The temple is a link between man and God, between the earthly life and the divine life, between the actual and the ideal.
The word 'devalaya' which is frequently used to denote at temple, actually means' the house of God'. It is the place where God dwells on earth to bless mankind. It is His house, His palace. Infact, there is another word to denote a temple, 'Prasada', which means a palace with a very pleasing appearance.
When looked at this way, the dhvajastambha represents the flagpost on which flies the insignia of the deity. The outer walls, prakara, are the walls of the fort.
The gopuram (high tower at the entrance) is the main gateway.
'Vimana' is another word which is often used to denote a temple in general, and the garbhagrha (sanctum sanctorum) in particular.
The simple etymological meaning is a well-proportioned structure' . As an extension of this meaning derived from the root-verb ma (to measure), it signifies God the Creator, as a combination of Siva and Sakti, who 'measures out' as it were, this limited unicerse from out of Himself, the unlimited principle.
It further means an aeroplane. It is the aeroplane of the gods landed on the earth to bless mankind. Pilgrimage has an important place in the Hindu religion. A place of Pilgrimage is called a tirtha (=means) and is invariably associated with a temple. Hence the temple is called a tirtha. The temple helps us as a means of crossing the ocean of samasara (transmigratory existence).
Even more signification is the conception that its plan and elevation.
Horizontally the garbhagrha represents the head and the gopuram the feet of the deity. Other parts of the building complex are identified with other parts of the body.
For instance, the sukanasi (also spelled as sukhanasi or sukanasi) or ardhamantapa (the small enclosure in front of the garbhagrha) is the nose; the antarala (the passage next to the previous one, leading to passage next to the previous one, leading to the main mantapa called nrttamantapa) is the neck; the various mantapas are the body; the prkaras (surrounding walls) are the hands and so on. Vertically, the garbhagrha represents the neck, the sikhara (superstructure over the garbhagrha) the head, the kalasa (finial) the tuft of hair (sikha) and so on.
The temple also represents God in a cosmic form, with the various worlds located on different parts of His body. The bhuloka (earth) forms Hisfeet and Satyaloka (also called Brahmaloka0 forms His sikha, with the other lokas (bhuvarloka, svarloka, maharloka, janaloka and tapoloka) forming the appropriate parts of His body. The ground represents bhuloka. The adhisthanapitha (the base-slab below the image), the stambhas (pillars), sikhara (superstructure over the garbhagrha), amalasara (lower part of the final) and the stupika (topknot or the finial) represents respectively the worlds bhuvah, svah, nahah, janah, tapah, and satyam.
The temple also represents the Meruparvata the mythical golden mountain described in the puranas (Hindu mythological literature), as the central point of the universe, round which (in all directions) are spread the various worlds? Again, the temple represents this world in all its aspects, the actual and the ideal. The imposing gopurams at th entrance reflect the awesome grandeur of the external world. The friezes and the sculptures on the external walls of the temple proper, depict the animal world and the mundane life of the ordinary human beings including the ridiculous side and the aberrations. These are followed by the scenes from the epic and mythological literature as also religious symbols and icons of gods and goddesses, to remind the onlookers of our great cultural and religious heritage.
If the temple symbolises the body of god on the macrocosmic plane, it equally symbolises the body of man on the microcosmic palne. The names of the various parts of the temple are the very names used to denote the various parts of human body! Look at the following technical names: paduka, pada, carana, anghri, jangha, uru, gala, griva, kantha, sira. Sirsa, karna, nasika, sikha. Pada (foot) is the column, jangha (shank) is parts of the superstructure over the base. Gala ot griva (neck) is the part between moulding which ressmbles the neck. Nasika (nose) is any noseshaped architectural part and so on. The garbhagrha represents the heart and the image, the antrayamin (the indwelling Lord). This symbology tries to impress upon us the need to seek the Lord within our heart and not outisde.
The temple also represents the subtle body with the seven psychic centres or cakras. The garbhagrha represents the anahata cakra (the fourth psychic centre in the region of the heart) and the topmost part of the kalasa point to the sahasrara (seventh and the last centre situated at the top of the head). The first three centres (muladhara, svadhisthana and mainpura situated respectively near the anus, sex-organ and navel0 are below the ground level. The fifth and the sixth (visuddha and ajna cakaras, situated at the root of the throat and in between the eyebrows) are on the sikhara area. Very often, the ground-plan of a temple is a mandala.
Hence whatever interpretation is given to a mandala can also be extended to the temple itself. A manadala is a geometric diagram with occult potentialities. Symmetry is its chief characteristic. The created world which is the perfect handicraft of a perfect Creator, can best be represented by a symmetrical and well-proportioned mandala. The movement in the manadala, as far as the devotee is concerned, is from the outer details to the inner centre, which is a point.
The point represents the one creative Principle, the devotee has to start from outside, pass through circuitous routes and successive stages to come to the centre. Similarly the devotee who enters the temple has to pass through several gates, courtyards and passages, leaving the grand externals, and progress towards the garbhagrha, the very hearts of the temple complex, housing the one cosmic Principle.