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A Hindu temple (Sanskrit: मन्दिर - Mandir, प्रासाद - Prasada) is a house of god(s). It is a space and structure designed to bring human beings and gods together, infused with symbolism to express the ideas and beliefs of Hinduism. A Hindu temple, states George Michell, functions as a place of transcendence, where man may cross over (do tirtha) from the world of illusion to one of knowledge and truth.
The symbolism and structure of a Hindu temple, states Stella Kramrisch, are rooted in Vedic traditions. A temple incorporates all elements of Hindu cosmos - presenting the good, the evil and the human, as well as the elements of Hindu sense of cyclic time and the essence of life - symbolically presenting dharma, kama, artha, moksa and karma.
The spiritual principles symbolically represented in Hindu temples are given in the ancient Sanskrit texts of India (for example, Vedas, Upanishads), while their structural rules are described in various ancient Sanskrit treatises on architecture (Brhat Samhita, Vastu Sastras). The layout, the motifs, the plan and the building process recite ancient rituals, geometric symbolisms, and reflect beliefs and values innate within various schools of Hinduism. A Hindu temple is a spiritual destination for many Hindus (not all), as well as landmarks around which ancient arts, community celebrations and economy flourished.
Hindu temples come in many styles, diverse locations, deploy different construction methods and are adapted to different deities and regional beliefs. Yet, almost all Hindu temples share certain core ideas, symbolism and themes. They are found in South Asia particularly India and Nepal, in southeast Asian countries such as Cambodia, Vietnam and islands of Indonesia, and countries such as Fiji, Mauritius, Guyana, Suriname, South Africa, Europe and North America with a significant Hindu community. The current state and outer appearance of Hindu temples reflect arts, materials and designs as they evolved over several millennia; they also reflect the effect of conflicts between Hinduism and Islam since the 12th century.
- 1 The significance and meaning of a Hindu Temple
- 2 The forms and designs of Hindu Temples
- 3 The social functions of Hindu Temple
- 4 Styles
- 5 Arts inside Hindu temples
- 6 Historical development and destruction
- 7 Customs and etiquette
- 8 Regional variations in Hindu temples
- 9 Temple Management
- 10 Etymology and nomenclature
- 11 See also
- 12 References
- 13 External links
The significance and meaning of a Hindu Temple
Hindu temple reflects a synthesis of arts, the ideals of dharma, beliefs, values and the way of life cherished under Hinduism. It is a link between man, deities, and the Universal Purusa in a sacred space.
In ancient Indian texts, a temple is a place for Tirtha - pilgrimage. It is a sacred site whose ambience and design attempts to symbolically condense the ideal tenets of Hindu way of life. All the cosmic elements that create and sustain life are present in a Hindu temple - from fire to water, from images of nature to deities, from the feminine to the masculine, from the fleeting sounds and incense smells to the eternal nothingness yet universality at the core of the temple.
Susan Lewandowski states that the underlying principle in a Hindu temple is built around the belief that all things are one, everything is connected. The pilgrim is welcomed through 64-grid or 81-grid mathematically structured spaces, a network of art, pillars with 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 (pleasure, sex), the pursuit of dharma (virtues, ethical life) and the pursuit of moksha (release, self-knowledge). At the center of the temple, typically below and sometimes above or next to the deity, is mere hollow space with no decoration, symbolically representing Purusa, the Supreme Principle, the sacred Universal, one without form, which is present everywhere, connects everything, and is the essence of everyone. A Hindu 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 primary deity of different Hindu temples varies to reflect this spiritual spectrum.
In Hindu tradition, there is no dividing line between the secular and the sacred. In the same spirit, Hindu temples are not just sacred spaces, they are also secular spaces. Their meaning and purpose have extended beyond spiritual life to social rituals and daily life, offering thus a social meaning. Some temples have served as a venue to mark festivals, to celebrate arts through dance and music, to get married or commemorate marriages, commemorate the birth of a child, other significant life events, or mark the death of a loved one. In political and economic life, Hindu temples have served as a venue for the succession within dynasties and landmarks around which economic activity thrived.
The forms and designs of Hindu Temples
Almost all Hindu temples take two forms: a house or a palace. A house-themed temple is a simple shelter which serves as a deity’s home. The temple is a place where the devotee visits, just like he or she would visit a friend or relative. In Bhakti school of Hinduism, temples are venues for puja, which is a hospitality ritual, where the deity is the honored, and where devotee calls upon, attends to and connects with the deity. In other schools of Hinduism, the person may simply perform jap, or meditation, or yoga, or introspection in his or her temple.
A palace-themed temples are more elaborate, often monumental architecture.
The appropriate site for a temple, suggest ancient Sanskrit texts, is near water and gardens, where lotus and flowers bloom, where swans, ducks and other birds are heard, where animals rest without fear of injury or harm. These harmonious places were recommended in these texts with the explanation that such are the places where gods play, and thus the best site for Hindu temples.
The gods always play where lakes are,
where the sun’s rays are warded off by umbrellas of lotus leaf clusters,
and where clear waterpaths are made by swans
whose breats toss the white lotus hither and thither,
where swans, ducks, curleys and paddy birds are heard,
and animals rest nearby in the shade of Nicula trees on the river banks.
The gods always play where rivers have for their braclets
the sound of curleys and the voice of swans for their speech,
water as their garment, carps for their zone,
the flowering trees on their banks as earrings,
the confluence of rivers as their hips,
raised sand banks as breasts and plumage of swans their mantle.
The gods always play where groves are near, rivers, mountains and springs, and in towns with pleasure gardens.—Brhat Samhita 1.60.4-8, 6th Century CE
While major Hindu temples are recommended at sangams (confluence of rivers), river banks, lakes and seashore, Brhat Samhita and Puranas suggest temples may also be built where a natural source of water is not present. Here too, they recommend that a pond be built preferably in front or to the left of the temple with water gardens. If water is neither present naturally nor by design, water is symbolically present at the consecration of temple or the deity. Temples may also be built, suggests Visnudharmottara in Part III of Chapter 93, inside caves and 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.
