Santa Barbara Vedanta Temple


Built and dedicated in 1956, the Santa Barbara Vedanta Temple is located on a 45-acre property situated between the foothills above the City of Santa Barbara, and below the peaks of the Santa Ynez Mountains. The temple has a clear view overlooking the Pacific Ocean and the Channel Islands of California.
The Vedanta Temple is part of the Vedanta Society of Southern California and is a Western branch of the Ramakrishna Order of India.

Facilities & Activities

Facilities adjacent to the temple include; a bookstore, a shaded sitting area for congregating after services, and a 12th-century bronze Japanese-cast temple bell that is rung three times per day at dawn, noon, and dusk. A path behind the temple leads up a hill to a pavilion where classes are held with the swamis and the nuns.
The temple is open daily to the public. A convent of nuns manage the bookstore, oversee maintenance of the grounds, and facilitate the temple's public activities; including daily worship, meditation, and vesper services. There are also regular Sunday lectures and pujas.
The temple hours run from 6:30 am to 7:00 pm every day with a daily puja, and arati at 6:00 pm. Sunday lectures are at 11:00 am. The bookstore is open Monday through Saturday from 11:00 am to 5:00 pm, and on Sundays from 10:00 am to 1:00 pm.
The inner sanctum of the temple is adorned with a 44" x 50" oil on canvas painting of the Indian Paramahansa and yogi Sri Ramakrishna, painted by Swami Tadatmananda in 1962.

History

The temple was built on a mostly undeveloped estate donated by Spencer Kellogg to the Vedanta Society of Southern California in 1944. The property was largely covered with thick chaparral shrub, and included a house, a small shrine building, and an art room. Swami Prabhavananda first met Spencer Kellogg in 1941 through Swami Nikhilananda. It has been published that Kellogg offered the property on two occasions to Swami Prabhavananda, but was turned down due to the Swami's concern for possible financial imprudence or solecism. However, he eventually changed his mind on the following account:
Initially the property was used as a retreat for monks, nuns, and lay members of the Vedanta Society in Hollywood. From 1946-47, a retired contractor and a group of monks constructed four bedrooms surrounding the art room. In 1947, the estate was then designated as a full-time convent for a group of nuns from the Hollywood Center. The first monastic vows were given to three of the convent members.
In 1954, the first public lectures were given in the living room of the main house. It was soon determined that a temple was needed to accommodate some seventy regular attendees. The temple was constructed and dedicated in 1956.
In 1959, the temple became the venue for taking the vows of sannyas for women in America for the first time by the Ramakrishna Order of India.
In 1970, at the request of architect Lutah Maria Riggs, Daniel Donahue donated a large bronze soft-green patina-tarnished Chinese bell to the Santa Barbara Temple. Said to produce "deeply resonant tones", the bell is estimated to date approximately to the era of the Sung dynasty.

Architecture

The temple was designed by Lutah Maria Riggs who styled the structure after the ancient wooden temples of South India, along with Japanese and Chinese architectural styles. Surrounding the temple there are rock gardens with native plant species, which were landscaped by Riggs with guidance from renown architect Frank Lloyd Wright. Serving as an example to international architects, the building has received several awards for its design.
The temple has thus been described:
Riggs had also designed the temple lanterns and other structures on the temple grounds, including the gatehouse, a carport, the pavilion, and the Eva Herrmann House. Years later she conveyed that initially she had a limited grasp of oriental architecture before delving into various literature on the topic, which included; "Japanese Houses and their Surroundings" by Edward S. Morse, and "Impressions of Japanese Architecture" by Ralph Adams Cram, as well as other literature on Chinese and Japanese landscape architecture, including "Gardens of China" by Osvald Sirén
An architectural analysis describes the temple as a work of both traditionalism and modernism: