Why is it in the News?

The Ram temple in Ayodhya will be inaugurated on January 22. Chandrakant Sompura, 81, and his son Ashish, 51, have designed the complex in the Nagara style of temple architecture.

What is the Nagara style?

• Originating around the 5th century AD, the Nagara style influenced temple architecture in several regions of India, from Northern India to Karnataka to parts of Madhya Pradesh, Odisha and Gujarat, giving it its pan-India appeal.
• Given that the temple will attract Hindu devotees from across the country, this is the most "inclusive" architectural style of Hinduism in that respect.
• The word “Nagara” means “city,” and the style's close association with urban architectural principles made it suitable for a bustling town like Ayodhya while retaining Hindu temple elements that are familiar to devotees.
• With carved pillars and towering spires, it seeks to echo the magnificent craftsmanship of the Khajuraho temples of Madhya Pradesh and the Sun Temple in Odisha’s Konark.
• The Nagara style is not confined to a specific period — it flourished during the Gupta dynasty but continued to evolve through various regional kingdoms and empires that ruled over the northern parts of India.
• The temple's architecture is characterised by its tower-like structures, known as 'shikhara' or spires, which rise vertically, symbolising the sacred mountain, Mount Meru, considered to be the centre of the physical, metaphysical and spiritual dimensions in Hindu, Jain and Buddhist cosmology.
  • This temple architecture is also closely associated with both the Shaivite and Vaishnavite sects of Hinduism and known for its sculptural elements that echo scenes from Hindu epics like Ramayana and Mahabharata.

The typical Nagara temple layout:

• The layout of Nagara-style temples follows a distinct pattern, reflecting the cosmic order and the journey of the soul towards liberation

The typical plan of the Nagara-style temple:

• Vastu Purusha Mandala: At the core of Nagara temple design is the concept of Vastu Purusha Mandala, a sacred diagram representing the cosmic man.
  • The temple’s plan is aligned with this mandala, ensuring that the deity’s sanctum aligns with the cosmic forces.
  • This alignment reflects the belief that the temple is a microcosm of the universe, establishing a cosmic resonance.
• Garbhagriha (Sanctum Sanctorum): The sanctum sanctorum, or garbhagriha, is the innermost and holiest chamber where the principal deity resides and is always located directly below the highest Sikhara.
  • Often square, this chamber is a symbol of the womb of creation.
  • The placement of the deity within this sacred space is meticulously calculated to maintain harmony with cosmic energies.
• Pradakshina Patha (Circumambulation): Around the garbhagriha, there is a circumambulatory path called the pradakshina patha.
  • This path allows devotees to walk in a clockwise direction around the deity, as a symbolic act of paying respect, seeking blessings, and expressing devotion.
  • The pradakshina patha may be enclosed within the temple or form an outer pathway surrounding the main temple complex.
  • It is believed that circumambulation harmonizes the individual with the divine and creates a spiritual connection.
• Vimana (Tower): The Vimana, or tower, is the crowning glory of Nagara temples.
  • The shikhara, as the main spire, represents Mount Meru, the mythical abode of the gods, meant to symbolize the ascent from the earthly realm to the celestial plane, creating a visual narrative of the soul’s journey towards spiritual awakening.
• Mandapa (Congregation Hall): The mandapa, or congregation hall, serves as a communal space for rituals, gatherings, and celebrations. Supported by intricately carved pillars, the mandapa’s design is often open, allowing devotees to participate in ceremonies.
  • The pillars themselves are adorned with sculptures depicting deities, mythological narratives, and celestial beings, contributing to the immersive spiritual experience.
• Antarala (Vestibule): The antarala acts as a transitional space between the garbhagriha and the mandapa.
  • It serves functional and symbolic purposes, symbolising the journey from the material to the divine.
  • The antarala may house additional deities or intricate sculptures, further enhancing the spiritual ambience.
• Ardhamandapa (Entrance Porch): The ardhamandapa, or entrance porch, serves as the threshold between the external world and the sacred interior.
  • Often featuring ornate pillars and intricate carvings, the ardhamandapa is a visual prelude to the architectural splendour within.
  • Devotees traverse this space as they enter the sanctified realm of the temple.
• Peripheral Structures: Surrounding the central shrine are often smaller shrines and subsidiary structures, creating a complex architectural ensemble.
  • These structures, known as subsidiary shrines or parivara devatas, pay homage to various deities associated with the main deity.
  • The arrangement of these structures follows a harmonious pattern, contributing to the overall visual appeal of the temple complex.

Regional variations:

• As a pan-India style, the Nagara architecture has regional variations that reflect the cultural ethos of where it is built.
• Odisha: The Nagara style in the state is characterised by its exquisite stone carvings and towering spires.
  • The temples of Bhubaneswar, Puri, and Konark in the state of Odisha exemplify this style.
  • The temples showcase carvings of deities, mythical creatures, dancers, and musicians, evoking a sense of dynamic movement.
• Gujarat: Known for its elegance and simplicity, the Gujarati Nagara style is epitomised by the Sun Temple in Modhera and the famous Somnath Temple.
  • The main 'shikhara' in the state's temples are relatively modest in height compared to northern iterations.
  • The emphasis is on the overall harmony of the temple’s complex measurements and the sculptural beauty.
• Rajasthan: The style in this state has been noticeably influenced by distinctive elements of Rajput architecture — from fortified walls and ornate entryways.
  • Look no further than the Dilwara Temples in Mount Abu and the Sun Temple of Ranakpur for examples of this style.
  • Distinct features include marble carvings and delicate detailing.
• Karnataka: Nagara temples in the South have subdued shikharas compared to their northern temples.
  • What is more, the emphasis is on pillar carvings and the subject matter is often famous scenes from mythology.
  • The Virupaksha Temple in Hampi and the Lepakshi Veerabhadra Temple are notable Nagara-style temples in the south.
• Madhya Pradesh: Central Indian temples often feature a variety of spires, emphasising the stepped shape.
  • The sculptures focus on a wide range of themes, including mythological narratives, daily life, and spiritual pursuits.
  • The Khajuraho complex, including the Lakshmana Temple, exemplifies the Nagara style in Central India.
• Combining spiritual principles with aesthetics and craftsmanship, the Nagara style is an indelible part of India’s cultural and religious legacy.
• The Ram temple draws from this same architectural legacy of Hinduism to create a religious monument that seeks to inspire the same awe that the centuries-old Indian temples continue to do.

Comparison to Dravida style:

• The Dravida counterpart to the shikhara is the vimana. There exists, however, a fundamental difference.
• In the Dravida-style temples, vimanas are typically smaller than the great gatehouses or gopurams, which are the most immediately striking architectural elements in a temple complex.
  • Moreover, while shikharas are mentioned in southern Indian architectural sources, they refer to only the dome-shaped crowning cap atop the vimana.
• The existence of gopurams also points to another unique feature of the Dravida style — the presence of a boundary wall.
  • A few Nagara-style temple complexes are lined with distinctive boundary walls that are a part of the temple’s design.
• This is one of Ayodhya’s Ram temple’s ‘hybrid’ features — although no elaborate gopuram has been built (citing paucity of space), a 732m long wall runs around the temple compound.