Ancient builders of Hindu temples created manuals of architecture, called Vastu-Sastra (literally, science of dwelling, Vas-tu is a composite Sanskrit word Vas means reside, tu means you); these contain Vastu-Vidya (literally, knowledge of dwelling). There exist many Vastu-Sastras on the art of building temples, such as one by Thakkura Pheru, describing where and how temples should be built. By 6th century AD, Sanskrit manuals for constructing palatial temples were in circulation in India. Vastu-Sastra manuals included chapters on home construction, town planning, and how efficient villages, towns and kingdoms integrated temples, water bodies and gardens within them to achieve harmony with nature. While it is unclear, states Barnett, as to whether these temple and town planning texts were theoretical studies and if or when they were properly implemented in practice, the manuals suggest that town planning and Hindu temples were conceived as ideals of art and integral part of Hindu social and spiritual life.
The Silpa Prakasa of Odisha, authored by Ramacandra Bhattaraka Kaulacara sometime in ninth or tenth century CE, is another Sanskrit treatise on Temple Architecture. Silpa Prakasa describes the geometric principles in every aspect of the temple and symbolism such as 16 emotions of human beings carved as 16 types of female figures. These styles were perfected in Hindu temples prevalent in eastern states of India. Other ancient texts found expand these architectural principles, suggesting that different parts of India developed, invented and added their own interpretations. For example, in Saurastra tradition of temple building found in western states of India, the feminine form, expressions and emotions are depicted in 32 types of Nataka-stri compared to 16 types described in Silpa Prakasa. Silpa Prakasa provides brief introduction to 12 types of Hindu temples. Other texts, such as Pancaratra Prasada Prasadhana compiled by Daniel Smith and Silpa Ratnakara compiled by Narmada Sankara provide a more extensive list of Hindu temple types.
Ancient Sanskrit manuals for temple construction discovered in Rajasthan, in northwestern region of India, include Sutradhara Mandana’s Prasadamandana (literally, manual for planning and building a temple). Manasara, a text of South Indian origin, estimated to be in circulation by 7th century AD, is a guidebook on South Indian temple design and construction. Isanasivagurudeva paddhati is another Sanskrit text from the 9th century describing the art of temple building in India in south and central India. In north India, Brihat-samhita by Varāhamihira is the widely cited ancient Sanskrit manual from 6th century describing the design and construction of Nagara style of Hindu temples.
A Hindu temple design follows a geometrical design called vastu-purusha-mandala. The name is a composite Sanskrit word with three of the most important components of the plan. Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure. Vastupurushamandala is a yantra. The design lays out a Hindu temple in a symmetrical, self-repeating structure derived from central beliefs, myths, cardinality and mathematical principles.
The four cardinal directions help create the axis of a Hindu temple, around which is formed a perfect square in the space available. The circle of mandala circumscribes the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 (or in some cases 81) sub-squares called padas. Each pada is conceptually assigned to a symbolic element, sometimes in the form of a deity. The central square(s) of the 64 or 81 grid is dedicated to the Brahman (not to be confused with Brahmin), and are called Brahma padas.
The 49 grid design is called Sthandila and of great importance in creative expressions of Hindu temples in South India, particularly in ‘‘Prakaras’’. The symmetric Vastu-purusa-mandala grids are sometimes combined to form a temple superstructure with two or more attached squares. The temples face sunrise, and the entrance for the devotee is typically this east side. The mandala pada facing sunrise is dedicated to Surya deity (Sun). The Surya pada is flanked by the padas of Satya (Truth) deity on one side and Indra (king of gods) deity on other. The east and north faces of most temples feature a mix of gods and demi-gods; while west and south feature demons and demi-gods related to the underworld. This vastu purusha mandala plan and symbolism is systematically seen in ancient Hindu temples on Indian subcontinent as well as those in southeast Asia, with regional creativity and variations.
Beneath the mandala’s central square(s) is the space for the formless shapeless all pervasive all connecting Universal Spirit, the highest reality, the purusha. This space is sometimes referred to as garbha-griya (literally womb house) - a small, perfect square, windowless, enclosed space without ornamentation that represents universal essence. In or near this space is typically a murti (idol). This is the main deity idol, and this varies with each temple. Often it is this idol that gives the temple a local name, such as Visnu temple, Krishna temple, Rama temple, Narayana temple, Siva temple, Lakshmi temple, Ganesha temple, Durga temple, Hanuman temple, Surya temple, and others. It is this garbha-griya which devotees seek for ‘‘darsana’’ (literally, a sight of knowledge, or vision).
Above the vastu-purusha-mandala is a superstructure with a dome called Shikhara in north India, and Vimana in south India, that stretches towards the sky. Sometimes, in makeshift temples, the dome may be replaced with symbolic bamboo with few leaves at the top. The vertical dimension's cupola or dome is designed as a pyramid, conical or other mountain-like shape, once again using principle of concentric circles and squares (see below). Scholars suggest that this shape is inspired by cosmic mountain of Meru or Himalayan Kailasa, the abode of gods according to Vedic mythology.
In larger temples, the central space typically is surrounded by an ambulatory for the devotee to walk around and ritually circumambulate the Purusa, the universal essence. Often this space is visually decorated with carvings, paintings or images meant to inspire the devotee. In some temples, these images may be stories from Hindu Epics, in others they may be Vedic tales about right and wrong or virtues and vice, in some they may be idols of minor or regional deities. The pillars, walls and ceilings typically also have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This walk around is called pradakshina.
Large temples also have pillared halls called mandapa. One on the east side, serves as the waiting room for pilgrims and devotees. The mandapa may be a separate structure in older temples, but in newer temples this space is integrated into the temple superstructure. Mega temple sites have a main temple surrounded by smaller temples and shrines, but these are still arranged by principles of symmetry, grids and mathematical precision. An important principle found in the layout of Hindu temples is mirroring and repeating fractal-like design structure, each unique yet also repeating the central common principle, one which Susan Lewandowski refers to as “an organism of repeating cells”.
The ancient texts on Hindu temple design, the Vastupurusamandala and Vastu Sastras, do not limit themselves to the design of a Hindu temple. They describe the temple as a holistic part of its community, and lay out various principles and a diversity of alternate designs for home, village and city layout along with the temple, gardens, water bodies and nature.
