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Gal Vihara- A Great Philosophy Wrought in Eternal Stone -
"It was growing towards evening as I went down the path to the southward and presently came out before the Kalu Gal Vihara . Everyone who visits this place feels the awe that Lieutenant Fagan felt in 1820 when he rediscovered this temple buried deep in the jungle, and came face to face with the enormous figure of the recumbent Buddha carved in the living rock.
The Gal Vihare complex with its beautiful granite statues of the sleeping , standing figures of the Buddha. Here is peace wrought in eternal stone, and here is the picture of the freedom and loneliness of Nirvana achieved", so wrote Keble almost a century after Fagan. Today the atmosphere is very much changed. The site is cleared of its jungle and shrub, a well defined path leads to the site. Bus and coach loads of pilgrims and tourists make their way endlessly to its altars. Fortunately a little gate separates the entrance of the path which leads to the shrine from the vehicle park which is a colourful muddle of food, drink and ice cream sellers. A little boy with a string of polythene draped picture postcards will try his best to sell you a picture postcard, if not the whole set of 10. Souvenirs to take home he will insist. On approaching the shrine I never fail to be inspired by the line of gigantic figures carved from the living rock which forms their background. Calm, immovable, majestic, gazing ever fixedly into space with the passiveness of profound meditation, or wrapped in eternal slumber. The Mahawansa records the formation of this rock temple by Parakrama Bahu, at the close of the Twelfth Century. The rock is some 56 yards in length and falls away gradually at its two ends - described as a rock temple hollowed in the face of the cliff of granite stone which overhangs the level plain. Of the four Buddha images of Gal Vihara two are seated. The one within the cave is well preserved. The other is much larger and is carved in the round from the boulder. A most striking and impressive feature relating to the two seated images are the exuberantly ornamented toranas in the background. The two toranas are ornamented with two different designs The torana of the large seated Buddha image is of the Sanchi type but with different features. The four ornamented vimanas with miniature Buddhas on either side of the torana gives the idea of heaven. The throne of this Buddha image too has been decorated with lotus petals. The basement of the asana is decorated with lion figures and vajra emblems alternately, separated by miniature pilasters. The standing figure of the Buddha is one of the unusual but moving pieces of sculpture. The ornamented torana of the seated Buddha image in the cave is sculpted with human and animal figures. Two standing figures of lions on their hind legs looking frontally are carved on either side against the pillars of the torana. It also includes two chauri bearers wearing ornamental headdresses, numerous gods and deities flying in the air, and a beautifully carved canopy over the head of the Buddha. Traces of wall paintings have been found on the walls of this cave. The other two Buddha images at Gal Vihara are of the standing and the recumbent
The standing image 22 feet 9 inches high, is depicted in a rare cross armed pose. Who this image represents is yet a subject of debate among art historians and archaeologists. Some believe that it is the image of Ananda, the beloved disciple and constant companion of the Buddha, while others are of opinion that the sculpture represents the Buddha himself. Professor Paranavitana analyzing the unusual posture of placing both arms across the breast is of the opinion that it represents the Buddha in the attitude of "Paradukka Dukkhita".- He who is sorrowing for sorrow of the others. Paranavitana also believes that the standing image was originally inside a separate shrine. What ever the debate that surrounds this image it has been agreed by scholars that it is a unique and commendable piece of art of the Polonnaruwa dynasty. The recumbent image, is carved in the round, 46 feet and 4 inches in length and depicts the final passing away of the Lord Buddha. The left foot of the Buddha rests on the right and is slightly drawn back. The head rests upon the right hand supported on a bolster cushion which is seen to sink very naturally. The feet too, like the head, rest on a cushion. The soles are ornamented with lotus flowers. The centre of the cushion on which the head of the Buddha rests is decorated with the face of a lion. It is believed that this image too had its own separate entrance and two windows in addition. The image is celebrated for its fine modeling of the behaviour and movements of the flesh and the muscles of the body. and a realistic display of the liquid flow of the robes over the body. The facial appearance reflects qualities of calm and peace of mind. The eyes are shut. A smile touches the lips. The figure radiates tranquility This image of the Gal Vihara in Polonnaruwa is considered as one of the earliest attempts at carving recumbent images of massive proportions. Taken as a whole the images of the Gal Vihara at Polonnaruwa bears testimony to the high degree of stone craft that existed in our ancient civilization. But some scholars are of the opinion that the serene, calm, gentle and contemplative facial expression of the Anuradhapura period is lacking in the Polonnaruwa images. However the Gal Viharaya of Polonnaruwa has been favoured by many as one of the most moving sites for the Buddhist pilgrim. The recumbent Buddha image of the final passing away of the Lord Buddha will no doubt inspire you into deep contemplation. Emerson Tennent in his work makes special mention of this site. He concludes that with the date thus authenticated, one cannot avoid being struck by the fact that the art exhibited in the execution of these singular monuments of Ceylon was far in advance of that which was prevalent in Europe at the period when they were erected. by Kishanie S. Fernando
February 10, 2007
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