• The Sun has served as a cosmic force that connects humanity across time and geography. Know about Sun in Vedic literature, Indus Valley, Persian and Egyptian culture and Surya Temples in India/Thailand etc plus Iconography of Surya.  

Makar Sankranti is one of the major festivals in India. It is celebrated in different ways throughout the Indian subcontinent and Southeast Asia. This festival is celebrated on this day the Sun leaves Sagittarius and enters Capricorn in the month of Paush, a month in the Hindu calendar. In the current century, this festival falls on the 14th or 15th day of January. 

It is also known as ‘Uttarayan’ (Sun travelling towards the north). After January 14, the Sun moves towards the north. Scientifically, the main reason is the Earth continuously revolving from north to south after six months. In Tamil Nadu, it is celebrated as ‘Pongal’, in Karnataka, Kerala and Andhra Pradesh it is called as ‘Sankranti’, in some districts of Bihar, it is 'Tila Sankranti'. It is also a popular festival in Southeast Asia and is known as ‘Thingyan’, ‘Mohan Sangkran’, and ‘Songkran’ in countries like Thailand, Cambodia, Myanmar, and Indonesia. 

It is believed that the Sun, without a chariot in Dakshinayana, gets onto His chariot in ‘Uttarayana’.  The names of Rath Saptami such as Bhanusaptami, Bhaskarasaptami, Rathankasaptami and Rathangasaptami indicate this.

Sun worship is performed everywhere in India on the occasion of this fast, but the name of the fast and details vary in different regions. This Saptami is known by the names Achala, Jayanti, Makari, Magh, Maha etc. If it falls on a Sunday, it is called Vijaya and if the sun transits on that date, it is called Mahajaya.

Sun in Vedic literature

The Vedas hold Surya (the Sun) in high reverence as the sustainer of life and the cosmic order (Rta). Surya is often addressed as an all-seeing deity, the remover of darkness and the bestower of vitality.

Vedas state the solar deities-Adityas and others which then grew into the philosophy of Surya during Pauranic times. The Adityas, a group of deities in the Vedic pantheon, are the sons of Aditi, the mother of gods. They are associated with righteousness, truth, and cosmic harmony. The Rigveda initially mentions six Adityas-Mitra, Varuna, Aryaman, Bhaga, Daksha, and Amsha. Their number varies in different Samhita of Rigved-6, 7 and 8. Later texts expand their number to 12, each representing a month of the solar year, reinforcing their connection to time and celestial order.

In the Rigveda, he is associated with divine brilliance, wisdom, and dharma. Surya is prominently mentioned in several hymns of the Rigved. He is depicted as riding a golden chariot drawn by seven horses, representing the seven days of the week. The Gayatri Mantra, one of the most revered Vedic chants, is dedicated to Savitar, a solar deity akin to Surya. Surya is also linked with Agni (fire) and Indra (the king of gods), symbolizing his power to illuminate both the physical and spiritual realms.

Among the Adityas, Varuna is the guardian of cosmic law (Rta), Mitra embodies friendship and contracts, while Bhaga governs fortune and prosperity. Surya is sometimes counted among the Adityas, symbolizing his supreme status among solar deities.

Surya is integral to various Vedic rituals, including the Sandhya Vandana (daily prayers performed at sunrise and sunset) and the Surya Namaskara (sun salutations). His presence is invoked for good health, prosperity, and enlightenment. The Vedic sages saw him as the ultimate witness to truth, emphasizing his role in upholding dharma.

Surya and the Adityas represent the cosmic forces that sustain the universe, embodying light, order, and life itself. Their significance in the Vedas reflects the deep reverence ancient sages had for the Sun, viewing it not just as a celestial body but as a divine principle governing existence.

The Sun in Ancient Persian Culture

There is a striking similarity in the philosophy of Vedas and Zoroastrianism also called Mazdayasnā, an ancient Iranian religion centred on the holy book of Avesta and the teachings of Zarathushtra Spitama, who is more commonly referred to by the name Zoroaster.

The Zend-Avesta, the holy book of the Zoroastrian faith of ancient Persia, is believed to have been composed by Zarathushtra. Its adherents exalt an uncreated, benevolent, and all-wise deity known as Ahura Mazda who is hailed as the supreme being of the universe. The highest divinity Zoroaster proclaimed that Ahura Mazda was the supreme creator and sustaining force of the universe, working in Gētīg (the visible material realm) and Mēnōg (the invisible spiritual and mental realm) through the Amesha Spenta, a class of seven divine entities that represent various aspects of the universe and the highest moral good.

