SYMBOLISM OF HINDU TEMPLE IN KERALA:

EMPHASIS ON SPACE AND FUNCTION

Tatjana Vorinski
Professor: Kala Choyimanikandiyil
Manipal

Institute

&Planning
Manipal, 2012.

of

technology,

Manipal

School

of

Architecture

Contents
Introduction................................................................................................................ 4
Symbolism of temples today: changes?.....................................................................5
Education?............................................................................................................... 5
Distribution of wealth?............................................................................................ 6
Changes in living habits.......................................................................................... 7
Hindu religion............................................................................................................. 8
Concepts.............................................................................................................. 8
Philosophy.......................................................................................................... 10
Mythology.......................................................................................................... 12
Rituals................................................................................................................ 13
Space manifest of religion: Vastu Shastra.............................................................15
Nature and architecture..................................................................................... 17
Human body and architecture............................................................................19
Comparative analysis of architecture of two temples............................................21
Padmanabhaswamy temple...............................................................................22
Krishna Temple at Guruvayur............................................................................. 23
Culture of Kerala....................................................................................................... 23
Origins and influence............................................................................................ 23
Activity manifest of culture in temples meeting point of art and religion...........23
Comparative analysis of activities of two temples................................................24
-originally........................................................................................................... 24
-present time...................................................................................................... 24
Conclusion: Symbolism of temples...........................................................................24
References................................................................................................................ 25
eReferences.............................................................................................................. 25

Introduction
Study that investigates boundaries between religion and culture with their physical
manifestation in form of temple architecture in Kerala state. What is the role of
temples in modern India?

Is there a need for functional restoration? How does

architecture respond? Well give answer on these questions by giving parallel

analysis between Padmanabhaswamy temple1 and Guruvayur Sri Krishna Temple2
while we examine various aspects of space and function.

1http://en.wikipedia.org/wiki/Padmanabhaswamy_Temple
2 http://en.wikipedia.org/wiki/Guruvayur_Temple

Symbolism of temples today: changes?

All the major temples in ancient India were more known for their
encouragement of arts and learning than as places of worship. As a direct
result of this almost all the people from the locality used to visit the temples
for one reason or another. Over a period of time the versatility of temples got
degraded to mere rituals and superstitions. Time has now come to rediscover
(or redefine) the concept of temples and to stress their relevance in peoples
lives. There is a need for modern temples to cater to the requirements of
modern times. But it is important to define modernity. In this case it is not
about temples that are not so old historically, build with modern materials
and with a dose of modern architectural concepts. This work has aim in
showing that modernity can be introduced into each Hindu temple by evoking
upgraded functional use.
Temple, originally concerned as an embodiment of faith to serve the religious and
spiritual needs of the community, came to be associated with various social,
cultural and economic activities.3

Education?
If there is one vital element that had disappeared from temples in
recent times, it is the facilities for learning and meditation. Knowledge
has always been Hinduism's forte and almost all the ancient temples
had specially dedicated space for encouraging arts and literature. All
pursuits for perfection, whether its in arts or literature or philosophy,
had always been encouraged in Hinduism at all times. Even the
concept of God and its need & existence had been debated and
deliberated on a daily basis within the premises of ancient temples.
From such profound openness and quest in search of absolute truth is

3 Trimurti V. Sairam (1982), Indian temple: forms and foundations, pg.31.

it now all degenerated into mute followers of rituals and superstitions?

4

Each modern temple should have a dedicated place for spending some
time on reading and meditation. It is common practice to sit down
somewhere in the temple premises before leaving. But nowadays most
people spend such time looking at others' business or gossiping. This
modern habit can easily be turned into custom to spend some time in
the temple library or meditation hall. All types of religious literature in
the form of books and periodicals could be made available at these
facilities. It would be all the more better if good facilities for meditation
and teaching meditation to children are also provided. This way, youll
be able to find a complete cross section of the Hindu society visiting
this temple without any reservations whatsoever.

Distribution of wealth?
Leaders of the Hindu community want the wealth to be invested in the
temple, while many intellectuals, including former supreme court judge VR
Krishna Iyer, have suggested it should be used for the public good. 5

This part of an last year article regarding wealth found in Kerala temple
in Thiruvananthapuram reflects society opinion on this matter. Temples
in ancient India had a clear role in distribution of wealth. There is no
harm in having rich temples if the community around is also rich. But
to have a rich temple amidst poverty and misery? What can be more
shameful if the idol in a temple is covered in gold when there are
houses around with children dying of poverty and ill health?
A temple has got relevance only if there are people associated with it.
The prosperity or decline of any temple should reflect the conditions of
society around it. In this respect it is inevitable that a part of its income
4 Ajithkumar,J (2004), Modern temples of India, bloghttp://www.boloji.com/index.cfm?
md=Content&sd=Articles&ArticleID=7673

5http://www.guardian.co.uk/world/2011/jul/04/kerala-temple-vault-treasure

is distributed among the needy who believe in it. There should be a

system to spend part of temple income every month for the benefit of
the poor, who are regular worshippers at the temple. Of course, priests
need money to pay for the temple expenses, maintenance and
essential development. But what is the point in having money in bank
deposits in the name of an all powerful God? For a hungry man food is
God and for someone in pains, a pain-killer is the embodiment of God.
There should be institutions or self-help groups supported by the
temple money that can provide sustenance for the poor.
All the costly offerings can be auctioned and money thus generated
put to productive use of the society. A temple has immense potential to
become a centre for distribution of wealth and promoting the much
wanted self-sufficiency. Hinduism has never been an organized religion
but only a way of life. It is quite natural that temples took care of the
entire spectrum of a devotee's life, not merely provided a place for
him to worship.

Changes in living habits

Impact that temples had on people is seen trough history, but not only in spiritual
level. Architecture of temples, that changed trough time, also influenced daily
habits. When stone construction was presented, it carried symbolic meaning also:
strength, maturity, durability. That way, medium change indicated social, cultural,
economical and psychological transformations. Socially: people started having a
more settled life and it also indicated beginning of the urban centers. Economically:
long term employment. Psychologically: erection of temples indicated a sense of
permanence to the citizens.

