GRADUATION PROJECT VOL-1.1 (Shri Shiva Vishnu Temple, New Jersey) by Ketan Suryawanshi

GRADUATION PROJECT

Shri Shiva Vishnu Temple in America

(Temples for Sai Datta Peetham in New Jersey, USA.) Volume-1.1 Sponsor : ND's Art World Pvt. Ltd. Karjat, Maharashtra, India. Student : Ketan Suryawanshi Programme : B.Des Guide : Archana 2020 Industrial Design

*Akshardham Temple, Delhi https://in.pinterest.com/pin/1196337390558675/

Student document publication, meant for private circulation only. UG, Industrial Design, 2016-2020 National Institute of Design, Andhra Pradesh, India. All illustrations and photographs in this the document is copyright by respective people/organization. Edit and designed by - Ketan Suryawanshi E-mail - ketan0252@gmail.com Processed atNational Institute of Design, Andhra Pradesh India

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Original Statement

I hereby declare that this submission is my work and it contains no full or substantial copy of previously published material or it does not even contain a substantial proportion of material which have been accepted for the awards for any other diploma or final graduation of any other educational institution, except where due acknowledgment is made this graduation project. Moreover, I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this graduation project is the product of my work, except to the extent that assistance from others in the project’s design and conception or style, presentation, and linguistic expression is acknowledged. This graduation project (or part of it) was not be submitted as assessed work in any other academic course.

I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/dissertation in whole or in part in the Institute’s Library in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of the copyrighted material in my document or I have obtained permission to use copyright material. Student Name in Full: _______________________ Signature: Date: ___________________________

Student Name in Full: ______________________________________ Signature: ____________________________ Date: __________________________

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Preface As part of the curriculum at NID, the final year students are required to take up a degree project at the end of their 8th semester. This project is expected to follow the design process, and one is expected to work in the industry. The Degree Project is expected to be of 4-6 months duration. The Degree Project aims to implement the learnings of the student into an industry scenario. It exposes the student to learn how the industry functions and helps understand the limitations and constraints of working in the industry. This helps build a better understanding for students about the workings of a studio/corporate consultancy. This experience also helps them market ideas to the right people in the right way, enabling them to make the right choices when they set foot into the industry. The degree project enables and enriches the students with experience with which he or she can confidently enter into the design field. I pursued my graduation project at ND Studio, Karjat, India.

Acknowledgement It is my pleasure to express my vote of thanks to the National Institute of Design and ND Studio for offering me an opportunity on this project. I would like to express my thanks to my project guide Archana for her guidance and valuable support throughout the project. Constant dialogue with her helped me plan out my process well in advance and gave me insight into the design process countless times. I am grateful to Sekhar Mukerjee, our director, for his endless support towards every student of our college, and for being an essential part of my batch’s growth as designers and humans. Many thanks to all my faculty members and fellow students at NID, who shared their experiences and knowledge and for keeping me motivated towards this project. My sincere thanks go to Shri. Nitin Chandrakant Desai, Hemant Bhatkar, Praful Tambe, and the entire team at ND Studio for their support throughout the project. Special thanks to Raghu Ji, Upendra Ji, and Shishir Ji for taking this project forward in my absence. Special thanks to Ar. Rajesh Khaire for providing me with everything I needed relating to the basics of Architecture norms. The thanks extend to Ar. Vinu Patel for providing me with the basics of Architecture norms and Drawings from the USA, New Jersey. Also, to Sai Datta Peethem and their team for constant support and for providing me with the production pictures of the site. Special thanks to my best buddies and batch-mates for their long-distance support during difficult phases in this project. Special thanks to Mrs. Archana for providing me with everything I needed for the documentation. Lastly, thanks to my family for their never-ending support, unwavering belief, guidance, and wisdom.

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

National Institute of Design, Andhra Pradesh The National Institute of Design Andhra Pradesh was established in September 2015 as an autonomous Institute under the DPIIT, Ministry of Commerce and Industry, Government of India. It is situated temporarily in Acharya Nagarjuna University on Guntur - Vijayawada highway (NH 16) as a transit campus before moving to permanent campus to come up in 50 acres site in ‘Amaravati,’ new Capital City of Andhra Pradesh. It is the first NID to set up by the National Design Policy, approved by Parliament in 2007 for establishing four new NID’s across the country after the five decades of the National Institute of Design, Ahmedabad.

NID AP’s Vision is to offer the best Design Education for India by innovation, research with sustainable products and services to make the quality of life better and safer. To meet the challenges of life by design in the sectors of health & medical devices, transportation & mobility, defense products, renewable energy products, small cities, sports, and environmentally friendly products is NID AP’s Mission. The objective of the institute is to provide design education that interacts with technology, engineering, manufacturing, and business to improve the quality of life. Life at NID AP is exploration personified. A peregrination of academics, people, and cultures. Students not only derive inspiration from their natural domains but have the opportunity to amalgamate their inherent cultures with what the state of Andhra Pradesh offers. Students at NID AP intend to introduce to the people, the variance, and grandeur of India. Cultural events or even academics, there is no media that hasn’t been explored by the students at their time in college.

National Institute of Design, Andhra Pradesh Transit Campus

Courtyard of National Institute of Design, Andhra Pradesh Transit Campus.

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Industrial Design Industrial design is a process of design applied to products that are to be manufactured through techniques of mass production. Its key characteristic is that design is separated from manufacture: the creative act of determining and defining a product’s form and features takes place in advance of the physical act of making a product, which consists purely of repeated, often automated, replication. This distinguishes industrial design from craftbased design, where the form of the product is determined by the product’s creator at the time of its creation.

Industrial Design Batch 2016 of National Institute of Design, Andhra Pradesh Transit Campus.

All manufactured products are the result of a design process, but the nature of this process can take many forms: it can be conducted by an individual or a large team; it can emphasize intuitive creativity or calculated scientific decision-making, and often emphasizes both at the same time; and it can be influenced by factors as varied as materials, production processes, business strategy, and prevailing social, commercial, or aesthetic attitudes. The role of an industrial designer is to create and execute design solutions for problems of form, function, usability, physical ergonomics, marketing, brand development, sustainability, and sales.

Rajiv Jassal

Associate Senior Faculty Industrial Design

Amaltas Khan Associate Senior Faculty Industrial Design

Industrial Design at NID Andhra Pradesh, focuses on preparing students for professional growth as well as their societal contribution as industrial designers. The course curriculum for the Graduate Diploma Program in Design (GDPD) in Industrial Design commences with a rigorous Foundation Program to lay a strong base on fundamentals of design. Further, each progressing semester contains courses to support the semester projects, ensuring the theoretical and practical learning of the subjects. The curriculum is critically designed to build the core strengths as well as the specialization as per the changing industry requirements. Students also work in close interaction with industry to identify their specialization such as consumer electronics, kitchenware, furniture, etc, and accordingly, develop their portfolio of works. Collectively, the teaching-learning pedagogy in the domain of industrial design at NID Andhra Pradesh enriches the knowledge and experience of students within their interest areas and enable them to wisely choose a design career.

Archana

Faculty Industrial Design

Industrial Design Workshop at National Institute of Design, Andhra Pradesh Transit Campus.

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Sunny Bairisal

Assoc. Sr. Tech. Instructor Industrial Design

What is the Graduation Project The end of the student academic tenure at the National Institute of Design is marked by the culmination of the substantial investigation in the field of design on a topic closely allied to their discipline of the study. It is through the graduation project and subsequent documentation of the same that this investigation takes place. This is the final academic project for the student. A jury comprising faculty members evaluates the students’ performance in the graduation project, after which, students are awarded NID ‘S professional education program final graduation. The graduation project is an opportunity for students to demonstrate their expertise as independent practitioners of design. However, this project must be done with academic rigor incorporating systematic inquiry and informed design decisions. The phrase ‘Systematic Inquiry’ implies the presence of a structure and method by which the student must carry out his / her project.

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

CONTENT 1 INTRODUCTION ........................................................................... 01-22 1.1 Design brief ................................................................................................................................................................................................................................................ 03 1.2 Project Background ................................................................................................................................................................................................................................... 05 1.3 Project Schedule ......................................................................................................................................................................................................................................... 07 1.4 The Sponsor ................................................................................................................................................................................................................................................ 09 1.5 The Client .................................................................................................................................................................................................................................................... 13 1.6 Team on Board ........................................................................................................................................................................................................................................... 17 1.7 Site Introduction ........................................................................................................................................................................................................................................ 19

2 RESEARCH & REF. ........................................................................ 23-68 2.1 History of Hinduism ......................................................................................................................................................................................... 25 2.2 Hinduism Beliefs ................................................................................................................................................................................................. 28 2.3 Hindu Caste System ........................................................................................................................................................................................... 29 2.4 Concept of God ................................................................................................................................................................................................. 30 2.5 Institutions (Temple, Ashrama, Monasticism) ............................................................................................................................................... 31 2.6 Hindu Temples .................................................................................................................................................................................................... 33 2.7 History of Hindu Temples ................................................................................................................................................................................ 35 2.8 The Design (Plans, Manuals, Exceptions) ............................................................................................................................................................... 37 2.9 The Builders ........................................................................................................................................................................................................ 49 2.10 Sclptures, Iconography, and Ornamentation ................................................................................................................................................ 50 2.11 Styles of Temple Architecture ........................................................................................................................................................................ 52 2.12 Elements in Hindu Temples ........................................................................................................................................................................... 53

3 REFLECTIONS & BIBLIOGRAPHY ........................................... 69-78

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

INTRODUCTION

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KETAN SURYAWANSHI / Graduation Project / 2021

Design brief Project Background Project Schedule The Sponsor ND Studio, Karjat The Creator Shri Nitin Chandrakant Desai The Client profile Sai Datta Peetam, South Plainfield, NJ Raghu Ji Team on Board in India Team on Board in USA Site Introduction Worship Site Photos

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.1

DESIGN BRIEF

To help the team at NDAW with the equipped knowledge of Industrial Design gained at NID for the Sai Datta Peetham(Main Project) to be put up in New Jersey USA and other side projects. Sai Datta Peetham's project is to make eight temples, namely Ganesha, Shiva, Balaji, Mataji, Karthikay, Hanumanji, Narasimha Swamy & Saibaba temples with the exterior front facade and projection mapping for the interior part where the temple is fitted. My Role as a Designer: 1. Active participation in all the design discussions and decision-making with the team at NDAW and in the USA. 2. Selecting relevant designs from the archival at the studio and getting them approved by mentor and client in the USA. 3. Designing the Assembly manual and codes for parts to be assembled right at the site in the USA. 4. Colour theory application for temples and color selection for specific temples and other elements. 5. Making the Packing list for India and the USA customs, making a checklist TO DO things in India and the USA. 6. Getting the approvals on designs from the client in the USA and mentor in India 7. To keep everyone updated with the ongoing status in India and the USA. 8. Finding the reference pictures for artists to make the molds for the production. 9. Drafting all the designs knowing all the Indian and US standards. 10. Coordination between India and USA teams for assembling temples in New Jersey, the USA. (Because unable to visit USA due to COVID-19 situations.)

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.2

Project Background The project mainly revolves around Hindu temples at SDP in New

Jersey. For the Indian Community in and around the USA. Mr. Raghu Ji has formed SDP to cater to the growing Indian population in and around New Jersey and to serve the community, "Sri Sai Datta Peetham" is grandly opened at 902 Oak Tree Road, #100 South Plainfield, NJ 07080, on the auspicious day of Shivaratri (Feb 27th, 2014). Now that the SDP at Oaktree has successfully gained popularity amongst the Indians nearby. The crowd is constantly growing, and the space is not sufficient for all the Sai Bhaktas for gathering, so the committee at SDP has planned and expanded to another place in NJ. The New Address is 'Sai Datta Peetam 1655-1665 oak tree road Edison, NJ, USA. For designing the same space, ND's Art World Pvt. Ltd. Mumbai has been appointed by SDP for Designing & construction work of temples at NJ & Projection Mapping for three walls & one ceiling around the temple's structure.

Vinu Ji (Head Architect at NJ) has given initial plans of the plinths of the temples are designed. The plinth sizes are 8’X8’ for Ganpati & Balaji, 10’X10’ for Matai, Shiva & Shri Sai Baba, and 4’X4’ for Kartika, Hanumanji & Narasimha Swamy. Near the Sai Baba plinth, there is a 1’X1’ column, and the other is at a distance of approx 45’ parallel to the column, which will hide. The Exterior front wall is approximately 138’X26’, which has to be cladded. The team at NDAW will design, and Vinuji, on another side, will make sure that all the designs are according to all the laws and regulations for safety and other permission granting.

Kanchipuram - Kailasanathar Temple design has majorly influenced the outcome of the project

The project demands the design of temples, namely Ganpati, Shiva, Mataji, Balaji, Kartikay, Hanuman, Shri Sai Baba & Narasimha Swamy; all the deities mentioned before located in the same hall; in addition to that, the Exterior front facade of SDP also has to be designed. All the temples have to be unique to their origins in India. So, people (Bhaktas) visiting SDP should feel as if they see the same temples of Indian origin in NJ, USA.

Site from satellite view from google maps. Address:-*NEW Location* Sai Datta Peetam 1655-1665 oak tree road Edison, NJ, USA. **Site marked in blue is the area dedicated for Sai Datta Peetam in NJ.

https://www.flickr.com/photos/asienman/24101035482

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

PROJECT SCHEDULE

16 Days 3 Days Total of 505 Days

April

May

All the papaer work started and completed within 37 days till 9th march

The production of the temple structures has started from November 2019 with the base structure which had stopped due to some reasons and restarted over january mid of 2020. 10th till 12th March 2020

13th till 20th March 2020

21th till 23rd March 2020

24th till 26th March 2020

27th & 28th March 2020 29th March 2020

30th March till 29th April 2020 30th April 2020

1st May 2020

2nd till 17th May 2020

18th till 20th May 2020

.................................................................................................................................................................

1 Day

March

......................................................................................................................................................

14 Days 4 Days 20 Days 100 Days eventually exceeded 3 Days 8 Days 3 Days 3 Days 2 Days 1 Day 31 Days 1 Day

Feb

....................................................................................................................................................

333 Days including from start of the project. From Jan 2019 till March 2020

Jan 2019-Jan 2020

.................................................................................................................................................. ................................................................................................................................... ................................................................................................................................. .............................................................................................................................. ......................................................................................................................... ..................................................................................................................... ............................................................................................................. ........................................................................................................ .............................................................................. .................................................................. ............................................................... .....................................................

No. of DAYS

..............................................................................................................

PARTICULARS • Desk Research & Inferences • Design Conceptions • Initial Design Development • Design Finalization • Production Drawings of Temples • Manufacturing of Temples • Listing of Temple parts • Packing of Temple parts • Loading of Temple parts • Custom Examine of parts • SI Cut Off • Departure from India JNPT Port • Time to Reach at Netwark Port • USA Custom Examination & Clearance of transported materials • Door Delivery at the Destination and Unloading of materials • Assembling of the Temples on site in NJ, USA • Finishing and Site Handover

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1.3

** Due to CORONA VIRUS outbreak the complete schedule was not able to achieve. Lots of uncertainity and rules in India & USA due to lockdown it was difficult for us to work at the studio and the schedule was changing contonusly do to the same the schedule we see above was the very first schedule made at start of the project.** 7

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.4

The Sponsor ND's Art World Private Limited is a Private CompanyEstablished on 05th December 2002, located in Karjat, Mumbai. The company has two directors Nitin Chandrakant Desai and Naina Nitin Desai. ND's Art World Private Limited is a Mumbai-based group that caters to all needs of the entertainment industry. It has evolved as a leading one-stop solution provider for the entertainment industry. ND's Art World Private Limited is well equipped to address all its client's needs across any location with its excellent team across various knowledge domains under one roof. Amer Palace Set at ND Studio Karjat

Further, the company owns an integrated Film studio under "ND Studio," which opened up as a contemporary artistic, completely integrated Film & Television production studio in 2005. This one-of-its-kind studio spread over 46 acres of land among the lush green forests in Karjat, near Mumbai (Maharashtra). This studio is just every other step toward the dream of consolidating India's entertainment, be it Film Making, Set Designing/Construction, Government Projects & Events, Web-Series / TV Serials/Ad Commercial, Production Designing, Destination Wedding, Bollywood Theme Park and many more.

Sheesh Mahal Set at ND Studio Karjat

Shaniwarwada Set at ND Studio Karjat CST Set at ND Studio Karjat

Films, Web Series & TV Shows

ND Studio Karjat

KETAN SURYAWANSHI / Graduation Project 2021

• Hum Dil De Chuke Sanam – 1998 • One Two Ka Four – 2000 • Mission Kashmir – 2001 • Lagaan – 2001 • Devdas – 2002 • Munna Bhai MBBS – 2003 • Swades – 2004 • Jodha Akbar – 2008 • Fashion – 2008 • Once Upon A Time In Mumbai – 2010 • Action Reply – 2010 • R Rajkumar- 2013 • Kick - 2014 • Prem Ratan Dhana Payo- 2015 • Indu sarkar - 2017 • Panipat- 2019 • Paurashpur- 2020 And Many more which are not listed in. Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Prem Ratan Dhan Payo Palace Set at ND Studio Karjat

The Creator Kon Banega Crorepati Reality Show Set Design

Nitin Chandrakant Desai was born on 6th August, 1965. He was born in Mumbai, Maharashtra. He learned photography from L S Raheja School of Arts and JJ School of Arts. Further, he entered the film industry. He started his career with the TV serial Tamas (1987. He also worked for TV series such as 'Kabir' and 'Chanakya.' His debut film was 'Bhookamp' (1993) by 'Adhikari Brothers' & then Kamasutra. He came into recognition with the movie ‘1942: A Love Story.' He has also worked with prominent filmmakers like Oliver Stone. Further, he did numerous Bollywood films. He is mainly known for the art direction and design of TV shows like 'Kaun Banega Crorepati' and the superhit films such as 'Lagaan,' 'Devdas' & 'Jodha Akbar.' He has been honored with the National Film Award for Best Art Direction for four films, namely, 'Hum Dil De Chuke Sanam,' 'Dr. Baba Saheb Ambedkar’, ‘Lagaan’ and ‘Devdas’, etc.

Aapki Adalat Reality Show Set Design

Jodha Akbar Movie- Jodha Chembers

The World Cultur Festival -Shree Shree Ravi Shankar

Shree Nitin Chandrakant Desai

ARTICLES

AWARDS

Sanju Movie Retro Cafe

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Community Gathering at SDP, NJ

1.5

The Client To cater to the growing Indian population in and around New Jersey and to serve the community, “Sri Sai Datta Peetham” is grandly opened at 902 Oak Tree Road, #100 South Plainfield, NJ 07080 on the auspicious day of Sivarathri (February 27th, 2014). Sri Shiridi Sai & Sri Dattatreya Prana Prathista Mahotsavam will happen this March 21st till 23rd 2014. The weekend starting Friday, March 21st, we get to see Vigraha Jalaadhivaasam and Mandapa Aaraadhanam. On Saturday, March 22nd, there will be Yantra Pooja and Yantra. Sthapanam. And then comes to the Big Day Sunday, March 23rd, we will see Pranapratishta (Sumamuhurtam 9:51 AM). So all three days are going to be grand gala days for the devotees. Sri Dhira Chaitanyaji, also known as Sundar Ramaswamy, visits the Sai Datta Peetham to conduct this auspicious event. Sai Datta Peetham is organizing many innovative things with many first of its kind. All the Aarthis and Sevas to Baba are set to happen precisely as per schedules in Shirdi, starting with Kakada aarthi at 5:15 AM till Seja aarthi at 9:00 PM. Imagine what an experience it would be watching Baba in the early hours and how good the day turns to us. We have a saying, “Athidhi Devo bhava,” a person who steps into the home welcoming with a warm heart, and he should never leave home hungry. Nithya Annadanam is planned in Sai Datta Peetham. Several Charity works are being planned where the volunteers in Peetham will distribute food, clothes to the needy. Sai Bhajans and Satsangs are conducted every Thursday. As part of the Pallakhi Seva, Sai Pallaki will be taken to devotees’ houses to bring peace and cure their ailments.

Sai Datta Peetam, NJ Logo

And the best part is that Archana, Abhishekam, and Samoohika vratams will be conducted FREE at Sai Datta Peetham. Sai Datta Peetham is also planning to organize several Veda classes and provide courses on Indian culture to benefit kids and the young generation. Along with the statue of Baba from Shirdi and Sri Dattatreya Statue from Jaipur, Pancha Mukha Siva Lingam (is only seen in Nepal in Pashupati Nath temple) will be seen in Sai Datta Peetam very soon. Pancha Mukha Ganapati (to bless us for Karya Siddhi), Anjaneya Swami and Saneeswara Swami shrines are also accommodated in Peetham. All Navagraha Devathas with their respective Dharmapatni’s and Vahanas (rare) will be seen. Utsava Vigrahas of Ram Parivaar and Ramaa sametha Satyanarayana swami and Lord Ayyappa are worshipped during festivals.

Shree Sai Baba Abhishekam at SDP, NJ

**Current Location of Sai Datta Peetam in New Jersey, USA.

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Raghu Ji Born in the family of Sankaramanchi, who has been serving as priests for generations, Sri Raghu Sharma (popularly known as Raghu Ji) has been inclined to Devotion towards Shirdi Sai from his Childhood. Learning Brahmin Rituals under his father initially, later he finished Vedic courses such as Preveza, Vara, and Pravara at Bapatla Sankara Vidyalam Veda. Pathasala (Certified by Department of AP state) from 1983 to 1987. He started his career as priest and head priest at Sri Sai Baba Temple (near Mary Stella college) Vijayawada from 1987 to1994. It is one of the oldest temples in Andhra Pradesh, which led to the spread of Sai Baba’s Tatwam in Vijayawada and surrounding towns. Later on, he moved to Sri Shirdi Sai Baba Samsthan Trust at Dilsukhnagar, Hyderabad as a head priest at where his career flourished with Both Divinity and Seva. To spread the Sai Tatwam to the NRI’s, he had moved to the USA to serve as Head Priest in Sai Mandir at Baldwin, New York, and served there till 2010 summer. He bought many wonderful families together to spread Sai’s Mahimalu across Long Island and surrounding areas. With his ability to promote a Temple successfully, he took up responsibility for the newly developed Sai Center, Iselin, New Jersey, in 2010. He was supervising both Mandirs simultaneously as a head priest until the recent past. Sri Raghu Ji, serving Baba for the past 25 years, has started “Sri Sai Datta Peetham” with noble intentions. The aim relates to Baba’s Thoughts on Samsung, Paduka Seva, and Charity.

Raghu ji's family photo

Dharmasri Raghu Sarma Sankaramanchi

Raghu ji in his young age getting ready for Sabarimala yatra

Raghu ji at Sri Shirdi Sai Baba Samsthan Trust at Dilsukhnagar, Hyderabad

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.6

Team on Board in India

Team on Board in USA

Nitin C. Desai

Hemant V. Bhatkar

Archana

Rajesh Khaire

Production Designer Team Lead NDAW, India.

Industrial Design Faculty Mentor NID AP, India.

Praful Tambe Head Contractor NDAW, India

Art Director Executive Supervisor NDAW, India.

Architect Mentor Khaire & Associates Pvt. Ltd., India.

Raghu Sharma Sankaramanchi

Hemant Pandya

Vinu Patel

Shishir Agrawal

Upendra Chivukula

Suresh Jilla

Founder & Head Prest Team Lead Sai Datta Petham, New Jersey.

Architect Team Member VP Architectural Designs, NJ.

Illustrator & Concept Artist NDAW, India.

Site Manager Team Member Sai Datta Petham, New Jersey.

Shrikant Mishra Head Fabricator NDAW, India.

Project Executor Team Member Sai Datta Petham, New Jersey.

Anil Gunjal

Team Member NDAW, New Jersey.

Ketan Suryawanshi Industrial Designer NDAW, India.

KETAN SURYAWANSHI / Graduation Project 2021

Site Manager Team Member Sai Datta Petham, New Jersey.

**The Names Put forth as team members are the heads & leads of the project but we cannot ignore the rest of the team members who have invested their presious times in helping us build the temple at site. These people includes of Associates, Artists, Carpenters, Molders, Fabricaters, Electricians, Missionary workers, Helpers, Volunteers, and many more.

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.7

Site Introduction

Existing land survey & flood information by ‘CREST’ Engineering Associates Inc. New Jersey, USA. **Site marked in blue is the area we have worked for Shirdi in America-Phase1 in NJ, USA. 19

Proposed floor plan by ‘VP ARCHITECTURAL DESIGN, LLC.’ 200 Perrine Road, Old Bridge, New Jersey, USA. **Site marked in blue is the area we have worked for Shirdi in America-Phase1 in NJ, USA. KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Worship

Site Photos

The Lalitha Mahayagnam or Ashtadasa Shakthi Peeta Sahita Sri Lalitha Maha Yagnam, the Ashtadasa Shakthi Peeta is the eighteen holy places of worship divine mother. These Peethas were spread across India and Shri Lanka. According to legends, after Sati Devi's self-immolation at Daksha Yagna, shiva danced carrying her body, and lord Vishnu disintegrated the bodies in pieces so that shiva could come out of his depression. Where ever the body parts felt become the holy places known as shakti Peetham. It is said that during the Yaga, the power of these eighteen shakti peethas will be invoked in each of the home kundas, all in the same Yaga shalas. It is said that this is once in a lifetime opportunity to experience all the eighteen forms of Adhipara Shakti in a day at one place. Shri Sai Datta Peetam has performed this holy Yagya at SDP in New Jersey for world peace. The Yagya was conducted from 27th October 2018 to 4th November 2018 on the 8th day the puja is performed at the new SDP center in New Jersey. Also, the Shirdi in America groundbreaking the ceremony was conducted on October 18th, 2018, another project inlined with SDP. Yagnam event Flyer : http://saidattanj.org/pdf/lalitha-mahayagnam.pdf TV9 broadcast of the event : https://www.youtube.com/watch?v=oYg-bsbuUGY

Interior of SDP new site in NJ, USA before.

Interior ground and wall civil work SDP new site in NJ, USA.

Discussion on Mahayagnam : https://www.youtube.com/watch?v=GFM5Ey68nIM Mahayagnam at ICCTM USA : https://www.facebook.com/ICCTM/videos/sri-lalitha-maha-yagnam/1865922006787825/ Lalitha Mahayagnam banner at SDP new site in NJ, USA.

Exterior of SDP new site in NJ, USA before.

Interior dimensions of SDP new site in NJ, USA.

The Project of SDP temples came to NDAW in 2019 and the main designing part has started in November 2019 which took almost 100 days to finish with basic plans and elevations. The project was on a big scale considering the things designed in India will be out there in the USA for the international and national crowd. Lalitha Mahayagnam Ceremony at SDP new site in NJ, USA.

Groundbreaking Ceremony of SDP at Shirdi in America site in NJ, USA.

KETAN SURYAWANSHI / Graduation Project 2021

Exterior ground and wall civil work SDP new site in NJ, USA.

