HIMALAYA COLLEGE OF ENGINEERING

AFFILIATED TO TRIBHUVAN UNIVERSITY

CHYASAL, LALITPUR

REPORT ON CHAMUNDA TEMPLE

PREPARED BY: ALISHA PRADHAN (073/ B.ARCH/ O1) SUBMITTED TO: AR. DIL BHAKTA

DEPARTMENT OF ARCHITECTURE
 CHAMUNDA DEVI TEMPLE
INTRODUCTION:

Cremtion Area

Jagat Narayan Temple

Area
Jagat Ghat

Chamunda Devi Temple

Fig: cultural area within the triangle formed by

Chamunda temple, cremation site at river bank
and Jagat Narayan temple.

Chamunda temple is located in Sankhamul which is on

the way to the Banglamukhi temple. Sankhamul is also a
border between Lalitpur and Kathmandu district.
Sankhamul area has different architectural buildings
which could be divided into different styles into Sattals,
Patis, taharas, and jhyangas which are twenty, three,
eight and four respectively. The monuments could be
divided into temples, sivalayasand shrines which are
nineteen, ten and four respectively. During Lichhavvi
period, Buddhist vihaars and Hindu temples were
developed. Lichhavis adopted the cult of Astamatrika
which was established by Kirats as Pith (a power place)
a perimeter set of eight goddesses, “Chamunda Mai”
being one of them.

Chamunda temple is constructed in Lichhavi period and is for Chamunda deity. It is a tiered style
temple and used by both hindu and buddhist devotees. Chamunda temple is also called
“SIKUBAHI”. It’s walled compound consist of the three tiered Chamunda Temple, small pond
for Naga, Lichhavi votive chaityas, numerous images on the wall, a sattal and a pati etc.
Adjoining to this temple precinct, Gauri Shankar image with Lichhavi inscription and hypethral
worship places can be seen. In Nepalese tiered temple typology, this temple comes under Pith
Temple design with rectangular plan, open sanctum enshrining multiple deities crowned with
multiple finials, large overhangs of the roof supported by the intricately carved struts with
mother goddesses’ images and erotic figures.

RELIGIOUS SIGNIFICANCE:

The Chamunda temple complex is a shared cultural entity

of both Hindu and Buddhists. It is also called ‘bahi’ –a
word for traditional Buddhist monastery. Bajracharya
(Buddhist priest) comes to meditate and perform rituals
here. ‘Siku’ has been translated as ‘the smoke of pyre’
which also indicates that the site is a former cremation
site. If there is no cremation at all any day they have to
cremate at least a fish as a symbol of cremation. This holy
place is one of the eight astamatrika so has its own
significance. This holy place is used for marriage and
veneration after death.

HISTORY:

The Lichcchavi inscription talks about installation of Matrika goddess stone image replacing old
mud images at the confluence of Bagmati and Manimati(Manohara) by the family of Vabhru
Verma. During the extraction of the sand, an older image of Chamunda was discovered at the
depth of 10 feet in sand bed which was lost later. Current site of Siku bahi was a lotus pond
when it was chosen for temple construction and got filled up, the Naga of the pond got angry,
then for him, a small water body was remade later which is still extant at south west corner of
temple precinct.
ARCHITECTURAL DESCRIPTION:
Temple is a tiered styled temple. The wall of the temple is 18” thick which is constructed up of
traditional brick, “maapa”. The site has 4 entrance which were sponsored by different local
people and has Nepali/ tiered style gate. The boundary wall is being constructed with “dachiapa”
bricks which has now been used with modern cement mortar. Boundary wall was built by
Nagarpalika in 2064. The Pati also known as Bhajan pati was also built by Nagarpalika. All the
present struts and joists were used as its original form which is being made from the woods.
None of them have been replaced since but temporary supports are given.
Roofs are supported by wall, wooden posts and inclined struts. The sloped roof is constructed
using wooden rafters, ridge, mud and jhingatis. Roofs are projected beyond the resting walls
about 5’. The beams are crossed at corner to secure its position. The roof tiles are not disintegrate
and jhingati tiles are used as construction material. Rafters supporting the roof has shifted from
its original position. Roof were repaired about 12-15 years back to protect it from water leakage.
Jhigatis were plastered at first in the renovation period but due to some traditional values, plaster
work was stopped and were renovated as traditional construction.
MATERIAL USED:
Traditional construction materials are used for the construction of the temple. Traditional bricks,
woods, jhingatis, etc is being used for the construction of the temple. In the boundary wall Dachi
apa is being used while in the wall of the temple Ma apa is being used as construction material.
The sloped roof is being constructed using wooden rafters, ridge, mud and jhingatis. Jhingati
tiles is being used for the roof. The other guardian
idols and deities is being constructed with the
stones. And the other items in the temple like the
toranas, bells, etc is being constructed using metal
works.

