VASTU SHASTR (3) वास्तु शास्त्र :: TEMPLE ARCHITECTURE (2) मन्दिर स्थापत्य कला
TEMPLE ARCHITECTURE (2) मन्दिर स्थापत्य कला
VASTU SHASTR (3) वास्तु शास्त्रCONCEPTS & EXTRACTS IN HINDUISM
By :: Pt. Santosh Bhardwaj
ॐ गं गणपतये नमः"
अक्षरं परमं ब्रह्म ज्योतीरूपं सनातनम्।
गुणातीतं निराकारं स्वेच्छामयमनन्तजम्॥
मंदिर नया हो या पुराना, यदि उसमें उसके निर्माण के आवश्यक सिद्धांत का पालन नहीं किया गया है तो वह एक सुन्दर भवन तो हो सकता है, किन्तु साधना या सिद्धि का स्थल नहीं हो सकता है। वास्तु सिद्धांत के तकनीकी आधार पर निर्मित मन्दिर ऐसी अनुभूति, प्रेरणा एवं भक्ति-श्रद्धा भाव उत्पन्न करते हैं जिन्हें सहज ही अनुभव किया जा सकता है। मन्दिर परिसर में ध्यान से अनेक आतंरिक गुत्थियों-समस्याओं का निराकरण हो जाता है। मानस पटल पर निरर्थक रूप से गूंजने वाली हानिकारक चिंता, भय, दबाव, क्लेश, बन्धन, शोक आदि का निश्चित रूप से विनाश हो जाता है। दक्षिण भारतीय ग्रन्थ वास्तु लिंगम में वास्तु शास्त्र को ठोस एवं आधार भूत रूप में स्पष्ट किया गया है।
सिद्धि प्राप्ति के लिये मंदिर में वास्तु का महत्व :- मंदिर यदि वास्तु, सम्मत हो तो उसमें साक्षात ब्रह्म के दर्शन का सौभाग्य प्राप्त हो सकता है। मंदिर सदैव साफ़ सुथरा एवं सुसज्जित, मन मोहक हो।पञ्च महाभूतों के द्वारा स्वतंत्र स्थूल रूप में जन साधारण को लाभान्वित कराने के लिए मानव समाज-सनातन-हिंदु में धर्म, स्थल-देव, स्थल-मंदिर निर्माण की परम्परा, अनादि कल से चली आ रही है। पारलौकिक या पराभौतिक सिद्धियाँ को मन्दिर के एक निश्चित आकार प्रकार के निर्माण के द्वारा ही प्राप्त किया जा सकता है। मंदिर नया हो या पुराना, यदि उसमें उसके निर्माण के आवश्यक सिद्धांत का पालन नहीं किया गया है तो वह एक सुन्दर भवन तो हो सकता है, किन्तु साधना या सिद्धि का स्थल नहीं हो सकता है। वास्तु सिद्धांत के तकनीकी आधार पर निर्मित मन्दिर ऐसी अनुभूति, प्रेरणा एवं भक्ति-श्रद्धा भाव उत्पन्न करते हैं जिन्हें सहज ही अनुभव किया जा सकता है। मन्दिर परिसर में ध्यान से अनेक आतंरिक गुत्थियों-समस्याओं का निराकरण हो जाता है। मानस पटल पर निरर्थक रूप से गूंजने वाली हानिकारक चिंता, भय, दबाव, क्लेश, बन्धन, शोक आदि का निश्चित रूप से विनाश हो जाता है।
दक्षिण भारतीय ग्रन्थ वास्तु लिंगम में वास्तु शास्त्र को ठोस एवं आधार भूत रूप में स्पष्ट किया गया है। जम्मू स्थित माता वैष्णों देवी का मन्दिर, कोलकाता का काली माता का मन्दिर, काशी विश्वनाथ मन्दिर, तिरुपति बालाजी मन्दिर आदि की ख्याति-प्रसिद्धि भक्तों की श्रद्धा-भक्ति के कारण और उनमें प्रयुक्त स्थापत्य कला-वास्तु के कारण समय के साथ-साथ बढ़ती ही जा रही है।
