FIELD STUDY – CHAVUNDARAYA BASADI

Swetha Menon
1730942
HEP Batch of 2020

HEP
Department of International Studies and History
CHRIST (Deemed to Be University)
(December 2019)
Field Study
The chosen site of field study was the Chavundaraya Basadi (which is till today a
site of Jain worship and pilgrimage). It is located on the Chandragiri hill or
chikkabetta of the Shravanabelagola (Rural) village which is about 140-150 km
west of Bangalore city. Mode of travel adopted was by private car. Entered the
NH75 first, followed by entry into SH47 and finally into SH8 to reach the
destination.
Village: Shravanabelagola (Rural)
Taluk: Channarayapatna taluk
District: Hassan

The temple is a Jain temple structure named the Chavundaraya (or Chamundaraya)
Basadi, after its patron and builder Chavundaraya or Chamundaraya. 1
Chavundaraya was a minister and general of important kings of Western Ganga
dynasty2 which ruled the region, specially Rajamalla IV, whose rise to the throne
was greatly aided by the efforts of Chavundaraya. 3 The main deity is the 22nd
Thirthankara, Neminatha. From what inscriptions indicate, the structure was built
in the late 10th century, somewhere during 980-1000 AD (from dating of
inscription). The structure is about 68 feet long and 36 feet wide and is constructed
in white granite stone.

Due to the lack of synchronism in information relayed by different inscriptions in

and around the Basadi, it is still a topic of contention whether the Chavundaraya
Basadi was actually constructed by the minister Chavundaraya or not. However, as
1 Translation 151 (122), Epigraphia Carnatica Volume II (Inscriptions at Shravanabelagola)
2 Sastri, Nilakanta K.A. (2002) [1955]. A History of South India from Prehistoric Times to the Fall of Vijayanagar.
New Delhi: Indian Branch, Oxford University Press.
3 Rao, Krishna M. V., The Gangas of Talakad: A Monograph on the History of Mysore from the Fourth to the Close
of the Eleventh Century, (1936), B.G. Paul and Company
of today, majority of literature surrounding the field agrees that Chavundaraya was
the patron of the Basadi. Beside his excellent reputation as a strategist and general,
Chavundaraya was known for his strong devotion to the Jaina philosophy – he
himself authored a history of the Thirthankaras.4

4 Rao, Krishna M. V. (1936). The Gangas of Talakad: A Monograph on the History of Mysore from the Fourth to the
Close of the Eleventh Century. (205) B.G. Paul and Company
5 Kamiya, T. (n.d.). Jaina Architecture Chapter 4: Jaina Architecture in South India. Retrieved from
http://www.kamit.jp/03_jaina/4_south/sou_eng.htm.
The Basadi is an east facing structure as marked by the entrance. The outer walls
or bhitti of the temple are fairly plain with multiple plain right-angled pilasters or
bhittipada on all three sides of the
exterior (that do not feature the
entrance) as well the walls beside
the entrance. For example, there
are about 17 pilasters on the wall
in Img.1 There are three visible
bhittikoshtas or niches (on the
wall) on two of the three bhitti,
although they do not feature any
Img.1: Outer Walls of Basadi
bas relief or sculptures within
them. One of the niches i.e. the niche located in the center is particularly deep.

The adhishthana that supports these bhitti, from observation, can be said to be of
the padabandha style (refer Img.2) since it does not have any detailed decoration
or carvings or sculptures.

There is no torana or chatushti (open-pillared porch) around the basadi that is

dedicated solely to it.
 Img.3: Entrance flight of stairs

Img.2: Adhishthana and entrance

Further, the temple is of nirandhara style
since the pradakshinapatha or
circumambulatory path is not within but
outside the structure.

The upper portion of the exterior of the

temple is markedly different from its Img.4: Detailing below and above cornice
lower portion in that it is
characterized by a sudden increase in detailing and decorations. Above the row of
pilasters on the bhitti and below the cornice is a row of seated birds, possibly

Img.5: Decorative detailing

swans (refer Img.4). Above this is a curved cornice with decorative detailing.
Further above this frieze is a row of seated male and female figures under arch
shelters. Some of these figures could be indicative of the Thirthankaras along with
other semi-divine or laity figures. There are also figures of the faces of various
animals like lions,
elephants etc. These designs form the lower part of the shikhara or tower of the
basadi. This layer of pattern repeats one more time over the shikhara after which
there is a third section.

