Hindu temple architecture

Early structures Remains of early elliptical shrines discovered in Besnagar (3rd-2nd century BCE) and Nagari (1st century BCE), may be the earliest known Hindu temple structures, associated to the early Bhagavata tradition, a precursor of Vaishnavism. In Tamil Nadu, the earliest version of the Murugan Temple, Saluvankuppam, north-facing and in brick, appears to date from between the 3rd century BCE and 3rd century CE. In Besnagar, the temple structures have been found in conjonction with the Heliodorus pillar dedicated to Vāsudeva. The archaeologists found an ancient elliptical foundation, extensive floor and plinth produced from burnt bricks. Further, the foundations for all the major components of a Hindu temple – garbhagriha (sanctum), pradakshinapatha (circumambulation passage), antarala (antechamber next to sanctum) and mandapa (gathering hall) – were found. These sections had a thick support base for their walls. These core temple remains cover an area of 30 x 30 m. The sections had post-holes, which likely contained the wooden pillars for the temple superstructure above. In the soil were iron nails that likely held together the wooden pillars. Classical period (4-6th century) Though there are very few remains of stone Hindu temples before the Gupta dynasty in the 5th century CE, there may be earlier structures constructed from timber-based architecture. The rock-cut Udayagiri Caves (401 CE) are among the most important early sites, built with royal sponsorship, recorded by inscriptions, and with impressive sculpture. The earliest preserved Hindu temples are simple cell-like stone temples, some rock-cut and others structural, as at Temple 17 at Sanchi. By the 6th or 7th century, these evolved into high shikhara stone superstructures. However, there is inscriptional evidence such as the ancient Gangadhara inscription from about 424 CE, states Meister, that towering temples existed before this time and these were possibly made from more perishable material. These temples have not survived. Deogarh, Parvati Temple, Nachna (465), Bhitargaon, the largest Gupta brick temple to survive, Lakshman Brick Temple, Sirpur (600-625 CE); Rajiv Lochan temple, Rajim (7th-century). Gop Temple in Gujarat (c. 550 or later) is an oddity, with no surviving close comparator. No pre-7th century CE South Indian free-standing stone temples have survived. Examples of early major South Indian temples that have survived, some in ruins, include the diverse styles at Mahabalipuram, from the 7th and 8th centuries. According to Meister, the Mahabalipuram temples are "monolithic models of a variety of formal structures all of which already can be said to typify a developed "Dravida" (South Indian) order". They suggest a tradition and a knowledge base existed in South India by the time of the early Chalukya and Pallava era when these were built. In the Deccan, Cave 3 of the Badami cave temples was cut out in 578 CE, and Cave 1 is probably slightly earlier. Other examples are found in Aihole and Pattadakal. Medieval period (7th to 16th century) By about the 7th century most main features of the Hindu temple were established along with theoretical texts on temple architecture and building methods. other writers only date the start of Vesara to the later Western Chalukyas of Kalyani (983-1195 AD), in sites such as Lakkundi, Dambal, Itagi, and Gadag, and continued by the Hoysala empire (1000-1330 AD). Hindu monuments, 7th-8th century. , remarkably carved out of one single rock was built by Rashtrakuta king Krishna I (r. 756–773 CE) The earliest examples of Pallava architecture are rock-cut temples dating from 610 to 690 CE and structural temples between 690 and 900 CE. The greatest accomplishments of the Pallava architecture are the rock-cut Group of Monuments at Mahabalipuram at Mahabalipuram, a UNESCO World Heritage Site, including the Shore Temple. This group includes both excavated pillared halls, with no external roof except the natural rock, and monolithic shrines where the natural rock is entirely cut away and carved to give an external roof. Early temples were mostly dedicated to Shiva. The Kailasanatha temple also called Rajasimha Pallaveswaram in Kanchipuram built by Narasimhavarman II also known as Rajasimha is a fine example of the Pallava style temple. Western Chalukya architecture linked between the Badami Chalukya Architecture of the 8th century and the Hoysala architecture popularised in the 13th century. The art of Western Chalukyas is sometimes called the "Gadag style" after the number of ornate temples they built in the Tungabhadra – Krishna River doab region of present-day Gadag district in Karnataka. Their temple building reached its maturity and culmination in the 12th century, with over a hundred temples built across the deccan, more than half of them in present-day Karnataka. Apart from temples they are also well known for ornate stepped wells (Pushkarni) which served as ritual bathing places, many of which are well preserved in Lakkundi. Their stepped well designs were later