परमात्मा को अलग अलग प्रकार से और स्वतंत्र रूप से मानने वाले (1). गणपत्य (विघ्न विनाशक गणपति उपासक), (2). शाक्त (शक्ति या दुर्गा उपासक), (3). शैव (शिव उपासक), (4). भागवत (विष्णु उपासक) एवं (5). कापालिक (भैरव आदि श्रेणियों-वर्गों में बँटे हैं।
शाक्त में तीन प्रधान शक्तियाँ :: इसमें महालक्ष्मी, महाकाली एवं महासरस्वती, (यंत्र, मन्त्र एवं तंत्र स्वरुप) आते हैं। प्रमुख 52 शक्तिपीठ और कुल 108 शक्ति स्थल यथा माता वैष्णव देवी पीठ इसके उदाहरण हैं। शाक्त या देवी मन्दिर। वही सिद्ध साधना स्थल होता है, जो कि इन तीनों पर आधारित हो-जिनका (1). मध्य का हिस्सा उभरा हुआ त्रिस्फ़टिक आकार का तथा परावर्तक सतह का हो, (2). इसके अन्य दोनों हिस्से आगे और पीछे, एक अर्ध गोलाकार तथा बीच वाले भाग को आवृत्त करते हुए बना हो तथा (3). अन्तिम भाग केतु या टोपी या मुकुट के रूप का होना चाहिए। यह आकृति मंदिर के नींव से शुरू होकर चोटी के त्रिशूल या मुकुट तक जाना चाहिए। इस प्रकार किसी भी शाक्त या देवी मन्दिर में जब तक ये तीन-तीन के विभाग में नौ उभार न हों वह देवी मन्दिर सिद्ध साधना स्थल नहीं हो सकता है। किसी भी मन्दिर-मकान-भवन क़ी दीवारें तथा छत इसलिए ऊँची रखी जाती हैं, ताकि गर्मी-सर्दी का असर उन पर सदैव न्यूनतम-नगण्य रहे। तीस तीस अंश के कोण पर उभार देकर तथा पूर्वी क्षितिज से मुकुट एवं आधार का उन्नयन एवं अवनयन कोण समबाहु त्रिभुज के आकर में निर्माण किया जाता है। मुकुट से आधार पर बनने वाला त्रिभुज, मन्दिर क़ी बाहरी दीवारों से समकोण त्रिभुज क़ी रचना करे तो मध्यवर्ती मुकुट का उभार, जो आपाती किरण आधार पर डालेगा, वह सीधे ब्रह्मरंध्र, यदि उसके आपतन क्षेत्र में है तो उसे अनावृत्त कर देगा। इसी रंध्र से प्रसृत होने वाली किरण अंतरिक्ष में घूमना शुरू कर देती हैं, जिनकी डोर प्रचेतस, एक किरण के रूप में अर्धचेतन अवस्था में उप मस्तिष्क से बँधीं रहती हैं।
शक्ति मन्दिर के पृष्ठ भाग का उभार आधार से लेकर शीर्ष तक तीन कोणों पर चापाकृति में, सम्मुख भाग का उभार आधार से लेकर शीर्ष तक सपाट, किन्तु पृष्ठ भाग के आधे क्षेत्रफल का तथा शेष दोनों भागों का उभार शीर्ष से आधार तक परस्पर तीस अंश के कोण पर एक दूसरे से मिला हुआ होना चाहिए।
तमिलनाडु के तंजौर में शिव मन्दिर :: यह बहुत ही विशाल काय एवं आधार से लेकर शीर्ष तक 60 अंश के आपतन कोण पर दोनों भागो क़ी दीवारें परस्पर मिली हैं। इस मन्दिर क़ी ऊँचाई इतना ज्यादा होने के बावजूद भी इसकी छाया धरती पर नहीं पड़ती, चाहे सूरज कितना भी चमकते हुए हो, चाहे किसी भी दिशा में क्यों न जाए!