The third section, when viewed from the ground floor exterior, seems as though it
is a continued part of the shikhara (refer Img.1). However, the third section is
actually the tower portion of the shrine located on the second storey of the basadi
(refer Img.6) and is separated from the lower portion of the shikhara. Though from
the outside, it fluidly merges with the lower portion, making the shikhara seem as
one singular whole. This perhaps reflects the technical flair of the architects and
builders of the structure.

Img.6: Tower of shrine on second storey

 Img.7: Top most portion of shikhara

The top most portion of the shikhara can be seen (refer Img.7) with the mukula on
the apex, followed by the stupi, thereby forming the kalasa and then one can
observe the mahapadma. This is followed by features like the simhavaktra, the
griva (and a griva koshta in between featuring multiple seated figures), two vedi or
platforms, finally leading to a parapet of sorts. The shikhara does not have any
visible extensions. It is important to observe, therefore, that there is immense
detailing that characterizes all sections of the shikhara of the temple.

Beside and around the structure, there are various inscriptions and engravings of
footprints6. According to Epigraphia Carnatica, most of these inscriptions provide
information about pilgrimages, instances of the samadhi of various monks after
observation of sallekhana or the vow of fasting to death or descriptions of various
monks and saints of Jainism etc. For example, an inscription on the pedestal of the
image of Adinatha at the Kattalae Basadi reads that “General Ga[ngap]yya”
“caused the basadi to be built for his mother Pochavve”.7

6 Translation 153 (124), Epigraphia Carnatica Volume II (Inscriptions at Shravanabelagola)

7 Translation 80 (70), Epigraphia Carnatica Volume II (Inscriptions at Shravanabelagola)
 Img. 8,9,10: Inscriptions and engravings

At the face of the basadi is a flight of about 9 stairs that lead to the entrance or the
ardhamantapa. The ardhamantapa leads to the dwara or the outer door, which
further leads to the mantapa or the pillared hall enclosed by the praakara. The
dwara did not feature the gajalakshmi or the “goddess of wealth and fauna” motif,
unlike some basadis around such as the one that can be seen on one of the two
neighbouring Parshwanatha basadis (refer Img.11).
Img.11: Gajalakshmi motif on neighbouring Parshwanatha basadi
The mantapa of Chavundaraya Basadi can be classified as the pillared mantapa
(refer Img.12). There are 20 pillars in the mantapa with 4 main beams running
horizontally
from left to
right, thereby
dividing the
ceiling into 5
horizontal
section. There
are pilasters as
well on each
Img.12: Pillared mantapa of the side
walls. The large number of pillars made photography difficult without the help of
appropriate lensing. There are no detailing, carvings or sculptures on the ceiling
except for a large lotus carving (refer Img.13) in the middle most section of the
ceiling of the mantapa. Since it is a pillared hall, this mantapa can be called a
navaranga. Although, it does not feature any ceiling sculptures. This is in stark
contrast to the nine navaranga sculptures that can be observed at the ceiling of
navaranga the enclosure around the Gommateshwara sculpture at Vindhyagiri.

Img.13: Lotus carving on mantapa ceiling

There are no openings inside the basadi, let alone windows. The only opening
within the basadi is on the south west region of the mantapa, to which we shall
come later. The antarala or the connecting vestibule between the garbhagruha and
mantapa in the basadi has two pillars and two semi-divine yakshi and yaksha
figures - of Kushmandini Devi on the right and Sarwahna Yaksha on the left (refer
Img.14 and 15).
 Img.14: Kushmandini Devi 1 Img.15: Sarwahna Yaksha 1

In the middle of these two flanking figures is what the antarala leads us to: the
garbhagruha or sanctum where the idol of the deity is placed. Inside the
garbhagruha of this basadi, there is a seated idol of Aristanemi or Neminatha in the
padmasana posture (refer Img.16). An interesting fact about this idol at the basadi
is that, there exists an inscription on the pedestal of the image of Neminatha dated
1138 AD reads that Echana, son of general Gangaraja, caused to be built a Jaina
temple Trailokajanya also called Boppana Chaityalaya. 8 This indicates that the
image perhaps did not originally belong to this basadi at the time of its origin but
belonged to another Jaina temple that may have gone to ruins.