- Exceptions to the square grid principle
Predominant number of Hindu temples exhibit the perfect square grid principle. However, there are some exceptions. For example, the Teli-ka-mandir in Gwalior, built in 8th century CE is not a square but is a rentangle in 2:3 proportion. Further, the temple explores a number of structures and shrines in 1:1, 1:2, 1:3, 2:5, 3:5 and 4:5 ratios. These ratios are exact, suggesting the architect intended to use these harmonic ratios, and the rectangle pattern was not a mistake, nor an arbitrary approximation. Other examples of non-square harmonic ratios are found at Naresar temple site of Madhya Pradesh and Nakti-Mata temple near Jaipur, Rajasthan. Michael Meister suggests that these exceptions mean the ancient Sanskrit manuals for temple building were guidelines, and Hinduism permitted its artisans flexibility in expression and aesthetic independence.
A Hindu temple is a symbolic reconstruction of the universe and universal principles that make everything in it function. The temples reflect Hindu philosophy and its diverse views on cosmos and Truths.
Hinduism has no traditional ecclesiastical order, no centralized religious authorities, no governing body, no prophet(s) nor any binding holy book; Hindus can choose to be polytheistic, pantheistic, monistic, or atheistic. Within this diffuse and open structure, spirituality in Hindu philosophy is an individual experience, and referred to as kṣaitrajña (Sanskrit: क्षैत्रज्ञ). It defines spiritual practice as one’s journey towards moksha, awareness of self, the discovery of higher truths, true nature of reality, and a consciousness that is liberated and content. A Hindu temple reflects these core beliefs. The central core of almost all Hindu temples is not a large communal space; the temple is designed for the individual, a couple or a family - a small, private space where he or she experiences darsana.
Darsana is itself a symbolic word. In ancient Hindu scripts, darsana is the name of six methods or alternate viewpoints of understanding Truth. These are Nyaya, Vaisesika, Sankhya, Yoga, Mimamsa and Vedanta - each of which flowered into their own schools of Hinduism, each of which are considered valid, alternate paths to understanding Truth and realizing Self in the Hindu way of life.
From names to forms, from images to stories carved into the walls of a temple, symbolism is everywhere in a Hindu temple. Life principles such as the pursuit of joy, sex, connection and emotional pleasure (kama) are fused into mystical, erotic and architectural forms in Hindu temples. These motifs and principles of human life are part of the sacred texts of Hindu, such as its Upanishads; the temples express these same principles in a different form, through art and spaces. For example, Brihadaranyaka Upanisad at 4.3.21, recites:
In the embrace of his beloved a man forgets the whole world,
everything both within and without;
in the same way, he who embraces the Self,
knows neither within nor without.
The architecture of Hindu temples is also symbolic. The whole 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 pada and temple’s central core, as well as lifting him upwards into a symbolic space marked by its spire (sikhara, vimana). The ancient temples had grand intricately carved entrances but no doors, and lacked a boundary wall. In most cultures, suggests Edmund Leach, a boundary and gateway separates the secular and the sacred, and this gateway door is grand. In Hindu tradition, this is discarded in favor of an open and diffusive architecture, where the secular world was not separated from the sacred, but transitioned and flowed into the sacred. The Hindu temple has structural walls, which were patterned usually within the 64 grid, or other geometric layouts. Yet the layout was open on all sides, except for the core space which had just one opening for darsana. The temple space is laid out in a series of courts (mandappas). The outermost regions may incorporate the negative and suffering side of life with symbolism of evil, asuras and rakshashas (demons); but in small temples this layer is dispensed with. When present, this outer region diffuse into the next inner layer that bridges as human space, followed by another inner Devika padas space and symbolic arts incorporating the positive and joyful side of life about the good and the gods. This divine space then concentrically diffuses inwards and lifts the guest to the core of the temple, where resides the main idol as well as the space for the Purusa and ideas held to be most sacred principles in Hindu tradition. The symbolism in the arts and temples of Hinduism, suggests Edmund Leach, is similar to those in Christianity and other major religions of the world.
The teams that built Hindu temples
Ancient Indian texts call the craftsmen and builders of temples as ‘‘Silpin’’ (Sanskrit: शिल्पिन्), derived from ‘‘Silpa’’. One of earliest mentions of Sanskrit word Silpa is in Atharvaveda, from about 1000 BC, which scholars have translated as any work of art. Other scholars suggest that the word Silpa has no direct one word translation in English, nor does the word ‘‘Silpin’’. Silpa, explains Stella Kramrisch, is a multicolored word and incorporates art, skill, craft, ingenuity, imagination, form, expression and inventiveness of any art or craft. Similarly a Shilpin, notes Kramrisch, is a complex Sanskrit word, describing any person who embodies art, science, culture, skill, rhythm and employs creative principles to produce any divine form of expression. Silpins who built Hindu temples, as well as the art works and sculpture within them, were considered by the ancient Sanskrit texts to deploy arts whose number are unlimited, Kala (techniques) that were 64 in number, and Vidya (science) that were of 32 types.
The Hindu manuals of temple construction describe the education, characteristics of good artists and architects. The general education of a Hindu Shilpin in ancient India included Lekha or Lipi (alphabet, reading and writing), Rupa (drawing and geometry), Ganana (arithmetic). These were imparted from age 5 to 12. The advanced students would continue in higher stages of Shilpa Sastra studies till the age of 25. Apart from specialist technical competence, the manuals suggest that best Silpins for building a Hindu temple are those who know the essence of Vedas and Agamas, consider themselves as students, keep well verse with principles of traditional sciences and mathematics, painting and geography. Further they are kind, free from jealousy, righteous, have their sense under control, of happy disposition, and ardent in everything they do.
According to Silparatna, a Hindu temple project would start with a Yajamana (patron), and include a Sthapaka (guru, spiritual guide and architect-priest), a Sthapati (architect) who would design the building, a Sutragrahin (surveyor), and many Vardhakins (workers, masons, painters, plasterers, overseers) and Taksakas (sculptors). While the temple is under construction, all those working on the temple were revered and considered sacerdotal by the patron as well as others witnessing the construction. Further, it was a tradition that all tools and materials used in temple building and all creative work had the sanction of a sacrament. For example, if a carpenter or sculptor needed to fell a tree or cut a rock from a hill, he would propitiate the tree or rock with prayers, seeking forgiveness for cutting it from its surroundings, and explaining his intent and purpose. The axe used to cut the tree would be anointed with butter to minimize the hurt to the tree. Even in modern times, in some parts of India such as Odisha, Visvakarma Puja is a ritual festival every year where the craftsmen and artists worship their arts, tools and materials.
