Temple Architecture in India

29 March 2024

Hindu temple architecture in India is a captivating blend of symbolism, tradition, and spiritual devotion. Evolving over centuries, it reflects a rich cultural heritage with regional variations. Temple architecture is categorised into various styles based on regional distinctions, including Nagara, Dravida, Vesara, Nayaka, Vijayanagar, Solanki, Khajuraho, and Jain architecture.

Basically, temples in India have the following key features:

Sanctum (Garbhagriha) At the heart of every Hindu temple is the sanctum, the Garbhagriha, which houses the main icon, embodying the divine presence and serving as the focal point of ritual attention.

Entrance (Mandapa) Welcoming worshippers into the sacred precincts, the Mandapa serves as a vital element. Whether in the form of a portico or colonnaded hall, it provides a communal space for devotees to gather and participate in religious ceremonies, showcasing diverse styles across different temples.

Spire (Shikhara or Vimana) Freestanding temples feature awe-inspiring spires known as the Shikhara in North India and Vimana in South India. Resembling mountains, these towering structures exhibit distinct shapes—a curving form in the north and a pyramidal tower in the south, both reaching towards the divine.

Mount or Vehicle (Vahan) and Standard Pillar (Dhvaj) Enriching the symbolism, representations of the mount or vehicle associated with the main deity are featured prominently. Additionally, a standard pillar or Dhvaj stands axially before the sanctum, symbolising the sacred flag and the divine presence within.

Sculptures and ornaments • River goddesses (Ganga and Yamuna) are typically placed at the entrance of the garbhagriha.

Dvarapalas (doorkeepers) are commonly found on gateways or gopurams of Dravida temples.
Mithunas (erotic images), Navagrahas (nine auspicious planets), and Yakshas are positioned at entrances for protection.
Various forms or aspects of the main deity are often depicted on the outer walls of the sanctum.
Ashtadikpalas, representing the deities of directions, face the eight key directions on the outer walls of the sanctum or the temple.
The main temple is often surrounded by subsidiary shrines that are dedicated to the family or incarnations of the main deity.
Different ornamental elements, such as gavaksha, vyala/yali, kalpa-lata, amalaka, and kalasha are used in distinct ways and specific locations within the temple.

Different Styles of Temple Architecture

Nagara style of temple architecture The Nagara style of temple architecture traces its origins back to the 5th century CE, emerging during the late Gupta period in northern India. This architectural style is defined by distinctive features, including a raised plinth, towering shikhara, and various elements that symbolise the cosmic order in the Hindu tradition.

Key features of this style include:

Garbhagriha The temple typically incorporates a garbhagriha, a cave-like sanctum housing the main deity. It originally used to be a modest cubicle, but gradually evolved over time. Surrounding the garbha griha, there is a circumambulatory passage, and additional mandapas (halls) may be present on the same axis. Elaborate murals and reliefs often adorn the temple walls.

Mandapa The temple entrance features a mandapa, which could be a portico or colonnaded hall. This space is designed to accommodate worshippers and facilitate rituals.

Shikhara Freestanding Nagara style temples, starting from the 5th century CE, showcase a mountain-like spire. In North India, this spire takes the form of a curving shikhara, representing a human-made rendition of the natural and cosmological order in the Hindu tradition. Symbolising mountains like Meru, Mandara, and Kailasa, temples may incorporate multiple shikharas, with the tallest positioned above the garbhagriha.

Vahan and Dhvaj Axially positioned before the sanctum, the vahan represents the mount or vehicle of the main deity. Additionally, a standard pillar or dhvaj stands symbolically, serving as the sacred flag.

Distinct modes of the Nagara style The Nagara style showcases a remarkable diversity, with five distinct modes identified by scholar Adam Hardy. These modes, influenced by various periods and geographical regions, depict the evolution and innovation within the Nagara architectural tradition.

Valabhi (Early Nagara Style: Before the 5th century CE) Valabhi buildings, emerged during the foundational stage of the Nagara architecture, are rectangular structures with roofs rising into a vaulted chamber. The rounded edge of this chamber resembles the shape of ancient bamboo or wooden wagons drawn by bullocks, leading to their designation as “wagon-vaulted buildings”. Valabhi type is influenced by ancient architectural forms pre-dating the 5th century CE.

