Three Bays, and Why Jaali on the Sides
Ask a family with a large mandir what frustrates them and the answer is usually the same: everything ends up in one line. A kuldevta, the deities of daily worship, a photograph of a departed elder, figures brought back from a pilgrimage; all of it competes for one shelf, and the arrangement is decided by what fits rather than by what belongs together. Three bays under three domes changes that. Each group gets its own defined space with a column marking the boundary, and because the centre bay is taller and deeper than the flanking two, there is an unambiguous principal position rather than a row of equals.
The jaali panels at the sides are a working detail rather than an ornamental one. Lattice cut through solid teak lets air pass through the mandir, which matters when lamps and agarbatti burn under three canopies rather than one; without ventilation, smoke pools under each dome and darkens the wood above the flame. Cutting jaali by hand is slow, since each opening is worked individually and the bars between them are narrow, but the alternative is a solid side panel that traps everything the lamps produce. Every element here is carved and polished by hand by master Indian artisans.