The Role of Flowers in Hindu India

Dr. UDAY DOKRAS,

• B.Sc., B.A. (Managerial Economics), LL.B., Nagpur University, India
• Certificat' en Droit, Queens University, Canada,
• MBA CALSTATE, USA
• Graduate Diploma in Law, Faculty of Law, Stockholm University,Sweden
• PhD Stockholm University,Sweden
• Consultant Human Resources and Administration, The Gorewada International Zoo, India

Hindu Temple and Worship:

Steven M. Kossak and Edith W. Watts from The Metropolitan Museum of Art wrote: “Hindu temples are
themselves objects of worship. Their typical form emulates the cosmic mountain that is the abode of the
deity honored and housed in the temple. As the devotee circles the temple exterior in the proscribed
direction, he or she worships the various gods portrayed on the walls, particularly the deity honored
within. These images are arranged to aid the viewer on the path to spiritual release. Worship is usually

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individual rather than congregational, and only at times of religious festivals do crowds throng the temple
compounds. A porch and gathering chamber lead to the inner sanc- tum, which lies beneath the central
tower of the temple and contains the image of the main deity, usually made of stone.

Puja offering :“Hindu worship has several distinctive features. Merit gathered through sight is called
darshan. Viewing a temple itself accrues merit to the pilgrim who comes to see the god and makes
offerings in the hope of receiving divine blessings. Hindus believe that the image of a god contains the
actual living god, and that the god can see the devotee and thus bestow blessings upon him or her.
Consequently, the eyes of the image are open. The consecration of a deity image includes a ritual to fill
the figure with the breath of life (prana), followed by the “opening of the eyes” ceremony, in which the
carving or painting of the eyes is finished and the eyes are opened with a ritual implement. Puja, the
offering ritual before the image of a god, involves the other four senses as well. Through the intermediary
of a priest, worshippers present flowers, food, and pour libations of water and milk over the image as they
ask for its blessings. Mantras are chanted and bells rung.

Symbolism in Buddhism
Generally, the lotus flower is regarded as a symbol of purity, faithfulness and spiritual awakening. This is
because the lotus itself emerges from the mud and keeps growing toward the light and warmth,
representing the act of rising above the sea of defilement while aspiring for enlightenment.

Interestingly, different colours of lotus flowers are associated with different meanings. For instance, blue
represents wisdom, white symbolises spiritual perfection or pink represents the Buddha.

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The lotus is often associated with Buddha himself. Legend has it that once Buddha was born, he was able
to walk right away. And, as he took his first steps, lotus flowers grew on the ground to support his soles.
Buddha also preached about the 4-stage growth of a lotus and how it represents people aspiring for
enlightenment.Moreover, in most Buddhist countries, most mural paintings in Buddhist temples feature
lotus flowers beneath Buddha in various gestures. It can often be seen that the Buddha statues are built
sitting on a lotus throne.

Why do people offer lotus flowers to Buddha statues?

Since the lotus flowers are ubiquitous, uniquely exquisite, have symbolic meanings and are often
associated with Buddhism, it is indubitable that people in many countries practicing Buddhism usually
offer them to the Buddha statues, along with a candle and incense sticks. They believe that, by offering
nice things to Buddha, they will accumulate merit and thus attract good fortune into their life.
Some people also fold lotus petals in order to add to the beauty of the already beautiful flowers.
Moreover, many believe that they will eventually attain enlightenment, just like how the lotus rises and
blooms above the water.
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Puja is derived from the word FLOWER: Puja, in Hinduism, is ceremonial worship, ranging from
brief daily rites in the home to elaborate temple rituals. The word puja is derived from
the Dravidian pu (“flower”).

In its simplest form, puja usually consists of making an offering of flowers or fruit to an image of a god.
The components of a puja vary greatly according to the sect, community, part of the country, time of day,
needs of the worshipper, and religious text followed. Generally speaking, in a puja, a deity, manifested in
his image, is accorded the honour given to a royal guest. The attentions (upacharas) paid to him begin in
the morning, when he is gently roused from sleep, and extend through the day, including ritual bathing
and dressing, the serving of the usual three meals, and the final ceremony of putting him to bed for the
night. A puja may also include a circumambulation (pradakshina) of the image or shrine and, in an
elaborate ritual, a sacrifice (bali) and oblation to the sacred fire (homa). Special ceremonies according to
the festival calendar may also be observed, such as swinging the god or playing games according to the
season.