In this ancient Persian culture, the Sun was venerated as a powerful divine entity, closely associated with Mithra, the god of covenant and light.  In terms of sense perception, the deity Oromazes was to be compared to light, and Arimanius to darkness and ignorance; between these was Mithras-the Mediator.

Mithraism, a prominent pre-Zoroastrian and later Zoroastrian-influenced belief system emphasized the Sun as a source of justice, truth, and cosmic order. The Achaemenid and later Sassanian rulers often depicted solar imagery in their art and inscriptions, reinforcing its importance in governance and divine kingship.

The Persians celebrated the Sun in various festivals, notably Yalda Night, which marks the rebirth of the Sun and the victory of light over darkness. This tradition persists in modern Iranian culture. The Sun was also integral to Zoroastrian fire temples, symbolizing Ahura Mazda’s divine wisdom and the eternal battle against ignorance and falsehood. 

Surya and the Adityas represent the cosmic forces that sustain the universe, embodying light, order, and life itself. Similarly, in ancient Persian culture, the Sun held a divine and royal status, serving as a guiding force for righteousness and cosmic harmony.

The significance of the Sun in both ancient Indian and Persian traditions highlights its universal role in human spirituality and cultural identity.

Sun Worship in Egyptian culture – Ra was the Sun God 

The Role of Ra in Egyptian Religion: In ancient Egypt, Ra, the Sun God, was the supreme deity, representing creation and the passage of time. Egyptian temples were designed to align with the Sun’s movement, particularly the solstices.

Sun Temples of Ancient Egypt

Temple of Karnak: The Great Temple of Amun-Ra at Karnak was aligned to the winter solstice, allowing sunlight to penetrate the inner sanctuary at a specific time of the year.

Abu Simbel Temple: The temple of Ramses II was designed so that on February 22 and October 22, the rising Sun illuminated statues of the gods inside, signifying renewal and divine presence.

Temple of Amun-Ra,  Karnak, Egypt.

Source of pic

Solstice Sunrise at Karnak Temple. 

Source of pic

Solar Influence in Mesopotamian and Persian Architecture

Shamash: The Mesopotamian Sun God: The Babylonians and Assyrians revered Shamash, the Sun God, associating him with justice and cosmic balance. Ziggurats, the temple structures of Mesopotamia, often had sunlit terraces where rituals were conducted at dawn.

Achaemenid Sun Worship: The Persians associated the Sun with Ahura Mazda, the supreme deity of Zoroastrianism. Temples, such as those at Persepolis, were designed with open courtyards to capture the Sun’s brilliance during sacred ceremonies.

Sun Temples in Mesoamerican Civilizations

Solar Worship among the Maya and Aztecs: The Maya and Aztecs constructed temples to align with solar solstices and equinoxes, demonstrating advanced astronomical knowledge.

Iconic Sun Temples in the Americas

1. El Castillo, Chichen Itza (Maya Civilization): During the spring and autumn equinoxes, the Sun creates a serpent-shaped shadow on the pyramid’s staircase, symbolizing Kukulkan, the feathered serpent deity.

2. Temple of the Sun, Teotihuacan (Aztec Civilization): This massive temple was built in alignment with solar cycles, serving as a ceremonial center for rituals dedicated to Tonatiuh, the Aztec Sun God.

3. Machu Picchu’s Intihuatana Stone (Inca Civilization): The Inca civilization worshipped Inti, the Sun God, and built Machu Picchu with precise solar alignments. The Intihuatana stone is believed to have functioned as a solar clock, marking important celestial events.

The Temple of the Sun at the Maya city of Palenque, Mexico. 

Source of above picture 

Solar Symbolism in European and Megalithic Structures

Stonehenge, England built around 2500 BCE, is aligned with the summer and winter solstices, indicating that it functioned as a solar observatory and ritual site. On Midsummer’s Day, the Sun rises perfectly between the massive Heel Stone, marking a significant astronomical event.

Stonehenge has a Heel Stone in the northeast part of the horizon and the first rays shone into the heart of Stonehenge.  

