The construction and consecration of the Ram Temple in Ayodhya mark a historic moment in India’s cultural and religious landscape. The temple stands as a testament to India’s rich cultural heritage, architectural prowess, and the resilience of its people. The combination of historical significance, cultural renaissance, and meticulous construction processes make it a cornerstone in India’s spiritual and national identity.
A ‘Pran Pratishtha’ ceremony was conducted on January 22, 2024 which was officiated by Laxmikant Dixit, a distinguished priest from Varanasi, in the presence of the current Prime Minister of India, accompanied by revered sages and dignitaries.
The sacred journey towards the consecration of the Ram Mandir in Ayodhya commenced on January 16, 2024, promising a week-long sequence of meticulously planned rituals that reached their zenith with the grand Pran Pratishtha ceremony of the revered Ram Lalla. This ceremonial odyssey is marked by a well-structured schedule, each day adorned with distinctive rituals, ultimately leading to the momentous culmination.
During the ongoing rituals, the four Shankaracharyas did not partake, asserting that the construction of the temple remains unfinished. Some draw parallels with the Somnath Temple in Gujarat, where consecration occurred only after the completion of construction. However, representatives of over 150 diverse traditions, encompassing Mahamandaleshwars, Mandaleshwars, Shrimahants, Mahants, Nagas, Adivasis, Girivasi, Tatavasi tribal traditions, were present to witness the grand ceremony at the temple.
Timeline of the Ram Temple
1529: Babri Mosque is constructed by Mir Baqi.
1885: Court dispute begins as Mahant Raghubir Das files the first suit seeking permission to build a temple on land adjoining the mosque. The court rejects his plea.
December 1949: Rama’s idol appears inside the mosque, leading to the government declaring the site a “contested area” and locking the entrance.
1950: Hindu sides file suits in Faizabad Court seeking permission to conduct Hindu pujas to Ram Lalla. The court grants permission and orders that the inner courtyard gates should remain locked.
1959: Nirmohi Akhara files a suit seeking possession of the land.
1961: UP Sunni Wakf Board files a suit seeking possession of Babri Mosque site.
1984: The Ram Janmbhoomi Movement commences, led by Vishwa Hindu Parishad (VHP) and L.K. Advani.
1986: Inner gate of Babri Mosque is opened after the district judge orders that the locks should be removed for Hindu “pooja and darshan”.
1989: Shilanayas is performed near the disputed area with the permission of then Prime Minister Rajiv Gandhi. All title suits shifted to the Allahabad High Court. Now, another suit is filed in the name of Ram Lalla Virajman in the high court. The previous litigants—Nirmohi Akhara and the Sunni Waqf Board are named as defendants.
September 25, 1990: A Rath Yatra was launched by L.K. Advani from Somnath (Gujarat) to Ayodhya (Uttar Pradesh) to gather support, which led to communal riots.
December 6, 1992: Babri Mosque is demolished by a violent mob of Karsevaks, leaving behind a makeshift temple.
December 16, 1992: The Liberhan Commission is formed by the then Prime Minister P.V. Narasimha Rao to investigate the circumstances leading to the demolition and the communal riots.
January 7, 1993: The State acquires 67.7 acres of Ayodhya land through the Acquisition of Certain Areas at Ayodhya Act, 1993.
1994: The Ismail Faruqui Judgment by the Supreme Court is upheld by a majority of 3:2, affirming the constitutionality of the Ayodhya land acquisition Act.
April 2002: The Lucknow Bench of the Allahabad High Court begins hearing the Ayodhya Title Dispute case.
2003: The Archaeological Survey of India conducts excavations, and claims remnants of a 10th-century Hindu temple.
June 30, 2009: The Liberhan Commission report is submitted after a delay of 17 years.
September 30, 2010: The Allahabad HC splits the land in three ways, allocating one-third to each of the Sunni Wakf Board, Nirmohi Akhara, and Ram Lalla Virajman.
May 2011: The Supreme Court stays the Allahabad High Court ruling and called it “strange” as no party had requested for partition.
March 21, 2017: Former Chief Justice Jagdish Singh Khehar suggests an out-of-court settlement.
August 11, 2017: A three-judge bench of the SC consisting of CJI Dipak Misra, Ashok Bhushan, and Abdul Nazeer starts hearing the matter.
2018: Petitioners argue for reconsideration of the 1994 Ismail Faruqui judgment by a seven-judge bench but the SC refuses to do so in a split 2:1 verdict.
January 8, 2019: CJI Ranjan Gogoi forms a five-judge bench to hear the case.
November 9, 2019: The five-judge bench orders the setting up of a trust, paving the way for the construction of a temple, and allocates five acres of land to Muslims to construct a mosque.
February 5, 2020: Prime Minister Narendra Modi announces the formation of a trust to construct Ram temple.
August 5, 2020: Prime Minister lays the foundation stone for the same in Ayodhya.
January 22, 2024: The new Ram Lalla idol is consecrated at the Ayodhya temple, marking the culmination of the historic event.
