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Hindu architecture: the story on HearLore | HearLore
Hindu architecture
The earliest surviving examples of Hindu architecture date back to the Gupta Empire, yet the true foundation of this tradition lies not in the stone itself but in the ancient Sanskrit manuscripts that dictated its creation. These texts, known as the Vastu Shastras and Shilpa Shastras, are not merely architectural blueprints but are classified as one of the sixty-four divine arts, blending the science of construction with the spiritual symbolism of Hinduism. The principles governing these structures were distilled from the Vedic literature, specifically the Sthapatya Veda, which served as the Upaveda or lesser appendix to the Vedas. While the Gupta period left behind stone, brick, and rock-cut temples that still stand today, the influence of these ancient guidelines extended far beyond religious buildings to include the planning of entire cities, the design of homes, and the layout of marketplaces. The survival of these texts in various regional languages and Sanskrit manuscripts ensures that the architectural philosophy has persisted through millennia, offering a comprehensive guide that covers everything from the proportions of a column to the placement of water tanks and drains within a settlement.
The Geometry of Settlement
The Manasara text, dating to the 700th century, provides a detailed blueprint for the ideal human settlement that prioritizes the harmony between the physical environment and the spiritual needs of its inhabitants. This ancient guide declares that the best site for a town must possess thick soil that slopes eastward to allow residents to witness the sunrise, be situated near a river or significant water stream, and maintain a second source of groundwater for wells. The soil itself must be firm, rich enough to grow flowers and fruit trees, and possess an agreeable odor, a requirement that led town planners to dig and test the earth before laying any foundation. Once the location was approved, the text described forty distinct plans for laying out streets, homes, markets, and gardens, with examples including the Dandaka, Prastara, Chaturmukha, and Swastika plans. These guidelines combined early Hindu understandings of science, astrology, and astronomy to favor symmetry aligned with cardinal directions, ensuring that streets were integrated with the terrain and local weather patterns. A temple or public assembly hall was recommended to sit at the center of the town, serving as the spiritual and social anchor for the community.
Hospitals and Civic Halls
Long before the modern concept of public healthcare, early Hindu texts like the Charaka Samhita, dated between the 100th century BCE and the 150th century CE, mandated the construction of dedicated buildings and halls to care for the sick. The Charaka Samhita, specifically in book 1, verse 15.6, instructed that architects with Vastu Vidya expertise should construct these medical facilities, integrating them into the urban fabric. The Narada Shilpasastra, a treatise with 83 chapters, expanded this civic vision to include public water tanks, palaces, and specialized community service halls known as Śālā. Chapters 60 through 66 of this text detail specific buildings such as the Bhojan-sala for feeding the community, the Nataka for performance arts, and the Chitra-sala for displaying art and paintings. These entertainment houses were to be located in the middle of a city, preferably on the main street or where major roads crossed, and were designed to be spacious and ventilated. The walls of these halls were to be adorned with pictures that captivated the mind and gave joy to the eyes, laid out according to strict rules of proportion and pose-determining lines, creating a space where art and architecture served the public good.
When did the earliest surviving examples of Hindu architecture appear?
The earliest surviving examples of Hindu architecture date back to the Gupta Empire. These structures include stone, brick, and rock-cut temples that still stand today.
What ancient texts form the foundation of Hindu architecture?
The foundation of Hindu architecture lies in the ancient Sanskrit manuscripts known as the Vastu Shastras and Shilpa Shastras. These texts are classified as one of the sixty-four divine arts and blend the science of construction with spiritual symbolism.
What are the site requirements for a town according to the Manasara text?
The Manasara text declares that the best site for a town must possess thick soil that slopes eastward to allow residents to witness the sunrise. The location must be situated near a river or significant water stream and maintain a second source of groundwater for wells.
When was the Charaka Samhita written and what did it mandate?
The Charaka Samhita was dated between the 100th century BCE and the 150th century CE. It mandated the construction of dedicated buildings and halls to care for the sick, instructing architects with Vastu Vidya expertise to integrate them into the urban fabric.
How many patrons could the Natyasastra text accommodate in a theater?
The Natyasastra text recommended architectural guidelines for theaters that likely housed an audience of 200 to 500 patrons comfortably seated. These spaces included specific areas for dancers, musicians, and artists to change their dress.
What are the three main types of Hindu architecture in Indonesia?
The three main types of Hindu architecture in Indonesia are Candi, Pura, and Mandir. Candi refers to the Hindu temple architecture of Java-origin, Pura refers to an architecture style of Balinese to perform their Balinese Hinduism worship, and Mandir specifically refers to Hindu of Dravidian-origin temple architecture.
