Spiritual foundation of Indian architecture – A Comparative Analysis of Indian Classical Music and Architectural proportions

Pooja Mahathi Vajjha
CEPT University, Ahmedabad, India
Pooja.vajjha.phd23@cept.ac.in

Introduction

Ancient Indian architecture texts like Manasara(1) insist on the knowledge of fine arts like dance and music for the architects to evolve in the subject of architecture. These knowledge systems in ancient India were seen as the pursuits of spirituality rather than material ones(2). Across schools of thought in India, one of the most important media for the spiritual pursuit is sound, be it through Japa (chanting)(3), Music(4) or dance(5). In architectural texts, although the knowledge of sound is inherently present, it is not explicitly explored. This paper investigates the deep-rooted connections between Indian classical music and Indian architecture through a comparative analysis of proportional systems as outlined in key ancient treatises. Further, architectural proportions would be established not just as a means of visual aesthetics but as a means for greater spiritual pursuits, using sound as the medium. This connection, I argue, was intended to create harmony between the built environment, humans and nature. 

In Western theories, architects have explored the connection between architectural and musical proportion under the umbrella of harmony(6)(7);however, in the Indian context, this knowledge remains largely unexplored despite being practised for centuries. This paper argues that proportion served as a shared language across disciplines in ancient Indian thought that is much deeper than what was previously understood across the globe as a means of visual aesthetics. In the Indian context, it was holistic and spiritual, which takes sound as the main medium of creation of harmony.

Materials & Methods

The paper considers a comparative analysis of literature between Music and architectural texts as its main method, along with providing some documented examples of temples to prove the point that the proportions used in old architecture in the Indian sub-continent were derived from music, and the reason was to create harmony between humans, the built environment and nature. It would be done by examining the mathematical and philosophical dimensions of architecture and music. I would hereby examine the traditional texts like Manasara(8), Mayamatam(9), Brihad Samhita(10), Natya sastra(11) and Sangita Ratnakara(13) to substantiate my argument. In addition to these old texts, the modern-day interpretations of some ancient texts, such as Sthapatya Veda, Vastu Sutra Upanishad(14), and The Hindu temple(15), would be analysed. The music mathematics would be taken from Vidyadhar Oke’s(16) analysis.

Analysis and Discussion

Architecture in the Indian sub-continent is unique, as although there were many kingdoms and styles of temples, the influences can be seen across geographies, timelines and styles. This is due to guilds of builders travelling across the sub-continent and exchanging information with each other(17). The knowledge shared was oral and kept under a limited number of castes as they considered it sacred. The oral knowledge was shared from generation to generation through several years of apprenticeship and training. This gave the architects and the builders an opportunity to share the knowledge through generations, without losing its integrity as well as keeping room for creativity in the craft. Because the knowledge was transmitted orally, sound had a great influence on architecture. This pursuit of this knowledge was also like tapas (penance) to both the learner and the teacher(18). Spirituality in Hinduism is also very technical, and it deals with the opening of chakras (energy centres in the body) and the full flow of Kundalini energy. One of the ways through which this is achieved is through Japa (chanting of a mantra)(19). The movement of sound in the body is given great importance in spirituality, which is translated into many art forms like singing, dance and drama. Architecture has taken forward the same intent from spirituality and music. 

Indian classical music uses 22 sruthis (notes) in its scale from the beginning. The proportions of these notes are: 1/1, 256/243, 16/15, 10/9, 9/8, 32/27, 6/5, 5/4, 81/64, 4/3, 27/20, 45/32, 729/512, 3/2, 128/81, 8/5, 5/3, 27/16, 16/9, 9/5, 15/8, 243/128, 2/1. The most common ratios that were carried into architecture as proportions were 2/1,3/2,4/3,5/4,9/8, and 10/9, representing the octave, fifth, fourth, third, tone and half tone (Sa, Pa, Ma, Ga, and variations of Ri). Consonance in Indian music is 1:1.2, 1:1.25(20).

Natya Shastra(21) and Brhat Samhita(22), which have provided architectural proportions, to popular texts in the 13^th century, like Manasara(23) and Mayamatam(24), the proportions given were of a musical nature. In the texts, there were Aayadi calculations(25) to determine auspicious or inauspicious measurements, which were calculated by considering the birth charts of all the family members. The ratios given for aayadi calculations also agree with the musical ratios.

