The Village of The Coloumn of Honour
But for the magnificent 9th Century complex of Jains shrines, the remote three street village may not even merit a signboard on the main road . We don't know if the habitation had any other name in antiquity, but today, it is called Kambadahalli , or "The Village of the Pillar" - so notable and visible is the Kamba, the said Pillar. It about 50 feet tall, made stone , with a 16 faceted shaft mounted on an octagonal base, at the apex of which , upon a square phalaka, sits a figure popularly called Brahmadeva Yaksha (or Yaksha Sarvanubhuti, according to some.)
The technical Jain word for this kamba is Manasthambha = The Coloumn of Honour . In Jain belief, a Manasthambha stands at the entrance of Samavasarana ( "Divine Preaching Hall" ) where Tirtankaras ( "The Ford Builders" ) dwell, disseminating knowledge of Dharma . The very sight of this Coloumn is said to rid the aspirant entering the holy place of Pride and other Negativities , so that the Mind is pure to receive higher teachings . The Manasthambha thus became an important element to be incorporated in all Jain places of worship. And it seems fit that this little hamlet, known only for this monument, should also be named after this Pillar.
( This frieze of horsemen with curved sticks brought to mind a passage in MV Krishna Rao's "Gangas of Talakkad"(1936) , where he mentions that among games played then was one where horse-borne men tackled a ball - somewhat like polo . This info is gleaned from an inscription which speaks of a certain Prince's skill in manipulating the ball without breaking certain ( mentioned) rules... Just wondering if this too is polo !)
The one good road leading into the village ends bang in front of The Panchakuta Basadi . Its age is at once apparent from the splendid stone, dwitala Vimanas rising from within the compound wall of yellowish grey stones.
There are no foundational Inscriptions giving an exact date of construction, but the architectural and artistic style points to 9th to 10th CE. Very decidedly of Western Ganga workmanship. The domed pinnacles of the central stone towers recall the design from Ellora's Kailasa , Pallava structurals and the towers of Begur and Bhoganandi. The complex is made up of three early temples and two later additions.
According to scholars, not all of the sanctums contain the original icons of Tirtankaras , there have been subsequent replacements. One can see damaged icons, salvaged from in and around the place, erected safely around the shrines .
The central cluster of three shrines , all of which share a mahamantapa , are of the following description :
North facing Brahmacchanda griva shikara , housing Adinatha
East facing Vishnucchanda griva shikara , housing Neminatha
West facing Rudracchanda griva shikara , housing Shanthinatha .
Though protected and maintained by the ASI , the shrines are kept locked . But a village lad runs to fetch a priest as soon as the visitor's vehicle is parked.
The beautiful and lively narrative panels on the outer walls of the younger annexe can keep one occupied till the keys arrive. The classic elegance of sculptures of that period is unbeatable for the suppleness of limbs and dynamism of bodies in motion. Not to mention the superb intricacies shown in the minimal ornamentations.
A young Priest with keys, a flashlight and a broad smile arrives, talking on a cellphone. He opens the sanctums and settles on the jagali by a stone elephant to continue his phone conversation. We wander around freely, taking photographs.
It is dark inside ,with bare walls , the single lamp highlighting the few fresh flowers of the morning puja , very feebly. The ceiling adorned with the grid of Ashtadikpalas is basic and not ornamental . The female divinities , with exquisite faces , are bundled up like mummies in green silk , hiding all the beauty the ancient sculptors had endowed upon them .The unclothed Jinas show perfect physiognomy and severe grace.
By the entrance to this cluster is a Balipeeta with octagonal base, on each facet of which is carved a Dikpala in bas relief.
The outer walls are bare of ornamentation, with only a few pilasters creating shallow niches headed by pretty Torana work of various kinds ( with motifs like Makara , flora, fauna and Vidhyadharas ) . The niches are occupied by Jina murtis of various vintages.
The later annexe is of a different plan , with long open corridors and a partitioning doorway sans side walls . Here stand , inexplicably, two Shaiva Dwarapalakas, huge and handsome , looking very pleased with themselves.
The ceiling bay of the mukhamantapa here has the most stunning Ashtadikpala grid , with a Tirtankara at the center. The workmanship of high order .
The Western Gangas who rose to prominence in the 4th Century CE , in the region that comprises today's South Karnataka, parts of Salem and Coimbatore, were predominantly an agrarian community. They had beneficial alliances with the other powers around like Pallavas, Kadambas , Chalukyas etc. The Landed Aristocrats, the few merchants and Craftsmen patronised Jaina religion and took interest in building shrines of great beauty , though in principle, the Nirgrantha ( "without Bondage") doctrine lays emphasis only on unswerving faith in the supremacy and autonomy of the Self , all external agencies including God, being redundant. However that may be, once the idea of building shrines to the Tirthankaras caught on , there was no stopping the Western Ganga artisans from creating architectural and artistic gems of the highest order, as offering to the idea of Dharma.
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The Gangas , whose influence spread over 700 long years , treated all Faiths equally, the Kings and Generals showering patronage on Basadis (Jinalaya) and Devagrihas ( Sivalayas ) in like measure. Karnataka is blessed to have many beautiful shrines -of all creeds - from their period.
The archeological departments ( both Central and State) have been doing yeoman service in identifying, salvaging and reconstructing ruined wonders of the past so that Scholars, Art lovers and Heritage enthusiasts can have their fill of wonder and amazement.
The cellphone attached Priest locks up and walks away , still smiling . But there is no need for the visitor to hurry . There's plenty of beauty offered by the monument on its outer side too , to linger upon.
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A very short distance away from the protected monument is a small Ishvara gudi of indeterminate age ; very simple whitewashed cubicle with a small stucco crest on the roof. Locked.
Only this well weathered and well oiled Ganesha, with the morning offerings still fresh, peers out from within the grill door.
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