temple is symbolic expression of Hindu philosophy about the
nature of cosmos.
• It also explains the geometric patterns used in Indian temples and meaning behind
the geometric patterns that is being used in the temple and also the application of
geometry.
• Explains the Vastu shastra Mandala.
• Explains how the fractal geometric patterns concept is parallel to the concept of
Hindu philosophy.

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 CHAPTER 3
METHODS AND METHDOLOGY

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 CHAPTER 3: METHODS AND METHDOLOGY
3.1 Method(s) opted for Data/ case Selection and its Justification
First data is selected for understanding the main topic vividly.
After selection of data for the main topic limitation of the topic is decided as to proceed
further to complete it in the course of given time and different methods adopted for data
selection of the topic decided.
Main topic being sacred geometry in architecture, to limit the topic, data is selected on the
basis to set its limitation, after limiting the topic to temple geometry.
Factors that were considered for the data selection for the Temple geometry:-
• Issue clarity for the topic selected.
• Scale of the topic.
• Availability of research data for the topic selected.
• Solving the questions that is arising.
• Interest of the particular field in the topic selected.

3.2 Method(s) opted for Data Collection and its Justification

The data collection is done on the basis of the topic selected and focus of the data collection
to understand the background of the topic and getting proper knowledge about the topic
selected.

Some methods that were adopted for collecting data:-

• Books that was available for the topic selected.
• Books in which there are number of pages available for the field of interest.
• Articles selected on the basis to answer the arising questions in the field of interest.
• Published papers on the topic that is selected whether in direct or indirect form.
• Research papers from different journals.

Method that is adopted for collecting the data is internet.

Collecting data for case study from published books, papers or any other source.

3.3 Method(s) opted for Data Analysis and its Justification

Topic selected is subdivided further into subtopics:-
• Cosmology and its relation to architecture.
• The geometry in the temple.
• Elements on the temple.

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According to each subdivision different papers, books and articles referred and after
analysis of the data the above mentioned topic is explained and understood within the scope
of the main topic.
Analysis is also done to provide brief summary of all the facts, theories and results of the
research that is done in past in the same topic or relation to the topic and highlight the
relevance of the topic.

3.4 Advantages and Limitations of the method(s) adopted

Advantages
Proper understanding of the topic and more clarity about the topic is achieved by the methods
that were adopted.

Methods that were adopted for collecting and analysis of data helped to write the dissertation
in proper format as in process some of the dissertations on different topics is read thoroughly.

Analysis of the data was easy because of the methods that were adopted.

Limitations
The methods that were adopted basically was secondary methods as the research is done
internet which was short coming in one sense that data was not available first hand.

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SACRED IN TEMPLE ARCHITECTURE I 31
 CHAPTER-4
CASE STUDIES

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CHAPTER 4: CASE STUDIES
4.1 INTRODUCTION
Different cases were selected for the initiation of the factors that will help in studying and
understanding Sacred geometry in architecture. There were several available option of cases
but only a few that could fall in the structure for the judging criteria and could fulfill the
limitations as well and the study must have a methodology for the review of documents and
the case studies that are going to be done for further conclusions and analyzations that are
being produced to answer the questions.
4.2 Tanjavur Brihadeeshwarar temple
The Brihadeeshwarar temple is a Hindu temple devoted to godShiva positioned in Tanjavur.
This temple plan and development make sensible and powerful use of the axial and
symmetrical geometry rules. The temple wall includes an entrance with a double row of
pillars. The perimeter wall forms a rectangular monastery which can be divided into 2
squares. The centre of the primary rectangular incorporates the Nandhi pavilion
and 2d incorporates the god Shivastatue. In this temple primary tower (Gopuram) peak is
60m. The tower of the principle gateways is 30 m high. In this area there
are 5 major sections: the sanctum with the towering superstructure (srivimana), the Nandhi
pavilion in front (Nandi-mandapam) and in among those the
primary community hall (mukhamandapam), the great gatheringhall (mahamandapam) and
the pavilionthat connects the great hall with the sanctum.

Figure 9. Plan of the Brihadeeshwarar temple.

A is the sanctuary, B is the Artha mandapam, C is the mahamandapam, D is the Nandi-

mandapam, E is the Gopuram and F is the Shrine of subrahmanya.

