Harmony in Stone: The Unifying Essence of India in the Construction
Harmony-In the heart of Ayodhya, the sacred city steeped in religious and cultural significance, the grandeur of the Ram Temple stands as a testament to the collective spirit of India. From the gleaming marble sourced from the quarries of Rajasthan’s Makrana to the ancient rock hailing from Mysuru, the temple is a true amalgamation of diverse elements from every corner of the country. Crafted with meticulous attention to detail, the architectural marvel is a symbol of unity, echoing the collaborative efforts of artisans, sculptors, and craftsmen from various regions.
Harmony-The mastermind behind the temple’s design, Chandrakant B Sompura, hails from Ahmedabad, bringing his expertise to shape the vision into reality. However, the soul of the temple, the divine idol of “Balak Ram,” finds its origins in Mysuru, sculpted by a fifth-generation artist whose hands have inherited the ancient artistry of the region. The convergence of talent from different parts of India is evident not only in the architecture but also in the intricate details of the idol.
Harmony-The rich tapestry of India’s cultural diversity is vividly displayed in the clothing adorning the idol on its consecration day. The garments, carefully chosen to enhance the divine presence, were sourced from Delhi. At the same time, the exquisite ornaments that grace the idol’s form were cast in the city of Lucknow, showcasing the fine craftsmanship synonymous with the region.
Harmony-Champat Rai, the general secretary of the Shri Ramjanmabhoomi Teertha Kshetra Trust, highlights the extensive collaboration involved in the temple’s construction. More than 100 construction agencies and firms from various parts of India have contributed their skills, making it a true pan-Indian endeavor. Rai emphasizes that the temple’s creation is a result of the collective wisdom of some of the finest minds in the country.
Harmony-The sacredness of the temple extends beyond its physical structure. The consecration ceremony incorporated elements from numerous pilgrimage sites across India, including Gangotri, Yamunotri, Kailash Mansarovar, Prayags, and the seven holy towns, besides Ayodhya. Water and sacred soil from these revered locations were utilized in the temple’s construction, symbolizing a spiritual connection with the entire nation.
Harmony-In the foundation of the temple, sacred soil from over 2,500 places, spanning Jhansi, Bithoor, Haldighati, Yamunotri, and even international locations like Ayutthaya in Thailand, was embedded. The ritualistic ‘jalabhishek’ received water from 155 countries, marking a global participation in the consecration of the deity.
Harmony-The diversity of India’s landscapes finds expression not only in the temple’s structure but also in its materials. Polished teakwood, procured from the Balarshah and Allapalli forest ranges in Maharashtra, will be crafted into 44 doors, including 14 that will be adorned with gold plating. The choice of materials emphasizes the use of resources from different regions, contributing to the symbolic unity of the temple.
Harmony-Musical instruments played during the consecration rituals echo the cultural richness of India. Instruments like pakhawaj, flute, and dholak from Uttar Pradesh, veena from Karnataka, algoja from Punjab, sundari from Maharashtra, mardala from Odisha, santoor from Madhya Pradesh, pung from Manipur, nagada and kali from Assam, and tambura from Chhattisgarh all came together to create the divine ‘mangal dhwani’ in the sanctum sanctorum.
Harmony-A remarkable array of ornate sculptures graces the main entrance, depicting elephants, lions, Lord Hanuman, and Garuda. Crafted from sandstone brought from Rajasthan’s Bansi Paharpur, these sculptures add an extra layer of cultural significance to the temple’s architecture.
Harmony-The consecration ceremony, a historic event witnessed by lakhs of people across the country, showcased the meticulous preparation of the idol’s ornaments. Extensive research and study of sacred texts, including the Adhyatma Ramayana, Valmiki Ramayana, Ramcharitmanas, and the Alavandar Stotram, guided the creation of the idol’s adornments. The idol, draped in Banarasi fabric, features a yellow dhoti and a red ‘pataka’ or ‘angavastram,’ embellished in pure gold ‘zari’ and threads, showcasing auspicious Vaishnav symbols.
Harmony-The collaborative effort extends to the skilled hands behind the ornaments and garments. Ankur Anand’s Lucknow-based Harsahaimal Shiamlal Jewellers crafted the intricate ornaments, while Delhi-based textile designer Manish Tripathi worked from Ayodhya Dham to create the divine garments. The result is an idol that stands not only as a religious symbol but also as a masterpiece of artistry and craftsmanship.
The focal point of the temple, the 51-inch idol of Balak Ram, was meticulously chiselled by sculptor Arun Yogiraj from Mysuru. Carved out of a three billion-year-old rock known as Krishna Shile, excavated from Gujjegowdanapura at Jayapura Hobli in HD Kote Taluk of Mysuru, the idol is a fine-to-medium-grained, sky-blue metamorphic rock commonly referred to as soapstone. Its smooth surface texture makes it ideal for sculptors to carve intricate idols, and in this case, the azure-colored Krishna Shile adds a unique aesthetic to the temple.
The choice of rock for the idol’s creation adds another layer of significance to the temple’s symbolism. The Krishna Shile, with its ancient origin and smooth texture, becomes a canvas for the sculptor’s artistry. It is not just a rock; it is a testament to the enduring spirit of Indian craftsmanship and devotion.
While Arun Yogiraj crafted the central idol, other sculptors, Ganesh Bhatt from Idagunji in Karnataka and Satyanarayan Pandey from Jaipur, contributed to the creation of Rama Lalla idols for the grand temple. The diversity of talent involved in the sculpting process further emphasizes the collaborative nature of this monumental project. While Yogiraj’s idol found its place in the sanctum sanctorum, the other two were installed in different parts of the temple.
The grandeur of the temple extended beyond its physical structure, with lights from Chandannagar in West Bengal’s Hooghly district illuminating a 40,000-square feet area on the banks of the Sarayu. This visual spectacle added a touch of splendor to the historic occasion, captivating the eyes and hearts of onlookers.
Floral decorations played a significant role in adorning the temple for the consecration ceremony. Over 3,000 kilograms of flowers, representing over 20 varieties, were meticulously arranged to enhance the grandeur of the structure. Chrysanthemums, gerberas, orchids, anthuriums, and liliums, sourced from different parts of the country, added vibrant hues to the celebration. The meticulous selection of flowers showcased the attention to detail and the desire to incorporate elements from various regions in the temple’s decoration.