Hindu religion
"Hinduism. There is one root word in the term Hindu. It is called hidi. Hidi means a
man who moves on the path of spirituality, and who neglects all the worldly
pleasures and other passions for that spiritual upliftment. He is a Hindu. Now, when
people ask me, What do you mean by Hindu?, I say there are five letters in the
word Hindu. H stands for honesty, I stands for integrity, N stands for nobility, D
stands for devotion, and U stands for unity. And, I say any person who strives for
these ideals is called patasheela, which means five good things. You may believe
in any cult you want, any path you want, but do you believe in honesty, do you
believe in integrity, and nobility, devotion, and unity? If you do, you are a Hindu. So
this is why we say to people of other religions, Go and convert others, as you like.
Christians, go and convert. Islamic people, go and convert others. But Hindus never
convert anyone because anyone who holds to these five values is a Hindu by birth.
Why should I try to convert you?6

Concepts
The term Hindu is related to the word Sindhu the name of a river, which is known
in English as the river Indus. Because of the difficulty in pronunciation by the
Persians the river Sindhu became the river Hindu. And the inhabitants living
across the river Hindu became Hindus and the land became to be known as
Hindustan. Hence, the major religion of India (Latin derivative of Hindu), became to
be known as Hinduism.
The proliferation of Hindu denominations fall within three main groups:
Vaishnavaism, worship of Krishna and His incarnations; Shaivism, worship of Shiva;
and the Shaktas who worship Kali. The all-embracing nature of Hinduism often
appears confusing for the Western mind, but despite external variety, much
philosophy is common for all Hindus.
A notable feature of Hinduism, referred to as Sanatana Dharma (the eternal religion)
or Vedic Dharma (pertaining to the Vedas), is that it does not originate from one
prophet or teacher. The earliest record of Hindu teaching is found in the Vedas (c.
3000 B.C.), but many authorities claim that Hinduism is as old as the universe,
being based upon eternal truths, which have no mortal source.
Hinduism has its origins in such remote past that it cannot be traced to any one
individual. Some scholars believe that Hinduism must have existed even in circa
6 Professor Satya Pal Sharma, http://www.spiritualworld.org/hinduism/print.htm

10000 B.C. and that the earliest of the Hindu scriptures The Rig Veda was
composed well before 6500 B.C. The word "Hinduism" is not to be found anywhere
in the scriptures, and the term "Hindu" was introduced by foreigners who referred to
people living across the River Indus or Sindhu, in the north of India, around which
the Vedic religion is believed to have originated.
There is no one Hinduism, and so it lacks any unified system of beliefs and ideas.
Hinduism is a conglomerate of diverse beliefs and traditions, in which the prominent
themes include:

Dharma (ethics and duties)

Samsara (rebirth)
Karma (right action)
Moksha (liberation from the cycle of Samsara)

The basic scriptures of Hinduism, which is collectively referred to as "Shastras", are

essentially a collection of spiritual laws discovered by different saints and sages at
different points in its long history. The Two types of sacred writings comprise the
Hindu scriptures: "Shruti" (heard) and "Smriti" (memorized). They were passed on
from generation to generation orally for centuries before they were written down
mostly in the Sanskrit language. The major and most popular Hindu texts include
the Bhagavad Gita, the Upanishads, and the epics of Ramayana and Mahabharata.

Philosophy
A Hindu is an individual who accepts and lives by the religious guidance of the Vedic
scriptures. While the teachings of the Hindu tradition do not require that you have a
religious affiliation to Hinduism in order to receive its inner teachings, it can be very
helpful to formally become a Hindu because it provides one a formal connection to
the world's oldest continually existing enlightenment tradition."
Hinduism is not just a religion with a long history. Nor is it just the religion that
gave birth to Jainism and Buddhism. It is more than a set of dates and related ideas.
Hinduism is also a different way of sensing and seeing reality. It is a different
mindset, illustrated by evocative stories.7
There is a symbolic story from the religious book known as the Upanishads, the
most philosophical of the Hindu texts. In the following passage, a boy, Shvetaketu,
is asking his father Uddalaka about the true nature of reality.

My teachers must not have known this wisdom, the boy says, for if they had
known, how could they have failed to teach it to me? Please instruct me in this
wisdom, father.
Yes, dear one, I will replied the father.
In the beginning was only Being,
One without a second
Out of himself he brought forth the cosmos
And entered into everything in it.
There is nothing that does not come from him.
Of everything he is the inmost Self.
He is the truth; he is the Self supreme.
You are that, Shvetaketu, you are that.
Upanishads, 1.72.3

7 Kenneth Shouler, Ph.D. and Susai Anthony, A Philosophy and Feel for Hinduism,
http://www.netplaces.com/hinduism/hinduism-history-and-central-ideas/aphilosophy-and-feel-for-hinduism.htm

The boy desires to learn more, so the father instructs him in a more concrete way.
Please, Father, tell me more about this Self.
Yes, dear one, I will, Uddalaka said.
Place this salt in water and bring it here Tomorrow morning.
The boy did.
Where is that salt? his father asked.
I do not see it.
Sip here. How does it taste?
Salty, Father.
And here? And there?
I taste salt everywhere.
It is everywhere, though we see him not.
There is nothing that does not come from him
Of everything he is the inmost Self.
He is the truth; he is the Self supreme.
You are that, Shvetaketu; you are that.
Upanishads, 12.313.3
This salt-in-the-water analogy shows that Brahman is everywhere, in all things.
Despite all of the variety in the world, one reality pervades all of it, just as salt is
everywhere in the water. The exchange between father and son instructs us about
the spirituality through which Hindus perceive reality. To Hindu eyes, the most
ordinary occurrences possess spiritual significance. The salt is there in the water,
though we cannot see it. Reality, too, is all spiritual, alive with Brahman, this
Immense Being (as he is called in some translations) part of each thing, without
limit or boundaries. All of reality is one.

