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Landmarks of Bāhubali Images in Karnataka
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masterpiece of western Ganga school prepared with deep devotion. The beautifully delineated entwining creepers and somewhat benign oval face with introspective look, earlobes and perfect state of motionlessness are all superb. The monumentality combined with suppleness is a rare feature of this image. In all the above three colossi, however, the figures of Vidyadharis are conspicuous by their absence. But the other features are in full agreement with the descriptions found in the Adipurāņa (Parve 36) and the Harivarśapurāņa (Sarga 11.98-102). The other two colossi from Kārkal and Veńūr, both belonging to Vijayanagar period, are identical in details. In all these figures the anthills over the legs of Bāhubali with the serpents issuing from them could be seen. The installation of these gigantic figures against the natural landscape create a magnificent effect miles around. 14
The inscription at the feet of the colossus at Śravanabelgola is not only in Kannada but also in Tamil-Granth and Nāgarī to make it of all India importance. The Deccan, South and North are thus represented by the three scripts giving identical legend of its creation by Cāmundarāya.'
The earliest figures of Bahubali from Aihote and Bādamī set the iconographic formula for the rendering of Bāhubali in respect of the kāyotsarga-posture, entwining creepers alongwith the snakes coming out of the anthills, and, above all, the flanking figures of two Vidyādharis, holding the ends of the meandering vines. All these features are prescribed by the Digambara Jaina texts. Ellorā (in Aurangabad, Maharashtra), being the most important Jaina site from the standpoint of the number of independent figures of Bāhubalī (17 figures in all), belonging to 9th century A.D., reveal the distinct bearing of the figures of Bāhubali from Aihole and Bādāmi. However, further elaboration in terms of some of the Prätihāryas like halo, parasol (single but not triple), drumbeater, celestial musicians and sometimes small Jina figures in parikara at Ellorā marks the process of elevation of Bāhubalī to make him almost equal to the Jinas, highest in Jaina worship. This process was further intensified in north India as revealed by the Bāhubalī images from the prolific Digambara Jaina sites like Deogarh (10th-12th century A.D.), Khajurāho (10th-12th century A.D.) and Bilhari (11th century A.D.).16 Besides the aştaprātihāryas, the above images from north India
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