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

RESEARCH & REFERENCING

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KETAN SURYAWANSHI / Graduation Project 2021

History of Hinduism Hinduism Beliefs Hindu Caste System Concept of God Institutions (Temple, Ashrama, Monasticism) Hindu Temples History of Hindu Temples The Design (Plans, Manuals, Exceptions) The Builders Sclptures, Iconography, and Ornamentation Styles of Temple Architecture Elements in Hindu Temples

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.1

History of Hinduism Hinduism, the main world religion, originated in the Indian subcontinent and comprised several diverse philosophies, beliefs, and rituals. Although the name Hinduism is relatively new, having been coined by British writers in the early decades of the 19th century, it refers to a rich, cumulative tradition of texts and practices, dating back to the second millennium BCE. or maybe earlier. If the Indus Valley civilization (3rd and 2nd millennium BC) was the oldest source of these traditions, as some researchers argue, Hinduism is the oldest living religion on Earth. Its many sacred texts in Sanskrit and vernacular languages served as a vehicle for spreading the faith to other parts of the world, although ritual and the visual and performing arts also played an essential role in its transmission. From around the 4th century on, Hinduism had a dominant presence in Southeast Asia, lasting over 1000 years. At the start of the 21st century, Hinduism had nearly a billion followers worldwide and was around 80% of the Indian population. Yet, despite its global presence, it is best understood through its many distinctive regional manifestations.

The term Hinduism The term Hinduism became familiar as a designator for India's unique religious ideas and practices with the publication of books such as Hinduism (1877) by Sir Monier Monier-Williams, the famous Oxford scholar and author of an influential Sanskrit dictionary. Initially, it was a foreign term based on centuries-old uses of the Hindu word. The first travelers to the Indus Valley, beginning with the Greeks and the Persians called their inhabitants "Hindus" (Greek: "Indoi), and in the 16th century, the inhabitants of India themselves began very slowly too. They use the term to distinguish themselves from the Turks. Gradually, the distinction became predominantly religious rather than ethnic, geographic, or cultural. Since the late 19th century, Hindus have reacted to the term Hinduism in various ways. Some rejected it in favor of indigenous peoples. Formulations. Others preferred the 'Vedic religion,' using the Vedic term to refer to the ancient religious texts known as the Vedas and a fluid body of sacred works in various languages and an orthoprax (traditionally sanctioned) way of life. Others have chosen to call the religion Sanatana Dharma ("eternal law"), a formulation that became popular in the 19th century and emphasized timeless elements of tradition perceived as transcendent to local interpretations and practices. Finally, perhaps the majority have accepted Hinduism or its analogs, especially Hindu dharma (Hindu religious and moral law), in various Indian languages.

Hinduism Holy Books Hindus value many sacred writings as opposed to one holy book. The primary sacred texts, known as the Vedas, were composed around 1500 B.C. This collection of verses and hymns was written in Sanskrit and contains revelations received by ancient saints and sages. The Vedas are made up of:

(1) https://en.wikipedia.org/wiki/Hinduism

(2) https://in.pinterest.com/pin/566820303098282777/

Since the early 20th century, textbooks on Hinduism have been written by Hindus themselves, often under the rubric of Sanatana dharma. These efforts at self-explanation add a new layer to an elaborate tradition of explaining practice and doctrine that dates to the 1st millennium BCE. The roots of Hinduism can be traced back much farther—both textually, to the schools of commentary and debate preserved in epic and Vedic writings from the 2nd millennium BCE, and visually, through artistic representations of yakshas (luminous spirits associated with specific locales and natural phenomena) and nagas (cobralike divinities), which were worshipped from about 400 BCE. The roots of the tradition are also sometimes traced back to the female terra-cotta figurines found ubiquitously in excavations of sites associated with the Indus valley civilization and sometimes interpreted as goddesses.

Hinduism Symbols There are two primary symbols associated with Hinduism, the om(1) and the swastika(2). The word swastika means "good fortune" or "being happy" in Sanskrit, and the symbol represents good luck. (A diagonal version of the swastika later became associated with Germany's Nazi Party when they made it their symbol in 1920). The om symbol is composed of three Sanskrit letters and represents three sounds (a, u, and m), which, when combined, are considered sacred sounds. The om symbol is often found at family shrines and in Hindu temples.

KETAN SURYAWANSHI / Graduation Project 2021

1. The Rig Veda 2. The Samaveda 3. Yajurveda 4. Atharvaveda Hindus believe that the Vedas transcend all time and don’t have a beginning or an end. The Upanishads, the Bhagavad Gita, 18 Puranas, Ramayana and Mahabharata are also considered important texts in Hinduism. https://www.flipkart.com/bhagavad-gita/p/itmf4n5rbqhmgseq

The five tensile strands Across the sweep of Indian religious history, at least five elements have given shape to the Hindu religious tradition: doctrine, practice, society, story, and devotion. These five elements, to adopt a typical Hindu metaphors are understood as relating to one another as strands in an elaborate braid. Moreover, each strand develops out of a history of conversation, elaboration, and challenge. Hence, in looking for what makes the tradition cohere, it is sometimes better to locate central points of tension than to expect clear agreements on Hindu thought and practice. 1. Doctrine The first of the five strands of Hinduism is a doctrine, as expressed in a vast textual tradition anchored to the Veda (“Knowledge”), the oldest core of Hindu religious utterance, and organized through the centuries primarily by members of the learned Brahman class. Here several characteristic tensions appear. One concerns the relationship between the divine and the world. Another uncertainty affects the disparity between the world-preserving ideal of dharma and moksha (release from an inherently imperfect world). A third tension exists between individual destiny, as shaped by karma (the influence of one’s actions on one’s present and future lives), and the individual’s deep bonds to family, society, and the divinities associated with these concepts.

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2. Practice The second intrigue of Hinduism is the practice. Many Hindus would put this first. Despite India's enormous diversity, a. The standard grammar of ritual behavior connects various places, strata, and periods of Hindu life. While it is true that multiple elements of Vedic rituals survive in modern practice and therefore perform a unifying function, much more significant commonalities appear in the worship of icons or images (Pratima, murti, or archa). Generally speaking, this is called puja ("to honor [the divinity]"); if it is performed in a temple by a priest, it is called an Archana. It echoes the conventions of hospitality that can be performed for a guest of honor, especially the donation and sharing of food. Such food is called Prasada (Hindi, prasad meaning "grace"), reflecting the recognition that when human beings make offerings to gods, the initiative is not theirs. In reality, they respond to the generosity that led them to a world full of life. Possibility. The divine personality installed in the image of a house or a temple receives Prasada, tastes it (Hindus differ as to whether it is a natural or symbolic, coarse or subtle act), and offering leftovers to the faithful. Some Hindus also believe that Prasada is imbued with the deity's grace to whom it is provided. Consume these leftovers, and worshipers accept their status as inferior beings and dependent on the divine. An element of tension arises because the logic of puja and Prasada seems to grant all humans equal status about God. The rules of exclusion have sometimes been sanctified instead of challenged by the ritual based on Prasada.

2.2 3. Society The third thread which has served to organize Hindu life is society. The first visitors to India from Greece and China, and later others such as the Persian scholar and scientist al-Bīrūnī, who visited India in the early 11th century, were struck by the social structure highly stratified (albeit locally variable) that developed to be colloquially called the caste system. At the same time, there is indeed a significant disparity between the old vision of society divided into four ideal classes (varnas) and the contemporary vision. In the reality of thousands of consanguineous birth groups (jatis, literally "births"), few would deny that Indian society is remarkably plural and hierarchical. This fact has a lot to do with understanding truth or reality as plural and multi-layered, although it is unclear whether the influence came primarily from the religious doctrine on society or vice versa. Seeking his answer to this riddle, The well-known Vedic hymn (Rigveda 10.90) describes how at the beginning of time, the primordial person Purusha underwent a sacrificial process that produced a four-part cosmos and its human counterpart, a four-part social order comprising Brahmins (priests), Kshatriyas (warriors and nobles), Vaishyas (commoners) and Shudras (servants). Like the domain of religious practice and doctrine, the social realm is marked by a characteristic tension. There is an opinion that each person or group approaches the truth in a necessarily different way, reflecting your point of view. It is only by allowing everyone to speak and act in these terms that a society can constitute itself an adequate representation of truth or reality. However, this habit of contextual thinking can all too easily be used to legitimize social systems based on privilege and prejudice. If no standard is considered universally applicable, one group may too easily justify its domination over another. Historically, some Hindus, while advocating tolerance at the doctrine level, have maintained caste distinctions in the social sphere.

4. Story Another dimension that draws Hindus to a single community of the discourse is narrative. For at least two millennia, people from almost every corner of India, and now far beyond, have responded to stories of divine games and interactions between gods and humans. These stories refer to the main figures of the Hindu pantheon: Krishna and his lover Radha, Rama and his wife Sita and his brother Lakshmana, Shiva and his wife Parvati (or, in another birth, Sati), and the great goddess Durga, or Devi, as a murderer of the buffalo demon Mahisasura. Such stories often illustrate the interpenetration of the divine and human spheres, with deities such as Krishna and Rama entering fully into the human drama. Many stories focus to varying degrees on genealogies of human experience, forms of love, and the struggle between order and chaos or between duty and play. In generating, reproducing, and listening to these stories, Hindus have often experienced themselves as members of an imaginary. Family. However, simultaneously, these stories serve to articulate tensions related to correct and social behavior. Inequalities. Therefore, the Ramayana, traditionally a testimony to the moral victories of Rama, is sometimes told by female artists as the story of Sita's difficulties at the hands of Rama. In North India, lower caste musicians present religious epics such as Alpha or Dhola in terms that reflect their own experience of the world rather than the higher caste setting of the great Sanskrit religious epic, the Mahabharata; these epics, however, echo. For widely known pan-Hindu, man-centered men narrative traditions, these variations bring resonance and challenge. 5. Devotion There is a fifth stream that contributes to the unity of the Hindu experience through time: bhakti ("sharing" or "devotion"), a long tradition of a loving God who is particularly associated with life and words of the saints. Vernacular poets from all over India. The devotional poems attributed to these inspired characters, representing both sexes and all social classes, have constituted a reserve of images and atmospheres accessible in about twenty languages. The bhakti verse first appeared in Tamil in southern India and moved north to other areas with different languages. The individual poems are sometimes surprisingly similar across languages or centuries, with no trace of mediation through Pan-Indian Sanskrit, a distinctive upper-caste language. Often the unique motifs in the lives of holy Bhakti poets also bear strong family resemblances. With its central claim that Religious faith is more fundamental than rigidities in practice or doctrine; bhakti offers a common challenge to other aspects of Hindu life. At the same time, it contributes to a Hindu heritage, even a common protest heritage. However, some expressions of bhakti are much more contradictory than others in their critique of caste, image worship, and vows. Pilgrimages and acts of self-mortification.

KETAN SURYAWANSHI / Graduation Project 2021

Hinduism Beliefs

Prominent themes in Hindu beliefs include (but are not restricted to) Dharma (ethics/duties), samsāra (the continuing cycle of birth, life, death, and rebirth), Karma (action, intent, and consequences), Moksha (liberation from samsāra or freedom in this life), and the various yogas (paths or practices). Purusharthas (objectives of human life) Classical Hindu thought accepts four proper goals or aims of human life, known as Purusārthas: dharma, artha, kama, and moksha. Dharma (righteousness, ethics) Dharma is considered the foremost goal of a human being in Hinduism. The concept of dharma includes behaviors that are deemed to be in accord with RTA, the order that makes life and universe possible, including duties, rights, laws, conduct, virtues, and "right way of living." Hindu dharma includes the religious duties, moral rights and duties of each individual, and behaviors that enable social order, proper conduct, and virtuous behaviors. According to Van Buitenen, Dharma is that which all existing beings must accept and respect to sustain harmony and order in the world. States Van Buitenen, the pursuit and execution of one's nature and true calling, thus playing one's role in cosmic concert. The Brihadaranyaka Upanishad says it as: Nothing is higher than dharma. The weak overcomes the stronger by dharma, as over a king. Truly that dharma is the Truth (Satya); Therefore, when a man speaks the Truth, they say, "He speaks the Dharma"; and if he speaks Dharma, they say, "He speaks the Truth!" For both are one. — Brihadaranyaka Upanishad, In the Mahabharata, Krishna defines dharma as upholding both this-worldly and other-worldly affairs. The word Sanātana means eternal, perennial, or forever; thus, Sanātana Dharma signifies that the dharma has neither beginning nor end. Artha (livelihood, wealth) Artha is the objective and virtuous pursuit of wealth for livelihood, obligations, and economic prosperity. It is inclusive of political life, diplomacy, and material well-being. The artha concept includes all "means of life," activities and resources that enable one to be in a state one want to be in, wealth, career, and financial security. The proper pursuit of artha is considered an important aim of human life in Hinduism.

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Kāma (sensual pleasure) Kāma means desire, wish, passion, longing, pleasure of the senses, the aesthetic enjoyment of life, affection, or love, with or without sexual connotations. In Hinduism, kama is considered an essential and healthy goal of human life when pursued without sacrificing dharma, artha and moksha. Moksa (liberation, freedom from samsāra) Moksha/moksa) or Mukti is the last and most crucial goal of Hinduism. In a sense, moksha is a concept associated with liberation from pain, suffering, and samsāra (cycle of birth-rebirth). Afterlife, a release from this eschatological cycle, especially in theistic schools of Hinduism, is called moksha. Due to the belief in the indestructibility of the soul, death is considered insignificant concerning the cosmic self. The meaning of moksha differs between various Hindu schools of thought. For example, Advaita Vedanta holds that after attaining moksha, a person knows his "soul, I" and identifies him as one with Brahman and all respects. Followers of the Dvaita (dualistic) schools, in the state of moksha, identify the individual "soul, self" as distinct from Brahman but infinitely close, and after attaining moksha, they hope to spend eternity in a loka (paradise). For the theistic schools of Hinduism, moksha is liberation from samsāra, while for other schools like the monistic school, moksha is possible in current life and is a psychological concept. According to Deutsch, moksha is the transcendent consciousness of the latter, the perfect state of being, self-realization, freedom, and "realizing the entire universe as Self." Moksha in these schools of Hinduism, Klaus Klostermaier suggests, implies a liberation of hitherto chained faculties, removal of obstacles to life without restrictions, allowing a person to be more truly a person in the complete sense; the concept assumes an unused human potential of creativity, compassion, and understanding that had been blocked and excluded. Moksha is more than liberation from the life-rebirth suffering cycle (samsāra); The Vedantic school divides this into two: jivanmukti (freedom in this life) and videhamukti (independence after death). Karma and samsāra Karma translates to action, work, or do, and also refers to a Vedic theory of the "moral law of cause and effect." The idea is a combination of (1)causality, which can be ethical or unethical; (2)ethics, that is, good or bad actions have consequences; and (3)rebirth. The theory of karma is interpreted as an explanation of an individual's current circumstances regarding his actions in the past. These actions and their consequences can occur in a person's everyday life or, according to some schools of Hinduism, in past lives. This cycle of birth, life, death, and rebirth is called samsāra. It is believed that liberation from samsara through moksha ensures lasting happiness and peace. Hindu scriptures teach that the future is as much a function of present human effort derived from free will as past human actions that determine circumstances. 28

2.3

Hindu Caste System

2.4

The caste system is a social hierarchy in India that divides Hindus based on their karma and dharma. Many scholars believe the system dates back more than 3,000 years.

