Indo Nordic Author’s Collective

Temples of Goa
Dr Uday Dokras, Architect Srishti Dokras & Brand Guru Karan Dokras

Temples of Goa are like none other found in India and display multi cultural contacts arising out
of visiting dynasties,invaders and even buddhism.Hinduism is the majority religion in Goa. As of
2011, 66% of the population of Goa is Hindu.
Goan Hinduism has unique properties. Although Hindu Goans and other Indian Hindus share
most rituals the isolation of Hindus in Portuguese Goa and Damaon, and the presence
of Christianity in Goa has led to syncretic religion of both Hindus and Christians. Traditions of
goan Hindus include festivals with processions wherein the deities are taken from the newly built
temples in the Nova conquistas to their original sites in the Velhas Conquistas.
While Caste system is still a major factor especially amongst the Hindu population and followed
to a lesser extent by the declining Goan Christian population, the egalitarian Indian
constitution has helped to a perceived degree.
Goan Hindus celebrate the Yatra of Shree Mahadeva Shiva and Shree Mahadevi Shantadurga
(Durga) besides those of other deities. The festival of Holi is called Shigmo in Goa and
celebrated with gaiety. Chavath or Ganesh festival as it is called by Goan Hindus is a major
festival in Goa. Deepaavali is celebrated with the lighting of the deepstambs in the temples and
with the burning of effigies of the evil demon Narakasur who was vanquished on the day before
Diwali by Shri Krishna.
The Goan Hindu community is composed of 1% Saraswat Brahmins, Daivadnya Brahmins and
other Brahmin communities like Karhad Brahmins and the rest are a combination
of Konkanastha Brahmins (Chitpavans). Other castes are Konkan Kshatriya Chardos, Vaishya
Vanis, Kunbis, Gaudas etc.
A Goan temple is known as a dēvūḷ (ददददद) or sansthān (ददददददद) in the Konkani
language. These temples were once the centres of villages, cities, and all the other social, cultural
and economic gatherings in Goa. These were known as grāmasansthās (ददददददददददद) in
Konkani.
A temple in Goa was once always the centre of a village (and in cases still is), and the lives of
people were related to these temples and their festivals. The village property was divided
amongst the villagers according to certain rules. The patrons of the temples are known
as Mahajana and for the most part hail from Brahmin communities with a few
from Kshatriya communities. This Mahajani system was once responsible for temple upkeep.
DIETIES: Goan temples are strictly devoted to the worship of Panchyatan devised by Adi
Shankara. The following sholka says :
ददददददद ददददददद दददददद दददददद द ददददद | ददद ददददददद
ददददददददद दददददददददद ददददददद ||
The following deities constitute a Panchayatana:

 Devi ( e.g. Shantadurga, Bhagavati, Navadurga, Mahalakshmi, etc. )

 Rudra or Ishwara ( e.g.Manguesh, Nagesh, Shivnath, Damodar, Gananatha )

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 Ganesh ( e.g. Mahaganapati )

 Keshava ( e.g. Lakshmi Narayana )
 Aaditya ( e.g. Surya Narayana )

Lord Parshuram with Saraswat brahmin settlers commanding Lord Varuna to make the seas
recede to make the Konkan
In addition to these deities following deities are also worshipped.

 Kulpurush - Family Ancestor

 Ravalnath
 Bhutnath
 Gram Purush
 Kshetrapal

ARCHITECTURE: All the original temples in Goa were demolished by the Portuguese, and all
the patrons migrated to other places with the deity idols. The original goan temples were made of
sedimentary rocks, stones, wood and limestone. Black stone built
in Kadamba and Hemadpanti style were very rare. Only one ancient temple of Goa that exists is
that of Tambdi Surla Mahadev. The present day goan temples are of Nagara architecture with
some alterations, this kind of architecture is unique in India. When one observes, the temple can
have many different angles to it, it can be perceived as a Mosque, Church or simply a Palace.

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A
water tank called as a Tali or a Tallay is usually seen at the main entrance of the temple. A
large Praveshdwar or the main entrance, with a Nagar Khana is a very distinct feature of Goan
temples. A Deepa stambha is an integral part of the temple. Other related buildings with the
temple:

 Agrashala
 Bhojanshala
 Yagnya-shala
 Vahanshala
 Related offices
 Nagarkhana
The temples are usually painted in white or other light colours, and usually are covered with clay
tiles. A Golden Kalasha is also seen.
The parts of the temple:

 Sabhamandapa
 Antarala
 Chowk
 Garbhagruha ( Garbhakud in Konkani )
 Sarvalli ( Pradakshina marga )
The temples have wooden carvings depicting epics like Ramayana and Mahabharata. The
Garbhagruha is usually studded with silver and main idol is made of black stone and
sometimes Shaligrama. Goan Konkani temples represent two murtis one is a Mula Murti to

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which the alankar (adornment) is usually done and which is of ancient origin and the Utsava
Murti which is displayed in the temple premises. The Utsava murtis are made of silver, gold or
sometimes alloys. An alloy Prasad Murti is also seen. The Chowk pillars are usually wooden
with explicit carvings. The roof is also studded with paintings and chandeliers. Huge bells are
hung at the entrance of the Chowk. This place is considered very sacred.

 Jatra
 Palakhi Utsav
 Navratri
 Tarangotsav, Dasarotsav
 Samvatsar (Saunsar) Padvo
 Gulalotsav
 Shigmo
Architecture:The temple with its beautiful wood and silver carvings is reputed to have been
erected by Habu Brahmins of the Dravidian dynasty. One can see some of the finest surviving art
on the six pillars in the mantapa or the assembly hall. One of the wooden pillars in the mandapa
is used as the oracle pillar in the temple. These pillars have intricate carvings with scenes from
the Puranas and Mahabharat. On either side of the doors leading to the inner sanctum one can see
beautifully carved silhouettes of the doorkeepers or dwarpal.
TEAK CARVINGS: See above pic Most seekers who follow Bhaktiyoga (Path of devotion) for
God-realisation begin their journey by worshipping a Deity. A temple is the basic requirement
for puja (Ritualistic worship). Nowadays, the Devghar is designed as per convenience or as a
showpiece without giving much thought to the scientific aspect in making it. In Spirituality, there
are certain scientific aspects underlying every act being performed in a specific way. This article
provides details such as the direction in which the Temple should be placed, its colour, shape,
aesthetics and arrangement of Deity in it according to Spirituality.

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1. What should be the features of the Temple

A. What material should the Devghar be made of ?
As far as possible, the temple at home should be made of sandalwood or teakwood.
Sandalwood is expensive and may not be viable for the average individual.
Comparatively, teakwood is cheaper and has better ability to retain and
emit sattvik (Sattva-predominant) waves. Eventually it is the bhav towards God that
attracts the Divine waves to the top of the temple, which are further dispersed in the
house as per the requirement.
B. What should be the colour?
Though the modern trend is to paint the temple at home with different colours in the
name of decoration, it is ideal to retain the original colour of wood, that is, pale brown.
God operates through two Principles, namely saguṇ Principle and nirgun Principle. Pale
brown colour symbolises the border between the saguṇ and the nirgun, meaning the
transition phase of the journey from saguṇ to the nirgun. Human beings with
Panchatattvās (Five Cosmic Principles) as their constituents fall in the saguṇ category
and the formless God falls in the nirguṇ category. Since a simple religious act like
worship of a Deity amounts to spiritual practice, it helps the individual in traversing from
the state of saguṇ to nirgun, meaning, from duality to non-duality. Obviously, the pale
brown colour of the devghar is complementary to this spiritual journey.
C. What should be the shape?
A three dimensional body is determined by its width x depth x height. When deciding the
shape of the temple at home from spiritual perspective, the dimensions can be determined
from the information given ahead. These examples have been provided so as to
understand the proportion.