incorporated by the Hoysalas and the Vijayanagara empire in the coming centuries. In the north, Muslim invasions from the 11th century onwards reduced the building of temples, and saw the loss of many existing ones. Southeast Asian Hindu temples Possibly the oldest Hindu temples in Southeast Asia dates back to 2nd century BCE from the Funan site of Oc Eo in the Mekong Delta. They were probably dedicated to a sun god, Shiva and Vishnu. The temple were constructed using granite blocks and bricks, one with a small stepped pond. ceremony at Besakih Temple in Bali, Indonesia. The earliest evidence trace to Sanskrit stone inscriptions found on the islands and the mainland Southeast Asia is the Võ Cạnh inscription of Champa dated to 2nd or 3rd century CE in Vietnam or in Cambodia between the 4th and 5th century CE. Prior to the 14th-century local versions of Hindu temples were built in Myanmar, Malaysia, Indonesia, Thailand, Cambodia, Laos and Vietnam. These developed several national traditions, and often mixed Hinduism and Buddhism. Theravada Buddhism prevailed in many parts of the South-East Asia, except Malaysia and Indonesia where Islam displaced them both. Hindu temples in Southeast Asia developed their own distinct versions, mostly based on Indian architectural models, both North Indian and South Indian styles. However, the Southeast Asian temple architecture styles are different, and there is no known single temple in India that can be the source of the Southeast Asian temples. According to Michell, it is as if the Southeast Asian architects learned from "the theoretical prescriptions about temple building" from Indian texts, but never saw one. They reassembled the elements with their own creative interpretations. The Hindu temples found in Southeast Asia are more conservative and far more strongly link the Mount Meru-related cosmological elements of Indian thought than the Hindu temples found in the subcontinent. Additionally, unlike the Indian temples, the sacred architecture in Southeast Asia associated the ruler (devaraja) with the divine, with the temple serving as a memorial to the king as much as being house of gods. Notable examples of Southeast Asian Hindu temple architecture are the Shivaist Prambanan Trimurti temple compound in Java, Indonesia (9th century), and the Vishnuite Angkor Wat in Cambodia (12th century). ==Design==

. A Hindu temple is a symmetry-driven structure, with many variations, on a square grid of padas, depicting perfect geometric shapes such as circles and squares. The pilgrim is welcomed through mathematically structured spaces, a network of art, pillars with carvings and statues that display and celebrate the four important and necessary principles of human life—the pursuit of artha (prosperity, wealth), the pursuit of kama (desire), the pursuit of dharma (virtues, ethical life) and the pursuit of moksha (release, self-knowledge). At the centre of the temple, typically below and sometimes above or next to the deity, is mere hollow space with no decoration, symbolically representing Purusa, the Supreme Principle, the sacred Universal, one without form, which is present everywhere, connects everything, and is the essence of everyone. A Hindu temple is meant to encourage reflection, facilitate purification of one's mind, and trigger the process of inner realisation within the devotee. inside caves and carved stones, on hill tops affording peaceful views, mountain slopes overlooking beautiful valleys, inside forests and hermitages, next to gardens, or at the head of a town street. In practice most temples are built as part of a village or town. Some sites such as the capitals of kingdoms and those considered particularly favourable in terms of sacred geography had numerous temples. Many ancient capitals vanished and the surviving temples are now found in a rural landscape; often these are the best-preserved examples of older styles. Aihole, Badami, Pattadakal and Gangaikonda Cholapuram are examples. Vastupurushamandala is a yantra. The design lays out a Hindu temple in a symmetrical, self-repeating structure derived from central beliefs, myths, cardinality and mathematical principles. The four cardinal directions help create the axis of a Hindu temple, around which is formed a perfect square in the space available. The circle of mandala circumscribes the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is symbolic and has Vedic origins from fire altar, Agni. The alignment along cardinal direction, similarly is an extension of Vedic rituals of three fires. This symbolism is also found among Greek and other ancient civilisations, through the gnomon. In Hindu temple manuals, design plans are described with 1, 4, 9, 16, 25, 36, 49, 64, 81 up to 1024 squares; 1 pada is considered the simplest plan, as a seat for a hermit or devotee to sit and meditate on, do yoga, or make offerings with Vedic fire in front. The second design of 4 padas has a symbolic central core at the diagonal intersection, and is also a meditative layout. The 9 pada design has a sacred surrounded