Shravanabelagolab An Abode of Peace

By Mr. Milly Batra

The verdant natural beauty of Shravanabelagola, with the swaying coconut trees and natural water bodies, bear testimony to the legendary mental strength of Tyaga (renunciation) and the soft tender message of Ahimsa (non-violence) that embody the lain way of life. Shravanabelagola has become the hoary ‘Tapobhumi’ of kings and monks alike, and more recently attracts tourists, pilgrims and other with an eye for beauty, an ear for history and a mind for peace alike.

Jainism often referred to as Jain Dharma or Shraman Dharma is one of the ancient and living religion of the world that prescribes a path of non-violence for all forms of living beings in this world. Jainism is a syncretistic religion, which contains many elements similar to Hinduism and Buddhism. Jainism regards every living soul as potentially divine. When the soul sheds its karmic bonds completely, it attains divine consciousness. It prescribes a path of non-violence to progress the soul to this ultimate goal.

A Jain is a follower of Jinas (conquerors of passion). Jinas are spiritually advanced human beings who rediscover the dharma, become fully liberated and teach the spiritual path to benefit all living beings. The purpose of Jain dharma is to undo the negative effects of karma through mental and physical purification. This process leads to liberation accompanied by a great natural inner peace. Having purified one’s soul of karmic impurities, a tirthankar is considered omniscient, and role model. Identified as divine, these individual are called bhagavan or lord. Tirthankars are not regarded as gods in the pantheistic sense, but rather as exemplars who have awakened the divine spiritual qualities which lie dormant in each of us. They were holy souls; they came to the earth in human form with a purpose. When evil and injustice grew strong in the world, they came to save men by their example and their preaching.

Practicing Jains follow the teachings of the tirthankar literally meaning ‘ford-builder’. The legends record 24 princes who turned tirthankar –Adinath (Rishabdev), Ajitnath, Sambhavanath, Abhinandan Swami, Sumatinath, Padamaprabha, Suparshvanath, Chandraprabha, Pushpadanta (Suvidhinath), Sheetalnath, Shreyansanath, Vasupujya Swami, Vimalnath, Anantnath, Dharmanath, Shantinath, kunthunath, Aranath, Mallinath, Munisuvrata Swami, Naminath, Neminath, Parshwanath and Mahavir (Vardhamana). They renounced the world and took to the path of austerities.

Places of Pilgrimage : Sammedagiri in Jharkhand is the most sacred pilgrimage centre. Twenty of the twenty-four tirthankaras attained liberation on this hill. The Shatrunjay hills in Gujarat is where the tirthankara Rishabdev delivered his first sermon and this place was frequented by his son Bharata.the Dilwara Jain temples at Mount Abu in Rajasthan, Chulagiri in Madhya Pradesh and Mangi Tungi in Maharashtra are few other pilgrim spots that hold a great amount of sanctitiy. The huge statues of Bahubali or Gommateshwara, the second son of Rishabdev at Sravanabelagola in Hassan district of Karnataka is a noteworthy pilgrims centre visited by thousand of Jains. Interestingly, Shravanabelagola is referred to as Jaina Badri and Moodabidri as Jaina Kashi by some Jains.

Shravanabelagola : Shravanabelagola, nestled by the Vindhyagiri and Chandragiri hills is a historical temple town and pilgrimage centre located in Hassan district, Karnataka at an attitude of about 3350 feet above sea level. In Kannada language, Bel means white while gola, the pond, is an allusion to the beautiful pond in the middle of the town. The town is a prominent canter for Jaina art, architecture, religion and cultural for over 2,300 years. This small town boasts of the largest number of Digmbara temple as well as the largest number of rock inscription in the country.

The Chandragiri hill is situated just opposite to Vindhyagiri with 240 steps. This hill characterised by several mantapas, toranas and basadis (which simply means abode), gained sanctity by the visit of Acharya Bhadrabahu. After climbing 192 steps one reaches a beautiful torana with 16 pillars. The sight of Bhadrabahu Cave, Marasimha’s Stambha, Mahanavami Mantapa, Gangaraja Mantapa, and Nishidhi Mantapa takes one into another era. The hill is also dotted with many basadis, few of which are Shantinatha Basadi, kattale Basadi and Chamundarya Basadi.

More than 800 inscriptions have been found at Shravanabelagola, dating to various times from 600 to 1830. A large number of these are found in the Chandragiri and the rest can be seen in the Indragiri and the town. These inscription include texts in the Kannada, Sanskrit, Tamil, Marathi, Marwari and Mahajani language and they provide insight into the life of ascetics of that era. Some of these inscription mention the rise and growth in power of Gangas, Rashtrakutas, Hoysalas, the Vijayanagar Empire and Mysore Wodeyars. These inscription have helped modern scholar to understand the nature and development of the Kannada language and its literature.

