A journey through the Scientific and Spiritual aspects of a Hindu temple

Underlying principle in a Hindu temple is the belief that all things are one, that everything is connected. Ancient temples welcome you 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), kama (pleasure, love), dharma (virtues, ethical life) and moksha (release, self-knowledge).

At the center of the temple, typically below and sometimes above or next to the idol, is mere hollow space with no decoration, symbolically representing Purusa, the Supreme Principle, the sacred Universal, one without form, which is omnipresent, 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 specific process is left to the devotee's school of belief. The primary deity of different Hindu temples varies to reflect this spiritual spectrum.

Temples in India 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, the birth of a child, other significant life events or the death of a loved one. In political and economic life, Hindu temples have served as a venue for succession within dynasties and landmarks around which economic activity thrived.

Every town or village will have one or more temples dedicated to a specific deity, and the majority frequent those temples regularly. Although it is not required to go to a temple, many people do so on significant Hindu festival days or on any other auspicious occasion that occurs in their own home, such as a birthday or wedding.

There are five classes of temples especially in Kerala where I come from.

1.     A village temple ("Graama Kshethram") in every village;

2.   A "Desa Kshethram" in every "Desam", within a village;

3.    Private family temples, where their "Paradevatha" (family deity) is worshipped. (Not every family has one.);

4.   Sacred groves ("Kaavu"); and

5.    Transplanted deity temples ("Kutiyiruthukal").

The supreme authority for all religious matters in each temple is vested with its designated "Thanthri".

There are minor variations in the ceremonial aspects of worship among the three main schools of thought ("Paksham"), though their fundamental concepts are identical.

A spiritual relationship ("Aatma Bandham"), akin to that of a father and son, is presumed to exist between the manifest energy or aura ("Chaithanyam") of the main and other lesser deities in a temple and the person (and his heirs) who was instrumental in their glorification through his daily ritualistic worship.

Temple architecture:

Technically the architecture of the temple plays a very important role in the way you feel, the calmness and serenity that washes over you as you enter the premises are because of the strategic design of the temple.

The building of a temple is a long process that also proves to be very extortionate, and was often commissioned by the king, one of the underlying reasons for that is the research that goes on behind it.

Entering the temple through the gopuram, you feel a strange vibration or a sense of positivity. The temple before construction is searched for a location. The ideal location is one with high magnetic and electric waves. The gopurams are designed as tapering with a rectangular base to signify dynamism and the start of peculiarly high electromagnetic radiation.

The temple consists of a few parts, the gopuram or the entrance, the mandapa, and the garbhagriha or the Sanctum/sanctorum which contains the idol.

 

These are all spaced a particular distance about following a proportion system called the Talamana or the Indian iconometry (The measurement of icons and their propotions etc in religious art). It is a science of temple proportions derived from the ancient Indian scriptures called the Shilpa Shastra. In simple terms, the system uses the human body with its chakras and is used as a proportion for the placement of the elements in the temple.

 

Each of these chakras or energy levels is linked with the magnetism level at that spot. 

 

While the entrance shows dynamism, slowly moving past every element and into garbhagriha (sanctum sanctorum), we feel calmer and calmer, which also signifies the agnya chakra which is located between your eyebrows. 

 

There are other more uncomplicated architectural sciences that are related to the temple. Like the fact that moving from the entrance to the sanctum, the height of the place keeps reducing and is the smallest in the presence of God.

There are two reasons for this, one is humility, to remind oneself of the presence of a greater source that created this universe, and is running the fates, the second is to captivate the vibrations in that small location where they are hit to and fro the walls and we end up catching some ourselves.

We also remove our sandals before entering the place to ensnare the same. There are two chakras that are of magnitude, the agnya where the garbhagriha is located, and the Muladhara where the Dwajasthambam is placed.

 

Parts of a temple

Turtle Lamp: Most temples will have a large turtle lamp placed outside the temple main entrance.