centre, and is the template for the smallest temple. Older Hindu temple vastumandalas may use the 9 through 49 pada series, but 64 is considered the most sacred geometric grid in Hindu temples. It is also called Manduka, Bhekapada or Ajira in various ancient Sanskrit texts. Each pada is conceptually assigned to a symbolic element, sometimes in the form of a deity or to a spirit or apasara. The central square(s) of the 64 is dedicated to the Brahman (not to be confused with Brahmin), and are called Brahma padas. each unique yet also repeating the central common principle, one which Susan Lewandowski refers to as “an organism of repeating cells”. ;Exceptions to the square grid principle Predominant number of Hindu temples exhibit the perfect square grid principle. However, there are some exceptions. For example, the Teli ka Mandir in Gwalior, built in the 8th century CE is not a square but is a rectangle consisting of stacked squares. Further, the temple explores a number of structures and shrines in 1:1, 1:2, 1:3, 2:5, 3:5 and 4:5 ratios. These ratios are exact, suggesting the architect intended to use these harmonic ratios, and the rectangle pattern was not a mistake, nor an arbitrary approximation. Other examples of non-square harmonic ratios are found at Naresar temple site of Madhya Pradesh and Nakti-Mata temple near Jaipur, Rajasthan. 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), Dvayasra Vrita (rectangular-circular fusion); in Tamil literature, the Prana Vikara (shaped like a Tamil Om sign, ) is also found. Methods of combining squares and circles to produce all of these plans are described in the Hindu texts. File:Plan of Srirangam Temple. Burgess,1910.jpg|Srirangam Ranganathaswamy temple, cross section and plan (1910 sketch). File:1910 sketches, Gondeshwar temple Sinnar, Nashik temple overview, cross section and plan.jpg|Nashik Maharashtra temple, cross section and plan (1910 sketch) File:1910 sketch of plan, Govinda Deva temple at Vrindavan, Uttar Pradesh.jpg|Vrindavan Uttar Pradesh temple plan File:1910 sketch of plan, Kandariya Mahadeva Temple, Khajuraho.jpg|Khajuraho Madhya Pradesh temple plan File:1910 sketch of plan, Jagannath Temple, Puri Odisha.jpg|Puri Odisha temple complex plan File:1910 sketch of plan, Rajarani Temple, Bhubaneswar Odisha.jpg|Bhubneshwar Odisha, a smaller temple plan File:12th century Halebid Shiva temple plan annotated.jpg|Halebidu Karnataka temple plan File:10th to 13th century Chidambaram Nataraja Temple plan.svg|Chidambaram Tamil Nadu temple plan File:1915 sketch of a Tamil Hindu temple complex architecture.jpg|Thiruvallur Sri Veera Raghavaswamy temple, Tamil Hindu temple complex. File:Chitragupta temple belonging to Western Group of Temples at Khajuraho in Madhya Pradesh.jpg|Mandapa and Shikara of Khajuraho Group of Monuments, ca. 885 CE and 1000 CE. ==The builders==

The temples were built by guilds of architects, artisans and workmen. Their knowledge and craft traditions, states Michell, were originally preserved by the oral tradition, later with palm-leaf manuscripts. The building tradition was typically transmitted within families from one generation to the next, and this knowledge was jealously guarded. The guilds were like a corporate body that set rules of work and standard wages. These guilds over time became wealthy, and themselves made charitable donations as evidenced by inscriptions. The work was led by a chief architect (sutradhara). The construction superintendent was equal in his authority. The Brahmins were the experts in art theory and guided the workmen when needed. They also performed consecration rituals of the superstructure and in the sanctum. Though great masters probably had assistants to help complete principal images in a temple, the reliefs panels in a Hindu temple were "almost certainly the inspiration of a single artist". Schools of temple building tradition Along with guilds, surviving texts suggest that several schools of Hindu temple architecture had developed in ancient India. Each school developed its own gurukuls (study centres) and texts. Of these, state Bharne and Krusche, two became most prominent: the Vishwakarma school and the Maya (Devanagari: मय not to be pronounced as Maayaa) school. The Vishwakarma school is credited with treatises, terminology and innovations related to the Nagara style of architecture, while the Maya school with those related to the Dravida style. The style now called Vesara bridges and combines elements of the Nagara and the Dravida styles, it probably reflects one of the other extinct schools. Some scholars have questioned the relevance of these texts, whether the artists relied on śilpa śāstras theory and Sanskrit construction manuals probably written by Brahmins, and did these treatises precede or follow the big temples and ancient sculptures therein. Other scholars question whether big temples and complex symmetric architecture or sculpture with consistent themes and common iconography across distant sites, over many centuries, could have been built by artists and architects without adequate theory, shared terminology and tools, and if so how. According to George Michell – an art historian and professor specialising in Hindu Architecture, the theory and the creative field practice likely co-evolved, and the construction workers and artists building complex temples likely consulted the theoreticians when they needed to. ==Styles==

