SPECIAL STUDY

INTRODUCTION TO THE PRINCIPLES

A KIND OF SERIAL ENERGY ONE FORM FROM
ANOTHER, AND FROM THAT, ANOTHER AND ANOTHER BECOME A
UNAMBIQUIOUS PATTERN AMONG THE FORMS OF TEMPLES
A Hindu temples embodies several patterns which were seen pervading the
Indian view of the universes. These patterns are of
PRODUCT FUSION
EXERGENCE AND
EXPANSION
All these three part of the same
process in this world view-emergency and expansion are stage of the process of
manifestation, which begins in fusion .Expansion begins in emergency which presuppose emergence, a principle may be described as a principle of fusion,
emergence or expansion, but the other two will always be implied
The means by which the
principles work can be conceptual or illusionist .The conceptual ones affect an
observers ideas of the temples formal structure, which can be understood as
statict or

dynamic(the structure of move-ment patterns). Of couse any

understanding is conceptual(conception affecting perception , which affect

conception and so on).But where illusion(including representation is involved,
forms seem to be static) or, to do (dynamic) of thir own record, things which
literally they are not or not doing.
FRAGMENTATION

A) Fusion through fragmentation

Thr breaking up on element augments fusion
because of the mental effort required to reconstitute the into wholes, or rather into
subwhole or momentary centres with hich to build up the picture of the whole
fragmentation does not mean empty chaos . It can be enhance productive
complexity by increasing the number of possible wholes which can be created.
b) Splitting
Fragmentation can also act as and illusionistic principles
of expansion. If an element is represented is represented as have been splited in
two and the two halfs having moved apart, then there is a sense that the space
contained by the element has expanded from side to side , or is still expanding.
This is particularly so if the path by which the parts have moved apart is clearly
marked, linking the two halves. This process is often a prelude to the emergence of
another form from within the split one.
ABSTRACTION
a) Formalization
Here abstraction is meant simply in the sense of making
forms less representation then they were , while emphasizing their formal
qualities . The process may be one of simplification or elaboration, of making
forms more linear or more planar , more curved or straight , more rough or more
smooth. The forms lose some of their figure quality by shedding some(not all) of
the concrete presence of the thing represented.
VERTICAL AND HORIZONTAL CONTUNITY

The use of both these principles together can create a three dimensional
orthogonally continuum
a)Vertical continuity
This is achieved by aligning element vertically linking them by
vertical lines , or by relating forms to each other by emphasizing their common
vertically. Radiating of lines from a summit doesnot produce vertical contunity ,
since the radiating lines incline towards the peak.
B) Horizontal continuity
This is achieved by aligning forms horizontally, linking them by
horizontal lines or by relating forms to each other by emphasizing their common
horizontally.
DOMINATION BY THE CENTRE
This is not simply centrality. But the principle by which ,
increasingly , all movement patterns are dominated by the principles axes, The
movement patterns within the subcenters or subwholes are subordinated to overall
pattern in a dynamic fusion.
This principles leads, on plan to
emphasize of the cardinal projections and the atrophy and even the virtual
disappearance (in steillate plans of the corners.)
PROPORTIONING SYSTEM
PROPORTIONING SYSTEM OF
ELEMENTS AND ARCHITECTURAL FORMS REPRESENT THE PERFECT

EXPRESSION OF BEAUTY AND HARMONY WHICH IS INTUTIVE

TO

INTELLECTUAL DEVELOPMENT
THE AESTHETIC DIMENSION OF THE MIND
Aesthetics is a subject in
which there are numerous elements contributing to its breath and many layers
providing its depth. It is clear both from subjective experience and from scientific
evidence that there are four fundamentally different kinds of aesthetic experience,
most perhaps all, human beings possesses various kind of aesthetic sensibility
which embraces sound , shape , color and rhythm. In everyone there is response
to elegance . It is a capacity, which is present and can be described by the term first
order aesthetic. There is a further class of aesthetics experience , which emerges
out of the tension between the principles of complexities and pattern, but the
transcendent pattern exhibits the characteristics of elegance.
Finally, there is a type of
aesthetic experience which simply involves the enjoyment of sensory stimulation.
On a comparatively superficial level and at high frequency or peak saturation. It is
a form of aesthetic value system. The limbic brain and related areas have a fully
developed capacity for recording classifying and calculating information.
If Corbusier saw the modular not merely as a numbers with an inherent
harmony , but as a system if measurement that could measure lengths surface
volume and maintain the human scale everywhere it could lend itslf to an
infinity of combinations it ensures unity with diversity
The basic grid consists of three measures- 113,70,43 cms. Proportioned
according to golden section.

