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MAND= IR ARCHITECTURE

By Sthapati S Baskaran - Mandir Architect

Traditionally a Hindu Mandir is a visible symbol of the aspirations of pious men and women and the throbbing of their hearts in religious fervor.<= o:p>

The structure of a Mandir is rooted in the Vedic tradition, and the primeval modes of building have contributed to their shapes. The principles= of the construction of a Mandir are given in the sacred books of India a= nd the structural rules in the treatises on architecture. These principles have be= en carried out in shrines which still stand throughout India and Sri Lanka and which were built in many varieties and styles over a millennium and a h= alf from the fifth century AD.

The shrine or the actual temple has two main parts - the Garbhagriha wh= ich is the structure that surrounds the deity, and the upper part or the dome a= bove the roof level namely the Vimana.

A Mandir is built on the plan of a Vastu-purusa-mandla. A purasa - the human being, is the prime person whence all originates. Thus the structure = of a Mandir resembles a human body lying on its back with head towards the West = and feet towards the East.

Head - Garbha Grzham, the Sanctum Sanctorum where the Gods reside.=

Neck - Ardha Mandapam

Chest - Maha Mandapam, the main hall from where devotees have a darshan= of the Deity.

Legs - Kalyna Mandapam or Utsava Mandapam.

Feet - Main Entrance with Gopuram

The shape of the Vimana and Garbhagriha relates to the shape of a human body. Starting from the top, the part right at the apex / peak of the Viman= a, called the Sthoopi or Kalasam, relates to the hair on the head of the human being. The uppermost part of the Vimana relates to the head of a human body, the sculptures on the sides of the uppermost part relate to the ears, below that is the part called Kanttham or Gandam which represents the neck, and t= he lower parts namely the Perestharam, and Paadam or relate to the shoulders, body, lower limbs and feet of the human body.

SHAPE OF THE VIMANAS (DOMES)

According to Agama Shastras the Vimana above the shrine of Vishnu or Venkateswara is round. The Vimanas above the shrines of Rama and Krishna are square. The Shiva, Murugan and the Gane= sha Vimana is rectangular. The vimana above the shrine of Devi, the Mother Godd= ess is called Sala Gara Vimana and is also square shaped.

CARVINGS ON THE VIMANAS

According to the traditions, sculptured concrete statues (Viman Devtas)= are mounted on all four sides of each Vimana (dome) and on each corner of the l= ower part of each vimana. Thus it will be possible to identify the deity underne= ath from outside. A passer-by will be able to pray to the respective deity, eve= n if he/she is not able to go inside for any reason. The idols on each side of t= he dome represent the four forms of each god in the temple, and the statues on= the four corners of the dome represent their respective animal/bird vehicles.

VIMAN DEVTAS ON THE MANDIR

This Mandir has following Viman Devtas - Idols on the Domes<= /span>

VISHNU VIMANA

East - Venkateswer with Bhu Devi (The Universe) and Sri Devi (Maha Laks= hmi)

West - Garuda Seva, Garuda carrying Vishnu and acting as His Vehicle

North - Venkateswar with Padma Vati

South - Adi Narayan i.e. Vishnu with Maha Lakshmi. Vishnu's upper right hand has Chakra, upper left hand has Shankh - Conch, lower right hand has G= ada, lower left hand Lotus Flower

All four Corners - Lions (Singhams)

KRISHNA VIMANA

East - Krishna playing on flute, with Radha

West - Venugopal (Child) form

North - Krishna dancing on Kali snak= e

South - Krishna with Rukmani

All four Corners - Garuda

RAMA VIMANA

East - Rama, Lakshman, Sita and Hanuman

West - Rama and Lakshman

North - Rama and Lakshman

South -Rama and Sita

All four Corners - Hanuman

SIVA VIMANA

North & South - Ganesha, Surrounded by Mouse at four corners, Siva = with Parvati with bull Nandi at four corners, Murugan with peacock at four corne= rs.