Aayadi	Ratio given	Reverse ratio	Svara
Nakshatram	8/27	27/8 = (3/2)3	Da
Aayam	8/12	12/8 = (4/3)	Ma octave adjusted
Vyayam	9/10	10/9	Ri
Yoni	3/8	8/3	Ma
Varam	9/7	7/9	none
Amsam	4/9	9/4 = (3/2)2	Pa octave adjusted

Table 1: Aayadi ratios as given in Indian texts 

In Natyashastra(26), a 2nd-century BC text on dance and drama, the proportions of dance playhouses given are 1:1 and 2:1 in plan using various units. The length of the stage was given as 1/8 of the total length, and the height was the same as the length of the stage. The three sizes were mentioned as small, medium, and large, given in the ratios of 1:2:4 with each other. 

In Brhat Samhita(27), a text written on astrology, the proportions given in it were, for the King’s house, the ratio between length and breadth was given as 5:4, for commander’s house, the ratio was 7:6, for a prime minister’s house, 9:8, for first Prince’s house, the ratio was 4:3, for others in court, the ratios given were 9:5, 27:20, 4:3, and 7:6. The ratios of plans given according to class divisions were 11:10 for Brahmins, 9:8 for Kshatriyas, 7:6 for Vaishyas and 5:4 for Shudras using various units according to the hierarchy in the society. Only ratios given for heights were 1:1 and 1:2, calculated according to the dimension of the breadth. 

In Mayamatam, a 13th-century architecture text, the ratios given between the length and breadth of houses for Brahmins was 1:1, that of Kshatriyas was 9:8, of Vaishyas was 7:6 and of Shudras was 5:4. Proportions between length and breadth given for towns were 2:1, 5:4, 7:6, and 9:8. The ratios of heights of the buildings with respect to widths were given as 10:7, 9:6, 8:5, 7:4, 2:1, 1:1, 3:2, and 5:4 . In almost every place where proportions were mentioned, these ratios were repeated. Some of the other ratios mentioned in the texts were 3:1, 5:3, 7:4, 9:5, 8:5, 3:2, 4:3, 2:1, 7:11, 13:7, 15:8, and 17:9. On the whole, there were minor deviations from musical proportions, especially in the usage of numbers 7,11 and 13, which were never used in music ratios because of their dissonant nature. In Manasara, another 13th-century architecture text, the ratios mentioned in plans were similar to those given in Mayamatam(28). The ratios given between lengths and widths for various types of buildings were 1:1, 5:4, 3:2, 7:4, 2:1, 9:4, 5:2, 11:4, 3:1, 8:3, 7:2, and 15:4. Heights given in relation to the width were 2:1, 5:4, 3:2, 4:3, 7:4, 11:8, and 5:3. The first few in the series are definitely musical; the rest seem like mathematical progressions of the music ratios. All these ratios are given 3D forms with plan shapes in circle, square, apsidal, rectangular, etc. 

Stella Kramrisch, in her work on temples(29), mentioned vaguely that the proportions used are musical. This connection with architecture and music can be further elaborated and justified using the reasons given in the texts about sound, music and spirituality. Ganapathi Sthapati, in his work on Sthapatya Veda(30), mentions the existence of sabda brahma (literally translated as sound god), the vibratory field, that has a deeper impact if used right. He argues that architecture embodies energy, and it has to be rightly done. Alice boner, in Vastu Sutra Upanishad(31), also insists on the importance of sound and vibration as part of connecting and harnessing natural forces in Vastu. Although they said sound and vibratory field, the usage of music proportions shows that they were not talking about any sound, but about musical sound and using the harmonic connections that music has in architecture. Music, as mentioned in the work Sangita Ratnakara(32), is spiritual and related to the right movement of sound in the body for our well-being.

Conclusions

On the whole, by looking at all these texts, most proportions were taken from Indian music ratios, and they were manifested into shapes and forms, which are intended to be of a spiritual nature. Additionally, 7, 11, and 13 were part of architectural proportions, while they are non-musical. In the interiors, the proportions used were strictly musical and mostly consonant, according to all the theories. The number did not go beyond 10 in the interiors. It is also logical, as beyond 9:8, the plan would almost be a square. The usage of music proportions in exterior is more like a musical composition. The usage of the music proportions is related to the vibratory field. After the availability of modern-day sciences, these can be tested using acoustics and further the effect of this vibratory field on humans using neuroscientific and physiological methods. 

