Hinduism Case Studies

8/8/2019 Hinduism Case Studies

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Hinduism Case Studies:

Sri Lakshmi TempleAshland, MA1986



The Sri Lakshmi Temple in Ashland Massachusetts embodies many of the characteristicsof traditional Southern Indian temple architecture. Immediately upon arriving at the temple wesee the great shikhara above the entrance. While many temples place the shikhara above thesanctum to express the idea that the deities live in the mountains, others communicate this ideathrough carvings of the deities inlaid upon the levels of the shikhara, as we see in this case. As

we look at the rest of the temple, we can see that the forms and proportions are in line with theAgama Sastras, which are Hindu laws that include prescriptions for design. It also appears to bemade of sandstone, as was traditionally used in India. On the interior, there are figures of deitiesall along the walls in pattern that was established by the vastu-mandala, and also containsstructures that are used in Hindu rituals and celebrations.

However, while the temple has some of the necessary elements of Hindu architecture, itloses the spiritual experience that these temples try to promote. It is not in an interestinggeographical location connecting it with the gods or nature, but is just in an open parking lot.The interior is made up of bright open spaces, which are not conducive to the contemplativeindividualistic mindset that Hinduism looks to establish. The interior also shows us that the stoneexterior is just a veneer, and that it is actually made of cheap building materials like wood and

sheetrock. Furthermore, the sanctum does not have a figure of the patron deity Sri Lakshmi in itscenter, but rather the statue is tucked into the corner. This is a crucial flaw because at theconclusion of an individual¶s puja they are supposed to circumambulate this central deity, butwith Sri Lakshmi in the corner the worshipper is unable to do so.

These setbacks can be explained by the temple being more of a cultural center than a place for individual worship. In India, Hinduism is ubiquitous; one is constantly ensconced in theculture, and a temple¶s greatest value is that it is a retreat for higher consciousness. However, ina place like Ashland, Massachusetts, where the Hindu population is much smaller, it is necessarythat the temple establish this culture and be geared to communal functions rather than just theindividual. Thus, if having the figure of the patron deity in the corner creates more open spacefor communal events, it might be worth sacrificing circumambulation. The temple promotesHindu culture in many other ways as well. Aside from the daily puja and ritual, it accommodatesweddings, Grahapravesams, Namakaranams, and other Hindu festivals. It also is home to classeson Indian art, dance, and history, and provides traditional Indian cuisine on certain occasions.Ultimately, it may not replicate the sacred spaces of great Indian temples, but it provides all theservices needed to establish a sanctuary for Hindu culture.



Dodd abasappa TempleD ambal, Karnataka, India12 th Century



The D oddabasappa Temple exemplifies the tenets of Western Chalukya architecture and set a precedent for the Karnata dravida style of Hindu temples. The temple is located on the outskirtsof Gadag City, which is in Southwest India, and was built in the twelfth century. D uring this timemost temples were made in the traditional dravida manner, and while D oddabasappaincorporated many of these customary elements, it also introduced several innovative designs.

D oddabasappa has a traditional Hindu layout with an entry vestibule, sanctum, andmantapa. The sanctum is the central space in which there is a large stone sculpture to the deityShiva. Around the Shiva is space to circumambulate the temple so that after worshipers listen tothe puja, or prayer, they can give offerings to the deity and then walk around the room, stoppingat each cardinal direction to give a brief prayer. The sanctum is the principle space in the

building, used for daily puja, ceremonies, or cultural activities. It is crowned by a large tower,called the shikhara, which has seven t iers to it. The mantapa, which is a pillared outdoor veranda,is then a secondary space that is able to accommodate larger public festivities. It is connected to



the sanctum by the entry vestibule, and is composed of many columns that support a stone roof,giving the space protection while still allowing people to be outside. The entire building is madefrom local sandstone, giving the building a massive presence despite its spacious openness.

D oddabasappa also exemplifies Southern Indian architecture in its ornamentation, figuralcarvings, and the decoration throughout the temple. While Northern temples had been simpler

aesthetically, Southern ones were much more intricate with their stone and metalwork. Thisornamentation is evident in the columns, entryway, and sculptures of the deities. It not onlyexpresses the Hindu connection to nature with floral and animalistic designs, but is alsonarrative, showing deities engaged in various mythical stories and settings.

The temple diverges from traditional D ravidian architecture in the form of its sanctum.Most sanctums had regular square floor plans, with consecutively smaller square tiers risingabove in the shikhara. D oddabasappa, however, takes this square and rotates it seven times,creating a large star shape that has 24 corners. This star shape, known as a stellate plan, isextended through the tiers of the shikhara, making a more complex tower over the sanctum.Stellate plans were often used thereafter in Hindu temples, and varied from having 8, 16, 24, or even 32 points.

Overall, theD

oddabasappa Temple takes the traditional qualities of Hindu architectureand expresses some of them directly, while others have been abstracted, showing that historicalstyles of architecture can be made in innovative ways.

Hinduism Case Studies

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