Greek and Roman Sun Temples

In ancient Greece and Rome, Helios and Apollo were the primary solar deities. The Temple of Apollo at Delphi and the Pantheon in Rome were designed with openings that allowed sunlight to illuminate sacred spaces at key times of the year.

The Sun has been a universal guiding force in temple architecture, shaping the orientation, symbolism, and spatial design of sacred structures across civilizations.

From the Sun temples of India and Egypt to the Mesoamerican pyramids and European megaliths, architects have honored the cosmic power of the Sun through precise alignments and monumental structures.

These temples not only demonstrate advanced scientific knowledge of astronomy and engineering but also reflect a deep spiritual connection between humanity and the cosmos. The Sun, as the soul of temple architecture, continues to inspire reverence, serving as a bridge between the earthly and the divine.

INDIA

Indus valley civilization

It is seen that the settlements of the Indus Valley civilization had Gridiron patterns and cities were planned using specific urban planning principles. Many IVC cities, such as at Mohenjo-Daro, Harappa, and Dholavira, exhibit alignments with the cardinal directions, which might have been used to track solar cycles. They are planning considering East-West Orientation.

The major streets and buildings in several Indus cities are oriented in the east-west direction, aligning with the rising and setting sun—a principle later seen in Hindu temples. Indic scholar Dr. Subhash Kak suggests that the Indus people may have used a solar calendar to regulate their activities, similar to later Hindu and Vedic traditions.

Dholavira

One of the most advanced Indus cities has been a key focus of Dr. Kak’s research due to its remarkable urban planning and astronomical orientation. The layout of Dholavira’s citadel and gateways appears to align with the sun’s movement, especially during the summer and winter solstices. The city’s reservoirs may have been strategically placed to reflect sunlight, possibly for ritualistic purposes or as a means of measuring solar time. 

Dr. Kak proposes that Dholavira might have functioned as a sacred solar city, incorporating astronomical principles similar to later Vedic and Hindu temple designs.

Dholavira city, conjectural plan.

Above picture source

The Sun in Hindu Temple Architecture

The early Hindu text to mention of a solar cult is Samba Purana (c. 7 to 8th century CE)-the traditions on the origins of the cult made its way into the Bhavishya Purana and even a 12th-century inscription in Eastern India.

After being cursed into a leper, Samba urged Krishna to restore his youth who expressed his inability and deferred it to the Sun-God. So, acting upon the advice of Narada, Samba left for the forests of Mitravan on the banks of Chandrabhaga, the sacred abode of Surya. There, he propitiated Surya into appearing before himself and secured a cure but, in return, had to accept setting up a solar temple. After Samba decided to worship Surya as per the Sakadvipi (east Iranian/Persian) way, he built a Sun temple at Mulasthanapura (modern Multan) on the banks of the Chandra Bhaga.

The next day, Samba received an icon of Surya while bathing in the river, and subsequently, the first solar temple was established in Sambapura.

The site of Surya Temple, Multan, Pakistan.

Picture source

However, no Brahmins fit for worship were found in India and they had to be brought from among the inhabitants of Sakdwipa, a Vedic geography far away from India proper. Most scholars deem this legend to reflect the migration of Magis of Persia to India in multiple waves and reinventing themselves as Maga Brahmins devoted to the cult of Mithra/Surya.

This temple is described in detail in the writings of Hiuen Tsang and Arab geographers, such as Al Ishtakhri, Al Edrisi, etc. It is believed to be the temple and Suraj Kund in the Multan Area, currently in Pakistan. However, no traces of any temple can be seen now, the place is still known as Suraj Kund locally, in the area earlier known as Pralhadpuri.

The ICONOGRAPHY of Surya

“His great chariot has one wheel and is drawn by seven horses, He has a lotus in each of his hands, wears an armour and has a shield over his breast, has beautiful straight hair, is surrounded by a halo of light, has (good) hair and apparel, is decorated with gold (ornaments) and jewels, on his right side the figure of Niksubha and on the left that of his Rajni with all sorts of ornaments and whose hair and necklace are bright. His chariot mentioned above is called by the name Makaradhvaja and wears a crown. Danda (Skanda) is represented as one-faced and Skanda as having a bright conch-shell. These two figures with the form of man are placed in front. 