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4.2.1 Working rules

The rules mentioned below are helpful to measure the golden ratio in the Brihadeeshwarar
temple courtyards. ( see Figure 10).
1. Assume inner courtyards as rectangular [AEFJ] area.
2. Divide the rectangle [AEFJ] in two part by drawing line [CH] in middle of the
rectangle.
3. Draw line BI and DG in rectangle [AEFJ] passing through middle of karpagraham [L]
and middle of Nandhi pavilion [M].
4. Now we get three equal portions are:
• Middle of temple to Back end of temple [ACHJ].
• Middle of the Nandhi pavilion to Middle of the karpagraham [BDGI].
• Entrance of the temple to Middle of the temple [EFHC].

4.2.2 Measuring the golden section portion from middle of Nandhi mandabam to
middle of karpagraham [BDGI].

Figure 10. Golden section of BDGI.

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When golden section were measured in line segments LM in LN and LM in KM they all
resulted in same that is φ known as phi value of which is 1.618 and same happened with
line segment CH and resulted in the same value.
From this we get four points S, T, U, V and using these points as middle draw a square
S1T1U1V1 and this square identify the golden section of BDGI.
Similarly for the diagonal lines of BDGI that is BG and DI we get the similar results that is
1.618.

Figure 11. Golden section with diagonal lines of BDGI.

Now the same process will be repeated for the two other sections that is [EFHC] and [ACHJ]
and will get the golden section for each one of them.

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Figure 12. Golden section of EFHC.

Figure 13. Golden section of ACHJ.

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 Figure 14. Golden section of AEFJ.

Figure 15. Golden section of The Brihadeeshwarar Temple.

The main three areas of the temple is designed and placed according to the golden section.
CONCLUSION
From this study, felt that one of the secret of beauty of the Brihadeeshwarar temple is Golden
proportion influenced its plan of designs and constructions. This temple is one of mysterious gift of
our ancient people which exposed architect, spirituality, tradition and science.

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4.3 Kandariya Mahadev temple, Khajuraho
Hindu temple is one of the best examples of those fractal buildings which were constructed
in the past, far before than the birth of fractal theory and manifested the religious cosmic
visions.

Fig. 16. Top: development of a fractal figure from a single circle by the iteration having some
definite rule. Bottom: development of different fractal figure from the same circle but by the
iteration having different rule

4.3.1 Meaning that asscociated with geometry.

To connect the divine world with the physical world and to show and reflect the truth of the
creation of universe, the layout of the cosmos is laid down on the ground graphically in the
foundation of the temple. Here, a legendary incident became interwoven in which a formless
being covered the sky and became, immediately, arrested right all the way down to the
earth with the aid of using the creator Brahma and different gods. This fact that is
supernatural is graphically depicted by vastu purusha mandala.
4.3.2 Fractal dimension and box counting method
There are various methods to evaluate the fractal dimension, among which the ‘box counting
method’ is suitable for measuring the fractal dimension of the elevation of buildings,
mountains, trees or any objects which are not true fractal.
To evaluate the fractal dimension by using box counting method foremost a square grid is
placed on the image where the size of each box in grid is big and then slowly the square grid
is further divided into smaller grid boxes and then calculating log of scale to the log od
numbers we get the fractal dimension of the image.

Fig. 17. Box counting operation of a fractal figure. Extreme left—fractal figure; (a) grid size 24; (b)
grid size 12; (c) grid size 6; and (d) grid size 3

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4.3.3 Analysis of Kandariya Mahadev temple.
The foundation and floor plan
In the foundation plan of any temple, by laying down the diagram of vastu purusha mandala
on the selected ground cosmos is embodied in it. This divine diagram of mandala basically
reflects the image of cosmos in its fractal qualities. In the diagram, squares are repeated
within each square and different squares and so on and each newly formed square depicts the
birth of the new universe in which the centre of this diagram is the source of creation of each
square which means another universe.
At the same time through laying down the diagram of mandala in the foundation of the temple,
cosmic energies have been grasped below the structure. The middle of mandala is the supply of all
energies which can be radiated outwards to the physical world. The square form of
mandala drastically implies to preserve the power equilibrium.