ARati:One important type of puja in Indian temple and private worship is arati, the waving of lighted
lamps before an image of a deity or a person to be honoured. In performing the rite, the worshipper circles
the lamp three or more times in a clockwise direction while chanting a prayer or singing a hymn. In

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Indian households, arati is a commonly observed ritual element accorded specially honoured guests. It is
also a part of many domestic ceremonies.

Some pujas may be performed by the worshipper alone, whereas others may require the services of a
ritually qualified person such as a priest. A puja may be performed for a specific announced purpose or
simply as an act of devotion.

Flowers are considered auspicious and they are also an integral part of Hindu worshipping. There is
no puja or prayer that is considered complete without adding colourful, vibrant and fragrant flowers. But
it is not just any flower that is offered to any deity, rather, each flower holds a different significance and
thus chosen to be offered to a particular deity. If you wish to know the relevance of various flowers that
can be offered to Hindu Gods and Goddesses, we recommend reading the following post!
Why Are Flowers Offered to Gods During Puja?
Here are some reasons that may help in explaining why flowers are offered to Gods:
• It is a common belief that flowers give happiness to Gods and if you wish to please God, offering
flowers may help.

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• Flowers are one of the most beautiful creations in the world. By offering flowers, you can show your
utmost devotion and love to your deity.
• The fragrance of the flowers lends a positive and aesthetic vibe to the place of worship. It helps in
attracting positive energy and creating an ideal environment for prayer and worshipping.
• The word ‘puja’ is made from two syllables ‘pu’ means flowers and ‘ja’ means chanting and water.
Therefore, the word or prayer denotes offering of flowers.
Which Flowers Are Offered to Hindu God and Goddess in Puja?

Hindu tradition holds great significance in offering flowers to Gods and Goddess but many of us may not
be aware that different varieties of flowers are offered to different deities. Following are some popular
flowers offered to the deities:
1. Jasmine
This small fragrant flower not only has great medicinal value but it also holds great religious significance.
It is believed that if you wish to please Lord Hanuman, jasmine is one of the flowers that you should
consider offering along with vermilion.

2. Palash
Palash flowers are one of the most essential requirements for worshipping goddess Saraswati. It is
believed that Goddess Saraswati is fond of white coloured flowers, however, puja without Palash flowers
is considered incomplete.
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3. Marigold
Lord Ganesha is believed to like red coloured flowers, and marigold is one of them. This saffron coloured
flower is offered in the form of a garland or otherwise too. This is one of the flowers that can be used in
the form of petals too. In some traditions, this flower is also offered to Lord Vishnu.

4. Lotus
The Goddess of wealth and prosperity, Goddess Laxmi is fond of lotus and for this reason, this flower is
used to worship during Laxmi pujan or during Diwali. Keeping a lotus seed garland or mala in the temple
of your home is believed to please the Goddess of good fortune.

5. Parijata or Indian Magnolia

Night-flowering coral jasmine is considered a divine flower and is believed to please Lord Vishnu. It is
believed that this flower emerged during the ocean churning and Lord Indra got it to heaven.

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6. Red Hibiscus
The Goddess Kali epitomises fierceness and the flower that depicts this beautifully is red hibiscus. The
shape of the flower symbolises the goddess’s tongue and the vibrant red colour depicts Kali Maa’s
fierceness.

7. Crown Flower
This whitish purplish flower is used while worshipping Lord Shiva. Also, known as akanda, this
poisonous flower is one of the most important ingredients of Shiv puja.

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8. Nerium Oleander
Goddess Durga is offered flowers in reddish hues, and Nerium Oleander is one such flower.

