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Colossal Image of Bahubali : The Sublime Sculpture
Dr. Vilas A. Sangave
Shravana-Bela gola, the most ancient and prominent spiritual centre of the Jainas in South India. has been famous in the world for the last many centuries for its lasting contributions to the culture of the world through its ideal saints, classic philosophical works, exquisite sacred monuments like temples, caves, pillars, etc.. and especially the impressive colossal image of Gommateshvara. Shravana-Belagola is the well-known templecity of the Jainas in India as it contains innumerable shrines situated on the Vindhyagiri hill, on the Chandragiri hill, in the village proper and in the adjacent villages like Jinanathapura and Kambada-halli. These shrines, as per the established practice in South India, have been divided broadly into two categories, viz., 'Bastis' and
Bettas'. This division of the southern Jaina shrines into two classes, called Fastis and Bettas. is the major peculiarity that distinguishes the Jaina architecture of the south India from that of the north India. The term 'Basti', properly 'Basadi signifies a Jaina temple; and it is the Kannada form of the Sanskrit word 'Vasati' having the same meaning. Hence 'Bastis' are temples, in the usual acceptance of the word in north India, containing image of one or more of the twenty-four Tirthankaras which are the usual objects of worship. On the other hand, the term 'Betta', in Kannada language, literally means a hill; but it is used in a specific sense by the Jainas in South India. Here the term 'Betta' is applied to a special form of shrine consisting of a courtyard open to the sky, with cloisters round about and in the centre a colossal image, not of a Tirthankara, but of a saint and usually of the saint Bahubali, the son of the first Tirthankara Lord Rishabhadeva. Hence the colossal image of Bahubali on the Vindhyagiri hill belongs to the category of 'Bettas' and provides the best example and the most ancient example of such 'Bettas'. This colossal and dignified image of Bahubali, which is one the largest free-standing images in the world, is the most distinctive contribution of Shravana-Belagola to the culture of the world both from the sculptural point of view as the magnificent creation of art in the world and from the philosophical point of view through the message of eternal values it gives to the world,
The colossal image of Gommateshvara is the most impressive and wonderful image in the world because of its huge size of 57 feet in height and of its location on the crest of the Vindhyagiri hill which rises over 450 feet above the level of the ground. Due to its unique size and location this image, unlike other images, is visible from distances of about 10 miles all round. It is carved out of a tall granitictor which was originally on the hill top and which amply satisfied the sculpture by its homogeneity and fine grained texture. The sculpture is finished in the round from the head down to the region of the thighs by the removal of the unwanted rock
from behind, front and sides. Below the thighs, the knees and the feet are cut in very high relief with the parent rock-mass still left on the flanks and sear, as if to support it. The flanking rock masses depict ant-hills and 'Kukkuta-sarpas', i.e.. cockatrices emerging out and from among them, and on either side emerges a 'madhavi' creeper climbing up to entwine the legs and thighs and ascending almost to the arms, near the shoulders, with their leaves spaced out and terminating in a cluster of flowers or berries. Thelpedestal on which stand the feet of Gommata, each measuring 9 feet, is a full-blown lotus. Broad-chested and majestic, Gommata stands erect in the 'Khadgasana'--pose with his arms dangling on either side reaching to the knees and with thumbs facing
गोम्मटेश दिग्दर्शन
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in. The carving of the almost rounded head, 7.6 feet high, erect, facing the north, with a sublime composure, is a most marvellous composition of any age. The half-closed and contemplative eyes with gaze turned towards the tip of the sharp and sensitive nose, the well-shaped pouting lips wearing a benign and serene smile, that could be discerned by a view from any direction, the slightly projected chin with a dimple above, an imperceptibly high cheek, lobed ears and subdued and voluted curls of locks on the head invading the broad forehead--all make for a charming face, yet quite serene. The broad shoulders, 26 feet across, of sturdy appearance and the lack of well-modulated elbow and knee joints, the broad and slightly heaved up chest, the narrow hip, about 10 feet wide in front, the wider pelivs, about 13 feet across in front, and rounded gluteal bulges, as if to balance the erect stance, the incurved and channelled midline of the back. the firmly-planted pair of feet, in brief all the mahapurusha-lakshanas' in good proportion, accentuate the beauty of the modelling and the grace of the stance, while at the same time they indicate the conventions of Jaina iconography adopted in respect of the Tirthankara forms that had to eschew undue emphasis on corporeal graces tending to the worldly and voluptuous. The sculptor has very effectively brought into existence in stone the concept of a maha purusha' with all the 'anga. lakshanas'. The nudity of the figure, indicating absolute renunciation of a 'Kevalin', i. e.. omniscient, the stiff erectness of the stance suggesting firm determination and self-control of a Jina and the beaming smile yet contemplative gaze-all blend together to bring out the greatness of conception and the mastery of the sculptor. The deft skill with which, besides the head and its mien. the crease lines on the neck and the palm lines, the hands, the fingers and even the nails or the feet with their toes and nails are delineated in this hard intractable 'in situ' rock is something to be marvelled at.
