The Hindu Temple-Space and Cosmology in the Hindu Temple

According to the Sthapatya Veda (the Indian tradition of architecture), the temple and the town should mirror the cosmos. The temple architecture and the city plan are, therefore, related in their conception. Volwahsen (2001) has remarked on the continuity in the Indian architectural tradition. The Harappan cities have a grid plan, just as is recommended in the Vedic manuals. The square shape represents the heavens, with the four directions representing the cardinal directions as well as the two solstices and the equinoxes of the sun’s orbit.
A late example of a city designed according to the Vedic precepts is Jaipur. Vidyadhara, who designed the plan of the city, used the pithapada mandala as the basis. In this mandala of nine squares that represents the universe, the central square is occupied by the earth. In the city, which consists of nine large squares, the central square is assigned to the royal palace. The astronomical monuments of Maharaja Jai Singh II may also be seen as embodiments of the Vedic altars

The monument that has been studied most extensively for its cosmological basis is the Angkor Wat temple. Although it is located in Cambodia, it was built according to the principles of Indian architecture and, therefore, we will describe it at some length. The connections between Angkor Wat and Vedic astronomy.it was found that the temple served as a practical observatory where the rising sun was aligned on the equinox and solstice days with the western entrance of the temple, and many sighting lines for seasonally observing the risings of the sun and the moon were identified

The most impressive aspect of the temple representation is that it occurs both at the level of the part as well as the whole in a recursive fashion, mirroring the Vedic idea of the microcosm symbolizes the macrocosm at various levels of expressions. This is done not only in the domain of numbers and directions, but also using appropriate mythological themes, and historical incidents. The mythological scenes skillfully use the oppositions and complementarities between the gods, goddesses, asuras, and humans defined over ordinary and sacred time and space.

The temple is the representation of the cosmos both at the level of the universe and the individual, making it possible for the devotee to get inspired to achieve his own spiritual transformation. The purusha placed within the brick structure of the altar represents the consciousness principle within the individual. It is like the relic within the stupa.
Complementing the tradition of the Vedic ritual was that of the munis and yogis who lived in caves and performed austerities. From this tradition arose the vihara, where the priests lived. The chaitya hall that also housed the stupa may be seen as a development out of the agnichayana tradition where within the brick structure of the altar were buried the rukma and the golden man (see Shatapatha Brahmana  how above the man is placed a perforated brick which encases it like a casket).

The position of the gods in the vastupurushamandala within the temple is a symbolic representation of the spatial projections of the cosmic purusha in his own body.
The temple must be seen as a structure that gives us considerable information about the science and cosmology of its times. Regarding technology behind the constructions, one must look at each structure separately and see how it fits in the evolving techniques of design and artistic representation across the region.