Architecture of Ram Temple
The Ayodhya Ram Temple, a magnificent architectural marvel, and a cultural symbol, is the visionary creation of the esteemed architect Chandrakant B. Sompura. This sacred structure not only represents India’s rich heritage but also showcases meticulous planning, profound cultural significance, and a dedicated adherence to traditional construction practices, standing proudly as a symbol of the nation’s collective pride.
- Constructed in the Nagara style of architecture, the temple spans 380 feet in length, 250 feet in width, and rises to a majestic height of 161 feet. It stands as a three-storied structure, with each floor reaching 20 feet, supported by a robust foundation of 392 pillars and adorned with 44 intricately designed doors.
- The main sanctum of the temple houses the beloved childhood form of Lord Ram, affectionately known as Shri Ram Lalla, while the first floor is dedicated to the divine Shri Ram Darbar. The grandeur of the temple is further enhanced by five ornate mandaps: Nritya Mandap, Rang Mandap, Sabha Mandap, Prathana Mandap, and Kirtan Mandap.
- The eastern entrance of the temple, accessed by ascending 32 stairs through the Singh Dwar, serves as the primary gateway to the sacred precinct. Additionally, four corner temples pay homage to Surya, Bhagwati, Ganesha, and Shiva, with additional shrines devoted to deities Annapurna and Hanuman.
- The temple features a substantial number of intricately sculpted columns, with 160 on the ground floor, 132 on the first floor, and 74 on the second floor. The rectangular compound wall, known as Parkota, spans 732 metres in length and 14 feet in width.
- Within the holy precinct, an ancient well, called Sita Koop, adjacent to the main temple, and the revived ancient temple of Shiv at Kuber Tila adds to the sacred ambience.
- The unique construction methodology of the temple avoids the use of steel or iron, instead opting for traditional materials such as Bansi Paharpur Pink Sandstone, granite, white Makrana marble, and coloured marble. Special bricks known as ‘Ram Shilas’, engraved with ‘Shri Ram’, were used.
- A 21-foot-tall platform made of granite is strategically constructed to protect the main temple against ground moisture. Employing India’s traditional technology, the construction focuses on environmental conservation, leaving 70 per cent of the space as greenery, embodying a harmonious blend of spirituality and sustainable practices.
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Chandrakant Sompura is a renowned Indian architect known for his contributions to temple architecture. He belongs to a family with a strong tradition in temple design. His father, Prabhakar Sompura, was the architect of the famous Somnath Temple in Gujarat and the temple in Mathura, the birthplace of Krishna. Sompura’s family follows the Nagara style of temple architecture.
He has designed a total of 131 temples including structures like the Swami Narayan Temple in Gandhinagar and the Ambaji Temple in Palanpur.
Sompura played a crucial role in designing the Ram Temple in Ayodhya.
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Key Companies and Institutions related to the Temple Construction
The total financial investment in the construction of the Ayodhya Ram Temple is estimated at Rs 1,800 crore. Several key companies and institutions have played integral roles, ensuring the temple’s structural integrity for generations:
Larsen & Toubro (L&T) a prominent Indian engineering and infrastructure company, oversaw the temple’s design and construction, and provided its expertise without any charge.
Tata Consulting Engineers Limited was engaged as the project management consultant. The company oversaw all aspects of the construction process including material procurement, manpower allocation, and ensuring the efficient execution of the project.
Central Building Research Institute (CBRI) played a crucial role by conducting comprehensive soil testing and analysis, contributing to the temple’s stability for centuries. Other responsibilities included structural design, the design of the surya tilak mechanism, vetting the temple foundation’s design, and structural health monitoring.
National Geophysical Research Institute (NGRI) offered expertise in researching the complex structure and processes of the earth system. With over 25 scientists conducting experiments on the temple soil, their insights have been instrumental in mitigating geological challenges, including earthquake risks.
Indian Institutes of Technology (Guwahati, Bombay, and Madras) contributed their expertise in structural engineering, material science, and earthquake-resistant design. Through collaboration, they provided valuable insights into various aspects of the construction process, enhancing the overall quality and resilience of the temple.
The Ram Lalla Sculpture
- Ram Lalla idol at Ayodhya’s Ram temple is an exquisite creation by the highly acclaimed sculptor, Arun Yogiraj from Mysuru.
- The idol is meticulously carved from a special type of black stone, also known as ‘Krishna Shila,’ showcasing the sculptor’s adeptness in giving life to divine forms.
- Recognising the superiority of the chosen stone, the temple trust at Ayodhya made a deliberate choice to utilise it in crafting the idol. It remains unaffected and impervious to corrosion over time.
- The idol portrays Rama as a five-year-old, with the right hand sculpted to bestow blessings (aashirwaad), while the left hand is poised to cradle a bow, leaving space for the placement of an arrow.
- The idol (Ram Lalla) is named ‘Balak Ram’, as an embodiment of the child form of Rama.
- The Rama idol at Ayodhya is in the form of a child due to its direct association with the birthplace of Rama. Ayodhya, recognised as Ram Janmabhoomi, is the sacred city where Rama was born. The choice of depicting Rama in his childhood form, Ram Lalla, is a symbolic representation of his divine incarnation and the significance of Ayodhya as his birthplace.
