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E.-M. Glasbrenner, The Gommatesvara Mahamastakabhiṣeka Ritual 341
"gold" or "copper kalaśas" (suvarna / tāmra kalasa) or "Gullakāyajji kalasa"26 (after the story in which Padmavatīdevī as a poor woman humbles the pride of Cavuṇḍarāya, because his majestic outpourings do not reach below the navel, but she with her little vessel breaks the spell). In more than one respect these kalasas are a focal point of the event. They contain the anointment substances, in other words, spectacular elements of the pūjā, and are basically the only vessels which the pilgrims clearly see; the other important ritual actions, which are carried out by priests at the foot of the image, remain practically invisible and are not explained. Totally different in this respect are the kalasas that are individually and clearly announced through a public announcement system. Not only are they an impressive and clearly understandable part of the ceremony, but they are also the central point where the religious individual can actively participate in the common ritual. The individual becomes active and a part of the collective, in which the entire community participates. The person who is called goes to the kalasa reservoir, identifies himself with his previously acquired pūjā slip, receives his kalaśa from the priest, carries it on his head to Bahubali and climbs the many steps of the scaffolding. At the sign of the priests above and below (who communicate with each other by means of red and green flags, so that the anointings take place at the ritually correct moments), the carrier of the kalasa slowly pours out its contents over the head of Bahubali while pronouncing mantras, while the crowd cheers.
After the saffron kalasa six more elements of the Mahāmastakābhiṣekapūjā follow: large basketfuls of yellow and white flowers are scattered over the image (suvarṇaratna-puspavṛṣṭi) and then white flowers (puspavṛsti). Then follows a rain of colourful flowers, as well as a skilful hoisting of a gigantic flower garland, such as ordinarily is given to deities of smaller sizes (pūrṇārghya). Finally there is the pouring of water from the great kalasa that stood in the centre of the collection of kalasas, and the scattering of coins and gems such as rubies, pearls, pieces of gold etc. The pūjā ends with an ārati done by means of a huge pendulum with burning clarified butter, which illuminates the honoured murti from below to the top and downward again (mahāmangalārati). Thus, after approximately six hours, the end of the Mahāmastakābhiṣekapūjā is reached, the gathering dissolves, devotees bow at the feet of Bahubali in order to just once be at the forefront of things and to receive a bit of blessed water and flowers.
The aisthetic dimension
Religious aisthetics is, as defined, the study of religious phenomena under the aspect of their sensory perception. The Mahāmastakābhiseka is a ritual which, like hardly any other, appeals to the senses of the participants and thus impresses not only through its sheer size, but also, through its intensified perceptibility, makes the otherwise distant
26 March of Karnataka, January 2006, p. 10.