इसके आगे लगभग 100 फीट का लंबा बरामदा बना दिया गया है, जिससे उसकी दाहिने एवं बाएं भाग क़ी दीवारें आपतन कोण से बहुत दूर जा चुकी है। परिणाम स्वरुप उस मन्दिर के निर्माण क़ी परिकल्पना या उद्देश्य अब भ्रंश हो चुका है और अब वह मन्दिर तो है, किन्तु उद्देश्य पूर्ण मन्दिर नहीं रह गया है, इसके प्राकार और प्राचीर-बरामदा आदि के निर्माण में इसके मूल वास्तु को नुकसान पहुँचाया है।
सूरत में पारसी सम्प्रदाय का अग्नि मंदिर :: इस सम्प्रदाय क़ी मान्यताओं के अनुसार इस मन्दिर में गैर पारसी सम्प्रदाय का प्रवेश वर्जित है। इस मन्दिर में अग्नि क़ी पूजा होती है। यह अग्नि कभी बुझती नहीं है। इस मन्दिर के चार दरवाजे हैं। किन्तु प्रधान रूप से एक ही दरवाजे का ज्यादा उपयोग किया जाता है।
जिस तरफ मुख्य दरवाजा है, उसके ठीक सामने अन्दर क़ी दीवार मन्दिर क़ी पूरी चौड़ाई के बराबर ऊँचाई पर जाकर मेहरावदार हुई है तथा अग्नि जलाने का पात्र उस दीवार से उतनी ही दूरी पर रखा जाता है, जितनी लम्बाई प्रधान पुजारी क़ी होती है अर्थात यदि पुजारी बदलता है तो दूसरे पुजारी द्वारा अपनी ऊँचाई के बराबर उस दीवार से उतनी ही दूरी पर वह अग्निपात्र रखा जाता है।
जितने भी पौराणिक काल के मंदिर है वे सब सिद्ध हैं। वहाँ साधना फलीभूत होती है, क्योंकि उनके निर्माण में देव स्थान से सम्बंधित वास्तु कला का प्रयोग हुआ है। यहॉँ पर पर संवेदनावाही तन्तुओं एवं इन्द्रियों को नियंत्रित करने वाले विविध किरण एवं रसायन उत्सर्जित होते रहते हैं।
Angkor Wat, has a World Heritage Site and one of the world's largest Hindu temple-complex. This Cambodian temple deploys the same circles and squares grid architecture as described in ancient Indian-Hindu Vastu Shastr. Shiv temple, is the main shrine of Prambanan, a UNESCO World Heritage Site and the largest Hindu temple in Indonesia.
The Hindu temple architecture is an open, symmetry driven structure, with many variations, on a square grid of Pad (foot, steps, पाद, चरण), deploying perfect geometric shapes such as circles and squares. A Hindu temple consists of an inner sanctum, the Garbh Grah (womb chamber, center sanctorium, where the primary idol or deity is housed, along with Purush. The Garbh Grah is crowned by a tower-like Shikhar, also called the Viman (pointed apex, peak, with rounded spherical shells, placed one over other in decreasing size). The architecture includes an ambulatory for Parikrama (परिक्रमा, circumambulation, circular path around the deity, a congregation hall, and sometimes an antechamber and porch.
The Hindu temple architecture reflects a synthesis of arts, the ideals of Dharm, beliefs, values and the way of life cherished under Hinduism. It is a link between man, deities, and the Universal Purush in a sacred space.
A temple-shrine is a place for Tirth-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 celebrate life in Hindu pantheon, are present in a Hindu temple-from fire to water, from images of nature to deities, from the feminine to the masculine, from Kam-passions-sensuality to Arth-money-finance, from the fleeting sounds and incense smells to Purush-the eternal nothingness yet universality-is part of a Hindu temple architecture.
The architectural principles of Hindu temples in India are described in Shilp Shastr and Vastu Shastr. The Hindu culture has encouraged aesthetic independence to its temple builders, and its architects have sometimes exercised considerable flexibility in creative expression by adopting other perfect geometries and mathematical principles in Mandir construction to express the Hindu way of life. 
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 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 Arth (prosperity, wealth), the pursuit of Kam (Sexual pleasure, sex), the pursuit of Dharm (virtues, ethical life) and the pursuit of Moksh, Salvation, Liberation, Assimilation in God (release, self-knowledge). Hindu temple sites cover a wide range. The most common sites are those near water bodies, embedded in nature, such as the above at Badami, Karnatak.
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 Purush, 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 sanctification-realisation within the devotee. The specific process is left to the devotee’s belief. The primary deity of different Hindu temples varies to reflect this spiritual spectrum. Hindu has firth faith in one God with multiple variations in the form of deities-demigods.
The appropriate site for a Mandir-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 deities-demigods play-roam and thus the best site for Hindu temples.
Hindu Mandirs are recommended at sangams (confluence of rivers), river banks, lakes and seashore, Brahat Sanhita and Purans explains that temples were built at places where a natural source of water was not present. Rain water is harvested here. 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 Vishnu Dharmottar in Part 3 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.
A Hindu temple design follows a geometrical design called Vastu Purush-Mandal. The name is a composite Sanskrat word with three of the most important components of the plan. Mandal means circle, Purush is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure. Vastu Purush Mandal is a Yantr. The design lays out a Hindu temple in a symmetrical, self-repeating structure derived from central beliefs, myths, cardinality and mathematical principles.
The 8 X 8 = 64 grid, Manduk Hindu Temple Floor Plan, according to Vastu Purus Mandal. The 64 grid is the most sacred and common Hindu temple template. The bright saffron center, where diagonals intersect above, represents the Purush of Hindu philosophy.