Lord Krishna gives the analogy of a turtle which withdraws its limbs and head inside whenever it senses danger. This represents withdrawing our five senses such as seeing, hearing, tasting, smelling and touching that pursues sensual objects of mundane pleasure and looking within us before entering the temple premises.

Such a person is defined as “sthithaprajna” by Lord Krishna in Gita.Chapter 2, Verse 55:

“Śrī-bhagavān uvācha Prajahāti yadā kāmān sarvān pārtha mano-gatān Ātmany-evātmanā tuṣhṭaḥ sthita-prajñās tad-ocyate”

Translation: “The Supreme Lord said: When one discards all selfish desires that arise within the mind and is satisfied in the Self alone, then one is said to be in pure transcendental knowledge and is established in steady wisdom.”

 

Dwajastambam or Kodi Maram: Very close to the turtle lamp is the Dwajastambam, the flag post. Dwajastambam in temples are the places where you should prostrate before entering temples.

This has many significances and explanations and some of them are given below.

·      In every Village, Dwajastambam in the temple was the tallest structure. No buildings (houses or other structures) rose higher than it, therefore whenever lightning struck the village, both the temple and the entire community were spared from the catastrophic harm that could have been caused by lightning.

·       Dwajastambam gives an idea to a devotee from a long distance about the murti installed in the temple, as generally the idol of the ‘vahana’ (vehicle) of the God is installed on top of the post.

·       In most cases, the top portion of the flag staff will have three horizontal perches or three branches pointing towards the Sanctum. It symbolizes righteousness, reputation and propriety or the Trimurtis – Vishnu, Brahma and Shiva.

·       Dwajastambam is normally placed vertically in line with the main deity of the temple.

·       Dwajastambam also symbolizes the spine or Back-Bone of the temple deity. It represents Sushumna and starts from Muladhara and ends at Sahasrara padma. If the Dwajastambam is kept horizontally, it should extend up to the sreekovil (sanctum sanctorum) or up to the namaskara mandapam.

 

Kirti Mukha: Very often the deity is framed by a doorway like formation with a monster’s head over the top. This is a common feature of many of doorways to the old houses, temples and palaces in India and South East Asia. This is called a kirti-mukha which literally means “the face-of-glory” and it represents the principle of all-consuming Time.

Since Time is the greatest destroyer and takes from us all that is precious and separates us from our loved ones and objects it is shown as being wrathful and terrifying. It serves to remind the contemplator that everything is conditioned by time and space and all things in the universe including the deity depicted are all subjected to appearance and disappearance. Everything is impermanent and subject to constant change.

Always remember that the wealth, health, beauty, youthfulness and any other attributes that you are proud of will be gone with time and Kirti Mukha represents that time. Bow your head in respect of this truth and eliminate any ego that you have before entering the temple.

Namaskara Mandapam: is the small raised square platform built right in front of the sanctum sanctorum in most south Indian temples. This represents the Ajna chakra and the throat of the deity. The main priest offers daily poojas sitting in this Mandapam. Others are not supposed to sit or keep their feet on this sacred space.

Dwarapalakas: When you enter a temple especially in South India, the gates to the inner sanctum sanctorum are guarded by two rather frightening individuals, the dwarapalakas. They are required to guard access to the resident deity and keep all but the most important from disturbing their rest. Dwarapalakas are two sentinels whose jobs are to stand at the entrance and keep watch.  One should get the permission mentally from Dwarapalakas, before entering the temple.  If their names are known, one should spell the name and say ‘Namonamah’ one by one. The names depend on the Agama Sastra which is followed.

Archaka (Priest) should get permission from Dwarapalaka while opening the respective gate.  Bali (prasada neivadyam) should be offered to Dwarapalakas along with other parivara devatas after main deities. Arghyam, Padyam, Achamanam, etc. are also to be done to Dwarapalakas.

Garbha Griha or Sanctum Sanctorum 

The innermost part of the temple where the murti of the deity resides is called the sanctum sanctorum. This is considered the most sacred part of the temple and except priests; no one is allowed to enter here.

