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The ancient texts, therefore, insist on a high degree of precision in their measurements.The

standard text Mayamata mentionsOnlyif the temple is constructed correctly according to

a mathematical system can it be expected to function in harmony with the universe. Only if

the measurement of the temple is in every way perfect, there will be perfection in the

universe as well."

The Hindu temple is a feast of a variety of visual aspects, and wherever one engages one of

them, entering a doorway, circumambulating or approaching the inner sanctuary or

worshipping there-- one is accessing an aspect of the whole.

The rules of Vastushastra render beauty, structural stability and quality of spaces by

virtue of light, sound and volume management. They also evoke in the devotee an attuning

of his person to its structure and ambience.

The lighting of spaces inside a temple is orchestrated such that the mukha mantapa (i.e.

entrance porch) is semi-open with maximum light. If the directions and measurements are

followed correctly the sun rays should fall into the mantapa for at least six hours (from9.00am to 3.00pm, if the sun rise is at 6.00am). The Sabha Mantapa (for worshippers) has

moderate light with few openings. Garbhagirha with a single opening in front of deity

allows light only on deity; and, is illumined by natural oil lamps, placed on either side of

the deity. The net effect of this arrangement is that it projects the images against the dark

wall. Further, the surroundings of the Garbhagriha are modest in sculptural details. These

help the worshippers to keep away the distractions and to focus their attention on the deity.

Echoes are avoided by a clever manipulation of open spaces, elevations and designs in the

structured areas. Absolute quiet is ensured in the Sanctum vicinity. The Shilpis, in some

cases (Meenkshi temple, Madurai; Sundareshwara temple Tirchendur; and the Vijaya

Vittala temple of Hampi- Vijayanagar) displayed remarkable ingenuity in sculptingmusical pillars, which when struck at precise parts, produce the seven swaras (octaves).

As regards the volumes, every part of the temple is rigorously controlled by a precise

proportional system of interrelated measurements, maintaining the fundamental unity of

the architecture and sculpture.

The ancient shilpis used a great degree of precision in their measurements. Much of this

system is followed by the present shilpis too. An interesting feature of these systems is the

standard unit of measurement; the smallest unit mentioned is the anu or the particle, which

is hardly perceptible. The anu measure was employed for extremely delicate or intricate or

the most vital aspects of a sculpture; for instance, the eyes and facial features of the image

of presiding deity; or in the amaziningly delicate and minute carvings of the Hoyasla

images.

The norms and measures specified in the Southern texts, it is said, are still in use. These

measures are in two categories; one for delicate and intricate work and the other for

normal structures.

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Look at the table of measurements for minute and delicate carvings.

Eight anus (particles) = one nulu (breadth of a fine cotton or silk fiber),

Eight nulu = one hair (breadth of horse hair),

Eight hairs = one grain of sand,Eight grains of sand = one mustard seed,

Eight mustard-seeds = one bamboo seed,

Eight bamboo-seeds = one angula.

The angula (1.875 cms) and the hasta (cubit, 45 cms) are the units that are normally used

for deriving the dimensions, proportions, the height and other details of a sculpture. The

Danda (four cubits) used for