The Agama literature includes the Shilpa- Shastra, which covers

architecture and iconography. The aspects of temple construction are

dealt in Devalaya Vastu; and Prathima deals with the iconography.
Sometimes, the term Shipa is also used to denote the art of sculpting;
but here Shipa refers to the practice of the technique, while Shastra
refers to its principles.

The worship dealt with the Agama necessarily involves worship -worthy
images. The rituals and sequences elaborated in the Agama texts are in
the context of such worship- worthy image, which necessarily has to be
contained in a shrine. The basic idea is that a temple must be built for
the icon, and not an icon got ready for the temples, for a temple is only
an outgrowth of the icon, an expanded image of the icon. And an icon is
meaningful only in the context of a shrine that is worthy to house it. That
is how the Agama literature makes its presence felt in the Shilpa-Sastra,
Architecture. The icon and its form; the temple and its structure; and
the rituals and their details, thus get interrelated.Further, the Indian
temples should be viewed in the general framework of temple culture,
which include not only religious and philosophical aspects but social,
aesthetic and economic aspects also.

Elaborate rules are laid out in the Agamas for Silpa , describing the
quality requirements of the places where temples are to be built, the
kind of images to be installed, the materials from which they are to be
made, their dimensions, proportions, air circulation, lighting in the
temple complex etc. The Manasara and Silpasara are some of the works
dealing with these rules. The rituals followed in worship services each
day at the temple also follow rules laid out in the Agamas.

While describing the essential requirements for a place

of pilgrimage,Shipa Shatras of the Agamas elaborate on the
requirements of the temple site; building materials; dimensions,
directions and orientations of the temple structures; the image and its
specifications. The principal elements that are involved
are Sthala (temple site); Teertha (Temple tank) and Murthy (the idol). A
temple could also be associated with a tree, called the Sthala Vriksham.

***

The Gupta Age marked the advent of a vibrant period of building and
sculpting activities. The texts of this period such as the Arthashastra of
Kautilya and Matsya Purana included chapters on the architecture of the
way of summary. By the end of the period, the art and craft flourished;
and branched into different schools of architectural thought; but
all based on common underlying principles. These principles are now
part of Vastushastra, the science of architectural design and
construction. . It is explained that the term Vastu is derived from Vasu
meaning the Earth principle (prithvi). This planet is Vastu and whatever
that is created is Vastu and all objects of earth are Vastu.

During the medieval period, vast body of Sanskrit references,

independent architectural manuals were written, without reservation,
and scattered across the country. Apparently, some attempts were made
to classify and evaluate their contents in a systematic way. Of the many
such attempts that tried to bring about order and coherance in the
various theories and principles of temple construction, the most well
known compilations are Manasara and Mayamata. They are the standard
texts on Vastu Shastra, and they codify the theoretical aspects of all
types of constructions; but specifically of temple construction. These
texts deal with the whole range of architectural science including topics
such as soil testing techniques, orientation, measures and proportion,
divination, astrology and ceremonies associated with the construction
of buildings.

Manasara is a comprehensive treaty on architecture and iconography. It

represents the universality of Vastu tradition and includes the
iconography of Jain and Buddhist images. The work is treated as a
source book and consulted by all.

The Mayamata too occupies an important position. It is a general treatise

on Vastu shastra; and is a text of Southern India. It is regarded a part of
Shaiva literature and might belong to the Chola period when temple
architecture reached its peak. It is the best known work on Vastu. The
work is coherent and well structured. It defines Vastu as the
arrangement of space, anywhere, wherein immortals and mortals live.
These subjects are intertwined with Astrology. The Vastu Texts believe
that Vigraha (icon or image of the deity) is closely related
to Graha (planets).The term Graha literally means that which attracts or
receives; and Vigraha is that which transmits. It is believed that the idols
receive power from the planets; and transmit the power so received. It
not merely is a symbolism but also one that provides a logic for
placement of various deities in their respective quarters and directions.

The texts that are collectively called Vastu Shastra have their origin in
the Sutras, Puranas and Agamas; besides the Tantric literature and the
Brhat Samhita. The Vastu texts classify the temple into three basic
structures: Nagara, Dravida and Vesara. They employ, respectively, the
square, octagon and the apse or circle in their plan. These three styles
do not pertain strictly to three different regions but are three schools of
temple architecture. The vesara, for instance, which prevailed mostly in
western Deccan and south Karnataka, was a derivation from the apsidal
chapels of the early Buddhist period which the Brahmanical faith
adopted and vastly improved.