This is the theory of the Creation of Universe, its elements and forms. Each subsequent development gave rise to a complete system of governing rules and attributes, and one may refer to them as the grammar of these elements.

Naad is Hamonics. Its grammar is Sangeet Shastra .
Kaal is Time. Its grammar is Jyotish Shastra.
Roop is Form. Its grammar is Vastushastra.

Naad is the root of all spoken languages and finds its highest expression is Sanskrit. The ancient Indian intuitively understood the complex and Divine nature of language, the subtle relationship of vowels and consonants to various levels of human prana and consciousness, and Panini wrote down the rules of Sanskrit grammar which qualified for Sanskrit to be termed as the language of the gods and has stood the test of Time.

At the gross level, Naad expressed itself as music. The Vedic Hymns have a rhythm and a musical base. a rhythm 'not composed by the intellect but heard, a divine Word that came vibrating out of the Infinite to the inner audience of the man' (Sri Aurobindo). At the intellectual level it expressed itself as mystical mantras of the Vedic and Tantric tradition, and at the creative and emotive level as music.

Therefore, music and mantras are closely related to Vastu. A serious Vastu practitioner cannot afford to neglect their knowledge.

Vastushastra itself is referred as Sthapatya-Veda, and its roots can be traced back to the Vedas The gods of the Vastumandal - Agni, Vayu, Surya, Yama, Indra, Nairuti.are Vedic gods. But are these gods in any way similar to their Greek counterparts like Zeus, Poseidon or Apollo?

Not really.

But there is a difficulty in understanding these Vedic gods. The level of Consciousness of the Rik, the Vedic Rishi, where he ascended to 'hear' the hymn, is difficult for the modern human mind to comprehend. Thus an image which to the Vedic mind was clear and luminous seems to us incoherent and we scale down the image to a frame which we can understand, and in doing so dwarf the Vedic gods.

Sri Aurobindo refers to them as 'a parable of human life emerging, mounting, lifting itself towards the Godhead'. He says: When the Rishis speak of Indra or Agni or Soma in men, they are speaking of the god in his cosmic presence, power or function. This is evident from the very language when they speak of Agni as the immortal in mortals, the immortal Light in men, the inner Warrior, the Guest in human beings.

Thus, Vastu Shastra is a system of Architecture which originates from Universal Harmony and Its principles guide us to create a harmony within ourselves.

 

 

The Hindu Temple

Vastu Shastra found its highest expression in temple architecture.

 

A Hindu temple is not a simple prayer hall; it is a microcosmic replica of the macrocosm. From plinth to its apex it represents the abode of the Divine.

In its layout it is designed to resemble a reclining deity, where the entrance represents the feet, the sanctum sanctorum represents the nucleus of creation or the head of the deity, the circumambulatory and other paths around the sanctum sanctorum represent the different energic bodies (kosh), and the whole superstructure, walls, the mandapa, pillars and the plinth are the manifestations of different worlds, inhabited by celestial beings like devas, apsaras, kinnars, gandharvas, animals and birds.

The Elevation of the Temple represents a standing human being, each component matching various parts of the human body such as the head, neck, shoulders, trunk, thighs and feet.

The layout of the temple building represents the five subtle bodies of the human being, the energy chakras within the body, five senses, five elements and seven higher levels of existence..

The five subtle bodies
and their representation
in the Temple Architecture

Each human being has five subtle bodies. These five subtle bodies are also represented in the temple.

The Five subtle bodies	Their representation in the temple design
Annamaya Kosh It is the gross physical body which survives on food.	Bahyahara Each temple has an ambulatory path where devotees circumambulate the deity. The region between the outer wall and the ambulatory path is called bahyahara and represents the Annamaya Kosh.
Pranmaya Kosh This consiste of Prana, the living force. The six Chakras and Kundalini are also a part of this Kosh.	Madhyahara The imaginary line through the lighted lamps of the palisade is the limit of the next enveloping region called mdhyahara. This region represents the Pranamaya Kosh.
Manomaya Kosh The Manomaya Kosh is the mental faculty that receives all the sensory inputs, interprets them as good or bad and desires the good. This Kosha is central to human existence.	Antarhara The outer limit of the open space of the quadrangle is the limit of the next region called antahara. This region represents the Manomaya Kosh.
Vigyanmaya Kosh The faculty of intelligence and reasoning constitute the fourth or Vigyanmaya Kosh.	Antarmandala Inside the line of the sacrificial stone is the antarmandala and it represents the Vigyanmaya Kosh.
Anandmaya Kosh This is the innermost kosh and is closest to the Soul. To be in a state of constant bliss is its nature.	Garbhagriha This is the sanctum sanctorum and it represents the Anandamaya Kosh.

The Chakras



Sahastrar
Agya
Vishuddha
Anahat
Manipurak
Swadhishthan
Muladhar

In the temple they are represented vertically in the following manner:

Sahastrar
Topmost part of the Kalash

Vishuddha - Agya
Shikhar Area

Anahat
Sanctum Sancturom

Muladhar - Swadhisthan - Manipurak
Below the ground level under the Icon

Shadadhara Installation
Spinal Cord recreated

Shadadhara Installation is a ceremony which is performed before the commencement of the temple structure.

A pit is dug at the location decided for the installation of the deity. This pit itself represents the spinal cord, and to represent the six chkras the following six items are placed in the pit one over. These elements are:

1. Ãdhãrashilã: This is the base stone which is placed at the base of the pit.

2. Nidhikumbha: This is a vessel containing gems and precious stones which is placed over the Ãdhãrashilã.

3. Three Lotus flowers made of stone, silver and gold

4. Three Tortoise made of stone, silver and gold

5. Yoganãla : This is a funnel-shapped tube made of copper. This tube leads upto the plinth.

6. Bramhashilã: this is a stone which covers these items. Later the image of the deity is established over this slab.

Representation of the Five Elements
All the five elements are represented in the sanctum sanctorum.

Earth Element
The plinth represents the Earth element.

Water Element
The temple walls represent the Water element

Fire Element
Entablature (prastara) represents the Fire element

Air Element
The roof represents the Air element

Space Element
The finial represents the Space Element

Representation of the Image of God

The temple is seen as the image of a reclining deity.

The Garbhagraha
(Sanctum Sanctorum)
The idol of the deity is installed here.
The sanctum sanctorum represents the Head of the reclining deity.

The Canopy over the Sanctum.
It represents the tip of the nose.

The Ardhamandap in front of the Sanctum.
It represents the neck.

The Mahamandapam
It represents the chest.

The Circumambulatory Paths around the Sanctum
It represents the five senses.

The Main Entrance of the Temple
It represents the feet.