Hinduism is a diverse thought system with a wide variety of beliefs; His concept of God is complex and depends on each individual and tradition, and philosophy. It is sometimes called a henotheistic (that is, it implies devotion to one God while accepting the existence of others), but that term is an overgeneralization.

The four main castes (in order of prominence) include: 1. Brahmins:- The highest of all the castes, and traditionally priests or teachers, Brahmins make up a small part of the Indian population. The British colonial authorities gave Brahmins influential clerical jobs. They now dominate the critical positions in science, business, and government. 2. Kshatriyas:- Meaning “protector[s] of the gentle people,” Kshatriyas were traditionally the military class. They are now predominantly a land-owning caste and are diminished in power.

The Nasadiya Sukta (Hymn of Creation) of the Rig Veda is one of the earliest texts that "demonstrates a sense of metaphysical speculation" about what created the universe, the concept of God (s) and the One, and whether even The One knows how the universe was born. The Rig Veda praises various deities, neither higher nor lower, in a henotheistic form. The hymns repeatedly refer to truth and reality. The "only truth" of Vedic literature, in modern-day scholarship, has been interpreted as monotheism, monism, as well as a deification. Principles behind the significant events and processes of nature.

3. Vaishyas:- A caste influential in trade, the Vaishyas were traditionally cattle-herders, agriculturalists, artisans, and merchants. They are now associated with the middle-class and social advancement and makeup around one-fifth of India’s population. 4. Shudras:- The lowest of the four ancient social classes, or Varnas-The Shudras were considered so low as to be prohibited from studying the “Vedas,” the earliest texts of sacred Indian literature. Shudras are now considered a “scheduled caste” by the Indian government, meaning they are historically disadvantaged. The government’s 2011 census showed that over 200m Indians belong to a scheduled caste.

Concept of God

Many subcategories also exist within each caste. The “Untouchables” are a class of citizens outside the caste system and are considered to be at the lowest level of the social hierarchy.

Hindus believe that all living creatures have souls. This soul, the spirit of the actual "I" of each person, is called Atman. The soul is believed to be eternal. According to the monist/pantheist (non-dualist). Theologies of Hinduism (such as the Advaita Vedanta school), this Atman is indistinguishable from Brahman, the supreme spirit. According to the Advaita school, the purpose of life is to realize that everyone's soul is the same as the supreme soul, that the ultimate soul is present in everything and everyone, all life is interconnected, and there is one unity in all life. Dualistic schools (Dvaita and Bhakti) understand Brahman as a Supreme Being separate from individual souls. They worship the various Supreme Beings such as Vishnu, Brahma, Shiva, or Shakti, depending on the sect. God is called Ishvara, Bhagavan, Parameshwara, Deva, or Devi, and these terms have different meanings in different schools of Hinduism. Hindu texts accept a polytheistic framework, but it is generally conceptualized as the divine essence or the luminosity that gives vitality and animation to inanimate natural substances. There is a divinity in everything, human beings, animals, trees, and rivers. It is observable in the offerings to the rivers, trees, tools of his work, animals, birds, the rising sun, friends and guests, teachers and parents. It is the divine in them that makes everything sacred and worthy of reverence. Buttimer and Wallin claim this all-around showy deity makes the Vedic foundations of Hinduism quite different from animism. The animist premise sees multiplicity, power differences, and competition between man and man, man and animal, as well as man and nature. The Vedic view does not know this competition; Instead, consider a unifying deity that connects everyone and everything.

For centuries, the caste system determined every aspect of a person’s social, professional, and religious status in India. When India became an independent nation, its constitution banned discrimination based on caste. Today, the caste system still exists in India but is loosely followed. Many of the old customs are overlooked, but some traditions, such as only marrying within a specific caste is still embraced.

An early 18th century depiction of Devi revered by Brahma, Vishnu, and Shiva. Ashmolean Museum/Heritage Images/Getty Images

Some of the most prominent deities include: 1. Brahma: the god responsible for the creation of the world and all living things 2. Vishnu: the god that preserves and protects the universe 3. Shiva: the god that destroys the universe in order to recreate it 4. Devi: the goddess that fights to restore dharma 5. Krishna: the god of compassion, tenderness and love 6. Lakshmi: the goddess of wealth and purity 7. Saraswati: the goddess of learning Hinduism has many sects, and is sometimes divided into the following: 1. Shaivism (followers of Shiva) 2. Vaishnava (followers of Vishnu) 3. Shaktism (followers of Devi) 4. Smarta (followers of Brahman and all major deities) Some Hindus elevate the Hindu trinity, which consists of Brahma, Vishnu and Shiva. Others believe that all the deities are a manifestation of one.

https://www.bbc.com/news/world-asia-india-35650616

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.5

Institutions

Temple

A Hindu temple is a house of god (s). It is a space and structure designed to unite humans and gods, imbued with symbolism to express the ideas and beliefs of Hinduism. A temple incorporates all elements of Hindu cosmology, the tallest spire or dome depicting Mount Meru, a reminder of the abode of Brahma and the center of the spiritual universe, the sculptures and iconography, which symbolically presents dharma, kama, artha, moksha, and karma. The design, patterns, plan, and construction process recite ancient rituals, geometric symbolisms and reflect beliefs and values innate in various schools of Hinduism. Hindu temples are spiritual destinations for many (not all) Hindus and landmarks for the arts, annual festivals, the rite of passage rituals, and community celebrations.

Hindu temples come in many styles, in various locations, implement different construction methods, and accommodate multiple regional deities and beliefs. Two main Hindu temples include the Gopuram style found in southern India and the Nagara style found in northern India. Other techniques include rock temples, forests, and mountains. However, almost all Hindu temples share some common architectural principles, central ideas, symbolism, and themes despite their differences. Many temples have one or more idols (murtis). The idol and Grabhgriya in the Brahma-pada (the center of the temple), under the central spire, serve as the focal point (darsana, a spectacle) in a Hindu temple. In the most important temples, the main space is usually surrounded by an ambulatory allowing the devotee to walk and ritually bypass the Purusa (Brahman), the universal essence.

Traditionally, the life of a Hindu is divided into four Āśramas (phases or stages of life; another meaning includes the monastery). The four ashramas are Brahmacharya (student), Grihastha (head of household), Vanaprastha (retired), and Sannyasa (resignation). Brahmacharya represents the stage in the life of university students. Grihastha refers to the individual married life, with the duties of maintaining a home, raising a family, educating children, and leading a family-centered social life and a dharmic social life. The Grihastha stage begins with Hindu marriage and has been considered the most important of all stages in the sociological context, as Hindus have pursued righteous lives and produced food and wealth that sustained the people in other forms of life, for example. Like the descendants who continued humanity. Vanaprastha is the stage of retirement, in which a person hands over household responsibilities to the next generation, plays an advisory role, and gradually withdraws from the world. The Sannyasa stage marks renunciation and a state of disinterest and detachment from material life, usually without meaningful ownership or focus (ascetic form), and focuses on Moksha, peace, and the simple spiritual life.

The ashrama system has been a facet of the concept of dharma in Hinduism. Combined with four goals of human life (Purusartha), the ashrama system has traditionally aimed to provide a Hindu with whole life and spiritual liberation. Although these stages are usually sequential, anyone can enter the Sannyasa (ascetic) stage and become ascetic at any time after the Brahmacharya stage. Sannyasa is not obligatory religiously in Hinduism, and the elderly are free to live with their families.

Monasticism Some Hindus choose to live a monastic life (Sannyāsa), searching for liberation (moksha) or some other form of spiritual perfection. Monastics participate in an austere and celibate life, away from material searches, meditation, and spiritual contemplation. A Hindu monk is called Sanyāsī, Sādhu or Swāmi. A woman who renounces is called Sanyāsini. The renounced are highly respected in Hindu society because of their simple ahimsā-centered lifestyle and dedication to spiritual liberation (moksha), considered the ultimate goal of life in Hinduism. Some monks live in monasteries, while others roam from place to place, depending on donations of food and charity for their needs.

The Art Of Living International Ashram Bangalore Karnataka South https://seminecraftgratuit.blogspot.com/2019/12/ideas-for-art-of-living-ashram-courses.html

A view of Sri Natarajar temple of chidambaram https://en.wikipedia.org/wiki/Hinduism#/media/File:Natarajartemple1.jpg

Ashrama

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.6

Hindu Temples A Hindu temple or mandir is a symbolic house, seat, and body of deity for Hindus. It is a structure designed to unite humans and gods, using symbolism to express the ideas and beliefs of Hinduism. The symbolism and structure of a Hindu temple are rooted in Vedic traditions, displaying circles and squares. It also represents recursion and equivalence of the macrocosm and the microcosm by astronomical numbers and "specific alignments linked to the geography of the place and supposed links of the divinity and the patron." A temple incorporates all the elements of the Hindu cosmos presenting good, evil, and the human, as well as aspects of the Hindu sense of cyclical time and the essence of life symbolically presenting dharma, kama, artha, moksha, and karma. The word comes from ancient Rome, where a temple was a sacred enclosure defined by a priest or an omen. It has the same root as the word "template," a plan of preparation of the building delimited on the ground by the augur. Temple was also associated with the abodes of a god or gods. Despite the specific set of meanings associated with the word, it has now been widely used to describe a place of worship for many religions and is even used for pre-Roman times.

Hindu temples are known by many different names, varying on region and language, including Alayam, Mandir, Mandira, Ambalam, Gudi, Kavu, Koil, Kovil, Déul, Raul, Devasthana, Degul, Deva Mandiraya, and Devalaya. The spiritual principles symbolically represented in Hindu temples are given in the ancient Sanskrit texts of India (for example, Vedas and 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 and landmarks around which ancient arts, community celebrations, and economy have flourished.

Göbekli Tepe was founded about 11,500 years ago. It is arguably the world's oldest known temple.

https://www.reddit.com/r/IndiaSpeaks/comments/cxz99t/7_chakras_of_human_body_and_its_significance_in/

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.7

History of Hindu Temples There are hardly any traces of Hindu temples before the Gupta dynasty in the 4th century AD. C. There were undoubtedly earlier structures in wood-based architecture. The Udayagiri Rock Caves are among the earliest most important sites, built under royal patronage, recorded by inscriptions, and impressive in carving. The oldest preserved Hindu temples are simple cell-like stone temples carved out of the rock and others structural, as in Temple 17 at Sanchi. In the 6th or 7th century, these evolved into tall shikhara stone superstructures. However, there is inscription evidence, like the ancient Gangadhara inscription from around 424, Meister says, that towering temples existed before this time and were possibly made of more perishable materials. These temples did not survive. Examples of the first great North Indian temples to survive after the Udayagiri Caves in Madhya Pradesh include those at Tagawa, Deogarh, Parvati temple, Nachna (465), Bhitargaon, the largest surviving Gupta brick temple, Lakshman brick temple, Sirpur (AD 600-625); Rajiv Lochan Temple, Rajim (7th century). Gop Temple in Gujarat (around 550 or later) is a rarity, with no surviving comparators.

Vishvanatha Temple, Khajuraho By the 7th century, most of the main features of the Hindu temple were established with theoretical texts on temple architecture and construction methods. Between the 7th and 13th centuries, many temples and their ruins have survived (although many have less than once existed). Many regional styles developed, very often due to political divisions, as large temples were usually built under royal patronage. In the north, Muslim invasions from the 11th century reduced the construction of temples and resulted in the loss of many existing ones. The south also witnessed a Hindu-Muslim conflict that affected the temples, but the region was relatively less affected than the north. At the end of the 14th century, the Vijayanagara Hindu Empire came to power and controlled much of southern India. During this period, the distinctive, extensive portal of the gopuram (actually a late development, 12th century or later) was usually added to temples.

No stone temples in the South Indian style before the 7th century AD. has survived. Examples of surviving large early South Indian temples, some in ruins, include the various styles at Mahabalipuram, from the 7th and the 8th centuries. However, according to Meister, the Mahabalipuram temples are "monolithic models of a variety of formal structures that can already be said to characterize a developed" Dravida "(southern India) order." They suggest that a tradition and knowledge base existed in South India at the beginning of the Chalukya and Pallava era when they were built. Other examples can be found at Aihole and Pattadakal.

Brihadeshwara Temple https://simple.wikipedia.org/wiki/Brihadeshwara_Temple#/media/File:Brihadeeswarar_Kovil.jpg

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KhajurahoTemple https://en.wikipedia.org/wiki/Vishvanatha_Temple,_Khajuraho

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.8

The Design This is a photograph of a 17th century Odisha Indian manuscript on Hindu temple building. The details about this manuscript can be found on page 56 of George Michell, The Hindu Temple: An Introduction to Its Meaning and Forms". PD-Art applies. This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or fewer. You must also include a United States public domain tag to indicate why this work is in the public domain in the United States. Note that a few countries have copyright terms longer than 70 years: Mexico has 100 years, Jamaica has 95 years, Colombia has 80 years, and Guatemala and Samoa have 75 years. This image may not be in the public domain in these countries, which moreover do not implement the rule of the shorter term. Côte d'Ivoire has a general copyright term of 99 years and Honduras has 75 years, but they do implement the rule of the shorter term. Copyright may extend on works created by French who died for France in World War II (more information), Russians who served in the Eastern Front of World War II (known as the Great Patriotic War in Russia) and posthumously rehabilitated victims of Soviet repressions (more information). This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.

