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Construction Techniques of Indian Temples
International Journal of Research in Engineering, Science and Management 420 Volume-1, Issue-10, October-2018 www.ijresm.com | ISSN (Online): 2581-5782 Construction Techniques of Indian Temples Chanchal Batham1, Aatmika Rathore2, Shivani Tandon3 1,3Student, Department of Architecture, SDPS Women’s College, Indore, India 2Assistant Professor, Department of Architecture, SDPS Women’s College, Indore, India Abstract—India is a country of temples. Indian temples, which two principle axis, which in turn resulted in simple structural are standing with an unmatched beauty and grandeur in the wake systems and an increased structural strength against seismic of time against the forces of nature, are the living evidences of forces. The Indian doctrine of proportions is designed not only structural efficiency and technological skill of Indian craftsman to correlate the various parts of building in an aesthetically and master builders. Every style of building construction reflects pleasing manner but also to bring the entire building into a a clearly distinctive basic principle that represents a particular culture and era. In this context the Indian Hindu temple magical harmony with the space. architecture are not only the abode of God and place of worship, B. Strutural Plan Density but they are also the cradle of knowledge, art, architecture and culture. The research paper describes the analysis of intrinsic Structural plan density defined as the total area of all vertical qualities, constructional and technological aspects of Indian structural members divided by the gross floor area. The size and Temples from any natural calamities. The analytical research density of structural elements is very great in the Indian temples highlights architectural form and proportion of Indian Temple, as compared to the today's buildings. -
An Integrative Framework for Temple Tourism Destination of Odisha: the Marketing and Management Perspectives, Case Study on Golden Triangle of Odisha, India
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 01, JANUARY 2020 ISSN 2277-8616 An Integrative Framework For Temple Tourism Destination Of Odisha: The Marketing And Management Perspectives, Case Study On Golden Triangle Of Odisha, India P.P.Mohanty, Dr. Sapan Kumar Sadual Abstract: The tourism industry is changing rapidly across the globe that ultimately accountable towards the sustainability of the destination. Tourists derive the unforgettable experience by the dint of destination attributes like competitiveness, attractiveness, and uniqueness. The success and failure of a particular destination solely depend on the various attributes that make and mars the image of the destination. The existence of both destination and tourism is vital for future survival in terms of many touristic activities. Odisha, the land of spiritualism, has been laced with history, heritage, culture, faith and belief of various temples, but in particular temple tourism as a single entity has not been promoted instead of vast potential and prospects. Hence it is a major and prolific step taken by the author to study and find the way for promoting Odisha as an emerging temple tourism destination concentrating and focusing in and around Bhubaneswar-Puri- Konark, the golden triangle circuit. Index Terms: Temple tourism, Marketing, Management, Destination, Golden triangle ———————————————————— 1 INTRODUCTION Since then temples have been significant in all religions. In In this cut-throat competitive era, lagging behind all other many people’s opinion religious, spiritual and pilgrimage all sectors, the tourism industry is growing rapidly and has are enticed or engulfed within the temple tourism being been emerged as a vehicle for socio-economic, cultural and propelled by the faith, belief, religion, somehow correct, but sustainable development. -
The Ratha Yatra of Sri Jagannath