Mythology
Hinduism is generally associated with a multiplicity of Gods, and does not advocate
the worship of one particular deity. The gods and goddesses of Hinduism amount to
thousands or even millions, all representing the many aspects of only one supreme
Absolute called Brahman.
Therefore ,,to believe that the multiplicity of deities in Hinduism makes it
polytheistic is erroneous. The Rig Veda says: "Ekam sath, Vipraah bahudhaa
vadanti" (The Truth is one). However, to equate Brahman with God is imprecise.
It is neither the old man in the sky concept, nor the idea of something capable of
being vengeful or fearful.8
The doctrine of Spiritual Competence (Adhikaara) and that of the Chosen Deity
(Ishhta Devata) in Hinduism recommend that the spiritual practices prescribed to a
person should correspond to his or her spiritual competence and that a person
should have the freedom to choose (or invent) a form of Brahman that satisfies his
spiritual cravings and to make it the object of his worship. Thus, Hindus have a
multitude of gods and goddesses. Deities are represented by a complexity of
images and idols symbolizing divine powers. Many of these idols are housed within
ornate temples of unparalleled beauty and grandeur. Hindus also worship spirits,
trees, animals and even planets.
Hierarchical structure of gods (dynamic) linked together through sequential
emanation is embodied in rituals and meditation practices as well as in temple
architecture. There are two ways in which deities are explicitly placed in temples:
ritual invocation and trough arrangements of iconography. Themes of cosmic
creation and destruction, male and female deities, semi divine beings and quasi
mythical heroes and saints unfold in the popular epics and legends of Hinduism.
The Hindu view of the universe is cyclical the complex theme of Hindu mythology
is dominated by the conflict between good and evil. Nature is imbued with potential
sanctity. Deities are identified with their geographical settings as Mountain Gods,
River Goddesses or tree spirits chief among these are Yakshas and their king
Kubera, associated with prosperity, they protect the household in the form of
Dvarpalas provided with clubs and weapons. Related to the Yakshas are Ganas
whose master is Ganesha, son of Parvati and remover of all obstacles. Yakshas
female counterpart, the Yakshis are usually associated with fertility she appears in
temple frescoes as a beautiful maiden embracing a tree. Yakshas and Yakshis are
depicted embracing or lovemaking. Similar to Yakshis are Apsaras, he courtesan of
the gods and the heavenly dancers. Other popular deities are Ganga and Yamuna,
river goddesses who embody the purifying powers of rivers. The serpent deities
called Nagas are important among Nature divinities. Dwelling underground, Nagas
are the keepers of life energy stored in springs/pools and bestow prosperity. 9

8
Subhamoy
Das,
Gods
&
Goddesses
http://hinduism.about.com/od/hinduism101/a/gods.htm

in

Hinduism,

9 Sunil Vaidyanathan, Temples of South India, English edition Publishers and Distributers Pvt.
Ltd., Mumbai, 2002.

Rituals
More interesting are the consecration rites which, according to vastu shastra texts
from different regional traditions, call down the cosmos ( the gods ), to inhabit the
body of the temple in its full tree dimensions.
Although every Hindu home contains its own altar, a place for personal worship,
the temple holds a special place in the life of the people. In different religious
traditions, the church, the mosque or the synagogue is considered to be the "house
of God," but in Hinduism the temple is the "home of God."
Hindus believe that God is omniscient and all pervading, yet He is personally
present in the temple in His Deity manifestation to provide His devotee the
opportunity of rendering direct service to Him. The Lord is our father and it is our
duty to go before Him and submit our account to Him, to request forgiveness for our
wrongdoings and beg strength to live in constant remembrance of His will.Worship
in the temple is considered more beneficial than worship at home, because the
association of so many other devotees and the spiritual atmosphere free from
domestic distractions nourishes faith and devotion.
The rituals while visiting the temple evoke the appreciation of the Lord's personal
presence. At the entrance to the temple building, everyone removes their shoes out
of respect for the sacred area. The worshipper then rings a bell as he enters the hall
where the Deity is resident. Going before the Deity to take darshan or audience of
the Lord, he offers respect or pranaams, either by folding his hands or perhaps by
bowing down and laying prostrate. In this simple act of devotion one can feel close
communion with God.
It is customary for every visitor to the temple to bring an offering of some kind foodstuffs, gifts for the Deity or donations of money. No offering is too great or too
small.
As Lord Krishna says: "If one offers Me with love and devotion a leaf, a
flower, fruit or water, I will accept it."
Bhagavad-Gita Ch. 9 Text
26
At the end of the hall is the main altar where the predominant Deities of the temple
stand. There may be other side altars as well. Only the priest enters the Deities'
room, while everyone observes from outside. The Deities should be gorgeously
dressed in the finest fabrics and decorated with ornaments, jewellery and garlands
of flowers. The Vedic tradition teaches that when much time, effort and opulence is
afforded in decorating the Deity, then everyone can come and enjoy the

extraordinary beauty of the temple and be inspired with a mood of sacrifice and
selflessness. Without centring their service on the Deity, the tendency of the people
will be to expend their efforts on individual improvement of material standards, by
which they develop an attitude of selfishness, greed and separatism.
Most Hindu temples are open every day of the year from morning to night, except
for a short period in the afternoon, but visitors like to come at the times of the arati
ceremonies which are performed several times daily. During arati the priest offers
different articles of worship to the Deity. These include: incense, ghee lamps, water
for bathing, a small napkin for drying, flowers and peacock and yak-tail fans. A
conch is blown at the beginning and end of the arati, and throughout the ceremony
the priest rings a small bell to attract the attention of the Deity and the audience to
the worship. During arati the devotees sing special hymns, and then kirtan. Kirtan is
sung in a responsive manner using mantras (short verses composed of the names
of God) such as the maha-mantra:
Hare Krishna, Hare Krishna, Krishna Krishna,
Hare Rama, Hare Rama, Rama Rama, Hare Hare

