Belagola beyond Bahubali
There are things in life which seem part of humdrum growing up years , but someday , suddenly, you come to realise what a wonder that thing is . And then , you want to go grab it once again .
Its about Bahubali , the colossal Gommateshwara of Sravanabelagola .
Yes, been there , seen him. But in such a distant past that there is no sharp memory of anything , no recollection of the impressions he made on the mind . No photos . I cannot claim that my familiarity with this Icon comes from having met and admired him in person , it is most certainly due to seeing pictures of him intermittently down the years : in books , brochures, newspaper reports and later, on TV and The Net .
The personal connect , sorely missing .
One-day-excursions they were , in early 1960s . The excitement of seeing the giant's torso bobbing into view even from a good 7 kilometers away..... the climb up the warm , shallow steps cut into the rocky hill , barefooted....Standing right by the giant's foot , looking up , not being able to see the face , thanks to the wrong perspective !The stories of Gullekai Ajji and the Bili-kola ( white milky pond)
Only faded scraps of recollections.
Another dedicated visit , fully armed with knowledge of the History , Geography, Art, Religion, Customs & Traditions of Shravanabelagola ( shortened to Belagola in Mysorean vintagespeak) was due.
Down the years , the torso on the summit still kept looming into view from 7 Kms away, at random times , on the way to or from random sites in KR Pet Taluk ....Aghalaya , Govindanahalli, Chanrayapatna...... But ,always, time ran short to take that 7 Km diversion for a quick dash up the hill.
'Its just over there ....can be done anyday ...someday soon ...'
It never happened .
One day , realisation hits that the legs have aged and are no more in hill-climbing shape.
Bahubali shall remain a box checked off in distant childhood as "Done". An empty personal statistic.
*********
BUT , Shravanabelagola couldn't be given up as "Done". One kept seeing , hearing and reading about other interesting things scattered around the bald hill on which the Gommata stood. All on flat ground , so the legs have no excuse to refuse ......
Out of the blue , Google Maps decided it for me last week.
The original plan was for just four sites and back home . But when looking up routes, Maps said Sravanabelagola is a mere 18 kms away from the last pin. And I was in no hurry to return home . Yesss.
*****
The Giant Torso dutifully comes into view , while the cab is still 7 kms away , and then slowly disappears as we cruise into the town at foot hills. Lots of colour . Lots of noise . Lots of signboards in Devanagari script . Lots of ladies with faces shrouded under bright , tinseled veils . Narrow , medieval looking roads and timber fronted houses . Reminds a lot of the heritage town , Melkote .
Noticed that the ancient stone steps going up to the Gommata , is now shaded from direct sun with a continuous awning .... Noticed a couple of not-so-new Shiva temples ..... Noticed frequent signboards proclaiming that the town is strictly a Plastic Free Zone .
*********
Quite suddenly appears the Gopuram of The Kalyani entrance . The tank is huge and the water is shimmering clean ! A high fortress like wall surrounds the entire tank. The backdrop of Indragiri hill , the pillared pavilion on the far bank , the long steps on all sides , the ornamental structure in the water attracting water birds and the cool blue sky with scurrying puffs of cumulous clouds , all make for a serene and happy experience. The Security Guard at the doorway helpfully points to a spot from where a good panoramic shot can be clicked.
Construction of the Tank is credited to an Officer Of The Mint in the 16th Century , Kammata by name . He died before completion of the project. Work was resumed by his grandson . Later, the Wodeyars of Mysore ( in 18th Century) , repaired/renovated/ extended the structures as needed , giving it the present shape. The stucco gopuram resembles any Dravidian gopuram , but with Jina images in the niches.
*************
Next Stop : Akkana Basadi . This small shrine has a picturesque and evocative backdrop of the boulders, on the lower side of Chandragiri.
No other visitors , whole place to self !
Hoysala architecture , but with bare minimum ornamentation. Walls only have pilasters, Jina images are on the Shikara . Inside , the turned pillars have ornamental bands on the shaft and the ceiling bays are pretty. The building's adhistana is made in such a clever way , that it seems to be just placed on the mother rock ,sort of floating on it, with no foundation ! Presiding icon is Parshwanatha , flanked by altars to Dharanendra Yaksha and Padmavathi Yakshi.
