The Intricacies Of A Doorway Of A Nagara Style Temple

Nagara Temple Doorway

The doorway of a classical Nagara style temple is probably the highest expression of art achieved in Bharat. Each and every element of the doorway including the threshold is intricately decorated. The doorway is comprised of numerous elements. Lets have a look at each element.

Lalatabimba

This part of the doorway is called the Lalatabimba. A miniature form of the deity present inside the Garbagriha is depicted here.

Uttaranga

On top of the Lalatabimba is an element what is known as Uttaranga. It is where usually Brahma, Vishnu, Maheshwara & sometimes even Skanda along with their respective devis are depicted.

Dwara Shaka

Then comes Dwara Shakas. These are offsets surrounding the doorjamb . They are usually 1,3,5 or 7 in number. There are various types of Shakas depending on what is depicted. If it depicts lions, its called Simha shaka. Likewise there are Gandharva, Mituna & Patra(floral) shaka.

Dwarapala

Then we have the Dwarapalas guarding the Garbagriha on either side of the doorway. It could be Jaya - Vijaya, Ganga-Yamuna depending on the principal deity inside the Garbagriha.

Mandaraka

This element is called the Mandaraka. The name comes from the Mandara mountain which was used during the Samudra manthan to obtain Amrutha. Sometimes the event is depicted here.

Udumbara

Below the Mandaraka is the Udumbara, which is the lowest element among all. It is the threshold. It is unfortunately not visible in the original photo as it is buried beneath the mud. This is an equivalent example from the Suryanarayana temple at Osian.

Mithuna Shaka

An excellent example of Mithuna Shaka from Ashapuri Temple. Nagara architecture reached its peak crescendo in Madhya Pradesh area. The development of architecture came to an abrupt end following the invasions. Sadly we'll never know to what newer heights it would have reached.

Vishvanatha temple, Khajuraho. Under the patronage of the Chandelas of Jejakabhukti, Nagara architecture reached its very peak. Especially the gateway elements leading up to the Garbagriha. Just have a look at each element. So intricate, aesthetic, classy & so graceful.

Have written another post on "Structural elements of a Pallava monolithic rock cut Ratha type Temple" that can be read HERE

REFERENCE

Encyclopedia of Hindu Temple Architecture by MA Dhaky

The Origins And Iconography Of Grihapati; The Child Form Of Shiva.

A Pala era panel depicting Grihapati & his mother Sucishmati. Grihapati is the infant form of Shiva. He was born to Rishi Vishvanara & Sucishmati as a result of their severe austerities at Kashi. The story of Grihapati's life is explained in great detail in the Shiva Purana.

The panel depicts infant Grihapati laying next to his mother Sucishmati. There are 2 female attendants on either side, one waving a Chamara(fan) & other massaging Sucishmati's foot. On top of this depiction is a series of various figures. First among whom a is Gandharva.

The Gandharva is followed by a carving of Ganesha seated on a padma peetha. Then we see a Linga followed by the Navagrahas starting with Kethu. On the other end is Surya followed by another Gandharva.

Popular depiction of Grihapati who is an amsha of Shiva. His story is very similar to Markandeya. Shiva saves Grihapati from the Vajradanda of Indra like how he saved Markandeya from the paasa of Yama. The linga associated with this story is in Kashi. It is called Agnisvara.

It is said by Shiva that 

अग्नीश्वरस्य भक्तानां न भयं विद्युदग्निभिः । 

अग्निमांद्यभयं नैव नाकालमरणं क्वचित् ॥ 

A person who worships Agnisvara need not fear lightning and fire.They will never suffer a premature death. A Brahmin family still tends to this linga even today in Kashi.

Description of Bharatavarsha and its sacred mountain ranges, river systems & its people in the Brahma Purana

A post on the description of Bharatavarsha & its sacred mountain ranges, river systems & its people in the Brahma Purana Rishi Lomaharshana begins the description of Bharatavarsha with this verse: 

उत्तरेण समुद्रस्य हिमाद्रेश्चैव दक्षिणे। 

वर्ष तद्धारत नाम भारती यत्र सतति ॥ 

To the north of ocean and to the South of Himalayas is the sub-continent Bharata. The subjects are called "Bharatis". 

नवयोउ नसाहस्रो विस्तारश्च द्विजोत्तमा । 

कर्मभूमिरिय स्वर्गमपवाञ्च इच्छताम् ॥ 

Rishi Lomaharshana describes Bharat as the land of of karma where swarga can be attained.

महेंद्रो मलय सह्यः शुक्तिमानक्षपर्वत । 

विध्यश्च पारियात्रश्च सप्तात्र कुलपर्वता ॥ 

Then he describes the 7 Kulaparvatas i.e chief mountain ranges of a Bharat, namely : Mahendra, Malaya, Sahya, Suktiman, Rksa, Vindhya and Pariyatra.

In below verses it is reiterated that its only from Bharat that men attain swarga & mukthi. Nowhere else on earth are holy rites prescribed for men. It also talks about rebirth.

Below shlokas mention 9 divisions of Bharatavarsha, namely : Indradvipa, Kaserumat, Tamraparņa, Gabhastiman, Nagadvipa, Saumya, Gandharva and Varuna. Indradvipa is identified with the trans Brahmaputra region.

Kaserumat is the coastal plains between the deltas of Godavari & Mahanadi rivers. Tamaraparna is associated with the southernmost perennial river of Tamaparani which flows in southern TN. Gabhastiman is the hilly region between Narmada & Godavari rivers. 

Nagadvipa is the region extended all over the mountainous belt between Narmada ranges upto the Chota Nagpur plateau (northern Chhattisgarh & parts of Jharkhand)

There is a mention of a Sowmyadvipa in Brahma Purana. In other puranas this is replaced with Simhala(Lanka) or Gandharva. Varuna is the western coast of Bharat.

Here Lomaharshana demarcates the eastern & western borders by describing the people who dwell beyond the borders of Bharat. To the east are the Kiratas & the west the Yavanas.

Every Purana that dwells into this topic describes the Chaturvarna & assigns their role, so does Brahma Purana. Brahmins perform sacrifices, Kshatriya the battles, Vaishyas trade & Shudras are into service. Only the above can call Bharat their homeland.

The next few shlokas describe the rivers & their mountain ranges from where they originate. Here Satadru (Sutlej) & Chandrabhaga (Chenab) are mentioned to be originating from the foot of the Himavan mountain.

Narmada, Surasa & other rivers originate from the Vindhya mountains. Tapi, Payoshni, Nirvindhya have their origins from the foothills of the Ṛkṣa mountains. Taking a dip in them relieves one of paapa.

Godavari, Bhimarathi, Krishnaveni and other rivers originate from the foot of Sahyadhri. The Kritamala, Tamraparni start from Malaya. The Trisandhya, Rsikulya and other rivers have their source in Mahendra. The Rsikulya, Kumara flow from the foot of Suktiman mountains.

These Shlokas identify the various people dwelling along the banks of all the rivers mentioned in the above few tweets. It mentions the well known Kurus & Panchalas. Eastern people of Kamarupa (Assam). Paundras & Kalingas are mentioned as people south of Kamarupa (West Bengal & Odisha)

The Saurashtras, Abhiras (Gujarat & southern Rajasthan), Arbudas (mount Abu region), Malavas (Malwa), Sauviras (Sindh), Saindhavas (near Dwaraka), Salvas (Alwar), Madraramas (Madra kingdom), Ambashthas (Punjab), Parasikas, Sakala (Sialkot)

Reference

Brahma Purana by Maharshi Krishnadwaipayan & Motilal Banarsidass