Hindu temples served important social and economic functions in ancient India. Burton Stein states that South Indian temples managed regional development function, such as irrigation projects, land reclamation, post-disaster relief and recovery. These activities were paid for by the donations (melvarum) they collected from devotees. Temples also managed lands endowed to it by its devotees upon their death. They would provide employment to the poorest. Some temples had large treasury, with gold and silver coins, and these temples served as banks.
In contemporary times, the process of building a Hindu temple by emigrants and diasporas from South Asia has also served as a process of building a community, a social venue to network, reduce prejudice and seek civil rights together.
Hindu temples are found in diverse locations each incorporating different methods of construction and styles:
- Mountain temples such as Masrur
- Cave temples such as Chandrabhaga, Chalukya and Ellora
- Step well temple compounds such as the Mata Bhavani, Ankol Mata and Huccimallugudi.
- Forest temples such as Kasaun and Kusama
- River bank and sea shore temples such as Somnath.
- Step well temples
In arid western parts of India, such as Rajasthan and Gujarat, Hindu communities built large walk in wells that served as the only source of water in dry months but also served as social meeting places and carried religious significance. These monuments went down into earth towards subterranean water, up to seven storey, and were part of a temple complex. These vav (literally, stepwells) had intricate art reliefs on the walls, with numerous idols and images of Hindu deities, water spirits and erotic symbolism. The step wells were named after Hindu deities; for example, Mata Bhavani Vav, Ankol Mata Vav, Sikotari Vav and others. The temple ranged from being small single pada (cell) structure to large nearby complexes. These stepwells and their temple compounds have been variously dated from late 1st millennium BC through 11th century AD. Of these, Rani-ki-vav, with hundreds of art reliefs including many of Vishnu deity avatars, has been declared a UNESCO World Heritage site.
- Cave Temples
The Indian rock-cut architecture evolved in Maharashtran temple style in the 1st millennium AD. The temples are carved from a single piece of rock as a complete temple or carved in a cave to look like the interior of a temple. Ellora Temple is an example of the former, while The Elephanta Caves are representative of the latter style. The Elephanta Caves consist of two groups of caves—the first is a large group of five Hindu caves and the second is a smaller group of two Buddhist caves. The Hindu caves contain rock-cut stone sculptures, representing the Shaiva Hindu sect, dedicated to the god Shiva.
Arts inside Hindu temples
A typical, ancient Hindu temple has a profusion of arts - from paintings to sculpture, from symbolic icons to engravings, from thoughtful layout of space to fusion of mathematical principles with Hindu sense of time and cardinality.
Ancient Sanskrit texts classify idols and images in number of ways. For example, one method of classification is the dimensionality of completion:
- chitra - images that are 3-dimensional and completely formed,
- chitrardha - images that are engraved in half relief,
- chitrabhasa - images that are 2-dimensional such as paintings on walls and cloths.
Another way of classification is by the expressive state of the image:
- raudra or ugra - are images that were meant to terrify, induce fear. These typically have wide, circular eyes, carry weapons, have skulls and bones as adornment. These idols were worshipped by soldiers before going to war, or by people in times of distress or errors. Raudra deity temples were not set up inside villages or towns, but invariably outside and in remote areas of a kingdom.
- shanta and saumya - are images that were pacific, peaceful and expressive of love, compassion, kindness and other virtues in Hindu pantheon. These images would carry symbolic icons of peace, knowledge, music, wealth, flowers, sensuality among other things. In ancient India, these temples were predominant inside villages and towns.
A Hindu temple may or may not include an idol or images, but larger temples usually do. Personal Hindu temples at home or a hermitage may have a pada for yoga or meditation, but be devoid of anthropomorphic representations of god. Nature or others arts may surround him or her. To a Hindu yogin, states Gopinath Rao, one who has realised Self and the Universal Principle within himself, there is no need for any temple or divine image for worship. However, for those who have yet to reach this height of realization, various symbolic manifestations through images, idols and icons as well as mental modes of worship are offered as one of the spiritual paths in the Hindu way of life. This belief is repeated in ancient Hindu scriptures. For example, the Jabaladarshana Upanishad states:
शिवमात्मनि पश्यन्ति प्रतिमासु न योगिनः |
अज्ञानं भावनार्थाय प्रतिमाः परिकल्पिताः || ५९ ||
A yogin perceives god (Siva) within himself,
images are for those who have not reached this knowledge. (Verse 59)—Jabaladarsana Upanishad, 
Historical development and destruction
A number of ancient Indian texts suggest the prevalence of idols, temples and shrines in Indian subcontinent for thousands of years. For example, the 4th century BC text, Astadhyayi mentions male deity arcas (images/idols) of Agni, Indra, Varuna, Rudra, Mrda, Pusa, Surya, Soma being worshipped, as well as the worship of arcas of female goddesses such as Indrani, Varunani, Usa, Bhavani, Prthivi and Vrsakapayi. The 2nd Century BC ‘‘Mahabhasya’’ of Patanjali extensively describes temples of Dhanapati (deity of wealth and finance, Kubera), as well as temples of Rama and Kesava, wherein the worship included dance, music and extensive rituals. The Mahabhasya also describes the rituals for Krsna, Visnu and Siva. An image recovered from Mathura in north India has been dated to 2nd century BC. Kautilya’s Arthasastra from 3rd Century AD describes a city of temples, each enshrining various Vedic and Puranic deities. All three of these sources have common names, describe common rituals, symbolism and significance possibly suggesting that the idea of idols, temples and shrines passed from one generation to next, in ancient India, at least from the 4th century BC. The oldest temples, suggest scholars, were built of brick and wood. Stone became the preferred material of construction later.
Early Jainism and Buddhism literature, along with Kautilya’s Arthasastra, describe structures, embellishments and designs of these temples - all with motifs and deities currently prevalent in Hinduism. Bas-reliefs and idols have been found from 2nd to 3rd Century, but none of the temple structures have survived. Scholars theorize that those ancient temples of India, later referred to as Hindu temples, were modeled after domestic structure - a house or a palace. Beyond shrines, nature was revered, in forms such as trees, rivers, stupas before the time of Buddha and Vardhamana Mahavira. As Jainism and Buddhism branched off from the religious tradition later to be called Hinduism, the ideas, designs and plans of ancient Vedic and Upanishad era shrines were adopted and evolved, likely from the competitive development of temples and arts in Jainism and Buddhism. Ancient reliefs found so far, states Michael Meister, suggest five basic shrine designs and combinations thereof in 1st millennium BC:
- A raised platform with or without a symbol
- A raised platform under an umbrella
- A raised platform under a tree
- A raised platform enclosed with a railing
- A raised platform inside a pillared pavilion
Many of these ancient shrines were roofless, some had toranas and roof.
