Garbhagiha means the House of the womb

Technical paper on Garbhagriha of the hindu temples

Fron the Tech Papers series of the Indo Nordic Author’s Collective

Garbhagiha means the Home of the womb- to call it sanctum

anctorum which is the term in Hebrew for Holy of the Holies and
refers to the Jewish temples is erroneous but has been going on
since the time Indian Temple Architecture has been written about
in English. Garbha is womb and Griha is house. Let me give
another example. A pregnant women is called a GARBHAVATI in
Sanskrit which means one who carries the WOMB“ Gravid in
Swedish. enceinte in French meaning enclosed.

A Hindu temple has various parts:

Garbhagriha” refers to the womb chamber which is the innermost chamber of

any temple where the deity resides. It is mainly square in layout and is entered
through eastern side. It has a tower called a vimana over it.
“Pradakshina Patha” refers to the ambulatory passageway for
circumambulation and comprises of enclosed corridor outside the garbhagriha.
The devotees walk around the deity in clockwise direction, paying their respect
to the deity
The ardha-mandapa and maha-mandapa are in front of the garbha-griha
(inner sanctum). The front porch in the main entrance of the temple which
leads to the main temple Some other essential structural elements found in the
Hindu temples are Mainly found in the south Indian temples.
The gopurams are entrance towers. Temples try to have Gopurams that are
monumental and ornate entrance to the temple premises..
Pitha or the plinths of the main temple.
Toranas”:The gateways typical to north Indian temples are,”Toranas”.

“Mandapa”, is the pillared hall in front of the garbha- griha, used as

assembling point by devotees for chant; rituals meditate or observe the priests
perform the rituals. • Sometimes,

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“Natamandira” is also provided in some temples which mean the hall for
dancing. In some early temple structures, the mandapa was isolated and
separate structure from the sanctuary.
“Antarala”, refers to the intermediate chamber which joins the main sanctuary
and the pillared hall of the temple premises.
The veranda next to the inside walls of the pradakshina path.
Tanks and wells, which are either sacred or for bathing purposes.
Subsidiary deities and shrines dedicated to minor gods.

This paper deals with the styles, design and geometry, structural system and
construction technology of the Innermost sanctum of Indian temples.  In this
context, the Hindu Temples are epitome of knowledge, art, architecture, culture
and represents the advancement of building science of the ancient Indian
subcontinent.  Each culture and era has a distinctive construction practice
which is unique and represents the ideology, development, art and architecture
of that particular era or culture.

The cerebral exploration of interlocking geometries based on mandala diagrams

was to become the defining characteristic of Hindu temple form in the
centuries to come. Mandalas are derived from original Vedic altars and are
used in both the Hindu and Buddhist religions as diagrams to map the cosmos
for astrological observations. These diagrams are abstract, without scale, and
can take any number of forms derived from a combination of superimposed
squares and circles. Garbha griha Subsiduary shrines.

Example of the Elephanta caves

The Elephanta Caves are located in Western India on Elephanta Island

(otherwise known as the Island of Gharapuri), which features two hillocks
separated by a narrow valley. The small island is dotted with numerous ancient
archaeological remains that are the sole testimonies to its rich cultural past.
These archaeological remains reveal evidence of occupation from as early as
the 2nd century BC. The rock-cut Elephanta Caves were constructed about the
mid-5th to 6th centuries AD.

Elephanta is a Hindu shrine adapted from the older Buddhist rock-cut

structures The Elephanta caves has a real mountain in which it is embedded.
It is having square garbha-griha, Hindu Architecture and has the Shiva Lingam
at its center. From the middle, four axes radiate out, defining access paths.
Elephanta is open on all four sides, though east is its primary direction of
access.

Elephanta has a much more complex geometry, with four sets of nine-square
mandalas interlocking to define two major axes of access, one from the west and the
other from the north. he north-south axis, aligned with the main entrance, terminates

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in three gigantic Shiva sculptures in deeply recessed niches. This triptych, occupies
the entire width and height of the end wall, and, compared to the rough-hewn
character of the rest of structure, was carved with greater care. The Elephanta Caves
contain rock cut stone sculptures, mostly in high relief, that show syncretism of
Hindu and Buddhist ideas and iconography. The caves are hewn from
solid basalt rock. Except for a few exceptions, much of the artwork is defaced and
damaged. The main temple's orientation as well as the relative location of other
temples are placed in a mandala pattern. The carvings narrate Hindu mythologies,
with the large monolithic 20 feet (6.1 m) Trimurti Sadashiva (three-faced Shiva),
Nataraja (Lord of dance) and Yogishvara (Lord of Yoga) being the most celebrated. The
island has two groups of rock-cut caves, hewn from solid basalt rock. The

larger group of caves, which consists of five caves on the western hill of the
island, is well known for its Hindu sculptures. The primary cave, numbered as
Cave 1, is about 1.0 km (0.62 mi) up a hillside, facing the Mumbai harbour.
Caves 2 through 5 are next to Cave 1 further southeast, arranged in a row.
Cave 6 and 7 are about 200 m (660 ft) northeast of Cave 1 and 2, but
geologically on the edge of the eastern hill.

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The two hills are connected by a walkway. The eastern hill is also called the
Stupa hill, while the western hill is called the Canon hill, reflecting their
historic colonial-era names, the ancient Stupa and the Portuguese era firing
Canons they host respectively .

rock-cut temples : All the caves are rock-cut temples that together have an
area of 5,600 m2 (60,000 sq ft). At their most elaborate, they have a main
chamber, two lateral chambers, courtyards, and subsidiary shrines, but not all
are so fully developed. Cave 1 is the largest and is 39 metres (128 ft) deep from
the front entrance to the back. The temple complex is primarily the abode
of Shiva, depicted in widely celebrated carvings which narrate legends and
mythologies of Shaivism.However, the artwork reverentially displays themes
from Shaktism and Vaishnavism traditions of Hinduism .

The temple is enclosed in the cave, it has interior walls but no exterior wall.
The pillars create space and symmetric rhythm as they support the weight of
the hill above. The main mandapa recesses into a pillared vestibule (ardha-
mandapa) on the south side, while a pillared portico (mukha-mandapa)
connects it to the main entrance. Embedded within the Great Cave are
dedicated shrines, the largest of which is the square plan Linga shrine (see 16
in plan).[10] It is a square garbha-griya (womb house) with four entrances,
located in the right section of the main hall. Steps lead from the four doorways
into the sanctum, which has a linga in the mulavigraha style. Each doorway is
guarded by a dvarapala on each side, for a total of eight dvarapalas, their
heights spanning floor to the ceiling. [  These were badly damaged when the
Portuguese ceded control of this region to the British. The linga shrine is
surrounded by a mandapa and circumambulation path (pradakshina-patha) as
in other Hindu temples. The pillars are similarly aligned east–west to this
shrine and have an east entrance. Overlaid, as if fused, on the architecture of
this temple is another open temple aligned to the north–south direction with
three faced Sadashiva as its focal centre. One features the abstract,
unmanifest, aniconic symbol of Shiva, the other anthropomorphic, manifest,
iconic symbol of Shiva. The mandapa pillars of the two align up.