- The installation of Ram Lalla in the Ayodhya Ram Mandir reflects the belief in his divine birth in this holy city. The positioning of Ram’s idol on the ground floor of the temple signifies a connection to the very land where he was born. In contrast, the idols of Ram’s brothers, along with Sita and Hanuman, are planned for placement on the first floor, indicating a comprehensive representation of the divine narrative within the grand temple complex. However, the inclusion of these additional idols is expected to be completed in the subsequent eight months after consecration ceremony.
- The sides of the idol adorn intricate engravings depicting all ten avatars of Vishnu, including Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki.
- Other divine figures like Hanuman have elegantly been engraved near the right foot of the idol. Garuda is positioned near the left foot, symbolising the mount of Vishnu. The idol is also adorned with carvings of Hindu religious symbols such as Swastik and Om. Moreover, a chakra, a gada, and a shankh are intricately engraved on the idol, adding to its divine aura.
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Arun Yogiraj is a renowned Indian sculptor from Mysuru, Karnataka. He is a part of a family with a long tradition in sculpting. His grandfather, B. Basavanna Shilpi, was patronised by the kings of Mysore and trained by Shilpi Siddanthi Siddalinga Swami, the royal guru of Mysore palace. He has sculpted various idols of deities such as Panchamukhi Ganapathi, MahaVishnu, Buddha, Nandi, Swami Shivbala Yogi, Swami Shivakumara, and Banashankari, installed at different temples across India. Recently, he has sculpted the idol of Ram Lalla for the Ram Temple in Ayodhya. He received South India’s young talent award in 2014, contributing to his recognition in the field of sculpting.
Some of Yogiraj’s notable works include a 28-feet monolithic black granite stone sculpture of freedom fighter Subhash Chandra Bose for Delhi’s India Gate, a 12-feet Adi Shankaracharya idol for Kedarnath, Uttarakhand; and India’s largest 10-feet monolithic white marble stone sculpture of Sri Ramakrishna Paramahamsa in Mysuru.
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Why the Black Stone or ‘Krishna Shila’
- The stone is specifically chosen for its exceptional resistance to chemical reactions, especially with substances like acid. This property ensures that the stone remains unaffected when exposed to various elements.
- The stone exhibits remarkable resistance to corrosion over time. Even when traditional rituals involve pouring milk on the idol, it remains impervious to any corrosive effects, maintaining its integrity for an extended period.
- The stone possesses a bluish-grey hue, and when coconut and burnt cocoa powder are applied, it undergoes a distinct colour transformation, turning black. This unique characteristic adds aesthetic appeal to the idol crafted from this stone.
- As the years pass, the stone undergoes a natural hardening process, contributing to the durability of the idol. This property ensures that the stone maintains its structural integrity and withstands the test of time.
- Temples with idols made from this stone that are over 5,000 years old stand as a testament to the stone’s resilience. These idols have demonstrated resistance to various weather conditions, showcasing the enduring nature of Krishna Shila in diverse environments.
Pran Pratishtha
Pran Pratishtha is the process of infusing life into an idol, transforming it into a deity capable of accepting prayers and granting blessings. The ceremony includes rituals drawn from the Vedas and Puranas, each with its own significance. The process of Pran Pratishtha is mentioned in the Vedas and elaborated upon in various Puranas, including Matsya Puran, Vaman Puran, and Narad Puran. Ideally, Pran Pratishtha should be performed before the temple’s construction is fully completed, with the sanctum sanctorum being the primary requirement. The Pran Pratishtha ceremony for the Ram Temple in Ayodhya began on January 16, with the main ceremony scheduled for January 22. The ceremony was supervised by 121 Acharyas, led by Ganeshwar Shastri Dravid and coordinated by Laxmikant Dixit of Kashi (now, Varanasi).
Stages of Pran Pratishtha
Shobha yatra A procession of the idol, known as Shobha Yatra, takes place in the temple’s neighbourhood. Devotees transfer devotion and divine strength to the idol during this procession.
Adhivas Multiple adhivas (preparatory rituals) are conducted, including submerging the idol in water and grain. Adhivas are meant to heal injuries sustained during the idol’s crafting and identify defects.
Ritual bath and abhishek The idol undergoes a ritual bath, and abhishek (ceremonial bathing) is performed with various materials.The ceremony can involve 108 different materials, such as panchamrut and fragrant flower essence.
Opening of the eyes (Netronmeelan) Mantras are chanted, invoking different gods to animate various parts of the idol. The final step involves opening the eyes of the idol and applying anjan (similar to kohl) with a gold needle.
Anjan application Anjan is applied around the deity’s eyes during the opening ceremony to complete the process. Originally, anjan was believed to come from the Kakood mountain, but alternatives like ghee and honey are used.
Conclusion
To conclude, the temple’s design, using granite from Karnataka and Telangana, and pink sandstone from Rajasthan, blends traditional and indigenous technology with environmental consciousness. This represents a harmonious integration of architectural styles. In essence, the Ram Temple’s consecration is a historic and transformative moment, with far-reaching implications for India’s cultural and political landscape, suggesting a potential renaissance and a new chapter in the nation’s history.
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