Fig. 18. Evolution of the plan of Kandariya Mahadev temple from the vastu purusha mandala through the
above stages which is lead by the radiation of cosmic energy. (a) Plan of Parvati temple, Nachna from simple
square mandala; (b) plan of Vishnu temple, Deogarh from the first iteration of mandala; (c) plan of Surya
temple, Modhera from the second iteration of mandala; and (d) plan of Kandarya Mahadev temple, Khajuraho
from the third iteration of mandala.

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 Fig. 19. (a) Top: 9-Squares mandala. Bottom: sides of a 9-squares mandala are bumped up 1 pada
along the cardinal directions. (b) Left: plan of Kandariya Mahadev temple. Right up: outer corner of
‘Fig. 8a-bottom’, i.e., 1 pada and development of a element having golden proportion with a quarter
of the pada. Right bottom: outer corner of ‘Fig. 8a-bottom’ filled by the newly born element from a
pada in its three sides and overlapped with the self similar but opposite pattern to get final fractal
patterned plan of the temple.

Fig. 20. Geometric operation of mandalas and that of some symbolic geometry for the development
of the plan of Kandariya Mahadev temple.

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4.3.4 Elevation
Hindu cosmology, manifested in the plan of Hindu temple two dimensionally, was also
manifested in its elevation but three dimensionally and more symbolically.

Fig. 21. (a) Repetitions of towers and their elements in the shikhara; and (b) whole form of shikhara
is repeated in a part within another part (marked by red color). Repetitions of tower above the
mandapas (marked by green color) create angle for upward eye movement to the summit of main
shikhara.

Fig. 22. Peaks of all self similar towers follow the rule golden sequence.

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 4.4 Dilwara Temples, Mount Abu

The Dilwara group of temples or also known as Delvada temples and is located 2 and half
kilometres from the Mount Abu Settlement.

4.4.1 Gnomonic Expansion

According to Aristotle there are certain things which does not suffer alteration when they
grow in magnitude and the reference is to the Greek mathematicians called them gnomons
and the growths that based upon it is known as gnomonic expansion.
'A gnomon is any figure which, when added to an original figure, leaves the resultant figure
similar to the original.(Sacred geometry by Robert Lawlor)
The contemplation of this figure results in the knowledge of one in every
of nature's most not unusualplace varieties of increase, increase via way of means
of accretion or accumulative increase, wherein the old shape is contained within the new.
This is the manner the more everlasting tissues of the animal body, such asbones, teeth,
horns and shells, develop, in contrast to the tender tissue which is discarded and replaced.
This acquainted form of increase has frequently been presented architecturally as
the layout of a building. The Hindu temple is an awesome instance of this. The floor was all
started via way of means of setting collectively fourbricks, every one foot square,
forming therefore the square of 2, then increasing this platform to the square of three and
so forth. Each sequential growth turned into taken into consideration as an growth of the
altar of sacrifice, in that the entire temple recapitulated its essence-seed, the altar,
or original square.

Fig 23.The gnomonic expansion or increase depicted in various geometric figures, and by unity dots
in the form of square, rectangle, triangle.

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Fig 24 .The floor plan of the typical Hindu temple is a simple, con- centric gnomonic expansion of
an initial square. As the mandala reflects the celestial order, each square contains the name of a
deity.

4.4.2 Plan of Abu Dilwara

Fig 25. Plan of the Dilwara Temples

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The gnomon, as a succession of increments of growth, defines apassage via time.
This expansion, withinside the Hindu temple,is an extension of the preliminary square that
is the altar of sacrifice, the box of the symbolic cosmic fire So time is depicted as a
constant extend in; fire of life, throwing 'outward and ingesting again the forms held
as capacity in the initial seed altar.

Fig 26. Ceiling of Dilwara Temple

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 Fig 27. Ceiling of Dilwara Temple.

