Symbolism of the temple

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THE SPIRITUAL SYMBOLISM OF THE UNIVERSAL COSMIC
TEMPLES
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THE TEMPLE- CONCEPT
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The Concept of the Hindu Temple

• The concept of the Hindu temple is rooted in
  Vedic traditions. It incorporates all elements of
  the cosmos and symbolically reconstructs the
  same. In it, the spiritual practice as one's
  journey towards moksha is symbolically
  represented. Hindus can choose to be
  polytheistic, pantheistic, monistic or atheistic.
  Temples were centres where ancient manuscripts
  were used for learning. Temples served as banks,
  provided medical care, kitchens and did charity.
• Hindu temples were conceived as ideals of art
  and integral part of Hindu social and spiritual
  life. The temple is meant to encourage
  reflection, facilitate purification of one's
  mind, and trigger the process of inner
  realization within the devotee. The specific
  process is left to the devotee's school of
  belief.
• The temples are not just sacred spaces, they are
  also secular spaces. They are meant to be
  harmonious places. Water is always symbolically
  present at the consecration of temple or the
  deity and they are often situated near water and
  gardens. Major Hindu temples are recommended at
  sangams (confluence of rivers), river banks,
  step-wells, lakes and seashore. They can also be
  inside caves and with carved stones, on hill tops
  affording peaceful views, mountain slopes
  overlooking beautiful valleys, inside forests and
  hermitages, next to gardens, or at the head of a
  town street. A k?hétra has many temples,
  including one or more major ones. These temples
  and its location attracts pilgrimage called
  tirtha (or tirthayatra).
• Hindu temples take two forms a house or a
  palace. The house-themed temple is a simple
  shelter which serves as a deity's home. Thus,
  In Bhakti school, temples are venues for puja. In
  other schools of Hinduism, the person may simply
  perform japa, or meditation, or yoga, or
  introspection.

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The Temple as an Energy Receptor

• Ancient Hindus never built any temple just to
  please Gods. Temples were constructed based on
  the Vedic Principles. Ideally, the structure of
  the temple is built after the idol Garbha-griha
  or Moola-sthana has been placed in a high
  positive wave centric place. The Magnetic Fields
  and their inter-connectedness with Poles were
  considered before moving ahead for construction.
  The Core (Moola-sthana) of the Temple where the
  Idols are placed, experience maximum source of
  Earths natural Magnetic Fields. Copper Plates
  were placed beneath these Idols so that Magnetic
  Fields resonated in the surroundings.
• Far from being a place of prayer or worship,
  temples were created as powerful spaces where an
  individual could imbibe the enshrined energies.
  Whenever a devotee circum- ambulates clockwise,
  these magnetic fields emitted from the Core
  source, heals the person, physically and
  mentally. Mantras recited during circumambulation
  add positive vibrations to these fields ringing
  of bells and the lamp further amplifies the
  positive energy fields making it more powerful so
  that the devotees can fulfil the purpose of their
  birth.
• Gopuram is a pyramidal structure, which gives
  optimistic energy and vibration to the devotees.
  It is constructed to great heights, for the
  reason that the old populace who cannot come to
  temple can also pray to their deity just bearing
  in mind the Gopuram, while sitting at their
  residence. The Stambha (Skambha) acts like an
  antenna and receives the cosmic force from the
  space, and through a subversive channel, it is
  linked to the main idol in the Garbha-griha. The
  cosmic force continuously flows through
  the Stambha to the statue and energises it. The
  celestial power fetched through the field gives
  the idol effulgence and metaphysical
  powers. The cosmic force is additionally
  maintained by noise waves and the pyramid like
  tomb. Pyramid-like construction helps to
  intensify and protect the cosmic force.

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The Temple as an Energy Receptor

• Ancient Hindus never built any temple just to
  please Gods. Temples were constructed based on
  the Vedic Principles. Ideally, the structure of
  the temple is built after the idol Garbha-griha
  or Moola-sthana has been placed in a high
  positive wave centric place. The Magnetic Fields
  and their inter-connectedness with Poles were
  considered before moving ahead for construction.
  The Core (Moola-sthana) of the Temple where the
  Idols are placed, experience maximum source of
  Earths natural Magnetic Fields. Copper Plates
  were placed beneath these Idols so that Magnetic
  Fields resonated in the surroundings.
• Far from being a place of prayer or worship,
  temples were created as powerful spaces where an
  individual could imbibe the enshrined energies.
  Whenever a devotee circum- ambulates clockwise,
  these magnetic fields emitted from the Core
  source, heals the person, physically and
  mentally. Mantras recited during circumambulation
  add positive vibrations to these fields ringing
  of bells and the lamp further amplifies the
  positive energy fields making it more powerful so
  that the devotees can fulfil the purpose of their
  birth.
• Gopuram is a pyramidal structure, which gives
  optimistic energy and vibration to the devotees.
  It is constructed to great heights, for the
  reason that the old populace who cannot come to
  temple can also pray to their deity just bearing
  in mind the Gopuram, while sitting at their
  residence. The Stambha (Skambha) acts like an
  antenna and receives the cosmic force from the
  space, and through a subversive channel, it is
  linked to the main idol in the Garbha-griha. The
  cosmic force continuously flows through
  the Stambha to the statue and energises it. The
  celestial power fetched through the field gives
  the idol effulgence and metaphysical
  powers. The cosmic force is additionally
  maintained by noise waves and the pyramid like
  tomb. Pyramid-like construction helps to
  intensify and protect the cosmic force.

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The Temple generally represents the Microcosmos

• Temples have always played a central role in
  Indian society. Apart from being focal points of
  education, art and culture, they also served as
  powerful energy centres. Ancient temples were
  thus built not as places for prayer, but as a
  vortex of energy where, if people were receptive
  and willing, they could transform themselves in a
  very deep way. Temples were built as public
  charging sites, where people could charge
  themselves with an inner energy. People visited
  temples daily before they started their day, so
  that they could go about their lives with an
  enhanced sense of balance and depth.
• Most temples were consecrated to activate one or
  two particular chakras, the main energy centres
  within the human system. A human being is a
  microcosmos, i.e. the laws prevailing in the
  cosmos also operate in the minute space of the
  human being. A temple is a miniature cosmos
  comprised of the five elements and a presiding
  deity. A temple is an outgrowth of the deity
  which has its own independent intelligence and
  from which energy is constantly radiating.
  Essentially, temples were designed to be spaces
  where the mind spontaneously moves within and
  meditation happens effortlessly.
• The Temple- whether Hindu, Muslim, Christian or
  other- is a place of worship for most of
  humanity. However, it is no longer what it was
  originally intended to be by those who devised
  it- Vyasa, Thoth, Hermes, Mohammed or other. The
  temple was merely allegorically meant to be a
  model of the microcosm or of Sutratma-
  soul-string (since the human was made in Gods
  image) especially relating to the present
  Kali-yuga. The idea was akin to the use of the
  globe to represent the earth- for the sake of
  lay-devotees, who could perhaps not fathom the
  esoteric spiritual aspects. However, it was taken
  literally to be the House of God, the
  misunderstanding perhaps abetted by the priestly
  class.

