THE PERFOECT EXAMPLE OF A HINDU TEMPLE AS A MANDALA ANGKOR

WAT
DR UDAY DOKRAS

Angkor Wat was built by the king of the Khmer Empire first as a Hindu, then a Buddhist temple
complex. It is known as one of the largest monuments ever built. Hence, this great Buddhist
temple provides clear, physical evidence that Hinduism and Buddhism were brought to the
region by the Indians, and adopted by early Southeast Asian empires like the Khmer Empire.

The pagodas of Angkor Wat are also a physical depiction of the Hindu concept of Mandala. In
addition, the gates of the temple also resemble the gates of the symbol of Mandala. This concept
is Hindu in nature and is believed to have been brought to pre-modern Southeast Asia from
India. It is probable that these ideas were then "borrowed" by the Khmer Empire, and depicted
through its great temple.

Angkor Wat also has a Gopura. A Gopura is a monumental tower often built at the entrance of
temples - a distinctive feature of South Indian architecture. The presence of this structure at
Angkor Wat indicates that there was Indian influence in the architecture of the Khmer Empire.

In addition, the temple has many bas-reliefs depicting stories from the Indian epics,
the Mahabharata and Ramayana. This shows that these stories were clearly influential in early
Southeast Asia as they repeatedly adorn the walls of Angkor Wat, which was seen as a sacred
and important place. This demonstrates just how strong Indian influence was in the Khmer
Empire.

Furthermore, even though hundreds of years have passed, Angkor Wat is still a national symbol
and major source of pride of Cambodia today. The fact that Indianisation of the Khmer Empire
from the 7th to 14th century has continued to shape the heritage and identity of modern
Cambodia indicates the lasting impact Indianisation had on the region.

Mandala in Meenakshi temple Madurai with biggest GOPURAMs in the world

Temple Structure
The entire structure, when viewed from above, represents a mandala. A mandala is a structure
built according to the laws of symmetry and loci. There are various shrines built within the
temple complex.
The temple occupies a huge area in the heart of Madurai as it spreads over 14 acres. The
temple is enclosed with huge walls, which were built in response to the invasions. Apart from
the two main shrines, which are dedicated to Sundareswarar and Meenakshi, the temple has
shrines dedicated to various other deities like Ganesha and Murugan. The temple also houses
goddesses Lakshmi, Rukmini, and Saraswati.
The temple also has a consecrated pond named ‘Porthamarai Kulam.’ The term ‘Potramarai
Kulam’ is a literal translation of ‘pond with a golden lotus.’ The structure of a golden lotus is
placed at the center of the pond. It is said that Lord Shiva blessed this pond and declared that
no marine life would grow in it. In the Tamil folklore, the pond is believed to be an evaluator
for reviewing the worth of any new literature.

Image Credit:
The temple has four main towering gateways (gopurams) that look identical to each other.
Apart from the four ‘gopurams,’ the temple also houses many other ‘gopurams’ that serve as
gateways to a number of shrines. The temple has a total of 14 towering gateways. Each one
of them is a multi-storey structure and displays thousands of mythological stories and
several other sculptures. The major ‘gopurams’ of the temple are listed below:
 Kadaka Gopuram – This towering gateway leads to the main shrine that houses
Goddess Meenakshi. The gateway was rebuilt by Tumpichi Nayakkar during the
mid-16th century. The ‘gopuram’ has five storeys.
 Sundareswarar Shrine Gopuram – This is the oldest ‘gopuram’ of the temple and
was built by Kulasekara Pandya. The ‘gopuram’ serves as a gateway to the
Sundareswarar (Lord Shiva) shrine.
  Chitra Gopuram – Built by Maravarman Sundara Pandyan II, the gopuram depicts
the religious and secular essence of Hinduism.
 Nadukkattu Gopuram – Also called as the ‘Idaikattu Gopuram,’ this gateway leads
to the Ganesha shrine. The gateway is placed right in between the two main shrines.
 Mottai Gopuram – This ‘gopuram’ has fewer stucco images when compared to the
other gateways. Interestingly, ‘Mottai gopuram’ had no roof for nearly three
centuries.
 Nayaka Gopuram – This ‘gopuram’ was built by Visvappa Nayakkar around 1530.
The ‘gopuram’ is astonishingly similar to another gateway called ‘Palahai
Gopuram.’
The temple also has numerous pillared halls called ‘Mandapams.’ These halls were built by
various kings and emperors and they serve as resting places for pilgrims and devotees. Some
of the most important ‘mandapams’ are given below:
 Ayirakkal Mandapam – It literally translates to ‘hall with thousand pillars.’ The
hall, which was built by Ariyanatha Mudaliar, is a true spectacle as it is supported by
985 pillars. Each and every pillar is sculpted magnificently and has images of Yali, a
mythological creature.
 Kilikoondu Mandapam – This ‘mandapam’ was originally built to house hundreds
of parrots. The parrots that were kept there in cages were trained to say ‘Meenakshi’.
The hall, which is next to the Meenakshi shrine, has sculptures of characters from
Mahabharata.
 Ashta Shakthi Mandapam – This hall houses the sculptures of eight goddesses.
Built by two queens, the hall is placed in between the main ‘gopuram’ and the
gateway that leads to the Meenakshi shrine.
 Nayaka Mandapam – ‘Nayaka Mandapam’ was built by Chinnappa Nayakkar. The
hall is supported by 100 pillars and houses a Nataraja statue.
Title: Mahāvīra and 23 Jinas.The British Library Board. possibly Jaipur, Rajasthan.
coloured metal plaque.Size:13 cms diameter
This is a maṇḍala representing the 24 Jinas. The Jinas here are typical Śvetāmbara images, with
jewellery and open eyes.
They are placed in three concentric circles, and can be identified by moving from the inside
outwards.
Circle Jina details
Central
circle Mahāvīra is in the centre, sitting in meditation and the largest figure
Jinas number 13 to 23 are in the next circle, with Vimala at the top. Then, facing
each other in pairs are, first left then right:
 Ananta and Dharma
 Śānti and Kunthu
 Ara and Malli
Second  Munisuvrata and Nami
circle  Nemi and Pārśva.

