Architecture of the Muttodaya Stúpa

Why build a stúpa?

The German Buddhist forest monastery Muttodaya, situated in the Frankonian Forest near Stammbach, district Hof, was inaugurated on Vesakh day, the full moon in May 2008. The main building was originally a forester's house, built in 1906, later expanded and used in manifold ways. In order to make it a distinct Buddhist institu-tion, recognizable as such from afar, the construction of a stúpa was considered and planned right from the beginning and realized in the year 2009.

General ideas on the building style

Since Buddhism is comparatively new in Europe and its impact on general culture is still insignificant here, no genuine European or German style of architecture for its religious buildings has arisen yet. A new and meaning-ful approach for the design of the Muttodaya stúpa had to be found. The following criteria came into considera-tion:

1. General characteristics of stúpa symbolism as found in Asia were to be kept.

2. Limitation to a specific Asian style was to be avoided.

3. A synthesis with elements of local sacral building techniques and styles was intended.

There are inspiring and successful examples for the realization of the latter point in Eng-land already, such as the temple and cloister at Amaravati monastery (synthesis with South-ern English barn construction style) or the Dhamma hall at Cittaviveka monastery (syn-thesis with the style of medieval Anglo-Saxon churches). But what about a stúpa?

All over Europe we find hill graves (tumuli) being the oldest extant buildings with reli-gious or transcendent significance. The most ancient among those are relics from the neolithic era, many were built during the Bronze age and especially in our Frankonian hills we find witnesses of Celtic culture dating back to the 5th century BCE.

In India tumuli are known from pre-Buddhist and early Buddhist times. The first Buddhist stúpas emerged from that building style, being simple earthen mounds in which relics were enshrined. One of the very few surviving examples is the stúpa of Rámagáma (Rámagrám) in the Nepalese Terai. Early stone constructions such as the stúpas of Sanchi still bear witness to their architectural origin as an earthen mound.

1

Sanchi Stúpa

Celtic tumulus

Therefore the idea of building the Muttodaya stúpa as an earthen hill monument and the decision to use local materials and building techniques were not far fetched. The concept was developed by the Vener-ables Kalyáóo, Cattamalo (abbot of Muttodaya monastery) and Kevali (abbot of Wat Pá Nánáchát in Thailand), together with landscaper and Buddhist publisher Raimund Beyerlein in the year 2008. One year later it was realized under Mr. Beyerlein's super-vision.

Building materials and techniques

The main body (aóða) of the stúpa consists of piled up condensed earth, mainly a mix of clay, sand and sand-stone. For the base (þhána), the frame of the upper cir-cumambulation path (caòkama) and the relic chamber (hammiká) local rock was used – gneiss and am-phibolite. The base slab at the Eastern altar is local slate.

The surface of the upper circumambulation path is gneiss gravel, the lower circumambulation path is covered with lawn and framed by trees (Quercus robur, Sorbus torminalis, Sorbus domestica, Carpinus betulus).

A coarse stair access to the hammiká was made from spruce trunks and planks.

The earthen mound was compressed by a caterpillar and manually with a plate vibrator. Later the earth received vegetative erosion control by planting ground cover roses and other shrubs.

Most stone work was done using dry walling tech-nique. Only for the top cover of the hammiká and its relic chamber mortar was used.

Description

Muttodaya mound monument is 16 meters wide and 5 meters high to the top of the hammiká, 7 meters high in total.

The ground plan layout is a set of concentric circles, including the base (which is usually a square), be-ginning with the lower circumambulation path all the way up to the relic chamber. The idea behind the all-circle design was to enhance the maóðala character and to illustrate the affinity to the Celtic tumuli.

The access from the main building is a narrow tree lined path which leads to the lower, 4 meters wide, circumambulation area.

2

The base is 50 cm high and 1 meter wide. The 4 car-dinal directions are marked by obelisk-like amphi-bolite chunks, each about 0.8 meter high. The Eastern marker resembles a (miniature) megalithic gate, as a symbolic access to the inner world and as an altar for offerings (flowers) at the same time. A slate slab sup-ports a candle lantern and a vessel for incense.

The mound itself (aóða) is 4.5 meters high and 14 meters in diameter. The transition zone between base and aóða is marked by a ring of germander shrubs (Teucrium spec.) – a feeding ground for bees and bumblebees. All 4 direction markers are flanked by box trees. The main part of the mound is covered with ground cover roses – an eye catcher and land-scaping special feature, as well as erosion control.

The summit can be reached via a coarse stairway. On top of the aóða another, about 1 meter wide, circum-ambulation path can be used to walk around the hammiká. The path is framed by chunks of gneiss. The gravel cover got an inlay of gneiss slabs arranged as 8 spokes forming a Dhamma wheel. The outer ends of the spokes are accentuated by little “obelisks“.

The circular hammiká is 50 cm high and measures 2 meters in diameter. It contains a sealed off relic chamber, in which “multiplied“ Buddha relics and relics of accomplished masters are enshrined.

Instead of an umbrella top (chatta) a 2 meters high Buddha statue made of Bronze (Sukhothai style) crowns the mound monument. The statue faces East.

Significance and use

Official ceremonial circumambulations of the stúpa take place on special occasions like Mágha-, Visákha-, Ásá¿ha-Pújá and New Year, but the place is a focal point for devotional practice all year round.

The stúpa is easily accessible for the general public and does not feature exotic cultural peculiarities. This greatly reduces the access threshold for many people in the region with some general spiritual interest and makes it easier for them to approach the monastery (even Catholics have been spotted offering flowers at the Eastern altar).

The stúpa (and the monastery as a whole) has evolved into a regional tourist attraction; it is listed in travel guides and documented on maps and sign boards.

The lower circumambulation path is often being used for walking meditation. In summer the lawn cover invites walking barefoot.

3

Schematic Diagram

Legend:

1 Buddha statue2 Hammiká (pedestal for the statue and relic chamber)3 Upper circumambulation path / Dhamma wheel4 Aóða / mound5 Þhána / base6 Direction marker (in the East: altar)7 Lower circumambulation path

4

Dedication

The mound monument is dedicated to the 28 Buddhas of the past, according to the list found at Buddhavaísa of the Khuddakanikáya. The pújá text for special reverence is Áþánáþiya Paritta. During candle processions and other circumambulations Buddha-, Dhamma, Saòghánussati is usually being recited („Itipi so Bhagavá...“).

5

Symbolism

The outline of the Muttodaya stúpa shows trinity aspects as most Buddhist stúpas do.

The Muttodaya stúpa is a maóðala. Since this is not the place to point out the many aspects of Maháyána symbolism, the following list of some polarity aspects is strictly limited to those recorded in the Pali canon.

Five aspects of fourfold polarity: Five aspects of centrality:

Protecting astral beingsLokapála (world protecting deity)

Continent (mythical/geographical)Wisdom potential, insight into...

Spiritual quality

Protecting inner qualityProtection “Recollection of...“

Center of the universeWisdom potential, insight into...

Spiritual quality

6