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1. Sketch 1 : ‘The proportion of ‘width x depth x height’ should be ‘2 : 1 : 4’.

Proportionately other measurements are given. Terminology of measurement – 2’ : 2 feet,
8” : 8 inches, 1’ 2” : 1 foot 2 inches The distance between two poles of the temple is
considered from their periphery.
D. How should be the two sides ?
The temple is made with the intention that the worshipper gets maximum Chaitanya from the
worship of the
Deities. The two sides of the temple are left open so that the Chaitanya (Divine consciousness)
emitted by the devghar is not blocked and the worshipper benefits directly. This is applicable to
the temple at home that is located in a common room, where all the members have free access.
When the temple is in a bedroom of a couple, its sides should be closed for the following
reasons. During the menstrual cycle, women are not permitted to enter a temple;
because the sattvikta in the temple is likely to cause distress to them. Similarly, during their
menstrual cycle they are also likely to suffer from distress due the Chaitanya emitted by the
temple at home. When two sides of the temple at home are closed, the quantum
of Chaitanya emitted is relatively less; hence, it suits the bedroom of a couple.\

E. Should it have a dome ?

The function of the dome is to attract and emit far and wide the waves of Chaitanya into the
atmosphere. The level of bhakti (Devotion) and bhav (Spiritual emotion) in an average
individual is not high. Hence, so that whatever little Chaitanya that is generated because of the
worship of the Deity does not spread far and wide through the dome on the temple and the
worshipper avail its benefit, it is appropriate for temple at home not to have a dome. The level
of bhakti and bhav in individuals with spiritual level above 50% is high and hence, the amount
of Chaitanya generated as a result of their worship of the Deity is also high. If such individuals
have a high dome for their temple through the medium of this dome the Chaitanya spreads far
and wide and that not only helps others, but also purifies the environment to a large extent. In
this case, along with individual benefits, the broader benefit of the society is sought.
2. What should be the direction ?
‘The temple should always be in the east-west direction. When the temple faces the east, the
waves emitted by the Deity get activated on the strength of kriyashakti (Energy of action)
accumulated in the hollow in the east. This helps the nirgun (Non-materialised) waves of the
Deity transform into saguṇ (Materialised) waves. When the kriya-shakti from the universe
associated with the east-west direction manifests due to the waves emitted by the Deity, its
direction is mostly upwards. The effect of the upward mobile waves on the environment lasts
much longer than that of the downward mobile waves. Hence, for the effect of
the sattvik (Sattva-predominant) waves emitted by the Deity to last longer, the direction of the
temple at home should be east-west. On the other hand, when ichha-shakti (Energy of will)
accumulated in the north-south direction gets activated, it flows downwards. This fl ow activates
the tiryak waves (The Raja-Tama-predominant waves causing distress) in the environment. This
causes obstruction to the sattvikta emitting from the Deity and as a result the benefit obtained by
the individual when compared with the first arrangement is less.’
There is a great diversity of wood work and its techniques in Indian Art . It is possible that a
grammar of decorative art might be written from the study of wood carving alone and there is a
circumstantial fact that the wood and the stone carvers belong to one and same caste. This may
be accepted as an additional evidence in favour of gradual production of the one form the other

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and that at not very ancient date. There are various techniques by which the 'Wood' has been
ornamented in several specific ways such as by carving, inlaying, veneering, lacquering, etc. The
art of wood carving have been greatly influenced by the grain of the timber employed, that is
possible with type of woods such as teak, red wood, walnut and low relief
of Sheesham and Deodar the incised design of ebony. The intricate and the ornamental details of
the Sandal and the barbaric boldness of Rohira, Sal and Babul and other coarse grained and hard
woods.
India has a range of woods and every kind has its own particular properties of grain and
strength. The skillful wood-workers has worked on it tirelessly and evolved styles and items
depending on the quality of available wood and their own ingenuity to tackle it, thus creating an
enormous range in wood products of all kinds. In Tamil Nadu, Virdunagar was once a traditional
centre, Devakottai and Karaikudi are known to make traditional wooden panels in different sizes
and Nagercoil and Suchindram have traditional carvers who make religion figures. Wood
carvings are appreciated also for the special type of wood used in them, like rosewood for its
faint perfume like rose water and lovely ebony-black colour. Madurai is famed for rose wood
carving marked by its bold style and very detail works. Tirupati area of Andhara pradesh has red
sandal wood known as 'Raktachandan' which is blood coloured Sandal wood. The coppery glow
in this wood brings special charm. Sandal wood from karnataka is also known for its own
intrinsic quality and superb carving possibility. This region is inhabited by many of the most
talented wood carvers .
The technique type of carving are in the round, in relief, chip, incised and piercing. In the first
the object is totally detached from main wood background such as 3D form of a human and
animal figure. In relief the figure etched and raised on the background wood, which can be high
or low relief. Chip consist of evolving designs by chipping the wood used mostly in ornamental
and decorative work. Incised is done without ground work mostly put out flowers and creeper
motifs. Pierced is for effective ornamentation in which the wood is completely cut away leaving
just the design that calls for extra scale. Karnataka is also famous for Rosewood artefacts, some
of the best specimen of wood work is provided by the mighty pyramidal gateway of temple. An
extension of this covers Temple chariots or Rathas, as they are called. The one in which the deity
is carried is called Agami and is the most heavily ornamented with numerous sculptures such as
flying angels, horsemen, elephant, eagle, swan, tigers etc. Another style of ornamentation is
painting and inlay, often with precious metals like silver and gold.
FIVE REASONS WHY TEAK IS THE BEST WOOD FOR TEMPLES
The interiors have murals and wood carvings depicting scenes from the Hindu mythology .Teak is the
hardest, most durable and strongest of the hardwoods, making it the perfect material for outdoor furniture
that lasts. Used in shipbuilding since the middle ages, it continues to be used today in the construction of
ships and high-end yachts and boats.
1. OIL OF TEAK IS WEATHER RESISTANT
An outstanding feature of teak outdoor is the ability to withstand all types of weather. It is one of the
few woods in the world containing a natural oil which repels water, keeping it from warping, cracking
or becoming brittle. Outdoor furniture made from teak will withstand the harsh effects of hard rains,
severe winter snow storms and broiling sun without its strength diminishing. The outdoor furniture
found at most high-end ski lodges is made from teak due to this wonderful quality.
2. TEAK IS PEST RESISTANT
The same resins and oils that protect against weather, also serve as repellents against insects like
termites and marine borers. By choosing teak, you know you wont need to worry about pests.

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3. TEAK IS LOW MAINTENANCE

Teak wood needs no paint or varnish. With the wood’s high oil content teak will fade to a beautiful
even colored patina and will not look patchy or black. If your desire is to show off it’s showroom
luster, then a natural teak sealer can be applied needed.
4. TEAK LASTS A LIFETIME
There are century-old teak carvings – a testament to the durability of this wood.
5. TEAK IS BEAUTIFUL AND STAYS BEAUTIFUL
When new, Teak wood has a honey brown color. Over time it will age naturally into an elegant patina
grey. In it’s original state or weathered grey, the natural teak wood complements any indoor/’outdoor
space with class. Further, teak never rusts. Other woods will start to rust and deteriorate when in
contact with metal. Teak is one of the few woods which does not. Since many pieces of temple
carvings made from teak wood have metal fittings, this is another amazing quality of this outdoor
furniture which keeps it looking good for years to come.

