Interview: How Rama Mandir Architects, The Sompuras, Kept Alive The Sacred Design Over A Three-Decade-Long Journey To Reality

The nation waits with bated breath for the grand unveiling of the Shri Rama Janmabhoomi Temple in Ayodhya.

Meanwhile, the architect behind the temple’s design, Chandrakant B Sompura, sitting more than 1,000 kilometres (km) away in Ahmedabad, remains deeply engaged with the work all through the day, intricately coordinating every aspect of the temple's construction.

Collaborating closely with his sons, Nikhil and Ashish, Chandrakant Sompura supervises the progress from afar, checking every detail and leaving no stone unturned in translating the design envisioned for the Rama Temple into reality.

At the age of 81, Sompura finds profound joy and contentment in witnessing the realisation of a vision conceived almost three decades ago when he was given the opportunity by the then-chief of Vishwa Hindu Parishad (VHP), Ashok Singhal, to design the temple.

Chandrakant, Nikhil, and Ashish come from the lineage of architects who have generational expertise in designing temples.

For the Rama Temple, Ashish is currently at the forefront of execution, visits, and coordination of the overall project, following in the guiding footsteps of his father and elder brother.

Pointing to greatness within his family in temple architecture work, Ashish says: "Our great-grandfather Prabhakarji Sompura was the architect of the iconic Somnath Temple in Gujarat, the first temple built in independent India. He has penned down nearly 154 books describing the expertise of Shilpa Shastras."

Delving deeper into their ancestral beliefs and legacy, he adds, "It is believed that their lineage received the divine gift of temple architectural artistry from Vishwakarma Dev. Being residents of the Moon, Brahma Dev summoned them to come to Earth to continue the sacred practice of building temples."

How It All Started

When the VHP members approached Chandrakant, the initial discussion between Singhal and him revolved around creating a traditional temple design that aligned with the requirements and perceptions of the era.

At that time, Ashish had only begun his architecture and civil studies to carry forward his family legacy.

Based on analysis, Chandrakant prepared three design options. The most favoured one was presented to revered saints during the Kumbha Mela of 1992 in Allahabad (now Prayagraj).

This design, sanctioned by the Sant Samiti (the Saints Committee), featured an octagonal garbhagriha, a shikhara, and two mandapas. It emerged as the blueprint for the divine Rama Temple, which integrated scale, proportion, and conceptualisation, all aligned with the principles outlined in the Shilpa Shastra.

The basic form of a Hindu temple contains, at its core, the garbhagriha (sanctum sanctorum), housing the primary deity or deities. Adjoining this is the mandapa, an entrance hall designed to accommodate gatherings of devotees and ceremonies.

"The unique octagonal shape of the garbhagriha was chosen as it symbolises forms of Vishnu. This octagonal sanctum remains a rare feature, with its presence in limited ancient temples. With its clean lines and precise contours, it represents the purity of form to house the divine Ram Lalla," Ashish explains.

Keeping The Temple Alive

With the temple's blueprint settled, the committee began fundraising through Re 1 donations. This collection would lay the groundwork for procuring stone and carving materials from various regions for the divine structure in Ayodhya.

Between 1992 and 1998, continued efforts were made on stone quarrying and carving, to procure the ideal pink stones from Bansi Paharpur.

During this period, Nikhil made frequent visits to Rajasthan alongside Singhal and later Champat Rai of the VHP to select the finest stones suitable from the mining lots.

To ensure operations and acquire the best materials for the temple, a Samiti was formed. This committee comprised multiple quarry and mine owners who worked together, consistently offering ideal stones from their respective lots for the temple's construction.

For several years, the architects and VHP consistently coordinated efforts, overseeing collaborative work in Rajasthan and the Karyashala in Ayodhya.

Despite these collective endeavours, which amassed nearly 50,000 cubic feet of stones for the temple, Nikhil recalls that there was no progression towards the temple’s construction. Gradually, the funds started drying up, and the works as well.

It was only in 2014 that, under the new government, the case regained momentum.

However, with three decades in this journey, the Sompuras also came to realise the heightened significance of the temple.

Originally envisioned in the vein of an ancient temple, its importance grew due to the enduring legal tussle and the deeply rooted sentiments of the people.

"Amidst these deliberations, discussions emerged concerning the charge of the temple's design and construction, as three decades having passed, and to whether forge ahead with an entirely new design or to honour the sanctity of the original design," says Ashish.

