Salient features and structures
Sanctum or 'Garbhagriha'
It is the most part of a temple which is a cave-like cubed shaped 'womb room' with a low roof and with no doors and windows except for the front opening. The image of the deity is placed at the geometrical center, facing the midpoint of the chosen direction. The whole place is completely dark except for the light coming from the front opening.
Vimana or Shikhara
Shikhara refers to the rising tower of the temple in Nagara (North Indian Temple) and is a prominent and visible feature while In Dravida (South Indian Temple), Vimana refers to the pyramid-like structure having curvilinear in its outline. The Dravida style is highly ornate; the Nagara style is simpler and consists of a curvilinear dome. In the Vesara style (mixture of Nagara and Dravida style), the dome is highly ornate and emerges from the Sukanasi or from the richly carved outer walls of the temple.
In the case of the Vimana, rising above the sanctum, it is said to symbolize the inverted tree with its roots above in the air; and, the branches spreading downwards (urdva mula; adah shakam). The inverted tree, again, symbolizes the phenomenal world of matter and also the spirit having its roots the utmost subtle Absolute. The Man’s roots and energies are hidden in the abstract ‘thousand-petalled lotus ‘(Sahasra), the invisible point just above the head, outside of the physical frame.
Valabhi Prasada
The ‘Barrel-vault’ also known as a tunnel vault or a wagon vault is an architectural design looking like an oblong wagon-top or a vault or resembling a boat placed up-side-down, is rather an old feature of the Indian temple architecture. Its curvy shape lends the structure a semi-cylindrical appearance.
The Valabhi Prasada, generally, follows a rectangular plan; its length being thrice its width (ayata); with a barrel roofed superstructure running at a right angle (tiryak) to the direction of entry to the Garbhagriha. Its slopes are either on all its four sides (hipped roof) or only on two sides. On its ridge, are placed three Amalasarkas. And, Dormer windows (Chandrasala) that project vertically from a sloping roof are located on either side of the ridge.
Mandapas
The garbhagriha is followed by four types of mandapas or pavilions. Mandapa means any roofed, open or enclosed pavilion (hall) resting on pillars, standing independently or connected to the sanctum of the temple. The first of the Mandapa is the Antarala, a narrow pavilion connecting the Garbhagriha and the navaranga. It usually has will have niches in the north and south walls, occupied by the deity, with attendant divinities in secondary niches flanking the central niches.
The next mandapa is Navaranga, is a big hall used for congregational services like singing, dancing recitation of the mythological text, religious discourses and so on. The navaranga will usually be on a raised platform and will have nine anganas (openings) and sixteen pillars.
This is followed by Sanapana mandapa, a hall used for ceremonial purposes. This leads to Mukha mandapa, the opening pavilion.
Kalasha
The crowning glory of the Vimana is its Kalasha, the vase. Some say it is reminiscent of the life giving Amrita-kalasha that emerged out of the milky ocean when it was churned. Kalash symbolizes blessings and well-being. Kalasha has several members, such as “the foot-hold” (padagrahi) which is its foothold, the egg (anda) or the belly, the neck (griva), the lotus-band (padma-pashika), the rim (karnika) and the bud (bija-pura). The shape of this unit could resemble the bell, the flower bud, the lump, coconut, alter or pot. all these shapes symbolize the potential and the possibilities of life
Gopura
The Gopura is a unique feature of Dravidian architecture. It had its origin and development in the South, and the other schools of architecture do not have equivalent features. It is said in the older texts that the concept of Gopura originated from extensive cow-stalls (Go-griha) which was virtually a gate-house at the doorways of a huge building, monastery, temple or even a town (Pura-dvaram tu gopuram I Dvara-matre tu gopuram I ). The Gopura, therefore, technically, denoted gate-houses of palaces, cities and residential buildings of various descriptions; and that they did not necessarily belong to temples alone.
Bali Pitha
Bali pitha is an indispensable associate of the sanctum. It is an altar or the dispensing seat of the deity. It is a small but stylized stone seat that is installed directly in front of the icon and very near the sanctum. It is the seat on which offerings to deity are placed.
The chief (pradhana) Bali_pitha will be directly in front of the icon and often near the Dwajasthamba. It is usually made of hard granite and will be highly stylized, ornate, and majestic, with several limbs such as the base, cornices, wall-surface with door-lets or niches.
It is on this Bali_pitha that the food offerings, in the form of vermilion colored rice, and rice mixed with pepper are offered to the attendant divinities and the guardian goblins. These offerings are placed only after the main food offering to the presiding deity, in the sanctum, is completed.
Flag Staff or Dhwajstambha
The dhvajastambha (flag post) in front of either the Garbhagriha or Antarala or the Mandapa is another common feature of the temples. It should be perpendicular and directly opposite to the idol. It will be located very close to the Bali pitha, and the Bali pitha will be between the sanctum and the Dwajasthamba. It represents the flag post of the ‘King of kings’. The lanchana (insignia) made of copper or brass fixed like a flag to the top of the post varies according to the deity in the temple. The figure on the lanchana is invariably that of the vahana (carrier vehicle) of the deity.
Temple Architecture (Part III) Link: https://www.merakitale.com/post/temple-architecture-part-iii
Image Source: Google Images
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