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Universal Temple represents the human Sutratma

• The Templesboth ancient or modern, belonging to
  virtually all the religions, though appearing to
  be vastly variegated, have all been designed upon
  an identical principlethe constitution of
  present Sutratma- human soul-string (the stepped
  Jacobs Ladder). Hence, the deity worshipped,
  in all cases, is also identicalduring Kali-yuga,
  it is the semi-pagan, so-called virgin mother
  goddess, along with her secondary male consort.
• Mother goddess Kali/Durgas plane,
  Ashta-dal-kanwal (Mahar lok) also forms the
  Brahmandic equator, where the peripatetic Sun or
  heavenly fire which enlivens all material
  creation below, goes into the Abyss, only to rise
  once again at dawn, and where the Moon is half as
  well. This plane symbolizes liberation from
  Chaurasi at least for the duration of Kali-yuga.
• Her (Atlantic) Kali-yuga Temple is Black,
  representing the 5 Tattwik Jada or material
  nature of this creation. On the other hand, the
  deity of the (Lemurian) spiritual White Temple
  (Agartha) is that of the Trinity of 3 Gunas-
  attributes (Vishnu, Brahma Shankar), which is
  considered Chetan or conscious in relative terms.
  The avatars of Kaal Niranjan, such as Rama and
  Krishna (taken incorrectly to be those of Vishnu)
  are even beyond these.
• The Universal Temple is taken to be the home
  of the deity of the present Yuga- Age, the
  devotees desired destination of his spiritual
  ascent. Rather than being a mere congregational
  area (not to speak of crass commercial
  exploitation via karmakaand, astrological and
  matrimonial services, tourism and such like), the
  Temple is really a House of Initiation
  containing various pagan emblems pertaining to
  the heavenly kingdom of Atlantis lost after the
  Dwapar yuga that is now sought to be regained in
  the Kali-yuga.

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THE TEMPLE- DEITIES
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The Kali-yuga Temple Deity

• The Temple deity itself pertains to astral
  Ashta-dal-kanwal- 8 petalled lotus, the
  pristine Paradise, where Adam, in Ardha-nara-
  hermaphroditic form, was virginally created
  before his separation into male-female or
  Adam-Eve, and to where he eventually returns
  after a Week of Brahma for his virginal
  perfection at the final Day of the Judgment.
• The deity- the most worshipped around the world-
  can be represented as  Feminine (primary)
  Durga-Kali, Aditi, Ma, Tripurasundari, Kuan-Yin,
  Isis, Mary, Astarte, Gaia, Hathor Masculine
  (secondary) Vedic Purusha, Vastu Purusha
  (Andha), Dyaus-Pitar (Zeus-Pater/ Jupiter),
  Hiranya-garbha, Shani, Ayyappan,
  Brahma-Prajapati, Vishwakarma, Mitra, Aadi-Nath,
  Aadi-Buddha, Bacchus, Dyonisus, Hercules, Samson,
  Ahura-Mazda, Yaldabaoth, Lord, El, Samael, Monad
  Dualistic Adam-Eve, Savituha, Isis-Osiris,
  Mary-Joseph, Yahweh-Asherah Mother-Son
  Sophia-Demiurge, Isis-Horus, Mary-Christ
  Emanation (First-begotten) Shambhu (Swayambhuva
  Manu), Bhairon, Macroprosopus, Adam Kadmon,
  Logos, Christ, Word, Mind, Nous, Lucifer, Satan,
  Horus, Astral light, Prana, Buraq, Bijlee-
  lightning bolt etc.
• The 2 pair of limbs (arms and legs) of the
  torso, considered the deitys guardiansoften
  represented by the 4 minarets, are the dual
  extensions of the upper and lower Sahasrara
  chakras14 and 5 petalled the triple
  structure of each limb (upper, middle and lower
  one containing 5 fingers, the deity being at the
  centre of the palm), itself being akin to the
  triplistic structure of the Temple (or of the
  Microcosmos).
• The sacred number 7 represents cycles of
  manifestation, as in Sapta-Rishis or the 7
  sacred planets, or in Sapta-Parvatas- 7
  mountains, Sapta-Sindhus- 7 oceans, as also,
  variously, the 7-fold colours, scales of music,
  winds, trees, perambulations of the soul around
  Agni (or rotations of Shishumara chakra along
  Dhruva-pole star), units of time, etc.

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The Kali-yuga Temple Deity

• The sacred number 10 is dual (2 x 5 good
  evil). There are 10 Loka-palas- Regents of Earth,
  10 Directions, 10 kingdoms of Atlantis, 10
  lost tribes, 10 are the Commandments, 10 cubits
  is a standard measure, and so on. 10 may also
  represent the 6 Chakras 4 Antah-karans.
  Although there are 14 Sunnas- voids, here, only
  10 (2x5) of them are predominant in the present
  Kali-yugi cosmos.
• The body of the deity itself variously reflects
  the triple aspects of the human body or world
  (the new Atlantis) pertaining to the Sutratma-
  soul-string of the Kali-yugi human-being, as
  well. The 7 upper Bhawans, 7 (or 9) Grahas-
  sacred planets, or 7 Chakras, 5/7 Koshas or 5/7
  Tattwas are represented by as many Prakaras or
  Parikramas- walled enclosures. The 9 gateways may
  represent the body orifices, 9 Kalashas- sacred
  pots, the Shaktis 28 pillars the constellations,
  64 beams the Kalas- arts 21,600 golden tiles the
  Pranas- number of breaths during a day 72,000
  golden nails the Nadis- veins the various
  pillars numbered to represent the nos. of Vedas,
  Shastras, Puranas, and so on.
• Planes, Bhavans, Koshas, Chakras/Elements,
  Tattwas, degrees of Spiritual Initiation etc.
  determine the principle by which plan elevation
  of temples architecture can be laid out.
• Several temples are thus categorized
  collectively according to 7 Chakras Kashi,
  Kanchi, Madurai, Maya (Gaya), Avantika (Ujjain),
  Dwarika and Ayodhya, 12 Rashis- zodiac sign
  temples (Jyotir-lingas of Shiva) or as 5 Tattwas-
  elements (Pancha-bhoota lingas) representing the
  Physical plane. At the Chidambaram (sky of
  consciousness) temple, there are several Sabhas-
  halls in the temple denoting the 5 Koshas
  (Annamayi to Anandamayi)- coverings of the soul
  i.e. Chit, Kanaka, Nritta, Raja and Deva sabhas.

