Hindu Trinity and Vastu Shastra PDF

Hindi Trinity (Tridevi for female) 1. Saraswati – cultural fulfillment Holding a musical instrument and is the consort of BRAHMAN 2. Lakshmi – wealth/fertility Holding coins and is the consort of vishnu 3. Parvati – power/love/spiritual fulfillment Holding a trident and a consort of shiva...

Hindi Trinity (Tridevi for female) 1. Saraswati – cultural fulfillment Holding a musical instrument and is the consort of BRAHMAN 2. Lakshmi – wealth/fertility Holding coins and is the consort of vishnu 3. Parvati – power/love/spiritual fulfillment Holding a trident and a consort of shiva Follow a caste system-Placement of Bindi (women) or Tilaka (both sexes) on the forehead used for religious or spiritual aspect, honor a person,event or victory Hinduism is often referred to as a “Way of Life” rather than asingle religion Hindu term was derived from the river or river of complex of the northeast, the Sindhu. Arabs refer to the area as Hindustan (Landof the Hindus) Belief in Karma. One’s action have unavoidable and automatic effect on one’s fortunes in life and condition of rebirth in the next.(Cause and effect)  Yoga is the traditional physical and mental discipline originatingfrom India Four purposes of life: 1. Dharma – fulfill one’s purpose Doing the right thing according to one’s duties and abilities to enable social order and right conduct 2. Artha – prosperity One must have financial stability to ensure happiness, security and health 3. Kama – desire or enjoyment Attaining one’s desire, passion, longing, affection, aesthetic or physical pleasure 4. Moksha – enlightenment The ultimate goal of any Hindu. Release of one’s soul from the cycle of birth and death (reincarnation). Soul uniting with brahman Hindu Trinity (Trimurti for male) 1. Brahman – creator The ultimate goal of any hindu. Release of one’s soul from the cycle of birth and death (reincarnation). Soul uniting with brahman 2. Vishnu – preserver/maintainer Holding a scepter and the head surrounded with serpents 3. Shiva – destroyer/transformer Holding a trident Hindi Trinity (Tridevi for female) 1. Saraswati – cultural fulfillment Holding a musical instrument and is the consort of BRAHMAN 2. Lakshmi – wealth/fertility Holding coins and is the consort of vishnu 3. Parvati – power/love/spiritual fulfillment Holding a trident and a consort of shiva Follow a caste system-Placement of Bindi (women) or Tilaka (both sexes) on the forehead used for religious or spiritual aspect, honor a person,event or victory Vastu Shastra (Vastu Veda) Literally means science/doctrine of construction. It is a traditionalHindi system of design based on directional alignments. It is primarily applied in Hindu Architecture, especially for Hindu Temples, although it covers other applications, including poetry, dance, sculpture, etc. Shilpa Shastra – deals with sculptures, murals, icons and othersimilar fields Five elements: 1. Bhumi (Earth) 2. Jala (Water) 3. Vayu (Air) 4. Agni (Fire) 5. Akasha (Space) A person can improve their condition by properly designing their buildings by understanding the effectiveness of these five naturalforces. Vastu Purusha According to Hindu mythology, in the beginning, Brahma, the creator of the Universe, experimented with the creation of a new creature. He created a large cosmic man, who grew rapidly as he began to devour everything in his path to satisfy his hunger. Whenhe became so big that his shadow fell on the Earth creating a permanent eclipse, the gods Shiva and Vishnu begged Brahma to do something before everything was destroyed by this Creature. Brahma realized his mistake and called the Astha Dikapalakas, thegods of the eight cardinal directions. Together, they overpoweredthe monster down. Then the Monster cried, “You created me like this. So why am I being punished?” Brahma offered him a compromise and made the Monster immortal with the boon that he would be worshipped by any mortal that builds a structure on earth. He was named Vastu Purusha. Vastu Shasta gives the directive principles regarding constructionof buildings so as not to displease the Vashtu Purusha. These principles are explained with the help of the diagram called the Vastu Purusha Mandala. Vastu Purusha Mandala  The diagram shows known as Vastu Purusha Mandala, is a metaphysical square plan that illustrates how the Vastu Purushawas pinned down by Brahma and 44 gods – faced down, with hishead to the North-East and his feet towards South-West. The diagram is divided into 9 x 9 = 81 parts. The positions of the 45 gods (32 in the external enclosures and 13 in the internal enclosures) who are holding down the Vastu Purusha are shown. These symbolic gods rule various aspects of life and have a certain inherent quality. The