The stone panel of Surya, as a complete image, on the ceiling of Virupaksha Temple, Patadakkal, Karnataka.  

Varcha on a lotus is placed on a horse. His body is represented as lustrous and he is the one giver of light to all the worlds. A Surijamandala is to be made by placing nutmeg and Vermillion. He (Mitra) has four hands or only two with jewels adorning them. In both of his hands, there are lotuses. He is seated on a chariot drawn by horses of variegated; colours. His two gate-keepers Danda (Skanda) and Pingala (Agni) have swords in their hands”. This is as translated by Nagendranath Vasu, in “Archaeological survey of Mayurbhanj. This can also referred from Visvakarma Silpa MS. Pg. 30a-31b. 

Bhavishya purana also gives the explanation of the iconography of Surya. Asvini devatas may also be added as standing on each side of Surya, along with the other figures mentioned in the Visvakarma silpa.

Suprabhedagama

Surya should be shown with two hands holding a lotus each, while Vishnudharmottora (of a later date) says the deity can be shown with four arms. The hands with closed fists carrying lotus flowers should reach up to the shoulder level. The deity should have a kantimandala or halo around his head; he should be jewelled with earrings, a necklace, and a yagnopavita; and the body should be covered with a coat in the northern style and he should be wearing boots (udicyavesha). He should be placed on padmapitha (lotus seat), or be placed on a single-wheeled chariot pulled by 1, 3, 4, or 7 horses, and driven by Aruna. On the right side of Surya-Usha, and on his left side would be Pratyusa, both shown in the act of shooting arrows, symbolising the various aspects of dawn dispelling darkness represented as demons. 

Surya Sculpture from National Museum, New Delhi.

Surya, Central India, 10-11th century CE, sandstone-Matsuoka Museum of Art – Tokyo, Japan.

On his right should stand Pingala or Agni carrying a pen and an inkpot; while on his left side should stand Danda, carrying a staff. Other attendants would include his four wives: Rajni, Niksubha, Chaya, and Suvarcasa. Besides these figures, his four sons Yama, Revanta, and the two Manus may also be shown accompanying him (Visnudharmattora). Sometimes miniature figures of the other eight grahas are also depicted along with the other accessory figures.

In Indian temple architecture, the Sun is considered a divine force, guiding temple alignment and Garbha Griha orientation. Most Hindu temples face the east, allowing the first rays of the Sun to illuminate the deity within the garbhagriha on specific days.

Surya Temples in India

1. Konark Surya Devalaya, Odisha

Right is Mandapa (dancing hall), next is Temple with main vimana.

Built in the 13th century by King Narasimhadeva I, the Konarak Sun Temple is designed as a colossal solar chariot with twelve pairs of wheels, representing time cycles. Located on the sea shore when it was constructed, this temple is one of the precisely constructed temples dedicated to Sun using the concept of his chariot. The temple is precisely aligned so that the morning Sun illuminates the idol of Surya during the equinoxes. 

Surya image at rear side of temple.  

The temple design is a chariot, with 24 Wheels and 7 houses leading the Ratha. The wheels are 12 on either side and also represent 12 months and 2 halves of each month i.e. Shukla and Krishna paksha of each month. The wheels also showcase the daily life of people of that hour and the design on the wheel also acts as a sundial, where the time can be identified preciously up to smallest dimension of 1 min. The Garbhagriha and Vimana of the temple is damaged, so the real height of the temple is not seen now.

24 wheels of the Temple, 12 on either side.

The ground plan, and the layout of sculptures and reliefs, follow the square and circle geometry, forms found in Odisha temple design texts such as the Silpasarini.  The original temple had a Garbha Griha (vimana), which is estimated to have been 229 feet (70 m) tall.

The main vimana fell in 1837. The main mandapa/ Jagamohana, which is about 128 feet (39 m) tall, still stands and is the principal structure in the surviving ruins. Among the structures that have survived to the current day are the Nata mandira and the dining hall Bhoga mandapa.

East facing view of the Natya Mandir-dancing hall. 

One of the very famous oral history of this temple is that the Surya murti was placed hanging in the Garbhagriha without any support, only using the magnetic forces. The magnets were used on the beams of the Garbhagirha, in such a way that the idol could float in the air at certain height! The magnet was removed by Portuguese seafarers who thought that the magnet was misleading the ships coming to the Kalinga shore.