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I. Annamayi Kosha II. Pranamayi
Kosha III. Manomayi Kosha Its Equator is
Ashta-dal-kanwal also the Equator of
Pancha-koshiya Brahmand- Koshas I to V. V.
Anandamayi Kosha VI. Paar-Brahm Kosha VII.
Sach-Khand Kosha
THE 7 COSMIC KOSHAS OR SAPTA-DWIPAS (Showing
Ashta-dal-kanwal)
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Fig. Across Nut forming the four Pillars of
Heaven
Valley of the Shadow of death (Brain)
Bhuvah Loka
Bhu Loka
Mahar Loka
Suvah Loka
Meru/Atlantis
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SAVITUHA SA Moon HA Sun
DEPICTION OF THE MOON-SUN DEITY SAVITUHA
Vishnu (Sato-Guna)
MahaDevas
Brahma (Rajo-Guna)
Vedanta 3 Gunas (Chetan- Conscious)
Shankar (Tamo-Guna)
Day Sky
Northern Hemisphere Of Brahmand
Over-world
Devayan Path
Rising Sun
Milky
Brahma-randhra
Dhruva- pole star
Ashta-dal-Kanwal-Equator of Brahmand
Way
Half-Moon (Ardha-Chandra)
5 Tattwas (Jada- Inert) Vedas
Southern Hemisphere Of Brahmand
Under-world
Pitrayan Path
Night Sky
Kartikeya, Indra (Swarga Loka)
Valley of the Shadow of death
Devas-Asuras
Yama (Pitri Loka
Ganesha, Vrittra (Naraka Loka)
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HINDU
DEITIES
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THE DEITIES OF LOWER TRIPLE WORLDS
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The Black White Temples

• The feminine deity representing the Kali-yuga
  deity, both surrounds the Temple, and is located
  at the centre, around and atop it, as well. In
  it, the pilgrim-seeker-devotee journeys through
  the labyrinthine path leading to the deity at the
  centre, and thereafter returns by the same path.
  Thus, a visit to the Temple can be conceived of
  as simulation (as are the stories of the
  various Epicswhether of East such as Ramayana
  Mahabharata or West such as Iliad
  Odysseycouched in allegorical terms, retold
  as Kathas- narrations to lay-public) of the
  souls progressive journey to the inner Astral
  Temple.
• The black stone deity of the Black Temple of
  the Kali-yuga, located in the sanctum, and
  contained within the so-called 7th chakra or
  false Sahasrara, is essentially semi-pagan, the
  Black Temple (of 5 Tattwas) itself being the
  pagan or material abyss of the Sun after it
  has set, representing the dark, Southern
  hemisphere of Brahmand. Puja- worship of the
  deity involves complex rite of Aarati using
  (outer) symbols, including those of (inner) Sound
  and Light, also known as Naam or Word (Vak), the
  Divine Creative Power of the Cosmos.
• The worship of black deity, constituting
  Tamo-guna- inertia, worldwidethat too mostly in
  stonehas led to the prevalence of materialism
  and Black Arts such as Astrology and Black
  Magic. The humankind of Kali-yuga is likewise
  Black in character, and remains in the cruel
  bondage of Kaal (of which it has little
  cognizance!) and of Kali-yuga. The terrorism and
  more of today are the remnants of the karma
  imbibed during the Atlantean days.
• The White Temple comprises Trinity of
  Tridevas Vishnu/Israel Satoguna, Brahma/
  Michael RajogunaShankar/Gabriel Tamoguna.
  The Black Temple, its mirror reflection, is
  considered its spiritual twin or clone.
  However, the White Temple can be accessed only
  through Brahma-gyana with the grace of a
  competent Guru.

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• THE (LOWER ASTRAL) WHITE BLACK TEMPLES
• Pillars
• L M R
• 
  White Temple- Q-III of Astral
• ____________ Shesha-naag,
• 
  10, Su)Meru
• () Vishnu (Sato)
• () Brahma
  (Rajo) 10
• (-) Shankar (Tamo)
• Black Temple- Q-IV of
  Astral
• _______________
  Ashta-dal-kanwal 8, Dhruva- North Pole Star,
  Brahmandic Equator
• (Mrityu-kanwal, Central
  (Ku)Meru (that collapsed)
• (-) Jannat 6, 3/8th
  Moon
• () Pitri Loka, Ehraf, false
  Sahasrara 5 or 1000
• () (Naraka
  Loka, Dozakh or Antah-karan 4, Setting Sun

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White Temple trinity
Black Temple trinity
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The Prana-pratishtha ceremony

• Prana-pratishtha refers to the rite or ceremony b
  y which a murti (image) of a god is consecrated
  in a Hindu temple. It means infusing life into an
  idol and bringing to it the numinous presence of
  divinity. However, it is only a sage who can
  truly charge a space.
• The ritual typically involves a Pooja, chanting
  of Sanskrit mantras as the deity is moved from
  outside into the centre place, inviting the deity
  as resident guest of the temple, bathing and
  cleansing the deity whose feet may be washed just
  like a revered guest arriving after a long
  journey, dressing and seating in a place of
  comfort, placing the image's face towards east
  (marking sunrise), followed by Nyasa with hymns
  (act of touching different parts of the murti
  signifying the presence of various gods as
  sensory organs  Indra as hand, Brahma as
  heart, Surya as eyes, and so on), spraying of
  scented water and flowers, with the "chakshu
  unmilan", opening of the divine eye) ceremony
  marking the high point of the ritual.
• Once this is done, the image is then considered
  as consecrated, the idol becomes deity.
  The murti may be retired at sunset just like a
  guest retiring to bed, and then woken up at
  sunrise with pleasantries, bathing, offering of
  fresh clothes, food, incense sticks and articles
  of prayer, and interaction with the devotees,
  followed by Arati in the morning and evening. The
  ceremony marks the recognition of the image of
  god to denote the divine presence- a reminder of
  its transcendence and to be beheld in one's inner
  thoughts during darshan in the temple.
• The esoteric Hindu Tantric texts such
  as Tantra-tattva recommend elaborate
  Prana-pratistha rituals to infuse life into
  a murti. Some Tantra texts state that anyone who
  considers an icon of Vishnu as nothing but "an
  ordinary object" made of iron "goes to hell". 

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THE TEMPLE- KARMAKANDA
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Temple Karmakanda or Rites Rituals
1. REMOVING FOOTWEAR BEFORE ENTERING TEMPLE
Temples contain pure vibrations of magnetic and
electric fields with positive energy. The floor
at the centre of the temple were good conductors
of these positive vibrations allowing them to
pass through our feet to the body. Hence it is
necessary to walk bare footed. 2. RINGING THE
TEMPLE BELL WHILE ENTERING THE TEMPLE HEARING
SENSE ACTIVATED These bells produce a sound it
creates a unity in the Left and Right parts of
our brains. The duration of echo is good enough
to activate all the seven healing centres in our
body. 3. BLOWING THE CONCH HEARING SENSE
ACTIVATED The sound of the conch is believed to
the purest form of sound. 4. LIGHTING CAMPHOR IN
FRONT OF IDOL SIGHT SENSE ACTIVATED The inner
core of the temple is usually dark where the idol
is placed. You usually close your eyes to pray
and when you open your eyes you should see the
camphor which was lit to do the Aarti in front of
the idol. 5. OFFERING FLOWERS TO GOD AT THE
TEMPLE SMELL SENSE ACTIVATED Only specific
flowers are used for offering to God like rose
petals, jasmine, marigold based on different
factors, amongst them fragrance is most
important. The fragrance of the flower, camphor
and instance sticks all together have the strong
essence to keep your smell sense active and
pleasant giving calmness to the mind. 6. DOING
PRADAKSHINA AROUND THE GARBHAGRIHA The idol
inside the chamber absorbs all the energy from
the bell sound, camphor heat and vibrates the
positive energy within the chamber for certain
duration of time. When you do the
circumambulation at this point of time, you tend
to absorb all these positive vibrations once your
five senses are activated. 7. APPLYING
TILAK/KUMKUM GIVEN BY THE TEMPLE PRIEST The
Tilak is believed to prevent the loss of
energy, the red kumkum between the eyebrows
is said to retain energy in the human body and
control the various levels of concentration.
While applying kumkum the points on the mid-brow
region and Ajna-chakra are automatically pressed.
8. OFFERING COCONUT AND BANANA TO GOD Coconut
and Banana are the only two fruits considered to
be Sacred fruits.
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Temple Pooja Symbolisms

