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| Bahubali statue |
The story goes that Bahubali meditated in a standing position and motionless for a full 12 years until finally reaching enlightenment. The parallels with the Buddha are obvious, and the peace and detachment that emanate from this figure are also Buddha-like. You can see the vine leaves that have grown up around him over the 12 year period. There is also an anthill by his feet which has not disturbed him, so profound is his state of contemplation. A snake slithers by his feet. There is a remarkable poise and self-possession about this figure as of a man who has fully mastered his physical and mental selves which are now simply vessels for the expression of spiritual realisation with no motivating power of their own. They have become the outward manifestation of a spiritual state, and, such is the sculptor’s skill, the power of this image can connect us to this state if we approach it in a suitably receptive frame of mind. Jain religion teaches renunciation of the world and the self if one is to reach the condition of inner peace and harmony with the universe. This statue is a perfect representation of that doctrine in stone. For us today it may seem a one-sided approach to spiritual reality because withdrawing into oneness leaves out love of God. Nevertheless, detachment, self-control, mental stillness and the relinquishment of material identification remain all-important elements of the spiritual path, and a true love of God must be spiritually coherent, meaning it must know what it purports to love which it can only do when it begins to acquire these virtues and so see beyond this world.
A flight of over 650 steps leads to the summit of the hill on which the statue stands as a symbol of spiritual completion as understood in the ancient East. Pilgrims would have ascended these steps to partake in the spiritual power of the site which, being remote, would have meant a journey much more arduous than the one I took when I visited it in the 1980s travelling in (relative) comfort by bus. It is salutary to put oneself in the mindset of these pilgrims of the past to whom the magnificence of temples, cathedrals and statues like this one would have been largely outside their everyday experience, and who would rarely have seen a representation of what they were coming to see before actually seeing it. The impact on them when they finally did arrive must have been tremendous.
From Shravanabelagola, the site of this statue, it’s a 2 hour bus trip to Belur and Halebid, two small towns today but once capitals of a royal dynasty. Here are found the Chennakeshava and Hoysaleshwara temples which are among the most splendidly decorated temples in all of India. They were built in the 12th century AD by the Hoysala kings, but there is something about them which speaks of an even earlier time. The mind that created them with its absorption in the mythological world of gods and goddesses derives from a period in the deep past when what is now myth was perceived as living reality. Our modern rational mind in which the ‘I’ has become fully separated from its environment finds it very different to conceive of the ancestral mind that is merged in the natural world and also extends into the supernatural, not yet fully differentiated from the natural. That is the mind on display here.
The Belur temple is dedicated to a form of Vishnu known as Kesava, and, according to Sanskrit inscriptions on the walls, took 103 years to complete. It contains a profusion of artwork in the form of sculptures, statues, friezes and reliefs depicting deities, musicians and dancers of 12th century India, as well as scenes from the Ramayana, Mahabharata and the Puranas, that popular collection of stories telling tales of avatars, devas and kings from the past. The interior is a multi-pillared hall with dozens of columns, all individual and all carved in extravagant, geometrically complex shapes and styles that have then been polished to give them an almost metallic sheen.
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| Interior pillars |
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| The Mohini pillar |
The mandapa or pillared hall encloses the garbhagriha which means womb chamber and is the heart of the temple where the image of the god is enshrined. Here that image is a 6 foot high statue of Vijayanarayan meaning Victorious Vishnu which features a halo with carvings of his 10 incarnations from Matsya, a giant fish who saved the first man, Manu, from drowning in a Noah’s ark type deluge, to Kalki, the final avatar to come who will appear on a white horse at the end of the Kali Yuga. So maybe not long to wait. Vishnu temples don’t usually have the sense of dark mystery that some Siva temples have but to my mind there is still something slightly uncanny about them, and even though the worshippers would claim they are paying homage to God when they perform their rituals before the idol, the form and nature of that idol expresses a very different sort of God to that represented by the figure of Christ. Possibly that is cultural bias on my part, but these images are very old and may belong to a previous dispensation of human approach to the divine, one that should perhaps be outgrown.
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| The Vishnu shrine |
Setting that thought aside for the moment, the outer walls of the temple are as resplendent as the interior. The temple stands on a platform, and there is a wide space around it to allow for circumambulation which is an intrinsic part of temple worship. As the devotee performed this clockwise pradakshina, as it is called, he would see images of the gods with stories of their exploits from the time when they appeared on Earth. The walls are arranged in bands with the bottom band consisting of elephants, all in different postures. Above them are scenes of dancers, musicians and artisans and other examples of secular life, and then more depictions of events from the Hindu epics. This brief run through gives the barest hint of the cornucopia of riches to be found on these walls. All human and divine life is here. When I visited I was with a young Italian I had met on the bus who, unusually, had come to India for sensual rather than spiritual reasons. He was fascinated by how this aspect of life was shown with such enthusiasm on a sacred building, but then Indians have always regarded all aspects of life as valid parts of the whole.
