Ayodhya's Ram Mandir Built in Nagara Style: What is This Temple Architecture Rooted in Hinduism?

Ayodhya’s Ram Mandir, where a grand consecration ceremony is being held on Monday, has been made in the traditional Nagara style of architecture. Ancient India’s rich cultural heritage is echoed in this temple style, which is rooted in Hinduism.

Temples made in the Nagara style are characterised by their towering spires or shikharas, intricate carvings, and symbolic representations. They have meticulous craftsmanship, as visible in the magnificent Khajuraho temples of Madhya Pradesh.

Here is all you need to know about the fascinating world of Nagara-style temple architecture:

When did this style of temple architecture originate?

Influenced mostly by temple styles in northern India, the Nagara style originated around the 5th century AD. Prominent regions of influence also include Karnataka and parts of Madhya Pradesh.

The Nagara style is not confined to a specific period as it evolves and adapts according to the times, showcasing not only its own dynamic nature but that of Indian temple architecture. This particular temple style flourished in the Gupta dynasty.

What does the architectural style mean?

The word nagara means ‘city’, which highlights the temple style’s close association with urban architecture. There are famous temples made in this style, located around bustling city centres like the Sun Temple in Odisha’s Konark.

Displaying a blend of indigenous as well as influences from central Asia, the Nagara style is mainly characterised by its tower-like spires, known as shikhara. These rise vertically, symbolising the sacred mountain Meru.

According to an article published by The Architects Diary titled ‘Nagara Style Temple Architecture: Masterpieces in Stone’, this temple style is closely associated with the Shaivite and Vaishnavite sects of Hinduism.

What is the layout and planning in a Nagara-style temple?

The Nagara style follows the basic tenets of Hinduism, reflecting the cosmic order and the journey of the soul towards liberation. The layout and planning, hence, denote harmony and symbolism of the sacred space.

• Vastu Purusha Mandala: According to the article, the temple design at the core is the concept of Vastu Purusha Mandala, “a sacred diagram representing the cosmic man”. The Ram temple in Ayodhya has a length (east-west) of 380 feet, a width of 250 feet, and a height of 161 feet. It is three-storied, with each floor being 20 feet tall. It has a total of 392 pillars and 44 doors. No iron is used anywhere in the construction of the temple.
• Garbhagriha (sanctum sanctorum): The garbhagriha, or the sanctum sanctorum, is where the principal deity resides. In this case, it will be the home of the childhood form of Hindu deity Ram, also known as Ram Lalla. It is this idol that will be consecrated on January 22.
• Pradakshina patha (circumambulation): The sanctum sanctorum is surrounded by a circumambulatory path called the pradakshina patha. This allows visitors to walk in a clockwise direction around the deity. The principles of this particular temple architecture allow this path to be enclosed within the temple or form an outer pathway.
• Vimana (tower): The crowning glory and the most visible of its features, the vimana, or tower, represents Mount Meru – the mythical abode of gods. This is the shikhara, which is the main spire of the temple.
• Mandapa (congregation hall): In simple terms, it is the space where visitors gather for rituals and special occasions. It has intricately carved pillars and is open in its design. The pillars can have sculptures depicting deities, mythological narratives, and celestial beings. At the Ayodhya temple, there are five such mandaps — Nritya, Rang, Sabha, Prarthna and Kirtan.
• Antarala (vestibule): This acts as a “transitional space” between the sanctum sanctorum and the main hall, and has functional as well as symbolic purpose. This space is also adorned with deities or intricate sculptures.
• Ardhamandapa (entrance porch): The article states that the ardhamandapa serves as the “threshold between the external world and the sacred interior”. It has ornate pillars and intricate carvings and is like a “visual prelude to the architectural splendour within”. The Ram temple entry is from the east, ascending 32 stairs through the ‘Singh Dwar’.
• Peripheral structures: The central shrine is often surrounded by smaller shrines and subsidiary structures, creating a complex architectural ensemble. These structures are known as subsidiary shrines or parivara devatas and pay homage to various deities associated with the main deity. At Ayodhya, the parkota (rectangular compound wall) with a length of 732 m and a width of 14 feet, surrounds the temple. At the four corners are four temples dedicated to Surya, Bhagwati, Ganesh and Shiva. In the northern arm is a temple of Annapurna while the southern arm has a temple dedicated to Hanuman. Close to the Ram temple is a historic well known as Sita koop, most likely dating back to ancient times. The temple complex also has proposed temples dedicated to Valmiki, Vashishtha, Vishwamitra, Agastya, Nishad Raj, Shabri, and the revered consort Ahilya. In the southwestern part of the temple complex, at ‘Kuber Tila’, the ancient temple of Shiva has been restored along with an installation of Jatayu.

What are the regional variations?

The Nagara style of temple architecture has some prominent regional variations like the Orissan Nagara style, characterised by its towering shikhara and exquisite stone carvings. Some fine examples are the temples of Bhubaneswar, Puri and Konark.

The Gujarati Nagara style is characterised by its elegance and simplicity. Temple complexes such as the Sun Temple in Modhera and the Somnath Temple, highlight this regional variation. The shikhara in Gujarati Nagara temples are relatively modest in height as compared to the northern style.

The mesmerising temples of Dilwara in Rajasthan’s Mount Abu are a fine testimony to the Rajasthani Nagara style, which incorporates distinctive elements of Rajput architecture and is characterised by fortified walls and ornate entryways. The Sun Temple in Ranakpur is another example of this style. All these temples have exquisite and delicate marble carvings making up a visual treat.

Once again, the Southern Nagara temples have a more subdued and tapering shikhara as compared to their northern counterparts. The focus is more on detail with pillars and walls depicting scenes from mythology. Examples of this variation are the Virupaksha Temple in Hampi.

The central Indian Nagara style features a variety of spire shapes, including the stepped shikhara. The Khajuraho group of monuments, including the Lakshmana Temple, is an example of this variation.