• Aarati adoration through movement of the Sun in
  apparent path.
• Bell Conch main inner sounds of the Subtle
  plane.
• Bhajans (devotional singing)/Mantra recitation
  inner Music of the Spheres.
• Ishta-murti (stone/bronze idol of deity)
  Gurudeva at 3rd eye.
• Thali (copper platter) the firmament or sky.
• Splitting the 3-eyed Coconut head with 3rd eye,
  containing nectar inside.
• Kalash (Ghat, copper pot) filled with water
  Torso with Prana inside.
• Mango leaves (4 in nos.) on the Kalash 4-fold
  Antah-karana (Manas, Buddhi, Chitta, Ahankara).
• Achamana (spoon for pouring water, shaped like
  the human body- spinebrain) pouring nectar.
• Abir/Gulal/Roli red rising sun, feminine blood,
  fertility.
• Batasha full moon.
• Akshat (Kheel, puffed rice) or whole Rice
  grains stars.
• Supari (areca nut) with currency coin Paan
  sexual fertility symbols of love marriage.
• Paan (betel leaf) eaten with 5-fold fragrant
  items 5-elemented body Brahm-randhra at top to
  anal cavity.
• Chandan, Dhoop Agarbattis sweet inner
  fragrances.
• Mala (garland) of flowers 12-fold zodiacal
  rashis ensconsed in the body.
• Karpuram (camphor) lighting-up the 3rd eye.
• Deepam (lamp) with 5-wicks lamp in the
  Brahma-randhra.
• Rumal (hand-kerchief) offering of clothing.

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THE TEMPLE- LAYOUT PLAN ELEVATION
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The Temple Layout

• The Shilpins of the temple know the essence of
  Vedas and Agamas. The structural rules described
  in ancient Sanskrit treatises on architecture
  (Brhat Samhita, Vastu Shastras). The temple form
  and its iconography is a natural expansion of
  Vedic ideology related to recursion, change and
  equivalence.
• The architecture of Hindu temples is also
  symbolic. The whole mirroring and repeating
  fractal-like design structure fuses the daily
  life and it surroundings with the divine
  concepts, through a structure that is open yet
  raised on a terrace, transitioning from the
  secular towards the sacred, inviting the visitor
  inwards towards the Brahma paada and temple's
  central core, as well as lifting him upwards into
  a symbolic space marked by its spire.
• Above the vastu-purusha-mandala is a
  superstructure with a dome called Shikhara or
  Vimana, that stretches towards the sky. The
  cupola or dome is designed as a pyramid, conical
  or other mountain-like shape, inspired by cosmic
  mountain of Meru or Himalayan Kailasha, using
  principle of concentric circles and squares.
• The temple has structural walls, which were
  patterned usually within square-shaped grid
  spaces. The layout was open on all sides, except
  for the core space which had just one opening for
  darshan. The temple space is laid out in a series
  of courts (mandapas). At the centre of the
  temple, typically below and sometimes above or
  next to the deity, is mere hollow space with no
  decoration, symbolically representing Purusha,
  the Supreme Principle.
• The grid network of art, pillars with ornate
  carvings and statues that display and celebrate
  the four important and necessary principles of
  human life the pursuit of artha (prosperity,
  wealth), the pursuit of kama of  (pleasure, sex),
  the pursuit of dharma (virtues, ethical life) and
  the pursuit of moksha (release, self-knowledge).

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The Temple Layout

• The Temple complex, aligned to the cardinal
  directions (standing at the South entrance and
  visually lining up the top of the Gateway with
  the top of Kailash upon the central Shikhara, one
  locates the Pole Star), and is ideally located at
  earths magnetic equator. Sun Temples are mostly
  equinoctialaligned in such a way that on the day
  of the vernal equinox, the great doors of the
  porch and the eastern doors of the inner temple
  are opened at sunrise and as the sun rises, its
  rays pass thru the outer doors, then thru the
  inner doors, and penetrates straight thru the
  Central Nave, it illuminates the High Altar.
• The layout of the Temple-mount (representing the
  present human Sutratma) is based on principles of
  sacred geometry (with prescribed dimensions) of
  Vastu-shastra Mandala- a diagram with an outer
  square (especially if Vedic) or rectangle (other
  shapes also exist) along the cardinal directions,
  enclosing other squares, triangles, circles or
  dots. Andha, the Vastu Purusha, a titan was
  overcome by the gods collectively, who then
  appropriated various parts of his body. In both
  plan and elevation, the Temple models the body of
  deity itself.
• In plan, the deity is supine Antara mandala-
  inner square, where gods are located, face
  Namaskara mandala- where chanting is done, neck
  Antara-haara- inner areas of Pradakshina-
  circumambulations, Yaga- Vedic rituals area etc.,
  hands Madhya-haara- where lamps are lit etc.,
  belly Maryaada- outer wall- knees ankles and
  Gopura- feet. In elevation, the deity is
  standing the pyramid atop represents its head,
  the base its feet, structure in-between
  comprising the walls and roof is its body.
  Alternately, Garbha-griha- inner sanctum, becomes
  neck Shikhara- superstructure over it, head the
  Shikha- tuft of hair Kalasha- sacred pot or
  finial, 8-petalled lotus shaped, the unmanifest
  womb.

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33
TEMPLE LAYOUT
34
0
TEMPLE LAYOUT
A
C
B
D
A. Vimana with Garbha-griha B. Antar-haara C.
Madhya-haara D. Bahya-haara E. Maryada
E
35
TEMPLE LAYOUT IN PLAN ELEVATION
36
Temple Layout represents the Humanized Body of
Deity
37
ELEVATION VIMANA OF TEMPLE SANCTUM
38
THE TEMPLE- ARCHITECTURAL ELEMENTS
39
The Temple Styles

• Nagara style Shikhara tower is built on
  upraised platform and has a sloping curve as they
  rise and is topped by an Amalaka (a large fluted
  disk) and also a Kalasha (a small spherical pot).
  Subsidiary structures also have Vimanas. River
  goddesses- Ganga and Yamuna guard the temple.
  Divisions based on type of Shikharas 1.
  Latina or Rekha-Prasada  It is the simplest and
  commonest form. It has square base and walls are
  sloping and curved inwards to a point on the top.
  Later on, many smaller towers appeared, thus a
  mountain-type spire was created 2. Phamsana  It
  is broader and shorter than Latina. Its roofs
  contain various slabs that rise to a single point
  over the centre of the building. The roofs dont
  curve but follow a slope on a straight incline 3.
  Valabhi Temples under this category composed of
  a rectangular building with a roof that rises
  into the vaulted chamber. Temples of this style
  can be found in Sindhu-Ganga valleys, Malwa
  Deccan, Central Western India etc.
•  Dravida style Vimana tower is stepped pyramid
  that rises up rather linearly (rather than
  curved). Subsidiary structures do not have
  Vimanas. Enclosed with a walled courtyard with a
  Gopuram- at times more ornate than the temple
  itself. Fierce Dwarapalas or door keepers guard
  the temple There is the presence of a water tank.
  These are basically of five different shapes 1.
  Kuta or Chaturasra square 2. Shala or Ayatasra
  rectangular 3. Gaja-prishta or Vrittayata
  (elephant backed) elliptic 4. Vritta circular
  5. Ashtasra octagonal. Examples of these are
  Tirunelvelli, Mukteswara, Mahabalipuram,
  Manndagapattu, Mahendravadi, Tiruchirapally,
  Tanjore, etc.
•  Vesara style Hybridized style, containing
  elements of both Nagara Dravida. They
  flourished at the time of later Chalukyas (7th
  cent. CE) in the Deccan. Aihole and Pattadakkal,
  Belur, Halebid and Somanathpuram, Vijayanagara,
  Ellora etc. are some of the examples.

