The Hindu Temple v2.c11.s1.24

v2.c11.s1.24

Such an understanding of monumental form by the ritual encompassing movement is a realisation as much by the eye as within one’s whole living person in motion. During this rite the bodily presence of the Bhakta expands and comprises the Prāsāda. While doing Pradakṣiṇa, the devotee is the perimeter of the temple and of its effectiveness; he comprehends its full extent. Prior to it however he had approached the sanctuary by the main entrance passing across the structural halls in front of it. During this approach (abhigamana) in the interior of the building, he was immersed in its space and exposed to the impact of the pillars and walls of the Maṇḍapa.⁵ While he traverses the Maṇḍapa he is part of the flux of the whole interior towards the Garbhagṛha, in one direction, in its central part and its parallel ‘aisles’ which is brought about by the rhythmic sequence of spaces marked by the position of the pillars and their vertical structure. Thus acted upon and prepared, the devotee at last is confronted by the entrance of the Garbhagṛha which bids him halt; its door frame, an iconostasis in relief, is raised before him and separates him from the image, in the Garbhagṛha (Pls. LII, V).