The architectural design of performance spaces in ancient India was a sophisticated blend of religious devotion and public entertainment, categorized into three distinct types: those within temples for religious arts, those in cities for general entertainment, and those in palaces for the king and his guests. The Samarangana Sutradhara of Bhoja dedicated its 34th chapter to these buildings, specifying that the walls of the performance hall should be adorned with pictures of damsels dancing or playing instruments. The plan for the Natya-mandapa included specific spaces for dancers, musicians who co-performed with them, and a Nepathya-dhama where artists could change their dress for different acts. The audience hall was designed to be decorated for admiration before and after the performance, with the stage raised on a platform to ensure a better view for the spectators. The Natyasastra text recommended architectural guidelines for these theaters, which likely housed an audience of 200 to 500 patrons comfortably seated, suggesting a level of civic engagement and cultural sophistication that predated many similar developments elsewhere in the world.
The Womb and The Tower
Every Hindu temple, or mandir, is imbued with symbolism yet adheres to a basic structure that has remained consistent for centuries, serving as a focus for both the social and spiritual life of the community. The inner sanctum, known as the garbha griha or womb-chamber, houses the primary murti or image of a deity in a simple bare cell designed for darshana, the meditative focus of the devotee. Above this sanctum rises a tower-like shikhara, called the vimana in south India, which is surrounded by a closed or open path for pradakshina, or circumambulation. This path is typically intricately carved with symbolic art depicting Hindu legends, themes of artha, dharma, and kama, as well as statues of significant deities from the three major Hindu traditions of Vishnu, Shiva, and Shakti. The sanctums of significant temples often include a mandapa congregation hall and sometimes an antarala antechamber and porch between the garbha griha and the mandapa, creating a complex that attracts pilgrims from far and wide.
Gateways and Pillars of Victory
The gopuram, an essentially independent architectural structure, serves as an ornate gatehouse tower, often of colossal size, marking the entrance to a Hindu temple in Southern India. These towers stand in contrast to the free-standing archways known as toranas, which are ceremonial archways seen in Hindu, Buddhist, and Jain architecture in front of temples and monasteries. The stambha, or pillar, is another critical element described in the Manasara text, consisting of a pedestal, base, column, and capital, and can be made from wood or stone. The text details different proportions for different materials of construction, dividing the length of the column into matras or portions that may be decorated with artwork. The Manasara suggests specific rules for tapering the top portions of the stambha, as seen in the Vijay Stambha, or Tower of Victory, at Chittorgarh fort in Rajasthan, which is dedicated to Vishnu. These pillars, along with the Dhvaja-stambhas found at temple entrances as flagstaffs often featuring the image of a lingam and sacred animals, serve as both structural supports and symbolic markers of divine presence.
The Dome and The Chariot
Chhatris are elevated, dome-shaped pavilions that originated in Rajasthani architecture and are widely used in palaces, forts, and to demarcate funerary sites, adding a distinct visual rhythm to the Indian skyline. In some Hindu sites, shrines or buildings are named rathas because they possess the shape of a huge chariot, reflecting the mythological importance of the chariot in Hindu tradition. These architectural forms, along with the monasteries known as mathas and hermitages called ashrams, form complexes that include temples, monastic cells, communal houses, and ancillary facilities. The diversity of these structures highlights the adaptability of Hindu architectural principles, which were applied to a wide range of subjects from the design of vehicles and wagons to the construction of water tanks and drains. The survival of these forms in stone and rock-cut architecture dating back to the Gupta Empire demonstrates a continuity of tradition that has influenced not only India but also the architectural landscapes of Southeast Asia.
The Spread of Sacred Geometry
Historically, Hinduism was once the predominant religious take of some Native Indonesians, chiefly in Western Indonesia, predating the existence of Buddhism, Islamism, and Christianity in the region. The country was enriched with an abundance of Hindu architecture, mainly serving as religious places of worship, which were categorized into three main types with different terminology attached to their respective identities. The first type, known as Candi, refers to the Hindu temple architecture of Java-origin, while the second, known as Pura, refers to an architecture style of Balinese to perform their Balinese Hinduism worship. The third type, known as Mandir, specifically refers to Hindu of Dravidian-origin temple architecture, usually representing the Indian Indonesian community as opposed to the Native Indonesian form of Hinduism. All types of Hindu architecture in Indonesia functioned as places of worship but also served as places of historical observance to broaden knowledge and awareness about Hinduism amongst the non-Hindu population, drawing a sense of tolerance and unity within the country.