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There is an
anthill in the background which signifies his incessant penance. From this
anthill emerge a snake and a creeper which twine around both his legs and
his arms culminating as a cluster of flowers and berries at the upper
portion of the arms. The entire figure stands on an open lotus signifying
the totality attained in installing this unique statue. On either side of Gommata stand two tall and majestic chauri bearers in the service of the Lord. One of them is a yakshi and the other one is a yakshi. These richly ornamented and beautifully carved figures complement the main figure. Carved on the rear side of the anthill is also a trough for collecting water and other ritual ingredients used for the sacred bath of the image. |
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Around the statue is an enclosure of a pillared hall where one can find 43 images of tirthankaras in different cloisters. There is also a figure of a woman called Gullikayajji sculpted with a good built and wearing exquisite ornamentation, typical of the sculptures of the Ganga period. The Akandabagilu or the massive door, carved out of a single rock with an elaborately carved Gajalakshmi in her typical posture flanked by two elephants, is another meritorious work of Jain craftsmanship. This also said to have been under the guidance and inspiration of
Chaundaraya, the illustrious minister who served under the successive rulers of the Gangas namely Marasimha II, Rachamalla IV and Rachamalla V.
One of the largest temples in the area is the Chaundarya Basadi dedicated to
Neminatha, the 22nd Tirthankara depicted under a seven hooded canopy and flanked by male chauri bearers. This temple is unique in its style. It belongs to the era of the western Gangas and is evolved out of the Chalukyan styles at Badami and Aihole. One the same hill can be seen the Chandraprabha Basadi dedicated to the 8th tirthankara by the same name. It is one of the oldest basadis on the hill and can be assigned to the early 9th century under the reign of Sivamara, a Ganga king.
While at Shravanabelalgola one can also gain insights into Jaina mythology through some of the finest paintings depicted on the walls of the Sri Jains matha. Rich in colours and harmonious in composition, these paintings of the 18th century depict royal processions and festivities, monks, women in brightly coloured
sarees, forest scenes of wild animals and other topics that shed light on the domestic, religious and social life of the people.
Another concrete expression of the intensity of Jaina art is the sthambha, the free standing pillar in front of every basadi. Elegantly carved out of granite, these are classified as Brahmadeva Sthambha and
Manasthambha. While the former portrays the figures of Brahmanical gods, the latter is depictive of Jaina faith. Manasthambha pillars can be found elsewhere in the country but the Brahmadeva pillars are restricted to the South, a fine specimen of which can be found in front of the gigantic statue of Gommata at
Shravanbelagola. Extremely attractive is the Manasthambha at Mudabidri
with a small shrine at the apex surrounded by four bells and topped with a gold finial. Such pillars at Karkala and Humcha are equally eye-catching. All these pillars, irrespective of their connotations, are exquisite pieces of art, elegance and decoration. Another pillar of immense interest is the Tyagada Brahmadevara Kamba at
Sravana Belgola where Chaundaraya has
inscribed his genealogy and his life time achievements. Only segments of
the inscription are readable.
There are
inscriptions on the slabs near the right and left foot of the
image of Gommatesvara at Sravana BELGOLA. THE
INSCRIPTION ON THE RIGHT HAND SLAB IS AS FOLLOWS
:
Sri-Chamundarajam madisidam;
Sri-Chamundarajan "se" Yv 'v' ittan;
Sri-Gamgaraja suttalayavam madisida;
The first
two lines record that Chamunda Raja caused to be made the
image, at the foot of which the inscription is engraved, and
the third line that Gamgaraja caused to be made the buildings
which surround the image. Thus, the carving and consecration
of the Bahubali statue in Shravanabelagola is ascribed to the great
Chamunda Raja who was the commander-in-chief as well as Prime Minister of
the Ganga King Rachamalla during the later period of 10th century A.D.
The story goes that Kalala Devi, mother of Chavundaraya, wished to
have a darshan of the golden statue at Poudanapura. The obedient son,
seeing the intense spiritual fervour of his mother, set out on a long
pilgrimage to see the golden statue along with his mother and Guru Acharya
Ajithasena, and spent a night at Shravanabelagola en-route to Poudanapura.
In identical dreams, the Kushmandini Yakshi ordered Chavundaraya to erect
a statue. The next morning, as directed in the dream, Chavundaraya flung
his golden arrow with the first shaft of the rising sun from the top of
Chandragiri hill to the top of the bigger hill opposite. Immediately the
prophecy came true and the image of Bahubali was discerned. Chavundaraya
then entrusted the task of chiseling the statue out of a huge block of
granite to the most skillful sculptors of the land under the guidance of
Arishtanemi. In later years, Chavundaraya, filled with the pride of
achievement and arrogance, set out to perform the Mahamastaka Abhisheka.
