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The Matsya Purana says that to the south of the mandapa should be planted trees with fruits, to the east milky trees, to the west a pond full of lotuses and to the north should be palm trees and flowers. The parivaralayas should be erected surrounding the mandapa and a temple. The Matsya Purana places them in the following order: South - place for penance (tapovana). North - Matrka-temple. South-east - (Agneya) - kitchen. South-west - (Nairrtya) - Ganesa-temple. West - Sri or Laksmi-temple and a place for offerings to god Candra and etc. North-west (Vayavya) - platform for grahas i.e. (navagrahas). North-yajnasala. North-east (Isana) - vapi (step-well) and Sesasayi Visnu therein.

125 Front - place for Nandi in Siva temples. Thus, the temple should consist of ghanta, torana. dhvaja, kunda and mandapa etc. The Bhavishya Purana adds some more details pertaining to a sun-temple after the general description of the types of temples. 97 According to it the 98 entrance of a sun-temple should face the east. However, if that is not possible it should certainly be to the west. The bath or Snanagrha and place for sacrificial rituals or agnihotra should be constructed towards the south and north of the main shrine, respectively. Similarly, the shrines for Nimba and Rajni should be erected on its right and left sides. The shrine dedicated to Sri and Mahasveta should stand in front of the main sun temple flanked by the shrines of Pingala on south (right) and that of Dandanayaka on north (left). Shrines dedicated to Asvinikumaras, Raja, Srosa Kalmasa, Jandakamacaras or Janukamacaras, Kubera, Revanta and Vinayaka also should be established in different directions. The Bhavishya Purana provides also a shrine for Vyoma i.e., sky before the idol of the tutelary deity and a shelter for the pustaka i.e., Purana, nearby. Thus the main architectural matter of Bhavishya Purana is culled from Brihat Samhita of Varahamihira and presented in a rearranged order specifying the construction and consecration of a fullfledged and well-equipped sun-temple. The GP says that on different facets of the temple the minor gods and different door guardians (dvarapalas) should be placed accordingly. A banner is to be flapped above the temple. It also proposes the

126 construction of a theatre (natyasata) and monastery (matha) nearby the temple.9 99 The Agni Purana in chapter 43 provides a detailed list of divinities to be enshrined in different directions and subsidiary shrines of the main prasada. It suggests a Pancayatana temple for Vasudeva (Visnu). In the four corner-shrines there should be installed the images of Vamana, Nrhari (Nrsimha), Asvasirsa (Hayagriya) and Sukara (Varaha) in carnations in the south-east (agneya), south-west (nairrta), north-west (vayavya) and north-east (isana) directions respectively or Narayana in center (see Appendix I). Varaha Hayagriya Vasudeva Appendix 1 (Pancayatna) Vamana Nrsimha

127 Ambika in agnaya, Bhaskara (sun) in nairrtya, Brahma in vayavya and Linga (Siva) in isana, (see appendix 2) or in a Navadhama 100 temple Indra and other lokapalas (regents), Linga or Siva Brahma Narayana Ambika Aditya Appendix 2 (Pancayatana) totally eight, should be installed on eight cardinal points with Vasudeva in centre (see appendix 3). Indra isana Agneya Kubera or Vasudeva Yama Soma Vayavya Varuna Appendix 3 (Navadhama) Nairrti

128 A Pancayatana also may be made in a Navadhama with Purusottama (Visnu) in centre (madhya), Laksmi-Vaisravama with Purusottama (Visnu) in centre (madhya), Laksmi-Vaisravana in east, Matrs (mother-goddesses) in south, Skanda and Ganesa in north-east, Surya and other grahas (planets) in the west, the ten avataras (Matsya etc.) in the north, the goddess Candika in south-east, the goddess Ambika in south-west, and the goddess Sarasvati in north-west (see Appendix 4). Laksmi-Vaisravana Skanda & Ganesa Candika Dasavatara Purusottama Matrs Sarasvati Surya & Grahas Ambika Appendix 4 (Navadhama) sub-shrines) In a trayodasalaya (a temple with twelve Visvarupa Visnu should be enshrined in the centre along with goddess Padma in the sub-shrine of north-east corner and Kesava and other

129 manifestations of god Visnu in different corners standing with the east. 101 (see Appendix 5). Padma Damodara Kesava Madhava Govinda Visvarupa or Narayana Visnu Padmanabha or Vasudeva Hrsikesa Sridhara Vimana Appendix 5 (Trayodasalaya) Madhusudana Trivikrama PILLARS The Matsya Purana describes five kinds of pillars as shown below in Table 6: Table 6 S.No. Matsya Purana Brihat Samhita of Varahamihira Samarangana Sutradhara 1 Ruchaka Ruchaka 2 Vajra Vajra 3 Dvi-vajra 4 Pralinaka Dvi-vajra Pralinaka 5 Vritta Vrtta 6 7 9 88 Kuberakanta Padmaka Ghata-Pallava Sri-dhar

130 According to Matsya Purana Rucaka pillar has four sides, the Vajra pillar has eight sides, the Dvivajra pillar is sodasara. i.e., sixteen sided, the pralinaka pillar exhibits thirty-two sides, and the Vrtta pillars is circular. There are no details about pillars in Bhavishya Purana, GP and Agni Purana The pillars should be decorated with patravallis, latas, kumbha and patra etc. Full-vase purna-kumbha which was incorporated in the basement and the capital foliated scroll (patra) and circular mirrors. (darpani 255.4) are to be engraved on the four sides of a square pillar. The design of the darpana as a circular disc in the upper portion of the four faces of a ruchaka pillar was very pleasing and seen on the square pillars of the the Gupta period. The decoration of patravalli or conventionalised foliated leaves was a special feature of Gupta art bearing several names as patra-lata, patranguli, kutila-patra, etc. The patra-lata designs were used in sculpture, painting, moulded bricks and ornaments as evident from literary description and surviving art monuments. A very conspicuous example is carved stone surface of the Dhamekha stupa at Sarnath. The Gupta pillar was a thing of joy and beauty, developed as a perfect architectural specimen with various decorations. The above survey makes it clear that there were some set principles stipulated in the Puranas for the temple building. These principles were carried out where trained artisans become available. This

131 examination indicates that the temples displayed fixed architectural techniques and sculptural composition. These were generally constructed on square based plan. The square plan, is considered as the essential and fundamental form of Indian architecture, and 'a mark of order. of finality to the expanding life'.