From 1st century BC through 3rd Century AD, the evidence and details about ancient temples increases. The ancient literature refers to these temples as Pasada (or Prasada), stana, mahasthana, devalaya, devagrha, devakula, devakulika, ayatana and harmya. The entrance of the temple is referred to as dvarakosthaka in these ancient texts notes Meister, the temple hall is described as sabha or ayagasabha, pillars were called kumbhaka, while vedika referred to the structures at the boundary of a temple.
With the start of Gupta dynasty in 4th century, Hindu temples flourished in innovation, design, scope, form, use of stone and new materials as well as symbolic synthesis of culture and dharmic principles with artistic expression. It is this period that is credited with the ideas of garbhagrha for Purusa, mandapa for sheltering the devotees and rituals in progress, as well as symbolic motifs relating to dharma, karma, kama, artha and moksha. Temple superstructures were built from stone, brick and wide range of materials. Entrance ways, walls and pillars were intricately carved, while parts of temple were decorated with gold, silver and jewels. Visnu, Siva and other deities were placed in Hindu temples, while Buddhists and Jains built their own temples, often side by side with Hindus.
The 4th through 6th century marked the flowering of Vidharbha style, whose accomplishments survive in central India as Ajanta caves, Pavnar, Mandhal and Mahesvar. In South India, this period is credited with some of the earliest stone temples of the region, with Chalukya temples dated to be from 5th century by some scholars, and the 6th by some others. Over 6th and 7th century, temple designs were further refined during Maurya dynasty, evidence of which survives today at Ellora and Elephanta.
It is the 5th through 7th century AD when outer design and appearances of Hindu temples in north India and south India began to widely diverge. Nevertheless, the forms, theme, symbolism and central ideas in the grid design remained same, before and after, pan-India as innovations were adopted to give distinctly different visual expressions.
During the 5th to 11th century, Hindu temples flourished outside Indian subcontinent, such as in Cambodia, Viet Nam, Malaysia and Indonesia.
- Destruction and conversion
With the arrival of Islam in South Asia, Hindu temples along with the temples of Buddhists and Jains, became targets of Islamic armies. Idols were broken up and damaged. Spires and pillars were torn down by the invading armies from Persia, Central Asia and resident Sultans. Temples were looted of their treasury and parts reused to build or to convert the temples into mosques. During some periods, Muslim emperors such as Akbar encouraged arts, helped repair and protect Hindu temples. In other periods, the Sultans and emperors led a campaign of temple destruction as well as forbade repairs to damaged temples. Richard Eaton has listed 80 campaigns of Hindu temple site destruction stretching over centuries, particularly from the 12th through the 18th century. The religious conflict and desecrations continued during the British colonial era.
The destruction of Hindu temple sites was comparatively less in the southern parts of India, such as in Tamil Nadu. Cave style Hindu temples that were carved inside a rock, hidden and rediscovered centuries later, such as the Kailasha Temple, have also survived. These are now UNESCO world heritage sites.
Customs and etiquette
The customs and etiquette varies across India. Devotees in major temples may bring in symbolic offerings for the puja. This includes fruits, flowers, sweets and other symbols of the bounty of the natural world. Temples in India are usually surrounded with small shops selling these offerings.
When inside the temple, devotees keep both hands folded (namaste mudra). The inner sanctuary, where the murtis reside, is known as the garbhagriha. It symbolizes the birthplace of the universe, the meeting place of the gods and mankind, and the threshold between the transcendental and the phenomenal worlds. It is in this inner shrine that devotees seek a darsana of, where they offer prayers. Devotees may or may not be able to personally present their offerings at the feet of the deity. In most large Indian temples, only the pujaris (priest) are allowed to enter into the main sanctum.
Temple management staff typically announce the hours of operation, including timings for special pujas. These timings and nature of special puja vary from temple to temple. Additionally, there may be specially allotted times for devotees to perform circumambulations (or pradakshina) around the temple.
Visitors and worshipers to large Hindu temples may be required to deposit their shoes and other footwear before entering. Where this is expected, the temples provide an area and help staff to store footwear. Dress codes vary. It is customary in temples in Kerala, for men to remove shirts and to cover pants and shorts with a traditional cloth known as a Vasthiram. In Java and Bali (Indonesia), before one enters the most sacred parts of a Hindu temple, shirts are required as well as Sarong around one's waist. At many other locations, this formality is unnecessary.
Regional variations in Hindu temples
South Indian temples
South Indian temples have a large gopuram, a monumental tower, usually ornate, at the entrance of the temple. This forms a prominent feature of Koils, Hindu temples of the Dravidian style. They are topped by the kalasam, a bulbous stone finial. They function as gateways through the walls that surround the temple complex. The gopuram's origins can be traced back to early structures of the Tamil kings Pallavas; and by the twelfth century, under the Pandya rulers, these gateways became a dominant feature of a temple's outer appearance, eventually overshadowing the inner sanctuary which became obscured from view by the gopuram's colossal size. It also dominated the inner sanctum in amount of ornamentation. Often a shrine has more than one gopuram. They also appear in architecture outside India, especially Khmer architecture, as at Angkor Wat. A koil may have multiple gopurams, typically constructed into multiple walls in tiers around the main shrine. The temple's walls are typically square with the outer most wall having gopuras. The sanctum sanctorium and its towering roof (the central deity's shrine) are also called the vimanam. The inner sanctum has restricted access with only priests allowed beyond a certain point.
North Indian temples
North Indian temples are referred to as Nagara style of temple architecture. They have sanctum sanctorum where the deity is present, open on one side from where the devotee obtains darśana. There may or may not be many more surrounding corridors, halls, etc. However, there will be space for devotees to go around the temple in clockwise fashion circumambulation. In North Indian temples, the tallest towers are built over the sanctum sanctorum in which the deity is installed.
The north India Nagara style of temple designs often deploy fractal-theme, where smaller parts of the temple are themselves images or geometric re-arrangement of the large temple, a concept found in French and Russian architecture such as the matryoshka principle. One difference is the scope and cardinality, where Hindu temple structures deploy this principle in every dimension with garbhgriya as the primary locus, and each pada as well as zones serving as additional centers of loci. This makes a Nagara Hindu temple architecture symbolically a perennial expression of movement and time, of centrifugal growth fused with the idea of unity in everything.
