印度教的庙宇建筑,因为最重要的印度教建筑有许多类型的支持,尽管印度教寺庙的本质是一样的,本质特征一个密室,garbha-griha,能源分析师或者womb-chamber,第一个Murti或神的形象是安置在一个简单的裸露的细胞。在这个大厅周围，通常还有其他的建筑和建筑物，在最重要的案件中，占地数英亩。在表面上，伽巴-格里哈被一个塔状的shikhara所覆盖，在南方也被称为维曼拿。神殿建筑通常包括一个环绕parikrama的通道，一个mandapa会堂，有时还有一个antarala前厅和在garbha-griha和mandapa之间的门廊。在大寺庙中，可能会有更多的曼陀罗或其他建筑，连接或分离，与建筑群内的其他小寺庙相结合。
印度教的寺庙建筑反映了艺术、达摩理想、信仰、价值观以及印度教所珍视的生活方式的综合。寺庙也可以作为蒂尔塔朝圣的场所。“在印度教万神殿中，所有创造和庆祝生命的宇宙元素，都出现在印度寺庙中——从火到水，从自然形象到神灵，从女性到男性，从爱到爱，从转瞬即逝的声音和熏香的气味，到purusha(永恒的虚无，但普遍存在)，都是印度教寺庙建筑的社区。印度教寺庙中建筑元素的形式和意义是被设计来发挥作用的，因为在这里它是连接人与神的地方，帮助他获得精神知识和真理，他的解放被称为moksha。”
“印度寺庙的建筑原则在Shilpa Shastras和Vastu Shastra中都有描述。”印度文化鼓励寺庙建造者的审美独立，它的建筑师有时在创造性表达中运用相当大的灵活性，通过在寺庙建造中采用其他完美的几何和数学原则来精确印度教的生活方式。在20世纪的建筑史上，有一个巨大的未知领域，在未来的某个时候必须被书写:它涉及到最近形式在所谓发展中国家的传播。从堕落的国际风格的冲击到诗歌现代主义的丰富影响，这是一个包含了许多不同章节的过程。在漫画的版本中，西方的理性和“进步”的神话是对抗和反对的:真实的，因此是本土的，但很少是那么直接的。有时，时尚可能是一个解放者，它甚至允许在一段时间的颓废、分裂或外国占领后重新审视传统的基本价值观，从而取而代之。这在很大程度上取决于进口的力度和相关性，以及接收方的适应力和文化深度;对现代化的态度也会与各种意识形态的阴影作斗争。印度最近的建筑特别有趣，因为它表明，当最初的现代形式是高质量的，它们将提供一个过滤器，当代现实和过去经常被改变。最近最简单的作品成功地将柯布西耶和卡恩的一些持久经验与处理气候、空间、城市主义和居住的传统原则融合在一起。 It is a synthesis that has got to do with a post-colonial reexamination of roots, but which also involves the reconciliation of both modern technology and indigenous methods. The hope is to mix valid propositions from the sphere of international knowledge with ones that are still relevant in local traditions. At its best, this architecture seems to touch certain substructures of Indian culture. Modern architecture was adopted during the Nehru period as an appropriate vehicle for the technological and social programs of rapid modernization. After Independence, it had been necessary to form a clean separate the cultural sorts of the Raj: Modernism had a number of the proper associations with ‘progress’ and ‘liberalism’. But Gandhian admiration for the supposed moral integrity of the village was never totally displaced by this progressive ethos. Even today, craft and industry have a special alliance in India and this enables the utilization of computer and intensive manual labor within the same project. Many different societies and stages of development coexist, and therefore the tension between country and city is continual. Some artists attempt to bridge the gap, combining modernity with the teachings of the agricultural vernacular. The fashionable Movement’s dream of harmony with nature is reinvigorated by an older philosophical framework placing man and community during a natural and spiritual order. The best recent architecture in India may contain relevant hints for developing countries. it’s becoming increasingly obvious that the uncritical adaptation of Western models is not any real solution, as these are often inadequate to climate and culture: the results tend to be alien and alienating. But the solution doesn’t dwell on the superficial imitation of local traditions either, as this fails to update what’s substantial about the past, and doesn’t address what’s pressing within the present. The hope is to form a relevant synthesis of old and new, regional, and universal. The simplest recent Indian work is so challenging because it’s hospitable the tests of the longer term also because of the grandeur of the past.