9. Purple Orchid
This beautiful and exotic flower is also a very popular flower in Hindu worshipping. This dainty flower is
offered to Lord Shiva. This can be offered with milk or otherwise too.

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10. Dhatura
As per Hindu mythology, Lord Shiva consumed the poison that was obtained during the ocean churning.
After doing so, this flower emerged from Lord Shiva’s chest and since then it is believed to be his
favourite flower. This Shiv puja flower is offered to the God to let go off negative emotions like ego,
hatred, envy, etc.

When Choosing and Offering Flowers to God- Things to Remember

Take note of the following tips while choosing and offering flowers to God:
• Never offer flowers that are picked up from the ground.
• Never steal or beg for flowers which you wish to offer to God.
• Always offer flowers and not the buds. However, lotus and champa buds are exceptions.
• Never pluck flowers after dusk and show respect and gratitude towards the plant when you pluck
flowers.
• Always offer fresh flowers, refrain from offering wilted or withered ones.
• Do not wash flowers; you may sprinkle water on them.
• Do not offer diseased or flowers infested with worms etc.
• In case you cannot acquire fresh bilva leaves, the ones which have been already offered can be
washed and reused.
• You may pluck lotus and use it later because it stays fresh for up to 5 days.

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Why is a specific flower offered to a specific God ?
Offering flowers is an important part of the Hindu tradition. Many people like to decorate Deities with
flowers in temples at their homes, as it gives a divine look to the God (Deity). Specific flowers have
greater ability to attract the pavitraks (Subtlemost particles) of specific Deities when compared with
other flowers. When such flowers are offered to the God, we benefit immediately from the God’s
Chaitanya in the Idol. Let us find out in detail through this article, how does this act of offering flowers to
God is spiritually beneficial to individual.

1. Which flowers are offered to which God ?

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 Flower
God (Deity) God (Deity) Flower
to be offered

1. Brahma Tagar(Crep 7. Shri Mahalakshmi Shevanti

Jasmine) (Chrysanthemum)

2. Shriram Jai(Common 8. Shri Mahakali Kaner (Indian

jasmine) oleander)

3. Hanuman Chameli 9. Shri Durgadevi Mogra (Arabian

(Jasmine) jasmine)

4. Shiva Nishigandha 10. Shri Ganapati Hibiscus

(Tuberose)

5. Swastik 11. Dattatreya Jui (Needle flower

Shri Saraswati jasmine)

6. Lotus / Marigold 12. Shrikrushna Krushnakamal

Shri Lakshmi

2. Why flowers are offered in a specific number and in a specific arrangement ?

The waves emitting from a Deity, the number of flowers that represent the Principle of the Deity and the
specific arrangement of the flowers associated with that Principle, all this helps retain the active waves
emitting from the Deity in that arrangement and their emission through the fragrant particles of the
flowers as per the need. The Deity Principle is attracted swiftly to a specific number of the specific
flowers.
Progressing through the three paths of Yoga – Karmayoga, Bhaktiyoga and Dnyanyoga, the individual
moves from ‘Many to one’, that is, towards the nirguntattva.

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 Number of
Saptadevata flowers to Arrangement of flowers (Note 1)
be offered

1. Shiva 0 (Note 2)
or Filled and round (Dormant energy)
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2. Shri 1 or 9 Hollow and round (Active energy)

Durgadevi (Note 3)

3. Shrikrushna 3 Hollow and elliptical

4. Shriram 4 Hollow and elliptical

5. Hanuman 5 Hollow and elliptical

6. Datta 7 Hollow and rhomboid

7. Shri Ganapati 8 Hollow and rhomboid

Note 1 – By offering flowers in arrangements that attract waves of ichha (Desire), kriya (Action)
and dnyan (Knowledge), greater benefit of the associated Deity Principle is obtained. (For
example, Dnyan waves are attracted towards a round arrangement; kriya waves are attracted towards an
elliptical arrangement.)
Note 2 – Zero means offering nothing
Note 3 – Female Deities are forms of Adishakti (Primal Energy) Shri Durgadevi. Hence, the same
arrangement and number (of flowers) should be offered to these Female Deities as offered to Shri
Durgadevi. Brahma is not an Upasyadevata (Deity of worship); that is why, the number of flowers to be
offered to Brahma and their arrangement has not been mentioned.