Srimandira The Ratha Yatra of Shri Jagannath l Jayanta Narayan Panda Orissa the Land of festivals is known Green timbers respectively. Beside the D.F.O. Nayagarh have been supplying 3 world-wide during the monsoon for the Nos. of Simuli timbers for last some years. spectacular festival, Ratha Yatra or the Now a days the availability of Fasi species Car Festival of Shri Jagannath. Among of trees has become a problem in twelve major festivals, viz. the Snana Nayagarh Division, as a result of which Yatra, the Ratha Yatra, the Sayan Yatra, the D.F.O. Nayagarh has to procure the the Dakshinayana Yatra, the Fasi trees from other Divisions to supply Parswaparivartan Yatra, the Utthapana the same to the Temple Administration. Yatra, the Pravarana Yatra, the Like previous years the D.F.O. Nayagarh Pusyabhisheka Yatra, the Uttarayana sends first truck load of timber before Yatra, the Dola Yatra, the Damanaka Yatra 'Basanta Panchami' and the rest of the and the Akshaya Trutiya Yatra are timbers reaches in a phased manner. celebrated inside the temple of Lord Jagannath ; The Ratha Yatra or the Car The construction of the Rathas starts Festival of Lord deserves special mention. on the Akshaya Trutiya day. The progress This festival draws millions of tourists both of construction is monitored regularly by in-land and foreigners to the Grand Road. a team of officials. The Executive And the deities come down from the main Engineer, R & B, Puri Division, Puri is temple to the Grand Road to meet the reviewing the progress from time to time. -
Vāstu Śāstra, Vastu Veda, Vastuvidya, Thachu Shastra, Thatchu Shasthra
Vastu shastra (vāstu śāstra, vastu veda, vastuvidya, Thachu Shastra, Thatchu Shasthra, "shastra of construction", "architecture") is an ancient doctrine which consists of precepts born out of a traditional view on how the laws of nature affect human dwellings.[1] The designs are based on directional alignments. It used to be applied in Hindu architecture, especially for Hindu temples, and covers other domains, including vehicles, vessels, furniture, sculpture, paintings etc. The foundation of Vastu is traditionally ascribed to the sage Maamuni Mayan (Mahaa-muni Maya, a daanava/demon reformed by tapasyaa/austerities) in South India, and Vishvakarman in North India. Vastu experts usually call it construction science, however main-stream scientists, and architects, consider Vastu as more of a superstition and pseudoscience. While Vastu had long been essentially restricted to temple architecture, there has been a revival of it in India, in recent decades, notably under the influence of late V. Ganapati Sthapati, who has been campaigning for a restoration of the tradition in modern Indian society since the 1960s. While the fields are related, Shilpa Shastra explicitly deal with sculpture – forms, statues, icons, stone murals etc. The doctrine of Vastu Shastra is concerned primarily with architecture – building houses, forts, temples, apartments and other buildings. Contents 1 Terminology 2 Fundamental concepts 2.1 Five elements 2.2 Vastu Purusha Mandala 3 Mandala types and properties 3.1 Mandala in siting 3.2 Mandala in construction 4 MahaVastu 5 Western reception 6 See also 7 References 8 Further reading Terminology The Sanskrit word vastu means a dwelling or house with a corresponding plot of land.[2] The vrddhi, vāstu, takes the meaning of "the site or foundation of a house, site, ground, building or dwelling-place, habitation, homestead, house". -
Nabakalebar Ratha Yatra 2015
Nabakalebar Ratha Yatra 2015 1 Place of Good Work done Odisha State 2 Area Puri Police District 3 Nature of Good Work Successful Police Arrangement during Nabakalebar Ratha Yatra 2015 4 Police Station and District or Puri District Police Unit/ Battalion 5 Date of Good Work done 17.07.2015 to 29.07.2015 (dd-mm-yyyy ) 6 Brief of work done Puri also known as Shree Khetra, located on the east coast of India in the state of Odisha, is regarded as one of the “Four Dhams” (Char Dham) of Hindus. The presiding deities of Puri are Lord Jagannath, Goddess Subhadra and Lord Balabhadra, who all adorn the sanctum of Shri Jagannath Temple, Puri, the 12th century architectural marvel. Rath Yatra is the annual festival of presiding deities, who are taken on giant chariots (Rath) dragged by thousands of devotees. The celebration continues for 11 days during which period about two million of devotees congregate in the Holy Dham of Puri. Nabakalebar, the periodical ceremonial re-embodiment of the wooden idols of Lord Jagannath, Devi Subhadra, Lord Balabhadra and Lord Sudarshan, normally falls after a gap of 19 years though on certain occasions it takes place after a gap of 12 years. The last Nabakalebar of the deities took place in the year-1996. Due to improvement of infrastructure including road and railway connectivity to Puri, more than five million congregation was anticipated during Nabakalebar-2015. Keeping in view the safety, security, law and order and traffic management of mega festival, Nabakalebar-2015, elaborate Police arrangements were made by the Odisha Police for this occasion. -