All the caves are rock-cut temples that together have an area of
5,600 m2 (60,000 sq ft). At their most elaborate, they have a main chamber,
two lateral chambers, courtyards, and subsidiary shrines, but not all are so
fully developed. Cave 1 is the largest and is 39 metres (128 ft) deep from the
front entrance to the back. The temple complex is primarily the abode of Shiva,
depicted in widely celebrated carvings which narrate legends and mythologies
of Shaivism.[8][18] However, the artwork reverentially displays themes
from Shaktism and Vaishnavism traditions of Hinduism as well

4
 Layout 
1. Ravananugraha
2. Shiva-Parvati, Mount
Kailash
3. Ardhanarishvara
4. Sadashiva Trimurti
5. Gangadhara
6. Wedding of Shiva
7. Shiva slaying
Andhaka
8. Nataraja
9. Yogishvara
16. Linga
East Wing Shrine
10. Kartikeya
11. Matrikas
12. Ganesha
13. Dvarapala
West Wing Shrine
14. Yogishvara
15. Nataraja

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The northern entrance to the cave is flanked by two panels of Shiva dated to
the Gupta period, both damaged. The left panel depicts Yogishvara (Shiva as
the Lord of Yoga) and the right shows Nataraja (Shiva as the Lord of Dance).
The Sadashiva is flanked by two large friezes, one of Ardhanarishvara and the
other of Gangadhara. The walls of the mandapa feature other Shaivism
legends. All the friezes, states Stella Kramrisch, feature
the vyaktavyakta concept of Samkhya, where the state of spiritual existence
transitions between the unmanifest-manifest, the figures leap out of the cave
walls towards the spectator as if trying to greet the narrative. Even the
manifested Sadashiva is shown to be rising out of the rocks.

Each wall has large carvings of Shiva-related legends, each more than 5 metres
(16 ft) in height. The central Shiva relief Trimurti is located on the south wall
opposite the main entrance. Also called the Sadashiva, it is the iconic form of
a pancamukha linga is set in a mandala pattern with the abstract linga form of
Shiva. The Sadashiva is a colossal carving, a bit over 6.27 metres (20.6 ft),
depicting Tatpurusha (Mahadeva), Aghora (Bhairava), Vamadeva (Uma) and
Sadyojata (Nandin). The carving is unusual because the standard ancient
Hindu texts for murti design state that the Tatpursha should face east, but in
Elephanta it is the north face (pointing towards the main entrance). [26]
Smaller shrines are located at the east and west ends of the caves. The eastern
sanctuary serves as a ceremonial entrance, and its shrine shows iconography
of Shaktism tradition

6
 The island has two
groups of rock-cut
caves, hewn from
solid basalt rock. The
larger group of caves,
which consists of five
caves on the western
hill of the island, is
well known for its
Hindu sculptures. The
primary cave,
numbered as Cave 1,
is about 1.0 km
(0.62 mi) up a hillside,
facing the Mumbai
harbour. Caves 2
through 5 are next to
Cave 1 further
southeast, arranged
in a row. Cave 6 and
7 are about 200 m
(660 ft) northeast of
Cave 1 and 2, but
geologically on the
edge of the eastern
hill.[8]
The two hills are
connected by a
walkway. The eastern
hill is also called the
Stupa hill, while the
western hill is called
the Canon hill,
reflecting their historic
colonial-era names,
the ancient Stupa and
the Portuguese era
firing Canons they
host respectivel

.
The garbha-griha is surrounded by a well- defined and fully enclosed
parikrama path, It has nine subsidiary shrines arrayed in constellation around
it The garbhagriha is located in the most important among the caves is the great Cave 1, which
measures 39 metres from the front entrance to the back. In plan, this cave in the western hill
closely resembles Dumar Lena cave at Ellora, in India. The main body of the cave, excluding the
porticos on the three open sides and the back aisle, is 27 metres square and is supported by rows
of six columns each.

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The 7-metre-high masterpiece “Sadashiva” dominates the entrance to Cave 1. The sculpture
represents three aspects of Shiva: the Creator, the Preserver, and the Destroyer, identified,
respectively, with Aghora or Bhairava (left half), Taptapurusha or Mahadeva (central full face),
and Vamadeva or Uma (right half). Representations of Nataraja, Yogishvara,
Andhakasuravadha, Ardhanarishwara, Kalyanasundaramurti, Gangadharamurti,
and Ravanaanugrahamurti are also noteworthy for their forms, dimensions, themes,
representations, content, alignment and execution.

The layout of the caves, including the pillar components, the placement and division of the caves
into different parts, and the provision of a sanctum or Garbhagriha of sarvatobhadra plan, are
important developments in rock-cut architecture. The Elephanta Caves emerged from a long
artistic tradition, but demonstrate refreshing innovation. The combination of aesthetic beauty and
sculptural art, replete with respondent Rasas, reached an apogee at the Elephanta Caves. Hindu
spiritualistic beliefs and symbology are finely utilized in the overall planning of the caves.

This main cave, also called Cave 1, Grand Cave or the Great Cave, is 39.63
metres (130.0 ft) square in plan with a hall (mandapa).[10] The basic plan of the
cave can be traced back to the plan of the ancient Buddhist viharas, consisting
of a square court surrounded by cells, built from about 500 to 600 years before
in India.[21] The Cave has several entrances, the main entrance is unassumingly
small and hides the grand hall inside. The main entrance faces north, while
two side entrances face east and west. The cave's main entrance is aligned with
the north–south axis, unusual for a Shiva shrine (normally east–west).
However, inside is an integrated square plan Linga shrine (garbha-griya) that is
aligned east–west, opening to the sunrise.

To reach the main cave, a visitor or pilgrim has to walk up 120 steep steps
from the beach or take the tourist toy train. At the main entrance are four
pillars, with three open porticoes and an aisle at the back. Pillars, six in each
row, divide the hall into a series of smaller chambers. The roof of the hall has
concealed beams supported by stone columns joined together by capitals.

