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The Followers of the Ever Growing One
219
-On Doddabeļļa (Indragiri) an inscription of the XIIth century gives the names of: Gauraśri-kanti, Somasri-kanti, Dévasrikanti, Kanakaśri-kanti.241
-In the village an inscription of the XIIth century mentions Kannabe-kanti.242
Again, it is at Śravaņa Belgoļa, towards the end of the Xth century that Camundarāya, the high official and General of Rajamalla Satyavākya (or Racamalla), one of the monarchs of the Ganga dynastry, had erected on the summit of Doddabetta the gigantic statue of Bāhubali, son of Adinātha, who, having renounced his kingship, became a mahāyogin. The deep inner reality of this state is conveyed by this statue, carved out of the rock with gracefulness and a profound aesthetic sense, better than by all the treatises on doctrine. This mahäpuruşa through its complete nudity, its attitude of kāyotsarga, its deeply-concentrated expression, which is at one and the same time intent and serene, transmits perfectly the message of the Jaina dharma 243
241 Ibid., inscr. 374; p.488; the rest being illegible, the reason for which these names were engraved is not known.
242 Ibid., inscr. 521; p. 530.
243 We cannot resist quoting at this point the following beautiful description of the Bahubali statue: "The carving of the almost rounded head (measuring 7,6 feet or 2,2m in height) erect, facing the north, with a sublime composure, is a marvellous composition of any age. The half closed and long contemplative eyes with gaze turned upwards, the tip of the sharp and sensitive nose, the well-shaped pouting lips wearing a benign and serene smile, could be discerned from any angle from which the viewer or the devotee gazes at the colossus. The rounded face with sharp and sensitive nose, the slightly projected and dimpled chin and the imperceptibly high cheek, the long-lobed ears, and the subdued and voluted curls of locks on the pate, a few rebellious ones invading the broad forehead (laláta-phalaka), all go to enhance the grace and charm of the sculpture. .. The stark nudity of the sculpture indicates with force the absolute renunciation and self-control of a Jina. At the same time the severity of thc pose is offset by the mildness of
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