Hare

Hare

One may also see in the main hall one or more decorated thrones. These are called
vyasasanas, the seat for those teachers who are presenting the Vedic
philosophy.Satsanga, or association with a spiritually advanced soul, and
attendance at his lectures are important practices in the development of God
consciousness.
It is customary that before a visitor leaves the temple, he should receive prashad,
foodstuffs, which have been offered to the Deity, even if only in token amount.
Prashad is highly honoured as the mercy of the Lord. In India the distribution of
prashad is a serious welfare activity, the principle being that no one should go
hungry within 10 miles of the temple.
Aside from the daily ceremonies, there are many particular rituals, which a priest
may perform in the temple for the benefit of the devotees; for instance, marriage
ceremonies, the giving of first solid foods to a baby, the first hair cutting of a young
child, etc.
In many places in India devotees will attend the temple functions once or even
twice a day, but in Britain long distances and busy work schedules make it difficult
for many to visit the temple more than once a week. However, on special holy days,
everyone congregates in the temple for a festival programme of kirtan, lectures,
arati and religious dramas, and prashad is distributed to all.

Space manifest of religion: Vastu Shastra

Vastu in Sanskrit means nature, a surrounding or environment. The word Vaasthu
came from Vasthu, denoting anything existing such as house, shelter, building, etc.
Shastra in Sanskrit means systems. According to Mayamata, Vastu is applied to
dwelling sites and Vaastu for proper dwellings. Both Vastu and Vaastu are used to
designate dwelling or buildings and both the terms appear in the lyst of synonyms.
Vastu Shastra is an ancient art and science, containing principles and practices of
constructing buildings which ensures a harmonious balance between man and
nature and thereby bring all around happiness, health, wealth and prosperity. It is art
of building, dynamic in character, it transcends space and time. Function is primary concern because it
reflects suitability for human activities.

Architectural definition: Architecture is a science and art of designing and

constructing buildings. As a science it uses sistemathic knowledge regarding:
materials, techniques of building, the methods of environmental control.
Vastuidya is the knowledge of building science.10
In purely physical terms temples are structures built in durable materials which
aesthetic features to serve as places for worship. In metaphysical terms they are
abodes of gods, the very sight of which brings joy to the onlooker. Temples are
hence called prasada, the edifices which give joy.
A temple is the house of God and a place of worship for all. Although God is
omnipresent and His worship can be done in all places, still His presence is felt more
in
a
temple
than
anywhere
else.
The temple provides an environment, which helps human to commune with the
Divine. By constant and regular worship performed by the devotees of the temple,
holy vibrations are created and maintained there which help people. Indeed,
measurements and proportions are crucial to the proper construction of a Hindu
temple. They (temples) are embodiment of faith which inspires their existence. 11
Wherever the Hindu temple stands, wherever age witnessed its growth, and to
whatever size, as house, body and substance of God (the Essence) to dwell in, it is
built in principle on the same plan, the Vastupurusamandala. 12(the square divided
into compartments ). Although this ritual diagram is neither the ground plan of the
10 Balagopal T.S. Prabhu, A. Achyuthan ,The text book of Vastuvidya
11 Trimurti V. Sairam (1982), Indian temple: forms and foundations, pg.17.
12 Stella kramrisch, The Hindu temple, Motilal Banarsidass, 1976, pg. 6.

temple, nor necessarily the plan of the site, it regulates them. It is drown on the
ground prior to the building of the temple and on it the temple stands either in fact
or symbolically. In principle it is always square and it is record of an architectural
rite. Purusa is the universal Essence, the Principle of all things, the prime Person
whence all originates. Vastu is the site. In bodily existence, Purusa, the Essence,
becomes the Form. Te temple building is the substantial, and the plan (mandala) is
the ritual, diagrammatic form of the Purusa. Purusa himself has no substance. The
substance is wood, brick or stone in the temple.
The notion that there is nothing static, nothing abiding, but only the flow of a
relentless process, with everything originating, growing, decaying, vanishing this
wholly dynamic view of life, of the individual and of the universe, is one of the
fundamental conceptions of later Hinduism.

Nature and architecture

Life as a pilgrimage from birth to death has many stations. In India death is but
another station and itself does not bring final release. Final release from all
conditions of existence, from all limitations, is gained trough Knowledge; and
Knowledge, the realization of Supreme identity, is the means and the end itself: it
gives and is release. Some attain it while alive, others in death. To the great mass
of people, other roads lie open which also lead to the Centre, besides Knowledge.
Pilgrimage is one: it brings joy and release to those who have achieved control of
their minds and of the actions of their hands and feet. 13
The places of pilgrimage are distributed everywhere and are called Tirtha and
Ksetra. Tirtha is the name of a place of pilgrimage on the bank of the river, the sea
shore or a lake. The meaning of a word is a fort, a passage. The Thitras and ksetras
on Indian soil are potent sites where a presence is felt to dwell. Its support is in the
place itself. Whatever makes the site conspicuous or memorable is reinforced in its
effects by the attention of the people directed towards and concentrated on that
spot. In such places gods are seen at play. The gods are installed not only in
Thirthas, on the banks of the rivers, lakes and on seashore, at the confluence of
rivers and estuaries, but also in hill tops and mountain slopes, in forests, groves
and gardens, near the abodes of the blest of hermitages, in villages, towns and
cities or in any other lovely place.14 Ritually, the site of the temple is a Tirtha
wherever it is situated. The presence of water is essential (if there is not tank, gods
are not present), but if its neither available by nature nor by sacrifice it is present
symbolically at the consecration of temple or image. Temples towering shapes to
the last point of their height teem with the forms which have the urge and fullness
of Indian nature.
Correspondence between elements of temple and body parts/soul purpose is often
to provide a graded pattern for meditation, and they are also evoked in
consecration or installation rituals for temples and for images. Analogies can really
be drawn between the ascending lotus flowers ( wheels, chakras), visualized in
yogic practices, mounting the subtle spine towards the spiritual goal, and the stages
of ascent up the vertical axis of a temple tower, marked by corresponding levels in
the exterior. But it is perhaps in the patterns of movement expressed by Indian
temple architecture that the connection with the body can be experienced most
palpably.