Wood carving involves various techniques of removing wood from an original raw piece,
and then finishing the carved object. This involve traditional carving tools, chisels, gouges,
knifes, hammers, along with sanding, painting, or otherwise finishing your object. A wood
carver must be able to adapt a number of basic wood carving techniques and skills to finish a
project from beginning to end. Techniques used by the Wood Carver

Woodworking Carving involves having the right tools, but also learning correct technique and have
the right wood for any projects. Once proper technique is learned it takes time and practice to master
them. Fixing Damaged Woodcarvings

There are many types of damage and subsequent repair that occur on carvings. The few basic types of
repairs I will address here deal with a carving in progress. The most important thing to remember
about a repair is also the most challenging: the repair must be permanent and invisible. The best
repair should never be seen. Poorly executed repairs can be a detriment to the appearance of a
carving, so it's important to exercise as much care in their execution as you do in any other phase of
carving. Carving is both a skill and an art. Why an individual carver decide how they are going to
carve a piece explains why there is such variety in finished piece. Knowing what you want to
accomplish in you carvings will help with the technique you use to get the work finished.
After learning the basic, and trying out some simple project, anyone with advance skill can move on
the wood carving for art's sake. Doing it right takes time, talent, technique, supplies.

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Following is a list of Hindu temples in the Indian state of Goa.

Name Location Deity Image

Madhav Govind
Agapur, Ponda
Rameshwar
taluka
Temple

Mahadev
Temple, Tambdi Shiva
Surla

Mahalasa
Narayani Mardol
Temple, Mardol

Mahamaya
Kalika
Kasarpal Kali
Devasthan
Kasarpal

Mallikarjuna Chaudi, Canacona

Temple, Goa taluka

Mandodari
Khandola
temple, Betki

Mangueshi
Mangeshi village Shiva
Temple

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Name Location Deity Image

Nagueshi Nageshi Shiva

Ramnathi Ramnathi Shiva

Saptakoteshwar
Narve Shiva
Temple

Shanta Durga
Kavlem Shantadurga
Temple

Shantadurga
Kalangutkarin Nanora Shantadurga
Temple

Sharvani
Bicholim taluk
Devasthan

Shree Betal
Amona, Goa
temple

Shri Damodar
Zambaulim
Temple

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Name Location Deity Image

Kerim, Ponda
Vijayadurga
taluk

Vimleshwar
Rivona Shiva
Temple

Devkikrishna Marcella (or Devki

http://shreedevkikrishna.info/wallpapers/2.jpg
Devasthan Mashel) Krishna

10 Famous Temples in Goa for Spiritual Beings

1. Shri Saptakoteshwar Temple

Shri Saptakoteshwar Temple (source)

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Holding an architectural beauty of the Mughal era, this temple in Goa captivates everyone’s
heart through its magnificent craftsmanship. The most important festival celebrated here is the
Gokulashtami in which devotees from all around the world visit this place.
 Location– Narve, Bicholim, South Goa
2. Maruti Temple

Once you are in Goa, you can’t afford to miss out the blessings of Lord Hanuman at the famous
Maruti Temple. This temple depicts an intriguing history of its construction and the Tuesdays at
this place is nothing less than a festival.Location– Near RTO Circle, Ponda, Goa

3. Mahalaxmi Temple
One of the most visited Hindu Temples in Goa is the Mahalaxmi Temple. The deity of the entire
population of Goa is worshipped over here. The sanctum of this particular temple has 18 pious
images depicting the sects from the Bhagwat Gita.
 Location– Ponda, North Goa

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4. Mahadeva Temple

Often referred to as the Gem of Tambdi Surla, Mahadeva Temple is a historic temple
in the beautiful city of Goa. The architectural basis of this temple is dedicated to Lord
Shiva and the structure is made of finest basalt stones. This place attracts nature
admirers from all around the globe throughout the year.
 Location– Sanguem, Surla, Goa

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5. Shri Shantadurga Temple

As the name suggests, this temple in Goa denotes peace and harmony. Surprisingly, this temple is
located at three locations in Goa. The Hindus and Christians both worship at this place and it is really
a serene place to visit while you are in Goa.
Location– Quepem, South Goa
6. Shri Damodar Temple

Shri Damodar Temple (source)

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Situated on the banks of Kushawati River, Shri Damodar Temple in Goa is said to be a majestic place
to visit. The devotees believe that the River Kushawati can cure any skin ailments. The rituals and
culture followed here are quite interesting as well.
 Location– Sanguem, South Goa
7. Mangeshi Temple

A perfect blend of modern day art and traditional Hindu pattern, Mangeshi Temple is a must to visit
place in Goa. This temple is known for its Deep Stambha which is at its best when lit with hundreds
of diyas in the evening.
 Location– Priol, Ponda, North Goa

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8. Shri Nagesh Temple

Established in 1413 AD, Shri Nagesh Temple is famous for its strong and stable background. The
pool located along with portrays a commendable reflection of the images in the crystal blue water.
This is the only temple in Goa that has not been rebuilt, only renovated.
9. Brahma Temple

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To experience a divine temple tour, Brahma Temple must be visited by the travel junkies. The
tall and elegant statue of Lord Brahma stands in the centre of premises and it is believed that
Lord Brahma blesses everyone who comes to see him.
Being is Goa is undoubtedly a superb experience and by thronging the religious destinations you
will surely feel internal peace and joy. The above list must have recalled some of the memories
of your visit. If yes, do share your experience in the comments section below. Also, we would be
glad to hear your feedback and suggestions, if any.
10. Mahalasa Narayani Temple is a Hindu temple to the goddess Mahalasa, located
in Mardol, Ponda, in the Indian state of Goa.
Mahalasa is identified with Mohini, the female avatar of the god Vishnu. Mahalasa has four
hands, carrying a Trishula, a sword, a severed head, and a drinking bowl. She stands on a
prostrate man or demon, as a tiger or lion licks blood dripping from the severed head. She also
wears the yajnopavita (sacred thread), which is generally dedicated on male deities. [1] She stands
on a prostrate man or demon, as a tiger or lion licks blood dripping from the severed head. Goud
Saraswat Brahmins as well as Vaishnavas from Goa and South Canara identify her with Mohini
and call her Narayani and Rahu-matthani, the slayer of Rahu, as told in the Bhavishya Purana.
While in this shrine, Mahalasa is associated with Mohini and Vishnu, in the Khandoba cult, she
is regarded as a form of goddess Parvati and wife of Khandoba, a form of Shiva (Parvati's
husband).
Mahalsa's older temple in Old Mardol or Velham or Verna, Salcette was destroyed by the
Portuguese in 1567, though the icon of the Mahalasa was rescued. It was shifted here from
Velham to avoid destruction during the forcible Christianization of Salcette. When the current
temple in Mardol (which was outside Portuguese control) was built in the 17th century, the icon
was reconsecrated.
The icon's history before Verna is blurry. Some believe that the main temple of Mahalasa was
originally located in Nepal. She was moved to Aurangabad in Maharashtra. During
the Mughal domination, Aurangabad fell under the Muslim rule and the icon was moved to a
secret location in Goa. Later, a small temple was built at Verna.
Mahalasa Narayani Temple is a Hindu temple to the goddess Mahalasa, located
in Mardol, Ponda, in the Indian state of Goa.
Mahalasa is identified with Mohini, the female avatar of the god Vishnu. Mahalasa has four
hands, carrying a Trishula, a sword, a severed head, and a drinking bowl. She stands on a
prostrate man or demon, as a tiger or lion licks blood dripping from the severed head. She also
wears the yajnopavita (sacred thread), which is generally dedicated on male deities.[1] She stands
on a prostrate man or demon, as a tiger or lion licks blood dripping from the severed head. Goud
Saraswat Brahmins as well as Vaishnavas from Goa and South Canara identify her with Mohini
and call her Narayani and Rahu-matthani, the slayer of Rahu, as told in the Bhavishya Purana.
While in this shrine, Mahalasa is associated with Mohini and Vishnu, in the Khandoba cult, she
is regarded as a form of goddess Parvati and wife of Khandoba, a form of Shiva (Parvati's
husband).
Mahalsa's older temple in Old Mardol or Velham or Verna, Salcette was destroyed by the
Portuguese in 1567, though the icon of the Mahalasa was rescued. It was shifted here from
Velham to avoid destruction during the forcible Christianization of Salcette. When the current
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temple in Mardol (which was outside Portuguese control) was built in the 17th century, the icon
was reconsecrated.The icon's history before Verna is blurry. Some believe that the main temple
of Mahalasa was originally located in Nepal. She was moved to Aurangabad in Maharashtra.
During the Mughal domination, Aurangabad fell under the Muslim rule and the icon was moved
to a secret location in Goa. Later, a small temple was built at Verna.
The Mardol temple complex also has smaller temples of the goddess Shantadurga (Santeri)
and Lakshmi Narayan (Vishnu with his consort Lakshmi), who are worshipped daily with
Mahalasa. The shrines for five main ganas (attendants) of Mahalasa, namely Grampurush,
Bhagwati, Dadh, Simha Purush and Mhal Purush, are also located within the temple premises.
Daily worship of all these deities is carried out before worshipping the main goddess.
The temple has canteen which is run by the workers. After the morning and
evening aarti the Prasad- the holy meal is served here.
The temple is famous in Goa for its huge brass bell. The bell does not have a ringer. The ringer
was attached only when somebody wanted to testify. It was believed that the goddess will punish
the person by killing the person in three days who lied while ringing the bell. The belief was so
strong that during the Portuguese rule the testimony in the temple was considered acceptable in
the court of law. It is also famous for its Brass Divli/Samai (oil lamp).