Temple Construction Begins In Ayodhya

"Over the years, this design had transcended into a symbolic template for the movement. The temple's model and the image of Rama Lalla had become fixtures in homes and minds alike, reflecting the profound connection that grew with people's sentiments," Sompura says.

"Realising this," he adds, "there was a collective understanding that the original vision must be upheld, respecting the sentiments of the people. Additionally, the massive stone work done in Rajasthan and stored in the Karyashala had to be considerably used in the temple. The decision was made to retain the same imagination, and thus the idea for a new design was dropped."

However, the temple now needed a grander design, considering the present era and the increased footprint. "In February 2020, the Prime Minister’s Office, with Nripendra Mishra, VHP, and the temples trustees, which was formed on SC’s order, finalised the Sompuras again as the temple’s design consultant and L&T as the constructing agency," he adds.

For the new design, the Sompuras prepared three options, in an expansion of the earlier design. Three more mandapas were added to the existing two.

Following a soil analysis, the temple now stands on a solid stone foundation. For a stone structure of this scale, there was no dedicated software or technology for assessing structural stability.

The Essence Of The Temple

With the Sompuras' generational knowledge of building temples, the Rama Mandir is also derived on the shastras.

The overall temple design harmonises with nature, drawing inspiration from diverse natural shapes. The carving and iconography, including leaf forms and bel patti, echo nature's purity.

The Jagati, on which the overall structure stands, has been envisioned as the canvas to narrate the Ramayana's journey for visitors, especially catering to young generations and to familiarise them with its essence.

At present, the progress indicates completion of the ground floor and 50 per cent of the first floor. The additional floors and the shikharas will be part of the later phases of temple completion.

The temple's design, steeped in centuries of Hindu knowledge and culture, is also extending to the construction of a perimeter called the perkota.

Acting as both a boundary and a pathway around the temple, this two-story structure, decided upon by the trust, will allow a larger movement of pilgrims through the temple while offering a unique experience.

Just as the plinth will narrate the three-dimensional glory of the Ramayana, the walls of the perkota will feature brass murals, standing 6-8-foot tall, depicting the sagas of Sanathan Dharma, enriching the already immersive experience for visitors.

These pillars influence the temple's internal space and allow the pilgrims to immerse into the divine journey of interacting with art forms portraying devanganas, gods, and divine beings carved on the pillars.

These 166 stone pillars on the ground floor have been carved by a myriad of artisans and craftsmen hailing from across the country, who have dedicated their expertise that weaves together the overall story of the temple.

For the visitors, each column presents its own story, artistic finesse, and interactions.

At the temple entrance, Ashish explains the sacred narrative adorning the columns, starting with the divine manifestations of Lord Ganesha.

"In the top section, the devanganas grace the mandapas — the Nritya mandapa resonates with dancing deities; the Ranga mandapa portrays the rhythms of life; the Kudu mandapa witnesses floral offerings to the divine. Further, the Prarthana mandapa embodies the spirit of prayer and the Kirtan mandapa echoes with melodic symbols," he says.

The middle section delves into showcasing diverse deities. Pillars surrounding the Kudu mandapa narrate Vishnu's Dashavatara; the Nritya mandapa venerates Lord Ganesha; and Hanuman graces the Ranga mandapa.

Together, with all its elements, the temple represents a mosaic, weaving together gods, scriptures, and divine forms from across the country — reflecting the idea of mirroring the India’s spiritual heritage in the structure.

"With all these efforts, the design aims to resonate with people from every corner of India, creating a sense of connection and interaction with the temple, to feel it is their own," says Ashish.

The structure stands on the principles of compression and strength, without iron reinforcements, considering the 1,000-year span for the temple. All stonework employs male-female joints, intricately crafted for seamless cohesion.

Further, copper clamps have been used to hold the giant stones. "These crucial clamps are widely used in the temple since historic times. Similar clamps were discovered by experts during the study of the Kedarnath temple, post the massive floods, which is believed to have held the temple, for years, even passing such harsh instances," Ashish added.

On being at the forefront of the execution, he says that this has been a one-of-a-kind experience for them, with so many people associated and emotions tied to this monumental creation.

"Our family has been blessed, as my great grandfather got the chance for creating the first temple of independent India. Now, with my father, we are privileged with the opportunity to execute the Rama Temple, holding immense significance for this era."

The construction of this temple has drawn upon the skills and dedication of countless individuals from various corners of the nation, shaping a reality which mirrors the sentiments of entire India.