40
NAGARA
DRAVIDA
VESARA
41
Typical Temple Architectural Elements
Garbha-griha (main sanctum sanctorum) the part in
which the idol of the main deity is installed
facing East is equated with human head. Typically
there is also an area around the Garbha-griha and
one outside, where devotees can make Pradakshina.
Shikhara or Vimana literally means mountain
peak, refer to the rising tower over the sanctum
sanctorum where the presiding deity is enshrined
is the most prominent and visible part of a Hindu
temples. Antar-mandala or Antar-ala (vestibule
or ante-chamber, passage leading to the main
Mandapa) is the neck. It is located directly in
front of the sanctum sanctorum. The main priest
does poojas here too. Inner Prakara (inner wall),
where subsidiary shrines, dikpalakas,
Saptamatrukas, etc. are is the face.
Ardhamandapa (half-hall, small enclosure in
front of the Garbha-griha) is compared with human
chest.Mahamandapa (main hall) for assembly of
devotees is equated with the stomach. Antar-haara
the room for offering sacrifices, where
Bali-peetha is installed forms the waist of the
God. Bali-peetha is a lotus-shaped place where
slaughtered animals are to be offered to the
deity. Now-a-days, devotees offer rice and
certain dishes to God on this sacrificial
pedestal. It is placed between Dhwaja-sthamba and
Nandi. The turtle in the north replaced the
Bali-peetha of the south Madhya-haara in the
middle of the temple is the Agni-mandala. Lamps
are lit around its wall. Bahya-haara contains
Dhwaja-sthambha (flag-post) situated in line with
the main shrine, which is viewed along with human
male organ. Pancha Prakaras (concentric
enclosures) represent 5 Koshas /Elements,
Maryada (outer wall) the hands. Gopura
(pyramidal gateway tower) is viewed along with
human feet. It is the elaborate tower of south
Indian temples located on the East side. It marks
entering inner temple, leaving the outer world
behind. Kund or Sarovar is the tank, reservoir
or step-well outside surrounding the temple. Used
for bathing cleansing. It represents the ocean
of unmanifest matter of creation surrounding the
manifest world. Vertically, the Garbha-griha
represents the neck Shikhara (pyramidal or
tapering superstructure over the Garbha-griha),
the head, especially the brain Kalasha (finial),
the tuft of hair (Shikha).
42
Garbha-griha
Gopuram
Vimana
Kalasha
Dhwaja-stambha
Deepa-stambha
Bali-peetha
Bali-peetha is a lotus-shaped place where
slaughtered animals are to be offered to the
deity. Now-a-days, devotees offer rice and
certain dishes to God on this sacrificial
pedestal. It is placed between Dwaja-sthamba and
Nandi. The turtle in the north replaced the
Bali-peetha of the south.
43
The Main Temple

• The main Temple (e.g. of Chidambaram, Solomon,
  or a church/cathedral, or even Taj Mahal) is a
  sanctuary, which is called Prasada- a palace-like
  beautiful, but gloomy structure or Vimana- a well
  proportioned structure, located at the far end of
  the complex. It is square shaped (representing 4
  quarters or cardinal directions of Physical
  human-being, or Earth) at the base. It is in
  the pyramidical shaped mountain (Meru), topped by
  a Shikhara- domed cupola (Heaven), thus
  squaring the circle (the crossed circle
  denoting their union), with a pinnacle or crown
  atop it or a conical steeple ending in a point
  (Shunya- void, singularity) i.e. the unmanifest
  Big Bang deity of the dark void.
• The Shikhara may be shaped as a stepped pyramid,
  mastaba or ziggurat (with its height being the
  radius of the circle equal to the perimeter of
  their base), built wherever natural mountains did
  not exist, or as the Tabernacle housing the Ark
  (Holy barque, ship of salvation that sank during
  deluge) or as Lightning in the Meeting Tent.
  The temple-mount arises from Waters, parted by
  the solitary, narrow passage leading to it (e.g.,
  the Haji Ali mosque, Mumbai from ocean, with a
  solitary access-way raised above sea-level).
• Two Pillars or Pylons, tapered in shape, are
  placed at inner Gateway to its Garbha-griha-
  sanctum sanctorum. These are twin guardian (or
  welcoming) deities of idol, representing the dual
  heaven--hell Dwara-palas- guardian deities,
  seated or standing (often holding a spear with a
  flag atop it). They represent the legs of the
  astral deity, Kaal Niranjan. These dual Pillars
  are now represented in humans as twin hemispheres
  of the brain or as Pineal Pituitary glands,
  with Thalamus in-between. The subsidiary or
  Vahana- transport conveyance of deity, in the
  form of say, the Nandi bull or Shiva-linga is
  located facing Mukha-mandapa- an ante-chamber.

44
The Sanctum Santorum

• The sacred sanctum or adytum (holy of holies)
  itself is cube shaped (as in Kaba), the 6 faces
  of which represent the astral 6 fold chakra,
  its base with 4 faces being the 4 chakra. It
  may contain the box-shaped Ark of the Covenant,
  stood upon an Altar, the Coffin or Ark the Ark
  is speculated to function as a celestial
  electrical capacitor that releases the pranic
  thunder-bolt, solar power-source of Earth of the
  sleeping or dead deity (Pharaoh, Jamshed or Yama,
  the sun after setting, hoping to be resurrected
  during Sat Yuga- golden age), at 5 or 1000
  petalled Pitri Lok, the twin cherubs or lions
  being the symbol of duality.
• Beyond labyrinth of the lower triple worlds is
  the real heaven itselfthe sanctum of the deity,
  Garbha-griha- the home of the foetus, located
  within the Antar-aalaya- the inner foyer. At the
  summit of the Mount of the astral rising/setting
  (depending on its path- Deva-yana- upwards or
  Pitri-yana- downwards) Sun is the
  Ashta-dal-kanwal chakra, 8 petalled.
• The central womb-deity is same as Ouroboros or
  river Oceanus or the Atlantic ocean that
  girdles the triple manifest material creation
  (Bhu, Bhuvah and Suvah) and is placed in a
  curtained cave-like, dark cubicle (Mahar). The
  spiritual journey, thus, is tantamount to
  resurrection back into the very astral womb that
  gave us the physical birth. The idol of the chief
  deity, Ardha-nari, Kali or Durga is covered in
  veil, and lies within the inner recesses of the
  chamber. During festivals, it is taken out in
  procession in a barque along the watery passage
  leading into the Temple in order to be
  consummated by its consort, thereby symbolizing
  its rebirth or resurrection.
• The inner sanctuary is surrounded by space for
  circumambulations and by lateral chapels for the
  subsidiary gods, small praying rooms, storage
  rooms for the divine paraphernalia used in the
  sacred rites etc.