Third Jinas number 1 to 12 are in the outermost circle, with Ṛṣabha at the top. Then,
circle facing each other in pairs, first left then right:
 Sambhava and Ajita
 Sumati and Abhinandana
 Circle Jina details
 Supārśva and Padmaprabha
 Suvidhi and Candraprabha
 Suvidhi and Śītala
 Vāsupūjya and Śreyāṁsa.

Identification of Jinas in maṇḍala

Each Jina is depicted in his colour, along with his Śvetāmbara emblem – lāñchana.
The maṇḍala is protected by glass and mounted in a brass case with a lid. A paper inside the lid
contains the key to the picture in English. According to the 1975 British Library
Journal ('Department of Oriental Manuscripts and Printed Books', volume 1, pages 99–104), this
object is one of those the British Library acquired between July and December 1973. It is
described as coming from Jaipur, dating back to the 19th century and having been presented by
'Mr. and Mrs. E. M. Prokofiev' (page 102).
The maṇḍala is more likely to have been in the house of a Jain lay man than in a temple. An
object such as this one could be used for worship or as an aid for meditation or contemplation.
both the Digambara and Shvetambara icon‐worshipping Jains posit that the cosmos is filled with
eternal icons. This cosmological “narrative” is analyzed as a defense of icons: if they are eternal
and uncreated, then their ritual use is appropriate. According to Jain cosmology, there are eternal
icons on the continent of Nandishvara Dvipa, on the axial Mount Meru, and at the four gateways
to Black‐Plum Continent (Jambu Dvipa). These eternal icons are described in cosmological texts,
and are vectored into contemporary Jain ritual culture through hymns, temple architecture,
rituals, and annual festivals. In each of the cosmological examples, the icons are found in
temples that in turn are arranged in highly geometric formations. These formations, whether
square or circular, are closely related to mandalas. The chapter then frames the eternal icons
as mandalas, and also shows how a more adequate understanding of mandalas in Asian religions
should see that they are three‐dimensional formations of icons, and not just two‐dimensional
painted representations. Descriptions of the eternal icons are found in many Shvetambara
scriptures, texts that are accepted by both the iconophilic Murtipujakas and the iconoclastic
Sthanakavasis. The Sthanakavasis, therefore, have had to develop a scriptural hermeneutic that
interprets the key term of chaitya (“image”) as referring not to images but to knowledgeable
people. A Cosmos Filled with Eternal Icons: Icons, Cosmology, Mandalas, and Scripture-John E.
Cort (Contributor Webpage) from the book : Framing the Jina: Narratives of Icons and Idols in
Jain History,John Cort, 2009, Oxford Scholarship Online: February 2010
ANGKOR WAT
Angkor Wat was built by the king of the Khmer Empire first as a Hindu, then a Buddhist temple
complex. It is known as one of the largest monuments ever built. Hence, this great Buddhist
temple provides clear, physical evidence that Hinduism and Buddhism were brought to the
region by the Indians, and adopted by early Southeast Asian empires like the Khmer Empire.