The name Akka comes from the lady who commissioned it in 1181 CE - Achala Devi , fondly remembered as Achiakka , a devout Jain, who was the wife of Chandramouli , a Brahmin Minister of Hoysala Veera Ballala II . No Conflicts of Faith in those days !
It is a Protected Monument under care of ASI , and as such ,there is no express prohibition on Photography . But when I pulled out my mobile , the yellow-dhothi-ed Priest and a white-pyjama-ed Busybody , who were chatting on the porch , erupted into an apoplectic flurry of "Nakko ! Nakko !...No Photo!..Fota hodibedi !"
Hmmm...presumably, the half dozen video clips in Youtube , covering every nook and corner of this shrine , were shot when Priest and Busybody were on tea break.....
******
Adjascent to Akkana Basadi , on a lower shelf in the foothill , is the Siddhanta Basadi , a monument of Western Ganga times . Believed to be a library that stored sacred texts. The signboard says that the Texts ( Palm Leaf Mss. of 12CE ) were shifted to Moodabidri in the 18th Century. These texts are Dhavala Grantha , ie commentaries on Jaina Agamas , written in Old Kannada script. They are the core scriptures of Digambar Jain sect. Many are illuminated ( illustrated) manuscripts. The Moodabidri Matha has Dhavalas dating from 8CE in its collection.
Siddhanta Basadi a very plain, low ceilinged structure with a colonnaded outer prakara. The interior is filled with squat, faceted pillars , a lightly ornamented doorway , modern tiled flooring and white marble images of all Tirthankaras / panchaparameshtis arranged around the antarala. The sanctum houses a stele with a bas relief of a standing Tirtankara , surrounded by 4 more, smaller Tirtankaras .
*******
On to The Jaina Matha . Situated in a large open square . The two major buildings are The Bhandara Basadi and The Mathada Basadi . In the center of the square is a tall Manasthambha and a small , lean pavilion with a delicately coloured ,ornamental shikara .
The Bhandara Basadi ( Aka : Chaturvimshati Tirtankara Basadi) is the biggest temple of Sravanabelagola , once called "The Crown Jewel of Gomatapura" . It was built in 1159 CE , by Hullayya , a Treasurer ( Bhandari) in the Court of Hoysala Narasimha I . The original structure consisted of the long rectangular garbhagriha and the Antarala with a Rangamantapa supported by tall , shapely pillars . Another Rangamantapa called the Pravachana Mantapa or Saraswathi Mantapa was constructed later in 1527, in front of the existing one , to hold sermon sessions.
The Sanctum has gleaming black , standing images of all the 24 Tirtankaras , in a row , each one about 3 ft tall and surmounted by elaborately etched prabhavalis. Each figure is flanked by its designated Yaksha and Yakshi images. This must be the biggest sanctum with the most number of mula-murtis in all of Hoysala creations. In the Antarala are seen shrines to BrahmaYakasha and Padmavathi Yakshi .
Some huge Epigraphic steles are also erected here, one of which documents the famous Vaishnava - Jain dispute resolved by King Bukkaraya of Vijayanagar Empire. Conflicts of Faith !
Did they really have to install a modern Gomateshwara (cement cast ?) image in the courtyard of this heritage building !? Yeah, we know this is Bahubali-land , why the frequent reminders everywhere ?
The priest and the caretaker not only made no fuss about my clicking pictures inside the temple , but went a step further and switched on spot lights on dark areas , including the sanctum , to help get the pictures right !
Dancing Indra - Star of the Temple !
The Lalata Bimba (lintel ) of the doorway to the Inner Rangamantapa , is a creation of superlative finesse , considered by many to be the best specimen of Hoysala Art. At its center is a flamboyant Indra dancing away with abandon , his 12 arms bursting like sun rays around him , each hand holding a weapon . At his feet are two little drummer boys , a flautist , a cymbals-clapper, and two Chamaradharinis. Around his head , flying on clouds ,are six gandharvas. The Prabhavali of floral whorls is capped with a central Kirtimukha. This is framed by a Torana issuing from the mouths of the two large Makaras on either side, riding on whose backs are some demigods. Below this ensemble sit five plain, unornamented mini figures , perhaps seers. As a lower border to this lintel is a fine 3D row of musicians and dancers , intricately decorated with bells and garlands . The row is damaged , with only three precious chunks surviving . The carving of the entire lintel is clean, sharp and precise. Kept polished and gleaming like a jewel.