43+70=113
113+70=183
113+70+43=226(2*113)
113,183,226 define the space occupied by the human figure.From 113 and 226
and is Corbusier

developes the real and blue series, dimensioning scales of

dimensions that were related to the stature of the human figure

The evaluation process includes a proto aesthetic value system , so called because
it reacts to exotic colors brightness and simply rhythm regarding their questionable
value
HARMONY OF PROPORTIONS
The proportion is classified under
first order aesthetics . With charachteristics caution , psychology are coming to
accept that there are good ground for believing that the mind has an innate capacity
to recognizes and respond to elegance. Naturally individuals vary in the extent to
which they can extract elegance from various ranks or levels of completely .
According to the proportioning element the
brain could well be favorable to certain patterns quite apart from the role in the
everyday experiences These aesthetic sensibilities constitute a capacity to respond
to respond to the two facts of elegance namely harmony or proportion and
balance . Thus harmony or proportion is the governing rule of elegance.
IMPORTANCE OF PROPORTION SYSTEM
The proportion of a particular element or material
depends upon the nature of the material, the structural stability and its

manufacturing process, The intent of all theories of proportion to create a a sense

of order among the elements in a visual construction.
According to valid , a ration refers to the
quantitative comparison of two similar things while proportion refers to the quality
of ratios.Underlying any proportioning system, therefore is a characteristic ratio, a
permanent quality that is transmitted from one ratio to another. Thus , a
proportioning system establishes a consistent set of visual relationships between
the parts of a building as well as between the parts and their whole although these
relationships may not be immediately perceived by the casual observer, the visual
order they create can be sensed, accepted and even recognized
Note: 24 measurement has been used in Tanjore big temple.
25 measurement has been used in Chidambaram
231/4 is used in Madhurai temple
4 dhanuk musti cubits= adhanda(rod)
3 dhandas = one rajju
One mathrangulam = circumference of the right middle finger
Dhehangulam + 11/2 of one tala
One tala = 12 angulas
This division is different from the
usual talas.The actual tala if of 66. Normally all the dimensions are given in
cubit , In constructions 24 is selected to present the cubit, as it is easier to
compare with the human dimensions . Hence , the normal human beings height is
taken as 48 two cubits formulate one man height.

This proportion system governs the

rule for the division of ground planor ite according to sassafras for any building .
And the different layouts for villages, towns, courts. It also lays some restriction
and guidelines for various elements of a building. We will see some examples to
understand the corrections of proportioning system.
THE DIMENSIONS OF BUILDINGS
The square , rectangular , circular , octagonal , hexagonal oval
are the shapes recommended for the buildings of stories which increases or
decreases from 1 to 12.
PROPORTIONING SYSTEM OF THE ELEMENTS
The width of grapha gurha is divided
into 3,5,7,9,11 ..parts and the elevation elements are designed in the harmony with
that. These divisions are known as pathies from these paththies the heights of
various elements are designed from the height of each element the similar elements
are divided and the projection of each element is based on dhanda.
PEDESTAL AND BASE
Which forms the base of a column , pavement for
templs , porticos , as a platform for thrones. It has various Vargas(line),each has
its own height and character representations of some natural elements. The various
elements are Kmbu, vajna , upana, kumbam, gapotha , pattikapadma, priya . These
vargas are arranged in a variety of ways. Most of the proportions follow the
important feature of the human. The ratio is made with geometrical rhythm.
COLUMNS:

The diameter is erived from the height adhistana or the

height of pada. 1/12 th of the pada height is taken as the diameter(one thanda).
Form that the height of other elements and decorative devices are derived . The
square pillars are known as brahma-kanta the octagonal pillars are known as
Vishnu-kanta.
The sided or the circular pillars are known as rudhar-kanta, the pentagonal pillars
are called the siva kanta and the hexagonal pillars shanda kanta. These shapes are
stated to be uniform from the bottom to top.Column furnished with all ornaments
is known as padma-kanta and the oillars having all the aforesaid ornaments
except the pedestal are known as chita stamba , The nect of diameter may be
reduced the shaft are fluted in some kinds in case of mandappa, the column
diameter vvaries from 4 to 6 times the dhanda
SYSTEMS OF MEASUREMENTS
What perceptible to the eye of the sages is
called as a paramanu and times this is known an ratha-dhuli
3 panamanu= 1ratha dhuli( car dust )molecule 3 molecules = 1 valagra(hair ends)
3 hairends= 1 liksha( nit)
3 nits= 1 yuka (louse)
=1 yava(barley corn)
=1andula(finger headth)
=13/8 english inch
= the smallest