At the foot of the Vindhyagiri hill is a temple of Bhramadeva that has an idol of lord Parshwanath . on climbing further, one gets to see many more temples such as Chauvvisatirthankara Basadi, Chennanna Basadi. Opposite to lord Gommateshawara’s statue on the top, there is a beautiful pillar; this has four creekpers carved on it. This pillar is named Tyagada Bhramadeva. The entrance of the enclosure where the monolithic statue is placed called Akhanda-bagilu, carved out of a single stone and has beautiful carvings of Gajalakshmi in her typical posture flanked by two elephants. This enclosure enshrines a large number of beautiful images of the twenty-four Tirthankaras, Kushmandini Yakshi and the colossal image of the lord Bahubali. At the base of the two hill is a “Mutt” where Jain Munis reside. Also, there is a Sanskrit Pathsala where Sanskrit and Shastras are taught.

Shravanabelagola is home to Asia’s largest monolithic statue- Lord Gommateshawara or Bahubali. The most magnificent among all Jaina works of art, the statue dates from 978-993 AD and is described as one of the mightiest achievements of ancient Karnataka in the realm of sculptural art. Lord Bahubali’s statue is said to have been built from single stone of smooth fine grey granite reaching a height of nearly 57 ft atop the Vindyagiri hills accessible through a flight of 500 steps. He stands upright in the posture of meditation over anthills and serene expression on his face. The statue capture the Lord’s perfect features and curly hair with his head resting on massive shoulders. Also, one can see creepers encircling his legs and waist which depict the time he spent meditating in the erect posture before attaining bliss. When one sees it against the vast sky; it is the epitome of the Digambara Jain ideal and one feels that the sky is the most appropriate background for the statue.

Mythology : The statue was erected by Chamundaraya, a general of the Ganga king Rachamalla. As the legend goes, Kalala Devi, mother of Chamundaraya, wished to have a darshan of golden statue of Lord Bahubali at Podanpur. The obedient son, seeing the intense spiritual fervour of his mother, set out on a long pilgrimage to see the golden statue along with his mother and Guru Acharya Ajithasena, and spent a night at Shravanabelagola en-route to Podanpur. In identical dreams, the Kushmandini Yakshi ordered Chamundaraya to erect a statue. The next morning, as directed in the dream, Chamundaraya flung his golden arrow with the first shaft of the rising sun from the top of the bigger hill opposite. Immediately the prophecy came true and the image of Bahubali was discerned. Chamundaraya then entrusted the task of chiseling the statue out of a huge block of granite to the most skillful sculptors of the land under the guidance of Mahashilpi Arishtanemi. The statue was executed in 12 years.

The base of the statue has inscriptions in Kannada and Tamil as well as the oldest evidence of written Marathi dating from 981 A.D. The inscription praises the Ganga King who founded the effort and his general Chamundaraya who erected the statue for his mother. Around the statue is an enclosure of a pillared hall where one can find 43 image of Tirthankaras in different cloisters. There is also a woman called Gullikayajji, said to be an incarnation off Goddess Padmavati.

In Shravnabelalgola one can also gain insight into Jaina mythology through some of the finest paintings depicted on the walls of the Sri Jains matha. Rich in color and harmonious in composition, these paintings of the 18th century depict royal processions and festivities, monks, women in brightly coloured sarees, forest scenes of wiled animals and other topics that shed light on the domestic, religious and social life of the people. Another concrete expression of the intensity of Jaina art is the sthambha, the free standing pillar in front of every basadi. Elegantly carved out of granite, these are classified as Brahmadeva Sthambha and Manasthambha. While the former portrays the figures of brahmanical gods, the letter is depictive of Jaina faith. Manasthambha pillars can be found elsewhere in the country but the Brahmadeva pillars are restricted to the south, a fine specimen of which can be found in front of the gigantic statue of Gommateshwara at Shravanbelagola. Extremely attractive is the Manasthambha at Moodabidri with a small shrine at the apex surrounded by four bells and topped with a gold finial. All these pillers, irrespective of their connotations, are exquisite pieces of art, elegance and decoration.

Lord Bahubali : According to Jain scripture, Bahubali was the second of the one hundred sons of the first tirthankara, Lord Rishabdev and king Podanpur. According to Jain beliefs, Rishabdev existed before civilization developed. He taught people agricultural, tending of animal, cooking and more. His eldest son Bharata was a chakravarti king- the conqueror of the known world. In the later part of his life he retired to become a monk and attained moksha. Because he become a siddha, he is occasionally worshipped.