45
The Inner, Middle Outer Courts

• The various Haaras (meaning necklaces) or courts
  in the temple around the central shrine contain
  the various auxiliary shrines, where
  circumambulations are carried out.
• Antara-haara- the inner court, located towards
  the West, is comprised of the sacred Garden of
  Eden (now, of happy dead). It is Suvah lok
  that contains parted waters of moon--sun above
  this parting is due to Indra piercing the belly
  of Vrittra (chaos) monster with his
  thunderbolt, cutting it in twain, thereby
  releasing the primordial flood Waters and below
  6 4 chakras of heaven--hell, which combine
  together to create a new infant (or Earth).
• Madhya-haara- the middle court or Bhuvah lok
  has stands containing the lamps lighting the
  temple. The lamps are made of brass or iron and
  fixed at equal distance.
• The garden in Bhu lok or Bahya-haara- outer
  court, open (to sunlight), is divided into 4
  squares and is watered by channels (coming from
  the 4 Rivers of Paradise), forming a Cross,
  along which run the roads of access. A stepped
  sacred central fountain leading from the Gateway,
  at the 4 petalled Antah-karan chakra in the
  outer court, is the secret source of the Water
  of Life from which the 4 rivers, watering the
  garden, spring forth.
• Apart from these, the temple precincts include
  Yagashala (a hall for Yajna), Kalyana-mandapa,
  marriage/general purpose hall, Asthana-mandapa,
  where processional deity holds court,
  Vahana-mandapa, to store the various vehicles
  used to mount processional deity during
  festivals/processions, Alankara-mandapa, where
  processional deity is dressed for being taken on
  procession, Vasanta-mandapa, a hall in the middle
  of temple tank used for festivals and Utsava
  mandapa, hall used on festive occasions.

46
The Surrounding Walls

• The sacred city (hiding treasure guarded by
  serpents) is designed like an underground
  labyrinth or maze, with multiple Walls and Gates,
  or with a moat to protect the castle of its
  deity from the unworthy, unwise and profane,
  remaining accessible only to the initiate.
• The god or king was buried in a catacomb or
  mortuary temple in an underground vault
  (representing the heavenly underworld) beneath
  Pyramid Temple, along with treasures and items
  for day to day needs required during their
  heavenly sojourn, along with a false grave at the
  sanctum itself (as in the Taj Mahal) representing
  his guardian-double or Ka.
• Maryada- the surrounding walls may be
  Tri-mekhla, triple (or 5-fold), oriented along
  the 4 cardinal directions, which enclose each of
  the Prakaras- sections of the Temple, represent
  the triple manifestations of Mahar Lok or the
  triplistic shells of the Egg of
  Brahma-Prajapati containing the manifest triple
  worlds (Bhu Lok, Bhuvah Lok Suvah Lok).
• The outermost wall has two Gopurams- elaborate
  Gateway towers with a pair of Talas- Pillars or
  Spires, with Toranas- decorative hangingsone in
  the East, with guardians (guarding the Suns path
  to the Gates or to prevent Adam from
  re-entering), where the Sun enters in the
  morning, and the other, in the West, where it
  exits in the evening to go on its journey to the
  underworld.
• The central Pillar connecting Heaven and Earth,
  or the secret 10th Street, Sushumna nadi or
  Skambha is represented by the Dhwaja-sthambha-
  flag-post just inside the Temple entrance. A pair
  of Dhwajas- flags (with insignia of the deity) or
  palm or banana trees adorn the pass me not
  Gates.

47
The Dwarapalas and Kshetrapalas

• Dwarapalas are the formidable looking
  gate-keepers and guards in service of the
  presiding deity of the temple. They are the
  servants and the protectors of their masters.
  They are typically envisioned as huge and robust
  warriors. The pairs of Dwarapalas are most
  usually placed at the entrance to the temple and
  also at the door way to sanctum (Garbha-griha).
• The general features of all Dwarapalas are they
  are well built, muscular, broad shouldered, very
  tall and sporting fearsome moustaches. Each is
  endowed with four arms.  They are elaborately
  adorned with Kirita (headgear), Bhujakirti (shoul
  der ornaments), karna-kundala (hanging earrings).
  They always carry weapons and are always depicted
  as standing guard. Their appearances and stance
  herald the nature and disposition of the main
  deity.
• Dwarapalas in a Vishnu temple are rather placid
  looking modestly dressed and ornamented.
  Dwarapalas of Vishnu are (i) Chanda and
  Prachanda (ii) Dhatru and Vidhatru (iii) Jaya and
  Vijaya and (iv) Bhadra and Subhadra, each pair to
  guard a cardinal direction. In a Shiva temple
  take after Virabhadra, the ferocious aspect of
  Shiva. Dwarapalas of Shiva are (i) Nandi and
  Mahakala (ii) Herambha and Bhringi (iii) Durmukha
  and Pandura and (iv) Sita and Asita. Dwarapalas
  of the female deities who represent the grosser
  elements of nature are fearsome looking females,
  modelled after the ferocious aspect of their
  Mother deity.
• While the Dwarapalas guard the doors of their
  deities, the Kshetrapala, on the other hand,
  guards the entire templecomplex. In hierarchy
  they are placed higher than Dwarapalas. They are
  the protectors of a settlement, a village, a
  field or a temple.  They are identified with
  Bhairava, the terrible aspect of Shiva, as also
  with ferocious Veerabhadra, the son of Shiva.
  Shiva created Kshetrapala to organize the army of
  Kali when she went to fight demon Daruka.

48
Dwara-palas Kshetra- palas
49
THE TEMPLE- ARCHITECTURAL SYMBOLISM
50
The Temple Architecture

• The design and construction of the temples was
  fairly intricate, they were built according to a
  complex calculation involving physical and
  metaphysical elements. The various sections of
  the temple, the shape and the size of the idol,
  the mudra held by the idol and the mantra used
  for the consecration of the temple, were all
  determined by the fundamental para-meters of the
  design. The ideal temple had at least one
  entrance, an Ardha-mandapa, a Mandapa or a large
  hall, a Garbha-griha and a Shikhara directly
  above the Garbha-griha.

51
The Architectural Symbolism

• The Hindu temple concept is a curious mixture of
  Vedic, Tantric and Agama principles. There are
  rules of shape and proportion in the
  authoritative texts which give birth to a variety
  of complex temple designs. The Tantra regards the
  human body as a Mandala- it is a Chara or
  Jangama (mobile) Mandala. The Agama shastras
  regard a temple too as Mandala and here it is an
  Achala or Sthavara (immobile) Mandala.
• The Temple reflects cosmic order. To understand
  the uses of recursive geometrical forms involving
  self-similarity on different scales (fractals) in
  the Hindu temple complex we will need to explore
  some of these deep images and their uses. Hindu
  traditional architecture has more symbolic and
  articulated meanings than other cultures.
• The temple is oriented to face east, the
  auspicious direction where the sun rises to
  dispel darkness. The temple design includes the
  archetypal image of a Cosmic Person spread out
  yogi-like, symmetrically filling the gridded
  space of the floor plan (his navel in the centre,
  and it includes the archetype of the cosmic
  mountain, between earth and heaven, of fertility,
  planets, city of the gods, deities, etc.). One
  encounters these simultaneous archetypal themes
  and meanings conveyed (and hidden) in the
  semi-abstract forms in many Hindu temples.
• The symbolism is that when a devotee enters the
  temple, he is virtually entering into a Mandala
  and therefore participating in a power-field. His
  progress through the pavilions to reach the
  sanctum is also symbolic. It represents the
  phases of progress in a mans journey towards
  divine. In accordance with this scheme, the
  architectural and sculptural details vary from
  phase to phase gradually leading him to the
  experience, which awaits him as he stands in
  front of the deity in the in the sanctum.