********
Mathada Basadi : The Matha is believed to be established by Chavundaraya for his Guru Nemichandracharya. But the earliest mention of the functioning Matha ( as Charukeerti Peeta)is found only in 1131CE. The building itself is a medley of structures of different times , right upto moderrn time renovations. Shrines to Chandranatha, Neminatha, Saraswathi & Jwalamalini are found around the central courtyard . The cornices of the courtyard are decorated with lovely Mysorean brand Stucco sculptures, their ornaments inlaid with mirrors bits ! How brilliant they look , glinting in sunlight !
The biggest attraction ( for me) in this Matha are the wall paintings . Dated to late 18th and early 19th Century. Employing the early Mysorean Art Style , the paintings illustrate stories from the life of Jinas and Jain Kings , the Panchaparameshtis ( viz: The Five Supreme Beings - Arihant , Siddha, Acharya, Upadhyaya and Muni) , Parshwanatha's Samavasarana, yaksha-yakshis and the Dasara Procession of a Mysore Wodeyar . The figures are small , colours are fading and some have chipped away , but lines are fine and the compositions pleasing.
Photos ? I remember reading in an article that photographing these murals is prohibited. I looked around for the prohibitory Sign Board . None. Not even the small hieroglyphic of "camera-in-a-crossed-red circle" anywhere. All four notices on prominent display only said "Dont Touch Paintings". Any Priest going "Nakko Nakko "? None . There was only this one young worker carefully tracing a stencil on the skirting of a wall being renovated . And another youth crouched in a plastic chair , watching him work. Neither paid any attention to me . Or to another pilgrim who was happily clicking selfies with some of the puja -murtis !
I got my pictures , to supplement the better ones I had clicked in an art Exhibition by Lalitha Kala Akademi , years ago. Those exhibits were facsimilies painted by well known Mysorean Artists who had spent gruelling time in situ copying the wall art , including every crack, chip or faded spot meticulously in water colour . It was documentation more faithful than mere photographs , valuable resource for any study.
********
Lunch
The Matha serves lunch to all visitors from 1.30pm . No payment , but they note down name and place of residence. The dining room is very clean , well ventilated and well lit. Rows of low stainless steel tables and mats on floor . And four regular longtables and chairs for those who cannot sit down cross legged . Lunch is served buffet style in steel plates. Hot, wholesome Jain food. After lunch , when I offer a small donation , the old man at the front desk at once pushes across a brochure listing all the charitable works the Matha does and sponsorship options. For instance, they - The Digambara Jain Matha Institutions Trust - run a free school , with free food, free school supplies and free uniforms for 2000 children. And Vriddhashramas, Goshalas, Hospitals etc.
*********
About two kilometers away from town is Jinanathapura , a settlement founded during the reign of Hoysala Vishnuvardhana by Gangaraja, an influential Jain General..
The facade of Shanthinatha Basadi looks deceptively simple , even drab. But just walk to the lateral face , its a fabulous Hoysala Ekakuta shrine with very fine work in soapstone. Built in 1200 CE by Rachimayya , a General serving under Hoysala Veera Ballala II , this Basadi is a wide departure from the standard Hoysala Jain architectural idiom of simplicity and austerity . The walls here are highly decorative with the theme being, majorly, song and dance . The craft of stone carving too seems to be of superior quality . Particularly interesting is the wide variety of hairdos, attire and accessories of the figures.The most unique feature, however, is the presence of full length Jina images , accompanying the others on the outer walls.
The interior, in contrast , is quite simple except for the lintel showing Jinas. However, the Garbhagriha is fabulous with a huge seated Shanthinatha , attended by two Chowribearers . One of the ceiling bays of the hall shows the Ashtadikpala grid .
The shrine stands on a raised Jagathi and has no bands of molding friezes on the Adhishtana that is commonly seen in Hoysala constructions of the period.
Here too , the whole place all to myself !
*********
On the way out of the town, looking at The Torso appearing on the summit , one sudden thought seizes the mind : Why not try ? Now ?
The cab driver stops on request . I get down ...gaze up .....should I?.... No, its reckless .....I tell the driver to proceed , making up a story that i just wanted to see if the oranges on the vendor's cart were worth buying ......He wouldn't understand the story of my checked box.
************
Comments