Bahubali’s elder brother, Bharata, was envious of his wealth, grandeur, strength and success, his desire was for all of Bahubali’s kingdom and wealth. But when bahubali refused to accept his elder brother’s suzerainty, Bharata decide to attack the lands Bahubali ruled. Fearing that the war would destroy both the kingdoms, as well as thousand of innocent soldier, the minister of both sides began negotiations. After much thinking, it was decided that a personal contest between the two brother would be a better option than war. The brothers were required to enter three traditional forms of material contest: drishti yudha a contest of starting at each other without closing the eyelids, jala yuddha-splashing water on each other till one turns his face away and malla yuddha – a wrestling bout. This probably was the first instance in human history of voluntary disarmament, avoiding unnecessary bloodshed. In all the three different types of fight Bahubali was the victor. As a last resort Bharata unleashed his lethal weapon-the chakra. To the amazement of the entire assemblage, the chakra circled Bahubali thrice and settled at his right side. It could not do any harm to him.

In this moment of supreme victory. Bahubali realised that fighting his elder brother for land, wealth and power was neither sane nor righteous. The fight with his brother trouble Bahubali, so after much contemplation, he decided to give up his kingdom and take up the ascetic life. He put aside all of his possessions, and become a solitary renunciant. Bahubali stood in kayotsarga (standing) posture in total meditation continuously for one year, without food and water. Anthills grew by the sides of his legs and serpents made these anthills as their abode and were moving around. Creepers grew up entwining his legs and arms up to his shoulders.

He took to meditation with a thirst for fourth, but it was for ego that he took to meditation to his own. Among monks who accept monastic vows, one must bow to all other who have accepted previously regardless of age. Bahubali knew that if he want to Lord Rishabdev for permission to take monastic vows, he would have to bow down to all his 98 younger brothers, who had renounced before him. Bahubali began meditating with great resolve to attain supreme knowledge, but did not succeed because his ego, which stopped him from visiting his father’s court, did not allow him to attain this Keval Jnana. Concerned, his brother Bharata asked his father Lord Rishabdev about his worldly brother Bahubali. Lord Rishabdev said that, although just moments away from enlightenment, bahubali could not achieve it because he didn’t realise that he was standing on ‘the elephant’- Ego.

Now understanding his folly, the sister approached him and said “O my dear brother, at least now get down from elephant.” This led Bahubali to question “Am I really standing on any kind of elephant?” from this question he soon realised that the elephant he was standing upon was his pride and ego. As Bahubali realised his mistake, shedding his pride and ego, truth and enlightenment dawned upon him. He attained Keval Jnana – a perfect and complete knowledge about the Universe. Thus, he was called as Bahubali- Kevali, Blessed with the knowledge of truth, Bahubali went to his father who welcomed him. Bahubali began teaching and showing people the right path. Learning for his example, Bharata came to understand the folly of his greed for land, money and power. Forgiving his younger brother. Bharata continued to rule for some time, until eventually he joined Lord Rishabdev as a solitary renunciant.

Mahamasthakabhisheka Festival : To best time to visit this pilgrim centre in Karnataka is during the Mahamasthakabhisheka Mahotsava of Lord Bahubali with occurs after every 12 years. The ceremony of 22nd January 2006 was the 87th of the series that commenced in the year 981 and is scheduled next in 2018. The ritual Mahamasthakabhisheka of the Gommateshwara image is in memory of the first consecratory bath, Prathista Abhisheka given to the image by Chamundaraya and his guru Acharya Sri Nemichandra Siddantha Chakravarthi.

The story goes that in later years, Chamundaraya, filled with pride of achievement and arrogance set out to perform the Mahamastaka Abhisheka. But, the anointing liquids-coconut, milk and the five nectars-would not descend down the navel. At the moment, legend goes, Gullikayajji, an old woman presented herself with a little milk in the shall of a white Gullikai fruit. Many derided her but Acharya Nemichandra advised Chamundaraya to invite her. As the humble devotee of Bahubali poured the milk in the shall, it instantly ran down the image, reaching the feet of the statue and covered the hill around.

The main attraction of Lord Bahubali’s statue with milk, curd, ghee, sugar, almonds, kesar and flower. The changing colours of the idol symbolises the progressive stages in a soul’s spiritual advancements. Only when the idol is drenched from head to toe with one substance, the next is taken up. Special scaffolding is constructed devotees to climb up and pour the scared fluid using Kalasas on the Lord’s head. Exclusive bidding process takes place for these kalasas and the collection is use for the development for various section of society.