3. Why should the sequence of offering flowers be from bright flowers to white flowers ?
While offering flowers to the pictures / Idols of Deities placed in the temple at home, begin with small
bright flowers kept in the platter, followed by medium-size light colour flowers. Lastly, offer big white
flowers. In a conical arrangement, only after offering flowers to Shri Ganapati at the apex of the cone, at
the second level, offer flowers to the pictures of superior Male Deities. Thereafter, offer flowers to the
pictures of superior Male Deities. Thereafter, offer flowers to the Deity’s Female counterpart or sub-forms
of the Deity.

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 Moving from the apex of the cone towards the end symbolizes going from dvait to advait.
Conversely, beginning with the small bright flowers and then offering big white flowers in the end and
thereby, merging with the expansive nirgun (Non-materialized) form of God, amounts to
performing sagun (Materialized) worship through the medium of flowers and attaining the nirgun. Instead
of the shape / size of the flowers, give importance to the sequence of their colour; because, due to the
contact of the colour-waves emitting from the flowers the specific Deity Principle is awakened sooner.

4. Why should a flower be offered with its stalk towards the Deity ?
When offering a flower to a Deity, let its stalk be towards the Deity and the plume be towards us. Waves
of Deities attracted by the stalk have a greater proportion of nirgun waves. When this flow
of nirgun waves enters the stamens and petals, the movement of colour and fragrant particles in them
convert the nirgun waves into sagun waves with the help of Pruthvitattva and apatattva.
These sagun waves are emitted towards the individual through the medium of colour and fragrant
particles. Since the physical body of the individual is made of Pruthvitattva and apatattva, the waves
transmitted through the medium of colour and fragrant particles are easily imbibed by the individual.
These waves do not cause any distress to the individual. Instead, the individual is able to imbibe
the sagun Chaitanya of the respective Deity to the maximum extent through them. Various Principles are
found united in flowers. It is the presence of Pruthvitattva that imparts fragrance to the flowers. Flowers
are visible because they have Tejtattva. They can be felt with the hands since they have Vayutattva.
Therefore, we receive the Deity’s Principle, sattvik waves and Chaitanya through the medium of
fragrance, touch or even mere sight of the flowers and garlands made from flowers.

A. When a flower is offered with its stalk towards the Deity, the vibrations emitting from the Deity
are attracted to the stalk and are then emitted towards the worshipper : Deity Principle is active in
every tree in seed form. When the stalk of a flower offered to a Deity is towards the Deity, the vibrations
emitting from the Deity are attracted to the stalk. From the stalk, through the medium of the petals, they
are emitted towards the worshipper. The action of the petals here is similar to the blades of a fan. Just as
the breeze spreads because of the rotation of the blades, the petals function in a similar manner.
• Deity Principles are created in the stalk.
• Deity Principles are active in the voids of the central portion of the flower
• Deity Principles are emitted through the medium of petals.
B. The worshipper receives waves of Shakti in the form of fragrance.

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C. Through the picture or the Idol of the Deity, superior level vibrations are emitted; however, the
implements or objects used in Deity worship have very little ability to imbibe these vibrations and make
them available to the worshipper. A worshipper who has bhav is able to imbibe them very easily.
D. These vibrations are emitted for 2 to 3 hours by the flowers that have been offered to a Deity. As the
flower becomes stale, there is a reduction in the emission activity.
Nowadays, the custom of offering flowers at the Deity’s feet and offering them on the head of the
Deity has become prevalent. When we offer flowers at the Deity’s feet, it helps increase sharanagat-
bhav unto the Deity. Generation of this bhav is important from the perspective of the
worshipper’s spiritual progress. Hence, it is appropriate for an ordinary worshipper to offer flowers at the
Deity’s feet.