Phamsana (early Nagara style) Phamsana represents an advancement in the Nagara architecture. These buildings are characterised by broad dimensions (shorter than Latina structures). The roofs consist of multiple slabs gently rising to a single point over the center of the building, with a straight incline rather than curving inward. Phamsana design is commonly used for mandapas in North Indian temples, with the main garbhagriha housed in a Latina building.

Latina (Gupta Heartland spread across northern India during the early 7th century) Latina, a prevalent type of shikhara in the Nagara architecture, is square at the base, with walls curving or sloping inwards to a point at the top. Also known as the rekha-prasada type, it is commonly used for the main garbhagriha in Nagara temples during the Gupta period.

Shekhari (10th century onwards) Shekhari mode evolved from the composite Latinas. It features attached sub-spires or spirelets echoing the main shikhara’s shape. Temples in Shekhari style have multiple towers clustered together, resembling rising mountain peaks, with the tallest one in the centre. Shekhari represents an evolution in complexity and ornamentation in the Nagara architecture.

Bhumija (10th century onwards) Bhumija, another development from the composite Latinas, is characterised by miniature spires arranged in horizontal and vertical rows, creating a grid-like effect on each face of the shikhara. The actual shikhara in Bhumija often approaches a pyramidal shape, with the curvature of the Latina being less visible. This mode introduces highly detailed and intricate patterns to the Nagara architecture.

Odisha School The Odishan temple architecture is a subtype of Nagara style, known as ‘Kalinga,’ with regional distinctions.

Temples are categorised into three types based on their architectural features: Rekha Deula (curvilinear superstructure), Bhadra or Pidha Deula (monument with a pyramidal roof), and Khakhara Deula (oblong building with a wagon-vault roof). The word ‘Deula’ means a building structure built with a particular style, in Odia.
The Shikhar in the Rekha-deula has a curvilinear spire with a square sanctum, while the Pidha-deula has a pyramidal roof with receding steps.
The axial arrangement of the Odishan temple begins with the sanctum, to which the porch or mandap, known as Jagamohana, is added later. Additional structures like Nata mandira (dance hall) and Bhoga mandapa (hall of offering) are added along the same axial line.
The elevation of the Odishan temple comprises four components: pista (platform), vada (vertical wall), gandi (trunk), and mastaka (head or crown).

Regional Nagara Style of Temple Architecture

Central India

(i) Udaigiri and Sanchi temples in Madhya Pradesh, belonging to the Gupta Period, reflect shared architectural developments in the Hindu and Buddhist sites.

(ii) Dashavatara Vishnu Temple, Deogarh, Uttar Pradesh, dating back to the early 6th century CE, showcases the panchayatana style with a curving Latina or rekha-prasada type of shikhara. It features a west-facing orientation, a grand doorway with standing sculptures of Ganga and Yamuna, representing a classic example of late Gupta Period and the early Nagara style.

(iii) Among Khajuraho Temples in Madhya Pradesh, the Lakshmana Temple, constructed in 954 CE by Chandela king, Dhanga, is a Nagara temple on a high platform with four smaller temples in corners. Its shikhara has a curved pyramidal fashion with an amalak and kalash.

The Hills

(i) Pandrethan Temple in Kashmir, dating back to the 8th and 9th centuries, shows an influence of Gandhara, Gupta, and post-Gupta traditions. The architecture is a blend of Latina style for the garbhagriha and wooden architecture for the mandapa. Important features include moderate ornamentation, a peaked roof, a row of elephants, and a decorated doorway, reflecting an amalgamation of local and external influences.

(ii) Laksna-Devi Mandir in Chamba, Himachal Pradesh, is an amalgamation of local traditions with the post-Gupta style. Sculptures of Mahishasuramardini and Narasimha show the influence of Kashmir’s metal sculpture tradition. The temple’s inscriptions date back to the reign of Meruvarman in the 7th century.

(iii) Temples in the Kumaon region of Uttarakhand, such as Jageshwar near Almora and Champavat near Pithoragarh, exemplify regional adaptations within the broader Nagara tradition, serving as classic examples of Nagara architecture in the region.