The ancient Hindu texts on architecture such as Brihatsamhita and others, states Michell, classify temples into five orders based on their typological features: Nagara, Dravida, Vesara, ellipse and rectangle. The plan described for each include square, octagonal and apsidal. Their horizontal plan regulates the vertical form. Each temple architecture in turn has developed its own vocabulary, with terms that overlap but do not necessarily mean exactly the same thing in another style and may apply to a different part of the temple. Following a general historical division, the early Hindu temples, up to the 7th or 8th century, are often called classical or ancient temples, while those after the classical period to the 12th or 13th century are sometimes referred to as medieval. However, this division does not reflect a major break in Hindu architecture, which continued to evolve gradually across these periods. The style of Hindu temple architecture is not only the result of the theology, spiritual ideas, and the early Hindu texts but also a result of innovation driven by regional availability of raw materials and the local climate. Some materials of construction were imported from distant regions, but much of the temples were built from readily available materials. In some regions, such as in South Karnataka, the local availability of soft stone led to Hoysala architects to innovate architectural styles that are difficult with hard crystalline rocks. In other places, artists used to cut granite or other stones to build temples and create sculptures. Rock faces allowed artists to carve cave temples or a region's rocky terrain encouraged monolithic rock-cut temple architecture. In regions where stones were unavailable, brick temples flourished. Hindu temple architecture has historically been affected by the building material available in each region, its "tonal value, texture and structural possibilities" states Michell. India Dravidian architecture Gopuram and the temple tank Anandasaras Pushkarini Dravidian architecture is an architectural idiom in Hindu temple architecture that emerged from South India, reaching its final form by the 1500 CE. It is seen in Hindu temples, and the most distinctive difference from north Indian styles is the use of a shorter and more pyramidal tower over the garbhagriha or sanctuary called a vimana, where the north has taller towers, usually bending inwards as they rise, called shikhara. However, for modern visitors to larger temples the dominating feature is the high Gopura or gatehouse at the edge of the compound; large temples have several, dwarfing the vimana; these are a much more recent development. There are numerous other distinct features such as the dvarapalakas – twin guardians at the main entrance and the inner sanctum of the temple and goshtams – deities carved in niches on the outer side walls of the garbhagriha. Mentioned as one of three styles of temple building in the ancient book Vastu shastra, the majority of the existing structures are located in the Southern Indian states of Karnataka, Tamil Nadu, Kerala, Andhra Pradesh, Telangana, some parts of Maharashtra, Odisha and Sri Lanka. Various kingdoms and empires such as the Satavahanas, the Vakatakas of Vidarbha, the Cholas, the Chera, the Kakatiyas, the Reddis, the Pandyas, the Pallavas, the Gangas, the Kadambas, the Rashtrakutas, the Chalukyas, the Hoysalas and Vijayanagara Empire among others have made substantial contribution to the evolution of the Dravida architecture. Dravida and Nagara architecture Of the different styles of temple architecture in India, the Nagara architecture of northern India and the Dravidian architecture of southern India are most common. Other styles are also found. For example, the rainy climate and the materials of construction available in Bengal, Kerala, Java and Bali Indonesia have influenced the evolutions of styles and structures in these regions. At other sites such as Ellora and Pattadakal, adjacent temples may have features drawing from different traditions, as well as features in a common style local to that region and period. In modern era literature, many styles have been named after the royal dynasties in whose territories they were built. Regional styles The architecture of the rock-cut temples, particularly the rathas, became a model for south Indian temples. Architectural features, particularly the sculptures, were widely adopted in South Indian, Cambodian, Annamese and Javanese temples. Descendants of the sculptors of the shrines are artisans in contemporary Mahabalipuram. Badami Chalukya architecture The Badami Chalukya Architecture style originated by 5th century in Aihole and was perfected in Pattadakal and