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he commissioner of the archeological survey of
Ceylon in 1907 wrote in his annual report that " this rock-hewn shrine,
the rock temple is the most impressive antiquity far excellence to be seen in
the island of Ceylon, and possibly not rivaled throughout the continent of India,
amazed at the sight of the shrine, he then went on to describe the sight in a
poetical essay.
The line of gigantic figures carved from the grey
rock which forms their background, calm immovable, majestic, and amid the hush
of the surrounding forest, gazing ever fixedly into space with the persiveness
of profound meditation, or wrapped in eternal slumber, must inspire in the
thoughtful beholder wonder and admiration, mingled with an instinctive sense of
silent awe. The irresistible charm & sublimity of the “Gal Vihara"
could not but appeal forcibly to the few observant visitors who, for the last
century, have chanced to view it in its peaceful wooded seclusion untouched by
axe & spade.
As we know, it was lt. Fagan in 1820 that who
found his way to Polonnaruwa & pushed the exploration of the jungle- buried
ruins as far north as the Gal Vihara. He wrote a description of what he saw
there and concluded by saying " I may have over looked many interesting
points in this great monument of superstition nearly dark and I was obliged to
return to Topary (Topaveva) twenty years later, in 1841 major fobs included a
description of the Gal Vihara in his book & some fourteen years later, in
1855, sir Samuel baker visited this rock temple.
Sir Emerson Tennet too high lightened the Gal
Vihara in 1861 and so did J.W Birch, Lt. R.W Stewart in 1868 who first
photographed the Gal Vihara ruins. All these early references are important to
us to study this unique monument. To this list of eminent men could be added
names such as H.C.P Bell, R Ayton & Senarath Paranawithana.
The rock is 56 yards in length & falls away
gradually at each end. Its face is cut back nearly 15ft. For the sculpturing of
the three images & as much as 17ft to provide the cave shrine for the sedan
Buddha. The most southerly of the figures is the seated in “veer asana".
It is on a throne decorated with lions & thunder bolts, and behind the head
of Buddha is the halo or the " prabhamandala". This statue is in the
vijjadharaguha. As seen today by the remaining brick walls, there was only one
rock carved cave and three brick vaulted image house. The disputed so called Anandha
statue is not mentioned in the chronicle though it is separated from the
recumbent Buddha. The seated Buddha image in the vijjadharaguha has an
ornamental arch the surrounds the figure, with small Buddha figures in the
niches. The makaras or mythical dragons which project from the
arch hold lion in their mouths. All these features go to indicate that it was
meant for the recitation of magical verses of Tantric Buddhism. The statue was
originally painted. It measures 15ft 2.5 in from the asanaya to ushnisha.
The next one inside the Nisinnapatimaguha is
carved out of solid rock. The Buddha is depicted as seated on a throne under a
parasol and flanked by attendants bearing flywhisks. Above are the statues of
the god Brahma, to the right of the Buddha and Vishnu on the left showing that
the Buddha is devatideva or above all gods. Traces of wall-
paintings are seen clearly on the walls of the cave. Next to this cave is the
famous rock inscription of parakramabahu recording the convening of Buddhist
council by the king & the establishment or rulers for the good conduct of
the monks.
The next sculpture, a most controversial figure
believed to be either Anandha or Buddha. However, the fact remains that this
statue was not mentioned in the chronicle as one built by king Parakramabahu.
He built only three caves to house three different Buddha statues, two sedans
& one in recumbent attitude. Then what is this 23 feet high standing
statue. It is quite possible that this statue was a later addition to the group
as there was space for another, especially for a missing attitude of the Buddha,
and that is the standing figure. That vacuum is now filled by someone whom we
cannot indentify. Statistically this statue also belongs in some degree to
the same period.
The brick foundation also provides ample evidence
to show that this separate cave which we can name as "
utthitapatimaguha" , the cave with the standing images, was a later
addition filling a void mainly the " standing posture". It is one of
the three common postures found in Sri Lanka. The other being the “walking
attitude" which is called the sankamana, & not found here.
According to popular belief, however, this image
is thought to represent Anandha, the chief disciple of Buddha sorrowing at the
death of the master whose statue is shown in the lying posture adjoining the
present image. This belief is no more accepted. The statue on a lotus pedestal
& hair in ringlets no doubt represents Buddha.
Taken this statue as the image of the Buddha,
there are two theories with regards the mudras or gestures depicted by the
hands. Paranavithana was of the opinion that is represents the Buddha as paradukkha-dukkhita
meaning he who is sorrowing for the sorrow of others. The latest theory put
forward by prematilleke is that it represents the Buddha in the second week
after attaining buddhahood by paying his respect to the Bodhi tree. Therefore
the Bodhi tree planted there by the custodians of the cultural triangle project
to remind us that incident. While the present author completely disagrees with
the second theory, he also disagrees with the first where paranavithana speaks
of a sorrowing Buddha. Actually Buddha did not weep or lament over the sorrow
of others. That is not in keeping with the Buddha nature. The present author
believes that this, Buddha image depicts the great compassion or " Maha
karunawa" of the Buddha towards world beings.
The immense figure lying next to this in a lying
posture in the Nipannapatima lena(cave) is forty feet long and depicts the
final passing away of the Buddha. The left foot of the Buddha rests on the
right & is slightly drawn back. The feet too like the head rest on a
cushion & the soles are ornamented with the lotus flower.
The centre of the cushion on which the head of
the Buddha rests is decorated with the kirtimukha or face of the lion. This
image house had its own separated entrance & two windows in addition. The
liquid flow of the robes over the body & the calm expression of the face
are beautifully interpreted.