= intermediate
=the largest
=one tala
=one vitasi
Kishki(small cubit)-generally it is used In all kind of work particularly it can be
used in conveyance and couch.
25 =prajapatta(cubi)- is used in measuring all kinds of mansions
26= Dhanur musti- is used in measuring the eddies
27 = Dhanur graham- is used in measuring the villages
28= Prachyam
29 = Vidhekam
30=Vituliyam
31 = Prakirnam
24 angulas = Uttanam
231/4 angulas = Madhimam
231/4 angulas = adharmam

VEDIC VIVAH PADDHATI

Sr. Paddhati

Vows

Rituals

No
1
Welcome

Vadhu: I welcome you

Vadhu: Putting on Mala on Var

Var: I accept

Var: Putting on Mala on Vadhu

to Var

Vadhu Paksha: Pag prakshalan + Offer

Var: Vows for his readiness to

Aasan

take responsibilities of

Var: Accepts Aasan

Grahastha Jeevan
Madhupark Var: Vows for abundance for all

Madhupark- Curd + Honey + Ghee

Var: Accepts Madhupark (as good
food) as a friend
Sprinkles in four directions to indicate
that he vows to create abundance for

3
4

Go Daan
Kanya

Mantras
Var: Vows to accept

Acceptanc
5

all
Vadhu Pita: Donates Cows to Var
Vadhu Pita: Puts right hand of Vadhu
on right hand of Var

e
Vastra

Var: Vows to offer Vastra till

Var: Offers Vastra to Vadhu

Dharan

lifetime

Both take break to refresh and have

Various Mantras

fresh Vastra
Kalash Sthapan

Yajna Start

Dridha Purusha Niyukti

Var and Vadhu come together to Yajna
7

Place
Vadhu: May I follow the path of Var leads whilst both do parikrama

Parikrama

dharma that my husband

st

Purohit Niyukti

follows

Perform Yajna

+ Various Mantras
Var & Vadhu: We knowingly

Var leads whilst both do parikrama

Parikrama

accept each other as husband

nd

and wife. May we see our

children grow healthy and
happily. May god bless us with
100 years of healthy life, eyes
9

10

Shila

and ears.
Brother of Vadhu: May you do

Vadhu stands on Shila and puts her

Rohan

all your duties of Grahashta as

hand on Vars hands

determined as this Shila

Brother offers Kheel+Ghee on their

Laja Hom

Vadhu: 1)May my husband be

hands
Vadhu leaves Kheel+Ghee in Yajna in

3rd to 5th

of long life, 2) may God help us

three vow

Parikrama

both in living together with

Var leads whilst both do parikrama for

with

love, 3) may we follow the path

three times

similar

of Dharma

Matras

Var: Oh God, I have accepted

her as my wife. May you bless
her with the tej of surya. May
we together follow the path of

11

dharma
Var: Oh devi, I take you away

Parikrama

from your parents to make

th

Grahastha with you. I vow to

take care of your health. May
you God bless us with peace,

Var leads whilst both do the parikrama

12

Kesh

prosperity and glory

Var: I take away from your

Var Vows with affectionate combing

Mochan

parents but I will never let it

of Vadhus hair.

happen that you have to leave

13

Saptapadi

your husbands place

Both takes seven vows with

The ends of cloths of both are tied

7th

seven steps:

Vadhu leads and both takes seven

Parikrama:

1. May we have good food

vows with seven steps

2. May we have strength

3. May we be prosperous
4. May we be happy
5. May we have good children
6. May we live according to the
times
7. May we live with love and
14