Further, as a masterpiece of monoliths the image of Gommateshvara is unrivalled in the world. The Egyptian colossi, including that of Ramses, as also the great Buddhas on the faces of the cliffs of Bamian in Afganistan, are at best reliefs, while the Gommateshvara is in the round for most of its height above the knees, with a rear side as perfectly shaped modelled as the front side. Further, this sculpture is cut out and is wrought out by the hardest stone as compared to the above reliefs carved in much softer sand stone or lime stone.
Added to this is the mirror-like smooth and shining polish of the entire body that brings out the rich fine grains of this grayish white granite, an art that had been lost or forgotten for more than a millennium since the workmen of Asoka had polished the extensive interiors of the Ajivika caves in the hills near Gaya in north India. For a hypaethral statue on a high hill-top exposed to Sun, rain, heat, cold and abrasive dusi and rain carrying winds the polish acts as a great refractory--a fact which the makers seem to have understood. Unlike the earlier examples of Gommata at Ellora and other places, the creepers entwining round the body have been shown here with great control with their distinctive foliage well-spaced apart and in a way that would not detract from the majesty of the main figure itself.
Thus this colossal image of Bahubali is known as a marvellous creation of art, unsurpassed so far, in the world. But this image is still more significant in the world for the message of eternal values which it gives to the entire humanity. The image, though huge, is so expressive that apart from its total effect of awe and senenity, its different features also invariably convey certain profound meanings which create a deep impact on the visitors even within a very short period of their visit. For instance, the stiff erectness of the image in the 'Kayotsarga' posture indicates perfect self control and firm self-confidence, the faint and benign smile of the face indicates complete inward bliss and utmost sympathy for the suffering world, the nudity of the figure suggests absolute renunciation and full detachment from the world, and the huge size of the figure reveals the greatness of the saint and at the same time it creates the feelings of hope in man that he also can achieve similar greatness by following the path of penance laid down by him. Its 'bhavya', i.e., grand, pose, its vitaraga'. i.e., impassive, face, its exquisite appearance and its meditative mood are really exemplary Even though it is one thousand years old, it looks extremely beautiful and bright, as though quite fresh from the
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आचार्यरत्न श्री देशभूषण जी महाराज अभिनन्दन पन्थ
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________________ - chisel of the artist. It creates such a deep impact of superb feelings on the mind which even the reading of scriptures would not be in a position to do. Naturally, this image evokes in the minds of the visitors utmost admiration for the unknown artist, who carved it, and for the commander-in-chief Chamunda -Raya, who installed it. Further, the very sight of the image gives a kind of profound spiritual bliss and mental satisfaction to us. If ever and anywhere stone can speak, it certainly speaks here for all the time. Nay; it does more. It instils in us feelings of devotion, piety and humility. It makes us bold to shun all forms of hypocracy and sin, and strengthens us to walk on the path of rightousness. Obviously, the sublime statue creates at once deep feelings of compelling reverence and complete submission. For example, there have been many instances when the fierce iconoclasts who rushed up the hill to mutilate the image, had, on seeing it, to