Temples in Tamil Nadu
Temple construction reached its peak during rule of Pallavas. They build various temples around Kancheepuram and Narasimhavarman II built the Shore Temple in Mamallapuram which is a UNESCO World Heritage Site. The Pandyas rule created temples such as the Meenakshi Amman Temple at Madurai and Nellaiappar Temple at Tirunelveli. The Cholas were prolific temple builders right from the times of the first medieval king Vijayalaya Chola. The Chola temples include Nataraja temple at Chidambaram, the Sri Ranganathaswami Temple at Srirangam, the Brihadeshvara Temple of Thanjavur, Brihadeshvara Temple of Gangaikonda Cholapuram and the Airavatesvara Temple of Darasuram which are among the UNESCO World Heritage Sites. The Nayaks of Madurai reconstructed some of the well-known temples in Tamil Nadu such as the Meenakshi Temple.
Temples in Odisha
Odisha temple architecture classifies the spire into three parts, the Bāḍa (lower limb), the Ganḍi (body) and the Cuḷa/Mastaka (head). Each part is decorated in a different manner. Kalinga architecture is a style which flourished in Kalinga, the name for kingdom that included ancient Odisha. It includes three styles: Rekha Deula, Pidha Deula and Khakhara Deula. The former two are associated with Vishnu, Surya and Shiva temples while the third is mainly associated with Chamunda and Durga temples. The Rekha Deula and Khakhara Deula houses the sanctum sanctorum while the Pidha Deula style includes space for outer dancing and offering halls.
Temples of Goa and other Konkani temples
The temple architecture of Goa is quite unique. As Portuguese colonial hegemony increased, Goan Hindu temples became the rallying point to local resistance. Many these temples are not more than 500 years old, and are a unique blend of original Goan temple architecture, Dravidian, Nagar and Hemadpanthi temple styles with some British and Portuguese architectural influences. Goan temples were built using sedimentary rocks, wood, limestone and clay tiles, and copper sheets were used for the roofs. These temples were decorated with mural art called as Kavi kala or ocher art. The interiors have murals and wood carvings depicting scenes from the Hindu mythology.
Temples in West Bengal
In West Bengal, the Bengali terra cotta temple architecture is found. Due to lack of suitable stone in the alluvial soil locally available, the temple makers had to resort to other materials instead of stone. This gave rise to using terracotta as a medium for temple construction. Terracotta exteriors with rich carvings are a unique feature of Bengali temples. The town of Vishnupur in West Bengal is renowned for this type of architecture. There is also a popular style of building known as Navaratna (nine-towered) or Pancharatna (five-towered). An example of Navaratna style is the Dakshineswar Kali Temple.
Temples in Cambodia
Angkor Wat was built as a Hindu temple by King Suryavarman II in the early 12th century in Yasodharapura (Khmer, present-day Angkor), the capital of the Khmer Empire, as his state temple and eventual mausoleum. Breaking from the Shaiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. The Spire in Khmer Hindu temple is called Giri (mountain) and symbolizes the residence of gods just like Meru does in Bali Hindu mythology and Ku (Guha) does in Burmese Hindu mythology.
Angkor Wat is just one of numerous Hindu temples in Cambodia, most of them in ruins. Hundreds of Hindu temples are scattered from Siem Reap to Sambor Prei Kuk in central Cambodian region.
Temples in Vietnam
There are a number of Hindu temple clusters along the coast of Vietnam, with some on UNESCO world heritage site list. Examples include Mỹ Sơn - a cluster of 70 temples with earliest dated to be from 4th century AD and dedicated to Siva, while others are dedicated to Hindu deities Krishna, Vishnu and others. These temples, internally and with respect to each other, are also built on the Hindu perfect square grid concept. Other sites in Vietnam with Hindu temples include Phan Rang with the Cham temple Po Klong Garai.
Temples in Indonesia
Hindu temples of ancient Java, Indonesia, bear resemblances with temples of South Indian style. The largest of these is the 9th century Javanese Hindu temple, Prambanan in Yogyakarta, now a UNESCO world heritage site. It was designed as three concentric squares and has 224 temples. The inner square contains 16 temples dedicated to major Hindu deities, of which Siva temple is the largest. The temple has extensive wall reliefs and carvings illustrating the stories from the Hindu Epic Ramayana.
In Bali, Pura (Balinese temple) is designed as an open-air worship place in a walled compound. The compound walls have a series of intricately decorated gates without doors for the devotee to enter. The design, plan and layout of the holy pura follows a square layout.
Temples outside Asia
Many members of the South Asian diaspora have established Hindu mandirs outside India as a means of preserving and celebrating cultural and spiritual heritage abroad. Describing the hundreds of mandirs that can be found throughout the United States, scholar Gail M. Harley observes, “The temples serve as central locations where Hindus can come together to worship during holy festivals and socialize with other Hindus. Temples in America reflect the colorful kaleidoscopic aspects contained in Hinduism while unifying people who are disbursed throughout the American landscape.” Numerous mandirs in North America and Europe have gained particular prominence and acclaim.
The Archeological Survey of India has control of most ancient temples of archaeological importance in India. In India, day-to-day activities of a temple is managed by a temple board committee that administers its finances, management and events. Since independence, the autonomy of individual Hindu religious denominations to manage their own affairs with respect to temples of their own denomination have been severely eroded and the state governments have taken control of major Hindu temples.
Etymology and nomenclature
In Sanskrit, the liturgical language of Hinduism, the word "mandir" means "house". Ancient Sanskrit texts use many words for temple, such as matha, vayuna, kirti, kesapaksha, devavasatha, vihara, suravasa, surakula, devatayatana, amaragara, devakula, devagrha, devabhavana, devakulika, and niketana.
The following are the other names by which a Hindu temple is referred to in India:
- Devasthana (ದೇವಸ್ಥಾನ) in Kannada
- Deul/Doul/Dewaaloy in Assamese
- Deval/Raul/Mandir(मंदिर) in Marathi
- Deula (ଦେଉଳ)/Mandira(ମଦିର) in Oriya and Gudi in Kosali Oriya
- Gudi (గుడి), Devalayam (దేవాలయం), Devasthanam (దేవస్థానము), Kovela (కోవెల), Kshetralayam (క్షేత్రాలయం), Punyakshetram (పుణ్యక్షేత్రం), or Punyakshetralayam (పుణ్యక్షేత్రాలయం) in Telugu
- Koil, or kō-ail (கோயில்) and occasionally Aalayam (ஆலயம்) in Tamil; the Tamil word "Koil" means "residence of the king" and is used to refer to a distinct style of Hindu temple with Dravidian architecture
- Kshetram (ക്ഷേത്രം), Ambalam (അമ്പലം), or Kovil (കോവിൽ) in Malayalam
- Mandir (मंदिर) in Nepali, Punjabi, Marathi, Gujarati and Hindi
- Mandiram (మందిరం),
- Mondir (মন্দির) in Bengali
In Southeast Asia temples known as:
- Candi in Indonesia, especially in Javanese, Malay and Indonesian, used both for Hindu or Buddhist temples.
- Pura in Hindu majority island of Bali, Indonesia.
- Wat in Cambodia and Thailand, also applied to both Hindu and Buddhist temples.
- Temple sites
Some lands such as Varanasi, Puri, Kanchipuram, Dwarka, Amarnath, Kedarnath, Somnath, Mathura, Rameswara and others, are considered holy in Hinduism. They are called kṣétra (Sanskrit: क्षेत्र). A kṣétra has many temples, including one or more major ones. These temples and its location attracts pilgrimage called tirtha (or tirthayatra).
Media related to Hindu temples at Wikimedia Commons
- Hindu temple architecture
- List of Hindu temples
- List of largest Hindu Temples
- List of Hindu deities
- Tirtha, Jyotirlinga, Char Dham
- George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, Chapter 4, pp 61-65
- Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3
- Stella Kramrisch, The Hindu Temple, Vol 2, Motilal Banarsidass, ISBN 978-81-208-0222-3, pp 346-357 and 423-424
- Klaus Klostermaier, The Divine Presence in Space and Time - Murti, Tirtha, Kala; in A Survey of Hinduism, ISBN 978-0-7914-7082-4, State University of New York Press, pp 268-277
- Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, Chapter 4
- MR Bhat (1996), Brhat Samhita of Varahamihira, ISBN 978-8120810600, Motilal Banarsidass
- Burton Stein, The Economic Function of a Medieval South Indian Temple, The Journal of Asian Studies, Vol. 19 (February, 1960), pp 163-76
- George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 58-65
- Alice Boner (1990), Principles of Composition in Hindu Sculpture: Cave Temple Period, ISBN 978-8120807051, see Introduction and pp 36-37
- Francis Ching et al., A Global History of Architecture, Wiley, ISBN 978-0470402573, pp 227-302
- Brad Olsen (2004), Sacred Places Around the World: 108 Destinations, ISBN 978-1888729108, pp 117-119
- Paul Younger, New Homelands: Hindu Communities, ISBN 978-0195391640, Oxford University Press
- For the effect on Hindu temples of Islam’s arrival in South Asia and Southeast Asia, see:
- Marc Gaborieau (1985), From Al-Beruni to Jinnah: idiom, ritual and ideology of the Hindu-Muslim confrontation in South Asia, Anthropology Today, 1(3), pp 7-14;
- Richard Eaton (2000), Temple Desecration and Indo-Muslim States, Journal of Islamic Studies, 11(3), pp 283-319
- Annemarie Schimmel, Islam in the Indian Subcontinent, ISBN 978-9004061170, Brill Academic, Chapter 1
- Robert W. Hefner, Civil Islam: Muslims and Democratization in Indonesia, Princeton University Press, ISBN 978-0691050461, pp 28-29
- George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, Chapter 1
- Alain Daniélou (2001), The Hindu Temple: Deification of Eroticism, Translated from French to English by Ken Hurry, ISBN 0-89281-854-9, pp 101-127
- Samuel Parker (2010), Ritual as a Mode of Production: Ethnoarchaeology and Creative Practice in Hindu Temple Arts, South Asian Studies, 26(1), pp 31-57; Michael Rabe, Secret Yantras and Erotic Display for Hindu Temples, (Editor: David White), ISBN 978-8120817784, Princeton University Readings in Religion (Motilal Banarsidass Publishers), Chapter 25, pp 435-446
- Pyong Gap Min, Religion and Maintenance of Ethnicity among Immigrants - A Comparison of Indian Hindus and Korean Protestants, Editor: Karen Leonard (Immigrant Faiths), ISBN 978-0759108165, Chapter 6, pp 102-103
- Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, pp 71-73
- Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3, page 4
- Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3, page 5-6
- BB Dutt (1925), Town planning in Ancient India at Google Books, ISBN 978-81-8205-487-5; See critical review by LD Barnett, Bulletin of the School of Oriental and African Studies, Vol 4, Issue 2, June 1926, pp 391
- Stella Kramrisch (1976), The Hindu Temple Volume 1 & 2, ISBN 81-208-0223-3
- Jack Hebner (2010), Architecture of the Vastu Sastra - According to Sacred Science, in Science of the Sacred (Editor: David Osborn), ISBN 978-0557277247, pp 85-92; N Lahiri (1996), Archaeological landscapes and textual images: a study of the sacred geography of late medieval Ballabgarh, World Archaeology, 28(2), pp 244-264
- Susan Lewandowski (1984), Buildings and Society: Essays on the Social Development of the Built Environment, edited by Anthony D. King, Routledge, ISBN 978-0710202345, Chapter 4
- Sherri Silverman (2007), Vastu: Transcendental Home Design in Harmony with Nature, Gibbs Smith, Utah, ISBN 978-1423601326
- GD Vasudev (2001), Vastu, Motilal Banarsidas, ISBN 81-208-1605-6, pp 74-92
- LD Barnett, Bulletin of the School of Oriental and African Studies, Vol 4, Issue 2, June 1926, pp 391
- Michael Meister (1983), Geometry and Measure in Indian Temple Plans: Rectangular Temples, Artibus Asiae, Vol. 44, No. 4, pp 266-296
- Alice Boner and Sadāśiva Rath Śarmā (1966), Silpa Prakasa Medieval Orissan Sanskrit Text on Temple Architecture at Google Books, E.J. Brill (Netherlands)
- H. Daniel Smith (1963), Ed. Pāncarātra prasāda prasādhapam, A Pancaratra Text on Temple-Building, Syracuse: University of Rochester, OCLC 68138877
- Mahanti and Mahanty (1995 Reprint), Śilpa Ratnākara, Orissa Akademi, OCLC 42718271
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- Ganapati Sastri (1920), Īśānaśivagurudeva paddhati, Trivandrum Sanskrit Series, OCLC 71801033
- Heather Elgood (2000), Hinduism and the religious arts, ISBN 978-0304707393, Bloomsbury Academic, pp 121-125
- H Kern (1865), The Brhat Sanhita of Varaha-mihara, The Asiatic Society of Bengal, Calcutta
- Susan Lewandowski, The Hindu Temple in South India, in Buildings and Society: Essays on the Social Development of the Built Environment, Anthony D. King (Editor), ISBN 978-0710202345, Routledge, pp 68-69
- The square is symbolic and has Vedic origins from fire altar, Agni. The alignment along cardinal direction, similarly is an extension of Vedic rituals of three fires. This symbolism is also found among Greek and other ancient civilizations, through the gnomon. In Hindu temple manuals, design plans are described with 1, 4, 9, 16, 25, 36, 49, 64, 81 upto 1024 squares; 1 pada is considered the simplest plan, as a seat for a hermit or devotee to sit and meditate on, or make offerings with Vedic fire in front. The second design of 4 padas lacks the central core, and is also a meditative constructive. The 9 pada design has a sacred surrounded center, and is the template for the smallest temple. Older Hindu temple vastumandalas may use the 9 through 49 pada series, but 64 is considered the most sacred geometric grid in Hindu temples. It is also called Manduka, Bhekapada or Ajira in various ancient Sanskrit texts.