PDF Format of This Book
COMMENTARY ON THE MUNDAKA UPANISHAD COMMENTARY ON THE MUNDAKA UPANISHAD SWAMI KRISHNANANDA Published by THE DIVINE LIFE SOCIETY P.O. SHIVANANDANAGAR—249 192 Distt. Tehri-Garhwal, Uttarakhand, Himalayas, India www.sivanandaonline.org, www.dlshq.org First Edition: 2017 [1,000 copies] ©The Divine Life Trust Society EK 56 PRICE: ` 95/- Published by Swami Padmanabhananda for The Divine Life Society, Shivanandanagar, and printed by him at the Yoga-Vedanta Forest Academy Press, P.O. Shivanandanagar, Distt. Tehri-Garhwal, Uttarakhand, Himalayas, India For online orders and catalogue visit: www.dlsbooks.org puBLishers’ note We are delighted to bring our new publication ‘Commentary on the Mundaka Upanishad’ by Worshipful Sri Swami Krishnanandaji Maharaj. Saunaka, the great householder, questioned Rishi Angiras. Kasmin Bhagavo vijnaate sarvamidam vijnaatam bhavati iti: O Bhagavan, what is that which being known, all this—the entire phenomena, experienced through the mind and the senses—becomes known or really understood? The Mundaka Upanishad presents an elaborate answer to this important philosophical question, and also to all possible questions implied in the one original essential question. Worshipful Sri Swami Krishnanandaji Maharaj gave a verse-by-verse commentary on this most significant and sacred Upanishad in August 1989. The insightful analysis of each verse in Sri Swamiji Maharaj’s inimitable style makes the book a precious treasure for all spiritual seekers. —THE DIVINE LIFE SOCIETY 5 TABLE OF Contents Publisher’s Note . 5 CHAPTER 1: Section 1 . 11 Section 2 . 28 CHAPTER 2: Section 1 . 50 Section 2 . 68 CHAPTER 3: Section 1 . 85 Section 2 . 101 7 COMMENTARY ON THE MUNDAKA UPANISHAD Chapter 1 SECTION 1 Brahmā devānām prathamaḥ sambabhūva viśvasya kartā bhuvanasya goptā, sa brahma-vidyāṁ sarva-vidyā-pratiṣṭhām arthavāya jyeṣṭha-putrāya prāha; artharvaṇe yām pravadeta brahmātharvā tām purovācāṅgire brahma-vidyām, sa bhāradvājāya satyavāhāya prāha bhāradvājo’ṇgirase parāvarām (1.1.1-2). -
Mandukya Upanishad, Class 7,Baghawat Geeta
Mandukya Upanishad, Class 7 Mantra # 6: This is the Lord of all, this is the knower of all, this is the inner controller, this is the source of all. And this is that from which all things originate and in which they finally dissolve themselves. Swamiji said the Upanishad is in middle of Chatushpada Atma Vichara. The teaching wants to say that ultimately “I” am Turiya Chaitanyam, which does not have any time or space limitations. This Turiya Chaitanyam is appearing as Jagrit, Swapna, and Sushupti avasthas. It is appearing in three Veshams. Citing an example, it is the same gold that appears as a bangle, ring and chain. Gold by itself is neither bangle, nor ring nor chain. Bangle is like the first pada, ring is like the second pada and chain is like the third pada. Gold is like the fourth pada or Turiyam. There are no such things called bangle, ring or chain. The substance is only gold that appears as all three ornaments. Thus, I, Turiyam manifest as gross creation. Gross creation is not a substance in itself. The Turiya Chaitanyam is the only substance that appears as gross creation. There is no matter separate from Consciousness. There is no separate gross matter separate from Consciousness. Thus, I, appear as Sthula Atma consisting of knower and known. With another nama and rupa I appear as sukshma atma or subtle dream universe. Here, I am the dream knower and known, all my own appearances. I, in sushupti, take on another nama and rupa, in seed form. In sushupti everything is in avyakta rupam. -
CERTIFICATE It Is Hereby Declared That This Work Has Not Been Submitted for a Higher Degree to Any Other University Or Instituti