Temple construction and the installation of the main deity are an elaborate and scientific process. However, it is important to understand that the Thantri (main priest) who consecrates the murti during installation must be a realized soul with raised kundalini power who transfers part of his spiritual power to the deity. Subsequently the power of the deity is increased by daily prayers, Poojas and other rituals.

The Sthula sarira of the temple is represented by the sleeping figure of a person with the Gopuram being the feet and Sanctum Sanctorum the head. Similarly, the Sushma sarira is represented by the image of the sitting person.

Daily worship or Puja

The daily rituals are done as prescribed "Shodasa Samskaarams". Only those persons who had received such Samskaarams or better are eligible to become the "Poojakans or poojaris" (priests) there. If "Pooja" is performed by persons who have not received all such Shodasa Samskaarams, then the aura and glory of the deities will be diminished.

The "Saanthi Kriyas" in temples are the daily Pooja rituals for maintaining the glory of the deities and for obtaining the blessings for the devotees. In the morning, the Poojakan first awakens the deity, opens the door, lights the lamps, and performs Abhishekam (Purification of the idols with liquids. Liquids used in abhishekam can include milk, yogurt, ghee, honey, sugar, oil and fruit juices, among others. The first five of these represent the five elements of water, earth, fire, air and ether. By offering the substances representing five elements, the devotees ask the deity to purify those elements within themselves as well as the corresponding five senses: vision (fire), taste (water), hearing (sound), smell (earth) and touch (air)), Malar Nivedyam (offering of puffed rice),  Usha Nivedyam (cooked rice and `naipayasam' (rice cooked in jaggery and ghee)), morning Pooja, Pantheeradi Pooja (when the shadow lengthens to 12 steps), Ucha (Noon) Pooja, Sreebali along with any of the Poojas, Pradosha Pooja (evening Pooja), if normally practiced in that temple), Athaazha (night meals) Pooja, Athaazha Sreebali and Thruppuka. The elaborate Pooja process is performed usually only for the first Pooja of the day, while the later ones are often brief, with either three or one Pooja, or in some temples, just with a "Nivedyam". If even the minimum required Nivedyam is avoided, the glory or power of the deity will be diminished, and its re-introduction will need a "Praayaschitham" (atonement/expiation) to be performed first.

It has been a practice for the Thanthri to decide and declare the normal worship rituals proposed to be performed in a temple even at the time of the consecration ceremony of the deity in that temple. It is said that, next to the spiritual concentration and power ("Thapassakthi") of the Aachaaryan (or Poojakan) and his adherence to the daily Vedic rituals, it is the strict performance of all the rituals so prescribed by the Thanthri, which helps to maintain the power of the deity; it is even said to increase the power and glory.

Saptamatrukas and Digpalakas

Around the temples one can find many small stones installed and they are called digpalakas and saptamatrukas. One should always walk outside the digpalakas and saptamatruka and do not touch them as they are part of the sushmasarira (subtle body) of the Lord.

Saptamatrukas are generally installed on the southern side of the sanctum sanctorum.

The Saptamatrukas are worshipped for "personal and spiritual renewal" with Mukti (liberation) as the ultimate goal as well as for powers to control and rule earthly desires (Bhukti)

Digpalakas are installed around the temple as follows.

Aṣṭa-Digpāla (“Guardians of Eight Directions”)

1.     Kubera (North)

2.   Yama (South)

3.    Indra (East)

4.   Varuṇa (West)

5.    Īśāna (Northeast)

6.   Agni (Southeast)

7.    Vayu (Northwest)

8.   Nirṛti (Southwest)

 

Bali peetam: This represents a miniature replica of the main temple. Except for the Head, which is the Garbagriham (sanctum sanctorum), all other parts of the temple are reflected here.