Main entrance, Cave 1/ Side entrance/

Main mandapa and pillars

8
The temple is enclosed in the cave, it has interior walls but no exterior wall.
The pillars create space and symmetric rhythm as they support the weight of
the hill above. The main mandapa recesses into a pillared vestibule (ardha-
mandapa) on the south side, while a pillared portico (mukha-mandapa)
connects it to the main entrance. Embedded within the Great Cave are
dedicated shrines, the largest of which is the square plan Linga shrine (see 16
in plan). It is a square garbha-griya (womb house) with four entrances, located
in the right section of the main hall. Steps lead from the four doorways into the
sanctum, which has a linga in the mulavigraha style. Each doorway is guarded
by a dvarapala on each side, for a total of eight dvarapalas, their heights
spanning floor to the ceiling. [23] These were badly damaged when the
Portuguese ceded control of this region to the British. The linga shrine is
surrounded by a mandapa and circumambulation path (pradakshina-patha) as
in other Hindu temples. The pillars are similarly aligned east–west to this
shrine and have an east entrance. Overlaid, as if fused, on the architecture of
this temple is another open temple aligned to the north–south direction with
three faced Sadashiva as its focal centre. One features the abstract,
unmanifest, aniconic symbol of Shiva, the other anthropomorphic, manifest,
iconic symbol of Shiva. The mandapa pillars of the two align up.
The northern entrance to the cave is flanked by two panels of Shiva dated to
the Gupta period, both damaged. The left panel depicts Yogishvara (Shiva as
the Lord of Yoga) and the right shows Nataraja (Shiva as the Lord of
Dance).] The Sadashiva is flanked by two large friezes, one of Ardhanarishvara
and the other of Gangadhara.
The walls of the mandapa feature other Shaivism legends. All the friezes,
states Stella Kramrisch, feature the vyaktavyakta concept of Samkhya, where
the state of spiritual existence transitions between the unmanifest-manifest,
the figures leap out of the cave walls towards the spectator as if trying to greet
the narrative. Even the manifested Sadashiva is shown to be rising out of the
rocks.
Each wall has large carvings of Shiva-related legends, each more than 5 metres
(16 ft) in height. The central Shiva relief Trimurti is located on the south wall
opposite the main entrance. Also called the Sadashiva, it is the iconic form of
a pancamukha linga is set in a mandala pattern with the abstract linga form of
Shiva.[26] The Sadashiva is a colossal carving, a bit over 6.27 metres (20.6 ft),
depicting Tatpurusha (Mahadeva), Aghora (Bhairava), Vamadeva (Uma) and
Sadyojata (Nandin). The carving is unusual because the standard ancient
Hindu texts for murti design state that the Tatpursha should face east, but in
Elephanta it is the north face (pointing towards the main entrance).
Smaller shrines are located at the east and west ends of the caves. The eastern
sanctuary serves as a ceremonial entrance, and its shrine shows iconography
of Shaktism tradition.

9
Sadasiva: Trimurt

GARBHAGRIHA the enclosed SHIVLINGA can also be seen

10
Cave No 1 pictures

11
Trimurti Shiva flanked by the dvarapalas.

The Trimurti is considered a masterpiece and the most important sculpture in

the caves. It is carved in relief on the south wall of the cave facing the north
entrance, along the north–south axis. It is also known
as Sadashiva and Maheshmurti. The image, 6 m (20 ft) in height, depicts a
three-headed Shiva, representing Panchamukha Shiva.
The three heads represent three essential aspects of Shiva: creation, protection,
and destruction. As per another version, the three heads symbolize compassion
and wisdom. The right half-face (west face) shows him holding a lotus bud,
depicting the promise of life and creativity. This face is symbolism for Brahma,
the creator or Uma or Vamadeva, the feminine side of Shiva and creator. The
left half-face (east face) is that of a moustached young man. This is Shiva as
the terrifying Aghora or Bhairava, the chaos creator and destroyer. This is also
known as Rudra-Shiva, the Destroyer. The central face, benign and meditative
Tatpurusha, resembles the preserver Vishnu. This is the Shiva form as the
"master of positive and negative principles of existence and preserver of their
harmony".The three-headed Shiva are his creator, preserver and destroyer
aspects in Shaivism. They are equivalently symbolism for Shiva, Vishnu, and
Brahma, they being equivalent of the three aspects found in Shaivism.

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Garbagriha at Ellora Rock Cut Caves:

Located in the Sahyadri hills near Aurangabad, Ellora is the most important
second-wave site of ancient rock-cut architecture in India. In the western face
of one hill, composed of volcanic Basalt rock, there are 35 caves and rock-cut
temples, largely produced during the reign of the Kalachuri dynasty in the 6th
and 7th centuries CE. The earliest cave, the Hindu Ramesvara (no. 21), dates
to the 6th century CE. Typical of early Hindu temples there is an inner
sanctum (garbhagriha), a circumambulatory corridor for worshippers to walk
around, vestibules with double porticoes, and extensive decoration via high-
relief friezes and carvings depicting scenes from the Puranas sacred texts. This
cave alsonhas carved river goddesses on the exterior, a Nandi sculpture at the
entrance and inside are both a large dancing Shiva surrounded by musicians
and Durga slaying the buffalo demon king. Other points of interest are the use
of couple figures for brackets (salabhanjikas) as well as reliefs of elephants
and mithuna (lover) figures.

The Dhumar Lena cave (no. 29) seems to replicate the famous cave at
Elephanta suggesting a connection between Ellora and the Kalachuris. The
figure brackets of cave 21 are additional evidence of a cultural link between the
two sites.

Late Chalukyan Period Rajasimhesvara Temple. It Has attached mandapas,

and Rajasimhesvara Temple’s two enclosed mandapas set up a single
longitudinal axis.Rajasimhesvara’s precinct is packed with a phalanx of
subsidiary shrines, and in fact has the beginnings of a second precinct
enclosure also made of subsidiary shrines, The inner columns of the
Rajasimhesvara have a simple arithmetic geometry.

Garbagriha: The temple complex is complete in all respects as it

has garbagriha (sanctum sanctorum), antarala (inner enclosure), mandapa, a
high compound wall, and an entrance gate, the gopuram. The mandapa, which
was initially detached, was made part of the main shrine by interposing
an ardhamantapa (smaller hall). The pillars of the mandapa have the repetitive
features of mythical lion mounts.
The structure has a simple layout with a tower or vimana at the center of the
complex. The vimana of the temple, above the main shrine (sanctum
sanctorum), is square in plan and rises up in a pyramidal shape. The tower
has many levels rising proportionately. At the top of this tower, there is a small

13
roof in the shape of a dome. The pillar elements with mythical animal shapes
(lions on the base) are extra features in Pallava style. At the entrance,
the gopuram walls are plastered. Its entrance wall has eight small shrines and
a gopura, precursor to the main gopura. At some later stage, the mandapa and
the sanctuary were joined by an intermediate hall called the ardhamantapa,

14
which is reported to have marred the beauty of the temple to some extent. The
temple is enclosed within walls in a rectangular layout.

A sculpture in one of the niches of the 58 subshrines./Sculpture depicting Shiva as Gangadhara capturing
the river Ganges with a strand of his hair./ Sculpture depicting Goddess Durga.

The main shrine has a 16 sided Shivalinga in black granite stone deified in the

sanctum sanctorum. Within the walls of the main shrine there is padabhanda
adhisthana (main pedestal) with very elegantly carved images of gods with a
sculpted Nandi, a little distance away giving guard to the deity. On each face of
the outer walls of the main shrine there are many carvings of deities.
The south facing wall the sculpture depicts Shiva as Umamaheshavara (Shiva
with his consort Parvati) with Lingodbhava (emergence of Shiva as fiery pillar
- linga) surrounded by Brahma and Vishnu and flying amaras on the lower
level.
The west facing hall has sculptures of Shiva in the form of Sandhya
Tandavamurti and Urdhava Tandvamurti and the ensemble is completed with
images of ganas in dancing poses and also with images of Brahma, Vishnu,
Nandi and Parvati.
The carving of Shiva on the north facing wall is a composition
of Tripurantaka flanked by three ganas, goddess Durga with three ganas, and
goddesses Bhairavi, Kaushiki and Jyestha.
The exterior faces of the vimana (tower) have images of aspects of Shiva
- Bhikshatana, Somaskanda and in Samhara-Tandava (destructive dancing)
pose.
In the inner walls of the prakara (circumambulatory passage) there is galaxy of
images of Durga, Kartikeya, Bhavati, Tripurantaka, Garudarudha-
Vishnu, Asura Samhara (slaying of demons), Narasimha (Vishnu's
avatar), Trivikrama (another Vishnu's avatar), Shiva Tandava (Shiva in a
dancing pose), Shiva severing the fifth head of Brahma, desecration of Yagna of
Daksha, Brahma and his wife, Gangadhara, Urdhava tandava, Vishnu flanked
by Bhudevi and Sridevi, Lingodbhava, Bhikshatana, Ravana, and Vali offering

15
prayers to Atmalinga Chandikeshvara. The image of Ardhanariswara sitting on
a bull is considered the most noteworthy among all images.