East and West - Mahanasi (See Below)

GOPURAM

Centre - Venkateswar with Bhu Devi and Sri Devi

Right - Krishna with Radha

Left - Rama with Sita

Right Corners - Garuda

Left Corners - Hanuman

NASI

The unit is intended to represent an arch of rays, a development of the aureole (Prabhavali) of light rays that is thought to emanate from all divi= ne beings which is the halo surrounding the head Shiraschakra.

The head is the representation of Kirtimukha, a mystical animal in the = centre at the top, or Narasimha - half man half lion - the main emphasis is upon t= he lion characteristics of fierceness, bravery and independence, that claim al= most universal admiration.

PILLARS INSIDE AND OUTSIDE THE MANDIR

The Temple has 44 decorative pillars - 22 pillars on the outside, six in the main hall, i.e. Maha-mandapa and 16 on the walls of the Maha mandapa. The decorative carvings on the pillars are the artistic way of identifying and adding divi= ne values to the Temple. The carvings commonly used are the conch, chakra, lotus, elephant, peacock, lion, makara, cow, bull, etc.

PROCESS OF MAKING DECORATIONS IN CONCRETE<= /span>

The concrete decorations at the Mandir are installed in two distinct wa= ys:

= In-Situ

In this all the decorative work is done at the = actual spot. This method has been used for all the large carvings and the Viman De= vtas (Idols on the Domes).

= Precast Decorations

This method has been used for the carvings on t= he columns and other small carvings where similarity was needed. This method i= s very interesting, very involved and will be described in detail with pictures in= the Mandir souvenir to be published on the occasion of the Maha Kumbhabhishekam. The steps for making the carvings are described below, but it is more interesting to actually watch the sculptors doing the carving by this proce= ss.

The design is first made on paper. This design is then carved in clay i= n a female mould form. Clay is used because the desired shape can be formed eas= ily. Using the clay mould, a male design is made from plaster of paris. This male master is finished using sharp instruments. All fine and intricate carvings= are done on this master pattern. This master is then painted with oil-based pai= nt. Using this male master, a female mould of cement is then made. A tight-fitt= ing cement border is then prepared so as to fit around the cement master. The f= our sides of the border can be dismantled individually. This female mould and t= he border is then put together and filled with wet cement-sand mixture. When t= his has set, the border sides are then opened and the beautiful male carving emerges. Any imperfections are then rectified by hand and the casting is ke= pt immersed in water for curing (strengthening). The carving is now ready for installation on the pillars or the domes.

MANDIR AND US

Mr Aggarwal first contacted us in May 1994 and discussed the plans for Canberra Mandir. Our Chief Sthapati Sri Nagarajan suggested some changes to= the plan. At that time the Mandir was not ready for our work. He again contacte= d us in July 1995 but we were not in a position to accept the assignment as our resources were fully committed at that time. He again contacted us in Novem= ber 1996 and told us the intervening events. Our Chief Sthapati Sri Nagarajan visited Canberra on 5 January 1997 to assess the assignment. Mr Aggarwal again gladly accept= ed our amendments.

My three shilpies are S Karuppiah, V Ramadoss and R Boominathan. In addition to their family background (born and brought up around mandirs), they have undergone a training course in the sc= hool of sculpture. These qualified and competent artists have enriched the Mandir through their skill and craftsmanship.

I pray for the blessings of the above Gods, whose abodes we have had the invaluable opportunity to complete.

Finally, on a personal note, I wish to express our appreciation for the devotion and generous heartedness of Sri and Srimati Aggarwal and their son Mahesh, who were ever eager to fulfil all our needs. We really enjoyed work= ing in Canberra and will ever remember our stay here.

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Those who usually pray at the eleventh hour, usually die at ten-thirty.=

Duties of householders are kindness to living beings, service to devote= es, and the chanting of God's holy name.

The old religions said he was an atheist who did not believe in god. The new religion says that he was an atheist who does not believe in himself.

You see man stars in the sky at night, but not when the sun rises. Can = you then say that there are no stars in the heavens during the day? O man, beca= use you cannot find god in the days of your ignorance, say not that there is no god.