function of the rooms placed in each area of the house wasaccording to the nature of the deity ruling that particular area. According to Vastu Shastra, if the house is designed as per the Vastu Purusha Mandala, a perfectly balanced environment whichensures enhanced health, wealth and happiness is created, because the ancient Vaastu pundits figured out that when the different rooms were placed according to the Vastu Mandala, good disposition to the Sun, proper ventilation and lighting and privacy would be ensured Positioning of Different Roomsin a House According to Vastu PurushaMandala Humans perform different activities depending on the time of theday. The ancient Vastu pundits divided the 24 hours into eight parts, representing the eight cardinal directions. They designed and oriented various rooms of a house towards the eight cardinal directions, such that at any given time of the day depending on the activity, the inmates were able to get the useful rays of the Sun, according to the position of the sun through the day. This hasbeen explained here: North-East – the period between 3 am and 6 am, just before sunrise is called Brahma Muhurta. At this time,the Sun is in the NorthEastern part of the house. These hours are ideal for Yoga, meditation, or study asit is very quiet and peaceful. Therefore, the North-Eastcorner is the best position for the Puia Room or Meditation Room HINDU TEMPLE Early hindu temple were inspired by buddhist temples It tries to create a link between worshippers and the gods Usin specific forms,sacred geometry, orientation and axial alignment to recreate the hindu cosmos (harmony with the cosmos) Temples are usually oriented east (rising sun) to west (setting sun) and depending on the temple god No congregational worship, therefore smaller enclosed spaces Ceremonies are performed to welcome, entertain and honor the gods (music, food, dance, and recital of sacred vedas) Use of trabeation and corbel construction Typical Hindu Temple Plan  Garbagriha – shrine-cell, or sanctum sanctorum, or cella it is the womb chamber (garbhawomb, griha- house) where the murti or image is located. Usually, unadorned. Considered as the center of the cosmos. Antrala – pillared hall immediately in front of the Garbagriha.Vestibule to the Garbagriha Mandapa – open or closed pillared hall where pilgrim would gather or rest. Space for public rituals  Maha Mandapa – pillared hall immediately in front of the ArdhaMandapa or Antrala, or the proximal half of a Mandapa with twoseriate pillars, closed or open, in cave-temples Ardha Mandapa – porch or a smaller room which leads to aMandapa and then to Maha Mandapa Jagati (pitha)- any molded base or pedestal for the temple. Temple platform Pradakshina patha (parikrama)- circulatory path around the garbagriha. Ambulatory passageway for circumambulation Sikhara (nagara/ vimana, dravida)- meansthe mountain peak, rising tower above the sanctum of a hindu temple. It marks the vertical axis of the cosmic mountain (mt. Meru) Kalash (kalasham)- means a pitcher or pot, sacred brass receptacle att the peak. Itsymbolizes abundance and the source of life Amalaka- fluted disk like, bulbous or melonlike ornament terminating at the end of the sikhara. Finial of the sikhara  Gopuram- is a monumental tower, usually ornate at the entrance of any temple. Especially in southern india. It is topped with the sikhara’s amalaka. They function as gateways through the walls thatsurround the temple complex Stambha- in hindu architecture, it is a cosmic column which joins heaven and earth. In buddhist, it is a freestanding memorial pillar bearing carved inscriptions. Possible persian influence Summary Ardha Mandapa- entrance porch Mandapa- hall Maha Mandapa-great Hall Antarala- Vestibule Urushringa- Subsidiary Sikhara Kalash Amalaka Sikhara- Tower Garba griha- Shrine inside the Sikhara Pradiska (Circumbulation) Jagati (platform) Adhithana (base platform) Transept 3 Major Temple Styles Developed in the 11th century 1. Nagara – located in the north of India. The tower is bee-hiveshaped 2. Dravida – located in the south of India. The tower consists ofprogressively smaller storeys or pavilions 3. Vesara – located in central India. Contains both elements inNagara and Dravida. It is sometimes referred to as Decan Architecture/Style Nagara (Nagar) Appeared in the Northern India from the Himalaya to Vinhiya These have the mostimportant form of ceiling in Vimana, conicalor convex shape with dominant features Originated during the Gupta Period (320 to 650 CE) Have a curvilinear tower or Sikhara (Multiple Towers) Walls or boundaries less emphasize. Gateway (Gopuram) is modest or absent Elevated pedestal or platform LAKSHAMANA TEMPLE Khajuraho Built around 930 to 950 CE Commissioned