Vastu

In ancient Indian scriptures we read: "Because of VASTU SHASTRA, the whole universe gets good health, happiness and all round prosperity. Human beings attain divinity with this knowledge. Followers of VASTU SHASTRA get not only worldly pleasure but also experience heavenly bliss." This book presents a complete knowledge about vastu Shastra or Vedic architecture criteria from base and origins to detailed information and rules in all buildings categories and functions.

What is the Construction tech, Design and Vastu of the Angkor Temples of Cambodia?
Explained in s a series of ESSAYS.
A mythical genealogy of the artists is given in most of the architectural treatises. From the four faces of Brahma, the creator, are stated to have originated the four heavenly architects Visvakarman, Maya, Tvashtar, and Manu.2 Their four sons are called respectively Sthapati, Sutra-grahin, Vardhaki, and Takshaka. These four evidently represent the progenitors of the four classes of terrestrial artists. They form the guild of architects, each an expert in his own department, consisting of the chief architect or master-builder, the designer or the draftsman, the painter, and' the joiner.
The temple construction project begins with identifying the most suitable site for erecting the structure. This involves examination of all aspects relating to the location, the extent, the orientation, the quality of soil, the water source, the environment and astrological suitability of the site etc. This elongated process goes by the name: Bhupariksha. The principal elements involved in a temple –projects are: Sthala (temple site); Teertha (Temple tank) and Murthy (the idol). Elaborate rules are laid out in the classical texts on Shilpa Shastra, describing the required qualities of the places where a temple is to be erected; as also of the other two elements.

The main objective of the study is to know the development of kerala architecture through ages and how the religious architectures have influenced pilgrimage tourism.
Kerala architecture has grown through different periods in which each period has contributes different style, pattern and looks.
Religious monuments and buildings of historic importance have a great role in pilgrimage tourism. Through the project, the importance and attraction of these religious sites have been conveyed, fulfilling the second objective of the project
The project is concluded by getting to a point that, the pilgrimage tourism has seen a better growth (derived from the annual report of, Department of tourism, Kerala) and there could be a faster growth by preserving these sites and  providing with the needs and wants of the tourists.

The relationship to actual practice of the vastuśāstras (or vāstuśāstras) and śilpaśāstras, the canonical Indian texts on architecture and sculpture, is a complex one. Scholarly attitudes to these texts range between an uncritical assumption that, traditionally, these texts set the rules for making buildings and sculptures, thereby holding the key to understanding them, and complete denial of their utility, on the basis that they were probably composed by Brahmans who were cut off from practical experience. The truth must lie somewhere in between. To establish the extent to which any particular text may have been useful for creating architecture, it must be shown whether it can be used for this purpose – if not by actually building, at least by drawing. This, surely, should be a prerequisite for any sensible discussion of the nature of these texts. Surprisingly, the one sustained attempt to illustrate a vastuśāstra is that of Ram Raz, whose 1834 essay is the first work of modern scholarship on Hindu temples. 1 On the basis of a fragment of the south Indian Mānasāra, Ram Raz was assisted by a contemporary practitioner in interpreting its prescriptions through lucid drawings, done in a florid latter-day Drāviḍa style (Figure 1). Successors to this enterprise are extremely rare. 2 This article is an attempt to interpret one vastu text through drawing, and in so doing to reach some conclusions about its usability. It is a first fruit of a collaborative study of the Samarāṅgaṇasūtradhāra by Mattia Salvini and me. Salvini has transliterated the chapters on temple architecture and translated them from the Sanskrit, 3 and we have begun to refine the translation through discussion. Our eventual aim is to produce a critical, annotated, and illustrated translation of these chapters. A large proportion of the text consists of technical terms, which must always have rendered it meaningless to anyone unable to visualise what is being conveyed. Access to this vocabulary would be impossible if scholarship in the past two centuries had not unearthed much of its meaning, especially in the last fifty years, and particularly through the work of M.A. Dhaky encapsulated in the Encyclopaedia of Indian Temple Architecture (EITA) produced by the American Institute of Indian Studies. 4 While it is widely understood that regional traditions employed different terminologies, a relatively standardised vocabulary has become accessible to students of Indian temple architecture. This provides indispensable points of reference from which 1. 'Vimána consisting of five Stories', from Ram Raz, Essay on the Architecture of the Hindus (1834), Plate XXXII, with alignment and prescribed proportions added.

Scientific Background; In the elementary school one is taught that the sun raises in the east and sets in the west. In reality the point on the horizon where the sun raises moves quite a lot. It is visibly south of due east during mid winter at which time sunset is also south of due west. Obviously, at this time, the sun does not reach the exact zenith, the point exactly overhead. A little thought would immediately reveal that the sun path is not exactly perpendicular to the horizon and as the sun rises, it moves not only up from the horizon but also slightly to the south. As the months pass, the point of sunrise on the horizon moves north and at midsummer it reaches a farthest point north of due east. The sun set point is also north of due west. As the sun travels south to north and back, during the year, the sun reaches the exact zenith, the point exactly overhead only two times in a year. The sun path diagram in the figure is self explanatory.

The 1980s and 1990s excavations of the archaeological site of Go Thap in the Mekong Delta resulted in unearthing a number of brick structures. In association with the structures precious objects were found, including over three hundred gold leaves. More than half of the gold leaves were decorated with pictures of men, gods, animals, weapons and auspicious objects, and some of them were inscribed. In addition to the precious objects, the structures were also reported to contain human-ashes.
In the first part of this paper, I will examine the objects closely, especially the gold leaves, discovered at Go Thap. I will then compare them with similar objects originating from other archaeological sites of Southeast Asia and with objects described in traditional Indian manuals written in Sanskrit and dealing with temple architecture and temple building rituals. On the basis of this comparison, I will propose the hypothesis that the ‘brick structures’ unearthed in Go Thap are not tombs but remains of Hindu shrines, and the associated materials are not crematory remains but traces of consecration ceremonies performed for shrines and temples.

Hindu Vastu Shastra used to build Tempes of Angkor and other Khmer sites?
The culture of early Cambodian community was in many ways consistent with a certain cosmological model that is generally believed to have shaped the political world of Sanskritized South and Southeast Asia before the age of ideological nationalism. This cosmological model assumes that polities sought 1. the operation of the administration and its communication system;

Remembering the 'prepared to-move-in' houses (where changes identified with 'engineering' are impractical), we got up to speed with the famous Vastu consultants resolve achievable changes you can get to adjust the balance of the house. http://bit.ly/2DGwAD5

In this paper, I would like to put an emphasis on a conceptual and practical understanding of ‘ekstasis’ in human perception and its bond to spatial understanding. Ekstasis is an act of dis-placing one’s own individuality to apprehend a reality as it is. This idea of displacement leads to the term called “Extrasensory perception”, which is the perception out of sensory organs. The research on the kinesiological response from bodily muscles opens the door to its evidential clarity. Applying this mode to the ancient conceptions of the science of building, one comes to know the subtle picture that has been hidden under the ordinary consciousness. It is the extra-ordinary way of seeing that makes it possible to appreciate the ancient architecture in a proper sense. And this, in turn, can contribute a substantive potential to the architectural community for better comprehension and management of space as a whole.

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