13 Stella kramrisch, The Hindu temple, Motilal Banarsidass, 1976, pg. 3.

14 Stella kramrisch, The Hindu temple, Motilal Banarsidass, 1976, pg. 5.

Nature is also present in form of rituals. In temple ritual, the Garbhagraham is seen
as the " seed " of the temple. In the rite of gharbadhana, a pot containing precious
stones and other ritual items is buried below the Garbhagraham. The seed
symbolically germinates, growing directly upward through the center of the sikhara,
the spire positioned directly over the sanctum and reaching towards the heavens.
The sikharam, also referred to as the Vimanam, is highly symbolic as well and
deserves its own treatment.On the vimanam rests the kalasam. The kalasam can be
thought of as the roots of an inverted tree, whose trunk runs along the cosmic axis
of the temple and whose branches reach down toward Earth.The representation of
the Hindu temple as an upside-down tree encourages devotees to invert themselves
and find their true roots, thus becoming a temple themselves. By transforming
himself or herself into a temple, the devotee invites God to take up residence
within.
In a way, humans are born upside down-they are rooted in the material aspect of
the world. Just as devotees find their true centers by making their way toward the
Garbhagraham, devotees also find their true origin by gazing up toward the
kalasam. The unity of the Garbhagraham and kalasam is reflected in the anatomy of
the kalasam itself, which on many modern temples contains two structural motifs
recognized as lotus flowers.Through its rich symbolism, the Hindu temple facilitates
the ascent of man toward heaven and vice versa-matter flows up while spirit flows
down.

Human body and architecture

The Rich will make temples for Shiva. What shall I, a poor man, do? My legs are
the pillars, the body the Shrine, he head a cupola of gold. Basavanna 15
The temple according to Vastuvidya is the house of God as well as His
representation. According to Silparatna16, prasada is to be worshiped as Purusa
(cosmic man). The several parts of the temple communicate His living presence and
are linked to the body of man. The names of the limbs of the body are hence
applied to denote the different parts of the structure. The garbhagrha contain the
life (jiva) of the temple. It is conceived from inside and visualized from outside. The
ruling idea of unity is expressed in the harmonious relationship of the spirit and the
body.
Old and universal doctrine of basic correspondence between man and cosmos: man
as microcosms and cosmos as macrocosms.17
If the temple symbolises the body of god on the macrocosmic plane, it equally
symbolises the body of man on the microcosmic palne. The names of the various
parts of the temple are the very names used to denote the various parts of human
body! Look at the following technical names: paduka, pada, carana, anghri, jangha,
uru, gala, griva, kantha, sira. Sirsa, karna, nasika, sikha. This symbology tries to
impress upon us the need to seek the Lord within our heart and not outisde.
Hindu temples are built, strictly following the rules of Agamic Text. A temple can be
compared to the human body, every key fragment of a temple represents an
important part of human body. The main parts of a temple are Garbhagrahamm - a
stead containing the image of God, The Vimanamn - a stucture over the
Garbhagrahamm, Ardhamandapam - a corridor in front of the Garbhagrahamm,
Prakaram - a pathway around the Garbhagrahamm, and The Gopuram - the main
gateway
of
the
temple.
Indian temple is only a reflection of the physical form of the human body. According
to the Tirumular " our body is a temple " . The great cosmos is reflected in the
human body. The Garbhagrahamm is the most important part of a temple. The
15 Adam Hardy, The temple architecture of India, John Wiley & Sons Ltd., Great Britain,
2007.pg. 36..

16 Shilparatna is a classical text on traditional South Indian representationalperforming arts.

17 Trimurti V. Sairam (1982), Indian temple: forms and foundations, pg.54.

position where the main deity is installed is compared to the forehead of human,
where Lord Sivas third eye is situated. Thats why kumkum and vibhoodhi (the holy
ash) are put on the forehead.
The Vimanamm over the Garbhagrahamm attracts holy powers from the cosmos,
like our nose attracts pranavayu (oxygen) from air. In all Siva temples the
Garbhagrahamm of the Goddess is found in the place where heart has its abode in
the human body. The big finger of the leg is an important part of the body where in
all the nerve systems of the body end there. It is a custom in Hindu way of life that
one should salute a saint by laying down his body on the earth and by touching the
tip of the big fingers of the legs of the saint. This is the reason why Raja Gopuram is
considered as the gross body of the Deity installed in the Temple and devotees
unable to visit the Temple simply consider the Raja Gopuram itself as the Deity and
offer their obeisance from wherever they are.
Generally, Raja Gopuram consists of an odd number of stories - 3, 5, 7, 9 etc. Three
represents the three states - waking, dream and deep sleep - in which we gain all
our experiences. Five indicates the five senses through which we experience the
outer world; seven signifies, the mind and intellect in addition to the five senses;
and nine represents the above seven to addition to ego and heart (not the
mechanical organ `heart' in our gross body).
Significance of entering through the Raja Gopuram is that when one visits a Temple,
one should turn his antakarana or inner equipment (consisting of the five senses,
mind, intellect, ego and heart. through which he experiences the outer world),
toward the Deity installed in the Temple and attempt to merge with the Deity.
The Garbhagraham is dark, and its walls are largely undecorated. This starkly
contrasts the exterior of the temple, which is often highly ornate and replete with
thousands
of
sculpted
images.
The simple darkness of the sanctum reflects its function as a " womb house, " one
of the meanings of Garbhagraham. A second possible interpretation of
Garbhagraham symbolism is that God resides in each individual. The mandalam is a
pattern of powers in the likeness of the human body, and the deity dwells in the
Garbhagraham at the center of the mandalam. The logical extension of this
symbolism is that God exists in each person in a very real sense, ideally. As
devotees work their way from the exterior of the temple to the sanctum, they shed
the influences of the material world and find their center of being. They become one
with God.