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Mahalasa is considered as both female (as Mohini) and male (as a form of Vishnu). She is
dressed in alankar (ornaments, costume) as various Vishnu-related deities at various days in the
year. She is dressed as Vishnu's wife Lakshmi as well as Vishnu's male forms
like Rama, Krishna (Bala Krishna - infant Krishna, Krishna
killing Kaliya), Vithoba, Venkateswara etc
Generally, the male or main deity accompanies the right hand position (considered superior to
the left). However, in joint processions or functions, Shantadurga is given the right hand seat,
while Mahalasa sits on her left, as per the lore that Mahalasa gave the former the honour.
Sunday holds a special significance for the temple and the presiding goddess. On this
day, Palakhi Seva is performed in addition to other rituals. The goddess is taken out for a ride
around the temple in a palanquin (palakhi). The palanquin is decked up with flowers and
traditional colourful decorations. A large crowd gathers to participate in the event and the
devotees sing her praises.
The Magha Jatra (festival) at the temple and Navaratri (festival dedicated to the Hindu goddess)
are the main annual temple celebrations.In 2011, the temple banned entry of foreigners into the
temple citing objectionable dressing and conduct as the reason. This temple complex also has
smaller temples of the goddess Shantadurga (Santeri) and Lakshmi Narayan (Vishnu with his
consort Lakshmi), who are worshipped daily with Mahalasa. The shrines for five main ganas
(attendants) of Mahalasa, namely Grampurush, Bhagwati, Dadh, Simha Purush and Mhal Purush,
are also located within the temple premises. Daily worship of all these deities is carried out
before worshipping the main goddess.
The temple has canteen which is run by the workers. After the morning and
evening aarti the Prasad- the holy meal is served here.
The temple is famous in Goa for its huge brass bell. The bell does not have a ringer. The ringer
was attached only when somebody wanted to testify. It was believed that the goddess will punish
the person by killing the person in three days who lied while ringing the bell. The belief was so
strong that during the Portuguese rule the testimony in the temple was considered acceptable in
the court of law. It is also famous for its Brass Divli/Samai (oil lamp).
The modern VARDHAVINAYAK Mandir

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Temple of shree shantadurga, Kavlem

Temple of shree shantadurga, Kavlem is located on the verdant slopes of a hill, 33 kilometers
from Panjim. It was constructed in 1738 by the grandson of shivaji the Maratha king. Its red
sloping roofs and the white lamp tower complement each other. It is dedicated to shantadurga,
the goddess of peace, who mediated between shiva and Vishnu thereby restoring peace among
the gods. The temple has a well maintained water tank within the complex.

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11th Century Narayandev Temple at Vichundrem Ruins of an Ancient Temple

Deep in Goa‘s hinterland, in the tiny village of Vichundrem in Sanguem taluka, lie the ruins of
an ancient temple of Narayandev, dating most likely to the 11th C.
The good news is that this remarkable historical site is still under the jurisdiction of Goans, and
not the Delhi babus from the rubbish Archaeological Survey of India. The bad news is that the
wretched criminals – aka Goan miners – have now gotten so close to it that there is a likelihood
of these ancient treasures ending up tossed into a barge laden with iron ore bound for Shanghai.
I had been to this site twice before in 2007 and 2008. Last month I made another sortie. An
excursion into the forest during the monsoons is always a delight, and it was pouring heavily
when we got there.

There is some disagreement among researchers regarding this site. The accepted view is that it
was a Kadamba-era temple of Narayandev. But a few argue that the image is of Padmanabha and
that the temple is of Chalukyan vintage – that would peg it back at least 2 centuries, to around
9th C. Although Narayan and Padmanabha are both representations of Vishnu, differences in
their iconography obtain. This temple complex of Vaishnavites in ruins today is situated at
Vichundrem in Sanguem Taluka at a distance of 78 kms from Panaji. The entire complex is
surrounded with hills on all sides and it is full of vegetation thereby providing a very pleasant,
beautiful and scenic setting. Close to this temple, there are several natural springs. Near the temple
complex there is a stream and the Khajan land to the left side. Presently, there are no residential
houses in the vicinity of the complex. However, judging the grandeur of the temple complex in ruins,
there is a reason to believe that it must have been surrounded by several residential houses in ancient
times. Presently, the site lies on Quepem-Netravali road, but in the bye-gone era it was lying on the
trade route between Chandrapur (Chandor), Anilpur (Alnavar), Halasige (Halasi) and other up-Ghat
trade centers. During 11th century, this region was a part of the Kadamba Kingdom. There is a
possibility that since the trade between these centers was flourishing, such big temples might have
been constructed en route. Other temples like Mahadev temple at Curdi (which was shifted by the
A.S.I. on account of Salauli dam) and Keshava temple at Netravali were on the same route and they
belong to the same period. Even today, if one walks along this ancient traditional route, one can
reach Kumbharwada, Alnavar, Halsi, all lying in Karnataka within 4 hrs.

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The remains of this Shri Narayandev temple were known to the local people but on account of heavy
growth of vegetation it was impossible for anyone to penetrate the site itself. Dept. of Archives had
spotted the site a decade ago but on account of vegetation cover on it and other administrative
formalities, it could not undertake the exploration and excavation till February 1992. The first phase
of exploration and excavation was continued for about 4 months till April 1992. On clearing the
debris, we realized that it was a complex of 5 temples along with the tank which was a perennial
source of water. Moreover, on eastern side it was protected by strong wall. In this first phase of work
debris of only two out of five temples was on cleared. The main temple is of Shri Narayandev and
other one is of Mahishasurmardini. Further excavation may throw light on the remaining temples.