5. Do not offer petals or decorative flowers to Deities

• At some places, instead of flowers, petals are offered to Deities, so that there is no dearth of
flowers. However, this is incorrect.
• Do not offer artificial, decorative flowers to Deities because they do not attract the Deity
Principle; instead, offer fresh sattvik flowers which attract the specific Deity Principle.
6. Why should buds / dried flowers / flowers that have fallen from a tree not be offered to a Deity ?

When a flower is in bud form, the colour and fragrant particles are in an unmanifest form. When a bud is
about to transform into a flower, the movement of Raja particles in the flower gains momentum. This
momentum causes friction and gives rise to warm energy waves that start the transformation of the bud
into a flower. Eventually, the colour and fragrant particles of the flower attain a manifest state, that is,
they become active. Due to the movement of Raja particles, the waves emitted by the colour and fragrant
particles begin to attract the respective Deity’s Principle from the universe towards the flower. When such
flowers (charged with Chaitanya) are offered to Deities, they are pleased and they bestow Chaitanya on
the individual. Conversely, when a flower begins to dry up, the movement of Raja particles slows down
and it initiates the deterioration of vitality (life force) in the flower. As a result, the ability of the colour
and fragrant particles to remain active within such a flower becomes less and the flower gradually dies.
Such flowers, that have dried or fallen from a tree, and buds, due to inactivity of colour and fragrant
particles within them, become incapable of attracting waves of Chaitanya of the respective Deity from the
universe. This is the reason why there is maximum possibility of such flowers being attacked by negative
energies or being enveloped with layers of black covering. When such flowers, devoid of Chaitanya, are
offered to Deity, the benefit of Chaitanya the individual gets is minimal. Hence, do not offer buds or dried
flowers or flowers that have fallen from trees to a Deity.

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7. How should the flowers that are to be offered to a Deity be plucked ?
The tubular section adjoining the petals is known as the stalk. The inertia-laden part behind the stalk is
known as the
sepal. The hidden sound in the sepal is laden with inertia, meaning, it is impact-oriented. Whereas, the
sound in the void of the stalk is porous; meaning, it is associated with vayu. That is why, these are at the
forefront in carrying Chaitanya with them. Do not pluck flowers from the stalk adjoining the flower or
stalk of the flower; because, sometimes this breaks the petals, and the ability of the flower to absorb and
emit Chaitanya reduces. In some flowers, besides the stalk adjoining its petals, there is a small green part
which is in fused below the stalk. Pluck the flowers from this point. In flowers such as Barleria prionitis
(commonly known as porcupine flower) or Crep jasmine, these small sepals are found attached below the
stalks. Break them, because these sepals create an obstacle in the transmission of the Deity’s Chaitanya
towards the stalk. These sepals contain inertia or the Pruthvitattva. Hence, their ability to carry Chaitanya
is very little. If they are allowed to remain with the flowers, then through their touch, they lower the
functioning ability of the stalk to carry Chaitanya. As a result, the worshipper is unable to obtain the
desired benefit of Chaitanya emitting from the Deities. Hence, offer flowers to the Deity only after
removing these lower sepals.’

8. Why should we not smell the flowers that are to be offered to a Deity ?
Flowers have the ability to absorb and emit the Deity Principle. When a individual smells the flowers,
the ichha-shakti associated with its fragrance in the form of desire enters the subtle chamber of the flower
through exhalation. This reduces the functioning ability of the flower. When we smell a flower, the
natural Sattva component in it also reduces. Offering such flowers to the Idol of a Deity gives rise to the
possibility of the Idol getting charged with Raja-Tama components. This creates an obstruction in the
emission of Chaitanya particles that appear in the Idol for the benefit of the devotees. As a result, there is
less emission of Chaitanya (for the society). Hence, in a way, smelling flowers to be offered to a Deity is
considered a sin.

Flowers as ornamental Motif:In the vast repertoire of Indian ornamental motifs, among the symbols and
devices that recur in traditional art and architecture, the lotus occupies pride of place. Unlike western art,
in which great emphasis is laid on photographic realism and the naturalistic treatment of human and
animal forms, the main concerns in Indian art are profoundly spiritual and religious. Each and every
object portrayed in Indian art has a religio-spiritual and symbolic significance.