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| Bands of images on the outer walls |
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| A temple dancer |
The Hoysaleswara Temple at Halebid is similar to the Belur temple except it is dedicated to Siva. This similarity only means that the style and conception behind it are the same for it has a different kind of quality to it. There is a dark element that exists in Siva worship due to the archaic nature of this god who seems to take one back to a primeval time or even a time before time when darkness was upon the face of the deep. This is why Siva is represented by the linga, the most basic of shapes that can be conceived of as the first form emerging from formlessness. Vishnu has an almost Apollonian quality about him and is more manageable. He is like a solar deity whereas Siva is associated with primal being and the state in which darkness and light are not yet fully separate. He undoubtedly harks back to a pre-Aryan India.
Halebid means ruined city and refers to its sacking by Muslim invaders in the 14th century. Many local temples were destroyed but this one survives. It houses over 20,000 carvings, a truly mind-boggling sum and the detail displayed on these carvings is equally stupendous, aided by the fact that it is made of soapstone which is soft when mined so can be relatively easily worked but then hardens over time when exposed to the air. Like Belur, the outer walls here are built up in bands with elephants symbolising a stable foundation at the base. This level is followed by one with royal lions and then a band of horses and horsemen before we reach the fourth band positioned at head height with scenes from the epics and the Puranas. Between these are thinner layers decorated with flowers and designs from nature. There are several more bands with animals, real and mythical, and scenes from court life, and then at the top we encounter the god and goddesses engaged in their legendary activities.
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| Outer wall at Hoysaleswara Temple |
Hoysaleswara temple is unusual in that it contains two sanctuaries, one for the king and one for the queen, so masculine and feminine polarities with each sanctum connected by a corridor and having its own linga and mandapa, and each with an enormous Nandi bull positioned outside facing into the shrine. That to the north is polished to an extraordinary granite-like finish, and both are decorated with garlands and jewellery. The temple is raised on a star-shaped platform several feet high known as a jagati and, as at Belur, there is a wide span for walking round. Inside we again find the polished and lathe-turned pillars, all unique and with wheel and bell designs. It’s like a forest of stone with strange geometric-patterned trees supporting a ceiling covered in carvings of celestial beings.
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| A Nandi Bull |
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| Ceiling carvings |
It’s hard to do justice to the astonishing level of artistry and craftsmanship of the Hoysala temples in a short post like this. I visited them over 40 years ago and can still remember a feeling of awe and mystery when I went round as though something more than human lay behind their construction, something that was at one time present and, though now departed, remained as a kind of echo. Both temples had this quality but it is the inner sanctum that is the source from whence it arose. The sanctum is like a connection point between this world and the next, and that is especially so in temples dedicated to Siva.
In fact, the meaning behind the Siva sanctum may go beyond even that. For an explanation we can turn to the German philosopher Friedrich Schelling whose Philosophical Investigations into the Essence of Human Freedom from 1809 provides a clue as to what Siva ultimately is. Schelling wanted to find out how human freedom, which includes potential for evil, is compatible with an all-powerful God. He came up with the idea, probably influenced by Jakob Boehme, that God emerges from the ‘Ungrund’ or Unground, a primal abyss of absolute freedom and infinite potential which exists beyond reason and order, and to which these are subsidiary. The Unground is pure potency containing with it both light/order and dark/chaos. Thus, God is light but there is an element of being or, as we might call it, pre-being, which, though not evil in itself, contains the potential for evil. God as Creator organises the Unground, but he cannot eliminate the dark/chaos element unless he eliminates freedom. It might even be that it is the interaction of dark/chaos with light/order that produces becoming and growth. Order should certainly dominate chaos if there is to be creativity, organisation and growth, but it also needs chaos to grow.
This is why Siva can seem unnerving and an ambiguous god at the best of times. If he represents the Unground then there is potential for good and evil within him, and in that respect he is a metaphysical principle rather than a being. In his Philosophical Investigations Schelling asked if creation had a final goal and concluded that it did because God was not merely Being but Life. In this sense, Siva is a god of Being but not, I would suggest, of Life. The spiritual task, however, is to grow from being into life so while we should acknowledge the former because it exists, we need to focus our spiritual attention on the latter, and the God of Life is Christ.
It is important to see the truths in ancient Eastern religion and not dismiss them for they are truths. But we should also recognise that Christ as a pattern and exemplar is the higher reality and greater truth.






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