A Hindu temple is a symmetrical structure, with many variations, on a square grid of padas, representing perfect geometric shapes such as circles and squares. Susan Lewandowski claims that the underlying principle in a Hindu. The temple is based on the belief that all things are one; everything is connected. A temple, Lewandowski says, "reproduces Hindu beliefs over and over again in parts that reflect, and at the same time, the universal whole" as a "repeating cell organism." The pilgrim is welcomed through mathematically structured spaces, an art network, pillars with sculptures and statues that show and celebrate the four crucial and necessary principles of human life: the search for artha (prosperity, wealth), the search for kama (desire), the search for dharma (virtues, ethical life) and the search for moksha (liberation, self-eternity). In the center of the temple, usually below and sometimes above or next to the deity, there is a simple hollow space without decoration, symbolically representing Purusa, the Supreme Principle, the sacred Universal, one without form, who is present everywhere, connects everything, and is the essence of each one. A Hindu temple encourages reflection, facilitates purification of his mind, and unleashes inner realization in the devotee. The specific process is left to the devotee's school of beliefs. The main deity of the different Hindu temples varies to reflect this spiritual spectrum.

Site

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 pleasant places were recommended in these texts to explain that such are the places where gods play and thus the best site for Hindu temples.

Vaikuntha Planet https://www.iskconbangalore.org/blog/wp-content/uploads/2019/12/TA0925-2.jpg

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 breasts 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.

While major Hindu temples are recommended at sangams (confluence of rivers), riverbanks, lakes, and seashore, Brhat Samhita and Puranas suggest temples may also be built where a natural water source is not present. They recommend that a pond be created, 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 temple's consecration or the deity. Temples may also be built, suggests Visnudharmottara in Part III of Chapter 93, inside caves and carved stones, on hilltops affording peaceful views, mountain slopes overlooking beautiful valleys, inside forests and hermitages, next to gardens, or at the head of a town street.

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 AD https://en.wikipedia.org/wiki/Hindu_temple#/media/File:View_of_Bhutanatha_temple_in_Badami_during_monsoon.jpg

Hindu temple sites cover a wide range. The most common sites are those near water bodies, embedded in nature, such as the Bhutanatha temple complex at Badami, which is next to a waterfall. KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

The Plan The design, especially the ground plan, of a Hindu temple around the shrine or shrine follows a geometric design called Vastu-Purushamandala. The name is a Sanskrit word made up of three of the essential elements of the plan. Mandala means circle, Purusha is the universal essence at the center of the Hindu tradition, while Vastu means the structure of the dwelling. Vastupurushamandala is a yantra. The design features a Hindu temple in a self-repeating symmetrical form derived from core beliefs, myths, cardinality, and mathematical principles. In the symmetry and concentric square structure of a Hindu temple, each concentric layer has a meaning. The outermost layer, Paisachika padas, signifies aspects of Asuras and evil; the next inner concentric layer is Manusha padas which means human life; while Devika padas means aspects of Devas and good. The padas of Manusha generally house the ambulatory. The devotees, as they walk clockwise through this ambulatory to complete Parikrama (or Pradakshina), walk between the sound inside and the evil outside. In small temples, the Paisachika pada is not part of the temple superstructure but can be on the edge of the temple or represented symbolically. The padas Paisachika, Manusha padas and Devika padas surround Brahma padas, which means creative energy and serves as the temple's primary idol for darsana. Finally, at the very center of Brahma padas is Garbhagruha (Garbha-Center, gruha-house; the center of the house) (Purusa Space), which means Universal Principle present in everything and everyone. The needle of a Hindu temple called Shikhara in northern India and Vimana in southern India perfectly aligns with the Brahma pada. In the symmetry and concentric square structure of a Hindu temple, each concentric layer has a meaning. The outermost layer, Paisachika padas, signify aspects of Asuras and evil; the next inner concentric layer is Manusha padas which means human life; while Devika padas means aspects of Devas and good. The Manusha Padas generally house ambulatory. The faithful, as they walk clockwise ambulatory to complete Parikrama (or Pradakshina), walk between good inside and evil outside. In small temples, the Paisachika pada is not part of the temple superstructure, but it can be on the edge of the temple or represented symbolically. The padas Paisachika, Manusha padas and Devika padas surround Brahma padas, which means creative energy and serves as the temple's primary idol for darsana. Finally, at the very center of Brahma padas is Garbhagruha (Garbha-Center, gruha-house; the center of the house) (Purusa Space), which means Universal Principle present in everything and everyone. The needle of a Hindu temple, called Shikhara in northern India and Vimana in southern India, perfectly aligns with the Brahma pada (s).

Beneath the central squares of the mandala is the space of the formless and omnipresent universal spirit, the Purusha. This space is sometimes called garbha-griya (literally house of the womb) - a perfect little square room, no window, closed without ornamentation that represents the universal essence. In or near this space, there is usually a murti and varies with each temple. Often, this idol gives it a local name, such as the Vishnu temple, the Krishna temple, the Rama temple, the Narayana temple, the Siva temple, and the Lakshmi temple, Ganesha temple, the Durga temple, Hanuman temple, Surya temple, etc. It is this garbha-griya that devotees seek for "darsana" (literally, a vision of knowledge or a vision). Above the Vastu-Purusha-mandala, a tall superstructure called shikhara in northern India and vimana in southern India extends into the sky. Sometimes in makeshift temples, the superstructure can be replaced with symbolic bamboo with some leaves on top. The dome or cupola of the vertical dimension is designed as a pyramid, conical, or other mountain-like shapes, again using the principle of concentric circles and squares. Scholars such as Lewandowski claim that the form is inspired by the cosmic mountain of Mount Meru or the Kailasa Himalayas, the abode of the gods according to their ancient mythology. The three outer padas are visually decorated with sculptures, paintings, or images intended to inspire the devotee in the more significant temples. In some temples, these images or wall reliefs may be stories from Hindu Epics; in others, they may be Vedic tales of good and evil or virtues and vices; in some, they may be idols of minor or regional deities. Pillars, walls, and ceilings also often have highly ornate carvings or images of the four righteous and necessary life activities: kama, artha, dharma, and moksa. This walk is called pradakshina. Large temples also have corridors with pillars called mandapa. One on the east side serves as a waiting room for pilgrims and the faithful. The mandapa may be a separate structure in older temples, but this space is integrated into the temple's superstructure in newer temples. Mega-temple sites have a main temple surrounded by smaller temples and shrines, but these are always organized according to symmetry, grids, and mathematical precision. An important principle found in Hindu temple design is the reflection and repetition of the fractal-like design structure, each unique and repeating the central common focus, which Susan Lewandowski calls "a repeating cell organism."

KETAN SURYAWANSHI / Graduation Project 2021

64 grid Manduka design Hindu Temple Floor Plan Vastu Purusa Mandala Ancient Architecture

https://commons.wikimedia.org/wiki/File:64_grid_Manduka_design_Hindu_Temple_Floor_Plan_Vastu_Purusa_Mandala_Ancient_Architecture.svg

Manduka mandala is the most common and sacred Hindu temple format, set on a 8 x 8 grid. This floor plan is typical in prominent temples. The blue squares are Brahma pada, typically where the temple's primary and/or most giant idol resides. The Brahma pada's white squares are Devika (Devika) padas - the zone where gods (devas) live. The light green squares at the outermost periphery are Paisachikas padas - the area of demons, fears, doubts, suffering. On the east edge are always Surya (Sun) and Indra present, who rhythmically bring light and hope every day.

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

The light saffron squares forming the second outer encirclement are Manusha padas - the zone where human beings live and symbolically make choice between good and evil, Devas (gods) and Paisachikas (demons), as they walk / journey towards the core of the temple for a darsana (darshan, vision). The deep saffron circle in the center symbolically represents formless Universal One (or Universal Principle, also called Purusa) present in everything and everywhere, in Hindu tradition, the ultimately goal of all Hindu spiritual activity. In Hindu temple architecture, the designs range from simple 1 pada (used for yoga, meditation with self as temple) to 1024 pada or 32x32 grid superstructure temples. Further description about Manduka mandala: Stella Kramirsch, The Hindu Temple (2 Volumes) (Pt. 1 & 2). 40

The Manuals 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 made. By the 6th century AD, Sanskrit manuals for 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 implemented correctly in practice, the manuals suggest that town planning and Hindu temples were conceived as ideals of art and an integral part of Hindu social and spiritual life.

Fig. 24. Half-plan of the Samvarna of Nilakantha Mahadeva temple in Sunak, Gujarat (eleventh century A.D.)

Fig. 22. Shikhara of Mahabalipuram Dharmaraja ratha, showing the pattern of iteration in Dravidastyle temples

https://www.semanticscholar.org/paper/Hindu-temples%3A-Models-of-a-fractal-universe-Trivedi/0cb86a580012affed7738e3b1554a6c5627b2966/figure/10

https://www.semanticscholar.org/paper/Hindu-temples%3A-Models-of-a-fractal-universe-Trivedi/0cb86a580012affed7738e3b1554a6c5627b2966/figure/9

A Hindu temple has a Shikhara (Vimana 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) flows from one to the other as it rises towards the sky. The design principle of Hindu temples extensively uses circles and squares - both in their horizontal layout and vertical spire design. This is almost universal in ancient Hindu temples found in India, as well as outside South Asia. Designs that use harmonic ratios other than perfect square and circle are known, but these too are precise mathematical series and balances embedding squares and circles inside rectangles (1:2, 1:3, 2:3, 2:5, Etc.)

https://en.wikipedia.org/wiki/Hindu_temple

For spires rising towards the sky, above the Brahma padas of Hindu temples, turning-square and circumscribing circle geometry is very common (shown). This is both a structural design derivation as well as representative of the philosophical beliefs of Hindus. These are described in ancient Sanskrit texts called Vastu sastras (the science of dwelling) - the source of the above drawing. At the center of these squares and circles, underneath the spire, is the main deity of the temple (visible) and the Purusa (Universal Principle with no form, only knowledge, and meaning, reflecting Truth and Reality for Hindus). For further discussion of spire design principles in English, see publications by Michael W. Meister and by Stella Kramrisch. For example, Title: Mountain Temples and Temple-Mountains: Masrur Author: Michael W. Meister Publication: Journal of the Society of Architectural Historians, Vol. 65, No. 1 (Mar. 2006), pp 26-49.

KETAN SURYAWANSHI / Graduation Project 2021

Ancient Sanskrit manuals for temple construction discovered in Rajasthan, in the 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 the 7th century AD, is a guidebook on South Indian temple design and construction. Isanasivagurudeva paddhati is another Sanskrit text from the 9th century describing temple building in India in the south and central India. In north India, Brihat-Samhita by Varāhamihira is the widely cited ancient Sanskrit manual from 6th century depicting the design and construction of Nagara style of Hindu temples.

The Silpa Prakasa of Odisha, authored by Ramacandra Bhattaraka Kaulacara in the ninth or tenth centuries AD 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 the eastern states of India. Other ancient texts found expand these architectural principles, suggesting that different parts of India developed, invented, and added their interpretations. For example, in the Saurashtra 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 a 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.

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Nashik Maharashtra temple, cross section and plan (1910 sketch)

The Exceptions of the Square Grid A 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 the 8th century CE, is not a square but is a rectangle consisting of stacked squares. Further, the temple explores several 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 the Naresar temple site of Madhya Pradesh and Nakti-Mata temple near Jaipur, Rajasthan.

Vrindavan Uttar Pradesh temple plan

The description of the sketch can be found in Book VI of [https://archive.org/stream/ b28711270_0002#page/n13/mode/2up Burgess 1910 publication]. The details are approximate and based on tools, information available to the authors before 1910.

Michael Meister states that these exceptions mean the ancient Sanskrit manuals for temple building were guidelines, and Hinduism permitted its artisans flexibility in expression and aesthetic independence. The Hindu text Sthapatya Veda describes many plans and styles of temples of which the following are found in other derivative literature: Chaturasra (square), Ashtasra (octagonal), Vritta (circular), Ayatasra (rectangular), Ayata Ashtasra (rectangular-octagonal fusion), Ayata Vritta (elliptical), Hasti Prishta (apsidal), Dwayasra Vrita (rectangular-circular fusion); in Tamil literature, the Prana Vikara (shaped like a Tamil Om sign, Tamil Om.svg) is also found. Methods of combining squares and circles to produce all of these plans are described in the Hindu texts.

Khajuraho Madhya Pradesh temple plan

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Puri Odisha temple complex plan

Halebidu Karnataka temple plan

Floor plan, layout of the Hoysaleswara Temple at Halebidu Karnataka India Halebid, Halebeedu, Dvarasamudra, Dorasamudra This is a derivative work on the following image available on wikimedia commons under creative commons license: Halebid temple plan.jpg

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Chidambaram Tamil Nadu temple plan The plan of the Nataraja temple complex in Chidambaram (not to scale, many details not identified). 1: East gopura 2: South gopura 3: West gopura 4: North gopura 5: 1000 pillar hall (choultry) 6: Shivaganga pool 7: Devi temple 8: Shiva Sanctum + Chit Sabha + Kanaka Sabha 9: Vishnu shrine

Bhubneshwar Odisha, a smaller temple plan

KETAN SURYAWANSHI / Graduation Project 2021

Thiruvallur, Tamil Hindu temple complex E.B. Havell (1915) - https://archive.org/stream/cu31924011010109#page/n9/ mode/2up The temple complex shows three prakara (courtyards). Each has many gopura (monumental gateways), the outermost are the tallest serving as landmarks for pilgrims walking towards it. Numerous pillared choultry are provided, which historically served as resting places and many provided food, water and temporary shelter to visitors and pilgrims.

