An eerie silence - suddenly animals start to scatter run for shelter. Slowly but steadily a rumbling is heard, the noise booms and the earth trembles without fear. It’s an earthquake. Things are falling apart everywhere but out of the entire rubbles stands tall and alone a structure. What is this? Why has this not fallen too? Is it a miracle or sheer luck. Well! Its neither, its a temple, meant to remain through times, proving faith on the construction.

          Temple architecture is an art, a science, a complicated creative study. It is an amalgamation of mathematics, logic, geography, geology, science, ecology, art, sculpting, music, light and sound, religion, social sciences, astrology in short the world. It is knowledge passed through generations from father to son / daughter. Here in these few pages this skill is shared by HARIPRASAD SOMPURA, the connoisseur of the temple architecture in India, who has through generations of knowledge learned and performed the highest art and science. He is not just a temple architect, but a creator of history into time. Presented here is a te-te with the legend himself.

Q) When you meet a client who wants to build a temple, what do you discuss and do first?

          Well! We decide where this temple is to be built and which deity is in mind. Then according to the direction we decide the idol. The specific directions of the deity is an such:

 East facing-any and all gods and goddess, because its the best




 West facing - the next best, is for the Jain Thirthankaras.

          North facing - Third best is for the shiv family such as Shiv, Ganesh, Linga, etc. This is because Lord Shiva's abode is Kailash in North.

          South facing - Last, for Hanuman, and aggressive Gods and Goddess, Yama etc.

 The place chosen is according to Vastu Shastra. In fact everything is based on Vastu Shastra. Next we perform Bhumi Puja on the chosen land, where excavations are carried our. During the digging any impurities such as coal, bones dirt etc are removed to purify that land. Once the section is cleaned, we divide the land into nine parts from North East (ishan) as per the Vastu purush Mandal, to establish kurm shila sthapan or time capsules. This will enable the future archeologist to know from the length, width, height of the time capsules and their symbols, when, where, how the temple was constructed and whom it is dedicated to. The next step is to begin the fundamentals of construction till he plinth stage.

Q) What are the new materials used in temple construction?

          Steel, is not used at all. It rusts after several years, expanding thus weakening the structure. Cement is used only in joints (as shown in diagram). The entire temple is built on the Inter - Locking system using various types of stones. Depending upon places and weather, stones are utilized. Such as, sandstone is never used in Coastal areas. There local stones are preferred. Like in Rajasthan the availability of marble. In South there is granite, Central India - sandstone, Coastal areas - limestone. The quality and type of stone is imperative and each stone is checked.



Q) Could you be more specific?

          There are few people who know that every stone has a positive and a negative side. The placement of stones are such a that if I take a block of stone, assuming the negative is at bottom and positive at the top, the next stone to be placed on top would be kept in a manner where the positive would be at the bottom and negative on the top and so on (as shown in the diagram).

          The second importance of stone is that there are three types of stones: male, female and neutral, which have a specific place where they can be applied. A male stone is used for plinth, pillars, beams, slabs, place where strength is required. A female stone is used for sculptures, idols, carvings etc. A neutral stone has less weight age therefore it is applied for dome, shikar etc, giving minimum pressure on the entire structure.

Q) How do you know the male, female, neutral, positive and negative aspects of a stone?

          Experience is the prime factor, generally one knows from the sound the stone makes when tapped. The rules are universal in using male, female, neutral, positive, negative stones and in its applications, though artistic licenses can be given in the name of creativity and being different. For example, the Meenakshi Temple pillars are musical because they are female. In fact the decorative pillars found anywhere have used female stones.

          All this is based on scientific explanations. Why doesn't a temple crumble during earthquake? Because it is based on interlocking system and assembled according to its definitions. Therefore the structure vibrates along with the earths vibrations, due to this it will sway but not fall under any circumstances.

          Thereafter the construction of the entire temple is completed as per the plans. Whence the intricate carvings and sculpture commences. Thus the temple is then ready for the auspicious day when the idol is to be placed.

Q) What are the various designs and concept of temple through time?

          The evolution of development in basic five stages started from second century and was completed in the tenth century. The earliest temples had only 'Garbha Grah', the innermost sanctum sanctorum (place of idol only). Second stage was the development of 'Kauli Mandap' creation of extra space in the inner sanctum. Third stage of development was 'Gaudha Mandap' - a prayer hall which was also covered. The next addition was the 'Nritya Mandap' - for dance, music, devotional facility etc, which was kept open. The fifth addition was that of 'Pravesh Mandap' - an entrance a kind of porch of a temple.