The pagodas of Angkor Wat are also a physical depiction of the Hindu concept of Mandala. In
addition, the gates of the temple also resemble the gates of the symbol of Mandala. This concept
is Hindu in nature and is believed to have been brought to pre-modern Southeast Asia from
India. It is probable that these ideas were then "borrowed" by the Khmer Empire, and depicted
through its great temple.

Angkor Wat also has a Gopura. A Gopura is a monumental tower often built at the entrance of
temples - a distinctive feature of South Indian architecture. The presence of this structure at
Angkor Wat indicates that there was Indian influence in the architecture of the Khmer Empire.

In addition, the temple has many bas-reliefs depicting stories from the Indian epics,
the Mahabharata and Ramayana. This shows that these stories were clearly influential in early
Southeast Asia as they repeatedly adorn the walls of Angkor Wat, which was seen as a sacred
and important place. This demonstrates just how strong Indian influence was in the Khmer
Empire.

Furthermore, even though hundreds of years have passed, Angkor Wat is still a national symbol
and major source of pride of Cambodia today. The fact that Indianisation of the Khmer Empire
from the 7th to 14th century has continued to shape the heritage and identity of modern
Cambodia indicates the lasting impact Indianisation had on the region.

Note how the architectural layout of the temple greatly resembles the symbol of
Mandala.For example, you can spot the building's centre point, as well as
the four gates on the outermost wall.

Rough Layout of Angkor Wat

The Third Tier GOPURAM
“The Vastu Purusha Mandala represents the manifest form of the Cosmic Being; upon which
the temple is built and in whom the temple rests. The temple is situated in Him, comes from
Him, and is a manifestation of Him. The Vastu Purusha Mandala is both the body of the
Cosmic Being and a bodily device by which those who have the requisite knowledge attain
the best results in temple building.” – Stella Kramrisch ; The Hindu Temple, Vol. I

Vastu Purush Mandala has been in existence for thousands of years, will continue till
eternity. It is the fundamental principle which continues to create and run the whole universe
- both at the macro and the micro level If we can decode it's secret and follow its eternal
principles for construction, we can ensure a life full of health, wealth, peace and prosperity.

The Vastu Purush Mandala is a cosmic geometrical wonder used to design temples
amongst other structures. When we observe the energy fields that develop at different stages
of a building – starting from the stage of a vacant plot - to the digging of land - to the laying
of the foundation - to the completion of the building - and finally to the point when it is
inhabited by the people – we unravel the secrets of the Vastu Purusha Mandala.

Image of the Universe: The Vastu Mandala is the omnipresent, omnipotent soul of every
building. It is based on the principle that Man and Universe are analogous in their structure
and spirit. Vastu Purush Mandala is thus a Yantra or an image of the Universe .Hindus
believe that the body is the image of the entire Universe( See figure below). Vastu Purusha
Mandala is a combination of 45 Devtas and Asuras present in a geometrical figure. The
Devtas represent our consciousness and the Asuras our ignorance and fear. The war between
consciousness and ignorance goes on each moment within all of us. It is not just a Puranic
story, it’s the reality we live in each moment.

DECODING THE DEVTAS & ASURAS The 45 Energy Fields PADAVINAYASA

ModularGrid After Shilanyas and construction of foundation walls, this is the first energy
field to develop in the plot.

BRAHMA DEVTASvsASURAS THE ETERNAL WAR- Energy Fields Next to Brahma

ARYAMA The Power of Connections VIVASWAN The Power of Revolution or Change
MITRA The Power of Inspiration & Action BHUDHAR The Power of Manifestation DEVA
VITHI

The 8 Energy Fields in the Diagonal Directions NORTH EAST Apaha Apahavatsa
SOUTH WEST Indra Indrajaya SOUTH EAST Savita Savitur NORTH WEST Rudra
Rajyakshma MANUSHYA VITHI

1. NORTH EAST APAHA Igenerates the energies responsible for healing APAHAVATSA
Carries the healing powers to the occupants ww.anantvastu.com

2. SOUTH EAST SAVITA Energies that help to initiate any process or action SAVITUR
Energies that give capibilities to continue those actions and overcome all challenges

3. . SOUTH WEST INDRA Energies that establish stability and enhance growth
INDRAJAYA The tools and the channels through which one can achieve growth
4. .NORTH WEST RUDRA Energies responsible for support and ensure flow of activities
and life RAJYAKSHMA Energies which uphold the support and stabilise the mind . The
32 Energy Fields of the Outer Periphery PAISHACHA VITHI . These are also the 32
Possible Entrance Locations . The 32 Energy Fields of the Outer Periphery ADITI Mother
of the Devtas, this energy field provides security and helps one connect with
himself/herself) DITI Mother of the Asuras, this energy field gives the powers of a wider
vision and to see the actual truth of life.SHIKHI Symbolic of a pointed flame, this field
gives the power of ideas and the ability to project one’s thoughts to the world
PARJANYA The giver of rains, this field has the powers to bless the occupants with
fertility and fulfilment of all their wishes NORTH EAST