Badami. Between 500 and 757 CE, Badami Chalukyas built Hindu temples out of sandstone cut into enormous blocks from the outcrops in the chains of the Kaladgi hills. In Aihole, known as the "Cradle of Indian architecture," there are over 150 temples scattered around the village. The Lad Khan Temple is the oldest. The Durga Temple is notable for its semi-circular apse, elevated plinth and the gallery that encircles the sanctum sanctorum. A sculpture of Vishnu sitting atop a large cobra is at Hutchimali Temple. The Ravalphadi cave temple celebrates the many forms of Shiva. Other temples include the Konthi temple complex and the Meguti Jain temple. Pattadakal is a World Heritage Site, where one finds the Virupaksha temple; it is the biggest temple, having carved scenes from the great epics of the Ramayana and the Mahabharata. Other temples at Pattadakal are Mallikarjuna, Kashivishwanatha, Galaganatha and Papanath. Bengal temple architecture Several styles of temple architecture developed in Bengal. Notable temple architectural styles of Bengal are the Chala, Ratna and Dalan temples. Chala-style is a hut with a sloping roof, which follows the pattern of huts in most villages of Bengal. Ratna-style originated in Bengal from the 15th to 16th centuries, under the Mallabhum kingdom (also called Malla dynasty). One of the most prominent features of the Chala and Ratna style is the terracotta artwork on the temple walls. The Dalan-style is flat-roofed temples with their heavy cornices on S-curved brackets, and this style was later influenced by European ideas in the 19th century. 1112 CE, an example of dravida articulation with a nagara superstructure. Kalinga architecture The design which flourished in eastern Indian state of Odisha and Northern Andhra Pradesh are called Kalinga style of architecture. The style consists of three distinct type of temples namely Rekha Deula, Pidha Deula and Khakhara Deula. Deula means "temple" in the Odia language. The former two are associated with Vishnu, Surya and Shiva temple while the third is mainly with Chamunda and Durga temples. The Rekha deula and Khakhara deula houses the sanctum sanctorum while the Pidha Deula constitutes outer dancing and offering halls. The prominent examples of Rekha Deula are Lingaraja Temple of Bhubaneswar and Jagannath Temple of Puri. One of the prominent example of Khakhara Deula is Vaital Deula. The Mukhasala structure that remains of the Konark Sun Temple is an example of Pidha Deula. , Gujarat, 12th century Māru-Gurjara architecture Māru-Gurjara architecture, or Solaṅkī style, is a style of north Indian temple architecture that originated in Gujarat and Rajasthan from the 11th to 13th centuries, under the Chaulukya dynasty (or Solaṅkī dynasty). Although originating as a regional style in Hindu temple architecture, it became especially popular in Jain temples and, mainly under Jain patronage, later spread across India and to diaspora communities around the world. On the exteriors, the style is distinguished from other north Indian temple styles of the period in "that the external walls of the temples have been structured by increasing numbers of projections and recesses, accommodating sharply carved statues in niches. These are normally positioned in superimposed registers, above the lower bands of moldings. The latter display continuous lines of horse riders, elephants, and kīrttimukhas. Hardly any segment of the surface is left unadorned." The main shikhara tower usually has many urushringa subsidiary spirelets on it, and two smaller side-entrances with porches are common in larger temples. The style mostly fell from use in Hindu temples in its original regions by the 13th century, especially as the area had fallen to the Muslim Delhi Sultanate by 1298. But, unusually for an Indian temple style, it continued to be used by Jains there and elsewhere, with a notable "revival" in the 15th century. Since then it has continued in use in Jain and some Hindu temples, and from the late 20th century has spread to temples built outside India by both the Jain diaspora and Hindus. Some buildings mix Māru-Gurjara elements with those of local temple styles and modern international ones. Generally, where there is elaborate carving, often still done by craftsmen from Gujarat or Rajasthan, this has more ornamental and decorative work than small figures. In particular the style is used in India and abroad by the Swaminarayan sect. Sometimes the Māru-Gurjara influence is limited to the "flying arches" and mandapa ceiling rosettes, and a preference for white marble. Southeast Asia as part of Greater India Architecture of the southeast nations was inspired by the Indian temple architecture, Unlike the Javanese that mostly used volcanic andesite stone for their temples, and Khmer of Angkor which mostly employed grey sandstones to construct their religious buildings, the Cham built their temples from reddish bricks. The most important remaining sites of Cham bricks temple architecture include Mỹ Sơn near Da Nang, Po Nagar near Nha Trang, and Po Klong Garai