The word Bali means sacrifice. Sreebali, Seeveli or Sree Boothabali is done every day and the main priest offers prayers and offers naivendyam to the balipeetam. During this time the assistant poojari will carry the utsavamurti or the chalabimba of the main deity on his head or near his chest symbolizing that the main poojari is offering the prayers on behalf of the god. If the temple is considered as the body of the god, this is the feeding process.

According to agama sastra, when we enter in to the temple we should surrender / sacrifice our ego and bad thoughts in front of the Bali peetam and enter in to the temple with a pure mind. 

Devotees should bundle their ego and ill feelings, enter with pure mind, sacrifice all bad thoughts and ill feelings if at all they have any at the Bali peetam, surrender totally to the Almighty, and then enter the temple with the mind filled with pure thoughts of the supreme Lord. In the end before leaving the temple, Devotees should do namaskaram/prostrate in front of the dwajhasthambam and Bali peetam with total humility and true devotion

The concept of seeveli or Sreebali in Kerala temples is that the Lord watches offering food to his bodyguards, represented by each balikallu (altar stone). Seeveli consists of three circumambulations (pradakshinams) and finishes after draping food on the big balikkallu. No one should enter nalambalam during seeveli and should circumambulate with the Lord chanting his names.

The metal images of the murtis used for Seeveli are usually placed in the sanctum sanctorum during the day time of worship. During the last worship practice, called Ardhajamam, there is a lengthy proceeding when sacred verses praising the deities are recited. These murtis are usually made of bronze and stored in the respective shrines of the deities. Panchaloha is a term for traditional five-metal alloys of sacred significance used for making Hindu temple icons.

Tantra Samuchaya a compendium of the rites of worship practiced in the temples of Kerala prescribes that in festivals and even daily seeveli, it is customary to carry the deity on a vahana or carrier which maybe human, animal (horse or elephant) or a vehicle (palanquin or chariot).

Procession in the front is always accompanied by music - mostly percussion instruments such as the panchavadyam (five instruments out of which three are percussion, one is wind, and the other a pair of cymbals) and nadaswaram (a wind instrument).

Large Tree in front of the temples

Some of the major temples in India are related to a specific type of tree and contain something called the sthala vriksham. 

There are many reasons for the placement of the tree inside the temple; to enhance the oxygen circulation within the temple and also denotes the type of offering for the temple. There is also the fact of relating these trees to God to increase the respect and fear for the almighty which in turn reduces deforestation and to learn to worship the environment. There is also a belief that it is to bring down the cosmic powers from the universe to the world.

Temple Ponds

Water represents one of the five Panch Mahabhoot or the Five elements of nature of which everything is made, the other four being Fire, Air, Space and Earth or Prithvi, Akash, Agni and Vayu. The Prana (life force) is connected to be these five elements.

Temple ponds are wells or tanks built as part of the temple complex in Indian temples. They are called pushkarini, kalyani, kunda, sarovara, talab, pukhuri, ambalakkuḷam, etc. in different languages depending on the region in India. Some tanks are said to cure various diseases and maladies when bathed in. Pushkaram means to make fertile. Other than helping people cleanse themselves before congregating, these tanks were harbingers of fertility to the land as they helped increase the water table in the village.

One page does not suffice to describe the many scientific, economic and spiritual aspects of a practice of worship that has survived and evolved in the last 10,000 years or more!  More to come! Thank you for your time!

 

 Sources:

https://www.templepurohit.com/hindu-temple-visits-rituals-meanings/
https://timesofindia.indiatimes.com/blogs/tracking-indian-communities/glue-of-the-gods/?source=app&frmapp=yes
https://en.wikipedia.org/wiki/Vilwadrinatha_Temple
https://www.iastoppers.com/articles/seeveli
https://www.sahapedia.org/elephants-rituals-and-festivals
https://en.wikipedia.org/wiki/Koodalmanikyam_Temple
https://www.re-thinkingthefuture.com/architectural-styles/a2424-science-behind-indian-temples/#:~:text=It%20is%20a%20science%20of,the%20elements%20in%20the%20temple.