Mandapa showing the entrance to the garbhagriha Ornate pillars in the Saraswati
temple at Gadag

Vimana's south facing wall has very elegant image of Shiva in a sitting posture
of peace and quietude known as Dakshinamurthy, and its west wall has Shiva
in the form of Lingodbhava.
The tower has multiple shrines embodied on all its external faces which have
the appearance of miniature shrines. These shrines have three features, the
sala (rectangular), kuta (square) and panjara (apsidal) styles. Eight small
shrines also decorate the entrance wall. The 58 small shrines are built into the
niches of the compound wall that encloses the main shrine;hey depict
Somaskanada reliefs of Shiva and his consort Parvathi in many dance forms.
The temple maybe built using a geopolymer that looks like sandstone

16
17
A circumambulatory passage, around the Garbagriha with a symbolic
meaning is situated along the compound wall. In order to make the
circumambulation, there is a narrow entry passage which devotees must crawl
through. Seven steps must be climbed in order to reach the passage. Passing
through the narrow passage is indicative of passage through life. After the
circumambulation, the exit is through a pit or another narrow passage
symbolic of death.  The entry point for this passage is called Gate of Death
(Tamil: இறப்பு வாசல்). It is believed that making the circumambulation round the
various deities would usher the same blessings as visiting paradise. During
completion of circumambulation - Crawling and coming out of the passage also
indicates that your coming out of mother's womb and also explains Hindu's
belief of rebirth. Hence, exit is called Gate of Birth (Tamil: பிறப்பு வாசல்). There is
another belief that by completing this circumambulatory passage the
possibility of rebirth is not there and you shall attain Moksha. Such passage is
UNIQUE, explaining the life cycle including aging process, death and rebirth.

Inverted lotus-base plinth. Of Sun Temple in Modhera

The Sun Temple is a Hindu temple dedicated to the solar deity Surya located
at Modhera village of Mehsana district, Gujarat, India. It is situated on the
bank of the river Pushpavati. It was built after 1026-27 CE during the reign
of Bhima I of the Chaulukya dynasty. No worship is offered now and is
protected monument maintained by Archaeological Survey of India. The temple
complex has three components: Gudhamandapa, the shrine
hall; Sabhamandapa, the assembly hall and Kunda, the reservoir. The halls
have intricately carved exterior and pillars. The reservoir has steps to reach the
bottom and numerous small shrines.

PLAN; SANCTUM SANCTORUM

This is called the main temple or the sanctum sanctorum of the temple.
Lotus opens with sunrise and closes itself with sunset. Hence, it is
considered to be sun's flower. The entire temple is therefore based on an
inverted lotus-base plinth. It was designed such that the rays of the
rising and setting sun on the day of equinox (length of day and night is
nearly equal - 20 March and 21 September generally), fell on the
bejeweled pure gold idol of Sun riding on his chariot driven by Saarthi
Arun. Sun's chariot has 7 horses and Saarthi Arun sits on the 4th horse.

The entire idol made of gold (including the charioteer, chariot and horses)
was placed on a pit that was 15 feet deep and filled with gold coins. It
was built by the Solankis in honour of their ancestral God. It was
plundered by Mahmud Gazni.

18
Rajasthan’s only hill station, Mount Abu, is located in the Aravalli Mountains.
This makes it a popular getaway for vacationers in the region, as it promises
respite from the desert heat. Apart from the conventional ‘hill station activities’,
there’s a lot of sightseeing that can be done in Mount Abu.

The Dilwara Jain Temples, located about 2 kilometers from here, are a

respected pilgrimage destination for Jains in the region and across India. The
Dilwara Jain temples are located in the lap of nature, surrounded by the
canopy lush green hills and mango trees. According to historical records, these
temples were built between the eleventh and the thirteenth century AD.  Along
with a regular influx of tourists that is steadily increasing, it is visited every
year by devout Jains.  The white marble temples are said to be a dedication to
Jain saints.
When viewed from a distance, one might wonder why these temples are
respected so much for their beauty. Though the temples seem to be ordinary
from the outside, it’s only when one steps inside them will one be able to
marvel at the feats of artistry. The incredibly ornate marble stone carvings and
the precise engraving on the temple ceilings and pillars are a photographers’
delight.
The ceilings feature ornate gold leaf work, and one will possibly need to zoom
in with a pair of binoculars (photography is forbidden inside the temple
19
complex) to appreciate the finer details of the ceiling paintings. The paintings
depict the stories of Jain history and mythology. Open between noon and 3 pm,
the entry to these temples is free. While there are other Jain temples across
Rajasthan, the Dilwara temples are unmatched in their architectural
perfection.
They are not only monuments – but fully functional temples that see hordes of
Jains come to offer regular prayers. The temples have facilities for bathing, a
necessary pre-requisite to the performance of ‘puja’ (prayer). In the winter
months, the bathing facilities are heated by solar power for bathing.
The five temples have their own unique identity and are named after the
villages they are located in. They are all dedicated to important Tirthankaras
(saints).

Vimal Vasahi: first Jain, Adinath.

Luna Vasahi: 22nd Jain Tirthankara, Neminatha.
Pithalhar: first Jain Tirthankar, Rishabha
Parshvanath: 23rd Jain Tirthankara, Parshva.
Mahavir Swami: last Jain Tirthankara, Mahavira
Among these, Vimal Vasahi and Luna Vasahi are the most famed.

The Vimal Vasahi Temple is made completely out of white marble. It was
made by Vimal Shah, a minister of a King of Gujarat, and is dedicated to Lord
Rishabha.  The temple is famed for its corridors, pillars, arches, which feature
miniature intricate carving. The ‘mandaps’ or the temple porticos are famous
for their artistry. The Rang mandap, a grand hall, features ornate pillars and
arches, an amazing central dome. The Gudh mandap is extremely simple, and
houses the Adi Nath (or Lord Rishabdev’s) idol and sees regular prayer to the
deity.

Luna Vasahi is dedicated to Lord Neminath. It was built by brothers Vastupal

and Tejpal, who were ministers of a Vaghela ruler of Gujarat. The overall design
is similar to the Vimal Vashi temple. The Rang mandap’s central dome features
a massive pendent with ornate carving. 72 Tirthankara figures sit in a circular
band and below them are small Jain monk figures. The Navchowki features
stunning marble cutting. The Gudh mandap houses a black marble 22nd Jain
Tirthankar Neminatha idol.
The remaining three temples of Dilwara (Pittalhar Temple, Parshvanatha
Temple, and Mahavir Swami Temple) are small in size but match the elegance
of the above mentioned temples.

