Hinduism Case Studies:

Sri Lakshmi Temple

Ashland, MA
1986
 The Sri Lakshmi Temple in Ashland Massachusetts embodies many of the characteristics
of traditional Southern Indian temple architecture. Immediately upon arriving at the temple we
see the great shikhara above the entrance. While many temples place the shikhara above the
sanctum to express the idea that the deities live in the mountains, others communicate this idea
through 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 the
Agama Sastras, which are Hindu laws that include prescriptions for design. It also appears to be
made of sandstone, as was traditionally used in India. On the interior, there are figures of deities
all along the walls in pattern that was established by the vastu-mandala, and also contains
structures that are used in Hindu rituals and celebrations.
However, while the temple has some of the necessary elements of Hindu architecture, it
loses the spiritual experience that these temples try to promote. It is not in an interesting
geographical 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 contemplative
individualistic mindset that Hinduism looks to establish. The interior also shows us that the stone
exterior 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 its
center, but rather the statue is tucked into the corner. This is a crucial flaw because at the
conclusion of an individual’s puja they are supposed to circumambulate this central deity, but
with 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 the
culture, and a temple’s greatest value is that it is a retreat for higher consciousness. However, in
a place like Ashland, Massachusetts, where the Hindu population is much smaller, it is necessary
that the temple establish this culture and be geared to communal functions rather than just the
individual. Thus, if having the figure of the patron deity in the corner creates more open space
for communal events, it might be worth sacrificing circumambulation. The temple promotes
Hindu culture in many other ways as well. Aside from the daily puja and ritual, it accommodates
weddings, Grahapravesams, Namakaranams, and other Hindu festivals. It also is home to classes
on 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 the
services needed to establish a sanctuary for Hindu culture.
Doddabasappa Temple
Dambal, Karnataka, India
12th Century
 The Doddabasappa 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 outskirts
of Gadag City, which is in Southwest India, and was built in the twelfth century. During this time
most temples were made in the traditional dravida manner, and while Doddabasappa
incorporated many of these customary elements, it also introduced several innovative designs.
Doddabasappa has a traditional Hindu layout with an entry vestibule, sanctum, and
mantapa. The sanctum is the central space in which there is a large stone sculpture to the deity
Shiva. Around the Shiva is space to circumambulate the temple so that after worshipers listen to
the puja, or prayer, they can give offerings to the deity and then walk around the room, stopping
at 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 tiers 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 made
from local sandstone, giving the building a massive presence despite its spacious openness.
Doddabasappa also exemplifies Southern Indian architecture in its ornamentation, figural
carvings, and the decoration throughout the temple. While Northern temples had been simpler
aesthetically, Southern ones were much more intricate with their stone and metalwork. This
ornamentation is evident in the columns, entryway, and sculptures of the deities. It not only
expresses the Hindu connection to nature with floral and animalistic designs, but is also
narrative, showing deities engaged in various mythical stories and settings.
The temple diverges from traditional Dravidian architecture in the form of its sanctum.
Most sanctums had regular square floor plans, with consecutively smaller square tiers rising
above in the shikhara. Doddabasappa, 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, is
extended 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, the Doddabasappa Temple takes the traditional qualities of Hindu architecture
and expresses some of them directly, while others have been abstracted, showing that historical
styles of architecture can be made in innovative ways.