Comparative analysis of architecture of two temples

Kerala is a land of traditions and festivals. The boat races, the harvest festival of
Onam, the lush green vegetation, the painted gopuras, the Kathakali dancers, and
serene backwaters are just some of visual delights. According to legend, Kerala was
created by a blow from Parshurams axe. The history of temple building in this state
dates back to 8th and 9th centuries. The principal dynasties that ruled were Cheras,
Mushikas, and the Venad kings. The temples here are primarily wooden structures
with an outer wall built with masonry. Due to the torrential rains and the onslaught
of the two monsoons, the tied roofs slant at a very acute angle, which makes it look
like a pagoda.
The foundation and development of temples played a central role in the
development of state and society (6 th till 13th century). Temples became social and
educational centers, and important economic institutions landowners, employers,
moneylenders and dispensers of charity. They were a canvas for the visual arts, a
stage for the performing arts. By the end of this period the great temple complexes
in South India could have hundreds of employees, from priests and administrators
to masons, dancers, cooks and potters. Hindu temples are called house of god,
heavenly place or city of god, body of god, mountain, cosmos, image of the
universe.
Monumental temples are bound up with the institution of kingship. A king was a
mediator between the human and divine words, and royal temples were a special
case of royal giving (dana), bringing prosperity to the community and religious merit
to the giver. However, most patronage of temples, along with donation of land to
sustain them, was not directly by kings. Apart from the royal family, temples were
increasingly founded and supported by mercantile and artisanal guilds. Inscriptions
show that all king of people gave to the temples; But temple patronage remained
above all a courtly affair; and temple ceremony was unmistakably courtly: gods
were treated as kings woken, bathed, dressed, fed, visited, taken around in
processions. Propelled by peoples fervent desire to make gods and goddesses
happy, the performing arts developed and flourished in pursuit of their
entertainment.
The new temple mountain became the new centre of the universe: ceremonial
occasions, trough the strict hierarchy of permitted accesses applied to the graded
spaces approaching the centre, from the masses outside trough the assembled
householders and courtiers and courtesans, past to the king, and the Brahmin
intermediaries tending the inner Sanctum, and upwards through the ranks of gods
to heaven.

Padmanabhaswamy temple
Padmanabhaswami Temple at Trivandrum is rectangular in plan as it houses
Anantasayi fom of Vishnu. The main temple is completely hidden behind the vast
quadranqular enclosures, the nuclei, the establishments dating back to the IX and X
centur.18
Definig feature of Dravida order or style are aedicules small shrines. 19
This Vishnu temple is the largest temple complex in Kerala. The temple is believed
to have been consecrated during the reign of Raja Marthandavarma circa A.D. 1050,
but it is believed that the smaller temple preceded this by at least five hundred
years. In A.D. 1686, the temple was almost destroyed in a major fire and was
restored and partially rebuilt in the year 1729. under the patronage of Raja
Marthandavarma s descendents. In fact, Rajas munificence almost drained the
state exchequer in one year. His zeal for construction and renovation started even
before he formally ascended the throne. The construction of the sanctum sanctorum
was given highest priority and the huge gilded idol of the recumbent Vishnu was
consecrated during his reign. The magnificent seven storeyed eastern gopuram on
which work was started as early as 1566 and was completed up to the fifth storey
under his patronage. Another colossal feat was construction of the Sribalipura
(circumambulatory passage encircling the sanctum), the awe inspiring rectangular
corridor encircling the central shrine. I was completed in a mere seven months
employing the service of 1000 masons, 7000 laborers and 100 elephants.
The temple like other Kerala temples was built in a mixture of Dravida and kerala
Dravida styles. The temple can be entered trough a broad oblong corridor supported
by 324 pillars adorned with reliefs of Yalis playing tug of war with elephants. The
kulashekara mandapa contains pillars with twenty four exquisitely sculptured
pieces and four groups of musical pillars.
A dip in the tank fronting the temple is part of the everyday ritual. Male devotees
have to wear the dhoti and remove their shirts and vests before entering the
temple. In the earlier days, during the tumultuous rule of the various feudatories,
this was probably to ensure that weapons could not be carried into the temple, to
prevent a sacrilege from being committed within the temple premises. In fact, the
dhoti had to be dipped in water before donning it so that translucence would than
18 H. Sarkar (1992), Monuments of Kerala, General Archeological Survey of India,
New Delhi, pg.43.
19Adam Hardy, The temple architecture of India, John Wiley & Sons Ltd., Great Britain,
2007.pg 14.

reveal any hidden weapon. This tradition still continues to the utter chagrin of many
un uninitiated.

Krishna Temple at Guruvayur

Krishna Temple at Guruvayur, District Trichur, is still open to the sky or hypaethral in
type (as numerous Bhagavati shrines in Kerala that are in the form of roofless
temple20
The present temple dates back to 16 th century. It s believed that the peripatetic
saint Shankarachrya consecrated the shrine. The Pandya kings held it in great
reverence as one of the kings was supposedly cured of snakebite after worship at
this temple. At the entrance stands a Garuda Gamba, a 33m high, glided flag post
and a pillar of lamps with 13 circular receptacles. It is a very difficult to trace
historical evolution of Kerala temples as almost every shrine has been rebuilt above
the original plinth. There are very few inscriptions and those that exists, pertain to
puranic legends. However, the Nayaka influences are evident in the gopuras and
cloisters. Peculiar only to Kerala are the namaskara mandapas detached from the
main shrine, which sometimes house a Nandi. The nalambalams single storied
cloisters, largely of wood are a treasure trove of wooden sculpture. The complex
arrangements of pitched roofs and gables evokes echoes of the wooden
architecture of bygone times. Guruvayur is also well known for the Narayaneryam
a labour of love composed by two of its ardent devotees, the Sanskrit poem that
comprises of thousand Shlokas. The temple also owns the largest number of
elephants, 53 in all that are taken round the town in a grand procession during
festivals.

20 H. Sarkar (1992), Monuments of Kerala, General Archeological Survey of India,

New Delhi, pg.25.