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.9

The Builders The temples were built by corporations of architects, artisans, and workers. Their knowledge and craft traditions, Michell claims, were preserved initially through oral tradition, later with palm-leaf manuscripts. The building was generally passed down in families from one generation to the next, and this knowledge was jealously guarded. Unions were like legal entities that established working rules and standard wages. These guilds eventually got rich and made charitable donations themselves, as the inscriptions show. The guilds covered almost all aspects of life in the camps around the site where the workers lived during the construction period, which in the case of large projects can last for several years. Indian texts call craftsmen and temple builders "Silpin," derived from "Silpa." One of the earliest mentions of the Sanskrit word Silpa is found in Atharvaveda, around 1000 BC. C., which scholars have translated as a work of art. Other researchers suggest that the word Silpa does not have a direct translation of an English word, nor does the word "Silpin." Silpa, explains Stella Kramrisch, is a multi-colored word and embodies the art, skill, craftsmanship, ingenuity, imagination, form, expression, and inventiveness of any art or craft.

Brhatsamhita, also called Brihat Samhita, is a complete Hindu text by Varahamihira dating from the late 5th or early 6th century CE (see Doris Srinivasan, Many Heads, Arms, and Eyes, Brill Academic, pp. 245-246 ). The text is in verse and contains over a hundred chapters. The verses include planetary movements, existing theories on architecture, temples, eclipses, timekeeping, astrology, seasons, cloud formation, rain, agriculture, gemology, and many other subjects. Chapters 57-60 in particularly noteworthy for the details it provides on the harmonic proportion specifications for the design of Pratima (murti, statues, idols, pratimalakshana), the proportion and composition of Hindu temples (dimensions of various mandapas, garbhagriya, gates), and the relative proportions of the Pratima, reliefs, pillars, spire and other characteristics of the time concerning the general dimensions of the temples. 49

2.10 Sculptures, Similarly, a Shilpin, Kramrisch notes, is a complex Sanskrit word describing anyone who embodies art, science, culture, skill, rhythm, and creative principles to produce any form of divine expression. The ancient Sanskrit texts considered the Silpins that built Hindu temples and the works of art and sculpture to display skills whose number is unlimited, the Kala (techniques) that counted 64, and Vidya (science) of 32 types. Hindu temple building manuals describe education, characteristics of sound artists and architects. The general teaching of a Hindu shilpin in ancient India included Lekha or Lipi (alphabet, reading, and writing), Rupa (drawing and geometry), Ganana (arithmetic). These were administered from 5 to 12 years old. Advanced students would continue in the higher stages of Shilpa Sastra's studies until the age of 25. Specialized technical skills, textbooks suggest that the best Silpins for constructing a Hindu temple are those who know the essence of the Vedas and Agamas, consider themselves students, and have a good understanding of traditional science and mathematics principles painting and geography. In addition, they are kind, free of jealousy, fair, have their senses under control, good-tempered and fiery in everything they do.

Pratimalaksana, in particular, exists in all major Indian scriptures, although the language of the texts in Sanskrit. The text influenced Hindus and Buddhism, and Jainism, as evidenced by its copied manuscripts, preserved and discovered in Buddhist, Hindu, and Jain monasteries and temples. The specifications are given in this, and other Indian arts and sculpture texts appear to have been historically followed in the Indian subcontinent in all three traditions. The image above is a commentary (bhasya) on chapter 3 of Brhat Samhita. This is a preserved palm-leaf manuscript discovered in the 19th century in a Tamil Hindu temple and monastery. This manuscript is now in the Penn University Library, USA Language: Sanskrit Script: Tamil Grantha. The photo above is a 2D illustration of text written more than 1500 years ago and a manuscript bought before 1899 CE (and produced before it was believed). KETAN SURYAWANSHI / Graduation Project 2021

Iconography, and Ornamentation

• Iconography is a branch of art history which studies the images of deities. • It consists of identification of image based on certain symbols and mythology associated with them. • Even though the fundamental myth and meaning of the deity may remain the same for centuries, its specific usage at a spot can be a response to its local or immediate social, political or geographical context. • Every region and period produce its own distinct style of images with its regional variations in iconography. • The temple is covered with elaborate sculptures and ornament that form a fundamental part of its conception. • The placement of an image in a temple is carefully planned: for instance, river goddesses (Ganga and Yamuna) are visually found at the entrances in a Nagara temple, Dwarapalas are usually found on the gateway or gopurams of Dravida temples, similarly mithunas (erotic images), navagrahas ( the 9 auspicious planets) and Yakshas are also placed at the entrances to guard them. • Various forms or aspects of the main divinity are to be found on the outer walls of the sanctum. • The ashtadikpalas (deities of direction) face eight key directions on the outer walls of the sanctum and/or on the outer walls of the temple. • Subsidiary shrines around the main temple are dedicated to the family or incarnations of the main deity. • The various elements of ornamentation are gavaksha, vyala/ yali, kalpa-lata, amalaka, kalasha, etc.

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 three-dimensional and completely formed • Chitrardha: images that are engraved in half relief • Chitrabhasa: images that are two-dimensional such as paintings on walls and cloth

Chennakesava temple at Somanathapura, Karnataka, India. Wonderful example of Hoysala architecture of the 13th century. This and other idols were desecrated by marauding invaders. Hindu temple, India Sep 2013. Nagarjun Kandukuru - Flickr: Exquisite detail, right down to her fingernails https://www.flickr.com/photos/64924693@ N00/9768559232 Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Another way of classification is by the expressive state of the image: Raudra or Durga are images that were meant to terrify, induce fear. These typically have wide, circular eyes, carry weapons, have skulls and bones as adornment. Soldiers worshiped these idols before going to war or by people in times of distress or terrors. Raudra deity temples were not set up inside villages or towns but invariably outside and remote areas of a kingdom. Shanta and saumya are images that were pacific, peaceful, and expressive of love, compassion, kindness, and other virtues in the Hindu pantheon. These images would carry symbolic icons of peace, knowledge, music, wealth, flowers, and sensuality. In ancient India, these temples were predominant inside villages and towns. A Hindu temple may or may not include an idol or images, but more prominent 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 realized Self and the Universal Principle within himself, does not need 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:

A yogin perceives god (Siva) within himself, images are for those who have not reached this knowledge. — Jabaladarsana Upanishad, verse 59

2.11 The

Styles of Temple Architecture

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 the arid regions of western India, such as Rajasthan and Gujarat, Hindu communities built large wells that served as the only water source during the dry months and served as places of social gathering and had religious significance. These monuments descended to earth in underground waters, up to seven floors, and were part of a temple complex. This vav (literal stairwell) had intricate artistic reliefs on the walls, with many idols and images of Hindu deities, water spirits, and erotic symbolism.

The wells on the stage were named after Hindu deities; for example, Mata Bhavani's Stepwell, Ankol Mata Vav, Sikotari Vav and others. The temple ranged from a small structure to a single pada (cell) and large nearby complexes. These stairways and their temple complexes have been dated differently since the end of the first millennium BC. until the 11th century AD; among these, Rani ki vav, with hundreds of artistic reliefs including many avatars of the deity Vishnu, has been declared a UNESCO World Heritage Site.

Cave temples Indian rock-hewn architecture evolved in the style of the Maharashtran temples in the 1st millennium AD. The temples are carved from a single piece of rock like a complete temple or carved into a cave to resemble the interior of a temple. The temple of Ellora is an example of the first, while the caves of Elephanta are representative of the second style. 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 stone carvings carved into the rock, representing the Hindu sect Shaiva, dedicated to the god Shiva.

Images and idols inside Hindu temples vary widely in their expression. Raudra or ugra images express destruction, fear and violence, such as the Kali image at left. Shanta or saumya images express joy, knowledge and harmony, such as the Saraswati image at right. Saumya images are most common in Hindu temples. left:- Raja Ravi Varma - http://images.wellcome.ac.uk/indexplus/ obf_images/06/be/c9c466b8dd2eca222a98d0a1e171.jpg Right:- Raja Ravi Varma - http://www.ravivarmaoleographs.com/links/ oleographsforsale2.html

KETAN SURYAWANSHI / Graduation Project 2021

Undavalli Cave Temple, Andhra Pradesh https://en.wikipedia.org/wiki/Hindu_temple#/media/File:Undavalli_Caves.jpg

This is a hindu temple into the rainforest in Ubud, Bali. https://www.flickr.com/photos/76623287@N00/396811207

Somnath Temple https://en.wikipedia.org/wiki/Hindu_temple#/media/File:Somnath-current.jpg

Adalaj Stepwell Ahmedabad https://www.gosahin.com/places-to-visit/adalaj-stepwell/

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Masroor Temple https://en.wikipedia.org/wiki/Hindu_temple#/media/File:Masrur_rockcut_temple.jpg

Hindu deities, stepwell style. https://en.wikipedia.org/wiki/Hindu_temple#/media/File:Rani_ki_Vav_sculptures_02.jpg

2.12 Elements

in Hindu temples

Elements of a Southern Vimana

Elements of a Northern Temple

https://in.pinterest.com/pin/394135404877056160/

https://in.pinterest.com/pin/445082375652061102/

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Adhisthana (Also known as Athavaksham, Pista, Pitha)

Amalaka

Adhisthana is the base of a temple, plinth, typically molded, and sometimes with Sanskrit or regional language inscriptions or motifs such as elephants or ganas or pilasters. The temple stands on the Adhisthana.

A crowning ornament on the top of shikara, shape of an Indian amalok fruit that looks like a cogged wheel. The amalaka supports the kalasha. Hindu Text Mention:- Mayamata silpasastra.

Hindu Text Mention:- Manasara XIV, Kamikagama 35, Suprabhedagama 31.

Img. Credits:- Derivative work on 8th century Galaganatha temple, Pattadakal monuments Karnataka 5.jpg

Img. Credits:- This is derivative work on Khajuraho - Kandariya Mahadeo Temple. jpg

Khajuraho Temple Plan

https://in.pinterest.com/pin/461337555554426170/

Antarala (Also known as Sukhanasi, antechamber or vestibule Mandapa)

Ardhamandapa

In temples, interior space is the intermediate space (vestibule, antechamber) between the sanctum and the area where pilgrims gather.

Ardhamandapa is the pillared half hall, usually in front of every entrance into the temple. It serves as the reception area, where a pilgrim or visitor may settle in (e.g., after walking in from rain). It usually has carvings and friezes narrating legends from Hindu texts as well secular scenes such as musicians, sculptures of single women or men, or amorous couples (mithuna). Hindu Text Mention:- Manasara XIV, Kamikagama 35, Suprabhedagama 31.

Hindu Text Mention:- Manasara XV, XXIII; Kamikagama XXXV. Img. Credits:- https://archive.org/stream/cu31924011010109#page/n9/ mode/2up

Img. Credits:- This is derivative work on Khajuraho - Kandariya Mahadeo Temple. jpg

Parts of an Orissan Temple (East India)

http://www.art-and-archaeology.com/india/temple2.html

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Ayatana

Bhadra

Hara

Jala (Also known as Jali, Indra koshtha)

Assembly hall, grounds inside a temple or monastery compound. Hindu Text Mention:- Agni Purana XLIII, Matsya Purana CCLXX, Chandogya Upanishad 6.8.2.

A projection often aligned to one of the cardinal directions; typically of central part of walls; decoration or a projected porch for pilgrims; also may be a tower storey projection. Hindu Text Mention:- Manasara XXX-XXXIV.

Neck ornament such as necklace

Jala or Jali are perforated stone windows added to walls in Indian temples to allow natural light in. They are seen in Buddhist, Hindu and Jain temples dated to pre-6th century era.

Gana

Gavaksha (Also known as Gavaksa, kudu)

Gana is a dwarf or goblin, usually with a big belly found in Indian temple bases, pillars, and elsewhere. They typically are shown in humorous postures, sometimes with musical instruments or dancing or singing or dressed like a prankster.

One of the arch motifs; it is horseshoe-shaped, found with windows or for decorating spires, pillars and other elements.

Img. Credits:- This is derivative work on Bhojpur 08 - Gana.jpg

chitectural_Slab_with_Gavaksha_Relief_with_Female_Face_-_Circa_5th_Century_CE_-_Govind_Dev_Mandir_-_Vrindaban_-_ACCN_51-3607_-_Government_Museum_-_Mathura_2013-02-23_5491.JPG

Garbhagriha (Also known as Garbha-griya, Garbha-geha, Sibika, Garbha, Mula-sthana) The womb-house, adytum, sanctum sanctorum; it is the loci of the temple and the Darshana, the spiritual space that Hindus circumambulate clockwise about. This is where the main murti image is placed. Usually, the area is very plain, with no distractions from the murti, rich in symbolism. A large temple may have many shrines, each with a garbhagriya. Hindu Text Mention:- Brihat Samhita LXI.

Img. Credits:- https://en.wikipedia.org/wiki/Hindu_temple_architecture#/media/File:Ar-

Gopuram (Also known as Gopura, Dvara attalaka) A gateway at the entrance or one that connects two sacred spaces of the temple; becomes very large in South Indian temples, which may have several roots in ancient Indian monasteries and the Vedic word gomatipur. Hindu Text Mention:- Agni Purana XLII, Manasara XI, XXXIII verses 1-601, LVIII. Img. Credits:- https://www.flickr.com/photos/asienman/16025679832

Img. Credits:- https://en.wikipedia.org/ wiki/Hindu_temple_architecture#/media/ File:Pillar_in_Ellora_Caves.jpg

Img. Credits:- A derivative work on "A view of stone windows in World Heritage Monument Airavatesvara Temple".JPG

Jagati (Also known as Jagata, Pithika, Jagati-pitha, Kati, Vasudha) Any molded base or pedestal for the temple or a statue extends out, part of the platform that forms a terrace to stand on or circumambulate around while reading the reliefs and friezes. Hindu Text Mention:- Samarangana-sutradhara LXVIII, Agni Purana XLII, Suprabhedagama 31.19. Img. Credits:- This is a derivative work on Chennakeshava temple on star shaped jagati at Somanathapura.jpg

Kalasha (Also known as Kalasam, Stupi, Kumuda)

Kirtimukha

A Kalasa or Kalasha is the pinnacle element in the form of a vase finial of a temple's tower, a cupola, or pitcher. It is found in Hindu and Jain rites-of-passage ceremonies, particularly related to babies and weddings. Hindu Text Mention:- Agni Purana CIV, Kamikagama 55.