There is no particular use of pillars, and no cementing mortar is used. The construction technique involves corbelling, where sized-Khondalite stones are horizontally laid one upon another.
Iron cramps and dowels are used to keep the stone slabs in position.
The ground plan of the main temple is generally square and is surrounded by a boundary wall, similar to some elements of the Dravidian style of architecture.
Temples are classified based on the number of vertical projections or pagas (rathas), such as triratha, pancha-ratha, and saptaratha temples. They can also be classified based on the number of horizontal projections (rangas), including trianga, panchanga, and saptanga.
Examples of Odishan temples include the Sun Temple in Konark built around 1240, which features colossal wheels representing the Sun god’s chariot, intricate carvings, and a cylindrical spire. Lingaraj temple, Brahmeswar temple, Mukteswar temple, and Rajarani temple are all located in Bhubaneswar.

Khajuraho School The Khajuraho School, also known as the Chandela School, is located in central India. It emerged as a unique temple-building style under the patronage of the Chandela rulers. The distinctive features of these temples are as follows:

Lavish carvings embellished on both the interior and exterior walls often portray erotic themes inspired by Vatsyayana’s Kamasutra.
The predominant construction material employed was sandstone.
Different sets of sculptures are present in the temples such as cult images; the parivara, parsva and avarana devtas; the apsaras and sura-sundaris; secular sculptures of miscellaneous themes like dancers, musicians, disciples and domestic scenes; and mythical creatures like vyalas, sardula, and other animals.
Temple architecture incorporated three chambers—Garbhagriha, Mandapa, and ardha-mandapa. Some temples featured an antarala, a vestibular entrance leading to the garbhagriha.
Temples were typically oriented towards the north or east.
Adhering to the Panchayatan style of temple architecture, subsidiary shrines showcased rekha-prasad shikharas, creating a picturesque semblance of a mountain range.
Raised on relatively high platforms, these temples accommodated the religious practices of both Hindus and Jains.
Examples of Khajuraho School Temples include Kandariya Mahadev Temple, Lakshmana Temple at Khajuraho, among others.

Solanki School These temples, developed under the patronage of Solanki rulers, primarily in North-Western India, especially Gujarat and Rajasthan, embody a fusion of (Nagara) North Indian and Rajasthani architectural styles.

Temples are usually east-facing, allowing sun rays to directly fall into the central shrine during equinoxes.
The materials typically used include sandstone, black basalt, and soft marble.
These temples contain a closed hall, enclosed for various ceremonial and congregational purposes.
Additionally, a porch is integrated both internally and externally, connecting spaces within the temple complex, often adorned with decorative arched gateways called torans.
The walls exhibit a captivating interplay of light and dark shades but lack carvings.
Temple complexes commonly include a magnificent flagged tank or surya kund, often surrounded by smaller shrines.
Within the closed hall, a cruciform arrangement of columns forms a great octagon. These columns are exceptionally rich, deeply incised with figures in niches and various symbolic motifs.
Examples of such temples include the Sun Temple in Modhera, Adinatha Temple at Satrunjaya, and Neminatha at Mt. Girnar.

Dravidian style of architecture The Dravidian style is a prominent architectural tradition indigenous to Southern India. This architectural style finds its roots in ancient civilisations such as the Pallavas, Cholas, Cheras, and later the Vijayanagara and Nayak dynasties. The temples made in this style are characterised by their pyramidal tower structures, elaborate carvings depicting mythological scenes and deities, and expansive courtyards.

Key features of the Dravidian school include:

Enclosed compound wall The temples are characterised by their enclosed compound walls, setting them apart from the Nagara temple style prevalent in other regions.

Entrance gopuram The main entrance to a Dravidian temple is marked by a towering gateway known as a gopuram. These structures are renowned for their ornate decorations, featuring intricate sculptures and carvings that narrate religious stories and depict deities.

Vimana The towering structure atop the main shrine, referred to as the vimana in Tamil Nadu, distinguishes the Dravidian temples. Unlike the curving shikhara seen in North Indian temples, the vimana typically boasts a stepped pyramid shape, ascending geometrically.

Shikhara Within South Indian temple architecture, the term ‘shikhara’ denotes the apex or crowning feature atop the temple’s main sanctum. It often takes the form of a small stupika or an octagonal cupola.

Garbhagriha sculptures Positioned at the entrance to the inner sanctum or garbhagriha, sculptures frequently portray fierce dvarapalas or doorkeepers, symbolising protection and guardianship.

Temple tank Many Dravidian temples encompass a sizable water reservoir, commonly referred to as the temple tank, within their premises. These tanks serve ritualistic and practical purposes, facilitating various religious ceremonies and providing a source of water for the temple and its visitors.