2. Modhera Sun Temple, Gujarat

Left to right is Surya Kund, Mandapa and Surya Temple.

Reflection of Mandapa in Surya Kund.  

Built by the Solanki dynasty in the 11th century, the temple’s sanctum was positioned so that the rising Sun directly illuminated the deity on equinox mornings. The temple includes a Surya Kund, a stepped water tank symbolizing the purification associated with solar energy. 

The Sun Temple was built during the reign of Bhima I of Chaulukya dynasty. Earlier, during 1024-1025, Mahmud of Ghazni had invaded Bhima's kingdom, and a force of around 20,000 soldiers had unsuccessfully tried to check his advance at Modhera.  Historian A. K. Majumdar theorizes that the Sun Temple might have been built to commemorate this defence. On a block in the western wall of the cella, there is an upside-down inscription "Vikram Samvat 1083" incised in Devnagari script which correspond to 1026-1027 CE. The temple complex is built in Māru-Gurjara style (Chaulukya style). The temple complex has three axially aligned components; garbhagriha in a hall gudhamandapa, sabhamandapa or rangamandapa and a kunda/ pushkarni/ waterbody.

Ceiling of temple Mandapa.

The Garbhagriha, is square measuring 11 feet from inside.  It is designed in a way that the first rays of rising sun lit up the image of Surya during solar equinox days and on summer solstice day, the sun shines directly above the temple at noon casting no shadow.

Surya Temple.  

3. Martand Martanda Surya temple, Anantnag, Kashmir

Martand Sun Temple is an 8th century marvel located near the city of Anantnag in Kashmir Valley. According to Kalhana, the temple was commissioned by Lalitaditya Muktapida in the eighth century CE. According to this Indian Express report the temple was destroyed by Sikandar Shah Miri who ruled from 1389 to 1413.

The Martand temple was built on top of a plateau from where one can view the whole of Kashmir Valley. From the ruins/related archaeological findings, it can be said to be an excellent specimen of Kashmiri architecture, which blended Gandharan, Gupta and Chinese forms.

Devkostha with an image of Surya 

The temple has a collonaded courtyard, with its primary shrine in its centre and surrounded by 84 smaller shrines, stretching to be 220 feet long and 142 feet broad in total and incorporating a smaller temple that was previously built.

In accordance with Hindu temple architecture, the primary entrance to the temple is situated in the western side of the quadrangle and is the same width as the temple itself, creating grandeur. The entrance is highly reflective of the temple as a whole due to its elaborate decoration and allusion to the deities worshiped inside.

Various wall carvings in the walls of temple depict other gods, such as Vishnu, and river goddesses, such as Ganga and Yamuna, in addition to the sun-god Surya.

4. Deo Surya Mandir, Bihar

Pic courtesy Bihar Tourism. 

It is considered to be one of the most sacred places for sun worshiping and Chhath Puja.

According to oral tradition, Lord Vishwakarma built the Deo Sun Temple in one night. A Gupta-era inscription dated 642 CE talks about sun worship but does not mention the Deo Sun Temple directly. However, some inscriptions and local oral traditions do hint at the presence of temple around the 7th or 8th century CE.

Amalaka is carved above the Dev Surya Temple, with a gold urn placed above the dome. The temple is famous for its annual Chhath festival celebration. Lakhs of devotees from all over Bihar and other regions visit temples to worship, attend Chhath Mela, bathe in the holy Surya Kund and offer arghya.

5. Dakshinarka Surya Mandir 

Dakshinarka or Dakshinarka Surya Mandir is located in Gaya district of Bihar.  Dedicated to Savitri Devi, this temple also houses murtis of many goddesses. This temple was built even before the birth of Mauryan king Chandragupta Maurya. Except for the murti, the temple is renovated and now a modern building. Thus, it has lost its original style.

6. Katarmal Sun temple complex, Uttarakhand

Katarmal is 1.5 kilometres from Kosi village, 12 kilometres from Almora and 70 kilometres from Nainital. Katarmalla was a Katyuri king who built the temple in the 9^th century. There are 44 smaller temples around the main deity of Surya, called Burhadita or Vraddhadityarya temple.