5. SOUTH EAST BHRISHA The power of friction needed to initiate any action , thinking or
activity AAKASH The energy that provides the space for manifestation ANILA The
energy of air or vayu, it helps to uplift the fire or push further the actions initiated
PUSHAN The energy of nourishment, it blocks the path of enemies The 32 Energy Fields
of the Outer Periphery.

6. SOUTH WEST BHRINGRAJ The energy which extracts nutrients from the food and
removes the waste MRIGHA The energy that drives curiosity and imparts skills PITRA
The energy of the ancestors which provides all means of safety and happiness required for
existence DAUWARIK The safe keeper, represents lord Nandi-the trusted vehicle of lord
Shiva. The energy of being genius and highly knowledgeable The 32 Energy Fields of the
Outer Peripher

7. NORTH WEST SHOSHA The power of detoxification from negative emotions

PAPYAKSHMA The energy which gives addiction, diseases and the feeling of guilt
ROGA The energy which provides support in the hour of need NAGA The energy which
gives emotional enjoyments and cravings The 32 Energy Fields of the Outer Periphery

8. NORTH MUKHYA The chief architect or lord Vishwakarma, this energy field defines the
main purpose of the building & also helps in their manifestation BHALLAT The energy
field which grants colossal abundance, it magnifies the efforts and their results SOMA
The energy field of Kubera - the lord of all wealth and money. It ensures a smooth flow of
money and opportunities BHUJAG The the lord of hidden treasures, this energy field is
the preserver of medicines. It safeguards the health of the occupants The 32 Energy Fields
of the Outer Periphery

9. EAST JAYANT The energy which gives the sense of being victorious, it refreshes the
mind and body MAHENDRA The energy which grants the power of administration and
connectivity SURYA The core controller, this energy fields imparts health , fame and
farsightedness SATYA The energy which establishes goodwill, status, authenticity and
credibility The 32 Energy Fields of the Outer Periphery

10. SOUTH VITATHA The energy field of falsehood, pretension and the unreal
GRUHAKSHAT The power which binds the mind and defines its limits YAMA The
power of expansion, this energy field binds the world in laws GANDHARVA The energy
 of preservation of health & vitality. This energy also governs all kinds of arts and music
The 32 Energy Fields of the Outer Periphery

11. WEST SUGREEV The power which grants the ability to receive all knowledge
PUSHPADANT The power which grants blessings and fulfills all desires VARUN The
lord of the seas, this energy field observes and runs the whole world. It is the granter of
immortality ASURA The the energy field that releases the mind from temptations and
gives depth in spirituality The 32 Energy Fields of the Outer Periphery.

REFERENCES
1. Bindu and Mandala: Manifestations of Sacred Architecture,Conference: ICABE-2016
Kuala Lumpur Malaysia. Paper presented by Jaffer Adam,Deepika Varadarajan.