throw their axes aside and stand ashamed in mute reverence. That is why during the long period of Muslim domination in the South India, this image, unlike images at Hampi, Koppal, Lakkundi and other sacred places in Karnataka, remained throughout unhurt and unmutilated. Similarly, this image did evoke pious feelings in the minds of foreign dignitaries also. The great general Sir Arthur Welleslev who was commanding the British troops at Sringapatam heard about this image and went to see it. On entering the enclosure and on seeing the image the impression created in his mind was such that he took off his hat and exclaimed, "O! My God !". Further, in this connection the recent incidence of the visit of Prime Minister Jawaharlal Nehru, along with his daughter Smt. Indira Gandhi, to Shravana-Belagola on the 7th September 1951 only for the purpose of seeing the image of Gommateshvara can be cited. On entering the enclosure when Pandit Nehru perceived the full view of the image, he was so much impressed by the sublime and imposing figure that he was struck with awe and wonder, continued to look at it for several minutes with concentration of mind, stood before the image in prayerful mood and ultimately exclaimed to Smt. Indira Gandhi standing nearby: "Am I standing on this earth or am I in the environment of the heaven ? I am seeing for the first time in my life such an unparalleled and pleasing image.'' . Moreover, a number of eminent philosophers, historians, art critics and archaeologists, both Indian and foreign, have expressed their expert opinions about the sublimity of the sculpture and the specific features of the image. बहधा मूर्तिकार सम्पूर्ण मूर्ति को तो सुन्दर बना देते हैं, परन्तु जिसके द्वारा व्यक्तित्व का उभार दिखाया जाता है उस चेहरे को नहीं बना पाते / इसलिए किसी मूर्ति को देखते समय, मैं उसकी मुखमुद्रा की ओर निराशा की अपेक्षा लेकर ही डरते-डरते देखता हूँ / अच्छी से अच्छी मूर्तियों में भी कुछ न कुछ जटि रह जाती है / दूध-शक्कर में नमक की कंकड़ी मिल ही जाती है / इस मूर्ति का सहज आगे आया हुआ अवरोष्ठ देख कर मन में शंका हुई कि अब मेरा उत्साह नष्ट होने वाला है। इसलिए विशेष ध्यानपूर्वक देखने लगा। आगे से देखा, बगल से देखा, किसी न किसी निर्णय पर तो आखिर पहुँचना ही था / जब तक मैं मूर्ति के सौन्दर्य को देखता रहा, तब तक कुछ निश्चय न कर सका / चित्त में अनिश्चितता की अस्वस्थता फैलने लगी। परन्तु शीघ्र ही मैं सचेत हो गया और मैंने पागल मन से कहा- “सौन्दर्य का तो यहाँ ढेर है, लेकिन यह स्थान सौन्दर्य खोजने का नहीं है / यदि मुखमण्डल पर रूपलावण्य हो, पर भाव न हो, तो वह मूर्ति पूजनीय नहीं हो सकती / वह कुछ प्रेरणा ही नहीं दे सकती। यह मूर्ति यहाँ दुनियादारी की दीक्षा देने नहीं खड़ी है / इस मूर्ति से पूछो, यह स्वयं तुमसे सब कुछ कह देगी।' दष्टि बदली और उस मूर्ति की भावभंगिमा की ओर ध्यान गया। फिर तो कहना ही क्या , क्षण भर में ही वैराग्य और कारुण्य का स्रोत बहने लगा। नहीं-नहीं, वैराग्य और कारुण्य का झरना झरने लगा और मन उसके प्रवाह में नहा कर भव्यता के शिखर पर चढ़ने लगा / एक आचार्य ने ऐसी ही किसी मूर्ति के दर्शन करते समय कहा है-'यत्कारुण्यकटाक्ष कान्तिलहरी प्रक्षालयत्यास्यम्' अर्थात् जिसकी कारुण्यपूर्ण कृपादृष्टि के जलप्रवाह से हृदय के भाव धुल कर स्वच्छ हो जाते हैं। इस यथार्थता का पूरा-पूरा अनुभव हमें यहीं हुआ। मूर्ति के मुख पर सहज कारुण्य है / दीर्घकाल तक मनुष्य की दुर्बलता, उसकी नीचता, निस्सार जीवन के प्रति उसका मोह आदि देखकर मानव जाति के प्रति अपार दुख, मूर्ति की आँखों और होठों में समा गया है। इतना होने पर भी निराशा और खीझ का कहीं आभास तक नहीं मिलता। दनिया तो ऐसी ही होती है, ऐसी ही है, इसीलिए तो उसके उद्धार का प्रश्न खडा होता है। मनुष्य को पापमयप्रवीणता अधिक बलिष्ठ है अथवा महापुरुषों, बोधिसत्वों, तीर्थंकरो तथा अवतारों की क्षमा तथा करुणावृत्ति ? इस प्रश्न का उत्तर मनुष्य को सदा एक ही तरीके से जो मिला है, वही उत्तर हमें इस मूर्ति की मुख-मुद्रा से मिलता है / स्व० श्री काका कालेलकर के यात्रा संस्मरण 'मेरी श्रवणबेलगोल-यात्रा' से सावर उद्धत / - गोम्मटेश दिग्दर्शन