Temple complex of Vaishnavite is another example is the temple complex of Vaishnavites in the
village of Vichundrem which belonged to the same period. There are two temple plinths, one of
shri narayandev and another of Mahishasurmardini whose statue found in the vicinity is said to
be one of the best specimens of Kadamba sculpture. Though the temples are in ruins, carvings of
wild animals like the deer, sambar and tiger are seen on the plinth which makes one admire the
minute workmanship which is difficult on soft laterite. a beautifully carved stone sculpture of
shri narayandev still presides and worshipped by locals. a stone icon of shri Garuda and a ceiling
panel of the temple are seen close by.

The architecture including that of Shri Narayandev temple is of Kadamba period which can be
identified from the remains as well as carvings on the temple. The image of Narayandev is well
carved and its prabhavali has the Dashavtar figurines i.e. 10 incarnations of Lord Vishnu. The plinth
area of this temple is 15 x 5 mts. It has 2.5 x 2.5 mts Garbhagraha (Sanctum Sanctorum). It has
Sabha Mandapa of about 10 x 6 mts. And one distinct feature of this Garbhagraha is that it is
surrounded by the Pradakshinapath.

Garuda, the symbol and vehicle of Lord Vishnu was found in Sabha Mandap infront of Shree
Narayandev. The walls of Garbhagraha are in laterite but the ceiling including Kadalika-Karna of
sanctum sanctorum is in granite. Perhaps, Sabha Mandap has a thatched roof. As regards the temple
of Mahishasurmardini, its plinth is found to have been constructed with selected, heavy, well dressed
laterite blocks.

The carving on laterite is generally extremely difficult as the laterite stone is porous and without
much strength. But the sculptors have selected the stones with more iron contents and they appear to
have overcome all odds while carving, so much so that they could decorate the visible portion of the
plinth with famous diamond pattern and wild animals like sambars, tigers etc.The statue of
Mahishasurmardini is one of the best specimens of Kadamba sculpture. It can be said that such an
image is not found anywhere in surrounding region of Maharashtra and Karnataka. Only the plinth is
visible of this temple, though the area was excavated. It was a small shrine of Panchayatan which
must have been founded during the period of compromise and conciliation between Vaishnavites and
Shaivites (known as the period of Hari-Har. Hari represents Vishnu and Har represents Shiva).

Down below is the temple tank which provided water to the temple complex. There were well
constructed steps in ancient times leading to this tank. While excavating the periphery of the
tank, well carved torso of a male deity was found in nearby the complex. A beautiful well carved

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image of Navnita Krishna holding butter in left hand and curds churning stick in right hand was
also found beyond the temple precincts.This image as well as image of Mahishasurmardini have
been shifted to the State Museum, Panaji forconservation purpose.
Goa showcases a large number of temples even as far as Shigao where one of the first evidences
of a cave temple dedicated to Vaghro (tiger worship) can be seen on the Dudhsagar river bed.
We see ancient cave temples in Khandepar, Paroda hill, Netravalli, Narve, Kundai, Surla-tar and
several other places. Architecturally, these temples are simple, carved out of red laterite and do
not have ornamental value. But their antiquity is important. Our pre-historic or proto-historic
cultures worshipped the forces of nature and thus, the five elements of nature as well as the fauna
became the object of worship.

The Bhoj Kings who ruled ancient Goa between 4th to the 6th Century AD built a cave temple
dedicated to their family deity Chandreshwar on the Paroda hill. From a cave temple, it
graduated to become a full fledged temple.
Some of the oldest temples of Goa are the 11th Century Nandi temple in Chandor built by
Kadamb Kings, Ishwar Maheshwar temple complex in Solye-Canacona, Curdi-Mahadev temple
of 10th century Kadamba era in Xelpem-Salaulim, Narayandeo temple in Vichundrem, Betal
temple at Khede-Quepem, Saptakoteshwar temple at Opa of the Kadamb era, the famous
Mahadev temple in Tambdi Surla dating to 1175-76 AD, and others.
The Mahadev temple in Tambdi Surla located on the banks of Ragada river in Dharbandoda is a
classic example of 12th century Kadamb architecture. Though smaller in size as compared to
temples in South India, the Mahadev temple built by the Kadamb Queen Kamladevi is a
beautiful architectural wonder of Goa. It is a perfect blend of Yadav-Hoysala-Chyalukyan-
Kadamb style of architecture. Resting on a star shaped Hoysala style plinth, it showcases
Kadamb style motifs such as floral patterns, diamond shaped lozenges, perforated screen
doorway of the vestibule, images of gods and goddesses on the capital and walls, the ashtadal
kamal and exquisitely designed pillars in the kalyanmandap. All these features make this
thousand year-old temple a classic example of heritage architecture. The above mentioned
temples were saved from the Portuguese Inquisition era in the 16th and 17th centuries when the
zeal of conservations and iconoclastic was at its peak. The notorious Inquisition ordered the
destruction of temples and hence when this news reached the devotees, they fled with their
respective deities to places outside the Portuguese domain. For example, the Mangesh of
Kutthali or Kushasthali (Cortalim) was shifted to Hadiye-Priol in November 1560, Shantadurga
from Kelshi to Kavlem in 1567, Mhalsa from Verna to Mardol in 1560, Kamakshi from Rai to
Shiroda, Vijaydurga from Sancoale to Keri, Laxmi Narasimha from Sancoale to Veling, Devki-
Krishna from Chodan to Mashel, Ramnath from Loutulim to Bandoda, Navdurga from Gaunxi to
Madkai and Kundai and several other deity temples were shifted to the Antruz Mhal (Ponda
taluka) which was then under the Adilshah rule with the Sardesais as the chieftains of these
places.
The Goan Temple: A Unique Architecture on Its Way Out
POSTED AUGUST 20, 2017 AMITA KANEKAR
By AMITA KANEKAR

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The architecture of Goa is a heterogeneous one, the result of its long and cosmopolitan history as
an Indian Ocean port, a part of the Islamicate Deccan, and then of the Portuguese empire. And
one of its most distinctive and heterogeneous developments is in the realm of temple
architecture. The Brahmanical temples that were built in Goa from the seventeenth to the early
twentieth centuries were creatively inspired by Renaissance Europe (via the churches of Goa),
the Bijapur Sultanate, the Mughals (via the Marathas), and the Ikkeri Nayakas, along with the
local architecture. These varied vocabularies came together to produce a recognisable
architectural ensemble by the end of the 19th century which spread across the region of Goa and
beyond. This is why the Goan temple should be seen as an architectural type in its own right.

What is the Goan Temple?

It is important to clarify here the meaning of the term ‘Goan temple’. Because Goa is home to a
variety of temple forms, from the rock-cut shrines in Khandepar of the 1st millennium CE, and
the 11th century Mahadev temple at Tambdi Surla, to those built more recently. But all the
temples today in Goa are not necessarily Goan. Goa was born as a distinct and coherent region
only after the Portuguese conquest of 1510, expanding to reach its current area by the
18th century. The Portuguese rule is important to consider here, as it was through this political
control that Goa was welded together as the region we know today, and simultaneously
recognized by neighbouring political formations such as the Mughals, Marathas, and the
Sultanate of Golconda. In later times, the British Raj too recognised Goa, or Portuguese India, as
a separate and distinct region. Thus, the political identity of Goa could only emerge through the
history of Portuguese rule over the territories and peoples that today we, and others, recognize as
Goa/Goan.

Typical Goan temple, though

modified to a limited extent
The temples built before 1510 belonged to various regional formations that included parts of
today’s Goa; e.g. the Tambdi Surla temple was built during the rule of the Kadambas over the
south Konkan, when they were also feudatories of the imperial Chalukyas of Kalyana who were
patrons of a distinctive Karnata Dravida language of temple architecture. The Tambdi Surla
temple belongs to that architectural family.