2. THE MANDALA AS A COSMIC MODEL USED TO SYSTEMATICALLY

STRUCTURE THE TIBETAN BUDDHIST LANDSCAPE,Ping Xu,Journal of
Architectural and Planning Research,Vol. 27, No. 3 (Autumn, 2010), pp. 181-
203,Published by: Locke Science Publishing Co.
3. On the Idea of the Mandala as a Governing Device in Indian Architectural
Tradition,Sonit Bafna,Journal of the Society of Architectural Historians,Vol. 59, No. 1
(Mar., 2000), pp. 26-49,Published by: University of California Press on behalf of
the Society of Architectural Historians,https://www.jstor.org/stable/991561
 BIBLIOGRAPHY
 Prasanna Kumar Acharya (2010), An encyclopaedia of Hindu architecture, Oxford University
Press (Republished by Motilal Banarsidass), ISBN 978-81-7536-534-6
 Prasanna Kumar Acharya (1997). A Dictionary of Hindu Architecture: Treating of Sanskrit
Architectural Terms with Illustrative Quotations. Oxford University Press (Reprinted in 1997 by
Motilal Banarsidass). ISBN 978-81-7536-113-3.
 Prasanna Kumar Acharya (1996). Hindu Architecture in India and Abroad . Laurier. ISBN 978-81-
215-0732-5.
 Vinayak Bharne; Krupali Krusche (2014), Rediscovering the Hindu Temple: The Sacred
Architecture and Urbanism of India, Cambridge Scholars Publishing, ISBN 978-1-4438-6734-4
 Alice Boner (1990). Principles of Composition in Hindu Sculpture: Cave Temple Period . Motilal
Banarsidass. ISBN 978-81-208-0705-1.
 Alice Boner; Sadāśiva Rath Śarmā (2005), Silpa Prakasa, Brill Academic (Reprinted by
Motilal Banarsidass), ISBN 978-8120820524
 A.K. Coomaraswamy; Michael W. Meister (1995). Essays in Architectural Theory. Indira
Gandhi National Centre for the Arts. ISBN 978-0-19-563805-9.
 Dehejia, V. (1997). Indian Art. Phaidon: London. ISBN 0-7148-3496-3.
 Adam Hardy (1995), Indian Temple Architecture: Form and Transformation, Abhinav
Publications, ISBN 978-81-7017-312-0
 Adam Hardy (2007). The Temple Architecture of India. Wiley. ISBN 978-0470028278.
 Adam Hardy (2015). Theory and Practice of Temple Architecture in Medieval India: Bhoja's
Samarāṅgaṇasūtradhāra and the Bhojpur Line Drawings. Indira Gandhi National Centre for the
Arts. ISBN 978-93-81406-41-0.
 Hardy, Adam (2007). The Temple Architecture of India, Wiley: Chichester. ISBN 978-0-470-
02827-8
 Hegewald, Julia A. B. (2011). "The International Jaina Style? Māru-Gurjara Temples Under the
Solaṅkīs, throughout India and in the Diaspora". Ars
Orientalis. 45. doi:10.3998/ars.13441566.0045.005. ISSN 2328-1286.
 Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale
University Press Pelican History of Art, ISBN 0300062176
 Knut A. Jacobsen; Helene Basu; Angelika Malinar; et al. (2009). Brill's Encyclopedia of
Hinduism: Sacred texts, ritual traditions, arts, concepts. Brill Academic. ISBN 978-90-04-17893-9.
 Monica Juneja (2001). Architecture in Medieval India: Forms, Contexts, Histories . Orient
Blackswan. ISBN 978-8178242286.
 Stella Kramrisch (1976), The Hindu Temple Volume 1, Motilal Banarsidass (Reprinted 1946
Princeton University Press), ISBN 978-81-208-0223-0
 Stella Kramrisch (1979). The Hindu Temple Volume 2. Motilal Banarsidass (Reprinted 1946
Princeton University Press). ISBN 978-81-208-0224-7.
 Michael W. Meister; Madhusudan Dhaky (1986). Encyclopaedia of Indian temple architecture .
American Institute of Indian Studies. ISBN 978-0-8122-7992-4.
 George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms , University
of Chicago Press, ISBN 978-0-226-53230-1
 George Michell (2000), Hindu Art and Architecture, Thames & Hudson, ISBN 978-0-500-20337-8
 Michell, George (1990), The Penguin Guide to the Monuments of India, Volume 1: Buddhist,
Jain, Hindu, 1990, Penguin Books, ISBN 0140081445
 George Michell (1995), Architecture and Art of Southern India , Cambridge University
Press, ISBN 978-0-521-44110-0
 T. A. Gopinatha Rao (1993). Elements of Hindu iconography. Motilal Banarsidass. ISBN 978-81-
208-0878-2.
 Rajan, K.V. Soundara (1998). Rock-Cut Temple Styles. Somaiya Publications:
Mumbai. ISBN 81-7039-218-7
 Ajay J. Sinha (2000). Imagining Architects: Creativity in the Religious Monuments of India .
University of Delaware Press. ISBN 978-0-87413-684-5.
 Stella Snead; Wendy Doniger; George Michell (1989). Animals in Four Worlds: Sculptures from
India. University of Chicago Press. ISBN 978-0-226-76726-0.
 D Srinivasan (1997). Many Heads, Arms, and Eyes: Origin, Meaning, and Form of Multiplicity in
Indian Art. BRILL Academic. ISBN 978-90-04-10758-8.
 Burton Stein (1978). South Indian Temples. Vikas. ISBN 978-0706904499.
 Burton Stein (1989). The New Cambridge History of India: Vijayanagara . Cambridge University
Press. ISBN 978-0-521-26693-2.
 Burton Stein; David Arnold (2010). A History of India. John Wiley & Sons. ISBN 978-1-4443-
2351-1.
 Kapila Vatsyayan (1997). The Square and the Circle of the Indian Arts . Abhinav
Publications. ISBN 978-81-7017-362-5.
Sabha, Vedic altar, Indian temples and Buddhist Mandala: Drawings