Kirtimukha is the name of a swallowing fierce monster face with huge fangs and gaping mouth, very common in the iconography of Hindu temple architecture in India and Southeast Asia and often also found in Buddhist architecture. In Southeast Asia, it is often referred to as Kala, and in China, it is known as the taotie meaning. (Monster of Greed).

Img. Credits:- This is a derivative work on 1010 CE Brihadishwara Shiva Temple, a view of kalasa on tower, built by Rajaraja I, Thanjavur Tamil Nadu India. jpg

Img. Credits:- https://en.wikipedia.org/wiki/Kirtimukha#/media/ File:Kirthimukha_at_Kasivisvesvara_Temple_at_Lakkundi.JPG

Img. Credits:- https://en.wikipedia.org/wiki/Hindu_temple_architecture#/ media/File:7th_-_8th_century_Shiva_linga_at_the_Sangameswara_temple,_Pattadakal_Hindu_monuments_Karnataka.jpg

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Kunda (Also known as Pushkarani, Sara, Sagar, Tadaga, Udapana, Var, Vapi) A temple tank, stepwell, pool, usually with steps, a public utility for taking a dip; often connected to a nearby river or mountain stream. Hindu Text Mention:- Garuda Purana XLVI, Mahanirvana tantra XIII.

Lata

Nyasa

Prakaram

liana, creeper-style plant, vine, one type of scroll work; also found on sikhara

The art of arranging images and friezes to create a narrative or composition, in some texts, refers to the relative placement of images within a panel to summarize a Hindu legend or fable; also a form of ritual. Hindu Text Mention:- Vastusutra Upanishad VI.

Img. Credits:- https://archive.org/stream/cu31924011010109#page/n9/ mode/2up

Img. Credits:- https://in.pinterest.com/pin/56646907794219505/

Img. Credits:- https://www.deccanherald.com/content/621666/solar-decor-modhera.html

A wall that separates an inner zone of temple ground from an outer zone; typically concentric, defensive and fortified, a feature added after the wars and plundered starting in the 14th-century.

Prastara (Also known as Chaiva, gopanam, kapotam, mancham)

Makara A mythical fusion sea creature with fish-crocodile-like face, trunk or snout, legs sometimes with lion claws and a tail; vahana of Varuna. Hindu Text Mention:- Suprabhedagama 31.68-72. Img. Credits:- https://en.wikipedia.org/wiki/Makara#/media/File:Sculpture_-_Jain_Museum_,_Khajuraho_India.JPG

Mulaprasada Main shrine in a temple complex

Nisha Niche on temple walls or in pillars for sculptures or stele 59

It is a horizontal superstructure of bands and moldings above column capitals, sometimes functions as a parapet of a story. Prastara is both a functional and decorative element located above the architrave of the temple. Being the third part of the building counting from the bottom, prastara is an essential element of the overall architectural composition of the temple. Hindu Text Mention:- Manasara XVI; Kamikagama LIV.

Mandapa (Also known as Mandapam, Mantapa, Jagamohan) pillared hall or pavilion, with pillars usually carved; a mandapa is typically square, rectangle, octagonal or circular; it may have walls with perforated stone windows, it may just be open on some or all sides. Large temples may have many interconnected mandapas. It is a gathering place, a place for pilgrims to rest (choultry), a part of the circumambulation space, or to wait during prayers or Sanskara (rite of passage) rituals. A mandapa may have a tower (shikhara) of its own, but it is lower than that above the sanctum. Hindu Text Mention:- Manasara XXXII-XXXIV, Kamikagama 50, Brihat samhita, Vishnu Purana 6.124-136.

Img. Credits:- https://en.wikipedia.org/ wiki/Prastara#/media/File:1834_ sketch_of_prastaras,_entablature_elements_in_Hindu_temple_architecture.jpg

Ratha

A facet or vertical offset projection on the plan of the sanctum and shikhara above, or other structure. It is generally carried up from the bottom of the temple to the superstructure. A ratha, meaning cart, is also the temple chariot used for processing the murti at festivals, and a "ratha temple" is one designed to resemble a cart, with wheels on the sides, and often horses. The most famous example is the Sun Temple, Konarak. Img. Credits:- Antoniraj / CC BY-SA (https://creativecommons.org/licenses/ by-sa/3.0)

Sala (Also known as Chala) Round barrel-roofed, wagon-roofed pavilion; rooted in the thatched roofed stall for people or cattle tradition, then other materials of construction; any mansion or griha; a pilgrim services building with mandapas or pillared veranda or both inside the temple complex, Hindu texts describe multi-storey Sala; in south, sala are structures used as a decorative motif, or an actual roof, as at the top of gopurams; rooted in ancient thatched roof styles. Hindu Text Mention:- Manasara XXXV verses 1-404. Img. Credits:- https://en.wikipedia.org/wiki/Hindu_temple_architecture#/media/File:Mahabalipuram_-_Mamallapuram_stone_carvings_(15).jpg

Img. Credits:- Naneshvara temple in Lakkundi.JPG & Pillared halls or mandapams in Meenakshi temple, choultry pilgrim resting place.jpg KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Sikhara/Vimana (Also known as Shikhara, Sikha, Sikhanta, Sikhamani, Deul in East India, Garbhaka, Garbhamandira) Sikhara is the complete tower above the sanctum in north/east/west / central Indian temples (south India, a sikhara is the upper decorated part of the Vimana, not the whole tower). A Sikhara features motifs and decorations integrated into a mountain-like shape. Square or rotating square plans are standard. On top of the building is amalaka and then kalasa. Hindu Text Mention:- Brihat Samhita LVI.

Tala

Torana (Also known as Numerous terms, e.g. Gavaksha (from 'cow eye'-

Tala is a tier or storey of a shikhara, vimana, or gopuram in Hindu temple architecture. It is an essential compositional element, which is significantly distinct in Dravidian architecture. Img. Credits:- https://en.wikipedia.org/wiki/Tala_(Hindu_architecture)#/ media/File:1834_sketch_of_elements_in_Hindu_temple_architecture,_seven_storey_vimana.jpg

shaped)) Any arch or canopy motif, ornament, or architectural member in temples and buildings; it also refers to an arched gateway. Hindu Text Mention:- Garuda Purana XLVII, Manasara XLVI verses 1-77. Img. Credits:- This is a derivative work on Bhubaneshwar ei04-24.jpg

Img. Credits:- This is derivative work on Khajuraho - Kandariya Mahadeo Temple. jpg

Urushringa The urushringa is smaller and narrower than the shikhara and "engaged" or connected to it where they are, except at the top. It reinforces the sense of height that the temple gives and can give some structural support by acting as a buttress and adding to the temple's visual symbolism as a sacred mountain. They often reflect the intricate shape of the shrine structure at ground level, following the projections of ratha to the shikhara. The style of shikhara with urushringas is known as Sekhar. Many temples in the famous Khajuraho group of monuments have Sekhari towers, while others do not. In the Kandariya Mahadeva temple, there are 84 urushringas around the shikhara. The urushringa echoes the form of the main shikhara and often has its amalaka and Kalash at the top, as in the Kandariya Mahadeva temple. Mention of Hindu text: - Brihat Samhita LVI, Agni Purana CIV. Img. Credits:- https://en.wikipedia.org/wiki/Hindu_temple_architecture#/media/File:Kandariya_Mahadev,_Khajuraho.jpg

Sukanasa (Also known as sukanasa-sika) An external ornamented feature over the entrance to the garbhagriha or inner shrine. It sits on the face of the sikhara tower (in South India, the vimana) as a sort of antefix. Can refer to the antarala below as well. Hindu Text Mention:- Agni Purana XLII. Img. Credits:- https://en.wikipedia.org/wiki/Hindu_temple_architecture#/media/File:Pattadakal_si1479.jpg

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Stambha Stambha (tower in English) is a pillar or column found in India. Hindu mythology is believed to be a cosmic column that functions as a bond, joining heaven (Svarga) and Earth (Prithvi). Many Hindu scriptures, including the Atharva Veda, feature references to Stambhas. In the Atharva Veda, a celestial stambha has been described as an infinite scaffold that supports cosmos and material creation. A Stambha was and is also used in the context of Indian architecture. Different Stambhas serve different purposes, including the following: • Dhvaja Stambha (Flagstaff Towers) is placed opposite the main shrine, on an axis with the main deity. • Kirti Stambha (Glorious Tower) & Vijaya Stambha (Victory Tower) are erected to commemorate victories. • The most well-known stambhas of India are the Ashoka Stambha (Pillars of Ashoka) — erected during the reign of Ashoka, spread across the subcontinent, bearing different types of royal edicts.

• Adi Purana — a huge manastambha — stands in front of the samavasarana of the tirthankaras, which causes entrants to a samavasarana to shed their pride. • Deep Jyoti Stambh or Deepa Stambha is a unique piece of Hindu architectural structure, usually found in Hindu temples. As the name indicates, Deep means “diya” (“oil lamp”), Jyoti means “light,” and Stambh means “a column.” Such Stambha are erected outside the temple compound, to be illuminated with diyas on special occasions. Some famous and unique Deep Stambh in India can be seen at the Mahalsa Temple in Ponda in Goa, Shanta Durga Temple in Goa, Harsidhhi Temple at Ujjain, Tekari Temple at Dewas, Khandoba Temple at Jejuri, Mangueshi Temple at Mangeshi, Sri Yellamma • Renuka temple of Saundatti, Sharana Basaveshwara Temple of • Gulbarga, and Banashankari Amma Temple near Badami in Karnataka — to name a few.

Deepstambh at Jejuri Khandoba Temple of the Pune city of Maharashtra. Dhvaja Stambha https://commons.wikimedia.org/wiki/File:Sri_Veerabhadra_swamy_temple_dhwaja_stambham_at_Lepakshi.jpg

Kirti Stambha at Chittorgarh fort in Rajasthan, India https://en.wikipedia.org/wiki/Stambha#/media/File:Kirti_Stambha.jpg

Ashoka Pillar https://en.wikipedia.org/wiki/Stambha#/media/File:Ashoka_pillar_at_Vaishali,_Bihar,_India.jpg

KETAN SURYAWANSHI / Graduation Project 2021

https://www.flickr.com/photos/sachinbaikar/25456476884/in/photostream/

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Palmette

Frieze In architecture, the frieze / Fri: z / is the large central part of an entablature and can be simple in the Ionic or Doric order or decorated with bas-reliefs. Coat racks are also generally used to decorate friezes. Even when there are no columns or pilasters, it rests on the architrave ("main beam") in an astylar wall and is topped by the cornice moldings. A frieze can be found in many Greeks and Romans. Buildings, the Parthenon frieze being the most famous and perhaps the most elaborate. This style is typical of the Persians. A room frieze is the section of the wall above the trim and below the trim or cornice. By extension, a frieze is a large expanse of painted, carved, or even calligraphic decoration in such a position, usually above eye level.

The frieze decorations can represent scenes in a sequence of discrete panels. The material from which the frieze is made can be plaster, carved wood, or any other decorative support. In an example of an architectural frieze on the facade of a building, the octagonal Tower of the Winds in the Roman Agora of Athens has relief carvings of the eight winds on its frieze. A powder frieze (or pulvino) has a convex section. These friezes were characteristic of 17th-century Nordic Mannerism, especially on the subsidiary friezes, and many used interior design and furniture. The concept of a frieze has spread in the mathematical construction of frieze patterns.

The palmette is a decorative art motif that resembles the fan-shaped leaves of a palm tree in its most characteristic expression. It has a long history, originating in ancient Egypt with further development through art from most Eurasia, often in a way that bears little resemblance to the original. In ancient Greek and Roman usage, it is also known as the hymn (from the Greek ανθέμιον, a flower). It is found in most art media, but mainly as an architectural ornament, carved or painted, and painted on ceramic. Most often, this is an element of the design of a frieze or border. Alois Riegl first traced the complex evolution of the palmette in his Stilfragen of 1893. The half-palmette, cut in half vertically, is a pervasive pattern found in many mutants and vestigial forms and essential in developing a Herbal scroll ornament.

Greek friezes

Hellenistic "Flame palmettes" From the 5th century onwards, palmettes tended to have very flared leaves. However, beginning in the fourth century, the tips of the blades tend to rotate, forming what is called the "palmette of flames" design. This design was adopted in Hellenistic architecture and became very popular on a large geographical scale. This is the design that India adopted in the 3rd century BC. C. for some of its sculptural friezes, such as those of the abaci of the pillars of Ashoka, or the central design of the capital, Pataliputra, probably in the Seleucid Empire or in Hellenistic cities such as Ai-Khanum.