 PLAN 1st Jain Tirthankara 22nd Jain Tirthankara 23rd Jain Tirthankara:
There are 5 Unique Temples of Dilwara each with its own unique identity and
each named after the small village in which it is located. These are:
1. Vimal Vasahi, dedicated to the first Jain Tirthankara, Rishabha.
2. Luna Vasahi, dedicated to the 22nd Jain Tirthankara,

20
 3. Neminatha. Pithalhar, dedicated to the first Jain Tirthankar,
4. Rishabha Khartar Vasahi, dedicated to the 23rd Jain Tirthankara,
5. Parshva. Mahavir Swami, dedicated to the last Jain Tirthankara,
Mahavira.

The most famous of these being the Vimal Vasahi and Luna Vasahi
temples.

Vimal Vasahi Temple This temple carved entirely out of white marble was
built in 1021 by Vimal Shah, a minister of Bhimidev I, the Chalukya King
(Solanki Maharaja) of Gujarat. The temple is dedicated to Rishabha. The
temple stands in an open courtyard surrounded by a corridor, which has
numerous cells containing smaller idols of the Tirthankaras. The richly
carved corridors, pillars, arches, and 'mandaps' or porticoes of the temple
are simply amazing. The ceilings feature engraved designs of lotus-buds,
petals, flowers and scenes from Jain and Hindu mythology. The Rang
manda is a grand hall supported by 12 decorated pillars and nicely carved
out arches with a breathtaking central dome. On the pillars are carved
female figurines playing musical instruments and 16 Vidhyadevis, or the
goddesses of knowledge, each one holding her own symbol which is believed
to be memorial of victorious Brahma Kumaris follower from last Kalpa.

Garbhagriha seen

Rajasthan’s only hill station, Mount Abu, is located in the Aravalli Mountains.
This makes it a popular getaway for vacationers in the region, as it promises

21
respite from the desert heat. Apart from the conventional ‘hill station activities’,
there’s a lot of sightseeing that can be done in Mount Abu.

The Dilwara Jain Temples, located about 2 kilometers from here, are a

respected pilgrimage destination for Jains in the region and across India. The
Dilwara Jain temples are located in the lap of nature, surrounded by the
canopy lush green hills and mango trees. According to historical records, these
temples were built between the eleventh and the thirteenth century AD.  Along
with a regular influx of tourists that is steadily increasing, it is visited every
year by devout Jains.  The white marble temples are said to be a dedication to
Jain saints.

When viewed from a distance, one might wonder why these temples are
respected so much for their beauty. Though the temples seem to be ordinary
from the outside, it’s only when one steps inside them will one be able to
marvel at the feats of artistry. The incredibly ornate marble stone carvings and
the precise engraving on the temple ceilings and pillars are a photographers’
delight.

The ceilings feature ornate gold leaf work, and one will possibly need to zoom
in with a pair of binoculars (photography is forbidden inside the temple
complex) to appreciate the finer details of the ceiling paintings. The paintings
depict the stories of Jain history and mythology. Open between noon and 3 pm,
the entry to these temples is free. While there are other Jain temples across
Rajasthan, the Dilwara temples are unmatched in their architectural
perfection.

They are not only monuments – but fully functional temples that see hordes of
Jains come to offer regular prayers. The temples have facilities for bathing, a
necessary pre-requisite to the performance of ‘puja’ (prayer). In the winter
months, the bathing facilities are heated by solar power for bathing.

The Vimal Vasahi Temple is made completely out of white marble. It was
made by Vimal Shah, a minister of a King of Gujarat, and is dedicated to Lord
Rishabha.  The temple is famed for its corridors, pillars, arches, which feature
miniature intricate carving. The ‘mandaps’ or the temple porticos are famous
for their artistry. The Rang mandap, a grand hall, features ornate pillars and
arches, an amazing central dome. The Gudh mandap is extremely simple, and
houses the Adi Nath (or Lord Rishabdev’s) idol and sees regular prayer to the
deity.

Luna Vasahi is dedicated to Lord Neminath. It was built by brothers Vastupal

and Tejpal, who were ministers of a Vaghela ruler of Gujarat. The overall design
is similar to the Vimal Vashi temple. The Rang mandap’s central dome features

22
a massive pendent with ornate carving. 72 Tirthankara figures sit in a circular
band and below them are small Jain monk figures. The Navchowki features
stunning marble cutting. The Gudh mandap houses a black marble 22nd Jain
Tirthankar Neminatha idol.

The remaining three temples of Dilwara (Pittalhar Temple, Parshvanatha

Temple, and Mahavir Swami Temple) are small in size but match the elegance
of the above mentioned temples.

The Navchowki is a collection of nine rectangular ceilings, each one

containing beautiful carvings of different designs supported on ornate
pillars. The Gudh mandap is a simple hall once you step inside its heavily
decorated doorway. Installed here is the idol of Adi Nath or Lord Rishabdev,
as he is also known. The mandap is meant for Aarti to the deity. The
Hastishala (Elephant Cell) was constructed by Prithvipal, a descendant of
Vimal Shah in 1147-49 and features a row of elephants in sculpture.
 
Ranga mandapa – Ceiling

Luna Vasahi The Luna Vashi temple is dedicated to Neminath. This

magnificent temple was built in 1230 by two Porwad brothers - Vastupal
and Tejpal - both ministers of a Virdhaval, the Vaghela ruler of Gujarat. The
temple built in memory of their late brother Luna was designed after the
Vimal Vashi temple. The main hall or Rang mandap features a central dome
from which hangs a big ornamental pendent featuring elaborate carving.
Arranged in a circular band are 72 figures of Tirthankars in sitting posture
and just below this band are 360 small figures of Jain monks in another
circular band. The Navchowki features some of the most magnificent and
delicate marble stone cutting work of the temple. Each of the nine ceilings
here seems to exceed the others in beauty and grace.

 The Gudh mandap features a black marble idol of the 22nd Jain
Tirthankar Neminatha. The Kirthi Stambha is a big black stone pillar that
stands on the left side of the temple. The pillar was constructed by
Maharana Kumbha of Mewar. The remaining three temples of Dilwara are
smaller but just as elegant as the other two.

This temple was built by Bhama Shah kavdia [Rajasthan]. A massive metal
statue of first Jain Tirthankara Rishabha Dev (Adinath), cast in five metals,
is installed in the temple. The main metal used in this statue is 'Pital'
(brass), hence the name 'Pittalhar'. The Shrine consists of a main
Garbhagriha, Gudh mandap and Navchowki. It seems that the construction
of Rangmandap and the corridor was left unfinished. The old mutilated idol
was replaced and installed in 1468-69 AD weighing 108 maunds (about 40

23
quintals or four metric tons) according to the inscription on it. The image
was cast by an artist 'Deta' which is 8 ft (2.4 m). high, 5.5 ft (1.7 m). broad
and the figure is 41 inches (1,000 mm) in height. In Gudh Mandap on one
side, a big marble Panch-Tirthi sculpture of Adinath is installed. Pittalhar
Temple.

The striking feature of this temple is its dome, which stands on 8 pillars.
The pendant of the dome drops from the ceiling looking like a cluster of half
open lotuses. Next is the Garbhagriha, which when lighted reveals the
massive idol of Neminatha. There are 39 cells here each containing one or
more images. Most of the ceilings in front of the cells are highly ornamented.
The reliefs in the porticoes of the cells depict incidents from the life of
Neminatha, his marriage, deification etc. The representation of the marriage
pavilion describes the scene and portrays the reason for the conversion of
Neminatha who was betrothed to Rajimati, the daughter of the king of
Girnar.