52
The Architectural Symbolism

• The temple is seen as a link between man and
  god and between the actual and the ideal. The
  Temple structure is a mini cosmos. A temple
  called Devalaya, the abode of God, or Prasada
  meaning a palace with very pleasing aspects.
  Vimana is another term that denotes temple in
  general and the Sanctum and its dome, in
  particular. Tirtha, a place of pilgrimage is its
  other name. Human body is the temple for the
  indwelling Spirit of God (Antaryamin). Various
  parts of the temple structure correspond to
  various parts of the human body. The temple is
  the physical body (sthoola sharira) which houses
  the presence of Divine. So the actual building of
  the temple is a symbol of presence of the Divine
  in the world.
• The analogy explains the various parts of the
  Temple as being representations of the various
  aspects of the Body. The forehead is said to
  represent the sanctum- the space between the
  eyebrows, the Ajna chakra, is the seat of the
  divinity. The top of the head is the tower- the
  finial of the tower is the unseen the Sahasrara
  located above the head. Accordingly, the sanctum
  is viewed as the head and right on top of that
  head is the passage through which the currents of
  life ascend to the tower through that stone slab
  Brahma-randhra Shila. Around the four corners of
  this slab are placed the images of the vehicles
  or emblems that characterize the icon inside the
  sanctum.
• The Temple represents the Nara-Narayani deh-
  physical and subtle bodies, with the 7 chakras.
  In the structure of the temple, the
  Brahma-randhra is represented in the structure
  erected on top of the sanctum. The flat-roof
  (Kapota) of the sanctum is overlaid by a single
  square stone slab known in the texts as
  Brahma-randhra-shila (the stone denoting the
  upper passage of life). The sanctum is viewed as
  the head and right on top of the head is the
  passage through which the currents of life ascend
  to the tower through this stone slab.

53
The Architectural Symbolism

• The names assigned to various parts of the
  Vimana describe this symbolism. For instance,
  Pada (foot) is the column Jangha (trunk) is
  parts of the super-structure over the base Gala
  or Griva (neck) is the part between moulding
  which resembles the neck Nasika (nose) is any
  nose shaped architectural part and so on. The
  Garbha-griha represents the heart and the image
  the Antarayamin. These also suggest seeking the
  divinity within our heart.
• Interestingly, the Kalasha placed on top of the
  Vimana is not imbedded into the structure by any
  packing it with mortar or cement. It is, in fact,
  placed in position by a hollow rod that juts out
  of the centre of the tower and runs through the
  vase, the Kalasha. It is through this tube that
  the Lanchana tokens (cereals and precious
  stones) are introduced. One of the explanations
  is the hallow tube represents the central channel
  of energy the Sushumna that connects to the
  Sahasrara, the seat of consciousness, through the
  Brahma-randhra.
• Symbolisms also associated with the Sanctum and
  the Tower above it are, that sanctum is the Water
  (Aapa) principle and tower over it is Fire
  (Tejas) the finial of the tower (Vimana) stands
  for Air (Vayu) and above the Vimana is the
  formless Space (Akasha). The sanctum is thus a
  constellation of the 5 elements basic to the
  universe. Fire, being the active element that
  fuses the others, the tower becomes an important
  limb in the structure of a temple.
• A Hindu temple (Devalaya) has not only religious
  purpose but also spiritual, cultural, educational
  and social objectives. It provides a place for
  devotees to focus and develop their spiritual
  insight. A Hindu temple in essence can be
  recognized in triple forms The first is oneself
  with God within. The second one is a dedicated
  room (with altar and deities) in a home. The
  third one is the Hindu temple in which devotees
  participate collectively that reflects the
  pluralistic nature of Vedic Hinduism or Santana
  Dharma.

54
The Triple Shikhara Architecture

• The triple Shikhara construction has a special
  significance. It represents Trikuti- the triple
  Sacred Mountains- (Ku)Meru-Sumeru-Kailash or the
  Astral Q-IV Trinity of Swarga lok-Pitri
  lok-Naraka lok (Father-Son-Holy Spirit). It may
  represent the 3 manifest lower quarters of the
  Causal/Astral/Physical Adams (of 6 chakras). It
  may represent the original Causal/
  Astral/Physical Adams, themselves comprising the
  dualistic creation of Maha-kaal and Kaal. It may
  also represent the belt stars of the Orion
  constellation.

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56
The Temple Layout symbolizes Spiritual
Progression

• The spaces in the shrine were hierarchical the
  further the space was from the central shrine,
  the lesser was its distinction. The farthest ring
  had buildings of a more secular nature shops,
  dormitories, sheds, workshops etc. The Temple may
  have a layout in 3 sections, each representing a
  level of macrocosmic awareness during the
  spiritual journey (across Bhu, Bhuvah Suvah
  Lokas), culminating in the 4th aspect, the Ishta-
  deity (Mahar Loka).
• In plan view, the representation is Stage 1
  Outer Court- represents Bhu Lok the 4 quartered
  Physical world (lighted by the sun) open to
  lay-worshippers. Stage 2 Inner Court (with an
  opening for skylight at the top)- Bhuvah Lok
  Antariskha inner night sky open to high
  officials of the court. Stage 3 Main Temple
  Court- containing Temple Sanctum proper, where
  only the king and priests are permitted. It may
  also contain the heavenly guardians of the deity,
  representing Suvah Lok. Stage 4 The Main Deity
  itselfthe virgin mother of Atlantis, half Moon
  or Sun at horizon, the Turiya fourth aspect,
  Mahar Lokis both centre-point as well as
  encloser of the temple (a circle, along with its
  centre-pointsign of Egyptian Sun god, Ra).
• In elevation, the main temple, raised upon 7
  steps, repeats the cosmic architecture Stage 1
  The triple aspects of the Physical world
  (1064, 1612, 2) i.e. BhuBhuvah
  Lokas or of Earth i.e. BhuBhuvahSuvah Lokas
  represented by the triple foundationsquare or
  circular in shape, containing labyrinthine
  sub-terrainian passages leading to the Deitys
  Treasure-housea representation of Sahasrarathe
  1000 petalled lotus on Earth.
• The complex is surrounded by outer temple wall
  or a pond or sea, river Ghat- reservoir,
  circular moat or Oceanus surrounding triple
  worlds, with a narrow temple passage across. It
  is for carrying out ablutions (i.e. putting off
  earthly shoes) before proceeding to temple.