by King Yasovarman of the Chandella Kingdom Dedicated to Vishnu Part of the Khajuraho Group of Monuments recognized byUNESCO Entire complex is raised on a platform Most deocarated, covered almost completely with images of over600 deities Main temple shrine faces east and is flanked by 4 standingsubsidiary shrines No mortar. Sand stones put together using mortise and tenonmethod Unique sculpture they include very explicit position or sexual position being plaster on walls it’s one of the goals of Hindu (part of teaching) LINGARAJ TEMPLE Bhubaneswar,Orissa Built around the 11th century Commissioned by Jajati Keshari Dedicated to Shiva and Vishnu (Harihara)  Lingaraj means “King of Lingas”,symbol of Shiva Biggest temple in Bhubaneswar located within a compound wallmeasuring 158m x 141m Tower reaches 55m high Wall is 2.6m thick Dravida Appeared in Southern India Tower crowned by a Sikhara Monumental gateways or doorway complex with decorativefeature which is called Goparum  Developed around 7 th CE Has a pyramidal shaped tower consisting of progressively smaller storey ofsmall pavilions. Single tower Horizontal visual trust Pedestal close to ground level Sikhara – means the mountain peak, rising tower above the sanctum ofa Hindu Temple Kalash (Kalasham) – means a pitcher or pot, sacred brass receptacle atthe peak. It symbolizes abundance and the source of life Goparum – is a monumental tower, usually ornate, at the entrance of any temple, especially in Southern India. It is topped with the sikhara’samalaka. They function as gateways through the walls thatsurround the temple complex Amalaka – bulbous or melon-like ornament terminating at the end ofthe sikhara. Finial of the sikhar BRIHADEESWARAR TEMPLE Thanjavur, Tamil Nadu Built around the 1010 CE Commissioned by Raja Raja Chola I (Arulmozhivarma)  Also known as Peruvudalyar Koyil or Rajarajeswaram. It ishowever commonly known by locals as the “Big Temple” Dedicated to Shiva Part of the “Great Living Chola Temples” recognized by theUNESCO World Heritage Site. Represents Dravida style in its purest form The tower stands at 66m high Nandistatue (sacred bull) facing main shrine. It stands guard in allShiva temples World’sfirst complete granite temple It was used for royal ceremonies Thanjavur was the capital of the chola empire Thanjavur means the navel of the universe Palce complex and settlement is surrounded by moat including the temple complex Hindu deities were also considered as kings. Temples considered like palaces  Organized in rectangular space Strong linear axis from the entrance towardsthe barbagriha divided into two squares SUBSIDIARY shrines built or financed by the wealthy or influential individuals. They become part of the shrine board Garbagriha is square representing the male gender Tower is like an intersection of temples  Balanced horizontal and vertical elements Arddhanarishvara- the lord who is half woman. Is a composite androgynous form of the hindu deities shiva and parvati (the latter being known as devi, shakti and uma in this icon). Ardhanarishvara is depicted as halfmale and half- female, equally split down the middle. The right half is usually the male shiva illustrating his traditional attributes Represents dravida style in its purest form  Nandi statue (sacred bull) facing main shrine. It stands guard in all shiva temples ARDHANARISHVARA The lords who is half woman. Is a composite androgynous form of the hindu dieties Shiva and Parvati (the latter being known as Devi Shakti and Uma in this icon). Is depicted as half male and half female equally split down the middle. The right half is usually the male Shiva, illustrating his traditional attributes MAHABODHI TEMPLE Bodh Gaya, Bihar Originally built in the 3rd BCE, present structure built around the5th to 6th CE during the late Gupta Period It was renovated and restored through the centuries Commissioned by Emperor Asoka Literally means “Great Awakening Temple” It is the place where Buddha attained enlightenment under theBodhi Tree (Sri Mahabodhi) The main tower (sikhara) stands at 55m high and flanked by 4smaller towers of similar design Itis one of the earliest Buddhist temples built in entirely in brick,still standing in India UNESCO World Heritage Site Vesara Located in central india Contains both elements of nagara and dravida It is sometimes referredc to as decan architecture/ style  Tower have similar features with nagara butshorter CHENNAKESAVA TEMPLE Somanathapura Built in 1268 CE Commissioned by Soma under the King Narasimha III of theHoysala Empire Deisgned and sculpted by Ruvari Malithamma One of the finest examples of Hoysala Architecture Use of Soapstone Temple is known for itssymmetry  Shrines have 16-pointed stellate design Temple is raised on a platform (Jagati) and has 3 shrines (trikuta) INDIAN HINDU ROCK-CUT ARCHITECTURE Kailash Temple Ellora Caves Built in 773 CE Commissioned by Krishna I in the Rashtrakutas Dynasty Dedicated to Shiva Temple symbolizes Mt. Kailash or Mt. Meru in Buddhist text  One of the world’s largest monolithic structures. Carved from onesolid piece of rock Also known as Kailashnarh, Kailasa (Cave 16) or KailasanathaTemple Noted for its vertical excavation. Carvers started from the top and excavated down Originally with white plasters to resemble the snow cap of Mt.Kailash Exhibitstypical Dravidian architectural feature Multi-story temple, 50m deep, 33m wide and 30m high Sculptures of lions, elephants and the nandi (sacred bull) MUGHAL ARCHITECTURE Mughal or Mogul Empire began in 1526 to 1858 Founded by babur or zahis ud-din muhammad descendants of the Timurids (Timur of Guri Emir) in Uzbekistan Indian-Islamic Imperial power that ruled most of the IndianSubcontinent Mughal is derived from the original homelands of the Timurid in Moghulistan or the “Land of the Mongols” (Gengis Khan) Blending of Indian, Persian (Iranian) and central Asian customs Triple domes and an extensive courtyard HUMAYUN’S TOMB (MAUSOLEUM) Delhi Built around 1565 to 1572 CE Commissioned by Hamida Banu Begum, consort of Humayun Humayun is the 2 nd Emperor of the Mughal Empire Deisgned by Mirak Mirza Ghiyath (Persian Architecture) andcompleted by Sayyid Muhammad Earliest example of Persian influence in Indian Architecture andthe TombGarden style Modeled after Guri Emir Mausoleum and became the precursor tothe Taj Mahal The area has 100 graves earning it the name as the Dormitory ofthe Mughals  Use of red sandstones and white marbles The tomb sits at the center of a plinth/base about 7m high From the ground to dome, the height of the structure is 42.6m Tomb clads in red sandstone with white marble ornamentation Large Iwan, a high arch, punctuates the center of each façade Use of the Hindu Chattris (domed pavilions),surrounding thecentral dome Dome is double layered, outer layer and supports the white marble exterior facing while the inner layer defines the interior Use of the Persian style garden layout called Charbagh The central fountain symbolizes the origin and sustainer of life, the water coursesrepresent the four rivers of the Garden of Eden Charbagh (four garden) – is a quadrilateral garden divided by walkways or flowingwater into 4 smaller parts  Number 4 has significations in islam (4 book, 4 archangels) It is the earthly representation of the gardens of paradise (eternity) as mentioned in the qu’ran Four rivers in heaven flows with water, milk, wine and honey It is oriented to the direction of the four cardinal points (north, south, east and west) AGRA FORT COMPLEX Agra Built around 1565 to 1573 CE Also known as Lal Qila, Fort Rouge and Red Fort of Agra Commissioned by Akbar Agra became the capital of the Mughal Empire until 1648 It is a palace complex Walls of the fort are red sandstone cladding and inlaid with whitemarble Jihangiri Mahal – Zenana or Women’s Dormitory Diwan-i-am – Hall of Public Audience Diwan-i-khas – Hall of Private Audience MUSAMMAN BURJ Built around 1631 to 1640  Commissioned by Shah Jahan For his wife Mumtaz Mahal Octagonal tower next to Shah Jahan’s private hall, Diwan-i-khas Looks out to River Yamuna Overlooking the River Yamuna and Taj Mahal Carved fountain in the interior Use of Pierra Dura/Pietre Dure Walls perforated similar to the Music Room of Ali Qapu Pierra Dura/Pietre Dure – inlaid polished stone to create images(mosaic) QUTAB MINAR Delhi Built around 1193 to 1286 CE Commissioned by Qutb-ud-din-Aibak (India’s First Muslim Ruler) Inspired by the minaret of Jam Shaftis flutted Use of red sandstone It has a base diameter of 14.32m and 2.75 top diameter Height of 72.5m with 379 steps World’s largest brick minaret TAJ MAHAL Agra  Built in 1632 to 1653 CE Commissioned by Shah Jahan Designed by Ustad Ahmad Lahauri (part of a board of architects) Mausoleum tomb for Mumtaz Mahal, the 3 rd wife of Shah Jahan It has become a symbol of eternal love Use of marble and semi-precious stones Structure on a square plinth/base with an Iwan/Ivan on each sideof the façade Chattris at the corners of the main dome (Onion Dome)  Integration of Persian and Hindu Architecture Top of the dome has an inverted lotus Brass finial but originally gold It has a moon crescent Placement of the crescent looks like a trident, a symbol of Shiva Use of pietra dura/ pietre dure- inlaid polished stone to create images (mosaic) A european decorative style Double dome. Allowing the dome to stand out visually compared to humayuns tomb Double cenatoph Shah jahan was buried at the western side of mumtaz mahal Taj mahal has 3 possible centers