Img.16: Garbhagruha and seated idol

The pillars within the mantapa are mainly of two types:

i. With a cylindrical base, flattened and bulging capital, circular abacus and
a cylindrical shaft (refer Img.17)
ii. With a square base, octagonal shaft (8 sides), square capital and a
rectangular abacus (refer Img.18 below)
8 Translation 149 (120), Epigraphia Carnatica Volume II (Inscriptions at Shravanabelagola)
 Img.17: Rectangular base pillar Img.18: Circular base pillar

At the south west portion of the mantapa, there is a narrow and steep staircase that
leads to the upper storey of the structure.

This upper storey leads to a second shrine of Parshwanatha Thirthankara which is

smaller in size, yet significant. The staircase leads initially to an open space which
leads to a small mantapa of two pillars and an antarala. The vestibule leads to the
garbhagruha with seats the idol of Parshwanatha Thirthankara.
Img.19: Shrine on the upper storey
Img.19.1: Pilasters on walls and Pradakshinapatha

Img.20: Lotus carving on ceiling

There exists an inscription on the pedestal on the idol in the upper shrine. It reads
that Jinadeva, son of Chamundaraya “caused to be made, with pleasure, a Jaina
temple at Belgola”.9 The temple mentioned here is perhaps the upper storey shrine.

There is a pradakshinapatha around the supper storey shrine, that can be found
between the wall of the shikhara carvings and the enclosure wall of the
garbhagruha. It is therefore of sandhara style. This, is unlike the ground storey
where there is no pradakshinapatha within. The walls of the garbhagruha that side
to the circumambulatory path has pilasters that are similar to the Indrakanta
pilasters.

Such are the conclusions from most of the observations made about the major
internal and external features of the Chavundaraya Basadi.

One visit to Chavundaraya Basadi can be a revelatory experience for a believer or

a non-believer, as it serves as a prime testimony for the ancient and medieval
Indian practice of constructing devalayas (“abode of the Gods) or temples in
isolated and challenging regions. The region is spell-bindingly serene and the
tranquility that a hilltop is characterized by, is truly explanatory of why religion
during the ancient and early medieval times was one that mandated introspection
and self-discipline (which would not have been possible in a loud, crowded
setting). As one walks into the Gommateshwara enclosure, one sees men and
women from all walks of life, retracting into themselves in the peace and quietude.
It is inevitable, the realization that this is the site where many great souls gave their
lives up in pursuit of salvation and the immaterial realm. And in a long time
perhaps, one feels the light of spiritual self-reflection flicker in oneself. This is the

9 Translation 150 (121), Epigraphia Carnatica Volume II (Inscriptions at Shravanabelagola)

biggest significance of the structure and it goes beyond all earthly explanations,
greater than all of its religious significance.

References
Rice, B. L. (1894). Epigraphia Carnatica (Vol. 2). Mysore Government Central
Press.

Oijevaar, K. J. (2007). The South Indian Hindu temple building Design

System. Retrieved from: http://www. oijevaar. eu/hindu. pdf

Sastri, Nilakanta K.A. (2002) [1955]. A history of South India from prehistoric
times to the fall of Vijayanagar. New Delhi: Indian Branch, Oxford University
Press.

Rao, Krishna M. V. (1936). The Gangas of Talakad: A Monograph on the History

of Mysore from the Fourth to the Close of the Eleventh Century. (205) B.G. Paul
and Company

Panda, N. C., Reddy, E. S. N., & Suresh, K. M. (2011). Encyclopaedia of Indian

Temple Architecture (Vol. III). New Delhi: Bharatiya Kala Prakashan .