The Rang Mandap has a central dome from which hangs a beautifully
carved ornamental pendent. 72 figures of seated Tirthankaras are portrayed
in a circular band and just below this band are 360 small figures of Jain
monks.

The Hathishala or
elephant cell features 10 beautiful marble elephants neatly polished and
realistically modelled.

24
CHOLA ARCHITECTURE Brihadeeswara Temple Thanjavur – 1000 AD
. The key inscription on the base of the vimana where Rajaraja Chola says
he built the stone temple and records the gifts that he, his sister, his queens
and others gave the temple. Pichard called the vimana an “architectural
audacity”.

Brihadeeswarar Temple has been listed as a UNESCO World Heritage Site

under the list of ‘Great Living Chola Temples’. An approximate of 130,000
tons of granite was used in the formation of this temple. The holy shrine has
a temple tower (vimana) that is built at a height of 216 feet. Being the tallest
in the world, it symbolizes Mount Peru. ‘Gopuras’ or the two gateways are
located at the eastern entrance of the temple. The temple’s entrance has a
large statue of Nandi (sacred bull) that measures about 16 feet in length and

25
 13 feet in height. This statue has been carved out of a single stone.
‘Kumbam’ is the topmost component of the holy shrine and weighs about 60
tons. It has been also carved out from a single granite stone. A huge idol of
Lord Shiva with three eyes is present inside the temple along with the 108
dance forms or ‘karmas’. The exterior part on the other end is decorated
with sculptures. There are 250 lingams in the entire temple compound. This
famous sanctuary is made up of a pillared hall and an assembly hall which
is known as mandapas and many sub-shrines.

8 Dikapalas: Dik- means direction; paalaka means ruler. Therefore,

dikpalaka means the person who is the ruler of that direction/disha/dik.
We know that there are eight direction of a plane surface. Also thare are two
directions vertically that is above/oordhwa/zenith/aakash and
below/adho/nadir/paatal.The vertical directions are not taken into
consideration in Vaasthu shastra. 

 The inner part of the mandapas is noteworthy and is divided into various
categories with the help of sculptures and pilasters. Being one of the rarest
temples in India, the idols of ‘Ashta- dikpaalakas’ or guardians of directions
can be found here. The six feet effigies of Agni, Varuna, Indra, Yama, Isana,
Kubera and Nirriti are placed in a separate temple. Being a masterpiece in
itself, the shadow of the tower over the gateway of the shrine never falls on
the ground, more significantly in the premises of the temple. The altar
situated at the entrance of this holy shrine has two idols of Lord Ganesha.
When a person taps on any one of the idols, a sound occurs that travels
towards the other idol slanting through the stone at one end and the metal
to another. There are many pillars of the temple that produce such musical
sounds.

It has a double portico of 450 m perimeter running all around the structure
contains 252 lingas in black stone arranged under corbelled vaults carried
on 400 pillars all around The wall behind the portico is beautifully painted

Technicals of the Garbagrha of Hindu Temples

Garbhagṛha, “sanctum” is the nucleus of the temple. It is the place where the
main deity of the temple is installed. The Canons prescribe that the shape of
the garbhagṛha may be (on plan):
1. caturaśra (square),
2. āyata (rectangular),
3. vṛtta (cicular),
4. āyatavṛtta (elliptical)

26
 5. or vṛttāyata (ovoid).
The square and circular garbhagṛhas are constructed for the installation of the
deities in sthāṇaka (standing) or āsīna (seated) postures. While in the other
varieties, deities in śayana (reclining) posture or group of deities standing or
sitting in a row are to be installed.
Mānasāra mentions that if the plan of the garbhagṛha is square or circular, it
is called puruṣa (Male) and if it is rectangular it is called vanitā (Female). Male
deities can be installed in a square, circular or rectangular garbhagṛha, while
the female deity should always be installed in a rectangular garbhagṛha.

Garbhagṛha ( “womb-house”).—When combined the two words

[garbha (womb) and gṛha (accommodation)] become garbhagṛha (womb-house).
It denotes the sanctum sanctorum, or shrine of a sacred space, especially that
of a Hindu temples. The sanctum sanctorum is the most central and
fundamental component of any sacred architecture. What garbha (womb) is to
the human body gṛha (accommodation) and guhā (cave) are to the world of
habitation. What gṛha is to the world of habitation garbhagṛha is to the sacred
architecture. In garbha resides the foetus, the genesis of a being. In gṛha,
resides the gṛhastha, the family man—the microcosm, a unit, of which the
multiples make a society, and which is opposed to the macrocosmic sphere of
civilization. In the microcosmic sphere of the garbhagṛha, the God resides, who
is referred to as the macrocosm in religions, the omnipresent, all-pervading
entity.

Garbhagṛha refers to the “sanctum sanctorum”, a common concept found in

the ancient Indian “science of architecture” (vāstuvidyā).—Garbhagṛha is
the sanctum sanctorum, where the presiding deity is installed.

Garbhagṛha Mūlasthāna sanctum-sanctorum of the Hindu Temple.—Each

temple has a mūlasthāna or garbhagṛha (sanctum-sanctorum) and many
subsidiary sanctums. The temples here selected for the study of the mūla beras
are temples specially dedicated to Śiva, Viṣṇu, Subrahmaṇya, and Pārvatī. In
these garbhagṛhas, there are icons of gods and goddesses, namely, Śiva and
His manifestations like Naṭarāja; Pārvatī and the Śakti avatāras; Viṣṇu and His
other forms and incarnations; Brahmā, Lakṣmī, Sarasvatī, Subrahmaṇya, Valli,
Deivāṇai (also known as Deviyāni or Devasena), and Gaṇapati.

Vastushastra refers to the ancient Indian science (shastra) of architecture

(vastu), dealing with topics such architecture, sculpture, town-building, fort
building and various other constructions. Vastu also deals with the philosophy
of the architectural relation with the cosmic universe.

27
Shilpashastra (iconography)

Shilpashastra represents the ancient Indian science (shastra) of creative arts

(shilpa) such as sculpture, iconography and painting. Closely related to
Vastushastra (architecture), they often share the same literature.
Discover the meaning of garbhagriha or garbhagrha in the context of
Shilpashastra from relevant books on Exotic India 

In Shaivism (Shaiva philosophy)

Shaiva represents a tradition of Hinduism worshiping Shiva as the supreme
being. Closely related to Shaktism, Shaiva literature includes a range of
scriptures, including Tantras, while the root of this tradition may be traced
back to the ancient VedasIt is only the physical structure. It is transformed
into sannidhi after the invoking of the Lord. This explains why, in the Śaiva
Siddhānta tradition, the temple is conceived as a space where the deity is
invited to reside in the garbhagṛha. The temple’s spiritual energy can be
sustained only if the deity’s sāniddhya remains unsullied. Therefore the most
important dharma of the Ādiśaiva priest is to maintain the “presence” and
sanctity of the deity by offering regular pūjā as prescribed. Only then can the
temple be a storehouse of energy for the public. Only then can the devotees
find their God in the sanctum. This he does through pūjā.