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 Mandal 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 square grids. In large temples, this is often a 8 X 8 = 64 grid structure. In ceremonial temple superstructures, this is an 81 sub-square grid. The squares are called Pads-steps. 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 civilisations, through the gammon. In Hindu temple manuals, design plans are described with 1, 4, 9, 16, 25, 36, 49, 64, 81 up to 1,024 squares; 1 Pad is considered the simplest plan, as a seat for a hermit or devotee to sit and meditate on, do Yog or make offerings with Vedic fire in front. The second design of 4 Pads has a symbolic central core at the diagonal intersection and is also a meditative layout. The 9 Pad design has a sacred surrounded center and is the template for the smallest temple. Older Hindu temple Vastu Mandals may use the 9 through 49 Pad series, but 64 is considered the most sacred geometric grid in Hindu temples. It is also called Manduk, Bhek Pad or Ajir in various ancient Sanskrat texts. Each Pad is conceptually assigned to a symbolic element, sometimes in the form of a deity or to a spirit or Apsara. The central squares of the 64 is dedicated to the Brahman (not Brahma Ji) and are called Brahm Pad.
In a Hindu temple’s structure of symmetry and concentric squares, each concentric layer has significance. The outermost layer, Paeshachik Pads, signify aspects of Asurs and evil; the next inner concentric layer is Manush Pads signifying human life; while Daevik Pads signify aspects of Devs, demigods, deities and good. The Manush Pads typically houses the ambulatory. The devotees, as they walk around in clockwise fashion through this ambulatory to complete Parikrama (or Pradakshina), walk between good on inner side and evil on the outer side. In smaller temples, the Paeshachik Pad is not part of the temple superstructure, but may be on the boundary of the temple or just symbolically represented.
The Paeshachik Pad, Manush Pad and Daevik Pad surround Brahm Pad, which signifies creative energy and serves as the location for temple’s primary idol for darshan. Finally at the very center of Brahm Pad is Garbh Grah (Garbh-Center, Grah-house; literally the center of the house, Purush Space), signifying Universal Principle present in everything and everyone. [The spire of a Hindu temple, called Shikhar in north India and Viman in south India, is perfectly aligned above the Brahm Pad(s).
A Hindu temple has a Shikhar (Viman or Spire) that rises symmetrically above the central core of the temple. These spires come in many designs and shapes, but they all have mathematical precision and geometric symbolism. One of the common principles found in Hindu temple spires is circles and turning-squares theme (left) and a concentric layering design (right) that flows from one to the other as it rises towards the sky.
Beneath the central squares is the space for the formless shapeless all pervasive all connecting Universal Spirit, the Purush. This space is sometimes referred to as Garbh-Grah (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 (Image, statue, idol). This is the main deity idol and this varies with each temple. Often it is this idol that gives it a local name, such as Vishnu temple, Krashn temple, Ram temple, Narayan temple, Shiv temple, Lakshmi temple, Ganesh temple, Durga temple, Hanuman temple, Sury temple and others. It is this Garbh-Grah which devotees seek for Darshan (literally, a sight of knowledge or vision.
Above the Vastu Purush-Mandal is a superstructure with a dome called Shikhar in north India and Viman 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. Scholars suggest that this shape is inspired by cosmic mountain of Meru or Himalayan Kaelash, the abode of Bhagwan Shiv-the destroyer, Mahesh..
In larger temples, the outer three Pad are visually decorated with carvings, paintings or images meant to inspire the devotee. In some temples, these images or wall reliefs 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-Dharm, Arth, Kam and Moksh. This walk around is called Pradakshina. An illustration of Hindu temple Spires (Shikhar, Viman) built using concentric circle and rotating-squares principle.
Large temples also have pillared halls called Mandap. One on the east side, serves as the waiting room for pilgrims and devotees. The Mandap 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.
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, is not a square but is a rectangle 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 Madhy Pradesh and Nakti-Mata temple near Jaipur, Rajasthan. These exceptions mean the ancient Sanskrat manuals for temple building were guidelines and Hinduism permitted its artisans flexibility in expression and aesthetic independence.
In elevation, a Shikhar, i.e., tower gradually inclines inwards in a convex curve, using a concentric rotating-squares and circles principle.
The projections in the plan are also carried upwards to the top of the Shikhar and thus, there is strong emphasis on vertical lines in elevation. The Nagar style is widely distributed over a greater part of India, exhibiting distinct varieties and ramifications in lines of evolution and elaboration according to each locality. An example of Nagar architecture is the Kandariy Maha Dev Temple.
Thanjavur temple, Tamil Nadu :: Dravidian style temples consist almost invariably of the four following parts, differing only according to the age in which they were executed.