CERTIFICATE It is hereby declared that this work has not been submitted for a higher degree to any other University or Institution. L. Peter Kollar. / **/ ' (* KEN5INGTDN £ V °o V * Li 8RARV SUMMARY This is a study of symbolism in traditional Hindu architecture. It is based upon the Shri Minakshi Sundareswar, The Great Temple at Madura, South India, visited by the author in i960. The formal arrangement of this temple is the pivot around -which the examination of the principles of architectural symbolism revolves. The general principles as well as the particular symbolic expressions are elucidated by constant reference to the sacred texts of the Hindu tradition. The key to all this is the Hindu doctrine itself, but no attempt could be made to expose its integrality on these pages. However, the introduction and the footnotes contain sufficient references and brief explanations to enable one to follow the theme without undue difficulty even if the subject were unfamiliar. The study develops the meaning of the architectural layout by approaching the temple from the outside and gradually progressing towards its core. During this passage the nature of symbolism is discovered in successively higher degrees until it becomes clear that the temple - in its detail as well as in its entirety - is a meta physical symbol and its construction a metaphysical rite. It expresses by means of silent architectural forms the selfsame doctrine which is recorded verbally in the sacred texts. SYMBOLISM IN HINDU ARCHITECTURE as revealed in the SHRI IvUNAKSHI SUNDARESWAR A study for the degree of Master of Architecture L« Peter Kollar A.A.S.T.C., A.R.A.I.A, Sydney, 1962 ii CONTENTS List of Plates .. -
Understanding the Return Ratha Yatra Part-01
Photo by Bhakta Charles By Madhavananda Das Part one: THE OPULENT ANSWER Many devotees ask how we are to understand the Ulṭā, or Bahudhā — return Ratha-yātrā in Jagannath Puri? If (as Gaudiya Vaishnavas state) we consider the Guṇḍicā-yatra, or Ratha-yātrā to respresent the ecstatic emotions of the residents of Vrindavan taking Krishna home from Kuruksetra. How do we then understand the return Ratha-yātrā? Is it a festival celebrating taking Krishna away from Vrindavan? There are two sides, two answers, that can be offered to this question. To understand them, one first needs to consider something about the nature of Sri Jagannath Puri Dham. In his book, The Embankment of Separation (chapter 7), Srila Prabhupada’s Orissan disciple, Sri Srimad Gour Govinda Maharaja describes Lord Jagannath and Puri as: aiśvarya-mādhurya yugala-milana — “The combination of both opulence and sweetness.” This point is substantiated by Srila Sanatan Goswami who writes in his Bṛhad-Bhāgavatāmṛta (2.5.212): śrī-kṛṣṇa-devasya sadā priyaṁ tat kṣetraṁ yathā śrī-mathurā tathaiva tat-pāramaiśvarya-bhara-prakāśa lokānusāri-vyavahāra-ramyam “Just as Mathura-Vrindavan is eternally dear to Sri Krishna, so too is his abode of Purushottam Kshetra Jagannath Puri. There in Puri, Krishna displays supreme opulence and while at the same time presents pastimes that are full of sweetness.” Understanding Return Ratha-yatra Page — 2 This may strike the learned readers as confusing, for in terms of siddhānta, there is a vast difference between the qualities of aiśvarya, opulence; and mādhurya, sweetness. When jñāna and aiśvarya, knowledge of the Lord’s opulence and position, are present then rati-saṅkucita — love is shrunken. -
Engineering Marvels of 1.5 Million Years Old Man Rama Setu Dr
[ VOLUME 2 I ISSUE 3 I JULY – SEP. 2015 ] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Engineering Marvels of 1.5 Million Years Old Man Rama Setu Dr. M. Sivanandam Professor, Department of Electronics and Communication Engineering, Sri Chandrasekharendra Saraswathi Viswa Mahavidyalaya, Kanchipuram- 631 561, Tamil Nadu. Received Aug. 20, 2015 Accepted Sept. 10, 2015 ABSTRACT Rama went on exile for 14 years. At the end of 12th year, near Panchavadi, Sita was abducted by Ravana. Rama with the help of Hanuman located Sita at Ashoka Vatika, Sri Lanka. To reach Sri Lanka, Nala and Vanara sena constructed a sea bridge from Dhanuskhodi, India to Thalaimannar, Sri Lanka with 35 Km length and 3.5 Km width in 5 days with local trees, rocks and gravels. At