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Thus, when one speaks of the Goan temple as an architectural type, one does not refer to all the
temples in today’s Goa, but only those temples that are chronologically Goan. The term is
actually inspired by Paulo Varela Gomes’ usage of the term ‘Goan Church’ for the
Portuguese-era churches in Goa (Whitewash, Red Stone, 2005). According to Varela Gomes,
it was wrong to call them Indo-Portuguese churches, as there was little Indian or Portuguese
about them; they are in fact Goan, and the result of a unique political culture, hence not to be
found anywhere else in the world.

The same is true of the Goan temple. It is a form of the Hindu or Brahmanical temple, born in
the 17th to late 19th centuries, and mostly in the region that became the Novas Conquistas of Goa
in the 18th century. Its patrons were the powerful Saraswat community, well-entrenched in the
Estado da Índia and also employed at the Peshwa’s court at a time when the Marathas had
captured the region. But its builders were apparently Goan artisans and craftsmen (David Kowal,
2001), some of them second- and third-generation Catholics. The Marathas and their allies were
driven out of this region by the Estado over the 18 th century, but this does not seem to have
affected the development, prosperity, and increase in number of these shrines.

Banner showing Temple under Construction

Although the Goan temple roughly follows the basic Brahmanical temple layout with an entrance
porch, hall and sanctum laid out along an axis, the difference—and a huge one—lies in the
details. It includes the basilican floor plan (like a Goan church); the European Renaissance
arches, pillars, pilasters and mouldings (sourced again from the Goan churches); the Bijapuri
domes, arches and pillars; the stepped tank reminiscent of the Adilshahi Goan mosques; along
with typical local elements like the mud and laterite walls, and the pitched and tiled roofs.

By the late 19th or early 20th c. the Goan temple type had come into its own. The smaller temples
followed a simplified version of the same, sometimes just taking the basic Goan house-form,
with round arches and pitched roofs. The Goanness of these buildings lay not in their individual
components that were so obviously sourced from all over, but the distinctive way they had been
put together, to make a claim about the persons and communities they represented. It is notable
that this is also the time when the Saraswats, already one of the pillars of Estado society, are
fighting to be recognised as Brahmins in the Peshwa’s court (Parag Parobo, 2015). The
distinctiveness of the temples they patronised appears to be a statement of ‘arrival’ and
prominence, in both the Brahmanical world and the European.

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Disappearing Architecture
The temples still stand today and attract increasing numbers of visitors/devotees, thanks not least
to their inclusion in government-organised tourism circuits. But their architecture is
disappearing, and being replaced by forms from various parts of India. It is a process that began
soon after 1961, when Goa was annexed by India. Leanne Alcasoas points out, in her B.Arch
dissertation on post-1961 temple architecture in Goa, that there were two distinct phases of
temple-building after 1961, the first soon after 1961, and the second beginning from the 1990s.
This roughly applies to the renovation of old temples too.

The process has been aided by the fact that most of them are considered to be owned by their
respective mahazans (literally ‘great people’; mostly members of the Saraswat caste who claim
to be descendents of the founders). Most are also not protected under heritage laws, though
centuries old. There are cases where such protection existed, but the temple trusts were able to
get it removed, e.g. the Mangueshi temple (Kerkar, 2014).

The first period, from 1961 to the 1980s, saw some rebuilding, with the introduction of Indian
forms like the latina tower, which is the curved tower over the temple sanctum common in north
India. An example is the completely rebuilt Damodar temple of Zambaulim and Panjim’s
Mahalaxmi.

The 1990s onwards see a great number of new temples and also much rebuilding of old ones, but
what happens now is on a different scale. It is temple as spectacle, or Indianisation along with
monumentality and showiness. The look now is varied, from Malabar-style pitched roof
compositions, to elaborate domical compositions using some elements from the Goan
repertoire—like balcãos—but without the understanding of proportions and scale visible in the
original, and mixed up with Indian elements.

For example, the rebuilding of the Shantadurga Ballikarin, in Balli, begun in 2013, sees a Goan
house-form being replaced by a mix of the Buddhist chaitya and the Tamil Dravida temple, with
a dome on a Sanchi-stupa-like railing and a barrel vault over the hall, along with horseshoe
arches and Tamil cornices. Another example is the Saptakoteshvar in Fatorpa, formerly a small
shrine with a house-form, now on its way to becoming a great one reminiscent of Tambdi Surla
and the Karnata Dravida tradition.

The politics behind architectural transformation

The fact that Goan temples are being rebuilt in a recognizably Indian avatar since 1961 is not
really surprising, given the deep connection between Brahmanical Hinduism and Indian
nationalism. As G. Aloysius has pointed out, Indian nationalism is cultural nationalism, less
about political rights then about celebrating culture and traditions, especially the culture of the
dominant castes (Aloysius, 1998). Another relevant aspect of Indian nationalism is that it always
harks to a mythical Hindu golden age before the arrivals of Islam and the Europeans. What this
means is that to be a true Indian nationalist is to be Hindu and Brahmanical, while Islam,
Christianity and Europeaness are all correspondingly un-Indian.

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In this situation, Brahmanical temples are symbols of nationalism. Enlarging and Indianising
them is a political and nationalist statement about Goa being Indian. Erasing the proof of Goa’s
heterogenous past, e.g. its multi-referenced architecture, makes Goa more Indian.

Thus the rebuilding of Goan temples in Indian styles from 1961. But with the rise of Hindutva
from the late 1980s, this celebration of Brahmanical Hinduism as nationalism is more blatant.
There is also more political support for temple construction and reconstruction. However, the
rise of Indian tourism in Goa in the same period, and the packaging of Goa as a European
holiday paradise for Indians, has seen a new popularity for ‘Indo-Portuguese’ architecture. The
result is the development of temple as extravaganza, but with a recovery of some old Goan
architectural elements like tiled roofs, balcãos, and the grand manorial composition, along with
the introduction of new ones like exposed laterite. Domes may be included, but usually not Goan
ones.
To conclude, the multi-referenced architecture of Goa’s Brahmanical temples harked not only to
the multiple worlds that have gone to make up Goa’s culture, but especially to the aspirations
and self-image of one of the most dominant communities of the region. The change in
architecture of these temples thus reflects big changes on both these fronts. And we should be
attentive to these changes, for they are a pointer to the way the Goan Hindu of today is being
framed.
(First published in Goa Today, dt: August, 2017. Pics by Amita Kanekar)

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Shri Lakshmi Narayan Temple

This is an 18th century shrine dedicated to Goddess Lakshmi and Lord Vishnu. The idol had
been relocated from Salcete in the late 16th century when Goa was captured by the
Portuguese. The beautiful temple complex has wooden carvings, paintings, a sacred water
tank and a musician's gallery. The temple is thronged with devotees on the occasion of
Shukla Chaturdashi every year when a procession is held for the deities. Shantidurg Temple

PONDA TEMPLES as an Example

Goa offers one of the most visually appealing Hindu temples in the world? Come visit this
temple town, on the foothills of densely forested Western Ghats and find out yourself. Each
offers a peek in to history and its signature architecture, characterised by a lake and a cylindrical
multi-storeyed tower lamp (deepa stambha). These brightly painted temples might remind you of
the colour schemes from Latin Quarters of Panaji and will leave an indelible mark on your
vacation. So, brace yourself to get mesmerised by this Hindu nerve of Goa. Read on to learn
more.

Ponda or Fonda in Konkani, and its vicinity has three main clusters of temples. While the ancient
Mahadev Temple stands by itself in the east at Tambdi Surla in Darbandora taluka, the biggest
cluster lies scattered in the western villages of Velop Wada (Kapileshwar Temple), Kavalem
(Shantadurga Temple), Bandivade or Bandora (Mahalaxmi Temple, Ramnath Temple, Nagesh
Temple), and Madkai (Navdurga Temple). Yet another cluster is located south in the adjacent
taluka of Quepem (Chandreshwar Bhootnath Temple at Paroda, Damodar Temple at Zambaulim
and Shantadurga Temple at Fatorpa). Lastly, the most popular cluster is located north along the
Panaji highway in the areas of Farmagudi (Gopal Ganapati Temple), Veling (Anant Narsinha
Temple), Mardol (Mahalsa Narayani and Manguesh Temples) and Marcel (Devaki Krishna
Temple).