- In addition to square (4) sided layout, Brhat Samhita also describes Vastu and mandala design principles based on a perfect triangle (3), hexagon (6), octagon (8) and hexadecagon (16) sided layouts, according to Stella Kramrisch.
- Rian et al (2007), Fractal geometry as the synthesis of Hindu cosmology in Kandariya Mahadev temple, Khajuraho, Building and Environment, Vol 42, Issue 12, pp 4093-4107, doi:10.1016/j.buildenv.2007.01.028
- Stella Kramrisch (1976), The Hindu Temple Volume 1, ISBN 81-208-0223-3
- Datta and Beynon (2011), Early Connections: Reflections on the canonical lineage of Southeast Asian temples, in EAAC 2011 : South of East Asia : Re-addressing East Asian Architecture and Urbanism : Proceedings of the East Asian Architectural Culture International Conference, Department of Architecture, National University of Singapore, Singapore, pp 1-17
- V.S. Pramar, Some Evidence on the Wooden Origins of the Vāstupuruṣamaṇḍala, Artibus Asiae, Vol. 46, No. 4 (1985), pp 305-311
- This concept has equivalence to the concept of Acintya, or Sang Hyang Widhi Wasa, in Balinese Hindu temples; elsewhere it has been referred to as satcitananda
- Stella Kramrisch (1976), The Hindu Temple Volume 1, ISBN 81-208-0223-3, pp 8
- Michael W. Meister, Journal of the Society of Architectural Historians, Vol. 65, No. 1 (Mar., 2006), pp 26-49
- Trivedi, K. (1989). Hindu temples: models of a fractal universe. The Visual Computer, 5(4), 243-258
- S Bafna, On the Idea of the Mandala as a Governing Device in Indian Architectural Tradition, Journal of the Society of Architectural Historians, Vol. 59, No. 1 (Mar., 2000), pp. 26-49
- Michael W. Meister, Maṇḍala and Practice in Nāgara Architecture in North India, Journal of the American Oriental Society, Vol. 99, No. 2 (Apr. - Jun., 1979), pp. 204- 219
- George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 21-22
- Edmund Leach, .The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 243-264
- Julius J. Lipner, Hindus: Their Religious Beliefs and Practices, 2nd Edition, Routledge, ISBN 978-0-415-45677-7, page 8; Quote: “(...) one need not be religious in the minimal sense described to be accepted as a Hindu by Hindus, or describe oneself perfectly validly as Hindu. One may be polytheistic or monotheistic, monistic or pantheistic, even an agnostic, humanist or atheist, and still be considered a Hindu.”;
- Lester Kurtz (Ed.), Encyclopedia of Violence, Peace and Conflict, ISBN 978-0123695031, Academic Press, 2008;
- MK Gandhi, The Essence of Hinduism, Editor: VB Kher, Navajivan Publishing, see page 3; According to Gandhi, "a man may not believe in God and still call himself a Hindu."
- Monier-Williams Sanskrit-English Dictionary, क्षैत्रज्ञ Jim Funderburk and Peter Scharf (2012); Quote:
- क्षैत्रज्ञ [ kṣaitrajña ] [ kṣaitrajña ] n. ( fr. [ kṣetra-jñá ] g. [ yuvādi ], spirituality, nature of the soul Lit. W.; the knowledge of the soul Lit. W.
- See the following two in Ewert Cousins series on World Spirituality:
- Bhavasar and Kiem, Spirituality and Health, in Hindu Spirituality, Editor: Ewert Cousins (1989), ISBN 0-8245-0755-X, Crossroads Publishing New York, pp 319-337;
- John Arapura, Spirit and Spiritual Knowledge in the Upanishads, in Hindu Spirituality, Editor: Ewert Cousins (1989), ISBN 0-8245-0755-X, Crossroads Publishing New York, pp 64-85
- Gavin Flood, Brill's Encyclopedia of Hinduism, Editor: Knut Jacobsen (2010), Volume II, Brill, ISBN 978-90-04-17893-9, see Article on Wisdom and Knowledge, pp 881-884
- Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3, pp 8-9
- Thomas Donaldson (2005), Konark, Oxford University Press, ISBN 978-0195675917
- Michael Rabe (1996), Sexual Imagery on the "Phantasmagorical Castles" at Khajuraho - The Artha of Temple Kama, International Journal of Tantric Studies, Vol 2, No 2
- E Leach, .The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 249-250
- Mary Beth Heston, Iconographic Themes of the Gopura of the Kailāsanātha Temple at Ellora, Artibus Asiae, Vol. 43, No. 3 (1981 - 1982), pp 219-235
- E Leach, .The Gatekeepers of Heaven: Anthropological Aspects of Grandiose Architecture, Journal of Anthropological Research, Vol. 39, No. 3 (Autumn, 1983), pp 262
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