Sri Lanka Rama killed Ravana and returned with Sita to Ajodhya. The sea bridge with largest area, constructed 1.5 million years before is still considered an engineering marvel. Key words: Rama, Sita, Ravana, Hanuman, Ashoka Vatika, Nala, Rama Setu. 1. Introduction In Tredha Yuga the celestials troubled by They spent 12 years in the forest peacefully demons, especially Ravana, the king of Sri but towards the end of the exile when they Lanka, appealed to Lord Vishnu who agreed moved to Panchavadi near present to take a human incarnation to annihilate Bhadrachalam, Andhra Predesh Sita was Ravana. Rama was born to king Dasharatha of abducted by Ravana by Pushpaga Vimana [3]. Khosala Kingdom [1]. Rama decided to fulfill Figure 1 shows the places of travel during the promise of his father to Kaikeyi, step exile. -
Sun Worship in Himalaya Region: with Special Reference to Katarmal and Martand
Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 Vol. IV., 2013 Sun Worship in Himalaya Region: with Special Reference to Katarmal and Martand Dr. Virendra Bangroo Assistant Professor IGNCA, New Delhi. & Dr. Richan Kamboj Assistant Professor & HOD, Department of Drawing & Painting M.K.P.(P.G.) College Dehra Dun. The Sun, the source of light and solar energy, is the sources of all life and finds mention in all the sacred texts like the Rig Veda, the Vishnu Purana, the Mahabharta, the Bhavisya Purana, the Chandogya Upanishad, the Markandaya Purana, the Taittiriya Upansihad, the Nilarudra Upanishad and the Varaha purana. The Sun or Surya is also known by other names, each name highlights the grandeur, brilliance, quality and power of the Sun,viz:- 1. Aditya- Son of the primordial vastness ss 2. Aja-ekapad – one legged goat 3. Pavaka – Purifier 4. Jivana- the source of life 5. Jayanta-Victorious 6. Ravi - Divider 7. Martanda- born from life less egg 8. Savitr -Nourisher 9. Aharpati-Lord of the day 10. Jagat chaksu-Eye of the world 11 - Karma Sanskasin -Witness of deeds 12. Graha Rajan-King of Planets 13. Sahasra-Kirana-Having Thousand beams 14. Saptashwa-Having seven horses 15. Dyumani-Gem of the sky 1 Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 Vol. IV., 2013 16. Graha pati-Lord of the Planets 17. Heli-Pervader 18. Khaga-Wanderer of space 19. Padma-bandhu-Friend of the lotus 20. Padma Pani-Lotus in hand 21. Himarati- Enemy of snow 22. -
Understanding Draupadi As a Paragon of Gender and Resistance
start page: 477 Stellenbosch eological Journal 2017, Vol 3, No 2, 477–492 DOI: http://dx.doi.org/10.17570/stj.2017.v3n2.a22 Online ISSN 2413-9467 | Print ISSN 2413-9459 2017 © Pieter de Waal Neethling Trust Understanding Draupadi as a paragon of gender and resistance Motswapong, Pulane Elizabeth University of Botswana [email protected] Abstract In this article Draupadi will be presented not only as an unsung heroine in the Hindu epic Mahabharata but also as a paragon of gender and resistance in the wake of the injustices meted out on her. It is her ability to overcome adversity in a venerable manner that sets her apart from other women. As a result Draupadi becomes the most complex and controversial female character in the Hindu literature. On the one hand she could be womanly, compassionate and generous and on the other, she could wreak havoc on those who wronged her. She was never ready to compromise on either her rights as a daughter-in-law or even on the rights of the Pandavas, and remained ever ready to fight back or avenge with high handedness any injustices meted out to her. She can be termed a pioneer of feminism. The subversion theory will be employed to further the argument of the article. This article, will further illustrate how Draupadi in the midst of suffering managed to overcome the predicaments she faced and continue to strive where most women would have given up. Key words Draupadi; marriage; gender and resistance; Mahabharata and women 1. Introduction The heroine Draupadi had many names: she was called Draupadi from her father’s family; Krishnaa the dusky princess, Yajnaseni-born of sacrificial fire, Parshati from her grandfather side, panchali from her country; Sairindhiri, the maid servant of the queen Vitara, Panchami (having five husbands)and Nitayauvani,(the every young) (Kahlon 2011:533).