7. Arasavalli Sri Surya Narayana Swamy Devalayam, Andhra Pradesh

It is located in Arasavalli Village 1 km east of Srikakulam. It is believed that the temple was built in 7th century CE by King Devendra Varma, a great ruler of Eastern Ganga Dynasty of Kalinga. This temple is considered one of the oldest sun temples in Bharat. The other two are the Konarak Sun Temple, Odisha and Martand Sun Temple, Jammu and Kashmir.

Surya on his chariot at the entrance of the temple.  

8. Suryanar Kovil, Kumbakonam

Suryanar Kovil, Kumbakonam

It is located in Suryanar Kovil, a village near the South Indian town of Kumbakonam. Thanjavur District in Tamil Nadu, India. The presiding deity is Suriyanar, the Sun and his consorts Ushadevi and Pratyusha Devi. The temple also has separate shrines for the other eight planetary deities. It is one the Navagraha Temples. See pics 39 to 43. Temple has a sacred bathing ghat called Surya Pushkarni.

 Inside Temple, Surya on horses.

The temple is one of the few historic temples dedicated to Sun god and is also the only temple in Tamil Nadu which has shrines for all the planetary deities. The present masonry structure was built during the reign of Kulottunga Choladeva (1060–1118 CE) in the 11th century with later additions from the Vijayanagar period. The temple has a five-tiered Rajagopuram, the gateway tower and a granite wall enclosing all the shrines of the temple.

9. The Chitragupta temple, Khajuraho, Madhya Pradesh

The Chitragupta temple is an 11th century temple of Surya (sun god).

10. Nageshwarar Temple in Kumbakonam has a Surya Temple

Indic Scholar Dr Ketu wrote on Surya Puja in Tamil Nadu temples, “During the three-day festival, countless spectators gather on each side of the long corridor leading to the sanctum to witness the rays of the sun touch the deity of the temple, Nageshwara, in the form of a linga protected by the hood of a cobra. Following this event, attendees often visit the shrine of Surya located in the northeast corner of the temple compound.”

11. Lolarak Kund in Kashi is dedicated to Surya.

A few examples of temples where Surya plays a significant role:

1. Mahalakshmi Temple, Kolhapur

The rays of Sun reach the Mahalakshmi murti on specific days. It is celebrated as Kiranotsav, which literally means the festival of rays.

a. 31st January & 9th November : Sun rays fall directly on the feet of the deity.

b. 1st February & 10th November : Sun rays fall directly on the chest of the deity.

c. 2nd February & 11th November : Sun rays fall directly on the entire body of the deity.

Pic source

Kirnotsav at Mahalakshmi Temple, Kolhapur, Maharashtra. 

2. Wat Arun, Temple of the Dawn, Bangkok, Thailand

It is situated Thonburi on the west bank of the Chao Phraya River. The temple derives its name from the Hindu god Aruṇa, often personified as the radiations of the rising sun.

3. Angkor Wat Temple, Siem Reap, Cambodia

Sunrise at Angkor Wat. 

Angkor Wat, the magnificent 12th-century temple complex in Cambodia is a remarkable example of solar alignment in temple architecture. Built by King Suryavarman II as a dedication to Vishnu, the temple follows a cosmic and astronomical design that integrates solar equinox alignments, reflecting the deep connection between the Sun and sacred architecture.

Angkor Wat faces west, which is associated with Vishnu. Scholars believe this orientation also relates to the Sun’s movement and the concept of time, death, and rebirth. The entire temple layout is symbolic of Mount Meru, the mythical cosmic mountain, with its five central towers representing the mountain’s peaks. Angkor Wat is meticulously aligned to the vernal (spring) and autumnal equinoxes. 

On these days, a spectacular event occurs: During sunrise, the Sun appears to rise directly over the central tower of Angkor Wat when viewed from a specific vantage point. As the Sun ascends, it seems to "balance" atop the main tower before moving further into the sky, a phenomenon interpreted as the divine connection between the temple, the cosmos, and Vishnu. This alignment suggests that the Khmer architects possessed advanced knowledge of solar movements, using precise astronomical calculations to integrate celestial events into their temple planning.

The Symbolism of the Solar Equinox at Angkor Wat

The equinox alignment reinforces the Hindu belief in cosmic cycles and celestial balance. It symbolizes Vishnu’s role as the preserver of cosmic order, as the Sun aligns with his temple. The solar event likely had religious and ritual significance, possibly guiding ceremonial processions or seasonal festivals.