15

Surya

friendship
Var + Vadhu: Oh God, may we

Darshan

see, live, hear, speak and

Hriday

prosper for 100 years

Var: May I make up your heart

Sparsh

and mind according to my

Pray by looking to Sun

Var Vadhu touch each others heart

Karma
Vadhu: May I make up your
heart and mind according to my
16
17
18

Karma
Aashirvaad All: May God bless you both

Everyone present give aashirvaad -

UttarVidhi
Dhruv

three times
Perform Yajna
Var shows Dhruv to Vadhu

Various Mantras
Vadhu: Oh Dhruv, the way you

19

Darshan
Arundhati

are firm, may I remain firm

Vadhu: Oh Arundhati, the way

Darshan

you stay with the saptrishi, may

Var shows Arundhati to Vadhu

I also stay with my husband

Vedic Altars
In the Vedic sacrificial ritual, when a sacrifice is performed for the benefit of
a sacrificer, the dimension of the sacrificial altar is derived from the dimension of
the sacrificer. The ritual requires that the altar be constructed of layers of bricks,
from which the deity is invoked through the power of hymns.
Having been invoked, the deity flies to the site of the sacrifice in his ratha,
or "chariot," partakes of the sacrifice offered from the altar, and then departs. After
this ritual, the altar is abandoned. Accordingly, texts describe altars as falconshaped and, to one extent or another, these altars conform to the shape of a bird, or
more accurately, the shadow of a bird on the ground.
There are a number of possible representations of falcons, most of which are
composed of shapes which bear no resemblance to temple plans, and thus do not
share a common constructive diagram. One of the few representations of this
falcon that resembles a temple plan is given in the Manava Shulbasutra, which is
part of a class of texts called shulbasutras, or "cord-rules," which treat of altar
construction. The altar is called Caturasra Shyena, or "four-sided falcon," and
consists of a 'falcon' with a square body and head, two rectangular wings, and a
rectangular tail.
The first step in the construction of the altar is to determine the size of the
angula, or "finger," the fundamental unit of measure used to determine the various

dimensions of the altar. The Manava Shulbasutra gives two options for
determining the size of the angula, the first based on division, and the second based
on multiplication.
According to the first method, if the sacrificer is standing with his feet flat
on the ground and his arms raised, then this height is said to be 120 angulas; and if
the sacrificer is standing on his toes, then this height is said to be 125 angulas. The
length of 120 angulas is called a purusha, or "man."
In the second method, the distance between the lines forming the middle part
of the middle finger of the sacrificer is equal to one angula, or, if the sacrificer is
short, then one angula may be formed from the width of six barley grains. Thus,
unless the sacrificer's body is found to be deficient, the dimension of the sacrificial
altar derives from the dimension of the sacrificer.
The second step in the construction of the altar is to determine its location
and orientation. The orientation is both spatial and temporal; the orienting
procedure determines not only the direction of the ritual object, but also the time of
its construction. Similar procedures were utilized to orient any propitious event.
The simplest procedures for determining time and orientation in the Indian
tradition utilize gnomons and ropes. The earliest example of the application of this
technique occurs in the orientation of the Vedic sacrificial altar. The shadow of a
gnomon is used to determine the primary, east-west line, and pegs, cords, and rods
are used to layout a square of 240 x 240 angulas, represented by the gray area in
the following figure:

In the figure above east is located at the top, following the Indian tradition of
the representation of orientation, and thus the primary east-west line is vertical.
When the size and orientation have been fixed, the altar is constructed out of five
layers of bricks, each layer consisting of 200 bricks.
The height of each layer is six angulas, so that the total height is 30 angulas,
which is equal to the width of the largest brick. The 'body' of the falcon is square,
the same square with a dimension of 240 angula, or 2 purushas, that was formed at
the time of location and orientation of the altar.

In order that the four limbs of the falcon do not break away from the body,
structural integrity is maintained by overlapping layers with different arrangements
of bricks. The bricks of the first, third, and fifth layers of the Caturasra Shyena
altar are are constructed with three different bricks in the following quantities and
sizes, where a = angula:

110 30a x 30a

85 12a x 12a

 5 12a x 6a
The second, and fourth layers of the Caturasra Shyena altar are constructed with
four different bricks in the following quantities and sizes:

110 30a x 30a

75 12a x 12a
10 12a x 6a
5 18a x 12a
The square 'body' of the altar may thus also be described as an 8 x 8 grid, a pattern
which is most apparent in the arrangement of bricks in layers 1, 3, and 5. This 8 x 8
grid is proportionally equivalent to the plans of Indian temples, and the areas
enclosed by the representations of walls in tantric yantras and mandalas.
Our scriptures describe various types of Town planning in line with Vaastu Shasta
as mentioned below.

1. Chaturmukham
2. Dandakam
3. Swastikam
4. Prastaram
5. Sarvatobhadram
6. Nandyavartam
7. Padmakam
8. Karmukam

All the above towns & cites are oriented along the cardinal directions and are in
right angles to one another. The city of babylon, Mohenjodaro etc were based on
the modular grid systems. Similar grid systems were adopted in the design of
pyramids, villages and cities in Central and South America which were the master
creations of the native of the land the Mayans.

The Vedic system of planning were mostly of concentric square or rectangular

pattern with various belts allocated for various groups of people based on
Varnashrama dharma or the ideal social & spiritual order. The Sanskrit word
Varnashrama is formed by joining 2 words "Varna" and "Asrama". Varna" refers
to a person's social order or caste, where as "Asrama" refers to a person's order of
life or order of his spiritual culture.