1. Indian Painting B.A. II Dr. O. P. Parameswaran, Assistant Professor,
Department of Fine Arts,
Post Graduate Govt. College for Girls,
Sector-11, Chandigarh.

2. Unit-II: History of Indian Sculpture (BA-3)
Sravanabelgola-Bahubali (Gommateswara), 983 A.D.

5. Introduction:
Bahubali also known as Gommateswara in the southern Jaina tradition, was the second son of Jina Rsabha, born of his junior queen Sunanda.
His step brother Bharata, who became “Cakravarti” succeeding his father, ruled from Vinita (Saketa or Ayodhya); while Bahubali was ruling from Taksasila or Podanasa or Podanapura according to the Digambara Jaina tradition.

6. Soon after the renunciation by Rsabha, Bharata began to subdue the various kingdoms and principalities (of Bharatavarsa) and, according to the Law of Disc-weapon (cakra) had the need even to subdue Bahubali and his other 98 brothers.
Except Bahubali, all his brothers surrendered their domains and became recluse.
A fierce duel took place between Bharata and Bahubali for trial of strength in which Bahubali emerged almost as victor.

7. At the moment of his triumph, the reality of the futility of worldly possession dawned in Bahubali’s mind and he consequently renounced the world for attaining omniscience and hence salvation from the cycle of existences.

8. As an ascetic he performed very rigorous austerities by standing in the “kayotsarga” posture for a whole year and attained “Kevala-jnana”.

9. The Statue of Bahubali:
The enormous statue (it is in fact the largest sixty monolithic colossi in the world, being nearly 60 feet high) was created between the years of 974 A.D. and 984 A.D. approximately.
Situated on the top of a hill, it was carved directly from an enormous block of granite, and represents one of the first Jaina thirthankaras who retired from the world after a victory in battle.

10. The Jaina monk, Aristhanemi was the chief craftsman.
One cannot say that this is a masterpiece and there are plenty of other colossi in the world, less enormous which are more exactly proportioned and have a less heavy style.
Only the face, with its calm smile, its elegantly curled hair and its quivering nostrils give a certain air of sensitivity

11. To suggest his rigorous “tapas”, Bahubali in visual representation is shown not only in the “kayotsarga-mudra” but also with creepers entwining his limbs, and snakes, lizards, and scorpions are either shown nearby or even creeping over his body.
These representational characteristics suggest the long passage of time in which he was absorbed in “tapas” and deep trance

12. The posture of Bahubali is symbolic perfect self-control while his nudity implies total renunciation.
The profound austerities of Bahubali inspired both Svetambara and Digambara Jainas, specially the Digambaras.
Bahubali, as a result, became a powerful symbol as well as a material image evocative of the ethos of self-sacrifice and ahimsa preached by the Jainas.