But, the anointing liquids – coconut, milk and the five nectars –would
not descend down the navel. At that moment, legend goes, Gullikayajji, an
old woman presented herself with a little milk in the shell of a white
Gullikai fruit. Many derided her but Acharya Nemichandra advised
Chavundaraya to invite her. As the humble devotee of Bahubali poured the
milk in the shell, it instantly ran down the image, reaching the feet of
the statue and covered the hill around.
A chastened Chavundaraya then made it mandatory that Mahamastaka Abhisheka
be performed every 12 years for Lord Bahubali. The Mahamastaka Abhisheka
of 1981 coincided with 1,000 years of the consecration of the statue while
the Mahamastaka Abhisheka of 1993 was the last of the previous
millennium.
The story goes that Kalala Devi, mother of Chavundaraya, wished to have a
darshan of the golden statue at Poudanapura. The obedient son, seeing the
intense spiritual fervour of his mother, set out on a long pilgrimage to
see the golden statue along with his mother and Guru Acharya Ajithasena,
and spent a night at Shravanabelagola en-route to Poudanapura. In
identical dreams, the Kushmandini Yakshi ordered Chavundaraya to erect a
statue. The next morning, as directed in the dream, Chavundaraya flung his
golden arrow with the first shaft of the rising sun from the top of
Chandragiri hill to the top of the bigger hill opposite. Immediately the
prophecy came true and the image of Bahubali was discerned. Chavundaraya
then entrusted the task of chiseling the statue out of a huge block of
granite to the most skillful sculptors of the land under the guidance of
Arishtanemi. In later years, Chavundaraya, filled with the pride of
achievement and arrogance, set out to perform the Mahamastaka Abhisheka.
But, the anointing liquids – coconut, milk and the five nectars –would
not descend down the navel. At that moment, legend goes, Gullikayajji, an
old woman presented herself with a little milk in the shell of a white
Gullikai fruit. Many derided her but Acharya Nemichandra advised
Chavundaraya to invite her. As the humble devotee of Bahubali poured the
milk in the shell, it instantly ran down the image, reaching the feet of
the statue and covered the hill around.
A chastened Chavundaraya then made it mandatory that Mahamastaka Abhisheka
be performed every 12 years for Lord Bahubali. The Mahamastaka Abhisheka
of 1981 coincided with 1,000 years of the consecration of the statue while
the Mahamastaka Abhisheka of 1993 was the last of the previous millennium.
The story goes that Kalala Devi, mother of Chavundaraya, wished to have a
darshan of the golden statue at Poudanapura. The obedient son, seeing the
intense spiritual fervour of his mother, set out on a long pilgrimage to
see the golden statue along with his mother and Guru Acharya Ajithasena,
and spent a night at Shravanabelagola en-route to Poudanapura. In
identical dreams, the Kushmandini Yakshi ordered Chavundaraya to erect a
statue. The next morning, as directed in the dream, Chavundaraya flung his
golden arrow with the first shaft of the rising sun from the top of
Chandragiri hill to the top of the bigger hill opposite. Immediately the
prophecy came true and the image of Bahubali was discerned. Chavundaraya
then entrusted the task of chiseling the statue out of a huge block of
granite to the most skillful sculptors of the land under the guidance of
Arishtanemi. In later years, Chavundaraya, filled with the pride of
achievement and arrogance, set out to perform the Mahamastaka Abhisheka.
But, the anointing liquids – coconut, milk and the five nectars –would
not descend down the navel. At that moment, legend goes, Gullikayajji, an
old woman presented herself with a little milk in the shell of a white
Gullikai fruit. Many derided her but Acharya Nemichandra advised
Chavundaraya to invite her. As the humble devotee of Bahubali poured the
milk in the shell, it instantly ran down the image, reaching the feet of
the statue and covered the hill around.
A chastened Chavundaraya then made it mandatory that Mahamastaka Abhisheka
be performed every 12 years for Lord Bahubali. The Mahamastaka Abhisheka
of 1981 coincided with 1,000 years of the consecration of the statue while
the Mahamastaka Abhisheka of 1993 was the last of the previous millennium.
Every 12 years, Mahamastaka Abhisheka is performed for the statue of Lord
Bahubali, which stands as an imposing symbol of benevolence and sacrifice.
This religious ceremony, to be held this time round from February 8 to19,
2006, has over decades drawn the attention of not just India but the
entire world.
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