Shravana Belagola, Gommateshwara Statue

Known as Indragiri and Vindhyagiri, this Doddabetta has the wonderful image of Gommata atop it. The hillock is 3347 feet above sea level and has a flight of 620 steps to reach its top.

In front of the Gommata image is the monolithic highly embellished gateways, Akhanda Bagilu of Hoysala times.

On it is the image of Lakshmi seated in Padmasana pose. Near this is another doorway with a beautiful image of Gullakayajji, holding a Gindi(mug) and is actually of Kushmandini Yakshi.

The Thvagada Brahma pillar has fine foliage entwining it with an image of Brahma.

Situated around 160 kms from Bangalore is the colossal image of Gommateshwara ( Bahubali) sculptured from a tor (a rocky pinnacle; a peak of a bare or rocky mountain or hill), marks the culmination of artistic excellence achieved by the Ganga sculptures.

The magnificient sculpture installed on the peaks of the Vindhyagiri hill by Chavundaraya in around 981 AD is the tallest monolithic sculpture in India and measures about 17.7 metres in height. Carved out of natural and uniformly tine grey granite, the arms hanging straight down the sides, with the thumbs turned outwards.

The depiction of ant hill with snakes (Kukkuta Sarpa) peeping out and the ascending madhavi creeper hide the fact of bold relief of the lower limbs. This is intended to symbolise Gomata's complete absorption in penance. Inscriptions written in Tamil, Kannada and Marathi at the foot of the Gomata were done later in the 12th century.
Exhibiting all Mahapurusha lakshanas Bahubali stands erect in Kayothsarga posture on a full blown lotus - pedestal flanked by ornate but dwarf chauri bearers of Hoysala period on either side. The head decorated with Dakshinavrutha curls, the sublime face, the half closed and long contemplative eyes with gaze turned towards the tip of the sharp nose and the well shaped lips bearing the serene smile, can be visualized from any angle. The rouded face, the slightly projected and dimpled chin, the imperceptibly high cheek, the long lobed ears, all enhance the grace of the sculpture.

The broad shoulders, the long arms dangling on the sides, the fold lines on the front of the neck, faithful delineation of the joints etc attest to the skill and mastery of the artist in executing the anatomical details in the stone medium.

The stark nudity of the sculpture indicates the absolute renunciation of a Kevalin ( one who attains supreme knowledge) and the stiff erect stance ( Prathimayoga ) itself suggest the firm determination and self control - a jina.

The Dvarapala images, on either side of the Bahubali colossal in granite schist, are among the finest of the well preserved guardian deities carved by the Hoysala artists in the 12th century.

Suttalaya and the Thirthankaras :The enclosures on the 3 sides of the Bahubali colossus, built in 2 successive stages, house many Thirthankara images. Gangaraja, a general of Hoysala king Vishnuvardhana erected the enclosure.

Basavi Setti during 12th century erected 24 of these Thirthankaras, while others were installed by Kethi Setti, Balleya Dandanayaka, Anki Setti, Bidiyama Setti, Mahadeva Setti, Nemi Setti etc. These Suttalaya images (3.5 ft to 5.25 ft are of great interest to the pious Jains to Jaina art and iconography.

A view of the kalyani, town and chandragiri hill from the steep steps of vindhyagiri can be seen in picture. Barefoot is the norm because of the slippery steps. Doli services meaning older folks/children can be carried up for a fee of Rs200. Entrance is free. There is no loo atop the hill - take precautions. Accomodation is available (Rs150-~)nearby to proceed to bellur-halebidu or where ever. Avoid summer climbs ! You could get your feet burnt. Explore the other sculptures. I liked the 3 fish with one head and the cow-calf sculpture.