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Among the flowers, the lotus is the most preferred symbol, not because of its beautiful form, but because
of its profound symbolism. We all know that this flower grows in muddy waters, but remains unaffected
by it. Whether white, blue (nilotpala), rose pink or white and pink, its petals evoke the sentiments of
purity in everybody’s mind.

According to Hindu philosophy, human beings ought to live like a lotus flower in this wily, unscrupulous
world, completely detached and pure hearted, untouched by evil forces. Rising from the depths of water
and expanding its petals and leaves on the surface, through its appearance, it gives proof of the life-
supporting power of the all nourishing abyss. This is the reason why a lotus flower in full bloom is used
as the pedestal or throne support of all the deities — Hindu, Buddhist and Jain. Vishnu and Lakshmi
Standing on a Lotus Protected by Sheshnag Invariably, they are shown seated or standing on a fully open
lotus flower (padmu pitha) or on a double petalled lotus (mahambuja). This has symbolic connotations:
the deities are represented in their transcendental, subtle forms, i.e. the spiritual body which is weightless.
If seated with one leg dangling down, then also the deity’s foot rests upon the lotus pedestal or cushion.

Numerous Hindu deities are shown holding a lotus flower, for example, Vishnu who preserves the
universe, is invariably holding the padmu (lotus) in one of his four hands. Vishnu’s spouse Lakshmi, the
goddess of wealth, Shiva’s consort Parvati, Surya the Sun god, the Bodhisattva Padmapani — all these
deities hold a lotus flower in their hands. In fact, even the personified sacred river goddesses Ganga and
Yamuna always hold a long stemmed lotus, characterized by a long stalk, the undulations of which match
the contours of their elegantly standing ‘S’-shaped bodies.

Wooden Lantern ceiling relived with lotus flowers and an immense lotus rosette in the centre, from the
Mandapa ceiling of Chamunda Devi temple, Chamba (Himachal Pradesh), 17th century CE. In Indian
paintings, whether miniature ones or frescoes, the flowing waters of the river or a pond are always
indicated by lotus flower and their broad leaves floating on their surfaces. This tradition has persisted
from ancient times. In the world renowned Ajanta caves frescoes, the lotus pond is an alluring part of the
landscape, and continued to be so in subsequent centuries till the dawn of 20th century. All the schools of
miniature painting that flourished in the royal courts all over India, more especially in Rajasthan and
western Himalayas – the latter popularly known as the Pahari School – feature the river front as well as
lotus pond in this manner. Lord Krishna and his exploits (lila) were the most popular themes painted with
great verve on account of his romantic escapades.

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In Pahari miniature schools, not only Krishna but all the Hindu deities are featured as sporting
pinnacled crowns surmounted by lotus buds. Painted ceiling from a Cave Temple at Ajanta enclosing
lotus flowers within concentric rings of circular mandala, 5th Century CE. From the period of Ajanta
frescoes (2nd century BCE to approximately 7th century CE) onwards, the ceilings are painted with
concentric circles enclosing a variety of motifs, the lotus flowers, buds and petals have been painted in
mind baffling diversity; each one is different from the other, far more delicate and impressive. The
tradition of chiselling a large lotus rosette in full bloom carved in bold relief, with broad petals, spread out
or at times curling in with great delicacy and finesse, is also very ancient. Such ceilings have survived in
the rock—cut cave shrines at Ellora, in the 7th century CE timber and monolithic temples in Himachal
Pradesh, in Bharmaur and Chhatrarhi in Chamba, at Masrur in Kangra district. This tradition was not,
however, confined to these regions alone, but existed all over India.