Subsidiary shrines Additional shrines, either integrated within the main temple tower or situated as distinct structures adjacent to it, are a common feature in Dravidian temple complexes.

Multiple enclosures Some prominent Dravidian temples feature multiple concentric rectangular enclosure walls, each adorned with gopurams. The outermost enclosure typically represents the newest addition, with the central tower housing the garbhagriha being the oldest and most sacred.

Temple towns Temples in South India, particularly those situated in renowned temple towns such as Kanchipuram, Thanjavur, Madurai, and Kumbakonam, historically served as significant administrative centres, exerting control over vast territories and playing a pivotal role in the region’s socio-economic landscape.

Varied temple shapes Dravidian temples exhibit a diverse range of architectural forms, including square (kuta or caturasra), rectangular (shala or ayatasra), elliptical (gaja-prishta or vrittayata), circular (vritta), and octagonal (ashtasra). Each shape may carry symbolic or functional significance, influenced by the temple’s religious and cultural context.

Iconographic considerations The layout and design of Dravidian temples often reflect the iconographic attributes of the presiding deity, leading to the creation of specific temple types tailored to honour particular divine manifestations. Elaborate painted murals and sculptural reliefs adorning the temple walls serve as visual narratives, conveying mythological tales and religious teachings to devotees and visitors alike.

Types of Dravidian style The Pallavas, who played a pivotal role in pioneering the Dravidian style of architecture, have left an indelible mark on temple construction with their diverse and evolving styles. The evolution of Pallava architecture can be classified into four significant periods:

(i) Mahendravarman style of architecture (610–640 CE) Introduced during the reign of Mahendravarman I, this style revolutionised temple construction by eschewing the traditional use of bricks, iron, lime, or wood. Examples include the rock-cut temples of Mahabalipuram, also known as ‘Mandapas,’ featuring pillared Varamdas housing Shaiva and Vaishnava Garbhagrihas.

Some Other Examples of Dravidian Architecture

Brihadiswara temple (Thanjavur, Tamil Nadu) was built by Rajarajachola I in around 1010 CE and belongs to the Chola period. It is characterised by massive vimanas, elaborate gopuras, and extensive sculptural gopurams.

Kailashnath temple, Ellora (Maharashtra) belongs to the Rashtrakuta period (755–975 CE) and is carved out of a monolithic hill. It has a dedicated Nandi shrine, a gopuram-like gateway, surrounding cloisters, subsidiary shrines, staircases, and an imposing vimana rising to 30 metres.

Pattadakal temples (Karnataka) belongs to Chalukya (Vikramaditya II) period around (380–415 CE). It showcases a fusion of styles. These temples demonstrate complete knowledge of Pallava buildings at Kanchipuram and Mahabalipuram.

Belur temples (Karnataka) belong to the Hoysala period (about 1006–1346 CE). These are contemporaries of the Hoysaleshvara temple, and share their stellate plan and profuse decorative carvings with it. Although the original towers have fallen, detailed miniature versions flank the entrances, offering a glimpse into their appearance. The carvings include intricate depictions of animals and deities.

Vijayanagara temples (Hampi, Karnataka) belong to Vijayanagara period (1336–1646) CE. The city of Vijayanagara showcases a synthesis of Dravidian temple architecture with Islamic styles from neighbouring sultanates. Examples of eclectic ruins from the late 15th and early 16th centuries reflect a time of cultural fusion, wealth, and exploration. The temples incorporate sculptural elements inspired by Chola ideals.

(ii) Mamalla style of architecture (640–674 CE) Flourished under the rule of Narsimhavarman I, this style was centred around Mahabalipuram. Key features include ornamental Mandapas and Rathas, with Mamalla-style Mandapas characterised by pillars resting on lion heads. Examples include Varaha Mandapa and Mahisasur Mandapa. Seven free-standing monolithic shrines, known as Rathas, were constructed alongside pillared halls, including Draupadi Ratha, Dharmaraj Ratha, Bhima Ratha, and Ganesha Ratha.

(iii) Rajasimha style of architecture Introduced by Narsimhavarman II Rajasimha, this style embraced a variety of materials such as bricks, wood, and stones. Examples include the Shore Temple in Mahabalipuram, designated as a UNESCO World Heritage site. The Kailasha Temple of Kanchi, initiated by Rajasimha and completed by Mahendravarman II, showcases Dravidian style elements like Gopuram, Pillars, Mandapas, and Vimana. Another masterpiece is the Vaikunthaperumal Temple of Kanchipuram, dedicated to Vishnu.