Q) Are there certain effects such as sound and light, which are unique to temples?

          Yes, there are certain aspects we have to keep in mind when building a temple. They are

Direction - Konark, Modhera and Greek temples are those temples dedicated to the 'sun'. No matter in which part of the world they exist, they all have one thing in common i.e. direction. They all face the sunrays in line with their respective longitude and latitude.

Light - Temple layouts are such that the 'Garbha Grah', the inner sanctum is in darkness. The idols are lit only through diyas or lamps, for us to fully concentrate on the idol meditations. In lieu with this, the surrounding light is faded out, just like n plays. This helps us to realize and bring out the inner light in us.

Sound - Each stone has its own distinct sound. Hence the placement is made on specific musical creations or to give an automatic sound reflections such as echo, booming noise, resonance, speaker effect etc. It's from here that the concept for particle purpose was taken to forts, palaces and other buildings by other architects.

Temperature - Why is that we feel cool in summer and warm in winter in temple? Without the help of any modern machines this effect is achieved by the use of sand in the plingh area below the marble or any other flooring. This does not allow the outside heat to pass through in summer and cool wind in winter.



Q) What differences are there in the method of construction in the past and present?

          There are only few minor changes from past to present in composition, material, design, which were previously strictly allowed according to Shilpa Shastras and Vastu Shastra written much before. In the ancient times herbal juice was used as binding agent near the joints (as shown in diagram). We know of this through the oldest temple in India called Gop temple situated in Berda district near porbander, Gujarat. This second century temple has consumed herbal juice. In present times, cement is the binding agent.

Q) What are the difference in Jain and Hindu Temple?

 

Variations arises in location, structure, sculptures, symbols, flag and of course the Iconography. Majority of the main Jain temples are on a mountain or a hilltop. For example, Mt. Abu - Dilwara, Palitan, Girnar, Samet Shikar in Bihar, Taranga, Shararanbelgola etc. While the Hindu temples are on the tirth bhoomi or near rivers. Structure wise Jain temples have a 'Samran' a kind of yantra. Whereas the hindu temples have a half rounded dome on the top of sabha mandap. Sculptures of ancient temples and present Jain temples are mainly that of demy Gods and Goddess, autobiography of Tirthankaras, intricate carvings and paintings. While in Hindu temples besides Gods and Goddess, various stories depicted, or on any particular subject. Both have flowers and animals, symbols related to the respective idols. Flag in a Jain temple is long and dangling, while in a Hindu temple it is horizontal and triangular.

Q) Who are the various people involved in building a temple?

There are many people involved, working in teams consisting of several people. on the top is
1. Temple architect - he designs the temple, makes estimates, supervises the work, virtually overlooks the entire project in detail.
2. Temple contractor - he does the carvings on selected stones.
3. Fitters - They take the carved stones and assemble or fit them at the temple site.
4. Sculptors - Create idols, sculptures and intricate carvings all over the temple.

Q) Who decides on the carvings, sculptures etc?

          The temple architect decides on everything. He is not intimidated by the client's will and fancy.

Q) Temples have been built abroad too. Are there any difference between them and the temples in India?

          In any other foreign countries the Jain and the Hindu temples have been made, but they are done exactly like the ones here, based on Shilp Granths. Only the proportion changes.



Q) Building a temple is an expensive work. Who provides the finance?

          Financing of temples are basically done by temple trusts. For Jains there is also Anandji Kalyanji Trust. Individual clients, archeological department and sometimes the government also provides the funds.

Q) Which are the ancient books related to temple Architecture?

          Rupmadan, Roopavatar and Devta Murti Prakarn are three books related to sculpture, idols proportion, colours, vehicles. Weapons, ornaments, clothes, mudras, facial expressions etc. For temple architecture the books are Shilpratankar, Diparnav, Vastu Vidya, Vastu Shastrakarika, Vastusa, Prasad Mandan etc. Knowledge and skill of temple architecture is passed on from father to son or daughter. Its hereditary. Only in Mahabalipuram they do teach in Gopuram style.

          In conclusion, the aim of a temple is not just to instill religious feelings, or to marvel at the historical wonder. It is also a haven for those who need peace and seek the innermost light through faith and truth. Its open, at the same time privacy is ensured. All factors are looked into to make one comfortable for the ultimate concentration needed for self reflections. At the same time these carved temples tells us the story of glorious past and of the future in time. Readers interested in knowing more about this art may contact him at his office in Mumbai on 6113908.