Lotus Rosette: The central component of the mandapa ceiling in the famed marble Jain temple at Mount
Abu in Rajasthan, erected by Vimala Shah in the 11th century CE is a great masterpiece of artistic talent
and ingenuity displayed by the local sculptors who produced an exquisitely carved pendulous, filigree-
like lotus rosette, that haunts one long after one’s visit to these marvellous shrines. This tradition persisted
all through the centuries down the ages. Diverse architectural components in the stone temples have been
relieved with lotus rosettes in a variety of ways. In both the timber and lithic temples, almost all over
India, lotus rosettes apart, there are bands of exquisitely carved lotus petals running through the external
and interior walls, as also ceilings, separating panels relieved with diverse episodes from the legends
pertaining to the deities. The doors display an immense lotus rosette chiselled all over their surfaces. The
undulating lotus volutes as well as broad lotus petals contribute to the rich effect of the door frames, the
stone and brass uprights of the flaming, effulgent aureoles (prabhavalis) surrounding the icons of worship
installed in the inner sanctums of the temples. The heads of all the deities are also surrounded by a
circular halo relieved with eight lotus petals, the numeral eight having a mystical connotation and
significance. The undulating, meandering creepers formed by the long drawn out lotus stalk lend elegance
and delicacy to many a temple doorway from Kashmir in the north to tip of south India, from Gujarat in
east to Orissa in the west.

The tradition of carving immense lotus medallions of roundels enclosing bird and animal motifs harks
back to the pre-Christian era when the famous Buddhist stupas were erected at Bharhut and Sanchi. This
tradition is not confined to religious architecture alone. It enriches the residential houses of the ordinary
natives as well, apart from their depiction on the walls of the royal palaces and forts. When the Muslim
and Mughal rulers got their palaces erected, the native craftsmen continued to use the same motifs to great

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advantage. In the twin Red Forts of Agra and Delhi, large lotus rosettes made of marble are embedded on
the floors, from the centre of which the fountains spouted forth water to keep the palaces cool during the
hot, sultry summers of north India. This motif was not confined to architecture, religious or non—
religious, alone; it was profusely used in all forms of crafts. Most embroidered fabrics feature the lotus
mandalas in the centre, around which are sprinkled numerous motifs and figures. In woven and printed
textiles as well, in stone and wood carvings, in ornaments worn by women, the lotus rosettes are used
with immense innovativeness and imagination. The multi-petalled lotus rosette offered the craftsmen
working in all mediums plenty of scope to display their amazing talent, skill and ingenuity. This motif is
found ubiquitously in its many splendoured form in all forms of crafts all
Some towers have rows of lotuses or lotus buds or mythical and heroic figures. The amalak is an
architectural form found on the upper part of some towers. It is derived from the gourdlike myrobalan
fruit.

Like the exterior, the interior of Kandariya Mahadev temple is also full of figures and floral details
in which these figural details protect the sanctuary from demons and floral details depict the cosmic
events.
On the ceiling of this temple, the floral pattern of panels is most noteworthy for depicting the cosmos
where, again, fractal assumes the main role for depiction. Here the combination of some ceiling panels
makes the pattern such that it seems the flowers are blossomed from buds recursively. From each bud four
petals are bloomed then from four petals eight petals are generated and again from this 8-petal flower a
12-petal bloom is born. Here the bloom depicts the creation of universe from the lotus bud sprouting from
the navel of Vishnu.

Each bloom from a single bud is stratified by making the level difference. These differences of levels and
concentric floral patterns make a passage for the spiritual journey to the unity of infinity and thus help the
man to practice for getting the ultimate liberation. The ceiling panels are also finely detailed which
maintain the degree of skilful roughness in the whole complex. Fractal pattern of the plan of Kandariya
Mahadev temple, replicas of detailed towers, and rhythmic growth of horizontal friezes, create a harmony
of fractal characters in the whole complex. 1

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 REFERENCES

1. Shapes, Patterns and Meanings in Indian Temple Architecture,

Tanisha Dutta , Visvesvaraya National Institute of Technology American Journal of Civil Engineering
and Architecture, 2018, Vol. 6, No. 5, 206-215 fom the project Interpreting Symbolism in Medieval
Hindu Temple Architecture through Fractal Geometry View project

The earliest fossil evidence for flowers is about 130 million years old during the Cretaceous period. From
a geological time-span perspective, flowers came to be shortly before the dinosaurs went extinct .

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