Bibliography

• Acharya, Prasanna Kumar. Architecture of Manasara. Oxford University Press, 1933.
• Alberti, Leon Battista. The Ten Books of Architecture : The 1755 Leoni Edition. With Internet Archive. Dover Publications, Inc., 1986. 
• Bharatamuni. The Natyasastra. Translated by Manomohan Ghosh. Vol. 1. Asiatic Society of Bengal, 1951.
• Boner, Alice, Sadāśiva Rath Śarmā, and Bettina Bäumer, trans. Vāstusūtra Upanisad, the 
• Essence of Form in Sacred Art: Sanskrit Text, Transl. and Notes. Motilal Banarsidass Publishers Pvt.ltd, 1982.
• Brown, Percy. Indian Architecture (Buddhist and Hindu Periods). D.B. Taraporvala Sons & Co Private Limited, 1959.
• Dagens, Bruno. Mayamatam. Vol. 1. Indira Gandhi National Centre for Arts, 1994.
• Iyer, Chidambaram, trans. Brihat Samhita of Varaha Mihira. Samhita Series. South Indian Press, 1884.
• Kramrisch, Stella. The Hindu Temple. Motilal Banarsidass, 1976.
• Oke, Vidyadhar. “Research.” 22 SHRUTI. Accessed November 8, 2025. https://22shruti.com/.
• Sangaradeva. Sangita Ratnakara of Sarngadeva. Translated by R.K. Shringy. Vol. 1. Motilal Banarsidass, 1978.
• Saraswati, Swami Satyananda. Kundalini Tantra. Yoga Publications Trust, 1984.
• Sthapati, Ganapathi. Building Architecture of Sthapatya Veda. Dakshinaa Publishing house, 2001.
• Vaastu Marabu. Directed by Ananth, Sashikala and Bala Kailasam. Documentary 
• Educational Resources (DER), 2004. https://video.alexanderstreet.com/watch/vaastu-marabu.
• Wittkower, Rudolf. Architectural Principles IN THE Age of Humanism. Random House, 1962.

Footnotes

1.  Prasanna Kumar Acharya. Architecture of Manasara. (Oxford University Press. 1933), 5-9
2.  Sangaradeva. Sangita Ratnakara of Sarngadeva. Trans. R K Shringy. (Motilal Banarsidass, 1978).
3.  Swami Satyananda Saraswati. Kundalini Tantra. (Yoga Publications Trust, 1984.)
4.  Sangaradeva. Sangita Ratnakara
5.  Bharatamuni. The Natyasastra. Trans. Manomohan Ghosh. Vol. 1. (Asiatic society of Bengal, 1951).
6.  Rudolf Wittkower, Architectural Principles In the Age of Humanism. (Random House, 1962). 
7.  Leon Battista Alberti,. The Ten Books of Architecture : The 1755 Leoni Edition. (Dover Publications.Inc, 1986.) 
8.  Acharya. Architecture of Manasara.
9.  Bruno Dagens, Mayamatam. (Indira Gandhi National Centre for Arts, 1994.)
10.  trans. Chidambaram Iyer, Brihat Samhita of Varaha Mihira. Samhita Series. (South Indian Press, 1884.)
11.  Bharatamuni. The Natyasastra. 
12.  Sangaradeva. Sangita Ratnakara
13.  Ganapathi Sthapati. Building Architecture of Sthapatya Veda. (Dakshinaa Publishing house, 2001.)
14.  Alice Boner, Sadāśiva Rath Śarmā, and Bettina Bäumer, trans. Vāstusūtra Upanisad, the Essence of Form in Sacred Art (Motilal Banarsidass publishers pvt.ltd, 1982.)
15.  Stella Kramrisch. The Hindu Temple. (Motilal Banarsidass, 1976.)
16.  “Research.” 22 SHRUTI. Accessed November 11, 2023 at https://22shruti.com/.
17. Percy Brown. Indian Architecture- Buddhist and Hindu Periods. (D.B. Taraporvala Sons & Co Private Limited, 1959.)
18. Sashikala Anant and Bala Kailasam, “Vaastu Marabu”. Documentary Educational Resources (DER), 2004. https://video.alexanderstreet.com/watch/vaastu-marabu.
19.  Saraswati. Kundalini Tantra.
20.  22 Shruti “Research.”.
21.  Bharatamuni. The Natyasastra.
22.  Iyer, trans. Brihat Samhita of Varaha Mihira. 
23.  Acharya. Architecture of Manasara.
24.  Dagens, Mayamatam.
25.   Sthapati. Building Architecture of Sthapatya Veda.
26.  Bharatamuni. The Natyasastra.
27.  Iyer, trans. Brihat Samhita of Varaha Mihira.
28.  Dagens, Mayamatam.
29.  Kramrisch. The Hindu Temple.
30.  Sthapati. Building Architecture of Sthapatya Veda pg xxiv.
31.  Boner, Śarmā, and Bäumer, trans. Vāstusūtra Upanisad,
32.  Sangaradeva. Sangita Ratnakara