The principle part, the temple itself, is called the Viman (or Vimanam). It is always square in plan and surmounted by a pyramidal roof of one or more stories; it contains the cell where the image of the god or his emblem is placed.
The porches or Mandap (or Mantapam), which always cover and precede the door leading to the cell.
Gate-pyramids, Gopuram, which are the principal features in the quadrangular enclosures that surround the more notable temples.
Pillared halls or Chaultris-properly Chawadis-used for various purposes and which are the invariable accompaniments of these temples.
Besides these, a temple always contains temple tanks or wells for water (used for sacred purposes or the convenience of the priests), dwellings for all grades of the priesthood are attached to it, and other buildings for state or convenience.
The Virupaksh temple (or Lokeshwar temple) at Pattadakal, built by queen Lok Maha Devi (queen of Badami Chaluky King Vikramaditya II) around 740 CE, now a World Heritage Site.
The period of Badami Chalukys was a glorious era in the history of Indian architecture. The capital of the Chalukys, Vatapi (Badami, in Bagalkot district, North Karnataka in Karnataka) is situated at the mouth of a ravine between two rocky hills. Between 500 and 757 CE, Badami Chalukys established the foundations of cave temple architecture, on the banks of the Mala Prabha River. Those styles mainly include Aihole, Pattadakal and Badami. The sites were built out of sandstone cut into enormous blocks from the outcrops in the chains of the Kaladgi hills.
In Aihole, known as the "Cradle of Indian architecture," there are over 150 temples scattered around the village. The Lad Khan Temple is the oldest. The Durga Temple is notable for its semi-circular apse, elevated plinth and the gallery that encircles the sanctum sanctorium. A sculpture of Bhagwan Shri Hari Vishnu sitting atop a large cobra is at Hutchimali Temple. The Ravalphadi cave temple celebrates the many forms of Bhagwan Shiv. Other temples include the Konthi temple complex and the Meguti Jain temple.
Pattadakal is a (World Heritage Site), where one finds the Virupaksh temple; it is the biggest temple, having carved scenes from the great epics of Ramayan and the Mahabharat. Other temples at Pattadakal are Mallikarjun, Kashi Vishw Nath, Galag Nath and Pap Nath.
The Gadag style of architecture is also called Western Chaluky architecture. The style flourished for 150 years (1,050 to 1,200 CE); in this period, about 50 temples were built. Some examples are the Saraswati temple in the Trikuteshwar temple complex at Gadag, the Doddabasappa Temple at Dambal, the Kashi Vishweshwar Temple at Lakkundi and the Amrateshwar temple at Annigeri. which is marked by ornate pillars with intricate sculpture. This style originated during the period of the Kalyani Chaluky (also known as Western Chaluky) Someshwar (I).
Kaling architecture temple :: The design which flourished in eastern Indian state of Odisha and Northern Andhra Pradesh are called Kaling style of architecture. The style consists of three distinct type of temples namely Rekha Deula, Pidha Deula and Khakhara Deula. Deula means temple in the local language. The former two are associated with Bhagwan Shri Hari Vishnu, Bhagwan Sury Narayan and Bhagwan Shiv temple while the third is mainly with Chamunda and Durga temples. The Rekha Deula and Khakhara Deula houses the sanctum sanctorium while the Pidha Deula constitutes outer dancing and offering halls.
The prominent examples of Rekha Deula are Ling Raj Temple of Bhubaneswar and Bhagwan Jagan Nath Temple of Puri. One of the prominent example of Khakhara Deula is Vaetal Deula. The Konark Sun Temple is a living example of Pidha Deula.
Khakhara Deula of the Vaetal Deula :: Maru-Gurjar temple architecture originated somewhere in the 6th century in and around areas of Rajasthan. Maru-Gurjar architecture show the deep understanding of structures and refined skills of Rajasthani craftsmen of bygone era. Maru-Gurjar architecture has two prominent styles :- Maha-Maru and Maru-Gurjar. Maha-Maru style developed primarily in Marudesh, Sapadlaksa, Surasena and parts of Upar Mala whereas Maru-Gurjar originated in Medapata, Gurjar Desh-Arbud, Gurjar Desh-Anart and some areas of Gujarat. Scholars believe that Maru-Gurjar temple architecture is entirely Western Indian architecture and is quite different from the North Indian temple architecture.
RELATED CHAPTERS ::
(1). VASTU SHASTR (1) वास्तु शास्त्र santoshkipathshala.blogspot.com
(2). VASTU SHASTR (2) वास्तु शास्त्र santoshkipathshala.blogspot.com
(3). VASTU SHASTR (3) वास्तु शास्त्र santoshkipathshala.blogspot.com
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