Certain way still remain the old and same figure as before.Gnomonic expansion can also be
seen in the ceiling of the temples as the ceilings have these patterns which grow in

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 CHAPTER-5
ANALYSIS AND DISCUSSIONS

SACRED IN TEMPLE ARCHITECTURE I 46

CHAPTER 5 : ANALYSIS AND DISCUSSIONS
5.1 Comparative analysis

S. ANALYSIS CRITERIA’S Tanjavur Kandariy Dilwara

N Brihadeeshwa a Temples,
O r ar temple Mahadev Mount
temple Abu
1. Typology of Geometries Golden ratio Fractal Gnomonic
analysis in the geometry Expansion
plan of the analysis.
temple

2. Geometrical analysis The plan of the In kandariya According to

temple is mahadev temple Aristotle there
divided into fractal are certain
three different geometry things which
sections to analysis is done does not suffer
analyze in both the plan alteration when
whether they and the they
have golden elevation with grow in
section present box counting magnitude and
or not and after method that is the reference is
analyzing three one way of to the Greek
Tanjavur different parts analyzing fractal mathematician
Brihadeeshwara Temple each part had dimension. s called them
same golden gnomons and
section After analyzing the growths
proportion. the plan and the that based
elevation it was upon it is
Each different clear that both known as
section have are complex gnomonic
main parts of patterns expansion.
the temple and emerged from
Kandariya Mahadev Temple
that is designed the simpler In the plans of
according to the form and one the dilwara
golden section. simple form is temples
repeating itself gnomonic
without expansion can
changing its be seen easily
character. and also in the
ceiling patterns
of the
Dilwara Temples temples.

SACRED IN TEMPLE ARCHITECTURE I 47

3. Sacred Meanings behind The golden To connect the The gnomon,
the geometries. section is one of divine world as a succession
the with the of increments
geometry physical world of growth,
which is find in and to show and defines
different parts reflect the truth apassage via
of the world. of the creation time.
of universe, the Thi
Like seashell, layout of the s expansion,
sunflower and cosmos is laid withinside the
many more down onthe Hindu
things and our ground temple,is an
ancestors were graphically in extension of the
also using this the foundation preliminary
geometry in of the temple. square that is
creating and Here, a the altar of
designing legendary sacrifice, the
beautiful incident became box of the
buildings interwoven in symbolic
because its which a cosmic fire So
ratio that is formless being time is
1.618 which covered the sky depicted as a
means when and became, constant
you divide one immediately, extend in; fire
side of the arrested right of life,
figure to the all the way throwing
other and if it down to the 'outward and
comes 1.618 earth with the ingesting again
that means it aid of using the the forms held
have golden creator Brahma as capacity in
section in it and and different the initial seed
it is derived gods. This fact altar.
from Fibonacci that is
series which is supernatural is
infinite same as graphically
the universe is depicted by
infinite and we vastu purusha
can break one mandala.
part into

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 infinite no. of
parts which is
the belief of
Hinduism.

4. Similarities Vaastupurusha Vaastupurusha Vaastupurusha

mandala in mandala in mandala in
layout of the layout of the layout of the
plan. plan. plan.

Table 2. (Source: author)

5.2 Analysis of the meanings of different geometry.

Though different geometrical analysis is done in different temples but the meaning behind each
geometry is similar which basically support the belief of Hinduism.
The Hindu Temple is designed and constructed as miniature forms of the Cosmos as envisioned
in Hindu philosophy and beliefs. Hindu Philosophy describes the cosmos as holonomic. The
holonomic character implies the virtue of self-similarity, homogeneity, isotropy and symmetries
of various kinds. Like a hologram, each fragment of the cosmos is considered to be whole in it and
to contain information similar to the whole.
Part to whole and whole to part.

5.3Strength and limitation of the collected data

Strengths:-

1. The data collected helped in better understanding of the geometries that were used in the
temples.
2. It also helped to prove various theories that were there about the use of geometries in the
temple.
3. It also helped in understanding the meanings of the geometry that were used.
4. Concluding it in the way that the data collected helped in understanding the main aim of
the study and also in answering the questions that were raised in the intial stage of the
study.
Limitations:-

1. Physical study of any place was not possible due to distance and limitation of time and
that is why the data was collected from the internet which can influence the opinion of
the person when he/she see something physically.
2. Lack forming the perception of our own only studying the perception of different people.
SACRED IN TEMPLE ARCHITECTURE I 49
 CHAPTER - 6
OBSERVATIONS

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CHAPTER 6: OBSERVATIONS
6.1 Summary