Page in which appear various illustrations of palmettes, from A handbook of Ornament by Franz Meyer (1898) https://www.flickr.com/photos/internetarchivebookimages/14597671860/

"Flame palmettes" around a lotus, on the Rampurva bull capital, India, 3rd century BC https://en.wikipedia.org/wiki/Palmette#/media/File:Rampurva_bull_capital_detail.jpg

Ionic frieze of the Erechtheum (Athens), 421–406 BCE

Top: Kyanos frieze from Tiryns. Bottom: Frieze of the Erechtheion in (Athens), 4th BCE

rieze from Delphi lotus with multiple calyx. Detail of this file: Actual image: treasury of the Siphnians frieze 525 BCE.

https://en.wikipedia.org/wiki/Frieze#/media/File:Erechtheum_frieze_Glyptothek_Munich_242.jpg

https://en.wikipedia.org/wiki/Frieze#/media/File:Greek_frieze_designs.jpg

https://en.wikipedia.org/wiki/Frieze#/media/File:Frieze_from_Delphi_lotus_with_ multiple_calyx.jpg

Frieze of the lost capital of the Allahabad pillar, with two lotuses framing a "flame palmette" surrounded by small rosette flowers, 3rd BCE https://en.wikipedia.org/wiki/Frieze#/media/File:Frieze_of_capital_of_ Lat_at_Allahabad.jpg

Corniche is a word that comes from ancient Greek. It refers to the upper cast of the entablature, the horizontal structural element (beam) that sits on the columns of Greek temples, surrounding everything. Building and supports the roof and pediment. The entablature consists of three parts: first supported by the columns is the architrave, a series of stone lintels that fill the space between each column. The architrave supports the second element, the frieze, and could be one of the most important decorative elements in the temple (many Elgin marbles in the British Museum come from friezes from the Parthenon in Athens). There are three main orders of classical architecture: Doric, Ionic, and Corinthian. The frieze of the Doric and Corinthian orders is a sculpted relief that unfolds in a continuous band around the building. In Ionic order, the frieze was divided into grooved vertical blocks called triglyphs. Finally, the third and highest element of the entablature is the cornice. It can be simple or decorated according to the architectural order in which it was designed and came in an almost infinite number of varieties and combinations. The architectural terms of ancient temples and buildings were applied to the interior decoration of rooms during the 18th and 19th centuries. The cornice then becomes the highest molding on a wall, between the wall and the ceiling.

Timeline of palmettes in different styles, each one being notated with a letter: a-Greek; b, c-Roman; d-Byzantine; e-Renaissance; f-Baroque; and g-Empire

https://www.plasterceilingroses.com/blogs/news/what-is-a-cornice

https://en.wikipedia.org/wiki/Palmette#/media/File:Timeline_of_palmettes_in_different_styles,_each_one_beaing_notated_with_a_letter._a-Greek_b,_c-Roman_d-Byzantine_e-Renaissance_f-Baroque_and_g-Empire.jpg

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Indian Frieze

Hoysaleswara Temple, also known simply as Halebidu Temple, is a 12th-century Hindu temple dedicated to Shiva. It is the largest monument in Halebidu, a city in Karnataka, India, and the former capital of the Hoysala Empire. The temple was built on the large artificial lake banks and sponsored by King Vishnuvardhana of the Hoysala Empire.

According to Foekema and other art historians, the quality and quantity of the "friezes" linked to the epics are astonishing, but the series of panels does not complete the story in the blink of an eye rather than after a stretch, other texts they intertwine for a moment. The outer walls of the Hoysaleswara temple shrines have 340 large reliefs.

The exterior walls of the temple are intricately carved. Its lower layers consist of bands with friezes composed (from bottom to top) of elephants, lions, scrolls with nature and miniature dancers, horses, scrolls, scenes: Hindu texts, mythical beasts (Makara) swans. According to Shadakshari Settar, the work shows details such as "there are no two identical lions in the whole span which covers more than one stadium (200 meters)", the artists "captured the Ramayana and the Mahabharata, and the main episodes of the Bhagavata. " The temple's outer wall is a pictorial narration of Hindu epics, and its central part has large panels where "the whole pantheon of Hindu deities is presented, it is a manual of Hindu iconography," he says Settar.

The friezes and pictures on the outer wall mainly speak of the Ramayana, Mahabharata, Bhagavata Purana, other great Shaiva, and Vaishnava Puranas. Artwork on the outer walls of the temple are in bands. 1: marching playful elephants; 2: lions; 3: thin miniature scroll; 4: horsemen in different postures; 5: thin miniature scroll; 6: friezes narrating legends from the Hindu texts; 7: makaras; 8: hamsa and peacocks; 9: professionals, daily life of people alternately standing and sitting; 10: mythical creatures, festivals, ceremonies; 11: artha, kama, dharma scenes including courtship and mithuna (eroticism, sex), various occupations, some mythical scenes; 12: large image panels (deities, spiritual stories from Hindu texts). Rosette designs from Meyer's Handbook of Ornament

https://en.wikipedia.org/wiki/Rosette_(design)#/media/File:Orna115-Rosetten.png

Shri Swaminarayan Mandir Wall

Rosette (design)

https://in.pinterest.com/pin/400890804299883801/

A rosette is a round, stylized flower design. The rosette derives from the natural shape of the botanical rosette, formed by leaves radiating out from the stem of a plant and visible even after the flowers have withered. The rosette design is used extensively in sculptural objects from antiquity, appearing in Mesopotamia, and funeral steles' decoration in Ancient Greece. The rosette was another important symbol of Ishtar that initially belonged to Inanna and the Star of Ishtar. It was adopted later in Romanesque and Renaissance architecture is also common in Central Asia, spreading as far as India, where it is used as a decorative motif in Greco-Buddhist art.

https://en.wikipedia.org/wiki/Hoysaleswara_Temple#/media/File:12th_century_Hoysaleshwara_temple_Halebidu_outer_wall_reliefs_and_friezes_01.jpg

https://en.wikipedia.org/wiki/Hoysaleswara_Temple#/media/File:12th_century_Hoysaleshwara_temple_Halebidu_outer_wall_reliefs_and_friezes_02.jpg

KETAN SURYAWANSHI / Graduation Project 2021

Temple walls - Jagdish Temple, Udaipur

https://commons.wikimedia.org/wiki/File:Temple_walls_-_Jagdish_Temple,_Udaipur,_RJ.jpg

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

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REFLECTIONS & BIBLIOGRAPHY

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

www.furthermore.equinox.com

REFLECTIONS

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

My liking for spaces has started very early in age because of my family background, specifically my mom's BG. She is an excellent Interior Designer and self-made woman. Later, when I got a chance to study at NID, I have grown my design thinking skills with my batchmates. While everyone was inclined to product design & UI/UX design, I found my interest in the field of design. The search for it came to a pause when I was lucky to realize that I like to work with spaces, and my visualization skills for space have guided me to take my Degree project in the field of Space Design and Art Direction. During my last few days at college, I was thinking of how I would get an opportunity to work with the best space designers in our country. I was fortunate enough to get in touch with India's well-known art director and production designer Shri Nitin Chandrakant Desai, who is working in the film industry for more than 33 years of his life for movies, events, and spaces. I was struggling to get his contact so much that one day my mother saw me struggling to get an excellent opportunity to work in Industry; this is when she helped me to find ND Studio's Email address. I would not be able to put forth my skills without this opportunity to work with Nitin, sir, and it was possible because of my beloved mother, I can't thank her enough for her help finding the email address. I still remember the first day when I was dressed up and went for the interview at the office in Karjat, Maharashtra. I was tense while talking with Nitin, sir. He allowed me to work on my first Lalbaug cha Raja decore of 2020 with an Underwater theme. After two days, he again called me to his cabin for a discussion on the progress of the work. When I completed my part of the discussion with him, he asked Shailesh sir to explain the Sai Baba New Jersey project and told me that I will be working on it from now onwards. Till this point in time, I haven't submitted my GP registration form to the institute. After looking into the project, I have finalized my GP to work on in the coming months.

Apart from all the desk work I also had a chance to experience hands-on work in metal fabrication of huge structures and FRP molding work. I have seen the complete process of transformation from a sketch to a final product manufactured in front of me. This has helped me to gain first-hand experience of all times. The color-coding system for different temple parts and assembly of the structures were completely handled by me and it gave me an authority of execution of it. With the authority comes the responsibility of giving a good and easy outcome feasible and understandable outcome. The International shipping process was an interesting and technical task to carry out which went well. Now I can make any shipment abroad without much hesitation as I know the complete process of how it is done. One of the hard times which took the best from me was the COVID-19 outbreak worldwide. The coronavirus situation has delayed the execution process and all other processes aligned with it. Due to this situation, it was impossible for shipping the components to the USA. We waited for almost six months for getting a shipping order to the states. Also, no one from our team at NDAW was able to visit the site for the installation process, which created another milestone for us to cross successfully. In this situation, the color-coding and assembly videos made by me have helped the team in NJ to perform the installation task hassle-free. This was one of my major achievements in the project if asked me. The installation and finishing are about to finish Sai Datta Peetam management has announced the inauguration and opening date from 2nd to May 08th, 2021.

On February 02nd, 2020, I got into the studio for an interview and had started working on that day itself. On February 04th, 2020, I begun working on Sai Datta Peetam, NJ project. My decision to select this project for GP has given me a chance to get information about Indian Temples and Indian mythologies. The project introduced me to many new things. It had forced me to get into the basics of architecture, structures, and drafting & architectural norms both of India and the USA. Also, my Autocad skills were polished like a pro as the project demands many detailed drawings of the structures. Ar. Rajesh Khaire has helped me a lot in making the proper drawings according to the rules & norms. 73

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

www.photos.com

BIBLIOGRAPHY

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Webography:• • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • •

https://en.wikipedia.org/wiki/Temple https://www.clearias.com/temple-architecture-sculpture/ https://books.google.co.in/ https://www.history.com/topics/religion/hinduism#section_11 https://www.britannica.com/topic/Hinduism/Early-Hinduism-2nd-century-bce-4th-century-ce https://en.wikipedia.org/wiki/Hinduism#Institutions http://saidattanj.org/index.aspx https://www.bbc.com/news/world-asia-india-35650616 https://www.prospectmagazine.co.uk/magazine/how-does-indias-caste-systemwork https://www.prospectmagazine.co.uk/magazine/how-does-indias-caste-systemwork https://en.wikipedia.org/wiki/Ayyappan https://www.amarujala.com/photo-gallery/chandigarh/womens-do-not-enterthe-kartikeya-temple-of-pehova-in-haryana?pageId=2 https://en.wikipedia.org/wiki/Hinduism https://www.clearias.com/temple-architecture-sculpture/ https://en.wikipedia.org/wiki/Hindu_temple_architecture https://en.wikipedia.org/wiki/Hindu_temple https://en.wikipedia.org/wiki/Kirtimukha https://www.yatrablog.com/architectural-beauty-of-shirdi#:~:text=Being%20 one%20of%20the%20holiest,pure%20simplicity%20at%20its%20best.&text=While%20the%20Shree%20Sai%20Baba,is%20constructed%20with%20 white%20marble. https://www.sai.org.in/ https://www.dham-yatra.com/blog/2019/03/27/shirdi-where-devotion-meets-simplicity/ https://timesofindia.indiatimes.com/travel/destinations/gurusthan/ as59218246.cms https://en.wikipedia.org/wiki/Stambha https://en.wikipedia.org/wiki/Deep_Jyoti_Stambh https://en.wikipedia.org/wiki/Heramba https://vedicvaani.com/ganesh-vehicle-mushak https://en.wikipedia.org/wiki/Mukhalinga https://en.wikipedia.org/wiki/Venkateswara https://www.tirumala.org/ https://en.wikipedia.org/wiki/Venkateswara_Temple,_Tirumala https://formfluent.com/blog/lord-balaji-the-lord-of-manifestation https://en.wikipedia.org/wiki/Kartikeya https://en.wikipedia.org/wiki/Panchamukha https://en.wikipedia.org/wiki/Narasimha https://en.wikipedia.org/wiki/Meenakshi#:~:text=Meenakshi%20 (also%20known%20as%20AngayarKanni,Sundareswarar%2C%20a%20 form%20of%20Shiva.

• https://en.wikipedia.org/wiki/Frieze • https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/ Frieze • https://www.plasterceilingroses.com/blogs/news/what-is-a-cornice • http://www.cmswillowbrook.com/constructorknowledge/2015/1/7/architectural-terms-architrave • https://en.wikipedia.org/wiki/Hoysaleswara_Temple • https://en.wikipedia.org/wiki/Palmette • https://en.wikipedia.org/wiki/Rosette_(design) • http://blogs.getty.edu/iris/indian-architecture-next-frontier-for-cona-our-soonto-launch-research-tool/ • https://en.wikipedia.org/wiki/Projection_mapping • https://en.wikipedia.org/wiki/Expanded_polyethylene • https://en.wikipedia.org/wiki/Bubble_wrap • https://en.wikipedia.org/wiki/Plastic_wrap • www.shippingsolutions.com • https://www.syspex.com/en/products/product-securing-damage-prevention/ container-securing/strapping-systems/531-polyester-woven-belts

Books & E-books:• • • • • • •

Elements of Indian Art by S.P. Gupta A History of Fine Arts in India and West by Edith Tomory History of Indian Art by Sandhya Ketkar Temples of South India by Kuthur Ramakrishnan Srinivasan http://magazines.odisha.gov.in/Srimandir/srimandirenglish/Epdf/Ech7.pdf https://ncert.nic.in/textbook/pdf/kefa106.pdf https://upload.wikimedia.org/wikipedia/commons/4/47/Elements_of_Hindu_Iconography_Vol._2_Part_1.pdf • https://archive.org/details/encyclopaediaofh07achauoft/page/n9/ mode/2up?view=theater

Documents:• • • • •

https://issuu.com/swarnikanimje/docs/volume_1 https://issuu.com/shushantverma/docs/final_20degree_20project https://issuu.com/mriduladasari/docs/degree_project_document_ https://issuu.com/sushanyumkhaibam/docs/degree_project_sushan_spreads https://issuu.com/burhan.khateeb/docs/final_edit_for_upload_

Type:• • • • • • • •

KETAN SURYAWANSHI / Graduation Project 2021

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Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

National Institute of Design, AP

Namburu - 522510, Guntur - Vijayawada Highway, Andhra Pradesh. www.nid.ac.in

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KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1878 Wood Engraving Temple Vasudeva Nursingurh India Narsinghgarh Img: www.periodpaper.com