The solar equinox alignment of Angkor Wat is a testament to the advanced astronomical and architectural knowledge of the Khmer civilization. It reflects the universal reverence for the Sun in temple architecture and underscores the idea that ancient builders designed temples not just as places of worship, but as cosmic observatories that connected humanity with the divine rhythms of the universe.

Samudra Manthan Bas-Relief on eastern wall of Angkor Wat.  

The bas-relief of Samudra Manthan at Angkor Wat depicts the churning pivot, which corresponds to the position of the spring equinox.

Devas and asuras

The bas-relief at Angkor Wat depicts 91 asuras and 88 or 89 devas, which may represent the days between the equinox and the winter and summer solstices.  Angkor Wat was built by Suryvarman II, who was known as the "Sun-King". The temple was dedicated to Vishnu, a solar deity in the Rigveda.

 Centre point of the Samundra Manthan bas relief. 

Accordingly, the gigantic representation of the churning of the sea actually works as a calendar: it positions the two solstice days at the extreme north and south, counts the days between them, and measures 54 units for the north- and south bound arcs of the sun and moon, emulating the symbolism on the bridge or in the western entrances, which repeat the 54/54-unit pairs several times.

The exact match of the shadow formed by the sunrise on Angkor Wat's central shikhara and the western entrance bridge. 

Sun rise against Central Shikhara. 

The sun rises directly above the temple's central tower during equinox.  The event is a reminder of Suryavarman II's ascension to the throne. This symbolizes the harmony between nature and human craftsmanship and reflects a deep connection with the cosmos. The event provides insights into the spiritual and cultural beliefs of the past. 

The Angkor Wat equinox manifests how Angkor was also a solar city. Measurements of the temple recorded data, fixed solar and lunar alignments, defined pathways into and out of sanctuaries, and put segments of the temple in precise association with rays of sunlight during the equinox and solstice days. The stunning vision of the sun as it comes up over the tower transforms the previously abstract solar symbolism into a living experience. For a rare moment, the observer actually sees the calendrical function of Angkor Wat in action.

4. Ram Mandir, Ayodhya

Recently, the whole nation witnessed the Surya Tilak of Shri Ram at Ayodhya Ram mandir on Ram Mandir. Though this uses modern technology, the phenomena was executed at the temple in many temples in Bharat constructed since earliest times.

Conclusion

The Sun is not just a celestial body; it is the essence of time, energy, and consciousness, illuminating the sacred spaces we call temples. Across civilizations, from the Sun temples of India and the pyramids of Egypt to the megalithic structures of Europe and the stepped pyramids of Mesoamerica, the Sun has served as a unifying thread—a cosmic force that connects humanity across time and geography.

Each stone, each alignment, and each intricate carving tells a story of lost wisdom, sacred geometry, and celestial harmony. These architectural marvels are not merely places of worship but codified expressions of a universal philosophy, now fragmented and often forgotten.

Ancient cultures once shared a profound understanding of the Sun’s role in structuring both spiritual and temporal existence—knowledge that faded with time, leaving behind only symbols and ruins.

As we stand in the shadows of these magnificent structures, let us not only admire their grandeur but strive to decode their secrets. By studying these temples, we do not just uncover history—we rediscover a cosmic connection that once bound civilizations together. Let us preserve this legacy, take pride in its brilliance, and awaken to the realization that these temples are not relics of the past but timeless bridges between humanity and the universe itself.

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10. Sharma, V. (2016). Sacred Geometry in Indian Temple Architecture. Indira Gandhi National Centre for the Arts.

11. Bradshaw, Paul (2020). "The Dating of Christmas". In Larsen, Timothy (ed.). The Oxford Handbook of Christmas. Oxford University Press. pp. 4–10.

12. Forsythe, Gary (2012). Time in Roman Religion: One Thousand Years of Religious History. Routledge. p. 141.

13. Censorinus, The Natal Day, trans. by W. Maude. Cambridge Encyclopedia Co., 1900. p.33

14. Ashok Kumar Majumdar (1956). Chaulukyas of Gujarat. Bharatiya Vidya Bhavan. p. 45. OCLC 4413150

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