Location: It is the location in the temple where the primary form of a deity
resides) is only the physical structure. It is transformed
into sannidhi (Sanctum Sanctorum) after the invoking of the Lord. This

28
explains why, in the Śaiva Siddhānta tradition, the temple is conceived as a
space where the deity is a special guest invited to reside in the garbhagṛha .

Girbhagriha in Tamil: In Tamil language Girbha griha is

called karuvarai meaning the interior of the sanctumnsanctorum. It is the iner-
most of the sanctum and focus of the temple, where the image of the primary
deity resides. The word karuarai means "womb chamber". The word' karu'
means foetus and arai means a room. Only the priests are allowed to enter this
innermost chamber.

Female Deities: temples of feminine deities, the garbagriha is rectangular. For

example, in the temple of Varahi Deula in Chaurasi.The present structure of
most of these temples is a two-storeyed vimana with a square garbhagriha and
a surrounding circumambulatory path, an ardha-mandapa and a narrower
maha-mandapa.

The Latin word sanctum is the neuter form of the adjective "holy", and
sanctorum its genitive plural. Thus the term sanctum sanctorum literally means
"the holy [place/thing] of the holy [places/things]", replicating in Latin the
Hebrew construction for the superlative, with the intended meaning "the most
holy [place/thing]". The Latin phrase sanctum sanctorum has wrongly been
considered the translation of the Hebrew term Qṓḏeš HaQŏḏāšîm (Holy of
Holies) which generally refers in Latin texts to the holiest place of the
Tabernacle of the Israelites and later the Temples in Jerusalem, but also has
some derivative use in application to imitations of the Tabernacle in church
architecture.
The correct translation is the plural form sancta sanctorum, arguably as a
synecdoche, used also to refer to the holy relics contained in the sanctuary.
The Vulgate translation of the Bible uses sancta sanctorum for the Holy of
29
Holies.[1] Hence the derivative usage to denote the Sancta Sanctorum chapel in
the complex of the Archbasilica of Saint John Lateran, Rome.
In Hinduism, a temple's innermost part where the cult image (Murti) of the
deity is kept forms the Garbha griha, also referred to as a sanctum sanctorum.

The Enclosed House: The garbhagriha in Hindu temple architecture (a shrine

inside a temple complex where the main deity is installed in a separate
building by itself inside the complex) has also been compared to a "sanctum
sanctorum" in texts on Hindu temple architecture, though the Sanskrit term
actually means "enclosed house" or "the deep interior of the house". However,
some Indian English authors seem to have translated the Sanskrit term
literally as "womb house".

sanctum sanctorum, Garbhagriha is the sanctum sanctorum, the innermost

sanctuary of a Hindu and Jain temples where resides the murti (idol or icon) of
the primary deity of the temple. In Jainism, the main deity is known as
the Mulnayaka. Literally the word means "womb chamber", from
the Sanskrit words garbha for womb and griha for house. Generally in
Hinduism only 'priests' (pujari) are allowed to enter this chamber. Although the
term is often associated with Hindu temples, it is also found
in Jain and Buddhist temples. Jain temple architecture is generally close to
Hindu temple architecture, and in ancient times Buddhist architecture.
Normally the same builders and carvers worked for all religions, and regional
and period styles are generally similar. For over 1,000 years the basic layout of
a Hindu or most Jain temples has consisted of a small garbhagriha or
sanctuary for the main murti or cult images, over which the high
superstructure rises, then one or more larger mandapa halls Architecture:
The Garbagriha has a single entrance, normally facing east to be accessed by
the rising sun, and no windows. It is normally square, and at least
approximately a cube, with the representation of the temple's deity placed in
the centre, so that it can be seen by worshippers outside. Relative to the size of
the temple, and especially the large tower arising over it, it is a rather small
room, and there is no view from below up into the shikhara or tower, which is
treated as completely solid, although in fact for structural reasons it very often
includes a hollow space.

In the great majority of temples with a tower superstructure, a shikhara (in the

north) or vimana (in the south), this chamber is placed directly underneath it,
and the two of them form the main vertical axis of the temple. These together
may be understood to represent the axis of the world through Mount Meru. The
garbha griham is usually also on the main horizontal axis of the temple which
generally is an east–west axis. In those temples where there is also a cross-
axis, the garbha gṛha is generally at their intersection.
Generally the garbhagriha is a windowless and sparsely lit chamber,
intentionally created thus to focus the devotee's mind on the tangible form of

30
the divine within it. Entrance to the Hindu garbhagrha is very often restricted
to priests who perform the services there, and in temples in active worship (as
opposed to historic monuments) normally to Hindus at the least. In Jain
temples all suitably bathed and purified Jains are allowed inside. In
the Dravida style, the garbhagriha took the form of a miniature vimana with
other features exclusive to southern Indian temple architecture such as the
.

inner wall together with the outer wall creating a pradakshina around the
garbhagriha. The entrance is highly decorated. The inner garbhagriha or shrine
became a separate structure, more elaborately adorned over time.[5]

The garbhagriha is normally square and sits on a plinth, its location calculated
to be a point of total equilibrium and harmony as it is representative of a
microcosm of the Universe. In the centre is placed the image of the deity.

In some early temples it is not quite square, and in some later ones may be
rectangular where more than one deity is worshipped and has an image
there.There are a very few examples of larger variance; the chamber
at Gudimallam is both semi-circular at the rear, and set below the main floor
level of the temple. The famous 7th-century Durga temple, Aihole has a

31
rounded apse at the garbagriha end, which is echoed in the shape of the
chamber.

Garbagriha- Nirmaljhar temple

In any Hindu temple, this is the most important and the most sacred area as it
hosts the deity itself. All the puja i.e. offerings like flowers, fruits etc are made
inside this area.
In some of the temples, it is strictly forbidden to enter this area. Examples are
the temples in Kerala like guruvayur, temples in dakshina kannada and udupi
districts of Karnataka etc. In other temples, one can enter this area up to a
certain extent, but is not allowed to go near or touch the idols. Most of the
temples in India follow this. The third category is where one can enter this area
and even touch the idols. Examples are temple like vittala temple in
pandharpur.

Sanctum Generally the garbhagrihas are square in shape. Some garbhagrihas,

which are longer, and against the principle 84 axis, also can be seen.
Garbhagriha used to be very small in the beginning and could admit only one
worshipper at a time, though the shrine was meant for public and the basic
shrine, sanctum alone constituted the real temple. This type of single cell
shrines also can be seen in the present day temple architecture, which are
mainly dedicated to the Mother Goddess or gramadevatha or gramapurush.
The temple should consist of a sanctum in which the icon is to be installed and
housed.

