Spiritual Magnificence Of Gommateshwara And Foreign Writers

This document, "Spiritual Magnificence of Gommateshwara and Foreign Writers" by T. K. Tukol, delves into the significance of the Gommateshwara statue at Sravanabelgola and explores its appreciation by foreign scholars and artists.

The text begins by characterizing ancient Indian art as inherently religious, with Jain temples serving as visual sermons on renunciation, peace, and meditation. Jain images are described as simple, often depicted in deep meditation amidst serene natural settings. These statues are admired for their simplicity, with grandeur conveyed through facial serenity and proportion. The article also touches upon the decorative elements in Jain temples and the aesthetic appeal of Yaksha and Yakshini figures, which are often depicted as attendants to the main deity.

The core of the text focuses on the Gommateshwara statue, explaining its origin. It was commissioned by Chamundaraya, a minister and general to the Ganga king Rachamalla. "Gommateshwara" means "Lord, the beautiful" and refers to Bhagavān Bahubali, a historical or mythological figure in Jainism. The narrative then recounts the story of Bahubali, son of the first Tirthankara Adinath (Rishabhadeva). After Rishabhadeva's renunciation, his kingdom was divided among his sons. Bahubali's elder brother, Bharat, sought to become an emperor by conquering all territories. This led to a conflict between Bahubali and Bharat, which was resolved through three forms of combat. Bahubali's superior strength and skill led to his victory. However, instead of asserting his dominance, Bahubali was moved by his brother's shame and chose to renounce the kingdom and embrace asceticism. He achieved spiritual liberation while in deep meditation, even as nature, like anthills and creepers, grew around him.

The construction of the colossal statue is then detailed. Chamundaraya's mother vowed not to drink milk until she visited the original colossus of Bahubali at Paudanapur. During their journey to Paudanapur, Chamundaraya's party halted at Sravanabelgola, a site already holy due to the presence of Bhadrabahu and Chandragupta Maurya. A dream experienced by both Chamundaraya and his mother revealed that the original statue was covered in anthills and that Bahubali's image could be found on the opposite hill if an arrow was shot towards it. Chamundaraya followed this divine guidance, shot an arrow, and subsequently commissioned the sculpting of the 57-foot-tall statue. The author notes the anonymity of ancient artists, suggesting that a sculptor named Arittonemi might have been involved, but historical records are unclear. The statue's description aligns with that provided by Jinasena Acharya.

The article then highlights the admiration the Gommateshwara statue has received from foreign writers and art critics. It quotes Fergusson, who marvelled at the statue's scale and imposing presence, comparing it favorably to Egyptian monuments. However, Fergusson notes that Egyptian statues might surpass it in artistic perfection. The author disagrees, emphasizing the saintly expression of Gommateshwara.

Russian author Mrs. N.R. Gusheva is mentioned for her brief reference to the statue's immense size. Workman is praised for his realistic and impartial appraisal, describing the statue as majestic and impressive, and appreciating its contemplative expression and commanding position.

Zimmer's perspective on Jain sculpture is presented, highlighting the significance of unclothed figures representing detachment from worldly life and societal norms. He describes Jain images as characterized by rigid symmetry, immobility, and spiritual aloofness, reflecting the pursuit of liberation through yoga and meditation. The author agrees that these observations apply to the Gommateshwara statue.

Dr. Anand K. Coomaraswamy's description of Gommateshwara as a remarkable, large, free-standing image embodying serenity and deep meditation is also cited. His description of Bahubali spurning worldly glory for renunciation is echoed, and his portrayal of the facial expression as one of detachment, austerity, and bliss is supported. The author shares a personal anecdote about American academics being profoundly moved by the statue's sight.

Havell's critique is also discussed. He admired Hindu art for its mythological variety but found Jain art limited and lacking in imaginative scope, calling it "poverty of intellect." The author counters this by arguing that Jain art possesses an inner appeal, focusing on spiritual liberation rather than external grandeur. He posits that while some seek visual beauty, others seek spiritual elevation, and Jain art caters to the latter.

Prof. A.L. Basham is quoted for his view that most ancient Indian art is religious. He describes the Gommateshwara statue as a "sermon in stone" representing asceticism and self-denial. However, Basham's interpretation of the creepers entwining Bahubali's legs as symbolizing him being pulled back by earthly ties is challenged by the author. The author argues that this interpretation overlooks the deeper spiritual meaning and the saint's detachment. He also finds a contradiction in Basham's description of Bahubali as both an ordinary young man and a soul nearly free from matter.

Finally, Jack Finegan's "Archeology of World Religions" is mentioned. Finegan describes the statue as colossal and a remarkable sanctuary. He interprets the anthills and creepers around Bahubali as symbolizing profound abstraction and his detachment from worldly surroundings. Finegan also notes the inscription attributing the statue's creation to Chanmunda Raja around 983 AD. The article concludes by mentioning the Mahamastakabhisheka (anointing ceremony) of Bahubali, highlighting the ongoing relevance of Bahubali's message of Ahimsa, love, austerity, and meditation in contemporary society. The author stresses that the true purpose of such celebrations is not just ritual but the imbibing of these Jain principles into daily life.

In essence, the document extols the spiritual magnificence of the Gommateshwara statue, narrating its mythological origins, the story of Bahubali, and the historical context of its creation. It then critically examines how foreign scholars and writers have perceived and interpreted this iconic Jain monument, often highlighting its artistic grandeur, spiritual depth, and the underlying principles of Jainism it represents.