(iv) Nandivarman style of architecture (800–900 CE) Following the decline of the Rajasimha style, Pallava architecture underwent a transformation under weaker rulers. Temples of this period were characterised by smaller size, fewer ornaments, and a lack of innovation. Examples include the Mukteshawara and Matangeshwara temples of Kanchi.

Vesara style temple The Vesara architecture style flourished in the late 10th century in the southern part of the Deccan, particularly in Karnataka, a unique and experimental hybrid style that seamlessly blends Dravida and Nagara elements. Characterised by dynamic expressions of creativity and innovation, Vesara temples stand out for their diverse influences and incorporation of various regional architectural features. Their key features included more focus on vimana and mandapa, covered walkway with open sides and decorations with intricate carvings of the pillars, doorways and the ceilings. Examples include the Doddabasappa temple at Dambal, the Ladkhan temple at Aihole, etc.

Chalukyas The Early Western Chalukyas, established by Pulakesin I around Badami in 543, initially focused on rock-cut caves. Later, under Vikramaditya II, Chalukyan temples at Pattadakal exemplified a fusion of Pallava and Dravidian traditions. Temples, such as Mahakuta and Swarga Brahma, showcased assimilation of northern styles from regions like Odisha and Rajasthan. Especially, the Durga Temple at Aihole featured an apsidal shrine reminiscent of Buddhist chaitya halls, surrounded by a later veranda with a Nagara-style shikhara.

Rashtrakutas This style emerged in the mid-8th century. The Rashtrakutas amalgamated various architectural styles. Example include Kailash temple in Ellora.

Hoysalas Temples in Belur, Halebid, and Somnathpuram showcased complex stellate plans, earning them the label of hybrid or Vesara. Crafted with soapstone, these temples have intricate carvings, especially in the detailed jewellery adorning the deities’ walls. The Hoysaleshvara Temple, built in the later part of the 12th century at Halebid, stands out for its unique style, neither fully Dravida nor Nagara. Its star-like ground plan and profuse carvings, including a frieze with hundreds of elephants, highlight the intricate craftsmanship of Hoysala architecture.

Other School of Temple Architecture

Nayaka temple architecture The Nayaka School of temple architecture, also known as the Madurai style, flourished from the 16th to the 18th centuries CE under the reign of the Nayaka rulers. This architectural style extended beyond Madurai and encompassed a larger geographical area, showcasing its influence across regions.

Key features of the Nayaka style include expansive corridors known as Prakarms surrounding the garbhagriha (sanctum sanctorum), along with roofed ambulatory passageways, providing ample space for devotees to circumambulate.
Gopurams, monumental gateways, constructed during the Nayaka period were among the largest ever built. The Meenakshi temple in Madurai, for example, features the tallest gopuram in the world, highlighting the architectural prowess of the Nayaka rulers.
Temples built during the Nayaka era were adorned with intricate carvings, reflecting the rich artistic tradition and craftsmanship of the Nayaka dynasty.

Vijayanagara school of temple architecture The Vijayanagara School of Architecture thrived during the Vijayanagara Empire, which was established in 1336 CE by Harihara and Bukka, lasted for more than two centuries in south India, with Hampi in Karnataka as its focal point.

Rulers of the empire combined elements from various regional architectural styles, including Chola, Hoysala, Pandya, and Chalukya, resulting in a unique fusion of architectural influences.
Temples constructed during this period began to reflect Indo-Islamic architectural influences from Bijapur, adding a distinct flavour to Vijayanagara architecture.
They feature highly decorated walls adorned with intricate carvings and geometric patterns, showcasing the empire’s rich artistic tradition.
Unlike traditional temples, which had gopurams (monumental gateways) only on the front side, Vijayanagara temples were constructed with gopurams on all sides, enhancing their grandeur.
Monolithic rock pillars, often engraved with mythical creatures like the Yali, were prevalent in Vijayanagara temples, contributing to their majestic appearance.
Temple complexes were enclosed by larger walls, emphasising their sacred and protected nature, while also providing space for expansion and development.
Each temple typically had multiple mandapas, or pillared halls, with the central mandapa known as the kalyana mandapa, symbolising the divine marriage and serving as a focal point for rituals and ceremonies.
The concept of integrating secular buildings within temple premises emerged during this period, adding to the architectural diversity and functionality of the temples.
Temple complexes were often enclosed by boundaries, delineating sacred space, and emphasising the sanctity of the religious structures within.
Examples include Vittalaswami Temple Complex, Lotus Mahal, Virupaksha temple and Raghunatha temple at Hampi. Rock cut idol of Narasimha on Shesha at Hampi is a marvel itself.