Culture of Kerala

Origins and influence

The land of Kerala was known during early times as 'Kerala' or 'Malabar'. 'Kerala' is
said to have its orgin from 'Cheram' which is derived from 'Chera' which was a
dynasty that ruled Kerala. The pre-history of Kerala has not been traced so far. It
is recorded that during the Paleolithic age, Kerala was not inhabited. However,
stone and copper inscriptions, give evidence to a megalithic age, which has been
assigned by some scholars to be between 700-400B.C.

Popular legends says that the sage parasurama threw his parasu(axe) from
Gokarnam top Kanyakumari. The water in the whole area receded and land was
formed.That was how Kerala came into being.
The culture of Kerala is a synthesis of Aryan and Dravidian cultures, developed and
mixed for centuries, under influences from other parts of India and abroad. It is
defined by its antiquity and the organic continuity sustained by the Malayali
people. Modern Kerala society took shape owing to migrations from different parts
of India throughout Classical Antiquity. Kerala trace its non-prehistoric cultural
genesis to its membership (around the 3rd century CE) in a vaguely defined
historical region known as Thamizhagom a land defined by a common Tamil
culture and encompassing the Chera, Chola, and Pandya kingdoms.
At that time, the music, dance, language (first Dravida Bhasha "Dravidian
language" then Tamil), and Sangam (a vast corpus of Tamil literature composed
between 1,5002,000 years ago) found in Kerala were all similar to that found in the
rest of Thamizhagom (today's Tamil Nadu). The culture of Kerala evolved through
the Sanskritization of Dravidian ethos, revivalism of religious movements and reform
movements against caste discrimination. Kerala showcases a culture unique to itself
developed through accommodation, acculturation and assimilation of various
faculties of civilized lifestyle.
It is very clear that Kerala had been a very important place of attraction for the
tourists from time immemorial. Literacy works of those times extoll the beauty of
the land. Kerala had trade relations with Egypt, Babylon, Phoenicia, Greece and
Rome even before the Aryan incursion, which was between 2000 and 1600 B. C.
However, popular legend says that the land stretching from Goa to Gokarnam was

reclaimed by the mythical hero, Sage Parasurama and that was how Kerala came
into being. But references from Hebrew texts give the evidence that Kerala had
trade contacts with Phoenicia and Egypt, long before the Aryan incursion.

Activity manifest of culture in temples meeting point of art

and religion21
The variety of temples, numbering more than 2000 dotting the Kerala state has no
match with any other regions of India. The temples of Kerala highly developed in
strict accordance to two temple construction thesis, Thantra-Samuchayam and
Sliparatnam. While the former deals in developing structures that regulates energy
flows so that positive energy flows in, while negative energy do not trend to remain
retarded within the structure; whereas the latter deals in developing stone and
timber architecture in such manner that each carved structure imbibe a life and
personality of its own.
Cultural activities ranging from music and bhajons to theatre and dramas have
taken place in the temple.22
Dance - Theyyam Theyyam also known as Kaliyattam, it is a ritual dance popular in
north Kerala or the erstwhile Kolathunadu. Theyyam incorporates dance, mime and
music and enshrines the rudiments of ancient tribal. Here are some of popular
dances.
Patayani Patayani is a week- long ritual dance, held in Kaali temples on the
banks of the Pamba river during the Malayalam months of Meenam and
Medam (March - April).
Poothanumthirayum This ritual offering to Goddess Kaali is performed in
many places of South Malabar. A troupe of dancers dress up as Kaali (the
Thira) and the accompanying spirits (the Poothams) who were created alo....
Paana Paana or Pallippaana, as it is sometimes called, is a ritual art to
propitiate the goddess Bhadrakaali. The art form is popular in the districts of
Thrissur, Palakkad and Malappuram.
Mudiyettu Mudiyettu is a ritual dance performed in some Kaali temples of
Ernakulam and Kottayam districts (central Kerala). The dance celebrates the
goddess's triumph over the demon Daarikan.
Koothu Koothu is a socio-religious art performed in the Koothambalam or
the Koothuthara of temples, either independently or as part of Kootiyattam.

21 Trimurti V. Sairam (1982), Indian temple: forms and foundations, pg.20.

22 Trimurti V. Sairam (1982), Indian temple: forms and foundations, pg.32.

Kannyarkali Kannyarkali, also known as Desathukali, is a folk art exclusively

practised by the Nair community of the Palakkad area.
Arjuna nritham Arjuna nritham (the dance of Arjuna) is a ritual art performed
by men and is prevalent in the Bhagavathy temples of Kerala. Arjuna, the
most valiant of the five heroic brothers - the Pandavas
Velakali This spectacular martial dance is performed by men in some of the
temples of southern Kerala. The dancers, clad in the traditional clothes and
colourful headgear of the medieval Nair soldiers.
Kalamezhuthu The kalam is a unique drawing also called dhulee chithram or
powder drawing. The artist uses the floor as his canvas. Kalamezhuthu pattu is
performed as part of the rituals to worship and propitiate.
Margomkali Margomkali is a ritual folk art of the Syrian Christians of
Kottayam and Thrissur districts. A dozen dancers sing and dance around a
lighted wick lamp ( Nilavilakku), clad in the simple traditional .
Kavadiyattom Kavadiyattam, a colourful ritual art, is a votive offering to Sree
Subramanya. Basically of Tamil origin, Kavadiyattam is widely prevalent in the
Subramanya temples all over Kerala during the festival.
Theeyattu Theeyattu is a solo dance-drama performed in front of the Kalam
or Dhooli Chitram (ritual drawing with coloured powders). It is enacted in
some Bhagavathy temples of Thiruvalla, Kottayam.
Kummattikkali Kummattikkali is a mask dance popular in some of the
northern districts of Kerala. The dancers, wearing painted wooden masks and
sporting sprigs of leaves and grass, go dancing from house to house.