57
The Temple Layout symbolizes Spiritual Progression

• Stage 2 Resting upon it, a square base may
  stand for the astral 4 petalled chakra, which
  is topped by a (6 faced) cubical space
  symbolizing the 6 petalled chakra in Suvah
  loka. Stage 3 The Guardian Deity of 5 or
  1000 petalled lotus at the middle of Suvah
  loka. Stage 4 The Main Deity of 8 petalled
  chakra i.e. Mahar loka, the cosmic womb, rests
  within this dark, smoke-filled space, dimly
  lighted by flickering lamps.
• The Black Temple steeple itself (in elevation)
  becomes an inverted or pagan Crossthe mirror
  image of the upright Cross, atop it (the White
  Temple). Together, they form the double Cross!
  Again the apex of the Temple Mount relates to
  ultimate, unmanifest deity.
• A Shiva (Shambhu) temple is the body of the
  deity in its Virat-swaroop, built in the image of
  human body. It has 5 concentric Prakaras-
  walkways cum courtyards, with walled enclosures
  to resemble the Pancha-koshas- 5 sheaths of the
  soul. The innermost, 5th Prakara within sanctum
  walls is under the Golden Roof accessible only to
  the priests.
• 5 halls adorn the Chidambaram (Chit-
  Consciousness Ambar- sky or Ether) temple 1.
  Chit Sabha (image of Ratna-sabhapati- gem-form
  Lord, the golden roofed sanctum, guarded by Nandi
  bull), 2. Kanaka Sabha (contains diamond-like
  Sphatika-lingam- white lingam made of foam of
  Amrita- nectar derived from the moon during the
  churning, that exceeded the luster of moon, sun,
  fire, lightning stars, for daily rituals), 3.
  Nritya Sabha (chariot-shaped denoting the dance
  of Mahadeva-Kali), 4. Raja Sabha (1000 pillared,
  for Sahasrara chakra) 5. Deva Sabha (containing
  5-fold deities and 9 Lingas worshipped by the
  Nava-grahas).

58
THE TEMPLE- MANDALA SYMBOLISM
59
The Mandala Symbolism

• The temple design follows a perfect square grid
  principle with geometrical design
  called vastu-purusha-mandala. This mandala is
  a yantra. The four cardinal directions help
  create the axis of a Hindu temple, around which
  is formed a perfect square. The circle of the
  mandala circumscribes the square. The square is
  considered divine circle is considered earthly,
  human and observed in everyday.
• The central square(s) of the 64 or 81
  mathematically structured grids is dedicated to
  the deity and are called Brahma paadas. 49 grid
  design is of great importance in creative
  expressions of Hindu temples in South India,
  particularly in Prakaras. Alternatively,
  rectangle shaped in 23 proportion. Further, a
  number of structures and shrines are in 11, 12,
  13, 25, 35 and 45 harmonic ratios.
• At the mandalas central square(s) is the space
  for the formless shapeless all pervasive all
  connecting Universal Spirit, the purusha. This
  space is referred to as garbha-griha (literally
  womb house). It is this garbha-griha which
  devotees seek for darshan (literally, a sight
  of knowledge, or vision). It is the deity of the
  idol- such as Vishnu, Krishna, Rama, Shiva,
  Durga, Ganesha, Hanuman, Surya etc. that gives
  the temple its name. 
• The central space is surrounded by an ambulatory
  for the devotee to ritually circum-ambulate the
  Purusha (pradakshina), the universal essence.
  Often this space is visually decorated with
  carvings, paintings or images to inspire the
  devotee. The pillared halls are called mandapas.
  The main temple is often surrounded by smaller
  temples and shrines. South Indian temples have a
  large gopuram, a monumental tower, usually
  ornate, at the entrance of the temple, topped by
  the kalasha. They function as gateways. Walls are
  decorated with mural paintings or rock sculptures
  which are emphasised on Dwarapalakas.

60
The Temple recalls lost continent of Atlantis

• A Temple involves a huge symbolism it involves
  a multiple sets of ideas and imagery. The
  symbolisms of the temple are conceived in several
  layers. One the temple complex, at large, is
  compared to the human body in which the god
  resides. And, the other is the symbolisms in
  Vastu-shastra associated with Vimana, the temple
  per se, which also is looked upon as the body of
  the deity. And the other is its comparison to Sri
  Chakra.
• Astral continents of Polaris (of 1st Root Race
  Q-I), Hyperborea (2nd R.R. Q-II), Lemuria (3rd
  R.R. Q-III) Atlantis (4th R.R. Q-IV) are said
  to have been lost during Sat-yuga, Treta-yuga,
  Dwapar-yuga Kali-yuga respectively. The earthly
  Temple is modeled after Atlantis (Garden of Eden)
  built by the skilled Vishwakarma, Demiurge,
  Samael, Jehovah, Thor, Imhotep, Hiram Abiff of
  the Free-masons, Goths or Nagas. The Universal
  Temple carries the fearful memory of the fabled
  continent of Atlantis. It drowned under the sea
  amidst cataclysmic floods and volcanic eruptions
  around 11,600 BCE, signalling the end of the
  Pleistocene Ice Age and of Cro-Magnoid Atlantean
  race of man, and the beginning of the Neolithic.
• The many doored/pillared Dwarika (Dwaravati),
  capital of Krishna or Hastinapura, sank in the
  Atlantic flood. The peak of the middle of the
  triple mountains (Krakatoa) collapsed during
  volcanic eruption, becoming a crater. These
  cities really refer to the lost Astral Pitri
  Loka- region of the manes, false 1000 petalled
  Sahasrara lotus or the 7th chakra of Yogis,
  where the human spirit resided during the Dwapara
  Yuga, before its ultimate fall (of the
  separated Adam-Eve from the Garden of Eden) to
  the Physical during the Kali-yuga (when the
  spirit moved to the 6th chakra below). It is
  surmised that this construct went from India
  (specifically, the Dravidian South) to the Far
  East (Indonesia), thence to Egypt, and finally to
  Europe (Plato) and elsewhere.

61
THE LOST CITY OF ATLANTIS
Mt.Meru, Mt.Atlas, Garden of Eden, Shambhala,
Jerusalem, Shangri-la, Jewel in the Lotus, Rose
(Rosicrucians), Shiva netra, false Sahasrara,
7th Chakra, Pitri lok
Prototype of the Temple
Sun Rising in theOrient or Volcano Destroying Ce
ntral Trikuti Mountain
crater
62
SYMBOLS OF ATLANTIS THE DEITY
63
SHIVA-SHAKTI LINGA-YONI REPRESENTS THE ATLANTEAN
TEMPLE

• 8. Idol Sahasrara chakra
• 7. Peetha of Idol
• 6. Napumsaka-shila 2 chakra
• 5. Yoga-naala 16 chakra
• 4. Koorma 5 Pranas
• 3. Padma 12 chakra
• 2. Nidhi-Kumbha 10 chakra
• Aadhara Shila 4 chakra
• Dhanya-Peetha 6 chakra

64
VARIOUS REPRESENTATIONS OF THE LOST ATLANTEAN
TEMPLE
So called Shiva netra in the middle of the brow
Mount Meru
False Sahasrara Chakra
65
The Vastu Shastra Symbolism

• Vastu Shastra is deployed not just in designing
  the temple, but also the home or even the office
  since these are considered to be temples of
  residence and work. Vastu Shastra developed