The structural involvements nearby the temple are also essential for the
principal worship and rituals. Texts like Sri Prasna describes that the sanctum
is the body of the divinity and the icon is its soul (Jiva). Usually it is a stone
structure, square in shape and simply plain with some projected slabs in the
wall or niches. There should not be any pillars in the sanctum hall. The

32
sanctum should be provided with windows for air and light, which eventually
help in preservation of the icon. In olden days, the wooden stucco or clay
windows were provided to the sanctum. The sanctum represented then by an
empty low platform (Vedi) in the dark room. A copper vessel (kumbha), a
sacrificial fire place (kunda) or a sculpted icon (bimba) used to be placed on a
seat in the dark room to prevent ill effects of weathering besides the mystery of
the divine presence in the sanctum. The sanctum was usually built in stone,
but constructions in brick are not rare 6 . Vishnu Tilaka mentions that while
the stone sanctum is the best, the brick one is the next best. The wooden
sanctum however is inferior and the mud sanctum is to be considered the
worst '. 85 The sanctum of the temple must be constructed first. Before
construction of the sanctum a significant ceremony known as 'impregnating'
(Garbha-dana or Garbha-Nyasa) should be performed. This ritual involves
letting into the earth a ceremonial copper pot containing nine precious stones,
several metals and minerals, herbs and soil (purified earth by ants),
symbolizing creation and prosperity. The building that contains the womb is
said to be prosperous. After completion of this ritual, a stone slab (Adhara-sila)
is placed over the spot.

The copper pot here symbolizes the womb and the icon symbolizes the soul.
This is the significance of the sanctum, which is called the 'womb-house' 8 .
Texts like Silparatna, Tantra-Samuchchaya and Isana-Shivaguru Paddhati give
an elaborate account of this ritual. When the arrangement of the garbhagriha
is more than one in some temples, they are called as a Dwikutachala,
Trikutachala temples and so on. In a few temples, projecting slabs and niches
are found in the walls of garbhagrihas. (e.g. Tambdi Surla temple has
projecting slabs and in Mahadeva Temple at Curdi have niches). The functional
aspects of these are for providing space for keeping certain objects used for
worship. These niches and projected slabs are provided according to their
convenience and orientation of the temple entrance e.g. projected slabs in
Mahadeva temple Tambdi Surla were fixed in the western wall of the sanctum
(rear wall), while a recessed niche was provided in the Mahadeva Temple at
Curdi in the southern wall of the sanctum. Some garbhagrihas will have a
stone projection from the rear wall of sanctum touching the image kept at the
centre. The images of deities in standing posture are of considerable height.
The centre of gravity of such images falls backwards 86 away from the centre
because the weight of the rear portion of the Prahhavali is heavier than that of
the front portion of the image. Though images are fixed on pithas by inserting
projecting tenon into the sockets, the possibility of their fall cannot be ruled
out. Under these circumstances, the images need support at a higher level
from the rear wall (e.g., Temple of Lakshminarayana at Balaganur and
Sangameswar at Kurdi in Raichur district of Karnataka). Most of the temples in
Goa have the main deity at the centre of the sanctum and placed over pranala.

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Some garbhagrihas, which are longer, and against the principle 84 axis, also
can be seen. Garbhagriha used to be very small in the beginning and could
admit only one worshipper at a time, though the shrine was meant for public
and the basic shrine, sanctum alone constituted the real temple. This type of
single cell shrines also can be seen in the present day temple architecture,
which are mainly dedicated to the Mother Goddess or gramadevatha or
gramapurush. The temple should consist of a sanctum in which the icon is to
be installed and housed. The structural involvements nearby the temple are
also essential for the principal worship and rituals. Texts like Sri Prasna
describes that the sanctum is the body of the divinity and the icon is its soul
(Jiva). Usually it is a stone structure, square in shape and simply plain with
some projected slabs in the wall or niches. There should not be any pillars in
the sanctum hall. The sanctum should be provided with windows for air and
light, which eventually help in preservation of the icon. In olden days, the
wooden stucco or clay windows were provided to the sanctum. The sanctum
represented then by an empty low platform (Vedi) in the dark room. A copper
vessel (kumbha), a sacrificial fire place (kunda) or a sculpted icon (bimba) used
to be placed on a seat in the dark room to prevent ill effects of weathering
besides the mystery of the divine presence in the sanctum. The sanctum was
usually built in stone, but constructions in brick are not rare 6 . Vishnu Tilaka
mentions that while the stone sanctum is the best, the brick one is the next
best. The wooden sanctum however is inferior and the mud sanctum is to be
considered the worst '. 85 The sanctum of the temple must be constructed
first. Before construction of the sanctum a significant ceremony known as
'impregnating' (Garbha-dana or Garbha-Nyasa) should be performed. This
ritual involves letting into the earth a ceremonial copper pot containing nine
precious stones, several metals and minerals, herbs and soil (purified earth by
ants), symbolizing creation and prosperity. The building that contains the
womb is said to be prosperous. After completion of this ritual, a stone slab
(Adhara-sila) is placed over the spot. The copper pot here symbolizes the womb
and the icon symbolizes the soul. This is the significance of the sanctum,
which is called the 'womb-house' 8 . Texts like Silparatna, Tantra-
Samuchchaya and Isana-Shivaguru Paddhati give an elaborate account of this
ritual. When the arrangement of the garbhagriha is more than one in some
temples, they are called as a Dwikutachala, Trikutachala temples and so on. In
a few temples, projecting slabs and niches are found in the walls of
garbhagrihas. (e.g. Tambdi Surla temple has projecting slabs and in Mahadeva
Temple at Curdi have niches). The functional aspects of these are for providing
space for keeping certain objects used for worship. These niches and projected
slabs are provided according to their convenience and orientation of the temple
entrance e.g. projected slabs in Mahadeva temple Tambdi Surla were fixed in
the western wall of the sanctum (rear wall), while a recessed niche was
provided in the Mahadeva Temple at Curdi in the southern wall of the sanctum
9* Some garbhagrihas will have a stone projection from the rear wall of
sanctum touching the image kept at the centre. The images of deities in

34
standing posture are of considerable height. The centre of gravity of such
images falls backwards 86 away from the centre because the weight of the rear
portion of the Prahhavali is heavier than that of the front portion of the image.
Though images are fixed on pithas by inserting projecting tenon into the
sockets, the possibility of their fall cannot be ruled out. Under these
circumstances, the images need support at a higher level from the rear wall
(e.g., Temple of Lakshminarayana at Balaganur and Sangameswar at Kurdi in
Raichur district of Karnataka) 11)Most of the temples in Goa have the main
deity at the centre of the sanctum and placed over pranala. Pradakshinipatha:
All around the sanctum a passage is kept often narrow, permitting the devotees
to pass round the sanctum in the customary act of devotion. This
circumambulatory path (Pradakshinirpath or hhrama) subsequently became a
structural involvement as the temple grew in size; it was more open naturally,
as it was in the early phase. The temple, which has the circumbulatory
passage, is known as Sandhara temple, e.g. Jain temple at Kudne and the
temples of Ponda and Bardez talukas have this feature. The temple, which
doesn't have pradakshinapatha is known as Niradhara temple e.g. Mahadeva
temples of Curdi and Tambdi Surla, Saptakoteswar temple at Opa, Agasthipur
temple etc.". 87 Sikhara Sikhara or superstructureis the top member of a
shrine. A flat roof stone slab that covers the sanctum is also called as Kapota.
Flat roof (Kapota) of the sanctum on which the tower rests and rises is over-
laid by a single stone slab, known in the texts as 'Brahma randra sila' (the
stone). This serves as the base (adhisthana) for the superstructure that rises
above the sanctum known as Vimana or Sikhara', which forms the important
part of the temple.

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