near Phan Rang. Typically, a Cham temple complex consisted of several different kinds of buildings. They are kalan, a brick sanctuary, typically in the form of a tower with garbahgriha used to host the murti of deity. A mandapa is an entry hallway connected with a sanctuary. A kosagrha or "fire-house" is a temple construction typically with a saddle-shaped roof, used to house the valuables belonging to the deity or to cook for the deity. The gopura was a gate-tower leading into a walled temple complex. These building types are typical for Hindu temples in general; the classification is valid not only for the architecture of Champa, but also for other architectural traditions of Greater India. Indonesian architecture Temples are called candi () in Indonesia, whether it is Buddhist or Hindu. A candi refers to a structure based on the Indian type of single-celled shrine, with a pyramidal tower above it (Meru tower in Bali), and a portico for entrance, mostly built between the 7th to 15th centuries. In Hindu Balinese architecture, a candi shrine can be found within a pura compound. The best example of Indonesian Javanese Hindu temple architecture is the 9th century Prambanan (Shivagrha) temple compound, located in Central Java, near Yogyakarta. This largest Hindu temple in Indonesia has three main prasad towers, dedicated to Trimurti gods. Shiva temple, the largest main temple is towering to 47 metre-high (154 ft). The term "candi" itself is believed was derived from Candika, one of the manifestations of the goddess Durga as the goddess of death. The candi architecture follows the typical Hindu architecture traditions based on Vastu Shastra. The temple layout, especially in central Java period, incorporated mandala temple plan arrangements and also the typical high towering spires of Hindu temples. The candi was designed to mimic Meru, the holy mountain the abode of gods. The whole temple is a model of Hindu universe according to Hindu cosmology and the layers of Loka. The candi structure and layout recognise the hierarchy of the zones, spanned from the less holy to the holiest realms. The Indic tradition of Hindu-Buddhist architecture recognise the concept of arranging elements in three parts or three elements. Subsequently, the design, plan and layout of the temple follows the rule of space allocation within three elements; commonly identified as foot (base), body (centre), and head (roof). They are Bhurloka represented by the outer courtyard and the foot (base) part of each temples, Bhuvarloka represented by the middle courtyard and the body of each temples, and Svarloka which symbolised by the roof of Hindu structure usually crowned with ratna (sanskrit: jewel) or vajra. Khmer architecture Before the 14th century, the Khmer Empire flourished in present-day Cambodia with its influence extended to most of mainland Southeast Asia. Its great capital, Angkor (, "Capital City", derived from Sanskrit "nagara"), contains some of the most important and the most magnificent example of Khmer temple architecture. The classic style of Angkorian temple is demonstrated by the 12th century Angkor Wat. Angkorian builders mainly used sandstone and laterite as temple building materials. The main superstructure of typical Khmer temple is a towering prasat called prang which houses the garbhagriha inner chamber, where the murti of Vishnu or Shiva, or a lingam resides. Khmer temples were typically enclosed by a concentric series of walls, with the central sanctuary in the middle; this arrangement represented the mountain ranges surrounding Mount Meru, the mythical home of the gods. Enclosures are the spaces between these walls, and between the innermost wall and the temple itself. The walls defining the enclosures of Khmer temples are frequently lined by galleries, while passage through the walls is by way of gopuras located at the cardinal points. The main entrance usually adorned with elevated causeway with cruciform terrace. ==Glossary==

The Hindu texts on temple architecture have an extensive terminology. Most terms have several different names in the various Indian languages used in different regions of India, as well as the Sanscrit names used in ancient texts. A few of the more common terms are tabulated below, mostly in their Sanscrit/Hindi forms: ==Gallery==

File:1834 sketch of elements in Hindu temple architecture, single storey gopura.jpg|Single storey gopura (Dravidian architecture) File:1834 sketch of elements in Hindu temple architecture, two storey gopura.jpg|Two storey gopura (Dravidian architecture) File:1834 sketch of pillar elements in Hindu temple architecture, 03.jpg|Pillar elements (shared by Nagara and Dravidian) File:1834 sketch of athisthana, base elements in Hindu temple architecture.jpg|Athisthana architectural elements of a Hindu temple File:1834 sketch of prastaras, entablature elements in Hindu temple architecture.jpg|Entablature elements File:1834 sketch of elements in Hindu temple architecture, four storey vimana.jpg|A vimana with mandapam elements (Dravidian architecture) ==See also==