The ceremony begins with the priests pouring 1008 kalasas over the image in the midst of chanting mantras and poojas. However, the best part of the festival is the end when million and trillion of flowers petals are throw from a helicopter on the statue. Those who have attended this festival in the past saythat it is a divine experience. It is an integral religious and ancient composite Indian tradition. It is a rare feast to the eyes and a meritorious opportunity to the devotees and tourists and is arrange for the peace and prosperity of mankind.

Apart from all this, other poojas, aradhanas, cultural programmes and exhibition are also organized on special days like Yugadi (New Year), Akshya Tritiya (commemorates the occasion of offering of sugarcane juice to the first tirthankara at the end of his long last following renunciation), Shruta Panchami (celebrate the first writing of Jaina scriptures), Ashtahika Parva (which emphasizes the ten virtues) and Mahavira Nirvana (commemorates the day Mahavira attained immortality).

Described by historians as the closest man as ever got to sculpt the mythical Lord of Love, Gommateshwara or Bahubali is magnificent and munificent alike- magnificent in form and valour, munificent in prayer and deed. Bahubali is a major figure in Jain hagiography. His story exemplifies the inner strength of Indian cultural. Bahubali is considered the idol of the man who conquers selfishness, jealousy, pride and anger. The Digambara (nude) from the Bahubali represents the complete victory over earthly desire and needs that hampers spiritual ascent towards divinity.

Sects in Jainism : Bhadrabahu was a guru, philosopher and guide to the ruler of Magadha, Chandragupta Maurya in the fourth century B.C. He later migrate to the southern part of the country, modern Shravanabelagola with 12,000 monks. In his absence, another illustrious monk, Sthulaghadra held the Jaina community together in the northen part and various difference developed in the practices of the followers of these leaders.

The sects associated with Bhadrabahu came to be known as Digambara, the sky clad. The sects closely associated with Sthulabhadra came to be known as Swethambara, white robed. There are no fundamental difference between there two sects. The Swetambara monks are clad in white robes. They accept the authenticity of the scriptures existing today and decorated the tirthankaras with arnaments and clothes.

The Murtipujak sub-sect emphasised temple rituals and actively worshipped the idols of tirthankaras. Between mid-fifteenth and early seventeenth century, many felt the need to moderate the increasing emphasis on temple rituals. This sub-sects came to be known as Stanakvasis. They built halls instead of temples and followed a strict regimen of spiritual studies and austere practices. Another section of followers in Rajasthan laid greater emphasis on non violence and vehemently opposed the laxity that had begun affecting the practices of monks. This sub sects came o be called Terapanthis, committed to patronising monks who strictly adhere to the thirteen vows were thirteen monks who were supported by thirteen layperson. The chaitravasis sub-sects allow monks to reside in temple to prevent laxities in there practices.

The Digambara monks consider nudity vital to the sprit of renunciation. They carry a bunch of peacock feathers for brushing aside insects and a vessel of water for cleansing. They do not approve of decorating the tirthankaras with clothes or ornaments. Monks of this sects collect food standing in front of the house only if it fulfills certain condition like having a tree in the front. They eat with joined palms. The sub-sects include the Bisapanthis, the Taranhapanthis. Another monastic order popular in the region of Karnataka was the Yapaniyas, who blended the best of the Swetambara and Digambara tradition and took a reformist view.

Method of Worship : Worshippers show respect for the twenty-four tirtankaras, the presiding tirtankaras, and living monks. It is more to awaken one’s spiritual potential rather than seeking any materialistic gains. Among all tirthankara, most temples are dedicated to Parshwanath who is generally depicted together with the guardian deity in the form of a serpent. Next are Rishabdev, the first tirthankara and Neminath, the twenty-second tirthankara.

A devotee entering the temple utters nisihi (I renounce) and expresses faith by placing sandal paste on his forehead. He circumambulates the temple thrice; lights incence and fans the idol with a scared hair bunch; makes a rice swastika and places an offering; strikes the bell, sing a hymn and depart. Elaborate worship would even include covering the mouth with a piece of cloth to prevent causing any harm through breathing and wiping the floor thrice to brush aside any living beings.

The Jaina community attaches a lot of significance to fasts. Although common to all religion, fasting is observed with more austerity by the Jains. Fasting is a supreme spiritual practice because they considered weakness for food to be the root cause of many other passions. Meat, honey and wine are prohibited. Green leafy vegetables are avoided as they are believed to contain a small insects. Bulbs and roots are forbidden as they are supposed to contains a class of micro-organisms. Dinner after sunset is avoided because darkness obstruct proper examination of food.

Jainism is a melting pot of Indian religions which continues to bubble vigourously but never boils over. The basis underlying principle of non-violence even in speech is very much needed for today’s scenario and the various tenets which give importance to love and respect for all living beings promote harmony and peace.

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Mail to : Ahimsa Foundation
www.jainsamaj.org
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