Fig: Wooden rafters and struts are used

PRESENT CONDITION:

The temple seems to be in good shape. The latest earthquake did not have much impact on the
superstructure although some crack were found inside the temple in the marble. It has a
conservation community of local people who were honest to their job. During the renovation
they stopped the fixing of jhingati with plaster as plaster is not material of traditional
architecture. Nagarpalika has also shown their interest by constructing the boundary wall. Local
rich people are also supportive and work together for the betterment of the temple. The area is
clean and has a beautiful designed landscape so overall condition of the temple is good.
Fig: Entrance of the temple is clean and has brick lay in the pavement
 Improved format for INVENTORY

Name of the monument: Chamunda Devi Temple

Reference ID no: Sankhamul Bridge
Location: Sankhamul (in the way to Banglamukhi temple
from the Sankhamul Bridge)
Style of monument: Tiered style
Deity dedicated: Chamunda Devi
Idol size: ChamundaTemple
Ownership: Guthi
Period: Licchhavi period
Inscription: Talks about installation of Matrika goddess
stone image replacing old mud images at the confluence of
Bagmati and Manimati(Manohara) by the family of Vabhru Banglamukhi Temple
Verma.
Fig: Location Map
Material:
Traditional construction materials are used for the construction of the temple. Traditional bricks,
woods, jhingatis, etc. is being used for the construction of the temple. In the boundary wall Dachi
apa is being used while in the wall of the temple Ma apa is being used as construction material.
The sloped roof is being constructed using wooden rafters, ridge, mud and jhingatis. Jhingati
tiles is being used for the roof. The other guardian idols and deities is being constructed with the
stones. And the other items in the temple like the toranas, bells, etc is being constructed using
metal works.

Present use:
Bajracharya (Buddhist priest) comes to meditate and perform rituals here. This holy place is one
of the eight astamatrika so has its own significance. This holy place is used for marriage and
veneration after death.

History:
During Lichhavvi period, Buddhist vihaars and Hindu temples were developed. Lichhavvis
adopted the cult of Astamatrika which was established by Kirats as Pith (a power place) a
perimeter set of eight goddesses, “Chamunda Mai” being one of them.

Architectural Description:
Temple is a tiered styled temple. The wall of the temple is 18” thick which is constructed up of
traditional brick, “maapa”. The site has 4 entrance which were sponsored by different local
people and has Nepali/ tiered style gate. The boundary wall is being constructed with “dachiapa”
bricks which has now been used with modern cement mortar. Boundary wall was built by
Nagarpalika in 2064. The Pati also known as Bhajan pati was also built by Nagarpalika. All the
present struts and joists were used as its original form which is being made from the woods.
None of them have been replaced since but temporary supports are given.
Roofs are supported by wall, wooden posts and inclined struts. The sloped roof is constructed
using wooden rafters, ridge, mud and jhingatis. Roofs are projected beyond the resting walls
about 5’. The beams are crossed at corner to secure its position. The roof tiles are not disintegrate
and jhingati tiles are used as construction material. Rafters supporting the roof has shifted from
its original position. Roof were repaired about 12-15 years back to protect it from water leakage.
Jhigatis were plastered at first in the renovation period but due to some traditional values, plaster
work was stopped and were renovated as traditional construction.
Social and cultural significance:
It is a shared cultural entity of both Hindu and Buddhists. It is also called ‘bahi’ –a word for
traditional Buddhist monastery. Bajracharya (Buddhist priest) comes to meditate and perform
rituals here. This holy place is used for marriage and veneration after death.
Past physical state:

S.No. Structural deficiencies S.No. Non-Structural deficiencies

1. Crack in the wall due to 2015 1. Pavements were deteriorated.

earthquake

2. Struts and rafters were seem weak. 2. Jhingati tiles were old and started to
fall off.

3. The entrance pavement’s bricks and

stones were started to break.

Present physical state:

The temple seems to be in good shape. The latest earthquake did not have much impact on the
superstructure although some crack were found inside the temple in the marble. It has a
conservation community of local people who were honest to their job. During the renovation
they stopped the fixing of jhingati with plaster as plaster is not material of traditional
architecture. Nagarpalika has also shown their interest by constructing the boundary wall. Local
rich people are also supportive and work together for the betterment of the temple. The area is
clean and has a beautiful designed landscape so overall condition of the temple is good.
Need of renovation: No
Remarks: As seen the present state of the temple, the locals and the Nagarpalika has taken good
care in the protection of the temple. The surrounding is clean and the deteriorated structures are
being replaced.
References: Local people, google.
Surveyor:
 SOME SKETCHES:

Fig: Main entrance to the temple deity

Fig: Bell at the side of the entrance

Fig: Licchavi votive Chaityas on 4 diagonal sides Fig: Lion statues on the entrances