The Hidden Power of Icons

An icon is to a temple what the spirit or life energy is to the human body. It can be likened to the vital currents that link our physical vehicle to our energy body. The temple is a structure specifically designed to house an icon as well as the mental images that are sought to be evoked in its presence. The geometry of a temple’s construction relates to the human body and incorporates the principles of man’s relationship to the universe, thus forming a bridge, a living connection between the cosmic forces and the terrestrial. It becomes a place of union between the two. The Hindus have discovered that the Absolute can only be realized or thought of, or stated through the relative. The images, the icons, are simply so many symbols; so many pegs to hang the spiritual truth. The icon assists in focussing the mind on the Being to whom one prays. The devotee knows, however, that the image is not the omnipresent God force, whatever that may mean to almost the entire world. We can no more think about anything without a mental image than we can live without breathing. Icons are the supports towards realization of a higher power.

From ancient times in India, icons have been modelled in stone or wood, cast in metal or made of clay. Occasionally, precious stones and crystals are used for carving small idols. Special manuals provide explicit and elaborate instructions as to the creating of different icons and the use of different kinds of material. The most ancient images found in country areas are known to have been wooden, with the location and nature of the tree from which the wood is taken being of great significance.


The piece of stone or the log of wood selected is treated in an elaborate manner in order to divest it of its inert nature and to infuse into it the power to contain the divine image.


When the selected material is brought to the sacrificial enclosure in a ceremonial procession, a consecrated ‘pot’ or ‘purna-kumba’ is installed and the stone or wood is subjected to set rituals before it is given to the sculptor. The carving is done generally in that portion of the temple designed to be the sanctum, and the doors are closed during three, five, seven or nine days. If this area is not available an alternative pavilion is specially set apart to the south or north of the temple, the stone or wood being placed in the centre of this structure and worshipped with flowers and various other offerings. The sculptor begins his work with an initial ritual resembling the traditional ‘seed-sowing’ ceremony.


Clay icons are classified as ‘temporary’ or ‘occasional’ and are not designed for permanent installation in temples. Such images are installed just prior to any ritual and are ‘discharged’ in water immediately after worship is over.


The main icon installed inside the sanctum of the temple is usually carved of stone but there will be one or more metallic images to serve various ritualistic ends. These metal icons are not fixed and can be taken anywhere for the performance of rituals. Three major are prescribed for the making of such icons: gold, silver and copper, although bronze and brass are often used as well as a mixture of five metals, copper, gold, silver, brass and white lead.


Stone icons are preferably carved from stones found in rocky, mountainous areas, or when not available those existing at ground level are selected