Tip: Ponda is not the usual Goan tourist city and may not offer bike rentals. So, if that is your
preferred transport, rent it from Panaji or Margao before checking in to a hotel here. However,

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you could choose private cab services, including bikes and taxis. This travel guide suggests a
particular sequence to visit these sites. You may follow this or simply chalk your own itinerary.
To cover all the places mentioned in this guide, estimate 4-6 days in your schedule. A few
temples prohibit entry of foreigners to the inner sanctum.

Mahadev Temple, Tambdi Surla

First and foremost, drive deep inside the jungles of Bhagwan Mahavir Wildlife Sanctuary via its
Bolkornem (Sancordem, Darbandora) gate to visit this iconic 12th century marvel from the
erstwhile Kadamba Dynasty.
Kapileshwar Temple
Kapileshwar Temple is the first as you start to drive west towards the biggest cluster of six
temples. Dedicated to Lord Shiva, this quiet temple offers a large open space just as you cross its
arched gate from the main ...more

Shantadurga Vijayate Temple

Undoubtedly one of the most popular deities in Goa, Goddess Shantadurga, or more commonly
Goddess Santeri, is the patron deity or Kul Devi of many families. Legend goes that once when
Vishnu and Shiva were engaged in abattle.

According to Indian mythology, when Lord Rama killed the demon king Ravana, he became
remorseful. The act of slaying bothered him so much that he sought penance in the worship of
Lord Shiva and installed a Shiva lingam

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Mahalaxmi Temple
Mahalaxmi is the Goddess of wealth, prosperity and beauty. She is the main deity worshiped on
one of the biggest Hindu festivals of Deepawali. In Indian mythology, she is the wife of Lord
Vishnu.
Nagesh Temple
Unlike most other temples in the area, which have a history of Portuguese persecution, Nagesh
Temple is ancient heritage. While the structure is from the 15th century under the patronage of
the then ruler Veer Pratap Dev.

Navdurga Temple
Tiwsadi, the taluka of Panaji, was the original location of this deity before communal violence
and persecution by Portuguese saw that temple destroyed. It had multiple idols. The rescue act
saw a few idols going to neighbouring states.
Chandreshwar Bhootnath Temple
This site is a fun and active way to start your day visiting the cluster of temples that are south
from Ponda, in the neighbouring taluka of Quepem. Lord of the Moon, Chandranath or
Chandreshwar

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Damodar Temple
In the 16th century the Portuguese went on a spree to demolish Hindu temples. The erstwhile
Damodar temple in Margao suffered a similar fate. However, during the persecution, Hindus
managed to rescue the deity's idol.
Shantadurga Temple
Shantadurga Temple complex in Fatorpa is one of the grandest holy places in Goa. Spread over
many acres, the spectacular design and architecture of this edifice and its surroundings is worth
to simply stand still

Gopal Ganapati Temple and Ponda Fort

Start your tour of the northern side of Ponda with a classic temple and a peek in to the region's
history. If you speak with locals about this holy site, they may narrate a story that how a
shepherd boy with his cattle
Religious
Anant Narsimha Temple
Here's one of the most popular stories from Indian mythology. The asura or demon king
Hiranyakashipu was granted a boon by Lord Brahma. The boon fell short of immortality but
close.

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Mahalsa Temple
Goddess Mahalsa Narayani is believed to be the female avatar of Lord Vishnu. According to
Indian mythology, Goddess Mahalsa, often simply referred to as Narayani, is credited with the
killing of a mighty demon Rahu.
Manguesh Temple
This is arguably the most famous temple of Goa. The presiding deity here is known as Lord
Manguesh, an avatar of Lord Shiva. The history of this temple, like many other in Ponda, is
marked by courageous rescue acts during pograms by Portugese.

Devaki Krishna Temple

The legend of this temple dates back to the times of Mahabharata. When a prophecy declared
that Devaki's eighth son would kill Kansa, the cruel king of Mathura, Devaki exchanged the new
born Krishna with Yashoda's daughter.

Goa’s landscape that once stood out for its whitewashed churches, chapels, temples and temple
towers is no longer the same – its temples are now a colourful, ubiquitous sight, but one lacking
the state’s traditional architectural idiom.

Across the state, the temple architecture – which harmoniously blended elements of western
Mannerist, Baroque and Rococco with Maratha, Deccan Sultanate or Bijapuri Islamic, and local
Konkan vernacular building forms – is being demolished for renovation. “In the name of
jirondhar, or temple renovation, so many of Goa’s distinctive temples, and with it, their religious
art, carvings, murals, sculptures, carved wooden pillars have been pulled down, and age-old
schist idols immersed in rivers,” said Prajal Sakhardande, president of Goa Heritage Action
Group. “In its place new concrete structures come up, with architectural styles that do not reflect
Goa’s ethos.”

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Goa’s temple ethos

In their 1983 essay on temple sanctuaries Goa – An Encounter, Saryu Doshi and PP Shirodkar
wrote: “Unlike most Hindu shrines in other parts of India, the temples in Goa are not surmounted
by a shikhara, but by a dome.... and reflects... an acceptance of Islamic and Christian
architectural forms.” The tripartite division of the mandapa or hall, the transept-like area in front
of the sanctum sanctorum, with side entrances in the form of small domed pavilions visible in
temples, reflect a “familiarity with church architecture”.

The Goan temple lamp-tower is also unique, merging a Maratha form with elements of
Portuguese Christian architecture. It is this layout which gives many temples built in that era an
almost church-like appearance, while church iconography is similarly imbued with Hindu
elements.But Nagara and Dravidian styles are now beginning to dominate the landscape – with
Alpha Vimana shikharas, Latina Nagara shikharas amd Dravida shikharas replacing the
traditional Goan dome. A history lecturer at a city college, Sakhardande says he has lost track of
the number of times he has attempted to convince temple committees to retain old historic
structures, and build afresh if they must, on adjacent sites. “We’ve been successful in a few
cases, but I am sorry to say, neither the government nor some temple committees are interested
in protecting this heritage,” said Sakhardande. He has a point.

Since the end of the Portuguese rule in Goa in 1961, temple reconstruction has taken place in two
phases, according to a 2013 study by Leanne Alcasoas. The first phase, between 1961 to 1980,
marked the renovation and expansion of grand community temple complexes. These opted to
retain traditional elite Indo-European styles, creating a grandeur which rivalled the iconic
Churches in the terrain.The second temple renovation/rebuilding/building boom began in the late
1990s, and seems far more hectic and problematic according to conservationists. Politically, this
period coincides with the growth of the Bharatiya Janata Party in the state, and the rise of
identity politics. Community consciousness and community worship replaced earlier practices of
individual worship, requiring village temple halls to accommodate large gatherings. Political
funding for religious structures, government funding to convert agricultural water ponds to
religious immersion spots, became a political trend in this period, in direct co-relation to the
intense political competition in a young state (Goa received statehood in 1987).

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The renovated Arpora temple in Arpora (before renovation).

With political and government funding, quaint small village house-like temples built of wood,
laterite and tiled roofs are being modified to bigger concrete structures, while small roadside
shrines are converted to proper temples, including in public government owned spaces. With
political and government funding, quaint small village house-like temples built of wood, laterite
and tiled roofs are being modified to bigger concrete structures, while small roadside shrines are
converted to proper temples, including in public government owned spaces.