Sacred geometry gives symbolic and holy meanings to certain geometric shapes and
certain geometric proportions and after analyzing geometrical patterns that is embedded in temple
in one way or other, those geometric patterns they ascribes meanings to the temple structure that
is basis of the idea behind the Hindu Philosophy that is part to whole or whole to part.
In temple whole universe is embedded in form of the plan of the temple which means the temple
center ascribes whole universe in form of cosmology that is infinite and has no end. The four
sides of the mandala that four different direction that is outside the mandala represents the meeting
of the universe and earth and also describes the movement of the sun from east to west and also
tells us about the rotation of the sun in both hemispheres that is northern and southern. The center
of the mandala is the place for brahma the creator of the world and the other squares are the
position of other gods as per their relevance.
Different temples may have different types of geometries on basis of which temple is designed
but the basic layout of the temple is always same based upon vastupurashamandala. The
Vastupurashamandala is derived from different words having different and specific meaning
where vastu means physical world and environment, purusha means energy, cosmic being or
power and mandala means diagram and one more thing that is same in every temple is that
irrespective of different geometries each and every geometry have meanings that support the
philosophy behind Hindu religion.
So the conclusion of the study is that sacred geometry is not just used to build the temples tangibly
but they have intangible aspects also that is meaning behind the geometrical patterns that is why
they are considered sacred.

6.2 Recapitulation of Research Questions & its Significance

In what ways the sacred geometry incorporated in Temple?

: Sacred geometry is embedded in different forms of temple that is in form of plan that is
based upon a mandala known as vastupurashamandala and also in elevation and patterns
that is inscribed inside the temple and also how the plan of the whole complex is designed
based upon golden ratio and they have meanings behind each pattern that is why they are
used in the temple formation.

Is sacred geometry have impact on people in intangible manner?

: Whenever we enter in space there is always a feeling that we have in that particular space
so whenever a person enters into the temple which is constructed on basis of geometrical

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 patterns that have meanings ascribes to them that person feel a positive feels a positive
energy into the body and the mind and that calms the person in spiritual manner so yes
sacred geometry have impact on people in intangible manner.

6.3 The future Research possibilities

The Hindu temples of India has been a topic of take a look at for several historians, spiritual
scholars, artwork historians, photo-journalists, archaeologists, architects and different
professionals. There is scope for plenty take a look at on Hindu temples in exclusive areas of
India now no longer simply primarily based totally at the iconography, shape and
transformation however extra on their constructing generation and structural evaluation. Some
research had been undertaken. For instance it's far regarded that several temples have fallen
because of exclusive calamities from time to time, but there are even these days examples of
temple which haven’t fallen both because of earthquake or cyclone or different herbal calamity
as due to the fact those temple have been built withinside the shape of an interlocking device
as in keeping with laid out withinside the historic manuals. Therefore those shape have a
tendency to vibrates along side the earth’s vibrations, and could sway however now no longer
fall below any instances throughout earthquakes or cyclones. Therefore there's scope for
similarly information of the structural factors of Hindu temple and it could be a topic of extra
structural evaluation like protection evaluation and balance evaluation of systems along with
calculation of the most common pressure at the inspiration and columns, the thrust evaluation
of the sikhara, and post & lintel etc.

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 BIBLIOGRAPHY

1.Cosmic Architecture:- https://mythsymbolsandplay.typepad.com/myblog/2016/09/cosmic-

architecture.html#:~:text=The%20universe%20has%20been%20depicted,lateral%20structure%2
0of%20the%20universe.
2. Hayaśīrṣa Pañcarātra by Elisabeth Eva Raddock
3. Sacred Geometry by Robert lawlor
4. Building science of Indian temple Architecture – Shweta Vardia
5. Role of fractal geometry in Indian Hindu temple architecture.
By Dhrubajyoti Sardar, S.Y.Kulkarni) 6. Sacred geometry in chess and design of hindu temple -
By Sudhir v. Patel
6. Shapes, patterns and meanings in Indian temple architecture. By Tanisha Dutta, V.S.Adane
7. Sacred geometry mathematical and geometric applications in the ancient architecture of India.
By Aryaman Agarwal
8. Symbolism in Hindu temple architecture and fractal geometry- ‘Thought behind form’
By Tanisha Dutta, V.S.Adane
9. Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev temple,
Khajuraho Iasef Md Rian, Jin-Ho Park, Hyung Uk Ahn
10. Existence of the golden ratio in Tanjavur Brihadeeshwarar temple BY - C. Velmurugan1 and
R. Kalaivanan1,∗
11. Sacred Geometry by Robert Lawlor.

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