Jain temple architecture Jain temples stand as architectural marvels, reflecting the unique spiritual beliefs and ritual practices of the Jain community. While sharing common architectural elements with temples of other faiths, Jain temples possess distinctive features tailored to Jain religious ideals of non-violence and reverence from all forms of life.

Number of marble pillars are intricately carved with exquisite demi-god postures. The primary deity residing in each derasar (temple) is known as the mulnayak. The central chamber of the temple, housing the stone-carved idol of the deity, is referred to as the Gambhara. Temples aged over a century are honoured with the title of Tirtha. In front of Jain temples stands the Manastambha, a pillar revered as the Column of Honour, symbolising the esteemed honour and reverence for the Jain faith within the household.

Platform construction Elevated on platforms or terraces, Jain temples symbolise sacred ground and facilitate ritual circumambulation, emphasising the spiritual significance of the temple space.
Compound walls Enclosed by high compound walls, Jain temples create a distinct boundary between the sacred temple area and the outside world, fostering an atmosphere of sanctity and reverence.
Courtyard temples Many Jain temples are designed around open courtyards, fostering a sense of community and providing space for various activities, gatherings, and rituals.
Multiple shrines Unlike many other religious buildings, Jain temples typically house more than one shrine, each dedicated to different deities or revered figures within Jainism.
Surrounding buildings Jain temples are often accompanied by additional structures such as halls for gatherings, meditation rooms, or accommodations for pilgrims and monks.
Temple clusters Jain temples are frequently grouped together to form temple complexes or ‘temple-cities,’ creating vibrant spiritual centres that enhance the sense of community among worshippers and visitors alike, fostering spiritual growth.

Examples of Jain temple include Ranakpur Chaturmukha Jain temple, Rajasthan; Dilwara Temple, Mount Abu; Nasiyan temple, Ajmer; Hatheesing Jain Temple, Ahmedabad; Digambar Jain temple, Delhi.

Jain Temples and Diverse Architectural Types

Manapa-line temples These temples feature one or more shrines and halls, with elaborate sculptural adornments and intricate designs.
Four-faced temples (Caturmukha or chaumukh temples) Characterised by a central shrine housing a statue of a Jina (spiritual conqueror), and four identical figures facing the cardinal directions.
Haveli temples Developed from the 15th century onwards, these temples are designed around an open courtyard, accommodating changing patterns of pilgrimage and modern lifestyles.
Mythological and cosmological temples Reflecting Jain cosmological traditions, these temples feature unique architectural elements symbolising the Jain worldview.
Shikar-bandhi Jain temples Shikar-bandhi temples represent the epitome of traditional Jain architecture, characterised by their majestic dome-like structures (Shikhars) adorning the apex. These temples are grand in scale, often featuring multiple levels that provide ample space for various activities and aspects of worship. Elaborate entrance halls (Mandapas) welcome visitors with intricately carved pillars and sculptures. The central shrine within a Shikar-bandhi temple holds an image of a Tirthankara, the revered spiritual teacher in Jainism, serving as the focal point of devotion. The interior is adorned with marble pillars (mukhastambha or pillared hall in front of garbhagriha) intricately carved with demi-god postures.
Ghar Jain temples Ghar temples, in contrast, offer a more intimate setting for personal worship within households. While lacking the grand dome-like structures of Shikar-bandhi temples, Ghar temples hold significant importance in Jain worship practices. These temples are simpler in design and architecture, yet serve as sacred spaces for daily prayers and rituals for Jain families. Typically, smaller and less ornate than Shikar-bandhi temples, Ghar temples feature simpler decorations and fewer elaborate carvings, reflecting a more personal and humble approach to devotion. Some Ghar temples may include a Manastambha.

To conclude, Indian temple architecture embodies a profound sense of devotion, cultural identity, and architectural brilliance that continues to inspire awe and reverence among devotees and visitors alike. These temples serve not only as religious sanctuaries but also as living testaments to India’s enduring spiritual legacy.