In the process, according to Alcasoas, there has been a major shift in temple design in the last ten
years – both in style and general approaches. The study noted the obvious – that contemporary
temple design in Goa opts not for modern design, but for “historicist designs from different parts
of India”. The renovations are retaining the interior elements of a typical Goan temple design,
but making drastic changes in the shikharas or steeples, and facades to replicate historical Indian
temples outside Goa, rather than traditional forms of temple structures from Goa.

So why are traditional regional Goan forms being eschewed in the redevelopments, in favour of
pan-Indian styles?

Architects in the field proffer different explanations. Alcasoas’s study points out that 30% of the
temples surveyed in the study were funded and built by new in-migrant communities to the state,
and many of the surveyed temples were constructed by civil engineers working directly with
artisans with no architects being involved.

Architecural historian Amita Kanekar suggested that the Goan style may be considered by some
as not being Indian enough, because of its syncretic style. “You have to have a pride in your
heritage,” said Goa-based conservation architect, Ketak Nachnolkar. “The moment you feel this
monument style is inferior and this style is superior, then you are going to make a value
judgement.” Nachnolkar’s restorations of old Goan temples, including the Mallinath temple,
Marcel, and the Vetaleshwar temple, Veling, are notable projects. Even his new constructions
retain the tiled, sloping roof, local house look for smaller shrines like the Krishna temple in
Bambolim.

Money is another driving factor. “The entire construction industry works on cement and
concrete,” Nachnolkar added. “The more money people have, the bigger the problem, because
they go overboard, and want more unnecessary decoration and embellishment.” Nachnolkar’s
conservation efforts attempt to retain the authentic historic character of temples, while sprucing
them up, providing structural stability, adding parking and access for the aged and other modern
amenities.

Architect Abhijit Sadhale, who specialises in renovation projects which aim to revive pre-
Portuguese Kadamba-era temple crafts, iconography and architecture, feels the change is a result

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of wilful choice. “People on temple committees are choosy, they know exactly what they want
and demand that architects produce that,” he said. “They have travelled to other parts of India
and want to replicate the temple styles they see there in Goa.”

But modest local communities do not always have a choice in their temple’s design, when they
have to rely on funding from government agencies with clueless contractors who pull
down historic shrines to build afresh. In the past five years from 2012 to mid-2016, 25% of the
Rural Development Agency’s 529 projects were related to temple and visarjan area works.

“The biggest damaging schemes in Goa are the MPLAD and RDA,” said Sadhale. “I’ve often
been telling people don’t construct temples under the MPLAD and RDA schemes because you
have the worst kind of contractors and some engineers sitting and designing. The worst part is
they all mean well.” Villagers sometimes end up unhappy with the end result, preferring their old
open, airy structures, but by then, it is too late.

The state department of Archives and Archaeology, whose duty it is to maintain historicity,
maintains a total of only 51 monuments on its protected list. This leaves scores of historic shrines
open to drastic interventions. Its apathetic attitude towards ancient sites and sculptures, crying
poverty and a lack of resources is hardly helpful. It has been left to citizen’s groups to enter the
arena and challenge the drastic alterations of historic regional temple monuments.The Goa
Heritage Action Group, for some time, valiantly tried to preserve the old from being lost forever,
pitting them more than once on the opposite side of the debate with the Sadhales who want a

In 2006, GHAG went to the high court to prevent the 18th century Mallikarjuna temple in
Shristhal, Canacona, from being renovated. The high court initially stayed construction, but
GHAG lost the case, when the Department of Archives and Archaeology de-notified the temple
from its list of protected monuments, Sakhardande told Scroll.in.The department did the same for
the Gopinath temple in Netravali and GHAG lost that case as well, though it managed to have
the 12th century Gopinath idol shifted to the Goa State Museum. The Bramhanimaya temple,
Caranzol/Sattari, the Navdurga temple, Poinguinim (Canacona), Nageshwar temple in Priol, the
Shantadurga Ballikarin temple in Balli were among the eleven temples changed, despite
GHAG’s efforts, Sakhardande said.

Abhijit Sadhale, a member on the government’s conservation committee, said that when temples
are still in use by the community, their development rights have to be balanced with the needs of
conservation. “Some things are bound to change... The rules of the International Council on
Monuments and Sites have to be balanced against the Hindu rule book on temple building.”

Abhijit Sadhale and his architect father KD Sadhale are at the forefront of a good number of
temple projects in the state, including the Rs 4 crore grand reconstruction of the Mahalasa
Narayani temple at Verna, at the original site of its sacking by the Portuguese in 1567. A
politically and culturally significant project, it recently saw BJP President Amit Shah make a
special visit to the temple. Another ongoing project is the rebuilding of the Saptakotishwar

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Shrine in Fatorpa, South Goa, where work is underway to raise funds and reconstruct a granite
stone shrine to revive the Kadamba Nagara style.

Studies generally divide Goa’s temples into several periods from rock cut prehistoric shrines and
folk shrines to standalone temples that were built during the pre-Portuguese Kadamba Dynasty
era in the middle of the 10th century to the 13 century, in basalt stone and/or schist and laterite.
The second phase occurs between the 17th century, when a neo romanisation in temple building,
saw even the Marathas build temples invested with western Mannerist forms, where the dome
came to replace the pyramidal tower over the sanctuary.

Organised temple complexes made their appearance from the 18th to mid 19th centuries,
achieving a syntheses of Neo-Roman and Maratha motifs, combining Baroque and Rococo styles
with Maratha forms. When local architects established their own idiom to build monumental
domestic structures from the mid 19th to mid 20th centuries marked the fourth phase.

What makes Goa’s surviving temple architectural style distinctive and important, according to
Dr Gritli von Mitterwallner is “...the graffiti decorated Hindu temples of Goa which form a local
idiom, which has assimilated foreign elements, transforming them harmoniously into a synthesis
of unique character”. The intermingling of the three cultures which were active in Goa – Hindu,
Muslim and Christian – are seen across the temples of Goa. Muslim art and culture are visible
both on pre-Portuguese and Portuguese era shrines, where temples are roofed by typical Muslim
domes. Muslim influence also reached the village temples in the New Conquests in southern
Goa, traceable in the wooden pillars of their mandapas, which are often decorated with the ten
incarnations of Vishnu, capped by Islamic cinquefoil arches.

In temple entrance arches and niches, “elements of both intruding cultures, Muslim and
Christian, have been harmoniously blended. Cusped arches, flying angels, bunches of grapes,
inspired by the altar-pilasters of Goan churches, kirti-mukha masks and Hindu deities form a
pleasing whole”, wrote Mitterwallner. He adds that locally imbibed graffito art, with its origins
in the Italian Renaissance period, “represents the most important contribution Goa has made to
the regional arts of India”, with the technique spreading northwards to Savantwadi in
Maharashtra and south to Ankola, Sirsi and Sadashivgad.

However, GHAG has had some successes. It managed to stop the flawed renovation of the 12th
century Saptakoteshwar temple, in Opa (Ponda) the Ravalnath temple in Palye, Bicholim; the
Laxminarayan temple, Narve; the Badhami and Kadamba temples in Zarme, Sattari. They were
also partly successful with the Mohini temple, Sadolxem, where some heritage elements were
retained, said Sakhardande. In other instances, ancient schist idols were either retrieved by the
Goa Museum staff from the river bed, or were handed over after the temple renovation.

Still, there is only so much that a small group can do, given the caste and political connotations
of the rebuilding projects. By one estimate, around half of Goa’s village temples have undergone
a transformation. Photo archives may soon be all that is left of a distinctive architectural style.

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The church-like facade of an old temple.

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