Martial Arts - The oldest form of martial art is believed to have originated from the
state of Kerala only. Kalarippayattu, the most popular art of combat is said to be
around 3000 years old. The Chinese fighting style is also believed to be influence
by
this
art. Parisa
Kali,Valeru, Njaninmel
Kali, Velakanni, Onathallu, Parichamuttakali, Adithada and Kunderu are the
other forms of ancient martial arts, which are still practiced in the state. The martial
art forms have undergone many changes with the flow of time. Kalarippayattu was
once a forbidden art during the British regime. Later, after many years it got
reinstated and at present it is one of the popular styles of combat.
Sports - Moving out of the martial arts, Kerala also participates in a number of
sports. Football is one of the major games that are played here and because of this
there are many football clubs in and around Kerala. Boat race also forms an
important activity for the people of the state. Many boat races are organized on the
backwaters of Kerala every year which includes Nehru Trophy Boat Race. Few
other sports played in the state are badminton, cricket and tennis.

Literature - Another important aspect of culture of Kerala is the literature of the

state. Many old works have been the foundation of the modern Malayalam. Dating
back
to 14th
century poets
like Madhava
Panikkar, Rama
Panikkar and Sankara Panikkar holds major place in the history of Malayalam
literature. A major contribution also took place during 1970-1990 to take the
culture beyond the boundaries of the state. Some of the notable litrary contributors
during that time era were CV Sriraman, Perumbatavam Sreedharan, M
Krishnan Nair, P. Bhaskaran, Arundhati Roy and OV Vijayan. In the second half
of the 20th century, Jnanpith awardees like S. K. Pottekkatta, G. Sankara
Kurup and M. T. Vasudevan Nair have enriched the Malayalam literature.
Music - The traditional music of Kerala is Sopanam, which is also used as a
background score during Kathakali performance. The influence of carnatic music,
south Indian music, started from 19th century when king of Travancore Swathi
Thirunal Rama Varmapopularized it. Other than Sopanam, Melam is widely
performed in the temples across the state during the temple festivals. The classical
music in Kerala is based on raag-taal. The traditional folk songs are sung on the
social occasions such as childbirth and marriages. There are also some devotional
songs such as Maripattu and Ayyappanpattu that are rendered along with
playing of the string and wind instruments. All of these colors the culture of Kerala
with rich and vibrant hues.
Handicrafts - Kerala is renowned for its carvings in rosewood and sandalwood. The
sandalwood items, handlooms, metal work and woodcraft of Kerala are very popular.
The state boasts its rich style of oil paintings. The use of henna to paint the body
parts such as hands and feet gives unique identity to the state. Kerala also boasts of
its singular art form of floor paintings and drawings also known asKalamezhuthu.
Festivals - Culture of Kerala is incomplete without talking about the festivals
celebrated with dance, music and passion. Kerala is also referred as the land of
festivals. The people in Kerala are very social and the festivals are marked by the
family get-together, joy and excitement. The festivals cover almost every month of
the calendar and are worth experiencing. Onam is one of the major festivals of the
Kerala state. Often people visit the state during this time of the year to witness the
vivid colors alongwith the boat race and many other activities. Some of the popular
Hindu festivals are Maha Shivratri, Navaratri, Vishu and Deepavali. Vettukad
Festival and Pattambi Nercha are Christian and Muslim festivals respectively. Few
other celebrations of kerala are Vishu, Attukal Pongala Festival, Payippad
Jelotsavam, Machattu
Mamangam, Thrikarthiaka and Guruvayoor
Aanaottam.

Comparative analysis of activities of two temples

For what purpose we are going to a temple? Simple, but difficult to answer. Each
one has their own reason for visiting. The most common answer we found is, its for
religious or spiritual prayer or upasana. Some says its part of their daily routine
which they are used to. As we concerned about famous temples in kerala, it
represents more than just a pilgrim center. It has number of other roles to play in
day to day life. It acts as a social welfare centre, a tourist place, an art and cultural
centre and a place where all human being gets mental peace and harmony. But no
one really knows that the main intention behind building temples was for protecting
our environment and nature. This specialty can be seen throughout in Kerala. Thus,
we can say temples in kerala are echo friendly. Moreover, it is supposed to be a
'Sanathana Dharmacharana Saala'. Ancient times, it was referred as "Kavu" which
means "Kaadu" (forest). By building a "kavu" in a village, its environment is
protected by default. There were times in olden years that, temples acted as the
focus point in a particular village, where villagers are gathered together and find
solution for their day to day problems.
-originally
-present time

Conclusion: Symbolism of temples

References
-Adam Hardy (2007), The temple architecture of India, John Wiley & Sons Ltd., Great
Britain
- Balagopal T.S. Prabhu, A. Achyuthan
Kozhikode, New Edition

(2011),The text book of Vastuvidya,

- H. Sarkar (1992), Monuments of Kerala, General Archeological Survey of India, New

Delhi
- Stella Kramrisch (1976), The Hindu temple, Motilal Banarsidass
-Sunil Vaidyanathan (2002), Temples of South India, English edition Publishers and
Distributers Pvt. Ltd., Mumbai
-Trimurti V. Sairam (1982), Indian temple: forms and foundations

eReferences
- Ajithkumar,J (2004), Modern temples of India, blog
http://www.boloji.com/index.cfm?md=Content&sd=Articles&ArticleID=7673
-Kenneth Shouler, Ph.D. and Susai Anthony, A Philosophy and Feel for Hinduism,
http://www.netplaces.com/hinduism/hinduism-history-and-central-ideas/aphilosophy-and-feel-for-hinduism.htm
- Subhamoy Das, Gods & Goddesses in Hinduism,
http://hinduism.about.com/od/hinduism101/a/gods.htm
- http://en.wikipedia.org/wiki/Padmanabhaswamy_Temple

- http://en.wikipedia.org/wiki/Guruvayur_Temple
-http://www.guardian.co.uk/world/2011/jul/04/kerala-temple-vault-treasure
-Professor Satya Pal Sharma, http://www.spiritualworld.org/hinduism/print.htm